Nashville

Theatre Review: ‘Death Becomes Her’ – With Jackie Burns, Kristen Beth William & Company Vanity, Venom & Vengeance Have Never Looked So Fabulous

November 5, 2026 by Jonathan Pinkerton

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas in the National Tour of ‘Death Becomes Her’

From the teasing presence of the mystical vial encased in a mysterious carved box surrounded by billowing smoke center stage even before the always enchanting and captivating voice of Isabella Rossellini (who appeared in the original film) welcomed the audience to opening night in Music City of Death Becomes Her (at TPAC thru Sunday, November 8), I knew I was in for a fabulous night of musical comedy magic.

Jackie Burns as Madeline Ashton, Kristen Beth Williams as Helen Sharp, Ken Marino as Ernest Menville, Nasia Thomas as Viola Van Horn and the entire ensemble are the only Death Becomes Her cast I’ll ever need. In a show about folks consumed with attaining perfection, I’m here to tell you this entire cast has pretty much achieved it.

When I say “the only Death Becomes Her cast I’ll ever need”, here’s why…At the risk of having my gay card revoked, I must confess that I have never seen the original Death Becomes Her film. Yes, I know of the film…Meryl Streep, Goldie Hawn as frenemies obsessed with clutching to their youth, beauty, fame at any cost, with the unwitting aide of Bruce Willis…but I somehow had never seen the film. I KNOW!!! Listen, apparently I wasn’t the only one, considering the movie’s initial worldwide box-office take was a little over $58 million against its reported $55 million production budget. For a minute, I considered checking out the now-camp classic as research for my recent RAPID FIRE 20Q with the four leads of the National Tour (now at Tennessee Performing Arts Center through November 8). But then I decided I really wanted to go into this one with fresh eyes, and No, I don’t mean post-bleph, though don’t think I didn’t reconsider several elective procedures in light of the beauty-obsessed theme, but I digress.

Prior to Tuesday night’s opening-night performance in Music City, my only exposure to the stage adaptation of Death Becomes Her consisted of a few performance clips via YouTube, a couple musical synopses found on fan sites and a little information gleaned from the tour’s official website. And I’m SO glad I went in, mostly virginal! Based on the aforementioned 1992 Universal Pictures film directed by Robert Zemeckis, the musical adaptation, with a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, takes the deliciously dysfunctional rivalry between two Hollywood divas and gives it the full Broadway treatment. Think eternal youth, questionable life choices, fabulous fashion, a little murder and enough backstabbing to make even the most scandalous episode of Dynasty look like an afternoon tea party. And while the premise might be about the pursuit of eternal beauty, it’s the performances that make this production absolutely ageless.

This marks my FOURTH time seeing Jackie Burns on stage, having previously watched her deliver a record-breaking run as Elphaba in the National Tour of Wicked, as Elizabeth in the National Tour of If/Then, and in the leading role of Studio Tenn’s regional production of Aida in Concert. So, to say I’m a fan is an understatement. I’m sure Meryl Streep was “cute” in the role of Madeline Ashton, but Burns was, well, ON FIRE!

From the moment she appears, Burns establishes Madeline as a woman who considers herself the center of the universe and sees absolutely no reason why anyone should disagree. Her delivery of the show’s witty, rapid-fire, syncopated dialogue and lyrics is a masterclass in comedic precision. She manages to navigate the show’s ridiculously quick-paced exchanges without missing a beat, whether musically or comedically. Her timing is impeccable, her physicality is spot-on, and her ability to switch from self-absorbed diva to hilariously desperate mortal (well, sort of) is simply delicious.

Act One’s “For the Gaze” is a particularly marvelous introduction to the diva that is Madeline Ashton. And sidenote: How absofuckinfabulously perfect that THIS was my live introduction to this particular cheeky, wink-filled anthem! Complete with quick-change wardrobe reveals, a roll call of gay icons and a literal rainbow of wardrobe hues and lighting cues, the number is an unapologetic celebration of visibility, individuality and the art of being seen. Even better, the final costume incorporates the inclusive colors of the transgender flag. All of this happening while my home state of Tennessee was voting to turn blue, well, OK…at least purple! God, I love theatre with a message about acceptance and change! And when that message comes wrapped in sequins, fabulous choreography and a diva who knows how to work a damn room, even better! And Burns’ Madeline does it all with style, snark and so much more.

Kristen Beth Williams‘ Helen Sharp is every bit the worthy adversary Madeline deserves. Williams gives Helen a wonderfully layered transformation, taking her from the woman who has spent years being overlooked to one who discovers that revenge, like a good beauty regimen, can be remarkably rejuvenating. During our recent RAPID FIRE 20Q, and keeping with a plot point of the musical, I asked Kristen Beth that if she, like her onstage persona Helen Sharp, were to pen a tell-all, what would it be called and what would it be about? Her response? “I would call it Cover Girl (with the subtitle ‘Tales of a Broadway Understudy’).” Well, after witnessing her go toe-to-toe with Burns’ Madeline, rest assured that tome deserves a new subtitle: “From Understudy to Diva in One Quick, Campy Musical!”

Williams is a terrific match for Burns, and the two create the sort of combustible chemistry that makes watching their every exchange an absolute joy. Their rivalry is deliciously petty, gloriously exaggerated and delivered with the sort of precision that makes even their nastiest exchanges seem like a perfectly choreographed dance.

Ken Marino’s Ernest Menville is perfectly nerdy and nebbish, providing a welcome dose of bewildered humanity amid all the larger-than-life personalities and supernatural shenanigans. Marino’s comedic timing and physicality are particularly effective, especially in a scene when Ernest attempts to assert himself by standing up to Madeline. Bless his heart! He’s literally shaking in his shoes, knees comedically, exaggeratingly knocking as he tries to summon the courage to challenge a woman who could probably reduce him to dust with one perfectly timed eye roll…or her ever-handy shotgun! Marino makes the most of every opportunity for physical comedy, and his character’s hapless predicament is one of the show’s recurring delights.

Act Two’s “The Plan” is another clever musical highlight, featuring a drunken, hallucinatory duet with everybody’s favorite 70s pinup. Trust me, you’ll have to see the show to fully appreciate this one. Let’s just say that between the unexpected appearance, the alcohol and Ernest’s questionable state of mind, this is one fantasy sequence that deserves a place in the musical comedy hall of fame.

And then there’s Nasia Thomas as Viola Van Horn. Believe me…it feels weird even saying…and then when taking about this diva. It’s tempting to refer to Thomas as a scene-stealer, but she’s so much more than that. Every second she’s on stage, she’s commanding it. How absolutely fitting that Thomas opens the show with the appropriately titled “If You Want Perfection,” because she truly is!

With a commanding stage presence, powerhouse vocals, the first of many Tony-winning looks courtesy the show’s costumer, Paul Tazewell, and an effortlessly glamorous persona, Thomas immediately establishes Viola as someone who doesn’t simply enter a room; she owns it (well, at least 51% percent…gotta love it when I can insert a gay pop cuture reference in my review). There’s a confidence and magnetism to her performance that makes the mysterious purveyor of the potion every bit as fascinating as the two women whose lives she turns upside down.

During intermission, my friend who joined me for the evening and I were discussing our thoughts thus far when we arrived at the same conclusion: Thomas’ Viola lands somewhere between Heather Headley and Angela Bassett’s portrayal of Tina Turner. That’s quite the company to keep, but Thomas has the vocal firepower, commanding presence and sheer star quality to make the comparison feel entirely appropriate. Every time she’s on stage, you find yourself wanting more.

In supporting roles, special mention goes to, and attention must be paid to Louis Williams Jr. as the beguiling Chagall, whose presence adds another delicious layer of intrigue to the proceedings, and Michael Buchanan as the fabulously put-upon Stefan. Both make the most of their respective roles.

Of course, a production this visually extravagant needs an ensemble capable of matching its leading ladies, and this company is nothing short of spectacular. The ensemble features Calvin L’Mont Cooper, Nick Cortazzo, Takia “Tiki” Hopson, David Houle, Karma Jenkins, Tyler Jimenez, Caroline Kane, Bryn Purvis, Jordan Wayne Vasquez and Candace J. Washington. The majority portray the Immortals, recipients of Viola’s death-defying, perfection-achieving potent potion. Dressed, or barely dressed (gotta love a seemingly revealing combination of velvet and sheer tulle), they appear throughout the show like a chorus of seductive, otherworldly beings. Sauntering across the stage with an almost hypnotic presence, they provide a visual feast that is impossible to ignore. Not gonna lie, I found myself watching the ensemble enchant the audience every time they appeared. Body-ody-ody, indeed!

Of a little double-duty Tyler Jimenez’ Chance, the dim-witted dabbing valet, is another entertaining ensemble turn. When Burns’ Madeline returns the dab, I lost it! Elsehwere, Bryn Purvis definitely puts the “Z” in Liza (see the show, get the reference) and with some clever costuming, wigs and a bit of whimsical fight choreo McKinley Knuckle and David Houle step into diva territory for a not-to-be-missed moment that recreates one of the film’s most iconic scenes. (Again, I may not have seen the film, but unlike Helen, I’ve not been locked away in an institution, so yes, I know the scene). The choreography and timing required to pull off this sequence are impressive, and the resulting comedy is priceless.

Musically, Julia Mattison and Noel Carey’s score offers plenty of opportunities for the cast to show off their vocal talents while keeping the story moving at an entertaining pace. From the opening “If You Want Perfection” to “For the Gaze” and the wonderfully mischievous “The Plan,” and truly every single number from start to finish, there’s plenty to enjoy. And then there’s the show’s book by Marco Pennette, which deserves its own standing ovation for delivering dialogue that’s as clever, caustic and catty as the women at its center. Fair warning to anyone who does me wrong henceforth: be prepared to hear me endlessly quote “That…was…rude…That was pretty fucking rude” from Act Two’s “Hit Me.” You’re welcome.

Visually, the production is every bit as extravagant as its premise demands. As alluded previously, Tony Award-winning costume designer Paul Tazewell has created a wardrobe that’s positively to die for, with glamorous silhouettes, elaborate details and enough fashion-forward fabulousness to make a red-carpet event look underdressed. Derek McLane’s scenic design, Justin Townsend’s lighting, Peter Hylenski’s sound design, Charles G. LaPointe’s hair and wig design, Joe Dulude II’s makeup design and Tim Clothier’s illusions all contribute to a visually intricate production filled with theatrical surprises.Christopher Gattelli, who directs and choreographs, has assembled a production that balances the show’s rapid-fire comedy with elaborate musical numbers, physical comedy and some genuinely impressive special effects. The illusions are particularly effective, and the show’s signature physical sequences demonstrate just how much ingenuity goes into creating theatrical magic. There are moments when you may find yourself wondering exactly HOW they pulled something off. And that’s precisely the point.

What makes this touring production so enjoyable is its complete willingness to embrace the absurdity of its premise. Nobody is pretending this is Shakespeare, nor should they. This is big, bold, unapologetically campy musical comedy that knows its audience came for glamour, laughs, music and a little mayhem. And it delivers! I walked into TPAC‘s Jackson Hall having never seen the original movie, with no real preconceived notions about how Madeline, Helen or Ernest should look, sound or behave. I walked out having witnessed truly outlandishly, yet brilliant performances all-round from the trio, as well as a powerhouse Viola, an outstanding ensemble and a new appreciation for a story that has been entertaining audiences for more than three decades. If this is what immortality looks like, sign me up. Although, after watching Madeline and Helen navigate their eternal feud, I might want to reconsider the company I’ll be keeping. Tp quote Viola, “Don’t say I didn’t warn you”.

Ultimately, Death Becomes Her is a reminder that beauty may be in the eye of the beholder, youth might be fleeting, and revenge is best served with a little theatrical flair. But great performances, fabulous costumes and a cast that knows exactly how to entertain? Those are things that never go out of style. So, whether you’re a longtime fan of the original film or, like me, coming to this particular party for the very first time, don’t let this one die on your list of must-see musicals. After all, some things are worth living for. And this killer cast is definitely one of them!

Death Becomes Her continues its Music City engagement at Tennessee Performing Arts Center’s Andrew Jackson Hall through Sunday, November 8.

Performance schedule is as follows:

● Thursday, November 5 thru Saturday, November 7: Evening performances at 7:30 p.m.

● Saturday, November 7: Matinee at 2 p.m.

● Sunday, November 8: Matinee at 1 p.m.*

● Sunday, November 8: Final Music City performance at 6:30 p.m.

*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through September 2027. You can also follow Death Becomes Her on Insta, Facebook, TikTok, X and YouTube.

Following Death Becomes Her, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with A Beautiful Noise: The Neil Diamond Musical on stage at Jackson Hall January 5-10. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X.

In case you missed it, Check out my recent Rapid Fire 20Q with the cast below. Then #GoSeeTheShow!

BEFORE THE KEETON’S ‘COME FROM AWAY’ TAKES FLIGHT, A PRE-BOARDING RAPID FIRE 20Q

August 13, 2026 by Jonathan Pinkerton

The Keeton’s upcoming production of Come From Away (on stage August 14-30) brings the extraordinary true story of the 7,000 passengers who found themselves stranded in Gander, Newfoundland, following the events of September 11, 2001, to the stage in a celebration of compassion, community, resilience and kindness. For this JHPEntertainment Rapid Fire 20Q, we go behind the scenes with director Susan Walsworth and three members of the cast,–Melissa Silengo, Justin Tinker and Jason Scott–as they talk about returning to The Keeton, bringing real-life people to the stage, the unique challenges of Come From Away, aviation, friendship, finding the heart of a character and, ultimately, why this story continues to resonate.

———-

RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF THE KEETON’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s BEVERLY, MELISSA SILENGO

JHPENTERTAINMENT: You’ve played everything from Maria in The Sound of Music to Sister Mary Amnesia in Nunsense. What excited you most about taking on Beverly, Annette, and your other roles in Come From Away?

MELISSA SILENGO: I generally enjoy playing characters who are based on real-life people, so I was especially excited to take on multiple real-life people in this show. Beverly Bass is an inspiring woman who made her way in a man’s world with dedication and her love of flying. Annette is an amalgamation of multiple real-life people, so I have enjoyed the freedom to make her my own and lean into the character description of her as “a school teacher… with an active fantasy life.” The range of characters that each actor plays is one of the things that makes this show such a joy to interpret and to watch.

