Jonathan

An Accidental (On Purpose) Rapid Fire 20Q with The Keeton’s ‘The Play That Goes Wrong’

April 7, 2026 by Jonathan

Frequently described as Sherlock Holmes meets Monty Python, The Play That Goes Wrong began as a spirited production created by the UK-based Mischief Theatre Company. What started as a fringe production quickly snowballed into a West End hit and Broadway favorite, delighting audiences with its perfectly timed mishaps, collapsing sets, and characters determined to press on no matter how disastrous things become.

Now, that same brand of orchestrated mayhem takes center stage at The Keeton Theatre from April 10–26, bringing Nashville audiences a whirlwind of laughter where every missed cue, falling prop, and “accidental” blunder must be carefully executed in order to keep the illusion of screw-up believable.

As the cast and crew prepared for their opening night, we caught up with cast members Josh Mertz (Chris), Leslie King (Sandra), Hazen Lawson (Dennis), and director Erin-Grace Bailey to talk about the art of controlled chaos, the technical precision behind the comedy, and exactly what it takes to make everything go so hilariously wrong.

—–

RAPID FIRE 20Q WITH THE KEETON’s THE PLAY THAT GOES WRONG

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s JOSH MERTZ

JHPENTERTAINMENT:As a Nashville native and frequent Keeton performer, what makes coming back for this show feel special?

JOSH MERTZ: The Keeton is my theatre home. I absolutely love performing here! Kevin and Donna Driver are amazing, and they run this space with such care- which is one of the many reasons I keep coming back. The reason I auditioned for this particular show in the first place is the absolute dream production team of Erin-Grace Bailey, Allison Gaddy, and Fiona Barrett. I love getting to work with them so much! I think they bring fun energy and passion for this craft into the rehearsal space. I appreciate the production team’s ability to create nuanced performances and challenge us to be the best actors we can be. Allison is an unsung hero as our stage manager because without her calm presence backstage running the show, there simply wouldn’t be one. Fun fact – during the audition, I told the team I would play “Tree number 1” just to work with them again, and the trust they had in me to play Chris is just an added bonus, as it is a dream role for me to portray.

JHPENTERTAINMENT: Chris takes himself very seriously—how fun is it to play someone completely unaware of how wrong things are going?

JOSH MERTZ: Chris has been such a fun character to build. In my interpretation of Chris, he is your typical over the top, overbearing director with a “the show must go on” mentality. I do believe he’s more oblivious to how wrong things are going earlier on in the show but … Chris certainly has a breaking point! This show is fun as an actor because while we know all the things that will “go wrong,” our characters do not always see what’s coming. And hopefully, neither does the audience!

JHPENTERTAINMENT: You’ve done everything from Ragtime to Footloose—how does comedy like this challenge you differently?

JOSH MERTZ: I consider myself as primarily a character actor, so this show was right in my wheelhouse. I think what challenges me the most as a performer is how fast-paced and high energy the show is. This has been the most challenging show I’ve ever done in my life. Between the running, jumping and falling, by the end 0f the night Chris is so exhausted. The play goes by so fast, and I hope the audience is ready to buckle up for this rollercoaster of a show.

JHPENTERTAINMENT: What’s the most difficult accidental moment you have to execute on purpose each night?

JOSH MERTZ: The most difficult moment for me personally is having to fall off of a high platform. Erin-Grace prioritizes actor safety in all of the choreographed chaos of this show, so it has been incredible to know that I would never be asked to do anything that was going to put me at risk of injury. I won’t give away the stage magic, but it was definitely something I had to mentally ease my way into.

JHPENTERTAINMENT: What’s your personal favorite moment of chaos in the show?

JOSH MERTZ: My favorite moment of utter chaos is the ending of Act 2. The entire cast is on stage, and it is so fun to all be there together for the culmination of the show. I cannot give too much away, so you will just have to get your tickets to see how it ALL falls apart.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s LESLIE KING

JHPENTERTAINMENT: Sandra has to juggle performance and disaster at the same time—what’s the trick to balancing both?

LESLIE KING: I’ve found that being able to trust my fellow cast mates is super important. All of our disasters are carefully constructed and executed and if I’m focusing on what everyone else is doing it doesn’t leave much bandwidth to focus on myself and my character. Because I trust my cast mates to be where they’re supposed to be and do what they need to do, it makes it easy to balance both.

JHPENTERTAINMENT: Sandra’s claim to fame is that her aunt is Dame Diana Rigg. In your real life, who’s your favorite name drop?

LESLIE KING: I have a connection to Gabe Gibbs (played Elder Price in The Book of Mormon on Broadway 2015-2017) and his family. He probably wouldn’t have any idea who I am but his parents would. We went to church with them for about a decade, and I went to high school with his brother.

JHPENTERTAINMENT: You’ve previously appeared in area productions as varied as Cabaret and Puffs. Where does a physical comedy like The Play That Goes Wrong fall in the mix?

LESLIE KING: It has been so much fun to work on. While I’ve done comedies before, the physicality of this show is unlike anything I’ve done before. It adds an extra element of challenge, but I’ve absolutely loved it.

JHPENTERTAINMENT: What’s the hardest moment to keep a straight face when everything is going wrong? AND Who among your fellow cast mates breaks easiest?

LESLIE KING: I’d have to say watching David Fonville inch his way off stage after the gurney fails is high on the list of moments I struggle to keep a straight face. Either that, or the ring around the rosey scene at the end of act one where they get stuck going in circles on the same scene. Luckily I’m offstage for that so I can laugh as much as I like.

Honestly we’ve all worked pretty hard to stay composed but occasionally I’ll still get Josh Mertz to break.

JHPENTERTAINMENT: The Keeton’s resident scenic designer Kevin Driver has his work cut out for him with this show. What’s your favorite set element that Goes Wrong?

LESLIE KING: I think the walls or the platform are both great elements. They’re both completely unexpected if you haven’t seen the show before and I love the moment we really catch people off guard with elements like those.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s HAZEN LAWSON

JHPENTERTAINMENT: Even though he is a bit of a novice on the stage, Dennis quickly realizes even his flubs get a memorable reaction from the audience. How much fun are you having leaning into that aspect of the character?

HAZEN LAWSON: It’s been a lot of fun digging into how Dennis sees himself on and off the stage. His biggest dream is to be in “the big leagues” with actors like Robert, Chris, and Sandra, and I think he just can’t even believe he gets to be on stage with these talented actors. Dennis strives so hard to do everything right, but every time he messes up – to fanfare from the audience – it’s another reminder that he’s not as polished as his fellow actors. Playing off the juxtaposition of Max has also been a lot of fun; where Max pushes for attention from the audience, Dennis is absolutely mortified by it.

JHPENTERTAINMENT: This show is very physical—what’s the most demanding part for you?

HAZEN LAWSON: The ending scene of Act I is a bit of a gauntlet for me when Dennis can’t quite seem to get his lines right. It’s a full-on mental circus act keeping track of the script and blocking while everything loops over and over again to make sure that everything runs exactly as it should every time. And then by the end of the scene, I’ve been thrown on the floor, drenched with several glasses of scotch, and Dennis is having a full-blown panic attack. It’s a big push, but it’s absolutely worth it for the utter catharsis those ending lines bring.

JHPENTERTAINMENT: Your show bio reveals a love of reading, knitting, and hiking—all seemingly tranquil—How do you mentally shift into the fast-paced chaos of The Play That Goes Wrong?

HAZEN LAWSON: Funnily enough, I think my love for my grandma activities as I call them has been crucial to helping me keep up with the show. Every single joke, line, and practical effect has been knit into this intricate story that will start to unravel the second a thread gets dropped. Tranquility, and especially attention to detail, is the name of the game when you need to keep a level head and stay in complete control while the show seemingly falls apart around you. To the audience it should look like total chaos, but for those of us up on stage it should be running like clockwork.

JHPENTERTAINMENT: What’s one moment where timing is absolutely everything for the joke to land?

HAZEN LAWSON: Is saying the entire show an option?? If I had to choose just one moment, it would probably be at the beginning of Act II where Dennis’ lines are cut off by Trevor having fun with some sound cues. It’s a moment where I really have to be in sync with Wanderson Rezende – who’s playing Trevor up in the fake sound booth – and with Steve Love – our actual sound designer/operator in the real sound booth – to make sure everything lines up.

JHPENTERTAINMENT: Have you had any almost mishaps that felt a little too real?

HAZEN LAWSON: During one of our rehearsals, the set may have fallen apart just a little too early. Thankfully everyone was where they needed to be and no one was in any danger – but I will say I have a newfound perspective on Dennis’ reaction to almost being crushed by a flat.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s DIRECTOR, ERIN-GRACE BAILEY

JHPENTERTAINMENT: You’ve directed a wide range of work, from the Bell Witch Fall Festival‘s Smoke and Women In Theatre‘s Tiny Beautiful Things to The Keeton‘s 2024 production of William Inge‘s Bus Stop—what drew you to The Play That Goes Wrong?

ERIN-GRACE BAILEY: This was kind of a dream show for me. I’m a big fan of a lot of British work and grew up on a lot of that classic slapstick comedy. I was that weird teenager that would rather re-watchI Love Lucy and Downton Abbey than keep up with the latest fad. That interest grew in high school when I discovered Oscar Wilde and then even more in college when I started studying Noel Coward. I got to see the National Tour of The Play That Goes Wrong my sophomore year for free after a friend gave up some tickets. I had no idea what I was walking into but immediately fell in love with it. I felt like it combined all of my favorite things. I’ve been an avid follower of Mischief Theatre Company who created the play ever since. The work they’re doing is not only incredibly creative and entertaining but extremely impressive. It’s an honor to bring a little piece of that to middle Tennessee.

JHPENTERTAINMENT: You had me at I Love Lucy, but I digress…How do you begin to direct something that’s supposed to look completely chaotic?

ERIN-GRACE BAILEY: Well, Step One is to swallow your anxiety and pray, haha. Step Two is a lot of research. We spent a lot of time on YouTube looking at other production, reading and then re-reading the script, and talking to people we knew who had done the show before.

A lot goes into this show. Our technical director Kevin Driver has outdone himself. The set for this show is no easy feat, and we’ve had it for a while for the actors to practice on. Everyone in this show has spent a lot of time learning stage combat and stunts, memorizing their lines early on, and fine tuning little things so they’re shocking to the audience but predictable for the people they’re on stage with.

Above all, I want to recognize that while every show takes a village, this one especially does. Everyone apart of this has put in a lot of work, contributed ideas, and collaborated to bring out the best in one another. Nothing about this show is possible without an amazing team.

JHPENTERTAINMENT: What’s the biggest challenge in balancing technical precision with comedic freedom?

ERIN-GRACE BAILEY: Time. We could have probably rehearsed this show for the rest of the year and continued to have made discoveries, but in a rehearsal period, there has to be sort of a cut off for new things. I still encourage the actors to play so it’s fresh every night, but there are some pieces of the show that have to happen the exact same way every time so all of the elements can work together. It’s a fine line, but this cast and crew has mastered it with professionalism.

JHPENTERTAINMENT: You touched on it a bit earlier, but let’s delve into it a tad more…What has this show’s technical team done particularly well in bringing your vision of “controlled chaos” to life?

ERIN-GRACE BAILEY: Their dedication and communication has been nothing short of phenomenal. There’s a lot of bouncing ideas off one another. I think Kevin and I have had a phone call almost daily for the past two weeks talking about magnets and measurements. Ironically, for something to look so chaotic, it all has to be extremely precise. We’ve used the script as a formula, and then I think just about every designer has added little things of their own, too. It’s also a lot of fun to be directing a show where the designers get to bring out their comedic side as well. They’re so creative and lovely. I can’t thank them enough for the hours they’ve put in on this show.

JHPENTERTAINMENT: What do you hope audiences leave with after seeing The Keeton‘s production of The Play That Goes Wrong?

ERIN-GRACE BAILEY: As Dolly Parton says, “If you see someone without a smile, give them yours!” We’re living in some dark times. Even the day-to-day struggles just feel a little bit extra heavy lately. I hope folks get to come in to the theatre, have a nice meal, and just leave those struggles at the door for a little while. I hope they’re entertained, that they laugh, and they get to have an evening of no internet – just a bunch of strangers in a crowded room enjoying some weird, hilarious, impressive art.

—–

The Play That Goes Wrong runs April 10–26 at The Keeton Theatre, located at 108 Donelson Pike, Nashville, TN 37214. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Please note that the two Thursday evening performances during the run are show-only with Doors at 6:30pm and Show at 7pm. Show Only Tickets: $32.00 (Thursday performances), Adult Dinner and Show: $42.00, Child Dinner and Show: $37.00. For a slight upcharge, Salmon can be chosen as the dinner entree. Group tickets receive a discount. Please call the Box Office at 615.883.8375 or CLICK HERE for tickets.

