Archives for September 2025

As Nashville Repertory Theatre prepares for their 2025/2026 season opener, it’s time for another edition of Rapid Fire 20Q, where we put some of Nashville’s finest theatre talent in the hot seat. This time around, I’m joined by Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks, who are among the powerhouse cast of The Rep’s upcoming production of COME FROM AWAY.

Nashville Rep’s production is sure to honor the original Broadway creative team—creators Irene Sankoff and David Hein, with Tony-winning direction by Christopher Ashley, choreography by Kelly Devine, and musical staging by Ian Eisendrath—as they enlist the talents of a who’s who of Nashville finsest actors as well as folks behind the scenes including: Lean Lowe, who’s helming the project as the show’s director, with music direction by Sarah Michele Bailey, choreographer Joi Ware, scenic designer Gary C. Hoff, costumer Melissa K. Durmon, lighting design by Dalton Hamilton, stage manager Zach Jenkins and sound design courtesy Mark Zuckerman.

So, before the cast steps onto the stage of the Polk Theater for their Friday, September 12 debut performance, we’re throwing them our signature Rapid Fire 20 Q. Maybe not so Quick, but definitely quirky, fun and revealing—here’s what they had to say!

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RAPID FIRE 20Q WITH THE CAST OF NASHVILLE REP’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS

JHPENTERTAINMENT: You’re stepping into the role of Beverley Bass, the first female captain for American Airlines, in COME FROM AWAY. Prior to being cast, were you familiar with Bass’ significance in the history of commercial aviation or her role in this historic story? AND…Did you do any research on her in preparation of portraying this role?

CARRIE TILLIS: I was not familiar with Beverly Bass before the show.  But I was so intrigued with her path once I started studying this show…. and that her life/career and that big achievement also collided later with 9/11.  Makes me think about people who are so right for a job and she definitely knew it was her path- knew who she was. And that’s written into the music and the dialogue, too. 

JHPENTERTAINMENT: The original production of COME FROM AWAY won both the Drama League Award and the Drama Desk Award for Best Musical. How has it been stepping into this celebrated show, and what has your experience been like working with Sarah Michele Bailey as music director for Nashville Rep’s production?

CARRIE TILLIS: I thought long and hard about auditioning for this show. I knew it would be a challenge for different reasons, technically it’s a tough one and vocally- it’s in a different place than what I usually sing.  But those are also some of the reasons I wanted to try… the challenge. And it’s such a great show and people love it so.  I get it now. And Sarah Michele is nothing but a joy and so musical.  She is a great encourager.  I really appreciate the work she has put in. 

JHPENTERTAINMENT: One of the most powerful moments in COME FROM AWAY is Beverley’s spotlight song, Me and the Sky. Throughout the rehearsal process, have you found a personal connection or a piece of the lyrics that you relate to?

CARRIE TILLIS: Me and the Sky. There have been times  this song  has been like a life arc in and of itself!  A true reminder of where you come from and the hurdles we all face and somehow make it over… with a lot of years and grit under your belt. Not always pretty, but staying the course…vulnerability, life, high points.  It’s all of it. And it happens fast.  Yeah…it’s a good time to sing this.  I’m age appropriate for all those things….hahahahaha.

JHPENTERTAINMENT: Among your recent theatrical roles, you appeared in The Battle of Franklin and The Hiding Place, both based on historical events. Now, with your role in COME FROM AWAY, you’re tackling another real-life story. Is there something that draws you to this kind of storytelling?

CARRIE TILLIS: Yes. Those are all big and serious roles, true life stories!  I need to do a comedy, don’t I ?! But seriously, I do love a true story, real people to portray. And these are important events to look at.  We see ourselves in them currently, don’t we? As history repeats?  Are we getting any better at understanding one another? Theatre is so vital this way. 

JHPENTERTAINMENT: What do you hope audiences will take with them after experiencing Nashville Rep’s production of COME FROM AWAY?

CARRIE TILLIS: I want people to leave the theatre happy and entertained.  To feel moved.  To be reminded of a time when people reached out and gave when others needed it.   All of that motivates a lot of reflection on where we’re at now, too.  I’m so glad for anyone to be in the seats and grateful to be a part of it.  And thanks for the questions! 

