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Rapid Fire 20 Q with director and cast of Nashville Repertory Theatre’s ‘A Doll’s House, Part 2’; at TPAC’s Johnson Theatre thru November 3

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Directed by René Copeland and starring Cheryl White, Galen Fott, Corrie Green and Rona Carter, Nashville Repertory Theatre’s presentation of A Doll’s House, Part 2 is currently on stage at TPAC’s Johnson Theatre thru November 3. While Nashville Rep’s production marks the play’s regional premiere, playwright Lucas Hnath’s sequel to Henrik Ibsen’s classic debuted on Broadway starring Laurie Metcalf just last year.

Making Nashville Rep’s regional premiere run even more special, the women of the cast will stick around following this Saturday’s October 27 7:30p.m. performance as they are joined by Nashville businesswomen Bonnie Dow, Lucia Folk, Jill McMillan and Joelle Phillips for a special post-show talkback, Women Talk Back, during which the audience will have an opportunity to pose questions as the cast and special guests discuss feminism as it relates to Ibsen and Hnath’s characters from the 1800s and today.

In anticipation of the special Women Talk Back event and the show’s ongoing run, I recently had an opportunity to chat with the entire cast of A Doll’s House, Part 2…including the show’s lone male star…as well as Copeland, who’s not only directing the show, but who is also Nashville Rep’s longtime Producing Artistic Director, for the latest installment in my recurring interview feature, Rapid Fire 20 Q.

The cast and director of “A Doll’s House, Part 2”. From left: Rona Carter, Cheryl White, René Copeland, Galen Fott and Corrie Green

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RAPID FIRE WITH RENÉ COPELAND, DIRECTOR OF ‘A DOLL’S HOUSE, PART 2’

JHP: From a director’s standpoint, what attracted you to A Doll’s House, Part 2?

RENÉ COPELAND: This play fires on several cylinders for me.  I love good dialogue, and in this play the dialogue is smart and funny, and has a unique tone to it—it is a sequel to a play set in the late 1800’s, yet it uses contemporary vernacular so it sounds incredibly modern.  On the page the dialogue is sort of mapped out like free verse poetry, so working with the actors to unlock the code, like a musician unlocks the code of a music score, is great fun.  It’s hard and also fun. I also appreciate the particular sense of humor in the play, and I always love a play that will use humor to explore provocative ideas.  I like plays that make you laugh AND think, so that when you leave the theatre you feel really energized. And this play is very demanding of both me and the actors, which I like.  I think theatre artists working on this play really have to work at the top of their game—each character is textured and complicated and each scene is crafted to work a certain way that you have to shape very carefully.  And then, as a woman I am of course interested in the question of how we balance our lives between the things we do for those we love and the things we do for ourselves—what is expected of us culturally and what we expect of ourselves. The questions posed by this play are completely about now.

JHP: Let’s play a little word association. Using only a single word, how would you describe each of your cast members in regard to their character portrayal in A Doll’s House, Part 2?

RENÉ COPELAND:

Cheryl as Nora—stunning; Galen as Torvald—compelling; Rona as Anne Marie—irresistible; Corrie as Emmy—intriguing

JHP: From rehearsals to now, is there a theme, scene or ideal in the play that’s come to more prominence that you’d originally thought when you took on the project?

RENÉ COPELAND: Nora tells a story near the end of the play about how difficult it is to hear your own voice, after a lifetime of not making a decision without wondering what “he” would think. Cheryl’s way of telling this story has moved it way beyond words on a page and it has come to have special meaning to me.

JHP: What can you tell me about the talkbacks scheduled to follow certain performances during the run?

RENÉ COPELAND: I love Talkbacks for any show, but this show is particularly conversation-inducing. If you come on a talkback night and stick around for a few minutes to chat with us, I know you’ll be glad you did.  You are going to have a lively conversation about this play in the car on the way home anyway, so why not stick around and have that conversation with us, the director and the actors?  Plus it’s really great for us to get a chance to hear real time feedback—it makes us all better at our jobs.  So talkbacks actually contribute to the artistic process. It’s very informal and it usually ends up being a fun sharing session, with plenty of behind-the-scenes insight and gossip along with serious exploration of ideas.

RAPID FIRE WITH CHERYL WHITE, NORA IN ‘A DOLL’S HOUSE, PART 2’

JHP: In the fifteen years that has passed between the story depicted in Henrik Ibsen’s original and Lucas Hnath’s A Doll’s House, Part 2, has A) Nora changed, or B) simply cultivated characteristics that were already present?

CHERYL WHITE: I’m going to pick C) All of the Above!  Nora is now worldly, no longer naive about the workings of society.  She is self-reliant and passionate.  She found her voice at the end of Ibsen’s play and has nurtured it and it now sustains her.  She perhaps has more work to do to understand the ramifications of her newfound freedom on those she left behind.  And when thrust into an old environment with old relationships, she definitely stumbles into some old pitfalls!

JHP: Taking place in the late 1800’s requires period-costumes. What can you tell me about Nora’s  wardrobe, designed by Trish Clark?

CHERYL WHITE: One of the truly exciting aspects of this play is that the costumes and set reflect the period, but the dialogue and physicality (especially for Nora) are contemporary.  So even though I wear a corset and numerous heavy layers (petticoats and over-skirts and such), I strive to speak and move as a contemporary woman.  Not only does the wardrobe inform how I move, it also functions as a tangible obstacle for Nora and as a metaphor for the societal constraints she rails against.

JHP: Much of the play revolves around confrontation between Nora and those she left behind fifteen years prior. How do you prepare yourself for those heated scenes?

CHERYL WHITE: Each of the four characters in this play has a lot to lose.  Their personal stakes are high.    So it’s imperative that I really listen to what’s being said to Nora, that I never lose sight of what I, as Nora, need to win, and finally, that I breathe deeply.  Because when Nora let’s go, she really let’s go!!

JHP: What has surprised you most about this play?

CHERYL WHITE: That I agree with all four characters in the play.  Their viewpoints are wildly divergent, and yet I find everything they say to be true and valuable.

RAPID FIRE WITH GALEN FOTT, TORVALD IN ‘A DOLL’S HOUSE, PART 2’

JHP: What can you tell me about Torvald?

GALEN FOTT: Judging only from Ibsen’s play (or “Part 1”, as we call it!), I think you might say that Torvald is a stifling, controlling, chauvinistic coward. But it’s also true that he is simply playing out the role that is expected of him by the paternalistic society of 1870s Norway. Then Nora walks out, and suddenly he’s a single father of three (albeit with a nanny-in-residence). But Nora’s leaving shook Torvald to the core. Now let’s flash forward to “Part 2”, where we meet him again 15 years later. I think it’s clear that Torvald has been “working on himself” in the intervening years, trying to figure out what happened, trying to work out what’s right and wrong, what’s fair and unfair. There are moments in “Part 2” when “old Torvald” reemerges, but he’s at least trying to evolve.

JHP: While Torvald is perceived as a successful businessman in Ibsen’s work. Nora having left him in the original piece definitely had its affect on him. As an actor, how have you found a balance in playing an outwardly strong man dealing with that inner brokenness?

GALEN FOTT: In this play, we see almost exclusively the private, “broken” side of Torvald. However, I do relish my first 30 seconds onstage, before Torvald realizes Nora has returned. For that half-minute, it feels like Torvald is in a completely different play from everyone else, a mundane tale of a banker who has dashed back home to retrieve some papers he forgot. Little does he know…

JHP: To some purist, the entire notion of a Part 2 to Ibsen’s classic might, at first, seem audacious at best. What is it about playwright Luca Hnath’s continuation that completely lives up to the iconic original?

GALEN FOTT: While Hnath’s play is written completely in the modern vernacular, there’s nothing anachronistic or “cheeky” whatsoever about the story and ideas. Hnath addresses all the same issues that Ibsen raised, and does so with complete fairness and seriousness. (Not that the play isn’t very funny at times!) And much of Hnath’s writing, particularly Nora’s gorgeous final monologue, I wouldn’t hesitate to call “worthy of Ibsen”.

JHP: In the conclusion of the original, Nora walks out on Torvald and their three children. In Part 2, the cast is made up of yourself, Cheryl White as Nora, Rona Carter as Anne Marie, the family Nanny and Corrie Green as Torvald and Nora’s daughter, Emmy. I gotta know…Do we find out what happened to the other two children?

GALEN FOTT: Well…not so much. Ivar and Bob would be around 22 and 20, respectively. From what Emmy says about them, it sounds like Bob is a bit emotionally unstable, but Ivar is “the opposite of Bob in every way”. And that’s all we learn! I think “Part 3” needs to focus entirely on poor Bob, don’t you?

