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Shadows and Storytelling: Rapid Fire Q&A With Sarah Fornace & Julia Miller; Manual Cinema’s The 4th Witch at Oz Arts June 4-6

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Manual Cinema’s The 4th Witch at Oz Arts June 4-6

For more than 15 years, Manual Cinema has been redefining the boundaries of live performance, blending shadow puppetry, filmmaking, music, animation, and theatrical storytelling into an experience unlike anything else on stage. The Emmy Award-winning collective’s latest production, The 4th Witch, offers a bold new perspective on Shakespeare‘s Macbeth, transforming one of literature’s most enduring tales into an imaginative coming-of-age story filled with the company’s signature artistry and innovation.

Ahead of Manual Cinema’s June 4-6 engagement at OZ Arts Nashville, JHPENTERTAINMENT caught up with Julia Miller and Sarah Fornace, two of the collective’s five Co-Artistic Directors, to discuss the origins of the company, the challenges of touring such a technically ambitious production, the collaborative process behind their work, and what’s next for one of the most inventive theatrical collectives working today.

RAPID FIRE Q&A WITH MANUAL CINEMA’s JULIA MILLER AND SARAH FORNACE

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: Manual Cinema’s audiences range from young children and families to theater lovers, film buffs, and aspiring artists. What do you think allows the work to connect with such a wide variety of people?

JULIA MILLER: I think puppetry as a medium can be profoundly impactful. There is something about bringing the inanimate to life that feels like magic. Something special happens through the work of the puppeteer and the audience, these objects are imbued with so much life and emotion, you feel it in a different way than watching a human perform. I think the handmade quality is also meaningful. Seeing the hands (sometimes literally) of the makers feels special in a time where so much of what we consume is digitally rendered. There is something about the humanness of the objects and the performance that seems to affect people.

JHPENTERTAINMENT: You’ve worn many hats within Manual Cinema as a director, puppeteer, puppet designer, and performer. Which part of the creative process feels most rewarding to you?

JULIA MILLER: My background/training is in performances, so I love being in rehearsal and performing in the shows. Working with so many amazing performers to create what eventually becomes a very intricate, tightly coordinated dance, is a special experience. I love developing new types of cinematic puppetry shots and techniques, but I also love designing puppets, directing, and devising stories with the other Co-Artistic Directors. I have so many interests I feel lucky to work in an environment that incorporates so many of them.

JHPENTERTAINMENT: Before co-founding Manual Cinema, you trained in devised theater, clown, and mask work in a variety of settings, including Italy. How do those disciplines continue to influence your storytelling today?

JULIA MILLER: The physical theatre training I did in mask, clown, and commedia dell’arte is all about specificity of action and gesture, how fast or slow you do something can tell the audience something different. So much of puppetry is that. Both share the same foundational principles, breath, focus, and weight. When I started working in puppetry I just began translating that work through an object instead of my body. I’ve always loved to work collaboratively, devising work in an ensemble is challenging in that there is a lot of give and take and negotiation between different ideas, but work made by many hands has so much more depth and personality to me. You can feel the many brains that worked together to make it, and I’ve always been drawn to that.

JHPENTERTAINMENT: Audiences see the finished production, but what would surprise them most about the amount of preparation and coordination required behind the scenes?

JULIA MILLER: Something unique to Manual Cinema performances is that you get to see the ensemble create all of the images of the movie in real time, on stage, below the projection screen. It takes a lot of work to coordinate all of that specific blocking, to make the transitions seamless and to the music, everything in sync. The puppeteers don’t get a break once the show starts. They play multiple characters, manipulate puppets, act as editors and lighting designers, track so many small props and costume changes, all tightly choreographed between five puppeteers. It’s like learning a dance by heart or memorizing a piece of music, you want to get to the point where you don’t have to think about what is next, your body just knows, and that takes repetition and doing the show over and over again. But when it’s there it really is like NASCAR, everyone moving in a tight little dance around each other, each move you make direct, efficient, and in relationship to someone else. It is amazing when it all comes together.

JHPENTERTAINMENT: Every Manual Cinema performance contains live, in-the-moment elements. Even with the film and projection components, is every performance of The 4th Witch a little different from the one before it?

JULIA MILLER: Absolutely. The container of the show is fixed in that we are all executing a series of repeatable actions. The choreography is set and does not change, even the timing is set exactly to sound design and music so there is no room for improvisation. That being said, it’s live theatre, props get left on the wrong side of the stage, puppets go missing, someone forgets a piece of blocking, but we just have to keep moving. There isn’t time to stop or feel bad because then you’ll be late for your next thing. The audience never notices, but the puppeteers always feel it, you just have to let go and move on. It’s a hard lesson I’m still learning. The audiences also really impact the performance. Sometimes we have a very rowdy house that isn’t afraid to laugh or audibly react. Those are always energizing because we get more feedback from the audience and play off of each other. Other times we get very focused but quiet houses and that changes the dynamic as well. Each audience is unique and reacts differently so that keeps us on our toes and changes the mood slightly night to night.

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: For readers who may be discovering Manual Cinema for the first time, how do you describe what the company does in one or two sentences?

SARAH FORNACE: Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company. We combine handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen that feel human, handmade, and urgent. We try to combine the sweeping storytelling of cinema with the deep human connection of live theatre.

JHPENTERTAINMENT: Manual Cinema was founded in 2010 by you, Julia Miller, Drew Dir, Ben Kauffman, and Kyle Vegter. Looking back 15-plus years later, did you have any idea the collective would grow into what it is today?

SARAH FORNACE: No! We started working together to create a short piece called “The Ballad of Lula del Ray.” We performed it in DIY spaces and small festivals in Chicago. People started to ask us what we would make next, and we came up with ideas for more shows. We had no idea that we would tour the world (every continent except Antartica) and still be working together 15 years later!

JHPENTERTAINMENT: One of the things that makes Manual Cinema unique is its deeply collaborative nature. What does the creative process look like when five co-artistic directors are helping shape a project?

SARAH FORNACE: It depends on the project! Some start with a story idea, some start with literary or biographical material that we are adapting, and some start with music! Some parts of the shows start with storyboards or animatics, and some are music-first. Generally, we will have at least one artistic director in the puppetry ensemble who helps shape the choreography and the story from the inside of the show. And usually we will have a director or an outside eye who is shaping it from the outside.

JHPENTERTAINMENT: You’ve worked with the same founding team since 2010. What’s the secret to maintaining a creative partnership for that long?

SARAH FORNACE: Good question! Fifteen years in, I think that we are still figuring out how to make work that is artistically exciting to us and financially lucrative enough to keep our doors open! The industry is always shifting, and I think that all the Manual Cinema artistic directors are incredibly smart and uniquely talented at telling stories that address the highs and lows of what it means to be human and how we try (and sometimes fail) to connect with each other. There is no one else I would rather tell stories and make work with!

JHPENTERTAINMENT: Outside of Manual Cinema, you’ve worked in theater, choreography, filmmaking, and even video game storytelling. How do those experiences influence the work you bring back to the company?

SARAH FORNACE: The great thing about being a deviser/director or a performer with Manual Cinema is that you get to do a bit of everything and bring all of your skills, interests, and problem-solving abilities to the project! As a performer in The 4th Witch, I get to not only act in silhouette and puppeteer but also control the shots and pacing of the show in the same way that a film editor and director of photography would in an actual film. I also get to work in super close collaboration with four of the most incredible puppeteers working today. They bring insights and skills from their various other backgrounds in filmmaking, animation, ballet, musical theatre, and clown. It feels like being in a Nascar pit crew of storytelling!

JHPENTERTAINMENT: The 4th Witch turns Shakespeare’s Macbeth on its head. Where did the initial spark for this reimagining come from?

SARAH FORNACE: We knew that we wanted to take a sideways approach akin to Tom Stoppard’s Rosencrantz and Guildenstern are Dead. Adapting the show in this day and age, we were struck by how the play is suffused with an undercurrent of war. We thought that we would follow a young character whose village is destroyed in the first battle in the play. In Shakespeare’s text, we only hear about Macbeth’s conquest, but we wanted to show the human cost. It is also a coming of age story and a story about how we are all caught up in cycles of violence and capitalism even when we try to escape them. Ultimately, it is about how we can take all of the parts of ourselves and our past, the good and the bad, and move forward and create good in the world.

JHPENTERTAINMENT: Touring a production that combines film, live animation, puppetry, music, and performance seems like a massive logistical undertaking. What’s the biggest challenge in taking The 4th Witch from city to city?

SARAH FORNACE: We travel with a team of ten: 8 performers and 2 backstage positions (a sound engineer and a stage manager/technical director). Everyone in the cast is very good at their jobs. We not only perform and execute the show, but we also set it up in collaboration with the venue technicians and staff! There are so many moving parts in the show: hundreds of puppets, 4 old school overhead projectors, over a dozen sound looping pedals, several musical instruments both acoustic and electric, a camera, an array of video monitors…. All of that gets set up and calibrated to each venue before we welcome in the audience!

JHPENTERTAINMENT: Manual Cinema earned an Emmy Award in 2017 for The Forger. How did receiving that recognition impact the company and its future ambitions?

SARAH FORNACE: It was an honor to be on that project and tell the story of someone who helped so many hundreds of people (many children) escape Nazi France with the incredible journalists and filmmakers at the NYTimes (shout out to Samantha Stark and Alexandra Garcia) . I think that the success of that project opened the door to more documentary work. The shadow animation and rich sound/music scoring we do is actually a great fit for bringing historical material to life onscreen.

JHPENTERTAINMENT: Looking ahead, what’s next for you personally and what’s next for Manual Cinema as The 4th Witch continues its tour?

SARAH FORNACE: We are working on a new show inspired by A.I. and the way that we interact with technology in our daily lives. I am calling it a humanist show, and the tagline is “save your mind, save the world!”

Manual Cinema‘s work exists at the intersection of innovation and imagination, where centuries-old storytelling techniques meet cutting-edge theatrical craftsmanship. As The 4th Witch continues its journey across the country, audiences have an opportunity to witness firsthand why the company’s distinctive blend of puppetry, cinema, music, and live performance has captivated theatergoers around the world. For Nashville audiences, OZ Arts provides the perfect setting to experience a production that challenges expectations while reminding us of the enduring power of storytelling.

