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Theatre Review: ‘Death Becomes Her’ – With Jackie Burns, Kristen Beth William & Company Vanity, Venom & Vengeance Have Never Looked So Fabulous

November 5, 2026 by Jonathan Pinkerton

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas in the National Tour of ‘Death Becomes Her’

From the teasing presence of the mystical vial encased in a mysterious carved box surrounded by billowing smoke center stage even before the always enchanting and captivating voice of Isabella Rossellini (who appeared in the original film) welcomed the audience to opening night in Music City of Death Becomes Her (at TPAC thru Sunday, November 8), I knew I was in for a fabulous night of musical comedy magic.

Jackie Burns as Madeline Ashton, Kristen Beth Williams as Helen Sharp, Ken Marino as Ernest Menville, Nasia Thomas as Viola Van Horn and the entire ensemble are the only Death Becomes Her cast I’ll ever need. In a show about folks consumed with attaining perfection, I’m here to tell you this entire cast has pretty much achieved it.

When I say “the only Death Becomes Her cast I’ll ever need”, here’s why…At the risk of having my gay card revoked, I must confess that I have never seen the original Death Becomes Her film. Yes, I know of the film…Meryl Streep, Goldie Hawn as frenemies obsessed with clutching to their youth, beauty, fame at any cost, with the unwitting aide of Bruce Willis…but I somehow had never seen the film. I KNOW!!! Listen, apparently I wasn’t the only one, considering the movie’s initial worldwide box-office take was a little over $58 million against its reported $55 million production budget. For a minute, I considered checking out the now-camp classic as research for my recent RAPID FIRE 20Q with the four leads of the National Tour (now at Tennessee Performing Arts Center through November 8). But then I decided I really wanted to go into this one with fresh eyes, and No, I don’t mean post-bleph, though don’t think I didn’t reconsider several elective procedures in light of the beauty-obsessed theme, but I digress.

Prior to Tuesday night’s opening-night performance in Music City, my only exposure to the stage adaptation of Death Becomes Her consisted of a few performance clips via YouTube, a couple musical synopses found on fan sites and a little information gleaned from the tour’s official website. And I’m SO glad I went in, mostly virginal! Based on the aforementioned 1992 Universal Pictures film directed by Robert Zemeckis, the musical adaptation, with a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, takes the deliciously dysfunctional rivalry between two Hollywood divas and gives it the full Broadway treatment. Think eternal youth, questionable life choices, fabulous fashion, a little murder and enough backstabbing to make even the most scandalous episode of Dynasty look like an afternoon tea party. And while the premise might be about the pursuit of eternal beauty, it’s the performances that make this production absolutely ageless.

This marks my FOURTH time seeing Jackie Burns on stage, having previously watched her deliver a record-breaking run as Elphaba in the National Tour of Wicked, as Elizabeth in the National Tour of If/Then, and in the leading role of Studio Tenn’s regional production of Aida in Concert. So, to say I’m a fan is an understatement. I’m sure Meryl Streep was “cute” in the role of Madeline Ashton, but Burns was, well, ON FIRE!

From the moment she appears, Burns establishes Madeline as a woman who considers herself the center of the universe and sees absolutely no reason why anyone should disagree. Her delivery of the show’s witty, rapid-fire, syncopated dialogue and lyrics is a masterclass in comedic precision. She manages to navigate the show’s ridiculously quick-paced exchanges without missing a beat, whether musically or comedically. Her timing is impeccable, her physicality is spot-on, and her ability to switch from self-absorbed diva to hilariously desperate mortal (well, sort of) is simply delicious.

Act One’s “For the Gaze” is a particularly marvelous introduction to the diva that is Madeline Ashton. And sidenote: How absofuckinfabulously perfect that THIS was my live introduction to this particular cheeky, wink-filled anthem! Complete with quick-change wardrobe reveals, a roll call of gay icons and a literal rainbow of wardrobe hues and lighting cues, the number is an unapologetic celebration of visibility, individuality and the art of being seen. Even better, the final costume incorporates the inclusive colors of the transgender flag. All of this happening while my home state of Tennessee was voting to turn blue, well, OK…at least purple! God, I love theatre with a message about acceptance and change! And when that message comes wrapped in sequins, fabulous choreography and a diva who knows how to work a damn room, even better! And Burns’ Madeline does it all with style, snark and so much more.

Kristen Beth Williams‘ Helen Sharp is every bit the worthy adversary Madeline deserves. Williams gives Helen a wonderfully layered transformation, taking her from the woman who has spent years being overlooked to one who discovers that revenge, like a good beauty regimen, can be remarkably rejuvenating. During our recent RAPID FIRE 20Q, and keeping with a plot point of the musical, I asked Kristen Beth that if she, like her onstage persona Helen Sharp, were to pen a tell-all, what would it be called and what would it be about? Her response? “I would call it Cover Girl (with the subtitle ‘Tales of a Broadway Understudy’).” Well, after witnessing her go toe-to-toe with Burns’ Madeline, rest assured that tome deserves a new subtitle: “From Understudy to Diva in One Quick, Campy Musical!”

Williams is a terrific match for Burns, and the two create the sort of combustible chemistry that makes watching their every exchange an absolute joy. Their rivalry is deliciously petty, gloriously exaggerated and delivered with the sort of precision that makes even their nastiest exchanges seem like a perfectly choreographed dance.

Ken Marino’s Ernest Menville is perfectly nerdy and nebbish, providing a welcome dose of bewildered humanity amid all the larger-than-life personalities and supernatural shenanigans. Marino’s comedic timing and physicality are particularly effective, especially in a scene when Ernest attempts to assert himself by standing up to Madeline. Bless his heart! He’s literally shaking in his shoes, knees comedically, exaggeratingly knocking as he tries to summon the courage to challenge a woman who could probably reduce him to dust with one perfectly timed eye roll…or her ever-handy shotgun! Marino makes the most of every opportunity for physical comedy, and his character’s hapless predicament is one of the show’s recurring delights.

Act Two’s “The Plan” is another clever musical highlight, featuring a drunken, hallucinatory duet with everybody’s favorite 70s pinup. Trust me, you’ll have to see the show to fully appreciate this one. Let’s just say that between the unexpected appearance, the alcohol and Ernest’s questionable state of mind, this is one fantasy sequence that deserves a place in the musical comedy hall of fame.

And then there’s Nasia Thomas as Viola Van Horn. Believe me…it feels weird even saying…and then when taking about this diva. It’s tempting to refer to Thomas as a scene-stealer, but she’s so much more than that. Every second she’s on stage, she’s commanding it. How absolutely fitting that Thomas opens the show with the appropriately titled “If You Want Perfection,” because she truly is!

With a commanding stage presence, powerhouse vocals, the first of many Tony-winning looks courtesy the show’s costumer, Paul Tazewell, and an effortlessly glamorous persona, Thomas immediately establishes Viola as someone who doesn’t simply enter a room; she owns it (well, at least 51% percent…gotta love it when I can insert a gay pop cuture reference in my review). There’s a confidence and magnetism to her performance that makes the mysterious purveyor of the potion every bit as fascinating as the two women whose lives she turns upside down.

During intermission, my friend who joined me for the evening and I were discussing our thoughts thus far when we arrived at the same conclusion: Thomas’ Viola lands somewhere between Heather Headley and Angela Bassett’s portrayal of Tina Turner. That’s quite the company to keep, but Thomas has the vocal firepower, commanding presence and sheer star quality to make the comparison feel entirely appropriate. Every time she’s on stage, you find yourself wanting more.

In supporting roles, special mention goes to, and attention must be paid to Louis Williams Jr. as the beguiling Chagall, whose presence adds another delicious layer of intrigue to the proceedings, and Michael Buchanan as the fabulously put-upon Stefan. Both make the most of their respective roles.

Of course, a production this visually extravagant needs an ensemble capable of matching its leading ladies, and this company is nothing short of spectacular. The ensemble features Calvin L’Mont Cooper, Nick Cortazzo, Takia “Tiki” Hopson, David Houle, Karma Jenkins, Tyler Jimenez, Caroline Kane, Bryn Purvis, Jordan Wayne Vasquez and Candace J. Washington. The majority portray the Immortals, recipients of Viola’s death-defying, perfection-achieving potent potion. Dressed, or barely dressed (gotta love a seemingly revealing combination of velvet and sheer tulle), they appear throughout the show like a chorus of seductive, otherworldly beings. Sauntering across the stage with an almost hypnotic presence, they provide a visual feast that is impossible to ignore. Not gonna lie, I found myself watching the ensemble enchant the audience every time they appeared. Body-ody-ody, indeed!

Of a little double-duty Tyler Jimenez’ Chance, the dim-witted dabbing valet, is another entertaining ensemble turn. When Burns’ Madeline returns the dab, I lost it! Elsehwere, Bryn Purvis definitely puts the “Z” in Liza (see the show, get the reference) and with some clever costuming, wigs and a bit of whimsical fight choreo McKinley Knuckle and David Houle step into diva territory for a not-to-be-missed moment that recreates one of the film’s most iconic scenes. (Again, I may not have seen the film, but unlike Helen, I’ve not been locked away in an institution, so yes, I know the scene). The choreography and timing required to pull off this sequence are impressive, and the resulting comedy is priceless.

Musically, Julia Mattison and Noel Carey’s score offers plenty of opportunities for the cast to show off their vocal talents while keeping the story moving at an entertaining pace. From the opening “If You Want Perfection” to “For the Gaze” and the wonderfully mischievous “The Plan,” and truly every single number from start to finish, there’s plenty to enjoy. And then there’s the show’s book by Marco Pennette, which deserves its own standing ovation for delivering dialogue that’s as clever, caustic and catty as the women at its center. Fair warning to anyone who does me wrong henceforth: be prepared to hear me endlessly quote “That…was…rude…That was pretty fucking rude” from Act Two’s “Hit Me.” You’re welcome.

Visually, the production is every bit as extravagant as its premise demands. As alluded previously, Tony Award-winning costume designer Paul Tazewell has created a wardrobe that’s positively to die for, with glamorous silhouettes, elaborate details and enough fashion-forward fabulousness to make a red-carpet event look underdressed. Derek McLane’s scenic design, Justin Townsend’s lighting, Peter Hylenski’s sound design, Charles G. LaPointe’s hair and wig design, Joe Dulude II’s makeup design and Tim Clothier’s illusions all contribute to a visually intricate production filled with theatrical surprises.Christopher Gattelli, who directs and choreographs, has assembled a production that balances the show’s rapid-fire comedy with elaborate musical numbers, physical comedy and some genuinely impressive special effects. The illusions are particularly effective, and the show’s signature physical sequences demonstrate just how much ingenuity goes into creating theatrical magic. There are moments when you may find yourself wondering exactly HOW they pulled something off. And that’s precisely the point.

What makes this touring production so enjoyable is its complete willingness to embrace the absurdity of its premise. Nobody is pretending this is Shakespeare, nor should they. This is big, bold, unapologetically campy musical comedy that knows its audience came for glamour, laughs, music and a little mayhem. And it delivers! I walked into TPAC‘s Jackson Hall having never seen the original movie, with no real preconceived notions about how Madeline, Helen or Ernest should look, sound or behave. I walked out having witnessed truly outlandishly, yet brilliant performances all-round from the trio, as well as a powerhouse Viola, an outstanding ensemble and a new appreciation for a story that has been entertaining audiences for more than three decades. If this is what immortality looks like, sign me up. Although, after watching Madeline and Helen navigate their eternal feud, I might want to reconsider the company I’ll be keeping. Tp quote Viola, “Don’t say I didn’t warn you”.

Ultimately, Death Becomes Her is a reminder that beauty may be in the eye of the beholder, youth might be fleeting, and revenge is best served with a little theatrical flair. But great performances, fabulous costumes and a cast that knows exactly how to entertain? Those are things that never go out of style. So, whether you’re a longtime fan of the original film or, like me, coming to this particular party for the very first time, don’t let this one die on your list of must-see musicals. After all, some things are worth living for. And this killer cast is definitely one of them!

Death Becomes Her continues its Music City engagement at Tennessee Performing Arts Center’s Andrew Jackson Hall through Sunday, November 8.

Performance schedule is as follows:

● Thursday, November 5 thru Saturday, November 7: Evening performances at 7:30 p.m.

● Saturday, November 7: Matinee at 2 p.m.

● Sunday, November 8: Matinee at 1 p.m.*

● Sunday, November 8: Final Music City performance at 6:30 p.m.

*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through September 2027. You can also follow Death Becomes Her on Insta, Facebook, TikTok, X and YouTube.

Following Death Becomes Her, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with A Beautiful Noise: The Neil Diamond Musical on stage at Jackson Hall January 5-10. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X.

In case you missed it, Check out my recent Rapid Fire 20Q with the cast below. Then #GoSeeTheShow!

Rapid Fire 20Q: ‘Love Never Dies: A Patsy Cline Anthology’ Star Courtney Linam and Playwright Joy Tilley Perryman Keep the Iconic Singer’s Legacy Alive

November 5, 2026 by Jonathan Pinkerton

Some voices are simply unforgettable, and more than 60 years after her untimely death at just 30, Patsy Cline’s remains one of them. From the heartbreak of “I Fall to Pieces” and “Crazy” to the timeless appeal of “Walkin’ After Midnight,” her music continues to find new generations of fans, proving that some legacies really are built to last. Enter Love Never Dies: A Patsy Cline Anthology, an original theatrical tribute written by Joy Tilley Perryman and starring Courtney Linam as the legendary country songstress, accompanied by a live band. Rather than simply retracing the familiar milestones of Patsy’s life, Perryman takes a more intimate approach, imagining the singer reflecting on her journey in the moments before her final flight, weaving together memories, music, and the extraordinary story behind that unmistakable voice.

Linam and Perryman are bringing Patsy’s story to The Venue at Coosa Landing in Gadsden for two performances, November 7 and 8. Love Never Dies: A Patsy Cline Anthology is just the latest in a creative partnership has included costarring in both The Ritz’s 2024 presentation of Steel Magnolias and last year’s Queens of Heart at The Local Scene. Having reunited this past summer to present the anthology debut performances in Atlanta in July, then again just last month in nearby Oneonta, Alabama, this week’s presentation marks the show’s Gadsden premiere.

From discovering the woman behind the iconic voice and recreating her signature look to the inspiration behind an original Patsy Cline musical, Perryman and Linam’s latest creative adventure has plenty to dish about. JHPENTERTAINMENT caught up with both women for a Rapid Fire 20Q about the music, the memories, the magic of collaboration, and why, when it comes to Patsy Cline, Love Never Dies.

RAPID FIRE 20Q WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY STAR AND PLAYWRIGHT

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY PLAYWRIGHT, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: When did the idea of creating Love Never Dies: A Patsy Cline Anthology first begin to take shape?

JOY TILLEY PERRYMAN: Courtney had played Patsy in Theatre of Gadsden’s production of Always…Patsy Cline. I did the costumes for that show and we had a great time working on together and she makes an utterly fantastic Patsy. Then a year later our dear friend, Mike Beecham approached us about bringing a Patsy show to his theatre in Atlanta. But he wanted something different that what was already out there, so I just decided to write a new show!

JHPENTERTAINMENT: For those who might be familiar with other Patsy Cline stage musicals like Always…Patsy Cline and A Closer Walk with Patsy Cline, what makes Love Never Dies: A Patsy Cline Anthology unique?

JOY TILLEY PERRYMAN: To write this show, I wanted to make it more of a memory play. As if Patsy were looking back on her life in those moments before the plane went down. So we start at the end. The last concert where Patsy performed was on March 3, 1963 at Soldiers and Sailors Memorial Hall in Kansas City, Kansas, It was a benefit for DJ “Catcus” Jack Call. The last song she ever sang was “I’ll Sail My Ship Alone”. The lyrics are haunting and that is where we start our show and then back in time to her beginnings at the Grand Ole Opry.

JHPENTERTAINMENT: Beyond the basic biographical details and familiar stories most fans know, were there lesser-known aspects of Patsy’s life, personality, relationships, or career that particularly surprised you or helped shape the anthology?

JOY TILLEY PERRYMAN: Sitting down to decided the songlist and put the songs in some kind of order, made me really see how sad and tragic her life truly was. Besides the tragedy of a far too early death, Patsy overcame many hardships along the way.

JHPENTERTAINMENT: During her all-too-brief career as a recording artist, Patsy recorded more than 100 songs. Aside from the more familiar hits, have you included any deep-cuts to tell this story?

JOY TILLEY PERRYMAN: The very first song is an extremely deep cut and it was quite difficult to find the sheet music. We never found it in Patsy’s key and had to have it transposed. Once you hear it it context of the show it is haunting and beautiful and totally perfect.

JHPENTERTAINMENT: You and Courtney have worked together repeatedly. What makes Courtney someone you keep coming back to as a creative collaborator, and how has your working relationship evolved over the years?

JOY TILLEY PERRYMAN: I cannot really talk about Courtney without getting all gushing and fangirling and being all sentimental. She is one of the most talented people I have ever known. She stepped into my life at a time when I most desperately needed a creative collaborator and a dear friend. She is a superstar in all those regards. I cannot express how much she means to me and how blessed I am to call her friend. We joke and call ourselves the Bad Decision Sisters, but she is right by my side no matter how nutty the plans get or how impossible the project seems. Look out for our next venture! We are opening a booth at an antique mall called Bad Decision Sisters Shop! Coming at the end of November to Kolectic Treasures in Rainbow City, Alabama.

JHPENTERTAINMENT: You’re wearing several hats with this production: playwright, collaborator, and costumer. As costumer, how do you balance historical authenticity with the practical demands of a live theatrical performance?

JOY TILLEY PERRYMAN: I have scoured hundreds of images of Patsy Cline. And I was able to recreate looks with modern fabrics so there is no worry about damaging an historical garment. I think I most proud of her first costume. It is almost an exact replica of the gown Patsy wore in her last concert and it appears onstage for exactly one song!

JHPENTERTAINMENT: Patsy’s songs are famous for their emotional honesty, whether she’s singing about heartbreak, longing, resilience, or love. If Patsy were around today, what recent song might she have covered?

