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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.

 

Rapid Fire Q&A With ‘Beauty and the Beast’ Cast Members Kathy Voytko and Spencer Dean as Beloved Disney Musical Returns to TPAC November 4 through 16

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It’s a tale as old as time—and it’s coming back to Nashville! Disney’s Beauty and the Beast national tour brings its reimagined magic to TPAC for an extended two-week run November 4–16, featuring dazzling choreography, stunning visuals, and a heartfelt message that still rings true: beauty is found within.

Before the enchanted candlesticks, clocks, and dinnerware invite Music City to be their guest, we caught up with two of the show’s talented cast members for a special abbreviated edition of our recurring interview feature, Rapid Fire Q&A.

First, Broadway veteran Kathy Voytko, who steps into the iconic role of Mrs. Potts, reflects on honoring the beloved musical’s legacy, the lessons of love and change, and the nightly magic of singing the show’s unforgettable title song.

Then, Nashville native Spencer Dean, who plays the deliciously sinister Monsieur D’Arque (and other colorful townsfolk), shares what it means to bring his hometown audience a story that helped inspire his love of theatre—plus why a little villainy can be so much fun.

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RAPID FIRE Q&A WITH BEAUTY AND THE BEAST NATIONAL TOUR CAST MEMBERS

RAPID FIRE WITH BEAUTY AND THE BEAST’s MRS. POTTS, KATHY VOYTKO

JHPENTERTAINMENT: Performing the title song, Beauty and the Beast, is a true Broadway musical legacy moment. What goes through your mind in that instant under the spotlight?

KATHY VOYTKO: Singing Beauty and the Beast is such a unique honor because it has become such a beloved moment in the animated film and such a recognizable song originated by the extraordinary Angela Lansbury. However, when I sing it in the show, I have to attempt to forget all of that, and just tell the story, sing the notes, and say the beautiful words as though it’s the first time every single night because for one person in the audience, it is the first time they are hearing it.

JHPENTERTAINMENT: Angela Lansbury certainly set the gold standard as Mrs. Potts in the beloved animated classic—did you give any thought to honoring her while also making the role uniquely your own?

KATHY VOYTKO: As a lifelong Angela Lansbury fan I sure hope I am honoring her masterful blueprint of Mrs. Potts! Our director, Matt West, along with associate director Sam Scalamoni, music director David Andrews Rogers, and the entire Disney team guided us to shape our characters so they would be familiar to the audience, but still encouraged us to find our own unique take within the framework of the iconic characters. I’m extremely grateful that they trusted us and encouraged us to bring a little of ourselves into the mix.

JHPENTERTAINMENT: The show’s message of love and acceptance feels timeless—what part of Mrs. Potts’ wisdom resonates most with you personally?

KATHY VOYTKO: The biggest lesson that I had never really taken notice of in this story is one that I had discussed with our remarkable book writer, Linda Wolverton, who also wrote the original screenplay for the film. You can make a terrible choice/mistake in your life, and when you learn to make better, kinder choices, your entire world can change for the better. (And I even get to sing about it: “bittersweet and strange finding you can change learning you were wrong”).

Danny Gardner, Kathy Voytko, Kevin Ligon, Cameron Monroe Thomas, Javier Ignacio and Holly Ann Butler in Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: The current tour reunites some of the original Broadway creatives behind Beauty and the Beast, including director and choreographer Matt West, who you mentioned. Do you have a favorite aspect of the newly enhanced production?

KATHY VOYTKO: Geez, I don’t think we have enough space for me to tell you all the things I love in this production, but let me give you my top three: 

I wildly love how we present Chip. The Disney magic for all the castle objects is very cool and tricky. And most folks ask about it at the Stage door. 

The musical numbers Gaston and Be Our Guest are extended and honestly, I could watch them each for 10 more minutes because the company is outrageously talented and I find it thrilling every single night.

Kyra Belle Johnson and Fergie Philippe (Belle and Beast) have a wonderful rapport that tells the story in a fresh way that by the time they are connecting and truly seeing each other in Act Two, you are giggling and rooting for them with unexpected delight.

JHPENTERTAINMENT: With apologies to Cogsworth, when you’re offstage, what helps you “unwind the clock” after bringing the necessary warmth and heart to every performance?

KATHY VOYTKO: Performing 8 shows a week can be challenging to our bodies and our voices, but getting to witness towns across America enjoying Beauty and the Beast is such a unique privilege. 

Many of us on tour try to do something decidedly local in every city. Sometimes it is going to a museum or renting a bike and going along a river trail or asking locals their opinion on their favorite little slice of life or favorite cuisine for the area. 

But for me personally, sometimes it’s just a hot cup of tea or a glass of wine and The Great British Bake Off or a long FaceTime with my family to unwind the clock and refresh my heart.

RAPID FIRE WITH BEAUTY & THE BEAST’s MONSIEUR D’ARQUE & OTHERS, ENSEMBLE MEMBER, SPENCER DEAN

JHPENTERTAINMENT: As a Nashville native, what’s it like returning home to perform at TPAC with such a beloved Disney musical?

SPENCER DEAN: Beauty and the Beast was the first Broadway show I ever saw. Then, I played Lumiere at both Act Too Players & Franklin High School, so this show means A LOT to me. Bringing it to the TPAC stage (where I saw every national tour as a kid) is an emotional and full circle moment. I’m so lucky to be here with this gorgeous production! Getting to share this with so many loved ones is the greatest gift!!

