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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 director and cast of Nashville Repertory Theatre’s ‘A Christmas Carol’; onstage at TPAC’s James K. Polk Theatre December 1 thru 17

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Few Christmas classic have endured the test of time like Charles Dickens’ A Christmas Carol. First published in novella form1843, by the following year, stage adaptations and public readings (by Dickens and others) solidified the now-familiar story of Ebenezer Scrooge and his attitude-adjusting otherworldly Christmas Eve visitors as a holiday tradition. To that end, Nashville Repertory Theatre’s own Artistic Director Micah-Shane Brewer will helm this year’s holiday offering of A Christmas Carol adapted by the director himself.

A couple weeks ago, I reached out to The Rep’s Director of Marketing and Communications, Amos Glass with the idea of chatting with four members of the cast and crew of A Christmas Carol for a Christmasy edition of my recurring interview feature, Rapid Fire 20Q. When Amos asked who I’d like to chat with, I immediately requested Micah-Shane  and the three actors playing the Three Christmas Spirits. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST AND CREW OF NASHVILLE REP’s A CHRISTMAS CAROL

RAPID FIRE Q&A WITH A CHRISTMAS CAROL DIRECTOR MICAH-SHANE BREWER

JHPENTERTAINMENT: As the show’s director, what is it about A Christmas Carol, and this version in particular that drew you to the project? 

MICAH-SHANE BREWER: A Christmas Carol has always held a special place in my heart.  For as long as I can remember, this story has been a part of my holiday tradition.  When I was a kid, I had a VHS tape (yes, I’m that old) of Mickey’s Christmas Carol and I would watch it over and over.  Along the way, I’ve seen numerous film and tv adaptations and grown to love certain versions. (My favorite is The Muppets Christmas Carol!) I’ve also been in and directed probably 9 or 10 different stage adaptations.  I’ve spent most of my life revisiting these characters each and every year. And every time I come back to it, it always connects in a deeper and more meaningful way. 

I think as we get older, we look back at the past and think about touchstone moments, things that we did or didn’t do, choices that may have changed the trajectory of our path, but also, looking at where we are in this moment in time and where we are heading. The power of A Christmas Carol is that it speaks to one and all, both young and old.  Its universal themes can touch us all.  There’s a reason it’s one of the most popular stories in the world, even 180 years after it was written.  

When we decided we wanted to produce A Christmas Carol, I knew I wanted to make a special production that would be a holiday event for the entire family. It’s a traditional version of A Christmas Carol. Audiences can expect a beautiful, large-scale production with something for everyone and all ages.  It’s a brand-new script, and the production designs are breathtaking.  The scenic design is spectacular – the costumes are splendid – there are over 500 different pieces used in the production.  There are some really fantastic projections designs and special effects.  Music plays an integral role in the production.  We use numerous Old English carols from the period, as well as a couple of new songs in the production.

A Christmas Carol is far more than just a classic holiday story; it is a poignant and transformative reflection of our shared human experience and an enduring reminder of the power of empathy and connection. It’s a journey of healing and a story of redemption.

JHPENTERTAINMENT: Eggnog or Hot Cocoa?

MICAH-SHANE BREWER: Hot Cocoa any day! 

JHPENTERTAINMENT: A White Christmas or Sunshine for Santa?

MICAH-SHANE BREWER: I’m going to have to say a WHITE CHRISTMAS! There’s something very peaceful about a snowy day. 

JHPENTERTAINMENT: What do you enjoy more, wrapping presents or decorating the tree?

MICAH-SHANE BREWER: That’s a no brainer for me. Decorating the trees! Every year, we put up multiple trees in our house.  I love to decorate for the holidays.  (And I’m not very good at wrapping gifts…)

JHPENTERTAINMENT: What’s your favorite Christmas memory?

MICAH-SHANE BREWER: How do I pick just one? A lot of my memories and Christmas traditions run together. I have so many memories of  Christmases when I was a kid: being with family; the rush of waking my sister up early Christmas morning and opening gifts; my grandmother’s Christmas lunch.

When you get older, Christmas changes in many ways. For many years, we hosted a huge Christmas party for our friends, and every year, the evening would conclude with friends gathering around the piano, singing Christmas carols (and sometimes showtunes). I love Christmas music, and being able to share that moment every year with friends is a special memory. 

I’m usually doing a show around the holiday season. When I was in grad school, I remember doing MANY school performances of A Christmas Carol, and one performance, a young girl stood up from her seat in the front row during the finale, all gooey eyed and mouth wide opened, and yelled “It’s SNOWING!” She really believed it was happening, and it was just one of those moments that was so special to see the magic of Christmas and theatre combined!  So every year, I think about that little girl and hope to recapture that magic for others!

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PAST, KRIS SIDBERRY

JHPENTERTAINMENT: Among your roles in A Christmas Carol at Nashville Rep, you play The Ghost of Christmas Past. If you could live in a past time period, when would it be?

KRIS SIDBERRY: I was definitely not made for the modern time period. I love the Harlem Renaissance of the 1920s. 

JHPENTERTAINMENT: A Muppet Christmas Carol or Mickey’s Christmas Carol? 

KRIS SIDBERRY: Mickey’s. My Dad loved Mickey Mouse. 

JHPENTERTAINMENT: Gingerbread or Sugar Cookies?

KRIS SIDBERRY: I love both. Cookies are my fav, but I guess Gingerbread. 

JHPENTERTAINMENT: A Christmas Tree with clear lights or multicolor? 

KRIS SIDBERRY: Multicolor! White lights are so basic. 

JHPENTERTAINMENT: Favorite Christmas Memory?

KRIS SIDBERRY: Christmas was always very big deal in my house. My father was obsessed with Christmas. Sometimes he would decorate 3 different trees.  Like most young kids, every year I would set out homemade cookies and milk. I remember being about five years old, and I swear that I heard jingle bells and hooves on the roof when preparing for the visit from Santa. I’m pretty sure that my parents must’ve hooked up speakers somehow in the house and played a track, but I will never forget that memory. So magical. I believed in Santa until my pre-teens. I will always believe in magic.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS FUTURE, BEN FRIESEN

JHPENTERTAINMENT: You’re cast as The Ghost of Christmas Future, among other roles in The Rep’s A Christmas Carol. If you could make a wish for the future, and I guess now that I’m asking, you can, What would it be?

BEN FRIESEN: I would wish for more opportunities like this one, where I get to do so many things that I love to do with so many wonderful people! I already feel blessed to be acting professionally, but when I get to add singing, dancing, fiddling, dialect work, and flying? Shows like this are my dream!

JHPENTERTAINMENT: Candy Canes or Peppermint Bark?

BEN FRIESEN: Nowadays I would probably go for peppermint bark, but the child in me still wants to lick one end of a candy cane until it becomes as sharp as a tack.

JHPENTERTAINMENT: Favorite traditional Christmas Carol?

BEN FRIESEN: I love Mary Did You Know—the original carol already went surprisingly hard, but Pentatonix turned it into a certified bop.

JHPENTERTAINMENT: Which do you think would keep you more in line…Elf on the Shelf or Krampus?

BEN FRIESEN: Something about the Elf on a Shelf’s beady little eyes say, “I know what you did”, which sends me into a spiral of, “What did I do this time?”—since Krampus is a physical threat, I feel like I could probably Home Alone-style defend myself against him if that situation arose.

JHPENTERTAINMENT: Favorite Christmas Memory?

BEN FRIESEN: Throughout my childhood, my siblings and I were huge Lego fans (still are). Each year, we would often ask for one larger Lego set as our main gift, and our parents would save that for last—that way, when we tore open the wrapping paper, we would all immediately run downstairs and spend the next hour or two building our new sets together in our matching Christmas PJs.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PRESENT, BRIAN CHARLES ROONEY

JHPENTERTAINMENT: Among your roles in Nashville Rep’s A Christmas Carol, you play The Ghost of Christmas Present. What’s the most fun aspect of that character?

BRIAN CHARLES ROONEY: I love the idea that he ages over the course of 24 hours! There is a lot of fun to be mined in creating that idea, subtly, via voice pitch and tone, as well as via my movement as the character. I also love working in the costume at the designers created for this character. It’s grand, it’s beautiful, and it’s actually fun to wear!  But I think my favorite aspect of this character is his determined commitment to optimism, hope, and love.  He really does root for Scrooge; and he delights in seeing Scrooge find some happiness.

JHPENTERTAINMENT: A Charlie Brown Christmas or The Grinch Who Stole Christmas?

BRIAN CHARLES ROONEY: Definitely The Grinch!!!  I’m partial to anything campy, but what I love about The Grinch is that despite the comedic aspects of the story, the tale is unapologetically woven around the idea that love conquers hate.

JHPENTERTAINMENT: Which pop Christmas tune is superior? Mariah’s All I Want for Christmas is You or Wham’s Last Christmas?

