Archives for November 2026

RAPID FIRE 10Q: Reisa Shimojima on Dancing Outside the Lines and Challenging Expectations; Shimojima’s KEDAGORO Dance Troupe at OZ Arts Nashville This Weekend

November 11, 2026 by Jonathan Pinkerton

KEDAGORO, a Japan-based contemporary dance company makes its highly anticipated Music City debut at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. These performances not only launch OZ Arts Nashville’s 14th season but also mark part of KEDAGORO’s first-ever U.S. performances, with the company’s three-city American tour traveling from New York to Greenville, South Carolina, before concluding in Nashville.

Founded by Reisa Shimojima, KEDAGORO has developed a reputation for fearless, thought-provoking work that explores the complexities of human behavior, historical memory, cultural identity and the often uncomfortable questions that shape our understanding of the world. Its latest production, The Age is Yours, My Liege! (A Tale of Proto-Japan), ventures into the surreal territory of ancient Japanese culture, imperial mythology, power and national identity.

For this edition of Rapid Fire, we connected with Shimojima via email. As our conversation was conducted across two languages, with Reisa translating her responses from Japanese into English, we’re including both her English translations and her original Japanese responses, allowing readers to experience her thoughts in both languages.

RAPID FIRE 10Q WITH KEDAGORO’s REISA SHIMOJIMA

JHPENTERTAINMENT: You were born in Kagoshima, Japan, and began dancing at just seven years old, studying everything from jazz to traditional Yosakoi. What first sparked your passion for dance, and did you always envision it becoming your life’s work?

REISA SHIMOJIMA: When I was seven years old, a friend from elementary school invited me to join her at a jazz dance class. At the time, I had absolutely no interest in dance. To be honest, I really didn’t want to take lessons at all. Ever since I was little, I had been fascinated by history. At home, I loved playing games like pretending to be prehistoric humans or acting out wars. However, Kagoshima, where I grew up, is a rural part of Japan with very small, close-knit communities. If you turned down an invitation from a friend, you could suddenly become a target for bullying or even be ostracized by the community. So, reluctantly, I started attending the jazz dance classes.

Then, one day, something rather unexpected happened. My jazz dance teacher started having an affair with the chairman of the Kagoshima Chamber of Commerce and Industry. Around that time, the chairman wanted to make Kagoshima a more vibrant place and came up with the idea of bringing YOSAKOI, a Japanese festival dance tradition that wasn’t particularly popular in Kagoshima at the time, to the region. And my dance teacher, wanting to win the chairman’s heart, decided to turn the entire jazz dance school into a YOSAKOI dance school! From then on, we spent almost every weekend traveling to YOSAKOI festivals in different parts of Japan, performing to promote Kagoshima. YOSAKOI festivals bring together all kinds of teams from across the country. But what I found fascinating wasn’t just the dancing. There were middle-aged men and women dancing while enjoying alcohol and cigarettes, complicated romantic affairs between members of different teams, and all sorts of messy, very human dramas. It was a world full of raw human behavior, desires, and tangled relationships. I became fascinated by all of it.

And eventually, I started to enjoy dancing. But to be precise, it wasn’t really dancing itself that I fell in love with. I loved using dance as an excuse to observe human behavior and the way people live their lives. Somehow, almost 30 years have passed, and I’ve kept dancing all this time. I never imagined that dance would actually become my profession. Even now, I don’t think dancing itself is my ultimate goal. I suppose I’m still enjoying the many aspects of human life and behavior through dance, using it as my excuse.

私は7歳の時に小学校の友達に「ジャズダンス教室に一緒に行こう！」と誘われました。その時、私は全くダンスなんかに興味がなくて、正直ダンスを習うのはとても嫌でした。私は小さい頃から歴史に興味があり、家で「原始人ごっこ」や「戦争ごっこ」をして遊ぶのが好きだったんです。しかしながら、鹿児島県という日本の田舎はとても小さなコミュニティーの中で成立しているので、友達の誘いを断ると一気にいじめの対象になったり、村八分にされるのです。そして、嫌嫌、ジャズダンス教室に通っていたのですが、ある時、そのジャズダンス教室の先生が、鹿児島県の商工会議所の理事長と不倫関係になったんです。そして、その理事長が、鹿児島をもっと栄えさせるために、鹿児島では当時盛んではなかった日本の祭り「YOSAKOI Festival」を鹿児島でやりたいと言い始め、その理事長の心を掴みたいジャズダンス教室の先生は、ジャズダンス教室をYOSAKOI教室に変えてしまったんです。

それから、私たち毎週末、さまざまな県のYOSAKOI Festivalに出向いて、鹿児島の宣伝をするためにYOSAKOI Danceを踊りました。YOSAKOI Festivalには全国各地からたくさんのチームが集まるのですが、酒やタバコを嗜みながら踊るおじさんやおばさん、チーム同士の恋愛のいざこざなど、とても人間臭い物事に塗れていて、そこにはドロドロとした人間の営みを見ることができました。それから私は踊ることが好きになりました。正確に言えば、「ダンスを踊る」ということを口実に、人間の営みを観察することが好きだったんです。そうしてるうちにいつの間にか30年近くダンスを続けてきてしまいました。ダンスが仕事になるなんて思いもしませんでした…。今もなお、私はダンスを踊ること自体が目的ではなく、ダンスという口実のもと人間の営みを楽しんでいるんだと思います。

JHPENTERTAINMENT: You attended J. F. Oberlin University, where you studied theater and contemporary dance under acclaimed choreographer Kuniko Kisanuki. Your early university work included choreography, composition and directing. While you utilize all three aspects in your creativity, do you primarily consider yourself a choreographer and does your theatrical background influence the way you approach dance today?

REISA SHIMOJIMA: To be honest, I have never really thought of myself as a “choreographer.” What I mean is that I don’t consider myself a choreographer in the conventional sense of the word. My role as a choreographer is not to create choreography, but rather to bring out the errors that already exist within bodies that have been choreographed. What I mean by this is that I believe human beings are naturally choreographed throughout their lives by various environments and cultures. Through this process, our understanding of the body and the ways we use it are gradually shaped. I believe my role is to create various triggers that expose the history embedded in each person’s body, bringing it out into the open and making it visible on stage. I imagine this way of thinking has been influenced by my background in YOSAKOI and theater. But I have also learned a great deal from my dance mentor, Kuniko Kisanuki. She taught me not only about dance, but also about fundamental questions such as what it means to be human and how we should live as human beings.

正直に言えば、私は自分を「振付師」と思ったことは一度もありません。だだし、それは、一般的に世間が考える「振付師」ではないということです。私の「振付師」としての役割は、振付を創ることではなく、「既に振り付けられている身体が持つエラーを引き出すこと」。どういう意味かというと、人類は、さまざまな環境や文化によって、人生の中で自然に振付られていく（肉体の概念が形成されていく）と考えています。その人間の身体の歴史を、舞台上で裸にするために、さまざまなトリガーを与えることが、私の仕事だと思っています。そのような考え方は、きっとYOSAKOIや演劇のバックグランドからの影響だとも思いますし、私のダンスの師匠であるKisanuki Kuniko先生からも、ダンスだけではなく、人間とはなにか、そして人間とはどうあるべきかということを多く教わりました。

JHPENTERTAINMENT: Originally founded in 2013, KEDAGORO’s official website currently lists six core company members. Tell us a little about the company dynamic. How many performers are traveling with you on this American tour, and what makes this particular group of collaborators click?

REISA SHIMOJIMA: For this American tour, there are four KEDAGORO members, including myself. The other eight dancers were selected through auditions. When I was at university, before founding KEDAGORO, I had formed a dance group with some incredibly skilled dancers. However, relationships between dancers can be extremely complicated. I found myself caught in a dilemma: the higher our ambitions became, the harder it was to keep the group together. Eventually, the group fell apart.

At a time when I was completely at a loss about what to do next, I met the people who are now the core members of KEDAGORO at my university. They were students who didn’t really know what they wanted to do with their lives after graduation. They weren’t particularly enthusiastic about studying performing arts either. They were almost like ghosts, just drifting through university life. So, almost as a last resort, I asked them, “Why don’t we try forming a group and putting on just one performance together?” And somehow, before we knew it, we had been together for 13 years.

We’re a group of people with completely different personalities and interests, but somehow, being together feels very natural. Under the pretext of making work together, we can spend endless hours drinking and talking about all sorts of silly things. That’s the kind of team we are. Of course, that dynamic alone doesn’t always provide the balance we need, and that’s where the dancers selected through auditions come in. They support the group in ways that our core members cannot always provide.

I think dance companies can easily become trapped by certain preconceptions. There’s often an idea that working hard and performing well are the ultimate virtues. But I believe this is one of the most dangerous traps in dance. We also need to embrace the possibility of making mistakes and allow those errors to become fertile ground for creativity. I think the relationship between KEDAGORO’s core members and the audition-selected dancers creates a very delicate and interesting balance. It’s not that one group represents one particular way of thinking and the other represents something completely different. Rather, everyone constantly shifts their positions, changing the direction of the sails as we move forward together.

