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

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

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

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

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

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

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

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

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

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

This cast understands that assignment.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As 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!

Love, Madness & the Monster Within: Rapid Fire 20Q with Director and Cast of HPAC’s ‘Jekyll & Hyde

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Good versus Evil. Love versus obsession. Respectability versus temptation. Few musicals offer more delicious opportunities for theatrical duality than Jekyll & Hyde: The Musical, ushering in spooky season at Hendersonville Performing Arts Company (HPAC) September 17-October 4. With just days before audiences witness the transformation, JHPEntertainment had the chance to chat with director Marsalis Turner and cast members DéYonté Jenkins (Henry Jekyll/Edward Hyde), Francesca Noe (Lucy Harris) and Rebekah Joy (Emma Carew) for a revealing Rapid Fire 20Q about the characters, relationships, music, mayhem and just a little personal Hyde behaviour.

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF HPAC’s JEKYLL & HYDE

RAPID FIRE WITH JEKYLL & HYDE‘s DÉYONTÉ JENKINS

JHPENTERTAINMENT: Henry Jekyll creates the experiment believing he can separate the good and evil within himself. What do you think he gets most wrong about human nature?

DÉYONTÉ JENKINS: I think Henry Jekyll believes that men and women have no control over their human nature. That humans have no choice but to succumb to the darker nature of themselves. What he fails to realize is that when we are faced with these moments we have made a choice to go through with them. Even after a night of debauchery and murder, fully aware of what has happened, he CHOOSES to continue taking the formula that turns him into Hyde. Human nature will always be what it is. I think what’s  more important is how we as humans choose to operate within the confines of  good and evil. 

JHPENTERTAINMENT: Marsalis Turner has the director’s-eye view of this production. What advice has he given you about navigating the challenge of playing both Jekyll and Hyde—and has any of it changed the way you approach the character?

DÉYONTÉ JENKINS: Marsalis has done an amazing job directing this production. We have had multiple conversations about this story and the struggle that Henry faces. Everyone comes into this story with the idea of a Good Guy vs. Bad Guy point of view.  For me a big thing was realizing that Henry Jekyll himself is not a “Good Person”. He is a human just like everyone one else. He is flawed, weak to temptation, and has the ability to be just as evil as his counterpart. I believe Edward Hyde has always been inside of Henry lying dormant/suppressed. I love playing the little moments that hint at Hyde rising to the surface of Henry even before he chooses to take the formula. Ultimately Jekyll and Hyde are one in the same. Approaching the character from that point of view brings a real and raw humanity to a character that could easily be portrayed as farcical. 

JHPENTERTAINMENT: Forget murder and mayhem—what tiny, everyday annoyance is most likely to unleash your personal Edward Hyde?

DÉYONTÉ JENKINS: Honestly, being woken up and immediately bombarded with questions! It is the most annoying thing to me. I am definitely a, “Don’t talk to me until I have had my coffee!” person. Haha

JHPENTERTAINMENT: Dr. Jekyll isn’t the only doctor involved in HPAC’s production as Dr. Andrew Armstrong is charged with set design with an assist from Britt Burkey. Without giving too much away, do you have a personal favorite aspect of the set?

DÉYONTÉ JENKINS: This set is truly amazing! The design and creativity that Dr. Andrew and Britt put into this production will definitely not go unnoticed! There are so many little details and Easter Eggs to find built into the set design. I’m for sure a little biased, but Dr. Jekyll’s Lab has to be one of my favorite aspects of the set! Also, there is a slight nod to our great city of Nashville built into the city skyline! If you look close enough, you will find The Caped Crusader himself keeping a watchful eye over the dangerous streets of London.

JHPENTERTAINMENT: Hyde is obviously the darker side of the equation, but what do you think is most seductive about him—for Jekyll and for an audience watching him?

DÉYONTÉ JENKINS: A quote comes to mind that Dr. Jekyll mentions in the original novel by Robert Louis Stevenson. “Men have before hired bravos to transact their crimes, while their own person and reputation sat under shelter. I was the first that ever did so for his pleasures. I was the first that could plod in the public eye with a load of genial respectability, and in a moment, like a schoolboy, strip off these lendings and spring headlong into the sea of liberty.” We all have been tempted by our darker natures and have chosen to not indulge in them due to a myriad of reasons. Whether it’s societal pressures, our morals, or even because we are afraid that we might be punished in the afterlife. What’s seductive about Hyde is that none of those ideas come into his thought processes. Hyde is a truly Free individual and I believe a lot of us long for that feeling of true liberty/freedom without the guilt of shame or fear. 

RAPID FIRE WITH FRANCESCA NOE, JEKYLL & HYDE‘s LUCY

JHP ENTERTAINMENT: Lucy sings about wanting “A New Life.” What do you think that phrase means specifically to Lucy—and what is she willing to risk to get it?

FRANCESCA NOE: Lucy doesn’t yearn after great wealth or fame. Her “New Life” is one where she has dignity, safety, and agency, that’s really the whole of it. There’s a fantastic song from early productions of Jekyll & Hyde called “No One Knows Who I Am,” and it’s our first introduction to her. In it, she asks the audience to tell her who she is, why she is, what she is. Then she points out that because she can’t answer her own question, that must make her a fool, and she owns that. But I don’t think it’s because she doesn’t know who she is. I think it’s because she does know, and she’s simply refusing to tell or show anyone. That song sums up her inner turmoil so beautifully. “A New Life” isn’t about becoming someone new, it’s about Lucy finally gaining the freedom to be who she already is. And she’s willing to risk everything for that, because in truth, she has nothing left to lose. Only herself to save.

JHP ENTERTAINMENT: Lucy finds herself caught in the dangerous orbit of Jekyll and Hyde. What do you think she sees in Henry, and what does she see—or sense—in Hyde?

FRANCESCA NOE: Henry offers Lucy kindness without demanding anything in return, and for a woman who’s been starved of affection and respect, it makes total sense that she’d be drawn to him right away. Her connection to Hyde is dangerously nuanced. Hyde embodies the darker qualities of men that Lucy already knows all too well. She knows how to survive men like him, or maybe more tragically, she just doesn’t care anymore whether she does. But Hyde takes this particular, sustained interest in her, and that gives her a taste of being noticed beyond just one night, maybe even feeling seen. She finds the freedom he has strangely compelling. Henry is so painfully repressed, while Hyde is completely uninhibited, totally unbound by the roles and expectations that trap her and Henry both. There’s something familiar in that contrast between the two men, and even though she’s not fully conscious of it while it’s happening, it stirs up a kind of subconscious recognition in her, one that pulls her toward him like a moth to a flame and spurs her search for humanity in him, even though there’s none to find.

JHP ENTERTAINMENT: Lucy is a woman trying to survive in a world that doesn’t always give women many choices. What do you think is her greatest strength?

FRANCESCA NOE: Lucy’s greatest strength ends up being her most dangerous one: hope. The world has given her every reason to exist in bitterness and cynicism, and yet survival hasn’t hardened her beyond the capacity to imagine goodness in it. It’s what keeps her open when she should probably guard herself, and in this story, that kind of openness always comes at a cost.

JHP ENTERTAINMENT: Every gothic musical needs a look to match its atmosphere. How does costumer Melissa Harris help create the world of Jekyll & Hyde through the costumes, and is there a particular look or costume detail that you’re especially excited for audiences to see?

FRANCESCA NOE: I could sit here and say my favorite pieces are the gorgeous ballgowns Melissa has sourced, or Lucy’s daring Red Rat ensemble, but my favorite costume is the one I wear at the start of Act II. It’s definitely Lucy’s least glamorous look: a simple, aged shift and a tattered old sweater. But there’s something so authentic and vulnerable about her in it.

While we were distressing the sweater with cuts and holes, Melissa suggested it might be something Lucy has had for years, maybe even something that belonged to a family member who’s passed away, but she’s held onto it anyway. I loved that idea. The first time I wore the full costume onstage, I actually felt like I understood Lucy a little better. That’s one of my favorite things about costuming: sometimes putting on a character’s clothes tells you something about them you hadn’t quite found on the page yet.

It’s worn, imperfect, a little sloppy, and it quietly reveals so much about what Lucy really values beneath everything else: comfort, family, safety. In a show full of beautiful costumes, I love that the simplest one tells us the most about who she really is.

JHP ENTERTAINMENT: What’s one tiny backstage, rehearsal-room or everyday annoyance that could have Lucy saying, “I’ve had ENOUGH”—and bring out your own Hyde-like personality in the process?

FRANCESCA NOE: Corset strings. I can painstakingly try to loosen and tie them into perfect little bows, and about two seconds later they’ll look like I dragged them behind my car for a few miles. Don’t even attempt to remove them entirely and restring your corset, because they are guaranteed to get lost in the abyss of the corset-string graveyard, never to be found again. I don’t know where they go. I don’t know how they get there. But after spending far too long backstage untangling, retying, and searching for them, I begin to understand Dr. Jekyll’s decision to simply embrace the darkness. 

RAPID FIRE WITH REBEKAH JOY, JEKYLL & HYDE‘s EMMA

JHPENTERTAINMENT: Emma loves Henry Jekyll, but she’s also forced to watch his obsession with his experiment grow increasingly dangerous. At what point do you think Emma realizes this is no longer simply the man she loves pursuing a scientific breakthrough?

REBEKAH JOY: I believe that Emma realizes Henry’s dedication to his work has turned dangerous when she finds his journal in his study. As she reads, it is not clear to the audience how much she discovers in his pages of journaling, but I believe that Emma learns everything that Henry has been hiding from her in those notes. What is so interesting about this perspective, however, is that if she did in fact discover Henry’s secret in this scene, she chooses to not only keep his secret but also to continue on with the wedding as planned. If the audience does not think she knows he has gone too far, her willingness to still marry Henry loses some of its shock. 

JHPENTERTAINMENT: Emma is often portrayed as the emotional heart of the story. What do you think makes her strong enough to continue loving Henry even as everything around them begins to unravel?

REBEKAH JOY: I believe that Emma is strong enough to continue loving Henry because she doesn’t just hope that he will eventually heal and return to her, she truly believes he will, that he is destined to. As long as she is in his life, she knows that her Henry is still in there. As long as she can look into his eyes, she knows that he will return to her. That kind of faith is not common. Some would call it naive, but I would call it a choice. She is actively choosing to believe that the man she fell in love with is not only a good man, but will prevail once whatever he has gotten himself into is over. 

JHPENTERTAINMENT: Jekyll & Hyde is practically tailor-made for Spooky Season. What’s your favorite Halloween tradition—and what spooky movie, book or TV show is an absolute must for you every October?

REBEKAH JOY: Halloween is my absolute favorite holiday! My favorite halloween tradition is decorating my house in all sorts of fun decor. I have a big affinity for glitter, so my decorations are less scary ghouls and more sparkly bats. I also love to dress up (can you guess why I am drawn to theater?) so I like to go all out with my Halloween costumes. I don’t have a favorite Halloween themed movie/TV show/book, but the weather in autumn always makes me want to watch Twilight, so I associate that with Halloween!

JHPENTERTAINMENT: Of all the musical moments in Jekyll & Hyde, which song or moment is your personal favorite—and what makes it so special to you?

REBEKAH JOY: My favorite musical moment in the show is when Lucy and Emma sing “In His Eyes” together. These two characters have heartbreaking overlap even though they are presented very differently to the audience. Emma is deeply in love with a man who cannot put her first, but does love her back. She finds herself in Henry and will support him as he pursues his dreams, even at the expense of her own. Lucy has never once known true love in her whole life and mistakes a simple act of kindness for love. The love she feels for Dr. Jekyll is based around the idea that she may be worthy of someone else’s love, not just their abuse. Both of these women deserve more than the love they are willing to accept and it is absolutely shattering to hear them express their longing for that love in the same words, even though they are opposing characters.

JHPENTERTAINMENT: If Emma could sit down with Henry before the story begins and have one brutally honest conversation with him, what do you think she would say?

REBEKAH JOY: If Emma could have one conversation with Henry before the story begins, I think it would just be to tell Henry how much she believes in him and supports him. I don’t think Emma would try to do anything to change his future. Part of what makes Emma so endearing is that she never tries to control Henry. She is understanding of his passions and wants to see him succeed in all things. Now, if I were Emma, I do think Henry and I would be having a few words before the whole thing unraveled. I would want Henry to know that his identity does not lie in who he is on the outside, but rather in the choices he makes when no one is watching. Henry struggles to determine if he is a good man or if there is something inside of him that makes him a bad man. The truth is, we have both good and evil inside of us at all times. The only thing we can do is make a choice. Henry’s goal is to take the choice away, but the Emma that I have grown to know and relate to would say if there is no choice, it’s not really a sacrifice. To choose to do the right thing when you want to do the wrong thing is the definition of devotion. 

