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Rapid Fire Q&A

Rapid Fire 20Q With Director and Cast of ‘Ragtime’; on stage at The Keeton beginning Friday, August 15

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Earlier this week, as cast and crew of The Keeton Dinner Theatre’s RAGTIME: THE MUSICAL prepared for their Friday, August 15 opening night, I had the chance to chat with Mitchell Vantrease, the show’s director, as well as cast members Miya Nicole Burt, Nicholas Branson, Holli Trisler and Jayden Murphy for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH THE KEETON’s RAGTIME DIRECTOR AND CAST

RAPID FIRE 20Q WITH RAGTIME DIRECTOR, MITCHELL VANTREASE

JHPENTERTAINMENT: RAGTIME is a sweeping, emotionally charged musical—what drew you to this particular show as your next directing project at The Keeton?

MITCHELL VANTREASE: I’m very familiar with this musical—it’s one of my all-time favorites. I’ve had the honor of performing in it three times in Arizona, and each time deepened my understanding of its powerful themes. Set in 1906, this story still resonates today because we are still having the same conversations—about racial prejudice, police brutality, immigration, and privilege.

With my background as an actor in this piece, I felt called to bring my perspective to the director’s chair. This is my opportunity to help tell the story through a new lens, with truth, heart, and urgency.

JHPENTERTAINMENT: You’ve directed everything from FENCES to A CHRISTMAS STORY: THE MUSICAL. How does your approach shift when taking on a historical epic like RAGTIME with its layered themes?

MITCHELL VANTREASE: One thing that was especially important to me with this production was telling the truth—my truth—through the lens of a Black American man. There are moments in the script that I didn’t want to soften or gloss over. I wanted them to land, plain and clear. Audiences will feel that.

For example, our set has an industrial look, anchored by a worn, tattered American flag as the backdrop—a visual reminder of how far we’ve come, and how far we still have to go as a nation.

JHPENTERTAINMENT: As a theater educator and recent recipient of the Spotlight Award for Outstanding Direction, how does your work with students influence your process when working with a professional or community cast?

MITCHELL VANTREASE: I’ve been directing community and youth theater for years—even before becoming a high school teacher. Educational theater is a different experience, though. It’s not just about entertainment; it’s about learning, growing, and helping students discover their potential.

Community and professional theater may share similarities, especially in the caliber of performance, but the difference is often the cast—usually made up of adults with a great deal of experience. That’s what makes this summer’s production of Ragtime so unique. We have six high school, middle and elementary school students in the cast—three of whom are part of my program at Mt. Juliet High School.

It’s a big responsibility for a student to step into a production like this, surrounded by seasoned actors and professionals. That could easily be intimidating. But these students are rising to the occasion. They’re showing maturity, drive, and a real passion for the craft.

During the school year, I get to work with student performers almost 200 days out of the year, and I love it. But there’s something refreshing about collaborating with talented adults in the summer. This entire cast of 32 is phenomenal, and I’m so proud of the work we’re doing together.

JHPENTERTAINMENT: From creating the original work, THE SOUL OF BROADWAY to helming over 40 productions, what’s one core value or message you always strive to instill in any cast you direct?

MITCHELL VANTREASE: I’ve always told my cast—whether they’re adults or kids—that as artists, it’s our responsibility to entertain and tell the truth. That applies whether we’re sharing a lighthearted comedy or a powerful piece like RAGTIME: THE MUSICAL. We’re all working together to tell a story that could impact someone’s life—whether it stays with them for just a couple of hours or for a lifetime.

RAPID FIRE 20Q WITH RAGTIME’s SARAH, MIYA NICOLE BURT

JHPENTERTAINMENT: This is your Keeton Theatre debut—what has the experience of joining this production of RAGTIME meant to you personally and artistically?

MIYA NICOLE BURT:  Making my debut at the Keeton Theatre with RAGTIME has honestly been such an incredible and rewarding experience!  Personally, it’s a milestone that reminds me how much growth is possible when you step into new spaces and challenges. Artistically, RAGTIME offers such a rich tapestry of history, emotion, and humanity that it has pushed me to explore new depths in my craft. Being part of this production has allowed me to connect with a story that is both powerful and incredibly timely in our country today, and I’m extremely grateful to contribute to its message within our community. 

JHPENTERTAINMENT: Sarah is such a complex and demanding role. How have you connected with her story, and what do you hope audiences take away from your performance?

MIYA NICOLE BURT: Sarah’s journey resonates with me on so many different levels. Her strength, vulnerability, and determination to protect her family amidst societal change as a Black woman in America really hits home for me. I’ve connected with her by embracing the contradictions within her: her struggle to maintain control while facing uncertainty and her courage to evolve. I hope audiences walk away with a deeper empathy for the everyday heroes in history whose quiet battles helped shape the world. Ultimately, I want Sarah’s story to remind people of the power of resilience and compassion. 

JHPENTERTAINMENT: You’ve played everything from the lead in AIDA to Gary Coleman in AVENUE Q—what do you love most about tackling such a wide range of characters?

MIYA NICOLE BURT: Honestly, I love how every role is a new adventure! Having the opportunity to constantly reinvent myself and explore different facets of humanity is what attracted me to theatre in the first place. Each character, whether dramatic or comedic, gives me a fresh perspective and challenges me to adapt my voice, body, and emotions in unique ways. Playing such diverse roles keeps my work exciting, and it reminds me that storytelling is limitless! There’s always a new story to tell and a new truth to uncover within a character. 

JHPENTERTAINMENT: When not performing onstage, you work as a vocal coach. How does that work influence your performances on stage—and vice versa?

MIYA NICOLE BURT: Working as a vocal coach has given me a deeper understanding of breath control, vocal health, and emotional expression, which naturally enhances my stage performances. It’s rewarding to apply technical skills to bring authenticity and clarity to my singing and acting. Conversely, being onstage keeps me connected to the emotional and physical demands performers face, allowing me to empathize and tailor my teaching to support my students and their artistic journeys fully. The two roles enrich each other and fuel my passion for the craft. 

RAPID FIRE WITH RAGTIME’s TATEH, NICHOLAS BRANSON

JHPENTERTAINMENT: From Gilbert & Sullivan to Sondheim, you’ve performed on stages around the world—what was it about the role of Tateh in RAGTIME that spoke to you?

NICHOLAS BRANSON: I think what most drew me most to the role and the show is how important the story is to tell. In our current moment, I think it benefits us all to take a look back. Many of the issues we face today have historical antecedents that remain etched in our collective consciousness. I think a lot of us felt secure in believing these problems (anti-black racism, anti-immigrant sentiment, misogyny) were in the past. But so many of the story beats in this show set 120 years ago could easily be headlines from tomorrow. Progress is fought for and won, not given, and we must never forget that or become complacent. Tateh’s story is the story of so many of us; of our friends, coworkers, parents, and grandparents. It’s a story of hope. Naive hope, desperate hope, ecstatic hope. A hope for a new and better tomorrow for you and your family, and a willingness to defy odds to make it happen.

JHPENTERTAINMENT: You’ve studied classical voice and sung opera in cities like Prague and Salzburg—how do you approach storytelling differently when shifting into a character-driven musical like RAGTIME?

NICHOLAS BRANSON: I think the process is distinct in a couple ways. In the era before amplification, the need for vocal projection and clarity brought these fantastical, larger than life, often melodramatic, opera roles to the stage that played to the back of the room. Amplification gave musical theatre the freedom to explore so many more nuances of the human voice and the emotions it can express. A character like Tateh gets to explore trepidation, hope, the sting of failure, deep despair, and steely resolve all within the span of a single song! Where a lot of opera characters are really effective at imparting big, deep, cutting emotions; Tateh brings shades of real life to the stage. There’s also much more opportunity in musical theatre to try new things and collaborate. Many characters in the standard operatic repertoire have decades if not centuries of paratextual expectations and standard practice. A character like Tateh affords the actor so much more freedom to interpret and express.

JHPENTERTAINMENT: What’s been the most surprising or rewarding part of working with the cast and creative team at The Keeton for this production?

NICHOLAS BRANSON: I have been so overwhelmed by the genuine kindness of the cast and crew at the Keeton. Everyone has been so friendly and welcoming. This is my first show here and I can honestly say that everyone has been amazing to work with.The caliber of the performers as well as the artistry of the set designer, costume designer, director, music director, choreographer, stage managers and lighting and tech crew have made this production a joy to rehearse. 

JHPENTERTAINMENT: Tateh can sometimes be portrayed as a one-dimensional immigrant stereotype—how have you worked to bring authenticity and depth to his journey in RAGTIME while honoring the character’s cultural context?

NICHOLAS BRANSON: I definitely focused on finding a unique voice for Tateh as part of the learning process. I studied Polish, Russian, and Yiddish dialect coaching manuals to avoid creating an accent that was too unipolar. He’s an artist from war torn Latvia, leaving behind his homeland and people with nothing but his daughter, and I wanted to give Tateh the depth and nuance his character deserves. I definitely didn’t want to shy away from the immigrant narrative though. Immigrating to America is such a vital piece of Tateh’s story; he experiences poverty, hardship, discrimination and violence that all impact his character and shape his outlook on the world. His initial, simplistic view of the American dream is quickly shattered, but his love for his family allows him to carry on and forge a new life. I think that’s really the focus of his character: the love he has for his daughter and his willingness to do anything to improve her life for the better. 

RAPID FIRE WITH RAGTIME’s MOTHER, HOLLI TRISLER

JHPENTERTAINMENT: After performing across Disney Parks around the world, what drew you to take on the role of Mother in RAGTIME—and at The Keeton, no less?

HOLLI TRISLER: Performing for over a decade with the Walt Disney Company gave me extensive experience in the art of storytelling – something that Disney does best. It taught me how to bring different characters to life in an authentic and well rounded way, with an emphasis on drawing people in to each character’s story as if they were a part of it. The role of Mother drew me in because of the storytelling journey she gets to be part of in the show. She is such a rich, layered character, and I knew it would be a beautiful challenge for me not only as an actor and singer, but as a storyteller. Not only does this show have incredible, moving music from beginning to end, but the story is one that is timeless – it has and continues to be one that needs to be told, and I am honored to play a part in telling this story. The Keeton has a reputation for not only putting on great shows, but having an incredible production team behind the curtain, pouring their hearts into each show with care and passion. It is an honor to join the Keeton family in this production.

JHPENTERTAINMENT: Mother’s arc in RAGTIME is one of quiet strength and awakening—how have you approached portraying her evolution throughout the show?

HOLLI TRISLER: Mother’s character journey has been so challenging yet thrilling to dive into during our rehearsal process. To me, the purpose of her role is to demonstrate the evolution of a person becoming aware of the lives and hardships of those outside her social circle, developing empathy for those situations, and deciding to break from tradition to stand up for what she realizes is good and right – even at the sacrifice of her own reputation, resources, or relationships. In preparation for the role, I spent a lot of time studying her throughout the script – finding those moments where things start to shift for her in her mind and her subsequent actions. In each scene, she becomes more and more aware, more and more empathetic, and more and more bold in her choices to stand up for what she believes in. She’s a delicate balance of quiet strength and bold risks, and I’ve thoroughly enjoyed diving in to discover that balance.

