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Rapid Fire 20Q with director and cast of Nashville Rep’s ‘Sunday in the Park with George’; final performances April 10-13 at TPAC’s Polk Theater

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As someone who’s shared my insights as a reviewer and interviewer for the past couple decades, it’s not often that there’s such a legendary show as SUNDAY IN THE PARK WITH GEORGE that I’ve somehow never seen live on stage, so when I learned Nashville Rep was bringing this classic piece of modern theatre to life at TPAC’s Polk Theater with performances April 4-13, I knew I had to chat with director Jason Spelbring and cast members David Shannon, Christine Dwyer and Nancy Allen 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 director and cast members of Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE

Rapid Fire with David Shannon, George in Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE

JHPENTERTAINMENT: For those who may not be familiar with the show, what’s your one-sentence break-down of the plot of SUNDAY IN THE PARK WITH GEORGE?

DAVID SHANNON: A neurotic artist struggles to paint a perfect Sunday afternoon in the park while dealing with his own self-doubt, and the ever-present fear that his masterpiece might just be a bit too…pointless

JHPENTERTAINMENT: What can you tell me about George?

DAVID SHANNON: George 1.0 is an artist struggling with his own creativity and lack of connection to those around him George 2.0 also struggles to find his individual creativity but is willing to look for it and connect , eventually.

JHPENTERTAINMENT: When the cast announcement included your name, I can’t tell you how excited I was. Having enjoyed a hugely successful career both as a touring solo performer across the US and Europe, you’ve also achieved huge success on the West End stage including roles in the World Premier productions of MISS SAIGON and LES MISERABLES. Ireland, Sweden, London…Nashville? So I gotta ask…exactly how did this latest stop on your worldwide domination come to be?

DAVID SHANNON: My family and I decided we wanted to move back stateside post pandemic and we chose TN as it ticked so many boxes , we’d never even visited before but 4 years ago we took a risk and moved sight unseen and it is the best decision we’ve ever made.

JHPENTERTAINMENT: For a little fun, I’m asking you and your fellow SUNDAY company members…If you could mount an all-new play about your personal favorite piece of art, what would it be and why?

DAVID SHANNON:I’m a sucker for a Turner so it’d have to be THE FIGHTING TEMERAIRE, so much history and change in that painting

JHPENTERTAINMENT: I’m about to chat with your leading lady, so as my final question for you…What’s your favorite aspect of sharing the stage with Christine been thus far?

DAVID SHANNON: Well we seem to gel voice wise quiet effortlessly so when we do get to sing together its a joy and so easy, but honestly we have very similar attitudes to things so we do laugh a lot, maybe a little too much

Rapid Fire with  SUNDAY IN THE PARK WITH GEORGE ’s Dot, Christine Dwyer

JHPENTERTAINMENT: Who is Dot to you?

CHRISTINE DWYER: Dot is everyone’s best friend, biggest supporter, truth teller, and muse. She is seen by the community as one thing, but when it really comes down to it, she is a constant for George. She is smart and kind and resourceful and so strong. She reminds me alot of my late mother in law Janice combined with my mom. And that’s where I draw the inspiration from when playing her. 

JHPENTERTAINMENT: When I spoke with David, I asked him about sharing the stage with you, so turnabout is fair play…how is David as a scene partner?

CHRISTINE DWYER: David is the best. We instantly became buddies when I think these two characters are. Yes they are lovers, but they are best friends. And I instantly felt that connection with him which translates seamlessly onstage. He is a phenomenal actor and takes himself just as seriously and UNseriously as I do. So it has been a great match.

JHPENTERTAINMENT: Having appeared in everything from WICKED to WAITRESS, RENT and more, what’s it like to be performing Sondheim? AND…Do you have a favorite musical moment in the show?

CHRISTINE DWYER: The last Sondheim I performed in was INTO THE WOODS my senior year of high school. So to revisit his material is so special. He is an actor’s writer. Every musical choice and lyric furthers the story and deepens the character. While musical theatre is what I have had success in, I’ve always considered myself an actor first. So getting to do this is so wonderful. There are so many musical moments in the show that I love, but I think my favorite song to sing also has my favorite lyrics and musical moment in the show. It is Marie’s song Children and Art when she says “Mama says ‘Darling, musn’t be blue. It’s not so much do what you like as it is that you like what you do”. I just love that sentiment and the melody is so beautiful. It makes me emotional every time. 

JHPENTERTAINMENT: I gotta tell you when I heard you were stepping into the role of Dot for Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE, I may or may not have misquoted Buddy the Elf and said out loud, “I know her!” Of course you and I originally met years ago when you were appearing as Elphaba in WICKED National Tour and the company did a wonderful fundraiser while here in Nashville. Obviously philanthropy has always been important to you. While researching to chat with you, I discovered you and your husband, Matt DeAngelis founded and oversee THE JANICE JAM, a Breast Cancer Research Foundation charity in honor of Matt’s mother whom you mentioned earlier. What can you tell me about the foundation? AND When is the next fundraiser? 

CHRISTINE DWYER: THE JANICE JAM: BROADWAY FOR BREAST CANCER is a foundation Matt and I started in honor of Janice DeAngelis. She was the biggest theatre fan you know. Everyone’s mom. The best friend. The funniest person. And we are honored to honor her every year. This year, we have moved to a larger venue, Sony Hall in New York City and it will take place on May 5th. We have incredible performers including Kara Lindsay, Jeremy Jordan, Krysta Rodriguez and Academy Award Winner Ariana DeBose. Research saves lives and we are so fortunate to have teamed up with BCRF: The Breast Cancer Research Foundation to raise funds for more research to help those struggling with this disease.

JHPENTERTAINMENT: As witnessed by the two two-part questions above, I could have done all 20 questions with you, but alas my time with you is running short. I’m asking the others in the company this final question, so it’s your turn…If you could turn your favorite painting into a stage show, what would it be and why?

CHRISTINE DWYER: I am going to go to a funny place here. I would turn the painting THE SCREAM into a musical starring Cole Escola and it would be a dark comedy that is completely over the top and ridiculous. Maybe an annual Halloween type show. I don’t know what it would be about…but I can imagine it being an absolute BLAST. 

Rapid Fire with SUNDAY IN THE PARK WITH GEORGE ’s Blair, Nancy Allen

JHPENTERTAINMENT: As indicated in the header above, you play Blair Daniels in SUNDAY IN THE PARK WITH GEORGE, but you also have a duel role as Old Lady. What can you tell me about the challenges of two roles and the duality of the story/stories in the show

NANCY ALLEN: I wouldn’t say it was a challenge, but more of a chance to find both women in me.  My mother died recently and I am channeling much of her later years in Old Woman.  She was sometimes confused as she aged and when she was, it frightened her. When she was frightened, she could be critical and harsh. Yet, when she was lucid, she was dignified, funny, intelligent and one of the most supportive and tolerant people I knew of her generation. I think the Old Lady is similar, she relies on Nurse to help her navigate life and is most happy in the park when it is quiet. My mother also regressed in chaos, but enjoyed peace. She enjoys solitude because she is not reminded that she is aging and losing her memory.  Blair Daniels is less like me, but I do know what it is like to have opinions because you are an expert on a subject. She enjoys being flamboyant, and “larger than life” which we as actors can also enjoy. I like Blair so it was fun to create who she might be. Our wig master gave me a fabulous wig to help embody this character. Both characters encourage George in they own ways – wanting him to create yet not always able to understand his methods or to communicate well. Both have strong personalities which do not instinctively have an urge to nurture; yet they obviously love George and know he is different from other artists – more advanced. They know he sees beyond what other artists see.  

JHPENTERTAINMENT: While perusing your bio in preparation of chatting with you, I loved that seeing the original Broadway production of SUNDAY IN THE PARK WITH GEORGE served as a catalyst for your career in theatre. While I didn’t see it on Broadway (my first Broadway show was Patti LuPone in EVITA, so not too shabby), I do remember the PBS broadcast of SUNDAY IN THE PARK WITH GEORGE. So, I gotta know. What do you remember specifically about the original production and why/how it had such an impact on you?

NANCY ALLEN: I remember seeing this when I was in college. During that time I was beginning to think about what a career in musical theatre performance might look like.  I remember being awed by the set and scenery – how they created the painting and how you could escape or travel to a whole world inside the theatre. I also remember the dynamic portrayal of George on stage by Mandy Patinkin which immediately sparked a 40 year crush on the man; AND seeing his energy, diction, and passion on stage defined what I continue to desire in all theater performers. 

JHPENTERTAINMENT: I’ve been writing about theatre, interviewing cast and reviewing shows for nearly twenty years now. In that time, I’ve seen you in several shows, so I was thrilled when I learned you’d be one of the folks I’d be chatting you up about SUNDAY IN THE PARK WITH GEORGE . For the last decade and a half, when not on stage, you’ve spent your days as a voice instructor at Belmont. What’s the most gratifying aspect of teaching voice?

NANCY ALLEN: I love seeing a student’s face when they accomplish something we have been working on, or when that light goes on in discovery. The first time they actually “feel” their breath support the tone, or the first time they know they sang that belt in the pocket and it was open, gorgeous and effortless. I recently helped a young woman find her head voice. She is a strong belter, but had not accessed her soprano classical sound. When she finally began to understand it she was glowing.  I love it when I have “touted” (to use a word Blair says in our production) their work and they are rewarded with a role or university award. I also have to admit, seeing your student perform in a national tour or on Broadway is a real rush of emotions and just plain fun. 

JHPENTERTAINMENT: If you could develop a musical based on your favorite painting, what would it be and why?

NANCY ALLEN: I have so many favorites – my mother was an artist as was my grandmother.  I have collected contemporary art my whole life. Our first stop when traveling was always the art museum in the city. I loved Magritte’s art as a young woman and think it would be fun to see a musical about the MAN IN THE BOWLER HAT. (IYKYK) And, I own a fun painting called PINK PIANO DOG by Joe Baker. It would be fun to see a musical based on what that dog is thinking. 

Rapid Fire with  SUNDAY IN THE PARK WITH GEORGE director, Jason Spelbring

JHPENTERTAINMENT: Having recently been named Artistic Director of the Nashville Shakespeare Festival, how did you come to direct SUNDAY IN THE PARK WITH GEORGE for Nashville Rep?

JASON SPELBRING: Theatre is a deeply collaborative art form, and Nashville has an incredible community of artists and organizations that support each other. While my primary role is leading the Nashville Shakespeare Festival, I was thrilled when the opportunity arose to direct  SUNDAY IN THE PARK WITH GEORGE  with Nashville Rep. It’s a stunning piece about the creative process, something that resonates deeply with me as both a director and an arts leader. Working with Nashville Rep on this production allows me to bring a fresh perspective to Sondheim’s masterpiece while continuing to foster artistic collaboration in the city. 

JHPENTERTAINMENT: While researching to chat with you, I discovered this isn’t your first Stephen Sondheim/James Lapine musical, having appeared as the Stewart in a production of INTO THE WOODS a few years back. Now you’re helming Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE . How excited are you to bring this beloved piece to Nashville audiences?

JASON SPELBRING: I am very excited and proud to bring this beloved masterpiece to Nashville audiences.  SUNDAY IN THE PARK WITH GEORGE  is a truly iconic musical, and it is always a thrill to see it brought to life for new audiences. Combining Stephen Sondheim’s masterful music and James Lapine’s insightful book creates something profound and unique for everyone. I am also excited for Nashville audiences to see themselves represented in this musical.

JHPENTERTAINMENT: As further research, I recently rewatched the mid-80s PBS broadcast of the original Broadway production of SUNDAY IN THE PARK WITH GEORGE , starring Mandy Patinkin and Bernadette Peters. I was immediately struck by how iconic the set design is for this show. It’s so iconic, in fact, that Tony Strages won the Tony for his original scenic design. You must have addressed paying some sort of homage to the original set design while making it this production’s own with Gary C. Hoff, Nashville Rep’s incredibly talented scenic designer. Can you give me any hints about how you and the creative team approached the set design for SUNDAY IN THE PARK WITH GEORGE ?

JASON SPELBRING: Gary C. Hoff’s work on this production has been extraordinary. With his 25-year legacy at Nashville Rep, Gary crafted a set that feels like a blank canvas—just as George, the artist, brings something new into existence from nothing. The set design perfectly blends iconic elements from the original production and a fresh interpretation that captures the show’s spirit. It’s a beautiful, transformative space that draws the audience into the world of the play.

JHPENTERTAINMENT: If you were to develop another stage production that brings to life a painting by your own personal favorite artist, what painting would it be and why?

JASON SPELBRING: THE EXECUTION OF LADY JANE GREY by Paul Delaroche (1797 – 1856)

THE EXECUTION OF LADY JANE GREY would make a compelling musical because it combines elements of tragedy, complex characters, political intrigue, and the opportunity to explore timeless themes. The painting’s dramatic and historical weight, combined with the expressive potential of musical theater, could create a profoundly moving and memorable experience for audiences.

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE ?

JASON SPELBRING: I hope audiences leave SUNDAY IN THE PARK WITH GEORGE feeling deeply moved by the connection between art, life, and the human experience. This show explores the complexities of creativity, relationships, and legacy—how they intertwine and how we often sacrifice parts of ourselves to pursue our passion. I want people to reflect on their connections to their work, their loved ones, and what they leave behind.

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Marking the close of Nashville Rep’s current season, SUNDAY IN THE PARK WITH GEORGE premiered at TPAC’s Polk Theater on Friday, April 4 and continues through Sunday, April 13. Evening performances are Thursday, Friday and Saturday, April 10-12 at 7:30pm, with matinees Saturday, April 12 and Sunday, April 13 at 2pm. Tickets range in price from $45 to $106. CLICK HERE to purchase tickets or for more information.

