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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.

Minnie Pearl musical debuts at Chaffin’s Barn Dinner Theatre; limited run continues through September 13

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Melissa Silengo as Cousin Minnie Pearl (photo by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

For their Thursday, September 6 matinee, Chaffin’s Barn Dinner Theatre unveiled the World Premiere musical, Minnie Pearl: All the News from Grinder’s Switch”, penned by Belmont University Professor of Music Business, Dr. Don Cusic. Directed by Chaffin’s own Joy Perryman, the musical examines how Sarah Cannon came to create her beloved character, Cousin Minnie Pearl, a staple on both  Nashville’s famed Grand Ole Opry and the long running CBS television series Hee Haw. From her first “HOWDEE” on WSM radio’s Opry broadcast in 1940, until her final appearance a half a century later, Cannon’s Minnie Pearl made her mark as one of our nation’s premiere female comedienne. Minnie Pearl: All the News from Grinder’s Switch continues it’s limited run through September 13.

Fresh off her return engagement as Mother Superior in Sister Act, Chaffin’s Artistic Director, Martha Wilkinson appears as Sarah Cannon as she reveals the genesis of Cousin Minnie. Melissa Silengo, who just closed her role as Katherine Plummer in Circle Players’ brilliant production of Disney’s Newsies, will play Cannon’s on-stage alter-ego, Minnie Pearl. Of her two leading ladies, Perryman said, “Both of these talented women are incredibly gifted in the same ways as Minnie Pearl. They both have the comedic chops to land a joke squarely on target and both sing like nobody’s business!” Of the duo’s musical talents (to which I too can attest), Perryman continued, “The duet that ends Act 1 might just prove to be the biggest showstopper this year”.

On playing Cousin Minnie, Silengo exclaimed, “I am so honored to have the chance to play such a well-loved Nashville legend”. Addressing the familiarity of the character, Silengo continued, “It seems everyone knows Minnie Pearl to some degree, even if it is only her price tag, and I am excited to get to know her from the inside out”. Noting more than a passing physical resemblance to Queen of Cornpone, she revealed, “A few times, people have said I reminded them of Minnie Pearl, and I always took it as a complement”. “Hopefully, I will remind people of her in the show”, noted the young Minnie co-star.

When asked about her involvement in the show itself, Silengo gushed, “I am so excited to do this show with a super-talented cast and Joy Tilley-Perryman directing at the Barn, where I know audiences will eat it up (along with the buffet). Joy knows comedy so well, especially the Southern variety,  and I trust that she can help me craft my performance with the timing and whit that Minnie Pearl deserves.” Borrowing one of her character’s trademark phrases, Silengo concluded, “I’m just so proud to be here!”

As Silengo mentioned, Cannon’s Minnie Pearl was known for wearing a straw hat brimmed with flowers and a still-present price tag. Country comedy aficionados can quickly tell you that price tag read $1.98. Legend has it, Cannon simply forgot to take the tag off before wearing the hat onstage, but thanks to her quick-wit, she cleverly worked it into her routine and decided the tag would stay. While Cousin Minnie Pearl was known for the aforementioned straw hat (tag included), she also quickly developed a signature style that usually included a gingham print dresses, complete with frilly pantaloons, white stockings and black Mary Janes.

In addition to Wilkinson and Silengo, Minnie Pearl: All the News from Grinder’s Switch will also feature Minnie’s frequent comedy partner, Rod Brasfield. Brasfield, as played by Chaffin’s favorite, Everett Tarlton. For those not in the Opry know, Brasfield began his career in the 1920s, but gained national recognition when Grand Ole Opry founder, George Hay hired him to appear on the Opry in 1944. Four years later, divine intervention occurred when Brasfield was teamed with Cannon’s Cousin Minnie created a hilarious duo. Unlike other comedy duos of the day, where one member of the team usually played the straight man, setting up the laughs for the other, Minnie and Brasfield volleyed the jokes back and forth, delivering alternate punch-lines. The two continued to frequently appear together over the next decade until Brasfield’s untimely death in 1958.

When asked about Tarlton’s portrayal of Brasfield, director Perryman predicted, “He will prove to be a more than able partner to Melissa’s Minnie”. Perryman continued by warning, “She just has to make sure he doesn’t steal the show!”

Rounding out the cast of Minnie Pearl: All the News from Grinder’s Switch are Maggie Richardson, Curtis Lemoine, Loren Ferster and Chase Miller. Of the remainder of the cast, Perryman divulged, “We have a fantastic ensemble that will be assisting in every way”.

As the show’s title might indicate, the character of Minnie Pearl is front and center in Chaffin’s production, but it does indeed touch on the woman behind the comedy classic. That stands to reason because, of course Sarah Cannon, herself, was quite a remarkable woman. Having well-established her Minnie Pearl character as a beloved part of country music, Cannon was diagnosed with breast cancer in 1985, undergoing radical treatment, including a double mastectomy. Following this personal trial, Cannon became spokeswoman for the Nashville-based women’s hospital where she received her treatment. It was as Sarah Cannon, not her fictitious alter Minnie Pearl that she took on this task. The facility was later rechristened The Sarah Cannon Cancer Center. The Sarah Cannon Research Facility is also housed in this location. As the result of a debilitating stroke in 1991, Cannon retired her Minnie Pearl character after fifty one years at The Grand Ole Opry. She passed away five years later, on March 4, 1996 but as Chaffin’s Barn Dinner Theatre’s current production proves, her legacy and laughter live on.

Having already SOLD OUT yesterday’s matinee, as well as the show’s Friday, September 7 evening performance and Thursday, September 13’s matinee, you only have two remaining chances to see this show with limited tickets still available for Saturday, September 8’s 7:30 p.m. evening performance (doors open for dinner service at 5:30 p.m) or the Sunday, September 9’s 2 p.m. matinee (door open for lunch service at noon). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). As an alternative to their truly delicious buffet dinner, which features prime rib, other meats and an array of vegetable, salad and side options, Chaffin’s recently added yet another dining options with their Small Plate a la carte menu featuring separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Minnie Pearl: All the News from Grinder’s Switch, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Review: Keeton Theatre proves local audiences will never get enough of ‘Steel Magnolias’

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The cast of The Larry Keeton Theatre’s “Steel Magnolias” onstage thru Saturday, September 1. (photo by Jenny Steiner/courtesy The Keeton Theatre)

Steel Magnolias, Robert Harling’s sentimental stage play about six women who share life’s ups and downs during weekly visits to their local Louisiana beauty shop, has been an audience favorite since it’s debut in 1987. The subsequent 1989 film adaptation starring Dolly Parton and company only served to solidify the piece as a bonafide part of southern pop culture, so It should come as no surprised that nearly every theatrical season includes at least one theatre company in the Nashville area mounting a production of the stalwart southern favorite. This year, than honor/burden is in the hands of Donna Driver as she directs The Larry Keeton Theatre’s current production, continuing its three-week run with performances thru Saturday, September 1.

Appropriately, I chose to attend a Sunday matinee performance of The Larry Keeton Dinner Theatre’s Steel Magnolias. I literally came directly from church. As my friend and I arrived, we sat at a table of ladies, only adding to the magnolia mystique. Befitting any church social or as we call it, dinner on the ground, the delicious pre-show meal consisted of potato salad, mixed veggies, a healthy portion of sliced ham and a dinner roll. Pickup up on the much-lauded color scheme of Shelby Eatenton’s wedding, there was even a creamy jello-based delicious pink dessert, I’m just not sure if the dessert color was blush of bashful. If you’re familiar with Steel Magnolias—and why wouldn’t you be?—you’ll get the reference.