BRIAN CHARLES ROONEY: I think Mariah’s song is better written, but I will always love George Michael’s voice. Though, my friends and I play a game each year, that involves seeing which of us can avoid hearing Last Christmas before Christmas Eve. It only works if we all commit to the honor system of the game, but I almost won last year! They were only two of us left, but I heard it in Sprouts!!

JHPENTERTAINMENT: Crazy Christmas Sweater or Cozy Christmas pjs?

BRIAN CHARLES ROONEY: Definitely the PJ’s!!!

JHPENTERTAINMENT: Favorite Christmas memory?

BRIAN CHARLES ROONEY: My favorite Christmas memory, at least, from when I was a child, was the year I received a letter from Santa, on parchment paper, wrapped in a red velvet bow. It was such a wonderful, exciting, heartwarming experience! “He” had left it for me near the plate of cookies we’d left out the night before. I don’t think I’ll ever forget that morning and receiving that letter!

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With that the director and ghosts of Nashville Repertory’s A Christmas Carol vanished as if Ole Scrooge’s clock had struck its morning bell, but you can find them and the rest of the cast of this seasonal favorite on stage at TPAC’s James K. Polk Theatre beginning Friday, December 1 and continuing through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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 Nashville Rep’s ‘9 to 5: the Musical’; onstage at TPAC’s Polk Theatre September 8-17

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Alright, Y’all KNOW I’m obsessed with any and all things Dolly Parton, so when I heard that Nashville Repertory Theatre was presenting 9 to 5: the Musical, based on Dolly’s 1980 film and featuring songs written by Dolly, I knew I’d have to chat with some of the show’s stars for one of my Rapid Fire 20Q interview features. What follows are my conversations with Megan Murphy Chambers, Allyson A. Robinson, Mariah Parris and Geoffrey Davin.

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Rapid Fire 20Q with cast of Nashville Repertory Theatre’s 9 to 5: the Musical

Rapid Fire with Megan Murphy Chambers, Doralee in 9 to 5

JHPENTERTAINMENT: You‘ve played Dolly’s Steel Magnolias role of Truvy on stage and now you’re appearing in Nashville Rep’s 9 to 5 as Doralee, another Dolly film role. Are there similarities between the two characters?

MEGAN MURPHY CHAMBERS: Definitely!  Dolly herself radiates such tremendous sparkle, humor, and humanity, it’s nearly impossible to separate her from her more iconic characters.  So not only was she beautifully suited for the roles and their accompanying words on the page, but she imbued them with such a unique style and appeal, you can’t help but find similarities.  Being cast in these two parts has been such a joy and honor, particularly if it means that anyone draws even the smallest similarity between me and Ms Parton herself.  

JHPENTERTAINMENT: Not only are you two-for-two with Dolly’s iconic roles, you’re also two-for-two with Beki Baker, who directed you in Steel Magnolias for Studio Tenn and is now directing Nashville Rep’s 9 to 5. What’s an aspect of Beki’s directorial style that you appreciate?

MEGAN MURPHY CHAMBERS: How many words am I allowed?  🙂  Beki is such a gift in the room – so enthusiastic, so prepared, so supportive, such an easy leader to follow.  I love the way she comes in with a clear plan and lots of problems solved before we even encounter them, which leaves her designers and performers so much room to play and take big swings.  Beki values the product AND the process, and every minute of it has been a delight and an inspiration!

JHPENTERTAINMENT: If you were to exact revenge on a chauvinistic boss, which of the tactics from 9 to 5 would you likely choose? Or have you thought up your own revenge scheme?

MEGAN MURPHY CHAMBERS: This is my favorite question ever, and I’d like to dedicate it to a former supervisor who shall remain nameless.  It would be delightful to brand his ass, Doralee style, and that thought alone will keep me boosted up as we slog through the last of tech.

JHPENTERTAINMENT: I often use the phrase “Only in Nashville”. Earlier this week Nashville Rep posted an “Only in Nashville” type post when Dolly herself sent a video message to the cast and crew of 9 to 5. In the message she not only drops the possibility that she might attend a performance, but also mentions that Gregg Perry, who arranged and associate produced (an apparently provided the iconic opening typewriter sounds) for the original recording of 9 to 5 is part of this production’s orchestra, music directed by Randy Craft. How’s it been working with Randy on this show, and do you have a favorite musical moment?

MEGAN MURPHY CHAMBERS: I LOVE Randy, and the show is sounding absolutely incredible.  I look forward to singing the end of Change It every night, and look forward to hearing Heart to Hart even more.  But nothing gets my blood moving more than the end of the opening number, 9 to 5, when everyone is finally onstage and singing together. Iconic!!!

JHPENTERTAINMENT: As mentioned earlier…Truvy…CHECK! Doralee…CHECK! So, any plans or hopes of playing Miss Mona in Best Little Whorehouse in Texas? Until then, what’s next for you following 9 to 5?

MEGAN MURPHY CHAMBERS: I was literally just talking to someone about my Miss Mona dreams just the other day, so SIGN ME UP.  In the meantime, I have a season lined up that I’m so eager to tackle – I’m heading to Nashville Children’s Theater next to play Mrs. Gloop in Charlie and the Chocolate Factory and Foofinella in The Gingerbread Kid, after which I’m heading south to play Sally Bowles in Cabaret at Studio Tenn!

Rapid Fire with Allyson A. Robinson, Violet in 9 to 5

JHPENTERTAINMENT: If my research in preparing to chat with you proves correct, having a lifelong history of performing from an early age, you’re a Detroit native whose passion for the arts really took wing during recent years in Atlanta, is that right?

ALLYSON A. ROBINSON: It is! I was born and raised in church, which meant that I was doing all the plays and cantatas. My family is also full of musicians so it wasn’t hard to get into the same flow and onto the same path they’d been carving for years. But the full transition into performing didn’t come until high school, when it was brought to my attention that I could sing classical music and opera. So I stepped into that and it took off from there! Went to Kentucky State University for music and then attended the University of Kentucky for a few years. During my first year there, I discovered I had nodules and a month after that my dad passed away. So I was dealing with a lot of identity issues because singing was who I was, but my relationship with it was more for the benefits of being well known and praised, not for the passion of performing. So I stepped away from music for a decade. I became a teacher and taught here in the states and then in Abu Dhabi, and then once we returned back to the states, I became a set teacher for kids in TV/Movies. Watching all the actors and actresses perform on camera awakened something inside of me and I wanted to take advantage of that feeling. I started taking acting classes and book a few short films, got an agent, and then booked a role on a feature film as well! It felt so good to be back!

Then after moving to Nashville in July 2022, I started working at a tech company here in town, who happened to be putting on a Black History Month program. Randomly during lunch, a short clip of a voice recording of my singing started to play because I hit the wrong button. Erika, who was in charge of the program, happened to be sitting next to me. She looked at me and said “I didn’t know you could sing! You’ll sing for our program!” So I was volun-told. I called my friend Ron, who’s an amazing voice teacher and performer from graduate school and told him what happened. So we decided to start up some lessons to prepare for the program, and I discovered that my voice was in pretty good shape! After the program, I told him that I wanted to continue singing and finding opportunities in the area if I could. 

JHPENTERTAINMENT: I understand 9 to 5 marks your Nashville Rep debut. How did landing the role of Violet Newstead come about?

ALLYSON A. ROBINSON: So after doing the program with my job, I realized that I wanted to keep this momentum going. I was loving where my voice was, I had fallen back in love with performing, and I didn’t want to lose it. So my friend and I started to research things happening in the area and came across Nashville Rep’s audition season. I was terrified because I hadn’t done this in over 10 years, but I was willing to just go in and get an audition under my belt, and have fun doing it. So we prepped my music and I already have some monologues from doing auditions. I went into the audition room with no expectations of booking anything. I just wanted to go in and say I did it after so long. Prove to myself that I could still do it after all this time. 

A few weeks later, I received three emails for callbacks, one of them being Violet. My mind was BLOWN. 

I took some time, looked through the music and the scenes and just had fun building this character. I was in this to have fun, not prove anything to anyone but myself. We had a dance call first, which I was freaking out about because I’m 34, a mom of twins, and had just started to build a workout routine. I didn’t feel as if I was in ANY shape to get up and dance. And add onto that of course, that I hadn’t done this in 10 years. BUT I made it through!

When we got to the scenes, I was excited to simply work with the others in the room. Nashville is full of so many talented artists and being new the scene, I was interested in meeting and experiencing their talents… and I was blown away. There are so many talented artists here in Nashville, and they’re triple threats! Dancers, singers, and actors, and some of them have even more in their toolbox than that!

When I made it through cuts, I was in complete shock. They had chosen only three people to move forward for my role, and my name was the last one they called. 