JHPENTERTAINMENT: Monsieur D’Arque might be small in stage time but big in impact—how do you make the most of every deliciously dark moment? SPENCER DEAN: The incredible custom coat I get to wear and crooked top hat (with detailing from the ORIGINAL Monsieur D’Arque costume) helps! Throw on some creepy contour and a grimace and I’ve got the audience both laughing and frightened. 

Dean (5th from right) Company of Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: Villainy can be fun—what’s the best part of playing someone audiences love to hate as well as the other roles you take on?

SPENCER DEAN: It’s such a bold contrast from my quirky village character and our dashing Be Our Guest glam. I appreciate what a range of characters I get to step into every night! Definitely keeps it fresh and fun!

 JHPENTERTAINMENT: If an existing song from any genre were added to the score to serve as D’Arque villainous theme (à la Gaston), what would it be?
SPENCER DEAN: Creep by Radiohead. You’ll have to see the show to understand!

 JHPENTERTAINMENT: This reimagined Beauty and the Beast tour brings new life to a classic—what do you hope audiences take with them after experiencing this updated production?

SPENCER DEAN: A brief escape from the scary world outside. A reminder to lead with kindness and love. Beauty TRULY is found within. Never judge a book by its cover & treat others the way you want to be treated.

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Whether you grew up with the animated film or first met Belle and the Beast on stage, this newly enhanced production of Disney’s Beauty and the Beast promises an unforgettable theatrical experience filled with heart, humor, and timeless lessons about kindness and love.

Catch the national tour at Nashville’s TPAC, November 4–16. Tickets are available now at TPAC.org.

Following their Music City tour stop, Beauty and the Beast will continue its National Tour with multiple stops across the U.S. through September 2026, with more dates expected to be announced. CLICK HERE for full details or follow Beauty and the Beast on Insta.

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

Rapid Fire 20Q with Cast of Joy’s Jubilations’ Presentation of ‘Queens of Heart’; at Gadsden, Alabama’s The Local Scene October 17 thru 25

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Playwright Lydia Bushfield has entertained Southern audiences for years having penned such plays as Yule Y’all, I’ll Be Seeing You and The Bop She Bops and now it’s Gadsden’s turn to sample a bit of her Southern sass when her play QUEENS OF HEART , as directed by Joy Tilley Perryman, makes it’s Alabama debut. The show takes centerstage at The Local Scene at 118 (118 Chestnut Street, Gadsden, AL 35901) with performances October 17-25. Produced by Gadsden’s own Joy’s Jubilations, this heart-filled comedy follows a group of Southern women who gather weekly for game night to swap stories, share secrets, and deal with life’s ups and downs—one hand at a time.

Among the cast, Perryman plays the ever-honest, but often brutally truthful Rose Kincaid, a role she’s familiar with, having first played her during the show’s World Premiere back in 2003. For the show’s Alabama premiere,  Perryman is joined by an exceptional cast of local and regional talent. Alongside Perryman, the show also features Kathleen Jensen as the wise and wry Doris Ducacus, Katie Campbell as newcomer Alice Anderson, Angie Smith Townsel as sweet and sincere Betty Linwell, Jean Leah Atkins as the big-hearted Faith Middleton, and Courtney Linam as the spirited Emily Patterson.

As the queens were fine-tuning their performances…and their game faces…we recently sat down with Perryman, Jensen, Campbell and Linam for JHPEntertainment’s latest Rapid Fire 20Q to talk poker nights, Southern charm, and the real-life friendships on- and off-stage that make this show shine.

RAPID FIRE 20Q WITH CAST MEMBERS OF JOY’s JUBILATIONS’ QUEENS OF HEART

RAPID FIRE WITH QUEENS OF HEART’s DORIS, KATHLEEN JENSEN

JHPENTERTAINMENT: When Joy Tilley Perryman reached out to me about the possibility of doing a Rapid Fire 20Q with cast members of QUEENS OF HEART, I was excited to see a couple of familiar names, yours included, the two of us having chatted back in 2023 when you appeared in a production of Sordid Lives at The Ritz in Gadsden. What can you tell me about Doris Ducacus, your role in QUEENS OF HEART?

KATHLEEN JENSEN: Doris is Smart Alec of the group. She is also very insightful, devoted to her daughter and very much in love with her husband, Harry.

JHPENTERTAINMENT: According to the character breakdown in the script, Doris is meeker and milder than Rose, making them a good balance. So, I gotta know…as scene partners, who’s really keeping the scales steady on stage and who’s the one tipping them over?

KATHLEEN JENSEN: Like you say Rose and Doris are a good balance much like Joy and myself. We lift each other up.

JHPENTERTAINMENT: There’s a quote in that other play about a group of southern friends…as Dolly Parton’s Truvy says in Steel Magnolias, “Laughter through tears is my favorite emotion”. That could easily be one of Doris’ lines as she brings up a bit of a secret to her girlfriends. As an actress, how do you prepare yourself to switch from the more lighthearted moments to the more serious ones?

KATHLEEN JENSEN: It’s kind of like life therefore I try to draw from real life experiences. You have to find a similar experience to capture the feeling.

