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Rapid Fire 20 Q with ’Singin’ in the Rain’ director Jef Ellis and cast; at Art Center of Cannon County February 8-23

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Directed by Jeffrey Ellis, Singin’ in the Rain, opens Friday, February 8 at The Arts Center of Cannon County. With Jef at the helm, and a cast including Jeffrey Austin Smith, Lindsey Mapes Duggin, Daxton Patrick and Brittany Blaire Andersen, not to mention the musical is based on one of my favorite mid-century Hollywood movie musicals, you better believe I reached out to Jef and his lead actors for a chance to chat with them in my latest Rapid Fire 20 Q. As usual, Jef did not disappoint, expanding on each question with a plethora of knowledge and expertise. To coin a phrase used frequently by Jef, he’s one of my favorites…at least this week. So sit back, relax and enjoy a peek under the umbrella of Singin’ in the Rain.

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“Singin’ in the Rain” director, Jef Ellis

RAPID FIRE WITH SINGIN’ IN THE RAIN DIRECTOR, JEF ELLIS

JHP: Let me start by saying, because of our mutual admiration of classic movies and theatre, I always love chatting with you about your latest directorial efforts. How did directing Singin’ in the Rain for ACC come about?

JEF ELLIS: To put it succinctly, they made me an offer I couldn’t refuse! I got a phone call asking if I would be interested in directing Singin’ in the Rain and was told that the role of Kathy Selden would be played by Lindsey Mapes Duggin, whom I had cast in her first show when she was eight years old: the balloon girl in Gypsy for my production for Circle Players’ 2000-2001 season.

The chance to work with Lindsey again after almost 20 years made my decision an easy one – plus, she is also my producer for this show, so we’ve really come full circle.

But it’s the score for this show – featuring many of the very best songs by Nacio Herb Brown and Arthur Freed – that really clinched the deal. How could I possibly pass up the opportunity to direct a show featuring some of my all-time favorite songs?
JHP: Speaking of the iconic film, there are certain sequences….the couch-ography during Good Morning and the literal Singin’ in the Rain that audiences expect. How do you manage to honor those beloved moments while also giving the audience something only a Jef Ellis production can offer?

JEF ELLIS: I’m so fortunate to have Maggie Richardson as my choreographer for Singin’ in the Rain…she loves movie musicals as much as I do, so audiences will be delighted by the sense of the familiar that she brings to these iconic musical moments in the show. But, as you would expect, I’ve added some touches of my own to set this production apart from others you might have seen. There are moments when you’ll see affectionate nods to some of the greatest comedy stars of old Hollywood: Buster Keaton, Harold Lloyd, Groucho Marx and Jack Benny inspired me, as have The Little Rascals from the Our Gang comedies and even The Keystone Kops – you’ll see how they figure into the production.

I tend to tell a lot of stories while working on a show, serving as my own dramaturg, if you will. I was surprised how easily these stories came out in unexpected ways during rehearsal: Obviously, I’ve read a lot about the silent film era and the transition to talkies, and I’ve always been fascinated by how “normal, everyday” people became superstars in a time that movies provided an escape from the realities of life.

As you know, I grew up watching classic black and white films and if I had a dollar for every time I’ve sing Broadway Melody to my dog while we’re out walking, I’d be a rich man indeed. Those classic movies fed my imagination growing up and now I get to capitalize on all those vivid images that still are in my heart and my mind.

Our inspiration doesn’t come from just “movie stars,” like Theda Bara, Pola Negri, Gloria Swanson, Norma Talmadge, John Barrymore, Dorothy and Lillian Gish, Douglas Fairbanks and Mary Pickford, John Gilbert and others of their ilk, however; I’ve evoked the names of directors D.W. Griffith, Cecil B. DeMille and King Vidor, producers like Mack Sennett and David O. Selznick, choreographers Hermes Pan and Busby Berkeley, and movie musical icons like Eleanor Powell, Ginger Rogers, Fred Astaire, Dick Powell and more.

All the minutiae and trivia that clutters up my brain is now paying off. In fact, I gave the note to an actor the other night at rehearsal: “Give me more Dick Powell.” He seemed to know who I was talking about and adjusted to give me just that.
JHP: Considering the above-referenced rain, I’d imagine this show could pose a potential technical nightmare. What’s it been like working through that aspect?

JEF ELLIS: No doubt about it, Singin’ in the Rain is a technical juggernaut of a show. Not only must we make it rain onstage – and it does! – but we also have fog, twinkling lights, the Hollywoodland sign in the distance, four (or is it five?) movies we made putting all our own stars to work in film, and so many other moving pieces of an incredibly elaborate puzzle.

Daxton Patrick, our very own Cosmo Brown, is our sound and lighting designer and film supervisor, so having him on-board has been particularly fortuitous: he listens intently, seemingly hearing every idea I throw out and he makes it happen! Our scenic designer Shane Lowery has created an art deco film temple, following up on my idea to create something timeless and very much of the late 1920s, design-wise. Jennifer Rice has given us a stunning black-and-white marble-looking stage floor and an expansive section of sidewalks outside Graumann’s Chinese Theatre, featuring the handprints, footprints and autographs of some of the first stars to be immortalized in the Hollywood firmament.

Another big part of Singin’ in the Rain is costuming. Our actors should be dressed like film stars of the late 1920s and designer Freda Mapes has given them the fashions of the period to help them find their characters more easily.

JHP: Unlike many theatrical musicals, Singin’ in the Rain was first presented as a movie musical in 1952, then adapted for the stage some 33 years later. Did its origin in film affect the way you approached it as a director?

JEF ELLIS: Of course! To be honest, Singin’ in the Rain has never been one of my favorite movies despite the fact I love all the music, which is a cavalcade of classic movie musical songs. As I began to research the show and to familiarize myself with the script (which is essentially the screenplay of the film and, therefore, not a straight book musical), I became enraptured by it and decided the smart thing to do would be to pay homage to all those legendary film personalities I’ve always admired.

Using them as inspiration, I was able to invite my cast to learn more about them, to steep themselves in tales of the golden age of Hollywood so that our production has a firm foundation. It’s been fascinating to introduce some of these movie legends to my cast and to see how eagerly they’ve embraced my ideas for the show.

As a result, I feel like the show – which is really a confectionary delight in many ways – has a more colorful and authentic basis that will resonate with our audiences.

Lindsey Duggin as Kathy in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s KATHY SELDEN, LINDSEY MAPES DUGGIN

JHP: I understand Singin in the Rain marks a bit of a reunion for you and Jef as your director, having been part of the ensemble when Jef directed Gypsy 20 years ago. You were only nine then, but do you remember your impression of Jef at the time, and does that first impression still hold true?

LINDSEY MAPES DUGGIN: Jef is one of those directors that you never forget working with. As a 9 year old just entering this magical new world of theatre, he made an incredible impact on me and what would ultimately become a career choice. What I remember most about working with Jef that first time 20 years ago, was his passion for theatre. He always encouraged the cast to do more than simply recite lines on the stage, but to actually engage the audience, bring them into our “world”, and tell our story. His passion was contagious! He was definitely one of the people that lit that first spark in me and encouraged me along my path. To say that he is the same now is an understatement. I feel like time has only magnified his enthusiasm! Working with him again is so special. It has been one of those “full circle” accomplishments that you don’t get very often in life, and I am thankful to have this experience.

JHP: You’re playing Kathy Selden, played in the film by the fabulous Debbie Reynolds. My love for her is evidenced by a prized possession, my vintage vinyl two-record set signed personally to me from Debbie with the inscription, “Jonathan, All I do the whole day through is dream of you”. So….knowing there are superfans, yours truly among them, How are you making Kathy your own?

LINDSEY MAPES DUGGIN: Kathy Selden is something of a dream role of mine, and I’m so excited to take it on! No one could ever replace or even compare to the iconic Debbie Reynolds in this role. That being said, I have definitely taken inspiration from, and plan on playing homage to her as I take the stage. Making a part your own is one of the biggest challenges an actor can face. Especially with a role that is so iconic! I have tried to bring Kathy to life by adding some of my own personality and really trying to relate to her. Kathy has a dream of becoming a great actress, she is creative and optimistic, and she has the drive and determination to make those dreams a reality. If I can live up to those characteristics, then I can bring some truth to the character and make her relatable to the audience as well.

JHP: Because the show takes place in earlier Hollywood years between silent films and talkies, the wardrobe has gotta be pretty awesome. What can you tell me about the costumes?

LINDSEY MAPES DUGGIN: The costumes have been spearheaded by my mother, Freda Mapes. She has helped costume almost every show I have been a part of since the beginning, and seems to have a natural talent for it. She was so excited to do this show knowing Jef would be directing! This show takes place in the late 1920’s with all the flapper glam and sparkle! It has been so fun to play with accessories like hats, gloves, furs, and feathers. Some of the cast has even gotten involved by adding pieces that have belonged to family members. One of our cast members is using his grandfather’s fedora and another is using some of her grandmother’s jewelry. It makes it so special when you can add personal touches like that.  I asked my mother what her favorite musical numbers have been to costume, and she replied Broadway Melody and Beautiful Girls.

JHP: In addition to Jeffrey Austin Smith as Don Lockwood, you also share the stage with Daxton Patrick as Cosmo Brown. Using only one word each, describe your two male counterparts.

LINDSEY MAPES DUGGIN: I think this may be the hardest question in the whole interview! Ha! This is my first experience working with Austin, and If I had to describe him in one word it would be brilliant! He carries the role of Don Lockwood so well, and It is also really great to work so closely with an actor that you trust. For Daxton, I think my word would have to be remarkable! He has worked as part of the Arts Center staff with me for several months, and already took the stage by storm in the role of Jerry Lee Lewis in our production of Million Dollar Quartet. This was a completely different role for him to take on! He jumped in head first, and never looked back. Let’s just say that I am an incredibly lucky lady to have two wonderful guys by my side in this show!

Brittany Blaire Andersen as Lina in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s LINA LAMONT, BRITTANY BLAIRE ANDERSEN

JHP: I love Lina Lamont, Singin’ in the Rain’s silent film star who probably should remain silent due to her Betty Boop-like voice. How much fun are you having playing her?

BRITTANY BLAIRE ANDERSEN: I am LOVING being a villain! I’ve never played such an unlikeable character before. It was a challenge at first, but I’m finding so much more depth to her in every run through. Her voice is soooo annoying! I didn’t have a hard time finding her voice, that was the easy part – incorporating her annoyingly nasal voice into a song was the biggest challenge for me! Every time I hear myself I apologize to everyone! Haha. But overall, I’m having a blast stretching myself into this larger-than-life character, while still trying to keep her grounded and authentic.

