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2025

Rapid Fire 20Q with playwright and cast of ‘The Sparkley Clean Funeral Singers’; at Darkhorse Theatre beginning March 13

March 13, 2025 by Jonathan

A musical about a failed country music duo who’ve returned to their small town, work at the family dry cleaning business and return to music by singing personalized songs at funerals…I’m in! Written by Lori Fischer with tunes by Fischer and her songwriting partner Don Chaffer, THE SPARKLEY CLEAN FUNERAL SINGERS opens Thursday, March 13 at Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209) and continues through Saturday, March 22. Earlier this week, as the cast and crew prepared for opening night, I had the chance to chat with Fischer and her costars Lauren Braddock Havey, Robert Coles and Alan Lee for the latest installment of my recurring interview feature, Rapid Fire 20Q. Those conversations follow.

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RAPID FIRE 20Q WITH PLAYWRIGHT AND CAST OF THE SPARKLEY CLEAN FUNERAL SINGERS

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ JUNIE LASHLEY, ACTRESS AND PLAYWRIGHT, LORI FISHCHER

JHPENTERTAINMENT: What can you tell me about the plot of your musical, THE SPARKLEY CLEAN FUNERAL SINGERS?

LORI FISCHER: THE SPARKLEY CLEAN FUNERAL SINGERS is about two country singing sisters who had a record deal, but then lost it when the lead singing sister crashes their tour bus. The backup singing sister, however, is not done with the singing dream. So, she gets them a gig as funeral singers, hoping it will be their comeback.

The show is also about reconciliation and revolves around the Lashley family and the mother that left them long ago.

JHPENTERTAINMENT: While SPARKLEY debuted over a decade ago in New York, and among its previous mountings, was presented at Cumberland County Playhouse a few years back, this marks the show’s Nashville debut. Has the show changed much since its original staging?

LORI FISCHER: Yes! The script went through massive changes after its debut at Capitol Repertory Theatre. Post first show, SPARKLEY was then workshopped at Florida Studio Theater where, once again, major script and music changes occurred. By the time the show was produced at the Cumberland County Playhouse, the script and songs were pretty set. Although, even during that production, more changes occurred. After CCP, the show was set and is now published by Concord Theatricals.

JHPENTERTAINMENT: Considering your Dad is legendary songwriter, Bobby Fischer, I’d imagine the songwriting aspect came second-hand to you. How easily did the songs fall into place for SPARKLEY?

LORI FISCHER: Some of the songs came easily. Don and I wrote Big Time Plans and I don’t think we changed one lyric. Other songs though, took quite awhile though. I think we went through three different opening numbers before landing on Honky Without the Tonky. 

JHPENTERTAINMENT: Among your co-stars is our mutual friend Lauren Braddock Havey. You two actually did a staged reading of this show about a year ago, right? How much fun are you having sharing the stage with Lauren in SPARKLEY?

LORI FISCHER: I adore Lauren and working with her is a dream-come-true. She brings so much heart and excellence to the Lashley role! 

JHPENTERTAINMENT: As not only a star of the show, but also the playwright, what do you hope audiences take with them long after seeing the show?

LORI FISCHER: Laughter. We’re living in divisive, difficult times. But laughter can bring us together. Laughter soothes the soul and theater in general creates heightened empathy.

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ LASHLEY  LASHLEY, LAUREN BRADDOCK HAVEY

JHPENTERTAINMENT: When I heard you were part of this cast, I knew I had to chat with you! What can you tell me about Lashley Lashley, the character you play in THE SPARKLEY CLEAN FUNERAL SINGERS?
LAUREN BRADDOCK HAVEY: So great to chat with YOU Jonathan! Oh my gosh, Lashley Lee Lashley, what a dream to play. This is my third go round with a character of Lori’s that she has entrusted me with. I love them all-they are all so rich and Lashley is no exception and probably my favorite. What actress wouldn’t love playing an alcoholic country singer with ADHD?! And if anyone says it’s typecasting I’ll punch ‘em haha! Truly a blast to let loose with her and lean into her naughty behavior. She and I do have a similar mother issue in common interestingly in a coincidental art immitating life kind of way. Lashley to me is kind of like an M n M, hard on the outside but soft and sweet on the inside.
JHPENTERTAINMENT: When I chatted with Lori, I mentioned her dad being a well-known songwriter. Of course your dad is Bobby Braddock, who penned hits for everyone from George Jones and Tammy Wynette to Nancy Sinatra. Having grown up around music icons, I gotta know, have you gathered inspiration for Lashley Lashley from anyone in particular?
LAUREN BRADDOCK HAVEY: Great question! Yes I have! I have definitely given some thought to who some of her musical hero’s might have been and she also shares some personality traits with some artists I have known but I’d rather people guess who! She’s definitely a composite of some of the bigger than life artists I have had the good fortune to have gotten to know.
JHPENTERTAINMENT: Speaking of fathers, Alan Lee play’s Junie and Lashley’s father, Lyle Lashley. What’s Alan like as a scene partner?
LAUREN BRADDOCK HAVEY: Alan is such a warm, committed and generous scene mate. When he calls me “Peanut” I truly feel our shared history and can picture little Lashley and Junie at his knee. It’s such a joy to get to work with him!
JHPENTERTAINMENT: Do you have a favorite musical moment in the show?
LAUREN BRADDOCK HAVEY: Ah man, there are so many gems it’s kind of hard to choose just one! The sisterhood moments are fun and special, doing No Impulse Control with Robbie is a hoot and All That You Can Eat Liver and Onions is an absolute blast to perform.
JHPENTERTAINMENT: What can you tell me about Lashley Lashley’s look for the show?
LAUREN BRADDOCK HAVEY: I’d call Lashley’s look in this show a bit “country tarty chic.” A bit of big hair and big lashes. She raided my closet and is hoarding my lavender Luccasse boots. She enjoys some glitz some glamour and of course…SPARKLE! 