Though their official 2024-2025 Season ends with SUNDAY IN THE PARK WITH GEORGE, Nashville Rep continues to bring new and innovative theatre to Music City with their next Ingram New Works entry as they present a staged reading of Cameron L. Mitchell’s REGICIDE: TO KILL A KING, April 25 at Nashville PBS Studios (161 Rains Avenue). As always, tickets to Nashville Rep’s Ingram New Works series are FREE. CLICK HERE to RSVP.

The Rep will then host their 9th ANNUAL BROADWAY BRUNCH on Sunday, August 18 from 10:30am until 2pm at Music City Center. This year’s event will be co-charied by Holli Harrision and Kim Hewell. CLICK HERE for tickets or more information.

Follow a brief hiatus, Nashville Rep will be back with the Nashville-area regional premiere of COME FROM AWAY onstage September 12-21 as the opener of their 2025-2026 Season. CLICK HERE to purchase Season Tickets.

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

Rapid Fire 20Q with ‘KIMBERLY AKIMBO’ stars Carolee Carmello, Jim Hogan, Emily Koch and Darron Hayes as National Tour continues; at TPAC’s Jackson Hall beginning April 8

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KIMBERLY AKIMBO, a musical story of a young woman with a disease that rapidly ages her, who, instead of giving up, decides to live her life to the fullest every day. With book by David Lindsay-Abaire (based on his earlier comedy play of the same name) and music by Jeanine Tesori, the original Broadway run garnered the show eight Tony nominations, taking home five, including Best Musical. When the National Tour was announced, three-time Tony nominee Carolee Carmello was cast in the lead role as 16-year-old Kimberly, alongside five understudies of the original company.

As the cast and crew of KIMBERLY AKIMBO readied themselves for their Nashville debut, with performances at TPAC’s Jackson Hall April 8-13, I recently had the chance to pose a few questions to the show’s lead actress Carolee Carmello and her fellow cast members Jim Hogan, Emily Koch and Darron Hayes for the latest installment of my recurring interview feature Rapid Fire 20Q. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST OF KIMBERLY AKIMBO; AT TPAC APRIL 8-13

RAPID FIRE Q&A WITH JIM HOGAN, BUDDY IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Buddy, the character you play in KIMBERLY AKIMBO?

JIM HOGAN:  Buddy is our protagonist, Kimberly’s, troubled (and loving) father who just can’t seem to get it right despite his best (and worst) efforts.

JHP ENTERTAINMENT: While the tour began in September of last year, you have been part of the KIMBERLY AKIMBO family since late 2022 when you joined the Broadway company as standby for Buddy. In the two years since you’ve been associated with the role, has your approach to the character changed?

JIM HOGAN:  I don’t think I’d say changed as much as I’d say grown.  Being able to play Buddy night after night as opposed to the occasional nature of being a standby has heightened my sense of truth within his words and actions, despite how complicated they can be.  I’m truly grateful to get to step into his Reeboks every night. 

JHP ENTERTAINMENT: Prior to joining this show, you previously toured with WAITRESS and PHANTOM, so tour life has been part of your life for a decade now. What’s your favorite thing about life on the road?

JIM HOGAN: I LOVE touring.  There’s something so special about it, and I hope every performer, both professional and aspiring, gets the chance to do it.  I’d say my favorite part is exploring each city, but specifically trying each city’s unique cuisines. 

JHP ENTERTAINMENT: Speaking of life on the road, in another lifetime, I too spent a couple years traveling from town to town during the original first two seasons of AMERICAN IDOL as part of the production. My main gig was registering hopefuls as they readied auditions for then-judges Randy Jackson, Paul Abdul and Simon Cowell. I bring this up because when I was told I’d be chatting with you for this Rapid Fire 20Q featuring members of the National Tour of KIMBERLY AKIMBO, I immediately recognized your name as being part of the vocal group T3 who appeared during 2021’s Season 16 of AMERICA’s GOT TALENT. So a two-parter…What’s your fondest memory of your time on AGT? AND…What’s going on with T3 now?

JIM HOGAN:  That’s so cool!!  We have a Simon Cowell connection 😅  T.3 had a blast on AGT, I’d say our favorite part was getting to meet and learn from everyone involved: the celebrity judges/host of course, but the artists/performers within the show and those backstage perhaps even more.  It was a very eye-opening and important part of T.3’s creation and a great stepping stone to get us to where we are today!  We are actively releasing new music, our viral cover of Imogen Heap’s “Hide and Seek” will be available on streaming shortly, and we tour all over the country whenever our schedule allows!  We are releasing our biggest tour schedule yet in the coming weeks, so be on the lookout to see T.3 near you in August and September of this year 🙂

JHP ENTERTAINMENT: Back to KIMBERLY AKIMBO, Within the context of the show, even though Buddy is Kimberly’s father, he’s not exactly the ideal dad, and the roles seem a bit reversed at times. What’s your favorite aspect of exploring this dynamic with Carolee Carmello on stage night after night?

JIM HOGAN:  Well first of all, Carolee is incredible in this part and it’s been an honor to act alongside her every night.  As far as Buddy’s complexities go, I have always felt like I know him. For better or for worse, but I think more people are like Buddy than they would care to admit. I think that’s been the biggest thing, is tapping into the parts of myself that maybe I don’t love so much. But that in itself, has been healing.

RAPID FIRE Q&A WITH EMILY KOCH, DEBRA IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Debra, the role you play in KIMBERLY AKIMBO?

EMILY KOCH: Debra is a bold, brash, fabulous woman. She might be involved in some unsavory activities but she knows how to get what she wants by any means necessary. She also, most importantly, adores her niece, Kim and wants her to have the best life she can. I love getting to play someone so sure of themselves, it’s inspiring.

JHP ENTERTAINMENT: Your show bio reveals that Jim Hogan, who plays Buddy, has been your boyfriend in real life for seven years. If my math is mathin’, that means you two began dating while you were both on tour with WAITRESS. Even though I’d love to know the worst, I’ll play nice and ask…What’s the best part of sharing scenes with your actual love interest AND having them on the road with you?

 EMILY KOCH: Your math is mathin’! That is where we met. I’m being totally honest when I say, there really isn’t a worst part. Jim and I have both worked a lot separately and together and both done multiple tours so we just know how to do it well, so, knock on wood, we haven’t had any problems out here. We also just really deeply get along and respect each other’s work. It’s also been fun to play people who don’t like each other in the show. Maybe that’s why we are so happy, we work it all out on the stage!

JHP ENTERTAINMENT: During the Broadway run, you were standby for both Debra and Patti. How excited were you when you learned you’d been cast as Debra for the tour?

EMILY KOCH: I was ecstatic. Being the avid theatre fan that I am, learning you’re gonna lead a David Lindsay-Abaire and Jeanine Tesori musical is like winning the theatre lottery. I have to admit when I got cast on Broadway, I considered my time there as an extended audition for the tour. I just had never loved a show so much and wanted to be a part of it for as long as I could. I was also hoping Jim would get cast and he got the call from him agents about five minutes after me. Needless to say, it was an awesome day for our household. We drank champagne at noon.

 JHP ENTERTAINMENT: From what I hear, there’s a few minor differences as far as staging and such from the Broadway run. Among the changes, Aunt Debra now skates. I gotta know, was skating already among your ‘special skills’ and what all was involved in brushing up on your technique during the rehearsal process of KIMBERLY AKIMBO?

EMILY KOCH: Yes,Debra does skate! I think the reason that change happened is because when I was covering on Broadway, I had to skate as Patti, so they knew I could already do it. Skating was definitely not a special skill of mine, but I do love to watch it and always have. We got to take a few lessons on actual ice for Broadway and Tour which was helpful and fun, and we do a cast “skate call” three times a week so now I think we all feel pretty comfortable out there.

 JHP ENTERTAINMENT: Having previously toured with WAITRESS and WICKED, when you find yourself coming back to cities you’ve previously visited, do you try to revisit spots you enjoyed before, or do you try to scope out new things in now-familiar cities? Oh, and by the way, I hear The Escape Game Nashville in my little neighborhood of Berry Hill is quite fun, so…you’re welcome!

 EMILY KOCH: Thank you so much for the rec! Escape rooms are such a good tour activity! And yes, that’s my favorite thing about tour honestly, is going back to my old haunts in all these awesome cities. They fully transport me to how I felt the last time I was there and I love that feeling. Aside from Memphis, TN, I have played every single city we are going to in this first year and I’m so happy to return to all of them.

RAPID FIRE Q&A WITH DARRON HAYES, MARTIN IN KIMBERLY AKIMBO

JHPENTERTAINMENT: Who is Martin?

DARRON HAYES: Martin is a star to be. He’s one of the teens in show choir who’s in a sticky love square, but knows there’s a beautiful and fulfilling life awaiting him outside of New Jersey.

JHPENTERTAINMENT: Like a number of your tour mates, you were also part of the Broadway cast of KIMBERLY AKIMBO. Has that fact aided in the company feeling like family as you’ve all taken the show on the road?

DARRON HAYES: Yes, it’s been so nice to return to Kimberly Akimbo with familiar faces and relationships. We get to tell this incredible story in a slightly different way with some great new faces as well!

JHPENTERTAINMENT: During your time with the Broadway production, you understudied the roles of Martin, Aaron and Seth. If a bit of internet sleuthing proved useful, it was March of last year that you made your Broadway debut as Martin. What was that moment like AND…how has your interpretation of Martin changed now that he’s yours completely?

DARRON HAYES: My Broadway debut, that happened almost a year ago today, was the most magical night of my life thus far. I’d worked for and hoped and dreamed of this moment my entire life. And when it happened, I thought… Here we go. This is just the beginning. Keep going, grasshopper, and I’m so proud of you! What has changed about me playing Martin full time now, is that I’m allowed to take full ownership of my interpretation, rather than feeling like I need to figure out how I fit in, what can sometimes feel like someone else’s play.

JHPENTERTAINMENT: Alright, when I chatted with Jim Hogan earlier, I asked him a bit about T3 and his experience on AGT. As I confessed to him, I worked on the original AMERICAN IDOL back in the day, so when I discovered you auditioned for IDOL a couple years ago, I knew I had to ask you about that experience. What did you use for your audition song?….AND…Have you and Jim ever compared ‘reality competition tv’ notes?

DARRON HAYES: We haven’t had the chance to compare our experiences yet, but maybe now we will. And I sang All I Do by legend, Stevie Wonder. And my experience with AMERICAN IDOL was interesting. I took it for what it was, met some insanely talented singers, and learned what I could from that unique experience!

JHPENTERTAINMENT: IS there a theme or idea presented in KIMBERLY AKIMBO that you find yourself consciously or unconsciously being more mindful of in your off time?

DARRON HAYES: ABSOLUTELY! As Crazy as Aunt Deb is, she never lied. Life is gonna life, and sometimes you aren’t dealt the best stack of cards. But to me, life is about looking at what you DO have control over. What decisions and choices can I make for a better outcome? Or to be more fulfilled? So the song Better is basically my motto for life.

RAPID FIRE Q&A WITH CAROLEE CARMELLO, KIMBERLY IN KIMBERLY AKIMBO

JHPENTERTAINMENT: OK, before we get into talking about KIMBERLY AKIMBO, I’m just gonna fanboy a bit. I’ve enjoyed your work since your stint as Maple LaMarsh on AMC’s comedy series Remember WENN? What do you remember most about your time on that series?

CAROLEE CARMELLO: CAROLEE CARMELLO:  That show was a dream come true for me! I loved the scripts (by the brilliant Rupert Holmes) and I loved the 40s costumes and hairstyles (despite the fact that I didn’t wear a wig and all that hair spray definitely took a toll on my hair). Plus the cast was so talented!

JHPENTERTAINMENT: Now, on to KIMBERLY AKIMBO…From the start, what do audiences need to know about KIMBERLY, the show…and the character?

CAROLEE CARMELLO: I love the show! So smartly written, so funny, so touching … it really is the kind of musical I enjoy watching because it gives you ALL the feels! And the character I play is so positive, despite all of her many challenges. I learn a lot from Kimberly every night!

JHPENTERTAINMENT: If my research and memory serve me right, you’ve been in something like 16 Broadways shows, received three Tony nominations, and KIMBERLY marks your 7th national tour. Revisiting your incredible body of work, I was reminded of something my now-90 year-old former art teach frequently says, “Art is Life”. In regards to you, that certainly seems true. What’s behind your love of the arts and what keeps you continuing to explore your own creativity?

CAROLEE CARMELLO: Oh gosh, I still love musicals … I think it’s such an amazing way to tell a story. And I think live theater is the best way to experience story telling … sitting in a dark theater with a community of people watching LIVE actors and LIVE musicians bringing a story to life! It brings people together in so many ways … which is vital, especially right now.

JHPENTERTAINMENT: Back to KIMBERLY AKIMBO, If you were faced with circumstances similar to Kimberly’s is there anything you’d do differently or anything you’d lift from Kimberly’s reactions to her circumstances to better your own remaining time?

CAROLEE CARMELLO: I can only hope that I would take on each day the way Kimberly does … she wants an adventure, and she gets it, despite all of her challenges! It’s really inspiring!

JHPENTERTAINMENT: Dang! I could have done all 20 questions with you, but our time is up as I’m about to chat with a couple of your costars, so I’ll end our conversation with this. What do you hope audiences take with them after seeing KIMBERLY AKIMBO?

CAROLEE CARMELLO: I think the message of the show is to enjoy the time we have and the people we have to share it with … nothing else matters!

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The National Tour of KIMBERLY AKIMBO comes to Music City for eight performances beginning Tuesday, April 8 and continuing through Sunday, April 13 at TPAC’s Jackson Hall as part of the current Broadway at TPAC Series. CLICK HERE for tickets or more information.

Following the Music City dates,  KIMBERLY AKIMBO stops in Charlotte, Durham, Boston, Washington DC and more as the current National Tour continues through May of 2026. To keep up with all things KIMBERLY AKIMBO, checkout their Official Site and follow them on Facebook, X, Instagram, Youtube and TikTok.

