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Entertainment News, Reviews and Interviews

National Tour

Tennessee Performing Arts Center announces 24/25 Broadway Season; Music City premieres of ‘Moulin Rouge’, ‘Clue’, ‘MJ’ and ‘Kimberly Akimbo’ among shows coming to TPAC

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At 10am on Tuesday, February 20, Tennessee Performing Arts Center announced their upcoming 2024/2025 Broadway at TPAC season. Included in the announcement are six Music City premieres and two returning favorites.

Just a couple weeks ago, when TPAC began teasing their 24/25 Season Announcement as 1 Spectacular Season, they did so by revealing one of the six premiere productions headed to Music City as Moulin Rouge! What’s more, it will be in Nashville for a special two-week engagement October 8-20, 2024.

Back in December, another of the six coming premieres was announced early when it was revealed that the National Tour of Shucked would be coming to TPAC’s Jackson Hall November 5-10 of 2024. Not only is Shucked coming to TPAC, it’s also kicking off the National Tour with the Nashville dates, which makes perfect sense considering Music City is home to both Brandy Clark and Shane McAnally, the show’s composers.

With the official announcement hitting their socials first thing Tuesday morning, the rest of the season was unveiled. Below are details about each show taken directly from TPAC’s Season Announcement:

Clue (Nashville Premiere)

September 10-15, 2024

Murder and blackmail are on the menu when six mysterious guests assemble at Boddy Manor for a night they’ll never forget! Based on the cult 1985 Paramount movie and inspired by the classic Hasbro board game, Clue is the ultimate whodunit that will leave you dying of laughter and keep you guessing until the final twist.

Moulin Rouge! The Musical (Nashville Premiere)

October 8-20, 2024

Pop the champagne, Moulin Rough! The Musical is the winner of 10 Tony Awards® — including Best Musical! Enter a world of glitz, grandeur, and glory! Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical extravaganza. Moulin Rouge! is more than a musical — it is a state of mind.

Shucked (National Tour Opening)

November 5-10, 2024

Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Nashvillians Brandy Clark and Shane McAnally, and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite.

Peter Pan (Newly Imagined Classic)

January7-12, 2025

This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award® winner Lonny Price and choreography by Lorin Latarro. Peter Pan embraces the child in us all – your entire family will be Hooked!

& Juliet (Nashville Premiere)

February 11-16, 2025

Created by the Emmy®-winning writer from Schitt’s Creek, this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way.

Mamma Mia! (Global Smash Hit)

March 18-23, 2025

A mother. A daughter. Three possible dads. And a trip down the aisle you’ll never forget! For nearly 25 years, people all around the world have fallen in love with the characters, the story, and the timeless hits of ABBA that make Mamma Mia! the ultimate feel-good show.

Kimberly Akimbo (Nashville Premiere)

April 8-13, 2025

Winner of five 2023 Tony Awards® including Best Musical, Kimberly Akimbo is about teenager, Kim who recently moved with her family to a new town. She is forced to navigate family dysfunction, a rare genetic condition, her first crush…and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.

MJ (Nashville Premiere)

April 29 – May 11, 2025

One of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry comes to Nashville as MJ, the multi Tony Award®-winning new musical begins a tour of its own. Created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ offers a rare look at the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status.

If you’re a current season ticket subscriber, CLICK HERE to renew your season tickets. New season ticket subscribers will have the option to purchase 2024-2025 Season Tickets beginning in April. Broadway at TPAC Season Tickets for all eight shows are available in five different price levels ranging from $378 to $884, depending on seat selection. For a visual map of seat level section, pricing options and more information,  CLICK HERE.

Of course you don’t have to wait until September to see great Broadway shows at TPAC, as the current season continues. Next, for a limited two-night engagement is Jagged Little Pill, onstage at Jackson Hall March 1 & 2. CLICK HERE for tickets or more information. Then Beetlejuice take to the stage March 12-17. CLICK HERE for tickets. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

 

 

 

 

Rapid Fire Q&A with ‘Girl From The North Country’ cast members Matt Manuel and Jeremy Webb; National Tour plays Music City January 30 thru February 4

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Girl From The North Country, written by Conor McPherson, and featuring nearly two dozen tunes penned by legendary singer/songwriter, Bob Dylan is a musical that takes place in midwest Duluth, Minnesota during the fall of 1934. While the show features Dylan’s music and is set in the musician’s hometown, it’s not a jukebox musical and certainly not a bio-musical. Instead, the plot introduces audiences to the Laine family, proprietors of a local boarding house that, like the rest of the country, has fallen on hard times. Among those taking up residence with the Laine family are a Preacher and a Boxer, played in the National Tour of Girl From The North Country by Jeremy Webb and Matt Manuel, respectively. As the tour cast and crew prepared for the show’s debut Nashville dates at TPAC’s Jackson Hall January 20-February 4, I recently had the chance to pose a few questions to Manuel and Webb for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s MATT MANUEL

JHPENTERTAINMENT: Girl From The North Country takes place in Depression Era Duluth, Minnesota in the fall of 1934 and centers ‘round the inhabitants and visitors of a run-down guest house. The national tour kicked off at The Orpheum (a theatre Dylan one owned), not terribly far from Duluth, which also happens to be Dylan’s birthplace. Was it surreal to open the tour in this way?

MATT MANUEL: It was VERY surreal to open the tour up this way. I can’t think of a better way to have opened up this tour. The audiences really didn’t disappoint. They were with us in every show. From the moment we opened our mouths to sing the first song, to the moment we took our bows. If anything, I feel a bit spoiled by that experience!

JHPENTERTAINMENT: In Girl From The North Country, you play Joe Scott, an ex-con/boxer. What more can you tell me about Joe?

MATT MANUEL: Joe was actually always a boxer! He had a promising boxing career until his wrongful arrest which caused him to lose everything. By the time you meet him in the boarding house, you see a man who is determined to rebuild his life. He stays to himself. He is incredibly respectful, but definitely not someone whose bad side you should ever end up on as audience members will see. There is also no coincidence that the softer side of Joe comes out in the presence of Marianne. 

JHPENTERTAINMENT: When Joe shows up at the house, he’s traveling with a seemingly unlikely companion, the Reverend Marlowe, played by Jeremy Webb, who I’ll be chatting with as the second part of this Rapid Fire Q&A. What’s Jeremy like as a scene partner?

MATT MANUEL: Jeremy is one of the best humans in this business! On and off stage, we have a very close relationship. I can ask him advice or guidance on anything, and he will make time to sit with me. On stage, we have so much fun together playing off of each others acting choices. He is ever present and always ready for the curveballs we like to throw at each other. Offstage, we look out for each other and are very protective of each other, and when we hop on stage, we enjoy our very tennis-esc scenes where we volley our lines and physical choices back and forth to try and throw the other off. I could not have prayed to God for a better scene partner than the one I have been given in Jeremy Adonis Webb. Also, that is not his middle name. I just made it up!

JHPENTERTAINMENT: While doing a little digging prior to our conversation, I discovered you and I share a degree of separation….American Idol! I was an assistant to the coordinating producer during the first two seasons back in the day, while you were a contestant in 2013. Stick with me here…How did trying out for Idol prepare you for auditioning and landing later gigs like Broadway’s Ain’t Too Proud and your experience on tour with Motown the Musical?

MATT MANUEL: Wow! That is a cool degree of separation!!! American Idol actually helped me with my camera awareness as well as my mindfulness as a performer. There is so much more to being a performer than singing. A fun fact is I booked all three of those things in my hometown of Detroit at open calls. Playing David Ruffin in Ain’t Too Proud really made me put those things into practice. I had to learn how to be comfortable commanding a space and being front and center.

Matt Manuel in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade).

JHPENTERTAINMENT: Speaking of your previous experiences, the upcoming Nashville leg of Girl from the North Country won’t be the first time you’ve appeared onstage in Music City. You were one of the stand-out performances just two short years ago as Dustin, in the premiere presentation of May We All, which had it’s National debut at TPAC. What was your favorite aspect of that experience? AND…now that you’re familiar with Nashville, are there any things you’ll insist your fellow cast mates check out while in Music City?

MATT MANUEL: My favorite aspect of doing May We All was truly making friends. We had such a great cast! We enjoyed building that world together through our story telling and to this day, our group text thread is still active. Now that I am going back, I will definitely be getting some hot chicken and I encourage my cast mates to do the same! I may take a trip up to carter vintage and play some guitar as well!

RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s JEREMY WEBB

JHPENTERTAINMENT: In researching to chat with you, I read one review of a previous production of Girl From The North Country that describes the character you play, the Reverend Marlowe as “non-practicing’. That made me laugh. Is that a fair assessment of the character’s current religious conviction? AND…what more chan you tell me about the Reverend?

JEREMY WEBB: Thank you so much for having me and for asking to do this interview about Girl From The North Country by Conor McPherson and Bob Dylan. I love your question about the character I play, The Reverend James Marlowe and the assessment suggested above! I like to think about James as a person who is doing what he must do in order to survive. We are in 1934, it’s the height of The Depression and there is no social safety net. James has had a tough life and selling Bibles is a transactional means to an end. And as I see him, he also has an authentic connection to the mystic and to spirituality. And while I agree that he is maybe not the most devout man of the cloth you have ever met, we have to remember the dire and strained circumstances of the play.

JHPENTERTAINMENT: Girl From The North Country, at least in story and character, seems to be getting a bit of comparison Thornton Wilder’s Our Town…how do you describe the play yourself?

JEREMY WEBB: It’s the week before Thanksgiving at a boarding house in Duluth, Minnesota and a group of restless Americans gather by necessity and circumstance to share community, food, warmth and shelter. No one wants to be there, but everyone has a strong need that connects them to the boarding house. What transpires is a tale of love, jealousy, graft, mysticism and at its core, a perfect miracle.