I also think of it this way: even if we’re all on the same boat, if everyone is looking in the same direction, we won’t notice what’s approaching from behind us. But in this group, although we’re all on the same boat, everyone is looking in a different direction — some looking forward, others backward, and others to the sides. I think that’s what makes KEDAGORO such an interesting team. We move forward together, but we don’t all look at the world from the same perspective.

今回のアメリカツアーに参加してるKEDAGROのメンバーは私を含めて4名で、そのほかの8名のダンサーはオーディションで選抜しました。

私は大学時代、KEDAGOROを結成する前に、とてもダンススキルのあるダンサーたちとチームを作っていました。しかし、「ダンサー」という生き物同士の人間関係というのとても複雑で、志が高いほどチームを保つことが難しいというジレンマの中で、結局そのチームは崩壊してしまいました。それで私が途方に暮れていたとき、大学内で今のKEDAGOROのメンバーに出会ったんです。彼らは、大学で将来何になりたいのかもよくわからず、特に熱心に舞台芸術を学ぶわけでもなく、幽霊みたいに大学生活を送っていました。そして、私がダメ元で「試しに一回だけチームを組んで公演をしないか？」と誘ってから、気づいたら13年続いていました。全く性格も趣味も違う人たちの集まりなのですが、なぜか一緒にいることが自然で、作品創りの名の下に一緒に酒を飲み交わしながらくだらない話をずっとしていられるそんなチームなんです。

しかし、それだけではバランスが取れない部分もあって、そこをオーディションメンバーが支えてくれています。ダンスチームというのは、時に固定概念に囚われやすく、「一生懸命やること、上手にやること」が正義とされますが、これはダンスの非常に危険な罠だと私は考えていて、「エラーを許し、創作の肥やしにする」そういう考え方も持ってなければいけないと思います。KEDAGOROメンバーとオーディションメンバーは、そのような絶妙なバランスを、どっちがどっち派というわけではなく、日々立ち位置を変えながら帆の向きを変えてくれる、そんなチームだと思っています。そして、同じ船に乗っていても同じ方向を全員が見ていたら背後から迫るものに気づくことができませんが、このチームは同じ船に乗りながら、四方八方を向いていると感じています。

JHPENTERTAINMENT: A quick Internet search reveals that KEDAGORO is a rather colorful name, reportedly translating to something along the lines of animal droppings on the ground in the Kagoshima dialect. That’s certainly one way to make a memorable first impression! What’s the story behind choosing the name, and have you ever had second thoughts about introducing your company to the world with it?

REISA SHIMOJIMA: As I mentioned earlier, KEDAGORO was originally formed for a one-time performance. So, to be honest, we weren’t particularly attached to the idea of having a company name. We simply wanted something unusual, a name that wouldn’t be used by many other people and would come up at the very top of the search results when someone looked it up online. That’s how we came up with “KEDAGORO.” Well, I suppose it was also a fitting name for a group of people who had been rolling around university like dog shit. We never imagined that we would still be using this name 13 years later. These days, we’ve adopted a slogan that goes something like this: “Even something as dirty and ugly as dog shit can be an essential source of nourishment for flies and other creatures. We want to become something like that for humanity, too.” I’ve never once regretted choosing this company name. If anything, I feel as though the people we were 13 years ago are still encouraging us from behind, saying: “Keep creating work that makes this name something to be proud of. Keep doing things that will never make you regret choosing it!”

先程も申し上げたように、もともとKEDAGOROは、一回きりの公演のために立ち上げたチームなので、カンパニー名にそんなにこだわりがあったわけではなく、ただ、インターネットで検索したときに、一番最初に名前が出てくるような、他ではあまり使われない名前にしたくて「KEDAGORO」にしました。

まあ、大学でうんこのように転がっていた人たちの集まりでもあったので。

まさか13年もこの名前を使い続けることになるなんて、思いもしませんでした。

今となっては、「うんこのような汚く醜いものであっても、ハエなどにとっては大切な栄養分であり、私たちも人類にとってそういう存在になりたい」というスローガンを掲げています。このカンパニー名を後悔したことは一度もありません。というよりも、「後悔させない活動、この名前に誇りを持てる創作を続けていけ！」と13年前に私たちから背中を押されるような気持ちです。

JHPENTERTAINMENT: Your work doesn’t exactly shy away from controversial subject matter, tackling everything from the United Red Army incident and the Aum Shinrikyo cult to the Sewol ferry disaster and questions surrounding Japanese national identity. As an artist and choreographer, what excites you most about confronting difficult subjects through dance, and do you see provoking discussion as an essential part of your creative responsibility?

REISA SHIMOJIMA: Because I often deal with social and political themes in my work, people tend to describe my work as journalistic. But actually, I don’t really see it that way myself. I see historical events as important clues that can help us understand human beings. Rather than looking at these events through the information we receive from the media, I want to observe them on a much more cosmic scale through physical expression. I believe that memories dating back hundreds of millions, or even trillions, of years are engraved in our bodies. These memories go far beyond the limits of human thought and emotion. So, in my work, there is no question of taking sides, either for or against something. What exists is simply evidence of the fact that we are human beings.

When I use historical events as the subject of a work, audiences naturally try to find something in it. Depending on their age, gender, and personal life experiences, each person has a different relationship with the event. As a result, a wide range of opinions and reactions emerge. Contemporary dance often deals with abstract themes, but I believe that using specific events that are part of humanity’s collective memory can open up new possibilities for the audience’s imagination. And I myself sometimes discover entirely new interpretations of my own work through the opinions and reactions of the audience. What matters most to me is that the audience creates a world within the work that even the choreographer could never have imagined. I am fully prepared to accept every response from the audience, whether they love my work or absolutely hate it.

私は社会的・政治的なテーマを扱うので、よくジャーナリズム的だとよく言われるのですが、実は私自身はあまりそのように思っていなくて、歴史的な事件は、人間を知ることのできる大きなヒントだと感じています。メディアで流れてくる情報ではなく、身体表現を通して、その出来事をもっと宇宙レベルで観察したいという思いがあり、何億年、何兆年前からの記憶が私たちの肉体には刻まれていて、それは私たち人間の思考や感情をはるかに超えるものだと思うのです。なので、私の作品の中には、賛も否もありません。あるのは、私たちが人間であるという証拠だけです。歴史的事件を題材にしていると、観客はその作品に何かを見ようとします。年齢や性別、どんな人生だったかによって、その出来事との距離感が違うため、観客からさまざまな賛否が生まれてきます。コンテンポラリーダンスは、時に抽象的なテーマを掲げることが多いですが、具体的に人類の記憶にある事件を題材にすることで、観客の想像力を広げる可能性があると私は思っています。また、私自身も、観客の意見によって、自分の作品に新たな解釈を持つことがあります。私が大事にしていることは、振付家が想像もしなかった作品世界を観客が創り出してくれることです。観客からの「大好き」も「大嫌い」も全て受け入れる覚悟はできています。

JHPENTERTAINMENT: Let’s talk about The Age is Yours, My Liege! (A Tale of Proto-Japan). The production takes audiences into a surreal world of ancient Japanese culture, imperial mythology, power and national identity, complete with some rather unexpected theatrical imagery. In a few words, what can audiences expect when they enter this world, and what was the initial spark that inspired you to create this particular piece?

REISA SHIMOJIMA: I’m very curious to know what kind of experience each audience member will have when they see our work. After all, I imagine that Japanese and American audiences may find very different things in the same piece. In fact, even during our performances in New York, there were moments when the audience reacted in ways I hadn’t expected. For me, this is one of the great joys of performing in another country. It’s fascinating to discover how people from different cultural backgrounds respond to our work. I think there are many things about Japan that we become blind to simply because we live in Japan. Actually, what inspired me to create this piece was my experience over the past few years of creating work in various Asian countries. During that time, I encountered many traces and remnants of the period when Japan colonized other Asian countries. As I came across these histories, I found myself wondering: “What exactly is Japan?” That question became the starting point for this work. I would really love to hear your honest thoughts about what you, as American audiences, experience and feel when you watch it. My hope is that when people leave the theater after seeing our work, they feel that something has shifted, even just a little, in the way they see the world and other human beings.

観客の皆さんがどのような体験をするのか、私自身もとても気になります。というのもやはり、日本人がこの作品を見るのとアメリカ人が見るのでは、きっと違うものをそこに感じるのかもしれません。実際にニューヨーク公演でも、思わぬところで観客からのリアクションがありました。これこそが異国で公演をする喜びであり、興味深さであり、「日本」のことは日本にいるだけでは盲目になっていることがたくさんあると思うのです。実際わたしがこの作品を創るきっかけになったのは、ここ数年、私がアジア各国で作品を制作することが多く、アジアの国々が日本の植民地になっていた時代の痕跡を多く見聞きすることがありました。その中で、「いったい日本とは何なのか？」そのことが気になり、創作を始めました。アメリカの皆さんが何を感じるのかぜひ率直なご意見を聞かせていただきたいです。そして私の願いは、観客の皆さんが私たちの作品を見て、劇場を出た時、少し世界や人間の見方が変わった、そう感じてもらえたら嬉しいです。

JHPENTERTAINMENT: I understand this production marks Kedagoro’s North American debut, with a three-city American tour taking you from New York to Greenville, South Carolina, and ultimately to Music City at OZ Arts Nashville. What’s most exciting about bringing your creative vision to American audiences for the very first time, and is there anything in particular you’re curious to discover about how audiences here will respond?

