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Rapid Fire 20 Q with cast of Nashville Rep’s ‘Shakespeare in Love’ onstage at TPAC’s Johnson Theatre thru April 13

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Directed by René Copeland, Shakespeare in Love is making its Nashville stage debut as Nashville Repertory Theatre’s current offering. Adapted for the stage by Lee Hall and based on the screenplay by Tom Stoppard and Marc Norman, it’s been 20 years since the Gwyneth Paltrow/Joseph Fiennes/Geoffrey Rush film premiere. I remember enjoying the movie, but considering the time that has passed since I’ve seen it and the fact that I’ve never seen the stage version…full confession: I had no idea it even existed…I had to get the low-down on. When I found out one of my absolute “theatre crushes”, Jennifer Whitcomb-Oliva was cast as Queen Elizabeth 1 for The Rep’s mounting, alongside Rep newcomers Joe Leitess as Will Shakespeare, Cailen Fu as Viola and Sewanee professor, James Crawford as Henslowe, as well as local theatre favorite, David Wilkerson, who’s not only cast as Tilney, but also serving as the show’s fight choreographer, I knew this group would result in a fun-filled Rapid Fire 20 Q, and by Bard, I was right.

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RAPID FIRE WITH SHAKESPEARE IN LOVE’S JENNIFER WHITCOMB-OLIVA

JHP: You’re playing Queen Elizabeth 1, so tell me…is it really true what they say? IS it good to be the Queen?

JENNIFER WHITCOMB-OLIVA: It’s soooo good! Big dresses, royal treatment, bowing, parties! Queen Elizabeth was quite the woman. She’s a total rockstar! I’m really enjoying portraying her.

JHP: From what I know, this is your sixth time to appear onstage at Nashville Rep. What keeps you coming back?

JENNIFER WHITCOMB-OLIVA: Nashville Rep continues to bring in theatrical gems. The plays are always so engaging, and full of wonderful surprises. I am so challenged each time from production to production. I am grateful for each opportunity I get, to play something meaningful and outside of the box. I strive to play roles and characters that are beyond the norm.

JHP: Alright, you’ve already mentioned the big dresses…I LOVE the publicity photo of you all done up in QE1 drag. What can you tell me about the gorgeous wigs and the costumes designed by Lori Gann-Smith for Shakespeare in Love?

JENNIFER WHITCOMB-OLIVA: I can tell you to brace yourself! Queen Elizabeth was not one to do casual. These costumes are absolutely gorgeous! They are big, colorful, decadent and exquisitely made. If you don’t ooo and aah, I don’t know how to help you. Also…being a redhead is fun!

JHP: With themes of love, marriage, equality, gender and even the creative life, Shakespeare in Love and Shakespeare’s own writings are just as vital now as when audiences were first exposed to them. Among the themes, which do you think rings most true, in relation to this work?

JENNIFER WHITCOMB-OLIVA: The creative life for sure. This play is truly about the life of the man. It’s about the actors and the world they live in. It’s such a lovely view into the fantastical world of theatre, and why we all fall in love with it over and over again.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S CAILEN FU

JHP: In Shakespeare’s time, it wasn’t unusual for male actors to portray female roles. In a bit of a gender flip, as Viola de Lesseps, you spend part of your time on stage in disguise in male drag. While there’s a large element of comedy, in that the audience is in on the gag, how did you prepare for the duality of the role(s)?

CAILEN FU: My approach to Viola’s disguise is completely based on her idea of what it means to “be an actor.” In Shakespeare’s time, like you said, only men could be actors, so I tried to draw from the men who she would have been influenced or surrounded by for most of her life. This meant looking to her father, the men she met at court and mostly, the actors she saw on stage. While technically she IS going into male drag, I’m making the effort to go more in the direction that she is completely the same person, but she’s just seeing the world and it’s circumstances through a different pair of eyes.

JHP: Speaking of research, have you ever been to Play Dance Bar on a Thursday night for their Drag Kings show? If not, do you think that might be the perfect cast outing?

CAILEN FU: I have not but I think we’d all have a bunch of fun!

JHP: I understand this marks your Nashville Rep debut. What’s the experience been like so far?

CAILEN FU: Yes, this is my Nashville debut! I am having a blast. The entire company of Shakespeare in Love has been so welcoming and lovely. I am loving my time here!

JHP: Shakespeare in Love is of course filled with nods to Romeo and Juliet, as well as many of The Bard’s other works. Do you have a favorite reference included in the play?

CAILEN FU: Oh my, there are so many references! I don’t think I have favorite but I really love how each reference is cleverly woven into the script.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JOE LEITESS

JHP: You’re playing Shakespeare opposite Cailen’s Viola. What’s the best aspect of having her as your leading lady?

JOE LEITESS: It’s hard to pick just one thing! I admire her ability to jump right into the work. In an abbreviated rehearsal process it can be daunting to tackle these huge scenes about love, loss, and grief- especially with someone you just met. Cailen’s bravery makes that work much easier and more rewarding.

JHP: When I spoke with Cailen, I mentioned her gender flip. Not to give too much away, but you also have a brief moment playing the opposite sex in Shakespeare in Love. What’s something about playing a woman, albeit, mostly for laughs, that you didn’t anticipate?

JOE LEITESS: I was surprised by the physical effect that clothing has- especially with Elizabethan costumes. Dresses, headwear, and footwear change the way you stand, breathe, speak, and relate to other people in space. Doubly so if you’re wearing a corset or something that restricts range of movement. My cast mates sing, play instruments, and dance their way through this play so gracefully while being cinched in- it’s very impressive. I was relieved to learn my brief gender-flip scene doesn’t include a corset.

JHP: Like Cailen, this show marks your Nashville Rep debut. Are you enjoying it so far?

JOE LEITESS: I love it. Our director René Copeland, the cast, crew, and design team are delightful people who do beautiful work.

JHP: I also asked Cailen about the many references and winks to multiple Shakespeare plays within the dialogue and subplots of Shakespeare In Love, so I’ll ask you as well. What’s one nod to The Bard within this work that makes you smile every time it’s uttered?

JOE LEITESS:

Will: This is a dream.

Viola: Dreams are the children of an idle brain, begotten of vain fantasy which is as thin of substance as the air.

Will: …Did you really just say that?

 Of all the references and winks in the show, this one really feels like Will is stealing quotes from the people around him-a good trick for an aspiring writer. I imagine him going home and feverishly rewriting conversations from memory, trying to capture on the page what people say off the cuff.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JAMES CRAWFORD

JHP: I understand you teach in the department of theatre and dance at Sewanee. How did being part of Nashville Rep’s Shakespeare in Love come about?

JAMES CRAWFORD: I just showed up at the Nashville Rep auditions last year, and I’m so happy that I’m getting to make my Nashville debut in Shakespeare in Love. I feel really lucky. Continuing to act makes me a better teacher, and teaching has made me a better actor.

JHP: Aside from the written word, I understand music plays a part in conveying the spirit of this play. What can you tell me about the inclusion of music in Shakespeare in Love?

JAMES CRAWFORD: Considering this play is not technically a musical, there’s a tremendous amount of live music in it, and it’s beautiful. The cast has over twenty people in it, and it turns out that a few of the actors are also amazingly talented musicians, each of whom plays several instruments. They create a really magical world that the rest of us get to play in.

JHP: You’re playing Philip Henslowe, the owner of The Rose Theatre, a character based in reality, as Henslowe’s The Rose was indeed the first public theatre to stage Shakespeare’s plays. Does portraying a historical figure affect the way you approach the character?

JAMES CRAWFORD: Because Henslowe’s a real person, I did do some research about him. He left a diary that’s very important to people who study theatre history.  It’s full of facts about how much money he spent and how much money he earned, and all kinds of details about what it was like producing plays four hundred years ago. But there’s not a lot of personal information in the diary. Some historians think he was a very generous man, lending his actors money when they needed it, and others think he was more of a ruthless landlord. My job is to honor the version of Henslowe that the writers of Shakespeare in Love imagined.  And, lucky for me, he’s a very funny, delightful character.

