Nashville Rep

Theatre Review: Nashville Rep’s ‘John Proctor is the Villain’ Flips the Script on ‘The Crucible’ with a Vibrant, Thought-Provoking & Impressive Youthful Eye

October 9, 2026 by Jonathan Pinkerton

If you join us here on JHPEntertainment.com with any regularity, you likely know, after two decades of covering area theatre and a lifetime of loving it, I truly enjoy getting the opportunity to see something new. Having debuted on Broadway just last year, playwright Kimberly Belflower’s John Proctor is the Villain fits the bill. For its Tennessee premiere—on stage at TPAC’s Johnson Theatre thru October 18— Nashville Repertory Theatre wisely places Lauren Shouse at the helm. Shouse’s beautifully staged production of the acclaimed play proves that sometimes the most important thing young people can do is question the stories they’ve been told.

If the name in the title seems familiar, there’s good reason. He’s the perceived tragic hero of Arthur Miller’s The Crucible. There is something wonderfully audacious about taking one of the most frequently assigned American plays in the high-school curriculum and essentially telling an audience, Wait a minute…what if we’ve been looking at this all wrong? That is precisely what playwright Kimberly Belflower does with John Proctor Is the Villain, and Nashville Repertory Theatre’s new production embraces that challenge with intelligence, humor and a remarkable amount of heart.

Rather than attempting to retell Arthur Miller’s The Crucible, Belflower uses it as a jumping-off point for a much larger conversation about the stories we inherit, the people we label heroes and villains, and what happens when a younger generation starts asking questions that previous generations may have been too comfortable not asking. And in the hands of this terrific company, those questions become anything but academic.

Taking place in 2018 and set inside a rural Appalachian Georgia high-school classroom in a one-stoplight town (they’re getting another one), John Proctor Is the Villain follows a group of teenagers whose discussions of Miller’s classic begin to collide with their own increasingly complicated understanding of feminism, relationships, power, reputation, consent (yes, it takes place right smack in the middle of the #MeToo movement) and what it means to actually listen to someone else’s experience. It is indeed serious subject matter.

Fortunately, Belflower knows that teenagers don’t spend their lives speaking in serious declarations about serious subjects. They joke.They gossip. They interrupt each other. They misunderstand each other. They fall in and out of alliances. They say something hilariously inappropriate at exactly the wrong moment. And sometimes, almost accidentally, they say something extraordinarily profound. That balance between humor and emotional weight is one of the greatest strengths of Belflower’s writing—and Shouse’s production understands it beautifully. One can only assume Shouse’s “day job” as an Associate Professor of Theatre Directing at nearby MTSU might have aided her direction.

There is a natural rhythm to this staging that allows the comedy to land without ever diminishing the more difficult material. Just when you think you’re settling comfortably into a funny classroom exchange, the conversation shifts and suddenly you’re thinking about what you’ve just heard. Simply put, that is good theater. And John Proctor Is the Villain is very good theater. Shouse proves particularly adept at working with this predominantly young ensemble. There is no sense that she is directing young actors to act like teenagers. Instead, she gives them the freedom to create recognizable young people with individual personalities, insecurities, contradictions and senses of humor. The result is an ensemble that feels genuinely connected.

Norah Younger’s Shelby Holcomb might not be in the opening scene, but once onstage, immediately commands attention. Younger gives Shelby an appealing intelligence and quickness, but wisely show restraint and uncertainty. There is something more complicated happening underneath Shelby’s rapid-fire observations, and Younger gradually reveals those layers with an impressive combination of confidence and vulnerability.

Advika Ravishankar’s Raelynn Nix is equally compelling. Ravishankar finds the humanity in a character who has spent much of her young life navigating expectations—expectations about who she should be, how she should behave and what her relationships should look like. Watching those assumptions begin to crack is one of the production’s more affecting journeys, and Ravishankar handles that evolution with considerable sensitivity. One of my personal favorite Raelynn moments comes early on in the play when she fires off a rapid succession monologue of exposition to catch up Nell, the newest student, she ends the fast-paced info dump with “and that’s what you missed on Glee”—taking a cue from the intro phrase from the iconic teen-driven TV series that always started each episode.

Aubrey Bagley’s Beth Powell is perfection as the eager to please brainiac of the group who strives for acceptance. She’s the every-girl we all knew and were friends with in high school. Brityn Ramsey’s Nell Shaw, the newest addition to the classroom, having relocated from the more metropolitan Atlanta area, is the cool girl who isn’t afraid to follow whatever is said with an oh-so-biting retort or a not-so-subtle eye roll. Ella Saliba’s Ivy Watkins, who finds herself at the center of one of the many subplots offers up a quieter, unassuming version of the typical well-to-do school girl who could easily be stereotyped as a mean girl, but absolutely isn’t.

At no point do these actors seem like they’re standing around waiting for their next line. They are listening, reacting, judging, supporting, teasing and occasionally steamrolling over one another in ways that make the classroom feel genuinely inhabited. There is a terrific sense of rhythm to the dialogue as presented by the playwright and as brought to life among the performers.

And then there are the adults of the piece Lucas Calhoun as Mr. Carter Smith and McKenna Steel as Ms Bailey. Lucas Calhoun’s Carter Smith, who finds just the right balance in the production’s adult male presence. As the English teacher and faculty advisor to the girls’ newly formed feminism club, Carter occupies an interesting position within the story. Calhoun doesn’t make him a conveniently enlightened adult who always knows exactly what to say. Instead, there is a humanity to his performance that allows Carter to listen, learn and occasionally realize that the most useful thing he can do is get out of the way. That makes Calhoun’s performance considerably more interesting—and considerably more believable. Calhoun’s Mr. Smith is the teacher we all remember from high school. Just a little older than the students, good looking, interested, but not hovering…again reference Glee, think Matthew Morrison as Mr. Will Schuester. McKenna Steel’s Ms Bailey Gallagher, the schools guidance counselor who many of the girls know from when she was a student herself, brings a welcome grounding presence. The girls relate to Steel’s Ms Bailey because she sees herself in them and they in her. When one of the girls unexpected blows up at Ms Bailey, it’s a tense moment that quickly quiets because of the familiarity of their shared experiences as women in a small rural community.

Rounding out the cast and reppin’ the boys, Lorenzo Rivera’s Mason Adams and Brent Bentley’s Lee Turner provide some of the production’s lighter moments without ever allowing their characters to become broad caricatures. In the hands of less skilled young actors, both roles could easily be stereotypes…Mason the jokester, Lee the cocksure jock, but as played by Rivera and Bentley, they reveal layers of uncertainty, self-doubt and eventual understanding, not only of themselves but of their female counterparts. Don’t get it twisted though, this play is about the young women. That said, it is an impressive company from top to bottom.

The chemistry among Younger, Ravishankar and their fellow cast members is one of the production’s greatest assets. There’s never a moment in the action that the audience has to be convinced that we’re not privy to a group of high school girls expanding upon the drama that is being a teenager in the modern era.

These characters have to feel like people who have known one another for years. They need to possess the casual shorthand of friendship—the glances, interruptions, private jokes and tiny frustrations that tell us there is a history between them even when the script isn’t explicitly telling us about it.

A lot of the success also comes from the physical world they’ve been given to inhabit. Scenic Designer Gary C. Hoff creates a classroom that feels immediately recognizable without becoming overly fussy or distracting. It is an environment that feels lived in, and because the entire play unfolds within this world, that authenticity becomes an important part of the storytelling. I frequently say I could live on one of Hoff’s sets and while I have no desire to return to the classroom, Hoff’s classroom is warm, inviting, and memory-unlocking. Minute details like an authentic intercom speaker box we all remember those morning announcement booming from, portraits of literary greats Wilde, Poe, Austen and the like lining the wall above the chalkboard all come together seamlessly to create a believable environment. Oh, and those fall leaves among the smooth rocks lining the path just outside the non-existent school wall nearest the front-facing audience. Nice touch!

The Johnson Theater’s intimacy works especially well here. Rather than placing the audience at a comfortable distance from the action, the space makes us feel almost like another group of observers inside the classroom. We’re close enough to catch the reactions, the shifts in body language and the moments when someone realizes that a conversation has suddenly become much more personal than expected. That closeness is invaluable.

Lighting Designer Amber Whatley complements the staging with a design that subtly tracks the emotional shifts without calling attention to itself. The lighting becomes increasingly expressive as the world of the characters begins to change, helping Shouse transition between the playful, familiar atmosphere of a classroom and the more emotionally charged territory the play eventually explores. Without giving too much away, that Lorde-enhancing pivotal “Green Light” sequence…cinematic indeed!

Melissa K. Durmon’s Costume, Hair & Makeup Design is equally effective. The characters look like contemporary teenagers rather than actors dressed to announce that they’re playing contemporary teenagers. Each individual has a distinct personality reflected in their appearance, while the ensemble still feels like a believable collection of students from the same community. From Mr. Carter’s teacheresque khaki pants to Mason’s plethora of sarcastically phrased t-shirts the wardrobe details do not go unnoticed.

That authenticity extends to the smallest details. And those details matter. From Lee’s fidget spinner to Beth’s stress stuffy. From the way Beth carefully places her books and binders in a mannerly fashion to Raelynn casually tossing her backpack on the floor. Each movement, carefully curated to reveal more about these characters.

Because Belflower’s play is ultimately about authenticity. It’s about the difference between the story we’ve been handed and the story we experience ourselves. It’s about the danger of accepting a narrative simply because it has become familiar. It’s about the uncomfortable realization that the people we have been taught to admire may not always deserve our admiration—and that people we’ve been taught to dismiss may have considerably more to say than we ever bothered to hear.

That is a particularly potent idea to place in the hands of young characters. And Belflower never underestimates them. That’s perhaps what makes John Proctor Is the Villain so refreshing. The adults aren’t automatically right. The teenagers aren’t automatically right, either. Nobody gets to walk away with the moral high ground simply because they have the best argument in the room. Instead, the play asks everyone—including the audience—to listen.

Belflower’s writing is smart enough to leave room for disagreement, while Shouse’s direction keeps that disagreement rooted in character rather than turning the production into a lecture. And that’s an important distinction. This isn’t a play telling an audience what to think. It’s a play encouraging an audience to think. By the time the production reaches its most emotionally resonant moments, the title John Proctor Is the Villain has become more than a provocative punchline. It has become a question about the very nature of heroes and villains—and about how easily those labels can be assigned when we only hear one version of a story. That is where Nashville Rep’s production really hits its stride. What begins as a clever reexamination of The Crucible gradually becomes something much more personal. Because eventually, the question isn’t really about John Proctor. It’s about us. What stories have we accepted without questioning? Whose version did we automatically believe? Who taught us what a hero was supposed to look like? And what happens when someone finally has the courage to say, Maybe that’s not the whole story.

Nashville Repertory Theatre has assembled a production that understands the power of those questions without becoming weighed down by them. Shouse keeps the pace energetic, the young cast keeps the world vibrant and Belflower’s script provides plenty of humor along the way. That combination makes John Proctor Is the Villain not only an important piece of contemporary theater, but an entertaining one. And perhaps that’s the biggest surprise. You come expecting a play about The Crucible. You leave thinking about the stories you’ve been carrying around your entire life. That’s the kind of theatrical alchemy Nashville Rep does exceptionally well.

