Despite their best efforts, director Lauren Shouse and her amazingly talented cast just can't give Tracy Lett's Superior Donuts the emotional heft-the literary gravitas-that the playwright so mightily struggles for in his sitcomesque script which pales in comparison to his supposed masterpiece, August: Osage County. Clearly, it's the success of that earlier, heavily-decorated and awarded, Pulitzer Prize-winning play that most theatre companies are invoking as they attempt to sell tickets to this decidedly lesser work, hoping to capitalize on its success in hoodwinking an unsuspecting audience.
Debuting Nashville Children's Theatre-where it will continue through March 18-is producing artistic director Scot Copeland's original adaptation of The Beauty and the Beast (La Belle et la Bete), described as "an exquisitely theatrical adaptation of the French fairy tale by Jeanne-Marie Le Prince de Beaumont.
You won't find any dancing candelabra or see any anthropomorphic bombe chests bursting out in song in Nashville Children's Theatre's beautifully crafted adaptation of The Beauty and The Beast-written by producing artistic director Scot Copeland under the title Le Belle et la Bete-but what you will find is a heartfelt iteration of the timeless tale, one filled with romantic wonder and exquisite storytelling, based upon the "fairy tale" by Jeanne-Marie Le Prince de Beaumont.
Debuting February 28 at Nashville Children's Theatre-where it will continue through March 18-is producing artistic director Scot Copeland's original adaptation of The Beauty and the Beast (La Belle et la Bete), described as "an exquisitely theatrical adaptation of the French fairy tale by Jeanne-Marie Le Prince de Beaumont.
Debuting February 28 at Nashville Children's Theatre-where it will continue through March 18-is producing artistic director Scot Copeland's original adaptation of The Beauty and the Beast (La Belle et la Bete), described as "an exquisitely theatrical adaptation of the French fairy tale by Jeanne-Marie Le Prince de Beaumont.
Directed by David Alford (who first wore Crumpet the elf's turned-up slippers for Tennessee Rep) and starring audience favorite Matt Chiorini, who returns to Nashville to take on the festive mantle of the acerbic, take no prisoners, would-be actor and serious One Life to Live fan (wonder how he's doing in wake of the soap opera's demise), The Santaland Diaries opens Saturday night, November 19 at the Andrew Johnson Theatre at the Tennessee Performing Arts Center and runs through December 3.
Arthur Miller's All My Sons, which debuted on Broadway in 1947, continues to resonate with contemporary audiences thanks to its timeless, heart-wrenching relevance and Miller's unequaled ability as a storyteller. Now onstage at TPAC's Andrew Johnson Theatre in an impressive production that opens Tennessee Repertory Theatre's 2011-2012 season, All My Sons is Miller's searing consideration of the relentless pursuit of the American Dream, selflessness be damned in the name of profit.
Jack's Tale, a musical based on the Appalachia folk tales of the Scots-Irish heritage, is the final production of Nashville Children's Theatre's 2010-11 season. Written by NCT producing director Scot Copeland and by musician Paul Carrol Binkley, this homespun adventure tale features actors who are also musicians. The cast floats between acting and playing music and sometimes both at the same time.
Over a 40-year career, Gary Wright has performed in front of millions of people, had his music licensed to blockbuster movies and television shows, and continues to have his music played on radio on a daily basis.
Universally hailed as the reigning King of the Blues, the legendary B.B. King will perform three UK concerts in Manchester, Edinburgh and London in June 2011.
There is an embarrassment of riches on display in Tennessee Repertory Theatre's production of The 39 Steps - not the least of which is the cumulative effort of four of Nashville's finest actors showing off everything in their estimable bag of tricks to bring this enormously entertaining play to life. Add to those efforts another stunning set by Gary Hoff, Trish Clark's period-perfect costumes, Michael Barnett's gorgeous lighting and Paul Carrol Binkley's stellar sound design and you clearly have one of the season's most successful offerings, technically and artistically delivered.
