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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q: Behind the cardigan and kindness, Tennessee Theater Fellowship’s ‘I’m Proud of You’ cast and director examine one of Mister Rogers’ most unexpected friendships; onstage at Studio 615 August 20-23

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There are few people whose name has become synonymous with kindness quite like Fred Rogers of Mister Rogers’ Neighborhood fame. Tennessee Theater Fellowship’s upcoming August 20-23 presentation of the play, I’m Proud of You isn’t simply a trip down memory lane to that beloved PBS neighborhood. Based on journalist Tim Madigan’s deeply personal memoir and his unexpected friendship with Fred Rogers, the play explores what happens when one hurting person is truly seen, heard and accepted by another.

For this edition of Rapid Fire 20Q, we go behind the scenes with Matthew Carlton, who steps into the iconic cardigan as Fred Rogers; Sawyer Latham, who portrays journalist Tim Madigan; Kay Ayers, who takes on Joanne Rogers, Tim’s editor and other roles; and director Melanie Sutton, Managing Artistic Director of TTF. Together, they share their personal memories of Mister Rogers’ Neighborhood, what they discovered about the people behind the story, the unexpected friendships that have shaped their own lives, and why Fred Rogers’ message may be more important today than ever.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF TTF’s I’M PROUD OF YOU

RAPID FIRE WITH I’M PROUD OF YOU CAST MEMBER MATTHEW CARLTON

JHPENTERTAINMENT: Fred Rogers is one of the most beloved public figures in American history. While this play is more about embodying his essence rather than impersonation, how do you portray someone so universally recognized without relying on imitation?

MATTHEW CARLTON: For me, technically, it’s a matter of voice placement and cadence. He had a very recognizable, careful, way of speaking. The goal is to give enough so that the audience can relate my portrayal to the Mr. Rogers they know without going so far as bad mimicry or caricature. Mr Rogers was about personal connection and that is what I want to achieve in this role.

JHPENTERTAINMENT: What have you discovered about the man behind Mister Rogers’ Neighborhood that surprised you most during your preparation for this role?

MATTHEW CARLTON: That he was exactly as he appeared to be on his show; empathetic, caring, kind; no matter the circumstances

JHPENTERTAINMENT: What are your earliest memories of being aware of Mister Rogers’ Neighborhood, and do those memories resonate differently now that you’re slipping on Fred’s trademark cardigan and lace-up canvas Sperry’s?

MATTHEW CARLTON: I was already in elementary school when Fred hit the PBS air and was a long time follower of Captain Kangaroo. I think I thought Mister Rogers’ Neighborhood was for very young kids but oddly enough , I started tuning it in a few years later. I guess his manner was calming amid the struggles I was going through at that time. Learning more about him while preparing for the role just reinforced what I knew and felt about the man who has always been my ideal and hero.

JHPENTERTAINMENT: Fred Rogers had an extraordinary ability to make every person feel seen and valued. Has there been someone in your own life who offered that same kind of kindness or mentorship?

MATTHEW CARLTON: I had a teacher in the 5th grade who supported my creative writing and actually got my St Patrick’s Day poem published in the state teachers’ quarterly. I happened to drop by her classroom 10 years later, and she had that poem displayed on a large easel as she had done every March.

JHPENTERTAINMENT: More than twenty years after his passing, why do you think Fred Rogers’ message of compassion, empathy and simple human connection remains just as relevant—perhaps even more so—today?

MATTHEW CARLTON: Because those who truly embody and live by those precious qualities are rare. We revere our saints but we also need to be reminded that the capacity for good is there for all of us, if we choose to create and live in Fred’s neighborhood.

RAPID FIRE WITH I’M PROUD OF YOU CAST MEMBER SAWYER LATHAM

JHPENTERTAINMENT: Tim Madigan begins this story as a journalist expecting an interview, only to find himself in a friendship that changes his life. What drew you to his emotional journey?

SAWYER LATHAM: I see a lot of myself in Tim. I myself struggle with depression and a plethora of other ‘inner furies’ as Fred describes. So it wasn’t hard at all for me to find this character because I understand him so deeply.

JHPENTERTAINMENT: Much of this play lives in quiet conversations. As an actor, what has been the challenge—and the reward—of telling such an intimate story?

SAWYER LATHAM: I’ll be honest, the biggest challenge I’ve faced is remembering to speak at a volume that the audience can hear, Matthew Carlton does such a phenomenal job as Fred Rodgers that it even convinces me and I forget that I’m in a show.

JHPENTERTAINMENT: Tim’s friendship with Fred Rogers develops in a way neither of them could have anticipated. Have you ever experienced an unexpected friendship that had a lasting impact on your own life?

SAWYER LATHAM: I’ve been lucky enough to experience many of these friendships, I pride myself on trying to be friends with everyone I meet. It’s a bit of a non-answer but I believe they have all had a lasting impact on me, you take a bit of everyone you know with you whether you realize it or not.

JHPENTERTAINMENT: As you’ve explored Tim’s struggles with family, vulnerability and healing, has any part of his story caused you to reflect differently on your own relationships?

SAWYER LATHAM: I think mostly it’s caused a reflection on my relationship with myself. It’s a nice reminder that I’m not alone in the struggle with mental health and to give myself more grace.

JHPENTERTAINMENT: If audiences leave talking about one thing after watching Tim’s journey unfold, what do you hope that conversation is?

SAWYER LATHAM: To be known is to be loved, and vice versa.

RAPID FIRE WITH I’M PROUD OF YOU CAST MEMBER KAY AYERS

JHPENTERTAINMENT: You’re bringing several very different women to life in this production. How do you approach creating distinct personalities while keeping the storytelling seamless?

KAY AYERS: This is what most actors love to do…character work! We don’t get much time on stage to bring a role to life, so I always start with originality and purpose. Who is this person(s) in the life of the story and how do we keep them separate and distinct? Movement, expressions, voice, and body stature are the foundation for each of them. And they have to be believable, so any little nuances help support that effort.

JHPENTERTAINMENT: Among your primary roles is Joanne Rogers, who by all accounts was every bit as warm, witty and insightful as those who knew her describe. What have you enjoyed most about discovering who she was beyond being Fred Rogers’ wife?

KAY AYERS: What a talented individual in her own right. She was an incredible concert pianist! Of course, you know the way I work…I did my research on Joanne. There is a beautiful clip of her playing the piano for the show. It was a moment in time that Fred wanted to share on the show with his “neighbors”. Joanne was stunning! It was beautiful to see how loving Fred was with her. They truly were two individuals who appreciated each other’s talents and abilities.

JHPENTERTAINMENT: Like so many people, you probably grew up knowing Fred Rogers from television. Any memories of Mister Rogers’ Neighborhood, and has revisiting his world for this production changed your perspective?

KAY AYERS: I most certainly grew up watching his show! As many will discover when you see this play…Fred was just Fred. What you saw on television was exactly like he was in real life. His humanity came through the television set at a time when programs were learning how to produce a show. He had a purpose, the educational background, and the desire to make this world a better place.

JHPENTERTAINMENT: This play reminds us that unexpected friendships often arrive when we need them most. Has someone ever come into your life unexpectedly and left a lasting mark on your heart?

KAY AYERS: This is such a hard question, but one person who immediately comes to mind is someone from my youth. I was a precocious, outspoken, and fiercely independent kid, and one educator made a lasting impact. Mr. Zateau was the principal of my grade school and junior high. At a school dance, he walked over and asked me to dance. It’s the kind of thing that probably wouldn’t happen today, but at the time it was such a thoughtful gesture. We spent a few songs waltzing and doing the jitterbug, laughing, and having a wonderful time. He knew how much I loved to dance, and he also knew that most of the boys were never going to ask me. More importantly, he saw me for who I was. He recognized the potential in a young girl who was often misunderstood and didn’t always fit neatly into expectations. I admired him greatly, how seen he made me feel, and he took the time to understand me when others didn’t. That simple act of kindness left a mark on my heart that I’ve never forgotten.

JHPENTERTAINMENT: Among your other roles, you also portray Tim’s editor and others. What’s been your favorite aspect of portraying such diverse roles in one show?