RAPID FIRE WITH CORRIE GREEN, EMMY IN ‘A DOLL’S HOUSE, PART 2’

JHP: You play Emmy, one of Nora and Torvald’s three children she abandoned as depicted in the final scene of Henrik Ibsen’s original. Part 2 picks up fifteen years later. In finding your voice for Emmy, did you imagine certain mother/daughter circumstances that she missed that might have molded her current fiber?

CORRIE GREEN: I think in my approach of the character the whole concept of becoming a woman without your mother was something I was drawn to. Certainly there are thousands of moments daughters spend with their mothers that shape who they are emotionally. That being said the idea that Nora was absent for Emmy’s first crush, first boyfriend, first fight with a close friend, becoming a woman, etc. were moments that I knew going into my preparation that had to have shaped Emmy. I didn’t think that they were moments that would fuel a dislike for Nora, however it made me think of who those moments were left to and all of those things were left to Torvald. We know from the text, both A Doll’s House, and A Doll’s House Pt.2 , that Torvald is not someone who is going to be extremely emotionally nurturing when it comes to his children. Thus approaching Emmy became a balance of figuring out what emotional support, and representation did she have growing up and how does that effect her. Certainly you will find that Emmy is simple in her emotions towards people and that she has no “animosity” towards Nora, but in order to understand that I had to imagine growing up without the emotional support of a mother.

JHP: In a scene from the play, Emmy confronts her mother, Nora, about having been left with her father and siblings. She says something like, “I think in a lot of ways things turned out better because you weren’t around.” Why do you think Emmy feels that growing up without her mother was to her advantage?

CORRIE GREEN: So on the positive side of growing up without a lot of emotional support is this idea that Emmy grows up intellectually much faster than the average kid. I think this is because of the fact that she had to learn everything sort of on her own. So she develops this strength in doing things herself, and finding things out for herself that wouldn’t have happened had she not found out about what happened to her mother. I think Emmy feels she has conquered the dark truths of the world because of the fact that she copes with problems intellectually and not emotionally. She doesn’t allow things to defeat her like her peers, and I think this is something Emmy prides herself on.

JHP: On the flip side, what negative affect, if any, did being raised by Torvald alone have on Emmy?

CORRIE GREEN: I think that one of the downsides is the idea that Emmy has on how to communicate with people, and primarily the sort of emotional numbness she has towards various things. I think a lot of this has to do with the fact that Emmy was raise viewing the post-Nora Torvald. That Torvald didn’t tell her anything about her mother, didn’t keep any of her mothers things, is known via Ibsen’s play to believe that the raising of children should be left to the mother, the depression that overcomes him post-Nora that numbs him to the idea of ever loving again. All of these characteristics result in a child who is brought up to become emotional but only on the surface, and to sort of have some wiring issues when it comes to her ideas on the world. Not having a mother around and only being raised by a father who believed in the norms of the time means that in a way Emmy wasn’t nurtured. Which I think comes across on the stage in various ways during her interaction with her mother. One of which being in the way she chooses to address her father as “Torvald”, which isn’t a very friendly, family driven address for ones dad.

JHP: Often, you hear about actors avoiding each other backstage or during off-time to aide in the believability of their onstage tension. With so much of A Doll’s House, Part 2’s interaction being confrontational, has that been the case for you and your cast mates, or is there a sense of family among you, in spite of the intense action on stage?

CORRIE GREEN: Oh no, I think the cast has formed a family of sorts. I don’t know what I would do if they weren’t so kind and willing to help me transition into Nashville and into the life as a working Actor. As someone, who just graduated and is from a different state, the fact that everyone was willing to take me under their wing including Rene and our tech crew was extremely comforting! Although, we don’t get to see Galen much before the show because all of us ladies are getting ready for the show in our dressing room, and he has to spend pre-show in his own dressing room by himself because he is the only guy. What a problem to have. But other than that we are all kind to each other, we talk with each other, and I love them all dearly. Its a great cast with all around good vibes!

RAPID FIRE WITH RONA CARTER, ANNE MARIE IN ‘A DOLL’S HOUSE, PART 2’

JHP: What does the audience need to know about Anne Marie?

RONA CARTER: That she’s loyal. Loving. And has had to deal with a lot in her lifetime. And, if there were a phone in those days you could pick it up call her and she’d be there in a heartbeat to help.

JHP: Early on in the play, upon Nora’s unexpected return, as Anne Marie, your greeting to her isn’t exactly what you’d call warm. That gives the audience an immediate sense of Anne Marie’s take-no-guff character. How much fun is that to play?

RONA CARTER: Rona is personally not like Anne-Marie at all. So it’s a lot of fun to play a character like that and, to some audiences it’s hilarious and others it seems a bit disconcerting because of our sentimentality. One of my first lines is you got a little fatter and you got a little older. Just telling it like it is.

JHP: Nashville Rep has a reputation for presenting some of the most gorgeous sets around town, courtesy of set designer, Gary Hoff. What can you tell me about the set of A Doll’s House, Part 2?

RONA CARTER: Gary always creates the  most wonderful environments to play on as an actor. This one is beautiful and has an element I’ve not seen in any others that he’s created. It has a raked stage which means it starts at stage level at the front and works up to 2 feet in the back, so it’s tilted. It’s very presentational and it’s a struggle for the characters to work in that environment. Just as we struggle in life with all her questions in relationships. And, just like the Kleenex box from the 2000s on the stage it gives one the element of something very unique at play here.

JHP: With so much of the play focusing on Nora’s actions in the first and their subsequent affects on her and the family, what do you think audiences will take away from the show?

RONA CARTER: Every audience members going to have a different view on all four characters I think. This is one of the few plays I know of that I’ve been in where you’re going to see a clear cut view from each of the four characters in this play. Each having a strong reason for doing and being who they are. And it could be any of these audience members in part or in whole. And I think people have long discussions about their relationships with others. Marriages. Dating. Loving.

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Galen Fott and Cheryl White in a scene from Nashville Rep’s “A Doll’s House, Part 2”

Audiences will indeed have their chance to peek inside A Doll’s House, Part 2 as the show continues through Saturday, November 3 with performances Friday, October 26 at 7:30p.m., Saturday, October 27 at 2:30p.m. & 7:30p.m., Wednesday & Thursday, October 31 & November 1 at 6:30p.m., Friday, November 2 at 7:30p.m. and Saturday, November 3 at 2:30p.m. & 7:30p.m. Tickets range in price from $25 to $52.50. CLICK HERE for tickets or more information. For further details about Saturday, October 27’s special Talkback, Women Talk Back following the 7:30p.m. performance, CLICK HERE. For more about Nashville Rep, CLICK HERE to check out their site, or follow them on Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, and Facebook.

Studio Tenn annual gala, ‘One Night Only’ at Nashville’s War Memorial Auditorium Friday, October 19

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On Friday, October 19, Studio Tenn will present their annual fundraising gala, One Night Only, this year dubbed—A Red Carpet Affair. An incredible night of entertainment, food and fun, including an always impressive silent auction, it’s truly one of my personal favorite social events of the season. This year’s party promises to continue the high-energy, stellar talent, Broadway-quality event for which the relatively young theatre company is known. Changing things up a bit, for the first time in the event’s brief but impressive history, Studio Tenn’s One Night Only will take place at War Memorial Auditorium in Downtown Nashville.

Co-charing the event this year are Bob Deal and Jason Bradshaw, who I like to call Nashville’s bon vivant dynamic duo. When asked how they came to co-chair Studio Tenn’s One Night Only, Deal and Bradshaw revealed something very interesting, “Two friends asked if we would be interested in helping out Studio Tenn with their annual Gala, One Night Only as Co-Chairs for the 2018/2019 Season. We both quickly responded with, What’s Studio Tenn?”, they recalled with a grin. That said, apparently all it took was seeing one of Studio Tenn’s gorgeously produced shows earlier this year and they were in. “After seeing a fabulous production of the recent hit, Grease; meeting the talents of the brilliant crew whom make up Studio Tenn; and seeing and hearing those whom are fans of this incredible organization rave about this professional theatre troupe, it all made sense to say YES as Chairmen.”

Bradshaw and Deal also raved about DKates Catering, who’ll be providing the dinner for attendees who opt in for the full sit-down-dinner experience at the gala saying, “Danielle Kates of DKates Catering is doing the delicious food. We had a tasting of fourteen at our home alfresco on September 26. It was lovely. The evening was perfect.”

As for this year’s silent auction, attendees—and this who just like to take advantage of the opportunity to snag a fun and unique action item—have been given a sneak preview via the live online auction co-chaired by Lynne McAlister and Milton White. Having been friends with White for more years than either of us will admit, I reached out to him for his take on working with Bradshaw, Deal and McAlister in preparation of One Night Only. “I loved working with Bob, Jason and Lynne!”, he exclaimed. When asked for details about what the auction has to offer, White eagerly revealed, “This auction has a something for everyone—fabulous food and fashion as well as signed guitars and the chance to dine on the set of Beauty and the Beast!” (the company’s upcoming holiday offering). For a chance to bid on this and all the other items offered at the gala, CLICK HERE.