JHPENTERTAINMENT: Right off the bat playwright Lydia Bushfield sets the overall humorous tone of the show with Doris’ line “She’s been nipped and tucked more times than a good pleated drape” Do you have a favorite in the show, whether one you get to deliver, or one you wish was Doris’?

KATHLEEN JENSEN: “If that woman pulls her skin any tighter, she will have to pierce her nipples to wear earrings.” Doris is always ragging on Shania.

JHPENTERTAINMENT: A large portion of the play takes place around a game table. If you and a group of friends were to get together for game night, what game would you insist on playing?

KATHLEEN JENSEN: Spades, I am a champion, spades player!

RAPID FIRE WITH QUEENS OF HEART’s ALICE, KATIE CAMPBELL

JHPENTERTAINMENT: I understand this is your theatre debut. When did you first realize you might want to try your hand at acting? 

KATIE CAMPBELL: I have always had the idea in the back of my mind. I have the heart of an entertainer for sure. But my daughter is who pushed me to try it. She is fearless and talented, and I want to make her proud. 

 

JHPENTERTAINMENT: I think my favorite of Alice’s lines is “Bein’ a southern woman is all about keepin’ up appearances. God forbid that one of us should admit that we are havin’ a bad day.” Playwright Lydia Bushfield hit the nail on the head with that one, don’t you think?

KATIE CAMPBELL: Sure, I do. We put the world on our shoulders. I would venture to say that that could be true for all women, though. We are natural caretakers. 

JHPENTERTAINMENT: If you could play another character in this show, regardless of whether you ‘fit the type’ or not, who would it be and why?

KATIE CAMPBELL: Betty! I’ve been her before and I admire that type of independence in a woman. 

JHPENTERTAINMENT: As Alice, you’re at the heart of one of the show’s most surprising twists. Without giving anything away, how much fun are you having playing this part?

KATIE CAMPBELL: It’s much more fun than I thought it would be! When I read the script I was a little intimidated, but our director, the one and only Joy, helped me find my voice. 

JHPENTERTAINMENT: Your bio reveals that you’re a licensed massage therapist. Who among the ladies of QUEENS OF HEART would benefit most from a session with you at your day job?

KATIE CAMPBELL: That is so hard to say because after all of this is said and done, we’ll all need a good massage. I’m gonna go with Emily though. That girl sure was goin’ through it. 

RAPID FIRE WITH QUEENS OF HEART’s EMILY, COURTNEY LINAM

JHPENTERTAINMENT: When I chatted with Kathleen, I mentioned that I was excited to see her name among those I’d be chatting with, having interviewed her before. The same goes for you, the two of us having chatted just last year when you were starring in Steel Magnolias at The Ritz. Now here you are as Emily in yet another tale of southern friendships. What was it about QUEENS OF HEART and the role of Emily that drew you to audition?

COURTNEY LINAM: Thank you so much for this interview—it’s always great to chat with you! I loved getting to visit with you last year during Steel Magnolias, and I’m just as grateful to reconnect again for QUEENS OF HEART.

I was immediately drawn to Emily because she’s so real. She’s fun-loving, hopeful, and just trying to get it right—even when life keeps throwing her detours. I love that QUEENS OF HEART celebrates friendship, strength, and those moments when women lift each other up.

I was also drawn to the play because I was so excited to be directed by one of the most talented people I know—Joy Tilley Perryman. She has such a gift for bringing out truth and heart in every story, and I knew that under her direction, this show would be something special.

JHPENTERTAINMENT: While reading the script to familiarize myself with the play before chatting with you and your costars, I immediately picked up on the name of the town where all the action takes place…Fate, Texas. So, just curious…do you believe in fate, free will, or a mix of the two?

COURTNEY LINAM: It’s really a mix. I think fate puts certain people and moments in our path, but free will decides what we do with them. Emily’s story shows that perfectly—she might’ve been led down the aisle by fate, but it was her own strength, and the help of her true friends, that gave her the courage to walk away from something that wasn’t right.

JHPENTERTAINMENT: On the subject of the play’s Texas setting, the script contains a note from the playwright about the Texas dialect. During the rehearsal process was there discussion on just how Texas the cast would sound? Where have you personally drawn your Texas drawl from?

COURTNEY LINAM: Oh yes, we had plenty of fun with that! The goal was to sound authentically Southern without needing subtitles. I’m more Alabama than Texas, but there’s a shared sweetness and rhythm to both accents that feels like home. I leaned into that warm, melodic tone—you know, the kind that can make a compliment or a comeback sound equally charming.

JHPENTERTAINMENT: Is there any aspect of Emily’s personality that you might adapt to your own?

COURTNEY LINAM: Her courage to finally put herself first. Emily’s been through a lot of “almost right” love stories, but she finds her voice and realizes she doesn’t have to settle. That message really stuck with me—it’s never too late to choose peace, joy, and the people who truly love you for who you are.

JHPENTERTAINMENT: Early in the play, there’s mention of Emily’s poker face. In your real life, do you have a poker face, or can folks generally tell what you’re thinking just by looking at your expression?

