JHP Entertainment

Entertainment News, Reviews and Interviews

    Rapid Fire 20Q: On the Run and On the Record with ‘Some Like It Hot’ National Tour Cast; at TPAC April 21-26

by

When the national tour of Some Like It Hot taps its way into Tennessee Performing Arts Center April 21–26, audiences can expect a high-octane blend of classic Hollywood glamour, sharp-edged comedy, and full-throttle musical theatre spectacle. Set against the backdrop of Prohibition-era Chicago and a cross-country escape to California, the show follows two musicians on the run who find themselves embedded in an all-female band—leading to mistaken identities, romantic entanglements, and plenty of tap-dancing chaos.

At the center of it all is a company of performers tasked with balancing farce, heart, and precision night after night. With the Music City dates marking the final stop on the show’s current tour schedule, JHPEntertainment caught up with cast members Edward Juvier (Osgood), DeQuina Moore (Sweet Sue), Matt Allen (Mulligan), Devon Goffman (Spats), and Devon Hadsell (Minnie) for a Rapid Fire 20Q—covering everything from character approach to the mechanics of keeping a show this fast-moving fresh on tour.

⸻

 RAPID FIRE 20Q WITH CAST OF SOME LIKE IT HOT NATIONAL TOUR

RAPID FIRE WITH SOME LIKE IT HOT‘s SWEET SUE, DEQUINA MOORE

 JHPENTERTAINMENT: As Sweet Sue, you’re front and center during the show’s opening number, “What Are You Thirsty For?” How exhilarating is it to kick off the show with this number each night? 

DEQUINA MOORE: It’s BEYOND exhilarating, honestly! My heart is pounding, my excitement is through the roof, and I get chills sometimes once the audience is moved to scream!  To be able to tell the story with such large belly notes and humungous presence and such power and control are all traits of a number that most artists can only dream of. Sweet Sue gets to set the tone and the pace of the show, and also the energy! She holds it all in the palm of her hands from the very beginning, and as much fun as it is, it’s also a lot of responsibility–one that can never ever be taken for granted. So every single show, I try to take the bull by the horns, no matter how I’m feeling personally, and get the show started with a BANG! The music of the speakeasy and the life of Prohibition struggles and fights for survival all have to be prevalent themes from the very top!

JHPENTERTAINMENT: What are YOU thirsty for? 

DEQUINA MOORE: Whew, that’s a great question! I, as Sweet Sue, am “thirsty” for a life that is not scared of the day-to-day. Just to live without going to jail for the selfish gangsters that she works for is what she’s really working hard towards. Selling booze under the table for them and then always having to take the heat for them is EXHAUSTING! She would much rather make her music, lead her band, teach some life lessons, and rest without stressing for a change. The sweet and simple life is within her grasp, but trying to make sure she makes enough money for the night, all while being Black and female, is the never-ending trial she has to face and eventually conquer as the story unfolds.

As, DeQuina Moore, the artist and dreamer, I am “thirsty” for more time with my new baby boy, Kevin Montrel!  He’smy dream these days, only 1 year old, and he holds my entire heart and soul in the palm of his little hands. I cannot wait to sing to him more and dance with him, and play with him and have our little chats, and go outside and play, and keep him from putting everything in his mouth, and teach him all the life lessons like how to share and how to be friendly, and how to maintain his humility all while remaining confident…and so on and so forth! I am extremely “thirsty” for these moments with Baby Kevin, and I simply cannot wait! 

 JHPENTERTAINMENT: What’s the key to keeping Sue grounded in such a heightened world? 

DEQUINA MOORE: I think the key to keeping Sweet Sue grounded in such a heightened world is constantly remembering what she needs and what she wants. She is so hyper-focused on reaching her dreams that it makes her also a true lifesaver, literally and figuratively.  Not only is she working hard so that she can help provide for her own family and herself back home, but she is also keeping in mind the life and the dreams of all of her band members.

Every single lady that is a part of Sue’s lineup has a family and aspirations of their own, and it’s extremely important throughout the arc of the story that Sue never loses site of that. Therefore, her stakes remain very high, to the point where she can’t ever stray too far from her goals. Music and ultimately succeeding with the band is actually life or death for her!  So, any and all distractions/noise of any kind that’s all around her must be put on the backburner or be completely ignored in order for her to be the hero she is in this extraordinary story.

JHPENTERTAINMENT: What part of Sue’s journey resonates most with you personally?

DEQUINA MOORE: The part of Sue’s journey that resonates with me the most is most certainly the surprise that she is hit with suddenly and subliminally as she grows and matures in her bandleading position.  As it all unfolds, she’s not just a director and a manager, but she’s also a huge maternal figure to every single lady. She’s a mother figure to so many, and this is a role that is very unexpected for the character. So in the moments where Sue would rather remain hard and stern and disciplinary, she actually, at times, has to find her soft side and rely on her femininity and her truth as not just a woman, but a mother in order to get her through some of the toughest moments in the story.

This particular character trait is crucial for the story to work. It’s part of the heart of the journey. It’s what makes not only the ladies fall in love with Sue, but also is what makes them want to remain in her band. They not only feel protected physically, but also emotionally, and this is what makes all their relationships even more relatable and interesting to the audience. It adds a level of complication that makes sense, which is never easy to play, but very easyand thrilling to spot and witness!  

⸻

RAPID FIRE WITH SOME LIKE IT HOT‘s MULLIGAN, MATT ALLEN 

JHPENTERTAINMENT: As Milligan, you’re the show’s “straight man”. What is the challenge of playing it straight in a farce like Some Like It Hot? 

MATT ALLEN: Hello Jonathan, and thanks for these amazing questions! With a cast of gifted actors/comedians, playing the “straight man” is an honor and a breeze.  And with a finely crafted script like this one, it also becomes acutely necessary for there to be a “straight man” in the beginning of the show to give the pertinent information that tells the story to allow the characters to make their drastic decisions that sparks the basis for this zany, off the wall, and touching story.

 JHPENTERTAINMENT: Alright, I can’t waste this opportunity…Putting Some Like It Hot aside for just a second…What’s your favorite memory of your time in Once Upon a One More Time, the 2023 all-Britney Spears jukebox feminist fairytale? 

MATT ALLEN: Wow, I didn’t see this one coming!! And thanks for doing your research.  There were so many incredible moments with Once Upon a One More Time, but the one that immediately pops up when you asked the question was the moment I received the “Legacy Robe” on Opening Night.  That ceremony is so rich in tradition, and such and honor.  The first time I witnessed a Legacy Robe ceremony many years ago, I wondered if I would ever be so lucky to be a recipient.  And then to receive not only one, but two Legacy Robes kind of blew my mind.  And funny enough, both robes I received were on the exact same stage at the exact same theatre, The Marriott Marquis, [the first being 2018] with Escape to Margaritaville!

JHPENTERTAINMENT: Back to Some Like It Hot…Without giving too much away concerning a bit of…‘undercover work’ during a particular chase scene, how much fun are you having each night when it’s time to trap Spats in a Josephine-esque honeypot?  

MATT ALLEN: Well, as you put it, with being the “straight man,” this is my first opportunity to really jump in on the fun that has been happening on stage all night.  However, none of this fun could truly happen without the brilliant writing of this show.  Watching and feeling the journey of this show finally coming down to this moment of truth is a real thrill each and every night. Everyone is onstage at this moment, and all the storylines have merged to form a very dramatic and comedic pinnacle.  Needless to say, it’s about as much fun as you can possibly have in a classic musical theatre setting…DREAMY!

JHPENTERTAINMENT: The audience quickly learn what/who Milligan is pursuing. What’s Matt after? 

MATT ALLEN: Well Jonathan, I’m “after” the constant search for happiness, I guess.  I am lucky to be blessed with an abundance of it, but it takes work and effort to keep it. My wife, Paula, and my dog, Vixen, provide a tremendous amount of happiness for me. But I haven’t seen them very often while on tour. I am lucky to be able to say my work provides me with happiness, and especially with this show because of its gifted cast and incredible script. So sometimes work, which makes me happy,  takes me away from family, which also makes me happy. It requires work to balance all of that out. So in the pursuit of happiness, I guess I am also after “balance.”  Wow, thanks Jonathan for that question!  It helped me work this all out…I guess I am really after balance!

 ⸻

RAPID FIRE WITH SOME LIKE IT HOT‘s SPATS, DEVON GOFFMAN

JHPENTERTAINMENT: As someone who worked alongside Simon Cowell during the original first two seasons of American Idol, I gotta admit, I literally LOL’d when I ran across a clip of you comparing Spats Colombo to a “Simon Cowell of the 1930s”…care to expand on that a bit? 

DEVON GOFFMAN: Aw, yes! I’m a huge fan of Simon, and I loved watching him on those original seasons of American Idol. He was always tough on the exterior… but had a heart of gold that would just melt from the right performance. Watching Simon be soothed by the best performance was what the audience waited for– soothing the “savage” beast. I feel like Spats Colombo may be a tough, and “literally savage” mobster from Chicago. But everything he does in the show is driven by him searching for the best talent for his club. It was Prohibition, and no matter what, Spats wants the top-notch entertainers working at HIS club. He’sproud of it. He respects it, and he forgets about his dark motives when watching Sugar Kane sing a ballad. (Leandra Ellis-Gaston melts Spats, me, and the crowd every night with her vocals & gutsy performance). If you notice, a lot of the “mob” bosses in organized crime in the 30’s wore the best suits with the best fabrics, ate the finest meals, and drank the finest liquor and wines. They wanted only the best singers & dancers in their club.  Fortunately, that’s what the audiences get when they watch our company of Some Like it Hot. And the finest suits/threads–Gregg Barnes won a Tony for the costumes. And my three piece suit & tux… when I put those on, I’m catapulted into 1933.

JHPENTERTAINMENT: What makes Spats more than a traditional gangster antagonist and so fun to play?

DEVON GOFFMAN: Spats is so much fun. He gets to bring the frightening truth of the 30’s organized crime to a show with fun songs, tap dancing, and great laughs. Slowing down the show a bit with a sense of humor, combined with a sense of ominous fear. That where good theatre starts: having that opposing energy. Spats loves to crack jokes, and he loves to crack craniums as well. 

The St. Valentine’s Day massacre in Chicago is what the “moment” of this show is based on. That’s scary real stuff. Bringing a bit of that reality into a very fun comedy really makes for an interesting story. I love that I get to join in on Casey Nicholaw’shistoric and genius choreography in the show. I like to call some of it Door-E-Ography…he won the Tony Award for the genius Choreography in the show. I’m lucky Spats gets to join in on it!  What a thrill.

JHPENTERTAINMENT: With half a dozen tours from Jersey Boys to Grease to your credit, What’s been the most rewarding aspect of playing this role on this tour?

DEVON GOFFMAN: I’m fortunate to have done a hand full of really great musicals on the road. Great music, and some great scripts. Some Like It Hot MAY be one of the funniest scripts I’ve gotten to do. It’s got the sit-com laughs, and hearing the realaudience every night (for 580+ shows) on the road laughing throughout… it’s encouraging. I think theatre is heading into a great Renaissance period of time. People are starved for connection, and genuine entertainment that isn’t on a screen.

Especially the young people. They seem to be reallyinspired by this show. It is nice to see people put down their phones for 2.5 hours and laugh, smile, cheer, and maybe even tear up a bit! Live theatre at its best. But the laughs are the secret weapon of this show–audiences walk out feeling GOOD!

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the scene when Mulligan goes…“undercover” to trap Spats. How do you keep it together and in-character during the hilarity of this particular situation opposite Matt?

DEVON GOFFMAN: Yeah, the first time I saw Matt Allen “undercover” was tough not to break on stage. That goofball dressed up like that drove me to the brink! He’s a hilarious actor with such great energy on and off stage. Our company is led by some veteran performers who have really been doing this all our lives. Edward Juvier is a comic genius who makes every Osgood moment shine bright with honesty and kindness. Matt Loehr as Joe/Josephine is one of those unicorn performers who can do EVERYTHING well, and always has a huge smile and a hug waiting for you offstage! Having leadership like them in the building since day one on this tour truly set the tone. Tavis Kordell is an extraordinary talent with a huge heart that shines as Jerry/Daphne! DeQuina Moore & Devon Hadsell bring so much good energy, and endless experience to their roles. Kindness + Work Ethic +  Joy = a Show that Radiates! We are a family. Every theatre show doesn’t have to become a family… but this tour has become the best kind of one. One that cares for each other and keeps the love of the show, and experience for the audience as our number one objective.

⸻

RAPID FIRE WITH SOME LIKE IT HOT‘s MINNIE, DEVON HADSELL

JHPENTERTAINMENT: Having understudied the role of Minnie during the show’s Broadway run and now taking on the role for the touring company, How do you feel you’ve made Minnie your own? AND…what do you love most about her? 