With Lauren Shouse’s assured direction, Kimberly Belflower’s incisive script, Gary C. Hoff’s authentic scenic design, Amber Whatley’s evocative lighting, Melissa K. Durmon’s finely detailed costumes, hair and makeup, and an exceptionally committed ensemble led by Norah Younger, Advika Ravishankar and Lucas Calhoun, Nashville Repertory Theatre’s John Proctor Is the Villain is a production that earns both its laughs and its more difficult conversations. It doesn’t ask audiences to forget The Crucible. It asks us to look at it again. And perhaps more importantly, it reminds us that sometimes the most important lesson in the classroom is learning that you don’t have to accept the lesson exactly as it was given to you. Smart, funny, provocative and deeply human—Nashville Rep’s John Proctor Is the Villain is contemporary theater at its most engaging, giving a talented young ensemble a story that trusts them to question everything, including the stories we thought we already knew.

Nashville Repertory Theatre‘s John Proctor is the Villain continues at TPAC’s Johnson Theatre (505 Deaderick Street, Nashville, TN 37243) with performances weekends through Sunday, October 18. Thursday thru Saturday evening performances are at 7:30pm. Saturday and Sunday matinees begin at 2pm. Tickets range in price from $45.53-$89.23 (including fees). CLICK HERE to purchase tickets.

Following John Proctor is the Villain, Nash Rep presents Disney‘s Frozen starring Rachel Potter as Elsa and Aleia Eagleton as Anna, with Lane Adam Williamson as Hans, Colin Carswell as Kristoff, Reagan Allen as Olaf and Connor Adair as Sven. Frozen will be presented in TPAC’s Polk Theatre from December 4-20. 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 onInstagram and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: Nashville Rep’s Collab with Nashville Shakes Serves Up ‘Fat Ham’ with Sauce and Soul and We’re All Invited to the Cookout; On Stage at TPAC’s Johnson Theatre thru February 22

February 18, 2026 by Jonathan Pinkerton

Okay, okay, I’ll admit it. When I was assigned to read Shakespeare‘s Hamlet in high school and again in college, I read the Cliff’s Notes instead of diving in to the full text. Even if I had read the play, nothing could have prepared me for just how relatable and uniquely enjoyable playwright James Ijames‘ take, Fat Ham is, especially in the hands of Nashville Rep‘s current production directed by Mikael Burke, featuring a truly stellar cast and co-presented by Nashville Shakespeare Festival; on stage at TPAC‘s Johnson Theatre thru Sunday, February 22.

Yes, I know the basic themes: familial strife, loyalty, deceit, treachery and death, but my Hamlet knowledge lies more in that episode of Gilligan’s Island in which the castaways turn The Bard’s classic into an unintentionally comedic musical than in the original text. Here’s the cool thing though…you don’t have to be a literary elitist to understand or fully revel in this Pulitzer Prize-winning adaptation.

Over the past 400 years or so, Hamlet has been presented in settings from war zones to psychiatric wards. IJames’ Fat Ham, not only modernizes it, but takes some brilliant liberties . Flipping the script by peppering the dialogue with quick comebacks, modern references and hot topics while also including clever nods to familiar soliloquies. Nashville Repertory Theatre’s co-production with Nashville Shakespeare Festival brings the story to vibrant life for the regional premiere.

The Bard’s Elsinore Castle now replaced by the everyman kingdom of a backyard cookout in the American South. There’s a grill smoking, table and chairs set for an impromptu wedding celebration, and the low hum of family history hanging in the air. At the center is Juicy—a young, Black man haunted not only by the ghost of his recently deceased father, but also a few internal battles ranging from his own sexuality and what his future holds to protective feelings towards his mother and disdain of his uncle. Early on, The ghost insists he was murdered by Juicy’s uncle, who is now celebrating his engagement to Juicy’s mother. The parallels to Hamlet are unmistakable—but the lens is entirely new.

While I myself as probably considered as white as Wonder Bread, so many of Ijames’ themes, ideals and plot devices resonate with me in the best, most unexpected ways. Through that unmistakable Southern family bond, the familiar rhythms of a backyard gathering, Ijames reframes the story not as a tragedy of indecision, but as a meditation on inherited trauma and the radical act of choosing something different, all with a darkly comedic twist.

The production leans into that communal spirit. The humor lands with knowing precision, the shade draws audible reactions, and the audience feels invited into the rhythm of the gathering.

As Juicy, this retelling’s Hamlet, Julian “Joolz” Stroop delivers a performance that is instantly mesmerizing. Dressed in black, but with flare that lets us know they’re their own person deep down, Stroop’s Juicy is a stark contrast to the bright, bustling energy around them, Stroop embodies what it means to feel different within your own family. Their Juicy is wickedly sarcastic, deeply unsure of themself, yet painfully self-aware. Where Shakespeare’s Hamlet spirals toward destruction, Juicy wrestles with whether violence is the only inheritance available. Stroop captures the tension between rage and restraint with remarkable control. You can see the weight of expectation pressing in—the desire to prove themself to a father who was cruel in life and demanding in death. Stroop’s performance reflects the universal burden of feeling unseen, and when ultimately questioning the necessity of revenge, it lands with emotional clarity. Whether performing a telling karaoke number at the BBQ, sharing a laugh with friends, a more intimate moment with a lifelong crush or tense scenes with parental figures, Stroop steps up and shows out in a memorable Nashville Rep debut performance.

Tamiko Robinson Steele’s Tedra, the Queen Gertrude counterpart, is a sheer joy to behold from her first entrance on. She exudes sensual confidence and the unapologetic energy of a woman determined to find happiness on her own terms. One of my longtime favorite regional actresses, Robinson Steele masterfully reveals the emotional compromises beneath that surface. Like Gertrude, Tedra aligns herself with the new man quickly—but here, the choice feels rooted in survival and stability rather than simple obliviousness. Robinson Steele balances humor and depth beautifully, embodying a mother navigating grief, desire, and the societal pressures that center men in her world. And did I spot a bit of gold in that megawatt smile? A fun nod to Queen Gertrude and Tedra’s own status at the Queen of her castle. Nice touch.

Speaking of royalty, the aptly named Bakari J. King indeed commands the stage in the dual roles of Rev (Claudius) and Pap’s ghost (the Ghost of King Hamlet). As Rev, he radiates the swaggering authority of a man who believes the world revolves around him. Think George Jefferson…on steroids. As Pap, he shifts into something sharper and more unsettling. Gotta love that toothbrush shiv sticking out of his neck. King’s ability to transition between the earthly manipulator and the glittering, vengeful apparition is a testament to his range. In scenes with Stroop, the tension between the two is a thick as the accompanying fog machine—he generational trauma thickening the air like the aroma of pork shoulder on the grill. King grounds both roles in recognizable patriarchal power, avoiding caricature while leaning fully into the characters’ egos.

As Larry, the Laertes counterpart, Michael A. McAllister-Spurgeon initially leans into bravado and expected masculinity. But as the story unfolds, he allows vulnerability to seep through the cracks. Like Laertes, Larry is poised to embrace retaliation—but McAllister-Spurgeon reveals the insecurity driving that impulse. His performance underscores how young men inherit scripts of aggression without ever being asked whether they want them. The nuance he brings elevates Larry from stereotype to fully realized human being. And that finale reveal….YAAAAAAS!

Candace-Omnira reimagines Ophelia through Opal with warmth, wit, and agency. Unlike Shakespeare’s more fragile Ophelia, this Opal is emotionally grounded and self-aware. She perfectly balances buoyancy with sincerity, creating a character who feels refreshingly modern. Her chemistry with Stroop is honest and believable, offering Juicy a glimpse of something healthier than the violent expectations placed upon him. Candace-Omnira’s comedic timing shines in ensemble scenes, but it’s her emotional steadiness that leaves a lasting impression.

Persephone Felder-Fentress steps into a gender-switched Polonius role as Rabby, Larry and Opal’s mother, with sharp comedic precision. While Shakespeare’s Polonius is verbose and meddlesome, Rabby feels more direct and grounded. Felder-Fentress handles the humor effortlessly, but she also brings a relatable maternal complexity to the role. You know that female relative who always pinched your cheeks as a kid and inevitable asks “when are you getting yourself a girlfriend?” That’s Felder-Fentress’ Rabby. The dynamic between Rabby, Larry, and Opal textbook good christian family facade masking those things we don’t talk about beneath the surface. Y’all, during Rev’s pre-feast prayer, when I noticed Felder-Fentress’s Rabby clicking her bejeweled heels together in prayerful agreement to each thing Rev mentioned, I knew I longed for an invitation to the cookout!

Rounding out the players is Gerold Oliver’s Tio, the Horatio character. Though his stage-time is limited, he is a delight as usual. His comedic timing, pulled facial expressions and overall demeanor a joy to watch. Yet Oliver ensures Tio is more than comic relief. In a climactic, albeit alter-state-induced monologue that begins like a muchie-fueled rambling, but soon climaxes into something unexpectedly profound. Oliver lands the humor and the wisdom with equal finesse as Tio reminds the audience of the play’s core truth: “Far as we know, we are in the only place in the cosmos that welcomes our particular brand of life. Why waste it trying to be miserable cause it’s gonna make somebody else happy?”

Behind the scenes, the crew of Fat Ham is just as stacked. From the beginning, it’s evident that director Mikael Burke understands the world of this play down to its bones. There’s an easy authenticity to the staging that makes the backyard feel lived-in and immediate. Director Burtke’s stage direction keeps the audience’s attention and the action moving, while never becoming too chaotic. The show’s more intimate moments are perfectly choreographed down to the most dramatic sneer or the subtlest caress.

Once again Nashville Rep’s resident Scenic Designer Gary C. Hoff’ has created a set I could live in. With what appears to be a modular home set on a brick-o-block basement—complete with grill, patio furniture, and a sliding glass door (complete with time-worn smudges) offering a glimpse into the house, and even the inclusion of fallen leaves on the rooftop— it feels less like a theatrical construct and more like an actual family gathering you’ve stumbled into. I absolutely loved the little detail of the “Happy” half of an old “Happy Birthday” banner hanging with balloons as the last-minute party decor, while the “Birthday” half of the banner is visible discarded in the trash can by the basement door, just another way in which this set looks lived in and real, not simply constructed for the show. Ijames’ script heightens the immersive aspect by including a few fourth-wall breaking lines like “what are you telling them” as actors nod toward the audience in acknowledgement. The echoes of real-life cookouts: home-cooked food and fun with a side order of judgment from elders, unlocking palpable memories.

Amber Whatley’s lighting brilliantly shifts from warm afternoon glow to something cooler and more spectral when Pap’s ghost appears, then changing throughout from the familiarity of a family gather to the intensity of truths revealed. Nivedhan Singh’s sound design underscores both the humor and the haunting without overwhelming the text and lifting the mood when called for.

