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Theatre Review: Gloria and Emilio Estefan musical ‘On Your Feet’ at TPAC thru Sunday

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On Your Feet opened the Nashville leg of its current National Tour on Tuesday, January 15 at TPAC’s Jackson Hall. The high-octane biographical jukebox musical—whose subheading is The Emilio and Gloria Estefan Broadway Musical—continues in Nashville with performances through Sunday, January 20.

Directed by Jerry Mitchell, On Your Feet begins even before the curtain rises, giving the feel of a attending an electrifying concert full of laser lights swirling, spotlights bouncing and the familiar beat of Gloria Estefan’s 1987 mega-hit, Rhythm is Gonna Get You, informing the audience of just that. With a story that’s true, albeit conveniently told through a slightly contrived book by Alexander Dinelaris, it’s the soundtrack of hit after hit after hit produced and recorded originally by Gloria, her husband Emilio Estefan and The Miami Sound Machine that’s the guiding force behind this musical extravaganza.

“On Your Feet” stars Christie Prades and Eddie Noel flanked by young co-stars Ana-Sofia Rodriguez and Jeanpaul Medina Solano (Image via prpop.org)

Christie Prades stars as Gloria, and, as of Tuesday’s Nashville debut, co-stars Eddie Noel as Emilio. Noel having previously been featured in the show as Gloria’s father, Jose Fajardo. Prior to headlining the current touring company, Prades was part of the show’s Broadway run as understudy for the lead and a member of the swing cast. In the spotlight, Prades not only embodies the physicality of the real Gloria Estefan, but she also perfectly matches the seven-time Grammy-winner’s deeply soulful vocal skills and that unmistakable way the beloved singer often switches octaves within a single note. As for her newest co-star, Noel’s handsome features are only surpassed by the equally impressive richness of his vocals, making the audiences quickly forget that Nashville marks his debut performance as the male lead.

Other stand-out performances amongst the cast include Nancy Ticotin as Gloria’s mother and Alma Cuervo as Consuelo, Gloria’s grandmother. Cuervo, who originated the role of Gloria’s grandmother when the show debuted on Broadway steals every single moment she’s onstage.

Speaking of scene-stealers, the younger members of the cast include Jeanpaul Medina Solano and Jordan Vergara sharing responsibilities as Young Emilio (and various other young boys throughout the show) and Ana-Sofia Rodriguez and Carmen Sanchez alternating as Little Gloria.

While the story of On Your Feet is a bit predictable, especially for anyone who grew up in the era of Miami Sound Machine and the rise of Gloria Estefan’s career from Latin sensation of cross-over legend, it’s absolutely the Rhythm that’s Gonna Get You. To that end, rather than musicians being hidden away in the orchestra pit, as is standard practice for a touring musical, On Your Feet showcases the musicians on stage and what a group of musicians they are!

This show band isn’t just any show band, for the National Tour of On Your Feet features multi-Grammy-winning musicians from actual Miami Sound Machine roster, including Music Director Clay Ostwald (keyboards), who is Assistant Music Director of Miami Sound Machine, Teddy Mulet (trombone), Mike Scaglione(reeds), Jorge Casas (bass), who is Music Director of Miami Sound Machine, and Edwin Bonilla (percussion). Other members of the orchestra include Emmanuel Schvartzman (Associate Music Director/keyboards), Jose Ruiz (trumpet), Stephen Flakus (guitar), Jean-Christophe Leroy(percussion) and Colin Taylor (drums), keyboard programmer Randy Cohen, associate keyboard programmers Jeremy King and Taylor Williams and music coordinator, Patrick Vaccariello.

As for the story itself, through flashback, On Your Feet takes the audience back to Gloria’s youth in Cuba singing and dancing for her beloved grandfather, we also see a scene in Vietnam where her father listens to a cassette recording of his daughter singing traditional Cuban songs while his fellow soldiers tease him that she should sing some Diana Ross next time. Gloria’s Tradición (a single from Gloria’s 1993 all-Spanish album) is featured during this sequence. As the story unfolds, we learn that her family fled to Miami as Batista was overthrown. Not spending too much time on Gloria’s youth in Miami, a clever scene quickly ages Gloria into an adult pursuing her dreams of performing. This portion of the narrative reveals that as an adult, Gloria was responsible for the care of her invalid father and her younger sister while her mother provided for the family. Perhaps it was her mother’s own dashed dreams of stardom—we later learn that prior to feeling Cuba she was on the verge of signing a Hollywood contract to provide the Spanish-language voiceover for Shirley Temple—or her mother’s unavoidable forced reality, whatever the cause, it’s quickly evident that Gloria’s mother isn’t 100% behind her daughter’s musical aspirations. Luckily for Gloria, her Grandmother felt differently and encouraged her. In a wink of dialogue between Gloria and her Grandmother, her abuela tells her she’d do Anything For You, nicely leading into Gloria performing a stripped-down version of the song.

Gloria quickly catches the eye of Emilio Estefan, who at the time was leader of the regionally popular Miami Latin Boys.  I See Your Smile and Here We Are nicely pair with the action of their budding romance.

Proving formulaic, the musical then switches gears to the typical girl meets boy scenario, even interjecting a few humorous jabs at Emilio’s accent reminiscent of quips frequently used strictly for laughs on I Love Lucy when Lucy would poke fun at Ricky’s heavy accent.

Dr. Beat, which cracked the Top 20 charts in nearly a dozen countries worldwide, cranks up the action and sets the pace for the rise of Gloria’s star.

One of the show’s most memorable moments comes at the end of Act 1 when, in an effort to self-promote, Gloria, Emilio and company play everything from Italian weddings and Jewish bar mitzvahs to Shriner’s conventions in Las Vegas. All set the the infectious blockbuster hit tune, Conga.

Act 2 kicks off with the high-energy Get on Your Feet and just as quickly gets to the drama of the story with strain between Gloria and her mother, and the inevitable retelling of the tragic bus accident that nearly caused Gloria’s life, ability to walk and her career. These plot lines are highlighted by musical interludes as varied as 1991’s Live for Loving You, Oye Mi Canto (from Gloria’s first solo project in 1990) and If I Never Get to Tell You, a song with lyrics by Gloria and music by her and Emilio’s daughter, Emily Estefan, that was written specifically for the musical.

An interesting choice to be sure, when Gloria is taken in for spinal surgery, the audience is privy to a strange dream-sequence akin to the oddly placed Dream Ballet from Oklahoma. Aesthetically beautiful and expertly danced by the ensemble, as choreographed by Sergio Trujillo, it’s just an odd moment in the show, especially at number’s end when Little Gloria joins her deceased relatives…perhaps a metaphor for Gloria’s growth an rebirth after the accident. Nonetheless, it’s just an odd moment.

Speaking of the show’s choreography, whether the sequences call for celebrating in the streets of Cuba, rehearsals for the up-and-coming Miami Sound Machine, full-on Concert scenes, or intimate nights between Gloria and Emilio, Trujillo and the show’s ensemble hit every mark. There’s even a scene in the second act where the ensemble, wearing wooden-heeled sandals perform a sort of tap dance to a traditional-sounding Cuban tune. Pure joy!

Thanks to a talented ensemble, scene-stealing supporting cast and leads who perfectly capture the passions and talents of Gloria and Emilio, as the National Touring company of On Your Feet continues its run in Music City and across the country, audiences are sure to heed the show’s title and get on their feet!

On Your Feet continues at TPAC’s Jackson Hall with performances Thursday, January 17-Sunday, January 20. Thursday evening’s performances begins at 7:30 p.m. Friday & Saturday evening curtain is at 8 p.m. Saturday matinee begins at 2 p.m. and on Sunday, January 20 there will be a 1:00 p.m. matinee and a final 6:30 p.m. performance. Tickets range in price from $50 to $95. Click Here to purchase tickets.

Following the Nashville dates, On Your Feet continues across the country with stops in Minneapolis, Oklahoma City, Memphis, Grand Rapids, Omaha, Dayton, Louisville, Cincinnati, Worchester, Hershey and Ft. Worth through April. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of A Bronx Tale, on stage at Jackson Hall, February 12-17 CLICK HERE for tickets or more information. You can also 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, set designer and cast members of Circle Players’ ‘Avenue Q’; on stage at Looby Theatre January 10-20

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With Circle Players’ Avenue Q opening Thursday, January 10, I thought it would be fun to chat with the show’s director, set designer and members of the cast for my latest Rapid Fire 20 Q. Fair Warning, much like the show itself, the following interviews aren’t exactly 100% kid friendly. (How’s that for extra incentive to read on?)