The 4th Witch takes to the stage at OZ Arts Nashville (6172 Cockrill Bend Circle) from Thursday, June 4 thru Saturday, June 6 with performances each night at 8pm and a Saturday matinee at 2pm. The venue opens an hour before each performance and offers a bar menu featuring a variety of alcoholic and nonalcoholic beverages for purchase. Youth and Artists/Creative tickets are $25, General Admission tickets are $35 and Generous tickets are $45. CLICK HERE to purchase tickets. As an extra bit of fun, following the June 5 performance, Oz Arts will host a post-show Friday Night Talkback featuring Sarah Fornace and Julia Miller moderated by Nashville Shakespeare Festival‘s Artistic Director Jason Spelbring. (this event is free to Friday night’s audience).

This three-day, four performance presentation of Manual Cinema’s The 4th Witch marks the close of Oz Arts‘  current season, so be sure and CLICK HERE to stay in the know as Oz Arts reveals their coming 2026/2027 Season soon. To keep up with all things Oz Arts, follow them on Facebook, YouTube and Insta.

For more about Manual Cinema, and their current multi-city tour schedule, CLICK HERE or follow them on Facebook, Insta, Vimeo and Bandcamp.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Book of Mormon returns to TPAC Tuesday, June 2 with shows continuing through Sunday, June 7. If this Rapid Fire Q&A is any indication, expect big laughs, wildly catchy songs, a few moments that may leave audiences clutching their pearls — yet, somehow, there’s a surprising amount of heart underneath all the chaos. CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.

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

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

Rapid Fire 20Q with Cast and Director of ‘Merrily We Roll Along’; Sondheim musical opening at Hendersonvillle Performing Arts Company May 28

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Hendersonville Performing Arts Company is getting ready to bring audiences along for a journey backward through friendship, ambition, heartbreak, and the price of success as they present Merrily We Roll Along May 28-June 14. Featuring a score by the legendary Stephen Sondheim and a story told in reverse chronological order, the musical has become one of theater’s most emotionally resonant explorations of friendship and the choices that shape our lives.

Just days before HPAC’s May 28 opening, we caught up with director Jacob Waid along with stars Gray Miller, McKenzie Bryan, and Elijah Wallace to talk Sondheim, old friends, artistic ambition, iconic songs, and what audiences can expect from this deeply human production for the latest installment of our recurring interview feature, Rapid Fire 20Q.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF HPAC’s MERRILY WE ROLL ALONG

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s FRANKLIN SHEPHARD, GRAY MILLER

JHPENTERTAINMENT: What initially drew you to Franklin Shephard and Merrily We Roll Along?

GRAY MILLER: I was initially introduced to this show by a friend of mine from back home and I was addicted from the jump (thanks Jon)! We even got to see the final performance of the Tony winning production together in 2024 in what was an incredibly special moment for us old friends from Virginia. What drew me to Frank are the struggles he faces trying to maintain the balance between relationships, success, and choices he makes along the way which all hit very personal notes for me and I believe make him incredibly compelling as a flawed protagonist.

JHPENTERTAINMENT: Franklin is charismatic, ambitious, complicated, and at times frustrating. What’s been the trickiest part of finding your way into him emotionally?

GRAY MILLER: For me the trickiest part of this process has been finding Frank’s compromising coldness towards the people who truly care about him as it is such a departure from how I operate in my relationships. Those moments where he shirks his obligations or promises to his loved ones always frustrates me and sometimes I just want to pull him out of the script and shake him.

JHPENTERTAINMENT: One of the joys of community theater is the close-knit atmosphere. What do you enjoy most about performing with smaller theater companies like Hendersonville Performing Arts Company?

GRAY MILLER: It’s right there in the name: community. There is a special energy that runs through these theaters that is nearly impossible to replicate because it takes a community to put the show together. While it ultimately is the director’s executed vision, there is a level of collaboration between actors, crew, and production team that is unmatched. When it is all assembled, the finished product is a shining example of teamwork and true care from all involved. 

JHPENTERTAINMENT: “Old Friends” has become one of the defining musical moments of Merrily We Roll Along. What’s it been like performing that number and exploring the history and emotional weight behind those friendships?

GRAY MILLER: The majority of my closest, best friends in all the world are those that I grew up with back in Virginia. Some even go all the way back to the cradle days. Outside of family, these are the relationships that mean the most as they form the structure of who I am as a person. To me, performing “Old Friends” is the truest expression of those relationships that I hold so dear to my heart and that through joys, fights, distance or time, my friends and I are still (and will forever be) “damn few”.

JHPENTERTAINMENT: Looking back at younger versions of ourselves is a major theme of this musical. If present-day Gray could give his younger self one piece of advice, what would it be?

GRAY MILLER: Don’t let opportunities go by without at least taking a swing. Even if you don’t think you’ll come out on top, it’s better to go for it and miss out than to never trust yourself with the possibility of being great. 

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s CHARLEY KRINGAS, ELIJAH WALLACE

JHPENTERTAINMENT: Charley Kringas is fiercely loyal, deeply passionate, and often the emotional truth-teller of the story. What’s been your favorite part of stepping into his shoes?

ELIJAH WALLACE: Charley has been very interesting to characterize for me especially with how passionate he is. He wants to make the art that matters to him and Frank and he is hesitant to compromise his morals to do so. I really feel like his keen eye for knowing where his artistic boundary is resonates with me a great deal. He loves creating, and he wants to do it under his terms with Frank. I respect and admire that tenacity in his core being.

JHPENTERTAINMENT: Jacob Waid is directing this production. What’s his rehearsal room been like, and what kind of director is he for actors to collaborate with?

ELIJAH WALLACE: From before I even had the part he had expectations set to a high bar, and that continued in the room with each new challenge. He is very kind and open minded with any choice you might want to try, and yet he has a clear vision that he shared with us as the show took on more shape. I felt supported to try things, but also confident that if something we tried needed to be adjusted that it would be seen and shifted. He likes to paint a picture with his shows and I love that!

JHPENTERTAINMENT: “Franklin Shepard, Inc.” is one of the most intense and exhilarating numbers in the show. How demanding has that sequence been vocally and emotionally?

ELIJAH WALLACE: Oh my gosh it has been incredibly challenging from the first rehearsal we had. I approached it with an open mind knowing that trying it while just singing as opposed to on its feet would be a dynamic difference. The first time I did it it was pretty rough as expected, but I have found as I keep at it I find a new thing that gets better each time. That being said, it is tough to start the show on and I have really had to pace myself to make sure I don’t overextend. I hope it comes out as a rewarding and truly heartbreaking moment for the audience.

JHPENTERTAINMENT: Charley and Franklin share years of friendship, conflict, and creative partnership. Have you and Gray built any offstage chemistry or rituals that help strengthen that connection onstage?

ELIJAH WALLACE: No real rituals other than we have gotten along really fast. We found we like a lot of the same things outside of theater, and we bonded quickly both in and outside of the rehearsal space. He and I joke a lot offstage and it has given a lovely camaraderie that I feel lives in the performance we give. With the unique nature of the chronology of the show we start at our worst and get to our best by the end. I bring the joy he and I have shared as well as the blossoming friendship to how I act and react with him. He is a great guy and I’m lucky to have him as a scene partner.

JHPENTERTAINMENT: Merrily We Roll Along asks some big questions about success, fulfillment, and the roads we choose. What’s one personal goal — artistic or otherwise — that you hope never loses its spark for you?

ELIJAH WALLACE: I have always been a part of the theater since I was very small. It gave me some of the best and sometimes painful experiences that I have ever had. I would bot trade it for anything because it has shaped me into the man I am today. I always want to bring the light of storytelling to anyone who wants to hear, any person who might need to watch something to take their cares away for a while. I never want to stop telling the stories that mean something not just to me, but to the people who might need that story to get through the day, or who need to hear one specific line that helps them so deeply. That is so important to me and at one point in my life I almost walked away from it for good. Merrily reaffirms that importance to me of holding tight to what drives you, and I really appreciate that.

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s MARY FLYNN, McKENZIE BRYAN

JHPENTERTAINMENT: Mary Flynn has some of the sharpest wit and deepest emotional insight in the entire show. What’s your favorite thing about getting to play her?

MCKENZIE BRYAN: Mary has been a dream role of mine for a while now so everything about getting to play her is my favorite thing! But if I had to narrow it down, it would be getting to tackle the challenge of telling a story that spans 20 years in 2 hours. Everything about my characters speech patterns, to the way she holds herself, to her mannerisms, all adjusts in different ways over the course of the show as we travel backwards in time and that has been such a treat to dive into as an actor. 

JHPENTERTAINMENT: The show travels through several distinct eras and styles. How much fun has it been working with the production’s costumer to bring those iconic fashions and changing time periods to life?

MCKENZIE BRYAN: So much fun!! My style in real life is greatly influenced by the decades that this show lives in so I have been lucky to incorporate a lot of my own personal articles of clothing from my closet into Mary’s wardrobe. That makes playing her feel even more special and makes me feel that much more connected to her. 

JHPENTERTAINMENT: Sondheim lyrics are legendary for a reason. Do you have a favorite lyric or line in the show that hits differently for you now that you’re performing it?

MCKENZIE BRYAN: The entirety of “Our Time”, the closing number, is a favorite of mine. The first time we blocked the number I just cried & cried. It was so sweet & sad and that number still impacts me deeply every single time we perform it. Even though we’ve seen these people’s stories play out in front of us it almost feels like for a second they just might have a chance at something better, a different ending and I try to cling to that hope as an anchor emotionally during this number every night. 

JHPENTERTAINMENT: Mary spends much of the musical watching old friendships shift and evolve. What’s something you’ve learned in your own life about holding onto meaningful friendships?

MCKENZIE BRYAN: I am a really lucky lady who has a lot of meaningful friendships in her life that I take great pride & joy in maintaining, so I have to say, Mary has actually taught me more about what not to do than what to do. Bless her sweet heart, she obviously has great intentions but I do think a little more honesty and a lot less self abandonment would have taken her a long way. Because at the end of the day, real friendship thrives on openness, vulnerability, & communication. And in the wise words of Taylor Swift “my advice is always ruin the friendship, better that than regret it for all time.” Take that and run with it Mary, speak your truth girl! 

JHPENTERTAINMENT: In a show that wrestles so heavily with ambition and happiness, what does happiness currently look like for you outside the theater?