JHPENTERTAINMENT: After taking a few years away from the stage, what made this the perfect production to return with?

MELISSA SILENGO: The beautiful story and characters made this a great come-back production for me. The way the show is written makes it a challenge for everyone involved, and I have truly enjoyed dusting off many old skills and tricks of the trade to find my way through this process. The ensemble nature of the production and the people in our amazing cast and team have made this a very meaningful experience for me, and I am so thankful to be back in theatre.

JHPENTERTAINMENT: As you mentioned, Beverly is based on a real person. Her story is both inspiring and heartbreaking. What has it meant to step into her shoes?

MELISSA SILENGO: Stepping into the shoes of Beverly Bass is a huge honor and responsibility. I hope she would agree that her role in the events surrounding September 11th in Gander, Newfoundland was to provide some reassurance for her passengers in a time of complete uncertainty. Her strength, clarity of purpose, passion for aviation, communication skills, and earnest concern for her passengers made her the perfect pilot to handle this type of emergency situation. I hope I can convey at least some of those qualities and give her story the respect it deserves.

JHPENTERTAINMENT: You’ve performed at several theaters across Middle Tennessee. What keeps bringing you back to The Keeton?

MELISSA SILENGO: The Keeton feels like my home theater, partly because it is close to my house, so that keeps me coming back. I am glad that people I have worked with over the years, like Donna and Kevin Driver, are still there continuing to keep the theater going. And one perk of doing shows at the Keeton is rehearsing on the same stage where you will perform. I have learned a lot performing at the Keeton over the years, and it feels nice to be back.

JHPENTERTAINMENT: If someone has never seen Come From Away, what’s the one thing you’d tell them before the lights go down?

MELISSA SILENGO: Can I say two things? Come From Away is a telling of multiple stories at once, so be prepared for the actors to change characters quickly and frequently. But more importantly, be prepared to remember your own experience of 9/11 and connect it with the story of a small town community caring for people from around the world in a show of true human spirit.

RAPID FIRE WITH COME FROM AWAY‘s KEVIN T., JASON SCOTT

JHPENTERTAINMENT: I understand that since your last Keeton production, you’ve become a flight instructor. Has that unique perspective made working on this show even more personal?

JASON SCOTT: Absolutely! This show is a perfect marriage of two of my biggest passions, and I couldn’t have asked for a better production to bring me back to the stage.

JHPENTERTAINMENT: Kevin T. experiences one of the musical’s most moving emotional journeys. What have you discovered about him (and yourself) during rehearsals?

JASON SCOTT: It has been so interesting to play with the relative joy that Kevin tries to maintain even in the midst of such a tragic event. He refused to let the sadness consume him, and I’ve definitely found inspiration for myself in his story.

JHPENTERTAINMENT: Between theater and aviation, storytelling and flying both require trust. Have you found any other surprising similarities between the two?

JASON SCOTT: I have long felt that my theatrical background was so useful in learning how to fly. There’s a lot of memorization involved, the ability to “improv” and react to things quickly, the ability to do the same sequence of “steps” on repeat, and so much more.

JHPENTERTAINMENT: Is there a particular musical number or scene that really resonates with you, whether your’s or one you witness by way of your fellow cast mates?

JASON SCOTT: Well I think the obvious answer is “Me and the Sky”, so I’m going to add a second one. I truly think one of the moments that will resonates with me, and with most people who were around when it happened, is seeing all the plane people witness the footage for the first time. I can’t help but imagine my own experience on that day and seeing and hearing about what happened for the first time myself.

JHPENTERTAINMENT: I’m about to chat with Justin Tinker who plays your Kevin’s other half. Describe sharing the stage with Justin in three words…

JASON SCOTT: Safe, Emotional, FUN

RAPID FIRE WITH COME FROM AWAY’s KEVIN J., JUSTIN TINKER

JHPENTERTAINMENT: You’re portraying both Kevin J. and Ali, two characters whose stories couldn’t be more different. What has been the biggest challenge of bringing both of them to life?

JUSTIN TINKER: This is a great question. Of the two characters, I feel more personally connected to Kevin J. I think we share a similar sense of humor and sass, but my biggest challenge has been finding his heart. At first glance, many of his lines can come across as snappy or arrogant. But I keep reminding myself that Kevin T wouldn’t have been with Kevin J for five years if that was all there was to him. That has led me to ask, “What made Kevin T fall in love with Kevin J?” Finding the answer to that question has helped me approach him with more empathy and complexity.

Ali has been a very different experience because, in many ways, he is nothing like me. My goal has been to honor his culture while still bringing my own truth to the role. Since I’m not Egyptian, I was initially most concerned about getting the accent right. But beyond that, I realized I could connect to Ali through my own experiences. As a Black man in America, I’ve experienced moments where I’ve felt judged or treated as an outsider, and that emotional truth has helped me better understand Ali’s journey.

JHPENTERTAINMENT: Aside from the multiple roles, How has this show challenged you in new ways?

JUSTIN TINKER: Being born on September 12, 2001, I don’t have any personal memories of 9/11, so I couldn’t draw from my own experience. That made finding an emotional connection to the story a challenge at first. Instead, I leaned on the real stories of the people who lived through it (my parents and most of my cast mate)and connected to the show’s universal themes of compassion, resilience, and community. This production has also been a vocal beast for me. Once we started doing full runs, it became a mental challenge to stay present in each moment while also thinking five steps ahead because of all the moving parts. Throughout the process, though, I’ve continued to surprise myself. I’ve always felt most confident in my dancing and acting, but this show has challenged me to grow as a vocalist. It’s helped me realize that singing is a strength of mine as well. I’m especially grateful to our director, Susan Walsworth, and our music director, Trey Lundquist, for believing in me and giving me the confidence to grow. Thanks to their guidance, I’ve discovered a new level of confidence in my voice, and I’m incredibly thankful for the opportunity.

JHPENTERTAINMENT: Come From Away is known for its demanding dialects and lightning-fast character changes. Which aspect has required the most preparation?

JUSTIN TINKER: Oh it’s definitely the lighting fast character changes. I’m constantly checking the script to make sure I know where I am and who I’m playing at every moment. For the first time, I even created a track sheet (a spreadsheet that maps out every character I play, along with my costume changes and scene transitions). Because I switch between multiple characters, sometimes only a few lines apart, staying organized has become essential to keeping up with the pace of the show.

JHPENTERTAINMENT: Has there been a rehearsal moment that reminded you why this musical has resonated with audiences around the world?

JUSTIN TINKER: One moment that really stands out to me was our first full read-through after learning all of the music. I remember Trey telling us that even though the show wasn’t on its feet yet and our faces would probably be buried in our scripts, we should still be able to hear the emotion in the storytelling. As we performed the entire show for the first time, it felt like a light bulb went off. I remember thinking, “Oh yeah, we have the right people to tell this story.” Even without the staging, costumes, or choreography, the heart of the show was already there, and that was a really special moment to witness.

JHPENTERTAINMENT: Finish this sentence: Audiences will leave Come From Away feeling __________.

JUSTIN TINKER: how important community is.

RAPID FIRE WITH COME FROM AWAY DIRECTOR SUSAN WALSWORTH

JHPENTERTAINMENT: Come From Away has become one of the most beloved musicals of the last decade. How did you come to be directing it for The Keeton?

SUSAN WALSWORTH: It is an amazing story and Donna knew that my son Sevon was in it last summer and that I was very familiar with the show so when she asked me, I jumped at the chance.

JHPENTERTAINMENT: You’ve both directed and performed on The Keeton stage over the years. How has your experience as an actor shaped the way you approach directing?

SUSAN WALSWORTH: I believe that being an actor before becoming a director gives me a better perspective of things that work, and also things that don’t; That includes using the uniqueness of the Keeton stage, my rehearsal process, and communication with my cast.

JHPENTERTAINMENT: The creators of Come From Away often say the show isn’t a 9/11 musical, but rather a 9/12 musical Do you agree with that assessment? If so, why (or why not)?

SUSAN WALSWORTH: I both agree and disagree, yes it is about the stories of the people of Gander and the plane people the days following 9/11 but we wouldn’t have these stories to tell if the horrible attacks hadn’t happened that day.

JHPENTERTAINMENT: Come From Away relies on a seamless blend of storytelling and music. What’s it been like collaborating with music director Trey Lundquist to bring this incredible score to life?

SUSAN WALSWORTH: I met Trey during our first production meeting for the show and quickly realized that we both had the same vision for bringing this show to the stage. The vocals in the show are dynamic and have to tell the story and Trey has done an amazing job making this stellar cast sound absolutely incredible! Trey and I have developed a great working relationship and will remain friends once this process is complete. I hope I get to work with him again in the future.

JHPENTERTAINMENT: What do you hope audiences are still thinking about on the drive home after experiencing this production?

SUSAN WALSWORTH: I hope audiences walk away with the kindness in their hearts and feeling uplifted that there is hope for a brighter future even during a time of darkness.

———-

Alongside Melissa Silengo, Jason Scott and Justin Tinker, the cast of The Keeton‘s Come From Away is made of a who’s who of area talent including Brian Best, Leslie King, Stephanie Jackson, Jack Joiner, Ben Gregory, Ashlie Welte-Lopez, Clair Yancey, Jayden Murphy, Yolanda Treece and Tyler Samuel. The Show’s production team, helmed by director Susan Walsworth, includes music director Trey Lundquist, choreographer McKenna Driver and stage manager Kaleigh Ruiz.

The Keeton being the area’s only dinner theatre, there’s always a dinner option accompanying the show. For Come From Away, the pre-show in-flight meal will feature a dinner salad, pulled pork barbecue sandwich (a pre-0rdered substitute of grilled salmon is available for a slight up-charge), red skin potato salad, a side of mixed veggies and lemon bar for dessert.

The Keeton‘s Come From Away marks the opening of the company’s 2026/2027 season with performances Friday, August 17 thru Sunday, August 30. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.

The Keeton‘s Come From Away is ultimately a story about what can happen when strangers choose to care for one another in the face of unimaginable circumstances. With a director and cast who have clearly connected deeply with that message, The Keeton’s production promises to offer Nashville audiences not only an unforgettable musical experience, but also a timely reminder of the power of community. That sounds like a pretty perfect reason to let Come From Away take you on its journey.

Next up following Come From Away, The Keeton presents John Patrick‘s wickedly funny mid-century comedy The Curious Savage on stage October 9-25. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook. In the meantime, #GoSeeTheShow!

Rapid Fire 10Q With ‘The Tide’ Playwright/Director Cathy Street and Cast Member Chris Lee; World Premiere Staged Reading at Darkhorse Theatre July 9-11

July 10, 2026 by Jonathan Pinkerton

While most folks were experimenting with sourdough and reorganizing closets during the pandemic, playwright and director Cathy Street used that uncertain time in a much more creative way. At her husband JJ‘s suggestion, Street listened to the music of The War and Treaty. From the get, the music of the then-future Grammy nominees sparked something in Street as the project began to take shape. What started as an idea in 2020 has become THE TIDE, a powerful new musical featuring songs by The War and Treaty with a book by Cathy Street. Working with Street Theatre Company– the company Street herself founded in 2006–to present this staged readying at The Darkhorse Theatre July 9-11—it’s the perfect symbiotic homecoming indeed.

The reading also features another Nashville homecoming as Chris Lee takes on THE TIDE‘s lead role, Marcus. Lee’s acting career began to take shape while attending Belmont University, appearing in a a handful of production on campus and around Music City. In the years since, his career has taken him from local theatre stages to the Chicago company of Hamilton, a Broadway debut in Hell’s Kitchen as well as acclaimed roles on TV’s The Chi and his current role as Randy on CBS‘s Tracker. Before audiences experience this exciting new work in development, we caught up with Street and Lee for another edition of JHPEntertainment.com’s recurring interview feature Rapid Fire 10Q.

—————

RAPID FIRE 10Q WITH THE TIDE’s PLAYWRIGHT/DIRECTOR CATHY STREET AND ACTOR CHRIS LEE

RAPID FIRE WITH THE TIDE‘s PLAYWRIGHT/DIRECTOR CATHY STREET

JHPENTERTAINMENT: THE TIDE began taking shape during one of the most uncertain periods in recent history. Looking back to 2020, what was the spark that first made you realize this story was one you simply had to tell?

CATHY STREET: It was a combination of a few things: feeling isolated during the pandemic, the social injustices that were happening at the time (and obviously still are), hearing the music of The War and Treaty, and learning their story. All of those elements came together and I wanted to explore the issue of feeling powerless when everything is so overwhelming…and what it is that keeps us going forward in the face of feeling helpless.

JHPENTERTAINMENT: The songs of The War and Treaty are so emotionally rich and deeply rooted in hope, perseverance and love. What was it about their music that inspired this story, and what was it like reaching out to them with your vision and receiving their blessing to build a musical around their work?

CATHY STREET: It was magical. The Hearts Town album in particular is written SO theatrically! The harmonies, the feel/emotions of the songs…I could literally visualize moments on stage listening to the songs. I reached out to Michael and Tanya through Facebook (!) and asked them how they would feel if I used their songs in an original musical. I let them know the idea of the piece and they were very enthusiastic. They said they had always felt their songs had a theatrical life to them. So at that point I started writing, met with them a couple of times, and they even shared a few songs that had not previously been released that were perfect for the story!

JHPENTERTAINMENT: Thanks in part to a successful Kickstarter campaign THE TIDE is making its debut with this world premiere staged reading in Nashville, presented by Street Theatre Company—the company you founded 20 years ago. What does it mean to introduce this new musical in the city where Street Theatre Company began and to see the organization continuing to thrive all these years later?

CATHY STREET: WOW is all I can say. It is so fitting to be introducing the work here. Randy Craft has done such an amazing job at the helm of STC-he’s been A.D. almost as long as I was! I have been lucky enough to sneak in and see a few STC shows through the years and he is doing such impressive work. Being able to partner with him and so many STC friends from my years here has been very emotional.