For this visit to Truvy’s Beauty Spot in the fictional town of Chinquepin Parish, Louisiana, director Donna Driver and her creative team offer a wonderfully detailed setting. While enjoying the meal, I had ample time to check out the set. Many previous incarnations of Steel Magnolias that I’ve attended have chosen to line three or four beauty stations side by side facing the audience, while this allows the actors to look towards the audience as they deliver their lines, it also basically ignores the rest of the space and stagnates the action to front and center. Luckily, Driver and company smartly utilize the entire stage, and in doing so, create a totally believable version of Truvy’s Beauty Spot. Instead of a row of beauty chairs, two beauty stations face each other center stage with a lighted, framed invisible mirror between them. Congratulations to Driver and her husband, Kevin Driver, who designed the set, as well as scenic construction team members Jessi Boyer and Randall Seymour for this more realistic placement of the beauty stations. Kudos also to the show’s director for keeping the actresses from looking straight through the non-existent mirror, but rather, leaning or walking around to address their co-stars positioned in the beauty station on the other side of the divider. Continuing the realness of the shop, the entrance to the shop is located in the back left corner of the stage, a wash station back center and an unseen kitchen, back left. The walls, adorned with family photos, an inspirational saying or two and an array of 80s-era decor, including the minute detail of wallpaper boarders running along the top of each wall, reinforces the 80s vibe. Also of note, design-wise, is the inclusion of a sprig of magnolia blossoms atop the shop’s waiting area. Not only a staple of design for the day, a nice wink to the show’s title. I had almost forgotten my own mom’s similar wall decor, which may or may not still be hanging in her living room (Note to self to notice next time I’m home for a visit).

On the subject of attention to detail, property mistress Melanie Ray and costumer Amy Slade deserve special mention for perfectly capturing the look and feel of the now-iconic late-80s. You gotta love the fact that following a casual reference to Cher, one of the ladies is seen thumbing through what appears to be a period-authentic copy of McCalls magazine with the Moonstruck star on the cover. Another nice atmospheric detail comes when the boom box plays Manic Monday and a few other late-80s tunes.

For the Keeton’s Steel Magnolias, director Diver has enlisted the talents of a great mix of actresses familiar to Keeton and Nashville’s theatrical community alongside a few Keeton newcomers.

Making her Keeton debut as Truvy (the Dolly Parton role for the unfortunately uninformed) is Kristian Dambrino. A former pageant girl herself, Dambrino looks and dresses more like the love-child of a younger, prettier Married with Children’s Peggy Bundy and Full House’s Kimmy Gibbler than the iconic portrayal Dolly gave the role of Truvy in the film, and that’s not exactly a bad thing. Dambrino brings the sass and sex appeal to the role that’s expected. What’s more, she does so without simply mimicking Dolly’s version of the character. Perhaps because of her own pageant history, Dambrino also seems to actually be able to ‘do’ hair, as she is seen taking down rollers, back-coming and creating a believable up-do all the while extolling words of wisdom and wise-crack as called-for in the show’s dialogue. Kudos also to Dambrino’s Truvy for being one of only a couple of the ladies to truly embrace the southern adage of “the bigger the hair, the closer to God”. After all, Steel Magnolias is, and always should be, a hair-raising dramedy.

Also making her Keeton debut is Meredith Daniel as Annelle Dupuy, Truvy’s quirkily shy new assistant. I’ll just say it…Daniel gives one of the most engaging and entertaining performances of the show. As written, the character undergoes the most changes throughout the show and Daniel embraces those transformations to the fullest. Even when she’s not the focus of the action, thanks to direction from Driver and what I can only assume is the actress’ own innate sense of being present in the action of the piece, Daniel turns in the most complete and thoroughly spellbinding performance of the show. From clutching her cross necklace or franticly flipping through her Bible for words of inspiration and solace during risqué conversation, to timidly attempting to hand a glass of water to an irritated Ouiser, I couldn’t take my eyes off Daniel’s Annelle.

Cast as Shelby Eatenton is Brianne Waters. Quite often Shelby is played with a penchant for over-exaggeration. I personally blame Julia Roberts’ gigantic mouth for that, as the image of her diabetic freak-out in the movie version is forever emblazoned in my mind. Refreshingly, Waters plays Shelby a little closer to the vest. When it comes time for the famed “drink your juice, Shelby” scene, her diabetic episode is played much more internally, only adding to the drama. The kindness Waters’ Shelby shows Daniel’s Annelle and the more serious tone of the scene with Shelby’s mother, nicely showcase Waters’ talents.

Speaking of Shelby’s mother, Kate Adams is fantastic as M’Lynn Eatenton. While her character’s hair/wig never quite achieves brown football helmet status, Adams embraces M’Lynn’s steel magnolia status to the fullest. In a classic scene, when M’Lynn and Shelby discuss Shelby’s medically ill-advised pregnancy, Adams exemplifies the unwavering emotion and immeasurable concern anyone who has a mother…or is a mother…can surely identity with. During the aforementioned “drink your juice, Shelby” scene, Adams’ M’Lynn is composed and in control. On a personal note, having had my share of medical issues as a child, and being blessed with an equally composed mom, this scene always makes my eyes sweat. Thanks to Adams’ nurturing but firm portrayal, this time was no exception.

Yet another quotable Steel Magnolia line “Here, hit Ouiser” comes late in the show when M’Lynn is dealing with the greatest loss any mother can endure. That line is delivered by Clairee Belcher, and is aimed towards Ouiser Boudreaux. The show’s odd couple, if you will, Clairee is the town’s former first lady, who just so happens to be best friends with Ouiser, the town’s grumpy old lady.

While Shirley MacLaine’s Ouiser is one of my favorite movie characters ever, it often seems lazy and uninspired for an actress to try to mimic her characterization for the stage. Thankfully, Deb Moore’s Ouiser doesn’t even try to duplicate MacLaine’s interpretation, instead offering a more realistic version. If you’re from the south,s surely you know more than one bitter old lady who’d rather hang with their dog than expose her true kindly nature. That, my friends is Moore’s Ouiser. One thing I love about her portrayal is that Moore’s Ouiser is unapologetically ill-tempted. Instead of simply being a bit of comic relief in her absurdity, as the character proudly boasts, “I’m not crazy, I’ve just been in a very bad mood for the past forty years”. I’ve never believed that line more and I can definitely relate.

Rounding out the cast is Linda Speir as Clairee, the actress’ fourth time in the role. I interviewed Speir for her second portrayal, and earlier this year, I interviewed and reviewed her third turn as Clairee. During that interview, I made the declaration that she should be cast as Clairee in all local productions going forward, so it was nice to see the Keeton agreed with me. Interestingly, when I interviewed her earlier this year, I asked her if her Clairee changes from production to production. She said it did and that the different casts and direction brought out something different to her portrayal. Having seen her interact with two casts now, and under the direction of Driver, I can absolutely attest to the fact that she spoke the gospel truth. Looking simply regal as Chinquepin Parish’s former first lady, Speir’s Clairee is the glorious personification of the well-bred southern woman. While Harling’s script never calls for Clairee to utter the classic “bless your heart”—you know, the ultimate dagger-shooting backhanded remark—Speir’s Clairee does get the chance to say some of the most outlandish things, but she does so in such a classy, molasses-laden way that should she actually slap Ouiser, Ouiser would likely thank her for it.