Melissa K. Durmon’s costume, hair, and makeup design ground each character in specificity—these are people you recognize, rendered with care and intention. Gotta love Durmon’s attention to detail fully on display in the color palate of each cast member’s wardrobe. Tedra and Rev are regal and grounded in traditions of marriage and conformity in shades of red and earth tones, while Tedra’s more animalistic urgers are represented in the addition of an animal print. Juicy’s uncertainty is isolation visually present in his monochromatic wardrobe, but his love of his mother, a message literally emblazoned across his chest, while his sarcasm and flair evident in an added accessory. Rabby’s family ties are representing in all three members in shades of blue, a symbol of loyalty and nobility. Durmon again highlights individuality among these three from Larry’s rigid uniform and Opal’s subtle defiance pairing a forced dress with combat boots, while the matriarch presents authority and perceived (or hoped-for) regality in her royal blue ensemble complete with matching church lady hat, purse and bejeweled heels. Then there’s Tio, whose casual colorful style remind us all that there is lightness around, we just have to be willing to see it.

What makes Fat Ham so powerful, and ultimately relatable to modern audiences is its refusal to follow Shakespeare to the grave. Where Hamlet ends in bloodshed, Fat Ham asks whether that ending is inevitable—or merely inherited. By centering Black culture, queer identity, and the specificity of a backyard cookout, Ijames expands the original rather than replicating it.

Fat Ham treats Shakespeare as a blueprint, a playbook—ripe for reinterpretation, reclamation, and joy. A great reminder that the themes of revenge, masculinity, grief, and identity are universal, whether played out in Danish castles, Elizabethan stages or right in our own back yard. Themes that are found in every backyard, every family, every life. Like I told my friend who accompanied me to Nashville Rep’s Opening Night of Fat Ham, “Who knew Willie Shakes could be so fun?”

Nashville Rep‘ and Nashville Shakes‘ co-production of FAT HAM continues with performances through Sunday, February 22. CLICK HERE for tickets. Next up at Nashville Rep will be SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase 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!

Theatre Review: Nashville Rep’s It’s A Wonderful Life’ Delivers A Heartfelt triumph for the Holiday Season

December 10, 2025 by Jonathan Pinkerton

Nashville Repertory Theatre rings in the season with a warmly nostalgic, creatively staged production of It’s A Wonderful Life, directed by Alicia Lark Fuss and running now through December 22 at TPAC’s Polk Theater. With a stellar cast led by Brian Charles Rooney as George Bailey, Tamiko Robinson Steele as Mary Hatch Bailey, Jennifer Whitcomb-Oliva as Clarence and Matthew Carlton doing double duty as both Joseph, the supervising angel and as Potter, the beloved Frank Capra holiday classic, adapted for the stage by playwright Catherine Bush, is reimagined with theatrical magic.

This production leans into nostalgia while embracing a distinctly theatrical vocabulary with inventive movement, actors portraying multiple roles throughout and a visually stunning pop-up vintage Christmas card aesthetic —resulting in a version of Bedford Falls that feels both timeless and newly alive, all adding fresh dimension to a story generations know by heart.

Before a single line is spoken, the audience is transported by Gary C. Hoff’s breathtaking set design: a larger-than-life, die-cut, layered pop-up tableau rendered like a mid-century Christmas card cut from heavy white cardstock. It’s whimsical without being precious—an intricate snowy sculpture of Bedford Falls, with tiny cut-out doorways and windows glowing from within. Peer closely and you’ll catch vintage cyanotype portrait photos, representing the “everyday people” of the town, those whose quiet lives shape George Bailey’s world in ways he often forgets to see. It’s the perfect conceptual anchor for a story about taking note of what truly matters.

Playwright Bush seems to have taken inspiration from such classic theatre pieces as Our Town, in employing the above-mentioned practice of having actors portray multiple roles. Another of this production’s most enchanting elements is its use of movement. Thanks to movement coordinator Megan Castleberry, the ensemble shifts with a near-balletic grace—actors gracefully glide set pieces to and fro, and when called for, they physically personify snow gusts, swirling wind and fateful cracks across an icy pond. They mime-like movements echo emotional beats, and embody natural forces, adding a magical, abstract layer to the storytelling. It’s a bold directorial choice that works beautifully, enhancing the narrative without ever distracting from it. Especially effective in the more dramatic scenes, offering them up in an almost dreamlike vision.

At the center is Brian Charles Rooney, who’s made quite a name for himself, not only on the local level, but for his work in New York on Broadway, is well-known for his vocal prowess as a musical theatre powerhouse. Rooney captures the full breadth of George’s life journey—from mischievous boy to wide-eyed dreamer to the exhausted, cornered adult wondering where everything went wrong. Remarkably, he accomplishes this not through drastic physical transformation but through subtle, sharply observed choices: a shift in vocal pitch, a slight change in posture, the weight of responsibility settling into the shoulders. These gradations make his downward spiral heartbreaking and his redemption cathartic. As George Bailey, it’s his sincere believability as the multi-faceted depth he brings to the stage that holds the audience’s attention from that first appearance of a man defeated to the much-loved ringing of that angelic bell signifying all is well with the world. His performance as George Bailey is nothing short of revelatory. And YES…though this production is not a musical, the audiences is indeed treated to just a bit of Rooney’s pitch-perfect multi-octave voice for a quick little verse of Buffalo Gals, the beloved tune featured in the 1946 film classic.

As Mary Hatch Bailey, Tamiko Robinson Steele radiates warmth, quiet confidence, and fierce devotion. Her Mary is not simply the supportive spouse—she’s the emotional compass of the story, grounding George even when he’s flailing hardest. Steele’s effortless sincerity elevates every scene she touches. From their scenes depicting George and Mary’s childhood friendship to their teenage flirtation, Steele’s sweet embodiment of Mary is palpable. The scene at the drugstore soda fountain when Mary leans over to George and whispers in his bad ear her devotion, I couldn’t help but have a little eye sweat. With Steele in the role, it’s no wonder George offers Mary the moon.

A standout among the ensemble, Matthew Carlton impressively toggles between two primary characters, the compassionate, celestial Joseph and the acerbic, conniving Mr. Potter. The contrasts are stark yet fully realized. Particularly striking is a small but brilliant acting detail: Carlton’s decision to have the wheelchair-bound Potter occasionally rub his leg, as if easing a persistent ache. As someone with mobility and neuromuscular pain myself, that gesture resonated deeply—an understated physical cue that hints at the discomfort and bitterness fueling Potter’s worldview. Carlton’s scenes with apprentice angel, Clarence are equally as lovely.

To that end, Jennifer Whitcomb-Oliva, who I readily admit is one of my longtime theatre crushes, shines brilliantly as the eager-to-earn-his-wings Clarence. Ever-hopeful and constantly assuming its his time to get to work helping George as Carlton’s Joseph guides him through George’s journey thus far, Witcomb-Oliva is simply joyous to behold. Also tasked with also presenting the bumbling but big-hearted Uncle Billy, Witcomb-Oliva os equally at ease. Where physical choices and minute nuances in characterization are concerned, Witcomb-Oliva is astutely adept. From Clarence’s nervous excitement to not only help George, but to also earn is wings–to Uncle Billy’s blissful befuddlement, Witcomb-Oliva delivers performances indeed worthy the presentation of angel wings.

Among the remaining company members, Matthew Benenson Cruz offers charm and humor as Harry Bailey, Burt the Cop, and more. Garris Wimmer deftly give the ole “Hee-haw!” to his Sam Wainwright, offers a bit kindness with his Mr. Gower and is the perfect companion to Cruz’s Burt as Ernie the cabbie. (Side Note: As I do every time I have the chance to review It’s A Wonderful Life, YES, I will point out the fact that Jim Henson and Company got the names for two of Sesame Street’s best pals from the characters of Bert and Ernie in the Capra classic), but I digress. Back to the ensemble, as expected, Eve Petty gives a spirited turn as Violet Bick, injecting just the right note of vulnerability beneath the flirtation. She’s also ridiculously fun in her role as one of the Bailey children.

Among the remaining ensemble are Eric D. Pasto Crosby, who is first seen in a brief appearance as Mr. Bailey and a little more stage time as Nick the barkeep (question…did they really have Sports Bars called as such in the 1940s? It’s rhetorical. Sports Bars weren’t a thing until the 1960s, thus my only complaint about the set, for when Clarences shows George what life would have been like had he not been born, they visit the bar formerly owned by Martini, now emblazoned with a mirror-etched sign reading Nick’s Sports Bar). Aleia Eagleton and Darci Nalepa Elam appear throughout portraying various townspeople. Among their standout turns, Elam’s Ma Bailey is motherly perfection while her Tilley is flirty and fun. Then there’s the small in stature, but big in energetic presence of Eagleton as she is fabulously convincing and utterly enjoyable in the tiny, but pivotal role of Zuzu.

Each member of the company, whether featured on ensemble beautifully adding texture, warmth, and an essential presence throughout, rounding out the world of Bedford Falls with the perfect blend of authenticity, heart and the occasional wink to cleverness of the minimal approach to the piece.

Behind the scenes, the talent runs as deep. Melisa K. Durmon’s costumes, hair, and makeup perfectly capture the era while allowing each actor to glide seamlessly between roles and meet those quick change cues in time for their next character’s appearance. Dalton Hamilton’s lighting design bathes the stage in comforting holiday hues one moment and stark emotional shadows the next, guiding the audience through George’s shifting state of mind, but never over-dramatizing it. Kevin O’Donnell’s sound design subtly enhances the production’s magical realism—gentle chimes, rustling winds, and atmospheric underscoring that support without overwhelming.

Nashville Rep’s It’s A Wonderful Life is more than a nostalgic retelling; it’s a reminder—tender, inventive, and beautifully crafted—of the impact one life can have on an entire community. With its inventive staging, standout performances, and thoughtful direction, this production radiates the very heart of the holidays. Whether you’re revisiting Bedford Falls or discovering it for the first time, this beautifully crafted production is a heartfelt story of community, compassion, gratitude, connection, and the timeless belief that no one is a failure who has friends and the reminder of the difference one life can make.

The Rep‘s It’s A Wonderful Life continues its run through December 21, with performances at 7:30pm Thursday, December 18 and Fridays and Saturdays, and 2pm matinees Saturdays and Sundays. Truly a heartfelt, artfully realized gift to Nashville theatergoers, so grab your tickets, your Bevin Silver Bell, and maybe a tissue or two and get ready to head to TPAC‘s Polk Theatre to celebrate this Wonderful piece of American holiday history. CLICK HERE to purchase tickets.

