from Oz's Brave New Works
Bajo la Marea: El Ritual de Duelo y Matriarcado de Lenin Fernandez
For English Version, Click HERE
Un gigantesco velo de plástico se extendía sobre el escenario como una membrana entre mundos. Linternas atravesaban sombras translúcidas mientras una joven yacía inmóvil en el suelo. Luego, lentamente, una intérprete mayor, con el cabello cayendo casi hasta sus pies, emergió de la oscuridad. Antes de que una narrativa pudiera tomar forma por completo, Tears Made the Ocean del coreógrafo Lenin Fernandez ya había sumergido al público en algo emocional, subconsciente y profundamente humano.
Presentada como parte de la quinta edición anual de Brave New Works Lab de OZ Arts Nashville, la obra de gran formato de Fernandez transformó el teatro en un océano de duelo, resistencia femenina, memoria y sanación colectiva. Utilizando la intensidad operática de
Oceana de Osvaldo Golijov, la presentación se desarrolló menos como una coreografía tradicional y más como un renacimiento chamánico de las corrientes humanas que habitan en lo más profundo de nuestra existencia.
Ocho mujeres se movían sobre el escenario como olas en constante transformación. Arrastrándose, levantándose, cargándose, empujándose y abrazándose unas a otras, las intérpretes encarnaban el trabajo emocional de sobrevivir. Por momentos parecían rescatarse mutuamente de profundidades invisibles, convirtiéndose en salvavidas unas para otras, tanto individual como colectivamente. La coreografía se sentía profundamente colaborativa, arraigada en la ternura y la sincronía más que en la dominación. Incluso en medio del caos, las mujeres se aferraban entre sí con fuerza, negándose a soltarse.
El velo semitransparente cambiaba constantemente durante la obra, convirtiéndose al mismo tiempo en océano, cielo, subconsciente y fuerza asfixiante. Cuando el plástico descendía sobre los cuerpos de las bailarinas, la imagen se volvía estremecedora. Las intérpretes parecían quedar atrapadas bajo el peso mismo del duelo. En otros momentos, se reunían alrededor de lo que parecía ser una víctima, llorando colectivamente y cargando el cuerpo a través del escenario como si estuvieran enterrando a la Madre Tierra.
Sin embargo, Tears Made the Ocean nunca permaneció atrapada en la desesperación. A lo largo de la obra, surgían momentos de profunda ternura a través del cabello, el tacto y el cuidado mutuo. Hacia el final de la presentación, las mujeres más jóvenes rodearon a la intérprete mayor en un impresionante ritual de trenzado, entrelazando suavemente su larguísimo cabello mientras se abrazaban en silencio. El teatro se llenó de lágrimas silenciosas y sollozos audibles. Lo que se desarrollaba frente a nosotros ya no parecía una presentación, sino una ceremonia.
El cabello y el contacto gentil se convirtieron en lenguajes simbólicos dentro de la obra. La intérprete mayor se sentía como la encarnación misma del Matriarcado: la Madre Tierra como ternura y furia, fuerza y cuidado al mismo tiempo. Los pies descalzos y las manos vacías reforzaban la vulnerabilidad de las intérpretes mientras revelaban simultáneamente su resiliencia. En un momento, una mujer cruzó el escenario montada sobre la espalda de otra, evocando la frase “sobre los hombros de gigantes”. La imagen parecía profundamente conectada con el linaje femenino, la supervivencia heredada y la estructura emocional invisible que las mujeres han sostenido durante generaciones.
“Creo que siempre me ha inspirado la manera en que las mujeres atraviesan este mundo y todo lo que han tenido que soportar desde el principio de los tiempos hasta ahora”, compartió Fernandez al hablar sobre la obra. “Y creo que este trabajo quiere rendir reverencia al matriarcado y a la comunidad”.
Esa reverencia impregnaba cada rincón de la presentación.
Mientras observaba la obra, me encontré reflexionando sobre las matriarcas que moldearon mi propia vida. Criado inicialmente por mi abuela en Colombia, aprendí de ella la ternura, el calor
humano y el cuidado incondicional. Después de emigrar a los Estados Unidos a los diez años, mi madre me enseñó resiliencia, sacrificio y la fuerza feroz necesaria para sobrevivir al desplazamiento y las dificultades. Tears Made the Ocean me recordó a las mujeres que nos esculpen mucho antes de que comprendamos plenamente sus sacrificios. Me recordó a las mujeres que continúan resistiendo, nutriendo, protegiendo y cargando mundos emocionales enteros dentro de sí mismas.
Lo que hace que Tears Made the Ocean sea particularmente urgente dentro del panorama cultural de Tennessee es su insistencia en la compasión en un momento donde las comunidades vulnerables continúan enfrentando ataques políticos y sociales. En una sociedad cada vez más definida por divisiones políticas, crueldad misógina, centros de detención para inmigrantes, separaciones familiares, ataques contra los derechos de las mujeres, explotación capitalista y desconexión emocional, la obra de Fernandez invita al público a volver a sentir. A sostenernos mutuamente en medio de la tormenta en lugar de rendirnos al aislamiento.
La brillantez de la obra reside en su abstracción. Fernandez no impone una única interpretación sobre el público. En cambio, la coreografía funciona como la memoria misma: fragmentada, inquietante, no lineal y emocionalmente inmersiva. El océano se convierte en metáfora del subconsciente, de la energía femenina, del trauma colectivo y de la fuerza incontrolable de estar vivos.
A través de la abstracción, el ritual y una vulnerabilidad emocional cruda, Tears Made the Ocean transforma el duelo de una carga individual en un acto colectivo de supervivencia. A través del movimiento y la ceremonia, Fernandez nos recuerda que la sanación puede comenzar cuando permitimos que otros nos sostengan—aunque sea por un instante.
from Oz's Brave New Works
Held Beneath the Tide: Lenin Fernandez’s Ritual of Grief and Matriarchy
Para Versión en Español, Click AQUÍ
A giant plastic veil stretched across the stage like a membrane between worlds. Flashlights pierced through translucent shadows while a young woman lay motionless on the floor. Then, slowly, an elder performer with hair cascading nearly to her feet emerged from the darkness. Before a narrative could fully form, choreographer Lenin Fernandez’s Tears Made the Ocean had already submerged the audience into something emotional, subconscious, and deeply human.
Presented as part of the fifth annual OZ Arts Nashville Brave New Works Lab, Fernandez’s large-scale dance work transformed the theater into an ocean of grief, feminine endurance, memory, and collective healing. Utilizing the operatic intensity of Osvaldo Golijov’s Oceana, the performance unfolded less like traditional choreography and more like a shamanic rebirth of the rip tides within humanity itself.
Eight women moved across the stage like waves in constant transformation. Crawling, dragging, lifting, pulling, and embracing one another, the performers embodied the emotional labor of survival. At times, they appeared to rescue one another from invisible depths, becoming life rafts for each other individually and collectively. The choreography felt deeply collaborative, rooted in tenderness and synchronicity rather than domination. Even amid turmoil, the women held onto one another tightly, refusing to let go.
The semi-transparent veil shifted throughout the performance, becoming ocean, sky, subconscious, and suffocating force all at once. When the plastic descended over the dancers’ bodies, the imagery became chilling. The performers appeared engulfed beneath the weight of grief itself. Elsewhere, they gathered around what seemed to be a casualty, collectively mourning and carrying the body across the stage as though burying Mother Earth herself.
Yet Tears Made the Ocean never remained trapped in despair. Throughout the work, moments of profound tenderness emerged through hair, touch, and care. Toward the closing of the performance, younger women gathered around the elder performer in a breathtaking braid ritual, gently weaving and holding her impossibly long hair while embracing one another in silence. The theater filled with quiet tears and audible sniffles. What unfolded no longer felt like performance, but ceremony.
Hair and gentle touch became symbolic languages throughout the work. The elder performer herself felt representative of Matriarchy incarnate—Mother Earth as both nurture and fury, tenderness and strength. Bare feet and empty hands reinforced the vulnerability of the performers while simultaneously revealing their resilience. At one point, a woman rode across the stage on the back of another, evoking the phrase “on the shoulders of giants.” The image felt deeply connected to feminine lineage, inherited survival, and the invisible emotional scaffolding women have provided for generations.
“I think I have always been inspired by how women move through this world and everything that they have had to endure from the beginning of time till now,” Fernandez shared in conversation surrounding the work. “And I think that this work just wants to hold reverence for matriarchy and for community.”
That reverence permeated every inch of the performance.
Watching the work, I found myself reflecting on the matriarchs who shaped my own life. Raised initially by my grandmother in Colombia, I learned tenderness, warmth, and unconditional care through her presence. After immigrating to the United States at ten years old, my mother taught me resilience, sacrifice, and the fierce strength required to survive displacement and hardship. Tears Made the Ocean reminded me of the women who sculpt us long before we fully understand their sacrifices. It reminded me of the women who continue to endure, nurture, protect, and carry entire emotional worlds within themselves.
What makes Tears Made the Ocean particularly urgent within Tennessee’s cultural landscape is its insistence on compassion during a time when vulnerable communities continue to face political and social attacks. In a society increasingly defined by political division, misogynistic cruelty, immigrant detention centers, family separations, attacks on women’s rights, capitalist extraction, and emotional disconnection, Fernandez’s work asks audiences to return to feeling. To hold one another through the storm rather than surrender to isolation.
The brilliance of the work lies in its abstraction. Fernandez does not force a singular interpretation onto the audience. Instead, the choreography functions like memory itself: fragmented, haunting, nonlinear, and emotionally immersive. The ocean becomes a metaphor for the subconscious, feminine energy, collective trauma, and the uncontrollable force of being alive.
Through abstraction, ritual, and raw emotional vulnerability, Tears Made the Ocean transforms grief from an individual burden into a communal act of survival. Through movement and ceremony, Fernandez reminds us that healing may begin when we allow ourselves to be carried—however briefly—by each other.
Jesus Christ Superstar: Studio Tenn Stuns!
Jesus Christ Superstar, known for retelling a powerful message of the gospel through pop rock anthems, is an intriguing end to Studio Tenn’s season. Jesus Christ Superstar has been a topic of controversy in the theater world for decades. Supporters believe it to be dynamic storytelling that shows more than one perspective on the Bible, while critics argue it to be sacrilegious to tell the story of Jesus through Judas’ eyes. After the pope publicly endorsed the show in 1999, viewpoints began to shift. With Andrew Lloyd Weber’s killer vocal lines, intense choreography, and heavy content, Jesus Christ Superstar is a show that requires a stellar cast. This production curated a cast that is beyond stellar, from the eye-catching ensemble to the Tony and Grammy nominated leads. The talent these actors and actresses display mixed with the electricity of the show itself is a treat to experience!