REISA SHIMOJIMA: Japan and the United States have had deep historical ties, and that relationship continues to this day. How does this work look from the perspective of a country that decided to keep the Emperor on the throne after World War II? And how do Americans see the Japanese people? More than anything, I am looking forward to hearing your honest opinions. They don’t have to be positive ones.

My aim is to interpret the world through my work. I hope to hear discussions and discover perspectives that I could never have imagined myself. That, to me, is what makes a work come alive. It’s what gives it blood flowing through its veins. I hope that American audiences will breathe new life into this work and give it a new existence through their own perspectives and responses.

やはり、日本とアメリカには歴史的に、そして現在も深い関わりがあります。第二次世界大戦のあと、天皇を生かすことに決めたアメリカから、この作品はどう見えるのか？日本人とは何に見えるのか？率直なご意見を聞くことを何よりも楽しみにしています。良い意見だけである必要はありません。私は私の作品を通して世界を解釈することを目的としています。私の想像もし得ない議論を期待しています。それでこそ「作品が生きている、作品に血が流れている」と私は思いますので、アメリカの観客の皆さんが、新たにこの作品に息を吹き込んでくださることを期待しています。

JHPENTERTAINMENT: You’ve remarked that KEDAGORO was built around your belief that “dance is a method for interpreting the world.” Now here you are presenting your latest piece to U.S. audiences. Any hopes of discovering future collaborators while here in the states?

REISA SHIMOJIMA: Yes! So far, I’ve had many opportunities to collaborate with artists from across Asia and Europe, and I would really love to meet potential collaborators here in the United States as well. I don’t necessarily want to focus directly on political issues between Japan and the United States. What I would really like to explore is the kind of chaos that might emerge when bodies from these two countries come into collision with one another. As long as I’m alive, I want to keep exploring the world. So, to everyone here in the United States, I sincerely hope we can connect and create something together. I look forward to meeting you!

はい！私はこれまで、アジアやヨーロッパとの国際共同制作に多く取り組んできましたが、ぜひアメリカでコラボレーターに出会ってみたいと思っています。直接的に、日本とアメリカの政治的なイシューに絡めなくとも、両国の身体がぶつかることによって生じるカオスを見てみたいと思っています。命ある限り、世界を探求しつづけたいと思っておりますので、アメリカの皆様、ぜひよろしくお願いします！

JHPENTERTAINMENT: While researching our conversation, I came across a quote from you that I absolutely love: “After I decided to do dance seriously, I ‘bared my fangs’ and adopted an attitude that I would kick my heels up and do things no one expected!” I love that rebellious spirit! For the next generation of dancers and choreographers who might be afraid to take creative risks or march to the beat of their own drum, what advice would you offer?

REISA SHIMOJIMA: Of course, having your own passion and beliefs is important. But if you want to stay true to what you believe in and keep following your own path, you need people by your side. I want you to find people who believe in you and support you, people who will help protect your passion and your convictions. I think the reason I was able to make the decision to pursue dance seriously was because I had people around me. Taking artistic risks is never easy. There will inevitably be times when you get hurt, when you lose faith in yourself, and when you start to doubt everything. So, rather than focusing on creating good or interesting work, I want you to focus on finding your comrades — people who share your vision and are willing to walk alongside you. And work hard to put yourself out there and meet those people. I believe that truly interesting work begins there. The world is vast. There are absolutely people out there who will become your allies. Dancers and choreographers should believe that first and foremost. Don’t worry so much about your own artistic talent.

自分自身の情熱や信念ももちろん大事ですが、その信じる道を貫くためには、仲間が必要です。自分自身の情熱や信念を守ってくれる、信じてくれる仲間を見つけてほしいです。私がダンスを本気でやろうと決められたのも仲間がいたからだと思います。やはり、創作上のリスクを冒すことは決して簡単なことではありません。時に傷つき、自分を信じられなくなる時が必ず来ます。

良い作品、面白い作品を創ろうとすることよりも同志を探してください。そして良い仲間に出会うために一生懸命行動してください。面白い作品はまずそこから始まるのだと私は思います。世界は広いです。絶対に仲間はいます。ダンサーや振付家自身は、そのことをまず信じるべきです。自分の芸術的才能なんて気にしないでください。

JHPENTERTAINMENT: And finally, after audiences experience The Age is Yours, My Liege! (A Tale of Proto-Japan), what do you hope the production sparks in their minds? What questions, conversations or perhaps even a little controversy would you like them to take with them when they leave the theater?

REISA SHIMOJIMA: I want you to feel both the foolishness of humanity and how deeply lovable we are. This may sound harsh, but I believe that as long as human beings remain human, war will never come to an end. However, I believe that if we can release some of our deepest, hidden human desires within the fictional world of performing arts, we may be able to reduce conflict, even if only a little, in the real world. That is precisely why I believe theaters and works of performing art exist: to bear the weight of the world’s distortions. In other words, I invite you, the audience, to become accomplices in this shared time and space. As accomplices, you have every right to question, challenge, criticize, or debate anything about this work. I sincerely hope you will share your thoughts and reactions with me. A work does not end when it is presented to an audience. In fact, that is where it begins. I look forward to beginning this journey with all of you, together with this work!

人間の愚かさ、そして愛おしさを感じて欲しいです。残酷なことを言うようですが、私は、人間が人間である限り、戦争は終わらないと思っています。ですが、舞台芸術という虚構の世界で、人間の持つ潜在的な欲求を発散することができれば、現実世界での争いを少しでも減らすことができると私は信じています。だからこそ、劇場や舞台作品は世界の歪みを背負うためにあるのだと思っています。つまり、観客の皆様はその時間と空間を共有する共犯者になっていただくということになります。ですので、観客の皆様は、作品に対して何でも物議を言う権利がありますし、ぜひそれを私に届けていただきたいです。作品は発表したら終わりではありません。むしろ始まりなのです。観客の皆様とこの作品の旅を始めることを楽しみにしています！

Shimojima’s answers offer a fascinating glimpse into an artist who sees dance as far more than movement, technique or choreography. Whether she’s recounting an unconventional introduction to the art form, explaining the rather memorable origins of her company’s name, or inviting audiences to become accomplices in an exploration of humanity’s contradictions, one thing is abundantly clear: KEDAGORO isn’t particularly interested in playing it safe. And perhaps that’s precisely the point. As Shimojima reminds us, a performance doesn’t end when the curtain comes down. That’s where the conversation begins.

Nashville audiences will have their opportunity to join that conversation when KEDAGORO presents The Age is Yours, My Liege! (A Tale of Proto-Japan) at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. The performances open OZ Arts Nashville’s 14th season and are part of the dance company’s historic first U.S. tour. Come with an open mind, bring your curiosity and don’t be afraid to have an opinion. Reisa Shimojima and KEDAGORO are ready to hear it.

Ticket options include:

Artist & Creative Community (discounted, no code required) $25
General Admission $35
Generous Admission (I love this one!) $45

CLICK HERE for tickets.

Next up at OZ Arts Nashville as Season 14 continues its New York-based hip hop spoken word artist Dahlak Brathwaite‘s Try/Step/Trip Friday and Saturday, December 4 & 5 at 8pm. CLICK HERE for more info or to purchase tickets. To keep up with all things OZ Arts, find them HERE or follow them on Facebook, X, YouTube and Insta.

For all things KEDAGORO, CLICK HEREor follow them on Insta, Facebook, X and YouTube.

As always, If you want to read our latest on Music, Movies, Performing or Visual Arts, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

Theatre Review: ‘Death Becomes Her’ – With Jackie Burns, Kristen Beth William & Company Vanity, Venom & Vengeance Have Never Looked So Fabulous

November 5, 2026 by Jonathan Pinkerton

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas in the National Tour of ‘Death Becomes Her’

From the teasing presence of the mystical vial encased in a mysterious carved box surrounded by billowing smoke center stage even before the always enchanting and captivating voice of Isabella Rossellini (who appeared in the original film) welcomed the audience to opening night in Music City of Death Becomes Her (at TPAC thru Sunday, November 8), I knew I was in for a fabulous night of musical comedy magic.

Jackie Burns as Madeline Ashton, Kristen Beth Williams as Helen Sharp, Ken Marino as Ernest Menville, Nasia Thomas as Viola Van Horn and the entire ensemble are the only Death Becomes Her cast I’ll ever need. In a show about folks consumed with attaining perfection, I’m here to tell you this entire cast has pretty much achieved it.