RAPID FIRE WITH JEKYLL & HYDE DIRECTOR MARSALIS TURNER

JHPENTERTAINMENT: As a director, how do you approach making the transformation from Henry Jekyll to Edward Hyde feel like more than just a physical change—that we’re actually watching one man wrestle with two sides of himself?

MARSALIS TURNER: For us, we wanted to be creative in how the two personalities behave in similar situations—Henry when he’s with Emma and Utterson, or Hyde when he’s with Lucy and Utterson. There will be distinct differences between the interactions while still showing qualities of both personalities. Both Henry Jekyll and Edward Hyde are fighting for dominance while still navigating the world Jekyll built before the serum. In some cases, when DéYonté or Josiah [Josiah Kareck, Kaitlyn Ziebell and Jessica Fonville have been cast as understudies] hits the stage as Jekyll/Hyde, the audience—just like some characters—shouldn’t know if it’s Henry or Edward they’re talking to. Leading to the question: which is the true self? What I want is for that line between the two to blur until the audience feels the same thing the characters do: the fear that they were never really separate at all.

JHPENTERTAINMENT: You’re simultaneously a member of HPAC’s Board and the director of this production. Is there ever a moment when those two sides of your HPAC identity collide—and which one tends to win?

MARSALIS TURNER: I’ve been with HPAC since 2016, with some acting credits and predominantly tech credits, and I’ve been a board member since 2022. This is my second time directing during my tenure. I have a lot of goals as a board member, and luckily directing doesn’t get in the way of them as of now. But I would say if there was an identity collision, it would be directing that wins. There’s so much joy in bringing people together to create art and entertain the community when you genuinely enjoy it. You get to surround yourself with people who want the same thing: to put on the best show possible. Those are the people who motivate my work as a board member—making sure we always provide a place for anyone to come enjoy this experience as entertainers.

JHPENTERTAINMENT: HPAC has a brand-new marquee! How excited are you—and the entire HPAC theatre family—to see that new marquee lighting up the building and helping announce what’s happening onstage inside?

MARSALIS TURNER: Extremely excited—more than anyone could know. Back when I directed my first show, Winter Wonderettes, the tornado came through Sumner County, destroying so much, and our theater was in its path. Having the new marquee in time for our season opening is a beautiful full-circle moment for me, since my first run as a director was cut short by Mother Nature. It’s a bittersweet thing to be in this position again, able to once more share a story with the best group of people I could ask for.

JHPENTERTAINMENT: What has it been like collaborating with Music Director Matthew Marcus on Jekyll & Hyde, and what does he bring to the production that you think audiences will especially notice?

MARSALIS TURNER: This being our first collaboration, I absolutely love this guy. Matthew has been a dream MD for me and the cast. Coming from Vanderbilt’s Blair School of Music, he brings so much knowledge and experience to the room in every way possible. Teaching 28 adults very complex music while also bringing together 12 more to form our live pit orchestra wasn’t easy, but he handled it with so much class and grace. One thing I absolutely loved was his effort to make sure everyone got their moment in the big ensemble numbers when giving out solos. Sharing the love with the cast in a show so heavily focused on one man was an amazing thing to see come together. I think people will love seeing everyone shine and have their moment on our stage. Any production would be lucky and thankful to have Matthew Marcus on their team.

JHPENTERTAINMENT: Jekyll & Hyde is a story about the battle between good and evil, but there’s a lot of gray area in between. What do you most want audiences to understand about that battle when they leave the theatre?

MARSALIS TURNER: I definitely believe this show is way more than a story about good and evil. There is a primitive nature we as humans mask for society’s sake. For some, this mask is genuine and no different from the person behind closed doors, but for others it hides who they truly are and can be terrifying. In this story we witness a man, Dr. Jekyll, whose intentions are good—he wants to cure the evil within mankind—but who ultimately brings about who he truly and always was deep down: Edward Hyde. When people leave, I hope they understand we all have an Edward Hyde within us; it’s just a matter of what we allow to be shown and what we hide behind our facade. But even more, when someone you care about is hiding a terrible secret behind a facade, will you turn away and allow it, or do what’s right before it’s too late?

With its haunting score and classic tale of complicated relationships that explore the darkness lurking just beneath the surface of mankind, Jekyll & Hyde: The Musical promises HPAC patrons a suitably sinister and thoroughly entertaining way to ease into the Halloween season. Jekyll & Hyde opens at Hendersonville Performing Arts Company (260 West Main Street Suite 204, Hendersonville, TN 37075) Thursday, September 17 with performances Thursdays-Sundays through October 4. 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. Please note: Jekyll & Hyde is rated PG-13 for violence, dark themes, sexual content and frightening scenes. 

Jekyll & Hyde marks the start of HPAC‘s 2026/2027 show season. Next up is the beloved classic, The Secret Garden with performances December 3-20. CLICK HERE to secure season tickets, or to purchase individual tickets for upcoming shows.

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.

Four Seasons, 20 Years & 20 Questions: Rapid Fire 20Q with ‘Jersey Boys’ 20th Anniversary National Tour Stars Coby Oram, Peyton Schoenhofer, Harry Sperduto & Owen McCredie

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Twenty Years, countless standing ovations and more than a few earworm-inducing harmonies later, Jersey Boys, the Broadway sensation celebrating the music, friendships and struggles of The Four Seasons is making it’s way back across the country with the 20th Anniversary National Tour. Having kicked of the 20th Anniversary Tour just last week in Syracuse, New York, the tour is making it’s way back to Music City. Just days before their return to Nashville’s Tennessee Performing Arts Center for their September 16-20 Music City run, JHPEntertainment caught up with the tour’s leading men. Jersey Boys‘ Coby Oram (Frankie Valli), Peyton Schoenhofer (Bob Gaudio), Harry Sperduto (Tommy DeVito) and Owen McCredie (Nick Massi) answered 20 questions about stepping into those iconic spit-shined shoes and finely tailored suits, finding the chemistry behind one of pop music’s legendary groups, and keeping fans of the 20-year-old Broadway phenom shouting “Oh, What a Night”, night after night.

RAPID FIRE 20Q WITH THE CAST OF JERSEY BOYS 20TH ANNIVERSARY NATIONAL TOUR

RAPID FIRE WITH COBY ORAM STARRING AS FRANKIE VALLI IN JERSEY BOYS

JHPENTERTAINMENT: This is your eighth Jersey Boys contract, and you first came into the show as a swing aboard Norwegian Bliss before ultimately stepping into the role of Frankie Valli on this 20th Anniversary National Tour. What keeps you working your way back?

COBY ORAM: Jersey Boys covers Frankie’s entire professional career from the young age of 16 to about 60 years old. With so much life to live on stage, it’s honestly hard to get bored of it. It’s also challenging enough there’s still plenty to improve, plenty to learn, and plenty to discover.

JHPENTERTAINMENT: Frankie’s journey takes him from a young singer with an unmistakable falsetto to the frontman of one of the biggest musical groups in the world. What part of that evolution has become more fascinating to you as you’ve continued to play him?

COBY ORAM: I think the most fascinating part of Frankie’s story is watching him go from one of the Four Seasons to a solo artist. The part I find interesting is that Frankie had to be convinced it would work, and it wasn’t until after “Can’t Take My Eyes Off of You” succeeded that he believed it.

JHPENTERTAINMENT: You’ve played Frankie alternating the role alongside your identical twin brother, Chris Oram—on both the Bliss and again last year at a dinner theatre in Kansas City. If this tour ever required you to take a day off, how tempting would it be to pull a classic The Parent Trap switcheroo and send your twin onstage in your place?

COBY ORAM: The Parent Trap idea has tempted me more than a few times, but it would be quite the travel for Chris to make it to me wherever I am to perform the one night. Fortunately we do have a Frankie Alternate, Andrew Martin Maguire, who travels with us and also swings the show, and he has already covered for me brilliantly on opening night when I had a mild vocal strain to rest from. 

JHPENTERTAINMENT: Frankie’s voice is obviously one of the most recognizable elements of The Four Seasons’ sound. What has been the biggest challenge—and the most rewarding part—of recreating that unmistakable sound?

COBY ORAM: The biggest challenge in singing Frankie stuff is actually all the care I have to take when I’m not on stage. My associate director Danny Austin says “You have to be monk,” and he’s only half-kidding. I don’t drink with the cast after a show, I don’t go to the club and scream and shout, and I have to be careful how much of my voice I use in my day-to-day life so I still have enough left in the tank for the performance. The most rewarding part is actually doing it, and witnessing the impact it has on audiences. The hit songs are so iconic, they are part of the soundscape of pop culture even today, and when people get to hear them contextualized by the play, it means so much to them I can hear it and see it in them from up on stage.

JHPENTERTAINMENT: After eight trips through Jersey Boys, you’ve undoubtedly experienced countless performances of the show. Is there a particular moment in the current production—whether it’s a song, a scene or even something happening between the Four Seasons—that still gives you that little “Wow, this is why I love this show” feeling?

COBY ORAM: The moment in this production that really gets me is Bob Gaudio’s introduction to the group. Ron Melrose’s brilliant arrangement of this show saves the traditional “Four Seasons” harmonies and sounds specifically for this scene, opting in earlier musical numbers to use other inspirations for the time period that previous iterations of the band (Varietones, Four Lovers, etc.) might have used. The audience subliminally gets to land at the same conclusion at the same time as us on stage – this is the sound we are after. 

RAPID FIRE WITH PEYTON SCHOENHOFER STARRING AS BOB GAUDIO IN JERSEY BOYS

JHPENTERTAINMENT: Bob Gaudio is not only one of the architects of The Four Seasons’ sound, he’s responsible for writing so many of the songs audiences have come to associate with the group. As an actor, how do you approach portraying the man behind those songs while still allowing us to see the young man who is discovering his voice as a songwriter?

PEYTON SCHOENHOFER: I’ve had a lot of help throughout this process from Des McAnuff, Danny Austin, and people who have known Bob for a long time and can help me understand his characteristics. But when it comes to the young man discovering his voice, I can really relate to that as a fellow artist. When we’re younger, there’s so much discovery in finding your voice, regardless of what medium you’re creating in. I try to tap into that feeling from my own experience, those moments when you’re just so excited to be creating and you start to see doors opening for you. I think bringing that sense of wonder and discovery to Bob is a big part of how I approach him.

JHPENTERTAINMENT: You’re making your national tour debut with Jersey Boys, which means you’re experiencing the show—and the country—one city at a time. What has surprised you most about taking Bob Gaudio on the road?

PEYTON SCHOENHOFER: I think what’s surprised me most is how receptive each audience is. You know, obviously, it’s called Jersey Boys, and of course, there’s going to be deeper roots for people from Jersey, but being able to take this show anywhere and see people connect with the music, the story, the characters, it’s incredible. It’s such a specific group of guys and a very specific story, but it’s been really fun to see audiences in all these different cities react in similar ways, to find something in the show that they can connect with.

JHPENTERTAINMENT: Here in Nashville, there’s an especially interesting layer to playing Bob: the real Bob Gaudio lives right here in Music City and will likely have an opportunity to see the show during your Nashville engagement. What goes through your mind knowing that the man whose life you’re portraying may actually be sitting in the audience watching your performance?

PEYTON SCHOENHOFER: Besides being terrifying, it’s extremely exciting! Getting to play the role I’ve portrayed for years, for the man himself, means the world to me. I am extremely grateful for the opportunity he has provided us actors to continue telling this story through multiple generations. And to be able to bring this music that feels timeless to Nashville, to Music City, couldn’t be better!

JHPENTERTAINMENT: You’ve gone from performing in the wildly irreverent Titanique as a member of that show’s Chicago company to stepping into a story rooted in the real lives and music of The Four Seasons. What has that change in tone and style been like for you as a performer?

PEYTON SCHOENHOFER:What do you mean? They’re basically the same show….. All jokes aside, it’s been amazing to experience the two sides of theater I enjoy most. Titanique is a very self-aware comedy that lets me play with the audience, and lean into my improv background. While Jersey Boys is the other side of that coin. It’s extremely grounded and very real. And those are the two types of theater I love most. So the fact I’ve been able to experience both is truly a blessing!

