National Tour

Theatre Review: Timeless Classic Finds New Meaning in Beautifully Sung ‘The Sound of Music’ National Tour; at TPAC thru Sunday, October 18

October 15, 2026 by Jonathan Pinkerton

Jack O’Brien’s touring production of Rodgers and Hammerstein’s beloved musical The Sound of Music at TPAC thru Sunday, October 18, delivers gorgeous vocals, grand theatrical storytelling and a timely reminder that love, hope and the courage to stand up for what’s right never go out of style.

Sharing a birth year (yes, I’m that old) with the iconic film adaptation I’ve watched the movie version of The Sound of Music pretty much every year of my life. I’ve seen previous national tours, along with numerous regional and local productions over the years. So, admittedly, I, like most, arrived at TPAC’s Jackson Hall with all the familiar melodies, memorable characters and iconic moments already tucked away in my memory. But something rather wonderful happened this time around: I found myself really listening to the lyrics. And in doing so, I discovered a fresh appreciation for a nostalgic family favorite I thought I knew inside and out. My date for the evening, a huge fan of the film, had never seen the original stage musical, adding another layer to our evening, as she discovered songs omitted from the film that remain in this faithful return to the hills. And, yes, in case there’s any doubt, the hills are indeed still alive with The Sound of Music.

That’s the magic of Rodgers and Hammerstein’s legendary work. Beneath the songs we can practically sing in our sleep is a story with a great deal more on its mind than nuns, children, curtains-turned-playclothes and a certain troublesome case of the yodeling goats. This is a story about finding where you belong, learning to love when life takes an unexpected turn, protecting the people who matter most and finding the courage to stand up for your convictions when doing so comes at a cost.

The current national tour, directed by Jack O’Brien, delivers all the warmth, romance, humor and heart audiences expect, while allowing the show’s more serious themes to resonate without weighing down its infectious spirit. It’s an uplifting theatrical experience, beautifully sung and staged with the sort of attention to detail that makes spending an evening with an old favorite feel like a genuinely special occasion.

At the center of it all is Cayleigh Capaldi as Maria, the spirited postulant whose restless nature and love of music make her a less-than-perfect fit for convent life. Perhaps looking more like our ideal of Beauty and the Beast‘s Belle than the embedded Julie Andrews image many have of Maria Rainer, Capaldi brings an appealing freshness to the role, capturing Maria’s exuberance, vulnerability and determination without turning her into a one-note bundle of sunshine. Her vocals are lovely. More than lovely, she approaches the beloved tunes with vitality and she handles the score’s familiar melodies with warmth and clarity, Immediately making Maria her own. Whether she’s introducing the von Trapp children to the joys of singing or discovering that her own heart has plans she never anticipated, Capaldi makes Maria’s journey feel sincere and relatable. There’s a reason this character has enchanted generations of theatergoers, and Capaldi gives us plenty of reasons to fall for her all over again.

Kevin Earley is equally compelling as Captain Georg von Trapp. Initially stern and emotionally guarded, Georg has built his household around discipline and order in the wake of personal loss. Earley gradually reveals the tenderness beneath that carefully maintained exterior, allowing the captain’s transformation to unfold naturally rather than rushing toward the inevitable romance. His chemistry with Capaldi gives the relationship a convincing emotional foundation, and his performance of “Edelweiss” is a particular highlight. It’s a deceptively simple song, but in Earley’s hands it becomes a crystal clear, heartfelt expression of love for a home and a country whose future is growing increasingly uncertain. Listening to those lyrics in the context of the story gives the moment an emotional weight that’s easy to overlook when the melody is so familiar. Add to that the current state of our own tenuous political climate and it creates a moment all too real.

Then there’s Lisa Howard as the Mother Abbess. Having only recently joined the tour last month, Howard brings a commanding presence and goosebump-inducingly beautiful vocal power to the role. Howard understands that the Abbess is more than a wise spiritual guide who appears to dispense a bit of well-timed advice. She is a woman who recognizes Maria’s gifts and knows that a life of faith sometimes requires trusting the path that leads beyond the convent walls. Howard’s “Climb Ev’ry Mountain” is a stirring showcase, delivered with the kind of soaring, full-bodied vocals that make you want to sit back and let the music wash over you. It’s one of those numbers that reminds you why hearing a great musical performed live is an experience no movie soundtrack can quite duplicate. I have a confession for the Mother Abbess. Listening and watching her command that stage…and the audience in one of the show’s more personal moments, I was awash with emotion, so much so that my “eyes began to sweat”.

As Elsa Schraeder, Kate Loprest brings welcome dimension to the Baroness, Georg’s sophisticated, gorgeous and wealthy romantic interest. In the hands of lesser talent, Elsa could easily be played as the obstacle standing between the captain and Maria, but Loprest gives her intelligence, polish and a very human understanding of what she wants from life. There’s a believable charm to her performance, and she makes Elsa more than a convenient plot device. Nicholas Rodriguez is also a delight as Max Detweiler, the charming, opportunistic family friend whose wit and social savvy provide some welcome comic relief. Rodriguez gives Max plenty of personality, balancing his playful nature with an awareness of the increasingly dangerous political climate surrounding them. Perhaps it’s my own observation, but as presented this go-round, Max’s flamboyance is giving closeted, making his political leanings yet another layer. It’s also most hidng in plain sight or if you can’t be ’em, join ’em vibe. Still another mirror to today’s world and the ever-perplexing Log Cabin Republican.

Ariana Ferch brings a lovely combination of youthful excitement and vulnerability to Liesl, the eldest von Trapp child. Her performance of “Sixteen Going on Seventeen” captures the dizzying thrill of first love, even as IYKYK audience members may recognize that the romance she imagines is not quite as straightforward as she hopes. The number is a charming highlight, and Ferch makes Liesl’s coming-of-age story an engaging part of the larger family portrait. But that’s not the extent of Ferch’s approach to the eldest von Trapp. Her initial hesitation to foster a relationship with the latest governess seems genuinely to come from a place of a guarded heart, rather than a spoiled oldest child, making the eventual mutual respect and friendship she shares with Maria all the sweeter.

As Liesl’s would-be young suitor, Dylan Bradford‘s Rolf manages to portray both falling in love and falling in line with conviction. Again, though most watching know their relationship is doomed, Bradford and Ferch are so compelling in their portrayal of young love that we all hope against hope that love will inevitable win out.

And what would The Sound of Music be without the rest of the von Trapplings? (YES, I completely stole that moniker from my recent chat with Earley who used it in reference to his young costars in my latest Rapid Fire 20Q with members of the company) Each and every one of the young performers bring plenty of personality and enthusiasm to the production, creating a convincing sibling dynamic that helps the family feel like a family rather than a collection of talented youngsters waiting for their musical cues. Cooper Johnson‘s Frederich shows eagerness to step up into the man of the family role, yet retains a youthful uncertainty. Lilly Belle Lanese‘s Louise possesses one of the most incredible voices of the younger cast. As Kurt, Charlie Palmer‘s playfulness infectious. Stormie Piper Trevino‘s little instigator, Brigitta, whose observances become pivotal to the romantic rise, is a firecracker. Rory L. Prichard‘s Marta exemplifies the sweetness of a young girl eager to bond with her new governess. Emma Rose Marinoff‘s Gretl is a pint-size scene stealer. “Do-Re-Mi” is every bit as delightful as it should be, while “So Long, Farewell” delivers that irresistible blend of playfulness and charm that has made it a perennial audience favorite. The children are an essential part of the show’s charm, and this ensemble gives the musical plenty of heart.

Among the supporting performances, Laura Stracko makes a welcome impression as Frau Schmidt, the von Trapp household’s housekeeper. Having joined the tour recently following her recent stint in the National Tour of Suffs, she seamlessly brings a grounded, reassuring presence to the household, helping establish the everyday rhythms of life in the estate as the world outside grows more complicated. And, listen, even from the back of the house, when Stracko’s Frau Schmidt throws a disapproving glance, you feel it. As Franz, the von Trapp family butler, John Adkinson is the perfect combination of snark and secrecy as his loyalties shift from the family to the third reich. Daniel Robert Sullivan gives Herr Zeller the sternness and self-assurance the character requires, providing a chilling reminder that the political threat developing around the family is not merely something happening in the background. Sullivan’s Herr Zeller is brutish without stepping into stereotype or caricature. These roles may not command the spotlight in the same way as Maria or the captain, but they contribute meaningfully to the world of the show.

Oh, and can we talk about The Sound of Music‘s very own Sister Act? Alongside the aforementioned Lisa Howard as Mother Abbess, Charlotte Jenkins as Sister Margaretta, Connor Lyon as Sister Sophia and Lisa Rosetta Strum as Sister Berthe are, well, heaven-sent! When the curtain rose at the top of the show and the sisters began “Preludium”, I leaned over and to my theatre companion and said, “I usually skip this part when watching the movie”, but I’m here to tell you…live, on stage, as performed by these talented vocalist, it’s breathtaking. Bookended by the show’s closing “Finale Ultimo”…a little taste of perfection from beginning to end.

