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Rapid Fire 20Q with cast and director of ‘Sordid Lives’ opening Friday, July 26 at Playhouse 615

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Sordid Lives is arguably not only one of the most beloved modern era stage plays, but also an important piece of LGBTQ+ history. Not only was it written and originally directed by the the queer community’s most prolific playwright, Del Shores, but the original production, as well as the subsequent 2001 film adaptation, a prequel tv series and another cinematic sequel all featured the late great Leslie Jordan in the pivotal role of Brother Boy. With that in mind, when I heard Playhouse 615 was mounting their own production of the original stage play, I knew I wanted to catch up with a few of this production’s stars, including: Steve Raimo (Brother Boy), Mick Grayson (Ty), Robert Coles (Wardell), Diane Bearden (Aunt Sissy) and director, Erin Grace Bailey for my latest Rapid Fire 20Q interview.

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RAPID FIRE 20Q WITH STARS AND DIRECTOR OF PLAYHOUSE 615’s SORDID LIVES

RAPID FIRE WITH MICK GRAYSON, TY WILLIAMSON IN SORDID LIVES

JHPENTERTAINMENT: What is it about Ty that make you want to take on this role?

MICK GRAYSON: I’ll be totally honest – I went into the audition pretty blind. I had merely read the description of the play at the time, and chose the role whose description best fit me. I try to let myself be surprised when I do a cold read for an audition, as we did with Sordid Lives, because I want to use my instincts to drive what character choices I would make. Now that we have spent several weeks developing these characters, I feel like Ty is an interesting juxtaposition as he is simultaneously the audience’s “everyman” who helps ground the show, while also demonstrating that even those in the higher social castes (celebrities in this instance) are not immune to social stigmas. Ty’s story is a deeply personal one that echoes throughout the rest of the characters’ stories, and that echoing alongside the amazing work of the rest of the cast helps to make everyone in the show more realistic and not caricatures.

JHPENTERTAINMENT: I understand you studied Acting at UT Knoxville. Anyone who reads my column with any regularity knows that I always ask the following on UT alum…Did you have any opportunity to study under my friend Carol Mayo Jenkins? AND…What is something you learned during your time at UT that you value as a life lesson you’ll not soon forget?

MICK GRAYSON: I sadly did not get much of a chance to work with Carol in a classroom setting, but I did work with her backstage on multiple shows. Due to the very high standards and requirements for actors at the Clarence Brown Theatre, I worked on over a dozen shows as part of different backstage crews, so I never got to see the process of Carol going through and building her characters with the directors, but I do remember the level of commitment she brought to every show when I saw her work.

As for life lessons, I think one of the biggest ones was about finding and building your own community. In my bio, I mentioned my gratitude for the support of both my related and chosen family. You wind up connecting so deeply with people you work on productions with, and quickly learn how you can and need to rely on them. It’s funny because I frequently worked the annual Christmas Carol shows at the Clarence Brown, and between days with multiple shows, children’s performances, the long run of the show, and the fact that it coincides with final exams, it was an incredibly stressful and tiring experience, but also some of the most memorable times at UT came from doing those shows.

JHPENTERTAINMENT: In your show bio you’re very honest about the fact that you’re disabled. That hit a chord with me, as I myself am physically disabled. How important is it for you to be a performer, showcase your talents and focusing on your ability, as opposed to your disability?

MICK GRAYSON: I think we can thank my mom for that one. She was a lion when it came to my illness-she never shied away from the severity of it, but she never made it where the illness was my only defining quality. When she was looking to enroll me in pre-school, she made where I would be introduced to the teachers and they could get to know me and how I operate BEFORE disclosing my illness to them; not as a means of staving off rejection from the school, but to indicate that I am more than my health condition.

I’ve applied that now as an adult, to where I recognize my limits, but never want that to be limit the quality of my life. I am fortunate in that for the most part, my disability is invisible. Most people who see me wouldn’t know I have any issues, and that makes it easier to avoid any discrimination or external limitation. But I think it’s important to be represented in this space so those who identify as disabled or who do have significant health problems can reduce their self-imposed limitations and live more on their own terms.

JHPENTERTAINMENT: I understand is your first time working with Playhouse 615. How has the experience been so far?

MICK GRAYSON: I’ve loved it. I’ve been out of this world for several years after COVID, and the team has made me feel right at home right out the gate. No production is without its snags, and Erin Grace has been a great champion of the play itself and supportive of the cast as we all work through our individual issues. I’m also impressed by the work that the cast has put forth in trying to connect with this story and their characters to make it hysterical while keeping its poignancy. For a return to the performing world, I don’t think I could have asked for a better set up.

RAPID FIRE WITH STEVE RAIMO, BROTHER BOY IN SORDID LIVES

JHPENTERTAINMENT: You’re playing Brother Boy, a role made famous by the late, great Leslie Jordan. I know you’re as big a fan of this work as well as the two feature films and the tv series based on the play. So how are you finding a balance between honoring the iconic character created so perfectly by Leslie while making it your own?

STEVE RAIMO: What an honor it is to portray the character of Brother Boy, and I can only hope that I do the character justice for Del Shores, and that Leslie will smile on me from above. Those are some pretty big heels to fill.  Because this character is so genuine, it’s so much fun to try and bring them to life for an audience.  I remember the first time watching the movie, I fell in love with Brother Boy, and I have put my heart into this role to have our audience fall in love with him too.

JHPENTERTAINMENT: Not long after the cast of Playhouse 615’s Sordid Lives was announced, you and I chatted and you asked me if I had any advice in your portrayal. After I paraphrased RuPaul’s “Don’t F it Up”, I suggested that you not play Brother Boy’s drag scenes with the same self-assuredness that you bring to the stage in your drag persona, Veronika Electronika. Have you taken that advice, and how do you see Veronika and Brother Boy’s Tammy Wynette drag as different characters?

STEVE RAIMO: Veronika via Steve is so different from Tammy via Brother Boy.  They approach their stage personas in different ways. To Brother Boy, Tammy gives him life, he idolized her, while Steve gives Veronika life; she’s nothing without him. I’ve had to step out of my comfort zone and put the drag diva to the side and let Brother Boys love for Tammy shine through.

JHPENTERTAINMENT: On the flip side, are there indeed similarities between Tammy and Veronika?

STEVE RAIMO: If there are similarities,  it’s that they are there to entertain. Brother Boy’s Tammy to the patients at the state hospital, and Steve’s Veronika to audiences at venues across Nashville and beyond; but at the end of the day, us Queens are here to bring Joy!

JHPENTERTAINMENT: Why was it important that you not only audition for this role, but that you get it?

STEVE RAIMO: Well, as a potential Class D felon, in the eyes of the State of TN I feel that it is important to have drag representation in theater. Roles like Hedwig, Alban, Mrs.Turnblad and of course Brother Boy are just the roles that showcase the versatility of what drag is (and what it isn’t).

RAPID FIRE WITH DIANE BEARDEN, SISSY HICKEY IN SORDID LIVES

JHPENTERTAINMENT: What can you tell me about Sissy Hickey, the character you play in Sordid Lives?

DIANE BEARDEN: A mediator, listener, friend, sister, aunt, smoker and, bless her heart, white trash.

JHPENTERTAINMENT: Sissy is one of my favorite characters in the Sordid Lives universe, partly because she’s got some real zingers and great comebacks. Do you have a personal favorite Sissy-ism? 

DIANE BEARDEN: “Jesus Called, Peggy Answered….Awwwwww”. Coming in a close second, “Bless’er heart. Had more troubles than Christ on the cross.”  

JHPENTERTAINMENT: You were last seen on stage at Playhouse 615 in their recent production of Nunsense, you directed their production of The Sugar Bean Sisters and you’re a member of their Board of Directors. What is it about Playhouse 615 that keeps you coming back?

DIANE BEARDEN: I have a real soft spot for this theatre. I’ve been with them since the beginning. Exciting stuff happening at Playhouse 615. 

JHPENTERTAINMENT: Is there a character trait of Sissy’s that you’d like to adapt to your own life?

DIANE BEARDEN: Quite frankly, I already possess most of Sissy’s traits. The only difference really is I don’t smoke. Typecasting at it’s finest.  🙂

RAPID FIRE WITH ROBERT COLES, WARDELL ‘BUBBA’ OWENS IN SORDID LIVES

JHPENTERTAINMENT: While coordinating these chats with you and your cast and director, you revealed to me that you’ve never actually seen Sordid Lives, not onstage, not the films, not the tv series. Do I need to revoke your gay card? Seriously though, you also went on to tell me that you wouldn’t be viewing any of the source material so as not to sway your portrayal of Wardell. That said. Who is Wardell to you?

ROBERT COLES: Haha! You’re not the first person to try to revoke my gay card because of this! Alas, I have not seen Sordid Lives. In fact, I didn’t do any research prior to auditions, and never read the full script until our read through! Once cast, I didn’t want to watch the material to make sure I was creating a character that is authentically mine. Wardell is such an interesting character. We see him go through a full spectrum of emotions in about 30 minutes, and ultimately attempt to redeem himself. He’s deeply flawed, deeply remorseful, and takes the opportunity given to him to make things right. I’ve enjoyed not only getting into the emotions of the character, but also the physicality of him. Wearing the tight Wranglers and boots, walking more “straight,” and stripping down to my underwear have all pushed me mentally and physically to be a better actor. 

JHPENTERTAINMENT: What’s been the most challenging aspect of playing Wardell?

