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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In case you missed it, CLICK HERE to read my Rapid Fire 20Q with members of the Suffs cast. As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. In the meantime… #GoSeeTheShow!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Behind the Barricade: Rapid Fire 20Q with ‘Les Misérables’ National Tour Cast Members

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Few shows in Broadway history carry the emotional weight, cultural legacy, and sheer endurance of Les Misérables. Following its 1980 Paris debut and a subsequent London premiere, Les Mis first stormed Broadway in 1987. Since then, the musical has lived many lives: record-breaking original runs, celebrated revivals, concert spectaculars, a current 40th Anniversary National Tour and an upcoming 2026 Les Mis Concert engagement at Radio City in New York, all proof that this story still hits just as hard.

Two years after Les Mis’ Broadway debut, Nashville theatre goers got their first chance to witness the spectacle when the National Tour made its TPAC debut at Jackson Hall during the spring of ‘89. Over the years, TPAC has presented subsequent tours nearly half a dozen times. As Les Misérables prepares to return to TPAC next week with eight shows over five days from January 20-25, we sat down with members of the current tour for our signature Rapid Fire 20Q. From Broadway debuts and tour firsts to deeply personal connections with Fantine, Marius, Éponine and Cosette, cast members Lindsay Heather Pearce, Peter Neureuther, Jaedynn Latter and Alexa Lopez share what it means to step into a show that has shaped musical theater history—and continues to change lives as the tour continues.

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RAPID FIRE 20Q WITH MEMBERS OF LES MISÉRABLES NATIONAL TOUR

RAPID FIRE WITH LES MIS’ FANTINE, LINDSAY HEATHER PEARCE 

JHPENTERTAINMENT: From The Glee Project to belting it out as Elphaba in your Wicked Broadway debut in 2020 to touring with Mean Girls and now Fantine in the 40th Anniversary Tour of Les Misérables, your entire career (so far) feels full of pinch me moments. With all these great roles already, do you even have a bucket list? 

LINDSAY HEATHER PEARCE: It HAS been full of pinch me moments. The fact that I have yet to wake up from this dream is a good sign that it’s all real and actually happening. I have definitely been very lucky in the last five years of my life to play so many wonderful roles, but the bucket for my list is deep and my actual list is long. A lot of the roles I want to play the most are out of my age range right now (I would need a few more years under my belt), but my biggest dream is to originate or revive a show! 

JHPENTERTAINMENT: Across Broadway, tours, and television, which role has most profoundly shaped you as an artist?

LINDSAY HEATHER PEARCE: I don’t know if I can pick just one! Each role I’ve been lucky to play has been so crucial to who I am today and was so important for who I was then. 

If I had to choose, I would say Rebecca in Recovery Road on FreeForm and Elphaba in Wicked on Broadway. 

Recovery Road was such a special experience, and to show up to set almost every day, to learn how to use those on camera skills we well as grow the skills of how to be a good team member on a set were some of the most important ones.

Elphaba was like taking a masterclass in self-care, self-understanding, bravery, humility, curiosity, and steadfastness. That’s on TOP of the lessons in leading a Broadway company, learning how to do 8 shows a week, and the excitement of joining such an incredible arena. Huge lessons, huge huge huge life changing lessons.  

JHPENTERTAINMENT: How do you emotionally prepare to sing I Dreamed a Dream night after night?

LINDSAY HEATHER PEARCE: I’ll be honest, the show does it for me. Fantine has an entire factory scene before I Dreamed A Dream that is filled with character exposition. So much happens in that ten-minute scene that by the time I get thrown into the streets, I am emotionally there and ready to sing my heart out. That’s a testament to how well Les Misérables is written and structured. Even if it’s a tired day and I don’t know if I am mentally or emotionally there, the show will get me there.

JHPENTERTAINMENT: This tour cast features a great mix of actors making their tour debuts and folks like Nick Cartell (Jean Valjean) who have history with their roles, having appeared in prior productions. It’s often said that a touring company truly becomes family. Do you feel that with Les Mis?

LINDSAY HEATHER PEARCE: Absolutely, yes. More so than any other company I have ever been a part of (and I’ve been in some of the best companies). These are GOOD people, with good hearts and open arms. When you’re on the road, away from home and family and all that is familiar, being in a company with good, gracious and FUNNY people is truly a balm.

JHPENTERTAINMENT: Fantine’s story is brief but devastating — what do you hope audiences take with them after your final moment?

LINDSAY HEATHER PEARCE: We all know someone with Fantine’s story, or some aspect of it. Know that one kind act, or one good decision can change someone’s life. Without Fantine’s tragedy and sacrifice, the story doesn’t move forward.

Valjean is given the incredible opportunity to become a father to little Cosette, through whom he learns to love and look beyond himself in service of someone else. How beautiful is that? 

I hope people can take away the idea that there are opportunities around every corner to be good to someone else, to be of service, to help or save however they can. Even small stones make ripples.

RAPID FIRE WITH LES MIS’ MARIUS, PETER NEUREUTHE

JHPENTERTAINMENT: You first stepped into the role of Marius at The MUNY back in June of 2024, since first taking on the role, has anything changed or deepened in the way you portray him?

PETER NEUREUTHER: When I played Marius for the first time, rehearsals were so fast that I had to put this character together in just 10 days! Now being on the tour being over 100 shows in, I have learned so much more about Marius — the immense joy and hope he feels at the beginning of his story preparing for the revolution, and falling in love, to his deep trauma and maturity as he watches friends die on the barricade, and learning how to overcome this grief. I feel like now I really have been able to understand his story being on this tour alongside these incredibly talented storyteller castmates!

JHPENTERTAINMENT: Making your national tour debut on the barricade — after already having lived in this world at MUNY, is there a moment that still gives you full-body chills each night?

PETER NEUREUTHER: I truly do have to shoutout, and thank The MUNY for honestly, giving me my start into the business! I got such chills every night at that stage going out and performing for 11,000 people every night. We perform for massive stages everywhere in the country, but the MUNY’s venue will always hold a special place in my heart. Every night, from the MUNY to the dozens of cities we have been to, going out and singing Empty Chairs at Empty Tables always gives me full-body chills, as I know the weight this song holds, and how it is almost cathartic for Marius.