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RAPID FIRE 20 Q WITH CAST & CREW OF CIRCLE PLAYERS’ AVENUE Q

RAPID FIRE WITH AVENUE Q DIRECTOR, BRIAN JONES

JONATHAN H. PINKERTON: Earlier this theatre season, Circle Players presented one of the first of many area productions of Newsies and now you’re directing Avenue Q, another show that’s proven to be popular with Middle Tennessee theatre companies. What about Circle’s Avenue Q will make it stand out amongst the rest?

BRIAN JONES: When we chose this show over a year ago, we didn’t realize that so many other theatre companies, including a local professional company, would also be producing the show. As such, we decided to think outside of the box to  give our audiences an alternative view of the show. Working with my incredible set designer, Jim Manning, we were able to develop a concept that is a fresh take on the show but still pays homage to the original designs that everyone typically uses. Additionally, we casted this show a bit larger than is traditionally done instead of double casting many of the puppet roles to give more people an opportunity to be a part of this fun show. Overall, we think we’ve put together a show that audiences will love.

JHP: Many of the main characters of Avenue Q are puppets, but the actors controlling them are in full view of the audience. Did this affect your direction for the show?

BRIAN JONES: As a director, my priority was to ensure that the audience pays attention to the puppets and the actors just fade away. That impacted how blocking and staging were developed which many times was counterintuitive to acting without the presence of puppets.

Generally, working with puppets isn’t any Nashville actor’s forte and so learning to make inanimate objects come to life was a  big focus of the rehearsal process. I was fortunate to have previous experience with the show at a theatre in Florida (playing Nicky/Trekkie) where I learned some basic techniques that I was able to share with the cast. But ultimately, the cast spent their own time in front of mirrors perfecting every movement and giving and receiving feedback from myself and with each other.

RAPID FIRE WITH AVENUE Q SET DESIGNER, JIM MANNING

JHP: I asked Brian about directing a show whose cast includes puppets. On a similar note, what challenges did you face in designing a urban neighborhood set inhabited by humans and puppets?

JIM MANNING: Brian allowed me to take a really different spin on this show.  Most sets for this show that I’ve seen (and designed) before have a fairly realistic street scenes inspired by Sesame Street.  I don’t want to give too much away, but the inspiration for this production comes from a different place–a place where puppets and human coexist.

JHP: Your sets frequently include little hidden gems. In Newsies, one such thing was a little hidden panel that slid to reveal an unexpected fun detail. Can you give me a hint of any set surprises in Avenue Q?

JIM MANNING: You know I love a good hinge.  Spoiler Alert: There’s not one hinge on this set.  But the math of it alone took a minute.  Like any Jim Manning set, there’s usually a trick or two hidden in plain sight…

RAPID FIRE WITH AVENUE Q’s KATE MONSTER, CARLY ROSE

JHP: This is your first show with Circle. What’s the experience been like so far?

CARLY ROSE: Working with Circle has been an incredible experience. Not only do I get to work with some of Nashville’s most talented, kind, and hardworking people, but Circle’s board has been extremely supportive and made us all feel very taken care of.

JHP: Tell me about Kate Monster?

CARLY ROSE: Kate wears her heart on her sleeve, honestly, she wears it on her forehead. In everything she does she leads with her heart.

JHP: Prior to being cast in Avenue Q, had you had any experience with puppets?

CARLY ROSE: I had never worked with puppets professionally. I don’t think we can count scaring my little brother with a rubber dog puppet as a child “professional.”

JHP: Ha! Yeah, probably not. How are you least like Kate Monster?

CARLY ROSE: Kate and I have a lot of similarities but she lacks my winning sense of humor and she hates porn.

RAPID FIRE WITH AVENUE Q’s PRINCETON, ALEX PINEIRO

JHP: Like your co-star, Carly, Avenue Q is also your Circle debut. What’s the best part of being in a show at Circle?

ALEX PINEIRO: Circle has been absolutely amazing to work with! Something that’s always drawn me to Circle is the quality of their shows and this is the first opportunity I’ve had to audition for the company! From early on I knew this show was gonna be something special. Everyone is so dedicated to their craft and I hope it’s something that will be seen through the product we’ve all created together!

JHP: You play Princeton. What’s Princeton’s worst quality?

ALEX PINEIRO: Princeton spends most of the show trying to find his purpose in life. He gets so tangled up in trying to find it that he lets life pass him by instead of accepting the fact that it’s okay to not know where your life is headed for a little.

JHP: A quick peek at your bio reveals that prior to Avenue Q, you recently spent 7 months as part of a musical dinner theatre production in Pennsylvania. What was that like?

ALEX PINEIRO: It was amazing! I was working on the original musical The Home Game with Blue Gate Musicals. It’s the longest contract I’ve had to date so far and it really taught me how to keep things fresh and new every night on stage. After all, we performed the show 175 times!

JHP: What’s the most challenging aspect of doing the show with a puppet on your arm?

ALEX PINEIRO: Honestly, getting his mouth to line up with my words. After working it for two hours, I feel like I completed a full arm workout! But, as Brian said in rehearsal one day, he doesn’t want it to look like an old kung foo movie where their mouths don’t line up with their words.

RAPID FIRE WITH AVENUE Q’s LUCY & MRS. THISTLETWAT, TAYLOR SIMON

JHP: You play Lucy the Slut, Mrs. Thistletwat, and a brief turn as Purpose Boxes in Avenue Q.  How much fun are you having in this show?

TAYLOR SIMON: This show has been a dream show of mine for 15 years. Getting to do more than even the traditional double-casting of the show would allow me to do just makes me feel more connected to the show and definitely makes it more fun! I don’t like having a lot of downtime backstage because it takes me out of the story and I get distracted so I’m loving having the opportunity to do so much.

JHP: When not acting, you also appear around town as part of the improv troupe, Lady Bits. Who would make a better addition to the troupe, Lucy the Slut or Mrs. Thistletwat?

TAYLOR SIMON: My gut reaction was  Mrs. Thistletwat, but Lady Bits is a super inclusive improv comedy troupe, so I think they both would be embraced with open arms. They both could bring different aspects and points of view. Mrs. Thistletwat is older, and commands respect, so I think she could very easily command the stage and if a skit was getting off track she could put it back on the rails. Lucy is very quick-witted, and is good at making sharp comeback‘s when she feels insulted. Those skills definitely come in handy in improv comedy when you have to make something up on the spot!

JHP: Who among your Avenue cast mates is likely to crack wise and go slightly off-script?

TAYLOR SIMON: I’m not trying to call anyone out because I think it only adds to the show, but my girl Abigail Nichol playing the girl Bad Idea Bear has added some adorable improvised moments that crack me up!! You can tell she’s having a blast and making it her own and it only makes it better. Love you Abigail!

JHP: If you lived on Avenue Q, which puppet would you want as your roommate?

TAYLOR SIMON: I think I’d want Kate as my roommate because even though she can be “loud as the hell she wants” sometimes, she seems like a genuinely kind, thoughtful person who just wants to help her community.

RAPID FIRE WITH AVENUE Q’s ROD, CLINT RANDOLPH

JHP: Avenue Q is your third show with Circle. What keeps you coming back?

CLINT RANDOLPH: It feels like home. Circle Players offers a supportive environment for performing artists to thrive and express their creativity. Actors are allowed to explore and grow as performers with the guidance of very visionary directors. There is also a tangible sense of camaraderie that develops amongst the cast members throughout the experience. Everyone is  working tirelessly toward accomplishing a single goal: putting on a great show. And Circle Players always delivers a great show.

JHP: In the show, you voice Rod, a closeted, uptight investment banker who lives with his best friend, Nicky. Those familiar with the show know that these two are obvious parodies of Sesame Street’s Bert and Ernie. So…just between us….are Bert and Ernie more than just pigeon pals?

CLINT RANDOLPH: I can’t really say. All I know is that I’ve never seen them on Grindr or Scruff.

JHP: In addition to being an actor, you also teach middle school theatre. Who’s more out of control…the Avenue Q cast mates, or your students?