JHPENTERTAINMENT: I have a confession to make…generally speaking, I’m not exactly a huge Dylan fan. I KNOW…I KNOW…but, Will I be after seeing Girl From The North Country?

JEREMY WEBB: Of course you will! He is America’s troubadour! His lyrics won him a Nobel Prize IN LITERATURE! What a treat to get to experience Dylan’s remarkable gift for storytelling and his gut-punch lyrics in a fresh setting and sung by this astonishing company. Especially with these Tony Award-winning orchestrations and arrangements sung by Broadway’s Best! Wait until Matt Manuel sing his heart out and watch him act his face off! It is as if Dylan (who is all about reinvention anyway) has been reborn through this material.

Jeremy Webb in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade)

JHPENTERTAINMENT: If you could adopt one aspect of the Reverend’s personality and character into your own life, what would it be and why?

JEREMY WEBB: James’ badass hairstyle is key for me. I started out as a young actor in Drama School as very method-oriented and have become much more “outside in” as I have progressed through the many roles I have played in my career. When I settled into James’ badass hairstyle, something clicked for me. There is something telling and unique about the person who never feels the need to run a comb through his hair (we all know one!). So if I had to say, I’d say James’ badass hairstyle. It’s freeing! Less combs! More tangles!

JHPENTERTAINMENT: I frequently like to end these chat with this…what do you hope audiences take away with them after having seen Girl From The North Country?

JEREMY WEBB: I know that this musical provokes conversation. On the way home from the theatre and the next morning as well. Don’t try to “get” it all: there is a lot coming at you from this boarding house… sit with us for 2 + hours and feel Dylan stir your soul. And then go away having one of those juicy conversations with your seat mate or family member that only a brilliant piece of theatre can inspire! 

Thanks for the great questions.

See you at the theatre!

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Indeed they will see me there, as I look forward to attending Opening Night of Girl From The North Country’s Nashville dates. Girl From the North Country plays TPAC’s Jackson Hall Tuesday, January 30 through Sunday, February 4 with evening performances Tuesday-Sunday and additional matinees both Saturday and Sunday afternoon. CLICK HERE for tickets or more information.

Can’t make it to Nashville for these dates? Catch the show as the National Tour continues with upcoming stops in Greenville, Chicago, Philadelphia, Boston, Tampa and more. Be sure and check out Girl From The North Country’s Official Site at North Country Tour, or follow them on Facebook, X, Instagram and YouTube.

Following Girl From the North Country , TPAC‘s HCA/TriStar Broadway at TPAC season continues with TINA-the Tina Turner Musical, February 13-18. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with Cast of ‘The Cher Show’; on stage at TPAC’s Jackson Hall as National Tour Continues

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With a career spanning seven incredible decades (and a number-one chart-topping single in each of those seven decades), Cher continues to break records, kick ass and take names. A 2018 Kennedy Center Honors recipient, as well as garnering a multitude of awards throughout her career, including an Emmy, an Oscar and a Grammy, everything Cher touches seems to turn to gold. Proving, as Cher herself might sing that, The Beat Goes On. A prime example of Cher’s lasting mettle comes in the form of The Cher Show, the recent Broadway hit jukebox musical, currently on a cross-country, tune-filled journey as the show embarks on its first-even National Tour.

Knowing that The Cher Show was coming to Music City for a limited two-day engagement, January 19 and 20 at Jackson Hall inside Tennessee Performing Arts Center, I knew I just had to reach out and pose a few questions to the cast. The Cher Show presents Cher in three distinctive eras. There’s Star—Cher in her modern era, played on tour by Morgan Scott. Then there’s Babe—Cher as a young woman in late teens and early Sonny and Cher years, played by Ella Perez. Rounding out the trinity of Chers is Catherine Ariale as Lady—revealing Cher as a solo artist, actress, business woman and mother. If you read my column with any regularity, you know my recurring interview feature is called Rapid Fire 20Q. Seeing as how 20 doesn’t easily divide by three, I soon realized I needed to choose a fourth interview subject. A little research of the show quickly revealed that the choice for a fourth interviewee was obvious when I discovered that among the supporting cast of characters a member The Cher Show ensemble not only appears as Cher’s mother, Georgia Holt, but also as Cher’s mentor and friend, Lucille Ball…that’s right, my celebrity obsession! Done…Lucy Werner , who appears as both Georgia and Lucy, would be my fourth interview for this edition of Rapid Fire 20Q featuring the cast of The Cher Show.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF THE CHER SHOW

RAPID FIRE WITH THE CHER SHOW’s MORGAN SCOTT

JHPENTERTAINMENT: In the National Tour of The Cher Show, you play Star, Cher in more recent times. What is one aspect of Cher’s current persona that you’d like to mimic in your own life?
MORGAN SCOTT: Her never quit attitude! She just got ANOTHER #1 Hit which means she has a charted a #1 hit for 7 straight decades. That’s just incredible and goes to show, it ain’t over til Cher says it’s over!

JHPENTERTAINMENT: I understand you have ties to Tennessee, Any plans to catch up with former classmates and friends while so close during your Nashville tour stop in Nashville at Tennessee Performing Arts Center?

MORGAN SCOTT: I grew up in Memphis and then went to college at the University of Tennessee Knoxville where I received my BA in theater. I have many family and friends coming to the Nashville shows!! One of my college theater friends is actually flying down from New York (where he lives currently) to stay with his family here in Nashville so he can come support and see the show. Another close college friend who I traveled cross country with 20 years ago, is also coming with his family. It’s going to be a really magical experience here back in my home state.

JHPENTERTAINMENT: On the subject of Tennessee connections, we have a mutual acquaintance…my friend Carol Mayo Jenkins. Not Cher-related, I know, but anytime someone knows or has worked with Carol, I have to ask…what do you remember most about working with Carol in a theatrical production?

MORGAN SCOTT: Oh my goodness, Carol Mayo Jenkins is my hero. Anyone who went to UT with me, involved in theater, knows that she was my mentor and completely took me under her wing. I was fortunate enough that during my time at UT, she created a new master class for a select group of undergrad theater students. She then made sure I was introduced to all the resident guest actors and teachers that came in. Her words of wisdom, quickly followed by her iconic “Do you know?” live with me on the daily. I distinctly remember being overwhelmed with fear/nerves before presenting a monologue and she looked at me and said, “You did the work. Now just let it happen. It’s there.” …Also, going back to the never quit attitude: CMJ lives and breathes it. She is still absolutely crushing it on stage.

JHPENTERTAINMENT: Can we just take a minute to gush about Bob Mackie? Cher’s celebrated long-time costume designer recreated numerous iconic looks for the Broadway run and the tour. Do you have a favorite costume, whether it be yours or that of one of your fellow-Chers?
MORGAN SCOTT: How does one even choose between these works of art!!? I think I can speak for most of us that during our costume fittings core memories were unlocked. If I had to choose… one of my finale looks, that is the “Goddess Warrior” concert look, just makes me feel incredible. I think it will always rank as one of my favorites because it just represents everything that was just accomplished.

JHPENTERTAINMENT: As Star, you share stage time with Mike Bindeman and Gary Paul Bowman as Cher’s second husband, rocker, Gregg Allman and younger boyfriend, Rob Camilletti, respectively. Of course the tabloids gave a version of both relationships, as does The Cher Show, but what about the men behind the roles? Describe each of your two leading me using only one word each.

MORGAN SCOTT: Mike Bindeman – Enigmatic Gary Paul Bowman – Pure

RAPID FIRE WITH THE CHER SHOW’s CATHERINE ARIALE

JHPENTERTAINMENT: In The Cher Show, you play Lady, as Cher navigates the post-Sonny & Cher years as a solo artist. What more can you tell me about the role?
CATHERINE ARIALE: Lady steps into the spotlight when Babe (youngest Cher) freezes in front of a crowd – being too nervous to continue. Lady is a confident version of the younger Cher the audience sees in the beginning of the show. She comes into the story during peak Sonny and Cher success. She is witty and commanding in front of a crowd. We see Lady at a major crossroads in her life – tension in her work and love life is getting to be too much, and we watch her make choices that will affect her personal and professional life moving forward. I love getting to play Lady because she bridges the gap between the naive young cher and the confident, iconic, diva we all know and love today.

JHPENTERTAINMENT: A little pre-chat digging revealed that you received your BFA from New York’s Pace University in 2019, then made the move to NYC where you’ve appeared off- Broadway at Triad Theatre and Theatre Four and now you’re playing Cher in the first National Tour of The Cher Show. Was getting cast as the iconic songstress a “pinch me” moment?

CATHERINE ARIALE: One hundred percent! It was a “pinch me” moment and more!! Leading a national tour has always been a dream of mine, so to officially get the offer was surreal. I remember feeling a bit stunned when I first got the call, it didn’t really sink in until the next day. I went to a little cafe by myself to get breakfast and watch the bootleg on my laptop, and I remember tearing up at the Vegas sequence because that’s when Lady takes over the story for a bit. I couldn’t help but feel so excited and grateful that that was going to be me. I’m sure the patrons around me in the cafe thought I looked crazy!

JHPENTERTAINMENT: The National Tour of The Cher Show kicked off back in November and is set to travel to 57 cities. This being your first National Tour, what’s been your favorite aspect of life on the road thus far?
CATHERINE ARIALE: By far my favorite aspect of tour life has been getting to explore the cities we visit. There are so many parts of the country I have never been to, so the fact that I get to travel for my job and take time to explore cute little towns while performing every day is a gift. I always make a point to find a cute local coffee shop, bookstore, or thrift store!