KAY AYERS: There is one character who sticks with me, and you’ll see why at the end of the show. His editor was instrumental in getting the Fred Rogers story going. Even though there was little to be found in my research, I was able to discover a few key elements from Tim’s book. A great read, by the way. Because he’s done such an amazing job telling his story, we have the foundation for some of these characters. So, I’d have to say…doing research on real people is very rewarding! Then, as an actor we get to bring ourselves to round out our version. It’s so much fun…

RAPID FIRE WITH I’M PROUD OF YOU DIRECTOR MELANIE SUTTON

JHPENTERTAINMENT: Of all the stories you could have brought to Tennessee Theater Fellowship, why was I’m Proud of You the one you felt audiences needed to experience right now?

MELANIE SUTTON: As soon as I read this, I felt precisely what you described… audiences need to experience this. This show is a very true and real account of what it’s like for a broken and hurting human – which we all are at some level– to be seen and fully known and loved compassionately by a person like Fred Rogers. It’s who he was. It’s who we all should strive to be in our circles of influence. And I think society truly needs a reminder today of what it is to deeply value other humans– to interact with each and every one in the ways Fred interacted with Tim and the other characters in this play. How life-changing that can be in changing the course of someone’s future.

JHPENTERTAINMENT: As you’ve prepared this production, an updated version of the script, I might add, you’ve been in touch with playwrights Tim Madigan and Harry Parker. What has that collaboration meant to you personally, and how has it influenced your vision for bringing this deeply personal story to the stage?

MELANIE SUTTON: Yeah, it’s been wonderful getting the added bonus of collaborating on the presentation of a relatively new work (the original version was first seen in 2023 and has only been seen 5 times professionally nationwide so far) and bringing yet another regional premiere to Nashville. It’s so fun for audiences here to get a chance to see pieces they haven’t seen before anywhere else. But even more than that, we are the very first company to present a fully revamped version of the script and I think Tim and Harry did a great job in coming up with a new edit with lots of new scene work that truly enhances the experience for the audience. And I was honored to be let into that writing and editing process a little bit. Very cool! In a recent zoom together, hearing Tim talk about his own vision for how his memoir became a play really brought some things into focus for TTF’s version. He discussed the desire for this show to be very universal. It’s not meant to feel like a “biography” of Tim and Fred and their families. It’s everyone’s family. Tim is all of us as we are, and Fred is all of us as we strive to be – our “better angels” if you will. He said he hardly sees it as himself anymore and that was really enlightening.

JHPENTERTAINMENT: Fred Rogers often shared his mother’s timeless advice: “Look for the helpers. You will always find people who are helping.” Your production is being brought to life by an all-female behind-the-scene team. How have these women embodied that spirit of “the helpers” throughout the rehearsal process?

MELANIE SUTTON: Why thank you for noticing that! Yes, lighting, wardrobe, stage management, directing… all of it is female-led. And each of them are women I have worked with before. I am a big champion of women getting the credit and leadership opportunities they so deserve in this- and every- career. I love working with young women, too, just starting out in their professional careers, and getting to mentor and encourage and cheer them on. The women I have worked with in the theatre in this town are tremendously talented and excellent leaders. And the ones I have chosen to surround myself with are also gracious, kind, supportive, and understand the vision I have for the kind of company we are creating here. No egos. No drama offstage. No cat-fighting. Kindness, trust, collaboration, and good energy. These women – and others I’ve worked with in the last several years- truly bring that to TTF and to me personally, and I could not do it without them.

JHPENTERTAINMENT: This cast is made up of some of great talent. Was there a moment during the process were you like, “Yes, this is the exact cast this show deserves?”

MELANIE SUTTON: Callbacks. Holy cow! Let me just say that I had some really, really terrific people in that room and a couple of other excellent choices I was virtually auditioning from New York and summer stock gigs. And yet… when Sawyer and Matt Carlton read scenes there was just a spirit in the room… you leaned in. Like a child in their living room, hanging on Fred Rogers’ every word. It was genuine, and I was so moved by each of them. And that absolutely continues now that we’ve put all the pieces together- all 5 actors- and we are up and moving in the rehearsal space. It’s such a lovely team with tremendous talent, and at all different places in their career journeys. We are all learning from each other.

JHPENTERTAINMENT: Finally, after audiences experience TTF’s production of I’m Proud of You, what do you hope they carry with them—not only on the drive home, but in the days, weeks and perhaps even years that follow?

MELANIE SUTTON: Great question. And that’s the question we always ask at our talkbacks. This show is full of messages and nuggets of wisdom directly from Fred Rogers, so there’s always that. Like I truly think you’re gonna want a notepad with you to write stuff down as you watch 🙂 But on top of that, more than that, I want people to hear: No matter what you’re going through, no matter what you feel inside, no matter your past… You are loved. You are seen. And if you don’t know that, or believe that… if you’re hurting… tell someone. Have the courage to be vulnerable. It’s not weakness, it takes tremendous strength. Tim does that in this story because Fred creates an environment where he feels safe to do so, and it changes his life. And his family’s lives. So yeah, I want people to watch this and find the courage to be a “Tim” when you need to be… and also a “Fred” when someone else needs you to be.

Tennessee Theater Fellowship presents I’m Proud of You August 20–23 at Studio 615, 272 Broadmoor Drive, Nashville, TN 37207. Performances are Thursday through Saturday at 7 p.m., with Saturday and Sunday matinees at 2 p.m. Tickets are $49.02, including fees, with TTF also offering “pay what you can” seats at every performance. The suggested rate for those seats is $20, but any amount is accepted. As TTF puts it, the goal is to keep live theatre accessible to everyone while inviting patrons who are able to help support those seats. CLICK HERE for tickets.

In a world that could always use a little more kindness, I’m Proud of You arrives with a simple but powerful reminder: sometimes changing someone’s life doesn’t require grand gestures. Sometimes it begins with listening. Sometimes it begins with friendship. And sometimes, it begins with simply letting someone know, “I’m proud of you.”

So come to the Neighborhood. Bring a friend. And, as Melanie Sutton suggests, maybe bring a notepad, too—you just might leave with a few Fred Rogers words worth carrying with you. To keep up with what’s next for TTF, CLICK HERE or follow them on Facebook and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JASON SCOTT: Safe, Emotional, FUN

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

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

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

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

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

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

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

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

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

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

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

JUSTIN TINKER: how important community is.

RAPID FIRE WITH COME FROM AWAY DIRECTOR SUSAN WALSWORTH

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CLICK HERE for tickets. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

Rapid Fire 20Q: Secrets, Suspects & Surprises Await in Agatha Christie’s ‘The Unexpected Guest’ on Stage at Playhouse 615

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A dark and stormy night. A mysterious stranger. A shocking discovery. A house full of secrets. Sounds like the perfect recipe for an Agatha Christie mystery. Beginning Friday, July 17, Playhouse 615 invites audiences to become detectives as it presents the Grande Dame of suspense’s murderous The Unexpected Guest — a classic whodunnit where every character has a secret, every conversation may contain a clue, and nothing is quite what it first appears.

Before audiences start gathering clues, JHPEntertainment goes behind the scenes for a Rapid Fire 20Q with co-director Craig Hartline and cast members Katie Delaune (Laura Warwick), Emma Reinbold (Miss Bennett) and Kam Smith (Henry Angell) to talk Agatha Christie, theatrical mysteries, suspicious characters and bringing one of the world’s greatest storytellers to the Playhouse 615 stage.

RAPID FIRE 20Q WITH CO-DIRECTOR AND CAST MEMBERS OF AGATHA CHRISTIE’s THE UNEXPECTED GUEST

RAPID FIRE WITH THE UNEXPECTED GUEST CO-DIRECTOR CRAIG HARTLINE

JHPENTERTAINMENT: For more than a century, Agatha Christie‘s novels, movie adaptations and plays have been convincing audiences that everyone is a suspect. Having appeared onstage in a handful of Playhouse 615 productions (as well as numerous theatre companies across the mid-state), what was it about The Unexpected Guest that made you want to step behind the scenes as co-director to bring this particular mystery to life?