MCKENZIE BRYAN: Theatre is definitely a huge source of happiness for me that seeps into every other part of my life so it is difficult to actually separate the two. Performing is such an integral piece of who I am that my happiness & theatre are just kind of naturally woven together. I am happiest in a show! That being said I of course find joy in so many things, including but not limited to, spending time with my sweet family, cutie friends, & perfect angel pets, my day job that is such a gift (shoutout to my students!), any time i get to be at Walt Disney World, talking about Stars Wars (specifically the prequels), laughing with my sister, eating cheese of any and all kinds, sitting outside with the sun on my face, listening to Mamma Mia on a loop, and just the fact that it’s gemini season which means we are on the brink of my birthday. 

RAPID FIRE WITH MERRILY WE ROLL ALONG DIRECTOR JACOB WAID

JHPENTERTAINMENT: Merrily We Roll Along famously tells its story in reverse chronological order. What’s been the most exciting part of unpacking that unique narrative structure in rehearsal?

JACOB WAID: Honestly, the most exciting part has been watching the cast slowly discover that the “villains” of the story are not really villains at all. When you experience someone at the worst point in their life first, it is very easy to judge them. Then the show keeps peeling back layers and suddenly you understand the heartbreak, the compromises, the ambition, the fear, and the moments that shaped them into who they became.

That has been fascinating in rehearsal because every scene changes meaning once you know what comes later…or technically earlier. We have spent a lot of time discussing subtext and history. A line that feels cold or selfish in the opening scenes suddenly feels devastating once you understand the friendship and hope these people once had.

I also think the structure mirrors life in a strange way. So often we meet people at a single moment and assume that moment defines them. Merrily forces us to ask how they got there -“how did you get to be here? What was the moment?.”  It asks us to reconsider people over and over again and to look at what or who made them the person they are today. 

JHPENTERTAINMENT: This production spans roughly two decades of these characters’ lives. What are some of the biggest challenges — and rewards — of directing a story that evolves so dramatically over 20 years?

JACOB WAID: The biggest challenge is making sure the evolution feels truthful and not “performed.” I did not want actors simply putting on an older voice or changing posture and calling it a day. We have really focused on emotional evolution instead. How does disappointment reshape someone? How does success inflate or isolate them? How does grief harden them or soften them?

One thing that was very important to me from the beginning is that we are not really “aging up” or “aging down” the actors in a theatrical or exaggerated way. The story speaks for itself. The audience is intelligent, and the writing does so much of the work already. There are subtle physical shifts and changes in energy as the characters move backward and become younger, but for the most part, the emphasis is on the emotional storytelling and the relationships. I did not want distraction from the humanity of the piece.

What makes Merrily so special is that you are watching dreams form and then watching what life does to those dreams over time. That requires an incredible amount of detail work from the actors because every scene has to carry the weight of what the audience already knows is coming.

The reward has been watching the cast build entire lifetimes for these characters. By the end of rehearsal, they are not just playing scenes anymore. They know the history between every glance, every joke, every uncomfortable silence. It starts to feel less like actors performing and more like real people with decades of shared experiences.

JHPENTERTAINMENT: Sondheim shows often demand emotional precision and razor-sharp pacing. What has this cast brought to the table that’s surprised you the most?

JACOB WAID: Their honesty. This cast has been willing to live in the uncomfortable spaces of the show. Merrily is funny, sharp, and entertaining, but underneath it there is loneliness, regret, insecurity, longing, heartbreak, and love woven throughout every relationship. The actors have not shied away from that.

What has surprised and impressed me most is their willingness to examine themselves as human beings, not just actors. Watching them lean into these complicated emotional moments with such clarity and connection has been stunning.

Some of my favorite moments in this production are not the loud emotional explosions. They are the fleeting glances, the pauses, the moments where someone almost says something but chooses not to. Someone once told me that great acting is not just crying on stage when you are sad, it is doing everything possible not to cry while the audience watches the battle happening across your face. I think there is tremendous truth in that.

The real beauty of Merrily lives in the things left unsaid. Sometimes an entire relationship shifts because of a single glance across the stage. This cast has understood that in a really profound way, and I think audiences are going to feel those quiet moments just as deeply as the big ones.

Vocally, they are phenomenal. The score may not be Sondheim’s most harmonically dense work, but I actually think that simplicity is intentional. It keeps your focus on the relationships and storytelling. The cast has understood that beautifully. They are not just singing the music. They are using it to expose the emotional fractures underneath these friendships.

JHPENTERTAINMENT: Theater is full of stories about ambition, friendship, and the cost of success. How personally relatable does this show feel to you at this stage in your life and career?

JACOB WAID: I think anyone who has spent a long time in the arts eventually wrestles with some version of the questions this show asks. What are you willing to sacrifice for success? At what point does ambition become destructive? How do you hold onto friendships and authenticity in industries/life styles that constantly encourage reinvention and competition?

What hits me the hardest now is not necessarily the fame or success aspect of the show, but rather the loss of simplicity. The older I get, the more emotional those final scenes become because you see these characters before the damage, before the ego, before disappointment complicated everything. There is something deeply moving about watching people at the beginning of their dreams when everything still feels possible.

I also think the show is incredibly relatable because all of us have experienced loss in relationships and friendships in some way. That is just part of life. Sometimes friendships drift apart because of ambition, timing, pride, distance, or simply becoming different versions of ourselves over time. Sometimes those relationships find their way back, and sometimes they are lost for good. I think part of the beauty and heartbreak of life is learning how to process that loss, understand it, grow from it, and carry those memories with you anyway. Merrily captures that feeling in an incredibly honest and human way.

This show also holds a mirror up to the performance industry in a very truthful way. Sometimes people are celebrated only as long as they are useful, profitable, successful, or helping move someone else forward. The moment they stop being viewed as valuable in that way, they can suddenly find themselves pushed aside for the next rising star or new opportunity. That sounds harsh, but I think there is a real honesty to it, and Merrily is brave enough to explore that reality without losing compassion for the people inside of it.

JHPENTERTAINMENT: After audiences leave Hendersonville Performing Arts Company’s production of Merrily We Roll Along, what do you hope they carry with them?

JACOB WAID: I hope they leave thinking about the people in their own lives. I hope they think about old friendships, old dreams, the moments where life took unexpected turns, and the ways success and failure shape us over time. I hope the show encourages people to have a little more empathy for one another because none of us are just one moment in time.

More than anything, I hope audiences feel connected to these characters. Even when they make frustrating or painful choices, I want people to recognize themselves somewhere in them. We all have moments we regret. We all have moments where we have lost sight of who we wanted to be. I want the focus to stay on the people, the relationships, and the story itself.

To me, that honors what Sondheim does so brilliantly in this piece. Even musically, Merrily is surprisingly simple compared to some of his other scores. I think that simplicity is intentional. It creates space for the emotional complexity underneath it all. I wanted to create a world where the humanity of these characters could breathe without anything getting in the way of it. 

From favorite lyrics and emotionally demanding musical numbers to reflections on friendship, happiness, and chasing creative dreams, the cast and creative team behind Merrily We Roll Along offered an honest and heartfelt glimpse into the work happening behind the scenes at Hendersonville Performing Arts Company (260 W Main Street, Hendersonville, TN 37075).

Whether you’re a longtime Sondheim fan or experiencing Merrily for the very first time, this production promises an evening full of humor, heartache, nostalgia, and plenty to think about long after the final curtain falls. HPAC‘s Merrily We Roll Along opens Thursday, May 28 and runs weekends through Sunday, June 14. Performances are at 7:30pm Thursdays-Saturdays with 2pm matinees on Sundays. Tickets are $25/Adults and $22/Students and Seniors. All tickets are reserved seating. CLICK HERE to purchase tickets. For ADA accommodations, please call the box office at 615.826.6037.

Merrily We Roll Along may signify the end of HPAC‘s 2025/2026 show season, but they’re just getting started with their summer classes. CLICK HERE to learn more about their acting classes, theatre day camps, tap dance classes and more for kids of all ages.

To keep up with HPAC, CLICK HERE to receive info on upcoming shows, auditions and everything Hendersonville Performing Arts Company. You can also find them on Facebook and Instagram.

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

Rapid Fire 20Q with ‘Water for Elephants’ Kinker & Roust Cast Members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis & John Neurohr; at TPAC thru May 17 as National Tour Continues

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The circus has rolled into Music City, well, Broadway’s recent fan-favorite circus-centric show, that is.  On stage now through Sunday, May 17, the National Tour of Water for Elephants has quickly become one of the most visually inventive and emotionally stirring productions currently touring the country. Based on the bestselling 2006 novel by Sara Gruen, adapted for the big screen in 2011, the Broadway extravaganza—with a book by Rick Elice and music and lyrics by PigPen Theatre Co.—features jaw-dropping physicality, striking puppetry, soaring folk-inspired music, and an ensemble that quite literally keeps the circus running, the production transforms TPAC‘s Jackson Hall into a living, breathing spectacle each night as the Nashville tour stop continues.

With five shows of the eight-show Music City run remaining, JHP Entertainment caught up with cast members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr to talk about life on the road, special skills, backstage friendships, fight choreography, Rosie the elephant, and the organized chaos that comes with bringing the circus to life eight shows a week. So, step right up for this latest edition of Rapid Fire 20Q.

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RAPID FIRE 20Q WITH WATER FOR ELEPHANTS‘ KINKERS & ROUSTS

RAPID FIRE WITH WATER FOR ELEPHANTS‘ BRADLEY PARRISH

JHPENTERTAINMENT: Bradley, the music and lyrics for Water for Elephants were created by the collaborative collective PigPen Theatre Co.. In a way, does that collaborative spirit mirror the way the ensemble members work together to quite literally help bring Rosie and the circus world to life every night?

BRADLEY PARRISH: I think it absolutely does. PigPen’s work on this show, in tandem with our director Jessica Stone, choreographers Jesse Robb & Shana Carroll, and music supervisor Benedict Braxton Smith, was all about collaboration and creating a culture of unity, excellence, and love. In every aspect of this show it has been our desire and intent to flourish on and off the stage, and that’s been a beautiful thing to be a part of. 

JHPENTERTAINMENT: This marks your National Tour debut. What’s been the biggest adjustment from regional theatre life to living out of a suitcase and performing in a different city every week?

BRADLEY PARRISH: One of the biggest adjustments has been exactly that – being in a new city every week. To be able to see the country, explore the beautiful cities we’re in, and meet the locals has been a sweet privilege. 

JHPENTERTAINMENT: Speaking of different cities…You’re a Belmont University alum, so getting to return to Nashville with a major national tour has to feel a little full circle. While it’s only been a couple years since graduation, what memories immediately come rushing back whenever you’re in Music City?