COURTNEY LINAM: Oh, I absolutely have a poker face—and I’m actually pretty good at poker, too! I can keep a straight face when I need to, which comes in handy both on stage and at the card table. But catch me off guard with something funny, and I’m done for—no hiding that laugh. I think that balance is what makes acting fun for me—being able to control your expression when it counts, but also knowing when to just let the real emotion show.

RAPID FIRE WITH QUEENS OF HEART’s ROSE, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: You’re no stranger to Rose Kincaid, having been portrayed the role back in 2003 during the World Premiere performance of QUEENS OF HEART at Chaffin’s Barn Dinner Theatre in Nashville and now you’re spearheading the Alabama premiere. What is it about this show and the role of Rose that drew you back in?

JOY TILLEY PERRYMAN: The show is such a lovely story of female friendships and female interactions. Then throw in that is a group of Southern women and some of the best lines ever written and I have always wanted to go back and sit at rose’s table one more time. When I first contacted the playwright, my dear friend Lydia Bushfield about remounting the show, she had doubts, She thought it might be dated (she did bring it forward in time just a bit) but I assured her that the stories and the companionship these women share is timeless. 

JHPENTERTAINMENT: When chatting with one of you cast mates, I noted that QUEENS OF HEART shares some similarities with another play about a group of southern women, Steel Magnolias. Do you think it’s a fair comparison? And what would you say to fans of that show to get them to check out this one?

JOY TILLEY PERRYMAN: I think it is a fair comparison and I think fans of the Magnolias will LOVE the QUEENS! If you enjoy heartfelt shows with true to life depictions of what it means to have a strong group of girlfriends, then come see the show. And bonus, Poker!

JHPENTERTAINMENT: When you and I first talked about me featuring the cast of Queens of Heart in a Rapid Fire 20Q, you mentioned that you’d secured a great venue for the performances. What can you tell me about the venue and how does it lend itself to the action of the play?

JOY TILLEY PERRYMAN: As you know, I moved back to my hometown in 2021. When I left Gadsden, AL in 1985 the downtown area was a dead place. Like most small Southern towns, when the mall came in, downtown dried up. But in the years since I have been gone, downtown Gadsden has reinvented itself! We have a thriving entertainment district and one of the best art museums in the state. And we have murals all over just like Nashville! I work my day job on Chestnut Street, one block from Broad Street and when I was thinking of finding space to do this show it hit me like a ton of beautiful bricks. The space at the top of Chestnut was vacant. It is owned by a school chum and her husband, so I called Syndee and asked if she was open to a short term rental. Built in 1930, it is a lovely brick building with a  big open space and smaller rooms to use as dressing rooms. It has 2 big store windows that I have used as my marquee, so to speak. It is store front theatre, I can only fit about 45 chairs. But folks will truly feel like they are in Rose’s living room. And the best part? The store next door, that my friend Syndee owns? It is called The Stone Market and is the best wine shop around! She is going to extend her hours on Fridays and Saturdays, so folks can bring a glass of wine over to the show. 

JHPENTERTAINMENT: While reading the script in preparation of chatting with you, when Rose responds to Betty revealing where a particularly uneventful date took her to dinner. Rose’s line, “He did not take you to Sonic”, could easily be a throwaway, but having seen you in a number of plays over the years, I could hear you delivering that line as I read it and it made me giggle. Without giving too much away, what’s your favorite line or scene in the play?

JOY TILLEY PERRYMAN: That is one of my favorite lines! I totally channel my MawMaw Thompson in the delivery. I take her delivery of the phrase “You don’t mean” and apply it to the Sonic line. But I do love the scene after the wedding. You will have to buy a ticket to get to see the sherbet-colored bridesmaid dress! And matching headdress. Trust me it is worth the price of admission.

JHPENTERTAINMENT: What do you hope audiences take with them after spending a little time with the ladies of QUEENS OF HEART?

JOY TILLEY PERRYMAN: I told someone recently that the role of theatre has always been to entertain and maybe sometimes to uplift and educate. But in these perilous times when there is so much hate and anger and just ugliness around every corner, I hope the audiences will come away with love. That the love these 6 women have for each other can spill out and over and in to everyone’s lives and maybe ease the sorrow for just a bit. They are not all alike, they do not share the same views or life experiences but they share a common ground in their friendship and acceptance. That is maybe not a bad lesson either.  

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From laughter to life lessons, the ladies of QUEENS OF HEART prove that every hand you’re dealt can be a winning one when your friends deck is stacked with queens. Don’t miss Joy’s Jubilations’ staging of Lydia Bushfield’s QUEENS OF HEART, playing October 17–25 at The Local at 118 in downtown Gadsden, Alabama. Performances are Fridays and Saturdays October 17-25 at 7:30pm. There will also be a Sunday matinee at 2pm on October 19, Tickets are only $15. Seating is limited so CLICK HERE for tickets or more information. To keep up with the latest from Joy’s Jubilations, CLICK HERE to follow them on Facebook.