When I say “the only Death Becomes Her cast I’ll ever need”, here’s why…At the risk of having my gay card revoked, I must confess that I have never seen the original Death Becomes Her film. Yes, I know of the film…Meryl Streep, Goldie Hawn as frenemies obsessed with clutching to their youth, beauty, fame at any cost, with the unwitting aide of Bruce Willis…but I somehow had never seen the film. I KNOW!!! Listen, apparently I wasn’t the only one, considering the movie’s initial worldwide box-office take was a little over $58 million against its reported $55 million production budget. For a minute, I considered checking out the now-camp classic as research for my recent RAPID FIRE 20Q with the four leads of the National Tour (now at Tennessee Performing Arts Center through November 8). But then I decided I really wanted to go into this one with fresh eyes, and No, I don’t mean post-bleph, though don’t think I didn’t reconsider several elective procedures in light of the beauty-obsessed theme, but I digress.

Prior to Tuesday night’s opening-night performance in Music City, my only exposure to the stage adaptation of Death Becomes Her consisted of a few performance clips via YouTube, a couple musical synopses found on fan sites and a little information gleaned from the tour’s official website. And I’m SO glad I went in, mostly virginal! Based on the aforementioned 1992 Universal Pictures film directed by Robert Zemeckis, the musical adaptation, with a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, takes the deliciously dysfunctional rivalry between two Hollywood divas and gives it the full Broadway treatment. Think eternal youth, questionable life choices, fabulous fashion, a little murder and enough backstabbing to make even the most scandalous episode of Dynasty look like an afternoon tea party. And while the premise might be about the pursuit of eternal beauty, it’s the performances that make this production absolutely ageless.

This marks my FOURTH time seeing Jackie Burns on stage, having previously watched her deliver a record-breaking run as Elphaba in the National Tour of Wicked, as Elizabeth in the National Tour of If/Then, and in the leading role of Studio Tenn’s regional production of Aida in Concert. So, to say I’m a fan is an understatement. I’m sure Meryl Streep was “cute” in the role of Madeline Ashton, but Burns was, well, ON FIRE!

From the moment she appears, Burns establishes Madeline as a woman who considers herself the center of the universe and sees absolutely no reason why anyone should disagree. Her delivery of the show’s witty, rapid-fire, syncopated dialogue and lyrics is a masterclass in comedic precision. She manages to navigate the show’s ridiculously quick-paced exchanges without missing a beat, whether musically or comedically. Her timing is impeccable, her physicality is spot-on, and her ability to switch from self-absorbed diva to hilariously desperate mortal (well, sort of) is simply delicious.

Act One’s “For the Gaze” is a particularly marvelous introduction to the diva that is Madeline Ashton. And sidenote: How absofuckinfabulously perfect that THIS was my live introduction to this particular cheeky, wink-filled anthem! Complete with quick-change wardrobe reveals, a roll call of gay icons and a literal rainbow of wardrobe hues and lighting cues, the number is an unapologetic celebration of visibility, individuality and the art of being seen. Even better, the final costume incorporates the inclusive colors of the transgender flag. All of this happening while my home state of Tennessee was voting to turn blue, well, OK…at least purple! God, I love theatre with a message about acceptance and change! And when that message comes wrapped in sequins, fabulous choreography and a diva who knows how to work a damn room, even better! And Burns’ Madeline does it all with style, snark and so much more.

Kristen Beth Williams‘ Helen Sharp is every bit the worthy adversary Madeline deserves. Williams gives Helen a wonderfully layered transformation, taking her from the woman who has spent years being overlooked to one who discovers that revenge, like a good beauty regimen, can be remarkably rejuvenating. During our recent RAPID FIRE 20Q, and keeping with a plot point of the musical, I asked Kristen Beth that if she, like her onstage persona Helen Sharp, were to pen a tell-all, what would it be called and what would it be about? Her response? “I would call it Cover Girl (with the subtitle ‘Tales of a Broadway Understudy’).” Well, after witnessing her go toe-to-toe with Burns’ Madeline, rest assured that tome deserves a new subtitle: “From Understudy to Diva in One Quick, Campy Musical!”

Williams is a terrific match for Burns, and the two create the sort of combustible chemistry that makes watching their every exchange an absolute joy. Their rivalry is deliciously petty, gloriously exaggerated and delivered with the sort of precision that makes even their nastiest exchanges seem like a perfectly choreographed dance.

Ken Marino’s Ernest Menville is perfectly nerdy and nebbish, providing a welcome dose of bewildered humanity amid all the larger-than-life personalities and supernatural shenanigans. Marino’s comedic timing and physicality are particularly effective, especially in a scene when Ernest attempts to assert himself by standing up to Madeline. Bless his heart! He’s literally shaking in his shoes, knees comedically, exaggeratingly knocking as he tries to summon the courage to challenge a woman who could probably reduce him to dust with one perfectly timed eye roll…or her ever-handy shotgun! Marino makes the most of every opportunity for physical comedy, and his character’s hapless predicament is one of the show’s recurring delights.

Act Two’s “The Plan” is another clever musical highlight, featuring a drunken, hallucinatory duet with everybody’s favorite 70s pinup. Trust me, you’ll have to see the show to fully appreciate this one. Let’s just say that between the unexpected appearance, the alcohol and Ernest’s questionable state of mind, this is one fantasy sequence that deserves a place in the musical comedy hall of fame.

And then there’s Nasia Thomas as Viola Van Horn. Believe me…it feels weird even saying…and then when taking about this diva. It’s tempting to refer to Thomas as a scene-stealer, but she’s so much more than that. Every second she’s on stage, she’s commanding it. How absolutely fitting that Thomas opens the show with the appropriately titled “If You Want Perfection,” because she truly is!

With a commanding stage presence, powerhouse vocals, the first of many Tony-winning looks courtesy the show’s costumer, Paul Tazewell, and an effortlessly glamorous persona, Thomas immediately establishes Viola as someone who doesn’t simply enter a room; she owns it (well, at least 51% percent…gotta love it when I can insert a gay pop cuture reference in my review). There’s a confidence and magnetism to her performance that makes the mysterious purveyor of the potion every bit as fascinating as the two women whose lives she turns upside down.

During intermission, my friend who joined me for the evening and I were discussing our thoughts thus far when we arrived at the same conclusion: Thomas’ Viola lands somewhere between Heather Headley and Angela Bassett’s portrayal of Tina Turner. That’s quite the company to keep, but Thomas has the vocal firepower, commanding presence and sheer star quality to make the comparison feel entirely appropriate. Every time she’s on stage, you find yourself wanting more.

In supporting roles, special mention goes to, and attention must be paid to Louis Williams Jr. as the beguiling Chagall, whose presence adds another delicious layer of intrigue to the proceedings, and Michael Buchanan as the fabulously put-upon Stefan. Both make the most of their respective roles.

Of course, a production this visually extravagant needs an ensemble capable of matching its leading ladies, and this company is nothing short of spectacular. The ensemble features Calvin L’Mont Cooper, Nick Cortazzo, Takia “Tiki” Hopson, David Houle, Karma Jenkins, Tyler Jimenez, Caroline Kane, Bryn Purvis, Jordan Wayne Vasquez and Candace J. Washington. The majority portray the Immortals, recipients of Viola’s death-defying, perfection-achieving potent potion. Dressed, or barely dressed (gotta love a seemingly revealing combination of velvet and sheer tulle), they appear throughout the show like a chorus of seductive, otherworldly beings. Sauntering across the stage with an almost hypnotic presence, they provide a visual feast that is impossible to ignore. Not gonna lie, I found myself watching the ensemble enchant the audience every time they appeared. Body-ody-ody, indeed!

Of a little double-duty Tyler Jimenez’ Chance, the dim-witted dabbing valet, is another entertaining ensemble turn. When Burns’ Madeline returns the dab, I lost it! Elsehwere, Bryn Purvis definitely puts the “Z” in Liza (see the show, get the reference) and with some clever costuming, wigs and a bit of whimsical fight choreo McKinley Knuckle and David Houle step into diva territory for a not-to-be-missed moment that recreates one of the film’s most iconic scenes. (Again, I may not have seen the film, but unlike Helen, I’ve not been locked away in an institution, so yes, I know the scene). The choreography and timing required to pull off this sequence are impressive, and the resulting comedy is priceless.

Musically, Julia Mattison and Noel Carey’s score offers plenty of opportunities for the cast to show off their vocal talents while keeping the story moving at an entertaining pace. From the opening “If You Want Perfection” to “For the Gaze” and the wonderfully mischievous “The Plan,” and truly every single number from start to finish, there’s plenty to enjoy. And then there’s the show’s book by Marco Pennette, which deserves its own standing ovation for delivering dialogue that’s as clever, caustic and catty as the women at its center. Fair warning to anyone who does me wrong henceforth: be prepared to hear me endlessly quote “That…was…rude…That was pretty fucking rude” from Act Two’s “Hit Me.” You’re welcome.