CRAIG HARTLINE: I have wanted to direct for a while, but have really never had the opportunity to take on that role.  Ann asked me earlier in the year if I would be interested in directing a show for 615.  When I saw the upcoming shows, I jumped at Agatha Christie.  I have loved her works for years and couldn’t think of a better show to get my feet wet in the directors role. 

 JHPENTERTAINMENT: You’re co-directing this production with Ann Street-Cavanagh. For audiences who have never experienced a co-directing process, how does that actually work? Is it a creative partnership where you divide responsibilities, challenge each other’s ideas, or occasionally have a theatrical version of “I thought YOU were watching that”?

CRAIG HARTLINE: Ann and I have been in several plays together as actors.  We seem to think alike when it comes to what our vision of how action should occur on the stage.  There have been more than a few times either I have leaned and whispered to her or vice a versa about a scene and we were thinking the exact same thing.  As far as a creative working partnership, I am absorbing as much as I can from Ann’s directing talent as possible and she has been very good at asking what I think about all aspects of the process, everything from set design, to costumes, to blocking.  Having two sets of eyes really helps the process, so we don’t miss too much.

JHPENTERTAINMENT: Christie’s mysteries depend on atmosphere, pacing and keeping audiences guessing. In addition to directing the show, I understand you also designed the set alongside cast member Wanderson Rezende. What are some of the biggest challenges — and opportunities — of creating that suspenseful world inside the more intimate space of Playhouse 615?

CRAIG HARTLINE: What can I say about Wanderson and the way his minds eye envisions a show?  It is truly remarkable to watch the wheels turn in his mind.  We bounce ideas off each other and think of subtle ways to pull the audience in. The biggest challenges for me, is to find a way to bring his vision to life with the set construction, along with incredible help from Rich Moses, we have striven to do it justice.  All “black box” theaters have an intimate feel, but we are hoping to grab the audience and pull them along on this journey, by helping to immerse them into the story.

JHPENTERTAINMENT: This cast is bringing characters to life who all have different layers, motivations and secrets. What has impressed you most about watching the cast explore their roles and discover the people behind the mystery?

CRAIG HARTLINE: It has truly been a thrill to watch each of these amazing actors find their characters voices from Agatha Christies written words.  Their subtle facial expressions, the way they envision how their particular character walks, talks, even breaths shows up in every performance.  They are phenomenal actors and it shows up in every rehearsal.  I cannot wait for audiences to see how they bring these people to life from just words on a page. They impress me every night.  The director side of me is amazed at their vision and the actor side wishes I could be on the stage sharing it with them.

JHPENTERTAINMENT: Without giving away the ending and causing Christie fans to come looking for answers… what one key element that makes this production of The Unexpected Guest a mystery audiences will want to experience live?

CRAIG HARTLINE: Goodness, just one key element? For Christie fans seeing the story performed in front of them is always a thrill, but to those who may not know her works, the key element is misdirection.  Just when you think you know “who done it” she laughs and says not so fast, here is the real murderer.  

RAPID FIRE WITH KATIE DELAUNE THE UNEXPECTED GUEST‘s LAURA WARWICK

JHPENTERTAINMENT: Laura Warwick begins The Unexpected Guest surrounded by questions, suspicion and circumstances that immediately make audiences wonder what really happened. What drew you to exploring such a complicated character?

KATIE DELAUNE: Agatha Christie truly wrote Laura as a dynamic character. In someone else’s hands, she could be a one-dimensional gold digger. But Christie knows that humans are multifaceted, and they move differently in their relationships, even within their own families. As an actor, how could you not want to explore that type of role! In the opening scene, I hope the audience sees the complicated emotions she has towards her husband, who has become a shadow of the person she fell in love with. 

JHPENTERTAINMENT: Laura is a character who forces audiences to constantly reevaluate what they think they know. What has been the biggest challenge in finding the balance between vulnerability, strength and mystery in her?

KATIE DELAUNE: I think the biggest challenge is allowing all three of those characteristics to exist. Her strength and vulnerability are quiet and controlled, respectively, and from that a mystery naturally emerges. 

JHPENTERTAINMENT: Agatha Christie’s The Unexpected Guest premiered onstage in 1958, with the action taking place in Wales. I understand while the locale hasn’t changed, for Playhouse 615’s production, the time period has been bumped up to 1982. What’s been the most fun about reliving that era by way of this show?

KATIE DELAUNE: Working on the wardrobe with Zoe (our costume designer) has been so fun. Thank goodness the 80s loved wide wheels, because I can’t balance on stilts anymore. I also bought a set of Velcro hair rollers. Haven’t done that since I was a kid. 

JHPENTERTAINMENT: Important investigative journalism question… Whodunnit? OK, OK…no spoilers, I know…seriously though…Who amongst your cast could get away with just about anything? 

KATIE DELAUNE: Haha! As a former journalist myself, I appreciate trying to wrangle that secret out of me. Linda Spier could get away with just about anything because we (cast and crew) trust her so much. Her experience and advice are invaluable.

JHPENTERTAINMENT: The play opens with a tense scene between your Laura Warwick and Matt Smith’s Michael Starkwedder. Through the course of the action, their relationship rollercoasters between unforeseen allies to suspicious frienemies. As a scene partner, how has working with Matt aided in walking this tightrope?

KATIE DELAUNE: Matt is a great scene partner. I believe we’ve created this fun dance at the beginning of the show. I also really enjoy listening to him talk about his character, as he explores Starkwedder’s motives. It’s helped me shape Laura’s character and has made me a better actor. He gives me space in each scene to try different beats so that we can maintain that tension. I’m so amazed at how he locks into our scene he is in.  

RAPID FIRE WITH EMMA REINBOLD, THE UNEXPECTED GUEST’s MISS BENNETT

JHPENTERTAINMENT: Miss Bennett is part of the Warwick household, a place where everyone seems to know something — but perhaps not everything. What makes her such an interesting character to bring to life?

EMMA REINBOLD: Miss Bennett, affectionately known as Benny, is in that strange position in the household where she’s not quite family but she’s not just a servant either. She cares about and takes care of each and every Warwick with a fierce protectiveness. Benny is a fun mix of stern and earnest, fastidious and frazzled, and it’s a delight to bring her to life with this cast and crew. 

JHPENTERTAINMENT: Agatha Christie published her first book in 1920 and is widely considered the most successful mystery writer in history, having written 66 detective novels, 14 short story collections, two memoirs and 20 original stage plays. In the hundred+ years since her debut, her books have sold more than 2 billion copies! What is it about her mysteries that keeps audiences returning to them generation after generation?

EMMA REINBOLD: There are so many reasons Agatha Christie is the queen of mystery. I think one reason is that she has such a way of bringing her readers/audiences along and making them feel  clever when they spot important details as the truth of the mystery unfurls. Her stories beautifully walk that fine line of providing clues throughout without beating us over the head with them. 

Also, the quickest way to pull me out of a story is to have the characters do something or have the actions unfold in such a way that’s just not possible. But Agatha Christie pays heed to both the science and the psychology of it all.

JHPENTERTAINMENT: Mystery stories thrive on observation — noticing the little details, the pauses and the things people don’t say. Is there a detail of the set, the props, the costumes or the story itself that you find most intriguing?

EMMA REINBOLD: I’m always most intrigued by the things people choose not to say, what they say without speaking, and those moments they decide to lie about something or someone. I particularly love the moments when the characters are verbally sparring, trying to figure each other out, during a tete-a-tete. 

JHPENTERTAINMENT: If you found yourself inside a real-life mystery, would you be the detective carefully collecting clues, the suspicious character everyone watches, or the person quietly sitting in the corner knowing more than they admit?

EMMA REINBOLD: Oooh, it would probably depend because I can see myself doing a bit of all three. I would want to be the one sitting back, observing and quietly unraveling the threads of the mystery behind the scenes just to prove to myself I can figure it out.

But, if there wasn’t already a capable detective leading the investigation (and giving me the opportunity to people-watch), then I’d probably step forward to organize and analyze the mystery in a more official capacity. 

And, if the case wasn’t serious (if, say, a murder hadn’t been done), then I might find myself leaning into mischievousness and acting suspicious to see if others would fall for it, just for a bit of fun. 