DEVON HADSELL: First of all, I feel so grateful to have understudied Minnie on Broadway and to then originate this role for tour. The way I’ve made this character my own is I tried to deepen Minnie’s connection with Sweet Sue and her need to make Sweet Sue happy. I also leaned into Minnie’s ditziness and her bad memory when it comes to knowing the correct apartment she’s supposed to grab things from. I LOVE that Minnie is always down for a good time and a good gimmick. She’s got major talent on the drums and never goes anywhere without her cigarettes.

JHPENTERTAINMENT: Minnie seems like the kind of character with an interesting backstory. In your own mind, as you’ve developed your portrayal, what’s something you’ve imagine in Minnie’s past that led her to where she is? 

DEVON HADSELL: Something I always imagined in Minnie’s past was a divorce from a guy she got married to when she was very young. I imagine it was a messy one, and she’s decided she’s through with men for the time being and is excited to devote her life to empowering women through this girl band with Sue. I think she’d be open to finding love in the future, but for now, she’s having a blast living life on her own terms and being a little wild.

JHPENTERTAINMENT: Minnie has a penchant for having sticky fingers. IF you could get away with it, what’ssomething you might ‘lift’ from the show—a set piece, a prop, a bit of wardrobe—after the tour is over? 

DEVON HADSELL: Oh my gosh! If I could take my deep purple Mexico dress with the orange flowers and sparkling pendant in the front, I’d be sooooo happy. The shawl I wear with it is gorgeous too. It’s my favorite costume I wear in the entire show, and it’s for the number, “Let’s Be Bad”.

JHPENTERTAINMENT: As Sweet Sue’s right-hand-woman, Minnie manages the all-girl band, The Syncopators. If you were to start a band, what would you call it AND what role would you play in it?

DEVON HADSELL: If I were to start a band I’d name it “Velvet Vixens” and I’d be the Manager and Conductor and also play the keys!

⸻

RAPID FIRE WITH SOME LIKE IT HOT‘s OSGOOD, EDWARD JUVIER

JHPENTERTAINMENT: What drew you to the role of Osgood in this production?

EDWARD JUVIER: I was drawn to Osgood immediately. He leads with curiosity instead of judgment, and the chance to play someone who is wildly funny and grounded in love and acceptance is something any actor would jump at. As a Cuban American, it’s rare to find a role that feels so specifically Latin in its roots while still living fully in the world of American musical theater.

JHPENTERTAINMENT: In the source material, writer/director Billy Wilder’s 1959 blockbuster film, Osgood is played mostly for laughs and the brunt of jokes, especially in his pursuit of Daphne. In the stage musical, he’s still funny, but more the comedic hero. What’s your favorite aspect of this change in the character? 

EDWARD JUVIER: I love that he’s in on the joke now. He’s not the punchline, he’s part of the storytelling in a real way. More than that, his love is taken seriously. He sees Daphne clearly and chooses her without hesitation, and that gives him a kind of quiet strength that makes the comedy land in a much more joyful way.

JHPENTERTAINMENT: Of Osgood’s featured musical numbers, Do you have a favorite, or does that change night-to-night, venue-to-venue, audience-to-audience?

EDWARD JUVIER: It honestly changes. Marc and Scott wrote such a rich score for Osgood, and what I love most is how much the audience shapes each moment. You can feel when they’re leaning in, when they’re surprised, when they’re rooting for him. So my favorite tends to be whatever moment feels most alive in that particular room. That said, “Fly, Mariposa, Fly” is a gorgeous song that I love singing and sharing every night.

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing Some Like It Hot?

EDWARD JUVIER: I hope they leave feeling a little lighter and a little more open. At its heart, the show is about seeing people for who they truly are, and choosing love anyway. If someone walks out laughing, humming a tune, and maybe thinking a little differently about how they show up for others, then we’ve done our job.

⸻

With a show that thrives on timing, chemistry, and sheer momentum, it’s clear this company has found its rhythm on the road. Whether navigating the demands of farce, anchoring the story’s emotional beats, or keeping pace with some of the most intricate staging currently touring, each performer brings a distinct perspective to a production that refuses to slow down.

Some Like It Hot plays TPAC‘s Jackson Hall April 21 thru 26—delivering a fast, funny, and thoroughly modern take on a classic story, with just the right amount of old-school showbiz shine. CLICK HERE for tickets. To follow Some Like It Hot, check out their official site or find them on Facebook, X, Insta and TikTok. 

While this may be the end of the road for Some Like It Hot‘s current national tour schedule, TPAC‘s Broadway season continues next with Water for Elephants on stage May 12-17. Then it’s the return of two favorites with Book of Mormon June 2-17 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

 

Rapid Fire Confessional with ‘Sister Act’ Cast and Director; Nashville Rep’s Production Continuing at TPAC Through April 19

by

There’s joy, there’s gospel, there’s glittering habits, powerhouse vocals and a nun on the run—basically everything you want from Nashville Repertory Theatre’s production of Sister Act–continuing at TPAC‘s Polk Theatre thru Sunday, April 19. As the cast and crew prepared for the show’s run, Sister Act stars Deloris Van Cartier herself, Meggan Utech, Mother Superior (Megan Murphy Chambers), and Sister Mary Robert (Shelby Talbert) –along with director Jason Spelbring, spilled a little holy tea with JHPEntertainment in our latest Rapid Fire 20Q.

—–

RAPID FIRE Q&A WITH NASHVILLE REP’s SISTER ACT CAST MEMBERS AND DIRECTOR

RAPID FIRE WITH SISTER ACT‘s DELORIS VAN CARTIER, MEGGAN UTECH

JHPENTERTAINMENT: As I was researching to chat with you, your cast mates and your director, I remembered, this isn’t your first time in the role of Sister Act’s Deloris.  Back in 2018 you starred in the iconic role at the now-defunct, but fondly remembered Chaffin’s Barn —in the time since, has your perspective on Deloris evolved, and are you approaching her differently this time around, or is it simply a case of getting “back in the habit”? 

MEGGAN UTECH: It’s a double edged sword to replay any role. I LOVE Deloris and to have her in my bones and memorized made it easier to play and learn new things (and thanks to Jason’s incredible direction I got to dive SO DEEP into Deloris’ brain) but I also had to forget all of the bad habits (pun intended) that I had learned…weird notes (Sorry Sarah!)* old choreo (Sorry Joi) *[Sarah Michele Bailey and Joi Ware being this production’s music director and choreographer], rote ways I delivered lines that no longer apply, Etc. Fresh eyes is always best, but thank god I didn’t have to relearn these lines and songs completely. My brain is not as elastic as it was in 2018. Who’s is!?

JHPENTERTAINMENT: over the years you’ve appeared in a number of shows with Nashville Rep. How does stepping back into this role, this time with one of Nashville’s most respected and accomplished companies, feel at this point in your journey as a performer? 

MEGGAN UTECH: I worked really hard to be here. But harshest part of theatre is, just because you’ve done the work and put in the time does not mean you get to just HAVE a role. You have to earn every single casting, from Deloris to Featured Third Christmas Tree From the Right. I had a very wild journey to get here both professionally and, in this last year, personally. It was hard not to see this as a conclusion to a long journey, no matter which way the chips fell. I’m so SO filled with gratitude that this how it turned out. 

JHPENTERTAINMENT: Deloris is such a force of personality—what’s been the most rewarding (or surprising) part of rediscovering her in this production? 

MEGGAN UTECH: It was working with Jason. He is truly one of the most brilliant directors I’ve worked with. I could come to him and ask the most minute detailed  questions (“do we think this is the first time Deloris has ever gotten a present from Curtis?”) and he would fire off an answer that made me rethink an entire scene (“I think it’s  the first time he’s done it in front of his boys”).

He was never annoyed or impatient, was always curious about my opinions, and trusted that when I had them, it was for good reason.

This is a long story but…One of the most validating moments I’ve ever had as a black actress was when working on a scene where Deloris is sleeping. Bare hair on pillowcase. Jason had fostered an environment where I could say to him “a black woman would almost NEVER sleep without a bonnet on with all this glorious hair”(shout out to Melissa Drumon for her incredible design across the board and Meredith Schieltz for their excellent execution. I look like a god). He immediately said “ok how do we fix it?”. Not five minutes later, I had to jump up on my bed in my slippers/house shoes. Once again I trepidatiously had to say black folks would never stand on their bed with house shoes on, most black folks won’t even allow outside clothes in their bed. I expected pushback or excuses or to feel like I was just making a big deal out of nothing. Not only did he immediately take it all in, solve the problem, and then THANK ME for bringing him this new knowledge. He did not want to have the black members of the audience taken out of the production by missing this small but significant cultural thing. 

So many things have to be in place to have a team of actors, tech, costumes, music, choreo pitch in to fix this, and everyone did it happily. And that’s because we are under the great umbrella of Jason’s direction. 

JHPENTERTAINMENT: Deloris’ “Take Me to Heaven” not only starts Sister Act, but quickly sets the bar for the caliber of  music featured throughout. From a technical standpoint, how has working with Music Director Sarah Michele Bailey helped shape your vocal approach to Deloris’ iconic numbers?

MEGGAN UTECH: Music is always the scariest part of any process to me, and to have Sarah’s gentile but constant force emanating from the pit is the only reason I get through this show. When I’m unsure she looks up at me, and I am reinvigorated. I also MUST mention that she worked her ass of to provide every single cast member with individual vocal tracks THAT SHE CREATED for every single song so they could learn and review without having to listen to horrible voice memos of themselves struggling through new harmonies. That kind of preparation is invaluable to an actor, and being led by someone that cares enough to ensure that preparation is the only way I can get through my insecurities as a singer. 

JHPENTERTAINMENT: Is there an attitude or attribute of Deloris’ that you might incorporate into your own life going forward?

MEGGAN UTECH: I firmly believe that I’ve gotten to play this role more than once because Deloris comes into my life when I need her most. She busts in and forces me sing out loud “Look at me, can’t you see, I’m fabulous, baby”, over and over until I can’t help but believe it. Everything else falls away, and I am standing there, and I feel truly TRULY fabulous. I will take that feeling with me forever. 

 

RAPID FIRE WITH SISTER ACT‘s MOTHER SUPERIOR, MEGAN MURPHY CHAMBERS

JHPENTERTAINMENT: You recently directed Boeing Boeing for another local company and now step into the role of Sister Act’s Mother Superior for Nashville Rep—how does shifting from director back to performer influence your process and enhance your performance?

MEGAN MURPHY CHAMBERS: I loved every second of my Boeing experience, and I truly hope to direct again soon, and it’s positively luxurious to downshift from directing to performing, especially in hands as capable as Jason’s. It’s wonderful to have a directing experience fresh on my mind as I step into the rehearsal process. It’s always useful to remember that everything an individual performer is doing has to be in service at the bigger picture, so I feel like I came into day one of rehearsal for Sister Act feeling very sharp, very ready, and very happy to not be the one answering all the questions.

JHPENTERTAINMENT: Mother Superior walks a delicate line between authority and warmth—what’s your key to finding that balance?

MEGAN MURPHY CHAMBERS: I feel really lucky to be working opposite some of my favorite performers in town, who also happened to be close friends of mine (and some fabulous new friends as well – welcome additions to our family, one and all!) So it’s felt really easy to snap in and out of Mother Superior’s distinct speeds. Her stiffness and directness feel totally justified, and then it’s the easiest thing in the world to melt when I’m looking in the faces of these ladies. They’re all just magical, and you can’t help but soften when the moment calls for it.

JHPENTERTAINMENT: You’ve had several memorable turns on The Rep stage—what makes this role feel unique or particularly meaningful?

MEGAN MURPHY CHAMBERS: I don’t take a single second of any of this work for granted, so each show and rehearsal process feel like a fresh challenge and gift. But this one has ended up being special for me in a way I didn’t expect. Since Mother Superior doesn’t join in the fun, if you will, for a good part of the show, the payoff at the end once I finally come around makes me feel like my heart will burst. It’s a really earned moment for the character, and a really joyful moment for me as a human. I finally get to shake my tailfeather and cut up with my friends! Well worth the wait!

JHPENTERTAINMENT: Your one-woman show Broad was a fan favorite, as were your MAS collabs—does that type of cabaret-style storytelling experience inform how you connect within an ensemble in a more traditional musical like Sister Act? AND…any plans for more solo shows or another MAS reunion?

MEGAN MURPHY CHAMBERS: I have loved my one woman show experiences, and hope to have many more of them. But, there’s no substitute for the collaborative process of being on stage with other people, and it’s always so fantastic to sing and laugh and act as a group. What could be better than feeling all that energy around you and getting yourself plugged into that feedback loop? I’ve never felt more accomplished than when I’ve wrapped up one of my one woman shows, but I never feel more at home than when I’m surrounded by other actors. And I’m ALWAYS cooking on another show – stay tuned.

JHPENTERTAINMENT: You recently shared a post previewing a blinged-out habit courtesy of The Rep’s resident design wizard Melissa K. Durmon—how do her creations help you physically and emotionally step into Mother Superior’s world?

MEGAN MURPHY CHAMBERS: Melissa is a master of her craft, and her attention to detail is beyond inspiring. She doesn’t miss a single opportunity to amplify a character or moment with the wardrobe, so I take every opportunity to display her work with an equal level of finesse. She nails it every time, and our Sister Act audiences are not ready for the 70s bonanza she’s serving up. It’s going to look sensational!!!