During the run of The Play That Goes Wrong, The Keeton will present The Keeton Community Wind Ensemble’s Spring Concert An Evening at the Theatre, directed by Dillon Wright and featuring a selection of music from the movies. Door open for this one-night-only event at 6:30pm with the performances beginning at 7pm on Tuesday, April 14. Tickets are $15. CLICK HERE to purchase. Following The Play That Goes Wrong, on Tuesday, May 2 at 7pm, it’s time for The Keeton’s Annual Gala directed by The Keeton‘s own Donna Driver with musical direction by Jane Kelley. This year’s annual fundraiser for the theatre is themed: Role Reversal. Tickets to the gala are $60. Gala tickets include dinner, a chance to win some great prizes donated by supporters of the theatre and the opportunity to be among the first to purchase Season Tickets for The Keeton’s upcoming 2026-2027 Season. CLICK HERE to purchase gala tickets. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

Theatre Review: ‘Riverdance 30: The New Generation’; at TPAC Friday & Saturday as U.S. Tour Continues

April 4, 2026 by Jonathan

First presented as a 7-minute interval act during the 1994 Eurovision competition in Dublin, Ireland, performed by Michel Flatley and Jean Butler as conceived by composer Bill Wheland and co-founders Moya Doherty and John McColgan, there’s a reason Riverdance has endured for three decades. With Riverdance 30: The New Generation–onstage in Nashville at TPAC‘s Jackson Hall April 3 & 4 as the U.S. Tour continues– that legacy isn’t just preserved—it’s reenergized with a thrilling sense of immediacy. From the first electrifying beats of Act I’s opener, “Reel Around the Sun,” this anniversary tour reminds audiences exactly why it became a global phenomenon in the first place and why its popularity is unwavering.

The company wastes no time establishing its signature precision, led by principal dancers Kieran Bryant, Will Bryant, Anna Mai Fitzpatrick, Fergus Fitzpatrick, Olivia Nachtigal, and Mairead Trainor—each bringing a distinct presence while maintaining the razor-sharp synchronicity that defines the production. (And for a deeper dive into two of the evening’s standouts, be sure to check out my recent Rapid Fire 10Q with lead dancers and brothers Kieran Bryant & Will Bryant.)

“Reel Around the Sun,” with original choreography by Riverdance‘s legendary Michael Flatley, sets the tone with a commanding blend of power and polish, while “The Heart’s Cry” and “The Countess Cathleen” introduce the production’s more lyrical and folkloric elements. Throughout, John Kavanagh’s narration threads its way between segments, landing somewhere between folklore, fairytale, and fact. While evocative, the through line can feel a bit elusive at times—beautiful in isolation, though occasionally lacking clarity in the larger arc. Perhaps falling victim to life on the road, the sound–at least during Night One of the tour’s Music City Stop–struggled a bit with the live instrumentation and vocal performances occasionally overpowering the narration and all three suffering in the aftermath.

That said, when the show leans into its rhythmic intensity, it’s virtually unstoppable. “Thunderstorm” delivers one of Act I’s most exhilarating sequences, the male troupe unleashing a barrage of percussive footwork that feels both primal and impossibly precise. “Firedance” shifts the energy entirely, with flamenco soloist Rocio Dusmet Orellano commanding the stage in a fiery fusion of Irish and Spanish traditions—an arresting reminder of the show’s global reach.

Musically, the production is as rich as ever, thanks to The Riverdance Band under the direction of Mark Alfred (drums, percussion, bodhrán). Cathal Croke’s uilleann pipes and low whistle add an unmistakable Celtic texture, while Haley Richardson’s fiddle and Emma McPhilemy’s saxophone bring both warmth and unexpected contemporary flair. Together with the company’s singers and drummers, they create a soundscape that feels as alive as the movement it drives. Interesting

Act I builds—inevitably, gloriously—to the showstopping “Riverdance.” It’s the moment audiences wait for, and it still delivers that mid-show ovation energy, the full company in perfect unison as rhythm becomes spectacle.

Act II opens with “American Wake,” a vibrant nod to the Irish diaspora, before launching into one of the production’s most visually and culturally compelling segments: “Trading Taps.” Featuring Riverdance Tappers Kenji Igus and Dharmesh Patel, the number unfolds—per state-of-the-art projections—Down Under the Manhattan Bridge Overpass (DUMBO), a detail my date for the evening, a former New Yorker, was quick to appreciate. Here, the show brilliantly illustrates how Irish rhythmic traditions echo through tap and hip-hop, creating a dialogue between styles that feels both historic and strikingly modern.

It’s a standout moment, though its placement feels slightly out of sync with the show’s overall progression. In a production that might benefit from some light editing or reordering, “Trading Taps” arguably belongs closer to the finale, where its thematic resonance could land with even greater impact.

Other highlights in Act II include “Ritmos del Corazon / Andalucía,” once again showcasing Orellano’s commanding flamenco artistry, and the continued interplay between the company’s diverse dance traditions, including the applause-garnering contributions of the Dervish Folk Dance Troupe.

Ultimately, Riverdance 30: The New Generation is at its best when it leans into what it has always done so well: uniting music and movement in a way that transcends language and narrative. Even when the storytelling thread feels slightly diffused, the sheer talent onstage never wavers.

The evening closes with “Home and The Heartland,” a fan-favorite finale dating back to the 1995 Dublin stage debut. It’s as rousing and emotionally satisfying as ever—a full-circle moment that honors the show’s origins while celebrating its continued evolution.

Thirty years on, Riverdance still knows how to bring an audience to its feet—and in the hands (and feet) of this new generation, its rhythm feels as unstoppable as ever. Riverdance 30: The New Generation wraps it’s limited two-day Nashville stop with two performances at TPAC‘s Jackson Hall Saturday, April 4 with a 2pm matinee and a 7:30pm evening performance. CLICK HERE for tickets.

Following their Music City tour stop, Riverdance 30 continues its U.S. Tour with stops in Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Beyond Riverdance, TPAC‘s calendar of events continues with Nashville Repertory Theatre‘s production of Sister Act on stage at the Polk Theatre April 10 thru 19 (Check back here at jhpentertainment.com for our upcoming chat with Sister Act‘s director and members of the cast). TPAC Inclusive Arts Presents two Arts Adventure Workshops—Stage Combat for ages 9-15 and Heroes and Villains for ages 8-16 on April 11. On April 16, TPAC InsideOut and Vanderbilt University team up to present a Lunchtime Preview of Nashville Ballet‘s Sherlock (onstage at the Polk Theatre May 1-3). April 16 thru 18, Nashville Opera presents The Barber of Seville at TPAC‘s Jackson Hall. CLICK HERE for all these and more great performances at TPAC.

As always, If you want to read our latest on Music, Movies, Performing or Visual Arts, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

Rapid Fire 10Q with ‘Riverdance 30’ Lead Dancer Brothers Kieran and Will Bryant; at TPAC April 3 & 4

March 31, 2026 by Jonathan

For three decades, Riverdance has captivated audiences around the globe with its electrifying blend of music, movement, and storytelling—and now, the legacy continues with the milestone Riverdance 30th Anniversary Tour. As part of just 67 cities on this celebratory U.S. tour, Nashville once again welcomes a limited engagement at Tennessee Performing Arts Center’s Jackson Hall, with performances set for Friday, April 3 at 7:30 p.m. and Saturday, April 4 at 2:00 p.m. and 7:30 p.m. Ahead of their Music City stop, JHPEntertainment caught up with siblings Kieran Bryant and Will Bryant—two of Riverdance 30’s internationally acclaimed lead dancers —for a quick-hit Rapid Fire Q&A, offering a behind-the-scenes glimpse into life on tour, stepping into the spotlight, and what it’s really like sharing the stage with family as part of this global phenomenon.

———-

RAPID FIRE 10Q WITH KIERAN AND WILL BRYANT OF RIVERDANCE 30: THE NEW GENERATION

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s KIERAN BRYANT

JHPENTERTAINMENT: You started dancing at just four years old—do you remember the moment it stopped being a hobby and became the path?

KIERAN BRYANT: I competed from a very young age both nationally and internationally. I guess the earliest moment I can remember that it clicked for me was my first time competing overseas in America. It opened my eyes to a whole new perspective and made me want to push myself to become the best I can possibly be. That’s when my love for it really took over.

JHPENTERTAINMENT: Hailing from Australia, what’s the most exciting aspect of touring the U.S. with Riverdance?

KIERAN BRYANT: US tours have always been my favorite tours. I love getting to see so many different parts of the country and how each city has its own vibe. It’s cool now getting to tour and perform in iconic places like New York & LA that growing up, I would’ve only really seen in the movies.

JHPENTERTAINMENT: Having joined Riverdance alongside your brother, who’s also a lead dancer in the company—what’s the biggest advantage of having him there, and what’s the one thing that can still drive you a little crazy?

KIERAN BRYANT: My brother and I have always been super close so getting to do what I love alongside my best friend, it’s the best. It’s natural for everybody to get a little homesick, especially being on the road for long periods of time so having him there helps massively dealing with that. That being said, us being so close we know each other better than we know ourselves sometimes, so like all siblings we do get on each other’s nerves from time to time. But it’s all love.

JHPENTERTAINMENT: Having officially made your lead debut in 2022—what shifted for you, mentally or physically, stepping into that level of responsibility?

KIERAN BRYANT: Becoming a lead dancer was always the goal so that was something I was building myself into from the beginning. There is a significantly higher demand on the body and mind that comes with the role so making sure I prioritize health and wellness has become even more significant in my day to day. It’s also essential having that trust and belief within yourself that you deserve to be there. I think that’s what keeps me striving to always push myself.

JHPENTERTAINMENT: Among the many international tour stops, you’ve performed lead in your hometown of Sydney, Australia, cheered on by family and friends. Quite the full-circle moment, I’m sure—what did that moment feel like in your body as you stepped onstage?

KIERAN BRYANT: It’s hard to explain really. It was kind of like an out of body experience, every movement felt a little different than usual. There were a lot of emotions going through my body, so I just tried to keep myself present and enjoy being in the moment. There’s a different energy from both the audience and the cast when it’s a big show like that. No better feeling than performing and showing gratitude towards the people who have supported you along your journey.

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s WILL BRYANT

JHPENTERTAINMENT: You joined Riverdance in 2013 and became a lead in 2016—I caught the 20th anniversary performance at TPAC a decade ago. How has your perception of (and performance as) a lead dancer changed since that initial anniversary tour?

WILL BRYANT: Having toured with Riverdance for nearly 13 years now. My perception, especially as a lead performer, has changed a lot. As a dancer in such a prestigious show as this, there is a certain standard you have to hold yourself accountable for. When you step into the role of a lead position, it’s a whole different ball game. You have to maintain a physicality and mindset that allows you to essentially lead an entire production night after night, venue after venue. There’s definitely ups and downs but it’s all part of the journey. I was just starting out my lead career in 2016, so 10 years on, having solidified my position and experienced the dynamics of the role, I feel that I am at the top of my game.

JHPENTERTAINMENT: Having performed in over 24 countries—has any particular audience surprised you in the way they respond to the show?

WILL BRYANT: I’d have to say when I toured Mexico in 2022, I was pleasantly surprised by the response we got. I didn’t really know what to expect as I had never been there before. They loved the show. I remember they were even selling their own Riverdance merchandise out the front of the venue which was really cool. They had everything. T-shirts, mugs, hats, you name it. I managed to snag a mug with my face on it.

JHPENTERTAINMENT: You and Kieran aren’t the only siblings on the 30th Anniversary Tour—there’s also Anna Mai Fitzpatrick and her brother Fergus. Do you feel like you four might have a slight advantage because of those familial relationships, or has your long tenure with the company created its own family vibe?

WILL BRYANT: I feel like every family relationship is different, but for me, my brother and I share a special bond. We are best mates. Always have been. Being able to share these experiences on the road with my brother isn’t something I take for granted. I feel like there is a definite advantage to having someone you’re so close to on the road with you. We are able to be brutally honest with each other on our performance and life, even when it isn’t asked for. But I love that.

JHPENTERTAINMENT: Hitting the Principal role and performing at Radio City Music Hall is no small milestone—did that moment live up to the ideals you put on it?

WILL BRYANT: Performing in Radio City is something that I will never forget. I have spent years performing in various venues across the globe but this one was very special for me. Due to unforeseen circumstances I was unable to perform lead in Radio City in 2020, so being able to strut my stuff as a lead performer in 2025 in front of the thousands, my parents included, was a phenomenal experience.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Riverdance live on stage?