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ PASTOR PHIL, ROBERT COLES

JHPENTERTAINMENT: What can you tell me about Pastor Phil, the character you play in THE SPARKLEY CLEAN FUNERAL SINGERS?

ROBERT COLES: Pastor Phil is a kind-hearted preacher, but he’s not perfect. He has a bit of a gambling addiction and sometimes lets his impulses get the better of him. He’s a huge fan of the Lashley Sisters and finds himself star-struck when they come home from their tour and suddenly need a new opportunity. I’ve really loved taking on this role and giving him some heart. He provides some comedic relief throughout the show, but at his core, he loves his wife, his faith, and his congregation. 

JHPENTERTAINMENT: How did you come to be involved in this show?

ROBERT COLES: Lori and I have been friends for years. We met doing a playwriting festival back in 2019 and have kept in touch. When this opportunity came along, she reached out to me to submit an audition and I jumped at it! I’ve loved working with this incredibly talented cast, including one of my acting heros, Alan Lee. 

JHPENTERTAINMENT: As Pastor Phil, you’re a huge Lashley Sisters fan. You’re a playwright yourself, so I was wondering…IF you were to write a show about your favorite music duo who would it be about?

ROBERT COLES: That’s a great question! I’d love to write a show about The White Stripes. Think about the music! And the storytelling! They’ve got such an interesting dynamic and vocal style that I think it would be a real winning combo. 

JHPENTERTAINMENT: I understand David Hemsley Caldwell is directing the show. What’s your favorite aspect of David’s directing style?

ROBERT COLES: I like how David lets us unfold the characters naturally. He has allowed us to make some choices when it comes to characterization, and that’s been a fun process. We’ve gotten close during this process, and I think that’s showing on stage every night. 

JHPENTERTAINMENT: Lately you’ve been one of the busiest guys in the Nashville theatre scene, so I gotta ask…what’s next for you?

ROBERT COLES: I don’t like downtime! Next, I’m performing as Letterwriter #3 in Women In Theatre Nashville’s production of TINY BEAUTIFUL THINGS at the Darkhorse March 28 and 29! After that, I’m focusing on two of my shows that are headed to the Next Step Theatre Festival in New York City, opening Off-Broadway at the end of May. I’m also currently directing THE SOUND INSIDE, opening in late June! I love to stay busy!

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ LYLE LASHLEY, ALAN LEE

JHPENTERTAINMENT: Who is Lyle Lashley to you?

ALAN LEE: Lyle is a dear soul who has kept his hurt bottled up for many years in an attempt to protect his daughters and give them a happy, fulfilled life.He loves them dearly, and that is not diminished by his impairment.

JHPENTERTAINMENT: The character description for Lyle reveals that like his daughters, he has Alzheimer’s. Not exactly what you think of when you think of musical comedy. So I gotta ask, What’s been the biggest challenge AND the biggest reward of approaching such a serious illness with humor and heart?

ALAN LEE: Lyle’s dementia is near constant, but he is given a few lucid episodes. My challenge with him was to make him, at his core, the same loving father to his daughters. The more diminished he is, the closer he becomes to the person who he is at his core. Someone who is loving and giving, so that the audience can see that his soul is the same whether he is lucid or trapped in dementia. He can get frustrated, but it is always with himself, never his girls. I seek to show that his sacrifices for their welfare are, in his mind, all justified.