RAPID FIRE WITH SISTER ACT‘s SISTER MARY ROBERT, SHELBY TALBERT

JHPENTERTAINMENT: You’re returning to Nashville Rep after having played young Martha Cratchit in A Christmas Carol in 2023—what does it feel like to be back with the company, and how has that previous experience shaped your work?

SHELBY TALBERT: It feels amazing to come back to The Rep. It’s very exciting to see familiar faces and get to continue those relationships, while also getting to know new faces! My previous work with The Rep taught me so much about working with a big ensemble, something that came in handy with this show. It’s so important to work as a team in such a big cast and luckily everyone in this show is wonderful!

JHPENTERTAINMENT: Sister Mary Robert has some of the show’s most heartfelt—and funniest—moments. How are you leaning into the comedic side of the role?

SHELBY TALBERT: There can be a fear as an actor to feel embarrassed or scared to make a wrong choice. Our director Jason has had this saying throughout rehearsal about “failing forward,” which has given me a lot of freedom in the room to try things and lean into the comedic/awkward side of Mary Robert. That fear of making a mistake in the rehearsal process was completely wiped away which just left room to play and explore!

JHPENTERTAINMENT: This role is also a bit of a coming-of-age journey—what resonates most with you personally about Mary Robert’s arc?

SHELBY TALBERT: A lot of what Mary Robert has to overcome in this story is less about the people around her and more about her struggling with her own sense of bravery. While the influence of the convent has been a major factor in her life, it’s really her own fear that has been the thing stopping her from living the life she wants. The theme of being confident enough to take real authority of your life is something that has really resonated with me.

JHPENTERTAINMENT: Choreography plays such a huge role in this show—what has the collaboration with Joi Ware been like in shaping your physical storytelling? AND…do you have a favorite choreo moment in the show?

SHELBY TALBERT: Getting to work with Joi is always such an honor. She is the kind of choreographer who takes the time to understand each character’s motives through the choreography and why they move the way they do. At the beginning of the show Mary Robert is constantly hiding behind people and trying to make herself less noticeable. As we move through Joi’s choreography Mary Robert slowly becomes more and more sure of herself and you can see that in the later dance numbers. My favorite choreo moment in the show has got to be our trio of ladies in “Fabulous, Baby!” at the top of the show. They open the show with such power and it really sets the tone!

JHPENTERTAINMENT: Already in your stage work, you’ve tackled everything from Anne Frank to Romeo & Juliet—how does a high-energy musical comedy like Sister Act challenge you in new ways?

SHELBY TALBERT: I have never been a part of a show that has challenged me so much vocally as Sister Act does! Mary Robert goes through this incredible journey and it all culminates in “The Life I Never Led.” I wanted to make sure that I did everything I could to make that moment as beautiful and satisfying as possible. It has really pushed me to be a more confident and consistent vocalist. Luckily our show is music directed by Sarah-Michelle Bailey, who is one of the most encouraging and helpful people I have ever worked with. All the creatives and cast have put so much work and positive energy into this piece of art and I’m excited.

RAPID FIRE WITH SISTER ACT DIRECTOR, JASON SPELBRING

JHPENTERTAINMENT: Following last month’s Fat Ham, a collaboration between Nashville Shakespeare Festival and Nashvilke Repertory Theatre, you’re now directing The Rep‘s Sister Act. As Nashville Shakes‘ Artistic Director and as Director of The Rep‘s Sister Act, What do these continued partnerships between the two theatre companies mean to you?

JASON SPELBRING: This collaboration means a great deal to me both personally and for the broader theatre community here in Nashville. I do want to clarify that Sister Act is not an official co-production in the same way that Fat Ham was between Nashville Shakespeare Festival and Nashville Repertory Theatre. Rather, Sister Act represents a meaningful cross-pollination of artists, ideas, and shared values between our sister organizations. There is a natural overlap in our creative communities, and this production is a great example of that collaboration in action. What excites me most is that this kind of collaboration reflects a growing sense of alignment across our theatre community. Fat Ham was a true co-production and a strong step in that direction, and I’m incredibly proud of what we built together there. 

So while Sister Act is a different kind of partnership, it still speaks to a deepening relationship, one that I believe is setting the stage for future, fully realized co-productions. I’m genuinely excited about what’s next, and I see this as part of a broader, ongoing conversation about how our institutions can work together to better serve artists and audiences in Nashville.

JHPENTERTAINMENT: You’ve worked across a wide range of classical and contemporary pieces—what drew you specifically to Sister Act at this moment?

JASON SPELBRING: What drew me to Sister Act at this moment is its core story of transformation. As I shared in my director’s notes, we begin in a world of fear and uncertainty, and through music, community, and courage, everything shifts. What starts as muted becommes vibrant, joyful, and fully alive.  That journey—from isolation to connection, from restraint to radiance—felt especially resonant right now. I’m also continually interested in stories where a singular voice ignites change in a larger community. Deloris doesn’t lose herself in the process; she discovers herself and, in doing so, helps others do the same. That idea, that when you find your voice, you help others find theirs, is something I find both theatrically compelling and deeply human. At this moment, it feels like exactly the kind of story worth telling.

JHPENTERTAINMENT: Nashville Rep’s in-house scenic designer Gary C. Hoff never fails to wow—I frequently say I could live on his sets. What’s your favorite aspect of the set you’ve collaborated with Hoff to bring to life in Sister Act?

JASON SPELBRING: Gary is extraordinary, truly. His artistry is matched by his generosity, his kindness, and the genuine joy he brings into the room. Gary is the kind of collaborator who elevates not just the work, but everyone around him. What I love most about the set he’s designed is its sense of transformation. It holds both worlds. The grit and urgency of Deloris’s life at the start of the musical, and the warmth, structure and surprising vibrancy of the convent. Gary’s design allows them to shift seamlessly. There’s a theatrical magic to it—it feels expansive, dynamic, and deeply supportive of the storytelling. And yes, I could absolutely live in one of Gary’s sets.

I also want to express my respect for the entire design and production tea at Nashville Repertory Theatre. They are consummate professionals, skilled, collaborative, and a true dream to work with. It’s a department that operates with precision, and pride, and that makes all the difference. 

JHPENTERTAINMENT: With such a strong ensemble and creative team, how do you foster collaboration in the rehearsal room?

JASON SPELBRING: For me, collaboration isn’t just a value—it’s a necessity. I simply cannot do my job without it. I don’t have, nor should I have, all the answers. We bring the full cast and creative team into the room because each person has something to contribute. My goal as a director is to create a space where people feel empowered to share ideas, ask question, problem-solve together and ultimately shine. When that happens, the work becomes richer, more dynamic, and more truthful. It stops being about any one perspective and becomes about collective investment in telling the story as well as possible.

I really believe that to thrive in this industry, you have to collaborate openly, generously, and wit respect. That’s where the best work lives. 

JHPENTERTAINMENT: What do you hope audiences take with them long after hearing those last heavenly intonacions of Sister Act?

JASON SPELBRING: I hope audiences leave the theatre with a smile on their face and a bounce in their step. My hope is that audiences feel the journey themselves and are reminded of the power of finding their own voice and the impact it can have on the people and community around them. If anything lingers, I hope it’s that sense of possibility. That is when we show up authentically, we can connect, when we allow ourselves to be seen and heard, we don’t just transform our own lives, we help transform a community. And that’s something worth holding onto long after the final note.

—–

Whether you’re coming for the music, the comedy or the choreography, one thing’s for sure–the cast of Nashville Rep’s Sister Act is definitely in the habit of delivering and as the show moves into its second and finals week of performances, the sisters of are ready to raise the roof—and your spirits—one heavenly note at a time.

Nashville Rep‘s Sister Act continues its two-week run with five show remaining Thursday, April 16 at 7:30pm, Friday, April 17 at 7:30pm, Saturday, April 18 at 2pm and 7:30pm and a final matinee Sunday, April 19 at 2pm. CLICK HERE for tickets. Following Sister Act, Nashville Rep closes out their current season with Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase tickets. As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

 

 

Rapid Fire 20Q with Musical Theater Stars Rachel Potter, Elle McLemore, Marty Thomas and Jelani Remy; ‘Off Broadway: That’s So High School’ at Analog at The Hutton April 18

by

Pop quiz: What happens when Broadway favorites, high school nostalgia, and one seriously chic Nashville venue collide for one night only? Enter That’s So High School, the latest installment in the ever-buzzy Off Broadway series at Analog at The Hutton Hotel on Saturday, April 18. Led by the unstoppable Rachel Potter (The Addams Family, Evita) and featuring a lineup that includes Elle McLemore (Heathers, Bring It On, Grease Live), Marty Thomas (Xanadu, Wicked), and Jelani Remy (High School Musical, The Lion King, Ain’t Too Proud: The Life and Times of The Temptations), this one-night-only event is serving throwback realness with powerhouse vocals to match. Before the curtain goes up (and the prom afterparty kicks in), we put the cast through our signature Rapid Fire 20Q because, after all, as the song says, “We’re All in This Together!” 

—————

RAPID FIRE 20Q WITH BROADWAY PERFORMERS HEADED TO ANALOG FOR OFF BROADWAY: THAT’s SO HIGH SCHOOL

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s ELLE MCLEMORE

JHPENTERTAINMENT: With the built-in pedigree of having originated the Broadway roles of both Bring It On’s Eva and Heathers: The Musical’s Heather McNamara, plus playing Patty Simcox in 2016’s Grease Live, you seem tailor-made for Off Broadway: That’s So High School. Did it take much convincing for you to agree to be part of it? 

ELLE McLEMORE: Thank you, Jonathan! HahaI I will say, I normally am the first person to typecast myself out of things, but this couldn’t be more on brand, so zero convincing at all. To quote Heathers–“High school never really ends.”

When I found out Taylor Louderman was on board as well, I was very excited to reunite with her, as we made our Broadway debuts together playing the villain and hero in Bring It On The Musical! In a way, It feels like we went to high school and grew up together, so it’s gonna be really fun being onstage again all grown up. 

I’ve also never been to Nashville before, so I am very excited to spend a bit of time here with this really special group of people!

JHPENTERTAINMENT: With each Off Broadway at Analog at Hutton Hotel, Rachel Potter has proven herself something along the lines of Music City’s own Six Degrees of Kevin Bacon of the theatre world, so…How did you and Rachel first met?

ELLE McLEMORE: That is AMAZING! Rachel is such a powerhouse. Not only do I think she’s one of the greatest vocalists of our time, she’s also an entrepreneur, mom, actress, and  the director/ producer responsible for bringing all this theatre magic to Music City! It’s truly special what she has created and I don’t know how she sleeps? LOL! 

I first was introduced to Rachel ironically (or by fate’s design) while I was doing Bring It On in NYC. She was doing a concert called The Glitter Ball at New World Stages. I remember being on Pinterest for WEEKS leading up to this event, as we were all trying to figure out what “sparkly” outfits to wear, and how to rhinestone our eye makeup. I have photos for receipts if you need. Needless to say, I’ve since been a fan, and honored to be a part of her Kevin Bacon lore. 

JHPENTERTAINMENT: Taking a queue from your Insta, Who would you include on your Mount Rushmore of High School characters? and YES it’s OK to include at least one that you have played yourself…

ELLE McLEMORE: I LOVE IT. Okay I need you to know how hard I thought about this, as these games are my world. So here we go:

1. Patty Simcox (Grease) 

I know this is controversial, and the correct choice should probably be Danny Zuko or Sandy, but since you said I could pick one of my characters, this is the one I would go with. Rydell High School simply would not function without Patty Simcox. She was head of the cheerleading squad, student council, yearbook committee, holding dance competitions, all while literally running for office (Student Council Vice President). She embodies high school, through every generation. All I can say is…missed opportunity, Danny.

2. Troy Bolton (High School Musical)

I had a cardboard cutout of Zac Efron from Blockbuster in my childhood bedroom that lives rent free in my heart forever. So maybe that’s subconsciously why I think he’s “peak” as the kids say, but I actually think it’s more! He challenged high school hierarchies and gender norms with his passion for both basketball and theatre that I honestly just find so inspiring. He’s got that perfect “coming of age “ and “breaking the status quo” arc it requires to be on my mountain range. 

3. Regina George (Mean Girls)

 Although Heathers came 15 or so years earlier, Mean Girls was my generation’s EVERYTHING. If you’re a millennial you probably lived and breathed this movie while wearing your Juicy Couture sweatsuit and Tiffany and Co necklace. If Troy Bolton is the “good guy” archetype, Regina George represents that beautiful “dictator” role that exists in almost every high school setting.  Also, I just adore Rachel McAdams and obviously Taylor Louderman, too.

4. Cher Horowitz (Clueless)

This was hard. I could have gone Marty McFly, Tracy Turnblad or even Veronica Sawyer for honorable mentions, but we have to round it out with Cher. There’s something about her being the optimistic (clueless) protagonist that annoyingly gets away with everything that is just “so high school” to me. I also just love her outfits and the 90’s Beverly Hills setting. As IF!