CLINT RANDOLPH: Definitely the Avenue Q cast. This a crazy bunch of people. But it makes for one helluva puppet show! It’s so much fun to perform this show with them every night. We crack each other up all the time.

JHP: OK, so I’m down to my last question….one more teacher-related question…what lessons do you think Avenue Q has the potential to teach its audiences?

CLINT RANDOLPH: Firstly, don’t take yourself so seriously. Laugh at yourself every now and then. Secondly, appreciate life for its little moments. It’s only temporary. Enjoy it while it lasts.

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Beginning Thursday, January 10 thru Sunday, January 20, audiences have several chances to heed Clint’s words–do just as the above clever advert suggests–and enjoy Circle Players’ bawdy, yet thought-provoking production of Avenue Q at the Looby Theatre located at 2301 Rosa Parks Blvd. Thursday-Saturday shows are at 7:30 p.m. with Sunday matinees at 3 p.m. Thursday tickets are $15. Friday-Sunday tickets are $20. Click Here for tickets.

Following Avenue Q, Circle Players will continue their 69th season with If/Then from March 220April 7 and A Chorus Line from May 31-June 16. Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their current season and news of the company’s upcoming landmark 70th season.

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, Twitter and Facebook.

 

Theatre Review: ‘Peter Pan and Tinker Bell: A Pirate’s Christmas’ sprinkles a little fairy dust on the holiday season; continuing at TPAC’s Polk Theatre thru December 23

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Tegan Marie as Wendy, Diana DeGarmo as Tinker Bell, and Garrett Clayton as Peter Pan in “Peter Pan and Tinker Bell – A Pirate’s Christmas” at the Tennessee Performing Arts Center. (all photos by Derrick Minyard)

While the basic story might be familiar, Peter Pan and Tinker Bell: A Pirate’s Christmas, presented by Lythgoe Family Panto and currently playing Nashville at TPAC’s Polk Theatre, offers a whole new take on the classic. Interestingly, that new take is largely due a centuries old theatrical artform known as pantomime, or panto for short. When most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, panto—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Lythgoe Family Panto’s Kris Lythgoe has written a holiday version of the legendary tales of Peter Pan, Tinker Bell, Captain Hook and the Darling children, brothers Michael & John and sister, Wendy and set it all to tunes ranging from recent hits like Bruno Mars’ Uptown Funk and Rachel Platten’s Fight Song to modern classics like Blue Swede’s Hooked on a Feeling and The Village People’s In The Navy.

John O’Hurley as Captain Hook

What’s more, said chart-toppers are performed by a brilliant mix of talented performers that also run the gamut on the entertainment scale. Case in point, Captain Hook is played to the deliciously sinister tongue-in-cheek max by none other than John O’Hurley. From his memorable 90s gig as J. Peterman, Elaine’s boss at the outdoorsy clothing catalogue company on Seinfeld, and his turn as lawyer Billy Flynn on Broadway and in a more recent national tour of Chicago to his annual TV host duties on Thanksgiving for Purina’s National Dog Show since 2002, O’Hurley has done it all. Heck, he even competed on Dancing With the Stars. As Captain Hook, he’s equal parts villain and ham—the perfect combination for a family-friendly show that manages to keep the adults entertained as well. O’Hurley’s musical moments—both the aforementioned Hooked on a Feeling and In The Navy are presented with his faithful sidekick, Smee and a rag-tag trio of pirates doing their best impersonations of Elvis Presley, John Lennon and Michael Jackson by his side as Captain Hook and the boys earn every single cheer and jeer from the audience. (don’t forget, in panto, audible reaction from the audience isn’t just encouraged, it’s expected)

Mason Trueblood as Pirate Lennon…I’m guessing legal reasons prevent them crediting him as Pirate John Lennon, but I digress…gets the fun of nearly every response he utters also being a Beatles’ song title, just another layer to the show for the grown-up in the audience. Meanwhile, Pirate Elvis as played by Dan Castiglione, offers a hip-swiveling, lip-curling wink to nearby Memphis and Malcolm Buchanan as Pirate Jack (as in Michael Jackson…more legalese, I’m sure) provides some comical moon-walking, crotch-grabbing and high-pitch squealing.

Clarice Ordaz as Tiger Lily

Having nabbed a spot in the Top Five from Season 8 of So You Think You Can Dance, Clarice Ordaz appears in Peter Pan as Tiger Lily, the indian princess who befriends Peter and the Lost Boys. Albeit bordering on political incorrectness…what isn’t lately?…I personally found the character of Tiger Lily and the rest of the indians, in particular their clever choreography, quite funny.

Mason Trueblood and Ben Giroux

Speaking of funny, no one in the show is funnier than Ben Giroux as Smee. Smee is Hook’s figural right hand man (remember the captain’s literal right hand was chomped off by a crocodile). Rather than describing Smee as Captain Hook’s right-hand man, perhaps it’s more accurate to refer to him as his second banana, especially since Giroux is so dang hilarious—Google Back to the 90s for a peek at Giroux’s comedic genius. A huge part of what makes this Peter Panto so enjoyable, at least for the over 12 set, is Giroux’s quick witted delivery. As for the kiddies, they might recognize Giroux as the pint-sized villain, The Toddler from Nickelodeon’s Henry Danger. Several side jokes, many playing to the Music City audience by making reference to Nashville-centric themes, are so slyly delivered by Gireox that if you’re not paying full attention, you’ll miss them. One I found particularly humorous made reference to the fact that Tinker Bell wasn’t the only fairy in the story, but I’ll leave that one alone.

Diana DeGarmo as Tinker Bell

Speaking of fairies—the traditional kind—Tinker Bell is enchantingly, buzzily, brilliantly played by current Nashville resident, Diana DeGarmo. DeGarmo, while perhaps best known for being voted runner-up on season 2 of the original run of American Idol, DeGarmo has gone on to star on Broadway, in national tours and numerous regional musical theatre productions. From her opening duet with Tegan Marie’s Wendy on Nature Boy, DeGarmo sprinkles pixie dust, cheer and an entertaining helping of mischief into her portrayal of Tinker Bell. Diana, if you’re reading this, get to the studio ASAP and record your version of Nature Boy. It is ethereal and simply beautiful. Proving she can belt or ballad, Diana provides the show’s most musically glorious moment when she proves once and for all that big things do indeed come in small packages with her show-stopping rendition of the Aretha Franklin classic, Think. I was lucky enough to have been in the audience a few weeks ago for the December installment of Music City’s monthly Nashville House Concerts when DeGarmo performed a preview of her take on the iconic tune and it was marvelous. Should she ever assume the role of Tinker Bell again, I see #ThinkTink trending! An interesting bit of synergy: As mentioned above, DeGarmo got her big break on American Idol, Among Idol’s original producers— Nigel Lythgoe, who just so happens to be Peter Panto creator Kris Lythgoe’s father)

Tegan Marie and Garrett Clayton as Wendy Darling and Peter Pan

As for DeGarmo’s Nature Boy duet partner, Tegan Marie, who not only is the youngest female singer to sign a major country music record deal since Tanya Tucker, is also making her musical theatre debut with this show. As Wendy Darling, Tegan Marie is, well…darling, indeed. Garnering a huge and very devoted fan base of young girls just like herself, she began her career at a very young age by posting videos of herself covering classic songs, so covering The Chainsmokers Don’t Let Me Down as Wendy in this panto seems like a great way to ease her into musical theatre. Not that she needs to be eased into anything. At only 15, she’s so comfortable on stage in the role of Wendy, that playing Mother to Peter and the Lost Boys is a perfect fit. It’s no coincidence, that among Wendy’s songs in Peter Pan and Tinker Bell: A Pirate’s Christmas, Tegan Marie also performs her own current single, Make a Boy Cry within the show, providing another perfectly synergistic moment.

More Music City synergy comes in the casting of Wendy’s younger siblings, John and Michael, as well as the Lost Boys, as all these roles are played by Nashville youth. Alan Harrison Foeder and Lucas Shane alternating in the role of Michael and Andrew Hansen and Jackson Nolan rotating in the role of John.