JHPENTERTAINMENT: Your resume includes everything from Belle to Eponine—how does Mother compare to the iconic characters you’ve played in the past?

HOLLI TRISLER: I believe each character I’ve played has shaped me as an actor and storyteller and have in their own way prepared me for the role of Mother. If you think of those iconic characters, each goes on their own journey of discovery of the world around them being different than they hoped, thought, or expected, and have to consequently shift their points of view and grow in wisdom and strength. Belle finds a world outside her small, provincial town and learns that things aren’t always what they seem. Eponine gains her strength from enduring through hardship and unrequited love. Mother’s journey is of transformation within – she starts in a place of privilege and certainty, and ultimately has a complete shift in her worldview which draws out a strength in her that she never knew she had.

JHPENTERTAINMENT: When you’re not on stage, you’re running an Etsy shop and doing taxes—how do the creative and analytical sides of your life come together to fuel your work as a performer?

HOLLI TRISLER: It’s true, I have a lot of very seemingly unrelated interests and passions! However, I think this helps me to be more well rounded as an actor and storyteller. My creative side inspires my desire to tell stories and play roles in a unique way – to imagine and experiment with different character choices, line delivery, and reactions to the scene around me. My analytical side not only helps me with learning music and memorizing lines, but it also makes me more attentive to detail. It allows me to be able to see the nuances in the script and music and consequently use those details to create a fuller, more developed character. Performing is certainly a challenging balance of both those sides for me – to allow my analytical side to give way to creativity and experimentation and vice versa. This is one of the many ways that theatre is so beautiful – everyone brings a bit of themselves to each role, so no two casts will ever present a show in the same way. That means this production of RAGTIME will be unlike any you’ve ever seen or will see again. Thanks for joining us for this beautiful, unique moment in time at the Keeton Theatre!

RAPID FIRE WITH RAGTIME’S COALHOUSE WALKER, JR, JAYDEN MURPHY

JHPENTERTAINMENT: At just 18, you’re taking on one of musical theatre’s most demanding roles—what was your first reaction when you were cast as Coalhouse?

JAYDEN MURPHY: My reaction to getting cast as Coalhouse…I was just grateful. As you said, you rarely see someone my age get a role that is this taxing and demanding. The trust that the cast and crew has given me is so fulfilling and it keeps me pushing through those hardships and tough times. 

JHPENTERTAINMENT: You’ve played everything from Henry in NEXT TO NORMAL to Evan in 13: THE MUSICAL—how does stepping into RAGTIME compare to your previous experiences?

JAYDEN MURPHY: It’s definitely a full 360, but it’s been a fun process. I personally love character work and learning about the things my character went through. I studied the novel of this show to see all the things that didn’t even make it to the Broadway script and added that into my character. 

JHPENTERTAINMENT: As a Jimmy Awards Semi-Finalist and Spotlight Award Winner, how have those opportunities helped shape your growth as a performer?

JAYDEN MURPHY: It’s shown me a lot about myself. How I deal with high pressure situations and the opportunities and connections that I made during those two award shows will follow me through the rest of my career 

JHPENTERTAINMENT: RAGTIME is a show with deep emotional impact—what do you hope audiences leave thinking or feeling after seeing this production?

JAYDEN MURPHY: I personally hope the audience is aware that not really anything has changed and goes into life with a better mindset after it.

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That wraps up this round of Rapid Fire 20Q with the talented cast of RAGTIME: THE MUSICAL at the Keeton Dinner Theatre! This powerful, sweeping story with unforgettable music and a rich narrative of America at the turn of the 20th century is brought to life on stage August 15–31 at the Keeton Dinner Theatre, 108 Donelson Pike, Nashville, TN. So CLICK HERE to reserve your seats now for an evening of theatre paired with the Keeton’s signature dinner experience and see for yourself why RAGTIME..is timeless.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire 20Q with creator and cast of Bucket List Inspirations: ‘Neurospicy Players Unmasked’; onstage at MPAC June 27 & 28

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On June 27 and 28, Cat Eberwine and a group of area musicians, singers and actors will take to the stage of Mills-Pate Arts Center (7120 Old Nashville Hwy, Murfreesboro, TN) for the debut production from Eberwine’s Bucket List Inspirations. The evening, NEUROSPICY PLAYERS: UNMASKED, as the title might suggest, features a cast of creatives most of whom have been diagnosed as on the autism spectrum. It’s Eberwine’s hope that by featuring a cast of neurodivergent creatives, Bucket List Inspirations‘ production will not only entertain, but also educate and enlighten their audience while simultaneously raising awareness and money to further her mission. With just days before show’s open, I recently had the chance to chat with Eberwine and co for my latest Rapid Fire 20 Q. What follows are those conversations.

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RAPID FIRE 20Q WITH BUCKET LIST INSPIRATIONS’ NEUROSPICY PLAYERS: UNMASKED

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

JHPENTERTAINMENT: Before we get into talking about the upcoming NEUROSPICY PLAYERS: UNMASKED event, let’s talk about your journey discovering you are on the autism spectrum. What made you even consider you might be on the spectrum and when were you fully diagnosed?

CAT EBERWINE: It was during a casual conversation while shopping with one of my closest friends early in 2023. Seemingly out of the blue, she started asking me questions that I later realized were on a list of typical traits of women with autism. After answering yes to most of them, she said, I think you may be on the spectrum. At the point of the conversation, I didn’t know a single woman who was autistic, and I knew very few males personally who were.  Most of my knowledge of autism was of the media stereotypes. So, after we parted, I went home and went down a two hour rabbit hole of women with autism and created a 20 page Power Point with flow charts and outlines of other diagnosis that I was currently being treated for or felt I might have. It took me months of research online and conversations with providers and insurance companies and support lines and FINALLY was pointed to a local clinic who did evaluations an accepted my insurance, but it was still pretty expensive, and I had to drive to Knoxville because the Nashville branch appointments were so backed up. After a three part evaluation over the course of a couple of months, I was officially diagnosed in September 2023 thru Athena Care.

JHPENTERTAINMENT: Once you received an official diagnosis, what advice were you given in dealing with such news?

CAT EBERWINE: “Keep it to yourself.” It was a journey for everyone around me and my family had a lot of patience, but none of us knew anything about it, so we were all starting at zero. I lost a therapist I really liked and had had for almost ten years because he “just didn’t see it”. “You’ve been married, you work”. “You don’t look autistic.” I had to find my own books. My first and favorite was Autism in Heels. It amazed me that this other woman had experienced so many of the same emotions and situations that made me feel so isolated all my life. Then I read another and another and a secret community began to emerge. Then I was reintroduced to Cat Burford, I had met her in 2022 but didn’t know she was also on the spectrum. We met for breakfast and had a great talk. We’ve been friends ever since, she’s really helped me a lot and is a great advocate for Autism Acceptance as well as being another member of the Neurospicy Players, an actor and a playwright.

JHPENTERTAINMENT: Now, on to Bucket List Inspirations. What prompted you to create the organization?

CAT EBERWINE: I don’t tell short stories, but I’ll try to stay at 5,000 feet on this one and if we ever want to, we can get into more detail. After my diagnosis, I searched for local organizations, support groups, therapists, not only for autistic adults, but females with autism…and found next to nothing. In many of the books I was reading, authored by late in life diagnosed women who are in highly educated positions, a common theme after diagnosis was the desire to then do what they could to help other women (and girls) become more familiar with how autism presents in women and encouraging earlier and more accurate diagnosis. (see, it’s already becoming a long story). There were many traumas I survived throughout my life that I feel I could have avoided or had better tools to navigate (yes, I have PTSD), had I known more about how my brain was wired. That coupled with wanting to honor the memory of my friend Dave Davis, who would have been right by my side during this journey, gave birth to the foundation. Dave started Bucket List Productions for our production of Assassins in 2022, and since he was my inspiration, that’s where Bucket List Inspirations came from.

JHPENTERTAINMENT: Bucket List Inspirations’ upcoming event NEUROSPICY PLAYERS: UNMASKED is a cabaret performance, but it’s also a fundraiser with a silent auction and a post performance Q&A. That seems like a lot right out of the gate. What was your thought process in debuting the organization in such a multi-level way and how will money raised during the event be used to further Bucket List Inspiration’s mission statement?

CAT EBERWINE: Because I can’t do anything halfway? I hate asking for money, and the more I talked about my autism the more people in my theatre family shared with me about their own diagnosis and I realized there were a lot of very talented people on the spectrum right here in our area. So I thought it would be a great way to highlight the wonderful talents and earn some the money we were asking for. The silent auction idea came from me looking for a template for what information I needed to put on the poster and I saw one that had a silent auction and I thought “ooohhhh, silent auction!”. Again, giving something in exchange for the money we are asking for. Someone in the cast suggested the Q&A and since our foundation is all about education (in an entertaining way), it seemed like a logical thing to do. As for thought process…it’s a lot of brainstorming…and being willing to go with the flow. To be honest, I’m scared to death it’s going to fail, which is a symptom of my diagnosis…perfectionism and a fear of failure…so I’m singing about it in the show.

As for the money, this first time around, I am hoping to cover my expenses from the last year of setting up the foundation, have enough to start producing our next show, and some left to pay someone to start developing the website. The website is the to be the hub of education and connection for Autism Education, Support, Social Activities, and celebrations of Autistic Artists and businesses owned by or supporting people with autism. We are focusing on 18 and over, but we want to start identifying seniors in high school and helping them with their transition to higher education. We have lots of great ideas, but it’s going to take a village and a bucket of gold at the end of my rainbow.

JHPENTERTAINMENT: What do you hope audiences take with them after having spent the evening at NEUROSPICY PLAYERS: UNMASKED?

CAT EBERWINE: A smile and a song in their heart? Maybe a cookie with our logo printed on it made by autism friendly bakery. And a few facts about autism that they never knew they never knew. But especially my eternal thanks for being a part of the birth of my dream.

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

JHPENTERTAINMENT: You were diagnosed as being on the spectrum in your twenties, while Cat and some of your other Neurospicy Players were diagnosed later in life. What do you perceive as an advantage of having been diagnoses at that time in your life?

WILL LASLEY: You know, it’s funny. I was diagnosed earlier, compared to them, but even still, it was later than ideal, which would have been during early childhood. But I never had a lot of trouble with eye contact as a kid, so at the time (late 90’s), they ruled out autism because that was considered such a make-or-break symptom. I do wish that we had real confirmation when I was a kid so that we could have known some level of what to expect and watch for. Now I have all this catching up to do with learning about myself and my community, but I suppose I don’t have maybe quite as much as those who find out even later than I did do, so if I had to name any particular advantage I may have, it would be that.

JHPENTERTAINMENT: How did you come to be part of Cat’s Neurospicy Players and this Unmasked benefit in particular?

