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Rapid Fire 20 Q with cast of Nashville Rep’s ‘The Curious Incident of the Dog in the Night-Time’ on stage at TPAC’s Johnson Theatre thru April 2

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Directed by Micah-Shane Brewer, Nashville Repertory Theatre’s inspired and inspiring production of The Curious Incident of the Dog in the Night-Time moves into its second and final week with performances Friday, March 31 at 7:30p.m., Saturday, April 1 at 2p.m. and 7:30p.m. and Sunday, April 2 at 2:00p.m. at TPAC’s Johnson Theatre, I recently had the opportunity to chat with four the company’s incredible cast members for the latest installment of my recurring interview feature, Rapid Fire 20Q. Kindly taking time out of their performance schedules for these conversations are Lauren Berst, Nat McIntyre, Eric D. Pasto-Crosby and JR Robles. Berst and McIntyre play Judy and Ed Boone, parents of 15 year-old Christopher Boone, a young autistic math wiz who finds himself at the center of the titular mystery. Pasto-Crosby and JR Robles play a multitude of townsfolk who meet young Christopher along his journey. What follows are my conversations with the cast.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

RAPID FIRE WITH THE CURIOUS INCIDENT’s NAT MCINTYRE

JHPENTERTAINMENT: You’re no stranger to Nashville Rep, having appeared in Good Monsters and Shakespeare in Love and having directed their production of A Streetcar Named Desire. What keeps brining your back to the company?

NAT McINTYRE: Since moving to Nashville, starting a family, and taking a full time professorship at Lipscomb I have had to be more intentional with the work I choose.  It’s very important to me that the work challenges and excites me and audiences.  The Rep has been doing that work.

JHPENTERTAINMENT: What can you tell me about Ed Boone?

NAT McINTYRE: He’s trying really hard

JHPENTERTAINMENT: I understand you had read Mark Haddon’s novel upon which the play is based. What’s most surprising about the way the story has been brought to the stage?

NAT McINTYRE: I read the book so long ago.  I mostly was surprised they would try to make it into a play because I thought it would be REALLY hard.  But, it turns out Simon Stephens and bunch of curious artists that don’t take themselves too seriously make it possible.

JHPENTERTAINMENT: In preparation of our chat, I discovered among your many credits, you appeared in a season 2 episode of Devious Maids, playing a police officer. Just gonna say it. I loved that series. Bringing the question back to Curious Incident…What’s an advantage of performing in theatre as opposed to film or television?

NAT McINTYRE: Film and TV is fun.  It also pays a lot of money.  But nothing can replace the pulse and breath of a live audience.  The best actors let them be an extra character in the play I think.

JHPENTERTAINMENT: How has your experience been working with Curious Incident director, Micah-Shane Brewer?

NAT McINTYRE: This play is hard. I had never worked with Micah-Shane.  I was nervous ;).  But, that dude has stepped up big time. He is a prepared artist who makes room for his actors, doesn’t need to have all the answers, and does not take himself too seriously.

RAPID FIRE WITH THE CURIOUS INCIDENT’s LAUREN BERST

JHPENTERTAINMENT: Last time I saw you onstage, you had invited me to attend a performance of Nashville Story Garden’s thought-provoking production of The Welkin. Now you’re playing Judy Boone in Nashville Rep’s The Curious Incident of the Dog in the Night-Time. Two vastly different shows, but with the common thread of drama. Do you find yourself typically drawn towards more dramatic roles?

LAUREN BERST: Thank you for supporting and promoting Nashville theater, Jonathan! I love comedy and drama equally and am jazzed by the challenges they each present. I am primarily lured to the story being told rather than the genre so if that’s in a comedy or drama, I want to go on the journey. For the The Welkin, we were compelled to tell that story, and getting to tell it with 12 amazing women on stage with me was a huge draw. For Curious Incident, I loved the book and the play and was excited about the idea of exploring the story as an ensemble. The opportunity to return to Nashville Rep was an added bonus so I jumped at the chance. I am grateful to get to do this show with this wonderful group of people.

JHPENTERTAINMENT: What is it about Judy Boone that attracted you to the role?

LAUREN BERST: I love Judy. And what’s interesting about this play is that most of what we learn about the characters comes from Christopher’s vantage point so finding a through line or heart of a character is a fun challenge. I enjoy finding the sweet, strong, rule-breaking parts of her and expanding or contracting from there. She is an ill-equipped force to be reckoned with.

JHPENTERTAINMENT: You mention the character of Christopher, which leads to my next question…How has it been sharing scenes with Ben Friesen, who’s at the center of the action playing young Christopher Boone?

LAUREN BERST: It’s wonderful to work with Ben. Ben is a champ! His exploration of Christopher is open, honest, and spot on. He’s a great collaborator. This show is a lot of responsibility and he handles it with confidence and excitement which is a testament to his ability. And his eagerness is infectious. Ben has created a well-rounded, and heart-wrenching character. Audiences will be rooting for Christopher.

JHPENTERTAINMENT: Also at the center of the story is the titular dog. You yourself are a pet-owner, so I gotta ask…how’s Ms. Roxie? AND…I’ve seen a few rehearsal posts giving a first look at the puppy involved in the show. Has that pup become everyone’s emotional support dog, considering the seriousness of the piece?

LAUREN BERST: Oh thank you for asking about THE MOST important parts of my life and this play! First of all, Roxie is the spoiled rotten dachshund I adopted six years ago and she’s amazing. In fact, she is curled next to me as I type this so any spelling or grammar errors can be blamed on her.

Scottie, the sweet puppy in the play, (the *actual* star of the play – don’t worry Ben thinks so too) is precious, smart and adorable. When she comes into the room everyone melts a little bit, our shoulders relax, our dopamine and serotonin levels skyrocket. I have to sit on my hands sometimes because it’s all I can do not to put her in my bag and take her home with me. And I’m not exaggerating. You’ll see. She’s too cute. It is impossible that something so cute exists in real life.

JHPENTERTAINMENT: I’ve seen a few behind-the-scenes images of the set, designed by Cody Stockstill with lighting by Darren Levin and sound by Gregg Perry. What has impressed you most about the way the creative team has brought this production to Nashville Rep’s intimate stage at TPAC’s Johnson Theater?

LAUREN BERST: What HASN’T impressed me?! The creative team has pulled out all of the stops to make this show an intimate spectacle in the Johnson Theater. Cody, Darren, and Gregg tell this story in ways that go beyond the script. They have designed, composed, and programmed each moment of this play to enhance the story telling, conjure a little magic, and help us get a peek into Christopher’s mind. And they’re so dang good at what they do. It would be a very different play without their designs. I’m excited for audiences to experience the world they’ve created.

RAPID FIRE WITH THE CURIOUS INCIDENT’s ERIC D. PASTO-CROSBY

JHPENTERTAINMENT: As a member of the ensemble of Curious Incident, you take on a multitude of roles. What’s the most fun aspect of this as opposed to portraying a singular character?

ERIC D. PASTO-CROSBY: I thoroughly enjoy coming up with fully realized characters, and I get to do that for about six different people in the show. Both how they move how they talk how they interact with people. And also structuring just how they interact with the plot, do they influence the main characters for good things or bad things that’s always just a fun fantastic journey that we get to go on. If I’m being really honest, it’s the multiple different accents that I get to do for the show.

JHPENTERTAINMENT: On the flip side, what’s most challenging about playing more than one character in a piece?

ERIC D. PASTO-CROSBY: I would say the most challenging aspect of playing multiple characters is figuring out how they are different, but not distracting. It’s very easy to come up with different characters but sometimes those characters don’t work with the world of the play or help tell the story as well as other choices would. So making sure that you make the choices that helped tell this version of curious incident is the most important.

JHPENTERTAINMENT: Who all do you play in Curious Incident?

ERIC D. PASTO-CROSBY: I play Roger Shears, the Duty Sergeant, Mr. Wise, man behind counter and Voice two.

JHPENTERTAINMENT: Of your Curious Incident roles, do you have a particular favorite?

ERIC D. PASTO-CROSBY: It’s kind of a tie between Roger Shears and the Duty sSergeant. Roger Shears is pretty despicable and gross, which is kind of fun to play. I know that probably sounds wrong. But the Duty Sergeant is probably one of my favorite accents and characterizations, since he’s honestly stolen from a Guy Ritchie movie.

JHPENTERTAINMENT: In addition to your onstage duties, you’re also the show’s fight choreographer. You’re a member of the Society of American Fight Directors. What can you tell me about that organization and how you became involved in the art of fight choreography?

ERIC D. PASTO-CROSBY: yYou can join the SAFD by paying membership. It is a training organization that brings everyone up to speed on how to safely perform fights on stage. I thoroughly enjoy multiple aspects of this organization. I love what they have done to bring safety and realism to violent moments on stage. If you are looking for training there are  workshops, I will be teaching at the A Town Throwdown in Atlanta. The society has a workshop every other month all over the US for you to train in multiple weapon disciplines for three or two days.

RAPID FIRE WITH THE CURIOUS INCIDENT’s JR ROBLE

JHPENTERTAINMENT: I understand this is your first time working with Nashville Rep. How’s the experience been thus far?

JR ROBLES: I’ve had a blast! I’ve always wanted to do a show with Nashville Rep. This experience has been so gratifying and revelatory for me. I’ve had a chance to make some great new friends and work on an important piece of theatre with some of the most talented people around. In that process, I think I’ve grown a lot in my own artistic practices, and I’m so grateful for that. It’s been really challenging too—there’s a lot of movement and physicality in the show, and I’ve had to reactivate some of my choreography and dance training to remember how to do that. Mostly, I’ve felt so happy coming to work every day because I get to be part of this wonderful story with some amazing artists. It’s been wonderful.

JHPENTERTAINMENT: Prior to our chat, I spoke with Eric Pasto-Crosby. Like Eric, you’re also playing numerous roles within the show. What roles are you playing?

JR ROBLES: So, I’m playing Voice Three, which includes a couple of policemen, a salty train passenger, a drunk train passenger (different guy), and Mr. Thompson, who is an oddball neighbor of Christopher’s (the play’s main character). Aside from that, I get to be a part of constructing the world of Christopher’s memory and mind where the play takes place. I really have fun with these kinds of roles because I can step into different people in different scenes, which is such a fun challenge. Much of that work, by the way, has been aided by Katie Cunningham, our dialects and accents coach. She’s worked very closely with us as we’ve made choices about these characters and giving them very specific voices that help color the world of Swindon and London that Christopher explores.

JHPENTERTAINMENT: Is there a particular scene you’re involved in that you find most challenging?

JR ROBLES: Overall what has affected me most, and maybe what I love most about the play, is the very true-to-life depiction of how complicated family dynamics can be when there are flawed human beings trying to do their very best for themselves and each other in their lives. In general, the scenes I’m featured in are fun and help move the story along to get to the places where the challenging stuff in the play really is. The very dynamic relationships between Christopher, Ed, and Judy, and Christopher and Siobhan are the ones I think about the most. And most of those scenes I just get to sit and watch Ben, Nat, Lauren, and Sejal work magic on stage.

JHPENTERTAINMENT: What’s the most fun role you’re portraying and why?

JR ROBLES: I have the most fun with Mr. Thompson, the goofy neighbor Cristopher interacts with in Act 1. I’ve gone through about 7 different iterations of this guy, trying to figure out where he came from, what accents he has, what he is up to when he’s not in the play, and even what kind of glasses he wears. Honorable mention goes to a character called “Drunk 2” (Eric Pasto-Crosby is Drunk 1) who literally has two drunken lines of dialogue. Each rehearsal so far, Eric and I have tried to out-drunk each other, and it gets crazier every time.

JHPENTERTAINMENT: So much of the show seems to encourage audiences to step out of their comfort zone and take time to consider what life must be like for the central character. Do you think that’s a fair assessment? AND…what other themes of the show have you found yourself contemplating during this process?

JR ROBLES: Yes, I think that’s an appropriate way to frame the experience of the play and also the vision that Micah-Shane has for the show. From the beginning, Micah-Shane has shared with us the idea that when we are performing the show, we are welcoming the audience into the mind of Christopher and, as much as possible, creating for the audience a unique world of what Christopher’s experience is like. I hope that people who come to the show will appreciate the efforts we’ve made to celebrate Christopher’s curiosity, bravery, and desire to lead the life he wants. I think the theme that resonates with me even more is the importance of personal growth. I love how the play presents that not just with Christopher, but also with Ed and Judy. Each of these characters has their own journey that is really powerful and complicated. And where they end up is so poignant and true to life.