JHPENTERTAINMENT: With Cher’s career and life divided so clearly between Babe, Lady and Star, there are very distinctive looks for each character. While the bangs of Babe and the straight raven tresses of Lady are indeed iconic, to me, it’s the bigger than life bouncing curls of Star that are my favorite Cher look. What can you tell me about Roxanne de Luna’s wig designs and the how donning the wig aides you in your transformation as you prepare for each night’s show?

CATHERINE ARIALE: It is surreal going from a rehearsal room without costumes or wigs, to performing the show at full speed with all glitz and glam on stage. I felt quite connected to the material and my character beforehand, but let me tell you – it completely changes and transforms once you put those costumes and that wig on! Our head of hair and makeup, Lisha Michel, informed me the other day that everytime she puts my Lady wig on, she notices my whole demeanor and body changes – she says I sit up straighter and my face gets longer. This all must be subconscious, because to me, it just feels as though my character is truly complete and I am ready to go onstage! The wig really is the perfect cherry on top.

JHPENTERTAINMENT: As Lady, you share a scene and musical number near the top of Act 2 that’s of particular interest to me because I’m completely obsessed with all-things Lucille Ball. In the scene Cher gets a little advice from the legendary comedian, played by Lucy Werner. First of all, how surreal is that scene, bringing two of the most recognizable women together on stage for the audience and secondly, how is Lucy Werner as a scene partner?
CATHERINE ARIALE: Getting to do that scene is so much fun – it’s two of the most iconic women ever! The crowd always gets a kick out of the aside Star gives to the audience, “Hand to God guys, this conversation actually happened”, because it really is wild to think of these two women chatting it up and helping one another out during this crossroad in Cher’s life. I couldn’t ask for a better scene partner than Lucy Werner. She comes on with such energy, generosity, and incredible talent every single night. She never fails to bring the house down with her grit and sparkle.

RAPID FIRE WITH THE CHER SHOW’s ELLA PEREZ

JHPENTERTAINMENT: You play Babe in The Cher Show, 1960s era Cher. Who is Babe to you and what are her strongest characteristics?
ELLA PEREZ: Babe is Cher’s inner child, who comes back throughout the show to remind us of the little girl with big dreams who got her to where she is today. She’s shy but very spunky, she’s passionate, she’s driven, and she’s going to get what she wants no matter what. I just love her.

JHPENTERTAINMENT: A quick peek at your performing resume reveals you’ve had extensive dance training. While Cher herself seems to have certain signature moves, The Cher Show, as choreographed by Antoinette DiPietropo is packed with choreo. Is there a dance sequence in the show that you’re particularly fond of?
ELLA PEREZ: I might be biased, but definitely The Beat Goes On. I don’t know how else to describe it besides “So Broadway”.

JHPENTERTAINMENT: On the subject of dance, during the rehearsal period, what was a typical day like for you and your fellow Chers?
ELLA PEREZ: For me, it started out on the Long Island Railroad, with an iced latte and breakfast sandwich. Initially, we would break up into two different rooms- one for scene work with our fabulous director Casey Hushion, and the other for dance numbers with our choreographer Antoinette. After a few hours of the ensemble and principals working separately, we would merge and put pieces together, which was always so much fun. Eventually we would just run the show once in the morning, take a lunch, and clean specific spots in the afternoon. They were long days, but we had so much fun.

JHPENTERTAINMENT: As Babe, you share the stage with Lorenzo Pugliese as Sonny. A couple years ago, I had the chance to chat with Lorenzo when he was starring in SpongeBob: The Musical. What’s he like as a scene partner?
ELLA PEREZ: Lorenzo is SO much fun to work with. He definitely keeps me on my toes, and is so giving with his energy and charisma on stage. Working with him felt so natural from the jump.

JHPENTERTAINMENT: With Babe firmly planted in the 60s, Cher presents what would be the first of many iconic looks. If you could time travel, do you think you’d have fared well in the 1960s and what do you think you would have enjoyed from that time period?
ELLA PEREZ: Absolutely. That hair? The crazy eyeliner? I would have thrived back then. I think I would have loved the music the most. It had such a unique sound, and brought about so many musical trailblazers. And I definitely would have been a crazy Beatles fangirl, considering my passion for One Direction growing up.

RAPID FIRE WITH THE CHER SHOW’s LUCY WERNER

JHPENTERTAINMENT: Alright, I’m just gonna admit it…when presented the opportunity to chat with some of the stars of The Cher Show National Tour, Yes, I wanted to chat with the three actresses who play Cher during various parts of her life, but I also wanted to talk to you…because not only do you play Cher’s Mom, Georgia Holt throughout the show, but you also play Lucille Ball in a very telling Act 2 scene. And yes, I’d be remiss if I didn’t mention the fact that this dual casting is very meta considering Georgia appeared in a 1956 episode of I Love Lucy as a fashion model in the hilarious Lucy Gets a Paris Gown episode, but I digress. How much fun are you having in this show?

LUCY WERNER: Oh my goodness, I need to watch that episode! Did not know this fun fact. I am having an absolute ball, especially playing my namesake. I have always strived to be like Lucille Ball – she was undeniably confident, unapologetically fearless and most of all she was absolutely real. Her timing was impeccable. Watching tv interviews of her astounds me with how authentic she was, which is why she was so funny. Playing her feels very right, I’m so grateful to get to draw on those lips every night.

JHPENTERTAINMENT: As Georgia, you get to perform one of the show’s lesser-known Cher tunes, You Better Sit Down Kid, which Cher originally released in 1967 as part of her With Love, Cher album. While modern audiences might not be that familiar with it, the song broke the Top 10, become Cher’s second hit. What’s your favorite aspect of performing this particular song?

LUCY WERNER: Yes, I had never heard this song before. Something I love about Chers earlier music is how she’s always telling a story. This song feels so poignant to this plot point in the show that I wasn’t sure it was a real song! It just goes to show she was always a remarkably authentic artist in her own way. She told stories through her songs that she could relate to, or even very personal to her life. I enjoy singing this song because it really has an emotional depth. A father figure leaving the home is a very difficult thing for a child to go through, as well as the single mother left behind – especially during that era. Cher and her mother Georgia went through it many times together I believe.

JHPENTERTAINMENT: As mentioned above, you also play Lucille Ball. Talk about icons…Cher and Lucy! As portrayed within the contest of the show, Georgia and Lucy give Cher advice and encouragement. Who in your own career has played the role of mentor and advisor?
LUCY WERNER: I love this question! Most certainly my mother has always been an amazing advisor for me, a sounding board. What you need most from an advisor is empowerment and honesty. Someone to tell you that you are actually doing a good job and to just keep going. To take the scary leap of faith, someone who encourages you to jump! As for a mentor I try to find mentorship wherever I can. Try to learn from all the people that have come in and out of my life, and as someone who has performer for the past ten years that has been many many people! I would love to find one serious mentor though, I think that would be really special. Maybe if I could just stay still for a few years I will find them 😉

JHPENTERTAINMENT: Can you share with me the logistics and backstage goings-on of transforming into Georgia for the top of Act 1, then to Lucy for the beginning of Act 2 and back to Georgia for the end of the show?
LUCY WERNER: Getting into the first Georgia look really just involves some light blush and my favorite wig. As you mentioned I come in and out of the show so I have plenty of time backstage to meander about and slowly change into my next costume. But going from Georgia to Lucille requires a bit of a lipstick exaggeration and a little more blue eye shadow. I love putting on Lucille’s bling, it’s an outside-in transformation for sure. Add a faux cigarette and Lucille is complete! Once again I just need to transform my face and wig to get back to being Georgia. And I have at least 30 minutes for that one so you can imagine it’s nice and relaxed transition!

JHPENTERTAINMENT: Lately, I’ve ended most of my interviews by asking one final question. Since you’re my last interview for The Cher Show, I’ll ask…What do you hope audiences remember most about The Cher Show?
LUCY WERNER: I hope audiences walk away empowered! I hope each individual feels that if Cher could accomplish what she did despite the adversity she faced as a woman in a “man’s world” then it should go to show that anyone with such commitment, determination and gusto can make their dreams happen too. Regardless of what she was told and experienced repeatedly Cher declared it is actually a Woman’s World and that might be true today in great part because of her. To quote the show: “It’s about being shit scared and facing it anyway.”

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With that, my conversations with the cast of The Cher Show concluded, but as Cher might lyrically put it, you better Believe, you haven’t seen the last of them. I got you, babe, because the beat goes on when The Cher Show takes to the stage of TPAC’s Jackson Hall Friday and Saturday, January 19 and 20 as the National Tour continues. Nashville performances of The Cher Show are Friday, January 19 at 8p.m. and two shows Saturday, January 20, a 2p.m. matinee and an 8p.m. evening performances. CLICK HERE for tickets.

Following the Nashville tour stop, The Cher Show heads to Conway, Arkansas’s Reynolds Performance Hall on January 21; Muncie, Indiana’s Emens Auditorium on January 23, The Vern Riffe Center for the Arts in Portsmouth, Ohio on January 25; Lexington Opera House in Lexington, Kentucky on January 26-28; E.J. Thomas Performing Arts Hall in Akron, Ohio January 30&31; The Capitol Theatre in Wheeling, WV on February 1 and many more cities across the US through Spring of 2024. CLICK HERE for the full tour schedule and to purchase tickets in a city near you.

You an also follow The Cher Show on socials. CLICK HERE to check out the official site, and follow them on Facebook and Instagram.