JHPENTERTAINMENT: In preparation of chatting with you I did an online sleuthing via your fabulous socials, where I learned that last year you traveled to Japan to be part of a Masterclass. What was that experience like? 

ELLE McLEMORE: I am honored to have been a small part of your “doom scroll”, Jonathan.  Thank you so much. If you haven’t been to Japan, please put it on your bucket list, ASAP! It’s truly life changing. It was very special for me, as I am a quarter Japanese, and I got to see a lot of where I came from. My mom is also a performer (she is a dancer turned Las Vegas showgirl) and Tokyo and Okinawa Japan is where she began her performer journey at 18. So to be at the birth place of where it began for the both of us, then teaching students younger than me was one of those cull circle moments.  To have students show up in a classroom half way across the world singing your songs in Japanese, was just something I never imagined possible.  Even with a small language barrier, It showed me that the language of musical theatre is truly universal. They are so incredibly respectful, disciplined and passionate. Something I really took note of is, for a culture that has a reputation of being reserved, they are also so deeply open, raw and brave. Their talent was INSANE. I left there thinking, wow I really need to step my game up…

JHPENTERTAINMENT: What’s next for you?  

ELLE McLEMORE: I’m really excited about this next chapter. I’ve been focusing a lot the last three years on building my own production studio, Established Magic with my husband, Josh. We have created some beautiful cinematic work  in partnership with some of the biggest brands all over the world, that I’m really proud of. I started acting professionally in LA when I was 16, and as the entertainment landscape has evolved, it became really clear to me I needed to create my stories, on my own terms. It’s hard as an artist to give your power away to an entity outside of yourself, and I really admire people that go out there and do their own thing— exactly like what you’re doing here, Jonathan! 

I also host a show/podcast called PLAYDATE, where we play games (like the Mount Rushmore one!)— it’s adult slumber party game night vibes on the internet. It kind of blew up on YouTube, so I have been slowly integrating it into longer form content with interviews. Aside from that, I would just love to to keep blending storytelling/performing/traveling and creating an expansive career— along with spend as much time with my fur son, my golden retriever Marshmallow, as possible (main priority). And I’m always open to jumping back on stage when the right project comes along. But ONLY if it’s set in high school.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s MARTY THOMAS

JHPENTERTAINMENT: In 2019 you released the album Slow Dancing with a Boy. At the time, it was described as a prom-themed piece, so you seem a natural choice for Off Broadway: That’s So High School. Was it an immediate yes when Rachel asked you to be part of this fun night of musical memories?

MARTY THOMAS: Absolutely! I threw a prom for my album release party/concert, and Rachel was both on the album and at the prom! We had such a great time, I can’t imagine that evening wasn’t partially responsible for a prom coming to Nashville!  We had such a blast. I’m so glad we get to do it again!

JHPENTERTAINMENT: On your album Slow Dancing with a Boy, Rachel provided guest vocals on the track “Dreamlover”. How did that come about? AND…any chance you two might perform it live at That’s So High School? 

MARTY THOMAS: I love that record so much. I don’t think we will be performing that, mainly because it’s a Broadway themed evening. When Rachel lived in NYC, we had a country band with our best friend Jamey Ray. We would rearrange pop tunes to have bluegrass and country vibes. This Mariah Carey tune was my favorite of our collection. I just HAD to get a studio recording of it. 

JHPENTERTAINMENT: Your Broadway credits include Wicked and Xanadu. I’m just gonna admit it…I LOVE all things Xanadu. Whether we are talking about ONJ’s movie or the musical. What’s your favorite memory of your time with Xanadu on Broadway? 

MARTY THOMAS: Oh gosh finding just one is impossible. Xanadu was such a huge window of my life, but the tremendous cast is the highlight for me. I got to work with some of the most talented iconic performers out there and I’ll never forget it. The Tony awards was a definitive highlight as well!

JHPENTERTAINMENT: Any Spoilers for what the Nashville audience can expect from you at That’s So High School?

MARTY THOMAS: Those lucky folks are in for a fun nostalgic evening. Amazing singers, great band, super cool ambiance, great drinks, I’m hoping everyone gets dressed up for the prom theme!

JHPENTERTAINMENT: As much as I wanna ask about your 1992 Star Search Junior win over some girl named Britney Spears, I’ll just ask WHEN can we expect OR…What have you got coming up next?  

MARTY THOMAS: Oh man, Slow Dancing With A Boy really would make an amazing musical. I’ll have to get back to you on that! I’m touring so much this year, but have been working on a new album slowly but surely! 

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s JELANI REMY

JHPENTERTAINMENT: In 2019, you and Rachel Potter were among those performing at a gala celebrating Broadway composer & lyricist, Andrew Lippa. Was that the first time you and Rachel met? AND How did she convince you to be part of her latest Off Broadway series of one-night-only concert events here in Nashville?

JELANI REMY: Rachel and I met while I was on tour doing High School Musical maybe 2006 ish? Our cast crossed paths with the casts from the park and I was introduced to her incredible talents and connected to her beautiful heart. We have always kept in touch rooting for each other ever since so when she called me to be part of this – I immediately said yes! Well, to be honest -she asked me earlier but I was booked at Disneyworld which is actually ironic. However, I think being part of this show particularly is quite perfection!

JHPENTERTAINMENT: To my way of thinking, Grease is the granddaddy of all high school musicals, therefore, High School Musical is the daddy, or at the the older brother. It has been 20 years since the phenom began, after all. Having played Chad Danforth in High School Musical during the 2007-2008 concert tour, what is it about these types of musicals that resonates as time passes? 

JELANI REMY: We have to talk about the fact that the first solo I sang was “Those Magic Changes” my freshman year of high school! It changed me. Bit by that theater bug forever. Fast forward to landing High School Musical. The beginning of my career!

The thing about these shows is that those years- the high school ones are so formidable and relatable to everyone! The friends you had- the phases – the teachers. They made you. They stay with you and if you happened to be in the theater department.. it was the start of something new……. lol

JHPENTERTAINMENT: While I saw you on stage in the original High School Musical national tour, it wasn’t until a few years later when I not only saw you as Simba in The Lion King, but was also fortunate enough to get to know you a little during the tours four week residency at Nashville‘s TPAC. What’s among your favorite memories of your time with The Lion King? AND…Any chance Nashville audiences might get a little Simba song during Off Broadway: That’s So High School? 

JELANI REMY: My favorite memory of The Lion King is 10 years of telling an iconic story to so many! I really grew up with that show and Simba means more to man than anyone will know! Though I did the show for a bit- no show was the same! That’s magic of theater.  I will say I had an absolute blast in Nashville on tour and can’t wait to be back!

I can’t give any secrets away! Come to the show and find out!

JHPENTERTAINMENT: While Off Broadway: That’s So High School brings you back to your roots—HSM having been your first pro gig (if my research proves correct)—it’s not your first time to revisit Wildcats country. In 2024, you directed a HSM tour cast reunion at New York’s iconic 54 Below. What was a highlight of that night for you, both as a HSM alum and as the show’s director? 

JELANI REMY: As I put on my director choreographer hat. I was honored to be given this opportunity to bring my Wildcat family together to revisit the show and lift up our musical director Bryan Louiselle.  A highlight of that night was our version of “When There Was Me and You” It was beautiful and for Our Bryan.

JHPENTERTAINMENT: All right, I can’t do this interview with you and not mention something. A few years ago, at my request, you created a video encouraging the cast of a local production of The Lion King Jr. As someone who got their professional start not long after their own high school experience how important is it to encourage the next generation of performers? 

JELANI REMY: Yes, yes and more yes! They are the future! It’s vital! It’s a joy of mine to let others know that they can and should! We are essential to humanity.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s RACHEL POTTER

JHPENTERTAINMENT: How did you come up with the idea for the Off Broadway series at Analog?

RACHEL POTTER: This series was really a happy accident! I have always wanted to start an event series here in Nashville for Broadway/musical theater folk, but the venue had never really made itself known. I actually reached out to Analog to be the location for my Broadway album release party in Nashville, but they said, “Actually, we have this idea for a Wicked themed event, maybe you could collaborate with us on it and maybe host it?” So, together, we came up with this fabulous event, and it was such a success that the Hutton and Analog were excited to keep it going – and so am I! I’ve fallen into the role of producer, performer and host, which is a big job, but the payoff is so worth it. My good friend Chris Brent Davis is the musical brain behind my visions, and I couldn’t do it without him! 

JHPENTERTAINMENT: The latest, Off Broadway: That’s So High School is the fourth in the ongoing series, right?  Can you give me a sneak peek as far as what shows are being represented this go-round?

RACHEL POTTER: Yes, the 4th! So far, we have had Witch, Please! (Wicked), Best of Broadway, and An Evening of Magic (Disney). This month’s show will visit all the most popular musicals about high school: Dear Evan Hansen, Mean Girls, Bring it On, and Grease, of course! Also, a very important detail, we are having a Prom Dance Afterparty in the space right after the concert! 

JHPENTERTAINMENT: So…Is it too late to request “Reproduction” or “Cool Rider” from Grease 2?

RACHEL POTTER: Unfortunately, yes, but you’ll be happy to hear Grease is definitely represented from the first film!! You’ll have to put your requests in sooner next time… this takes lots of planning and having people learn numbers in advance! 

JHPENTERTAINMENT: For this Rapid Fire 20Q, in addition to our conversation, I’m also chatting with Elle, Jelani & Marty. Who else have you lined up for Off Broadway: That’s So High School? 

RACHEL POTTER: Oh, it is such a great lineup… in addition to those legends Taylor Louderman (Tony Nominee for Regina George in Mean Girls, Lauren in Kinky Boots, Bring it On), Carolina Rial (The Voice), Ben Laxton (Book of Mormon Broadway), Jada Wasserman (TikTok Star), and Nashville Musical theater artists Erin McCracken and Dustin Davis.

JHPENTERTAINMENT: What do you have audiences take with them after attending one of your Off Broadway nights? AND…what’s up next for this concert series? 

RACHEL POTTER: JOY and CONNECTION. So much of what’s going on in the world today is dark and always seems to be getting worse. At the end of the day, if I can bring meaningful connection and joy to my community through music and storytelling, then that is a huge win. We are all walking this human experience together, and while different, we’re actually way more similar than we are led to believe. Our night allows music and theater to tell human stories and brings our Nashville community together in a way they aren’t accustomed to. It’s thrilling to be a part of, and to hear from the audience how much they are getting from our evenings together. 

What’s coming next? Just you wait! If Nashville continues to show up, we will only keep growing this special thing and getting cooler opportunities to create theater magic with Analog! July 11 will be The Room Where it Happened, featuring music of protest and patriotism, from musicals like Hamilton, Spring Awakening, Les Mis, Hair, and more! Then, our season closer on October 30 and 31 will be The Addams Family Musical in Concert! I will be reprising my role as Wednesday alongside Broadway, National Tour, and regional cast alumni, complete with the musical composer, Andrew Lippa, here to narrate! The hotel will incorporate a haunted house immersive element – it is going to be SO FUN. We are already dreaming up next year’s themes, and I’m so excited to begin casting them. Keep an eye on Off Broadway at the Hutton, Nashville – these one-night-only events are not to be missed! 

—————

Just because these interviews are over, don’t think for a minute that class is dismissed! From Wildcats to Plastics, pep rallies to power ballads, Off Broadway: That’s So High School, Saturday, April 18 at 8pm (doors at 7) at Analog at The Hutton (1808 West End Ave. Nashville, 37203) promises a nostalgia-fueled night that hits every note—and then invites you to dance it out after. With a cast this stacked and a concept this irresistible, Off Broadway at Analog continues to prove that Music City has a serious theater heartbeat. Off Broadway : That’s So High School Reserved Seating Tickets are $60 and General Admission Tickets forare $35. You don’t need a permission slip, so consider this your official homework: CLICK HERE to grab your tickets, dress for the prom (obvi), and get ready to relive the glory days—now THAT’S an after school assignment I think we can all get into.

To keep up with all happenings at Analog at The Hutton, CLICK HERE or follow them on Facebook and Insta.

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

Rapid Fire Q&A: Meow Meow Returns to Music City; Kamikaze Cabaret Darling at Oz Arts April 11

by

As the saying…and lyrics go…“Life is a cabaret, old chum”–and no one embodies that spirit, living life and palling around, quite like the delicious diva Meow Meow. Ahead of her April 11 return to Music City, this time playing Oz Arts Nashville, JHPEntertainment is handing the mic over (carefully…very carefully) for a chat with the one and only exquisite chanteuse for a memorable Rapid Fire Q&A.

———-

RAPID FIRE Q&A WITH MEOW MEOW; AT OZ ARTS NASHVILLE APRIL 11

JHP ENTERTAINMENT: Ok, let’s just dive right in…I keep seeing your show described as Kamikaze Cabaret. Is that a fair descriptor of an evening with Meow Meow?

MEOW MEOW: Well, I certainly give everything I’ve got to every show ! I never want to waste a moment on that stage…with a captive audience !