JOY TILLEY PERRYMAN: So, lately we don’t have the girl singers that we used to have (sorry Ella, I do love you) so I think Patsy would have had to take a man’s song and change the perspective so it could be sung by a woman. For my money the best song this year as far as story telling and longing and just good music is Graylan James’ “Water at a Wedding”. I think Patsy would have worked that to suit her.

JHPENTERTAINMENT: Patsy was only 30 when her life ended, but her career was already transforming the sound and reach of country music. As the writer looking at the full arc of her story, where do you imagine her career might have taken her had she lived to continue recording and performing for decades to come?

JOY TILLEY PERRYMAN: I believe she would have continued to make hit records and be at the top of the charts until she decided she was ready to scale it back and enjoy grandkids and retirement.

JHPENTERTAINMENT: The title Love Never Dies feels particularly fitting for an artist whose music continues to connect with people long after her passing. Why was that the right title for this anthology, and what do you hope audiences understand about Patsy’s enduring legacy when they leave the theatre?

JOY TILLEY PERRYMAN: That phrase actually comes from part of the inscription on her tombstone. I hope that people will walk away with a new or deeper appreciation for her music and her legacy and the knowledge that as long as we continue to sing her music, the love never dies.

JHPENTERTAINMENT: Having already presented Love Never Dies in Atlanta and nearby Oneonta and now bringing it to Gadsden for these two performances, have you and Courtney discussed taking the production on the road? Are there any plans for other cities eventually have the opportunity to experience your Patsy Cline anthology? I mean…Nashville is always up for a visit from you…just sayin’.

JOY TILLEY PERRYMAN: Having debuted this show back during the summer in Atlanta with EPIC Productions, this is our third production of the show. We are ready to go any and everywhere that will have us! Just give us a call and you know I am always ready to come back home to Music City!

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY‘s COURTNEY LINAM

JHPENTERTAINMENT: Patsy Cline remains one of country music’s most beloved and influential voices, more than six decades after her death. What do you think it is about her voice, her music, and her story that continues to resonate with audiences across generations?

COURTNEY LINAM: Honesty. When Patsy sings, you believe every word, because she isn’t performing heartbreak, she’s living it right there in front of you. Her voice had this rare combination of power and tenderness. Her story matters too. She was a small-town girl from Virginia who fought her way into a business that didn’t make much room for women and she did it on her own terms. People still connect to that. Every generation has someone who’s been lonely, or lovesick, or underestimated, and Patsy’s songs meet them right where they are.

JHPENTERTAINMENT: Every actor who portrays a legendary performer faces the challenge of honoring the original while bringing something of themselves to the role. How did you go about finding your Patsy Cline voice, and how do you balance imitation with interpretation?

COURTNEY LINAM: I listened. A lot. In the car, in the kitchen, before bed. I studied her phrasing, those little catches in her voice I refer to them as Patsy-isms, the way she’d lean into a note and then let it fall. Nobody can replace Patsy, and I’d never want to try. So my goal is to honor her style and her signature sound while singing from my own heart. The imitation gets you in the door; the interpretation is what makes people feel something. I want the audience to feel like they’re spending an evening with Patsy, not watching a copy of her.

JHPENTERTAINMENT: Patsy was primarily a country artist, but her music crossed genres, earning her success on the pop charts as well. She was also part of the emerging Nashville Sound and recorded gospel music. How does exploring those different sides of her musical legacy influence your approach to portraying her?

COURTNEY LINAM: It reminds me that she was never just one thing. You’ve got the early honky-tonk Patsy, the cowgirl who could sing a rowdy, up tempo number, and then you’ve got the polished Nashville Sound Patsy with the strings and the smooth backing vocals, singing ballads that made the pop charts. And then the gospel side, which shows you where so much of that feeling came from. Each style asks something different of me vocally, but more than that, each one reveals a different side of who she was.

JHPENTERTAINMENT: Patsy had a distinctive look as well as an unmistakable voice. With Joy Tilley Perryman serving as both the playwright and the show’s costumer, how much collaboration goes into bringing Patsy’s appearance to life? And do you have a favorite Patsy look or era that you especially enjoy recreating?

COURTNEY LINAM: So much! Joy has such an eye for detail, and because she wrote the show, she knows exactly what each moment needs to say, so the costumes are telling the story right along with the songs. We talk through every look, how it fits the era, how it moves on stage, and of course whether I can breathe and sing in it! As for a favorite, I have a real soft spot for the western-style outfits from her early years, the fringe and the boots. There’s something so spunky and fearless about that Patsy.

JHPENTERTAINMENT: In additon to this collaboration, you’ve also costarred alongside Joy in a couple of shows, so you’ve experienced her as a fellow performer as well as a writer. How is working with Joy the playwright different from working with Joy the costar?

COURTNEY LINAM: As a costar, Joy is just so incredible. I’ve loved watching her work and learning from her as a fellow actress. As a playwright, she’s the keeper of the vision. She knows why every line and every song is where it is, and she can tell you exactly what she’s hoping a scene will make the audience feel. What’s the same in both is her heart. Joy wrote this show as a love letter to Patsy, and the fact that she created this role with me in mind means more to me than I can say. And she’s not only beside me on stage or watching from the house. She’s also on the sidelines, because she has been my “dresser” in every production in which I’ve portrayed Patsy Cline, and this will be my fourth time! She stays so calm during those really fast changes, and that allows me to stay in character. We laugh because I’ve become so needy of her being my dresser, although I know one day I’ll have to let her go so she can just relax and enjoy the show. Wherever she is, I always know she’s got my back.

JHPENTERTAINMENT: Love Never Dies is presented with a live band, which brings its own energy and immediacy to Patsy’s music. What can you tell me about the musicians accompanying you?

COURTNEY LINAM: Oh, I am so incredibly lucky! We’ve got Deborah Sarcinelli on piano, Sid Brown on drums, Rob Bruce on guitar, Nick Staff on bass, and Butch Dixon on pedal steel. Every one of them is incredibly talented, and together they bring so many years of musical experience to this stage. The second that band starts playing, you’re transported straight back to 1960s Nashville. Honestly, the music they make is so beautiful that sometimes I get lost in it and almost forget I’m supposed to be singing! A live band changes everything.

JHPENTERTAINMENT: The show features nearly 30 tunes recorded by Cline during her career. Is there a particular song in the anthology that feels especially personal to you, or one that challenges you in a way the others don’t?

COURTNEY LINAM: “Crazy” is the one that challenges me every single time. Everyone knows it, everyone has her version in their head, and it’s deceptively hard. It’s slow, it’s exposed, and the phrasing has to feel effortless even though it’s anything but. As for personal favorites, I love singing “Two Cigarettes in an Ashtray.” It tells such a great story, and it’s so much fun to sing. I also really love “Eyes of a Child.” It’s so hopeful and beautiful, and between the song and the gorgeous dialogue Joy wrote leading into it, I get chills every time. They’re two very different songs, so it’s hard to pick just one!

JHPENTERTAINMENT: Joy’s theatre background covers a lot of bases, having been an actress, costumer, playwright, producer and more. Does having a collaborator who understands the material from so many different angles help you inhabit Patsy and tell her story?

COURTNEY LINAM: Absolutely. Joy understands what it feels like to be the one standing in the light, so when she gives a note, she knows what she’s asking of an actor. But she also sees the whole picture: the costumes, the pacing, the music, what the audience needs and when. That means nothing is an afterthought. When everything around me is so thoughtfully built, I can stop worrying about the details and just be Patsy. That kind of trust is rare, and it frees me up to go deeper every performance.

JHPENTERTAINMENT: Patsy’s life and career were tragically cut short when she died at just 30, yet her influence has only grown. When you think about the years of music and artistic evolution she never got to experience, what do you imagine the next chapter of her career might have looked like?

COURTNEY LINAM: I think about this all the time. She was only just getting started. I imagine she would have kept crossing over. She had the voice for pop, for torch songs, even for jazz standards, and I can picture her on the big Las Vegas stages and on television variety shows. I also think she would have become a mentor. She was already looking out for younger women like Loretta Lynn, and I believe she would’ve been a fierce advocate for women in country music for decades. In true Patsy fashion,she would have kept doing it all her own way.

JHPENTERTAINMENT: After revisiting Patsy’s life and music through this anthology, what do you hope audiences will take away about the woman behind the songs—and what do you hope they carry with them after the final note?

COURTNEY LINAM: I hope they see that behind the legend was a real woman: funny, tough, loving, sometimes stubborn, and deeply devoted to her family and her friends. She wasn’t just a voice on a record; she was a person who fought hard for her dreams and gave everything she had to her music. And after the final note, I hope people carry home the memories of their own loved ones that come rushing back when they hear those Patsy songs. Patsy’s music has always kept me close to the memory of my Meemaw, and I know so many people in that audience have someone they think of when “Crazy” or “Walkin’ After Midnight” comes on. The people we love, and the music that moves us, don’t really leave us. Patsy’s grave marker reads, “Death cannot kill what never dies: Love”. Patsy’s been gone more than 60 years, and she’s still filling rooms with feeling. That’s a legacy worth celebrating.

Love Never Dies: A Patsy Cline Anthology starring Courtney Linam as Patsy Cline, with a live band, in an original production written by Joy Tilley Perryman and presented by Joy’s Jubilations arrives at The Venue at Coosa Landing (201 George Wallace Drive, Gadsden, AL 35903) for two performances, Saturday, November 7 at 7:30pm and a Sunday matinee November 8 at 2:30pm. Tickets are $22.37 (fees included). All seating is General Admission with doors opening half and hour prior to each showtime. Purchase Tickets HERE.

To keep up with Joy’s Jubilations and what’s next, find them on Facebook. And as Perryman mentioned, something tells me a Bad Decision Sisters Facebook page is in the works for this dynamic duo’s non-theatrical endeavors.

Rapid Fire 20Q: ‘Death Becomes Her’ National Tour’s Jackie Burns, Kristen Beth Williams, Ken Marino & Nasia Thomas Dish with JHPEntertainment on Undying Beauty, Backstabbing and Broadway’s To-Die-For Musical!

November 2, 2026 by Jonathan Pinkerton

Madeline Ashton and Helen Sharp have never exactly been poster children for healthy female friendships. Throw in a little eternal youth, a questionable potion, a whole lot of plastic perfection, and enough theatrical special effects to make a Hollywood stunt coordinator sweat, and you’ve got the deliciously wicked musical comedy Death Becomes Her, now on tour across North America.

As the national tour prepares to bring its particular brand of immortal insanity to Nashville’s Tennessee Performing Arts Center (505 Deadrick Street), with performances Tuesday, November 3 thru Sunday, November 8, JHPEntertainment caught up with four of the show’s stars: Jackie Burns (Madeline Ashton), Kristen Beth Williams (Helen Sharp), Ken Marino (Ernest Menville) and Nasia Thomas (Viola Van Horn). From divalicious backstage habits and elaborate costume changes to onstage rivalries, supernatural secrets and the occasional giant couch looming overhead, these four have plenty to say about life on the road, playing larger-than-life characters, and the eternal question of just how far one should go to look fabulous.

Based on the 1992 cult-classic film starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, this Tony Award-winning musical takes the original’s deliciously twisted tale of vanity, jealousy and immortality and gives it a gloriously over-the-top Broadway makeover. With a razor-sharp score by Julia Mattison and Noel Carey, spectacular costumes by Tony Award-winning designer Paul Tazewell, and enough outrageous physical comedy to make defying gravity look like child’s play, it’s a theatrical spectacle that proves some things really are forever. Unfortunately, common sense isn’t one of them. So slather on your favorite beauty serum, leave your mortal insecurities at the door, and get ready for a Rapid Fire 20Q that’s anything but dead on arrival!

RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF DEATH BECOMES HER NATIONAL TOUR

RAPID FIRE WITH JACKIE BURNS, MADELINE ASHTON IN DEATH BECOMES HER

JHPENTERTAINMENT: Madeline Ashton is a woman who believes the world revolves around her. This isn’t your first time playing a diva, after all, as you hold the record for having played Elphaba more than any other actress, with 1,300+ performances spanning two Wicked National Tours and two stints on Broadway. Not to mention, you took on the role of THE DIVA Celine Dion in a six-month run of the off-Broadway fan favorite Titanique! So, I gotta ask… What’s the most divalicious thing about Jackie Burns while on tour with Death Becomes Her?

JACKIE BURNS: Well, every fierce diva needs their little doggie, so naturally I’m traveling with mine! She comes with me everywhere!

JHPENTERTAINMENT: Love it! My own little Desilu is sitting at my feet as I type this. Both Madeline and her longtime frenemy Helen are obsessed with their looks and their attempts to stay young and beautiful… at any cost. Not that you’d ever need it, but just for fun, what’s the craziest beauty treatment you’ve ever heard of?

JACKIE BURNS: I mean, I’d love to go to Korea and try it all!

JHPENTERTAINMENT: Madeline and Helen’s relationship is practically the gold standard for toxic friendships. What is it like working opposite Kristen Beth Williams? And, a month into the National Tour, how are you two keeping that onstage rivalry sharp, unpredictable, and hilariously personal night after night?

JACKIE BURNS: I absolutely adore KB. I think our personalities complement each other on and off stage. We are both game to play and try new things, so it keeps things fresh every night!

JHPENTERTAINMENT: Your Death Becomes Her bio simply begins with “Jackie Burns is doing it For the Gaze!” I believe the appropriate current vernacular response is “Yes! Mother!” So, thank you for that. On the subject of your Act One debut number, the rapid costume changes in “For the Gaze” are mind-bogglingly fast and fabulous. Of the six costumes featured in that number, as well as the others created by Tony-winning costume designer Paul Tazewell, do you have a personal favorite?

JACKIE BURNS: First of all, thank you!!! “Gaze” is the Olympics of costume changes! It’s like getting shot out of a cannon in the best way. If I had to choose one costume, I think it would be the blue dress reveal.

JHPENTERTAINMENT: Having a showstopper like “For the Gaze” right out of the gate sets a high bar for the rest of the show, yet somehow Julia Mattison and Noel Carey, who collaborated on both the music and lyrics, manage to keep the tuneful quips coming. “Falling Apart” is brilliant… lyrically hilarious and vocally, technically challenging. “Remind them who the fuck you are” may be my favorite lyric ever! What’s one lyric or line of dialogue in the show you relish repeating?

JACKIE BURNS: Ooof, that’s a tough question. Julia and Noel have written some of the most brilliant lyrics I have ever heard. To pick one is next to impossible. Every night a new one hits me. But off the top of my head… “Is it the fact that I’m attracted to each kernel of external validation in the world that keeps me insecure to sell me needless crap. Or is it something new.”

RAPID FIRE WITH KRISTEN BETH WILLIAMS, HELEN SHARP IN DEATH BECOMES HER

JHPENTERTAINMENT: Helen Sharp begins as the woman who has been wronged and underestimated, but revenge has a way of bringing out someone’s inner diva. While preparing for the current national tour, what helped you shape your version of Helen Sharp?

KRISTEN BETH WILLIAMS: Honestly, the blueprint of this character, established by Goldie Hawn in the film and Jennifer Simard on Broadway, was the perfect guideline to help shape my version of Helen. Of course, I am not either one of those incredible women, so I’m never trying to be either one of them or do exactly what they did. I can only do what I do best. I love delving into a character (figuring out what makes them tick, what drives them) and letting those discoveries inform my character choices. Helen is delightfully unhinged, and it is incredibly fun getting to step into her shoes eight times a week.

JHPENTERTAINMENT: You and Jackie Burns get to turn a decades-long grudge into theatrical gold. How do you build that combustible chemistry with Jackie, balancing the genuine history between Madeline and Helen with the sheer joy of watching these two women try to destroy each other?

KRISTEN BETH WILLIAMS: Jackie and I have such “girl crushes” on each other. We have a great relationship offstage, and I think that translates to what audiences see onstage. Madeline and Helen are smart, witty, and absolutely cutthroat with each other. The fact that they end up spending eternity together is icing on their karma-cake. Jackie and I truly have the best time going on this journey together every night.

JHPENTERTAINMENT: Helen’s transformation is one of the story’s great turning points, and the musical takes the physical comedy and special effects to a whole (or should I say ‘hole’) new level. Without giving away the tricks of the trade, what has been the most challenging or surprising part of making Helen’s increasingly unconventional condition work onstage?

KRISTEN BETH WILLIAMS: One of our colleagues asked me a similar question in rehearsal…she asked, “is it weird that every time you come onstage you’re a different version of this character?” Yes and no. That’s one of the most challenging parts of playing Helen, but it’s also the most fun. The audience gets to see her at every point in her journey. The challenge for me is making sure I remember where in the arc I am and staying truthful to what Helen is going through at each point.

JHPENTERTAINMENT: The original movie is a beloved pop-culture touchstone, but the musical gives Helen a voice — quite literally — through a score that lets her tell her story in a new way. How has the music deepened your understanding of Helen, and is there a particular number that reveals something about her you particularly enjoy?

KRISTEN BETH WILLIAMS: Julia Mattison and Noel Carey have given us such an incredible score. Their lyrics are smart, the tunes are catchy…it’s everything you want in a musical. I love all of Helen’s songs, but I think a particular fan favorite is “Madeline.” I had a fan (of the show) stop me at the stage door the other day and tell me I really looked like I could escape a mental institution. I think that’s one of the best compliments I’ve ever received! #achievementunlocked

JHPENTERTAINMENT: Within the plot of Death Becomes Her, Helen has authored a glamorous lifestyle guide. If you were to write a book, what would it be titled AND what would it be about?

KRISTEN BETH WILLIAMS: Yes, the book title in the film is Forever Young. The book title in the musical is Hollywood Ending, which is funny because there has recently been a book released with that same title (by John Green). If I were to write a book, and let’s say I was keeping with Helen’s theme of writing a memoir, I would call it Cover Girl (with the subtitle “tales of a Broadway understudy”).” If I were to write a work of fiction, it would either be historical fiction, romantasy, or a murder mystery. But I think I’ll leave the writing to the writers.

