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Rapid Fire 20Q with playwright and cast of ‘Aunt Sally’s Wild Ride’; World Premiere presentation on stage at Playhouse 615 Friday, September 13 thru Sunday, September 29

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On Friday, September 13, up-and-coming Nashville-based playwright Robert Coles’ Aunt Sally’s Wild Ride will mark its World Premiere with three weeks of performances at Playhouse 615 under the direction of Joel Meriwether. Earlier this week as the company prepared for Opening Night, I had the opportunity to chat with the playwright and members of the cast for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with playwright and cast members of Aunt Sally’s Wild Ride

Rapid Fire Q&A with Aunt Sally’s Wild Ride star Linda Speir

JHPENTERTAINMENT: How excited are you to be the first actress to play the role of Sally Shavers?

LINDA SPEIR: I’m very excited to be the first to play Aunt Sally. I have created this character from what others say about me as well as my actions and dialogue given to me by the playwright. Then I throw in a dash of Linda and I have Aunt Sally! 

JHPENTERTAINMENT: Prior to chatting with you all, the playwright was kind enough to let me read the script to give me some idea of the characters. As I read, so many of the characters spoke to me, having been born and raised right here in Nashville. Is there anything about Aunt Sally that you found similar to any of your own relatives?

LINDA SPEIR: I love the characters in this play because I know some of them. I’m Southern to the core and so are these characters. Two of them remind me of some of my mother’s friends from church. Catherine reminds me a bit of my sister.

JHPENTERTAINMENT: What is your favorite Aunt Sally trait that you might consider incorporating into your own life?

LINDA SPEIR: I love that Aunt Sally is very forthright. I already have that trait. I wish I could be more like her in that, to an extent, she doesn’t care what others think. She’s living HER life. 

JHPENTERTAINMENT: You know you’re my favorite regional actress to have played some of my favorite southern women, including Daisy Werthan (Driving Miss Daisy) and Clairee Belcher (Steel Magnolias). When you think about it, there are similarities in these two iconic character with Aunt Sally, but what I want to know is…What in your estimation, makes Aunt Sally different from these two?

LINDA SPEIR: Aunt Sally is similar in some respects to both Daisy and Clairee.  Southern women  have traits in common with other southern women though they may not be of the same class.  Sally is different in that she is more flamboyant.

JHPENTERTAINMENT: I you could play any other character in Aunt Sally’s Wild Ride, who would it be and why?

LINDA SPEIR: I’d love to play either Rita Ruth or Tippy because they are so zany.         

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Jeremy James Carmichael

JHPENTERTAINMENT: Describe Jim Halpren in five words.

JEREMY JAMES CARMICHAEL: Like. So. Super. Good. Looking. Hahahahahaha

JHPENTERTAINMENT: Um…ok…moving on…As Jim, most of your scenes are with Amber Boyer as Jim’s wife, Penny Pennabaker-Halpren and Ann Street Cavanagh as Jim’s sister, Catherine McMahan. What’s it like having these two talented regional favorites as scene partners?

JEREMY JAMES CARMICHAEL: I love learning from the actors I get to work with; I’m not the same performer I was a year ago, and I won’t be the same next year. I’ve been lucky enough since moving to Nashville to work with some of the biggest names in the local theater business, and I’ve tried to watch and emulate as much as I can from them. I always say it’s never me acting in a show; it’s a combination of hundreds of directors and fellow actors who have poured into me.

JHPENTERTAINMENT: How much freedom has your director given you in making Jim your own?

JEREMY JAMES CARMICHAEL: I think we’ve all had a lot of freedom in creating these characters, particularly since we’re originating the roles. We use whatever the script provides and then color the characters in ways we think stays true to the text but allows us as artists to infuse our own ideas and personality.

JHPENTERTAINMENT: Playwright Robert Cole has written a script that presents a great balance between humor and heart. Without revealing any plot spoilers, do you have a favorite scene, whether funny, or sweet?

JEREMY JAMES CARMICHAEL: I absolutely have a favorite scene, but I can’t say anything about it. It’s near the end of act two between Jim’s wife (Amber Boyer) and his cousin Cat (Ann Street Kavanaugh). Just when you think it’s a comedy, it is not. It. Is. Not.

JHPENTERTAINMENT: Because it’s my website and I can do what I want, I’m going to go off-script for your last question….After Aunt Sally’s Wild Ride, when no on-stage, you’ve got a charity event your heading coming up…tell me about Scarfapolooza.

JEREMY JAMES CARMICHAEL: Thank you for this question!! My family started a charity event the night before Thanksgiving each year; we gather as many friends as we can to collect winter clothing items, and then hit the streets of Nashville to deliver to those living on the streets. It’s a fantastic way to be a blessing to others during a holiday of gratitude, and I honestly think those participating are more blessed than those receiving the gifts. It’s all about showing up for people and letting them know they matter.

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Amber Boyer

JHPENTERTAINMENT: Ok, I have to start my conversation with you by telling you how excited I was when I saw that you’d been cast in this show! You never disappoint on stage. That said, who is Penny Pennabaker-Halpren to you?

AMBER BOYER: That’s incredibly sweet of you to say. Thank you! 🤗 To me, Penny is the quintessential misunderstood/underestimated character in this script. Everyone judges her simply because of how she dresses, without taking the time to actually get to know her. She’s spunky, friendly, loyal, loving, and a bit ditsy sometimes, but is unabashedly herself, and will give her brutal honesty when provoked.

JHPENTERTAINMENT: I love that Penny Pennabaker-Halpren insists on the full hyphenated name. Lord knows being from the south myself, I know my share of folks who gotta make sure you know who they are and who they come from. So…a completely nonsensical question…if you could go by any made up hyphenated name yourself, what would it be?

AMBER BOYER: Huh. . . I’ve never thought about that before. I honestly don’t have an answer.

JHPENTERTAINMENT: Penny Pennabaker-Halpren’s wardrobe choices are…interesting to say the least. Did you create your character’s look or does the show have a costumer that you worked with?

AMBER BOYER: We do have our wonderful costumer, Denese Evans, and it’s been kind of a collaborative effort between myself, the playwright, the director and customer. Penny is very sexy-tacky, if you can picture that.

JHPENTERTAINMENT: The script describes Penny Pennabaker-Halpren (YES, I’m going to honor her wishes and use her full hypenated name every time) as ‘ditsy’. Those that know you, even a little, know you’re anything but. How much fun are you having playing this character?

AMBER BOYER: I am having such a blast creating this character! Playing “the ditsy one” is always fun. I’ve admittedly been pulling personality traits from different TV characters and people I’ve met in my real life. There are deeper aspects to Penny than people care to see at first glance because of her clothes (or lack there of), and I’m really enjoying bringing some depth to the ditz, so to speak.

JHPENTERTAINMENT: As the story unfold, the audience finds out there’s more to Penny Pennabaker-Halpren that meets the eye. Is that part of the reason you chose to take on this role?

AMBER BOYER: I honestly hadn’t even read the full script until we received them at our first read-thru, so I was pleasantly surprised to see the character arc that she has in Act II. I accepted the role because I really do enjoy performing comedic shows, and the opportunity to bring a brand new script to life was too tempting to pass up (even if I am “scantily clad” at 41! 🤣)

Rapid Fire Q&A with Aunt Sally’s Wild Ride playwright Robert Coles

JHPENTERTAINMENT: First off, thank you, not only for taking the time to do this Q&A, but also for allowing me a sneak peek at the script in order to familiarize myself with the story and characters in preparation for these conversations with you and your cast. I couldn’t help but notice some seemingly obvious (to me anyway) nods to everything from Robert Harling’s Steel Magnolias to Del Shores’ Daddy’s Dying Who’s Got the Will and Sordid Lives. Where those nods conscious or subconscious?

ROBERT COLES: Absolutely! It’s always a pleasure to do these Q&As! I will always have a spot in my heart for Steel Magnolias. It was the first movie I saw in theaters when I was two (my babysitter canceled and my parents had to take me with them), and I’ve directed the show three times. I love strong female characters, so there are probably some nods in the script, though subconscious. As for Del Shores’ scripts, I’ll confess, I didn’t start reading his material until I was in Sordid Lives this past summer, but now I’m a huge fan. This script was written (at least the first draft) four years ago. 

JHPENTERTAINMENT: In the same vein, who are some of your favorite playwrights?

ROBERT COLES: That’s a good question! I’m currently loving the works of Isaac Byrne, who I’m also involved in Writer’s Block with. Writer’s Block is a playwriting creative group lead by the amazing Haley Rice, who was in a workshop of one of my other plays in New York City . I’m also a huge fan of Tennessee Williams. Cat on A Hot Tin Roof is probably one of my favorite scripts, and a bucket list production for me both as a director, and as an actor. Neil Simon will always be one of my writing heroes, and I’ll always have a love of anything by John Patrick (A Bad Year for Tomatoes, The Curious Savage, et al). 

JHPENTERTAINMENT: The story takes place in a spacious Belle Meade mansion, one of the Nashville area’s most affluent neighborhoods. In contrast, the venue chosen for the World Premiere presentation, Playhouse 615 is one of the more intimate theatre spaces in Nashville. Who’s your set director and how have they met the spacial challenge?

ROBERT COLES: To me, when trusting this production with a theatre company, Playhouse 615 was my first and only choice. I knew I wanted to try it in an intimate venue and the work they do is absolutely brilliant. They use the space so cleverly. The set designer, James Bealor, has done an amazing job at using every square inch of available space while still giving levels and building the grandeur of this estate. Eric Crawford and Abby Waddoups are a powerhouse set decorator and set painter team, and their work has blown me away. A special note about this set, Joel Meriwether, the director, allowed me to inject my family into the show. After all, this show IS my family. Aunt Sally is based on my grandmother, Catherine is my mom, Liam is me, and the rest of the characters are people I know and grew up with. So, they let me put my own family photos on the set, which has made this feel like a big family affair for me. 

JHPENTERTAINMENT: As you mention, Playhouse 615 co-founder, Joel Meriwether is directing. What is it about Joel’s directing style that has instilled confidence that he’ll handle your work with care?

ROBERT COLES: I love Joel and his work. He’s such a talented person and director, and he has a great ability to make brilliant casting choices and pull strong performances out of each of his actors. Additionally, Joel knows these characters. He went to Lipscomb, has lived in Nashville for years, and was so protective over my script and words throughout the whole process. 

JHPENTERTAINMENT: What do you hope audiences will take away after seeing this debut production of Aunt Sally’s Wild Ride? AND..what’s next for the show?

ROBERT COLES: I hope audiences will laugh and think. The show is funny, but it also deals with some pretty heavy themes. I hope audiences leave feeling the love of this family, my family. Next for this show, some minor rewrites, a possible new title, and licensing worldwide! I can speak too much on the licensing yet, but I’m very excited to see the future for this little project! 

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At the time these conversations were uploaded to JHPEntertainment.com, Opening Weekend of Aunt Sally’s Wild Ride is completely SOLD OUT, but there are still tickets available for the remainder of the run September 20-29. Tickets are $20 ($17 for Seniors and Military). CLICK HERE to purchase tickets. To keep up with what’s next for Aunt Sally’s Wild Ride, CLICK HERE to follow the show’s Facebook page.

Following Aunt Sally’s Wild Ride, Playhouse615 will present Dracula: A Comedy of Terrors just in time for the Halloween holiday with performances October 18-November 3. CLICK HERE for tickets or more information.