WILL LASLEY: Well, Cat helped out with some of the shows I did with Act Too Players in my teens, so she really got to see me go through a lot of growth as a performer, and so I assume it came as no surprise to her when I got diagnosed. Then when SHE later got diagnosed, I was one of a few friends of hers who she knew were autistic that she reached out to, and we talked about it, and then later on she tells me what she wants to do with Bucket List Inspirations, and I was honored to be asked. I’ve loved having been a part of each other’s journeys.

JHPENTERTAINMENT: You’ve been on stage since your early teens, having been amongst the young pool of talent to pass through the doors of Act Too Players as you indicated above. What’s your fondest memories of your time with the beloved Middle Tennessee youth theatre company?

WILL LASLEY: My favorite thing I ever got to do with Act Too was play SWEENEY TODD. That was the thrill of a lifetime, and it was HARD. Sondra Morton and Jayme Smith put me through the wringer on that one, but it’s still my favorite role I’ve ever done. I say this, pun very much intended, that I would kill to play that role again. I definitely feel like I could do it even better now, but getting to do it with Act Too was such an important step in my musical career.

JHPENTERTAINMENT: As someone with a physical disability myself, I was particularly moved by the section of your bio that says you wear your diagnosis with pride. With that mindset, have you found folks are more willing to ask questions, rather than assume things about your disability?

WILL LASLEY: I feel like, even though most people aren’t nearly as educated on autism as I wish they were, it’s a recognizable enough label that people will usually hear you out if you bring it to their attention. I’ve had plenty of people make ignorant assumptions when they find out I’m autistic, and they usually mean well, but I much prefer when people react by asking questions.  I do really wish people would just instinctively listen to autistic people when it comes to matters of how we are treated. But you know, people always have to have an opinion whether they’re informed or not, so my hope is that talking more about more about autism will create a more informed public.

JHPENTERTAINMENT: What do you hope you and your costars achieve by presenting NEUROSPICY PLAYERS: UNMASKED?

WILL LASLEY: Obviously, first and foremost, I want people to be entertained, but I hope people will leave with plenty to think about and reflect on. There’s so much about autism that people either don’t know or have completely wrong, and if we can teach people about autism by doing what we already love doing, what more could we want?

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

JHPENTERTAINMENT: How did you come to be part of Cat’s upcoming NEUROSPICY PLAYERS: UNMASKED event?

JOHNATHAN VEST: I saw Cat post something on a facebook group I had recently joined. It was a group for adults with a late autism diagnosis. I reached out to her as a fellow artist/creative, and we began a conversation that has now turned into a friendship.  

JHPENTERTAINMENT: Like the other members of the company, you yourself have been diagnosed as being on the autism spectrum. When were you first diagnosed and how has that diagnosis helped you navigate your everyday personal and professional life?

JOHNATHAN VEST: I always thought that I might have ASD ever since the science and research was published about what they used to call Asperger’s Syndrome. But I figured it didn’t matter and as an adult, I had either “outgrown it” or “figured it out”  If you will. (Hint: I had done neither of those things.) It was not until someone close to me was diagnosed with something similar that the dominos began to fall and I reached out for some testing. 

JHPENTERTAINMENT: In addition to performing in the showcase, you’re also serving as music director for Neurospicy Players Unmasked. What’s been the most challenging/rewarding aspects of tackling that job for this show? 

JOHNATHAN VEST: The most rewarding part is working with these talented artists, seeing their passion, and hearing their stories. As for the most challenging, well—you get a bunch of neurodivergent people with brilliant creative minds and circular story-telling on a Zoom call and tell me how that goes 🙂

JHPENTERTAINMENT: In preparation of chatting with you and your cast mates, Cat was kind enough to share the rundown of the show. Spoiler Alert: I love that you’ll be performing The Moon and St. Christopher, a song made popular by Mary Chapin Carpenter. Randomly, I saw Mary at 3rd and Lindsley just this past weekend…but back to my question…what is it about this song that prompted you to choose to perform it for UNMASKED?  

JOHNATHAN VEST: I’m glad you know the song! I have always loved Mary Chapin Carpenter’s writing, and she really wrote some beautiful songs. This song is about going on a journey somewhere, and you really don’t know what you’re doing. You have no help, and you’re not even sure where you are going. The light of the moon and St. Christopher, the patron saint of travel, is all you have.  

When I think about growing up with undiagnosed ASD, I now realize that I had no help. None of us did back then. If you were autistic back then you were Tommy the Pinball Wizard, and you “sure played a mean pinball” but you didn’t speak, showed little or no emotion, as if you were “locked inside yourself.” That wasn’t me. So I was just weird. So me, and everyone in the cast tonight, had to figure it out. Take the feedback we were given from our parents (not knowing how to help, or understanding they needed to) our peers (often cruel and soul-crushing) and others (often isolating us because of not knowing how to take us). All I had was a light and a prayer. I’m thankful I had them, though.  

JHPENTERTAINMENT: I understand there’s a silent auction as part of the evening’s festivities, right?JOHNATHAN VEST: Yes, I hope everyone will consider bidding on something. Our hope is to continue to offer opportunities and resources for adults with autism, which right now, are very scarce.  

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

JHPENTERTAINMENT: From the bio Cat provided as I began researching to chat with you all, I learned that you, like Cat were recently diagnosed as being on the autism spectrum. How has learning this information at this stage in your life helped you?

DAN KASSIS: More than anything, learning I have ASD has helped me accept those things about myself that I have tried to change or “fix” for most of my adult life. The goal now is to learn to thrive with my particular neurotype rather than fight against it.

JHPENTERTAINMENT: You’ve been a Nashvillian since 2001, having spent the early part of your life in your native California. What prompted you to relocate to Music City?

DAN KASSIS: We moved here from Sacramento (like Cat did!) because of a downsizing at my job there that deleted my position. From that day, it only took about four months to arrive in the Nashville area. I got a job with LifeWay Christian Resources. They moved my family and me here.

JHPENTERTAINMENT: As an actor, what’s been the most rewarding aspect of being on stage in front of a live audience?

DAN KASSIS: I’m a big fan of the moment when everything comes together after all the hard work and preparation, and the show seems to come alive. You realize you and your fellow actors and crew are no longer working on a project. You’re part of a bigger thing. I have also loved working alongside some of our region’s most talented actors and learning from them.

JHPENTERTAINMENT: I understand you first were drawn to your love of drumming at an early age. Who are some of your drummer heroes and is there a piece within the NEUROSPICY PLAYERS: UNMASKED that you’re particularly enjoying performing?

DAN KASSIS: The drummers who have inspired me the most have all come from the jazz genre – Dave Weckl, Vinnie Colaiuta, Steve Gadd, Peter Erskine, Brian Blade, Elvin Jones, Buddy Rich. I also learn a lot from session players like Jeff Porcaro and Keith Carlock. I love “What Else Can I Do” from Encanto – I always enjoy playing anything with a Latin groove. 

JHPENTERTAINMENT: What do you think is the biggest misconception about being on the autism spectrum?

DAN KASSIS: The biggest misconception is that “we’re all on the spectrum.” No we aren’t! There are neurotypical people and neuro-atypical people. If we were all on the same spectrum, I don’t think autism would be considered a disorder. You don’t have to claim to be on the same spectrum as people with ASD to connect with them and and better understand them.

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Bucket List Productions’ NEUROSPICY PLAYERS: UNMASKED takes to the stage at Mills-Pate Arts Center on Friday, June 27 and Saturday, June 28. Each evening will begin with a Reception and Silent Auction at 6pm and show at 7pm. Immediately following the show there will be a talkback and Q&A with the cast. General Admission tickets are $20. For $100, there’s a cabaret table option (table for four nearer the stage). CLICK HERE to purchase tickets. 

Can’t make the event but would like to support upcoming programs presented by Bucket List Inspirations? CLICK HERE. You can also follow Bucket List Inspirations on Facebook.

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

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

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

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

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

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

JHPENTERTAINMENT: For the uninitiated, what is HADESTOWN about?

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

JHPENTERTAINMENT: What can you tell me about Persephone?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire Q&A with Director and Cast of Reimagining of Martin Luther King Jr.’s last night, ‘The Mountaintop’; at Nashville Rep through February 23

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

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

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

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Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.
Next up at Nashville Rep, it’s Sondheim‘s Sunday in the Park with George, with performances April 4-13. Sunday will be directed by Jason Spelbring, with musical direction by Steve Kummer. In the roles of Georges Seraut and George it’s London West End favorite, Irish actor, David Shannon (Les Miserables, The Phantom of the Opera, Sweeney Todd). Just announced, the cast will also feature Christine Dwyer (Broadway‘s Wicked, National Tours of Waitress, Finding Neverland, RENT). Dwyer will take on the roles of Dot and Marie. The cast also includes Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Richard Harrison Jr. as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise.  CLICK HERE for tickets.

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

If you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with director and cast of The Keeton’s ‘A Christmas Story’; on stage thru December 22

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“You’ll shoot your eye out!”…arguably a phase almost as synonymous with the holidays as “Merry Christmas” itself, thanks to the now-classic 1983 film adaptation of A Christmas Story, humorist Jean Shepherd’s take on holidays of days gone by. This holiday season, The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) is presenting A Christmas Story: The Musical as their holiday offering. I’m not gonna lie, I came to A Christmas Story relatively late in the game, never having seen the film, and only first becoming fully familiar with it when another area theatre company mounted the non-musical stage version a few years running. That said, once I witnessed the fun of the show, I was all in! So you know I had to reach out to my friends at The Keeton to chat with the show’s director, Jacob Waid and four of his cast members, including Toby Turner who’s playing The Narrator, Chelsea Ranelle who’s playing Mother, Kimberly Wolff who’s choreographing the show and playing Mrs. Shields and young Noah Owens, who’s playing Ralphie! So grab a cup of hot cocoa and check out my latest Rapid Fire 20Q.

 

 

Rapid Fire 20Q with director, choreographer and cast of The Keeton’s A Christmas Story

Rapid Fire with Noah Owens, Ralphie in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite part of playing Ralphie in A Christmas Story?

NOAH OWENS: I love working with my stage family, Ryman, Kevin, and Chelsea. We have really developed a strong relationship with inside jokes and even a pre-show ritual. I also LOVE the songs! The first time I heard Ralphie to the Rescue (a song from the show), I could not stop singing it for 3 DAYS!    

JHPENTERTAINMENT: As Ralphie, there’s a hilarious scene involving a department store Santa, played by Elliott Winston Robinson in The Keeton’s A Christmas Story. How much fun are you having sharing the stage with Elliott?

NOAH OWENS: It is so fun because Elliot is extremely funny even when he is pretending he hates us kids. 

JHPENTERTAINMENT: Other than A Christmas Story, what’s your favorite Christmas movie or tv special?

NOAH OWENS: Without a doubt I would say another great Christmas comedy, The Santa Clause, starring Tim Allen.

JHPENTERTAINMENT: What’s at the top of your Christmas list this year?

NOAH OWENS: My family and I like to have experiences so I am asking for us to get to go to an Escape Room!

