With a string of beloved Broadway classics to his name, Stephen Sondheim’s COMPANY remains a standout for its wit, insight, and unmistakable score. Featuring a talented cast of Nashville-area performers, the upcoming Keeton Dinner Theatre staging of the Tony-winning musical opens Friday, June 13 and continues through Sunday, June 29. With a production that promises to bring Sondheim’s complex characters and timeless themes to vibrant life, in anticipation of opening night, I recently caught up with the show’s music director and members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are our conversations.
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RAPID FIRE 20Q WITH MUSIC DIRECTOR AND CAST OF THE KEETON’s COMPANY
RAPID FIRE WITH COMPANY MUSIC DIRECTOR, ROGER HUTSON
JHPENTERTAINMENT: When I spoke with The Keeton’s Donna Driver about setting up these interviews, she noted that the score of Company is quite complex. What have been the biggest musical challenges in bringing Company to life at The Keeton Theatre?
ROGER HUTSON: Donna is right! When I signed on to music-direct this show, I was a bit intimidated. Stephen Sondheim’s musicals are legendary for their unexpected chordal intervals, heavy use of dissonance to create tension for resolution, harmonic chromaticism, varying meters in atypical patterns and several other unique elements that can make his music challenging to teach and perform. And these nuances apply to both vocals and pit orchestration. The beauty of Sondheim musicals is WITHIN the complexity, not because of it. So, I made sure that our cast learned each part as written. Some numbers were more challenging than others. I recorded our own rehearsal tracks on especially tricky, layered vocal segments with a glockenspiel to play each of their notes, line by line, so they could rehearse and hear where their part hit in relation to everyone else’s descants and harmonies. And a simple process, too…repetition! Some parts just require muscle memory vs. trying to find a diatonic reference point.
JHPENTERTAINMENT: The Keeton’s musical productions always feature a stellar group of musicians in the pit. Who do you have working alongside you providing the live music for COMPANY?
ROGER HUTSON: I am honored to have a great group of musicians to call on for each show I music direct. For this production, we have Matt Love (drums, aux perc), Jimmy Ownby (trumpet, bass trombone), Dillon Wright (piccolo, flute, alto flute, clarinet, alto saxophone), Mike Capadais (electric and upright bass), Brandon Salaway (acoustic & electric guitar, banjitar) and me on piano. These guys are brilliantly intuitive and adaptive players and cover multiple instruments like crazy! We also have Steven Love, our amazing Sound Director, insuring a proper balanced sound for not only the audience, but for the cast for full instrumental support for peak vocal performance. I have also created some backing and click tracks to add strings and a few other instruments that we don’t have live. They kind of “sit in the middle” of the overall mix to accent and add texture to certain numbers.
JHPENTERTAINMENT: As musical director, how do you approach balancing the demands of Sondheim’s intricate score with the vocal strengths of a community theater cast?
ROGER HUTSON: Our fantastic director, Clay Hillwig, acknowledged with me before auditions were even held that one of the biggest casting factors would be vocal range, vocal ability and musical prowess. We had an extremely talented group of actors come out for COMPANY auditions. For certain roles, I had to really dial-in to their vocal ranges, where their registers transitioned, tone, etc. to ensure the music would be performed accurately and with proper tonality. And I’m very pleased to say that this cast exceeded all my expectations on the vocal demands of this production. Their perseverance to get it right was and is non-stop.
JHPENTERTAINMENT: During the rehearsal process, was there a moment the the cast truly clicked with the music—when you felt the spirit of the show truly come alive?
ROGER HUTSON: Oh gosh. This cast bonded right out of the gate and was near-instantly cohesive. But in the beginning, we teach in segments; music first, then layer in choreography, followed by blocking. It was either our first or second stumble-through, I had recorded a scratch piano track on the backing/click track of the big opener, Company. So instead of having to play piano for them to sing/dance, I was able to be on stage with them, with my handy iPad, listening and coaching the cast through the entire song, and the many changes in meter and multiple descants. And they were off book already with the music! I was blown away with their obvious self-rehearsal time they had each put in to start the show with such an explosive number. Clay had told them that this opener sets the tone for the entire show….and it does! And man, did they show up and show out! Yes, it was still a stumble through with little things to fix. But that’s when I knew they understood the assignment and would deliver in a great way! I am humbled and honored to work with this entire cast, crew and production team.
