Archives for August 2026

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

August 20, 2026 by Jonathan

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

August 17, 2026 by Jonathan

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

August 13, 2026 by Jonathan

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.