JHPENTERTAINMENT: You’ve assembled a cast that includes longtime Street Theatre Company favorites alongside some exciting new performers, including a reunion with Chris Lee. What made this group the right artists to help introduce THE TIDE to an audience for the very first time?

CATHY STREET: When I reached out to Chris about this, I told him the truth-that when I started writing this piece, he was always who I pictured as Marcus in a ‘perfect world.’ And crazy that the perfect world has come true. And having STC friends involved onstage and off-it is like a beautiful reunion. There is so much joy, reminiscing, and love in the room. And I don’t want to leave out the new people I am getting to work with, too. They are incredible and kind and talented. Nashville is so spoiled with talent! Also super cool is that I did an initial seated reading of the show in Wilmington, NC a few years back and a few of those actors are coming into town for THIS one, too.

JHPENTERTAINMENT: As the director of this staged reading, you are now bringing the world you created in THE TIDE from the page to the stage. What has that process been like, and what does it mean to have Randy Craft and Street Theatre Company supporting this next step in the musical’s journey?

CATHY STREET: The process has been (and still is) pretty terrifying-haha. Every day I have a range of emotions from excitement to fear. I mean, I think anyone developing a piece is probably filled with self-doubt along the way. Right?? But when I hear the actors sing the songs with vocal arrangements created by STC’s Randy Craft, who’s not only helping us produce it, but also leading the band, I am so happy-hearing and seeing what was in my head six years ago. And I am reminded by my supportive friends and amazing husband JJ who has been with me every step of the way that this is only a step in the journey. It is not expected to be done-that’s why we are doing this. To see what works, what doesn’t… And honestly, seeing it on stage in and with my community of 13 years in Nashville is enough-it provides me with a sense of completion. I am surrounded by support and love and I feel it-so to quote a line from the show, I will just “Do it scared.”

RAPID FIRE WITH THE TIDE‘s MARCUS, ACTOR CHRIS LEE

JHPENTERTAINMENT: What does it feel like returning to Nashville—and to the Street Theatre Company family—to help introduce THE TIDE to audiences?

CHRIS LEE: Wow. Honestly, brother, it’s been absolutely incredible. Remarkably refreshing. Being around so many artists of deferent ages and background that truly just care about the work and nothing more feels so rare these days in theatre. Not to mention where it all really began for me. Nashville theatre is the center of my stage education and Cathy gave me so many opportunities as a young person to shine, learn with grace, and find my voice with the audience. It’s been such a joy to be back and help bring life to this thoughtful piece.

JHPENTERTAINMENT: You’re not the only one returning home…Marcus—your staged reading role in THE TIDE—returns home aa well. While he expects one reality, he finds his world turned upside down. How would you describe Marcus and his circumstances, and what makes him such a compelling character to explore?

CHRIS LEE: Marcus feels to me like a beautiful representation of the average American. Experiencing trauma in life can often aid us in creating a narrative that hope may be a fallacy. And that narrative can be validated by the terrible issues that we as a nation develop over time or realize have always been underlying and begin to come to light in a way that makes us feel like everything we’ve been taught about love and acceptance is a lie. What makes Marcus so compelling to me is that he feels so deeply while he claims he can’t feel. He’s in constant search for reason though it seems he’s given up. It leads me to believe we are never actually truly satisfied with hanging it up in life. There’s something in us that won’t let go of trying to find that light within ourselves and others around us. There must be good.

JHPENTERTAINMENT: As you’ve gotten to know Marcus throughout the rehearsal process, what’s one quality or character trait he possesses that you’d be ok if it stays with you?

CHRIS LEE: His curiosity. Though he’s defeated, he remains curious of the future. Especially when it comes to Faith. He’s curious if it’s possible to find the hope she has. I admire that.

JHPENTERTAINMENT: You built the foundation of your career performing with Street Theatre Company and other Nashville theaters. Looking back now, how did those experiences prepare you for the path that’s followed—from Hamilton in Chicago to The Chi and your current role as Randy on CBS’s hugely popular action drama Tracker? (congrats on the bump to series regular for the upcoming 4th Season, btw!)

CHRIS LEE: Haha, thank you. Man, there’s so much to say about that. Simply put, I would’ve never been prepared to truly understand the responsibility of carrying and serving a show. It was monumental that at such a young age I was able to fail gracefully on stage in safe environments. I learned everything and still apply the same principals today. I’m eternally grateful. Especially to Cathy and the Belmont University Musical Theatre program!

JHPENTERTAINMENT: THE TIDE explores themes of fear, freedom, resistance and the importance of human connection. What do you hope audiences take away after experiencing this first staged reading?

CHRIS LEE: I hope that if they’re asleep they WAKE UP! And if they’re awake they remain alert and aware that change is inevitable but it is necessary. We must do our part!

—————

THE TIDE: A New Musical features songs by The War and Treaty with a book by Cathy Street. Joining Chris Lee, is a talented cast including Isiah Rankin, Dee Hammonds, Raven Buntyn, Dawson Rose Hammonds, James Rudolph, Savannah Stein, Brandon Cox, O’Neal Black, Nikki Berra, Tristan Valdez, Shane Kopischke, Tony Nappo, Alan Smith, Adrian Cook & Clay Hillwig with ensemble members Heidi Buyck, Sam Robinson, Yeavonne Cox, Sarah Levis, Helen Ralston, Jake Peluso-Harper, Brea Lynn Wardlaw and Jon Royal. Crew for THE TIDE includes: Music Director Randy Craft, Stage Manager Sarah Johnson, Light Designer/Operator Steven Steele, Sound Designer/Operator Jacob Allen, Projections JJ Street with live musical accompaniment by Conductor/Keyboardist Randy Craft , Nick Palmer on Guitar, Bassist Braxton Algood & JJ Street on Drums.

Presented FREE to all attendees by Street Theatre Company, the production is part of the musical’s ongoing development journey, with audience feedback helping shape the future of this new work. The production contains strong language, potentially disturbing imagery and references to assault. Viewer discretion is advised for younger audience members. The world premiere staged reading runs July 9-11, 2026, with a 7:30 curtain each night at The Darkhorse Theater (4610 Charlotte Ave, Nashville, TN 37209).

To RSVP for FREE tickets to any of THE TIDE‘s three staged readings, CLICK HERE. For future developments of THE TIDE and to catch their coming season, follow Street Theatre Company on Facebook and Insta or CLICK HERE to join their mailing list.

Following THE TIDE, STC kicks off their 2026/2027 Season with THE WOODSMAN, an inventive exploration of the untold story of the Tin Man inspired by Frank L. Baum‘s Oz novels. Written by James Ortiz with music by Edward W. Hardy and lyrics by Jennifer Loring, this adaptation tells the story through puppetry, song and movement and will be directed for STC by Jonah M. Jackson, CLICK HERE to purchase season tickets.

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 on Facebook, Instagram and X.

As ‘Hamilton’ National Tour Prepares for Week Two at Nashville’s TPAC, Cast and Crew Prove They’re Not Throwing Away Their Shot in Our Latest Rapid Fire 20 Q

June 23, 2026 by Jonathan Pinkerton

June 17 marked the beginning of Hamilton‘s third visit to Music City signaling another crowd-pleasing two-week run at Nashville’s TPAC. As this current tour stop of the Tony-winning juggernaut continues with performances Tuesday, June 23 thru Sunday, June 28, we caught up with four members of the company for our recurring Rapid Fire 20 Q feature. From Nashville native and Hume-Fogg alum Lily Soto, who returns home as Eliza Hamilton, to Angelica Schuyler performer Marja Harmon (with Nashville ties of her own) and Principal Standby Chibueze Ihuoma, to Assistant Sound Engineer & Belmont grad Joshua Boatman, we covered everything from hometown memories and Broadway debuts to what it takes to keep one of the most celebrated musicals of all time running eight performances a week. So, as cast and crew get ready step back into the room where it happens, let’s get started.

RAPID FIRE 20Q WITH HAMILTON NATIONAL TOUR CAST AND CREW

RAPID FIRE 20Q WITH HAMILTON‘s ELIZA, LILY SOTO

JHPENTERTAINMENT: Being from Nashville, what does it mean to return with this tour and perform at TPAC as Eliza Hamilton?

LILY SOTO: It’s truly a dream come true. I’ve been performing in Nashville since I was very young, so getting to come home with one of my favorite shows and step onto the TPAC stage as Eliza Hamilton is incredibly special. Nashville is where I first fell in love with performing, so sharing this moment with my friends, family, former teachers, and the community that supported me from the beginning means the world to me.

JHPENTERTAINMENT: While you were attending Hume-Fogg High School, you were honored at the 2019 Spotlight Awards as Outstanding Ensemble Actress and in 2020, you were honored as Outstanding Lead Actress. So, a two-parter for you… 1) Do you plan to visit your alma mater, or at least catch up with Hume-Fogg’s beloved theatre teacher, Daron Bruce while in town? AND 2) How have those early honors aided you as you become part of the Hamilton family?

LILY SOTO: Absolutely. I’m still very close with Daron Bruce, and he actually helped facilitate an interview I recently did with Talk of the Town. It was really meaningful to return to the place where I first fell in love with theatre and reflect on how much my experience at Hume-Fogg shaped me as both a performer and a person.

The Spotlight Awards were such a special experience. In 2019, I was honored to receive Outstanding Ensemble Actress, which was completely unexpected. Then in 2020, I received Outstanding Lead Actress for playing Donna Sheridan in Mamma Mia!. At the time, theatre was something I genuinely loved doing with my friends, so being recognized for something that brought me so much joy was incredibly encouraging. Those experiences gave me the confidence to seriously consider pursuing theatre professionally, and I’m grateful I did. I wouldn’t be standing on stage in Hamilton today without everything I learned through my high school theatre program.

JHPENTERTAINMENT: What does Eliza Hamilton represent to you personally as a performer?

Soto in character as Eliza (courtesy Soto’s Insta)

LILY SOTO: Eliza has taught me so much about strength, resilience, and grace. One of the things I love most about her is that her strength isn’t always loud. Throughout the show she experiences tremendous joy, heartbreak, loss, and forgiveness, yet she continues to move forward with compassion and purpose. As a performer, she challenges me to be vulnerable and truthful every night. She reminds me that some of the most powerful moments on stage come from honesty and human connection. I’m grateful to tell her story every night.

JHPENTERTAINMENT: What was the first Nashville meal or stop once you were back in your hometown?

LILY SOTO: Any time I’m home, I have to make a stop at Waldo’s Chicken because it’s right in my neighborhood and has always been one of my favorites. But when our cast and crew first arrived in Nashville, I hosted a welcome party and we had catering from Big Al’s Deli, which was a huge hit. It was fun getting to share a local favorite with everyone.

JHPENTERTAINMENT: What advice would you give young performers considering a life in theatre?

LILY SOTO: Always remember what makes you unique. Your individuality, your experiences, your interests, and your strengths are what make you stand out. Stay curious, keep learning, and trust that the qualities that make you different are often your greatest assets.

RAPID FIRE WITH HAMILTON‘s ANGELICA, MARJA HARMON

JHPENTERTAINMENT: Your Angelica journey began in 2019 when Hamilton played Puerto Rico for a special limited run. Hamilton creator Lin Manuel Miranda stepped back in to the lead for that engagement. What’s among your most cherished memories of that time?

MARJA HARMON: So many memories from that time! It was powerful to see the impact of the show’s presence in Puerto Rico after the devastation of Hurricane Maria.

Going through the rehearsal process with Lin was so special. I started in that company as a Standby, so I was able to make my Angelica debut while I was there with my parents in the audience. Before I went on to perform “Satisfied” for the first time, Lin found a moment backstage to give me a little freestyle and hype me up and that was so cool! The And Peggy Tour experience in Puerto Rico was full of so many memories. It was just a lot of milestones happening all at once.

JHPENTERTAINMENT: On the subject of debuts, I gotta ask about your 2009 Broadway debut as part the Debbie Allen-directed all-BIPOC revival of Cat on a Hot Tin Roof. I’m, shall we say, of a certain age, and give Miss Allen full credit for nurturing my interest in the performing arts by way of her iconic TV series, FAME. Did making your Broadway debut in that particular show shape the way you think about your chosen path as a performer?

MARJA HARMON: Having my debut in that show taught me a lot about discipline and humility. I never understudied before and let alone in such an iconic role. I was stepping onto the stage with the theatrical giants, James Earl Jones and Phylicia Rashad.

I understood that some natural talent got me there, but in order to hold my own that I was going to need to constantly work on my craft. I was learning everything I could from these amazing actors during the day in rehearsal and also working with an acting coach at night so I could really feel confident. In the end, I learned the important lesson about trusting myself.

Debbie Allen was a wonderful director and incredibly encouraging, especially for my 25-year-old self.

I was a sponge soaking up everything I could from that entire experience and everything anyone could teach me about how to craft a role and how to bring things to life from a rehearsal process to the stage.

Harmon backstage as Angelica (courtesy Harmon’s Insta)

JHPENTERTAINMENT: The Hamilton tour ecosystem now consists of four distinct global productions, the current US tour known as the Angelica Tour being your current gig. So, what’s it like to be part of a tour named after the character you’re playing?

MARJA HARMON: I think being a part of Hamilton and seeing what it represents to people is such a wonderful and powerful thing. It’s a great reminder when we step on that stage nightly even if it’s for the 750th time that the power of theater and great storytelling is a magical experience. The Angelica namesake is just the icing on the cake!

JHPENTERTAINMENT: Earlier this year you returned to your hometown of Columbus, Indiana for a cabaret show. Does remembering and celebrating where you began your love of theatre keep you grounded?

MARJA HARMON: Absolutely! It’s also a moment for intense reflection to really sit back and understand that it really takes a village. I was so nurtured by the community of Columbus and of course my parents. I never felt my dreams were out of reach because of the support that I had.

JHPENTERTAINMENT: Speaking of hometowns, I understand your Mom graduated from TSU, Nashville’s only public HBCU, and when not on tour Music City is home for you. What are your top 5 must-do Nashville things you plan to share with your Hamilton family?