The production values are every bit as transporting as the score, with scenic designer Douglas W. Schmidt delivering the kind of grand, sweeping backdrops that call to mind the glory days of old-school Broadway musicals. The Abbey and the von Trapp estate are especially impressive, each establishing a distinct sense of place while giving the story room to unfold on an appropriately expansive scale. Even the movement of the tracked scenic panels, as walls follow actors to transition from one scene to the next, is impressive.

Even the use of projected backdrop imagery is woven into the scenery so seamlessly that it never feels like a technical shortcut; instead, it deepens the atmosphere and makes each setting feel wonderfully alive. One particularly beautiful touch comes inside the Abbey chapel, where shafts of smoky, ethereal light appear to stream through the stained-glass windows. The effect is so convincing and so naturally integrated into the scene that you could easily mistake it for actual light filtering through real glass rather than a carefully crafted theatrical illusion. It’s a lovely example of how the work happening behind the scenes can create a little stage magic without ever calling attention to itself. It’s also a testament to the advances in technical aspects made since the show debuted on stage more than 65 years ago, and how they are being used to bring this story to modern audiences. That’s not to downplay Natasha Katz’s actual lighting. Katz’s skilled traditional lighting effects, blended with the latest advances in tech add dimension and atmosphere, enhancing both the intimate moments and the production’s larger theatrical images, Jane Greenwood’s costumes help establish the characters and their world, from the formal elegance of the adults–I’m looking at you Baroness–to the practical, playful outfits that become part of Maria’s transformation of the children’s lives. Under O’Brien’s direction, the various elements work together to create a polished, engaging production that understands the importance of spectacle while never losing sight of the people at the center of the story.

Of course, the music remains the beating heart of The Sound of Music. “My Favorite Things,” “The Lonely Goatherd,” “Climb Ev’ry Mountain,” “Edelweiss” and the title song are woven so deeply into popular culture that it’s easy to take them for granted. Yet hearing them performed live, in the context of the story and by a cast that embraces both their musical demands and emotional meaning, brings them back into focus. Elevating the experience, there’s also tunes like “How Can Love Survive?” and “No Way to Stop It” that were cut from the 1965 movie, but are in full effect in the stage musical, potentially giving even the most ardent fan of the film something new to add to their list of favorite things. Added Bonus: both of these numbers feature Max and Elsa, rightfully bolstering their presence in the action of the musical. The score is full of melodies that invite you to sing along, but the lyrics also tell us who these people are, what they fear, what they hope for and what they’re willing to risk.

That deeper meaning becomes especially apparent as the story moves toward its final act. The von Trapps’ decision to resist the forces attempting to claim their allegiance gives the musical a seriousness that contrasts with its earlier buoyancy. I gotta admit it, during the singing competition near the end of Act 2, while the von Trapps poured their hearts into “Do-Re-Me” and “Edelweiss” with four Nazi flags as the backdrop, another emotional wave washed over me, for are we really so far from a repeat? As it is in the story, sadly, so is the current state of our world. The danger is real, the choices are difficult, and the family’s escape is about much more than reaching a safe destination. It’s about deciding what kind of people they want to be and what they are prepared to sacrifice to remain true to themselves.

And that, perhaps, is why The Sound of Music continues to speak to audiences across generations. Its optimism isn’t rooted in pretending that the world is always kind or that doing the right thing is easy. Instead, it suggests that music, love, family and personal conviction can help us find our way through even the darkest moments. That’s a message worth hearing again, especially when a production gives us so many reasons to listen.

I went into this performance expecting to revisit a familiar favorite. I left with a renewed appreciation for the songwriting, the story and the remarkable ability of live theater to reveal something new in material we think we already know. With its standout vocal performances, impressive scenic design, charming ensemble and generous supply of heart, this national tour offers a thoroughly satisfying evening of musical theater. If, like me, you’ve watched the movie more times than you can count, consider this an invitation to experience The Sound of Music again—but this time, really listen. You may find that those beloved songs have a few new things to tell you. YES, the hills are still alive, and this production gives us every reason to be glad they are.

The national tour of The Sound of Music continues in Nashville at TPAC’s Jackson Hall thru Sunday, October 18, 2026. Performance schedule is as follows: Thursday, October 15 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning 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 the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.

Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. 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.

Rapid Fire 20Q: Cast Members of ‘The Sound of Music’ National Tour Share Insights on Being Part of One of Theatre’s Most Beloved Musicals, Their ‘Favorite Things’ and more; at TPAC This Week

October 12, 2026 by Jonathan Pinkerton

Few musicals have found a permanent home in the hearts of audiences quite like Rodgers and Hammerstein’s The Sound of Music. The beloved family musical premiered on Broadway over 65 years ago, introducing generations to a story of love, courage, family and the transformative power of music. With an unforgettable score featuring “My Favorite Things,” “Do-Re-Mi,” “Edelweiss” and its iconic title song, this timeless classic continues to remind us why certain stories never lose their ability to move us.

Now, the current national touring production directed by three-time Tony Award winner Jack O’Brien is bringing the cherished musical to a new generation of theatregoers. The production follows Maria, a spirited young postulant whose arrival in the home of Captain Georg von Trapp changes the lives of seven children — and their father — forever, even as the political climate in Austria threatens everything they hold dear.

The national tour arrives in Music City for a limited engagement at Tennessee Performing Arts Center’s Jackson Hall October 13–18, 2026. For this edition of JHPENTERTAINMENT’s Rapid Fire 20Q, I caught up with four members of the touring company: Kevin Earley, who portrays Captain Georg von Trapp; Kate Loprest, who plays Elsa Schraeder; Laura Stracko, who brings Frau Schmidt to life; and Daniel Robert Sullivan, who portrays Herr Zeller while also understudying the Captain.

From the emotional weight of “Edelweiss” and the complexities of their characters to life on the road, favorite backstage pastimes and the enduring relevance of this musical classic, these four performers offer a glimpse into the people helping keep The Sound of Music singing.

RAPID FIRE 20Q WITH CAST OF THE SOUND OF MUSIC NATIONAL TOUR

RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY

JHPENTERTAINMENT: They say never to work with animals or children. Captain von Trapp is surrounded by seven von Trapp children who are as much a part of his journey as any adult character. What has it been like working with the young performers playing your children night after night, and what have they brought to the family dynamic that perhaps surprised you?

KEVIN EARLEY: I’m glad you brought up the Vontrapplings. That’s our nick name for them. The young performers in our production are so talented, kind and professional. It makes me proud to know that the future of theater and live storytelling is safe in each one of there hands. They are focused, dedicated and relaxed. Even though they have school on most days, they still come in with such energy every single show.

They are also, at their core, just kids. And it’s great to work alongside them. They give a freshness to each other and me as their “Stage Dad” each and every show. I am constantly surprises at their creativity and commitment.

JHPENTERTAINMENT: “Edelweiss” gives Georg one of the production’s most poignant moments — and one of the few opportunities we get to hear the Captain sing from such an intimate, vulnerable place. What does singing “Edelweiss” mean to you as Georg, and how do you approach making that deceptively simple song emotionally resonate?

KEVIN EARLEY: Standing up for one’s beliefs with history, family and country are all infused into “Edelweiss.” As a song, it’s a simple melody that lulls the listener in a sense of peace, but when placed against the backdrop of Austria being invaded and annexed by Germany and the Third Reich, it tells a different story. A story of courage, hope, loss, love and anger.

My approach to the song was deepened by Jack O’Brien’s brilliant direction in the moments before the Captain sings. In this unique production, we see the Captain take in the menacing German flags for the first time. He looks upon the Auditorium Festival filled with the invading Germans sitting side by side with his fellow countrymen. He then decides… chooses, to sing a different song than the one he was asked to sing. He chooses “Edelweiss” because it represents what he believes are his homeland’s core values; peace, innocence, hope and freedom. That is a lot to expect of one song, but I do my best.

JHPENTERTAINMENT: Georg begins the story as a stern, seemingly unyielding patriarch before gradually allowing music — and Maria — to bring him back to the family he has emotionally shut out. What has been your favorite part of discovering that transformation over the course of the show?

KEVIN EARLEY: The journey starts with grief. It affects us all differently and the Captain is no exception. After the tragic loss of his wife, he retreats into what he feels he can control in order to keep his children safe. That’s where I start the show. We all experience grief uniquely, and we all need someone to help us through. It could be your spouse, who helped me, or a therapist, a friend, family member or a total stranger who sings your way back to joy and happiness. Maria does that for the Captain without him even knowing. Music is magic. When I get to sing for the first time in the show “The Sound of Music”, it opens my heart and brings me such joy. It’s the next step in his healing and moving forward.

JHPENTERTAINMENT: You are the first of four cast members I’m chatting with for this particular Rapid Fire 20Q, so I gotta ask…What are a few of your personal “favorite things” when not on stage?

KEVIN EARLEY: Easy question. My wife, music and of course golf. I love to golf. I try and play at least 2 rounds of golf in each city I visit. I wish I could play more but the show must go on.

