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Theatre Review: ‘SIX: the musical’; Henry VIII’s Wives Hold Court and Reign Supreme as National Tour Continues

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The Queen of ‘SIX’ US National Tour (all photos by Joan Marcus, courtesy SIX on Tour)

As I mentioned in my recent Rapid Fire 20Q with the show’s Alternates the premise of SIX cheekily presents the history—or should I say HERstory—of King Henry VIII’s wives through a modern pop lens. Think: what if the Spice Girls were competing against each other on American Idol, but make it Tudoresque. That’s SIX in a rhinestoned corset, and it knows exactly how ridiculous—and how brilliant—that sounds.

From its opening beat drop to its final glitter-soaked mic pass, SIX wastes no time announcing exactly what it is: a Broadway musical engineered like a pop concert. Now playing Nashville’s TPAC Jackson Hall, the national tour of the Tony-winning hit delivers history as a high-gloss remix—loud, funny, and meticulously attuned to modern pop and R&B influences. Performed without an intermission, SIX unfolds as a 90-minute showdown where heartbreak, harmony, and bass drops battle for supremacy.

Tuesday’s opening night of the Music City tour stop featured all six primary cast members, giving Nashville audiences the full force of the tour’s leading Queens right out of the gate. While it was undeniably thrilling to see the principals in action, I’ll admit to a slight pang of disappointment that none of the four alternates I recently interviewed for the Rapid Fire 20Q were onstage that evening—a very specific kind of theater-nerd heartbreak.

The show kicks off with “Ex-Wives”, an all-in girl-group manifesto disguised as a history lesson, instantly embedding the now-iconic refrain “Divorced, beheaded, died / Divorced, beheaded, survived” into the audience’s collective brain. The Queens emerge in a unified visual language —Tudor corsetry fused with pop-star silhouettes, metallic finishes, studs, and platform boots—each Queen’s attire color-coded yet cohesively styled courtesy costumer Gabriella Slade. Tim Deiling‘s Concert lighting pulses like a stadium opener, making it clear these women are here to headline, not footnote.

Emma Elizabeth Smith (Catherine of Aragon) steps forward first with “No Way”, clad in commanding yellow and gold with accents of black—a direct references to her Spanish roots, the wealth of the Spanish crown, and the opulence of the Catholic Church. The regal palette reinforces Catherine’s authority as the original Queen, while the structured corset and bold detailing give visual weight to her refusal to be dismissed. As Smith belts “I’m not sorry for my honesty,” the look radiates righteousness and resolve.

The mood flips into mischievous rebellion with Nella Cole (Anne Boleyn) and “Don’t Lose Ur Head”. Draped in unmistakable green, Boleyn’s costume offers an obvious nod to “Greensleeves”, despite the enduring myth that Henry VIII wrote it for her—a bit of historical irony the show knowingly side-eyes. Punk-pop detailing and playful asymmetry reinforce Anne’s flirtatious chaos. It’s bubblegum pop as survival tactic—a little Katy Perry, but with the very real threat of the axe.

The evening’s emotional pivot arrives with Kelly Denice Taylor (Jane Seymour) and “Heart of Stone”. Her corseted white costume trimmed in black, complete with sleeves and skirt panels reminiscent of chainmaille armor, signals purity without fragility and strength without aggression. The design quietly reinforces Seymour’s emotional fortitude as Taylor laments “Soon I’ll have to go / I’ll never see him grow,” allowing stillness and restraint to become some of the most powerful choices of the night.

Before the competition resumes, SIX detonates into full high-camp absurdity with another all-in. “Haus of Holbein”, with its neon accents, blacklight, exaggerated silhouettes, and stylized poses turn the stage into a Renaissance runway on rave mode. Sonically, the number leans hard into Madonna’s club-era maximalism, evoking the relentless pulse and fashion-as-performance-art ethos of “Ray of Light”–era remixes (with a little SNL‘s Dieter accent exaggeration thrown in)—less spiritual awakening, more high-fashion satire. It’s ridiculous, deliberate, and exactly the reset the show needs.

Swagger floods the stage with Hailey Alexis Lewis (Anna of Cleves) and “Get Down”. Dressed in unapologetic red, Cleves’ costume signals defiance—she is, after all, one of only two wives to divorce Henry and live. Rolled fabric at the shoulders cleverly references her infamous portrait, reframed here as armor rather than flaw. The Euro-pop anthem pulls heavily from Atlanta trap-pop energy, particularly the minimalist bounce and swagger-forward attitude that put me in mindof Beyoncé’s “7/11”. When Lewis declares “I’m the Queen of the castle, Get down you dirty rascal,” the lyric lands as deserved prophecy, not threat.

There’s an interesting shift in tone with Alizé Cruz (Katherine Howard) and “All You Wanna Do”. Her pink-and-black costume reflects youthful vitality layered with looming danger—the sweetness of pink undercut (no pun intended) by the severity of black. What begins flirtatious quickly curdles as the repetition of “All you wanna do, baby” exposes the song’s darker truth. As the lighting cools and the meaning sharpens, the visual contrast underscores just how trapped Howard truly is. It’s Britney‘s “Womanizer”, sing-songy and fun, but if the aggressor had access to the guillotine.

The competition’s final turn belongs to Tasia Jungbauer (Catherine Parr), who reframes the entire premise (what are they competing? Who would even remember Henry were it not for them?) with “I Don’t Need Your Love”. Wearing black and blue, and notably incorporating pants, Parr’s look subtly nods to shifting fashions centuries after her lifetime while underscoring her independence as the Queen who survived. Clean lines and minimal ornamentation allow Catherine to declare “I don’t need your love / I just need to tell my story”.

When the Queens reunite for “Six,” individuality gives way to collective power. Costume reveals heighten each look—more shimmer, more shine—while maintaining the shared design language that has bound them from the start. Concert lighting, synchronized choreography, and wall-of-sound harmonies transform the finale into a euphoric pop encore rather than a winner-take-all ending.

Anchoring the entire experience and elevating Toby Marlow and Lucy Moss‘ clever score and pop lingo-filled lyrics is the onstage band, The Ladies in Waiting, who are far more than musical accompaniment. Tuesday’s opening night performance was conducted by Lizzie Webb, whose steady leadership kept the score’s pop precision razor-sharp. Music Director and Keyboardist Valerie Maze drives the sound, supported by Yonit Spiegelman on bass, Rose Laguana on guitars, and Camila Mennitte Pereyra on drums. Visually, their sleek black styling mirrors the Queens’ aesthetic, reinforcing the concert vibe while keeping the spotlight exactly where it belongs.

SIX doesn’t aim for subtlety—it thrives on impact. Pop culture becomes narrative shorthand, feminism arrives wrapped in corsets, combat boots, and beats you can feel in your chest, with a message you can feel in your heart as HERstory becomes a remix. SIX proves once again that this show isn’t just clever—it’s culturally fluent. Long live the Queens!

At TPAC, though Sunday February 8 as the national tour continues, CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok. 

Following SIX, next up at TPAC, it’s SUFFS: The Musical with shows March 3 thru 8. CLICK HERE for more info and follow TPAC on Facebook, Instagram, YouTube & TikTok. 

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.

Rapid Fire 20Q with the Storytellers of ‘Big Fish’; on stage at The Keeton February 6-22

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Few musicals capture the space between truth and imagination quite like BIG FISH, the 2014 Drama Desk–nominated musical by Andrew Lippa with a book by John August. Based on Daniel Wallace’s novel Big Fish: A Novel of Mythic Proportions and the 2003 film written by John August and directed by Tim Burton, the story explores the myths we create, the legacies we leave behind, and the love that binds families together.

Now swimming onto the stage at The Keeton beginning Friday, February 6, Big Fish blends soaring music, theatrical spectacle, and deeply human storytelling as it follows Edward Bloom — a man whose life is told through towering tales — and his son Will, who must learn how to listen beyond facts to understand the heart of his father’s stories. JHPENTERTAINMENT sat down with the artists bringing this mythic journey to life for a Rapid Fire 20Q conversation about imagination, family, and the power of storytelling.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s BIG FISH

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

JHPENTERTAINMENT: Edward Bloom is a man of myth, magic, and tall tales—what excited you most about stepping into his larger-than-life shoes?

MICHEAL WALLEY: The music of BIG FISH is absolutely gorgeous. This past fall, I was driving when Fight the Dragons came on the SiriusXM Broadway channel, and it completely stopped me in my tracks. I already knew BIG FISH was in The Keeton’s season, and I made plans to audition immediately. I’d describe myself as more of an “actor who sings” than a traditional vocalist, and Edward’s music stretches across haunting ballads, twangy pop, and everything in between. Bringing his character to life through that musical range has been both thrilling and demanding. Truthfully, I feel like I’ve been training for a marathon. My hope is that through every note, Edward’s larger-than-life heart and spirit come through loud and clear.

JHPENTERTAINMENT: A quick perusal of your theatre credits reveals your previous Keeton roles as Singin’ in the Rain’s Cosmo Brown and White Christmas’ Phil Davis share the common thread of being the comic foil to those show’s leading men—what sets Edward apart from roles you’ve played before?

MICHEAL WALLEY: At the end of our run of Singin’ in the Rain, my good friend Matthew Roberts, who played Don Lockwood, said something like, “I think you need the chance to play a leading man with some substance.” While I absolutely loved playing comic sidekicks like Phil and Cosmo (and I’d happily play either role again! Hint hint to any theatre company who needs a comic-dancer-goofball), Edward’s journey is overflowing with depth and meaning. I still get the chance to make ’em laugh, but this time I also get to take The Keeton audience on a much deeper emotional journey. Truly, I’ve never played a character anything like Edward.

JHPENTERTAINMENT: Edward’s stories often say more about love than facts. What do you think Edward is really trying to pass on?

MICHEAL WALLEY: Without giving too much away, a character near the end of the show realizes that Edward’s tall tales were always meant to inspire. I grew up in a small town in Mississippi, much like Edward’s Alabama hometown, and I always had this sense that there was something bigger out there. I wasn’t satisfied unless I was chasing it, and even now, in my 30s, that feeling hasn’t gone away. Edward is the same because he’s always chasing the next big dream, and his stories become a way to invite others into that sense of possibility. Facts may fade (and we live in 2026, does anyone really care about facts?), but inspiration is what lasts.

JHPENTERTAINMENT: As a writer, puppeteer, and voiceover artist, how have your many creative hats informed your approach to this role?

MICHEAL WALLEY: This role has flexed creative muscles I didn’t even know I had. I get to play Edward at multiple stages of his life, moving from wide-eyed teenage heartthrob to cranky old man. Jumping between different voices, physicality, and energy levels is something all my creative side-quests have really prepared me for. It also helped me better understand what John August was trying to convey. Edward evolves throughout his life, but his spirit stays consistent even as his body and circumstances change.

JHPENTERTAINMENT: If Edward Bloom were telling your life story, what detail would he absolutely exaggerate?

MICHEAL WALLEY: First of all, I’m 100% positive Edward would describe me as six-foot tall, wildly muscular, rich enough to buy a tall-and-skinny in 12 South, and effortlessly hitting every high note in Andrew Lippa’s score. But for real, I like to think he’d tell the story of a small-town Mississippi boy who loved theatre, set it aside during college and early adulthood to focus on what mattered, and then realized in his late 20s that his dreams and passions really mattered too. He’d talk about Micheal jumping into the Nashville theatre scene, making meaningful art, building lasting relationships, and getting to tell stories that truly matter, like Edward Bloom’s.

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

JHPENTERTAINMENT: This marks your Keeton debut—what made Big Fish the perfect first dive into this community?

CLAIRE YANCEY: The Keeton has been such a positive space from day one. Even at auditions, I felt immediately welcomed and comfortable, and it was clear how much heart and dedication everyone brings to make this not only a great production but a great experience for everyone involved. I feel deeply connected to this cast and genuinely look forward to coming to the Keeton for every rehearsal. This community has welcomed me with open arms, and I could not have asked for a better first show at this theatre.

JHPENTERTAINMENT: With a background in classical piano and voice, how does Lippa’s score speak to you as a musician?

CLAIRE YANCEY: As a musician, learning Lippa’s score has been one of my favorite parts of this process. There is something really special about working through the more intricate and challenging moments of the music together as a cast and watching it all click. Hearing songs you have listened to countless times come to life in the room with the people around you is incredibly satisfying. I love the rich harmonies and the wide range of musical styles throughout the show, which makes the score both exciting and deeply rewarding to perform.

JHPENTERTAINMENT: What’s one moment in the show where you feel Sandra’s heart most clearly?

CLAIRE YANCEY: This may feel like an obvious answer, but it is definitely during I Don’t Need a Roof. This is the moment where Sandra is seen most clearly and vulnerably. Throughout the show, she works hard to be strong for Edward and their family, often hiding how deeply his illness is affecting her.

JHPENTERTAINMENT: Sandra’s love story spans a lifetime—what do you find most beautiful about her journey?

CLAIRE YANCEY: From the very first moment they see each other, there is something magical about the way Sandra and Edward recognize something special in one another. Throughout the show, you can see that their relationship never loses its youthful spirit, even as the magic and adventure settle into the reality of growing old together. They remain deeply in love, still carrying that sense of playfulness and joy with each other.

JHPENTERTAINMENT: Sandra is the emotional anchor of Edward’s wild imagination. How do you ground her while still letting the magic exist?

CLAIRE YANCEY: I think Sandra is grounded because she is fully present and deeply attentive to the people she loves. She allows Edward, with his wild imagination, and Will, who is more grounded, to be fully themselves. Sandra has a beautiful ability to meet people exactly where they are and offer them steady love and support. While she still carries that same sense of wonder and adventure that connects her to Edward, she is also able to see the world clearly and hold space for both perspectives.

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

JHPENTERTAINMENT: Will Bloom is caught between frustration and wonder—what’s been the biggest challenge in telling his story?

JACOB HINNEN: The biggest challenge has been living in the tension between frustration and hope, especially as Will wrestles with what it means to be a father himself. He’s demanding truth from Edward, but underneath that is a deep need to understand the man behind the stories before he becomes a father himself. That tension drives every interaction. Hope is always present, but it’s tested, stretched, and reshaped as Will tries to reconcile who his father is with who he needs to be.

JHPENTERTAINMENT: You’ve played romantic leads and comedic roles—how does Will stretch you differently as a performer?