JHPENTERTAINMENT: Every mystery has someone who seems to know more than they’re letting on. During the rehearsal process as you’ve gotten to know your cast mates, who do you suspect is best at keeping secrets—or at least acting like they are?

EMMA REINBOLD: Hmm, that might have two different answers. I’d say Rich Moses is probably the most likely to know things, either because any of the rest of us have confided in him and/or because he has sat back and quietly observed things for himself. Either way, he’d never even let on that there was a secret to divulge.

As for who’s most likely to act like they’re the best at keeping a secret – maybe Wanderson Rezende. But then he’d get excited and share anyway.

RAPID FIRE WITH THE UNEXPECTED GUEST’s HENRY ANGELL, KAM SMITH

JHPENTERTAINMENT: Henry Angell is part of a story where family, loyalty and hidden truths all collide. What interested you most about stepping into this role?

KAM SMITH: Just how slimy this character is. Angell is such a sly character that will try just about anything to move up the social ladder. I was so interested in trying my hand at a different type of power on stage, where my words and wits can battle with costars who are physically more imposing than myself.

JHPENTERTAINMENT: Christie’s characters often live in a world where appearances can be deceiving. How much fun is it playing someone where audiences may constantly question motives and intentions?

KAM SMITH: Oh an unbelievable amount of fun. Getting to kind of grow and pick and choose with the script where I can place little nuggets of info and tells for the more sleuthy audience members has been a real treat!

JHPENTERTAINMENT: With the action of the play taking place in Wales, I hear you all have been working on your Welsh dialect. How’s that going?

KAM SMITH: It’s going great! We were given help from a dialect coach that has been instrumental in getting all of us up to speed. On the same note, getting to learn the ins and outs of that specific dialect has also been a Swiss Army knife for the other nearby regions. So I feel confident that we can be as accurate as possible to the Welsh accent and dialect.

JHPENTERTAINMENT: If this cast were actually trapped in a Christie-style mystery, who amongst your crew and fellow cast mates would you want leading the investigation — and who would you keep under close surveillance?

KAM SMITH: I personally feel Rich Moses would be perfect as a leader in the investigation, much like Michael Starkwedder in this show, he has a way of making you feel really comfortable talking to him that if you had something to hide, you might accidentally let it slip during a conversation with him. As for largely suspicious characters, I’d have to give it to our own director Ann. Mostly because you can’t tell what she’s thinking at all, and that’s a big point of confusion when you’re trying to see if you’re putting on a good show in rehearsals, but also she seems a little too unlikely, which is the exact person you want to look for!

JHPENTERTAINMENT: After audiences leave Playhouse 615, what do you hope they’re still debating, discussing and trying to solve on the drive home?

KAM SMITH: Even though obviously there can be only one person who truly committed the murder, I would hope they still wonder who would commit it if given even a few more days. Most everyone in the rogues gallery of this show completely despises the deceased Mr. Warwick, so you’re always on your toes just to see who could’ve actually done it. Some of them even might have violent tendencies to begin with, so even if there could only be one. Who was right at the breaking point?

Agatha Christie’s The Unexpected Guest has been inviting audiences into a suspenseful world of secrets, suspicion and unexpected revelations since making its stage debut back in 1958. Playhouse 615’s slightly modernized 80s take brings this intriguing whodunnit into their intimate theatrical setting where every glance, pause and revelation becomes part of the investigation with performances Friday, July 17 through Sunday, August 2. So gather your clues, question everything and join Playhouse 615 for an evening where the biggest mystery isn’t just what happened — it’s who you can believe. CLICK HERE for tickets. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

Hosted by Rachel Potter ‘Off Broadway’ Cabaret Series returns to Analog at The Hutton July 11 with ‘The Room Where It Happened’

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After four sold-out themed cabaret events that have quickly become some of Nashville’s hottest tickets for musical theatre lovers, Off Broadway returns to Analog at Hutton Hotel on Saturday, July 11, with what may be its most timely and powerful installment yet.

Hosted once again by Broadway favorite—and Nashville resident—Rachel Potter, Off Broadway: The Room Where It Happened takes audiences on a stirring musical journey through the songs of protest, patriotism and perseverance that have helped shape history. Drawing from iconic Broadway scores including Hamilton, Les Misérables, Ragtime, Hair, Spring Awakening, Suffs and even a contemporary christian mainstay-turned Pride Anthem, the evening celebrates the voices, bravery and movements that continue to inspire generations.

The series debuted last fall with Witch Please (a Wicked and Ozian celebration), with Best Of  (Broadway favs) in November, An Evening of Magic (Disney tunes) in January and That’s So High School (Grease, High School Musical and the like) in April. The Room Where It Happened marks the fifth installment of a series that continues to raise the bar with every performance. If you’ve attended any, you already know these aren’t your typical concerts. Each installment has featured a fresh theme, Broadway-caliber talent, including a Tony-winner or two, and an intimate concert experience unlike anything else in Nashville. Think New York’s 54 Below or Jim Caruso’s Cast Party, but with a decidedly Music City flair. 

As always, Rachel Potter anchors the evening with the warmth, humor and powerhouse vocals that have become the signature of the series. Best known for her Broadway performances in The Addams Family and Evita, along with the national tour of Wicked, Potter has a gift for making Analog feel less like a concert venue and more like your own Broadway living room.

Joining her this go-round is another incredible lineup of performers who have lived these stories onstage. Justin Sargent, whose credits include the national tour of Hamilton, Rock of Ages and Jesus Christ Superstar, joins fellow Hamilfam alongside DeeJay Young, who performed in both the Broadway and national touring companies of Hamilton and Stephanie Umoh, whose Broadway résumé includes Hamilton, Ragtime and Falsettos. This dynamic trio alone add an authentic connection to many of the evening’s featured songs.

Musical theatre darling (and one of my personal favorites) Diana DeGarmo brings credits from Hair,  Hairspray, and the National Tour of 9 t0 5. Nashville native MORGXN, who appeared in Spring Awakening, returns after previously wowing the crowd during the last Off Broadway cabaret, once again showcasing his unmistakable voice and artistry to the evening. Fans of NBC’s The Voice will also recognize powerhouse vocalist Omar Cardona, whose unforgettable performances made him a Top Five fan favorite during the show’s 22nd Season.

Also on-hand for the evening will be barrier-breaking AAPI country artist Tyler Korhs;  Matt Bloyd, whose career has taken him from covering a Lady Gaga song on YouTube in 2018 to providing backing vocals on the icon’s 2020 Chromatica track “Babylon”; viral sensation Jada Wasserman; Piper Jones, Nashville favorite (an another of my theatre crushes), brilliant vocalist, educator and regional theatre standout; and Annabelle Fox, whose recent turn in the musical Johnny and the Devil’s Box at Analog was one of that evening’s highlights. 

Country music trailblazer Ty Herndon alongside Michael Passons and Melissa Greene (formerly of the award-winning CCM group Avalon), round out what is shaping up to be one of the deepest and most exciting lineups the series has assembled to date. The anticipated performance by these three, in particular, is likely to resonate with the audience. The trio will perform their new inclusive version of “Testify to Love”, which spent five consecutive days at No. 1 on the iTunes Christian Songs Chart, while the remix by Dave Audé was heard at a number of Pride celebration just last month. Having seen them perform the song live for the first time ever at a recent fundraiser, I’m here to tell you…considering this show’s title, it’s not difficult to realize that on Saturday night, Analog at the Hutton will indeed be the room where it happens!

Guiding it all from the piano is music director Chris Brent Davis, who always assembles a top-notch group of musicians to back the incredible vocals, helping to make every Off Broadway concert feel polished, cohesive, genuinely special and truly unique.

Expect soaring anthems, emotional ballads and thrilling ensemble numbers celebrating courage, sacrifice, hope and legacy. Whether you’re a history buff, a Broadway fanatic or simply someone who appreciates extraordinary live music, this promises to be another unforgettable evening inside Analog’s stunning and intimate performance space, where every lyric lands and every performance feels personal.