JHPENTERTAINMENT: There’s such a distinctive chemistry among the four men who become The Four Seasons, and Bob’s relationship with Frankie is at the heart of much of that story. What have you and Coby discovered together that has helped make that partnership feel authentic onstage?

PEYTON SCHOENHOFER: To be honest, we’ve only known each other for about a month and a half, so we’re still making discoveries and getting to know each other as the tour goes on. But that’s what makes it exciting! We’ve both played these roles before, but never together, so we each came in with our own interpretations and ideas of what a Bob or a Frankie might be. It’s been really fun to find those differences, learn each other’s interpretations, and bring more and more to the relationship both on and off stage. It also helps that Coby is an incredible performer and individual, so it makes my job really easy!

RAPID FIRE WITH HARRY SPERDUTO STARRING AS TOMMY DeVITO IN JERSEY BOYS

JHPENTERTAINMENT: This is your national tour debut, and you’re making it in a show as iconic as Jersey Boys. What has the reality of that milestone felt like now that you’re actually out there performing Tommy DeVito for audiences across the country?

HARRY SPERDUTO: It has been a dream come true, and then some. I have wanted to be in this show and perform at this level of theatre for as long as I can remember. Getting to step into Tommy’s shoes in the remounted original production of Jersey Boys every night is even more perfect than I could’ve planned for my national tour debut. I thank God every day for this opportunity.

JHPENTERTAINMENT: While this is your first national tour, it’s not your first time in Jersey Boys. That honor happened two years ago when you first played Tommy DeVito in Clear Space Theatre Company’s 2024 summer-stock production of Jersey Boys in Rehoboth Beach, Delaware. What have you learned about Tommy—and how has your portrayal of him changed—since that first production

HARRY SPERDUTO: I am a lot more grounded and knowledgeable this time around. I’ve created a multifaceted version of my character through my deeper understanding of Tommy. That is the glory of getting the chance to work with the original creative team on this piece. The original director Des McAnuff and Associate Danny Austin gave me so much great direction and information about this story, their over 20 year process with the piece, and real life encounters with the original Four Seasons, specifically Tommy DeVito. That first hand knowledge is something I could only get from these directors and it has helped me immensely in my portrayal, especially in bringing the truth of Tommy’s life into my work.

JHPENTERTAINMENT: How do you keep the audience connected to Tommy when his ambition and personality can make him such a difficult guy to root for?

HARRY SPERDUTO: Tommy struggled with his addictions, and I think there is a certain feeling of sympathy seeing him going through the hardships that he did. Playing my objectives every night and leaning into that area creates this level of emotion that I can pull out of people. Making my portrayal of Tommy as human as possible is the best thing you can do to make an audience connect with you. He did what he did because he truly felt he was making the right choices for himself and for the group, despite how rough he could be to the people around him. I hope audiences can leave the theater remembering and respecting all of the things he accomplished in his lifetime. 

JHPENTERTAINMENT: The Four Seasons became known for not only their glorious lamppost harmonies, but also their syncopated moves and classic attire. While these elements—and more—make up the full package that is Jersey Boys, do you have a personal favorite element?

HARRY SPERDUTO: The element of breaking the fourth wall, which, in simpler terms means getting to speak directly to the audience in many of my lines. As a performer, I love getting to do this in Jersey Boys because I can look around and connect with every audience member throughout the show and make them feel like they’re in our show too. It is what makes theatre live, fresh, and exciting every night. It is very fulfilling to me as a performer.

JHPENTERTAINMENT: Tommy has some of the show’s biggest personality moments, but Jersey Boys ultimately asks us to watch four very different men become a family—and then watch that family fracture. What is the most important thing you want audiences to understand about Tommy by the time he walks away from The Four Seasons?

HARRY SPERDUTO: Tommy strived for greatness in his own way. If you got out of the neighborhood in his time, that alone was the highest accomplishment. He started a Hall of Fame rock & roll group and he took Frankie Valli off the streets, which turned him into the icon he now is today. This is undeniable. He might’ve not cared about being a star in the long run, but he took pride in giving back, especially to his community in North Jersey. He cared so much about where he came from, which is right where their whole story begins.

RAPID FIRE WITH OWEN McCREDIE STARRING AS NICK MASSI IN JERSEY BOYS

JHPENTERTAINMENT: You first portrayed Nick Massi aboard Norwegian Cruise Lines, and now you’re bringing him to audiences throughout North America. How has your perception of Nick—and your performance of him—evolved between that first experience and this 20th Anniversary National Tour?

OWEN McCREDIE: Nick Massi has always been a character with whom I’ve felt an emotional resonance. He’s a guarded, seemingly aloof guy who has a very tumultuous inner life. What I’ve appreciated most about Nick during this process that perhaps I hadn’t before, is how of all the Four Seasons, he is the one to really admit his mistakes and own up to his shortcomings. I like to think that I’m a little wiser than I was at age 22. I’m much more cognisantof the fact that “success” is accompanied by levels of personal sacrifice. I’ve given up a lot of family time to tour and live in another country. I hope that an awareness of these things translates into a more emotionally honest and grounded performance.

JHPENTERTAINMENT: Nick is the quiet one of the four, often literally standing in the background while the other personalities dominate the room. How do you make sure there’s a fully realized Nick Massi underneath that reserved exterior?

OWEN McCREDIE: I’m trying always to interact with the scene in whatever way I can. Which is not to say that I’m trying to steal attention from the actual scene. But by making creative decisions about what Nick values, what’s driving him and how he’s feeling about the other characters at that particular moment, I find opportunities to be affected by things within the scene. Nick is very meticulous, perhaps to the point of OCD. As Bob Gaudio says, “he irons his shirts twice”. That part of his behaviouris a lot of fun to play with as an actor, particularly in those moments when I’m not at the forefront of a scene.

JHPENTERTAINMENT: You were born and raised in Australia and studied theatre at Melbourne’s Victorian College of the Arts, so Nick’s Newark accent is a pretty significant vocal departure from your own. Did you work with a dialect coach during rehearsals to perfect that sound, and what was the biggest challenge in making it feel natural?

OWEN McCREDIE: Yes, we were incredibly fortunate to work with Charley Layton, who I’d done some dialect coaching with for Norwegian as well. He was able to tell me when I was beginning to stray into Australian vowel sounds, and when I could be committing further to the sounds of a North Jersey accent. I’ve found this time that I’ve been fighting the impulse to add in some of the characteristics of what you’d consider a General American accent — the rhotic R, for instance. I think that my fear as an actor who’s trying to approach this dialect with respect and authenticity, is that I go too far into that cartoonish “New Joisey” accent. In trying to avoid that perhaps I’m making Nick sound too much like a New Jerseyan from 2026. All that to say, it’s forever a work in progress, and I’m sure the audiences of New Brunswick will keep me honest!  

JHPENTERTAINMENT: You and Coby actually have something pretty unique in common: you both began your Jersey Boys journeys on the high seas. Have you two bonded over that shared experience, and does it give you a different perspective on the journey that brought you both to this 20th Anniversary National Tour?

OWEN McCREDIE: Oh yeah, Coby and I have know each other for a long time now. 6 months together aboard a floating vessel is always a unique bonding experience. We both started as swings for the Norwegian Cruise Lines production, so I think there’s a real sense of pride that we’re both standing up front together now, especially for something as momentous as the 20th anniversary tour. A fun fact — I first knew him in the Barry Belson track, as he was our Male Swing and had to cover that track for the first couple of weeks of rehearsals. For those who didn’t get to see it, you missed a real treat.

JHPENTERTAINMENT: Twenty years after Jersey Boys first arrived on Broadway, what do you hope audiences take away with them after seeing this 20th Anniversary National Tour—and what do you think makes the story and music of The Four Seasons continue to resonate with audiences today?

OWEN McCREDIE: This story is proof that generational greatness can come from working class people. Like so many artists from that time, The Four Seasons were self-taught guys who rose to the top through grit, determination and a love of music. I hope that audiences who were lucky enough to grow up with their songs on the charts get a good dose of nostalgia, and that newcomers to the show walk away with an appreciation for why it’s been so successful for so long.

Four guys. Four very different personalities. One legendary sound—and a story that still knows how to make audiences laugh, cheer and, of course, sing along. As Jersey Boys celebrates its 20th anniversary, this latest generation of talented entertainers stepping into the roles of The Four Seasons is proving that Frankie, Bob, Tommy and Nick as played by Coby, Peyton, Harry and Owen still have plenty to say—and plenty of songs left to sing. Catch the 20th Anniversary National Tour at Nashville’s TPAC September 16-20. CLICK HERE to purchase tickets or for more information. Following Jersey Boys TPAC’s 2026/2027 Season continues with The Sound of Music onstage October 13-18. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

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

As 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!

 

Theatre Review: Playhouse 615’s ‘Die, Mommie, Die!’: Campy Family Affair That’s Dressed To Kill with Caustic Laughs

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Charles Busch’s Die, Mommie, Die! , currently onstage thru September 13, as co-directed by Diane Bearden and Daniel Vincent, transforms Playhouse 615 into the lavish Beverly Hills home of Angela Arden Sussman (local drag persona Veronika Electronika), a once-famous Hollywood star whose glamorous life has become considerably less glamorous behind closed doors. Her marriage to film producer Sol (Daniel Vincent) is crumbling, her daughter Edith (Christian Swann) is devoted to Daddy while harboring a serious grudge against Mommie, and son Lance (Zach McMasters) is trying to navigate his own peculiar place within the family. Add Angela’s decidedly complicated relationship with her lover Tony Parker (Wanderson Rezende), Bootsie Carp (Deborah Seidel), a suspicious maid and enough secrets to fill a Hollywood gossip column, and Busch has concocted a comic thriller where murder and mayhem are served right alongside the martinis.

I attended opening night, and before the play even began, I was already impressed by what I saw onstage. The set design (courtesy Eric Bradley & Wanderson Rezende) and construction (Bradley, Rezende, McMasters & Abby Waddoups) perfectly convey the expected opulence of a forgotten star’s late-1960s Beverly Hills mansion. It’s a vast improvement over the company’s previous production’s bubbled-up faux wood wallpaper, giving me hope before the lights even dimmed to start the show.

Thankfully, that optimism wasn’t misplaced. While there were a few occasional fumbled lines and a couple of dropped props along the way, opening night jitters are to be expected, and the cast generally recovered without disrupting the momentum. More importantly, everyone seemed to understand precisely what kind of theatrical playground Busch has created—and they were more than willing to play in it.

Electronika, who, in recent years has appeared in pretty much every drag-related production at Playhouse 615, proves effective as Angela Arden Sussman. Having been a fan favorite amongst Nashville’s drag community for nearly a quarter of a century (she knows I love her, it just reads cattier that way) whether she’s reading to kiddies at drag story hour–literacy…it’s SO controversial–hosting a charity event, lobbying for LGBTQIA+ rights, performing a drag show or appearing in a theatrical production, you know you’re gonna get a bit of the diva that is Veronika Electronika, especially if that’s how she’s credited in the playbill. Such is the case with Veronika as Angela. She’s larger than life, self-indulging, wickedly self-important, and thanks to Veronika’s own wardrobe doubling for Angela’s, dressed to the mother-fuckin’ nines–or at least sixes, because that’s how many wardrobe changes I counted, not including at least two outer layer discardings revealing more fashion underneath–while chewing on every inch of that decadent scenery. Yes, per Busch’s script you’ll find aspects of many a great diva including, but not limited to Bette Davis, Joan Crawford, and even Mama Rose, but make no mistake about it, it’s Music City diva Veronika Electronika who’s most present in this portrayal of Angela Arden Sussman.

It’s difficult to imagine anyone more naturally suited to play a faded screen siren who has absolutely no intention of surrendering her place at center stage. Veronika understands Angela’s theatricality instinctively, but there’s enough calculation beneath the glamour to keep her from becoming merely a caricature. Her exchanges with Daniel Vincent’s Sol crackle with marital venom, while her scenes with Wanderson Rezende bring an entirely different kind of heat.