JHP: You’re part of a fantastically talented cast, among them, Joel Diggs as Kit Marlowe, fresh off his incredible turn in Nashville Rep’s Topdog/Underdog. What can you tell me about sharing the stage with Joel and this company?

JAMES CRAWFORD: I got to see Joel in Topdog/Underdog the week before we started rehearsing together. It’s always thrilling to see someone make a wonderful leap like that, jumping from playing a bitter three card monte hustler to a wise Elizabethan playwright. As a newcomer to the Nashville theatre scene, I had a memorable experience on the first day of rehearsal. We read the play aloud, and I got to listen to all of these actors, most of whom I’d barely met. It was wonderful, discovering how many exceptionally talented actors are in this cast.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S DAVID WILKERSON

JHP: You’re playing Edmund Tilney, Master of the Revels. Am I dumbing it down to much to say he was the OG party planner?

DAVID WILKERSON: I guess you could say that. Although in the play, he’s a party planner who hates parties then, he’s the person in control of theatre in London and he HATES theatre and actors.

JHP: IF there’s a villain to this piece, you could say TIlney is it, for….SPOILER ALERT…he’s the one who finds out Viola is performing on stage in male drag. What’s the best part of playing Tilney?

DAVID WILKERSON: I always love playing characters who ask for big choices. Tilney is so stuffy and condescending and fun to play!

JHP: In addition to portraying Tilney, you’re also working behind the scenes as the show’s fight choreographer. How much rehearsal goes into fight choreography for a show like this?

DAVID WILKERSON: There is a LOT of fighting in this show. Not counting the slaps and face burnings and wrestling and all that, there are three sword fights. And they are completely different. One is a rehearsal fight, one is a bunch of actors playing, and one is a real life-and-death fight. And they all need to feel different. So we started day one. When you only have two and a half weeks before tech, you have to make the most of every moment.

JHP: Having the unique opportunity of working with the show’s director, René Copeland both on stage as an actor and behind the scenes as fight choreographer, what do you hope audiences take away with them after seeing The Rep’s Shakespeare in Love?

DAVID WILKERSON: Shakespeare in Love is joyous. I hope people come to laugh and cry and along the way realize that art and artists hold an important role in society.

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If you want to experience the joy that is Shakespeare in Love, you have several more chances remaining as performances continue thru Saturday, April 13. Wednesday and Thursday performances at 6:30p.m., Friday evenings at 7:30p.m. and Saturday matinee and evening performances at 2:30p.m. and 7:30p.m. CLICK HERE to purchase tickets or CLICK HERE for more information. Next week, on Thursday, April 4, Nashville Repertory Theatre will announce the coming 2019-2020 season at their 35th Season Reveal Party. Following Shakespeare in Love’s run, The Rep will host the company’s 4th Annual Broadway Brunch fundraising gala at City Winery on May 5. CLICK HERE for tickets.

To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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

RAPID FIRE 20 Q with playwright and cast of ‘Stop Me If You’ve Heard This One’; limited engagement Backstage at Chaffin’s Barn beginning Thursday, March 28

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Having garnered second place in Chaffin’s Barn Dinner Theatre’s second annual Clash of the Playwrights competition, Stop Me If You’ve Heard This One will make its stage debut with a limited three-day engagement Backstage at The Barn beginning with a Thursday matinee March 28 at noon and two evening performances Friday and Saturday, March 29 and 30.

Written by Vanderbilt English Professor, Judy Klass, Stop Me If You’ve Heard This One tells the story of what happens when a nice Jewish man gets an emergency call from his retired parents in Florida urging him to come visit. Under the impression his trip is because of his father’s medical emergency, he soon discovers the family is plotting to fix him up with his niece’s nanny.

Earlier this week, as the playwright and cast prepared for their opening performance, I had the opportunity to chat with them about the play, family, dating and all things Stop Me If You’ve Heard This One for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE PLAYWRIGHT, JUDY KLASS

JHP: What’s your play about?

JUDY KLASS: It’s about a family. It’s about how people you love drive you crazy, and it’s still worth putting up with it, and working through problems, because your time with them is precious. And it’s about how jokes, no matter how long and shaggy they are, can be a means of communication between people.

JHP: Your play is being presented this weekend Backstage at The Barn after having come in second at Chaffin’s playwright competition. How excited were you to learn your play had taken that prize?

JUDY KLASS: I was very excited. The play won the Dorothy Silver Award some years back, but it was never fully staged. Other plays of mine have gone up elsewhere, but I’ve never had a full-length play produced in Nashville before, though I’ve lived here thirteen years. So, to have this play produced at last, and to have that kind of recognition in the place where I live, is a wonderful thing. I’m happy that people I know here are coming to see it.

JHP: It’s often said that playwrights and fiction writers in general, draw inspiration from what they know…are these characters based on your own family, friends or acquaintances? If so…do they know?

JUDY KLASS: Yes, this play draws on aspects of my own family. My father, close to twenty years ago, told me a joke over the phone. I said: “That actually would work as the first scene of a play.” I got off the phone and imagined dramatizing the joke as a scene. It’s an old Jewish joke, and I imagined writing a comedy where characters would tell each other jokes, many of them old Jewish jokes, and that dramatized-joke-scene would kick things off. I figured I’d ask my father to write the play with me, or at least contribute the jokes I’d need along the way. Then, my father, Morton Klass, suddenly died in the spring of 2001. And I figured: that’s it, I can’t write that play. Forget the whole thing. Some months or a year later, I reconsidered. I felt that I should write the play, and quickly, while I still had so many jokes my father had told me in my head, and I could still hear his inflections — his way of telling them. So, that’s what I did, and in a sense, it’s still the kind of collaboration I hoped to have with him. And I tried to capture things that I liked about my family when I was growing up. It’s got a bit of the flavor of our household when people gathered for a holiday — a bit of us in our element, as a family. Some family members attended a reading of it in NYC.

JHP: I understand you visited Backstage at The Barn during rehearsal. Can you describe the feeling of seeing your characters in the flesh?

JUDY KLASS: It was wonderful to sit in on a rehearsal. Joy Tilley Perryman is doing a terrific job as director, and the whole cast is top-notch — it’s a professional production. The play has had five more or less staged readings — one at the Cleveland Playhouse when it won the Dorothy Silver Award, the reading in NYC, two in Florida and one in San Diego. But it was exciting to see actors really learning their parts, off book, with blocking, and to see this play receiving the care that goes into a full production, with actors playing moments again and again to get the humor and the serious aspects right. I feel very good about it going up at Chaffin’s Barn.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s  AUSTIN OLIVE

JHP: You play Alan. How would you describe him?

AUSTIN OLIVE: Alan is definitely high strung. I think deep down he has a good heart. He just spends most of his time wrapped up in his own life and pursuits. He spends a lot of his time worrying about other people’s perception of him. He has found success in New York as a writer, but there is still a void in his life that leaves him deeply unhappy. He does love his family, but those feelings often manifest as sarcasm and combativeness.

JHP: A subplot of the show revolves around Alan being set up with a girl he doesn’t know. Have you ever been set up on a date?

AUSTIN OLIVE: Fortunately, I have managed to avoid being set up on a blind date with anyone so far. I tend to not like the feeling of not knowing or having control of my circumstances. I would like to keep my dating experience confined to people I have had the chance to meet and decide for myself whether or not I like them.

JHP: Speaking of your unexpected date…Cassie Donnegan is cast as Lisa, the aforementioned set up, who also happens to be your character’s nieces’ au pair. What’s Cassie like as a scene partner?

AUSTIN OLIVE: Cassie is a wonderful scene partner. We have done several shows together in the past couple of years. I always enjoy working with Cassie. It always helps to work with someone who you know well. There is a certain level of comfort that allows us to joke around and have fun while we’re working.

JHP: I understand Daniel Bissell and LaDarra Jackel are playing Alan’s somewhat stereotypical Jewish parents. What would be the best thing about having those two as parents in real life?