ROBERT COLES: We’re dealing with some heavy subject matter in this show, and we try to do it with humor and grace. For me, some of the lines I say are very hard to deliver as an out and proud gay man. But, they’re also very healing for me. As someone who has faced discrimination for being gay, I’ve been able to heal myself by saying these lines via Wardell that I wish were said to me. I’m hoping to bring some humor and laughs to the stage, while also showing that we are all flawed, but all capable of change. As someone who has made tons of mistakes, Wardell and I are on the same path. I work every day to continue to correct mine and make amends. 

JHPENTERTAINMENT: Now that you’ve read the script and are fully immersed in the Sordid Lives world, if the opportunity ever arose and you could play another character, who would it be and why?

ROBERT COLES: Oh, goodness!! This is an excellent question. If I could play any character, it would probably be Sissy. But, I think that’s only because of the brilliance I see in Diane’s performance every night. Her comedic timing is just too brilliant. And I love how she’s playing this almost totally strait-laced character who has to hold everyone and everything together at all times. 

If I needed to play one of the male characters though, I would want to play Ty. I love the monologues he delivers. He says so much of what so many gay men are feeling and thinking as they navigate their coming-out journey. And Mick’s performance is so outstanding. 

JHPENTERTAINMENT: I’m gonna go a little off-script here and ask you about a couple original plays of yours that you’ve got coming up. What can you tell me about Aunt Sally’s Wild Ride and Lithium & Xanax & All of My Friends?

ROBERT COLES: While I love being on stage, I think my true passion is in writing and storytelling. I’m very excited and honored to have two of my shows running back to back and receiving their world premieres here in Nashville in September and October! 

Lithium & Xanax & All of My Friends is a semi-autobiographical drama about a gay man, Adam, who has difficulty coming to terms with past traumas. His friends gather together one night to stage an intervention and force him to deal with his past so he can move forward, or face the consequences if he doesn’t. This show is unique in that it has three different endings, and Adam gets to decide in the moment which ending he wants to tell that night, forcing the audience and his fellow actors to truly be in the moment to tell the story. I’m very excited that this show will also be premiering Off-Broadway in New York City with Theatre 4the People in 2025! The show runs October 4-12 at the Darkhorse Theatre, and tickets can be purchased at bsntheatre.org

Aunt Sally’s Wild Ride is my love letter to Nashville and good old fashioned southern comedies. I’m very excited that Playhouse 615 was interested in partnering for this production to give it a quality world premiere before the show becomes available for licensing worldwide next year. The basic storyline is that Aunt Sally (who will be played by the brilliantly talented Linda Spier) has had enough of her boring routine and starts to go a bit off the rails. Her family gathers together out of concern for her eccentric behaviors (and to ensure she doesn’t spend their inheritance) and chaos ensues. It’s full of fun Nashville references and hilarious characters, and at the end of the day, it’s about family. And, each character is based on a member of my own family! This show runs September 13-29 at Playhouse 615 and tickets will be on-sale soon!

RAPID FIRE WITH SORDID LIVES DIRECTOR, ERIN GRACE BAILEY

JHPENTERTAINMENT: While I gave Robert a bit of a hard time for having never seen the source material, I’m curious what advice as a director you gave your cast on finding their own versions of these iconic and beloved characters?

ERIN GRACE BAILEY: Well, it’s sort of a fine line, right? Iconic characters are iconic for a reason, and while we might want to give a nod to the film, we don’t want to steal those artists’ artistic integrity. Besides, film acting and stage acting are very different. Some things don’t translate as well on stage. 

This might be controversial of me, but I always tell my actors, if there’s a movie of a play that I’m directing and they’ve never seen it, don’t watch it. Let the text speak for itself. At the end of the day, we’re there to tell a relatable story, not create a caricature of someone else.

JHPENTERTAINMENT: Who else have you got working with you to bring your vision to life behind the scenes as far as set design, props, wardrobe, hair and makeup?

ERIN GRACE BAILEY: I’ve been really lucky to have such a devoted cast. It’s been a “all hands on deck” production. Most of my designers you’ll also see on stage. Mick Grayson who plays Ty has sort of been my right hand, especially the last week or so. He stayed with me at the theatre until 2 am one night doing our light design while I did sound. Rich Moses who plays GW and my stage manager Kaleigh Reichert did our set, and everybody has pitched in with props and costumes. It’s been a lot of fun. We’ve really become a family.

JHPENTERTAINMENT: Playhouse 615 is one of the more intimate theatrical venues in the Nashville area, but they’ve proven, especially in recent productions, that they can definitely make the most of the space. How have you dealt with the challenges of the smaller stage for Sordid Lives?

ERIN GRACE BAILEY: I’ve been lucky to have been able to perform on the 615 stage a few times, so knowing what it feels like to be up there was helpful in knowing how to block the scenes. One of the biggest challenges was how to set up all of the different scenes without a ton of furniture. There’s not a lot of room backstage, and this is a cast of 11 people, so storing stuff in the back was not an option. 

I fell in love with found object design when studying directing abroad in Prague, so that’s the concept we went with. Found object is when you don’t buy anything new. Everything is recycled and ideally “found” instead of purchased. It’s perfect for a Southern play. We sort of set the whole thing in the bar but move the furniture pieces around to create the belief of other spaces. The whole design concept has a very Cracker Barrel feel to it (or I guess former Cracker Barrel since they’ve sadly been going modern) with props hanging on the wall, and the audience gets to go on stage and look at it all during intermission and pre-show. I’m hoping our audiences will really enjoy not just our actors, but the design too.

JHPENTERTAINMENT: After seeing Playhouse 615’s Sordid Lives, what do you hope audiences take with them?

ERIN GRACE BAILEY: There are absolutely some heavy topics discussed in this play. Many of our audience members probably will have been through some of these things themselves, but I want the audience to take away that, in spite of it all, life is beautiful, and it’s full of joyful little moments even in its tragedy and complication. I want the audience to remember that love is love is love, and I want them to feel the love that this room of people [the cast] who didn’t know each other four weeks ago now have for each other. Most of all though, I want them to leave with a smile on their face.

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Playhouse 615’s Sordid Lives opens Friday, July 26 and runs weekends through August 11. Performances are 7:30p.m. on Fridays and Saturdays, with a 2:30p.m. matinee Sundays. Playhouse 615 is located at 11920 Lebanon Road, Mt. Juliet, TN 27112. Tickets for Sordid Lives are $20 or $17 for military and seniors and can be purchased online (CLICK HERE), by phone (615.319.7031), by emailing the Box Office (playhouse615@yahoo.com) or in person beginning and hour before each performance.

Up next at Playhouse 615 is the Middle Tennessee premiere of Cormac McCarthy’s The Sunset Limited directed by Anastasia Zavaro and starring Elliott Robinson and Bowd Beal, presented by The Other Me Theatre Company, onstage August 15-18. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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, follow us on Facebook, Instagram and Twitter.

Rapid Fire Q&A with Stars of ‘The Beauty Queen of Leenane’; onstage at Playhouse 615 beginning June 21

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Having premiered in Ireland in 1996, playwright Martin McDonagh’s The Beauty Queen of Leenane quickly made its way to The West End, then in 1998, to Broadway where it received six Tony nominations, taking home four. On Friday, June 21, The Beauty Queen of Leenane comes to Playhouse 615 with performances through Sunday, July 7.

Directed by Playhouse 615’s Artistic Director, Joel Meriwether, The Beauty Queen of Leenane stars Cat Eberwine, KC Bragg, Andrew Gately and Lindsey Patrick-Wright. Earlier this week as the cast and crew were preparing for their Friday, June 21 opening night, I had the opportunity to pose a few questions to Eberwine and Wright for the latest edition of my recurring Rapid Fire Q&A interview feature. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST MEMBERS OF PLAYHOUSE 615’s THE BEAUTY QUEEN OF LEENANE

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAG, CAT EBERWINE

JHPENTERTAINMENT: For those unfamiliar, what’s the basic plot of The Beauty Queen of Leenane?

CAT EBERWINE: At it’s core, I believe it’s about desperation, fear, and longing and the absolute driving need to feel loved and the fucked up ways people choose to show that love. It touches on mental illness, dysfunctional family dynamics, aging, abuse, and the “unnecessary neediness of a parent upon a child and the harm we inflict upon one another when our dreams don’t come to fruition”. We follow members of two Irish family’s who have lived in the same small town of Leenane all their lives, with very brief moments of escape, but they always return. When we meet them, all but one is desperate to get away.  It could appear on its surface to be a “day in the life” play, until it turns into an episode of Creepshow or Twilight Zone.

JHPENTERTAINMENT: How familiar were you with the work prior to auditioning?

CAT EBERWINE: Not at ahl, as dey say. I was just finishing up with Nunsense and didn’t have any other projects lined up, but I had missed the initial set of auditions due to opening weekend. Joel graciously loaned me the script the night before callbacks and I finished reading it about an hour before they started. I just knew enough from the text to get an idea of who Mag and Maureen were…and I can’t resist the chance to do an Irish accent!

JHPENTERTAINMENT: You play Mag, Maureen’s manipulative aging mother. Recently, you offered a sneak peak via social media of your physical transformation in the role. What can you tell me about how you and director, Joel Meriwether decided on Mag’s look AND how does the drastic change in your physical appearance enhance your ability to engulf yourself in the role?