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Nashville Repertory Theatre’s The Curious Incident of the Dog in the Night-Time continues with performances at TPAC’s Johnson Theatre thru Sunday, April 2. CLICK HERE for tickets. Next up for The Rep as they close out their 2022/2023 Season it’s Violet with Book and Lyrics by Brian Crawley and Music by Jeanine Tesori, on stage at TPAC’s Johnson Theatre May 12-21. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: Circle Players’ Agatha Christie’s ‘Murder on the Orient Express’

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When I learned that Circle Players was mounting a production of playwright Ken Ludwig’s stage adaptation of Murder on the Orient Express, on stage through January 29 at The Looby Theatre (2301 Rosa Parks Blvd), I was thrilled. In audience on opening weekend of Agatha Christie’s beloved mystery, I may have had higher expectation than some of the other theatre patrons in attendance. As I alluded when I chatted with the cast for one of my latest Rapid Fire 20Q interview, those higher expectations stem from the fact that I’m a bit of an Agatha Christie purist and nerd, having read my first of her works when I was probably no more than ten or eleven. My obsession didn’t stop there. I began to read her books thematically, in that when I’d travel with family on summer break vacations, I’d read such titles as Death in the Clouds (my first plane ride), The Floating Admiral (while on a boat) and The Blue Train (you get the idea). In October I’d read and reread Hallowe’en Party and darn it if December doesn’t still sees me revisit Hercule Porot’s Christmas. Heck, I’ve seen every film adaptation from Margaret Rutherford as Miss Marple in the 1960s to Kenneth Branagh’s portrayal of Hercule Poirot in last year’s Death on the Nile, so yes, you could say I’m a superfan.

I love that Christie’s Estate contacted Ken Ludwig to ask if he’d be interested in adapting one of her books for the stage. Ludwig, known for writing such plays as Lend Me A Tenor, Moon Over Buffalo and the musical Crazy for You. He has also adapted a number of works for the stage based on characters created by others. Among Ludwig’s adaptations there’s Baskerville: A Sherlock Holmes Mystery, Tiny Tim’s Christmas Carol and Sherwood: The Adventures of Robin Hood. Of course adapting Christie’s 250+ page tale for the stage required a bit of editing for Ludwig’s stage version. Most notably missing are about a third of the suspects. While Christie’s novel includes a very purposeful 12 suspects, Ludwig had narrowed that down to eight. Purist that I am I’m still wrestling with that, mostly because the reason behind Christie having 12 suspects in this particular story was sheer genius, just a very clever A Ha! moment during the final reveal. I get it through, twelve suspects plus Poirot, plus the victim and one other character who is seemingly above suspicion…that’s a lot of people on stage, especially since the entire play takes place aboard a train, therefore limited the physical staging of the show itself. Again, this is just my weird obsessive brain working overtime. Back to my review…

Elliott Robinson as Hercule Poirot

Elliott Robinson, who’s graced the stage of multiple shows, not only at Circle but all over Nashville, might not seem the obvious choice to play the seemingly uptight, no-nonsense Hercule Poirot, but Hillwig knew what he was doing when he cast him. Robinson might not have waxed his stache, but beyond that he perfectly personifies the quirky Belgian master sleuth. Aided by Ludwig’s cheekily written retorts…the script teeters very closely to full-on farce without completely crossing that line…Robinson’s Poirot becomes even more endearing and fun to watch. There’s even a scene or two in which Robinson delivers a bit of dialogue or a witty reply to a fellow actor, then with knowing look, a smile or pause, gives the audience time to process the snark.

Antonio Nappo as Monsieur Bouc is the perfect choice to share the stage with Robinson’s Poirot. In Christie’s novel, Monsieur Bouc is written as almost a younger, less perceptive Poirot, eager to assist the detective in his investigation, but coming up short when connecting the dots, or seeing the many clues to the identity of the guilty. Nappo plays the part with a joyful vigor. Give him a few years and time to train his facial follicles, and I could totally see Nappo taking on the role of Poirot himself one day in the near future.

Tim Bush as Ratchett, a gruff, assertive businessman, is just fantastic. Playing the part to the hilt, it’s easy to see why he ends up (Spoiler Alert!!!) dead in his bed. It’s funny, my companion for the Sunday matinee I attended, leaned over at one point and said she didn’t care for Bush as Ratchett. Knowing what was coming, I thought to myself,”then he’s playing it perfectly”. Shoot, even after the murder, Bush further shows his skills by lying there motionless while the rest of the cast buzz around his character’s berth looking for clues and discussing motive.

As for the suspects, Catherine McTamaney as Princess Dragomiroff is my new favorite. My friend and I both noticed that she was a fully committed to her role in that when she enters the stage, she does so in character. How can I explain it? Some actors walk ’to’ their scene, McTamaney walks ‘through’ hers if that makes sense. She is Princess Dragomiroff. Staunch, unimpressed and mostly unbothered.

Bailey Borders makes some interesting choices as Helen Hubbard. As I mentioned when I chatted with her for my Rapid Fire 20Q interview, the character of Mrs. Hubbard was brought to the screen first by Lauren Bacall, then by Michelle Pfeiffer. Both women played her with an air of refinement and class, coupled with a bit of sass. While Borders’ Hubbard provided plenty of laughs by her boldness, the choice to have her speak with a southern accent, rather than a dialect more fitting the character, put me in mind of Dixie Carter’s Julia Sugarbaker, rather than the aforementioned Mrs. Bogart.

Rounding out the cast are Claire Landers as Greta Ohlsson, Gary Miller as Hector McQueen, Kaleigh Ruiz as Countess Andrenyi, Nick Spencer as Colonel Arbuthnot, Emily Summers as Mary Debenham and Barrett Thomas in the dual role of Michel the Conductor and Marcel, the waiter, oh, and Michael Hutson as the voice of the announcer. Each member of the company plays well off each other and easily convince the audience not only are their on-stage relationships plausible, but so are their accents…for the most part. I mention this because this show is comprised of characters from all over the globe, from the US to Germany, with Russian, Hungary and other places of origin thrown in for good measure. That said, the cast pulls off a multitude of accents…almost as well as the culprit pulls of the murder.

On the technical side of things, not only is Hillwig directing Murder on the Orient Express, he also designed the set. While the majority of the action does indeed take place aboard a moving train, there are actually a few sets. First here’s a cafe at the train station, then the exterior of a smaller train, the exterior of the Orient Express, the sleeping berths and the dining car. There’s also scenes that take place in the rail’s communications room and the back rail of the caboose. I don’t know if my eyes were playing tricks on me or not, but I swear, by clever usage of lighting cues courtesy Daniel Default, the exterior or the trains took on a different look between being the Taurus Express (at least that’s the name of the connecting train in the novel) and the more exclusive Orient Express. While watching the cast of characters board the Orient Express, the thought did cross my mind that I wished the exterior of the Orient Express look a little more grand and stately. Those ideals were put to rest once later when the set rotated to reveal the interior dining car. Hillwig, his master carpenter, Tony Nappo and props courtesy Suzanne Spooner-Folk together, created a perfectly lush look for the dining car, complete with what appeared to be lacquered woodgrain panels, hanging sconces, a bar cart and the like.

Hillwig’s staging is also to be commended, even in the final scenes in which Poirot reveals the truth, and the entire cast (save the victim) are on stage, it never seems crowded or forced and Hillwig’s staging and direction allow the audience to witness even the most subtle of movements and reactions of the guilty as the beloved detective unravels the mystery once and for all.

Before wrapping up the cast of the theatre review, I should mention that during the intermission I overheard a group of friends in the row behind me discussing who they through the murderer might be. I can’t tell you how much it thrilled my Agatha-loving heart that of the four who weren’t familiar with the outcome of the play…a story that’s based on a book that’s nearly 90 years old, mind you…each had a different suspect in mind.

As a lover of all things Christie, I can say without hesitation that director Clay Hillwig and his cast, lead by Elliott Robinson bring Christie’s beloved story of mystery, deceit and murder to the stage with such finesse—and thanks to Ludwig having peppered the script with some punchy dialogue—a great deal of unexpected humor than even the most ardent fan will be happy they were along for the ride.

Circle Players’ Agatha Christie’s Murder on the Orient Express pulls out of the station for two more mystery-filled rides Saturday, January 28 at 7:30pm and Sunday, January 29 at 3pm. All tickets are $27 (including fees). CLICK HERE for tickets.

Next up for Circle Players is Peter and the Starcatcher, directed by Jim Manning with musical direction by Teal Davis, on stage at the Looby Theatre March 10-26. CLICK HERE for tickets. To keep up with the latest from Circle Players follow them on Facebook,  Instagram and Twitter.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram,  Twitter and Facebook.

Rapid Fire 20Q with director and cast of Circle Players’ “Agatha Christie’s Murder on the Orient Express”; onstage at Looby theatre January 13-29

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Agatha Christie has long been my favorite mystery writer, having first discovered her by way of film adaptations when I was younger. With an introduction to her work via film versions of The Mirror Crack’d, Death on The Nile and Murder on the Orient Express, I was quickly obsessed. Heck, I even began reading Christie’s novels in a thematic manner…the first time I flew in an airplane, I read Death in the Air, at Halloween and Christmas I read stories featuring her most famous detective, Hercule Poirot that took place during those holidays. When I heard Circle Players was mounting Ken Ludwig’s stage adaptation of Murder on the Orient Express I hoped I’d kick off the new year by featuring some of the cast and crew for my latest Rapid Fire 20Q. In spite of the fact that they were in the throes of tech week, I was thrilled when director Clay Hillwig and cast members Elliott Robinson, Antonio Nappo and Bailey Borders graciously agreed to chat with me in the days just prior the show opening at Looby Theatre Friday, January 13. What follows are those conversations.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ AGATHA CHRISTIE’s MURDER ON THE ORIENT EXPRESS

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS DIRECTOR CLAY HILLWIG

JHPENTERTAINMENT: How did directing Murder on the Orient Express for Circle come about?

CLAY HILLWIG: A little over a year ago, Circle Players reached out to me and asked if I would be interested in directing this show.  I could not type “Y-E-S” out quick enough in my response.  To be honest, it had not been on my list.  I am still questioning how it wasn’t.  I guess fortune placed it in front of me and I am very thankful to Circle Players that it did.

JHPENTERTAINMENT: This may seem a simple, obvious question, but having appeared both in shows, as well as being part of various productions’ crews, do you think that gives you an advantage as a director guiding actors?

CLAY HILLWIG: That is a good question.  I do not know if it necessarily gives me and advantage, but it definitely gives me a full understanding of the moving parts of a production.  In regards to guiding actors.  I have always approached directing style and my relationship with my cast, based my own desires as an actor.  How do I what to be directed?  How do I want to be treated during the process?  Am I being challenged to grow in my craft as an actor?  Do I trust my director to provide both positive and negative feedback in a constructive manner,  Is my director available, to guide me in defining the character I am playing and my relationships with the other characters within the story?  Most importantly, is my director providing a safe environment to work in?   I have been labeled as “an actors director”, which tells me that my approach is making a positive impression. Communication with my actors is crucial to me.  Making sure that I am listening to them and their ideas with the same patience and respect that I require from them.  That being said, I believe that it is also very important to strike a balance of directing through the process and knowing when to get out of the actors way.  My goal is always to provide a drama free, safe environment, for my actors to work and grow in their art.  If the production is flawless and receives rave reviews, but I have failed in this important part of the process, I cannot walk away with the satisfaction that is was a successful production.  I would like to take this opportunity to say that this cast had been a pure joy to work with.  They have showed up prepared from the very beginning of the process and have made my role as their leader as smooth as it could have possibly been.