AUSTIN OLIVE: LaDarra and Daniel are two of the funniest people I know. I absolutely love working with them. They are certainly not old enough to be my parents in real life, but if they were, the best thing about having them as parents would be the warmth and support they both give to everyone. They are two of the most genuinely delightful people I have had the opportunity to work with.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s LaDARRA JACKEL

JHP: Tell me about Ida.

LaDARRA JACKEL: She is loving, opinionated, and has a passion for life. Family is the most important thing to her and she is at her happiest when everyone is together.

JHP: One of the early plot points has Alan basically being tricked by his father to travel from New York to Florida. What’s the craziest thing family has ever convinced you to do?

LaDARRA JACKEL: I have some family that lives in Texas. When they moved into their house my Uncle asked us to come visit for our vacation. When we got there he put us to work and had us laying the sod in his yard. It was so hot that summer and we all still complain about it to this day.

JHP: Joy Tilley-Perryman is directing this show. What’s it like working with her as a director?

LaDARRA JACKEL: Joy is wonderful! She really has an eye for comedy and encouraged us to become a family unit organically.  I also appreciate that she is always respectful of our time and keeps us laughing daily.

JHP: Young Kylan Ritchie plays Ida’s granddaughter, Sandra. Knowing most of the cast myself, I’m just gonna ask…Have you guys warped her young innocent mind yet?

LaDARRA JACKEL: I hope not! Let’s be real though. She’s a teenager in a social media world. She has probably seen or heard worse.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s, JENNY NORRIS

JHP: Who is Abbie?

JENNY NORRIS: Abbie is the daughter of Ida and Murray. She is opinionated and intelligent, but also kind hearted and family oriented. 

JHP: With this being the first full staging of the show. How much fun are you having creating this character?

JENNY NORRIS: Creating a character so the audience will say “ I know that person” is my favorite part of doing any show. So having the opportunity to do that with a brand new character is the most fulfilling creating process.   

JHP: When I chatted with Judy, the playwright, I asked her about dropping in on a rehearsal. What was it like having the person who wrote the lines you’re performing there during that stage of the production?

JENNY NORRIS: Ha! Well I could lie and say its no sweat but… 

JHP: What is it that keeps you coming back to The Barn show after show?

JENNY NORRIS: Well it helps that they keep offering. But, seriously, they believe in me and trust me and that means everything to me as an actor. Plus they are truly my family. Whether I’m in the show, waiting tables, or doing sales for the barn, coming to work is a joy bc I’m surrounded by people I love to be around and inspire me daily. Norma, Martha, Joy, Everett, Curtis, Miriam, Donnie*, the entire cast of this show, and so many others I’ve had the honor of being in- they are the smartest, funniest, most talented, kindest people I know, so surrounding myself with them is my privilege. 

*to expand upon Jenny’s response, Norma Luther is Chaffin’s current owner; Martha Wilkinson, the company’s Artistic Director; Joy Tilley Perryman, production manager, props mistress and this show’s director; Everett Tarlton, Chaffin’s social media coordinator, as well as frequent actor/director/choreographer; Curtis LeMoine, frequent Chaffin’s actors/choreographer; Miriam Creighton, the company’s costumer and Donnie Hall, Chaffin’s Director of Operations.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s J. ROBERT LINDSEY

JHP: You’re cast as Howard. What’s the best way to describe him?

J. ROBERT LINDSEY: Howard is the son-in-law of this very close-knit family.  He is a bit dorky, but also very warm.  I’ve based my portrayal of him on my experiences of meeting past boyfriends’ families.  While Howard has had several years to get to know his wife’s parents and brother, there is still that bit of awkwardness and disconnectedness that comes along with not being on the “inside” of the family.

JHP: While this show has had a couple of staged readings, this marks its first full staging. What’s it like bringing a show to the stage for the first time?

J. ROBERT LINDSEY: I always enjoy originating a character and being part of the development of a piece.  It gives you freedom to create the character without a previous portrayal from which to draw.  While I enjoy playing iconic characters as well, there is often pressure to pay homage to prior performances.  With an original show, you get to be much freer during the whole process.

JHP: Within the show, you’re married to Jenny’s character, Abbie. Jenny is one of my ‘theatre crushes’. What’s something about Jenny as an actor that your admire?

J. ROBERT LINDSEY: Jenny has become one of my “theatre crushes” as well!  I have thoroughly enjoyed playing her stage husband.  One of the things I admire about Jenny is her ability to completely transform into the character she is portraying.  Not only does that make her performance authentic, she is also able to build extremely believable on-stage relationships with the other characters.  I also love that we try to make each other laugh with our husband and wife ad libs.

JHP: If there’s a lesson to be learned from Stop Me If You’ve Heard This One, what would it be?

J. ROBERT LINDSEY: The lesson in this show is that you’ve got to be yourself – no matter what.  There is also a message of accepting and loving others for who they are – no matter what.  At the heart of this play is a family that really loves each other, and that has been something really fun to portray.

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Austin Olive (foreground) receives a phone call from parents LaDarra Jackel and J. Robert Lindsey (background left to right) in playwright Judy Klass’ ‘Stop Me If You’ve Heard This One’, Backstage at The Barn Thursday, March 28-Saturday, March 30.

As I prepared to post this Rapid Fire 20 Q, I learned that both Friday and Saturday evening’s performances have SOLD OUT! There are a selection of tickets available for Thursday’s matinee. Backstage at the Barn offers two ticket options. Show Only tickets are $19 while their Show and Box Lunch option is $27.50. If you are looking for some midday laughs, get your weekend started early and CLICK HERE or call 615.646.9977 to purchase tickets.

Following this premiere production of Stop Me If You’ve Heard This One, Chaffin’s will be bringing back last year’s Clash of the Playwrights winner, Ollie’s Diner by Ron Osbourne. Having initially had its limited debut run Backstage at the Barn, when the show returns for a full run this season from October 17 to November 2, it will be presented on Chaffin’s Main Stage. Call 615.646.9977 for tickets or more information.

To learn more about Stop Me if You’ve Heard This One playwright, Judy Klass, CLICK HERE. For more about Chaffin’s Barn Dinner Theatre, CLICK HERE or follow them on Facebook, Instagram and Twitter.

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

Rapid Fire 20 Q with members of Studio Tenn’s ‘The Sinatra Legacy’; select tix remain to this weekend’s limited-run musical event

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Studio Tenn presents “The Sinatra Legacy” on stage at The Franklin Theatre March 13-17 (select production graphics and images by Tony Matula/MA2LA/courtesy Studio Tenn)

Season after season, Studio Tenn produces some of the best dramatic and musical theatre experiences around. For the past six years, in addition to more standard offerings, Studio Tenn has presented their Legacy Series, a limited-engagement celebration of icons in the world of music. This weekend, the company is once again including another installment in the mix of their theatrical season as they present The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes, on stage at The Franklin Theatre in nearby Downtown Franklin from March 13-17.

I often say Studio Tenn is as close to Broadway-quality as middle-Tennessee theatre-goers get without booking a vacation to New York City’s theatre district and the inclusion of their Legacy Series proves just that, featuring some of the most talented performers in Music City (or anywhere for that matter) and presenting them in an intimate setting as though a group of friend—albeit ridiculously talented friends—have gathered together to celebrate the musical heritage of one of the 20th Century’s most gifted performers.

Previous Studio Tenn Legacy Series offerings honoring Hank Williams, Johnny Cash, Ray Charles and most recently, Glen Campbell, have been performed on the stages of the company’s usual home, Jamison Hall at The Factory at Franklin, as well as The Schermerhorn Symphony Center and The Ryman Auditorium. This weekend’s upcoming Sinatra Legacy marks the first time since heir inaugural Legacy show that Studio Tenn will once again set up shop at The Franklin Theatre, the beautifully restored historic movie house/live music venue that originally hosted the company’s Hank William Legacy debut back in 2013.