JACOB HINNEN: Playing Will stretches me differently because his confidence is paired with constant questioning. Unlike roles where the character’s path is clear or emotions are outwardly expressed, Will is always wrestling with what it means to be a son and a future father. I’ve had to channel that drive, balancing certainty with curiosity, so the audience can feel both his boldness and the weight of his internal journey.

JHPENTERTAINMENT: The father–son relationship is the emotional spine of BIG FISH. What has portraying Will taught you about listening?

JACOB HINNEN: Will has taught me that listening isn’t just about extracting answers and simply responding; it’s about recognizing intention. Edward is telling the truth in his own way, and Will has to learn that fatherhood isn’t always taught through facts, but through meaning. Playing this role has reminded me that listening sometimes means setting aside your expectations long enough to hear what someone is really trying to convey.

JHPENTERTAINMENT: This performance is dedicated to your dad. How does that personal connection shape the way you step onstage each night?

JACOB HINNEN: My dad always believed in me, even when we didn’t fully understand each other. I carry his presence with me onstage, feeling the push and pull of tension, hope, and love in every moment. It’s shaped how I tell this story: a story of love conquering death, of listening to understand rather than listening to simply respond, and of never giving up hope. Every night, stepping into Will’s shoes feels like honoring him while exploring what it truly means to be a son and eventually, a father.

JHPENTERTAINMENT: If Will could rewrite one of Edward’s stories, which moment would he finally see differently?

JACOB HINNEN: Will wouldn’t change the events themselves; he’d change the way he sees them. He’d recognize that Edward’s stories weren’t just embellishments, but expressions of love, courage, adventure and guidance. They were a father’s way of teaching him how to live fully, love boldly, and carry hope even in uncertainty. 

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

JHPENTERTAINMENT: What was the very first image or moment from BIG FISH that made you say, “I have to direct this show”?

AARON GRAY: The first time I saw BIG FISH, there were several moments that brought me to that realization, but they all came back to the father–son relationship at the heart of the show. As a father of a six year old son, that dynamic hit me in a very immediate way, especially the moment when Will realizes he’s about to become a father himself, and suddenly his relationship with his own dad begins to change. That felt incredibly honest and personal to me.
 
I was also deeply moved by the love story. The way Edward loves Sandra, with imagination, devotion, and unwavering certainty, is something I think every romantic partnership should strive for. It’s romantic, but it’s also rooted in commitment and choice.
What ultimately made me say I had to direct this show is that it truly has everything! Romance, comedy, drama, and moments of theatrical magic, but at its core, it’s just a beautifully told story about family, love, and how we come to understand one another.
 
JHPENTERTAINMENT: BIG FISH lives in the space between reality and imagination—how did you approach balancing spectacle with emotional truth onstage?
 
AARON GRAY: The magic in BIG FISH only works if it’s grounded in emotional truth. We always let the relationships lead, and allowed the spectacle to grow out of what the characters are feeling, rather than the other way around.
 
JHPENTERTAINMENT: What can you tell me about your creative discussions with Ian Mannino, this production’s musical director, in regard to bringing Andrew Lippa’s whimsical score to life?
 
AARON GRAY: John August includes a note to the director in the script that points to a video Andrew Lippa created, where he dives deeply into the score,  showing how the songs function dramatically and emotionally. Having that level of insight directly from the composer was an incredible resource, and it became a foundational tool in my conversations with Ian. 
 
From there, our discussions were really grounded in respect for Andrew Lippa’s writing. Our shared goal was to keep the music true and honest to what he wrote. The score already contains so much whimsy, warmth, and emotional clarity that we never felt the need to overcomplicate it. Instead, Ian focused on letting the music breathe and supporting the storytelling, while I concentrated on how the songs live inside the characters and the moment.
 
What emerged from that collaboration is a score that feels both playful and deeply sincere. When the music is treated with that kind of care, its beauty really speaks for itself, and it becomes a powerful emotional guide for the audience throughout the show.
 
JHPENTERTAINMENT: In your show bio you describe this as a dream project. What part of your own storytelling sensibility feels most at home in BIG FISH?
 
AARON GRAY: At its heart, BIG FISH asks two questions that feel very personal to me: “What makes a good father?” and “How do heroes live on?” As a father, I connect deeply to the first question. The show shows us that being a good father isn’t about perfection, it’s about listening, showing up, and creating a space where your children can grow into themselves. Watching Will navigate his relationship with Edward while stepping into fatherhood himself felt incredibly real to me, and it’s a story I wanted to bring to life onstage.
 
The second theme, how heroes live on, is really about memory and storytelling. Edward becomes a hero not because he’s flawless, but because of the way his stories shape Will’s understanding of him and, in turn, the person Will becomes. That idea, that our loved ones live on through the stories we carry, is central to the show, and it resonates deeply with my own sense of storytelling. I’ve always been drawn to stories that exist somewhere between reality and imagination, where emotion comes first and spectacle serves the heart of the story.
 
For me, BIG FISH perfectly blends those elements: family, love, myth, and imagination. It allows wonder and sincerity to coexist, and that balance is exactly why it feels like a dream project, it’s a story that is both fantastical and deeply human, and it’s a story I truly love. 
 
JHPENTERTAINMENT: What do you hope audiences carry with them long after they leave The Keeton and the curtain comes down on BIG FISH?
 
AARON GRAY: I hope audiences leave remembering the power of storytelling and the people they love. Big Fish reminds us that family and connection aren’t perfect, but they’re profound, and that our stories keep those we care about alive. I want them to feel the magic, the wonder, and the joy in seeing life, and love, through a lens of imagination, and to carry that feeling with them long after they leave the theatre. 

BIG FISH opens at The Keeton on Friday, February 6 and continues through Sunday, February 22. Thursday performances are show only with Doors at 6:30pm and Show at 7pm. 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. Show Only Tickets: $30.00 (Thursday performances), Adult Dinner and Show: $40.00, Child Dinner and Show: $35.00. CLICK HERE for tickets. 

Following BIG FISH, The Keeton will present The Play That Goes Wrong with performances April 10-26. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

 

 

Rapid Fire 20Q with SIX MUSICAL’s Four Alternate Queens; National Tour at TPAC February 3 thru 8

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It’s been almost three years to the date since Music City theatre goers were first privy to experience a live audience with the Queens of SIX, the two-time Tony-winning musical that explores the stories of the women behind that morbidly fun sing-songy rhyme “Divorced, Beheaded, Died, Divorced, Beheaded, Survived”. As of Tuesday, February 3, that all changes as the Queens return to Nashville to hold court at Tennessee Performing Arts Center’s Andrew Jackson Hall with eight performances the through Sunday, February 8. 

As expected, an audience with the Queen is an almost impossible task, let alone six of them, and let’s face it—without the use of a guillotine, 20 Questions don’t exactly divide by six evenly, so rather than interviewing the leads, I had the unique opportunity to chat with four members of the royal court known as The Alternates (more about that below in my first question) as the regal company of SIX prepared for their Music City reign.

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

JHPENTERTAINMENT: To start, while I’m pretty certain I know, for those who might not, What’s the basic difference between an alternate, understudy, swing and standby?

REESE CAMERON: An “alternate” is typically an on or off-stage cast member who will have weekly guaranteed performances to take over for a principal role— usually one that is very physically or vocally demanding (e.g. Tina Turner, Elphaba, Fanny Brice every Thursday is played by an “Alternate”). But in the SIX world, an Alternate means an off-stage cast member who understudies 3-4 Queens (our union caps us at 4 in the U.S., anywhere from 3-6 in the U.K. and elsewhere) The reasoning behind making us called “Alternates” instead of “Standbys” “Swings” or “Understudies” was because the team wanted us to feel just as important as our on-stage Queens. They emphasized that the reason we are off-stage is not because we are inferior or less talented, but rather that we have the capability of playing 1 or more On-stage Queens if we wanted to, therefore they wanted to give us a title with more respect. Oftentimes understudies, swings, and standbys are not given the same treatment or careful attention as onstage cast members and that’s something we’re constantly fighting for more rights about with other shows.

Understudies are on-stage cast members who play a character every night and also cover a principal role

Swings are typically off-stage members who cover several or all of the ensemble members — sometimes divided by gender and sometimes not. Swings can also be on-stage but it’s far more rare, usually because two of the swings are Dance Captain and Assistant Dance Captain and need to watch the show every week to note it and make sure the choreography upholds the integrity of the choreographer. 

Standby’s are hired to be specifically off-stage but ready at a moments notice to go on for a principal role. I like to call standby’s the principal swings haha. If a principal calls out of a show, either the standby or the understudy will go on. It depends on the show which one is chosen.

JHPENTERTAINMENT: A quick perusal of your socials in preparation of our chat revealed you debuted as three of the queens within three weeks of each other— whose boots were the hardest to step into that first time?

REESE CAMERON: The hardest was most definitely Aragon because I learned her 2nd. I had a month of rehearsals with Cleves, 2-3 weeks with Boleyn, and only 5 days with Aragon and she has the most lines in the show and fires out of a cannon with her aerobic song and dance number right after an exciting and dynamic almost 6 minute opening of Ex-Wives which is a huge challenge of stamina. 

JHPENTERTAINMENT: What has been the most gratifying aspect of tackling these roles on tour?

REESE CAMERON: I am simply so proud of myself and my Alternate family for having the mental professionalism and preparedness required to memorize 3 different principal characters for an 80 minute non-stop show. There is no time to check your notes for the next number like a swing might be able to do with a few song and dance numbers in between their next onstage moment, but for us? This 80 minute train doesn’t stop. And being prepared and CONFIDENT is such a huge accomplishment not just for 1 Queen, but for 3!!! I’ve loved playing 3 completely different characters and have unlocked parts of myself and my inner child that I have never gotten before with any other show.

JHPENTERTAINMENT: Which do you admire most? Aragon’s power or Cleves’ confidence?

REESE CAMERON: Aragon’s power for sure! Cleve’s confidence is something I definitely need and aspire to have, but Aragon historically endured starvation and abuse from Henry’s father even before her marriage to Henry the VIII, and then after 24 years of marriage when Henry cheated on her, she had the strength to do what no woman at this time had ever done which was 1) speak in court 2) make her own court case and 3) represent herself in court against his misinterpretation and manipulation of Biblical word to prove the marriage was just and 4) WIN! And even after he abusively sends her away and separates her from her daughter, she remained emotionally strong, devoted to justice, a role model for the people of England, and remained the beloved Queen for many decades after her death. She endured some of the hardest trials and tribulations a person can go through and she did it with grace. I highly recommend reading more about her life. Aragon is a powerhouse of a human being and an outstanding woman.

JHPENTERTAINMENT: As a non-binary performer, what would you say to the queer kid sitting in the balcony?

REESE CAMERON: As I say in my bio “to the queer non-binary kid in the audience: you belong here”. In a hateful and divisive world, trans children need to know they have an accepting and loving family in the theatre community and especially in major cities like New York and LA. Trans actors belong in theatre, tv, and film just as much as cis actors. Theatre is a safe space for queer and trans people and there are so many roles and opportunities to be had in our industry that don’t require you to change yourself in order to fit into a show or a role. Theatre does not have to be gender dysphoric. My biggest recommendation is that trans and queer people start writing our own stories and musicals and films and TV shows and share it with the world because there are so many people who don’t know that they are queer or trans yet that watch media on Netflix and Spotify and go to see a Broadway show, and that may be the moment that they find themselves and discover who they are.  Just look at how The L Word became a Sapphic Bible, or how Heated Rivalry is opening doors for athletes to come out or even for their stories to be heard. Trans and queer media changes the world and spreads love and Empathy. We need more trans and queer media. 

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

JHPENTERTAINMENT: You’re not only a performer in SIX, but also the tour’s Dance Captain. What does that added responsibility entail?

CARLINA PARKER:  As Dance Captain, it’s my job to be a point person for choreography team while we’re on tour. I watch the show once or twice a week  and write notes to make sure both the movements and the story behind them are being executed. I’m also available should anyone have any questions or concerns. We have an amazing choreography team based in New York that I’m in constant communication with, and the original choreographer will even pop in from London from time to time!

JHPENTERTAINMENT: Of the SIX, only one survived King Henry VIII. How would you describe Catherine Parr’s energy as portrayed in the musical in six words?

CARLINA PARKER: Honest, Kind, Intelligent, Empathetic, Inspiring, Powerful.

JHPENTERTAINMENT: SIX is resplendent with clever lyrics courtesy Book and Music collaborators Toby Marlow & Lucy Moss. What’s among your personal favorites?

CARLINA PARKER: Some of the script is written how some people text, and the audience would never know, but there’s one Parr line that’s written “R U 4 real?”and it’s SO funny. Also, “Okay ladies, lets get in reformation” -Cleves

JHPENTERTAINMENT: Touring perk you didn’t expect to love?

CARLINA PARKER: I expected to love the travel, I expected to love meeting the different fans from all over, but what surprised me is probably really silly. Since we don’t always have kitchens, I never have to feel guilty for ordering DoorDash.

JHPENTERTAINMENT: Beyond the inherent closeness of a touring company, have you also developed an extra bond with your fellow alternates?

CARLINA PARKER: Yes! Arguably, the alternates are spending the most time together, between weekly rehearsals and (more often than not) sharing a dressing room with each other. The support you get from another alt is unmatched. We all know the joys and struggles of being an offstage cover in this show, covering multiple Queens, and we can be there for each other in the highs and the lows. It’s also so nice that we get along. I adopted the term “swing siblings” from another contract of mine, and it couldn’t be more true.

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

ANNA HERTEL: This tour is an absolute BLESSING! It truly feels like a pinch-me moment—this is my dream show, and getting to tell this story around the country is such a gift. I’m also so grateful for the opportunity to explore so many incredible cities along the way. 

JHPENTERTAINMENT: Is it just me? Or does Boleyn’s costume include a couple Easter eggs in its design? I mean…the neckline has what looks like a dotted line, as in ‘cut here’. Is that a reference to her demise by way of beheading or am I just overthinking it? AND…What’s your personal favorite detail in costumer Gabriella Slade ‘s Tony-winning creations?

ANNA HERTEL: There are so many Easter eggs woven into Anne Boleyn’s costume. My favorite is her iconic “B” necklace, symbolizing her pride in her family name. She wore it openly in court—something no woman had ever done at the time. After her execution, the “B” became a powerful symbol of strength, defiance, and legacy. I also love how Gabriella Slade incorporated Anne’s green sleeves into the design, a subtle nod to a love poem Henry VIII once wrote for her.