JHP: Like Jeffrey and Lindsey, you’ve also performed under Jef’s direction, having starred as Sally Bowles in Chicago a couple years back. Since Jef is notorious for proclaiming his ‘favorites’, what’s your favorite thing about him as a director?

BRITTANY BLAIRE ANDERSEN: I love Jef! I’m honored that he has enough faith in me to cast me in such challenging roles! I think my favorite thing about him as a director is how passionate he is about theatre as an art form, as well as the historical knowledge he has about the shows he directs. Knowing the historical context of any production, within its story as well as within the time the production was conceived, is hugely important as an actor.

JHP: One of my favorite aspects of the stage version of Singin’ in the Rain is the presentation of silent movies that’s usually included. I guess I love it and this musical in general, because it combines my two favorite things…movies and live theatre. I saw on social media that you guys shot your silent scenes recently. What can you tell me about that shoot day?

BRITTANY BLAIRE ANDERSEN: Isn’t that such a cool aspect of this show? That was such a fun day! We went to Centennial Park and shot a few scenes. Some lady asked us to take a pic with her, haha. We were quite the spectacle. We then finished up in Woodbury. I don’t think I’ve laughed that hard at a film shoot, ever! It was so much fun! Definitely a highlight of this production. And Dax did SUCH an awesome job filming and editing! I can’t wait for everyone to see it!

JHP: Alright…my last question with you, so it’s multi-part one…The soundtrack to Singin’ in the Rain is simply magnificent. Prior to joining the cast, did you realize most of the tunes had appeared on other films years before appearing in the 1952 classic? Did you go back and check out clips of any of them? And lastly….what’s your favorite musical moment in the show?

BRITTANY BLAIRE ANDERSEN: I have always loved this musical and its music. This may have been one of the first musicals I’ve seen in my life. (Thanks mom and dad!) I had not realized the songs were in other films! I’m definitely going to go check that out NOW! My favorite song from this show has always been Good Morning! It’s just such a well-written song and such a great moment in the show. Of course, Singin’ in the Rain is a classic and Austin does such a fantastic job with it!

RAPID FIRE WITH SINGIN’ IN THE RAIN’s COSMO BROWN, DAXTON PATRICK

JHP: You’re playing Cosmo Brown, Don Lockwood’s best pal. What traits of the character do you hope others see in you?

DAXTON PATRICK: Cosmo Brown is a very goofy and fun loving character but he has a serious side when it comes to his work. I hope that the audience can see him draw that fine line because in this story Cosmo drives all the creative decisions that are made to make the travesty that is the Dueling Cavalier into the masterpiece that the Dancing Cavalier is. If you pay attention, this story shows the rise and struggle of certain people in the movie industry when talkies took storm in the late 20’s and I would like to think Cosmo was one of those to rise to the occasion.

JHP: I understand you came into the role after a necessary cast change. What about your co-stars made that an easy transition?

DAXTON PATRICK: How I came into this role was completely unexpected. I started as only the sound designer for the show when I was asked to be in ensemble and before I knew it I was one of the 3 main characters. It was scary but I was up for the challenge. My costars have helped ease me into this with their kindness and encouragement and even the production members have helped me achieve this role with their belief in me and positive words. I am thankful for those talented people who I have the honor of sharing the stage with.

JHP: In addition to playing Cosmo, you’re also the show’s technical director. As I mentioned when I spoke with Jef, it’s definitely a tech-challenging show. What technical aspect are you most pleased with?

DAXTON PATRICK: I had a hand in lighting, sound, and video programming of this show and the script calls for tons of technical aspects but considering it is a show about movies it seems fitting. As a recent graduate of the MTSU film program, I couldn’t have graduated without my knowledge of technology. Film is very much so reliant on technology so it makes sense that a musical about such a thing is so technically challenging. I am most pleased with how the old films that will be projected came out. It’s the little details such as the sound quality and the frame rate of the films that help throw the audience back into the early 20th century cinemas.

JHP: A key element in pulling off technical marvels in a stage show must involve plenty of consults with the set designer, in this case, Shane Lowery. What can you tell me about Shane’s design?

DAXTON PATRICK: I mostly ran into dealing with the set when it came to two things. The rain mechanism and the lighting design. The rain mechanism was built and designed by Shane himself. I just helped install it, but I did have to set some boundaries before the machine could even be built. I had to study the grid above the stage to decide where the best place would be to place this type of thing. Where we could hang something that sprayed water that was far enough away from all the tech we had mounted in order to not break any of it. Shane’s rain mechanism works wonderfully with his beautiful set. His set design made it easy to design the lighting for the show. The simplistic but elegant design left me plenty of options to do what I would like with the lights. Considering there was no color to the set, it left the color up to me with the lighting design. I didn’t have to worry about colors from the LEDs clashing with certain colors on stage and it really leaves me open to the entire color spectrum. Everyone will be dazzled by Shane’s amazing design!

Dax Patrick and Austin Jeffrey Smith as Cosmo  and Don in “Singin’ in the Rain” (all photos by John Goodwin Photography)

FIRE WITH SINGIN’ IN THE RAIN’s DON LOCKWOOD, AUSTIN JEFFREY SMITH

JHP: Since I only have four questions with each of you and you’re my final interview this go-round, let’s start with a three-parter. How many shows have you appeared in under Jeff’s direction?….what keeps you coming back to work with him?…and…are you indeed his favorite?

AUSTIN JEFFREY SMITH: Singin’ in the Rain will be my seventh show under the direction of Jeffrey Ellis. Many people, both professional and community theatre alike, when asked about why theyPersonally, theatre has changed my life by story telling. Every musical is a story in which the author(s), composer(s), and choreographer(s) have combined their full creative expression to create such a wonderful, transformative world in which an imaginative, sometimes true, story comes to life.

Jeffrey Ellis as a director does this wonderfully. In every show I have been able to work with him, he has always strived to get the story to come alive more than just people on stage, in costumes, speaking lines with expression and randomly dancing.

Jef’s ability to transport an the entire audience night after night into any world comes from his direction of the actors and the use of the set. His collaboration with the set designer has never ceased to amaze both actors and audiences in the ability to time-travel and place you in the story, before a word or note had even been struck. Jef also treats everyone with the attitude and mentality of professionalism. Whether an actor is striving to become a professional, is a professional or just enjoys doing community theatre as a hobby; you will get treated no less than a professional actor.

Jef has said many, many times in various rehearsals for shows, that Theatre is a wonderful thing. Where else can you go to escape the world for two or threes hours, not even batting an eye at how long you have been sitting, and leave with a completely different demeanor or idea of the world than when you entered? This is the true magic of theatre, something Jef achieves through not only strong direction but also by entrusting in his cast and crew to come together and present a collaborative effort of a show and our art. This is why I love any chance to work with Jef; his professionalism, passion for his art and theatre, and his transformation of script to stage.

Now, in regards to being “Jef’s favorite”, I must say that anyone who knows Jef, knows he loves people. True favoritism is not shown in his personality. So whether I am his favorite, the world may never know! However, I will say this; I am honored to work with him as one of my mentors and proud to call him a fierce friend.

JHP: This show is physically demanding.  How much time will you have put into choreography rehearsal and prep by opening night?

AUSTIN JEFFREY SMITH: We have been in rehearsals for a little over two months but including outside dance practice, line memorization,  and musical practice it’s a lot! The real people are our set builders, costume designers, and musicians. They are really the ones who put in way later hours, sometimes all night just to get the show ready. When a cast leaves rehearsal one night and comes back the next night to an almost complete set, believe you me it is nothing short of impressive and gratefully appreciated. The combined amount of time we all have put into this show is unfathomable  but in the end our grand result is worth every second!

JHP: Be honest, prior to being cast, had you ever tried a little Singin (or dancin) in the Rain?

AUSTIN JEFFREY SMITH: I’m sure in my youth I played and danced in the rain at some point in my life. I can recall a time in college where during a performance outside, it began to rain. As I’ve come to learn, both in life and stage, the show must go on! Rain has never bothered me, other than being cold when you walk into the grocery store and suddenly your shivering. If this lovely show, as well as portraying Don Lockwood has taught me anything, it’s that singing in the rain is much like stopping to smell the roses, it is something in life that’s worth doing again and again.

JHP: As mentioned above, Don Lockwood, the role you’re playing in Singin in the Rain was made legendary by Gene Kelly in the original film. What’s it like putting your own spin on such an iconic character?

AUSTIN JEFFREY SMITH: It is always an amazing ride to become any character, but this one has been incredible. Don goes through a lot of emotions throughout the show, as we all do in one day sometimes. Throwing myself into Don Lockwood is no less of an emotional rollercoaster every night but why do we ride such a thrilling ride? For the fun of it!  As you put it, Gene Kelly’s performance as Don Lockwood is legendary, and no less some big shoes to fill. For me, Don has a special place in my heart because of his charm and charisma. Old Hollywood films always have these big over-lavished environments and emotions that are true to the feeling. Making this believable in 2019 is nothing short of difficult as movies, tv series and books today have made old romances like Singin’ in the Rain laughable or silly to most. Yet, the emotion is just as strong and whether people admit it or not it’s how we all feel. Jef opened my eyes to something about musical theatre in our first production together but it especially rings true with old movie musicals. When a person or an ensemble, be it stage or movie musicals, suddenly burst into song, many find that strange and non-life like. Really though, it is just the absolute explosion of emotion. Singing and dancing comes when emotion can not be expressed any other way but to expose oneself entirely. Many fans of Singin’ in the Rain will recall the song You Were Meant For Me. This is a song in which Don does just as I’ve described. I won’t go into any more details of course, you’ll just have to come see our show to find out!

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Beginning Friday night, February 8, audiences will have a chance to revel in the joys of Old Hollywood as only director Jeffrey Ellis could envision when Singin’ in the Rain debuts at The Arts Center of Cannon County (1424 John Bragg Highway, Woodbury, TN) with performances Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. through Saturday, February 23. Tickets are $15 for Adults, $13 for Students and Seniors (65+) and $12 for groups of 10 or more. CLICK HERE for tickets or more information or check out The Arts Center of Cannon County online or on Facebook.

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

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

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

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

JHP: Tell me about Belle?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: Tell me about Madame De La Grande Bouche.

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

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

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

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

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

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

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

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

JHP: What do we need to know about Lumiere?

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

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

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

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

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

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

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

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

JHP: Who is The Beast to you?