BRADLEY PARRISH: Being back in Nashville is definitely full circle – very much feels like coming home. The best part of being here is certainly going down memory lane a bit (coming to TPAC to see shows, hanging at Crema and Sevier Park) and getting to share this show with my community that’s here in Nashville. 

JHPENTERTAINMENT: I’m about to chat with some of your fellow Kinkers & Rousts ensemble cohorts, so a two-part question for you…What exactly ARE Kinkers & Rousts…AND…What are some of the talents or tricks audiences will get to see from you as part of the Kinkers & Rousts ensemble?

BRADLEY PARRISH: Great question. A Kinker is a circus performer, and a roust is just another name for a worker! Our whole ensemble has some beautiful acts and performances for you, personally I’ll be singing, dancing, and doing puppeteering work with our many puppets. One of my absolute favorite acts in the show is a silks performance by Yves Artiéres during the song “Easy.” 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CARL ROBINETT

JHPENTERTAINMENT: Carl, you were a 2022 Rising Star Jimmy Award recipient. How important are the Jimmy Awards and programs like that in helping young performers realize a professional career in theatre is actually possible?

CARL ROBINETT: The Jimmy Awards were one of the most life-changing and incredible experiences of my life. The fact that, year after year, the Jimmy’s are able to give kids from around the country the opportunity to work with Broadway legends, be a part of the creation of a new piece, and perform on a Broadway stage—all while making it completely free—is simply unlike any other opportunity out there for a kid interested in pursuing musical theatre. I made some lifelong friendships there and met some of the most talented people I have ever come across, and moreover I just felt like I was able to learn and absorb so much because of how immersed I was, showing up to rehearsal in a fast, furious and fun process. Programs like these are vital to helping kids realize a career in the world of theatre is possible, and surely for me it solidified that, all the while giving me an unforgettable experience that I will always be grateful for.

JHPENTERTAINMENT: There was a time when it wasn’t uncommon for a kid to daydream of running away with the circus and you’re basically doing that every night…What has been the most surreal “I can’t believe this is my job now” moment for you so far?

CARL ROBINETT: I think honestly that moment came the first time I performed the show with my parents in the audience. My dad was able to come see the show in Baltimore (where we teched) and my mom a bit later in Greenville, and I just remember standing on the scaffold during the finale, looking out into the audience towards my parents each time and thinking back to the first touring show I saw. It just felt so full circle because I remember seeing the first national of Young Frankenstein at the Orpheum (my local touring house in San Francisco) with my parents and sisters, and now looking out into the audience all I could think about was how happy young me would be. I left that theater grinning from ear to ear and singing “Together Again”, and my parents continued to bring me to so many shows after that furthering my love for this art form. I have always been so supported by my them, and so having them in the audience always reminds me of how lucky I am to have the parents I do. I love you, Mom and Dad, and thank you for supporting my dreams and letting me run away with the circus.

JHPENTERTAINMENT: What has it been like collaborating with tour director Ryan Emmons and helping maintain the scale and emotional intimacy of a production this massive while traveling city to city?

CARL ROBINETT: It’s been such an incredible experience. Ryan is the best. He is such a kind person and just such an insightful resource when it comes to the world of this show. We have been so lucky to spend so much time as understudies diving into the text and doing table work to craft these characters, and a lot of the time that has been put aside for that has been because of Ryan. He’s made numerous trips out to visit us on the road and check in, and we’ve had so many fun rehearsals just walking through the show, the text, and the world building surrounding it all. He has been so supportive and really helped to maintain the show while we’ve been on the road, and I don’t know what we’d do without him. Thank you, Ryan!

JHPENTERTAINMENT: Résumé special skills can sometimes feel random until you land a show like this one. Which of your own skills or physical abilities have unexpectedly become most useful as one of the Kinkers & Rousts?

CARL ROBINETT: Honestly, I would say my Jennifer Coolidge impression has been the most useful. No, but in all seriousness, I feel as though some of the very basic acrobatics that I could do have helped me tremendously in learning new skills for the show. One new skill is a macacowhich I have to do in the big number where we are setting up the tent. It is like a cross between a back walkover and a one-handed cartwheel, and just being able to do some basic acrobatics such as cartwheels and kip-ups helped me tremendously with learning that. Although I’m not one of the acrobats I have definitely learned a lot of acrobatics from this show that will be making the resume moving forward, and I honestly thought I would be doing no acrobatics when I booked this, so I would say truthfully that has been the most unexpectedly useful special skill.

Also, a little fun fact is that the ensemble character name I crafted is a cross between the actor who portrayed my track on Broadway, Sean Stack, and this acrobatic trick that I do in the show, a macaco, so I named my character Stack Macack!

RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS

JHPENTERTAINMENT: Ella, Water for Elephants has some truly stunning costumes. What has it been like stepping into the world created by costume designer David I. Reynoso, and do you have a favorite costume piece in the show?

ELLA HUESTIS: I love all of the “Grand Spec” costumes I get to wear in all the tracks I perform and cover! My Roust design is this gorgeous turquoise, green, and pink number with stars and sequins galore. My Marlena outfit is a stunning red, sequin, beaded leotard with the most fabulous red and gold custom boots. My Barbara costume is a hot pink, long sleeve, sequined leotard with a spectacular cape, complete with a custom teal LaDuca boot. All three make me feel like the prettiest showgirl in the world and it is an absolute honor to wear David I. Reynoso’s Tony Award-nominated designs every single night!

JHPENTERTAINMENT: Your show bio mentions getting to make your National Tour debut alongside your best friend, Summer Severin. How special has it been sharing this entire experience — the travel, the rehearsals, the chaos, all of it — together?

ELLA HUESTIS: It has been the biggest dream come true, it’s hard to adequately put into words how special it is. Summer and I have been best friends/roommates/sisters for the past five years and have seen each other through thick and thin. We did the entire audition process together, danced the last combo in the final callback as a duet, and got the calls with our offers five minutes apart! Being able to see each other grow and evolve over the years and continuing the adventure with this incredible show, has been the gift of a lifetime! She’s my ride or die and I could not be prouder of her!

JHPENTERTAINMENT: Actors spend years collecting special skills for their résumés, but this show may actually require all of them. What’s one skill you get to show off in Water for Elephants that audiences might not expect?

ELLA HUESTIS: Honestly, this show has only added more special skills to my resume that I’m really proud of! I was lucky enough to get to learn the art of puppetry from Joshua Holden and trapeze/acro from Shana Carroll and our spectacular circus cast and it has been the most fulfilling experience to dip my feet into other specialties. I’m so excited to continue exploring these parts of theatre and performance and build upon the knowledge I’ve gained by running away with the circus!

JHPENTERTAINMENT: Water for Elephants is such an ensemble-driven piece where everyone seems essential to creating magic. To that end, as part of the team bringing Rosie to life night after night, do you have a particular scene between Rosie and Helen Krushinski’s Marlena that you love being on stage for each night?

ELLA HUESTIS: I have so many, it’s hard to choose! Getting to build all the little moments with Helen as a scene partner has been such a gift. She is seriously the best. I think my favorite one has to be the first time I interact with her using the trunk puppet. It’s such a cute, mischievous sequence and I love all the ways we’ve gotten to play around and find new gestures and interactions over the months of performances. It’s the highlight of my Act One and something I look forward to every night! 

RAPID FIRE WITH WATER FOR ELEPHANTS’ JOHN NEUROHR

JHPENTERTAINMENT: John, Rosie has become one of the most talked-about elements of the production. From a performer’s perspective onstage every night, what’s your favorite aspect of Rosie’s design and the way audiences react when she appears?

JOHN NEUROHR: What I think is so beautiful about Rosie, and all of the puppets in our show is that they are seen through the eyes of Jacob’s memory. The audience sees fragments of Rosie throughout the first act, but it isn’t until there’s a breakthrough that we see her in her full form. It’s such an amazing moment to witness every night.

JHPENTERTAINMENT: The show’s puppetry work by Ray Wetmore, JR Goodman, Camille Labarre, and puppetry director Joshua Holden is unlike anything audiences typically see on tour. What was the learning curve like in rehearsal for that style of storytelling?

JOHN NEUROHR: I’ve never studied or had puppetry experience before this show, and so there was a massive learning curve with stepping into the shoes of Rosie. The puppeteers and I studied, in great detail with Joshua, exactly how an elephant moves, how they breathe, and even small shifts of focus. At first, we used dowel rods walking around our rehearsal space, probably looking very silly, and slowly moved into Rosie. We get strapped into the puppet, like a hiking backpack, and use mechanisms in the legs to control her ear flapping, blinking, and tail movement. She’s a beast, but it’s so rewarding hearing and seeing the reaction from the audience and company when she comes to life.

JHPENTERTAINMENT: In addition to your role as a member of the Kinkers & Rousts, you also step into the Caretaker role. What can you tell me about the Caretaker?

JOHN NEUROHR: Being the extremely humble person that I am, I would say the Caretaker is the single most important character of the show. Without him, the Benzini Brothers would have never been able to buy Rosie and bring her into their circus. Of course, I kid, but the caretaker is a bit of a grouch and does not treat Rosie properly while she’s at the rival circus. It’s a good thing she got away from him. 

JHPENTERTAINMENT: For you personally, which ‘special skill’—nearly every theatre actor’s resume mentions them— has proven most valuable in surviving the organized circus chaos of being a Kinker & Roust in this production?

JOHN NEUROHR: Well, thankfully I’m not doing any of the real circus elements in this show. Our acrobats are truly incredible, and I watch in awe every night at the incredible feats they perform. For myself, I do give a pretty good cartwheel, that makes an appearance. More than anything I’ve learned so many new ‘special skills’ because of this show, from knife throwing, learning to crack a whip, juggling, and more. 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH

JHPENTERTAINMENT: Chris, you officially joined the national tour in April. What has the whirlwind of stepping into Water for Elephants been like for you so far, and what has surprised you most about joining an already tightly-knit company?

CHRIS MARTH: Whirlwind is a great way to put it, but it’s been a very rewarding challenge so far! Learning a show by yourself in a studio, especially a show of this magnitude, is not for the faint of heart.  There are so many moving pieces that trying to “imagine” them in a rehearsal studio can be really difficult. Luckily our incredible dance captain, stage management, and music direction team led me through it every step of the way! It’s definitely nerve–wracking to step into a show with an established rhythm and a group of people who have been living this for the past 8 months, but luckily this is such a welcoming group of people, I was able to slip right into the fold. 