Speaking of Beauty and The Beast, Laura Matula, a member of the Studio Tenn family known to theatre-goers for her gorgeous vocal skills, having wowed audiences playing everyone from Grease’s Rizzo to The Wizard of Oz’s Wicked Witch, confessed, “I absolutely cannot wait to sing the title song of Beauty and the Beast with my absolute favorite singer, John-Mark McGaha. I will for sure be living out all my Celine Dion childhood dreams and I couldn’t feel any luckier.”

Matula is just one of the many well-known performers who’ll be on stage during this year’s One Night Only. What’s more, she’s also the event’s Music Director/Supervisor. In the weeks leading up to it, she’s organized performers schedules, charted tunes, run rehearsals and coordinated musical equipment staging—a true musical Jill-of-all-trades.

When asked about the mind-blowing musical talent assembled for this year’s even, Matula gushed, “I am astounded by the amount of talent that can fit on one stage whenever I am involved with a Studio Tenn gala. This year’s One Night Only is no exception. We have Broadway performers, American Idols, songwriters and recording artists, Nashville based superstars, and more—phenomenal vocal talents all around plus the most stellar assortment of Nashville musicians: Matt Giraud, Diana DeGarmo, Ace Young, Piper Jones, Melodie Madden Adams, John-Mark McGaha, Libby Black, Megan Murphy Chambers, Eden Espinosa, Bradley Gale, Marissa Rosen…and me, plus an extra special number from Jake Speck and Matt Logan!”

When asked about the change in venue for this year’s gala, Matula revealed, “This year will mark the largest assortment of talent onstage with 12 singers and 13 band members plus some special guests I canąt tell you about! Thank goodness we are at War Memorial Auditorium in downtown Nashville so we can fit everyone on stage! I canąt wait for you to hear the sound of this group!”

I couldn’t chat with Matula without begging for a hint of what to expect. To that end, she teased, “The theme of the music this year is Songs from the Movies. This gave us such a wealth of incredible music to pull from and boy this set list is on fire! We have everything from James Bond to Barbra Streisand to songs from The Greatest Showman, The Bodyguard, Jungle Book, Beauty and the Beast, Cabaret, Moulin Rouge, and more! It’s bigger and better than ever but with the same intimate feeling the singers on stage bring as members of the incredible Studio Tenn family of artists and entertainers.”

Something many fans, patrons and company members are thinking about is the recent news that Matt Logan, one of Studio Tenn’s co-founders will be leaving his position as Artistic Director, with One Night Only marking his final official event with the troupe. Matula addressed this by adding, “It will also be incredibly emotional as we share our endless love and gracious hearts with Matt Logan as he departs the Studio Tenn family. He is a storyteller and art maker and I am so grateful to be able to be a part of celebrating him for an incredible night.”

With that, I reached out to Logan for his take on the evening. “I’m so excited to hear our powerhouse vocalists. I think it is no secret that I am a huge fan of these Broadway and Tennessee stars. They are not only great friends but the best singers in the world”. He continued, “I know that many of our patrons love their talent but I do think that the patrons love seeing how much we love each other. We have a great community and we don’t take it for granted.”

Of his pending departure, Logan added, “The bittersweet element of my last night is in saying goodbye to a community that has blessed me so richly. do believe that every great chapter must come to an end. The timing is right for me to move on but Im gonna miss it terribly.”

Speaking of bittersweet, as alluded by Matula, Friday’s One Night Only will also feature an on-stage reunion between Logan and Studio Tenn’s other founding member, Jake Speck. Earlier this year, Speck left his position at the company when he accepted a job with a theatre company in Texas. Of the pair’s upcoming One Night Only re-teaming, Logan divulged, “Jake and I will do some talk and song. It’s nothing major, but it will be a final goodbye to the thing we created. We know Studio Tenn will carry on but this chapter will be at an end for us.” Thinking back on the journey that brought him to this point, Logan shared, “The funny thing is that we both were high school buddies growing up in Tennessee and then we were given the chance to bring back what we learned and effect the artistic landscape of Middle Tennessee. Even now, it is hard for me to wrap my brain around the enormous gift we were given. This evening will be a great moment to thank everyone who made Studio Tenn what it is.”

While the evening does mark the end of an era for Studio Tenn, rest assured the company is ready for what the future holds. Of their hopes for the evening, Bradshaw and Deal enthused, “We are honored and delighted to be a part of this event and hope they take back with them, like we did, that special moment that uniquely makes Studio Tenn…a 10!”

One Night Only will not only be chocked-full of jaw-dropping entertainment, festive music and great food, it will also remind attendees just how fabulous the company is as they continue their ninth season and look forward to their history-making tenth year. Select tickets for One Night Only are still available. Table Seating on the Main Floor includes drinks, a delicious dinner, silent auction access and an up-close and personal view of the evening’s entertainment. Tickets are $325.00. Mezzanine/Late Party tickets, which include  pre-show libations, hors d’oeuvres, access to the silent auction and an amazing second story view of the evening’s entertainment are available for $95. CLICK HERE for tickets.

Up next for Studio Tenn, just in time for an enchanted holiday, they’re presenting Disney’s Beauty and the Beast, with performances December 7-30. CLICK HERE for tickets or more information. Following Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

 

Rapid Fire 5 Q with Jason Lewis, directing Circle Players’ ‘Hair’ on stage at Looby Theatre thru Sunday, October 21

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The cast of Circle Players’ ‘Hair’ (photo courtesy Circle Players)

Circle Players’ current production, Hair wraps its three-week run with performances Friday, October 19-Sunday, October 21 at the Looby Theatre (2301 Rosa Parks Blvd). First presented on stage 50 years ago, and therefore typically thought of as late-1960s anti-war, musical love-in, the current mounting of the show becomes interestingly relatable to what’s going on in the world around us thanks to director Jason Lewis’ creative eye. Peppering his cast with a few familiar faces, Lewis also reinforces the show’s familial Tribe vibe. With just a few shows left in the run, I recently got the chance to speak with Lewis about the show, his take on it and his cast for an abbreviated version of my recurring Rapid Fire interview feature.

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RAPID FIRE 5 Q WITH HAIR DIRECTOR, JASON LEWIS

JONATHAN H. PINKERTON: Having directed for Circle before, what keeps you coming back?  

JASON LEWIS: Circle Players, through my many returns to Nashville, has always provided me a creative home, even more so now in a directorial capacity. While I was away in New York, old school Circle alums Maggie Bowden and Sue Stinemetz would try to coax me to return and direct for Circle. In the years between their subsequent passings, I faced my own personal setbacks.  I now work for Circle to honor their memories.  People always ask why I don’t just do ‘paid stuff’ since the quality of work is of such caliber and my response is always the same… “Somebody has to be the Mr. Schuester (of Glee fame).”  My background being in education, I love discovering new talent and thrive in the community theatre setting, wowing audiences by exceeding expected results.

JHP: What is it about Hair that drew you to the project?

JASON LEWIS: Well since being back I had helmed one epic show, one funny show and one of spectacle, so to me Hair was a nice middle ground. I wasn’t 100% sure until the Parkland shooting and it’s aftermath. Watching a government do nothing as our youth are (preventatively) being killed off? Watching kids march out of school in protest as we’ve not seen SINCE Vietnam? Instantly, I knew what show I HAD to do. People are on edge politically but they still need hope…and love.

JHP: Among you cast, I spotted a name or two you’ve worked with in the past. what is it about these actors that makes you want to team with them again on this project?

JASON LEWIS: Of my cast I’ve probably worked with Maggie Wood and Scotty Phillips the most.  Both were in Reefer Madness and Bring it On.  Maggie has such a versatile wide range in her abilities, thus a perfect person for each of the roles I’ve given her so far. Scotty works hard and isn’t afraid to step outside his comfort zone.  He stands out in a lead and as an ensemble member. Few local artists can claim that.

JHP: They’re not the only ones you’ve worked with amongst your cast, right?

JASON LEWIS: Besides the aforementioned,  I’ve worked with Amanda Creech, Barrett Thomas and Erica Patterson on Jesus Christ Superstar and Sara Shumway in Reefer/Bring It On and Gillion Welsh and Jarvis Bynum in Reefer, as a director. I also recently shared the stage with Seth Austin Brown, Blake Holliday & Stephanie Twomey in The Full Monty.  Besides being hard workers, the one thing they all have in common is fearlessness when it comes to getting weird, something vital in a Hair tribe member. 

JHP: As a director, what do you hope to get from your actors?

JASON LEWIS: Authenticity and vulnerability as well as completing homework character research assignments in creating their tribe member.  Hair isn’t just about singing, dancing and acting.  My tribe is honoring those actors who workshopped Hair and brought it to life by immersing themselves in 60s counter-culture. Also, I ask that they give themselves over to the uncomfortable moments freely, it is the only way to truly create the organic work of art Hair must be. Never be disingenuous to the material!