CAT EBERWINE: The age of Mag, being almost twenty years older than I am, and Playhouse 615 being such an intimate theatre, in addition to the fact that Joel wanted the set to be placed really far downstage, made me a little hesitant to accept the role. I didn’t want to be a caricature of a old woman, so we had a long talk about it and when I felt confident he would give me the freedom to “do it right”, I accepted the role, even though I was not thinking I had been seriously considered for Mag until he called and offered it to me. The first thing I found was Mag’s voice, which is lower and slightly more gravely than my typical speaking voice, with a rural, Galway County Irish accent, with a few words she likes to pronounce incorrectly just to drive Maureen nuts. The rest Joel graciously let me design, which started, believe it or not, with my favorite pair of work boots, which, at this point, are practically falling off my feet and still spattered with the mud from when I shoveled out my driveway. For some reason, those boots helped me become Mag before anything else. And, as I love wigs, I found a grey one in a style I am very fond of, and once I put it on, it was a huge help. I found a picture of a woman online when I Googled “70 year old Irish woman on a farm” and this became the inspiration for Mag’s braids. I then started adding a few different costume pieces, but, even before doing ANY old age makeup, I got a white contact which I put in one eye. I had ordered it thinking it would be cloudy and not completely white, but it just creeped everyone out so much, we knew it was perfect. But the cherry on the cake of Mag, finally came when someone brought in a beautifully weathered driftwood cane…then she really came to life…banging it on the ground to emphasize her point, leaning on it to indicate how bored she is with the conversation, or using it to reach the cookie tin on the top of the cupboard that Maureen has put out of her reach just to be mean. The actual “old age” makeup will be minimal and I’m still trying to land on a design I like, but it really is the voice, the boots, and the cane if I had to narrow it down. However, when it comes down to it, and to answer the last part of your question, I don’t need a thing to engulf myself in Mag…she’s pretty much just me in a cranky foul mood.

JHPENTERTAINMENT: In addition to your primary co-star, Lindsey Patrick-Wright, who I’ll be chatting with next, you share scenes with Andrew Gately as Ray. What do you admire most about Andrew’s portrayal as Ray?

CAT EBERWINE: Oh, Andrew is wonderful and I am so excited to be on stage with him after seeing and costuming him in Lakewood‘s Christmas Carol as Fred. He has such a great voice and presence on stage and he is so “easy” to be on stage with…as are all the actors in this play…it’s been a joy rehearsing. He’s got great timing and understanding of the character, we never even talked about anything, just started reading the scene and it took off. His character is considered the “comic relief”, and a lesser actor could very easily have taken it in a direction that didn’t serve the overall mood of the play, but his scenes allow the audience to breathe a bit and chuckle, but still keeps you in the world of the production. And he’s got one of the best final exits ever, makes me “LOL out loud” every night.

JHPENTERTAINMENT: Mag seems villainous in her controlling nature. As cynical as I am, I still believe there’s good in everyone. What’s Mag’s best character trait?

CAT EBERWINE: I’m glad you said she “seems” villainous, because the way McDonagh writes this play, it can be difficult to determine at times. Maureen’s stay in the mental hospital is an undetermined time prior to the play, but it’s clearly stated that she remains an out-patient as long as she’s in Mag’s care, but we don’t exactly know why, but we know that it’s not just “nerves”. Does she puts up with Maureen’s abuse out of a desperate fear of being alone, as it is established that she CAN care for herself if she has to?  I’m convinced that, in her way, she loves her daughter, and there is something more behind her being manipulative in order to keep Maureen close, I think she’s scared FOR her…not scared OF her.  Good or bad, her “strongest” character trait I would say is “determination”. She is so determined to keep Maureen at home, whether it’s because she REALLY is just so desperately lonely or “afeared’ of having to care for herself, or is it because of what she knows about Maureen’s “condition” and knows that it’s really Maureen who can’t survive alone in the big, bad world.

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAUREEN, LINDSEY PATRICK-WRIGHT

JHPENTERTAINMENT: To begin, I must admit, I only have a vague familiarity with The Beauty Queen of Leenane, remembering it won four of the six Tony awards for which it was nominated, including Marie Mullen taking home the Best Leading Actress statuette for her portrayal as Maureen. Now you’re taking on that same role. Who is Maureen to you?

LINDSEY PATRICK-WRIGHT: This process has been so interesting, because I have found myself being very overprotective of Maureen. She is so complicated and so raw at times, but I admit I fell in love with her when I saw this play performed 20ish years ago in Memphis. Maureen is the embodiment of the power of hope – at the end of the day, it can either ensure survival or destruction and that dichotomy seems to drive Maureen. 

JHPENTERTAINMENT: Playhouse 615’s own Joel Meriwether is directing. What is it about Joel’s style as a director that lends perfectly to helming this particular piece?

LINDSEY PATRICK-WRIGHT: Joel has made this an incredibly collaborative process. Starting with building a cast of actors ready to show up and explore. We spent a lot of time on table work to gain an understanding of these four characters and what makes them tick and connect. For this show, Joel is working with an Assistant Director Preston Alexander Raymer who also embraced the collaborative spirit. The show can be extremely heavy at times, so they would encourage us to play (they would say “let’s get weird!”) to find the beautifully-written (and needed) levity in the script. That sense of play and adventure has allowed us to find the musicality of the changing tones within the scenes.

JHPENTERTAINMENT: The subject matter seems to have hints of classics like The Glass Menagerie or even Flannery O’Conner’s A Good Man is Hard to Find. Do you think that’s a fair assessment AND…what sets it apart and makes it its own? 

LINDSEY PATRICK-WRIGHT: Absolutely! I have also compared it to Sam Shepard plays since we have a less-than-functional family, long held secrets, and a claustrophobic setting, similar to his American plays. But this play feels even more isolated, likely due to the Irish setting – another thing Joel allowed us to explore in-depth- including having a taste-testing one evening with all the very Irish food and drink talked about in the show. The setting, set, and stage business are as much characters in the show as Mag and Maureen.

JHPENTERTAINMENT: Among your co-stars is KC Bragg as Maureen’s potential new suitor, Pato. Are you enjoying KC as a scene partner?

LINDSEY PATRICK-WRIGHT: KC’s Pato is the heart of this show. He requires a sincere and delicate portrayal to make him believable and KC absolutely nails that. This is the first time I have worked with KC and what a professional he is! KC is a generous scene partner and flexible with changes that some of our “getting weird” moments uncovered. It’s been an honor to work with him and I hope it’s not the last time!

JHPENTERTAINMENT: What do you hope audiences come away remembering most about having seen The Beauty Queen of Leenane?

LINDSEY PATRICK-WRIGHT: I mentioned seeing this show in Memphis years ago and what I remember most is how it made me FEEL. I want people to leave feeling anything but neutral about what they just watched. At the end of the show, I want them to need to shake their head to bring themselves back to here and now because they were immersed for a couple of hours into a small cottage in the Irish countryside. 

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The Beauty Queen of Leenane opens Friday, June 21 and continues weekends through Sunday, July 7 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN). Evening performances are Friday and Saturday at 7:30p.m., with Sunday matinees at 2:30p.m. General Admission tickets are $20, with special discounted $17 tickets available for Seniors and Military. CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Following The Beauty Queen of Leenane, Playhouse 615 will present Del Shores’ Sordid Lives, a hysterical “black comedy about white trash’ as directed by Erin Grace-Bailey from Friday, July 26 thru Sunday, August 11.  For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q with cast members of Playhouse 615’s ‘Hedda Gabler’; final performances thru April 28

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While many smaller theatre companies tend to showcase audience-expected simple comedies and like, one thing I always enjoy about a Playhouse 615 season is the variety of shows presented by this intimate 60-seat theatre nestled in Mount Juliet, Tennessee. In recent years, they’ve mounted everything from classics like The Trip to Bountiful, The Glass Menagerie and Arsenic and Old Lace to more outlandish fare including No Sex, We’re Sixty, The Sugar Bean Sister and more. Having recently wrapped their run of The 39 Steps, Playhouse 615 continues their tradition of a non-traditional season with their current production, an adaptation of Henrik Ibsen’s Hedda Gabler.

Something else Playhouse 615 isn’t afraid to do…present a show for more than a quick two-week run. To that end, their production of Hedda Gabler debuted the first weekend of April and will conclude its run with shows Friday, April 26 through Sunday, April 28. Last week, with the cast midway through the run, I had a chance to chat with them for my latest Rapid Fire 20Q. Those conversations follow.

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RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’S HEDDA GABLER

RAPID FIRE WITH HEDDA GABLER’s ERIN GRACE BAILEY

JHPENTERTAINMENT: You’re cast as the lead in Hedda Gabler. What can you tell me about the character? 

ERIN GRACE BAILEY: Hedda is a complicated person, and if anything, I think it makes her more realistic. I learn more about who she is and how she responds to the world around her every single time we perform the show. For this reason, I think she’s an exciting and dynamic character. Anyone who sees this show more than once isn’t going to see the same thing twice.

JHPENTERTAINMENT: In addition to starring in the show, you also adapted the play. Forgive the alliteration, but Hedda is pretty heady stuff. What drew you to adapting this work?