JHPENTERTAINMENT: Wade initially comes into the story with a pretty serious chip on his shoulder when it comes to Jacob Jankowski. How have you approached Wade’s evolving dynamic with Jacob, and what do you enjoy most about that story arc opposite Zachary Keller?

CHRIS MARTH: Wade is really tough on Jacob in the beginning of this story. It’s the Great Depression and there are countless people out of work and looking for a job. Then this seemingly well–off kid jumps our train car and Wade does not have the reason or resources to give him a chance, he is another mouth to feed and we are already scraping by as it is.

He believes that Jacob has not earned his position. But as the story progresses, Wade absolutely begins to soften towards Jacob, as he sees the value that he is bringing to the circus. However, his developing relationship with Marlena certainly does not go unnoticed. 

So, I think I approach their evolving relationship with trepidation. Even when things begin to go well for the entire gang, I’m trying to keep Jacob at arm’s length, knowing that when push comes to shove, I’ll likely be the one that has todeal with it.  My favorite part where this manifests itself in the show, are small moments between Zack and I during “Zostan” where you see those initial moments of firm intimidation at the start of the show have now softened into a kind of brotherly annoyance. 

JHPENTERTAINMENT: This production is incredibly physical. What has it been like working with fight director Cha Ramos to build the intensity and realism of those moments onstage?

CHRIS MARTH: Cha is simply incredible at her job. The detail and specificity that she brings to the fight choreography in this show is truly unmatched. Every moment is so meticulously thought out to keep the actors safe and comfortable, while still delivering a result that looks so real to audiences. There’s one moment in particular (I won’t spoil), that I love hearing audiences gasp at every night. I also have to shoutout Andrew, our incredible fight captain and swing. He guides Zack and me through the fights every night preshow and keeps them looking tight, while making sure we are safe and maintaining Cha’s brilliant choreography. 

JHPENTERTAINMENT: Water for Elephants balances spectacle with emotional storytelling in such a unique way. From your perspective playing Wade, what do you think audiences connect with most by the final curtain?

CHRIS MARTH: It’s easy to look at Wade as the villain of this story, but as you peel back the layers, you start to realize that he is a victim of his circumstances. That the decisions that he makes are fueled out of, to him, what feels like necessity. And I think that rings true for every character in this play, they all chose to join this circus out of necessity. So, my hope is that audiences walk away with deep empathy for these characters and the understanding that while they may not have all made the perfect or even right decisions over the course of our story. They made the decisions that felt right for them in their given circumstances, at that given moment. 

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JHPEntertainment thanks Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr for stepping into the Rapid Fire spotlight midway through the tour’s Nashville stop — and for giving audiences a behind-the-scenes glimpse at the magic under the big top.

With its stunning visual storytelling, emotionally rich performances, and extraordinary ensemble work, Water for Elephants continues to prove why audiences across the country are falling in love with this theatrical spectacle. From the breathtaking puppetry of Rosie to the athleticism and heart poured into every moment by the Kinkers & Rousts, the production captures both the wonder and humanity at the center of the story.

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

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

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.

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In case you missed it, check out our review of Water For Elephants‘ Opening Night performance in Nashville.

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q: Playhouse 615’s ‘God of Carnage’ Cast and Director Break Down Politeness, Power Plays, and Emotional Freefall; On Stage May 1- 17

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Polite conversation. Civilized adults. What could possibly go wrong? Plenty, as it turns out. God of Carnage is the kind of play that starts with a handshake and spirals into something far messier—and far more revealing. As Playhouse 615 gears up for this razor-sharp dark comedy’s May 1 opening, director Diane Bearden-Enright and her powerhouse four-person cast–Wanderson Rezende, Beth Henderson, Ben Gregory and Abby Waddoups–are diving headfirst into the tension between who we think we are and who we become when the filter slips. We caught up with the cast and director for our signature Rapid Fire 20Q to talk civility, chaos, marriage, morality—and why this deceptively simple setup leaves absolutely nowhere to hide. 

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF GOD OF CARNAGE

RAPID FIRE WITH GOD OF CARNAGE’s ALAN, WANDERSON REZENDE

JHPENTERTAINMENT: Alan often feels like he’s operating in a completely different moral universe—how do you ground that in truth rather than caricature?

WANDERSON REZENDE: I think Alan’s morality (or lack of it, sometimes) is inside all of us. That is true for every character in this play, and that is part of Reza’s brilliance. To me, Alan is the voice of chaos that whispers “do it” when morality and social norms are screaming “don’t.” Brutal honesty and unfiltered rationalization. We all go through that in our thoughts, and that is how Alan becomes real: you have to look in the mirror and acknowledge the part of your soul that wants to set the room on fire. The part that, when given the opportunity, will stir the pot just to see what happens. I don’t play him as a villain. I play him as the part of yourself you were taught to keep quiet, which is sometimes villainous.

JHPENTERTAINMENT: How do you interpret the play’s critique of Western ideas of civility and “good behavior”?

WANDERSON REZENDE: Oh, this question made me laugh! A good kind of chuckle, I mean. This play is like the animated movie Inside Out but for adults. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. I think Reza was clever in making us question our values as a society without slipping into a lecture or wrapping up the play in a pretty bow. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. These are four educated, well-meaning adults who, within 90 minutes, are drinking and screaming at each other. To me, the critique isn’t aimed at bad people; it’s aimed at good ones. The “good behavior” dissolves so fast it makes me wonder whether it was ever real or just an agreement we made with each other. Reza seems to be saying that civility can simply evaporate if you turn up the heat in the room.

JHPENTERTAINMENT: Alan’s constant connection to his phone feels symbolic—what do you think he’s avoiding, and what does that say about power and detachment?

WANDERSON REZENDE: I find Alan’s relationship with his phone fascinating. It is a safety blanket, an escape valve, a weapon, an exit strategy. But also, I see his phone as a simple tool, an extension of his arm, almost a part of his body. This play premiered in the early 2000s when cell phones had a very different place in the social context than they do now, but what I don’t think Alan is doing is avoiding. He’s not hiding behind the phone. He’s operating. The phone shows where Alan has power, clarity, and purpose. He’s present in the only way that feels natural to him. Which is exactly why the moment the phone is taken away is so revealing: you suddenly see what’s underneath when the tool is gone. And what you see is just another vulnerable man who needs to pick himself up from the floor.

JHPENTERTAINMENT: Do you see Alan as the most honest person in the room—or simply the least interested in pretending?

WANDERSON REZENDE: I don’t think Alan is pretending. I think he does everything but pretend. And yes, I do think he’s the most honest person in the room. I had conversations with our director Diane Bearden and with Ben, Abby, and Beth about this. Alan understands that children and adults have fundamentally different tools for solving conflicts. He’s interested in the adult dimension of what happened between their sons: the dentist, the insurance, and giving the kids space to work it out themselves. What he refuses to do is inject adult morality into a children’s fight. He knows that life and time will already do that job. Alan is the kind of parent who wouldn’t stop his kid from sticking a fork in an outlet. He’d say, “Go ahead, then let’s talk about what happens next.” There’s actually a twisted kind of respect in that.

RAPID FIRE WITH GOD OF CARNAGE’s ANNETTE, BETH HENDERSON

JHPENTERTAINMENT: Annette’s journey from composed to completely unfiltered is one of the play’s most striking arcs—how do you map that descent each night?

BETH HENDERSON: That’s what makes this role so fun. I love getting to play such different aspects of one character. There are definite points in the script that help those transitions along, but it’s also important to make sure that the slide from point A to point B is gradual so that it feels like a natural progression. 

JHPENTERTAINMENT: How do you balance the play’s farcical comedy with its darker, more unsettling undertones?

BETH HENDERSON: I think what creates the balance is playing up the realness and believability of the characters, rather than asking for laughs. Like real life often is, the script itself is dark and funny at the same time. If we, as the actors, can successfully portray people who genuinely believe in what they’re saying and doing, the playwright’s words will automatically strike the balance.

JHPENTERTAINMENT: How do you interpret the dynamic between Annette and Alan—united front or already fractured?


BETH HENDERSON: Wanderson and I have actually talked about this quite a bit. Annette and Alan have a lot of issues between the two of them, but the intensity they share is part of what makes them work. It may not be a loving relationship, but it’s a partnership that I think works for them and withstands the course of the afternoon covered by the play. I also think their takes on Veronica and Michael, their disdain, ultimately unite them on the actual situation at hand (the situation between the sons).

JHPENTERTAINMENT: By the end of the play, who holds the most power in the room—and does Annette ever truly lose hers?
BETH HENDERSON: That’s a tough one. I think to a certain extent, they’ve all lost at least an aspect of their power. If you look at the power dynamics within the marriages, I think Annette comes out on top. I believe she holds a good bit of power in her marriage coming in to the play, but she claims even more during it. I don’t think anyone else really does that. But, if looking at who holds the most power among the four of them, I don’t think I could decide. There’s an argument to be made for each of them and none of them.

RAPID FIRE WITH GOD OF CARNAGE’s MICHAEL, BEN GREGORY

JHPENTERTAINMENT: Michael uses humor as both a weapon and a shield – how do you navigate when the audience should laugh versus when they should feel uncomfortable?

BEN GREGORY: The author of the play pontificates about the dichotomy between how we present ourselves and how we actually feel. Society has drawn too many rules about when we should laugh or cry. When we are uncomfortable, sometimes we laugh. It’s a way to relieve tension. This show is full of tension and awkward silence. Our audiences will avail themselves of the opportunities to laugh at the absurdity of moments of human interaction with which they identify, either in themselves or in people they have known. God of Carnage directs the players to shift between restraint, lightheartedness, and complete lack of self-control. Those shifts will resonate differently with different audiences. We just follow the map laid out by the author and by our brilliant director, Diane.

JHPENTERTAINMENT: The play exposes cracks in marriage-what do you think Michael truly wants from Veronica beneath all the bluster?


BEN GREGORY: Michael wants to be respected by Veronica. He wants to be valued and cared for in the same way that she cares about the outside world. He doesn’t feel seen or heard by Veronica because he spends too much time trying to echo her thoughts, to appear to be who she wants him to be. He’s terrified of being exposed for his own fears, or to be revealed as less sophisticated than she is. He is stuck in a loop of putting on an act for her benefit (which doesn’t benefit anyone, really). Michael is a man who wants to work hard, and enjoy his nights and weekends without having to worry about the heaviness of the world. He wants love without conflict.  

JHPENTERTAINMENT: There’s a casual cruelty that emerges in Michael – how do you build to that without tipping your hand too early?