JHPENTERTAINMENT: I myself am a lifelong Christie fan, heck I recently finished my annual holiday re-read of her seasonal mystery, Hercule Poirot’s Christmas, so suffice it to say I’m perhaps a tad more familiar with Christie than some of your audience might be. That said, Christie’s novel includes 12 suspects, but playwright Ken Ludwig opted to par down the suspect list to eight. How does this enhance the telling of the story of the stage play

CLAY HILLWIG: It is an interesting choice by Ludwig to reduce our suspects from 12 to 8. He took some license in the melding of characters from the original 12 to the 8 that we have here, without taking away from the original writing of Ms. Christie . The result is a very tight, fast paced, well written script.   Though Christie purist may not agree, I believe that the choice in this adaptation works very well for the stage. The strongest endorsement is from the Agatha Christie Limited, who personally requested he take on this adaptation.  Ludwig refers to this project as one of the highlights of his career. I think we can all understand why.

JHPENTERTAINMENT: In addition to directing, you’re doing double duty as the show’s set designer. As the title might suggest, the action takes place primarily aboard the infamous train. What’s the biggest advantage—aside from the assumed less number of sets—to directing a show that takes place in a relatively confined solitary space?

CLAY HILLWIG: Not easy!!! Yes, there are limited sets, but the size of the set and the limited space for our scenes to play out has been challenging.  When you research the original Orient Express, space is very tight throughout. It is important that we are telling our story from within the tight confines of the train and not the expanse of the theater stage.

JHPENTERTAINMENT: While the story is set in the confines of the legendary train, the cast of characters provide an international flare with travelers from England, France, Belgium, Russia, the US and more, so I gotta know…who’s the show’s dialect coach?

CLAY HILLWIG: Early in the production process I had reached out to candidates to join us as dialect coaches, Of course schedules and conflicts tend to alter our best laid plans as you get closer to the target date..  But, there is always a solution.  In this case I was very fortunate to cast two actors, Barrett Thomas and Kaleigh Ruiz, who have both a minor and major in French and Belgium.. They have worked closely with our  players in perfecting these accents.  As for our other dialects, the actors came prepared, some with accents already in place, others working very hard using various tools that are available.  YouTube is a wonderful thing!!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HERCULE POIROT, ELLIOTT ROBINSON

JHPENTERTAINMENT: As you reveal in your cast bio, Murder on the Orient Express marks your tenth time to appear onstage with Circle Players. I think I’ve seen you in each of the previous nine. Whenever an actor has such a longstanding relationship with a theatre company, I always like to ask…What is it that keeps you coming back?

ELLIOTT ROBINSON: Bottom line is, Circle Players always mounts quality productions. The rehearsal processes are drama-free, I always get to work with amazingly talented casts and crews, and the end result is something that all of us, and all of Nashville can be proud of: professional-quality live theatre productions, and a great variety of them, whether they be musicals or not.

JHPENTERTAINMENT: Hercule Poirot and Miss Jane Marple, another of Christie’s best-known detectives, are among the most beloved literary detectives of all time. What’s it like portraying such an iconic character?

ELLIOTT ROBINSON: It’s a huge challenge because so many people know the character. When I mention the role, so many people have shared their recollections of Poirot, and sometimes ask me whether I am going to try to recreate this scene, or this mannerism, or whatever; simply, the answer is no. I am going to make the character my own. I wouldn’t dare watch a movie or anything like that involving a character I’m working on, for fear that – even subconsciously – I might imitate something that someone else did. So, I take all my cues from the words in the script, plus my director’s notes and my own research about the character.

JHPENTERTAINMENT: Having just chatted with your show’s director, I brought up the subject of the variety of character dialects. As Poirot, your character is infamously from Belgium. If you were to teach a quick course in the Belgian dialect, what would your top two helpful hints?

ELLIOTT ROBINSON: I would NOT be able to teach a course! It is clear that, with all of the French phrases peppered into the script, that Poirot is from a part of Belgium that is French-influenced, as opposed to some Belgians that have more of a Dutch flavor to their speech (I learned that searching youtube clips!). I will say that a couple of fluent French-speakers in the cast have been tremendously helpful, guiding me through the French phrases, as well as helping me with the accent. Ultimately, I am more worried about the audience understanding what I’m saying than I am about being the “most French,” if that makes sense.

JHPENTERTAINMENT: Do you think you’d be a good detective in real life?

ELLIOTT ROBINSON: I think I have some good detective-ish qualities, like attention to detail, and I feel that I’m a pretty observant person. What I don’t know is how much pleasure I could derive from it. Could I truly enjoy running headlong into brick wall after brick wall, figuring out new clues or ideas because the previous ones have not panned out? Also, I’m one that does not much go for the thrill of danger; I prefer a much calmer existence.

JHPENTERTAINMENT: What is your favorite aspect of Poirot’s personality?

ELLIOTT ROBINSON: His intelligence. He is very well-read, and very well-rounded. He speaks multiple languages, has a grasp of world history, he knows his Shakespeare, and he is somewhat of a psychologist (as well as a bit of a flirt). He is not swayed by false evidence, and his calculating manner gets to the exact way things went down. Brilliant man!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s MONSIEUR BOUC, ANTONIO NAPPO

JHPENTERTAINMENT: What can you tell me about Monsieur Bouc?

ANTONIO NAPPO: He is larger than life.

JHPENTERTAINMENT: Circle shared cast portraits on socials recently and the first thing I notice was that you’ve apparently cut your hair and trimmed your beard. The story takes place in the early 1930s. Was it a no-brainer to alter your appearance to better fit the aesthetic of the show?

ANTONIO NAPPO: Absolutely, Clay’s question to me at auditions was if I was married to the long hair/beard look. I said I’m not, but my wife is. She’s the one who took some convincing.

JHPENTERTAINMENT: In Christie’s original novel, Monsieur Constantine Bouc is a military man from Belgium. The 1974 film adaptation and playwright Ken Ludwig’s all but drop the character’s military background, instead focusing on his current position as a high-level employee of the rail company.As you’ve developed your portrayal of Bouc, have you created any backstory in your mind that you’d care to share?

ANTONIO NAPPO: His deep friendship with Poirot is paramount to me. It’s at the core of who Bouc is.

JHPENTERTAINMENT: When Christie’s novel was released, it was immediately apparent that the events that open the story were directly lifted from the now-historic 1932 kidnapping of Charles Lindbergh, Jr. Was that bit of trivial ever discussed during rehearsals or is that something you knew prior?

ANTONIO NAPPO: We did discuss it, at length. But I did know about it prior to going into this show.

JHPENTERTAINMENT: In keeping with the subject of the show…If you could get away with a crime…would you?

ANTONIO NAPPO: How do you know I haven’t already?

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HELEN HUBBARD, BAILEY BORDERS

JHPENTERTAINMENT: Alright, as this show’s Circle Players newbie, I gotta ask…what’s the experience been like so far, working with Nashville’s oldest continuing theatre company?

BAILEY BORDERS: This has been the smoothest experience I’ve ever had in community theater and I’d like to thank our whole team for that! The cast has been so supportive and Clay is such a wonderful director to collaborate with. We’re leaving the drama for the stage for this one!

JHPENTERTAINMENT: While it’s your first show with Circle, you’re a Nashville native, having studied at Nashville School of the Arts. After school you relocated to Los Angeles to continue your pursuit of acting and recently relocated back to Music City. What’s your impression of the changes and growth of Nashville since you were last here?

BAILEY BORDERS: I’m loving the growth of the city, but I have to say I miss some of our local hangs that couldn’t withstand the rent increase. While there’s so much more to do and explore, I hope we’re able to keep the charm Nashville has always had!

JHPENTERTAINMENT: In Agatha Christie’s source material, as well as subsequent film adaptations and now this stage version, Helen Hubbard has always been portrayed with a certain air of elegance and a bit of initial arrogance. How much fun are you having playing her?

BAILEY BORDERS: Helen Hubbard has been an absolute blast to play! I love a strong, outspoken character. She has so many levels to explore. My favorite part of Mrs. Hubbard is her brashness. She’s somehow able to maintain an elegance while being the life of the party.

JHPENTERTAINMENT: From the legendary Lauren Bacall’s portrayal of Mrs. Hubbard in the 1974 film to the equally glamorous Michelle Pfeiffer in Kenneth Branagh’s 2017 remake, a huge part of the character’s mystique manifests itself in her fabulous wardrobe. For Circle’s production, Denese Evans is the show’s costumer. What can you tell me about your Mrs. Hubbard’s style?

BAILEY BORDERS: Denese has been outstanding at creating Mrs. Hubbard’s aesthetic. Collaborating together on her hair, makeup, and classic pieces has been one of the most fun elements of seeing Helen brought to life. Mrs. Hubbard is glamorous and does not shy away from a show stopping garment. She uses her wardrobe as her space to shine!

JHPENTERTAINMENT: So, whodunnit? Just kidding. What is it about Murder on the Orient Express that you think audiences will enjoy most?

BAILEY BORDERS: I think audiences will be pleasantly surprised at the amount of comic relief in our show! The tension is always there, as the mystery unfolds, but there are some wonderful moments in between that provide a certain lightness.

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To take a ride on the Orient Express, CLICK HERE to purchase tickets to Circle Players’ presentation of Agatha Christie’s Murder on the Orient Express. The show runs Friday, January 13 through Sunday, January 29 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $20 for Thursday performances and $25 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook,  Instagram and Twitter.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram,  Twitter and Facebook.

Theatre Review: ‘Blithe Spirit’ attempts to conjure laughter; Noel Coward farce continues at Larry Keeton Dinner Theatre thru October 30

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‘Blithe Spirit’ (all photos by Thomas Gentry/courtesy The Larry Keeton Dinner Theatre)

Just before chatting with members of the cast of the Larry Keeton Dinner Theatre’s current presentation of Blithe Spirit for my latest Rapid Fire 20Q, I rewatched the classic mid-40s film adaptation which I hadn’t seen in a decade or longer. Remembering it fondly, I again reveled in the quaintly nostalgic portrayal of an British novelist who finds himself in unlikely comedic trouble when he and his wife host a couple of friends and a kooky medium for a seance meant to inspire his next novel. What happens instead is the medium somehow summons the ghost of his first wife. Things get further complicated when an accident befalls his second wife and he finds himself doubly haunted by the ghosts of both wives past.

During my conversations with the cast for my latest Rapid Fire 20Q, I learned that the show’s director Donna Driver had opted to update the time and place of what is considered by many to be the playwright’s best work. I get it. The original having been set in the English countryside in the early 1940s, might seem a bit stale for a modern audience, and I’ll be honest. There’s little I despise more than a local theatre company attempting accents that end up being all over the place and inauthentic.

That said, you gotta wonder why then did the director opt to set the action in 1980s Texas, but only one cast member speaks with a decidedly Texan drawl? The set, however, designed and constructed by Kevin Driver, does indeed invoke visions of 80s abundant living, with ornate brocade furniture (I swear my Mom still has that sofa in her living room), bookcases filled with Reader’s Digest Book Club volumes and Encyclopedias and the occasional ginger jar. Heck, even the walls are painted in what can only be described as hints of Dark Rose and Forest Green. Donna Driver also serves as the show’s costumer, dressing her cast in some decidedly 80s trends with nods to the wrap-dress, the country club look and more. All in all, a nice representation of the 80s.

Seeing as how the show is about ghosts, I was curious how the special effects would be presented. What few there are are fun, but it seems a shame that they’re mostly left to near the end of the show, rather than being peppered throughout.

Abby Waddoups, Aaron Gray and Erin Grace Bailey in ‘Blithe Spirit’

Aaron Gray is cast as Charles Condomine, the aforementioned author. He does a fine job in the role, and as he revealed during our Rapid Fire 20 Q, he’s created the perfect backstory for his as he calls it ‘rock star’ look, but I feel compelled to mention, the constant, likely unconscious action of brushing his long tresses away from his face became quite distracting. Gray does present a perfectly flustered husband and his on-stage chemistry with both his leading ladies is enjoyable.

Abby Waddoups plays Charles’ current wife, Ruth. While she doesn’t speak with a traditional Texas accent—as mentioned earlier, only one character does, and we’ll get to her soon enough—Abby does approach Ruth with an air of sophistication. Again, a perfect reflection of that 80s-era new-money vibe. As Ruth, she brings a bit of caustic fire to her every line.

Then there’s Charles’ late wife, Elvira played by Erin Grace Bailey. OK, I know this is being super picky, but in every other stage production, film adaptation and televised presentation, Elvira isn’t pronounced like the Cassandra Peterson Mistress of the Dark character, it’s pronounced Elveeera, so this new pronunciation took me a minute to adjust. Newcomer to the Larry Keeton Theatre, Erin Grace Bailey is quite the scene-stealer as Elvira. While her name may now be pronounced like an 80s vampire, she’s just your above-average vampy ghost. She takes the tongue-in-cheek storyline and makes the most of it.