RAPID FIRE WITH KEN MARINO, ERNEST MENVILLE IN DEATH BECOMES HER

JHPENTERTAINMENT: Audiences know you from your many television and film roles, including my personal favorite, your work on HBO Max’s The Other Two. Now you’re taking on Ernest Menville in Death Becomes Her. While you’re no stranger to the stage, it’s been a minute since you appeared in the 1992 stage adaptation of A Few Good Men. What has surprised you most about your return to live theatre, an effects-filled, grand-scale musical, no less, where there’s no editing, no second take, and absolutely nowhere to hide when the comedy goes gloriously off the rails?

KEN MARINO: I think I’d forgotten how much you have to be there for it. You can’t say, “We’ll fix that in post.” If a laugh comes late, or something goes a little sideways or I do something dumb because I’m a big dummy, everyone has to figure it out together. And that’s kind of great. The audience isn’t watching the same show every night. They’re part of the weather and the weather changes every night, which I love.

JHPENTERTAINMENT: Ernest finds himself caught between Madeline Ashton and Helen Sharp, two women whose capacity for revenge is matched only by their determination to look fabulous doing it. What’s it like sharing the stage with your two leading ladies, Jackie Burns and Kristen Beth Williams?

KEN MARINO: Jackie and Kristen are both so good. They’re funny, they’re generous, and they’re incredible at what they do. They make it look so easy, I’m learning a lot from them. I’m lucky to be in scenes with them. Ernest may be having a rough time, but I’m having an incredible time at work watching them work. And on top of that, I also get to watch Nasia Thomas perform every night, which is like this beautiful gift. Her voice is silk. I feel very lucky that I get to work with these three enormously talented women. I’m mostly there to be the tall one and stay out of the way.

JHPENTERTAINMENT: What have you discovered about Ernest that makes him more than just the poor guy caught in the middle of an immortal feud?

KEN MARINO: His name is Ernest, and he really is earnest. He cares about these women, he wants to do the right thing. He just tends to figure out what’s happening a few seconds after it’s already happened. He’s always a couple of steps behind, trying to catch up and hoping he can still fix it. That feels very human to me. And very… Ernest.

JHPENTERTAINMENT: This isn’t exactly a minimalist living-room musical. Between the elaborate staging, rapid-fire physical comedy and mind (and body)-bending special effects, the production has a lot happening around you. What’s been the biggest adjustment in learning to perform within a spectacle of this scale, and have you had any close calls with the theatrical magic in the month since you guys set out on the road?

KEN MARINO: The biggest adjustment is just learning where to be, when to be there, and then doing the scene like it’s all perfectly normal. There’s a lot happening around you, and the crew is so precise and so good at what they do. I haven’t had a real close call, thankfully. But sometimes you’re standing in the wings with a giant couch hanging over your head, thinking, “I know this is safe, but also, is this giant couch hanging over my head going to crush me tonight?” That keeps you present.

JHPENTERTAINMENT: Without giving away Ernest’s ending in the stage musical, let me just ask you one final simple question… While Madeline and Helen are obsessed with artificial perfection, Ernest seems to eventually find true fulfillment in the simple joys of life. What does fulfillment look like to you, Ken?

KEN MARINO: My family, my friends, getting to do work I care about, living in the moment and being able to laugh a lot. Oh, and being able to sit down and eat good food without checking the time. I like eating food and I like taking my time when I’m doing it. That’s a pretty good day. I think fulfillment is less glamorous than we expect. Which is good, because I’m a big dummy and not particularly glamorous.

RAPID FIRE WITH NASIA THOMAS, VIOLA VAN HORN IN DEATH BECOMES HER

JHPENTERTAINMENT: Let’s just get into it. Don’t tell Madeline or Helen, but from her first pivot on stage in that glorious amethyst crystal-encrusted gown, Viola Van Horn proves herself one to watch! So… how much does that dress and coat weigh, and how much fun are you having playing the instigator of all things Death Becomes Her?

NASIA THOMAS: Much like myself, Viola doesn’t really believe in the idea of traveling light. The coat itself is approximately 8 pounds, but the gown underneath is 13 pounds! However, I do believe it’s worth the weight to be able to wear these incredible costumes by Tony and Oscar winner Paul Tazewell! A small price to pay to be fierce! The coat is actually 10-15 pounds LIGHTER than the one used on Broadway. They had to scale it down because it had to be able to tour, and my back is thankful for that! Ha!

Playing Viola is honestly such a dream. To be able to step in and fill the shoes (pumps) of the incredible Michelle Williams is mind-blowing. Also, there’s something thrilling about playing a character who walks into a room and shifts the energy without having to lift a finger. She knows who she is, what she has, and what everyone wants. I’m basically getting paid to be mysterious and glamorous. Sounds good to me!

JHPENTERTAINMENT: Viola may be the one holding the secret to eternal youth, but she’s also the catalyst who sends Madeline and Helen’s rivalry into overdrive. How do you approach being the formidable force between two larger-than-life personalities while ensuring Viola remains a fascinating character in her own right?

NASIA THOMAS: I think what’s really cool about Viola is that she’s not in competition with Madeline and Helen. While they are competing with each other, she is playing an entirely different game. And like Viola would say, you don’t compete where you don’t compare lol!

I approach her with confidence, control, and some humor on the side. She has to be likable. I don’t believe she is the person that comes off unapproachable because she’s mean or scary. I think she’s the one people WANT to be around because of her magnetism and personality. I want people to feel like she’s the cool girl people want to be like and also want to grab a drink with. She doesn’t need to be the loudest person in the room in order to get her point across, because she already knows she’s the most powerful person in the space. It’s so fascinating when you don’t feel like you need to prove yourself. And that’s a lesson that I am learning from playing Miss Van Horn.

Tactic? There are so many layers, ya know? Some would say manipulation, I say seduction of sorts. She knows exactly what buttons to press and how to press them. She’s really just giving them what they want, and they have to learn the lessons and consequences that come with it by themselves. After all, she did give them a warning.

JHPENTERTAINMENT: This production is packed with illusions, spectacular transformations and technical wizardry that practically dares audiences to question what they’re seeing. How much coordination does it take to make Viola’s magical world feel effortless, and is there a particular stage effect that you especially love being part of?

NASIA THOMAS: I honestly owe that to all of the brilliant people who are working behind the scenes to help create this world. Everyone from stage management to wardrobe to lighting to hair to makeup to props to scenery, to sound, to illusion. Truly everybody is essential in creating this world. So much so that I don’t really have to do anything but bring the craft and the storytelling to the center of it. I think one of the coolest things about live theater is that our job as performers is to make the audience forget that there is so much machinery that’s happening in order to create this world. All they have to do is sit back, relax, and believe in the magic.

My favorite illusion that I get to be a part of is at the very end of the show. I don’t want to give it away because I don’t want to spoil the magic. But hearing the audience go crazy every night when it happens is so satisfying.

JHPENTERTAINMENT: The potion Viola offers comes with a rather significant catch, and the musical turns that bargain into a wonderfully theatrical exploration of beauty, power and mortality. What do you think Viola understands about the price of eternal youth that Madeline and Helen don’t, at least initially?

NASIA THOMAS: I think that Viola understands that there is a difference between living forever and truly just living your life. Madeline and Helen get so wrapped up in their competition and their vanity that they don’t stop to consider what living forever actually looks like and what it means. They’re too focused on the potential of what they could gain versus the sacrifices that they have to make in order to get there. They aren’t stopping to think that forever is a very long time to think about their decisions.

I also think in order for Viola to be successful at selling the potion, she has to understand the idea of humanity and all the things that make humans the complex, beautiful beings that they are. Things like their insecurities, vanity, the need to be desired, validated, and wanted. And also the price that people would pay to get those things. While this show is a fun, hilarious good time, I do think that it leaves you with the question of how much value we place on appearance and desirability, and what sacrifices big or small are we willing to make in order to achieve and maintain “perfection.” And the thing is, we all know that living forever doesn’t cure your insecurities or your desire to be validated, etc. It kind of just gives you an eternity to have to deal with it. Ha!

JHPENTERTAINMENT: Viola has the kind of secret that could make her the most sought-after woman in Hollywood, Broadway and every beauty clinic in between. If you could borrow one of her supernatural abilities for 24 hours, what would you choose, and what would you absolutely refuse to do with it?

NASIA THOMAS: Honestly, I would borrow her ability to wake up and be completely flawless. Doing eight shows a week while also trying to be a fully realized human being outside of this job is quite the task. Being able to wake up in the morning flawlessly and know that I can get through my day effortlessly sounds like a dream.

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas star in the National Tour of ‘Death Becomes Her’

Having just kicked off the National Tour in September, Death Becomes Her brings its wickedly entertaining fun to TPAC’s Jackson Hall November 3–8. Whether you’re a longtime fan of the original film or simply someone who appreciates a little murder, mayhem and magnificent musical theatre, this is one beauty treatment that comes with a whole lot of theatrical bang for your buck. Expect dazzling costumes, outrageous comedy, spectacular stage magic and two women whose definition of happily ever after could use a little adjustment. After all, youth may be wasted on the young, but revenge, apparently, is forever. And in the world of Death Becomes Her, looking fabulous while falling apart is par for the course.

Performance schedule is as follows: Tuesday, November 3 thru Saturday, November 7 Evening performances at 7:30 p.m. Saturday, November 7 matinee at 2p.m., Sunday, November 8 matinee at 1p.m.* and a final Music City performances Sunday, November 8 at 6:3 p.m. (*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.)

A Very Addams Family Rapid Fire 20Q: Sara Gettelfinger, Brian Justin Crum, Andrew Metzger & Jeremy Parrish Join Rachel Potter as Analog at The Hutton Presents ‘The Addams Family Musical’ in Concert

October 26, 2026 by Jonathan Pinkerton

After six installments that have brought Broadway favorites, themed musical celebrations and a distinctly New York cabaret vibe to Nashville, Rachel Potter’s Off-Broadway at Analog at The Hutton marks its one-year anniversary with a production that puts a creepy, kooky, mysterious, spooky spin on the latest installment just in time for the Halloween holiday season. On Friday and Saturday, October 30 and 31, Analog at The Hutton transforms into an altogether ooky hunted mansion when the Addams family moves in — and they’re bringing the entire musical score with them.

The Addams Family Musical in Concert brings together an impressive collection of performers with ties to the beloved musical, including Sara Gettelfinger, who starred as Morticia Addams in the first National Tour; Premiere tour star, Brian Justin Crum, reprising his connection to Wednesday’s unlikely beloved, Lucas Beineke from his time with the National Tour; Andrew Metzger as Uncle Fester, having portrayed the quirky chrome-domed romantic a number of times; and Nashville-based performer Jeremy Parrish as Lurch. Joining them will be Off-Broadway at Analog‘s host/emcee and former Wednesday Addams, Rachel Potter; Brian Charles Rooney as Gomez and Nashville’s own Carrie Brewer as Grandma. Rounding out the primary cast will be Megan Murphy Chambers and Geoff Davin fresh from their roles as Alice and Mal Beineke, having just wrapped a hugely popular run at Studio Tenn. Adding another special dimension to the festivities, original composer and lyricist Andrew Lippa will be on hand for this two-night musical celebration.

Unlike the previous Off-Broadway installments, which have explored a variety of songs connected by a common theme, this time around Potter and company are taking audiences through the complete score of The Addams Family Musical, sung through from the opening number to the finale. And with Lippa in the room, there’s even the tantalizing possibility of a Halloween treat: performances of songs originally created for the show but cut from its Broadway run. Consider our curiosity officially piqued.

The series has quickly become a destination for musical theatre lovers seeking something beyond the traditional concert experience. With Broadway talent sharing the spotlight with Nashville’s extraordinary local performers, Off-Broadway at Analog at The Hutton has carved out its own little corner of Music City’s entertainment scene — one that feels equally at home in the intimate cabaret rooms of New York and the increasingly diverse theatrical landscape of Nashville.

For this special anniversary celebration, we caught up with four members of the Addams clan for our latest Rapid Fire 20Q. From Gettelfinger’s long history with Morticia and Crum’s return to a role from his original national tour days to Metzger’s ongoing love affair with Fester and Parrish’s thoughtful approach to the famously taciturn Lurch, these performers have plenty to say about revisiting the material, reconnecting with fellow Addams alumni, Halloween traditions and the enduring appeal of Andrew Lippa’s score.

So, put on your blackest attire, prepare to move toward the darkness and join us as we go Rapid Fire 20Q with Sara Gettelfinger, Brian Justin Crum, Andrew Metzger and Jeremy Parrish.

RAPID FIRE 20Q WITH CAST MEMBERS OF THE ADDAMS FAMILY IN CONCERT

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s MORTICIA ADDAMS, SARA GETTELFINGER

JHPENTERTAINMENT: Morticia has been a part of your theatrical life for quite a while now — from the first National Tour in 2011 to Broadway at Music Circus in 2023 and, most recently–earlier this month–your three-day run with Sugar Loaf Arts Collective. What is it about slipping into that black dress and embracing your inner Addams that keeps calling you back to the family? And…was it an immediate YES when Rachel Potter reached out to invite you to be part of this concert event?

SARA GETTELFINGER: Growing up, I was always intrigued with the character of Morticia- Her look, her quick wit and deadpan humor, and her mysterious, “less is more” fabulousness. As far as the musical- I have always idolized Bebe and MANY of the roles she’s originated or played were on my bucket list, so it was an honor to get to carry that torch, but also have the opportunity to go back into the room with all of the original creatives, and make changes and develop new material for the tour, which would end up being the version that was licensed. There’s nothing I enjoy more than being able to create something new, but also inevitably draw from those who’ve inspired and shaped me as an artist, so in this case, I quite literally had the best of both worlds. Morticia is a role that allows one to be beautiful, smart, funny, and truly dance- so I’ll return to it whenever and for as long as I can.

JHPENTERTAINMENT: Morticia gets some of the show’s most deliciously dark musical moments, from “Just Around the Corner” to “Tango de Amor.” Is there a particular lyric that captures her philosophy on life, love and the occasional family dysfunction — and one you find yourself enjoying a little more with every return?

SARA GETTELFINGER: It’s interesting because in “Just Around the Corner”, even though the lyric describes how much she is looking forward to “Death”, the song, along with so many of the others in the show, is really about making the most of the time we have and existing as one’s most fearless and authentic self. “When You’re an Addams,” “Secrets,” “Live Before We Die,” “Move Toward the Darkness,” and really the overall message of the show, are about the importance of embracing and celebrating who and ALL that you are, regardless of what others may think, and the beauty and power that comes with acceptance, love and forgiveness of oneself and for others.

I was going through an incredibly difficult time on that first tour, and by the end was at probably one of the lowest and unhealthiest points of my life. So in the years since, to have not only been fortunate enough to survive and still be here, but manage to come back stronger than ever, and be given the gift of returning to the role, as well as setting the show multiple times, is something for which I will always be profoundly grateful, and becomes more meaningful every time: “Only at our lowest, can we rise above…Move toward the darkness and love…”

JHPENTERTAINMENT: Here’s a reunion worthy of an Addams family portrait: you’re getting ready to share the stage again with Brian Justin Crum, who played Lucas during your time as Morticia on the original National Tour. What memories from that first tour are you bringing with you into this Halloween homecoming?

SARA GETTELFINGER: It’s funny because while Lucas is the subject of several scenes between Gomez and Morticia and she is very concerned about him as far as her daughter’s future, the 2 characters actually have very little direct interaction in the show. But Brian was always fabulous onstage- Beautiful, funny, with the most spectacular voice, and the chemistry he shared with Cortney Wolfson, who played Wednesday, was just wonderful.

JHPENTERTAINMENT: Do you have a favorite Halloween tradition, a memorable costume from childhood, or a spooky-season ritual that would earn Morticia’s enthusiastic approval?

SARA GETTELFINGER: Over the years, depending on where I was living, I used to love setting up a pretty elaborate “Haunted Cemetery” in the front yard. Headstones spattered with blood or spiders and cobwebs, with funny names and “HERE LIES” descriptions, along with scattered bones and in a few spots dug holes and partially buried and posed skeletons so it looked like they were trying to escape their graves.

I also watch Disney’s Original Legend of Sleepy Hollow and Something Wicked this Way Comes every year- those old school movies from the late 70’s/early 80’s were AMAZING and there was ZERO concern about potential nightmares or traumatizing kids LOL!

JHPENTERTAINMENT: You’ve inhabited Morticia in full productions, but this concert puts the music and lyrics front and center, with original composer and lyricist Andrew Lippa joining the festivities. What intrigues you most about revisiting the score in this stripped-back format, and what does it mean to have one of the show’s original creative minds on hand for this special occasion?

SARA GETTELFINGER: As I mentioned earlier, because we were lucky enough to go back into the room with the creative team in revising and preparing for the tour, I’ve known Andrew for over 15 years now, and he is as equally brilliant and wonderful a friend and human being as he is an artist, and I cannot WAIT to see and get to revisit this material with him. And again, regarding the music and lyrics, the show and its message, both professionally and personally, becomes more and more meaningful and resonates more deeply with me in every opportunity that I’m lucky enough to have had to revisit it, and with every year I’m lucky enough to still be living 😉🖤

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LUCAS BEINEKE, BRIAN JUSTIN CRUM

JHPENTERTAINMENT: You were part of the original National Tour of The Addams Family as Lucas Beineke, the supposedly normal young man who falls head over heels for Wednesday Addams. Returning to the show all these years later, what memories of that original adventure have stuck with you — and given your life and career post-Addams, do you still relate to Lucas’s earnest attempts to fit into a family that makes normal look positively terrifying?

BRIAN JUSTIN CRUM: My time with Addams Family was so special. I made lifelong friends that I’m still in touch with today.

Playing Lucas was always a bit of a challenge for me in that, I’m much more of a Wednesday. I had a hard time connecting with that earnest good boy trait. That’s what’s fun about musical theatre we get to drop ourselves into these characters that are so unlike us and find ourselves in them.

JHPENTERTAINMENT: Lucas gets to unleash his inner wild man in “Crazier Than You,” a number that takes youthful rebellion and romantic commitment to wonderfully unhinged extremes. I understand that while you and Rachel Potter never crossed paths onstage as Lucas and Wednesday, the two of you first met in your early New York days occasionally performing in the same concerts in the city. How much convincing did Rachel have to do to get you to come to Nashville to be part of The Addams Family In Concert?