While Veronika Electronika’s Angela Arden Sussman is the assumed, and self-proclaimed star of the show, she’s got some tough competition for that honor, most notably Wanderson Rezende’s Tony Parker is literally and figuratively Veronica’s stiffest scene-stealing competition. From his hilariously overly-dramatic ‘soap opera stare’ after nearly every line, to the comedic callback of his ongoing flippant chain-smoking habit (He literally puts cigarette after cigarette in his mouth only to carelessly flip them somewhere in the vicinity of the nearest ashtray, only to rinse/repeat this action throughout the show). As if stealing each scene weren’t enough, Rezende’s Tony never simply exits the stage. With every exit comes a last-minute fourth wall-breaking knowing over-the-shoulder glance letting you know he’ll be back for more mayhem. The audience just couldn’t keep their eyes off this production’s licentious lothario. Then there’s the matter of his wardrobe. It’s well-established early on that Rezende’s Tony is, um…above average in certain aspects. Suffice it to say Jimmy Fallon’s “Tight Pants” skit could easily have been written in Rezende’s Tony Parker’s honor. Humor suited for any horned-up 12-year-old, and it plays hilariously in the hands of Rezende.

Oh, and you gotta love one particular scene in which Tony arrives at the mansion to give Angela a tennis lesson. Angela, dressed in a cute green knit tennis ensemble (a reliable source tells me it was procured at a local Goodwill, if you can believe that)  is carrying a matching equipment bag with the words RACKET and BALLS on it. Perfect to decribe both the racket going on within the house and well, Tony, in general. Meanwhile, it also wasn’t lost on me that Wanderson’s Tony is sporting track pants by Everlast©.

Rezende’s portrayal thrives on precision. That ridiculously prolonged stare, the ever-present cigarette and the calculated physicality could easily become tiresome in lesser hands, but he keeps finding new ways to wring another laugh from them. Tony is the kind of character who seems convinced that every room is his personal stage—and Rezende gives him exactly that level of shameless confidence. Having seen Rezende in just under a dozen roles in recent years, I’m continually impressed with his versatility as an actor and his masterclass-level comedic timing.

Daniel Vincent’s Sol Sussman is the butt of many of the show’s jokes. That ASSessment makes more sense if you’ve seen the show. Pulling double-duty as co-director of this production, perhaps Vincent leans a bit too heavily into the stereotypes of the character’s Jewish film producer tropes. Regardless, Vincent is most fun to watch when he’s trading barbs with his on-stage wife, when paired with Christian Swann as his too close for comfort dotting daughter, Edith Sussman. or dodging advances from his mildly obsessive maid.  But it’s the aforementioned nearly-incestuous ick between Sol and Edith as played by Vincent and Swann that’s pure Charles Busch camp.

There’s a particularly entertaining rhythm to Vincent’s scenes with Veronika, as Sol and Angela volley insults with the practiced ease of a couple who have spent far too many years perfecting the art of getting under each other’s skin. His scenes with Swann take that discomfort somewhere considerably stranger, particularly as Edith’s devotion to her father begins veering into decidedly inappropriate territory.

On the subject of Swann’s Edith, when I heard Playhouse 615 had cast a male  in the role of the Daddy-worshiping, Mommie-hating Edith Sussman, I fully expected the joke to be drag queens playing the rivaling mother/daughter duo to the hilt. Much to my absolute camp-loving delight, making his Playhouse 615 debut, Swann’s Edith is played strictly for laughs as a boy in a wig and a short dress. Sure his nails are painted, the wig has potential and he’s donned a bit of makeup, but there’s not even the slightest attempt at a higher-pitched voice, or perceived ultra-feminine gesturing or movement. Yet, somehow Swann simply reads brilliantly as Edith. I suspect the show’s co-director, Diane Bearden had a hand in this. Either way, kudos to Swann for not only making Edith his very own, but also for making her among my personal favorites in the show.

That choice proves particularly effective because Swann never seems to be chasing the joke. He simply inhabits Edith’s bizarre worldview and allows the circumstances around him to generate the comedy. His expressions and reactions do a tremendous amount of work, particularly when Edith is confronting Angela or fawning over her father. For a Playhouse 615 debut, Swann makes a memorable first impression, turning what could have been a one-note gag into a character with a distinct presence of her own.

Cast as Lance, the Sussman’s ne’er do well, oddly twitchy son is Zach McMasters. In my recent Rapid Fire 20Q with cast from this production, I chastised Zach about the raven-colored, poorly groomed wig as seen in the show’s promo shots, so at least they went with something less offensive for the performance. Looking AND sounding like a less-mellow Shaggy Rogers from Scooby-Doo, I half expected McMasters to let out the occasional “ZOINKS!” when action in the play took a surprising turn. Nonetheless, his Lance mugs for the audience, somehow transcending the camp, evoking a bit of sympathy for his familial circumstances. And is it weird that among the on-stage overlapping love interests, couplings, flirtations and strange bedfellows, his scenes with Rezende’s Tony somehow equate to the most chemistry between actors? Nope. It’s not weird. In a production filled with tangled relationships and improbable romantic entanglements, their exchanges have an oddly genuine spark that makes their scenes particularly enjoyable. Lance could easily disappear beneath the eccentricities, but McMasters gives him just enough vulnerability to make us wonder what might have happened if he’d grown up in literally any other family.

Rounding out the cast is yet another scene-stealing, dialogue-devouring member of the cast comes courtesy the Sussman family’s sedulous, albeit frequently soused (was that a Tiffany & Co. flask I spotted?) maid, Bootsie Carp, as played by Deborah Seidel. Part devoted Alice Nelson from The Brady Bunch, with a healthy does of Agnes Moorehead’s loudmouth, back-talking maid Velma Crutcher in Hush, Hush, Sweet Charlotte, Seidel’s Bootsie simultaneously throws verbal punches to Veronika while while whispering often unrequited sweet nothing to Sol. Spoiler Alert: her ‘death scene’ blatantly steals every over-reaching laugh-grab from classic comedians like Carol Burnette, and we’re here for it.

Seidel has the timing to make Bootsie’s every appearance feel like a comic punctuation mark. She knows exactly how long to hold a reaction, when to fire off a retort and when to let the audience enjoy the sheer ridiculousness of what’s unfolding around her. Her rapport with Veronika is especially delicious, with Bootsie seemingly possessing just enough nerve to say what everyone else in the mansion is thinking. And when she turns her attention toward Sol, that flirtation adds yet another wonderfully inappropriate wrinkle to the household. As for that death scene, subtlety clearly never entered the room. And frankly, why would it?

Charles Busch’s particular brand of comedy works best when the performers embrace the outrageousness rather than attempting to sand down its sharper edges. Having assembled a cast that brings distinctly different flavors to the Sussman household Playhouse 615 get it. Veronika Electronika has the glamorous excess of Angela down to a rhinestone-encrusted science, while Wanderson Rezende turns Tony into a walking, talking, smoking, smoldering testosterone laugh-fest. Daniel Vincent finds just enough mileage in Sol’s perpetual discomfort, Christian Swann delivers an unexpectedly terrific Edith in his Playhouse 615 debut, Zach McMasters gives Lance an appealing vulnerability beneath all that neuroses, and Deborah Seidel makes Bootsie the kind of maid you absolutely want around, especially if your’e the black sheep of the family and the rest of your relations start behaving badly. It’s worth mentioning again, this production also benefits enormously from that sumptuous set. It provides exactly the sort of decadent backdrop this story demands and immediately establishes the world in which these characters can indulge their worst impulses. Just remember: in Beverly Hills, the family that schemes together may not stay together—and when Mommie says everything is fine, you might want to check the body count.

If you like your family drama served with murder, marital betrayal, sexual innuendo, extravagant wardrobes and a maid who knows entirely too much, Die, Mommie, Die! is ready to welcome you into the Sussman mansion as Playhouse 615 continues the camplicious hysterical histrionics thru September 13. CLICK HERE to purchase tickets (use the drop-down to select specific date/time). 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: BLAST OFF AS JHPENTERTAINMENT GOES BEHIND THE SCENES WITH ‘ALEX AND THE AFRONAUTS’; Staged Reading Wednesday, September 2 at Darkhorse Theater

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After two decades of covering theatre, one of the things I continue to enjoy most is getting the opportunity to discover and champion brand-new works—especially when they come from the creative mind of someone I’ve gotten to know over the years through Nashville’s theatre community. That makes Maya Riley’s Afrofuturist play, Alex and the Afronauts particularly exciting to follow. Having debuted an excerpt during last month’s 9th annual Kindling Arts Festival’s New Play Platter, it’s now time to hear the full story. At 7:30pm on Wednesday, September 2, playwright Maya Riley and director Jon Royal will present Alex and the Afronauts’s first-ever full staged reading at Darkhorse Theater as part of this year’s Shades of Black Theatre Festival. As the playwright, director and cast readied for the staged reading, JHPEntertainment had a chance to pose a few questions to Riley, Royal and actors Raven Buntyn and Andre Mason for our latest in our recurring interview feature, Rapid Fire 20Q.

RAPID FIRE 20Q WITH ALEX AND THE AFRONAUTS DIRECTOR, CAST MEMBERS & PLAYWRIGHT

RAPID FIRE WITH ALEX AND THE AFRONAUTS DIRECTOR JON ROYAL

JHPENTERTAINMENT: You directed the excerpt of Alex and the Afronauts presented at Kindling Arts Festival. What was it about Maya’s writing and this particular story that made you want to climb aboard and help bring it to life by way of the full staged reading?

JON ROYAL: I told this to the cast, and I’ll tell anyone who’ll listen, if you catch me at any random moment during the day, I’m consistently daydreaming about Black people in space, particularly from a sci-fi lens. I’m down for any story like this like four flat tires.

JHPENTERTAINMENT: Having now worked with Maya on both the festival excerpt and this staged reading, what have you discovered about her as a playwright? What is particularly rewarding about collaborating with her at this early stage in the process?

JON ROYAL: I like vibing with Maya on the sci fi and audio aspects of inspiration for this world. Do you know how long I’ve been waiting for a process where I can geek out with collaborators about stories like The Expanse, Star Trek, Battlestar Galactica [and creatives like] Sun Ra and Octavia Butler. Elements of all of those things are here, and Maya an I enthusiastically discussed a wide range of space interpretations in art, during both processes.

JHPENTERTAINMENT: This story deals with some enormous ideas—race, class disparity, exploitation, power and the question of who gets to decide what happens to a community’s future. The script reveals that both Wallace and Harper face oppression, but their reaction to it and their attitudes of dealing with it and going forward differ greatly. How key to the overall story is this?

JON ROYAL: I think they’re all dealing with Blackness as a continuum, and oppression is only a part of that. If Blackness through time is a cosmic river, then everybody’s boat isn’t going to put in at the same place. As a Black audience member, I’m searching to find the moments when they actually link up, and that’s where the delicious tension comes from.

JHPENTERTAINMENT: Directing a staged reading presents a very different set of challenges from directing a fully realized production. Without the completed sets, costumes, props, blocking and visual world you would ultimately have at your disposal, how do you and the actors bring out enough theatricality for the audience to imagine the world of Alex and the Afronauts?

JON ROYAL: You work with what you have. The focus is on the words, with the expectation that this is only a part of this piece’s journey, as it will hopefully be produced in many more ways. This is an evolutionary step, and it will be fully rendered in the context of honoring these words before we have other elements.

JHPENTERTAINMENT: Since you’ve already had the experience of directing a portion of this piece at Kindling, what are you most excited about getting to do differently—or explore more deeply—now that you’re presenting the full work, and how might this reading help point the way toward a future production?

JON ROYAL: Without a doubt, it’s gotta be that this is the full arc of the story. This is a larger cast that’s adding their unique talents so that we can go deeper into the lives of the characters and this thrilling story!!

RAPID FIRE WITH RAVEN BUNTYN, HARPER IN ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Harper is introduced in the middle of an escalating crisis, but it quickly becomes clear that her emotional baggage is every bit as significant as the technical problem facing the crew. What initially drew you to Harper, and what do you find most compelling about her?

RAVEN BUNTYN: I can relate to Harper in a lot of ways. I understand what it is like to be in the throes of grief and how the resulting anger and hurt can cloud your judgement. That’s why I feel so connected to her. She’s authentic, even if she’s wrong in a lot of ways. It’s real and raw and not pretty, but neither is true healing. And sometimes that clouded judgement can lead us to make harmful choices, but with patience and empathy, we always find our way back to ourselves.

JHPENTERTAINMENT: Harper carries the grief of losing her brother Kiante while also wrestling with his final message and the responsibility he seems to have left behind. How did you approach portraying someone whose grief is tangled up with anger, guilt, fear and the need to keep moving?