For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

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

Rapid Fire 20Q with cast, producer and director of ‘An Ideal Husband’; on stage at Nicky’s Coal Fired August 17-21 to benefit CASA Nashville

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I’ve been a fan of 19th century novelist, playwright and bon vivant, Oscar Wilde since friends first started making jokes about a certain dilapidating portrait in my attic (if you know the reference, we can be friends), so when I heard that up-and-coming Nashville theaterati Erin Grace Bailey and Evan Fenne were teaming to present an immersive performance of Wilde’s political scandal satire, An Ideal Husband, I knew I’d need to chat with them and some of their cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. When I learned this presentation was being presented FREE, but with a suggestion of donating to CASA Nashville—Court Appointed Special Advocates, who serve abused and neglected children in the foster care system—theatre for a cause…come on! I was all in. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF OSCAR WILDE’s AN IDEAL HUSBAND

RAPID FIRE WITH AN IDEAL HUSBAND’s SIR ROBERT CHILTERN, ANDREW GATELEY

JHPENTERTAINMENT: What can you tell me about Sir Robert Chiltern?

ANDREW GATELEY: Sir Robert is a politician who ends up making a poor decision in his career that almost costs him his marriage. A marriage that he does not want to loose because he truly does love his wife. He’s a good guy with a good heart, and his poor decision gives him this layer of humanity which is what draws me to the character.

JHPENTERTAINMENT: Last year you appeared in Playhouse 615’s The Glass Menagerie as the gentleman caller of Erin Grace Bailey’s Laura Wingfield and now you’re playing brother and sister in An Ideal Husband. What’s your favorite aspect of Erin Grace as a scene partner?

ANDREW GATELEY: Her commitment to the character. She really puts her all into her performance and the character. Finding these little things to include to enhance the character and make them more believable.

JHPENTERTAINMENT: You’re also sharing the stage with Emily Colquette as your on-stage wife, Lady Gertrude Chiltern. Have you worked with Emily previously? AND How much are you enjoying being ‘married’ to her?

ANDREW GATELEY: I have worked with her before! She’s absolutely wonderful! Getting to be her on-stage husband has really been quite the treat, as she is one of the sweetest and kindest people I know.

JHPENTERTAINMENT: There’s a scandalous secret surrounding Sir Robert. In fact the show’s title comes from a key scene during which that secret is revealed. What’s the most challenging aspect of playing an emotionally fueled scene like this?

ANDREW GATELEY: Holding the intensity. It can be quite challenging to do an emotional scene and keep that same level of intensity throughout the whole scene. Plus, with it being such an important part of the story I feel it’s more important than ever to keep audiences locked in and be true to the character.

JHPENTERTAINMENT: Regardless of whether you’re ‘the type’ or not, what other roe in An Ideal Husband might you one day like to play, and why?

ANDREW GATELEY: Lord Goring. I actually thought I was going to get Lord Goring when I auditioned. So, imagine my surprise when they offered me Sir Robert instead! Lord Goring just seems like such a fun character to play. He’s so carefree yet such a great friend.

RAPID FIRE WITH AN IDEAL HUSBAND’s LADY CAVERSHAM, ANN STREET-KAVANAGH

JHPENTERTAINMENT: Being a fan of the work, it took me just a minute when perusing the cast list to realize that liberties were taken in your character, Lady Caversham. For in the original presentation of An Ideal Husband, and dare I say, every production in the past 129 years, the role of Caversham has been played by a man, as it was originally The Earl of Caversham, not Lady Caversham. Did your producer or director address their reason behind the character gender flip with you?

ANN STREET-KAVANAGH: I had no idea going in. They mentioned that it had been written for a man, but I don’t recall a reason for flipping it. It has been fun, though, saying things that a woman, perhaps, would not have said in the late 1800’s. Since she’s speaking mainly with her son, it adds a playfulness and I feel like they adore each other and enjoy each other’s company. Some of the lines would probably be taken much more harshly if delivered by a father. 

JHPENTERTAINMENT: You’re playing the mother of Lord Goring, as played by Abe Gibson. What can you tell me about Abe and sharing the stage with him?

ANN STREET-KAVANAGH: I’d only met Abe during this rehearsal process. He brings a wonderful energy and playfulness to his character!  He’s been quite fun to work with as a scene partner.

JHPENTERTAINMENT: Oscar Wilde’s An Ideal Husband is typically presented as a period piece. For this immersive presentation, is it still set in the 1890s, or have liberties been taken there as well?

ANN STREET-KAVANAGH: The show is still set in the 1890’s. It doesn’t matter which year it is set in, it has a sharp wit and contemporary subject matter.

JHPENTERTAINMENT: My personal favorite adaptation of An Ideal Husband is the 1947 film starring Michael Wilding, Paulette Goddard, Glynis Johns and C. Aubrey Smith as the Earl of Caversham. Of course there’s an equally star-studded more modern 1999 adaptation which starred Rupert Everett, Cate Blanchett, Minnie Driver and Julianne Moore. How familiar were you with the piece prior to auditioning?

ANN STREET-KAVANAGH: I wasn’t really familiar with it at all, other than a few trailers.  It has been great fun delving in with no preconceived ideas! 

JHPENTERTAINMENT: An Ideal Husband deals with scandal, politics, blackmail, public perception vs. private realities…all as timely now as when the play was written. What drew you to the project?

ANN STREET-KAVANAGH: Honestly, Erin-Grace approached me and asked if I’d play the role.  I did not know much about the play. I just adore her, and when she told me the details, it sounded very interesting. To not be in a traditional theatre space and have a chance to work with so many young actors, I couldn’t resist!  They are all quite impressive actors.  The relatability to current times was just the frosting on the cake! 

RAPID FIRE WITH ERIN GRACE BAILEY, PRODUCER AND CO-STAR OF AN IDEAL HUSBAND

JHPENTERTAINMENT: This production of An Ideal Husband is being described as an immersive experience. Can you elaborate?

ERIN GRACE BAILEY: Well, a good part of the show takes place at a party, so we wanted the audience to feel like they’re part of that. For anyone who sees the word “immersive” and feels a little triggered by it, I would definitely tell them not to worry. We’re not asking the audience to do anything out of the ordinary, but the actors may come sit at your table. They may loop you into a conversation or make sly comments. Sort of think of it like Disney World for big fans of British period pieces, almost like you got to step into an episode of Bridgerton for a day.

JHPENTERTAINMENT: You’re not only producing, but also co-starring in the role of Miss Mabel Chiltern. Not only that, the fabulous production of Sordid Lives you directed just closed. In that multi-tasking spirit, a two-part question for you…Are you running on adrenaline at this point? AND How are you balancing producing with acting in this production? 

ERIN GRACE BAILEY: Haha! I’m running off adrenaline and a whole lot of love and support from the Nashville theatre community, which I am so incredibly grateful for. Evan makes my job as a producer very easy. He knows what he wants, and he communicates that clearly. Really, the most challenging part was finding a place to perform (which we’re so appreciative of Nicky’s for giving us the opportunity). Once that happened, the rest of it was pretty straightforward. 

As far as the acting side of things goes, I adore Oscar Wilde, and I am so excited to bring my version of her to life. It’s actually been a nice balance. Mabel isn’t a huge role; she’s just such a memorable one. It’s sort of a full-circle moment because I auditioned with one of her monologues for the theatre program at Belmont. Seven years later, I’m playing the role in my own production and working for the Theatre and Dance department full time, and I sort of wish I could go back and pat myself on the head back then and let my eighteen year old self know that it’s all going to work out.

JHPENTERTAINMENT: An Ideal Husband debuted on the stage in 1895. Now here we nearly 130 years ago yet the themes and scenarios seem just as prevalent today. Of the themes, do you have one that you are most interested in highlighting within the context of the show?

ERIN GRACE BAILEY: Oh gosh, I’m going to try to keep this answer short, but I could completely nerd-out on it. I’ve been reading thesis papers and all sorts of other things on this play. In summation, Oscar Wilde really wrote this play to make a statement on the cultural shift that started around the turn-of-the-century. The Victorian generations had this sort of choke-hold on certain values, views, and this black and white sense of morality. But as 1900 drew closer, younger generations, particularly young women, started to question these values, it caused a lot of societal and political turmoil but resulted in women’s suffrage and the formation of more ethical labor laws. Wilde simplified this in An Ideal Husband to only concern the household of one particular politician who finds himself in a “gray area” or morality which was essentially unacceptable according to Victorian values. With our current political climate, its extremes, and my generation sort of coming into adulthood and questioning everything, I think this play is particularly timely. Oscar Wilde just puts it in a way that’s palatable, comedic, and relatable no matter who you are.

JHPENTERTAINMENT: What is your favorite aspect of playing Mabel Chiltern?

ERIN GRACE BAILEY: She’s just everything I wish I could be all the time. She’s boisterous, silly, smart, romantic, and not to mention, incredibly witty. She doesn’t take anything too seriously, and she’s just her own beautiful person in spite of what anyone  thinks about her. 

JHPENTERTAINMENT: I’m about to wrap this edition of Rapid Fire 20Q by chatting with your director, Evan Fenne. How long have you known each other and what is it about An Ideal Husband that presented the perfect opportunity for him to direct and you to produce?

ERIN GRACE BAILEY: In the grand scheme of things, we really haven’t known each other that long (a little over a year maybe?), which feels unreal to think about because we’ve been through so much together in that little bit of time. He assistant directed me in a show at Actors’ Bridge and then assistant directed for me back last fall. Then, this fall, we’ll actually be acting alongside each other as well, which will be a good time. Aside from being a great artist with tremendous instincts, Evan is just a kind person, which is always the first thing I tell anyone about him. We just work well together and decided we wanted to do a project for fun. We read, like, every staple British comedy play you can think of and finally settled on this one because of its message and timeliness. 

RAPID FIRE WITH AN IDEAL HUSBAND DIRECTOR, EVAN FENNE

JHPENTERTAINMENT: How did the idea of presenting Oscar Wilde’s An Ideal Husband come about?

EVAN FENNE: Erin Grace Bailey and I were looking into British farces from that era to put up, and after reading An Ideal Husband, I was amazed by its relevance. A lot of plays are able to have sustaining themes that relate more to the individual human experience, but this one also has themes that apply to social and cultural aspects of our society, a society that at first glance seems completely different from that of Oscar Wilde’s time. All of that being combined with Wilde’s sarcastic and dry humor, which I love, made this play one I wanted to direct and see happen.

JHPENTERTAINMENT: Oscar Wilde has always been a favorite of mine, both on the page and in his real life. What was your first introduction to Wilde?

EVAN FENNE: Like most, my first introduction to Oscar Wilde was reading The Importance of Being Ernest in eighth grade. It was one of the few things we read that I actually loved a ton. I then saw it produced at a high school close to mine, and I remember the audience experience of that performance being so much fun. It wasn’t until a couple years ago that I actually learned about him and what he was like as a person. It only made me admire and enjoy him more.

JHPENTERTAINMENT: As mentioned above, you’ve teamed with Erin Grace Bailey, who’s not only producing, but also co-starring. When I spoke with her, I asked her about your working relationship, so I’ll ask you similarly…I understand you and Erin haven’t known each other that long. How did you meet and how is she as a producer?

EVAN FENNE: Though we both went to Belmont University, we first met a year ago when I assistant directed a play that she was in, and soon after, I assistant directed a play under her direction. The show was a serious drama, and towards the end, we talked about how we would love to work together again on something lighter: a comedy. She’s been a great producer, even with her stacked summer of shows, and as a young director, it’s been wonderful to have her support and encouragement.

JHPENTERTAINMENT: I love that instead of selling tickets, this production of An Ideal Husband is being presented as a free theatrical experience with the suggestion of donations to CASA. Can you tell me a bit about CASA and the decision to use this production as a means of raising money for this worthwhile organization?

EVAN FENNE: I only recently learned about CASA, and their mission immediately caught my attention and support. They train volunteers to be court-appointed advocates for abused and neglected children in the Davidson County area. We knew we wanted to raise money for a charity in the process of putting up this show, and CASA is a cause that I especially want to support. There’s nothing more valuable to a child than a safe and loving home, and the more we can do to help make that happen, the better.