JHPENTERTAINMENT: You graduated high school in 2020 — fast forward to spring 2025 and you’re making your Broadway debut in Stephen Sondheim’s Old Friends alongside Bernadette Peters and Lea Salonga. How do you even begin to process a leap like that?

PETER NEUREUTHER: It definitely still doesn’t feel real! I honestly sometimes just try to take a minute when I’m feeling overwhelmed and stressed about auditions or the show, even just life, and remind my self how proud high school me would be to see me up on these stages, sharing the stage with legends, and talent I could’ve only ever dreamed of. I am truly so lucky to have had the opportunities that I have had, but it has come with lots of hard work in college, in and out of the classroom. I am so grateful for the experiences I’ve had thus far, and I know my hard work and work ethic will keep serving me. I’m never satisfied (in the best way!).

JHPENTERTAINMENT: Having performed Les Misérables in The MUNY’s massive outdoor amphitheater — how does that experience compare to setting up shop in a new indoor venue with each stop on the national tour?

PETER NEUREUTHER: The MUNY’s massive stage is truly like performing at a football stadium! I definitely feel like I had to emote more on that stage so even the people all the way in the back rows who looked like they were on the moon could understand the story! These indoor venues are a whole different beast. Setting up shop in a new theater almost every week and seeing how our show fits in every venue so perfectly is awesome! I love getting to perform for a new crowd and new theatre every week!

JHPENTERTAINMENT: If Marius could send one modern-day text message, who’s it to — Cosette or the revolution group chat? AND What might it say?

PETER NEUREUTHER: Well lucky for me, Alexa Lopez our Cosette in the show is also my partner outside of Les Mis. So, if it was Peter sending a message it would be “What’re we getting to eat after the show? I’m starving.” But as Marius to Cosette it would be “Dearest Cosette, I’ll come find you I promise. It doesn’t matter if you’re here or across the sea. My love for you makes any distance crossable. I love you endlessly”.

RAPID FIRE WITH LES MIS’ ÉPONINE, JAEDYNN LATTER

JHPENTERTAINMENT: Fresh out of Baldwin Wallace Conservatory of Music and straight into Les Misérables 40th Anniversary Tour. Not a bad way to jumpstart your professional career, huh? — when did it finally feel real?

JAEDYNN LATTER: When I put on the iconic red hat for the first time. That’s when I thought, “Oh, wow, I’m actually doing this for real.” It was like the physical embodiment of a legacy, and especially when I was first wearing it, I could feel the weight it had.

JHPENTERTAINMENT: Éponine’s journey is heartbreak, bravery, and resilience all at once — which lyric is the hardest to sing eight times a week?

JAEDYNN LATTER: “A world that’s full of happiness that I have never known.” Yes, it is vocally challenging, but I think one of the most tragic parts of Éponine is that she’s not really mad at Marius or Cosette because they fell in love. She’s grieving that she was born into her circumstances and thinks more than anything, “If things were different.” Seeing Cosette, (and in turn, Marius), reap the benefits of a life that she could have lived hurts most of all. Seeing their privilege and their ability to fall in love in such an innocent, ideal way, knowing that she will never experience that is so incredibly painful. I think coming to that realization every night is the most excruciating thing to enact eight times a week.

JHPENTERTAINMENT: You’ve played roles from Waitress’ Jenna to Into The Woods’ Little Red — how did those experiences prepare you for Éponine?

JAEDYNN LATTER: Waitress was the first show that I ever played the leading role in, and I barely left the stage. I think that experience taught me to trust my body’s own stamina, and to sort of be okay with not being able to second guess myself once we got going. Into the Woods had an eight-show week, so it definitely showed me what that schedule feels like. But actually, I think Little Red really prepared me for Éponine in the sense that they’re both younger than I am. In both cases, I had to mentally travel back to adolescence and think, “How does a teenager view love, or grief, or power, etc.?” It taught me to really listen to what I was actually hearing rather than acting based off of my own gained maturity and pre-conceived notions of her journey.

JHPENTERTAINMENT: Pre-show routine: quiet focus, vocal warm-ups, or hyping yourself up backstage?

JAEDYNN LATTER: It’s definitely more of a mid-show routine for me—mostly consisting of Jolly Ranchers and reminding myself to breathe. In a voice lesson, a coach had told me to remember I have toes (as a way to say, “be aware of your body as a whole”). So a lot of the time before On My Own, I’m telling myself, “You have toes.”

JHPENTERTAINMENT: If Les Mis were to go the route of some other musicals who use pop tunes to tell the story, what might Éponine’s pop counterpart to On My Own be?

JAEDYNN LATTER: I literally have an Éponine playlist that’s nearly six hours long. Some of my favorite fits for her are Waiting Room by Phoebe Bridgers and David by Lorde. If we’re talking old-school, I think the most literal counterpart would be All By Myself by Celine Dion.

RAPID FIRE WITH LES MIS’ COSETTE, ALEXA LOPEZ

JHPENTERTAINMENT: National tour debut and Cosette — what was the very first thought that hit you when you got the call welcoming you to the tour?

ALEXA LOPEZ: My heart literally burst out of my chest! I actually got the call as I was about to clock into my hostessing job at the time. It was one of those pinch me moments every performer in NYC dreams of having. I simply just couldn’t wait to be on stage sharing this story with thousands of people, bringing life to it and trying to do it justice every night. I could barely even concentrate that night as I was working – my mind was reeling with so many thoughts of the future, tour, excitement, gratitude, and the list goes on. 

JHPENTERTAINMENT: Cosette is often described as gentle — what strength do you love most about her that audiences sometimes overlook?

ALEXA LOPEZ: Cosette is definitely a gentle force of light and goodness in our show. However, and moreover, she is strong, determined, and has depth to her. She fights to learn the truth about her life, she fights to be there for the people that she loves in their hardest times. She could sit back and live the life that Valjean has built for her, no questions asked. But instead, she pushes to learn the truth and have her father know that she has grown into a woman–a woman with agency, a woman with desires, and a woman who deserves and can handle the truth. So, definitely her strength and determination. 