Rapid Fire with Chelsea Ranelle, Mother in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite aspect of Mother, the character you play in The Keeton’s A Christmas Story?

CHELSEA RANELLE: I love how caring she is with her children in the moments where it counts. She’s a busy, frazzled, boy mom but she still knows when to slow things down and make special moments for her babies. 

JHPENTERTAINMENT: A little online sleuthing revealed that you’re a high school teacher by day. Has the day job helped you relate to your younger cast mates?

CHELSEA RANELLE: For sure! It’s felt totally natural. I’ve enjoyed being in this cast with our amazing youth ensemble. They are truly fantastic young people. They’ve been a an inspiration to me and an absolute joy to work with! 

JHPENTERTAINMENT: While most are familiar with A Christmas Story by way of the now-classic film, this particular stage version is a musical. Is there a particular musical moment that you love, whether it be one you’re part of, or one you simply enjoy from the wings?

CHELSEA RANELLE: I really love working with my stage family. Kevin is incredibly natural on stage which makes him an interesting scene partner to play off of. Noah is so in the moment; I love seeing him light up and make choices on stage. He’s truly phenomenal! And Ryman is just as wonderful on stage and off. He’s a super strong singer and a really lovely kid to spend time with. My favorite number to watch from the wings is You’ll Shoot Your Eye Out. It’s lively and the women’s ensemble is stunningly talented! 

JHPENTERTAINMENT: Since A Christmas Story centers-round Ralphie’s most memorable Christmas, What’s one of your favorite holiday memories from your own childhood?

CHELSEA RANELLE: No Christmas stands out in particular. My childhood Christmases remind me of the Parkers’. My step-father was born in the 40’s and he reminds me of Mr. Parker in many ways. Stressed with work during the year, using words my mother would have preferred he hadn’t, and Jimmy-rigging everything that ever broke in our house! Christmas time, though freezing where we lived in the hills of West Virginia, was always warm and joyful. It was my dad’s favorite season. He’d alway take us to get a huge flocked tree which my mother would decorate just like the Parkers—with big colored lights and silver tinsel. My mother, like Mrs. Parker, worked hard to make Christmas perfect, inventing and carrying on many traditions that we still have today. Even though I’m now in my mid 30’s, she still insists on our traditions and I’m glad she does! One of my favorite traditions was the colored bubble lights we had on our tree. I loved watching the lights bubble at night while snow was falling outside. Everything felt at peace during those Christmas seasons. 

Rapid Fire with Kimberly Wolff, Miss Shields in The Keeton’s A Christmas Story

JHPENTERTAINMENT: Who is Miss Shields to you?

KIMBERLY WOLFF: Miss Shields to me, is a nice teacher. She is fair but firm, and slightly quirky. Especially if you don’t pay attention to the MARGINS!!!! I see her as a teacher that students enjoy, but at the same time, she’s not someone you can get things by too easily. 

JHPENTERTAINMENT: Not only are you playing Miss Shields, you’re also choreographing the show. What that experience been like thus far?

KIMBERLY WOLFF: Although slightly challenging, I have loved every second of it. Getting to be a part of this show as Miss Shields, and creating all the dances has been so fulfilling. Miss Shields has a whole tap number to “You’ll Shoot Your Eye Out.” Tapping had always been a huge passion of mine and getting to do it in this show has been so much fun. I would say, that tap number and Ralphie to the Rescue have been my favorite dances to create and see them come life with our incredible cast. 

JHPENTERTAINMENT: On the subject of choreography, do you have a favorite Christmas musical movie? AND…What is it about that film that makes it required holiday viewing for you?

KIMBERLY WOLFF: Well, since we are talking choreography and Christmas musicals, I think it would have to be White Christmas. The precision and difficulty of dancing that takes place in that movie is incredible and they make it look so effortless and easy. The talent is unmatched and it just makes it such an enjoyable movie to watch!

JHPENTERTAINMENT: YES! White Christmas is my absolute favorite musical movie! Since you play a teacher, I gotta ask. What teacher from your formative years do you still think of fondly?

KIMBERLY WOLFF: There are a handful of teachers that will always stick out to me. From 5th grade all the way through high school. However, when I reached high school we had an incredible principle. Mr. Carl. He genuinely cared for all of the students in our school and would take the time to get to know everyone. Every morning, rain, shine, or snow, he would stand on the corner with Mr. Rankin, and greet the kids and made sure everyone got in safely. He took notice of my passion and abilities and would always ask about the things I was doing. By the time I reached my senior year, he had heard me and another student sing The Prayer by Celine Dion and Andrea Bocelli at a choir concert. He asked us to sing it at my graduation ceremony and it was a moment I will never forget. I am thankful for the teachers who care and create a positive impact on kids lives. It’s not an easy job. 

Rapid Fire with Toby Turner, Jean Shepherd in The Keeton’s A Christmas Story

JHPENTERTAINMENT: You play Jean Shepard, the narrator of A Christmas Story. What’s been the most challenging aspect of playing this character?

TOBY TURNER: There’s a lot in this show that reflects on Jean’s relationship with his parents–especially his father.  I don’t think I’ve ever heard my own father utter a single curse word, but there’s still a lot of similarities between my old man and The Old Man.  Earlier this year my dad had a stroke and it has severely impacted his life.  It’s been difficult to draw upon the intensity of the emotions I am feeling about my own relationship with my dad while filtering out the sadness and frustration of the current situation

JHPENTERTAINMENT: Since you’re playing the man who actually wrote the film and the short story upon which it’s based, If you were to write a story about your most memorable Christmas, what would it be about?

TOBY TURNER: I’m willing to bet that A Christmas Story combines a couple of different years in Jean’s life and mine would be similar.  There was a year my mom wrapped up a pet crate with a kitten in it.  We knew things were out of the ordinary when my mom insisted we open a specific present first.  More recently, I took my wife and daughter to spend Christmas in New York City.  It was tremendously fun for me to go by a tree down the street and carry it back to our rented apartment.  We took our daughter to her first Broadway show – Winnie the Pooh.  She was vibrating with glee the entire time.  At one point during the performance, the little 5 year old grabbed my face, pulled it to hers, stared into my eyes and silently screamed with joy.  We even got a light coating of snow on Christmas morning.

JHPENTERTAINMENT: What’s one holiday activity you look forward to each year?

TOBY TURNER: I never cared about turkey stuffing or dressing my whole life until I met my wife.  The way she cooks it is mind blowing.  I spend all of January through October dreaming about her stuffing and all of November and December begging her to cook some more for me.

JHPENTERTAINMENT: They say write about what you know…to that end, settle it once and for all, is Jean Shepard Ralphie grown up?

TOBY TURNER:  I think the answer is mostly yes.  However, I bet there’s either one really good story that didn’t actually happen to Jean and he didn’t want to take full credit for it.  Or, there’s one really embarrassing story that did happen to him and he doesn’t want to admit it…. maybe Jean was the one who stuck his tongue to a flagpole?  Or maybe Jean was actually the bully Scut Farkus before getting taught a lesson.

JHPENTERTAINMENT: What is it about A Christmas Story that draws audiences year after year?

Rapid Fire with The Keeton’s A Christmas Story director, Jacob Waid

JACOB WAID: Ultimately, it’s a classic story we all connect with. It’s timeless and full of heart, capturing the chaos, humor, and joy of the holidays in a way that feels so real. Everyone can see themselves in the family onstage—whether it’s the funny moments, the big holiday dreams, or the mishaps that somehow become your favorite memories.

We’ve all had that one Christmas where something didn’t go as planned or that one gift we couldn’t stop thinking about. This show taps into those experiences, blending laughter and nostalgia to remind us what makes the holidays so special. It’s about family, traditions, and the magic of seeing Christmas through a child’s eyes. Whether it’s your first time watching or a tradition of its own, A Christmas Story always feels like coming home for the holidays. 

JHPENTERTAINMENT: In the show, Ralphie is laser-focused on getting that ONE Christmas present he’s been dreaming of. As a kid, was there an equivalent to Ralphie’s Red Ryder Carbine Action 200-shot Range Model air rifle for you that you just had to have as a gift?

JACOB WAID: As a kid, there were definitely a few things I just had to have—computer games, a Gameboy, and one year…a hamster! But honestly, I’ve never been too focused on the gifts themselves unless they were tied to memories or something sentimental. For me, the magic of Christmas was always about the experience, the memories, and the family traditions.

I loved the tradition of putting out cookies for Santa and waking up to see if he’d enjoyed them. One of my favorite memories was being allowed to open one gift on Christmas Eve with just me and my mom prior to opening the gifts that Santa brought on Christmas morning. Christmas felt magical because of the little things: the candlelight service on Christmas Eve, the time spent with family, Kenny G’s Christmas album playing in the background, and, of course, the food—always the food! Those are the memories and traditions that have stayed with me and made the holidays so special.

JHPENTERTAINMENT: What do you hope audience remember long after seeing The Keeton’s production of A Christmas Story?

JACOB WAID: I hope that audiences remember the joy of the season, the memories made with friends and family, and the spirit that ties it all together. Whether you celebrate Christmas, Hanukkah, Kwanzaa, or no holiday at all, this time of year is a chance to embrace the energy of the season—or even just the beauty of winter’s beginning.

This show is about nostalgia and the moments that bring us together. I hope people leave with that warm and fuzzy feeling, reminded to treasure all of the memories, laugh through the chaos, and find ways to keep the magic of the season alive. My goal with this production was to fill every moment—both the heartfelt and the hilarious—with the wonder of this time of year. I hope it inspires our audiences to carry that magic with them, celebrating in their own way, and sharing it with those they love.

The Keeton’s A Christmas Story: The Musical runs weekends through December 22. At the time these interviews were posted, The Keeton’s socials indicate that the entire run of the show has SOLD OUT, that said, be like Ralphie, be persistent! It can’t hurt to call the box office at 615.231.1231 just to check to see if any last-minute tickets might open up. You can also email boxoffice@thekeeton.org. 

Next up at The Keeton it’s Beautiful: The Carole King Musical, onstage February 7-23. CLICK HERE for tickets or more information. To be sure you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

 

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s ‘A Christmas Carol’; on stage December 7-22

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On Saturday, December 7, and continuing through Sunday, December 22, Rabbit Room Theatre and Matt Logan Productions present an all-new retelling of Charles Dickens’ A Christmas Carol on stage at FSSDPAC (Franklin Special School District Performing Arts Center 1030 Excellence Way, Franklin, TN). Having been completely entranced by their 2022 teaming for The Hiding Place, I’m just gonna say it, anytime there’s a collaboration between Matt Logan Productions and Rabbit Room Theatre, I’m there! Matt Logan’s genius eye for stage and costume design detail paired with Rabbit Room Theatre’s Pete Peterson’s thoughtful and thought-provoking mastery as a playwright and the results are always spectacular. When I heard the these two powerhouses in regional theatre were coming together to present their vision of A Christmas Carol, I knew I had to feature them in the latest installment of my recurring interview feature, Rapid Fire 20Q. Rounding out the questions to a full 20, I requested a little time with the show’s Ebenezer Scrooge, Chip Arnold and The Ghost of Christmas Past, Ruthy Berends. What follows are all four conversations.