RAPID FIRE WITH COMPANY’s JOANNE, DONNA DRIVER
JHPENTERTAINMENT: You indicate in your bio that Joanne is a bucket list role. Played by many legendary actress in COMPANY’s storied history, Joanne is certainly a crowd favorite. What’s it been like to bring your own style to the iconic character?
DONNA DRIVER: I feel like most musical theatre actresses of a certain age have their hearts set on this juicy role. I have to admit that all the ladies in the callback room with me were all formidable talents, and each had their own take on the character. Joanne is a complicated lady. She’s friends with this young man, Bobby, but she’s also so guarded, bitter and judgmental toward everyone else. She’s been wounded somewhere along the way and wears it like armor. However, I wanted to steer away from making her too depressed or angry and focus more on why she and Bobby get along. What do they have in common? Why DOES she only drink like this with him? And how does she think she can help him not turn out full of regrets like her?
JHPENTERTAINMENT:Sondheim’s material can be both vocally and emotionally demanding. What’s been your biggest challenge performing his work for this production?
DONNA DRIVER: The speed of these songs and getting my aging brain to remember what I need to sing at the tempo it needs to come out. And all those “Bobby”, “Robby”, “Robby love” lines that are never the same. I’m in awe of Kelsey Keny who gets all those lyrics for Getting Marred Today out with such ease. I don’t know how she does it.
JHPENTERTAINMENT: How has working with director Clay Hillwig and music director Roger Hutson shaped your interpretation of Joanne for The Keeton’s Company?
DONNA DRIVER: Clay is so wonderful at encouraging us to try things and cheering us on when they work. He’s offered great bits for me to add here and there that I love. Most of all, though, he’s allowed me to bring a more playful, sassy side to Joanne and not keep her dark and edgy the whole time. Roger has been great at keeping me on track with my rhythms (not my strongest point) and working with me on getting my two songs at tempos that serve the score and my acting choices. Both men are so kind.
JHPENTERTAINMENT: The title of the show is COMPANY, so I gotta ask…does this company of COMPANY stand up to the task at hand?
DONNA DRIVER: The company I’m keeping is astonishing. I’m honored to be among them. We have a couple familiar Keeton faces, but most of the cast members are new to us, or haven’t been on our stage in a while. They each bring so much to their characters. Tommy Anglim, as Bobby, is so talented and believable, with this incredible voice, and he’s as humble as could be. I’ve loved getting to work opposite Elliott Winston Robinson who has been a friend of mine for over 15 years. We’re having a blast. Our production team is also terrific, and the set by Kevin, my real life husband, is pretty cool.
RAPID FIRE WITH COMPANY’s LARRY, ELLIOTT WINSTON ROBINSON
JHPENTERTAINMENT: Larry is often thought of as the calm, steady presence in COMPANY, especially in contrast to his wife, Joanne, played in The Keeton’s production by Donna Driver. Meanwhile you are one of the Nashville Theatre communities most beloved actors. How did you approach bringing depth and nuance to a role that can often be overshadowed by his on-stage counterparts?
ELLIOTT WINSTON ROBINSON: Larry is quite the calming presence, the older (definitely) and wiser (maybe?) friend that you can lean on sometimes; the one that might not give you the greatest advice, but will always be straight and honest with you. I often feel that way in the dressing room, being so often one of the oldest cast members; ever encouraging to my cast mates, there is some real life Larry in me. As far as being overshadowed on stage, I believe that every role in a story is important, so I don’t feel diminished in any way. Besides, Larry has the perfect demeanor, the calming presence, to deal with Joanne, who overshadows everybody on stage when she’s having her moments! LOL
JHPENTERTAINMENT: As is often the case with supporting roles, especially when crafted by the legend himself, Sondheim, there’s frequently more going on below the surface. To that end, what did you discover about Larry during the rehearsal process that you decided to incorporate (even if only mentally) to your portrayal?
ELLIOTT WINSTON ROBINSON: I think Larry has fallen quite well into his role of “trophy husband.” Opposites attract, they say; Joanne needs Larry to offset her directness, her lack of filter, even if sometime she says things he wishes he could say. Larry is the one who buoys her up, because she doesn’t have the greatest level of self-esteem (he even mentions that the one time you really get to hear Larry speak). They complement each other very well. There are some similarities between them and my grandparents (though my grandmother was not a drunk): the outspoken lady, out front as the face of the relationship, while hubby stays steady, stoic, and smoothly makes things happen behind the scenes.