Folowing The Cher Show, TPAC‘s HCA/TriStar Broadway at TPAC season continues with Girl From the North Country from Tuesday, January 30-Sunday, February 4. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: National Tour of ‘Funny Girl’ playing Jackson Hall now thru January 7 as TPAC says “Hello Gorgeous” to second half of their 23/24 Broadway Season

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Telling the highly fictionalized story of vaudeville queen Fanny Brice, the National Tour of recent Broadway revival musical Funny Girl opened the Nashville tour stop Tuesday night at Tennessee Performing Art Center’s Jackson Hall, not only kicking off the new year, but also the second half of TPAC’s 23/24 HCA/TriStar Broadway at TPAC season.

While there’s definitely a percentage of the audience who are no-doubt devotees of the original 1964 Broadway debut of Funny Girl, it’s subsequent 1968 film and Barbara Streisand, who starred in both, it’s been more than half a century since Streisand laid claim to Fanny Brice. There’s likely just as many who are experiencing this show for the very first time, thanks to 2022’s Broadway revival that features a reworking by Harvey Fierstein of Isobel Lennart’s original book of the musical. I count myself among the latter. At the risk of having certain ‘memberships’ revoked, I’m just gonna admit it from the get…I’ve never been the biggest Streisand fan. There. I said it. Heck, I wasn’t even 100% sure I’d ever seen the film adaptation of Funny Girl and I’d certainly never seen Funny Girl on stage. Being a fan of Brice’s era of vaudeville, in particular Ziegfeld and his follies—mostly because of my obsession with Lucille Ball and the comedic similarities between Ball and Brice—I have fallen down more than one internet rabbit hole searching out the few rare clips of Brice, so I was familiar with her story and  I knew the songs from Funny Girl. I mean how can you be a theatre nerd and not know the music of Jule Styne and lyrics of Bob Merrill featured in one of the most beloved musicals of all time, right? Here’s the thing though. None of that mattered once the familiar notes of the Overture began to swell from the orchestra pit as conducted by Elaine Davidson. With each note, my anticipation grew and I somehow instinctively knew I was in for a grand night of musical theatre.

From the moment Katerina McCrimmon takes the stage, she IS Fanny Brice. She’s got the period-authentic New York dialect, the exaggerated facial expressions, but most of all, she’s got the voice. Ok, so the voice might be more what audiences expect thanks to the aforementioned Streisand portrayal, but I’m here to tell you McCrimmon makes the character her own while carefully maneuvering through, and well beyond what could easily be brushed off as an impression. Throughout the show, including more familiar territory of musical moments like I’m the Greatest Star, Don’t Rain on My Parade and People, and my personal favorite, His Love Makes Me Beautiful, McCrimmon vocal range, strength and ability prove time and time again she’s the perfect powerhouse to introduce Fanny Brice to a whole new generation of musical theatre fans.

It’s not just McCrimmon’s talents as a singer that reels you in, as she equally adept showcasing the funny and the girl. When scenes call for McCrimmon to honor Brice’s physicality as a comedic entertainer, her facial expressions and body language rival those of greats of the craft like Ball and Carol Burnett. When the plot goes deeper, McCrimmon steps it up and evokes emotion, not only in her performance, but in the audience reaction. Case in point, at the end of Act 1, when McCrimmon exquisitely belts out the show-stopping Don’t Rain on My Parade, I was frankly surprised the entire audience didn’t bound to their feet for a pre-intermission Standing O.

While I would be satisfied to sit in a theatre and just witness McCrimmon in a solo performance and be completely satisfied, of course she isn’t alone. Guess what? The entire company is quite brilliant. While the real Fanny Brice was thrice married (I told you I’ve been down my share of Fanny Brice rabbit holes) Funny Girl takes place after husband number one and focuses on Brice’s life and tumultuous relationship and ultimate marriage to husband number two, Nicky Arnstein, played handsomely by Stephen Mark Lukas. I say handsomely because…have you seen his social media? Thanks largely to the way Funny Girl is written, and the ‘character’ of Nicky, in particular, we are to believe that Arnstein was matinee-idol good-looking, giving dual meaning to the infamous line, “Hello, Gorgeous”. In reality, Arnstein was tall, lanky and not what you’d call traditionally handsome. But back to Lukas and his matinee looks. Like his leading lady, he’s also go talent to back it up. Under the show’s director, Michael Mayer’s watchful eye, I thoroughly enjoyed every aspect of Lukas’ portrayal of Arnstein. Not only does he look like an Old Hollywood movie star, he even sounds like one. His vocal delivery, in speaking and in song, sound as though you’re hearing him through a megaphone, with a deep, pure and enchanting vibrato.

Izaiah Montague Harris plays the always in-step and dependable Eddie Ryan, a dancer/choreographer friend of Fanny’s who’s always there to help her with her career and pick up the pieces when Nicky is out of step. When I say Harris’ Eddie is in-step, I mean it. One of the best non-Fanny-centric moments of the show features Harris in a tap-tactic dance sequence. Which reminds me, kudos to the show’s costume designer, Susan Hilferty. Yes, all of Fanny’s period-perfect costumes are fabulous, but it was during Harris’ tap number that I notice a wonderfully clever costuming detail. Hiferty has sewn the occasional rhinestone throughout the pant legs of Harris costume, which catch the light of his fancy footwork and draw the eye throughout the dancer’s entire body, allowing those of us who picked up on this seemingly random detail the joy of watching the full mechanics, precision and skill of the dance.

While the entire ensemble is simply marvelous, other stand-out performances come courtesy a trio playing slightly older characters: Mrs. Brice, Mrs. Strakosh and Mrs. Meeker, played respectively by Barbara Tirrell, Eileen T’Kaye and Christine Bunuan. Tirrell, (who’s stepped into the role of Mrs. Brice while original tour cast member Melissa Manchester recuperates from recent surgery) is the perfect mensch of a mom to McCrimmon’s Fanny. She gets her comedic time to shine in scenes with T’Kaye’s Mrs. Strakosh and Bunuan’s Mrs. Meeker as three old-neighborhood friends who spend their time playing cards, gossiping and bragging about their children’s accomplishments. In their memorable stage-time, T’Kaye and Bunuan charm the audience with their relatable portrayals of ladies everyone grew up knowing. The trio get their own musical moment early on with the mother-knows-best, albeit antiquated tune, If A Girl Isn’t Pretty.

Walter Coopage as Florenz Ziegfeld and David Foley, Jr. as Tom Keeney, two men instrumental in Fanny’s stage success each show different sides of men in power, Foley’s Kenney presented as a bit hard-nosed and doubting Fanny’s appeal, while Coopage’s Ziegfeld is seen as the nurturing father figure Fanny seemed to be missing. More potentially useless/useful rabbit hole info…Fanny’s father was a good provider, they didn’t live on seemingly downtrodden Henry Street as one tune suggests, but he was a bit of a drunk and her mother ran the family saloon businesses. What’s more…the notoriously hilarious Follies scene in which Fanny’s bride apparently got the marriage and family order confused…never happened. As I previously admitted being a Lucille Ball fan, something tells me that sequence was created more for laughs a la the I Love Lucy ‘showgirl’ sequence, than based in reality, but I digress.

In addition to the showgirl bridal number, the ensemble proves their mettle as they tap their way to thunderous applause, with another comedic turn by McCrimmon in yet another tap number, the all-in Rat-Tat-Tat-Tat midway through Act 2. Who are You Now and You’re a Funny Girl see Lukas’s Nicky in a more mature light than the devil-may-care flamboyant gambler he’s playing earlier on, and his voice is up to the challenge.

McCrimmon also gets the chance to show her character’s maturity in the show’s closing number, The Music That Makes Me Dance, during which we get another chance to witness McCrimmon’s vocal goddessness. That lasting final note! Wow…just wow!

Sorry to end my review with a bit of a Spoiler Alert, but during the curtain call, the whole company breaks out into one last chorus of People, and as they gesture towards themselves and then the audience during the lyrics “People who need people are the luckiest people in the world”, they reveal an all new meaning to those words…as performers, they need the audience, and therefore feel lucky to have us there. Guess what, Funny Girl? We, the audience are the lucky ones.

The National Tour of  Funny Girl at TPAC’s Jackson Hall continues with shows through Sunday, January 7. CLICK HERE for tickets or more information. You can also follow Funny Girl on Instagram, X (Twitter) and Facebook or visit The Official Funny Girl site for more info on the show or future tour stop details.

Following Funny Girl’s January 2-7 Nashville tour stop, next up for Broadway at TPAC is a limited two-night engagement of the National Tour of The Cher Show with performances January 19 and 20. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

 

Rapid Fire Q&A with ‘Funny Girl’ National Tour Stars Katerina McCrimmon & Stephen Mark Lukas; at TPAC’s Jackson Hall January 2-7

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Tennessee Performing Arts Center is kicking off the new year and the second half of their 23/24 HCA/TriStar Broadway at TPAC season with the Broadway hit musical Funny Girl. Based in part on the true-life story of popular vaudeville-era superstar, Fanny Brice and her oft-tumultuous relationship with charming but unsavory gambler, Nicky Arnstein, the National Tour of Funny Girl stars Katerina McCrimmon as Fanny and Stephen Mark Lukas as Nicky. Taking a break from their holiday time off, McCrimmon and Lukas kindly agreed to answer a few questions for my latest Rapid Fire Q&A before the show opens at TPAC’s Jackson Hall Tuesday January 2 with a run through Sunday, January 7. What follows are those conversations:

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Rapid Fire Q&A with Funny Girl stars Katerina McCrimmon and Stephen Mark Lucas

Rapid Fire Q&A with Katerina McCrimmon, Fanny Brice in Funny Girl

JHPENTERTAINMENT: You’re currently starring in the national tour of Funny Girl. Prior to being cast, how familiar were you with Fanny Brice, the multi-talented performer upon whom the musical is loosely based, AND…did you do any further research on her after being cast?

