There may be actors who could give better performances as john and jen than Patrick Waller and Martha Wilkinson but they would have to be some sort of imaginary, dream-like apparitions to even come close to the stunningly brave and thoroughly focused interpretations given by these two exemplary Nashville artists. Consider it an ideal marriage of actors and characters, the perfect confluence of artists at their creative best coming together to breathe life and renewed vitality into their fictional counterparts, who are so richly drawn and evocatively written by Andrew Lippa and Tom Greenwald in their chamber musical now onstage at Chaffin's Backstage at the Barn in the debut production of Johnny Peppers' 3Ps Productions.
No matter what anyone else may say, Johnny Peppers is definitely the hardest working man in Nashville theatre. Sure, there are those people who might give him a run for his money, but this week there's just no contest. Not only is he producing two shows opening on successive nights, he's playing the lead in one of them.
'Martha' is Martha Wilkinson, an actress who's been on the scene for more than 20 years, performing on stages all over town, racking up glowing notices other actresses would kill for, carting off nine - count 'em, nine! - First Night Awards, being named the Nashville Scene's best actress, ranking atop Nashville.BroadwayWorld.com's year-end review for 2009, and winning hearts every time she walks onstage.
Good naturedly, Waller takes the ribbing from Wilkinson and Fudge in stride, which is quite a good thing considering they are masters of the game. Longtime friends and professional collaborators, the worldly wise and experienced pair have welcomed Waller into their charmed inner circle with open arms - and the easy camaraderie among the three is by turns compelling, rollicking and, quite frankly, amazing. In conversation (particularly in an interview about their current project) , where one starts, another takes off and the third continues, with punch-lines abounding, self-deprecation the rule of the day and laughter at every turn. It's an easy give-and-take that promises a particularly entertaining production of the Andrew Lippa-Tom Greenwald chamber musical, john and jen.
Poor Tim Fudge! Could we all just join hands, figuratively speaking, and lift our voices in prayer (to whomever or whatever you feel like praying) for this multi-talented man who is faced with a most daunting task: He's the musical director for john & jen, the Andrew Lippa-Tom Greenwald musical being mounted by Johnny Peppers' 3Ps Productions and starring Martha Wilkinson and Patrick Waller, for a three week run at Backstage at the Barn.
Ludwig's play focuses on the lives of George and Charlotte Hay, itinerant actors performing Cyrano de Bergerac and Private Lives in repertory during the heyday of the 1953 theatre season in Buffalo, New York. Charlotte dreams of becoming a Hollywood star, while George is happy on the stage, considering live theatre far superior to film. But when word comes that famous Hollywood director Frank Capra is coming to give George one last shot at film stardom, all manner of hilarity ensues as miscommunication runs rampant backstage - and onstage.
Martha Wilkinson and Patrick Waller, lauded by both the Nashville Scene and Nashville.BroadwayWorld.com as the best actress and actor in Nashville, will team up to star in a production of the Andrew Lippa musical john & jen, playing the Backstage at the Barn venue for a limited run February 4-20. Tim Fudge will music direct the production. Waller and Wilkinson have shared the stage together on several occasions, most recently in Tennessee Rep's award-winnng production of Sweeney Todd, in which they played Toby and Mrs. Lovett respectively. They've also appeared onstage together in Johnny Guitar at Chaffin's Barn Dinner Theatre and in The Underpants at Tennessee Rep.
Somebody's stolen Santa's Christmas Magic and a crafty young girl and some of her special friends have joined forces to get it back in the Chaffin's Barn Dinner Theatre presentation of Sarah and the Secret of Santaland, a new play by J. Dietz Osborne and Nate Eppler, based on a story by Davey Peppers. The world premiere production debuts on Tuesday, December 8, and continues through December 19 at the venerable Nashville venue, with doors opening at 10 a.m. and the show starting at 11 a.m.
Directed by the multi-talented Tim Fudge, who does double duty as music director of the piece, Sanders Family Christmas is an affectionately drawn tribute to simpler times that is sure to evoke memories of home and hearth - and if you're country-born, as am I, you'll find yourself missing family members who are no longer with you. That alone makes the show an ideal pick for this sentimental season of the year, but it's Fudge's direction and the commendable efforts of his very talented cast that make it one of the year's strongest productions.
The inspired lunacy of Michael Frayn's Noises Off is a good choice for any theatre company seeking to offer a glimpse into the wacky antics of life on the boards and Circle Players continues its 60th annual season with a largely successful production that features the aforementioned stellar performances of Maggie Pitt and Jeremy Maxwell in the roles of Poppy and Tim (the techies in Frayn's show-within-a-show structure). Pitt and Maxwell deliver disarmingly natural performances amid all the hilarious hijinks taking place in Frayn's wonderfully funny farce and they very nearly-actually, they do it outright-steal the show.
See How They Run is described as a 'hilarious 1940s slapstick farce that takes place in a quaint English vicarage.' The vicar's wife is a former actress--vicar plus stage diva can only equal hijinks and mayhem, of course--and she's joined by four men dressed like priests (two of whom are imposters). The vicar's wife is pretending to be married to one who not her real husband, there's a bishop clad in pajamas, a nosy neighbor hiding in the coat closet and a silent maid, all of whom are being interrogated by a British army sergeant who's looking for an escaped POW.
See How They Run is described as a 'hilarious 1940s slapstick farce that takes place in a quaint English vicarage.' The vicar's wife is a former actress--vicar plus stage diva can only equal hijinks and mayhem, of course--and she's joined by four men dressed like priests (two of whom are imposters). The vicar's wife is pretending to be married to one who not her real husband, there's a bishop clad in pajamas, a nosy neighbor hiding in the coat closet and a silent maid, all of whom are being interrogated by a British army sergeant who's looking for an escaped POW.
Michael Frayn's Noises Off is the next production of Circle Players' 2009-2010 season, running October 16 through November 1. Frayn's comedy is a play with a play, filled with door slams and physical gags as a dysfunctional cast and crew attempt to open a new theatre production to tour the British provinces.
Dearly Beloved is the wonderfully funny, shockingly true-to-life and on-target skewering of a Texas family on the occasion of the wedding of one of its favorite daughters. While it may not be set in West Tennessee (where I grew up) and the family in question may be the Futrelles, it's certainly a universal story of Southern families-so much so that those three wacky Futrelle sisters (Frankie, Honey Raye and Twink) could very well be my three sisters (Charlotte, Stella Mae and Bobbye). Seriously, folks, there's so much comedy in this rollicking play that no matter where you grew up, you're likely to recognize your own family members.
Towne Centre Theatre of Brentwood continues its 2009 season with its upcoming production of Dearly Beloved, by Jessie Jones, Nicholas Hope and Jamie Wooten. The comedy is set in a small Texas town and centers around a catastrophe-stricken wedding day.
Towne Centre Theatre of Brentwood continues its 2009 season with its upcoming production of Dearly Beloved, by Jessie Jones, Nicholas Hope and Jamie Wooten. The comedy is set in a small Texas town and centers around a catastrophe-stricken wedding day.
Eppler's richly textured script might best be described as a send-up of Anastasia meets Grey Gardens, with some Sleeping Beauty, Annie, You Can't Take it With You and The Grifters (and an affectionate nod to Fiddler on the Roof) thrown in for good measure, all presented in a farcical manner that works on every level. Kudos to director David Compton for keeping things moving at a good clip and coaxing some stellar performances from his cast of gifted players.
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