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: Dreaming of a White Christmas? Look no further than the high-energy stage version of Irving Berlin’s ‘White Christmas’ tapping its way across the country and into audiences’ hearts this holiday season

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Irving Berlin’s ‘White Christmas’ stars Kelly Sheehan, Jeremy Benton, Sean Montgomery and Kerry Conte, onstage in Nashville at TPAC’s Jackson Hall as holiday tour continues

With it’s lavish sets, gorgeous costumes and top-drawer cast, the 1954 film Irving Berlin’s White Christmas, which starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney, has been a holiday tradition for…well…64 years. Moving the magic from screen to stage more than a decade ago, playwrights David Ives and Paul Blake adapted the story into an equally resplendent stage musical. The show is currently in Nashville at TPAC’s Jackson Hall through Sunday, November 18 as the national tour makes its way across the country guaranteeing audiences everywhere a glistening, gleaming, smiling, singing, happy, tapping, merry-making White Christmas.

While I wasn’t around in 1954 for the initial release of the film, an annual viewing has become somewhat of a holiday tradition since first discovering it by way of a late-night TV broadcast some forty years ago on Christmas Eve while staying up late to help my mom wrap those last few gifts. Fast forward to a few years back when the national tour of the stage musical played TPAC. I was in heaven, after all, what could be better than a glorious new musical featuring a soundtrack jam-packed with Irving Berlin tunes, lovingly based on a classic movie? Mind Blown.

So, how do you replicate the on-screen chemistry of Crosby and Kaye playing ‘odd couple’ best pals, let alone Clooney and Ellen as squabbling sisters? The simple answer, you cast Sean Montgomery, Nashville’s own Jeremy Benton (back for his fifth time with the tour), Kerry Conte and Kelly Sheehan. Montgomery smoothy fills the Crosby bill while Benton eases into the goofiness of Kaye while elevating the role with some of the most impressive dance moves I’ve ever seen onstage. As for the ladies, Sheehan’s Judy might look more like Clooney than Vera-Ellen, but her dance moves rival those of her character’s creator. At times Conte’s singing voice is blissfully similar to that of Rosemary Clooney, but there’s also times, especially in her line delivery, that she possesses a more regal intonation reminiscent the equally talented chanteuse, Peggy Lee. Just another interesting fun fact…when the film was released, Clooney was under contract with Columbia Records and was therefore prohibited from appearing on the film’s official soundtrack record album release. Instead, Decca Records brought in Lee to record vocals for the vinyl. (I warned you it’s my favorite).

Just as the film, White Christmas begins in 1944 near the action of a WWII battlefront at a drab army camp as besties Phil Davis (Benton) and Bob Wallace (Montgomery) attempt to bring holiday cheer to their fellow soldiers. Amidst the wartime setting, Benton and Montgomery perform heartwarming versions of composer Berlin’s classics, Happy Holiday and the title tune, White Christmas.

Conrad John Schuck and Karen Ziembra as General Waverly and Martha Watson in Irving Berlin’s ‘White Christmas’

As the boys wrap their battlefront performance, their gruff commanding officer, General Henry Waverly (Conrad John Schuck) emerges initially seeming to break up the fun, when in truth, he thanks them for their little Christmas show and wishes his men well with a speech about his hopes for them ten years in the future. Shuck, who now calls nearby Franklin, TN home, has enjoyed a prolific career in TV, film and on stage. Among his many memorable roles, he appeared in several Robert Altman films including M*A*S*H, played Sergeant Enright on TV’s McMillan & Wife, brought Herman Munster back to life in the 90s starring as the bolt-necked patriarch in the updated series Musters Today, played a comedic robot cop in one of my cherished childhood favorites, Holmes and Yoyo. Oh, and did I mention he costarred as Col. Wm F. Cody alongside Reba in her Broadway debut as Annie Oakley in Annie Get Your Gun? But I digress.

Ten years in the future it is, as action then fast-forwards to Christmastime1954. This finds Wallace and Davis, now a hugely successful performing duo, about to appear on The Ed Sullivan Show. The stark contrast from the show’s more somber setting to the vivid set and costumes of the reprise of Happy Holiday and the toe-tapping, mood-lifting Let Yourself Go put me in mind of Dorothy’s arrival in Oz as she emerges from the black and white emotionless Kansas to the vibrant wide-eyed extravaganza that is Munchkinland. This also reminded me of a bit of useless trivia. White Christmas, the film, wasn’t just shot in spectacular Technicolor. It was also the first Paramount Pictures movie to be released in VistaVision, a then-new wide-screen format that enhanced the projection area of standard 35-mm film. Think of it as mid-50s version of 4K.

Benton and Montgomery bring 50s technicolor to life onstage in ‘White Christmas’

That said, the musical’s scenic designer, Anna Louizos and costumer, Carrie Robbins brilliantly pay homage to the beautifully dreamlike, overly saturated full spectrum of colors presented in the original as they dip their respective pallets into nearly every color in the rainbow helping to create a living technicolor spectacular.

Colors aren’t the only thing saturating White Christmas. It’s also full of Berlin tunes, so much so that even the incidental musical will have Berlin-philes beaming as they hear bits and bars from several of the legendary composer other notable tunes. While the show is indeed tune-full, it’s also satiated with patented boy-meet-girl (with complications) saccharine plots. As mentioned above, this time we’ve got army buddies Bob Wallace (Montgomery) and Davis (Benton) and their chance/fateful meeting with Betty and Judy Haynes (Conte and Sheehan, respectively).

From the beginning there’s not just sparks, there’s fireworks as Montgomery’s Wallace and Conte’s Betty lock horns while Benton’s Davis and Sheehan’s Judy see through the resistance and set their sights on matchmaking. This leads to a clever duet between Montgomery and Conte. Clever because they’re each in their own dressing rooms, he, backstage at The Ed Sullivan Show and she, in her dressing room at a local nightspot while both contemplate the shared unpredictability of  Love and the Weather (one of many Irving Berlin tunes not originally featured in the film, but added for the stage musical adaptation).

Conte and Sheehan recreate the iconic ‘Sisters’

Next up is a spot-on recreation of one of the film’s most iconic scenes, Sisters in which Sheehan and Conte, twinning in gorgeous heaven-blue dresses with matching feather fans wax lovingly on the bond of sisterhood, a bond so strong that only one thing can come between the two…when one sister attempts to even think of going after the other sister’s man. Bravo to Randy Skinner, the show’s director and choreographer, for finding the perfect balance between honoring the iconic moments like this, while breathing revived life into other segments of the show. Not gonna lie. I may or may not have teared-up during this number…and a few others throughout the show.

The Best Things Happen While You’re Dancing offers Benton and Sheehan a chance to sway lovingly across the floor. The staging of this number is beautiful as the set and ensemble disappear while Benton and Sheehan’s Phil and Judy escape their surrounding in a dreamlike stage induced by the peacefulness of dancing cheek to cheek.

Any time I talk about White Christmas—you’d be surprised how often that is—I inevitably mention my hands-down favorite moment in the film in which Phil has hoodwinked Bob into a train trip to Vermont to unknowingly join the Haynes Sisters as they perform a Christmas Eve show at an inn (which just so happens to be owned by their former General). In the film, clever cinematography transforms a table napkin, an advert and pine needles into a snow-scene all atop a table in a boxcar as the quartet ride the rails. The scene is sweet as they sing of Snow, but the whole sequence only lasts about two minutes. For the stage musical, it’s an all-in as the ensemble packs the boxcar for an expanded version of the song. It’s as if Skinner is giving me my own special holiday gift every time I see this show.

On the subject of gifts to the audience, enter Tony-winner Karen Ziembra as Martha Watson. Played by Mary Wickes in the film, Martha is The General’s right-hand-woman as she oversees the day to day running of the lodge and, at least for the holidays, helps him care for his visiting granddaughter, Susan (a role shared during the tour by Emma Grace Berardelli and Kayla Carter). Ziembra, like her film-version predecessor, lights up the stage and steals the spotlight with every snide remark, every double-take and every movement, but when she belts out the opening note of her sole solo Let Me Sing and I’m Happy…DAMN! That’s how you do it, folks. Not to be too outdone by a Tony-winner, later in the show, young Susan gets her chance at the tune, to audience-cheering results.

Act 1 ends with what is easily the moral of the show, Count Your Blessings Instead of Sheep and the optimistic and gorgeous Blue Skies.

While Act 1 contains enough punch to be a show all its own, Act 2 somehow amps up the thrill of it all as it opens with a no-holds-barred I Love a Piano. A mind-boggling number than clocks in somewhere around a full nine minutes of tap triumph featuring Benton, Sheehan and a dozen ensemble members in perfect step. And YES, on opening night of the Nashville leg of the tour, several audience members leapt to their feet for a spontaneous mid-show ovation in appreciation.

Other Act 2 highlights include a hilarious gender-bending Sisters reprise courtesy Montgomery and Benton, Sheehan’s breathy, bluesy ballad, Love You Didn’t do Right By Me that morphs into a duet with Montgomery on How Deep is the Ocean, and of course the magnificent film-tactic finale. Spoiler Alert…YES, it snows on stage!

Irving Berlin’s White Christmas continues in Music City at TPAC’s Jackson Hall with five more performances thru Sunday, November 18, with a Friday evening performance at 8p.m., Saturday matinee at 2p.m. and a Saturday evening performance at 8p.m., a Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m.. For more information, CLICK HERE. TPAC is offering two ticketing specials for the remainder of the run. Rush Tickets are available for $30. Simply visit the box office 90 minutes prior to curtain and inquire about availability. There’s also a special on groups of four tickets, just give the promo code JOLLY.

Following the Nashville leg of the tour, White Christmas heads to Tulsa, OK from November 20-25, Atlanta, GA from November 27-December 2, Denver, CO from December 5-15, Orlando, FL from December 18-23 and finishes out the holiday season in Miami, FL, December 20-30. CLICK HERE for ticket links to all remaining cities. To keep up with all things White Christmas, CLICK HERE or follow the tour on Facebook, Twitter and Instagram.

In addition to White Christmas, TPAC’s holidays are in full swing as they host a wide variety of Christmas-themed shows including: Broadway Princess Party, Nashville Rep’s 10th and final year of A Christmas Story, The Hip Hop Nutcracker, A Drag Queen Christmas, Nashville Ballet’s annual presentation of Nashville’s Nutcracker and Peter Pan and Tinkerbell: A Pirate Christmas. CLICK HERE for the full calendar, dates and ticketing information. Follow TPAC on Facebook, Instagram and Twitter.

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

 

Rapid Fire 20 Q with director and cast of Nashville Repertory Theatre’s ‘A Doll’s House, Part 2’; at TPAC’s Johnson Theatre thru November 3

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Directed by René Copeland and starring Cheryl White, Galen Fott, Corrie Green and Rona Carter, Nashville Repertory Theatre’s presentation of A Doll’s House, Part 2 is currently on stage at TPAC’s Johnson Theatre thru November 3. While Nashville Rep’s production marks the play’s regional premiere, playwright Lucas Hnath’s sequel to Henrik Ibsen’s classic debuted on Broadway starring Laurie Metcalf just last year.

