Touring Company

Rapid Fire 20Q with cast of ‘CHICAGO’; National Tour at TPAC’s Jackson Hall January 28- February 2

January 27, 2025 by Jonathan

Considering the original 1975 Broadway smash hit CHICAGO came to the stage with musical pedigree in hand, thanks to music by John Kander, lyrics by Fred Ebb and an equally engaging book by Ebb and Bob Fosse, it should be no real shock that fifty years later, it’s still one of the most beloved musicals of all time. Proving it’s popularity, the 1996 revival now not only holds the record as Broadway’s longest-running musical revival and the longest running American musical in Broadway history. So naturally I was among the droves of fans excited to hear that the current National Tour is making its way back to Nashville as part of TPAC’s current HCA Healthcare/TriStar Health Broadway at TPAC series.

As the cast and crew of CHICAGO readied for their return to Music City at TPAC’s Jackson Hall January 28-February 2, I recently had the chance to chat up four of the show’s cast. So settle in as CHICAGO stars Taylor Lane, Ellie Roddy, Connor Sullivan and Illy Kirven take the stand for the latest edition of my recurring interview feature, Rapid Fire 20Q.

Rapid Fire 20Q with cast of CHICAGO; National Tour at TPAC’s Jackson Hall January 28- February 2

Rapid Fire with Taylor Lane, Velma Kelly in CHICAGO National Tour

JHPENTERTAINMENT: The current National Tour of the iconic CHICAGO kicked off just a few months ago. What has it been like to step into the role of Velma Kelly thus far?

TAYLOR LANE: Stepping into the role of Velma Kelly has been an absolute thrill. It’s a dream come true to bring such an iconic character to life. I’ve loved diving into her strength, sass, and complexity, and it’s been an incredible challenge to embody her boldness while making her my own.

JHPENTERTAINMENT: As Velma, you are front and center leading the ensemble during the show’s spectacular, high-octane All That Jazz. Of course renowned choreographer Bob Fosse created the moves for the original production, and his style is typically honored by incorporating some Fosse-esque moves. The current national tour is using the equally iconic 1996 revival Ann Reinking choreo with Gregory Butler recreating Reinking’s choreography. Do you have a particular dance-centric moment in the open, or elsewhere in the show, that you absolutely love performing night after night?

TAYLOR LANE: Absolutely! There’s no better feeling than rising onto the stage, Fosse-walking to center stage, and diving into the intricate, precise moves of All That Jazz with the entire ensemble dancing in perfect unison behind me. The energy is electric, and it’s surreal to perform these legendary dance steps that we had the great honor of learning from Gregory Butler passed down from Ann Reinking. Some of my favorite moves in the show include the ‘pippin’ and ‘the lola’.

JHPENTERTAINMENT: Another choreo-heavy number is I Can’t Do It Alone. I can’t wait to see this company take on this ‘act of desperation’. On the subject of choreography. How much time goes into rehearsing the dance sequences for a show like CHICAGO?

TAYLOR LANE: We rehearsed for three weeks in New York City before heading out on the road. During that time, we learned all the music, choreography, and the book of the show, including lines and staging. Now that we’re performing regularly on tour, our dance captains give us notes to keep the show as sharp and clean as possible. We also have scheduled brush-up rehearsals with our choreographer to ensure we’re staying true to the original intention behind the choreography.

JHPENTERTAINMENT: Some audience members may not realize it, but CHICAGO is actually based on real life murderesses. Belva Gaertner, a thrice-married cabaret singer who murdered her married lover in 1924. Have you done any research on Belva in preparation for the role?

TAYLOR LANE: Yes, I’ve done some research on Belva Gaertner, the real-life inspiration behind Velma Kelly. It’s fascinating to learn about her story and how her persona influenced the character. Understanding the historical context and her bold, unapologetic attitude has helped me bring depth to Velma while still making her my own. It’s incredible to step into a role rooted in real history but reimagined with all the flair and style of CHICAGO.

JHPENTERTAINMENT: Since I’m about to chat with Ellie Roddy, who plays Roxie opposite your Velma, can tell me how it’s been to share the stage with her?

TAYLOR LANE: It’s such an honor to share the stage with the brilliance that is Ellie Roddy. Unlike our characters, who have a rivalry in the show, I absolutely adore her and love performing with her every night. She’s an incredible actress, and I truly enjoy getting to play off her energy onstage. My absolute favorite moment is singing Nowadays and dancing Hot Honey Rag with her at the end of the show. There’s something so special about dancing together as two powerful women—it brings me so much joy.

Rapid Fire with Ellie Roddy, Roxie Hart in CHICAGO National Tour

JHPENTERTAINMENT: When I spoke with Taylor Lane, I mentioned the fact that CHICAGO is based on real life murderesses. Your character, Roxie Hart is based on Beulah May Annan, a bookkeeper, who, while arguing with her lover, ‘reached for the gun’. What can you share about your creative process in playing Roxie?

ELLIE RODDY: It really was such a journey, and it’s still ever evolving. I find I continue to learn more and more nuances about this character the more I perform the role! They gave me a lot of freedom, creatively speaking. What’s really unique about CHICAGO is that yes, it is set staging and choreography that’s been on the Broadway stage since 1997, but it’s tailored to each and every individual and caters to their strengths. They play with each person’s individuality for each company member that is joining the CHICAGO family. It was a lot of trial and error for me. I’d try out a bit or try a certain inflection for certain lines, and they’d tweak it or we’d start fresh from the drawing board. It was one of the greatest gifts to receive as an actor, the trial and error with a safe space to play.

JHPENTERTAINMENT: In the previous question, I alluded to the song We Both Reached for the Gun. This number is one of my favorites in the show–admittedly there are several favorites. I love that Roxie is so bent on stealing the spotlight from Velma as the latest notorious murderess that she’s willing to do whatever her hot shot lawyer Billy Flynn (played by Connor Sullivan) tells her. How much fun have you are you and Connor having in fine-tuning this particular number?

ELLIE RODDY: On a scale of 1-10 I’d say 100. Oh, it is one of my absolute favorite parts in the show. It’s such a smart song and plot line. And not only is it catchy, but Greg Butler’s choreography and specificity with it is brilliant within the story telling aspect of it as well. Everything is so mapped out to a tee, and it’s so much fun to get to do. And to hear the crowd roar for Connor is nothing less than spectacular.