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s A Christmas Carol

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol playwright, Pete Peterson

JHPENTERTAINMENT: As a playwright, I’d imagine adapting a story so beloved might be a bit daunting. What was the catalyst for taking on A Christmas Carol?

PETE PETERSON: It’s not only beloved by audiences and readers worldwide, it’s beloved by ME. I love this book. I love Dickens. I think stepping up to the plate for a chance to retell a story that has entered the annals of literary history is a real privilege and challenge. And like storytellers have been doing for all of history, retelling the great tales of our language is a way of participating in the long tradition of Story in our culture. We tell stories and retell them over and over, and hopefully each new telling shows us a different facet of the tale so that it takes on new meanings and new relevance. That’s a great challenge and opportunity for a writer. It’s an honor.

JHPENTERTAINMENT: Is there a line you’ve written for A Christmas Carol that you’re particularly proud of?

PETE PETERSON: Again and again, people who read or see the show seem to find resonance in the line “What is hidden cannot heal.” The story is all about these Ghosts revealing hard truths to Scrooge in the hopes that he will change, and those truths are often about how wounded he has been in life and how the covering up of those wounds is what keeps him bitter and alone. Those hurts and traumas from his youth need to be exposed and dealt with if he’s to have any hope of healing and joy. That’s a phrase that’s original to my adaptation and I’ve been really moved by how deeply audiences have responded to it. I think it’s an idea that’s latent in Dickens’ prose throughout the original, and effectively giving it voice through that line is satisfying.

JHPENTERTAINMENT: Rabbit Room Theatre’s A Christmas Carol marks the latest collaboration between you and the show’s director, Matt Logan. Previously Matt helmed productions of The Battle of Franklin and Frankenstein, two of your other plays. What is it about Matt that makes it easy to entrust your written word?

PETE PETERSON: I feel like our imaginations are aligned in some mysterious way. He tends to intuit the way I tell stories and make them better with the design and staging and emotional intelligence he brings to them.. And I like to think I’ve learned to write in a way that allows his imagination to flourish. It’s been a really healthy collaboration. We tend to have a lot of back and forth as the shows develop, so that he can riff off of my ideas and I can riff off of his.

JHPENTERTAINMENT: While I’m sure Chip Arnold is your current favorite Scrooge on stage, which cinematic turn of the past stands out most in your mind?

PETE PETERSON: I feel like it’s a cliche to say The Muppets’ but like all cliches, they are cliches for a reason. It’s hard to beat Muppets. But otherwise I grew up with George C Scott, and I really like the animated version by Zemekis and Carrey. 

JHPENTERTAINMENT: After attending a performance of Rabbit Room Theatre’s A Christmas Carol, what do you hope audiences take with them?

PETE PETERSON: One of the questions I’ve tried to wrestle with in the writing process is whether a man is changed (by some external force) or whether a man changes (by his own agency). Ultimately, I think the answer is both–and either way there’s a Spirit involved in the process. I hope folks will go home thinking about how we all might be more open to the people around us and how we all have the opportunity for change, both internal and external.

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol director and designer, Matt Logan

JHPENTERTAINMENT: I think I say this every time I get the opportunity to chat with you about a show, but in my estimation, you are one of the most talented directors and designers the Nashville-area theatre company has ever seen. Your attention to detail is such a joy to experience. What’s been the most rewarding aspect of directing and designing Rabbit Room Theatre’s A Christmas Carol

MATT LOGAN: Wow, you are so kind. I do love theater design, but most of all it’s story and the impact it has on our lives that keeps bringing me back to the theater. In this process, my favorite part has been reconnecting with the childlike imagination that brings about theatrical magic. In all aspects of this piece, we tried to find the magical way to help tell the story of Ebenezer Scrooge . Sometimes it’s finding a new approach to period costume design or it’s using simple things to create ghosts and water. I will always be drawn to theater magic over realism. I hope that with everything I do, there is a strong approach to emotional realism and theatrical magic.

JHPENTERTAINMENT: When I spoke with Pete, I noted that A Christmas Carol is just the latest in a line of collaborations between the two of you as playwright and director. What keeps you saying yes to bringing his work to the stage?

MATT LOGAN: Haha! It’s such a joy working with Pete. Our gifts are completely different and yet we find a common goal for excellence. I will forever be in awe of Pete’s writing . His gift for language astounds me. On top of that he knows my work and my collaborators so well, that it gives us a shorthand on each project. In many ways, he envisions what I’m going to do with a piece as he’s writing it. We just fit together nicely and it’s a great blessing to have that synchronicity

JHPENTERTAINMENT: I understand this production will feature an original score. Can you tell me a bit about that?

MATT LOGAN: Yes, Anthony Matula is composing an original score for the piece. As you can imagine this is a very difficult thing to do with an original play. So much was in development and not set until the very end. So even now we are trying to finalize the details, but Tony offers such a unique sensibility to the score. He comes from the film world and has brought an incredible perspective to each scene. Our goal is to enhance the cinematic feel of our theater production 

JHPENTERTAINMENT: On the subject of music, what’s your favorite holiday tune? And why does it hold such a special place in your mind?

MATT LOGAN: Hard to say, but I’ll Be Home for Christmas is my all-time favorite. I’ve sung it many times on stage because I was away from my hometown for about 12 years. This is when I lived in Los Angeles and New York. Nothing brought me greater joy than when I could come home for Christmas. I longed for it. My parents and grandparents always made the season so full of love. I’m definitely a Christmas guy, I love this time of year. And that’s why I’m so grateful to be sharing this season with Rabbit Room Theatre, our incredible cast, and this Middle Tennessee community. 

JHPENTERTAINMENT: As alluded to in my first question for you, your attention to detail in even the most minute props or set design elements is always such fun to see. Is there something in this show that you’re hoping audience members will spot and get a smile from?

MATT LOGAN: Haha! There is so much of me in this piece. From real items to my designs for this show, my fingerprints are all over it. On my 21st birthday my mom gave me a Shakespeare bust. Years later I bought another one that is almost life size. Somehow this bust reminds me of the delight I found in theatre class with my high school drama teacher Paula Flautt. The idea of the stage and how I feel in love with it is symbolized by that bust. I had to add it to the stage pictures! 

Rapid Fire with Ruthy Berends, Ghosts of Christmas Past and Future in Rabbit Room Theatre’s A Christmas Carol

JHPENTERTAINMENT: I just chatted with Matt Logan, your director and designer for A Christmas Carol. I saw a social media post previewing your wardrobe for The Ghost of Christmas Past. Of course it’s truly gorgeous. How much does wardrobe enhance your portrayal on stage?

RUTHY BERENDS: Ugh isn’t it glorious?! Wardrobe always helps me feel more connected to a role, but the magic and grandeur of the costumes Matt has created for Past (and Yet To Come) are especially impactful. Past is whimsical and twinkly and mysterious, and the dress Matt designed not only helps capture that for the audience, but also for me. I slip into it and immediately feel myself raising an eyebrow, putting my shoulders back, and really embodying the role we have all worked to create.

JHPENTERTAINMENT: Speaking of The Ghost of Christmas Future, you’re playing that role as well. Two very different roles. How much fun are you having in this duality?

RUTHY BERENDS: It’s a total delight. I love the contrast and the continuity I keep finding between the two. On the surface, they are very different; Past is spritely, light, and sparkly, and Future is dreadful, dark, and decrepit. Their demeanors are different, their costumes are different, they move very differently. But they’re also after the same thing: to help Scrooge see himself more fully and move him toward change. It’s been so fun getting to play with the different characters and their almost opposite tactics for achieving the same goal. 

JHPENTERTAINMENT: A Christmas Carol marks your return to live theatre after having focused on tv and film in recent years. To my estimation, Matt Logan is a very cinematic director, so has that made the return to the stage easier for you?

RUTHY BERENDS: I’ve been working with Matt since I was 14 years old, so I feel very at home under his direction. It’s funny, in my audition for A Christmas Carol, Matt immediately gave me the same note he’s been giving me since I was a teenager – “Do it again but for the back of the room!” which made us both chuckle with knowing. He has always provided a safe and creative space to play and explore, and his approach was a huge reason I wanted to be an actor in the first place. And I definitely have a new appreciation for his ability to blend theatre and cinema after these years focusing on film, and his whole approach has made this experience a delight. 

JHPENTERTAINMENT: I understand you’re a relatively new Mom. Given that, have you thought of any Christmas traditions, activities or holiday specials and movies that you are excited to introduce to you child as the years progress?

RUTHY BERENDS: Yes, my son just turned two! I would love for the arts to be a part of it, whether it’s seeing a play or going to the symphony or a choral recital. Definitely watching all of the Christmas movies: Home Alone, Elf, The Santa Clause, Christmas Vacation. And honestly, I can’t wait to see A Christmas Carol with him one day and talk all about its meaning. It’s become such an important story to me over these last several months.

JHPENTERTAINMENT: As written by the playwright, Pete Peterson, what’s your favorite aspect of the ghosts you play?

RUTHY BERENDS: Oh man, it’s so hard to name just one. I guess for Past I would say her wonder and humor. Pete has written her so beautifully as both deep/wise and funny/light-hearted, and I love playing with those different aspects in one character. It’s very complex and mysterious. And with Future, I love that she is not the usual hooded black shroud that one typically associates with A Christmas Carol. In this version, she is more akin to a decaying bride, a representation of all Scrooge has lost and still could lose if he stays on his curmudgeonly path. And the challenge of playing a character who does not speak but has so much to impart, is so fun.

Rapid Fire with Chip Arnold, Scrooge in Rabbit Room Theatre’s A Christmas Carol 

JHPENTERTAINMENT: Having previously played Scrooge a few years in a row in another area theatre company’s production of A Christmas Carol, what stands out to you about this particular incarnation as adapted by Rabbit Room Theatre’s artistic director, Pete Peterson?

CHIP ARNOLD: A few things stood out immediately: Pete Peterson’s beautiful integration of his words with Dickens words. They are dense, beautiful, and require savory chewing.  Then Pete’s incorporation of the spirit world beyond Marley, and his three ghostly ambassadors. And finally, Scrooge’s inner child is a revelation. 

JHPENTERTAINMENT: This adaptation is directed by Matt Logan, another member of the area theatre community with whom you’ve worked with in the past. What’s your favorite aspect of Matt as a director?

CHIP ARNOLD: His vision. Matt is a visionary and the clarity with which he creates this vision. His generosity as he invites the actors into this vision and gives us the freedom to play and explore as we find ourselves becoming contributors to the story.

JHPENTERTAINMENT: In your estimation, is Scrooge villain or victim?

CHIP ARNOLD: Actually, neither. Modern cultures have created a one-dimensional character with descriptors such as “miserly” and “greedy.” This is not villainous. These of symptoms of hurt and rejection. In Pete’s version of the story, we explore the reasons why these choices were made.

JHPENTERTAINMENT: What’s one of your most cherished holiday memories?