Making Nashville Rep’s regional premiere run even more special, the women of the cast will stick around following this Saturday’s October 27 7:30p.m. performance as they are joined by Nashville businesswomen Bonnie Dow, Lucia Folk, Jill McMillan and Joelle Phillips for a special post-show talkback, Women Talk Back, during which the audience will have an opportunity to pose questions as the cast and special guests discuss feminism as it relates to Ibsen and Hnath’s characters from the 1800s and today.

In anticipation of the special Women Talk Back event and the show’s ongoing run, I recently had an opportunity to chat with the entire cast of A Doll’s House, Part 2…including the show’s lone male star…as well as Copeland, who’s not only directing the show, but who is also Nashville Rep’s longtime Producing Artistic Director, for the latest installment in my recurring interview feature, Rapid Fire 20 Q.

The cast and director of “A Doll’s House, Part 2”. From left: Rona Carter, Cheryl White, René Copeland, Galen Fott and Corrie Green

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RAPID FIRE WITH RENÉ COPELAND, DIRECTOR OF ‘A DOLL’S HOUSE, PART 2’

JHP: From a director’s standpoint, what attracted you to A Doll’s House, Part 2?

RENÉ COPELAND: This play fires on several cylinders for me.  I love good dialogue, and in this play the dialogue is smart and funny, and has a unique tone to it—it is a sequel to a play set in the late 1800’s, yet it uses contemporary vernacular so it sounds incredibly modern.  On the page the dialogue is sort of mapped out like free verse poetry, so working with the actors to unlock the code, like a musician unlocks the code of a music score, is great fun.  It’s hard and also fun. I also appreciate the particular sense of humor in the play, and I always love a play that will use humor to explore provocative ideas.  I like plays that make you laugh AND think, so that when you leave the theatre you feel really energized. And this play is very demanding of both me and the actors, which I like.  I think theatre artists working on this play really have to work at the top of their game—each character is textured and complicated and each scene is crafted to work a certain way that you have to shape very carefully.  And then, as a woman I am of course interested in the question of how we balance our lives between the things we do for those we love and the things we do for ourselves—what is expected of us culturally and what we expect of ourselves. The questions posed by this play are completely about now.

JHP: Let’s play a little word association. Using only a single word, how would you describe each of your cast members in regard to their character portrayal in A Doll’s House, Part 2?

RENÉ COPELAND:

Cheryl as Nora—stunning; Galen as Torvald—compelling; Rona as Anne Marie—irresistible; Corrie as Emmy—intriguing

JHP: From rehearsals to now, is there a theme, scene or ideal in the play that’s come to more prominence that you’d originally thought when you took on the project?

RENÉ COPELAND: Nora tells a story near the end of the play about how difficult it is to hear your own voice, after a lifetime of not making a decision without wondering what “he” would think. Cheryl’s way of telling this story has moved it way beyond words on a page and it has come to have special meaning to me.

JHP: What can you tell me about the talkbacks scheduled to follow certain performances during the run?

RENÉ COPELAND: I love Talkbacks for any show, but this show is particularly conversation-inducing. If you come on a talkback night and stick around for a few minutes to chat with us, I know you’ll be glad you did.  You are going to have a lively conversation about this play in the car on the way home anyway, so why not stick around and have that conversation with us, the director and the actors?  Plus it’s really great for us to get a chance to hear real time feedback—it makes us all better at our jobs.  So talkbacks actually contribute to the artistic process. It’s very informal and it usually ends up being a fun sharing session, with plenty of behind-the-scenes insight and gossip along with serious exploration of ideas.

RAPID FIRE WITH CHERYL WHITE, NORA IN ‘A DOLL’S HOUSE, PART 2’

JHP: In the fifteen years that has passed between the story depicted in Henrik Ibsen’s original and Lucas Hnath’s A Doll’s House, Part 2, has A) Nora changed, or B) simply cultivated characteristics that were already present?

CHERYL WHITE: I’m going to pick C) All of the Above!  Nora is now worldly, no longer naive about the workings of society.  She is self-reliant and passionate.  She found her voice at the end of Ibsen’s play and has nurtured it and it now sustains her.  She perhaps has more work to do to understand the ramifications of her newfound freedom on those she left behind.  And when thrust into an old environment with old relationships, she definitely stumbles into some old pitfalls!

JHP: Taking place in the late 1800’s requires period-costumes. What can you tell me about Nora’s  wardrobe, designed by Trish Clark?

CHERYL WHITE: One of the truly exciting aspects of this play is that the costumes and set reflect the period, but the dialogue and physicality (especially for Nora) are contemporary.  So even though I wear a corset and numerous heavy layers (petticoats and over-skirts and such), I strive to speak and move as a contemporary woman.  Not only does the wardrobe inform how I move, it also functions as a tangible obstacle for Nora and as a metaphor for the societal constraints she rails against.

JHP: Much of the play revolves around confrontation between Nora and those she left behind fifteen years prior. How do you prepare yourself for those heated scenes?

CHERYL WHITE: Each of the four characters in this play has a lot to lose.  Their personal stakes are high.    So it’s imperative that I really listen to what’s being said to Nora, that I never lose sight of what I, as Nora, need to win, and finally, that I breathe deeply.  Because when Nora let’s go, she really let’s go!!

JHP: What has surprised you most about this play?

CHERYL WHITE: That I agree with all four characters in the play.  Their viewpoints are wildly divergent, and yet I find everything they say to be true and valuable.

RAPID FIRE WITH GALEN FOTT, TORVALD IN ‘A DOLL’S HOUSE, PART 2’

JHP: What can you tell me about Torvald?

GALEN FOTT: Judging only from Ibsen’s play (or “Part 1”, as we call it!), I think you might say that Torvald is a stifling, controlling, chauvinistic coward. But it’s also true that he is simply playing out the role that is expected of him by the paternalistic society of 1870s Norway. Then Nora walks out, and suddenly he’s a single father of three (albeit with a nanny-in-residence). But Nora’s leaving shook Torvald to the core. Now let’s flash forward to “Part 2”, where we meet him again 15 years later. I think it’s clear that Torvald has been “working on himself” in the intervening years, trying to figure out what happened, trying to work out what’s right and wrong, what’s fair and unfair. There are moments in “Part 2” when “old Torvald” reemerges, but he’s at least trying to evolve.

JHP: While Torvald is perceived as a successful businessman in Ibsen’s work. Nora having left him in the original piece definitely had its affect on him. As an actor, how have you found a balance in playing an outwardly strong man dealing with that inner brokenness?

GALEN FOTT: In this play, we see almost exclusively the private, “broken” side of Torvald. However, I do relish my first 30 seconds onstage, before Torvald realizes Nora has returned. For that half-minute, it feels like Torvald is in a completely different play from everyone else, a mundane tale of a banker who has dashed back home to retrieve some papers he forgot. Little does he know…

JHP: To some purist, the entire notion of a Part 2 to Ibsen’s classic might, at first, seem audacious at best. What is it about playwright Luca Hnath’s continuation that completely lives up to the iconic original?

GALEN FOTT: While Hnath’s play is written completely in the modern vernacular, there’s nothing anachronistic or “cheeky” whatsoever about the story and ideas. Hnath addresses all the same issues that Ibsen raised, and does so with complete fairness and seriousness. (Not that the play isn’t very funny at times!) And much of Hnath’s writing, particularly Nora’s gorgeous final monologue, I wouldn’t hesitate to call “worthy of Ibsen”.

JHP: In the conclusion of the original, Nora walks out on Torvald and their three children. In Part 2, the cast is made up of yourself, Cheryl White as Nora, Rona Carter as Anne Marie, the family Nanny and Corrie Green as Torvald and Nora’s daughter, Emmy. I gotta know…Do we find out what happened to the other two children?

GALEN FOTT: Well…not so much. Ivar and Bob would be around 22 and 20, respectively. From what Emmy says about them, it sounds like Bob is a bit emotionally unstable, but Ivar is “the opposite of Bob in every way”. And that’s all we learn! I think “Part 3” needs to focus entirely on poor Bob, don’t you?

RAPID FIRE WITH CORRIE GREEN, EMMY IN ‘A DOLL’S HOUSE, PART 2’

JHP: You play Emmy, one of Nora and Torvald’s three children she abandoned as depicted in the final scene of Henrik Ibsen’s original. Part 2 picks up fifteen years later. In finding your voice for Emmy, did you imagine certain mother/daughter circumstances that she missed that might have molded her current fiber?

CORRIE GREEN: I think in my approach of the character the whole concept of becoming a woman without your mother was something I was drawn to. Certainly there are thousands of moments daughters spend with their mothers that shape who they are emotionally. That being said the idea that Nora was absent for Emmy’s first crush, first boyfriend, first fight with a close friend, becoming a woman, etc. were moments that I knew going into my preparation that had to have shaped Emmy. I didn’t think that they were moments that would fuel a dislike for Nora, however it made me think of who those moments were left to and all of those things were left to Torvald. We know from the text, both A Doll’s House, and A Doll’s House Pt.2 , that Torvald is not someone who is going to be extremely emotionally nurturing when it comes to his children. Thus approaching Emmy became a balance of figuring out what emotional support, and representation did she have growing up and how does that effect her. Certainly you will find that Emmy is simple in her emotions towards people and that she has no “animosity” towards Nora, but in order to understand that I had to imagine growing up without the emotional support of a mother.

JHP: In a scene from the play, Emmy confronts her mother, Nora, about having been left with her father and siblings. She says something like, “I think in a lot of ways things turned out better because you weren’t around.” Why do you think Emmy feels that growing up without her mother was to her advantage?

CORRIE GREEN: So on the positive side of growing up without a lot of emotional support is this idea that Emmy grows up intellectually much faster than the average kid. I think this is because of the fact that she had to learn everything sort of on her own. So she develops this strength in doing things herself, and finding things out for herself that wouldn’t have happened had she not found out about what happened to her mother. I think Emmy feels she has conquered the dark truths of the world because of the fact that she copes with problems intellectually and not emotionally. She doesn’t allow things to defeat her like her peers, and I think this is something Emmy prides herself on.

JHP: On the flip side, what negative affect, if any, did being raised by Torvald alone have on Emmy?