BRIAN JUSTIN CRUM: I actually remember when Rachel got cast! I was doing Next to Normal on Broadway at the time and she and I had become friendly doing things around NYC. I went and saw her in the show and visited with her in her dressing room after. It was so exciting! We’ve both gone on to make our music and made careers as solo artists. When she asked me to do this, it was a no-brainer! We never got to do it together – this is a full circle moment for us both!

JHPENTERTAINMENT: Speaking of reunions: you’re returning to The Addams Family with Sara Gettelfinger, your original touring Morticia. Before you even had a chance to rehearse together, what excited you most about reconnecting after all these years, and what do you remember most fondly about sharing the road with her?

BRIAN JUSTIN CRUM: Sara is a such a special performer and kind soul. Life has been crazy since then and so many ups and downs and we lost touch after the tour. I’m thrilled to see her and have her back on the Broadway stage where she belongs!

She perfectly captures Morticia and I’m excited to see what she does with it now after so many years!

JHPENTERTAINMENT: We’re talking Halloween Eve and Halloween night, so let’s get personal. When you were a kid, were you the spooky, spooky-adjacent or decidedly unscary costume type? What’s your all-time favorite Halloween costume you’ve worn, and is there a fictional character you’d still love to dress up as?

BRIAN JUSTIN CRUM: I’ve always been a “let’s see what I can pull off at the last second” kind of Halloween costume guy. During Covid I ordered a bunch of random stuff off Amazon and turned myself into a beautiful Merman! I like anything mythical and fabulous!

JHPENTERTAINMENT: With Andrew Lippa himself joining this concert, you’ll have the rare opportunity to perform a score in the presence of the person who created its music and lyrics. Does knowing he’ll be in the room change how you think about approaching Lucas this time around, and is there something about Lippa’s writing you’ve come to appreciate even more since your original tour?

BRIAN JUSTIN CRUM: I was always a huge Lippa fan. “Wild Party” was THE staple in my household as a kid learning to sing. I’m excited to see him and catch up!

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s UNCLE FESTER, ANDREW METZGER

JHPENTERTAINMENT: You’ve been moonlighting as Uncle Fester since your 2017 community-theatre outing in Simi Valley, followed by the Welk Resort in 2019 and 5-Star Theatricals in 2022. That’s a pretty impressive résumé for a man whose romantic life revolves around the moon! What keeps drawing you back to Fester, and how has your relationship with this wonderfully eccentric character evolved over the years?

ANDREW METZGER: Uncle Fester fits like a glove for me, he’s such a fun character to play, and when Halloween time comes around I always enjoy the prospect of getting an opportunity to do it again. Actually, I was set to join the cast of the most recent national tour last year in the fall, as a replacement for the outgoing performer playing Fester towards the end of their itinerary, but unfortunately I was going through a complicated medical situation with my father and the passing of my mother, which forced me to have to bow out. As Fester, you get to be broad and wacky, but also have moments of warmth while trying to meet the expectations of that the audience has, as he’s truly such an iconic character that has been portrayed in so many mediums but such legendary performers (and heroes of mine) such as Christopher Lloyd, Kevin Chamberlain, and of course Jackie Coogan. I’ve always thought that it was such a great idea to make Fester the narrator of the show, kind of a “gateway” for the audience to travel into the Addams Family world, as he is able to be irreverent but charming at the same time, as he basically declares that at the center of the creepy and kooky show, we’re going to see a tale about love (“Let’s not talk about anything else, but love!”). Plus, breaking the fourth wall is always such a guilty pleasure of mine. It’s been such a joy to get to revisit this role and this show, while trying to find ways to bring something new to each outing.

JHPENTERTAINMENT: “The Moon and Me” is Fester’s big, heartfelt declaration of love to a celestial body that never has to meet the family. What do you love about that number, and how do you strike the balance between playing the comedy of Fester’s obsession and letting the audience feel the genuine romance underneath it all?

ANDREW METZGER: That song is such a rollercoaster. You absolutely have to play into the absurdity, while also treating it as a genuine love ballad. First you start off with this lovely little intimate and charming introduction, and it transforms into this abstract and bombastic proclamation of his love for the literal moon, which usually takes on a personality of itself in the number depending on how it’s staged. Which speaking of staging, it really can be the trickiest and most technically challenging moment in the show, as you have so many moving pieces! The stage is usually almost completely dark, with very specific lighting, as you wear a bodysuit with puppet legs attached with the puppeteers behind you as you climb up stairs on wheels (in the dark!) to simulate flying through the stars…and yet it’s such a blast! It can also be a challenge vocally, as you need to stay true to Fester’s clenched-throat character voice that the audience has become familiar with, but also make sure to hit the notes that show off Andrew Lippa’s brilliant writing. I absolutely adore it.

JHPENTERTAINMENT: You’ve performed Fester in several full productions, but this time you’re diving into the show in concert with barely a rehearsal before the curtain goes up. What are you most excited to revisit about Fester, and how does having played him across several productions shape your anticipation for this latest outing?

ANDREW METZGER: With each opportunity, I like to think I’ve brought something new that I’ve gained from my experiences as a performer (and as a person) each time I slip into the brown coat. I’ve also had the chance to perform with so many lovely talented artists both on the stage and behind the scenes, with some of my closest friendships having started from being in this show. In the last production I did with 5-Star Theatricals, I got to work alongside Teri Hatcher as Morticia (she just made her debut on the West End!) who was such a pleasure to work with, and that will always be a such a special moment for me in my career. Honestly, I’m just so honored to be joining fellow Addams “alumni” who have been a part of this show’s journey, it’s daunting but exciting to share the stage with these folks who’s resumes are so impressive. I mean obviously there’s Rachel Potter, who made her own impact on the character of Wednesday that has trickled into the DNA of the show over the years since she played it on Broadway, and she’s at the helm of putting together what will be such an amazing tribute to this show.

JHPENTERTAINMENT: Fester has a gift for finding beauty where other people might see something a little… unusual. In honor of Halloween, what’s your favorite spooky-season tradition or childhood costume memory? And if you could invite any Addams Family character to your Halloween party, who would make the guest list — and who would absolutely have to leave early?

ANDREW METZGER: Honestly, one of my favorite memories as a child was when my dad helped me make my idea a reality to transform our garage into a full pirate cave with skeletons and treasure piles and a fog machine…all just to pass out candy to families walking by! It’s one of those examples of my father’s love and support for me, and I’ll always hold onto that. Currently, my Halloween tradition involves watching movies with my fiancé, stuffing our faces with pizza and candy, and putting our dog in a costume he hates having on. If I was going to invite some of the Addams clan over…I’d definitely want to invite Cousin It, he seems like a fun guy. As far as I’d ask to leave early…probably Grandma, as she…has a tendency to leave a mess behind (if you’ve seen the show you understand!).

JHPENTERTAINMENT: Having Andrew Lippa in the room for this concert must be a special prospect for someone who’s spent so much time living inside Fester’s world. What are you most looking forward to about performing his work with him present, and is there anything about Lippa’s music or lyrics that has taken on a different meaning for you over the years?

ANDREW METZGER: Oh I’m just hoping he enjoys my interpretation of the character. He’s literally a living icon of the musical theatre world, and it’s daunting to even think I’ll be singing his work with him next to us on stage. It’s also such a testament to his talent that each character brings their own unique flavor and identity, such as Wednesday being more pop-rock while Gomez has the fun Spanish flair, but somehow he melds it all together without the audience even questioning it. Fester lives more in a classic Vaudeville-sound for most of the show, but when we get to “Moon and Me”, it’s such a gift because as a broad character performer, you get to show off your more affectionate side with such a lovely melody, evoking a Jim Henson-like vibe while also being wonderfully haunting towards the end (with almost a nostalgic 90’s movie score sound). It’s seemingly completely insane that he’s in love with the moon, but through Lippa’s lyrics, the audience sees how genuine that love really is, as it’s not defined by what is considered “normal,” which as I’ve come to learn, is a wonderful representation of what the show is essentially about.

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LURCH, JEREMY PARRISH

JHPENTERTAINMENT: Lurch is a man of few words, but when he does speak — or sing — the entire room tends to pay attention. How do you approach creating a character whose presence, timing and physicality can say so much without saying very much at all? And is playing the silent, towering butler secretly liberating for someone who doesn’t have to memorize pages of dialogue?

JEREMY PARRISH: I think that having the opportunity to create a “silent” character like Lurch is truly unique one. I feel like Lurch is almost like the Greek chorus of the story. While he is physically involved in the in-the-moment action; his facial reactions, comically timed non-verbal or unintelligible reactions, and ultimate musical outburst are often saying the unspoken subtext of a scene. He is often the first one in on the joke, the silent voice of reason, and ultimately delivers one of the core messages of love and togetherness in the show. It’s a unique challenge because when you have pages of text, your answers are there… you just shape them with your own choices as an actor. With a character like Lurch, it all has to be developed with nuance, a strong backstory, and physical choices. It’s a huge and fascinating challenge as an actor! I think that’s why he ultimately breaks into song… he just HAS to get the core message out that everyone else has been dancing, or tangoing, around.

JHPENTERTAINMENT: Both currently being Nashvillians, You and Rachel Potter have previously worked together at a few events around town. How did she talk you into stepping on stage as Lurch for this two-night in concert performance?

JEREMY PARRISH: Rachel and I have done a few concert versions of shows around Nashville over the years after we both relocated here from NYC, so it didn’t take much convincing to rejoin her for the Addams Family. I was in callbacks for the original Broadway production a few times, and I had several friends in the original company; so, getting the chance to perform in Nashville with this unbelievable collection of talents was an incredible opportunity. I have also been obsessed with Andrew Lippa as a composer since my Belmont days when I basically wore his version of the WILD PARTY out. So, to get to perform in one of his shows with him present… with this company… this felt like a Nashville full-circle moment! I may have hung up my proverbial tap shoes in pursuit of theater being my sole career… but once an actor, always an actor. So when the subject came up I, of course, agreed to join with a ready grunt!

JHPENTERTAINMENT: Your day job as a Lux Spirits portfolio consultant with Gallo gives you a rather different set of ingredients to work with than a typical actor. So, let’s put that expertise to the test: if you were creating a Lurch-inspired cocktail, what would go into it, what would you call it, and would it be served shaken, stirred or with one very ominous “You rang?”

JEREMY PARRISH: Well, I feel like Lurch’s gin martini game is strong behind the bar for sure. Something tells me that the Addams’ like a stiff drink! Am I wrong? But for Lurch to BE the cocktail? I think that I’d go with a riff on Ramos Gin Fizz meets a tequila sour, that perhaps Lurch’s slow & steady approach to movement gives the time for the cocktail to be well crafted and deliciously foamy. I’d use Don Fulano Añejo tequila, something naturally crafted & dry with a good bit of age and baking spice, in an egg white Sour, cut with a bit of soda water and shaken with fresh citrus and a wine-based amaro, like Lo-Fi Gentian Amaro that uses hibiscus or Amaro Pasubio that uses blueberry. Served as a highball to honor Lurch’s classic height; it would be deep in color, with a thick foam cap, garnished with lime and a nice drippy brandied cherry skewer for a touch of the macabre and a nod to Lurch’s frequent fencing spars with Gomez. The Lurch Fizz is a bit like the butler himself, tall, strong, mysterious… and requires a bit of patience but is, deep down, a delight!

JHPENTERTAINMENT: Hmmm. Wonder what happens when I order a Lurch Fizz at Analog this weekend? Ok, so, Halloween Eve and Halloween night seem tailor-made for an Addams Family celebration. What’s your favorite Halloween tradition or childhood costume memory? And if you could raid the Addams Family wardrobe for one costume to wear to a party, would you go full Lurch, or is there another member of the family whose look you’d love to borrow?

JEREMY PARRISH: Some of my favorite Halloween memories were from a few years in NYC when I was waiting tables and bartending between shows. The staff would collaborate, and all of our costumes would piece together to tell a story, and we’d end up creating scenes throughout the night with customers. It was fun and gave us all an idea to build a costume. From the Addams’, Gomez for sure! Stylish facial hair and a beautiful, well-cut suit… not to mention a fencing foil for panache!

JHPENTERTAINMENT: The Addams Family Musical in Concert marks the one-year anniversary of Rachel Potter’s Off-Broadway at Analog at The Hutton. In addition to Broadway stars, Rachel has once again tapped into the local Music City talent pool to round out the cast. Of previous installments in this continuing residency, I’ve compared the events to New York’s 54 Below and Jim Caruso’s Cast Party at Birdland. As a Nashville resident, and as someone in the food and beverage industry, how lucky is Music City to have Rachel and Off-Broadway at Analog at The Hutton?

JEREMY PARRISH: I am consistently amazed by the talent that exists in Nashville. I am grateful that Rachel uses her vision and reach to create opportunities to show that Nashville is more than just a hub for country music. There are incredible, multi-talented performers in Music City that can mingle seamlessly with NY talent if given the opportunity, and she’s doing just that. I also am in awe of the immensely talented folks that seem all too ready to grace the stages in Nashville as well. I also love that Rachel continues to advocate for musical theater’s place here in Nashville… to bring “Broadway” to audiences that are chock-full of folks who love the genre, and people who are experiencing it in a new, more approachable way and I’m so grateful that she is. Even in NYC; cabaret and concert venues, like 54 Below & Birdland, give stage performers an opportunity to be more intimate, approachable… to show their individuality and creativity in a way not strictly dictated by a script. Shows like what Rachel and Analog are doing with the Off-Broadway series bring audiences in for a bespoke experience, but it also gives interested bartenders an opportunity to create unique experiential cocktails. And the old “2 drink minimum” is a staple for cabaret, so that helps those of us in the bar world for sure! I only hope to be able to continue to be involved… both working with Analog in the cocktail world, as well as with Rachel onstage!

For those hoping to spend Halloween with The Addams Family, there’s a little urgency to the invitation. As of this Rapid Fire 20Q publication, the Friday, October 30 first night of this two-night event is already SOLD OUT, with limited tickets remaining for Halloween night, Saturday, October 31.

Presented as part of Rachel Potter’s continuing Off-Broadway at The Hutton residency, The Addams Family Musical in Concert takes place at Analog at The Hutton (1808 West End Avenue, 2nd Floor Nashville, TN 37203). Standing Room General Admission tickets are $35. Reserved Seating is $60. VIP Upgrade of $75 (valid only with purchase of Standing Room GA or Reserved tix) includes pre-show lounge with meet and greet. Premium VIP Seating for $150 adds front row seating to the VIP Upgrade. CLICK HERE to purchase tickets. Pre-Show VIP perks begin at 6pm before general admission or regular reserved attendees arrive.

With the complete musical score performed from beginning to end, familiar Addams Family favorites, Broadway & Music City talent and Andrew Lippa himself in attendance, this promises to be a particularly memorable Halloween gathering. And if those rumored songs that never made it into the Broadway production do make an appearance? Well, that would be the sort of treat that even Wednesday might crack a smile over. And remember, when you’re an Addams, you do what Addams do or die. Happy Halloween!

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. In the meantime… #GoSeeTheShow!

Theatre Review: Timeless Classic Finds New Meaning in Beautifully Sung ‘The Sound of Music’ National Tour; at TPAC thru Sunday, October 18

October 15, 2026 by Jonathan Pinkerton

Jack O’Brien’s touring production of Rodgers and Hammerstein’s beloved musical The Sound of Music at TPAC thru Sunday, October 18, delivers gorgeous vocals, grand theatrical storytelling and a timely reminder that love, hope and the courage to stand up for what’s right never go out of style.

Sharing a birth year (yes, I’m that old) with the iconic film adaptation I’ve watched the movie version of The Sound of Music pretty much every year of my life. I’ve seen previous national tours, along with numerous regional and local productions over the years. So, admittedly, I, like most, arrived at TPAC’s Jackson Hall with all the familiar melodies, memorable characters and iconic moments already tucked away in my memory. But something rather wonderful happened this time around: I found myself really listening to the lyrics. And in doing so, I discovered a fresh appreciation for a nostalgic family favorite I thought I knew inside and out. My date for the evening, a huge fan of the film, had never seen the original stage musical, adding another layer to our evening, as she discovered songs omitted from the film that remain in this faithful return to the hills. And, yes, in case there’s any doubt, the hills are indeed still alive with The Sound of Music.

That’s the magic of Rodgers and Hammerstein’s legendary work. Beneath the songs we can practically sing in our sleep is a story with a great deal more on its mind than nuns, children, curtains-turned-playclothes and a certain troublesome case of the yodeling goats. This is a story about finding where you belong, learning to love when life takes an unexpected turn, protecting the people who matter most and finding the courage to stand up for your convictions when doing so comes at a cost.

The current national tour, directed by Jack O’Brien, delivers all the warmth, romance, humor and heart audiences expect, while allowing the show’s more serious themes to resonate without weighing down its infectious spirit. It’s an uplifting theatrical experience, beautifully sung and staged with the sort of attention to detail that makes spending an evening with an old favorite feel like a genuinely special occasion.

At the center of it all is Cayleigh Capaldi as Maria, the spirited postulant whose restless nature and love of music make her a less-than-perfect fit for convent life. Perhaps looking more like our ideal of Beauty and the Beast‘s Belle than the embedded Julie Andrews image many have of Maria Rainer, Capaldi brings an appealing freshness to the role, capturing Maria’s exuberance, vulnerability and determination without turning her into a one-note bundle of sunshine. Her vocals are lovely. More than lovely, she approaches the beloved tunes with vitality and she handles the score’s familiar melodies with warmth and clarity, Immediately making Maria her own. Whether she’s introducing the von Trapp children to the joys of singing or discovering that her own heart has plans she never anticipated, Capaldi makes Maria’s journey feel sincere and relatable. There’s a reason this character has enchanted generations of theatergoers, and Capaldi gives us plenty of reasons to fall for her all over again.