Garrett Clayton as Peter Pan

Then there’s Peter Pan himself, played by former Disney heartthrob Garrett Clayton. After achieving success starring in two installments of the Disney Teen Beach Movie franchise, Clayton’s teen trajectory continued with the recurring role of Chase Dillon on The Fosters which aired on the Disney-owned ABC Family/Freeform network and a starring role as Link Larkin in TV’s Hairspray LIVE! Breaking out of the house of mouse, Clayton turned in a surprisingly adult and critically acclaimed performance in King Cobra, a bio pic centering ‘round the adult film industry, alongside James Franco in 2016. in 2017, he co-starred with his Peter Pan co-star Giroux in the previously referenced Back to the 90s and earlier this year Giroux produced Clayton’s hauntingly hot I Put a Spell on You just in time for Hocus Pocus‘ 25th anniversary. While Clayton continues to showcase his range from drama to musicals, Peter Pan is the perfect role. With his boyish matinee idol looks and boundless energy, he scarcely needs the high-flying wires as he leaps across the stage as the boy who’ll never grow up. His musical moments in Peter Pan are just as cleverly interwoven as the rest. Near the show’s opening sequence, Clayton performs Believe, a song made famous by Josh Groban as included in the hit Christmas movie, The Polar Express. With lyrics: “Believe in what your heart is saying. Hear the melody that’s playing” and “Give your dreams the wings to fly” is the perfect Peter Panto anthem. When he joins forces with DeGarmo on Fight Song the audience can’t help but believe that anything can happen second star to the right and straight on till morning.

Peter Pan and Tinker Bell: A Pirate’s Christmas continues its holiday run in Nashville at TPAC‘s Polk Theatre with matinee performances Friday and Saturday, December 21 and 22 at 1 p.m. and Sunday, December 23 at 11 a.m. and evening performances Friday, December 21 at 7:30 p.m., Saturday, December 22 at 6 p.m. and a final afternoon performances Sunday, December 23 at 4 p.m. Ticket prices start at $35, with a limited number of $25 Rush Tickets available 60 minutes prior to each remaining show’s start time. Click Here to purchase tickets.

Following a brief holiday break, TPAC’s Broadway series returns with the Nashville premier of the touring company of On Your Feet! the Story of Emilio & Gloria Estefan onstage at TPAC’s Jackson Hall from Tuesday, January 15 thru Sunday, January 20. Click Here for tickets or more information. You can also 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 cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

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‘Beauty and the Beast” opens at Studio Tenn on Friday, December 7 and continues through Sunday, December 30 (graphics and production images by Tony Matual/MA2LA/courtesy Studio Tenn) Actor headshots courtesy the artists)

For their holiday offering this year, Studio Tenn is presenting Disney’s Beauty and the Beast. As the company readied for the show’s Friday, December 7 opening night at Jamison Hall at The Factory at Franklin, I recently had the opportunity to chat with members of the cast for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH HATTY KING, BELLE IN BEAUTY AND THE BEAST

JHP: Tell me about Belle?

HATTY KING: Belle is a lovely balance of strong and soft. Her mother died when she was young, so she had to grow up quickly to care for her father-this is where her strength comes from- but it didn’t harden her. Instead, it gave her an appreciation for life, and a thirst or adventure. She realizes that life is precious, and she longs to live fully.

JHP: What about Belle’s personality do you most identify with?

HATTY KING: There’s a youthful exuberance about Belle. She’s smart and grounded, but would totally race you to climb a tree. The idea of maintaining a childlike playfulness is certainly something close to my heart.

JHP: Studio Tenn has quite the reputation for creating gorgeous costumes for their shows. While aspects of Belle’s looks tend to follow the now-iconic and recognizable blue peasant girl and gold ballgown wardrobe pieces, something tells me Blake Danford, who’s costuming the show, has put his own spin on things. What’s your favorite Belle look in the show?

HATTY KING: The gold dress, oh my. It’s the perfect combination of authentic 1700’s decadence and classic Belle…and I’m not kidding about the decadence. Most of the dress is hand-sewn and it’s exquisite.

JHP: Two yeas ago you were Ariel in a local production of The Little Mermaid and now you’re starring as Belle, who, unlike Ariel, marries into her princess title. Which princess still remains on your to-do list?

HATTY KING: I recently got to see Anastasia in New York, and the role of Anya captured my heart. I’d love play her!

RAPID FIRE WITH PAUL BASWELL, GASTON IN BEAUTY AND THE BEAST

JHP: You’re playing Gaston. What’s the best party of being such an over-the-top narcissistic character?

PAUL BASWELL: Overall, the self confidence he exudes has been really fun to play with. It’s really taught me a lot personally.

JHP: This is your first time in a Studio Tenn production, right? What’s the experience been like so far?

PAUL BASWELL: I’d have to say it’s greatly exceeded my expectations. The talent in Nashville is astounding, and this has to be one of the most professional companies I’ve ever had the pleasure to work with. There’s nothing better than getting to go to work and laugh everyday.

JHP: As Gaston, you get to share a few scenes with on of my favorites, Curtis Reed, who’s playing Gaston’s loyal sidekick, Le Fou. Are you guys having fun?

PAUL BASWELL: He is actually one of the first friends I made when I moved to Nashville just over a year ago! I was so excited when I found out we would get to work side by side. We belly laugh every single day! He is insanely talented and creative and is always coming up with great ways to add depth to our scenes together. I couldn’t imagine doing this without him!

JHP: Gaston isn’t just your character’s name, it’s also the title of your big production number. Does choreographer Anna Perry have some fun surprises in store for fans of Gaston’s self-adoring sequence?

PAUL BASWELL: Without giving too much away, I’ll be chugging beer and belching! : Anna has done an amazing job with the entire show, and I can guarantee that you won’t be disappointed with Gaston. Everyone knows she can create gorgeous dance sequences, but the audience will be pleasantly surprised to see that she also has a knack for staging delightful bar scenes and brawls!

RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, MADAME DE LA GRANDE BOUCHE IN BEAUTY AND THE BEAST

JHP: Tell me about Madame De La Grande Bouche.

JENNIFER WHITCOMB-OLIVA: The Madame is quite the character. She is the life of the party, and she’s always ready for one! She’s kind of like the wacky Aunt at all of your family gatherings.

JHP: In the classic 1991 animated film, your character, though called simply Wardrobe, was voiced by hilarious comedian, Jo Anne Worley. In the 2017 live action remake, Garderobe was played by the always divalicious Audra McDonald. Having known you for a few years now, I can totally see aspects of both of these grande dames in you. Would Playful Diva accurately describe your Madame De La Grande Bouche?

JENNIFER WHITCOMB-OLIVA: I think my Madame definitely has a sense of play. I think she comes off silly at times, only because she is completely serious in everything she does. Before she was Enchanted, she was THE opera diva. She was commanding the royal stage. So she is ready to bring in thunderous applause, but she also has no patience for ridiculousness. Madame Bouche would not be the woman to anger. As long as you let her be the center of attention, you can sit with her.

JHP: It’s been a minute since you’ve been in a Studio Tenn production. What are you enjoying most about being part of this show?

JENNIFER WHITCOMB-OLIVA: I am just absolutely having a ball! I love fantasy so much! What could possibly be better, than playing and enchanted object, and singing a Disney score?! I also love any chance I get to use my classical voice. My roots are in classical music, so it always feels special when I get to sing it.

JHP: As Madame De La Grande Bouche, many if your scenes are with Hatty. What’s she like as a scene partner?

JENNIFER WHITCOMB-OLIVA: Hatty is such a treasure. I love every moment I get to share with her. She’s such a warm, and giving scene partner. She has a way of making everything seem so natural. The way she glides from song to scene with such passion, is so wonderful to watch.

RAPID FIRE WITH BRADLEY GALE, LUMIERE IN BEAUTY AND THE BEAST

JHP: What do we need to know about Lumiere?

BRADLEY GALE: I’d say the only thing you really need to know about Lumiere is that he’s sassy, the opposite of tight-lipped, never afraid to be in the “spotlight”, but most importantly loyal and loving (sometimes to a fault!)

JHP: Lumiere is frequently paired on-stage with Cogsworth, played in this production by Shawn Knight. Tell me about working opposite him?