CHIP ARNOLD: A tradition my wife and I started years ago with our grands is what we call the Christmas Tree Fairies who will come to our farm the day after Thanksgiving and leave a Christmas tree somewhere in the woods and we hike back to the woods in search of the treasure. 

JHPENTERTAINMENT: What is it about this story that has proven a beloved part of the holiday season for 181 years?

CHIP ARNOLD: It is a story of rescue and redemption. And, for me personally, it is tied to the Nativity story that so many celebrate at this time of year. The point of the arrival of the Christ child was to save humankind. The point of the arrival of Marley and the Three Spirits was to save Ebenezer Scrooge. That tale never grows old.

Matt Logan Productions and Rabbit Room Theatre’s A Christmas Carol opens Saturday, December 4 and continues through Sunday, December 22 with performances Wednesdays, Saturdays and Sundays. Saturday and Sunday performances are at 2:30pm and 7:30pm. Wednesday shows are at 7:30pm. The final week of the run, there’s also a Thursday evening show at 7:30pm. Tickets start at $45. CLICK HERE to purchase tickets or for more information.

Check out The Rabbit Room online or follow them on Facebook and Instagram. To keep with all things creative from Matt Logan Productions, check out their Facebook and Instagram.

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

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

Rapid Fire Q&A With Stars of The Other Me Theater Company’s ‘Visiting Mr. Green’; Opening Thursday, November 7 at Playhouse 615

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A few months ago I attended a performance of a play presented by The Other Me Theater Company, the show served as a relaunch of sorts for the theatre company whose mission as their site suggests, is to present thought-provoking theater performances. With their latest production, playwright Jeff Baron’s NYC Drama League-nominated Visiting Mr. Green, The Other Me Theatre Company appears to be once again rising to the challenge. With Bowd Beal as director, Visiting Mr. Green opens Thursday, November 7 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) and continuing through Saturday, November 16. A two-person dramatic work examining the commonalities we share in spite of our initial perceived differences, Visiting Mr. Green features Bryan Kratoska and RJ Comer As the two actors readied for opening night, I recently had the chance to chat with them for the latest in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with the stars of The Other Me Theater Company’s Visiting Mr. Green

Rapid Fire with Bryan Kratoska, Ross Gardiner in Visiting Mr. Green

JHPENTERTAINMENT: What can you tell me about Ross Gardiner, the character you play in Visiting Mr. Green?

BRYAN KRATOSKA: Ross is a young man learning to slow down and appreciate others, along with learning to be okay with himself along the way.

JHPENTERTAINMENT: While I had heard of the play, I gotta be honest, I was mostly unfamiliar with it prior to doing a little research in preparation of chatting with you and your costar. From what I’ve ascertained, in the broadest sense possible, it seems to be somewhere between Tuesdays with Morrie and The Odd Couple. Is that a fair assessment? AND…How might you more accurately describe what transpires during the play?

BRYAN KRATOSKA: While I don’t know Tuesdays With Morrie, I do know The Odd Couple. I would say it’s within reason to say this show is close/adjacent to The Odd Couple. This is a story of two men learning to live with both each other, and to learn to live with themselves and/or their mistakes.

JHPENTERTAINMENT: How did you come to be part of this production?

BRYAN KRATOSKA: I assistant directed Bowd Beal last year around this time in A Tuna Christmas over at Pull-Tight Players. He did a wonderful job and was a lot of fun to work with and learn from on my end. So when he called and asked if I would like to read the part with RJ, I had to at least give it a shot, and I am glad I did.

JHPENTERTAINMENT: Is there a line or a scene in the show that you particularly look forward to each time it comes up in the script?

BRYAN KRATOSKA: Act 2 Scene 1. It’s tough, and I can’t say more than that without spoilers!

JHPENTERTAINMENT: As mentioned, Bowd Beal is the show’s director. While I’ve known of him for a while, it was only recently that we met when he starred in The Other Me Theatre Company’s most recent production, The Sunset Limited. What’s been your favorite aspect of exploring these characters under Beal’s direction?

BRYAN KRATOSKA: Bowd is great at developing characters. Anyone who had the chance to see him and Chad Stem in A Tuna Christmas would know that. So combining his creative mind when it comes to building characters and the fact that he has played Ross in the past, it’s led to many in-depth conversations regarding Ross and this world. He’s also pushed me outside of my own box in a lot of ways. I typically act in musicals, so this has been a real treat to take part in and play/build Ross under his direction.

Rapid Fire with RJ Comer, Mr. Green in Visiting Mr. Green

JHPENTERTAINMENT: In researching to chat with you and your co-star, I discovered this play has not only been around since 1996, it has played in more than 50 countries world-wide. In spite of that popularity, the last time a Tennessee audience was privy to a production, was nearly fifteen years ago when a company just outside Memphis presented it. That said, The Other Me Theater Company’s presentation will undoubtedly mark many audience members’ introduction to the piece. Does being part of a show that is largely unfamiliar to the majority of its audience lend a certain freedom to the way you present the character and make it your own?

RJ COMER:  First, thank you for your interest in our production of Visiting Mr. Green and for your editorial support for live theater in this area. When it comes to playing Mr. Green, the long shadow on any actor is Eli Wallach who originated the role. But I approach my responsibility as an actor the same whether the part (or the play) is new to the audience or is very familiar to them. My job, as an actor and interpretive artist, is to find the truth of the character as revealed in the script, consistent with the director’s vision, and inhabit that truth in every way. So no, doing a part or play that is unfamiliar to an audience is no more liberating than doing one they’ve seen many times. I will say this though: it is more fulfilling, more fun, and I think more worthwhile. Live theater is a unique and powerful way to communicate and illuminate through art. So I applaud any company that produces work that middle TN audiences have not seen before. I’m equally excited about Franklin Theatrical Fellowship’s upcoming production of Goodnight Oscar (the first production of this Tony-winner since it left Broadway) and was super pleased to see Bradley Moore bring the world premiere of Lithium and Xanax to this market at The Darkhorse.  

JHPENTERTAINMENT: As I mentioned when I chatted with Bryan, I recently saw your director Bowd Beal appear onstage in The Other Me Theatre Company’s The Sunset Limited. That production marking the theatre company’s reemergence after a few years. How excited are you to be part of the rebirth of this thought-provoking theatre company?

RJ COMER: I’m stoked! I’m always excited to contribute to any company (new or established, professional or community) that seeks to elevate the offerings beyond the familiar, the safe, and the silly. Make no mistake, Mr. Green is full of LOL moments as well as charming and dramatic surprises – it isn’t an interpretive think-piece – but it transcends the identities and circumstances of the characters to address universally applicable questions about love, family, and identity. Yeah, I’m very pleased to be performing for a company committed to that kind of work.        

JHPENTERTAINMENT: I understand Bowd is not only directing, but also serves as the set designer for Visiting Mr. Green. Is there a detail in the set that you enjoy that you hope the audience might take note of?

RJ COMER: Our director, Bowd Beal, designed and built the set. It’s a typical middle-class apartment in New York, now a little run down, dim, and messy from neglect. But there are two seemingly inconsequential moments when more light appears. I hope the audience spots and appreciates the metaphor of the light in those moments. After all, this is a play about opening one’s heart, and I love it when the set in small ways does more than merely frame the action, but also helps tell the story in subtle ways.

JHPENTERTAINMENT: In 2018, two decades after Visiting Mr. Green’s debut, playwright Jeff Baron presented a sequel, So This is My Family: Mr. Green Part 2. IF The Other Me were to take on this sequel in the future, would you consider revisiting the role?

RJ COMER: Ha! Well, that depends on two things: first, whether I like the script – which I haven’t read; and second, whether our production of Visiting Mr. Green attracts and wins the hearts of this audience. I just encourage everyone to come to see this play. Then, if they like it as much as I think they will, we can talk about doing the sequel.

JHPENTERTAINMENT: What do you hope audiences will take with them long after Visiting Mr. Green?

RJ COMER: I hope the audience will be mindful that while strongly held beliefs and convictions provide structure and certainty – thereby providing security and comfort in an uncertain world – they can also lead to absurd and tragic results when not tempered by love. Love allows us to maintain the integrity of our beliefs while making room in our hearts for those who may not share them.   

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The Other Me Theater Company’s Visiting Mr. Green debuts at Playhouse 615 with 7:30pm performances Thursdays-Saturdays November 7-9 & 14-16 and a 2:30pm matinee midway through the run on Sunday, November 10. Tickets are General Admission $17/Adults and $15/Seniors. CLICK HERE to purchase tickets. To keep up with what’s next as The Other Me Theater Company continues to emerge as one of the area’s theaters to watch, check them out at their Official Site where you can Subscribe to their email list for future updates. You can also follow them Facebook.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with director and cast members of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf’; Opening Circle Players’ 75th Season, at Looby Theater thru October 20

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Last Sunday afternoon, I had the opportunity to attend an Opening Weekend performance of Circle Players’ 75th Season Opener, For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf. Since it’s 1976 off-Broadway debut, playwright Ntozake Shange’s creative, emotional piece has has given voice to generations of Black women, but more than that, it’s presented the oft-too-rare opportunity for a theatrical work to not only shed light of difficult subject matter, but to do so to ultimately uplifting and positive result. With those thoughts in mind, as the director, Cynthia Harris, and cast members Kamaryn Robinson, Jailin Roberts, Lauren Fitzgerald and the rest of the company readied for the show’s second and final weekend, I had the chance to pose a few questions for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with cast members and diretor of Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf

Rapid Fire with Kamaryn Robinson, For Colored Girls’ Lady in Brown

JHPENTERTAINMENT: What can you tell me about Lady in Brown, the character you play in For Colored Girls?

KAMARYN ROBINSON: Lady in Brown is the youngest of 7 and she calls upon her sisters after experiencing something traumatic with her partner. Throughout the play she takes in these rich amazing stories her sisters have to tell her about black women and love. Like many younger sisters, Lady in Brown has a very vivid imagination and vibrant spirit. She represents innocence and self-discovery.

JHPENTERTAINMENT: The first thing I noticed while attending an Opening Weekend performance was the balance of toughness and heart in the way you play Lady in Brown. Do you share those characteristics in your real life?

KAMARYN ROBINSON: I most definitely do. This play is about black women and all that they go through, the good and the bad so I naturally relate. It took a second for me to be able to dig deep and reach that point of vulnerability to show onstage but once our director, Cynthia coached me to that point, Lady in Brown and I became one. As for real life, I am a young woman who is too searching for her identity and discovering empowerment as I grow older.

JHPENTERTAINMENT: What is your earliest memory of theatre? AND…did you know immediately that that was something you wanted to pursue?

KAMARYN ROBINSON: In elementary school, I was cast in my first production as Cinderella. From that moment performing became an immediate passion of mine. Since elementary school, I have not stepped off the stage since and I don’t plan to anytime soon. Theater is a form of healing and therapy that not only the audience receives but the performers receive it too. In every production I perform in I have the same number one fan in the audience, my Mom!