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Circle Players’ Hair continues for a final weekend with performances Friday and Saturday, October 19 & 20 at 7:30 p.m. and Sunday, October 21 at 3 p.m. All tickets are $20. Click Here to purchase tickets. For a little more about the cast, Click Here. It should be noted that Circle Players’ website does indeed offer an Audience Advisory of the  show for “nudity, strong language, simulated drug use, adult content and situations that may not be appropriate for all ages”. That said, what better reasons to join the tribe?

Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their 69th Season.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, and Facebook.

 

Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A with bon vivant, revered theatre critic and all-round theatrical legend, Jeffrey Ellis, directing ‘The Boys in the Band’ at The Barbershop Theatre September 27-October 1

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When I heard Jeffrey Ellis was tackling playwright Mart Crowley’s iconic 1968 masterwork, The Boys in the Band for the show’s long-overdue Nashville premiere production at Barbershop Theatre  September 27-October 1, I knew it was going to be epic. You see, Jeffrey isn’t just one of Nashville…and the world’s…most respected and admired theatre critics (he is Senior Contributing Editor of Broadwayworld.com, after all), but he’s also a talented director, who, because of his love to theatre, as well as cinema and all things entertainment, always provides a keen and thoughtful version of any show he helms that inevitably leaves his audiences satisfied, engaged and with a new interest in discovering more about what they’ve witnessed.

That said, imagine my disappointment when I realized I wouldn’t be in Nashville for the upcoming run of Ellis’ take on Crowley’s groundbreaking play. Coming to terms with the devastation caused by my ill-timed travels, I reached out to Jeffrey for my latest Rapid Fire interview just hours before time to board my flight. Lucky for me, in addition to all the aforementioned well-deserved and true accolades referenced above, Jeffrey is also a skilled and gifted writer, so basically this interview wrote itself. Enough intro…below is our conversation.

Rapid Fire 10 Q&A with Jef Ellis, directing The Barbershop Theatre’s The Boys in the Band 

Jeffrey Ellis

JONATHAN PINKERTON: I’m shocked to learn this will be the Nashville debut for The Boys in the Band. Why do you think it’s never been mounted here before?

JEFFREY ELLIS: I think initially producers were skeptical of how it would be received by a Nashville audience. The first show I directed – 1999’s La Cage Aux Folles for Circle Players – was sort of regarded in that way and, as the script was written, the two lead characters didn’t embrace or kiss throughout the show and I wanted to change that. My thought process was that if audiences had stayed with us to the end, they wouldn’t be offended by the sight of two men kissing. Instead, they would welcome it as the natural progression of their relationship.

And after that initial reluctance, the play became mired in a lot of controversy: was it too stereotypical, was it too flamboyant and queeny – the typical things gay men have always asked about their own behaviors, to be quite honest – and so it fell into disfavor.

JONATHAN PINKERTON: First produced Off Broadway in 1968 , the play recently enjoyed its first-ever Broadway run in celebration of its 50th anniversary. It’s about time, huh?

JEFFREY ELLIS: Without question! Now, with the 50th anniversary of its first New York production, set against the backdrop of all the advances made for GLBTQIA civil rights in the past ten years, looking back at an earlier era is very timely and prescient. The Boys in the Band shows us that the more things change, the more they stay the same and it’s important – to me, at least – to pay homage to Mart Crowley’s play which has proven to be a watershed moment in theater, gay, straight or otherwise.

JONATHAN PINKERTON: What makes The Boys in the Band as relevant now as when it premiered?

JEFFREY ELLIS: The characters are so sharply defined, so indelibly written, that their stories are universal. The issues they dealt with at a time when virtually everything they did that designated them as homosexual could have led to arrest and conviction. It’s vital that we remember our history, to learn from it and to refuse to ever go back to being treated as second-class citizens. GLBTQIA people in the 21st century stand on the shoulders of every man and woman who came before them, who sacrificed themselves to ensure a greater sense of community and belonging. We should always be grateful.

JONATHAN PINKERTON: Why do you think The Boys in the Band is a good fit for The Barbershop Theatre?

JEFFREY ELLIS: The very first time I was at The Barbershop Theater, to see Verge Theater’s production of Kimberly Akimbo, I was taken by the intimate nature of the venue and I recognized instantly that a play like The Boys in the Band could be presented there in the way I’ve always envisioned it: Like the story being told, with a gathering of friends who don’t always like one another very much, but who will always defend one other. The audience becomes active participants in the play’s action in such an intimate space and the actors will feed off their energy during every performance.

JONATHAN PINKERTON: For those who might label this a ‘gay play’, how would your respond?

JEFFREY ELLIS:It isn’t just “a gay play,” it is THE gay play that changed the course of American theater, a play in which the characters are presented honestly and authentically, allowing audiences for the very first time to see how a group of gay men would interact with one another. It’s a very brave play, the original cast were a courageous group of men who dared to play these flawed, but all too real, characters as they existed in real life. I have never been prouder of any theater project in my life than I am of this production.

JONATHAN PINKERTON: How much are you loving your cast?

JEFFREY ELLIS: They are remarkable. I cannot say enough about their ability to breathe life into these characters – characters who have lived in my heart and my brain since I read the play when I was 12 years old. The nine men in my cast have willingly come on board and they have given me their trust to craft a production of a play that changed my life, that proved to me I was not alone in the world when I was in sixth grade and gave me hope that I would someday find my own people just like this rag-tag group of characters created by Mart Crowley did.

The nine actors in The Boys in the Band give so much of themselves in every rehearsal and will give so much more during the show’s six-performance run – they lay bare their souls. And as they do that, they honor every gay man who has ever been bold enough to admit who he is and to live an authentic life.

These nine men have become my family – they are my brothers and my sons. They have listened to my stories about my own life as a gay man and they have shared the details of their own lives in the process. We are inextricably bonded now – and I will be hard-pressed to have such an experience ever again.

JONATHAN PINKERTON: When I saw you at TPAC recently, you shared a story of the precise moment you saw your cast bonding. Do you mind sharing that with my readers?

JEFFREY ELLIS: We had a photo call before rehearsal one night and the cast seemed surprised that I would be taking the pictures, so I explained that I came from the place and time where to get a journalism degree meant studying photography. And I treated them like so much cattle, ordering them around and telling them exactly how to stand, where to put their hands, what angle to tilt their face – that kind of stuff – and while we did it, we had fun and we laughed a lot, I told off-color stories and we had fun.

That carried over into our rehearsal and I realized that night they my cast had bonded, we had indeed become a family and I knew in that particular moment that the show would be the same show I’ve always seen in my mind, even after all these years.

At the end of rehearsal that night, I asked each actor with which character did they most identify and each man chose the character he is playing, which was extremely gratifying because it proved I had made the right casting choices. But more important, it meant that we were all on the same page, creatively, and that we anything is possible.

JONATHAN PINKERTON: What can you tell me about your technical/creative team?

JEFFREY ELLIS: Sara Kistner is my production stage manager and we’ve worked together on several shows, including South Pacific and The Little Foxes – we yell and scream at each other and move on because we trust each other and believe in each other. Emily Daigneault, who designed props for The Little Foxes is back on the team, providing our time period-senstive props for The Boys. Dan Hayes, whom I’ve known since he was fresh out of college and acting at Actors Playhouse of Nashville, is my costume designer and previously he did that for my production Picnic a few years ago. Daniel DeVault is lighting designer; it’s our first time to work together, but obviously we’ve known each other for several years and I’ve always been impressed by his work.

JONATHAN PINKERTON: How would you describe the look and feel of the show, as you’ve envisioned it?

JEFFREY ELLIS: Initially, I planned to give it a real mid-century look and feel, but as I’ve delved more deeply into the literature of the play and become even more acutely aware of who Michael, the protagonist of the play at whose apartment the birthday party takes place, is and what his sense of style is – which is, remarkably, quite similar to my taste. Michael’s apartment is timeless and, hopefully, kind of elegant in the way some small-town Southern queen would see himself living in Manhattan when he escaped the clutches of his mama and them.

JONATHAN PINKERTON: What’s been the most gratifying aspect of directing this cast in this particular play?

JEFFREY ELLIS: I discovered early on that in my own life, I’ve never been completely honest about who I am and what I believe. Directing The Boys in the Band with this band of remarkable brothers I have assembled has forced me to take a look at myself and how I’ve lived my life and to make me want, more than anything, to be honest and authentic in my sexual orientation. These wonderful actors have taken everything I’ve thrown at them, assimilated it into their own performances to craft characters who are endearingly human and straightforward. And, truth be told, that’s who I’ve always wanted to be, even if I haven’t always been as successful as I may have hoped.

JONATHAN PINKERTON:What do you hope audience take away from The Boys In The Band?