Visually, the production is every bit as extravagant as its premise demands. As alluded previously, Tony Award-winning costume designer Paul Tazewell has created a wardrobe that’s positively to die for, with glamorous silhouettes, elaborate details and enough fashion-forward fabulousness to make a red-carpet event look underdressed. Derek McLane’s scenic design, Justin Townsend’s lighting, Peter Hylenski’s sound design, Charles G. LaPointe’s hair and wig design, Joe Dulude II’s makeup design and Tim Clothier’s illusions all contribute to a visually intricate production filled with theatrical surprises.Christopher Gattelli, who directs and choreographs, has assembled a production that balances the show’s rapid-fire comedy with elaborate musical numbers, physical comedy and some genuinely impressive special effects. The illusions are particularly effective, and the show’s signature physical sequences demonstrate just how much ingenuity goes into creating theatrical magic. There are moments when you may find yourself wondering exactly HOW they pulled something off. And that’s precisely the point.

What makes this touring production so enjoyable is its complete willingness to embrace the absurdity of its premise. Nobody is pretending this is Shakespeare, nor should they. This is big, bold, unapologetically campy musical comedy that knows its audience came for glamour, laughs, music and a little mayhem. And it delivers! I walked into TPAC‘s Jackson Hall having never seen the original movie, with no real preconceived notions about how Madeline, Helen or Ernest should look, sound or behave. I walked out having witnessed truly outlandishly, yet brilliant performances all-round from the trio, as well as a powerhouse Viola, an outstanding ensemble and a new appreciation for a story that has been entertaining audiences for more than three decades. If this is what immortality looks like, sign me up. Although, after watching Madeline and Helen navigate their eternal feud, I might want to reconsider the company I’ll be keeping. Tp quote Viola, “Don’t say I didn’t warn you”.

Ultimately, Death Becomes Her is a reminder that beauty may be in the eye of the beholder, youth might be fleeting, and revenge is best served with a little theatrical flair. But great performances, fabulous costumes and a cast that knows exactly how to entertain? Those are things that never go out of style. So, whether you’re a longtime fan of the original film or, like me, coming to this particular party for the very first time, don’t let this one die on your list of must-see musicals. After all, some things are worth living for. And this killer cast is definitely one of them!

Death Becomes Her continues its Music City engagement at Tennessee Performing Arts Center’s Andrew Jackson Hall through Sunday, November 8.

Performance schedule is as follows:

● Thursday, November 5 thru Saturday, November 7: Evening performances at 7:30 p.m.

● Saturday, November 7: Matinee at 2 p.m.

● Sunday, November 8: Matinee at 1 p.m.*

● Sunday, November 8: Final Music City performance at 6:30 p.m.

*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through September 2027. You can also follow Death Becomes Her on Insta, Facebook, TikTok, X and YouTube.

Following Death Becomes Her, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with A Beautiful Noise: The Neil Diamond Musical on stage at Jackson Hall January 5-10. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X.

In case you missed it, Check out my recent Rapid Fire 20Q with the cast below. Then #GoSeeTheShow!

Rapid Fire 20Q: ‘Love Never Dies: A Patsy Cline Anthology’ Star Courtney Linam and Playwright Joy Tilley Perryman Keep the Iconic Singer’s Legacy Alive

November 5, 2026 by Jonathan Pinkerton

Some voices are simply unforgettable, and more than 60 years after her untimely death at just 30, Patsy Cline’s remains one of them. From the heartbreak of “I Fall to Pieces” and “Crazy” to the timeless appeal of “Walkin’ After Midnight,” her music continues to find new generations of fans, proving that some legacies really are built to last. Enter Love Never Dies: A Patsy Cline Anthology, an original theatrical tribute written by Joy Tilley Perryman and starring Courtney Linam as the legendary country songstress, accompanied by a live band. Rather than simply retracing the familiar milestones of Patsy’s life, Perryman takes a more intimate approach, imagining the singer reflecting on her journey in the moments before her final flight, weaving together memories, music, and the extraordinary story behind that unmistakable voice.

Linam and Perryman are bringing Patsy’s story to The Venue at Coosa Landing in Gadsden for two performances, November 7 and 8. Love Never Dies: A Patsy Cline Anthology is just the latest in a creative partnership has included costarring in both The Ritz’s 2024 presentation of Steel Magnolias and last year’s Queens of Heart at The Local Scene. Having reunited this past summer to present the anthology debut performances in Atlanta in July, then again just last month in nearby Oneonta, Alabama, this week’s presentation marks the show’s Gadsden premiere.

From discovering the woman behind the iconic voice and recreating her signature look to the inspiration behind an original Patsy Cline musical, Perryman and Linam’s latest creative adventure has plenty to dish about. JHPENTERTAINMENT caught up with both women for a Rapid Fire 20Q about the music, the memories, the magic of collaboration, and why, when it comes to Patsy Cline, Love Never Dies.

RAPID FIRE 20Q WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY STAR AND PLAYWRIGHT

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY PLAYWRIGHT, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: When did the idea of creating Love Never Dies: A Patsy Cline Anthology first begin to take shape?

JOY TILLEY PERRYMAN: Courtney had played Patsy in Theatre of Gadsden’s production of Always…Patsy Cline. I did the costumes for that show and we had a great time working on together and she makes an utterly fantastic Patsy. Then a year later our dear friend, Mike Beecham approached us about bringing a Patsy show to his theatre in Atlanta. But he wanted something different that what was already out there, so I just decided to write a new show!

JHPENTERTAINMENT: For those who might be familiar with other Patsy Cline stage musicals like Always…Patsy Cline and A Closer Walk with Patsy Cline, what makes Love Never Dies: A Patsy Cline Anthology unique?

JOY TILLEY PERRYMAN: To write this show, I wanted to make it more of a memory play. As if Patsy were looking back on her life in those moments before the plane went down. So we start at the end. The last concert where Patsy performed was on March 3, 1963 at Soldiers and Sailors Memorial Hall in Kansas City, Kansas, It was a benefit for DJ “Catcus” Jack Call. The last song she ever sang was “I’ll Sail My Ship Alone”. The lyrics are haunting and that is where we start our show and then back in time to her beginnings at the Grand Ole Opry.

JHPENTERTAINMENT: Beyond the basic biographical details and familiar stories most fans know, were there lesser-known aspects of Patsy’s life, personality, relationships, or career that particularly surprised you or helped shape the anthology?

JOY TILLEY PERRYMAN: Sitting down to decided the songlist and put the songs in some kind of order, made me really see how sad and tragic her life truly was. Besides the tragedy of a far too early death, Patsy overcame many hardships along the way.

JHPENTERTAINMENT: During her all-too-brief career as a recording artist, Patsy recorded more than 100 songs. Aside from the more familiar hits, have you included any deep-cuts to tell this story?

JOY TILLEY PERRYMAN: The very first song is an extremely deep cut and it was quite difficult to find the sheet music. We never found it in Patsy’s key and had to have it transposed. Once you hear it it context of the show it is haunting and beautiful and totally perfect.

JHPENTERTAINMENT: You and Courtney have worked together repeatedly. What makes Courtney someone you keep coming back to as a creative collaborator, and how has your working relationship evolved over the years?

JOY TILLEY PERRYMAN: I cannot really talk about Courtney without getting all gushing and fangirling and being all sentimental. She is one of the most talented people I have ever known. She stepped into my life at a time when I most desperately needed a creative collaborator and a dear friend. She is a superstar in all those regards. I cannot express how much she means to me and how blessed I am to call her friend. We joke and call ourselves the Bad Decision Sisters, but she is right by my side no matter how nutty the plans get or how impossible the project seems. Look out for our next venture! We are opening a booth at an antique mall called Bad Decision Sisters Shop! Coming at the end of November to Kolectic Treasures in Rainbow City, Alabama.

JHPENTERTAINMENT: You’re wearing several hats with this production: playwright, collaborator, and costumer. As costumer, how do you balance historical authenticity with the practical demands of a live theatrical performance?

JOY TILLEY PERRYMAN: I have scoured hundreds of images of Patsy Cline. And I was able to recreate looks with modern fabrics so there is no worry about damaging an historical garment. I think I most proud of her first costume. It is almost an exact replica of the gown Patsy wore in her last concert and it appears onstage for exactly one song!

JHPENTERTAINMENT: Patsy’s songs are famous for their emotional honesty, whether she’s singing about heartbreak, longing, resilience, or love. If Patsy were around today, what recent song might she have covered?

JOY TILLEY PERRYMAN: So, lately we don’t have the girl singers that we used to have (sorry Ella, I do love you) so I think Patsy would have had to take a man’s song and change the perspective so it could be sung by a woman. For my money the best song this year as far as story telling and longing and just good music is Graylan James’ “Water at a Wedding”. I think Patsy would have worked that to suit her.

JHPENTERTAINMENT: Patsy was only 30 when her life ended, but her career was already transforming the sound and reach of country music. As the writer looking at the full arc of her story, where do you imagine her career might have taken her had she lived to continue recording and performing for decades to come?

JOY TILLEY PERRYMAN: I believe she would have continued to make hit records and be at the top of the charts until she decided she was ready to scale it back and enjoy grandkids and retirement.