WILL BRYANT: A major takeaway I’d like audiences to experience is a sense of connection. Throughout the show there are so many elements of cultural identity and cohesiveness. The artistry of all performers share a special bond that connects us no matter where you are from. I also hope audiences discover a new found respect for the arts industry. We put a lot into what we do as performers and I don’t think a lot of people realise that. Life on the road isn’t all glitz and glamour. We essentially put our entire lives into putting on shows night after night ensuring people experience the best of the best. That’s what we strive for.

———-

Tickets for Riverdance 30: The New Generation range in price from $47 to $215, with a VIP Ticket option that includes premium orchestra-level seating, early access to the venue to watch cast blocking and warm-ups, a VIP laminate, and a pre-show Q&A with select cast members. For more information on VIP ticketing, call TPAC’s Box Office at 615.782.4040 or CLICK HERE to purchase tickets.

Following their limited engagement in Music City, Riverdance 30th Anniversary Tour continues as they head to Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Arts Preview: Hiroaki Umeda’s Electrifying Fusion of Dance and Technology Returns to OZ Arts March 26-28

March 26, 2026 by Jonathan

In a recent press release, OZ Arts’ Artistic Director Mark Murphy reaffirmed his long-standing admiration for Tokyo-based multimedia artist Hiroaki Umeda—and why audiences are about to witness something truly extraordinary as the remarkably inventive visual performer returns to Music City, this time bringing his captivating program assimilating and Moving State 1 to Nashville for the first time ever.

It was back in 2019, not long after Murphy stepped into his role at Oz Arts that he first invited Umeda to perform. As Murphy says, “the future of performance”—a bold statement, indeed, but one that feels earned the moment you begin to understand Umeda’s work.

Blending choreography, sound design, lighting, and digital projection into a single, seamless vision, Umeda doesn’t just create dance—he builds entire worlds. A true one-man creative powerhouse.

Performing with nothing more than a laptop as his control center, Umeda simultaneously directs lighting, sound, multiple video projections in real time and entrancing motion. The result is a fully immersive environment where movement and technology are in constant conversation.

It’s a style that has captivated critics across the globe. The New York Times comparing the artist to, “a tin man with oil flowing freely through his veins.” Of Umeda’s style, The Guardian lauded, “dazzling…dancing through a perfect storm of light, video and sound,” while Infinite Body praised his work as “cool, minimalist, high-tech hip hop…a dance of total theatre.”

Still, I’ve a feeling those accolades barely scratch the surface of what Umeda has in store for Music City. Closing out a rare five-city U.S. tour, with his Oz dates, Umeda’s dynamic work assimilating and Movie State 1 begins, as assimilating suggests, with a visually explosive solo that places Umeda inside a constantly shifting digital landscape. Then, Moving State 1 presents a striking group work featuring four female dancers from Umeda’s Somatic Field Project, blending precision movement with cinematic intensity. Together, the pieces highlight what the Scotland Herald calls his “virtuoso melding of technology and movement,” blurring the lines between concert dance, visual art installation, and experimental theater.

In a note from Oz’s Artistic Director, Murphy recalls first presenting Umeda in Los Angeles in 2013, where the work left a lasting impression—earning praise from the Los Angeles Times for “a defining artistic vision for our time.” Now, that same boundary-pushing artistry returns to Nashville with a program locals haven’t witnessed before. I’m certain that my readers know: every now and then, a performance comes along that genuinely shifts your expectations. This is one of those moments.

Umeda’s work isn’t about narrative or tradition—it’s about sensation. It’s about what happens when light, sound, and the human body collide in real time. And it’s about experiencing something you simply can’t replicate unless you witness it in the flesh. As Murphy puts it, this is an artist whose work must be seen firsthand. For Nashville’s creative scene, this isn’t just another visiting performance—it’s a rare opportunity to experience an artist who is actively redefining what live performance can be. And for three nights only, that future is playing out right here at OZ Arts.

Hiroaki Umeda: assimilating and Moving State 1 runs Thursday through Saturday, March 26–28 at 8 PM (doors open at 7 PM) at OZ Arts (6172 Cockrill Bend Circle, Nashville, TN 37209)

Ticket options include:

Artist & Creative Community (discounted, no code required)
General Admission
Generous Admission (I love this one!)

Pricing by night:

Thursday: A&CA $20 / GA$30 / Generous Admission$40
Friday: $25 / $32 / $42
Saturday: $30 / $37 / $47

CLICK HERE for tickets.

Next up at Oz Arts is Australian cabaret darling Meow Meow April 11. CLICK HERE for more info or to purchase tickets. To keep up with all things Oz Arts, follow them on Facebook, X, YouTube and Insta.

Rapid Fire 20Q:This Empty Vessel on Their Debut Album ‘NOD’; Now Streaming Everywhere

March 25, 2026 by Jonathan

Atmospheric, cinematic, and emotionally charged, NOD marks the debut release from This Empty Vessel (TEV)—a collaborative project built on evolution, storytelling, and sonic exploration. Released on February 27, the album was written and produced by Gerald Josef, J Booth, and Wes Bishop, with vocals from Jennifer McLane guiding listeners through its layered, immersive soundscape.

Blending elements of alt-rock, electronic textures, and folk-inspired storytelling, NOD was crafted as a front-to-back listening experience—one that invites audiences into an etherial space somewhere between dream and reality.

JHP Entertainment caught up with the creative forces behind This Empty Vessel to talk about the origins of the project, the making of NOD, and what lies ahead in TEV‘s ever-evolving musical journey.

———-

RAPID FIRE 20Q: THIS EMPTY VESSEL ON THEIR DEBUT ALBUM, NOD

RAPID FIRE WITH TEV’s GERALD JOSEF

JHPENTERTAINMENT: You’re credited as one of the founding forces behind This Empty Vessel. What first sparked the idea for the project, and at what point did the concept for the debut album NOD begin to take shape?

GERALD JOSEF: First, let me say that I’ve known J for nearly 40 years. His ability to write prophetic, emotionally deep lyrics—while still making them work within a pop or alt-rock framework—is unmatched. I always knew that if I ever started something new, he’d be the person I’d want to build it with.

The core idea behind This Empty Vessel is simple: create the best music we’re capable of. With each release, we plan to introduce a new artist—both to lift them up and to push ourselves as writers to keep evolving.

The concept for NOD came straight from J. He has this rare gift for taking a spark of an idea, shaping it, and carrying it all the way to a fully realized story.

JHPENTERTAINMENT: As a multi-instrumentalist and composer on NOD, how did you approach shaping the sonic palette of the record—from the gothic mysticism heard in “Prologue” to the folk-tinged textures of tracks like “Oceans and Blankets”?

GERALD JOSEF: One of the things I love about having a few years of experience under my belt is finally having access to tools I could only dream about when I first started. Most of what I use now is software-based, but so many of these instruments are incredibly faithful recreations of the originals—classic synthesizers, beautifully expressive orchestral libraries, and everything in between.

I’m especially drawn to sounds with a slightly spooky edge, like “Prologue,” or the dramatic, atmospheric textures you get from “Oceans and Blankets.” Anything with a cinematic feel tends to pull me in.

JHPENTERTAINMENT: Ok, let’s just get into it… NOD. When I first heard the name, I had two thoughts—Nod, the biblical city of exile just East of Eden…OR, The Land of Nod, a dreamlike state as written about in Robert Louis Stevenson’s 1885 collection of poetry. So, what was the inspiration for the project title?

GERALD JOSEF: This is truly a question for J as he is the author of this concept. I will say NOD leans more towards the liminal space in between awake and fully asleep.

JHPENTERTAINMENT: NOD was written as a front-to-back listening experience rather than simply a collection of songs. How intentional were you about sequencing the record and guiding the emotional arc from “Prologue” all the way to “Home”?

GERALD JOSEF: Everything about this project was intentional. J and I worked closely on every aspect of the production to make sure the album had a consistent feel and a natural flow. It was the perfect way to ease back into working together and a reminder of the direction we believe we’re heading.

Because our long-term vision is to collaborate with a different artist on each project, that intentionality becomes even more important. It allows us to stay true to our own writing style while also being mindful of the artist we’re working with and the direction they naturally want to take.

JHPENTERTAINMENT: Now that NOD is out in the world, what’s next for This Empty Vessel—more recordings, live performances, or perhaps expanding the collaborative circle behind the project?

GERALD JOSEF: We’re already excited about what’s next. Our next artist is lined up, and we’ll most likely shift to smaller, more frequent releases before moving on to the next vocalist. As for live performances, that’s not our focus right now. If the right opportunity comes along, we can revisit it, but it may be challenging since we plan to work with many different vocalists over time.

For now, we’re keeping the writing circle to just the three of us. We may eventually expand the process, but we’re still early enough in this journey that it isn’t necessary yet.

RAPID FIRE WITH TEV’s J BOOTH

JHPENTERTAINMENT: You’re part of the trio that formed This Empty Vessel. How did your lyrical/musical background and instrumental role in the band influence the sound and direction of NOD?…AND…When I chatted with Gerald, he deferred to you when I ask about the inspiration for the album title, so…

J BOOTH: When Gerald, Wes, and myself set out to work on this album we made two decisions at the onset. 1.) We wanted to work with a female vocalist on TEV’s first album—something the three of us hadn’t done in some time and missed. 2.) We wanted to write songs that were accessible to a large audience.

We challenged ourselves to use lighter tonal colors, focus on clear themes, and create hooks that complement a female voice. I approached it the old way—just me, an acoustic guitar, and weeks in a room. Once I had something strong, I’d send it to G and Wes. When approved, I’d dig into my studio and start building from there.

[as for the project title] When I was younger we would always “go off to the land of Nod” when we were going to bed. I didn’t realize at that young age that there were religious implications to the term or place. I thought it meant it was where you went when you nodded off—a place where you go to dream. Literally, that’s what I thought.

JHPENTERTAINMENT: While somehow remaining cohesive, NOD blends alt-rock, electronic textures, shoegaze elements, and folk storytelling. When working on the arrangements, how did you strike that balance between atmosphere and raw edge?

J BOOTH: I love this question. We approached the album like we were filming a movie—each song is a scene. From “Prologue” to “Clean,” we let each track be itself while tying them together subtly.

When atmosphere was needed, G’s orchestration and synth work led the way. When it needed edge, I brought that on guitar, and Wes is a powerhouse on drums when it comes to accenting emotion. The songs told us what they needed—we just followed.

JHPENTERTAINMENT: Tracks like “Knock Knock Road” introduce dissonant electronics alongside roots-leaning melodies. Can you walk us through the creative process behind building a track like that?

J BOOTH: Believe it or not, “Knock Knock Road” was inspired by “Ode to Billie Joe” by Bobbie Gentry. At its core, it’s a folk song—arpeggiated verses with sliding riffs instead of straight strumming.

We knew it had to follow “Japanese Tile,” so it needed to push the album forward. G added dark synth layers, we created an opening line together, and Jenn doubled it vocally with a bit of a Led Zeppelin vibe. Then I layered in percussive guitars while Wes and G built a groove.

Honestly, none of it should’ve worked—which is probably why it did. And yeah, we had a blast.

JHPENTERTAINMENT: Where were the NOD sessions tracked, and what did those studio collaborations bring to the final sound?

J BOOTH: Gerald set up a system where I tracked guitars at my home studio while he handled orchestration, drums, vocals, and mixing at his place.

We’d share files back and forth—sending tracks to Wes with a click so he could build his parts before we all got together. It made the process efficient but still collaborative when we met in person.

JHPENTERTAINMENT: With the album now released through Soundcrest Music Group and reaching listeners worldwide, how do you see This Empty Vessel evolving musically from here?

J BOOTH: The whole purpose of This Empty Vessel is to evolve with every project. The next one will feature a new vocalist, new direction, and a fresh blend of influences.

We’re doing this to challenge ourselves and to spotlight artists we believe in. The days of being boxed into one lane are over—we’re here to explore.

RAPID FIRE WITH TEV’s WES BISHOP

JHPENTERTAINMENT: As one of the founding musicians of This Empty Vessel, what initially drew you into the project, and how did your instrumental role shape NOD?

WES: Anytime I get the opportunity to create original material with G and J, I’m all in. The idea of being a production company rather than just a band really fits this stage of life.

For NOD, I wanted drum grooves that broke away from standard rock patterns—blending raw drums with synth elements alongside G.

JHPENTERTAINMENT: Which track on NOD best represents your personal musical fingerprint?

WES: I’d have to say “Knock Knock Road.” It’s got an unusual groove, sensitive dynamics, and raw power—all things I love.

JHPENTERTAINMENT: The album explores themes of loneliness, uncertainty, and communication breakdown. How did those ideas influence your approach in the studio?

WES: Like you said—we’ve all been there. We each brought our own emotional interpretation into the songs, and that helped shape something that feels real and meaningful.