RAVEN BUNTYN: My approach to Harper is a deeply personal one. It’s not hard to tap into those emotions when I’ve had to sit in them myself. It’s a heavy task to allow yourself the space to have your feelings, without letting it paralyze you from moving forward. Even if that forward movement feels like trekking through quick sand. I’ve had to learn how not to allow my past to hold me back, just like Harper. It can be hard to learn how to move forward with what feels like a hole in your heart. But if we don’t, we stay stuck.

JHPENTERTAINMENT: Harper and Wallace have very different ideas about what survival means and whether returning to the people they left behind is actually an option. What do you think Harper sees that Wallace may not—and what do you think Wallace sees that Harper may be unwilling to confront?

RAVEN BUNTYN: I think Wallace and Harper both have valid points in their approach to the resistance. I think Harper understands the importance of letting the people have a say in what they’re getting themselves into. But Wallace, however, understands that there are always casualties in war, and those casualties don’t mean the war is over. And it would be dishonorable to those lost to give up on the mission. And I think because Harper is grieving her brother, it’s hard for her to see the bigger picture.

JHPENTERTAINMENT: This is a new character in a new play, so you’re essentially helping create Harper from the ground up. What has that process been like, and how much room has Maya given you to discover the character through rehearsal?

RAVEN BUNTYN: The process of discovering Harper has been beautiful and explorative. We often want to play characters who are very likable, and Harper does some things in the story that aren’t very likable. She can be selfish at times and let her fear get in the way of the bigger picture, and I find her so human for these reasons. It’s helped me accept myself and my humanity in deeper ways, which, in turn, makes my portrayal of Harper feel more authentic. Maya has opened the floor for us to really explore who these characters are and it’s such a cool, collaborative environment.

JHPENTERTAINMENT: When (and I’m saying WHEN, because it Will) Alex and the Afronauts eventually becomes a fully mounted production, would you jump at the opportunity to return and continue developing Harper?

RAVEN BUNTYN: Absolutely, I would love to continue developing Harper. I’m honored to even be a part of her journey now. And if it’s meant for me to continue her portrayal, I’ll always be available for it!

RAPID FIRE WITH ANDRE MASON, WALLACE IN ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Wallace is carrying the enormous responsibility of leading this group while simultaneously carrying the scars of everything that happened aboard the ship. What was your first reaction to Wallace, and what makes him such an interesting character to play?

ANDRE MASON: Initially, when I was reading for Wallace the first thing that came to mind was: “Man, this brother is a piece of work.” He wants to help his people; however, he has this “It’s my way or the highway” mindset. To be a leader, one has to not just be authoritative, but willing to listen to others, especially when found in the rather precarious position our intrepid afronauts find themselves in. To me, he is the phrase “The road to hell is paved with good intentions” personified. And I think that is partially why I enjoy being given the chance to portray him. Because sure, at times, he can come off as the other antagonist in this show, but at the end of the day, the brother is deeply unhealed, and had things gone his way, to his specific plan, well, the show would have had quite a different outcome. To me from a moral standpoint, when we first meet him, Wallace is neither black nor white, but rather a shade of gray. A shade of gray that got slightly darker with every injustice he encountered aboard that ship. And for me, morally gray characters are always fun to play as.

JHPENTERTAINMENT: Wallace’s anger comes from a very specific history of exploitation. He reminds Harper that they built the ship while others enjoyed the privileges of being aboard it, and that he—a licensed pilot—was reduced to working as a janitor. What do you think Wallace’s experience says about race, class, and who is considered valuable in this world?

ANDRE MASON: Sadly, this experience is all too common for people of color. It’s not a secret that in this country people of color have to work twice as hard to get half as far as non-POCs. Imagine: doing everything he did on Earth, helping not only to build but to maintain that ship, only to be regarded as the guy who empties the trash bins. It’s not exactly an ideal or just situation is it? What happens to him happens to far too many POCs, and of course it can take a toll on one’s view of self, as well as their view of the world around them.

JHPENTERTAINMENT: Wallace is absolutely determined not to turn back, even when Harper questions whether they are on a survival mission or a suicide mission. Do you see his determination as courage, stubbornness, leadership—or some complicated combination of all three?

ANDRE MASON: It’s definitely a sort of stew of the 3. On the one hand, I do not doubt that he truly believes that anywhere has to be better than being under the Armada. To him, death is stagnation, and allowing themselves to be subjugated is another form of death. In the face of what essentially appears to be a space army, Wallace helps to steal one of their ships in order to save the people who are regarded as lesser within the Armada’s main vessel. It takes some degree of courage/confidence in ones own actions to stage what is essentially a mutiny and steal a ship from a larger entity that can most definitely kill them all. On the other hand, he isn’t exactly the most diplomatic or democratic leader. He doesn’t consider his fellow crew mates’ insights, feeling as if he knows what is right for them all and should not be questioned on his strategies. I will also say I think there’s a little bit of ego in that stew I mentioned earlier, just off the interactions Wallace has with his crew mates, especially in his conversations with Harper.

JHPENTERTAINMENT: There can be something wonderfully freeing about a staged reading because you’re not dealing with costumes, elaborate sets, props or all the physical machinery of a full production. Does that more stripped-down environment allow you to concentrate differently on Wallace and the words Maya has written?

ANDRE MASON: Truthfully, this is a new experience for me with regards to a stage reading, but I will say it definitely feels like I can direct all my attention on developing the character within the parameters given by our playwright in this story. I can focus a little more on the story itself and how we can tell the story through our words and emotions in the moment.

JHPENTERTAINMENT: Finally, there’s something especially exciting about audiences getting only one opportunity to experience this particular version of Alex and the Afronauts. What does the exclusivity of a one-night-only staged reading mean to you, and what are you hoping audiences take away from this first full journey with Wallace and the Afronauts?

ANDRE MASON: For me, it’s bittersweet I can’t lie. Because on the one hand, a one-night-only reading makes this whole experience feel like something special. Like, we are about to perform what is basically the proto-version of this show, and I have loved every moment of the process thus far. On the other hand, I am a little bummed out that this is a one-night-only thing because I want as many people as possible to see this show because it is that good, in my opinion. I think the biggest thing I want the people to take away from this show, from my perspective, is trust. Its not likely that any of us will find ourselves in a situation where we are in space dealing with a space army on top of other issues that for the sake of spoilers I will not mention, however, we can find ourselves in a position where we are working with others in a precarious setting or scenario, and the only real way to come out of the scenario stronger is having trust in your fellow man/woman who is currently in the metaphorical trenches with you. Wallace can be so set in his ways, and I feel as if had he been a little more diplomatic, a lot of what happens in the show won’t have to come to pass… but then again, if he weren’t the stubborn semi-egotistical man that he is, well, we wouldn’t have a show would we? Or at least, it’d be a very different story that unfolds.

RAPID FIRE WITH MAYA ANTOINETTE RILEY, PLAYWRIGHT OF ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Take us back to the beginning. What was the original concept or spark for Alex and the Afronauts, and how has that initial idea evolved into the play we’re seeing today?

MAYA ANTOINETTE RILEY: Well, this play has taken quite a pivot over the course of 12 months. But this latest version was heavily inspired by a lot of Afrofuturist art. Music by Digable Planets and Sun Ra. Poetry by Douglas Kearney and Nikki Giovanni. Paintings and sculptures by Mikel Elam and Wangechi Mutu. So much of the Black experience is defined by the past. All the artists I mentioned are exploring the future. The alternatives to this current path we walk. I wanted to join in that exploration. This play, like many Afrofuturist works, is a daydream. A fantasy, embracing the unknown. Because change begins with dreaming a better life. And then you have to leap, step out on faith, to make the dream reality. That’s the golden nugget of this play.

JHPENTERTAINMENT: What has the writing process looked like from that first concept to this point? How long has Alex and the Afronauts been taking shape, and were there particular moments when you realized the piece had become something substantially different from where you started?

MAYA ANTOINETTE RILEY: It’s actually pretty wild. This play has taken so many different shapes over the course of this year. I started writing it in summer 2025, and it was a sci-fi take on a kitchen play. A story about two lovers trying to reconcile a failing relationship. But the world that I created around these two characters kept nagging at me. It brought up so many questions for me, so I decided to start answering those questions and ended up with an entirely different piece. The joy of writing…haha. But the two lovers who were originally at the center of the play have remained throughout every iteration.

JHPENTERTAINMENT: Audiences first encountered an excerpt of the work at last month’s Kindling Arts Festival as part of the New Play Platter. What was it like to hear and see a portion of this world in front of an audience for the first time, and what did that experience reveal to you about the piece?

MAYA ANTOINETTE RILEY: It’s always exhilarating to have an audience! I was revitalized by the experience. That was the first time any of my written work had been fully staged. A milestone for sure. Getting audience feedback is truly the final piece of any theatrical project/process. I needed to know what people loved, what they were confused about, what they talked about on the car ride home. I learned a lot. The characters and relationships were working, the mystery was working, but there were some world-building things I needed to flesh out. So I worked to tackle that. And I had to write Act II, because everyone was curious to see what happened next. A good place to be for sure.

JHPENTERTAINMENT: Moving from that excerpt to a complete staged reading is a significant next step for a new play. What have you discovered or changed between the Kindling presentation and this reading, and what are you hoping to glean from hearing the full piece in front of an audience?

MAYA ANTOINETTE RILEY: Well, I just wrote basically all of Act II in less than a month, so that was wild. I’m discovering things about the world of the play and the characters in it every single day. I go to bed thinking one thing about them, then wake up the next morning with new ideas. After the first read-thru last week, I gave the cast about 40 pages of rewrites. That’s the gig for new works, I suppose. I’m definitely not done tinkering. Having a full staged reading is just a pit stop on the journey to deepening this work. It’s just part of the process. I’ve looked at the script almost every day for the past 3 months. I can’t keep up with how many versions there have been. So seeing what lands with an audience will be incredibly beneficial. I’ve been zoomed into the piece for so long, I need their help to zoom back out and see it as a whole. I can’t wait to hear what people think!

JHPENTERTAINMENT: Alex and the Afronauts uses a futuristic space journey to examine very recognizable issues of race, class, inequality, exploitation, power and who gets access to resources. After this reading, what do you hope to learn about the play—and what do you hope the next chapter of its journey might be?

MAYA ANTOINETTE RILEY: I’m particularly interested in the paranormal aspect of the play. I won’t spoil it, but I think it’ll get people talking. It asks a very specific question of the audience, one that forces you to interrogate your ideas progress, legacy, and belief. It’s a very meaningful concept for me, and I wonder if others will feel similarly about it. I hope to someday mount a full production. It’s so rare to see Black Sci-fi get produced in any medium — film, television, theater, etc. I want to see Black people in space, having rich and compelling lives, searching for truth and new possibilities. So, I hope this journey can lead me there.

With Alex and the Afronauts, the journey is very much still in progress—and that may be the most exciting part. From a play that began as something entirely different, through months of rewrites, a first glimpse at Kindling Arts Festival and now a complete staged reading as part of Shades of Black Theatre Festival, Maya Antoinette Riley’s work continues to evolve with every step. And as Riley and her collaborators make clear, the audience isn’t simply there to watch that evolution—they’re part of it.

That makes Wednesday, September 2, at Darkhorse Theatre a particularly special opportunity. For one night only, Nashville audiences can experience the full Alex and the Afronauts while it is still in its developmental stage, hear where the story has traveled and help provide the feedback that could influence where it goes next. Because sometimes the most exciting theatre isn’t the show that’s already finished. It’s the one that’s just beginning to find its way.

The 2026 Shades of Black Theatre Festival officially kicks off with an Opening Mixer Monday August 31 thru Sunday, September 27 with nearly a dozen works presented throughout the month. The festival will include  staged readings, full length plays, dance show, films, workshops, and other special events. CLICK HERE for a full list of the festival’s offerings. The Opening Mixer is free and open to the public. Alex and the Afronauts’ staged reading is free as well, but a suggested donation of $10 would be appreciated. Admission varies for the remaining festival events. All events of Shades of Black Theatre Festival will take place at Darkhorse Theater, 4610 Charlotte Avenue, Nashville, TN 37209, unless otherwise specified via the link above.

To keep up with Maya Riley and follow what’s next for her as well as for Alex and the Afronauts, CLICK HERE.

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!

‘Die, Mommie, Die!’: 20 Questions, Four Suspects & One Very Dysfunctional Family

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Playhouse 615 is getting ready to serve up a deliciously twisted dose of murder, mayhem, familial dysfunction and theatrical camp as they present Charles Busch’s Die, Mommie, Die! co-directed by Daniel Vincent and Diane Bearden and onstage August 28-September 13. Before the curtain rises, JHPEntertainment put four members of the cast—Christian Swann, Zach McMasters, Deborah Seidel and Veronika Electronika—on the hot seat for a Rapid Fire 20Q covering their characters, their scene partners and the bizarre brilliance that is noir camp theatre.

