rapid fire 20q

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

July 14, 2023 by Jonathan

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

June 21, 2023 by Jonathan

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.