JHPENTERTAINMENT: At what point during the single rollout did you feel momentum building toward the full release?

WES: I was excited from day one with “Valentine,” but it was after “Joey’s Getting Mad Again” that I really felt the momentum take off.

JHPENTERTAINMENT: What excites you most about the next chapter?

WES: Starting new material. A new vocalist, new direction, new concept—that’s what has me fired up.

RAPID FIRE WITH TEV GUEST VOCALIST, JENNIFER McLANE

JHPENTERTAINMENT: You provide the lead vocals on NOD. How did you first become involved with This Empty Vessel?

JENNIFER McLANE: I’ve known Gerald for years and had worked on some of his music before. When he reached out again, I was intrigued. Coming from a folk, blues, and R&B background, I knew this would stretch me—and that challenge is what drew me in.

JHPENTERTAINMENT: Your voice carries a haunting emotional weight across the record, especially on “You Don’t Want Me.” How did you approach that?

JENNIFER McLANE: “Haunting emotional weight”—I like that. I just stepped into that space. It’s something many of us can relate to. Lines like “I hate your popcorn…” made me laugh—they’re so specific, but so real.

JHPENTERTAINMENT: How did you adapt your vocals to match the shifting moods of the album?

JENNIFER McLANE: Each song felt like a play, a movie—sometimes even a circus. I placed myself inside each story. The guys would share their perspectives, and I’d blend that with my own life experiences. Life is colorful—I had plenty to draw from.

JHPENTERTAINMENT: Do you have a favorite track that pushed you vocally?

JENNIFER McLANE: That’s tough—they all stretched me in different ways. “Prologue” moves from whisper to howl. “Japanese Tile” broke my heart. “Clean” feels like a lament. “17” has this unrequited love energy. “Maybe” hits with the line, “If you don’t know that you’re the best part of me, then that’s my fault.”

JHPENTERTAINMENT: What do you hope listeners take away from NOD?

JENNIFER McLANE: I hope people enjoy the journey. More than anything, I hope something resonates. Music is such a gift—to give and to receive.

———-

With NOD, This Empty Vessel has introduced a bold and deeply intentional debut—one that not only showcases the collective strengths of Gerald Josef, J Booth, Wes Bishop, and vocalist Jennifer McLane, but also sets the tone for a project rooted in collaboration and constant reinvention.

As the group looks ahead to new artists, new sounds, and new creative territory, one thing is clear: This Empty Vessel is just getting started.

NOD, released February 27, is available now on all major streaming platforms. CLICK HERE to check out the full album on your favorite streaming service. To check out a recent review of NOD, CLICK HERE.

To keep up with This Empty Vessel, CLICK HERE or follow them on Spotify, Apple Music, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Music, Movie or Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #ListenToTheMusic!

Theatre Review: Great Scott! ‘Back to the Future: The Musical’ National Tour is a Plutonium-Fueled Nostalgia Thrill Ride; at TPAC thru Sunday, March 22

March 20, 2026 by Jonathan

As someone who’s been a fan of the Back to the Future franchise since seeing the original film in the theatre on opening weekend—and who, on October 15, 2015, joined friends for the trilogy back in theatres on Back to the Future Day—the stakes were high when I took my seat at TPAC’s Jackson Hall for Opening Night of the Nashville leg of Back to the Future: The Musical National Tour (on stage in Music City thru Sunday, March 22). I gotta admit though, when the lights dimmed and the logo faded to reveal a projection of Doc Brown’s Time Circuit cleverly dialed to Nashville with the date March 17, 2026 at 7:30PM (the present location, date and time we were seeing Back to the Future: The Musical) then quickly switched to that fateful date in 1985, I had a feeling I was in for quite the ride.

When a beloved film gets the musical treatment, there’s always the question of why. Not every movie needs to be a musical. But this national tour doesn’t try to reinvent the wheel—it reinforces it, straps it to a DeLorean equipped with the ever-necessary flux capacitor, and sends it hurtling to 88 mph. Mere seconds in, any hesitation melts away, replaced by the knowledge that this show knows exactly what it is: a nostalgia (and plutonium)-fueled, tech-savvy, crowd-pleasing spectacle that leans into its strengths and overcomes its minor weaknesses in lightning speed.

At the center of it all are two performances that absolutely ARE Back to the Future. As Marty McFly, Lucas Hallauer brings the youthful energy, physicality, and vocal chops required for the role. He’s not doing a carbon copy, but the essence is there—especially in the quieter moments where Marty’s frustration about his future bubbles to the surface. Vocally, he delivers some impressively athletic moments that deserve even more love than they sometimes get in the moment. He’s got Marty down—from the nervous vocal inflection to those purple Calvin Kleins, Hallauer is Marty McFly. Side Note: I’m calling it now…give him a few years and he could easily step into another iconic movie-to-musical role as Euphegenia Doubtfire, as there were moments during BTTF in which Hallauer reminded me of a young Robin Williams.

Then there’s Doc. David Josefsberg’s take on the eccentric inventor is where the show truly locks into place. Wonderfully unhinged in the best way, his Doc balances manic comedy with genuine heart. His early numbers are the turning point where the audience collectively leans in and says, “Okay, I’m in.” Josefsberg doesn’t imitate—he reinvents, while still honoring what makes Doc such an iconic character.

Beyond the central trio, the supporting cast adds texture and heart across Hill Valley. Kathryn Adeline–a recent addition to the tour family, having just joined the tour on Febuary 24–steps into Lorraine Baines with a layered mix of humor and vulnerability. From Mrs. Lorraine McFly’s intoxicating opening scene to the more flirtatious 1955 Lorraine and back again to the new and improved time-altered Mrs. McFly, Adeline embraces each version with aplomb, wit and charm. As the nebbish George McFly, Mike Bindeman leans fully into the character’s awkward lovability, earning genuine laughs along the way. Those dance moves tho! As Marty’s 80s love interest, and a character that honestly could have been omittted from the musical, Sophia Yacap brings a grounded warmth to Jennifer Parker, even somehow managing to make the otherwise forced Act 2 number “The Letter/It’s Only a Matter of Time” (reprise) kinda work. Braden Allen King pulls double duty with ease as Dave McFly and Slick, making both moments count. Luke Antony Neville’s Principal Strickland is a fun, no-nonsense presence that lands exactly as it should.

Having interviewed Hallauer, Jofesberg, Adeline and Nathaniel Hackmann, who originated the role of Biff in the Broadway production for my recent BTTF Rapid Fire 20Q, I was especially looking forward to seeing all four taking on their iconic roles. Unfortunately, upon checking out the cast list in the lobby before entering TPAC’s Jackson Hall, I noticed the role of Biff was to be covered by Biff understudy, Zachary Bigelow. But as I mentioned to my date for the evening…if you’re part of a Broadway National Tour, you’re there for a reason. That said, as Biff, Bigelow brings a confident, lived-in menace (and humor) to the character here. His performance feels effortless. I’m guessing those who didn’t check the cast list were blissfully unaware they were catching the understudy. With Bigelow, Biff is exactly what you want—equal parts bully and buffoon, landing the comedy while never losing the edge that makes the stakes work.

And then there’s Cartreze Tucker as Goldie Wilson (and Marvin Berry), who nearly steals the entire show. From the moment he steps onstage, Tucker commands attention. His big number earns one of the largest audience responses of the night, and for good reason—his vocals are powerhouse-level, and his charisma is off the charts. It’s a star-making turn that injects an extra jolt of electricity into an already high-energy production.

The ensemble—featuring Joshua Blackswan Abbott, Gregory Carl Banks Jr., Brittany Bohn, Jenny Dalrymple, Steven Eckloff, Jillian Hope Ferguson, Abbey Friedmann, Anthony J. Gasbarre, III, Alexis Lilley, Tay Marquise, Gio Martinez, Lilliana Rodriguez, Brendan Sheehan, and Ross Thompson—keeps the world of Hill Valley alive and constantly in motion.

There was one small exception…during a less-than-sharply executed Enchantment Under the Sea dance sequence where the usual twirls, tosses and extensions of 1950s dance moves are crisp and expertly executed, the company just didn’t seem into it. Then again, this is year two of the National Tour and the day before Nashville’s opening night was indeed a travel day.

That said, whether filling out the town square or the diner, the entire ensemble help maintain the show’s kinetic pace and visual richness.

Of course, no discussion of Back to the Future: The Musical would be complete without talking about the DeLorean. The moment it first appears onstage is met with an audible, collective thrill from the audience—and rightfully so. It’s not just a prop; it’s an event. That reaction alone tells you everything about how deeply this story is embedded in pop culture. And when it finally kicks into time-travel mode? It’s a full-on theatrical adrenaline rush.

That blend of Broadway storytelling and theme park attraction energy becomes the show’s defining identity. This isn’t just a musical—it’s an experience. At times, it genuinely feels like you’re inside a high-end movie theme park ride, in the best possible way.

Visually, the production is stunning. The use of projections, layered with practical effects and good old-fashioned stage magic and some mind-blowing state-of-the-art new theatrical tricks, the effects become a character in its own right. Whether it’s the clock tower sequence or the time-travel effects, the technical execution is nothing short of jaw-dropping. It’s the kind of design work that reminds you how thrilling live theatre can be when all the elements are firing.

And yes—the nostalgia hits hard. All the classic lines are here, from “Wait a minute, Doc. Are you telling me that you built a time machine… out of a DeLorean?” to “I guess you guys aren’t ready for that yet. But your kids are gonna love it.” My favorite new line–early on when Doc Brown breaks into song, a bevy of big-haired 80s-styled backup dancer appear prompting Marty to ask where the came from, to which Doc responds, “I don’t know…they just show uyp every time I start singing”. So, too, the iconic moments—the skateboard chase, Marty coming to in Lorainne’s bedroom, the wannabe rockstar performance—are all intact, reimagined just enough to work onstage while still delivering that rush of recognition. Even the visual details, from Marty’s unmistakable 80s wardrobe to the stylized version of the skateboard, feel lovingly preserved…see what I did there?

Musically, the score does its job well in the moment. The original songs by Alan Silvestri and Glen Ballard support the story and showcase the cast, but once the DeLorean sets out for its next adventure, there aren’t many new numbers that linger. It’s the familiar pop tunes—“Earth Angel,” the aforementioned “Johnny B. Goode,” and the nods to Huey Lewis—that truly stick.

Act Two does bring one of the more head-scratching moments in the show—a neon-soaked, new wave-inspired “21st Century” opening number featuring Doc and a troupe of backup dancers. It’s flashy and fun, but also feels a bit unnecessary and tonally out of sync with the rest of the piece. And on opening night in Nashville, it was followed by a rare hiccup: the hoverboard didn’t quite cooperate. Still, the moment was handled with total professionalism, and honestly, it was quickly forgiven given the sheer volume of technical wizardry the show gets right. Because when it works—and it mostly does—it really works.

Back to the Future: The Musical is a time-traveling, nostalgia-packed spectacle that understands its audience and delivers exactly what it promises. It may not redefine the movie-to-musical pipeline, but it doesn’t need to. It’s fun, it’s fast, it’s visually spectacular, and it’s filled with performances that keep you invested from start to finish.

Whether you’ve never seen Back to the Future and just happen to have season tickets, or if you grew up loving this story, this production gives you the chance to experience it in a completely new way—live, loud, and with a DeLorean that still knows how to make an entrance….and an exit! So strap in and get ready to head Back to the Future as the National Tour continues.

For dates, times and tickets for Back to the Future‘s TPAC run, CLICK HERE. Following Back to the Future, the current season of Broadway at TPAC continues with Some Like It Hot onstage at Jackson Hall April 21-26. CLICK HERE for tix. You can also follow TPAC on Facebook, YouTube, Insta and TikTok.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues with dates in Fort Worth, Houston, Tucson, Sacramento, Spokane, San Jose, Portland and Washington, D.C. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

Rapid Fire 20Q with Cast Members of Playhouse 615’s ‘The Little Foxes’; onstage beginning March 20

March 19, 2026 by Jonathan

For such an intimate little theatre tucked away in a row of shops in Mount Juliet–just fifteen minutes from downtown Nashville–Playhouse 615 frequently presents a wide variety of plays throughout each theatre season ranging from farce to drama, camp to classics. With that in mind, it should come as no surprise that for their latest production they’re presenting the bold, character-driven story of The Little Foxes, Lillian Hellman’s searing portrait of greed, power, and family dynamics. In this Rapid Fire 20Q, we catch up with cast members Ann Street-Kavanagh, Zoë Garner, Phil Brady, and Gwendolyn Clinton as they dive into their roles, reflect on this particular production’s modern lens, touch on a bit of familial nepotism and unpack what makes this American classic continue to resonate with audiences today.