Next up at TPAC, it’s yet another Tony-winner as MJ: THE MUSICAL, exploring the life and career of music mega-star Michael Jackson closes out the current season of Broadway at TPAC with shows April 29-May 11. CLICK HERE for tickets and more information and be sure and check back right here at JHPENTERTAINMENT.COM as I’ll soon be chatting with members of the cast of MJ prior to their Nashville debut.

You can also follow TPAC on socials: TPAC on Instagram, X, 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 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!

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

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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!

Rapid Fire Q&A with ‘HADESTOWN’ stars Nickolaus Colón and Namisa Mdlalose Bizana; at TPAC March 7-9

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HADESTOWN, often described as a Broadway folk opera, is singer/songwriter/playwright Anaïs Mitchell’s Tony and Grammy-winning musical retelling of Greek myths involving Orpheus, Eurydice, Hades, Persephone, Hermes and The Fates. When I heard HADESTOWN would be playing a limited weekend run at TPAC’s Jackson Hall Friday, March 7 thru Sunday, March 9, I knew I had to chat with some of the company of the show’s current tour for the latest installment of my recurring interview feature, Rapid Fire Q&A.

To that end, what follows are my conversations with HADESTOWN’s Hades and Persephone, Nickolaus Colón and Namisa Mdlalose Bizana:

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RAPID FIRE Q&A WITH HADESTOWN STARS NICKOLAUS COLÓN AND NAMISA MDLALOSE BIZANA; NATIONAL TOUR AT TPAC BEGINNING MARCH 7

RAPID FIRE Q&A WITH NAMISA MDLALOSE BIZANA, PERSEPHONE IN HADESTOWN

JHPENTERTAINMENT: For the uninitiated, what is HADESTOWN about?

NAMISA MDLALOSE BIZANA: It’s about two intertwined love stories between Orpheus and Eurydice, and the gods Hades and Persephone. When the story begins Hades and Persephone are misaligned in their relationship which has consequences for the mortal world. In this discord Orpheus and Eurydice fall in love and then are faced with having to make choices based on love or survival. 

JHPENTERTAINMENT: What can you tell me about Persephone?

NAMISA MDLALOSE BIZANA: She’s a complex character with many layers to her. At face value she’s fun and charismatic but she has so much more to her. She quite literally holds light and darkness within her and must wade through the complexity that comes with it. 

JHPENTERTAINMENT: This tour of HADESTOWN began in October of last year. You’ve been with the company since. Are you still discovering nuances of the character?

NAMISA MDLALOSE BIZANA: Of course. We’re playing gods. And by nature, there are endless possibilities.  

JHPENTERTAINMENT: What’s your favorite aspect of tour life?

NAMISA MDLALOSE BIZANA: Getting to meet people from all over the US. Getting to talk to audiences and schools. And of course, the food! We’ve just come from Dallas and of course I had to try some Texan BBQ and it’s everything I thought it would be!

JHPENTERTAINMENT: Speaking of touring…any plans to tour The Parthenon while HADESTOWN sets up shop in Nashville? After all, we are the Athens of the South!

NAMISA MDLALOSE BIZANA: It’s definitely on my list!

RAPID FIRE Q&A WITH NICKOLAUS COLÓN, HADES IN HADESTOWN

JHPENTERTAINMENT: How familiar were you with the story of Hades and Persephone prior to taking on the role of Hades of the current tour of HADESTOWN?

NICKOLAUS COLÓN: Besides what I’ve seen of Hades depicted in movies and shows I hadn’t really had the exposure to the proper myths. I wish I had sooner because they are incredible to read about.

JHPENTERTAINMENT: In spite of connotations stirred simply by association of Hades and the underworld he rules, Hades, according to original mythos, is strong but rather passive and ultimately caring. What trait of Hades, as depicted in HADESTOWN, might you hope to mimic in your own life?

NICKOLAUS COLÓN: The greatest gift I’ve gotten from Hades has been a boost to my confidence. Confidence is power. To be able to hold myself to my full height when for so many years I’ve lowered myself to make others feel safe around me has been such a gift. I’ve always been confident in my abilities but ever since I put on the suit I’ve started to stand taller off the stage.

JHPENTERTAINMENT: As Hades, you not only rule the underworld, but you’re also betrothed to Namisa Mdlalose Bizana’s Persephone. What is your favorite thing about sharing the stage with her?

NICKOLAUS COLÓN: Namisa has been an absolute blessing of a scene partner. From the moment I met her and she asked if we could just take a breath together before our final callback, I knew she was my Persephone. Even on days when tour is hard, I can always count on her to be there with me on that stage and to make me laugh.

JHPENTERTAINMENT: Do you have a favorite musical moment in the show, whether it be yours or one that you just enjoy witnessing as a member of the company night at night?

NICKOLAUS COLÓN: Favorite musical moment for me would be during His Kiss, the Riot before I speak. The band and Fates watch as I slowly make my way around the stage to grab my stool and all the while they are fueling all the rage, fear, doubt, indecision, conflict that I am going through in that moment. Music is a powerful tool for storytelling.

JHPENTERTAINMENT: What do you hope audiences come away remembering long after their visit to HADESTOWN?

NICKOLAUS COLÓN: I hope they leave and have a core memory of the time a room of 3000 people for 2 hours were able to put aside their differences and take the ride of truly investing in these two mythical love stories.

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The current tour of HADESTOWN plays TPAC’s Jackson Hall with five performances over the three day period of Friday, March 7 thru Sunday, March 9. Friday and Saturday evening performances are at 7:30pm with matinees Saturday at 2pm & Sunday at 1pm and a final Music City performance Sunday evening at 6:30pm. Ticket prices start at $48.30. CLICK HERE for tickets or more information. 

Not in Nashville? Be sure and check out HADESTOWN on Tour’s Official Site for upcoming cities including Johnson City, TN, Omaha, NE, Oxford, AL, Pensacola, FL, The Villages, FL, Columbia , SC and more as the tour continues. 

Among the many entertainment options coming to TPAC following HADESTOWN, TPAC’s HCA Healthcare/TriStar Heath Broadway at TPAC in partnership with Nissan continues next with the return of MAMMA MIA, on stage at TPAC’s Jackson Hall March 18-23. CLICK HERE for tickets. 

You can also follow TPAC on socials: TPAC on Instagram, X, 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 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!

Rapid Fire 20Q with the cast of ‘Peter Pan’, at TPAC’s Jackson Hall, January 7-12

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Following a brief holiday break, TPAC resumes its Broadway at TPAC season with the return of the family favorite, Peter Pan, on stage at TPAC’s Jackson Hall with performances January 7-12. Yes, it still centers ‘round the boy who refuses to grow up, but this isn’t exactly your grandmother’s Peter Pan. While it’s still based on the beloved 1911 children’s classic by J.M. Barrie and the subsequent 1954 musical stage production starring Mary Martin in the title role, this adaptation, updated by indigenous playwright Larissa FastHorse brings the show to the modern era, and…features a younger male actor in the title role.

As the cast of the National Tour prepared for their Music City debut, I had the chance to pose a few questions to members of the company for my first Rapid Fire 20Q of the year. What follows are my conversations with Nolan Almeida (Peter Pan), Hawa Kamara, who plays Wendy Darling, Cody Garcia, the show’s Captain Hook, and Bailey Frankenberg, taking on the role of Tiger Lily.

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Rapid Fire 20Q with the cast members of Peter Pan, National Tour on stage at TPAC’s Jackson Hall January 7-12

Rapid Fire with Peter Pan’s Wendy Darling, Hawa Kamara

JHPENTERTAINMENT: You play Wendy in the current national tour of Peter Pan. What’s your favorite aspect of the character?

HAWA KAMARA: I think my favorite thing about Wendy is how opinionated and self-sufficient she is. The creative team and I really put in effort to make sure her ambitions weren’t purely about being a “mother” to the boys, but that her main goal is to simply help people. So yes, she has the added feature that she wants to be a surgeon, but I think that really just speaks to how determined she is to be a person that people can rely on to feel/get better; she is a caretaker and takes pride in that.

JHPENTERTAINMENT: The story of Peter Pan has been around for so long that its audience cannot be pegged to any age group or generation. How familiar were you with the story? AND…What’s your earliest memory of Peter Pan? Was it a certain version, stage show or film adaptation that you first remember seeing?

HAWA KAMARA: I was as familiar with the story as most children are, I remember having vague memories of seeing Peter Pan all around, perhaps a lot of references in pop culture, but I actually have never watched the original animated Disney movie. My first introduction was definitely the live action film in 2003, and I fell in love with that version. I loved seeing the childlike wonder in real bodies and seeing these actual kids navigate the coming of adolescence as well as the fantastical adventures in Neverland. Oh, there’s also a direct-to-DVD sequel to the Peter Pan Disney movie called Return to Neverland, and it was about Jane (Wendy’s daughter) being captured by Hook and taken to Neverland against her will because he thought she was Wendy. I actually credit the character Jane for some inspiration with the Wendy that I play, as she offered a bit of resistance and independence, which I really admired about her as a child.

JHPENTERTAINMENT: While Peter Pan offers something to be enjoyed by all audience members, regardless of their age, this production has truly embraced the youthful aspect of the story and characters by casting a relatively young company of actors in the primary roles of Peter, the Darlings and the Lost Boys. Has that energy been something you’re able to tap into and feed off of to enhance your own performance?

HAWA KAMARA: Absolutely. For a long time (before Nolan turned eighteen), I was the only adult on stage for about the first half of the first act; it felt like playing catch up to kids who are already so naturally energetic. I will say one of my greatest pleasures in doing this production is being able to share the stage with Nolan for as long as I do; in a funny way, he’s challenged me to release myself as an actor and lean into the childlike nature that these characters need. So, I don’t think I would be as akin to my childlike self if it wasn’t for him and the kids who play my siblings. I think I also take inspiration from them as children, just seeing their behavior even outside of this production is refreshing and reminds me who I’m doing this for.

JHPENTERTAINMENT: Even the music of Peter Pan is as iconic and multi-generational as the story itself with a who’s who of lyricists and composers credited throughout the decades. In fact, this production includes songs from lyricist Amanda Green, whose father, Adolph Green, alongside frequent collaborator Betty Comden, wrote music and lyrics for the original 1954 Broadway production. What does being part of such a storied show mean to you as a performer embarking on your first professional gig?

HAWA KAMARA: I think it’s certainly big shoes to fill. I would have never thought that this would be my first professional job in my field, especially so quickly after graduating. But I think the team has taken the time to make sure I became well accustomed to taking on the role and changing what the perception of Wendy could look like. As the first Black actor to play Wendy in a professional production of this caliber, I feel like I’ve offered a new layer of what it means to play Wendy, to see her in a light that isn’t historically shown in bodies like mine.

JHPENTERTAINMENT: As mentioned above, this is your first pro gig, having graduated from Boston’s Emerson College in 2023. I always find it interesting to ask about life on tour, so this being your first experience with a touring company, I’m curious to know what your favorite aspect of life on the road has been thus far?

HAWA KAMARA: My favorite aspect of the tour has got to be trying the different foods of the different local cities. There’s so much I’d never thought I’d get a chance to try, and all so soon! I’m very excited to see what Nashville has to offer food-wise!

Rapid Fire with Cody Garcia, Captain Hook in Peter Pan

JHPENTERTAINMENT: What is your favorite aspect of Captain Hook, the character you’re playing in the current National Tour of Peter Pan?

CODY GARCIA: Captain Hook is a challenge. It’s difficult to sit idly by while this little brat that cut off his hand runs/flys around pretending to be the hero of this story. And for the sake of this story, Hook is pretty much driven by revenge. Even though there is all this negativity clouding the hooked Captain, my favorite aspect of him is the humor that can be found around. I’ve always used comedy as a defense mechanism, and it is fun to utilize that during this magical play.

JHPENTERTAINMENT: You’ve now played Captain Hook for nearly a year. In that time, have you discovered little things about the character that you’re now incorporating into your performance?

CODY GARCIA: I have discovered little things about Captain Hook, and myself, in doing the role this long. There’s lots of aspects of the Captain I wish I could explore more than I have time to do in the scenes in the show. It makes me look forward to other jobs I will get, and sometimes fantasize about playing Hook in Steven Spielberg’s Hook. For myself, I’ve enjoyed the opportunity to be able to figure out performing in a sustainable way and so consistently.

JHPENTERTAINMENT: For this adaptation of Barrie’s classic tale, your director is Lonny Price, known on and off Broadway for a career that has spanned four decades, with impressive turns both on and off stage and who has worked with literally some of the biggest names in the business. What has your experience with Lonny as a director been like?

CODY GARCIA: What can I possibly say here about one, Lonny Price, that hasn’t already been said by countless people in the industry. I didn’t realize I had already seen some of Lonny’s work before I got this job and found out the extent his impressive resume.

My first time reading the script, I found Lonny’s energy to be generous and exciting. Lonny loves what he does and only wants to share magical experience with audiences. When we got up and started rehearsing the musical, I asked Lonny certain questions about aspects of the character, wanting to understand what he wanted for this piece, but also wanting to bring my own flavor and new aspects to this much recycled tale.  I was very pleased that Lonny generously and excitedly encouraged me to play around. This was just the beginning of a powerful dynamic that honed the show and the character to be its own unique version. Lonny is a gracious and willing director. That spirit is important in making all theatre, but especially in a show such as this which is rooted in youthfulness and fun.

JHPENTERTAINMENT: Hook, by nature of the character, becomes involved in more than his share of fights. What is a typical fight rehearsal like? AND…do you continue to rehearse fight sequences while on the road?

CODY GARCIA: Our fights are designed by Sordelet Inc. Rick Sordelet has been doing fight choreography for years, across all kinds of mediums. It was an honor to work with him and his son, Christian, and Christian’s partner, Ana. They would choreograph the main fights in both acts, as well as small aspects stage combat throughout the piece.

We actually rehearse these all the time. Every day, before each show, we have a “fight call” where we run every fight we do in the show with weapons, flying and everyone involved. It is very helpful to do them to get them in your body before the audience sees it.