JHPENTERTAINMENT: You share the stage with two very different but equally important women in Georg’s story — Cayleigh as Maria and Kate as Elsa. What is it like having these two leading ladies as your scene partners, and how do their individual approaches to Maria and Elsa shape your performance as Georg?

KEVIN EARLEY: Firstly, I could not have asked for better scene partners and friends on this tour. They have both, as well as the rest of the cast, been a delight and a thrill to work with and get to know. We approached this “triangle” a bit differently than most productions. Letting Elsa and Georg’s courtship troubles to stand on their own and not turn into a “he’s in love with another woman” trope.

On paper, the Elsa and the Captain look like a perfect match, especially for Max who gets to ride on their coattales. In the end however, they have very different political and philosophical views of the world. This is what ultimately ends the relationship, not some love triangle. This makes more of a compelling and poignant story. Especially today when we have families, friends and neighbors who are deeply divided over politics. That makes it even more relatable. It’s slightly different than the movie but makes my relationship between the two unique and not entwined.

RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST

JHPENTERTAINMENT: Before we get going, I have to thank you…Seventeen years ago, we chatted for one of my first Rapid Fire 20Qs when you were touring the country as Nellie Oleson in Little House on the Prairie: The Musical. Now you’re touring as Elsa Schraeder in The Sound of Music. So, let’s settle an important question: who’s more self-involved and manipulative — Elsa or Nellie?

KATE LOPREST: First of all, thank YOU! What a lovely full circle experience getting to speak with you again. Easy answer: Nellie. Nellie has never had checks and balances in her life. She was raised in abundance with no consequences. If you want manipulative and self-involved in The Sound of Music, look no further than Max Detweiller.

JHPENTERTAINMENT: Elsa arrives believing she understands exactly what she wants from Georg — and exactly how to get it. What do you find most delicious about playing a woman who is sophisticated, socially savvy and absolutely not accustomed to hearing the word “no”?

KATE LOPREST: Most people are surprised to learn that the movie version of The Sound of Music predates the original Broadway musical. We are celebrating the 65th Anniversary of that Broadway show on this national tour. Audiences are also surprised to learn that the original libretto is quite different from the movie. The most significant differences involve the characters of Elsa and Max. You won’t be getting Elsa “the villain” in our production. There is no evidence of that in the original libretto. After all, isn’t the story a little bit more delicious if Elsa is, in fact, a good match for Georg?

JHPENTERTAINMENT: Elsa may not have a “Climb Ev’ry Mountain” moment of her own, but she certainly has her own emotional journey. What do you hope audiences understand about Elsa beneath the polished exterior and her seemingly effortless confidence?

KATE LOPREST: My job isn’t to make Elsa likeable; it is my job to portray her with honesty. Our director, Jack O’Brien, asked us on day one of rehearsals to take nothing for granted and to investigate every minutia. What we’ve found is that Elsa is not only deeply complex but incredibly relatable. To me, Elsa is a love letter to women of a certain age who are trying to balance it all: wife, mother, lover, leader. I’m very proud to play her and I hope audiences walk away from our production with a new perspective on her.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what is one favorite thing that’s a must-have while on tour?

KATE LOPREST: My crochet hooks. One of our cast members taught me late last year and I’m completely taken with it. In a very long run, like the one we are in, it’s wonderful to have a hobby that works the hands and the brain. Plus, gift-giving is my love language, so I’ve really enjoyed sending scarves, hats, and flower slings to friends and family across the US.

JHPENTERTAINMENT: Elsa may not be the woman Georg ultimately chooses, but she certainly makes an impression during her time at the von Trapp villa. Whether it’s your own, or someone else’s, what’s a favorite moment from the show?

KATE LOPREST: Elsa has a relationship with each of the von Trapp children – after all, she is going to be their new mother. I’ve worked several moments of that into my performance, but my new favorite is one between Louisa (played by Lilly Belle Lanese) and me. Maria has left suddenly, Louisa tries to express the children’s sadness, and Georg quickly cuts her off. I always slip over to her, put my arm around her shoulder, and tell her that I’m sorry about Maria. It’s a wonderful moment of connection and I look forward to each performance. This is my third time playing the role of Elsa in my career and my second year with this national tour, and I’m still finding new things all the time.

RAPID FIRE WITH THE SOUND OF MUSIC‘s FRAU SCHMIDT, LAURA STRACKO

JHPENTERTAINMENT: In my JHPENTERTAINMENT review of last year’s Suffs National Tour, I dubbed your performance as the socialite Alva Belmont “boisterously brilliant.” In that same vein, if you had to give Frau Schmidt two alliterative adjectives of her own, what would they be — and why?

LAURA STRACKO: I love those words for Alva! I am so glad I got to spend a year with her to discover so many notes, thank you for seeing that in her. For my gal Schmidt I’d have to say “masterfully meticulous!” She is the very best at what she does, and she knows it. Absolutely nothing will stand between her and an organized household.

JHPENTERTAINMENT: Frau Schmidt is one of a handful of non-singing roles in one of the most beloved musicals of all time. What is the particular challenge — and perhaps the delicious freedom — of creating a memorable character in a show where nearly everyone around you gets to sing some of the most recognizable songs in musical-theatre history?

LAURA STRACKO: I find a lot of joy in this role, it can be liberating when there is no expectation to uphold! I have landed on a physicality with her that is akin to a duck – calm and smooth on the surface while paddling like crazy underneath. Additionally, Frau Schmidt is incredibly important, every time she is onstage she is bringing new and meaningful exposition for the audience. So while she may be supporting, she is doing so in a big way, and I am proud of that.

JHPENTERTAINMENT: In my twenty years of covering theatre, I’ve learned that many actors approach their roles by creating their own backstory in their minds. What have you discovered about Frau Schmidt that isn’t necessarily spelled out in the script but has helped you build her character?

LAURA STRACKO: I have to give credit to Jack O’Brien, Matt Lenz, and Anthony Daniel for this, there is a very rich backstory for Frau Schmidt. As we learn early in the show, the children have been without a mother for a few years, having only governesses instead. The seed that was planted for me is that I have been with this family and this household for a long time, probably decades, and I was very close with the mother. Caring for the children and home is a personal promise I made to her a long time ago. What I like to think is that, in between governesses, as the children navigate life and their father does too, I have been their constant. I see myself as the glue that has helped hold this home together in their mother’s absence. I also like to think that my service is generational, that my family has always been employed by the von Trapp family, so I take great pride in my position.

JHPENTERTAINMENT: As mentioned above, earlier this year visited TPAC with the Suffs National Tour, and now you’re returning to Music City with The Sound of Music. Is there anything you’re hoping to introduce your new touring cohorts to while you’re back in Nashville — a favorite restaurant, local haunt, or perhaps one of the city’s many theatrical treasures?

LAURA STRACKO: Oh Nashville is one of my favorite cities! Of course we had incredible tours of The Hermitage Hotel and the State House with Suffs, and I am looking forward to revisiting those with my current cast members. Beyond that, I am excited to check out Dolly’s new hotel and museum that just opened, brunch at Countrypolitan, getting some steps in at Category 10, and eating bbq. One week just isn’t enough time, so we’ll be soaking up all the live music and good times that we can!

JHPENTERTAINMENT: IF my research proves correct, you only recently joined the tour in early September. One month in, how much are you loving being part of such a beloved classic musical?

LAURA STRACKO: Yes! I closed Suffs in August, and had three weeks off before joining this company. There’s something special about doing a show that means a lot to people. The familiarity and comfort that come with The Sound of Music encourages people to join us, but then Jack’s direction of the show gives them a fresh perspective to take home. I feel so lucky to get to do what I love each day, and to be a small part of a beautiful evening at the theatre!

RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN

JHPENTERTAINMENT: Herr Zeller represents the increasingly threatening political reality closing in around the von Trapp family. What have you found most interesting about playing the villain of the piece, particularly in a musical whose heart is so firmly rooted in family, love and resistance?

DANIEL ROBERT SULLIVAN: What fascinates me about Zeller is that he never thinks he’s the villain. He walks into that house completely sure he’s on the right side of history, and that certainty is what makes him frightening. Every night I get to be the cold draft blowing through all that warmth, and the colder I play it, the brighter Maria and the family shine. It’s a real gift to be the character that lets an audience see how strong the von Trapp family had become.

JHPENTERTAINMENT: Zeller can easily become a one-dimensional authoritarian figure, but every compelling villain needs something more beneath the surface. What choices have you made to give Herr Zeller dimension while still making his intentions and allegiances unmistakably clear?

DANIEL ROBERT SULLIVAN: I play him as a man who’s demandingly good at his job and proud of it. Zeller is direct and moves quickly, and he really does want the Captain on his side, so the menace lives in how fast he is able to force the Captain’s hand. I hold onto that speed and never lose control. This character is scary because he barrels ahead with a dangerous allegiance, and I want people to recognize him because men like Zeller didn’t disappear in 1938.