BEN GREGORY: To avoid letting the degree of his resentment reveal itself too quickly, I focus on his attempts to make light of things, his efforts to be a peacemaker. He wants so badly to avoid conflict. Though the tension eventually breaks, he tries to restrain it as much as possible, often with offhand remarks intended to make light of things.

JHPENTERTAINMENT: What makes Playhouse 615 the right space for a play that strips everything down to raw human behavior?

BEN GREGORY: Working on this production in an intimate space such as Playhouse 615 makes it imperative to be as raw and real as possible. Every expression and motion is visible to the audience. It’s as intimate as a theater gets in Nashville. More than the space itself, though, is that the people who work and play here are willing to be vulnerable. It is a safe space and a loving space. We’re allowed to be human: ambitious, fallible, and full of love for our art.

RAPID FIRE WITH GOD OF CARNAGE’s VERONICA, ABBY WADDOUPS

JHPENTERTAINMENT: What’s your entry point into Veronica’s need to control the evening—and where do you let that control slip?

ABBY WADDOUPS: Veronica’s need to control is pretty much set from the start of the show. She is cordial on the surface with appropriate small talk, but very no-nonsense and clearly has an agenda for the evening to run smoothly. It is an uncomfortable meeting to have to have, so she has a plan to get through it. When the truth of the other character types starts becoming clear, and even her own husband acts in a way she disapproves of, it is impossible to maintain any control over these people.

JHPENTERTAINMENT: Veronica clings to ideals of culture and morality—do you see those as authentic beliefs or part of a carefully constructed identity?

ABBY WADDOUPS: Veronica is flawed, despite trying desperately not to show it. In doing so it becomes harder to hide it. But she comes by it naturally and does not understand how others perceive her. Veronica is one of the worst at being congenial on the surface, but then really drilling into people with her supposed higher moral ground and expectations. She doesn’t know any better, it’s just the type of person she is. She does love culture and has traveled to many places. She takes great pride in being worldly, but she doesn’t strike me as ever having immersed herself in another culture, staying in a place for too long, or really spending much time away from NY or the US. She’s ultimately a scholar and has read most of what she knows, not necessarily through her own lived personal experiences. Veronica is a mama bear and very condescending to her peers.

JHPENTERTAINMENT: How has working again with Diane shaped your understanding of the play’s central question—are we ever truly civilized?

ABBY WADDOUPS: It has been wonderful working with Diane again, and the whole cast. I trust her completely and am honored she saw me in this role. Diane has skillfully pitted characters against each other physically onstage when the dialogue suggests. She has defined the peaks and valleys, where conflicts arc and go back down to formality. This production shows how quickly adults, in all their experiences and worldly knowledge, can revert back to their childhood. It has been good to dig into these characters in a masterfully written dark comedy. The language is rich, the characters are a reflection of the best and worst of people. The tension is high and rehearsing is exhausting, draining, but fun. I feel like I’m in college again, doing an intensive character study in a cutting edge drama. Shows like this, roles like Veronica and working with these wonderful people – are all what I love most about acting. We are always in good hands with Diane and her expertise.

JHPENTERTAINMENT: By the end of God of Carnage, do you think Veronica is more disillusioned—or more revealed?

ABBY WADDOUPS: Veronica is incredibly disillusioned. “If we stick with the strict definition of the word, it’s use is far from inaccurate” (that’s a show quote), “Disillusioned- having lost faith or trust in something formerly regarded as good or valuable.” She is bitter and disappointed that this meeting, including her husband’s actions, failed to live up to her expectations. It is a harsh truth being discovered close to the end, “losing belief or trust in something once admired, resulting in a loss of idealism” and makes her examine herself and her relationships closer.

RAPID FIRE WITH GOD OF CARNAGE DIRECTOR, DIANE BEARDEN-ENRIGHT

JHPENTERTAINMENT: When you and I spoke recently about God of Carnage, you mentioned approaching rehearsals almost like a scene study class—can you elaborate on that process?

DIANE BEARDEN:  Being Adjunct Faculty at MTSU, I think I approach just about everything as a teaching moment!  The most interesting thing about this project is I’ve worked with each of these actors in the past.  I’ve gotten to know them and have learned a lot about how they approach a role, their rehearsal process, etc.  We dug into the rhythm and intention of the script.  We got on our feet and “played”; investigating different ideas and tactics.  It has been a joy delving into the material and having in depth discussions about character and relationships.  I tried to create a safe space for experimentation.  In turn, the actors have let go, relaxed and created remarkable ensemble.

JHPENTERTAINMENT: What are the unique challenges—and advantages—of directing a four-person cast on a single set where there’s nowhere to hide?

DIANE BEARDEN:  Four people on stage for the entirety of the play (with no escape) can be daunting at first but ultimately is an important obstacle for the actors.  These four characters are quite literally “stuck” in a room together, expecting to hash out the problem at hand.  That confinement becomes a powerful catalyst for tension.  Another  challenge is the logistical aspect of moving the actors about the room, to keep it visually interesting and relevant while helping the actors create tension moving about the  physical space.  Every cross, pause and shift has to mean something.

JHPENTERTAINMENT: This play lives in the tension between civility and chaos—how do you guide actors in navigating that razor-thin line?

DIANE BEARDEN:  That tension is exactly what makes this script so thrilling and challenging.  My job is to create an environment where the actors feel completely secure in their choices, so they are free to walk that fine line between control and chaos.    I’m lucky to have incredibly flexible actors, willing to really “play”.   Always willing to try new tactics and push through the uncomfortable moments.  That’s when the truth reveals itself.

JHPENTERTAINMENT: What do you hope audiences walk away questioning about themselves after spending an evening with these characters?

DIANE BEARDEN:  I hope audiences recognize themselves in these characters.  How we react as adults is rooted in our childhood instincts and those impulses are just below the surface.  When provoked and the right pressure is applied, all those impulses can rise up and pour out.   Suddenly fears, insecurities, hopes and prejudices are on display.   God of Carnage is funny, messy, uncomfortable and deeply human.  I hope audiences leave not only asking “Who are these people?” but also “Where do I recognize that in myself?.

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Come for the polite conversation. Stay for the unraveling. By the end of the night, the question isn’t who’s right—it’s who’s left pretending. Playhouse 615’s production of God of Carnage opens May 1 and runs weekends through May 17. Performances are Fridays and Saturdays at 7:30 PM with Sunday matinees at 2:30 PM. All seating is general admission, with tickets ranging from $17–$20. at 11920 Lebanon Rd, Mt. Juliet, TN 37122. CLICK HERE to purchase tickets. 

Following God of Carnage, Playhouse 615 presents Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

Rapid Fire 20Q: Cast Members and Director of New Bern Civic Theatre’s ‘Jagged Little Pill’ Reveal Everything You Oughta Know; North Carolina Regional Premiere Opens Friday, May 8

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There are shows that entertain—and then there are shows that hit you square in the chest and dare you to sit with it. Jagged Little Pill , on stage at New Bern Civic Theatre May 8-23, is both. As NBCT (414 Pollock Street, New Bern, NC) prepares to launch the North Carolina regional premiere of the musical tale of a perfectly imperfect family set to the tunes of Alanis Morissette, we caught up with cast members Lee Chaix McDonough, Shalia Fuentes-Matthews, Anna Marshburn and director Bradley Moore for our signature Rapid Fire 20Q. From emotional deep dives to behind-the-scenes revelations, they’re telling it like it is… no sugarcoating, no holding back, so brace yourself and get ready to swallow it down.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NBCT’s JAGGED LITTLE PILL

RAPID FIRE WITH JAGGED LITTLE PILL‘s MARY JANE, LEE CHAIX MCDONOUGH

JHPENTERTAINMENT: Mary Jane is the center of a “perfect” family that is anything but. Who is she to you when the illusion drops?
LEE CHAIX MCDONOUGH: Mary Jane spends much of the show trying to be the perfect version of what others want from her, but every now and then, the mask slips. We see this for the first time during the song “Smiling,” where she acknowledges her desperate attempts to keep it together all while her life falls apart around her. I have a great deal of compassion for MJ, and though I wouldn’t describe her as a particularly likeable character, I do think she serves as a mirror, reflecting back the parts of ourselves we don’t want to see. I can certainly relate to the pressure of trying to do it all – and do it all perfectly – while being terrified of failing and being humiliated.

JHPENTERTAINMENT: This role carries some of the show’s most emotionally demanding material. How do you prepare to go there—and then leave it there?
LEE CHAIX MCDONOUGH: This is one area where my training and experience as a mental health therapist is a huge asset, because I had to learn how to create a safe container for intense emotional experiences, and that required me to develop strong boundaries. I wasn’t great at that when I was a novice therapist, and I learned the hard way that I couldn’t take my clients’ trauma home with me or I’d burn out. I think the same is true for actors – if you don’t treat the stage as a container, and if you carry your character’s pain with you at all times, you’re going to be miserable.
Journaling, meditation, and moving my body (walking and yoga in particular) help me process my thoughts and feelings, which then allows me to draw on my own personal experiences to inform Mary Jane’s inner world and emotional life. I also take a few moments right before each show to ground myself and welcome my character in, and then when the show is done, I say a silent “thank you” and let her go.

JHPENTERTAINMENT: What moment in Mary Jane’s arc challenges you most as a performer?
LEE CHAIX MCDONOUGH: My most challenging moment comes in Act Two, when Mary Jane has a fleeting but powerful conversation with Bella, a young woman dealing with the aftermath of her sexual assault. This interaction with Bella forces MJ to come to terms with her own demons, and she’s not emotionally or psychologically prepared for that. As an actor, my job is to convey MJ’s pain, despair, and regret, and while I’m grateful for Diablo Cody’s extraordinary dialogue, what I’m not saying is just as important. That’s when I really have to rely on my physical presence (body language, facial expressions, posture, etc.) and on the energy I bring to the scene.

JHPENTERTAINMENT: It’s no secret your director is a tad obsessed with this show and the original source material. Did anything in rehearsal reshape your understanding of who Mary Jane really is?
LEE CHAIX MCDONOUGH: Bradley and I share that in common – I literally wore out my cassette tape of Jagged Little Pill just driving to and from high school!
There’s a song on the album called “Forgiven” that Mary Jane sings in the show, and that song (in conjunction with “Smiling”) helped me understand both what drives her and what she’s running from. MJ longs to be loved for who she is, but she doesn’t believe she’s worthy of the very acceptance she craves. Her deepest fear is that she is uniquely and irreversibly flawed, and therefore irredeemable in the eyes of her family, her community, and ultimately, God. Everything she does is a bid for acceptance, and nothing seems to work… until she finally realizes the secret is that she has to first love herself unconditionally. Once she gives herself the love and approval she always craved from others, she needs it less from others, and then receives it even more from them. Isn’t it ironic, don’t you think? 😉

JHPENTERTAINMENT: Using only one word for each: Mary Jane at the start of the show… vs. Mary Jane at the end?
LEE CHAIX MCDONOUGH:  Start: Drowning.    End: Grounded.