JHP ENTERTAINMENT: As you prepare to take the stage each night, at what point in your dressing room do you feel fully in Meow Meow mode?

MEOW MEOW: I am always in Meow mode. Stage and Life are the same for me…. I think Shakespeare MAY have put it rather better with “all the world’s a stage”…

JHP ENTERTAINMENT: Of your current set list is there a song that challenges you vocally more than others?

MEOW MEOW: NEVER ADMIT DEFEAT. CARRY ON. KAMIKAZE Cabaret, remember ? I think there is a wonderful attitude ascribed by the playwright Terence McNally to the great opera Diva Maria Callas in his play “Masterclass” : “Don’t TRY, DO” !

JHP ENTERTAINMENT: Your April 11 performance at OZ Arts marks a return to Music City, having previously wowed Nashville audiences in 2022. Is there anything you hope to revisit while you are Nashville?

MEOW MEOW: The audience was sensational. I can’t wait to love and hug them (politely) again!

JHP ENTERTAINMENT: Touring internationally, what do you cherish most about each new city you visit?

MEOW MEOW: How audiences change and how wonderful a flexible form like cabaret is to respond to those changes.

JHP ENTERTAINMENT: In previous interviews you mention drawing inspiration from a wide variety of sources…from Germany’s Weimar Era (don’t worry, my readers can Google it) to the glamour of Hedy Lamar with the avante garde unexpectedness of Dadaism (again, my readers can Google it). What is it about the early 1900s and these stylistic examples that speak to you?

MEOW MEOW: It’s particularly the teens into the 1920’s and 30’s where invention and exploration in music, language ideologies, politics are all smashing up against each other.  A fascinating time in the shattered world after the Great War and into the second world war. Everything resonates. There is nihilism and optimism.

JHP ENTERTAINMENT: Let’s be real though…do you think the 1920s could have handled Meow Meow?

MEOW MEOW: Again, I would have said to the 1920’s “don’t try, just DO”.

JHP ENTERTAINMENT: When I learned you were bringing your current show to Nashville, it took me a minute to clue in to why I knew of you…it was your collab with bandleader Thomas Lauderdale on Pink Martini’s 2019 album HOTEL AMOUR, particularly the song “I Lost Myself”. How did your participation in that project come about?

MEOW MEOW: He and I were introduced by a wonderful champion and curator of Arts and Artists – Kristy Edmunds. She just ‘had a feeling’ about the two of together  and it was musical and soul connection from the beginning. It’s a constantly inspiring and precious friendship and I’m so grateful for the adventures we’ve had around the world together – from little bars in Portland  to major orchestras and the Hollywood Bowl. I love the whole Pink Martini family and we get together whenever we can. 

JHP ENTERTAINMENT: More about “I Lost Myself”—with the opening lyric, “I’m hungry, bring me some pills on which to dine”, I was in! Whether campy or classic, teasing or torchy, do you have a lyric in a song that’s in your repertoire that you are absolutely mad about?

MEOW MEOW: SO many. I have to love all of them or I can’t sing them ! I love Patty Griffin’s poetry in her songs – one of my favourites that is like a prayer 

“All the girls you will never see

Forever a Mystery

All the Girls with their secret ways

All the Girls who went… astray.

Be Careful”

I love Thom Yorke’s writing for Radiohead. I love Brecht’s lyrics so much..I love Noel Coward !

JHP ENTERTAINMENT: I read something online describing your fan base as a cult following…that got me to thinking…if Meow Meow were a cult leader, would your music or your bawdiness be the kool-aide everyone would drink that drew them in? Or is there something else just as enticing from an evening with Meow Meow? What would your cult followers be called?

MEOW MEOW: I would hope it was my heart and joy and faith in human connection that shines through the music and the mayhem.

 JHP ENTERTAINMENT: What would the cult of Meow Meow be called?

MEOW MEOW: I have no idea what the lovers would be called…. But they definitely love to go on an adventure with me. And have very good taste, obviously.

JHP ENTERTAINMENT: Your official site meowmeowrevolution.com (love that web addy name, by the way) teases MERMAID, a new album as ‘Coming Soon’. What’s the skinny?

MEOW MEOW: Oh! It’s actually on Spotify now ! As is the gorgeous album HOTEL AMOUR of songs that I wrote with Thomas and Pink Martini and members of Oregon Symphony, with gorgeous duets with Rufus Wainwright, Michel Legrand, Barry Humphries and the Von Trapp Family singers 

JHP ENTERTAINMENT: Looking back on the 2007 High Line Festival, curated by David Bowie—where you took your place among fellow featured artists Arcade Fire, Laurie Anderson, Ricky Gervaiis, The Legendary Stardust Cowboy and more—sounds almost surreal—How did you feel in that moment?

MEOW MEOW: DIVINE

JHP ENTERTAINMENT: From Shakespeare to cabaret to film, your career spans an incredible range—including your role as Griddlebone in the 2019 star-studded film adaptation of CATS (Purrrfectly karmic casting if ever there was). Having gotten to know her a bit myself during her early country music reign, I gotta ask…what was it like working alongside Taylor Swift, in particular, in the “Macavity” number?

MEOW MEOW: Ah yes the hilarious brief moment ! She is heaven. Divine, professional, warm , and there is seriously a ray of something magical that emanates from her. She was like a special shining sun! I loved her.

JHP ENTERTAINMENT: You’ve cited comedy influences from AbFab, Dawn French & Jennifer Saunders and Lucille Ball. Gotta admit it, these mentions are just more reason to adore you as I’ve been an AbFab devotee since getting my hands on bootleg episodes before it ever made it was across the pond officially, and I have an extensive collection of Lucille Ball material. Heck, my dog is even named Lucille Desirée Ball Pinkerton—Desilu for short, but I digress…What is it about those legendary ladies of comedy and their broad style that resonates with you?

MEOW MEOW: They have funny bones, they are all their own singular creatures and they are brilliant observers of humans – and themselves . There is joy in the play of performance and they are part of the ridiculousness. All so different but so special.

JHP ENTERTAINMENT: Your shows are known for pulling audience members into the performance—sometimes as dancers, props, even furniture. What do you love most about that unpredictability?

MEOW MEOW: That’s life isn’t it ? We all need a little help from time to time… let’s see if people jump in or get scared. Im reaching out the metaphorical hand of friendship as it were. I may never even go near the audience in a show, but I like to feel we are all connected. It should be fun and full of LIFE and changeability and we should all celebrate being alive together in the room – it’s always a miracle !

JHP ENTERTAINMENT: On the subject of unpredictability—How do you handle it when an audience “volunteer” just isn’t matching the vibe?

MEOW MEOW: I don’t always ask for volunteers – it depends on the show – and I NEVER want anyone to help me if they would rather just be an onlooker. That’s bullying and I hate that. I just walk on by if people indicate. Everyone should have a great time and just feel good. The show is about the music and the fun !

JHP ENTERTAINMENT: Finally, what do you hope audiences recall long after spending the night with Meow Meow?

MEOW MEOW: I hope they can’t wait for us to visit again !!! 

———-
If there’s one thing abundantly clear after a whirlwind conversation with Meow Meow, it’s this: a night in her presence isn’t just a performance–it’s a shared act of joyful defiance, connection, and beautifully orchestrated chaos. Equal parts heart, humor and unpredictability, her brand of kamikaze cabaret invites audiences not just to watch, but to feel, to laugh and maybe even leap a little into the unknown right alongside her.
When Meow Meow returns to Music City on April 11 at Oz Arts Nashville (6172 Cockrill Bend Circle) for her 8pm show, expect the unexpected…but also expect to leave a little lighter, a little more alive, and already hoping–just as she does–that it won’t be long before she’s back to do it all over again.  At the time of this writing, Premium Table Seating has SOLD OUT, but a few General Admission tickets are still available at $40. As usual, Oz Arts Nashville also offers Artist & Creative Community tickets for $30. CLICK HERE for more info or to purchase tickets.

For the latest on Meow Meow, CLICK HERE or follow her on Insta and Facebook. To check out Meow Meow’s music, check her out on Spotify, Apple Music and Amazon Music. To keep up with all things Oz Arts Nashville, follow them on Facebook, X, YouTube and Insta.

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

An Accidental (On Purpose) Rapid Fire 20Q with The Keeton’s ‘The Play That Goes Wrong’

by

Frequently described as Sherlock Holmes meets Monty Python, The Play That Goes Wrong began as a spirited production created by the UK-based Mischief Theatre Company. What started as a fringe production quickly snowballed into a West End hit and Broadway favorite, delighting audiences with its perfectly timed mishaps, collapsing sets, and characters determined to press on no matter how disastrous things become. 

Now, that same brand of orchestrated mayhem takes center stage at The Keeton Theatre from April 10–26, bringing Nashville audiences a whirlwind of laughter where every missed cue, falling prop, and “accidental” blunder must be carefully executed in order to keep the illusion of screw-up believable.

As the cast and crew prepared for their opening night, we caught up with cast members Josh Mertz (Chris), Leslie King (Sandra), Hazen Lawson (Dennis), and director Erin-Grace Bailey to talk about the art of controlled chaos, the technical precision behind the comedy, and exactly what it takes to make everything go so hilariously wrong.

—–

RAPID FIRE 20Q WITH THE KEETON’s THE PLAY THAT GOES WRONG

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s JOSH MERTZ

JHPENTERTAINMENT:As a Nashville native and frequent Keeton performer, what makes coming back for this show feel special?

JOSH MERTZ: The Keeton is my theatre home. I absolutely love performing here! Kevin and Donna Driver are amazing, and they run this space with such care- which is one of the many reasons I keep coming back. The reason I auditioned for this particular show in the first place is the absolute dream production team of Erin-Grace Bailey, Allison Gaddy, and Fiona Barrett. I love getting to work with them so much!  I think they bring fun energy and passion for this craft into the rehearsal space. I appreciate the production team’s ability to create nuanced performances and challenge us to be the best actors we can be. Allison is an unsung hero as our stage manager because without her calm presence backstage running the show, there simply wouldn’t be one. Fun fact – during the audition, I told the team I would play “Tree number 1” just to work with them again, and the trust they had in me to play Chris is just an added bonus, as it is a dream role for me to portray.

JHPENTERTAINMENT: Chris takes himself very seriously—how fun is it to play someone completely unaware of how wrong things are going?

JOSH MERTZ: Chris has been such a fun character to build. In my interpretation of Chris, he is your typical over the top, overbearing director with a “the show must go on” mentality. I do believe he’s more oblivious to how wrong things are going earlier on in the show but … Chris certainly has a breaking point! This show is fun as an actor because while we know all the things that will “go wrong,” our characters do not always see what’s coming. And hopefully, neither does the audience!

JHPENTERTAINMENT: You’ve done everything from Ragtime to Footloose—how does comedy like this challenge you differently?

JOSH MERTZ: I consider myself as primarily a character actor, so this show was right in my wheelhouse. I think what challenges me the most as a performer is how fast-paced and high energy the show is. This has been the most challenging show I’ve ever done in my life. Between the running, jumping and falling, by the end 0f the night Chris is so exhausted. The play goes by so fast, and I hope the audience is ready to buckle up for this rollercoaster of a show.

JHPENTERTAINMENT: What’s the most difficult accidental moment you have to execute on purpose each night?

JOSH MERTZ: The most difficult moment for me personally is having to fall off of a high platform. Erin-Grace prioritizes actor safety in all of the choreographed chaos of this show, so it has been incredible to know that I would never be asked to do anything that was going to put me at risk of injury. I won’t give away the stage magic, but it was definitely something I had to mentally ease my way into. 

JHPENTERTAINMENT: What’s your personal favorite moment of chaos in the show? 

JOSH MERTZ: My favorite moment of utter chaos is the ending of Act 2. The entire cast is on stage, and it is so fun to all be there together for the culmination of the show. I cannot give too much away, so you will just have to get your tickets to see how it ALL falls apart.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s LESLIE KING

JHPENTERTAINMENT: Sandra has to juggle performance and disaster at the same time—what’s the trick to balancing both?

LESLIE KING: I’ve found that being able to trust my fellow cast mates is super important. All of our disasters are carefully constructed and executed and if I’m focusing on what everyone else is doing it doesn’t leave much bandwidth to focus on myself and my character. Because I trust my cast mates to be where they’re supposed to be and do what they need to do, it makes it easy to balance both. 

JHPENTERTAINMENT: Sandra’s claim to fame is that her aunt is Dame Diana Rigg. In your real life, who’s your favorite name drop?

LESLIE KING: I have a connection to Gabe Gibbs (played Elder Price in The Book of Mormon on Broadway 2015-2017) and his family. He probably wouldn’t have any idea who I am but his parents would. We went to church with them for about a decade, and I went to high school with his brother. 

JHPENTERTAINMENT: You’ve previously appeared in area productions as varied as Cabaret and Puffs. Where does a physical comedy like The Play That Goes Wrong fall in the mix?

LESLIE KING: It has been so much fun to work on. While I’ve done comedies before, the physicality of this show is unlike anything I’ve done before. It adds an extra element of challenge, but I’ve absolutely loved it. 