JHPENTERTAINMENT: You also understudy Captain Georg von Trapp, which means you’re preparing to inhabit two very different men on opposite sides of the story. What is the biggest challenge — and the greatest theatrical treat — of having both Herr Zeller and the Captain in your repertoire?

DANIEL ROBERT SULLIVAN: The hard part is that these two men want opposite things in the very same rooms, so I have to keep two completely different sets of instincts ready to go. Zeller pushes hard, and the Captain has to decide what he’s willing to lose by pushing back. In real life, the von Trapps really did sacrifice their entire way of life in order to push against fascism.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what are some of your favorite things about this particular Sound of Music experience — whether it’s something about the company, the score, the audiences, or the wonderfully chaotic life of a national tour?

DANIEL ROBERT SULLIVAN: Hearing that score played live every night still gets me! What an orchestra we have! My other favorite thing on tour is having some quiet time to write, whether it’s at a hotel desk or in a dressing room between shows. I’m really proud of a book I wrote while touring with another show, Braving the Bronx River, which is out now. And these days what I’m most excited about is my new solo holiday play, since I’ve recently acquired the dramatic adaptation rights to the New York Times bestseller, The Santa Claus Man. It’s the inspiring true story of real letters children sent to Santa in 1913, and you can follow along at DanielRobertSullivan.org.

JHPENTERTAINMENT: What do you hope audiences take with them after seeing this particular production of The Sound of Music?

DANIEL ROBERT SULLIVAN: I hope they leave remembering that standing up for what’s right is something ordinary people do, sometimes armed with nothing but a song. The von Trapps were a regular family who refused to look away when it would have been so much easier to go along. (And to any young performer out there who dreams of doing this, I’ve been touring for about twenty years and I still learn something every single night, so keep at it!)

As Kevin Earley, Kate Loprest, Laura Stracko and Daniel Robert Sullivan illustrate in this Rapid Fire 20Q, there are always new layers to discover in a familiar story — whether it is a father finding his way back to his children, a woman whose motivations deserve a closer look, a housekeeper who quietly holds a family together, or a villain whose certainty reveals the danger of unquestioning allegiance. The national tour of The Sound of Music plays TPAC’s Jackson Hall in Nashville October 13–18, 2026. Performance schedule is as follows: Tuesday, October 13 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)

Theatre Review: OH, WHAT A NIGHT! JERSEY BOYS Still Has the Magic 20 Years Later; at TPAC thru Sunday as National Tour continues

September 18, 2026 by Jonathan Pinkerton

There are shows you see once and check off the list. Then there are shows that keep pulling you back, year after year, like some sort of particularly catchy musical siren song. For me, Jersey Boys is definitely the latter. Now onstage at TPAC‘s Jackson Hall thru Sunday, September 20 as the 20th Anniversary National Tour continues, attending the show’s second night in Music City marks the sixth time in 20 years I’ve seen it—and my third time seeing it at Tennessee Performing Arts Center. So, yes, I know when the songs are coming, I know where the laughs are, I know where the story is going…and I still found myself completely caught up in the ride.

That may be the greatest compliment I can give Jersey Boys: after six times, it still works. Officially kicking off just last week in Syracuse, this national tour arrives with an interesting distinction. While the 20th Anniversary Tour is a non-Equity production, the creative forces behind the original phenomenon remain very much in charge. Des McAnuff, the show’s original director, is back at the helm, while Sergio Trujillo, whose original choreography helped define the production, returns with his original choreography. I mention the non-equity status because a non-equity tour can, occasionally, be scaled-down considerably from a show’s Broadway run. Perhaps, because this tour has been so hands-on with the full cooperation of the original creative forces, this incarnation doesn’t feel like any expenses were spared, no corners were cut and no holds barred for this landmark anniversary tour. For the show’s two and a half hour runtime, I’m confident that the entire audience at TPAC would tell the cast our eyes and ears adored them!

This isn’t just another jukebox musical. This is a show with some serious hardware in its trophy case: the Tony Award for Best Musical, the Laurence Olivier Award for Best New Musical and the Grammy Award for Best Musical Show Album. Twenty years after its Broadway debut, it doesn’t take long to see why.

The genius of Jersey Boys has always been its storytelling structure. The show cheekily divides itself into Spring, Summer, Fall and Winter, giving a knowing wink to the name of the group while providing four distinct chapters in the lives of The Four Seasons.

Spring gives us the genesis—the young men, the dreams and the unlikely beginnings. Summer is the rocket ride, as the group discovers fame, fortune and what happens when those little songs they’ve been working on suddenly become enormous hits. Fall brings the cracks in the foundation: personal conflicts, financial problems, uncertainty and the realization that success can be every bit as complicated as failure. Then comes Winter, with its reflection, loss and the ultimate accolade: The Four Seasons’ 1990 induction into the Rock and Roll Hall of Fame. Not bad for some kids from Jersey.

The cleverness of that four-season structure isn’t merely branding. It gives the show a natural dramatic progression while providing one of those delightful little theatrical winks that Jersey Boys is so good at delivering.

Of course, you can’t talk about Jersey Boys without talking about the music. And in the vernacular of the Jersey Boys, holy f’in jukebox, is there a lot of it. The production packs more than 30 songs, and this cast nails the vocal demands with the kind of precision that makes The Four Seasons’ famously distinctive sound seem effortless.

The Four Seasons’ musical catalog is so deep—they had 40 songs land on the Billboard Top 40—that there simply isn’t enough room in one musical to accommodate all those hits. The Playbill acknowledges that problem in particularly delightful fashion, with a footnote titled “The Ones That Got Away,” recognizing more than a dozen additional Four Seasons and Frankie Valli bangers that didn’t make the final cut.

But it’s not simply the quantity of the songs that makes this production sing. It’s the quality of the vocals. Audiences arrive knowing exactly how these songs are supposed to sound, from Valli’s unmistakable falsetto to those intricate Four Seasons harmonies.

This cast understands that assignment.

As Frankie Valli, Coby Oram delivers the vocal precision you’d expect from a performer stepping into one of pop music’s most distinctive voices, but there’s also a strong emotional dimension beneath the falsetto. Valli isn’t simply the guy who sings the really high notes; we’re watching a young man grow into the person who ultimately has to carry the group forward. Oram is equally adept at hitting the high notes as he is knocking it out of the park during the show’s more tense relationship moments whether exploring his fractured family dynamic or the never-ending allegiance to his fellow hitmakers.

Peyton Schoenhofer brings youthful energy and confidence to Bob Gaudio, the songwriter whose creative contributions helped fuel the group’s remarkable run. His Gaudio possesses just the right combination of ambition, talent and youthful uncertainty. Schoenhofer exemplifies a great balance of Gaudio’s seemingly more sheltered upbringing–compared to the a couple of the other boys, who racked up police records before platinum ones–with an unexpected business savvy that would be a key element in his relationship with Valli.

Harry Sperduto makes Tommy DeVito an entertainingly combustible force, bringing plenty of swagger and humor to a character whose ambitions ultimately come with a steep price. Tommy can be charming, funny, infuriating and reckless—and Sperduto keeps all of those qualities in play without reducing DeVito to a cartoon gangster. You know he’s good when, time after time of screwing over his bandmates, the audience still feels for him and cheers both his misdeeds and his achievements.

Owen McCredie gives Nick Massi the quietest member of the quartet a genuine presence, allowing us to understand the man beneath that reserved exterior. There’s a dry wit and simmering frustration beneath Nick’s reserved exterior, and McCreedie lets those qualities emerge naturally, making Nick’s eventual departure from the group on of the evening’s more effective moments. McCredie doesn’t let get lost amid all those bigger personalities, he crafts a careful, thoughtful presence. While Valli’s falsetto might have made him the bigger star, McCredie’s booming bass voice as Massi is swoon worthy.

Together, the four are a cohesive, convincing unit—and that’s crucial. The Four Seasons weren’t four soloists who happened to stand next to each other. Their magic was in the blend. This cast gets it.

While the primary focus is of course on the aforementioned quartet, one of the strengths of this production is that Jersey Boys doesn’t treat its four principals as the only people worth watching. Andrew Sattler makes an especially memorable impression as Bob Crewe, bringing a larger-than-life theatricality to the eccentric producer and lyricist who becomes such an important part of the group’s story.

Nicholas Dion Reese gets the evening off to an energetic start with an updated, internationally flavored take on “Ces soirées-là,” better known stateside as “December, 1963 (Oh, What a Night!),” The Four Seasons’ final No. 1 hit from 1975. It’s an attention-grabbing opening that immediately announces that this isn’t going to be a sleepy trip through an oldies playlist.

Among the female members of the ensemble, Eliza Levy makes an impression as Mary Delgado and others, helping bring the women surrounding these four men into sharper focus rather than allowing them to become mere scenery in the boys’ story. While she’s initially written as a stereotypical Jersey girl, Delgado doesn’t rest on that, bringing dimension to what could easily be a throw-away role. Her vocals on the late Act 1 tune “My Eyes Adored You” in an adroit call and response opposite Oram’s Frankie, reveal a welcomed depth to not only her portrayal, but the classic song itself.