ERIN GRACE BAILEY: Well, it really wasn’t my intention to adapt it at first. What changed my mind was reading a bunch of adaptations over and over again. While there are some really awesome ones out there, none of them felt right to me. Hedda is a young woman who suffers from mental health issues and struggles with the gender roles put on to her by those around her. Oftentimes, there isn’t a lot of focus on these things though because Hedda is bright. She’s also a manipulator and makes some horribly harmful decisions that affects the other characters’ trajectories, but in the end, I’ve always been taught, in drama, if you can’t empathize with or care about the character, no matter how awful their decisions are, the tragedy isn’t tragic. I sort of feel like the best way to create empathy for a character is to have it written by someone who understands them, and while I haven’t been through everything Hedda has been through, I relate to her in many ways, especially being in a similar stage of life as her. When we were looking for adaptations of the play to perform, it was hard to find any adaptations written by women, especially contemporary adaptations (which was the route we already knew we wanted to go with it), so in the end, we thought creating our own adaptation would serve us better than trying to conform to someone else’s.

JHPENTERTAINMENT: When you began adapting it, was there always the idea that you’d also star in your own adapted version?

ERIN GRACE BAILEY: Yes, this project actually went a little bit backwards from the usual process. Instead of picking a script and then auditioning and casting it, this one went the other way around. Joel Meriwether, the artistic director at Playhouse, asked me to play Hedda about a year ago. After reviewing different versions of the script, none of them felt exactly right for us or like it focused on the message we wanted to convey, so I decided to adapt the script after that. 

JHPENTERTAINMENT: From what I know, the set is something a bit different for Playhouse 615 in that it not only extends from the usual stage, but also incorporates theater seating on stage. What went into that design decision?

ERIN GRACE BAILEY: I absolutely love performing in the round or on a thrust stage. I did it a lot in college, and I’ve missed it tremendously. I think it’s more intimate and realistic for the actors, and everyone in the audience gets a unique perspective of the story. So much of this particular play is about being stifled or feeling like you’re under someone’s microscope. We wanted the audience to sort of feel like they’re intruding on something, like they’re sitting in the Tesmans’ living room watching everything crumble. In the end, it also just ended up being a more practical decision as well because it gave us a little more space as actors to play.

JHPENTERTAINMENT: Henrik Ibsen’s original was written in Danish, so I have to ask. Unless you speak Danish, what version did you base your adaptation on?

ERIN GRACE BAILEY: Ha! No, I do not speak Danish. I drew inspiration from several different adaptations, but I primarily used a direct translation by Una Ellis-Fermor because I wanted to use a translation or adaptation that was written by a woman, which as I mentioned previously, was a surprisingly difficult find. Ironically, I happened upon Ellis-Fermor’s translation while on a trip to McKay’s when I wasn’t even looking for it, so whoever decided to sell their copy, it was meant to be!

RAPID FIRE WITH HEDDA GABLER’s WILL HENKE

JHPENTERTAINMENT: You’re playing Ejlert Lövborg in Playhouse 615’s Hedda Gabler. Who is Lövborg to you?     

WILL HENKE: Ejlert is a misunderstood man within his own mind and the world around him. There is a certain disconnect with the way his mind and body communicates and often sabotages one another and a most universal disconnect between his existence and his peers. His inability to conform and find meaning in his life is temporarily remedied by the company of Hedda Gabler, who may (or may not) be the missing piece to his inevitable demise.

JHPENTERTAINMENT: Is it just me, or do you hear ‘loverboy’ in the character’s name?

WILL HENKE: Funny that you say that! I always heard “I Love” in Ejlert. He’s Ibsen’s own unorthodox version of a hopeless romantic.

JHPENTERTAINMENT: How familiar were you with Hedda Gabler prior to auditioning for the role?

WILL HENKE: Without outing myself too much, I was completely unfamiliar with Hedda Gabler before the show. I’ve read A Doll’s House to fulfill my Ibsen quota, but most of my theatrical literature is devoted to contemporary pieces (see: Jackie Sibblies Drury, Brandon Jacob Jenkins for my faves).

JHPENTERTAINMENT: I just spoke with your co-star, Eric Grace Bailey, who also adapted Ibsen’s work for this production. She opted to shift the time and setting to modern day. How do you think that enhances this particular version?

WILL HENKE: I think the charm of the modernization lies in the very ability to do so. Setting Hedda in current times as opposed to 1890s Norway is a testament to the timelessness of the piece.

JHPENTERTAINMENT: Your show bio includes a mention of your theatre origin, having played Horse #3 in a high school production of Cinderella. How did that humble beginning prepare you for a life on stage? 

WILL HENKE: There are no small parts. Just small horses.

RAPID FIRE WITH HEDDA GABLER’s SAWYER LATHAM

JHPENTERTAINMENT: How would you describe Judge Brack, the character you play in Hedda Gabler?

SAWHER LATHAM: Brack, in simple terms, is a power hungry narcissist. His entire driving force is manipulating the people around him and he derives pleasure from bending people to his will. Just a stand up guy. 

JHPENTERTAINMENT: Playhouse 615 audiences might recognize you from your recent turn in their production of The Woman in Black. What is it about your experience at Playhouse 615 that prompted a return for another show? 

SAWHER LATHAM: The environment behind the scenes is one of the best in Nashville and the surrounding areas. There’s a certain feeling you get when you’re around people who care as much as you do. I get that feeling here. 

JHPENTERTAINMENT: Your admitted AI-generated acting resume, though mildly entertaining, is largely bereft of any real details of your former roles aside from Smoke during The Bell Witch Fall Festival. What was your first stage performance?

SAWHER LATHAM: My first onstage performance was with the Theatre Bug back in like 2015. I played a little techie kid in Showmance. I don’t remember too much from that process but I must have enjoyed it to still be around doing it today. 

JHPENTERTAINMENT: What is it about Hedda Gabler that continues to interest audiences and remain relevant some 131 years after Ibsen first wrote it?

SAWHER LATHAM: I mean, it’s a classic for a reason. I don’t think I can add anything to it that hasn’t been said already. Ibsen created such an interesting world with incredibly complex characters. Ahead of his time. 

JHPENTERTAINMENT: Your co-star, Eric Grace Bailey of course also adapted this particular presentation. Being the premiere production of this iteration, were there scene in her adaptation that were edited or changed as rehearsals went along?

SAWHER LATHAM: There were definitely trims along the way but in whole it’s remained mostly intact from the first draft. I was lucky so most of my things remained unchanged so I never had to

RAPID FIRE WITH HEDDA GABLER’s MILES GATHRELL

JHPENTERTAINMENT: Who is George Tesman to you?

MILES GATRELL: George is the definition of a guy who looks good on paper: kind, promising career, good family. Unfortunately, in practice he lacks the emotional intelligence for a healthy relationship. He’s someone who is always falling a little short, but can’t understand why. 

JHPENTERTAINMENT: As George, you play Hedda’s easy-going, but inevitably put-upon husband. How is Erin Grace as a co-star?

MILES GATRELL: Erin Grace is the reason I’m part of this show! We had the opportunity to work together last year in the Actor’s Bridge production of Things I Know to Be True. She’s talented, professional, and a joy to collaborate with.

JHPENTERTAINMENT: Your character also shares an on-stage relationship with Beth Henderson’s Juliana Tesman, George’s aunt. I’ve gotta tell you, I consider Beth one of my ‘theatre crushes’, having seen her in a multitude of roles through the years and always being absolutely grateful for the opportunity. How has it been to share the stage with Beth?

MILES GATRELL: This is my first time working with Beth, and I’ve very much appreciated her presence in this show. Her focus and dedication helped ground me during the process, and working our scenes has felt like a breeze.

JHPENTERTAINMENT: Alright, I’m not letting this interview end without going completely off topic to ask about your vintage toy collection. Fellow vintage toy and pop culture nerd here. My favorite item in my collection would have to be my original Bionic Woman lunchbox that I’ve had since I was a kid. What’s among your favorites?

MILES GATRELL: I’m sure some people will balk at this being considered vintage now, but I have a small Pokémon statue that was given away at the 1998 Tokyo TV Fair. As far as I can tell only one has ever been sold on eBay, and it’s quite difficult to find information about it. I managed to snag it from a junk store in Des Moines, Iowa for about four bucks.

JHPENTERTAINMENT: Like your co-star, I understand you’ve also written and produced a couple of plays. Do you believe being creative in both regards enhances your performance as an actor?

MILES GATRELL: I think dipping into playwriting can be very helpful for an actor. Performers can become very focused on their character, and what they hope to achieve in the role. I think it is important to always check back in with the larger story being told. Playwriting makes it easier to understand how your character fits into, and complements that bigger picture. 

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Playhouse 615’s Hedda Gabler completes its four-week run with performances Friday, Saturday and Sunday, April 26, 27 and 28 with evening performances at 7:30p.m. on Friday and Saturday and a final Sunday matinee at 2:30p.m. Playhouse 615 is offering a special BOGO (buy one get one) ticket offer for $20 (that’s the usual price of one ticket). CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Up next for Playhouse 615 is Nunsense, directed by Daniel Vincent and starring Linda Gaille, Ann Street Kavanagh, Diane Bearden-Enright, Cat Eberwine and Takiah Ledo. Nunsense runs May 10-May 26. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q with Cast of ‘The 39 Steps’; Opening at Playhouse 615 February 16

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Based upon the 1915 adventure novel by John Buchanan, The 39 Steps garnered a wider audience in 1935 when Alfred Hitchcock directed his mystery thriller variation of the story. The plot and presentation underwent a decidedly comedic interpretation in the mid-90s when Simon Corble and Nobby Dimon wrote a stage play based on the work premiered. In 2005, playwright Patrick Barlow further adapted the stage play. In the current iteration of the play, every single character from Hitchcock’s film is played by a four-member cast, and comedy ensues. That adaptation of The 39 Steps is opening Friday, February 16 at Playhouse  615 (11920 Lebanon Rd, Mt. Juliet, TN) Directed by Diane Bearden-Enright, Playhouse 615‘s The 39 Steps stars Philip David Black, Erin Grace Bailey, Alyssa Borg and Barclay Randall.