As is usually the case for Studio Tenn’s Legacy Series, the entire run of the show is nearly SOLD OUT, with just a handful of tickets remaining. That said, I was thrilled to get the chance to chat with members of the company for the latest in my recurring interview feature, Rapid Fire 20 Q. Among the conversationalist for this edition, Matt Giraud, frequent Studio Tenn performer who gained notice during 2009’s Season 8 of American Idol for his smooth vocal skills,infectious smile and charming stage presence that landed him in the Top Five. Then I chat with Belmont alum, Maggie Richardson, singer/dancer/choreographer, returning to Studio Tenn, for the first time since having portrayed Dainty June in the company’s 2015 production of Gypsy. Next up is Jaimee Paul, an acclaimed vocalist who, when not providing backup for superstars like Kelly Clarkson and Wynona, has worked with noted producers David Foster and Michael Omartian. Rounding out this edition of Rapid Fire 20 Q is Nashville native, William Hall, who, after studying classical voice at the University of North Carolina Chapel Hill has returned to his hometown to continue his education at Vanderbilt while pursuing music right here in Music City.

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RAPID FIRE 20 Q WITH CAST MEMBERS OF STUDIO TENN’S THE SINATRA LEGACY: A MUSICAL TRIBUTE TO OL’ BLUE EYES

RAPID FIRE WITH THE SINATRA LEGACY’S MATT GIRAUD

JHP: From what I remember, Studio Tenn’s 2016 The Ray Legacy, celebrating the music of Ray Charles, marked your debut with the company and now you’re back for this year’s Sinatra Legacy. What is it about these Legacy shows that sets them apart from standard musical theatre?

MATT GIRAUD: Well, before these shows I hadn’t really acted since I was in elementary school and it was the perfect way to get my feet wet, being such a fan of musical theater and this company in general. I’ve learned so much working with them and am absolutely honored to be surrounded by such talented musicians and artists every day. These shows are so special because the quality that they put into them is unlike anything I’ve seen in a live show in Nashville. It’ll take you right back to the Rat Pack era and you’ll forget you live in the present day.

JHP: Some folks likely first took note of you from your time on American Idol. That season’s Top 5 theme was Rat Pack Standards, during which you performed your take on Sinatra’s version of My Funny Valentine. Any chance you’ll revisit the tune during this week’s Sinatra Legacy?

MATT GIRAUD: Ha! We will have to see! With Frank’s catalog there are countless numbers of tunes to pick from and I’m sure some we wish had time for just won’t make it in. Either way, we are definitely going to come out swinging Plus that song got me kicked off of Idol so I kind of hope we don’t! Haha.

JHP: Speaking of The Rat Pack, if you had to name your squad, what would you call yourselves and why?

MATT GIRAUD: Probably The Ignance! Cause we’re all pretty ignant. (Slang for silly/over the top)

JHP: This year marks the first year the Legacy Series returns to The Franklin Theatre. What is it about that historic venue that lends itself perfectly to this type of musical event?

MATT GIRAUD: It will be my first time on stage at the lovely Franklin theater. It’s such an intimate beautiful room that really does have a timeless feel to it. I think it’s a perfect spot to transport each audience back in time for a smokin’ hot, classy, jazz-filled evening.

JHP: Sinatra’s music is timeless. Why do you suppose that is?

MATT GIRAUD: Taking the time to learn and truly live the lyrics to these songs has really shed new light on this music. Yes, some of these tunes were covered by many artists but Frank put a special kind of playful joy or deep sadness on these tunes. He could really break your heart if he wanted to with one song and make you want to dance to the next…just that easily. Listening to him taught me how to truly express these gorgeous lyrics. A reminder to really think about what I am singing to connect with the audience and take them with me emotionally rather than just sing a song. His delivery and the depth in his renditions will always make Frank truly timeless.

RAPID FIRE WITH THE SINATRA LEGACY’S MAGGIE RICHARDSON

JHP: You just choreographed a local production of Singin’ in the Rain, which takes place in the 1930s and now you’re performing in Studio Tenn’s The Sinatra Legacy. Sinatra’s first big break came in the mid-30s thanks to a radio show audition. What is it about that time period that you think was so magical?

MAGGIE RICHARDSON: I love the glamour and romance of this time period. Movies and music were all about stepping into a totally different world. They were a form of escape and a creative outlet where people were given permission to dream. If you look at Frank’s early songs, the romance of the lyrics might actually make you sick (in the best way)!

JHP: Studio Tenn audiences might recognize you from your turn as Dainty June in their 2015 presentation of Gypsy. Is this your first time back with the company? How’s it been so far?

MAGGIE RICHARDSON: Yes! I am absolutely thrilled to be back, after doing theatre around the country and coming back to the Nashville area to raise my precious daughter. Studio Tenn always creates a safe and fun work environment, and they put on incredible shows. I feel SO blessed to be working at this amazing company with these incredible people.

JHP: If you could emulate one aspect of Sinatra’s swagger, what would it be?

MAGGIE RICHARDSON: He had a special way of connecting with the audience and people- a little glimmer of something different that you couldn’t quite put your finger on. I hope to embody and portray that zing.

JHP: I can’t talk Studio Tenn without mentioned one of my theatre crushes, Laura Matula. What’s it like to share the stage with her and the rest of the performers in The Sinatra Legacy?

MAGGIE RICHARDSON: Same! It is magical. I have been looking up to Laura for years, and this is our first time actually working together. I could go on about how much I have learned from her as a performer and as a person. She’s BRILLIANT. And I can’t even tell you how many times I have almost straight up exploded while listening to and watching my fellow cast members perform. They are just insane.

JHP: Speaking of Laura, she’s co-directing alongside Studio Tenn’s Interim Artistic Director, Benji Kern. With these two at the helm, I’m sure we’re in for some surprising takes on Sinatra classics. Can you reveal just a hint of a particular song to look out for?

MAGGIE RICHARDSON: Oh my goodness yes, they are a power team. I will say this…in this show, you’ll be taken on a moody journey and get caught up in moments that take you by surprise. You’ll get everything you came for, but SO much more than you knew you even wanted! My favorite (which is different every day) is Laura and Jaimee’s intimate version of the song Something Stupid.

RAPID FIRE WITH THE SINATRA LEGACY’S JAIMEE PAUL

JHP: Is this your first time working with Studio Tenn?

JAIMEE PAUL: Yes…and I’m so excited about it!

JHP: What is it about The American Songbook style of music that appeals to you as a performer?

JAIMEE PAUL: The lyrics…the songs were so simply written, but yet said so much.

JHP: To put it into the modern vernacular, you could say that Sinatra and the Rat Pack were the original Squad Goals. What famous female singers would be your ideal squad?

JAIMEE PAUL: Bette Midler, Barbra Streisand, and Tina Turner.

JHP: While The Rat Pack seemed quite the boys club, many influential and successful women were also associated with Sinatra and the rest. From Marlene Dietrich and Lauren Bacall to Angie Dickinson and Marilyn Monroe. If you could chat with one of the Rat Pack women, who would it be and what might you ask?

JAIMEE PAUL: I would say Marilyn Monroe…I would ask her, “when you were a little girl, what did you want to do when you grew up?” I’d also love to ask Liza Minnelli, “What it was like growing up with Judy Garland as your mom?”

JHP: Oh, that’s right! Liza was indeed a member of The Rat Pack, touring with Sinatra and Sammy Davis, Jr. after Dean Martin dropped out of the Ultimate Event Tour in the late 80s. Good Call! Is there one particular song in The Sinatra Legacy that you just can’t get enough of, whether it’s one you’re performing, or someone else?

JAIMEE PAUL: I absolutely LOVE, It Was A Very Good Year.  Not only does John-Mark McGaha absolutely nail it, but I now want to add it to my show!

RAPID FIRE WITH THE SINATRA LEGACY’S WILLIAM HALL

JHP: Last year you were part of the audio team for Studio Tenn’s Glen Campbell Legacy and now you’re featured as one of the performers of The Sinatra Legacy. What’s the experience been?