Another highlight in the supporting cast comes in Sarah Coleman‘s turn as Francine Valli particularly as the story begins exploring the one of the show’s more somber elements revealing the personal costs of Frankie Valli’s extraordinary career. It’s a relatively small role with only a couple of minutes on stage, but it’s one of the show’s most impactful. Coleman, like many of the supporting players appears throughout in a multitude of other roles, but it’s her brief time on stage as Valli’s daughter that stays with the audience.

And then there’s Joe Pesci. Yes, THAT Joe Pesci, as the script cheekily reminds us. The real Pesci was friends with the young Four Seasons, and his connection to the group is one of those almost-too-good-to-be-true details from their early history. Here, the role gets an especially fun Nashville twist thanks to Grant Weathington, a 2025 Belmont University graduate. For those in the TPAC audience who know that little bit of local trivia, it’s one more reason to enjoy the character when he pops up.

Speaking of Nashville, the Music City connection doesn’t stop there. One of the original members and creative forces behind The Four Seasons, Bob Gaudio, has been a Nashville resident since the 1990s. So when the show reaches its later “where are they now?” passage and mentions that Gaudio now spends his days on his boat in Nashville, the response from the TPAC audience was noticeably more enthusiastic than your average biographical footnote. There was definitely a little “That’s OUR Bob!” energy in the room. It’s a small moment, but it’s one of those details that makes seeing a touring production in its proper local context so much fun.

The remarkable thing about Jersey Boys after two decades (six decades if you count The Four Seasons’ real-life history) isn’t simply that the songs remain popular. It’s that the story still works. The musical understands that success stories are rarely as simple as the finished record. Behind every No. 1 hit are relationships, egos, debts, bad decisions, sacrifices, arguments and people trying to figure out what comes next.

That’s what keeps Jersey Boys from becoming nothing more than a jukebox with a plot. The music may be the sugar, but the complicated relationships are the substance. And the 20th Anniversary Tour gives audiences the best of both worlds: a production rooted in the staging that originally made the musical a Tony-, Olivier- and Grammy-winning phenomenon, now performed by a fresh cast with its own chemistry and energy.

Twenty years after Jersey Boys first took Broadway by storm, this new generation of Four Seasons proves that the songs still soar, the story still resonates and there are apparently still plenty of audiences willing to sing along. After six trips alongside The Four Seasons myself, I’m apparently still not ready to say goodbye. And really…why would I? Four seasons. More than 30 songs. Forty Top 40 hits. Twenty years. as one of modern theatre’s most beloved musical.Oh, what a night!

Catch the 20th Anniversary National Tour at Nashville’s TPAC September 16-20. CLICK HERE to purchase tickets or for more information. Following Jersey Boys TPAC’s 2026/2027 Season continues with The Sound of Music onstage October 13-18. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

Not in Nashville? It’s likely Jersey Boys will be working their way back to you, so check them out on Facebook, X, Insta, TikTok, YouTube and Threads to see when it rolls into your city and find out why, two decades later, Jersey Boys remains one of Broadway’s most irresistible musical stories.

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.

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.

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

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

May 29, 2026 by Jonathan Pinkerton

Having played TPAC in 2015 and again in 2019, Book of Mormon, Broadway’s riotous musical is returning to Music City for a third time! Created by South Park’s Trey Parker and Matt Stone (collaborating with Avenue Q co-creator Robert Lopez) the hit musical returns to Tennessee Performing Arts Center June 2 thru 7. Before the missionaries arrive, JHPEntertainment.com turns the spotlight on Elder McKinley, Nabulungi and The General as cast members Craig Franke, Charity Arianna and Shafiq Hicks take part in our latest Rapid Fire Q&A quick-hit conversation to chat about the outrageous comedy, life on the road, dream doorbell visits and what keeps this wildly irreverent musical connecting with audiences night after night.

RAPID FIRE Q&A WITH BOOK OF MORMON’s ELDER McKINLEY, NABULUNGI & THE GENERAL

RAPID FIRE WITH BOOK OF MORMON’s ELDER McKINLEY, CRAIG FRANKE

JHPENTERTAINMENT: This is now your fourth year with the tour. What keeps you coming back to ring those doorbells?

CRAIG FRANKE: The travel keeps me coming back! It’s so fun to travel North America and see so many parts of the continent I may never have seen otherwise. It’s a privilege to feel like you’re in a hit Broadway musical touring to some of the most famous cities in the world.

JHPENTERTAINMENT: You originally joined the company in the ensemble while covering both Elder McKinley and Elder Price. What’s the evolution been like from understudying those tracks to now playing Elder McKinley full-time for nearly two years?

CRAIG FRANKE: It’s been nice to live in Elder McKinley full time. When I was an understudy it’s hard to really feel the rhythm of the character and show, and then you never know when you’ll get to do it again to try and improve and tinker. So it would be frustrating if I felt I had made a mistake and would have to wait two months to correct it. Conversely I really miss the rush of adrenaline when you go on for your understudy track. That’s always an exciting night.

JHPENTERTAINMENT: You’re still understudying Elder Price as well. Does keeping that role performance-ready while playing McKinley add an extra layer of adrenaline to tour life?

CRAIG FRANKE: Yes! It does. Keeping Price fresh, whether it’s for a put in, a rehearsal, or the once in a blue moon performance does add some spice and variety. It’s also fun watching all of the different Prices up close and personal. I think it’s inspiring to see another take, and you get to steal their best bits, while also evaluating your own haha.

JHPENTERTAINMENT: Book of Mormon walks this razor-thin line between shocking, ridiculous and oddly heartfelt — which feels very on-brand considering the minds behind South Park created it. What’s your favorite moment where you can practically feel the audience collectively realizing, “Oh wow…they really just said that”?

CRAIG FRANKE: Well, I think I’m offstage for the biggest, “Oh they’re going there,” Moment. But I’d say Price has some dreams where I am involved, and some of those moments can be really fun when you hear the audience react to who might appear in that dream, and what they might do romantically with some other characters…. just come see the show haha.

JHPENTERTAINMENT: Since your character spends plenty of time ringing doorbells…if you could knock on absolutely anyone’s front door — celebrity, historical figure, fictional character, whoever — just to see what happened, whose bell are you ringing?

CRAIG FRANKE: I’m boring, but I’m in theatre, so I’d love to ring Sondheim’s doorbell. He went to New York Military Academy as a boy, which is right down the street from where I went to Middle School, so I always felt maybe that would be something to talk about, my in with the big guy, who knows though. I’m also a sports fan, so I’d say Roger Federer or Dan Campbell to encourage him to help get the Lions their Super Bowl.

RAPID FIRE WITH BOOK OF MORMON’s NABULUNGI, CHARITY ARIANNA

JHPENTERTAINMENT: This is your first professional theatre gig, which honestly feels like getting tossed directly into the deep end considering the scale and popularity of Book of Mormon. Was joining this tour a little bit of a baptism by fire?

CHARITY ARIANNA: Before getting to play Nabalungi, I was hired as a swing; I didn’t feel intimidated by the of Book of Mormon and its popularity, I actually felt more pressure about learning to become a swing which is like an emergency cover for all of the female tracks. I felt fueled by my passion to be onstage, and I felt honored when they asked me to play Nabalungi full time. Most of my positive experience had to do with the love and support of my castmates and directors. So, you could say I used that “baptism by fire” to fuel me instead of intimidating me!

JHPENTERTAINMENT: As you mention, you initially joined the company as a swing covering the female tracks before stepping into Nabulungi full-time. What do you remember most about learning you’d officially be taking on Nabulungi full-time every night?

CHARITY ARIANNA: I got the offer for Naba while actually in the Motown Museum Tour in Detroit. Getting to learn about so many African American artists and their breakthroughs and then experiencing one of my own felt so full circle. What I remember most was being around the girls (in the cast) and them encouraging me and lifting me up, for that I am forever grateful.

JHPENTERTAINMENT: As Nabulungi, you share scenes with Jarius Miquel Cliett, who plays Ugandan village leader, Mafala, who also happens to be Nabulungi’s father. What’s been most rewarding about building that relationship onstage with Jarius?

CHARITY ARIANNA: The most rewarding thing about working with Jarius is knowing that we have built a relationship that will withstand past what you see onstage. He has always been so supportive and caring, and I love getting to work with him and learn from him in so many ways. Our synergy onstage mimics the true form of our bond offstage.

JHPENTERTAINMENT: As a singer-songwriter, coming to Music City has to hit a little differently. Any chance you’ll be sneaking off to explore Nashville’s recording studio scene while you’re here?

CHARITY ARIANNA: I’m so excited to come to Nashville! The best thing about tour is getting to explore each city, and so this specific city seems right up my ally. I have 2 songs out right now and one of my core memories is watching my music transform in the studio, and so I can’t wait to see what Nashville has to offer in that regard. I can’t wait to work on some more stuff in Nashville to keep the ball rolling!

JHPENTERTAINMENT: Between the outrageous humor, the eyebrow-raising jokes and the fact Book of Mormon came from the creators of South Park, does it surprise you that there are still some audience members who walk in not knowing what they’re about to experience? AND…What’s your favorite scene to perform in anticipation of the audience reaction?