As the cast was preparing for opening night, I recently had the chance to chat with them for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s THE 39 STEPS
RAPID FIRE WITH THE 39 STEPS’ CLOWN 2, ALYSSA BORG

JHPENTERTAINMENT: I understand this is your first time on stage at Playhouse 615. What’s the experience like so far?
ALYSSA BORG: Working with Playhouse 615 for The 39 Steps has been a hoot! From the moment I stepped into the theater for auditions, each rehearsal has been filled with laughs. For me, Playhouse 615 has proven to be the epitome of community theater in the best possible way – performers, technicians, designers, all working together to create this magical and ephemeral beast (a play) all because they love the art of theater.

JHPENTERTAINMENT: You’re playing Clown 2…what’s your favorite aspect of the role?
ALYSSA BORG: Haha, well, first, I love that I’m Clown #2 – in my mind there was obviously some sort of placement competition in the clowning community, like landing second chair in an orchestra. And having worked as a paid mime long, long ago, I love the physicality of this kind of comedy, plus it’s a fun acting challenge to play so many different characters with different accents.

JHPENTERTAINMENT: Speaking of the different characters, of the multiple roles you play, do you have a favorite?
ALYSSA BORG: Mr. McGarriggle, hands down. Drunk. Scottish. Lots of one word responses. What’s not to love?

JHPENTERTAINMENT: What’s the most challenging aspect of portraying multiple roles in a single show?
ALYSSA BORG: Remembering all the costume changes.

JHPENTERTAINMENT: As Clown 2, you share the stage with Barclay Randall, who’s playing Clown 1. I’m about to chat with Barclay, so I gotta know…How is Barclay as a scene partner?
ALYSSA BORG: Oh, Barclay. He’s Clown #1 for a reason. Also I will say, I now know too much about Barclay’s love of breasts – mainly the pair he wears in the show.

RAPID FIRE WITH BARCLAY RANDALL, THE 39 STEPS’ CLOWN 1
JHPENTERTAINMENT: When you tell folks you’re playing Clown 1 in The 39 Steps, how do you describe your role(s) in the show?
BARCLAY RANDALL: First off, when I tell my friends I’m playing a character called “Clown 1”, they respond, “Ah. Typecasting.” Then I explain it’s actually something like 15 different characters who are all goofy, fun, farcical caricatures. Again, “Ah. Typecasting.”

JHPENTERTAINMENT: Just prior to chatting with you, I spoke with Alyssa Borg and asked her about sharing the stage with you…so I’ll return the favor. How is Alyssa as a scene partner?
BARCLAY RANDALL: Wonderful! Alyssa’s trained in improv and has come up with some great bits during rehearsals that take the comedy to a higher level. Or maybe it’s a lower level? Whichever, it’s a funnier level.

JHPENTERTAINMENT: Playhouse 615’s The 39 Steps is being directed by Diane Bearden-Enright. Like myself, you’ve known Diane for years. What’s she like as a director?
BARCLAY RANDALL: She’s a very funny lady. Always has been. At least in the mmm-mmm-mmm decades I’ve known her. And she understands comedy. She can find the beats in a scene. She can find the funny in a scene. And she’s making us doing ridiculous things!  I love her!

JHPENTERTAINMENT: Mr. Memory is among the characters you portray in The 39 Steps. Staying on theme with his talent of remembering things…what’s the most random piece of trivia that takes up space in your brain?
BARCLAY RANDALL: The second European explorer to step foot into what is now Tennessee—the second, mind you, not the first, who was Hernando DeSoto—but the second, was named Juan Pardo. That’s the one thing I remember from Tennessee History in college at MTSU.

JHPENTERTAINMENT: Can we just talk about the train scene in which you play…what?…three or four characters within a matter of seconds? How much fun are you having with that?
BARCLAY RANDALL: The train scene is a great distillation of the entire show: lightning-paced and physical and over-the-top. In that scene, I get to play a foppish underwear salesman, an adolescent boy, an old lady, and a Scottish cop, all in the span of a couple of minutes. I think if I keep working it, and don’t die, it’ll be pretty funny.

RAPID FIRE WITH ERIN GRACE BAILEY, THE 39 STEPS’ ANNABELLA, MARGARET & PAMELA

JHPENTERTAINMENT: To start things off can you describe each of the three characters you play in Playhouse 615’s The 39 Steps using only one word for each of them?
ERIN GRACE BAILEY: Margaret – Sugar, Annabella – Spice, Pamela – Everything Nice (I know that’s two words, but it was too good of a quip not to use.)

JHPENTERTAINMENT: Early on, Annabella’s death scene is typically played with some fun almost slapstick physicality. In fact, the entire show is resplendent with over-the-top laughter inducing action. How much fun are you and your cast mates having with that aspect of the show?
ERIN GRACE BAILEY: It’s been an amazing and really refreshing experience. I think most actors would agree that high comedy like this is a muscle that most of us don’t get to stretch very often, so I really try to appreciate it when the opportunity arrives. It’s so wonderful to be able to walk into a rehearsal room and truly just “play.”

JHPENTERTAINMENT: If you had to pick…and I guess since I’m asking, you do…of the three characters you’re playing, who’s your favorite and why?
ERIN GRACE BAILEY: Each character is pretty different, which is a fun challenge, especially since a lot of female comedy characters tend to get bogged down in being one thing. Personally, I think I resonate the most with Pamela. Some of that’s probably because she appears in the show longer than the other two characters, so she has a little more depth. She’s got a tough exterior, but deep down, she’s a hopeless romantic which gives me a lot to play with for her.

JHPENTERTAINMENT: I love that the play is peppered with nods to Alfred Hitchcock, who, of course, directed the 1935 film adaptation loosely based on the original 1915 adventure novel. Prior to being cast, were you familiar with the show and its history?
ERIN GRACE BAILEY: Not thoroughly. I love old movies and had heard of it, but I didn’t have a lot of background knowledge. I have watched it since being cast, of course. It’s actually quite shocking how much of the play’s script parallels with the film. It really proves how much context affects how you read dialogue. Aside from the text though, it’s been fun explaining this show to those who haven’t heard of it. When they hear the name Alfred Hitchcock, they usually get pretty excited.

JHPENTERTAINMENT: Like the Hitchcock film, the play takes place in and around London in 1935. Had you lived in that time, what do you think you’d have enjoyed most about the era?
ERIN GRACE BAILEY: The theatre! I think we’ve discussed before how much I love British comedy. Noel Coward‘s one of my favorite playwrights, and he was really starting to make a name for himself around this time. I would love to go back and see one of his shows. I often think about how exciting it must have been to get dressed up and go out and see a show, especially before television.

RAPID FIRE WITH PHILIP DAVID BLACK, THE 39 STEPS’ RICHARD HANNAY

JHPENTERTAINMENT: A quick peek at your show bio reveals that while you were recently an understudy in another area production, being cast as Richard Hannay in Playhouse 615’s The 39 Steps marks your Tennessee premiere on-stage. How has the experience been thus far?

PHILIP DAVID BLACK: It’s been great to act again. I used to perform a good bit right out of college, but it’s been a minute. Also, almost all of the acting work I did in times past involved travel to parts of the country where I had no family or friends, so it’s a special treat to get to play this part and have loved ones actually close enough that I can reasonably guilt trip them into attendance.

JHPENTERTAINMENT: Who is Richard Hannay to you?
PHILIP DAVID BLACK: He’s a lost soul. He’s a Brit that has been living abroad in Canada and has only recently returned to London. So as our story starts, he’s pretty isolated and out of sorts. Even though this story is set in the 1930s, I feel like he’s very relatable to today, when a lot of us find ourselves both isolated and a bit depressed. But he’s about to have an awfully big adventure.

JHPENTERTAINMENT: As the show’s title indicates, much of the action revolves around a mysterious organization known as The 39 Steps. IF you were to found a mysterious organization of your own, what would it be called and what would its purpose be?

PHILIP DAVID BLACK: If I were to found a mysterious organization, I would never reveal its secrets. However, assuming I am too lazy to do so and/or I am not simply covering for a much more sinister organization I have in fact already started, let’s pretend it would be called the Brotherhood of Suspense. It would be a secret society of people who believe suspenders are better than belts and who signal their allegiance to each other with strange codes and seemingly insignificant hand gestures. We would exist to bring down the belt industry. And we would succeed.

JHPENTERTAINMENT: Give me a plot summary in ten words or less.
PHILIP DAVID BLACK: Four actors. One hundred and fifty characters. Comedic adventure ensues.

JHPENTERTAINMENT: What do you hope audiences take away from The 39 Steps?
PHILIP DAVID BLACK: I hope that watching the cast run around like crazy people performing such a demanding show reminds them that life is an adventure, and that small groups of people can get a lot done when they work together to achieve positive things in the world. And I hope they laugh at the jokes.

Playhouse 615‘s The 39 Steps opens Friday, February 16 and runs through Sunday, March 3 with shows at 7:30p.m. Fridays and Saturdays and Sunday matinees at 2:30p.m. Tickets are $20 ($17 for Military & Seniors) and are available for purchase HERE, by calling the box-office at 615.319.7031, or at the door an hour before each performance.