CORRIE GREEN: I think that one of the downsides is the idea that Emmy has on how to communicate with people, and primarily the sort of emotional numbness she has towards various things. I think a lot of this has to do with the fact that Emmy was raise viewing the post-Nora Torvald. That Torvald didn’t tell her anything about her mother, didn’t keep any of her mothers things, is known via Ibsen’s play to believe that the raising of children should be left to the mother, the depression that overcomes him post-Nora that numbs him to the idea of ever loving again. All of these characteristics result in a child who is brought up to become emotional but only on the surface, and to sort of have some wiring issues when it comes to her ideas on the world. Not having a mother around and only being raised by a father who believed in the norms of the time means that in a way Emmy wasn’t nurtured. Which I think comes across on the stage in various ways during her interaction with her mother. One of which being in the way she chooses to address her father as “Torvald”, which isn’t a very friendly, family driven address for ones dad.

JHP: Often, you hear about actors avoiding each other backstage or during off-time to aide in the believability of their onstage tension. With so much of A Doll’s House, Part 2’s interaction being confrontational, has that been the case for you and your cast mates, or is there a sense of family among you, in spite of the intense action on stage?

CORRIE GREEN: Oh no, I think the cast has formed a family of sorts. I don’t know what I would do if they weren’t so kind and willing to help me transition into Nashville and into the life as a working Actor. As someone, who just graduated and is from a different state, the fact that everyone was willing to take me under their wing including Rene and our tech crew was extremely comforting! Although, we don’t get to see Galen much before the show because all of us ladies are getting ready for the show in our dressing room, and he has to spend pre-show in his own dressing room by himself because he is the only guy. What a problem to have. But other than that we are all kind to each other, we talk with each other, and I love them all dearly. Its a great cast with all around good vibes!

RAPID FIRE WITH RONA CARTER, ANNE MARIE IN ‘A DOLL’S HOUSE, PART 2’

JHP: What does the audience need to know about Anne Marie?

RONA CARTER: That she’s loyal. Loving. And has had to deal with a lot in her lifetime. And, if there were a phone in those days you could pick it up call her and she’d be there in a heartbeat to help.

JHP: Early on in the play, upon Nora’s unexpected return, as Anne Marie, your greeting to her isn’t exactly what you’d call warm. That gives the audience an immediate sense of Anne Marie’s take-no-guff character. How much fun is that to play?

RONA CARTER: Rona is personally not like Anne-Marie at all. So it’s a lot of fun to play a character like that and, to some audiences it’s hilarious and others it seems a bit disconcerting because of our sentimentality. One of my first lines is you got a little fatter and you got a little older. Just telling it like it is.

JHP: Nashville Rep has a reputation for presenting some of the most gorgeous sets around town, courtesy of set designer, Gary Hoff. What can you tell me about the set of A Doll’s House, Part 2?

RONA CARTER: Gary always creates the  most wonderful environments to play on as an actor. This one is beautiful and has an element I’ve not seen in any others that he’s created. It has a raked stage which means it starts at stage level at the front and works up to 2 feet in the back, so it’s tilted. It’s very presentational and it’s a struggle for the characters to work in that environment. Just as we struggle in life with all her questions in relationships. And, just like the Kleenex box from the 2000s on the stage it gives one the element of something very unique at play here.

JHP: With so much of the play focusing on Nora’s actions in the first and their subsequent affects on her and the family, what do you think audiences will take away from the show?

RONA CARTER: Every audience members going to have a different view on all four characters I think. This is one of the few plays I know of that I’ve been in where you’re going to see a clear cut view from each of the four characters in this play. Each having a strong reason for doing and being who they are. And it could be any of these audience members in part or in whole. And I think people have long discussions about their relationships with others. Marriages. Dating. Loving.

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Galen Fott and Cheryl White in a scene from Nashville Rep’s “A Doll’s House, Part 2”

Audiences will indeed have their chance to peek inside A Doll’s House, Part 2 as the show continues through Saturday, November 3 with performances Friday, October 26 at 7:30p.m., Saturday, October 27 at 2:30p.m. & 7:30p.m., Wednesday & Thursday, October 31 & November 1 at 6:30p.m., Friday, November 2 at 7:30p.m. and Saturday, November 3 at 2:30p.m. & 7:30p.m. Tickets range in price from $25 to $52.50. CLICK HERE for tickets or more information. For further details about Saturday, October 27’s special Talkback, Women Talk Back following the 7:30p.m. performance, CLICK HERE. For more about Nashville Rep, CLICK HERE to check out their site, or follow them on Facebook, Instagram and Twitter.

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

Studio Tenn annual gala, ‘One Night Only’ at Nashville’s War Memorial Auditorium Friday, October 19

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On Friday, October 19, Studio Tenn will present their annual fundraising gala, One Night Only, this year dubbed—A Red Carpet Affair. An incredible night of entertainment, food and fun, including an always impressive silent auction, it’s truly one of my personal favorite social events of the season. This year’s party promises to continue the high-energy, stellar talent, Broadway-quality event for which the relatively young theatre company is known. Changing things up a bit, for the first time in the event’s brief but impressive history, Studio Tenn’s One Night Only will take place at War Memorial Auditorium in Downtown Nashville.

Co-charing the event this year are Bob Deal and Jason Bradshaw, who I like to call Nashville’s bon vivant dynamic duo. When asked how they came to co-chair Studio Tenn’s One Night Only, Deal and Bradshaw revealed something very interesting, “Two friends asked if we would be interested in helping out Studio Tenn with their annual Gala, One Night Only as Co-Chairs for the 2018/2019 Season. We both quickly responded with, What’s Studio Tenn?”, they recalled with a grin. That said, apparently all it took was seeing one of Studio Tenn’s gorgeously produced shows earlier this year and they were in. “After seeing a fabulous production of the recent hit, Grease; meeting the talents of the brilliant crew whom make up Studio Tenn; and seeing and hearing those whom are fans of this incredible organization rave about this professional theatre troupe, it all made sense to say YES as Chairmen.”

Bradshaw and Deal also raved about DKates Catering, who’ll be providing the dinner for attendees who opt in for the full sit-down-dinner experience at the gala saying, “Danielle Kates of DKates Catering is doing the delicious food. We had a tasting of fourteen at our home alfresco on September 26. It was lovely. The evening was perfect.”

As for this year’s silent auction, attendees—and this who just like to take advantage of the opportunity to snag a fun and unique action item—have been given a sneak preview via the live online auction co-chaired by Lynne McAlister and Milton White. Having been friends with White for more years than either of us will admit, I reached out to him for his take on working with Bradshaw, Deal and McAlister in preparation of One Night Only. “I loved working with Bob, Jason and Lynne!”, he exclaimed. When asked for details about what the auction has to offer, White eagerly revealed, “This auction has a something for everyone—fabulous food and fashion as well as signed guitars and the chance to dine on the set of Beauty and the Beast!” (the company’s upcoming holiday offering). For a chance to bid on this and all the other items offered at the gala, CLICK HERE.

Speaking of Beauty and The Beast, Laura Matula, a member of the Studio Tenn family known to theatre-goers for her gorgeous vocal skills, having wowed audiences playing everyone from Grease’s Rizzo to The Wizard of Oz’s Wicked Witch, confessed, “I absolutely cannot wait to sing the title song of Beauty and the Beast with my absolute favorite singer, John-Mark McGaha. I will for sure be living out all my Celine Dion childhood dreams and I couldn’t feel any luckier.”

Matula is just one of the many well-known performers who’ll be on stage during this year’s One Night Only. What’s more, she’s also the event’s Music Director/Supervisor. In the weeks leading up to it, she’s organized performers schedules, charted tunes, run rehearsals and coordinated musical equipment staging—a true musical Jill-of-all-trades.

When asked about the mind-blowing musical talent assembled for this year’s even, Matula gushed, “I am astounded by the amount of talent that can fit on one stage whenever I am involved with a Studio Tenn gala. This year’s One Night Only is no exception. We have Broadway performers, American Idols, songwriters and recording artists, Nashville based superstars, and more—phenomenal vocal talents all around plus the most stellar assortment of Nashville musicians: Matt Giraud, Diana DeGarmo, Ace Young, Piper Jones, Melodie Madden Adams, John-Mark McGaha, Libby Black, Megan Murphy Chambers, Eden Espinosa, Bradley Gale, Marissa Rosen…and me, plus an extra special number from Jake Speck and Matt Logan!”

When asked about the change in venue for this year’s gala, Matula revealed, “This year will mark the largest assortment of talent onstage with 12 singers and 13 band members plus some special guests I canąt tell you about! Thank goodness we are at War Memorial Auditorium in downtown Nashville so we can fit everyone on stage! I canąt wait for you to hear the sound of this group!”

I couldn’t chat with Matula without begging for a hint of what to expect. To that end, she teased, “The theme of the music this year is Songs from the Movies. This gave us such a wealth of incredible music to pull from and boy this set list is on fire! We have everything from James Bond to Barbra Streisand to songs from The Greatest Showman, The Bodyguard, Jungle Book, Beauty and the Beast, Cabaret, Moulin Rouge, and more! It’s bigger and better than ever but with the same intimate feeling the singers on stage bring as members of the incredible Studio Tenn family of artists and entertainers.”

Something many fans, patrons and company members are thinking about is the recent news that Matt Logan, one of Studio Tenn’s co-founders will be leaving his position as Artistic Director, with One Night Only marking his final official event with the troupe. Matula addressed this by adding, “It will also be incredibly emotional as we share our endless love and gracious hearts with Matt Logan as he departs the Studio Tenn family. He is a storyteller and art maker and I am so grateful to be able to be a part of celebrating him for an incredible night.”

With that, I reached out to Logan for his take on the evening. “I’m so excited to hear our powerhouse vocalists. I think it is no secret that I am a huge fan of these Broadway and Tennessee stars. They are not only great friends but the best singers in the world”. He continued, “I know that many of our patrons love their talent but I do think that the patrons love seeing how much we love each other. We have a great community and we don’t take it for granted.”

Of his pending departure, Logan added, “The bittersweet element of my last night is in saying goodbye to a community that has blessed me so richly. do believe that every great chapter must come to an end. The timing is right for me to move on but Im gonna miss it terribly.”

Speaking of bittersweet, as alluded by Matula, Friday’s One Night Only will also feature an on-stage reunion between Logan and Studio Tenn’s other founding member, Jake Speck. Earlier this year, Speck left his position at the company when he accepted a job with a theatre company in Texas. Of the pair’s upcoming One Night Only re-teaming, Logan divulged, “Jake and I will do some talk and song. It’s nothing major, but it will be a final goodbye to the thing we created. We know Studio Tenn will carry on but this chapter will be at an end for us.” Thinking back on the journey that brought him to this point, Logan shared, “The funny thing is that we both were high school buddies growing up in Tennessee and then we were given the chance to bring back what we learned and effect the artistic landscape of Middle Tennessee. Even now, it is hard for me to wrap my brain around the enormous gift we were given. This evening will be a great moment to thank everyone who made Studio Tenn what it is.”