JHPENTERTAINMENT: What do you hope audiences come away remembering after seeing An Ideal Husband?

EVAN FENNE: I really want audiences to see themselves in the characters of this show; I want them to see people from their own lives. I directed it in a way that acknowledges the audience, and I hope their immersion in that world ends up leaving them surprised at how easy it is to empathize with each character. I know I was when I first read it.

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An Ideal Husband directed by Evan Fenne and produced by Erin Grace Bailey will be presented on stage at The Maxwell Room of Nicky’s Coal Fired (5026 Centennial Blvd. Nashville, TN 37209) for five consecutive days from Saturday, August 17 until Wednesday, August 21. Aug. 17 & 18 performances will begin at 1:30p.m. with Aug. 19-21 performances beginning at 7p.m. CLICK HERE for FREE tickets. Can’t make the show but still want to donate to CASA? 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. In the meantime, #GoSeeTheShow!

Rapid Fire Q&A with Disney’s Frozen National Tour’s Olaf and Kristoff, Broadway stars Jeremy Davis and Nicholas Edwards; at TPAC May 7 thru May 18

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Since the 2013 release of Disney’s Frozen, Anna, Elsa, Kristoff, Olaf and the rest of the residents of Arendelle have become an undeniable part of a world-wide pop culture phenomenon. The box-office-breaking original prompted a film sequel (with two more film entries coming). There’s been a televised holiday special, a line of character costumes, hundreds of toys, books and board games, video games, even a Frozen-themed Disney on Ice…heck, you name it and it probably exists in the Frozen universe. Fans just won’t Let it Go! Of all the Frozen tie-ins, Frozen: The Broadway Musical has proven just as beloved as the original film. Frozen debuted on Broadway in March 2018 and enjoyed a popular run until March 2020 due to the pandemic. Midway through the Broadway run, a North American National Tour and several international tours began. Following a brief hiatus in 2020, the US National Tour began again in September 2021. Earlier this year, the US tour celebrated its 1000th performance.

On May 7, For the First Time in Forever, Music City will get the chance to experience Frozen: The Broadway Musical when the National Tour descends on TPAC’s Jackson Hall for performances through May 18. For the latest installment of my recurring Rapid Fire interview feature, in advance of Frozen: The Broadway Musical’s Nashville tour stop, I recently had the chance to chat with two of the show’s stars, Jeremy Davis and Nicholas Edwards, who play Olaf and Kristoff, respectively, What follows are those conversations.

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RAPID FIRE Q&A WITH DISNEY’s FROZEN NATIONAL TOUR’s JEREMY DAVIS and NICHOLAS EDWARDS

RAPID FIRE WITH FROZEN’s OLAF, JEREMY DAVIS

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been part of Frozen since the show was workshopped prior to its Broadway debut. Then you were initially part of the Broadway ensemble and understudy for Olaf. When did you first take the stage as Olaf and what do you remember most about that night?

JEREMY DAVIS: I first went on about two months after we opened. It was planned, so there was a lot of rehearsal and build-up to it. For weeks, the whole company worked to help me get ready. When the day finally came, I was on stage doing my first scene, and I looked offstage to find the whole company packed in the wings watching me. It was so galvanizing to feel such immense support, and it made my debut a very special experience.

JHPENTERTAINMENT: For those who’ve not seen the Broadway adaptation, rather than have you in a giant Olaf costume, Olaf is presented as a puppet with you dressed in winter wear controlling his movement and providing his voice. I understand you’d never worked with puppetry prior to taking on this role. What was your rehearsal period like prior to taking on the role?

JERMEY DAVIS: Since I started as an understudy, I had the advantage of watching and learning from Greg Hildreth, the original Olaf in the Broadway production. Greg is a true artist and comedian, and I was very lucky to be able to have him as a role model. And he was so good with the puppet! The first time I worked with Olaf in rehearsal, I couldn’t believe how hard it was. Greg made it look so easy, but I felt like I was trying to push a pile of rocks around. But like everything else, the more I did it, the easier it got. After a couple of weeks of practice, it started to feel like the puppet and I were dancing. Now, after all this time, we waltz around the stage like we were meant to be together.

JHPENTERTAINMENT: Frozen wasn’t your first Broadway show… Heck, that count’s up to 10 Broadway shows if my research serves me right, 2005’s Dirty Rotten Scoundrels marking your Broadway debut. What do you remember most about taking to the Broadway stage for the very first time?

JERMEY DAVIS: The thing I remember most from that night was the curtain call. I went out to take my bow, and as I looked out over the applauding audience, I was thrown back in time to my childhood bedroom where I was having a daydream that one day I would be a Broadway actor. I started crying as I took my bow for Scoundrels because I realized that a childhood dream had come true.

Jeremy Davis as Olaf (photo by Matthew Murphy/courtesy frozenthemusical.com)

JHPENTERTAINMENT: OK, I have to admit something. I’ve never seen Frozen, Frozen II, or even the made-for-tv holiday special, Olaf’s Frozen Adventure! I KNOW, I KNOW!!! But what can I say? I don’t have kids and my nieces were all grown with their own kids by the time the movies came out. That said, I’ve not been living under a rock, so of course I have soaked up some knowledge of the characters and basics of the storyline. All that to ask…what’s it like being part of such an iconic pop culture phenomenon?

JERMEY DAVIS: First of all, WATCH FROZEN! It’s a great film, and it’s not just for kids. I’m a full grown adult (allegedly), and I love it!

As for what it’s like to be a part of this amazing phenomenon, it’s awesome! Every night, I walk out on stage to a crowd that’s already in love with Olaf, and it’s an amazing feeling to be at the center of all that love. It makes the job so easy and fun!

JHPENTERTAINMENT: If you could incorporate one aspect of Olaf’s personality or ideology, what would it be?

JERMEY DAVIS: The thing I love most about Olaf is his perspective on the world. He sees everything that happens, every moment, as an opportunity for joy. He meets a new person, and they’re his best friend. He walks into a new place, and he sees it as a theme park. He falls to pieces, and he rolls all his parts on the ground in glee. After all this time playing Olaf, his outlook has started to become part of my real life perspective, and I can’t really put into words how much better it’s made my life to look at the world in that way.

RAPID FIRE Q&A WITH FROZEN’s KRISTOFF, NICHOLAS EDWARDS

JHPENTERTAINMENT: I admitted when I chatted with your Frozen co-star, Jeremy Davis earlier that I’ve never seen any of the Frozen universe of movies, tv specials or short films. So, for the uninitiated, who is Kristoff and how much fun are you having playing him?

NICHOLAS EDWARDS: Kristoff is a local Arendellian ice harvester mountain man who alongside his best friend Sven (who happens to be a reindeer), gets swept up in this majestic quest to help princess Anna climb the North Mountain and save Arendelle from the eternal winter brought on by the ice queen Elsa! I am having the time of my life! I get to help save Arendelle 8x a week!

JHPENTERTAINMENT: For the stage version, Kristoff’s role has been amped up a bit, including being featured in a few new musical numbers. Do you have a favorite musical moment in the show, whether it’s one you’re featured in, or one you just enjoy from the wings?

NICHOLAS EDWARDS: I mean Let it Go is truly one of the most magical theatrical moments in a musical ever, but I really love the two sister’s duet I Can’t Lose You. It’s a new song written for the tour and it really helps flesh out the relationship between the two sisters, and of course the song itself is just thrilling! The vocals are insane!

JHPENTERTAINMENT: Like Jeremy you also come to the tour after having appeared in the Broadway production. With a National Tour, you’re performing on a different stage each week. To that end, I’m curious how much rehearsal or run-though you all get in each city, or do you simply adapt to each venue as you go?

NICHOLAS EDWARDS: Each city we do a sound check and quick spacing rehearsal that lasts around 3 hours the day of the first show. Outside of that we do a few lift and fight calls as a check in throughout the week, but yes- we adapt and stay on our toes as learn the ins and outs of each venue. Safety first!

Nicholas Edwards as Kristoff @nickedwardsnyc Instagram

JHPENTERTAINMENT: Between your time with Frozen on Broadway and the current National Tour, you also appeared on Broadway in & Juliet as Lord Capulet and Sly. Have your found any similarities between these characters?

NICHOLAS EDWARDS: Definitely not! Lord Capulet is a powerful father figure who sentences his daughter to life in a nunnery- Kristoff would never do that!

JHPENTERTAINMENT: I like to end my interviews by asking a variation of the following…What do you hope audiences come away remembering long after seeing Frozen?

NICHOLAS EDWARDS: A lot of families who come to see Disney shows are experiencing their first Broadway musical- I can only hope that this sparks something inside them to continue to want to come back and experience more of the magic that live theatre brings to audiences.

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Disney’s Frozen: The Broadway Musical comes to TPAC’s Jackson Hall with the following performance schedule: Tuesday-Sunday, May 7-12 and Tuesday thru Saturday, May 14-18. Tuesday-Saturday evening performances begin at 7:30p.m. with Saturday matinee’s at 2p.m. and Sunday performances at 1p.m. and 6:30 p.m. Tickets range in price from $53 to $198. CLICK HERE to purchase tickets or for more information. Follow Frozen on Facebook, YouTube, Instagram and TikTok. Or check out their official Frozen On Tour Site.

Not in Nashville? Not to worry. As the tour continues, Frozen: The Broadway Musical is headed to Majestic Theatre in San Antonio, TX May 22-June 2, Austin, TX’s Bass Concert Hall at University of Texas at APAC June 5-16, Buell Theatre in Denver, CO June 19-July 3, Vancouver, BC’s Queen Elizabeth Theatre July 9-July 21, First Interstate Center for the Arts in Spokane, WA July 24-August 4, Boise, ID’s Morrison Center for the Performing Arts August 7-18 and San Jose Center for the Performing Arts in San Jose, CA August 21-September 1 with more dates expected to be added soon as the tour continues.

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. In the meantime, #GoSeeTheShow!

Rapid Fire 20Q with Cast and Creatives of ‘Mrs. Krishnan’s Party’; coming to TPAC March 6-9

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From Wednesday, March 6 thru Friday, March 9, Nashville theatre audiences are invited to a party like no other when the National Tour of Mrs. Krishnan’s Party comes to TPAC, transforming the Johnson Theatre into the backroom of Zina Krishnan’s dairy/convenience store, where we find her tenant, James, planning a party even though his landlady isn’t too keen on the idea.

Directed by Justin Lewis, who also co-wrote the play alongside Jacob Rajan, founding members of New Zealand’s hugely popular Indian Ink Theatre Company, the show stars Kalyani Nagarajan and Justin Te Honihana Pokaihau Rogers. Mrs. Krishnan’s Party is an immersive night of theatre likely unlike anything audiences have experienced as the intimate setting of venues like the Johnson Theatre foster the illusion that you’re not just watching the action unfold, but you are a guest at Mrs. Krishnan’s Party yourself.

Just last week, I had the opportunity to pose a few questions to the cast and creators for my latest Rapid Fire 20Q. What follow are those conversations:

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RAPID FIRE 20Q WITH CAST AND CREATIVES OF MRS. KRISHNAN’S PARTY

RAPID FIRE WITH MRS. KRISHNAN’S PARTY CO-WRITER, JACOB RAJAN

JHPENTERTAINMENT: In researching to chat with you and other creatives from Mrs. Krishnan’s Party, I learned that this show is a sequel of sorts to your hugely successful 1997 production, Krishnan’s Dairy. What was it about that show and it’s huge following that sparked the idea of expanding the Krishnan Universe to Mrs. Krishnan’s Party?

JACOB RAJAN:  When you live with a character for 25 years, as we have with Zina Krishnan, it seems such a shame to throw her away. And all it takes is a simple question to unlock infinite possibilities: “I wonder what Zina’s up to now?”