RAPID FIRE 20Q WITH CAST MEMBERS OF PLAYHOUSE 615’s DIE,MOMMIE, DIE!

RAPID FIRE WITH CHRISTIAN SWANN, DIE, MOMMIE, DIE!’s EDITH SUSSMAN

JHPENTERTAINMENT: Edith Sussman is at the center of a family situation that makes the average dysfunctional household look positively well-adjusted. What was your first reaction when you got your hands on this script?

CHRISTIAN SWANN: I was completely enamored with it. The show’s so “out there” that you can’t help but wonder how people will react. The whole time I was reading through the script, I was thinking, “This line will get a big gasp,” or “The audience will go wild right here, absolutely bonkers.” And I was so excited to be playing Edith. The play is, among other things, a very screwed-up take on an Ancient Greek tragedy, so playing Edith is kind of like playing Electra, only much groovier.

JHPENTERTAINMENT: You’re working with co-directors Diane Bearden and Daniel Vincent, with Daniel also stepping onto the stage as Edith’s father, Sol. What’s it like having one of your directors essentially say, “Okay, now I’m going to get into character and play along with you all”?

CHRISTIAN SWANN: It’s great! It’s a little surreal at times when you turn away from the directors’ table for a second and suddenly one of them is with you on stage, playing with your hair and talking about lepers and toilets and all this crazy stuff. But there’s a camaraderie to it too, like having your commanding officer with you in the trenches. I’ve never been to war, but I imagine it’s pretty much the same as community theater.

JHPENTERTAINMENT: Without giving away any of the deliciously dark details, and using only one word each, how would you describe Edith’s relationship with the other members of the Sussman family?

CHRISTIAN SWANN: Including honorary family members, something like:

Angela – Obliterate

Sol – Yum

Lance – Yuck

Bootsie – Obstacle

Tony – Swampy

JHPENTERTAINMENT: There’s a fine line between camp and schlock. What’s the biggest challenge of playing Edith without overplaying Edith?

CHRISTIAN SWANN: The thing about Edith is she’s completely ridiculous. She’s this screaming, histrionic mess whose dialogue is about fifty percent exclamation marks. But she’s got these big emotions—sorrow, passion, rage—that make her act the way she does. And since Edith’s such a huge source of conflict in the play, if the audience can’t see those emotions then the show loses that sense of tension. So the challenge for me was to find those emotions in a way that gets through to the audience. Edith’s reactions had to be ridiculous, but her feelings had to be real.

JHPENTERTAINMENT: What do you hope audiences take away from watching Edith—and this wonderfully twisted family—unravel?

CHRISTIAN SWANN: I hope they laugh, of course. The show’s a comedy after all. But I love so much about this show’s particular brand of humor is that it offers the audience a break from any notion of “morality” and “good taste,” so I hope the audience is able to put those ideas to the side and enjoy being bad for a couple hours.

RAPID FIRE WITH ZACH McMASTERS, DIE, MOMMIE, DIE!’s LANCE SUSSMAN

JHPENTERTAINMENT: Having made your stage debut last year in Playhouse 615’s The Haunting of Hill House, what drew you back to the company—and to Lance Sussman in particular?
ZACH MCMASTERS: I think anywhere you first try your hand at something creative always holds a special significance in your heart and mind. I also admire how Playhouse isn’t afraid to be a little transgressive with their show selection. When I first saw the 2026 lineup and noticed Die, Mommie, Die!, I knew I had to be involved. I first saw the film adaptation in 2007 and have never forgotten it, so when the opportunity came to audition, I knew I wanted to go for Lance. What I really love about this character is how multi-faceted he is. With Lance, there are many opportunities to take risks and just play. I’ve always been a silly goose, and Lance is a delightfully unhinged part for me to revel in!

JHPENTERTAINMENT: Let’s address the elephant—or perhaps the synthetic hairpiece—in the room. That wig in the promotional photos… was that actually supposed to look convincing, or just another obvious comedic camp moment?
ZACH MCMASTERS: Funny you should ask. What we thought was a 60s-style wig turned out to be an old we crow that must’ve accidentally flown inside the theatre one rainy day, bumped its head, and fell into a box of props. I had no idea until it bit my scalp after filming my promo videos for Lance and few away in a fit of rage. I had to get a rabies shot! Suffice to say, we procured an actual wig that doesn’t bite, doesn’t wash me out like a ghost, and more closely matches his mother Angela’s hair color. 

JHPENTERTAINMENT: Um…Ok…anyway, next question…What have you discovered about Lance that you didn’t necessarily see coming when you first started working on the role?
ZACH MCMASTERS: I feel like I sort of misjudged Lance at first, kind of writing him off as a one-dimensional, soon-to-be-burnout with no future. I had no idea he would emerge as being so dynamic as I got to further explore his character. Even though he is constantly berated for his lack of intelligence throughout the play, Lance is a lot more clever than he seems. He is also a very sensitive young man, and I like to think of him as becoming a successful artist or performer once all the dust settles from the drama of these events. 

JHPENTERTAINMENT: This is only your second production with Playhouse 615. Does returning for a completely different kind of show feel different now that you’ve survived your first theatrical experience?
ZACH MCMASTERS: In many ways, it feels exactly the same, like picking right back up where you left off with a good friend. There’s also that same chaotic energy that makes the whole process feel so worthwhile when it all finally comes together, and I think I enjoy that the most. The major difference for me this go around is the amount of time I get to spend on stage instead of behind it. Lance has a lot more lines than Arthur Parker from Hill House, so it’s been great getting to discover myself more as a performer. It definitely helps that this show is absolutely hilarious, so memorizing a lot more dialogue hasn’t been as challenging as I anticipated.

JHPENTERTAINMENT: Playhouse 615 has built quite the reputation for presenting…let’s say…slightly off-kilter shows from time to time. Is there anything in this uproarious camp classic that made you just shake your head when you first read the script?

ZACH MCMASTERS: Oh, absolutely. After our first read-through of the script, I thought, oh my, the things I have to say and do in this show… My parents can’t see this one! Aside from the outrageous dialogue, a few certain props and their particular uses had me absolutely cackling. Still do every time we rehearse! Oh, and I’ll never look at a Lazy Susan the same way again..

RAPID FIRE WITH DEBORAH SEIDEL, DIE, MOMMIE, DIE!’s BOOTSIE CARP

JHPENTERTAINMENT: As the Sussman’s loyal maid Bootsie Carp certainly knows a few secrets. What one secret you can share?
DEBORAH SEIDEL: Ooh, if I told, then it wouldn’t be a secret anymore, would it?  Hmmm, I think I can safely say that one (or more) characters may be hiding a deep, dark secret.  But that’s for the audience to find out, not for me to tell!

JHPENTERTAINMENT: You’re once again sharing the stage with Veronika Electronika, after previously playing opposite her in Playhouse 615’s Cinderella Christmas Panto. What’s it like coming back together for something that is…shall we say,…considerably less fairy-tale?
DEBORAH SEIDEL: Well, in Cinderella, my role as the evil stepmother actually had very little interaction with Veronika  Fairy Godmother until the end – when she turned my daughters and me into rabbits!  Thankfully, in this play no one becomes another species, though Veronika, this time in the role of Angela Arden, certainly likes to play mind games with me and the other characters in the play. In addition, the Christmas Panto had a lot more opportunities for improv, whereas now Veronika and I get to interact with each other as authentic (though somewhat whacky) characters in a more traditional format.

JHPENTERTAINMENT: What has surprised you most about Bootsie as you’ve gotten deeper into rehearsals?
DEBORAH SEIDEL:  I honestly wasn’t quite sure how to approach Bootsie at first and knew I had to figure out what ultimately makes her tick.  As  rehearsals progressed, I think what surprised me most is how integral the role is to the story line, and how confident Bootsie is in her interactions with the family and Tony, Angela’s lover.  After working for this family for 25 years, she’s not afraid to confront any of them, make strong suggestions regarding their behaviors, and to let her personal (and political!) goals be known – loud and clear!

JHPENTERTAINMENT: This show has a pretty outrageous tone. How do you keep yourself from cracking up when you’re supposed to be completely serious?
DEBORAH SEIDEL: It’s not easy, that’s for sure!  And we’re only in rehearsals, without audience feedback yet, so I imagine it will only become more difficult.  But the same rules apply to acting in any comedy, no matter how outrageous – hold for laughs, stay in character, focus, and if necessary, bite your (or your neighbor’s) lip!

JHPENTERTAINMENT: With Diane Bearden and Daniel Vincent sharing directorial duties, what’s most challenging about their potentially differing approaches?
DEBORAH SEIDEL:  Luckily, they’ve been very much on the same page, so having co-directors has been a positive experience rather than a challenge. Diane handled most of the blocking, welcomed our suggestions, and was careful not to waste anyone’s time. When Diane was out of town for a bit, Daniel stepped in and continued that approach. They both wanted us to have fun in rehearsal while also knowing the basics: our lines, our blocking, and what motivates our characters to do such outrageous things. They encouraged us to make big, bold choices, knowing they could pull us back if needed.

RAPID FIRE WITH VERONIKA ELECTRONIKA, DIE, MOMMIE, DIE!’s ANGELA ARDEN

JHPENTERTAINMENT: Having seen you in a few prominent drag-related roles over the years, as well as many Veronika Electronika gigs, it seems there’s a bit of Veronika that inevitably seeps through, regardless of who you’re playing. What’s the most difficult part of suppressing your usual stage persona to allow Angela Arden to fully emerge?

VERONIKA ELECTRONIKA: I would say that Angela is first and foremost a lady. Always keeping up appearances and trying to maintain a balance of Wife, Mother and Star.  Whereas Veronika is just…a star!  So while portraying Angela I wanted to follow some advice that the playwright gave me himself, “Angela is a lady.”  So I try and remember that while I am delivering my lines, and not tout them out a drag queen might, but as the lady that Angela is would.

JHPENTERTAINMENT: Angela is surrounded by some pretty formidable men in this story. What’s it like playing opposite your leading men, Wanderson Rezende and Daniel Vincent, and what have you discovered about your onstage dynamic?

VERONIKA ELECTRONIKA: Each of my love interests in this show are played by 2 amazing actors, and they each play completely different characters.  I think the casting was spot on! Daniel gives me a grounded, stern and comfortable man to bicker with while Wanderson has the energy and “spice” that one needs to have to play off of for the under the radar lover…I mean tennis coach!

JHPENTERTAINMENT: I noticed there’s no crew credit for wardrobe or costuming in the program information. Does that mean Angela Arden’s wardrobe for the show is courtesy of Veronika Electronika?

VERONIKA ELECTRONIKA: You may see one or two elements from Veronika’s closet on stage, however you will see new fashions as well.  After 24 years in the drag industry my wardrobe is extensive and chuck full of fun and fabulous custom made creations… Why not put them to use in a production that takes place in tinsel town after all!

JHPENTERTAINMENT: And speaking of Veronika Electronika, I saw that your show bio includes your Venmo…. Is this a theatrical program bio or a not-so-subtle request for tips? Have you no shame?

VERONIKA ELECTRONIKA: As one of my muses has said “It takes a lot of money to look this cheap!”  So take it as you will…tips are greatly appreciated, Veronika Electronika Merch is also available!* (*There was more to this answer, including a link, but I’m not running a charity here, so Google Veronika Electronika at your own risk!;-)) 

JHPENTERTAINMENT: Angela Arden is clearly not walking into this family drama without bringing some baggage of her own. What do you think audiences will find most surprising about her—and about Die, Mommie, Die! as a whole?

VERONIKA ELECTRONIKA: Angela, as an identical twin, was literally born with baggage!  Surprises lay around every corner, and just when you think you know what she is up to she may just make you rethink your life choices! The story of Die, Mommie, Die! is so outrageous, so over the top and so full of laughs It will be hard for our guests to not fall in love with any or all of us.  Dash to the front row if you can, it’s a real “splash zone” and where you will get the best “bang” for your buck!  The home of Angela Arden Sussman is a warm, welcoming, and lavish place to get all of your just desserts! 

