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Daniel Vincent

Rapid Fire Q&A with Aristophanes’ Lysistrata co-director and lead actors; at Playhouse 615 January 31-February 16

February 7, 2025 by Jonathan

Originally written in 411BC, Aristophanes’ Lysistrata tells the tale of the women of Greece attempting to end the Peloponnesian war by using arguably the most powerful weapon of all…sex. The effort is spearheaded by Lysistrata, a woman who’s grown tired of the failures of men running things. While considered one of the most well-known Greek plays ever written, Lysistrata isn’t exactly among the most-performed plays in today’s theatre world.

That said, leave it to Playhouse 615 to present it. Once again veering from the typical musical of the moment or guaranteed asses in seats retread of shows everyone in town is doing, Playhouse 615 is currently presenting Lysistrata as adapted by playwright Robert Coles, whose original play, Aunt Sally’s Wild Ride, recently debut at Playhouse 615.

As the cast and crew readied for week two of their three week run, I recently had the chance to chat up cast members Abby Waddoups and Daniel Vincent, the aforementioned playwright, Robert Coles, and director, Diane Bearden-Enright for the latest installment of my recurring interview feature Rapid Fire 20Q. What follows are those conversations:

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Rapid Fire 20Q with playwright, director and leads of Playhouse 615’s new adaptation of Aristophanes’ Lysistrata

Rapid Fire with Lysistrata lead, Abby Waddoups

JHPENTERTAINMENT: For the uninitiated, who is Lysistrata and what can you tell me about the plot?

ABBY WADDOUPS: Lysistrata is a comedy from Ancient Greece written by Aristophanes. Basically, the women want to end a decade long war and bring the men home safely for the good of the whole city of Athens and their families. The main way they go about this is by withholding from their husbands. Well, Lysistrata persuades all women in Greece to withhold those privileges and wait for the men to negotiate peace. It’s a battle of the sexes, Hilarity ensues…

JHPENTERTAINMENT: Not gonna lie, I vaguely remember scanning the Cliff Notes for Aristophanes’ Lysistrata for some lit or theatre class back in my college years, but beyond that, I never saw a production or read the full script. How familiar were you with the piece prior to auditioning

ABBY WADDOUPS: I was a theatre major, so I had read it in college. It’s a pretty memorable plot and character… but I am convinced the only people familiar with Lysistrata today were either theatre majors or a student of classic literature. Other than in my research, I hadn’t stumbled across another production of Lysistrata to see live, so it’s rare. 

JHPENTERTAINMENT: What was it about this role that prompted you to audition? AND…did you come into the auditions with Lysistrata and only Lysistrata in mind to play?

ABBY WADDOUPS: I don’t usually hold out for lead roles when auditioning. I trust the director’s vision with who else auditions and I have played plenty of secondary roles in my time – But I thought I had a good chance for Lysistrata. I am truly honored to play this fierce woman, a leader and a force to be reckoned with. 

JHPENTERTAINMENT: In researching to chat with you all about the show, I fell down a video rabbit hole of various interpretations and productions of Lysistrata. Some seemingly very faithful to Aristophanes’ original antiquated ideals and some, more modern takes. Where does this one fall as adapted by Robert Coles?

ABBY WADDOUPS: Robby did an amazing job adapting this! As advertised, it is a modern take on a classic, with plenty of laughs, witty bits, but the language holds true to the intent and Lysistrata is one of the only serious characters, a stark contrast from the others. This take was adapted for the Playhouse stage and our middle TN audience, pushing the envelope just enough, but not as raunchy or in your face as other interpretations of it. 

JHPENTERTAINMENT: Speaking of Robert, you shared the stage him in Playhouse 615’s Sordid Lives, and you and Lysistrata director Diane Bearden-Enright appeared alongside each other in their recent production of The Sugar Bean Sisters. Is there an ease or advantage of having shared the stage with the two of them, now that they’re directing you in this show?