JHPENTERTAINMENT: I understand the ‘party’ in Mrs. Krishnan’s Party refers to Onam. What is it about this celebration that lends itself to the story you’re telling?

JACOB RAJAN: Onam is a harvest festival from Kerala in South India – where I’m originally from.  Inherent to harvest is the idea of death and rebirth.  In our story we have characters dealing with major life change. Any change in your life requires you to allow things to die in order for something new to emerge. It’s a hard thing to do – as Mrs. Krishnan will tell you.

JHPENTERTAINMENT: You created this show alongside your frequent collaborator, Justin Lewis, who also serves as the show’s director as well as your cofounder at India Ink Theatre Company. What’s the secret to your long partnership?

JACOB RAJAN: We have very complimentary skill sets. Justin is a very deep thinker, fantastic at structure (he could’ve been an architect) as well as a brilliant artistic director with a great head for business. I’m extremely shallow and will find humour in anything. As the son of Indian immigrants I was supposed to be a doctor so I bring a sort of childlike wonder to the fact that I’m even allowed to do this. 

JHPENTERTAINMENT: Food is such an integral part of every culture, but some might argue, even more so for those of East Asian descent. To that end, during the course of the play, food is actually prepared and shared with the audience. How important to you was including that aspect of the show?

JACOB RAJAN: The food is a core aspect to both the story and the experience for the audience. There’s something so beautifully sensuous about onions frying and rice on the boil. A nightmare for the actors to deal with but beautiful nonetheless.

JHPENTERTAINMENT: I’m about to chat with you two cast members and your co-writer/director. Using only one word, describe each of them.

JACOB RAJAN: Kalyani Nagarajan: Mercurial    Justin Rogers:  Joyous       

Justin Lewis: Visionary

RAPID FIRE WITH MRS. KRISHNAN’s PARTY‘s ZINA KRISHNAN, KALYANI NAGARAJAN 

JHPENTERTAINMENT: What can you tell me about Mrs. Krishnan, the role you play in Mrs. Krishnan’s Party?

KALYANI NAGARAJAN: She is such a joy to play. Mrs K has been running her own convenience store for over 20 years; she is a really hard-working, loving South Indian Matriarch who is no-nonsense but is in a moment of flux where she is looking back at her life and releasing it may be time for a change. She is the perfect challenge against James, who we see as a free spirit and takes life much less seriously. The beauty of Mrs K, and playing her, is that she is a strong immigrant woman who is in charge in her domain; often, we see these characters in lower status or as side characters, but in this story, she is the boss and that is just so empowering. She is soft, and she loves love and ultimately, that is what this story is about. 

JHPENTERTAINMENT: For those not familiar, how would you describe Mrs. Krishnan’s Party?

KALYANI NAGARAJAN: An extravaganza of the senses! It’s a story about change between the generations; when we ask ourselves, do we stick with the life we live, or do we go into the discomfort and change for the better? It is a totally immersive piece of theatre, where your sense of touch, smell, and taste are all inspired. I’m biased but I think this show is absolute magic on stage. It’s raw, and it truly is the definition of live theatre. 

JHPENTERTAINMENT: Aside from the audience, that becomes characters in the show through the show’s unique immersive staging, you share the stage with Justin Rogers. What do you enjoy most about Justin as a scene partner?

KALYANI NAGARAJAN: Nothing. Ha! No, of course not – it is an honour to act alongside someone I have known for so long! I went to drama school with Justin but we weren’t friends back then ha! I think Justin brings such a sense of joy and play and freedom to how he acts, and there is a real connection when we play together; he is one of my favourite people to act with because there is no sense of upstaging one another, we work in a beautiful harmony and want to see the other one win! 

JHPENTERTAINMENT: In addition to your stage career, you’re also known for your role in the tv series Raised by Refugees where you played the Mom of a young South Asian boy whose parents immigrated to New Zealand. You yourself share a bit of a similar backstory, in that your parents immigrated to New Zealand, right?

KALYANI NAGARAJAN: Ha Yes! My parents immigrated, and those characters had to seek refuge, which is a totally different scenario, but I guess in terms of wanting to find belonging and a place to call home, there are similarities. My parents have been in New Zealand for 40 years now, and I was born and raised here, and it comes with it’s trials and tribulations. Recently, I think my parents have been feeling moments of regret for taking us out of our home country because there a things you lose culturally. that first-generation verses immigrant storyline is so tumultuous but also beautiful – I’m actually writing a film and a TV show about it because these stories need to be told! 

JHPENTERTAINMENT: On the subject of your acting career, you studied at Toi Whakaari: NZ Drama School. Were you there by chance during Dame Miranda Harcourt’s time as Head of the Acting Department?

KALYANI NAGARAJAN: We were lucky enough to have her for maybe about two weeks! I think her acting methodology is one of the greats, and I still use her technique to this day. I may have even stolen a few things when I teach my students, hehe! Sorry! But I always give Miranda credit!  A lesson I carry with me from Toi is that this career is not a solo career, you need people, you need your artistic family to keep you going, to keep you inspired, to work along side. 

RAPID FIRE WITH MRS. KRISHNAN’s PARTY’s JAMES, JUSTIN TE HONIHANI POKAIHAU ROGERS

JHPENTERTAINMENT: I just chatted with your Mrs. Krishnan’s Party costar, Kalyani Nagarajan, so I’ll start by asking…what’s your favorite aspect of sharing the stage with her?

JUSTIN TE HONIHANA POKAIHAU ROGERS: Kal and I trained together at the same drama school- I still remember meeting her for the first time during our audition weekend. That was 12 years ago now and at the time I couldn’t have imagined we’d be travelling the world together with such a fun show! I just love how life is like that, you never know the magnitude of such little moments. Kal is exceptionally talented and I’m constantly learning from her, it’s a treat to work with someone you once studied with because you keep that student mind set and helps us constantly grow.

JHPENTERTAINMENT: Now, on to your role in the show…who is James to you?

JUSTIN TE HONIHANA POKAIHAU ROGERS: James is a connector. He loves people, he loves fun, he wants everyone to have a great time. He’s easily distracted because he’s always looking for the spark out there! That also means he can miss some important things… He’s afraid of failure and struggles with self esteem, but these are things he faces during the course of the show and for that reason I think James is a hero.

JHPENTERTAINMENT: From what I understand, you’ve been with the show since its 2019 New Zealand premiere. How did you hear of the show and what made you want to audition?

JUSTIN TE HONIHANA POKAIHAU ROGERS: Kal got me the audition! It was developed from a solo show she created at drama school, they put a casting call out and I was grateful that Kal put me forward.

JHPENTERTAINMENT: In preparing to chat with you, I discovered that just prior to Mrs. Krishnan’s Party, you starred in Shortland Street: The Musical a stage parody of the beloved long-lasting primetime sudser, Shortland Street. My dear friend Susannah Devereux was one of the stars of the series back in the 90s. You two share an agent in Karen Kay from what I understand. That said, what’s something from your time in the musical that you’ve taken to heart and you think of often?

JUSTIN TE HONIHANA POKAIHAU ROGERS: That show was based on the 90’s cast, so your friend’s character may have featured! Also shout out to my agent, Karen Kay Management, incredible team and I love them. Yes! That show was so silly and it lovingly poked fun at the soap opera- but my biggest learning in that was that we can’t just make fun of a thing or comment on a story or character. All our work has to be rooted in truth. It can be funny, sure, but at its core we must take all our work seriously. So in the show I had to deliver a toy baby during a musical number and it was VERY silly- but you can’t perform it that way. You really have to deliver that baby! That lesson has stuck with me in all my work since. Don’t play at being a funny actor pretending to deliver a baby to get a laugh. You really have to deliver the baby! And it might get a laugh, but that’s none of my business!

JHPENTERTAINMENT: As mentioned earlier, Mrs. Krishnan’s Party premiered in New Zealand, and is now enjoying a North American Tour. What’s been your favorite aspect of life on the road thus far?

JUSTIN TE HONIHANA POKAIHAU ROGERS: People! Meeting people on the road is the best. There’s a great line in one of my favourite films Before Sunrise where the character says the meaning of life lies in the little interactions. The space between two strangers when they smile at each other or chat briefly. Most of the people we meet on the road we’ll never see again in our lives. Yet we still whole heartedly connect. Or just buy coffee from them. But being with that person, smiling or laughing together for a second suddenly becomes deeply profound when you reflect on the fact that you won’t see them again. That tiny interaction suddenly becomes the most important moment in the universe. And I get to have those interactions over and over again and that is awesome.

RAPID FIRE WITH MRS. KRISHNAN’s PARTY’s CO-WRITER/DIRECTOR, JUSTIN LEWIS

JHPENTERTAINMENT: Earlier, I chatted with your co-writer and frequent collaborator, Jacob Rajan. So, let’s start our conversation with me asking you your take on the first question I asked him…What was it about that show and it’s huge following that sparked the idea of expanding the Krishnan Universe to Mrs. Krishnan’s Party?

JUSTIN LEWIS: It was such an exciting and beautiful idea to pick up the life of one of the heroes of that show 20 years later.  Zina Krishnan was a character we knew well as a young woman, to now imagine her as middle aged felt rich. It was probably no accident that this was the same journey we’d gone through ourselves.

JHPENTERTAINMENT: While there’s a basic through-line in the plot and set dialogue to get us there, I’d imagine incorporating the live audience in such an immersive way might lead to potential derailment from time to time. As the show’s director, how do you guide your actors to stay on task?

JUSTIN LEWIS:  There’s an improvisation/storytelling exercise where someone prompts the improvisor to advance the story or extend the moment – go forward or go wider. A great story needs a balance of both,  I ask the performers to tune into this balance when engaging directly with the audience. And there is always a strong structure to rely on – there’s a very tight script and even the improvs with the audience have a structure to them.

JHPENTERTAINMENT: Speaking of, what’s the funniest unscripted moment you recall?

JUSTIN LEWIS: There’s a section in the play where Mrs Krishnan gets audiences members to help her open she cans.  It’s hilarious and slightly incredible how many young men don’t know how to use a can opener!   

JHPENTERTAINMENT: Alright now! I feel attacked, but in my defense, I’m a leftie and most can openers are created for right-handed people…but I digress. Back to the show…While your New Zealand audiences now have a quarter-century relationship in the Krishnan world, we stateside audience members are being introduced by way of Mrs. Krishnan’s Party. Are there subtle nods to the original work, Krishnan’s Dairy that we might be missing?

JUSTIN LEWIS: There’s nothing that you will be missing.  We’ve worked carefully to structure things so no prior knowledge is required.  The earlier show gives us as writers a  rich backstory to mine but as with any good drama the only backstory that makes it in is that which is relevant to the current action.

JHPENTERTAINMENT: What do you hope audiences remember of their time at Mrs. Krishnan’s Party?

JUSTIN LEWIS: That they’ll have had fun, experienced joy, connection and community – and some really tasty food!

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For the Music City leg of the tour, Mrs. Krishnan’s Party will debut in Nashville at the Johnson Theatre at TPAC with 7:30p.m. performances on Wednesday and Thursday, March 6 & 7. Mrs. Krishnan’s Party will continue its Nashville run over the weekend with an 8p.m. curtain on Friday, March 8, a 2p.m. matinee on Saturday, March 9 and a final area performance at 8p.m. on the evening of March 9. CLICK HERE for tickets or more information.

Following the Nashville dates, Mrs. Krishnan’s Party will continue its North American Tour with shows in Toronto, Canada at TO LIVE March 13-24, in Boston, Massachusetts at Emerson College‘s Paramount Center‘s Liebergott Black Box Theatre March 27-April 7 and Oregon Statue University’s PRAx in Corvallis, Oregon April 11-14. Click any of the above hyperlinks for tickets to those specific performances. You can also follow Mrs. Krishnan’s Party and all the other shows from Indian Ink Theatre Company by checking them out HERE. , or following them on Facebook, Instagram and Linkedin.