MARJA HARMON: Top five Nashville things:

1. Go have an evening cocktail and pizza at Urban Cowboy
2. Shop for your wine at Woodland Wine Merchant
3. Do not miss out on the Farmer’s Market on Rosa Parks Blvd
4. Cycle on the Greenway in Shelby Bottoms
5. Folk or Locust for Dinner

RAPID FIRE WITH HAMILTON PRINCIPAL STANDBY, CHIBUEZE IHUOMA

JHPENTERTAINMENT: For audiences who may not know, what all is involved in being a Principal Standby?

CHIBUEZE IHUOMA: Swings and standbys alike are the jack of all trades within a cast. We understudy multiple roles and tracks and perform whenever an ensemble member or principal is out, whether that be for sickness, injury, or vacation. I understudy four roles: Hamilton, Burr, Lafayette/Jefferson, and Washington. As you can imagine, a lot of words haha. Lucky for me, I have time when I’m not onstage and during afternoon rehearsals to brush up on lines and blocking.

JHPENTERTAINMENT: After touring as Orpheus in Hadestown, what drew you to Hamilton?

CHIBUEZE IHUOMA: Hamilton was actually one of my first musical theater loves. The cast album dropped when I was in high school, and I have a vivid memory of head banging to Mulligan’s verse in “Yorktown” as I steamed my mom’s blouse before church. Doing Hamilton after Hadestown felt like a natural transition. Both musicals are fully sung through, so I try to delve deep into how the music informs the character – the lightning speed of Lafayette, the near infinite rhyme schemes Hamilton deploys, the light beauty of Orpheus’ falsetto. That, and both shows try to imagine the way the world could be in spite of the way that it is; Hadestown with it’s themes of standing up to power with love at the forefront, and Hamilton through it’s colorblind casting which truly changed the music theater landscape. Excited for the next “H” opera I get to do!

Ihuoma covering all four principal roles (courtesy Ihuoma’s Insta)

JHPENTENTERTAINMENT: What is the most exciting challenge of being ready to step into multiple tracks at any moment?

CHIBUEZE IHUOMA: You get to see the show from so many angles, which is both super cool and very disorienting! There are a lot of songs like “Guns and Ships” or “Room Where it Happens” where all 4 of my tracks are on stage doing and saying very different things, and it’s an out of body experience when you go from one character to the next in short succession. I once did all 4 in one week, with a day that I played Hamilton in the afternoon and Burr at night. An accomplishment I’m very proud of, and that I have no desire to repeat haha.

JHPENTERTAINMENT: From a Nigerian kid attending a Summer intensive program at New Jersey Performing Arts Center to stepping into multiple roles in the National Tour of Hamilton…What would you tell your younger self about the journey thus far?

CHIBUEZE IHUOMA: Growing up, I always worried that I wasn’t enough, and that I often doubted that I belonged in music theater. I would tell my younger self that he doesn’t need to prove his worth, that simply expressing who he is and what he loves is more than enough. That, and I’d tell him that consistency is the key, so continuing to show up as his best self will take him anywhere he needs to go.

JHPENTERTAINMENT: Why do you think Hamilton continues to resonate so strongly with audiences?

CHIBUEZE IHUOMA: It resonates with audiences because so much of what we deal with today in the US are key themes of the musical – when to rise up against tyrannical powers and what it costs, debates on how the country should be run, the impact of immigrants and how they help shape the nation. It’s a show that humanizes the figures that we had propped up in our history books as infallible men, and gives voice to the women who were instrumental in their rise. And at the most fundamental level, everyone relates to an underdog story: the amount of edits of the New York Knicks with Hamilton songs played underneath is a testament to that!

RAPID FIRE WITH HAMILTON ASSISTANT SOUND ENGINEER, JOSHUA BOATMAN

JHPENTERTAINMENT: As the tour’s Assistant Sound Engineer, describe your typical load in day as the show arrives in its latest venue?

JOSHUA BOATMAN: The first few hours of load-in are all about organization. Hamilton travels in ten full size semi trailers, and even for big theatres like TPAC, that’s a lot of stuff to shove into the building. There’s about six or seven departments that all start working at the same time, so we try to find stuff where we aren’t stepping on each other, which for me means starting to get the audio racks put in place on the stage and patching all the cables. The rest of my load-in is focused on configuring all of our gear for the new space, troubleshooting and repairing anything that broke during the move, and assisting the rest of the sound team in making sure we’re ready to do the show!

JHPENTERTAINMENT: As a Belmont graduate, does this Nashville stop feel like a homecoming?

JOSHUA BOATMAN: I moved to Nashville full-time in 2017, and from the first day I got to town, it felt like home. The culture of this city is to welcome anyone who wants to be here and contribute positively. Every time I’ve had the chance to come back has been just as welcoming as that first day, it’s an extremely friendly city.

JHPENTERTAINMENT: Was the Oklahoma! National Tour in 2022 your last time working in Nashville before this engagement?

JOSHUA BOATMAN: I also got to play TPAC in February of 2024 with TINA: The Tina Turner Musical! It’s been a great pleasure to bring three very different shows into a theatre I know so well.

JHPENTERTAINMENT: OK, so unknowingly I’ve seen your work three times! Love that. What’s something audiences might not realize about the sound team’s role in a show like Hamilton?

JOSHUA BOATMAN: We handle a lot more than just the sound the audience hears. We’re in charge of multiple smaller sound systems, such as the speakers pointed at the stage for the actors, and the monitoring in the orchestra pit for the musicians to hear themselves. We’re also in charge of six different cameras and a bunch of video monitors, which provide video monitoring of the show for remote locations backstage. Finally, we have three different backstage communication systems, as well as a fleet of walkie-talkie style radios for folks to be able to talk to each other all around the theatre during the show. While keeping the sound of the show running out front is certainly our most important job, it can’t happen unless we also keep all of the systems behind the scenes running smooth as well.

JHPENTERTAINMENT: After hearing it nightly, is there still a moment in Hamilton makes you realize you chose the right career?

JOSHUA BOATMAN: One of my favorite aspects of doing this show eleven years after it premiered is that you have so many different kinds of people coming to the show every night. Some folks may have seen the show live many times, some may have seen it on Disney+ but have never seen it live, and some may be experiencing the show for the first time ever. This is why one of my favorite moments is “My Shot”, which is a three course meal of song early on in the show that showcases a lot of elements (lights, sound, choreography, automation) that we’re going to use throughout the remainder of the show to tell the story. It’s a “welcome back” for veteran Hamil-fans and a “get ready” for those experiencing the show for the first time. Getting to sit out front at the sound board and watch audiences experience those moments is what makes me excited to go to work.

A huge thanks to Lily Soto, Marja Harmon, Chibueze Ihuoma, and Joshua Boatman for taking part in this edition of Rapid Fire 20 Q. Whether they’re bringing Alexander Hamilton’s story to life on stage, stepping into multiple principal roles at a moment’s notice, or ensuring every lyric, cue, and musical moment reaches the audience perfectly, each member of this company plays a vital role in making the magic happen. Catch Hamilton during its Nashville engagement at TPAC with Tuesday thru Friday evening performances at 7:30, Saturday matinee at 2pm & evening at 8pm and Sunday matinee at 1pm and a final performance at 7pm. CLICK HERE for tickets. Trust us—you be glad you were in the room where it happens.

Not in Nashville? Hamilton‘s got you covered as the tour continues with upcoming engagements in Louisville, Fort Worth, San Antonio, Oklahoma City, Little Rock, Atlanta, Birmingham and more as the Angelica Tour continues across North America through summer and beyond. CLICK HERE for tickets. You can also follow Hamilton on Facebook, X, Insta, YouTube and TikTok.

As always, TPAC’s calendar of events is full, even during the summer. CAMP TPAC, their youth theatre initiative is happening now, with various programs through July 17. One Step at a Time a new musical highlighting the importance of supportive educators on their students takes to TPAC’s Polk Theatre June 30-July 1. On July 25, TPAC hosts its annual Family Day CLICK HERE for tickets. On August 29 in the Polk theatre it’s sketch comedy trio Ben Marshall, John Higgins and Martin Herlihy aka Please Don’t Destroy. Their video shorts have been must-see viewing on SNL since 2021. CLICK HERE for tickets or more info. Speaking of SNL, for cast mate Leslie Jones brings her I’m Hot Tour to TPAC‘s Polk Theatre September 12. CLICK HERE for tickets. Broadway at TPAC returns another favorite, Jersey Boys, celebrating their 20th Anniversary Tour with performances September 16-20. Then it’s the debut of TPAC’s 2026/2027 Season with its official kickoff October 13-18 as The Sound of Music returns. For a full list of shows, concerts and special events coming to Music City’s favorite theatre, you can also follow TPAC on Instagram, X, YouTube and Facebook.

Rapid Fire 20Q with Opry Star Mandy Barnett: Celebrating 30 Years of Timeless Music at 3rd & Lindsley June 11

June 10, 2026 by Jonathan Pinkerton

Few voices in country music possess the timeless elegance, emotional depth, and pure vocal artistry of Mandy Barnett. Thirty years after the release of her acclaimed self-titled major label debut album, the Grand Ole Opry member returns to those songs (and more) for a special anniversary concert at 3rd & Lindsley on Thursday, June 11. Ahead of the celebration, Barnett sat down with JHPEntertainment for a candid Rapid Fire 20Q covering everything from Patsy Cline and the Opry to family, loss, perseverance, and the music that continues to inspire her.

JHPENTERTAINMENT: Thirty years after your debut album, what emotions hit you hardest revisiting those songs for this upcoming show?

MANDY BARNETT: There have been a lot of changes since I was 19 years old. In some ways, it feels like yesterday, and in other ways, it feels like another lifetime. I still love these songs and I’m very proud of that album, which Bill Schnee and Kyle Lehning produced . One of the funniest and honestly one of the best things ever written about me came from The Village Voice. They said I had surprisingly great taste for the secretary of the FFA from Tennessee. I think that quote says something important, even at 19, I knew exactly what kind of music I loved and these songs are still a reflection of that.

JHPENTERTAINMENT: Your voice has always sounded timeless rather than trendy. Was there ever pressure to chase whatever country radio was doing at the moment?

MANDY BARNETT: I’ve never considered doing anything other than trying to be the best version of myself. I think collaboration works best when there’s common ground and mutual respect. I’m always open to ideas and growth, but if someone wants you to completely abandon who you are as an artist, it usually only creates confusion and despair. I have to do what feels right to me, or it just isn’t worth it. Music is supposed to be fun.

Of course, I’d love to be rewarded for what I do, but I’ve learned that can’t be the reason for doing it. When I get discouraged, I think about some of the people who believed in me. Ahmet Ertegun once grabbed me, kissed me on the lips, and told me I was the best singer he’d heard in 25 years. Owen Bradley came out of retirement to make an album with me. Those are the kinds of things that remind me to trust my instincts.

JHPENTERTAINMENT: You’ve said you care more about singing than celebrity. What still excites you most about the craft itself after all these years?

MANDY BARNETT: I think you become different versions of yourself as you move through life, and that’s true as a singer, too. Even after all these years, I’m still learning. I’ve learned from great producers, fellow artists, and sometimes even from people I didn’t particularly enjoy working with. The most important thing can’t really be taught. It’s the willingness to be vulnerable and tell the truth in a song.

JHPENTERTAINMENT: You’ve performed more than 500 times on the Grand Ole Opry stage. Does stepping into that circle still feel magical, or has it become home at this point?

MANDY BARNETT: It feels like both home and magic. The Grand Ole Opry has been such a big part of my life for so many years that there’s a comfort and familiarity when I walk out on that stage. At the same time, I never lose sight of what an honor it is. Every time I step into that circle, I’m reminded of the people who stood there before me and the incredible history that surrounds it.

JHPENTERTAINMENT: In 2021, Connie Smith surprising you with your Opry invitation on your birthday sounds like something out of a movie. What do you remember most about that moment?

MANDY BARNETT: After more than 500 appearances on the Grand Ole Opry, I’d spent plenty of birthdays there, so while the thought may have crossed my mind over the years, I certainly didn’t think, “Well, it’s my birthday, so they’re going to make me a member tonight.” I knew it didn’t really work that way, and I wasn’t expecting anything. What I remember most is being genuinely surprised and overwhelmed. Becoming a member was something I’d wanted for a very long time.

I’m especially glad it was Connie Smith who invited me. Connie has always been a good friend and such a sweetheart. She’s someone I’ve admired for years, and having her be the one to deliver that invitation made the moment even more meaningful.

And of course, I’m grateful that my parents were able to see it happen. That means more to me now than ever. It meant a lot to my mother. She believed in me from the very beginning, and I think she needed to see that validation almost as much as I did.

JHPENTERTAINMENT: You became synonymous with Always… Patsy Cline having won out the coveted role in the jukebox musical of the iconic singer’s life when you were only 18. Looking back now, how much did Patsy’s music shape the artist you became?

MANDY BARNETT: Patsy shaped me in a profound way. I fell in love with everything about her records, her voice, her emotions, the songs, the production. I was about 8 years old when my mom brought home a Patsy Cline greatest hits cassette she’d picked up in a Kmart Blue Light Special.

From the moment I heard it, I was hooked.I’ve always been drawn to emotion in music. My mamaw used to sing “You Are My Sunshine” to me when I was little, and I’d bawl my eyes out. Most people think of it as a sweet song, but I heard the sadness in it. I was always attracted to that tenderness and vulnerability.

That’s what Patsy had. She could break your heart when she sang, She wasn’t just singing notes, she was telling the truth. More than any vocal trick or technique, she taught me that the real power of singing comes from making people feel something.

JHPENTERTAINMENT: You channeled Patsy so perfectly that early on there were some detractors who tried to label you a “one-trick pony” because of that, but your catalog jumps from country to jazz to R&B to pop standards. Did proving your versatility become personal for you?

MANDY BARNETT: Well, it’s a pretty good trick. That show was so successful that I think when you’re portraying someone as iconic as Patsy Cline, it’s easy for people to put you in a box.

But I’ve always been versatile. I had one of the first karaoke machines when I was a kid. It was so old it played 8-tracks. I’d sing all the songs I didn’t particularly want to sing just to get to the one I did, so I ended up trying everything—country, pop, R&B, gospel, whatever was on there.