JHPENTERTAINMENT: Prior to being cast as Hook, you toured with Elf, playing Buddy. If you could switch a character trait from one to the other, what would it be and why?

CODY GARCIA: Hmm. Well I would certainly love for Hook to be a little happier. But if that were the case, then we wouldn’t have a story! The same thing with Elf. Buddy is happy all the time, and, in leaving the North Pole, eventually begins to understand the spectrum of human emotion. Im not sure that either would work with aspects of the other!

Rapid Fire with Bailey Frankenberg, Peter Pan’s Tiger Lily

JHPENTERTAINMENT: If research serves me, you joined the tour as swing, but as of early December, you’ve now taken on the role of Tiger Lily. How would you describe Tiger Lily to someone who somehow is unaware of Peter Pan?

BAILEY FRANKENBERG: Yes! I began as a Swing, meaning I covered (or understudied) up to fifteen tracks in the show. This is such a fun show to Swing for because of the range of characters I got to explore (and sometimes with minutes notice!)

I’m so thrilled to step up into Tiger Lily – for new folks, she is one of the main inhabitants of Neverland – she’s the Leader of a Tribe made up of Warriors who are the last of their people from around the world. In Neverland you can never grow old, so she leads people who are there to preserve their culture. Larissa Fasthorse did an amazing job revisioning TL and the Indigenous People in the story into something we haven’t seen before.

JHPENTERTAINMENT: As you mention, Thanks to playwright Larissa FastHorse, whose own heritage is Sicangu Lakota, gone are the days of portraying Tiger Lily and other indigenous characters in the show by offensive makeup choices and questionable terminology. I myself am part Comanche, so when I learned that you’re Choctaw, I gotta tell you I loved hearing it. How excited are you to be representing indigenous people in such a strong character?

BAILEY FRANKENBERG: Comanche! Oh my goodness I love it! Yes, I’m Choctaw and a Tribal member of the Cherokee Nation and I’m so proud to be here! It’s so special to be Indigenous playing Indigenous- there aren’t a lot of opportunities in mainstream theatre but I love that Peter Pan is now an option and avenue for it! If feels amazing to bring more depth and fire to a character that was written to, well, not say much and then speak in broken English. I hope that all walks of people can see this cast up here and see themselves reflected up on the stage. I know I yearned for that when I was growing up. Having the opportunity to show the world another fresh, powerful, Native Heroine (AND she’s in leadership!) means more than I think many people understand.  

JHPENTERTAINMENT: I’ve heard that you knock it out of the park during a reprise of I Gotta Crow. What’s it like performing that particular number night after night?

BAILEY FRANKENBERG: Hahaha! Awww that’s so lovely to hear! This number feels different from the rest of the show- it’s a final celebration with all the Heroes of the play and takes place very close to the audience, so it feels very intimate with the crowd. Funny story, I did Peter Pan years ago at my High School and I played Liza the Maid (now a babysitter played by Hannah Schmidt) and in the original version, Liza goes to Neverland and sings the I Gotta Crow reprise with Peter. I had a feather duster and an awful cockney accent. It’s a really funny full circle moment to do it almost 20 years later as Tiger Lily on a national stage.

JHPENTERTAINMENT: Speaking of musical numbers, I Won’t Grow Up is one of the show’s most beloved tunes. You’re in your early 30s, making you one of the older primary cast members in this production. I’m nearly twice your age, so that’s not a dig at all. So, I gotta ask…what’s the benefit of having the mindset of never growing up?

BAILEY FRANKENBERG: It’s funny, I am actually thankful for aging in the way that I’ve never taken better care of my body or been as mindful as a Movement Artist before. I’ve never been stronger physically then my 30’s while also understanding the benefits/needs of icing my knees haha. I think the mindset of never growing up pairs well with “it’s never too late”. It feels good to make my National Tour debut in a very physically demanding show and still feel my own improvements every day. And when it comes to never growing up mentally- I think connecting with young audiences at the Stage Door has been really special since I’ve stepped into TL- remembering I was once a young theatre artist dreaming of being up on this big stage and I actually made it to the other side. That’s pretty dang cool to let sink in.

JHPENTERTAINMENT: In addition to being cast as Tiger Lilly, I understand you’re also the tour’s Dance, Fight and Flight Captain. I’m sure there’s a fight or flight joke to be made, but what I want to know is how gratifying is it to not only be expressing your creativity by way of your acting and singing skills, but to also be showcasing your talents as the dance, fight and flight captain for the show?

BAILEY FRANKENBERG: I must say I’ve thoroughly enjoyed answering these questions! Loved your research and approach! Yes, I was a triple Captain for my first year and now that I’m TL I’ve kept two of my titles as Fight and Co-Flight Captain. I’ve spent the past 8 years or so studying and specializing in movement storytelling through stage violence, combat, stunts, fire effects, and aerial arts. I’ve had so many incredible leaders and mentors that I learned from and I would NOT be the leader or artist I am without them. I trained in performance combat with multiple weapon disciplines with NYC based studio Neutral Chaos. Then I had the opportunity to work with the incredible Atlanta based company Havoc Movement for the past few years and my physical artistry elevated immensely. They are doing amazing work and this is where I learned Aerial and harness performance. The skills that I gained from these Artists and the community they stem from provided me the skill sets to Captain a show as big as Peter Pan with multiple fight sequences, flying, flying AND fighting, and other high-stakes stylized movement. I am so grateful and I love being able to apply these skill sets to the show!

Rapid Fire with Peter Pan National Tour star, Nolan Almeida

JHPENTERTAINMENT: Who is Peter Pan to you?

NOLAN ALMEIDA: Peter Pan is everything that it is to be a child. A beautiful thing, but also a reminder of why we eventually need to grow up.

JHPENTERTAINMENT: Most audience members of a certain age likely associate the role of Peter Pan with the diminutive women who’ve traditionally played the role, including Mary Martin and Cathy Rigby. How excited are you to be bringing an authentic youthful male energy to the role?

NOLAN ALMEIDA: That was originally one of the reasons I really wanted to do this role. As a kid, I thought Peter Pan was the coolest story ever. He was a superhero to me. I was bummed when I realized I’d probably never get to play him in the theatre. That ended up not being the case. I started this show when I was 16 years old, which is only a few years older than a lot of our target audience. It has been such a wonderful thing to show kids, all around the country, that dreams can and do come true. Kids have a certain intuition when it comes to experiencing art. I think that having a young guy playing Peter removes that immediate sense of doubt and lets the imagination begin to soar.

JHPENTERTAINMENT: I understand playing Peter is a bit of a full circle moment for you. A quick perusal of your bio reveals that when you were younger, you wrote your own sequel to the classic story. I gotta know…what is the basic plot of your Peter Pan sequel? AND…when are you going to publish it? I mean, seems like this would be THE perfect time.

NOLAN ALMEIDA: Ah the Peter Pan sequel! In fifth grade our class had an assignment to write a sequel to any fairytale. Being fresh off my community theatre production of the show, I went to work. The assignment was a one page project. Mine was 25 pages, leather bound, with illustrations included. In my story, Peter takes Jane to Neverland, where Jane ends up getting captured by Hook and the Pirates. Back in London, the lost boys are attempting to reintegrate themselves into modern society and failing miserably. I read it recently and I gotta say that fifth grade Nolan was on to something.

JHPENTERTAINMENT: What has your experience been like working with Paul Rubin, this tour’s Flight Sequences Choreographer?

NOLAN ALMEIDA: Amazing. Wonderful. Paul Rubin is not only great at his job, but great at being a person. At the start of this tour, I had a very intense fear of heights. When it’s your job to fly, that’s not the best situation to be in. He coached me through the flying but also through the fear. Paul comes back every so often to check in on the show and every time he does, it’s like Santa is coming; you can just feel the excitement that everyone has to see him.

JHPENTERTAINMENT: Long after the fairy dust is gone, what do you hope audiences take with them after having seen this presentation of Peter Pan?

NOLAN ALMEIDA: I hope that audiences young and old will able to connect with this story and with this character. For the older folks I hope it reminds them of what it was to be a kid. A gift that we all receive but are never truly thankful for until that gift is gone. I hope that the younger folks are able to cherish that gift, even just a little bit more.

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The current National Tour of Peter Pan soars to Neverland by way of Nashville with shows at TPAC’s Jackson Hall from Tuesday, January 7 thru Sunday, January 12. CLICK HERE for tickets.

To follow Peter Pan on Tour, check out their Official Website, or find them on Facebook, Instagram, YouTube and TikTok.

Up next for Broadway at TPAC, it’s the return of Chicago, playing Jackson Hall January 28-February 2. CLICK HERE or follow TPAC on Facebook, X, Instagram and TikTok for details, tickets and the full schedule of entertainment coming Tennessee Performing Arts Center. You can also follow TPAC on socials: TPAC on Instagram, X, 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 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!

Rapid Fire 20Q with cast of Nashville Rep’s ‘A Christmas Carol’, returning for a second holiday season at TPAC’s Polk Theater thru December 22

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When Nashville Repertory Theatre debuted Micah-Shane Brewer’s adaptation of Charles Dickens’ A Christmas Carol last holiday season, I made the not-so difficult prediction in my review that the production was easily poised to become an instant tradition. Well, I was right. Returning to TPAC’s Polk Theater for a second year in a row, Nashville Rep’s A Christmas Carol is back. Last year I had the chance to chat with Brewer and the actors playing the Ghosts. This year for the latest installment of my recurring interview feature, Rapid Fire 20Q, I thought it would be fun to chat with a few more members of the cast including Matthew Carlton, who plays Ebenezer Scrooge, Eric Pasto-Crosby, who’s cast as Bob Cratchit and the dynamic duo of Denice Hicks and Galen Fott, returning again this year as The Fezziwigs. So get yourself a plateful of your favorite Christmas sweet treats and check out the conversations below.

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Rapid Fire 20Q with Cast Members of Nashville Rep’s A Christmas Carol

Rapid Fire with Matthew Carlton, Scrooge in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: When I reviewed the premiere production of Nashville Repertory Theatre’s A Christmas Carol last holiday season, my headline foretold this retelling just might become a holiday tradition, and here you are, reprising your role of Scrooge in Micah-Shane Brewer’s presentation once again. How excited are you to step back into this role?

MATTHEW CARLTON: A Christmas Carol is just about my favorite story to share and I’ve played many of the characters. After taking on the mantle, Scrooge has become a wonderful, complex, challenging and most rewarding role.

JHPENTERTAINMENT: Not only are you returning, but from the looks of things, so is the majority of the cast. What’s it like to be part of a retuning troupe of fellow actors?

MATTHEW CARLTON: Comfort and joy!

JHPENTERTAINMENT: In my aforementioned review of the show’s previous run, I ranked you right alongside Sir Michael Caine among my favorite Scrooges. YES, I guess It’s become passé to mention Caine’s performance in The Muppet’s Christmas Carol, but I don’t care…it’s brilliant. SO, I gotta ask…yourself excluded, who’s your favorite Scrooge?

MATTHEW CARLTON: That is high and humbling company. I study every performance  on film, I can find. But I keep going back to Sims, for his fully rounded take. (Love Magoo though, too).

JHPENTERTAINMENT: Since this is a ‘Holiday Edition’ of my Rapid Fire interview feature, these last two remain questions are simply either/or. Which song do you think is played more at Christmas…Mariah Carey’s All I Want for Christmas OR Wham’s This Christmas? 

MATTHEW CARLTON: AIWFC. BTW, former local, Travis Harmon, is Santa on her tour this year.

JHPENTERTAINMENT: Mulled Wine or Spiked Hot Chocolate?

MATTHEW CARLTON: CHOCOLATE!

Rapid Fire with Eric Pasto-Crosby, Bob Cratchit in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: What can you tell me about Bob Cratchit, the role you’re reprising for a second year in Nashville Rep’s A Christmas Carol? 

ERIC PASTO-CROSBY: Bob Cratchit, in my opinion, and in this year versus last year, is more of the standard of parent that people want to be. He cares, even though he’s aware of the situation to a certain degree, but he still thinks the positive in everyone. 

JHPENTERTAINMENT: While the majority of the cast is returning, there’s a few new faces among the company, including Alicia Haymer, who’s playing Cratchit’s wife, Elizabeth. What’s the best aspect of having Alicia as your scene partner?

ERIC PASTO-CROSBY: One of the things I love about working with Alicia is her warmth and her acceptance of whatever you bring to the scene. 

JHPENTERTAINMENT: Dickens’ A Christmas Carol was written 181 years ago. Why is it still among the most beloved holiday stories?

ERIC PASTO-CROSBY:  Not only have I had the privilege of two years in a row being in a production of a Christmas Carol, but I also like to read it every Christmas and I watch pretty much every movie version that I can find. I believe it’s a classic because it has lessons that we all still need to learn. And it has such a heartwarming story that you can possibly fix even some of the worst situations.  

JHPENTERTAINMENT: If you weren’t playing Cratchit, what other roles might you enjoy in A Christmas Carol?

ERIC PASTO-CROSBY: I would love to play some of the ghost, particularly Jacob Marley because in the full text, he has some amazing lines and I just think that would be fun. Also, I would get to fly. One day I’d like to be Scrooge.  

JHPENTERTAINMENT: Is there a particular Christmas, or a Holiday tradition that you recall from your childhood?

ERIC PASTO-CROSBY: A holiday tradition that my family has done because my Dad was an emergency room doctor…We always had Christmas with my family on Christmas Eve instead of Christmas Day. I had Christmas Day to do whatever I wanted to do and we would do a little bit then. These days that works out great because we have Christmas with my family on Christmas Eve and then my wife’s family on Christmas Day and my family on Christmas Day. So my son basically ends up with three or four Christmases depending on how much family is in town and I think that’s lovely giving each family their own separate holiday.