When I left the auditions, I smiled. I cried. I had so much fun and in reality, I wasn’t expecting much…and then I was at work and my phone rang. Ms. Yolanda Treece from Nashville Rep asked if I was sitting down. When she let me know that they wanted to offer me the role of Violet, I jumped out of my seat and just cried. I’m crying typing this story out all over again! It was hands down, one of the best days of my life. It was such a beautiful surprise and I am forever grateful to Beki Baker for this opportunity, 

JHPENTERTAINMENT: As Violet, you share a few scenes with one of Nashville theatre community’s rising young stars, Jalen Walker, who plays Violet’s son, Josh. A mother of twins in real life, has your maternal instinct benefitted your working relationship with Jalen?

ALLYSON A. ROBINSON: Oh absolutely! My maternal instincts kick in whenever there is someone under the age of 18 around. Honestly, it never really shuts off! But when I first met Jalen, he and I were excited because of how much we actually look alike! (Shoutout to Beki for her phenomenal casting). There have been times on set that he’s practiced skateboarding and my eyes are immediately latched onto him to make sure he doesn’t fall. When he comes to rehearsal from school, one of my first three questions is “How was school?”. 

Being a former set teacher, it adds another layer of a protection and a care for any minor whose a performer. They are some of the most courageous artists because they have to balance school and being a performer, while also trying to have a social life and deal with raging hormones all at the same time. I admire him for the amazing work he’s doing with the show and outside of here. He’s definitely one to watch.

JHPENTERTAINMENT: If you hadn’t been cast as Violet, what other 9 to 5 role might you enjoy playing?

ALLYSON A. ROBINSON: Roz, hands down. Roz is a complex, but incredible character built to weave such an amazing element of joy and entertainment throughout the show and it’s such a breath of fresh air. But there’s no way I could replace the incomparable Evelyn O’Neal in our show as Roz. She is one of the most talented artists I’ve had the pleasure of meeting and working with. Her songs and scenes are consistently getting funnier and funnier. I can’t wait for the Nashville and beyond to experience her on stage in this show.

JHPENTERTAINMENT: I’m just gonna be honest, when I first saw the film version of 9 to 5 back in 1980 (yes, I’m that old) the themes of workplace inequality were lost on my teenage mind. Is there a scene in the stage musical or even a passing line of dialogue that addresses that theme that you hope audience pay particular attention to?

ALLYSON A. ROBINSON: The last scene of 9 to 5 is such a powerful scene. My character Violet takes the time to call out the inequalities in the workplace between those at the top who take all the credit and the “little guy” who does all the work that those at the top take the credit for. This scene reveals the realities of the workplace that we are still dealing with today in 2023. I believe it’s a moment that the audience can take in at the end as a revelation that things in our current world still need to change and adjust because the “little guy” is still being stepped on for other to make their way to the top. I hope that during this scene, audience members feel seen and affirmed in their own “9-5” journey and experience in the workplace and will empower them to speak up be out against injustices they and their co-workers experience on a day to day basis. 

Rapid Fire with Mariah Parris, Judy in 9 to 5

JHPENTERTAINMENT: Before we get started, I just have to say how much I enjoyed you as Jen in Nashville Rep’s The Cake. How excited are you to get back at The Rep for 9 to 5?

MARIAH PARRIS: Thank you so much! That show was such a special experience. In fact, every time I’ve get the opportunity to work at The Rep I have an amazing time. It is not lost on me what a privilege it is to work here and I feel so lucky every time I get the call saying that I get to!

I was specifically excited to get the call for 9 to 5 because I have admired Beki Baker for years (over a decade at least?) and this is my first time getting to work with her as a director. She is an awesome human and an excellent leader.

JHPENTERTAINMENT: What is your favorite aspect of playing Judy Bernly?

MARIAH PARRIS: My favorite aspect of Judy Bernly is her courage. She really starts the show from such a broken place and surprises herself at so many points along the way that she is stronger and more capable than she ever realized. I think we can all relate to feeling scared and doing the scary thing anyway, and I really enjoy stepping into that energy.

JHPENTERTAINMENT: As Judy, you’re teamed with Megan Murphy Chambers and Allyson A Robinson. Describe your 9 to 5 cohorts using a single word each.

MARIAH PARRIS: Ooof this is hard. How to sum up such kaleidoscopic women? Allyson: Wisdom. Megan: Excellence. 

JHPENTERTAINMENT: I’m totally an attention to details kind of guy, so…The show takes place in an office setting during the late 70s/early 80s. With a set designed by Gary Hoff and props from Lauren Yawn-Kell, is there something about the set or a particularly period-authentic prop that you’re just really into?

MARIAH PARRIS: Gary Hoff is a genius and every set he touches is magical. This is my first time working with Lauren and she has absolutely crushed it.

For me it’s the set color scheme: avocado, harvest gold, and….more avocado. My favorite props are probably all the made up accolades adorning Franklin Hart’s office bookshelf… they are hilarious.   

JHPENTERTAINMENT: Long after the tap tap tap of the typewriter from the show’s title tune is just a distant memory, what do you hope audiences will remember about this production of 9 to 5?

MARIAH PARRIS: I hope this show inspires the audience to consider the dynamics in their own lives- be it home, workplace, or otherwise- and consider where people are perhaps being held back from their fullest potential because of outside forces keeping them down. I hope people consider how they can be less of a hindrance or more of a help to others finding their own ways to shine.

Rapid Fire with Geoff Davin, Mr. Hart in 9 to 5

JHPENTERTAINMENT: What can you tell me about Mr. Hart, as far as your perception of the character?

GEOFF DAVIN: Well, Mr. Hart has been a challenge. Of course you never want to villainize a villain when you’re playing the antagonist. Your goal is always to empathize with them and try to see how they’re right. But gosh, Mr. Hart makes it awfully hard. He’s just such a deliciously sleazy fellow. He always says the most terrible things with absolutely no concept of how terrible his comments are. And he’s his own greatest fan. 

JHPENTERTAINMENT: Mr. Hart is the show’s villain. How much fun are you having playing the baddie opposite your three leading ladies?

GEOFF DAVIN: I’m having an absolute blast. I couldn’t have asked for a more gracious, talented, fun, and giving trio of power houses to play opposite of on stage. 

JHPENTERTAINMENT: Even the chauvinistic Mr. Hart has his admirers. What is one aspect of Mr. Hart’s character that you see as possibly redeemable?

GEOFF DAVIN: Well Violet says that she’s never seen someone leap frog to the top as quickly as he has. So he’s certainly tenacious and wildly driven. 

JHPENTERTAINMENT: With 9 to 5 being set in the late 70s/early 80s, I’m guessing Mr. Hart’s wardrobe, as envisioned by costumer Lori Gann-Smith, might consist primarily of leisure suits. They say all fashion is cyclical. Is it time for the return of the leisure suit, and do you think you could rock it off stage?

GEOFF DAVIN: I would 100% wear my opening suit it in real life. 

JHPENTERTAINMENT: There’s long been talk of a 9 to 5 sequel, at least for the original film adaptation. If there were a sequel, where do you see Mr. Hart in the future?

GEOFF DAVIN: I think Mr. Hart stayed on the island. He now works for the Amazonians, harvesting coffee beans. They’ve even given him a little nickname. I’m not sure how to write it in their language. But it roughly translates to “skinny and sweet”. 

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Nashville Repertory Theatre’s 9 to 5: the Musical plays TPAC’s Polk Theatre September 8 through 17 with Friday and Saturday evening performances at 7:30p.m. and Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more information. Following 9 to 5, Nashville Repertory Theatre rings in the holidays with A Christmas Carol onstage at TPAC’s Polk Theatre from December 1-17. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with cast of ‘Move Over Mrs. Markham’; onstage at Playhouse 615 August 4 thru August 20

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Henry Lodge to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: ‘Here You Come Again’ new musical featuring Dolly Parton tunes, concludes Tennessee debut Memorial Day Weekend at The Franklin Theatre

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Written by Bruce Vilanch, Gabriel Barre and Tricia Paoluccio, Here You Come Again is a jukebox musical featuring songs written and made popular by National Treasure and Tennessee Goddess, Dolly Parton. Following a successful premiere in October of 2022 at the Deleware Theatre Company, and a popular December run in West Palm Beach, the musical comedy has come to Dolly’s home state for its Tennessee debut in collaboration with Studio Tenn at The Franklin Theatre with shows Wednesday, May 17 through Sunday, May 28.

As for the premise, it’s a clever, but simple plot. At the beginning of the pandemic, Kevin (played in this production by Zach Sutton), a well-meaning, but down-on-his-luck waiter/aspiring comic is forced to move into his parent’s upstate New York home to set quarantine when the world shuts down. Further complicating things, Kevin’s Mom, a bit of a germaphobe before there was such a thing, has  relegated her son to living in the attic, rather than in the main level of the house with his parents. She’s even devised a sort of makeshift dumbwaiter to deliver his food without contact by setting a tray on the drop-down attic stairs, which he retrieves by hooking to the end of a garden tool of some sort.