Patsy herself was incredibly versatile. She could sing just about anything. And before Always… Patsy Cline ever came along, Jimmy Bowen signed me to Universal Records at 12 years old. When he went to Capitol Records, he took me with him. I was recording with musicians from James Taylor’s band years before I ever moved to Nashville. We didn’t release any of the music but what an education that gave me. There was a change in A&R and I lost my record deal. That’s how I ended up auditioning for Always…Patsy Cline. Patsy was certainly one of my heroes, but so were Reba McEntire, Wynonna Judd, Tammy Wynette, Linda Ronstadt, and many others. When I got the role, I had one assignment: sound like Patsy Cline. I did the best I could.

JHPENTERTAINMENT: Among your discography, I think my personal favorite is Every Star Above which you recorded using arrangements by the late Sammy Nestico (his final project). The inclusion of a 60-piece orchestra on the recordings feels incredibly cinematic. What did recording that project teach you about your own voice?

MANDY BARNETT: Standing in front of a 60-piece orchestra is an amazing feeling. Talk about being inspired. Making Every Star Above was truly a dream come true. The album was produced by Fred Mollin and released through Melody Place, and Variety named it one of the best albums of 2021.

Most importantly, it gave me the opportunity to work with the legendary Sammy Nestico on what would become his final recording project. Sammy wasn’t in the best health at the time, but I watched him rally around the music. It was as if the work itself energized him.

One of the last conversations we had was about what we might do next, and I loved that. He never stopped dreaming and creating.

JHPENTERTAINMENT: Throughout your career, you’ve worked with legends like Owen Bradley, Harold Bradley, Gene Chrisman, and the Memphis Boys. What’s something younger artists today could learn from that generation of musicians?

MANDY BARNETT: What I loved about that generation was how generous they were. I’ve heard so many musicians say, “Harold gave me my first session,” or “Gene helped me with this or that.” Owen Bradley was incredibly generous to me, and so was Seymour Stein. Seymour signed Madonna, Talking Heads, and the Ramones. He was one of the great visionaries in the music business because he genuinely loved music and cared about the artists. I was the first artist he signed when he relaunched Sire Records, and that album was with Owen Bradley. I would also tell young artists that careers have peaks and valleys. People will tell you you’re the best and the worst, sometimes in the same week. There will be people who believe in you and others who don’t get you at all. You can’t let the ones who don’t get you define your worth. And finally, don’t become so competitive that you forget how to be a decent person. The people I admired most weren’t just great musicians, they were good people.

JHPENTERTAINMENT: Having known you as long as I have, I know there’s been more than one occasion when you’ve gone into the studio and recorded tracks for albums that for one reason or another never saw the light of day. Is there one project that you worked on that you still wish had been released?

MANDY BARNETT: That’s just the way the music business works sometimes. Not every project makes it across the finish line. So focus on the next one!

JHPENTERTAINMENT: Over the years you’ve shared that your earliest memories of singing took place alongside your Aunt Linda at the church founded by your grandfather. What do you recall most about those memories of family and music?

MANDY BARNETT: I didn’t know it at the time, but those were some of the best days of my life. The love and support my family gave me was extraordinary, and I’d give just about anything to go back and spend one more day with them.

JHPENTERTAINMENT: Speaking of family, these last couple of years have been hard on you, having lost both your sweet Mama, Betty and your Dad. Was it difficult to get back out on stage, or did music play a role in picking up the pieces after such devastating loss?

MANDY BARNETT: They were both the kind of people who would tell you to get on with it, so I do the best I can. They would want me to work, keep singing, and keep moving forward.But the truth is, I’ve struggled with those losses. Nothing has ever broken my heart more.What makes it especially emotional is that we had such an extraordinary last chapter together. My parents had been divorced for 30 years, and then suddenly life threw us all back together. There I was taking them to doctor’s appointments, helping them through illnesses and challenges neither of us saw coming. It was healing in some ways, brutal in others, and often very sweet. For a period of time, the three of us were together again, and I’m so grateful for that. It wasn’t always easy, but it gave us an opportunity to reconnect and understand each other in a deeper way. Music has certainly helped me cope, but grief doesn’t follow a schedule. Some days are easier than others. I just know how fortunate I was to have had the parents I did, and how grateful I am that I got that time with both of them before they were gone.

JHPENTERTAINMENT: Not long after your church performing debut, you won a singing competition at Dollywood and began performing in Archie Campbell’s Hee Haw Village in Pigeon Forge. What do those opportunities mean to you as you look back on that time?

MANDY BARNETT: They were golden opportunities, and I’m grateful for every one of them.It was the first year Dollywood was open, and I was just a kid getting the chance to be around some incredible people. I got to work with Dolly and her family, perform with a live band, and learn things that you simply can’t learn anywhere else.I met Archie Campbell while opening a show that also featured Chet Atkins and Wilma Burgess. Afterward, Archie told me, “Come up anytime. You’re always welcome.” And he meant it. He gave a young singer the opportunity to come perform at his show whenever I wanted, with a real band and a real audience.Looking back, that was an extraordinary gift. Archie didn’t have to do that, but he did. Those experiences gave me confidence, stage time, and memories I’ll always treasure.

JHPENTERTAINMENT: Another connection to a legend…when your friend and Opry sister Miss Jeannie Seely passed away, you were chosen to take on hosting duties of Sundays with Seely on SiriusXM’s Willie’s Roadhouse channel. Rechristened Sundays with Mandy, you spin classic country records and share conversations with legends and up-and-coming country artists. What’s it been like to add radio host to your resume?

MANDY BARNETT: I’m enjoying it a lot. I’ve always been a fan of country music, so getting to put together a different show every week is a lot of fun for me. I’ve always been a bit of a music nerd. There are certainly people who know more than I do, but I was fortunate enough to know many of these artists and work with them at the Grand Ole Opry, so I have stories and a personal perspective to share. I also loved Jeannie Seely and miss her very much. We all do at the Opry. In a lot of ways, I think we’re all trying to carry on in a way that would make her proud. I still find myself wondering, “How would Jeannie handle this?” more often than you’d think.

JHPENTERTAINMENT: Hosting duties aside, your brilliant vocal skills have always been the focus of your performing career, but in recent years you’ve expanded your talents a bit by picking up the ukulele, even strumming it a time or two in concert. What is it about the instrument that intrigues you?

MANDY BARNETT:I think it’s the instant gratification. It’s easier than a guitar, it’s smaller, and for whatever reason I seem to have a knack for it. I do wish I’d grown up playing an instrument.

I was so focused on singing that I never really developed that side of my musicianship. When I was coming up, being a great singer was enough. You didn’t necessarily have to play an instrument or write your own songs. So it’s been fun to learn something new and challenge myself a little. It’s given me a whole new appreciation for the people who accompany themselves. . And I’ve also started doing more songwriting and have found that to be an exciting and fulfilling creative outlet.

JHPENTERTAINMENT: You grew up around gospel music, bluegrass, country, jazz, and classic pop standards. Which genre still feels the most like “home” emotionally?

MANDY BARNETT: Honestly, all of them. I’ve never really felt the need to choose just one.I grew up around gospel, bluegrass, country, rock and classic pop, and I’ve spent my career singing a little bit of everything. Each genre speaks to a different part of me. Country music is certainly my foundation, but I love the storytelling of country, the emotion of gospel, the musicianship of jazz, and the timeless melodies of the great pop standards.

JHPENTERTAINMENT: In 2024, you and your friend, jazz songstress Monica Ramey co-hosted Variety on Main, a monthly performance night at Franklin Theatre. During these shows you showcased a variety of entertainers from all genres and of all ages. What was most gratifying about that experience? AND…are there any plans for your and Monica to team up again professionally, either in a redo of Variety on Main, or perhaps in the studio?

MANDY BARNETT:What was most gratifying was seeing it all come together. We had amazing guests, wonderful audiences, and a really good mix of performers from different generations and musical backgrounds. Monica and I produced the shows ourselves, so we were involved in everything from booking talent to planning the format and making sure the details were covered. We had different strengths that complemented each other well. I focused a lot on booking the artists, and Monica was terrific at keeping everything organized and running smoothly. I’d love to do something like that again at some point. We had a lot of fun with it, and I think the audience did too.

JHPENTERTAINMENT: Having known you as a friend and also being an ardent fan of your music, I love that you’ll occasionally show an unexpected deep cut from any number of artists into the mix when you’re live in concert. Beyond the track-by-track from your first major label debut album and a few Patsy Cline songs, can you give us a hint of what else we might expect to hear during your upcoming 3rd & Lindsley show?

MANDY BARNETT: I will say that we’re playing the debut album in sequence, and beyond that, there will be a few surprises. I’ve never been very good at giving everything away ahead of time. Part of the fun is being in the room and experiencing it as it unfolds.

JHPENTERTAINMENT: Following this anniversary show, you’ve got another special performance planned as you return to your high school alma mater, Cumberland County High School for a one-night-only concert benefitting the high school’s football program. Why is it important to you to be part of this particular event?

MANDY BARNETT:I want to help the kids in Crossville. The more time I spend there, the more I appreciate what a special place it is and how much it shaped me.I believe young people need their talents to be encouraged and cultivated, whether that’s music, sports, academics, or anything else. And they need the right tools to succeed. When I was growing up, I had a little karaoke machine that played 8-tracks, and that helped spark my love of singing. It was the right equipment for me at the time. These young athletes deserve the equipment they need to compete at a high level and have every opportunity to succeed. If I can help in some small way, I’m happy to do it. It’s a chance to give something back to the community that gave so much to me.

JHPENTERTAINMENT: Last one — when the lights go down after this 30th anniversary celebration, what do you hope people remember most about Mandy Barnett as an artist?

MANDY BARNETT: I hope people remember that I stayed true to myself.I’ve never been very good at chasing trends. I’ve always followed my instincts, trusted my taste, and sung the music I love, whether it was popular at the time or not.I’ve been fortunate to have a long career, and I’ve learned that the right audience eventually finds you. There have been ups and downs, disappointments and wonderful surprises, but I’ve always found a way to keep going. At the end of the day, I hope people remember me as someone who cared deeply about the music, respected the artists who came before me, and never stopped trying to grow.

Thirty years after introducing herself to the world on her major label debut, Mandy Barnett remains exactly what she has always been: an artist guided by instinct, integrity, and an unwavering love of great songs. Whether revisiting the album that launched her career, honoring the legacy of Patsy Cline, stepping into the Grand Ole Opry circle, or sharing stories behind the music, Barnett continues to prove that authenticity never goes out of style.

Mandy Barnett’s concert celebrating the 30th anniversary of her debut album takes place Thursday, June 11 at 3rd & Lindsley in Nashville. General Admission tickets are $26.46 (fees included). For longtime fans and first-time listeners alike, it promises to be a special evening celebrating one of Music City’s most enduring voices. CLICK HERE for tickets. To see Mandy at her high school alma mater, Cumberland County High School on July 18, CLICK HERE for tickets. To keep up with Mandy and to see where she’s performing next, follow her on Instagram and Facebook.

For the latest music events at 3rd & Lindsley, follow them on Facebook, X and Instagram.

Theatre Review: The Book of Mormon Returns to Nashville and Proves It Still Has Plenty to Say Beneath the Shock Value

June 3, 2026 by Jonathan Pinkerton

The cast of The Book of Mormon National Tour 2026 (Photo by Julieta Cervantes/courtesy The Book of Mormon on tour)

When The Book of Mormon first arrived on Broadway back in 2011, it felt downright dangerous. Not because of elaborate special effects or groundbreaking staging, but because it gleefully said the things most people wouldn’t dare say out loud. Fifteen years later, in a world where outrage often arrives faster than context and social media can turn a joke into a national controversy in warp-speed, one might wonder whether South Park creators Trey Parker & Matt Stone and Avenue Q’s Robert Lopez’s irreverent, bawdy and completely un-politically correct nine-time Tony-winning musical still lands with the same impact.

The answer, judging by the opening night audience at Nashville’s TPAC Tuesday evening, is an emphatic “Hello!”

Returning to Andrew Jackson Hall through June 7, The Book of Mormon remains exactly what its reputation suggests: outrageous, wildly inappropriate and frequently jaw-dropping. Yet, just as importantly, it remains what many of its detractors overlook—a surprisingly heartfelt story about friendship, faith, belonging and the stories people tell themselves in order to make sense of a complicated world.

For those somehow unfamiliar with the phenomenon, the musical follows an eager group of young Mormon missionaries dispatched from Salt Lake City to a remote Ugandan village facing poverty, disease and oppression. What begins as a fish-out-of-water comedy evolves into something considerably richer as the missionaries and villagers discover that belief, in all its forms, is often less about facts than it is hope.

And while the script remains largely unchanged from previous tours, this latest company brings fresh energy and personality to every role, making the show feel newly minted rather than a revival of a familiar favorite.

Leading the charge is Ethan Davenport, who takes on the pivotal role of Elder Price in this engagement. As Elder Price, Davenport embodies the character’s confidence, ambition and occasional arrogance with effortless charm. Blessed with a powerful Broadway tenor and an all-American leading man presence, he delivers “You and Me (But Mostly Me)” and the Act Two anthem “I Believe” with the kind of vocal confidence that anchors the entire production.

Opposite him, Jacob Aune’s Elder Cunningham is everything the role demands—awkward, lovable, wildly inappropriate and impossible not to root for. Cunningham is essentially a walking collection of half-remembered science fiction plots, social anxiety and misguided optimism & a bit of a walking, talking South Park character in human form, and Aune embraces every glorious second of it.

More importantly, he finds the humanity beneath the character’s compulsive storytelling. While the laughs come easily—and there are many—the emotional core of the show ultimately rests on Cunningham’s desire to matter. Aune never loses sight of that, making the character’s journey feel genuinely earned.

Yet it’s Craige Franke as Elder McKinley where Franke truly steals scenes. His performance of “Turn It Off” is a masterclass in comic timing, complete with dazzling choreography, impeccable facial expressions and enough jazz hands to illuminate Broadway itself. Heck, the featured ensemble during “Turn It Off” is simply tap-tactic. Having spent years with the company in multiple capacities, Franke understands this material inside and out, and it shows. His cheeky, campy cameo in “Scary Mormon Hell Dream”, helps make it a glittery, shockingly hilarious dream indeed, but more about that later.