JEFFREY ELLIS: An understanding of what we’ve all been through, how our lives have changed since 1968, to gain knowledge about how far we’ve come, while recognizing how far we still have to go in the never-ending struggle for acceptance. I hope they will love these men as much as I always have and to see the universality of their stories and how they relate to their own personal stories.

The Barbershop Theatre‘s production of The Boys in the Band directed by Jeffrey Ellis runs September 27-October 1 with shows nightly at 7:30 p.m. and a Saturday Matinee on September 29 at 2:30 .m. Tickets are $15. Click Here to purchase or for more information.  Stay informed about upcoming events at The Barbershop Theatre by liking them on Facebook and following them on Instagram. For the latest on Jeffrey Ellis find him on Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

 

Roxy Regional Theatre’s ‘Hairspray’ a hair-hoppin’ great time; on stage thru September 29 in Clarksville

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Jenna Leigh Miller (center) starring in Roxy Regional Theatre’s “Hairspray”

First off, I’m not sure why it has taken me a decade since first beginning to write about the Nashville area theatre scene on a regular basis to make the relatively short trek to nearby Clarksville to see a show at the Roxy Regional Theatre. Perhaps I was just waiting on an official invite. Well, thanks to Brian Best, it finally happened when I recently attending a performance of the Roxy’s current production, Hairspray, and now I can truly say I see what the buzz about the Roxy is all about.

Not only is the Roxy a simply gorgeous classic movie house that’s been renovated into a fabulous live performance venue, it’s also situated near the charming yet bustling town square. Add to that the aforementioned Brian Best in the role of Edna Turnblad and you’re most certain to be guaranteed a great night of musical theatre.

Directed and choreographed by Roxy’s Executive Director, Ryan Bowie, this production of Hairspray, based on cult movie king, John Waters’ 1988 film, the story’s eight-Tony-winning 2002 stage musical adaptation and subsequent 2007 big budget musical movie redo is surprisingly one of the best productions of the show I’ve seen, and I’ve seen it done quite a few times over the years.

Bowie has cast an all-around enjoyable cast. Obvious stand-outs include Jenna Leigh Miller, who stars as Tracy Turnblad, Edna’s plump and plucky teenage daughter whose dream is to not only dance on The Corny Collins Show, a Baltimore-based weekly music show (think American Bandstand), but to also usher in the racial integration of the show as well. Miller is simply adorable. Oblivious to the obstacles before her, or perhaps fueled by them, Miller’s Tracy commands the stage, from the show’s opening Good Morning Baltimore all the way through to Act’s 2’s all-in You Can’t Stop the Beat.

Drew Stairs approaches Corny Collins with charm and a perfectly over-inflated ego. His scenes with Miler’s Tracy are sweet and his jabs at her Barbie-doll perfect nemesis, Amber Von Tussle (Jessica Caracciolo) are executed with perfect comedic timing. Speaking of Amber, Caracciolo bratty portrayal is so fun, especially when paired with Stacy Turner as her equally self-important mother, Velma Von Tussle.

Kelly Letourneau is such fun to watch as Tracy’s best pal, the seemingly always permanently punished Penny Pingleton. Cast as Penny’s forbidden love (translation, it’s the 1960s…she’s white, he’s not) is Treston Henderson as Seaweed Stubbs. They shine during Without Love. Their on-stage chemistry is so sweet, who can blame Penny’s mother, the aptly named Prudy Pingleton (Amy Snider) for finally acquiescing. Additional kudos are in order to Snider for also appearing as the stereotypical (read lesbian) gym teacher and the no-nonsense prison matron.

Other stand-outs in the cast come courtesy Matthew Combs as Link Larkin, Jamila Hunter as the Big Blond and Beautiful Mothermouth Maybell. Her Act 2 performance of I Know Where I’ve Been, a song that temporarily refocuses the action away from the silliness of Tracy’s TV dreams to the seriousness of racial issues that sadly still exist, is hands-down the best moment in the show.  The feisty and adorable Mikquala Skelton as Little Inez is just a joy to watch. Lastly, Mairys Joaquin, Jameka Lache Horton and Alexandra West as The Dynamites, the show’s girl group trio of backup singers provide some of the show’s most gorgeous voices.

Brian Best (center) and the cast of “Hairspray”

Then there’s the aforementioned Brian Best as Edna Turnblad. In the previously mentioned original incarnations of Hairspray, the role of Edna has been played by gender-ignoring camp comedy drag legend, Divine, Broadway icon Harvey Fierstein and John Travolta…yes, even Vinnie Barbarino/Danny Zuko donned a dress to play the role of Edna Turnblad. Edna isn’t entirely new to Best, having played her a couple of years ago in another local production of the show. I was fortunate enough to have seen Best in the production as well and found it quite interesting that under the direction of Bowie, this Edna seems a bit more real, more Waters-esque. Over the top, sure—it kind of comes with the territory—but the Roxy’s Edna seems to heart-wrenchingly wallow in self deprecation while simultaneously building up her daughter in an effort to not let her fall into her mother’s patterns. Best’s Edna also has a grittier, less polished look than his previous turn, whether a choice by the actor and director, or simply by necessity of whomever did Best’s Edna makeup. Either way, it works, especially when she gets the confidence boost she needs and realizes beauty comes in all shapes and sizes.

The Roxy’s Hairspray features a talented group of actors, singers and dancers. Gotta love the school deskograpy from the get go, as well as what I’ll dub the bellography during Tracy’s dreamlike I Can Hear the Bells.

The set, designed by Bowie and Emily Rourke seems at times a bit compact, especially the Turnblad house, but it’s effective and clever, after all, what better way to emphasize the stature of Edna and her mini-me, Tracy than to present a house that’s literally busting at the seams? If there was once drawback to the production, it would have to be the fact that the actors weren’t wearing mics. As mentioned at the top of this review, this was my first time to attend a show at the Roxy, and it was my own fault for not requesting tix earlier. Perhaps because of this, my seats were near the back of the venue and right in front of a wall-mounted speaker, which may have attributed to my inability to hear certain performers and musical numbers.

Nonetheless, thanks to my own familiarity with the show and the cast’s non-stop energy, enthusiasm and all-out apparent excitement to be performing in the show, Roxy’s Hairspray is indeed worth the drive to Clarksville.

Hairspray continues at Roxy Regional Theatre (100 Franklin Street, Clarksville, TN) with performances through Saturday, September 29. Tickets are $25 for Adults and $15 for children 13 and under. CLICK HERE for showtimes, tickets or more information. To find out more about Roxy Regional Theatre, follow them on Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Studio Tenn has created a monster hit with newly written reimagining of ‘Frankenstein’; limited run continues with performances thru Sunday, September 9

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Euriamis Losada stars as The Creature in Studio Tenn’s gorgeous retelling of “Frankenstein” on stage thru Sunday, September 9 (all photos by MA2LA/Courtesy Studio Tenn)

Broadway quality original theatre is ALIVE and well courtesy Studio Tenn’s latest offering, Frankenstein, onstage at Jamison Theatre in The Factory at Franklin. Opening just last weekend, on Friday, August 31, the show will wrap it all-too-brief World Premiere run with three remaining shows this weekend.

Having penned Studio Tenn’s hugely popular musical The Battle of Franklin, playwright A.S. Peterson has collaborated with the company to retell the story of Frankenstein. What’s more, 2018 marks the bicentennial of when novelist Mary Shelley first published the tale in what is widely considered the first gothic horror tale.

As with most Studio Tenn productions, first and foremost, it’s simply a gorgeous production. Matt Logan, Studio Tenn’s genius Artistic Director is once again, not only at the helm as the show’s director, but also onboard as Costume and Scenic Designer. From the first glimpse of the set, there’s a sense of the familiar, with a medical skeleton, a bookcase full of what’s presumed to be medical journals and such to the left and an eerie wooden casket and graveyard to the right. All these elements are necessary and recognizable to anyone who’s read Shelly’s original tale of a not-so-mad scientist who discovers he as the power to reanimate the dead. While those elements are expected, it’s the stunningly gorgeous glass structure center stage that breathes new life into the centuries old tale. Logan has constructed a central focus set piece that at various times during the show seems reminiscent of stained glass, a kaleidoscope, a patchwork quilt, a broken mirror or perhaps the burgeoning industrial age, prompting the audience to evoke associations with everything from Dr. Frankenstein’s God-like power of creation, the literal construction of another human being, the idea that we are all part of a greater picture or perhaps, or most accurately, what we see as broken in others is usually a reflection of our own shortcomings. Then again, maybe it’s just a pretty set piece (I highly doubt that). That’s the beauty of Logan’s design, it’s open to interpretation.

Expected from any Studio Tenn production, the cast of Frankenstein is top-notch. Jared Reinfeldt as Dr. Victor Frankenstein is handsome an earnest as he struggles to maintain a romantic relationship with his betrothed while simultaneously attempting to measure up to his father and the memory of his late mother.