Further isolating Kevin, his parents are never seen in the play, and only his Mom’s voice is heard from off-stage from time to time. As the play begins, the audience gets their first glimpse at the show’s only set, the attic. Brilliantly created by Scenic Designer Anna Louizos with assistance from D. Craig M Napoliello, with lighting by Alessandra Docherty and assistant Isabella Gill-Gomez, the attic is easily recognized as both the family’s preferred storage area for seasonal decoration and Kevin’s former childhood playroom/teenage hangout. With pop culture relics from the far-distance 1980s, the attic set design is cleverly littered with things like a discarded GameBoy, an old Chineses Checkers boardgames and what appeared to be a single right Nike Air. But it’s the shrine to everyone’s favorite Country Music Songbird, Dolly Parton that’s most impressive…and I must admit relatable. I mean, switch all the Dolly posters, magazine pictures and photographs covering the walls for, say The Bionic Woman’s Lindsay Wagner, and you’d have my childhood bedroom.

As Sutton’s Kevin paces around the attic, he offers the audience a bit of exposition by breaking the fourth wall and explaining the above-mentioned romantic breakup and current living situation to kick things off. In an obvious state of depression, Kevin then walks over the a small tabletop record player, carefully takes out his vintage copy of Dolly Parton’s 1977 hit record, Here You Come Again, puts the needle on, then walks over to the twin bed across the room picks up a Costco-sized tub of Cheesy Puffs, lovingly caresses the tub and covers himself with the bed sheet.

As the light dims, the tune playing on the record swells and as if by divine intervention…or make that DIVA-ne intervention, the life-size image from the poster on the back of the attic door comes to life as Dolly herself steps forward into the room belting out a familiar tune. Here’s the thing, though. The song isn’t really playing on the record player. The familiar instrumentation is actually coming from backstage courtesy the show’s houseband featuring Miles Aubrey on Guitar, Jeff Cox on Bass, Jon Epcar on Drums and Eugene Gwozdz on Piano. As for the vocals, no Dolly didn’t drive across town from her nearby Brentwood home, instead is actress/singer and aforementioned co-writer of the show, Tricia Paoluccio as an apparition/vision/guardian angel in the form of the Double-D Diva herself.

Before seeing the show, I kept hearing from friends at Studio Tenn, including the company’s Artistic Director, Patrick Cassidy, that if you “close your eyes, you’d swear it was Dolly herself”. Now, here’s the thing, I’m a huge Dolly fan, and over the years I’ve had the absolute thrill and honor to meet her, chat with her a time or two and get to know her and a few of her siblings. Shoot, the night I saw Here You Come Again, Dolly’s youngest sister, Rachel was sitting at the table next to me and we chatted a bit. NO, that’s not a name-drop, ‘cause like I always say, “I never drop a name I can’t pick up”. It’s just a fact, a fact of living and working in Music City. You just never know who you’re gonna see or get to know.

Cassidy was right, she does indeed sound like Dolly when she sings. She’s got Dolly’s vocal infections down-pat, although with Paoluccio’s own musical theatre background (she’s appeared on Broadway in productions of Fiddler on the Roof, A View from the Bridge and The Green Bird) there are times when she makes the tunes her own by adding a bit more of a theatrical flourish, extending a note here, or revealing her talent with a run there. What’s more, thanks to Makeup Designer, Brian Strumwasser, Costume Designer, Bobby Pierce and other assets, whether God-given or man-enhanced, Paoluccio looks like Dolly…well, 70s/80s era Dolly at any rate. Yes, if you close your eyes, you can almost hear the Appalachian songstress, but in certain scenes, when Paoluccio turns just so in profile, that she looks the spitting image of Dolly, herself. But that’s not where Paoluccio’s Dolly transformation ends. She’s even got Dolly’s unique joy-filled speaking voice down! And I mean down…down to what I call Dolly’s “giggle squeak”. If a rhinestone could talk and sing, it’d sound just like Dolly, and so does Paoluccio!

A bit more about the wardrobe. When Paoluccio’s Dolly first steps forward from the door poster, she’s wearing a cocktail-length bedazzled number with billowing bell sleeves. I noticed almost immediately that the fabric of the dress was reminiscent of a butterfly’s markings and yes, when Paoluccio raised both arms at the crescendo of the opening song, the bell sleeves did mimic the silhouette of a butterfly in flight, a wonderful wink to Bob Mackie-designed dress Dolly wore. In fact, it was created for the 1979 tv special Dolly and Carol in Nashville, co-starring Carol Burnett. Considering that special was filmed right here in Nashville, the butterfly dress, while gorgeous, provided a fun little If You Know You Know moment for true Dolly nerds like myself.

Other costume choices, while not as obviously based on Dolly’s own wardrobe, all have that sparkle, that spirit, that gussied-up bigger-than-life 80s Dollyesque vibe. Which works perfectly considering the tunes featured in the show were all originally released between 1969 (the Jack Clement-penned Dolly and Porter Waggoner hit, Just Someone That I Used to Know) and 1989 (Why’d You Come in Here Lookin’ Like That from Dolly’s 1989 offering, White Limozeen).

While the full title of the show is Here You Come Again: How Dolly Parton Saved My Life in 12 Easy Songs, there’s actually a total of 15 toe-tappin’, finger-snappin’ Dolly favorites featured within the show. On the subject of tunes included in the show, like most jukebox musicals, the music helps move the story along or support the narrative. In the case of Here You Come Again, Music Director Gwozdz and the show’s writers have done a fantastic job of peppering Dolly hits throughout the show at just the right moments to accentuate or propel the storyline. Hush-A-Bye Hard Times, a sweet, but lesser-known tune originally included on Dolly’s 1980 crossover hit album 9 to 5 and Odd Jobs near the top of the show, perfectly expresses what I think we all felt during the early days of the pandemic. Same for Two Doors Down, another hit from Dolly’s Here You Come Again release. Included herein to parallel the FOMO we all experienced during isolation.

And Yes, megahits like Jolene, 9 to 5, as well as the bizarro Me and Little Andy and showstopper, I Will Always Love You also find there way into the show and each one is performed with enthusiasm and a touch of Dolly-worthy fun and excitement.

While most of the songs featured were written by Dolly, even the prolific singer/songwriter occasionally records tunes penned by others. Why’d You Come in Here Lookin Like That, Sing For the Common Man and the Dolly Parton/Kenny Rogers megahit, Islands in the Stream are all prefect placed and wonderfully sung. Interestingly, Islands, written by the Bee Gees, is followed by a funny, but very un-Dolly bit of snark courtesy Vilanch’s script.

Speaking of duets, Paoluccio’s Dolly gets a bit of help from time to time as Sutton’s Kevin joins her for a handful of songs throughout the show, showcasing his own talents as a singer.

As I mentioned above, Bruce Vilanch created the show alongside Paoluccio and Barre. Specifically, Vilanch is credited in the playbill as Book Writer, in layman’s terms, the spoken dialogue of the show, alongside director, Barre and star, Paoluccio. Whether you know Vilanch by name, or by sight, you’ve likely heard his work, as he’s a six-time Emmy-winning writer, having won two for writing special material for the Academy Awards and four for work on various television variety show specials. Over the years he’s written for the Academy Awards numerous times, as well as the Tonys, the People’s Choice Awards and many other awards shows. Bringing it all full-circle, Vilanch also wrote a handful of episodes of Dolly Parton’s late-80s variety series, Dolly, so who better to sprinkle a little Dolly dust into the lines of Here You Come Again?

With Paoluccio’s absolute near-perfect Dolly helping Sutton’s Kevin rediscover his own worth, refocus on his own life and reignite his passions through the comfortable familiarity of Dolly’s music, Here You Come Again is a joy from start to finish.

Studio Tenn’s special presentation of Here You Come Again wraps with a final show Sunday, May 28 at 2 p.m. Tickets range in price from $90 for cocktail table seating and the first few rows of theatre seats to $70 for the majority of theatre seats on to $55 for balcony. CLICK HERE for tickets. Didn’t make it to the Tennessee performances? Follow Here You Come Again on Instagram to see where Paoluccio and company are headed next.