JHPENTERTAINMENT: What’s the hardest moment to keep a straight face when everything is going wrong? AND Who among your fellow cast mates breaks easiest? 

LESLIE KING:  I’d have to say watching David Fonville inch his way off stage after the gurney fails is high on the list of moments I struggle to keep a straight face. Either that, or the ring around the rosey scene at the end of act one where they get stuck going in circles on the same scene. Luckily I’m offstage for that so I can laugh as much as I like. 

Honestly we’ve all worked pretty hard to stay composed but occasionally I’ll still get Josh Mertz to break. 

JHPENTERTAINMENT: The Keeton’s resident scenic designer Kevin Driver has his work cut out for him with this show. What’s your favorite set element that Goes Wrong?

LESLIE KING: I think the walls or the platform are both great elements. They’re both completely unexpected if you haven’t seen the show before and I love the moment we really catch people off guard with elements like those. 

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s HAZEN LAWSON

JHPENTERTAINMENT: Even though he is a bit of a novice on the stage, Dennis quickly realizes even his flubs get a memorable reaction from the audience. How much fun are you having leaning into that aspect of the character?

HAZEN LAWSON: It’s been a lot of fun digging into how Dennis sees himself on and off the stage. His biggest dream is to be in “the big leagues” with actors like Robert, Chris, and Sandra, and I think he just can’t even believe he gets to be on stage with these talented actors. Dennis strives so hard to do everything right, but every time he messes up – to fanfare from the audience – it’s another reminder that he’s not as polished as his fellow actors. Playing off the juxtaposition of Max has also been a lot of fun; where Max pushes for attention from the audience, Dennis is absolutely mortified by it. 

 JHPENTERTAINMENT: This show is very physical—what’s the most demanding part for you?

HAZEN LAWSON: The ending scene of Act I is a bit of a gauntlet for me when Dennis can’t quite seem to get his lines right. It’s a full-on mental circus act keeping track of the script and blocking while everything loops over and over again to make sure that everything runs exactly as it should every time. And then by the end of the scene, I’ve been thrown on the floor, drenched with several glasses of scotch, and Dennis is having a full-blown panic attack. It’s a big push, but it’s absolutely worth it for the utter catharsis those ending lines bring. 

JHPENTERTAINMENT: Your show bio reveals a love of reading, knitting, and hiking—all seemingly tranquil—How do you mentally shift into the fast-paced chaos of The Play That Goes Wrong?

HAZEN LAWSON: Funnily enough, I think my love for my grandma activities as I call them has been crucial to helping me keep up with the show. Every single joke, line, and practical effect has been knit into this intricate story that will start to unravel the second a thread gets dropped. Tranquility, and especially attention to detail, is the name of the game when you need to keep a level head and stay in complete control while the show seemingly falls apart around you. To the audience it should look like total chaos, but for those of us up on stage it should be running like clockwork.

JHPENTERTAINMENT: What’s one moment where timing is absolutely everything for the joke to land?

HAZEN LAWSON: Is saying the entire show an option?? If I had to choose just one moment, it would probably be at the beginning of Act II where Dennis’ lines are cut off by Trevor having fun with some sound cues. It’s a moment where I really have to be in sync with Wanderson Rezende – who’s playing Trevor up in the fake sound booth – and with Steve Love – our actual sound designer/operator in the real sound booth – to make sure everything lines up.

JHPENTERTAINMENT: Have you had any almost mishaps that felt a little too real?

HAZEN LAWSON: During one of our rehearsals, the set may have fallen apart just a little too early. Thankfully everyone was where they needed to be and no one was in any danger – but I will say I have a newfound perspective on Dennis’ reaction to almost being crushed by a flat.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s DIRECTOR, ERIN-GRACE BAILEY 

JHPENTERTAINMENT: You’ve directed a wide range of work, from the Bell Witch Fall Festival‘s Smoke and Women In Theatre‘s Tiny Beautiful Things to The Keeton‘s 2024 production of William Inge‘s Bus Stop—what drew you to The Play That Goes Wrong?

ERIN-GRACE BAILEY: This was kind of a dream show for me. I’m a big fan of a lot of British work and grew up on a lot of that classic slapstick comedy. I was that weird teenager that would rather re-watchI Love Lucy and Downton Abbey than keep up with the latest fad. That interest grew in high school when I discovered Oscar Wilde and then even more in college when I started studying Noel Coward. I got to see the National Tour of The Play That Goes Wrong my sophomore year for free after a friend gave up some tickets. I had no idea what I was walking into but immediately fell in love with it. I felt like it combined all of my favorite things. I’ve been an avid follower of Mischief Theatre Company who created the play ever since. The work they’re doing is not only incredibly creative and entertaining but extremely impressive. It’s an honor to bring a little piece of that to middle Tennessee.

JHPENTERTAINMENT: You had me at I Love Lucy, but I digress…How do you begin to direct something that’s supposed to look completely chaotic?

ERIN-GRACE BAILEY: Well, Step One is to swallow your anxiety and pray, haha. Step Two is a lot of research. We spent a lot of time on YouTube looking at other production, reading and then re-reading the script, and talking to people we knew who had done the show before. 

A lot goes into this show. Our technical director Kevin Driver has outdone himself. The set for this show is no easy feat, and we’ve had it for a while for the actors to practice on. Everyone in this show has spent a lot of time learning stage combat and stunts, memorizing their lines early on, and fine tuning little things so they’re shocking to the audience but predictable for the people they’re on stage with. 

Above all, I want to recognize that while every show takes a village, this one especially does. Everyone apart of this has put in a lot of work, contributed ideas, and collaborated to bring out the best in one another. Nothing about this show is possible without an amazing team. 

JHPENTERTAINMENT: What’s the biggest challenge in balancing technical precision with comedic freedom?

ERIN-GRACE BAILEY: Time. We could have probably rehearsed this show for the rest of the year and continued to have made discoveries, but in a rehearsal period, there has to be sort of a cut off for new things. I still encourage the actors to play so it’s fresh every night, but there are some pieces of the show that have to happen the exact same way every time so all of the elements can work together. It’s a fine line, but this cast and crew has mastered it with professionalism.

JHPENTERTAINMENT: You touched on it a bit earlier, but let’s delve into it a tad more…What has this show’s technical team done particularly well in bringing your vision of “controlled chaos” to life?

ERIN-GRACE BAILEY: Their dedication and communication has been nothing short of phenomenal. There’s a lot of bouncing ideas off one another. I think Kevin and I have had a phone call almost daily for the past two weeks talking about magnets and measurements. Ironically, for something to look so chaotic, it all has to be extremely precise. We’ve used the script as a formula, and then I think just about every designer has added little things of their own, too. It’s also a lot of fun to be directing a show where the designers get to bring out their comedic side as well. They’re so creative and lovely. I can’t thank them enough for the hours they’ve put in on this show.

JHPENTERTAINMENT: What do you hope audiences leave with after seeing The Keeton‘s production of The Play That Goes Wrong?

ERIN-GRACE BAILEY: As Dolly Parton says, “If you see someone without a smile, give them yours!” We’re living in some dark times. Even the day-to-day struggles just feel a little bit extra heavy lately. I hope folks get to come in to the theatre, have a nice meal, and just leave those struggles at the door for a little while. I hope they’re entertained, that they laugh, and they get to have an evening of no internet – just a bunch of strangers in a crowded room enjoying some weird, hilarious, impressive art.

—–

 The Play That Goes Wrong runs April 10–26 at The Keeton Theatre, located at 108 Donelson Pike, Nashville, TN 37214. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Please note that the two Thursday evening performances during the run are show-only with Doors at 6:30pm and Show at 7pm. Show Only Tickets: $32.00 (Thursday performances), Adult Dinner and Show: $42.00, Child Dinner and Show: $37.00. For a slight upcharge, Salmon can be chosen as the dinner entree. Group tickets receive a discount. Please call the Box Office at 615.883.8375 or CLICK HERE for tickets.

During the run of The Play That Goes Wrong, The Keeton will present The Keeton Community Wind Ensemble’s Spring Concert An Evening at the Theatre, directed by Dillon Wright and featuring a selection of music from the movies. Door open for this one-night-only event at 6:30pm with the performances beginning at 7pm on Tuesday, April 14. Tickets are $15. CLICK HERE to purchase.  Following The Play That Goes Wrong, on Tuesday, May 2 at 7pm, it’s time for The Keeton’s Annual Gala directed by The Keeton‘s own Donna Driver with musical direction by Jane Kelley. This year’s annual fundraiser for the theatre is themed: Role Reversal. Tickets to the gala are $60. Gala tickets include dinner, a chance to win some great prizes donated by supporters of the theatre and the opportunity to be among the first to purchase Season Tickets for The Keeton’s upcoming 2026-2027 Season. CLICK HERE to purchase gala tickets. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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!

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

by

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 10Q with ‘Riverdance 30’ Lead Dancer Brothers Kieran and Will Bryant; at TPAC April 3 & 4

by

For three decades, Riverdance has captivated audiences around the globe with its electrifying blend of music, movement, and storytelling—and now, the legacy continues with the milestone Riverdance 30th Anniversary Tour. As part of just 67 cities on this celebratory U.S. tour, Nashville once again welcomes a limited engagement at Tennessee Performing Arts Center’s Jackson Hall, with performances set for Friday, April 3 at 7:30 p.m. and Saturday, April 4 at 2:00 p.m. and 7:30 p.m. Ahead of their Music City stop, JHPEntertainment caught up with siblings Kieran Bryant and Will Bryant—two of Riverdance 30’s internationally acclaimed lead dancers —for a quick-hit Rapid Fire Q&A, offering a behind-the-scenes glimpse into life on tour, stepping into the spotlight, and what it’s really like sharing the stage with family as part of this global phenomenon.

———-

RAPID FIRE 10Q WITH KIERAN AND WILL BRYANT OF RIVERDANCE 30: THE NEW GENERATION

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s KIERAN BRYANT

JHPENTERTAINMENT: You started dancing at just four years old—do you remember the moment it stopped being a hobby and became the path?

KIERAN BRYANT: I competed from a very young age both nationally and internationally. I guess the earliest moment I can remember that it clicked for me was my first time competing overseas in America. It opened my eyes to a whole new perspective and made me want to push myself to become the best I can possibly be. That’s when my love for it really took over.

JHPENTERTAINMENT: Hailing from Australia, what’s the most exciting aspect of touring the U.S. with Riverdance?

KIERAN BRYANT: US tours have always been my favorite tours. I love getting to see so many different parts of the country and how each city has its own vibe. It’s cool now getting to tour and perform in iconic places like New York & LA that growing up, I would’ve only really seen in the movies.

JHPENTERTAINMENT: Having joined Riverdance alongside your brother, who’s also a lead dancer in the company—what’s the biggest advantage of having him there, and what’s the one thing that can still drive you a little crazy?

KIERAN BRYANT: My brother and I have always been super close so getting to do what I love alongside my best friend, it’s the best. It’s natural for everybody to get a little homesick, especially being on the road for long periods of time so having him there helps massively dealing with that. That being said, us being so close we know each other better than we know ourselves sometimes, so like all siblings we do get on each other’s nerves from time to time. But it’s all love.

JHPENTERTAINMENT: Having officially made your lead debut in 2022—what shifted for you, mentally or physically, stepping into that level of responsibility?

KIERAN BRYANT: Becoming a lead dancer was always the goal so that was something I was building myself into from the beginning. There is a significantly higher demand on the body and mind that comes with the role so making sure I prioritize health and wellness has become even more significant in my day to day. It’s also essential having that trust and belief within yourself that you deserve to be there. I think that’s what keeps me striving to always push myself.

JHPENTERTAINMENT: Among the many international tour stops, you’ve performed lead in your hometown of Sydney, Australia, cheered on by family and friends. Quite the full-circle moment, I’m sure—what did that moment feel like in your body as you stepped onstage?

KIERAN BRYANT: It’s hard to explain really. It was kind of like an out of body experience, every movement felt a little different than usual. There were a lot of emotions going through my body, so I just tried to keep myself present and enjoy being in the moment. There’s a different energy from both the audience and the cast when it’s a big show like that. No better feeling than performing and showing gratitude towards the people who have supported you along your journey.

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s WILL BRYANT

JHPENTERTAINMENT: You joined Riverdance in 2013 and became a lead in 2016—I caught the 20th anniversary performance at TPAC a decade ago. How has your perception of (and performance as) a lead dancer changed since that initial anniversary tour?

WILL BRYANT: Having toured with Riverdance for nearly 13 years now. My perception, especially as a lead performer, has changed a lot. As a dancer in such a prestigious show as this, there is a certain standard you have to hold yourself accountable for. When you step into the role of a lead position, it’s a whole different ball game. You have to maintain a physicality and mindset that allows you to essentially lead an entire production night after night, venue after venue. There’s definitely ups and downs but it’s all part of the journey. I was just starting out my lead career in 2016, so 10 years on, having solidified my position and experienced the dynamics of the role, I feel that I am at the top of my game.