JHPENTERTAINMENT: Of course Roxie’s big number is, well..Roxie. If you had to rate the level of razzle dazzle in this particular sequence, what would you rate it, and why?

ELLIE RODDY: That is such a great question! Because it’s the first time in the show you really get to see her honesty and her point of view (now whether or not it is entirely the truth is up for debate) but it’s the first time where she gets to be stripped down as herself, vamped by a walking bass and piano line. When rehearsing the monologue into the song, David Hyslop and Greg Butler encouraged me to think of something like “Judy Garland’s one woman show, sitting at the front of the stage, microphone in hand, sharing a story with lots of charm and charisma.” So, with that in mind, it’s not so much flashy razzle dazzle, it’s little sparks and glitters weaved within. It’s more internal, and you get to go on the journey with Roxie and her dream and learn about her WHY. It just happens to be in a little tongue-in-cheek way.

JHPENTERTAINMENT: Since the show tells the tale of a group of felonious females, I’m just gonna ask….IF you could get away with murder, how would you choose to pull off the ultimate crime?

ELLIE RODDY: Ooh, I have never been asked this question before! Personally, I do watch some true crime documentaries/tv shows and have listened to some podcasts in the past, because I find the topic so fascinating. IF I could get away with murder, I think I would probably claim an act of self-defense, such as Roxie. Again, emphasis on IF!

JHPENTERTAINMENT: In spite of the fact that much of the show takes place in the Cook County Jail, CHICAGO features some gorgeous period-authentic 1920’s fashions courtesy six-time Tony-winning costume designer William Ivy Long. What’s your favorite piece of wardrobe in the show?

ELLIE RODDY: I think my favorite piece that I personally wear is the open back dress when I do Roxie. It’s a gorgeous tight fit lace dress with an open back, and I think it’s so sleek and classy, but has a little edge to it. As for the entire show, I think the costume that Faith Jordan Candino (Mona) or Serena Kozusko (Swing/DC) wears! I feel fortunate enough that during our rehearsal process in NYC this past September, I got to go to William Ivey Long Studios in person, and try on a handful of archived costume pieces to find the perfect fit! It was such an honor.

Rapid Fire with Connor Sullivan, Billy Flynn in National Tour of Chicago

JHPENTERTAINMENT: Who is Billy Flynn to you?

CONNOR SULLIVAN: To me, Billy is a person who loves what he does and works hard to make sure he stays at the top of his field. He views the legal system as a game, and he is fiercely competitive. His goal is to win, and he feels no qualms about doing whatever he needs to in order to make that happen.

JHPENTERTAINMENT: Billy Flynn, like most lawyers, comes off as suave, manipulative and driven by the opportunity to gain notoriety and success by painting his murderous clients as victims themselves. Those are a few of Billy’s less-savory characteristics. Have you discovered any redeeming qualities while creating your version of him?

CONNOR SULLIVAN: Billy is passionate about defending his clients and protecting his people. There are aspects of loyalty and verve to him that are, if not redeeming, at least somewhat positive. Once you are on his team, he will do whatever it takes to get you over the finish line with him.

JHPENTERTAINMENT: If you weren’t cast as Billy, who would you ‘kill’ to play in the show?

CONNOR SULLIVAN: I would love to play Velma Kelly. She has such a fearless tenacity that I think would be fun to embody every night. However, I could never do the role justice the way that Taylor Lane does – she’s currently playing Velma on our tour!

JHPENTERTAINMENT: One of your big numbers as Billy is Razzle Dazzle. It speaks of giving it everything you’ve got to wow the crowd. What is it about your three female co-stars: Taylor, Ellie and illy that will ‘razzle dazzle’ Nashville’s audiences?

CONNOR SULLIVAN: Ellie Roddy is a true triple threat performer. Her acting, vocal, and dance chops all shine through in her performance. Taylor Lane really captures the essence of who Velma is – her performance is self assured, grounded, and edgy. Illy is an incredible vocalist and has one of my favorite numbers in the show. She brings such a powerful presence to the stage and to our company!

JHPENTERTAINMENT: CHICAGO first opened on Broadway in 1975. The 1996 revival, from which this tour was born, is now the longest running revival in the history of Broadway. What’s it like being part of such a storied show?

CONNOR SULLIVAN: It has been such a huge blessing to be part of a show with the legacy that CHICAGO has. Working with our incredible creative team, some of whom have been with the show since the revival opened in 1996, has been the biggest honor of my career!

Rapid Fire with Illeana ‘illy’ Kirven, Matron Mama Morton in CHICAGO National Tour

JHPENTERTAINMENT: As Mama Morton, you get to belt out the show-stopping tune When You’re Good To Mama. It’s just one in a show full of wickedly wonderful tune by Broadway legends Kander and Ebb. How magical is it to perform such iconic tunes?

ILLY KIRVEN: From the time Matron Mama Morton is announced, the crowd is ready for her. Every night I am blessed to take to the stage to sing this incredibly iconic song. It truly feels like a gift. It’s a gift I’ve been given to give, but I also receive great gifts back from each audience, every single show. I’m completely humbled and honored to follow in the footsteps of so many iconic women who have filled Mama’s shoes. It really does feel quite magical.

JHPENTERTAINMENT: Which leads me to my next question…With such a grand theatrical history, there’s been so many fabulous actresses who’s brought Mama Morton to life. From Mary McCarty who originated the role on Broadway to my pal, Roz Ryan, who’s played her more than any other actress, having appeared both on Broadway in the revival and numerous subsequent tours. Can you reveal just a hint of how you’re making Mama your own?

ILLY KIRVEN: I love Ms. Roz Ryan so much. How amazing that you get to call this legend “friend”. I actually have photos that were printed for me for continuous inspiration with many of the ladies who have portrayed Mama including Ms. Ryan and Ms. McCarty. I did quite a bit of research for the role. Every video or sound byte I could find of various Mama’s singing voices and speaking styles were taken into consideration. I put lots of bits and pieces together of my own in order to let the director mold me into the Mama that works best for this current production. I like to think that I carry parts of all of them within me while putting myself fully into the soul of Mama. I won’t give away any more, but I hope the ladies would appreciate the performance if they were in the audience.