While the evening does mark the end of an era for Studio Tenn, rest assured the company is ready for what the future holds. Of their hopes for the evening, Bradshaw and Deal enthused, “We are honored and delighted to be a part of this event and hope they take back with them, like we did, that special moment that uniquely makes Studio Tenn…a 10!”

One Night Only will not only be chocked-full of jaw-dropping entertainment, festive music and great food, it will also remind attendees just how fabulous the company is as they continue their ninth season and look forward to their history-making tenth year. Select tickets for One Night Only are still available. Table Seating on the Main Floor includes drinks, a delicious dinner, silent auction access and an up-close and personal view of the evening’s entertainment. Tickets are $325.00. Mezzanine/Late Party tickets, which include  pre-show libations, hors d’oeuvres, access to the silent auction and an amazing second story view of the evening’s entertainment are available for $95. CLICK HERE for tickets.

Up next for Studio Tenn, just in time for an enchanted holiday, they’re presenting Disney’s Beauty and the Beast, with performances December 7-30. CLICK HERE for tickets or more information. Following Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

 

Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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.

Theatre Review: There’s something so right about ‘The Play That Goes Wrong’; National Tour onstage at TPAC’s Jackson Hall thru Sunday

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Members of the cast of ‘The Play That Goes Wrong’ (All Photos: Jeremy Daniel)

Described as “Monty Python meets Sherlock Holmes”, The Play That Goes Wrong is a guffaw-inducing, laugh-a-minute, play-within-a-play joy-ride of a farce that centers ‘round a fictional polytechnic school’s drama society as they present the whodunnit mystery, The Murder at Haversham Manor. Having taken London’s West End by storm, The Play That Goes Wrong is currently enjoying its Broadway debut run in New York while the touring company bumbles and stumbles across America on the show’s first US National Tour, Nashville and TPAC’s Jackson Hall being the tour’s current stop with shows thru Sunday, October 14.

From the moment patrons are handed their playbill as they enter the theatre to see a performance of The Play That Goes Wrong, it’s evident they aren’t in for an average run-of-the-mill night of theatre, for you see, even the program book seems to have had a bit of a printing mishap resulting in the cover graphic being printed slightly off-register. Then, as the audience settles into their seats, there’s a bit of a kerfuffle onstage as what appears to be tech crew members appear to be making last-minute adjustments to set pieces. Meanwhile, one of the stars of the show walks out into the audience introducing himself as the director and star while still others bustle about in search of a Duran Duran cd box set…and a dog named Winston. All this before the show technically starts.

From there, it’s two and a half-hours of pratfalls, missed cues, forgotten lines and face-hurting laughter. It’s like those clips of old Carol Burnett Show sketches in which one slight snicker amongst the actors results in an all-out uncontrollable laugh-riot for both the actors and the audience.

Reinforcing the show-within-a-show idea, a quick look at the playbill reveals two sets of information, one for The Murder at Haversham Manor, and one for The Play That Goes Wrong. The fictional bios for the drama society members, all in their touring debut, coincidentally, are hilarious and worth a read in their own right. Meanwhile, the actual cast bios reveal some very impressive credits, including at least two cast members making their return to Nashville, having previously starred in touring productions of other shows, as well as one cast member who previously appeared in the Broadway production of The Play That Goes Wrong.

Leading the cast as the aforementioned director and star of the the whodunnit is Evan Alexander Smith, who plays Chris Bean. In additional to Smith’s Bean being listed in the Murder program as director, he’s also credited as the show-within-a-show’s producer, prop maker, box office manager and about ten other behind-the-scenes crew titles. Oh, and Bean also plays Inspector Carter, who is called to Haversham to investigate a murder. As is the case when a director casts himself in a show (yes, it’s one of my actual theatrical pet peeves), wearing too many hats usually results in disaster. Smith seriousness as Bean is evident from the beginning, when Bean addresses the audience and in doing so, reveals some rather humorous facts about the company, including the budget-necessitating previous presentation of Cat (the obvious joke being they didn’t have the funds to present the better-known Cats). It them follows that Bean’s seriousness as Inspector Carter and the show’s director as the show goes wrong time and time again from the get, sets the hilarious pace for the inevitable unraveling of the show…and the cast.

Evan Alexander Smith

With initial misplaced props and missed cues, Smith’s Bean barely flinches as the powers through, but when a later scene calls for him to find ledger tucked in the cushions of a chaise lounge…or should I say…chaise longue…but I digress….anyway, the ledger isn’t where it’s supposed to be and Bean’s boiling-point is reached, to hilarious result. As if they knew exactly what to do, an audience member shouts out, “It’s under the chaise lounge”. Smith’s Bean breaks the fourth wall, chastises the audience for laughing and suggests perhaps they’d be better suited to be at a Honky Tonk, or perhaps, The Grand Ole Opry– – -two Nashville-centric entertainment options – – -which, of course, only results in more laughter and thunderous applause from the audience for the clever inclusion of a bit of local flavor from the touring company. One joke, about Hamilton, however, might not play as well in Nashville as it does across the country, seeing as how Nashville audiences will have to wait another season for tickets to that hot item.

Smith as Bean is just the tip of the iceberg…YES, I use that reference purposely, because the show, with it’s cleverly choreographed and write mishaps appears to sink quicker than the Titanic, but to blissfully, purposeful results.

Scott Cote, last seen by TPAC audiences as Brother Jeremiah in last year’s national tour of Something Rotten, is hilarious as Dennis Tyde. His fictitious Murder cast bio indicates he’s new to acting, having only joined the Drama Society after failing tryouts in a number of sports. In Murder, Cote’s Dennis is cast as Perkins, the butler. I know what you’re thinking…and while I did indeed as Cote is the butler did it when I interviewed him for my most recent Rapid Fire 20 Q, I cannot include his response as a Spoiler Alert here. What I can tell you is Cote’s Dennis is the epitome of the newbie thespian. He garners his biggest laughs from the audience when he no-so-casually glances at his hands where he’s evidently scribbled certain words of dialogue he has trouble pronouncing, then proceeds to mispronounce them anyway.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’

Ned Noyes , who was part of Broadway’s The Play That Goes Wrong prior to being cast in the touring company, is scene-stealing as Max Bennett who plays Cecil Haversham, owner of the manor house in which the murder occurs. Early on, when Cecil goofs a line and gets a bigger response from the audience that had he executed the line perfectly, Noyes’ Bennett begins to over exaggerate his delivery as Cecil, thus receiving even bigger laughs. Being a huge fan of Lucille Ball (no secret to anyone who knows me), this reminded me of the classic comedy legend whenever her Lucy Ricardo character would goof onstage at Ricky’s nightclub. The bigger the audience response, the bigger the delivery of each subsequent line. My face truly began to hurt from laughing so much whoever Noyes was onstage opening night.

Peyton Crim portrays Robert Grove. His fictional bio references such roles as Lame Horse in Black Beauty and Dopey in Show White and The Tall Broad Gentleman. Crim’s Grove sees himself as one of the show’s more serious actors. in Murder, Grove is cast as Thomas Colleymoore, prime suspect in the murder of his sister’s intended, who’s got a bit of a secret himself. In spite of Grove’s serious nature, or perhaps because of it, the physical comedy his character endures as the set literally begins to fall apart, is all the more enjoyable for the audience. My companion for opening night in Nashville commented during one of Crim’s more physically demanding scenes that insurance for The Play That Goes Wrong must be astronomical. I suspect she’s right.

Brandon J. Ellis is subtly wonderful as sound tech, Trevor Watson. His fictional bio reveals he’s only part of The Murder at Haversham Manor to fulfill a requirement for an engineering course. During the entire show, Ellis’ Watson is seen to the left of the stage at his light and sound board. Frequently nodding off or otherwise distracted by his cellphone, Watson misses light and sound cues, only adding to the hilarity onstage, but nothing’s funnier than when Ellis’ Watson is forced on-stage to step into the role of Murder’s female lead when both she and the stage manager-unplanned understudy are knocked out cold.

Jamie Ann Romero being hoisted out the window by members of the cast of ‘The Play That Goes Wrong’

Speaking of the female lead and the stage manger, Jamie Ann Romero and Angela Grovey portray those roles respectively. Romero plays Sandra Wilkinson. Wilkinson’s Murder bio indicates she’s the company’s most experienced member, having been with the company eleven seasons. Romero, as Wilkinson, plays Florence Colleymoore, the above-mentioned fiancee to the murder victim. Romero’s Wilkinson is played with diva-like disdain for her fellow cast mates, but when things go awry, Romero shines as she exhibits simply astonishing physicality.

Part of that physicality comes courtesy a bit of rivalry between Murder’s leading lady and the only other female in the company, Angela Grovey as Annie Twilloil, the company’s stage manager. Grovey, like her co-star, Cote, is also making a return to TPAC’s stage, having previously played Medda in the first national tour of Disney’s Newsies. As stage manger Annie, Grovey seems to be the glue that holds the company together. Annie’s fictional Murder bio backs this up, siting that after Murder, she’ll leave the company to intern with the Oregon Shakespeare Festival. Throughout the show Annie can be seen—much to her horror—racing onstage to grab a falling piece of the set or place a forgotten prop, but when the show’s leading lady gets knocked out, Annie gets a taste of the spotlight and even though she’s reading her lines from a binder, it’s obvious she’s enjoying her time in the spotlight, for when the leading lady reemerges its a battle of the Florences with both actresses reciting their lines in unison until they literally push each other out the set’s window. While these two have limited stage time, compared to some of the show’s other cast members, when they’re on…THEY ARE ON. When I chatted with Grovey for my recent Rapid Fire 20 Q, I asked her about her on-stage rivalry with Romero, and their backstage friendship. For her response, check out the interview via the hyperlink above.

Rounding out the cast is Yaegel T. Welch, as Jonathan Harris as murder victim, Charles Haversham. His fictitious bio reveals a recent career switch from model to actor, perfect for a character who’s dead to begin with. As the curtain rises on the show, Welch’s Harris isn’t quite on his mark, making it even funnier that the corpse is moving. When cast members step on his hand, he moves, eliciting uproarious laughter form the audience. Offering a bit of unintentional foreshadowing to Charles’ undead state, he frequently shows up throughout the play uttering a line whose time has not yet come and whenever he realizes his mistake, he quickly folds his arms across his chest a la Lily Munster and backs his way off the stage. Simply hilarious. Besides, he’s playing a character named Jonathan Harris, so you KNOW I gotta love that (what else did you think the JH in JHPEntertainment stood for?)