JHPENTERTAINMENT: What is it about Cosette that challenges you most as a performer?

ALEXA LOPEZ: The track itself can be challenging at times from a technical standpoint. I have to be careful about when I warm up so that my voice can be ready for certain moments in the show after not being on-stage for a good amount of time. Cosette’s big vocal moments come fast and furious, so being dropped in and prepared when the time comes has been a learning curve for me. 

JHPENTERTAINMENT: Quick pick: sweeping romantic ballads or emotionally charged duets?

ALEXA LOPEZ: Emotionally charged duets!

JHPENTERTAINMENT: When audiences see this tour, what do you hope stays with them after the curtain call?

ALEXA LOPEZ: This is a story that is timeless and that everyone, to some degree, can resonate with. I hope audiences feel a sense of hope as they walk out of the theater. Our show is about unconditional love, the strength of the human spirit, and the fact that redemption and light are possible, even through the darkest and most impossible times. 

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Celebrating 40 years since Les Misérables first arrived on Broadway, the revolution returns once more. This 40th Anniversary Tour honors every chapter of the show’s extraordinary life while proving its message remains as urgent as ever. Les Misérables plays TPAC’s Jackson Hall January 20–25, 2026. Tickets are on sale now at TPAC.org, starting at $72.55. Whether it’s your first barricade or your fiftieth, this is a dream worth dreaming—again.

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

 

Rapid Fire Q&A With ‘Beauty and the Beast’ Cast Members Kathy Voytko and Spencer Dean as Beloved Disney Musical Returns to TPAC November 4 through 16

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It’s a tale as old as time—and it’s coming back to Nashville! Disney’s Beauty and the Beast national tour brings its reimagined magic to TPAC for an extended two-week run November 4–16, featuring dazzling choreography, stunning visuals, and a heartfelt message that still rings true: beauty is found within.

Before the enchanted candlesticks, clocks, and dinnerware invite Music City to be their guest, we caught up with two of the show’s talented cast members for a special abbreviated edition of our recurring interview feature, Rapid Fire Q&A.

First, Broadway veteran Kathy Voytko, who steps into the iconic role of Mrs. Potts, reflects on honoring the beloved musical’s legacy, the lessons of love and change, and the nightly magic of singing the show’s unforgettable title song.

Then, Nashville native Spencer Dean, who plays the deliciously sinister Monsieur D’Arque (and other colorful townsfolk), shares what it means to bring his hometown audience a story that helped inspire his love of theatre—plus why a little villainy can be so much fun.

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RAPID FIRE Q&A WITH BEAUTY AND THE BEAST NATIONAL TOUR CAST MEMBERS

RAPID FIRE WITH BEAUTY AND THE BEAST’s MRS. POTTS, KATHY VOYTKO

JHPENTERTAINMENT: Performing the title song, Beauty and the Beast, is a true Broadway musical legacy moment. What goes through your mind in that instant under the spotlight?

KATHY VOYTKO: Singing Beauty and the Beast is such a unique honor because it has become such a beloved moment in the animated film and such a recognizable song originated by the extraordinary Angela Lansbury. However, when I sing it in the show, I have to attempt to forget all of that, and just tell the story, sing the notes, and say the beautiful words as though it’s the first time every single night because for one person in the audience, it is the first time they are hearing it.

JHPENTERTAINMENT: Angela Lansbury certainly set the gold standard as Mrs. Potts in the beloved animated classic—did you give any thought to honoring her while also making the role uniquely your own?

KATHY VOYTKO: As a lifelong Angela Lansbury fan I sure hope I am honoring her masterful blueprint of Mrs. Potts! Our director, Matt West, along with associate director Sam Scalamoni, music director David Andrews Rogers, and the entire Disney team guided us to shape our characters so they would be familiar to the audience, but still encouraged us to find our own unique take within the framework of the iconic characters. I’m extremely grateful that they trusted us and encouraged us to bring a little of ourselves into the mix.

JHPENTERTAINMENT: The show’s message of love and acceptance feels timeless—what part of Mrs. Potts’ wisdom resonates most with you personally?

KATHY VOYTKO: The biggest lesson that I had never really taken notice of in this story is one that I had discussed with our remarkable book writer, Linda Wolverton, who also wrote the original screenplay for the film. You can make a terrible choice/mistake in your life, and when you learn to make better, kinder choices, your entire world can change for the better. (And I even get to sing about it: “bittersweet and strange finding you can change learning you were wrong”).

Danny Gardner, Kathy Voytko, Kevin Ligon, Cameron Monroe Thomas, Javier Ignacio and Holly Ann Butler in Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: The current tour reunites some of the original Broadway creatives behind Beauty and the Beast, including director and choreographer Matt West, who you mentioned. Do you have a favorite aspect of the newly enhanced production?

KATHY VOYTKO: Geez, I don’t think we have enough space for me to tell you all the things I love in this production, but let me give you my top three: 

I wildly love how we present Chip. The Disney magic for all the castle objects is very cool and tricky. And most folks ask about it at the Stage door. 

The musical numbers Gaston and Be Our Guest are extended and honestly, I could watch them each for 10 more minutes because the company is outrageously talented and I find it thrilling every single night.

Kyra Belle Johnson and Fergie Philippe (Belle and Beast) have a wonderful rapport that tells the story in a fresh way that by the time they are connecting and truly seeing each other in Act Two, you are giggling and rooting for them with unexpected delight.

JHPENTERTAINMENT: With apologies to Cogsworth, when you’re offstage, what helps you “unwind the clock” after bringing the necessary warmth and heart to every performance?

KATHY VOYTKO: Performing 8 shows a week can be challenging to our bodies and our voices, but getting to witness towns across America enjoying Beauty and the Beast is such a unique privilege. 