JHPENTERTAINMENT: The title Love Never Dies feels particularly fitting for an artist whose music continues to connect with people long after her passing. Why was that the right title for this anthology, and what do you hope audiences understand about Patsy’s enduring legacy when they leave the theatre?

JOY TILLEY PERRYMAN: That phrase actually comes from part of the inscription on her tombstone. I hope that people will walk away with a new or deeper appreciation for her music and her legacy and the knowledge that as long as we continue to sing her music, the love never dies.

JHPENTERTAINMENT: Having already presented Love Never Dies in Atlanta and nearby Oneonta and now bringing it to Gadsden for these two performances, have you and Courtney discussed taking the production on the road? Are there any plans for other cities eventually have the opportunity to experience your Patsy Cline anthology? I mean…Nashville is always up for a visit from you…just sayin’.

JOY TILLEY PERRYMAN: Having debuted this show back during the summer in Atlanta with EPIC Productions, this is our third production of the show. We are ready to go any and everywhere that will have us! Just give us a call and you know I am always ready to come back home to Music City!

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY‘s COURTNEY LINAM

JHPENTERTAINMENT: Patsy Cline remains one of country music’s most beloved and influential voices, more than six decades after her death. What do you think it is about her voice, her music, and her story that continues to resonate with audiences across generations?

COURTNEY LINAM: Honesty. When Patsy sings, you believe every word, because she isn’t performing heartbreak, she’s living it right there in front of you. Her voice had this rare combination of power and tenderness. Her story matters too. She was a small-town girl from Virginia who fought her way into a business that didn’t make much room for women and she did it on her own terms. People still connect to that. Every generation has someone who’s been lonely, or lovesick, or underestimated, and Patsy’s songs meet them right where they are.

JHPENTERTAINMENT: Every actor who portrays a legendary performer faces the challenge of honoring the original while bringing something of themselves to the role. How did you go about finding your Patsy Cline voice, and how do you balance imitation with interpretation?

COURTNEY LINAM: I listened. A lot. In the car, in the kitchen, before bed. I studied her phrasing, those little catches in her voice I refer to them as Patsy-isms, the way she’d lean into a note and then let it fall. Nobody can replace Patsy, and I’d never want to try. So my goal is to honor her style and her signature sound while singing from my own heart. The imitation gets you in the door; the interpretation is what makes people feel something. I want the audience to feel like they’re spending an evening with Patsy, not watching a copy of her.

JHPENTERTAINMENT: Patsy was primarily a country artist, but her music crossed genres, earning her success on the pop charts as well. She was also part of the emerging Nashville Sound and recorded gospel music. How does exploring those different sides of her musical legacy influence your approach to portraying her?

COURTNEY LINAM: It reminds me that she was never just one thing. You’ve got the early honky-tonk Patsy, the cowgirl who could sing a rowdy, up tempo number, and then you’ve got the polished Nashville Sound Patsy with the strings and the smooth backing vocals, singing ballads that made the pop charts. And then the gospel side, which shows you where so much of that feeling came from. Each style asks something different of me vocally, but more than that, each one reveals a different side of who she was.

JHPENTERTAINMENT: Patsy had a distinctive look as well as an unmistakable voice. With Joy Tilley Perryman serving as both the playwright and the show’s costumer, how much collaboration goes into bringing Patsy’s appearance to life? And do you have a favorite Patsy look or era that you especially enjoy recreating?

COURTNEY LINAM: So much! Joy has such an eye for detail, and because she wrote the show, she knows exactly what each moment needs to say, so the costumes are telling the story right along with the songs. We talk through every look, how it fits the era, how it moves on stage, and of course whether I can breathe and sing in it! As for a favorite, I have a real soft spot for the western-style outfits from her early years, the fringe and the boots. There’s something so spunky and fearless about that Patsy.

JHPENTERTAINMENT: In additon to this collaboration, you’ve also costarred alongside Joy in a couple of shows, so you’ve experienced her as a fellow performer as well as a writer. How is working with Joy the playwright different from working with Joy the costar?

COURTNEY LINAM: As a costar, Joy is just so incredible. I’ve loved watching her work and learning from her as a fellow actress. As a playwright, she’s the keeper of the vision. She knows why every line and every song is where it is, and she can tell you exactly what she’s hoping a scene will make the audience feel. What’s the same in both is her heart. Joy wrote this show as a love letter to Patsy, and the fact that she created this role with me in mind means more to me than I can say. And she’s not only beside me on stage or watching from the house. She’s also on the sidelines, because she has been my “dresser” in every production in which I’ve portrayed Patsy Cline, and this will be my fourth time! She stays so calm during those really fast changes, and that allows me to stay in character. We laugh because I’ve become so needy of her being my dresser, although I know one day I’ll have to let her go so she can just relax and enjoy the show. Wherever she is, I always know she’s got my back.

JHPENTERTAINMENT: Love Never Dies is presented with a live band, which brings its own energy and immediacy to Patsy’s music. What can you tell me about the musicians accompanying you?

COURTNEY LINAM: Oh, I am so incredibly lucky! We’ve got Deborah Sarcinelli on piano, Sid Brown on drums, Rob Bruce on guitar, Nick Staff on bass, and Butch Dixon on pedal steel. Every one of them is incredibly talented, and together they bring so many years of musical experience to this stage. The second that band starts playing, you’re transported straight back to 1960s Nashville. Honestly, the music they make is so beautiful that sometimes I get lost in it and almost forget I’m supposed to be singing! A live band changes everything.

JHPENTERTAINMENT: The show features nearly 30 tunes recorded by Cline during her career. Is there a particular song in the anthology that feels especially personal to you, or one that challenges you in a way the others don’t?

COURTNEY LINAM: “Crazy” is the one that challenges me every single time. Everyone knows it, everyone has her version in their head, and it’s deceptively hard. It’s slow, it’s exposed, and the phrasing has to feel effortless even though it’s anything but. As for personal favorites, I love singing “Two Cigarettes in an Ashtray.” It tells such a great story, and it’s so much fun to sing. I also really love “Eyes of a Child.” It’s so hopeful and beautiful, and between the song and the gorgeous dialogue Joy wrote leading into it, I get chills every time. They’re two very different songs, so it’s hard to pick just one!

JHPENTERTAINMENT: Joy’s theatre background covers a lot of bases, having been an actress, costumer, playwright, producer and more. Does having a collaborator who understands the material from so many different angles help you inhabit Patsy and tell her story?

COURTNEY LINAM: Absolutely. Joy understands what it feels like to be the one standing in the light, so when she gives a note, she knows what she’s asking of an actor. But she also sees the whole picture: the costumes, the pacing, the music, what the audience needs and when. That means nothing is an afterthought. When everything around me is so thoughtfully built, I can stop worrying about the details and just be Patsy. That kind of trust is rare, and it frees me up to go deeper every performance.

JHPENTERTAINMENT: Patsy’s life and career were tragically cut short when she died at just 30, yet her influence has only grown. When you think about the years of music and artistic evolution she never got to experience, what do you imagine the next chapter of her career might have looked like?

COURTNEY LINAM: I think about this all the time. She was only just getting started. I imagine she would have kept crossing over. She had the voice for pop, for torch songs, even for jazz standards, and I can picture her on the big Las Vegas stages and on television variety shows. I also think she would have become a mentor. She was already looking out for younger women like Loretta Lynn, and I believe she would’ve been a fierce advocate for women in country music for decades. In true Patsy fashion,she would have kept doing it all her own way.

JHPENTERTAINMENT: After revisiting Patsy’s life and music through this anthology, what do you hope audiences will take away about the woman behind the songs—and what do you hope they carry with them after the final note?

COURTNEY LINAM: I hope they see that behind the legend was a real woman: funny, tough, loving, sometimes stubborn, and deeply devoted to her family and her friends. She wasn’t just a voice on a record; she was a person who fought hard for her dreams and gave everything she had to her music. And after the final note, I hope people carry home the memories of their own loved ones that come rushing back when they hear those Patsy songs. Patsy’s music has always kept me close to the memory of my Meemaw, and I know so many people in that audience have someone they think of when “Crazy” or “Walkin’ After Midnight” comes on. The people we love, and the music that moves us, don’t really leave us. Patsy’s grave marker reads, “Death cannot kill what never dies: Love”. Patsy’s been gone more than 60 years, and she’s still filling rooms with feeling. That’s a legacy worth celebrating.

Love Never Dies: A Patsy Cline Anthology starring Courtney Linam as Patsy Cline, with a live band, in an original production written by Joy Tilley Perryman and presented by Joy’s Jubilations arrives at The Venue at Coosa Landing (201 George Wallace Drive, Gadsden, AL 35903) for two performances, Saturday, November 7 at 7:30pm and a Sunday matinee November 8 at 2:30pm. Tickets are $22.37 (fees included). All seating is General Admission with doors opening half and hour prior to each showtime. Purchase Tickets HERE.