Drew Ann Borsos as Madame Arcati

Speaking of making the most of things, Drew Ann Borsos is simply perfect as Madame Arcati, the medium who helms the seance. Borsos peppers her Madame Arcati with equal parts  bumbling Aunt Clara from Bewitched and every blissfully quirky character Shirley MacLaine has played since the 80s. Every line, every movement seems both organic and spontaneous while you just know its all carefully crafted and executed brilliantly. Coward knew what he was doing when he created this character with his words and Borsos more than does it justice.

Rounding out the cast are Shelby Anderson as Edith, the maid, Michael Welch as Charles’ friend and doctor, Dr. George Bradman and Suzette Williamson as Mrs. Bradman. Anderson is quite fun as the scatterbrained, nervous maid and we even get to hear her sing a bit, which is a fun bonus. Welch and Willamson, who basically only appear in two scenes, one during the first act and one in Act 2, are amusing as marrieds, but seem to be a little overzealous in their portrayals and should perhaps reign in their reactions and facial-pulling just a bit. Then again, there’s no pulling attention from Borsos and Bailey, so why even try.

Blithe Spirit continues its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) now thru October 30. To Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

Following Blithe Spirit, the Larry Keeton Dinner Theatre ushers in the holidays with Irving Berlin’s White Christmas, onstage December 1-18. 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.

Theatre Review: Blue Man Group’s North American Tour at TPAC thru Sunday, February 16

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Blue Man Group, North American Tour on stage at TPAC’s Jackson Hall February 11-16/photo by Lindsey Best

Having seen Blue Man Group right here in Nashville at TPAC twice before, and once in Las Vegas, I wasn’t sure if I’d enjoy them as much a fourth time during their current North American Tour, at TPAC’s Jackson Hall now thru Sunday, February 16. Then again, each of the previous times I’ve seen them, the show’s been slightly different and the laughter and entertainment as ensured I left the theatre in anything but a blue mood, so I was game to check them out once again and Spoiler Alert: they’re just as fun the fourth time around.

Much like the three primary colors present throughout any Blue Man Group performance, their shows also contain three primary elements, sight, sound and happiness. As always, save a few pre-recorded audible proclamations that put the audience in mind of Big Brother, or perhaps an alien life form visiting we mere earthlings, Blue Man Group members never utter a single word. 

From the moment the audience enters the venue and gets a look at the futuristic set, featuring a wall of led screens, lights and a matrix of electronics, speakers and various other goodies, it’s evident they’re in for an evening of high-energy, high-decibel entertainment. 

Having celebrated their thirtieth anniversary back in 2017, Blue Man Group continues to blend fresh ideas and concepts with tried and true…or should I say tried-and-blue audience favorites that captivates audiences ranging in age from tikes to, well, blue hairs. OK, OK, I’ll stop with the blue puns…maybe.

For the current national tour (there’s also concurrent permanent shows in New York, Boston, Chicago, Vegas, Orlando and Berlin), the Boys in Blue (Meridian, Mike Brown, Steven Wendt and Adam Zuick—thought I’m not sure who’s who) began Music City’s Opening Night Tuesday, February 11 with a shower of confetti raining down on the stage from what looked like one of those air-propelled plexiglass drums used in picking lotto numbers. In true blue ‘did they mean to do that?’ fashion, the second drum full of confetti didn’t seem to work, as the spotlight shined on it revealing it was still full and hadn’t released it confetti contents, causing the Blue Man Group to examine it with perplexed looks, eventually giving up and addressing the plethora of confetti that littered the stage.

Taking full advantage of the current Standing Broomstick Challenge that’s been all the rage on social media the last few days, Blue Man Group goes for the obvious and uber-timely laugh by bringing on a bright yellow broom that, yes, stand on its own. Some clever pass-the-broom hijinks later and the odd man out sweeps up the mess.

If you’ve ever attended a Blue Man Group show before, you know that a good portion of the show involves audience reaction and interaction. 

To that end, when the audience erupts in laughter or thunderous applause, the members of Blue Man Group blankly stares out towards the audience with a dumbfounded expression…you know, like a puppy who can’t quite figure out if he should stay, sit or roll over. 

As far as audience interaction, the current Blue Man Group touring show is full of fun, and unpredictable moments. The night I attended, the first of which began with Blue Man Group venturing out into the audience to retrieve a volunteer who ends up being involved in a surprisingly rhythmic musical sequence of squeaks courtesy a rubber chicken.

As mentioned above, some tried-and-blue aspects of the show remain, including the whimsical, yet oddly melodic PVC woodwinds, paintball art and the always crowd-pleasing marshmallow sculpture. Seriously! How does he catch that many marshmallows in his mouth after having them tossed to him from across the stage?

Blue Man Group audience members get in on the act
Photo by Evan Zimmerman for MurphyMade

Another audience moment came when two mostly unsuspecting volunteers were selected. Once the two were seated on stage with Blue Man Group between them, they were each handed a telephone. When their respective phones rang, they, and the audience soon discovered that they were on each other’s line—and conveniently piping through the speaker system of the theatre. With silent, but understood encouragement from Blue Man Group, the two strangers were then encouraged to carry on a conversation. On Opening Night, one audience member seemed a little more excited to be on stage and part of the show than the other, leading to some hilarious interaction. As a reward for his enthusiasm, Blue Man Group posed for a group pic, and, perhaps as punishment for the other’s lack of enthusiasm, she was relegated to taking the photo. I’m sure this bit plays out similarly each night, but Blue Man Group has been at it so long, you’d think each night plays out in a completely different manner.

Paint Drumming
photo by Lindsey Best

Next, three members of Blue Man Group took center stage and proceeded to play what will remind audience members of a certain age of an old aerial tv antenna. Think a multi-tiered, larger than life menorah, which they preceded to strike in various places, playing it like a xylophone condominium. 

Always keeping up with the times, current events and our obsession with the latest technology, there’s a humorous bit involving the fickleness of social media likes/dislikes, as well as another audience participation gag centered ‘round electronic devices and facial recognition.

A little over halfway through the 90ish minute show, there was an all-in audience dance break when Blue Man Group motioned for everyone to get up on their feet and follow along with their dance moves. 

Another seemingly unplanned ‘mishap’ involved hundreds of ping pong balls. Sorry, not sorry. Dozens and dozens of ping pong balls bouncing all around the stage, much to the dismay of Blue Man Group will always be funny.

This was followed by yet another instrumental performance, this time, picture a box fan, with blades made from long PVC pipe. Anyone who’s ever talked into the whirling wings of an oscillating fan as a kid can relate, and enjoy this particular segment. As a matter of fact, I leaned over and whispered to my friend who was accompanying me Opening Night and commented on how the resulting tones would be a soothing ambient sleep noise option.

photo by Evan Zimmerman for MurphyMade

Near the end of the show Blue Man Group held up bight neon pieces of paper and again, without murmuring a single word, instructed the audience to open their programs and take out the neon paper insert, tear it up and at the appropriate time, throw them into the air. The result, a rave-tactic celebration. 

Blue Man Group closed the show with what is surely now their trademark, a colorific percussion extravaganza pounding three large drums center-stage as primary color lights stream down from above and coordinating primary color paint splashes with each beat of the drums. Oh, and if you go, don’t arrive late…or do…because you’ll be called out, spotlight, humorous proclamation and all.

Blue Man Group continues the Nashville leg of their current North American Tour with shows thru Sunday, February 16. CLICK HERE for tickets or for more information. Following the Music City dates, Blue Man Group continues on tour with shows in Chattanooga, Paducah, Evansville, Knoxville, Richmond, Atlanta, Muncie, West Lafayette, Springfield(s) (IL and OH)…and that’s just through March. So, if you’re not in Nashville but want to catch them on the road, CLICK HERE for dates and specifics in your area. You can always keep up with Blue Man Group by liking them on Facebook and following them on Instagram, Twitter and YouTube.

One of Blue Man Group’s most iconic moments
Photo by Evan Zimmerman for MurphyMade

Up next at TPAC’s Jackson Hall as their Broadway at TPAC season continues, is Jesus Christ Superstar, on stage March 3-8. Discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with director and cast of ‘Breaking Up Is Hard To Do’; at Chaffin’s Barn February 6-29 with a special Valentine’s Day performance February 14.

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Jukebox musicals—a theatrical piece that features songs from one particular artist, era or genre—are hugely popular. Such shows as Mamma Mia, Jersey Boys and Smokey Joe’s Cafe frequently find their way among the favorites of local and regional theatre companies’ go-to offerings, but leave it to Chaffin’s Barn Dinner Theatre to reach a little deeper into the jukebox musical genre as they present Breaking Up Is Hard To Do, onstage at Chaffin’s from Thursday, February 6-29. If you’re like me, you may never have heard of this particular show which features the music of Neil Sedaka, as it tells a 1960s tale of Marge Gelman (played by Melissa Silengo) a young woman who, after being left at the alter, decides to take her best girlfriend Lois Warner (Jenny Norris) along on what would have been her honeymoon trip to the Catskills at the end of summer, where they encounter locals Del Delmonico, (Liam Searcy) a good looking up-and-coming crooner, his friend, Gabe Green (Curtis Reed) who just so happens to be the force behind his music, Harvey Feldman (Scott Stewart) a stand-up comedian and Esther Simowitz (Vicki White) the owner of a popular nightspot.The fact that Chaffin’s is presenting a show that’s completely new to me, coupled with the fact that once I began researching the music included, I realized I knew virtually all of the tunes (I just didn’t necessarily know they were penned by Sedaka) and I knew I had to chat with director Joy Tilley-Perryman and members of her cast for my latest Rapid Fire 20 Q.

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Rapid Fire 20 Q with Breaking Up Is Hard To Do director and cast members

Rapid Fire with Breaking Up is Hard to Do director, Joy Tilley-Perryman

JHP: I understand the show takes place in The Catskills during the 60s, a little Dirty Dancing romance with a dose of Cyrano de Bergerac and even a tad Bye Bye Birdie…is that a fair assessment?

JOY TILLEY-PERRYMAN: That is a fair assessment, with a great deal of zippy zingers, some awesome dance lifts and juggling thrown in for good measure.

JHP: The Catskills, in their prime, seem like a dream vacation. What’s your favorite vacation spot?

JOY TILLEY-PERRYMAN: My favorite vacation spot is Kauai, Hawaii. It is paradise and it has been far too long since I have been to the Waimea Falls. It is the island that Elvis made famous in Blue Hawaii and the island that Hurricane Iniki almost wiped out in 1992. I love the rhythm of  island time and the blissful energy of the Hawaiian islands. If you have never been, do yourself a favor and go!

JHP: I haven’t but it’s definitely on my To Do List. So, what is it about this show that makes it the perfect addition to Chaffin’s current season?

JOY TILLEY-PERRYMAN: This show is truly a love story for everyone. We have couples of all ages included here. And for people of a certain age (ie me), this music is so familiar and comfortable and just plain fun. Fun fact, I had a baton routine to Love Will Keep Us Together when I was 10 or 11 and if pressed, I can still remember parts of it. Just don’t ask me to do any double elbow rolls or two hand spins into an aerial release. I would fall and quite possibly break a hip these days. 

JHP: What can you tell me about your cast?  

JOY TILLEY-PERRYMAN: This cast is full of my loves and and also a fresh face making his Barn debut. I love working with Scott, Vicki, Jenny, Curtis and Melissa and have found working with Liam to be an absolute delight. You would be hard pressed to find 6 more beautiful voices. They just make me smile! Also, this show has tons of audience participation, so come on out and see if you are in Mrs. Futternick’s chair or Mr. Weinblatt’s seat or are you the lucky lady who gets to come on stage and be serenaded by Del.

Rapid Fire with Breaking Up Is Hard To Do choreographer and co-star, Curtis Reed

JHP: When I chatted with Joy, I noted a bit of a comparison in one of the show’s plots to Cyrano, in that your character Gabe Greene, is basically the guy behind the success of popular Catskills performer Del Delmonico, making you Cyrano to Liam’s Christian.  Does that sound about right?