RAPID FIRE WITH COME FROM AWAY‘s GARRIS WIMMER

JHPENTERTAINMENT: You’re juggling multiple roles in Come From Away—Claude, Derm, Brenda’s Brother, and Eddie. What’s been the most exciting challenge about shifting between so many characters in one production?

GARRIS WIMMER:Well in one respect I’m fortunate in that most of my characters are Newfoundlanders so I’m really mostly just dealing with one dialect and then pitching them in different ways.The most difficult part of learning the actual physical show and switching these characters so quickly is literally “where do I get that costume piece from and where does it need to go next ?” Fortunately for us we have Kaitlin Steer, our wardrobe supervisor, who is incredible in figuring out all of the backstage and costume logistics.The emotional switching does get a little confusing as well.

JHPENTERTAINMENT: Nashville Rep has truly become one of your home theaters, with memorable roles in their productions of Our Town, Indecent, Ragtime, and Urinetown. What makes performing with this company so special for you?

GARRIS WIMMER: The Rep really has been my home base from the beginning.I did my first Equity production in Tennessee Rep’s second season playing Baby John in West Side Story. At that time we were a sort of Repertory company. There was a Company of actors, directors, designers, and tech people and we would convene often several days a week and do workshops and scene study, movement classes, audition workshops etc. We built a community that carried over into the performances and it was a really great time to be a part of this brain child of Mac Pirkle’s. I’ve done theatre all around the world but when I’m in the Polk or Johnson theatre with the Rep, that really is home. And to put an even finer point on it, when I’m with anyone in this incredible pool of Nashville actors and directors and crew, well then I am really home.

JHPENTERTAINMENT: You were part of both The Rabbit Room’s stage adaptation and film version of The Hiding Place. As an actor, what did you take from that unique experience?

GARRIS WIMMER: Well first of all if Matt Logan is involved I don’t even ask what it is I just say yes. And that certainly goes for Pete Peterson too. It’s always so creative working with them because these are all brand new plays that we are getting to help build from the ground up. Then you add a fantastic cast some of whom I’ve worked with for forty years and really it’s just a pleasure. The result of that show was something I was very proud to be a part of. And then to get the chance to film it with Laura Matula directing was such a bonus. And we were able to do all of that because we have years of working together now and the level of trust frees everyone up to be their most collaborative and creative selves. It’s heaven.

JHPENTERTAINMENT: Among your COME FROM AWAY costars, you’re reuniting once again on stage with Carrie Tillis, one of your co-stars from The Hiding Place. What’s it like stepping back into a production alongside her?

GARRIS WIMMER:Well Carrie and I go back a little further than that. We first worked together in 2010 on Guys and Dolls for Studio Tenn, I was the ASM for that. But I go wayyyy back with her family. I sang with her father, Mel several times in the 80s and have known her sister, Pam since the early 80s. Pam and I were Mary and Peter (respectively 😊) in the Rep’s production of Jesus Christ Superstar in 1988. So when Carrie told me she was playing Beverly I was thrilled. We blocked a hug between Beverly and Claude in the finale, but it’s for us, too.  

JHPENTERTAINMENT: Recently, you played the comedic chaos of Studio Tenn’s The Play That Goes Wrong. Do you prefer leaning into the laughs or the heavier storytelling? Or does that change, depending on the current role you’re tackling?

RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON

JHPENTERTAINMENT: You’re making your Nashville Rep debut in COME FROM AWAY! What has it been like stepping into this production and joining the Rep family for the first time

JENNIFER JACKSON: I’ve admired Nashville Rep’s talent and production quality for a long time, so I would’ve been thrilled to be part of any of their shows. But for my debut to be COME FROM AWAY feels especially meaningful—not only because of the powerful story it tells, but also because of where I was in my own life the first time I saw it. It really does feel a little cosmic, and I couldn’t be more grateful to join the Rep family through this production.

JHPENTERTAINMENT: In this show you’re playing Hannah, Margie, and Mickey. Hannah O’Rourke is based on a real passenger whose story touched so many—how did you approach honoring her while also making the role your own?