Grammy-nominated Mykal Kilgore as Judas gives one of the most dynamic and memorable performances I have ever had the privilege to experience. From his first notes in “Heaven On Their Minds” the audience was awe stricken. Kilgore’s vocals are simply so fantastic that they make a person giddy. His clear belt, strong upper register, and excellent diction are just a few of the skills that earn praise. But his obvious knowledge of musical cadences that allow him the ability to improv and riff on top of already difficult vocal lines settles it. Not to mention, Judas’ suicide in the second act is incredibly emotional and heartbreaking. Kilgore goes through Judas’ thought process from initial shock to acceptance of his fate with tears streaming down his face. It is just brilliant. Watching an actor make an audience sympathize with the most hated biblical figure and understand his thought process at the same time is jaw dropping. Judas is one of the most difficult roles to portray in musical theater history, and Kilgore does it justice. Brava.
Tony-nominated actor, Adam Pascal, portrays the iconic role of Jesus, and it is no shock that his performance is exceptional. Pascal’s vocal prowess is something of legend, his effortless vocal flips up to rockstar high notes (out of thin air might I add), are ridiculously impressive. His performance of Gethsemane does not disappoint: he takes one of the most difficult songs in tenor musical theater repertoire and makes it look like a breeze. I mean, most of the song is on his knees! His interpretation of Jesus’ resignation, bravery, and resilience in the final days before the Crucifixion, is honed and intentional.
Olivia Valli’s performance of “I Don’t Know How To Love Him” is beautiful and tugs perfectly at the heartstrings. Her portrayal of Mary Magdalene is strong and heartfelt. Valli makes Mary more headstrong than she is typically portrayed, and it’s a great interpretation! Peter (Connor Barr) and Mary’s duet in the second act “Can We Start Again Please” is staged differently than a typical Jesus Christ Superstar production, with the actors shaking hands and hugging at the end. It adds a personal and intimate touch to both characters’ development. I would be remiss to not mention Jennifer Whitcomb-Olivia’s portrayal as King Herod in fabulously tall, gold, stiletto pumps. She delivers a wonderfully comical and impressive performance of “King Herod’s Song.” Also worth mentioning is Parker Jenkins who adds a hilarious flair to his every role and Emma Rose Williamson in the ensemble, who I could not take my eyes off of!
The staging and choreography of this production cannot be dismissed! With a relatively small ensemble, the stage feels full and alive. The production is frequently very minimalistic, with hardly any costuming or set. It was refreshing to see Jesus Christ Superstar with a more modern approach taken by Director Patrick Cassidy. The actors wear grungy outfits with camouflage and bright colors, holding cell phones and taking flash photos throughout the performance. This, and the giant mural of Jesus make the immense following (or “fan base”) of Jesus read very clearly!
The choreography in “What’s The Buzz” and “Jesus Christ Superstar” specifically caught my attention. Both numbers are showstoppers and showcase the ensemble wonderfully! This aspect of the show would have been improved by a live orchestra. I attended the media preview on May 6th, when there were some issues with the timing of the tracks and awkward breaks between numbers. Despite this, there were several pictures and moments created on stage that were stunning. The last supper sequence has the actors freeze at the end to recreate the famous painting. Additionally, the crucifixion sequence played with levels very interestingly, with Jesus being front and center above the ensemble. It makes for a dynamic scene!
Studio Tenn’s Jesus Christ Superstar is fantastic. It provides everything you can possibly ask for in a musical. Getting to listen to such a wonderful score sung by such stellar voices is a once in a lifetime experience. Do not miss it!
Jesus Christ Superstar will be at The Factory’s Turner Theatre through May 31st. See their website for tickets and more information.
Broadway at TPAC
Water For Elephants: A Circus Spectacle
Water for Elephants has been a hit several times in a row: in 2006 Sara Gruen’s first novel became a bestseller, and in 2011 it was adapted into a film starring Reese Witherspoon and Robert Pattinson. Two years ago it was adapted into a Broadway musical which garnered multiple Tony nominations.
The story begins with an elderly man, Jacob, who attends the circus and ends up speaking with its owners about when he was young; they are fascinated when they learn that he was present at one of the worst circus disasters in history. He tells the story of his experience: during the Great Depression, he was a young veterinarian student at Cornell. He finds out just before his final exam that his parents have been killed in a car crash, and that his home and his father’s veterinary practice have now been foreclosed, since his parents had mortgaged them to pay for his schooling. Grief-stricken, he jumps onto the first train he can find. He’s surprised to discover that it’s a circus train and he’s hired as low-level labor until they discover that he’s a veterinarian, when they put him in charge of the animals. There’s a motley crew of circus performers, a villainous ringmaster, Jacob’s forbidden love Marlena, and an elephant.
The book focuses a lot on the details of actual behind-the-scenes circus life during the period, and has many chapters dealing with elderly Jacob’s time in a nursing home. The film streamlines the story, and despite the promising casting, feels flat. The circus performances are underwhelming and brief, mainly contained in clips during a montage, so you never catch a contagious feel of the magic of the entire experience.
As I sat down to see the show the night of May 12th, I was very hopeful that the Broadway musical would capture the wonder of the circus spectacle, that visceral reaction to athleticism and art. I’m delighted to say that it does. The Broadway adaptation is the best version of the story. It cuts out at the slow and more sordid plot elements, and has an element of fun that isn’t present in the other versions of the story: it even includes a hilarious clown routine.
The acrobats are constantly on stage, cast as the circus performers and workers. During songs and even dialogue, they impress us with their many athletic feats: acrobatics; silks; head spinning; juggling; and more. There were times when I didn’t know where to look, because there was dialogue between main characters while several different sets of acrobats performed different moves. This gives a richness to the show, and the choreography of the musical would easily bear several watches just to catch it all. This acrobatic element is a thrilling and impressive performance on its own and it directly adds to the story, building and maintaining the fascinating and dangerous world that Jacob is drawn into.
The dance choreography is also fun, with a contagious energy, especially in “Zostan,” the high energy start to Act II. One striking detail in the show’s choreography is how people move when on the train. The train cars are rusty-looking scaffolds with flat roofs. This bare look is undone when the cast climbs aboard and all move in unison with the bouncing and jostling of the tracks, giving a feel of real movement to the set.
In Water for Elephants the circus animals are important. The musical uses all puppets (and the occasional acrobat in costume). After my wonderful conversation with Carl Robinett, I was excited to see the puppets, which are fantastic. The big elephant Rosie is wonderful. She is massive, two puppeteers managing the body and another working the trunk, moving in impressive imitation of a real elephant, making her really feel alive. Watching Rosie, I understood what Carl Robinett meant when he talked about the importance of breath in puppetry. Another puppet is Silver Star, a performing horse. At first it seems underwhelming, mostly a horse’s head and mane, with a man dressed in white acting out the body. But then Marlena sings “Easy” to the horse and the man dressed in white dances on silks, making it beautiful.
PigPen Theatre Co. wrote the music for the Broadway production. They’re a talented indie folk band and theater company that first got big in the 2010’s. Since the musical is set in the 1930’s, going with a contemporary folk music band is an intelligent choice. I really enjoy the music, with its varied styles, and while it’s definitely catering to our modern tastes, the instrumentation is plausible of the 1930’s. There are dark, moody songs, bright circus numbers, romantic ballads. There’s a great ability to build tension during a song and the lyrics really work in expressing and developing the plot. The harmonies are great, especially during “Anywhere/Another Train,” when they imitate a train, and in the duet.
The performers are all talented triple-threats: Zachary Keller as young Jacob has a strong, clear tone and impresses us from the very start, and Helen Krushinski’s voice glows in “Easy.” Connor Sullivan adds alluring malice to his powerful voice. The entire company sings a lot, with many solos (including an excellent one by our interviewee Carl Robinett in “Zostan”) and thick harmonies, so we get to hear a vibrant variety of vocal timbres.
Water for Elephants is two hours and twenty minutes including intermission. The acts divide well, and act two is high energy and fun, so it avoids any second act lag. I love this pacing, distributing a lot of energy throughout the show. However there are occasional moments of abrupt transitions: a moment of tragic cruelty is immediately followed by a silly acrobat dance number, giving a bit of mood whiplash.
It’s always interesting to see the different demographics who come to a show; some shows are full of die-hard fans who have all the lyrics memorized. The night I attended, the full audience seemed to be mainly newcomers to the show, judging by the collective gasp of surprise at a sudden kiss. This fresh enjoyment and investment in the musical gave it an added element of fun, and hearing everyone laughing at the jokes and oohing at the acrobats made my experience all the more delightful.
Water for Elephants will be at TPAC’s Jackson Hall through May 17th. See here for tickets and more information.
At the Schermerhorn
THE NSO PLAYS BARTÓK, BATES, AND RIMSKY-KORSAKOV
On May 1, 2026, the Nashville Symphony Orchestra performed The Miraculous Mandarin and Music of Bates in Laura Turner Hall at Nashville’s Schermerhorn Symphony Center—Giancarlo Guerrero conducted. The program opened with Nikolai Rimsky-Korsakov’s (1844–1908) Russian Easter Overture, Op. 36 (1888). It was followed by two works by contemporary composer Mason Bates (b. 1977): Passage for Mezzo-Soprano, Orchestra, and Laptop (2017) and The Rhapsody of Steve Jobs (2021). The evening concluded with Béla Bartók’s (1881–1945) Miraculous Mandarin (1918–1919, 1926).
This concert stands out as one of my favorites because of the extraordinary range it demanded from the orchestra. Each work exposed a different facet of the ensemble’s sound: from luminous late-Romantic color to Bates’s inventive contemporary textures with synthesized timbres and multimedia, and finally to the raw intensity of Bartók’s score. Under Guerrero’s direction, the orchestra handled these stylistic changes with clearness and determination, resulting in an experience that was both visceral and exciting.
Nikolai Rimsky-Korsakov was part of the Russian nationalist group of composers called Moguchaya kuchka, which translates to “The Mighty Little Heap.” This term was first used in 1867, though later it became known as “The Five.” Many musicians who studied out of Burkholder, Grout, and Palisca’s A History of Western Music may remember this group as “The Mighty Five” or “The Russian Five.”
Rimsky-Korsakov dedicated the Russian Easter Overture to Modest Mussorgsky (1839–1881) and Alexander Borodin (1833–1887), two members of “The Five” who had recently passed away. This act stood as both personal and national, marking their group’s mission to create a distinct Russian sound. In the Overture, Rimsky-Korsakov used Obikhod—a collection of common Russian Orthodox chants—as the primary musical material.[1] The Nashville Symphony emphasized this intent by featuring the composer’s broader modal palette, evoking a spirit reminiscent of the Byzantine Empire.
The composer foregrounded the Dorian and Mixolydian modes. Though these are Western modes, Rimsky-Korsakov chose them for their similarity to the Oktoechos, or eight-toned system behind Byzantine chants. In the NSO’s performance, Dorian sonorities appeared primarily in the introduction. The mode features a lowered third and a raised sixth compared to a major scale. Strings and woodwinds, by raising the sixth, created an archaic atmosphere, without the sentimental sadness, typical of Western Romanticism, of the Aeolian mode or minor key. By contrast, the more celebratory sections use Mixolydian sonorities—a major scale with a lowered seventh. This reduces the usual forward momentum of Western music. Rimsky-Korsakov used both modes to evoke Russian liturgical music—suspended, communal, and reflective.