WILLIAM HALL: It has been an absolute blast. I am so thankful to be part of such an amazing cast of singers and musicians. I feel like every rehearsal has been a masterclass in singing and performing, so I am just trying to soak it all in. I’ve been in love with this music since I was young and it’s such a pleasure to get to sing it.

JHP: One thing I love about Studio Tenn’s Legacy Series is that it always seems like a group of friends just hanging out and celebrating music. Is that a fair assessment?

WILLIAM HALL: Absolutely. I think that is one of the things that makes this Legacy process so unique; it’s all about the music. That perspective allows us to be casual and collaborative onstage and let the music speak for itself. I think I speak for everyone when I say that we really do enjoy watching each other perform.

JHP: The promo shoot for The Sinatra Legacy resulted in some fantastic shots of you and your co-stars.. Tony Matula totally captured that Sinatra vibe. What was working on that photo shoot like?

WILLIAM HALL: To be honest I was really nervous! I had never done any kind of photo shoot before. Tony was awesome to work with and I can’t thank him enough for being patient with me. He has an amazing vision and he knows how to make you feel comfortable and like yourself in a laid-back way. We were actually on the set of Always…Patsy Cline for the shoot which added a whole other dramatic element and made it feel more natural. Frank Sinatra had an incredible swagger and cool about him and Tony knew how to play off of those subtleties.

JHP: While The Sinatra Legacy centers on his music, Sinatra also enjoyed a hugely successful film career. What’s your favorite non-musical Sinatra movie?

WILLIAM HALL: From Here to Eternity. I love the behind the scenes story about the film helped pull Frank out of a career slump. It’s also the one that I am most familiar with. For some reason I imagine that Sinatra’s character, Maggio’s feistiness in the movie captured some of his own personality.

JHP: If you could pick a Sinatra career highlight to have witnessed in person—-from crooner to movie star to Vegas headliner to his later comeback—which would you choose?

WILLIAM HALL: I would say either Sinatra Live at the Sands in Vegas, or any of the Rat Pack performances at the Sands around 1965 or so. I have the Live at the Sands recording and I just love the energy of his voice live, the way he phrases things, and interacts with the band.  As far as the Rat Pack goes, I love the way that they play off of each other. They always look like they are really having fun and they are masters of their craft.

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Speaking of masters of their craft really having fun, while most of The Sinatra Legacy‘s five-day run performances are indeed SOLD OUT, at the time of this article, single seat tickets remained for select shows, so say a prayer to the Rat Pack gods and CLICK HERE to try your luck. If you miss out on The Sinatra Legacy, fear not, Studio Tenn’s next musical, Joseph and the Amazing Technicolor Dreamcoat takes the stage at Jamison Hall from May 17-June 2. As for their Legacy Series, I have it on great authority you will not be disappointed with next year’s offering. CLICK HERE for tickets or more information on Studio Tenn or follow them online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q & A with cast of Chaffin’s Barn’s ‘Kiss Me, Kate’: final performances this weekend

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Martha Wilkinson and Matthew Carlton in Chaffin’s Barn Dinner Theatre’s “Kiss Me, Kate”

Directed by Everett Tarlton, this weekend marks the final two chances for audiences to see Chaffin’s Barn Dinner Theatre’s wonderfully riotous romp that is Kiss Me, Kate. Full to the brim with Cole Porter tunes, Kiss Me, Kate tells the tale of a diva film actress returning to the stage in a musical stage adaptation of William Shakespeare’s Taming of the Shrew that just so happens to co-star and be directed by the actress’s ex. Chaffin’s own grande dame of the theatre, Martha Wilkinson stars as the diva with Matthew Carlton playing opposite her as her estranged ex husband.

Since I posted my review of the show opening weekend, it seems appropriate that I mark the end of the play’s run by sharing my latest Rapid Fire Q&A.

Busily juggling starring in their current production and seamlessly moving into directing the debut of their next production, Dan Zimmerle’s biblical musical, Esther, Wilkinson kicked things off with bit of interesting insights concerning returning to a role she debuted on the very same stage some years ago. The conversations continue as I chat with her then and now co-star, Matthew Carlton, as well as Mallory Mundy, Caleb Pless and Timothy Fudge.

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RAPID FIRE Q&A WITH CAST OF CHAFFIN’S BARN DINNER THEATRE’S KISS ME, KATE

RAPID FIRE WITH KISS ME, KATE’S MARTHA WILKINSON

JHP: I understand this production of Kiss Me, Kate might conjure a bit of a déjà vu for you and your co-star Matthew Carlton?

MARTHA WILKINSON: Yes, Matt and I played Lilli/Kate and Fred/Petruchio in 1993 at Chaffin’s under Rene Copeland’s direction. We were too young then but, it’s magical to return to  this show with him again.

RAPID FIRE WITH KISS ME, KATE’S MATTHEW CARLTON

JHP: What’s it like revisiting Fred Graham and Petruchio all these years later?

MATTHEW CARLTON: When we did it before, I don’t think I was old enough to relate to the complicated past the characters shared both personally and professionally in the storyline.  Now, I understand more fully what a life on the stage can bring and I feel very cozy in Fred’s skin.

JHP: What are you enjoying most about playing opposite Martha in Kiss Me, Kate?

MATTHEW CARLTON: Martha is a true one of a kind performer. Having a close friendship on and off stage for so long, makes working together a joy. We have a pure trust and ease together and hopefully the audience will catch that vibe and be a partner in the fun that we share playing together.

JHP: As Fred, you are not only directing the show within the show, but also starring in it as Petruchio. What’s the best aspect of playing what is essentially dual roles?

MATHEW CARLTON: The writers of this classic show have done all the work and the parallel character traits of Fred & Petruchio are drawn beautifully in the script.  It’s a challenging role for sure, with a broad range to cover, but great writing always makes an actor’s job easier.

JHP: Of course you’ve got plenty of actual Shakespearean experience having been seen in a number of Nashville Shakespeare Festival productions over the years. Why does Shakespeare still seem to intimidate some audiences and what about Kiss Me, Kate helps to bridge that gap?

MATTHEW CARLTON: Some folks may have the impression that Shakespeare is too “highfalootin”  for the average person but he wrote plays that all the audience members, no matter their status or station, could appreciate and relate to. KMK‘s parallel backstage storyline echoes the relationship and personalities of the  main characters in Shrew and illustrates the timelessness of the Bard’s understanding of human nature.

Mallory Munday as Lois

RAPID FIRE WITH KISS ME, KATE’S MALLORY MUNDY

JHP: You’re playing Lois Lane. What’s up with that character name? Do you think Cole Porter was a comic book nerd? After all, the OTHER Lois Lane made her debut in comic book form a full decade before Kiss Me, Kate premiered.

MALLORY MUNDY: Gosh, that’s such a tough call to make. If I wanted to overthink it (which I have a nature for doing), I could guess that maybe it was Porter’s humorous way of nodding at the comic book character.  It is my limited understanding that in the comic book, Lois Lane is a more conservative career woman, whereas in this show, she’s far from conservative.  One might say she is a career woman, but the type of career and means of establishing that career are contrary to the comic’s Lane.

JHP: Some have said the play and especially its source material are misogynistic. What do you think?

MALLORY MUNDY:  Hahaha.  Sure, there’s definitely some misogynistic substance in there, but it is most specifically in the source material.  I’m probably the worst person to comment on this because, while I do not agree with misogynistic ideals, I am a big proponent of understanding the time and place of a story.  There are some cringe-worthy lines within the play,  HOWEVER, I think we have done a really tasteful job of presenting the material in a way that absolutely does not celebrate those prejudices toward women.  As far as Cole Porter’s script, some might argue that Lois is a celebration of a woman’s sexual freedom.  And, if paying attention, one will see that the end of the play is fighting against the ideals seen in The Taming of the Shrew.

JHP: Like your co-stars, you play dual roles, first as the actress Lois Lane and also as Bianca, the character she plays in Shrew. What are the best traits of Lois/Bianca?