KATERINA McCRIMMON: Besides dialect work and learning the material, becoming Fanny came quite easily to me. We both have this drive and zest for life and we know that our purpose on this Earth is to share our gift in artistry and make people feel something. During the rehearsal process, I strived to always have fun like I know Fanny would and connect to the emotional life of Fanny through her fears and desires. I did research on her scanning through her videos and her biography, but I knew at the end of the day I had to trust in my essence and try not to be a carbon copy of her – especially since the show is so loosely based on her life. 

JHPENTERTAINMENT: What’s one aspect of the character of Fanny Brice that you hope to adapt in your own life long after the tour is over?

KATERINA McCRIMMON: Fanny Brice is one of, if not the hardest role in the musical theatre canon and I’m so grateful our creative team has entrusted me to portray her. She’s funny, powerful, wears her heart on her sleeve, and through playing her I’ve definitely learned to champion these things about myself.

JHPENTERTAINMENT: Funny Girl features songs by Bob Merrill & Jule Stine. Among the tunes is Don’t Rain on My Parade. What’s the easiest way someone can rain on your parade?

KATERINA McCRIMMON: I’d rather focus on the positive – I think someone can easily make my parade through joy and laughter. It takes a lot to upset me – I just don’t think it’s worth my energy. 

JHPENTERTAINMENT: Within the plot, Fanny finds love with Nick Arnstein. In real-life, you’ve found it with your musician husband Matias Sanes, whom you married in 2021, so basically you’re still honeymooners as far as I’m concerned. While on tour, does Matias get the chance to occasionally fly to you? How are you staying connected?

KATERINA McCRIMMON: Matias and I are both artists in our own right and so we both stay quite busy and fulfilled in our own creative projects. He’s the bass player in many bands and one called Kore Rozzik has been consistently opening for Ace Frehley of KISS. We give each other space to explore our own artistic pathways and then once we’re aching for each other, we book a flight to reunite. I would say that happens every two to three weeks. It’s been challenging, but a huge opportunity for growth and I’m grateful for that. 

JHPENTERTAINMENT: Speaking of connections, your on-stage scene-partner Stephen Mark Lucas who’s playing Nicky, Fanny’s most infamous husband. I’m about to chat with him, so I’ll end my time with you by asking…what’s your favorite aspect of sharing the stage with Stephen?

KATERINA McCRIMMON: Stephen is such a dear scene partner. He’s always so sensitive and kind. We love to sneak jokes to each other onstage and we’ll always check in to see how our spirits are holding up. There was one day during tech rehearsal when he made me laugh harder than anyone else has during this entire process. I think it was a mix of the fact that he caught me off guard (Stephen is usually pretty serious) and that we were so delirious from a 10 hour day in the theater. I was still laughing at his joke the next morning. 

Rapid Fire Q&A with Stephen Mark Lukas, Funny Girl’s Nicky Arnstein

JHPENTERTAINMENT: I just chatted with Katerina and ended my questions for her asking her about having you as a scene partner, so I’ll start our conversation by asking you what you appreciate most about Katerina as your character Nick Arnstein’s tumultuous love interest?

STEPHEN MARK LUKAS: I’ve absolutely loved having Kat as a scene partner. Her vocal prowess and musicianship are unmatched- listening to her sing this score every night is heaven. In addition, she has a very raw vulnerability underneath all of that power that is so endearing. She is so connected onstage, and we always have each other’s backs.  It’s impossible not to fall in love with her. 

JHPENTERTAINMENT: Who is Nick Arnstein to you?

STEPHEN MARK LUKAS: I’ve really grown very fond of Nicky! He, like Fanny, is ambitious and hell- bent on succeeding at all costs. He is charming, funny, and very much a romantic. There is also a dark side to him and a rage simmering just below the surface of his polished exterior. It’s fun to play with that dichotomy. 

JHPENTERTAINMENT: Having understudied the role of Nicky on Broadway, are there nuances of the character that you’re enjoying discovering and developing as the tour continues?

STEPHEN MARK LUKAS: I have had a great time finding the humor in the scenes with Fanny. I guess my continued exploration is how to connect with his vulnerability in the second act as we see him start to unravel. I think it’s always interesting to find the humanity in a character who may be troubled- what drives someone to make mistakes when they’re humiliated or desperate? It’s finding that empathy again and again, as well as deepening the onstage marriage between Nick and Fanny that drives the story. 

JHPENTERTAINMENT: Is there a line, a scene or a song in the show that resonates with you personally?

STEPHEN MARK LUKAS: I love hearing the song People every night. It’s a very intimate moment between Nick and Fanny, and you can just hear the audience sigh with delight when she begins singing it. It’s really a beautiful moment. 

JHPENTERTAINMENT: What do you hope audiences come away remembering about Funny Girl?

STEPHEN MARK LUKAS: I hope that audiences can really enjoy the beautiful score by Jule Styne and a show that is an unapologetic love letter to the grandeur of Broadway. I hope they’ll take a heartfelt emotional journey with us. There is a lot that resonates today in this classic that everyone thinks they know-  Fanny’s journey is inspiring to anyone who has ever been told that they can’t or shouldn’t try to pursue their dreams. 

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With not a cloud in the sky an no chance of any rain on the parade of Funny Girl‘s Music City Opening Night, the people of Nashville are invited to find out they lyrical answer to What Do Happy People Do? when Funny Girl sets up shop at TPAC’s Jackson Hall Tuesday, January 2 through Sunday, January 7. CLICK HERE for tickets or more information. You can also follow Funny Girl on Instagram, X (Twitter) and Facebook or visit The Official Funny Girl site for more info on the show or future tour stop details.

Following Funny Girl’s January 2-7 Nashville tour stop, next up for Broadway at TPAC is a limited two-night engagement of the National Tour of The Cher Show with performances January 19 and 20. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: ‘Ain’t Too Proud: The Life and Times of the Temptations’ at TPAC’s Jackson Hall through Sunday, March 26 as National Tour continues

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Not even a little rain on opening night of the Nashville leg of Ain’t Too Proud: The Life and Times of the Temptations National Tour could dampen the excitement for TPAC’s Jackson Hall’s packed house. In fact, rain, and the emotions it evokes, perfectly set the mood for what would be a night of electric moves, a shower of hit songs, a tsunami of talent and thunderous applause all evening long.

Featuring more than 30 tunes, most of them some of Motown’s biggest and best loved hits, Ain’t Too Proud ranks, in my opinion, as one of the best jukebox musicals. All too often, jukebox musicals struggle to find the balance between storytelling and tune placement. Not the case with Ain’t Too Proud. Dominique Morisseau, who wrote the book of the musical, not only based the storytelling elements on the book by The Temptations’ only surviving founding member, Otis Williams, but also wisely broadened the musical inclusions to incorporate not just The Temptations’ music, but also that of a few of their contemporaries like The Supremes, The Isley Brothers, The Five Satins and Tammi Terrell. By doing this, the narrative flows perfectly with each tune the ideal musical accompaniment to flesh out the story. Said story is presented by Michael Andreaus as Otis Williams, breaking the fourth wall to tell his tale directly to the audience.

Joining Andreaus as The Temptations’ original members, aka “The Classic 5” are E. Clayton Cornelious as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes, Jr. as Melvin Franklin and Elijah Ahmad Lewis as David Ruffin. The show also introduces a couple of other Temptations, including Devin Price as Al Bryant, Dwayne P. Mitchell as Dennis Edwards, Devin Holloway as Richard Street and Omar Madden as Damon Harris. We also meet Berry Gordy (Jeremy Kelsey), Shelly Berger (Ryan Hunt), Smokey Robinson (Omar Madden), Mary Wilson (Brittny Smith), Florence Ballard (Shayla Brielle G.) and the aforementioned Diana Ross (Amber Mariah Talley) and Tammi Terrell (Shayla Brielle G.).

Among my personal favorite musical moments, of course the title track is simply magical. The Supremes medley is a fun added bonus, though opening night in Music City, the ladies’ mics seemed a bit low. At the top of this review, I noted that it was raining outside the theatre. Well, I’m here to tell you that during the emotional I Wish it Would Rain, a 1967 Top Ten for the group, it was ‘raining’ on my face as my eyes began to sweat. Powerful, indeed.

Running the gamut of emotions, I absolutely loved the way Cloud Nine (a 1968 hit) started off as the musical manifestation of the group’s success, then plunges the depths of the cost of fame as a double entendre as a literal cloud of smoke, making mention of some behind-the-scenes drug usage.

Another somber moment comes with War, YES, the Edwin Starr mega-hit, was originally recorded by The Temptations, but withheld as a single so as not to alienate their more conservative fanbase. Within the context of the show, it perfectly punctuates the troubled times following the assassination of Dr. Martin Luther King, Jr.

While the show does indeed touch on a bit of drama here and there, Ain’t Too Proud is, as a whole, an upbeat, dancing in the isles, feel good musical.Choreographer Sergio Trujillo perfectly captures and builds upon the moves so closely associated with The Temptations that you just can’t help but get into the groove.

Speaking of getting on your feet and getting into the groove, Nashville’s Opening Night audience gave the company a well-deserved Standing Ovation. What’s more, as the company was taking their bows, lead actor Andreaus quieted the audience and asked them to return to their seats for a moment. It was then we got a fantastic surprise as Andreaus thanked us for our energetic response to the show and revealed that this performance was particularly special to him and the company because it was the first time he had gotten the opportunity to perform the role of Otis Williams…in the presence of THE Otis Williams!!! That’s right!!! The legend himself, the OG OG OG Temptation, Dr. Otis Williams was in the house! WIth that, Andreaus introduced the 81-year-old icon, Dr. Otis Williams, who arrived onstage to yet another Standing Ovation. Only in Music City, y’all!