As always, ticket holders can make it a complete night out with $10 flat-rate parking in the Hutton Hotel garage and 15% off dinner just inside the hotel lobby at Evelyn’s before the show.

Off Broadway: The Room Where It Happened Saturday, July 11, 2026 • 8:00 p.m. at Analog at Hutton Hotel (1808 West End Avenue, 2nd Floor Nashville, TN 37203). General Admission/Standing Room: $35. Reserved Seating: $60. CLICK HERE to purchase tickets.

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

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

Rapid Fire 10Q With ‘The Tide’ Playwright/Director Cathy Street and Cast Member Chris Lee; World Premiere Staged Reading at Darkhorse Theatre July 9-11

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While most folks were experimenting with sourdough and reorganizing closets during the pandemic, playwright and director Cathy Street used that uncertain time in a much more creative way. At her husband JJ‘s suggestion, Street listened to the music of The War and Treaty. From the get, the music of the then-future Grammy nominees sparked something in Street as the project began to take shape. What started as an idea in 2020 has become THE TIDE, a powerful new musical featuring songs by The War and Treaty with a book by Cathy Street. Working with Street Theatre Company– the company Street herself founded in 2006–to present this staged readying at The Darkhorse Theatre July 9-11—it’s the perfect symbiotic homecoming indeed. 

The reading also features another Nashville homecoming as Chris Lee takes on THE TIDE‘s lead role, Marcus. Lee’s acting career began to take shape while attending Belmont University, appearing in a a handful of production on campus and around Music City. In the years since, his career has taken him from local theatre stages to the Chicago company of Hamilton, a Broadway debut in Hell’s Kitchen as well as acclaimed roles on TV’s The Chi and his current role as Randy on CBS‘s Tracker. Before audiences experience this exciting new work in development, we caught up with Street and Lee for another edition of JHPEntertainment.com’s recurring interview feature Rapid Fire 10Q. 

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RAPID FIRE 10Q WITH THE TIDE’s PLAYWRIGHT/DIRECTOR CATHY STREET AND ACTOR CHRIS LEE

RAPID FIRE WITH THE TIDE‘s PLAYWRIGHT/DIRECTOR CATHY STREET

JHPENTERTAINMENT: THE TIDE began taking shape during one of the most uncertain periods in recent history. Looking back to 2020, what was the spark that first made you realize this story was one you simply had to tell?

CATHY STREET: It was a combination of a few things: feeling isolated during the pandemic, the social injustices that were happening at the time (and obviously still are), hearing the music of The War and Treaty, and learning their story.  All of those elements came together and I wanted to explore the issue of feeling powerless when everything is so overwhelming…and what it is that keeps us going forward in the face of feeling helpless. 

JHPENTERTAINMENT: The songs of The War and Treaty are so emotionally rich and deeply rooted in hope, perseverance and love. What was it about their music that inspired this story, and what was it like reaching out to them with your vision and receiving their blessing to build a musical around their work?

CATHY STREET: It was magical. The Hearts Town album in particular is written SO theatrically! The harmonies, the feel/emotions of the songs…I could literally visualize moments on stage listening to the songs. I reached out to Michael and Tanya through Facebook (!) and asked them how they would feel if I used their songs in an original musical. I let them know the idea of the piece and they were very enthusiastic. They said they had always felt their songs had a theatrical life to them. So at that point I started writing, met with them a couple of times, and they even shared a few songs that had not previously been released that were perfect for the story!

JHPENTERTAINMENT: Thanks in part to a successful Kickstarter campaign THE TIDE is making its debut with this world premiere staged reading in Nashville, presented by Street Theatre Company—the company you founded 20 years ago. What does it mean to introduce this new musical in the city where Street Theatre Company began and to see the organization continuing to thrive all these years later?

CATHY STREET: WOW is all I can say. It is so fitting to be introducing the work here. Randy Craft has done such an amazing job at the helm of STC-he’s been  A.D. almost as long as I was! I have been lucky enough to sneak in and see a few STC shows through the years and he is doing such impressive work. Being able to partner with him and so many STC friends from my years here has been very emotional. 

JHPENTERTAINMENT: You’ve assembled a cast that includes longtime Street Theatre Company favorites alongside some exciting new performers, including a reunion with Chris Lee. What made this group the right artists to help introduce THE TIDE to an audience for the very first time?

CATHY STREET: When I reached out to Chris about this, I told him the truth-that when I started writing this piece, he was always who I pictured as Marcus in a ‘perfect world.’ And crazy that the perfect world has come true. And having STC friends involved onstage and off-it is like a beautiful reunion. There is so much joy, reminiscing, and love in the room. And I don’t want to leave out the new people I am getting to work with, too. They are incredible and kind and talented. Nashville is so spoiled with talent! Also super cool is that I did an initial seated reading of the show in Wilmington, NC a few years back and a few of those actors are coming into town for THIS one, too.

JHPENTERTAINMENT: As the director of this staged reading, you are now bringing the world you created in THE TIDE from the page to the stage. What has that process been like, and what does it mean to have Randy Craft and Street Theatre Company supporting this next step in the musical’s journey?

CATHY STREET: The process has been (and still is) pretty terrifying-haha. Every day I have a range of emotions from excitement to fear. I mean, I think anyone developing a piece is probably filled with self-doubt along the way. Right?? But when I hear the actors sing the songs with vocal arrangements created by STC’s Randy Craft, who’s not only helping us produce it, but also leading the band, I am so happy-hearing and seeing what was in my head six years ago. And I am reminded by my supportive friends and amazing husband JJ who has been with me every step of the way that this is only a step in the journey. It is not expected to be done-that’s why we are doing this. To see what works, what doesn’t… And honestly, seeing it on stage in and with my community of 13 years in Nashville is enough-it provides me with a sense of completion. I am surrounded by support and love and I feel it-so to quote a line from the show, I will just “Do it scared.” 

RAPID FIRE WITH THE TIDE‘s MARCUS, ACTOR CHRIS LEE

JHPENTERTAINMENT: What does it feel like returning to Nashville—and to the Street Theatre Company family—to help introduce THE TIDE to audiences?

CHRIS LEE: Wow. Honestly, brother, it’s been absolutely incredible. Remarkably refreshing. Being around so many artists of deferent ages and background that truly just care about the work and nothing more feels so rare these days in theatre. Not to mention where it all really began for me. Nashville theatre is the center of my stage education and Cathy gave me so many opportunities as a young person to shine, learn with grace, and find my voice with the audience. It’s been such a joy to be back and help bring life to this thoughtful piece. 

JHPENTERTAINMENT: You’re not the only one returning home…Marcus—your staged reading role in THE TIDE—returns home aa well. While he expects one reality, he finds his world turned upside down. How would you describe Marcus and his circumstances, and what makes him such a compelling character to explore?

CHRIS LEE: Marcus feels to me like a beautiful representation of the average American. Experiencing trauma in life can often aid us in creating a narrative that hope may be a fallacy. And that narrative can be validated by the terrible issues that we as a nation develop over time or realize have always been underlying and begin to come to light in a way that makes us feel like everything we’ve been taught about love and acceptance is a lie. What makes Marcus so compelling to me is that he feels so deeply while he claims he can’t feel. He’s in constant search for reason though it seems he’s given up. It leads me to believe we are never actually truly satisfied with hanging it up in life. There’s something in us that won’t let go of trying to find that light within ourselves and others around us. There must be good. 

JHPENTERTAINMENT: As you’ve gotten to know Marcus throughout the rehearsal process, what’s one quality or character trait he possesses that you’d be ok if it stays with you?

CHRIS LEE: His curiosity. Though he’s defeated, he remains curious of the future. Especially when it comes to Faith. He’s curious if it’s possible to find the hope she has. I admire that. 

JHPENTERTAINMENT: You built the foundation of your career performing with Street Theatre Company and other Nashville theaters. Looking back now, how did those experiences prepare you for the path that’s followed—from Hamilton in Chicago to The Chi and your current role as Randy on CBS’s hugely popular action drama Tracker? (congrats on the bump to series regular for the upcoming 4th Season, btw!)