One of the evening’s biggest delights comes courtesy of Rayna J. as Nabulungi, stepping in for Music City’s opening night for an absent Charity Arianna. Making her professional theatre debut on a national tour would be enough pressure for most performers. Doing so while carrying one of the show’s most beloved roles feels downright unfair. Fortunately, J. rises magnificently to the challenge. Her Nabulungi radiates warmth, optimism and sincerity, providing the show’s emotional center amidst the chaos. Her rendition of “Sal Tlay Ka Siti” is beautifully sung and genuinely moving, reminding audiences that beneath all the satire and profanity lies a story about people searching for something better. J. also electrifies her scenes with Aune’s Cunningham, particularly during “Baptize Me,” a number whose hilariously escalating misunderstandings remain one of the funniest sequences in modern musical theatre.

As The General, Shafiq Hicks delivers one of the production’s most commanding performances. Possessing a booming stage presence and undeniable authority, Hicks makes an immediate impression from the moment he appears. His performance of “Hasa Diga Eebowai” earns exactly the reaction one hopes for from first-time audiences: gasps, nervous laughter and a collective realization that The Book of Mormon intends to push every button it can find. Yet Hicks doesn’t just play the role as a caricature. Instead, he grounds the character in a reality that gives the surrounding comedy greater impact.

Elsewhere, Jonathan Grunert proves remarkably versatile while juggling multiple roles including Price’s Dad, Joseph Smith, Missionary Voice and Mission President. Jarius Miquel Cliett makes a strong impression as Mafala Hatimbi.

The entire ensemble deserves special recognition as well. From the opening strains of “Hello” to the curtain call, they maintain an infectious level of energy that never dips. Whether executing the show’s precise choreography, navigating lightning-speed costume changes or delivering some of the evening’s biggest laughs, this company operates like a well-oiled machine, or, in The Book of Mormon terms, like a bunch of maggots tunneling through one’s scrotum! Trust me, in this case, that’s a good thing!

Casey Nicholaw’s Tony-winning choreo remains as impressive as ever. “Turn It Off” continues to be an absolute showstopper, while the aforementioned “Spooky Mormon Hell Dream” remains one of Broadway’s most delightfully unhinged production numbers. Gotta love the updated addition to the list of hell-bound evil-doers joining the likes of Hitler, Genghis Khan and Johnny Cochran, but I’m gonna redact that name so as not to spoil the surprise. Suffice it to say, the audience reaction to this hellacious human was just as I hoped it would be. Keeping it fresh with updated references is just another way The Book of Mormon keeps their audiences on their toes. A running gag in the show features Elder Cunningham frequently calling Nabulungi the wrong name. Everything from Neutrogena to Necrophilia…a clever comical callback with each name, so much so that I found myself eagerly anticipating what he’d call her next. My personal favorite new addition to the list…Ozempic. Add in the hilarious spectacle of “I Am Africa” (gotta love a bunch of self-righteous white boys declaring representation and solidarity with the African nation) and the show boasts enough memorable musical moments to satisfy even traditional musical theatre fans.

What continues to impress most about The Book of Mormon, however, is how successfully it balances satire with sincerity. Yes, there are jokes that will make some audience members cringe. Yes, there are moments where you’ll likely find yourself laughing before immediately wondering whether you should have. And yes, Parker and Stone remain equal-opportunity offenders. Nobody is safe from ridicule in their The Book of Mormon world But beneath the profanity, religious satire and outrageous punchlines lies a surprisingly compassionate message about empathy, community and finding common ground despite differing beliefs.

When I first saw The Book of Mormon, I compared it to the classic CBS Norman Lear-driven sitcom All in the Family. Much like that boundry-pushing TV juggernaut, The Book of Mormon uses comedy not simply to provoke, but to hold up a mirror. The laughter may be loud, but the observations underneath it are often surprisingly thoughtful.

Fifteen years after its Broadway debut, The Book of Mormon remains one of the funniest musicals ever written. More impressively, it remains one of the smartest. And judging by the roar of laughter echoing through TPAC Tuesday night, Nashville audiences are still more than happy to answer the doorbell.

The Book of Mormon‘s latest return to TPAC runs Tuesday, June 2 through Sunday, June 7. CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.

Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.

In case you missed it, check out my recent Rapid Fire Q&A with The Book of Mormon‘s cast members Craig Franke, Charity Arianna & Safiq Hicks.

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke, Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

Theatre Review: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

May 14, 2026 by Jonathan Pinkerton

There is a moment early in Water for Elephants when the ensemble begins swaying in synchronized rhythm, bodies rocking side to side as if connected by an invisible thread, and suddenly the audience is no longer sitting inside Jackson Hall at Tennessee Performing Arts Center — we are barreling across America with the Benzini Brothers Circus. It is one of the production’s most inspired visual motifs, a kind of train-ography, if you will, that becomes the pulse of the entire evening. Through movement alone, the cast conjures locomotives, instability, exhaustion, hope, and the restless momentum of Depression-era survival. Simple? Seemingly so. But in execution, it is theatrical magic.

Now playing Music City through Sunday, May 17, the National Tour of Water for Elephants delivers spectacle without drowning in it. Rather than relying solely on oversized circus gimmickry, the production trusts movement, music, lighting, lush storytelling and deeply committed performances to transport audiences into its world. The result is a stirring, emotionally textured theatrical experience that balances intimacy with astonishing visual ambition.

At the center of the production is Zachary Keller as Jacob Jankowski, the grieving veterinary student who impulsively abandons his former life and jumps aboard the Benzini train. Keller anchors the production with a grounded sincerity and a soaring vocal performance that gives emotional weight to Jacob’s internal struggle between safety and risk, logic and passion. His voice carries a warm ache throughout the evening, particularly in moments when Jacob wrestles with the moral compromises surrounding the circus and his growing connection to Marlena. There are moments within Keller’s performance that the entire audience falls in love with his Jacob. Heck, there are moments his near-perfect pitch vocals fill the venue so melodically that you even wonder if he needs a mic. A true testament to his skills and those of the show’s sound designer Walter Trarbach and the entire technical team.

In the role of Jacob’s older self, Mr. Jankowski is Robert Tully. Fittingly, Tully’s show bio reveals among his many theatre credits, he actually served as Ringmaster for Ringling Bros. and Barnum & Bailey circus, making his narrative duties all the more authentic as he regales Jacob’s time riding the rails as a circus roustabout.

Opposite Keller (and Tully), Helen Krushinski delivers a luminous performance as Marlena, the circus star trapped inside an increasingly dangerous marriage. Krushinski possesses the kind of voice that cuts cleanly through the orchestrations without ever losing emotional nuance. She brings both fragility and fierce determination to Marlena, avoiding cliché and instead presenting a woman desperately searching for dignity and freedom amid chaos. Like so many of her ensemble cast mates, Krushinski also demonstrates a bit of impressive arial skills, adding a literal and figurative extra layer to her performance.

Then there is Connor Sullivan as August, whose volatile presence practically crackles across the stage. Sullivan’s vocals are thunderous and commanding, but it is the unpredictability simmering beneath every line that makes the performance so riveting. He creates a genuinely unsettling antagonist — charming one second, terrifying the next — while still revealing enough humanity to keep the character from becoming cartoonish. Without having checked out the playbill prior to attending Nashville’s Opening Night performance, the second Sullivan entered the stage, I recognized him immediately. No doubt theatre fans across the country have done the same, given Sullivan joined Water for Elephants not long after his previous gig as Billy Flynn in last year’s National Tour of Chicago came to an end.

Together, Keller, Krushinski, and Sullivan form a powerhouse central trio whose vocals elevate the production far beyond spectacle alone. Their emotional authenticity keeps the audience invested even as acrobats fly overhead and circus acts unfold around them.

The same can be said for the modern-day interludes in which Tully’s Mr. Jankowski shares tales of his younger self with Krushinski and Sullivan–in present-days scenes playing circus workers June and Charlie. The respect, admiration and care with which Krushinski’s June and Sullivan’s Charlie attentively listen to Tully’s Mr. Jankowski as he relives the glory days and heartaches of his former life serves as a reminder to us all that our elders have incredible stories to be listened to and learned from. We just have to take the time and make the effort to hear them.

While the score of Water for Elephants falls into the category of musicals that are quite effective in the moment, but for the most part, unless you’re a die-hard devotee of the show, you’re likely not going to add it to your daily playlist, several musical numbers land with exceptional force. “Anywhere” becomes an emotional turning point for Jacob and Marlena, with Keller and Krushinski blending their vocals beautifully while revealing the aching vulnerability beneath their growing connection. Meanwhile, August’s explosive numbers pulse with danger and desperation, allowing Sullivan to unleash the full power of his commanding voice and increasingly fractured psyche. The company-wide numbers prove equally affective, particularly those involving the traveling circus ensemble, where choreography, percussion-like movement, and the now-signature train-ography fuse together into thrilling theatrical momentum. Rather than pausing the story for songs, the score continuously propels the narrative forward like the locomotive at its center. The harmonies of the entire company singing in unison is simply quite spectacular.

Special recognition also belongs to John Neurohr, who stepped into the role of Walter, the knife-throwing clown, for Nashville’s Opening Night performance. Neurohr brought an endearing warmth and understated melancholy to the role, grounding Walter’s eccentricity with genuine heart. His stage presence blended seamlessly into the production’s emotional fabric, while his physicality and comic timing added welcome texture to several ensemble-driven moments throughout the evening.

And yes — the aerial and acrobatic work is extraordinary. This production understands that circus artistry should not simply interrupt the narrative; it should become the narrative. Silks, balancing acts, lifts, and gravity-defying choreography emerge organically from the emotional life of the story. The transitions feel seamless rather than showy for the sake of applause. From the jump, as the circus ‘crew’ is setting up shop at their latest stop, even the pounding of the tent-stakes into the ground and the raising of the tent becomes a cadenced ballet of movement, acrobatics and mind-boggling balance and strength. This elegance of motion and bodily discipline becomes another character throughout.

Particular praise belongs to Yves Artières, whose physical performance as Silver Star, Marlena’s beloved show horse, becomes one of the evening’s unexpected emotional centerpieces. Through movement alone, Artières creates personality, loyalty, exhaustion, and tenderness in a way that feels almost impossibly expressive. In a key scene when Silver Star reaches his untimely end, the visual of his spirit leaving his body, by way of Artières ascending silks hanging from the rafters above the stage, then dramatically unfurling the silks as he descends to return to the earth–simply breathtakingly beautiful. The puppetry/animal work throughout the production is remarkably inventive, but Silver Star’s presence lingers long after curtain call.

As Silver Star evokes emotion, Gabriela Diaz as Agnes, the orangutan elicits laughter while Kayden Woodridge‘s puppetry as Rex, the lion evokes fear.

That artistry that extends beautifully into the production’s remarkable puppetry design is most notably witnessed in Rosie, the titular pachyderm herself. Even before Rosie makes her official entrance, her presence looms larger than life throughout the narrative — a symbol of hope, survival, and emotional connection for nearly every character onstage. When she finally appears, the effect is genuinely awe-inspiring. Brought to life by on Opening Night in Nashville by Ella Huestis, Chris Marth, Bradley Parrish, Andrew Meier, and Carl Robinett, Rosie is far more than a puppet; she becomes a fully realized emotional force within the story. The coordination and grace required by the performers is staggering, yet the mechanics disappear almost instantly, allowing audiences to emotionally invest in the elephant herself. It is a masterclass in collaborative physical storytelling. Not since Dumbo or Mr. Snuffleupagus has a pachy won over an entire audience by simply walking across the stage.

Ruby Gibbs‘ Barbara, while employed as the circus’ somewhat bawdy leading lady, reveals a softer side where Jacob is concerned. Javier Garcia‘s Camel, a drink-swilling roustabout veteran, who takes Jacob under his wing, becomes a bit of a father-figure to newbie. Both of these actors endear themselves to the audience with their abilities.

The entire company, whether lead actors, featured supporting cast or the incredibly gifted high-flyers, tumblers, acrobats, jugglers–just like a real circus troupe–it’s the entire company, and the individual skills they bring, that make up the full multitude of experiences for a night of incredible joy and entertainment overload. Seriously, this ensemble is nothing short of phenomenal. Whether transforming into roustabouts, circus performers, fellow travelers, or performing animals, the company operates with astonishing precision and energy. Their physical storytelling becomes a vital connective tissue of the production, especially during those unforgettable rail-travel sequences where synchronized motion and rhythmic choreography create the sensation of perpetual movement.

Equally effective is the production’s restraint in its technical design. Rather than constructing an oversized literal circus environment, the creative team leans into minimalism with confidence. Scenic elements remain spare and fluid, allowing the actors and movement to define the environment. That simplicity makes the production’s biggest visual moments land even harder.

Most impressive is the staging of the circus tent itself. Instead of unveiling some predictable red-and-white striped spectacle, the production opts for a hauntingly beautiful sheer grey canopy that rises overhead and transforms through lighting into the shadowed suggestion of a massive big top. It is elegant, dreamlike, and emotionally evocative — less interested in realism than memory. The choice perfectly reflects the production’s overall artistic philosophy: suggest rather than overwhelm.

The lighting design deserves enormous credit for shaping the show’s emotional landscape. Warm ambers, smoky blues, and stark silhouettes constantly shift the atmosphere from romance to danger to wonder. Combined with a richly textured sound design that captures both the intimacy of whispered confessions and the thunder of circus chaos, the technical package immerses the audience completely without ever feeling excessive.

What makes Water for Elephants resonate so deeply is that beneath all its acrobatics and visual invention lies a profoundly human story about survival, reinvention, and finding family in unexpected places. This touring production never loses sight of that heart. By the time the company takes its final bow, audiences are likely to feel exactly like Jacob himself: changed by the journey…and excitedly anticipating what life has in store next.

Water for Elephants at TPAC is not merely a musical. It is a moving act of theatrical imagination — one that races forward with the force of a locomotive while never forgetting the fragile souls riding inside it and their ultimate purpose of bringing a little joy wherever the rails, the circus and their lives take them.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon returns to Music City with performances June 2-7 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

Theatre Review: Adam Pascal Pays the Rent for Our Sins in Studio Tenn’s Imaginative Interpretation of ‘Jesus Christ Superstar’; On Stage Thru May 31

May 12, 2026 by Jonathan Pinkerton

Since its groundbreaking 1971 Broadway debut, Jesus Christ Superstar has remained one of musical theatre’s most provocative works. Andrew Lloyd Webber and Tim Rice’s legendary rock opera has never been content presenting a straightforward biblical retelling. Instead, the piece examines faith, fame, politics, and humanity through the eyes of the people surrounding Jesus during the final days leading to the crucifixion. More than fifty years later, the material still feels startlingly relevant.