Jared Reinfeldt and Euriamis Losada as Master and Creation.

Euriamis Losada as The Creature is mesmerizing. Unlike many interpretations of the story, this creature speaks and when he does its with a powerful booming voice. As handsome as his creator, Losada shaved his head for the role, and though its covered with a patchwork of stitches—perhaps a visual tie to the above-referenced patchwork look of the background set piece—his beauty shines through. Fitting, as a recurring theme of the piece is to not judge one for their outward appearance, but rather their inner beauty. Losada’s Frankenstein is equally effective whether lumbering around menacingly or revealing his scared uncertain side. I loved the visual detail of the hem of The Creature’s cloak being ragged and mud clodded, a perfect subliminal reference to the struggles he’s endured hiding away from society. Just another serene Matt Logan touch.

Doomed Lovers Reinfeldt and Morgan Davis as Victor and Elizabeth

Morgan Davis is cast as Elizabeth Lavenza, Frankenstein’s cousin who also just so happens to be his love interest (it is the early 1800s after all). Her beauty is only enhanced by Logan’s gorgeous, detailed and period-accurate costumes. Her black and grey gown is simply stunning. Like her co-stars, Davis’ Elizabeth, through her no-holds-barred dialogue with Frankenstein, reinforces the ideal of everyone feeling like an outsider from time to time. She also perfectly represents the changing attitudes of women and their place in society. Also appreciated, a single line in which Davis’ Elizabeth casually notes that perhaps she’ll write a book about Victor’s experiments, a clever tip-of-the-hat to the fact that it was indeed a female who wrote the story of Frankenstein.

Appearing in dual roles is Henry Arnold as both Victor’s father, Alphonse Frankenstein and the seafaring Captain Winthrop. As usual, Arnold, a staple of Nashville area theatre, turns in a fantastic performance…times two. Rounding out the stellar cast are Regan Holmberg, Amanda Card, Austin Olive, Matthew Rose, Margaret Rodgers and Liam Searcy.

Being a bit of a Frankenstein fan myself, I appreciate the playwright’s nods to, not only the original source material, but also iconic adaptations through the ages. While the original novel tells the tale by way of letters written by a sea captain to his sister, playwright Peterson honors that origin by having Dr. Victor Frankenstein mysterious appear aboard Captain Winthrop’s ship at the top of the action, where he commences to tell the story of what brought him their. Not long after, The Creature also appears to tell his side of the story. When this sequence occurs, I literally got chills when the aforementioned mirrored background suddenly morphed into what can only be described as the vastness of outer space, thanks to lighting designer Stephen Moss and technical director Mitch White. Appropriately, when The Creature speaks of his creation, the background projects an endless seas of microscopic stars in the galaxy, a literal allusion to the creation.

The Creature speaks of his creation

Another nod to previous incarnations of the story occurs in Frankenstein’s appearance. I for one appreciate the wink to James Whale’s 1931 Universal Pictures film…no Frankenstein’s not square- headed with bolts jutting out of his neck like film’s iconic Boris Karloff, but he is wearing similar footwear…YES, Studio Tenn’s Frankenstein is seen with ultra-sensible orthotics.  Also in reference to the film is a scene involving a flower and another involving a kindly old blind man (played with his usual humor by frequent Studio Tenn actor, Garris Wimmer).

While Peterson’s script does indeed pay homage to previous incarnations, he adds his own twist to this new adaptation. One twist involves the shocking outcome of an encounter with Frankenstein’s little brother (charmingly portrayed by young Micah Williams), but I’ll save the details of that twisted scene for those attending the show.

Overall, the show is a surprisingly fresh take on Shelley’s original. With a bit of editing in Act 1 to tighten up some unnecessarily lengthy scenes, this show deserves a full run. Perhaps, as they did with the playwright’s previous work for Studio Tenn, they’ll revisit Frankenstein for a lengthier run during a future season, or perhaps Peterson could follow up with The Bride of Frankenstein. After all, by play’s end, there seems to be an obvious choice for who could play the title role as Morgan Davis’ Elizabeth seems reminiscent of Billie Piper’s performance as Lily from the recent Showtime series, Penny Dreadful.

Frankenstein wraps it’s run this weekend with a 2 p.m. matinee and a 7 p.m. evening show Saturday, September 8 and a final Sunday matinee at 2 p.m. on September 9. CLICK HERE for tickets.

Up next for Studio Tenn is their annual One Night Only Patron Party on Thursday, October 4, followed by the One Night Only Gala on Friday, October 19. Their 2018/2019 season continues with Disney’s Beauty and the Beast from Friday, December 7-Sunday, December 30. Then, it’s Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Minnie Pearl musical debuts at Chaffin’s Barn Dinner Theatre; limited run continues through September 13

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Melissa Silengo as Cousin Minnie Pearl (photo by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

For their Thursday, September 6 matinee, Chaffin’s Barn Dinner Theatre unveiled the World Premiere musical, Minnie Pearl: All the News from Grinder’s Switch”, penned by Belmont University Professor of Music Business, Dr. Don Cusic. Directed by Chaffin’s own Joy Perryman, the musical examines how Sarah Cannon came to create her beloved character, Cousin Minnie Pearl, a staple on both  Nashville’s famed Grand Ole Opry and the long running CBS television series Hee Haw. From her first “HOWDEE” on WSM radio’s Opry broadcast in 1940, until her final appearance a half a century later, Cannon’s Minnie Pearl made her mark as one of our nation’s premiere female comedienne. Minnie Pearl: All the News from Grinder’s Switch continues it’s limited run through September 13.

Fresh off her return engagement as Mother Superior in Sister Act, Chaffin’s Artistic Director, Martha Wilkinson appears as Sarah Cannon as she reveals the genesis of Cousin Minnie. Melissa Silengo, who just closed her role as Katherine Plummer in Circle Players’ brilliant production of Disney’s Newsies, will play Cannon’s on-stage alter-ego, Minnie Pearl. Of her two leading ladies, Perryman said, “Both of these talented women are incredibly gifted in the same ways as Minnie Pearl. They both have the comedic chops to land a joke squarely on target and both sing like nobody’s business!” Of the duo’s musical talents (to which I too can attest), Perryman continued, “The duet that ends Act 1 might just prove to be the biggest showstopper this year”.

On playing Cousin Minnie, Silengo exclaimed, “I am so honored to have the chance to play such a well-loved Nashville legend”. Addressing the familiarity of the character, Silengo continued, “It seems everyone knows Minnie Pearl to some degree, even if it is only her price tag, and I am excited to get to know her from the inside out”. Noting more than a passing physical resemblance to Queen of Cornpone, she revealed, “A few times, people have said I reminded them of Minnie Pearl, and I always took it as a complement”. “Hopefully, I will remind people of her in the show”, noted the young Minnie co-star.

When asked about her involvement in the show itself, Silengo gushed, “I am so excited to do this show with a super-talented cast and Joy Tilley-Perryman directing at the Barn, where I know audiences will eat it up (along with the buffet). Joy knows comedy so well, especially the Southern variety,  and I trust that she can help me craft my performance with the timing and whit that Minnie Pearl deserves.” Borrowing one of her character’s trademark phrases, Silengo concluded, “I’m just so proud to be here!”

As Silengo mentioned, Cannon’s Minnie Pearl was known for wearing a straw hat brimmed with flowers and a still-present price tag. Country comedy aficionados can quickly tell you that price tag read $1.98. Legend has it, Cannon simply forgot to take the tag off before wearing the hat onstage, but thanks to her quick-wit, she cleverly worked it into her routine and decided the tag would stay. While Cousin Minnie Pearl was known for the aforementioned straw hat (tag included), she also quickly developed a signature style that usually included a gingham print dresses, complete with frilly pantaloons, white stockings and black Mary Janes.

In addition to Wilkinson and Silengo, Minnie Pearl: All the News from Grinder’s Switch will also feature Minnie’s frequent comedy partner, Rod Brasfield. Brasfield, as played by Chaffin’s favorite, Everett Tarlton. For those not in the Opry know, Brasfield began his career in the 1920s, but gained national recognition when Grand Ole Opry founder, George Hay hired him to appear on the Opry in 1944. Four years later, divine intervention occurred when Brasfield was teamed with Cannon’s Cousin Minnie created a hilarious duo. Unlike other comedy duos of the day, where one member of the team usually played the straight man, setting up the laughs for the other, Minnie and Brasfield volleyed the jokes back and forth, delivering alternate punch-lines. The two continued to frequently appear together over the next decade until Brasfield’s untimely death in 1958.

When asked about Tarlton’s portrayal of Brasfield, director Perryman predicted, “He will prove to be a more than able partner to Melissa’s Minnie”. Perryman continued by warning, “She just has to make sure he doesn’t steal the show!”