Kevin Earley is equally compelling as Captain Georg von Trapp. Initially stern and emotionally guarded, Georg has built his household around discipline and order in the wake of personal loss. Earley gradually reveals the tenderness beneath that carefully maintained exterior, allowing the captain’s transformation to unfold naturally rather than rushing toward the inevitable romance. His chemistry with Capaldi gives the relationship a convincing emotional foundation, and his performance of “Edelweiss” is a particular highlight. It’s a deceptively simple song, but in Earley’s hands it becomes a crystal clear, heartfelt expression of love for a home and a country whose future is growing increasingly uncertain. Listening to those lyrics in the context of the story gives the moment an emotional weight that’s easy to overlook when the melody is so familiar. Add to that the current state of our own tenuous political climate and it creates a moment all too real.

Then there’s Lisa Howard as the Mother Abbess. Having only recently joined the tour last month, Howard brings a commanding presence and goosebump-inducingly beautiful vocal power to the role. Howard understands that the Abbess is more than a wise spiritual guide who appears to dispense a bit of well-timed advice. She is a woman who recognizes Maria’s gifts and knows that a life of faith sometimes requires trusting the path that leads beyond the convent walls. Howard’s “Climb Ev’ry Mountain” is a stirring showcase, delivered with the kind of soaring, full-bodied vocals that make you want to sit back and let the music wash over you. It’s one of those numbers that reminds you why hearing a great musical performed live is an experience no movie soundtrack can quite duplicate. I have a confession for the Mother Abbess. Listening and watching her command that stage…and the audience in one of the show’s more personal moments, I was awash with emotion, so much so that my “eyes began to sweat”.

As Elsa Schraeder, Kate Loprest brings welcome dimension to the Baroness, Georg’s sophisticated, gorgeous and wealthy romantic interest. In the hands of lesser talent, Elsa could easily be played as the obstacle standing between the captain and Maria, but Loprest gives her intelligence, polish and a very human understanding of what she wants from life. There’s a believable charm to her performance, and she makes Elsa more than a convenient plot device. Nicholas Rodriguez is also a delight as Max Detweiler, the charming, opportunistic family friend whose wit and social savvy provide some welcome comic relief. Rodriguez gives Max plenty of personality, balancing his playful nature with an awareness of the increasingly dangerous political climate surrounding them. Perhaps it’s my own observation, but as presented this go-round, Max’s flamboyance is giving closeted, making his political leanings yet another layer. It’s also most hidng in plain sight or if you can’t be ’em, join ’em vibe. Still another mirror to today’s world and the ever-perplexing Log Cabin Republican.

Ariana Ferch brings a lovely combination of youthful excitement and vulnerability to Liesl, the eldest von Trapp child. Her performance of “Sixteen Going on Seventeen” captures the dizzying thrill of first love, even as IYKYK audience members may recognize that the romance she imagines is not quite as straightforward as she hopes. The number is a charming highlight, and Ferch makes Liesl’s coming-of-age story an engaging part of the larger family portrait. But that’s not the extent of Ferch’s approach to the eldest von Trapp. Her initial hesitation to foster a relationship with the latest governess seems genuinely to come from a place of a guarded heart, rather than a spoiled oldest child, making the eventual mutual respect and friendship she shares with Maria all the sweeter.

As Liesl’s would-be young suitor, Dylan Bradford‘s Rolf manages to portray both falling in love and falling in line with conviction. Again, though most watching know their relationship is doomed, Bradford and Ferch are so compelling in their portrayal of young love that we all hope against hope that love will inevitable win out.

And what would The Sound of Music be without the rest of the von Trapplings? (YES, I completely stole that moniker from my recent chat with Earley who used it in reference to his young costars in my latest Rapid Fire 20Q with members of the company) Each and every one of the young performers bring plenty of personality and enthusiasm to the production, creating a convincing sibling dynamic that helps the family feel like a family rather than a collection of talented youngsters waiting for their musical cues. Cooper Johnson‘s Frederich shows eagerness to step up into the man of the family role, yet retains a youthful uncertainty. Lilly Belle Lanese‘s Louise possesses one of the most incredible voices of the younger cast. As Kurt, Charlie Palmer‘s playfulness infectious. Stormie Piper Trevino‘s little instigator, Brigitta, whose observances become pivotal to the romantic rise, is a firecracker. Rory L. Prichard‘s Marta exemplifies the sweetness of a young girl eager to bond with her new governess. Emma Rose Marinoff‘s Gretl is a pint-size scene stealer. “Do-Re-Mi” is every bit as delightful as it should be, while “So Long, Farewell” delivers that irresistible blend of playfulness and charm that has made it a perennial audience favorite. The children are an essential part of the show’s charm, and this ensemble gives the musical plenty of heart.

Among the supporting performances, Laura Stracko makes a welcome impression as Frau Schmidt, the von Trapp household’s housekeeper. Having joined the tour recently following her recent stint in the National Tour of Suffs, she seamlessly brings a grounded, reassuring presence to the household, helping establish the everyday rhythms of life in the estate as the world outside grows more complicated. And, listen, even from the back of the house, when Stracko’s Frau Schmidt throws a disapproving glance, you feel it. As Franz, the von Trapp family butler, John Adkinson is the perfect combination of snark and secrecy as his loyalties shift from the family to the third reich. Daniel Robert Sullivan gives Herr Zeller the sternness and self-assurance the character requires, providing a chilling reminder that the political threat developing around the family is not merely something happening in the background. Sullivan’s Herr Zeller is brutish without stepping into stereotype or caricature. These roles may not command the spotlight in the same way as Maria or the captain, but they contribute meaningfully to the world of the show.

Oh, and can we talk about The Sound of Music‘s very own Sister Act? Alongside the aforementioned Lisa Howard as Mother Abbess, Charlotte Jenkins as Sister Margaretta, Connor Lyon as Sister Sophia and Lisa Rosetta Strum as Sister Berthe are, well, heaven-sent! When the curtain rose at the top of the show and the sisters began “Preludium”, I leaned over and to my theatre companion and said, “I usually skip this part when watching the movie”, but I’m here to tell you…live, on stage, as performed by these talented vocalist, it’s breathtaking. Bookended by the show’s closing “Finale Ultimo”…a little taste of perfection from beginning to end.

The production values are every bit as transporting as the score, with scenic designer Douglas W. Schmidt delivering the kind of grand, sweeping backdrops that call to mind the glory days of old-school Broadway musicals. The Abbey and the von Trapp estate are especially impressive, each establishing a distinct sense of place while giving the story room to unfold on an appropriately expansive scale. Even the movement of the tracked scenic panels, as walls follow actors to transition from one scene to the next, is impressive.

Even the use of projected backdrop imagery is woven into the scenery so seamlessly that it never feels like a technical shortcut; instead, it deepens the atmosphere and makes each setting feel wonderfully alive. One particularly beautiful touch comes inside the Abbey chapel, where shafts of smoky, ethereal light appear to stream through the stained-glass windows. The effect is so convincing and so naturally integrated into the scene that you could easily mistake it for actual light filtering through real glass rather than a carefully crafted theatrical illusion. It’s a lovely example of how the work happening behind the scenes can create a little stage magic without ever calling attention to itself. It’s also a testament to the advances in technical aspects made since the show debuted on stage more than 65 years ago, and how they are being used to bring this story to modern audiences. That’s not to downplay Natasha Katz’s actual lighting. Katz’s skilled traditional lighting effects, blended with the latest advances in tech add dimension and atmosphere, enhancing both the intimate moments and the production’s larger theatrical images, Jane Greenwood’s costumes help establish the characters and their world, from the formal elegance of the adults–I’m looking at you Baroness–to the practical, playful outfits that become part of Maria’s transformation of the children’s lives. Under O’Brien’s direction, the various elements work together to create a polished, engaging production that understands the importance of spectacle while never losing sight of the people at the center of the story.

Of course, the music remains the beating heart of The Sound of Music. “My Favorite Things,” “The Lonely Goatherd,” “Climb Ev’ry Mountain,” “Edelweiss” and the title song are woven so deeply into popular culture that it’s easy to take them for granted. Yet hearing them performed live, in the context of the story and by a cast that embraces both their musical demands and emotional meaning, brings them back into focus. Elevating the experience, there’s also tunes like “How Can Love Survive?” and “No Way to Stop It” that were cut from the 1965 movie, but are in full effect in the stage musical, potentially giving even the most ardent fan of the film something new to add to their list of favorite things. Added Bonus: both of these numbers feature Max and Elsa, rightfully bolstering their presence in the action of the musical. The score is full of melodies that invite you to sing along, but the lyrics also tell us who these people are, what they fear, what they hope for and what they’re willing to risk.

That deeper meaning becomes especially apparent as the story moves toward its final act. The von Trapps’ decision to resist the forces attempting to claim their allegiance gives the musical a seriousness that contrasts with its earlier buoyancy. I gotta admit it, during the singing competition near the end of Act 2, while the von Trapps poured their hearts into “Do-Re-Me” and “Edelweiss” with four Nazi flags as the backdrop, another emotional wave washed over me, for are we really so far from a repeat? As it is in the story, sadly, so is the current state of our world. The danger is real, the choices are difficult, and the family’s escape is about much more than reaching a safe destination. It’s about deciding what kind of people they want to be and what they are prepared to sacrifice to remain true to themselves.

And that, perhaps, is why The Sound of Music continues to speak to audiences across generations. Its optimism isn’t rooted in pretending that the world is always kind or that doing the right thing is easy. Instead, it suggests that music, love, family and personal conviction can help us find our way through even the darkest moments. That’s a message worth hearing again, especially when a production gives us so many reasons to listen.

I went into this performance expecting to revisit a familiar favorite. I left with a renewed appreciation for the songwriting, the story and the remarkable ability of live theater to reveal something new in material we think we already know. With its standout vocal performances, impressive scenic design, charming ensemble and generous supply of heart, this national tour offers a thoroughly satisfying evening of musical theater. If, like me, you’ve watched the movie more times than you can count, consider this an invitation to experience The Sound of Music again—but this time, really listen. You may find that those beloved songs have a few new things to tell you. YES, the hills are still alive, and this production gives us every reason to be glad they are.

The national tour of The Sound of Music continues in Nashville at TPAC’s Jackson Hall thru Sunday, October 18, 2026. Performance schedule is as follows: Thursday, October 15 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.

Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

Theatre Review: At The Keeton’s ‘The Curious Savage’ a Wealth of Eccentricity, Laughs and Surprising Heart

October 14, 2026 by Jonathan Pinkerton

There’s something wonderfully reassuring about a play that suggests the people society considers crazy might actually have a better handle on life than those who insist they’re perfectly normal. John Patrick’s The Curious Savage delivers plenty of eccentric comedy, but beneath the laughs lies a pointed observation about money, family, compassion, and the absurdity of judging people by society’s standards. Currently onstage at The Keeton Theatre through October 25, director Michael Welch takes on this 1950 classic with a story that feels surprisingly relevant, reminding audiences that good manners don’t necessarily make good people, and a healthy bank account doesn’t guarantee a happy life.

The premise is deliciously simple. Wealthy widow Ethel Savage wants to use her late husband’s fortune to help people pursue their dreams rather than surrender it to her greedy stepchildren, Titus, Lily Belle, and Samuel. Their solution? Have Ethel committed to The Cloisters, where they expect to bring her to her senses. Instead, Ethel discovers a community of wonderfully unconventional individuals whose humanity puts her supposedly respectable family to shame.

Welch’s production understands that the comedy works best when the characters are treated as people rather than punchlines. The residents’ eccentricities provide the laughs, but their vulnerability and capacity for compassion give the play its heart. The result is a reminder that perhaps the most troubling behavior comes not from those who see the world differently, but from those convinced their own way is the only acceptable one.

Ann Street-Kavanagh’s Ethel Savage is, to borrow a phrase, a performance of “tenacious mediocrity unhampered by taste.” I kid, I kid. (See the show and you’ll get the joke.) Seriously, this might be Street-Kavanagh’s shining moment in local theatre. She seems to have been born to play Ethel Savage, balancing the character’s whimsical nature with a quiet determination that makes her impossible to dismiss. She is the heart of the production, and watching her navigate Ethel’s determination to live life on her own terms is a genuine pleasure. The night I attended, Street-Kavanagh’s mic pack slipped from her dress mid-scene. Without missing a beat, she simply grabbed it, held it in her hand, and finished the scene like a pro. It was an impressively unfussy bit of theatrical problem-solving that demonstrated exactly the kind of composure you want from a seasoned performer.

As Titus Savage, Jason Rainwater delivers the haughty, self-important attitude that fits perfectly into the world of the societal Savages. Titus is a man accustomed to having his opinions respected and his expectations met, and Rainwater captures the character’s sense of entitlement without losing sight of the comedy. He represents the kind of respectable authority that playwright Patrick enjoys skewering, proving that a distinguished public image and a decent moral compass are two entirely different things. Yet another reason this 76-year-old play still feels oh so relevant.

Frederick ‘Rick’ Heiman Jr.’s Samuel Savage brings an authenticity to the character’s disdain for just about anything that inconveniences him. A judge whose own values are considerably less impressive than his professional title suggests, Samuel is driven by greed and an impressive capacity for irritation. Heiman makes that self-serving attitude part of the character’s comic appeal, giving Samuel the air of a man who considers everyone else’s existence a personal affront.

Katie Delaune’s Lily Belle Savage is an especially enjoyable balancing act. She understands Lily Belle’s concern with appearances and what other people think while also allowing a genuine concern for her stepmother to peek through. That little bit of humanity makes Lily Belle more interesting than a simple caricature of an avaricious socialite. Delaune also demonstrates terrific comedic prowess, particularly in one late-hour scene when Lily Belle drops behind the sofa and re-emerges a little worse for wear to riotous laughter. It’s a perfectly timed physical-comedy moment that earns every giggle.

Among the residents of The Cloisters, Brittany Mask brings gentleness and humanity to Florence, the grieving mother who carries a doll she believes to be her young son, John, lost to illness five years previous. In researching to chat with some of the cast for my recent Rapid Fire 20Q, I discovered that some recent productions have chosen to portray the child as presence throughout the play, but The Keeton’s presentation follows the original 1950 production’s approach, allowing the doll to represent Florence’s son as she understands him. It’s a choice that keeps the focus squarely on Florence’s emotional reality, and Mask handles the character with tenderness rather than turning her grief into a cheap laugh. Her performance brings an affecting humanity not only to Florence but to the play itself, reminding us that the residents’ eccentricities often have deeply personal roots.

And speaking of John, young Logan Dowlen makes a brief appearance as Florence’s son during the dream sequence at the play’s end, earning the distinction of cutest co-star, ever. It’s a fleeting moment, but one that adds a sweet punctuation mark to Florence’s story.

As Hannibal, Damon Cathey brings a kind of Forrest Gump-ish simplicity to the role. His character’s conviction that he is a concert violinist is another example of the play’s fascination with the realities people create for themselves. Cathey leans into Hannibal’s guileless quality, adding another distinct personality to the ensemble without making the character’s eccentricity the whole point.

Riley Basner’s Jeffrey is notable for his perfectly presented shyness. An all-too-young war veteran carrying emotional scars, Jeffrey is a character whose reticence speaks volumes. Basner’s understated approach provides a welcome contrast to some of the production’s broader comic personalities, giving Jeffrey space to be vulnerable without pushing the sentiment too hard.

Kathy Crisp’s Ms. Paddy is captivating—and relatable. After all, my mantra is quite often “I hate everybody,” so a woman who only speaks to list the things she hates is my kind of woman. Crisp’s otherwise nonverbal Ms. Paddy is a silent scene-stealer, proving that a character doesn’t need a mountain of dialogue to leave a memorable impression. Her expressive presence and wonderfully sour outlook make her one of the production’s most entertaining eccentricities.

Christina Shandor’s Fairy May is the group’s resident optimist, comedically bespectacled and wigged in what can only be described as a cross between Little Orphan Annie and Pippi Longstocking. Her sunny disposition and colorful imagination provide plenty of comic opportunities, but there’s a more vulnerable character underneath all that cheerfulness. Fairy May’s insistence on seeing the good in everything is also a way of protecting herself from the harsher realities of the world. Shandor brings an infectious energy to the role, and you absolutely have to stay until the end to see not just how Fairy May sees herself, but how Mrs. Savage sees her and her fellow inhabitants. It’s a lovely final touch that gives the audience one more reason to reconsider the assumptions they’ve made about the people of The Cloisters.

The staff of The Cloisters provides another perspective on the institution and its residents. Tony Barrow’s textbook performance as Dr. Emmett works well within the sterile, mechanical atmosphere of a sanitarium. His recitative, unfluctuating delivery offers a contrast to the unpredictable personalities in his care, reinforcing the system-desired orderly framework surrounding the residents’ unconventional lives.

photos by Donna Driver/courtesy The Keeton

Kathleen McClanahan’s Miss Willie, meanwhile, mixes kindness with empathy and a little unexpected spirit. As the nurse who remains at The Cloisters to care for her husband, a war pilot who has lost his memory, Miss Willie embodies the complicated intersection of love and obligation. McClanahan gives the character warmth while allowing glimpses of the determination beneath her gentle exterior. I have always found it odd that the revelation about her relationship doesn’t happen sooner in the play, as it is almost lost when it finally comes to light. It’s an important piece of her story, and one that might carry greater emotional weight if the audience had more time to absorb its implications.

Behind the scenes, Welch is supported by stage manager Hailey Pelletier, and a team of skilled artisans. Technical director and set designer Kevin Driver brings authenticity to the play’s mid-century setting by peppering the stage with a console tube radio, the de rigueur framed print of Thomas Lawrence‘s portrait of Pinkie and other touches. Though I do question the publication date of a certain magazine located on the coffee table. (I’m sure The Keeton’s go-to graphic designer Danny Proctor, or even I could provide a vintage mag if asked, but I digress). Costumer Denese René Evans‘ work, most notably via wardrobe choices of Florence and Lily Belle again reinforce the vintage era. Mrs. Savage is decked out in finery–though that sparkle-accented jacket reads a bit too modern and those black character shoes are, well, out of character for a woman of her status. Sound designer Steve Love, and lighting designer Jesse Watts. work seamlessly in tandem to help establish the institutional, yet inviting world of The Cloisters, providing the setting for a story that moves between comic absurdity and genuine emotional reflection.