For more theatre coverage, cast interviews, and behind-the-scenes peeks from across the Southeast, like and follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or follow us on Facebook, Insta and X. And remember—always bet on the queens. ♠️♥️♦️♣️

Rapid Fire 20Q with cast of Playhouse 615’s ‘The Haunting of Hill House’; onstage October 17 thru November 2

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Just in time for the Halloween season, Playhouse 615 is presenting their production of playwright F. Andrew Leslie’s chilling adaptation of novelist Shirley Jackson’s classic frightmare, The Haunting of Hill House, inviting theatergoers into one of literature’s most haunted homes, brought to life on Playhouse 615’s stage under the direction of Joel Meriwether. As the cast prepared for their October 17 opening night, we caught up with four of the brave souls stepping into the supernatural—Lucy Turner, Preston Alexander Raymer, Andrea Coleman and James David West—for a Rapid Fire 20Q. From on-stage terror and off-stage frights to their thoughts on the show’s eerie subject matter, this fearsome foursome gives us a peek into the dark corners of Hill House itself. So, dim the lights, say your prayers and get ready because Hill House is watching…

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Rapid Fire 20Q with cast of Playhouse 615’s The Haunting of Hill House

Rapid Fire with Lucy Turner, Eleanor Vance in The Haunting of Hill House

JHPENTERTAINMENT: When Playhouse 615 reached out to me about doing a Rapid Fire 20Q with come of the cast of The Haunting of Hill House, and I saw your name, I knew I wanted to chat with you, remembering having seen you onstage when you were just a kid in local productions of Cindy & Ella and The Bad Seed. I understand in the years since, you graduated high school, studied at Baldwin Wallace and moved to New York. So…a two part questions to start us off…Are you back in Nashville for a while, or just a visit? AND…What can you tell me about Eleanor Vance, and your take on her?

LUCY TURNER: My plane ticket back home to New York is booked for literally the day we close the show! I’ve been in NYC for almost two years, but it’s such a large market that I still feel so fresh and new, which I like. Back in 2023 in my interim time I was home in between college and making the big move, I reunited with Joel for their production of The Woman in Black. I had such an amazing experience working with Joel that once I heard they were doing Hill House, I knew I had to throw my hat in the ring and come home for a brief stint.

As far as my take on Eleanor, it has been such a joy getting to know her. You rarely get to sink your teeth into a character that is truly so complex. I’m an avid reader, and originally read Shirley Jackson’s novel about a year and a half ago. I remember being so enthralled in Eleanor’s journey and her quick dissent into madness. She is a sheltered girl desperate for adventure and a place to call home and Hill House is more than happy to prey on that. 

JHPENTERTAINMENT: According to the playwright’s original character breakdown of Eleanor Vance, she’s typically presented as a slightly older woman in her mid-to-late thirties. Was there any conversation with the show’s director, Joel Meriwether on the ten-year advance the character has on you?

LUCY TURNER: We had some conversation about the decision, but I think what’s more important than Eleanor’s precise age is that she feels ’fresh’; I’ve always thought of her as a ‘new soul’. A lot of my analysis stems from the women that occupy Hill House and what each of them represents in terms of the female experience. Eleanor, regardless of the description, must feel sheltered and naive to then juxtapose with the experience, wisdom, or bitterness of the other ladies of Hill House.  

JHPENTERTAINMENT: OK, I mentioned earlier that you starred in The Bad Seed when you were what…thirteen? And I stumbled upon a certain SCREAM-themed birthday cake post while doing a little online sleuthing in preparation of our conversation. Is it safe to assume The Haunting of Hill House and the like is definitely in your wheelhouse?

LUCY TURNER: Haha, yes you can definitely say that Haunting of Hill House is in my wheelhouse. I was a very brave child and looked to horror movies and haunted houses as a challenge to see what could truly scare me. I also feel very inspired by the horror genre. I actually started a production company while in college, Burn to Shine Productions, that produces horror films. I’ve written and produced several shorts in the genre and find myself always drawn to it. When you look, horror is a wonderful gauge for where we are as a society in terms of what keeps us all up at night. You can say the same for Hill House, I can not wait for the audience to be terrified and to see them tremble at what we have in store, but this script is fraught with deeper meaning and the consequences of a repressed mind. 

I also do need to correct you, Jonathan, I was freshly ten when I got to play Rhoda Penmark in Street Theatre’s Bad Seed, a role I still cherish to this day. 

JHPENTERTAINMENT: Ten? Wow…I stand corrected. What’s the biggest challenge in playing someone like Eleanor, who’s quite psychologically fragile?

LUCY TURNER: What I have found to be the biggest challenge in playing Eleanor is letting her feel everything she feels…which is a lot. Eleanor is loose with her emotions, they often come out of nowhere and are loud and consequential. I tend to be very withdrawn with my feelings, holding them close to the vest. It has been both challenging and freeing to just follow Eleanor’s lead in her emotional rollercoaster. I’ve learned to not ask her any questions. 

In addition, I’ve grown fond of her and feel rather guilty about the whole thing. She enters Hill House with all the optimism and hope in the world. She is desperate for independence and adventure, leaving behind a sequestered life of abuse, but she learns quickly that’s not the way the world is set up for women. I have to break the news to Eleanor that all of the complicated emotions she feels (guilt, rage, envy) are a sort of trauma that do not get left behind at the welcome mat.

JHPENTERTAINMENT: If you had to spend the night in a real haunted house, which of your fellow cast mates would you want by your side?

LUCY TURNER: Honestly, I think I would pick Preston, who plays Luke, to accompany me. But I’d get away from him and start playing tricks and tormenting him the whole time. He scares easily. 