ABBY WADDOUPS: Diane and I have worked on several shows together and in different capacities over the past few years. We first met at Playhouse 615 in Steel Magnolias in 2021. Robby and I haven’t known each other but a few months, though it feels longer and we did get close with Sordid Lives. I love working with both of them and am so happy we all get to work together again on Lysistrata! There is definitely an ease and built in trust working with people again who have become friends. Playhouse 615 in general is a wonderful venue and like being a part of a family, which is why so many of us keep returning. In addition to a few familiar faces, we have several new cast members in Lysistrata who you must see! It’s clear there is some magic at Playhouse and people feel comfortable to explore and play and bring engaging, intimate theatre to the greater Nashville area.

Rapid Fire with Lysistrata’s Magistrate, Daniel Vincent

JHPENTERTAINMENT: Who is Magistrate to you?

DANIEL VINCENT: He’s lawful good. He sees the issues and does sympathize with Lysistrata’s plight, but rules, traditions, and politics get in his way. Order must be maintained.

 JHPENTERTAINMENT: How excited are you to be back onstage after quite some time behind the scenes?

DANIEL VINCENT: I’m having a lot of fun with this cast. At first, I was only signed on to build the set, but Diane and Robby persuaded me to audition and I’m very glad they did. It feels great to re-engage the actor in me after wearing so many other hats this past year.

 JHPENTERTAINMENT: A quick peek at your bio reveals even though you’ve been an integral part of Nashville’s theatre community for nearly three decades, this adaptation of Lysistrata marks your first time appearing in a Greek classic. What took you so long?

DANIEL VINCENT: Well, to my knowledge there aren’t a lot of Greek classics being mounted around Nashville, but in fairness, I’ve never sought them out. Modern plays and musicals have always kept me very busy. I’ve always enjoyed reading plays by Aristophanes, Euripides, Aeschylus, and others, particularly the tragedies, but the opportunity to perform one never really presented itself.

 JHPENTERTAINMENT: Robert Coles, who adapted this version of the show, was kind enough to allow me to peruse the script in preparation of my conversations with you and others involved in the show. There are some truly hilarious moments therein. Even if it’s totally out of context for this interview, do you have a favorite line or scene you could share?

DANIEL VINCENT: There are so many hilarious moments in the show, but my favorite scene has to be one with Lysistrata (Abby Waddoups). She and I are trying to convince the other in what I would call “a dance of persuasion”. In the one conversation we go back and forth, constantly shifting tactics from blatant, full contact seduction to posturing to threats and everything in between. It goes from steamy to hilarious and back, turning on a dime.

 JHPENTERTAINMENT: What is it about Lysistrata, this version in particular, that you hope will resonate with audiences?

DANIEL VINCENT: I’m hoping people will see that as far as we’ve come in the 2400 years since this was written, we haven’t really gotten very far. The issues are still relevant and relatable. The struggle for power and having a voice, sexual politics, and the needs inherent in being human haven’t changed all that much.

Rapid Fire with Lysistrata adapter and co-director, Robert Coles

JHPENTERTAINMENT: While researching to chat with you, I’ve found several articles about Aristophanes’ Lysistrata indicating that over the years, the tone has changed from his original intent to mock women and their roles as sexual property. Does your adaptation address/alter this original concept?

ROBERT COLES: We live in a society that already mocks women enough. My goal with this adaptation was to put the power back with the women and showcase how important women are to society. In the script, the story does place a lot of emphasis on a woman’s place at home as a caretaker, but there are subtle (and some not so subtle) nods to how this is an outdated system and women deserve equal rights. I feel this argument is more powerful and timely than ever. 

JHPENTERTAINMENT: I gotta ask…why revisit this particular piece rather than just present a standard production of the original or write a new work altogether?

ROBERT COLES: I’ve always wanted to adapt a piece. I’ve never done an adaptation before, and when Diane approached me to write this, I dove all in. I read probably 15 different adaptations, as well as one that almost follows the original to the word, and I realized I wanted to do something new. We very much honor the original Greek text and language styles, but we’ve brought it to a more modern context to give audiences a fresh take. As for writing a new work, I’ve always got one up my sleeve! This was just a particularly fun challenge for me as a writer. 

JHPENTERTAINMENT: In adapting this play, you added scenes/characters that weren’t present in Aristophanes’ original, right?

