Telling the tale of Johnny Cash’s life—from the iconic early years when he rose up from being dirt-poor in the heartland of America to the fleeting late moments of his life when a surprise cover thrust him into the limelight one last time—is something many have attempted.
But describing the legacy of one of America’s most iconic artists might best be left to the man himself.
In the case of Ring of Fire, the latest production being put on by the San Luis Obispo Repertory Theatre, Cash’s iconic library of tunes narrates the story of his struggles—a life fittingly described by SLO Rep Artistic Director Kevin Harris.
“His life is this beautiful story of redemption, finding religion, and turning his back on all the problematic parts of his life, and ultimately doing what he did for the love of his life, his wife, June Carter Cash,” Harris said.
Originally performed on Broadway, this small-cast version of the two-hour jukebox play features reimagined combinations of 33 iconic Cash songs from across his career.
“It’s been thrilling seeing how many people I see from all walks of life relating and feeling his music in ways I have never really seen before,” Harris said. “I think a lot of it came from the fact that we have an extremely talented cast that is showcasing music they also have a deep personal connection with.”
The cast includes Jennifer Barnaba, Mike Fiore, Steven Lasiter, Matthew Staley, and Rachel Tietz, who sing and play multi-part musical medleys with swift choreography, which makes Ring of Fire a dyanamic telling of the sometimes overlooked and complicated aspects of Cash’s tumultuous life.
“Most plays like this are a really unique experience because, while 60 percent of the play might be performances of these songs, the actors are moving around and interacting with each other throughout,” Harris said. “It breathes this life into the music that takes the viewer to that exact moment in time.”
Songs range from the emotional intensity of “Cry Cry Cry, “Ring of Fire,” and “I walk the Line,” to the more loose and fun “Daddy Sang Bass,” “Flushed From the Bathroom of Your Heart,” and “Dirty Old Egg Sucking Dog”—all of which narrate pivotal moments in Cash’s life.
“There will always have to be an acknowledgment of the, well, less fun aspects of Cash’s career, particularly his drug addiction and rampant partying in the ’60s and ’70s,” Harris said. “But I think what [Ring of Fire] succeeds in doing is showcasing the joy in his life alongside that struggle, especially in how it highlights moments like him meeting the love of his life, June Carter, at a performance at the Grand Ole Opry.”
From the outset, the play seamlessly blends Cash’s cover of the Nine Inch Nails song “Hurt” with a joyful iteration of “A Boy Named Sue,” juxtaposing the two ends of the emotional spectrum found in Cash’s music.
“It’s such a fitting combination of songs about looking back on your life and being happy, but also acknowledging the bad you have done and the regret that comes with being human,” Harris said.
That cover of “Hurt” revitalized Cash’s career and connected him with an entirely new generation of listers, including the play’s director, Kelly Fidopiastis.
“Growing up, my family never really listened to country music, and to my naive teenage self, he was just ‘some old dude that used to be a country singer,'” Fidopiastis said. “I was more into jazz, pop, and musicals and didn’t really care about this ‘washed-up country music guy.’ That was my feelings on Cash … until the early 2000s when that cover came out.”
Both Fidopiastis and Harris feel that ultimately the goals of putting together a show like Ring of Fire include recapturing emotions tied to Cash’s music for older audience members and creating new feelings and connections for first-time listeners.
“What really struck me on opening night, and every subsequent show, was seeing that people are leaning forward, stomping their feet, clapping, cheering, and even yeehawing along to the music,” said Harris. “Being able to see that 33 times throughout the show with different songs producing that effect for different people in the audience has been really magical, and it’s more than we ever could have asked for.” Δ
Freelancer Adrian Vincent Rosas is stomping his foot to the beat of Johnny Cash. Reach him at arosas@newtimesslo.com.
This article appears in Weddings 2023.