Rapid Fire with Preston Alexander Raymer, Luke Sanderson in The Haunting of Hill House

JHPENTERTAINMENT: How would you describe Luke Sanderson in one sentence?

PRESTON ALEXANDER RAYMER: Luke is carefree, skeptical of the rumors about the house, and loves to tease those around him.

JHPENTERTAINMENT: Instead of the typical actor bios seen in most playbills, for The Haunting of Hill House, the audience is treated to character bios. Did your director ask for any input in creating these? AND…What’s your favorite thing about the Luke bio?

PRESTON ALEXANDER RAYMER: The director allowed us creative freedom… “While others were captivated by these narratives, I hated them; their chilling nature haunted my thoughts and fed my fears. The relentless rumors and fear-driven tales spiraled into shadows that consumed me, ultimately leading me down a dark path toward alcoholism, seeking solace from the anxiety they instilled.” 

I believe this is at the heart of Luke’s nature because the rumors about the house and his family have caused deeply rooted insecurities and trauma that have shaped his outlook on life. He masks these feelings, which is something I believe we, as humans, tend to do. This masking is what makes him human and relatable.

JHPENTERTAINMENT: So much of The Haunting of Hill House examines more than the fear of ghosts and spirits. What do you think Luke fears most?

PRESTON ALEXANDER RAYMER: Luke fears his reputation being overshadowed by rumors and reliving his childhood trauma. 

JHPENTERTAINMENT: What can you tell me about the special effects, sound effects and lighting used to create the haunted ambiance of Hill House?

PRESTON ALEXANDER RAYMER: I don’t want to give away any spoilers, so one must attend the show to find out.

JHPENTERTAINMENT: Joel has enlisted the aide of Jordan Ivie as assistant director/dramaturg. How has Jordan aided you in your exploration of Luke?

PRESTON ALEXANDER RAYMER: Jordan has been a guru of subtle nuances and character relations that have helped me navigate the complexities of Luke’s psyche. 

Rapid Fire with Andrea Coleman, Mrs. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Mrs. Montague’s entrance into Hill House seems to clue the audience into the fact that she feels she’s more spiritually connected than her husband. Would you say that’s a fair statement?

ANDREA COLEMAN: She certainly feels that way. Whether or not her abilities are genuine or fabricated, I’ll let the audience decide. Regardless of the accuracy of her methods, she definitely has a much more emotional approach. 

JHPENTERTAINMENT: In preparation for this role, have you researched any real-life hauntings or binged any great ghostly movies or series?

ANDREA COLEMAN: I read The Haunting of Hill House book, which is pretty accurately represented by the play. I also watched The Haunting of Hill House series as well as The Haunting of Bly Manor – both excellent. I actually went on a scary movie binge and found some I really enjoyed! The Conjuring and all its many sequels and spin offs were some of my favorites.

JHPENTERTAINMENT: If you were to recast this production, using the same actors, how would you flip the roles?

ANDREA COLEMAN: I’m not sure I could! These actors feel tailor made for their roles and feel like everyone is so very well suited to their roles! 

JHPENTERTAINMENT: As you’ve inhabited Mrs. Montague, have you created any backstory that might not be in the script, but that helps you bring the character to life on stage?

ANDREA COLEMAN: Absolutely, and I love to talk about it, though I would like to add a trigger warning that it involves difficult themes. Dr. And Mrs. Montague are currently suffering from a struggling marriage, but I believe they were once madly in love. Their marriage became strained when Mrs. Montague suffered the loss of a baby. Then again. And again. Loss after loss – hope brewed and then burned at the stake. Grief changes you, and I believe it changed both Dr. and Mrs. Montague in ways they don’t even realize and certainly would never admit. Dr. Montague poured himself into his work. He will make his life count by leaving an academic legacy, rather than a familial one. Mrs. Montague was alone in her grief. A kind of lonely that plays tricks on your mind and whispers enough lies that doubt slowly creeps in. Loneliness magnifies the grief, so she also dove into her husband’s line of work, looking for him, or at least a friend in the loneliness. There, she found not only Dr. Montague’s interests, but also companions in the no-longer-living; souls who ached just as much as she did. In them, she found familiarity in the pain and knew her legacy would be helping others ease their suffering where she could not ease her own. Along the way, she also found a moldable mind in Arthur that she could pour her love into – a pseudo son to fill the void in her heart left by her miscarriages and loneliness. 

JHPENTERTAINMENT: Is there a scene, a bit of dialogue or a moment within the play that you genuinely love to be part of each night?

ANDREA COLEMAN: My favorite line of dialogue is “The fire wants stirring.” This line

gives such imagery to the events happening in the play. The forces at work in Hill House are ready to be heard and set their stories ablaze. 

Rapid Fire with James David West, Dr. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Who is Dr. Montague to you and what interested you in the role?

JAMES DAVID WEST: Dr. Montague is an enigma, so to speak. He came from a humble background, somehow placed into an Ivy League school to get his doctorate in Psychology and Anthropology, has always been profoundly interested in the supernatural, and has made it his life’s goal to prove that ghosts are real, as it were. The role of Dr. M is normally played by someone a bit older than me, but I felt I had the right temperament to fit into the story. Our version is out to prove something, to make his mark on the scientific community. He wants notoriety. And yet, perhaps he has motives that aren’t so… apparent.