Rapid Fire with Denice Hicks, Mrs. Fezziwig in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: When I reviewed last year’s production, I indicated that you and your co-star Galen Fott as The Fezziwigs “bubble and giggle” about. How would you describe Mrs. Fezziwig and the way you’re approaching the role?

DENICE HICKS: Mrs. Fezziwig is married to the most loving, kind, playful, and hard working man imaginable. They run a reputable business and serve their community and when it’s time to party they have the best time. She sees the good in everyone and is ever grateful for her good life. 

JHPENTERTAINMENT: On the subject of Galen Fott. How much fun are you having being back as his on-stage spouse?

DENICE HICKS: Galen IS Mr. Fezziwig to me! Kind, playful, creative and oh so talented. I feel very fortunate to be working next to him again. Last summer we played brother and sister in As You Like It and now we get to be married again. Pure joy. 

JHPENTERTAINMENT: When I chatted with Matthew Carlton, your show’s Scrooge, I mentioned my favorite A Christmas Carol film adaptation…The Muppets. A highlight of that version is Fozzie and his Mom as The Fozziwigs. Do you have a favorite film version of A Christmas Carol yourself?

DENICE HICKS: I love Alastair Sim as Scrooge in the 1951 film, but Albert Finney in the 1970 musical is my heart’s favorite. 

JHPENTERTAINMENT: For your last two questions, a little Holliday-themed THIS or THAT…Which do you like better, Peppermint Bark OR Little Debbie Christmas Tree Cakes?

DENICE HICKS: I could eat a whole pound of peppermint bark! 

JHPENTERTAINMENT: A Charlie Brown Christmas OR How The Grinch Stole Christmas?

DENICE HICKS: Hearing Boris Karloff reading The Grinch is a must for every Christmas, as is hearing David Sedaris reading The Santaland Diaries.

Rapid Fire with Galen Fottt, Mr. Fezziwig in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: How would you describe Mr. Fezziwig, the character you play in A Christmas Carol?

GALEN FOTT: Well, Dickens describes him physically as “an old gentleman in a Welch wig”, a “Welch wig” actually being a woolen cap. I’m definitely one year closer to being an “old gentleman” than I was last year! But I would add that Fezziwig is jovial, high-spirited, generous, and big-hearted. I think he’s there to serve as a good example of how a man might behave towards his fellow men, an example that Scrooge unfortunately fails to follow as he moves through life.

JHPENTERTAINMENT: In addition to Mr. Fezziwig, you also are seen throughout the show during the caroling interludes. To that end, the show is peppered with a mix of Old English Carols and a few new, but perfectly periodesque tunes written especially for this retelling. Of the musical moments, do you have a particular favorite song or piece of lyrics?

GALEN FOTT: Well, although I don’t sing it, I love the little blessing that the Cratchits sing, which sounds for all the world like an old traditional tune, but which was actually written by Micah-Shane! Of what I get to sing and play, probably Greensleeves is my fave.

JHPENTERTAINMENT: When I chatted with your Fezziwig wife, Denice Hicks, I asked her about sharing the stage with you, so turnabout is fair play…what’s it like having Denice as a scene partner in this show?

GALEN FOTT: This is my sixth opportunity to work with the incomparable Denice Hicks, if you count her one-night-only appearance as our guest “Professor Willard” in the Rep’s Our Town. We also just played the two sibling Dukes in Nashville Shakespeare Festival’s As You Like It. Denice is eternally “in the moment” onstage, always listening, and able to adjust her performance to any unexpected nuances that might occur. She’s the best, and a real Nashville theatrical treasure.

JHPENTERTAINMENT: What’s one item you hope you never receive as a gift again?

GALEN FOTT: Nothing is coming to mind as far as a bad present I personally have received. But as a father, I must take this opportunity to talk about Slimecano. This was a Hot Wheels playset, and truly one of the worst toys ever made. It was a bunch of plastic pieces that snapped together haphazardly to create a sort of obstacle course for Hot Wheels. The major attraction was a plastic volcano that would frequently erupt with an orange slime that gummed up your Hot Wheels and permanently stained everything it came in contact with. The Amazon page for Slimecano was a masterpiece of unintentional comedy, full of people’s furious complaints about the toy. The phrase “Bah Humbug” could have been invented for Slimecano.

JHPENTERTAINMENT: Long after Scrooge sees the error of his ways and audiences return to their warm homes after seeing A Christmas Carol, what’s something you think they’ll remember from this production of the holiday classic?

GALEN FOTT: I’m very proud of this production. I think Micah-Shane did a wonderful job of preserving the heart of Dickens’ tale while translating it into the medium of theatre. It’s faithful in all the best ways. There’s plenty of theatre magic in our production; I mean, people fly across the stage! But in the end, I think people will remember exactly what Dickens intended them to. His message of generosity and compassion and empathy will stay in their minds long after the curtain comes down.

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Nashville Rep’s A Christmas Carol runs thru December 22 with matinee performances Saturdays and Sundays at 2pm and evening performances at 7:30pm, with an additional Thursday evening performance December 19. Tickets range in price from $58.50 to $96. CLICK HERE to purchase tickets or for more information.

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

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!

Rapid Fire 20Q with Director Jef Ellis and Cast of ‘Beautiful: the Carole King Musical’; at Center for the Arts in Murfreesboro November 8-24

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When I heard that Jef Ellis was directing BEAUTIFUL: The CAROLE KING MUSICAL Nov. 8-24 at Center for the Arts (110 West College Street, Murfreesboro, TN 37130), I knew I wanted to chat with Ellis and members of his cast for the latest installment of my recurring interview feature. Having seen the National Tour of the show back in 2017, and being somewhat familiar with Carole King’s contributions to the world of music, thanks to my favorite Aunt, I was truly drawn in from the start. Not only is the music one of those “soundtracks of our lives” as the saying goes, but the story is actually interesting.

Obvious reasons aside, I also knew I wanted to feature Ellis and company because just as King has made innumerable contributions to music, Ellis is himself legendary within the Tennessee theatre community. With the announcement that Ellis was helming the project, came the news that this will be the last time Ellis directs a show. After devoting his life and life’s work to lifting up the Middle Tennessee theatre community as a director, critic and all-round patron saint of the performing arts, Ellis has recently made the difficult decision to step away from active duty within the theatre world to focus some much-deserved attention on himself and his health. In light of that news, I wanted to feature Ellis and the cast of BEAUTIFUL for my latest Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20Q with director and cast of BEAUTIFUL: THE CAROLE KING MUSICAL

Rapid Fire with BEAUTIFUL: THE CAROLE KING MUSICAL director, Jef Ellis

JHPENTERTAINMENT: How did directing BEAUTIFUL: THE CAROLE KING MUSICAL come about?

JEF ELLIS: I have to give credit to my friend Allison Hall (who was my musical director for both SINGIN’ IN THE RAIN and for LITTLE WOMEN), who mentioned in the course of a conversation that Center for the Arts had announced their 2024 season and if I had any desire to direct again. I really had no plans to direct anything at that time, but when I saw BEAUTIFUL on their season, I knew I would throw my hat in the ring. It’s probably my favorite of all the so-called “jukebox musicals” due to my deep respect for Carole King and my love, in particular, for her Tapestry album.

 JHPENTERTAINMENT: What’s your earliest memory of truly grasping what an iconic songwriter Carole King is?

JEF ELLIS: When I turned 13, my big sister Charlotte gave me Tapestry for my birthday – it was my first-ever album (heretofore I had only owned 45s) and I played it all the time. It remains my favorite album of all-time and cemented my fanatical love of everything written by Carole King. In fact, when I was a senior in high school, I wrote a musical based on her 1974 album Wrap Around Joy, which has never been produced (did I mention my script was awful?). I’ve followed her career since I was 13 and as I have discovered more and more about her, I have realized how much there is to admire about Carole King.

One of my favorite Carole King-centric memories is when she was a Kennedy Center Honoree in 2023. During the telecast, you could see how absolutely thrilled she was to be there and how her delight was apparent when each performer came onstage to perform for her. I’ve never witnessed a Kennedy Center Honoree as exhilarating as her in the audience!

 

JHPENTERTAINMENT: Is there a scene or song in the musical that speaks to you on a personal level?

JEF ELLIS: There are two moments in the show that make me more emotional than others: (1) During the performance of You’ve Got A Friend, I am taken back to my childhood home, listening to that song all through high school, knowing that someday I would find my people who would elicit in my own heart in that spirit of camaraderie and belonging expressed in the song. (2) The climactic performance of Beautiful in the show, part of Carole’s 1971 concert at Carnegie Hall, is an electrifying moment that every audience member will share in each performance. Emily Summer’s performance is breathtaking.

And it’s not a song, but there is a scene backstage at Carnegie Hall that is heartbreakingly genuine and never fails to land in my heart – Ross Canales delivers an emotional wallop you’ll think about for days to come.

JHPENTERTAINMENT: As he is with most productions at Center for the Arts’ Royce Phillips is music director. How has working with Royce been during the rehearsal process for BEAUTIFUL?

JEF ELLIS: Royce and I previously worked together on THE SECRET GARDEN, so even before I submitted my proposal to direct BEAUTIFUL, he was the first person I asked to join my production team. I knew he would be respectful of Carole and her music, and of Gerry Goffin, Cynthia Weil and Barry Mann and he would honor their legacies and the legacies of all the tremendous musical performers to whom we pay tribute in the show. Royce is a great collaborator and he helps every performer achieve their very best, which is our goal in bringing BEAUTIFUL to life.      

JHPENTERTAINMENT: I’m about to chat with three of your lead actors, Emily Summers, Kelly Cline and Ross Canales. What can you tell me about these three talented individuals?

JEF ELLIS: I first saw Emily in Circle Players’ IF/THEN and was gobsmacked by her talent and her unerring ability to be totally authentic and believable onstage. Subsequently, I’ve seen her take on other characters with the same intensity. I think I knew she should play Carole King a long time ago and she provides the very heart of our production. I am honored to direct her in my final show.

Kelly walked into auditions and performed her song and Royce and I looked at each other and said, “I think we have our Cynthia!” She has so much stage presence and absolutely commands you to watch her – and she is such a lovely presence in any room, with so much grace radiating from her. She has a perfectly droll sense of humor and her comic timing is impeccable.

I first saw Ross earlier this year in IS Productions’ CLOSER and I was impressed by his ability to play a challenging character with such focus (at that first introduction, I was seating maybe a foot away from him in his initial appearance onstage) and such an amazing range. When he came in to claim the role of Gerry Goffin, he possessed everything necessary to bring Gerry to life with a complete understanding of his character’s dramatic arc. He also possesses that indefinable quality all actors strive for: you believe everything he says onstage.

Rapid Fire with Kelly Cline, Cynthia Weil in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KELLY CLINE: Confident. Timeless. Sharp-Witted. Loyal friend. I feel so honored to have the opportunity to portray such a strong, confident character who was such a pioneer for women in the music industry. The songs she wrote in partnership with her husband, Barry Mann, have shaped our American Songbook. What a legacy she’s left us all. 

JHPENTERTAINMENT: This show marks director Jef Ellis’ self-proclaimed ’Swan Song’ as a director after decades of not only presenting memorable theatrical productions but of course also covering theatre as a critic. Were you aware of Jef’s status in the theatrical community prior to auditioning? AND…What’s been the most beautiful aspect of working with Jef during BEAUTIFUL?

KELLY CLINE: Prior to auditioning I didn’t know Jef, but quickly learned about him as I was preparing to audition. What an incredible opportunity to be cast by him – especially in a show that is the grand finale to such a fantastic career. I’m truly honored. Jef is a passionate director – what a gift it is to be in the room with someone who cares so deeply about creating beautiful work onstage. He encourages us to remember the magic of theatre, and how transformative and transportive the craft is. In addition, Jef challenges you as the actor to continue to find instincts, intentionality, and aspects of your character throughout the rehearsal process. I’ve loved working with him!

JHPENTERTAINMENT: A bit of a subplot of BEAUTIFUL presents the initial competitive nature of Carole King’s relationship with Cynthia Weil. In real life, as in the show, their relationship eventually morphed into a close friendship. To that end, how is Emily Summers, this production’s Carole King, as a scene partner?

KELLY CLINE: Oh my word! How long do you have? What a talent. I count myself so lucky to share the stage with Emily. The scenes we have together are some of my favorites in the entire show. She’s incredibly generous as a scene partner – what she brings to every moment is so natural and authentic. There’s such an ease in doing scenes with her. Additionally, I think the friendship our characters develop onstage has a lot to do with the friendship we’ve been able to cultivate off the stage. If I ever get the opportunity to work with her again, I’d say “Yes” in a heartbeat! 

JHPENTERTAINMENT: When I saw the National Tour of BEAUTIFUL a few years back, I was surprised my favorite Cynthia Weil song, I’m Gonna Be Strong isn’t part of the show (of course it’s NOT the Cynthia Weil story per se, but still). The song, originally recorded by Frankie Laine in 1963, but familiar to me because of Cyndi Lauper’s 1980 cover. While preparing to portray Cynthia Weil, have you discovered any songs she wrote that you particularly enjoy?

KELLY CLINE: Dolly Parton’s Here You Come Again is a song I grew up listening to, but I had no idea Cynthia Weil had a hand in writing it! That was a fun discovery and connection point. 

JHPENTERTAINMENT: This show is jam-packed with not only tunes written by King and Weil, but a number of other hits from 60s/early 70s era. Is there a musical moment, whether it be yours or that of one of your co-stars that you particularly enjoy?

KELLY CLINE: Oh goodness, forgive me but I can’t pick just one! Every time our amazingly, talented ensemble sings You’ve Lost That Loving Feeling I have to stop and take it in. They do this timeless song justice and are just so fun to listen to– I think Barry and Cynthia would be proud. When Aaron Johnson (our Barry Mann) sings We Gotta Get Out of This Place it’s going to tear the roof off the theatre. Aaron makes rock n’ roll look easy and has one of the most sensational voices. Lastly, You’ve Got a Friend will forever be one of my favorite moments in the show. This song is all heart and I love sharing it with Emily and Aaron. It’s a moment I look forward to every time we do the show.