Before you go, in case you missed it, CLICK HERE to check out my recent Rapid Fire 20Q with the director and cast members of the show.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last 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 Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

December 6, 2025 by Jonathan Pinkerton

To celebrate the holiday season, Nashville Repertory Theatre brings the cherished American classic, It’s a Wonderful Life, back to the stage at TPAC‘s Polk Theatre. For this special holiday edition of Rapid Fire 20Q, JHPEntertainment.com sat down with members of the extraordinary cast and creative team — Brian Charles Rooney, Tamiko Robinson Steele, Jennifer Whitcomb-Oliva & Eve Petty, as well as the show’s director Alicia Lark Fuss — to talk character discoveries, backstage magic, family traditions, and why this timeless story still resonates so deeply. Ready for a visit to Bedford Falls? Let’s go.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NASHVILLE REP’s IT’S A WONDERFUL LIFE

RAPID FIRE WITH BRIAN CHARLES ROONEY, GEORGE BAILEY IN NASHVILLE REP’s IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: George Bailey is one of the most enduring characters in American storytelling — how did you begin finding your version of him?

BRIAN CHARLES ROONEY: The film version of this story is such a legendary piece of the cultural fabric; so it’s impossible to ignore it, and I would never want to do that in the first place. However, I have tried to stay focused on the script that we have in hand, as this is a staged/theatrical version, and even though it is obviously based upon the film, it is definitely its own artistic entity. So I wanted to try to create my own version of this character based on how that version could best serve the story, and this interpretation of that story. I faced a similar challenge when playing Buddy the Elf in Elf, a few years ago for the Rep. In that case, the movie is also quite iconic, but the stage musical made enough changes and incorporated such a fun musical score, that it stood on its own. However, in both cases, I have attempted to pay homage, to what has come before!

JHPENTERTAINMENT: That leads perfectly to my next question…as you mentioned, in recent years you’ve entertained Nashville audiences by played roles as varied as Buddy the Elf, Nicely Nicely in Guys and Dolls and The Emcee in Cabaret — how does George Bailey compare in tone and emotional range?

BRIAN CHARLES ROONEY: This is a very different role for me, especially if we compare it to what audiences have seen me play in Nashville… but at heart, George is a fighter, and he’s incredibly sensitive… when he is at his lowest, he still has a lot of faith in the people he loves… even though he loses faith in himself. He is unafraid to feel deeply, and I think that’s a common trait amongst most of the characters I’ve played throughout my career… even here in Nashville! Is it a stretch? I think most people with whom I’ve worked and who support the theater in Nashville might think so; but I am an actor, and it is my joyful responsibility to be a storyteller and execute the vision of the playwright and the director. I’m very much looking forward to doing that with this show!!

JHPENTERTAINMENT: You know I can’t chat with you without mentioning your incredible vocal range and skills as a singer. To that end, is Mariah’s All I Want for Christmas THE holiday song? Or do you have another unlikely favorite that you keep on your most-played Christmas playlist?

BRIAN CHARLES ROONEY: I quite like Mariah’s annual Christmas anthem, and I’m always amazed by how shrewd a business woman she has always been… That song makes her about $3 million in royalties every year. Not too shabby, right?! I have a few other holiday favorites, including When Christmas Comes to Town, from the film The Polar Express, as well as the Kelly Clarkson/Ariana Grande duet Santa, Can’t You Hear Me? I love both of their voices, and I think they sound wonderful together!!! I am always obliged to sing O Holy Night, each year by my family, many friends, church, and other events. I like it because I can live in my classical voice for a moment or two during that song. That’s always fun!

JHPENTERTAINMENT: What’s something about It’s A Wonderful Life that resonates with you personally, especially in today’s world??

BRIAN CHARLES ROONEY: There are a number of reasons this show feels timely and relevant right now… During the show, George Bailey finds himself at odds with Henry Potter, who has all the money in the world, but very little heart. Matt Carlton plays Potter beautifully, and I feel very fortunate to work with him. I’ve had the chance to work with him in The Sound of Music and Cabaret for Studio Tenn, and in A Christmas Carol, the last two years at TPAC for Nashville Rep. He feels like family to me, and I admire him greatly, so one might think it would be difficult seeing him as a villain and interacting with him as such… But it works so well! And I think the audience will particularly love those scenes! I bring those scenes up because the theme of empathy, or rather the lack of empathy, is richly present in those scenes, and despite the fact that some people find empathy a liability, I cons consider it a strength. I think people might agree with me after seeing this show, assuming they may have thought differently beforehand.

Another theme that is undeniably present in this story is that of love… Now that’s certainly a loaded statement, but George struggles with whether or not he matters… And I believe that if you have the capacity for love, you matter. If you are loved by other people, it is difficult to deny the fact that your existence is important. I think that idea, which is present in our play, can remind the audience that it’s never a waste of time to show love to others… it can be, in fact, quite a healing experience for everyone.

RAPID FIRE WITH TAMIKO ROBINSON STEELE, MARY HATCH BAILEY IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: What is it about Mary Hatch-Bailey that drew you to the role?

TAMIKO ROBINSON STEELE: Mary is grounding. She is that quiet but powerful force that keeps everything steady. I love women like that because they are often the glue in real life. She listens, she leads with love, and she stands firm even when the world shakes a little. Playing her felt like stepping into the heart of a home.

JHPENTERTAINMENT: What do you think gives this classic tale such lasting emotional power?

TAMIKO ROBINSON STEELE: Honestly, it is the community. The story reminds us that we are never doing life alone, even when it feels like it. People show up for you in big and small ways, and that is what makes the world feel warm. I actually grew up knowing about the movie more than watching it, but the story has lived around me my whole life. You can feel why. Even without all the details, the heart of it is unmistakable. People lean toward it because it celebrates community. It reminds us that we matter to each other, that we lift one another up, and that our impact on the people around us is often bigger than we realize. Anything that centers hope and connection lasts because we need it.

JHPENTERTAINMENT: What is one of your personal favorite holiday traditions?

TAMIKO ROBINSON STEELE: Family time. My family is big and loud and wild in the best way. We cook way too much food, eat until our stomachs and hearts are full, laugh until we cry, and just soak up that joy. It is chaos and comfort all at once. That is Christmas for me.

JHPENTERTAINMENT: How does performing live on stage feed you differently than film and TV?

TAMIKO ROBINSON STEELE: The stage gives me an immediate spark. The audience breathes with you and you all experience the story at the same time. There is nothing like that. Film and TV feed me in a different way because those stories live longer and reach into more homes. I love the intimacy of the camera, but theater is magic you share in the moment, and that is a gift every single time.

RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, CLARENCE & OTHERS IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: When I heard you were playing Clarence, Uncle Billy et al, I may have let out an uncontrollable squee of delight! What’s been the biggest joy (and challenge) in shifting between these unlikely roles for you?

JENNIFER WHITCOMB-OLIVA: It’s A Wonderful Life is such a beloved classic, the opportunity to portray any of its characters brings a special sense of nostalgic wonder. One of the biggest challenges in this production/adaptation, is the quick costume changes/focus and timing. While most of the costume changes are very minimal, some of them are within seconds. Moments. This piece calls for intense mental focus. These ensemble tracks move quickly and precisely. It’s kind of dance like. The way scenes flow into the next, swriling around. A bit of a Christmas trance, if you will.

JHPENTERTAINMENT: Your theatre credits are as varied as your roles in this show, but over the years you do seem to always include a seasonal show in the mix. What keeps you coming back to holiday storytelling?

JENNIFER WHITCOMB-OLIVA: I don’t think it would come as a surprise when I tell you it’s because I want glitter on everything! I love anything that is larger than life. Holiday shows are filled with spectacular visuals. Lush costumes, imaginative sets, twinkling lights, snowy effects. Illusion. Miracles even. I love magical things, and that “Anything Can Happen” feeling that comes with these types of shows. Also, there alway seems to be a deeper connection between the audience and the performers. There’s this instant connection and warmth from emotions, and cherished memories. I might be a bit of a romantic, but don’t go telling anyone! Stay cool. Be calm.

JHPENTERTAINMENT: You touched on this a bit already, but Clarence is such a whimsical and heartwarming figure — how are you approaching this guardian angel role in your own style?

JENNIFER WHITCOMB-OLIVA: Iconic roles are always tricky. I want nothing more than to honor the iconic nature of this beautiful character. My goal with this and any character I approach, is to play it with sincerity and emotinal truth. Something grounded and real, rather than a replication or imitation. Clarence is a goofy guy. Or in this sense, a young man. He has a good heart, and an exuberant love for life. He has a sense of adventure, and a taste for excitement. He might not be the brightest crayon in the box, but has the potential to light up the world. I want him to feel like you know him, or really want to. Maybe he bags your groceries at the grocery store. He’s the guy who throws your newspaper to your door, and breaks your flower pot every Wednesday. Maybe he’s the one that gets his bowl of cereal every morning, and when he takes the cap off the milk, he never screws it back on properly. He floods the kitchen floor every time. He’s messy, but he means well. I want audiences to genuinely roll their eyes a his silliness. But we know deep down, that one of these times he’s going to do the right thing, and all will be well.

JHPENTERTAINMENT: Speaking of heartwarming, what warms your heart during the holidays?

JENNIFER WHITCOMB-OLIVA: I love spending time with my family. Gathering around the table for a delicious meal. I love waking up in loud Christmas pajamas, and spending a whole day in them. It’s cozying up on the couch with treats and silly movies. Doing absolutely nothing, but doing it together. It’s the quiet moments of stillness and reflection. Swimming in a cup of hot coca with enough whipped cream in it to float an elephant. Daydreaming of things I want to do. It’s my endless love for the Nutcracker Ballet, and the Tchaikovsky score. And naps. So many naps. It’s sitting by the window with my fur babies, festively ticking down the days until Halloween.

RAPID FIRE WITH EVE PETTY, VIOLET IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: After several years working behind the scenes with Nashville Rep, how does it feel to step into the spotlight for your onstage debut — and in such a beloved holiday classic?

EVE PETTY: Nashville Repertory has been one of my favorite companies to work with behind the scenes over the years. I’ve loved watching the shows I’ve worked on from the wings, and now it feels amazing to step onto that same stage and be a part of the show in a new way.

JHPENTERTAINMENT: Not only are you making your on-stage Nashville Rep debut, you’re also juggling several characters in this production — among them, the always entertaining Violet Bick— not gonna lie, Violet is one of my favorite characters in the show. What’s your favorite aspect of Violet, as you see her?

EVE PETTY: The other actors and I have talked about how Violet has been seen as almost a villain in the way that she comes between Mary and George. But the way I see her, she’s a girl going after a boy that she has liked all her life, just like Mary. I’ve liked discovering the similarities and differences between Violet and Mary’s characters and finding the depth within this flirty and forward character. Plus, who wouldn’t want people to say “Wow” when they walk across a stage 😉

JHPENTERTAINMENT: Since you’ve seen the Rep from both sides — backstage and onstage — what has surprised you most about the process this time around?

EVE PETTY: My brain still thinks very much in the way of how backstage runs and how to make the show smooth and efficient. It’s been a nice surprise to find that with this show, those skills are very much valued with how quickly the transitions come and go, taking us from scene to scene.

JHPENTERTAINMENT: Just for fun…NOT counting It’s a Wonderful Life, what one movie or tv special truly signifies the start of the holiday season for you?

EVE PETTY: As a puppeteer, I love watching The Muppets Christmas Carol and imagining how fun it must have been to perform in that movie.