CURTIS REED: I believe so. Liam plays Del who is oozing with charm but in all actuality is not that nice. And he is also only pretending to like Marge to get to Marge’s father, who Del thinks is a big Music Manager. My character is the nerdy, behind-the-scenes type who pines for the girl who goes unnoticed by most, but who is number one in his eyes. Gabe has the passion and the heart for music, while Del only has the looks and the voice.

JHP: Speaking of Searcy, while this is his first Chaffin’s show, you two shared the stage during Studio Tenn’s recent mounting of Joseph and the Amazing Technicolor Dreamcoat, right?

CURTIS REED: This is Liam’s first Barn show and we are so excited to have him as part of this cast. I loved working with Liam on Joseph at Studio Tenn. He is a great performer and always willing to learn and better himself. I challenged him on a few dance moves both solo and with Jenny and he is a total team player. 

JHP: As I mentioned in my intro, you’re not only playing Gabe Greene, but you’re also the show’s choreographer. The 60s were such a fun time for iconic dance moves, have you had fun incorporating some of them into the show?

CURTIS REED: You will definitely see some nods from Dirty Dancing and from a lot of the background singers/dancers of the DoWop groups that were popular in that time period. Super cute, nothing too crazy (except for Liam and Jenny’s fast-paced Stupid Cupid duet so be on the lookout for that one!)

JHP: What’s your favorite musical number in the show and why?

CURTIS REED: For me it’s a toss up. I love Laughter in the Rain because it’s the duet I share with Melissa’s Marge, where Gabe, in his own way, professes his affection for her. It’s super touching and still has that nerdy 16 Candles vibe that is so heartwarming. My other favorite is the only number in the entire show where you hear all six actors at once and that is the finale, Love Will Keep Us Together. I mean how can you not love that feel-good song made popular by The Captain and Tennille?! I’m almost certain we will have audience members singing along with us throughout the show with so many memorable songs by Neil Sedaka!

Rapid Fire with Breaking Up Is Hard To Do’s Harvey, Scott Stewart

JHP: How would you describe Harvey Feldman?

SCOTT STEWART: Harvey is a veteran comic and long time performer at a Catskills resort in The Borscht Belt. His roots are in Vaudeville. Harvey still loves what he does but is lonely- and ready to open up about it.

JHP: What’s your favorite aspect of playing Harvey?

SCOTT STEWART: 

My father had a lot of comedy albums and I grew up listening to the likes of Stiller & Meara, Mel Brooks, Carl Reiner, Fanny Brice, etc… many whom started in the Catskills. To get to pretend to be among those in a blast! And I’ve always been intrigued by the whole Catskills era of America. Getting to spend an entire summer in the mountains playing?! Wow!

JHP: The show features an all-Neil Sedaka songbook. Would you say you were a fan of his music prior to being cast in this show?

SCOTT STEWART: I am a fan of Neil Sedaka!  I really didn’t learn who he was til, as a preteen, I heard The Captain & Tennille sing Love Will Keep Us Together and in the fade out of that song they sing “Sedaka is back”. I think it was Casey Kasem that explained who that was one week, and then I started to learn more about him. But this show has some songs with which I was not familiar.

JHP: As Harvey, you share scenes with Vicki White’s Esther. You’ve done several shows together. How much fun is she as a co-star?

SCOTT STEWART: Oh man, she is the best!  Vicki has a unique way of rehearsing her characters and she puts so much thought into them, but it’s often not til late in the process when I see what she’s doing, and understand how to interact and play with her character. I love it! Keeps me from getting lazy.

Rapid Fire with Breaking Up Is Hard To Do’s Esther, Vicki White 

JHP: What is your favorite aspect of playing Esther?

VICKI WHITE: Nothing keeps Esther down. She is fun, feisty, and a survivor. 

JHP: When I chatted with Scott, I mentioned that you two share scenes. You’ve done a few shows together, right? Isn’t he just fantastic?

VICKI WHITE: Yes! I am lucky enough to have done many shows with the talented Scott Stewart.  He is funny, down to earth, and has a beautiful voice. This has been my first opportunity to play opposite of Scott as a romantic interest and it has been a blast!

JHP: The 60s, the Catskills…if you could go back in time and experience that in real life, what do you think you’d enjoy most?

VICKI WHITE: Fancy clothes and cocktails. Everything was such an event, from the different activities to dinner and shows. They made a vacation last an entire summer. I am a huge fan of Mrs. Maisel and Dirty Dancing. I would LOVE to time travel with my family for a vacation in the Catskills!

JHP: Looking at the songs included in the show, I gotta admit, even though I have always loved The Captain and Tennille’s Love Will Keep Us Together, I didn’t realize it was a Neil Sedaka song. (In case you’re keeping up, yes, that makes four for four with mention of this particular tune, but I digress) Are there any songs in the show you were surprised to learn he had written?

VICKI WHITE: I was so surprised to find out that he had written Where the Boys Are. I knew it as this iconic song from the sixties that I had always associated with Connie Francis.

Rapid Fire with Breaking Up Is Hard To Do’s Lois, Jenny Norris

JHP: You play Lois Warner. How is the character most like yourself?

JENNY NORRIS: She is loyal and would do anything for those she loves. I would say those are two big parts of who I am. 

JHP: As Lois, you’re best pals with Marge Gelman played by Melissa Silengo. Marge has been left at the altar and decided to bring her bestie Lois on the honeymoon instead. What’s the advantage of taking a girlfriend on your honeymoon?

JENNY NORRIS: Having a shopping buddy! 

JHP: Chaffin’s resident costumer, Miariam Creighton is providing the wardrobe for the show. What’s your favorite 60s aesthetic as seen in the show, whether it be part of Lois’ wardrobe or that of one of your co-stars?

JENNY NORRIS: I have enjoyed the high waisted look in shorts and pants for ladies. It has inspired several of my recent Poshmark purchases. Plus big volume hair is always a favorite of mine! 

JHP: Sedaka’s titular lyrics suggest that reconciliation is the solution. What do you think?

JENNY NORRIS: Well although he says breaking up is hard to do, I say sometimes being with the wrong one is harder. You’ll have to come see if Marge realizes it or not! 

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Melissa Selingo, Liam Searcy and Jenny Norris in a scene from “Breaking Up Is Hard To Do”

As Norris suggests, audience members will have their chance to see how Marge deals with her breakup as Breaking Up Is Hard To Do plays Chaffin’s Barn Dinner Theatre Thursday, February 6 thru Saturday, February 29. CLICK HERE or call 615.646.9977 for reservations. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $20 for show only or $28.50 for show and a Box Lunch. Evening show tickets are $18 for children 12 and under, $25 for youth/students and $47 for adults. 

Of course, being Chaffin’s Barn Dinner Theatre, they also offer a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95. Plus there’s a wide array of dessert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

On Friday, February 14, Chaffin’s will host a special Valentine’s Day performance of Breaking Up Is Hard To Do which will feature a special Valentine’s Day menu and three ticket level options. First, for $150 per couple, patrons can enjoy the show, buffet dinner, a bottle of champaign or sparkling cider, a special dessert plate with chocolate strawberries and cheesecake, a rose for that special someone and a chance to win some fabulous prizes. For $220, you can secure a private four-top table for two, plus all of the above-listed amenities. For $330, two couples can enjoy a private six-top table for four with all the above amenities. CLICK HERE to view the special Valentine’s Day Menu. Please call the box office to book these special reservations. 

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.

If you’ve enjoyed this edition of Rapid Fire, CLICK HERE to check out previous conversations. 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: Circle Players’ ‘La Cage aux Folles’; three-week run wraps this weekend

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Macon Kimbrough (center) and members of the cast of “La Cage aux Folles” (all photos by Ashleigh Eve Newnes/courtesy Circle Players)

After making its Nashville debut as part of Circle Players’ 50th Anniversary season some twenty years ago, La Cage aux Folles is back at Circle as part of their history-making 70th season. What’s more, Music City’s exalted theatre critic-cum-director, Jef Ellis—who helmed that first local presentation in 1999—is back at the helm as director for this special anniversary mounting; currently at Z Alexander Looby Theatre, with shows thru Sunday, February 2.

When I featured Ellis and members of the cast of Circle Players’ current production of La Cage aux Folles in a recent Rapid Fire 20 Q, I mentioned him being the perfect choice to direct the beloved musical—in which Jerry Herman and his collaborator Harvey Fierstein examine what makes a family—not only because Ellis directed the aforementioned area debut, but also because of his adoration of classic modern musicals. 

What I failed to mention was another of Ellis’ unique qualifications, for you see, Ellis has been a longtime constant advocate for gay rights, having founded DARE (later rechristened Query), Tennessee’s first-ever LGBT newspaper. With that in mind when I arrived at Z Alexander Looby Theatre for an opening weekend performance of La Cage aux Folles, I already knew I was in for quite a night.

Upon entering the theatre, Ellis set the perfect early 1980s Saint-Tropez vibe by adding a row of cocktail tables between the venue’s stage and theatre seating for a select few patrons.

Before the show began, there was a little pre-show entertainment (courtesy Nate Paul, the show’s musical director) followed by an introduction from Simone, the Maitre d’hotel played by Steve Raimo, better known to fans of Nashville drag as Veronika Electronika. 

One of the first things I noticed was the placement of Paul and the live band, rather than the usual spot stage left, the band (Matt McNeil, Logan Scarbrough, Tom D’Angelo, Kelly Hogan, Daniel Johnson, Michael Luttrell and Raymond Ridley) was seated on the stage, just as any orchestra would likely be at most high-profile nightspots of the time. This was a genius move on Ellis’ part in another way, for many many times when I’ve attended shows at Looby Theatre, the band–usually positioned to the right of the audience–frequently overpowers the actors’ voices. Not this time. By placing the band behind the action,, Ellis achieves a perfect blend of sound.

After a few welcoming remarks from Simone that teetered ever so dangerously near a bit too bawdy, the show began with Macon Kimbrough as Georges, the emcee and owner of La Cage aux Folles. Initially, Kimbrough, a longtime favorite in the Nashville theatre community, seemed a tad subdued, but read on…

The show’s energy quickly accelerated with the opening number, We Are What We Are as performed by Les Cagelles (Kayne Dayton, Konnor Davis, Alex Van Buren, Jacob Brashar, Becky Charlton, Ashley Wheeler, Poem Atkinson and Schuyler Phoenix), a bevy of beauties of indeterminate sexual identity. Side Note: Having seen La Cage a few times over the decades, not to mention my own appreciation of the art of drag, this was the first time I’d seen more than one cis female among the troupe. At first it was a little off-putting, but then the idea of ‘what does it matter who’s male and who’s female?’, a prime plot point of the piece, kind of began to ring true. Besides, I completely understand you can only cast a show with whomever shows up for auditions.

Following this number, Kimbrough’s Georges returned and as his performance continued, it was clear it wasn’t opening night nerves or a lack of enthusiasm driving him, but rather, pure raw emotion for the role and the importance of the work. Throughout the show, and in particular during With You on My Arm and Song on the Sand, Kimbrough’s impassioned performance was among the show’s most heart-felt.

Michael Baird as ZaZa

With his own share of heart-felt moments, balanced perfectly with a flamboyance that nowadays could have easily devolve into stereotype was Nashville theatre newcomer, Michael Baird. New to Music City, but with a strong resume of theatrical turns in St. Louis, Baird is definitely one to watch. As Albin, who also stars at the club as ZaZa, he’s Georges’ partner in life and in work. Baird is charming, witty and knowns the difference between ham and cheese; hamming it up just enough to get the laugh, without being so cheesy as to have the laugh be followed by a groan. As expected, Baird’s strongest moments come with two of the show’s most beloved tunes, Mascara and the Act 1 show-stopper, I Am What I Am. Speaking of mascara, if ever there’s a reason to wear waterproof mascara, I Am What I Am is it, for there wasn’t a dry eye in the house as the lights came up on intermission. Landing every laugh and coaxing every tear, Baird excelled in the role.

The show’s other strongest performances happens all too infrequently for my taste in the form of Kristian Dambrino as Jacqueline, Georges’ and Albin’s favorite gal-pal and French restauranteur. The accent, the hair, the devil-may-care demeanor, plus Dambrino’s comedic timing and lovely vocal skills add up to a scene-stealing performance. Her performance during The Best of Times, is, well, among the best of times during the show.