Next up at Playhouse 615 is Henrik Ibsen’s Hedda Gabler, on stage March 21 thru April 29. For more on the show and to keep up with Playhouse 615, check out their website or find them on Facebook.

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 ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

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Each holiday season there’s a handful of theatrical offerings from classics like A Christmas Carol to more modern fare such as Elf. Nestled hilariously somewhere in the middle of these wide-ranging shows is A Tuna Christmas, the brainchild of Joe Sears and Jaston Williams. With only two actors playing every character in the fictitious town of Tuna, Texas, A Tuna Christmas is truly a knee-slappin’, belly-laughin’ good time that will warm your spirits quicker than a shot of brandy in eggnog. Playhouse 615 (located at 11920 Lebanon Road in Mt. Juliet, TN) will be presenting their production of the holiday favorite beginning this weekend as the show opens Friday, December 1 and runs through Sunday, December 17. Directed by Memory Strong-Smith, with set design by Eric Crawford, Matthew N. Smith and Daniel Vincent star as the citizens of Tuna, Texas as they ready for the holiday season.

Earlier this week as the director, set designer and two-man cast prepared for the show’s opening, I had a chance to pose a few questions to each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q. As I have done the last few years, you’ll notice the questions, like everything else around us this time of year, have a decidedly holiday theme.

RAPID FIRE 20Q WITH CAST & CREW OF PLAYHOUSE 615’s A TUNA CHRISTMAS

RAPID FIRE Q&A WITH A TUNA CHRISTMAS DIRECTOR, MEMORY STRONG-SMITH

JHPENTERTAINMENT: What has been the most rewarding aspect of directing Playhouse 615’s holiday offering, A Tune Christmas?

MEMORY STRONG-SMITH: Seeing the whole project cone together. This show has lived in my head for about a year, and it’s really lovely to see everything- lights, costumes, set, characters, trees, and sound come to insane life. It took a village to get us to this point and I am so grateful to Matt and Daniel, Eric who designed and almost singlehandedly built the set, our dresser and ASM Tony Barrow for keeping the chaos as contained as possible back stage, and Nikki Nelson-Hicks who took ownership of running the lights and sound like she was born to it. It’s a LOT and I’m so grateful to each of them for partnering with me on this journey. 

JHPENTERTAINMENT: Are you more likely to return a gift or regift it?

MEMORY STRONG-SMITH: Depends on the gift. If it’s something I think someone else could use or want, I’ll pass it along. 

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

MEMORY STRONG-SMITH: Oh man! I love them both!! Die Hard, tho edges out Love Actually, but a nose hair! 

JHPENTERTAINMENT: Favorite Christmas memory?

MEMORY STRONG-SMITH: There are many, but I have to say the last Christmas I got to spend with my mom before she died. We put on Mariah’s 1st Christmas album (this was 1995), drank adult beverages, got a bit tipsy, and decorated the tree. It was just a lovely time spent together and I so cherish that memory. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAGE MANAGER/SET DESIGNER/GRUMPY ELF, ERIC CRAWFORD

JHPENTERTAINMENT: As Stage Manager/Set Designer/Grumpy Elf for Playhouse 615’s A Tuna Christmas, is there a detail in the set that you’re most proud of?

ERIC CRAWFORD: The Christmas trees. This show features 7 Christmas trees which determine the setting for each scene. I put a lot of thought into capturing Matt and Daniel’s interpretations of the characters and what each character’s Christmas tree would look like. 

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

I tend to be involved with holiday productions, so I usually wind up paying my son, Ace, to wrap for me. 

JHPENTERTAINMENT: Favorite Christmas memory?

How about one theme? Family.  So many memories of my relatives revolve around Christmas, especially those who have passed.  

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, MATTHEW N. SMITH

JHPENTERTAINMENT: Of the myriad of characters you play in A Tuna Christmas, do you have a favorite? 

MATTHEW N. SMITH: Every character is special to me for one reason or another and I can’t say I have a favorite but I’m going to go with Arles Struvie because he has a really touching relationship that develops through the show (leaving out details to avoid giving away the plot). 

JHPENTERTAINMENT: A walk in the wintery woods or a stroll through a decorated neighborhood?

MATTHEW N. SMITH: I’m going to go with the decorated neighborhood. It sounds slightly less freezing. 

JHPENTERTAINMENT: Who was the better Scrooge…Bill Murray in Scrooged, Jim Carrey in 2009’s A Christmas Carol or Uncle Eider as Scrooge McDuck? 

MATTHEW N. SMITH: The answer will never not be Bill Murray.

JHPENTERTAINMENT: Would you prefer a ride on the Polar Express or a Horse-drawn Sleigh? 

MATTHEW N. SMITH: Since I have an affinity for the traditional and picturesque, I’ll take the sleigh. Under a warm blanket with a hot toddy and my Mine.

JHPENTERTAINMENT: Favorite Christmas memory? 

MATTHEW N. SMITH: When I was 17, my mother gave me a Fender acoustic guitar. It’s been through everything with me ever since and though we’re both a little the worse for wear, we can still strum a pretty nice tune. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, DANIEL VINCENT

JHPENTERTAINMENT: Like your costar, you also play a ton of characters in A Tuna Christmas. Who’s your favorite?

DANIEL VINCENT: Though Inita Goodwin, the sassy waitress, is a lot of fun, I’d have to say that Bertha Bumiller is my favorite. She’s the heart of the show and delivers some of the most country and hilarious one-liners.

 JHPENTERTAINMENT: Emmet Otter’s Jug-Band Christmas or John Denver and The Muppets: A Christmas Together?

DANIEL VINCENT: Emmet Otter’s Jug-Band Christmas is a classic, but I’m going to pretty much always go with The Muppets any time there is a choice.

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

DANIEL VINCENT: I don’t really have a preference here as long as it’s something practical or that I can enjoy throughout the year. I’m not a fan of tchotchkes.  

 JHPENTERTAINMENT: Ice Skating or Caroling?

DANIEL VINCENT: I’ve only tried ice skating once and it was a tremendous and painful failure. I’m a singer, so I’m going with caroling. Fewer bruises and broken bones.

 JHPENTERTAINMENT: Favorite Christmas memory?

DANIEL VINCENT: We didn’t have money growing up, so my mother made sure Christmas was more about service to others than getting things on your wish list. My favorite Christmas memory is probably the first time I volunteered with my rugby team to deliver meals on Christmas Day with Nashville Cares. It was humbling as well as heart-warming and brought home what the season is really about. I’ve done it every year since. It’s become a part of my holiday traditions.

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With that my conversations with the cast of Playhouse 615’s A Tuna Christmas came to a close, but it’s just the beginning of the riotous laughter they’ll be providing during the holiday season as the show opens Friday, December 1 and continues weekend through Sunday, December 17. CLICK HERE for tickets or call the box-office at 615.319.7031. When available, tickets can also be purchsed at the door an hour before each performance.

Following a brief holiday break, up next at Playhouse 615 is The 39 Steps., directed by Diane Bearden-Enright, onstage February 16- March 3. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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 Sugar Bean Sisters’; opening Friday, September 8 at Playhouse 615

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Alien encounters, a reptile woman, a bird-lady, a little romance and a lot of laughs, playwright Nathan Sanders’ Southern Gothic comedy, The Sugar Bean Sisters has it all, and it’s all coming to Playhouse 615 (11920 Lebanon Road, Mt. Juliet) Friday, September 8 thru Sunday, September 24 under the direction of Diane Bearden-Enright. Earlier this week I had the chance to pose a few questions to four of the cast members of The Sugar Bean Sisters to delve a little deeper than the sensational headlines for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with the cast of Playhouse 615’s The Sugar Bean Sisters

Rapid Fire Questions for Breonna Parker, The Sugar Bean Sisters’ Videllia

JHPENTERTAINMENT: What can you tell me about Videllia Sparks?

BREONNA PARKER: Videllia is quite the sneaky, manipulative type. She thinks she’s clever and smart but she’s really just goofy and not the sharpest tool in the shed. 

JHPENTERTAINMENT: This is your first show with Playhouse 615, right? What’s the experience been like so far?

BREONNA PARKER: Yes, this is my first show with Playhouse 615. This experience has been wonderful. It’s been a while since I’ve had the opportunity to be on stage, sometimes going into a community theatre is hard when you don’t know anyone. I was nervous going in wondering if I’d be accepted or if they may tend to stick with each other and not be welcoming. This group of people have been nothing but supportive, encouraging and loving. I really feel like I’ve found a home and look forward to future shows. I will for sure miss not being around my cast and crew everyday when the show ends. 

JHPENTERTAINMENT: Videllia’s wardrobe is, shall we say…interesting. What’s something in your own personal style that others might find questionable?

BREONNA PARKER: Videllia outfit has been fun, I love it. I’m pretty much a T-shirt and jeans kind of gal, and a cap so I don’t have to fix my hair…haha! I’m not very stylish or lavish. 

JHPENTERTAINMENT: Videllia has secrets. Are you good secret keeper or do you just need to tell somebody when you know some juicy tidbits?

BREONNA PARKER: I’m pretty good at being a person someone can confide in. I’m not going to spread anything that someone wants to be kept private. Now, I am terrible at keeping gifts a secret. Once I buy something for someone I want to immediately give it to them, it’s hard to keep that a secret. I guess a better word would be I’m not good at keeping surprises. 