JENNIFER JACKSON: It’s a strange and wonderful responsibility to portray a real person, especially during what were likely the hardest days of her life. Hannah was different from the character you see on stage; in the musical she’s portrayed as a single mother, but in reality she was married and traveling with her husband on 9/11. She was also an Irish Catholic Caucasian woman, which of course is different from my own experience. That alone means my portrayal can’t and shouldn’t be an imitation. Instead, I try to honor her by bringing empathy and truth to the role. I hope to channel that into something authentic. Hannah passed away just before we began rehearsals, and from everything I’ve learned, she was a beloved wife, mother, and friend who believed in hope, kindness, and even laughter in the face of adversity. It’s an honor to tell her story and I hope I do her justice.

JHPENTERTAINMENT: In COME FROM AWAY, Hannah forms a bond with Beulah, played by Brenda Sparks. What has it been like playing opposite her and developing that connection on stage?

JENNIFER JACKSON: One of the things that connects Hannah and Beulah in the show is their shared love of humor—laughter is what finally breaks through Hannah’s walls. That made it so natural to build the bond with Brenda, because she makes me laugh every single day. From the moment I met her, I knew she was a force—hilarious, authentic, and full of heart, and playing opposite her has been an absolute joy.

JHPENTERTAINMENT: From Hannah in COME FROM AWAY to Mama in A Raisin in the Sun and DeeDee Allen in The Prom, you’ve taken on powerful, dynamic women. Which of these roles has taught you the most as a performer?

JENNIFER JACKSON: It’s meant so much to finally be seen as this kind of powerhouse archetype, especially since before my 40s I was never considered for leading roles. That shifted with DeeDee Allen (which was my first lead). I remember when I got that call I was over the moon, then immediately terrified. I felt the weight of responsibility, I wasn’t sure that I could do it. I didn’t want to let anyone down. But I did it scared—and I proved to myself that I could.

Each role since has carried its own kind of intimidation. Playing Mama meant stepping into the shoes of women I’ve idolized, and Hannah has been a dream role for years. If anything, these characters have taught me that I can push myself, I can do hard things and that maybe trusting myself makes me a powerhouse too.

JHPENTERTAINMENT: In your bio, you joke that your husband is the only person who knows who the 21st president was. So…Who WAS the 21st president?—AND…What does it mean to have your husband’s support as you pursue your theatrical endeavors?

JENNIFER JACKSON: Chester A. Arthur. 1881 to 1885. Nominated vice-president in 1880! Did you know he was Collector of Customs in New York? (neither of us would know that without Die Hard) What’s actually funny is- when my husband and I first met,I was managing restaurants and had pretty much walked away from acting because I thought I needed a more ‘stable’ life. After the pandemic, though, I realized I wasn’t happy and I needed to get back on stage.  He could’ve rolled his eyes at all of it, but instead he leaned in because I love it—and he loves me. From the very beginning, he’s been in it with me. Now it feels like something we share, and that support honestly means everything.

RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS

JHPENTERTAINMENT: You’re stepping into the roles of Deloris and Beulah in COME FROM AWAY. What excites you most about bringing these two very different women to life on stage?

BRENDA SPARKS: I must preface this by saying that I am in no way equating the mass-casualty terrorist attacks of 9/11/2001 to the 1,000-year flood that ravaged Nashville in 2010. However, I feel kindred with the real-life Beulah Cooper & Diane Davis (the two women who make up my character of Beulah Davis in Come From Away) because of how they responded to the “plane people” in those early days following 9/11. My little town of Kingston Springs was literally torn apart when the Harpeth River jumped its banks in 2010 and ran through our little elementary school, destroying roads, and carrying homes away. We organized quickly and created our own disaster relief center in the middle school. By the time the Red Cross arrived they told us they’d never seen anything like it. I barely slept during those days. We’d work 17-18 hours and sometimes around the clock doing everything to help our neighbors. Our stories closely mirror and are as plentiful as our Ganderite counterparts. Hey, maybe I need to write a musical about Kingston Springs and the 2010 flood! That’s what excites me most about Beulah. She’s a helper. She has the exterior of a tough old broad, but she has a big empathetic heart. Oh, and her quick wit! Beulah loves making people laugh. As for the hot mess that is Delores, what excites me most about playing her is that she’s whacked out on Xanax in one scene and drunk off her keister in another, but she’s singing the Titanic song in both. What’s not to love about that? The combination of both characters allows me to run the gamut from much needed comedic relief to genuine pathos. 

