Jeffrey Ellis - Page 10

Dominique Morisseau's Pipeline, which continues Nashville Repertory Theatre's 35th season, is an emotionally driven work of contemporary eloquence and power, a play which audiences should experience in hopes of opening their eyes to the institutional prejudice and bias that exists in this country a?" whether we care to admit it or not. At least, that's the initial takeaway for theater-goers who are giving a cursory review of what they've just seen onstage at Tennessee Performing Arts Center's Andrew Johnson Theatre.

I love The Rocky Horror Show and Clint Randolph and his stellar ensemble of performers have won me over! Their 2019 production of The Rocky Horror Show is incredibly good, outlandishly fun and faithful to the material. Clearly, it ain't your grandma's musical theater (well, actually, it is a?' seeing as how the show bowed in the West End in 1973 and played Broadway in 1975, concurrent with the release of the film version), but it hews pretty damn close to traditional tropes with its boy and girl meets transsexual mastermind who's created a hot and hunky boytoy to satisfy his longings and, well, all hell breaks loose as their stories are told.

Street Theatre Company has been on a bit of a roll in 2019 a?' there's been a spate of terrific shows, the move into an impressive new space on Elm Hill Pike that will allow the company to grow, and they've continued the legacy created by company founders by continuing to push the envelope in ways creative and exhilarating a?' and theater-goers need no better proof of this than with their Halloween Season offering of The Toxic Avenger, which proves that entertaining musicals don't need huge casts or technical wizardry to be utterly delightful.  

Eric Butler is a good writer. That is obvious from his thoroughly believable, unquestionably authentic dialogue he's crafted for The Nightmarium Incident, the original suspense thriller he's written for ACT 1's 2019-20 season and concluding its two-weekend run at Nashville's Darkhorse Theater tonight. But sometimes that can mean too much of a good thing a?' when a writer tends to overwrite, as is the case with this sort-of-spooky comedy-drama that seems uncertain of what it wants to be.

There comes a moment quite near the conclusion of Roxy Regional Theatre's production of Assassins that is both brilliant and chilling, perfectly encapsulating what the Stephen Sondheim-John Weidman musical is all about.

As the lights came up in Nashville Children's Theatre's Ann Stahlman Hill Theatre at the conclusion of Return to Sender a?" the world premiere production of Marisela Trevino Orta's adaptation of Julia Alvarez's novel of the same name, now onstage at NCT through October 27 a?" the familiar a?oedinga?? of an alert emanated from my iPhone: A judge had ruled against a Trump administration initiative to refuse entry to immigrants who might find themselves dependent upon public assistance while they pursue their own version of the American dream.

Visually stunning. Inventively staged. Compellingly acted. Beautifully told. Utterly delightful. Heartrendingly poignant. What more can be said about Once On This Island, the Lynn Ahrens-Stephen Flaherty musical which launched its national tour in Nashville last night with a remarkable opening performance before a capacity crowd in Andrew Jackson Hall? The critical raves, audience adulation and awards for the recent Broadway revival of the Caribbean-influenced musical were enough to attract ticket-buyers, to be certain, but the sheer artistry of the production and its amazingly talented cast will be more than enough to propel the company forward on their cross-country tour where, we suspect, the accolades will continue to be bestowed upon the heartfelt and authentic story.

For audience members who saw Once On This Island during its recent Tony Award-winning revival on Broadway, actress Tamyra Gray has some pointers in regard to the show's national tour, which launches tonight at Nashville's Tennessee Performing Arts Center: a?oeThere's a new set-up,a?? she explains. a?oeSince we are no longer in the round, our set has been restructured and it's really, really cool: It's like you've walked into this village and you're watching events unfold.a??

Elizabeth Caballero's captivating performance as the tragic romantic heroine Cio Cio San, the titular lead of Puccini's classic opera Madame Butterfly, is so breathtakingly, so exquisitely heartbreaking that she alone is enough to make the 2019-20 season opening production from Nashville Opera a triumph, but director John Hoomes surrounds her with a cast of equally impressive singers who bring the romantic tragedy to life with such vigor and style that any of them might serve as reason enough for audiences to take note.

a?oeWhat the hell did I just sit through?a?? was my visceral reaction upon leaving the opening night performance of A.D. Timms' Tall Tales a?" the original a?oequeer horror storya?? presented by Woven Theatre Company at The Barbershop Theatre through October 20. Now, some 96 hours later as I sit down to compose my review of the piece, I find myself continuing to ponder that question.

Seven Brides for Seven Brothers, the 1982 stage musical borne of the 1954 film treatment based on a story by Stephen Vincent Benet, doesn't hold up as well in 2019 as many classic musical theater titles a?" what with its sexist storyline, ersatz score that longs to remind us of something by Rodgers and Hammerstein, and its meandering plot a?" but make no mistake about it: The production of Seven Brides for Seven Brothers, now onstage through this weekend at Smyrna's Springhouse Theatre Company is mighty entertaining, thanks to Paula K. Parker's talented cast who bring the show to life with vigor and commitment.