CHRIS LEE: Haha, thank you. Man, there’s so much to say about that. Simply put, I would’ve never been prepared to truly understand the responsibility of carrying and serving a show. It was monumental that at such a young age I was able to fail gracefully on stage in safe environments. I learned everything and still apply the same principals today. I’m eternally grateful. Especially to Cathy and the Belmont University Musical Theatre program! 

JHPENTERTAINMENT: THE TIDE explores themes of fear, freedom, resistance and the importance of human connection. What do you hope audiences take away after experiencing this first staged reading?

CHRIS LEE: I hope that if they’re asleep they WAKE UP! And if they’re awake they remain alert and aware that change is inevitable but it is necessary. We must do our part!

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THE TIDE: A New Musical features songs by The War and Treaty with a book by Cathy Street. Joining Chris Lee, is a talented cast including Isiah Rankin, Dee Hammonds, Raven Buntyn, Dawson Rose Hammonds, James Rudolph, Savannah Stein, Brandon Cox, O’Neal Black, Nikki Berra, Tristan Valdez, Shane Kopischke, Tony Nappo, Alan Smith, Adrian Cook & Clay Hillwig with ensemble members Heidi Buyck, Sam Robinson, Yeavonne Cox, Sarah Levis, Helen Ralston, Jake Peluso-Harper, Brea Lynn Wardlaw and Jon Royal. Crew for THE TIDE includes: Music Director Randy Craft, Stage Manager Sarah Johnson, Light Designer/Operator Steven Steele, Sound Designer/Operator Jacob Allen, Projections JJ Street with live musical accompaniment by Conductor/Keyboardist Randy Craft , Nick Palmer on Guitar, Bassist Braxton Algood & JJ Street on Drums.  

Presented FREE to all attendees by Street Theatre Company, the production is part of the musical’s ongoing development journey, with audience feedback helping shape the future of this new work. The production contains strong language, potentially disturbing imagery and references to assault. Viewer discretion is advised for younger audience members. The world premiere staged reading runs July 9-11, 2026, with a 7:30 curtain each night at The Darkhorse Theater (4610 Charlotte Ave, Nashville, TN 37209). 

To RSVP for FREE tickets to any of THE TIDE‘s three staged readings, CLICK HERE. For future developments of THE TIDE and to catch their coming season, follow Street Theatre Company on Facebook and Insta or CLICK HERE to join their mailing list.

Following THE TIDE, STC kicks off their 2026/2027 Season with THE WOODSMAN, an inventive exploration of the untold story of the Tin Man inspired by Frank L. Baum‘s Oz novels. Written by James Ortiz with music by Edward W. Hardy and lyrics by Jennifer Loring, this adaptation tells the story through puppetry, song and movement and will be directed for STC by Jonah M. Jackson, CLICK HERE to purchase season tickets.

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

As ‘Hamilton’ National Tour Prepares for Week Two at Nashville’s TPAC, Cast and Crew Prove They’re Not Throwing Away Their Shot in Our Latest Rapid Fire 20 Q

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June 17 marked the beginning of Hamilton‘s third visit to Music City signaling another crowd-pleasing two-week run at Nashville’s TPAC. As this current tour stop of the Tony-winning juggernaut continues with performances Tuesday, June 23 thru Sunday, June 28, we caught up with four members of the company for our recurring Rapid Fire 20 Q feature. From Nashville native and Hume-Fogg alum Lily Soto, who returns home as Eliza Hamilton, to Angelica Schuyler performer Marja Harmon (with Nashville ties of her own) and Principal Standby Chibueze Ihuoma, to Assistant Sound Engineer & Belmont grad Joshua Boatman, we covered everything from hometown memories and Broadway debuts to what it takes to keep one of the most celebrated musicals of all time running eight performances a week. So, as cast and crew get ready step back into the room where it happens, let’s get started.

RAPID FIRE 20Q WITH HAMILTON NATIONAL TOUR CAST AND CREW

RAPID FIRE 20Q WITH HAMILTON‘s ELIZA, LILY SOTO

JHPENTERTAINMENT: Being from Nashville, what does it mean to return with this tour and perform at TPAC as Eliza Hamilton?

LILY SOTO: It’s truly a dream come true. I’ve been performing in Nashville since I was very young, so getting to come home with one of my favorite shows and step onto the TPAC stage as Eliza Hamilton is incredibly special. Nashville is where I first fell in love with performing, so sharing this moment with my friends, family, former teachers, and the community that supported me from the beginning means the world to me.

JHPENTERTAINMENT: While you were attending Hume-Fogg High School, you were honored at the 2019 Spotlight Awards as Outstanding Ensemble Actress and in 2020, you were honored as Outstanding Lead Actress. So, a two-parter for you… 1) Do you plan to visit your alma mater, or at least catch up with Hume-Fogg’s beloved theatre teacher, Daron Bruce while in town? AND 2) How have those early honors aided you as you become part of the Hamilton family?

LILY SOTO: Absolutely. I’m still very close with Daron Bruce, and he actually helped facilitate an interview I recently did with Talk of the Town. It was really meaningful to return to the place where I first fell in love with theatre and reflect on how much my experience at Hume-Fogg shaped me as both a performer and a person.

The Spotlight Awards were such a special experience. In 2019, I was honored to receive Outstanding Ensemble Actress, which was completely unexpected. Then in 2020, I received Outstanding Lead Actress for playing Donna Sheridan in Mamma Mia!. At the time, theatre was something I genuinely loved doing with my friends, so being recognized for something that brought me so much joy was incredibly encouraging. Those experiences gave me the confidence to seriously consider pursuing theatre professionally, and I’m grateful I did. I wouldn’t be standing on stage in Hamilton today without everything I learned through my high school theatre program.

JHPENTERTAINMENT: What does Eliza Hamilton represent to you personally as a performer?

Soto in character as Eliza (courtesy Soto’s Insta)

LILY SOTO: Eliza has taught me so much about strength, resilience, and grace. One of the things I love most about her is that her strength isn’t always loud. Throughout the show she experiences tremendous joy, heartbreak, loss, and forgiveness, yet she continues to move forward with compassion and purpose. As a performer, she challenges me to be vulnerable and truthful every night. She reminds me that some of the most powerful moments on stage come from honesty and human connection. I’m grateful to tell her story every night.

JHPENTERTAINMENT: What was the first Nashville meal or stop once you were back in your hometown?

LILY SOTO: Any time I’m home, I have to make a stop at Waldo’s Chicken because it’s right in my neighborhood and has always been one of my favorites. But when our cast and crew first arrived in Nashville, I hosted a welcome party and we had catering from Big Al’s Deli, which was a huge hit. It was fun getting to share a local favorite with everyone.

JHPENTERTAINMENT: What advice would you give young performers considering a life in theatre?

LILY SOTO: Always remember what makes you unique. Your individuality, your experiences, your interests, and your strengths are what make you stand out. Stay curious, keep learning, and trust that the qualities that make you different are often your greatest assets.

RAPID FIRE WITH HAMILTON‘s ANGELICA, MARJA HARMON

JHPENTERTAINMENT: Your Angelica journey began in 2019 when Hamilton played Puerto Rico for a special limited run. Hamilton creator Lin Manuel Miranda stepped back in to the lead for that engagement. What’s among your most cherished memories of that time?

MARJA HARMON: So many memories from that time! It was powerful to see the impact of the show’s presence in Puerto Rico after the devastation of Hurricane Maria.

Going through the rehearsal process with Lin was so special. I started in that company as a Standby, so I was able to make my Angelica debut while I was there with my parents in the audience. Before I went on to perform “Satisfied” for the first time, Lin found a moment backstage to give me a little freestyle and hype me up and that was so cool! The And Peggy Tour experience in Puerto Rico was full of so many memories. It was just a lot of milestones happening all at once.

JHPENTERTAINMENT: On the subject of debuts, I gotta ask about your 2009 Broadway debut as part the Debbie Allen-directed all-BIPOC revival of Cat on a Hot Tin Roof. I’m, shall we say, of a certain age, and give Miss Allen full credit for nurturing my interest in the performing arts by way of her iconic TV series, FAME. Did making your Broadway debut in that particular show shape the way you think about your chosen path as a performer?