JHPENTERTAINMENT: I’m sure you know this already, but I’ve been a fan of yours since the days of The Boiler Room Theatre. The Darkhorse Theatre reminds me a lot of Boiler Room, in that both venues provide a more intimate theatrical experience. Does the venue or theatre company where a show will be mounted ever influence your interest in auditioning for a role?

ALAN LEE: Thank you, Jonathan. Yes, the venue has a definite bearing on how the audience will receive a work. The Darkhorse, like the Boiler Room, allows a more intimate connection with the audience emotionally, and that pays off with a musical like this. I think the Darkhorse is a great venue for this work.

JHPENTERTAINMENT: With THE SPARKLEY CLEAN FUNERAL SINGERS you’ve had the playwright right there in the mix as Lori is playing one of your character’s two daughters. Have there been times during the rehearsal process that she’s offered insight into the character you’re playing, having written the role?

ALAN LEE: Having Lori both as author and scene partner has been a rich experience. She is the ultimate resource and has been an unfailingly positive influence on my work in finding and playing Lyle. 

JHPENTERTAINMENT: Channeling your character, what would Lyle say to those considering seeing THE SPARKLEY CLEAN FUNERAL SINGERS during its Darkhorse Theatre run?

ALAN LEE: “I’m as proud of these girls as I can be and know that if you come see us you will be as taken with them as I am.” 

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Presented by Art4Art’s Sake Productions, THE SPARKLEY CLEAN FUNERAL SINGERS opens at Darkhorse Theatre March 13 and continues through March 22. Performances are as follows: 7:30pm performances March 13-15, as well as March 19-22. There are also matinee performances March 15, 16 and 22. Tickets are $20 plus a $3.18 handling fee. Seating is General Admission. CLICK HERE for tickets. For the latest from Art4Art’s Sake Productions, CLICK HERE.

Next up at Darkhorse Theatre, WIT (Women in Theatre) will present Tiny Beautiful Things. Based on the book by Cheryl Strayed and adapted for the stage by Nia Vardalos, WIT’s production will be directed by Erin Grace Bailey and will take to the stage at Darkhorse March 28 and 29. CLICK HERE for more.

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 and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Filed Under: 2025, Entertainment, Rapid Fire 20 Q, Rapid Fire Q&A, Theare Tagged With: Art4Art's Sake, Darkhorse Theatre, Interview, Live Performance, live theatre, Musical, Musical Theatre, Nashville, Nashville Theatre, Q&A, Rapid Fire, Rapid Fire 20 Q, The Sparkley Clean Funeral Singers

RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF ‘SAYRE’; Presented by Brand Spankin’ New Theatre at Playhouse 615 February 28 through March 9

February 27, 2025 by Jonathan

Co-written by Bel Stuart and Emily Dodson, SAYRE: An Original Musical About Spirited Women in the Athens of the South, will take to the stage at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) beginning Friday, February 28 with shows through March 9. Earlier this week, as the playwrights and cast readied for opening night of this World Premiere production presented by Brand Spankin’ New Theatre, I had the chance to pose a few questions to Stuart and Dodson, as well as two members of the cast—Tameshia Martin and Mandy Moon, for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF SAYRE

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT, BEL STUART

JHPENTERTAINMENT: What can you tell me about the plot of SAYRE?

BEL STUART: SAYRE follows a group of women inspired by the Muses of Greek Mythology during an Open Mic night at the fictional Athena’s, a woman owned metaphysical shop and cafe. Throughout the course of their evening we address women’s and civil rights currently and historically in Tennessee and the critical role Nashville played in those movements. By personifying these struggles we hope to bring a broader understanding to all the ways a woman’s work is never done. 

JHPENTERTAINMENT: In researching to chat with you all, I discovered there was a reason this show seemed familiar to me. While I didn’t get the chance to see it, it premiered back in 2019, right?  What prompted you to revisit this work and remount it with Brand Spakin’ New Theatre?

 BEL STUART: Emily and I wrote and produced that version in just four months in 2019! The first monologue was written on June 1st and we workshopped it at Centennial Black Box the last week of September with our original cast. The plan was to produce a larger scale version in 2020 as part of the 100th Anniversary of Women’s Right to Vote but the pandemic shut all theatres down. I pivoted to writing/producing a socially distanced filmed theatre piece titled THE MUMU MEMOIRS with Metro Arts and Thrive Funding. Life took over and the timing to pick it back up had just never seemed right until now. Robby, Abby and I performed together in SORDID LIVES directed by Erin Grace Bailey at Playhouse 615 last July. I had spoken to them all then about SAYRE and the regret of it never reaching its potential. Robby approached me to read the original script and produce it this year in conjunction with BSN. We met with Abby to direct and here we are! We all believe it is absolutely the right time and place for the message of this show. 