JHPENTERTAINMENT: One of Sondheim’s most iconic works, What does being part of COMPANY mean to you, and how does this production feel uniquely Nashville?
ELLIOTT WINSTON ROBINSON: This is my first Sondheim show, and his musical genius is reflected throughout. It has been a good challenge to learn his music, for example, dealing with some of the time signature/tempo/key changes he likes to make, but overall there is some really beautiful stuff in here. I think being able to put on shows like this reflects well on the level of talent in our city, and the willingness of spaces like The Keeton to sometimes stretch themselves away from the usual classics people would expect to see there.
JHPENTERTAINMENT: Is there a musical moment in COMPANY, whether yours or that of one of your co-stars, that you truly enjoy night after. night?
ELLIOTT WINSTON ROBINSON: Plenty of them! For my character, it has to be Sorry-Grateful, the brief trio part with my fellow husbands, played by Zach Williams and Barrett Thomas. Have I Got a Girl for You is simply hilarious with all the guys. I absolutely love Getting Married Today; I have great admiration for the physical feat of saying all those words; I can’t even read along fast enough to keep up with Kelsey! The girlfriends are awesome on You Could Drive a Person Crazy, and the group numbers are all fun because we have a bunch of great singers up there. The Ladies Who Lunch, of course (Donna is killing it); and don’t forget Bobby’s songs, especially Being Alive. That’s been a theatre fave of mine long before I ever imagined I’d have an opportunity to do this show, and I think Tommy is doing a really fantastic job with it. I could say something about just about every moment; I love the variety of styles Sondheim plays with!
RAPID FIRE WITH COMPANY’s APRIL, SYDNEY ROGERS
JHPENTERTAINMENT: Keeton audience will remember you for your emotionally charged portrayal of The Mistress in their production of EVITA. Now you’re playing the comedic and quirky April in The Keeton’s COMPANY. How much fun are you having navigating that shift in tone and character for this show?
SYDNEY ROGERS: Oh, it has been an enjoyably challenging experience! Shifting out of that fragile and vulnerable state, into the quirkiness of April’s character, I’ve had the opportunity to grow outside of my comfort zone a bit. April is such a fun role to play! She’s an odd and ditzy New York-based flight attendant who really falls for Bobby, but, not unlike the Mistress, has a naivety and innocence about her as well.
JHPENTERTAINMENT: When I interviewed Elliott about playing Larry, I noted that Sondheim’s characters are often multi-layered. April is a prime example. On the surface she comes across as lighthearted, but she’s also one of Bobby’s most memorable and layered relationships. What do you find most compelling about her, and how have you made the role your own?
SYDNEY ROGERS: I’ll be honest – it took some time for me to feel like I fully understood April. She appears and claims to be “dumb”, but she’s actually quite smart in her own reality. What I love most about her is that she’s a dreamer. April may have her head in the clouds at times, but she appreciates the small things and always means well. I hope to bring a sweetness to April that makes the audience root for her and Bobby.
JHPENTERTAINMENT: Your bio reveals that your ‘day job’ involves working as a royalties analyst at Warner Music Group. A former WB Nashville creative drone myself, I gotta ask. What’s the biggest misconception when people hear your ‘in the music business’? AND…just for fun, do you think April could do your job?
SYDNEY ROGERS: What a fun question! I think a lot of people believe that the music industry is all glitz and glamour, and forget that there are so many cogs in the machine that make it function the way it does. Analytical and administrative sectors of the business may not be glamorous, but they are critical. Do I think that April could do it? Whew. I think that April would be enamored with the idea of working in the music industry, but I don’t think anyone would want her handling the finances!
JHPENTERTAINMENT: What has it meant to be back onstage at The Keeton and how has this stretch from the seriousness of EVITA to the comedic fun of COMPANY helped you grow as a performer in the Nashville theatre community?
SYDNEY ROGERS: I’m thrilled to be back on the Keeton stage and working with this wonderful community. Usually, I tend to gravitate toward shows with a dramatic storyline or some sort of heaviness. It’s rare that I’m a part of something so upbeat. But that’s the beauty of COMPANY – in between all of the lightheartedness and hilarious moments, there is a deeper theme and message found in Bobby’s journey.