JHPENTERTAINMENT: CHICAGO first debuted on Broadway in 1975, then was revived in 1996 and is still running both on Broadway and as a tour in both the US and UK. Since you play the prison matron, I’ll ask you…what makes CHICAGO such arresting entertainment?

ILLY KIRVEN: I believe it is such “arresting entertainment” because it completely captivates you from the very first introduction. Even the opening announcements draw you in before one note is played or sung. You can literally see audience members leaning forward and trying not to miss a single moment.

CHICAGO, the Musical is written so well. Even the words have rhythm. And it’s got all the aspects that bring excitement to live entertainment: greed, corruption, violence, romance, coupled with beautiful performers and incredible song and dance. It is a show that continues to WOW audiences. Whether it’s their first time or their fifth time seeing it, it has a tendency to win fans over who come back over and over again. I think it’ll be around for many years to come. I’d definitely love and appreciate that.

JHPENTERTAINMENT: When we began chatting, I mentioned Mama’s big number, When You’re Good To Mama, so I gotta ask…what’s it take to be good to Illeana?

ILLY KIRVEN: Honestly, I’m not complicated. I like simple things. I enjoy learning, traveling and exploring. I really love my family, friends, cast, orchestra, crew and people who are genuinely kind. That’s all.

JHPENTERTAINMENT: Alright, one last question for you before this inquisition is over…What do you hope audiences take with them long after the last lights out at the Cook County Jail?

ILLY KIRVEN: I hope the show leads them to want to learn more about the real Roxie, Velma & other characters in the show. A lot of people do not realize that the musical is based on real life happenings. I hope audiences are inspired to want to know more.

But mostly, I want our audiences to leave feeling fully entertained. I’d want them to go home energized with some really great music in their hearts for a long time.

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CHICAGO TPAC’s Jackson Hall January 28 thru February 2. CLICK HERE for tickets. After their Music City dates, CHICAGO heads to Dayton, OH, Knoxville, TN, College Station, TX and more as the tour continues through June. To follow Chicago on Tour, check out their Official Website, or find them on Facebook, X, Instagram and YouTube.

Up next for Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire Q&A with Ballet Hispánico dancers Amanda del Valle and Chris Bloom; the company’s ‘Doña Perón’ on stage at TPAC’s Polk Theatre April 28-29

April 24, 2023 by Jonathan

On Friday, April 28 and Saturday, April 29, Tennessee Performing Arts Center will host Ballet Hispánico’s Doña Perón as part of TPAC’s inaugural International Dance Series. Based out of New York and founded in 1970, Ballet Hispánico is the largest Latinx/Latine/Hispanic culture organization in the US and widely recognized as a leader in bringing the message of cultural history and inclusivity through dance.

As the company prepares to bring Doña Perón, the story of iconic Argentine First Lady, Eva Perón to Nashville for the Music City debut at TPAC’s Polk Theatre, I’ve had the incredible opportunity to chat with two of the company’s lead dancers, Miami Native, Amanda del Valle, who’s dancing the titular role of Eva Perón and Virginia-born Chris Bloom, the ballet’s Juan Perón for the latest installment of my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE Q&A WITH DOÑA PERÓN’s AMANDA del VALLE AND CHRIS BLOOM

RAPID FIRE Q&A WITH AMANDA DEL VALLE, EVITA in BALLET HISPÁNICO’s DOÑA PERÓN

JHPENTERTAINMENT: I just have to begin by saying I’ve been a wee bit obsessed with all things Eva Perón since I was a kid and my favorite aunt took me to see the Broadway musical based on her life. Prior to taking one the role of Evita, how familiar were you with her story?

AMANDA DEL VALLE: I actually had not heard of Evita Perón until a few weeks before the choreographic process. I remember when we found out we would be performing a new work based on Eva’s life; I called my family to tell them and they informed me a little bit about who she was and what she was so famous for.

JHPENTERTAINMENT: From what I know, you first became interested in ballet at a very young age. What memories do you have of your time training with Marielena Mencia and Yanis Pikieris at Miami Youth Ballet?

AMANDA DEL VALLE: I was about 10 years old when I took my first ballet class, and it’s where all my dreams began. My favorite memories are the ones where we would be in the studio rehearsing until 10 o’clock at night, sometimes later, because we were so focused and driven that we would lose track of time. Our moms would have to come upstairs to get us out of the studio. It was home and we never wanted to leave.

JHPENTERTAINMENT: I understand this is your second season with Ballet Hispánico. How did you come to join the company?

AMANDA DEL VALLE: I was introduced to Ballet Hispánico through my mentor and role model Melissa Verdecía. I watched her dance with Ballet Hispánico and knew I wanted to be a part of an organization that allowed me to not only grow in my artistry but also allowed me to grow closer to my roots and culture with dance.

JHPENTERTAINMENT: What can you tell me about working with Annabelle Lopez Ochoa, the show’s choreographer?

AMANDA DEL VALLE: Working with Annabelle Lopez Ochoa was very exciting. I love how she caters to each dancer and what they are capable of, and pushes you to go further than what you think you are capable of. I have always admired her work and individuality as a choreographer and person. Also working with a female choreographer on a piece about a female icon is a very empowering experience.

JHPENTERTAINMENT: Speaking of the creative team behind Doña Perón, costumer Mark Eric has created dozens of costumes for the show. Exactly how many costume changes do you have, and what are your favorite costumes among them?

AMANDA DEL VALLE: The role of Evita Perón consists of exactly seven costume changes that happen on and off stage, with a total of 6 costumes. It’s hard to pick a favorite costume because they are all so beautiful and show the many different parts of Evita but I would have to pick the last dress that she changes into on stage for her final duet before her death. I love how it combines the classy, business, and strong regal essence of Evita.

RAPID FIRE Q&A WITH CHRIS BLOOM, JUAN PERÓN in BALLET HISPÁNICO’s DOÑA PERÓN

JHPENTERTAINMENT: As I mentioned when I chatted with Amanda earlier, I’ve been interested in Evia Perón story since I was a kid. In Ballet Hispánico’s Doña Perón you play Juan Perón. What can you tell me about the character and how you prepared to portray him in movement?