RAPID FIRE WITH IT’S A WONDERFUL LIFE DIRECTOR, ALICIA LARK FUSS

JHPENTERTAINMENT: It’s A Wonderful Life has such a cherished place in American culture — what inspired your vision for bringing this story to Nashville Rep’s stage?

ALICIA LARK FUSS: My husband and I watch the movie every year on New Year’s, so I am very familiar with it! As a cast and design team, we focused on the importance of community at the center of the story– it’s really about the way we take care of each other and how important that is. Focusing on the heart of the story gave us all a lens to create this beautiful adaptation.

JHPENTERTAINMENT: You have a background in theatre for young audiences — how does that perspective influence your approach to this family-centered holiday production?

ALICIA LARK FUSS: My approach to directing doesn’t change much based on the audience; I find I ask really similar questions when investigating a new script and thinking about how to approach it. However, TYA has given me lots of practice in scripts that move at a brisk pace with actors playing multiple roles, and that is VERY true of this play. There are many sequences where we jump time and place every page or so, and our ensemble cast plays something like 47 people between 9 actors.

JHPENTERTAINMENT: This adaptation by Catherine Bush is theatrical and imaginative — what moments in this version most surprised or delighted you in rehearsal?

ALICIA LARK FUSS: Watching our incredible actors create so many distinct characters has been a DELIGHT. We also worked with a fabulous movement coordinator, Megan Castleberry. She guided us through creating moments like the kids falling through the ice and George jumping from the bridge, and it was incredible to watch her build these sequences, representing the action in a highly theatrical way that leans into physical storytelling.

JHPENTERTAINMENT: What do you hope audiences take with them as they leave after seeing Nashville Rep’s It’s A Wonderful Lifethis holiday season?

ALICIA LARK FUSS: In rehearsals, I’ve seen the end of the show many, many times and I still get misty. My dream would be that audiences feel a deeper sense of connection to their loved ones, and a renewed hope for communities that lift up and take care of each other.

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Nashville Rep’s It’s A Wonderful Life brightens the holidays at TPAC‘s Polk Theatre December 5–21, with performances at 7:30pm Fridays and Saturdays and 2pm matinees Saturdays and Sundays. As this uplifting classic fills the theatre with heart, hope, and a reminder that every life touches countless others, there’s no better way to celebrate the season. Gather your loved ones, step into Bedford Falls, and experience the magic live onstage. CLICK HERE to secure your seats now.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last 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 cast of Nashville Rep’s ‘Come From Away’

September 10, 2025 by Jonathan Pinkerton

As Nashville Repertory Theatre prepares for their 2025/2026 season opener, it’s time for another edition of Rapid Fire 20Q, where we put some of Nashville’s finest theatre talent in the hot seat. This time around, I’m joined by Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks, who are among the powerhouse cast of The Rep’s upcoming production of COME FROM AWAY.

Nashville Rep’s production is sure to honor the original Broadway creative team—creators Irene Sankoff and David Hein, with Tony-winning direction by Christopher Ashley, choreography by Kelly Devine, and musical staging by Ian Eisendrath—as they enlist the talents of a who’s who of Nashville finsest actors as well as folks behind the scenes including: Lean Lowe, who’s helming the project as the show’s director, with music direction by Sarah Michele Bailey, choreographer Joi Ware, scenic designer Gary C. Hoff, costumer Melissa K. Durmon, lighting design by Dalton Hamilton, stage manager Zach Jenkins and sound design courtesy Mark Zuckerman.

So, before the cast steps onto the stage of the Polk Theater for their Friday, September 12 debut performance, we’re throwing them our signature Rapid Fire 20 Q. Maybe not so Quick, but definitely quirky, fun and revealing—here’s what they had to say!

RAPID FIRE 20Q WITH THE CAST OF NASHVILLE REP’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS

JHPENTERTAINMENT: You’re stepping into the role of Beverley Bass, the first female captain for American Airlines, in COME FROM AWAY. Prior to being cast, were you familiar with Bass’ significance in the history of commercial aviation or her role in this historic story? AND…Did you do any research on her in preparation of portraying this role?

CARRIE TILLIS: I was not familiar with Beverly Bass before the show. But I was so intrigued with her path once I started studying this show…. and that her life/career and that big achievement also collided later with 9/11. Makes me think about people who are so right for a job and she definitely knew it was her path- knew who she was. And that’s written into the music and the dialogue, too.

JHPENTERTAINMENT: The original production of COME FROM AWAY won both the Drama League Award and the Drama Desk Award for Best Musical. How has it been stepping into this celebrated show, and what has your experience been like working with Sarah Michele Bailey as music director for Nashville Rep’s production?

CARRIE TILLIS: I thought long and hard about auditioning for this show. I knew it would be a challenge for different reasons, technically it’s a tough one and vocally- it’s in a different place than what I usually sing. But those are also some of the reasons I wanted to try… the challenge. And it’s such a great show and people love it so. I get it now. And Sarah Michele is nothing but a joy and so musical. She is a great encourager. I really appreciate the work she has put in.

JHPENTERTAINMENT: One of the most powerful moments in COME FROM AWAY is Beverley’s spotlight song, Me and the Sky. Throughout the rehearsal process, have you found a personal connection or a piece of the lyrics that you relate to?

CARRIE TILLIS: Me and the Sky. There have been times this song has been like a life arc in and of itself! A true reminder of where you come from and the hurdles we all face and somehow make it over… with a lot of years and grit under your belt. Not always pretty, but staying the course…vulnerability, life, high points. It’s all of it. And it happens fast. Yeah…it’s a good time to sing this. I’m age appropriate for all those things….hahahahaha.

JHPENTERTAINMENT: Among your recent theatrical roles, you appeared in The Battle of Franklin and The Hiding Place, both based on historical events. Now, with your role in COME FROM AWAY, you’re tackling another real-life story. Is there something that draws you to this kind of storytelling?

CARRIE TILLIS: Yes. Those are all big and serious roles, true life stories! I need to do a comedy, don’t I ?! But seriously, I do love a true story, real people to portray. And these are important events to look at. We see ourselves in them currently, don’t we? As history repeats? Are we getting any better at understanding one another? Theatre is so vital this way.

JHPENTERTAINMENT: What do you hope audiences will take with them after experiencing Nashville Rep’s production of COME FROM AWAY?

CARRIE TILLIS: I want people to leave the theatre happy and entertained. To feel moved. To be reminded of a time when people reached out and gave when others needed it. All of that motivates a lot of reflection on where we’re at now, too. I’m so glad for anyone to be in the seats and grateful to be a part of it. And thanks for the questions!

RAPID FIRE WITH COME FROM AWAY‘s GARRIS WIMMER

JHPENTERTAINMENT: You’re juggling multiple roles in Come From Away—Claude, Derm, Brenda’s Brother, and Eddie. What’s been the most exciting challenge about shifting between so many characters in one production?

GARRIS WIMMER:Well in one respect I’m fortunate in that most of my characters are Newfoundlanders so I’m really mostly just dealing with one dialect and then pitching them in different ways.The most difficult part of learning the actual physical show and switching these characters so quickly is literally “where do I get that costume piece from and where does it need to go next ?” Fortunately for us we have Kaitlin Steer, our wardrobe supervisor, who is incredible in figuring out all of the backstage and costume logistics.The emotional switching does get a little confusing as well.

JHPENTERTAINMENT: Nashville Rep has truly become one of your home theaters, with memorable roles in their productions of Our Town, Indecent, Ragtime, and Urinetown. What makes performing with this company so special for you?

GARRIS WIMMER: The Rep really has been my home base from the beginning.I did my first Equity production in Tennessee Rep’s second season playing Baby John in West Side Story. At that time we were a sort of Repertory company. There was a Company of actors, directors, designers, and tech people and we would convene often several days a week and do workshops and scene study, movement classes, audition workshops etc. We built a community that carried over into the performances and it was a really great time to be a part of this brain child of Mac Pirkle’s. I’ve done theatre all around the world but when I’m in the Polk or Johnson theatre with the Rep, that really is home. And to put an even finer point on it, when I’m with anyone in this incredible pool of Nashville actors and directors and crew, well then I am really home.

JHPENTERTAINMENT: You were part of both The Rabbit Room’s stage adaptation and film version of The Hiding Place. As an actor, what did you take from that unique experience?

GARRIS WIMMER: Well first of all if Matt Logan is involved I don’t even ask what it is I just say yes. And that certainly goes for Pete Peterson too. It’s always so creative working with them because these are all brand new plays that we are getting to help build from the ground up. Then you add a fantastic cast some of whom I’ve worked with for forty years and really it’s just a pleasure. The result of that show was something I was very proud to be a part of. And then to get the chance to film it with Laura Matula directing was such a bonus. And we were able to do all of that because we have years of working together now and the level of trust frees everyone up to be their most collaborative and creative selves. It’s heaven.

JHPENTERTAINMENT: Among your COME FROM AWAY costars, you’re reuniting once again on stage with Carrie Tillis, one of your co-stars from The Hiding Place. What’s it like stepping back into a production alongside her?

GARRIS WIMMER:Well Carrie and I go back a little further than that. We first worked together in 2010 on Guys and Dolls for Studio Tenn, I was the ASM for that. But I go wayyyy back with her family. I sang with her father, Mel several times in the 80s and have known her sister, Pam since the early 80s. Pam and I were Mary and Peter (respectively 😊) in the Rep’s production of Jesus Christ Superstar in 1988. So when Carrie told me she was playing Beverly I was thrilled. We blocked a hug between Beverly and Claude in the finale, but it’s for us, too.

JHPENTERTAINMENT: Recently, you played the comedic chaos of Studio Tenn’s The Play That Goes Wrong. Do you prefer leaning into the laughs or the heavier storytelling? Or does that change, depending on the current role you’re tackling?

GARRIS WIMMER: The process of telling the story is the same in both. I love both of course but what I loved about The Play That Goes Wrong was the way people laughed. That show keeps hitting them with such ridiculousness that they lose control of themselves. They laugh more like 5 year olds and they make sounds that they never would make in public. That is my favorite sound in the world. On the other hand, hearing some sniffles and a few sobs at the end of Indecent was very satisfying as well. Both of those sounds connected me to the audience in a profound way. That’s a gift that I am always grateful to receive. So BOTH please.

RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON

JHPENTERTAINMENT: You’re making your Nashville Rep debut in COME FROM AWAY! What has it been like stepping into this production and joining the Rep family for the first time

JENNIFER JACKSON: I’ve admired Nashville Rep’s talent and production quality for a long time, so I would’ve been thrilled to be part of any of their shows. But for my debut to be COME FROM AWAY feels especially meaningful—not only because of the powerful story it tells, but also because of where I was in my own life the first time I saw it. It really does feel a little cosmic, and I couldn’t be more grateful to join the Rep family through this production.

JHPENTERTAINMENT: In this show you’re playing Hannah, Margie, and Mickey. Hannah O’Rourke is based on a real passenger whose story touched so many—how did you approach honoring her while also making the role your own?