 

Next up for TPAC, yet another Music City debut as they continue their Broadway at TPAC season with Beetlejuice with performances March 12 thru 17. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

 

 

 

 

 

 

 

Rapid Fire 20Q with director and cast of Circle Players’ The Lion in Winter; onstage at Looby Theater January 12-28

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If memory serves, it’s been since 2009-nearly 15 years-since Nashville audiences have had the chance to see a theatrical presentation of The Lion in Winter. All that changes Friday, January 12 as Circle Players presents the James Goldman-penned retelling of a certain drama-filled Christmas of 1183 hosted by England’s King Henry II, his long-imprisoned but still willful wife, Eleanor of Aquitaine and their children as the fate of this successor dominates the occasion. Directed by Clay Hillwig, Circle’s The Lion in Winter features among its cast, Jack E. Chambers as Henry II, Kay Ayers as Eleanor of Aquitaine and Elizabeth Burrow as Alais Capet. Recently, as the director and cast were readying the show for Friday’s opening, I had the opportunity to pose a few questions to Hillwig, Chambers, Ayers and Burrow for the latest installment of my recurring interview feature, Rapid Fire 20 Q.  

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ THE LION IN WINTER 

RAPID FIRE WITH THE LION IN WINTER DIRECTOR, CLAY HILLWIG

JHPENTERTAINMENT: How did you come to direct The Lion in Winter for Circle Players? 

CLAY HILLWIG: It appears to have been destiny. I had originally agreed to direct the play Clue in this same time slot, which would have been a lot of fun. But, due to a Broadway touring revival of the show, the rights became unavailable. The board then asked me to submit a list of shows that I would be interested in. After putting a list together, which included The Lion In Winter, I knew that this was the only show I really wanted to submit. So, I took a chance and only sent them this show. I then offered to meet with the board to share my vision and why I felt so strongly that this show should be a part of their season. Within the hour, I received a response that they were submitting for the rights. Like I said…destiny.

JHPENTERTAINMENT: What is is about this particular play that interests you as a director?

CLAY HILLWIG: I love plays that have a strong family dynamic. Even if the story is not necessarily directly centered around the family, I am generally moved with the relationship aspects of the story. A great example of this is The Godfather. While perceived to be a book and movie about organized crime, in reality the story was written about family. In this script, we see the power struggle within the royal monarchy, but the family relationships are the driving force within the story. Many of these same issues, can be found in the everyday lives of average families that we know or have experienced them first-hand within our own families. Parents struggling with their own marital issues. Children caught in between the two parents, all the while struggling to find their own identities in life. One of the most power scenes is the Father (Henry) and Son (Richard) conflict that many families know so well. One of the reasons that I felt strongly about the timing of putting this show up is the popularity of the HBO show Succession. The power struggle between the children within this media mogul family is very similar to what we see here in The Lion In Winter. Aside from the story line itself, it is the language is that I really love. Playwright, James Goldman has provided us with a script that is clever and very quick witted.  It lends to some wonderful interaction between characters and pacing that keeps an audience engaged. Besides, how can you not love Henry and Eleanor of Aquitaine?

JHPENTERTAINMENT: Many audience members, myself included may primarily be familiar with the piece thanks to the 1968 film adaptation starring Katharine Hepburn and Peter O’Toole or perhaps the more recent 2003 Showtime remake starring Patrick Stewart and Glenn Close. When were you first made familiar with the play itself?

CLAY HILLWIG: In regards to the 1968 film, I saw this in the early 70’s as a teenager. Even then, I was fascinated with the characters and story line. And of course, the performances by both Katharine Hepburn and Peter O’Toole are in my opinion some of their finest work. It was an ACT I production directed by Melissa Williams that first introduced me to the stage version. Brian Hill played Henry and the wonderful Maggie Bowden played Eleanor. It was a wonderful production. I left the theater knowing that I either wanted to play Henry, direct this show or hope for opportunities to do both. Not in the same show of course. Now I am blessed to direct the show and to be jealous of Jack Chambers for playing Henry all at the same time.

JHPENTERTAINMENT: Playwright James Goldman based The Lion in Winter, at least in part, around Henry II and historical elements regarding his hopes of his successor. WIth that in mind, how important is it to you as a director to present the story as authentically as possible?

CLAY HILLWIG: It was important to me, to spend time in table reads and relationship building prior to putting the show on its feet. As part of our process, we spent a couple of weeks just working through the character dynamics of the script and how it relates to history. It was important for us to learn not only the events prior to our story, but also what was to come post-Christmas 1183. It was fascinating to learn where they had been and where the family ended up in history. Each actor was committed to taking  it upon themselves, to learn everything they could about their characters place in history. In relation to how this plays on stage, we put full trust in the playwright. Goldman did a wonderful job of representing the entire family. Each individual is well represented as far as their place within the struggle for succession to the throne. In my opinion, he puts a real emphasis on the struggle that Henry had in his relationship with his sons and the decision of who would succeed him in greater detail than the movies previously mentioned did.

JHPENTERTAINMENT: What do you hope audiences come away from The Lion in Winter remembering about this production?

CLAY HILLWIG: One of the most important things that I hope with impact our audiences, is that there is still a place for classic pieces of theater. We seem to have moved to the newer shiny productions, often leaving creative gems such as The Lion In Winter, not given the attention they deserve.

RAPID FIRE WITH JACK E. CHAMBERS, HENRY II IN THE LION IN WINTER

JHPENTERTAINMENT: What is your favorite aspect of Henry II as he’s written in the script of The Lion in Winter?

JACK E. CHAMBERS: I love that Henry is a warrior, but he’s a word-wielding warrior with intelligence, strategy, cunning, and deadly humor in addition to being an actual soldier. The language of the play, especially the interplay between Henry and Eleanor, is just outstanding — some combination of the banter of 1940s comedies and the razor-sharp merciless attacks of Succession. He’s described as a phenomenal warrior, but all of the joy in playing him is in the satisfaction of the language, especially offsetting the fact that he’s starting to fade physically.

JHPENTERTAINMENT: During your three decades+ career, you’ve appeared in a number of Circle Players productions. What is is about Nashville’s oldest continuing theatre company that keeps you coming back?

JACK E. CHAMBERS: Circle is a Community Theatre in the truest sense of the word. I know folks whose Circle time goes back decades further than my own, and mine goes back 30 years at this point. I love the “all are welcome” spirit of a true Community company, and really selfishly appreciate that over those years, Circle hasn’t just been doing Oklahoma or Arsenic and Old Lace over and over — half the shows I’ve done with them were Nashville premieres.

JHPENTERTAINMENT: On the subject of previous Circle shows, back in 2010, you appeared in a production of The Grapes of Wrath, directed by Clay Hillwig, who’s directing The Lion in Winter. Are you enjoying working with Clay again and how is he as a director?

JACK E. CHAMBERS: I haven’t gotten to work with Clay since then — you end up in different places and it happens sometimes, right? — but I loved getting to pick right back up with him. Something I love about Clay is that he has the vision to imagine beautiful things *and* the skills to make them happen at the same time. He’ll throw out high-concept stuff, big-picture stuff, and also “hey just try this one little tweak” ideas, which is great. And again selfishly, when we did Grapes, I was a musician in the show as well, and pitched a mini-concert to him; we got to play period songs all through pre-show and intermission, which was a blast.

JHPENTERTAINMENT: As the central patriarch, you share the stage with Kay Ayers as Eleanor, Henry’s Queen, as well as Elizabeth Burrow, Henry’s rumored mistress. What’s been it been like sharing the stage with each of these actresses?

JACK E. CHAMBERS: I’ve known Kay for most of the years I’ve been in town — we did And Then There Were None together back in 1997 — and have loved playing off her. She’s a match for anybody physically or verbally, with wit and spirit and daring. She’s great. I just met Elizabeth this past year, and she’s been lovely; Alais is the single-most vulnerable character in the show, but shows crystal-clear understanding of the goings-on around her and true strength to persevere, and Elizabeth has nailed that balance. She’s a total charmer.

JHPENTERTAINMENT: A quick peek at your professional bio would indicate that throughout your stage career you’ve played a variety of characters often utilizing your prowess with varying dialects. The Lion in Winter being set in Medieval England in the year 1183, did the cast work with a dialect coach or were you each left to your own devices in that regard?

JACK E. CHAMBERS: I’d say it was some combination of “own devices plus tweaking as we went,” with additional discussions as required. Because we’re technically in Middle English, setting-wise, there’s a fascinating, not-historically-accurate-but-entertaining mix of Middle English, 20th century patter, anachronistic traditions, French terms and names and places, Shakespearean rhythms, Broadway Golden Age character types — it’s such a great stew. Although we didn’t work with a dialect coach, we did work with a linguistic consultant — a collaborator and friend of mine from college who’s an Old- and Middle English specialist — on people and place names, sources, literary origins for some of the references… it was fascinating!

RAPID FIRE WITH KAY AYERS, ELEANOR IN THE LION IN WINTER

JHPENTERTAINMENT: In Circle Players’ The Lion in Winter, you play Queen Eleanor of Aquitaine. Iconic actresses Rosemary Harris, Joan Fontaine and Stockard Channing all starred in stage productions while Katharine Hepburn and Glenn Close lit up the big and small screens respectively in the role you’re now taking on. So, not only are you playing an actual historical figure, but one with a luminous stage and screen history. How excited are you to put your own spin on Eleanor?

KAY AYERS: Excited would be an understatement. Thrilled with a touch of gobsmacked is close to my emotion! When I received the casting call, I don’t think I spoke for 30 seconds. This really is a once in a lifetime chance. I’m so lucky that I’ve been given this opportunity. And yes, I’m experiencing a lot of nervousness to get this character “right”.

JHPENTERTAINMENT: The Lion in Winter marks a bit of a homecoming for you, having made your Nashville acting debut back in 1994 in a Circle Players production. What was the show and what’s it like to be back with the company where it all started?

KAY AYERS: The Three Musketeers in Circle’s 46th season was my introduction to Nashville theatre and to Circle in particular. My first audition and show were in TPAC’s Johnson Theatre, where I went on to perform in numerous productions. Coming back to perform at Circle was a goal of mine for some years now. The stars aligned perfectly! Walking into the rehearsal space I helped move into, set up, and clean brought back a flood of emotions. We’ve lost so many of those individuals who gave their heart and soul to Circle over the years. I’m just blessed to have known most of the “old guard” and to have gleaned knowledge over the years, making me into the actress I am today.

 JHPENTERTAINMENT: In preparing to chat with you and your cast mates, I revisited the above mentioned 2003 telefilm. I love all the barbs and quick quips among the royals. Eleanor in particular has some great lines. My favorite, at least in the 2003 tv adaptation occurs in a scene involving Eleanor, John and Richard in which Richard threatens John with a knife. John says to their mother, “He has a knife”. Eleanor quickly replies, “We all have knives. It’s 1183. We are barbarians”. Do you have a favorite line in the show, whether it be yours or someone else’s?

KAY AYERS: Eleanor really does have the best lines! I relish several of those barbs she flings at her opponents! But one of the most deeply truthful lines, and weighty, is one that is delivered by Elizabeth Burrow, our enchanting Alais “I haven’t got a thing to lose: that makes me – dangerous.”  It’s so telling. All the other characters have a twisted and complicated series of moves they’re making. And here Alais stands, ready to take them all on. Because she really doesn’t have anything to lose and everything to gain. It’s just a powerful line.

JHPENTERTAINMENT: While you’ve shared the stage with Clay Hillwig in the past, this marks the first time he’s directed you in a show. During the rehearsal process, what is it about Clay’s directorial style that you admire most?