Additionally, as the dense textures of the overture subsided ten minutes into the performance, the focus shifted to Assistant Principal Trombonist Anthony Cosio-Marron for a critical and exposed solo. In that charged stillness, he commanded the hall with a sound of extraordinary refinement. Even among soloists of the highest caliber, his tone quality was distinctive for its impeccably centered and resplendent clarity—Splendid!
Next, Mason Bates emerged onto the scene in the early 2000s, gaining wide attention with his 2007 Liquid Interface. His work soon entered the repertoires of major American orchestras, including the Chicago Symphony Orchestra, San Francisco Symphony, and Los Angeles Philharmonic. The May 1 performance was special: both Bates selections, Passages and The Rhapsody of Steve Jobs, were recorded live, adding significance to the event. Live recordings represent not only an orchestra’s precision, but also the risk and immediacy of performance, sharpening a performer’s focus. This affirmed the orchestra’s attachment to Bates’s music and signaled that these interpretations were meant to stand as a documented artistic record. The NSO surpassed its own high standards. This review will focus on Passage.
Passage for Mezzo Soprano, Orchestra, and Laptop (also…. Mezzo-Soprano, Orchestra, and Electronics [2]) was commissioned in 2017 by the National Symphony Orchestra in Washington, D.C., for the 100th birthday celebration of President John F. Kennedy (1917–1963). It is difficult to categorize Passages by genre. It feels much like listening to a symphonic song-cycle, yet without the “cycle.” Parts of it feel like a melodrama or a dramatic scene for voice and orchestra with layered electronic sounds and archival sound bites. (See MCR’s 4/27/2026 Bates interview: https://www.musiccityreview.com/3b1x)
I find the source material for Passage fascinating because it draws on both Walt Whitman’s (1819–1892) Passage to India (1870) and Kennedy’s May 25, 1961, space-race address to Congress, “Moonshot.” Bates brought the words of both Whitman and Kennedy together to conceptually illustrate two different—temporally and spatially—notions of “passage.” Whitman’s poem “Passage to India” describes his excitement about the technological progress, spiritual expansion, and budding global connections of the nineteenth century. Conversely, Kennedy’s “Moonshot” address speaks of space exploration—both are importantly visionary.
The two texts remain separate throughout the piece in an intriguing way. Bates establishes Whitman’s poem as the main melodic thrust, sung by the mezzo-soprano, while integrating the words of Kennedy and others into the texture via electronics. At key moments in the piece, the two textual streams intersect through a deliberate structural and rhetorical design. At several occurrences in the piece, the mezzo-soprano’s sung line gives way to Kennedy’s recorded voice, as if handing off a phrase mid-thought, then picking it up again in a coordinated, fluid exchange. At other times, key points of the speech trigger the orchestra to shift into a sustained drone. This allows Kennedy’s voice to emerge with unfiltered power. Bates sharpens this clarity through digital processing. By elongating vowels and updating Kennedy’s Bostonian cadence using DAW tools, he ensures the archival speech connects with more precision.
The composer refined how the two texts interacted by studying Whitman’s poem and identifying a myriad of shared words and concepts between it and Kenney’s address. The President’s message of progress and exploration to align specific archival fragments with their thematic counterparts in “Passage to India.” By synchronizing these textual echoes, Bates deliberately intersects the two textual streams, allowing them to converge with maximum emotional and structural impact.
While the orchestra mainly served as an accompaniment, underscoring the text, NSO musicians created a stunning sonorous display of harmonically rich progressions, transformations, and gestures. Picture opening a 425-degree oven with fresh cinnamon rolls inside—just a crack releases a swath of heat. Your nose strains against the dense air, filled with melted butter, caramelized sugar, and cinnamon spice (Mmmm). Sonically, the same rich texture poured from the stage, enveloping the hall in a thick, almost-cinematic symphonic texture. Bates’s orchestral writing is mostly chordal and gestural, with electronic timbres placed strategically. He uses smart and unexpected imitative figures which reflect the singer’s line. These musical echoes appear unexpectedly and intermittently, making every exchange between ensemble and soloist surprising and clever.
Finally, I would be remiss not mentioning the evening’s singer soloist. Mezzo-soprano Fleur Barron gave a flawless performance. Barron won a GRAMMY for Best Opera Recording for her title role in Kaija Saariaho’s (1952–2023) Adriana Mater, performed with the San Francisco Symphony under Esa-Pekka Salonen. While her achievements are numerous, the program note highlights that “Mahler’s music is a major backbone of Fleur’s artistic identity, in particular the [song] cycles Das Lied von der Erde and Kindertotenlieder….”[3] This context illuminates why her performance of Passages was so powerful, as these works demand nearly all onus from the singer. Fleur Barron’s artistry was evident throughout—a beautiful performance.
The final piece of the program, the pantomime The Miraculous Mandarin, has a fascinating compositional history. Béla Bartók, a dedicated ethnomusicologist, traveled widely through Slovakia and Transylvania—regions now known as the Czech Republic and Romania—until the Austro-Hungarian Empire split in 1918–1919. Around this time, Bartók composed the first draft of Mandarin. Due to the cumulative hardships of World War I, including his family’s battle with the Spanish Flu, they moved to Budapest for care and stability. In the capital, Bartók then came under scrutiny from Miklós Horthy’s new right-wing government. Because of his fieldwork, authorities accused him of being a Romanian nationalist, a dangerous label in Hungary then. As a result, Bartók avoided public attention and put The Miraculous Mandarin on hold. He later orchestrated the piece in 1924, and it premiered in Cologne, Germany in 1926. Budapest did not stage Mandarin until after Bartók’s death in 1945.[4]
The storyline Bartók follows through musical pantomime was written by author, and eventual screenwriter, Menyhért Lengyel (1880–1974). Set in a bleak urban environment, Mandarin is a violent and grotesque story of exploitation, desire, and transcendence. The story: three drifters force a young girl to act as a decoy, luring men into their room before robbing them. The first victim is a broke playboy type who the thugs soon dismiss since he has no money. The second, another who lacks funds, is similarly expelled. Finally, a wealthy Chinese imperial bureaucrat (the Mandarin) appears, and unlike the previous men, he remains silent and mysterious. The girl lures the newcomer, performing a seductive dance, and he only stares at her, transfixed with resolute desire. When she eventually falls into his arms, she is overcome with fear and tries to run, leading to a frantic chase around the room. The drifters finally ambush the Mandarin to kill him and take his money. They try to suffocate him, stab him, and even hang him, but he does not die. In a terrifying, supernatural turn, his body begins to glow, and he continues to stare at the girl. The Mandarin’s sheer obsession and unfulfilled longing are a powerful force, keeping him alive despite his fatal injuries. Only when the woman realizes that he cannot die until his desire is met does she embrace him willingly. Once she finally holds him and his desire is satisfied, his supernatural strength leaves, his wounds bleed, and he finally dies.[5]
The NSO musicians performed Mandarin exquisitely. I had the opportunity to perform this piece, and I can attest to how difficult it is to play. Mandarin marks the height of Bartók’s expressionist period, so not only are each individual player’s parts difficult to precisely execute, but fitting this piece together is another level of difficulty. Guerrero had his work cut out for him, leading the orchestra through all of its awkward hinges. The ensemble proficiently maneuvered through the series of difficult themes, namely the Mandarin Theme, which is atonal, employing twelve-tone technique, dissolving any sense of tonal center for performers and listeners alike.
The score’s chaotic textures feature a series of soloists. Their unique timbres differentiate the characters, driving the narrative. The solo clarinet (Danny Goldman) represents the girl acting as a decoy. She performs three seductive, virtuosic solos to lure each passerby. These solos eventually gain reinforcement from a second clarinet (Katherine Kohler). The two “broke” victims are identified by English horn (Kate Bruns) lines joined by the oboe (Christopher Gaudi). In contrast, a solo bassoon (Asha Kline) marks the Mandarin’s dark, threatening presence.
Also, the trombones (Paul Jenkins & Anthony Cosio-Marron) provide the sonic weight of an imposing physical force through several interlocking glissandi sections. Meanwhile, the trumpets break through the frantic high-string textures with harsh, aggressive attacks and jagged rhythmic flourishes, evoking a clear sense of hysteria. It is also worth noting the unconventional use of the lower strings and brass. The violas move beyond simple harmony, playing much more exposed parts. The tuba and bass trombone are given more intricate, independent, and gestural solos that sonically highlight the grit of the piece’s urban narrative setting.
The NSO has only a few more events left for the season: Beethoven’s Eroica Symphony, May 15 & 16, 2026; The Brightness of Light w/ singer Renée Fleming, May 20, 2026, and How to Train Your Dragon in Concert, May 22–14, 2026. Be sure to view their YouTube video introducing the 2026–27 and the joining of the NSO new Music Director, Leonard Slatkin: https://www.youtube.com/watch?v=YGW3XRYcieo. Keep updated by visiting their website: https://www.nashvillesymphony.org
[1] Richard Taruskin, Defining Russia Musically: Historical and Hermeneutical Essays (Princeton University Press, 1997).
[2] Found reference to Passage: for Mezzo Soprano, Orchestra, and Electronics in: The Trump Kennedy Center, “Mason Bates on “Passage’,” YouTube video, 3:35, May 9, 2017, https://www.youtube.com/watch?v=WL2tEVN2B-A, accessed May 9, 2026.
[3] NSO Program note.
[4] László Vikárius, “Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime,” Studio Musicologica, 60, no. 1–4 (October 21, 2020): 23–68, https://doi.org/10.1556/6.2019.00003.
[5] Ibid., 31, 36, 39, 53–54, 56.
This Summer at Cheekwood
Cheekwood Unveils Massive Cross-Country Train Exhibition for Summer 2026
This summer, visitors to Cheekwood Estate & Gardens can embark on a cross-country adventure without ever leaving Nashville. From May 2 through September 6, 2026, the historic estate will host “America the Beautiful: National Parks & Landmarks By Rail,” the largest and most elaborate model train exhibition in Cheekwood’s history.
Created in celebration of America’s upcoming 250th anniversary, the immersive outdoor exhibition transforms the center lawn of the Bradford Robertson Color Garden into a miniature journey through some of the nation’s most iconic destinations. Featuring 10 running trains, more than 850 feet of track, and 25 handcrafted models of famous landmarks and national parks, the exhibit promises an engaging experience for visitors of all ages.
The expansive installation was designed by Applied Imagination, the acclaimed team behind Cheekwood’s popular permanent TRAINS! attraction. Known for blending horticulture, craftsmanship, and storytelling, the designers have created detailed structures using natural materials including willow branches, cedar, bark, pinecones, and palm leaves.
Among the exhibition’s standout pieces is a dramatic 22-foot-long model of the Golden Gate Bridge, complete with carefully detailed bark piers and red willow “ironwork.” Guests will also encounter a striking version of the Statue of Liberty crafted from palm leaves, demonstrating the intricate artistry behind the exhibit.
The exhibition also pays tribute to Tennessee landmarks and regional history. Visitors can spot miniature recreations of the Ryman Auditorium and Graceland, along with three structures inspired by the Great Smoky Mountains National Park: Cable Mill, John Oliver Cabin, and Little Greenbrier School. These Smoky Mountains additions were designed specifically for the Cheekwood exhibition, adding a unique local connection to the nationwide theme.