JENNIFER JACKSON: It’s a strange and wonderful responsibility to portray a real person, especially during what were likely the hardest days of her life. Hannah was different from the character you see on stage; in the musical she’s portrayed as a single mother, but in reality she was married and traveling with her husband on 9/11. She was also an Irish Catholic Caucasian woman, which of course is different from my own experience. That alone means my portrayal can’t and shouldn’t be an imitation. Instead, I try to honor her by bringing empathy and truth to the role. I hope to channel that into something authentic. Hannah passed away just before we began rehearsals, and from everything I’ve learned, she was a beloved wife, mother, and friend who believed in hope, kindness, and even laughter in the face of adversity. It’s an honor to tell her story and I hope I do her justice.

JHPENTERTAINMENT: In COME FROM AWAY, Hannah forms a bond with Beulah, played by Brenda Sparks. What has it been like playing opposite her and developing that connection on stage?

JENNIFER JACKSON: One of the things that connects Hannah and Beulah in the show is their shared love of humor—laughter is what finally breaks through Hannah’s walls. That made it so natural to build the bond with Brenda, because she makes me laugh every single day. From the moment I met her, I knew she was a force—hilarious, authentic, and full of heart, and playing opposite her has been an absolute joy.

JHPENTERTAINMENT: From Hannah in COME FROM AWAY to Mama in A Raisin in the Sun and DeeDee Allen in The Prom, you’ve taken on powerful, dynamic women. Which of these roles has taught you the most as a performer?

JENNIFER JACKSON: It’s meant so much to finally be seen as this kind of powerhouse archetype, especially since before my 40s I was never considered for leading roles. That shifted with DeeDee Allen (which was my first lead). I remember when I got that call I was over the moon, then immediately terrified. I felt the weight of responsibility, I wasn’t sure that I could do it. I didn’t want to let anyone down. But I did it scared—and I proved to myself that I could.

Each role since has carried its own kind of intimidation. Playing Mama meant stepping into the shoes of women I’ve idolized, and Hannah has been a dream role for years. If anything, these characters have taught me that I can push myself, I can do hard things and that maybe trusting myself makes me a powerhouse too.

JHPENTERTAINMENT: In your bio, you joke that your husband is the only person who knows who the 21st president was. So…Who WAS the 21st president?—AND…What does it mean to have your husband’s support as you pursue your theatrical endeavors?

JENNIFER JACKSON: Chester A. Arthur. 1881 to 1885. Nominated vice-president in 1880! Did you know he was Collector of Customs in New York? (neither of us would know that without Die Hard) What’s actually funny is- when my husband and I first met,I was managing restaurants and had pretty much walked away from acting because I thought I needed a more ‘stable’ life. After the pandemic, though, I realized I wasn’t happy and I needed to get back on stage. He could’ve rolled his eyes at all of it, but instead he leaned in because I love it—and he loves me. From the very beginning, he’s been in it with me. Now it feels like something we share, and that support honestly means everything.

RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS

JHPENTERTAINMENT: You’re stepping into the roles of Deloris and Beulah in COME FROM AWAY. What excites you most about bringing these two very different women to life on stage?

BRENDA SPARKS: I must preface this by saying that I am in no way equating the mass-casualty terrorist attacks of 9/11/2001 to the 1,000-year flood that ravaged Nashville in 2010. However, I feel kindred with the real-life Beulah Cooper & Diane Davis (the two women who make up my character of Beulah Davis in Come From Away) because of how they responded to the “plane people” in those early days following 9/11. My little town of Kingston Springs was literally torn apart when the Harpeth River jumped its banks in 2010 and ran through our little elementary school, destroying roads, and carrying homes away. We organized quickly and created our own disaster relief center in the middle school. By the time the Red Cross arrived they told us they’d never seen anything like it. I barely slept during those days. We’d work 17-18 hours and sometimes around the clock doing everything to help our neighbors. Our stories closely mirror and are as plentiful as our Ganderite counterparts. Hey, maybe I need to write a musical about Kingston Springs and the 2010 flood! That’s what excites me most about Beulah. She’s a helper. She has the exterior of a tough old broad, but she has a big empathetic heart. Oh, and her quick wit! Beulah loves making people laugh. As for the hot mess that is Delores, what excites me most about playing her is that she’s whacked out on Xanax in one scene and drunk off her keister in another, but she’s singing the Titanic song in both. What’s not to love about that? The combination of both characters allows me to run the gamut from much needed comedic relief to genuine pathos.

JHPENTERTAINMENT: With COME FROM AWAY opening on September 12, just one day after the anniversary of 9/11, was that timing—and the real-life events at the heart of the story—something your director addressed during the rehearsal process?

BRENDA SPARKS: Honestly, not really. Leah certainly touched on it, and her belief that we need to be reminded of our humanity now more than ever. But we really didn’t dwell too much on our personal memories of 9/11 or the real-life events in the rehearsal process. That’s not to say it wasn’t at the heart of every single decision we made. But because that day and those memories are still so closely-knit to our hearts, it was kind of built in. Also, we hit the ground running with the massive technical undertaking that is this show. Simple is seldom easy. A “minimalist approach” rarely equals less work for anyone on the cast or creative team. It usually means we work even harder to create an intentionally focused cohesive experience for our audience that allows them to experience storytelling in its purest form. Actor-driven scene changes simply means we add that to the list of things as actors that we have to memorize to perform this show. So, it’s our lines, our music, our choreography, who am I in this scene, and where the heck do I move this chair next?!?

JHPENTERTAINMENT: While COME FROM AWAY is a musical, having not only been nominated for seven Tonys, but also winning a Grammy, it’s not exactly the kind of musical you rush out to buy the cast recording because of a catchy earworm. That said, what’s your favorite musical moment in the show?

BRENDA SPARKS: Oh, wow! There are too many to count. Many of them for myself are harmony lines. The vast majority of times I’m onstage in a musical, I’m belting my face off. Mrs. Lovett in Sweeney Todd, Mrs. Peachum in The Threepenny Opera, Domina in Forum, Rita in Lucky Stiff, the list goes on. And whereas I do belt as Delores in the show, I get to do some real easy beautiful alto harmonies, too. And I love singing on stage in this intimate and folksy conversational style. I will say I think one of the most underrated lyrics in the show is “Who am I if I don’t feel like the me of yesterday?” That’s a weighty question about identity, and I love it. Screech In is super fun to perform. I mean, we’re all drunk and rowdy in a bar in Newfoundland. Me and The Sky is just such a specific and personal ballad, equal parts triumphant and sorrowful. Stop the World is so beautifully intimate, as is Prayer. I really love that we are all singing the same prayer, just in different languages and expressed from different faiths.

JHPENTERTAINMENT: Scenic Designer Garr C. Hoff has crafted the world audiences will step into for COME FROM AWAY. What’s your favorite aspect of what he’s created for this production?

BRENDA SPARKS: Gary Hoff is one of the greatest (if not THE greatest) scenic designers I’ve ever worked with. He’s also just one of the kindest human beings you’ll ever meet in the theatre. I love his painted burlap trees that are almost like an homage to the original design that utilized actual trees from the Adirondacks. I also love how he built us an “island” that is cantilevered out over the pit. We have so many lyrics about being islanders, so he built us an island. It’s so cool. The entire set illustrates why Gary is such an inspired artist. It may look “simple”, but as with the above – that just means Gary put the extra thought into it so the audience didn’t have to. The set is rustic, remote, isolated, and welcoming all at once. So, it’s perfect.

JHPENTERTAINMENT: So, I gotta admit, I love a bit of shameless self-promotion. To that end, your current theatre bio starts off by mentioning Act Three, the comedy/drama you wrote that enjoyed its world premiere at Tibbits Opera House just a couple months ago. A two-parter for you… 1) What’s next for Act Three? AND…2) How has your experience as a playwright and director shaped the way you approach storytelling as an actress, in particular, with your dual roles in COME FROM AWAY?

BRENDA SPARKS: I love this question! Thank you for asking. 1) I am more than halfway through writing the sequel to Act Three (Act Three: Act Two). Act Three was always designed to be a trilogy. I was compelled to write a play cycle after directing The Trip to Bountiful at Cumberland County Playhouse and befriending Horton Foote’s dear friend and fellow writer Gerald “Jerry” Wood. It’s a beautiful and largely forgotten art form, giving audiences multiple entry points to get to know these characters and experience their stories. Act Three is inspired by the real-life 30-year friendship of three actors now in the act three of their lives. Together they’re dealing with everything that comes with the existential crisis of aging and staring down death as we walk each other home. There’s plenty of comedy (I’m happy to say that my “menopause monologue” brought the house down each night of its world premiere. I almost always had to hold for applause, not just laughter) but there’s genuine pathos as well. One of my favorite audience quotes from the premiere was “I knew I was going to laugh a lot, I didn’t know I was going to cry so much.” So now I finish the sequel, and get Act Three (the first) its second professional production. Then rinse and repeat until Act Three: The Finale has been professionally produced. The goal is to get all three published so they can generate mailbox money for me so I can focus on finishing El Dorado Stardust, the original musical I started writing with my friend and Nashville singer/songwriter Mark Elliott. We sadly lost Mark almost two years ago, but I’m determined to finish what we started. Act Three is a low-cost three-hander that can literally be performed anywhere or in rep with any other set or production. The hope is that it will be exactly what many producers are looking for.

2) In short, being a playwright and a director clarifies my work as an actress. At least I think it does. I’ve always been a professional actor/director/writer, so that’s the only viewpoint I’ve ever known. I know some actors become directors at some point in their careers, but my triple threat has been actor/director/writer from the beginning. In fact, years ago my adaptation of Rip Van Winkle for The Nashville Shakespeare Festival was performed on The Polk stage at TPAC as part of their H.O.T. (Humanities Outreach of Tennessee) programming. I was the writer and director on that project. I can tell you this, being both actor and director I have infinite empathy when I am on either side of the stage/table. I know what it takes to direct an ensemble musical, for instance. Just weeks ago I directed The 25th Annual Putnam County Spelling Bee in Michigan. I literally left after that production was up to come down here for publicity photos for COME FROM AWAY. So watching our artistic team of brilliant women (music director, director, and choreographer) all navigate the complexities of staging this show – I have all the empathy in the world. It’s not hard for me to switch hats again because it’s all I’ve ever known. My seasons are always direct this, act in that, act in this, direct that. So when I’m onstage I don’t try to direct the show, and when I’m in the director’s seat I don’t try to act it. As it regards playing different characters in this, being a playwright definitely helps in finding context clues. We plant those as playwrights because we want to honor the autonomy and individual artistry of whoever will inhabit these roles. So good playwrights try to create context without dictating everything. Because true magic lies in the artistic voice of each individual artist. You want to leave room for their interpretation. At least I do. So, for instance – there are plenty of breadcrumbs to lead one to understanding that Beulah has a big kind heart. But there are clues that could lead one to believe that Delores is less sympathetic. She’s described as a “hot mess” but she also has lines that can be interpreted as being stuck with a person you definitely don’t want to be stuck with. I’ve leaned into the discomfort with Delores. It’s not how I would respond personally in those circumstances. But my script analysis leads me to believe it’s a valid artistic choice to take Delores in that direction. Not everyone you meet on a plane is someone you’d want to spend time with in real life.