MARJA HARMON: Having my debut in that show taught me a lot about discipline and humility. I never understudied before and let alone in such an iconic role. I was stepping onto the stage with the theatrical giants, James Earl Jones and Phylicia Rashad.

I understood that some natural talent got me there, but in order to hold my own that I was going to need to constantly work on my craft. I was learning everything I could from these amazing actors during the day in rehearsal and also working with an acting coach at night so I could really feel confident. In the end, I learned the important lesson about trusting myself.

Debbie Allen was a wonderful director and incredibly encouraging, especially for my 25-year-old self.

I was a sponge soaking up everything I could from that entire experience and everything anyone could teach me about how to craft a role and how to bring things to life from a rehearsal process to the stage.

Harmon backstage as Angelica (courtesy Harmon’s Insta)

JHPENTERTAINMENT: The Hamilton tour ecosystem now consists of four distinct global productions, the current US tour known as the Angelica Tour being your current gig. So, what’s it like to be part of a tour named after the character you’re playing?

MARJA HARMON: I think being a part of Hamilton and seeing what it represents to people is such a wonderful and powerful thing. It’s a great reminder when we step on that stage nightly even if it’s for the 750th time that the power of theater and great storytelling is a magical experience. The Angelica namesake is just the icing on the cake!

JHPENTERTAINMENT: Earlier this year you returned to your hometown of Columbus, Indiana for a cabaret show. Does remembering and celebrating where you began your love of theatre keep you grounded?

MARJA HARMON: Absolutely! It’s also a moment for intense reflection to really sit back and understand that it really takes a village. I was so nurtured by the community of Columbus and of course my parents. I never felt my dreams were out of reach because of the support that I had.

JHPENTERTAINMENT: Speaking of hometowns, I understand your Mom graduated from TSU, Nashville’s only public HBCU, and when not on tour Music City is home for you. What are your top 5 must-do Nashville things you plan to share with your Hamilton family?

MARJA HARMON: Top five Nashville things:

1. Go have an evening cocktail and pizza at Urban Cowboy
2. Shop for your wine at Woodland Wine Merchant
3. Do not miss out on the Farmer’s Market on Rosa Parks Blvd
4. Cycle on the Greenway in Shelby Bottoms
5. Folk or Locust for Dinner

RAPID FIRE WITH HAMILTON PRINCIPAL STANDBY, CHIBUEZE IHUOMA

JHPENTERTAINMENT: For audiences who may not know, what all is involved in being a Principal Standby?

CHIBUEZE IHUOMA: Swings and standbys alike are the jack of all trades within a cast. We understudy multiple roles and tracks and perform whenever an ensemble member or principal is out, whether that be for sickness, injury, or vacation. I understudy four roles: Hamilton, Burr, Lafayette/Jefferson, and Washington. As you can imagine, a lot of words haha. Lucky for me, I have time when I’m not onstage and during afternoon rehearsals to brush up on lines and blocking. 

JHPENTERTAINMENT: After touring as Orpheus in Hadestown, what drew you to Hamilton?

CHIBUEZE IHUOMA: Hamilton was actually one of my first musical theater loves. The cast album dropped when I was in high school, and I have a vivid memory of head banging to Mulligan’s verse in “Yorktown” as I steamed my mom’s blouse before church. Doing Hamilton after Hadestown felt like a natural transition. Both musicals are fully sung through, so I try to delve deep into how the music informs the character – the lightning speed of Lafayette, the near infinite rhyme schemes Hamilton deploys, the light beauty of Orpheus’ falsetto. That, and both shows try to imagine the way the world could be in spite of the way that it is; Hadestown with it’s themes of standing up to power with love at the forefront, and Hamilton through it’s colorblind casting which truly changed the music theater landscape. Excited for the next “H” opera I get to do!

Ihuoma covering all four principal roles (courtesy Ihuoma’s Insta)

JHPENTENTERTAINMENT: What is the most exciting challenge of being ready to step into multiple tracks at any moment?

CHIBUEZE IHUOMA: You get to see the show from so many angles, which is both super cool and very disorienting! There are a lot of songs like “Guns and Ships” or “Room Where it Happens” where all 4 of my tracks are on stage doing and saying very different things, and it’s an out of body experience when you go from one character to the next in short succession. I once did all 4 in one week, with a day that I played Hamilton in the afternoon and Burr at night. An accomplishment I’m very proud of, and that I have no desire to repeat haha. 

JHPENTERTAINMENT: From a Nigerian kid attending a Summer intensive program at New Jersey Performing Arts Center to stepping into multiple roles in the National Tour of Hamilton…What would you tell your younger self about the journey thus far?

CHIBUEZE IHUOMA: Growing up, I always worried that I wasn’t enough, and that I often doubted that I belonged in music theater. I would tell my younger self that he doesn’t need to prove his worth, that simply expressing who he is and what he loves is more than enough. That, and I’d tell him that consistency is the key, so continuing to show up as his best self will take him anywhere he needs to go. 

JHPENTERTAINMENT: Why do you think Hamilton continues to resonate so strongly with audiences?

CHIBUEZE IHUOMA: It resonates with audiences because so much of what we deal with today in the US are key themes of the musical – when to rise up against tyrannical powers and what it costs, debates on how the country should be run, the impact of immigrants and how they help shape the nation. It’s a show that humanizes the figures that we had propped up in our history books as infallible men, and gives voice to the women who were instrumental in their rise. And at the most fundamental level, everyone relates to an underdog story: the amount of edits of the New York Knicks with Hamilton songs played underneath is a testament to that!

RAPID FIRE WITH HAMILTON ASSISTANT SOUND ENGINEER, JOSHUA BOATMAN

JHPENTERTAINMENT: As the tour’s Assistant Sound Engineer, describe your typical load in day as the show arrives in its latest venue?

JOSHUA BOATMAN: The first few hours of load-in are all about organization. Hamilton travels in ten full size semi trailers, and even for big theatres like TPAC, that’s a lot of stuff to shove into the building. There’s about six or seven departments that all start working at the same time, so we try to find stuff where we aren’t stepping on each other, which for me means starting to get the audio racks put in place on the stage and patching all the cables. The rest of my load-in is focused on configuring all of our gear for the new space, troubleshooting and repairing anything that broke during the move, and assisting the rest of the sound team in making sure we’re ready to do the show!

JHPENTERTAINMENT: As a Belmont graduate, does this Nashville stop feel like a homecoming?

JOSHUA BOATMAN: I moved to Nashville full-time in 2017, and from the first day I got to town, it felt like home. The culture of this city is to welcome anyone who wants to be here and contribute positively. Every time I’ve had the chance to come back has been just as welcoming as that first day, it’s an extremely friendly city.

JHPENTERTAINMENT: Was the Oklahoma! National Tour in 2022 your last time working in Nashville before this engagement?

JOSHUA BOATMAN: I also got to play TPAC in February of 2024 with TINA: The Tina Turner Musical! It’s been a great pleasure to bring three very different shows into a theatre I know so well.

JHPENTERTAINMENT: OK, so unknowingly I’ve seen your work three times! Love that. What’s something audiences might not realize about the sound team’s role in a show like Hamilton?

JOSHUA BOATMAN: We handle a lot more than just the sound the audience hears. We’re in charge of multiple smaller sound systems, such as the speakers pointed at the stage for the actors, and the monitoring in the orchestra pit for the musicians to hear themselves. We’re also in charge of six different cameras and a bunch of video monitors, which provide video monitoring of the show for remote locations backstage. Finally, we have three different backstage communication systems, as well as a fleet of walkie-talkie style radios for folks to be able to talk to each other all around the theatre during the show. While keeping the sound of the show running out front is certainly our most important job, it can’t happen unless we also keep all of the systems behind the scenes running smooth as well.

JHPENTERTAINMENT: After hearing it nightly, is there still a moment in Hamilton makes you realize you chose the right career?