Cast as Georges and Albin’s butler, who insists on being referred to as the maid is Russell Forbes. Seemingly borrowing heavily from Hank Azaria’s turn in The Birdcage, the Robin Williams film based upon the original French film, upon which La Cage aux Folles the musical is based, for me, Forbes’ performance fell kinda flat . Appropriate, considering the character literally falls flat on his face during the show’s closing number…a scripted fall, mind you, but had I seen the show in reverse it would seem to have been a bit of foreshadowing to his performance. I say this with tongue planted firmly in cheek for I realize the role is written in such a way that Forbes’ interpretation is very much inline to the over-the-top characterization presented in the original in 1984, and most certainly in Azaria’s take in the more recent film adaptation. It’s just one of the aspects of the show that doesn’t necessarily stand the test of time.

What is relatable, regardless of the passage of time, is at the crux of the piece–the relationships between parents and their children. To that end, Callum Ammons is Jean-Michel, Albin and Georges’ son (by way of a former hetero relationship between Georges and the much-discussed, but unseen Sybill). Ammons’ Jean-Michel returns home with news of his pending engagement to the daughter of a prominent—and conservative—political figure. Which sets up the premise of the show. 

Ammons’ strong suit comes in his vocal performance. Meanwhile, there just doesn’t seem to be chemistry between him and his on-stage love interest, Anne, played by Alvia Dupree. Nonetheless, heir dream dance duet during With Anne on My Arm is a sweet moment. 

The dinner party gone awry

Appearing as Anne’s parents Eduard and Marie Dindon are Jonathan Wilburn and Anne Street-Kavanagh. Of the duo, Street-Kavanagh catches the eye most. During a hopefully proper dinner at Jacqueline’s restaurant, I couldn’t help but notice Street-Kavanagh’s Marie as she slowly but surely enjoys a bit too much champaign. Wilburn’s Eduard is played straight and strait-laced, but in a show with so many flamboyant characters, he basically gets lost in the mix. I’m not even going to talk about his bearded lady look at the close of the show.

In small but enjoyable roles, Ellis bridges the gap by casting another Nashville favorite, Howard Snyder opposite another Music City newcomer, Caroline Dawson as M. And Mme. Renaud, owners of a local bistro frequented by Georges and Albin. Yes, there’s a bit of an age difference, but what the heck, it’s Saint-Tropez in the 80s, where anything goes, right?

Austin Jeffrey Smith, an Ellis favorite, does a brief (emphasis on brief, as in scantily clad) turn as Etinne, rounding out the cast with Joseph Bosse as Francis, Lauren Duarte as Colette, Hillary Mead as Suzette and Brad Hunter as Tabarro.

As expected in a show from Harvey Fierstein and the legendary Jerry Herman, La Cage aux Folles is mostly upbeat, with a message of positivity and an ever-present hopeful outlook for the future, resplendent with memorable tunes, driving the focus to the words and the music. To that end, the set is limited. That said, you gotta love Ellis’ inclusion of an oversized painting as a primary set piece in Georges’ home, an interpretation of Michelangelo’s The Creation of Adam. A clever wink, for within the story, Albin is forced to forego ZaZa’s penchant for drag and dress more manly in order to meet his future uptight in-laws.

Also enhancing the music, the show’s choreography, most enjoyable when it involves the entire cast of Les Cagelles. Kudos to the show’s choreographer, Kelvin Amburgey-Walton, who interestingly enough, played the role of Albin/Zaza in Ellis’ previous production of La Cage aux Folles.

While some characterizations in the script seem overdone, and may not have stood the test of time, the primary message of love, being who you are, being proud of who you are and being accepted for who you are are as relevant now as they were when the show premiered.

La Cage aux Folles wraps it’s three-week run with a final matinee at 3pm Sunday, February 2. CLICK HERE for tickets, or purchase them in person at Z. Alexander Loopy Theatre (2301 Rosa Parks Blvd. Nashville TN) one hour before curtain.

Up next at Circle Players as their 70th season continues is A Raisin in the Sun directed by Clay Hillwig, onstage at The Looby, March 20-April 5. CLICK HERE for tickets or more information. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter 

If you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook.

Rapid Fire Q&A with 2019 Clash of the Playwrights winner Jenny Wallace and cast members Jenny Norris and Curtis Reed; Wallace’s original farce, ‘Schooled’ debuts at Chaffin’s Thursday and Friday, January 23 & 24

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As the venerable theatre has done since 2017, Chaffin’s Barn held their annual Clash of the Playwrights competition midway through last year and announced Jenny Wallace’s Schooled as the 2019 winner. Part of the prize being a full-scale production on-stage at The Barn. Directed by Joy Tilley-Perryman, Wallace’s winning play, Schooled, a comedy farce, centers ‘round high school Principal Ramonda Clark as she juggles a typical day overseeing  summer school with the nonstop visitors to her office. Cast in the lead Jenny Norris, a favorite amongst Chaffin’s patrons. Alongside Norris is Curtis Reed—another fan favorite at Chaffin’s—cast as not one, but two fellow faculty members, Yanis, the vaguely foreign science teacher and Crawford Broderick, the eclectic drama teacher. 

Not only is the aforementioned Perryman directing, she also appears as three separate characters within the show. Adam Burnett also plays a myriad of characters and Daniel Devault appears as the Dean of Students. Rounding out the cast are Mileah Milstead, Daniel Keith Bissell, Annie Magan, Reyna Troi, and Mike Scott cast as several students, janitors, Parents, delivery guys and more. Aside from his role as the dean,  Daniel DeVault is also the show’s lighting director. Other behind-the-scenes assists are courtesy stage manager, Addison Oelze and technical director, Robin Lawshe. 

Having grown up with a Mom who was the assistant librarian at my high school, Schooled seems like it might hit a bit too close to home for me not to enlist playwright Wallace and co-stars Norris and Reed for yet another addition of my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE WITH SCHOOLED PLAYWRIGHT, JENNY WALLACE

Playwright Jenny Wallace

JHP: How did you come to enter Chaffin’s Barn Dinner Theatre’s Clash of the Playwrights?

JENNY WALLACE: I had wanted to submit a play to Clash of the Playwrights in previous years, but I wasn’t paying close enough attention and missed the deadline two years in a row. This year I had my act together (as much as it can be) and submitted my script, although Schooled is not the script I was going to submit previously.

JHP: How did you find out you had won this year’s competition?

JENNY WALLACE: I think I was on vacation in Florida late in the summer when I got a text from Joy Tilley Perryman telling me I had won.

JHP: Where did the idea for Schooled come from?

JENNY WALLACE: When I teach playwriting to my students, I have them write short plays (5-7 pages) and insist that their plays be set in a school. Every time I teach the unit I vary my instructions just a bit. Each time they write a play I write my own play alongside them, following my own instructions. (To see if they make sense lol.) Some of the vignettes in Schooledwere born from this process, others have some roots in my own personal experience as an educator, and some of them are brand new. At the same time that I was putting the script together, I had the phrase “strong woman” rolling around in my head and it bothered me. That phrase implies that all women aren’t strong. All of the women I know are strong, their strengths just manifest themselves in different ways. So, I decided to make the story about a capable, confident woman just trying to do her job. But Ramonda, the high school principal and protagonist of the play, isn’t perfect. She tries to be all things to all people in her work life, but her relationships with her family sometimes suffer for it. I hope that the audience—especially women—will see some of themselves in her.

JHP: Having appeared in shows at Chaffin’s yourself, how does it feel to know your show is in such capable hands with director Joy Tilley Perryman and her cast?

JENNY WALLACE: I did my first show at Chaffin’s in 1994, and Joy came to the barn shortly thereafter. So, I have known her for a really long time! I am so excited that she is directing the play. She knows both the Barn “style” and my sense of humor, and I think she will marry the two well. The cast also contains quite a few of my friends, actors whom I have worked with, and who’s work I admire. As an actor myself, I tried to write characters that actors would be excited about playing. Joy has put together a fantastic cast and I can’t wait to see the show!

RAPID FIRE WITH SCHOOLED STAR, JENNY NORRIS

“Schooled” star Jenny Norris as Ramonda Clark

JHP: You’re cast in the lead role of Ramonda Clark in Schooled. What can you tell me about her?

JENNY NORRIS: She is like a lot of working moms. Dedicated to her work and the lives of the students she interacts with but sometimes has difficulty juggling it with her family  life. She is fair and caring, hardworking and kind. Deep down she is a little jealous of the drama teacher though.   

JHP: Many of your co-stars appear in multiple roles within the show. How chaotic does it get remembering who’s playing whom?

JENNY NORRIS: It was at first for sure! And so many people come in and out of my office there were plenty of times when I had no idea what scene was about to happen and just stared blankly at them. But I work with the best of the best and they were always good at saving me when they would see the terror in my eyes! 

JHP: What’s your favorite part of bringing a character to the stage from a new work, as opposed to playing a more well-known role with which the audience is already familiar?

JENNY NORRIS: Supporting new works is very important to me so I was thrilled to have the opportunity to be a part of it. And while I love bringing any character to life with my own version, starting from scratch really gives a unique freedom that I don’t get too often. It’s been fun to take hints from the text and my interactions with the characters my co actors have created to make a real person I feel people will relate to and sympathize with.

RAPID FIRE WITH SCHOOLED CO-STAR, CURTIS REED

“Schooled” co-star Curtis Reed

JHP: Is there a certain added sense of pride in being part of Schooled, considering you know the playwright?

CURTIS REED: The first show I ever did at Chaffin’s Barn was with Jenny Wallace. I have done several shows with her since. I have a special place in my heart for her and I love the fact that I get to be a part of the inaugural performance of her original play. It’s quite funny, and as someone who has taught in some capacity since the age of 17, I FULLY relate to what happens to the main character in this piece.

JHP: You’ve touched on this a little, but, how exciting is it to be part of a new play as it makes its Chaffin’s Barn debut?

CURTIS REED: VERY! No one has interpreted these characters yet so you get to be the pioneer in a way and trailblaze with how people will see these characters for the first time. You even get the chance to create something so iconic, that the writer might go back and add ad-libbed lines or nuances you created for the character into the script, so it is forever there. 

JHP: What can you tell me about the characters you play in Schooled?

CURIS REED: I am definitely a large part of the funny in this show, thanks to how my characters are written by Jenny Wallace. I play Yanis, the indeterminately foreign science teacher who thinks it’s in his best interest to warn the principal that the videos he is watching are of an educational nature….. I don’t want to give too much away. Then I play the very eccentric and out there drama teacher (Typecasting?) where I get to sing at the top of my lungs and be wild and crazy. It’s very freeing and what we have created on stage is sure to please. Of course, having Jenny Norris as your scene partner just makes everything that much easier to experiment and play around. 

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Chaffin’s is presenting the World Premiere of Schooled with a matinee performance Thursday, January 23 and an evening performance on Friday, January 24. The Thursday Matinee is a free performance to all industry people. CLICK HERE or Call 615.664.9977 for reservations, ticket prices and more information.

Next up at Chaffin’s is The Barn Dating Game, a live, local twist on the classic TV gameshow on stage for one night only on Saturday, February 1. CLICK HERE for tickets or more information. Then, from February 6-29 Chaffin’s will present Breaking Up Is Hard to Do, a musical featuring the songs of Neil Sedaka. CLICK HERE for tickets or more information.

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.

If you’ve enjoyed this edition of Rapid Fire, CLICK HERE to check out previous conversations. 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: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

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If you read my column with any regularity, you know in addition to my love of musical theatre, I also have a penchant for classic Hollywood musical movies, so you can imagine my excitement when I learned Chaffin’s Barn Dinner Theatre was presenting their take on the stage adaptation of Singin’ in the Rain. That’s right…two of my obsessions…1950s musical movies and and all-out tune-filled stage extravaganza rolled into one.

Having seen a simply lovely production of the show in nearby Cannon County at the beginning of this year, and even though Singin’ in the Rain is one of my all-time favorite musicals, second only to the stage adaptation of the seasonal favorite, White Christmas, I honestly wasn’t sure what to expect of Chaffin’s take, but from the first notes of the show’s familar Arthur Freed/Nocio Herb Brown-penned overture, as skillfully executed by Chaffin’s musical director and keyboardist, Rollie Mains, woodwinds by Raymond Ridley, Neal Johnson on bass and drummer Dan Kozlowski, any slight trepidations were quickly laid to rest.