KAY AYERS: It’s crucial for an actor to bring their own creativity and artistry to a character or a scene. To be able to play and discover with my fellow actors is my favorite part of the rehearsal process. Clay allows us to do that. He doesn’t dictate or demand we do something. It’s a very collaborative process, and vital for successful production. Clay and I often laugh because I will throw an idea out, and then he shows me a note in his script with the exact same idea! It’s happened more than a handful of times!

JHPENTERTAINMENT: Something I love about period piece dramas is the costuming. Add to that a royal aspect and that’s a whole other level. What can you tell me about Costume Designer Grace Montgomery’s choices for The Lion in Winter and in particular your wardrobe as Eleanor?

KAY AYERS: The whole concept for the production isn’t to be ostentatious. Yes, they’re royalty, they’re rich, but it’s still 1183. The entire family has gathered for the first time in a long while. Grace has hit the mark with an even level of embellishments for each character. Eleanor is in a deep red throughout the show. While all the others are in a jeweled palate, hers definitely stands out a bit more than the rest. Grace was so determined to find the right color on one velvet dress, she dyed it 4 times to obtain what she wanted!  And I couldn’t be more pleased. It really adds to the regality of the character.

RAPID FIRE WITH ELIZABETH BURROW, AlAIS IN THE LION IN WINTER

JHPENTERTAINMENT: You’re playing Alais Capet in Circle Players’ The Lion in Winter. How familiar were you with the real-life Alais prior to being cast? AND..have  you researched the true history of the events within the play as you’ve developed your take on the character?

ELIZABETH BURROW: I did not know anything about Henry II nor Eleanor of Aquitaine before this show, let alone Alais Capet. I read that her mother, Constance of Castile, was the second wife of Louis VII after Eleanor and died giving birth to Alais. Her older sister Margaret was married to Henry III who died in 1183, the same year the play takes place, so there was a lot of pressure from the French for her to marry and keep the French-English alliance strong. After Henry’s death, Richard was no longer willing to marry her, so her brother King Philip brought her back to France where she married William IV Talvas, a small ruler of a French province when she was 34 years old.

JHPENTERTAINMENT: Is there an aspect of Alais that you’d like to incorporate into your own life or that you feel you truly share with the character as she’s presented in this piece?

ELIZABETH BURROW: Alais is a very sweet soul who doesn’t have the same manipulative tendencies as the rest of the characters in the show, and her intentions are always for the well being of Henry, even at her possible detriment. I think it’s something that I and anyone can strive to emulate more in our lives. Alais and I both tend to wear our hearts on our sleeves, and it’s a joy to share that in common with her as she goes through so much emotional turmoil throughout the play.

JHPENTERTAINMENT: I understand this is your first Circle show. Were you familiar with the company and how has the experience been thus far?

ELIZABETH BURROW: I had previously seen Peter and the Starcatcher (where I saw the brilliant Ezra High for the first time!) and their most recent production of Urinetown, but this is the first time I will be on stage for Circle Players, and it has been a wonderful experience to work with the cast and creative team. Being a smaller show than most, it brings a real sense of intimacy to the relationship not only between the characters but my castmates as well. It’s our own version of a family, though it resembles a much happier one than what we portray on stage.

JHPENTERTAINMENT: In addition to your on-stage role, you’ve also been part of the technical crew for The Lion in Winter, as scenic painter. What can you tell me about the set?

ELIZABETH BURROW: Clay is also our wonderful set designer for the show and approached me about painting for the stone walls backdrop that is a majority of the set. We wanted to replicate all the moodiness a medieval French castle offers as the single setting for the show, so most of the work was geared toward pulling out natural shadows that would occur in such a big and intimidating chateau. Like Henry, most of the set pieces are of a simple and non ostentatious nature, which assist in bringing a sense of reality and familiarity to the space.

JHPENTERTAINMENT: As Alais, you have two leading men, Jack E. Chambers as Henry II, with whom Alais is having an affair, and Sawyer Latham as Richard the Lionheart, with whom Alais has been betrothed since she was eight. Heck, even Ezra High’s John is interested in Alais. Of the three, IF you could choose who Alais ended up with, who would it be and why?

ELIZABETH BURROW: This is a difficult one. Many times in history, English royals have chosen heart over duty and sorely regretted their mistakes, and vice versa as well. As for John, I think she would’ve made a better babysitter than wife, though she possibly could have prevented some of John’s failures during his reign as king if he’d had a better companion to consult with. I am tempted to choose Richard as her husband as they could’ve lived their own separate lives and produced heirs and brought more stability to the kingdoms of France and England. However, I wouldn’t want to force that upon her, as she desperately tries to prevent the marriage from happening in the play (the heart wants what it wants.) I think her staying under Henry’s protection until his death was the right path to take, as I don’t think she ever wanted to have the title and power of Queen.

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Circle Players’ The Lion In Winter opens Friday, January 12 and runs through Sunday, January 28 at Z.  Alexander Looby Theatre (2301 Rosa L. Parks Blvd) (2301 Rosa Parks Blvd). Reserved seating tickets for The Lion in Winter are $27.  CLICK HERE to purchase tickets. Following The Lion in Winter, Circle Players will present another rarely seen theatrical experience, The Best Little Whorehouse in Texas, onstage March 15-31. For more information and to keep up with the latest from Circle Players follow them on Facebook and Instagram.

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Nick Arnstein to you?

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with cast of ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

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

JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

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

JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Favorite Christmas memory? 

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

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

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

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

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

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

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

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

 JHPENTERTAINMENT: Ice Skating or Caroling?

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

 JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

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

Rapid Fire 20Q with cast of ‘The Sugar Bean Sisters’; opening Friday, September 8 at Playhouse 615

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

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

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

JHPENTERTAINMENT: What can you tell me about Videllia Sparks?

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Faye Clementine Nettles to you?

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Willie to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with cast members of Piedmont Players’ ‘Bye Bye Birdie’, onstage at The Meroney July 14-30

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When my friend Bradley Moore told me he’d be directing the July 14-30 run of Bye Bye Birdie for Piedmont Players Theatre at the Meroney Theatre (213 S. Main St, Salisbury, NC Salisbury), I knew I’d want to chat with members of his cast. Partly because I just love the show, but mostly because, aside from a kindergarten production of Chicken Little (I played Turkey Lurkey), Bye Bye Birdie was the first full-fledge stage musical I was a part of, having been cast in a high school production back in the last century. What follows are my conversations with Bye Bye Birdie’s Caroline Monroe, who plays high-school Birdie superfan, Kim McAfee, Bailey Daugherty, the show’s title character, pop idol, Conrad Birdie, Daniel Keith, overwrought music agent, Albert Peterson and Leslie Roberts as Rosie Alvarez, Albert’s beautiful secretary, the true brains behind the publicity stunt that brings them all together.

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RAPID FIRE 20Q WITH CAST OF PIEDMONT PLAYERS’ BYE BYE BIRDIE

RAPID FIRE WITH CAROLINE MONROE, KIM McAFEE IN BYE BYE BIRDIE

JHPENTERTAINMENT: Bye Bye Birdie was my first time to appear onstage, having played Kim’s brother when I was in seventh grade. What was your first theatrical experience?

CAROLINE MONROE: I actually got a little bit of a late start to theatre! My junior year of high school, the theatre teacher asked me to be in the ensemble of The Wiz. I will forever be grateful to her for helping me get my start on stage!

JHPENTERTAINMENT: Tell me about Kim McAfee, the character you play in Bye Bye Birdie.

CAROLINE MONROE: Kim McAfee, is a typical 15 year old girl who was just “pinned” by her boyfriend Hugo. She, like all of the other girls in their town of Sweet Apple, is infatuated with Conrad Birdie. When chosen to be Conrad’s final kiss before being deployed, Kim explores what it truly means to be a woman and tries to act more mature in order to be desirable to Conrad, who is much older than she. When things don’t go the way she had planned with Conrad, she decides to finally settle down with Hugo. 

JHPENTERTAINMENT: As Kim, you’re chosen to share One Last Kiss with her rock star crush, Conrad Birdie before he joins the army. When you were younger, who was your first celebrity crush?

CAROLINE MONROE: Justin Bieber was 100% my first celebrity crush! I can remember decorating my room with posters that I got out of magazines and listening to his, My World 2.0 CD on repeat. Would I really have been a true fan if I didn’t regularly wear my Justin Bieber t-shirt? If Justin Bieber were to have been in Conrad Birdie’s shoes, I would have definitely hoped to be his last kiss! 

JHPENTERTAINMENT: The plot of Bye Bye Birdie, at least in part, drew inspiration from Elvis Presley being drafted into the Army in 1957. Just for fun…among current pop singers, who do you think would join up and who would dodge the draft?

CAROLINE MONROE: I can’t imagine the press if this were to happen today, so this is a really intriguing question. Currently, I think that Shawn Mendes would join up, but Drake would absolutely dodge the draft. 

JHPENTERTAINMENT: How’s it been sharing the stage with Bailey Daugherty as Conrad?

CAROLINE MONROE: It is such an honor to share the stage with Bailey. He has such undeniable talent that he is so humble about and puts his all into his role. I think it’s even more special to share the stage with Bailey because he is one of my best friends offstage. It is such a joy to watch him truly embody Conrad Birdie and to have seen him learn the ins and outs of this character. I cannot think of anyone else I would rather play Kim opposite of. You are in for a treat when he takes the stage! 

RAPID FIRE WITH BAILEY DAUGHERTY, CONRAD BIRDIE IN BYE BYE BIRDIE

JHPENTERTAINMENT: I just chatted with Caroline. I ended our conversation by asking her about sharing the stage with you, so I’ll start my chat with you by asking the same…How is Caroline as a scene partner?

BAILEY DAUGHERTY: I feel so blessed to work with Caroline. She is incredibly talented and truly lives in every moment on-stage. Working with her is always a gift, because she gives so much to work off of. 

JHPENTERTAINMENT: How familiar were you with Bye Bye Birdie prior to auditioning?

BAILEY DAUGHERTY: I actually didn’t know about the show until a few years ago, when I saw the 1995 movie with Jason Alexander and Vanessa Williams. I remember thinking that my favorite number was One Last Kiss, and that I wanted to sing it one day.

JHPENTERTAINMENT: You play the title character of Conrad Birdie, a pop star who finds himself in the middle of a publicity stunt in the days before he’s drafted into the army. Has there been anything surprising that you’ve discovered while developing your take on the character?

BAILEY DAUGHERTY: Yes! I believe Conrad’s most interesting facet is his love for the music, but disdain for the social expectations of fame. In the show, he deals with a lot of feelings on how he should act and how he just wants to live; which has been really interesting to explore during this creative process.

JHPENTERTAINMENT: Since Bye Bye Birdie premiered on Broadway in 1960, Conrad Birdie’s look has traditionally been pure Elvis…pompadour hair, sideburns and showy gold lamé stage costumes…your director, Bradley Moore has opted to forego the traditional portrayal and present a more modern feel and look for Conrad. What’s your favorite aspect of Bradley’s vision?

BAILEY DAUGHERTY: Bradley is such a wonderful director and always brings a fresh take to each of his shows. My favorite aspect of both this show and all of his other shows is his want for depth. It doesn’t matter what the show is, he always strives to dig deeper into the music and acting to extract those human truths that hold us together. I think that is really shown in the Overture of this show, which is so simple and small, yet communicates a moving message.

JHPENTERTAINMENT: Tod Kubo is choreographing the show. Is there a favorite dance sequence, whether you’re involved in it or not, that you are particularly fond of in Bye Bye Birdie?

BAILEY DAUGHERTY: Tod has done amazing work on this show, and I’d be lying if I didn’t say that I love all of his numbers. I think that the number of his that I am most fond of is the last number in the show, Rosie. It is so sweet and simple.

RAPID FIRE WITH DANIEL KEITH, ALBERT PETERSON IN BYE BYE BIRDIE

JHPENTERTAINMENT: Who is Albert to you?