CHARITY ARIANNA: It doesn’t surprise me that some people don’t know about what the Book of Mormon has to offer. Truth be told, when I first auditioned, I didn’t know anything about the musical. It’s unlike anything I have ever seen. My jaw was constantly on the floor. My experience of going in blind gives me some appreciation and an inside scoop about knowing exactly how the audience feels seeing it for the first time because my first time was only about 2 years ago. My absolute favorite scene to perform is in Act 2 with Cunningham! I don’t want to give too much away, you’ll have to watch it and find out, but It’s one of the few scenes we see my character really get to be herself and let go with Cunningham, plus any scene with Jake Aune is always my favorite!

RAPID FIRE WITH BOOK OF MORMON’s GENERAL, SAFIQ HICKS

JHPENTERTAINMENT: Your one-year anniversary as Book of Mormon’s General is coming up next month. After spending all this time with The General, what have you learned from him — for better or worse?

SHAFIQ HICKS: I’ve learned stamina for sure. Coming up on a year in this role, definitely stands for something. I’ve also learned even the more not to judge my characters but to play them as honest as I know how.

JHPENTERTAINMENT: “Hasa Diga Eebowai” is just one example of Book of Mormon musical numbers where audiences seem simultaneously horrified and unable to stop laughing. What’s it like feeling the crowd react to these hilariously shocking earworms in real time?

SHAFIQ HICKS: I must say, that’s my favorite song of the show. For its hilarity yes, but the SONG itself is a bop. The beat is infectious. Even though I’m not in that number, I sometimes watch from the wings and watch as the audience reacts to the revelation in the song and how up until then they’ve been tapping along.

JHPENTERTAINMENT: Okay, I can’t chat with you and not ask about Saturday Night Live and your experience collaborating with Sam Smith, Aretha Franklin and others. What stands out most when you think back on that experience?

SHAFIQ HICKS: Being on SNL singing in a choir behind the one and only SAM SMITH…was a WILD experience…I just remember existing in the moment but also watching myself exist in the moment altogether. And with Ms. Aretha Franklin…I simply remember her bringing that infamous purse and fur coat, setting both on the piano…and rehearsal BEGAN. She was a tour de force vocalist, and an absolute blueprint for authenticity and soul.

JHPENTERTAINMENT: The General may not exactly be known for warm welcomes…but if you personally could go ring anybody’s doorbell just for the story it would create, who’s answering that door?

SHAFIQ HICKS: I’d pray it’d be a current or past Broadway composer for them to write a hit musical role for me, and cease this baritone erasure from the stages of Broadway and beyond. A certain Robert Lopez comes to mind *wink wink*.

The Book of Mormon returns to TPAC Tuesday, June 2 with shows continuing through Sunday, June 7. If this Rapid Fire Q&A is any indication, expect big laughs, wildly catchy songs, a few moments that may leave audiences clutching their pearls — yet, somehow, there’s a surprising amount of heart underneath all the chaos. 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.

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!

Theatre Review: ‘Riverdance 30: The New Generation’; at TPAC Friday & Saturday as U.S. Tour Continues

April 4, 2026 by Jonathan Pinkerton

First presented as a 7-minute interval act during the 1994 Eurovision competition in Dublin, Ireland, performed by Michel Flatley and Jean Butler as conceived by composer Bill Wheland and co-founders Moya Doherty and John McColgan, there’s a reason Riverdance has endured for three decades. With Riverdance 30: The New Generation–onstage in Nashville at TPAC‘s Jackson Hall April 3 & 4 as the U.S. Tour continues– that legacy isn’t just preserved—it’s reenergized with a thrilling sense of immediacy. From the first electrifying beats of Act I’s opener, “Reel Around the Sun,” this anniversary tour reminds audiences exactly why it became a global phenomenon in the first place and why its popularity is unwavering.

The company wastes no time establishing its signature precision, led by principal dancers Kieran Bryant, Will Bryant, Anna Mai Fitzpatrick, Fergus Fitzpatrick, Olivia Nachtigal, and Mairead Trainor—each bringing a distinct presence while maintaining the razor-sharp synchronicity that defines the production. (And for a deeper dive into two of the evening’s standouts, be sure to check out my recent Rapid Fire 10Q with lead dancers and brothers Kieran Bryant & Will Bryant.)

“Reel Around the Sun,” with original choreography by Riverdance‘s legendary Michael Flatley, sets the tone with a commanding blend of power and polish, while “The Heart’s Cry” and “The Countess Cathleen” introduce the production’s more lyrical and folkloric elements. Throughout, John Kavanagh’s narration threads its way between segments, landing somewhere between folklore, fairytale, and fact. While evocative, the through line can feel a bit elusive at times—beautiful in isolation, though occasionally lacking clarity in the larger arc. Perhaps falling victim to life on the road, the sound–at least during Night One of the tour’s Music City Stop–struggled a bit with the live instrumentation and vocal performances occasionally overpowering the narration and all three suffering in the aftermath.

That said, when the show leans into its rhythmic intensity, it’s virtually unstoppable. “Thunderstorm” delivers one of Act I’s most exhilarating sequences, the male troupe unleashing a barrage of percussive footwork that feels both primal and impossibly precise. “Firedance” shifts the energy entirely, with flamenco soloist Rocio Dusmet Orellano commanding the stage in a fiery fusion of Irish and Spanish traditions—an arresting reminder of the show’s global reach.

Musically, the production is as rich as ever, thanks to The Riverdance Band under the direction of Mark Alfred (drums, percussion, bodhrán). Cathal Croke’s uilleann pipes and low whistle add an unmistakable Celtic texture, while Haley Richardson’s fiddle and Emma McPhilemy’s saxophone bring both warmth and unexpected contemporary flair. Together with the company’s singers and drummers, they create a soundscape that feels as alive as the movement it drives. Interesting

Act I builds—inevitably, gloriously—to the showstopping “Riverdance.” It’s the moment audiences wait for, and it still delivers that mid-show ovation energy, the full company in perfect unison as rhythm becomes spectacle.

Act II opens with “American Wake,” a vibrant nod to the Irish diaspora, before launching into one of the production’s most visually and culturally compelling segments: “Trading Taps.” Featuring Riverdance Tappers Kenji Igus and Dharmesh Patel, the number unfolds—per state-of-the-art projections—Down Under the Manhattan Bridge Overpass (DUMBO), a detail my date for the evening, a former New Yorker, was quick to appreciate. Here, the show brilliantly illustrates how Irish rhythmic traditions echo through tap and hip-hop, creating a dialogue between styles that feels both historic and strikingly modern.

It’s a standout moment, though its placement feels slightly out of sync with the show’s overall progression. In a production that might benefit from some light editing or reordering, “Trading Taps” arguably belongs closer to the finale, where its thematic resonance could land with even greater impact.

Other highlights in Act II include “Ritmos del Corazon / Andalucía,” once again showcasing Orellano’s commanding flamenco artistry, and the continued interplay between the company’s diverse dance traditions, including the applause-garnering contributions of the Dervish Folk Dance Troupe.

Ultimately, Riverdance 30: The New Generation is at its best when it leans into what it has always done so well: uniting music and movement in a way that transcends language and narrative. Even when the storytelling thread feels slightly diffused, the sheer talent onstage never wavers.

The evening closes with “Home and The Heartland,” a fan-favorite finale dating back to the 1995 Dublin stage debut. It’s as rousing and emotionally satisfying as ever—a full-circle moment that honors the show’s origins while celebrating its continued evolution.

Thirty years on, Riverdance still knows how to bring an audience to its feet—and in the hands (and feet) of this new generation, its rhythm feels as unstoppable as ever. Riverdance 30: The New Generation wraps it’s limited two-day Nashville stop with two performances at TPAC‘s Jackson Hall Saturday, April 4 with a 2pm matinee and a 7:30pm evening performance. CLICK HERE for tickets.

Following their Music City tour stop, Riverdance 30 continues its U.S. Tour with stops in Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Beyond Riverdance, TPAC‘s calendar of events continues with Nashville Repertory Theatre‘s production of Sister Act on stage at the Polk Theatre April 10 thru 19 (Check back here at jhpentertainment.com for our upcoming chat with Sister Act‘s director and members of the cast). TPAC Inclusive Arts Presents two Arts Adventure Workshops—Stage Combat for ages 9-15 and Heroes and Villains for ages 8-16 on April 11. On April 16, TPAC InsideOut and Vanderbilt University team up to present a Lunchtime Preview of Nashville Ballet‘s Sherlock (onstage at the Polk Theatre May 1-3). April 16 thru 18, Nashville Opera presents The Barber of Seville at TPAC‘s Jackson Hall. CLICK HERE for all these and more great performances at TPAC.

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!