BRADLEY GALE: It’s always a little nerve wracking when you’re the new kid in school especially when the teacher pairs you up to partner on a project with someone like Shawn Knight! But after our first encounter in callbacks he immediately pushed my fears aside. Shawn is a master class in timing and moreover a generous and supportive scene partner. From day one we started a witty banter full of the perfect balance of loath and love and now we’ve taken it to the stage.  I’ll let the audience be the ultimate judge; but I’m very proud of what we’ve been able to create together in such a short amount of time; as Shawn said on day one of rehearsals, “when shopping for Cogsworth memorabilia at Disney World…You just can’t buy Cogsworth without Lumiere!”.  And I wouldn’t want it any other way!

JHP: Aside from the show’s titular tune, Something There is probably my favorite. Wanna take a minute to just gush about what it’s like to be in a show with such a gorgeous score written by musical theatre legends Alan Menken, Tim Rice and Howard Ashman?

BRADLEY GALE: Singing the music of Beauty and the Beast is nearly every musical theatre kids dream come true. Its themes are probably some of the most recognizable musical themes of our time and the harmonies you’ll hear are EXACTLY what you want to hear at the end of every belty show-stopping number! When you add in voices like those assembled for this production its a soundtrack that I’ll happily be listening to on repeat through the month of December. Aside from the on stage voices just wait till you hear this orchestra under Stephen Kumer!

JHP: I frequently say I could live on a Studio Tenn set. Mitch White is designing the set for Beauty and the Beast. What can you tell me about it and other technical aspects of the show?

BRADLEY GALE: Mitch White never disappoints and this one is a doozy. You’ll walk in to Jamison Hall and immediately feel like you’ve walked into the castle. I don’t want to ruin any surprises but let’s just say;  it’s huge and it is Blue-tiful. ;-P. Don’t even get me started on the costumes and wigs! Blake Danford has designed and executed amongst numerous other magical pieces, a set of the coolest Candle stick hands I’ve ever seen…And yes they do light up!!!  Also, Allison Hearn has made me feel like a gorgeous hair model from Versailles! Much love and gratitude to our amazing design team!

RAPID FIRE WITH PATRICK THOMAS, THE BEAST IN BEAUTY AND THE BEAST

JHP: Who is The Beast to you?

PATRICK THOMAS: The Beast, though a magical Disney character, is still very much a human like any of us. He is any one who has ever let their circumstances define them. He blames a world he does not understand instead of his own shortcomings for his misfortunes. Unable to see the goodness around him he is temperamental, withdrawn, and full of self-loathing. In the most human way possible, it takes real love and inner beauty to thaw a heart that had long grown cold.

JHP: Playing The Beast isn’t just extra hair/makeup/prosthetics. I’m guessing it’s also a different approach to your physicality, speech and attitude. Is there one of these aspect that, once you’ve adapted it, you feel you become The Beast?

PATRICK THOMAS: Not necessarily. It’s a combination of the costume, the lower vocal placement, wider stance, broader shoulders, all of it really. Needless to say I’ve spent lots of time in front of a mirror lately in an effort to get it just right.

JHP: Some Studio Tenn audiences might remember you best for your appearances in the company’s popular Legacy series or the performance-heavy Christmas specials. Those are pretty straight-forward music performances, rather than theatrical characters with a bit of dialogue and character development. How much fun are you having stepping into a character like The Beast?

PATRICK THOMAS: This feels like a return to my roots (though most wouldn’t know it.) Both my parents were Broadway actors so I grew up hearing musical theatre. Having the chance to act and sing in a totally different style has been quite freeing. It’s a nice break from my pop/country music career.

JHP: While The Beast eventually shows his softer side, much of the show sees him grousing and gnarling at those closest to him. Do you see parallels between The Beast’s emotional transformation and the overall moral of the show?

PATRICK THOMAS: Of course. No one tells a story like Disney and there’s a reason this one is such a classic. Hopefully as audiences watch this magical production they will pick up on the underlying theme. Beauty is indeed found within. And hey, even if they miss it, at the very least we hope everyone will leave thoroughly entertained.

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With Studio Tenn’s flawless history of presenting Broadway-worthy productions time and time again, there’s no doubt their production of Beauty and the Beast will be talked about until the final petal falls. Studio Tenn’s Beauty and the Beast plays Jamison Hall at The Factory at Franklin with select matinee and evening performances from Friday, December 7 thru Sunday, December 30. Thursday thru Sunday evening performances begin at 7 p.m. Saturday and Sunday matinees begin at 2 p.m. Special Wednesday, December 26 performances will be at 2 p.m. and 7 p.m. Tickets range in price from $30-$90. CLICK HERE to purchase tickets.

Following the 7 p.m. Sunday, December 9 performance, Studio Tenn is offering an exclusive post-show Meet and Greet with Belle for an additional $5. CLICK HERE to purchase the additional Meet and Greet tickets. On Saturday, December 15 and Saturday, December 22, Studio Tenn is offering Backstage Tours at 12noon prior to the 2 p.m. matinee performance on those two days. CLICK HERE to purchase the additional Backstage Tour tickets.

After Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

Theatre Review: Don’t be a Cotton-Headed Ninny Muggins! Go see Sparklejollytwinklejingley Chase Miller’s performance as Buddy in ‘Elf: The Musical’ at Chaffin’s Barn Dinner Theatre thru December 22.

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Chase Miller lights up the holidays at Chaffin’s Barn Dinner Theatre as Buddy in “Elf: The Musical” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

Dear Santa, I have a confession to make. I’ve never seen Will Farrell’s 2003 holiday hit, Elf in its entirety. Confession Number 2: After seeing Chase Miller in Chaffin’s Barn Dinner Theatre’s current production of Elf: The Musical, based up on the film, with music by Matthew Sklar, lyrics by Chad Beguelin with book by Bob Martin and Thomas Meehan, I fully realize that just might make me a Cotton-Headed Ninny Muggins.

One final confession. I’ve never been a huge fan of Farrell. After seeing Chase Miller starring in Chaffin’s Elf, I am fully convinced there’s no way in the world Farrell’s performance could hold a candle to Chase Miller’s. As I mentioned when I interviewed Miller and his fellow cast mates for a recent installment in my recurring interview feature, Rapid Fire 20 Q, with his perfect comedic timing, unabashed joy and contagious optimism, Miller was obviously born to play this part.

From the moment Miller literally and figuratively leaps upon the stage, his portrayal of Buddy warms the heart with laughter, as he sets out on his journey from the North Pole to Manhattan in search of his father. As Santa himself—fabulously, slightly caustically played by Brian Russell—reveals in clever, albeit thinly-plotted exposition…when Buddy was an infant, he crawled in to Santa’s sack, but went unnoticed until Santa returned to the North Pole where Buddy was adopted as one of Santa’s elves. After 30 years of thinking he was just a very tall elf, Buddy overhears the truth…that he’s human. He then sets out on his journey to find his real father.

As mentioned previously, I’ve not seen the entire movie, but I’ve seen enough clips and random scenes over the years as the film enjoys annual holiday airings to know that Miller’s Buddy isn’t simply a mimic of Farrell. To me, Farrell’s films frequently suffer the same fate of most Saturday Night Live skits….they just don’t know when to stop. Fortunately, Miller doesn’t have that problem. Miller’s wide-eyed childlike approach to the character is entertaining from first bounding onstage to his last hug. An actor of lesser skill could easily get lost in the role, reducing it to foolishness, but Miller’s Buddy is infectiously enthusiastic in his dream of forging a relationship with his father, so much so that he not only elicits uproarious laughter along his journey, but a genuinely sweet moment or two.

You just gotta love this show from the get. Costumer Miriam Creighton has done a splendid job of designing and constructing jolly holiday attire. Adding a bit of humor to the elven magic, ensemble members portraying elves walk on their knees—which are fitted with elf shoes, of course. Add to that Everett Tarlton’s clever choreography, Martha Wilkinson’s direction and Rollie Mains’ as music director, and you’ve got the makings of a Christmas musical guaranteed to deliver the holiday goodies.

Speaking of Tarlton’s choreography, show opener, Christmastown’s uplifting positivity perfectly mirror’s Buddy’s persona. The elf-ography in that number indeed made my belly jiggle like a bowl full of jelly. Sparklejollytwinklejingley’s frenetic fun as Buddy tries to convince some jaded department store elves to take pride in their work, continues the Christmas mood perfectly. On that note, Katie Gant’s lighting design indeed shines the light on the festive fun as the set glistens like any given Main Street across the country during the holiday season.