JHPENTERTAINMENT: Speaking of BSN and the company’s founder, Robert Coles serves as this production’s producer. What’s been the best aspect of having him onboard?

BEL STUART: I think Robby is a great supporter of theatre in this town and is helping to expand the scene with more original adaptations and writing. 

JHPENTERTAINMENT: As alluded above, the show was co-written by Emily Dodson, who I’ll also be chatting with about SAYRE, so I’m curious to know how you two met and what makes her a great fit as a co-writer?

BEL STUART: Emily and I met at Ladies Rock Camp just a few months prior to embarking on our whirlwind adventure of co-writing the original script in 2019. We realized we had some common threads with people in our lives initially but we operate very differently creatively speaking. We have found this to be a huge benefit as co-writers, however. At the core of what makes us work is our hearts. When you’re tackling the material we present in SAYRE, it is almost impossible to not get emotionally charged or overwhelmed. The stories we tell through these characters are all very much rooted in the women we have been and known in Nashville over the years. Having such a strong natural bond and trust has been the key to success both in our comprehension of our process and our true desire for collaboration with mutual respect and support. 

JHPENTERTAINMENT: In addition to co-writing the script, you also serve as the show’s musical director. When creating the music for this show, was there a preconceived tone or vibe you wanted to convey or did it morph as you went along developing the story?

BEL STUART: These songs are all written by Emily and myself and they are quite diverse. Some were pieces floating around without a home and some were written specifically for SAYRE. The common thread is that they all were the perfect drivers in the storytelling of these characters. I grew up in and around the music business here and Emily has been a local now for most of her adult life. The songs are so important and it was critical that each character has their own voice. We hope that reflects in their performances. The music is mostly confessional and that takes on different tones through the women you meet in this show. 

RAPID FIRE WITH SAYRE’s MEMORY, TAMESHIA MARTIN

JHPENTERTAINMENT: Who is Memory to you?

TAMESHIA MARTIN: Memory is QUEEN MOTHER. She is the very reason that creation exists. She is a strong, fierce leader with a creative imagination that paints very vivid, detailed pictures of her life, as evidenced throughout the piece with her specific choice of vocabulary.

JHPENTERTAINMENT: Right from the get you not only have a rather lengthy monologue that starts the show, but you also perform SAYRE’s first musical number. Is there a particular piece of dialogue or lyric that you feel perfectly represents Memory?

TAMESHIA MARTIN: In the initial monologue, Memory states: “I am the unlikely mother of multitudes. I am a mystery within myself. Let me define that simply for you. I am my own. And where this is madness, there is magic!” That has to be THE MOST POWERFUL set of lines in the entire show for Memory. She admits to being who she is, flaws and all, DIFFERENT, a PERFECT IMPERFECTION! In other words, she let’s this world know that although I am a bit rough around the edges with some bruising and scarring if you will, that does not define my character. I AM GREAT. I AM WORTHY. I AM A PIECE OF ART. MY PAST DOES NOT DEFINE ME. I AM MAGICAL! POINT! BLANK! PERIOD! And that is not up for discussion or negotiation. 

JHPENTERTAINMENT: First monologue, first song…SAYRE also marks your first time to be part of a show mounted at Playhouse 615. What’s the experience been like thus far?

TAMESHIA MARTIN: This experience is very special to me. It has definitely challenged me in a great way, expanding my ability to character develop. I have played several characters throughout my career, but not one quite this robust and spicy! Thanks to Bel Stuart (one of the original authors of SAYRE and music director) and Abby Waddoups (the director of the show), for giving me free range to develop this character through my very on lens. 

JHPENTERTAINMENT: If you weren’t playing Memory, is there another character in Sayre that you’d like to tackle?

TAMESHIA MARTIN: Definitely Memory’s daughter, Mel. She is definitely her mother’s child. She is a representation of leadership, fire and strength as well, but from a little softer perspective. Mel not only holds her own life together, but she keeps the doors of Athena’s open and running after her mother’s death to help all the other women “hold their lives together” as well, in a very private space where they all come to hash out all the CRAZY that life has thrown them. That is an example of a kind human that cares about others……that’s pretty special to me.

JHPENTERTAINMENT: Memory is the original owner of the cafe, so I want to ask you about the set design and the immersive aspect of the show. Of course your thoughts on this might change once the show opens and the audiences fills those bistro tables, but for now…how do you think having members of the audience right there in the midst of the action might affect the energy of your performance?

TAMESHIA MARTIN: It will only enhance the performance. The audience will feel like an integral part of the open mic night, and that is the very point of Athena’s existence, for everyone to feel welcomed, wanted, included, and in a safe space. Drawing the audience into my world is going to be magical for them and myself. They will definitely leave Athena’s better than they came.