Theatre Review: A Historic Anniversary and a Bit of Local Influence Add to the Fire of Nashville Premiere as National Tour of ‘Suffs: The Musical’ Marches Across Stage at TPAC’s Jackson Hall

March 4, 2026 by Jonathan Pinkerton

Members of the cast of ‘Suffs’ First National Tour (all photo by Joan Marcus courtesy suffsmusical.com)

There are opening nights… and then there are opening nights that feel cosmically aligned with history. On March 3, 2026, the national tour of Suffs unfurled its banners at TPAC’s Jackson Hall in Nashville—and not just on any date. Music City’s first performance landed on the 113th anniversary of the 1913 Women’s March organized by young activist Alice Paul, when more than 5,000 women paraded down Pennsylvania Avenue demanding the right to vote, led by the indomitable Inez Milholland astride a white horse. History echoed loudly inside Jackson Hall that night.

From the opening strains of the period-perfect ragtime-syncopated “Let Mother Vote,” maternally led by Mary Grandy‘s Carrie Chapman Catt and backed by a vocally powerful ensemble, Suffs makes it clear: this isn’t a museum piece. It’s a movement. The storytelling feels urgent, strong, and emotionally immediate—never preachy, always human.

At the center stands Maya Keleher as Alice Paul—focused, flinty, and fiercely principled. Her “Finish the Fight” functions as both rallying cry and mission statement, delivered with unwavering conviction. Later, in “Insane,” Keleher reveals the psychological toll of imprisonment with a performance that is raw without losing control. Opposite her, Grandy’s Carrie Chapman Catt brings seasoned authority and strategic patience to the aforementioned “Let Mother Vote.” Their Act II duet, “She and I,” beautifully captures the tension—and eventual respect—between two women fighting for the same goal through different methods. Grandy’s “This Girl” adds reflective depth, grounding the generational divide in lived experience.

As Ida B. Wells, Danyel Fulton commands attention with moral clarity, emotional precision and powerhouse vocals to rival a certain recent Broadway Gypsy. “Wait My Turn” simmers with justified frustration, and when she returns in “I Was Here,” alongside Mary Church Terrell (Trisha Jeffrey) and Phyllis Terrell (Victoria Pekel), the moment lands as a declaration of presence that resonates well beyond the period setting. Speaking of Fulton’s co-stars, Jeffrey brings elegance and resolve to Mary Church Terrell, particularly in “Hold It Together,” serving as an emotional anchor amid political fractures. Meanwhile, Pekel’s Phyllis as well as a later turn as Robin, reinforce the vitality of youthful exuberance necessary for any movement to continue into the next generation. Whenever any of these three talented performers are on stage, the audience is mesmerized and treated to stunning vocals.

Monica Tulia Ramirez’s Inez Milholland radiates charisma in “The March (We Demand Equality),” which she leads alongside Fulton’s Ida and the ensemble in one of the production’s most visually arresting sequences. Act I’s “Show Them Who You Are” showcases Ramirez’s sass while Act II’s reprise flips the script to haunting results. Milholland’s personal life and sacrifices poignantly reveal the true dedication these powerful, but often unsung heroes of the moment possessed.

As Lucy Burns, Gwynne Wood delivers a blazing “Lucy’s Song,” electrifying the audience with defiance, while Livvy Marcus injects Doris Stevens with sharp wit, youthful urgency and to borrow a descriptive of Mary Tyler Moore’s Mary Richards…spunk, particularly in “The Young Are at the Gates,” which propels Act II forward with fire.

Laura Stracko‘s Alva Belmont is boisterously brilliant. Gotta love a socialist socialite. Act I’s “Alva Belmont” introduces the character in a big way. With another period-nod, “Alva Belmont” is presented as a toe-tappin’ Tin Pan Alley-style ditty complete with playful, yet pointed lyrics: “I divorced my husband for philandering. Now I’ve got his millions for philanthropy.” Flawlessly introducing the character. Interestingly, while not really relevant to the plot, I discovered while researching to interview some of the cast that the real Alva Belmont, a native of Alabama, has ties-by-association to Tennessee. Her maternal grandfather, Robert Desha was a U.S. House of Representatives for the state of Tennessee. In the years before her political activism, she was first married to William Kissam Vanderbilt, the grandson of Commodore Cornelius Vanderbilt (for whom Nashville’s Vanderbilt University was named).

As President Woodrow Wilson, Jenny Ashman offers a sharply drawn portrayal. “Ladies” drips with calculated condescension (and sadly echoes a little too closely our current administration’s views on the arguably stronger sex, but I digress). Later in the show, Ashman’s Wilson attemps to placate with “Let Mother Vote (reprise)”, which lands with pointed irony. On Opening Night in Nashville, Ariana Burks stepped into the role of President Wilson’s Third Assistant Secretary of State Dudley Malone, a role usually played by Brandi Portert. Covering the role, Burks shines in “Respectfully Yours, Dudley Malone,” blending romantic sincerity with political awakening. Her chemistry with Marcus’ Doris in “If We Were Married” and its reprise adds warmth and texture to the broader narrative. Just one of a handful of relationships, while not at the center of the narrative, a wonderful aside. Other notable personal relationships alluded to within Suffs include sorority sisters Ida B. Wells and Mary Church Terrell, friends Alice Paul and Lucy Burns and longtime partners Carrie Chapman Catt and Mollie Hay.

The ensemble numbers—“Find a Way,” “The Convention Part 1 & 2,” “The Campaign,” and “August 26th, 1920”—surge with collective momentum, creating stage pictures that feel both intimate and epic. Act I builds to the layered and emotionally charged “How Long?,” leaving the audience suspended in uncertainty before intermission. Act II escalates quickly with the explosive “Fire & Tea,” a collision of ideology and impatience that crackles with tension. Side Note: I love that during my Rapid Fire 20Q, Marya Grandy noted that the effigy to Woodrow Wilson seen in “Fire & Tea” is made of kitchen utensils! Giving me a little insider info that I’m happy to pass along to my readers.

Across the board, the vocals are exceptional. Touring companies frequently fall victim to the occasional technical issue inherent in the logistics of setting up in a new venue each week—but not Suffs thanks to Jason Crystal‘s sound design and the impeccable vocals skills of the entire cast. From the first notes of “Let Mother Vote” to the powerful final bars of “Keep Marching,” the vocals—both individual and united—were crisp, clear, and strong. Harmonies were tight. Lyrics were fully intelligible. Not a single mic felt unbalanced, and the orchestra never overpowered the storytelling. The sound mixing and design were remarkably polished for an opening night in a new city, allowing the emotional weight of each lyric to land cleanly and confidently. Considering even though I was there to review the show, yet relegated to the back of the theatre in seats Ida B. Wells herself would reject, the sound throughout the show was simply perfect. Every lyric, every note delivered and received with precision and clarity.

Visually, the touring production is both strong and fluid. Based on Riccardo Hernandez‘ Broadway scenic designs, Christine Peters has adapted ever-moving walls and platforms, unfurling drapes and banners suggesting both protest staging and democracy under construction, while seamless transitions allow rallies, jail cells, convention halls, and the Tennessee State House to materialize with cinematic efficiency. Hair and wig design by Charles G. LaPointe and Paul Tazwell‘s period-authentic costuming clearly delineates factions, with the crisp whites of the National Woman’s Party glowing under strategic lighting in “The March (We Demand Equality).” Lap Chi Chu‘s lighting design proves especially effective in “Insane,” where stark isolation heightens emotional impact. Add to that choreographer Mayte Natalio‘s movement choices from the opening number and throughout the show…what I’ve dubbed marchography. It’s succinct and effective without being too rigid, further conveying the forward-momentum and motivation of the cause. On the lighter side, there’s a segment about halfway through the show that takes place at a bar when Natalio’s genius draws the eye to a couple patrons in the background who raise their beers and clink their drinks in rhythm to the song being performed that caused me to make a mental note: drinkography. The absolute attention to everything from period references in wardrobe and music styles to sets, lighting and movement throughout Suffs, a multitude of reasons this show is so enjoyable.

Earlier, I made reference to Tennessee’s connection to the subject matter. While “Down at the State House” sets the stage, it’s “A Letter From Harry’s Mother”, featuring Laura Stracko, Jenna Lee Rosen and Maya Keheler, that transforms the evening into something deeply local for those of us from The Volunteer State. As mentioned in my recent Rapid Fire 20Q with members of the cast, this moment recounts Tennessee’s pivotal role in ratifying the 19th Amendment, when, in August 1920, Tennessee became the 36th and final state needed for ratification.

When Stracko’s Phoebe, Rosen’s Harry, and Keheler’s Alice bring that story to life onstage, it hits differently in Tennessee. The reaction inside Jackson Hall was immediate and thunderous—very possibly the most sustained applause the company has received on tour during that particular sequence. It wasn’t simply appreciation. It was pride. It was recognition. It was a state seeing itself in the story of progress. Something, sadly we as a state are lacking these days. (An aside: Dubbed in the press of the day as “War of the Roses,” saw pro-suffrage lawmakers wearing yellow roses while opponents donned red. So naturally, yours truly donned a yellow lapel flower while attending Music City’s Opening Night.)