ROBERT COLES: Yes! That’s the fun with adaptations! You get to play fast and loose with the original. Diane wanted a script that was funny and heartfelt and showcased powerful women. In building that world, I had to add in a few scenes to weave the story together and take it out of the original context. Additionally, we had so many amazingly talented actors come out an audition for this that we really decided at the last minute to expand the original draft of the script and incorporate a larger men’s and women’s chorus. We kept with the traditional Greek theatre style of synchronized speech, but incorporated some theatre of the absurd styles that I love so much as a director. This cast, with Diane’s expert leadership, has really embraced the absurdity. I laugh every night at something new!

JHPENTERTAINMENT: Lysistrata is just the latest in your on-going relationship with Playhouse 615 having appeared in their recent production of Sordid Lives, and having written their premiere engagement of your southern comedy, Aunt Sally’s Wild Ride. Full disclosure, you’re also the company’s marketing guru and a board member. What is it about Playhouse 615 that has drawn you in?

ROBERT COLES: I could talk for days about the magic that happens at Playhouse 615. I’ve never felt more loved, accepted, and understood. Playhouse 615’s Joel Meriwether and Ann Street-Kavanagh have built a safe space for actors, writers, and creators to do what they do best. When you add in the board of directors and host of volunteers that come together eight times a year to put on superior productions that keep our audiences coming back for more, you have a recipe for something really, really special. At Playhouse, the stage is so close to the audience that you feel like you get to know them intimately, and I love that. 

JHPENTERTAINMENT: Not only have you adapted this piece, but you’re also serving as this production’s co-director, alongside the show’s primary director, Diane Bearden-Enright. I’m about to chat with Diane, so I’ll wrap out chat by asking what it is about Diane’s style of directing that ensures your adaptation will be presented in a way that will honor your words?

ROBERT COLES: Diane is a visionary director. She comes in with a concept and knows what she wants, and won’t stop until she gets it! I love working with people like that. She comes to every rehearsal prepared and makes the cast feel like they’re part of the process and building the world together. I’ve learned so much watching her. As a playwright, it’s important to have trust in the director bringing your work to life for the first time, and I trust Diane completely. 

Rapid Fire with Lysistrata director, Diane Bearden-Enright

JHPENTERTAINMENT: What was it about this project that piqued your interest as a director?

DIANE BEARDEN-ENRIGHT: I have always loved this story. I read it years ago in school and later, in graduate school, had the opportunity to appear in a different adaptation. I love these powerful, cunning women.  

JHPENTERTAINMENT: Robert Coles not only adapted this particular version, based on Aristophanes’ classic Greek comedy, but he is also serving as your co-director. What’s the advantage of having the playwright as you co-director?

DIANE BEARDEN-ENRIGHT: Oh my goodness, what a joy! It’s rare to have the playwight sitting there beside you. I always have questions along the way and having Robby there to answer them is a luxury. He has also been a wonderful Assistant Director. We make a great team.

JHPENTERTAINMENT: On the flip side, has there been a challenging aspect of having the playwright as your co-director?

DIANE BEARDEN-ENRIGHT: In all honesty, there were no challenges. Robby just let me do my thing and never tried to over step, only support.

JHPENTERTAINMENT: Among the rather large cast, there’s a few familiar names as well as some folks who are new to Playhouse 615. How exciting is it to work with this particular mix of actors?

DIANE BEARDEN-ENRIGHT: I am very fortunate to have this talented cast. Variety is the spice of life! We have some familiar faces in the cast but also a large number of first-timers! You will meet, a bevy of beautiful ladies and some rather handsome men. Oh, and they happen to be very talented to boot!

JHPENTERTAINMENT: What do you hope audience take with them after having seen  this production of Lysistrata?

DIANE BEARDEN-ENRIGHT: A new found appreciation for Greek comedy? Who knew it could be so funny and so relevant to today’s world.  It’s fascinating how themes repeat throughout history and how relatable this story is for modern audiences. Theatre is here to educate and hold the up the mirror, right?  Most of all, I want folks to sit back, relax and laugh their asses off! 