Jane MacLeod, president and CEO of Cheekwood Estate & Gardens, said the exhibition was designed to spark imagination while blending education and entertainment.
“This summer’s blockbuster train exhibition is designed to spark curiosity and wonder for guests of all ages,” MacLeod said. “From the intricate craftsmanship to the recognizable landmarks, it’s an experience that blends learning, creativity and fun in a way only Cheekwood can offer.”
In addition to the new summer attraction, guests will also have access to Cheekwood’s permanent TRAINS! display, offering even more opportunities for train enthusiasts and families to explore miniature railroads and landscapes throughout the estate.
Located on a 55-acre historic estate just southwest of downtown Nashville, Cheekwood continues to rank among the nation’s most celebrated botanical gardens and cultural destinations. Once the family home of Mabel and Leslie Cheek, the estate now serves as a botanical garden, arboretum, and art museum featuring 13 distinct gardens, woodland trails, seasonal festivals, and American art collections.
Tickets for “America the Beautiful: National Parks & Landmarks By Rail” are available now. More information can be found at Cheekwood Estate & Gardens.
Back in the Day
Anton Weiss Retrospective at Bennett Galleries
On May 16 from 6 to 8 PM Bennett Galleries is opening their retrospective exhibition on the life and works of Anton Weiss. The exhibition will feature a number of his works including works unseen by the public as well as artwork by six talented local artists he mentored. The opening reception will also feature live music by Randy Perkins and light refreshments. Bennett Galleries requests that you come ready to enjoy an unforgettable evening of art, music, and community. Below is a feature on the artist and his work, a worthwhile read on the way to the show!
Anton Weiss (1936-2019)
For more than half a century, Anton Weiss shaped the visual identity of Middle Tennessee through a body of work that bridged European modernism and the evolving cultural landscape of the American South. His career, spanning from the postwar art world of New York to decades of artistic leadership in Nashville, reflects a lifelong commitment to experimentation, material exploration, and arts education.
The Life
Born in Belgrade, Yugoslavia in 1936, but of Austrian descent, Weiss discovered his artistic calling at an early age, inspired by childhood exposure to the legacy of Renaissance masters, especially Michelangelo. He received formal training at the Villach Institute of Art and Museums in Austria and, during World War II he spent two years in a concentration camp before escaping. In the 1950s he immigrated to the United States. In 1956, he entered the vibrant New York art scene, enrolling at the Art Students League of New York and later studying under the influential Abstract Expressionist Hans Hofmann, whose emphasis on color theory and spatial dynamics would leave a lasting imprint on Weiss’s visual language. The impact that Hofmann’s abstractions had on Weiss would last throughout his life. In 2002 he characterized the abstract approach as “…the complete reversal of objective art, where you get the emotions from concrete images, […] In abstract art, the artist transmits emotions directly to viewer.” (Nashville Scene, October 31, 2002)
In 1960, Weiss relocated to Nashville, where his career entered a defining phase. Over the following decades, he became a central figure in the artistic world of Middle Tennessee, working across media that included painting, watercolor, wood, and mixed materials. His signature works—often sculptural in nature—frequently employed metals such as copper, aluminum, and bronze, creating elongated, architectonic forms that suggested movement, growth, and organic evolution.
Beyond his personal studio practice, Weiss made a lasting institutional impact. From 1975 to 1980, he served as director of the art department at Watkins College of Art (where he once studied), helping shape generations of artists and designers. He also played an instrumental role in the formation of regional arts organizations, including the Tennessee Art League and the Tennessee Watercolor Society, strengthening the infrastructure for artists working across the state.
Weiss’s works entered numerous public and corporate collections across North America, demonstrating both regional influence and national reach. His pieces have been collected by institutions such as the Tennessee State Museum, as well as major corporate collections including Federal Express and Canadian National Railway, underscoring the broad appeal of his sculptural and painterly language.
Late-career retrospectives, including exhibitions such as Reaching for Infinity, highlighted the remarkable continuity of Weiss’s artistic vision from the 1970s through the 21st century. These exhibitions revealed the depth of his experimentation with form and materials, presenting not only his celebrated metal sculptures but also watercolors and mixed-media works that demonstrated his restless curiosity and refusal to remain confined to a single medium.
Today, Anton Weiss’s legacy lies not only in the physical presence of his artworks but also in the institutions he helped build and the students he mentored. Steve Mabry, owner of Stanford Fine Art, has described Weiss as a “quintessentially American painter.” Lisa Fox, owner of the Leiper’s Creek Gallery and successful abstract artist in her own right described Weiss as “…an early supporter of [her] gallery […] and a foundational mentor [who] influenced her to apply classical training towards abstraction; using composition, color, and value to go deeper than surface and provoke a feeling.” (https://leiperscreekgallery.com/art/into-the-deep-by-lisa-fox) His career reflects a rare synthesis of artistic production, education, and civic engagement—one that helped define Nashville’s transition into a modern arts city while maintaining deep ties to the traditions of European modernism. Elizabeth Perkins, owner of Bennett Galleries fondly remembers Weis: “I knew Anton for over 20 years, and one of my favorite pieces in my personal collection is a sculpture that he gave me for Christmas. He was a true master of his craft and, in my opinion, the best abstract artist Nashville has ever seen. His acclaim was well-earned, and his work and teaching influenced many more artists (including some that we represent in our gallery), but he never let any of that go to his head. He was down-to-earth, a joy to be around, and I miss him.”
This May, Bennett Galleries Nashville is holding a special exhibition honoring Weiss’ life, work, and enduring influence. The exhibition will feature many of Weiss’ works, including previously unseen works as well as works of those he mentored, including Pat Snyder, Karen Johnston, Wanda Choate, Charlotte Terrell, Kris Prunitsch, and Lisa Jennings. The following is a description of a couple of works that will be available to view (and purchase) at the exhibition.
The Work
Among Weiss’s painted works, Aftermath stands as a particularly resonant example of his mature visual language. In this composition, Weiss confronts the tension between destruction and renewal, layering gestural marks and fractured forms into a surface that feels both unsettled and searching. The painting’s palette—often marked by scorched earth tones interrupted by flashes of brighter color—suggests a landscape altered by upheaval, whether natural, emotional, or historical. Weiss once remarked on the use of color: “I’m not saying art can’t be emotional with bright colors, but for me the emotional quality comes to the surface more with a subdued palette.” Like much of his work, Aftermath resists literal narrative, instead inviting viewers to contemplate cycles of rupture and rebuilding. The piece reflects Weiss’s European roots and lived memory of a continent shaped by war, while also aligning with the broader Abstract Expressionist ethos he absorbed during his studies in New York. In this way, Aftermath functions not only as an individual artwork but as a distillation of Weiss’s lifelong engagement with transformation, resilience, and the expressive potential of abstraction.
Another significant work, Dual Forces, from hammered steel and mixed media, exemplifies Weiss’s enduring fascination with tension, balance, and opposing energies. In this piece, contrasting shapes and directional lines appear to press against one another in the face of the steel, creating a sense of suddenly suspended movement. The work seems to explore the idea that growth emerges from conflict, visualizing that philosophy through a carefully orchestrated interplay of steel and intrusive metal scraps. The composition suggests not only physical opposition but psychological and philosophical dualities—order and chaos, restraint and release. As with much of Weiss’s work, the viewer is drawn into a dynamic visual dialogue, where resolution remains elusive and equilibrium is achieved through the coexistence of opposing elements, what Fredric Koeppell has called a “…rigorous and elegant air of urban and postindustrial decay.” (Commercial Appeal, April 11, 2013)
In Opposing Arches, Weiss returned to one of his most recognizable structural motifs: the arch as both architectural form and symbolic gesture. The work presents two curving elements set in visual tension, leaning toward and away from, and yet supporting one another in a relationship that feels at once confrontational and interdependent but nevertheless within a character of endurance and continuity. The negative space between the forms is as important as the material presence of the arches themselves, creating a charged interval that invites contemplation of distance, connection, and equilibrium. The work reflects Weiss’s mature sculptural thinking, where form, void, and movement are inseparable, and where opposing forces ultimately create a unified whole.
Unique to the exhibition at Bennett Galleries is Family without Faces, a previously unseen work that was contributed to the Bennett exhibition by Weiss’ widow. It is a remarkable abstract figurative painting in which Weiss’s personality and optimism seems to determine the expression. In the work, human forms seem to emerge from (or submerge into) a blurred background with more recognized images closer to the foreground and the more abstract in the back, as if apparent spirits or remembered people. From a painter who had survived, first hand, the horrors of World War Two, one might expect a darker or threatening depiction, but instead Weiss’s blue suggest an infinite, calm and mystical tone. The color is reminiscent of his teacher Hoffman, who might have described the blue as creating a “push and pull” between the textured strokes and the black and what areas of the work. Whether the figures be spirits or fond memories of ancestors is difficult to tell, but it is a beautiful painting from a man whose life was well lived.
Taken together, Aftermath, Dual Forces, Opposing Arches and Family without Faces illuminate the central concerns that defined Weiss’s mature artistic voice. Each work explores tension—between destruction and renewal, opposition and balance, mass and void—revealing his enduring fascination with the forces that shape both physical structures and human experience. Whether through fractured painterly surfaces or architectonic sculptural forms, Weiss consistently sought equilibrium within conflict, allowing opposing elements to generate movement and meaning. These works stand as compelling expressions of his lifelong engagement with transformation, resilience, and the search for harmony within dynamic, often unstable conditions. As with all great artists, the life lived will often merge with the ideas that are expressed, and Weiss’s work with the community as well as his work in the aesthetic place him as one of Nashville’s greatest masters. These works will not remain in the public long—don’t miss this opportunity to visit Bennett Galleries to see this history in person.
Jazz Beat — May
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: [email protected]
If you wish to subscribe to this guide, click here! Links to specific venues below:
This Month’s Highlights
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: [email protected]
Here are the performances this month that I have picked out as really special, ones you won’t be able to catch any day of the week. They span across Nashville’s many great jazz venues and offer something of interest for everyone.
Michael Feinstein’s Tribute to Tony Bennett – Thursday-Saturday, May 7-9 – 7:30 PM (Schermerhorn)
Singer Michael Feinstein tours the country paying tribute to one of the most celebrated singers of all time, Tony Bennett, with whom Feinstein was close personal friends. Following its sold-out debut at Carnegie Hall, the program celebrates Bennett’s countless and invaluable contributions to music, featuring many of the songs he made famous, including “Because of You,” “I Left My Heart in San Francisco,” and many more.
Steve Vai & Joe Satriani – Thursday, May 7 – 8:00 PM (Ryman Auditorium)
Two of the most legendary modern guitarists come together, backed by an incredible band featuring Kenny Aronoff (drums), Marco Mendoza (bass), and Pete Thorn (guitar). Vai and Satriani have both separately had successful careers as solo acts, producing virtuosic instrumental music and constantly pushing the envelope of what the guitar can do, inspiring thousands of young aspiring guitarists along the way. Though their style doesn’t fall strictly into the jazz category, the virtuosity and improvisational aspect of their music will still be of interest.