JHPENTERTAINMENT: You’re a Jimmy Awards Best Dancer honoree— how much did it mean to you to be honored for your talent in high school AND did that shape the way you approach each role in the time since?

ANNA HERTEL: The Jimmy Awards will always be one of the most meaningful moments in my career. Being able to perform on a Broadway stage alongside so many passionate, aspiring artists was truly unforgettable. The relationships I formed that week are still thriving, and I’m constantly reminded of how supportive and uplifting that community is. That experience gave me the confidence, perspective, and tools I needed to continue chasing this dream.

JHPENTERTAINMENT: Researching to pose questions to you and your cast mates, I discovered you’re a bit of a newlywed, and will be celebrating your wedding anniversary in a few months. Your husband has come to see you on tour a few times, right? What’s been the most challenging aspect of touring while simultaneously starting such an exciting chapter in your personal life?

ANNA HERTEL: My husband, Brendan Coulter, is truly the biggest blessing in my life. We’ll be celebrating our 2-year wedding anniversary on March 23rd, and I’m feeling extra grateful reflecting on our journey. We met in college at Elon University studying Musical Theatre, and not long after, moved to NYC to chase our shared love for performance.

A year later, we became an acoustic duo called Honey I Duo, performing all around Manhattan — some of my favorite memories. He has been the most supportive husband throughout this tour (and has seen the show 10 times already). Long distance was hard at first, but then he joined the tour, working remotely and pouring his heart into writing his own music.

His music is truly incredible and is out now on all platforms — go listen.

JHPENTERTAINMENT: What’s one word that defines SIX for you?

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

JHPENTERTAINMENT: First time I heard about SIX was from friends who saw it during its pre-Broadway trial run aboard a cruise ship.  My research in anticipation of chatting with you and your costars revealed you first performed in SIX on the high seas as Katherine Howard in Norwegian Cruise Line’s production of SIX aboard the Breakaway luxury ship — so, I gotta know — performing a Broadway musical at sea — wild or wonderful?

ABIGAIL SPARROW: You’ve done your research! It was BOTH: wild AND wonderful. Working on SIX with Norwegian was my first professional job straight out of college. I learned a LOT about being a working professional actor and there was absolutely a learning curve of living on a floating vessel for 9 months. Doing performances on a rocky boat during the stormy weather patches was certainly an experience I will not forget, haha. I met some of my closest friends to this day on that cruise ship, and am very grateful that I have been able to stay in the SIX family for years to follow.

JHPENTERTAINMENT: After seeing SIX for the first time a couple of years ago during the first national tour, I described it as American Idol meets Spice Girls meets The Tudors. Fair assessment? AND How do you describe it?

ABIGAIL SPARROW: You’re definitely hitting the nail on the head with that assessment, totally! I’d add a little bit of K-POP flair into that description too, for my two cents. It’s certainly not your average Broadway musical, that’s for sure. A 90 minute high energy pop concert with killer costumes, lighting, and choreography that everyone is sure to enjoy no matter their background or connection to Tudor history.

JHPENTERTAINMENT: In addition to your current SIX responsibilities, you’re also working an album — what can you tell me about that?

ABIGAIL SPARROW: Thank you for asking! Yes, I am currently working on my first full length album set for release in Fall 2026. Back in March of 2025 I was incredibly honored to be awarded a $30,000 dollar grant from the Posthumous Prodigy Productions Fellowship for the album. Being on the road has allowed me lots of free time to write music and work with different producers across the country. Actually, I’m meeting with a producer right here in Nashville, the Music City! Which felt very fitting. I’m very excited to share it with the world this year. I also recently released my first EP on December 5th, 2025 called Jacaranda Trees. My music style is indie pop, think Muna meets Gracie Abrams meets The 1975. My music is available on all streaming platforms! I hope you check it out. 

JHPENTERTAINMENT: Since you have a bit of history with her — Katherine Howard — misunderstood or simply iconic?

ABIGAIL SPARROW: Oh, K Howie. Certainly misunderstood, and definitely iconic. The real Katherine Howard was known as the most promiscuous Queen back in her day, which feels like an unfair assessment given she was only 13 when the King took notice of her (ew). Her story is very reminiscent of the victim blaming stories of the modern day, where we look for errors in the victim rather than condemn the perpetrators of abuse and violence towards them. Of course we will never know for certain without asking her directly, but I feel she never had ill intentions towards the people she was involved with, and was taken advantage of by much older and more powerful men. In our show, Katherine takes back her power and changes the narrative to prove her intelligence and strength in her femininity. Which I definitely would say is… simply iconic. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing the show for the first time?

ABIGAIL SPARROW: I hope that audiences leave with a new sense of empowerment to stand up to the Henry‘s in their own lives! We all have come across someone who has tried their hardest to make us small and powerless. And we all need to find that power within ourselves to rise up and fight back against those people. I hope people leave feeling inspired, and perhaps humming our songs on the way home with a little extra pep in their step. 

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Whether they’re commanding the stage or waiting to rule from just offstage, these four Alternates prove that SIX isn’t just about crowns and costumes—it’s about resilience, community, and unapologetic power. Their own stories add yet another layer to an already exhilarating night at the theatre, reminding us that every Queen has a voice, whether they’re front and center or just off-stage ready to step into a regal role. Catch SIX as it storms back into Nashville at TPAC’s Andrew Jackson Hall Tuesday through Sunday, February 3-8, and come ready to cheer, sing along, and maybe leave feeling a little more emboldened than when you arrived. After all, these Queens aren’t loosing heads, they’re dropping mics! CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok. 

Following SIX, next up at TPAC, it’s SUFFS: The Musical with shows March 3 thru 8. CLICK HERE for more info and follow TPAC on Facebook, Instagram, YouTube & TikTok. 

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.

 

Behind the Barricade: Rapid Fire 20Q with ‘Les Misérables’ National Tour Cast Members

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Few shows in Broadway history carry the emotional weight, cultural legacy, and sheer endurance of Les Misérables. Following its 1980 Paris debut and a subsequent London premiere, Les Mis first stormed Broadway in 1987. Since then, the musical has lived many lives: record-breaking original runs, celebrated revivals, concert spectaculars, a current 40th Anniversary National Tour and an upcoming 2026 Les Mis Concert engagement at Radio City in New York, all proof that this story still hits just as hard.

Two years after Les Mis’ Broadway debut, Nashville theatre goers got their first chance to witness the spectacle when the National Tour made its TPAC debut at Jackson Hall during the spring of ‘89. Over the years, TPAC has presented subsequent tours nearly half a dozen times. As Les Misérables prepares to return to TPAC next week with eight shows over five days from January 20-25, we sat down with members of the current tour for our signature Rapid Fire 20Q. From Broadway debuts and tour firsts to deeply personal connections with Fantine, Marius, Éponine and Cosette, cast members Lindsay Heather Pearce, Peter Neureuther, Jaedynn Latter and Alexa Lopez share what it means to step into a show that has shaped musical theater history—and continues to change lives as the tour continues.

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RAPID FIRE 20Q WITH MEMBERS OF LES MISÉRABLES NATIONAL TOUR

RAPID FIRE WITH LES MIS’ FANTINE, LINDSAY HEATHER PEARCE 

JHPENTERTAINMENT: From The Glee Project to belting it out as Elphaba in your Wicked Broadway debut in 2020 to touring with Mean Girls and now Fantine in the 40th Anniversary Tour of Les Misérables, your entire career (so far) feels full of pinch me moments. With all these great roles already, do you even have a bucket list? 

LINDSAY HEATHER PEARCE: It HAS been full of pinch me moments. The fact that I have yet to wake up from this dream is a good sign that it’s all real and actually happening. I have definitely been very lucky in the last five years of my life to play so many wonderful roles, but the bucket for my list is deep and my actual list is long. A lot of the roles I want to play the most are out of my age range right now (I would need a few more years under my belt), but my biggest dream is to originate or revive a show! 

JHPENTERTAINMENT: Across Broadway, tours, and television, which role has most profoundly shaped you as an artist?

LINDSAY HEATHER PEARCE: I don’t know if I can pick just one! Each role I’ve been lucky to play has been so crucial to who I am today and was so important for who I was then. 

If I had to choose, I would say Rebecca in Recovery Road on FreeForm and Elphaba in Wicked on Broadway. 

Recovery Road was such a special experience, and to show up to set almost every day, to learn how to use those on camera skills we well as grow the skills of how to be a good team member on a set were some of the most important ones.

Elphaba was like taking a masterclass in self-care, self-understanding, bravery, humility, curiosity, and steadfastness. That’s on TOP of the lessons in leading a Broadway company, learning how to do 8 shows a week, and the excitement of joining such an incredible arena. Huge lessons, huge huge huge life changing lessons.  

JHPENTERTAINMENT: How do you emotionally prepare to sing I Dreamed a Dream night after night?

LINDSAY HEATHER PEARCE: I’ll be honest, the show does it for me. Fantine has an entire factory scene before I Dreamed A Dream that is filled with character exposition. So much happens in that ten-minute scene that by the time I get thrown into the streets, I am emotionally there and ready to sing my heart out. That’s a testament to how well Les Misérables is written and structured. Even if it’s a tired day and I don’t know if I am mentally or emotionally there, the show will get me there.

JHPENTERTAINMENT: This tour cast features a great mix of actors making their tour debuts and folks like Nick Cartell (Jean Valjean) who have history with their roles, having appeared in prior productions. It’s often said that a touring company truly becomes family. Do you feel that with Les Mis?

LINDSAY HEATHER PEARCE: Absolutely, yes. More so than any other company I have ever been a part of (and I’ve been in some of the best companies). These are GOOD people, with good hearts and open arms. When you’re on the road, away from home and family and all that is familiar, being in a company with good, gracious and FUNNY people is truly a balm.

JHPENTERTAINMENT: Fantine’s story is brief but devastating — what do you hope audiences take with them after your final moment?

LINDSAY HEATHER PEARCE: We all know someone with Fantine’s story, or some aspect of it. Know that one kind act, or one good decision can change someone’s life. Without Fantine’s tragedy and sacrifice, the story doesn’t move forward.

Valjean is given the incredible opportunity to become a father to little Cosette, through whom he learns to love and look beyond himself in service of someone else. How beautiful is that? 

I hope people can take away the idea that there are opportunities around every corner to be good to someone else, to be of service, to help or save however they can. Even small stones make ripples.

RAPID FIRE WITH LES MIS’ MARIUS, PETER NEUREUTHE

JHPENTERTAINMENT: You first stepped into the role of Marius at The MUNY back in June of 2024, since first taking on the role, has anything changed or deepened in the way you portray him?

PETER NEUREUTHER: When I played Marius for the first time, rehearsals were so fast that I had to put this character together in just 10 days! Now being on the tour being over 100 shows in, I have learned so much more about Marius — the immense joy and hope he feels at the beginning of his story preparing for the revolution, and falling in love, to his deep trauma and maturity as he watches friends die on the barricade, and learning how to overcome this grief. I feel like now I really have been able to understand his story being on this tour alongside these incredibly talented storyteller castmates!

JHPENTERTAINMENT: Making your national tour debut on the barricade — after already having lived in this world at MUNY, is there a moment that still gives you full-body chills each night?

PETER NEUREUTHER: I truly do have to shoutout, and thank The MUNY for honestly, giving me my start into the business! I got such chills every night at that stage going out and performing for 11,000 people every night. We perform for massive stages everywhere in the country, but the MUNY’s venue will always hold a special place in my heart. Every night, from the MUNY to the dozens of cities we have been to, going out and singing Empty Chairs at Empty Tables always gives me full-body chills, as I know the weight this song holds, and how it is almost cathartic for Marius.

JHPENTERTAINMENT: You graduated high school in 2020 — fast forward to spring 2025 and you’re making your Broadway debut in Stephen Sondheim’s Old Friends alongside Bernadette Peters and Lea Salonga. How do you even begin to process a leap like that?

PETER NEUREUTHER: It definitely still doesn’t feel real! I honestly sometimes just try to take a minute when I’m feeling overwhelmed and stressed about auditions or the show, even just life, and remind my self how proud high school me would be to see me up on these stages, sharing the stage with legends, and talent I could’ve only ever dreamed of. I am truly so lucky to have had the opportunities that I have had, but it has come with lots of hard work in college, in and out of the classroom. I am so grateful for the experiences I’ve had thus far, and I know my hard work and work ethic will keep serving me. I’m never satisfied (in the best way!).

JHPENTERTAINMENT: Having performed Les Misérables in The MUNY’s massive outdoor amphitheater — how does that experience compare to setting up shop in a new indoor venue with each stop on the national tour?

PETER NEUREUTHER: The MUNY’s massive stage is truly like performing at a football stadium! I definitely feel like I had to emote more on that stage so even the people all the way in the back rows who looked like they were on the moon could understand the story! These indoor venues are a whole different beast. Setting up shop in a new theater almost every week and seeing how our show fits in every venue so perfectly is awesome! I love getting to perform for a new crowd and new theatre every week!

JHPENTERTAINMENT: If Marius could send one modern-day text message, who’s it to — Cosette or the revolution group chat? AND What might it say?

PETER NEUREUTHER: Well lucky for me, Alexa Lopez our Cosette in the show is also my partner outside of Les Mis. So, if it was Peter sending a message it would be “What’re we getting to eat after the show? I’m starving.” But as Marius to Cosette it would be “Dearest Cosette, I’ll come find you I promise. It doesn’t matter if you’re here or across the sea. My love for you makes any distance crossable. I love you endlessly”.

RAPID FIRE WITH LES MIS’ ÉPONINE, JAEDYNN LATTER

JHPENTERTAINMENT: Fresh out of Baldwin Wallace Conservatory of Music and straight into Les Misérables 40th Anniversary Tour. Not a bad way to jumpstart your professional career, huh? — when did it finally feel real?

JAEDYNN LATTER: When I put on the iconic red hat for the first time. That’s when I thought, “Oh, wow, I’m actually doing this for real.” It was like the physical embodiment of a legacy, and especially when I was first wearing it, I could feel the weight it had.

JHPENTERTAINMENT: Éponine’s journey is heartbreak, bravery, and resilience all at once — which lyric is the hardest to sing eight times a week?