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Again, a big thank-you to Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks for playing along with our Rapid-Fire 20Q! Their energy and insight are just a taste of what you’ll experience when Nashville Rep brings the unforgettable story of COME FROM AWAY to life.

Catch COME FROM AWAY at TPAC’s Polk Theater, running September 12–21, 2025, with performances as follows:

Friday, September 12 at 7:30 p.m.
Saturday, September 13 at 2:00 p.m. and 7:30 p.m.
Sunday, September 14 at 2:00 p.m.
Thursday, September 18 at 7:30 p.m.
Friday, September 19 at 7:30 p.m.
Saturday, September 20 at 2:00 p.m. (ASL-interpreted/open captioned) and 7:30 p.m.
Sunday, September 21 at 2:00 p.m.

Tickets start at $45 and are available now. CLICK HERE to purchase tickets. Don’t miss the chance to experience this heartfelt, hope-filled musical that reminds us of the best in humanity.

Kicking off their 2025/2026 season with the regional premiere of COME FROM AWAY is just the beginning for Nashville Repertory Theatre‘s 41st Season. Following COME FROM AWAY, Nashville Rep will ring in the holiday season with IT’s A WONDERFUL LIFE onstage December 5-21, then there’s FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last 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 Q&A with Director and Cast of Reimagining of Martin Luther King Jr.’s last night, ‘The Mountaintop’; at Nashville Rep through February 23

February 21, 2025 by Jonathan Pinkerton

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

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

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

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Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.

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

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

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

December 7, 2024 by Jonathan Pinkerton

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

September 19, 2024 by Jonathan Pinkerton

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!

Theatre Review: Don’t Piss off God, Go See Nashville Rep’s ‘The Color Purple’, A Majestic Celebration of the Importance of Self

April 11, 2024 by Jonathan Pinkerton

Before some folks get all bent out of shape, that headline is a nod to one of the most famous lines from Alice Walker’s emotional novel, The Color Purple, in which juke-joint singer Shug Avery says, “I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it. Thanks to Nashville Repertory Theatre’s moving presentation of the musical based on Walker’s novel, you can’t help but notice the brilliance and beauty of the work.

As I mentioned in my recent double-shot Rapid Fire 20Qs featuring Nashville Rep’s The Color Purple guest director Reggie Law and seven primary members of the cast, I’ve been a fan of the 1982 Pulitzer Prize-winning source material since first read it when I was in high school. The subsequent Spielberg-directed film adaptation, the Tony-winning 2005 Broadway musical and 2023’s musical film rejuvenating my love of the story time and time again. Directed by Law and featuring a truly star-filled cast headed by Carli Hardon, Nashville Repertory Theatre’s The Color Purple continues that legacy, reminding us all that there’s beauty in everything…and everyone, you just have to take the time to notice it.

When the curtain rose on Opening Night of Nashville Rep’s The Color Purple, I was immediately struck by the starkness of the set. Director Law, scenic director, Joonhee Park and lighting designer Dalton Hamilton obviously opted for a minimalist approach in that the set consists seemingly simply of a massive wall constructed of wooden beams spaced just far enough apart to allow light to filter in. I say seemly simple, because it’s ultimately effective, especially when a multitude of hues of light are used at various times to seamlessly convey emotion appropriate for each scene.

As Celie, the story’s downtrodden central character, Carli Hardon doesn’t waste any time drawing the audience in with her multifaceted portrayal. In fact, for the first time since seeing The Color Purple musical nearly twenty years ago, I actually heard this song. I mean I really heard it. Aided by Maya Riley, one of the Nashville theatre community’s brightest rising stars as Celie’s sister, Nettie. The duo of Celie and Nettie set the pace for the entire show with the elementary, but theme-establishing Huckleberry Pie. A quick singsongy nursery rhyme of a tune Huckleberry Pie gives the audience the first glimpse of the overall message of hope for better things to come with the simple lyric, “Sure ‘nuf sun gon’ shine, Gon’ be grown ladies of the marryin’ kind. Sure ‘nun moon gon rise, like a huckleberry pie in the middle of the sky.”

During this opening sequence I was immediately moved by these lyrics like never before. Here are two young Black girls dealing with unspeakable struggles, but who nevertheless keep focusing on the positive…the future. Yes, these themes from a novel written some forty years ago, about a time in history a century ago are still prevalent today and are key to why this story still resonates. And Yes, minutes in and my eyes were already sweating. I was also struck by both Hardon and Riley’s physicality in this scene. Both actress, though young in real life, completely transformed themselves by their movement, their speech patterns and expressions, into young girls, young sisters.

Then comes the entire company for Mysterious Ways, a hymn of a song, set in the local church (effectively indicated as such by a singular light source casting the shape of a illuminated cross onto the wall behind the action) where the entire community sings of God watching over them no matter. Nia Safari Banks’ costumes are a highlight of this number, for if you’ve ever had the great fortune to attend a Black Church, you KNOW the way you present yourself before the Lord IN the Lord’s House is of utmost importance! Which leads me to the Church Ladies, Darlene, Doris and Jarene, a snooping, truth-tellin’ trio who pop up now and again throughout the show to fill the audience in on the latest happening. Lindsay Kay Pace, Yolanda Treece and Meggan Utech a divine trio indeed as the Church Ladies. Characters I know all too well, for you see, growing up, there were two ladies in the church my family attended who I lovingly referred to as my very own ‘Church Ladies’. They were always there to stick their noses in and offer advice, unsolicited though it may have been. I can’t be the only one who kind of wishes Pace, Treece and Utech would develop their own show around these three characters. Not only do they provide intel, but plenty of smiles as the absurdity of their insertion into every situation.

Giving the Church Ladies something to talk about…enter Mister, as played by Elliott Winston Robinson. As Robinson alluded in my Rapid Fire 20Q, Mister is a chance for the every-smiling, always kind and friendly Robinson to play against type. Mister is just mean, and Robinson approaches the role with perfectly menacing aplomb. Those familiar with the story know that Mister initially has designs on the younger Nettie, but settles for Celie. Then vengefully vows to separate the two sisters forever. Physically torn apart, Nettie promises to write her sister every day. Law’s extraordinary acumen as a director is never more evident that in his choices during the scene when Mister tells Celie she is never to go near the mailbox. I won’t spoil it here, but y’all! I didn’t know I was gonna need to invest in Kleenex for this entire show.

The Color Purple is peppered throughout with memorable moments courtesy music and lyrics by Brenda Russell, Allie Willis and Stephen Bray and book by Marsha Norman. The aforementioned Church Ladies being a prime example. There’s another trio worth watching, as well. Ensemble members Justin Boyd, Jaylan Downes and Richard J. Harrison Jr. as field workers remind Celie that Mister is the boss during the pounding Big Dog number, Joi Ware’s choreography herein, a strong nod the the original Broadway presentation.

Speaking of memorable men, Gerold Oliver is just sooooo good as Harpo, Mister’s ne’er do well son. He get’s his moment to really shine alongside the men during Brown Betty, a song praising the beauty of Black women, Raven Buntyn’s Squeak, in particular. Speaking of Squeak, thank goodness Buntyn vocally pays homage to the character’s name by occasionally hitting a pitch so high that she actually squeaks when she talks, something the recent film adaptation opted not the do. I also loved the quick pop-in appearances by some of the female ensemble during this one, too. Oliver’s Harpo offers not only comedic levity from time to time, but also becomes the first man in the story to break the cycle of violence towards women.

Of course Harpo has a bit of assistance in breaking that cycle in the form of his no-bullshit-taking wife, Sofia, played to the absolute hilt by the gloriously talented Shinnerie Jackson. It was everything I could do to remain in my seat at the end of her anthemic Hell No number. The thunderous applause that followed was evidence I was not alone in my appreciation of the number and Jackson’s performance. Cause here the thing, Jackson’s portrayal of Sofia hits all the notes, not just musically, but emotionally. When she’s strong and defiant, the audience feels that defiance and empowering presence. When Sofia is temporarily defeated, we feel that too. An exemplary performance all ‘round!

A little over midway through Act 1 and it’s time for another of my favorite musical moments, Shug Avery Comin’ to Town’ it’s an all-in for the entire company. Law’s direction, Ware’s choreography and the show’s musical director, Dion Treece, along with the entire company pull out all the stops for this one, creating the perfect buzz befitting the arrival of Tamica Nicole as Shug Avery, the singer who opens up a whole new world to Celie, and in the process teaches Celie that she’s worthy the happiness she longs for. To that end, Too Beautiful for Words is…just that! Nicole’s approach to Shug is stronger than any I’ve seen in other theatrical performances of the musical. Frequently portrayed a little too drunk, a little too messy, Nicole’s Shug has a strength that’s palpable. Her confidence in the role makes it all the more evident why Celie should fall under her spell, as we all do.

Nicole continues to command the spotlight with Push Da Button another all-in up-tempo number. If Mysterious Ways exemplifies the relationship the Black community has with God, Push Da Button provides the other end of the spectrum. With The Color Purple set in the South of the early-to-mid 1900s, Push Da Button serves to remind us that those who work hard deserve to play hard. It’s a sexy, rollicking good time. If only Shug’s wardrobe for the number matched the excitement. Yes, that is my one and only slight disappointment with the entire show. I was just hoping for a show-stopping BAM! of an outfit for this one number. But again, when the material and the performances bring it, a minor thing like a missed wardrobe opportunity is insignificant.

The chemistry between Nicole’s Shug and Hardon’s Celie is simply magical. You truly believe these two women have discovered a love and bond like never before.The progression of this relationship is perfidy paced and played out not doubt by way of the director’s precise instruction, but also these two actors’ understanding a care for the characters.

In the same way, when Nettie returns, there’s an overwhelming joy that radiates from the actors through the entire theatre when Riley’s Nettie returns near show’s end to reunite with Hardon’s Celie. Dressed in patterned African clothes, Nettie looks regal indeed. Again, I was struck by her mannerisms, posture and way of speaking, all extraordinarily representing the passage of time and aging of her character. Just another reminder of the top-notch theatrical experiences you can always count on Nashville Repertory Theatre to provide.

The heartache, troubles, triumphs, joy and love examined and presented throughout The Color Purple are the heartbeat of the piece. So do your spirit a favor and go see this masterful example of theatrical bliss while you can.

Nashville Rep’s The Color Purple continues at TPAC’s Polk Theatre through Sunday, April 14. CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

In case you missed my TWO Rapid Fire 20Q interviews with the director and cast, CLICK HERE…and HERE to check them out!

Rapid Fire 20Q (2 of 2) with cast and director of Nashville Rep’s ‘The Color Purple’ onstage at TPAC’s Polk Theatre April 5-14

April 5, 2024 by Jonathan Pinkerton

As I indicated in my first Rapid Fire 20Q featuring the director and cast of Nashville Repertory Theatre announced that The Color Purple, I’m such a fan of the show that I decided to go all in and do two Rapid Fire 20Qs to feature as many cast members as I could. Hey, my name’s on the site, so I can do what I want, right? So…here’s Part 2 of my conversations with the cast of The Color Purple. This time around, I’m chatting with Shinnerrie Jackson (Sofia), Elliott Winston Robinson (Mister), Raven Buntyn (Squeak) and Gerold Oliver (Harpo). In case you missed Part 1, CLICK HERE to check out my chats with The Color Purple’s director, Reggie Law as well as Carli Hardon (Celie), Tamica Nicole (Shug) and Maya Riley (Nettie). Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre for performances Friday, April 5 thru Sunday, April 14.