Act 2’s Fosse-esque Nobody Cares About Santa featuring a few less-than enthusiastic Santas including Austin Olive, David Ridley, Christian Redden and Tarlton, becomes a jazz-hot surprisingly sultry Santa sequence. That leads into an equally seductive Never Fall in Love featuring Christina Candelora lamenting love in the saddest/sexiest Christmas number since Rosemary Clooney’s White Christmas torch song, Love You Didn’t Do Right By Me—and that’s quite a feat, considering she’s singing about falling in love with an elf.

Gotta also mention Tarlton’s set design. Spoiler Alert: When the Christmas tree lowered from Chaffin’s loft (YES, the fabulous mechanical stage that lowers from above is BACK), my Mom leaned over and whispered, “that the kind of tree everybody needs”. It always amazes me with relatively limited performance space, Chaffin’s somehow manages to utilize every inch of stage, packing fully, gorgeously choreographed numbers from large casts who frequently, seamlessly, move set pieces to and fro in equally choreographed moves, so much so that the audience is barely aware. Just another example of the well-oiled machine that is Chaffin’s.

As per usual for Chaffin’s productions, the cast is top-notch. Grey Frey, a favorite at Chaffin’s, plays Walter Hobbs, Buddy’s Dad, and he does so with a perfect balance of businessman agitation and overwhelmed family man. The aforementioned Candelora is Jovie, a less-than-jovial department store elf, who soon becomes the object of Buddy’s affection. A fan pf Candelora’s for a few years, any chance to see her on stage is a joy indeed. Jessica Holtan, making her Chaffin’s debut, plays Emily, Buddy’s human step-mom. She’s perfect as the put-upon wife, who still sees a bit of practical magic in believing in the spirit of the holiday. Seth Barrett, who recently appeared as Les in Chaffin’s Newsies, plays Michael, Buddy’s younger brother who, thanks to his workaholic dad, doesn’t exactly believe in Santa. His scenes with Miller as his older brother ring true to those of us who look up to our older siblings no matter how different we may be from them.

Another notable cast member is Vicki White as Deb, Mr. Hobb’s busy-body secretary, who initially finds Buddy In The Way, but soon warms to him like a cup of hot coco on a frosty morn.

The aforementioned Russell not only plays Santa, but also Mr. Greenway—Buddy’s father’s Scrooge-like boss. Russell’s Santa is played with a decidedly curmudgeonly wink to dry-witted Bob Newhart, who played Papa Elf in the film, also gets the chance to totally turn up the crankiness in the dual role of Mr. Greenway. When I spoke with Russell for my recent all-Elf Rapid Fire 20 Q, we chatted about the fact that Russell’s involvement in Elf marks a bit of a homecoming for the actor, who got his professional theatrical start at The Barn Dinner Theatre nearly forty years back. While Chaffin’s patrons may also recognize Russell for frequently working as one of the waitstaff during the dinner portion of the shows, and Nashville theatre patrons certainly recognize him from productions all across Nashville, it’s been nearly 20 years since Russell has been seen on stage in a Chaffin’s production.

Heck, the entire ensemble, including Christen Heilman, Cassie Donegan, Matthew Hayes Hunter, Melissa Silengo, Jenny Norris, Colin Bevis, Myka Pacheco and Gabe Pacheco, is fabulous. Whether playing elves, harried shoppers or over-worked office drones, each member of the cast approaches their various roles with enough minute attention to detail, movement and expression to garner their own attention from the audience from time to time.

Predictable? Sure. Adorable? Undeniably. Infectiously fun and certain to get you in the mood for the holidays? Absolutely. Elf: The Musical continues through Saturday, December 22. As the venue’s name would imply, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for 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.

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 cast of Chaffin’s Barn Dinner Theatre’s ‘Elf: The Musical’; on stage thru December 22

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Earlier this weekend, Chaffin’s Barn Dinner Theatre opened their production of Elf: The Musical, thus christening the unofficial start of Nashville theatre community’s Christmas Season. In anticipation of opening weekend, I recently had a chance to chat with several members of Chaffin’s cast for my latest Rapid Fire 20 Q. Seeing as how the holidays are upon us, I’ve taken the liberty to not only include fun information about the show, the actors’ performances and such, but to also ask them about their own holiday traditions, memories and hopes.

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RAPID FIRE 20 Q WITH THE CAST OF CHAFFIN’S BARN’S ‘ELF: THE MUSICAL’

RAPID FIRE WITH CHASE MILLER, BUDDY HOBBS in ‘ELF: THE MUSICAL’

JHP: Alright, I just have to tell you, when I heard you had been cast as Buddy, I immediately thought…’genius casting’. Has playing Buddy become an unexpected dream role?

CHASE MILLER: Well first of all, thank you so much! That’s incredibly kind. I remember when the show opened on Broadway back in 2010 thinking what amazing fun it would be, and now it’s real life! Playing Buddy is most definitely a dream, not to mention a whole lot of fun. The antics…the unadulterated joy…He really is a gift.

JHP: What’s one aspect of Buddy that you’d like to incorporate more into your own personality?

CHASE MILLER: One of my favorite things about Buddy is his fresh set of eyes on the “real world.” Sure, that leads to some comic cases of misunderstanding now and then, but it also allows Buddy to approach every bit of the world with an open heart and an open mind, because he doesn’t know any better. With the world being what it is these days, it’s hard not to lose a little faith in humanity, but Buddy would never dream of it. He has an innate ability to hone in on the good in people, and that’s a great reminder for me to make sure I’m putting enough love and kindness out into the world, whether I expect to get it back or not.

JHP: What’s your favorite childhood Christmas memory?

CHASE MILLER: Christmas is always a source of amazing memories for me, but if I had to choose I think “Decorating Day” would be my favorite as a kid. Usually the Saturday after Thanksgiving, we’d stay in our pajamas the whole day, blast Christmas tunes through the entire house, and we wouldn’t stop until everything was finished. Tree, lights, decor, the whole bit. Decorating for Christmas in my PJs is still one of my all-time favorite things.

JHP: The show is full of memorable scenes. What’s your favorite?

CHASE MILLER: Gosh, that’s a toughie… There are so many good ones! One that thoroughly tickles me though is when Buddy apologizes for shoving 11 cookies into the DVD player. I love playing through that scenario in my head. The thought of Buddy seeing the DVD player and 1. Assuming it was built for cookies, 2.Trying ten other times with ten other cookies, and 3. Even though the previous ten were a total bust, going in with that eleventh cookie. THAT’S  the one to determine that maybe… just maybe… it wasn’t built for that. It makes me laugh every time I think about it.

RAPID FIRE WITH CHRISTINA CANDILORA, JOVIE in ‘ELF: THE MUSICAL’

JHP: You play Jovie. What can you tell me about her?

CHRISTINA CANDILORA: She’s a tough broad. A little depressed when it comes to Christmas. She’s hard on herself because she’s a bit jaded by men. Having been on her fair share of bad dates she’s  weary about going on a date with a guy she might actually like. I think she’s got some

walls built up, thankfully buddy breaks those down.

JHP: How much fun are you having sharing the stage with Chase as Buddy?

CHRISTINA CANDILORA: I don’t think I can properly put into words how much fun I’m having with him! I have so much love and respect for him. He makes me laugh…all the time. He’s so perfect in this role. It’s an utter delight getting to bring these characters to life with him.

JHP: What’s one Christmas tradition you have with your own family that you love?

CHRISTINA CANDILORA: Christmas Eve dinner. I come from a big Italian Catholic family, so we do a thing called “The Feast of 12 Fishes”..all day long. We eat and drink and eat and drink some more! It’s a continuous amount of food with lots of laughs and love.

JHP: Chaffin’s Artistic Director, and the show’s director, Martha Wilkinson recently posted to social media that Everett Tarlton, the show’s choreographer, was quoted as saying the choreography is “very Fosse meets Sesame Street” why is that an accurate description?

CHRISTINA CANDILORA: Hah! I actually wasn’t there when that was said. However, I can see what he means by that. We are using a lot of imagination with this show. Everett’s choreo is always fierce, but it has fun child like feel added to it this time round. For example, Melissa Silengo and Everett become a puffin and a walrus at one point if that gives you an idea of the Sesame Street fun.

RAPID FIRE WITH SETH BENNETT, MICHAEL HOBBS in ‘ELF: THE MUSICAL’

JHP: Since holiday games are fun…Here’s a word game for you…How would you describe Michael in five words?