Many of us on tour try to do something decidedly local in every city. Sometimes it is going to a museum or renting a bike and going along a river trail or asking locals their opinion on their favorite little slice of life or favorite cuisine for the area. 

But for me personally, sometimes it’s just a hot cup of tea or a glass of wine and The Great British Bake Off or a long FaceTime with my family to unwind the clock and refresh my heart.

RAPID FIRE WITH BEAUTY & THE BEAST’s MONSIEUR D’ARQUE & OTHERS, ENSEMBLE MEMBER, SPENCER DEAN

JHPENTERTAINMENT: As a Nashville native, what’s it like returning home to perform at TPAC with such a beloved Disney musical?

SPENCER DEAN: Beauty and the Beast was the first Broadway show I ever saw. Then, I played Lumiere at both Act Too Players & Franklin High School, so this show means A LOT to me. Bringing it to the TPAC stage (where I saw every national tour as a kid) is an emotional and full circle moment. I’m so lucky to be here with this gorgeous production! Getting to share this with so many loved ones is the greatest gift!!

JHPENTERTAINMENT: Monsieur D’Arque might be small in stage time but big in impact—how do you make the most of every deliciously dark moment? SPENCER DEAN: The incredible custom coat I get to wear and crooked top hat (with detailing from the ORIGINAL Monsieur D’Arque costume) helps! Throw on some creepy contour and a grimace and I’ve got the audience both laughing and frightened. 

Dean (5th from right) Company of Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: Villainy can be fun—what’s the best part of playing someone audiences love to hate as well as the other roles you take on?

SPENCER DEAN: It’s such a bold contrast from my quirky village character and our dashing Be Our Guest glam. I appreciate what a range of characters I get to step into every night! Definitely keeps it fresh and fun!

 JHPENTERTAINMENT: If an existing song from any genre were added to the score to serve as D’Arque villainous theme (à la Gaston), what would it be?
SPENCER DEAN: Creep by Radiohead. You’ll have to see the show to understand!

 JHPENTERTAINMENT: This reimagined Beauty and the Beast tour brings new life to a classic—what do you hope audiences take with them after experiencing this updated production?

SPENCER DEAN: A brief escape from the scary world outside. A reminder to lead with kindness and love. Beauty TRULY is found within. Never judge a book by its cover & treat others the way you want to be treated.

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Whether you grew up with the animated film or first met Belle and the Beast on stage, this newly enhanced production of Disney’s Beauty and the Beast promises an unforgettable theatrical experience filled with heart, humor, and timeless lessons about kindness and love.

Catch the national tour at Nashville’s TPAC, November 4–16. Tickets are available now at TPAC.org.

Following their Music City tour stop, Beauty and the Beast will continue its National Tour with multiple stops across the U.S. through September 2026, with more dates expected to be announced. CLICK HERE for full details or follow Beauty and the Beast on Insta.

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

Theatre Review: With an Electrifyingly Youthful Cast, ‘The Outsiders’ Indeed Stays Gold; at TPAC thru Sunday, October 19 as National Tour Continues

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From the moment the house lights dimmed in TPAC’s Jackson Hall on October 14, the national touring production of the Tony-winning Best Musical, THE OUTSIDERS made it abundantly clear: this is much more than nostalgia, more than adaptation — it is an emotional lightning strike. If Opening Night of the show’s six night Nashville tour-stop in Music City is any indication, the show promises to bring Tulsa’s Greasers and Socs to life with gritty heart, physical daring, and a musical pulse that lingered long after the final bow.

Based on S.E. Hinton’s seminal 1967 novel and a more than noticeable nod to the beloved 1983 Francis Ford Coppola directed film, that starred a who’s who of Hollywood up-and-comers including C. Thomas Howell, Matt Dillon, Tom Cruise, Diane Lane, Ralph Macchio, Patrick Swayze, Rob Lowe & Emilio Estevez, THE OUTSIDERS is a coming-of-age tale rooted in class divides, brotherhood, trauma, and the fragility of youth. The touring production, carrying the same Tony-winning creative team behind the Broadway show—director Danya Taymor, choreography by Rick & Jeff Kuperman,  design courtesy the design collective AMP featuring Tatiana Kahvegian—hooks into the source material while carving out a new theatrical identity. 

As is always the case, whether the story unfolds on the pages of the original book, or the aforementioned star-packed 80s now-classic cinema, the heart of THE OUTSIDERS always lies rests on the young shoulders of Ponyboy, Johnny, and Dallas — and in this magnificent tour cast, they are delivered with conviction.

All Photos by Matthew Murphy

Ponyboy Curtis (played by Nashville’s own Nolan White) is an earnest center. His vulnerability is palpable: you feel his longing, his anger, his fear. The softer, more introspective moments become small victories of clarity. When Ponyboy admiringly watches Paul Newman on the movie screen, dreaming of escaping his current us-vs-them small-town life, he’s instantly relatable to anyone who grew up unsure of what the future holds for them. When he recites Robert Frost’s Nothing Gold Can Stay, there’s not a dry eye in the house. Such emotion from such a young man is breathtaking. Later, when confronting what it means to “stay gold”, White again proves talent beyond his years.  As I watched his performance on Opening Night of the Nashville dates, I marveled as the depth of his performance.

Johnny Cade (Bonale Fambrini) brings quiet intensity. His internal fragility — the sense that one more blow could break him — is juxtaposed with flashes of courage, especially in the church escape and later in his struggle to be seen. The camaraderie between Fambrini and White as Johnny Cade and Ponyboy Curtis is so believable, you just know these two young actors are forging a lifelong bond as friends on and off-stage.

Dallas Winston as portrayed by Tyler Jordan Wesley is swagger and sorrow intertwined. When the script calls for it, he roars like a lion, conversely, when necessary, he retreats far into himself, caught between angry rebellion and fracturing grief. In the inevitable climactic moments (surly by now we’ve all read the book or seen the movie), his breakdown feels earned — not sensational, but visceral, and sadly necessary.