RAPID FIRE WITH COMPANY’s BOBBY, TOMMY ANGLIM
JHPENTERTAINMENT: How would you describe Bobby and how have you personally connected with him?
TOMMY ANGLIM: I think Bobby is the kind of person everyone has either been, is currently, or knows well. He’s single and simultaneously craves and fears intimacy. At the start of the show, he’s settled into a comfortable, almost passive existence. He is surrounded by his married friends but unable (or subconsciously unwilling) to pursue a deeper connection of his own. He’s getting pressure to settle down, but he also starts to see the cracks in his friends’ relationships, realizing that none of them embody the ideal he’s been chasing.
Personally, I’ve found a lot of parallels between Bobby’s journey and moments in my own life when I’ve observed others’ relationships and used that lens to evaluate my own. Stepping into Bobby’s shoes has helped me reflect more deeply on my own patterns and what connection really means to me.
JHPENTERTAINMENT: What’s been most challenging about stepping into Bobby’s shoes?
TOMMY ANGLIM: With Bobby, the old cliché “acting is reacting” is especially true. He’s the central figure of the show and appears in every scene, yet he’s more of an observer than an active participant. Much of the challenge lies in conveying his inner life while he’s quietly processing what others are saying and doing around him. Because of this, I’ve worked to focus on balancing subtle shifts (how he hears his friends, how he interprets their relationships, and how that reflects on his own beliefs about connection and commitment) with the larger caricature style acting that exists naturally in staged comedies such as this one. On the flip side, it’s easy to get lost in his passivity and start to feel the same isolation he does—even while surrounded by people who love him.
JHPENTERTAINMENT: As Bobby, you take on one of Sondheim’s most beloved and iconic numbers, Being Alive. How did you approach preparing for the number and what has the rehearsal process taught you about Bobby’s journey?
TOMMY ANGLIM: Being Alive was one of the first songs I ever heard from COMPANY, so I have been singing it to myself for years. I’ve always admired it, but now getting to bring it to life on stage, I’ve come to appreciate it on a much deeper level. The number is both a culmination of everything Bobby has learned and a turning point where he finally confesses and confronts his own loneliness. He’s spent the show analyzing his friends, but in this moment, he finally turns the mirror on himself. Our director, Clay Hillwig, has been instrumental in guiding me to that emotional breaking point—helping me find the vulnerability and urgency the song demands. It’s a huge emotional lift, and we spent a lot of time working to make that arc as raw and honest as possible.
JHPENTERTAINMENT: First presented on Broadway in 1970’s the themes of COMPANY include thoughts on commitment, loneliness and connection…still so relevant today. How do you think audiences will relate to Bobby’s story in 2025 and what do you hope audiences take with them after having seen The Keeton’s production?
TOMMY ANGLIM: Each scene in COMPANY is a deceptively simple vignette (i.e. a dinner party, a walk in the park, a night out), but within those everyday moments are deep, emotional truths about how we connect and conflict with each other. Our Keeton production places this story in the present day, and I think that’s a powerful reminder that these themes haven’t changed. I believe that audience members’ takeaways will vary depending on where they are in their own lives. We’ve talked about Being Alive, and I think what’s so impactful about the end of the show is that it doesn’t tie everything up in a bow. I know that some audiences have historically found this ending unsatisfying, but I think it ends with a challenge for audiences to reflect. The final moment of residual tension comes from a hopeful uncertainty. I hope audiences leave feeling seen and inspired to be more present in their own relationships. Ultimately, I hope some audience members find this show to be a little vignette in their journey of growth, as it has been in mine.
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The Keeton’s COMPANY opens Friday, June 13 and continues through Sunday, June 29 with with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight upcharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.
COMPANY closes The Keeton’s 2024-2025 Season, but not to worry, The Keeton’s 2025-2026 Season kicks off almost immediately with RAGTIME: THE MUSICAL on stage August 15-31. The Keeton’s new season also includes the regional premiere of LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, SHE LOVES ME, BIG FISH, THE PLAY THAT GOES WRONG and STATE FAIR! Season Tickets are available now. CLICK HERE for details.
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