SETH BENNETT: If I was to describe Michael in five words they would be insightful, deprived, passionate, warmhearted, and honest.

JHP: Michael doesn’t believe in Santa. Tell me one reason why we should all believe in Santa.

SETH BENNETT: I think we should all believe in Santa because he inspires us to try and be kinder and more compassionate to others around us, which I think we could all use a little more of.

JHP: What makes Elf such a great holiday musical?

SETH BENNETT: Elf is such a great musical for the holidays because it is so lighthearted and warm. It is extremely humorous and even watching Buddy the Elf just makes people smile.

JHP: Do you prefer snow on Christmas or a bit of warmth and sunshine?

SETH BENNETT: Personally, I much prefer snow on Christmas rather than sunshine. Although I love being outdoors and in the sun, I feel like the snow just adds something special on Christmas. Also one of my favorite family memories involves playing in the snow, so it will always have a special place in my heart.

RAPID FIRE WITH GREG FREY, WALTER in ‘ELF: THE MUSICAL’

JHP: How would you describe Walter?

GREG FREY: I think, like so many men, Walter is just misunderstood. He’s the George Bailey, Bob Wallace, Luther Krank and other infamous Scrooge like characters that remind us that without hope and the child like ability to ‘believe’ humanity is lost. At his core he is a good guy and loves his family, but allowed himself to get trapped in the American dream and things that truly are not important!

JHP: Aside from Elf, of course, what’s your favorite Christmas movie?

GREG FREY: That’s a tough one with so many good one out there! Much depends on my mood and need for either nostalgia or a laugh. Let’s just say a Christmas season does not go by without me watching White Christmas or Christmas with the Kranks!

JHP: Peppermint bark or candy canes?

GREG FREY: For taste alone, probably Peppermint bark…. but Christmas memories usually win out with me, and candy canes are tried and true. Whether topping a tree, crushed and sprinkled on candy cane cookies, inserted in some coffee or a cup of  hot chocolate (or just your mouth), candy canes are a winner!

JHP: As a kid, was there one Christmas toy you cherished above all the others?

GREG FREY: Fortunately, I don’t remember getting too many ‘duds’ as a kid. One gift that brought hours, days, years of enjoyment for me were roller skates. These were not the type you get when you rent some at the local roller rink (do those still exist?) but were metal frames that clamped around your toes and strapped around your ankle to what ever shoe you chose to wear. Primitive, yes, but oh so fun! We had a huge finished basement with tons of room for circling forever with our 45’s blasting away on my sister’s little portable record player! Memories like that,  along with my own family treasures,  keep the Christmas Spirit alive for me year round!

RAPID FIRE WITH BRIAN RUSSELL, SANTA CLAUS in ‘ELF: THE MUSICAL’

JHP: You’re playing Santa Claus as well as Fulton Greenway. How much fun is that?

BRIAN RUSSELL: Santa’s a hoot in this script.  Yes, he’s sentimental; and yes, he’s jolly.  but he’s also a college football fan with a taste for single malt cocoa, if ya know what I mean.  Knowing this was the Bob Newhart Elf role adapted from the movie also makes playing the droll lines a whole lot easier.  Besides, with my very tall and very mean Greenway, I get my daily karmic balance in spades.

JHP: In a recent Facebook post, you shared that you got your start as a professional actor at Chaffin’s nearly 38 years ago and that it’s been nearly two decades since you last appeared on stage at The Barn. What’s it like being back?

BRIAN RUSSELL: Now that we’re open, I’m guessing I’ll have a little more time to ponder this question for real.  Since waiting tables there is also my one of my “Burger King” jobs,  driving there and being in the building has not been all that much different (rehearsals tend to keep one hopping and not musing).  I guess when the memories actually begin to hit me is when I’m viewing from an old actor’s eye the photos on the wall from our past shows, remembering the amazing times with great productions and great friends that I’ve had when I could work there, and feeling the loss of the beautiful friends and colleagues that have since passed.  I started this vagabond life out there with a load of energy and a full head of hair, so the chance to come back is truly indescribable.  And I am GRATEFUL!

JHP: A follow-up question in reference and reverence to your lengthy career on stage. Any advice for the new kids in the show?

BRIAN RUSSELL: Advice, eh….if this nutty, crazy business is your passion, if you can’t really see yourself doing anything BUT this as a career, follow that dream and do everything you can to accommodate that passion. Above all, don’t fear unemployment….heck, nothing in Nashville lasts more than 10 weeks, so being out of work is a given. Find your way to comfort and career fulfillment despite that pesky notion no work and make yourself as marketable as you can…..triple threats work A LOT!!!

JHP: Just between you and me…who among the cast is likely to wind up on the Naughty list?

BRIAN RUSSELL: Well, Martha natch.  Thinking the band is probably on that list permanently as well….

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Elf: The Musical opened Thursday, November 15 and continues through Saturday, December 22. As Nashville’s longest-running Dinner Theatre, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

In addition to Elf, Chaffin’s will also present a special children’s show, All I Want For Christmas is My Two Front Teeth, with morning matinees at 11a.m. Fridays & Saturdays from December 7-22. CLICK HERE for tickets.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information, or check back next week when I feature members of the cast in my next Rapid Fire 20 Q.

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 new music duo SunKat’s Katie Cook and Adam Shoenfeld; new single ‘Hey Jo Jo’ out today

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SunKat’s Adam Shoenfeld and Katie Cook

When CMT’s favorite on-air personality Katie Cook and Music City in-demand guitarist Adam Shoenfeld got married last December, the union was much more than the beginning of a new life together, it was also the start of an inevitable magical musical collaboration known as SunKat. After months of writing together and beginning to play a few gigs around town, SunKat is releasing their latest single, Hey Jo Jo. The song, a tribute to Cook’s sister, Joanne, who passed away earlier this year following a lifetime of heath issues, is also a way for SunKat to give back, as they’ve designated all first-year sales from digital downloads of the single to benefit The Arc, to help fund their programs to aide individuals with Intellectual and Developmental Disabilities (IDDs).

Having known Cook, as well as her joy-filled sister, Joanne, when I heard about the project, I knew I had to chat with SunKat for the latest installment in my recurring interview feature, Rapid Fire 20 Q, but before I share that conversation, a bit about Cook and Shoenfeld.

Cook isn’t simply a TV host for Country Music Television, she’s got music in her blood as she’s also the daughter of prolific singer/songwriter Roger Cook. Among her father’s many successful songs, he co-wrote the iconic I’d Like to Teach the World to Sing that quickly not only became a peace anthem for a generation, but also one of the world’s most recognizable songs when it appeared in the now-famous Hilltop commercial spot for Coca Cola. Parental pedigree aside, before Cook landed her gig at CMT, she fronted 90s pop trio, Reno. In the years since, when not chatting it up with legends ranging from Dolly Parton and Willie Nelson to George Clooney, Cook has always dabbled in singing and songwriting.

As for Shoenfeld, while Katie was establishing herself as Music City’s go-to Red Carpet interviewer, he was busy making a name for himself as a much sought-after guitarist connecting early on with Kenny Alphin and John Rich, better known as Big and Rich, becoming a longtime member of the duo’s iconic music collaborative MuzikMafia. Over the years, Shoenfeld has played on more than 30 Billboard #1 hits. As a songwriter, he’s also had his share of successes, including SESAC’s Song of the Year as co-writer on Faith Hill’s Mississippi Girl alongside Rich. A quick look as a list of his credits reveals a who’s who of music’s most popular artists, including Luke Bryan, Dan + Shay, The cast of TV’s Nashville, Kid Rock, Martina McBride, Florida Georgia Line, Amy Grant and Tim McGraw, with whom he has toured the last several years.

Not long after their storybook December wedding last year—appropriately taking place in the heart of Downtown Nashville’s Honky Tonk district—Cook and Shoenfeld debuted their duo project, SunKat and their first single, That Was the Night. Now, as their one-year wedding anniversary approaches, their second single, Hey Jo Jo drops. What follows is my conversation with Cook and Shoenfeld about their collaboration, the single and what’s next for SunKat.

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RAPID FIRE 20 Q WITH SUNKAT’s KATIE COOK and ADAM SHOENFELD

JONATHAN H PINKERTON: How did you guys come up with the name SunKat?