JAEDYNN LATTER: “A world that’s full of happiness that I have never known.” Yes, it is vocally challenging, but I think one of the most tragic parts of Éponine is that she’s not really mad at Marius or Cosette because they fell in love. She’s grieving that she was born into her circumstances and thinks more than anything, “If things were different.” Seeing Cosette, (and in turn, Marius), reap the benefits of a life that she could have lived hurts most of all. Seeing their privilege and their ability to fall in love in such an innocent, ideal way, knowing that she will never experience that is so incredibly painful. I think coming to that realization every night is the most excruciating thing to enact eight times a week.

JHPENTERTAINMENT: You’ve played roles from Waitress’ Jenna to Into The Woods’ Little Red — how did those experiences prepare you for Éponine?

JAEDYNN LATTER: Waitress was the first show that I ever played the leading role in, and I barely left the stage. I think that experience taught me to trust my body’s own stamina, and to sort of be okay with not being able to second guess myself once we got going. Into the Woods had an eight-show week, so it definitely showed me what that schedule feels like. But actually, I think Little Red really prepared me for Éponine in the sense that they’re both younger than I am. In both cases, I had to mentally travel back to adolescence and think, “How does a teenager view love, or grief, or power, etc.?” It taught me to really listen to what I was actually hearing rather than acting based off of my own gained maturity and pre-conceived notions of her journey.

JHPENTERTAINMENT: Pre-show routine: quiet focus, vocal warm-ups, or hyping yourself up backstage?

JAEDYNN LATTER: It’s definitely more of a mid-show routine for me—mostly consisting of Jolly Ranchers and reminding myself to breathe. In a voice lesson, a coach had told me to remember I have toes (as a way to say, “be aware of your body as a whole”). So a lot of the time before On My Own, I’m telling myself, “You have toes.”

JHPENTERTAINMENT: If Les Mis were to go the route of some other musicals who use pop tunes to tell the story, what might Éponine’s pop counterpart to On My Own be?

JAEDYNN LATTER: I literally have an Éponine playlist that’s nearly six hours long. Some of my favorite fits for her are Waiting Room by Phoebe Bridgers and David by Lorde. If we’re talking old-school, I think the most literal counterpart would be All By Myself by Celine Dion.

RAPID FIRE WITH LES MIS’ COSETTE, ALEXA LOPEZ

JHPENTERTAINMENT: National tour debut and Cosette — what was the very first thought that hit you when you got the call welcoming you to the tour?

ALEXA LOPEZ: My heart literally burst out of my chest! I actually got the call as I was about to clock into my hostessing job at the time. It was one of those pinch me moments every performer in NYC dreams of having. I simply just couldn’t wait to be on stage sharing this story with thousands of people, bringing life to it and trying to do it justice every night. I could barely even concentrate that night as I was working – my mind was reeling with so many thoughts of the future, tour, excitement, gratitude, and the list goes on. 

JHPENTERTAINMENT: Cosette is often described as gentle — what strength do you love most about her that audiences sometimes overlook?

ALEXA LOPEZ: Cosette is definitely a gentle force of light and goodness in our show. However, and moreover, she is strong, determined, and has depth to her. She fights to learn the truth about her life, she fights to be there for the people that she loves in their hardest times. She could sit back and live the life that Valjean has built for her, no questions asked. But instead, she pushes to learn the truth and have her father know that she has grown into a woman–a woman with agency, a woman with desires, and a woman who deserves and can handle the truth. So, definitely her strength and determination. 

JHPENTERTAINMENT: What is it about Cosette that challenges you most as a performer?

ALEXA LOPEZ: The track itself can be challenging at times from a technical standpoint. I have to be careful about when I warm up so that my voice can be ready for certain moments in the show after not being on-stage for a good amount of time. Cosette’s big vocal moments come fast and furious, so being dropped in and prepared when the time comes has been a learning curve for me. 

JHPENTERTAINMENT: Quick pick: sweeping romantic ballads or emotionally charged duets?

ALEXA LOPEZ: Emotionally charged duets!

JHPENTERTAINMENT: When audiences see this tour, what do you hope stays with them after the curtain call?

ALEXA LOPEZ: This is a story that is timeless and that everyone, to some degree, can resonate with. I hope audiences feel a sense of hope as they walk out of the theater. Our show is about unconditional love, the strength of the human spirit, and the fact that redemption and light are possible, even through the darkest and most impossible times. 

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Celebrating 40 years since Les Misérables first arrived on Broadway, the revolution returns once more. This 40th Anniversary Tour honors every chapter of the show’s extraordinary life while proving its message remains as urgent as ever. Les Misérables plays TPAC’s Jackson Hall January 20–25, 2026. Tickets are on sale now at TPAC.org, starting at $72.55. Whether it’s your first barricade or your fiftieth, this is a dream worth dreaming—again.

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.

 

Theatre Review: Nashville Rep’s It’s A Wonderful Life’ Delivers A Heartfelt triumph for the Holiday Season

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Nashville Repertory Theatre rings in the season with a warmly nostalgic, creatively staged production of It’s A Wonderful Life, directed by Alicia Lark Fuss and running now through December 22 at TPAC’s Polk Theater. With a stellar cast led by Brian Charles Rooney as George Bailey, Tamiko Robinson Steele as Mary Hatch Bailey, Jennifer Whitcomb-Oliva as Clarence and Matthew Carlton doing double duty as both Joseph, the supervising angel and as Potter, the beloved Frank Capra holiday classic, adapted for the stage by playwright Catherine Bush, is reimagined with theatrical magic.

This production leans into nostalgia while embracing a distinctly theatrical vocabulary with inventive movement, actors portraying multiple roles throughout and a visually stunning pop-up vintage Christmas card aesthetic —resulting in a version of Bedford Falls that feels both timeless and newly alive, all adding fresh dimension to a story generations know by heart.

Before a single line is spoken, the audience is transported by Gary C. Hoff’s breathtaking set design: a larger-than-life, die-cut, layered pop-up tableau rendered like a mid-century Christmas card cut from heavy white cardstock. It’s whimsical without being precious—an intricate snowy sculpture of Bedford Falls, with tiny cut-out doorways and windows glowing from within. Peer closely and you’ll catch vintage cyanotype portrait photos, representing the “everyday people” of the town, those whose quiet lives shape George Bailey’s world in ways he often forgets to see. It’s the perfect conceptual anchor for a story about taking note of what truly matters.

Playwright Bush seems to have taken inspiration from such classic theatre pieces as Our Town, in employing the above-mentioned practice of having actors portray multiple roles. Another of this production’s most enchanting elements is its use of movement. Thanks to movement coordinator Megan Castleberry, the ensemble shifts with a near-balletic grace—actors gracefully glide set pieces to and fro, and when called for, they physically personify snow gusts, swirling wind and fateful cracks across an icy pond. They mime-like movements echo emotional beats, and embody natural forces, adding a magical, abstract layer to the storytelling. It’s a bold directorial choice that works beautifully, enhancing the narrative without ever distracting from it. Especially effective in the more dramatic scenes, offering them up in an almost dreamlike vision.

At the center is Brian Charles Rooney, who’s made quite a name for himself, not only on the local level, but for his work in New York on Broadway, is well-known for his vocal prowess as a musical theatre powerhouse. Rooney captures the full breadth of George’s life journey—from mischievous boy to wide-eyed dreamer to the exhausted, cornered adult wondering where everything went wrong. Remarkably, he accomplishes this not through drastic physical transformation but through subtle, sharply observed choices: a shift in vocal pitch, a slight change in posture, the weight of responsibility settling into the shoulders. These gradations make his downward spiral heartbreaking and his redemption cathartic. As George Bailey, it’s his sincere believability as the multi-faceted depth he brings to the stage that holds the audience’s attention from that first appearance of a man defeated to the much-loved ringing of that angelic bell signifying all is well with the world. His performance as George Bailey is nothing short of revelatory. And YES…though this production is not a musical, the audiences is indeed treated to just a bit of Rooney’s pitch-perfect multi-octave voice for a quick little verse of Buffalo Gals, the beloved tune featured in the 1946 film classic.

As Mary Hatch Bailey, Tamiko Robinson Steele radiates warmth, quiet confidence, and fierce devotion. Her Mary is not simply the supportive spouse—she’s the emotional compass of the story, grounding George even when he’s flailing hardest. Steele’s effortless sincerity elevates every scene she touches. From their scenes depicting George and Mary’s childhood friendship to their teenage flirtation, Steele’s sweet embodiment of Mary is palpable. The scene at the drugstore soda fountain when Mary leans over to George and whispers in his bad ear her devotion, I couldn’t help but have a little eye sweat. With Steele in the role, it’s no wonder George offers Mary the moon.

A standout among the ensemble, Matthew Carlton impressively toggles between two primary characters, the compassionate, celestial Joseph and the acerbic, conniving Mr. Potter. The contrasts are stark yet fully realized. Particularly striking is a small but brilliant acting detail: Carlton’s decision to have the wheelchair-bound Potter occasionally rub his leg, as if easing a persistent ache. As someone with mobility and neuromuscular pain myself, that gesture resonated deeply—an understated physical cue that hints at the discomfort and bitterness fueling Potter’s worldview. Carlton’s scenes with apprentice angel, Clarence are equally as lovely.

To that end, Jennifer Whitcomb-Oliva, who I readily admit is one of my longtime theatre crushes, shines brilliantly as the eager-to-earn-his-wings Clarence. Ever-hopeful and constantly assuming its his time to get to work helping George as Carlton’s Joseph guides him through George’s journey thus far, Witcomb-Oliva is simply joyous to behold. Also tasked with also presenting the bumbling but big-hearted Uncle Billy, Witcomb-Oliva os equally at ease. Where physical choices and minute nuances in characterization are concerned, Witcomb-Oliva is astutely adept. From Clarence’s nervous excitement to not only help George, but to also earn is wings–to Uncle Billy’s blissful befuddlement, Witcomb-Oliva delivers performances indeed worthy the presentation of angel wings.

Among the remaining company members, Matthew Benenson Cruz offers charm and humor as Harry Bailey, Burt the Cop, and more. Garris Wimmer deftly give the ole “Hee-haw!” to his Sam Wainwright, offers a bit kindness with his Mr. Gower and is the perfect companion to Cruz’s Burt as Ernie the cabbie. (Side Note: As I do every time I have the chance to review It’s A Wonderful Life, YES, I will point out the fact that Jim Henson and Company got the names for two of Sesame Street’s best pals from the characters of Bert and Ernie in the Capra classic), but I digress. Back to the ensemble, as expected, Eve Petty gives a spirited turn as Violet Bick, injecting just the right note of vulnerability beneath the flirtation. She’s also ridiculously fun in her role as one of the Bailey children.

Among  the remaining ensemble are Eric D. Pasto Crosby, who is first seen in a brief appearance as Mr. Bailey and a little more stage time as Nick the barkeep (question…did they really have Sports Bars called as such in the 1940s? It’s rhetorical. Sports Bars weren’t a thing until the 1960s, thus my only complaint about the set, for when Clarences shows George what life would have been like had he not been born, they visit the bar formerly owned by Martini, now emblazoned with a mirror-etched sign reading Nick’s Sports Bar). Aleia Eagleton and Darci Nalepa Elam appear throughout portraying various townspeople. Among their standout turns, Elam’s Ma Bailey is motherly perfection while her Tilley is flirty and fun. Then there’s the small in stature, but big in energetic presence of Eagleton as she is fabulously convincing and utterly enjoyable in the tiny, but pivotal role of Zuzu.

Each member of the company, whether featured on ensemble beautifully adding texture, warmth, and an essential presence throughout, rounding out the world of Bedford Falls with the perfect blend of authenticity, heart and the occasional wink to cleverness of the minimal approach to the piece.

Behind the scenes, the talent runs as deep. Melisa K. Durmon’s costumes, hair, and makeup perfectly capture the era while allowing each actor to glide seamlessly between roles and meet those quick change cues in time for their next character’s appearance. Dalton Hamilton’s lighting design bathes the stage in comforting holiday hues one moment and stark emotional shadows the next, guiding the audience through George’s shifting state of mind, but never over-dramatizing it. Kevin O’Donnell’s sound design subtly enhances the production’s magical realism—gentle chimes, rustling winds, and atmospheric underscoring that support without overwhelming.

Nashville Rep’s It’s A Wonderful Life is more than a nostalgic retelling; it’s a reminder—tender, inventive, and beautifully crafted—of the impact one life can have on an entire community. With its inventive staging, standout performances, and thoughtful direction, this production radiates the very heart of the holidays. Whether you’re revisiting Bedford Falls or discovering it for the first time, this beautifully crafted production is a heartfelt story of community, compassion, gratitude, connection, and the timeless belief that no one is a failure who has friends and the reminder of the difference one life can make.

The Rep‘s It’s A Wonderful Life continues its run through December 21, with performances at 7:30pm Thursday, December 18 and Fridays and Saturdays, and 2pm matinees Saturdays and Sundays. Truly a heartfelt, artfully realized gift to Nashville theatergoers, so grab your tickets, your Bevin Silver Bell, and maybe a tissue or two and get ready to head to TPAC‘s Polk Theatre to celebrate this Wonderful piece of American holiday history. CLICK HERE to purchase tickets.

Before you go, in case you missed it, CLICK HERE to check out my recent Rapid Fire 20Q with the director and cast members of the show.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

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

If you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: The Keeton’s ‘She Loves Me’; a Love Letter for the Holiday Season

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Romance, wit, and a dash of musical magic have drifted into Donelson as She Loves Me opened at The Keeton Dinner Theatre this past Thursday evening with the show continuing with Thursday thru Sunday shows until December 21. With its intimate space, casual dinner-theatre setting, and a cast obviously invested in the show’s nearly century-long legacy, The Keeton proves an ideal home for this sweet classic midcentury musical.

Based on Miklós László’s 1937 play Parfumerie—the source material for later films, The Shop Around the Corner, In the Good Old Summertime, and, spiritually, You’ve Got Mail—She Loves Me remains one of musical theatre’s most charming “quiet classics.” Its central “enemies-to-lovers through anonymous letters” premise still sparkles, especially when placed in the hands of performers who understand just how human, funny, and tender these characters truly are.