CHRIS BLOOM: This character is interesting because he is a mix of things. Annabelle wasn’t interested in telling fairy tales but the stories of actual people. Real people are flawed and complex and that makes rich ground for storytelling. Juan Perón was many things and not nearly all of them were good but I do believe he loved Eva genuinely. I try my best to play him like a real person. The real man had many political ideas in common with the fascist governments/leaders of the day but he cared about helping Argentina’s disadvantaged people. He came from wealth and was driven in his pursuit of power to the point of ordering the hostile takeover of his country’s newspapers and is known to have ordered the imprisonment of journalists and other people that opposed his agenda. Was Evita a conduit for gaining power? She was. Did he love that about her? I imagine he did. But I also imagine he loved her as a person as well. I try to play all of this each time I perform in Doña Perón.

JHPENTERTAINMENT: This year marks your tenth season Ballet Hispánico. What is it about this dance company that keeps you excited to perform?

CHRIS BLOOM: It is the stories we tell and how we tell them on stage that keeps me coming back year after year.

JHPENTERTAINMENT: I asked Amanda about her early ballet interest. How old were you when you discovered ballet and began considering it as a career path?

CHRIS BLOOM: I was 15 years old when I took my first ballet class. I had always known it was a possible career as there was a great deal of art in my home growing up. I fell in love with the aspirational rigor of the art form and honestly never looked back.

JHPENTERTAINMENT: Near the end of 2022, Doña Perón was presented at The Kennedy Center and just earlier this month, on Friday, April 14, PBS aired one of those performances as part of their series Next at the Kennedy Center. So a two-part question for you: What’s it like to dance at the famed performing arts venue and how do you feel about being part of a broadcast that will allow people who might not otherwise get the chance, to see such a spectacular piece?

CHRIS BLOOM: Performing at the Kennedy Center is always an incredible experience! I grew up about 60 miles due west of DC in Frederick Co, VA so I can remember seeing many dance companies there as a kid. Performing there is evidence of a dream fulfilled. The chance to reach a larger audience through the broadcast of our work on PBS is as exciting as it gets. There is nothing better than getting a text from a friend saying “Hey! I saw you on TV!”

JHPENTERTAINMENT: For those who do get the chance to see Ballet Hispánico’s Doña Perón, whether via the PBS special, or live as the tour continues, what do you hope audiences take from the experience?

CHRIS BLOOM: I hope that audiences take culture away from the experience of seeing the company in action. Latinx cultures are a multiplicity not a monolith and through our performances audiences get to see complexity and authenticity rather than stereotypes. My greatest hope as a performer is to leave audiences with a sense of curiosity and an appreciation of beauty.

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Ballet Hispánico’s Doña Perón can be see live onstage at TPAC’s Polk Theatre Friday and Saturday, April 28 and 29 at 8p.m. each evening. Tickets rang in price from $45 to $95. CLICK HERE to purchase tickets. To learn more about Doña Perón, Ballet Hispánico, del Valle, Bloom and the rest of the company’s dancers and creatives, CLICK HERE or follow them on Facebook, Twitter, YouTube, Instagram and Vimeo. Not in Nashville? CLICK HERE to see where Ballet Hispánico will be performing next.

Doña Perón marks the second in three productions visiting TPAC as part of their first-ever International Dance Series, MOMIX Alice being the first. In case you missed my chat with members of MOMIX dance company, CLICK HERE to check out those conversations.

Next up for TPAC’s International Dance Series is Scottish Ballet’s The Crucible, onstage at TPAC’s Jackson Hall May 19 and 20. CLICK HERE for more info. Be sure to check out TPAC online and on socials by clicking any of the following: TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

Rapid Fire Q&A with ‘Miss Saigon’ cast members Anthony Festa and Stacie Bono; at TPAC’s Jackson Hall thru Sunday, June 9

June 4, 2019 by Jonathan

Earlier this week as the National Tour of Miss Saigon prepared for their current stint in Nashville at TPAC’s Jackson Hall Tuesday, June 4 through Sunday, June 9, I had the chance to pose a few questions to two of the show’s lead actors for the latest installment of my recurring interview segment, Rapid Fire Q&A. Up first is my conversation with Anthony Festa, who plays fresh-faced U.S. soldier, Chris, who, while stationed in Vietnam, meets and falls in love with a local Vietnamese teenager name Kim. Following my conversation with Festa, I had the opportunity to chat with Stacie Bono who plays Ellen. Ellen is the young American woman Chris marries following his return to the U.S. after the war.

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RAPID FIRE Q&A WITH MISS SAIGON’S ANTHONY FESTA

JHP: What can you tell me about Chris, the character you play in the current National Tour of Miss Saigon?

ANTHONY FESTA: Chris is an American G.I during the fall of the Vietnam war who falls in love with Kim a young girl orphaned by the war. The story of our show takes you through his life leading up to the evacuation and the impact of the war’s trauma after.

JHP: While researching to chat with you, I ran across a promo clip in which you say Miss Saigon taught you musical theatre. What do you recall about your first knowledge of this piece?

ANTHONY FESTA: The first time I ever saw this show I was 14 and my father, who has since passed away, pointed up on stage and said “this is a role for you, Anthony”. I find it full circle to be playing it now. In high school I had a CD (remember those?) that I played in my car that had half Rent songs and half Miss Saigon songs on it. I sang the songs on my way to school every day.

JHP: For those who may or may not be familiar with the show, what’s new and different about this production?

ANTHONY FESTA: Our director, Laurence Connor has re-imagined this production completely. From minor script changes to a new helicopter design that really blows the audience away ever single night. Working directly with the entire creative team and Cameron Mackintosh (the show’s original creator) himself has been an amazing experience. The entire team has brought nuance to the piece and really allowed our cast to breath a whole new life into it.

JHP: From what I know, this isn’t your first National Tour, having been part of 2016’s Wicked tour, but this is your first visit to Nashville, right? Is there anything you hope to visit and share with your current cast while here in Music City?

ANTHONY FESTA: The Wicked tour launched in 2009 and just celebrated its 10th year on the road, I wasn’t a part of it until 2016! I didn’t experience Nashville but I’m extremely excited to for the first time now. I enjoy the food and culture in all the cities we visit and I hear Nashville has quite a lot of both!

JHP: If there were a ‘Seven Wonders of Musical Theatre’ list, alongside the chandelier from Phantom, surely the helicopter from Miss Saigon would take its rightful place among the top marvels. You mentioned it above, but I’m curious…it’s always a thrilling scene for the audience, what’s it like to play that scene night after night from city to city?