———-

RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s THE LITTLE FOXES

RAPID FIRE WITH THE LITTLE FOXES’ REGINA GIDDENS, ANN STREET-KAVANAGH

JHPENTERTAINMENT: The Little Foxes‘ Regina Giddens is one of the great roles in the American theatre canon. As a co-founder of Playhouse 615, I gotta ask…were you always gonna play Regina or did you actually have to audition for the role alongside others?

ANN STREET KAVANAGH: Actually, the show was chosen for [another actress], as Regina. We are huge fans of her talent, and consider her theatre royalty in Nashville. Unfortunately, she decided to step down for personal reasons. At Playhouse 615, I always audition for any role I play. I would like to think that my work stands for itself, and that I don’t need to “call dibs” on a role in order to be cast.

JHPENTERTAINMENT: What was it about The Little Foxes that made it feel like the right choice for this particular season?

ANN STREET KAVANAGH: We always include a play of classic genre. The story is a powerful look at family dynamics and could be set in any time period and still be relevant.

JHPENTERTAINMENT: On that subject, in a recent post on Playhouse 615’s social media, it was revealed that co-directors Joel Meriweather and Preston Alexander Raymer have reimagined Hellman’s classic through a “sharp, modern lens.” As a huge fan of the 1941 film version of The Little Foxes, which kept the story in its original 1900 timeframe, as did 2017’s Broadway revival… should I be worried?

ANN STREET KAVANAGH: You shouldn’t be worried at all! The script itself is intact other than a few minor things to update monetary amounts, etc.

JHPENTERTAINMENT: Regina is ruthless, brilliant, and endlessly calculating. What have you discovered about her motivations while working through Lillian Hellman’s script that surprised you the most?

ANN STREET KAVANAGH: That beyond being ruthless, brilliant, and endlessly calculating, she’s just really selfish to the core. She wants “things” and isn’t too interested in relationships of any kind unless they bring her more material things and a standing in society.

JHPENTERTAINMENT: While Tallulah Bankhead first brought Hellman’s Regina to fire-breathing life on the stage in 1939, it’s arguably Bette Davis’ turn in the film that’s most associated with the role. Of course Laura Linney and Cynthia Nixon alternated in the role during its most recent Broadway revival. So, what’s it like taking your place among these powerhouses of stage and screen as you put your touch on the legendary role of Regina Giddens??

ANN STREET KAVANAGH: Some powerhouse women indeed! Of course, I’d seen The Little Foxes, but that was years ago. I try to never watch someone else’s performance while in rehearsals. I want to explore the character without influence. I am delighted to add this character to my resume! As someone who usually does comedy, it’s been refreshing to play a villian, of sorts. I closed Birthday Candles at Lakewood Theatre about 2 weeks ago, so to jump from playing a very pleasant, loving woman to one who is only pleasant when it suits her, has been a lot of fun!

RAPID FIRE WITH THE LITTLE FOXES‘ ALEXANDRA GIDDENS, ZOË GARNER

JHPENTERTAINMENT: After spending much of your youth on stage, then stepping away from acting for a while, what made now the right moment—and Alexandra in Playhouse 615’s The Little Foxes the right role—to return to acting?

ZOË GARNER: It was always my intention to return to the stage when life calmed down enough for me. After living abroad for a while and finally being free from night shifts I was keeping an eye out everywhere for a place to start again. Joel is a director I worked with a long time ago when I had first started acting. It felt like a natural fit to try and work with him again to shake off the rust.

JHPENTERTAINMENT: How do you approach portraying Alexandra’s transformative moral awakening over the course of The Little Foxes?

ZOË GARNER: I feel it’s like waking up from a daydream. When you’re young you’re used to people telling you not to worry about it. Especially about the challenging and often times emotionally charged interactions that come from adult relationships. At some point though you have to realize that looking away and pretending it’s not your problem is only going to cause you other problems. So it’s like waking up, not from a dead sleep, but from something you didn’t want to see.

JHPENTERTAINMENT: You’re sharing the stage with Ann Street Kavanagh as Regina—Alexandra’s formidable mother. What has that dynamic been like both in rehearsal and off-stage?

ZOË GARNER: It’s cliche to say but it’s honestly it’s been a privilege to share the stage with her. I spent so much of my childhood acting up with older, more accomplished actresses. And now I feel like I’m standing side by side with fantastic scene partners. Being able to go from stupid jokes and gags backstage to intense on stage confrontations without batting an eye feels natural and exciting.

JHPENTERTAINMENT: This production also marks your first time working with Playhouse 615. What has the experience with the company been like so far?

ZOË GARNER: It feels like the type of home that theatre has always felt like. Well, the type good theatres feel like! There’s also an attention to the safety and comfort of the actors that I appreciate.

JHPENTERTAINMENT: Alexandra ultimately chooses a very different path than the rest of her family. What do you hope modern audiences—watching this story unfold in 2026—take away from her journey?

ZOË GARNER: As the daughter of a mother or a son of a father or a child of a parent we don’t have to obey just because we always have. Because it’s the path of least resistance. If it’s something you believe in strongly, it’s not too late to talk back. Your family is who you choose it to be, not just who tells you what to do.

RAPID FIRE WITH THE LITTLE FOXES‘ OSCAR HUBBARD, PHIL BRADY

JHPENTERTAINMENT: Let’s start with the obvious question—how is it possible this is your first show with Playhouse 615?

PHIL BRADY: I’ve done shows with Joel and Ann in the past, but the drive from almost Bellevue to Mt. Juliet at rush hour for rehearsal has kept me away.

JHPENTERTAINMENT: Oscar Hubbard is one of the more openly unpleasant characters in The Little Foxes. When you first read the script, what stood out to you about him?

PHIL BRADY: I noticed how determined he was to secure his son’s future and to take every advantage to make it happen even if it meant putting Leo in the same situation as himself: marrying for money.

JHPENTERTAINMENT: Hellman gives Oscar some brutally revealing dialogue about power, money, and entitlement. Is there a particular bit of dialogue that you love delivering within the script?

PHIL BRADY: My favorite section is when he and Leo are coming to agreement about getting his uncle to “lend” him bonds to make the cotton mill deal. The line that I think sums up the Hubbard phylosophy: “People aught to help other people, but that’s not always the way it happens. And so sometimes you have to think of yourself.”

JHPENTERTAINMENT: How do you find the balance between leaning into Oscar’s villainy and making him feel like a real person?

PHIL BRADY: Oscar is like all of us: a product of his circumstances and choices; so both his villainy and better self work to achieve his goals.

JHPENTERTAINMENT: At its core, The Little Foxes is about the corrosive nature of ambition. Where do you see Oscar fitting into that larger moral ecosystem of the Hubbard family?

PHIL BRADY: I see Oscar as the blue heeler that tries to herd the family into prosperity.

RAPID FIRE WITH THE LITTLE FOXES’ ADDIE, GWENDOLYN CLINTON

JHPENTERTAINMENT: If memory serves, Playhouse 615 audiences first saw you as Calliope in Lysistrata, you stage managed their Death of a Streetcar Named Virginia Woolf, and appeared as Kate in Good People last fall, now you’re back onstage…this time as Addie in The Little Foxes. How has that journey—from performer to backstage collaborator and back again—shaped the way you approach this role with this company?

GWENDOLYN CLINTON: I am someone who works better when I know the why of how things are done. Working back of house is a great way to learn the why of theater and to appreciate the importance of every part of the production. I think theater is magic and I love the opportunity to peek behind the curtain and learn the tricks. Being back onstage fuels my soul and having the backstage experience makes me want to do my best and do my part to make the production the best it can be.

JHPENTERTAINMENT: Addie is sometimes discussed in the context of the “mammy” trope in American drama, yet in Hellman’s script she also serves as the play’s moral compass. How did you approach honoring the full scope and complexity of the character?

GWENDOLYN CLINTON: The mammy trope is a complicated one. While their existence was belittled and mocked for entertainment purposes, these women did exist. They took care of the households and mothered other people’s children while their own children were often in the fields working under extremely harsh conditions. My approach to Addie is to treat her character with the respect she deserved while also showing the toll this type of work took on these women physically and emotionally.

JHPENTERTAINMENT: Exploring that a bit more…What does it mean to portray Addie in 2026—nearly a century after the play premiered—especially given how conversations about representation and historical context have evolved?

GWENDOLYN CLINTON: It makes me proud. Women like Addie existed and I think it’s important to tell their stories with the respect they deserve. The opportunity to play Addie in 2026 allows me to breathe more complexity into the character.

JHPENTERTAINMENT: Much of Addie’s power comes from observation and restraint rather than big speeches. How do you build that quiet strength and watchful presence onstage?

GWENDOLYN CLINTON: The best way for me to do this is to truly understand who Addie is as a person, examines her relationships with those she interacts with, and to understand her motivations. This helps me to not waste a single moment onstage. Silence speaks volumes and I want Addie’s to be deafening.

JHPENTERTAINMENT: Your background includes years as a Latin dance teacher, performer, and touring company director. Do any of those movement or storytelling instincts carry over into the way you inhabit a character like Addie?

GWENDOLYN CLINTON: Absolutely. The different rhythms of latin music is what I connect to when dancing. Those rhythms tell a story that is important when translating those stories into dance. Understanding Addie and connecting to the rhythm of her life is the best thing I can do to help tell her story.

———-

Playhouse 615’s production of The Little Foxes runs March 20 through April 5, with performances held at Playhouse 615 11920 Lebanon Rd, Mount Juliet, TN. Friday and Saturday Evening performances begin at 7:30 PM, with Sunday matinee performances at 2:30 PM. Tickets are $17 for Seniors/Military and $20 for Adults. All tickets are General Admission. CLICK HERE to purchase tickets or call the box office at 615.319.7031. Whether you’re revisiting this American classic or experiencing it for the first time, this sharp, modern staging promises an interesting night of theatre just outside Nashville.

Next up at Playhouse 615 is God of Carnage onstage May 1-17, followed by Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q with ‘Back to the Future the Musical’ National Tour’s Marty, Lorraine, Biff and Doc; at TPAC thru Sunday

March 18, 2026 by Jonathan

When Back to the Future: The Musical hits the stage, it doesn’t just revisit a beloved story—it supercharges it with theatrical spectacle, heart, and 1.21 gigawatts of energy. On Tuesday, March 17 the National Tour set their destination to TPAC’s Jackson Hall for a five-day, 8-show run thru Sunday, March 22, inviting audiences to hop in the DeLorean and experience Hill Valley like never before.

In this edition of Rapid Fire 20Q, we caught up with BTTF‘s Marty McFly-Lucas Hallauer, Doc Brown-David Josefsberg, Lorraine Baines-McFly-Kathryn Adeline, and Biff Tannen-Nathaniel Hackmann to talk about stepping into iconic roles, honoring a cinematic legacy, life on the road, and the 88mph magic that brings this time-traveling adventure to life eight shows a week.

So buckle up, dreamers! It’s time to go Back to the Future!

———-

RAPID FIRE 20Q WITH CAST OF BACK TO THE FUTURE: THE MUSICAL

RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER

JHPENTERTAINMENT: You joined the national tour originally as a swing before stepping into the starring role of Marty McFly early in 2025. What was that transition like—from covering multiple tracks to suddenly being the guy tasked with securing his own future every night?

LUCAS HALLAUER: Getting to launch this tour and be part of the Original Tour Cast was an absolute dream come true, and when we started this tour I would have never imagined that I would be in the position that I am today. Both of the jobs I’ve had on this tour are incredibly difficult for different reasons. Obviously performing the high-energy role of Marty 8x a week is no joke and it’s the most vocally taxing show I’ve ever done, but as a swing, not knowing which of my 8 tracks they were going to put me on for was much more emotionally taxing and stress inducing. Swings and understudies are truly the backbone of our industry and they don’t get nearly enough credit for it. I’m incredibly grateful for my time as a swing because I learned so much and it gave me an even greater respect for the swings and understudies in the cast.

JHPENTERTAINMENT: Marty McFly, of course, was made famous on screen by Michael J. Fox. What aspects of the character felt most important for you to capture when stepping into the role?

LUCAS HALLAUER: The great thing about Back To The Future being such a popular movie is that most people likely know the characters and the story already. And for good reason, people really love these characters. Our director John Rando and Bob Gale, the creator of the franchise, were very open about us creating our own versions of these characters. And I think what helps with that is the bits in our show that aren’t in the movie. Obviously, because it’s a musical, we sing and dance, and that gives us an opportunity to see more into these characters mind’s and get a deeper understanding of them.

JHPENTERTAINMENT: Back to the Future carries a huge nostalgia factor, especially for audiences who grew up with the movie. Has performing the show night after night given you a deeper appreciation for what the story means to fans of a certain generation?