Rounding out the cast of Minnie Pearl: All the News from Grinder’s Switch are Maggie Richardson, Curtis Lemoine, Loren Ferster and Chase Miller. Of the remainder of the cast, Perryman divulged, “We have a fantastic ensemble that will be assisting in every way”.

As the show’s title might indicate, the character of Minnie Pearl is front and center in Chaffin’s production, but it does indeed touch on the woman behind the comedy classic. That stands to reason because, of course Sarah Cannon, herself, was quite a remarkable woman. Having well-established her Minnie Pearl character as a beloved part of country music, Cannon was diagnosed with breast cancer in 1985, undergoing radical treatment, including a double mastectomy. Following this personal trial, Cannon became spokeswoman for the Nashville-based women’s hospital where she received her treatment. It was as Sarah Cannon, not her fictitious alter Minnie Pearl that she took on this task. The facility was later rechristened The Sarah Cannon Cancer Center. The Sarah Cannon Research Facility is also housed in this location. As the result of a debilitating stroke in 1991, Cannon retired her Minnie Pearl character after fifty one years at The Grand Ole Opry. She passed away five years later, on March 4, 1996 but as Chaffin’s Barn Dinner Theatre’s current production proves, her legacy and laughter live on.

Having already SOLD OUT yesterday’s matinee, as well as the show’s Friday, September 7 evening performance and Thursday, September 13’s matinee, you only have two remaining chances to see this show with limited tickets still available for Saturday, September 8’s 7:30 p.m. evening performance (doors open for dinner service at 5:30 p.m) or the Sunday, September 9’s 2 p.m. matinee (door open for lunch service at noon). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). As an alternative to their truly delicious buffet dinner, which features prime rib, other meats and an array of vegetable, salad and side options, Chaffin’s recently added yet another dining options with their Small Plate a la carte menu featuring separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Minnie Pearl: All the News from Grinder’s Switch, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Review: Keeton Theatre proves local audiences will never get enough of ‘Steel Magnolias’

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The cast of The Larry Keeton Theatre’s “Steel Magnolias” onstage thru Saturday, September 1. (photo by Jenny Steiner/courtesy The Keeton Theatre)

Steel Magnolias, Robert Harling’s sentimental stage play about six women who share life’s ups and downs during weekly visits to their local Louisiana beauty shop, has been an audience favorite since it’s debut in 1987. The subsequent 1989 film adaptation starring Dolly Parton and company only served to solidify the piece as a bonafide part of southern pop culture, so It should come as no surprised that nearly every theatrical season includes at least one theatre company in the Nashville area mounting a production of the stalwart southern favorite. This year, than honor/burden is in the hands of Donna Driver as she directs The Larry Keeton Theatre’s current production, continuing its three-week run with performances thru Saturday, September 1.

Appropriately, I chose to attend a Sunday matinee performance of The Larry Keeton Dinner Theatre’s Steel Magnolias. I literally came directly from church. As my friend and I arrived, we sat at a table of ladies, only adding to the magnolia mystique. Befitting any church social or as we call it, dinner on the ground, the delicious pre-show meal consisted of potato salad, mixed veggies, a healthy portion of sliced ham and a dinner roll. Pickup up on the much-lauded color scheme of Shelby Eatenton’s wedding, there was even a creamy jello-based delicious pink dessert, I’m just not sure if the dessert color was blush of bashful. If you’re familiar with Steel Magnolias—and why wouldn’t you be?—you’ll get the reference.

For this visit to Truvy’s Beauty Spot in the fictional town of Chinquepin Parish, Louisiana, director Donna Driver and her creative team offer a wonderfully detailed setting. While enjoying the meal, I had ample time to check out the set. Many previous incarnations of Steel Magnolias that I’ve attended have chosen to line three or four beauty stations side by side facing the audience, while this allows the actors to look towards the audience as they deliver their lines, it also basically ignores the rest of the space and stagnates the action to front and center. Luckily, Driver and company smartly utilize the entire stage, and in doing so, create a totally believable version of Truvy’s Beauty Spot. Instead of a row of beauty chairs, two beauty stations face each other center stage with a lighted, framed invisible mirror between them. Congratulations to Driver and her husband, Kevin Driver, who designed the set, as well as scenic construction team members Jessi Boyer and Randall Seymour for this more realistic placement of the beauty stations. Kudos also to the show’s director for keeping the actresses from looking straight through the non-existent mirror, but rather, leaning or walking around to address their co-stars positioned in the beauty station on the other side of the divider. Continuing the realness of the shop, the entrance to the shop is located in the back left corner of the stage, a wash station back center and an unseen kitchen, back left. The walls, adorned with family photos, an inspirational saying or two and an array of 80s-era decor, including the minute detail of wallpaper boarders running along the top of each wall, reinforces the 80s vibe. Also of note, design-wise, is the inclusion of a sprig of magnolia blossoms atop the shop’s waiting area. Not only a staple of design for the day, a nice wink to the show’s title. I had almost forgotten my own mom’s similar wall decor, which may or may not still be hanging in her living room (Note to self to notice next time I’m home for a visit).

On the subject of attention to detail, property mistress Melanie Ray and costumer Amy Slade deserve special mention for perfectly capturing the look and feel of the now-iconic late-80s. You gotta love the fact that following a casual reference to Cher, one of the ladies is seen thumbing through what appears to be a period-authentic copy of McCalls magazine with the Moonstruck star on the cover. Another nice atmospheric detail comes when the boom box plays Manic Monday and a few other late-80s tunes.

For the Keeton’s Steel Magnolias, director Diver has enlisted the talents of a great mix of actresses familiar to Keeton and Nashville’s theatrical community alongside a few Keeton newcomers.

Making her Keeton debut as Truvy (the Dolly Parton role for the unfortunately uninformed) is Kristian Dambrino. A former pageant girl herself, Dambrino looks and dresses more like the love-child of a younger, prettier Married with Children’s Peggy Bundy and Full House’s Kimmy Gibbler than the iconic portrayal Dolly gave the role of Truvy in the film, and that’s not exactly a bad thing. Dambrino brings the sass and sex appeal to the role that’s expected. What’s more, she does so without simply mimicking Dolly’s version of the character. Perhaps because of her own pageant history, Dambrino also seems to actually be able to ‘do’ hair, as she is seen taking down rollers, back-coming and creating a believable up-do all the while extolling words of wisdom and wise-crack as called-for in the show’s dialogue. Kudos also to Dambrino’s Truvy for being one of only a couple of the ladies to truly embrace the southern adage of “the bigger the hair, the closer to God”. After all, Steel Magnolias is, and always should be, a hair-raising dramedy.

Also making her Keeton debut is Meredith Daniel as Annelle Dupuy, Truvy’s quirkily shy new assistant. I’ll just say it…Daniel gives one of the most engaging and entertaining performances of the show. As written, the character undergoes the most changes throughout the show and Daniel embraces those transformations to the fullest. Even when she’s not the focus of the action, thanks to direction from Driver and what I can only assume is the actress’ own innate sense of being present in the action of the piece, Daniel turns in the most complete and thoroughly spellbinding performance of the show. From clutching her cross necklace or franticly flipping through her Bible for words of inspiration and solace during risqué conversation, to timidly attempting to hand a glass of water to an irritated Ouiser, I couldn’t take my eyes off Daniel’s Annelle.

Cast as Shelby Eatenton is Brianne Waters. Quite often Shelby is played with a penchant for over-exaggeration. I personally blame Julia Roberts’ gigantic mouth for that, as the image of her diabetic freak-out in the movie version is forever emblazoned in my mind. Refreshingly, Waters plays Shelby a little closer to the vest. When it comes time for the famed “drink your juice, Shelby” scene, her diabetic episode is played much more internally, only adding to the drama. The kindness Waters’ Shelby shows Daniel’s Annelle and the more serious tone of the scene with Shelby’s mother, nicely showcase Waters’ talents.

Speaking of Shelby’s mother, Kate Adams is fantastic as M’Lynn Eatenton. While her character’s hair/wig never quite achieves brown football helmet status, Adams embraces M’Lynn’s steel magnolia status to the fullest. In a classic scene, when M’Lynn and Shelby discuss Shelby’s medically ill-advised pregnancy, Adams exemplifies the unwavering emotion and immeasurable concern anyone who has a mother…or is a mother…can surely identity with. During the aforementioned “drink your juice, Shelby” scene, Adams’ M’Lynn is composed and in control. On a personal note, having had my share of medical issues as a child, and being blessed with an equally composed mom, this scene always makes my eyes sweat. Thanks to Adams’ nurturing but firm portrayal, this time was no exception.

Yet another quotable Steel Magnolia line “Here, hit Ouiser” comes late in the show when M’Lynn is dealing with the greatest loss any mother can endure. That line is delivered by Clairee Belcher, and is aimed towards Ouiser Boudreaux. The show’s odd couple, if you will, Clairee is the town’s former first lady, who just so happens to be best friends with Ouiser, the town’s grumpy old lady.