While the aforementioned accolades for the actresses’ portrayals are indeed warranted, enough can not be said for the director. Having witnessed more than my share of marginal Steel Magnolias performances over the years…even before the past decade of reviewing shows, I willingly attended productions of the show simply because I adore it…I’ve seen some doozies. Driver’s direction goes beyond duplicating the beloved film version. She returns the nuanced and quirky nature of Harling’s written word and thereby elevates the Keeton’s Steel Magnolias to the treasured status it deserves.

One final note. Between the action of the show’s final two scenes, he choice to include an audio snipped of Dolly Parton’s Eagle When She Flies, specifically the song’s third verse containing the lyrics: “Gentle as the sweet magnolia, strong as steel her faith and pride”, perfectly describes Harling’s beloved work…and Keeton’s faithful and moving presentation of Steel Magnolias.

Steel Magnolias wraps its three-week run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, August 30 thru Saturday, September 1 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. Thursday night’s show is SOLD OUT, as has been the majority of the run. Limited tickets are available for Friday and Saturday night performances. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre from Thursday, October 11-Saturday, October 27 is The 25 Annual Putnam Country Spelling Bee directed by Suzanne Spooner-Faulk. 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.

Review: Street Theatre founder Cathy Street returns to mine plenty of talent in surprisingly poignant ’Burnt Part Boys’

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On the heels of previous mountings of the classic Three Penny Opera, the slightly more obscure Eclipsed and the quirky Title of Show, Street Theatre Company continues to showcase the theatre’s ability to offer up rarely presented theatre with their current production, The Burnt Part Boys; on-stage thru September 1. What’s more, Cathy Street, the company’s founder has briefly returned to Nashville to direct with musical direction from STC’s Artistic Director Randy Craft and a mood-enhancing set courtesy Will Butler.

While the story of a West Virginia coal mine set to reopen in 1962, on the tenth anniversary of a fatal cave-in that took the lives of several of the small town’s men might not seem the stuff of which musicals are made, in the more than capable hands of Street and the top-notch cast she’s assembled, The Burt Part Boys is an unexpectedly emotional coming-of-age story, the likes of which Nashville’s theatre community has rarely seen.

Surprisingly, The Burnt Part Boys isn’t the first musical to broach the subject of a mining town, lest we forget Billy Elliott the Musical, the lesser-known Floyd Collins and the oft-rumored in-the-works Loretta Lynn forthcoming autobiographical musical, but thanks to Street Theatre’s current production, it’s certain to ignite interest going forward.

Kayla Petrille, Seth Bennett and Chamberlin Little in STC’s “The Burnt Part Boys” (photos by Sarah Johnson/courtesy Street Theatre Company

The Burnt Part (named for the section of the mine where the aforementioned fatal accident occurred) is of particular interest brothers Jake (Nick Fair) and Pete (Seth Bennett) and their respective best pals Chet (Shane Kopischke) and Dusty (Chamberlin Little). As the play opens, Jake and Chet, both now grown men, are excited about the reopening of the mine and the chance to carry on their late-fathers’ legacies as they take up the literal torch to join the miners. Meanwhile, armed with a bit of TNT borrowed from Jake’s locked work-kit, younger brother Pete, who was only a toddler when the mine shut down, has other ideas, as he convinces his friend Dusty to join him on an mission to stop the mine from reopening. Along the way the two younger boys enlist the help of Francis (Kayla Petrille), orphaned by the incident, to be Sacagawea to their Lewis and Clark.

Poignantly featured throughout the piece as the men lost in the mine’s now legendary cave-in are Imari Thompson, Tyler Evick, Elliott Robinson, and Brooks Bennett. Rounding out the cast is Mike Baum as Pete and Jake’s father (and a myriad of other characters summoned courtesy Pete’s imagination.

With a hefty nod to the storytelling abilities of Mark Twain, playwright Mariana Elder has created a cast of likable young characters. To their credit, each of Street’s actors not only makes the most of their individual roles, but also portrayed this in such a nuanced way that they are uniquely their own.

Making his Street Theatre debut, Fair plays Jake with a bit of self-assuredness mixed with a sense of duty and responsibility. Poised to take up the mantle of leader for the new miners, Fair’s Jake comes across as a natural leader. Fair’s nuanced portrayal emphasizes Jake’s commanding presence by stranding tall, never slouching and walking across the stage with chest-out and arms swinging in perfect synchronized movement.  Conversely, when scenes involving his younger sibling, Jake’s nurturing side is revealed, offering the audience a different side of the seemingly stand-offish Jake.

Nick Fair and Shane Kopischke as Jake and Chet in STC’s “The Burnt Part Boys”

Kopischke’s Chet, on the other hand, while outwardly boasting about his latest romantic conquests, simultaneously talks of contentment with being Jake’s right hand man, revealing a more obvious internal self-doubt and sense of place. The above-referenced nuances of characterization are most evident in Kopischke’s Chet. In finding his character, the actor has adapted a forward-pelvic-thrusted stance and way of walking leading with his hips, perhaps to reinforce the fact that he’s no longer the little boy who lost his father in the mines. It’s a sort of redneck swagger that visually says “I’m the man, don’t f with me”.

Having seen both Fair and Kopischke in shows since they were youngsters, and knowing they have known each other since they were young, it’s nice to see them both mature as actors and to witness their growth as musical performers as well. The fact that they have a friendship off-stage certainly benefits the duo’s onstage chemistry.

As for the younger trio, Seth Bennett’s Pete comes across as the boy next door. Charming, kind, and full of determination. Alluding back to my Mark Twain, comparison, he’s definitely the Tom Sawyer of the piece.

Seth Bennett and Chamberlin Little as Pete and Dusty in STC’s “The Burnt Part Boys”

Pete’s best friend, Dusty is played to perfection by Chamberlin Little. If Pete is Tom Sawyer, think of Little’s Dusty as Tom’s faithful friend Jim, albeit much younger and, in a nice change of pace, the only of the characters whose home life is ideal, considering Pete has both is parents and as the story frequently reminds us, always has plenty of Alpha Bits cereal in stock in the family pantry. Chamberlin plays Dusty with an eagerness and devotion to his friend Pete, but with reservation about their pending mission to stop the mine from reopening. Their relationship showcases a more balanced friendship that that of Jake and Chet. While the older boys seems to be content with what would appear to almost be status differences, Dusty and Pete are equals in their friendship.

Continuing with the Twain allegory, Petrille’s Frances can be seen as equal parts Huck Finn and Becky Thatcher. Having survived in the woods near the Burnt Part since her father’s death in the mines, she’s got the street smarts—or, more accurately wood smarts of Huck Finn, but when her defenses are down, their an obviously attraction to Pete, allowing her to be just a little bit Becky Thatcher.

While Evick, Robinson, Thompson and Bennett have only limited on-stage time as the original miners, when their voices blend for the ensemble numbers, its a joyful sound indeed. Perhaps because Street Theatre is housed in the auditorium of a church, the term raise the rafters certainly applies. Limited as their appearances are, they’re key to the story and the outcome. There’s truly not a miscast actor amongst the ensemble or the entire show.