The supporting ensemble (Sodapop, Two-Bit, Cherry, Bob and the rest of the Greasers and the Socs) feels fully realized. Corbin Drew Ross’s Sodapop Curtis, a standout, has infectious warmth, and yes, there’s no denying he looks the part, too. When he takes off his shirt early on in the show, I’m pretty sure I heard audible gasps as he revealed his sleek physique. I even asked my date for the evening (a dancer, herself) if she knew if he was a dancer or not. I also gotta mention Ross’s speaking voice. Meek and unassuming, I swear he’s having fun with the audience seeing if we think he sounds like Charlie Hunnam’s soft-spoken version of Ed Gein, but I digress.

As Cherry, Emmy Hearn soars, especially in moments where she bridges the divide between Socs and Greasers. A Cherry’s Socs steady, Bob, Mark Doyle paints the perfect high school bully and personification of thorn in Ponyboy’s life.  Travis Roy Rogers’ Darrel Curtis, the eldest of the Curtis boys, finds a perfect balance between forced adulthood as the unplanned patriarch of the family, while simultaneously exhibiting his own self-doubt and unrealized dreams. Jaydon Nget’s Two-Bit brings a subtle but studied undertone to the wisecracking youth.

The structure propels you forward. With rapid scene changes, interwoven monologues and dreamlike transitions, it is never dull.  The minimal scaffolding, projections, and shifting platforms keep the world lean yet alive. A perfect metaphor for the young cast themselves, lean, strong, always moving forward and alive. Interestingly, even before checking the Playbill and seeing that Kahvegian is credited as having created the scenography, I whispered to my date for the evening that I was coining a new term setography, because even when wood planks, tires, and various other elements of the minimal set were moved between scenes, they were done so-by the cast, no less- with such precisions and grace that the we at once unnoticeable, yet seamlessly part of the overall choreography of the piece

Coining another term, the fightography, especially in the pivotal confrontation between the Greasers and the Socs, is now the most beautiful movement I’ve ever seen on the stage. That honor, previously held by the quick/sharp jazz movement of the fight between West Side Story’s Sharks and Jets, no fully belongs to THE OUTSIDERS’ Greasers and Socs. Magnificently aided by Brian MacDevitt’s impactful lighting design, Cody Spencer’s chillingly vibrant sound design, Jeremy Chernick and Tillis Meeh’s mood-intensifying special effects design, the aforementioned AMP featuring Tatiana Kahvegian’s Tony-nominated scenography, and choreography by Rick and Jeff Kuperman, the fight choreography — punches, tumbles, and heart-pounding tension the show is choreographed to haunt, with no detail unattended. Slow-mo momentary freezes, punctuated by lighting cues, thunderous sound and an on-stage downpour, create a scene like none ever witnessed. A hauntingly perfect moment that’s likely forever etched into memory.

With a score by Jonathan Clay and Zach Chance, known collectively as folks duo Jamestown Revival, and Justin Levine, who also wrote the book of the musical, the score of THE OUTSIDERS fully embraces the rural small-town setting. Heck, the first number set the tone and time with the aptly named Tulsa ’67. THE OUTSIDERS score isn’t one that you’re likely to be humming after the show’s over. But, in the moment-while watching the story of young people trying to figure out who they are in their world as they struggle with inherent class division, sadness and expectations-realized or dreamed-the musical numbers perfectly propel the story, the emotion and the hopefulness of the characters. Fans of the novel might know that Ponyboy is reading Gone With the Wind. For the musical adaptation, Margaret Mitchell’s classic has been replace, dare I say, more fittingly, with Charles Dickens’ Great Expectations. To that end, Great Expectations, an impressive all-in musical number midway through Act 1, as lead by White’s Ponyboy, becomes a pivotal point as the audience fully realizes how trapped our antihero feels. Act 2’s Soda’s Letter, performed by Sodapop (Ross), Darrel (Rogers) and Ponyboy (White), in its raw, revealing, secure-in-their-masculity brotherhood realness, proves a tender audience favorite. Dallas (Wesley) and the company’s Little Brother, the perfect eleventh hour soulful and soul-gripping emotional melody. Of course you can’t have a THE OUTSIDERS musical without paying tuneful homage to the phrase “Stay Gold”. That said, the show’s final number, Stay Gold featuring White’s Ponyboy and Fambrini’s Johnny lyrically recounts the action of the story, reiterated Johnny’s wish for his friend and just like the precious metal referenced in the phrase, reflects brightly the beauty of friendship.

THE OUTSIDERS National Tour continues at TPAC’s Jackson Hall with a Friday evening performance, matinee and evening performances Saturday and Sunday. CLICK HERE to tickets and showtime details.

Having officially kicked off the National Tour in Tulsa (appropriately enough) just last month, following its Music City dates, THE OUTSIDERS tour continues with a four-city Texas tour in Austin, San Antonio, Dallas and Houston, then it’s on to Atlanta, GA, Durham, NC, Greensboro, NC, Orlando, FL, Tampa, FL, St Louis, MO and more through September of 2026. CLICK HERE for specific dates and the full tour schedule. Of course THE OUTSIDERS is still enjoying a hugely successful Broadway run at the Bernard B. Jacobs Theatre, so if you’re in New York, CLICK HERE. To keep up with the latest from THE OUTSIDERS, follow them on Insta, Facebook, Threads and YouTube.

Following THE OUTSIDERS, TPAC’s Broadway Season continues with the return of a favorite, Disney’s BEAUTY AND THE BEAST with an extended run November 4-16. CLICK HERE for tickets and showtimes. You can also follow TPAC on Insta, X, YouTube and Facebook.

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

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!

TPAC Announces 2025/2026 Broadway Season; ‘The Outsiders’, ‘Suffs’, ‘The Wiz’ and more making their Music City Debuts while favorites ‘Hamilton’ & ‘Beauty and the Beast’ return for two weeks each

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On Tuesday evening, February 10, Tennessee Performing Arts Center hosted an invite only event for members of the media and social influencers to reveal their upcoming Broadway Season. On Wednesday, February 11, a press release detailing the coming season revealed the following.