While Jimmy Stewart’s Alfred from 1940’s The Shop Around the Corner presented the male counterpart of the story as a bit of a prickly nay-sayer, the musical adaptation’s male lead Georg Now, played in The Keeton’s She Loves Me by Jayden Murphy,  who was last seen on The Keeton stage as Coalhouse in Ragtime, once again brings a youthful warm and layered and hopeful presence beneath the character’s famously cantankerous exterior. When we chatted with Murphy for our recent Rapid Fire 20Q, he admitted to being a bit of a “hopeless romantic” much like Georg. On stage Murphy channels that vulnerability to sweet success in the bittersweet Tonight at Eight and especially in the show’s title tune, She Loves Me. His smoothly rich voice—flexible, grounded, and carefully guided under Music Director Roger Hutson—honors the show’s more classical, operetta-leaning score while still feeling contemporary and honest. Murphy’s understanding of the show’s history is in full view throughout: this is a Georg who feels fully lived-in, not mimicked from past productions.

As Amalia Balash, Jiana Kevilus is radiant—sharp-tongued in the workplace to comedic delight when pitted again Georg one moment and achingly vulnerable when speaking (or singing) of her unidentified letter-writing love the next. Her interpretation honors Amalia’s insecurities, especially those revealed in Will He Like Me?, while infusing her with modern emotional clarity. As anticipated, Kevilus’ Vanilla Ice Cream—approached as a pivotal moment where Amalia subconsciously begins to realize Georg’s true identity—bubbles with joy, confusion, and discovery. It is one of the highlights of the evening: vocally agile and acted with specificity. In an admirable way, Kevilus’ performance of the song put me in mind of Olivia Newton-John’s Hopelessly Devoted Grease moment.

The chemistry between Murphy and Kevilus is strong and believable. Their banter often borders on playful chaos.That ease pays off—this Amalia and Georg disagree ferociously, but they always feel tethered by something deeper, and the much-anticipated revelation of their true identities and mutual feelings all the more sweet because of it.

Kimberly Wolff, who seems to have become a full-fledge member of the Keeton company of frequently seen actors, is a standout as Ilona Ritter. Wolff gives the role the perfect blend of glamour, vulnerability, no-nonsense practicality and emotional intelligence. Her work in the number I Resolve is especially effective—Ilona’s attempt at independence is tinged with hope, frustration, and surprising strength.

Her scenes with Tommy Anglim’s Kodaly are super-charged with electrically playful tension. Anglim’s Kodaly is smooth, sly, and charming in all the most infuriating ways. During their shared musical numbers—particularly Ilona, Anglim’s Kodaly delivers a somewhat bawdy, yet perfectly comedically timed riotous performance. Anglim’s delightfully narcissistic Kodaly and Wolff’s tough-but-tender Ilona feel like they walked straight out of a Golden Age film.

Director Morgan Robertson, making her directorial debut, does so with charm and an obvious admiration for the musical, having music directed a previous production across town. There are a few instances when blocking seems a bit awkward and clunky (sorry, but why are we seeing the backs of actors in scenes throughout?). The overall look and feel of the show is a success and the actors each seem to have been directed to make the characters their own in the most enjoyable way possible.

Once again, The Keeton’s in-house scenic designer, Kevin Driver delivers a triumph and his She Loves Me set should be one of the most-talked-about elements of the production. Inspired by the 2016 Tony-winning Broadway revival’s transformative shop design, Driver creates an only slightly scaled-down Maraczek’s Parfumerie that feels timeless, elegant, and tactile. The mobile units shift the space effortlessly, inviting the audience directly into the warmth of the 1930s Budapest shop.

Denese René Evans’ costumes reinforce that old-world charm—smart, flattering silhouettes and texture-rich fabrics that reflect class, profession, and personality without ever feeling like caricature. Loved the small detail of all the shop employees wearing an “M” initial lapel pin. If a couple suggestions could be offered…invest in a steamer to relieve a bit of static cling on those silk pjs and suspenders should take care of a few of the male performers’ pant legs dragging the floor.

Sound designer Steve Love and lighting designer Brooke Sanders work together to create seamless transitions between bustling shop scenes, intimate revelations, and the cozy glow of the story’s romantic scenes. Especially of note, following a particularly jarring event, flooding the interior of the shop with crimson light might have been my favorite lighting effect.

The supporting roles are filled with memorable performances. Brian Best, last seen as William Frawley in The Keeton’s Lucy Loves Desi, lends Mr. Maraczek gravitas and returns Best to the typical bravado roles for which he’s come to be known. His solo of Act 1’s Days Gone By and its Act 2 reprise are unexpectedly hauntingly touching. Sipos, a role often played as gentle and understated, in the hands of Victor Davis, creates a charmer with soulful presence and hilarious comedic timing. Making his Keeton debut, Samuel Boggs brings youthful earnestness to Arpad, his Try Me full of plucky determination. Boggs’ performances should be remembered as he’s definitely poised to be one to watch with a sure-fire future in Nashville’s theatre community. 

As for the rest of the cast, Brenda Brannon (always a personal favorite) is snooty perfection as the sever in the upscale restaurant where our two fated lovers attempt their first face-to-face, Rich Moses, and the ensemble—Chloe Beehm, Hazen Lawson, Kathleen McClanahan, and Amanda Noss—bring humor, color, and a bit of extra fun to each moment they touch. Again, particularly enjoyable is the restaurant scene, from the physical comedy to flirtation abounding.

All in all, She Loves Me is “cozy theatre.” It looks to present heart, honesty, and fun rather than spectacle—and The Keeton delivers all three. Robertson’s production is grounded in affection for the material, executed by a cast that understands the charm and underlying fragility of the story they’re telling. The result is a She Loves Me that feels warm, human, and full of light—exactly the kind of theatre Nashville audiences crave during the holiday season.

Ready to take a trip to Maraczek’s shop around the corner and check out the goods yourself? Dear Friend, you’re in for a treat as She Loves Me continues its run at The Keeton (108 Donelson Pike, Nashville, TN 37214) thru December 21 with evening diner and show performances Thursdays, Fridays and Saturdays and additional matinees Saturdays and Sundays. Tickets range from $35–$47. CLICK HERE to purchase before the run sells out, and visit thekeeton.org for more information.

In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the director and four principal actors. 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: Studio Tenn’s ‘White Christmas’ Delivers a Sleighful of Charm, Tap and Holiday Glow

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There are holiday shows that entertain, and then there are holiday shows that wrap you up—the kind that feel like stepping inside a snow globe of music, memory, and pure theatrical joy. Studio Tenn’s production of Irving Berlin’s White Christmas, now dazzling audiences at Turner Theater at The Factory at Franklin, is very much the latter. Under the direction of Patrick Cassidy, with a warm nod to the story’s cinematic origin, and powered by a starry, tap-happy cast, this beloved classic arrives with all the shimmer and heart audiences expect, plus a few luminous surprises. With opening night snow, showstopping choreography, and voices that echo the golden age of movie musicals, this White Christmas may well be Studio Tenn’s most enchanting holiday offering yet.

Cassidy’s interpretation of the fan favorite feels like exactly what a holiday musical should be—a big-hearted confection wrapped in nostalgia, polished to a glossy Broadway shine, and delivered by a cast who understand that style, sincerity, and spectacular dance numbers are the holy trinity of this beloved classic.

While White Christmas traditionally seems best suited for a larger venue, Andrew Cohen’s picture postcard scenic design works perfectly with Turner Theatre’s more intimate space. By presenting the inn and other key sets with a more minimalist approach, ie smaller set pieces on casters, while focusing the heft of his set design on the barn, which serves as backdrop to most of the larger all-in cast numbers, Cohen adds to the action, rather than drawing too much attention from it. Devon Renee Spencer’s sumptuous costumes, from those pink and green holiday costumes early in Act 1 and her take on Betty’s solo gown to the iconic finale garb are a wardrobe wonderland themselves. Darren Levin’s painterly lighting brilliantly coveys mood scene by scene. These craftspeople combined with Scott Brons’ lush musical direction, and the production glows from first tableau to that highly-anticipated, but much-loved final snowfall.

But the secret to White Christmas has always been its quartet at the center: two entertainers, two sisters, four hearts that collide, resist, and inevitably soften under falling snowflakes and Irving Berlin’s irresistible melodies. Studio Tenn’s leads deliver beautifully.

Ben Laxton, as the steady, dry-witted Bob Wallace, anchors the show with clean vocals and a grounded charm that never attempts to mimic Bing Crosby, but instead finds a sincerity and warmth all his own. His rendition of Count Your Blessings Instead of Sheep lands with a quiet power—simple, heartfelt, and beautifully sung.

Laxton pairs especially well with Lisa Karlin’s Betty Haynes, whose rich, velvety alto brings a classic, old-Hollywood elegance to every number she touches. Her Love, You Didn’t Do Right By Me—a personal favorite moment of mine—was delivered with haunting restraint, channeling Rosemary Clooney without imitation and earning one of the night’s strongest responses.

On the other side of the romantic coin, Jeremy Benton and Elizabeth McGuire ignite the stage as Phil Davis and Judy Haynes. Benton, not stranger to area theatre audiences, was last seen in Nashville as Bert in Nashville Rep‘s 2022 production of Mary Poppins, is also no stranger to the role, having performed in the National Tour of  White Christmas and incredible 7 seasons. Speaking of previous connections to the show, Benton’s on-stage love interest McGuire, who’s making her Studio Tenn debut in the show, has previously appeared in two regional productions of White Christmas. Not only do they match the flirtatious comedic energy required of the roles, they also jointly co-choreographed the production—an ambitious undertaking given the show’s dance vocabulary is steeped in the iconic work of Randy Skinner. The result? Pure joy. Their The Best Things Happen While You’re Dancing is dreamlike and precise, but it’s the Act II taptastic extravaganza I Love a Piano that stops the show cold…or should I say Hot! Benton’s dancerly ease and McGuire’s crisp, buoyant tapping create the kind of musical-theatre electricity audiences hope for in December. They honor Skinner’s lineage while injecting fresh life into every step.

And speaking of ensemble numbers, Snow—another of my personal from the film—receives a full-throated, all-in treatment here. The boxcar becomes a bustling world of anticipation and winter wonder, and the cast–in particular Richard Daniel as The Snoring Man–leans into every comedic beat and harmonic swell. It’s impossible not to smile.

In comedic and heartwarming supporting turns, Megan Murphy Chambers (Martha) once again proves she can steal an act with one number. Her Let Me Sing and I’m Happy blends powerhouse vocals with effortless comedic bite—she lands every quip, every side-eye, and every belted high note with the precision of a seasoned pro. Belting lyrics like “if my song can start you laughin’/can start you cryin'”with humor and heart, rest assured MMC can and does! Chambers is a jewel in the crown of area theatre folk. She’s an entertainer’s entertainer. Equally at ease whether tasked with comedy or sincerity. Her scenes with Curtis Denham‘s General Waverly check all the marks perfectly hitting the highs of broad comedy and the more subtle genuine moments between two longtime friends. Speaking of, Curtis Denham brings a grounded gravitas to General Waverly, avoiding caricature and instead offering a touching portrait of a leader rediscovering purpose. Rounding out the primary cast is young Frankie Lou Lauderdale, who simply charms instantly as Susan (Preslee Siebert also plays Susan at some performances). Lauderdale delivers the pint-sized earnestness gives the storyline its heart. I’ve always found it interesting that in the original film, Susan is General Waverly’s adult granddaughter, but for the stage adaptation, Susan is presented as a young girl. I does indeed add a more family-oriented dynamic and Lauderdale’s Susan provides the right amount of youthful sweetness combined with moxie, as proven in her cheer-inducing ambitious rendition of Let Me Sing and I’m Happy.

As for the rest of the cast, the bench is equally deep: the aforementioned Richard Daniel’s more prominent role, Ezekiel will surely cause audience members to mimic his “AyYup” response throughout the holiday season. Douglas Waterbury-Tieman doubling as Mike McNulty and Ralph Sheldrake showcase his ease with frenzy and calm, respectively. Rita and Rhoda, the zesty pair of chorus girls continually vying for attention from Benton’s Phil, are played to the coquettish hilt courtesy of Anna Claire Perry and Maria Logan–charmed, I’m sure, INDEED!

The ensemble—Kelsey Brodeur, Allison Little, Christine Toole, Alex Dee, Jordan Long, Isaiah Mayhew, and David Benjamin Perry—executes Benton’s and McGuire’s choreography with dazzling precision, tapping, swirling, and harmonizing through the show’s most technicolor moments.

Of the 2018 national tour, which featured Benton, in my review I once wrote of the show’s “glistening, gleaming, smiling, singing, happy, tapping, merry-making” energy, Studio Tenn’s White Christmas delivers all of that and more—scaled for intimacy but performed with unabashed Broadway ambition. Director Cassidy tips his hat to the timeless film, but never becomes trapped by reverence; this is a production that understands nostalgia is most magical when it feels freshly lived, not simply recreated.

By the final chorus of White Christmas, as snow drifts across Turner Theater and voices swell in perfect harmony, Studio Tenn captures the exact blend of warmth and spectacle that has made this musical a December tradition for generations.

A radiant, tap-happy holiday spectacular anchored by four outstanding leads, scene-stealing supporting turns, and choreography that honors the classic while blazing its own bright trail. As the final notes fade and the snow gently settles across the stage, Studio Tenn’s White Christmas leaves its audience warmed, smiling, and perhaps even humming an Irving Berlin tune on the walk back to the parking lot. It’s the rare production that satisfies longtime devotees of the film while welcoming newcomers into its cozy embrace—proof that nostalgia, when handled with artistry and heart, can still feel brand new. With exceptional performances, lovingly rendered design, and choreography that taps straight into holiday magic, this production is more than a seasonal outing—it’s a gift. And like all the best gifts, it lingers long after the curtain falls. As Laxton and Karlin‘s Bob and Betty suggest by song in Act 1, Count Your Blessings, and this year those blessings certainly include Studio Tenn‘s White Christmas.

Even before Opening Night I learned that the entire run of Studio Tenn‘s White Christmas is SOLD OUT, but here’s a holiday tip, CLICK HERE to purchase tickets to be part of the audience when Studio Tenn produces Broadway’s most cunning thriller, Deathtrap February 5-22 at The Factory at Franklin.

Wanna keep up with the latest from Studio Tenn? Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.

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. Until then, #GoSeeTheShow!

