Where Are They Now? TYLER CRAVENS

One of the best things about covering the performing arts in Nashville is getting to know the plethora of people, both young and old, who flock to Music City to further their educations, to pursue their dreams, to hone their skills and to express themselves creatively in whatever discipline they choose. They join a vibrant community of performing artists to make themselves known, of course, but perhaps more importantly to gain the support of other like-minded individuals. But perhaps more to the point the choices they make are designed to help them discover who they are, both as individuals and as artists.

Case in point: Today's subject of Where Are They Now?, our regular feature in which we catch-up with those people who once called Nashville home but who are now reaching for their dreams all over the creative world. Actor Tyler Cravens first made a splash in Nashville theater after starring on the Roxy Regional Theatre stage while still in the U.S. Army and stationed at nearby Fort Campbell, Kentucky.

Back in those halcyon days of Nashville theater's "golden age" of the early 1990s (such monikers are assigned when memories are illuminated with gilt-edged, soft-focused reminiscences, to be certain), Tyler Cravens came further south on I-24 to try his luck on local stages, claiming some resume-making roles in the process, playing opposite some of Music City's best-known actresses (Lisa Dunaway and Arita Trahan, chief among the starry names in the playbills of the time) and earning justifiably strong notices along the way.

Today, Tyler and his wife, Patcharee Cravens, live in Orlando, Florida, where they own and operate a successful Thai food establishment: Thais Blossom Restaurant, located in the historic downtown district of Winter Garden, Florida.

"I continue to actively audition for film and television projects in the southeast region," he says.

"For many years I was a contracted stage actor for many different venues at Universal Orlando theme park. Due to entrepreneurial and other entertainment industry responsibilities I no longer perform at Universal Orlando. I also perform in local professional theaters when time allows. My most recent notable theater credits include, Sgt. Toomey in Biloxi Blues and Arles Struvie (plus nine more characters) in Greater Tuna.

What brought you to Nashville/Tennessee in the first place? I was active duty Army stationed at Fort Campbell, Kentucky

I had a number of community theater credits and was stricken with the passion. Someone in my unit informed me of the regional Roxy Theatre. At the time I was deployed in Saudi Arabia as part of Operation Desert Shield/Storm. Upon returning I visited the theater. Fate had it in store for me that the theater was holding auditions for Driving Miss Daisy that very week. I auditioned and booked the role of Boolie Werthan.

That first production began a nice relationship with the Roxy and the creative directors, Tom Thayer and John McDonald. I performed with them for several more productions over the few of years until there came a time when I wanted to venture into the Nashville scene.

I attended one of the First Night Award ceremonies. And I distinctly remember thinking, "I am supposed to be a part of this community!" I vowed just that intent.

My first theatrical production in Nashville was Brighton Beach Memoirs at Circle Players - a truly magical experience. I performed a couple more plays with smaller Nashville theater groups and eventually was afforded the opportunity to return to Circle Players to play Seymour in Little Shop of Horrors. That production ended up to be my last acting in Nashville sadly, as I then became involved with an entertainment Production Company, which had me traveling much with an eventual move onto the journey to today.

How did your time in Nashville/Tennessee prepare you for where you are now in your career arc? While a high school performance and some community theater prior to Nashville/Tennessee was my first onstage experiences, it wasn't until the Roxy and then the Nashville scene that I ever perceived possibility that acting/performance could be a viable career option.

Professionals doing professional work surrounded me, influenced me, and motivated me. That is what I have always held true from my time in that creative community.

Another element of my time in Tennessee was the variety of character roles I was afforded. During most of my youth and early adulthood I've always been silly and, well, honestly rather uncomfortable in my own skin. Playing "characters" was always more natural than just being myself. For instance, playing Pap Finn in the Roxy Theatre's Big River was like putting on a custom made glove - while the role of Teddy Lloyd in The Prime of Miss Jean Brodie (the dialect challenge notwithstanding) was rather difficult as a portrayal. I remember John (McDonald) telling me to just be myself. Then later, when playing Seymour in Circle Player's Little Shop - right at home immediately. But then when the role of Joe Clay in a smaller Nashville theater production of Days Of Wine and Roses came along I struggled.

All of this character study - in myself more than on stage presentation - led to years of self-analytics. Those insights have made me the confident, well-rounded character actor I am today - one as comfortable playing roles close to my personality as I am playing a serial killer.