While Shirley MacLaine’s Ouiser is one of my favorite movie characters ever, it often seems lazy and uninspired for an actress to try to mimic her characterization for the stage. Thankfully, Deb Moore’s Ouiser doesn’t even try to duplicate MacLaine’s interpretation, instead offering a more realistic version. If you’re from the south,s surely you know more than one bitter old lady who’d rather hang with their dog than expose her true kindly nature. That, my friends is Moore’s Ouiser. One thing I love about her portrayal is that Moore’s Ouiser is unapologetically ill-tempted. Instead of simply being a bit of comic relief in her absurdity, as the character proudly boasts, “I’m not crazy, I’ve just been in a very bad mood for the past forty years”. I’ve never believed that line more and I can definitely relate.

Rounding out the cast is Linda Speir as Clairee, the actress’ fourth time in the role. I interviewed Speir for her second portrayal, and earlier this year, I interviewed and reviewed her third turn as Clairee. During that interview, I made the declaration that she should be cast as Clairee in all local productions going forward, so it was nice to see the Keeton agreed with me. Interestingly, when I interviewed her earlier this year, I asked her if her Clairee changes from production to production. She said it did and that the different casts and direction brought out something different to her portrayal. Having seen her interact with two casts now, and under the direction of Driver, I can absolutely attest to the fact that she spoke the gospel truth. Looking simply regal as Chinquepin Parish’s former first lady, Speir’s Clairee is the glorious personification of the well-bred southern woman. While Harling’s script never calls for Clairee to utter the classic “bless your heart”—you know, the ultimate dagger-shooting backhanded remark—Speir’s Clairee does get the chance to say some of the most outlandish things, but she does so in such a classy, molasses-laden way that should she actually slap Ouiser, Ouiser would likely thank her for it.

While the aforementioned accolades for the actresses’ portrayals are indeed warranted, enough can not be said for the director. Having witnessed more than my share of marginal Steel Magnolias performances over the years…even before the past decade of reviewing shows, I willingly attended productions of the show simply because I adore it…I’ve seen some doozies. Driver’s direction goes beyond duplicating the beloved film version. She returns the nuanced and quirky nature of Harling’s written word and thereby elevates the Keeton’s Steel Magnolias to the treasured status it deserves.

One final note. Between the action of the show’s final two scenes, he choice to include an audio snipped of Dolly Parton’s Eagle When She Flies, specifically the song’s third verse containing the lyrics: “Gentle as the sweet magnolia, strong as steel her faith and pride”, perfectly describes Harling’s beloved work…and Keeton’s faithful and moving presentation of Steel Magnolias.

Steel Magnolias wraps its three-week run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, August 30 thru Saturday, September 1 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Thursday night’s show is SOLD OUT, as has been the majority of the run. Limited tickets are available for Friday and Saturday night performances. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre from Thursday, October 11-Saturday, October 27 is The 25 Annual Putnam Country Spelling Bee directed by Suzanne Spooner-Faulk. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Review: Renaissance Players’ ‘Church Basement Ladies’ serves up a heavenly smorgasbord of laughter and music

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The cast of Renaissance Players’ “Church Basement Ladies”

Let me start this review by saying, I almost didn’t post it at all. Not because the show isn’t hilarious…it is. Not because the accompanying dinner isn’t church-social-worthy…it is. I almost didn’t review the show because, quite frankly, after seeing it last weekend, the remaining performances through tonight SOLD OUT earlier this week. That said, I feel Renaissance Players Gaslight Dinner Theatre production of Church Basement Ladies is indeed due any and all praise.

I’ll also admit I had never heard of Church Basement Ladies, perhaps because I didn’t grow up in the midwest and wasn’t raised Lutheran. After doing a little research, I discovered Church Basement Ladies is the musical adaptation of of Janet Letnes Martin‘s and Suzann Nelson’s 1997 book, Growing Up Lutheran. Oh, wait…I do remember that title from my years of working at Tower Books. In case you’re still not familiar…Think Nunsense, but replace Catholicism with Lutheranism and swap out the sassy nuns for a group of ladies who, as the primary cooks in the church kitchen, are the backbone of the community. Being raised Church of Christ and knowing a few church ladies myself, I can totally relate.

For Renaissance Players’ Church Basement Ladies, Brett Myers, fresh off his starring role as Seymour in Little Shop of Horrors, steps behind the scenes to direct. For his cast, he’s enlisted the help of two of his former Little Shop co-stars, Tory Gunn and Leslie Kopischke, as well as first time Ren Players Abigail Nichol and Lindsay Terrizzi Hess. Rounding out the cast is Brian Best, having most recently appeared in Audience of One’s West Side Story.

Set in 1965, Church Basement Ladies takes place in the titular church basement, which houses the aforementioned kitchen, as well as the Pastor’s office and an unseen–but key to a few subplots–boiler room. Designed and constructed by Jon Kopischke, Marc Pearson and Scott Mollenhour, the set is perfectly charming. If you’ve ever stepped foot in a church basement, or fellowship hall, you’re feel right at home as it’s complete with a refrigerator (the light actually turns on when the door opens), a stove and a freezer big enough to hide a bride or cool a menopausal church lady, but I digress.

With Closer to Heaven (in the church basement) as the show’s opening number, it’s quickly evident this isn’t some thought-provoking theatrical piece. Other clever titles range from The Pale Food Polka, My Own Personal Island (the above referenced menopausal number) and Dead Spread, a little ditty about funeral food. These are just a few of my favorites. There’s also For Good (NO, not the Wicked one) but like Elphaba’s change of heart tune, this one also encompasses on of the show’s ah-ha moments.

Gunn as Vivian, Kopischke as Mavis and Terrizzi Hess as Karin portray the main three church ladies. Gunn is the epitome of the know-it-all, self-appointed ruler of the roost as Vivian. She plays her as a doddering old lady who’s equal parts sweet and bitter. While the entire cast does an affable job with the musical numbers, it’s Gunn’s voice that shines in many of the show’s group numbers.

Kopischke’s Mavis is strictly played for laughs, think Mama’s Family’s Mother Harper mixed with the often outrageousness of any given Betty White role. An achievement in itself, considering Kopischke’s youth.

Terrizzi Hess, whom I first became aware of when she starred in The Keeton Theatre’s South Pacific, is enjoyable as Karin, the youngest of the church ladies, who’s poised to take the helm when and if a changing of the guard ever occurs within the ranks of the church basement. Cast as the mother to Nichol’s character, Terrizzi Hess plays the role with a kindness, while not allowing herself to be taken advantage of. Taking the lead on several of the musical numbers, Terrizzi Hess proves she’s got the talent to do so.

As Karin’s daughter, Signe, Nichol’s frequent visits home provide many of the show’s set-ups, as they coordinate with holidays and special occasions in which the church ladies would be in the basement preparing meals. Nichol’s Signe represents the changes, not just among the church ladies, but in the world around them as she have ventured out beyond their small town and the sanctuary of…well, their sanctuary. But just when you think the show might tackle some more serious issues, there’s a will-they or won’t-they wedding instead. While the entire show is kitschy and cute, one near-finale scene gets a little too outrageous for my taste, reminding me of some of many of the farcical shows local dinner theatre’s tend to have a penchant for.

On the subject of outrageous, Best’s Pastor Gunderson is uncharacteristically played down from the usual scene-stealing I associate with Best. Yes, he gets to guffaw it up in a bunny suit (Hey, the remains shows are SOLD OUT, so it’s not really a SPOILER, right) but it’s when he deals with the show’s more tender moments, like the death of a dedicated church employee that Best is, well…best (I”ll never stop using that when reviewing show’s he’s in…I mean, it’s right there in the name). Best serves up the laughs and the more serious emotions with equal finesse.

Speaking of serving…the dinner portion of Renaissance Players’ at the Gaslight Dinner Theatre serves up a delicious meal, catered by The Front Porch, located in nearby downtown Dickson, is the stuff of which Sunday dinner’s on the ground are made. I truly love that the area dinner theatres have all stepped up their food-game in recent years, and I credit it to The Gaslight Dinner Theatre, who’ve consistently served delicious fare from the beginning.

If you missed out on Renaissance Players’ Church Basement Ladies, considering virtually the entire run was SOLD OUT, I’m convinced saying a little prayer might bring Vivian, Mavis, Karin, Signe and The Pastor back to The Gaslight Dinner Theatre. After all, like the above-referenced Nunsense, there are–to date–five sequels to the original, including Church Basement Ladies 2: A Second Helping. If Renaissance Players is smart, they’ll be securing the rights to that one for next season.

Up next for The Renaissance Players, upstairs at the Renaissance Center in the auditorium, is Disney’s Alice In Wonderland Jr. with shows September 21-September 30. CLICK HERE for tickets. To keep up with the latest from Renaissance Players, follow them on Facebook, Twitter and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.