By the time “Keep Marching” swelled in the finale, led by Alice and the full ensemble, it no longer felt like the end of a performance. It felt like a charge forward. After all, as Suffs reiterates time and time again, progress is not inevitable. It is organized. On opening night at TPAC, Nashville didn’t just witness history. It gratefully recognized its role in it.

———-

Created by Shaina Taub, this thrilling and emotionally charged musical shines a spotlight on the brilliant, passionate, and often divided women who fought tirelessly for the right to vote. Beyond the accolades lies a story that feels especially resonant here in Tennessee — the final battleground that secured ratification of the 19th Amendment. More than a century after Tennessee cast the deciding vote, Suffs reminds us that history is not just something we inherit — it’s something we shape. And sometimes, it only takes one voice to tip the balance.

The national tour plays TPAC’s Jackson Hall March 3–8 with the following performances: Tuesday, March 3 – Friday, March 6 with 7:30pm curtain, Saturday, March 7 – 2:00pm & 7:30pm, Sunday, March 8 – 1:00pm* & 6:30pm.

*Sunday’s 1pm performance includes ASL interpretation, Open Captioning, Audio Description, and Large Print and Braille programs.

To purchase tickets to Suffs at TPAC, CLICK HERE. Following Suffs, Broadway at TPAC‘s 2025-2026 Season continues with another Music City debut as Back to the Future takes to the stage March 17-22. CLICK HERE for tickets or more info. Follow TPAC on Facebook, Instagram, YouTube & TikTok.

Not in Nashville? Catch Suffs in a city near you as the National Tour continues with stops in Charlotte, Boston, Dayton, Minneapolis, Detriot and more through summer of 2026. CLICK HERE for upcoming tour stops. Keep up with all things Suffs via the show’s socials on Facebook, Insta, X , TikTok and YouTube.

In case you missed it, CLICK HERE to read my Rapid Fire 20Q with members of the Suffs cast. 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. In the meantime… #GoSeeTheShow!

Theatre Review: ‘SIX: the musical’; Henry VIII’s Wives Hold Court and Reign Supreme as National Tour Continues

February 6, 2026 by Jonathan Pinkerton

The Queen of ‘SIX’ US National Tour (all photos by Joan Marcus, courtesy SIX on Tour)

As I mentioned in my recent Rapid Fire 20Q with the show’s Alternates the premise of SIX cheekily presents the history—or should I say HERstory—of King Henry VIII’s wives through a modern pop lens. Think: what if the Spice Girls were competing against each other on American Idol, but make it Tudoresque. That’s SIX in a rhinestoned corset, and it knows exactly how ridiculous—and how brilliant—that sounds.

From its opening beat drop to its final glitter-soaked mic pass, SIX wastes no time announcing exactly what it is: a Broadway musical engineered like a pop concert. Now playing Nashville’s TPAC Jackson Hall, the national tour of the Tony-winning hit delivers history as a high-gloss remix—loud, funny, and meticulously attuned to modern pop and R&B influences. Performed without an intermission, SIX unfolds as a 90-minute showdown where heartbreak, harmony, and bass drops battle for supremacy.

Tuesday’s opening night of the Music City tour stop featured all six primary cast members, giving Nashville audiences the full force of the tour’s leading Queens right out of the gate. While it was undeniably thrilling to see the principals in action, I’ll admit to a slight pang of disappointment that none of the four alternates I recently interviewed for the Rapid Fire 20Q were onstage that evening—a very specific kind of theater-nerd heartbreak.

The show kicks off with “Ex-Wives”, an all-in girl-group manifesto disguised as a history lesson, instantly embedding the now-iconic refrain “Divorced, beheaded, died / Divorced, beheaded, survived” into the audience’s collective brain. The Queens emerge in a unified visual language —Tudor corsetry fused with pop-star silhouettes, metallic finishes, studs, and platform boots—each Queen’s attire color-coded yet cohesively styled courtesy costumer Gabriella Slade. Tim Deiling‘s Concert lighting pulses like a stadium opener, making it clear these women are here to headline, not footnote.

Emma Elizabeth Smith (Catherine of Aragon) steps forward first with “No Way”, clad in commanding yellow and gold with accents of black—a direct references to her Spanish roots, the wealth of the Spanish crown, and the opulence of the Catholic Church. The regal palette reinforces Catherine’s authority as the original Queen, while the structured corset and bold detailing give visual weight to her refusal to be dismissed. As Smith belts “I’m not sorry for my honesty,” the look radiates righteousness and resolve.

The mood flips into mischievous rebellion with Nella Cole (Anne Boleyn) and “Don’t Lose Ur Head”. Draped in unmistakable green, Boleyn’s costume offers an obvious nod to “Greensleeves”, despite the enduring myth that Henry VIII wrote it for her—a bit of historical irony the show knowingly side-eyes. Punk-pop detailing and playful asymmetry reinforce Anne’s flirtatious chaos. It’s bubblegum pop as survival tactic—a little Katy Perry, but with the very real threat of the axe.

The evening’s emotional pivot arrives with Kelly Denice Taylor (Jane Seymour) and “Heart of Stone”. Her corseted white costume trimmed in black, complete with sleeves and skirt panels reminiscent of chainmaille armor, signals purity without fragility and strength without aggression. The design quietly reinforces Seymour’s emotional fortitude as Taylor laments “Soon I’ll have to go / I’ll never see him grow,” allowing stillness and restraint to become some of the most powerful choices of the night.

Before the competition resumes, SIX detonates into full high-camp absurdity with another all-in. “Haus of Holbein”, with its neon accents, blacklight, exaggerated silhouettes, and stylized poses turn the stage into a Renaissance runway on rave mode. Sonically, the number leans hard into Madonna’s club-era maximalism, evoking the relentless pulse and fashion-as-performance-art ethos of “Ray of Light”–era remixes (with a little SNL‘s Dieter accent exaggeration thrown in)—less spiritual awakening, more high-fashion satire. It’s ridiculous, deliberate, and exactly the reset the show needs.

Swagger floods the stage with Hailey Alexis Lewis (Anna of Cleves) and “Get Down”. Dressed in unapologetic red, Cleves’ costume signals defiance—she is, after all, one of only two wives to divorce Henry and live. Rolled fabric at the shoulders cleverly references her infamous portrait, reframed here as armor rather than flaw. The Euro-pop anthem pulls heavily from Atlanta trap-pop energy, particularly the minimalist bounce and swagger-forward attitude that put me in mindof Beyoncé’s “7/11”. When Lewis declares “I’m the Queen of the castle, Get down you dirty rascal,” the lyric lands as deserved prophecy, not threat.

There’s an interesting shift in tone with Alizé Cruz (Katherine Howard) and “All You Wanna Do”. Her pink-and-black costume reflects youthful vitality layered with looming danger—the sweetness of pink undercut (no pun intended) by the severity of black. What begins flirtatious quickly curdles as the repetition of “All you wanna do, baby” exposes the song’s darker truth. As the lighting cools and the meaning sharpens, the visual contrast underscores just how trapped Howard truly is. It’s Britney‘s “Womanizer”, sing-songy and fun, but if the aggressor had access to the guillotine.

The competition’s final turn belongs to Tasia Jungbauer (Catherine Parr), who reframes the entire premise (what are they competing? Who would even remember Henry were it not for them?) with “I Don’t Need Your Love”. Wearing black and blue, and notably incorporating pants, Parr’s look subtly nods to shifting fashions centuries after her lifetime while underscoring her independence as the Queen who survived. Clean lines and minimal ornamentation allow Catherine to declare “I don’t need your love / I just need to tell my story”.

When the Queens reunite for “Six,” individuality gives way to collective power. Costume reveals heighten each look—more shimmer, more shine—while maintaining the shared design language that has bound them from the start. Concert lighting, synchronized choreography, and wall-of-sound harmonies transform the finale into a euphoric pop encore rather than a winner-take-all ending.

Anchoring the entire experience and elevating Toby Marlow and Lucy Moss‘ clever score and pop lingo-filled lyrics is the onstage band, The Ladies in Waiting, who are far more than musical accompaniment. Tuesday’s opening night performance was conducted by Lizzie Webb, whose steady leadership kept the score’s pop precision razor-sharp. Music Director and Keyboardist Valerie Maze drives the sound, supported by Yonit Spiegelman on bass, Rose Laguana on guitars, and Camila Mennitte Pereyra on drums. Visually, their sleek black styling mirrors the Queens’ aesthetic, reinforcing the concert vibe while keeping the spotlight exactly where it belongs.

SIX doesn’t aim for subtlety—it thrives on impact. Pop culture becomes narrative shorthand, feminism arrives wrapped in corsets, combat boots, and beats you can feel in your chest, with a message you can feel in your heart as HERstory becomes a remix. SIX proves once again that this show isn’t just clever—it’s culturally fluent. Long live the Queens!

At TPAC, though Sunday February 8 as the national tour continues, CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok.

Following SIX, next up at TPAC, it’s SUFFS: The Musical with shows March 3 thru 8. CLICK HERE for more info and follow TPAC on Facebook, Instagram, YouTube & TikTok.

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

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