JOSHUA BOATMAN: One of my favorite aspects of doing this show eleven years after it premiered is that you have so many different kinds of people coming to the show every night. Some folks may have seen the show live many times, some may have seen it on Disney+ but have never seen it live, and some may be experiencing the show for the first time ever. This is why one of my favorite moments is “My Shot”, which is a three course meal of song early on in the show that showcases a lot of elements (lights, sound, choreography, automation) that we’re going to use throughout the remainder of the show to tell the story. It’s a “welcome back” for veteran Hamil-fans and a “get ready” for those experiencing the show for the first time. Getting to sit out front at the sound board and watch audiences experience those moments is what makes me excited to go to work.

A huge thanks to Lily Soto, Marja Harmon, Chibueze Ihuoma, and Joshua Boatman for taking part in this edition of Rapid Fire 20 Q. Whether they’re bringing Alexander Hamilton’s story to life on stage, stepping into multiple principal roles at a moment’s notice, or ensuring every lyric, cue, and musical moment reaches the audience perfectly, each member of this company plays a vital role in making the magic happen. Catch Hamilton during its Nashville engagement at TPAC with Tuesday thru Friday evening performances at 7:30, Saturday matinee at 2pm & evening at 8pm and Sunday matinee at 1pm and a final performance at 7pm. CLICK HERE for tickets. Trust us—you be glad you were in the room where it happens.

Not in Nashville? Hamilton‘s got you covered as the tour continues with upcoming engagements in Louisville, Fort Worth, San Antonio, Oklahoma City, Little Rock, Atlanta, Birmingham and more as the Angelica Tour continues across North America through summer and beyond. CLICK HERE for tickets. You can also follow Hamilton on Facebook, X, Insta, YouTube and TikTok.

As always, TPAC’s calendar of events is full, even during the summer. CAMP TPAC, their youth theatre initiative is happening now, with various programs through July 17. One Step at a Time a new musical highlighting the importance of supportive educators on their students takes to TPAC’s Polk Theatre June 30-July 1. On July 25, TPAC hosts its annual Family Day CLICK HERE for tickets. On August 29 in the Polk theatre it’s sketch comedy trio Ben Marshall, John Higgins and Martin Herlihy aka Please Don’t Destroy. Their video shorts have been must-see viewing on SNL since 2021. CLICK HERE for tickets or more info. Speaking of SNL, for cast mate Leslie Jones brings her I’m Hot Tour to TPAC‘s Polk Theatre September 12. CLICK HERE for tickets. Broadway at TPAC returns another favorite, Jersey Boys, celebrating their 20th Anniversary Tour with performances September 16-20. Then it’s the debut of TPAC’s 2026/2027 Season with its official kickoff October 13-18 as The Sound of Music returns. For a full list of shows, concerts and special events coming to Music City’s favorite theatre, you can also follow TPAC on Instagram, X, YouTube and Facebook.

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

Theatre Review: Playhouse 615’s ‘Ain’t Misbehavin’’ Swings, Sways and Soars as a Jazzy Celebration Worth Savoring

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When Ain’t Misbehavin’ first arrived on Broadway in 1978 starring Nell Carter, Ken Page, Amelia McQueen, Charlaine Woodard and André DeShields, it introduced a new generation to the music, humor and enduring brilliance of jazz icon Thomas Wright “Fats” Waller. Nearly five decades later, Playhouse 615’s production proves these songs haven’t lost a step. Under the direction of Mitchell Vantrease and featuring Yolanda Treece, Elliott Robinson, Lisa Graham, Raven Buntyn and Isiah Rankin, this vibrant revival is equal parts concert, cabaret, history lesson and celebration, delivered by a cast that understands the assignment and then some.

Unlike a traditional book musical, Ain’t Misbehavin’ doesn’t tell Waller’s life story. Instead, it uses his catalog as a lens through which to explore romance, heartbreak, joy, humor, resilience and Black artistry. The result is a revue that feels both nostalgic and surprisingly contemporary.

One of the production’s most charming touches is its homage to the aforementioned legendary original Broadway cast. Rather than adopting character names, or using their own as is often done in regional productions, the performers are billed as playing Nell, Ken, Andre, Armelia and Charlaine, honoring the now-iconic artists who first introduced these songs to Broadway audiences.

From the moment the company launches into the title number, followed by the energetic “Lookin’ Good But Feelin’ Bad,” audiences are welcomed into Vantrease’s intimate jazz club atmosphere.

Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.

Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.

Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.

The ensemble numbers are where the production truly catches fire. “The Joint is Jumpin’” practically explodes off the stage, delivering exactly the kind of high-octane energy audiences hope for when attending a show built around Waller’s music. As the Act 1 closer, it leaves the audience anticipating Act 2. Likewise, “Spreadin’ Rhythm Around” and the finale “Honeysuckle Band” showcase the cast’s impressive vocal blend and infectious enthusiasm.

Comedy plays a significant role throughout the evening, and two numbers in particular generate some of the production’s biggest laughs. Robinson’s “Your Feet’s Too Big” is a crowd-pleasing delight, while “Fat and Greasy,” featuring Robinson and Rankin, gleefully breaks down the wall between performers and audience. The interactive nature of both songs perfectly complements the nightclub setting and creates some of the evening’s most memorable moments.

Yet beneath the humor and exuberance lies something far more profound. Late in the second act comes “Black and Blue,” arguably the emotional centerpiece of the entire production. Presented simply and sincerely, the number lands with considerable power. Suddenly, the playful flirtations and comic observations that precede it take on added depth and context. It serves as both reflection and reminder, honoring the experiences woven throughout Black history while underscoring the cultural significance of Waller’s artistry. The cast delivers the number with remarkable restraint and honesty, creating one of the production’s most affecting moments.

The decision to position the musicians directly onstage pays immediate dividends.
Anchoring the evening are three exceptional musicians: John Todd on piano, Rick Malkin on drums and Owen Ananich on bass. Their presence onstage transforms the production from a traditional musical into something closer to a genuine Harlem nightclub experience. The trio doesn’t merely accompany the performers—they become an integral part of the storytelling.

Vantrease’s direction remains focused throughout. Even without a traditional narrative, he ensures every song functions as a miniature story. His choreography complements rather than overwhelms the material, allowing the performers and music to remain front and center. Especially entertaining a near-exactly move-for-move homage to the original Broadway company’s piano-ography during “Handful of Keys”.

Technically, the production embraces simplicity to excellent effect. Conceived by Ann Street-Kavanagh, Craig Hartline and Vantrease, the set utilizes silver ladder-style lighting battens wrapped in string lights and draped with shimmering fabric that forms an elegant arch around the onstage band. Stage right features what appears to be a fully stocked bar accompanied by a pair of stools beneath a sign reading “Fats Club.” Though one might playfully argue the sign could use an apostrophe after the “s”—or perhaps should have been named “Club Fats”—the overall effect contributes nicely to the immersive nightclub atmosphere.
Complementing the set beautifully is Carter Stumbo’s mood-enhancing lighting design, which effortlessly shifts from playful and vibrant to intimate and reflective depending on the emotional demands of each number. Strumbo doesn’t seem to leave out a single color in the rainbow in his lighting design. Each one perfectly enhancing the mood and emotion of the song being performed.

Playhouse 615‘s Ain’t Misbehavin’ is being presented during National Black Music Month and with closing weekend coinciding with Juneteenth celebrations, Ain’t Misbehavin’ arrives at a particularly meaningful moment. More than a revue, it serves as a celebration of an artist whose influence continues to echo throughout American music.

Playhouse 615’s production succeeds because it never treats Waller’s music like museum pieces. Instead, these songs feel vibrant, immediate and alive. Powered by a terrific cast, outstanding musicians and thoughtful direction, Ain’t Misbehavin’ offers audiences exactly what its title promises: an evening of irresistible fun with plenty of heart underneath the swing.

Whether you arrive as a longtime fan of Fats Waller or simply looking for an entertaining night at the theatre, this production sends audiences home smiling, humming and perhaps even tapping their too big feet all the way to the parking lot. Not gonna lie—after all, it’s a sin to tell a lie—since attending an opening weekend performance of Playhouse 615‘s Ain’t Misbehavin’, the music of Fats Waller has been a constant on my playlist.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HERE to grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

In case you missed it, check out our recent Rapid Fire 20Q with Ain’t Misbehavin’ director and cast.

Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21