LUCAS HALLAUER: Absolutely. I was a fan of the movie before auditioning for the show, so I can understand the love and passion that fans have for the films. Doing this show every night, and having met so many of the people involved in creating that franchise like Bob Gale, Michael J. Fox, Christopher Lloyd, & Lea Thompson (to name a few) has only strengthened my love for Back To The Future and I’m so grateful to be even a small part of that legacy.

JHPENTERTAINMENT: Marty’s wardrobe—from the puffer vest to the sneakers, perfectly reimagined for the stage by scenic and costume designer Tim Hatley—is instantly recognizable. What’s it like to put on that iconic costume each night and step into such a visually legendary look?

LUCAS HALLAUER: The design team has spared no expense to make sure that these iconic costumes look like the ones from the films. I love being able to live out my 80’s fantasy every night in denim on denim, and the 50’s prom outfit that Marty gets to wear has always been one of my favorites, so as a Back to the Future fan, these costumes have definitely been fun for me to play around in. I will say that we go through a lot of those sneakers though. Running around our stage 8x a week means beating those things up pretty thoroughly.

JHPENTERTAINMENT: You graduated from Coastal Carolina University in 2023 and not long after find yourself starring in a major national tour. Has there been a moment during this run where you stopped and thought, “Okay…this is really happening”?

LUCAS HALLAUER: I’m still not sure I’ve come to terms with it. I visited my alma mater recently to attend a 25th Anniversary Gala, and while I was there it almost felt as if I had never left. The past 3 years that I’ve been touring have been so surreal and every day I think I’ll wake up from the dream. Every once in a while, I’ll finish the show and look out into the crowd and just try to take in the moment, because it truly has been one of the greatest experiences of my life and I will forever be grateful to Back To The Future for that.

RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE

JHPENTERTAINMENT: Lorraine is such an interesting character because of the time-travel element of the story. What’s it like sharing the stage with Lucas’ Marty as both the future son she’ll eventually have and the mysterious guy her teenage self suddenly develops a crush on?

KATHRYN ADELINE: First – playing this role opposite Lucas has been an amazing experience. He is so funny and talented, and I often feel like I’m literally in the movie. Along with the entire company, we are having a blast telling this story each and every night. Playing Lorraine comes with a challenging dynamic because the character lives at the intersection of comedy and sincerity. Young Lorraine feels a connection with Marty and an attraction towards him in a way that she has never experienced before. “There’s just something about that boy!” What creates the comedic tension is that both Marty and the audience know something she does not- He is her son. So it becomes this balance of playing the innocence of a genuine and curious teenage girl discovering her own feelings and desires, while allowing the comedy of the surreal nature of the situation to live on top. The two different versions of 1985 Lorraine highlight the truth that our choices and life experience help define who we become.

JHPENTERTAINMENT: As you mention, Lorraine transforms quite a bit between the first time audiences see her, then the 1955 version of herself and again into the 1985 Lorraine audiences see later. How do you approach that arc within the show? And how grateful are you to Campbell Young Associates for the wig/hair/makeup assist in the physical transformation?

KATHRYN ADELINE: Transforming between the different versions of Lorraine is one of my favorite things about playing this role. When audience members first meet her, she is a tired, apathetic, middle aged mother who is coping with the fact that her life didn’t necessarily play out the way she had hoped. A few scenes later, Lorraine enters the stage again but this time 30 years younger as a curious, eager, innocent, bright, and zealous teenager. Finally, at the end of the show, we meet a new and different version of middle aged Lorraine. She is now put together, energetic, spunky, and sweet.

I have been very intentional in differentiating these three versions of the same character. While she is the same person, her life experience is completely different in each part of her storyand this informs her intentions, attitudes and physicality.

There is no doubt that when it comes to building her arc, much credit belongs to the perfectly designed costumes and the fabulous wigs and makeup… thanks to Campbell Young Associates. Their talent and attention to detail is truly inspiring! For me, looking the part has always allowed me to better feel the part. They are some of the very best at what they do!

JHPENTERTAINMENT: This production marks your national tour debut. What did it feel like the first time you stepped onto the stage knowing you were officially part of the touring company of Back to the Future?

KATHRYN ADELINE: Stepping out on that stage for the first time came with a feeling I can’t even describe. This opportunity is one I have worked so hard for and it was made even more special by the fact that Back to the Future is such an iconic and well loved story. It’s been an absolute dream come true!

I grew up in a family that loves musical theatre and my parents were always taking us to see shows at the Fox Theatre in downtown Atlanta. With New York being so far away, it was always a treat to experience the magic of Broadway right in my own hometown as each tour came through. I remember being in such awe of the productions. It is so special to travel with this company and create accessible opportunities for theatre lovers across the country. Make no mistake, I didn’t step onto that stage alone. I have an amazing team that has helped me get here. I cannot talk about this opportunity without also thanking them!

JHPENTERTAINMENT: Hill Valley is filled with big personalities and comedic moments. How do you balance Lorraine’s humor with the sincerity at the heart of her story?

KATHRYN ADELINE: Yes, it’s a joy to be in a show filled with so many moments that make the audience laugh. What I love about this story is that woven through all the comedic moments, big personalities, and energetic dance numbers is so much relatable human experience. At the heart of this story is the timeless message that we all have the opportunity to write our own future. “You can accomplish anything if you just put your mind to it.”

Specific to Lorraine, while the plot drives many of her comedic moments, she is also an endearing character with a very tender heart. She ultimately wants what most of us desire… a life filled with love and happiness, where everyone lives up to their greatest potential.

JHPENTERTAINMENT: As someone making their national tour debut, what has surprised you most about life on the road with a production of this scale?

KATHRYN ADELINE: Well everything is still moving so fast, and I am definitely learning a lot! I’m grateful to be surrounded by an incredibly competent and talented company. They have been so kind, welcoming and generous. When it comes to life on tour, and specifically with a show of this size and scale, the members of our crew are the real heroes. Moving the magic of Broadway from one city to the next, week after week, is no easy feat. This production is a true spectacle when it comes to all ofits special effects and technical elements. There is no way we could travel and perform this show eight times a week, in a new city, without them. On Sunday evenings, while the cast gets to go back to the hotel, the crew members immediately start packing up the sets, lights, sound equipment, costumes, props, wigs, etc. into 11 semi-trucks which transport everything overnight to a new city. Then, upon arrival…they unload and set everything up in time for our Tuesday night performance. This all happens within a 48-hour time period. They don’t tell all their secrets and I think somehow the Flux Capacitor is involved, but it is completely mind blowing how they get it all done!!

RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN

JHPENTERTAINMENT: Having created the role of Biff in Back to the Future: The Musical on Broadway, has your perception or portrayal of the character evolved since those earliest performances?

NATHANIEL HACKMANN: Well…. I’m not sure my portrayal has changed… but the number of my age has certainly increased!!! lol. I found out I was going to play this part over four years ago!!! Well over a thousand performances! HAHA! But in all seriousness every show is subtly different depending on my fellow cast mates, the theater, and of course- the AUDIENCE! They are so integral to everything we do… the response we get in real time is why we all love live theater!!!

JHPENTERTAINMENT: What’s key to making Biff both intimidating and entertaining for a live audience?

NATHANIEL HACKMANN: Oh I can’t give away the recipe for the donuts! 🙂 However, there is always something that makes any character a real human… something we can all relate to, when we watch them do heroic or despicable things… for me in Biff- everything has to do with Lorraine. He objectifies her as the trophy and status symbol that will gain him the power and respect he is (in his own mind) due. When he is blocked from gaining this all-consumingobjective, that’s when he is truly capable of super-human (or sub-human) feats.

Also everyone likes to see Goliath get knocked down… so I can’t miss in that moment!

JHPENTERTAINMENT: Okay, anytime I spot a Six Degrees of Separation type situation while researching to chat with actors who’ve worked with friends of mine, I’ve gotta ask: You shared the stage during the Broadway run of Back to the Future: The Musical with my friend Jelani Remy, who created the role of Goldie, everybody’s favorite future mayor of Hill Valley. What was it like working with him during that original run?

NATHANIEL HACKMANN: I adore Jelani!! I call him the mayor of every room he’s in. 🙂 truly, he elevates the work and mood of all those around him. I can’t wait until we’re on something together again! That original Broadway cast of BTTF was something so special. Lightning in a bottle. Those that saw it can attest… and those that were backstage will all agree I’m sure!!

JHPENTERTAINMENT: You’ve famously played both Jean Valjean and Javert in productions of Les Misérables. Does stepping into a character like Biff tap into the same kind of villain energy as Javert—or is it an entirely different beast?

NATHANIEL HACKMANN: I love this question… first I think to myself: can anything I do be truly unique from my other work if I’m there? There will surely be some inevitable commonalities, BUT… Javert almost never has any moments of levity and his pursuit of Valjean is always about a higher cause… these are a couple of polar opposites from Biff who (in my opinion) is always trying to be perceived as smart and funny and charming for his own selfish sake. One thing I do think they share is a certain doggedness and animal cunning… but I would hope anyone who only saw my Javert would hardly recognize me in BTTF. As an actor my heroes are the people that disappear inside their parts. Their egos are secondary to the story and they can make the audience truly believe they are seeing the character and not necessarily their favorite actor portraying a part. That’s the true magic of excellent theater.

JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?

NATHANIEL HACKMANN: EASY! I LOVE THIS INTELLECTUAL PROPERTY! I have been a fan of Back to the Future as long as I can remember. I am honored and overjoyed to be associated with this property and universe and FANDOM every single day. What an amazing ride this has been and continues to be!! I am so thankful to the creative team and my colleagues and most to the audience for allowing me to play in this world with y’all!!!

RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG

JHPENTERTAINMENT: Immortalized on screen in all three Back to the Future films by Christopher Lloyd, what was your process for finding your own take on the character of Doc Brown while still honoring what audiences know and love?

DAVID JOSEFSBERG: Okay so, let me start by saying that as the elder of the company, (ha) I was one of the only ones around back in 1985 to see the film when it came out. As most kids that age, it became a huge part of my life. I wore the vest, the shoes and always wanted to be Marty….turns out I had to wait 40 years to portray an even better role! Ha. The iconic Doc Brown! Yes, it’s iconic so you absolutely get to bow down to Christopher Lloyd, and you obviously have to give the “roads, where we’re going? We don’t need…roads!” And “Great Scott!” (You heard that in his voice didn’t you) But, the great thing about the musical is that we have both Bob Gale, the creator of the entire franchise, and John Rando, the amazing director at the helm. They encourage us to bring who we are to the character. Especially since in this version Doc is sort of a rockstar that dances and sings! So cool! So basically, I take a cup of Christopher Lloyd, half a cup of Roger Bart, who created it on Broadway, and add a cup of myself. Uh oh. That’s 2 1/2 cups! Ha!

JHPENTERTAINMENT: You were part of Back to the Future: the Musical toward the end of its Broadway run playing Principal Strickland. What’s it been like going from that role to rejoining the BTTF family on tour as the wildly inventive Doc Brown?

DAVID JOSEFSBERG: It has been incredible. I loved being in New York playing Strickland. He’s in the mix in all the scenes. I also got to do Doc about twice a week. Moving from twice a week to 8 times a week has been really great. It’s given me the chance to really make it my own. Touring as Doc also allows me to add a few little city specific references to each new city. I love coming up with those. You also feel like a family out here. We spend almost every waking moment together as opposed to heading home to my family in NYC! Now….there are also some interesting challenges touring as Doc. The different temperatures, each new hotel, and all the travel. But I love it!

JHPENTERTAINMENT: Okay, totally off-topic but because I’m a complete pop culture nerd and remembered you from your 2005 turn as Henry Winkler/Fonzie in the TV movie The Unauthorized Story of Mork & Mindy…what can you tell me about that experience?

DAVID JOSEFSBERG: Ayyyyyyy! Who doesn’t love the Fonz! Talk about an icon!!!??? HA. My friend Chris was playing Mork and he got me in for the audition because I look a lot like Henry Winkler. So, I booked it and flew to Vancouver to film it. I finished filming and came home….unfortunately they needed me to come back the following weekend and…um…that’s when my son was born. So, I saw him born, spent the night, and flew back out to finish the filming. Ha. It was crazy! But the show must go on.

JHPENTERTAINMENT: Your Broadway acting résumé spans shows as varied as Adam in Beetlejuice, standby for multiple roles in the 2023 revival of Spamalot and a 2017 stint as Ogie alongside Jason Mraz’s Dr. Pomatter in Waitress. As Doc Brown is there a different type of theatrical energy you’re tapping into that you’ve previously not accessed?