And there you have it—20 questions, a few lies, a bit of chaos, and just plain campy outrageous fun…it’s the Sussman household way. One thing is certain: when the Sussman clan starts airing its dirty laundry onstage as Die, Mommie, Die! makes its way to Playhouse 615 at 11920 Lebanon Road, Mount Juliet, TN 37112, weekends August 28-September 13, you’ll definitely want to be there to watch it happen. CLICK HERE to purchase tickets (use the drop-down to select specific date/time). 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!

Theatre Review: Keeton’s ‘Come From Away’ Soars as a Powerful Reminder of Human Kindness in Times of Tragedy

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In a world that can sometimes feel painfully divided, The Keeton’s Come From Away arrives as a beautifully timed reminder that when everything else falls away, kindness can still bring us together. While Irene Sankoff and David Hein’s Come From Away score is effective in the moment, it’s not exactly one of those musicals filled with earworms audiences are likely to be singing or rushing out to download on their Broadway playlists. That said, there are moments in musical theatre when a production becomes more than the sum of its songs, characters and choreography. The Keeton’s Come From Away is one of those productions.

Set in the immediate aftermath of September 11, 2001, Come From Away tells the remarkable true story of the 38 planes diverted to Gander, Newfoundland, leaving thousands of passengers unexpectedly stranded in a small community. But rather than focusing on the tragedy itself, the musical turns its attention toward what happened next: strangers opening their homes, sharing what little they had, forming unlikely friendships and discovering that compassion can flourish even in the darkest circumstances.

Under the direction of Susan Walsworth, with musical direction by Trey Lundquist, choreography by Mckenna Driver and set design/tech director courtesy Kevin Driver, The Keeton’s production captures that spirit with an ensemble that understands the show’s greatest strength is its collective heartbeat. Each of these creative, and the cast, come together to present a cohesive piece that presents the technical elements in a minimalist way. Effective, but never overpowering or competing with the strengths of the story and those tasked with bringing it to emotionally charged life.

With an obvious nod to the original Broadway run’s scenic design by Beowulf Boritt, for The Keeton’s production, Kevin Driver and his scenic team (Abby Waddoups, Donna Driver, Aras Alexander, Eric Bradley and Crystal Liles) construct a seemingly simple but successful set. The backdrop, a stripped-down horizontal slat wall that beautifully plays with Jesse Watts’ lighting design. Also reminiscent of the original set design, Keeton’s stage is flanked on either side by tall, thin but sturdy trees that extend out of sight above the action. Driver and company nicely represent the play’s locale with the added touch of downstage rock formations, giving just a hint of a rocky-shored island vibe. No need for elaborate set pieces or projections representing the various scene locations. Throughout the action of the piece, a chair can represent a seat on a plane, a place at a table, a passenger waiting for answers or simply another piece of the constantly shifting landscape. To that end, the choreography by Mckenna Driver works hand-in-hand with that concept, keeping the ensemble in perpetual motion and allowing the story to move with the same speed and urgency as the characters’ rapidly changing circumstances. Here, chairs become airplanes one moment, a bus headed to parts unknown the next, and then a crowded airport filled with weary strangers who somehow become fast friends. If you read my column with any regularity, you know I love a bit of chairography (blame Sweet Charity’s Shirley MacLaine or Janet Jackson if you want) and in Come From Away, chairography—a wonderfully inventive use of the simplest theatrical object to create an entire world—is key.

There may be twelve cast members, but the way Come From Away is presented, each cast member plays at least two roles: those of the displaced passengers and crew of the diverted planes and the townspeople of Gander, Newfoundland. At the center of the ensemble is Melissa Silengo, whose performance as Beverly Bass is nothing short of a powerhouse. Silengo brings an impressive combination of authority, vulnerability and warmth to the role of the pioneering female pilot. Her rendition of “Me and the Sky” is one of the production’s defining moments, taking Beverly from a young girl captivated by the possibility of flight through the challenges of becoming a pilot and ultimately into the extraordinary circumstances that put her leadership to the test. Silengo never plays Beverly simply as a heroic figure; she gives her humanity, making the character’s determination all the more affecting.

As for the passengers, Yolanda Treece’s Hannah, is equally heartbreaking. Her story, particularly as she waits desperately for word about her son, gives the production some of its most emotionally devastating moments. Treece allows Hannah’s grief to unfold with restraint rather than melodrama, making the quiet moments every bit as powerful as the big ones. When the characters gather in prayer, the scene becomes a poignant reminder that despite differences in religion, nationality and circumstance, there are some fears and hopes that belong to all of us.

Then there are the Kevins. Justin Tinker as Kevin J. and Jason Scott as Kevin T. provide some of the production’s most welcome humor while never losing sight of the humanity underneath it. Their relationship gives the audience permission to laugh amid the heavier material, and the chemistry between the two actors makes their banter particularly enjoyable. Their scenes are a reminder that even during extraordinary circumstances, people are still people—and sometimes humor is exactly how we survive the unbearable. Tinker gives Kevin J. a wonderfully complicated edge, while Scott brings Kevin T. an appealing warmth. Together, “the Kevins” are one of the production’s comedic bright spots. 

Another unexpected delight is the developing relationship between Ben Gregory’s Nick and Ashlie Welte-Lopez’s Diane. What begins almost as an accidental connection between two people caught in an extraordinary situation gradually becomes something genuinely sweet. Their relationship never feels forced; instead, it grows naturally out of conversation, curiosity and the simple comfort of having someone beside you when you suddenly find yourself very far from home. Gregory and Welte-Lopez find the tenderness in those moments, giving the audience one more reason to smile.

The rest of the ensemble fills Gander with an infectious sense of personality. Brian Best’s Claude, the Mayor of Gander, reveals grace and a bit of befuddlement under pressure (what’s up with those cargo pants though?). Stephanie Jackson’s Beulah is the take charge Gander resident who keeps things moving in a time of crisis, while finding time to slow down and offer friendship, in particular to Treece’s Hanna. Leslie King’s Bonnie shows that empathy extends beyond the people affected by tragedy. Her scene with unseen animals in the cargo holds end up being some of the show’s most emotionally charged moments. Jack Joiner’s Oz, the constable and other minor roles provide more humor and heart. Jayden Murphy’s Bob, a young man who’s uncertain about “collecting bbq grills’ from Gander residents’ yards to help feed the masses provides a bit of humor, but also examines prejudices. Claire Yancey’s Janice, newbie local reporter who’s thrown into the spotlight on her first day on the job, adds another layer of self-doubt were crisis is concerned. Each ensemble member, regardless of their role, contributes distinct—at times humorous and through-provoking pieces—to the community that ultimately becomes the emotional center of the story.

As the story unfolds and the actors switch from townsfolk to displaced temporary Ganderites and back again…multiple times, there comes an unexpected pleasure in watching the ensemble shift from one character to another. One actor may be a passenger in one scene and a Gander resident in the next, with a change of posture, voice, costume piece or simply a new chair position doing the work. It is an enormous theatrical challenge, and this cast embraces it, and carries it out with everything they’ve got.

From the all-in half narrative/half sung-through opening number, “Welcome to The Rock”—to the production’s lighter moments, whether the passengers discovering the peculiarities of Newfoundland life, the infamous “Screech-In”, or the increasingly chaotic attempts to accommodate thousands of unexpected guests, there are genuinely funny moments—without ever making light of the circumstances surrounding them.

And then there are the moments when the laughter suddenly stops. The production’s treatment of the passengers watching the news footage for the first time is devastating precisely because it doesn’t need to overplay the moment. Staged somberly by director Walsworth, the passengers face the audience looking just above them, watching unseen tv screens. The audience doesn’t need to hear audio or see a video loop of the harrowing moments American Airlines Flight 11 and United Airlines 175 crashed into the Twin Towers to know what these characters are seeing. Those of us old enough to remember, know what they don’t yet know. The silence carries the weight and the resulting tears that streamed down my face as I watched this scene during the show’s opening night prove we truly will never forget.

That emotional balance is one of the most difficult things about Come From Away, and The Keeton largely gets it right. The show can move from laughter to tears and back again without feeling manipulative because the characters have been allowed to become real people rather than symbols.

Walsworth’s direction keeps that humanity front and center. Her staging trusts the material, the actors and the audience. Trey Lundquist’s music direction is equally essential, giving the production the vocal drive required by a score that rarely sits still. The music propels the story forward, while the ensemble sound helps create the feeling that this is one giant story being told by many voices.

And ultimately, that is exactly what Come From Away is. It is a story about people. People who were scared. People who were grieving. People who were annoyed, confused, exhausted and occasionally overwhelmed. But also people who opened their doors. People who cooked meals. People who provided beds. People who drove strangers around town. People who listened. People who laughed together. People who, for a brief moment, stopped being strangers.

The Keeton’s Come From Away understands that the show’s greatest spectacle isn’t in constructing a realistic aircraft cabin. It’s not in unnecessarily perfect choreography or even the remarkable feat of telling dozens of stories with a relatively small ensemble. It’s the kindness. In a time when it can be easy to become cynical about humanity, Come From Away offers something refreshingly simple: proof that we still possess the capacity to care for one another.

The Keeton’s Come From Away is an affecting, spirited and beautifully assembled production that takes flight because its talented ensemble never loses sight of the human beings at the heart of this extraordinary story. With Susan Walsworth’s assured direction, Trey Lundquist’s vibrant musical leadership, Mckenna Driver’s understood simple movement and a cast that seamlessly transforms chairs into planes, buses, airports and gathering places as effectively as they bring their characters to life, this is a production that reminds us that even in our darkest moments, there are still reasons to believe in each other. A beautiful reminder that sometimes the most powerful stories aren’t about what happened. They’re about what happened afterward.

The Keeton‘s Come From Away continues thru Sunday, August 30. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JASON SCOTT: Safe, Emotional, FUN

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

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

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

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

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

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

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

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

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

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

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

JUSTIN TINKER: how important community is.

RAPID FIRE WITH COME FROM AWAY DIRECTOR SUSAN WALSWORTH

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Arts Preview: Kindling Arts Festival Continues Through Sunday with a Weekend of Bold, Original Performances Across Nashville

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The Kindling Arts Festival: UTOPIAS kicked off Thursday evening and continues through Sunday, July 26, transforming venues across West Nashville into stages for world premiere theater, contemporary dance, opera, comedy, performance art and interactive experiences. Featuring 22 original performances and events created by more than 160 local artists, the festival has spent the past nine years building a reputation as one of Music City’s most exciting showcases for fearless creativity. If you missed opening night, don’t worry—there’s still plenty of time to experience one of Nashville’s most inventive celebrations of local artists.

Unlike festivals built around familiar titles, Kindling is all about discovery. It’s where audiences can experience brand-new musicals, see plays in development before they reach larger stages, witness immersive dance works and encounter performances that challenge expectations while celebrating the remarkable depth of Nashville’s artistic community.

This year’s theme, UTOPIAS, couldn’t be more fitting. In a recent press release Co-Founders and Co-Artistic Directors Daniel Jones and Jessika Malone explain the inspiration behind this year’s festival. “At a time when the arts are increasingly under attack through censorship, shrinking support, and political backlash, the act of imagining a better world is both radical and necessary.”

That spirit echoes throughout the weekend, with artists exploring hope, justice, belonging and the possibilities that emerge when creativity is allowed to flourish without limits. Jones and Malone continue by asking audiences, “What does it mean to create in the direction of a world that is not here yet? How might artists model new systems of belonging, justice, care, and joy?” Rather than offering easy answers, Kindling invites audiences to spend four days exploring those questions through storytelling, movement, music and shared experience.

If you’re deciding what to catch over the remainder of the festival, the six productions highlighted as this year’s Must Sees provide an excellent place to start. Musical theater fans should make time for Fairy Floss: A New Musical, a charming new work by Madeline Hicks featuring music by Kara McLeland. Inspired by the invention of cotton candy, the production blends romance, whimsy and history into what promises to be one of the festival’s sweetest offerings.

Found Movement Group’s Tea transforms the familiar Southern ritual of gathering over tea into an intimate blend of dance and theater celebrating hospitality, family traditions and human connection.

Dance enthusiasts will also want to experience Objects in the Mirror, where PYDANCE choreographers Emma Morrison, Becca Hoback and Asia Pyron present original contemporary works exploring identity, memory and transformation through movement.

Opera lovers shouldn’t miss Faith: A New Opera, composer Jeremy Smith’s ambitious new work combining Southern gospel traditions, Appalachian folk influences and classical opera in the story of a charismatic preacher whose growing influence comes at a cost.