Following Here You Come Again, Studio Tenn wraps their current season with a production of the Rodgers and Hammerstein classic, The Sound of Music co-presented by CPA Arts on stage at CPA’s Soli Deontaes Center from June 22- July 16. CLICK HERE for tickets or more information. Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

 

Rapid Fire 20 Q with cast of Nashville Rep’s ‘The Curious Incident of the Dog in the Night-Time’ on stage at TPAC’s Johnson Theatre thru April 2

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Directed by Micah-Shane Brewer, Nashville Repertory Theatre’s inspired and inspiring production of The Curious Incident of the Dog in the Night-Time moves into its second and final week with performances Friday, March 31 at 7:30p.m., Saturday, April 1 at 2p.m. and 7:30p.m. and Sunday, April 2 at 2:00p.m. at TPAC’s Johnson Theatre, I recently had the opportunity to chat with four the company’s incredible cast members for the latest installment of my recurring interview feature, Rapid Fire 20Q. Kindly taking time out of their performance schedules for these conversations are Lauren Berst, Nat McIntyre, Eric D. Pasto-Crosby and JR Robles. Berst and McIntyre play Judy and Ed Boone, parents of 15 year-old Christopher Boone, a young autistic math wiz who finds himself at the center of the titular mystery. Pasto-Crosby and JR Robles play a multitude of townsfolk who meet young Christopher along his journey. What follows are my conversations with the cast.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

RAPID FIRE WITH THE CURIOUS INCIDENT’s NAT MCINTYRE

JHPENTERTAINMENT: You’re no stranger to Nashville Rep, having appeared in Good Monsters and Shakespeare in Love and having directed their production of A Streetcar Named Desire. What keeps brining your back to the company?

NAT McINTYRE: Since moving to Nashville, starting a family, and taking a full time professorship at Lipscomb I have had to be more intentional with the work I choose.  It’s very important to me that the work challenges and excites me and audiences.  The Rep has been doing that work.

JHPENTERTAINMENT: What can you tell me about Ed Boone?

NAT McINTYRE: He’s trying really hard

JHPENTERTAINMENT: I understand you had read Mark Haddon’s novel upon which the play is based. What’s most surprising about the way the story has been brought to the stage?

NAT McINTYRE: I read the book so long ago.  I mostly was surprised they would try to make it into a play because I thought it would be REALLY hard.  But, it turns out Simon Stephens and bunch of curious artists that don’t take themselves too seriously make it possible.

JHPENTERTAINMENT: In preparation of our chat, I discovered among your many credits, you appeared in a season 2 episode of Devious Maids, playing a police officer. Just gonna say it. I loved that series. Bringing the question back to Curious Incident…What’s an advantage of performing in theatre as opposed to film or television?

NAT McINTYRE: Film and TV is fun.  It also pays a lot of money.  But nothing can replace the pulse and breath of a live audience.  The best actors let them be an extra character in the play I think.

JHPENTERTAINMENT: How has your experience been working with Curious Incident director, Micah-Shane Brewer?

NAT McINTYRE: This play is hard. I had never worked with Micah-Shane.  I was nervous ;).  But, that dude has stepped up big time. He is a prepared artist who makes room for his actors, doesn’t need to have all the answers, and does not take himself too seriously.

RAPID FIRE WITH THE CURIOUS INCIDENT’s LAUREN BERST

JHPENTERTAINMENT: Last time I saw you onstage, you had invited me to attend a performance of Nashville Story Garden’s thought-provoking production of The Welkin. Now you’re playing Judy Boone in Nashville Rep’s The Curious Incident of the Dog in the Night-Time. Two vastly different shows, but with the common thread of drama. Do you find yourself typically drawn towards more dramatic roles?

LAUREN BERST: Thank you for supporting and promoting Nashville theater, Jonathan! I love comedy and drama equally and am jazzed by the challenges they each present. I am primarily lured to the story being told rather than the genre so if that’s in a comedy or drama, I want to go on the journey. For the The Welkin, we were compelled to tell that story, and getting to tell it with 12 amazing women on stage with me was a huge draw. For Curious Incident, I loved the book and the play and was excited about the idea of exploring the story as an ensemble. The opportunity to return to Nashville Rep was an added bonus so I jumped at the chance. I am grateful to get to do this show with this wonderful group of people.

JHPENTERTAINMENT: What is it about Judy Boone that attracted you to the role?

LAUREN BERST: I love Judy. And what’s interesting about this play is that most of what we learn about the characters comes from Christopher’s vantage point so finding a through line or heart of a character is a fun challenge. I enjoy finding the sweet, strong, rule-breaking parts of her and expanding or contracting from there. She is an ill-equipped force to be reckoned with.

JHPENTERTAINMENT: You mention the character of Christopher, which leads to my next question…How has it been sharing scenes with Ben Friesen, who’s at the center of the action playing young Christopher Boone?

LAUREN BERST: It’s wonderful to work with Ben. Ben is a champ! His exploration of Christopher is open, honest, and spot on. He’s a great collaborator. This show is a lot of responsibility and he handles it with confidence and excitement which is a testament to his ability. And his eagerness is infectious. Ben has created a well-rounded, and heart-wrenching character. Audiences will be rooting for Christopher.

JHPENTERTAINMENT: Also at the center of the story is the titular dog. You yourself are a pet-owner, so I gotta ask…how’s Ms. Roxie? AND…I’ve seen a few rehearsal posts giving a first look at the puppy involved in the show. Has that pup become everyone’s emotional support dog, considering the seriousness of the piece?

LAUREN BERST: Oh thank you for asking about THE MOST important parts of my life and this play! First of all, Roxie is the spoiled rotten dachshund I adopted six years ago and she’s amazing. In fact, she is curled next to me as I type this so any spelling or grammar errors can be blamed on her.

Scottie, the sweet puppy in the play, (the *actual* star of the play – don’t worry Ben thinks so too) is precious, smart and adorable. When she comes into the room everyone melts a little bit, our shoulders relax, our dopamine and serotonin levels skyrocket. I have to sit on my hands sometimes because it’s all I can do not to put her in my bag and take her home with me. And I’m not exaggerating. You’ll see. She’s too cute. It is impossible that something so cute exists in real life.

JHPENTERTAINMENT: I’ve seen a few behind-the-scenes images of the set, designed by Cody Stockstill with lighting by Darren Levin and sound by Gregg Perry. What has impressed you most about the way the creative team has brought this production to Nashville Rep’s intimate stage at TPAC’s Johnson Theater?

LAUREN BERST: What HASN’T impressed me?! The creative team has pulled out all of the stops to make this show an intimate spectacle in the Johnson Theater. Cody, Darren, and Gregg tell this story in ways that go beyond the script. They have designed, composed, and programmed each moment of this play to enhance the story telling, conjure a little magic, and help us get a peek into Christopher’s mind. And they’re so dang good at what they do. It would be a very different play without their designs. I’m excited for audiences to experience the world they’ve created.

RAPID FIRE WITH THE CURIOUS INCIDENT’s ERIC D. PASTO-CROSBY

JHPENTERTAINMENT: As a member of the ensemble of Curious Incident, you take on a multitude of roles. What’s the most fun aspect of this as opposed to portraying a singular character?

ERIC D. PASTO-CROSBY: I thoroughly enjoy coming up with fully realized characters, and I get to do that for about six different people in the show. Both how they move how they talk how they interact with people. And also structuring just how they interact with the plot, do they influence the main characters for good things or bad things that’s always just a fun fantastic journey that we get to go on. If I’m being really honest, it’s the multiple different accents that I get to do for the show.

JHPENTERTAINMENT: On the flip side, what’s most challenging about playing more than one character in a piece?

ERIC D. PASTO-CROSBY: I would say the most challenging aspect of playing multiple characters is figuring out how they are different, but not distracting. It’s very easy to come up with different characters but sometimes those characters don’t work with the world of the play or help tell the story as well as other choices would. So making sure that you make the choices that helped tell this version of curious incident is the most important.

JHPENTERTAINMENT: Who all do you play in Curious Incident?

ERIC D. PASTO-CROSBY: I play Roger Shears, the Duty Sergeant, Mr. Wise, man behind counter and Voice two.

JHPENTERTAINMENT: Of your Curious Incident roles, do you have a particular favorite?

ERIC D. PASTO-CROSBY: It’s kind of a tie between Roger Shears and the Duty sSergeant. Roger Shears is pretty despicable and gross, which is kind of fun to play. I know that probably sounds wrong. But the Duty Sergeant is probably one of my favorite accents and characterizations, since he’s honestly stolen from a Guy Ritchie movie.

JHPENTERTAINMENT: In addition to your onstage duties, you’re also the show’s fight choreographer. You’re a member of the Society of American Fight Directors. What can you tell me about that organization and how you became involved in the art of fight choreography?

ERIC D. PASTO-CROSBY: yYou can join the SAFD by paying membership. It is a training organization that brings everyone up to speed on how to safely perform fights on stage. I thoroughly enjoy multiple aspects of this organization. I love what they have done to bring safety and realism to violent moments on stage. If you are looking for training there are  workshops, I will be teaching at the A Town Throwdown in Atlanta. The society has a workshop every other month all over the US for you to train in multiple weapon disciplines for three or two days.

RAPID FIRE WITH THE CURIOUS INCIDENT’s JR ROBLE

JHPENTERTAINMENT: I understand this is your first time working with Nashville Rep. How’s the experience been thus far?