ANTHONY FESTA: It’s in a word “iconic”. The helicopter is a multi-million dollar set piece that moves on many different axis points and shutter effects. I marvel at how brilliant the design is every single night and yes it’s right up there with Elphaba flying and the chandelier falling. The audience will feel the wind of this chopper blowing their hair back and the evacuation scene, most commonly, will result in them picking their jaws up off the floor.

JHP: As Chris, you get the joy of not one, but two on-stage romances, first there’s Emily Bautista as Kim, the young local girl Chris falls in love with while stationed in Vietnam. Then there’s Stacie Bono as Ellen, the American girl Chris marries stateside. What’s your favorite aspect of sharing the stage with these two beautiful and talented actresses?

ANTHONY FESTA: Ahh man, I mean you sum it up right there. Beautiful and talented. Emily and Stacie are two amazing and empowering women in a time that I think we need that the most. The strength and journey of their characters is truly beautiful. As Kim, Emily takes on motherhood at such a young age and as Ellen, Stacie cares for an American GI with nothing but complete empathy for his war torn past and trauma.

RAPID FIRE Q&A WITH MISS SAIGON’S STACIE BONO

JHP: Having just chased with Anthony, I asked his favorite aspect of sharing the stage with you, so I’ll start our conversation by asking you…what do you enjoy most about sharing scenes with Anthony?

STACIE BONO: Anthony is so open onstage and we have built strong trust together. I’m confident that whichever direction I go in a scene, he will follow me and have my back. He’s also a super silly, lovable guy offstage and that helps to lighten up all the drama we have to endure onstage.

JHP: While Ellen is central to the action of the story of Miss Saigon, the audience doesn’t really get much backstory on her. I always find it interesting to ask actors what backstory they’ve created for their character that helps them bring a depth to the role. With that in mind…who is Ellen?

STACIE BONO: It is true that there is very little text about Ellen in the script, so I’ve had to use a lot of imagination to flush her out. It fascinated me how this woman was so tolerant of her husband’s outbursts and lack of communication – and she was dealing with this before the discovery of PTSD in 1980. My instinct was that Ellen had experienced this kind of trauma before with someone else she had loved deeply, her father, which gave her understanding and patience for her husband’s suffering. Ellen was very much against the war and went to several protests while in college and so when she falls in love with Chris, she feels it is almost her duty to heal him from what the Vietnam war did to him. Her immense compassion, warmth and empathy in dealing with Kim and Tam leads me to believe she has a career in social work or psychology. She knows how to handle people in stressful situations and keep her own emotions out of it… for the most part.

JHP: Even though the action of the piece takes place in the 1970s, there are so many elements of the story that are relevant today. What’s one aspect of the plot that you find most rewarding to shine a light to?

STACIE BONO: I fear we’ve reached a dangerous place of tribalism and isolationism in our country. We are obsessed with “Us vs. Them” and there is a lack of compassion for humans of other races and cultures. The central story of Miss Saigon is a mother’s sacrifice for her child. That is truly a binding commonality of the human condition that anyone can understand. My hope is that this story can open people’s hearts and inspire a little more tolerance and compassion for others.

JHP: With so many gorgeous sets, costumes and scenes, what’s among your favorites? Whether you’re part of those scenes of simply admiring from side-stage?

STACIE BONO: My favorite scene is the nightmare. Now you may think it’s because of the awesome 3 ton helicopter in that scene – which is super cool – but it’s really my favorite scene because every single cast member is so committed to transporting the audience to this heartbreaking and epic moment in history. The music, lyrics and our company’s passion and devotion makes the scene so palpable. It makes me weep every time I watch it.

JHP: How’s life on the road been thus far during this tour?

STACIE BONO: Technology has definitely changed the touring life. It’s much easier to explore new cities with google maps and Uber in your back pocket and to stay in touch with your loved ones via FaceTime.

JHP: What’s the most rewarding aspect of being part of the newest chapter of such a beloved piece of musical theatre history?

STACIE BONO: It has been a dream come true to work and collaborate with the creatives of this show. These men are musical theater gods! I remember at one point in the rehearsal room, Claude-Michel Schönberg rewriting the opening of Maybe for me. That was pretty spectacular. It’s been an honor to put my little stamp on a character who has largely been maligned and misunderstood in the past. I hope my portrayal of Ellen has helped show that she is not a villain at all, but another victim of this story.

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With that my conversations with Festa and Bono came to a close, but it’s just the beginning of Miss Saigon’s Nashville tour stop as the famed helicopter lands on TPAC’s Jackson Hall stage in just a few short hours as the National Tour calls Music City home thru Sunday, June 9.

Showtimes are Tuesday-Thursday at 7:30p.m., Friday and Saturday at 8p.m. with matinees Saturday at 2p.m. and Sunday at 1p.m. with a final performances Sunday evening at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to Purchase tickets or for more information.

Earlier today, TPAC announced the limited availability of $30 rush tickets for all performances. For a chance to purchase select seats at this special price, you must arrive at TPAC’s lobby box office 90 minutes prior to showtime, where you can enter to a ticket lottery drawing. Limit two per person while supplies last.

If you’ve enjoyed this Rapid Fire Q&A, CLICK HERE to peruse previous conversations. Be sure and check back for my review of the show after tonight’s Nashville opening night performance.

Not in Nashville? CLICK HERE to see where Miss Saigon plays as the tour continues across the U.S. with dates announced through June of next year. For more from the National Tour of Miss Saigon, follow the company of Facebook, Twitter and Instagram. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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.

Theatre Review: ‘A Bronx Tale: The Musical’; at TPAC’s Jackson Hall through Sunday, February 17

February 13, 2019 by Jonathan

Joe Barbara as Sonny and Frankie Leoni as Young Calogero in “A Bronx Tale” (All Photos: Joan Marcus)

The Broadway musical, A Bronx Tale continues its first National Tour as it stops in Music City this week with shows at TPAC’s Andrew Jackson Hall through Sunday, February 17.

Based on the 1993 Robert De Niro-directed film of the same name, A Bronx Tale’s origins go back a few years prior to the film, having its genesis as a one-man stage play created and performed by actor/writer Chazz Palminteri, based on his own childhood memories of growing up in a predominantly Italian neighborhood in the famed NY borough.