JHPENTERTAINMENT: With COME FROM AWAY opening on September 12, just one day after the anniversary of 9/11, was that timing—and the real-life events at the heart of the story—something your director addressed during the rehearsal process?

BRENDA SPARKS: Honestly, not really. Leah certainly touched on it, and her belief that we need to be reminded of our humanity now more than ever. But we really didn’t dwell too much on our personal memories of 9/11 or the real-life events in the rehearsal process. That’s not to say it wasn’t at the heart of every single decision we made. But because that day and those memories are still so closely-knit to our hearts, it was kind of built in. Also, we hit the ground running with the massive technical undertaking that is this show. Simple is seldom easy. A “minimalist approach” rarely equals less work for anyone on the cast or creative team. It usually means we work even harder to create an intentionally focused cohesive experience for our audience that allows them to experience storytelling in its purest form. Actor-driven scene changes simply means we add that to the list of things as actors that we have to memorize to perform this show. So, it’s our lines, our music, our choreography, who am I in this scene, and where the heck do I move this chair next?!? 

JHPENTERTAINMENT: While COME FROM AWAY is a musical, having not only been nominated for seven Tonys, but also winning a Grammy, it’s not exactly the kind of musical you rush out to buy the cast recording because of a catchy earworm. That said, what’s your favorite musical moment in the show?

BRENDA SPARKS: Oh, wow! There are too many to count. Many of them for myself are harmony lines. The vast majority of times I’m onstage in a musical, I’m belting my face off. Mrs. Lovett in Sweeney Todd, Mrs. Peachum in The Threepenny Opera, Domina in Forum, Rita in Lucky Stiff, the list goes on. And whereas I do belt as Delores in the show, I get to do some real easy beautiful alto harmonies, too. And I love singing on stage in this intimate and folksy conversational style. I will say I think one of the most underrated lyrics in the show is “Who am I if I don’t feel like the me of yesterday?” That’s a weighty question about identity, and I love it. Screech In is super fun to perform. I mean, we’re all drunk and rowdy in a bar in Newfoundland. Me and The Sky is just such a specific and personal ballad, equal parts triumphant and sorrowful. Stop the World is so beautifully intimate, as is Prayer. I really love that we are all singing the same prayer, just in different languages and expressed from different faiths. 

JHPENTERTAINMENT: Scenic Designer Garr C. Hoff has crafted the world audiences will step into for COME FROM AWAY. What’s your favorite aspect of what he’s created for this production?

BRENDA SPARKS: Gary Hoff is one of the greatest (if not THE greatest) scenic designers I’ve ever worked with. He’s also just one of the kindest human beings you’ll ever meet in the theatre. I love his painted burlap trees that are almost like an homage to the original design that utilized actual trees from the Adirondacks. I also love how he built us an “island” that is cantilevered out over the pit. We have so many lyrics about being islanders, so he built us an island. It’s so cool. The entire set illustrates why Gary is such an inspired artist. It may look “simple”, but as with the above – that just means Gary put the extra thought into it so the audience didn’t have to. The set is rustic, remote, isolated, and welcoming all at once. So, it’s perfect. 

JHPENTERTAINMENT:  So, I gotta admit, I love a bit of shameless self-promotion. To that end, your current theatre bio starts off by mentioning Act Three, the comedy/drama you wrote that enjoyed its world premiere at Tibbits Opera House just a couple months ago. A two-parter for you… 1) What’s next for Act Three? AND…2) How has your experience as a playwright and director shaped the way you approach storytelling as an actress, in particular, with your dual roles in COME FROM AWAY?