To keep up with Joy’s Jubilations and what’s next, find them on Facebook. And as Perryman mentioned, something tells me a Bad Decision Sisters Facebook page is in the works for this dynamic duo’s non-theatrical endeavors.

Rapid Fire 20Q: ‘Death Becomes Her’ National Tour’s Jackie Burns, Kristen Beth Williams, Ken Marino & Nasia Thomas Dish with JHPEntertainment on Undying Beauty, Backstabbing and Broadway’s To-Die-For Musical!

November 2, 2026 by Jonathan Pinkerton

Madeline Ashton and Helen Sharp have never exactly been poster children for healthy female friendships. Throw in a little eternal youth, a questionable potion, a whole lot of plastic perfection, and enough theatrical special effects to make a Hollywood stunt coordinator sweat, and you’ve got the deliciously wicked musical comedy Death Becomes Her, now on tour across North America.

As the national tour prepares to bring its particular brand of immortal insanity to Nashville’s Tennessee Performing Arts Center (505 Deadrick Street), with performances Tuesday, November 3 thru Sunday, November 8, JHPEntertainment caught up with four of the show’s stars: Jackie Burns (Madeline Ashton), Kristen Beth Williams (Helen Sharp), Ken Marino (Ernest Menville) and Nasia Thomas (Viola Van Horn). From divalicious backstage habits and elaborate costume changes to onstage rivalries, supernatural secrets and the occasional giant couch looming overhead, these four have plenty to say about life on the road, playing larger-than-life characters, and the eternal question of just how far one should go to look fabulous.

Based on the 1992 cult-classic film starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, this Tony Award-winning musical takes the original’s deliciously twisted tale of vanity, jealousy and immortality and gives it a gloriously over-the-top Broadway makeover. With a razor-sharp score by Julia Mattison and Noel Carey, spectacular costumes by Tony Award-winning designer Paul Tazewell, and enough outrageous physical comedy to make defying gravity look like child’s play, it’s a theatrical spectacle that proves some things really are forever. Unfortunately, common sense isn’t one of them. So slather on your favorite beauty serum, leave your mortal insecurities at the door, and get ready for a Rapid Fire 20Q that’s anything but dead on arrival!

RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF DEATH BECOMES HER NATIONAL TOUR

RAPID FIRE WITH JACKIE BURNS, MADELINE ASHTON IN DEATH BECOMES HER

JHPENTERTAINMENT: Madeline Ashton is a woman who believes the world revolves around her. This isn’t your first time playing a diva, after all, as you hold the record for having played Elphaba more than any other actress, with 1,300+ performances spanning two Wicked National Tours and two stints on Broadway. Not to mention, you took on the role of THE DIVA Celine Dion in a six-month run of the off-Broadway fan favorite Titanique! So, I gotta ask… What’s the most divalicious thing about Jackie Burns while on tour with Death Becomes Her?

JACKIE BURNS: Well, every fierce diva needs their little doggie, so naturally I’m traveling with mine! She comes with me everywhere!

JHPENTERTAINMENT: Love it! My own little Desilu is sitting at my feet as I type this. Both Madeline and her longtime frenemy Helen are obsessed with their looks and their attempts to stay young and beautiful… at any cost. Not that you’d ever need it, but just for fun, what’s the craziest beauty treatment you’ve ever heard of?

JACKIE BURNS: I mean, I’d love to go to Korea and try it all!

JHPENTERTAINMENT: Madeline and Helen’s relationship is practically the gold standard for toxic friendships. What is it like working opposite Kristen Beth Williams? And, a month into the National Tour, how are you two keeping that onstage rivalry sharp, unpredictable, and hilariously personal night after night?

JACKIE BURNS: I absolutely adore KB. I think our personalities complement each other on and off stage. We are both game to play and try new things, so it keeps things fresh every night!

JHPENTERTAINMENT: Your Death Becomes Her bio simply begins with “Jackie Burns is doing it For the Gaze!” I believe the appropriate current vernacular response is “Yes! Mother!” So, thank you for that. On the subject of your Act One debut number, the rapid costume changes in “For the Gaze” are mind-bogglingly fast and fabulous. Of the six costumes featured in that number, as well as the others created by Tony-winning costume designer Paul Tazewell, do you have a personal favorite?

JACKIE BURNS: First of all, thank you!!! “Gaze” is the Olympics of costume changes! It’s like getting shot out of a cannon in the best way. If I had to choose one costume, I think it would be the blue dress reveal.

JHPENTERTAINMENT: Having a showstopper like “For the Gaze” right out of the gate sets a high bar for the rest of the show, yet somehow Julia Mattison and Noel Carey, who collaborated on both the music and lyrics, manage to keep the tuneful quips coming. “Falling Apart” is brilliant… lyrically hilarious and vocally, technically challenging. “Remind them who the fuck you are” may be my favorite lyric ever! What’s one lyric or line of dialogue in the show you relish repeating?

JACKIE BURNS: Ooof, that’s a tough question. Julia and Noel have written some of the most brilliant lyrics I have ever heard. To pick one is next to impossible. Every night a new one hits me. But off the top of my head… “Is it the fact that I’m attracted to each kernel of external validation in the world that keeps me insecure to sell me needless crap. Or is it something new.”

RAPID FIRE WITH KRISTEN BETH WILLIAMS, HELEN SHARP IN DEATH BECOMES HER

JHPENTERTAINMENT: Helen Sharp begins as the woman who has been wronged and underestimated, but revenge has a way of bringing out someone’s inner diva. While preparing for the current national tour, what helped you shape your version of Helen Sharp?

KRISTEN BETH WILLIAMS: Honestly, the blueprint of this character, established by Goldie Hawn in the film and Jennifer Simard on Broadway, was the perfect guideline to help shape my version of Helen. Of course, I am not either one of those incredible women, so I’m never trying to be either one of them or do exactly what they did. I can only do what I do best. I love delving into a character (figuring out what makes them tick, what drives them) and letting those discoveries inform my character choices. Helen is delightfully unhinged, and it is incredibly fun getting to step into her shoes eight times a week.

JHPENTERTAINMENT: You and Jackie Burns get to turn a decades-long grudge into theatrical gold. How do you build that combustible chemistry with Jackie, balancing the genuine history between Madeline and Helen with the sheer joy of watching these two women try to destroy each other?

KRISTEN BETH WILLIAMS: Jackie and I have such “girl crushes” on each other. We have a great relationship offstage, and I think that translates to what audiences see onstage. Madeline and Helen are smart, witty, and absolutely cutthroat with each other. The fact that they end up spending eternity together is icing on their karma-cake. Jackie and I truly have the best time going on this journey together every night.

JHPENTERTAINMENT: Helen’s transformation is one of the story’s great turning points, and the musical takes the physical comedy and special effects to a whole (or should I say ‘hole’) new level. Without giving away the tricks of the trade, what has been the most challenging or surprising part of making Helen’s increasingly unconventional condition work onstage?

KRISTEN BETH WILLIAMS: One of our colleagues asked me a similar question in rehearsal…she asked, “is it weird that every time you come onstage you’re a different version of this character?” Yes and no. That’s one of the most challenging parts of playing Helen, but it’s also the most fun. The audience gets to see her at every point in her journey. The challenge for me is making sure I remember where in the arc I am and staying truthful to what Helen is going through at each point.

JHPENTERTAINMENT: The original movie is a beloved pop-culture touchstone, but the musical gives Helen a voice — quite literally — through a score that lets her tell her story in a new way. How has the music deepened your understanding of Helen, and is there a particular number that reveals something about her you particularly enjoy?

KRISTEN BETH WILLIAMS: Julia Mattison and Noel Carey have given us such an incredible score. Their lyrics are smart, the tunes are catchy…it’s everything you want in a musical. I love all of Helen’s songs, but I think a particular fan favorite is “Madeline.” I had a fan (of the show) stop me at the stage door the other day and tell me I really looked like I could escape a mental institution. I think that’s one of the best compliments I’ve ever received! #achievementunlocked

JHPENTERTAINMENT: Within the plot of Death Becomes Her, Helen has authored a glamorous lifestyle guide. If you were to write a book, what would it be titled AND what would it be about?

KRISTEN BETH WILLIAMS: Yes, the book title in the film is Forever Young. The book title in the musical is Hollywood Ending, which is funny because there has recently been a book released with that same title (by John Green). If I were to write a book, and let’s say I was keeping with Helen’s theme of writing a memoir, I would call it Cover Girl (with the subtitle “tales of a Broadway understudy”).” If I were to write a work of fiction, it would either be historical fiction, romantasy, or a murder mystery. But I think I’ll leave the writing to the writers.

RAPID FIRE WITH KEN MARINO, ERNEST MENVILLE IN DEATH BECOMES HER

JHPENTERTAINMENT: Audiences know you from your many television and film roles, including my personal favorite, your work on HBO Max’s The Other Two. Now you’re taking on Ernest Menville in Death Becomes Her. While you’re no stranger to the stage, it’s been a minute since you appeared in the 1992 stage adaptation of A Few Good Men. What has surprised you most about your return to live theatre, an effects-filled, grand-scale musical, no less, where there’s no editing, no second take, and absolutely nowhere to hide when the comedy goes gloriously off the rails?