In addition to Palminteri’s book, A Bronx Tale boasts music by modern musical theatre icon Alan Menken with lyrics by his frequent partner, Glenn Slater (the duo behind Disney’s Tangled and Broadway’s The Little Mermaid). The technical spectacle doesn’t end with the spoken words and tunes of A Bronx Tale, for scenic designer Beowulf Boritt has created a gorgeous set perfectly transporting the action to an Italian-American neighborhood in 1950s New York. Also aiding in the step back in time are William Ivey Long’s costumes and Paul Huntley’s wig and makeup styling. Coupled with Howell Binkley’s lighting design, A Bronx Tale is a visually any audibly stunning recreation of a mid-century New York brownstone neighborhood.

Even before the curtain rises, a decidedly authoritarian voice cracks wise warning audience members that the use of recording devises of the taking of pictures might result in a bat over the head, giving a not-so-subtle clue of the heavy-handed, but humorous story to come.

From the beginning, A Bronx Tale evokes familiarity as it presents a classic doo-wop opening number, Belmont Avenue, reminiscent of everything from Jersey Boys and Memphis to Hairspray and Little Shop Of Horrors. Positioned under a lamppost (aren’t they always?) the Doo-Wop Guys (Sean Bell, Joshua Michael Burrage, Giovanni DiGabriele and Alex Dorf) offer up some smooth postmodern harmonies while Joey Barreiro, who’s starring as Calogero (Palminteri’s birth name, in case you’re curious) joins the guys for a tune-filled plot exposition. During the tune we learn through lyrics that Calogero was only nine years old when he first laid eyes on neighborhood mobster, Sonny, sneeringly played to perfection by Joe Barbara. Being a soap opera aficionado, I immediately recognized Barbara for his mid-90s work as Joseph Carlino on the now defunct sudser, Another World. On stage, Barbara was a member of the Broadway company of A Bronx Tale and he also appeared in the Las Vegas mounting of Jersey Boys. Seeming destined to play mobster Sonny, Barbara also shares his name with legendary real-life mobster, Joseph Barbara but that’s probably all I should say about that.

Giovanni DiGabriele, Sean Bell, Joseph Sammour, Frankie Leoni and Joshua Michael Burrage

The opening also introduces us to nine-year-old Calogero (played at alternate performances by Frankie Leoni and Shane Pry). Opening night in Nashville featured Leoni in the role and I have to say, he absolutely stole the show. The young actor’s stage presence, timing, delivery and his ability to belt a tune and keep up with the rest of the cast as they perform Sergio Trujillo’s blissful choreography was mind-blowingly entertaining.

Richard H. Blake as Lorenzo, Frankie Leoni as Young Calogero and Michelle Aravena as Rosina

Barreiro’s teenage Calogero, nicknamed simply “C” by Sonny, narrates the action as young Calogero is joined on stage by Richard H. Blake and Michelle Araveno as his parents, Lorenzo and Rosina after Calogero witnesses Sonny shoot a man near the boy’s front stoop. In spite of his dad’s musical warning with Look to Your Heart, young Calogero decides not to rat Sonny out when the cops question the young witness, setting up a truly unique friendship between the boy and the boss that weaves together the rest of the tale.

One of my favorite scenes comes when Sonny introduces C to Sonny’s familia, as he introduces each member of his crew, he calls their names like a class roll-call. There’s Rudy the Voice (John Gardiner), then Eddie Mush (Mike Backes), JoJo the Whale (Michael Barra), Frankie Coffeecake (Robert Pieranunzi) and finally Tony 10 to 2 (Paul Salvatoreillo). When each name is called, that associate steps forward facing font, with a click of the spotlight, they then turn to profile with another click of the spotlight, a visual wink mimicking every mug-shot sequence from every gangster movie ever made. Well played, lighting designer Binkley, well played.

Joe Barbara, Frankie Leoni and the Company of “A Bronx Tale”

Young Calogero becomes integrated into Sonny’s outlet (that’s mob-speak for Mafia family), initially throwing dice for Sonny in a craps game during the musical number, Roll Em, garnering more and more trust from Sonny and the organization, and reaping their financial gratitude, C stows away handfuls of money while further driving a wedge between himself and his family.

I Like It, another stellar moment midway through Act 1 features both Calogero, his younger self, Sonny and members of the ensemble. Then Giving Back the Money fully illustrates the growing divide between father and son as well as a bit of unspoken history between Sonny and Lorenzo.

Focus then shifts to teenage Calogero for the remainder of the show. I have to admit, I kept waiting for the full switch and inevitable exit of Leoni as young Calogero, but was pleasantly surprised the talented young actor remained a central part of the story as long as he did.

That said, once Barreiro’s late-teen Calogero becomes the primary focus, we are also introduced to Calogero’s wannabe gang, Handsome Nick and Crazy Mario, played by previously mentioned Doo-Wop Guys DiGabriele and Dorf. Both DiGabrielle and Dorf play up their character’s names to the fullest, DiGabrielle strutting around the stage like a banty rooster while Dorf twitches and jerks like a teenage tweeker. They once again show off their harmonizing skills during the finger-poppin’, Ain’t it the Truth, a shoo-wop lesson in street life.

Then there’s Brianna-Marie Bell as Jane, the black high school girl with whom Calogero becomes smitten. Having made her Broadway debut as Jane during the show’s recent NY run, it’s obvious she’s found her comfort zone with the sweet but forthright Jane. While they only live a few blocks away, Calogero on Belmont Ave, Jane on Webster, their relationship seems a bit of a modern nod to Shakespeare’s Romeo and Juliet. Bell’s vocal skills and perfectly executed dance moves quickly shift the mood to that of hope and vitality.

Brianna-Marie Bell (center) with Brandi Porter and Ashley McManus

With Jane’s appearance comes the arrival of her friends Denise (Ashley McManus) and Frieda (Brandi Porter) providing some much-needed female presence to this oft-male dominated piece. Much like the guys playing Calogero’s crew, McManus and Porter also make the most of their limited time on stage with expected, but thoroughly enjoyed moments of sass and disdain.

Out of Your Head features Calogero, Jane and company as the young lovers contemplate the pursuit of love in spite of what their backgrounds warn against. Trite as it may be, at the capable hands of Barreiro and Bell, it’s truly one of the show’s best moments.