BRENDA SPARKS: I love this question! Thank you for asking. 1) I am more than halfway through writing the sequel to Act Three (Act Three: Act Two). Act Three was always designed to be a trilogy. I was compelled to write a play cycle after directing The Trip to Bountiful at Cumberland County Playhouse and befriending Horton Foote’s dear friend and fellow writer Gerald “Jerry” Wood. It’s a beautiful and largely forgotten art form, giving audiences multiple entry points to get to know these characters and experience their stories. Act Three is inspired by the real-life 30-year friendship of three actors now in the act three of their lives. Together they’re dealing with everything that comes with the existential crisis of aging and staring down death as we walk each other home. There’s plenty of comedy (I’m happy to say that my “menopause monologue” brought the house down each night of its world premiere. I almost always had to hold for applause, not just laughter) but there’s genuine pathos as well. One of my favorite audience quotes from the premiere was “I knew I was going to laugh a lot, I didn’t know I was going to cry so much.” So now I finish the sequel, and get Act Three (the first) its second professional production. Then rinse and repeat until Act Three: The Finale has been professionally produced. The goal is to get all three published so they can generate mailbox money for me so I can focus on finishing El Dorado Stardust, the original musical I started writing with my friend and Nashville singer/songwriter Mark Elliott. We sadly lost Mark almost two years ago, but I’m determined to finish what we started. Act Three is a low-cost three-hander that can literally be performed anywhere or in rep with any other set or production. The hope is that it will be exactly what many producers are looking for.

2) In short, being a playwright and a director clarifies my work as an actress. At least I think it does. I’ve always been a professional actor/director/writer, so that’s the only viewpoint I’ve ever known. I know some actors become directors at some point in their careers, but my triple threat has been actor/director/writer from the beginning. In fact, years ago my adaptation of Rip Van Winkle for The Nashville Shakespeare Festival was performed on The Polk stage at TPAC as part of their H.O.T. (Humanities Outreach of Tennessee) programming. I was the writer and director on that project. I can tell you this, being both actor and director I have infinite empathy when I am on either side of the stage/table. I know what it takes to direct an ensemble musical, for instance. Just weeks ago I directed The 25th Annual Putnam County Spelling Bee in Michigan. I literally left after that production was up to come down here for publicity photos for COME FROM AWAY. So watching our artistic team of brilliant women (music director, director, and choreographer) all navigate the complexities of staging this show – I have all the empathy in the world. It’s not hard for me to switch hats again because it’s all I’ve ever known. My seasons are always direct this, act in that, act in this, direct that. So when I’m onstage I don’t try to direct the show, and when I’m in the director’s seat I don’t try to act it. As it regards playing different characters in this, being a playwright definitely helps in finding context clues. We plant those as playwrights because we want to honor the autonomy and individual artistry of whoever will inhabit these roles. So good playwrights try to create context without dictating everything. Because true magic lies in the artistic voice of each individual artist. You want to leave room for their interpretation. At least I do. So, for instance – there are plenty of breadcrumbs to lead one to understanding that Beulah has a big kind heart. But there are clues that could lead one to believe that Delores is less sympathetic. She’s described as a “hot mess” but she also has lines that can be interpreted as being stuck with a person you definitely don’t want to be stuck with. I’ve leaned into the discomfort with Delores. It’s not how I would respond personally in those circumstances. But my script analysis leads me to believe it’s a valid artistic choice to take Delores in that direction. Not everyone you meet on a plane is someone you’d want to spend time with in real life.

Again, a big thank-you to Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks for playing along with our Rapid-Fire 20Q! Their energy and insight are just a taste of what you’ll experience when Nashville Rep brings the unforgettable story of COME FROM AWAY to life.

Catch COME FROM AWAY at TPAC’s Polk Theater, running September 12–21, 2025, with performances as follows:

• Friday, September 12 at 7:30 p.m.
• Saturday, September 13 at 2:00 p.m. and 7:30 p.m.
• Sunday, September 14 at 2:00 p.m.
• Thursday, September 18 at 7:30 p.m.
• Friday, September 19 at 7:30 p.m.
• Saturday, September 20 at 2:00 p.m. (ASL-interpreted/open captioned) and 7:30 p.m.
• Sunday, September 21 at 2:00 p.m.

Tickets start at $45 and are available now. CLICK HERE to purchase tickets. Don’t miss the chance to experience this heartfelt, hope-filled musical that reminds us of the best in humanity.

Kicking off their 2025/2026 season with the regional premiere of COME FROM AWAY is just the beginning for Nashville Repertory Theatre‘s 41st Season. Following COME FROM AWAY, Nashville Rep will ring in the holiday season with IT’s A WONDERFUL LIFE onstage December 5-21, then there’s FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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