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Playhouse 615’s Lysistrata continues its run with performances Friday February 7 thru Sunday, February 16. Friday and Saturday performances are at 7:30pm with Sunday matinees at 2:30pm. Tickets are $17 for Seniors and Military and $20 for Adults. All seating is General Admission. Tickets are available online at or by calling the box office at 615.319.7031.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and running March 21-April 6. WATCH THIS LINK 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: Entertainment, Rapid Fire 20 Q, Rapid Fire Q&A, Theare Tagged With: 2025, Abby Waddoups, Aristophanes, cast interview, Classic Theatre, Daniel Vincent, Diane Bearden-Engright, Greek Plays, Interview, Lysistrata, Nashvile, Nashville Theatre, Playhouse 615, Q&A, rapid fire 20q, Robert Coles, Theatre

Rapid Fire 20Q with cast of ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

December 1, 2023 by Jonathan

Each holiday season there’s a handful of theatrical offerings from classics like A Christmas Carol to more modern fare such as Elf. Nestled hilariously somewhere in the middle of these wide-ranging shows is A Tuna Christmas, the brainchild of Joe Sears and Jaston Williams. With only two actors playing every character in the fictitious town of Tuna, Texas, A Tuna Christmas is truly a knee-slappin’, belly-laughin’ good time that will warm your spirits quicker than a shot of brandy in eggnog. Playhouse 615 (located at 11920 Lebanon Road in Mt. Juliet, TN) will be presenting their production of the holiday favorite beginning this weekend as the show opens Friday, December 1 and runs through Sunday, December 17. Directed by Memory Strong-Smith, with set design by Eric Crawford, Matthew N. Smith and Daniel Vincent star as the citizens of Tuna, Texas as they ready for the holiday season.

Earlier this week as the director, set designer and two-man cast prepared for the show’s opening, I had a chance to pose a few questions to each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q. As I have done the last few years, you’ll notice the questions, like everything else around us this time of year, have a decidedly holiday theme.


RAPID FIRE 20Q WITH CAST & CREW OF PLAYHOUSE 615’s A TUNA CHRISTMAS

RAPID FIRE Q&A WITH A TUNA CHRISTMAS DIRECTOR, MEMORY STRONG-SMITH

JHPENTERTAINMENT: What has been the most rewarding aspect of directing Playhouse 615’s holiday offering, A Tune Christmas?

MEMORY STRONG-SMITH: Seeing the whole project cone together. This show has lived in my head for about a year, and it’s really lovely to see everything- lights, costumes, set, characters, trees, and sound come to insane life. It took a village to get us to this point and I am so grateful to Matt and Daniel, Eric who designed and almost singlehandedly built the set, our dresser and ASM Tony Barrow for keeping the chaos as contained as possible back stage, and Nikki Nelson-Hicks who took ownership of running the lights and sound like she was born to it. It’s a LOT and I’m so grateful to each of them for partnering with me on this journey. 

JHPENTERTAINMENT: Are you more likely to return a gift or regift it?

MEMORY STRONG-SMITH: Depends on the gift. If it’s something I think someone else could use or want, I’ll pass it along. 

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

MEMORY STRONG-SMITH: Oh man! I love them both!! Die Hard, tho edges out Love Actually, but a nose hair! 

JHPENTERTAINMENT: Favorite Christmas memory?

MEMORY STRONG-SMITH: There are many, but I have to say the last Christmas I got to spend with my mom before she died. We put on Mariah’s 1st Christmas album (this was 1995), drank adult beverages, got a bit tipsy, and decorated the tree. It was just a lovely time spent together and I so cherish that memory. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAGE MANAGER/SET DESIGNER/GRUMPY ELF, ERIC CRAWFORD

JHPENTERTAINMENT: As Stage Manager/Set Designer/Grumpy Elf for Playhouse 615’s A Tuna Christmas, is there a detail in the set that you’re most proud of?

ERIC CRAWFORD: The Christmas trees. This show features 7 Christmas trees which determine the setting for each scene. I put a lot of thought into capturing Matt and Daniel’s interpretations of the characters and what each character’s Christmas tree would look like. 