RAPID FIRE WITH SAYRE’s ECHO, MANDY MOON

JHPENTERTAINMENT: Who is Echo?

MANDY MOON: Echo, in mythology, is an Oread, a mountain nymph. The story of ECHO comes from Hera removing her “voice” due to her suspicions of ECHO consorting with Zeus. Her punishment from Hera was that she could only repeat, or echo, the last words spoken to her. In Sayre, Echo is a late 70s rock goddess (think Stevie Nicks/Ann Wilson energy), who co-hosts with Era at Athena’s. She is a singer-songwriter and a part of the coffee house artist community. She is nurturing, loving, and peaceful, but also lost, but in a beautiful way as an artist. Echo is everyone’s voice in Sayre and shares the stage with the cast throughout the show as a seasoned musician supporting her friends and community.

JHPENTERTAINMENT: Echo, as described in the character breakdown, is a singer/songwriter and host of the coffeehouse’s open mic night. As a singer/songwriter yourself in real life, the character seems to pretty much echo (pun fully intended) your own creative path. So I gotta ask, what are key similarities and differences in your on-stage persona in SAYRE and your own personality?

MANDY MOON: Sure. Haha yes, there was pure synchronicity when this part was offered to me in Sayre. I don’t think the production team knew I had experience hosting events, and open mics, and had done so in Nashville until after I accepted the role. Whether is was AAPI events, or events for charity or themed shows. That’s been a big part of my life as a musician and part of the Nashville music community. My real-world persona versus on-stage persona are close but far from each other. Echo and I are similar in how we see the world and want to be supportive of others and “hold space” in the best way for people to come as they are with their artistic expression. In my real-life persona, I do find myself much more sarcastic, dry, and unapologetic with how I show up as a woman and artist. It’s taken years to get here and find my voice. With Echo, while is an incredible musician, is still lost in that pursuit of who she is and how she shows up and speaks her truth. It brings me back to times when I questioned my values and who I was. I think Echo was the woman I was. We all were.

JHPENTERTAINMENT: As a singer/songwriter yourself, do you have a favorite musical moment in the show?

MANDY MOON: That’s so hard and without giving it away. 😉 I LOVE the sing-a-longs we do with our cast and hopefully at the show, with our audience! The end scene is extremely powerful and I don’t think Nashville is ready for this mic drop. 

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been in Nashville for a decade now. What do you see as the biggest misconception when folks learn that you’re a singer/songwriter in Music City?

MANDY MOON: That I play country music. haha, I play a lot of soul, r&b, and jazz. But honestly, I consider myself a very genre-fluid songwriter. Letting go of what I need to sound like, or be, has given me absolute creative freedom to write more authentically. That also includes stepping into projects that stretch my comfort zone. I love Nashville for always continuing to challenge me. I’m incredibly grateful to Bel, Emily, and Abby for entrusting me.

JHPENTERTAINMENT: The show is directed by Abby Waddoups. What’s one aspect of Abby’s directing style that you appreciate as a performer?

MANDY MOON: Abby allows us to work very organically and fluidly with our characters’ stories. She is open to change and how we have developed with our role(s). With it being the 1st edition of this production, it’s given us as actors so much runway to develop these characters versus something that already exists. That also includes developing these songs from literally demo inception and arranging parts for each cast member. 

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT EMILY DODSON

JHPENTERTAINMENT: When I chatted with Bel, I asked her what makes you a great fit as a co-writer, so I’ll ask you the same of her?

EMILY DODSON: We balance each other.  There was an instant authenticity and vulnerability to our relationship that is rare and I think we both knew we had to create together. Bel continues to set a fire under my ass and push me to let go of my tendency towards perfectionism. Co-writing isn’t for everyone and it isn’t always a good fit, but it helps when you find someone who truly sees your artistic genius and encourages you to let it free.  I think we do this for each other.  There’s a lot of competitive energy in this industry, which tends to smother creativity.  Bel and I don’t have that.  We encourage each other to allow our light to shine fully, without restraint or a need to diminish due to jealousy. It’s refreshing and I wish there was more of it in this world. 

JHPENTERTAINMENT: I also noted that the show was first produced back in 2019. What do you recall of the creative process of co-writing SAYRE?

EMILY DODSON:  It helped that it happened so organically, as if it had to happen and we were just vessels. The process was a bullet train and we were along for the ride, fast tracked, no stopping, and intent on the destination. The words came from our souls, tumbling out like water being released after being dammed too long.  It was our stories, taken from our lives or those we deeply loved. We had to tell them, there was no other alternative, especially with what was happening in our world.  

JHPENTERTAINMENT: Speaking of that 2019 debut, you not only co-wrote the script, but you also originated the role of Melpomene, the owner of the cafe. In this production, Mel is played by Emma Reinbold. Did you offer any advice to Emma as she takes the reins of the role?