Rapid Fire 20Q With Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

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To celebrate the holiday season, Nashville Repertory Theatre brings the cherished American classic, It’s a Wonderful Life, back to the stage at TPAC‘s Polk Theatre. For this special holiday edition of Rapid Fire 20Q, JHPEntertainment.com sat down with members of the extraordinary cast and creative team — Brian Charles Rooney, Tamiko Robinson Steele,  Jennifer Whitcomb-Oliva & Eve Petty, as well as the show’s director Alicia Lark Fuss — to talk character discoveries, backstage magic, family traditions, and why this timeless story still resonates so deeply. Ready for a visit to Bedford Falls? Let’s go.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NASHVILLE REP’s IT’S A WONDERFUL LIFE

 

RAPID FIRE WITH BRIAN CHARLES ROONEY, GEORGE BAILEY IN NASHVILLE REP’s IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: George Bailey is one of the most enduring characters in American storytelling — how did you begin finding your version of him?
BRIAN CHARLES ROONEY: The film version of this story is such a legendary piece of the cultural fabric; so it’s impossible to ignore it, and I would never want to do that in the first place. However, I have tried to stay focused on the script that we have in hand, as this is a staged/theatrical version, and even though it is obviously based upon the film, it is definitely its own artistic entity. So I wanted to try to create my own version of this character based on how that version could best serve the story, and this interpretation of that story.  I faced a similar challenge when playing Buddy the Elf in Elf, a few years ago for the Rep. In that case, the movie is also quite iconic, but the stage musical made enough changes and incorporated such a fun musical score, that it stood on its own. However, in both cases, I have attempted to pay homage, to what has come before!  
JHPENTERTAINMENT: That leads perfectly to my next question…as you mentioned, in recent years you’ve entertained Nashville audiences by  played roles as varied as Buddy the Elf, Nicely Nicely in Guys and Dolls and The Emcee in Cabaret — how does George Bailey compare in tone and emotional range?
BRIAN CHARLES ROONEY: This is a very different role for me, especially if we compare it to what audiences have seen me play in Nashville…  but at heart, George is a fighter, and he’s incredibly sensitive… when he is at his lowest, he still has a lot of faith in the people he loves… even though he loses faith in himself.  He is unafraid to feel deeply, and I think that’s a common trait amongst most of the characters I’ve played throughout my career… even here in Nashville! Is it a stretch? I think most people with whom I’ve worked and who support the theater in Nashville might think so; but I am an actor, and it is my joyful responsibility to be a storyteller and execute the vision of the playwright and the director. I’m very much looking forward to doing that with this show!!  
JHPENTERTAINMENT: You know I can’t chat with you without mentioning your incredible vocal range and skills as a singer. To that end, is Mariah’s All I Want for Christmas THE holiday song? Or do you have another unlikely favorite that you keep on your most-played Christmas playlist?
BRIAN CHARLES ROONEY: I quite like Mariah’s annual Christmas anthem, and I’m always amazed by how shrewd a business woman she has always been… That song makes her about $3 million in royalties every year. Not too shabby, right?!   I have a few other holiday favorites, including When Christmas Comes to Town, from the film The Polar Express, as well as the Kelly Clarkson/Ariana Grande duet Santa, Can’t You Hear Me?  I love both of their voices, and I think they sound wonderful together!!!  I am always obliged to sing O Holy Night, each year by my family, many friends, church, and other events. I like it because I can live in my classical voice for a moment or two during that song. That’s always fun!
JHPENTERTAINMENT: What’s something about It’s A Wonderful Life that resonates with you personally, especially in today’s world??
BRIAN CHARLES ROONEY: There are a number of reasons this show feels timely and relevant right now… During the show, George Bailey finds himself at odds with Henry Potter, who has all the money in the world, but very little heart. Matt Carlton plays Potter beautifully, and I feel very fortunate to work with him.  I’ve had the chance to work with him in The Sound of Music and Cabaret for Studio Tenn, and in A Christmas Carol, the last two years at TPAC for Nashville Rep. He feels like family to me, and I admire him greatly, so one might think it would be difficult seeing him as a villain and interacting with him as such… But it works so well! And I think the audience will particularly love those scenes!  I bring those scenes up because the theme of empathy, or rather the lack of empathy, is richly present in those scenes, and despite the fact that some people find empathy a liability, I cons consider it a strength. I think people might agree with me after seeing this show, assuming they may have thought differently beforehand. 
Another theme that is undeniably present in this story is that of love… Now that’s certainly a loaded statement, but George struggles with whether or not he matters… And I believe that if you have the capacity for love, you matter. If you are loved by other people, it is difficult to deny the fact that your existence is important. I think that idea, which is present in our play, can remind the audience that it’s never a waste of time to show love to others… it can be, in fact, quite a healing experience for everyone.
RAPID FIRE WITH TAMIKO ROBINSON STEELE, MARY HATCH BAILEY IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: What is it about Mary Hatch-Bailey that drew you to the role?
TAMIKO ROBINSON STEELE: Mary is grounding. She is that quiet but powerful force that keeps everything steady. I love women like that because they are often the glue in real life. She listens, she leads with love, and she stands firm even when the world shakes a little. Playing her felt like stepping into the heart of a home.
JHPENTERTAINMENT: What do you think gives this classic tale such lasting emotional power?
TAMIKO ROBINSON STEELE: Honestly, it is the community. The story reminds us that we are never doing life alone, even when it feels like it. People show up for you in big and small ways, and that is what makes the world feel warm. I actually grew up knowing about the movie more than watching it, but the story has lived around me my whole life. You can feel why. Even without all the details, the heart of it is unmistakable. People lean toward it because it celebrates community. It reminds us that we matter to each other, that we lift one another up, and that our impact on the people around us is often bigger than we realize. Anything that centers hope and connection lasts because we need it.
JHPENTERTAINMENT: What is one of your personal favorite holiday traditions?
TAMIKO ROBINSON STEELE: Family time. My family is big and loud and wild in the best way. We cook way too much food, eat until our stomachs and hearts are full, laugh until we cry, and just soak up that joy. It is chaos and comfort all at once. That is Christmas for me.
JHPENTERTAINMENT: How does performing live on stage feed you differently than film and TV?
TAMIKO ROBINSON STEELE: The stage gives me an immediate spark. The audience breathes with you and you all experience the story at the same time. There is nothing like that. Film and TV feed me in a different way because those stories live longer and reach into more homes. I love the intimacy of the camera, but theater is magic you share in the moment, and that is a gift every single time.
RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, CLARENCE & OTHERS IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: When I heard you were playing Clarence, Uncle Billy et al, I may have let out an uncontrollable squee of delight! What’s been the biggest joy (and challenge) in shifting between these unlikely roles for you?
JENNIFER WHITCOMB-OLIVA: It’s A Wonderful Life is such a beloved classic, the opportunity to portray any of its characters brings a special sense of nostalgic wonder. One of the biggest challenges in this production/adaptation, is the quick costume changes/focus and timing. While most of the costume changes are very minimal, some of them are within seconds. Moments. This piece calls for intense mental focus. These ensemble tracks move quickly and precisely. It’s kind of dance like. The way scenes flow into the next, swriling around. A bit of a Christmas trance, if you will. 
JHPENTERTAINMENT: Your theatre credits are as varied as your roles in this show, but over the years you do seem to always include a seasonal show in the mix. What keeps you coming back to holiday storytelling?
JENNIFER WHITCOMB-OLIVA: I don’t think it would come as a surprise when I tell you it’s because I want glitter on everything! I love anything that is larger than life. Holiday shows are filled with spectacular visuals. Lush costumes, imaginative sets, twinkling lights, snowy effects. Illusion. Miracles even.  I love magical things, and that “Anything Can Happen” feeling that comes with these types of shows. Also, there alway seems to be a deeper connection between the audience and the performers. There’s this instant connection and warmth from emotions, and cherished memories. I might be a bit of a romantic, but don’t go telling anyone! Stay cool. Be calm.
JHPENTERTAINMENT: You touched on this a bit already, but Clarence is such a whimsical and heartwarming figure — how are you approaching this guardian angel role in your own style?
JENNIFER WHITCOMB-OLIVA: Iconic roles are always tricky. I want nothing more than to honor the iconic nature of this beautiful character. My goal with this and any character I approach, is to play it with sincerity and emotinal truth. Something grounded and real, rather than a replication or imitation. Clarence is a goofy guy. Or in this sense, a young man. He has a good heart, and an exuberant love for life. He has a sense of adventure, and a taste for excitement. He might not be the brightest crayon in the box, but has the potential to light up the world. I want him to feel like you know him, or really want to. Maybe he bags your groceries at the grocery store. He’s the guy who throws your newspaper to your door, and breaks your flower pot every Wednesday. Maybe he’s the one that gets his bowl of cereal every morning, and when he takes the cap off the milk, he never screws it back on properly. He floods the kitchen floor every time. He’s messy, but he means well. I want audiences to genuinely roll their eyes a his silliness. But we know deep down, that one of these times he’s going to do the right thing, and all will be well.
JHPENTERTAINMENT: Speaking of heartwarming, what warms your heart during the holidays?
JENNIFER WHITCOMB-OLIVA: I love spending time with my family. Gathering around the table for a delicious meal. I love waking up in loud Christmas pajamas, and spending a whole day in them. It’s cozying up on the couch with treats and silly movies. Doing absolutely nothing, but doing it together. It’s the quiet moments of stillness and reflection. Swimming in a cup of hot coca with enough whipped cream in it to float an elephant. Daydreaming of things I want to do. It’s my endless love for the Nutcracker Ballet, and the Tchaikovsky score. And naps. So many naps. It’s sitting by the window with my fur babies, festively ticking down the days until Halloween. 

RAPID FIRE WITH EVE PETTY, VIOLET IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: After several years working behind the scenes with Nashville Rep, how does it feel to step into the spotlight for your onstage debut — and in such a beloved holiday classic?
EVE PETTY: Nashville Repertory has been one of my favorite companies to work with behind the scenes over the years. I’ve loved watching the shows I’ve worked on from the wings, and now it feels amazing to step onto that same stage and be a part of the show in a new way. 
JHPENTERTAINMENT: Not only are you making your on-stage Nashville Rep debut, you’re also juggling several characters in this production — among them, the always entertaining Violet Bick— not gonna lie, Violet is one of my favorite characters in the show. What’s your favorite aspect of Violet, as you see her?
EVE PETTY: The other actors and I  have talked about how Violet has been seen as almost a villain in the way that she comes between Mary and George. But the way I  see her, she’s a girl going after a boy that she has liked all her life, just like Mary. I’ve liked discovering the similarities and differences between Violet and Mary’s characters and finding the depth within this flirty and forward character. Plus, who wouldn’t want people to say “Wow” when they walk across a stage 😉
JHPENTERTAINMENT: Since you’ve seen the Rep from both sides — backstage and onstage — what has surprised you most about the process this time around?
EVE PETTY: My brain still thinks very much in the way of how backstage runs and how to make the show smooth and efficient. It’s been a nice surprise to find that with this show, those skills are very much valued with how quickly the transitions come and go, taking us from scene to scene. 
JHPENTERTAINMENT: Just for fun…NOT counting It’s a Wonderful Life, what one movie or tv special truly signifies the start of the holiday season for you?
EVE PETTY: As a puppeteer, I  love watching The Muppets Christmas Carol and imagining how fun it must have been to perform in that movie. 
RAPID FIRE WITH IT’S A WONDERFUL LIFE DIRECTOR, ALICIA LARK FUSS
JHPENTERTAINMENT: It’s A Wonderful Life has such a cherished place in American culture — what inspired your vision for bringing this story to Nashville Rep’s stage?
ALICIA LARK FUSS: My husband and I watch the movie every year on New Year’s, so I am very familiar with it! As a cast and design team, we focused on the importance of community at the center of the story– it’s really about the way we take care of each other and  how important that is. Focusing on the heart of the story gave us all a lens to create this beautiful adaptation.
JHPENTERTAINMENT: You have a background in theatre for young audiences — how does that perspective influence your approach to this family-centered holiday production?
ALICIA LARK FUSS: My approach to directing doesn’t change much based on the audience; I find I ask really similar questions when investigating a new script and thinking about how to approach it. However, TYA has given me lots of practice in scripts that move at a brisk pace with actors playing multiple roles, and that is VERY true of this play. There are many sequences where we jump time and place every page or so, and our ensemble cast plays something like 47 people between 9 actors.
JHPENTERTAINMENT: This adaptation by Catherine Bush is theatrical and imaginative — what moments in this version most surprised or delighted you in rehearsal?
ALICIA LARK FUSS: Watching our incredible actors create so many distinct characters has been a DELIGHT. We also worked with a fabulous movement coordinator, Megan Castleberry. She guided us through creating moments like the kids falling through the ice and George jumping from the bridge, and it was incredible to watch her build these sequences, representing the action in a highly theatrical way that leans into physical storytelling. 
JHPENTERTAINMENT: What do you hope audiences take with them as they leave after seeing Nashville Rep’s It’s A Wonderful Lifethis holiday season?
ALICIA LARK FUSS: In rehearsals, I’ve seen the end of the show many, many times and I still get misty. My dream would be that audiences feel a deeper sense of connection to their loved ones, and a renewed hope for communities that lift up and take care of each other. 
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Nashville Rep’s It’s A Wonderful Life brightens the holidays at TPAC‘s Polk Theatre December 5–21, with performances at 7:30pm Fridays and Saturdays and 2pm matinees Saturdays and Sundays. As this uplifting classic fills the theatre with heart, hope, and a reminder that every life touches countless others, there’s no better way to celebrate the season. Gather your loved ones, step into Bedford Falls, and experience the magic live onstage. CLICK HERE to secure your seats now.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

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

If you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with Director and Cast of ‘She Loves Me’; The Keeton’s classic musical holiday gift runs December 4 thru 21

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Romance, wit, and a dash of musical magic are heading to the Donelson stage as SHE LOVES ME opens at The Keeton Dinner Theatre, running December 4–21, 2025. With show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, audiences can step into Maraczek’s Parfumerie for an evening of charm wrapped in melody. We caught up with the cast and creative team for a Rapid Fire 20Q—diving into character work, classic film adaptations, backstage dynamics, and what makes this production sparkle. Consider this your first peek behind the counter before the curtain rises.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s SHE LOVES ME

RAPID FIRE WITH JAYDEN MURPHY, GEORG IN SHE LOVES ME

JHPENTERTAINMENT: Georg is the original “grumpy romantic.” What part of his personality do you most relate to in your everyday life?