Ain’t Too Proud: The Life and Times of The Temptations continues at TPAC’s Jackson Hall with shows thru Sunday, March 26. CLICK HERE for tickets.

Not in Nashville, but want to fill your soul as you feel the soulful sounds of The Temptations? CLICK HERE to check out where the show’s headed next.

As for TPAC’s Broadway Series, next up is the Music City premiere engagement of Disney’s Aladdin coming to TPAC’s Jackson Hall May 2-7. CLICK HERE for tickets.

Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with dancers Jade Primicias and Seah Hagan, on tour now with MOMIX Alice; at TPAC January 27-28

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MOMIX Alice, an evening of dance that puts a new spin on characters first introduced in Lewis Carroll’s beloved tales of a young inquisitive girl’s adventures in Wonderland is headed to TPAC’s Polk Theatre for a limited two-night engagement Friday and Saturday, January 27 and 28. Highlighted by theatricality, mood-setting lighting, gorgeous costumes, ever-morphing props and sets, the current tour marks MOMIX Alice‘s Music City premiere. As the company prepared for their Nashville debut, I had the opportunity to chat with two of featured dancers, Jade Primicias and Sean Hagan for my the latest installment in my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE 20Q WITH MOMIX ALICE’s JADE PRIMICIAS AND SEAH HAGAN

RAPID FIRE WITH JADE PRIMICIAS

JHPENTERTAINMENT: Thanks so much for taking the time to chat with me. A huge fan of everything Alice, I’m excited about the show. Before we get into specifics about the show itself, let’s chat a bit about your dance history. How old were you when you discovered dance?

JADE PRIMICIAS: I think dance actually discovered me. Some of my earliest memories involve prancing along with the dancers on TV, or giving my family little recitals in our living room. Like so many of us, I’ve been a dancer since I was in the womb.

JHPENTERTAINMENT: Did you take lessons from an early age?

JADE PRIMICIAS: My first dance lesson was at age five, thanks to two women who saw me dancing at a Spice Girls concert. They asked my parents if I was enrolled in classes, then assured them that I should be.

JHPENTERTAINMENT: What’s the biggest misconception about dancers?

JADE PRIMICIAS: Previously, I would have answered that some people hold the misconception that dancers aren’t intellectual or chose the arts because of an inability to achieve something more lucrative or “difficult,” however, as my career has progressed I’ve learned that it runs even deeper than that. There exists, unfortunately, a general disrespect or overall ignorance regarding the value of the arts as a tenable career field. Many people disregard or don’t understand its existence as a profession and rather view it as more of a hobby, more commonly in the South, especially further from metropolitan areas. This could, of course, be attributed to the lack of value placed on dance and arts education in public schools as well as the inaccessibility of funding for the arts, rendering artists and dance companies less able to perform in lower income or otherwise underserved communities.

As valedictorian of my high school class and a University Honors College graduate, I’m proud to say that dancers are overwhelmingly intelligent, hard workers who experience both the joy and suffering that come with many other valid careers. The arts are incredibly important to our culture and to sustaining human life, and I’m incredibly thankful to be able to serve my community by sharing my art with audiences around the world.

JHPENTERTAINMENT: When did you realize you could have a thriving career in dance?

JADE PRIMICIAS: I don’t think I ever came to that realization, to be honest. Perhaps it was towards the end of my senior year of high school, when I had just accepted a scholarship geared toward women entering the field of engineering; I had my future planned out ahead of me, but I realized that it meant giving up my truest passions: what I knew could make the biggest impact. I changed my plans and double majored in Dance and Creative Writing instead, and I never looked back. I didn’t know if a successful career would come of it, or anything for that matter– I just knew I couldn’t leave it behind. Simultaneously, much of my success is rooted in privilege. It’s often quite expensive to engage in the arts, and I’m very lucky to have had a strong familial support system, reliable housing, and the ability to work multiple jobs while pursuing my dance career.

JHPENTERTAINMENT: While researching to chat with you, I discovered you’ve not only got ties to Tennessee, but also neighboring Kentucky. What can you tell me about your southern ties, and will playing Nashville’s TPAC afford you the chance to reconnect with friends and former colleagues?

JADE PRIMICIAS: It absolutely will! I was born, raised, and educated in Western Kentucky and currently live in Memphis, although with our tour schedule I’m usually away from home. Performing in Nashville provides the opportunity for many of my communities, friends, and loved ones to come together to see the show that is so near and dear to my heart, many of whom haven’t seen me dance since I was a kid– or at all. It will be an emotional weekend of performances for sure!

JHPENTERTAINMENT: For those not familiar, how would you describe MOMIX in three words?

JADE PRIMICIAS: Look, no hands!

JHPENTERTAINMENT: How did your association with MOMIX begin?

JADE PRIMICIAS: I first heard about MOMIX while training with Pilobolus, the plant from which MOMIX was propagated, following their performance in Germantown, Tennessee. They were describing companies who created work along a similar vein, using strong partnering and improvisational techniques, and my interest was piqued. Two years later, I saw MOMIX on the same stage where I’d also seen Pilobolus for the first time, and I knew that I’d found my people– or in that show’s case, bugs. After an incredible stroke of fate, I saw them for a second time the following year and met up with one of the dancers after the show. I teared up as I expressed how much I loved the shows and saw myself in the work, and the dancer gave me the most mind-blowing piece of advice yet: just audition. As a small town, Kentucky girl, this possibility had never occurred to me. With more luck and the support of the incredible Memphis dance community, I made my way up to Connecticut (leaving during bows for a Tennessee Ballet Theater show I was directing with Erin Walter) to catch the last flight to New York on a Sunday night, and the rest is history.

JHPENTERTAINMENT: Fans of Lewis Carroll‘s Alice character are loyal indeed. I can attest to that fact as one of my dearest friends is absolutely Alice obsessed. Considering the fandom, in what ways does MOMIX Alice honor Carroll’s beloved characters?

JADE PRIMICIAS: Our Artistic Director Moses Pendleton did his due diligence in researching Alice, sharing fun facts about Lewis Carroll and his inspiration for the famous stories along the way and even incorporating the “original” Alice into the show. Moses was sure to include the timeless White Rabbit, the hypnotic Caterpillar, Mad Hatter(s), the incorrigible Queen of Hearts, chaotic playing cards, red roses, and of course Alice herself, but we invited some of the lesser known characters into the mix as well, giving the show an even more authentic charm. The Cheshire Cat, for example, appears and disappears perhaps before Alice sees it herself… Fans will recognize even more obscure references, such as in the section of the show entitled “The Tweedles” which pays homage to both its namesake and to the “Pig and Pepper” scene from the book, during which a baby that Alice is holding turns into a pig. The Mock Turtle even makes an appearance, singing her lament. Finally, bonus points go to those who can identify the song, or poem, to which the lobsters perform their quadrille!

JHPENTERTAINMENT: That covers the original nods, so, on the flip-side…are there elements in this retelling that are unique and new that you yourself particularly enjoy?

JADE PRIMICIAS: Moses loves wordplay, and of course it’s MOMIX tradition to bend the rules of reality. In addition to growing taller and smaller, in our version, Alice multiplies! These Alices appear and disappear throughout the show, taking the audience deeper into wonderland as we fall again and again into the rabbit hole–or perhaps into chimneys—in Lewis Carroll’s imagination. Another more imaginative section of the show lies within the Garden of Molar Bears & Other Creatures… audiences will stumble upon characters that Alice may not have spied in the book, but that must have spied-her. One of my favorite curious creatures is what we call Datura, named for the beautiful yet deadly nightshade flower it sometimes resembles. Truly, Lewis Carroll lulls Alice into a whimsical dream-state starting from the show’s opening piece, where he guides her into wonderland and beyond. Every time I “fall asleep” on that ladder, I wake up and I am Alice, excited to take the audience with me on the adventure of a lifetime.

RAPID FIRE WITH SEAH HAGAN

JHPENTERTAINMENT: While researching to chat with you I discovered you’re a third-generation dancer, so I’m guessing if the phrase “Born to dance” was ever true, it was true in your case. Would you agree?

SEAH HAGAN: Dance has been a part of my life since I can remember… I grew up in the theatre and watching, living, and breathing dance. So more than born to dance I was “born into dance”!

JHPENTERTAINMENT: On the subject of your family’s connection to dance, you even studied under both your parents, Natalia Botha and Charles Hagan at Southern Academy of Ballet Arts. What’s more challenging, being a student of your parents in dance, or in life?

SEAH HAGAN: My parents have always been extremely supportive of me both inside and outside of the studio. They have been my toughest critics but also my biggest fans throughout my life. To have professional dancer/teacher parents and grand parents gave me a unique upbringing. One I am very grateful to have had. Not everyone understands the rigors of a professional dance career, the training it takes to get there, and the sacrifices made, so to have your parents in your corner though all of that is a one-of-a-kind sort of support that I am beyond grateful. Also, because they know me so well, they are always sure of what I am capable of so there is always room to be pushed further when necessary and also when to be nurtured in the moments needed.

JHPENTERTAINMENT: What’s the most valuable lesson you’ve learned from your parents? Again, you can answer this as it relates to dance, or as it relates to life itself…

SEAH HAGAN: My parents taught me the value of hard work. It doesn’t go unnoticed even if you think it is. Someone is always watching and taking note of the space so always put your best foot forward no matter the situation.

JHPENTERTAINMENT: When and how did your association with MOMIX begin?

SEAH HAGAN: My parents trained another dancer who is now former MOMIX member many years ago. I saw a MOMIX show many years ago when I was too young to remember, unfortunately, but I grew up hearing the name and when I saw the company’s work I was in awe. I audition in 2017 for MOMIX and did my first tour less than a month later. I was freshly 18 years old when I got the job and my whole world turned upside in the best way possible.