MALLORY MUNDY:  Lois is such a fun role because she is the ‘ditzy,’ sexy role that is so typical is classic musicals (especially Cole Porter’s).  The thing about Lois, though, is that she isn’t the idiot that she could easily be perceived to be.  She’s actually very clever, very determined, but uneducated and inexperienced in common experiences.

The best thing about Bianca, for me, is the fact that she’s played by a nightclub performer who has no idea what she is doing as an actress.

JHP: What’s most fun about playing opposite Martha?

MALLORY MUNDY:  Jonathan, how am I supposed to choose one??  Martha is the essence of delightful.  She’s playful, witty, smart, strong, talented, dynamic, one of the funniest people I have ever known.  The weekend I moved to Nashville as a Belmont student, my (now) brother-in-law was playing bass in the band for Johnny Guitar at The Barn.  Martha was the first leading lady I saw in a professional show in Nashville.  Her strong, quick-witted, brilliantly talented performance wooed me, especially as an aspiring theatre actress myself.  I have looked up to her ever since.  Watching Martha in rehearsals is like getting paid to take a master class in acting.  This isn’t the first show I’ve gotten to do with Martha, but it is the first time I’ve gotten to play the other leading lady with her, and it’s much like a dream come true!

 

RAPID FIRE WITH KISS ME, KATE’S CALEB PLESS

JHP: Tell me about Bill Calhoun?

CALEB PLESS: Bill is the suave, take chances kind of guy. A heavy gambler always getting involved in things he shouldn’t. He’s paired with Lois and Mr. Fred Graham has given them this new opportunity to preform with him in his big Shakespeare show. However, Bill May cause more trouble than Fred was expecting!

JHP: While Everett Tarlton and Curtis Lemoine are the show’s dance captain and assistant choreographer, your character is a dancer and you, yourself have a background in dance. What’s your favorite choreo moment in the show?

CALEB PLESS: Both Everett and Curtis are such great dancers and choreographers and I’ve had a blast getting to perform everything that they have created. It’s hard to pick a favorite moment but I think I would have to say the end of Another Opening. This song starts the whole show and comes out with such high energy that really sets the whole tone of the performance. There’s something so magical and powerful about seeing the whole cast dancing in sync!

JHP: Bill has an affinity for gambling. In a game of five cars stud with your co-stars, who’d win and why?

CALEB PLESS: While my character is a gambler we definitely don’t have that in common. I have a very telling face! However, I feel that I could probably use that to my advantage and no one would expect that from me. I’d be the underdog that could possibly come out on top!

JHP: Is this your first Chaffin’s show? AND….Bill is dating Lois, meaning you get to share the stage with one of my theatre crushes, Mallory. Are you enjoying playing her love interest?

CALEB PLESS: Yes, this is my first show at Chaffin’s barn and also my first show in my home city of Nashville! I’m very grateful for this opportunity. Mallory is the best! Such a talented performer and wonderful person on stage and off. She is always open to discussing and working through acting moments and is not afraid to try new things on stage. So happy to be sharing the stage with her!

RAPID FIRE WITH KISS ME, KATE’S TIMOTHY FUDGE

JHP: As Harry Trevor, you have mostly Shakespearean dialogue as your character plays Baptista in Shrew, the play within the play . What about the Shakespearean dialogue do you enjoy most?

TIM FUDGE: I’m having fun with the Shakespearean text. In my career as a musical theatre actor I have taken workshops in Shakespearean acting and have auditioned for many Shakespearean productions, but this is the first time I’ve had the chance to perform it. I love researching the meaning of words and phrases to make sure I am clear in what I’m wanting the audience to understand.

JHP: As Baptista, you’re Kate and Bianca’s father. Of course Martha plays Kate and Mallory plays Bianca. Tell me about sharing scenes with these two.

TIM FUDGE: They are both such amazing performers! I have music directed Mallory before, but this is my first time sharing the stage with her and she is a joy to work with. Martha and I have worked together for 30 years (of course, she was just a child actress at the time!), so we have a long history from which to pull. I always love sharing the stage with her!! It is wonderful to feel so safe and secure onstage with these two consummate actresses.

JHP: With a character like Harry, there’s not much exposition. What backstory might you you concoct to get into character?

TIM FUDGE: Yes, we are given very little background on Harry, but I love thinking of him as an actor very much like myself. He’s worked in the theatre his whole adult life with no great financial success, but he is doing what he loves and that’s all that matters to him.

JHP: What about this production, with this company, appealed to you as an actor?

TIM FUDGE: Well, I’ve worked at the Barn off and on for 30 years – as an actor, a waiter, and mostly as a music director – and now under the new ownership, they can offer Equity contracts. I haven’t been able to be onstage here in many years due to my union status, so it’s wonderful to have the opportunity to perform here again. As far as Kiss Me, Kate goes, I’ve never even seen it before so it’s a new show to me! That’s always fun!!

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Whether, like Tim, Kiss Me, Kate is a new show for you, or an old favorite, you have two final chances to see this great production at Chaffin’s Barn Dinner Theatre with closing performances Friday and Saturday, March 8 and 9 at 7:30 p.m. each evening. Show tickets are $13 for Children 12 and Under, $20 for Youth and Students and $35 for Adults. As the venue’s name indicates, Chaffin’s also offers a full a la carte menu with items ranging from starters and an all-you-can eat soup and salad bar to meat and side entrees and small plate and sandwich options.  CLICK HERE for tickets or call 615.646.9977.

As mentioned above, following Kiss Me, Kate, Chaffin’s will debut Esther,an all-new musical based on the Bible’s beautiful Queen Esther by Dan Zimmerle. Directed by Wilkinson, with choreography by Tarlton, this limited run premiere will take to Chaffin’s main stage March 21, 23, 24 & 28. CLICK HERE for tickets or more information. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire Q&A with star Joel Diggs and director Jon Royal; wrapping their ‘Topdog/Underdog’ run alongside star Eddie George at Nashville Rep thru Sunday, February 24

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For their February offering, Nashville Repertory Theatre has chosen playwright Suzan-Lori Parks’ thought-provoking 2002 Broadway play, Topdog/Underdog. The debut production garnered the playwright the Pulitzer Prize for Drama, the first such honor awarded a woman of color. The two-person story centers around brothers named Lincoln and Booth (obviously those names are no coincidence and not surprisingly, key to a certain plot point) as they face the day to day struggles of making their way, and their mark on the world; a world filled with preconceived notions and expectations for men of color. Eddie George, yes, THAT Eddie George, he of the 1995 Heisman Trophy, stars as Linc, the oldest of the two brothers, while gifted Nashville-based actor, Joel Diggs stars as Booth. At the helm of Nashville Rep’s production is director, Jon Royal. Royal previously directed The Rep’s Smart People last February. Among Royal’s other notable directorial efforts, Street Theatre’s brilliant 2014 production of Passing Strange and Nashville Shakespeare Festival’s Othello, which also starred Eddie George.

Always excited to chat about shows that are a bit unfamiliar to me, I recently had the opportunity to reach out to the stars and the director for the latest in my recurring interview feature, Rapid Fire 20 Q. Unfortunately, due to circumstances beyond my control, George was unable to participate. Thankfully, Diggs and the director were available, so I give you an abbreviated, yet informative and revealing Rapid Fire 13 Q.

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Diggs (left) and George (right) star as Booth and Linc in Nashville Rep’s “Topdog/Underdog” (production photos by Michael Scott Evans/courtesy Nashville Rep)

RAPID FIRE 13 Q WITH TOPDOG/UNDERDOG STAR JOEL DIGGS AND DIRECTOR JON ROYAL

RAPID FIRE WITH TOPDOG/UNDERDOG STAR, JOEL DIGGS

Joel Diggs

JHP: How familiar were you with the work prior to being cast as Booth in Nashville Rep’s Topdog/Underdog?

JOEL DIGGS: I was somewhat familiar, in that I knew of Suzan-Lori Parks, and that she wrote this great piece, but I had never read it. I did see the production with Eddie and Jeff Carr many years ago though.