Ultimately, The Curious Savage is less interested in defining madness than in exposing the peculiar behavior of people who are convinced they have everything figured out. Ethel’s stepchildren may have money, status, and social standing, but the residents of The Cloisters offer something far more valuable: compassion, companionship, and the freedom to be themselves.

The Keeton Theatre’s production gives this classic comedy an opportunity to remind us that kindness matters more than appearances, that wealth cannot buy genuine affection, and that the people who make life worthwhile are often those who understand us without demanding that we change. After all, a little eccentricity may be the least of our problems. And if Ethel Savage has anything to teach us, it’s that a generous heart and an independent mind are worth considerably more than a fat bank account and a family tree full of people waiting to cash in.

The Keeton‘s The Curious Savage continues through Sunday, October 25. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.

Next up following The Curious Savage, The Keeton presents their holiday offering Scrooge in Love on stage December 3-20. 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: Full Disclosure: Studio Tenn’s ‘The Addams Family’ a Broadway-Worthy Musical Fright Delight

October 13, 2026 by Jonathan Pinkerton

all photos by Sammy Hearn/courtesy Studio Tenn

They’re creepy, they’re kooky, they’re altogether spooky, and they’ve arrived in Franklin looking better than ever. Studio Tenn’s production of THE ADDAMS FAMILY MUSICAL, on stage through Sunday, October 25, at The Turner Theater inside The Factory at Franklin, is a wickedly entertaining reminder that when it comes to theatrical spectacle, impeccable casting, and deliciously dark comedy, this beloved family knows how to make an entrance. With Broadway-worthy production values, eye-popping costumes, powerhouse vocals, and director Patrick Cassidy keeping the macabre merriment moving at just the right pace, this is one family reunion you won’t want to miss.

Based on the iconic characters created by Charles Addams, with a book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa, THE ADDAMS FAMILY MUSICAL finds Wednesday Addams (Anna Jones) in the unfamiliar territory of being in love. Her chosen beau, Lucas Beineke (Dylan James), is a perfectly respectable young man from a perfectly respectable family. Naturally, Wednesday’s idea of domestic bliss involves introducing him to her delightfully dysfunctional clan, while asking her parents to keep their more unusual tendencies under wraps. What could possibly go wrong? Well, when Gomez (Brian Michael Jones), Morticia (Sandra Allen), Uncle Fester (Jacob Waid), Grandma (Rachel Agee), Pugsley (James Hodgin), and Lurch (Scott Patrick Wilson) are involved, practically everything—and that’s precisely the fun of it.

At the helm, Cassidy understands that the trick to a successful ADDAMS FAMILY isn’t simply to deliver a parade of familiar characters and macabre sight gags. The comedy works because the characters are played with conviction, the relationships feel genuine, and the absurdity is never treated as an excuse to phone in the performances. Cassidy’s direction allows the physical comedy, romantic entanglements, and musical numbers to coexist without one overwhelming the others. The result is a production that feels polished, purposeful, and gloriously larger than life. There’s a confidence to this staging that recalls the kind of professional sheen audiences associate with Broadway, and the company delivers on that promise.

As Gomez Addams, Brian Michael Jones is the consummate master of ceremonies for this gloriously peculiar household. Familiar to Studio Tenn audiences, Jones marks his fourth production with the company, and his turn as the amorous, quick-witted patriarch is another welcome addition to that relationship. Gomez must balance his devotion to Morticia with his protective instincts as a father, all while navigating the family’s increasingly complicated affairs. Jones handles the character’s comic timing and romantic sincerity with ease, giving Gomez the charm and theatrical flair the role demands. He makes it clear that, beneath the pinstripes and the mischief, this is a man who adores his family—even when that family makes his life considerably more complicated.

Sandra Allen’s Morticia Addams is a vision of dark glamour and commanding theatricality. Allen possesses a voice that is every bit as alluring as Morticia herself, and she uses it to glorious effect throughout the production. Her movement is equally impressive, particularly in “Tango de Amor,” where she brings the character’s sensuality and precision together in a number that practically sizzles. And then there’s that dress. Yes, that dress, cut down to Venezuela! It’s a jaw-dropping bit of costuming that would make even Morticia’s famously expressive eyebrows arch in approval. Allen understands that Morticia’s power lies in her composure, her wit, and her ability to command a room without appearing to exert the slightest effort. She is the very definition of dark elegance, with a vocal presence and physical confidence that make every entrance an occasion.

Jacob Waid’s Uncle Fester is an absolute delight, combining vocal strength, romantic exuberance, and an endearingly off-kilter sincerity that makes the character impossible not to love. Fester’s devotion to the moon is one of the musical’s most wonderfully ridiculous romantic conceits, and Waid embraces it with the enthusiasm of a man who has finally found his celestial soulmate. During “The Moon and Me,” he looks positively the bee’s knees in his swimsuit, an unexpected visual treat that only adds to the number’s goofy charm. But Waid’s performance is more than a collection of laughs and eccentricities. His commitment to Fester is evident in every detail, right down to the transformation required for the role. Usually quite hirsute, Waid has shaved his head AND his lumbersexual beard to become the bald, delightfully peculiar Fester. That’s dedication, folks! His performance once again backs up why he was named Best Stage Actor in Nashville Scene’s recently announced annual Best of issue. Between the vocals, the physical comedy, and the sheer joy he brings to the role, Waid makes a compelling case for the honor all over again.

Anna Jones, a recent Lipscomb University graduate making her Studio Tenn debut, has the unenviable task of making Wednesday Addams her own while following in the footsteps of one of the most recognizable characters in contemporary musical theatre. Consider that challenge conquered. Jones gives Wednesday a wonderfully deadpan exterior, but there’s just enough vulnerability beneath the black lipstick and killer stare to make her emotional journey believable. Her performance in the Act One fan favorite “Pulled” is a particular highlight, capturing Wednesday’s bewilderment as love begins to interfere with her carefully cultivated darkness. Jones delivers the number with an appealing blend of comic frustration and genuine feeling, making it easy to understand why Wednesday’s sudden brush with normal teenage romance feels so catastrophic to her. She doesn’t merely imitate the character audiences already know; she makes Wednesday her own. If director Cassidy knows what’s good—and I’m quite certain he does—this won’t be Jones’ last outing with Studio Tenn.

As Wednesday’s unsuspecting romantic interest, recent Belmont University graduate Dylan James makes for a charming Lucas Beineke. Last seen in Studio Tenn’s JERSEY BOYS ensemble, James steps into a featured role with an appealing combination of youthful sincerity and romantic determination. His Lucas is a teen dream, and that’s saying something, considering the nightmarish circumstances that meeting the creepy, kooky, ooky, spooky Addams Family might present to a young man expecting a relatively ordinary introduction to his girlfriend’s parents. James makes Lucas more than a straight-laced foil to Wednesday’s eccentricities. He brings enough personality and warmth to the role to establish why these two seemingly incompatible young people might actually be a perfect match. Their budding romance provides the emotional engine for the evening, and James is a winning partner for Jones.

Rachel Agee’s Grandma Addams is one of the production’s many highlights. Almost completely unrecognizable beneath the wig, makeup, glasses, and that wickedly wonderful, intricately detailed costume, Agee disappears into the character with gleeful abandon. And yes, I’m fairly certain one layer of Grandma’s skirt features a zombie print, because apparently even the undead need a little fashion flair. Agee has a knack for making every moment count, whether she’s delivering a perfectly timed reaction or simply occupying a corner of the stage with the air of someone who has seen everything, done most of it twice, and probably poisoned the rest. If she’s onstage, she’s commanding the audience’s attention. Agee, as directed by Cassidy, is a deadly combination—in the very best way.

James Hodgin, the Pugsley I saw, is perfection as the bratty little brother who would rather torture his sister than see her fall in love and leave him behind. As a self-admitted bratty little brother myself, I feel uniquely qualified to recognize the authenticity of this particular sibling dynamic. Hodgin captures Pugsley’s gleeful mischief and underlying desperation with just the right balance, making his attempts to reclaim Wednesday’s attention both funny and oddly sympathetic. There’s something deliciously familiar about a younger sibling who considers torment a legitimate expression of affection, and Hodgin mines that relationship for every laugh. Lucas Goodfriend also shares the role of Pugsley at alternating performances. With these two young actors, rest assured that the Addams’ pint-sized agent of chaos remains a force to be reckoned with throughout the run.

As Lurch, Scott Patrick Wilson breathes life—and a generous helping of heavy sighs—into the Addams family’s towering butler. Lurch is a character whose impact often depends on stillness, timing, and the occasional perfectly placed vocalization, and Wilson understands the assignment. His imposing presence and unhurried delivery provide a terrific counterpoint to the household’s more animated personalities. But don’t mistake his near-silent demeanor for a lack of theatrical contribution. Spoiler alert: Wilson is front and center in the show’s “Move Toward the Darkness” finale, proving that he’s not just a tall drink of Acrimonium. His contribution to the closing number is a particularly satisfying payoff for audiences who have watched this seemingly stoic servant hover in the background.

For the uninitiated, Acrimonium is the potion Pugsley swipes from Grandma to dose Wednesday in an attempt to return his suddenly besotted sister to her former tormenting self. Unfortunately, when Megan Murphy Chambers‘ Alice Beineke accidentally swigs the elixir, an otherwise hopefully uneventful family dinner erupts into a euphoric, laugh-riot awakening. Chambers is absolutely in her element as Alice, the buttoned-up suburban mother whose carefully maintained composure goes spectacularly off the rails. Watching her unleash a liberated, uninhibited version of Alice is one of the evening’s comic pleasures. Chambers knows how to turn a scene into an event, and her transformation gives the production one of its most memorable bursts of hilarity.

As Alice’s husband, Mal Beineke, Geoff Davin holds his own beautifully, proving that Alice’s straight man knows how to bend. Davin supplies the grounded reactions that make Chambers’ increasingly outrageous antics all the funnier, and the pair’s chemistry feels earned rather than manufactured. Both are beloved members of the Nashville-area theatre community, having shared the stage from time to time over the years, and their pairing here allows them to shine in roles that demand both comic precision and a convincing portrayal of a marriage under pressure. Their scenes are a reminder that the show’s central conflict isn’t simply about a supposedly normal family meeting a supposedly abnormal one. It’s about what happens when everyone’s carefully guarded secrets, insecurities, and expectations come spilling out at the same dinner table.

Rounding out the cast as the Addams Ancestors is a virtual who’s who of area up-and-comers and established favorites: Kelsey Brodeur, Maria Logan, Ryann Katherine Perkins, Meggan Utech, O’Neal Black, Alex Dee, Jonah M. Jackson, and Douglas Waterbury-Tieman. They provide the production with much of its visual richness and theatrical energy, helping establish the sense that the Addams family’s eccentricities stretch far beyond the living. The ancestors are more than atmospheric decoration; they contribute to the musical’s sense of tradition, history, and delightfully unconventional family values. Their collective presence gives the ensemble sequences added dimension and helps make the world of the show feel fully populated.

Of course, a musical of this scale succeeds only when the production values can match the performers’ energy, and Studio Tenn has assembled an impressive theatrical package. The costumes, designed by Devon Renee Spencer, are a particular triumph. The Addams family has an unmistakable visual identity, and these designs honor that legacy while giving each character a distinctive silhouette and personality. Homage without without exact duplication and it’s appreciated. Gomez’s tailored darkness, Morticia’s dramatic glamour, Wednesday’s severe monochrome aesthetic, Fester’s gloriously peculiar look, Grandma’s layered eccentricity, and Lurch’s imposing presence all contribute to the production’s cohesive visual language. The ancestors add another dimension of detail, with costumes that reward a closer look and reinforce the show’s macabre sensibility. Look and you’ll find a powdered-wigged dandy, a cowgirl, a flapper and more among the deliciously decked-out deceased. There’s a fine line between spooky and silly, and the wardrobe consistently lands on the right side of both. Makeup and wig design by Bailey Dorflinger-Slee is primarily spot-on, save a couple questionable wig choices—Wednesday’s Karen-ish flyaway nape fringe circa 2020, is…an interesting choice, but Grandma’s fright wig is chaotically crisp and frightfully right. The makeup, especially Fester’s sleepless hollowed eyes, Morticia’s ghoulish glam and the Ancestors’ ghostly glow, all add to the spooktacular look of the show.

The Broadwayesque scenic design by Andrew Cohen, perfectly mood-enhancing lighting design by Stephen Moss , choreo by Anna Claire Perry, music direction by Scott Brons and sound design by Danny Northup all come together brilliantly to further elevate the experience, creating a theatrical world that feels suitably grand without overwhelming the performers. The production’s visual atmosphere shifts to accommodate the show’s romantic, comic, and supernatural elements, while the lighting helps focus attention where it belongs, whether on an intimate exchange or a full-company musical number. The overall aesthetic is polished and purposeful, lending the evening the kind of professional finish that makes Studio Tenn’s larger-scale productions so satisfying. The design elements work in concert with Cassidy’s direction, allowing the performers to remain the focus while surrounding them with an appropriately extravagant Addams universe.

And then there are the voices. This is, after all, a musical, and the company delivers the vocal goods. Lippa’s score moves between big ensemble moments, character-driven comic numbers, and romantic passages, giving the cast ample opportunity to demonstrate its range. Jones’ “Pulled,” Allen’s commanding vocals, Waid’s spirited musicality, and the ensemble’s contributions make the score feel vibrant and alive. The music is never simply an interlude between jokes; it advances the story, deepens the characters, and gives the production its emotional momentum. The choreography and physical staging add further polish, with the company maintaining the precision necessary to make the larger numbers feel exciting rather than chaotic.

What impresses most about Studio Tenn’s THE ADDAMS FAMILY is the way it balances spectacle with character. The familiar black-and-white iconography, the dark humor, and the outrageous family dynamics are all present, but they’re supported by performances that understand the people beneath the eccentricities. Gomez and Morticia are devoted partners. Wednesday is a young woman discovering that love may be more complicated than she imagined. Lucas is a romantic caught between affection and bewilderment. Alice and Mal must confront the distance between the lives they present and the lives they actually lead. Even Pugsley’s desperate attempts to keep his sister close spring from a recognizably human fear of being left behind.

That emotional grounding gives the comedy room to land. The production never asks its audience to choose between laughing at the Addamses and caring about them. Instead, it recognizes that the family’s peculiarities are precisely what make them such enduring theatrical and pop-culture favorites. In this household, being normal would be the real horror.

Studio Tenn’s THE ADDAMS FAMILY MUSICAL is a terrific showcase for a talented local company working at the top of its game. Cassidy’s assured direction, the cast’s spirited performances, the sumptuous costumes, the polished production values, and the score’s infectious theatricality combine to create an evening that feels every bit as ambitious and entertaining as the material deserves. From Allen’s show-stopping Morticia to Waid’s irresistible Fester, Jones’ winning Wednesday, and a supporting company that makes every corner of the Addams universe feel alive, this production delivers the goods.

The Addams family may have built its reputation on darkness, but Studio Tenn has found plenty of light in the shadows—and a whole lot of fun along the way. If you’re looking for a musical with Broadway-worthy polish, memorable performances, and enough kooky charm to make even the most buttoned-up Beineke loosen their collar, head to The Turner Theatre before the family packs up and returns to the crypt. Studio Tenn’s THE ADDAMS FAMILY MUSICAL is on stage now through Sunday, October 25, at The Turner Theatre inside The Factory at Franklin, 230 Franklin Road. CLICK HERE for tickets.

From Spooky Season to the most wonderful time of the year, following THE ADDAMS FAMILY MUSICAL, Studio Tenn rings in the holiday cheer with a return engagement of It’s a Wonderful Life: A Live Radio Play onstage at The Turner Theatre December 3-20. CLICK HERE for tickets or more information. Wanna keep up with the latest from Studio Tenn? Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.

Rapid Fire 20Q: Cast Members of ‘The Sound of Music’ National Tour Share Insights on Being Part of One of Theatre’s Most Beloved Musicals, Their ‘Favorite Things’ and more; at TPAC This Week

October 12, 2026 by Jonathan Pinkerton

Few musicals have found a permanent home in the hearts of audiences quite like Rodgers and Hammerstein’s The Sound of Music. The beloved family musical premiered on Broadway over 65 years ago, introducing generations to a story of love, courage, family and the transformative power of music. With an unforgettable score featuring “My Favorite Things,” “Do-Re-Mi,” “Edelweiss” and its iconic title song, this timeless classic continues to remind us why certain stories never lose their ability to move us.

Now, the current national touring production directed by three-time Tony Award winner Jack O’Brien is bringing the cherished musical to a new generation of theatregoers. The production follows Maria, a spirited young postulant whose arrival in the home of Captain Georg von Trapp changes the lives of seven children — and their father — forever, even as the political climate in Austria threatens everything they hold dear.

The national tour arrives in Music City for a limited engagement at Tennessee Performing Arts Center’s Jackson Hall October 13–18, 2026. For this edition of JHPENTERTAINMENT’s Rapid Fire 20Q, I caught up with four members of the touring company: Kevin Earley, who portrays Captain Georg von Trapp; Kate Loprest, who plays Elsa Schraeder; Laura Stracko, who brings Frau Schmidt to life; and Daniel Robert Sullivan, who portrays Herr Zeller while also understudying the Captain.

From the emotional weight of “Edelweiss” and the complexities of their characters to life on the road, favorite backstage pastimes and the enduring relevance of this musical classic, these four performers offer a glimpse into the people helping keep The Sound of Music singing.

RAPID FIRE 20Q WITH CAST OF THE SOUND OF MUSIC NATIONAL TOUR

RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY

JHPENTERTAINMENT: They say never to work with animals or children. Captain von Trapp is surrounded by seven von Trapp children who are as much a part of his journey as any adult character. What has it been like working with the young performers playing your children night after night, and what have they brought to the family dynamic that perhaps surprised you?

KEVIN EARLEY: I’m glad you brought up the Vontrapplings. That’s our nick name for them. The young performers in our production are so talented, kind and professional. It makes me proud to know that the future of theater and live storytelling is safe in each one of there hands. They are focused, dedicated and relaxed. Even though they have school on most days, they still come in with such energy every single show.

They are also, at their core, just kids. And it’s great to work alongside them. They give a freshness to each other and me as their “Stage Dad” each and every show. I am constantly surprises at their creativity and commitment.