JHPENTERTAINMENT: Thus far, you’ve danced in three MOMIX shows. What’s your favorite aspect of being a member of the company?

SEAH HAGAN: MOMIX is unlike any other company. Not only is the work one of a kind, but also the atmosphere. Having the honor of working with Moses Pendleton and Cynthia Quinn—our Artistic Director and Associate Director—is incredible. Both have so much valuable insight into dance and movement that not only applies to the work but can be taken into the outside world as well. The other dancers in the company also each have a unique blend of skills that you are constantly learning from by just being around them and you are forever pushed to explore new limits and comfort zones in the studio. I could go on forever. The touring life too is so special. We travel and preform most of the days out of the year and are a very tightly knit group who essentially work, eat, dance, live, and grow together which forms bonds as deep as family. The memories made here are the best of the best. We go to incredible places all over the world from Europe to Asia and all across the United States and each place is just as special as the last.

JHPENTERTAINMENT: You have been with Alice since the beginning. What’s most gratifying about seeing a project from inception to presentation?

SEAH HAGAN: Watching and being a part of Alice’s creation and ever-changing development has been a journey. Much as Alice the character is traveling though the different parts of Wonderland, Alice, the production, is on a voyage through different stages of MOMIX-land. It’s been very special to watch the show come together and deepen over the years.

JHPENTERTAINMENT: Is MOMIX Alice like most theatrical presentations in that…certain dancers are cast as certain characters? Or might someone dance the role of Alice one show and the next tour stop, they might be the Mad Hatter?

SEAH HAGAN: We occasionally have changes to casting but typically have a set “tack” we preform throughout the show. The production is different in the sense though that we all play multiple characters. For example, in this show I am: Alice, a rabbit, part of the Lobster Quadrille, the Queen of Diamonds and Hearts, one of the creature in the garden, the Wolf Spider, and then back to Alice many times throughout the show. Each dancer has a similar arrangement of roles so there are many different “hats” to be worn throughout the show!

JHPENTERTAINMENT: Dance is a very demanding profession, requiring constant body maintenance, whether it be stretching, working out, or simply finding time and space to move, rehearse and tune your craft. How does that work while on the road?

SEAH HAGAN: We are preforming most every day on tour so our workout comes mostly from the show. We take a ballet class every day to warm up, so we are maintaining our technique as well. A lot of the dancers supplement here and there by practicing yoga or doing Pilates. Personally, ballet or riding a bike is my exercise of choice. Also, we definitely get our steps in by exploring the cities we are preforming in before the shows and on days off. It’s most difficult on long travel days with fights or extended drives but we all have our own personal ways to tend to our bodies as needed.

JHPENTERTAINMENT: Wardrobe, set design and lighting play a supporting role in dance performance. Is there a particular scene, segment or look…whether your’s or one of your fellow dancers…that you simply love?

SEAH HAGAN: The whole show is a visual spectacle, so every scene has something to look for. I would say the lobster quadrille is always very eye-catching to the audience and fun to perform as the dancers are manipulating large hoop-skirts into different shapes and accessories. This piece is challenging from a dancer perspective because the piece is really a dance for the prop and learning how to remain understated personally while still performing is quite difficult at first.

JHPENTERTAINMENT: Alright, we’ve come to the end of our chat. I usually like to close my interviews by asking….What do you hope audiences come away with after having witnessed MOMIX Alice?

SEAH HAGAN: I hope the audience lets Alice take them on a trip though Wonderland in the abstract design it was created in. I always like to tell people to let their imagination run wild and don’t be afraid to let your natural reactions out whether it be laughter, curiosity, or amazement. Come with us into the world of Alice and let us transport you to another dimension!

MOMIX Alice invites Nashville audiences to travel down the Rabbit Hole with two Music City performances at TPAC’s Polk Theatre, Friday, January 27 and Saturday, January 28 at 8pm each night. At the time of this interview, limited tickets remain for both performances. Tickets start at $55 and are available HERE. For even more of an insider’s look, patrons are invited to attend a special TPAC INSIDE/OUT WORKSHOP: MASTERCLASS WITH MOMIX from 3pm until 4:30pm on Saturday, January 28 at TPAC’s Rehearsal Hall. Tickets to the workshop are $10. CLICK HERE to reserve your spots.   

Not in Nashville, but interested in seeing MOMIX Alice in a town near you? You can keep up with the the company and the tour by following MOMIX on Facebook, Instagram, Twitter and YouTube.

Following MOMAX Alice‘s Nashville engagement, TPAC continues to celebrate dance with  Shen Yun returning February 3 & 4 and Nashville Ballet‘s premiere presentation of Attitude: Anthology February 10-12. Then, TPAC’s Perspectives series returns with Why Would I Mispronounce My Own Name? February 10-12. Broadway at TPAC continues with the Nashville debut performances of the National Tour of SIX the Musical February 21-26…just to name a few upcoming events. For the full calendar of performing arts coming to TPAC, check them out online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Paint Drumming
photo by Lindsey Best

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

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

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

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

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

photo by Evan Zimmerman for MurphyMade

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

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

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

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

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

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

Theatre Review: There’s no such thing as too much hype to describe the theatrical experience that is ‘HAMILTON’; on stage in Nashville at TPAC’s Jackson Hall thru January 19

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Joseph Morales and members of the cast of ‘Hamilton’/all photos by Joan Marcus, courtesy Hamilton National Tour

Nashville theatre audiences have anxiously awaiting the arrival of Lin-Manuel Miranda’s Broadway blockbuster, Hamilton, right here in Music City since Tennessee Performing Arts Center first announced its eventual 2020 arrival during the season announcement party back in April of 2018. Well, the wait is over! Hamilton has ascended upon TPAC’s Jackson Theatre.

Before attending the show Tuesday night, I had honestly never listened to the soundtrack, other than catching occasional televised performances on the Tonys, the Grammys, the Olivier Awards and the like. Partly because I initially hoped to see it on Broadway or Chicago, where I had friends in both companies, but mostly because I kept hearing Hamilton described as a hip-hop musical. While I consider myself musically well-rounded, I’m not exactly a hip-hop aficionado, or a history buff, for that matter. I just didn’t know if I wanted to sit through a two and a half hour musical that tells the tale of Alexander Hamilton through rap and hip-hop. Damn. I’m here to tell you, after experiencing it live, on stage, in a packed house. I was foolish to deny myself this long.

When I say there was a packed house, I’m not exaggerating. My best friend and I arrived to the theatre Tuesday night an hour and a half before curtain (normally, I breeze in as the house opens half and hour before the show begins). When we arrived, valet was surprisingly quick, which reassured me we were simply early. Nope. Once inside TPAC’s lobby, we walked into the biggest crowd of folks I’ve ever seen at the venue and you could feel the buzz of excitement. Hamilton had arrived and Nashville was ready.

As time ticked away, the hour wait flew by. Some passed the time waiting in line for a photo op at the Hamilton selfie wall, while many visited the merch booth for the usual t-shirts and mugs, or Hamilton-centric items like golden quill pens. I myself managed to thankfully find a spot on a bench near the theatre entrance and struck up a conversation with a lady and her daughter who were excited to be there. What’s more, they were there because they had entered TPAC’s ticket lottery and had won the chance to purchase two prime seating tickets for $10 each! CLICK HERE for more about the Hamilton/TPAC ticket lottery.

Once inside the theatre, more selfies were taken as patrons flooded the room. There it was. The set. The first glimpse of what some have described as the most important theatrical experience of our generation. Set Designer, David Korins–whose work includes everything from Pee Wee Herman’s playhouse for its recent stage run to Beetlejuice’s frighteningly fanciful Broadway set–created the Hamilton set. Upon first glance, it appears nautical in nature, with ropes, pulleys and wooden platforms invoking ideas of a ship. Perfect, as we soon discover through the lyrics of the show’s first tune, Alexander Hamilton that the founding father was not only an immigrant orphan, but that he also worked on a trade charter as a young teen.

To the casual viewer, the set seem to remain the same throughout the show. But with the added technical craft of lighting designer Howell Binkley, the set, at times represents everything from a courtroom to the physical representation of the growing age of enlightenment that was New York in the early 18th century. Such a seemingly simplistic set, but so cleverly utilized and smart. While many current shows seem to be following the trend to feature completely realistic projections, Korin’s wooden scaffolding set, complete with a surprise dual…or should I say duel (see the show, you’ll get the reference)…turntable floor feature, enhances the action of the show and the music, but doesn’t distract from it.

On the subject of the music of Hamilton, as mentioned above, yes, hip-hop is predominant, and not just in style, but in reverence to the genre itself. It can’t be coincidence that the show’s second musical number, My Shot, begins with Hamilton spelling out his name in a rhythmic patter, “A-L-E-X/A-N/D/ER”. That’s surely a nod to legendary rapper Notorious B.I.G., who rapped, “N-O/T-O/R-I/O/U-S” within the lyrics of his iconic 1997 cross-over hit, Going Back to Cali. That’s not the only Biggie nod, as midway through act one’s Ten Dueling Commandments commands memories of B.I.G.’s The Ten Crack Commandments, a track from the performer’s final studio recording. Notorious B.I.G. isn’t the only hip-hop artist Miranda pays homage to. The opening of Cabinet Battle #1 has a Jay-Z Izzo intro vibe. Heck, the cabinet battles themselves are even staged like classic rap battles, mic-drop and all., There’s also a similarity between Hamilton’s Meet Me Inside to DMX’s Party Up in Here. 