DAVID JOSEFSBERG: Well, he is by far the oldest character I’ve had to play, but he still has this crazy youthful energy…maybe moving just a little bit slower. I’d say most of the characters I play are truly heartfelt with a wild energy. I think Doc gets the wild energy, but he also gets a great heartfelt moment with Marty, where he sings “For the Dreamers.” This is a song about failing, and failing, and failing until you succeed. Might be my favorite moment in the show.

JHPENTERTAINMENT: Speaking of energy, one of the most entertaining elements of Back to the Future on stage is the theatrical magic courtesy the collaborative efforts of the show’s lighting designers Tim Lutkin & Hugh Vanstone, video designer Finn Ross, sound designer Gareth Owen and illusion designer Chris Fisher. Without giving away too much, what can you tell me about your favorite moment in the show where these elements all come together perfectly?

DAVID JOSEFSBERG: Absolutely. Here we go. The moment that first made me cry when I saw the show was when I am on the clocktower and Marty is driving our favorite co-star, the Delorean, through the streets. The lighting, video, sound and illusions all come together. It goes back and forth between the two moments and the swell of the music, that was from the movie, comes in and just takes your breath away. So nostalgic and really makes you feel like you are in a film. I feel so grateful every night to be in that scene. I won’t tell you if we succeed in sending him back to 1985! No spoilers here! Ha!

Thanks for the awesome questions. See you in the FUTUREEEEEE!

———-

From time-traveling teens and eccentric scientists to unforgettable villains and heartfelt transformations, Back to the Future: The Musical proves that some stories truly are timeless—especially when reimagined with the full force of live theatre magic.

Nashville audiences can catch the national tour at TPAC’s Jackson Hall now through Sunday, March 22, with performances that promise spectacle, nostalgia, and a whole lot of fun for longtime fans and first-time visitors to Hill Valley alike.

So whether you’re chasing time at 88 miles per hour or just looking for a nostalgic night at the theatre that hits all the right notes… now’s your moment.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

Rapid Fire 20 Q with Director and Cast of The Gift of Song’s ‘Footloose: The Musical’; onstage March 19-22

March 17, 2026 by Jonathan

High-energy, heartfelt, and packed with ‘80s nostalgia, The Gift of Song ‘s Footloose: the Musical is ready to cut loose with performances Thursday, March 19 thru Sunday, March 22. With a dynamic cast led by Jonny Child & Claire Billingsley, with Steven Kraski and more, under the direction of the youth-oriented company’s longtime creative force Leslie Berra, this production promises to bring the beloved story of rebellion, healing, and the power of music to life in a fresh and electrifying way at Shelby Theatre at Freedom Middle School (1000 Excellence Way, Franklin, TN 37064). For my latest Rapid Fire 20Q, I recent posed questions to the aforementioned cast and director, diving into everything from iconic roles and behind-the-scenes insights to the nostalgia inherent in a show like Footloose.

———-

RAPID FIRE WITH FOOTLOOSE‘s REN, JONNY CHILD

JHPENTERTAINMENT: Ren McCormack arrives in Bomont as the ultimate outsider. What was your way into understanding this character and the frustration he feels walking into a town with a ban on dancing?

JONNY CHILD: I believe dancing serves as Ren’s escape from the emotional pain he experiences after his father leaves him and his mother. When he arrives in a place where dancing is banned, he realizes that the one outlet he has for coping with that trauma is suddenly taken away. Because of this, it makes sense that he would strongly speak out against the rule. I connected with this idea through music. Music is my own escape from reality, so if I were told that I was not allowed to sing, play, or even listen to music, it would be very difficult for me to simply accept that.

JHPENTERTAINMENT: At 18, you’ve been involved in theatre for more than half your life and have already stepped into directing and composing. How have those behind-the-scenes interests and experiences influenced the way you approach a role like Ren?

JONNY CHILD: Through my experience working both on stage and behind the scenes, I have developed a process for approaching characters. I begin by looking at the character from a broad perspective, considering their backstory and the events that may have shaped them before the story begins, as well as what their life might look like after the events of the show. This helps me understand why they behave and react the way they do. Next, I try to connect the character’s experiences with moments or emotions from my own life. Finding those personal connections allows me to step into the character’s perspective and better understand what they might be thinking or feeling with each line they deliver. Finally, I bring all of these elements together to build a character that feels complete and fully understood from my point of view.

JHPENTERTAINMENT: is there a trait that Ren possesses that you might adapt in your own life after the show closes?

JONNY CHILD: Yes, Ren is a very observant character. Personally, I am not always as observant as he is. I tend to focus on one thing at a time rather than allowing my attention to wander and simply observe what is happening around me. However, I think being observant is a very valuable trait. It allows someone to better understand the people and situations around them, which ultimately leads to a deeper awareness of others.

JHPENTERTAINMENT: Footloose is famous for its electrifying dance numbers. What’s the most physically demanding moment in the show for you?

JONNY CHILD: The most physically demanding moment in the show for me is the song “I Can’t Stand Still.” As the title suggests, I am moving for nearly the entire number. In addition to the constant movement, the vocals are also quite challenging. Because the choreography includes breakdancing and I still have to deliver several longer vocal lines, it requires a lot of stamina. By the end of the song, I am pretty out of breath.

JHPENTERTAINMENT: Of course the 80s feature prominently in the Footloose score. If Ren McCormack could pick one modern song——to blast in his Walkman headphones while dancing around Bomont, what would it be?

JONNY CHILD: I’ve got to say, I think “Uptown Funk” by Mark Ronson (featuring Bruno Mars) is a song Ren would have a blast dancing to.

RAPID FIRE WITH FOOTLOOSE‘s ARIEL, CLAIRE BILLINGSLEY

JHPENTERTAINMENT: Ariel Moore is bold, rebellious, and fiercely independent. What do you find most compelling about stepping into her shoes?CLAIRE BILLINGSLEY: I find her confident nature and sense of self extremely compelling. I love her determination to achieve more that what others expect of her, and it feels great to be able to perform the role of an independent and intelligent woman.

JHPENTERTAINMENT: How has exploring Ariel inspired you outside the show?

CLAIRE BILLINGSLEY: Exploring Ariel has inspired me to look into what we do for ourselves and what we are really only doing for others. Ariel has many moments throughout the show where she is pretending to be something she is not just to gain recognition from another person. After taking a deeper look into my own habits, I have found myself being more genuine in day to day life.

JHPENTERTAINMENT: Ariel and Ren share a spark that pushes the story forward. What’s been the most fun part of building that onstage chemistry with Jonny Child?

CLAIRE BILLINGSLEY: Being love interests with someone in a musical can be both awkward and really fun. It means that even in the more intense one on one scenes, there is someone else who is feeling exactly what you are, which creates more genuine connections offstage as well. The whole cast has become very close over the past few weeks and I am definitely going to miss being in this show.

JHPENTERTAINMENT: Ariel has some unforgettable musical moments. Which song in the show do you think will be part of your playlist long after the final curtain?

CLAIRE BILLINGSLEY: “Holding Out for a Hero” will forever me part of my playlist. It is just a fun song with an all too familiar storyline and deeper meaning. Not to mention that both the broadway and Bonnie Tyler versions are fantastically done.

JHPENTERTAINMENT: You’re a senior planning to study musical theatre and law after graduation—quite the combination! Is there a lesson within Footloose that might shaped those ambitions?

CLAIRE BILLINGSLEY: In Footloose, the teens of the town realize that it is their responsibility to invoke the change they would like to see. This has contributed to my ambitions by confirming the fact that I want to be one of those change makers in the world. Whether it is through storytelling or new bill proposals, I want to help those around me and make the world a better place.

RAPID FIRE WITH FOOTLOOSE‘s REVEREND MOORE, STEPHEN KRASKI

JHPENTERTAINMENT: You actually played Ren in your high school production of Footloose over 20 years ago. What was your reaction when you realized you’d now be stepping into the role of Reverend Shaw Moore?

STEVEN KRASKI: It has definitely been a full circle kind of moment for me, that’s for sure. I had a lot of fun channeling my inner Kevin Bacon in my senior year, and I have so many great memories from it. Now having the opportunity, two decades later, to be this group’s Shaw for their go around feels pretty cool. There may have also been a part of me that got a little bit too excited about the character’s baked-in lack of choreography.

JHPENTERTAINMENT: Reverend Moore is often seen as the antagonist, but he’s also a grieving father trying to protect his community. How do you humanize him for the audience?

STEVEN KRASKI: Some of the best antagonists are ones who believe they’re doing the right thing. Shaw, motivated by grief-driven fear to protect his child, very much fits that mold so that alone humanizes him in a tragic way for me. His actions, particularly against his family, will make it hard for the audience to like him throughout but the shame he feels by the end is what finally lets us see him for what he is…lost.

JHPENTERTAINMENT: Where does Reverend Moore fall on the spectrum of roles you’ve played?

STEVEN KRASKI: This role falls into a very unique category for me. I haven’t had many opportunities to play the antagonist before, let alone one with such a sad arc tucked into an otherwise light-hearted romp. It’s been an interesting journey and one I will cherish as I do my previous run with this show.

JHPENTERTAINMENT: The relationship between Reverend Moore and Ariel sits at the emotional heart of the story. What has it been like building that dynamic with Claire Billingsley?

STEVEN KRASKI: I think one of the hardest things I have ever had to do in all my years on stage is to be so mean to Claire Billingsley! She’s such a sweet and talented person, an amazing singer, and so easy to work with, but when I have to raise my voice (or hand) to her, it breaks my heart every time. Otherwise, it has been an absolute joy!

JHPENTERTAINMENT: Having once been the rebellious teen at the center of the story and now portraying the authority figure—has your perspective on Footloose changed? AND…What do you hope audiences take with them after experiencing The Gift of Song’s Footloose?

STEVEN KRASKI: Oh most certainly! I must admit, as a teenager I don’t feel like I had quite the respect for the depth of Shaw’s arc and the greater story it tells about unhealed trauma and the pain it can cause the ones we love. So that is absolutely something I will personally be taking home with me. As for the audience, deeper themes aside, I just hope everyone has as much fun watching it as we have had putting it on!

RAPID FIRE WITH FOOTLOOSE DIRECTOR, LESLIE BERRA

JHPENTERTAINMENT: Before we get into talking about your current production of Footloose, what can you tell me about The Gift of Song, the youth-oriented theater company you found it in 2007?

LESLIE BERRA: The Gift of Song began as a way to reward kids who, when they were unable to land a role at our local community theater in Santa Clarita, would often serve as crew instead. The original vision was to provide one night where these kids could perform whatever they wanted, without having to fit a role, without any restrictions as to content, and without any cost involved. After gifting these kids that one night, my husband and I realized we could keep the group going, offering more kids a chance to shine. We continued with the Santa Clarita group through 2013 (and I still fly back to do two projects a year there, even now).

Fast forward to 2015, about 18 months after I moved here, and the group was resurrected to provide the same opportunities to youth here, with one change: all ticket proceeds would benefit the non-profit theater company where we were performing (we spent two years helping Towne Centre Theatre, and in 2019 we worked closely with Street Theatre Company) .

Fast forward again, and we are now an official non-profit, enabling us to receive grants and fundraise. I returned to my first love: producing and directing full-length musicals, initially just for teens. Starting in 2024, we expanded our programming to include two adult/mixed generation musicals, three youth musicals and two teen musicals. And the group has always had a focus on community service, conducting a minimum of three charity drives a year to help the homeless, kids in foster care and house-bound, low-income seniors.

JHPENTERTAINMENT: What is it about Footloose that makes it a perfect fit as The Gift of Song‘s latest offering?

LESLIE BERRA: The Gift of Song’s mission is to provide performance opportunities, especially where they are few and far between. Surprisingly, Williamson County doesn’t offer a lot of mixed-generation community theater, it’s mostly all-adult or all-youth casts . Footloose is a perfect fit because we have some incredibly seasoned adult actors performing alongside a dozen enthusiastic teens with varying degrees of experience. I’m a firm believer that we can all learn from each other, old (er) and young, and that we need more theater that includes all generations working side-by-side.

JHPENTERTAINMENT: For a show that tells the story of a town that outlaws dancing there there’s a lot of dancing in Footloose. To that end, you’ve enlisted choreographer Schuyler Phoenix. What’s it been like collaborating on this project with Schuyler?

LESLIE BERRA: This is my eighth collaboration with Schuyler in less than three years. We first worked together on Cabaret at Pull-Tight in 2023 and discovered that we really clicked creatively, often finishing each other’s sentences as our vision of a production number naturally aligns. Schuyler is so good at always incorporating the characters and their storylines into the dance, and has a way of bringing out the best in each performer, ensuring that everyone looks good and is comfortable with what they are doing. She’s also not afraid to take risks creatively, which is something I greatly value in a production team member.

JHPENTERTAINMENT: On the subject of collaborators, in addition to directing you’re also divvying up the vocal direction tasks with Lauren Case. How had sharing this responsibility affected rehearsals?