Keiko Matsui – Saturday, May 9 – 7:30 PM (City Winery)
Keiko Matsui is one of contemporary jazz’s most celebrated voices. A pianist and composer, Matsui has enjoyed a career of more than three decades, and in that time has collaborated with iconic figures like Miles Davis and Stevie Wonder, among others. She has become known for her power on the instrument, as well as her blending of global rhythms into her music. Her landmark 30th release, Euphoria, was released in 2023.
Rebirth Brass Band – Saturday, May 9 – 8:00 PM (Eastside Bowl)
For an authentically New Orleans experience, the Rebirth Brass Band comes to Eastside Bowl. Formed in 1983 by brothers Phil and Keith Frazier, the band has been playing stages all over the country and around the world for over forty years. Blending traditional brass band sounds with modern funk, jazz, soul, and hip-hop, the band manages to pay homage to the New Orleans tradition while incorporating modern styles. In 2012 they won a Grammy for Best Regional Roots Music Album, and they have also been featured in the HBO series Treme.
Herbie Hancock – Wednesday, May 13 – 8:00 PM (Ryman Auditorium)
A true legend of legends graces the iconic Ryman stage this month. A true icon of modern music, I hardly think I need to say much about him. His work has transcended genre and style, and he has been a mainstay through practically every development in jazz and R&B music in the last 60 years, constantly expanding his creativity and contributions to the collective body of work.
Chester Thompson and Friends – Saturday, May 16 – 7:30 PM (NJW)
One of the most celebrated and accomplished jazz drummers in the world comes to the Cave, accompanied by some of Nashville’s finest. Thompson’s career has spanned decades, and he has collaborated with a wide roster of legendary artists. Perhaps best known for his decades-long tenure with Genesis and Phil Collins, he has also lent his talents to recordings and performances with Frank Zappa, Freddie Hubbard, Ahmad Jamal, John Fogerty, and many more. He will be joined by Chris Walters on piano, Brian Allen on bass, and Don Aliquo on saxophone.
Brock, Lanzetti, Ogaway – Saturday, May 23 – 5:30 PM (Rudy’s)
All members of legendary jazz fusion group Snarky Puppy, Zach Brock (violins), Bob Lanzetti (guitars), and Keita Ogawa (percussion), together make more experimental music, blending elements of jazz, folk, ambient, groove, and world music, described by All About Jazz as “a distinct musical blend which showcases accessibility as much as virtuosity.
Ricardo Grilli Quartet – Friday, May 29 – 8:00 PM (Rudy’s)
NYC-based guitarist Ricardo Grilli has been described as “a post-bop guitarist with a sideline interest in the cosmos and a taste for the ultramodern” (New York Times). Rising steadily through the ranks of the ultra-competitive New York jazz scene since 2012, he has since played with world-renowned artists like Chris Potter, Joe Martin, and Mark Turner, among many others. He is known for his unique approach to standards, as well as his original music.
Analog at Hutton Hotel
The Analog is a cozy and intimate venue at the heart of Nashville’s Hutton Hotel. Here you will find music of all types, from jazz and blues to folk to pop.
Analog Soul – Every Sunday – 7:00 PM (Free GA / $20 reserved seating)
The Analog continues its Analog Soul series, featuring some of the city’s most promising emerging talent who are redefining soul music. These shows will as usual feature Will Davenport, and this month will also feature DJ artist TIKAAFTERDARK.
Sofia Goodman Group – Monday, May 25 – 8:00 PM ($15 GA / $25 reserved seating)
Internationally recognized drummer and composer Sofia Goodman leads her trio to conclude their “Presence Tour.” Goodman’s arrangements and compositions have been described as “mesmerizing and compositionally rich” (DownBeat) and she has been called a “splendid composer and drummer” (All About Jazz). As a group, the Goodman Trio has toured the US and Canada, and appeared at many notable venues and festivals.
Arrington Vineyards
With spring finally around the corner, Arrington Vineyards brings back its weekend musical offerings. Every weekend you’ll be able to catch live jazz here, at both the Hillside Stage and on the Lawn. You can always find some of Nashville’s top jazz talent here, and this month is no exception. I’ve listed the acts appearing below.
Jazz on the Hillside
Saturday, May 2 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, May 3 – 2:00-6:00 PM – The Lilliston Effect
Saturday, May 9 – 3:00-7:00 PM – Triple Dare Jazz Band
Sunday, May 10 – 2:00-6:00 PM – Andrew Carney Quartet
Saturday, May 16 – 3:00-7:00 PM – Art Four Sale
Sunday, May 17 – 2:00-6:00 PM – Miles Damaso Group
Friday, May 22 – 4:30-8:30 PM – 9 Volt Romeo Band
Saturday, May 23 – 3:00-7:00 PM – Andrew Carney Quartet
Sunday, May 24 – 3:00-7:00 PM – 9 Volt Romeo Band
Monday, May 25 – 1:00-5:00 PM – 9 Volt Romeo Band
Saturday, May 30 – 3:00-7:00 PM – The Lilliston Effect
Sunday, May 31 – 2:00-6:00 PM – Josh Karas Trio
Jazz on the Lawn
Sunday, May 10 – 2:00-5:00 PM – 9 Volt Romeo Band
City Winery Nashville
Nashville’s City Winery is a beautiful venue that consistently features top-talent acts that span genres from Jazz to Americana to Hip Hop. The below performances showcase a mix of several genres, but will certainly be of interest to any jazz audience. Enjoy these concerts accompanied by a stellar selection of wine and delicious bites.
Main Stage
Keiko Matsui – detailed above
Regina Belle (2 sets) – Saturday, May 16 – 5:00 PM & 8:30 PM ($50+)
Regina Belle is a powerful singer who shines in a number of styles, including Gospel, R&B, and Jazz. She has won multiple Grammy awards, including Best Pop Performance by a Duo or Group for 1994’s “A Whole New World.” Since leaving school to go on tour with The Manhattans in 1985, her career has blossomed to include more than ten albums under her own name.
Paul Gilbert – Monday, May 18 – 7:30 PM ($30+)
Another legend of modern guitar, Paul Gilbert also falls a bit outside of the jazz style, but his virtuosity and melodic songwriting will peak the interest of any jazz fan. Gilbert is known for his incredible technique and sense of humor on stage. This set showcases music from Gilbert’s most recent release, WROC, but will also draw on material from across his career.
Ariella & Nicolaas – Saturday, May 30 – 7:30 PM ($30+)
Legendary bassist Victor Wooten described this husband-and-wife duo as one of his all-time favorite performers. Known for their rich, romantic sound, the duo offer everything from slow ballads to flamenco to jazz to electrifying rock, and have performed on stages across the US and in the UK.
The Nashville Jazz Workshop
Moving on to Music City’s premier jazz venue, the Jazz Cave at the NJW is a venue with world-class acoustics, which consistently ranks in Downbeat Magazine’s list of Great Jazz Venues in the world. The Cave is packed with great performances this month, including many performances celebrating Black History Month, so get your tickets now!
Jazz Cave
Vinnie and the Hitmen – Friday, May 1 – 7:30 PM ($35)
Led by prolific session trumpeter Vinnie Ciesielski, who has over 7000 recording credits to his name, including over 25 Grammy winners, this 14-piece band is made up of some of Nashville’s finest studio and touring musicians. The band presents unique arrangements of tunes across many genres, including R&B, rock, and pop. Combined, the members of the band represent more than 25,000 recording credits, so you can rest assured that the level of musicianship will be top-tier.
Jazz AM: Dizzy Gillespie – Saturday, May 2 – 10:00 AM (FREE)
The NJW’s free family-friendly Saturday morning series continues, this time focusing on the music of trumpeter Dizzy Gillespie, one of the most pivotal figures in the early development of jazz.
From Brazil to Buchanan Street: Thea Danos & the Nashville Samba Society – Saturday, May 2 – 7:30 PM ($35)
Acclaimed Nashville jazz singer Thea Danos presents an evening celebrating the music of mid-century Brazil, accompanied by the Nashville Samba Society. Danos is known for expertise in this style of music, having spent time in Brazil mastering the phonetics of the Portuguese language to accurately represent the sounds of the Bossa Nova style. Expect to hear music from the catalogs of Jobim, Gilberto, Sinatra and Fitzgerald, among others, presented by someone who has spent years mastering the style.
NJW Jam Session – Tuesday, May 12 – 7:30 PM ($10 suggested donation)
The NJW brings back its monthly jam session, featuring an opening set from the host band before the floor opens up to other players. This host band will feature Tyler Jaeger on trumpet, Zach Tyler on sax, Jonathan Salcedo on trombone, Alex Murphy on piano, Brian Allen on bass, and Josh Hunt on drums. Players of all levels are welcome to sit in.
I Get a Kick Out of Cole! Monica Ramey Sings the Cole Porter Songbook – Friday, May 15 – 7:30 PM ($35)
Celebrated Nashville vocalist Monica Ramey begins a year-long residency at the Workshop with this first installment, singing tunes from the timeless Cole Porter songbook. Ramey has been a mainstay in Nashville since moving here over 25 years ago, and has collaborated with legendary jazz pianist Beegie Adair, recording multiple albums and selling out venues across the country. She has been described as having “impeccable” vocals and as “one of the best jazz vocalists” (Broadway World).
Chester Thompson and Friends – detailed above
Melvin Macias Afro-Cuban Jazz Quintet – Friday, May 22 – 7:30 PM ($35)
Born and raised in Havana, where he attended the city’s prestigious Manuel Saumell Conservatory, pianist Melvin Macias now calls Nashville home. Before moving to Music City, he was based in Miami, where he had an impressive career spanning the city’s Latin music scene, including sharing stages with Celia Cruz and Juan Gabriel. His quintet plays original compositions and high-energy arrangements that draw on influences from straight-ahead jazz, as well as Afro-Cuban and Brazilian music.
The Bean Tones – Sunday, May 24 – 7:00 PM ($35)
Vocal jazz ensemble The Bean Tones have captured the attention of global audiences with their innovative arrangements and undeniable energy. Having been compared to legendary harmony groups like The Hi-Lo’s and The Four Freshmen, the group is undeniably on a major upward trajectory. Their eclectic music appeals to jazz aficionados and casual listeners alike, so there is sure to be something for everyone.
Steve Leslie: Nothin’ Fancy – Friday, May 29 – 7:30 PM ($35)
Guitarist and Grammy-winning songwriter Steve Leslie now presents “Nothin’ Fancy,” a new project featuring original songs in the jazz style, diverging from his Country roots. Leslie has made his career as a professional songwriter, producing successful songs for artists like George Strait, Kenny Rogers, Ricky Skaggs, and more, and played an important role in the early careers of Erin Enderlin, Chris Stapleton, and Abbey Cone. For this performance he will be joined by Pat Coil on piano, Viktor Krauss on bass, Kyle Tupper on drums, and Monica Ramey on vocals..
Rudy’s Jazz Room
Now we move on to Nashville’s premier jazz club, with its cozy, intimate setting. I’ll start with some of the unique highlights for this month, then follow up with the great regular acts performing. Please note that some shows are one dollar cheaper if you purchase advance tickets. I have listed the door price for all shows.