Studio Tenn Artistic Director Patrick Cassidy, who’s at the helm of this production as the show’s director, clearly understands why. Rather than reinventing the show through gimmick or spectacle, Cassidy’s emotionally charged new production smartly leans into the themes already embedded within the material: celebrity worship, performative devotion, mob mentality, and the emotional cost of turning human beings into symbols.

As Cassidy notes in his director’s statement, this production asks audiences to consider what happens when a person becomes “more than human in the eyes of the world.” It is a concept that permeates nearly every aspect of this imaginative interpretation.

Adam Pascal as Jesus in Studio Tenn’s Jesus Christ Superstar (All photos by Sammy Hearn/Courtesy Studio Tenn)

Leading the cast is Broadway icon, Tony-nominated Adam Pascal as Jesus Christ, and despite the production being filled with powerhouse performances, Pascal remains its emotional center. Rather than portraying Jesus as some untouchable religious figure, Pascal presents him as a weary modern everyman crushed beneath the expectations of those around him. Costume designer Devon Renee Spencer wisely avoids the traditional flowing robes often associated with the role, instead dressing Pascal in loose linen shirt and neutral-toned pants that ground the character in recognizable humanity.

Vocally, Pascal delivers exactly the kind of performance longtime fans hoped for while still finding fresh emotional textures within the score. One moment, his voice slips into soft, heartfelt vulnerability during quieter emotional exchanges. The next, he unleashes the kind of raw, anger-struck rock wailing that made him a Broadway icon in the first place. His “Gethsemane” becomes one of this production’s many emotional peak—not merely sung, but emotionally exorcised from somewhere deep within him. Pascal allows Jesus’ fear, frustration, exhaustion…and yes, rage…to boil violently to the surface.

Opposite him, Grammy nominee Mykal Kilgore delivers a mesmerizing Judas. From the opening notes of “Heaven on Their Minds,” Kilgore refuses to portray Judas as a simple villain. Instead, his Judas feels conflicted, frightened, frustrated, and heartbreakingly human as he watches events spiral beyond anyone’s control. His powerhouse vocals soar effortlessly through the score, but it is the emotional vulnerability beneath the performance that lingers longest.

The chemistry between Pascal and Kilgore fuels many of the production’s strongest moments, particularly during “What’s the Buzz?” and “The Last Supper,” where simmering resentment and emotional exhaustion visibly fracture the relationship between the two men.

As Mary Magdalene, powerhouse vocalist Olivia Valli comes by her talents naturally. Granddaughter of The Four Season‘s founding member Fankie Valli, she’s a legacy entertainer. As Mary Magdalene, Valli brings warmth and aching sincerity to the role. Early on During “Everything’s Alright,” Valli’s calming presence provides a needed emotional balance amid the increasingly chaotic atmosphere surrounding Jesus. Soon after, her rendition of “I Don’t Know How to Love Him” avoids unnecessary theatrics in favor of emotional honesty, allowing the heartbreak within the song to quietly unfold. Under Cassidy’s direction, Valli explores the often-avoided attraction between Mary the woman and Jesus the man, once again offering yet another layer to the humanity of the piece.

And while Pascal, Kilgore, and Valli anchor the production through their notoriety and talents, Cassidy’s supporting cast of beloved local performers repeatedly threatens to steal the evening out from under them—in the best possible way.

As Pontius Pilate, Geoffrey Davin offers one of the evening’s smartest tonal shifts . Presented as a gaudy, self-important joke of a man sporting an intentionally terrible hairpiece (kudos to the show’s wig designer Meredith Schieltz for just simply going for it), Davin leans fully into the absurdity of performative power. The portrayal initially earns plenty of laughs, but underneath the comedy lies another sharp reflection of the production’s larger themes—people desperate to appear more important than they truly are. His “Pilate’s Dream” balances nervous humor with growing dread, while sinisterly daunting presence during “Trial Before Pilate/39 Lashes” becomes genuinely unsettling.

Another noteworthy performance comes via Connor Barr. Barr also delivers emotionally effective work as Peter, particularly during “Peter’s Denial,” where fear and shame visibly consume him in real time. Knowing the Bible story like the good southern christian my Mama raised me to be, I found myself counting 1…2…3…as Barr fulfilled the prediction of denial in this small but surprisingly emotional moment within this production.

W. Scott Stewart’s thunderous bass vocals as Caiaphas roll in like a deep fog, brilliantly setting the stage for the dread and darkness to come. Robert Parker Jenkins‘ Annas perfectly snarky glances peering over those disturbingly small, dark glasses, brings an unspoken self-righteousness to his role as a high priest. As other members of Caiaphas’ doom squad, Garris Wimmer‘s sinister voice and Jennifer Whitcomb-Oliva‘s snide presence all come together perfectly to present a united and terrifying quartet who initiate the plot to end Jesus.

Then there’s the most intriguing of Whitcomb-Oliva’s multiple roles, her dazzlingly, gloriously commanding presence as King Herod. Landing somewhere firmly between Tina Turner’s Auntie Entity from Mad Max: Beyond the Thunderdome and Elton John’s Pinball Wizard from yet another rock opera, Tommy, Whitcomb-Oliva’s Herod is the true definition of the villainous character we know we’re not supposed to love, but we just can’t help ourselves. Combine the stage presence and spectacular wardrobe with Whitcomb-Oliva’s undeniable talents and you’ve got yourself a show-stopping performance and another of Studio Tenn‘s Jesus Christ Superstar‘s truly magical cast members. There is no role this mega-watt talented performer can’t handle and she proves it show after show after show.

Other ensemble members like Bakari King, Garris Wimmer, Maya Antoinette Riley, Matthew Hayes Hunter, Savannah Stein, Lane Adam Williamson, Victoria Griffin, Emma Rose Williamson, Connor Adair, Nikki Berra, Christina Ledbetter and Patrick Jones each contribute to the overall energy, emotion and beauty of the piece. From the full ensemble Act 1 favorite, “What’s the Buzz’ to a shining, glittering all-in late-hour moment, the entire cast brings everything they’ve got, resulting in a feast for the eyes, the mind, the heart and soul.

Cassidy’s contemporary framing of the musical proves equally effective visually. Scenic designer Andrew Cohen’s stripped-down, two-tiered industrial scaffolding set serves the material beautifully. After all, Jesus Christ Superstar has never truly been about lavish scenery—it has always been about the music, emotion, and collision of faith, celebrity, and mob mentality.

Dominating the stage is a massive painted mural of Jesus that vacillates between sacred tribute and selfie-ready photo backdrop, serving as a sharp visual commentary on true belief versus performative optics.

Devon Renee Spencer’s costume work deserves particular praise throughout. With what feels like a subtle nod to Pascal’s Tony-nominated turn in Rent, much of the ensemble appears in elevated retro-grunge aesthetics layered with plaid flannels, distressed textures, and muted earth tones.

But Spencer’s most effective storytelling device is color. The militaristic blood-red dusters worn by Caiaphas and his followers immediately establish danger and authoritarian control. Meanwhile, Judas’ wardrobe slowly evolves alongside his emotional deterioration. Kilgore first appears in a sleeveless black shirt emblazoned with a bright red star. By the time betrayal arrives, the star has vanished, replaced instead with a spiderweb design—a haunting visual metaphor for the trap Judas both creates and becomes trapped within.

Darren Levin’s lighting design further deepens the production’s emotional power. Much of his work is so seamlessly integrated audiences may not consciously notice its impact until a startling–even though we know it’s coming–Act 2 moment when the stage suddenly floods in violent crimson. Combined with Danny Northrup’s immersive sound design and Randy Craft’s music direction (featuring Craft and Ming Aldrich-Gan on keys, Brad Williamson on drums, bassist Thomas Altman, Sam Merrill on trumpet, Jennifer Kummer on French horn, Gus Arnold on reeds, and guitarists Cameron Cleland & Miles Aubrey), the behind the scenes crew turns out to be just as stacked as the players on-stage.

Likewise, Joi Ware’s choreography injects continuous movement and urgency into the production. There are moments where subtle Bob Fosse-inspired isolations seem to collide with flashes of Michael Jackson-inspired movement during larger ensemble sequences, creating choreography that feels simultaneously nostalgic and contemporary. Even those ensemble moments reinforce the power-in-numbers juxtaposed to the isolation of one theme found throughout the piece. Coupled with Cassidy’s direction, Ware’s choreography fills the stage with passionate movement, whether the entire company is on stage for a group number, or the action slows for a solitary moment from Pascal, Kilgore or Valli.

The production’s final moments ultimately land with devastating restraint. Rather than over-staging the Crucifixion, Cassidy allows Pascal’s increasingly broken physicality and exhausted vocals to carry the emotional weight of the scene. The result is haunting. By the time the orchestra transitions into “John 19:41,” the audience sits in near-total silence…followed immediately by thunderous applause.

Studio Tenn’s Jesus Christ Superstar succeeds not because it attempts to reinvent the material, but because it trusts the emotional complexity already living inside it. The result is a hauntingly modern interpretation of a decades-old rock opera that somehow feels more relevant than ever. Even before the show opened it was announced that it would extend its initial run through May 31. Performances of Studio Tenn‘s Jesus Christ Superstar on stage at Turner Theatre inside The Factory at Franklin (230 Franklin Road, Franklin, TN 37064) are Wednesdays thru Sundays with 7pm performances Wednesdays-Saturdays, Saturday matinees at 2pm and Sunday matinees at 1pm. CLICK HERE to purchase tickets or for more information.

To keep up with the latest from Studio Tenn be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.

Theatre Review: ‘Some Like It Hot’ and Hot is What They’ve Got; Tour Wraps 2-Year National Taptastic Trek with Music City Stop at TPAC thru Sunday

April 23, 2026 by Jonathan Pinkerton

As the national tour of Some Like It Hot blazes through its final stretch at Tennessee Performing Arts Center‘s Jackson Hall with shows thru Sunday, April 26, there’s a palpable sense that this is more than just another stop on the road—for it’s also a curtain call on a two-year, coast-to-coast victory lap. And if ever a show deserved to go out in a blaze of brassy, tap-drenched glory, it’s this one.

Adapted from the beloved 1959 film of the same name by legendary director Billy Wilder, the stage musical carries forward the legacy of roles made part of the lexicon of classic cinema by Tony Curtis, Jack Lemmon, and Marilyn Monroe. The 2022 Broadway adaptation—with a book by Matthew Lopez (Tony-winner for The Inheritance) and Amber Ruffin (Emmy-winning scribe for The Late Show with Seth Meyers), and music by Marc Shaiman with lyrics by Scott Wittman and Shaiman (the duo who brought us Hairspay: The Musical and so much more)—pays loving homage to the film’s cinematic flair and Prohibition-era hijinks while updating the story with a more expansive, inclusive lens.

Here’s the thing, though. this isn’t just a backstage farce anymore; it’s a more well-rounded representation of the people who might have populated the 1930s nightclub circuit, as well as the ideals and personal discoveries that resonate with today’s audiences.

As a massive fan of the film, I was delighted in the inclusion of a handful of my favorite lines. From Sugar’s lament, “I’m tired of getting the fuzzy end of the lollipop” to Osgood’s revealing, telling, and ultimately true, “Well, nobody’s perfect”…Some Like It Hot purists should be gloriously satisfied.

One notable change is the role of Sweet Sue, bandleader of the all-girl band that serves as the perfect hiding in plain site destination for our two unintentional leading men, or should I say leading ladies? Little more than a brief appearance in the source material, Ruffin and Lopez wisely fleshed out Sweet Sue and as played by DeQuina Moore, we’re glad they did. Moore’s Sweet Sue doesn’t just open the show—she detonates it. Her “What Are You Thirsty For?” lands with the kind of electrifying force she herself described in our recent Rapid Fire 20Q, noting that she takes the responsibility “by the horns” each night to set the tone with a bang. That intention is unmistakable in performance. There’s power here, yes, but also purpose—her Sue is a bandleader carrying not just the rhythm, but the weight of every woman in her orbit. As she also shared in our recent Rapid Fire 20Q, that maternal instinct—balancing toughness with unexpected softness—becomes central to the character’s journey, and Moore threads that needle beautifully. With a commanding stage presence that put me in mind of the late, great Nell Carter, Moore’s Sweet Sue exudes class, brass and just enough sass to put the syncopation in Sweet Sue and her Society Syncopators. There’s a point in the show when Moore’s Sweet Sue is at a loss for words but that doesn’t keep her from garnering belly-laughs from the audiences as she pulls her face with with wide-eyed and open mouth exaggerated reactionary looks. A true queen of her craft.

During the show’s Broadway debut, the central trio was played by Christian Borle, J. Harrison Ghee (whose Tony-winning performance helped redefine Daphne), and Adrianna Hicks. The touring company—led by Matt Loehr (Joe/Josephine), Tavis Kordell (Jerry/Daphne), and Leandra Ellis-Gaston (Sugar)—echoes those performances in spirit while continuing to lean into the show’s modern sensibilities. Together, this Tip Tap Trio gleefully steps into the legendary tap shoes of Curtis, Lemmon, and Monroe, while confidently making Josephine/Joe, Daphne/Jerry, and Sugar wholly their own.

Matt Loehr’s Joe/Josephine is a magician of controlled chaos. There’s a joyfulness he brings to the character—a kind of gleeful mischief—that makes the con man’s scheming feel less cynical and more survivalist charm. His performance…part fast-talking opportunist, part wide-eyed dreamer…keeps the audience firmly in his corner even as the lies Joe’s perpetrating become as tricky to maneuver as Josephine walking in those high heel shoes.