JAYDEN MURPHY: Oh my gosh, where do I even start? I’m kidding, but honestly, even at my age, dating is rough. We have all this technology now and it still feels confusing and disappointing most of the time. I’m not saying I’m trying to settle down and start a family right now, but I definitely relate to Georg on that level. What I connect with the most is that his grumpy romantic side really comes from him being a hopeless romantic. He wants to fall in love so badly, and when things don’t go the way he hopes, that disappointment shows up as frustration. I understand that. I’m a hopeless romantic myself, and that helps me tap into who he is. His grumpiness isn’t about being cold. It is because he genuinely cares and he wants that storybook ending with someone. And we will see if he finds it.

JHPENTERTAINMENT: SHE LOVES ME has such a beloved lineage — from the original play Parfumerie to this musical adaptation to the classic film The Shop Around the Corner to the more modern You’ve Got Mail. I know you’re much younger than the character you’re portraying. Heck, you were born more than a decade after the Tom Hanks film version came out, so…were you familiar at all with the history of the show prior to your audition?

JAYDEN MURPHY: I spent a lot of time researching the full history of SHE LOVES ME. I’m the kind of actor who prides himself on being well-prepared before an audition or before my name goes into a Playbill. In college, I actually worked on all of Georg’s songs, which gave me an early understanding of who he is. My college director also directed a national tour of SHE LOVES ME and has close ties to the original writers, so being around him helped me learn even more about the show. I also looked back at the original play, the musical itself, and the film versions. One of my favorite parts of musical theatre is becoming a character, so even though I’m younger than Georg, I wanted to fully understand his world and the legacy of the role before stepping onstage. All that research helped me connect with him in a real and honest way.

JHPENTERTAINMENT: The original run of SHE LOVES ME debuted on Broadway in 1963. Since then it has enjoyed Broadway revivals in 1993 and 2016. One aspect it has maintained since its debut is that many of the tunes feature a more operatic vocal style, as opposed the the more common showtimes flair of many modern musicals. Having seen you wow the crowd as Coalhouse in The Keeton’s Ragtime, I’m curious to know if this second pairing with Roger Hutson as your Music Director has helped you lock in on your approach to Georg vocally?

JAYDEN MURPHY: Yes, absolutely. I really pride myself on being a versatile vocalist. My vocal coach and everyone I work with knows that I don’t like to put labels on what I am or what I can be. I’m only 19, and my voice is still developing, so I try to stay as agile and flexible as possible in what I do. Working with Roger again has been amazing. He really lets me explore who I believe Georg is, both onstage and through the songs. At the same time, he holds me accountable and pushes me in all the right ways. We work really well together, and I definitely feel like he’s helped me find a strong vocal approach to this role. I think people will be surprised by how I portray Georg and how he sounds, because Roger has helped me tap into a version of the character that feels natural and honest to me while still honoring the more classical style of the show.

JHPENTERTAINMENT: If Georg were working at Maraczek’s Parfumerie today, what modern-day app or platform do you think he’d be using? AND…How would the opening line of his profile bio read?

JAYDEN MURPHY: That is a hilarious question. I definitely think Georg would be on Hinge. He just gives me “Hinge guy” energy. His opening line would probably sound very proper, like “Good day, madam, may I help you?” lol But honestly, I think he’d lie a little on his profile at first. He’d probably say he was some kind of businessman or shop owner, something that makes him sound more impressive. But I also think once he actually met the girl, he’d come clean. Georg is charming, and he means well, so he’d eventually tell the truth. But yeah… he’s absolutely a Hinge guy.

RAPID FIRE WITH JIANA KEVILUS, AMALIA IN SHE LOVES ME

JHPENTERTAINMENT: Amalia is smart, stubborn, and deeply hopeful. What’s your favorite contrast between how she sees herself vs. how others see her?

JIANA KEVILUS:  I think the contrast in Amalia’s self-image versus how others see her is one of the most compelling things about her as a character. In one of her songs, we learn that she worries that “Dear Friend” will be disappointed to find that she is “shy” and “quiet.” This is a stark contrast to the confident and witty personality we see from her when interacting with Georg and the other clerks and customers at the shop. I think this offers a very human and relatable side to Amalia, because while she may be secretly insecure, the people around her are more focused on her charm. 

JHPENTERTAINMENT: The 1940 film The Shop Around the Corner gave Amalia a slightly different flavor. In researching the role, did you check out either film adaptation? Or, did you simply find your own Amalia through the rehearsal process?

JIANA KEVILUS: This show has been a favorite of mine for a long time. Because of this, I was already somewhat familiar with different productions and adaptations. When preparing for the role however, I’ve tried to avoid spending too much time watching other people’s interpretations of Amalia as I tried to learn what my own organic take on the character should be. I think there is happy medium between golden age damsel and independent and headstrong young woman that I’ve found in my interpretation of her. 

JHPENTERTAINMENT: Vanilla Ice Cream is a beast of a number. Did your Director, Morgan Roberts or the show’s Musical Director, Roger Hutson offer any specific advice that changed how you approach this number? 

JIANA KEVILUS: Morgan and Roger have both had such wonderful visions for this production! With their guidance, I’ve been lucky enough to have been given a lot of artistic freedom in this number. When discussing with Morgan what Amalia’s motivation is in this song, we found that it is much more compelling if this is the beginning of her slowly starting to realize the true identity of “Dear Friend.” Whether she fully understands it yet or not, this is a turning point for her character and altogether such a fun number to sing!

JHPENTERTAINMENT: As Amalia and Georg, you and Jayden have to walk the tightrope between enemies, coworkers, and secret lovers. What has helped you unlocked that balance?

JIANA KEVILUS: Jayden is a delight to work with and he puts on such a charming performance. While our characters certainly take some hard digs at each other, so much of the dialogue is so humorous that we find it hard not to laugh when rehearsing many of the scenes. We just have so much fun with these characters that I think it translates well to the different dynamics between them. 

RAPID FIRE WITH TOMMY ANGLIM, KODALY IN SHE LOVES ME

JHPENTERTAINMENT: If Kodaly were to follow in Georg’s example and begin corresponding to an unknown potential love interest, how would the opening line of his introductory letter read? 

TOMMY ANGLIM: Kodaly would NEVER pick up a woman without knowing what she looks like! However, his go to pick up line for strangers on the street (or in the shop) is likely along the lines of “Cherie, I have never seen a face like yours. You are absolutely as glamorous as Garbo.” And somehow… that line would work every time.

JHPENTERTAINMENT: The banter between the characters in SHE LOVES ME is iconic. What’s one line in the show—whether yours or that of a co-star—that makes you laugh even after dozens of runs?

TOMMY ANGLIM: I feel like two specific moments come to mind. The scene leading up to the song Ilona is one of my favorite ones to do with Kim Wolff. She and I have found a rhythm to those lines that are quick jabs at each other and it’s a joy every time (even though we seem quite angry in the moment!). For my second answer, I have to give a shoutout to Sam Boggs who plays Arpad. He brings such an innocent humor to that role that makes me laugh at lines I’ve never even thought were meant to be funny!

JHPENTERTAINMENT: If Kodaly were giving modern-day dating advice, what’s the first rule he’d insist everyone follow?

TOMMY ANGLIM: Always have a backup plan in case you need to replace your date!

JHPENTERTAINMENT: This show is quite the conundrum. It’s beloved by those who know it, but by-and-large, it’s rarely done by local theatre companies. How excited are you to potentially be introducing audiences members to this show?

TOMMY ANGLIM: I think it’s a very exciting opportunity! The show is a pretty trope-heavy, low stakes, enemies-to-lovers story that also has a cozy, Christmas ending, so it’s generally easy for audience members to find something about it to enjoy. I think what really sets the bar high in this production is the set that Kevin Driver has designed. He has really outdone himself providing mobile set pieces to really bring this story to life, and bring the audience into the shop with all of us.

RAPID FIRE WITH KIMBERLY WOLFF, ILONA IN SHE LOVES ME

JHPENTERTAINMENT: Ilona’s glamour and vulnerabilities are such a fun combination. What part of her surprised you most once you started digging in?

KIMBERLY WOLFF: Ilona, although may not be the smartest, she is still a catch. She is caring, loving, and very loyal. She’s just looking for someone to treat her right so that she can do the exact same for someone else. One the surface she may come across one way, but when you really dig in and see who she is, she offers so much more. 

JHPENTERTAINMENT: Every adaptation handles Ilona a little differently. In preparing for the role, did you check out any of the previous incarnations, whether stage adaptations or film versions?  — or did you purposely avoid them?

KIMBERLY WOLFF: Before I even audition, I will generally skim through other productions so that I have a good grasp on what the show is about and who these characters are. After that, I never go back, as I don’t want to be too influenced by other performances. Once I have the script in hand, and start acting it out with the other actors cast, I can bring her to life how I see her. That is half the fun of it. Bringing to life this character that I have spent weeks getting to know. 

JHPENTERTAINMENT: With a background in choreography yourself, how has it been having Heidi Buyck as choreographer for the show? AND…Which number makes you feel the most like you’re living your full Ilona fantasy?

KIMBERLY WOLFF: I’m very excited to finally get to work with Heidi. I have seen other shows she has choreographed, and she has seen other shows I have been a part of. We have both mentioned we hope we get to work together one day. Now, here we are. Performing the song, Ilona, that Tommy, aka Kodaly, sings has been a blast. Tommy and I have had a lot of fun bringing that one to life. Ilona is once again seduced by Kodaly’s charm, and against her better judgement gives him, yet again, another chance. 

JHPENTERTAINMENT: Ilona and Kodaly have… a complicated relationship. What’s one thing your Kodaly, Tommy Anglim brings to the dynamic that made your scenes instantly click?

KIMBERLY WOLFF: Tommy is a great scene partner. He has certainly brought all of his Kodaly energy for this role. His ability to transform into this character is effortless. We were both very excited when we found out we would get to play these characters together. We already have hilarious banter off stage so we couldn’t wait to be in this dynamic on stage. 

RAPID FIRE WITH SHE LOVES ME DIRECTOR, MORGAN ROBERTSON

JHPENTERTAINMENT: While you’ve performed as an actor, music director, teaching artist and choreographer, I understand The Keeton’s SHE LOVES ME marks your directorial debut. The show is famously delicate — grounded, funny, and deeply human. What was your North Star when shaping the tone of this production?

MORGAN ROBERTSON: As you say – this show is deeply human.   We’ve been interacting with various iterations of this narrative for years, (enemies to lovers is one of the most successful themes in pop culture!) With that being said, my two objectives as a first time director were 1) cast it well and 2) empower the team. This show (as a musical and a play before that) has been around for nearly 100 years. That means the bones are good! All I needed to do was find the people that could respect and highlight the central themes of the show and make sure they feel fully supported to embody the human experience. I consider this show to be a loving call for self reflection. I wanted our rehearsal process to feel the same way and I think this cast has been fully engaged with that idea. 

JHPENTERTAINMENT: Having music directed a 2023 production of SHE LOVES ME elsewhere about town, is there an aspect of the show’s score, as music directed by The Keeton’s Roger Hutson that you absolutely love?

MORGAN ROBERTSON: Yes! I fell in love with this show as music director for Trevecca University back in 2023, under the direction of Jeff Frame. Roger has always made me feel that my experience as MD is as valuable as my process as Director. I love the way he gets excited about the music! He’s a true music lover and he’s working with a huge range of musical styles in this show. Not only that, but he knows this cast (having worked with most of them on multiple productions) and so his attention to the needs of each song and each actor have really allowed me to take an outside view of just how unique this score is and how it serves each of the scenes with such specificity. 

JHPENTERTAINMENT: When SHE LOVES ME enjoyed its latest Broadway revival in 2016, the exterior of the Parfumerie moved to reveal the charming little shop and in doing so, the show’s scenic design won the Tony, beating out, among others, a little show called Hamilton. For The Keeton’s production, What’s your personal favorite aspect of the set?

MORGAN ROBERTSON: Well I don’t want to spoil anything … but I will say – my favorite aspect of the set is the set designer – Kevin Driver. Kevin has been extremely collaborative and often thinks my thoughts before I need to voice them. We discussed what wealth looks like in a glamorized society as well as what it looks like for a place like Maraczek’s parfumerie which exists in 1930’s Hungary. We’re dealing with old world ideas like buildings should be built well, with good material, meant to last. So we explored heightened natural elements. What does it look to make something marvelous and timeless? And I think we have found a really grounded balance. 

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing The Keeton’s SHE LOVES ME?

MORGAN ROBERTSON: Remember that it was worth it to get out and see live theater! Especially as the Keeton does it! The Keeton is uniquely situated in that they’ve been offering heightened, intimate theatrical experiences for years now.  The talent is incredible, every bit what you would see at any pro venue in town.  They’re brining in people who are ready to try new things with theatre in Nashville and that means all of their productions are filled with heart.  We’ve been brave with this show – we’ve opened the doors on every level for new ideas.  I’m a new director, though not new to the Nashville theater community.  I’ve developed my artistic voice in these communities and it feels incredible to be trusted with this experience.  I hope they remember how amazing it felt to watch people who love what they do and are incredibly good at it. Remember that we love what we do and we love sharing it with you.

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Ready to unwrap the enchantment of SHE LOVES ME for yourself? Performances run at The Keeton (108 Donelson Pike, Nashville, TN 37214) December 4–21, 2025, with show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, a. Tickets range from $35–$47. CLICK HERE to purchase tickets before the entire run sells out. More information can be found at thekeeton.org. “Dear Friend,” you’re in for a treat, so #GoSeeTheShow!

Rapid Fire 20Q with Director and Cast of ‘Cinderella: The FairyGodmother of All Pantos’; Opening December 5 at Playhouse 615 for the Holiday Season

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Playhouse 615 is ringing in the holiday season with a riotously fun twist on a classic fairytale, Cinderella,:The Fairy Godmother of All Pantos. Packed with comedy, music, audience interaction, and more fourth-wall-breaking than Cinderella has sparkles on her gown, this panto promises a festive night out for kids and grown-ups alike.

Directed by Ann Street-Kavanagh, and featuring Veronica Hodgson as a delightfully modern Cinderella, Deborah Seidel as the wickedly funny Baroness Vindetta, and Wanderson Rezende as the unforgettable Anita Bath, this production transforms tradition into pure holiday mischief.