Rapid Fire with Ross Canales, Jerry Goffin in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Before seeing the show, is there anything audiences might need to know about Gerry Goffin, the role you play in BEAUTIFUL: THE CAROLE KING MUSICAL?

ROSS CANALES: Gerry Goffin is a lovable, yet complicated, and troubled individual. All he wants is to get the most out of his life and to seize opportunities as they come. He unfortunately has a hard time maintaining a good moral compass in his pursuit of life fulfillment. 

JHPENTERTAINMENT: Alongside Carole King, Gerry Goffin wrote some of the most beautiful songs of their era. Do you have a favorite that you get to sing alongside your Carole, Emily Summers?

ROSS CANALES: One of my favorites from the show is Some Kind of Wonderful. In the show Gerry and Carole only sing part of the song, but they sing it in a very heartfelt part of the show. It is sung as a conversation between two lovers that finishes with beautiful harmonies. 

JHPENTERTAINMENT: As Gerry, you’re tasked with some of the show’s more dramatic moments. How do you mentally prepare for these scenes and what helps you come back out of them to a more peaceful mindset?

ROSS CANALES: Gerry definitely has some dark places he reaches in his life. Preparing for those moments, I tend to need silent reflection of prior events in my life that can bring out similar emotions. I try to focus on my senses in those moments. What I heard, what it physically felt like, what I might have smelled, or saw in the moment. The more I can feel those senses again, the better I can portray those emotions and connect to the audience. Coming out of it is easy when you have such an amazing, fun, and supportive cast that can make you smile. All the inside jokes and laughs you have during the rehearsal process carry over in the performances and create easy avenues to make lighthearted jokes when they are needed. 

JHPENTERTAINMENT: BEAUTIFUL marks Jef Ellis’ self-announced final directorial effort. What do you admire most about Jef’s directing style?

ROSS CANALES: With Jef being one of the biggest theater lovers I know and a critic for decades he has a unique perspective of where a show could be lacking. Being able to identify those missing elements early gives him the ability to change what is needed. That could be something as small as where actors are placed on stage, to an emotional feel of a scene. An average theater goer might not be able to identify those elements, but they can feel the difference between a performance that has taken care of the lack and ones that haven’t. I admire Jef’s ability to spot those elements and find a change to make the performance better. 

JHPENTERTAINMENT: Carole King has always recognized the importance of Gerry Goffin’s presence in her early life, both professionally and personally. Is there someone who has been in your corner since the beginning and what does that sort of support mean to you?

ROSS CANALES: I took 10 years off of theater during college and started back in summer of 2022. My wife Zoe has been along for the ride since my comeback to theater. She has observed the commitment, hard work, and dedication it takes to be in a show. Although the time away from home is difficult, as most people in relationships can understand, the support she gives is truly heartwarming. I can’t express my gratitude for her understanding and love through the process. She keeps me grounded and gives me encouragement when rehearsals get tough. She means the world to me! I couldn’t follow my pursuit of acting without her. 

Rapid Fire with Emily Summers, Carole King in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: You, like Carole King, are a singer/songwriter. Has that helped you tap into how you’re playing the famed songwriter in BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: Absolutely. I remember being sixteen with all that passion and drive, when all I wanted to do with my spare time was sit in my room with my guitar and write songs. There’s a moment in the show when Carole says, “When I hear a good song, I feel like someone understands me. […] I want to do that for people!” I feel that line deeply.

JHPENTERTAINMENT: Continuing on that built-in kinship with Carole, is there a scene to which you particularly relate?

EMILY SUMMERS: Without giving away any spoilers, there’s a scene in act two in which Carole’s heart is especially broken. She goes to the piano and sings a verse of an old song, with lyrics that are fitting and poignant for the pain she’s feeling. There’s a real catharsis that comes from putting all your emotion into a song like that. I’m always moved by that scene, and I pull emotion from similar moments of heartbreak I’ve experienced in my own life.

JHPENTERTAINMENT: Does portraying a real-life person, as opposed to a fully fictional character influence your performance?

EMILY SUMMERS: It’s definitely a challenge. I want to honor Carole in my performance and avoid putting too much of my own spin on the character. Typically when I have trouble connecting with part of a script, I step back and ask myself, “How would I say this in the context of my real life?” This time, I’m watching interviews, studying her cadence and her mannerisms, and asking myself, “How might Carole say this in the context of her life?”

JHPENTERTAINMENT: On the subject of icons, there’s been much buzz about the Middle Tennessee theatre community surrounding the fact that this show will mark Jef Ellis’ final directorial effort. How has your experience with Jef as a director been thus far?

EMILY SUMMERS: It has been a joyful experience! Jef has so much passion, and he’s putting his whole heart into this show. That’s motivating, not only because I want him to be proud of his directorial swan song but also because he is so endeared toward this story and this music, and that sentiment is contagious. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: By the end of the show, audiences undoubtedly will have learned something about Carole’s life and the story of how she became the legend she is. And while that story is moving and important, more than that, I hope audiences leave with a new appreciation for who she is. I hope my performance does justice to her heart, her humility, and the guts it must have taken to achieve so much, at such a young age, as a woman in an industry ruled by men. 

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BEAUTIFUL: THE CAROLE KING MUSICAL opens at Center for the Arts on Friday, November 7 and continues weekends through Sunday, November 24. Friday and Saturday evening performances are at 7:30p.m. Saturday and Sunday matinees are at 2p.m. Tickets are $22 for Adults ($20 for Seniors/Military/Students/Children). CLICK HERE to purchase tickets. To follow Center for the Arts, check them out at their Official Site or follow them on Facebook, Instagram, X and TikTok.

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.

Rapid Fire Q&A with ‘What the World Needs Now: The Music of Burt Bacharach’ cast; on stage at WCPAC at Academy Park beginning November 1

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Last November, Williamson County Performing Arts Center debuted the World Premiere production of What the World Needs Now: The Music of Burt Bacharach, a musical tribute to the iconic songwriter. Written, directed and staged by WCPAC’s Director of Performing Arts, Victoria Reed, the show was so well-received they’re bringing it back for four performances Friday, November 1-Sunday, November 3. This year, returning cast members Craig Robinson, Justin Boyd and Miracle Ham will be joined by newcomer (to the show) Francesca Noe. All backed by an equally talented musical quartet featuring Andrew Carney on Trumpet and Flugelhorn, Eric Coveney on Bass, Neil Tufano on Drums and Trevor Willoughby on Piano. Willoughby will also lend his talents as vocalist as well as serving as the show’s bandleader. With vocal arrangements by Ricki Holmes, choreography by Alison Little, stage management by Susan Gaw and musical direction by Kelsi Fulton, this production promises to be What the World Needs Now, just as the show title suggests.

As the company readied for the show for its limited run, I had the chance to pose a few questions to two of the returning performer, Justin Boyd and Miracle Ham for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with members of the cast of WCPAC’s What the World Needs Now: The Music of Burt Bacharach

Rapid Fire Q&A with What the World Needs Now cast member Miracle Ham

JHPENTERTAINMENT:  You were part of last year’s debut of this show. Your co-stars Justin Boyd and Craig Robinson are also returning for this year’s production. As far as camaraderie and fitting together, did the company pick up right where you all left off last year?

MIRACLE HAM: I definitely believe so. It’s like we never closed the show and we’ve always gotten along so well. It’s literally like a family reunion. Constant laughs and such a good time.

JHPENTERTAINMENT: New to the cast this year is Franchesca Noe. How has it been sharing the stage and this show with her?

MIRACLE HAM: It’s been great. She’s picked up the show so fast in such a short amount of time. Such a sweet spirit and a huge talent. To be so small she has a big voice! I mean she lets the people have it. I’m happy she’s a part of the show. 

JHPENTERTAINMENT: Aside from What the World Needs Now, you previously appeared onstage at WCPAC in their 2022 production of Nunsense. What is it about this gem of a venue and theatre company that keeps you coming back?

MIRACLE HAM: Honestly, the director Victoria is what keeps me coming back. She is such a pleasure to work with and has a different but wonderful approach to her directing style, and I love it. She really knows how to help you bring your character to life in ways that you might not have thought of on your own, and she is a true visionary. 

JHPENTERTAINMENT: In What the World Need Now, you get to perform, not just one of my favorite Bacharach-written songs, but one of my all-time favorite tunes, Say a Little Prayer, made famous by Dionne Warwick in 1967 and arguably equally as relevant to its popularity, as recorded by Aretha Franklin the following year. While I’m not old enough to have remembered those initial releases, I’ll date myself my admitting I first remember it when Dionne and Aretha performed it on a 1981 episode of Solid Gold. What’s your first memory of this classic song AND How much fun are you having performing it?

MIRACLE HAM: I remember hearing this song when I was really young. It was the Aretha Franklin version. I want to say the first time I heard it, my Mom was watching a movie and it was playing in the background. I can’t remember for sure but I literally heard this song all the time during my childhood. It was just one of those songs that was always playing somewhere – in the grocery store, at the mall, in commercials, everywhere. I definitely enjoy that section of the show. It’s so much fun performing it, and I mean who doesn’t love this song??? It’s such a classic and I’m so honored to get to perform it again. 

JHPENTERTAINMENT: Is there a particular song in What the World Needs Now, whether you’re featured in it or simply watching your fellow cast-mates, that you ‘really’ feel each time you hear it?

MIRACLE HAM: Dionne Warwick’s Don’t Make Me Over has to be my favorite. The message of the song so powerful and really speaks to me. Don’t try to change who I am. Just accept me and all my flaws. Also, the overall instrumentation of the song and the way it was written specifically for Dionne’s voice is absolutely perfect. I get to perform this song and really make a statement every time I sing it. 

My second favorite song would have to be Any Day Now. It takes me back to the music that my Mom used to play growing up and reminds me of the classic biopics that we would keep on repeat on our TVs at home. Craig does an excellent job with taking you back to that time and I love his voice on that song. 

Rapid Fire Q&A with What the World Needs Now cast member Justin Boyd

JHPENTERTAINMENT: When I chatted with Miracle, I noted that several of the cast and crew were part of last year’s World Premiere presentation of What the World Needs Now: The Music of Burt Bacharach. You, too are part of that returning company. How’s it feel to be back for this year’s production?

JUSTIN BOYD: It feels like a homecoming since there are so many familiar faces returning! We had an abbreviated rehearsal process since we mainly just had to shake off the rust. At our first tech rehearsal earlier this week, everything clicked back into place, and we knew we had another great show on our hands. Special shout out to the new members of our production that came right in and didn’t miss a beat!

JHPENTERTAINMENT: This musical review is written, directed and staged by Victoria Reed. What’s it like to work with someone so involved in a show like this?

JUSTIN BOYD: It’s quite convenient having the writer, producer, dramaturge, and director at every rehearsal in case we have any questions or need guidance. She’s done an incredible amount of research into Burt’s life and career that we never really have to second guess anything she tells us about what he’s done.

JHPENTERTAINMENT: When you were first preparing to perform in this show, were there any Bacharach-penned tunes that you were surprised to learn were his?

JUSTIN BOYD: There were a great many of them! A few of the more popular ones were Raindrops Keep Falling On My Head, What’s New Pussycat, and Always Something There To Remind Me. One of the deeper cuts for me personally was the Perry Como version of Magic Moments. I only knew that song from a very brief moment in the show Forever Plaid, and it was a nice moment for me to realize Burt  and Hal David wrote it and that it was in this show!

JHPENTERTAINMENT: Kelsi Fulton serves as musical director for this production. If memory serves, you’ve worked alongside her in a number of shows in the past, right? What’s the most rewarding aspect of working with Kelsi as music director?

JUSTIN BOYD: Yes, I’ve worked with her on multiple shows including Dreamgirls, West Side Story, American Idiot and Little Mermaid just to name a few! I would say the familiarity since we’ve known each other for over a decade now! She’s also very precise with the sound she wants, and she is meticulous with the score to ensure she gets it perfect.

JHPENTERTAINMENT: What do you hope audiences remember after having attended a performance of What the World Needs Now?

JUSTIN BOYD: Music comes in all forms, shapes, and sizes. The music of today is drastically different than the music Burt would compose. I want people to either remember the beauty and elegance of Pop music from Burt’s generation, and for people in my generation and younger, to learn the history of a musical icon that shaped and led the way for what we hear on the radio today. As for the titular tune, I’m sure we can all agree that the world could use some more love!

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Williamson Country Performing Arts Center’s What the World Needs Now: The Music of Burt Bacharach returns to WCPAC at Academy Park (112 Everbright Ave. Franklin, TN 37064) from Friday, November 1 through Sunday, November 3. Performances are as follows: 2p.m. matinee Friday, November 1, 7p.m. Evening Performances Friday and Saturday, November 1&2 and a final 2p.m. matinee on Sunday, November 3. Tickets are $30 ($27.50 for Seniors and Students). All Seats are Reserved Seating. CLICK HERE to purchase tickets. Next up onstage at WCPAC, The Music Man Kids, November 8-10. Presented by STAR (Student Theatrical Arts Resource), there will be a total of six performances, showcasing three young groups of kids from three area STAR programs. Franklin Rec Cast will perform Friday, November 8th at 6:30p.m. and Saturday, November 9th at 1:30p.m. Enrichment Center Cast will take to the stage Saturday, November 9th at 4:00p.m. and Saturday, November 9th at 6:30p.m. Then, the College Grove Cast will round out the performances Sunday, November 10th at 1:30p.m. and Sunday, November 10th at 4:00p.m. Tickets are $10. CLICK HERE to purchase tickets or more information. To learn more about WCPAC‘s STAR Program, CLICK HERE. To keep up with all things WCPAC, CLICK HERE to check them out online and follow them on Insta, Facebook and X.

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 Twitter.