Given the fact that Pete was so young when the mining accident occurred, it’s evident he looks up to older brother, Jake as a father figure. Through dialogue and a few clever fantasy sequences, Pete’s penchant for movies of the day, as they relate to historical figures like Sam Houston, Davy Crockett and Jim Bowie is also revealed. Reinforcing the hero status of his late father, you gotta love that Baum not only plays the boy’s dad, but also appears (hilariously so, I might add) as John Wayne, Houston, Bowie and Crockett in these fantasy sequences.

The score, with music by Chris Miller and lyrics by Nathan Tysen, is absolutely beautiful with traces of period-authentic mountain music that doesn’t rest entirely on bluegrass, also incorporating the gentle resonances of mid-century gospel and more classic show tunes of the era. The tunes throughout are enjoyable, with some even evoking unexpected emotions. Heck, my eyes may or may not have sweated a time or two during the show. From Kopischke and Fair’s Eight Hours and Bennett’s telling Man I Never Knew to each and every fantasy segment featuring Baum, the songs, while perhaps not as earworm-worthy as your average Disney musical, do indeed serve the show well.

That said, to be honest, the only song I truly remember is the humorous Davy Crockett, midway through Act 1 as performed by Baum as Crockett and the rest of the company. No, they don’t do a cover of the 1955 chart-topper theme from TV’s Fess Parker-starring western (as sung by then-future Days of Our Lives legend Bill Hayes), instead, it’s a clever little ditty in which Pete imagines Davy helping him break down the fence at the entrance of The Burnt Part. With simple, but noteworthy lyrics about why Davy Crockett hates fences, there’s a definitely SPOILER ALERT hidden within the words of this song.

While that may be the only song I remember, most likely because of my affinity for all things related (even remotely) to Days of Our Lives, the show is peppered with some quite beautiful songs that, in the more than capable talents of cast members like Fair, Bennett and Petrille, serve to not only move the story along, but to also, as indicated above, move the audience as well.

With the majority of the action taking place on the side of the mountain leading to the mine, the choice by director Street and set designer Butler to not go literal with a slanted mountainside, but rather to feature a stripped-down set constructed intricately, but visually simply, of wooden slates, reminiscent of the interior of the mine shaft itself, is truly inspired. Also notable, the movement of the actors as they scale the mountainside, thanks to Street’s astute direction, it comes across as realistic, and not overly-done. Drawing the audience into the physical (and emotional) struggle of these young people as they head to their destiny.

Congrats also to lighting designer Katie Gant, whose subtle, but powerful use of lighting, from a simple flashlight to the dead miner’s headlamps, only adds to the power of the piece.

One final note…with Pete, Dusty and Frances on a course to prevent the mine from opening, and Jake and Chet hot on their their tail like Sam Houston racing to victory in San Jacinto, the fate of our five is blissfully left to interpretation, but thanks to Street’s thoughtful and meticulous direction, there are indeed hints to their fate throughout the play, whether it be as subtle as a spoken promise that comes to fruition in a single action near play’s end, or a shared glance between actors, the hints are their, it’s just perfectly left for the audience to decide, should they choose.

Street Theatre Company’s The Burnt Part Boys continues on the perfectly intimate stage located in the west wing of Holy Trinity Community Church (6727 Charlotte Pike, Nashville, TN 37209) with performances at 7 :30 p.m. Friday and Saturday, August 24 & 25 and Thursday, August 30 thru Saturday, September 1. CLICK HERE for tickets or more information. Next up for Street Theatre is Bklyn: The Musical, on stage November 2-17. Follow Street Theatre Company on Facebook, Twitter and Instagram for all the latest.

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.

With a newly remodeled facility and a remounting of last year’s heavenly production of ‘Sister Act: The Musical’, Chaffin’s Barn Dinner Theatre is a hard habit to break

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(l to r) Martha Wilkinson, Vicki White and Meggan Utech are back in the habit in a reworked production of “Sister Act: The Musical” onstage at a renovated Chaffin’s Barn Dinner Theatre now thru August 25 (photo courtesy Chaffin’s Barn Dinner Theatre)

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UPDATE: Last week, when this preview was first published, Chaffin’s had announced a Back to School BOGO special, unfortunately a power outage in the area prevented that from taking place. Just this morning—via email blast to patrons and supporters—another Buy One Get One Special was announced for their 7:30 p.m. Thursday, August 16 performance. The first 30 patrons to call Chaffin’s Barn Dinner Theatre’s reservation line (listed above) and mention the PROMO CODE: THIRTY can take advantage of this one-night-only BOGO Special for dinner and the show.

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Back in February, following a successful run of Disney’s Freaky Friday, Chaffin’s Barn Dinner Theatre temporarily closed up shop of some much-needed renovations to the half-century old facility. Just last weekend, the wait was over as Chaffin’s reopened to continue their 52nd Season with a re-staging of last year’s hugely popular production of Sister Act: The Musical. “We wanted to revive the show because people loved it so last year, and because we were sold out, some missed it,” said Chaffin’s Artistic Director, Martha Wilkinson. “It’s a great show to reopen with after renovations because the show is all about redevelopment, change, growth and love,” she continued.

Back in the habit for Chaffin’s rechristening is Meggan Utech as Deloris Van Cartier, the night club singer, who, after ratting out her gangster boyfriend for popping a cap in a street thug, is forced to go into witness protection as a nun.

Wilkinson also returns to her role as the no-nonsense Mother Superior who’s constantly butting heads with her new undercover charge. Longtime patrons of Chaffin’s no doubt recognize Wilkinson, who’s been a venerable part of The Barn family for three decades. In addition to being Chaffin’s Artistic Director, and co-starring as Mother Superior, Wilkinson is also at the helm of this production of Sister Act as the show’s director. Everett Tarlton is the show’s choreographer and returning once again as musical director for Sister Act is Kelsi Fulton.

Among those returning to the flock on-stage are: Devin Bowles as Curtis, Deloris’ aforementioned murderous beau, Gerold Oliver & Curtis Reed as Curtis’ bumbling henchmen, TJ and Joey, Vicki White as Sister Mary Lazarus, Jenny Norris as Michelle, David Arnold as the Monsignor and Braden Wahl as Ernie.

Of this iteration of Sister Act, Wilkinson exclaimed, “We’re having a blast!.” As for additions to the fold, Wilkinson continued, “There are some new cast members who are rocking it. Maggie Richardson as Sister Mary Robert is off the chain. Fantastic voice and energy, and she’s adorable.”

Other additions to the cast include: Megan Roberts as Sister Mary Patrick, Hallie Long as Sister Mary Bernice, Ang Madaline-Johnson as Sister Mary Martin of Tours, Jenny Wallace as Sister Mary Teresa, Everett Tarlton as Pablo, David Ridley as Sweaty Eddie, Christina Candilora as Tina and ensemble member, Andrew Neal.

A true testament to Chaffin’s storied history with Nashville Theatre, during opening weekend of Sister Act, there were Sold Out performances, with several upcoming performances already selling out as well. Of the reinvigorated interest in Chaffin’s and their newly remodeled facility, Wilkinson said, “We’re so very excited to continue the legacy!”