It’s not just hip-hop that’s references in Miranda’s brilliant soundtrack. There’s also more than a few winks to the art of showtunes themselves. The most obvious, nods to Gilbert and Sullivan, Jason Robert Brown and Rodgers and Hammerstein. For Gilbert and Sullivan, it’s the hilarious inclusion of a direct lyrical lift from Pirates of Penzance, featured during Hamilton’s Right Hand Man when General George Washington refers to himself as “the very model of a modern major general”. Jason Robert Brown’s The Last Five Years’ Nobody Needs to Know, pops into Hamilton during Say No To This. My favorite of these three…during My Shot, Hamilton references South Pacific’s Carefully Taught.

Other lyrical nods may or may not be intentional, but rather, perhaps only coincidental, but I doubt it. Miranda has proven himself a true lover of musical theatre by including lyrical taps to things like 1776: The Musical’s Sit Down, John. While it covers the same subject matter as Hamilton’s The Adams Administration, it’s given a decidedly edgier and hilarious feel when accompanied by an unexpected expletive. There are literally a couple dozen theatre references, intentional or not, throughout the show, but I digress.

Rap and Showtunes are just two of the musical genres Miranda includes within Hamilton. Perfectly setting the scene with acknowledgement to the factual time during which the action is set, Hamilton also includes period-authentic instrumentation. During King George’s Act 1 jewel, You’ll Be Back, a harpsichord is featured. What’s the significance? A harpsichord perfectly repersents the time period as many composers of the day included parts for the now oft-forgotten instrument in their arrangements. Then there’s an actual piece originally composed by composer Wilhelm Richard Wagner included in Hamilton during Helpless, when Alexander proposes to Eliza. The classic piece in question…commonly known as Here Comes the Bride, is actually titled Bridal Chorus and was first presented by Wagner during his 1850 opera, Lohengrin.

OK, enough…probably too much…about the trivial musical winks, but I had to mention, as listening for them and recognizing them became one of my favorite aspect of seeing the show for the first time.

Because of its continued success and popularity, Hamilton is still on Broadway, while simultaneously embarking on their National Tour…there are two current US tours in fact,—The Philip Tour and the Angelica Tour. Nashville’s TPAC is playing host to The Philip Tour.

Starring as Alexander Hamilton is Joseph Morales, who was previously part of Hamilton’s Chicago company. As Hamilton, Morales plays the founding father , whom we first meet at age 19 when he arrives in New York in 1776. For those droves of Hamilton fans, Morales, and anyone who ever plays Hamilton, has the unenviable task of stepping into the role orignated by Miranda himself, daunting, indeed. To his absolute credit, Morales approaches young Hamilton during Act 1 with a convincing naïveté paired perfectly with an excitement to make his mark on the new world. I’m not gonna lie. From his first notes of the eponymous Alexander Hamilton to the finale, Morales evoked chills as I learned more about Hamilton than I ever realized I needed to know. Morales portrays Hamilton from enthusiastic young man with a vision through the pain of losing his son, jeopardizing his marriage and his ultimate untimely death, running the gamut of emotion in a believable, but unforced way

Cast as Hamilton’s counterpoint and eventual assassin–Come on…that’s no Spoiler..even I knew that–is Jared Dixon as Aaron Burr. Alright, I have to admit it, the only reason I know Aaron Burr killed Alexander Hamilton is thanks to an early 90s Got Milk? commercial (directed by Michael Bay, btw) in which a Hamilton historian misses out on a radio trivia contest while eating peanut butter sandwich with not enough milk to wash it down…again….I digress. 

Dixon as Burr, the OG frienemy, is not only the perfect foil for Morales’ Hamilton, but also the perfect scene partner, their lyrical sparring make for some of the show’s most enjoyable moments. Plus there’s the running gag of the way everyone lingers on then pronunciation of Burr’s surname, which begins with the tune Aaron Burr, Sir and continues throughout the show.

The Schuyler Sisters

As well-known to Hamilfans as Hamilton and Burr there’s also The Schuyler Sisters, Angelica, Eliza…and Peggy (see the show, you’ll get the reference). Cast as Hamilton’s love interest and eventual wife, Eliza is Erin Clemons. Her physical beauty, and that of the actresses playing her sisters, only accentuated by the glorious costumes courtesy costume designer Paul Tazewell, Clemons is the perfect scene partner for Morales’ Hamilton, not only vocally holding her own, but wowing the audience during numbers like the gorgeous Helpless, an r&b ballad with a healthy dose of the romanticism of a Cole Porter standard. 

As Angelica, Ta’Rea Campell is mesmerizing. Presented not only as Eliza’s selfless sister, but also as Hamilton’s unrequited love, Campbell’s performance presents a subtle depth to the character, especially during her featured turn alongside Clemons and Morales during the gorgeous Satisfied.

Nyla Sostra’s Peggy is memorable, mostly because the character herself is played as forgettable. That said, Sostra snags the spotlight in the dual role of Maria Reynolds, with whom Hamilton had an ill-fated illicit affair that would prove a potential thorn in his political side. In a wardrobe move straight out of Bette Davis’ Jezebel, when Sostra takes to the stage in a red dress as Reynolds, the heat is on.

As expected, other historical figures present in Miranda’s Hamilton include the aforementioned King George III, George Washington and Thomas Jefferson.

Joseph Morales and Marcus Choi in ‘Hamilton’

As George Washington, Marcus Choi plays our first president with a bit of wit and wisdom, making me personally long for a leader with those same qualities. Songs like Right Hand Man, Stay Alive and One Last Time showcase Choi’s talents perfectly.

Neil Haskell as King George III is everything you’d hope a self-centered royal would be…and then some. With equal parts Sir Elton John at his campiest mixed with your anything-but-average spoiled monarch, Haskell steals every scene he’s in…and interestingly, he interjects himself throughout the action of the play, even though it all takes place stateside.Haskell’s King George puts the ham in Hamilton in the best way possible during You’ll Be Back, What Comes Next and I Know Him…all containing a happy sing-song 60s Brit-pop melody. A nice contrast the the soundtrack predominately heavier rap aesthetic.

King George III

Warren Egypt Franklin’s Thomas Jefferson—clad in a purple topcoat that rivals anything rock royalty Prince ever wore and strutting like a banty rooster with a cockiness that’s reminiscent of another Jefferson…TV’s George Jefferson as played in the 70s by Sherman Hemsley—he too holds his own and steals the limelight whenever he’s on stage. What’d I Miss, Cabinet Battle #1 and Election of 1800, among his musical highlights. Franklin also does double duty appearing as Marquis de Lafayette, changing it up a bit donning a humorously heavy accent and a less flashy topcoat for the role.

Also doing double duty in two supporting roles Desmond Sean Ellington as Hercules Mulligan and James Madison, Elijah Malcomb as John Laurens and Philip Hamilton, the aforementioned Nyla Sostre and Nick Sanchez who plays three roles: Philip Schuyler, James Reynolds and Doctor. 

These actors, along with the rest of the ensemble and the leads, bring the story of Hamilton to glorious life. 

In addition to Lin-Manuel Miranda’s inventive book, music and lyrics, Hamilton also boasts an electrifying array of movement as choreographed by Andy Blankenbuehler. To that end, the visual presentation of the ensemble dancers, whether dressed in full military garb, or stripped down to petticoats and form-fitting pants and sleeveless undershirts, as dressed by Tazewell, perfectly accentuates the movement. At times, while the leads perform vocally, the ensemble beautifully accentuates their words with movement. Much like the genre-crossing inclusion of music, many dance forms are presented in Hamilton, from ballet, to jazz, hip-hop and even touches of traditional tribal dance. Proving once again, Miranda and company deserve every bit of hype, but more importantly, praise for THE musical of our time.

Hamilton continues its extended run at TPAC’s Jackson Hall with performance through January 19. To follow Hamilton, check them out on Facebook, Instagram and Twitter.

You can 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.

Public on-sale date announced for Tony-winning ‘Hamilton’ National Tour in Nashville at TPAC’s Jackson Hall December 31, 2019-January 19, 2020

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Early this morning, TPAC finally announced the long-awaited details of the public sale date for the highly anticipated Music City debut performances of Hamilton. Producer Jeffrey Seller and Tennessee Performing Arts Center revealed that tickets for the Nashville leg of the first-ever National Tour of the eleven-time Tony®-winning musical will go on sale on Monday, Nov. 11 at 10 a.m. Tickets will be available at TPAC.org and in person at the TPAC box office (505 Deadrick Street) in downtown Nashville. Tickets will be available for performances Dec. 31, 2019 – Jan. 19, 2020.

 There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $79 to $199 with a select number of $349 premium seats available for all performances. Additional fees will apply to online purchases. As TPAC has offered for many of their recent shows, there will be a lottery for $10 seats for all performances. Lottery details will be announced closer to the engagement.

Jeffrey Seller noted, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Nashville engagement should be made through TPAC.org.”

Hamilton is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington‘s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s biography Alexander Hamilton.

The Hamilton creative team previously collaborated on the 2008 Tony Award®-winning Best Musical In the Heights.

Produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theatre, Hamilton features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA and General Management by Baseline Theatrical.

Hamilton will be the fourth production in TPAC’s current Broadway at TPAC 2019-2020 Season, having began the season with Dear Evan Hansen, Once on This Island and their current offering, The Spongebob Musical (on stage at Jackson Hall thru Sunday, November 10). The add-on special presentation of CATS will take to TPAC’s Jackson Hall November 19-24.

Following Hamilton, the season will continue with My Fair Lady, Escape to Margaritaville, Summer: The Donna Summer Musical and Roal Dahl’s Charlie and the Chocolate Factory, as well as add-on specials including Blue Man Group, Jesus Christ Superstar and The Color Purple. CLICK HERE for tickets or more info. 

With five shows still remaining in the current season, Flex Package Season Subscriptions are still available. CLICK HERE for more details. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram.

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, Twitter, and Instagram.

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