JHPENTERTAINMENT: Having performed in over 24 countries—has any particular audience surprised you in the way they respond to the show?

WILL BRYANT: I’d have to say when I toured Mexico in 2022, I was pleasantly surprised by the response we got. I didn’t really know what to expect as I had never been there before. They loved the show. I remember they were even selling their own Riverdance merchandise out the front of the venue which was really cool. They had everything. T-shirts, mugs, hats, you name it. I managed to snag a mug with my face on it.

JHPENTERTAINMENT: You and Kieran aren’t the only siblings on the 30th Anniversary Tour—there’s also Anna Mai Fitzpatrick and her brother Fergus. Do you feel like you four might have a slight advantage because of those familial relationships, or has your long tenure with the company created its own family vibe?

WILL BRYANT: I feel like every family relationship is different, but for me, my brother and I share a special bond. We are best mates. Always have been. Being able to share these experiences on the road with my brother isn’t something I take for granted. I feel like there is a definite advantage to having someone you’re so close to on the road with you. We are able to be brutally honest with each other on our performance and life, even when it isn’t asked for. But I love that.

JHPENTERTAINMENT: Hitting the Principal role and performing at Radio City Music Hall is no small milestone—did that moment live up to the ideals you put on it?

WILL BRYANT: Performing in Radio City is something that I will never forget. I have spent years performing in various venues across the globe but this one was very special for me. Due to unforeseen circumstances I was unable to perform lead in Radio City in 2020, so being able to strut my stuff as a lead performer in 2025 in front of the thousands, my parents included, was a phenomenal experience.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Riverdance live on stage?

WILL BRYANT: A major takeaway I’d like audiences to experience is a sense of connection. Throughout the show there are so many elements of cultural identity and cohesiveness. The artistry of all performers share a special bond that connects us no matter where you are from. I also hope audiences discover a new found respect for the arts industry. We put a lot into what we do as performers and I don’t think a lot of people realise that. Life on the road isn’t all glitz and glamour. We essentially put our entire lives into putting on shows night after night ensuring people experience the best of the best. That’s what we strive for.

———-

Tickets for Riverdance 30: The New Generation range in price from $47 to $215, with a VIP Ticket option that includes premium orchestra-level seating, early access to the venue to watch cast blocking and warm-ups, a VIP laminate, and a pre-show Q&A with select cast members. For more information on VIP ticketing, call TPAC’s Box Office at 615.782.4040 or CLICK HERE to purchase tickets.

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

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

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

Arts Preview: Hiroaki Umeda’s Electrifying Fusion of Dance and Technology Returns to OZ Arts March 26-28

by

In a recent press release, OZ Arts’ Artistic Director Mark Murphy reaffirmed his long-standing admiration for Tokyo-based multimedia artist Hiroaki Umeda—and why audiences are about to witness something truly extraordinary as the remarkably inventive visual performer returns to Music City, this time bringing his captivating program assimilating and Moving State 1 to Nashville for the first time ever.

It was back in 2019, not long after Murphy stepped into his role at Oz Arts that he first invited Umeda to perform. As Murphy says, “the future of performance”—a bold statement, indeed, but one that feels earned the moment you begin to understand Umeda’s work.

Blending choreography, sound design, lighting, and digital projection into a single, seamless vision, Umeda doesn’t just create dance—he builds entire worlds. A true one-man creative powerhouse.

Performing with nothing more than a laptop as his control center, Umeda simultaneously directs lighting, sound, multiple video projections in real time and entrancing motion. The result is a fully immersive environment where movement and technology are in constant conversation.

It’s a style that has captivated critics across the globe. The New York Times comparing the artist to, “a tin man with oil flowing freely through his veins.” Of Umeda’s style, The Guardian lauded, “dazzling…dancing through a perfect storm of light, video and sound,” while Infinite Body praised his work as “cool, minimalist, high-tech hip hop…a dance of total theatre.”

Still, I’ve a feeling those accolades barely scratch the surface of what Umeda has in store for Music City. Closing out a rare five-city U.S. tour, with his Oz dates, Umeda’s dynamic work assimilating and Movie State 1 begins, as assimilating suggests, with a visually explosive solo that places Umeda inside a constantly shifting digital landscape. Then, Moving State 1 presents a striking group work featuring four female dancers from Umeda’s Somatic Field Project, blending precision movement with cinematic intensity. Together, the pieces highlight what the Scotland Herald calls his “virtuoso melding of technology and movement,” blurring the lines between concert dance, visual art installation, and experimental theater.

In a note from Oz’s Artistic Director, Murphy recalls first presenting Umeda in Los Angeles in 2013, where the work left a lasting impression—earning praise from the Los Angeles Times for “a defining artistic vision for our time.” Now, that same boundary-pushing artistry returns to Nashville with a program locals haven’t witnessed before. I’m certain that my readers know: every now and then, a performance comes along that genuinely shifts your expectations. This is one of those moments.

Umeda’s work isn’t about narrative or tradition—it’s about sensation. It’s about what happens when light, sound, and the human body collide in real time. And it’s about experiencing something you simply can’t replicate unless you witness it in the flesh. As Murphy puts it, this is an artist whose work must be seen firsthand. For Nashville’s creative scene, this isn’t just another visiting performance—it’s a rare opportunity to experience an artist who is actively redefining what live performance can be. And for three nights only, that future is playing out right here at OZ Arts.

Hiroaki Umeda: assimilating and Moving State 1 runs Thursday through Saturday, March 26–28 at 8 PM (doors open at 7 PM) at OZ Arts (6172 Cockrill Bend Circle, Nashville, TN 37209)

Ticket options include:

  • Artist & Creative Community (discounted, no code required)
  • General Admission
  • Generous Admission (I love this one!)

Pricing by night:

  • Thursday: A&CA $20 / GA$30 / Generous Admission$40
  • Friday: $25 / $32 / $42
  • Saturday: $30 / $37 / $47

CLICK HERE for tickets.

Next up at Oz Arts is Australian cabaret darling Meow Meow April 11. CLICK HERE for more info or to purchase tickets. To keep up with all things Oz Arts, follow them on Facebook, X, YouTube and Insta.

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

Rapid Fire 20Q:This Empty Vessel on Their Debut Album ‘NOD’; Now Streaming Everywhere

by

Atmospheric, cinematic, and emotionally charged, NOD marks the debut release from This Empty Vessel (TEV)—a collaborative project built on evolution, storytelling, and sonic exploration. Released on February 27, the album was written and produced by Gerald Josef, J Booth, and Wes Bishop, with vocals from Jennifer McLane guiding listeners through its layered, immersive soundscape.

Blending elements of alt-rock, electronic textures, and folk-inspired storytelling, NOD was crafted as a front-to-back listening experience—one that invites audiences into an etherial space somewhere between dream and reality.

JHP Entertainment caught up with the creative forces behind This Empty Vessel to talk about the origins of the project, the making of NOD, and what lies ahead in TEV‘s ever-evolving musical journey.

———-

RAPID FIRE 20Q: THIS EMPTY VESSEL ON THEIR DEBUT ALBUM, NOD 

RAPID FIRE WITH TEV’s GERALD JOSEF

JHPENTERTAINMENT: You’re credited as one of the founding forces behind This Empty Vessel. What first sparked the idea for the project, and at what point did the concept for the debut album NOD begin to take shape?

GERALD JOSEF: First, let me say that I’ve known J for nearly 40 years. His ability to write prophetic, emotionally deep lyrics—while still making them work within a pop or alt-rock framework—is unmatched. I always knew that if I ever started something new, he’d be the person I’d want to build it with.

The core idea behind This Empty Vessel is simple: create the best music we’re capable of. With each release, we plan to introduce a new artist—both to lift them up and to push ourselves as writers to keep evolving.

The concept for NOD came straight from J. He has this rare gift for taking a spark of an idea, shaping it, and carrying it all the way to a fully realized story.

JHPENTERTAINMENT: As a multi-instrumentalist and composer on NOD, how did you approach shaping the sonic palette of the record—from the gothic mysticism heard in “Prologue” to the folk-tinged textures of tracks like “Oceans and Blankets”?

GERALD JOSEF: One of the things I love about having a few years of experience under my belt is finally having access to tools I could only dream about when I first started. Most of what I use now is software-based, but so many of these instruments are incredibly faithful recreations of the originals—classic synthesizers, beautifully expressive orchestral libraries, and everything in between.

I’m especially drawn to sounds with a slightly spooky edge, like “Prologue,” or the dramatic, atmospheric textures you get from “Oceans and Blankets.” Anything with a cinematic feel tends to pull me in.

JHPENTERTAINMENT: Ok, let’s just get into it… NOD. When I first heard the name, I had two thoughts—Nod, the biblical city of exile just East of Eden…OR, The Land of Nod, a dreamlike state as written about in Robert Louis Stevenson’s 1885 collection of poetry. So, what was the inspiration for the project title?

GERALD JOSEF: This is truly a question for J as he is the author of this concept. I will say NOD leans more towards the liminal space in between awake and fully asleep.

JHPENTERTAINMENT: NOD was written as a front-to-back listening experience rather than simply a collection of songs. How intentional were you about sequencing the record and guiding the emotional arc from “Prologue” all the way to “Home”?

GERALD JOSEF: Everything about this project was intentional. J and I worked closely on every aspect of the production to make sure the album had a consistent feel and a natural flow. It was the perfect way to ease back into working together and a reminder of the direction we believe we’re heading.

Because our long-term vision is to collaborate with a different artist on each project, that intentionality becomes even more important. It allows us to stay true to our own writing style while also being mindful of the artist we’re working with and the direction they naturally want to take.

JHPENTERTAINMENT: Now that NOD is out in the world, what’s next for This Empty Vessel—more recordings, live performances, or perhaps expanding the collaborative circle behind the project?

GERALD JOSEF: We’re already excited about what’s next. Our next artist is lined up, and we’ll most likely shift to smaller, more frequent releases before moving on to the next vocalist. As for live performances, that’s not our focus right now. If the right opportunity comes along, we can revisit it, but it may be challenging since we plan to work with many different vocalists over time.

For now, we’re keeping the writing circle to just the three of us. We may eventually expand the process, but we’re still early enough in this journey that it isn’t necessary yet.

RAPID FIRE WITH TEV’s J BOOTH

JHPENTERTAINMENT: You’re part of the trio that formed This Empty Vessel. How did your lyrical/musical background and instrumental role in the band influence the sound and direction of NOD?…AND…When I chatted with Gerald, he deferred to you when I ask about the inspiration for the album title, so…

J BOOTH: When Gerald, Wes, and myself set out to work on this album we made two decisions at the onset. 1.) We wanted to work with a female vocalist on TEV’s first album—something the three of us hadn’t done in some time and missed. 2.) We wanted to write songs that were accessible to a large audience.

We challenged ourselves to use lighter tonal colors, focus on clear themes, and create hooks that complement a female voice. I approached it the old way—just me, an acoustic guitar, and weeks in a room. Once I had something strong, I’d send it to G and Wes. When approved, I’d dig into my studio and start building from there.

[as for the project title] When I was younger we would always “go off to the land of Nod” when we were going to bed. I didn’t realize at that young age that there were religious implications to the term or place. I thought it meant it was where you went when you nodded off—a place where you go to dream. Literally, that’s what I thought.

JHPENTERTAINMENT: While somehow remaining cohesive, NOD blends alt-rock, electronic textures, shoegaze elements, and folk storytelling. When working on the arrangements, how did you strike that balance between atmosphere and raw edge?

J BOOTH: I love this question. We approached the album like we were filming a movie—each song is a scene. From “Prologue” to “Clean,” we let each track be itself while tying them together subtly.

When atmosphere was needed, G’s orchestration and synth work led the way. When it needed edge, I brought that on guitar, and Wes is a powerhouse on drums when it comes to accenting emotion. The songs told us what they needed—we just followed.

JHPENTERTAINMENT: Tracks like “Knock Knock Road” introduce dissonant electronics alongside roots-leaning melodies. Can you walk us through the creative process behind building a track like that?

J BOOTH: Believe it or not, “Knock Knock Road” was inspired by “Ode to Billie Joe” by Bobbie Gentry. At its core, it’s a folk song—arpeggiated verses with sliding riffs instead of straight strumming.

We knew it had to follow “Japanese Tile,” so it needed to push the album forward. G added dark synth layers, we created an opening line together, and Jenn doubled it vocally with a bit of a Led Zeppelin vibe. Then I layered in percussive guitars while Wes and G built a groove.

Honestly, none of it should’ve worked—which is probably why it did. And yeah, we had a blast.

JHPENTERTAINMENT: Where were the NOD sessions tracked, and what did those studio collaborations bring to the final sound?

J BOOTH: Gerald set up a system where I tracked guitars at my home studio while he handled orchestration, drums, vocals, and mixing at his place.

We’d share files back and forth—sending tracks to Wes with a click so he could build his parts before we all got together. It made the process efficient but still collaborative when we met in person.

JHPENTERTAINMENT: With the album now released through Soundcrest Music Group and reaching listeners worldwide, how do you see This Empty Vessel evolving musically from here?