The stage version, like the original 1952 feature film, with screenplay by Betty Comden and Adolph Green tells the story of late-1920s silent film superstars Don Lockwood and Lina Lamont, who have been built up in the press, and by their studio, as romantic leads on…and off…the screen. Truth be told, they ‘caaaaan’t stan’ each other. There’s also Lockwood’s best bud, and frequent piano accompanist who plays the silent films musical soundtracks for the studio recordings, Cosmo Brown. He’s less than enchanted by Lamont and her diva-like ways and seems to always be looking out for his buddy’s romantic future. Further complications ensue with the advent of talking pictures. Not so much a problem for smooth and swarthy Lockwood, but for Betty Boop-voiced Lamont, that’s another story altogether. Enter young, inexperienced chorine, Kathy Selden, having just arrived in Hollywood from the legitimate stage, Selden is biding her time in the chorus until her big break. After a dismal preview of Lockwood and Lamont’s first talkie, The Dueling Cavalier, during which the audience laughs at Lamont’s fingernails on a chalkboard voice, Selden’s big break comes when Lockwood and Brown cook up a scheme to have Selden record her voice and dub it over Lina’s screech.

Fans of the film know it featured an all-star cast of Gene Kelly, Donald O’Connor, Jean Hagen and Debbie Reynolds, so you can image those being some pretty big dancing shoes to fill. To her credit, director Jenny Norris has packed Chaffin’s Singin’ with quite the who’s who of actors, most of whom are familiar to Chaffin’s patrons.

Matt Moran as Don Lockwood in Chaffin’s “Singin’ in the Rain”
(all photos by Michael Scott Evans/Courtesy Chaffin’s Barn Dinner Theatre)

Starring as Don Lockwood, the Gene Kelly role, for those familiar, is Matt Moran, most recently seen on Chaffin’s stage as the less-than-charming Glenn Gulia in The Wedding Singer. While I absolutely love Gene Kelly, especially in Singin’ in the Rain, I have to tell you, from Moran’s first entrance as Don Lockwood, I couldn’t help but notice, his matinee-idol looks and his overall command of the stage. Sorry, Gene, but Matt just might be my new favorite Don Lockwood. With a show full of wonderful tunes and numerous Lockwood-centric moments, Moran constantly shines like the star he’s play. While Moran’s bio indicates he made his stage debut at age eight, I’ve only recently come to know his work, so I knew holding his own against Curtis Reed as Cosmo Brown, Don’s best friend and former performing partner…the Donald O’Connor role in the film…would be a challenge. Spoiler Alert: Moran keeps up the pace and is the perfect compliment to his talented second-banana.

Speaking of Reed, not only is he a great comedic sidekick, and a uber-talented hoofer, he’s also the show’s choreographer. When I first saw the stage adaptation not long after its Broadway debut in the mid-80s, iconic choreographer Twyla Tharp had lovingly crafted dance sequences that paid homage to the original film moves by Kelly himself. Reed, as talented a choreographer as he is a dancer has done what might otherwise seem impossible, finding his own moves nestled smartly between the two, and I applaud that. 

Jenna Pryor as Lina Lamont With Kelsey Brodeur as Kathy Selden) in Chaffin’s “Singin’ in the Rain”

Cast as Lina Lamont is Jenna Pryor, one of my theatre crushes, having starred in a variety of local theatre productions ranging from Disney princess, Belle in Beauty and The Beast, to Leslie in American Idiot. Heck, on Chaffin’s stage alone, she’s been seen in a couple of Southern Fried productions, as well as Freaky Friday and Mamma Mia. Sporting a platinum blonde Harlow-eque wig and some form-fitting dangerous curves ahead costumes, courtesy the show’s costumer, Tammie Whited, Pryor perfectly transforms herself into the quintessential not-so-dumb-blonde and I’m here for it. I’m just gonna be honest, I couldn’t stop grinning from ear to ear from her first line on.

Rounding out the major players is Kelsey Brodeur as Kathy Selden. The native Atlantan, former New Yorker and recent Music City resident might be a relative newcomer to Chaffin’s, having appropriately made her Barn Dinner Theatre debut as Star to Be in their recent spectacular production of Annie, but Brodeur has appeared in a number of regional productions in and around the Syracuse area where she studied musical theatre and I’m here to tell you, she’s definitely one to watch. As Kathy, Brodeur finds the sweetness of Reynold’s girl-next-door, coupled with just enough sass and smarts to find what she wants and go for it.

From the show’s opening sequence, Fit as a Fiddle, which establishes the longterm friendship of Lockwood and Brown by way of ‘home movies’ projected on screens the roll down from the two corners of the stage to the mid-show literal show-stopping title tune and on to its all-in reprise at the final, Singin’ in the Rain is jam-packed with marvelous musical moments. 

Among my personal favorites in Chaffin’s production, first there’s You Stepped Out of a Dream, performed by Moran’s Don Lockwood, complete with beautiful harmonies courtesy an ‘only in a musical’ seemingly impromptu street chorus of passers by. Let’s be honest. Who wouldn’t swoon to a croon from this guy?

Kelsey Brodeur, Matt Moran (and Jenna Pryor) in Chaffin’s “Singin’ in the Rain”

Then there’s my absolute favorite number in the entire show…no, not THAT one…I’m talking about Kathy’s infectious musical entrance, All I Do is Dream of You. It’s sweet, it’s cute, it’s ironic, since she and Don aren’t exactly chummy at this point and with Brodeur’s lovely voice, a kick line of gorgeous ensemble members and Reed’s dynamic choreography, it’s perfect. 

Next on the highlight reel is Reed’s guffaw-inducing comic song and dance, Make ‘Em Laugh. Due to the confines of the space, Reed accepts the challenges and reigns victorious in a number filled with slapstick pratfalls, a great tune and some fancy footwork.

With a first act that’s nearly 90-minutes in length (as my sweet mother can attest, it flies by thanks to the fabulousness of the music, the saccharine storyline and the dedication and talent of the cast) there’s one great sequence after another. Beautiful Girls, features Daniel Bissell surrounded by…well…beautiful girls, including ensemble members, and three of my theatre crushes, Christina Candilora, Jenny Norris and Christen Heilman, in an homage to Busby Berkeley and Florenz Ziegfeld.

You Are My Lucky Star, another fan favorite, which ironically wasn’t written for the film, but rather first appeared in Broadway Melody of 1936, is among Brodeur’s most glorious vocal moments. I love that the stage musical restores the intro to the song and Brodeur’s sweet intonations fit it perfectly.

Speaking of perfect, You Were Meant For Me, in which Moran’s Don takes Brodeur’s Kathy behind-the-scenes of the movie studio, is just that…prefect. During this number, our romantic leads trip the light fantastic to more of choreographer Reed’s fancy footwork. With the aide of a large fan, fog machine, some mood-enhancing lighting, a ladder and some movie magic imagination, the relatively empty lot transforms into a balcony scene of love to rival that or Romeo and Juliet…at their happiest. Of course this scene, nor any other could come off as perfectly were it not for the real behind-the-scenes work of properties manager, Joy Tilley Perryman, technical director, Robin Lawshe, lighting designer, Daniel DeVault, audio engineer, Kaitlin Barnett and video courtesy Russ Sturgeon Productions/RSVP. On that subject, in addition to the aforementioned ‘home movies’ seen at the top of the show, RSVP’s handiwork is also seen throughout the production as the audience is treated to several Lockwood and Lamont moving pictures of both the silent and talking varieties, to much delight.

Back to the musical highlights…Reed and Moran team up for Moses Supposes, with Bissell as their straight man during a tongue-twisting, toe-tapping, tap-tastic musical delight, then Reed and Moran are joined by Brodeur for yet another of my favorite musical moments from the piece as they do a little spectacular couchography whilst singing Good Morning. Yes, it’s still my go-to wake-up alarm song.

Matt Moran, Kelsey Brodeur and Curtis Reed in Chaffin’s “Singin’ in the Rain’

This brings us to THE legendary, iconic, stupendous moment of the show…That’s right…Act 1 concludes with the title tune, Singin in the Rain. When I posted on social media that I was attending the show last weekend, a friend, who had seen the original touring production with me back in the late-80s/early 90s, who also just so happens to be a theatre professor/actor and talented director in his own right, commented asking “Does it Rain?” to which I responded, “Does it EVER”. 

As if Chaffin’s magic stage weren’t awe-inspiring enough, during the pinnacle moment of this number, thanks to some creative handiwork from Chaffn’s beloved former owner, John Chaffin himself, it not only rains it pours! As Moran’s Lockwood sings the show’s most familiar tune, it rains along all four sides of the square stage. Shoot, director Norris, during her welcoming remarks gave a little warning to audience members seated along the four sides of the magic stage that they might get a little damp, giving a whole new meaning to immersive theatre. Moran amps up the vibe even more by playfully kicking and dancing in the rain, causing it to splash towards those seated nearby, but just like a kid stomping in puddles, no one minded getting a little damp, especially considering the shower of talents they were witnessing. As the song’s lyrics say, “Come on with the rain, I’ve a smile on my face!” True Confession: I was so moved by the spectacle of it all that my eyes might have rained a little too. When the lights came up, my Mom looked at me and asked if my allergies were bothering me. A little embarrassed at just how much I love a great live musical that moves me to tears, I simply nodded yes. 

Following intermission, the music continues, but it’s plot that takes center stage as Lina finally clues in to Don, Cosmo and Kathy’s plan to dub her voice. While the second half of the show has it’s share of pleasing musical moments, Kathy’s Would You, Don’s Would You response and Don, Cosmo and company’s Broadway Melody (including the aforementioned mod dance sequence), it’s Pryor as Lina for What’s Wrong with Me that pretty much steals the second act. While Lina is predominately played strictly for laughs with her helium voice, couple with a decidedly east coast, street-wise vernacular, What’s Wrong With Me actually makes the audience feel just a little compassion for the show’s blonde baddie. Just when you’re feeling sorry for Lina, it’s back to laughing at her, thanks to the inclusion of a bit of what I’m naming skip-ography. Again….when Pryor’s Lina is on stage, I can’t stop laughing.

As is the case with any Hollywood musical worth its salt, by play’s end, everything’s tied up in a nice package just in time for the boy to get the girl as they reprise You Are My Lucky Star and the entire ensemble descends upon the stage for one final encore of the title tune.

Kudos to director Norris, choreographer Reed and everyone at Chaffin’s. Time after time, show after show I marvel at how the company seamlessly navigates what is a relatively small, albeit magic stage—yes, it still descends from the ceiling and I’ll never get over the awe of that feat alone.

The fantastic leads, with noteworthy assists from the entire cast—including Greg Frey as movie mogul RF Simpson, Nick Spencer as Rosco Dexter, Daniel Bissell as Production Tenor, Gabe Atchley as Rod, the always brilliant Katie Bruno doing double-duty as both Dora Baileyand Miss Dinsmore, Gabe Atchley as Rod and ensemble members: Seth Brown, Christina Candilora, Christen Heilman, Josh Innocalla, Benny Jones, Bethanie Lyon, Brooke Mihalek and Emmy Peurta—coupled with Reed’s double-duty as choreographer and co-star, all helmed by Norris, who not only director, but also appears on-stage as Zelda Zanders, it’s all a marvel.

Just before curtain on the night I attended, Norris, a veteran of the stage and a favorite at Chaffin’s, informed me that this show marked her directorial debut. With her winks to the gorgeousness of the original film and Reed’s choreo that includes everything from nods to the lush hyper-produced spectacles of the aforementioned Berkley and Ziegfeld, to the inevitable modern dance sequence that’s included in just about every mid-century musical, Chaffin’s Barn’s Singin’ in the Rain is just about as perfect a stage musical extravaganza as you’re likely to see outside of Broadway itself. 

Oh, and don’t forget…while I mostly refer to the venue as Chaffin’s Barn, their full name is Chaffin’s Barn Dinner Theatre! Ever since the change in ownership, the dinner aspect has vastly improved, offering patrons who choose the dinner and show tix the choice of either a huge variety of buffet items, or the option to order from their equally delicious ‘a la carte menu.