JHPENTERTAINMENT: “Edelweiss” gives Georg one of the production’s most poignant moments — and one of the few opportunities we get to hear the Captain sing from such an intimate, vulnerable place. What does singing “Edelweiss” mean to you as Georg, and how do you approach making that deceptively simple song emotionally resonate?

KEVIN EARLEY: Standing up for one’s beliefs with history, family and country are all infused into “Edelweiss.” As a song, it’s a simple melody that lulls the listener in a sense of peace, but when placed against the backdrop of Austria being invaded and annexed by Germany and the Third Reich, it tells a different story. A story of courage, hope, loss, love and anger.

My approach to the song was deepened by Jack O’Brien’s brilliant direction in the moments before the Captain sings. In this unique production, we see the Captain take in the menacing German flags for the first time. He looks upon the Auditorium Festival filled with the invading Germans sitting side by side with his fellow countrymen. He then decides… chooses, to sing a different song than the one he was asked to sing. He chooses “Edelweiss” because it represents what he believes are his homeland’s core values; peace, innocence, hope and freedom. That is a lot to expect of one song, but I do my best.

JHPENTERTAINMENT: Georg begins the story as a stern, seemingly unyielding patriarch before gradually allowing music — and Maria — to bring him back to the family he has emotionally shut out. What has been your favorite part of discovering that transformation over the course of the show?

KEVIN EARLEY: The journey starts with grief. It affects us all differently and the Captain is no exception. After the tragic loss of his wife, he retreats into what he feels he can control in order to keep his children safe. That’s where I start the show. We all experience grief uniquely, and we all need someone to help us through. It could be your spouse, who helped me, or a therapist, a friend, family member or a total stranger who sings your way back to joy and happiness. Maria does that for the Captain without him even knowing. Music is magic. When I get to sing for the first time in the show “The Sound of Music”, it opens my heart and brings me such joy. It’s the next step in his healing and moving forward.

JHPENTERTAINMENT: You are the first of four cast members I’m chatting with for this particular Rapid Fire 20Q, so I gotta ask…What are a few of your personal “favorite things” when not on stage?

KEVIN EARLEY: Easy question. My wife, music and of course golf. I love to golf. I try and play at least 2 rounds of golf in each city I visit. I wish I could play more but the show must go on.

JHPENTERTAINMENT: You share the stage with two very different but equally important women in Georg’s story — Cayleigh as Maria and Kate as Elsa. What is it like having these two leading ladies as your scene partners, and how do their individual approaches to Maria and Elsa shape your performance as Georg?

KEVIN EARLEY: Firstly, I could not have asked for better scene partners and friends on this tour. They have both, as well as the rest of the cast, been a delight and a thrill to work with and get to know. We approached this “triangle” a bit differently than most productions. Letting Elsa and Georg’s courtship troubles to stand on their own and not turn into a “he’s in love with another woman” trope.

On paper, the Elsa and the Captain look like a perfect match, especially for Max who gets to ride on their coattales. In the end however, they have very different political and philosophical views of the world. This is what ultimately ends the relationship, not some love triangle. This makes more of a compelling and poignant story. Especially today when we have families, friends and neighbors who are deeply divided over politics. That makes it even more relatable. It’s slightly different than the movie but makes my relationship between the two unique and not entwined.

RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST

JHPENTERTAINMENT: Before we get going, I have to thank you…Seventeen years ago, we chatted for one of my first Rapid Fire 20Qs when you were touring the country as Nellie Oleson in Little House on the Prairie: The Musical. Now you’re touring as Elsa Schraeder in The Sound of Music. So, let’s settle an important question: who’s more self-involved and manipulative — Elsa or Nellie?

KATE LOPREST: First of all, thank YOU! What a lovely full circle experience getting to speak with you again. Easy answer: Nellie. Nellie has never had checks and balances in her life. She was raised in abundance with no consequences. If you want manipulative and self-involved in The Sound of Music, look no further than Max Detweiller.

JHPENTERTAINMENT: Elsa arrives believing she understands exactly what she wants from Georg — and exactly how to get it. What do you find most delicious about playing a woman who is sophisticated, socially savvy and absolutely not accustomed to hearing the word “no”?

KATE LOPREST: Most people are surprised to learn that the movie version of The Sound of Music predates the original Broadway musical. We are celebrating the 65th Anniversary of that Broadway show on this national tour. Audiences are also surprised to learn that the original libretto is quite different from the movie. The most significant differences involve the characters of Elsa and Max. You won’t be getting Elsa “the villain” in our production. There is no evidence of that in the original libretto. After all, isn’t the story a little bit more delicious if Elsa is, in fact, a good match for Georg?

JHPENTERTAINMENT: Elsa may not have a “Climb Ev’ry Mountain” moment of her own, but she certainly has her own emotional journey. What do you hope audiences understand about Elsa beneath the polished exterior and her seemingly effortless confidence?

KATE LOPREST: My job isn’t to make Elsa likeable; it is my job to portray her with honesty. Our director, Jack O’Brien, asked us on day one of rehearsals to take nothing for granted and to investigate every minutia. What we’ve found is that Elsa is not only deeply complex but incredibly relatable. To me, Elsa is a love letter to women of a certain age who are trying to balance it all: wife, mother, lover, leader. I’m very proud to play her and I hope audiences walk away from our production with a new perspective on her.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what is one favorite thing that’s a must-have while on tour?

KATE LOPREST: My crochet hooks. One of our cast members taught me late last year and I’m completely taken with it. In a very long run, like the one we are in, it’s wonderful to have a hobby that works the hands and the brain. Plus, gift-giving is my love language, so I’ve really enjoyed sending scarves, hats, and flower slings to friends and family across the US.

JHPENTERTAINMENT: Elsa may not be the woman Georg ultimately chooses, but she certainly makes an impression during her time at the von Trapp villa. Whether it’s your own, or someone else’s, what’s a favorite moment from the show?

KATE LOPREST: Elsa has a relationship with each of the von Trapp children – after all, she is going to be their new mother. I’ve worked several moments of that into my performance, but my new favorite is one between Louisa (played by Lilly Belle Lanese) and me. Maria has left suddenly, Louisa tries to express the children’s sadness, and Georg quickly cuts her off. I always slip over to her, put my arm around her shoulder, and tell her that I’m sorry about Maria. It’s a wonderful moment of connection and I look forward to each performance. This is my third time playing the role of Elsa in my career and my second year with this national tour, and I’m still finding new things all the time.

RAPID FIRE WITH THE SOUND OF MUSIC‘s FRAU SCHMIDT, LAURA STRACKO

JHPENTERTAINMENT: In my JHPENTERTAINMENT review of last year’s Suffs National Tour, I dubbed your performance as the socialite Alva Belmont “boisterously brilliant.” In that same vein, if you had to give Frau Schmidt two alliterative adjectives of her own, what would they be — and why?

LAURA STRACKO: I love those words for Alva! I am so glad I got to spend a year with her to discover so many notes, thank you for seeing that in her. For my gal Schmidt I’d have to say “masterfully meticulous!” She is the very best at what she does, and she knows it. Absolutely nothing will stand between her and an organized household.

JHPENTERTAINMENT: Frau Schmidt is one of a handful of non-singing roles in one of the most beloved musicals of all time. What is the particular challenge — and perhaps the delicious freedom — of creating a memorable character in a show where nearly everyone around you gets to sing some of the most recognizable songs in musical-theatre history?

LAURA STRACKO: I find a lot of joy in this role, it can be liberating when there is no expectation to uphold! I have landed on a physicality with her that is akin to a duck – calm and smooth on the surface while paddling like crazy underneath. Additionally, Frau Schmidt is incredibly important, every time she is onstage she is bringing new and meaningful exposition for the audience. So while she may be supporting, she is doing so in a big way, and I am proud of that.

JHPENTERTAINMENT: In my twenty years of covering theatre, I’ve learned that many actors approach their roles by creating their own backstory in their minds. What have you discovered about Frau Schmidt that isn’t necessarily spelled out in the script but has helped you build her character?

LAURA STRACKO: I have to give credit to Jack O’Brien, Matt Lenz, and Anthony Daniel for this, there is a very rich backstory for Frau Schmidt. As we learn early in the show, the children have been without a mother for a few years, having only governesses instead. The seed that was planted for me is that I have been with this family and this household for a long time, probably decades, and I was very close with the mother. Caring for the children and home is a personal promise I made to her a long time ago. What I like to think is that, in between governesses, as the children navigate life and their father does too, I have been their constant. I see myself as the glue that has helped hold this home together in their mother’s absence. I also like to think that my service is generational, that my family has always been employed by the von Trapp family, so I take great pride in my position.

JHPENTERTAINMENT: As mentioned above, earlier this year visited TPAC with the Suffs National Tour, and now you’re returning to Music City with The Sound of Music. Is there anything you’re hoping to introduce your new touring cohorts to while you’re back in Nashville — a favorite restaurant, local haunt, or perhaps one of the city’s many theatrical treasures?

LAURA STRACKO: Oh Nashville is one of my favorite cities! Of course we had incredible tours of The Hermitage Hotel and the State House with Suffs, and I am looking forward to revisiting those with my current cast members. Beyond that, I am excited to check out Dolly’s new hotel and museum that just opened, brunch at Countrypolitan, getting some steps in at Category 10, and eating bbq. One week just isn’t enough time, so we’ll be soaking up all the live music and good times that we can!

JHPENTERTAINMENT: IF my research proves correct, you only recently joined the tour in early September. One month in, how much are you loving being part of such a beloved classic musical?

LAURA STRACKO: Yes! I closed Suffs in August, and had three weeks off before joining this company. There’s something special about doing a show that means a lot to people. The familiarity and comfort that come with The Sound of Music encourages people to join us, but then Jack’s direction of the show gives them a fresh perspective to take home. I feel so lucky to get to do what I love each day, and to be a small part of a beautiful evening at the theatre!

RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN

JHPENTERTAINMENT: Herr Zeller represents the increasingly threatening political reality closing in around the von Trapp family. What have you found most interesting about playing the villain of the piece, particularly in a musical whose heart is so firmly rooted in family, love and resistance?

DANIEL ROBERT SULLIVAN: What fascinates me about Zeller is that he never thinks he’s the villain. He walks into that house completely sure he’s on the right side of history, and that certainty is what makes him frightening. Every night I get to be the cold draft blowing through all that warmth, and the colder I play it, the brighter Maria and the family shine. It’s a real gift to be the character that lets an audience see how strong the von Trapp family had become.

JHPENTERTAINMENT: Zeller can easily become a one-dimensional authoritarian figure, but every compelling villain needs something more beneath the surface. What choices have you made to give Herr Zeller dimension while still making his intentions and allegiances unmistakably clear?

DANIEL ROBERT SULLIVAN: I play him as a man who’s demandingly good at his job and proud of it. Zeller is direct and moves quickly, and he really does want the Captain on his side, so the menace lives in how fast he is able to force the Captain’s hand. I hold onto that speed and never lose control. This character is scary because he barrels ahead with a dangerous allegiance, and I want people to recognize him because men like Zeller didn’t disappear in 1938.

JHPENTERTAINMENT: You also understudy Captain Georg von Trapp, which means you’re preparing to inhabit two very different men on opposite sides of the story. What is the biggest challenge — and the greatest theatrical treat — of having both Herr Zeller and the Captain in your repertoire?

DANIEL ROBERT SULLIVAN: The hard part is that these two men want opposite things in the very same rooms, so I have to keep two completely different sets of instincts ready to go. Zeller pushes hard, and the Captain has to decide what he’s willing to lose by pushing back. In real life, the von Trapps really did sacrifice their entire way of life in order to push against fascism.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what are some of your favorite things about this particular Sound of Music experience — whether it’s something about the company, the score, the audiences, or the wonderfully chaotic life of a national tour?

DANIEL ROBERT SULLIVAN: Hearing that score played live every night still gets me! What an orchestra we have! My other favorite thing on tour is having some quiet time to write, whether it’s at a hotel desk or in a dressing room between shows. I’m really proud of a book I wrote while touring with another show, Braving the Bronx River, which is out now. And these days what I’m most excited about is my new solo holiday play, since I’ve recently acquired the dramatic adaptation rights to the New York Times bestseller, The Santa Claus Man. It’s the inspiring true story of real letters children sent to Santa in 1913, and you can follow along at DanielRobertSullivan.org.

JHPENTERTAINMENT: What do you hope audiences take with them after seeing this particular production of The Sound of Music?

DANIEL ROBERT SULLIVAN: I hope they leave remembering that standing up for what’s right is something ordinary people do, sometimes armed with nothing but a song. The von Trapps were a regular family who refused to look away when it would have been so much easier to go along. (And to any young performer out there who dreams of doing this, I’ve been touring for about twenty years and I still learn something every single night, so keep at it!)

As Kevin Earley, Kate Loprest, Laura Stracko and Daniel Robert Sullivan illustrate in this Rapid Fire 20Q, there are always new layers to discover in a familiar story — whether it is a father finding his way back to his children, a woman whose motivations deserve a closer look, a housekeeper who quietly holds a family together, or a villain whose certainty reveals the danger of unquestioning allegiance. The national tour of The Sound of Music plays TPAC’s Jackson Hall in Nashville October 13–18, 2026. Performance schedule is as follows: Tuesday, October 13 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.

Rapid Fire 20Q with Director and Cast of The Keeton’s ‘The Curious Savage’: Normalcy is Overrated

October 9, 2026 by Jonathan Pinkerton

As The Keeton Theatre brings John Patrick‘s beloved comedy The Curious Savage to the stage October 9-25, audiences are invited to explore the fine line between eccentricity and conformity, the complicated nature of family, and the question of what truly makes a person “normal.” For this JHPENTERTAINMENT Rapid Fire 20Q, we caught up with director Michael Welch and cast members Christina Shandor, Rick Heiman, and Kathleen McClanahan to discuss the characters they’re bringing to life, the discoveries they’ve made throughout the rehearsal process, and the themes that make this classic comedy as enjoyable today as when it debuted on Broadway back in 1950.

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

RAPID FIRE WITH THE CURIOUS SAVAGE DIRECTOR,MICHAEL WELCH

JHPENTERTAINMENT: What was it about John Patrick’s The Curious Savage that made you want to take on the challenge of directing this particular play?

MICHAEL WELCH: The timelessness of The Curious Savage drew me to the play. Its questions about mental health and what we consider “normal” still resonate today. The challenge is portraying the residents of The Cloisters not simply for laughs, but with heart, dignity, and sincerity. Ironically, the powerful Savage family often displays more troubling behavior than the people they consider abnormal. That contrast is what makes the play both funny and thought-provoking.

JHPENTERTAINMENT: In keeping with the sanatorium locale of The Curious Savage, let’s delve deeper, is there a some sort of Freudian connection between you and the career of Lillian Gish, one of the Grande Dames of the American Theatre? After all, your directorial debut was a 2023 production of Arsenic and Old Lace (Gish starred in the 1969 teleplay) and now you’re directing The Keeton’s The Curious Savage (Gish starred as widowed matriarch Ethel P. Savage in the Broadway debut in 1950). Coincidence…I think not! Ok, I’m kidding and only wanted to point out that connection between the two shows you’ve directed because that’s how my pop culture brain works…But seriously…For The Keeton’s production, local favorite Ann Street-Kavanagh stars as Ethel P. How has it been working with Ann on this particular project?

MICHAEL WELCH: That connection is provocative indeed. The only play that I have acted in twice is Harvey, which is set mainly in a sanitarium. Maybe I just have a sanitarium specialty. Ann has been a treasure to work with on this production. She is a consummate professional and strives to bring sincerity and strength to this role. Mrs. Savage is a tricky part that is in good hands with Ann.

JHPENTERTAINMENT: There’s a fascinating balance in The Curious Savage between broad comedy and some surprisingly poignant observations about family, money, happiness and what society considers “normal.” How have you approached finding that balance in this production?

MICHAEL WELCH: I’ve approached it by asking the actors to always play the truth of the characters. We don’t try to make the residents of The Cloisters funny—the humor comes naturally from the situations and their personalities. When those characters are treated with sincerity and dignity, the more poignant moments about family, money, happiness, and what we consider “normal” have much greater impact.

JHPENTERTAINMENT: Every director has a moment during rehearsals when something unexpectedly clicks and you realize, “Now we have it.” Was there a particular moment during this production when you felt the show really started coming together…OR…are you still finding your footing as tech week commences and opening night approaches?

MICHAEL WELCH: I found myself laughing at new moments during last night’s tech rehearsal. There was a “We have it” moment in Act 2 where everything was flowing just right. I told the cast and crew so during notes. We just have to maintain that energy throughout the run.

JHPENTERTAINMENT: Without giving anything away, what do you hope audiences will be thinking about—or perhaps seeing a little differently—when they walk out of The Keeton after experiencing The Curious Savage?

MICHAEL WELCH: As they leave The Keeton, I would love for the audience to be thinking about how there are more important things in this world than money. Money makes the world go round. However, it’s the people that we share it with that makes life truly worth living.

RAPID FIRE WITH CHRISTINA SHANDOR, THE CURIOUS SAVAGE‘s FAIRY MAY,

JHPENTERTAINMENT: Fairy May is certainly not short on personality. What was your first impression of her, and what have you discovered about her as you’ve gotten deeper into the role?

CHRISTINA SHANDOR: My first impression of Fairy was that she is the comedic role and really I feel brings some of the light hearted humor to the show! As I got deeper I also learned she is also someone who just is very optimistic even if it means being a pathological liar. She wants to see the joy and good in everything even when it’s not and will lie to make it seem like it is!

JHPENTERTAINMENT: Fairy May has some wonderfully colorful moments in the play. Is there a particular aspect of her personality that you’ve found especially fun to explore?

CHRISTINA SHANDOR: I loved exploring more of those raw human moments she has! Where she lets reality slip in more and you see her push it away before it can reach her out of fear. I found those more challenging and fun!

JHPENTERTAINMENT: The Cloisters is filled with characters who each have their own version of reality. How would you describe Fairy May’s place within this unusual little community?