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NASHVILLE, Tenn. – A storybook season awaits as the nonprofit Tennessee Performing Arts Center® announces its 2025-26 HCA Healthcare/TriStar Health Broadway at TPAC season, presented in partnership with Nissan and Farm Bureau Health Plans, as part of its 45th Anniversary.

The upcoming season features six Nashville premieres, plus the return of a classic fairy tale and the revolutionary re-telling of American history, with two-week engagements of Disney’s BEAUTY AND THE BEAST and HAMILTON. The lineup celebrates stories that range American theatre’s past, present and future with the groundbreaking twist on The Wizard of Oz, THE WIZ; the brilliant, passionate and funny American women who fought tirelessly for the right to vote, SUFFS; the beloved, cinematic classic that is now a Broadway musical, BACK TO THE FUTURE: THE MUSICAL; the life-chasing, life-changing trip of a lifetime, SOME LIKE IT HOT; the bestselling novel with a poignant reminder that life – and love – can begin again at any age, WATER FOR ELEPHANTS; and the coming-of-age story that takes you to Tulsa, Oklahoma in 1967, Tony Award-winning Best Musical, THE OUTSIDERS.

 

In addition, TPAC will present three limited return engagement presentations, including the world’s most popular musical, LES MISÉRABLES; the global sensation that remixes five hundred years of historic heartbreak told by the six wives of Henry VIII, SIX; and the outrageous musical comedy of a mismatched pair of missionaries sent halfway across the world to spread the Good Word, THE BOOK OF MORMON.

“For 45 years, TPAC has brought stories to life on our stages, creating unforgettable memories and fostering connections that inspire and entertain. This milestone 45th Anniversary season celebrates the transformative power of live theatre, featuring timeless classics and groundbreaking new works that honor our past, reflect our present, and look toward the future as America approaches its 250th birthday,” says Jennifer Turner, TPAC President and CEO.

“We invite audiences to join us on this remarkable journey through American storytelling, reinforcing TPAC’s role as a cultural cornerstone for Tennessee and a premier destination for extraordinary performing arts experiences.”

 Season tickets are available now for new and renewing patrons for as low as $380. Purchasing season tickets allows theatre lovers to get the best seats at the best price when buying in advance. Plus, interest-free flexible plans allow patrons to spread the cost of a season package over up to seven months.

Season ticket holders also enjoy other exclusive benefits such as easy exchange privileges, priority access to buy additional Broadway tickets at a discount, and much more.

The Full 2025/2026 Broadway at TPAC SEASON

THE WIZ – Sept. 23-28, 2025

THE OUTSIDERS – Oct. 14-19, 2025

Disney’s BEAUTY AND THE BEAST – Nov. 4-16, 2025

SUFFS – March 3-8, 2026

BACK TO THE FUTURE – March 17-22, 2026

SOME LIKE IT HOT – April 21-26, 2026

WATER FOR ELEPHANTS – May 12-17, 2026

HAMILTON – June 17-28, 2026

Additional Broadway at TPAC presentations

LES MISÉRABLES – Jan. 20-25, 2026

SIX – Feb. 3-8, 2026

THE BOOK OF MORMON – June 2-7, 2026

To purchase season tickets and review the full benefits, pricing and seat map, CLICK HERE, or call TPAC Patron Services at 615-782-6560.

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Up next for the current season of Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE  for tickets. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire 20Q with cast of ‘CHICAGO’; National Tour at TPAC’s Jackson Hall January 28- February 2

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Considering the original 1975 Broadway smash hit CHICAGO came to the stage with musical pedigree in hand, thanks to music by John Kander, lyrics by Fred Ebb and an equally engaging book by Ebb and Bob Fosse, it should be no real shock that fifty years later, it’s still one of the most beloved musicals of all time. Proving it’s popularity, the 1996 revival now not only holds the record as Broadway’s longest-running musical revival and the longest running American musical in Broadway history. So naturally I was among the droves of fans excited to hear that the current National Tour is making its way back to Nashville as part of TPAC’s current HCA Healthcare/TriStar Health Broadway at TPAC series.

As the cast and crew of CHICAGO readied for their return to Music City at TPAC’s Jackson Hall January 28-February 2, I recently had the chance to chat up four of the show’s cast. So settle in as CHICAGO stars Taylor Lane, Ellie Roddy, Connor Sullivan and Illy Kirven take the stand for the latest edition of my recurring interview feature, Rapid Fire 20Q.

Rapid Fire 20Q with cast of CHICAGO; National Tour at TPAC’s Jackson Hall January 28- February 2

Rapid Fire with Taylor Lane, Velma Kelly in CHICAGO National Tour

JHPENTERTAINMENT: The current National Tour of the iconic CHICAGO kicked off just a few months ago. What has it been like to step into the role of Velma Kelly thus far?

TAYLOR LANE: Stepping into the role of Velma Kelly has been an absolute thrill. It’s a dream come true to bring such an iconic character to life. I’ve loved diving into her strength, sass, and complexity, and it’s been an incredible challenge to embody her boldness while making her my own.

JHPENTERTAINMENT: As Velma, you are front and center leading the ensemble during the show’s spectacular, high-octane All That Jazz. Of course renowned choreographer Bob Fosse created the moves for the original production, and his style is typically honored by incorporating some Fosse-esque moves. The current national tour is using the equally iconic 1996 revival Ann Reinking choreo with Gregory Butler recreating Reinking’s choreography. Do you have a particular dance-centric moment in the open, or elsewhere in the show, that you absolutely love performing night after night? 

TAYLOR LANE: Absolutely! There’s no better feeling than rising onto the stage, Fosse-walking to center stage, and diving into the intricate, precise moves of All That Jazz with the entire ensemble dancing in perfect unison behind me. The energy is electric, and it’s surreal to perform these legendary dance steps that we had the great honor of learning from Gregory Butler passed down from Ann Reinking. Some of my favorite moves in the show include the ‘pippin’ and ‘the lola’.

JHPENTERTAINMENT: Another choreo-heavy number is I Can’t Do It Alone. I can’t wait to see this company take on this ‘act of desperation’. On the subject of choreography. How much time goes into rehearsing the dance sequences for a show like CHICAGO?