Rapid Fire 20Q with cast of ‘Waitress’; Opening Nashville Rep’s 40th season with shows at TPAC’s Polk Theatre thru Sunday, September 22

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Following last weekend’s hugely successful opening, Nashville Repertory Theatre continues celebrating their 40th season opener as the sweet treat that is Waitress: The Musical resumes with its second and final week on stage at TPAC’s Polk Theatre with performances Thursday-Sunday, September 19-22. Based on the 2007 film of the same name, the stage musical, with music and lyrics by Sara Bareilles and a book by Jessie Nelson, made its Broadway debut in 2016, garnering four Tony nominations during the show’s initial run.  As the 2024/2025 season opening at Nashville Rep, their presentation is directed by Lauren Shouse and features a cast lead by Sarah Aili, Annabelle Fox and Piper Jones. Last week, while the cast was readying for Opening Night, I had the chance to chat with these four talented individuals for my latest Rapid Fire 20Q interview feature. What follows are those conversations.

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Rapid Fire 20 Q with cast members and director of Nashville Rep’s Waitress: The Musical

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

SARAH AILI: Jenna is life unfolding. Jenna is a dreamer and someone who doesn’t know that she’s allowed to believe in herself. Jenna is a remarkable woman and human who gets stuck in the folds of what her small town would call “normal”, or at least what the webs of her family patterns would call “normal” and she, through relationships and her own will to breathe in life, overcomes the weight of her circumstances. She is a raw, radiant and real woman. 

JHPENTERTAINMENT: Among you co-stars is Dustin Davis, who plays Jenna’s domineering husband, Earl. There are some volatile scenes between the two. How do you prepare for those moments and what helps you put those tense feelings aside afterwards? 

SARAH AILI: Wow, that’s a big question! Honestly, I’m so grateful for the rehearsal process—that’s where I find my truth in the emotions and circumstances of each scene. When it comes to high-stakes moments like the ones between Jenna and Earl, I like to draw from my own life experiences. I connect to something real that I’ve felt, something similar to the emotions in the scene, and allow myself to fully feel it. From there, I make decisions as an actor about what will best serve both my scene partner and the show. It’s a bit like choosing the right spices for a pie! To let it all go, to the best of my ability, I put my attention on what is in front of me and with this show, there is so much joy, on and off stage!

JHPENTERTAINMENT: What is it about the character of Jenna, or the story of Waitress that you find relatable?

SARAH AILI: Jenna and I share a lot in common as women—we dream, we doubt, we love fiercely, we crave, we bake, we love our mamas, we have complex relationships, we face our fears, we rely on the important women around us, and above all, we are human. What resonates most with me about Jenna, and the show as a whole, is its genuine humanity. None of us are perfect, and all of us are deserving of the life we want to live, surrounded by the people we call family.

JHPENTERTAINMENT: Just between us…pie or cake?

SARAH AILI: PIE!! With berries and a little vanilla bean ice cream please! Throw in pecans and I’m a happy camper! Although, if we are talking about Guava Cake, that’s truly IT for me. Guava Cake above all else! 

JHPENTERTAINMENT: A Soft Place to Land, which Jenna performs alongside Dawn and Becky, is among my personal favorites in the show. How much fun are you having with Annabelle Fox and Piper Jones, who play Dawn and Becky?

SARAH AILI: Piper Jones and Annabelle Fox are the icing on the cake for me in this show. I absolutely love sharing the stage with them, and we’ve had such a blast exploring these roles and relationships together. Offstage, it’s just as special. I genuinely look forward to spending time with these two amazing, talented people every day. Honestly, I feel that way about the entire cast!

Rapid Fire with Waitress co-star, Piper Jones

JHPENTERTAINMENT: What’s your favorite aspect of Becky, the character you play in Waitress?

PIPER JONES: I’ve really enjoyed getting to know Becky and finding the very human, relatable parts about her. She’s funny and real. She’s the friend who isn’t afraid to hold the mirror up to your face and call you in instead of out. I’ve loved playing against the “sassy” trope (don’t get me wrong, she’s still got the fire) and digging into her other layers. 

JHPENTERTAINMENT: In Act 2, you get your solo chance to truly shine with I Didn’t Plan It. Having known you for years, I cannot wait for this moment. Have you been given the opportunity to offer input collaborating with Sarah Michele Bailey, the show’s musical director?

PIPER JONES: Sarah Bailey (SMB) is truly fantastic. It’s been a joy working with her on this show! We’ve gotten to see many iterations of each other— her as MD, me as MD, being in a cast together, singing in the studio. It’s always a blast to create with Sarah. Jenna, Dawn, and Becky sing several trio numbers together and SMB has given me the opportunity to sort of act as a bit of a vocal captain with the girls. I appreciate the vote of confidence and I’ve enjoyed getting to pull some vocal nuances out of our trio. I’m excited about I Didn’t Plan It, too. It’s definitely an in-your-face way to start Act 2.

JHPENTERTAINMENT: Within the context of the show, Jenna chooses Becky and Dawn to be godmothers to her daughter, Lulu (played by Rosemary ‘Roxy’ Delger. As an educator in your off-stage life, you’re used to working with kids, right? How has that aided you in your on-stage time with Roxy (and perhaps even some of your more childlike co-stars )?

PIPER JONES: I haven’t really had to wear my educator hat much during this process. You know, Roxy is already an old pro and my goodness she’s a cutie pie! Roxy is always on her mark (honestly, more than I am most of the time haha!).

JHPENTERTAINMENT: I saw on your Facebook that you, in another media moment promoting Waitress, cited your Mama’s Chess Pie as your all-time favorite. Heck, I think you and I might hold the record for most Chess Pie-related Facebook posts. So, a two-parter… 1) What is it about your Mama’s Chess Pie? AND…2) I think you might like my Mama’s Chess Pie, too, so when are we gonna trade recipes?

PIPER JONES: Ha! I do post about her Chess Pies a lot. It’s probably because she only makes the around the holidays, so it’s a special little treat that only comes around once a year. And honestly, I’m not even sure why I love her pies as much as I do. I know she’s particular about what brands of sugar (which must be a freshly opened bag), butter (you gotta buy the good stuff), and flour (which also must be freshly opened)…see what I did there? Anyway, I think her Chess Pie is the right balance of gooey sweetness, where you can kinda see that layer of sugar in the middle and the texture is always just right. Most of the time I can manage to sneak a piece right out of the oven (she hates that, though. They’re supposed to set up as they cool). But I mostly think I love them because of the nostalgia they hold. I bet your mama makes a great chess pie! And swapping recipes? You’d have to ask Dr. Jones if she’d part with hers 😉

JHPENTERTAINMENT: Oh, I see what you did there, and I italicized accordingly! Which leads perfectly to my final question for you…Waitess’ opening number, What’s Inside begins with the hypnotically repetitive mantra-like lyrics ‘Sugar, Butter, Flour’. In keeping with the recipe theme…what ‘ingredients’ make up What’s Inside you on your best days?

PIPER JONES: My best days are coffee, music, naps.

Rapid Fire with Waitress co-star, Annabelle Fox

JHPENTERTAINMENT: How familiar were you with Waitress prior to auditioning for the role of Dawn?

ANNABELLE FOX: I was lucky enough to see the original cast of Waitress on Broadway back in 2015! My friend impulsively bought us tickets and I didn’t know much about the show other than the fact that the music was written by Sara Bareilles. Sitting in the audience that evening, I realized then and there that Dawn would soon become a dream role of mine; one I would chase… until now. 

JHPENTERTAINMENT: How would you describe Dawn?

ANNABELLE FOX: Dawn is particular, organized, controlled, and incredibly sweet. She is a little awkward but I think that’s what makes her so lovable! 

JHPENTERTAINMENT: About midway through Act 1, you’re tasked with performing When He Sees Me, arguably one of the show’s most memorable musical moments. I love that it ranges from comedic to heartfelt. What’s it like performing this song and have you found a personal connection to the lyrics?

ANNABELLE FOX: Performing When He Sees Me is SUCH a gift. It is such a well written song and takes Dawn along with the audience on a beautiful journey of self discovery and assuredness. I love getting to embody her quirks, spunk, and dance with my wonderful cast mates! I loved the song instantly when I saw the show on Broadway and have sung the song in many concerts and for numerous auditions. I’m so excited to get to share my version of the song with Nashville!

JHPENTERTAINMENT: On the subject personal connections, among your cast mates is your real-life husband, Douglas Waterbury-Tieman who plays Dawn’s latest suitor, Ogie. Of course this isn’t the first time the two of you have shared the stage, having first met while you both were attending Belmont. What’s your favorite aspect of being on stage together?

ANNABELLE FOX: Getting to perform with Douglas is always so fun. The last time we performed together was in his original musical Johnny & the Devil’s Box at the Cumberland County Playhouse in December 2022. Playing opposite each other in a show we have loved for many years is a dream. The biggest advantage is our comfortability with each other. Ogie and Dawn are such heightened silly personalities so it’s super fun just being goofy with my husband! He is so wonderful and SO FUNNY so it’s quite the challenge to not break character! 

JHPENTERTAINMENT: The show is choreographed by Joi Ware. How is Joi as a choreographer AND…What’s a typical choreo rehearsal been like?

ANNABELLE FOX: Joi is absolutely wonderful and the choreography in our production is so moving, story centric, and engaging. She has done such a wonderful job of bridging dance and transition and helping each moment flow seamlessly, backed by our incredible ensemble and leads. A typical choreo rehearsal looks like learning, Joi breaking down the choreography for us, workshopping the movement, figuring out spacing, running the choreography a few times, and then filming it to keep on file to go back to and review with. With such a quick rehearsal process this has been essential! The whole creative team has been so warm, supportive, and passionate during this process and I feel so grateful for the ways they have empowered our whole cast to rise up to tell the very best version of this story. Enjoy! 

Rapid Fire with Waitress director, Lauren Shouse

JHPENTERTAINMENT: How did you come to direct Waitress for Nashville Rep?

LAUREN SHOUSE: This is the third show with baked goods I have directed for the Rep after Superior Donuts and The Cake, so clearly I love sweet plays. This musical had been on my list for some time as I love a heart-centered story and I am a huge Sara Bareillis fan, so when Micah-Shane Brewer told me they were programming it, I jumped at the opportunity. I have been so lucky to be able to call Nashville Rep an artistic home over the years – this is my 10th production with the company as director.

JHPENTERTAINMENT: What is it about the show that drew you to the project?

LAUREN SHOUSE: Besides being a fan of the music, I love to tell stories about women and transformation. This is a story about how we get unstuck and the resilience it takes to break a cycle and start a new life. There is a beautiful core of female friendship in this play and the way we need our fellow women to help us break free. While it is a musical comedy, I love the mess we see in this play and how authentic it feels to our real lives — when we feel stuck, we often make a bunch of hasty choices to shake things up. The characters in this play are no different and are driven by this core question of: what if I will never be more than what I have already become? I relate to that question at this point in my own life and I imagine many of our audience members will as well.

JHPENTERTAINMENT: The publicity photos seem very straight-forward and could easily be direct from the Broadway production. How have you found balance as a director in presenting the basics of what fans of the show expect, while putting your (and your talented cast’s) own stamp on it?

LAUREN SHOUSE: As someone who teaches directing students to always find their own unique point of view on a production, it is especially challenging when there is a wonderful pro-shot of the Broadway production that many people have recently seen. But from the beginning of this process, we talked about keeping some of the iconic moments that fans expect, but really making it our own intimate story. One of the things we have tried to do is deepen the backstory of Jenna and her mother – I wanted to add her to the song Soft Place to Land to show the story of where Jenna got her dreams and that she can be a good mother because she had a good mom, but she will need the support of her chosen family in Becky and Dawn to keep her going. We also wanted to lean more into the struggle of the waitresses’ everyday routine at the top of show — the women find refuge in each other, but not necessarily the work and the patrons. That way we see a real change in the final number as they have had to fight to make change. And in collaboration with our amazing choreographer Joi Ware, we have really tried to put our own stamp on the movement of the ensemble throughout the play and in the specifics of the big production numbers. 

JHPENTERTAINMENT: When I chatted with members of your cast, I touched on their thoughts on working with some of the behind the scenes folks including your musical director and choreographer, so I’ll continue with another vital piece of the pie (pun fully intended). What sort of discussions did you have with scenic designer, Gary Hoff concerning the set design and overall look of the show?

LAUREN SHOUSE: We wanted it to feel intimate and in a bigger space like the Polk that really meant pulling the action as close to the audience as possible. We talked about how much we loved the style of the original Adrienne Shelly movie and used that for inspiration of making it feel like we are looking inside a cherry pie… extending the metaphor that Jenna hides in her baking and part of her journey is breaking through the crust to make peace with what’s inside. We wanted the band to be on stage as an expression of her inner self (similar to the ensemble) and we wanted the structure of the diner to always be there as it is such a fixture in Jenna’s life and ultimately transforms at the end as she does.

JHPENTERTAINMENT: I always like to end these conversations by asking a variation on the following…What do you hope audiences remember long after seeing Waitress at Nashville Rep?

LAUREN SHOUSE: That everything changes and we all have the power within ourselves to make that change. We all deserve a slice of that pie. 

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Nashville Repertory Theatre’s Waitress continues at TPAC’s Polk Theatre with performances Thursday-Sunday. Thursday-Saturday evenings at 7:30p.m. & Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more info.

Following Waitress, Nashville Rep’s 40th Anniversary Season continues with Our Town onstage at TPAC’s Johnson Theatre October 25-November 3 CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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!