EMILY DODSON: Actually, no. I offered support if she needed it, but I wanted Mel to be hers to mold. As a playwright, I write the words and then relinquish them to the director and cast. The actress side of me also considers this to be off limits.  Every production should be at least slightly different because every actor brings a different perspective to the character, otherwise the performance becomes stale. Trying to reproduce someone else’s portrayal has a tendency to lead to canned line readings and forced emotional responses, taking the performer out of being in the moment.  My training at The Atlantic Theatre Company at NYU really emphasized the importance of this and it has stuck with me.  Part of the creative process is finding your own personal connection with the character, making them yours, and having real moments with your scene partners. That’s what makes good theatre.  

JHPENTERTAINMENT: Having sadly missed that original production back in 2019, as I was preparing to chat with you all for this round of Rapid Fire 20Q, Robert Coles was kind enough to share with me the script. Before I even got into the story, I was immediately struck by the description of Athena’s the metaphysical coffee house that serves as the setting in which the action takes place. It’s described as “a welcoming older craftsman residence turned shop that encourages hours of conversations while surrounded by all manner of creative pursuit”. I think I spent a few hours in just such a place during my post-college years. While you’re originally from Virginia, you’ve called Nashville home for the past couple decades. So, I gotta ask…is Athena’s based on any real spot from Music City’s recent past?

EMILY DODSON: For me it’s a combo of places and times, during college it was mainly a coffee shop in the East Village of NYC called Alt Dot. I met many interesting folks there and it lent to a lot of good writing. When I moved to Nashville, I needed to find that space here. I stumbled across the original Bongo Java off of Belmont and it felt like home for me. I’ve been in East Nashville for most of my time in Nashville, not necessarily a coffee shop, but definitely a community vibe that nurtured me. During the creation of Sayre, we spent many an hour at High Garden (sadly lost to the tornado of 2020) and Retrograde.  I think all of them are represented in my version of Athena’s.

JHPENTERTAINMENT: What do you hope audiences take with them after a visit to Athena’s?

EMILY DODSON: That they are not alone in their experiences and feelings. Their power is still there and cannot be diminished or extinguished by someone else.  Your tribe is important. The most powerful thing you can do in life is to tell fear to go fuck itself because it will only keep you caged.  Take the leap, have the hard conversations, open your heart, let your genius shine, be bold and brave, and above all always remember that you….exactly as you are, with all your scars and bruises, are enough.  

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Brand Spankin’ New Theatre’s presentation of SAYRE opens Friday, February 28 and continues through Sunday, March 9 at Playhouse 615. Friday and Saturday performances are at 7:30pm with Sunday matinees beginning at 2:30pm. During the second week of the run, there is a Thursday evening 7:30pm performances in addition to the Friday thru Sunday schedule.

As the above conversations reveal, SAYRE is set in a coffeeshop. Adding an immersive aspect to the show, a limited number of bistro-style tables have been added to the seating configuration. Limited bistro seating for each performance is available for $40/ea with standard general admission seating priced at $25/ea. CLICK HERE for tickets. To keep up with the latest from BSN, CLICK HERE.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and starring Playhouse 615’s own Joel Meriwether, with shows March 21-April 6. CLICK HERE for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on 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 and movie offerings, follow us on Facebook, Insta and X.

Filed Under: 2025, Entertainment, Interview, nashville, Nashville Theatre, Rapid Fire, Rapid Fire 20 Q, Rapid Fire Q&A Tagged With: 2025, Brand Spankin New Theatre, Interview, Nashville Theatre, Rapid Fire 20 Q, SAYRE

Rapid Fire Q&A with Director and Cast of Reimagining of Martin Luther King Jr.’s last night, ‘The Mountaintop’; at Nashville Rep through February 23

February 21, 2025 by Jonathan

Nashville Repertory Theatre‘s current offering, The Mountaintop, written by Katori Hall presents a fictional, yet thought-provoking representation of what Dr. Martin Luther King‘s last night of earth might have been like. Directed for Nashville Rep by Alicia Haymer, the two-person play (now onstage at TPAC‘s Johnson Theatre through Sunday, February 23), stars Rashad Rayford as Dr. King and Tamiko Robinson Steele as Camae, a motel maid, who thanks to Hall’s clever script, gets a suprisingly personal one-on-one chance meeting with the history-making Civil Rights leader. The entirety of the action of The Mountaintop takes place in room 306 of Memphis’ now-infamous Lorraine Motel on the evening of April 3, 1968, the night before Dr. King’s assassination.  Last week, as cast and crew prepared to open the show, I had the honor of chatting with director and both stars for my latest Rapid Fire Q&A. What follow are those conversations.