TAYLOR LANE: We rehearsed for three weeks in New York City before heading out on the road. During that time, we learned all the music, choreography, and the book of the show, including lines and staging. Now that we’re performing regularly on tour, our dance captains give us notes to keep the show as sharp and clean as possible. We also have scheduled brush-up rehearsals with our choreographer to ensure we’re staying true to the original intention behind the choreography.

JHPENTERTAINMENT: Some audience members may not realize it, but CHICAGO is actually based on real life murderesses. Belva Gaertner, a thrice-married cabaret singer who murdered her married lover in 1924. Have you done any research on Belva in preparation for the role?

TAYLOR LANE: Yes, I’ve done some research on Belva Gaertner, the real-life inspiration behind Velma Kelly. It’s fascinating to learn about her story and how her persona influenced the character. Understanding the historical context and her bold, unapologetic attitude has helped me bring depth to Velma while still making her my own. It’s incredible to step into a role rooted in real history but reimagined with all the flair and style of CHICAGO.

JHPENTERTAINMENT: Since I’m about to chat with Ellie Roddy, who plays Roxie opposite your Velma, can tell me how it’s been to share the stage with her?

TAYLOR LANE: It’s such an honor to share the stage with the brilliance that is Ellie Roddy. Unlike our characters, who have a rivalry in the show, I absolutely adore her and love performing with her every night. She’s an incredible actress, and I truly enjoy getting to play off her energy onstage. My absolute favorite moment is singing Nowadays and dancing Hot Honey Rag with her at the end of the show. There’s something so special about dancing together as two powerful women—it brings me so much joy.

Rapid Fire with Ellie Roddy, Roxie Hart in  CHICAGO National Tour

JHPENTERTAINMENT:  When I spoke with Taylor Lane, I mentioned the fact that CHICAGO is based on real life murderesses. Your character, Roxie Hart is based on Beulah May Annan, a bookkeeper, who, while arguing with her lover, ‘reached for the gun’. What can you share about your creative process in playing Roxie?

ELLIE RODDY: It really was such a journey, and it’s still ever evolving. I find I continue to learn more and more nuances about this character the more I perform the role! They gave me a lot of freedom, creatively speaking. What’s really unique about CHICAGO is that yes, it is set staging and choreography that’s been on the Broadway stage since 1997, but it’s tailored to each and every individual and caters to their strengths. They play with each person’s individuality for each company member that is joining the CHICAGO family. It was a lot of trial and error for me. I’d try out a bit or try a certain inflection for certain lines, and they’d tweak it or we’d start fresh from the drawing board. It was one of the greatest gifts to receive as an actor, the trial and error with a safe space to play. 

JHPENTERTAINMENT: In the previous question, I alluded to the song We Both Reached for the Gun. This number is one of my favorites in the show–admittedly there are several favorites. I love that Roxie is so bent on stealing the spotlight from Velma as the latest notorious murderess that she’s willing to do whatever her hot shot lawyer Billy Flynn (played by Connor Sullivan) tells her. How much fun have you are you and Connor having in fine-tuning this particular number?

ELLIE RODDY: On a scale of 1-10 I’d say 100. Oh, it is one of my absolute favorite parts in the show. It’s such a smart song and plot line. And not only is it catchy, but Greg Butler’s choreography and specificity with it is brilliant within the story telling aspect of it as well. Everything is so mapped out to a tee, and it’s so much fun to get to do. And to hear the crowd roar for Connor is nothing less than spectacular. 

JHPENTERTAINMENT: Of course Roxie’s big number is, well..Roxie. If you had to rate the level of razzle dazzle in this particular sequence, what would you rate it, and why?

ELLIE RODDY: That is such a great question! Because it’s the first time in the show you really get to see her honesty and her point of view (now whether or not it is entirely the truth is up for debate) but it’s the first time where she gets to be stripped down as herself, vamped by a walking bass and piano line. When rehearsing the monologue into the song, David Hyslop and Greg Butler encouraged me to think of something like “Judy Garland’s one woman show, sitting at the front of the stage, microphone in hand, sharing a story with lots of charm and charisma.” So, with that in mind, it’s not so much flashy razzle dazzle, it’s little sparks and glitters weaved within. It’s more internal, and you get to go on the journey with Roxie and her dream and learn about her WHY. It just happens to be in a little tongue-in-cheek way. 

JHPENTERTAINMENT:  Since the show tells the tale of a group of felonious females, I’m just gonna ask….IF you could get away with murder, how would you choose to pull off the ultimate crime?

ELLIE RODDY: Ooh, I have never been asked this question before! Personally, I do watch some true crime documentaries/tv shows and have listened to some podcasts in the past, because I find the topic so fascinating. IF I could get away with murder, I think I would probably claim an act of self-defense, such as Roxie. Again, emphasis on IF! 

JHPENTERTAINMENT: In spite of the fact that much of the show takes place in the Cook County Jail, CHICAGO features some gorgeous period-authentic 1920’s fashions courtesy six-time Tony-winning costume designer William Ivy Long. What’s your favorite piece of wardrobe in the show?

ELLIE RODDY: I think my favorite piece that I personally wear is the open back dress when I do Roxie. It’s a gorgeous tight fit lace dress with an open back, and I think it’s so sleek and classy, but has a little edge to it. As for the entire show, I think the costume that Faith Jordan Candino (Mona) or Serena Kozusko (Swing/DC) wears! I feel fortunate enough that during our rehearsal process in NYC this past September, I got to go to William Ivey Long Studios in person, and try on a handful of archived costume pieces to find the perfect fit! It was such an honor. 

Rapid Fire with Connor Sullivan, Billy Flynn in National Tour of Chicago

JHPENTERTAINMENT: Who is Billy Flynn to you?

CONNOR SULLIVAN: To me, Billy is a person who loves what he does and works hard to make sure he stays at the top of his field. He views the legal system as a game, and he is fiercely competitive. His goal is to win, and he feels no qualms about doing whatever he needs to in order to make that happen. 