With that enthusiasm, there’s no doubt Sister Act is divine proof that Chaffin’s is back in the habit. Sister Act continues its run with performances through Saturday, August 25. Each week features Thursday matinee performances at noon (doors open at 11 a.m. with a Box Lunch option), Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 for dinner service until 7 p.m.). There are also select Sunday matinees at 2 p.m. (doors at noon, with lunch service until 1:30 p.m. Thursday matinee tickets are $28.50 with Box Lunch ($20 Show Only). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). Chaffin’s also offers a Small Plate a la carte menu option with separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Sister Act’s run through August 25, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Renaissance Players’ ‘Little Shop of Horrors’ feeds the need with a gorgeous Twoey, clever doo-wop and blood by the drop; on-stage in Dickson thru Sunday, August 5

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Audrey II and Seymour (Brett Myers) in Renaissance Players’ “Little Shop of Horrors” (all photos by Alaina Deaver/Courtesy Renaissance Players)

I’ve been a fan of all things Little Shop of Horrors since discovering the original campy horror/comedy film, its subsequent stage musical adaptation and the Frank Oz-directed film version of the musical adaptation in late 80s. Full disclosure: I may or may not admit to frequently belting Somewhere That’s Green while listening to my Walkman back in the day. So, as you can imagine, I was both excited and apprehensive to attend opening weekend of Renaissance Players’ take on the musical adaptation. To my delight it’s as bloody enjoyable as I had hoped.

Based on the aforementioned 1960 black comedy horror film, The Little Shop of Horrors, directed by schlock-master Roger Corman that quickly garnered cult status, Little Shop of Horrors dropped the ‘The’ when it got the stage musical treatment by Howard Ashman and Alan Menken in the 80s. That’s right. Before gaining notoriety for such Disney animated musicals as The Little Mermaid, Beauty and the Beast and Aladdin, Menken and Ashman collaborated on a little off-Broadway favorite about nebbish floral assistant Seymour Krelborn, his sweet, albeit dim-witted co-worker crush, Audrey and Audrey II, a bloodthirsty dionaea muscipula hybrid—that’s an amped-up Venus Flytrap for the less horticulturally inclined.

As is often the case with Renaissance Players productions, Little Shop of Horrors is somewhat of a family affair, what with Jon Kopischke directing, wife Valerie Kopischke on-board as the show’s costumer and two of the Kopischke offspring featured in the cast. Luckily for the community of Dickson, TN, they are a talented family. It’s also fortunate that the rest of the cast is also plenty capable in their assigned roles.

Peri Barnhill and Brett Myers as Audrey and Seymour in Renaissance Players’ “Little Shop of Horrors”

To that end, both Brett Myers and Peri Barnhill mark their Renaissance Players acting debuts leading the cast as Seymour and Audrey. For fans of the film, Myers does a fine job channeling popular 80s comedy actor Rick Moranis’ Seymour, charmingly awkward when in the presence of his female co-worker and geekishly stumbling in and out of doorways. Proving he’s adept at physical comedy as he is musical theatre, Myers’ plays the perfect underdog the audience instantly roots for, even in the dark comedy’s stranger moments. To clarify an earlier statement, playing Seymour may be Myers’ acting debut with Renaissance Players, but he’s a familiar face at Renaissance having directed both their productions of Annie and Beauty and the Beast last season. As an actor he’s been in a number of shows elsewhere.

Audrey II and Audrey (Peri Barnhill)

Barnhill’s Audrey, while not as ditsy as the role is often presented, plays her with a cutesiness peppered with just enough seemingly unintentional provocativeness. Add to that Barnhill’s voice and its easy to see why Myers’ Seymour is so smitten, as Audrey, Barnhill gets most of the show’s best-known tunes, including Suddenly Seymour and Somewhere That’s Green. Lyrics in the latter indicate she ‘cooks like Betty Crocker and looks like Donna Reed’. More accurately, in character as Audrey, Barnhill’s portrayal falls somewhere between two Marilyns…Monroe (impish mid-century big screen sex goddess) and Munster (of the cult classic TV sitcom, The Munsters). As mentioned above, I’m a huge fan of this show, and Audrey’s musical numbers in particular, and much to my delight, Barnhill performs these iconic Ashmen/Menken tunes beautifully.

Audrey (Peri Barnhill) and the Doo Wop girls (Tori Gunn, Ashley Birnbaum and Leslie Kopischke)

Those familiar with Little Shop likely remember the three girl singers in the show who are reminiscent of such 60s groups as The Supremes, Martha and the Vandellas, The Shirelles, The Marvelettes and others…well, whitewash them and you’ve got Renaissance Players’ Chiffon, Crystal and Ronnette, three wise-cracking, street-smart girls who not only hang out in the alley, but also provide plenty of doo-wop background harmonies throughout the show. Usually played by three….shall we say…more ethnically diverse actresses, this time around they come across more Pink Ladies than Supremes as played by Tory Gunn, Leslie Kopischke and Ashley Birnbaum. Nothing against these ladies, who do a fine job as the gum-poppin’, finger-snappin’, doo-woppin’ tuneful trio, as I understand a show can only be cast from the actors who audition for the roles.

Seymoour (Brett Myers) and Mr. Mushnik (Alex Kopischke

Another interesting casting choice comes in the form of Alex Kopischke as Mr. Mushnik, the stereotypical jewish florist owner who sees Seymour as a son and the invention of Audrey II as a chance to turn his skid row shop into a money maker. Rather than affect a yiddish dialect, Kopischke presents Muschnik with an overly-exaggerated gravelly voice. I honestly don’t know how he’ll make it through the show’s brief two-week run without causing himself to get horse from speaking that way. Interesting vocal choices aside, Kopischke’s Mushnick is fun to watch, especially when he and Myers attempt a little wink to Fiddler on the Roof choreography during  the Mushnick and Son number midway through Act 1.

Bryce Conner as Orin Scrivello, DDS

Then there’s Bryce Conner, by far the standout performer in the show. Not only is he devilishly hilarious as Orin Scrivello, DDS, Audrey’s laughing-gas-addicted dentist boyfriend, he also steals scene after scene throughout the show, playing a multitude of quick-change single-scene roles. With characters ranging from, a homeless man and a wealthy investor interested in Audrey II to customers and Mrs. Luce, a magazine editor with her eye on Seymour, it becomes simply fun wondering who Conner will show up as next. With what would appear to be a healthy affinity for Steve Martin’s portrayal of the dentist in the film adaptation, Connor hams it up during his (SPOILER ALERT) death by excessive laughing gas. Heck, I personally needed a hit of oxygen after laughing so hard as his prolonged death scene.

Rounding out the cast is Dale McCoy. Like Conner, he too plays more than one role. Primarily the voice of Audrey II, McCoy is first seen as a homeless man in the show’s full cast Skid Row number near the top of the show. Side Note: is it just me? or is Hairspray’s Good Morning Baltimore a rip-off of Skid Row?…but I digress.  A clever bit of foreshadowing, when not voicing the man-hungry plant Audrey Two, affectionally called Twoey by Seymour, McCoy’s homeless guy can be spotted carrying a cardboard sign that reads “Feed Me”, which—no-so-coincidentally— is also the title of McCoy’s big Act 1 number. McCoy is featured again during Act II Suppertime. Unfortunately, McCoy’s vocals, with his booming deep voice, after often overshadowed by the audio of the show’s soundtrack, likely because McCoy is backstage on a single mic, without the benefit of the added mics hanging above the actors who appear on stage.