Then it’s Barbara’s time to shine with the hilarious Nicky Machiavelli as Sonny Rudy and Eddie explain the Italian philosopher’s views in a musical number that’s firmly seated between Mac the Knife and The Rat Pack.

Act 1 wraps with another all-in for the thoughtfully poignant These Streets which features Blake’s Lorenzo reminiscing about Calogero’s youth and Lorenzo’s promise as a father to assure his son won’t be a victim of the street.

The remainder of the piece kicks off on a literal high note with Bell leading Webster Avenue, a cultural flip of the show’s opening tune showcasing Bell’s Jane, Antonio Beverly as Tyrone, Jane’s brother, her aforementioned girlfriends and Barreiro’s Calogero.

When the plot touches on tensions, both racial and cultural, Act 2 offers reprisals of Out of Your Head, this time from Jane’s perspective; Ain’t It the Truth, featuring Tyrone and his friend Jesse (Jason Williams), offering a Webster Ave version of the tune’s original take and Look to Your Heart, as performed by Calogero’s Mom, Rosina in what is easily one of the show’s best vocal performances.

Other musical moments during the second act include One of the Great Ones, in which Sonny advises Calogero to go for it with Jane, so as not to miss out on what could be one of the great loves of his life. Later, we’re treated to a reprise of One of the Great Ones.

As the action mounts and decisions must be made regarding Calogero’s romance, his potential future with the organization and the actions of his friends regarding protecting their territory from their fellow man, Hurt Someone gets at the crux of the piece…fear and misguided perceptions of power and violence have the ability to empower/destroy us all.

After the drama of Hurt Someone, interestingly, A Bronx Tale ends, at least musically speaking, not terribly far from where it began with the uplifting doo-wopish In a World Like This and the anthemic The Choices We Make.

A Bronx Tale may present Palminteri’s story, swayed perhaps by his years in Hollywood, with its amped up tried-and-true cinematic clichés, from forbidden love to a plethora of wise-crackin/bone-crackin wiseguys. That said, if a few modern mafia stereotypes would keep you from seeing this show…fuggedaboutit and go see it anyway. At its best, A Bronx Tale is a surprisingly sweet tale, not just of a young boy who finds favor with a neighborhood heavy, but of unlikely friendship, an understanding between father and son that is only possible with growth and maturity and knowing when to follow your heart, not your head.

A Bronx Tale continues this leg of its first National Tour in Nashville at TPAC’s Andrew Jackson Hall with performances through Sunday, February 17. CLICK HERE for showtimes and tickets. Following the show’s Nashville dates, the tour continues through the summer with dates in Minneapolis, Fayetteville, Oklahoma City, Chicago, D.C., Boston, Charlotte, Cleveland, Madision, Fort Lauderdale, New Haven, Fort Worth and Kansas City. For more information about the show, CLICK HERE or check out A Bronx Tale on Facebook, Instagram and Twitter.

Next up at TPAC, as their Broadway series continues is the national tour of The Book of Mormon on stage at Jackson Hall, March 12-17. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online on Facebook, Instagram and Twitter.

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

October 12, 2018 by Jonathan

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.

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.

Rapid Fire 20 Q with cast members from ‘The Play That Goes Wrong’; National Tour at TPAC October 9-14

October 8, 2018 by Jonathan

The cast of ‘The Play That Goes Wrong’; National Tour at TPAC’s Jackson Hall beginning Tuesday (photo: Jeremy Daniel)

Typically, in order to see a Broadway show during its debut run, audiences must make the trek to New York City, but that’s not exactly the case with Broadway’s current farcical hit, The Play That Goes Wrong. While the Broadway production continues its premiere run through January of next year, a concurrent production of the show recently set out on a National Tour. As the touring company prepared to head to TPAC’s Jackson Hall for the Nashville leg of the tour, I recently had an opportunity to chat with two members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20 Q. While researching to chat with stars Scott Cote and Angela Grovey, I discovered they each had ties to Music City, both having played Nashville while part of previous national touring companies, and one having even co-starred with country music’s favorite daughter. So, while the Play might go wrong, I knew the interviews would go just right.

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Angela Grovey and Scott Cote during one of many side-splitting scenes in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

RAPID FIRE 20 Q WITH THE PLAY THAT GOES WRONG STARS SCOTT COTE AND ANGELA GROVEY

RAPID FIRE WITH ANGELA GROVEY, ANNIE IN THE PLAY THAT GOES WRONG

JONATHAN H. PINKERTON: Alright, I just have to start by asking about your recent Broadway stint in Jimmy Buffett’s Escape to Margaritaville since you shared the stage with Eric Petersen in that show. I met Eric when he toured with Shrek. What’s your favorite memory of being on Broadway in that show?

ANGELA GROVEY: I had a blast doing Escape to Margaritaville and singing some of Jimmy’s music. Occasionally Jimmy would join us during bows and we’d watch the crowd go NUTS. On our closing night Jimmy joined us for bows and sang to the crowd and then did Lovely Cruise for the company of Escape to Margaritaville. It was very special because that moment reflected the love and respect we each shared for each other and the show. It’s something I will cherish always.

JHP: You know, we have a Jimmy Buffett’s Margaritaville restaurant in Nashville, located on our Broadway (instead of theatres, we have honky-tonks, go figure!)…if time permits, do you plan to sight-see while in Music City?

ANGELA GROVEY: I am a HUGE fan of the music scene in Nashville and I’m a southern girl so I will, without question, be visiting some places down Broadway and Music Row. One of the gifts that comes with touring is we get to be a working tourist for a week. I’m looking forward to my week in Nashville.

JHP: Speaking of Broadway, The Play That Goes Wrong is simultaneously playing the other Broadway and on tour. How exciting to be offering folks across the country the chance to see a show that’s still enjoying its initial Broadway run?

ANGELA GROVEY: I’m thrilled that a PLAY is touring and we get to be the “first” play for people.
This play is HILARIOUS and to be able to be spreading laughter around this country warms my heart.

Angela Grovey as Annie in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: What can you tell me about Annie?

ANGELA GROVEY: Annie is the American stage manager of the Drama Society. It’s her 3rd year working with the company and looks forward to her time with this particular company. Annie is in charge of all things that happen on the stage and takes great joy is being the best at any job she does.