CHRISTINA SHANDOR: I think she is the joy and sunshine of The Cloisters. She brings everyone together in being what would be seen as the loveliness and good.

JHPENTERTAINMENT: There are plenty of opportunities for comedy in this role, but what do you think audiences should understand about Fairy May beneath the humor?

CHRISTINA SHANDOR: She is super empathetic and scared. Fairy I think is someone who doesn’t want to see the hate and anger of the world so she chooses to always have a smile and lie so she can feel safe knowing that her way of seeing things is what’s familiar.

JHPENTERTAINMENT: What’s one idiosyncrasy in your own real life personality that, if misconstrued, might get you a one way ticket to The Cloisers?

CHRISTINA SHANDOR: I, like Fairy May, choose to always try and be super optimistic and pretend everything is fine even when things are going horribly wrong.

RAPID FIRE WITH RICK HEIMAN, THE CURIOUS SAVAGE‘s SAMUEL SAVAGE

JHPENTERTAINMENT: Samuel Savage has a very particular relationship to the events unfolding in The Curious Savage. What was the biggest challenge for you in figuring out exactly who Samuel is?

RICK HEIMAN: I had Samuel figured out pretty quick. My biggest challenge has been accustomed to the entire process since this is my first speaking part and first time on a stage. I watched my youngest son involved in theater through high-school and college and was always interested. After retiring from a 27 year career in law enforcement I decided it was time to give this a try. I’ve done several parts for TV and film as a background extra. I think the law enforcement has given me a great experience to pull from and use as an actor.

JHPENTERTAINMENT: What do you think motivates Samuel most strongly throughout the play, and has your understanding of that motivation changed as rehearsals progressed?

RICK HEIMAN: Samuel is driven by greed but I also believe he is a middle child who loves to instigate his siblings, especially Lilly Bell.

JHPENTERTAINMENT: There are moments when the characters in this play have very different ideas about what is right, what is fair and what constitutes happiness. Quite interesting considering Samuel Savage is a Judge. Where do you think Samuel stands on those questions?

RICK HEIMAN: Samuel has a very spotted history as a judge and has had a lot of his decisions reversed by other courts so he has twisted values and is highly driven by his greed.

JHPENTERTAINMENT: Samuel interacts with some wonderfully eccentric personalities throughout the play. Which relationship has been the most interesting for you to develop as an actor?

RICK HEIMAN: I’d have to say there are two, him being Mrs. Savage’s favorite stepchild and the way he loves to antagonize his sister.

JHPENTERTAINMENT: Samuel’s selfishness seems primarily motivated by the money his stepmother has hidden away. If you suddenly came into half a million, where would you hide it?

RICK HEIMAN: I’d pay off my mortgage and find another modest home far out of the city and 20 to 30 acres to use as a getaway. Maybe a nice European vacation would be thrown in and take my parents on another cruise. And of course help out close family members who might need a little help.

RAPID FIRE WITH KATHLEEN MCCLANAHAN, THE CURIOUS SAVAGES‘s MISS WILLIE

JHPENTERTAINMENT: Miss Willie is one of the many wonderfully unconventional personalities who make up The Cloisters. How would you describe her to someone who has never met her?

KATHLEEN MCCLANAHAN: Miss Willie is an incredibly kind young woman with fierce loyalties towards those she cares about.

JHPENTERTAINMENT: What is the most enjoyable part of stepping into Miss Willie’s particular way of seeing the world?

KATHLEEN MCCLANAHAN: Miss Willie sees the good in people (even all the quirky Cloisters residents) but knows where to draw the line. Seeing the kindness crack when the mess hits the fan is my favorite part of stepping into this character.

JHPENTERTAINMENT: While many of the characters in The Curious Savage find themselves at The Cloister’s, Miss Willie is there by choice, as a nurse wanting to keep an eye on her war pilot husband who lost his memory. Is this act purely selfless?

KATHLEEN MCCLANAHAN: I think Miss Willie is in the same shoes as many caretakers – conflicted with devotion and duty. There’s definitely love and selflessness there, but it comes with the hard edge of necessity and at least a hint of obligation.

JHPENTERTAINMENT: The play uses humor to explore some pretty serious ideas about individuality, acceptance and happiness. How do you see those themes reflected through Miss Willie?

KATHLEEN MCCLANAHAN: Miss Willie is living a life that’s quite different than what she had planned and it’s not entirely clear if she’s content with it or just good at putting on a brave face. The Cloisters residents may have fully accepted their version of reality, but I don’t know that any of the other characters, including Miss Willie, achieve this level of acceptance. I don’t know if it’s even truly possible – which is perhaps exactly what this play is meant to explore.

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

KATHLEEN MCCLANAHAN: As Mrs. Savage says, I hope they remember that position doesn’t mean privilege and manners don’t mean morals. We may be surrounded by a lot of noise from famous and prominent people, but the good people closer to home are the ones who make life worth living.

With its colorful characters and sharp observations about the difference between social respectability and genuine humanity, The Keeton Theatre’s The Curious Savage offers audiences plenty to laugh about—and perhaps even plenty to think about long after the curtain falls. As Michael Welch, Christina Shandor, Rick Heiman, and Kathleen McClanahan reveal, beneath the play’s wonderfully eccentric exterior lies a story about compassion, loyalty, imagination, and the things that matter far more than money. And perhaps that is the most curious—and enduring—thing about John Patrick’s classic comedy.

The Keeton‘s The Curious Savage opens Friday, October 9 and runs through Sunday, October 25. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.

Theatre Review: Nashville Rep’s ‘John Proctor is the Villain’ Flips the Script on ‘The Crucible’ with a Vibrant, Thought-Provoking & Impressive Youthful Eye

October 9, 2026 by Jonathan Pinkerton

If you join us here on JHPEntertainment.com with any regularity, you likely know, after two decades of covering area theatre and a lifetime of loving it, I truly enjoy getting the opportunity to see something new. Having debuted on Broadway just last year, playwright Kimberly Belflower’s John Proctor is the Villain fits the bill. For its Tennessee premiere—on stage at TPAC’s Johnson Theatre thru October 18— Nashville Repertory Theatre wisely places Lauren Shouse at the helm. Shouse’s beautifully staged production of the acclaimed play proves that sometimes the most important thing young people can do is question the stories they’ve been told.

If the name in the title seems familiar, there’s good reason. He’s the perceived tragic hero of Arthur Miller’s The Crucible. There is something wonderfully audacious about taking one of the most frequently assigned American plays in the high-school curriculum and essentially telling an audience, Wait a minute…what if we’ve been looking at this all wrong? That is precisely what playwright Kimberly Belflower does with John Proctor Is the Villain, and Nashville Repertory Theatre’s new production embraces that challenge with intelligence, humor and a remarkable amount of heart.

Rather than attempting to retell Arthur Miller’s The Crucible, Belflower uses it as a jumping-off point for a much larger conversation about the stories we inherit, the people we label heroes and villains, and what happens when a younger generation starts asking questions that previous generations may have been too comfortable not asking. And in the hands of this terrific company, those questions become anything but academic.

Taking place in 2018 and set inside a rural Appalachian Georgia high-school classroom in a one-stoplight town (they’re getting another one), John Proctor Is the Villain follows a group of teenagers whose discussions of Miller’s classic begin to collide with their own increasingly complicated understanding of feminism, relationships, power, reputation, consent (yes, it takes place right smack in the middle of the #MeToo movement) and what it means to actually listen to someone else’s experience. It is indeed serious subject matter.

Fortunately, Belflower knows that teenagers don’t spend their lives speaking in serious declarations about serious subjects. They joke.They gossip. They interrupt each other. They misunderstand each other. They fall in and out of alliances. They say something hilariously inappropriate at exactly the wrong moment. And sometimes, almost accidentally, they say something extraordinarily profound. That balance between humor and emotional weight is one of the greatest strengths of Belflower’s writing—and Shouse’s production understands it beautifully. One can only assume Shouse’s “day job” as an Associate Professor of Theatre Directing at nearby MTSU might have aided her direction.

There is a natural rhythm to this staging that allows the comedy to land without ever diminishing the more difficult material. Just when you think you’re settling comfortably into a funny classroom exchange, the conversation shifts and suddenly you’re thinking about what you’ve just heard. Simply put, that is good theater. And John Proctor Is the Villain is very good theater. Shouse proves particularly adept at working with this predominantly young ensemble. There is no sense that she is directing young actors to act like teenagers. Instead, she gives them the freedom to create recognizable young people with individual personalities, insecurities, contradictions and senses of humor. The result is an ensemble that feels genuinely connected.

Norah Younger’s Shelby Holcomb might not be in the opening scene, but once onstage, immediately commands attention. Younger gives Shelby an appealing intelligence and quickness, but wisely show restraint and uncertainty. There is something more complicated happening underneath Shelby’s rapid-fire observations, and Younger gradually reveals those layers with an impressive combination of confidence and vulnerability.

Advika Ravishankar’s Raelynn Nix is equally compelling. Ravishankar finds the humanity in a character who has spent much of her young life navigating expectations—expectations about who she should be, how she should behave and what her relationships should look like. Watching those assumptions begin to crack is one of the production’s more affecting journeys, and Ravishankar handles that evolution with considerable sensitivity. One of my personal favorite Raelynn moments comes early on in the play when she fires off a rapid succession monologue of exposition to catch up Nell, the newest student, she ends the fast-paced info dump with “and that’s what you missed on Glee”—taking a cue from the intro phrase from the iconic teen-driven TV series that always started each episode.

Aubrey Bagley’s Beth Powell is perfection as the eager to please brainiac of the group who strives for acceptance. She’s the every-girl we all knew and were friends with in high school. Brityn Ramsey’s Nell Shaw, the newest addition to the classroom, having relocated from the more metropolitan Atlanta area, is the cool girl who isn’t afraid to follow whatever is said with an oh-so-biting retort or a not-so-subtle eye roll. Ella Saliba’s Ivy Watkins, who finds herself at the center of one of the many subplots offers up a quieter, unassuming version of the typical well-to-do school girl who could easily be stereotyped as a mean girl, but absolutely isn’t.

At no point do these actors seem like they’re standing around waiting for their next line. They are listening, reacting, judging, supporting, teasing and occasionally steamrolling over one another in ways that make the classroom feel genuinely inhabited. There is a terrific sense of rhythm to the dialogue as presented by the playwright and as brought to life among the performers.

And then there are the adults of the piece Lucas Calhoun as Mr. Carter Smith and McKenna Steel as Ms Bailey. Lucas Calhoun’s Carter Smith, who finds just the right balance in the production’s adult male presence. As the English teacher and faculty advisor to the girls’ newly formed feminism club, Carter occupies an interesting position within the story. Calhoun doesn’t make him a conveniently enlightened adult who always knows exactly what to say. Instead, there is a humanity to his performance that allows Carter to listen, learn and occasionally realize that the most useful thing he can do is get out of the way. That makes Calhoun’s performance considerably more interesting—and considerably more believable. Calhoun’s Mr. Smith is the teacher we all remember from high school. Just a little older than the students, good looking, interested, but not hovering…again reference Glee, think Matthew Morrison as Mr. Will Schuester. McKenna Steel’s Ms Bailey Gallagher, the schools guidance counselor who many of the girls know from when she was a student herself, brings a welcome grounding presence. The girls relate to Steel’s Ms Bailey because she sees herself in them and they in her. When one of the girls unexpected blows up at Ms Bailey, it’s a tense moment that quickly quiets because of the familiarity of their shared experiences as women in a small rural community.

Rounding out the cast and reppin’ the boys, Lorenzo Rivera’s Mason Adams and Brent Bentley’s Lee Turner provide some of the production’s lighter moments without ever allowing their characters to become broad caricatures. In the hands of less skilled young actors, both roles could easily be stereotypes…Mason the jokester, Lee the cocksure jock, but as played by Rivera and Bentley, they reveal layers of uncertainty, self-doubt and eventual understanding, not only of themselves but of their female counterparts. Don’t get it twisted though, this play is about the young women. That said, it is an impressive company from top to bottom.

The chemistry among Younger, Ravishankar and their fellow cast members is one of the production’s greatest assets. There’s never a moment in the action that the audience has to be convinced that we’re not privy to a group of high school girls expanding upon the drama that is being a teenager in the modern era.

These characters have to feel like people who have known one another for years. They need to possess the casual shorthand of friendship—the glances, interruptions, private jokes and tiny frustrations that tell us there is a history between them even when the script isn’t explicitly telling us about it.

A lot of the success also comes from the physical world they’ve been given to inhabit. Scenic Designer Gary C. Hoff creates a classroom that feels immediately recognizable without becoming overly fussy or distracting. It is an environment that feels lived in, and because the entire play unfolds within this world, that authenticity becomes an important part of the storytelling. I frequently say I could live on one of Hoff’s sets and while I have no desire to return to the classroom, Hoff’s classroom is warm, inviting, and memory-unlocking. Minute details like an authentic intercom speaker box we all remember those morning announcement booming from, portraits of literary greats Wilde, Poe, Austen and the like lining the wall above the chalkboard all come together seamlessly to create a believable environment. Oh, and those fall leaves among the smooth rocks lining the path just outside the non-existent school wall nearest the front-facing audience. Nice touch!

The Johnson Theater’s intimacy works especially well here. Rather than placing the audience at a comfortable distance from the action, the space makes us feel almost like another group of observers inside the classroom. We’re close enough to catch the reactions, the shifts in body language and the moments when someone realizes that a conversation has suddenly become much more personal than expected. That closeness is invaluable.

Lighting Designer Amber Whatley complements the staging with a design that subtly tracks the emotional shifts without calling attention to itself. The lighting becomes increasingly expressive as the world of the characters begins to change, helping Shouse transition between the playful, familiar atmosphere of a classroom and the more emotionally charged territory the play eventually explores. Without giving too much away, that Lorde-enhancing pivotal “Green Light” sequence…cinematic indeed!

Melissa K. Durmon’s Costume, Hair & Makeup Design is equally effective. The characters look like contemporary teenagers rather than actors dressed to announce that they’re playing contemporary teenagers. Each individual has a distinct personality reflected in their appearance, while the ensemble still feels like a believable collection of students from the same community. From Mr. Carter’s teacheresque khaki pants to Mason’s plethora of sarcastically phrased t-shirts the wardrobe details do not go unnoticed.

That authenticity extends to the smallest details. And those details matter. From Lee’s fidget spinner to Beth’s stress stuffy. From the way Beth carefully places her books and binders in a mannerly fashion to Raelynn casually tossing her backpack on the floor. Each movement, carefully curated to reveal more about these characters.

Because Belflower’s play is ultimately about authenticity. It’s about the difference between the story we’ve been handed and the story we experience ourselves. It’s about the danger of accepting a narrative simply because it has become familiar. It’s about the uncomfortable realization that the people we have been taught to admire may not always deserve our admiration—and that people we’ve been taught to dismiss may have considerably more to say than we ever bothered to hear.

That is a particularly potent idea to place in the hands of young characters. And Belflower never underestimates them. That’s perhaps what makes John Proctor Is the Villain so refreshing. The adults aren’t automatically right. The teenagers aren’t automatically right, either. Nobody gets to walk away with the moral high ground simply because they have the best argument in the room. Instead, the play asks everyone—including the audience—to listen.

Belflower’s writing is smart enough to leave room for disagreement, while Shouse’s direction keeps that disagreement rooted in character rather than turning the production into a lecture. And that’s an important distinction. This isn’t a play telling an audience what to think. It’s a play encouraging an audience to think. By the time the production reaches its most emotionally resonant moments, the title John Proctor Is the Villain has become more than a provocative punchline. It has become a question about the very nature of heroes and villains—and about how easily those labels can be assigned when we only hear one version of a story. That is where Nashville Rep’s production really hits its stride. What begins as a clever reexamination of The Crucible gradually becomes something much more personal. Because eventually, the question isn’t really about John Proctor. It’s about us. What stories have we accepted without questioning? Whose version did we automatically believe? Who taught us what a hero was supposed to look like? And what happens when someone finally has the courage to say, Maybe that’s not the whole story.

Nashville Repertory Theatre has assembled a production that understands the power of those questions without becoming weighed down by them. Shouse keeps the pace energetic, the young cast keeps the world vibrant and Belflower’s script provides plenty of humor along the way. That combination makes John Proctor Is the Villain not only an important piece of contemporary theater, but an entertaining one. And perhaps that’s the biggest surprise. You come expecting a play about The Crucible. You leave thinking about the stories you’ve been carrying around your entire life. That’s the kind of theatrical alchemy Nashville Rep does exceptionally well.

With Lauren Shouse’s assured direction, Kimberly Belflower’s incisive script, Gary C. Hoff’s authentic scenic design, Amber Whatley’s evocative lighting, Melissa K. Durmon’s finely detailed costumes, hair and makeup, and an exceptionally committed ensemble led by Norah Younger, Advika Ravishankar and Lucas Calhoun, Nashville Repertory Theatre’s John Proctor Is the Villain is a production that earns both its laughs and its more difficult conversations. It doesn’t ask audiences to forget The Crucible. It asks us to look at it again. And perhaps more importantly, it reminds us that sometimes the most important lesson in the classroom is learning that you don’t have to accept the lesson exactly as it was given to you. Smart, funny, provocative and deeply human—Nashville Rep’s John Proctor Is the Villain is contemporary theater at its most engaging, giving a talented young ensemble a story that trusts them to question everything, including the stories we thought we already knew.

Nashville Repertory Theatre‘s John Proctor is the Villain continues at TPAC’s Johnson Theatre (505 Deaderick Street, Nashville, TN 37243) with performances weekends through Sunday, October 18. Thursday thru Saturday evening performances are at 7:30pm. Saturday and Sunday matinees begin at 2pm. Tickets range in price from $45.53-$89.23 (including fees). CLICK HERE to purchase tickets.

Following John Proctor is the Villain, Nash Rep presents Disney‘s Frozen starring Rachel Potter as Elsa and Aleia Eagleton as Anna, with Lane Adam Williamson as Hans, Colin Carswell as Kristoff, Reagan Allen as Olaf and Connor Adair as Sven. Frozen will be presented in TPAC’s Polk Theatre from December 4-20. CLICK HERE to purchase tickets or for more information. As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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