RAPID FIRE WITH JAGGED LITTLE PILL‘s FRANKIE, SHALIA FUENTES-MATTHEWS

JHPENTERTAINMENT: Frankie lives in a world full of pressure and collision. What does she represent to you inside this story?
SHALIA FUENTES-MATTHEWS: For me, Frankie represents the frustration of being misunderstood, especially as a black girl in white-dominated spaces. Whether the misunderstandings are intentional or not, they happen and sometimes leave me frustrated. I relate to a lot of things that get said to or about Frankie in the show that I experienced in my teens, and even now as a young adult.

JHPENTERTAINMENT: You’re performing iconic Alanis Morissette material in a brand-new narrative frame. What’s that like emotionally and vocally?
SHALIA FUENTES-MATTHEWS: Vocally it’s so freeing. Alanis is known for her raw and powerful voice, and that’s exactly how I feel – raw, vulnerable, and powerful. One song in particular, “That I Would Be Good” makes me emotional every time I sing it. The lyrics hit so deep as I relate to Frankie’s worries and fears in that song.

JHPENTERTAINMENT: This show doesn’t exactly tiptoe through trauma. When taking on such demanding material, what helps you reset after maneuvering Frankie’s journey?
SHALIA FUENTES-MATTHEWS: It doesn’t tiptoe for sure. It’s right in your face. Sometimes it can be hard because of how much I’ve experienced what Frankie goes through, but the support I have from the cast and crew makes resetting afterwards easier. Taking a breath and winding down with activities and people I enjoy helps.

JHPENTERTAINMENT: What has this production revealed to you about Frankie that surprised you early on?
SHALIA FUENTES-MATTHEWS: I love that no matter the hardships, Frankie stays true to herself and what she believes in.

JHPENTERTAINMENT: If you could adapt an aspect of Frankie’s personality in your own life, what would it be?
SHALIA FUENTES-MATTHEWS: How impulsive Frankie is. She is unafraid to say what’s on her mind and make choices without regrets, although that gets her in trouble. I am always thinking about how the choices I make will affect people – a little too much sometimes.

RAPID FIRE WITH JAGGED LITTLE PILL‘s  JO, ANNA MARSHBURN

JHPENTERTAINMENT: Jo often feels like the character saying the thing everyone else is avoiding. Who is she to you in this world?
ANNA MARSHBURN: To me, Jo is a reality check personified in this world. Jo is the friend who will do anything for the people they care about, but refuses to sugarcoat difficult conversations for others’ comfort. Jo’s honesty in every interaction is purposeful and necessary for her and for those she interacts with. She feels intensely and connects with her true emotions in ways other characters may struggle with throughout their journeys in the show. Jo has learned early on that, for her voice to be heard, she must demand it. She is deeply observant of others and deeply caring, even if she may seem nonchalant through her use of humor and sarcasm.

JHPENTERTAINMENT: What part of Jo’s journey feels the most uncomfortably real in today’s world?
ANNA MARSHBURN: Jo does not fit the societal mold of the community around her, which has caused hurt that extends into every area of Jo’s life. She seems to accept her role as an outsider in the community and has learned to compartmentalize her pain and use humor to cope in everyday life. Still, there is a part of her that so badly wants to be accepted and seen for who she is, regardless of how that may not meet the status quo. There is an underlying dissonance between her shameless authenticity and her desire to find someone who will love her wholly. I honestly think that we witness a grieving process in Jo’s journey related to her want for acceptance and unconditional love that is extremely uncomfortable, but authentic to today’s world. Through her journey, Jo understands that, at the end of the day, she is the only person who will have her back 100% of the time through life’s difficulties. That truth is difficult to grapple with, especially at such a young age.

JHPENTERTAINMENT: Alanis Morissette has always been a truth-teller through music—does Jo feel like a continuation of that voice?
ANNA MARSHBURN: Absolutely. There’s something about Jo’s authentic and unfiltered personality that I think really channels the rawness of Alanis Morissette’s lyricism. Jo is not afraid to say what is on her mind in the slightest, and if she does choose to hold back, there is a reason for it. She is vulnerable in a way that refuses to be swept under the rug or misconstrued, as Alanis does in her music, and I find that particularly powerful.

JHPENTERTAINMENT: What’s been your biggest discovery once Jo moved from page to stage?
ANNA MARSHBURN: My biggest discovery has been the sheer depth behind Jo’s humor and personality. Jo can definitely come across as brash and even a bit careless. Beneath that, though, is a ton of emotion–hurt, confusion, and longing to be understood. I realized very quickly that the confidence Jo portrays is really a form of protection. Jo has a slight hypervigilance in every situation. Although it is heavily veiled, I think Jo is almost always seeking reassurance in her relationships. There’s a silent cautiousness that is there, like she is waiting for the shoe to drop. Gaining a deeper understanding of Jo, behind her hard exterior, has really transformed how I approach her.

JHPENTERTAINMENT: Jo isn’t exactly built for staying quiet. What’s one moment where she surprised you in rehearsal or performance?
ANNA MARSHBURN: Actually, Jo surprised me most in her emotional maturity. One moment comes to mind in particular, where she could have very understandably become emotionally reactive toward someone who wrongs her, but instead chooses to walk away from the situation. I think this moment shows just how deeply Jo cares for the people in her life, enough to withhold her emotions and spare those she cares for, and further proves that every statement she makes is said with purpose.

RAPID FIRE WITH JAGGED LITTLE PILL DIRECTOR, BRADLEY MOORE

JHPENTERTAINMENT: Having known you for several years now, I oughta know you just might be the biggest Alanis Morissette and Jagged Little Pill fan around. How excited are you to be directing the regional premiere for New Been Civic Theatre?
BRADLEY MOORE: I mean, we have known each other since 1948, so, you got me! Ha. I’m not sure there are words big enough to capture what this opportunity means or the connection I feel to this show and this music. Jagged Little Pill has been my favorite album since the moment it came out, and over the past few years I’ve been lucky enough to see Alanis live a handful of times. Somewhere along the way, especially after the musical was born, I stopped hearing her songs as just songs. Now, they live in my brain as theatre.
I remember watching her in Charlotte in 2024 and, without even trying, I was already directing the show in my head. That’s when I knew: this wasn’t just a dream project, it was the dream project. Saying it’s been at the top of my directing bucket list from day one doesn’t even begin to cover it.
The rights happened to become available on my very first day as Executive Director at New Bern Civic Theatre. I think you can guess what the very first thing I did was.

JHPENTERTAINMENT: Alanis Morissette and Diablo Cody made it clear this is not a traditional jukebox musical. So, what are we calling this genre in polite rehearsal room conversation?
BRADLEY MOORE: Jukebox musicals tend to get a bad rap! The truth is, some of them are genuinely extraordinary. Having directed a couple myself—Mamma Mia! and American Idiot—I can say firsthand that they are absolutely not all created equal. There was a stretch when Broadway felt oversaturated with bio-jukebox musicals, and audiences started to blur them all together. But this piece is something entirely different.
From the beginning, Alanis Morissette had no interest in telling her own life story onstage. Instead, she set out to build an original, contemporary narrative where her songs function as emotional punctuation, amplifying the story rather than dictating it. Bringing in Academy Award winner Diablo Cody—who also earned a Tony for her work on Jagged Little Pill—was the turning point. Her voice and perspective gave the show its depth and authenticity.
What makes this musical so compelling is how seamlessly the music lives within the world of the play. Not a single song feels forced or out of place; they all land exactly where they should. That said, it’s a deceptively challenging piece from every angle, but insanely beautiful when it all comes together.

JHPENTERTAINMENT: This show doesn’t ease into its subject matter—in true form it swallows it down as the title tune says, like a jagged little pill. How are you guiding your cast through that level of emotional intensity for this production’s run?
BRADLEY MOORE: It’s a lot! I remember when the show was first performed pre-Broadway in Massachusetts, some critics noted that every character seemed to be going through so much. But honestly—aren’t we all? That’s exactly what makes this piece feel so urgent and so necessary.
Yes, it’s filled with so much humor and heart, but it also takes on addiction, racism, sexual assault, identity, religion—all the complicated, messy realities of everyday life. And it doesn’t shy away from any of it; it meets those truths head-on.
Our cast understands the weight and responsibility of telling this story. They’ve approached it with incredible respect and honesty, navigating the emotional depth of the piece with a level of professionalism that’s been truly remarkable.

JHPENTERTAINMENT: Doing a little social media deep-dive in preparation of our chat, I ran across more than a few of your posts about JLP. In particular, your favorite tune, “Not the Doctor”. I saw an older post where you noted that the musical uses the song in an unexpected way. Did that or any other Alanis songs hit differently for you once you were tasked with fully staging them in context rather than just listening to the Broadway cast recording or having seen it on stage on Broadway and the tour?
BRADLEY MOORE: I definitely think the songs reveal so many more layers in this context. Most are presented exactly as they were originally written, which is part of what makes them land so truthfully within the story. “Not the Doctor,” which opens Act Two, undergoes the most lyrical adaptation of any song in the show—but even with those changes, its original intention remains completely intact.
At its heart, it’s still about setting firm personal boundaries: refusing to be someone’s emotional crutch, resisting the pull to play savior or parent in a relationship, and choosing independence and authenticity instead. It’s a powerful reminder that you can care about someone deeply without taking on the responsibility of fixing them. And man, sometimes we all need to heed that advice.

JHPENTERTAINMENT: What do you hope audiences leave thinking about—after the dust settles and they’ve emotionally regrouped in the parking lot?
BRADLEY MOORE: Like any piece of theatre, our hope is simple: that the audience feels something—whatever that may be. This show offers so many points of connection that ten people could walk out with ten completely different takeaways, and all of them would be valid.
We’re not trying to present a polished, perfect picture—we’re aiming for something honest. And if even one person leaves the theatre feeling a little less alone or more seen because of what they experienced on that stage, then we’ve done something that truly matters.