RAPID FIRE Q&A WITH DIRECTOR AND CAST OF NASHVILLE REP’s THE MOUNTAINTOP

RAPID FIRE Q&A WITH THE MOUNTAINTOP DIRECTOR, ALICIA HAYMER

JHPENTERTAINMENT: As The Mountaintop director, what do audiences need to know going in?

ALICIA HAYMER: Whatever you’re expecting, this isn’t it. We often see the larger than life Dr King persona, but this is a reimagining of the man. 

JHPENTERTAINMENT: In preparation of chatting with you and your cast, I read the script since I’ve never seen a production of The Mountaintop. I was immediately stuck by how playwright Katori Hall’s fictionalize account of Dr. King’s last night humanizes him. Is that humanization of the icon part of what drew you to this particular project?

ALICIA HAYMER: Absolutely. Katori Hall approached this idea in such a unique way. I couldn’t pass up the opportunity to tell this story, and work with my dear friends Rashad and Tamiko.

JHPENTERTAINMENT: Speaking of the script, early on when Dr. King and Camae comment on the rain, Camae simply remarks, “God ain’t gonna stop crying no time soon”. That line really hit me. Do you have a favorite line in the show?

ALICIA HAYMER: Yes! “Take the baton and pass, pass, pass it along!” We must all continue to do the work necessary to move our society forward.

JHPENTERTAINMENT: When directing a two-person play as opposed to a larger cast, how important is blocking/staging, and how have you addressed it with The Mountaintop?

ALICIA HAYMER: It’s much easier with two actors. The important thing about blocking is that it feels organic and authentic. I don’t want two robots on stage, but two people living and moving truthfully in the moment. 

JHPENTERTAINMENT: I’m about to chat with your two actors, so I’d like to ask you…what is is about Rashad Rayford’s performances as Dr. King and Tamiko Robinson Steele’s turn as Camae that you hope audiences take note of most?

ALICIA HAYMER: Rashad has done extensive research to bring Dr. King to life in this unique way. I hope audiences resonate with the spirit of Dr. King that he invokes in his own authentic way. As for Tamiko, she is so brilliant, and brings such light and earnestness to Camae. I hope audiences see that any person, no matter how insignificant they believe themselves to be, can do extraordinary things. 

RAPID FIRE Q&A WITH RASHAD RAYFORD, DR. MARTIN LUTHER KING, JR. IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, I need a little clarity to start…Your show bio indicates that The Mountaintop marks your Rep debut, but didn’t you appear in a 2012 staged reading of A Behanding in Spokane with The Rep?

RASHAD RAYFORD: I did the staged reading for A Behanding in Spokane. You are correct. This will be my mainstage debut.

JHPENTERTAINMENT: It’s not your first time playing the role of Dr. King in The Mountaintop, having appeared as the legendary Civil Rights leader in the regional premiere back in 2012. In the years since you first stepped into the role, have you discovered nuances in the role that you’re bringing to this performance?

RASHAD RAYFORD: Definitely, I’ve grown as a person, I was newly married, with no children back then. My wife and I now have four children, and 13 years of marriage and life experiences under my belt. There are so many differences between now and then. It’s been great to discover new things along the way this time.

JHPENTERTAINMENT: This show also serves as a bit of an on-stage reunion with your costar, Tamiko Robinson Steele, having shared the stage with her in The Piano Lesson, Never Been Home and 70% More (and a few film projects if my research serves me well). I have been enthralled by Tamiko from the first time I saw her on stage. She is truly a gift to Nashville’s theatre community. What is is about Tamiko’s talent that makes her the ideal scene partner?

RASHAD RAYFORD: I’ve known Tamiko for almost twenty years now and she is truly family. She is the consummate professional, and her work ethic and dedication are inspiring. We have this great ability to play off of each other and energize each other onstage.  I always enjoy sharing the stage with actors who “get it”. The depths of her character development and  understanding nuance. It’s a pleasure to watch her work. 

JHPENTERTAINMENT: You’ve also shared the stage with your director, Alicia Haymer. As a director, how has she helped bring out your best performances in this show?

RASHAD RAYFORD: This is the first time Alicia has directed me, and I’ve appreciated her approach. She allows us to make decisions, but she also has enhanced what we’re doing, and pushed us to go further and get uncomfortable so that we could find comfort. She is a great director. It’s been an awesome experience. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen The Mountaintop?

RASHAD RAYFORD: I hope audiences walk away knowing that they are enough. Wherever they are in their journey, they can get to The Mountaintop and they can also help others get there too.

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, CAMAE IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, just to begin…When I saw that you were playing Camae in The Rep’s The Mountaintop, I was so excited. I mean…you gotta know you’re among what I’ve always referred to as my ‘theatre crushes’. Who is Camae to you?