Audrey II and the cast of “Little Shop of Horrors”

Finally, special mention should be made of the set designed by Robert Cooper and the Audrey II puppets, operated by Jenna Wright. When I inquired about the puppets, Director Jon Kopischke informed me they’re from Swazzle, a Glendale, California puppet company founded by brothers Sean and Patrick Johnson. Not since the mid-2000s national tour have I seen a more professional set, better lighting and such gorgeous Audrey II puppets.

Renaissance Players’ Little Shop of Horrors wraps its two-weekend run this weekend with two shows remaining. First up, Saturday, August 4 at 7 p.m., then a final Sunday matinee on August 5 at 2 p.m. Tickets are $15 for Adults, $10 for Seniors and Students and $5 for Children. Director Kopischke announced via social media on Saturday that Saturday evening’s performance will also offer a Back to School Special 1/2 price tickets for Students at the on-site Box Office. Tickets can also be purchased by calling 615.593.5520, or Click Here to purchase tickets online. Little Shop of Horrors is being presented in the larger auditorium space on the main level of The Renaissance Center (855 TN-46, Dickson, TN 37055 just 45 minutes west of downtown Nashville via 1-40 W).

Up next for Renaissance Players is the musical comedy, Church Basement Ladies. Appropriately, this show will be presented downstairs at The Renaissance Center in their smaller, more intimate Gaslight Dinner Theatre space and will include a pre-show dinner. Tickets are $40/Adults or $35/Seniors. Click Here for tickets or more information. To keep up with Renaissance Players, 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.

Rapid Fire 20 Q with Lila Toshiko and Jennifer Whitcomb-Oliva; their original two-woman show, ‘Highness’, onstage thru Sunday at Belmont Black Box Theater

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Highness, an original two-character stage collaboration created by, written by and starring Jennifer Whitcomb-Oliva and Lila Toshiko wraps its brief weekend run with a final performance at 6 p.m. on Sunday, July 29 at Belmont’s Black Box Theatre. This latest offering in Actors Bridge Ensemble’s continuing summer series, She Said/She Said: Summer of Women’s Stories examines women in a hierarchal society. Prior to Highness’ debut, Toshiko and Whitcomb-Oliva most recently shared the stage in a production of the gender-flipping Men On Boats. Having known Whitcomb-Oliva for several years and being a huge admirer of her work on stage, I was anxious to chat with both creative forces to get the inside scoop on Highness for my latest edition of Rapid Fire 20 Q, which, incidentally marks the debut of my recurring interview feature for the new JHPEntertainment site.

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RAPID FIRE 20 Q with HIGHNESS CREATORS AND STARS, JENNIFER WHITCOMB-OLIVA and LILA TOSHIKO

Highness collaborators Lila Toshiko and Jennifer Whitcomb-Oliva

JHP: Was Actors Bridge Ensemble’s April production of Men On Boats your first time working together?

LILA TOSHIKO: Actually, Jennifer and I first worked together in the Actors Bridge Performance of Haunted. Men On Boats was our second show together.

JHP: Tell me about working with Lila and continuing the journey with this piece?

JENNIFER WHITCOMB-OLIVA: We are kind of like siblings ourselves. We both love working together, and having the chance to play strong women on stage is always appreciated. Having just played explorers in Men On Boats, the opportunity to keep the theme of women alive, was a plus!

JHP: What about sharing the stage in the past lead you to collaborate on Highness?

LILA TOSHIKO: Jennifer and I would always chat about pieces we were working on individually and when Vali Forrister of Actors Bridge asked us if we wanted to write a piece together we saw it as a perfect time to try a collaboration.

JHP: How did collaborating with Lila Toshiko on this project come into being?

JENNIFER WHITCOMB-OLIVA: We were approached after performing in Actors Bridge Ensemble’s production Men On Boats. We enjoy working together so much, that we jumped at the opportunity to play together again.

JHP: What is Highness about?

JENNIFER WHITCOMB-OLIVA: Highness is re-imagined fairytale about the stigmas that women face in a hierarchal society.

JHP: I understand the two of you play Cinderella’s step-sisters. Who plays Whom?

LILA TOSHIKO: Jennifer Plays Jo, I play Lucy.

JHP: What can you tell me about the characters in Highness?

JENNIFER WHITCOMB-OLIVA: They are the stepsisters from the classic Cinderella fairytale. Lucinda, the youngest more eager stepsister. Josephine, the eldest, and more mature stepsister.

JP: They’re typically portrayed as wicked. Is that the case in Highness?

LILA TOSHIKO: I don’t ever think any character is necessarily wicked. It’s always their backstory that has gotten them to this place and time and I definitely think that’s the case for Jo (Jennifer) and Lucy (Lila). They do what they must do to survive.

JHP: How long did it take for you two to go from concept to finished play?

JENNIFER WHITCOMB-OLIVA: I wouldn’t even call this finished. LOL. But it took us about 6 weeks to get it all together.

JHP: Earlier this week, a behind the scenes glimpse of the two of you in hair and makeup was shared to social media. From the powdered wigs and overly exaggerated clown-white makeup, it would appear the Baroque period was inspiration for the play’s setting. Is there anything else behind the extreme hair/makeup choices?

LILA TOSHIKO: From a character point of view our makeup and hair basically work as a  “Baroque Snapchat filter”. It hides the imperfections of our characters. From an actor point of view…..Jennifer and I just love to play dress up!

JHP: How excited are you to be part of the She Said/She Said series?

JENNIFER WHITCOMB-OLIVA: Extremely excited. This is the first time that I have ever had a chance, to put on a professional writer’s hat. It’s so exciting to try something new, and do something out of the box.

LILA TOSHIKO: It’s super exciting and scary all at the same time! Having your piece shown in front of a live audience is absolutely terrifying but we have been so blessed to have such great support from all the amazing ladies in this series!

JHP: Why do you think it’s a good fit for this grouping of plays?

JENNIFER WHITCOMB-OLIVA: It’s a story of women, told by women, and written by women. Shows different aspects and sides of the very things that we deal with on a day to basis.

JHP: What about exploring the stigmas of women in a hierarchal society appealed to you as a playwright?

LILA TOSHIKO: I think what appealed most to me was how not much has changed. A lot of the expectations of women still remain today.

JHP: Does the Black Box’s space lend itself Well to your vision for Highness?

JENNIFER WHITCOMB-OLIVA: Yes. This is a wonderful space. So much so, with this new script and left over set, we weren’t sure what to do with it. But I love the Belmont Black Box and it’s always nice to play here.

JHP: What were the challenges of writing a two-person play?

LILA TOSHIKO: I think the thing that made me the most nervous about a two person play is there’s no room for error. You two only have each other to count on if anything goes wrong on stage. I’m so glad I got to team up with Jennifer for this process. She made this whole process so easy!

JHP: What do you hope audience come away from Highness having experienced?

JENNIFER WHITCOMB-OLIVA: I hope that they can find something relatable, or open their eyes and ears to seeing/hearing another point of view. Maybe laugh a little!

LILA TOSHIKO: I hope it opens some eyes and encourages people to walk in someone else’s shoes before they make judgments.

JHP: After this weekend’s debut, do you have other plans for Highness?

JENNIFER WHITCOMB-OLIVA: I’m not sure. I’d definitely love to fine tune and tweak. It might be fun to see and play with this idea again.

JHP: Do you hope to collaborate on another project in the near future?

LILA TOSHIKO AND JENNIFER WHITCOMB-OLIVA: Absolutely!