Rudy’s Highlights
Below are the performances for this month that I’ve picked out as the real can’t-miss shows, some featuring touring artists from out of state, others featuring local artists giving specialized, unique performances.
Dave Potter & Retro Groove (2 shows) – Friday, May 1 & Saturday, May 2 – 8:00 PM ($22)
Drummer Dave Potter celebrates the release of his third album as leader, Retro Groove 2, a collection of clever arrangements of 80’s classics from artists as varied as Whitney Houston, Rush, The Isley Brothers, and more. Potter is one of the top drummers on the scene today, regularly performing with Jason Marsalis, Marcus Roberts, Greg Tardy, and many others. His band for this show features Miguel Alvarado on sax, Angelo Versace on piano, and Rob “El Tón” Linton on bass.
Jacob Jezioro Quartet – Friday, May 1 – 11:00 PM ($10)
One of Nashville’s most active and in-demand bassists Jacob Jezioro will now lead his own quartet, featuring Dan Hitchcock and Don Aliquo on saxophones, and Griffin Potoglo on drums.
“Some Enchanted Evening” w/ Jaimee Paul & the Richard Rogers Songbook – Saturday, May 2 – 5:30 PM ($16)
Vocalist Jaimee Paul, alongside her husband, Nashville trumpeter Leif Shires, showcase Paul’s new album, The Richard Rogers Songbook. As the name suggests, this albums draws on Rogers’ timeless songs, transporting listeners back to the golden era of Broadway. Paul will be joined by Jacob Jezioro on bass, Ryan Brasley on drums, and Mason Embry on piano.
Legend Meets Brilliance w/ Don Aliquo & Marc Payne (2 shows) – Saturdays, May 2 & 16– 11:00 PM ($10)
Two of Nashville’s best unite to offer their “no holds barred” approach to music, promising to bring an evening of raw energy and spontaneous music, fusing the classic traditions of jazz with contemporary styles. Don Aliquo is a celebrated saxophonist who has been active as performer, composer, educator, and recording artist for more than two decades, while Marc Payne is a young artist who has already made quite the reputation for himself as one of the most promising up-and-coming pianists in the area.
Chris Mondak Quartet – Wednesday, May 6 – 6:00 PM ($12)
Nashville-based composer and bassist Chris Mondak brings his quartet back to Rudy’s. Mondak is a graduate of the New England Conservatory and has studied with jazz legends like Cecil McBee, Dave Holland, and Bob Moses. He is known for his energetic hard-bop style compositions and performances.
Rougarou 6-Piece New Orleans Brass Band – Thursdays, May 7 & 21 – 9:00 PM ($17)
Continuing its running “SINdustry night” series on the first Thursday of the month, this New Orleans-style brass band returns to Rudy’s to showcase the club’s Cajun roots. Led by New Orleans native Chris Walters on piano, this band offers as authentic a brass band experience you can find without traveling to the French Quarter. Service industry workers with some form of proof of their employment will receive half off the door price and half price draft beer. You’ll also be able to catch this band a second time two weeks later.
Bob Sabellico – Friday, May 8 – 5:30 PM ($14)
Often seen on the Rudy’s stage for the club’s regular “Guitar and B3 Night” performances, guitarist Bob Sabellico now leads his own band. Sabellico has been a mainstay guitarist for decades, touring with The Guess Who and other bands, and collaborating with figures like Dennis Chambers and Pat Martino, among others. His band will feature Michael Whittaker on piano/keys, Vail Johnson on bass, and Raymond Massey on drums.
Ladies of Jazz – Sunday, May 10 – 6:00 PM ($18)
Vocalist Wendy Burns’s popular series Ladies of Jazz returns, this time featuring fellow Monica Shriver and Katie Blomarz-Kimball. Schriver is a saxophonist, composer, bandleader, and educator known for her innovative artistic expression. She leads an experimental jazz ensemble, the Monica Shriver Quartet, and has released two albums, with a duo album planned for this year. Blomarz-Kimball has quickly become a well-known upright and electric bassist here in town, known for her expertise in a wide array of genres. She has shared stages with world-renowned names like Sister Sadie, Tommy Emmanuel, and more.
Sofia Goodman Trio (2 shows) – Monday, May 11 – 6:00 PM ($15) & Friday, May 22 – 11:00 PM ($10)
Internationally recognized drummer and composer Sofia Goodman leads her trio, performing originals and arrangements of her favorite standards. Goodman’s arrangements and compositions have been described as “mesmerizing and compositionally rich” (DownBeat) and she has been called a “splendid composer and drummer” (All About Jazz). As a group, the Goodman Trio has toured the US and Canada, and appeared at many notable venues and festivals. Her trio features Matt Twaddle on piano and Leland Nelson on bass.
Bruce Dudley: The Music of Saxophonist Sam Rivers – Thursday, May 14 – 9:00 PM ($15)
Bruce Dudley is an accomplished and acclaimed jazz pianist who is a Steinway Concert Artist and has been performing jazz for over forty years with many recording credits to his name, both as sideman and bandleader. He now leads a group presenting the music of Sam Rivers, a visionary saxophonist celebrated for his contributions to the evolution of jazz. Dudley will be joined by Don Aliquo on sax, Jack Aylor on bass, and Ryan Brasley on drums.
Jerome Degey Quartet – Friday, May 15 – 8:00 PM ($20)
Guitarist Jerome Degey returns to Rudy’s. Originally from Paris, France, Degey has a family history that is both French and Afro-Caribbean, and his wide geographical influences come out in his unique style of playing. He has collaborated with a wide array of artists, including Jonathan Edwards, Duffy Jackson, Daniel Levy, and many more. His quartet for this show will feature Charles Treadway, considered the top jazz organist in Nashville, Willie B Barthel, drummer since the age of two, and De Marco Johnson, a very talented multi-instrumentalist originally from Indiana.
Adam Larson Trio (2 sets) – Saturday, May 16 – 5:30 PM ($18) & 8:00 PM ($23)
Saxophonist and composer Adam Larson weaves a number of genres, ranging from Jazz to R&B to Classical, into his playing and compositions, now numbering over two hundred. His compositional originality has garnered him praise in Downbeat Magazine and the New York Times. This month he offers back-to-back sets at Rudy’s, joined by Jacob Jezioro on bass and Henry Conerway on drums.
Nashville Trio w/ Barbash, Picker & Raudabaugh – Monday, May 18 – 6:00 PM ($12)
Three of Nashville’s best join together again for an evening of genre-spanning music. Jeff Picker is an in-demand bassist who has worked with some of the biggest names in Country and Bluegrass, including stints with Ricky Skaggs’ band Kentucky Thunder, and he is currently a touring member of Nickel Creek. Saxophonist Eddie Barbash was a founding member of the house band for the Late Show with Stephen Colbert, and currently tours the world with Cory Wong, one of the biggest names in contemporary jazz and fusion music. And drummer Mark Raudabaugh keeps himself busy touring and recording with big industry names like Jeff Coffin, Sierra Hull, Grant Green Jr., and many more. The combination of this wide array of influences and experiences promises an incredibly unique performance.
Alyssa Allgood Quartet (2 shows) – Friday, May 22 & Saturday, May 23 – 8:00 PM ($23)
Vocalist Alyssa Allgood has twice been named DownBeat Magazine’s “Rising Star Female Vocalist” and Chicago Reader’s “Best Individual Jazz Musician.” She has become known for her captivating performances and innovative songwriting. She has just released her latest album, Leap, which received a 3.5 star review in DownBeat Magazine.
Brock, Lanzetti, Ogaway – detailed above
Aaron Lessard Group – Saturday, May 23 – 11:00 PM ($10)
Jazz and fusion guitarist Aaron Lessard returns to Rudy’s. His wide array of influences produce a unique style influenced by guitar greats like Pat Metheny, Mike Stern, John Scofield, and Robben Ford. He will be joined by a trio to back him.
Lisa Stewart and Her Jazz Combo – Sunday, May 24 – 6:00 PM ($16)
Highly acclaimed Nashville singer Lisa Stewart brings her group to Rudy’s. She is a BMI Award-winning songwriter, and her most recent single “The Man You Are Today” garnered Grammy consideration. Listeners can expect an evening of timeless jazz standards and reimagined favorites. Joining her will be Daniel Kuk on piano, Jack Aylor on bass, Stephan Dudash on fiddle, and Ryan Brasley on drums.
Blue Matter Project – Monday, May 25 – 6:00 PM ($12)
This band offers modern interpretations of straight-ahead and contemporary electric and pop jazz standards. Led by guitarist Robert Baglione, who has performed extensively with names like Michael Henderson, CeCe Peniston, Billy Dickens, and more, the band also features Anthony Belfiglio (keys), Brian Cornish (sax), Ric Fierbracci (bass), and Isaac Velasquez (drums).
Katie Blomarz-Kimball – Wednesday, May 27 – 6:00 PM ($15)
2024 NIMA Award Winner for Best Jazz Instrumentalist, bassist Katie Blomarz-Kimball brings her group to Rudy’s for the first time. Her influences include Paul Chambers to Ray Brown to Christian McBride, her repertoire ranging from straight ahead to contemporary jazz. Her band features Dan Hitchcock on tenor sax, Jon Cowherd on piano, and Marlon Patton on drums, with Abigail Flowers on vocals. She will also feature Sister Sadie bandmate Rainy Miatke for a few tunes during the set.
Miguel Alvarado “State of the Saxophone: Dexter Gordon” – Thursday, May 28 – 9:00 PM ($15)
Saxophonist Miguel Alvarado presents another installment in his “State of the Saxophone” series, this time paying homage to Dexter Gordon, the first tenor saxophonist to translate the bebop language of alto player Charlie Parker to the instrument. The program will feature timeless Gordon staples including “Cheese Cake,” “Fried Bananas,” “Guess I’ll Hang My Tears Out to Dry,” and more. You can rest assured that this tribute is in good hands, as Alvarado has been praised as “an incendiary soloist of the highest order” (Huffington Post).
Ricardo Grilli Quartet – detailed above
Bob Harsen Quartet – Sunday, May 31 – 6:00 PM ($15)
Drummer Bob Harsen returns to Rudy’s, this time leading a quartet. A graduate of Berklee College of Music, Harsen has recorded or performed with names like Tiger Okoshi, the Paul Butterfield Blues Band, Randy Brecker, and others.
Rudy’s Regulars
Jimmy Sullivan’s Swingin’ Scene – Sundays, May 3 & 17 – 6:00 PM ($12)
One of Nashville’s most exciting jazz bassists, Jimmy Sullivan, takes the early Saturday set for a selection of hard-swinging jazz. If you’re a frequenter of Rudy’s, you’ll probably recognize Sullivan from his bi-monthly residency here on Sundays. Over his illustrious career he has performed with top jazz talents like Laila Biali, Nicole Zuraitis, Joel Frahm, and many more.
Jonathan Wires Quartet (2 shows) – Monday, May 4 – 6:00 PM ($12) & Friday, May 29 – 5:30 PM ($15)
Nashville bassist Jonathan Wires returns as bandleader in a quartet setting. These shows will feature Steve Pardo (sax), Adam Davis (guitar), Matt Endahl (piano), and Mark Raudabaugh (drums).
