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Archives for July 2026

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.