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With that, my conversation with the creators and stars of Highness came to an end, but I’ve a feeling their reign over the Nashville theatre community is just beginning. CLICK HERE to purchase tickets to Highness’ final performance at 6 p.m., Sunday, July 29 at Belmont Black Box Theatre as part of Actors Bridge Ensemble’s continuing summer series, She Said/She Said. CLICK HERE for more information about the series’ final offering, Cynthia Harris’ How to Catch a Flying Woman, directed by Helen Shute-Pettaway, onstage August 3-5.  Be sure to Actors Bridge Ensemble on Facebook, Instagram and Twitter.

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Audience of One and Capitol Players’ ‘West Side Story’ a faithful and entertaining production of one of musical theatre’s most beloved shows

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Since its Broadway debut in 1957, West Side Story—with original book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and original choreography by Jerome Robbins—has remained one of American musical theatre’s most treasured works. The subsequent 1961 film adaptation, which won ten of the eleven Oscars for which it was nominated, only further solidified the piece’s rightful place in musical history. Of course the fact that the show itself drew inspiration from William Shakespeare’s Romeo and Juliet hasn’t hurt its iconic status.

Taking that storied history into consideration, when a newer local theatre company bravely includes the legendary show in their current season (the company’s third), you gotta figure they either know they’ve got the talent to back it up, or they’re as starry-eyed as Shakespeare’s ill-fated young lovers. Directed by Audience Of One founder, Angie Dee, whose company is producing the show in collaboration with Capitol Players, with musical direction by Sandy Elliott and Jenny Youngman, it’s quickly evident that it’s the former, with a surprisingly talented cavalcade of young actors paying homage to the beloved musical theatre masterpiece.

I had the opportunity to attend last weekend’s opening night performance and while there were the usual opening night nerves initially present among a few of the cast members, once they got their grove, they played it cool, real cool.

Among the stand-out in the show, appropriately enough, are the two leads, Matt Gunn and Madison Graves. Gunn, who has the looks of a young Justin Timberlake, plays Tony, the golden boy of The Jets, a local gang bent on protecting their turf against the Puerto Rican gang, The Sharks. (Yes, themes of who belongs in this country and opposition to loving who you choose to love are sadly as relevant today as when this play debuted more than a half-century ago).

Mostly because of his own youth or at least his youthful appearance, as I’ve truly no idea how old he is, Gunn presents Tony with an innocence and inexperience that’s quite the welcome change from the usual local productions of the show in which it’s not uncommon for thirty-somethings to be playing the teenage characters. But more than that, when Gunn sings his share of the show’s numerous signature songs like Something’s Coming and Maria, he does so with a convincingly undeniable optimism that frequently accompanies first love. A few vocal missteps on opening night aside, as Gunn continues his training and performing, he’s surely to become a force to be reckoned with in the Nashville theatre community.

Matching Gunn’s on-stage believability scene for scene is his Maria, Madison Graves. While she may in fact be a couple years older than her leading man, (again, I truly have no real concept of her exact age) she plays the lovestruck girl with aplomb. Her dark hair and striking looks and a convincing hispanic accent simply enhancing the idea of Maria. She’s never better than when going note for note alongside Gunn’s Tony for One Hand, One Heart, one of my personal favorite musical moments in the show. Graves also shines in Act 2’s playful I Feel Pretty, a song she shares with a few of Maria’s friends. And if you don’t shed a tear during I Have a Love, I have no love for you.

Speaking of Maria’s friends, Macy Ruggiero plays the outspoken Anita (Rita Moreno’s Tony-winning role in the film, for those whose point of reference that remains). Hands-down my favorite character in the film adaptation and pretty much any production I’ve ever seen of West Side Story, Macy’s Anita does not disappoint, stealing every scene she’s in and perfectly hitting every single note of every song she’s a part of, most notably, the caustic America and the cautionary A Boy Like That. Simply blissful to watch.

Cast as Tony’s womb-to-tomb fellow Jets are Alex Dee, Daven Dee, Tanner Buttery, Brad Thompson, Abe Gibson, Tanner Myers, Jake Yoder and I can’t forget CJ Shandor as Anybodys. Tasked with opening the show with Jet Song, the boys and Anybodys come together to support each other perfectly. That same camaraderie holds true during the Jet’s other all-in, Cool.

Appearing as the Jets Girls are Rebekah White, Hope Beard, Maggie Morgan, Tessa Groves, Keely Chandler and Bently Spicer. With Gracie Youngman, Rachel Rae Poole, Stella London, Sadie Holt, Christina Ray, Emma Bastin, Julia Mowry their counterparts as The Sharks’ Girls.

Aside from Graves’ Maria, Ruggiero’s Anita, the aforementioned I Feel Pretty and Ray’s solo during Somewhere, the girls don’t exactly feature as prominently as the boys in the show. That said, they are indeed a vital part of the show and their presence during the group numbers showcases their individual voices while simultaneously blending for a powerful chorus that magnifies the glory of the famed soundtrack.

Taking on the Jets are Bernardo and the Sharks. Joseph Walker does an admirable job as Bernardo, particularly enjoyable during the show’s technically tricky choreographed fight scenes, under the direction of stage combat choreographer, Katharine Boettcher. Walker’s Bernardo also benefits from his fellow Sharks: Josh Crabtree, Will Deffendall, Derek Fry, Gibson Littlejohn, Patrick Pride, Sam Martin and Daniel Carrasquillo. Perhaps because I’m familiar with Carrasquillo, having seen him in previous productions across town, my eye kept going back to him, especially during the many dance sequences.

On the subject of dance numbers in this production of West Side Story, weeks before I even attended Opening Night, I kept seeing post after post praising the choreography in this show. Much to my delight, choreographer Rebecca Poole and the entire cast completely live up to the hype. Kudos to the whole cast for the obvious hard work and dedication to bringing this often challenging choreo-full piece to the stage in such a lovely way.

As referenced above, while the majority of the cast is younger, there are a few shall we say slightly more seasoned actors cast in the adult roles. Rich Moses plays Doc, the owner of the drugstore that’s home base for Tony and The Jets. While I personally have never seen Doc played with a southern accent—the show takes place in mid-century New York, after all—Moses’ Doc provides the boys with a likable and understanding authority figure. The same can’t be said for Brian Best’s tough-talking detective Schrank. Typically cast as a scene-stealing cut-up, it was a nice surprise to see Best in a grittier, albeit less lovable role. Logan Richardson’s Officer Krupke, the brunt of the boy’s tauntingly hilarious Gee, Officer Krupke might not be playing a lovable character, but judging from the response from eh crowd, the actor himself is a town favorite. Another fan favorite, Evan Reavis who plays Glad Hand, the hammy host of the potentially tense community dance. His every line was met with uproarious laughter and applause, leaving me as a first-timer at the venue feeling a little like a wallflower, as I just wasn’t in on the joke.

If there was one moment in this production that just didn’t flow, it’s the mid-Act 2 Procession and Nightmare. Not necessarily the fault on anyone associated with this production, the ballet-heavy sequence is simply difficult to pull off. For some reason, dream ballets were a staple in 1950s. From Oklahoma’s cornfield ballet and Singin’ In The Rain’s club scene to White Christmas’ oddly mod Choreography sequence, I’ve just never been a fan. These scenes attempt to incorporate stylistic dance moves bridging the gap between classical genres and musical theatre, and for me at least, rarely work. Oh, and did I mention that during this scene on Opening Night, the audience was accidentally privy to someone chatting backstage thanks to an unfortunately live mic issue.