LESLIE BERRA: I’ve almost always handled the vocals for the shows I’ve directed, so I’ve come up with a pretty smooth process to handle both that and the direction of the show (as the founder of this organization, I’ve worn many, many hats over the years).

I’ve been working with Lauren for 11 years now. She was one of the first young performers I worked with here in Tennessee after moving here from Santa Clarita. I’ve had the privilege of directing her in countless musical variety shows and A Taffetas Christmas. I’ve watched her grow up, go off to college, and return with several degrees from Eastman School of Music. Lauren truly “gets me,” knowing how to help out wherever I might need it. For Footloose, having Lauren co-vocal direct meant we were able to accomplish everything in half the time, as we would divide and conquer the parts to each song. It’s a deceptively difficult score, so Lauren’s expertise brought tremendous value to Footloose, and her assistance freed me up to focus on other things.

JHPENTERTAINMENT: With an ‘80s score packed with recognizable hits, what moment in this production do you think audiences will be talking about most on the drive home?

LESLIE BERRA: I’m pretty sure it will be “Holding Out for a Hero”, it’s an out-of-this-world experience, and unlike the traditional staging people are accustomed to seeing.

———-

Ready to cut loose? Whether you’re an ‘80s superfan or just looking for an evening of high-energy entertainment with heart, you won’t want to miss The Gift of Song’s production of Footloose: the Musical, running Thursday through Saturday, March 19–21 at 7:30 PM, with matinee performances on Saturday and Sunday, March 21 and 22 at 2:00 PM at the Shelby Theater inside Freedom Middle School. CLICK HERE for tickets. To keep up with the latest from The Gift of Song, CLICK HERE or check them out on Facebook.

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

Theatre Review: A Historic Anniversary and a Bit of Local Influence Add to the Fire of Nashville Premiere as National Tour of ‘Suffs: The Musical’ Marches Across Stage at TPAC’s Jackson Hall

March 4, 2026 by Jonathan

Members of the cast of ‘Suffs’ First National Tour (all photo by Joan Marcus courtesy suffsmusical.com)

There are opening nights… and then there are opening nights that feel cosmically aligned with history. On March 3, 2026, the national tour of Suffs unfurled its banners at TPAC’s Jackson Hall in Nashville—and not just on any date. Music City’s first performance landed on the 113th anniversary of the 1913 Women’s March organized by young activist Alice Paul, when more than 5,000 women paraded down Pennsylvania Avenue demanding the right to vote, led by the indomitable Inez Milholland astride a white horse. History echoed loudly inside Jackson Hall that night.

From the opening strains of the period-perfect ragtime-syncopated “Let Mother Vote,” maternally led by Mary Grandy‘s Carrie Chapman Catt and backed by a vocally powerful ensemble, Suffs makes it clear: this isn’t a museum piece. It’s a movement. The storytelling feels urgent, strong, and emotionally immediate—never preachy, always human.

At the center stands Maya Keleher as Alice Paul—focused, flinty, and fiercely principled. Her “Finish the Fight” functions as both rallying cry and mission statement, delivered with unwavering conviction. Later, in “Insane,” Keleher reveals the psychological toll of imprisonment with a performance that is raw without losing control. Opposite her, Grandy’s Carrie Chapman Catt brings seasoned authority and strategic patience to the aforementioned “Let Mother Vote.” Their Act II duet, “She and I,” beautifully captures the tension—and eventual respect—between two women fighting for the same goal through different methods. Grandy’s “This Girl” adds reflective depth, grounding the generational divide in lived experience.

As Ida B. Wells, Danyel Fulton commands attention with moral clarity, emotional precision and powerhouse vocals to rival a certain recent Broadway Gypsy. “Wait My Turn” simmers with justified frustration, and when she returns in “I Was Here,” alongside Mary Church Terrell (Trisha Jeffrey) and Phyllis Terrell (Victoria Pekel), the moment lands as a declaration of presence that resonates well beyond the period setting. Speaking of Fulton’s co-stars, Jeffrey brings elegance and resolve to Mary Church Terrell, particularly in “Hold It Together,” serving as an emotional anchor amid political fractures. Meanwhile, Pekel’s Phyllis as well as a later turn as Robin, reinforce the vitality of youthful exuberance necessary for any movement to continue into the next generation. Whenever any of these three talented performers are on stage, the audience is mesmerized and treated to stunning vocals.

Monica Tulia Ramirez’s Inez Milholland radiates charisma in “The March (We Demand Equality),” which she leads alongside Fulton’s Ida and the ensemble in one of the production’s most visually arresting sequences. Act I’s “Show Them Who You Are” showcases Ramirez’s sass while Act II’s reprise flips the script to haunting results. Milholland’s personal life and sacrifices poignantly reveal the true dedication these powerful, but often unsung heroes of the moment possessed.

As Lucy Burns, Gwynne Wood delivers a blazing “Lucy’s Song,” electrifying the audience with defiance, while Livvy Marcus injects Doris Stevens with sharp wit, youthful urgency and to borrow a descriptive of Mary Tyler Moore’s Mary Richards…spunk, particularly in “The Young Are at the Gates,” which propels Act II forward with fire.

Laura Stracko‘s Alva Belmont is boisterously brilliant. Gotta love a socialist socialite. Act I’s “Alva Belmont” introduces the character in a big way. With another period-nod, “Alva Belmont” is presented as a toe-tappin’ Tin Pan Alley-style ditty complete with playful, yet pointed lyrics: “I divorced my husband for philandering. Now I’ve got his millions for philanthropy.” Flawlessly introducing the character. Interestingly, while not really relevant to the plot, I discovered while researching to interview some of the cast that the real Alva Belmont, a native of Alabama, has ties-by-association to Tennessee. Her maternal grandfather, Robert Desha was a U.S. House of Representatives for the state of Tennessee. In the years before her political activism, she was first married to William Kissam Vanderbilt, the grandson of Commodore Cornelius Vanderbilt (for whom Nashville’s Vanderbilt University was named).

As President Woodrow Wilson, Jenny Ashman offers a sharply drawn portrayal. “Ladies” drips with calculated condescension (and sadly echoes a little too closely our current administration’s views on the arguably stronger sex, but I digress). Later in the show, Ashman’s Wilson attemps to placate with “Let Mother Vote (reprise)”, which lands with pointed irony. On Opening Night in Nashville, Ariana Burks stepped into the role of President Wilson’s Third Assistant Secretary of State Dudley Malone, a role usually played by Brandi Portert. Covering the role, Burks shines in “Respectfully Yours, Dudley Malone,” blending romantic sincerity with political awakening. Her chemistry with Marcus’ Doris in “If We Were Married” and its reprise adds warmth and texture to the broader narrative. Just one of a handful of relationships, while not at the center of the narrative, a wonderful aside. Other notable personal relationships alluded to within Suffs include sorority sisters Ida B. Wells and Mary Church Terrell, friends Alice Paul and Lucy Burns and longtime partners Carrie Chapman Catt and Mollie Hay.

The ensemble numbers—“Find a Way,” “The Convention Part 1 & 2,” “The Campaign,” and “August 26th, 1920”—surge with collective momentum, creating stage pictures that feel both intimate and epic. Act I builds to the layered and emotionally charged “How Long?,” leaving the audience suspended in uncertainty before intermission. Act II escalates quickly with the explosive “Fire & Tea,” a collision of ideology and impatience that crackles with tension. Side Note: I love that during my Rapid Fire 20Q, Marya Grandy noted that the effigy to Woodrow Wilson seen in “Fire & Tea” is made of kitchen utensils! Giving me a little insider info that I’m happy to pass along to my readers.

Across the board, the vocals are exceptional. Touring companies frequently fall victim to the occasional technical issue inherent in the logistics of setting up in a new venue each week—but not Suffs thanks to Jason Crystal‘s sound design and the impeccable vocals skills of the entire cast. From the first notes of “Let Mother Vote” to the powerful final bars of “Keep Marching,” the vocals—both individual and united—were crisp, clear, and strong. Harmonies were tight. Lyrics were fully intelligible. Not a single mic felt unbalanced, and the orchestra never overpowered the storytelling. The sound mixing and design were remarkably polished for an opening night in a new city, allowing the emotional weight of each lyric to land cleanly and confidently. Considering even though I was there to review the show, yet relegated to the back of the theatre in seats Ida B. Wells herself would reject, the sound throughout the show was simply perfect. Every lyric, every note delivered and received with precision and clarity.

Visually, the touring production is both strong and fluid. Based on Riccardo Hernandez‘ Broadway scenic designs, Christine Peters has adapted ever-moving walls and platforms, unfurling drapes and banners suggesting both protest staging and democracy under construction, while seamless transitions allow rallies, jail cells, convention halls, and the Tennessee State House to materialize with cinematic efficiency. Hair and wig design by Charles G. LaPointe and Paul Tazwell‘s period-authentic costuming clearly delineates factions, with the crisp whites of the National Woman’s Party glowing under strategic lighting in “The March (We Demand Equality).” Lap Chi Chu‘s lighting design proves especially effective in “Insane,” where stark isolation heightens emotional impact. Add to that choreographer Mayte Natalio‘s movement choices from the opening number and throughout the show…what I’ve dubbed marchography. It’s succinct and effective without being too rigid, further conveying the forward-momentum and motivation of the cause. On the lighter side, there’s a segment about halfway through the show that takes place at a bar when Natalio’s genius draws the eye to a couple patrons in the background who raise their beers and clink their drinks in rhythm to the song being performed that caused me to make a mental note: drinkography. The absolute attention to everything from period references in wardrobe and music styles to sets, lighting and movement throughout Suffs, a multitude of reasons this show is so enjoyable.

Earlier, I made reference to Tennessee’s connection to the subject matter. While “Down at the State House” sets the stage, it’s “A Letter From Harry’s Mother”, featuring Laura Stracko, Jenna Lee Rosen and Maya Keheler, that transforms the evening into something deeply local for those of us from The Volunteer State. As mentioned in my recent Rapid Fire 20Q with members of the cast, this moment recounts Tennessee’s pivotal role in ratifying the 19th Amendment, when, in August 1920, Tennessee became the 36th and final state needed for ratification.

When Stracko’s Phoebe, Rosen’s Harry, and Keheler’s Alice bring that story to life onstage, it hits differently in Tennessee. The reaction inside Jackson Hall was immediate and thunderous—very possibly the most sustained applause the company has received on tour during that particular sequence. It wasn’t simply appreciation. It was pride. It was recognition. It was a state seeing itself in the story of progress. Something, sadly we as a state are lacking these days. (An aside: Dubbed in the press of the day as “War of the Roses,” saw pro-suffrage lawmakers wearing yellow roses while opponents donned red. So naturally, yours truly donned a yellow lapel flower while attending Music City’s Opening Night.)

By the time “Keep Marching” swelled in the finale, led by Alice and the full ensemble, it no longer felt like the end of a performance. It felt like a charge forward. After all, as Suffs reiterates time and time again, progress is not inevitable. It is organized. On opening night at TPAC, Nashville didn’t just witness history. It gratefully recognized its role in it.

———-

Created by Shaina Taub, this thrilling and emotionally charged musical shines a spotlight on the brilliant, passionate, and often divided women who fought tirelessly for the right to vote. Beyond the accolades lies a story that feels especially resonant here in Tennessee — the final battleground that secured ratification of the 19th Amendment. More than a century after Tennessee cast the deciding vote, Suffs reminds us that history is not just something we inherit — it’s something we shape. And sometimes, it only takes one voice to tip the balance.

The national tour plays TPAC’s Jackson Hall March 3–8 with the following performances: Tuesday, March 3 – Friday, March 6 with 7:30pm curtain, Saturday, March 7 – 2:00pm & 7:30pm, Sunday, March 8 – 1:00pm* & 6:30pm.

*Sunday’s 1pm performance includes ASL interpretation, Open Captioning, Audio Description, and Large Print and Braille programs.

To purchase tickets to Suffs at TPAC, CLICK HERE. Following Suffs, Broadway at TPAC‘s 2025-2026 Season continues with another Music City debut as Back to the Future takes to the stage March 17-22. CLICK HERE for tickets or more info. Follow TPAC on Facebook, Instagram, YouTube & TikTok.

Not in Nashville? Catch Suffs in a city near you as the National Tour continues with stops in Charlotte, Boston, Dayton, Minneapolis, Detriot and more through summer of 2026. CLICK HERE for upcoming tour stops. Keep up with all things Suffs via the show’s socials on Facebook, Insta, X , TikTok and YouTube.

In case you missed it, CLICK HERE to read my Rapid Fire 20Q with members of the Suffs cast. 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 Twitter. In the meantime… #GoSeeTheShow!