JHPENTERTAINMENT: Your director, Diane Bearden-Enright actually starred as Videllia at The Hippodrome Theatre in Gainesville, Florida back in 1995 in the Southeastern premiere of The Sugar Bean Sisters, working with the playwright, Nathan Sanders. During the rehearsal process for this production, has Diane shared any insights from her time in the role or having worked alongside the playwright?

BREONNA PARKER: Great question. Diane has been a fantastic director, she has been really good at letting me connect with Videllia in my own way, I just want to make her proud of how I’

m portraying Videllia. It’s a little intimidating knowing that I’m playing a character that I know she mastered! One thing I love about Diane is she asks questions, she’ll say things like ‘why do you think Videllia does this or that.’ I like that it gets you to thinking on a deeper level of the character and helps connect more to Videllia. I’ve heard a couple of story of her working with Nathan Sanders. 

Rapid Fire Questions for Ann Street-Kavanagh, The Sugar Bean Sisters’ Faye Nettles

JHPENTERTAINMENT: Who is Faye Clementine Nettles to you?

ANN STREET-KAVANAGH: Faye is a simple woman who had an extraordinary thing happen to her. 

JHPENTERTAINMENT: Though presented as completely absurd and hilarious, at its core, The Sugar Bean Sisters is about just that…sisters. Is there anything more important that the bond of friends or family?

ANN STREET-KAVANAGH: No, there isn’t. The bond you have with family and friends is your true legacy. Their thoughts of you and, hopefully, sharing stories of you is the best way to live forever, so to speak. 

JHPENTERTAINMENT: In spite of her wacky ways, is there an aspect of Faye’s character that you might try to incorporate into your own life?

ANN STREET-KAVANAGH: I love how Faye puts it all out there and she doesn’t really care what other people think.  I find myself getting to be more that way as I grow older and I’m pretty darned happy about it!

JHPENTERTAINMENT: Faye’s alien encounters are some pretty tall tales. What’s something unbelievable that has happened to you or someone you know?

ANN STREET-KAVANAGH: First, Faye’s encounter isn’t a tall tale. It’s fact. I’ve had a lot of unbelievables, and, of course, I can’t think of anything good right now. When my daughter was about 2 years old, she would see people who’d passed on. They would speak with her and sometimes scare her a bit, though usually not. It was quite unnerving at first. Battery operated toys would sometimes start playing in the middle of the night, etc. 

JHPENTERTAINMENT: Of you and your costars, who’s most likely to be abducted by aliens…and who would be sent right back down to earth?

ANN STREET-KAVANAGH: I don’t think any of us would be abducted. But if we were, Linda Speir would be the first to be sent back. She is an absolutely lovely person, but she will tell it like is. If she wanted to go back, they’d have no choice. She would tell them what was what and what was about to be!

Rapid Fire Questions for Abby Waddoups, The Sugar Bean Sisters’ Willie Mae Nettles

JHPENTERTAINMENT: When I saw your name among those I’d be chatting with, it reminded me we’d chatted before…almost exactly a year ago when you appeared I the cast of Blithe Spirit at The Keeton. So, from ghosts to aliens, right?

ABBY WADDOUPS: There have been some things between the two- but yes. Doing shows close to Halloween is always fun. Ruth and Willie are very different characters, and I love a challenge.

JHPENTERTAINMENT: Who is Willie to you?

ABBY WADDOUPS: Willie is a bit selfish, but overall strives to be a good person. She’s desperate to find a good Mormon husband and to get into the highest level of kingdoms in their heaven. She relies very heavily on her sister, Faye, and they are all each other have, and have known for quite some time. They are grown women who still live together in their childhood home. She isn’t who I ever expected to play onstage, but thanks to Diane’s vision and belief in me, here we are.

JHPENTERTAINMENT: What’s your favorite aspect of Willie Mae Nettles as a comedic character?

ABBY WADDOUPS: Willie Mae is very much a straight character in the comedic routine. Keeping a straight face sharing the stage with Ann and Bre will be a test for me. I’ve tried to find intricacies within her quarks to add more fun.

JHPENTERTAINMENT: I love that in the first scene, Willie Mae warns her sister Faye not to lie to her, likening lying to other sinful acts like stealing, fornicating and…drinking Coca-Cola! Growing up, were there things relatives warned you against as wrong that you now just laugh about?

ABBY WADDOUPS: My parents were pretty down to earth and we weren’t raised in a specific church. I was born and raised in Memphis in a very urban environment, so the southernisms and certain religious beliefs are pretty foreign to me. I always had family in the Nashville area and I’ve been in and out of middle Tennessee for a long time so I’ve picked up a little over the years, but not like this. This is Deep South Florida swamp and the culture is so different. Their tales and strong beliefs have a place on the stage, a way to tell their stories in other regions.

JHPENTERTAINMENT: The fact that Willie Mae wears an Eva Gabor wig is hilarious to me, having been a fan of the Gabor sisters since I was a tiny child. Were you familiar with the reference or did you have to google to get the joke?

ABBY WADDOUPS: I am older than I look, so I am familiar with the Gabor sisters and I love classic tv shows. It was definitely a reference that reminded me of my childhood. I also remember seeing the wig advertisement included in our faux Weekly World News cover. It’s a nice throwback to the 80’s. I am taken right back to seeing the tabloids on the magazine racks at the grocery stores as a kid.

Rapid Fire Questions for Linda Speir, The Sugar Bean Sisters’ Reptile Woman

JHPENTERTAINMENT: What can you tell me about The Reptile Woman, your role in The Sugar Bean Sisters?

LINDA SPEIR: It is bizarre to say the least. I’m only in two short scenes but I make the most of them. Reptile Woman in my mind is a swamp witch. She is also a seer and may speak in tongues!!

JHPENTERTAINMENT: Alright, I’m just gonna say it…you are among my “theatre crushes” in that I absolutely adore everything I’ve ever seen you do onstage. I’ve seen you in simply heart-wrenching performances like Steel Magnolias and Driving Miss Daisy and sinisterly charming as Arsenic and Old Lace’s Aunt Abby. Now you’re playing The Reptile Woman…is she the strangest character you’ve ever encountered? 

LINDA SPEIR: Thank  you!! This is definitely the strangest character I’ve ever played discounting my brief stint as a werewolf YEARS ago at Opryland during the Halloween season. Reptile Woman is definitely a strange and mystifying character.  Her babies are her gators and her snakes!

JHPENTERTAINMENT: Were you familiar with the script prior to auditioning for the show?

LINDA SPEIR: Yes I read it beforehand. I always read the script before I audition for a show. 

JHPENTERTAINMENT: While there’s mention of The Reptile Woman about midway through Act One, you don’t take to the stage until Act Two. So basically you’re the Special Guest Star, like you see as the last credit on tv shows. How fun is that?

LINDA SPEIR: This role has been a great deal of fun as our director gave me free rein to create this spooky character. 

JHPENTERTAINMENT: Is there a line or a scene, yours or someone else’s, that makes you giggle every time?

LINDA SPEIR: Many lines! This is a funny play with no socially redeeming qualities.  It’s a bit of deep South folklore. Faye (played to perfection by Ann Kavanaugh)  singing It’s a Small World always gets a laugh from me.   

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The Sugar Bean Sisters opens Friday, September 8 at (11920 Lebanon Road, Mt. Juliet) Friday, September 8 thru Sunday, September 24. Performances are Fridays/Saturdays at 7:30p.m. and Sundays at 2:30p.m. Tickets are $18 and are available for purchase through Eventbrite, by calling the box-office at 615.319.7031, or at the door an hour before each performance. CLICK HERE for tickets.

Next up at Playhouse 615 is the Middle Tennessee premiere of The Woman in Black, a spin-chiller touted as the scariest stage experience ever, running October 20-November 5. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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 ‘Move Over Mrs. Markham’; onstage at Playhouse 615 August 4 thru August 20

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Recently, during their final days of rehearsal, I had the opportunity to chat with cast members of Playhouse 615’s latest presentation, Move Over Mrs. Markham. A British farce written by Ray Cooney and John Chapman as directed by Playhouse 615’s Joel Meriwether, the show opens Friday, August 4 and running through August 20. Among the cast are Beth Henderson as Miss Olive Harriet Smythe, Craig Hartline as Henry Lodge, Eric Crawford as Phillip Markham and Lindsey Patrick-Wright as Joanna Markham. What follows are my conversations about their characters, the show, company and more.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s MOVE OVER MRS. MARKHAM

RAPID FIRE WITH BETH HENDERSON, MOVE OVER MRS. MARKHAM’S MISS OLIVE HARRIET SMYTHE 

JHPENTERTAINMENT: Not being all that familiar with Move Over Mrs. Markham myself, I got my hands on the script. Move Over Mrs Markham seems like its somewhere between Billy Wilder’s The Apartment and the bed-hopping farce within the farce of Noises Off. Do you think that’s a fair assessment?

BETH HENDERSON: It definitely has elements of both. It has The Apartment’s plot line of the flat being used for multiple trysts. And it shares Noises Off’s farcical elements of slamming doors and ladies in nighties. But, what really makes this show funny is everyone pretending to be someone else in order to persuade a very prudish and clueless author that they are just the wholesome upright publishing company she wants to sign with.

JHPENTERTAINMENT: Speaking of said author, what can you tell me about Miss Olive Harriet Smythe?

BETH HENDERSON: She’s a rather prudish and proper children’s book author who is outwardly appalled by sex (although I think she secretly relishes in it, at times). She’s also pretty flighty and constantly saying things that come across in a completely unintended way. Oh, and she’s completely obsessed with dogs.