The cast of Audience of One & Capitol Players’ “West Side Story” (photo by Michelle Hill Holt; courtesy AOO)

AOO & Capitol Players’ West Side Story, on stage with three more performances through Saturday, July 28, at the beautifully restored Capitol Theatre, (110 W. Main Street, in nearby Lebanon, TN) will have you believing in true love and have you snapping your fingers like the coolest of Jets…or is that Sharks…Whichever gang you roll with, AOO & Capitol Players’ West Side Story is a must see this weekend. Remaining shows are Friday, July 27 at 7 p.m., a Saturday, July 28 matinee at 1 p.m. and a final Saturday evening performance on the 28th at 7 p.m. Tickets are $20 for Adults and $13 for Senior Citizens and Children ages 3-11. Click Here for tickets. For more about Audience of One Productions, Click Here or follow them on Facebook, Twitter and Instagram.

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Actors Bridge Ensemble and Wild Card Productions team for ‘Marian, or the True Tale of Robin Hood’; final two performances Saturday, July 7 at Belmont Black Box Theatre

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Actors Bridge Ensemble and Wild Card Productions have teamed to present the gender-bending, patriarchy-smashing, Marian, or the True Tale of Robin Hood, at Belmont’s Black Box Theatre, with two final performances Saturday, July 7 at 2 p.m and 7:30 p.m. And what more perfect patriarchal stomping tale to tell, after all, anyone who thinks the idea of smashing the patriarchy is a new concept, might want to carefully consider the medieval tale of Robin Hood and his Merry Men. Their ‘steal from the rich and give to the poor’ ideology has been smashing Prince John and The Sherif of Noddingham since the 15th century, perhaps even earlier.

That said, Adam Szymkowicz’s  Marian, or the True Tale of Robin Hood continues to smash said patriarchy, while simultaneously smashing not only the tale of Robin Hood as we know it, but the money shifting swashbuckler’s identity itself. For you see, ’tis not the hooded hood who’s righting the societal wrongs, but the fair Maid Marian. That’s right, in this new tale, the fabled Robin Hood isn’t a mystery man at all, SHE’s Maid Marian in disguise. What’s more, HER Merry Men, are mostly like-minded women who’ve decreed, let playing damsel be damned.

For Actors Bridge Ensemble and Wild Card Productions’ merry mounting, they’ve enlisted Britt Byrd as director. Those who know Byrd know that when she’s not on-stage or, in this case, behind the scenes, she has a penchant for cosplaying some kick-ass women like The Joker’s minx, Harley Quinn, and Star Wars’ cunning and brave Rey, so what better piece for her to helm than a comedic costume play (with more than a few surprisingly though-provoking subplots) featuring several strong-willed women and more than a few impressively choreographed sword fight scenes?

Cast as Marian/Robin Hood is Melinda Paul. Whether in literature, on the stage, screen or even in one of my personal favorite depictions, Walt Disney’s 1973 animated feature, Robin Hood has always been portrayed with a self-assured cleverness. Paul takes that characteristic and builds on it, playing both Robin and his fairer alter-ego, Marian with equal parts confidence and concern. While she indeed swashbuckles with the best of them, her gentler scenes with Mackenzie Smith’s Little John provide the oft-outlandish comedic tone of the play with some much-appreciated sweetness. Side Note: Who wouldn’t fall for Smith? That kindness. That accent…that kilt.

True to playwright Szymkowicz’s much-touted gender-bending theme, Ashley Wolfe is spectacular as Alanna Dale, who joins Marian/Robin as one the Merry Men using the only slightly modified moniker, Alan. Wolfe, as Alanna/Alan exudes excitability in her quest to join Robin Hood as one of his Merry Men, even though, unbeknownst to her, Robin is Marian. In addition to her role within the plot, Alanna also serves as the play’s narrator, often breaking the fourth wall to address the audience directly and keep them abreast of the seemingly complicated, but quite frankly, simplistic who’s who and what’s what of the plot. Alanna’s keenness to be one ‘one of the guys’ takes an interesting turn when, as Merry Man, Alan, he falls for fellow Merry Man, Will Scarlet (Lakota Jernigan). Again, relying on the gender-bending premise, Will is, in actuality Scarlet, yet another non-distressing damsel. Scenes between Wolfe’s Alanna/Alan and Jernigan’s Will/Scarlet run the gamut from adorably awkward to an interestingly ah-ha-inducing realization that even in medieval times, love is love and always has been.

Just when you think the playwright can’t pierce the heart any more, there’s even a hilarious ‘will they or won’t they’ running subplot between JR Knowles and Gavin Jernigan as two of the Prince’s Guards. Spoiler Alert: You KNOW they will!

Speaking of his Highness, Fred Brown, as Prince John is regal indeed. That is, if inciting royally rambunctious laughter scene after scene is majestic. Playing his grandiose status to the hilt, Brown’s Prince John lands brilliantly somewhere between Hanna Barbera’s Snagglepuss and a libidinous caricature of pretty much any Richard Burton role. His dalliances with Melissa Silengo as Lucy, his favored concubine are quite hilarious.

Other stand-outs include Kate Adams as Lady Shirley and Diego Gomez as Friar Tuck. The first, with a penchant for baubles and sex, the second given to drink and…well…sex. While she’s supposed to beholden to David Wilkerson as the Sheriff of Noddingham, Lady Shirley gets more than her flirt on with the frisky Friar. Licentious doesn’t even being to describe Adams’ and Gomez’s on-stage chemistry as the randy duo.

While Gomez isn’t portraying dual roles on-stage, he is in fact wearing two hats during this production. Not only is his snagging laughs from the audience as Lady Shirley’s boytoy, he also serves behind the scenes as the show’s fight choreographer. Meanwhile the aforementioned Wilkerson plays the villainous Sheriff convincingly, but he too has a hand in the fight scenes as the show’s fight captain/consultant. I mention these two backstage credits because the fight scenes are that good. Whether wrestling, pulling punches or sword fighting, the precision and care executed by each and every cast member deserves accolades.

Making the most of their limited time on stage, the remainder of the cast consists of Alexandra Chopson as the non-gender-conforming Much the Miller’s Son; Blake Hollliday as the playfully androgynous Tommy of No Consequence and Dominique Howse and Matthew Benenson as Sir Lenny and Sir Theo.

Also of note is set design by Paul Gatrell. Belmont’s Black Box Theatre provides the perfect venue for Marian and Gatrell’s set utilizes the space marvelously. I especially appreciated the larger than life arrows plunged into the ground around the corners of the stage, offering an impressionistic interpretation perhaps of the mighty pines of Sherwood Forest.

While I’ve delved into the gender-flip prevalent throughout the show, it should be noted that the playwright, and this production’s director don’t get preachy. It’s a comedy after all and what better way to broaden thought than through humor?

Marian, or the True Tale of Robin Hood wraps its two-week run with a 2 p.m matinee Saturday, July 7 and a final evening performance Saturday at 7:30 p.m. Wild Card Productions announced a special half-price discount for the matinee. Simply use the promo code “Hot-BOGO” when ordering tickets. CLICK HERE for tickets. To keep up with what’s next for Wild Card Productions, follow them on Facebook, Instagram and Twitter. Follow Actor Bridge Ensemble on Facebook and 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, Twitter and Facebook.