TAMIKO ROBINSON STEELE: First of all, I love that I’m on your ‘theatre crush’ list…I’ll take that honor! Camae, to me, is lightning in a bottle. She’s quick-witted, sharp as a blade, and carries a presence that is impossible to ignore. But beyond the humor and fire, she’s a mirror and a reckoning. She forces Dr. King, and the audience, to see him as more than just an icon, but a man with fears, flaws, and a fate he can’t outrun. Playing her is like stepping into a storm and a sermon at the same time, she is divine mischief, raw truth, and boundless energy wrapped in one unforgettable woman.

JHPENTERTAINMENT: As I mentioned to Alicia, prior to chatting with you all, I read the script as I was only vaguely familiar with the work. I love Camae’s spiritedness. Is that part of what drew you to this role?

TAMIKO ROBINSON STEELE: Absolutely! Camae is spirit and spark. She’s unpredictable, she flips the energy in the room on its head, and she refuses to be boxed in by expectation. But what truly drew me to her is what’s underneath all that fire, her purpose. She is sent for a reason, and watching her navigate that tension between her humor and her mission, between being in awe of Dr. King and challenging him, makes her one of the most deliciously layered roles I’ve ever stepped into. It’s exhilarating to play someone who gets to challenge history itself while still keeping you laughing, questioning, and on the edge of your seat.

JHPENTERTAINMENT: Before opening weekend, The Rep shared a sneak peek at the set designed by Gary C. Hoff. Is there an aspect of the set or a piece that the audience might miss that you find particularly interesting?

TAMIKO ROBINSON STEELE: Oh, that Gary C. Hoff! His sets always transport you somewhere.  One thing I love is how the small details ground you in the time period—from the textures to how they may shift when the light hits it, it’s like stepping into 1968 itself. But there’s also a subtle unease in the space, a feeling that something bigger is at play. I won’t spoil too much, but let’s just say this set has a way of shifting right when you least expect it, much like the story itself.

JHPENTERTAINMENT: When I spoke with Rashad Rayford, I noted that you two have shared the stage a handful of times in the past. This show also reunites you with director Alicia Haymer, who directed you in Nashville Rep’s School Girls; or The African Mean Girls Play. Is there a bit of advice or direction that Alicia has offered that opened up a new perspective of Camae to you?

TAMIKO ROBINSON STEELE: Rashad and Alicia are family to me. I can’t express how much knowing that the three of us would build this world together excited me! Alicia has this incredible way of finding the heart inside every scene. One thing she pushed me to do was to honor the stillness in moments because Camae is such an electric presence, it’s easy to play into the fast-talking, sharp-witted firecracker side of her. But Alicia reminded me that Camae doesn’t just disrupt, she listens, she absorbs, she knows exactly when to hold back and when to strike. That balance is what makes her so powerful. Working with Alicia again has been a gift, because she trusts her actors while also making sure every choice we make serves the story in a real and honest way.

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

TAMIKO ROBINSON STEELE: Because it’s not just a play, it’s an experience. It takes one of the most monumental figures in history and lets you see him as a man, tired, flawed, afraid, funny, hopeful, real. It makes you laugh, think, and wrestle with what it means to carry the weight of change. And then, just when you think you know where it’s going, it flips everything on its head.

This play is urgent, intimate, and unforgettable. It reminds us that history isn’t just something we look back on, it’s something we’re still shaping, right now. So if you come to see The Mountaintop, be prepared. You’ll leave differently than when you walked in.

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Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.
Next up at Nashville Rep, it’s Sondheim‘s Sunday in the Park with George, with performances April 4-13. Sunday will be directed by Jason Spelbring, with musical direction by Steve Kummer. In the roles of Georges Seraut and George it’s London West End favorite, Irish actor, David Shannon (Les Miserables, The Phantom of the Opera, Sweeney Todd). Just announced, the cast will also feature Christine Dwyer (Broadway‘s Wicked, National Tours of Waitress, Finding Neverland, RENT). Dwyer will take on the roles of Dot and Marie. The cast also includes Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Richard Harrison Jr. as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise.  CLICK HERE for tickets.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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Filed Under: 2025, Entertainment, Rapid Fire 20 Q, Rapid Fire Q&A, Theare Tagged With: 2025, Alicia Haymer, Black History Month, Interview, Katori Hall, Live Performance, live theatre, Nashville Rep, Nashville Repertory Theatre, Nashville Theatre, Q&A, Rapid Fire, Rapid Fire 20 Q, Rapid Fire Q&A, Rayshad Rayford, Tamiko Robinson Steele, The Mountaintop, Theatre, TPAC

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