For audiences looking for something delightfully unconventional, Off the Clock once again showcases Kindling’s adventurous spirit through original performance art created by Landry Butler, Grandmafun, Chris Strauss and Jennifer Whitcomb-Oliva. Expect an evening filled with humor, experimentation and the unexpected.

Another annual festival favorite, New Play Platter, gives audiences a front-row seat to the creative process with excerpts from five new plays currently in development, offering an exciting glimpse at the future of Nashville theater.

Of course, one of Kindling’s greatest strengths is the joy of discovering productions that may not have been on your radar before arriving. This year’s lineup also includes Common Ground, an evening of dance celebrating community and collaboration; Milk Makes Me Sick But My Body Needs It, Hannah Dorfman’s deeply personal exploration of womanhood and healing; 30 Plays in 60 Minutes, an energetic collection of miniature plays inspired by the festival’s UTOPIAS theme; and See You in Hell, an unforgettable mix of burlesque, drag, clowning and spoken word.

Other highlights include The Wreck of the Manifest Destiny, Late Stage Elisabeth, Kintsugi: Art of Scars, Ruined Causes, Faulty Premise, Chisme Fantasmagórico, The Queerest Comedy Show, Dance Studio Sharings, Embodied Creativity, Community Frolic, Writer’s Gym, the Free Nashville Poetry Library Reading, Unscripted: Festival Remix and Sunday’s Festival Wrap Party, making it nearly impossible to see everything in a single weekend. But you’ll have a blast trying.

That remarkable variety is exactly what has made Kindling such an important part of Nashville’s arts landscape. Every performance represents a different artistic voice, encouraging audiences to step outside their comfort zones and experience work they might never encounter in a traditional theater season.

The festival is equally committed to supporting artists behind the scenes. Kindling operates using a fee-free model that removes many of the financial barriers independent artists often face, covering essentials such as venue rentals, technical support and marketing so creators can focus on making their work.

As Jones and Malone share on the festival’s official site, “Kindling stands firm in our belief that artists must be free to speak truth, challenge existing systems, and create boldly without fear.” That philosophy has helped establish Kindling as one of Nashville’s most valuable incubators for original performance, giving emerging and established artists alike the opportunity to develop bold new work in front of adventurous audiences.

As one might expect, community support plays a vital role in keeping that mission alive. The organization invites patrons to become sustaining members through monthly giving, helping fund year-round artist development while ensuring future festivals remain accessible. Memberships begin at just $5 per month, with additional benefits available at higher levels, including festival discounts, exclusive events, limited-edition merchandise, VIP seating and behind-the-scenes rehearsal access.

With three days still remaining, there’s ample opportunity to dive into this year’s festival, whether you catch a single performance or spend the weekend hopping between venues. However you choose to experience it, Kindling offers something increasingly rare—the chance to witness artists taking genuine creative risks while inviting audiences to imagine what a better world might look like.

On the Kindling site, Jones and Malone close their letter with an invitation that perfectly captures the spirit of the weekend: “We invite you to explore all that Kindling Arts Festival 2026: UTOPIAS has to offer and to join us in imagining, creating, and moving toward a better world.” It’s an invitation well worth accepting.

Kindling Arts Festival: UTOPIAS continues through Sunday, July 26, at venues throughout West Nashville, including OZ Arts Nashville, Darkhorse Theater, The Curb Center at Vanderbilt University, Barbershop Theater, Spero Dei Church, Global Education Center, Back Bar at Verna and Richland Park. Festival passes, individual tickets and the complete performance schedule are available at KindlingArts.com. Be sure to check the online schedule before heading out, as performances take place throughout each day and evening at multiple locations and as word spreads, some of those festival favs are likely to sell out.

For the latest about Kindling Arts Festival and to get ahead of the game for next year’s mammoth 10th Anniversary celebration, find them online at KindlingArts.com and follow them on Facebook, Insta and YouTube.

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!

 

 

Theatre Review: Playhouse 615’s Agatha Christie’s ‘The Unexpected Guest’ Is a Delightfully Twisty Mystery Filled with Suspicious Characters and Standout Performances

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Members of the cast of Playhouse 615’s presentation of Agatha Christie’s ‘The Unexpected Guest’

Agatha Christie has long held the title of the undisputed Queen of Crime, crafting mysteries that have kept audiences guessing for generations. While The Mousetrap may be her most famous stage work, The Unexpected Guest deserves a place alongside it. Premiering in 1958, the play is classic Christie—a secluded country manor, a shocking murder, a house full of people harboring secrets, and enough twists to make even the most seasoned armchair detective second-guess every theory.

Co-directed by Ann Street-Kavanagh and Craig Hartline, Playhouse 615 wisely leans into those strengths, allowing the script’s carefully constructed puzzle to take center stage. Rather than revealing too much about who did what—and to whom—it’s far more enjoyable to examine the people under suspicion. With that in mind, there’s be no plot summary herein. Suffice it to say, in true Christie form, there’s a murder, and there’s a manor house full of suspects. After all, every detective knows the truth is found not in the crime itself, but in the behavior of those who knew the victim best.

Matt Smith’s Michael Starkwedder is immediately established as a man who is almost too smooth for his own good. Arriving unexpectedly at exactly the wrong place and exactly the right time, Smith gives the character an easy confidence that constantly keeps audiences wondering whether he’s genuinely trying to help or quietly manipulating everyone around him. His charmingly smarmy portrayal walks that wonderfully uncomfortable line where every reassuring smile somehow feels just suspicious enough. Smith never tips his hand, making Starkwedder exactly the kind of Christie protagonist audiences love trying—and failing—to figure out.

We next meet Katie Delaune’s Laura Warwick. Delaune brings warmth and vulnerability to the young mistress of the manor, making her plight immediately sympathetic while wisely never eliminating the possibility that she could be hiding something. Her performance allows audiences to continually question whether Laura is simply a victim of circumstance or someone carefully concealing the truth. Delaune’s sincerity gives the emotional stakes of the story a much-needed anchor amid the ever-growing list of suspects.

It seems only fitting that one of the grande dames of Nashville community theatre should portray the grande dame of this troubled estate. Linda Speir is perfectly cast as Mrs. Warwick, carrying herself with the unmistakable air of someone who has spent decades believing everyone else exists merely to disappoint her. Speir expertly mixes aristocratic self-importance with dismissive disdain for nearly everyone she encounters, yet wisely avoids making the character simply cold or cruel. In fleeting moments—a softened glance, a quieter line delivery, the slightest crack in an otherwise rigid exterior—she reveals the forgotten gentler woman buried beneath years of grief, pride and disappointment. Those subtle glimpses make Mrs. Warwick far more interesting than the stereotypical overbearing matriarch she could have easily become.

Connor Olen provides one of the production’s most quietly delightful performances as Jan. His childlike excitability gives the character an innocent unpredictability that continually leaves audiences questioning exactly how much Jan understands. Olen fills the role with nervous energy and wonderfully specific character choices that never call attention to themselves but enrich every scene. One particularly inspired moment occurs during an interrogation as Jan absentmindedly fidgets with the peel from an apple slice. It’s such a seemingly insignificant detail, yet it speaks volumes about the character’s restless, distracted mind while simultaneously adding another layer to his delightfully peculiar personality. It’s the kind of understated acting choice that often goes unnoticed consciously but subconsciously makes a performance feel remarkably authentic.

Rounding out the cast Emma Reinbold is, on the surface, a steady, reassuring presence as the devoted Ms. Bennett, grounding many of the play’s more emotionally charged moments with quiet sincerity. But of course there’s more to her long-tenured devoted presence. Rich Moses lends Julian an affable confidence that keeps audiences guessing exactly where his loyalties lie. Andrea Coleman’s police Sergeant provides some of the nights’ more comical moments. She and her on-stage superior, Rezende’s Inspector, trade eye-rolls and seemingly unscripted, adlibed barbs, giving the Sergeant more range of character than the calm professionalism with which the role is typically presented. Kamron Smith rounds out the ensemble as Angell, offering up the tried and true embodiment of the age-old mystery trope that raises the question, did indeed the butler do it? OK, so Angell isn’t a butler, but he is a male attendant to the murder victim, but you get the gist. 

The evening, however, belongs to Wanderson Rezende. As Inspector Thomas, Rezende delivers a performance that feels refreshingly original while remaining completely faithful to Christie’s world. Every mystery needs the brilliant detective capable of seeing what everyone else misses, but Rezende refuses to settle for merely playing another stoic inspector.

During his interrogations—particularly opposite Linda Speir, Connor Olen and the other increasingly uncomfortable suspects—he demonstrates remarkable control over every aspect of his performance. With brilliant shifts in vocal inflection, posture, facial expression and physicality, Rezende effortlessly transitions from the stern seriousness audiences expect from a Christie detective to flashes of quirky, almost childlike playfulness reminiscent of Pee-Wee Herman or Mr. Bean. Never broad enough to become caricature, but just enough to make the Inspector endlessly fascinating.

His investigative process becomes theatrical in all the best ways. Whether employing the murder weapon as a visual aid, incorporating a fruit snack into his deductions, or somehow turning a bit of knitting into investigative tool, Rezende constantly finds inventive bits of business that not only earn laughs but reinforce the notion that this Inspector’s mind is always several clues ahead of everyone else. A prime example come in the aforementioned investigation of Speir’s Mrs. Warwick. As the Inspector invites the elder matriarch to join him on the sofa for a little chat, he nonchalantly takes out his knitting needs, and yarn. He nonchalantly tosses the yarn into Mrs. Warwick’s lap, which she quickly and calmly removes from her lap a sets the yarn between them. It’s a simple but effective scene. The Inspector is either trying to equate the humdrum hobby of knitting with the senior suspect, or he’s establishing dominance by assuming she’ll hold the yarn as he coaxes her to weave her tale of the events of the murderous night. Either way, in the hands of Rezende–with an able assist from Speir–it’s one of the most inventive Christie moments you’re likely to encounter on a local stage.

As is the case with most mysteries, there’s that uncomfortable moment when difficult facts are presented. It is in that spirit that the usual suspects of technical issues within Playhouse 615’s production need be addressed. While the majority of the Welsh accents were certainly serviceable, several wandered throughout the evening, occasionally drifting toward a more generic British sound before finding their way back again.

Prior to interviewing members of the cast, I had reached out to one of the co-directors for a bit of behind-the-scenes intelligence. Knowing Playhouse 615 occasionally enjoys modernizing or relocating classic works, I specifically asked whether The Unexpected Guest would remain the mid-century Welsh affair Christie originally envisioned. I was told the production would still take place in the Welsh countryside but had been moved forward to the 1980s.

As an 80s kid myself, naturally, that raised expectations. A wealthy family living in the 1980s immediately conjures images of bold colors, oversized silhouettes and the sort of nouveau riche excess that would make the Carringtons from Dynasty feel right at home. Instead, the costumes and scenic design lack any definitive aesthetic. With no shoulder pads to be found among the female cast wardrobe choices and what appears to be peel and stick shelf and drawer paper doubling as paneled walls (resplendent with air bubbles, I might add), and without a director’s note explaining the conceptual shift, there is little visual evidence that the story has moved to the 80s—although I did catch one of the actors reply with “Cool” at one point— making the timeline adjustment feel more puzzling than purposeful. It would, perhaps, have made more sense to shift the action to present-day America if budget, time and resources wouldn’t allow the production to remain in the period Christie originally intended.

Those minor critiques, however, are ultimately overshadowed by the strength of the performances. Wanderson Rezende crafts an Inspector Thomas unlike any you’re likely to see, blending razor-sharp deduction with unexpected whimsy and becoming the production’s undeniable standout. Linda Speir reminds audiences why she continues to be one of Nashville theatre’s most respected leading ladies, Connor Olen quietly steals scene after scene with wonderfully specific character work, and Matt Smith and Katie Lelaune’s combined effortless charm keep suspicion hanging over them both until Christie’s final revelation. Together, alongside the entire cast, they elevate an already clever script into an evening of thoroughly engaging theatre.

Like every great Agatha Christie mystery, The Unexpected Guest isn’t simply about discovering the murderer—it’s about savoring every cleverly planted clue, every suspicious glance and every delicious red herring along the way. Playhouse 615 has assembled a cast that clearly relishes that challenge, inviting audiences to play detective right alongside them as performances continue weekends through Sunday, August 2.  Whether you’re a lifelong Christie devotee or making your first trip into her wonderfully deceptive world, this is one case well worth investigating. Just don’t expect to solve it before the Inspector does.

CLICK HERE for tickets. 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!