To say that’s the entire cast is a bit inaccurate, for you see, Nigel Hook’s set, which won the Tony Award for the show’s current Broadway run, is as much a character and integral part of the show as any of the actors.  The ridiculously clever and technically intricate set mishaps—what with it’s falling wall sconces, crashing portraits, broken mantlepieces, combusting elevator and a collapsing second story study—enhance the slapstick, pratfalls and goofs throughout. While the dialogue and mishaps themselves would indeed be humorous to witness, thanks to a more-than clever story written by Henry Lewis, Jonathan Sayer and Henry Shields, as directed by Matt DiCarlo, the added visual of the deterioration of the set as the cast themselves descend into disaster is amplified a thousand times by Hook’s brilliant set design and this company of actors who are secure enough in their comedic craft to make playing a troupe of inept thespians seem effortless.

While this review can only attempt to convey the unbridled hilarity, you truly must see it to fully appreciate the true brilliance of the show, its physical humor and the impeccably timed delivery. For a real testament to the show’s creative genius, just go up to anyone who’s seen The Show That Goes Wrong, and repeat lines like “I’m taking the stairs”, “She’s having an episode” or the simple words “ledger” and ‘cyanide”. The resulting grins, snickers and spontaneous laughter are proof positive The Show That Goes Wrong is indeed the show that goes oh so right as far as a great time enjoying a night out at the theatre is concerned.

The National Touring company of The Play That Goes Wrong continues at TPAC’s Jackson Hall with shows thru Sunday, October 14. Friday and Saturday evening performances at 8 p.m. There’s also a Saturday matinee at 2 p.m. and Sunday performances at 1 p.m. and 6:30 p.m. Tickets to The Play That Goes Wrong range in price from $30 to $90. CLICK HERE for tickets or more information.

Not in Nashville, but interested in seeing The Play That Goes Wrong? Follow the show on social media at the official The Play That Goes Wrong site HERE, or on Facebook, Instagram and Twitter.

Following The Play That Goes Wrong, TPAC’s current Broadway Season continues with a return engagement of The Phantom of The Opera, playing Jackson Hall October 24-November 4. CLICK HERE for tickets or for more information.

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

Roxy Regional Theatre’s ‘Hairspray’ a hair-hoppin’ great time; on stage thru September 29 in Clarksville

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Jenna Leigh Miller (center) starring in Roxy Regional Theatre’s “Hairspray”

First off, I’m not sure why it has taken me a decade since first beginning to write about the Nashville area theatre scene on a regular basis to make the relatively short trek to nearby Clarksville to see a show at the Roxy Regional Theatre. Perhaps I was just waiting on an official invite. Well, thanks to Brian Best, it finally happened when I recently attending a performance of the Roxy’s current production, Hairspray, and now I can truly say I see what the buzz about the Roxy is all about.

Not only is the Roxy a simply gorgeous classic movie house that’s been renovated into a fabulous live performance venue, it’s also situated near the charming yet bustling town square. Add to that the aforementioned Brian Best in the role of Edna Turnblad and you’re most certain to be guaranteed a great night of musical theatre.

Directed and choreographed by Roxy’s Executive Director, Ryan Bowie, this production of Hairspray, based on cult movie king, John Waters’ 1988 film, the story’s eight-Tony-winning 2002 stage musical adaptation and subsequent 2007 big budget musical movie redo is surprisingly one of the best productions of the show I’ve seen, and I’ve seen it done quite a few times over the years.

Bowie has cast an all-around enjoyable cast. Obvious stand-outs include Jenna Leigh Miller, who stars as Tracy Turnblad, Edna’s plump and plucky teenage daughter whose dream is to not only dance on The Corny Collins Show, a Baltimore-based weekly music show (think American Bandstand), but to also usher in the racial integration of the show as well. Miller is simply adorable. Oblivious to the obstacles before her, or perhaps fueled by them, Miller’s Tracy commands the stage, from the show’s opening Good Morning Baltimore all the way through to Act’s 2’s all-in You Can’t Stop the Beat.

Drew Stairs approaches Corny Collins with charm and a perfectly over-inflated ego. His scenes with Miler’s Tracy are sweet and his jabs at her Barbie-doll perfect nemesis, Amber Von Tussle (Jessica Caracciolo) are executed with perfect comedic timing. Speaking of Amber, Caracciolo bratty portrayal is so fun, especially when paired with Stacy Turner as her equally self-important mother, Velma Von Tussle.

Kelly Letourneau is such fun to watch as Tracy’s best pal, the seemingly always permanently punished Penny Pingleton. Cast as Penny’s forbidden love (translation, it’s the 1960s…she’s white, he’s not) is Treston Henderson as Seaweed Stubbs. They shine during Without Love. Their on-stage chemistry is so sweet, who can blame Penny’s mother, the aptly named Prudy Pingleton (Amy Snider) for finally acquiescing. Additional kudos are in order to Snider for also appearing as the stereotypical (read lesbian) gym teacher and the no-nonsense prison matron.

Other stand-outs in the cast come courtesy Matthew Combs as Link Larkin, Jamila Hunter as the Big Blond and Beautiful Mothermouth Maybell. Her Act 2 performance of I Know Where I’ve Been, a song that temporarily refocuses the action away from the silliness of Tracy’s TV dreams to the seriousness of racial issues that sadly still exist, is hands-down the best moment in the show.  The feisty and adorable Mikquala Skelton as Little Inez is just a joy to watch. Lastly, Mairys Joaquin, Jameka Lache Horton and Alexandra West as The Dynamites, the show’s girl group trio of backup singers provide some of the show’s most gorgeous voices.

Brian Best (center) and the cast of “Hairspray”

Then there’s the aforementioned Brian Best as Edna Turnblad. In the previously mentioned original incarnations of Hairspray, the role of Edna has been played by gender-ignoring camp comedy drag legend, Divine, Broadway icon Harvey Fierstein and John Travolta…yes, even Vinnie Barbarino/Danny Zuko donned a dress to play the role of Edna Turnblad. Edna isn’t entirely new to Best, having played her a couple of years ago in another local production of the show. I was fortunate enough to have seen Best in the production as well and found it quite interesting that under the direction of Bowie, this Edna seems a bit more real, more Waters-esque. Over the top, sure—it kind of comes with the territory—but the Roxy’s Edna seems to heart-wrenchingly wallow in self deprecation while simultaneously building up her daughter in an effort to not let her fall into her mother’s patterns. Best’s Edna also has a grittier, less polished look than his previous turn, whether a choice by the actor and director, or simply by necessity of whomever did Best’s Edna makeup. Either way, it works, especially when she gets the confidence boost she needs and realizes beauty comes in all shapes and sizes.

The Roxy’s Hairspray features a talented group of actors, singers and dancers. Gotta love the school deskograpy from the get go, as well as what I’ll dub the bellography during Tracy’s dreamlike I Can Hear the Bells.

The set, designed by Bowie and Emily Rourke seems at times a bit compact, especially the Turnblad house, but it’s effective and clever, after all, what better way to emphasize the stature of Edna and her mini-me, Tracy than to present a house that’s literally busting at the seams? If there was once drawback to the production, it would have to be the fact that the actors weren’t wearing mics. As mentioned at the top of this review, this was my first time to attend a show at the Roxy, and it was my own fault for not requesting tix earlier. Perhaps because of this, my seats were near the back of the venue and right in front of a wall-mounted speaker, which may have attributed to my inability to hear certain performers and musical numbers.

Nonetheless, thanks to my own familiarity with the show and the cast’s non-stop energy, enthusiasm and all-out apparent excitement to be performing in the show, Roxy’s Hairspray is indeed worth the drive to Clarksville.

Hairspray continues at Roxy Regional Theatre (100 Franklin Street, Clarksville, TN) with performances through Saturday, September 29. Tickets are $25 for Adults and $15 for children 13 and under. CLICK HERE for showtimes, tickets or more information. To find out more about Roxy Regional Theatre, follow them on Facebook, Instagram and Twitter.

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

Music City is getting schooled by a talented band of pre-teens; Sir Andrew Lloyd Webber’s ‘School of Rock’ at TPAC thru Sunday, September 16

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Members of the cast of “School of Rock”, National Tour at TPAC thru Sunday, September 16

Just days after a win at this year’s Creative Arts Emmy ceremony for last year’s NBC live musical presentation of Jesus Christ Superstar secured Sir Andrew Lloyd Webber’s much-deserved place as an EGOT winner (artists, performers and creatives who’ve been awarded each of the four major awards—Emmy, Grammy, Oscar and Tony), the legendary Broadway composter’s School of Rock began the Nashville leg of their current national tour as the show opened to an enthusiastic crowd of all ages Tuesday, September 11 at TPAC’s Jackson Hall. The show continues at TPAC with shows through Sunday, September 16.

As the show’s title implies, School or Rock is exactly that, a musical laced with rockin’ tunes. Based on the 2003 comedy film starring Jack Black, School of Rock tells the story of a wannabe rock star who, as my late father would have said, is “living the life or Riley”. (google it, kids) Scraping by by way of the kindness of his best friend as he continues to pursue his rock n roll pipe dream, Dewey Finn unexpectedly finds himself substitute teaching a group of kids at a prestigious school. When he discovers they all posses heretofore unnurtured musical skills, Dewey sets out to cultivate a new rock band, developing a genuine concern for the kids, as well as his own true purpose, in the process. Played by former 2014 Book of Mormon Broadway star, Rob Coletti presents Dewey with a familiarity and ease that has the audience rooting from the slacker from the get. Attempting to steal the spotlight from his fellow hair-metal bandmate in the show’s concert-esque, albeit hilariously titled opening number, I’m Too Hot for You immediately reveals Dewey’s irreverent demeanor.

Easily one of the most joy-filled Lloyd Webber musical to hit the stage. A major part of that joy comes courtesy the show’s aforementioned younger cast members, mostly pre-teen, the dozen or show kids featured in the show play their own instruments, and they do so with confidence and talent far exceeding their young ages.

Among the talented youth band are: guitarist Mystic Inscho as Zack, bassist Leanne Parks as Katie, drummer Cameron Trueblood as Freddy and keyboardist Theo Michell-Penneron as Lawrence. Among the all-in musical highlights are Act 1’s You’re in the Band, Stick it to the Man and In the End of Time, as well as Act 2’s high-energy eponymous tune, School of Rock.

Borrowing a phrase from Dewey, himself, who may or may not have heard it in a Witney Houston song, after seeing these mega-musically gifted kids rock out during the entire show, I, too believe the children are our future.