Pat Coil Quintet – Friday, May 8 – 8:00 PM ($25)
All-star Nashville pianist Pat Coil returns twice this month, in trio and quintet format. As you all probably know by now, Coil is a highly in-demand pianist in Nashville and just about everywhere else, having toured extensively both nationally and internationally. This quintet will feature Keith Carlock on drums, Mark Douthit on sax, Barry Green on trombone, and Brian Allen on bass.
Miles Damaso Trio (2 shows) – Fridays, May 8 & 29 – 11:00 PM ($10)
Award-winning percussionist, educator, and composer-arranger Miles Damaso leads a trio at Rudy’s. Damaso has performed with a wide range of artists throughout the South and Midwest, and graced the stages of iconic venues like the Grand Ole Opry and the Lincoln Center, appearing alongside greats like Joel Frahm, pat Coil, John Raymond, and many more.
Jody Nardone Trio – Saturdays, May 9 – 5:30 PM ($17) & May 30 – 8:00 PM ($ 22)
Prominent Nashville pianist Jody Nardone brings his trio to Rudy’s for a classic jazz set. With a growing national reputation, Nardone seamlessly shifts from the “whispered beauty of Bill Evans to the percussive flights of McCoy Tyner.” (Michael McCall, Nashville Scene)
Don Aliquo Quartet (2 shows) – Saturdays, May 9 – 8:00 PM & May 30 – 5:30 PM ($20)
One of Nashville’s most active and accomplished saxophonists leads a quartet twice this month, the first featuring Mark Payne on piano, Jack Aylor on bass, and Ryan Brassley on drums, the second featuring Payne, Aylor, and Josh Cook on drums.
Joshua Constantine Quartet – Saturday, May 9 – 11:00 PM ($10)
Saxophonist Constantine is a former member of Grammy-nominated UNT One O’Clock Lab Band, and student of world-renowned saxophonist Brad Leali. Currently an active performer and educator in Nashville, Constantine tends to pay homage to the classic giants of jazz, honoring composers and performers like John Coltrane, Thelonius Monk, Wayne Shorter, and more. His quartet will feature Sam Smith on bass, Danny McGonegle on drums, and Daniel Mandrychenko on guitar.
PT Gazell & the Side Effects – Wednesday, May 13 – 6:00 PM ($12)
Harmonica player PT Gazell returns to Rudy’s with his band the Side Effects, always redefining the way we see the instrument.
Dana Robbins Quintet – Friday, May 15 – 5:30 PM ($16)
GRAMMY-winning saxophonist Dana Robbins pays tribute to the Soul Jazz sound of the late 60’s and early 70’s, celebrating artists such as Les McCann, Eddie Harris, Jimmy Smith, and more. Robbins has either recorded or performed with many artists, including Keb’ Mo’, Aretha Franklin, Taj Mahal, Keith Urban, and more. Her band features David Santos (bass), Wes Little (drums), Phil Hughley (guitar), and Darius Mines (piano/B3 organ).
Geoff Pfeifer Quartet (2 shows) – Friday, May 15 & Saturday, May 30 – 11:00 PM ($10)
Playing a mix of Wayne Shorter tunes and originals, Geoff Pfeifer brings gritty, edgy, genuine NYC-style jazz to Rudy’s stage with his Quartet.
Bizz Bigsby – Wednesday, May 20 – 6:00 PM ($17)
Nashville native Bizz Bigsby shares his very personal music which tells the story of his life, influenced by everyone from Bill Withers to George Jones to James Taylor.
Stephanie Adlington – Friday, May 22 – 8:00 PM ($23)
Award-winning vocalist, songwriter and vocal coach Stephanie Adlington is known as the “Siren of the South,” with an “unrivaled” take on the Great American Songbook.
Regi Wooten & Friends – Every Wednesday – 9:00 PM ($15)
Coming from a distinctly talented musical family, Regi Wooten is one of the most innovative and dynamic musicians on the scene today, pushing the boundaries of the traditional genres. Equally at home playing Hendrix as Wes Montgomery, Wooten assembles a group of some of Nashville’s best musicians to offer a night steeped in funk, jazz, soul, blues and rock.
Giovanni Rodriguez & 12 Manos – Every Monday – 9:00 PM ($15)
A favorite on the Nashville Latin and jazz scene, multi-instrumentalist Giovanni Rodriguez presents an electric night of salsa, along with his band consisting of Rodriguez (timbales/vocals), Melvin Macias (piano/vocals), Yosvany Cordero (congo/bongo), Michael S. Morton (flute/vocals), and Isoel Villarrubia (bass).
Hot Club Gypsy Jazz – Every Thursday – 6:00 PM ($12)
Every Thursday night, Rudy’s honors its New Orleans and French roots by celebrating the vibrant music of Gypsy Jazz. These nights feature a variety of small groups either led or curated by New Orleans native Brook Sutton, all performing music in the style of the great Django Reinhardt and Stephane Grapelli. The bar will feature French Quarter-inspired cocktails as well as gumbo and beignets. Come out for as authentic a night as you can get without a trip to the French Quarter.
Rudy’s Jazz Jam – Every Sunday – 9:00 PM ($10)
I couldn’t make a list of Rudy’s events without including a shout-out for the regular weekly Jazz Jam the club hosts every Sunday night. Whether you are a jazz musician and you want to jam with your fellow artists, or you just want to come and enjoy what the local talent has to offer, the Jazz Jam is a great way to end your weekend.
The Underdog Nashville
The Underdog is another great local venue located in East Nashville, where it hosts musical performances of all types, ranging from rock and punk to jazz.
The Broomestix – Wednesday, May 6 – 9:00 PM ($10)
The Broomestix are a nine-piece band based right here in Nashville. The band channels the many influences of all its members into a unique form of R&B, featuring a powerful horn section, catchy R&B hooks, and attention-grabbing grooves. Their full-length album, Y’all Need Anything, was released in 2019.
Cam G & the Tasty Soul – Wednesday, May 13 – 7:00 PM ($10)
Led by saxophonist Gallagher and comprised of young and energetic musicians, this is one of Nashville’s premier funk bands. Great songwriting along with killer performance chops make these shows a ton of fun.
Hank Born – Tuesday, May 26 – 7:00 PM (FREE)
Nashville-based guitarist Hank Born returns to the Underdog. Born’s playing combines elements from influences like Herbie Hancock and George Benson, making this a can’t-miss performance for any modern jazz fan.
Ricardo Grilli – Thursday, May 28 – 9:00 PM ($10)
If a dive bar is more your scene over the intimacy of Rudy’s, you can catch guitarist Ricardo Grilli here at the Underdog instead.
Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Tuesday Bluesday w/ Shantelle & The Juke Joint Band – Every Tuesday – 6:30 PM (Rawhides)
Weekly blues night with a different special guest each week.
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
Living Room Sessions – Every Friday & Saturday – 8:00 PM (W Nashville Hotel)
Regular weekly showcase featuring local indie, jazz, funk, and R&B bands.
Eastside Jam – Every Sunday – 9:00 PM (Inglewood Lounge)
This is not a traditional jazz jam playing standards, but rather an improv jam, but any jazz player or listener will still be interested!
Live Jazz at Wilburn St. Tavern – Tuesday Evenings
Nightly Jazz at Skull’s Rainbow Room
Nightly Jazz at Sinatra Bar & Lounge
Live Jazz at Skye Lounge – Every Friday & Saturday – 7:30 PM
NJW at Char Steakhouse – Evenings and Sunday Brunch
Monday Night Jazz – Every Monday – 7:00 PM (Kingdom Café & Grill)
Carl Robinett on Puppeteering and Performing in Water For Elephants
Carl Robinett is a performer in the North American Tour of Water for Elephants, which will be coming to TPAC May 12-17. Carl took the time to speak with us about his roles in the musical, including working as a puppeteer, serving as understudy to the role of Jacob, and singing and dancing as part of the ensemble.
Grace Krenz (GK): Your role in this production is as a “Kinker and Roust.” Could you explain what that is?
Carl Robinett (CR): Definitely. So, a kinker is a circus performer, and then a roust is someone who works at the circus, to set up the tent and do the daily activities to make it all run. My role in the show is as both of those. I’m performing in the big spectacle number as one of the circus performers. But I’m also one of the rousts in the more day-to-day kind of gritty dance numbers and foundational numbers of the show.
GK: Besides dancing on stage and playing those roles, you’re also working with the puppetry.
CR: Yes, my first time puppeteering. It’s been a truly incredible experience. We started that back in Long Island City when we first started rehearsals and it was my first time ever even touching a puppet. Our puppet director, Joshua Holden, actually really helped us to understand the ins and the outs of puppetry. I mean, he’s been in the puppetry business for decades. He said, you know as a dancer and singer, breath is very important there, but it’s very similar with puppetry. You don’t want your puppet to look inanimate. You’re trying to make it alive. And breath is really the foundation of that, just like it is for singing and dancing and any type of performing.
GK: How is it transitioning between these different roles that you play in this musical?
CR: It’s become a little bit more muscle memory just because we’ve done over 200 shows now, which is wild. This is my first national tour and the first show that I’ve done for more than maybe twenty-five performances. So to say that we’ve done eight times that is such a feat. But it’s definitely an interesting experience, because I go from dancing as the kinker and roust everyday character to asking, how is the elephant feeling in this moment? How can I get this across? Is there like a fly messing with ear? Should I make those flap? Because my role specifically in the elephant is in the front. I do the eyes and the ears and really try to make her seem alive, not just through breath, but through figuring out, in this moment, what is she thinking? What is she going through? How is she reacting to the people in front of her, is she taking deeper breaths because she’s calm? Is she taking shallow breaths because she’s nervous because August is there or is she zoned out a little bit?
It really is a very different experience because when you’re on stage as a performer doing a dance number, everything’s very choreographed. Even if it’s a pedestrian number the character you built is still very choreographed and there are beats, timing. And it is true to a certain extent of puppetry, but you also have the ability because you’re breathing life into this beautiful puppet that you can really explore, how is she feeling in this moment? Is it different than it’s been before? It honestly keeps things very fresh, which is really nice, especially 200 shows in.
GK: How do you manipulate the eyes and the ears? How many other people are in the elephant?
CR: In total there are three puppeteers. We have one person in the front who has this stick attached to the trunk and she basically is in charge of of making that alive and animating the trunk, using it to mess with Jacob and Marlena and using it to drink water and using it to grab things and and really animating the character of it all. So you can see the emotion through the main puppeteer who’s outside of the puppet. And then it’s our job inside of the puppet to communicate in a bigger way, in the sense that we’re in this massive puppet and we have to keep it breathing, keep it moving, keep it alive. You have one person in the front maneuvering the front two legs, and then one person in the back maneuvering the back two. Inside each leg is essentially a bike handle. One is involved in manipulating the ears and then one is for the eyes. It’s very choreographed in the sense that you have to figure out how to squeeze the bike handle while you’re raising the legs, so it doesn’t look like every time she moves, her eyes stop moving. You have to keep it very natural and very moving and very fluid. That’s been such an incredible learning experience, especially for someone like myself who had never touched a puppet before this.