J BOOTH: The whole purpose of This Empty Vessel is to evolve with every project. The next one will feature a new vocalist, new direction, and a fresh blend of influences.

We’re doing this to challenge ourselves and to spotlight artists we believe in. The days of being boxed into one lane are over—we’re here to explore.

RAPID FIRE WITH TEV’s WES BISHOP

JHPENTERTAINMENT: As one of the founding musicians of This Empty Vessel, what initially drew you into the project, and how did your instrumental role shape NOD?

WES: Anytime I get the opportunity to create original material with G and J, I’m all in. The idea of being a production company rather than just a band really fits this stage of life.

For NOD, I wanted drum grooves that broke away from standard rock patterns—blending raw drums with synth elements alongside G.

JHPENTERTAINMENT: Which track on NOD best represents your personal musical fingerprint?

WES: I’d have to say “Knock Knock Road.” It’s got an unusual groove, sensitive dynamics, and raw power—all things I love.

JHPENTERTAINMENT: The album explores themes of loneliness, uncertainty, and communication breakdown. How did those ideas influence your approach in the studio?

WES: Like you said—we’ve all been there. We each brought our own emotional interpretation into the songs, and that helped shape something that feels real and meaningful.

JHPENTERTAINMENT: At what point during the single rollout did you feel momentum building toward the full release?

WES: I was excited from day one with “Valentine,” but it was after “Joey’s Getting Mad Again” that I really felt the momentum take off.

JHPENTERTAINMENT: What excites you most about the next chapter?

WES: Starting new material. A new vocalist, new direction, new concept—that’s what has me fired up.

RAPID FIRE WITH TEV GUEST VOCALIST, JENNIFER McLANE

JHPENTERTAINMENT: You provide the lead vocals on NOD. How did you first become involved with This Empty Vessel?

JENNIFER McLANE: I’ve known Gerald for years and had worked on some of his music before. When he reached out again, I was intrigued. Coming from a folk, blues, and R&B background, I knew this would stretch me—and that challenge is what drew me in.

JHPENTERTAINMENT: Your voice carries a haunting emotional weight across the record, especially on “You Don’t Want Me.” How did you approach that?

JENNIFER McLANE: “Haunting emotional weight”—I like that. I just stepped into that space. It’s something many of us can relate to. Lines like “I hate your popcorn…” made me laugh—they’re so specific, but so real.

JHPENTERTAINMENT: How did you adapt your vocals to match the shifting moods of the album?

JENNIFER McLANE: Each song felt like a play, a movie—sometimes even a circus. I placed myself inside each story. The guys would share their perspectives, and I’d blend that with my own life experiences. Life is colorful—I had plenty to draw from.

JHPENTERTAINMENT: Do you have a favorite track that pushed you vocally?

JENNIFER McLANE: That’s tough—they all stretched me in different ways. “Prologue” moves from whisper to howl. “Japanese Tile” broke my heart. “Clean” feels like a lament. “17” has this unrequited love energy. “Maybe” hits with the line, “If you don’t know that you’re the best part of me, then that’s my fault.”

JHPENTERTAINMENT: What do you hope listeners take away from NOD?

JENNIFER McLANE: I hope people enjoy the journey. More than anything, I hope something resonates. Music is such a gift—to give and to receive.

———-

With NOD, This Empty Vessel has introduced a bold and deeply intentional debut—one that not only showcases the collective strengths of Gerald Josef, J Booth, Wes Bishop, and vocalist Jennifer McLane, but also sets the tone for a project rooted in collaboration and constant reinvention.

As the group looks ahead to new artists, new sounds, and new creative territory, one thing is clear: This Empty Vessel is just getting started.

NOD, released February 27, is available now on all major streaming platforms. CLICK HERE to check out the full album on your favorite streaming service. To check out a recent review of NOD, CLICK HERE.

To keep up with This Empty Vessel, CLICK HERE or follow them on Spotify, Apple Music, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Music, Movie or Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #ListenToTheMusic!

Theatre Review: Great Scott! ‘Back to the Future: The Musical’ National Tour is a Plutonium-Fueled Nostalgia Thrill Ride; at TPAC thru Sunday, March 22

by

As someone who’s been a fan of the Back to the Future franchise since seeing the original film in the theatre on opening weekend—and who, on October 15, 2015, joined friends for the trilogy back in theatres on Back to the Future Day—the stakes were high when I took my seat at TPAC’s Jackson Hall for Opening Night of the Nashville leg of Back to the Future: The Musical National Tour (on stage in Music City thru Sunday, March 22). I gotta admit though, when the lights dimmed and the logo faded to reveal a projection of Doc Brown’s Time Circuit cleverly dialed to Nashville with the date March 17, 2026 at 7:30PM (the present location, date and time we were seeing Back to the Future: The Musical) then quickly switched to that fateful date in 1985, I had a feeling I was in for quite the ride.

When a beloved film gets the musical treatment, there’s always the question of why. Not every movie needs to be a musical. But this national tour doesn’t try to reinvent the wheel—it reinforces it, straps it to a DeLorean equipped with the ever-necessary flux capacitor, and sends it hurtling to 88 mph. Mere seconds in, any hesitation melts away, replaced by the knowledge that this show knows exactly what it is: a nostalgia (and plutonium)-fueled, tech-savvy, crowd-pleasing spectacle that leans into its strengths and overcomes its minor weaknesses in lightning speed.

At the center of it all are two performances that absolutely ARE Back to the Future. As Marty McFly, Lucas Hallauer brings the youthful energy, physicality, and vocal chops required for the role. He’s not doing a carbon copy, but the essence is there—especially in the quieter moments where Marty’s frustration about his future bubbles to the surface. Vocally, he delivers some impressively athletic moments that deserve even more love than they sometimes get in the moment. He’s got Marty down—from the nervous vocal inflection to those purple Calvin Kleins, Hallauer is Marty McFly. Side Note: I’m calling it now…give him a few years and he could easily step into another iconic movie-to-musical role as Euphegenia Doubtfire, as there were moments during BTTF in which Hallauer reminded me of a young Robin Williams. 

Then there’s Doc. David Josefsberg’s take on the eccentric inventor is where the show truly locks into place. Wonderfully unhinged in the best way, his Doc balances manic comedy with genuine heart. His early numbers are the turning point where the audience collectively leans in and says, “Okay, I’m in.” Josefsberg doesn’t imitate—he reinvents, while still honoring what makes Doc such an iconic character.

Beyond the central trio, the supporting cast adds texture and heart across Hill Valley. Kathryn Adeline–a recent addition to the tour family, having just joined the tour on Febuary 24–steps into Lorraine Baines with a layered mix of humor and vulnerability. From Mrs. Lorraine McFly’s intoxicating opening scene to the more flirtatious 1955 Lorraine and back again to the new and improved time-altered Mrs. McFly, Adeline embraces each version with aplomb, wit and charm. As the nebbish George McFly, Mike Bindeman leans fully into the character’s awkward lovability, earning genuine laughs along the way. Those dance moves tho! As Marty’s 80s love interest, and a character that honestly could have been omittted from the musical, Sophia Yacap brings a grounded warmth to Jennifer Parker, even somehow managing to make the otherwise forced Act 2 number “The Letter/It’s Only a Matter of Time” (reprise) kinda work. Braden Allen King pulls double duty with ease as Dave McFly and Slick, making both moments count. Luke Antony Neville’s Principal Strickland is a fun, no-nonsense presence that lands exactly as it should.

Having interviewed Hallauer, Jofesberg, Adeline and Nathaniel Hackmann, who originated the role of Biff in the Broadway production for my recent BTTF Rapid Fire 20Q, I was especially looking forward to seeing all four taking on their iconic roles. Unfortunately, upon checking out the cast list in the lobby before entering TPAC’s Jackson Hall, I noticed the role of Biff was to be covered by Biff understudy, Zachary Bigelow. But as I mentioned to my date for the evening…if you’re part of a Broadway National Tour, you’re there for a reason. That said, as Biff, Bigelow brings a confident, lived-in menace (and humor) to the character here. His performance feels effortless. I’m guessing those who didn’t check the cast list were blissfully unaware they were catching the understudy. With Bigelow, Biff is exactly what you want—equal parts bully and buffoon, landing the comedy while never losing the edge that makes the stakes work.

And then there’s Cartreze Tucker as Goldie Wilson (and Marvin Berry), who nearly steals the entire show. From the moment he steps onstage, Tucker commands attention. His big number earns one of the largest audience responses of the night, and for good reason—his vocals are powerhouse-level, and his charisma is off the charts. It’s a star-making turn that injects an extra jolt of electricity into an already high-energy production.

The ensemble—featuring Joshua Blackswan Abbott, Gregory Carl Banks Jr., Brittany Bohn, Jenny Dalrymple, Steven Eckloff, Jillian Hope Ferguson, Abbey Friedmann, Anthony J. Gasbarre, III, Alexis Lilley, Tay Marquise, Gio Martinez, Lilliana Rodriguez, Brendan Sheehan, and Ross Thompson—keeps the world of Hill Valley alive and constantly in motion. 

There was one small exception…during a less-than-sharply executed Enchantment Under the Sea dance sequence where the usual twirls, tosses and extensions of 1950s dance moves are crisp and expertly executed, the company just didn’t seem into it. Then again, this is year two of the National Tour and the day before Nashville’s opening night was indeed a travel day. 

That said, whether filling out the town square or the diner, the entire ensemble help maintain the show’s kinetic pace and visual richness.

Of course, no discussion of Back to the Future: The Musical would be complete without talking about the DeLorean. The moment it first appears onstage is met with an audible, collective thrill from the audience—and rightfully so. It’s not just a prop; it’s an event. That reaction alone tells you everything about how deeply this story is embedded in pop culture. And when it finally kicks into time-travel mode? It’s a full-on theatrical adrenaline rush.

That blend of Broadway storytelling and theme park attraction energy becomes the show’s defining identity. This isn’t just a musical—it’s an experience. At times, it genuinely feels like you’re inside a high-end movie theme park ride, in the best possible way.

Visually, the production is stunning. The use of projections, layered with practical effects and good old-fashioned stage magic and some mind-blowing state-of-the-art new theatrical tricks, the effects become a character in its own right. Whether it’s the clock tower sequence or the time-travel effects, the technical execution is nothing short of jaw-dropping. It’s the kind of design work that reminds you how thrilling live theatre can be when all the elements are firing.

And yes—the nostalgia hits hard. All the classic lines are here, from “Wait a minute, Doc. Are you telling me that you built a time machine… out of a DeLorean?” to “I guess you guys aren’t ready for that yet. But your kids are gonna love it.” My favorite new line–early on when Doc Brown breaks into song, a bevy of  big-haired 80s-styled backup dancer appear prompting Marty to ask where the came from, to which Doc responds, “I don’t know…they just show uyp every time I start singing”. So, too, the iconic moments—the skateboard chase, Marty coming to in Lorainne’s bedroom, the wannabe rockstar performance—are all intact, reimagined just enough to work onstage while still delivering that rush of recognition. Even the visual details, from Marty’s unmistakable 80s wardrobe to the stylized version of the skateboard, feel lovingly preserved…see what I did there? 

Musically, the score does its job well in the moment. The original songs by Alan Silvestri and Glen Ballard support the story and showcase the cast, but once the DeLorean sets out for its next adventure, there aren’t many new numbers that linger. It’s the familiar pop tunes—“Earth Angel,” the aforementioned “Johnny B. Goode,” and the nods to Huey Lewis—that truly stick.

Act Two does bring one of the more head-scratching moments in the show—a neon-soaked, new wave-inspired “21st Century” opening number featuring Doc and a troupe of backup dancers. It’s flashy and fun, but also feels a bit unnecessary and tonally out of sync with the rest of the piece. And on opening night in Nashville, it was followed by a rare hiccup: the hoverboard didn’t quite cooperate. Still, the moment was handled with total professionalism, and honestly, it was quickly forgiven given the sheer volume of technical wizardry the show gets right. Because when it works—and it mostly does—it really works.

Back to the Future: The Musical is a time-traveling, nostalgia-packed spectacle that understands its audience and delivers exactly what it promises. It may not redefine the movie-to-musical pipeline, but it doesn’t need to. It’s fun, it’s fast, it’s visually spectacular, and it’s filled with performances that keep you invested from start to finish.

Whether you’ve never seen Back to the Future and just happen to have season tickets, or if you grew up loving this story, this production gives you the chance to experience it in a completely new way—live, loud, and with a DeLorean that still knows how to make an entrance….and an exit! So strap in and get ready to head Back to the Future as the National Tour continues. 

For dates, times and tickets for Back to the Future‘s TPAC run, CLICK HERE. Following Back to the Future, the current season of Broadway at TPAC continues with Some Like It Hot onstage at Jackson Hall April 21-26. CLICK HERE for tix. You can also follow TPAC on Facebook, YouTube, Insta and TikTok.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues with dates in Fort Worth, Houston, Tucson, Sacramento, Spokane, San Jose, Portland and Washington, D.C. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!