JHPENTERTAINMENT: When the house seems to show…shall we say…signs of life, how do you image Dr. Montague shows his fear?

JAMES DAVID WEST: Dr. Montague keeps his emotions in check, even under extreme pressure. During his time at Hill House, he recognizes that supernatural happenings are occurring around him… but he can’t show that he “didn’t know” things were going to happen.  That is, until he stars being affected internally by the house, as well.  His confidence melts off, leaving him perhaps even more vulnerable than his guests.

JHPENTERTAINMENT: In the world of Hill House, who’s more frightening Drew Ann Davis Borsos as Mrs. Dudley or the spirits that inhabit the house?

JAMES DAVID WEST: Dr. Montague is certain that Mrs. Dudley has no say so in the things that go bump in the night, but it is rather intriguing to observe her floating around without making a sound until she’s right up on you…

JHPENTERTAINMENT: Like a good Hitchcock film, it’s the unseen in The Haunting of Hill House that’s truly terrifying.  What’s your personal favorite haunted moment in the play?

JAMES DAVID WEST:  Without giving too much away, there is a point in the play where Dr. M begins to crack, himself.  He isn’t quite sure WHY it is happening, but he is certain that the grasp he once had on Hill House has been forcibly removed by forces yet to be uncovered.

JHPENTERTAINMENT: What do you hope audiences take with them long after having seen The Haunting of Hill House?

JAMES DAVID WEST:  Hill House, to me, represents a time in life we can all relate to.  Some environments are inherently bad for us – they make us sick, depressed, and/or lonely.  At times, we may even feel that we don’t belong – as if everyone and everything around us is screaming for us to leave and never come back.  We may attempt to face those fears for as long as we can, but in the end we are at the mercy of the environment we have unfortunately chosen for ourselves, with next to no way to fully escape.

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Whether you believe in ghosts or not, one thing’s certain — the cast and crew of Playhouse 615’s The Haunting of Hill House are ready to deliver a spine-tingling experience audiences won’t soon forget. For tickets and showtimes CLICK HERE — but don’t wait too long. Hill House has a way of tormenting those who hesitate.

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.

Rapid Fire 20Q with cast of ‘Lucy Loves Desi: A Funny Thing Happened on the Way to the Sitcom’; at Keeton Dinner Theatre Beginning October 10

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For their new production, The Keeton will present LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom by Gregg Oppenheimer, on stage October 10 through 26. Directed by the company’s managing administrator, Donna Driver, the show features Grace Gaddy as Lucille Ball, Jason Rainwater as Desi Arnaz, Michael Welch as Jess Oppenheimer, Cassidy Davis as Vivian Vance and Brian Best as William Frawley. If you know me, you know I’ve been a fan of I Love Lucy, and more to the point, it’s star Lucille Ball since writing a school paper on her during my freshman year of college. A few months ago Driver posted on Facebook asking for suggestion for their upcoming theatrical season. So I quickly commented that they should check into presenting the live radio play the junior Gregg had written, based on his father’s memoir. Thrilled when I learned the show had indeed been added to their season, I just had to chat with the cast for my latest Rapid Fire 20Q. So get ready to step back into the golden age of television and behind-the-scenes of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom by Gregg Oppenheimer as I chat with the cast just days before the live radio play makes its Tennessee Premiere revealing just how of one of the most enduring televison series of all time came to be.

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RAPID FIRE 20Q WITH CAST OF LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom

RAPID FIRE WITH GRACE GADDY, LUCILLE BALL IN LUCY LOVES DESI 

JHPENTERTAINMENT: You’re portraying Lucille Ball in The Keeton’s production of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom. With the audience’s idea of Lucille and her iconic Lucy Ricardo character such a presence in pop culture, was there any discussion with your director, Donna Driver on just how much of a characterization of Lucille Ball she wanted you to delve into as you make the character your own? 

GRACE GADDY: There were definitely discussions about how to portray Lucille in this production since there are so many versions of her you see over the span of her life and career. This play is very much dedicated to the legacy of the playwright’s father, Jess Oppenheimer, so it shines a light on all of their greatest moments. My portrayal of Lucille may give subtle hints at her strong willed, determination, but overall is a light and joyful reenactment of her journey to stardom alongside her love, Desi.

JHPENTERTAINMENT: How have Denese Rene’ Evans’ costumes for the show aided in your Lucille transformation? 

GRACE GADDY: Denese is a genius and crafted a spot-on lineup of costumes for this production. Each outfit has allowed me to truly feel in tune with Lucille and Lucy alike. There are some outfits that look like they were picked right out of an episode of I Love Lucy which has made each scene even more fulfilling. 

JHPENTERTAINMENT: In addition to sharing the stage with Jason Rainwater as Desi, you also have scenes with Tony Bernui as Richard Denning. Denning having played George Cugat opposite Lucille’s Liz Cugat in the pre-I Love Lucy radio show My Favorite Husband (Side Note: I love that the playwright included a scene from the radio show within this play). How much fun are you having sharing the stage with your two leading men?