In addition to Lloyd Webber’s genius score, School of Rock also features the work of lyricist Glenn Slater (Sister Act: The Musical, The Little Mermaid, and Lloyd Webber’s Phantom sequel, Love Never Dies) and book by Downton Abbey creator, Julian Fellows. , adding even more of an unexpected pedigree to the show.

While School or Rock isn’t exactly high-brow musical theatre, after all, our hero scams his way into a teaching job, and the plot features some major stereotypes like one girl’s two gay dads flitting around in overly-dramatic exasperation, and a staunch, career-driven female school principal who only has time for work. Nonetheless, Fellows’ clever and funny book presents these now seemingly un-PC characters with humor and heart, allowing the audience to not only laugh at the absurdity of the stereotypes, but to perhaps embrace them. After all, it’s easier to accept and understand things if they are presented with a wink.

Rob Colletti and Lexie Dorsett Sharp in “School or Rock”

In the role of Rosalie Mullins, the above-referenced school principal is Lexie Dorsett Sharp. Initially portrayed as a strict, but caring administrator, once she literally and figuratively lets her hair down in Act 2’s Where Did the Rock Go?, it’s evident why she was cast. Equally introspective and all-out show-stopping, it’s the most Lloyd Webber moment of the entire show and Dorsett Sharp not only rises to the occasion, she surpasses it giving Rosalie true diva status joining the ranks of Lloyd Webber’s best, including Eva, Grizabella and Christine.

It’s more than just the principle actors who attribute to the show’s rockstar quality, but also the entire ensemble. In adult roles, Layne Roate and Emily Borromeo are perfectly cast as Dewey’s put-upon roommate Ned and Ned’s overbearing, but well-meaning girlfriend, Patty.

As for the kids, in addition to the aforementioned band-mates, Sami Bray as Summer, the precocious and persnickety band manager, Grier Burke as Tomika, the seemingly shy new girl at school who not-so-surprisingly wow the audience with killer vocal skills as the lead singer, and Sammy Dell as Billy, the band’s flamboyant young stylist (draw your own conclusions about that one) are all equally charming, and as equally adept as scene-stealing as the rest of their co-stars, young or old.

On the subject of charm, anyone who’s ever felt like they weren’t measuring up to their parent’s ideals is gonna love Act 1’s bittersweet If Only You Would Listen, in which the kids give voice to…well, finding their own voice amidst their parent’s expectations and constant displeasure in the kids expressing who they are instead of who their parents want them to be. It’s the show’s most charming and heart-tugging tune.

With a rockin’ soundtrack, a charming and ridiculously talented cast and more than a few life lesson to be learned, School of Rock is a two-hour electric eclectic elective everyone in Music City should audit, because when Head Master Sir Andrew Lloyd Webber offers to teach musical theatre, you better sit up, take notes and…at least in this case…ROCK OUT!

School of Rock continues at TPAC’s Jackson Hall with performances through Sunday, September 16 with evening performances at 8 p.m. Friday and Saturday, September 14 & 15, a Saturday matinee at 2 p.m., a Sunday matinee on the 16th at 1p.m. and a final Sunday evening performance at 6:30. Tickets to School of Rock range in price from $40 to $95. Earlier this week, TPAC announced special Rush Ticket availability for each performance at a discounted rate of $25. To take advantage of the Rush Ticket price, show up at the venue’s box office just inside the lobby at TPAC 90 minutes before showtime. Click Here for tickets or more information.

Not in Nashville, but interested in seeing School of Rock? Follow the show on social media at the official School of Rock site HERE, or on Facebook, Instagram and Twitter.

While School or Rock is the first show of TPAC’s 2018/2019 Broadway season, it’s only the beginning. Next up is The Play That Goes Wrong with performances October 9-14. CLICK HERE for tickets, or more information about TPAC’s full upcoming 2018-2019 Broadway season. You can also keep up with the latest from TPAC on Facebook, Twitter and Instagram.

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

 

 

 

Studio Tenn has created a monster hit with newly written reimagining of ‘Frankenstein’; limited run continues with performances thru Sunday, September 9

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Euriamis Losada stars as The Creature in Studio Tenn’s gorgeous retelling of “Frankenstein” on stage thru Sunday, September 9 (all photos by MA2LA/Courtesy Studio Tenn)

Broadway quality original theatre is ALIVE and well courtesy Studio Tenn’s latest offering, Frankenstein, onstage at Jamison Theatre in The Factory at Franklin. Opening just last weekend, on Friday, August 31, the show will wrap it all-too-brief World Premiere run with three remaining shows this weekend.

Having penned Studio Tenn’s hugely popular musical The Battle of Franklin, playwright A.S. Peterson has collaborated with the company to retell the story of Frankenstein. What’s more, 2018 marks the bicentennial of when novelist Mary Shelley first published the tale in what is widely considered the first gothic horror tale.

As with most Studio Tenn productions, first and foremost, it’s simply a gorgeous production. Matt Logan, Studio Tenn’s genius Artistic Director is once again, not only at the helm as the show’s director, but also onboard as Costume and Scenic Designer. From the first glimpse of the set, there’s a sense of the familiar, with a medical skeleton, a bookcase full of what’s presumed to be medical journals and such to the left and an eerie wooden casket and graveyard to the right. All these elements are necessary and recognizable to anyone who’s read Shelly’s original tale of a not-so-mad scientist who discovers he as the power to reanimate the dead. While those elements are expected, it’s the stunningly gorgeous glass structure center stage that breathes new life into the centuries old tale. Logan has constructed a central focus set piece that at various times during the show seems reminiscent of stained glass, a kaleidoscope, a patchwork quilt, a broken mirror or perhaps the burgeoning industrial age, prompting the audience to evoke associations with everything from Dr. Frankenstein’s God-like power of creation, the literal construction of another human being, the idea that we are all part of a greater picture or perhaps, or most accurately, what we see as broken in others is usually a reflection of our own shortcomings. Then again, maybe it’s just a pretty set piece (I highly doubt that). That’s the beauty of Logan’s design, it’s open to interpretation.

Expected from any Studio Tenn production, the cast of Frankenstein is top-notch. Jared Reinfeldt as Dr. Victor Frankenstein is handsome an earnest as he struggles to maintain a romantic relationship with his betrothed while simultaneously attempting to measure up to his father and the memory of his late mother.

Jared Reinfeldt and Euriamis Losada as Master and Creation.

Euriamis Losada as The Creature is mesmerizing. Unlike many interpretations of the story, this creature speaks and when he does its with a powerful booming voice. As handsome as his creator, Losada shaved his head for the role, and though its covered with a patchwork of stitches—perhaps a visual tie to the above-referenced patchwork look of the background set piece—his beauty shines through. Fitting, as a recurring theme of the piece is to not judge one for their outward appearance, but rather their inner beauty. Losada’s Frankenstein is equally effective whether lumbering around menacingly or revealing his scared uncertain side. I loved the visual detail of the hem of The Creature’s cloak being ragged and mud clodded, a perfect subliminal reference to the struggles he’s endured hiding away from society. Just another serene Matt Logan touch.

Doomed Lovers Reinfeldt and Morgan Davis as Victor and Elizabeth

Morgan Davis is cast as Elizabeth Lavenza, Frankenstein’s cousin who also just so happens to be his love interest (it is the early 1800s after all). Her beauty is only enhanced by Logan’s gorgeous, detailed and period-accurate costumes. Her black and grey gown is simply stunning. Like her co-stars, Davis’ Elizabeth, through her no-holds-barred dialogue with Frankenstein, reinforces the ideal of everyone feeling like an outsider from time to time. She also perfectly represents the changing attitudes of women and their place in society. Also appreciated, a single line in which Davis’ Elizabeth casually notes that perhaps she’ll write a book about Victor’s experiments, a clever tip-of-the-hat to the fact that it was indeed a female who wrote the story of Frankenstein.

Appearing in dual roles is Henry Arnold as both Victor’s father, Alphonse Frankenstein and the seafaring Captain Winthrop. As usual, Arnold, a staple of Nashville area theatre, turns in a fantastic performance…times two. Rounding out the stellar cast are Regan Holmberg, Amanda Card, Austin Olive, Matthew Rose, Margaret Rodgers and Liam Searcy.

Being a bit of a Frankenstein fan myself, I appreciate the playwright’s nods to, not only the original source material, but also iconic adaptations through the ages. While the original novel tells the tale by way of letters written by a sea captain to his sister, playwright Peterson honors that origin by having Dr. Victor Frankenstein mysterious appear aboard Captain Winthrop’s ship at the top of the action, where he commences to tell the story of what brought him their. Not long after, The Creature also appears to tell his side of the story. When this sequence occurs, I literally got chills when the aforementioned mirrored background suddenly morphed into what can only be described as the vastness of outer space, thanks to lighting designer Stephen Moss and technical director Mitch White. Appropriately, when The Creature speaks of his creation, the background projects an endless seas of microscopic stars in the galaxy, a literal allusion to the creation.

The Creature speaks of his creation

Another nod to previous incarnations of the story occurs in Frankenstein’s appearance. I for one appreciate the wink to James Whale’s 1931 Universal Pictures film…no Frankenstein’s not square- headed with bolts jutting out of his neck like film’s iconic Boris Karloff, but he is wearing similar footwear…YES, Studio Tenn’s Frankenstein is seen with ultra-sensible orthotics.  Also in reference to the film is a scene involving a flower and another involving a kindly old blind man (played with his usual humor by frequent Studio Tenn actor, Garris Wimmer).

While Peterson’s script does indeed pay homage to previous incarnations, he adds his own twist to this new adaptation. One twist involves the shocking outcome of an encounter with Frankenstein’s little brother (charmingly portrayed by young Micah Williams), but I’ll save the details of that twisted scene for those attending the show.

Overall, the show is a surprisingly fresh take on Shelley’s original. With a bit of editing in Act 1 to tighten up some unnecessarily lengthy scenes, this show deserves a full run. Perhaps, as they did with the playwright’s previous work for Studio Tenn, they’ll revisit Frankenstein for a lengthier run during a future season, or perhaps Peterson could follow up with The Bride of Frankenstein. After all, by play’s end, there seems to be an obvious choice for who could play the title role as Morgan Davis’ Elizabeth seems reminiscent of Billie Piper’s performance as Lily from the recent Showtime series, Penny Dreadful.

Frankenstein wraps it’s run this weekend with a 2 p.m. matinee and a 7 p.m. evening show Saturday, September 8 and a final Sunday matinee at 2 p.m. on September 9. CLICK HERE for tickets.

Up next for Studio Tenn is their annual One Night Only Patron Party on Thursday, October 4, followed by the One Night Only Gala on Friday, October 19. Their 2018/2019 season continues with Disney’s Beauty and the Beast from Friday, December 7-Sunday, December 30. Then, it’s Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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