JHP: I understand there’s a little All About Eve element between Annie and Sandra, the female lead. How much fun is that rivalry to play?

ANGELA GROVEY: It’s great fun!!! We as actors are always looking for the “conflict” and Annie’s “conflict” switches mid show to Sandra.

JHP: Jamie Ann Romero plays Sandra. While you’ve only just started the tour, how have you ladies bonded offstage thus far?

ANGELA GROVEY: Jamie and I happen to have the same agents in New York City so we have had many opportunities to get to know each other professionally and on a personal level. We recently got manicures and pedicures together in Greenville and decided that we MUST make this a tradition. I know we just started the tour but it was very apparent while rehearsing that we have an AMAZING group of humans on this tour.

JHP: Has playing a stage manager given you a deeper appreciation for The Play That Goes Wrong’s actual crew?

ANGELA GROVEY: My first tour with Disney’s Newsies reminded me that the actors are only one part of the puzzle that must come together to put on a show. Fun fact- my production stage manager from Newsies is my production stage manager for The Play That Goes Wrong. I have carried that respect with me into my life practices. The Play That Goes Wrong Tour is top notch. And—especially with this show—we as actors could not do what we do without our crew.

JHP: Seeing as how The Play That Goes Wrong is a farce, and a theatrical show within a show farce at that, you and the rest of the cast are tasked with intentionally over-acting and basically playing bad actors. How fun/challenging is that?

ANGELA GROVEY: I have a very fun challenge with Annie because i am an actor playing a stage manager, forced into a stage managers WORST nightmare.

JHP: The set for The Play That Goes Wrong, designed by Nigel Hook, is Tony-winning. What’s your favorite aspect of the set?

ANGELA GROVEY: I can’t say I have just one favorite. The design is well deserving of the Tony Award. When I first saw the show in NYC I was shocked at the set, now I get to see how it all works and I’m still amazed.

JHP: Because I’m a total dork, when I saw the cast list for The Play That Goes Wrong, I recognized you from your appearance in the 2012 film, Joyful Noise, which starred Queen Latifah and Dolly…so beloved here in Music City, she needs no last name. Gonna see Dolly while you’re in Nashville?

ANGELA GROVEY: I will definitely reach out and say ‘Hello’ while I’m in Nashville, but Dolly is one of the hardest working women, so I don’t know if I’ll see her. But if I do see her I’ll try not to gasp as loudly as I did when I first met her.

RAPID FIRE WITH SCOTT COTE, DENNIS IN THE PLAY THAT GOES WRONG

JONATHAN H. PINKERTON: If memory serves me, weren’t you just in Nashville about a year ago while touring with Something Rotten?
SCOTT COTE: Yes, that is correct. I played Brother Jeremiah in that production.

JHP: Since you’ve been in Nashville before, anything you plan to revisit and share about Music City with your fellow The Play That Goes Wrong cast mates?
SCOTT COTE: I plan to visit the Country Music Hall of Fame again. I also loved strolling down Broadway and hearing the music from all the different honky tonks.

JHP: From what I know about The Play That Goes Wrong, it’s a bit of a mashup between Monty Python-esque outrageous humor, with a good dose of Sherlock Holmes mystery thrown in. How else would you describe the show?
SCOTT COTE: That is exactly how I describe the show to people so you hit the nail right on the head. People should just plan on laughing for 2 hours from start to finish.

JHP: I’ve also heard comparisons (at least the intended mystery aspect of the play within the play, to a good ole Agatha Christie. Just so happens, I just returned from being on holiday in Portugal. While away, I re-read Christie’s Hercule Poirot mystery, Death in The Clouds as I was composing questions for this interview. Were you ever a fan of books or film adaptations by Sir Arthur Conan Doyle or Christie?
SCOTT COTE: Oh yes. In high school we read Sherlock Holmes and And Then There Were None. I enjoy a good mystery novel from time to time.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: Seeming to draw inspiration from, or—pay homage to—Noises Off, The Play That Goes Wrong is a play within a play. Given that, you’re cast not only as Dennis, a bit of an amateur thespian, but, in the murder mystery, the butler. What are your favorite characteristics of Dennis…and his portrayal of the butler?
SCOTT COTE: I love his earnestness and his wanting to do a good job so the rest of the cast will like him. When he does fail at something, it really bothers him and he thinks he’s ruined the play. It’s fun to try and play that on stage every night.

JHP: Simultaneously on Broadway and on tour, among the show’s producers is JJ Abrams…so, how are you plotting to parlay that into future acting roles for the popular producer?
SCOTT COTE: I’m just going to keep doing my job and hopefully JJ will have one of his many friends in the business come to see the show and want to use me in one of their future productions. I’ll gladly play a Storm Trooper in the next installment of Star Wars!!

JHP: The National Tour only just launched in September. What’s the energy like being part of a brand new touring company?
SCOTT COTE: The energy level is pretty high right now. We are all having a great time. For a few people in the cast this is their first time touring so it’s been fun teaching them the ropes of touring. Where to eat, what to do, what hotel to stay in. etc.

JHP: Based in what you remember from having played Nashville’s TPAC last year, do you think Music City audiences will embrace The Play That Goes Wrong?
SCOTT COTE: I sure hope they do. If they loved Something Rotten last year, I think they will equally love this play. Its 2 hours of non stop laughter!! Who wouldn’t like that?

JHP: Matt DiCarlo is directing the touring production. What he like as a director?
SCOTT COTE: He’s a great collaborator! He knows this show like that back of his hand, but he is so willing and open to our ideas for our characters. He would let us play and find things and then would just tighten moments that needed tightening. He trusts us all.

JHP: Dang…One last question…OK, so you play the butler in a murder mystery…just between us…did the butler do it?
SCOTT COTE: Well you’ll just have to come see the show to found that out. 🙂

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‘The Play That Goes Wrong’; at TPAC October 9-14 (Photo: Jeremy Daniel)

While Scott remained mum about whodunnit, Nashville audiences will have eight chances to figure it out—and have a hilarious time doing so—when The Play That Goes Wrong sets up shop at TPAC’s Jackson Hall with shows from Tuesday, October 9-Sunday, October 14. Evening performances Tuesday-Thursday begin at 7:30 p.m. with 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.