RAPID FIRE 20Q WITH CAST OF NASHVILLE REP’S THE COLOR PURPLE (2 of 2)

RAPID FIRE WITH THE COLOR PURPLE’s SOFIA, SHINNERRIE JACKSON

JHPENTERTAINMENT: Before we talk The Color Purple, while researching to chat with you, I learned you are an Assistant Professor of Theatre at UT Knoxville, and you’re also a company member of Knoxville’s Clarence Brown Theatre. Because I truly love connecting the dots when folks I know, know folks I know, I’m gonna name drop…I’ve known Carol Mayo Jenkins for ages. She is the cousin of one of my dearest friends. Carol was Artist in Residence at UTK until her recent retirement. Do you have a favorite memory of working alongside the legendary actress?

SHINNERRIE JACKSON: She taught me how to live in the truth of who I am and to be grand. I never thought of myself as grand and she gave me that lesson during a scene she taught from Heartbreak House (Shaw play). She is a phenomenal actress and teacher. I’m still learning from her.

JHPENTERTAINMENT: You play Sofia in Nashville Rep’s The Color Purple. When I spoke with Carli, I mentioned the impressive list of actresses associated with her role. The same can be said of Sofia. From Oprah to my friend Pam Trotter, Miss Sofia is without a doubt one of the most memorable characters ever to grace the pages of a book, the stage and screen. Would you consider Sofia a ‘bucket list’ role?

SHINNERRIE JACKSON: Yes! I’ve wanted to play this version of Sofia since Felicia P. Fields originated the role in 2005. I was just waiting for my regional theatre turn. I audtioned for NashRep last year and thought it would pass me by, but fate had other plans and here I am!

JHPENTERTAINMENT: Like many of the characters in The Color Purple, Sofia undergoes a transformation. Is there an aspect of Sofia and her transformation that you might consider adopting in your own life long after the show closes?

SHINNERRIE JACKSON: I think we all love Sofia because, despite the difficult systemic violence she’s forced to endure, Sofia is able to come back to herself. Her inner strength, her love and her joy. That’s the lesson for me.

JHPENTERTAINMENT: A catalyst for the above-mentioned transformation is Sofia finally having enough of certain situations. How do you prepare for the seriousness of such scenes?

SHINNERRIE JACKSON: The script and the book (by Alice Walker) give you everything you need. As soon as the words come out of my mouth the feeling and her personality is there, the words are that powerful. I just have to maintain my stamina throughout the run. I also am invoking the spirit of my grandmother Ernestine Jackson, a woman who never let the violence of the system deter her from her dreams.

JHPENTERTAINMENT: We touched on your Knoxville connections. Of course The Color Purple’s director, Reggie Law also hails from Knoxville as does Nashville Rep’s Artistic Director, Micah-Shane Brewer. Did one of them reach out to you and urge you to audition?

SHINNERRIE JACKSON: While it has been great to work with Reggie Law, my direct connection is with Micha-Shane Brewer. We are both alumns of the MFA program at The University of Tennessee. I saw the advert for auditions and here I am.

RAPID FIRE WITH THE COLOR PURPLE’s MISTER, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: How would you describe Mister, the role you are playing in Nashville Rep’s The Color Purple?

ELLIOTT WINSTON ROBINSON: It will be evident fairly quickly how horrible a person Mister is when you see the show. My challenge in portraying him is to figure out why he is this way, so I can make choices on stage that show the audience very clearly who he is. Mister is the kind of man that wants to project this great sense of strength & dominance, but he is really not very strong at all; he is just a big ol’ bully. I don’t want to give too much away, but when the people he rules over begin to question his power (Celie, Harpo), even they start to realize what the real man is all about.

JHPENTERTAINMENT: Doing a little digging prior to chatting with you, I discovered this is your Nashville Rep mainstage debut. Not gonna lie, that factoid was a huge surprise to me, as I consider you to be one of Nashville’s most gifted actors. While it’s your Rep mainstage debut, you indeed wowed audiences as part of Nashville Rep’s recent stage reading Narrative of the Life of Cedric Bartholomew. What was the experience of bringing that story to life for Nashville audiences?

ELLIOTT WINSTON ROBINSON: Thank you, Sir, for the kind words; that means a lot! Yes, it’s my first time for the mainstage. I was welcomed into the REP family at last summer’s Broadway Brunch, then had the pleasure of being involved in REPAloud readings of The Christians and Stick Fly, as well as The Narrative of the Life of Cedric Bartholomew, in the New Works Series. Bartholomew was so powerful because it was new, but also because of the incredibly rich historical nature of the story. The process was amazing; having the dramaturg and the writer in the room while we dug into the script was fantastic! We were able to really get deep into the language, and the history. The performances were great, too, but the process was so fast, I still had questions about the story and my character even after we finished the public readings.

JHPENTERTAINMENT: During the rehearsal process, did your director, Reggie Law offer any notes on finding your Mister?

ELLIOTT WINSTON ROBINSON: Reggie has been the greatest! He detected my nice, easy-going nature very early on (many people who know me wonder how I’ll possibly be able to play this role!), so he has [gently] pushed me and pushed me to commit to being Mister. He is my favorite kind of director, the one that will pull you aside from time to time just to give you another subtle layer to think about while building your character, encouraging all the while. I have seen him do it with each and every cast member! I feel like that keeps me more and more invested in the role, knowing he has confidence in me to make the character come to life.

JHPENTERTAINMENT: And now to be taking on the role of Mister in The Color Purple. I imagine the anger and violence exhibited by Mister would be difficult to play night after night. How do you prepare for those scenes and do you need time to compress after such a daunting performance?

ELLIOTT WINSTON ROBINSON: There are definitely some very difficult moments, none that I’ll give away here. But, like I’ve done with other characters before (Troy Maxson in FENCES comes to mind), I’m pretty good about NOT taking Mister home with me. I know who Elliott is, and the rest of the cast understands the kind of person I am. They are very influential in propping me up, encouraging me to be as Mister as Mister can be. Only on stage, though!

JHPENTERTAINMENT: Mister isn’t all anger and rage. He has his lighter moment’s too. How much are you enjoying playing opposite Carli Hardon, specifically during the Miss Celie’s Pants segment?

ELLIOTT WINSTON ROBINSON: Carli is absolutely amazing as Celie! She weathers this terrible storm of a relationship, but when she starts to realize her self-worth and her value, she confidently gives back just as much as she takes. We have a few really powerful moments on stage, and she’s great at pushing me to create more and more tension in those moments. Again, I don’t want to give away too much, but those “lighter” moments come after Mister makes a stark realization about himself, one that changes the entire course of his life.

RAPID FIRE WITH THE COLOR PURPLE’S SQUEAK, RAVEN BYNTYN

JHPENTERTAINMENT: Your portrayal of Squeak in Nashville Rep’s The Color Purple marks not only your return to the stage after a ten-year hiatus, but also your Nashville Rep debut. What prompted you to audition for this show?

RAVEN BUNTYN: My love for the original movie is what prompted me to audition. I grew up watching The Color Purple nonstop with my grandmother when she didn’t have cable. It taught me life lessons and was filled with so much beauty. That movie helped shape me in ways I’m still learning about today. It’s very dear to my heart.

JHPENTERTAINMENT: Are you enjoying your time with Nashville Rep?

RAVEN BUNTYN: Absolutely! It’s been so much fun being apart of this show. It’s not everyday that I get to be around people who love to burst into random song and dance as much as I do. It’s so refreshing!

JHPENTERTAINMENT: Squeak might have limited stage time, but she’s certainly memorable. Who is Squeak to you?

RAVEN BUNTYN: Squeak is a rebel! She’s loud and slightly annoying but full of heart and passion. She really just wants to be loved and seen.

JHPENTERTAINMENT: Quite often, when a character doesn’t get a lot of exposition within the contest of the play, I find that actors frequently create their own backstories as they delve into the character. Have you done this with Squeak?

RAVEN BUNTYN: Squeak has always had a secret desire to sing, she emulates the likes of Shug Avery and wants to be a star. Her father walked out on her and her mother when she was very young, but her mother never failed to instill confidence in Squeak. And even though she’s very naive and inexperienced, because of her mother’s love, she won’t let anyone walk all over her.

JHPENTERTAINMENT: I love the scenes when Squeak asserts herself with Sofia. How much fun are you having in this scenes?

RAVEN BUNTYN: That is my absolute favorite scene! I get to be boisterous and tap into Squeak’s fire. Squeak may not be the one to beat Sophia but she still stands up for herself and I love that about her.

RAPID FIRE WITH THE COLOR PURPLE’S HARPO, GEROLD OLIVER

JHPENTERTAINMENT: How would you describe Harpo, the role you play in Nashville Rep’s The Color Purple?

GEROLD OLIVER: Harpo was thrust in to a cycle of violent lifestyles. Men in that time period were innately rougher, due to the conditions they grew up with. Harpo is doing his best to slip past the tendency to fall into the same behavior perpetuated by that cycle, but that isn’t to say he’s an unflawed character.

JHPENTERTAINMENT: I read The Color Purple when the book first came out, and of course I was obsessed with the original film adaptation. When do you first recall being cognizant of The Color Purple?

GEROLD OLIVER: I was young when I first saw the original film, albeit I didn’t watch the film in its entirety until I was much older. It wasn’t until I was a young adult that I was made aware that there was a novel from which the film was based.

JHPENTERTAINMENT: What’s it like having Elliott Winston Robinson play your on-stage father?

GEROLD OLIVER: Elliot is a really nice dude in real life. I’ve been lucky enough to have shared the stage with him before. It’s been a fun experience watching him push to find the places he has to go to so he can honestly portray a dark character such as Mister.

JHPENTERTAINMENT: Harpo seems trapped between being bullied by his father and longing to be assertive in his relationships with Sofia and Squeak. How have you tapped into those emotions and what have you learned during the process?

GEROLD OLIVER: Harpo is lost throughout the play. He’s lost because he grew up watching a very poor representation of what marriage should look like. Though I’ve not been exactly where Harpo is, I have been lost due to the dissonance between expectations of what life should be vs what life truly is.

JHPENTERTAINMENT: Over the last few years, you’ve been a frequent presence in the Nashville theatre community, having done shows at virtually every major theatre company. Any advice for those considering auditioning in and around the Nashville area?

GEROLD OLIVER: A good attitude and a friendly demeanor will get you in far more rooms than mountains of talent. That’s not to say, slack off and goof around. Do your work, and try to enter the space ready to play. Things will usually happen fo you.

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Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre Friday, April 5. CLICK HERE for tickets. The beloved musical based on Alice Walker’s classic novel will run April 5-14. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.