JR ROBLES: I’ve had a blast! I’ve always wanted to do a show with Nashville Rep. This experience has been so gratifying and revelatory for me. I’ve had a chance to make some great new friends and work on an important piece of theatre with some of the most talented people around. In that process, I think I’ve grown a lot in my own artistic practices, and I’m so grateful for that. It’s been really challenging too—there’s a lot of movement and physicality in the show, and I’ve had to reactivate some of my choreography and dance training to remember how to do that. Mostly, I’ve felt so happy coming to work every day because I get to be part of this wonderful story with some amazing artists. It’s been wonderful.

JHPENTERTAINMENT: Prior to our chat, I spoke with Eric Pasto-Crosby. Like Eric, you’re also playing numerous roles within the show. What roles are you playing?

JR ROBLES: So, I’m playing Voice Three, which includes a couple of policemen, a salty train passenger, a drunk train passenger (different guy), and Mr. Thompson, who is an oddball neighbor of Christopher’s (the play’s main character). Aside from that, I get to be a part of constructing the world of Christopher’s memory and mind where the play takes place. I really have fun with these kinds of roles because I can step into different people in different scenes, which is such a fun challenge. Much of that work, by the way, has been aided by Katie Cunningham, our dialects and accents coach. She’s worked very closely with us as we’ve made choices about these characters and giving them very specific voices that help color the world of Swindon and London that Christopher explores.

JHPENTERTAINMENT: Is there a particular scene you’re involved in that you find most challenging?

JR ROBLES: Overall what has affected me most, and maybe what I love most about the play, is the very true-to-life depiction of how complicated family dynamics can be when there are flawed human beings trying to do their very best for themselves and each other in their lives. In general, the scenes I’m featured in are fun and help move the story along to get to the places where the challenging stuff in the play really is. The very dynamic relationships between Christopher, Ed, and Judy, and Christopher and Siobhan are the ones I think about the most. And most of those scenes I just get to sit and watch Ben, Nat, Lauren, and Sejal work magic on stage.

JHPENTERTAINMENT: What’s the most fun role you’re portraying and why?

JR ROBLES: I have the most fun with Mr. Thompson, the goofy neighbor Cristopher interacts with in Act 1. I’ve gone through about 7 different iterations of this guy, trying to figure out where he came from, what accents he has, what he is up to when he’s not in the play, and even what kind of glasses he wears. Honorable mention goes to a character called “Drunk 2” (Eric Pasto-Crosby is Drunk 1) who literally has two drunken lines of dialogue. Each rehearsal so far, Eric and I have tried to out-drunk each other, and it gets crazier every time.

JHPENTERTAINMENT: So much of the show seems to encourage audiences to step out of their comfort zone and take time to consider what life must be like for the central character. Do you think that’s a fair assessment? AND…what other themes of the show have you found yourself contemplating during this process?

JR ROBLES: Yes, I think that’s an appropriate way to frame the experience of the play and also the vision that Micah-Shane has for the show. From the beginning, Micah-Shane has shared with us the idea that when we are performing the show, we are welcoming the audience into the mind of Christopher and, as much as possible, creating for the audience a unique world of what Christopher’s experience is like. I hope that people who come to the show will appreciate the efforts we’ve made to celebrate Christopher’s curiosity, bravery, and desire to lead the life he wants. I think the theme that resonates with me even more is the importance of personal growth. I love how the play presents that not just with Christopher, but also with Ed and Judy. Each of these characters has their own journey that is really powerful and complicated. And where they end up is so poignant and true to life.

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Nashville Repertory Theatre’s The Curious Incident of the Dog in the Night-Time continues with performances at TPAC’s Johnson Theatre thru Sunday, April 2. CLICK HERE for tickets. Next up for The Rep as they close out their 2022/2023 Season it’s Violet with Book and Lyrics by Brian Crawley and Music by Jeanine Tesori, on stage at TPAC’s Johnson Theatre May 12-21. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: Circle Players’ Agatha Christie’s ‘Murder on the Orient Express’

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When I learned that Circle Players was mounting a production of playwright Ken Ludwig’s stage adaptation of Murder on the Orient Express, on stage through January 29 at The Looby Theatre (2301 Rosa Parks Blvd), I was thrilled. In audience on opening weekend of Agatha Christie’s beloved mystery, I may have had higher expectation than some of the other theatre patrons in attendance. As I alluded when I chatted with the cast for one of my latest Rapid Fire 20Q interview, those higher expectations stem from the fact that I’m a bit of an Agatha Christie purist and nerd, having read my first of her works when I was probably no more than ten or eleven. My obsession didn’t stop there. I began to read her books thematically, in that when I’d travel with family on summer break vacations, I’d read such titles as Death in the Clouds (my first plane ride), The Floating Admiral (while on a boat) and The Blue Train (you get the idea). In October I’d read and reread Hallowe’en Party and darn it if December doesn’t still sees me revisit Hercule Porot’s Christmas. Heck, I’ve seen every film adaptation from Margaret Rutherford as Miss Marple in the 1960s to Kenneth Branagh’s portrayal of Hercule Poirot in last year’s Death on the Nile, so yes, you could say I’m a superfan.

I love that Christie’s Estate contacted Ken Ludwig to ask if he’d be interested in adapting one of her books for the stage. Ludwig, known for writing such plays as Lend Me A Tenor, Moon Over Buffalo and the musical Crazy for You. He has also adapted a number of works for the stage based on characters created by others. Among Ludwig’s adaptations there’s Baskerville: A Sherlock Holmes Mystery, Tiny Tim’s Christmas Carol and Sherwood: The Adventures of Robin Hood. Of course adapting Christie’s 250+ page tale for the stage required a bit of editing for Ludwig’s stage version. Most notably missing are about a third of the suspects. While Christie’s novel includes a very purposeful 12 suspects, Ludwig had narrowed that down to eight. Purist that I am I’m still wrestling with that, mostly because the reason behind Christie having 12 suspects in this particular story was sheer genius, just a very clever A Ha! moment during the final reveal. I get it through, twelve suspects plus Poirot, plus the victim and one other character who is seemingly above suspicion…that’s a lot of people on stage, especially since the entire play takes place aboard a train, therefore limited the physical staging of the show itself. Again, this is just my weird obsessive brain working overtime. Back to my review…

Elliott Robinson as Hercule Poirot

Elliott Robinson, who’s graced the stage of multiple shows, not only at Circle but all over Nashville, might not seem the obvious choice to play the seemingly uptight, no-nonsense Hercule Poirot, but Hillwig knew what he was doing when he cast him. Robinson might not have waxed his stache, but beyond that he perfectly personifies the quirky Belgian master sleuth. Aided by Ludwig’s cheekily written retorts…the script teeters very closely to full-on farce without completely crossing that line…Robinson’s Poirot becomes even more endearing and fun to watch. There’s even a scene or two in which Robinson delivers a bit of dialogue or a witty reply to a fellow actor, then with knowing look, a smile or pause, gives the audience time to process the snark.

Antonio Nappo as Monsieur Bouc is the perfect choice to share the stage with Robinson’s Poirot. In Christie’s novel, Monsieur Bouc is written as almost a younger, less perceptive Poirot, eager to assist the detective in his investigation, but coming up short when connecting the dots, or seeing the many clues to the identity of the guilty. Nappo plays the part with a joyful vigor. Give him a few years and time to train his facial follicles, and I could totally see Nappo taking on the role of Poirot himself one day in the near future.

Tim Bush as Ratchett, a gruff, assertive businessman, is just fantastic. Playing the part to the hilt, it’s easy to see why he ends up (Spoiler Alert!!!) dead in his bed. It’s funny, my companion for the Sunday matinee I attended, leaned over at one point and said she didn’t care for Bush as Ratchett. Knowing what was coming, I thought to myself,”then he’s playing it perfectly”. Shoot, even after the murder, Bush further shows his skills by lying there motionless while the rest of the cast buzz around his character’s berth looking for clues and discussing motive.

As for the suspects, Catherine McTamaney as Princess Dragomiroff is my new favorite. My friend and I both noticed that she was a fully committed to her role in that when she enters the stage, she does so in character. How can I explain it? Some actors walk ’to’ their scene, McTamaney walks ‘through’ hers if that makes sense. She is Princess Dragomiroff. Staunch, unimpressed and mostly unbothered.

Bailey Borders makes some interesting choices as Helen Hubbard. As I mentioned when I chatted with her for my Rapid Fire 20Q interview, the character of Mrs. Hubbard was brought to the screen first by Lauren Bacall, then by Michelle Pfeiffer. Both women played her with an air of refinement and class, coupled with a bit of sass. While Borders’ Hubbard provided plenty of laughs by her boldness, the choice to have her speak with a southern accent, rather than a dialect more fitting the character, put me in mind of Dixie Carter’s Julia Sugarbaker, rather than the aforementioned Mrs. Bogart.

