BWW Interviews: Bonnie Keen, A Life in the Theater

Bonnie Keen is, without doubt, one of the most fearless actors to ever take the stage in Nashville. With a gorgeous voice and a talent that is worthy of praise, she will do whatever it takes to connect with her audience, lacing her performances with warmth, wit and wonder. The first time I saw Bonnie onstage was years ago, back in the day, when she played the Witch in Circle Players' production of Stephen Sondheim's Into the Woods; she was mesmerizing. Savvy and smart, she knows what works and what doesn't work onstage and in that role, in which she goes from ugly and twisted to beautiful and elegant, she displayed a range that other actors envy. At the time she did Into the Woods, she was taking a break from her burgeoning recording career: She's an award-winning member of the contemporary Christian music trio First Call.

From there, she's just gotten better, of course. While her heart and her faith led her away from theater to a recording career, lately she's been onstage more frequently. Last year, during the spring of 2010, with her pals Nan Gurley and Carolyn German, she stole the show lock, stock and barrel from the celebrity guest stars (Jodi Benson, Heather Headley, Bebe Winans, Anthony Fedorov and Alli Mauzey) in Matt Logan's concert staging for ShowHope's Cinderella, the Enchanted Edition. To say the trio of veteran Nashville actresses presented a master class in musical comedy is to speak in understatement.

Last fall, when Logan's Studio Tenn launched its first full season, she took the stage of Belmont University's Troutt Theatre to once again steal the show from Gurley and company in Hello, Dolly! This spring, she returned to Cinderella with her compatriots to deliver yet another memorable - and wholly unique - turn as Cinderella's klutzy, clumsy stepsister. Then she took a somewhat dramatic turn and showed the other 11 Fanny Brices assembled by directed Scott Logsdon to claim top honors in Keeping Scores Concerts' staging of Funny Girl, presented at Franklin's Boiler Room Theatre. Believe me, when I say this: She was the best Fanny you could ever hope to see.

Bonnie Keen is amazing, y'all. Any time you hear she'll be performing onstage, make it a point to go see her (and she could pop up anywhere: her musical career continues to gain her loyal fans and her onstage partnership with Nan Gurley takes her to churches and conferences, conventions and confabs all over the U.S.A.)...you'll be so glad you did. Until that time, read all about Bonnie Keen's  "life in the theater" with the following interview. If you are not already a fan, you will become one because she's a captivating, gracious and altogether genuine and authentic woman. Believe me, you're going to love her by the end of the piece...

What was your first taste of theatre? I'm a native Nashville girl. There aren't many of us. I grew up in a lower middle class environment; sweet parents, harsh fundamentalist theology and migraine headaches starting at the age of 6. Music and theatre were God's saving gift to me. I studied classical piano for 13 years and began writing plays and music by the age of 8. I was 11 years old when my stage mother (you have NO idea!) discovered a post in the local paper regarding auditions for the role of Alice in Nashville Academy Theatre's production of Alice in Wonderland. Mom drove me to the audition where we were lost in a sea of over 150 blonde, blue eyed, terrified Southern girls who looked ready to run to the nearest exit sign. I fell in love with the smell of the theatre, the lights on the set of the current production, and most of all the director who treated me with such kindness. I got the coveted part of Alice and was surrounded by a troupe of veteran older actors who taught me every day by their example. The director literally opened my heart to the wonder and possibility of using my talents onstage in ways I never dreamed possible. For over six weeks I left school early to rehearse and perform on a stage for children my age! Down the rabbit hole...through the trap door...and into a new, beautiful vista. And yes, my dear mom was banned from the performances because she was unable to contain her enthusiasm...and the noisy, loud video camera.

What was your first real job or responsibility in the theatre? For years I performed in every local theatre in Nashville. This was before the Tennessee Repertory Theatre came on the scene to offer professional work. My first 'real job' work was as a singer/dancer/actress in various productions at Opryland USA. Thankfully this was not the typical theme park production experience. It was very tough to be hired for the various shows and I worked with the likes of Mary Mastriontonio, Nan Gurley, Cynthia Rhodes and actors who've gone on to become Country Music/ Pop artists and professional actors. For three years I sang and danced in everything from Broadway revues to rock bands. I recorded my first album with a band picked up by A&M's London label and came home to sing any and everything put in front of me. It was a stretching, learning time marked by my favorite summer cast production simply called "Broadway." A 2- member cast performed two shows a day honoring great Broadway musicals in the brand new Opry House with a 14 piece live orchestra.

Fast forward years later where I'm overjoyed to be coming full circle back to working locally again most recently with Studio Tenn, founded by Matt Logan and Jake Speck, two of my long time heroes. In their debut season I played Mrs. Soames in Our Town, Grace in Cinderella and Ernestina Money in Hello Dolly. My schedule has broadened to season where I can invest more time in local production houses as well as continuing to record and write.....a lovely landscape of creative schizophrenia!