KEN MARINO: I think I’d forgotten how much you have to be there for it. You can’t say, “We’ll fix that in post.” If a laugh comes late, or something goes a little sideways or I do something dumb because I’m a big dummy, everyone has to figure it out together. And that’s kind of great. The audience isn’t watching the same show every night. They’re part of the weather and the weather changes every night, which I love.

JHPENTERTAINMENT: Ernest finds himself caught between Madeline Ashton and Helen Sharp, two women whose capacity for revenge is matched only by their determination to look fabulous doing it. What’s it like sharing the stage with your two leading ladies, Jackie Burns and Kristen Beth Williams?

KEN MARINO: Jackie and Kristen are both so good. They’re funny, they’re generous, and they’re incredible at what they do. They make it look so easy, I’m learning a lot from them. I’m lucky to be in scenes with them. Ernest may be having a rough time, but I’m having an incredible time at work watching them work. And on top of that, I also get to watch Nasia Thomas perform every night, which is like this beautiful gift. Her voice is silk. I feel very lucky that I get to work with these three enormously talented women. I’m mostly there to be the tall one and stay out of the way.

JHPENTERTAINMENT: What have you discovered about Ernest that makes him more than just the poor guy caught in the middle of an immortal feud?

KEN MARINO: His name is Ernest, and he really is earnest. He cares about these women, he wants to do the right thing. He just tends to figure out what’s happening a few seconds after it’s already happened. He’s always a couple of steps behind, trying to catch up and hoping he can still fix it. That feels very human to me. And very… Ernest.

JHPENTERTAINMENT: This isn’t exactly a minimalist living-room musical. Between the elaborate staging, rapid-fire physical comedy and mind (and body)-bending special effects, the production has a lot happening around you. What’s been the biggest adjustment in learning to perform within a spectacle of this scale, and have you had any close calls with the theatrical magic in the month since you guys set out on the road?

KEN MARINO: The biggest adjustment is just learning where to be, when to be there, and then doing the scene like it’s all perfectly normal. There’s a lot happening around you, and the crew is so precise and so good at what they do. I haven’t had a real close call, thankfully. But sometimes you’re standing in the wings with a giant couch hanging over your head, thinking, “I know this is safe, but also, is this giant couch hanging over my head going to crush me tonight?” That keeps you present.

JHPENTERTAINMENT: Without giving away Ernest’s ending in the stage musical, let me just ask you one final simple question… While Madeline and Helen are obsessed with artificial perfection, Ernest seems to eventually find true fulfillment in the simple joys of life. What does fulfillment look like to you, Ken?

KEN MARINO: My family, my friends, getting to do work I care about, living in the moment and being able to laugh a lot. Oh, and being able to sit down and eat good food without checking the time. I like eating food and I like taking my time when I’m doing it. That’s a pretty good day. I think fulfillment is less glamorous than we expect. Which is good, because I’m a big dummy and not particularly glamorous.

RAPID FIRE WITH NASIA THOMAS, VIOLA VAN HORN IN DEATH BECOMES HER

JHPENTERTAINMENT: Let’s just get into it. Don’t tell Madeline or Helen, but from her first pivot on stage in that glorious amethyst crystal-encrusted gown, Viola Van Horn proves herself one to watch! So… how much does that dress and coat weigh, and how much fun are you having playing the instigator of all things Death Becomes Her?

NASIA THOMAS: Much like myself, Viola doesn’t really believe in the idea of traveling light. The coat itself is approximately 8 pounds, but the gown underneath is 13 pounds! However, I do believe it’s worth the weight to be able to wear these incredible costumes by Tony and Oscar winner Paul Tazewell! A small price to pay to be fierce! The coat is actually 10-15 pounds LIGHTER than the one used on Broadway. They had to scale it down because it had to be able to tour, and my back is thankful for that! Ha!

Playing Viola is honestly such a dream. To be able to step in and fill the shoes (pumps) of the incredible Michelle Williams is mind-blowing. Also, there’s something thrilling about playing a character who walks into a room and shifts the energy without having to lift a finger. She knows who she is, what she has, and what everyone wants. I’m basically getting paid to be mysterious and glamorous. Sounds good to me!

JHPENTERTAINMENT: Viola may be the one holding the secret to eternal youth, but she’s also the catalyst who sends Madeline and Helen’s rivalry into overdrive. How do you approach being the formidable force between two larger-than-life personalities while ensuring Viola remains a fascinating character in her own right?

NASIA THOMAS: I think what’s really cool about Viola is that she’s not in competition with Madeline and Helen. While they are competing with each other, she is playing an entirely different game. And like Viola would say, you don’t compete where you don’t compare lol!

I approach her with confidence, control, and some humor on the side. She has to be likable. I don’t believe she is the person that comes off unapproachable because she’s mean or scary. I think she’s the one people WANT to be around because of her magnetism and personality. I want people to feel like she’s the cool girl people want to be like and also want to grab a drink with. She doesn’t need to be the loudest person in the room in order to get her point across, because she already knows she’s the most powerful person in the space. It’s so fascinating when you don’t feel like you need to prove yourself. And that’s a lesson that I am learning from playing Miss Van Horn.

Tactic? There are so many layers, ya know? Some would say manipulation, I say seduction of sorts. She knows exactly what buttons to press and how to press them. She’s really just giving them what they want, and they have to learn the lessons and consequences that come with it by themselves. After all, she did give them a warning.

JHPENTERTAINMENT: This production is packed with illusions, spectacular transformations and technical wizardry that practically dares audiences to question what they’re seeing. How much coordination does it take to make Viola’s magical world feel effortless, and is there a particular stage effect that you especially love being part of?

NASIA THOMAS: I honestly owe that to all of the brilliant people who are working behind the scenes to help create this world. Everyone from stage management to wardrobe to lighting to hair to makeup to props to scenery, to sound, to illusion. Truly everybody is essential in creating this world. So much so that I don’t really have to do anything but bring the craft and the storytelling to the center of it. I think one of the coolest things about live theater is that our job as performers is to make the audience forget that there is so much machinery that’s happening in order to create this world. All they have to do is sit back, relax, and believe in the magic.

My favorite illusion that I get to be a part of is at the very end of the show. I don’t want to give it away because I don’t want to spoil the magic. But hearing the audience go crazy every night when it happens is so satisfying.

JHPENTERTAINMENT: The potion Viola offers comes with a rather significant catch, and the musical turns that bargain into a wonderfully theatrical exploration of beauty, power and mortality. What do you think Viola understands about the price of eternal youth that Madeline and Helen don’t, at least initially?

NASIA THOMAS: I think that Viola understands that there is a difference between living forever and truly just living your life. Madeline and Helen get so wrapped up in their competition and their vanity that they don’t stop to consider what living forever actually looks like and what it means. They’re too focused on the potential of what they could gain versus the sacrifices that they have to make in order to get there. They aren’t stopping to think that forever is a very long time to think about their decisions.

I also think in order for Viola to be successful at selling the potion, she has to understand the idea of humanity and all the things that make humans the complex, beautiful beings that they are. Things like their insecurities, vanity, the need to be desired, validated, and wanted. And also the price that people would pay to get those things. While this show is a fun, hilarious good time, I do think that it leaves you with the question of how much value we place on appearance and desirability, and what sacrifices big or small are we willing to make in order to achieve and maintain “perfection.” And the thing is, we all know that living forever doesn’t cure your insecurities or your desire to be validated, etc. It kind of just gives you an eternity to have to deal with it. Ha!

JHPENTERTAINMENT: Viola has the kind of secret that could make her the most sought-after woman in Hollywood, Broadway and every beauty clinic in between. If you could borrow one of her supernatural abilities for 24 hours, what would you choose, and what would you absolutely refuse to do with it?

NASIA THOMAS: Honestly, I would borrow her ability to wake up and be completely flawless. Doing eight shows a week while also trying to be a fully realized human being outside of this job is quite the task. Being able to wake up in the morning flawlessly and know that I can get through my day effortlessly sounds like a dream.

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas star in the National Tour of ‘Death Becomes Her’

Having just kicked off the National Tour in September, Death Becomes Her brings its wickedly entertaining fun to TPAC’s Jackson Hall November 3–8. Whether you’re a longtime fan of the original film or simply someone who appreciates a little murder, mayhem and magnificent musical theatre, this is one beauty treatment that comes with a whole lot of theatrical bang for your buck. Expect dazzling costumes, outrageous comedy, spectacular stage magic and two women whose definition of happily ever after could use a little adjustment. After all, youth may be wasted on the young, but revenge, apparently, is forever. And in the world of Death Becomes Her, looking fabulous while falling apart is par for the course.

Performance schedule is as follows: Tuesday, November 3 thru Saturday, November 7 Evening performances at 7:30 p.m. Saturday, November 7 matinee at 2p.m., Sunday, November 8 matinee at 1p.m.* and a final Music City performances Sunday, November 8 at 6:3 p.m. (*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.)