GK: How do you coordinate what you’re doing in the elephant with the other people working the elephant at the same time?
CR: It’s been a great experience. The first day of rehearsals we actually were using wooden sticks, these dowels, and we watched a video of an elephant walking. Then we went two by two, one person in the front holding two dowels like legs, and then one person in the back, and we would just walk around the room, trying to mimic how an elephant walks, and also pay attention to each other’s breath. The person in the back has to match the person in the front for the breath, for the movement, because the last thing you want is a puppet that’s doing a wave: the front breathes and then the back breathes. It’s like a machine at the end of the day because it’s so well oiled 200 shows in. We’ve done this together so much. There’s so much trust. There’s so much connection there, and it really helps to bring it to life, truly.
GK: Rosie is quite active: she does circus tricks, she’s mischievous, she runs around. How much of that do you guys perform on stage?
CR: Honestly, a lot. Props to our Puppet Director Joshua, because he really helped us break down exactly how to make all of that look real and how to get those tricks from the book into the show. It’s just really incredible what Joshua was able to do with this beautiful puppet that we have and the way he was able to choreograph it all. And it also is cool because there are circus tricks that she does. In the book, there’s one point where she’s holding Marlena in her truck. And so we have an acrobat that’s holding Marlena on his shoulder while the trunk is maneuvered under her legs to look like it’s holding her up at the end of act one.
It’s stuff like that where it’s all these different departments coming together to figure out how we can make this ten-foot-tall puppet make these realistic circus tricks that animals actually used to do in the circus, way back when. I couldn’t feel luckier to be a cog in the machine of this puppet that we get to bring to life.
GK: Is the elephant puppet complete, front and back? Can you turn the elephant 360 degrees on stage and you would be hidden inside it?
CR: Yeah, it’s so cool. I could fanboy about the elephant for ages. It is so beautiful, that puppet, just the design work that went into it. It’s so impressive. Basically, the person in the front inside of the elephant has a little mesh panel where they can see out, but no one can see in. That’s the place that the person maneuvering the elephant uses to look out. We also follow the person who’s in charge of the trunk and they help guide us as well, and then the person in the back is following the person in the front who has the ability to see better. There’s really only that little sheer bit in the front. It’s like this train that’s perpetually going, where everyone’s following the person in front of them. Again, back to the connection and the breath of it all. That’s what really gets us through, the connection that we’ve built and the ability to know, okay, we’re slowing down. Now we’re stopping. This is when we’re going to rotate. It’s very choreographed, but I don’t think it reads as something that’s very choreographed because of Joshua and his direction.
GK: Does it get hot in there?
CR: Oh yeah. It definitely gets a little hot, especially because we wear these– we joke that they’re elephant pajamas, but they’re basically these camouflage cover things that blend into the set. So that way you’re not really paying attention to the people inside of the puppet while she’s moving. We have those over our costume that we’re normally in during the show. And so it’s just a lot of layers and then basically this box that sits on top of us that we maneuver around the stage. So it definitely gets a little bit hot in there, but never too bad. We’re never in there for too long.
GK: How is the puppetry in general in the show? There’s Rosie, the big exciting one, but there are other animals too.
CR: Yeah, yeah. One of my favorite puppets that I get to use in the show (because I also cover Jacob) is called Queenie, she’s Walter the clown’s dog. It’s honestly one of the hardest puppets in the show, which is so deceiving because it’s basically this tiny, maybe a foot big puppet. But while you’re doing it, you have one hand that’s controlling the head and has to look around, stay present, be as energetic as a small dog would be. And then you have one hand that’s doing the tail. You have to figure out ways to react to what’s going on, whether it’s licking Jacob as he’s sitting down, watching the circus unfold around him or staying alert when Walter comes back into the frame. You have puppets like that, you have Silverstar, who’s this gorgeous horse puppet that we have. That one is basically the head and then you have the mane connected.
All of the puppets are created in a way that are not only practically easy to put on, take off, all that sort of thing, but also, in a more metaphoric way, they represent the memory aspect of this show, which is that it’s all told by an older Jacob. And while thinking back on it, he’s remembering bits and pieces of the circus. And so that’s why a lot of the puppets are the head and the mane, or the head and the tail, or something that stood out to him when he was young. It’s really beautiful because it adds to the story having all these puppets that are the big parts of what he remembers about them. It adds another level of depth to the story and helps to create this beautiful, beautiful show.
GK: You’re an understudy for the role of Jacob. How is it manipulating the puppet while delivering lines?
CR: Oh my gosh, it’s definitely, you know, rubbing your stomach and patting yourself on the head kind of vibes. As someone who’s a cover, I don’t go on too, too often, thankfully. Zach, our Jacob, is incredible and just one of the most consistent performers I’ve ever met in my life. He’s truly a feat. He is amazing. When I do go on, well, at this point, it’s a little bit more muscle memory, but definitely in the beginning, it was like, okay, I’ve got to remember my lines, I’ve got to be in the right spot, but I’ve also got to make this puppet go. What’s been most helpful for me is finding time outside of when I go on to just be like, okay, I’m going to take two minutes. I’m going to put on Queenie and I’m going to play around. It’s really a fun challenge because every time I go on, I get to be like, okay, what’s this dog feeling? How is she doing? How’s she going to react? It’s definitely something that’s evolved the more I do it. That’s been the same for Zach, who gets to do it every night. Sometimes Queenie will start licking him during the song or sometimes she’ll take a little nap, so she’ll just start breathing heavier and kind of nuzzle her way into his arm. It’s definitely a really cool experience, getting to both watch his journey with Queenie and find my own as well.
GK: Puppeteering Queenie sounds both easier and more tricky than Rosie because most people have been around dogs.
CR: Yes, definitely. That’s honestly another aspect of what makes it the hardest puppet, because how many people have been in the same room as an elephant, versus how many people have been in the same room as a dog?
GK: Besides the puppetry, you’re in the ensemble, you’re playing kinkers and rousts. Are you playing a variety of characters or the same one?
CR: I pretty much play just the same character. There’s like a couple of other little bits I have here and there when I’m in the ensemble. But it’s been really fun crafting my ensemble character. I named him something really long and unserious as a joke, but it’s kind of stuck. I named him after a lot of different circus things, plus the name of the guy who played him on Broadway. His name is Sean Stack. He is an incredible performer, so I named my character Stack McCack BonKeen Cicero Spanish Webb as a joke, but it stuck a little bit. I just go by Stack McCack for short. This cast is so incredible and it’s so much fun to get to explore the dynamics between the different ensemble characters, because there’s so much interaction like that in this show.
GK: What was the audition like for this role?
CR: Honestly, I had a very crazy experience with this audition process. Some people in our cast had like eight rounds of auditions, some people had three. I had a really weird experience because I actually only went to the final round of callbacks. Very not traditional as far as musical theater auditions go, you tend to do an initial self tape and then a callback in person. And then if they want to do more callbacks, they’ll call you in. But yeah, the casting director for the show stumbled across a video of me singing in class and basically reached out to my agent and was like, hey, can he come in on Tuesday? And so I got this email Sunday afternoon while I was working at my retail job in New York City. I was like, they want me to learn three songs and two sides? I was panicking, I had under 48 hours to learn all this material. I was like, I don’t think I can do it. And my girlfriend, thankfully, was like, Carl, you need to do this, and so was my agent. Truth be told, I wondered what if I just say I have class? I was freaking out, and ultimately I went, and that was such an incredible experience.
I went in, I sang my songs, I read the side. I got some really good feedback, and then I did the sides again. And then we did a dance call. And then at the end of the day, they kept me and two other guys, and I sang again. I did another dance call and I was there pretty much all day. They said we’ll let you know in three days, and then I didn’t hear back for a month and a half. I was like, well, I definitely did not get that. I was fully ready to go back to school. I just finished junior year when I booked this and so I’m actually technically in a gap year right now. I was fully dead set on going back to school, finishing senior year, and then I got the call from my agent that I booked it. I was doing a summer stock in the Catskills at Forestburg Playhouse. Shout out to them. They’re awesome. I sobbed when I got the call. This is such an incredible experience and I couldn’t be more grateful or happy that I get to pursue this and live the dream, you know? 200 shows in, I’m still living the dream. I mean, I feel so lucky to be here, surrounded by such talented performers and such wonderful human beings.
GK: That’s great. So you’ve been on the national tour since it started. How much longer will the tour be going?
CR: Yes. The tour itself is going to go through May of next year, potentially. I’m still figuring out logistically whether I’m going to stay with it. My current contract goes until the first week of November. It’s been, again, such an incredible opportunity and also just such an incredible team all around. I mean, we’re lucky enough to work with the original creative team. It’s just been such a wonderful team from the beginning and they’re so supportive. And then on the road, we have a wonderful crew backing us up. We have wonderful management, every single person is such a good person at the end of the day, and I think that’s what’s gotten us through. Because you know, it can be a hard show at times, doing a circus show with such big acrobatics, it can definitely get exhausting on the acrobats, but I think what’s getting everyone through is the community we built together in this beautiful show.
GK: You said you’ve gone through junior year? What school and what major?
CR: I went to Pace for musical theater. It’s in the financial district of Manhattan. It’s an incredible program and an incredible faculty and truly nothing beats being in New York City. It’s just such a cultural hub and such a melting pot and, just arts wise and going to so many shows and dance classes and so many different things. It’s just been such a blessing to be able to have spent three whole years there while being in college and while growing as a performer. It’s such an informative city as far as the arts go.
GK: Where are you originally from and how did you get into musical theater?
CR: I’m from California initially. I initially got into musical theater from my sisters. I remember watching my sister on stage. I had to have been, gosh, maybe three, but this is one of my core memories of just being like, wow, I want to be up there, Mom. And so at five years old, I did Cinderella with my two sisters. I was a little mouse and I had one line. I said, “Why so sad?” to Cinderella when she was crying about not being able to go to the ball. I just never turned back. I caught the bug very early and then I’m very grateful to all of the theater community back in California for really cultivating and supporting my passion, and also to my family for supporting me all along the way too.
GK: Thank you so much for taking the time to speak to us! I know I’m looking forward to seeing the show.
CR: Thank you! Come see Water for Elephants, y’all. It’s a beautiful show. I love it. I, again, feel so lucky to be a part of such a beautiful show. I can’t wait to see Nashville! It’s gonna be fun.
Water for Elephants will be at TPAC’s Jackson Hall May 12-17. For tickets and more information, see here.
Coming Soon: BloodSuckingLeech
BloodSuckingLeech follows Erica, a woman desperately trying to shield her aging mother from online scammers, only to find herself caught in a web of paranoia, guilt, and unexpected hilarity. As family tensions rise and reality blurs, this dark comedy explores the absurdity of modern anxieties, the weight of caregiving, and the unsettling feeling that someone—or something—is always lurking.
Originally developed through the Ingram New Works Project at Nashville Repertory Theatre, and building on the success of last season’s staged reading, BloodSuckingLeech is in the next step of development with an enhanced production as part of Ingram New Works: Next Stage.
This intimate experience will be at the Noah Liff Opera Center May 14-17. For tickets and more information see here.