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

I tend to be involved with holiday productions, so I usually wind up paying my son, Ace, to wrap for me. 

JHPENTERTAINMENT: Favorite Christmas memory?

How about one theme? Family.  So many memories of my relatives revolve around Christmas, especially those who have passed.  

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, MATTHEW N. SMITH

JHPENTERTAINMENT: Of the myriad of characters you play in A Tuna Christmas, do you have a favorite? 

MATTHEW N. SMITH: Every character is special to me for one reason or another and I can’t say I have a favorite but I’m going to go with Arles Struvie because he has a really touching relationship that develops through the show (leaving out details to avoid giving away the plot). 

JHPENTERTAINMENT: A walk in the wintery woods or a stroll through a decorated neighborhood?

MATTHEW N. SMITH: I’m going to go with the decorated neighborhood. It sounds slightly less freezing. 

JHPENTERTAINMENT: Who was the better Scrooge…Bill Murray in Scrooged, Jim Carrey in 2009’s A Christmas Carol or Uncle Eider as Scrooge McDuck? 

MATTHEW N. SMITH: The answer will never not be Bill Murray.

JHPENTERTAINMENT: Would you prefer a ride on the Polar Express or a Horse-drawn Sleigh? 

MATTHEW N. SMITH: Since I have an affinity for the traditional and picturesque, I’ll take the sleigh. Under a warm blanket with a hot toddy and my Mine.

JHPENTERTAINMENT: Favorite Christmas memory? 

MATTHEW N. SMITH: When I was 17, my mother gave me a Fender acoustic guitar. It’s been through everything with me ever since and though we’re both a little the worse for wear, we can still strum a pretty nice tune. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, DANIEL VINCENT

JHPENTERTAINMENT: Like your costar, you also play a ton of characters in A Tuna Christmas. Who’s your favorite?

DANIEL VINCENT: Though Inita Goodwin, the sassy waitress, is a lot of fun, I’d have to say that Bertha Bumiller is my favorite. She’s the heart of the show and delivers some of the most country and hilarious one-liners.

 JHPENTERTAINMENT: Emmet Otter’s Jug-Band Christmas or John Denver and The Muppets: A Christmas Together?

DANIEL VINCENT: Emmet Otter’s Jug-Band Christmas is a classic, but I’m going to pretty much always go with The Muppets any time there is a choice.

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

DANIEL VINCENT: I don’t really have a preference here as long as it’s something practical or that I can enjoy throughout the year. I’m not a fan of tchotchkes.  

 JHPENTERTAINMENT: Ice Skating or Caroling?

DANIEL VINCENT: I’ve only tried ice skating once and it was a tremendous and painful failure. I’m a singer, so I’m going with caroling. Fewer bruises and broken bones.

 JHPENTERTAINMENT: Favorite Christmas memory?

DANIEL VINCENT: We didn’t have money growing up, so my mother made sure Christmas was more about service to others than getting things on your wish list. My favorite Christmas memory is probably the first time I volunteered with my rugby team to deliver meals on Christmas Day with Nashville Cares. It was humbling as well as heart-warming and brought home what the season is really about. I’ve done it every year since. It’s become a part of my holiday traditions.

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With that my conversations with the cast of Playhouse 615’s A Tuna Christmas came to a close, but it’s just the beginning of the riotous laughter they’ll be providing during the holiday season as the show opens Friday, December 1 and continues weekend through Sunday, December 17. CLICK HERE for tickets or call the box-office at 615.319.7031. When available, tickets can also be purchsed at the door an hour before each performance.

Following a brief holiday break, up next at Playhouse 615 is The 39 Steps., directed by Diane Bearden-Enright, onstage February 16- March 3. For more on these shows and to keep up with Playhouse 615, check out their website or find 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, 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: Entertainment, Rapid Fire 20 Q, Rapid Fire Q&A, Theare Tagged With: A Tuna Christmas, Christmas, Christmas 2023, Comedy, Daniel Vincent, Eric Crawford, Holiday, Interview, Matthew N. Smith, Memory Strong, Playhouse 615, Rapid Fire, rapid fire 20q, Tennessee, Tennessee Theatre, Theatre

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