DANIEL KEITH: Albert always looks for the best in someone, which is where I think we relate. He is a self-proclaimed “mama’s-boy” and very oblivious to the people and relationships around him. I like to think of him as a pretty neurotic character, but he’s always loyal to those around him and I think that’s most important. 

JHPENTERTAINMENT: As Albert, you get to perform one of the show’s most well-known numbers, Put on a Happy Face. I have to be honest, until doing a little research to chat with you and your co-stars, I didn’t realize this iconic song was indeed written for and introduced in this musical. Taking a cue from the lyrics, what do you do in your personal life to “put on a happy face”?

DANIEL KEITH: What personal life? Haha. Theatre always puts a smile on my face. This will be my third full-production musical this year, so I stay pretty busy in the Theatre scene. I’m sharing the stage with my beautiful fiancée (She plays Ursula Merkle). She always keeps me smiling. We have a dog, two cats, and a bunny and they keep a smile on my face a majority of the time. 

JHPENTERTAINMENT: The role of Albert is among the show’s most iconic, in part thanks to Dick Van Dyke having originated the role on Broadway, then again in the 1963 film adaptation. How much fun are you having in the role?

DANIEL KEITH: I am having a blast! This cast is super talented and Bradley is a creative genius. I’m super excited to open and while I know I’m no Dick Van Dyke, I hope I can bring a smile to the audience, much as he did.

JHPENTERTAINMENT: I understand this is your first PPT show. How has your experience with the company been so far?

DANIEL KEITH: This is indeed my first PPT show. I’ve had friends that have done shows here and actually my first show I saw at the Meroney was Kinky Boots earlier this year, which a close friend of mine (Michael Fargas) played Lola. After seeing the production quality, I instantly knew I needed to meet Bradley and make sure he knew who I was. Since then, the experience has been amazing. 

JHPENTERTAINMENT: When I spoke with Bailey, I noted that director Bradley Moore has opted to offer a more modern take on Conrad Birdie’s aesthetic. I understand the set and props are also more minimal than what audiences might be expecting. Do you think these creative decisions will enhance the audience experience? 

DANIEL KEITH: Absolutely. It’s funny because I was just discussing this with Bradley last night but having a minimalist approach to the set leaves so much more freedom for characterization. The audience doesn’t have to find something to focus on, because the focus is always towards the character. The set, while minimal, is still quite large and the amount of levels and stairs that Bradley chose to incorporate really make the visualization that much more interesting. 

RAPID FIRE WITH LESLIE ROBERTS, ROSIE ALVAREZ IN BYE BYE BIRDIE

JHPENTERTAINMENT: You play Rosie. What can you tell me about Rosie as you see her?

LESLIE ROBERTS: I see Rose as a strong, intelligent, and independent woman for her time. She knows what she wants and she isn’t afraid to go for it even when there are obstacles in her path. She perseveres and she knows her worth. So many women of the late 1950’s-early 1960’s were trying to find their voice in a male dominated world and it was even more difficult for women of color in those days. I feel honored to get to portray her and hopefully bring dignity and resolve to her character.

JHPENTERTAINMENT: PPT audiences will surely recognize you from previous productions including Ragtime, Legally Blonde and A Gentleman’s Guide to Love and Murder. What is it about Piedmont Players that keeps you coming back?

LESLIE ROBERTS: I think it is the welcoming atmosphere. I like that I can come into the theater and know that I get to work and play with other people who just really want to be there. I feel like our director, musical directors, and choreographers encourage us in a very motivating way to be the best we can be and I like that they aren’t afraid to try new things or cast someone that others may overlook.

JHPENTERTAINMENT: When I chatted with Daniel, I mentioned Dick Van Dyke, who originated his role. As for Rosie, you’re following in the perfectly choreographed footsteps of legendary performers Chita Rivera, who originated Rosie on Broadway and in the 1963 film, Ann Reinking, who did a 90s National Tour and Vanessa Williams who starred as Rosie in the 1995 telefilm. How exciting to bring your own interpretation to this storied role?

LESLIE ROBERTS: Yes, I am excited. Like many people, I first fell in love with the story when I saw the original movie as a kid. I remember falling in love with the music and of course the love stories involving Rosie and Albert, and Kim and Hugo. Years later, I was in the ensemble of a highschool community theater production of Bye Bye Birdie. My character didn’t have a name so we jokingly created a character (Harvey Johnson’s mom). It was a lot of fun! I am excited to get to play Rosie this time around. I look up to the women you mentioned. I could never live up to those performances, but what I do hope is that our audiences will be able to feel what I put into the story with my interpretation and that they can relate to her on some level. I hope that they can see how important it is to be yourself, and love yourself as Rosie does.

JHPENTERTAINMENT: Speaking of the 1995 telefilm, Bradley tells me he’s including a few musical moments from the various productions of Bye Bye Birdie, including Rosie’s number Let’s Settle Down, which the original songwriting team of Charles Stouse and Lee Adams penned specifically for the 1995 TV broadcast. How cool that you’ll to be performing a song that even some Birdie fans might not be that familiar with?

LESLIE ROBERTS: Yes! I like how the ’95 film added to the original. The new song is not only beautifully written, but it gives the audience some more insight to Rosie’s point of view. Bye Bye Birdie is one of those shows that is a time capsule and unfortunately, sometimes there are things about it that just don’t age well in our modern era. What our production seeks to do is to bring the story so many know and love to a modern audience. I think Bradley liked the direction the 1995 film was going in and so we are continuing with that with a fresh take on a classic. Including the song Let’s Settle Down.

JHPENTERTAINMENT: Like many of your co-stars, you’ve appeared in previous shows with PPT and at the historic Meroney Theatre. Do you feel the 100-plus years of history of the venue whenever you return to the stage for each new show?

LESLIE ROBERTS: It’s cool to be a part of something that has such a long history! I think that’s part of the appeal to being in that theater. Perhaps100 years ago, there weren’t any actresses that looked like me on that stage, but it’s cool how there is a growing diversity in the arts in our area. People love hearing stories and that includes many different voices. I am proud to be one voice in that history and am excited to see what kinds of stories get told on the Meroney stage in the years to come!

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Piedmont Players Theatre’s Bye Bye Birdie opens Friday, July 14 and runs through Sunday, July 30 at the Meroney Theatre with 7:30p.m. shows Fridays and Saturdays and Sunday Matinees at 2:30p.m. CLICK HERE for tickets or more information. Check out Piedmont Players Theatre online and follow them on Facebook and Instagram. 

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Rapid Fire 20Q with cast of Studio Tenn & CPA Arts’ ‘The Sound of Music: on stage at Soli Deo Center June 22-July 16

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Since opening on Broadway in 1959, Rodgers and Hammerstein‘s The Sound of Music has been an audience favorite. 1965’s film adaptation simply solidified the musical’s universal appeal, so it makes perfect sense that Studio Tenn, one of the Mid-South’s favorite regional theatre companies, would round out their current season by presenting their take on the classic. Produced in conjunction with CPA Arts and presented on stage at Christ Presbyterian Academy‘s gorgeous Soli Deo Center, The Sound of Music opens Thursday, June 22 and continues through July 16. With just days before show’s open, I recently had the chance to chat with The Sound of Music‘s Laurie Veldheer, John-Mark McGaha, Jennifer Whitcomb-Oliva and Brian Charles Rooney for my latest Rapid Fire 20Q interview feature.

RAPID FIRE 20Q WITH CAST OF STUDIO TENN AND CPA ARTS THE SOUND OF MUSIC 

RAPID FIRE Q&A WITH LAURIE VELDHEER, MARIA IN THE SOUND OF MUSIC

JHPENTERTAINMENT: While you might be a new name to Studio Tenn audiences, you’ve a connection with Studio Tenn’s Artistic Director, Patrick Cassidy, having shared the stage with him a few years back in a production of A Little Night Music at San Francisco’s American Conservatory Theatre. Did Patrick reach out to you about auditioning for the role of Maria and what’s it been like to work with him again with this production?

LAURIE VELDHEER: Yes, Patrick reached out to me several months ago asking if I’d be interested in auditioning for Maria in his production of The Sound Of Music at Studio Tenn. I told him I’d love to audition! Over the last few years I’ve really been yearning to play this role! It’s been so wonderful getting to work with Patrick again but this time seeing him as the artistic director of a theater – he is so kind, caring, generous, enthusiastic, just such a great guy and good friend, I’m really proud of him. And so happy to be playing Maria in his production at Studio Tenn and CPA Arts!

JHPENTERTAINMENT: Your theatre credits include Broadway (Mamma Mia, Newsies, Plaza Suite), National Tours (Fiasco Theatre’s Into the Woods, Hairspray) and several regional productions, but I want to talk about a certain 1998 production of The Sound of Music at Grand Rapids Civic Center in which you played Brigitta von Trapp. Another two-part question…What do you remember most about that time and how cool is it to now be starring as Maria?

LAURIE VELDHEER: I would love to talk about this, because I truly have the fondest memories! YES! I did play Brigitta and my sister was Louisa at a theater in our hometown of Grand Rapids, MI. I REALLY wanted to be Brigitta, I loved the movie so much, loved that role, I was the right age, I kind of looked like the young girl from the movie too as I had super long dark hair. So I was THRILLED when I was cast. And the children were also double casts in our production! I just loved everything about being in the show – I loved the role, all Brigitta’s special moments like entering reading the book, her little solo in Do Re Mi, and her moments with Maria in the party scene, plus all the kid’s songs, I just had a blast! I think some of my favorite memories were some of my costumes actually – I loved our uniforms, wedding dresses, and my favorite was my curtain/play clothes outfit – I also remember loving the party scene because of all the little moments I had with the actors playing the Captain, Max, and Maria. Very very special memories. 

And now, I love playing MARIA! It’s a little crazy for me at times because I actually remember auditioning for Brigitta, I remember rehearsals, all my lines, pretty much everything, so now to be the adult and looking down at these little faces, especially the little Brigitta’s, and seeing them learn the show and having them watch Maria teach them, only now I’m Maria, is pretty wild! And now I’ve fallen in love with the character of Maria! I think she’s amazing – wonderful, complex, filled with so much spirit, and dealing with complicated feelings and emotions like the arc of going from being a Postulant to a wife and mother of seven children – has been a wonderful challenge and I’m truly loving every moment getting to play this amazing role.

JHPENTERTAINMENT: One of the show’s most-loved tunes is My Favorite Things. In your real life, what makes that list?

LAURIE VELDHEER: Oh my gosh what a great question! I’m not sure I’ve ever thought of this for myself. Let’s see, my favorite things … well, first thing that comes to mind is cake, my favorite food! But other things I love would have to include – spending time with my family and friends, singing, being in a show, seeing theatre, New York City, listening to live symphonies, going to church on Sunday mornings, walking on the beach looking for shells, sunsets, walking through parks in the Fall and seeing all the leaves changing, watching the snow fall, baking, a yummy meal, all the desserts, napping, comfy clothes, my first cup of coffee in the morning. I mean this list could literally go on forever because I have so many favorite things!!!

JHPENTERTAINMENT: They say never to work with animals or children. In this production there’s a song about a Lonely Goatherd, but as far as I know, no actual goats. You and your cast are working with kids of the other kind, and lots of them, as there’s dual casts of the six von Trapp children. What’s the rehearsal process like with dual casts?

LAURIE VELDHEER: Haha yes! Well I was one of those little theater kids growing up, so I think that has really helped me connect with them. It’s been so fun getting to know each of the kids and what they bring to their role. I think they bring so much life and joy and spontaneity to the show, I love it! The biggest aspect of the dual casts is that we have to make sure we’re going through everything twice because each cast of kids really needs to go through each scene and song, but everyone else in the scenes with the kids needs to go through everything with both casts because it’s slightly different with different kids!