When did you know you wanted to pursue a career in theatre? For as long as I can recall I have craved the magic and powerful process of live theatre. I began writing absolutely horrible little 'plays' (ouch) by the age of 8. Gotta start somewhere. By my senior year in high school I won Best Actress in the state for a portrayal from Edward Albee's The Sandbox. Growing up I knew my passion involved live stage performance. For a few years I did on camera commercials, modeling, sang on regional and national jingle commercials and performed in every play I could find. At every point I would ask God to show me where I should land. I was writing songs, writing comedy, writing books and looking for the landing strip. Much to my surprise, I became a sought after session singer in Nashville working with a trio named First Call. We seemed to hit the Contemporary Pop Christian music scene at a time when our brand of complicated harmony driven music was embraced with enthusiasm. Marty McCall, Melodie Tunney and I had no idea we'd be nominated for five Grammys and win various Dove Awards.

Our success led to concerts around the nation and internationally. This took me out of the theatre scene for years. Still I was grateful to work with Nightingale Theatre's productions of A Midsummer Night's Dream (Helena), The Importance of Being Earnest (Cecily) and Beauty For Ashes (Mary Magdalene). Two rare slices of time at home brought the chance to play the Jenny in Circle Theatre's production of Shenandoah and The Witch in Into The Woods both directed by Dan McGeachy.

Why do you pursue your art in Nashville? What are the best parts of working here? Quite honestly my work and investment in the arts were birthed here in Nashville. I was born here, my family lives here. Many of my 'firsts' onstage happened here. Nashville has the reputation for being 'music city'. We're thought of a center for recording arts yet there is so much more going on here than making cds and songwriting. The theatre community has struggled and grown over time and I want to be a part of that process ... here in my hometown. It's inspiring to see playwrights and theatres expand the definition of Nashville to include much more than Music Row.

My favorite part of working here is that Nashville is ripe for it's own renaissance. There's a sense of opportunity -- that anything is possible. It's a city that will never hit it's artistic peak! There's almost a palpable feeling of 'something's coming' as more artists continually move to one of the best kept secrets around. Nashville is a small town/big city with rich fertile ground for exploring all of the arts.

If you could play any role, direct any work, design any production, mount any production...what would it be and why? I've always wanted to play the role of Dot in Sunday In The Park With George. Her quirky vulnerable love for Suerat, the span of ages and angles, her humor and pathos in Sondheim's brilliant work make her my dream girl! I'd also love to tackle Rose in Gypsy because my mother is Rose (in the most endearing sense of this characterization). I'm not a director...but I am currently enjoying private performance coaching with young teenagers in the community. It's so fulfilling to take the blank slate of talented kids and pour some of my experience back into their lives.

Recently, Nan Gurley and I completed a life dream of writing an original two-woman musical. We've always talked about doing this and after years of writing together and working onstage, "Women Who Dare To Believe" is now being performed around the country. Nan and I portray 21 women on a bare stage using only a 20 foot piece of scarlet material. Would this be considered "mounting a production?" It feels like climbing a mountain!

Who would play you in the film version of your life story? The pitfall of loving theatre is that it often leads to a bit too much navel gazing. This question makes me squirm....I'd say she would need to be tall (5'12"), blonde to the bone, impulsive and also reclusive, a bit of a klutz who loves adventure...a cross between Goldie Hawn and Lucille Ball? I don't know. A documented version of my life is a sobering thought.

What's your favorite play/musical? Sunday in the Park With George is my all-time favorite musical. It's utterly captivating, hands down the most brilliant of Sondheim's musicals in my book. My favorite and most moving play I've ever seen was the original Broadway cast of Shadowlands, the life of C.S. Lewis.

If you could have dinner with any three figures (living or dead, real or fictional) who are a part of the theatre, who would you choose and why? Stephen Sondheim - oh to ask a thousand questions about his writing process! "Finishing The Hat" is in print which is the next best thing. But I'd love to watch his facial expressions and hear him speak about how each song was tailor written for the specific actor's voice and personality.  Also I know he would appreciate the shrine I'm building for him in our front yard. Mr. William Shakespeare - how cliché is wanting to have Will over for dinner? Who doesn't? How did he stay alive and so prolific and inspired in the madness of the theatre world of his day? How did he write one copy of those brilliant pieces of poetry and prose that have outlasted all others? I would bolt the door and ply him with wine and food and charm for as many weeks as possible! Mandy Patinkin - Steals my heart with his presence, his passion and that voice! His one man show/concert was the most riveting I've ever seen. Just Mandy and a pianist and an audience captivated by his massive range of talents. I'd ply him with the rest of the wine and food that Will left behind.

Imagine a young person seeing you onstage or seeing a production in which you played a major role coming up to you and asking you for advice in pursuing their own theatrical dream...what would you say? Serve the work. Remember the most important role is to serve the work of the playwright, director or songwriter, producer. Fight the urge to make your life as a performer all about your needs. Learn your craft well but don't take yourself so seriously that you lose the gift of humility. Keep perspective. Try and look at the larger picture of bringing the best g God gave you to the whole of each production, cast and process. Find solid grounding in who you are outside the trappings of the 'smoke and mirrors'. Don't take rejection personally. Grow tough skin that protects a tender, vulnerable heart. Keep dreaming and growing no matter how successful you become. Never forget that art seeps into the soul spaces nothing else can touch.

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