JHPENTERTAINMENT: From what I understand, while you appeared in a few productions at Tennessee State University, including Chicken & Biscuits, Steel Magnolias and Zooman & the Sign, this is your first show at Circle. What’s been the most rewarding aspect of being in a Circle show as the company celebrates their 75th anniversary?

KAMARYN ROBINSON: Being apart of the Circle Players family has been such a huge blessing and amazing experience. This is my community theatre debut and what a better way to start than with Circle Players. This company has the most incredible and talented people and I have been so lucky to be connected with beautiful black women who uplift me. I can’t wait to work with them again!

JHPENTERTAINMENT: What’s the most challenging aspect of playing Lady in Brown?

KAMARYN ROBINSON: The challenging aspect is navigating the complex emotions. Lady in Brown begins the play in a very hard place questioning how the world really sees black women. She then moves to a youthful optimistic moment that requires a lot energy while also portraying the pain of losing a sense of innocence. Finding that joy inside of the pain was very difficult for me especially while I worked alongside this ensemble of six other women. Portraying this story was a group effort and took a lot of connecting and trust in each other to be able to tell these relatable stories in a safe space.

Rapid Fire with Jailin Roberts, For Colored Girls’ Lady in Yellow

JHPENTERTAINMENT: As Lady in Yellow, you’re among the first to recite a monologue, and what a monologue it is. When I chatted with your director, I noted the juxtaposition of joy and pain peppered throughout the piece. Your first segment is a prime example of that. Do you have a pre-show routine to get it the right mindset for such an emotional show?

JAILIN ROBERTS: I actually have a pretty long pre-show routine to center myself before I step on stage! I start by listening to my gospel playlist to take a moment to praise and give thanks to God. It’s such a blessing to perform and I never want to take it for granted. I also believe that as a Black woman For Colored Girls is a spiritual experience and if I don’t feel grounded I might miss out on it. I have the tendency to get extremely nervous before I perform. Before places I stand in front of this mirror backstage with my headphones on and go through all my lines! To free up the “what if I forget/mess up” so I can play with my sisters on stage. Lastly, I stretch for my splits while praying and giving myself a lot of affirmations! 

JHPENTERTAINMENT: Since first being published in 1976, For Colored Girls has been described as a work of choreopoetry. On the choreo side, this production features movement choreographed by Tosha Marie, who also happens to be Circle Players’ newly appointed Board President. You worked with Tosha in TMProductions’ Pippin back in 2022. How is Tosha as a choreographer?

JAILIN ROBERTS: Let me tell you! I absolutely adore Ms.Tosha and her work ethic. She is such a light and as a choreographer she knows how to encourage and push. As artist we can limit ourselves or believe the talents we display before honing in on our craft is the cap. Ms.Tosha always sees more than what we tell ourselves. As a teacher, trainer, and choreographer she has shown me that performers are also athletes and we should train our talents like one. Most importantly she’ll always want whoever she’s directing to believe in themselves and exercise grace in the learning process. Ms.Tosha is truly amazing and I am always excited when she’s choreographing.

JHPENTERTAINMENT: Who is Lady in Yellow to you?

JAILIN ROBERTS: To me she is who I am as a storyteller. Lady in yellow is how we have fun catching up with our cousins and aunties. How our moms lived many lives and think it’s funny to let us in on it at random times. Lady in Yellow is me, my mom, and all the Black women/girls who indulge in telling stories. It’s what I do on and off the stage. I love to bring life to the experiences I relay. I believe it’s what makes graduation nite so much fun because it’s how I express myself naturally.

JHPENTERTAINMENT: If you were to do this show again, what other Lady could you see yourself portraying and what is it about that role that might interest you?

JAILIN ROBERTS: I would love to portray Lady in Brown if I am blessed enough to do this show again. Her opening monologue is so beautiful and moving. It’s the starting point of the show that gives a voice to all the Black women on stage and in the crowd. Brown has so much power in that moment I would love to have my own rendition someday. 

JHPENTERTAINMENT: Circle Players is Nashville’s oldest continuing theatre company. What’s it like knowing you’re part of not just their important 75th Season milestone, but also a much-needed new direction for Circle?

JAILIN ROBERTS: I’m very excited and proud that the Board chose this show as their season opener. It’s exciting because it’s a statement that we’re here and we have voices to uplift. It’s important that we recognize that there isn’t enough Black theater. Our stories are ones that need to be told consistently! Black women have such a unique experience. Circle Players opening up the conversation at our talkbacks and shedding light on the complexities of our many experiences was on purpose. Having the amazing director Cynthia Harris take on this project was on purpose. We need more people supporting black theatre and uplifting our voices and stories. I give my flowers to Circle Players Board, Tosha Marie, and Cynthia Harris for contributing this show to the community. 

Rapid Fire with Lauren Fitzgerald, For Colored Girls’ Lady in Blue

JHPENTERTAINMENT: What do I need to know about Lady in Blue?

LAUREN FITZGERALD: Lady in Blue is everyone’s favorite auntie! She is going to catalyze the hard conversations and also catalyze the healing. She is a straight shooter that loves and cares deeply about her sisters and the world around her. Lady in blue is a Capricorn with a Libra moon rising.

JHPENTERTAINMENT: You earned a degree in Theatre at UT Knoxville. Anytime I hear UT and Theatre, I’m gonna ask about my friend Carol Mayo-Jenkins…did you study under Carol? AND…What’s your favorite memory of your time at UT?

LAUREN FITZGERALD: I surely did study under Carol Mayo-Jenkins. She was an incredible influence on my career and journey as an artist and performer. I’m deeply grateful that she, and the rest of the theatre faculty believed in me and poured into my craft.  I had two experiences that stand out at UT. One moment on stage at UT was my performance in The Story of Opal. It was my first opportunity to perform in an ensemble cast. The story that was rooted in a young girl’s exploration of nature and society. It was written from a single voice with rather obscure language and was devised by 5 diverse performers and a non traditional musician. That collective exploration was deeply impactful and has informed how I approached other creation processes. The other was being able to embody Alma Hix in The Music Man, primarily because it was a huge cast and we got to play with talent not just from the student body but from the community and our professors (including Carol Mayo-Jenkins). I’d also be remiss if I didn’t mention the profound impact that the Carpetbag Theatre, then led by Obie award winning playwright, Linda Parris Bailey, influenced me during my journey at UT. Having interned and performed there all through my time at UT, I found a theatre community that embraced me and nurtured my love for works like For Colored Girls who Committed Suicide/When the Rainbow is Enuf. I found home in Carpetbag and I am forever grateful.

JHPENTERTAINMENT: I love the feistiness in which you play Lady in Blue, as evidenced in one of your earliest lines: “you gave it up in a Buick?”. I literally LOL’d when I heard that while attending Opening Weekend. Gotta know…did you draw that feistiness and energy from your own personality or is there a Lady in Blue in your family or friends circle upon which you borrowed some of her traits?

LAUREN FITZGERALD: It’s all me, and I am all the women in my family. I am that auntie. Serendipitously, I did not get called back for Lady in Blue. But, after getting cast in the role I knew that I had a lot of my personality that I could contribute to the role. My friend circle is a strong mix of all of the colors. We show up different in different ways depending on the time and the circumstance. But, if you would ask my friends who my personality most aligns with, it would be Lady in bBlue.

JHPENTERTAINMENT: Your cast bio concludes with, “she believes in the color yellow”…for the uninitiated, care to elaborate?

LAUREN FITZGERALD: Sure! To elaborate (and ramble a bit lol)I believe I am bit synesthetic. I can see sounds sort of like how Pharrell Williams has described in interviews. I believe that when I experience the color yellow rather it be visual or sonically, it has the power to rejuvenate or reset my nervous system. It makes me feel good. I am an optimistic person by nature. So I feel like the color yellow almost resets my optimism should it be wavering for whatever reason. Alice Walker found her love for the color purple by noticing shadows in nature and how purple is everywhere which is so beautiful. However my belief in yellow is kind of similar yet opposite. The color yellow, also everywhere, represents light to me. Light is what brings understanding and sight. My passion is bridging understanding and bringing light to build genuine connections. Yellow represents light and love in a world with so much darkness. 

JHPENTERTAINMENT: Why is For Colored Girls as relevant for today’s audiences….of ANY race as it was when it first premiered?

LAUREN FITZGERALD: This timeless piece tackles multiple intersections of belonging and care. It particularly addresses how marginalization can impact families. For me, this is just one perspective of how the social atrocities of this country have impacted our relationships, our ability to sustain healthy families, our self identities, and the health of our mind and bodies (both men and women; considering Beau Willie Brown). It helps us by listening to this story and considering how we might look to our own individual power or develop empowerment to find a sense of yellow, a sense of light and love to help rectify and combat these issues of humanity. 

Rapid Fire with For Colored Girls’ director Cynthia Harris

JHPENTERTAINMENT: You mention in your director’s note in the For Colored Girls’ program that you first read Ntozake Shange’s work when you were in the 5th grade. Do you remember your initial thoughts on the piece?

CYNTHIA HARRIS: Absolutely! I remember looking at the cover and reading the title while My Aunt Joyce explained how important the book/script was to her. She also told me I was old enough to read it. Being old enough made me feel special. I used the poem No Assistance by Lady in Red as my poem for a 5th grade Forensics competition at Meigs Magnet. My drama teacher approved of keeping the one cuss word and I was thrilled. I understood the pieces then, but not anywhere near the way I understand and have lived these words in my 46 years.

JHPENTERTAINMENT: In some way, was it that early connection to the work that ultimately lead you to direct this production?

CYNTHIA HARRIS: It made sense to me as a young person. It affirmed that the stories I overheard while my mother worked in her beauty salon or as she talked to her sisters on the phone, that they were as important or powerful as I felt they were. This is absolutely a full circle moment for me. As a playwright, my chosen format is the choreopoem. It gives me the most liberty to tell Southern Black women’s stories in an uninterrupted format. When Circle Players’ Board President Tosha Marie asked me to direct, it didn’t take me anytime to say yes. I have always wanted to direct this play. 

JHPENTERTAINMENT: I’ve always been intrigued by the duality of the show’s title. The juxtaposition of the bleakness of the thought of suicide paired with the hopefulness of a rainbow. The show itself is a brilliant balance of emotions. Do you have segments that stand out to you?

CYNTHIA HARRIS: And in that bleak juxtaposition is also the remedy. The rainbow of women in our lives can and do save us by witnessing our stories and declarations of power. I love them all. I can’t choose one. One of my favorite lines from No More Love Poems is “being Black and being colored is a metaphysical dilemma I haven’t conquered yet.” Also from that section, “I’m finally being real, no longer symmetrical and impervious to pain.” For me the sadness, anxiety and depression are increased by the emotional labor expected of Black women and other women of color. If we can strip all the layers of performance we do to keep others happy or just to survive, we can find our joy and our rainbows. 

JHPENTERTAINMENT: Over the years, I’ve seen a few productions of For Colored Girls. Typically, it’s presented almost like a poetry reading, where the primary orator takes center stage, but I love that you’re presenting it more like a girls’ weekend wherein the women seem to be sharing their stories with one another. You speak a little about this decision in your director’s note, but for those who’ve not yet seen the show, can you tell me a little more about presenting the show in this manner?  