To celebrate the laughter, magic, and mayhem ahead, we sat down with the director and cast members for a festive Rapid Fire 20Q to get their quick takes on panto chaos, backstage hilarity, and the special spark that makes this Cinderella unlike any other.

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF PLAYHOUSE 615’s CINDERELLA RAPID FIRE WITH CINDERELLA STAR, VERONICA HODGSON

JHPENTERTAINMENT: Panto heroines traditionally speak directly to the audience — what are you looking forward to most as far as  breaking the fourth wall and teaming up with the crowd?

VERONICA HODGSON: Well I’m really looking forward to all of the fun kid responses to the on stage antics. The rest of the company is absolutely hilarious, and I think kids will be really responsive to all of it. I really think kids are amazing in the sense that they haven’t really developed a filter yet, and that’s totally awesome and ok especially for a show like this when we’re ready for whatever they (or anyone else) wants to throw at us. 

JHPENTERTAINMENT: In your bio, you admit Cinderella rates among your favorite fairytales…When you audition for this, did you realize the full extent of how pantos take their original subject matter and expand upon them to the point of absurdity?

VERONICA HODGSON: I auditioned for this back in October. I was familiar with pantos being absurd versions of classic fairytales, but I did not realize the full extent of how the rest of the cast would take that and run with it. Everyone is so talented, and I’m really honored to be working alongside all of them.

JHPENTERTAINMENT: On the subject of absurdity, who among your cast mates can you just not make too much eye contact with for fear of cracking up?

VERONICA HODGSON: As I said before, everyone is an absolute blast and I’m so happy to be working alongside them. BUT if I had to pick one I can’t make too much eye contact with…it’s Wanderson Rezende. And he knows that. There are parts where he likes to mess with me and I just have to remind myself how the real Cinderella doesn’t see the humor in what he’s doing at all (He plays an ugly stepsister).

JHPENTERTAINMENT: I understand you’re currently pursing a degree in theatre as part of your double major and this is your first show at Playhouse 615. As an actor honing their craft, how important is it to do local theatre?

VERONICA HODGSON: It is so so so important for students to be involved with local theater. School shows can be great, but they only give you a small bit of perspective, especially if you work with the same students and/or faculty every show. I’ve learned so much and gotten to make so many fantastic connections being involved in local theater, I’d really recommend all theater students to come out of their shell and do it. 

JHPENTERTAINMENT: What’s your approach to keeping your Cinderella’s heart genuine while everything around her gets gloriously silly?

VERONICA HODGSON: Something I remember is that while not all Cinderella retellings are the same, something that stays consistent about her is that she is sweet, she is hopeful, and she is kind no matter what else is happening to/around her. It’s why she’s my favorite princess, and I think it’s one of the reasons why her story remains timeless. No matter what else happens, you are going to hear a story about a girl who just wants to go to the ball. And I think we’ve all been that girl before. We’ve all had dreams that seem impossible, but that doesn’t stop us from working towards them no matter how difficult it gets.

RAPID FIRE WITH DEBORAH SEIDEL, BARONESS VINDETTA IN CINDERELLA

JHPENTERTAINMENT: While Lady Gaga lives for the applause, panto villains live for the “BOOOOs” How much fun are you having playing the baddie of the bunch?

DEBORAH SEIDEL: It’s so much more fun to play a villain (though may I suggest that the Baroness is simply misguided?) than a sweet, innocent character like Cinderella. The very loose parameters of a panto give me the freedom to explore a wide range of nastiness, both physically and vocally. It’s very cathartic, especially if I’m having a bad day!  But seriously, my goal is to be wicked enough to get my share of BOOs, but also get some laughs when I’m dealing with my incorrigible daughters, and (awkwardly) trying to captivate King Charming.

JHPENTERTAINMENT: In traditional pantos, audience interaction is essential — what line or moment exemplifies Baroness Vindetta’s wickedly hilarious ways?

DEBORAH SEIDEL: Toward the end of my first scene, I tell Cinderella: “Since you’re legally my daughter now, you must obey my every command. And now, I command you to work. Clean this place up!” However, there’s only one small problem – the place is spotless! I don’t want to give it away, so I’ll simply say that once we (the stepsisters, Cinderella, Buttons and I) realize that there’s nothing to clean up, the following moment is the perfect blend of evil and hilariousness!

JHPENTERTAINMENT: Panto villains often mix elegance with pure cartoonish mayhem. From the looks of the fabulous photoshoot done to promote the show, I’d say you get to play a bit of both. What’s your favorite aspect of the character and the way you’re visually presenting her?

DEBORAH SEIDEL: I love how confident Baroness Vindetta is; she knows she’s in charge and takes full advantage of that power – from controlling (or trying to control) her daughters and Cinderella, to assuming that King Charming would be remotely interested in hearing how she would have done things differently if she had planned the ball. She can be a bulldog or a poodle, depending on the situation she finds herself in. Visually, in keeping with the panto tradition, I wanted her to wear bright colors and have big hair – in this case, a bright red wig that looks like Reba on steroids, and which of course clashes with her gown. I’m still playing with her make-up; suffice it to say, it will not be subtle!

JHPENTERTAINMENT: As Baroness Vindetta, you’re frequently sharing scenes with Cindrella’s two wicked stepsisters, in this production their names are Hallie Tosis and Anita Bath and they’re played to the campy bearded drag hilt by Daniel Vincent and Wanderson Rezende. Between the three of you, who’s the bigger Diva? (Notice I didn’t even bring Veronika Electronika’s Fairy Godmother into this equation, because we ALL know what the answer would be then)

DEBORAH SEIDEL: You’re absolutely right that the three of us can’t possibly compete with Veronika Electronika’s Fairy Godmother, so we’ll take her out of the equation. But we also know that a mother should never have to choose between her children, so while both Anita Bath and Hallie Tosis have obvious Diva tendencies – to avoid any appearance of favoritism, I will humbly accept the bigger Diva label for the Baroness! When she enters the room, all eyes are on her (at least in her mind!). And don’t all Divas carry fans? This one certainly does. And don’t Divas lounge on couches and possibly get carried on stage in one? Again, this one does. Her sense of style and fashion is effortless, unlike her daughters, who fight about what color to wear and have abnormally large feet. 

JHPENTERTAINMENT: I hear your husband has been credited for suggesting you’d be perfect as Cinderella’s wicked stepmother. Care to elaborate on that?

DEBORAH SEIDEL:  Not really…but for the sake of this article, I will! If you were to ask him, my husband might say that I’m just a teensy-weensy bit controlling, at times a tad hard to please, and he may admit he has a difficult time adhering to all my house rules. (Is using a napkin when eating cookies on the couch really asking too much?) But does that make me a perfect wicked stepmother? I think not.  It just means that I like to be in charge. Oh, like the Baroness does.  Hmmm.  I take the fifth.

RAPID FIRE WITH WANDERSON REZENDE, ANITA BATH IN CINDERELLA

JHPENTERTAINMENT: First things first. Anita Bath may be one of the funniest drag names ever. Gotta ask…If you were to ever perform drag, what drag name would you choose?

WANDERSON REZENDE: That is a question I have been asking myself since the beginning of the rehearsal process! I have been imagining something that could merge my background as a scientist in virology and my Brazilian roots, so what do you think about “Vera Virus, PhD (Pretty hot Diva)” or even “Dr. Rita Zika”?

JHPENTERTAINMENT: When I chatted with Deborah, I mentioned the publicity photos. They just might be the best I’ve ever seen for a show at Playhouse 615. What can you tell me about photoshoot day? 

WANDERSON REZENDE: Photoshoot day was a blast! We were all in character, bringing face, and attitude. Our goal was to convey to the audience how over-the-top and ridiculous this show is going to be. I have to give a shoutout to my scene partner, Daniel Vincent. He brings the best out of my character, Anita Bath, and our dynamics on stage are incredibly freeing. I really hope the audience will like the chaos we are bringing to these characters!

JHPENTERTAINMENT: How familiar were you with the history of British Panto before auditioning for the show?

WANDERSON REZENDE: I was already familiar with the structure, playfulness, and the historic roots of British Pantos from the Italian Commedia dell’Arte. Back in Houston, one of the major equity theater companies produces an annual traditional Panto, and I had the opportunity to attend their shows a few times over the years. It is such a joy to be in a Panto on stage after being in the audience for so long. Even though we are making this Panto our own, we have been attentive to maintain the main elements that make a Panto such a beloved tradition across the pond.  

JHPENTERTAINMENT: Pantos rely heavily on physical comedy, improbable costumes, and improvised quips. As Anita Bath, what’s proven to be the most challenging for you?

WANDERSON REZENDE: I am a huge fan of physical comedy – as you can imagine! – and to me, the success of all comedic elements you mentioned in your question relies on the unshakable commitment to the character, and most importantly, on your scene partners. It is extremely hard to make comedy on your own. The entire cast must be on the same page, living under the same rules; otherwise, what could bring laughter becomes disjointed or “cringy”. And that is why I need to mention Daniel Vincent and Deborah Seidel again. They make improvisation safe, fun, and foster a “yes, and” mindset that brings out the best in us. Without them, bringing Anita Bath to life would be impossible. Working with them makes every challenge inherent to physical comedy a milestone that we conquer together.

JHPENTERTAINMENT: I understand you’re relatively new to the Nashville area having moved from the Houston area just a couple years ago. In that short time, Cinderella marks your third show at Playhouse 615. What is it about this company that keeps you coming back for more? AND…Why should audiences check out their Cinderella Panto?

WANDERSON REZENDE: I cannot stress enough how grateful I am for being embraced by the Playhouse 615 community. What I like most about them is their strong desire to bring good work to the community, thought-provoking subjects, and plays that bring laughter and joy. You know, sometimes it is very hard to find your people when moving to a new town. And all of those who I met through the Playhouse 615 over the past year have become such an integral part of my life here. That being said, I strongly encourage everyone to participate in the Playhouse 615 mission actively: as volunteers, as audience members, however you like! In my view, the synchronicity between theater and community is what keeps local theaters thriving. The audience is the foundation of theater, and we are here to foster a space where everyone can experience something that makes them leave thinking and feeling. Our Cinderella Panto is a show designed to make you laugh and enjoy a moment of pure absurdity on stage. A play where children and adults laugh as one, participate with us cheering the heroes and booing the villains. It is a play where the infamous fourth wall simply doesn’t exist and we are all together rooting for Cinderella to get to the ball and be found by her Prince. Come see the show to laugh with us!

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF PLAYHOUSE 615’s CINDERELLA: THE FAIRYGODMOTHER OF ALL PANTOS

RAPID FIRE WITH CINDERELLA DIRECTOR, ANN STREET-KAVANAGH

JHPENTERTAINMENT: As one of the co-founders of Playhouse 615, you are in on the decision-making of what shows to present each season. Was presenting a panto your idea? AND…Why Cinderella? 

ANN STREET-KAVANAGH:Yes, the panto was my idea. We were trying to decide what to put in the December slot. I’ve seen pantos while visiting family in Ireland, and told the rest of the play selection committee how much I loved them. It was born from that. We went around the various fairy tales, but I kept coming back to Cinderella. It lends itself so well to gender bending, and featuring the traditional “dame” through out. The UK scripts that I read were very heavy with slang, references and jokes for that area. I didn’t think American audiences would always know what we were referring to, so at that point, I began to loosely pull things I liked, and add more to create our own panto!

JHPENTERTAINMENT: Pantos often rely on audience response to set the pace, as the director, has it been challenging to get your actors to take an extra beat when delivering their lines for those hoped-for moments of reaction from the audience?

ANN STREET-KAVANAGH: Not at all!  The more experienced actors are used to listening to the audience as they perform, and know when to hold. The others have been quick learners. Everyone has also been great at reacting to each other and filling in what we hope will be the audience’s response!

JHPENTERTAINMENT: Every panto needs a dazzling dame, to that end you’ve enlisted the talents of Steve Raimo, better known to some as one of Nashville’s most bawdy drag performers, Veronika Electronika to play the role of The Fairy Godmother. Raimo previously wowed Playhouse 615 audiences in their production of Sordid Lives. I gotta ask…when you added this show to the season, was Steve/Veronika always your idea for the role?

ANN STREET-KAVANAGH: I met Steve when we worked on La Cage Aux Folles. He entertained pre-show as Veronika, and I played the conservative mother. I thought he was fabulous! We were both in Sordid Lives, and I had the chance to watch him work. He is intentional in his choices, and very professional. He led an auction after the show and was amazing with the audience every night. When we decided to do the panto, I approached him right away. After he told me that he was president of the Drag Story Hour, I knew that he’d be able to refrain from the bawdiness that we adults enjoy!  I never thought of anyone else.

JHPENTERTAINMENT: Panto humor walks a tightrope between kid-friendly silliness and cheeky grown-up winks. Having known Steve for ages and attending my fair share of Veronika Electronika shows, I know she can be a bit bawdy, but this show is being promoted as family friendly. How much fun have you had during the rehearsal process of reigning in your cast?

ANN STREET-KAVANAGH: I’ve told the cast to get it out of their system, so to speak!  They’ve added some rated “R” material at times, and we’ve all laughed ourselves silly. The cast is so creative! We’ve added a lot of great moments that came out of rehearsal. 

JHPENTERTAINMENT: British pantos thrive on topical jokes — can you give us a little hint as to one very 2025 nod or reference that made it into the show?

ANN STREET-KAVANAGH: I don’t want to give anything away! We want everyone who is our guest to feel safe and welcome. Instead, there are lots of moments to laugh, sing. dance, and talk back to the actors!

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Ready for the magic? The curtain’s rising… and anything can happen in a panto. From big laughs and bigger characters to the heartwarming charm that panto does best, Playhouse 615’s Cinderella: The Fairy Godmother of All Pantos is shaping up to be a holiday highlight you won’t want to miss. Whether you come for the jokes, the glitter, the unexpected twists, or the chance to boo the baddies and cheer the heroes, this cast and creative team bring enough energy and joy to light up the whole season.

Cinderella opens Friday, December 5 at Playhouse 615 (1190 Lebanon Road, Mt. Juliet, TN) and continues through Sunday, December 14. Friday and Saturday evening performances begin at 7:30pm with Saturday and Sunday matinees at 2:30pm. Tickets are $10 for Children 10 and under, $17 for Military and Seniors and $20 for Adults. CLICK HERE for tickets. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X. Till then… #GoSeeTheShow!