Rounding out the cast are Claire Landers as Greta Ohlsson, Gary Miller as Hector McQueen, Kaleigh Ruiz as Countess Andrenyi, Nick Spencer as Colonel Arbuthnot, Emily Summers as Mary Debenham and Barrett Thomas in the dual role of Michel the Conductor and Marcel, the waiter, oh, and Michael Hutson as the voice of the announcer. Each member of the company plays well off each other and easily convince the audience not only are their on-stage relationships plausible, but so are their accents…for the most part. I mention this because this show is comprised of characters from all over the globe, from the US to Germany, with Russian, Hungary and other places of origin thrown in for good measure. That said, the cast pulls off a multitude of accents…almost as well as the culprit pulls of the murder.

On the technical side of things, not only is Hillwig directing Murder on the Orient Express, he also designed the set. While the majority of the action does indeed take place aboard a moving train, there are actually a few sets. First here’s a cafe at the train station, then the exterior of a smaller train, the exterior of the Orient Express, the sleeping berths and the dining car. There’s also scenes that take place in the rail’s communications room and the back rail of the caboose. I don’t know if my eyes were playing tricks on me or not, but I swear, by clever usage of lighting cues courtesy Daniel Default, the exterior or the trains took on a different look between being the Taurus Express (at least that’s the name of the connecting train in the novel) and the more exclusive Orient Express. While watching the cast of characters board the Orient Express, the thought did cross my mind that I wished the exterior of the Orient Express look a little more grand and stately. Those ideals were put to rest once later when the set rotated to reveal the interior dining car. Hillwig, his master carpenter, Tony Nappo and props courtesy Suzanne Spooner-Folk together, created a perfectly lush look for the dining car, complete with what appeared to be lacquered woodgrain panels, hanging sconces, a bar cart and the like.

Hillwig’s staging is also to be commended, even in the final scenes in which Poirot reveals the truth, and the entire cast (save the victim) are on stage, it never seems crowded or forced and Hillwig’s staging and direction allow the audience to witness even the most subtle of movements and reactions of the guilty as the beloved detective unravels the mystery once and for all.

Before wrapping up the cast of the theatre review, I should mention that during the intermission I overheard a group of friends in the row behind me discussing who they through the murderer might be. I can’t tell you how much it thrilled my Agatha-loving heart that of the four who weren’t familiar with the outcome of the play…a story that’s based on a book that’s nearly 90 years old, mind you…each had a different suspect in mind.

As a lover of all things Christie, I can say without hesitation that director Clay Hillwig and his cast, lead by Elliott Robinson bring Christie’s beloved story of mystery, deceit and murder to the stage with such finesse—and thanks to Ludwig having peppered the script with some punchy dialogue—a great deal of unexpected humor than even the most ardent fan will be happy they were along for the ride.

Circle Players’ Agatha Christie’s Murder on the Orient Express pulls out of the station for two more mystery-filled rides Saturday, January 28 at 7:30pm and Sunday, January 29 at 3pm. All tickets are $27 (including fees). CLICK HERE for tickets.

Next up for Circle Players is Peter and the Starcatcher, directed by Jim Manning with musical direction by Teal Davis, on stage at the Looby Theatre March 10-26. CLICK HERE for tickets. To keep up with the latest from Circle Players follow them on Facebook,  Instagram and Twitter.

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.

Rapid Fire 20 Q with director, Jef Ellis and cast of Circle Players’ ‘La Cage aux Folles’; at Looby Theatre January 17-February 2

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Michael Baird (center) as Zaza, surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles’ (production photos by Ashley Eve Newnes)

Being a lifelong fan of Broadway composer, Jerry Herman, I have been looking forward to Circle Players’ upcoming production of Herman’s and Harvey Fierstein’s legendary La Cage aux Folles , the mid-80s musical centered ’round a mostly happy-go-lucky gay couple who own and work at a drag club in Saint- Tropez, whose lives take a tailspin when their son, Jean-Michel arrives with news of his pending nuptials to a sweet young girl from an ultra conservative family. When Herman passed away the day after Christmas, the fact that I’d not only be seeing the show, but that Nashville theatre luminary, Jef Ellis is directing, seemed a comfort, because if there’s anyone in this town who understands and honors the reverence of classic American musical theatre, it’s Ellis. Given those thoughts, you know I just had to chat with Jef and some of his La Cage cast members, including: Macon Kimbrough, Michael Baird, Kristian Dambrino and Ann Street Kavanagh for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH LA CAGE DIRECTOR, JEF ELLIS

JHP: Having first directed La Cage aux Folles for  Circle Players in 1999 for the company’s 50th anniversary season, how did the idea to have you direct it again all these years later come about?

JEF ELLIS: You know, it’s funny: I’ve never had the desire to return to a show that I have already directed until now. I submitted a proposal to direct a different show for Circle Players, but since this is their 70th Anniversary Season, they wanted to do a season of the company’s “greatest hits,” as it were, and when I saw La Cage on the list of possibilities, there was no way I was going to let the opportunity pass me by. I submitted a proposal for the show and I was selected to helm another production of the very first show I ever directed. And in so doing, I’ve discovered how much La Cage aux Folles, the Tony Award-winning musical from Jerry Herman and Harvey Fierstein means to me and how closely I identify with it. It’s been a complete joy to have another go at it.

JHP: Kevin Amburgey-Walton, who starred as Zaza in your ‘99 production, is working behind the scenes on this one as the show’s choreographer, making this a La Cage reunion of sorts for the two of you. What’s it been like creating a new look at an old classic with your longtime friend and fellow creative?

JEF ELLIS: Kelvin and I have worked together on other shows (he also choreographed Damn Yankees for me some years back) and I so wanted to include him in this revival because he was my first Zaza. He’s been so lovely to work with again and has offered so much insight into the character of Zaza/Albin and has helped my new Zaza, Michael Baird move seamlessly into the role. The great thing about Kelvin is I know he always has my back — and I hope he feels the same about me — and I can turn to him and ask for anything and he responds quickly, with complete good humor and confidence. That’s what comes from trusting each other.

JHP: This past week, you posted a funny little happening regarding one of your younger cast members who, when you remarked that he resembled Wynonna Judd, didn’t know who you were talking about. This got me to thinking…what is it about Harvey Fierstein’s book and Jerry Herman’s music that still engages audiences? And are there lessons in LGBT history to be learned by watching this show? 

JEF ELLIS: The stories told in La Cage aux Folles are timeless and universal and they are just as important and vital today as they were when the show opened on Broadway in the 1983-84 season. The music is wonderful — lyrical, optimistic and memorable — and you can’t help but leave the theater singing it. It’s a quintessential Jerry Herman score and it so very clearly comes direct from his heart. Harvey Fierstein’s script is terrifically funny, yet poignant — which is exactly what we have all come to expect from him. La Cage aux Folles is a musical set in a gay nightclub in St. Tropez in 1984, to be certain, but more importantly it’s about family, loyalty and love — however you may define it on your own terms. Jeez. I’m puddling up just thinking about it (which happens more often than not as I get older and more sentimental and nostalgic).

JHP: I Am What I Am,—which closes Act 1 on an emotional high—is, without a doubt, the show’s most beloved tune. Taking a bit of artistic liberty with the lyrics, how would you finish this line…”I am what I am and what I am is _____”?

JEF ELLIS: “…an illusion.” I won’t touch Jerry Herman’s lyrics: they’re perfect and touching and heartwarming. That number is such a powerful moment in the show and an example of the fine line walked by Herman and Fierstein in transferring this story to the musical theater stage. At one moment, La Cage aux Folles is ridiculously funny and flamboyant, and at the next it’s heartbreaking and emotionally draining. In other words, it’s everything musical theater should be.

RAPID FIRE WITH MACON KIMBROUGH, GEORGES IN LA CAGE

JHP: At the top of the show Georges welcomes the audience to La Cage aux Folles saying ‘Open your eyes’ rather than something like ‘Feast your eyes’. It would appear that Fierstein and Herman purposely worded it the way they did, don’t you think? 

MACON KIMBROUGH: I think Fierstein was very deliberate with the book. Perhaps in using “open your eyes” rather than “feast your eyes”, he’s encouraging the audience to go deeper in their usual involvement in a show; to open your mind and, perhaps, take any blinders off and drop any preconceived notions. Not only at the Cagelles – who’s a man?/who’s a woman? – but also to realize that this is a love story even though the main couple is two men, not the traditional male/female. 

JHP: Last year you were part of the cast as Jef directed The Boys in the Band, another vital part of LGBT theatre history. What keeps you coming back to work under Jef’s direction in such shows?