KATIE COOK: It was Adam’s idea, it is a mash up of our nicknames. I have always called him Sunny and Kat is short for Katie of course!

ADAM SHOENFELD: I really just came to me out of nowhere.

JHP: When you played me an early edit of your new single, Hey Jo Jo, I picked up on a bit of a Beatles vibe. Was that intentional or simply organic?

KATIE: We used to call Joanne, “Jo Jo,” and when we sat down to write the song, the title Hey Jo Jo just popped out immediately. The title itself sounded very Beatles-y. It just kind of led us down that road automatically and we didn’t fight it. Joanne was very jolly and in her own world at times, and the whimsical St.Peppers vibe just seem to fit the lyric.

ADAM: The way I remember it was Katie actually said to me (in our morning slumber), we need to write a Beatles-esque song for Jo Jo!

JHP: What are some of your other musical influences?

KATIE: It’s all over the place really. Collectively we both love Tom Petty, Led Zeppelin and Fleetwood Mac. I grew up on 70’s country and it influences everything I do. I am also an unabashed Olivia Newton John fan; I don’t care who knows it! In the 80’s I was obsessed with Blondie, X and The Clash, but would also listen to Dolly Parton and Don Williams at the same time.

ADAM: Sooo many. My main influences are Tom Petty and The Heartbreakers, Fleetwood Mac, U2, and the Foo Fighters.

Cover art for the ‘Hey Jo Jo’ single

JHP: The single Hey Jo Jo is a tribute to Katie’s sister Joanne who passed away earlier this year. For those who weren’t lucky enough to know her, what do you hope to convey about Joanne by way of the song?

KATIE: The message we want to get across is that just because someone is different doesn’t mean they aren’t living the way they should. We have a habit of trying to force people with IDDs to be like us, but we can learn a lot from them and the way they see the world. Everyone is unique, and “special” isn’t bad. I was often envious of my sister’s ability to stay positive and always be in the moment. It’s like she had the real secret to life, and we need to spread that secret around the world.

ADAM: How she loved, loved everybody, without thinking there could ever be a reason not to love them.

JHP: What’s your favorite lyric in the song?

KATIE: “Don’t believe what you’ve heard, special ain’t a bad word, you see the world through magic eyes.”

ADAM: Definitely the “you see the world through magic eyes” line.

JHP: There’s also a special music video for the single, right?

KATIE: Yes, the video was directed by Sam Boyette, and we used pictures of Joanne throughout. We wanted to make it really fun and capture her spirit; it turned out great. You can find the Hey Jo Jo video on YouTube at the SunKat channel or watch below.

JHP: With Katie’s CMT gig and Adam in constant demand in the studio and on the road, how are you two finding time to form the musical duo SunKat?

KATIE: Well it isn’t easy with our schedules, but it makes us so happy that we just find the time. Sometimes the house is a mess and we haven’t seen our friends in weeks, but we have a new batch of songs to show for it. Date nights are often us in the studio working.

ADAM: We work it in when we can…..FYI, the house is always a mess.

JHP: What brought about the idea to record and perform as SunKat?

KATIE: It just naturally evolved. When two writers start dating, the writing is almost unavoidable. Initially we assumed we were just writing songs to pitch to other artists, but as when started to demo the songs, we realized that we really loved the way they sounded with us on them. Singing together felt so good, and we just decided to go for it.

ADAM: When we started dating, I was pumped to have someone I could share my music with and support her’s, it was always in the back of my mind that maybe one day we’d do it together, or that we’d at least help each other with our respective projects. That being said, the SunKat songs were not planned, they were delivered to us from some unknown entity.

JHP: What’s the most challenging aspect of creating music with your spouse?

KATIE: Maybe the fact that we hardly ever talk about anything else!

ADAM: I typically don’t worry about offending people with my opinions about music I’m working on…..I don’t ever want to upset Katie, so that’s different for me.

JHP: What’s the most rewarding facet?

KATIE: The feeling of satisfaction I get when we finish a song and I know it’s ten times better than it would have been if we wrote it solo. We bring something to each other’s ideas that we can’t get on our own. Looking into Adam’s eyes when we are singing is pretty magical…if I can stop giggling. It’s a real bonding experience, and every song is like one of our babies. I was worried that mixing love and work would strain our relationship, but it has been a strengthening.

ADAM: Getting lucky right after writing a song is pretty cool.

JHP: Where can folks purchase Hey Jo Jo?

KATIE: It can be purchased through iTunes, Amazon Music and also through our website at www.SunKatMusic.com.

Images from SunKat’s just-released ‘Hey Jo Jo’ music video

JHP: What do you think Joanne’s reaction to the song would be?

KATIE: It’s funny, but I often picture her listening to it and smiling. I can see her tapping her finger on the side of the chair and grinning from ear to ear. I think she would say “Awwww, thank you, I love it!!” Joanne was so sweet, she would probably say that even if she didn’t like it, but i truly think she would love it. I also think the fact that my father sang background vocals on it and my brother played drums, would make her very happy. She brought us together that day.

ADAM: She’d smile bigger than you’ve ever seen anyone smile.

JHP: I understand you’ve decided to release Hey Jo Jo as a benefit single?

KATIE: Yes, all sales from downloads will go directly to The Arc for Individuals with Intellectual and Developmental Disabilities. They have so many wonderful programs that support people with IDDs from birth to the end of their life. We want to help people like Joanne reach their full potential.

JHP: For those not familiar, tell me more about The Arc?

KATIE: The Arc has around 700 state and local chapters and their services range from advocacy, protection, and criminal justice (people with IDDs are more likely to be sexually assaulted) to life skills training, behavioral support and inclusion. The Arc also offers support to family members and siblings caring for an individual with an IDD.

JHP: How excited as you guys to make the official announcement about the charity aspect of the single at The Arc Conference this weekend?

KATIE: We can’t wait to tell everyone how we are using this song to help others. I think it’s what Joanne would have wanted and we want to make her proud and honor her memory. Everything about this project has felt good, and now we hope to inspire others with it.

ADAM: I’ve made a lot of music that has never seen the light of day. To put something out and know that it could possibly help a lot of people is  an amazing feeling.

JHP: For those not attending the conference, when and where will SunKat be performing next?

KATIE: We have a couple upcoming shows in Nashville! On December 8th we’ll be at The High Watt opening for Gracie’s Walk of Shame. It is a free show but we are taking donations for Agape Animal Rescue. Doors open at 7 pm and music starts at 7:30pm.

Then, on January 12th at The Basement, we’re doing a show with Lost Hollow, who are absolutely incredible! Music starting at 7pm.

JHP: Are you guys currently writing more material or recording?

KATIE: We are always writing and recording. We actually have a studio in our house, so there is no escaping it!

ADAM: We are “all in”

JHP: When can we expect a full album from SunKat?

KATIE: We have a full album’s worth of material now, but we are trying to decide if we should release one song at a time. Maybe we should take a poll and see what people would want!

ADAM: What’s an album? LOL It’s like we’re back in the 50’s. It’s a singles world. Target and Walmart don’t even pay labels upfront for CD’s anymore. Seriously though, I think we both hope to bundle a bunch of our releases together real soon and make one of those ancient things.

JHP: If SunKat could achieve everything you hope for as a collaboration between the two of you, what would be just one of those goals?

KATIE: To be able to support ourselves just being creative is probably what every artists wants. That is the dream. Of course, we both happen to LOVE our day jobs, so honestly, life is pretty perfect already.

ADAM: When we did our first show, the club was packed. If we can do that here and there, at the very least, that would be awesome, but we’ll take arenas if anyone will have us.

JHP: How can folks keep up with what’s next for SunKat?

ADAM:They can go to our website or our Facebook page and sign up for our mailing list!

KATIE: We’re also on Twitter and Instagram.

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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 Nashville Repertory Theatre’s ‘A Doll’s House, Part 2’; at TPAC’s Johnson Theatre thru November 3

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

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

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

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

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

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

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

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

RENÉ COPELAND:

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

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

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

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

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

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

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

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

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

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

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

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

JHP: What has surprised you most about this play?

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

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

JHP: What can you tell me about Torvald?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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RAPID FIRE 5 Q WITH HAIR DIRECTOR, JASON LEWIS

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

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

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

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

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

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

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

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

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

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

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

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

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