Tavis Kordell, in what his bio reveals is his first national tour (talk about diving in headfirst), delivers a Daphne/Jerry that is as charming as it is emotionally resonant. Having had the Broadway cast recording on repeat in the days leading up to opening night in Music City, there’s an undeniable—and frankly uncanny—vocal similarity to J. Harrison Ghee that immediately stands out. But imitation this is not. Kordell makes the role his own, particularly as the story leans into the duality of Jerry and Daphne. What unfolds is less a punchline and more a revelation—one that lands as a genuinely heartwarming triumph.

Leandra Ellis-Gaston’s Sugar Kane arguably comes with the steepest climb. Not because of the technical demands—though those are certainly present—but because Marilyn Monroe’s original Sugar remains so indelibly iconic. Wisely, the creators of the stage adaptation “understood the assignment,” sidestepping imitation entirely. By reimagining Sugar as a strong-willed, career-driven woman of color, the role becomes instantly unshackled from direct comparison—and Ellis-Gaston runs with it. With a speaking voice that lands somewhere between The Color Purple’s Squeak and legendary chanteuse Lena Horne, her Sugar is equal parts vulnerability and resolve. Sweet? Absolutely. But never simple.

As G-man Mulligan, Matt Allen plays the essential “straight man” with surgical precision, anchoring the show’s more outlandish antics while quietly setting up some of its biggest payoffs. As he said in our recent Rapid Fire 20Q, that role is not only necessary but foundational in launching the show’s farcical momentum. And when he finally gets to dip into the madness—particularly in that delightfully ridiculous undercover sequence—it’s a payoff worth the wait.

Devon Goffman’s Spats Colombo walks a delicious tightrope between menace and absurdity, leaning into his character’s 1930 mob boss ways with aplomb. Goffman’s Spats plays beautifully here. After all, who doesn’t love an appealing bad guy?

Minnie, Sweet Sue’s right-hand woman is revealed throughout as a bit of a sticky-fingered gal. One of the show’s running gags is her revelations of accidentally entering the wrong apartments thinking they were Sue’s and taking things that weren’t hers. To that end it makes perfect sense that Devon Hadsell’s Minnie is a scene-stealing delight, leaning fully into the character’s charming chaos and absconding with laughs each time she’s on the stage. There’s a lived-in sense of loyalty and mischief here, making Minnie far more than just comic relief. She’s an essential part of the heartbeat of the band. And that ever-present cigarette dangling from her ruby red lips, the kind of subtle sight gag that again perfectly pays homage to that 1930 prohibition-era Hollywood spirit. Side Note: When that Gregg Oppenheimer I Love Lucy play makes its way to Broadway, Hadsell has my vote for the Vivian Vance/Ethel Mertz role!

And then there’s Edward Juvier’s Osgood, who may just be the show’s most quietly radical reinvention. As he shared in our recent Rapid Fire 20Q, what drew him to the role was Osgood’s ability to lead with curiosity rather than judgment—and that ethos radiates throughout his performance. Where the film played him as the punchline, this version is in on the joke and, more importantly, in on the love. That shift—from caricature to fully realized romantic—becomes one of the production’s most meaningful evolutions.

Director/choreographer Casey Nicholaw delivers a production that feels like a love letter to the Hollywood Golden Age—if that love letter were written in morse code and expressed through tap shoes moving at breakneck speed. The musical numbers burst with big-band swagger, kaleidoscopic staging, and the kind of precision that makes you wonder if the cast has secretly replaced their bones with metronomes. It’s lush, it’s lavish, and it never once lets its foot off the gas. A true high octane delight and I’m not just talking about what’s in Sugar’s flask.

Now, if you read my reviews with any regularity, you know I love an allegorical ography…I frequently describe choreo in such a way…I’ve written about hairography, chairography and even waterography, so when Goffman described Nicholaw’s Tony-winning choreo as door-e-ography, I knew I’d be adding that descriptor to my vocabulary. Here’s the funny thing about that…my date for TPAC’s Opening Night of Some Like It Hot, an actress and dancer herself, who knows my penchant for ography designations, leaned over and said “doorography”–and she hadn’t even read the Rapid Fire 20Q! It’s the farcial slamming of doors, but elevated to movement that’s both comedically guffaw-ensuing and rhythmically pleasing. Gotta hand it to Nicholaw, that’s the first chase scene I’ve ever seen on stage where both the pursued and pursuer are outfitted in tap shoes. Forget running from danger, they’re tap, tap, tapping from it and that makes the chase all the more enjoyable!

As this tour takes its final bow at TPAC, Some Like It Hot proves itself to be more than a nostalgic retread. It’s a reimagined classic that honors its roots while dancing confidently into the present—one high-kick, high-stakes, high-style number at a time.

Catch it while you can. After all, shows like this don’t just close…they exit with a flourish.

Some Like It Hot plays TPAC‘s Jackson Hall thru 26—delivering a fast, funny, and thoroughly modern take on a classic story, with just the right amount of old-school showbiz shine. CLICK HERE for tickets. To follow Some Like It Hot, check out their official site or find them on Facebook, X, Insta and TikTok.

While this may be the end of the road for Some Like It Hot‘s current national tour schedule, TPAC‘s Broadway season continues next with Water for Elephants on stage May 12-17. Then it’s the return of two favorites with Book of Mormon June 2-17 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

Rapid Fire Q&A: Meow Meow Returns to Music City; Kamikaze Cabaret Darling at Oz Arts April 11

April 8, 2026 by Jonathan Pinkerton

As the saying…and lyrics go…“Life is a cabaret, old chum”–and no one embodies that spirit, living life and palling around, quite like the delicious diva Meow Meow. Ahead of her April 11 return to Music City, this time playing Oz Arts Nashville, JHPEntertainment is handing the mic over (carefully…very carefully) for a chat with the one and only exquisite chanteuse for a memorable Rapid Fire Q&A.

———-

RAPID FIRE Q&A WITH MEOW MEOW; AT OZ ARTS NASHVILLE APRIL 11

JHP ENTERTAINMENT: Ok, let’s just dive right in…I keep seeing your show described as Kamikaze Cabaret. Is that a fair descriptor of an evening with Meow Meow?

MEOW MEOW: Well, I certainly give everything I’ve got to every show ! I never want to waste a moment on that stage…with a captive audience !

JHP ENTERTAINMENT: As you prepare to take the stage each night, at what point in your dressing room do you feel fully in Meow Meow mode?

MEOW MEOW: I am always in Meow mode. Stage and Life are the same for me…. I think Shakespeare MAY have put it rather better with “all the world’s a stage”…

JHP ENTERTAINMENT: Of your current set list is there a song that challenges you vocally more than others?

MEOW MEOW: NEVER ADMIT DEFEAT. CARRY ON. KAMIKAZE Cabaret, remember ? I think there is a wonderful attitude ascribed by the playwright Terence McNally to the great opera Diva Maria Callas in his play “Masterclass” : “Don’t TRY, DO” !

JHP ENTERTAINMENT: Your April 11 performance at OZ Arts marks a return to Music City, having previously wowed Nashville audiences in 2022. Is there anything you hope to revisit while you are Nashville?

MEOW MEOW: The audience was sensational. I can’t wait to love and hug them (politely) again!

JHP ENTERTAINMENT: Touring internationally, what do you cherish most about each new city you visit?

MEOW MEOW: How audiences change and how wonderful a flexible form like cabaret is to respond to those changes.

JHP ENTERTAINMENT: In previous interviews you mention drawing inspiration from a wide variety of sources…from Germany’s Weimar Era (don’t worry, my readers can Google it) to the glamour of Hedy Lamar with the avante garde unexpectedness of Dadaism (again, my readers can Google it). What is it about the early 1900s and these stylistic examples that speak to you?

MEOW MEOW: It’s particularly the teens into the 1920’s and 30’s where invention and exploration in music, language ideologies, politics are all smashing up against each other. A fascinating time in the shattered world after the Great War and into the second world war. Everything resonates. There is nihilism and optimism.

JHP ENTERTAINMENT: Let’s be real though…do you think the 1920s could have handled Meow Meow?

MEOW MEOW: Again, I would have said to the 1920’s “don’t try, just DO”.

JHP ENTERTAINMENT: When I learned you were bringing your current show to Nashville, it took me a minute to clue in to why I knew of you…it was your collab with bandleader Thomas Lauderdale on Pink Martini’s 2019 album HOTEL AMOUR, particularly the song “I Lost Myself”. How did your participation in that project come about?

MEOW MEOW: He and I were introduced by a wonderful champion and curator of Arts and Artists – Kristy Edmunds. She just ‘had a feeling’ about the two of together and it was musical and soul connection from the beginning. It’s a constantly inspiring and precious friendship and I’m so grateful for the adventures we’ve had around the world together – from little bars in Portland to major orchestras and the Hollywood Bowl. I love the whole Pink Martini family and we get together whenever we can.

JHP ENTERTAINMENT: More about “I Lost Myself”—with the opening lyric, “I’m hungry, bring me some pills on which to dine”, I was in! Whether campy or classic, teasing or torchy, do you have a lyric in a song that’s in your repertoire that you are absolutely mad about?

MEOW MEOW: SO many. I have to love all of them or I can’t sing them ! I love Patty Griffin’s poetry in her songs – one of my favourites that is like a prayer

“All the girls you will never see

Forever a Mystery

All the Girls with their secret ways

All the Girls who went… astray.

Be Careful”

I love Thom Yorke’s writing for Radiohead. I love Brecht’s lyrics so much..I love Noel Coward !

JHP ENTERTAINMENT: I read something online describing your fan base as a cult following…that got me to thinking…if Meow Meow were a cult leader, would your music or your bawdiness be the kool-aide everyone would drink that drew them in? Or is there something else just as enticing from an evening with Meow Meow? What would your cult followers be called?

MEOW MEOW: I would hope it was my heart and joy and faith in human connection that shines through the music and the mayhem.

JHP ENTERTAINMENT: What would the cult of Meow Meow be called?

MEOW MEOW: I have no idea what the lovers would be called…. But they definitely love to go on an adventure with me. And have very good taste, obviously.

JHP ENTERTAINMENT: Your official site meowmeowrevolution.com (love that web addy name, by the way) teases MERMAID, a new album as ‘Coming Soon’. What’s the skinny?

MEOW MEOW: Oh! It’s actually on Spotify now ! As is the gorgeous album HOTEL AMOUR of songs that I wrote with Thomas and Pink Martini and members of Oregon Symphony, with gorgeous duets with Rufus Wainwright, Michel Legrand, Barry Humphries and the Von Trapp Family singers

JHP ENTERTAINMENT: Looking back on the 2007 High Line Festival, curated by David Bowie—where you took your place among fellow featured artists Arcade Fire, Laurie Anderson, Ricky Gervaiis, The Legendary Stardust Cowboy and more—sounds almost surreal—How did you feel in that moment?

MEOW MEOW: DIVINE

JHP ENTERTAINMENT: From Shakespeare to cabaret to film, your career spans an incredible range—including your role as Griddlebone in the 2019 star-studded film adaptation of CATS (Purrrfectly karmic casting if ever there was). Having gotten to know her a bit myself during her early country music reign, I gotta ask…what was it like working alongside Taylor Swift, in particular, in the “Macavity” number?

MEOW MEOW: Ah yes the hilarious brief moment ! She is heaven. Divine, professional, warm , and there is seriously a ray of something magical that emanates from her. She was like a special shining sun! I loved her.

JHP ENTERTAINMENT: You’ve cited comedy influences from AbFab, Dawn French & Jennifer Saunders and Lucille Ball. Gotta admit it, these mentions are just more reason to adore you as I’ve been an AbFab devotee since getting my hands on bootleg episodes before it ever made it was across the pond officially, and I have an extensive collection of Lucille Ball material. Heck, my dog is even named Lucille Desirée Ball Pinkerton—Desilu for short, but I digress…What is it about those legendary ladies of comedy and their broad style that resonates with you?

MEOW MEOW: They have funny bones, they are all their own singular creatures and they are brilliant observers of humans – and themselves . There is joy in the play of performance and they are part of the ridiculousness. All so different but so special.

JHP ENTERTAINMENT: Your shows are known for pulling audience members into the performance—sometimes as dancers, props, even furniture. What do you love most about that unpredictability?

MEOW MEOW: That’s life isn’t it ? We all need a little help from time to time… let’s see if people jump in or get scared. Im reaching out the metaphorical hand of friendship as it were. I may never even go near the audience in a show, but I like to feel we are all connected. It should be fun and full of LIFE and changeability and we should all celebrate being alive together in the room – it’s always a miracle !

JHP ENTERTAINMENT: On the subject of unpredictability—How do you handle it when an audience “volunteer” just isn’t matching the vibe?

MEOW MEOW: I don’t always ask for volunteers – it depends on the show – and I NEVER want anyone to help me if they would rather just be an onlooker. That’s bullying and I hate that. I just walk on by if people indicate. Everyone should have a great time and just feel good. The show is about the music and the fun !

JHP ENTERTAINMENT: Finally, what do you hope audiences recall long after spending the night with Meow Meow?

MEOW MEOW: I hope they can’t wait for us to visit again !!!

———-

If there’s one thing abundantly clear after a whirlwind conversation with Meow Meow, it’s this: a night in her presence isn’t just a performance–it’s a shared act of joyful defiance, connection, and beautifully orchestrated chaos. Equal parts heart, humor and unpredictability, her brand of kamikaze cabaret invites audiences not just to watch, but to feel, to laugh and maybe even leap a little into the unknown right alongside her.

When Meow Meow returns to Music City on April 11 at Oz Arts Nashville (6172 Cockrill Bend Circle) for her 8pm show, expect the unexpected…but also expect to leave a little lighter, a little more alive, and already hoping–just as she does–that it won’t be long before she’s back to do it all over again. At the time of this writing, Premium Table Seating has SOLD OUT, but a few General Admission tickets are still available at $40. As usual, Oz Arts Nashville also offers Artist & Creative Community tickets for $30. CLICK HERE for more info or to purchase tickets.

For the latest on Meow Meow, CLICK HERE or follow her on Insta and Facebook. To check out Meow Meow’s music, check her out on Spotify, Apple Music and Amazon Music. To keep up with all things Oz Arts Nashville, follow them on Facebook, X, YouTube and Insta.

As always, If you want to read our latest on Music, Movies, Performing or Visual Arts, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!