JHPENTERTAINMENT: Audiences will surely recognize you from you most recent role as Mrs.Wingfield in Playhouse 615’s The Glass Menagerie, or perhaps 2022’s Trip to Bountiful, two classic dramatic roles. Now, with Miss Smythe, you’re fully immersed in farcical comedy. Do you prepare differently for comedy as opposed to a more dramatic role?

BETH HENDERSON: I can’t really say that I prepare for them differently. For me, whether it’s a comedy or a drama, the first and most important thing to do is get to know the character beyond the covers of the script: their history, what makes them tick, how they feel about things, etc. However, I will say that in comedy, more often than in drama, finding my costume can really help create the character. That was 100% the case in this show.

JHPENTERTAINMENT: You’ve not only been part of several productions at Playhouse 615, but you’re also on the company’s Board of Directors. How long have you been on the board and what does that entail?

BETH HENDERSON: I’ve only been on the board for about five months, so I’m pretty new. I’ve been fortunate enough to have been on the boards of several Nashville theaters over the past 15 years, so it’s nice to bring that experience to a newer theater that’s just starting to take off. 

JHPENTERTAINMENT: If you weren’t playing Miss Smythe, what other role would you enjoy, whether you’re “right for the part” or not, and why?

BETH HENDERSON: They’re all such fun roles, so it’s hard to say. Maybe Alistair, because of his cheekiness. And Linda pretending to be Helga would be such over-the-top fun.

RAPID FIRE WITH CRAIG HARTLINE, MOVE OVER MRS. MARKHAM’S HENRY LODGE

JHPENTERTAINMENT: Who is Henry Lodge to you?

CRAIG HARTLINE: Henry Lodge to me is a bit of a spoiled little boy, pretending to be a man. He has had some success in the children’s book business, but he spends his time and money, pursuing women for his own pleasures. He’s a bit of a cad, lovable, but a cad.

JHPENTERTAINMENT: Henry is a children’s book publisher. If you were to write a children’s book, what  would it be about?

CRAIG HARTLINE: Wow, that is a tough question. It would probably be about a puppy who grows up with two smart parents who try to teach him about the world around him. However, he is more interested in chasing butterflies and playing in mud puddles to listen. It’s only when he moves into the real world, that he discovers, he should have listened more. In the end, he finally achieves the life his parents wanted for him after remembering what lessons they tried to teach him.

JHPENTERTAINMENT: You were last seen onstage at Playhouse 615 in Sex Please, We’re Sixty, and now, just two months later, you’re back for your second production with the company. What is it about the company that brought you back so quickly?  

CRAIG HARTLINE: I have thoroughly enjoyed working with Playhouse 615. The Board Members are determined to achieve what actors in Nashville and the surrounding counties have been looking for, a place where actors can stretch their wings, so to speak and build on their craft. The actors I have had the privilege to work with are hard working and dedicated to their craft. I look forward to the chance to come back and work again with this production company.

JHPENTERTAINMENT: As Henry Lodge, you have two leading ladies. Anne Street-Kavanagh plays Henry’s wife, Linda, while Em Genovese plays…um…how shall I put this?..NOT his wife, Miss Wilkinson. How much fun are you having sharing the stage with these two?         

CRAIG HARTLINE: These two lovely ladies are a thrill to work with. Anne is a funny and talented lady who brings out the best in each and every role she is in. Her dedication to her craft inspires me to be better. Anne and I created a chemistry together in Sex Please, We’re Sixty, that brings a smile to my heart. I believe we bring the same chemistry on stage in Move Over, Mrs. Markham.

This is the first time I have worked with Em, but I surely hope it is not the last. She has been acting for many years, and despite her young age, she is a true professional. Her ability to understand the character, taking the words written on the page and bringing it to life, is a true testament to where I believe her career will go. If I were the audience, I would make a strong mental note of the name, Em Genovese, she well may be the next name you see on the “telly”.

JHPENTERTAINMENT: What is it about slamming doors and farcical comedy?

CRAIG HARTLINE: The action of slamming doors is a large part of the action in this comedy. The chaos of characters coming in and going out of each scene adds to the rapid fire action from the actors. The timing of those opening and slamming doors is crucial to the play. Without that action, the play would be rather tame and loose that rapid fire of lines between the actors.

RAPID FIRE WITH ERIC CRAWFORD, MOVE OVER MRS. MARKHAM’S PHILLIP MARKHAM

JHPENTERTAINMENT: What do we need to know about Phillip Markham?

ERIC CRAWFORD: Philip is the antithesis of farce.  He would be totally appalled at the thought of being involved in any shenanigans. 

JHPENTERTAINMENT: Move Over Mrs. Markham marks your Playhouse 615 debut. Was it the role or the company that prompted your interest in auditioning for the role of Phillip?…Or a combination of the two?

ERIC CRAWFORD: A bit of both. I’m in an online theatre group and a couple of folks had been in different productions and all had a blast. I’m new to this theatre company but Nashville is a pretty small acting community so I already knew a couple of folks that were auditioning and had done multiple performances with 615. 

JHPENTERTAINMENT: The show is set in a posh top floor London flat, so let’s talk about accents and dialect. One of my pet peeves as a theatre reviewer is when the accents don’t ring true. Was a dialect coach brought in to assist the cast with honing their accents?

ERIC CRAWFORD: Yes, we were very fortunate to have a wonderful dialogue coach. A first for me. We had some online group and private coaching sessions. I like performing with accents, so a coach was a real treat. 

JHPENTERTAINMENT: What is it about a farce that keeps audiences interested?

ERIC CRAWFORD: Two things. Never a dull moment and the unpredictability of where the wrong turns will lead you. 

JHPENTERTAINMENT: Has there ever been an occurrence in your own life that you think might make for a good farcical comedy?

ERIC CRAWFORD: Well it started at birth…. I grew up thinking Lucy Ricardo had the right idea attitude towards life so I think all of the ironies of growing up in the Missouri boot-heel, getting a doctorate in genetics, and  having a deep seated need to perform is somewhat farcical in itself. 

RAPID FIRE WITH LINDSEY PATRICK-WRIGHT, MOVE OVER MRS. MARKHAM’S JOANNA MARKHAM

JHPENTERTAINMENT: What is your favorite aspect of Joanna as a character?

LINDSEY PATRICK-WRIGHT: Joanna has been so much fun to play because she has truly been thrown into the madness of this evening through no fault of her own and she continues to just roll with the punches. I think Joanna is a genuinely caring person and wants the best for the people around her even when their behavior is less than admirable. Also, Joanna’s willingness to lie for her friends while being really lousy at it, has been a particularly juicy part of the role!

JHPENTERTAINMENT: Move Over Mrs. Markham is set in the late sixties/early seventies, which usually indicates some groovy fashions. Who’s the costumer for the show and do you have a favorite look, whether it be your own or that of a fellow cast mate?

LINDSEY PATRICK-WRIGHT: I think we were all so excited about costuming, we all just dove into finding costumes for our characters. Denese Evans helped us fill in any gaps for hard-to-find items. Since I spend most of the show in various stages of undress, I would have to say that Alistair’s (Jonathan Wilbur) suit is “really with it” as Joanna says in the show, so it is probably my favorite!  I personally LOVE this time period and would say that at least half the set is made up of furniture and decor from my own home – including the Big Eye Girl painting in Joanna’s bedroom.

JHPENTERTAINMENT: I have a confession…I had never heard of this play before Joel told me it was coming to Playhouse 615, but I had heard of Ray Cooney, who, along with John Chapman wrote the script. Cooney having written nearly twenty plays including Run for Your Wife, which ran for many years on The West End. Were you familiar with the show before auditioning?

LINDSEY PATRICK-WRIGHT: No! Not at all! I was able to get my hands on a script before auditioning and I believe this is exactly what I said to Joel after reading it “This show is absolutely ridiculous. I love it!” 

JHPENTERTAINMENT: Typical for farces, the laughs usually run the gamut from subtle to outlandish. I’d imagine rehearsals have been quite fun. Who’s the biggest cut-up among the cast?

LINDSEY PATRICK-WRIGHT: While we all have our moments of cutting up, I think that Eric Crawford and Craig Hartline, playing best buds Phillip and Henry respectively, cut up the most. They have been known to continue on, in character, after the scenes end doing their own two-man improv show for us. I think even Ray Cooney himself would admit their behind-the-scenes, in-character antics are hilarious. Everyone in this cast has such great comedic chops that we have had a blast during rehearsals.

JHPENTERTAINMENT: What is it about farces, and Move Over Mrs. Markham in particular that you think will appeal most to Playhouse 615 audiences?

LINDSEY PATRICK-WRIGHT: Having just come from acting in Playhouse 615’s last show The Shadow Box (a moving play about death, dying, and the stages of grief) this play is a very different kind of catharsis. Move Over Mrs. Markham, like other farces, is fast-paced, energetic and just pure FUN. I told my family and friends to BYOT (bring your own tissues) to this show, too, because if they are anything like me in rehearsals, they will be crying from laughing.

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Move Over Mrs. Markham opens Friday, August 4 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122). The show runs through Sunday, August 20 with 7:30pm performances Fridays and Saturdays and Sunday matinees at 2:30pm. Tickets are $18. Call the Box Office at 615.319.7031 to reverse tickets or CLICK HERE to purchase them via the company’s Eventbrite page. Tickets may also be purchased in person at the theatre just prior to showtime.

Next up at Playhouse 615 is The Sugar Bean Sisters, running September 8-24. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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!