JHP: What can you tell me about Booth?

JOEL DIGGS: Booth is deeply troubled, caused by his parents abandonment of he and his brother. He is a very impulsive person, who wants love so bad, he creates fantasies to fill that void.

JHP: While the playwright delves into more serious aspects of the brother’s relationship with each other, there’s still that unbreakable bond of brotherhood. In what ways does the dynamic between you and your co-star, Eddie George mirror that of the relationship between your characters?

JOEL DIGGS: He’s someone who is very well known, and I can see how that relates to Booth admiring Lincoln, because “Linc’s the Man!” Eddie and I are relatively the same age and have many things in common, as well.

JHP: Among the subplots, there’s the inheritances the brothers were left. While Lincoln opened his and spent it, Booth kept his, never opening it, which seems somewhat uncharacteristic for Booth. What’s the significance of this?

JOEL DIGGS: I believe Booth is trying to hold on to the memory of hope in his mother.

JHP: Other subplots deal with the brothers and their relationships with women, Linc’s wife, Cookie and Booth’s girlfriend, Grace, who are spoken of, but never seen. Why do you think the playwright chose to mention the women, but not include them as part of the cast. 

JOEL DIGGS: The women can be felt very strongly, but I feel the playwright may be showing the plight of the Black man in America, the so called head, being disposable, therefore dooming the entire family.

JHP: What is it about Booth that drove you to the role?

JOEL DIGGS: I know people like him, and the challenge of bringing him to life. 

JHP: The entirety of the play is presented as a two-man show. What’s the biggest challenge and biggest reward in sharing the stage with only one other actor?

JOEL DIGGS: The reward is getting to tell such a beautifully written story, and having to deal with so many layers, an actor’s dream. The challenge is the amount of work it takes to do that!

RAPID FIRE WITH TOPDOG/UNDERDOG DIRECTOR, JON ROYAL

Jon Royal

JHP: How did directing Topdog/Underdog for Nashville Rep come about?

JON ROYAL: Rene Copeland asked me how I felt about this script last February. I told her that I loved it! She asked if I’d be up for directing it about a month later.

JHP: From the beginning, did you have a clear vision of what you wanted for the Pulitzer-winning piece?

JON ROYAL: After reading and rereading the piece, I felt like I had a clear understanding for what the script was telling me it was about, but developing that is the biggest part of my job as the director.

JHP: What was it about Eddie George and Joel Diggs’ auditions that spoke to you as a director?

JON ROYAL: I’m pretty sure that Eddie and Rene had already talked about him playing Lincoln, so that meant that the search was on for an actor to play Booth. Joel is very natural onstage. They have great chemistry together.

JHP: How would you categorize you style of directing as it relates to Topdog/Underdog?

JON ROYAL: My style of directing for this piece has been about the beautiful delicious beats that Suzan has written.

JHP: Why is this play, and this production in particular, an important piece for the Nashville theatre community?

JON ROYAL: It’s important because this play is incredible. It’s such a densely, well written piece that connects with people across all walks of life. It’s been produced here twice and a playwright of Suzan-Lori Parks’ caliber should be presented to our local audiences even more. To Rene and the Rep’s credit, this is the third season in a row that this company has produced a play written by a black woman, as part of their season. I’ve been here all of my life, I’d say this kind of consistency is long overdue. 

JHP: What do you hope audiences come away from Topdog/Underdog feeling or contemplating?

JON ROYAL: I hope that audiences contemplate what it means to be in community with each other, as in we are all family. I hope we also look at what we’ve inherited from our birth families and what we’ve inherited from America.

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Nashville Rep’s Topdog/Underdog concludes its run at TPAC’s Andrew Johnson Theatre with performances Saturday, February 23 at 2:30 p.m. and 7:30 p.m. and a final matinee on Sunday, February 24 at 2:30. CLICK HERE for tickets or more information.

Following Topdog/Underdog, Nashville Rep continues their current season with Lee Hall’s stage adaptation of the popular film, Shakespeare in Love with performances March 23-April 13. CLICK HERE for tickets. To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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

Rapid Fire 20 Q with director, set designer and cast members of Circle Players’ ‘Avenue Q’; on stage at Looby Theatre January 10-20

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

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

RAPID FIRE WITH AVENUE Q DIRECTOR, BRIAN JONES

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

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

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

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

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

RAPID FIRE WITH AVENUE Q SET DESIGNER, JIM MANNING

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

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

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

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

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

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

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

JHP: Tell me about Kate Monster?

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

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

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

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

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

RAPID FIRE WITH AVENUE Q’s PRINCETON, ALEX PINEIRO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH AVENUE Q’s ROD, CLINT RANDOLPH

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

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

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

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

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

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

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

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

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

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

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

 

Rapid Fire 20 Q with cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

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

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

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

JHP: Tell me about Belle?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: Tell me about Madame De La Grande Bouche.

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

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

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

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

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

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

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

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

JHP: What do we need to know about Lumiere?

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

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

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

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

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

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

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

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

JHP: Who is The Beast to you?

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20 Q with cast and crew of ‘The Game Show Show’; Backstage at Chaffin’s through December 22

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In addition to Chaffin’s Barn’s main stage theatre space, where they’re currently presenting Elf: The Musical, Nashville’s oldest-continuing dinner theatre also features a second on-site venue, Backstage at The Barn. Currently on backstage is The Game Show Show: Holiday Edition. As the title suggests, it’s all about the fun of TV game shows. Presented in three acts, The Game Show Show sends up everything from Match Game (’77 to be exact), Judge Judy, To Tell The Truth and even includes a bit of audience participation in a friendly physical competition segment reminiscent of Double Dare…all with a timely holiday slant. If you read my column or follow me on social media with any regularity, you know I’m more than a little obsessed with anything 70s and/or TV, so I knew I just had to chat with members of The Game Show Show’s cast and crew for the latest installment in my recurring interview segment, Rapid Fire 20 Q. In the spirit of game shows (or perhaps because math isn’t my strong suit and I wanted to chat with all seven cast members) there’s actually a Bonus Question, so it’s technically Rapid Fire 21 Q.

RAPID FIRE 21 Q WITH CAST AND CREW OF THE GAME SHOW SHOW

Chaffin’s Barn Dinner Theatre’s “The Game Show Show” cast members Joy Tilley Perryman, Gerold Oliver and Charlie Winton

RAPID FIRE WITH THE GAME SHOW SHOW’S JOY TILLEY PERRYMAN

JHP: You’re directing as well as appearing in The Game Show Show, right? What can audiences expect to see from you?

JOY TILLEY PERRYMAN: I wear lots of hats in this show, I am even in the stage manager’s booth at times.

JHP: In preparing for this show, did you do any research by watching old game show clips on YouTube or the Game Show Network?

JOY TILLEY PERRYMAN: I grew up on game shows, so I didn’t have to do a ton of research, but I did enjoy watching old Match Game clips on YouTube.

JHP: Who’s your all-time favorite TV game show host? 

JOY TILLEY PERRYMAN: Monty Hall

RAPID FIRE WITH THE GAME SHOW SHOW’S JOHN MAULDIN

JHP: I understand you’re stage managing The Game Show Show. The show consists of three acts, the first—a sort of mash-up of Judge Judy and To Tell The Truth, the second—a homage to Match Game ’77 and the third—Reindeer Games…which of these three is your favorite, and why?

JOHN MAULDIN: Yes, I’m stage managing the show but I make an appearance as a special Holiday icon in To Tell the Truth, so since I get to work on stage with this fun cast I would say this is my favorite. However, Match Game will always have a special place in my heart because I watched it a lot as a kid so there is a major kick of nostalgia during that for me. Reindeer Games is also great because it is just pure fun and so audience-centric that there is a great energy throughout the theatre. All 3 make for a fun night out!

JHP: What exactly do you suppose reindeer games are, and why wouldn’t they let poor Rudolph play?