JHPENTERTAINMENT: Can’t think of the von Trapp kids without recalling that moment made famous by Julie Andrews and company in the film version when the whole lot show up in matching outfits courtesy of Maria and some cleverness with the bedroom drapery. All that silliness to ask about this production’s costume designers Devon Renee Spencer and Lauren Terry-McCall’s handywork. Do you have a “favorite thing” among the wardrobe, yours or someone else’s?

LAURIE VELDHEER: Oh my gosh I LOVE my costumes! Devon and Lauren have done such an amazing job!! This is a cast of almost 40 people and most people have at least two costumes or more, I myself have eight different costumes in the show, and the kids have at least six costumes each and there are seven kids and two casts! I think my favorites are my green dress, which is the one Maria makes once given new material, and my honeymoon/festival outfit, especially the green jacket! Every time they give me something to wear I love it – I really do love all my costumes in this show so much – they work so hard and have put so much time and thought and effort into each costume – I know the show is going to look amazing!

 

RAPID FIRE Q&A WITH JOHN-MARK McGAHA, CAPTAIN von TRAPP IN THE SOUND OF MUSIC

JHPENTERTAINMENT: Fans of Studio Tenn will no doubt recognize you from having wowed audiences with your voice as part of The Ray Legacy, The Cash Legacy & The Sinatra Legacy, their former tribute concert series  highlighting the music of Ray Charles, Johnny Cash and Frank Sinatra. You also headlined Studio Tenn’s NewYear’s Eve Celebration. What is it about Studio Tenn and their level of artistry that keeps you coming back?

JOHN-MARK McGAHA: Studio Tenn was not only the place where I fell in love with theatre again, it’s the place where I got to know and fell in love with Nashville. This beautiful city appropriately named the Music City has a uniquely concentrated amount of talent, professionalism, and passion. Studio Tenn has capitalized on the amazing culture of this city and in addition to that pulled on the strengths and talents from all stars talents from other places to produce a level of work that has been unlike anything I’ve ever seen. 

JHPENTERTAINMENT: In The Sound of Music, as Captain von Trapp, your big musical moment happens with Act 2’s Edelweiss, a fan favorite interestingly added for the film adaptation, then worked into the stage version thereafter. What’s it like performing such a beloved classic?

JOHN-MARK McGAHA: It’s an amazing experience. Truly. The Sound of Music was the first musical that I ever saw, and has been my favorite show for all of my life. Playing this role, and singing this song is truly a dream come true.

JHPENTERTAINMENT: The role of Captain von Trapp has minimal musical moments, instead depending more on dialogue. Other than the obvious musical accompaniment, is there a difference in memorizing dialogue vs lyrics?

JOHN-MARK McGAHA: Absolutely! It’s a huge difference for me. He is such a complicated man. One that I have had to truly get to know in order to assume this role. He’s grieving in the wake of his beloved wife, and now preparing for the loss of his beloved country as the rise of the Nazi regime has literally come to his front door. All this while trying to raise children he has to prepare to live in a world that is one he himself isn’t sure of, and that’s just the beginning. All of his words are coming from a very deep place. Memorizing his words, and more than that, communicating his intentions through those words has been very challenging. The songs on the other hand are so well written that the marriage of notes and lyrics do so much of that work for you. The songs bring a beautiful simple clarity to this beautifully complicated man. 

JHPENTERTAINMENT: Expanding on that, what’s your favorite aspect of Captain von Trapp?

JOHN-MARK McGAHA: He’s not confused about good and evil and where he stands. As confusing as his world was during that time, and as many things as he was attempting to sort through, he was yet relentless and unyielding to what was right and true even in the face of danger. He was a true hero. 

JHPENTERTAINMENT: I understand two of your children are also in the show. Have you shared the stage with them before? And what does this experience mean to you as a father?

JOHN-MARK McGAHA: No, I have never shared the stage with them, and this experience is something above and beyond anything I could have ever even prayed for. 

 

RAPID FIRE Q&A WITH JENNIFER WHITCOMB-OLIVA, SISTER BERTHE IN THE SOUND OF MUSIC

JHPENTERTAINMENT: What can you tell me about Sister Berthe, the role you’re playing in Studio Tenn’s The Sound of Music?

JENNIFER WHITCOMB-OLIVA: Sister Berthe is one of the nuns in the Nonnberg Abbey. She is the right hand of Mother Abbess. 

JHPENTERTAINMENT: When researching to chat with you, I love that the character descriptions of Sister Berthe frequently included “quick of tongue”. Knowing you as a friend for quite a few years, I’d say that aspect of the character might come easy to you as you and I both often have plenty to say, and aren’t afraid to do so. What other aspects of the sister do you look forward to bringing to the stage?

JENNIFER WHITCOMB-OLIVA: I remember watching this film as a child. It always came across that she was kind of mean. She’s not really. She’s just very stern. I think she takes her job very seriously, and loves God deeply. So she’s very matter of fact, and only wants what’s best for the the Sisters. Which does not equal, Maria. She has a dry sense of humor. Which I have been enjoying immensely. 

JHPENTERTAINMENT: I was trying to remember how many shows you’ve done with Studio Tenn. You were in their debut production of The Battle of Franklin, as well as their Cinderella, A Christmas Carol & Steel Magnolias. Have I missed any?

JENNIFER WHITCOMB-OLIVA: I was also in Big River and The Miracle Worker.

JHPENTERTAINMENT: When I spoke to Laurie, I asked her about the shows costumers, but I gotta ask…what’s the best and not-so-great  aspects of wearing a wimple and habit while singing and dancing?

JENNIFER WHITCOMB-OLIVA: The Habit is roomy and free flowing. It’s been quite a while since I have been in one. I keep forgetting there aren’t any pockets! I love a good pocket. I’m not sure if nuns are allowed to wear makeup in real life or not. But let me tell you.. those white bands across the forehead are not make up friendly. 

JHPENTERTAINMENT: Among your musical moments with the Sisters of Nonnberg Abbey is the song Maria, with its tuneful query “How do you solve a problem like Maria?” so, I gotta ask…How DO you solve a problem like Maria?

JENNIFER WHITCOMB-OLIVA: I feel like Sister Berthe would say..remove the problem. Everyone knows Sister Berthe is not a Maria fan, because she’s “Not an asset to the Abbey.” So.. I don’t know. Great question. Put her in arts and crafts? 

 

RAPID FIRE Q&A WITH BRIAN CHARLES ROONEY, MAX DETWEILER IN THE SOUND OF MUSIC

JHPENTERTAINMENT: Alright, I just gotta start by asking…you received such high praise for your role as Lucy Brown in the 2006 Broadway revival of Threepenny Opera. How did that ‘hot outta the gate’ reception affect you as a performer?

BRIAN CHARLES ROONEY: I think it was a wonderful opportunity, for a number of reasons, not the least of which was having the chance to work with several extraordinarily talented people like Alan Cumming, Ana Gasteyer, Jim Dale, and Cyndi Lauper. It was also a chance for me to show my versatility as a singing actor. I particularly loved the designs for that show and working with the designers; Isaac Mizrahi created the costumes, and he was very interested in collaborating with each actor to convey character through clothing. He cared about how comfortable we were, or weren’t, and he wanted to know as much as he could about what we were developing for our characters. It was wonderful!  

JHPENTERTAINMENT: From the reviews I read in preparation of our chat, I understand you’ve got quite the vocal range, having performed as a male soprano as well as a tenor in previous roles. So, a bit of a technical question…what is your vocal range and what to you find is an advantage of such a range?

BRIAN CHARLES ROONEY: My voice has, perhaps, best been described by a critic who once described it as having “multiple personality disorder” (it was a positive review)! My vocal range is unusual, and technically, I am a Tenor-based Sopranista, with a consistent span of four octaves. The difference between what I do, and what a countertenor does is that my soprano, (a first soprano tone vs the mezzo soprano tone of a countertenor) is produced with a full hit of the vocal folds. Countertenors sing in falsetto. Falsetto is a term that has come to mean something different, colloquially, than what it actually indicates. When a person sings in falsetto, it means the vocal folds are fluttering against each other, rather than completing a full contact hit. The term has less to do with the tone/sound, and more to do with how the sound is produced. Regardless, I am capable of singing in various styles, in various ranges, while sounding like different people. For example, I was part of a hit off-Broadway show, in which I had to sing in the range and style of Celine Dion. However, when I performed on the national tour of The Music of Andrew Lloyd Webber, I sang the Phantom’s songs from The Phantom of the Opera, in a more classical tenor, and Jesus’s songs from Jesus Christ Superstar in a rock tenor. On Broadway, in The Threepenny Opera, I sang first soprano as Lucy Brown. So, I am grateful for the versatility I have, because I’ve been able to play so many different and interesting roles, and to help create a lot of new characters in new shows, that I might not otherwise have been able to create.

JHPENTERTAINMENT: Directing you in The Sound of Music is Emily Tello Speck, whose husband Jake co-founded Studio Tenn. How is Emily as a director?

BRIAN CHARLES ROONEY: I’ve enjoyed working with Emily so much! This show is not easy to direct, especially because the story is emotionally impactful, and there are so many people in the cast! Its Director needs to be able to move people through the story swiftly, and gracefully, in order to clearly communicate the story of the main characters. However, the director also needs to be able to create the correct mood and tone, in coordination with the set & lighting designers; and to reinforce any subtext the supporting characters help to reveal. She has been able to accomplish all of this, while being generous with the cast, providing each of us the room to explore and take chances.

JHPENTERTAINMENT: What can you tell me about Max and what aspect of his character would you like to carry on into your daily life long after the show ends?

BRIAN CHARLES ROONEY: Max is an intelligent critical thinker, who cares deeply about the people who matter to him. He also knows how to survive. He understands the power of art, and the value of supporting those with talent and potential. He also understands the power of humor, and he often uses humor to deal with the incredible stress of impending danger.  I feel akin to him because of all of this, which is one of the reasons I am glad I’m playing the role.  

JHPENTERTAINMENT: Most of your professional career has taken place in New York, but as of late, Nashville audiences have gotten the chance to experience your gifts, having previously starred as Buddy in Nashville Repertory Theatre’s Elf this past holiday season. Are you a full-fledged Nashvillian now and what drew you to Music City?

BRIAN CHARLES ROONEY: My family and I have been able to spend a lot more quality time with extended family members who are based here, since setting up a home base in Nashville. One of the great things about being here has been the opportunity to work in the theater, and with multiple companies in the area. I’ve met so many talented, kind, and creative people! I still have strong ties to New York City, and I grew up right outside of it. I am also still called to work there regularly, so I get the best of both worlds!  I would love to see even more collaboration between the various theater companies in Nashville, and their supporters. There is so much substantive, beautiful work going on in Nashville because of companies like Studio Tenn, Nashville Rep, CPA Arts, Street Theatre Co, Verge, TM Productions, The Nashville Shakespeare Festival, Nashville Theater School, Nashville Children’s Theatre, The Theater Bug, etc.  I hope anyone coming to see The Sound of Music will be encouraged to support all of these companies and their efforts over the coming season!  If you do, you’ll run into me again; it’s going to be an exciting season across the board!

 

 

Studio Tenn and CPA Arts‘ The Sound of Music opens at Soli Deo Center Thursday, June 22 and continues through July 16. Tickets range in price from $35-$70. CLICK HERE to purchase tickets.

Up next for Studio Tenn, not only does their 23/24 Season, dubbed A Season of Icons, open October 19-29 with Million Dollar Quartet, that production also marks the inaugural presentation in Studio Tenn‘s new state-of-the-art home at the newly constructed The Turner Theatre at The Factory at Franklin. CLICK HERE for tickets to Million Dollar Quartet as well as the rest of the coming season, including: It’s a Wonderful Life, Driving Miss Daisy and Cabaret. In the meantime, 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. Then #GoSeeTheShow!