What's your most vivid memory of your time in the Volunteer State? All my time there is rather vivid due to the importance of the life lessons gained during that time. Honestly. I have rushes of memories that are "like last week" moments. But if I need to choose one, it would be a conversation my young immature self had with a wise director who was a castmate at this particular moment. We were in our third week of the performances at the Roxy Theatre production of Stephen Sondheim's, Follies, of which I played the role of Buddy. John McDonald (Roxy Co-Founder) played the role of Ben. I remember distinctly not "getting it." By that, I just didn't connect to the history, the cultural or social effect this show presents (even today). I was just too young and immature. John and I were backstage during intermission, and we were discussing the near future of both our lives. I said that I was ready for this show to be over. I saw in John's face a crest fall. He lost a little respect for me right then and although I didn't know why specifically, I did know that I'd missed something significant. He replied simply, and with absolutely no judgment or condescension, "I never want this show to end." He was deep and soulful and simple that way. To this day I've never forgotten the lesson he gave me in that brief moment. I grew up a lot that night - professionally and personally.

John gave me another great lesson when he was directing me in Driving Miss Daisy. There was a stage direction saying that my character checked the time on his watch. During rehearsal I did this and John yelled at me from the back of the house, "What time was it?!" I didn't understand. "Huh?" I replied, having been totally taken out of the scene. He responded, "What time was it on your watch when you looked at it?" I didn't know what time it was, but I knew the lesson immediately. I use that lesson to this day, and remain a much more "realistic in the moment" actor because of it.

Who were some of the people in Nashville/Tennessee who had a lasting impact on you and/or your career? The story I just shared about my vivid memory reflects the impact that John McDonald had, but frankly, there were so many more dynamic impacts such as that. Tom Thayer, the other founder of the Roxy Theatre was instrumental in giving me confidence to sing when all I really could do was carry a note in a briefcase. Then there was all involved in the First Night Awards - you specifically, Jef. The reviews you provided over the years, and the acknowledgement you ultimately awarded me with a nomination were very telling for my growing confidence.

But I must mention an actor who was so very much a prominent character in the story of my life. That person is the late, Arita Trahan. We met when we were cast as husband and wife in Circle Players production of Brighton Beach Memoirs. She played Kate Jerome opposite my Jack Jerome. We bonded right away as friends and colleagues, but more than that, she provided me a distinctly supportive place to feel safe when I was truly nervous. See, I was young for the role - I think I was maybe 25 and was playing 40s. Arita was nearly 40 at the time as I remember. We spent a great deal of time researching the period of the piece (1937): what people of that time perceived, what it meant to be an immigrant, and ultimately what it was to be forty some odd years old for the characters then and at the time we were doing that play. She was more than instrumental. Following that production, we didn't work on stage together again, but she remained a steadfast consultant and friend. She helped me put together resumes. She helped me understand dynamic headshots. She gave me great information on what to expect when I was cast as an extra on a Country Music video. After leaving Nashville, Arita and I lost connectivity. We touched base over the years, and I was always pleased to hear she remained quite influential to a vast number of young actors/actresses. Then we pretty much stopped communication. Recently, I discovered through social media that she passed away from some type of cancer. When I learned this news I was heartbroken as much then as I surely would have if that tragedy happened back in the day. So, yes, Arita made a long and certain impact on my life and career.

What advice would you give to someone taking their first steps to becoming a part of the theater scene here? Analyze every moment and apply both the negative and positive results from each moment directly in your life personally and on stage. Acting is intelligence, and intelligence comes from experience more than it comes from a book.

For me, and I am surely not alone in this, I did not take a scholastic path. All of my education, both in life and on stage evolved from living and learning from the living. Early in my career I sought out challenges that scared the shit out of me but would put me in learning situations. For instance, I didn't hesitate to audition for Seymour in Little Shop of Horrors - the same way I didn't hesitate to play Daddy in Edward Albee's, The American Dream - the same way I didn't hesitate to learn song and dance routines to perform variety shows on a cruise ship and in a variety of venues in Japan - the same way I didn't hesitate to sublet an apartment in NYC when that came available. I constantly challenged my instinctual natural talents in order to hopefully find my path. I accepted failure and never accepted successes as finish lines. And all along I analyzed every moment, good and bad, in order to apply it all to the me I've become.

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