CYNTHIA HARRIS: For that reason you observed. It is usually presented in a more abstract and minimalist way. The play is 50 years old, and I wanted to do something different. I wanted color and costume changes. I wanted to layer this idea that the characters are all Sisters, who are reuniting because one has experienced something traumatic. The creative challenge was to add this layer of story and not change any of the words or their order in the choreopoem. I also wanted to show my relationship to this sacred text over time. I show it in my music exploration and use in transitions throughout the show. I also thought about all the places that I have come together with my women friends to retreat and reset. We sit together in living rooms on sofas, playing games and having long conversations. We sit in kitchens around tables with meals we’ve lovingly prepared for each other. We sit on the porch; we’re Southerners after all. I wanted to mirror back to the audience their everyday brilliance and resilience. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen For Colored Girls?

CYNTHIA HARRIS: That BIPOC women and female identifying people are seen and loved. We are complex humans and God/Higher Power is with us in all our experiences and choices, good or bad. I want them to find God in themselves and to LOVE HER FIERCELY!!!

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Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf wraps its two-week run with performances at Z. Alexander Looby Theatre (2302 Rosa Parks Blvd, Nashville, TN 37228) Friday, October 18 at 7p.m., Saturday October 19 at 2p.m. and 7p.m. and Sunday, October 20 at 2p.m. CLICK HERE for tickets.

Following For Colored Girls, Circle Players will begin preparing for their Winter presentation, And The World Goes ‘Round, a musical review of the songs of Kander and Ebb. Auditions will be held Saturday, November 2 at CLICK HERE for more info, character details and to sign up to audition. Performances of And The World Goes ‘Round will be January 10-26, 2025. CLICK HERE for tickets. Be sure and follow Circle on Facebook, Insta and TikTok for the latest news from Nashville’s oldest continuing regional theatre company.

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

Rapid Fire 10Q with Director and Cast of ‘Lithium & Xanax & All of My Friends’; World Premiere production onstage at Darkhorse Theatre October 4-12

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Lithium & Xanax and All of My Friends, a thought-provoking play centering ‘round a young gay man struggling to finish his long-promised novel while simultaneously dealing with self-doubt and cerebral upheaval is the latest work from Nashville-based playwright, Robert Coles. Quite the departure from his most recent production, the southern comedy Aunt Sally’s Wild Ride, which recently wrapped a sold out run in Nashville.

Having first been introduced by way of a Zoom reading during the COVID-19 pandemic, Lithium & Xanax and All of My Friends enjoyed a successful workshop in New York in August 2024. Now comes time for a fully fleshed-out production as Brand Spankin’ New Theatre presents the World Premiere production of Coles’ Lithium & Xanax & All of My Friends at the Darkhorse Theatre beginning Friday, October 4 and continuing through Saturday, October 12.

As the cast and crew ready the piece for their Music City opening night, I recently had the opportunity to pose a few questions to the show’s director, Bradley Moore and cast members Payton Justice and Taryn Pray for my latest Rapid Fire Q&A interview in an effort to get a little insight into the show. What follows are those conversations.

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Rapid Fire 10Q with Director and Cast of Lithium & Xanax & All of My Friends

Rapid Fire Q&A with Lithium & Xanax & All of My Friends lead actor, Payton Justice

JHPENTERTAINMENT: How would you describe Adam, the character you play in Lithium & Xanax & All of My Friends?

PAYTON JUSTICE: Adam’s a young writer who’s indecisive, headstrong, and a bit neurotic. Honestly, just a lovable mess just trying to figure things out. He’s been through a lot—losing his dad, the trauma of conversion therapy, dealing with manic depression, and having to manage a lot of guilt from his past mistakes. He spends a lot of time in his own head, which really trips him up.

JHPENTERTAINMENT: The subject matter of the work is some pretty heady stuff. How do you prepare for the intensity of the scenes? AND…what’s your favorite way to decompress after such intense work?

PAYTON JUSTICE: It gets intense for sure. I try to remind myself of my own personal experiences to find the emotions he’d be feeling. I try to remember a similar conversation or conflict, and remind myself of how that felt or something that was said. 

Bradley Moore’s been awesome in helping me fine-tune Adam’s intentions. Truly a fantastic director. The cast has been awesome too. They push me through tough moments, and sometimes their choices completely change how I see a scene, which is really cool.

To decompress, I try to leave the work in the rehearsal room or at the theater. My cats and video games definitely help me unwind too.

JHPENTERTAINMENT: While Adam is aware of his shortcomings, he doesn’t seem to know how to move past them. Heck, I can totally relate myself. Has exploring this aspect of the character motivated you to move full-steam ahead in any aspect of your own life?

PAYTON JUSTICE: Yeah, totally. Playing Adam has been a bit of a wake-up call. I moved to Nashville at the beginning of 2020, right before everything went crazy, and it’s taken time to find my rhythm. I’m really feeling ready to focus in on acting and let go of all the things that don’t matter in the bigger picture.

Rapid Fire Q&A with Lithium & Xanax & All of My Friends cast member Taryn Pray

JHPENTERTAINMENT: What can you tell me about Mom, the character you play in Lithium & Xanax & All of My Friends?

TARYN PRAY: What I love about this role is yes, the main character I play is “Mom,” but I also play a few flashback and ancillary characters as well – which is so much fun as an actor! There is a lot of comedy in the other characters that I play, and then I get to be this very complex character of “Mom,” as she is trying to navigate her broken relationship with her son in his darkest moment.  It is very compelling because you understand her perspective as well as Adam’s – not one person is to blame. Before I read this play, I thought the mother might be the villain in this story, but she is not. Is she flawed? Absolutely. Did she make some mistakes? Yes. But what is really beautiful to me is that they come to understand each other and can move forward.    

JHPENTERTAINMENT: I understand the character of Mom wasn’t even really a character in the earlier iteration of the play, only a ‘flashback’ as played by another cast member, but following the recent NYC workshop of the piece, the playwright revised the script and fleshed out Mom as a full character. That said, how excited are you to be bringing this character to life on stage for the first time anywhere?

TARYN PRAY: I absolutely love acting in new works! It’s really exciting to originate a role and bring your own take, without any reference to how other actors have performed it.  Also knowing that this play is very much rooted in the playwright’s own life story, I feel a tremendous amount of responsibility and honor in playing this role. I am thrilled that this character was expanded as a result of the workshop, and love seeing the nuance in her complicated relationship with Adam.

JHPENTERTAINMENT: From what your director told me, you two had sort of worked together previously…I say sort of because during the pandemic, you were part of a couple of Bradley Moore’s The Big Read Zoom events, in which he presented readings of some iconic film scripts as performed by area actors. I gotta tell you, those readings were such a blessing to the theatre community as they allowed us to connect—though virtually—during a time when theatre was so missed. Now you’re working with Bradley face-to-face and in person as your director, so I gotta ask..how has the experience been so far and what do you appreciate most about Bradley as a director?

TARYN PRAY: Oh my goodness, yes! I met Bradley for the first time virtually, and those readings truly were such a bright light in a dark time. Having the opportunity to perform when we were all stuck at home was definitely a blessing.  And now getting to work with him in this play has been an incredible experience. What I love about Bradley is he has such a clear vision as a Director; he has brought out so much from the cast as we are developing these characters, while still giving us space to make them our own, and he has created some truly beautiful imagery on stage. He really thinks through and has a purpose in all the little details he gives in his direction, and I’m just so excited for people to see it. Also, he’s just a blast to work with 😉

Rapid Fire with Lithium & Xanax & All of My Friends director, Bradley Moore

JHPENTERTAINMENT: How did you come to direct Lithium & Xanax & All of My Friends?

BRADLEY MOORE: I was actually lucky enough to perform in the first reading of this play on Zoom & FB Live way back in the Covid-y days of 2020. I was totally honored when the playwright, Robert M. Coles, reached out to me earlier this year and told me he had been working on the script and wanted me to direct the world premiere of the show. I even spent some time in NYC this summer observing the workshop of the play, where some things changed and so much subtext was explored. It has been a wonderful journey from my first connection to the piece to where we are today. The show is definitely ready for its Nashville maiden voyage, especially with this insanely talented cast.

JHPENTERTAINMENT: What can you tell me about your cast?

BRADLEY MOORE: They are bananas. I have not directed a show in Nashville in five years; it was so cool to have auditions for this show and see that the talent in Nashville is still just as incredible as it has always been. This cast is filled with six dynamic artists who take risks, make strong choices, challenge themselves, challenge me, crave collaboration, exude passion, and blow me out of the water every single day with their insane talent. Not to mention, each and every one of them are kind and empathetic humans who just love what they do. I love the family we have built these past five weeks. And their connections and chemistry really come out on stage and through these complex characters they have created.

JHPENTERTAINMENT: You’ve not just assembled a talented cast, but you’ve surrounded yourself with a who’s who crew, among them, Cat Eberwine as your costumer. When does the play take place and how important is wardrobe in completing the look and feel of the show?

BRADLEY MOORE: This play takes place in 2022, so basically, the recent past. Costumes should always enhance the characters and assist in bringing them to life. We made more simplistic choices with the costumes, but the choices really do help to define these characters. As a director, I love some subtle Easter eggs hidden throughout the show. We definitely achieve that with this show through the set and costumes. It helps to keep production elements fresh and exciting, plus adds a layer of intrigue to the whole experience. This show is a journey, not just for the characters, but the audience too. Our costume and set choices are designed to really enhance that circumstance. I am so fortunate to have had Cat Eberwine as our Costume Czar and Jaymes Campbell as our Set Magician. These are two people who know me well, know my process and style, and really just knocked it out of the park. We could not have done this show without them. Also, big shoutout to Mary Hankins for always being an incredible stage manager, Robert Allen for his beautiful lighting, and Josiah Kareck for understudying every single role. Truly, surrounded by the best, on and off-stage. 

JHPENTERTAINMENT: What do you hope audiences come away thinking about long after seeing Lithium & Xanax and All of My Friends?

BRADLEY MOORE: As a director, I always say — if the audience walks away feeling something, then we have done our job. However, it is impossible for us to always know what the audience will feel. With a play like Lithium, I believe people’s life experiences will inform what they take away from this show. The play is funny, yet beautifully heavy and impactful. I don’t think it is possible to sit through this 75 minute show and not feel a single thing; in fact, I think it is more likely that someone watching will experience all the feels. It is a rollercoaster ride, so just buckle in and get ready to take a journey. I am excited to see the feedback we get from this tremendous piece that Robert gifted us.

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Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends kicks off Friday night, October 4 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. The show runs thru Saturday, October 12. Performance schedule is as follows: Opening Night, Friday, October 4 at 7:30p.m. (There’s a Show+Opening Night Party ticket option available for $40), Saturday, October 5 at 7:30p.m., Sunday, October 6 at 2:30p.m., Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE or follow them on Facebook.

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