MACON KIMBROUGH: The first show I saw Jef direct was The Little Foxes. Jef knows his material and really has a knack for assembling a cast that works well together. And I noticed that he seems to have control of my biggest pet peeve watching theater: pacing.

JHP: The show takes place during the early 80s, when it first debuted on Broadway. Heck, I remember watching the ‘84 Tony Awards and sobbing during their musical performance. When were you first aware of La Cage and has your perception of the work changed since then?

MACON KIMBROUGH: Yes. We didn’t have the web then so we had to catch glimpses on talk/variety shows or the Tonys. I have always been a Jerry Herman fan. His music goes through me like a knife, but in a good way. He gives his characters a vulnerability like no other lyricist. I remember seeing bits of the show on the Tonys. I Am What I Am was, of course, the show stopper and became the gay anthem. However, when I saw Gene Barry sing Song On The Sand, I knew then that I wanted to play that role and sing that song. I’ve always seemed to take the other route than most people.

JHP:  Speaking of I Am What I Am, when I chatted with Jef, I asked him to take a bit of artistic liberty with the lyrics. So I’ll ask you…how would you finish this line…”I am what I am and what I am is…..”?

MACON KIMBROUGH: I know this may seem strange or even rude, but I might finish “I am what I am, and what I am” with “is nobody’s business”. Hear me out – We judge and are judged, it seems, not just on first impressions but at first glance. If you want to know who I am or who anyone is, take the time. And if you don’t, don’t judge.

RAPID FIRE WITH MICHAEL BAIRD, ALBIN/ZAZA IN LA CAGE

JHP: While you’ve appeared on stage in and around the St Louis area, your performance in La Cage marks your Circle Players debut and also your Nashville area debut as well. How does it feel working not only with Nashville’s oldest continuing theatre company, but also with Jef, one of our community’s most respected and revered directors and critics?

MICHAEL BAIRD: The highlight of being in this show has been working with Jef. I moved to Nashville six months ago, and this was the first show that I auditioned for. Admittedly, I did not know who Jef was when auditioning, but I am thankful that he is my first director in Nashville. He has such a great way of pulling the best attributes out of a person when developing a character. He and I have very similar senses of humor–which has made the process that much easier.  He seems to know what I’m thinking, as I tend to know what he is thinking. It’s great!  I am also very thankful to Circle Players for giving me this opportunity.  

JHP: Zaza might be your Circle debut, but it’s not your first time to appear on stage, or in drag for that matter, having appeared as Frank N. Furter in The Rocky Horror Picture Show at Family Musical Theatre and having starred as Hedwig at Stray Dog Theatre—two St. Louis theatre companies. When, during the process of becoming Zaza, do you feel her presence—the wig, the lashes, the makeup, the body pads, costume…or something else?

MICHAEL BAIRD: In A Little More Mascara, Albin expresses how all of these external attributes contribute to his transformation–the lashes, more mascara, the heels, etc. My transformation into the character is more internal. I feel her ferocity as the key to the big “switch.” She is a performer, and when Zaza is present, there is nothing or no-one who can stand in her way. It is great fun to be a part of that and own the stage.   

JHP: Since you play Albin, and his stage persona, Zaza, I’m wondering, which aspects of each character do you admire most?

MICHAEL BAIRD: I admire Albin’s big heart. It is clear that he has great love for his family, and he will stop at nothing to make sure they are taken care of. Pertaining to Zaza, I will have to stick with the aforementioned ferocity. There is something about being fierce/ferocious and knowing that all eyes are on you. Additionally, her self-assuredness is something to commend. She is so confident in every aspect of her life, and I think that is something that all human beings desire.

JHP: When I chatted with Jef and Macon, I posed the following question to both of them. I think it has potential to be very telling, so I’m asking you and the others as well…”I am what I am and what I am is _____”?

MICHAEL BAIRD:  Persistent. I won’t/don’t stop. Just ask those close to me.  

RAPID FIRE WITH KRISTIAN DAMBRINO, JACQUELINE IN LA CAGE

JHP: While Jacqueline doesn’t appear until about 40 minutes in, the role is a patented scene stealer. Was that potential to ham it up and steal the scene part of what attracted you to the role?

KRISTIAN DAMBRINO: Oh absolutely. When Jef told me she was a manipulative, charismatic and flirtatious club owner AND that the musical is set in France in the 1980’s – that sounded like a sequined dream for this ex-Miss Mississippi. But what sold me on Jacqueline was the opportunity to throw in the French flair and accent. I’ve been studying the language for a year now, extending my own jazz repertoire to include songs from some of my favorite French composers and vocalists. I love the phonetics of the French language, and find there is a lot of built-in comedy in speaking and singing (and flirting) in « Franglais » in this musical. So Jacqueline is for sure my alter ego.

JHP: Why do you think Jacqueline feels such a closeness to Georges and Albin?

KRISTIAN DAMBRINO: Jacqueline’s brilliance lies in her ability to project this superfluous vibe, when in reality there are many layers to who she is and how she relates to all kinds of people. She deflects with humor and dramatic flair, but connects with George’s and Albin’s complexity as individuals, as well as their collective bravery and capacity for love. This perhaps sounds like a world peace kind of answer, and trust me – she LOVES Zaza’s panache. But Jacqueline cannot be put in a box and, to quote the script, « won’t take no for an answer. » This is perhaps how I relate to her the most. And you’ll have to come to the musical to get the rest of the story on this question (insert « ooh la la »). Jacqueline is full of surprises.

JHP: Much like composer Jerry Herman did in Mame with It’s Today, in Act 2 of La Cage, Jacqueline joins Zaza and the entire company for the equally uplifting and optimistic The Best of Times is Now. He was kind of right, wasn’t he?

KRISTIAN DAMBRINO: Yes, he was. I believe in the power of staying present in each moment to really get the most out of life. Whatever that means. If it’s singing, if it’s experiencing pain, if it’s laughing. If we drift too far from this moment, from now, we miss the transformational gift of immersion. Or we forget our lines lol.

JHP: I’ve concluded my interviews with Jef and your other cast mates with this one, so here’s your chance to answer it as well…how would you finish this line…”I am what I am and what I am is _____”?

KRISTIAN DAMBRINO: a Franglish chameleon.

RAPID FIRE WITH ANN STREET-KAVANAGH, MARIE IN LA CAGE

JHP: From the moment Marie enters, her physicality and broad reactions—to everything from Georges’ man-servant, Jacob (Russell Forbes) to Michael Baird’s Albin in disguise as Sybil—establish her as one to watch. Are there Maries in your past upon whom you drew your characterization ?

ANN STREET-KAVANAGH:  Not really. There are a few bits and pieces, but no one in particular. When I first saw myself in costume, I thought of Barbara Bush…just from the neck down! We know she was conservative and that she had a great sense of humor. Marie is both of those things, though she doesn’t let the humor out until she lets her hair down, so to speak.

JHP: Mentioning her costume is the perfect segue to my next question…Mirroring her rather conservative nature, Marie’s wardrobe is among the show’s more conservative, while Zaza and Les Cagelles are dressed to the nines in sparkling gowns courtesy the shows three costume designers Lisa McLaurin, Dan Hayes and Blake Danford. Any specific costume envy?

ANN STREET-KAVANAGH: I am EXTREMELY envious of The Cagelles! All those sequins and spangles! Zaza wears a wig that is reminiscent of Marilyn Monroe when she appears as Sybil. It looks gorgeous! I’m jealous of that, as well!!

JHP: During Cocktail Crosspoint, the chaos of the  imbroglio can be quite confusing if not performed with precision and skill from all involved. What’s it been like rehearing this particular number?

ANN STREET-KAVANAGH: We’ve had a lot of fun with Cocktail Counterpoint!  Leila Jones choreographed it. She used simple steps and blocking that lends itself  to be driven by characterization. Because of this, each of us has been able to put our own stamp on it, adding to the fun!

JHP: Alright. I’ve asked your director and co-stars this next one, so I might as well make it five for five…How would you complete the lyric as it pertains to you…”I am what I am and what I am is _____”? 

ANN STREET-KAVANAGH: This is hard to answer in one word! I’m a mom and a wife. I was lucky enough to have been a full time actor/singer for almost 20 years before having my kids, but I haven’t performed very much in the last 16 years, choosing to stay close to my children. They’re pretty self sufficient now and I’m ready to trod the boards with everything I’ve got! I don’t regret a minute spent with my family, but my inner artistic being has been so neglected that sometimes I’ll cry just hearing an overture. So, to answer…I am what I am and what I am is…energized! I’ve missed it SO much!

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Callum Ammons (center) as Jean-Michel) surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles”

To be a part of the energized, eclectic vibe that is Circle Players’ La Cage aux Folles, CLICK HERE to purchase tickets as the show runs Friday, January 17 through Sunday, February 2 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $15 for Thursday performances and $20 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter 

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.