Chantell Nabonne: Backstage at the Toulouse Theatre
Chantell Nabonne in front of the Toulouse Theatre, 2026, photo by Ellis Anderson
March 2026Growing up in a live French Quarter theatre where your mother stars in a jazz musical – alongside some of the most iconic musicians and performers in New Orleans – leaves an indelible impression.
~ by Chantell Nabonne
This project is made possible in part by a grant from the New Orleans Jazz & Heritage Foundation, Inc.
This project is underwritten in part by Kelly & Linda Baker
I’m about 4 years old. It’s 1982. Mama took me to work with her that day, the same day I had my dance recital photos made. I’m still wearing my tutu, stockings and tap shoes.
That was what I wore all of that day, but getting a photo of me, looking like that, at my mom’s job could have happened on any given day. For Mama and me, every day was Take Your Daughter to Work Day.
Take Your Daughter to Work Day at the Toulouse Theatre
In the early 80s, Mama’s work was at the Toulouse Theatre, located at 615 Toulouse St. She was a cast member of the hit musical, One Mo’ Time, written and directed by Vernel Bagneris. This masterpiece of musical theater, showcasing 1920s black vaudeville, was a long-running show originating here in New Orleans in 1978. It traveled too, and was performed in places like London, New York, Sydney, and Toronto.
I often tell people I am as old as “One Mo’ Time” – 47 years old. As her only child, I was on the scene, and perhaps “in character” at times. I knew the way backstage among the costumes, props, dancers and actors. I blended in quite easily that day, since I was in costume. You could only imagine that for a little girl, playing “dress up” was always quite the thrill!
A program for One Mo’ Time became a perfect place for a little girl to practice writing her name.
“Take Your Daughter to Work” days actually happened miles away for me in Toronto, Canada as well. This was from 1982 to roughly 1984. It’s where I lived amongst castmates and musicians of OMT; home was on Sherbourne St and at the Village Gate Theater (also on Sherbourne St.). I even started school out there as a kindergartener (at Rose Avenue Public School). Never in costume, but I certainly remember being wrapped up in a big coat most days. This New Orleans girl was cold!
Thais Clark, Bruce Bradley and Sharon Nabonne, on the stage in Toronto
By Spring 1984, we returned to the states and I was still on the scene – in theaters, such as Le Petit, various music venues & clubs, and beyond. So many eccentric and colorful places, with many talented and creative people…many of whom I met right here in the French Quarter.
Sharon with Chantell
Now that I think about it… “Take Your Daughter to Work” day was likely take your egg- embryo… nevermind ;-) Mom’s professional music career as vocalist began long before I was born in 1978. As early as 1975, while a sophomore at Dillard University, she began working with Allen Toussaint. She was one of his main background singers for live performances and recordings. She was actually featured on his 1975 “Southern Nights” LP.
With him came multiple studio sessions, concerts and gigs nationwide, and countless festival performances, like Jazz Fest. This then led to other gigs and collaborations with the likes of Dr. John. Lee Dorsey and the Neville Brothers. When I arrived (1978), I was literally right there too! The studio, the stages, the festivals…
Mama explained that I even had a pallet (blanket with my toys) on the floor set up at AT’s SeaSaint Studio on many occasions. She said he was always so impressed with my “good” behavior for a little baby and delighted that I could respond to the music by clapping right on beat!
With the many introductions and encounters with a plethora of powerhouse musicians, I most was connected to her bestie and sister- in-song, since before I was born: Lillian Boutté. “Nanny Lil” as she was to me, was also one of his backing vocalists (who mama introduced to AT) and was also a One Mo’ Time cast member (she brought mama on).
In addition to the studio and stage, with them, there were always random moments of song and dance and shenanigans any and everywhere. The two were even street musicians right here in the Quarter! I remember the corners with them. Right at Jackson Square at St. Ann Street. I even remember the jingle they’d sing calling for tips…”Pass da bucket, baaaaby…pass the bucket!”
You know, to be exposed to such a lifestyle, the travel, the excitement, and the “environment”, I really don’t recall anything bad at all! One of my favorite memories is singing along to the songs they sang.
Sharon Nabonne (l) with Lil’ Thelma (r)
Let me tell you! I didn’t learn typical lullabies. I learned jazz standards. I learned about singing the “hi and lo” parts; I learned about tight harmonies; I learned songs like “Goody Goody” and “Ja Da”, and Sweet Emma’s “Jelly Roll”--- actually singing it all sassy and way too grown. All great memories in time. I miss those days. And I miss my Nanny Lil. She passed away in May of 2025.
Being backstage at the Toulouse Theatre was bigger than life to me. The men's dressing room was first and I would cover my eyes because they were always (it seems) in their drawers; I would proceed and walk to where all my “aunties” were— Lillian Boutté, Lady BJ, Juanita Brooks, Barbara Shorts, Wanda Rouzan, Sadie Blake…and for a time, the original cast members of OMT…Sylvia “Kuumba” Williams, Topsy Chapman, and Thais Clark.
Kuumba and Thais were in the Toronto cast with mom and we all lived on Sherbourne. I remember wigs, makeup, & costumes galore…costumes designed by JoAnn Clevenger, another FQ legend. I was their baby. “The baby’s here,” I would hear as I walked in.
Thelma was my mom’s character in One Mo’ Time. So I was aka “Lil’Thelma.” (actually, I still am) I can still sing most of the songs of the show AND properly execute the signature dance moves, like the Charleston!
Once, I was present at the theater and two of the divine divas of the show bickered. One of them cursed and I knew it was a bad word. “Her eyeballs are looking right at me,” she said, looking at me and catching herself from further curses. Oh well. I learned some other things that day for sure!
There was a scene in the show that featured my mom’s character being “attacked” It was the character, “Big Bertha” attacking “Thelma”. Bertha grabbed her by the hair/wig and yanked it off! It used to upset me so much and I would cry.
Backstage, the two taught me they were friends. They would hug in front of me. “See, baby? See? We’re friends. Everything’s alright.” They taught me not to get upset. That “Big Bertha” was Barbara Shorts and she later bought me popcorn. The ongoing joke: I’m her popcorn baby. I still see her from time to time—and go to her shows!
At the Toulouse, other kids existed… I know this for sure, because cast members and musicians had kids, but I don’t really recall them at the theater. I really don’t remember them. I guess they would come and go. Not me; I was there all the time. Rehearsals… performances.
I remember sitting in the audience, drinking a Shirley Temple. I remember falling in love with the song “Shake It, Break It” –performed by Lionel C. Ferbos, one of the band members, and one of my forever favorite people. ‘Til this day, it’s still my most favorite traditional New Orleans jazz song.
Chantell with former One Mo’ Time performers
Legend Lionel Ferbos with Chantell Nabonne
Sharon and Chantell with Wanda Rouzan
Chantell with Lady BJ
Chantell with former Toulouse Theatre owner and One Mo’ Time producer, Russell Rocke
Chantell with Lillian Boutté
Sharon and Chantell with Carol Sutton
At a young age, I remember learning the word “genius.” Mama used it to describe James Booker. He would play the piano in the lobby (or piano bar) before shows. Everybody raved over Booker, as they still do. If I see, hear, or read the word–”genius”.
I immediately think, Booker. I don’t recall any encounters with him. I just know he was there. I see the shadow of him in my memory. Names that might sound pretentious on my tongue now were part of the everyday. Even Ellis Marsalis and Tennessee Williams…whom my mom and others have stories of their presence at the theater. Was I there when they were? Maybe. Maybe not.
But it’s not too hard to find words to describe how this kind of upbringing shaped me.
Lucky.
Fortunate.
Blessed.