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From raw vulnerability to razor-sharp honesty, Jagged Little Pill isn’t just a night at the theatre—it’s an experience. And if this Rapid Fire 20Q is any indication, New Bern Civic Theatre’s cast and creative team are ready to deliver something that cuts deep, heals a little, and lingers long after the final note. Jagged Little Pill will take to the stage at NBCT (414 Pollock Street, New Bern, NC 28560) with performances Fridays-Sundays May 8-23, with Friday and Saturday evening shows at 7:30pm and Sunday matinees at 2pm. There will also be a special sing-a-long performance on Thursday, May 21 at 7:30pm. Tickets range in price from $19 to $29 (Thursday, May 21 tickets are only $10). CLICK HERE to purchase tickets, or call the box office at 252-633-0567.

For information about Jagged Little Pill and more, visit NBCT or follow them on Facebook, Instagram and TikTok.

If you want to follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music, movies and more, find us on Facebook, Instagram and Twitter. Got an event or show we should know about? Drop us a line via the contact tab. Until then, #GoSeeTheShow!

Theatre Review: The Keeton’s ‘The Play That Goes Wrong’ Nails the Art of Disaster as Everything Falls Apart (Right on Cue); Final performances this weekend through Sunday, April 26

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The cast of ‘The Play That Goes Wrong’ (all photos by Alixandria Brown/courtesy The Keeton)

Imagine if British comedy icons French and Saunders or The Mighty Boosh decided to mount an Agatha Christie Hercule Poirot mystery…There, now you’ve got the basic vibe of The Keeton’s latest offering. The Play That Goes Wrong, a madcap mishap of a show-within-a-show similar in theme to Noises Off–in that the audience witness the backstage antics of a fictitious theatre troupe while simultaneously trying to follow the storyline of their attempt to put on a classic murder mystery–The Keeton‘s production of The Play That Goes Wrong is wrapping it’s three week run with shows through Sunday, April 26. As directed by Erin-Grace Bailey, The Play that Goes Wrong is the kind of gleefully unhinged farce that practically dares its audience not to laugh—and then steamrolls them anyway. This production leans hard (sometimes a little too hard) into the chaos but ultimately comes out the other side with a win…even if everything onstage most certainly does not.

The premise is simple: the Cornley Polytechnic Drama Society is attempting to present a very serious murder mystery, The Murder at Haversham Manor. The reality? Nothing works. Props go missing, lines are butchered, actors drop like flies (sometimes literally), and the set itself seems to have taken out a personal vendetta against the cast. And yet, somehow, it all clicks with clockwork precision.

From the moment you step into the theatre, it’s clear this isn’t your standard night of community theatre. Pre-show antics spill into the house, there’s mention of a missing dog, a raffle that no one seems to know anything about, “tech issues” are already in full swing, and the fourth wall is less of a wall and more of a polite suggestion. It’s immersive…whether you asked for that or not.

Now, I’ll be honest, having seen the National Tour back in 2018, and two more recent regional productions including last year’s Clarence Brown Theatre mounting, I am a huge fan of this work—so, when I first heard The Keeton was tackling The Play That Goes Wrong, I raised a somewhat doubting eyebrow. This is a show that, by design, demands a lot from a technical standpoint. It’s big, it’s intricate, and it requires a set that doesn’t just exist, but actively participates in the chaos. In a more intimate space like The Keeton, it’s fair to wonder if that kind of controlled destruction might be a bit…ambitious. And yet, credit where it’s due: this team doesn’t just meet the challenge—they lean into it with gusto. The result is a production that feels just as delightfully unstable as it should, without ever actually losing control.

Leading this beautifully doomed endeavor is Joshua Mertz as Chris, the director/star/producer/everything-else of the show-within-the-show. Mertz plays Chris with just the right mix of puffed-up authority and slow-burn panic. As The Inspector within the mystery, watching him try to maintain control as things unravel faster than a cheap sweater is half the fun—and when he finally snaps, it’s worth the wait. Mertz, in his sixth show at The Keeton is proving himself to be a valuable asset the the company.

Aaron Gray’s Robert is the kind of community theatre actor who clearly believes he’s performing in Masterpiece Theatre, even as the world collapses around him. The fact that Gray is in or involved with nearly every Keeton production somehow added a if you know you know aspect to his role as Robert. As Thomas Collymoore, his dead-serious commitment in the face of utter nonsense makes every moment land harder, especially as the physical comedy ramps up and refuses to let him off easy. Kudos to his library scene. While the Keeton stage area does limit the intensity of the prospect of the second floor of the set completely collapsing, Gray’s physicality while keeping himself and all the props around his from falling away as the floor beneath him gives way, is gasping, belly-laughing joy to behold.

Hazen Lawson’s Dennis Tyde meanwhile, is a walking (and frequently stumbling) disaster in the best possible way as the newbie of the theatre troupe within the show tasked with playing the typically forgettable role of Perkins the butler within the mystery. With lines written on his forearm and a completely naturally nervous nature, Lawson delivers line flubs and verbal gymnastics with such earnest confusion you almost feel bad for laughing…almost. His constant mispronunciation of such words as cyanide, ominous and morose quickly becomes a running gag.

Keeton newcomer, Connor Boggs is tasked with the key role of Max. Initially cast in another role, Boggs stepped into the role of Max after the original actor had to drop out of the show. As Max and his mystery counterpart, Cecil, he figures out very early on that subtlety is overrated. Within the supposed seriousness of the murder mystery, for Cecil, once he gets a taste of audience laughter, it’s game over. He milks every moment for all it’s worth, turning even the smallest slip into a full-blown bit. That said, dressed in wardrobe that can only be described as a technicolor travesty—yes, the character is typically a bit of a dandy, but not quite so…flamboyant. Usually played as an overly confident community theatre actor with at least an initial modicum of subtlety, Bogg’s Cecil starts at 100mph and never slows down doing everything short of cartwheels from his stage entrance right on through to the final curtain. Under the direction of Bailey, Bogg’s Cecil is amped up and definitely played for laughs so much so that it runs the risk on a SNL skit that just doesn’t know when to  stop. But still, within the craziness of this show, it somehow works.

Also making her Keeton debut, Leslie King’s Sandra Wilkinson brings a diva energy that feels both earned and hilariously misplaced given the circumstances. Her Florence Colleymoore is equal parts glamour and growing frustration, and King handles the show’s increasingly demanding physical comedy without ever dropping character. In one scene in particular, she’s pulled and flopped around by her cast mates as if her joins are made of bendy straws. Her physicality is slapstick at its best.

Bree Presson—yet another new face to Keeton audiences— as Annie, is an MVP for anyone who’s ever worked backstage and thought, “Well…this is fine,” while everything burned down around them. Presson’s journey from frazzled stage manager to unwilling leading lady—when the above-mentioned King’s Florence becomes incapacitated—is a comedic slow burn that pays off big in true Goes Wrong style the payoff somehow gets even bigger when she’s forced into the spotlight opposite King in two-divas, one role scene that quickly devolves into chaos squared.

Wanderson Rezende’s Trevor Watson, stationed at the tech booth, proves that sometimes less is more. His distracted, couldn’t-care-less approach to running the show results in some of the night’s most perfectly timed “mistakes,” and when he’s finally dragged into the action, it’s awkward brilliance. And yes, Denese Rene’ Evans (the show’s costumer) I did indeed appreciate that Trevor is sporting a Duran Duran t-shirt!

And then there’s David Fonville as Jonathan (nice character name, by the way), tasked with playing a corpse who…isn’t exactly great at the whole “lying still” thing. Fonville’s physical comedy—mistimed reactions, missed cues, and all—adds an extra layer of delightful absurdity to a role that could just be…well, dead.

Adding to the mayhem is the Tech Chorus—Hannah Blough, MaryGrace Brittain, Hazely Merkle-Sanderson, Rich Moses, Advika Ravishankar, and  the above-mentioned Wanderson Rezende—all blur the line between backstage and onstage with impeccable timing. The mantle falls early on…no biggie, a stagehand dressed in black will just stand there with arms extended holding whatever props were supposed to rest on the mantle. Problem solved. Their presence reinforces the idea that in this production, literally no one is safe and the old adage that the show must go on is of utmost importance.

From a technical standpoint, this show is a masterclass in controlled chaos. Kevin Driver’s set design is essentially a ticking time bomb of comedic payoff, collapsing, malfunctioning, and misbehaving on cue. Was I a little let down that the telephone gag seems to have dropped the call, yes, but when an entire wall collapses around an actor, I was like “Damn, they did it!” Every sight gag is there, the patriarch portrait, the house intercom, the fainting grandfather clock—and all somehow carried off with precision and resulting uproarious laughter from the audience. In a space where something like this does feel a bit scaled down, Driver still finds ways to make every gag land with impact. Brooke Sanders’ lighting and Steve Love’s sound design are in on the joke at every turn.

Director Erin-Grace Bailey deserves serious credit for orchestrating what looks like total anarchy but is anything but. With Assistant Director Fiona Barrett and Stage Manager Alison Gaddy keeping the wheels (barely) on, the production hits its marks—even when it looks like it’s missing all of them.

Bottom line, if you like your theatre polished, pristine, and predictable…this ain’t it. But if you’re in the mood to laugh until your face hurts while watching a cast absolutely commit to the bit—even as the set tries to take them out—The Play That Goes Wrong at The Keeton is exactly the kind of beautifully disastrous night out you’re looking for. Just don’t expect anything to go right, because…Where’s the fun in that?

The Keeton’s The Play That Goes Wrong wraps it’s three-week run with shows continuing now thru Sunday, April 26. The Keeton Theatre is located at 108 Donelson Pike, Nashville, TN 37214. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Show Only Tickets: $32.00 (Thursday performances), Adult Dinner and Show: $42.00, Child Dinner and Show: $37.00. For a slight upcharge, Salmon can be chosen as the dinner entree. Group tickets receive a discount. Please call the Box Office at 615.883.8375 or CLICK HERE for tickets. In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the show’s director and cast members. 

Following The Play That Goes Wrong, on Tuesday, May 2 at 7pm, it’s time for The Keeton’s Annual Gala directed by The Keeton‘s own Donna Driver with musical direction by Jane Kelley. This year’s annual fundraiser for the theatre is themed: Role Reversal. Tickets to the gala are $60. Gala tickets include dinner, a chance to win some great prizes donated by supporters of the theatre and the opportunity to be among the first to purchase Season Tickets for The Keeton’s upcoming 2026-2027 Season. CLICK HERE to purchase gala tickets. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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