JHPENTERTAINMENT:  Billy Flynn, like most lawyers, comes off as suave, manipulative and driven by the opportunity to gain notoriety and success by painting his murderous clients as victims themselves. Those are a few of Billy’s less-savory characteristics. Have you discovered any redeeming qualities while creating your version of him?

CONNOR SULLIVAN: Billy is passionate about defending his clients and protecting his people. There are aspects of loyalty and verve to him that are, if not redeeming, at least somewhat positive. Once you are on his team, he will do whatever it takes to get you over the finish line with him. 

JHPENTERTAINMENT:  If you weren’t cast as Billy, who would you ‘kill’ to play in the show?

CONNOR SULLIVAN: I would love to play Velma Kelly. She has such a fearless tenacity that I think would be fun to embody every night. However, I could never do the role justice the way that Taylor Lane does – she’s currently playing Velma on our tour! 

JHPENTERTAINMENT:  One of your big numbers as Billy is Razzle Dazzle. It speaks of giving it everything you’ve got to wow the crowd. What is it about your three female co-stars: Taylor, Ellie and illy that will ‘razzle dazzle’ Nashville’s audiences?

CONNOR SULLIVAN: Ellie Roddy is a true triple threat performer. Her acting, vocal, and dance chops all shine through in her performance. Taylor Lane really captures the essence of who Velma is – her performance is self assured, grounded, and edgy. Illy is an incredible vocalist and has one of my favorite numbers in the show. She brings such a powerful presence to the stage and to our company! 

JHPENTERTAINMENT: CHICAGO first opened on Broadway in 1975. The 1996 revival, from which this tour was born, is now the longest running revival in the history of Broadway. What’s it like being part of such a storied show?

CONNOR SULLIVAN: It has been such a huge blessing to be part of a show with the legacy that CHICAGO has. Working with our incredible creative team, some of whom have been with the show since the revival opened in 1996, has been the biggest honor of my career! 

Rapid Fire with Illeana ‘illy’ Kirven, Matron Mama Morton in CHICAGO National Tour

JHPENTERTAINMENT:  As Mama Morton, you get to belt out the show-stopping tune When You’re Good To Mama. It’s just one in a show full of wickedly wonderful tune by Broadway legends Kander and Ebb. How magical is it to perform such iconic tunes?

ILLY KIRVEN: From the time Matron Mama Morton is announced, the crowd is ready for her. Every night I am blessed to take to the stage to sing this incredibly iconic song. It truly feels like a gift. It’s a gift I’ve been given to give, but I also receive great gifts back from each audience, every single show. I’m completely humbled and honored to follow in the footsteps of so many iconic women who have filled Mama’s shoes. It really does feel quite magical. 

JHPENTERTAINMENT: Which leads me to my next question…With such a grand theatrical history, there’s been so many fabulous actresses who’s brought Mama Morton to life. From Mary McCarty who originated the role on Broadway to my pal, Roz Ryan, who’s played her more than any other actress, having appeared both on Broadway in the revival and numerous subsequent tours. Can you reveal just a hint of how you’re making Mama your own?

ILLY KIRVEN: I love Ms. Roz Ryan so much. How amazing that you get to call this legend “friend”. I actually have photos that were printed for me for continuous inspiration with many of the ladies who have portrayed Mama including Ms. Ryan and Ms. McCarty. I did quite a bit of research for the role. Every video or sound byte I could find of various Mama’s singing voices and speaking styles were taken into consideration. I put lots of bits and pieces together of my own in order to let the director mold me into the Mama that works best for this current production. I like to think that I carry parts of all of them within me while putting myself fully into the soul of Mama. I won’t give away any more, but I hope the ladies would appreciate the performance if they were in the audience.

JHPENTERTAINMENT:  CHICAGO first debuted on Broadway in 1975, then was revived in 1996 and is still running both on Broadway and as a tour in both the US and UK. Since you play the prison matron, I’ll ask you…what makes CHICAGO such arresting entertainment?

ILLY KIRVEN: I believe it is such “arresting entertainment” because it completely captivates you from the very first introduction. Even the opening announcements draw you in before one note is played or sung. You can literally see audience members leaning forward and trying not to miss a single moment. 

CHICAGO, the Musical is written so well. Even the words have rhythm. And it’s got all the aspects that bring excitement to live entertainment: greed, corruption, violence, romance, coupled with beautiful performers and incredible song and dance. It is a show that continues to WOW audiences. Whether it’s their first time or their fifth time seeing it, it has a tendency to win fans over who come back over and over again. I think it’ll be around for many years to come. I’d definitely love and appreciate that. 

JHPENTERTAINMENT: When we began chatting, I mentioned Mama’s big number, When You’re Good To Mama, so I gotta ask…what’s it take to be good to Illeana?

ILLY KIRVEN: Honestly, I’m not complicated. I like simple things. I enjoy learning, traveling and exploring. I really love my family, friends, cast, orchestra, crew and people who are genuinely kind.  That’s all. 

JHPENTERTAINMENT:  Alright, one last question for you before this inquisition is over…What do you hope audiences take with them long after the last lights out at the Cook County Jail?

ILLY KIRVEN: I hope the show leads them to want to learn more about the real Roxie, Velma &  other characters in the show. A lot of people do not realize that the musical is based on real life happenings. I hope audiences are inspired to want to know more. 

But mostly, I want our audiences to leave feeling fully entertained. I’d want them to go home energized with some really great music in their hearts for a long time. 

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CHICAGO  TPAC’s Jackson Hall January 28 thru February 2. CLICK HERE for tickets. After their Music City dates, CHICAGO heads to Dayton, OH, Knoxville, TN, College Station, TX and more as the tour continues through June. To follow Chicago on Tour, check out their Official Website, or find them on Facebook, X, Instagram and YouTube.

Up next for Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Cody Garcia, Captain Hook in Peter Pan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Peter Pan National Tour star, Nolan Almeida

JHPENTERTAINMENT: Who is Peter Pan to you?

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

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

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

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

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

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

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

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

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

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

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

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

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