Rapid Fire 20Q with cast members of ‘Footloose: The Musical’; onstage at The Keeton beginning August 9

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Some 25 years after its Broadway debut, and 40 years after the source material’s film premiere, The Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) is ready to cut loose as they present Footloose: The Musical. Just days before their Friday, August 9 opening, I recently had the chance to chat with the show’s stars Konnor Dolberry and Bryli Evans, who play Ren McCormack and Ariel Moore, as well as Kevin Driver (The Reverend Moore) and Laura Amond (Ethel McCormack) for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF THE KEETON DINNER THEATRE’S FOOTLOOSE: THE MUSICAL

RAPID FIRE WITH FOOTLOOSE’s REN McCORMACK, KONNOR DOLBERRY

JHPENTERTAINMENT: I understand getting the chance to perform in Footloose on stage has been a longtime coming, as you were to have played Ren McCormack in your high school production back in 2020, but the world had other plans. How excited are you to be getting the chance now?

KONNOR DOLBERRY: It’s literally a dream come true. Ever since I was cast for this role the first time, I felt a real connection to the character, and it almost became a part of me after it was cancelled. Now finally getting to revisit it 4 years later, It’s allowed me to see the whole story through a different lens, and I think it was definitely worth the wait!

JHPENTERTAINMENT: Not only will this be your debut as Ren, it’s also your debut with The Keeton, the only dinner theatre in the Nashville area. What’s your Keeton experience been like thus far?

KONNOR DOLBERRY: The Keeton has been nothing but welcoming throughout this whole process. Those who have been around the Keeton for a while have really brought me into the family!

JHPENTERTAINMENT: Who is Ren McCormack to you?

KONNOR DOLBERRY: Ren is a High School kid who is wildly misunderstood by just about everyone except for his Mom Ethel, his best friend Willard, and his new girlfriend Ariel. He’s charming, witty, and doesn’t care about what anyone thinks of him, but after his Dad left and he was forced to move from Chicago to Bomont, it leaves him wounded in ways that are revealed to him throughout the show.

JHPENTERTAINMENT: Roger Hutson serves as Music Director for The Keeton’s Footloose. A musician yourself, how has it been working with him in this capacity?

KONNOR DOLBERRY: It has been wonderful working with Roger! He always brings the jokes to rehearsals which is always fun, and he is always willing to go the extra mile to help you with parts!

JHPENTERTAINMENT: As alluded above, when not pursuing your acting career, you’re frequently onstage in another capacity, as frontman for The Band Light. What similarities do you find between these two seemingly different styles of performing?

KONNOR DOLBERRY: Theatre has always been at the heart of what I do with The Band Light, as we all met through our high school’s theatre program. It’s a defining part of who we each are as individuals, and as a band. Any time I step out on stage, my number one goal is to entertain the audience, but when performing in a musical, It allows me to completely escape into this other world, and get to express myself in a new way. It has been almost 2 years since I have done Theatre in any capacity, so this show has definitely reminded me of my love for it!

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RAPID FIRE WITH FOOTLOOSE’s ARIEL MOORE, BRYLI EVANS

JHPENTERTAINMENT: You play Ariel Moore in The Keeton’s Footloose. How are you most like the character you’re playing?

BRYLI EVANS: Ariel is very headstrong and independent and I would like to think I share those qualities with her. I feel like as soon as I was cast, I could instantly relate to her in many ways, but those are the two biggest similarities. 

JHPENTERTAINMENT: On the flip, what is it about Ariel’s persona that is farthest away from your own personality?

BRYLI EVANS: There’s a song in the show called The Girl Get’s Around… which I would think is pretty self explanatory. To keep it simple, this girl doesn’t really get around. 

JHPENTERTAINMENT: Anyone who’s seen the original Kevin Bacon/Lori Singer film or the musical adaptation knows there’s plenty of choreo. I mean it IS the story of a small town that outlawed dancing and the kid who challenges that. To that end, Heidi Buyck is the show’s choreographer. How has it been to work with Heidi and what’s your favorite choreo moment in the show, whether it be your own, or that of your co-stars?

BRYLI EVANS: I cannot even begin to explain how incredible Heidi is – she is a GENIUS!! Working with her has been a dream come true. She has been so patient with me (I’m really not much of a dancer) and has pushed me to be the best version of my character in a way that no one has ever really pushed me before. I absolutely adore her. And the choreography in Let’s Hear it for the Boy HAS to be my favorite! 

JHPENTERTAINMENT: Ariel’s best friends are Rusty, Wendy Jo and Urleen, played by T-Cat Ledo, Julia Mowry and Abby Webb respectively. Can you give me one word each to describe these besties?

BRYLI EVANS: It’s so hard to just pick one word for each of them, I feel like I could write three whole paragraphs on how incredible they are. Julia has one of the kindest hearts I’ve ever known, Abby was an instant friend to me and has done nothing but make me smile during every interaction we’ve ever had, and T-Cat has this electric energy that you can’t help but gravitate towards. I have had the BEST time working with these wildly talented ladies!!

RAPID FIRE WITH FOOTLOOSE’s REVEREND MOORE, KEVIN DRIVER

JHPENTERTAINMENT: Who is the Reverend Moore to you?

KEVIN DRIVER: Reverend Moore is the minister of the church most of the residents of the small town of Bomont attend. I think Moore’s caring boundaries are extensive, but they center around his family. He’s overly protective of his remaining child. He would like to keep her in bubble wrap if he could to keep her safe. Ultimately, he knows he can’t control everything she does, so he is worried all the time.

JHPENTERTAINMENT: Keeton patron’s no doubt know you not only for recent on-stage roles in recent productions of Memphis, Songwriter Night and Evita, but also for having designed and built each and every set for the past three Keeton seasons. In fact, in addition to playing Reverend Moore, you’re also tasked with the behind-the-scenes gig of the show’s Technical Director. For the uninitiated, what all does that job entail?

KEVIN DRIVER: My goal is to make sure the director’s vision is met with regards to the set design and build to the best of my ability and stay in budget. I help the stage managers with organization backstage so that they can run the smoothest show possible. I also work closely with the lighting and sound designers to make sure they have what they need. I try to prioritize the set at the very beginning of the rehearsal period to get it built and usable as soon as possible. Being an actor in this show, I want to give both my roles as Technical Director and actor all of my attention, so I try to focus more on the technical end at the beginning so I can flip the switch and put my focus on my acting. It’s difficult to schedule it all, especially because I have a full-time job during the weekdays, and it’s why I don’t perform in the shows that often.

JHPENTERTAINMENT: Another little fun BTS bit of info…as Reverend Moore, you’re leading lady, Vi Moore is being played by your real-life leading lady, your wife, Donna Driver who’s also Keeton’s Managing Administrator. What’s the advantage of playing opposite your wife? 

KEVIN DRIVER: Being the real-life husband of the woman who plays my wife on stage does have a lot of benefits. We can rehearse on our own time and work on our scenes. I can tap into her acting knowledge and advice. In the scenes, my acting choices feel more genuine instead of staged. We’ve also raised our three combined daughters through their teenage years into adulthood. Discussions about their behavior and choices aren’t new to us, so we are able to tap into those memories and feelings.

JHPENTERTAINMENT: The Reverend is pegged as the show’s antagonist. Heck, did you know the character even has his own entry on Villains Wiki? Convince me he’s NOT the villain of the piece?

KEVIN DRIVER: I don’t believe you can be a villain if you have good intentions behind your actions. The whole town suffered after the Potawney Bridge accident that killed four teens, including his son. Reverend Moore strove to help everyone and himself through the grieving by trying to prevent this kind of pain from happening again. He’s convinced that dancing leads to dangerous behaviors, and the adults of the town agree with him. He’s holding too tightly to his pain and has to learn, through Ren and his daughter Ariel, to change and grow. Yes, he’s an antagonist for Ren, but he’s not a villain. 

JHPENTERTAINMENT: I’m guessing you were familiar with the source material. Now, fast-forward 40 years since the film’s debut and you’re father to two daughters yourself. Has your personal perception of the Reverend changed since first viewing the film back in 1984.

KEVIN DRIVER: When the movie came out, I was twenty years old. I grew up here in Tennessee, so the setting of a small rural town was familiar to me. I definitely sided more with Ren, the teens, and their rebellious need to find fun things to do. Now, forty years later, I am more able to see Reverend Moore’s side of the story better. As I mentioned, I have two daughters and have raised my step-daughter most of her life. Sometimes their choices have made me angry, frustrated, or scared, and sometimes I’ve felt powerless to help. It’s difficult to judge when to step in and when to back off. I still think Ren should get his dance, but I better understand now why Reverend Moore is so set against it.

RAPID FIRE WITH FOOTLOOSE’s ETHEL McCORMICK, LAURA AMOND

JHPENTERTAINMENT: What is it about the role of Ethel that made you want to audition?

LAURA AMOND: As a single mom myself, I can really identify with Ethel. She is navigating the uncertainty and challenges of life as a single mom, while trying to remain strong for her son. She says at the top of the show that she’s not one of those “strong single mothers”, but truly, her heart and spirit are. She is Ren’s consummate cheerleader in the face of diversity, and pillar of wisdom who lifts him up when he needs reminded of his own strength. Ethel reminds me that I am also stronger than I sometimes believe and that in the end, love is all we need.

JHPENTERTAINMENT: You mention in your bio that you’re among the few cast members who remembers the original film version. It’s a little mind-blowing that it’s been 40 years since Kevin Bacon danced across the screen as Ren McCormick, now here you are playing Konnor Dolberry’s Ren’s Mom. As a Mom in real life, what motherly advice would you offer the younger costars?

LAURA AMOND: Honestly, Jonathan, I think I learn from my younger costars every day. They remind me to embrace every opportunity, to take constructive criticism as an opportunity to grow, to show kindness and relentless support for one another, and to practice gratitude in all things. Most of all, they remind me about the importance of community and just how much my extended theatre family has shaped my life in the very best way possible.

JHPENTERTAINMENT: For those of us of a certain age, there’s just something about the beginning beat of the title tune made famous by Kenny Loggins when it was included on the movie soundtrack. Of course as musical, the score has been expanded to include familiar tunes and material written specifically for the stage adaptation. What’s your favorite musical moment in the show, and why?

LAURA AMOND: Oh goodness, it’s so tough to choose just one! Footloose was absolutely one of the soundtracks of my teenage years, so the songs bring back a ton of personal memories. Was there any high school prom in 1984 that didn’t have an Almost Paradise theme?!

Specific to this production, there are so many brilliant moments given the stellar vocals of the entire cast.  Familiar tunes from the soundtrack, Almost Paradise (performed to perfection by Konnor Dolberry and Bryli Evans); Let’s Hear it for the Boy (Takiah Ledo SLAYS!), and two songs performed by the trio of Takiah Ledo, Julia Mowry and Abby Webb, Somebody’s Eyes and I Need A Hero are even better than the original with these gals at the helm. Trust me, they are FIRE! 

With respect to the songs written specifically for the stage adaptation, there are numbers which bring levity and reflection. Mama Says brings down the house as performed by Riley Morris and the trio of Jack Forte, William Richardson, and Levi Carter. More sentimental moments come from the adult cast.  Learning to Be Silent (Donna Driver, Bryli Evans and myself) reflects on the patriarchal suppression of women’s voices, Heaven Help Me (Kevin Driver at his absolute best) shows the Reverend’s internal struggle with being the moral leader of the town amidst a personal struggle, and Donna Driver’s poignant Can You Find it in Your Heart depicts the loyal wife trying to help her family find balance again after tragedy.

JHPENTERTAINMENT: Footloose is being directed by Susan Walsworth. You both first shared the stage back in 2012 in Circle Players’ production of Titanic. How’s Susan as a director?

LAURA AMOND: I can’t say enough about Susan! You’re right, we shared the stage in 2012 and many times since, most recently (if 2018 can be considered recent) in Circle Players’ The Full Monty where she was absolutely brilliant as Jeannette. To know Susan is to love her – on and off stage. She is kind, generous with her time and talent, and passionate about everything she does. I know Susan as a mom, a friend, a castmate and now a director, and I can honestly say she leads with her heart in every role she plays.

For the people who come to see the show, it’s clear that Susan is equally talented as a director as she is on the stage. Her eye for casting is evident with the talent she has assembled in this production. Her attention to detail with blocking, transitions and sharing her vision take an already stellar performance to the next level. She treats every individual with kindness and respect and in so doing, brings out the best in every artist. She makes you feel safe to make bold choices and knows when to reel you in. And because Susan’s humility is second-to-none, I know she would want me to say that she is made better by her production team for bringing her vision to life (Heidi Buyck/choreographer, Roger Hutson/music director, Dylan Kim/stage manager, Madison Soper/assistant stage manager, Kevin Driver/set design, Megan Whitney/costumes, Tabby Ragland/props).

I have been proud to share the stage with Susan many times and it has been inspiring to see my friend shine as director. I will not hesitate to audition for any production in the future with her at the helm, because her passion breeds joy throughout the process. This show has been a gift to me in so many ways, and I have Susan to thank for that.

JHPENTERTAINMENT: I like to end these chats by asking a variation of this question, so since you’re my final chat today, it’s all you…What do you hope audiences come away remembering after seeing The Keeton’s production of Footloose?

LAURA AMOND: In this time of division in our society, I think Footloose is a great reminder of the power of the collective to affect change. It celebrates the human spirit and the idea that some norms need to be challenged in order to evolve. The true champions of the show are the young people who help to lead their community to a more joyful future. Every day the young cast inspires me with their wisdom, passion, and commitment to this theme, and I am reminded that our collective future is in good hands with the younger generation today. Perhaps we should follow the lead of Reverend Shaw by listening more often so that we can realize a future of acceptance, joy, celebration and harmony. 

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Footloose: The Musical opens at The Keeton Friday, August 9 thru Sunday, August 25. Dinner and Show tickets are $40 for Adults and $35 for Children*. Show Only tickets are $30. CLICK HERE to purchase tickets. Next up at The Keeton is William Inge’s Bus Stop, with performances October 11- 27.  WATCH THIS LINK for tickets or more information soon.

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*at the time of this article, most of the performances of Footloose: The Musical had already SOLD OUT, but don’t put away your dancing shoes just yet. Check the schedule and if there’s a show date you want to attend, give the box office a call to see if there’s any tickets available.