JOHN MAULDIN: I imagine there to be a lot games of tag played by the reindeer, maybe some hide and seek, and there is probably a killer game of capture the flag. I guess there is the fear of the different and unusual from the other reindeer that prevents Rudolph joining in their games. I mean we know that it all works out well in the end. Our diversity is our strength, it’s true. Everyone has something special about them to offer the world and when given the chance they can shine!!

JHP: If you were playing Match Game ’77 and were going for the final match, would you choose Charles Nelson Reilly, Brett Somers or Fannie Flagg?

JOHN MAULDIN: Charles Nelson Reilly hands down. He was just so iconic and identifiable with the show.  I don’t know if we would have matched but I’m sure it would have been hilarious regardless.

RAPID FIRE WITH THE GAME SHOW SHOW’S CHARLIE WINTON

JHP: As host of the second act of The Game Show Show, I hear you’re channeling a bit of classic Match Game host, Gene Rayburn. What’s one trait of Rayburn’s that audiences can look forward to seeing in your portrayal?

CHARLIE WINTON: Gene was a charming man and always seemed to be having a great time, I am striving for that in my performance.

JHP: You’re also hosting the third act, Reindeer Games, which is full-on audience participation. Should audience members be the least bit hesitant of volunteering to play?

CHARLIE WINTON: I think anyone that likes to have fun and laugh would enjoy playing our reindeer games!

JHP: Like their main stage shows, Backstage at Chaffin’s also features the delicious prime rib buffet with more sides and options than Santa’s sleigh-full of presents. What’s one item on the buffet you could live off of?

CHARLIE WINTON: Prime rib is my favorite! Add a little horseradish sauce…. yum!

RAPID FIRE WITH THE GAME SHOW SHOW’S MEGAN DEWALD

JHP: I hear your Match Game character is a bit like Mary Ann Mobley. TV nerd that I am, of course I know who she was, but you’re way too young to have ever seen her in anything, except maybe a rerun of her late-90s appearance on Sabrina, the Teenage Witch (told you I was a TV nerd)…in the spirit of this all-game show themed Rapid Fire…Tell the Truth…did you have to look her up to figure out how to approach this character?

MEGAN DEWALD: I absolutely had to look her up, and when I did, I was blown away by her beauty and her precise diction, although in my research I discovered she tended to drop the ending “k” in words like “think”. She’s been a blast to emulate.

JHP: You’re also playing Vixen, the Gift Exchange Host. What’s the worst gift you’ve ever received that you either re-gifted or returned?  (It’s ok, you can tell me…hardly anyone reads these interviews anyway)

MEGAN DEWALD: My Mimi, bless her heart, gifts me an overpriced plastic bracelet every year. They look like they have been made from colored newspaper and dipped in clear coat, then embellished with tarnished studs. Totally not my style, and they are so large that they fall off my wrists. I have a small hoard of them in my jewelry box that I regift occasionally. I don’t have the heart to tell her that I hate them because it’s the thought that counts. Don’t rat me out!

JHP: Who among your cast is most likely to get tickled by an audience member’s response and break out into uncontrollable laughter?

MEGAN DEWALD: Ha! It would definitely be me. I’m easily tickled, and I love to laugh. I tend to snort when I laugh, which makes others around me laugh, and their laughter makes me laugh harder. It’s a vicious cycle.

RAPID FIRE WITH THE GAME SHOW SHOW’S GEROLD OLIVER

JHP: Tell me about your role(s) in The Game Show Show?

GEROLD OLIVER: I play a few different Characters. I play a caricature of Byrd (the bailiff) from Judge Judy in the first act, the late great poetic comic Nipsey Russell in the second act, and I play myself in act three!

JHP: From what I know, The Game Show Show is mostly improv. How much fun is that?

GEROLD OLIVER: One of my worst nightmares is breaking character on stage and laughing during a performance. I get to live my nightmare with some of the funniest people I’ve ever had the chance to perform with!

JHP: What is it about games shows that audience find so enticing?

GEROLD OLIVER: I’m sure it’s the prizes. There aren’t too many better feelings in the world that are more uplifting than walking in a place with nothing and walking out with something that you earned.

RAPID FIRE WITH THE GAME SHOW SHOW’S KARI CALDWELL

JHP: I hear you’re parodying Judge Judy as Judge Trudy in Act 1’s To Tell the Truth sendup. While she’s not exactly a game show, she’s definitely a daytime TV icon. Which cast member should you never play To Tell the Truth with?

KARI CALDWELL: This is a tough one. All of my fellow cast mates are Naughty Little Liars. So, I guess I will have to go with Joy. I always take her so seriously she could probably pull the wool over my eyes. 

JHP: I understand you also appear in the Match Game segment as a flamboyant character that might remind the audience of Joanne Worley. Full Disclosure…she’s one of my favorite game show panelist of all time, so I can’t wait to see your take on her. What’s the best part of channeling someone like her for a character?

KARI CALDWELL: I’m really old so I knew who Joannne Worley was without having to look her up but I still watched Match Game and tons of Laugh In snippets.  She cracks me up. It has been a delight to play a big mouth goofball. I might have been type cast! 

JHP: If you could produce a new TV game show, what would it be called and what would the premise be?

KARI CALDWELL: All contestants would wear a disguise on I Mustache You A Question and go into businesses and ask for a service they may or may not offer. The contestants are judged on their ability to carry out the charade with the people in the business and dedication to their disguise. 

RAPID FIRE WITH THE GAME SHOW SHOW’S ELIJAH WALLACE

JHP: From what I know, you’re Match Game character is a parody of Charles Nelson Reilly. Which is sort of a conundrum because wasn’t Charles Nelson Reilly a bit of a parody of everything outrageous and over the top?

ELIJAH WALLACE: He really was quite a character. He did everything on the show from wear hats all the time to hide his baldness and not wearing socks or pants on stage to being flown in with a hawk in his hand and feathers in his mouth. He liked making a scene as most theater people do.

JHP: If you were a contestant on the old school Hollywood Squares and you could chose either Paul Lynde or Rose Marie for the win, which one would you choose? (Dear Reader, Go ahead, Google them if you need to….I’ll wait)

ELIJAH WALLACE: I think Paul Lynde since he played Mr Macafee in the movie, Bye Bye Birdie and he was just so quirky and fun which would match my style. I think we would have gotten along great!

JHP: I understand you also play Tiny Tim in the To Tell the Truth segment. Please tell me it’s not just the God Bless Us Everyone, but also the ukulele-playing, tulip-tiptoeing 60s singer. Or is that just wishful thinking on my part?

ELIJAH WALLACE: It is wishful thinking unfortunately, but I don’t think the Tiny Tim that I am is quite traditional either. He has some nice surprises up his bedraggled sleeves! You’ll have to come see the show to fully understand what I mean!

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From my conversations with the cast, it’s evident it will be a fun time, indeed, so, dare I say it…Come on Down! as The Game Show Show continues Backstage at Chaffin’s Barn through Saturday, December 22. Evening performances are Thursdays-Sundays, December 6 thru 22  at 7:30 p.m. Remaining matinee tickets are available Thursday, December 6 at 12noon, Sunday, December 9 at 2 p.m., Wednesday & Thursday, December 12 & 13 at 12noon, Sunday, December 16 at 2 p.m. and Thursday, December 20 at 12noon. Thursday Matinee Show Only tickets are $19. (Patrons can also bring their own sack lunch, with drink options available for purchase. Thursday Matinee and Box Lunch tickets are $27.50. Box Lunch service begins at 11 a.m with Thursday matinees beginning at 12noon. Sunday Matinee  and Evening Performance Only tickets are $35/adults or $16/children 12 and under. Dinner and Show—which includes the aforementioned delectable full prime rib buffet—tickets are $60/adults or $30/youth/students. Sunday buffet service begins at 12noon until 1:30 p.m. with the show beginning at 2 p.m. Dinner service for evening performances begins at 5:30 p.m. and continues until 7 p.m. with a 7:30 p.m. curtain. CLICK HERE to purchase tickets, or for more information.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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