Chaffin’s Barn Dinner Theatre’s Singin’ in the Rain continues on the mainstage with shows through November 30. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While Singin’ in the Rain continues through November 30, A Tuna Christmas begins at Chaffin’s Backstage with shows November 29-December 21, CLICK HERE for tickets or more info. Following Singin’ in the Rain, Chaffin’s will present Sanders Family Christmas on the Mainstage from December 5-21. CLICK HERE for tickets or more information. As they always do during the holidays, Chaffin’s will also present a show specifically aimed towards the younger audience as they present Jingle All The Way with Friday and Saturday shows from December 6-21. This special holiday treat is only $10 a person with kiddies two and under admitted FREE. Call the box office at the number above for details or to purchase tickets.

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.

Rapid Fire 20 Q with the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

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For nearly 100 years, popular culture has had a soft spot for the precocious yet lovable curly-headed orphan girl known simply as Annie. From her 1924 debut as cartoonist Harold Gray’s main character and the star of her own Broadway show, which premiered in 1977, on to 1982’s beloved film adaptation featuring Aileen Quinn, Albert Finney, Carol Burnette, Ann Reinking, Tim Curry and Bernadette Peters and even popular, abeit less successful redos in 1995, 1999 and 2011, Annie and her wide-eyed optimism remains a positive and uplifting reminder that the sun will in fact come out tomorrow. Well, lucky for Nashville theatre audiences, they don’t have to wait for tomorrow as Chaffin’s Barn Dinner Theatre’s Annie opens today, July 11 and runs through August 3.

Earlier this week, with the show’s opening only a day away, I had the opportunity to chat with the show’s director, a few of the adult co-stars and both you actresses who’re playing Annie for my latest Rapid Fire 20 Q interview. That’s right, because of the rigors of this tune and dance-filled show, Chaffin’s is working with two youth casts. What follows are my conversations with Ava Rivera and Elle Wesley—the two Annies; Joy Tilley Perryman, the shows director; Galen Fott, who plays Daddy Warbucks; Jenny Norris, who’s appearing as Miss Hannigan and Curtis LeMoine, cast as Rooster.

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RAPID FIRE 20 Q WITH CAST AND CREW OF CHAFFIN’S ANNIE

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

JHP: How excited are you to be playing Annie at Chaffins?

AVA RIVERA: I am so thankful to God and Chaffin’s for the opportunity to play my dream role of Annie! This theatre is well known so this is a very big deal for me. I love working with everyone there especially my new friend Elle Wesley. I hope I can someday perform at Chaffin’s in the future! 

JHP: What’s it been like working with Rufus, the dog who’s playing Annie’s canine pal, Sandy?

AVA RIVERA: Rufus is one of the sweetest and cutest dogs in the world. We worked real hard together to be a great team. I’ll let you in on a secret, He is the real star of this show! 

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

JHP: What’s the best part of being Annie at Chaffin’s?

ELLE WESLEY:  That’s difficult because there are so many fun things!  If I had to choose it would be all the friends I have made and the new people I have met.  I will always remember the connections I have made with the orphans, Sandy the dog, all the servants, Grace, Warbucks, EVERYONE! That’s the best thing about being Annie – you get to connect with EVERYONE in the cast at some point in the show.  We really have fun together and it shows on stage. The smiles and laughter are all very real.  It’s a great cast and I feel really blessed to be a part of it!

JHP: Hard Knock Life is one of my favorite Annie moments. Are you enjoying working with the show’s choreographer, Miss Lauri Dismuke and the other orphans during this sequence?

ELLE WESLEY:  Oh yes!  It’s one of my favorite moments too!  I have made such good friends with the orphans especially the ones I have to hate like Pepper, July, and Duffy.  And I LOVE Miss Lauri!  She is so helpful and encouraging to all of us.  She worked really hard with us to make sure that song was really fun for the audience to watch.  There are a lot of twist and turns and tricks that are really cool.  It’s one of the best parts of the show.

RAPID FIRE WITH CHAFFIN’S ANNIE DIRECTOR, JOY TILLEY PERRYMAN

JHP: With two young actresses playing Annie and two separate youth cast as the orphans, what has the rehearsal process been like?

JOY TILLEY PERRYMAN: We started with the orphans and the Annies a week before the adult cast came on board. We called that week Annie Camp and we had a blast. It really helped make the process so streamlined. On the day of the table read, the orphans were ready to blow away the adult cast with Hard Knock Life!

JHP: If memory serves me, I believe Annie was last mounted at Chaffin’s in 2011. What is it about the show that makes it a classic crowd-pleaser time and time again?

JOY TILLEY PERRYMAN: It is such an optimistic show. It is a feel good story and a rags to riches tale. See also, cute kids! And adorable dogs!

JHP: Which leads perfectly to my next question…They say to never work with kids or animals in show business, yet here you are directing a show about a girl and her dog. How’s that working out for you?

JOY TILLEY PERRYMAN: It is actually going great. I get along well with both those groups, kids and dogs, so here we are.

JHP: As the director, is there a particular scene that you’ve put your particular spin on that you’re especially proud of, or think ‘THIS is MY Annie’ while watching from the sidelines?

JOY TILLEY PERRYMAN: I think I do have a distinctive style when it comes to comedy, so there are a couple of scenes, that definitely have my fingerprints all over them, but I am going to let you watch and pick them out!

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

JHP: A few days ago, on your social media, you posted your transformation to the clean-shaven, bald-headed Daddy Warbucks. I commented on your post that I had just been talking about you and the role. Kudos to you for going all in on the physical look. Nothing I hate more than someone playing Warbucks with a head full of hair. Is this physical transformation the most extreme you’ve gone through for a character?

GALEN FOTT: The only thing that comes close was going to the opposite extreme. About 30 years ago, right after doing my only other show at the Barn (The 1940’s Radio Hour), I played the Hairy Man in Wiley and the Hairy Man at Nashville Children’s Theatre. Scot Copeland helped me design my wonderful makeup, which included fake full beard, fake bushy mustache, fake long straggly hair, fake eyebrows, and fake nose. I was a shaggy sight! Yet underneath it all — for the show’s final moment when the Hairy Man loses his hair — I had to wear a bald cap, making for an extremely hot performance. Actually shaving for Daddy Warbucks is a much cooler option!

JHP: Because of the dual casts, you are working with two Annies. Let’s play a little word association. In a single word, how would you describe each of your pint-sized leading ladies?

GALEN FOTT: Now, that’s tough. Both these girls are so wonderful, it’s going to be necessary for everyone to attend the show twice so they can see them both. But they do have their unique qualities, and while both girls embody both of these words, if you’re going to pin me down I’ll go with:

Ava — spunky

Elle — determined

JHP: Of course Annie isn’t your only on-stage love in the show. There’s also Grace, Daddy Warbucks’ faithful assistant. Natalie Rankin is playing Grace. What’s she like as a scene partner?

GALEN FOTT: Natalie is spunky, yet determined. No wait, sorry, that’s Annie…ah, Natalie! She is completely amazing. I just saw her in Street Theatre Company‘s Hedwig and the Angry Inch, playing a character as far from Grace Farrell in Annie as you could possibly get. She’s totally believable and compelling in both roles. Natalie wasn’t as familiar with Annie as I was, from having listened to the cast album since I was 13 (and desperately wishing it was called Andy instead). So it’s been illuminating for me to work with Natalie in reexamining the slightly sketchy Warbucks/Grace relationship from a more contemporary viewpoint.

JHP: What’s Daddy Warbucks’ most redeeming quality?

GALEN FOTT: I’d say “open-mindedness”. He’s initially reluctant to have Annie spend the Christmas holidays — he was anticipating a boy orphan — but he quickly grows to love her. A Republican himself, Warbucks is at first resistant to F.D.R. and his policies, but he’s willing to reconsider and work together for the betterment of the country. Single-mindedly committed for decades to making money, he’s still able to reexamine his life and find a place for loving relationships with Annie and Grace. Who knows…maybe one day he’ll reconsider that hairstyle!

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

JHP: Last time I attended a show at Chaffin’s, you shared with me your slight apprehension of playing the baddie, Miss Hannigan in Annie. Have you since embraced the villainy?

JENNY NORRIS: Well my nervousness was more based upon the typical portrayal of Miss Hannigan being outside much of what I’ve had the opportunity to play thus far in my career. I wanted to create my own version of Miss Hannigan that served the story but also stayed true to the parts of her I discovered within my own understanding to how this woman ended up cynical, desperate, and unkind, without doing an impersonation of the great portrayals that came before me. I hoped to create a real person, not a caricature and I hope I have done that, villainy and all.   

JHP: Do you find yourself going out of your way to be sweet to the young cast members when not on stage camping it up as Miss Hannigan?

JENNY NORRIS: They are easy to be sweet to as they work really hard and are great kids. I think to some extent, I’ve stayed a little more distant bc I want their characters to feel some nervousness onstage in our scenes.  I want them to see Miss Hannigan when they see me, not Jenny, even though I would like to give em a big hug when we leave the stage and I have just screamed at them. 

JHP: Is Miss Hannigan simply misunderstood? Is there a heart in there somewhere?

JENNY NORRIS: I feel she was raised to believe the way you get ahead in life is to lie, steal, and cheat. She is a romantic that hopes to find love but has been used and tossed away her whole life and that has further solidified her belief that she has to be out for number 1, always. At some point she winds up in charge of all these orphans and its a constant power struggle. In her mind, them versus her. She IS the villain: cruel, selfish, cynical. But there are reasons why she ended up there. 

JHP: Of course the optimistic anthemic Tomorrow is the show’s most recognizable number, but the show has several memorable musical moments. Miss Hannigan’s Act 1 number, Little Girls is my personal favorite from the entire show. What can you tell me about working with the show’s musical director, Rollie Mains?

JENNY NORRIS: I love working with Rollie! He is so talented and always attacks everything from the perspective of telling the story first and foremost. He gives you the freedom to develop your character and sing your songs in a manner that fits that character you have created. He gives you important things to consider and guidance when needed, but the lead-way to feel uninhibited in your creativity. But trust me, he will reel you back on in if you get too far out there! 

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

JHP: Rooster is a scamp and a con-artist. Basically the polar opposite of you. What’s it like to play such a rascal?

CURTIS LEMOINE: I love playing the bad guy, especially if there is a comedic aspect to the character! Believe it or not, I have played several notable villains, or villains-by-proxy: Lord Farquaad, LeFou, Joey and now Rooster. Rooster is particularly ruthless though. While Miss Hannigan is looked upon as the main villain, Rooster is the one who decides to do away with Annie while Miss Hannigan shows a moment of remorse. 

JHP: As Rooster, your paired on-stage with Christina Candelora, who plays Lily St. Regis. You’re both among my theatre crushes. What’s among the perks of sharing stage time with her?

CURTIS LEMOINE: Christina is a joy to work with! She is not afraid to make bold choices and is a great scene partner to try gags with and physical comedy with. Not to mention, she is an absolute bombshell so I’m quite flattered to be her onstage squeeze!

JHP: Rooster and Lily’s big number is Easy Street. You two share it with Miss Hannigan. How would you categorize this epic musical moment, as presented by you three?

CURTIS LEMOINE: As a kid, watching all the animated Disney films, I was always enamored by the songs that all the villains got to sing. You can argue if you’d like but quite honestly, I think the villains always got some of the best songs in those movies. This is no different. I look at it as a chance for the three of us to have our big show-stopping Disney villain number. And we aim to please! The staging, the choreography, and the added harmonies we have worked out with Rollie Mains are spot on and we cannot wait to share it with a live audience. 

JHP: Anyone who knows you, or has had the pleasure of seeing you spark the stage dancing as if your life depended on it in recent shows like Chaffin’s Kiss Me, Kate and Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, likely knows you’re a skilled dancer and choreographer. On the subject of choreography, Lauri Dismuke is helming that aspect of the show. Can you sneak peek any choreo moments to watch out for in Annie?

CURTIS LEMOINE: I am so impressed with both casts of Orphans that we have! Both Hard Knock Life and Never Fully Dressed Without A Smile are definite numbers to watch out for because those kids are working it! The ensemble in this show is fairly new to The Barn but we have some fabulous movers in this cast and Hooverville is definitely a number that is quirky, filled with character, and is super fun to watch. And of course, we have a lot of my favorite style of dance in this show….. TAP!

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Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. 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.