Who'd have ever thought a seven-foot-tall, dark, handsome and green chap a?' crafted from the bits and pieces of various fellows gone home to meet their maker, as it were a?' could prove to be so likable, charming and, we daresay, sexy? But leave it to Mel Brooks (and Gene Wilder, his co-writer on the 1974 film) to create such a protagonist and to surround him with memorable characters in a story set to music that's a wonderful homage to the very best of classic Broadway and silver screen musicals!

Somewhere among the cards and letters, photographs and souvenirs from my misspent youth is a picture (circa 1978) of me clad in a powder blue tuxedo, with a ruffled-front shirt edged in the same hue, all capped off by an impossibly wide bow tie to match a?" my costume to serve as a groomsman in the wedding of two friends. That image has been prominent in my mind for the past 12 hours after experiencing déjà vu of a particular sort, thanks to a rousing, rollicking and downright rocking production of The Wedding Singer, the latest offering at Chaffin's Barn Dinner Theatre, which opened last night and continues through October 19 at the venerable Nashville venue.

Now onstage at Clarksville's Roxy Regional Theatre, in a production that is respectful of the material and with emotions reverberating through a heart so true that one is likely to be caught up in a very particular moment in theatrical time, A Chorus Line resonates as deeply in 2019 as it did in 1975.

Sharply focused direction and an imaginative design concept by Cat Arnold a?" along with stellar leading performances from Tyler Henry, Craig Hartline and Deborah Seidel a?" combine to make Way Off Broadway Productions' The Curious Incident of the Dog in the Night-Time one of the year's best stage dramas to be seen in the Nashville area, practically demanding you make reservations now to witness the a?oeeventa?? before its run ends on September 29. Not seeing it would indeed be a missed opportunity to see the company's most outstanding production to date.

Brilliant social commentary or sophomoric lowbrow humor? Just what is it that makes Urinetown the Musical such a hit with audiences and theater companies a?' is it the biting satire delivered in Greg Kotis' book and lyrics and in Mark Hollmann's music and lyrics, or is it (in the case of Nashville Repertory Theatre's 35th season opening production) director Jason Tucker's fast-paced and quick-witted vision that's nothing short of mesmerizingly entertaining? We'll leave that up to you to decide a?' well, actually, we won't since that's why I am paid the big bucks to tell you what to think a?' but rest assured that no matter the reason, odds are you're going to love Nashville Rep's iteration of Urinetown and you'll want to score tickets before the show evaporates into the creative ether encircling Tennessee Performing Arts Center's Andrew Johnson Theatre.

Profoundly moving and endlessly poignant a?' yet somehow laugh out loud funny at times it is most unexpected a?' Dear Evan Hansen, the Tony Award-winning musical that sharply reflects society's fascination with popularity and a?oefitting ina?? with a decidedly contemporary flavor, has settled into Andrew Jackson Hall at Nashville's Tennessee Performing Arts Center for an eight-performance run that heralds the start of the 2019-20 Broadway at TPAC series. And judging from the audience's response on opening night (along with the extended standing ovation that greeted the show's eight-member cast at the end of their performance), it's a particularly auspicious start to what promises to be a particularly impressive season.

One need venture no further than Street Theatre Company's Be More Chill a?" directed by Sawyer Wallace, it's one of the year's best musicals a?" for just such a theatrical adventure. Starring Seth Bennett, Briar Moroschak and Garett Scott, three up-and-coming performers for whom their futures seem unlimited, Be More Chill only recently closed out a Broadway run before its Nashville premiere, which continues through this weekend.

Director Daniel DeVault has assembled a stellar cast for the latest production onstage at Chaffin's Barn Dinner Theatre a?" Steven Dietz's Sherlock Holmes: The Final Adventure a?" who bring the tale to life with enthusiasm and vigor that's leavened by enough humor to keep even the most discerning of theater-goers actively engaged in what transpires upon the magical floating stage at the venerable Nashville venue.

Sort of like an extra-special episode of The Golden Girls - ACCC's Mamma Mia!, not to be confused with Studio Tenn's Mamma Mia! which runs through September 8 in Franklin - is given a new lease on life, as it were, thanks to Deason's casting choices: Imagine if Dorothy, Rose, Blanche and Sophia were given a holiday special, filled with special guest stars, a bigger budget and an orchestra, choreography and an ensemble of younger actors eager to learn from their mentors and you'll have a fairly good notion of how Deason's Mamma Mia! is interpreted for the sell-out audiences filling the Woodbury theater to overflowing in order to revel in the ABBA-inspired spectacle.