GRACE GADDY: It has been absolutely delightful to work with each of them throughout the rehearsal process. Both Jason and Tony are class acts and their dedication to each scene has inspired and motivated me in my own role. Tony skillfully plays many characters in this show, but we have the most fun during our My Favorite Husband scenes, although his character, Richard Denning, may look a bit distressed at Liz’s antics. Jason’s portrayal of Desi is truly awe inspiring. Every choice he makes brings his character even more to life and has encouraged me in my characterization as well.

JHPENTERTAINMENT: In LUCY LOVES DESI, as the powers that be are wheeling and dealing to get the sitcom green-lit there’s a lot of phone conversations the audience is privy to. Taking a queue from that, if you could have a phone conversation with Lucille Ball, what would you ask her?, AND What would you say to her?

GRACE GADDY: I would have to ask her what they put in that Vitameatavegamin bottle that had her chewing so much. But in all seriousness, I would ask her how it truly felt to be such a trailblazer in a time when women weren’t very autonomous. She got what she wanted and made history doing so. I would also like to tell her just how inspired I am by the woman she was on and off stage. She was such a beautiful, smart, hilarious, and determined woman who loved fiercely and made an iconic career out of being a goofball. Her legacy has always inspired me and my theatrical endeavors, because at the end of the day, all I want to do is make someone laugh. 

RAPID FIRE WITH JASON RAINWATER, DESI ARNAZ IN LUCY LOVES DESI 

JHPENTERTAINMENT: As Desi Arnaz, you’re on stage most of the time during Lucy Loves Desi: A Funny Thing Happened on the Way to the Sitcom. What’s your secret to keeping your energy up and to making the dialogue sound fresh when you’ve rarely got a second off-stage?

JASON RAINWATER: A great thing about the narration that Desi provides in the play is that he’s talking to the audience as if they came to visit him in his living room and they asked him to tell a story. And does he ever have a story to tell! The secret? I want the audience just as excited to hear the story as I am to tell it to them. I owe it to them for the entirety of the play to let them know we’re sharing the journey together and I use that as motivation throughout the performance. In my mind, the audience for this show is the play that Desi is going to see and he wants to be just as glued to the story as I hope they will be. 

JHPENTERTAINMENT: Rainwater…I could be wrong, but that doesn’t exactly sound of Cuban origin, so, how are you approaching Desi’s distinct accent without it coming across as parody or too much of a stereotype? 

JASON RAINWATER: You got me there. My lineage is not Cuban. My family is a mixture of Native American and Mexican descent. Desi had a TV voice, but then he had his home voice. I did my best to study both and use the accents that I grew up listening to since I was a little boy and merge them the best I can. I think I have been successful and the praise from my fellow cast members regarding my accent has been very touching. Desi Arnaz in my family was idolized. So that pressure to not make my performance a caricature of the man is not just motivation for me as an actor, but for my family and heritage in my small way.

JHPENTERTAINMENT: Your bio mentions you’re a Star Trek fan. Please tell me you already knew the Star Trek/Desi & Lucy connection by way of their production company, Desilu, before taking on the role of Desi? 

JASON RAINWATER: Desi and Lucy are the Godparents of Star Trek. They are also that for Mission Impossible, Our Miss Brooks and countless other creations that nearly every other production company turned away. That is what is great about Desi and Lucy. They created their brand, but they opened their arms to help create others. Growing up, my family only had one channel. Channel 6, and you knew you would get three things: The local news, Star Trek: The Next Generation, and I Love Lucy. So to say that both shows helped shape the person I am today, is an understatement.

JHPENTERTAINMENT: Gregg Oppenheimer’s script does a fantastic job of capturing the essence of not only Lucille and Desi, but also offers audiences a bit of a peek at their I Love Lucy dynamic. Is there a particular scene or line that stands out to you as a personal favorite?

JASON RAINWATER: There are so many good scenes and while the finale is special, my favorite scene is a scene I share with Grace Gaddy who plays Lucy. All that is happening is that Desi is reading a letter. But, the letter shows just how cunning and ambitious Desi was, but without even saying it, it also shows the love Desi has for Lucy. To share that moment with Grace has been the biggest blessing of this whole experience. I adore her as a performer as much as Desi did Lucy.

RAPID FIRE WITH CASSIDY DAVIS, VIVIAN VANCE IN LUCY LOVES DESI 

JHPENTERTAINMENT: Before taking on the role of Vivian Vance, did you already know she came to join one of television’s most enduring comedies, or have you discovered her in a whole new way through this show? 

CASSIDY DAVIS: I’ve absolutely discovered Vivian in new ways! She was a fascinating gal – the consummate professional, persevering in a really tough business. She was wildly talented and had a huge range of character capability. Something a lot of people don’t consider is how difficult it is to be a good “sidekick”. Ethel’s function was to help Lucy shine while still holding her own. Can you imagine trying to do that next to Lucille Ball?! 

JHPENTERTAINMENT: You mention in your show bio that you grew up watching reruns of I Love Lucy with your mom. With that in mind, what’s one episode that still makes you laugh every time?

CASSIDY DAVIS: To this day, my mom and I get in laughing fits watching The Ballet. My mom owned a dance studio when I was little, and I spent my formative years in ballet classes. So, to watch Lucille Ball swinging on a ballet barre in a tutu because her leg is stuck? Please. We have no chance of keeping our mascara intact. Laughing that hard with my mom is my favorite thing. 

JHPENTERTAINMENT: Has that personal memory of growing up enjoying the reruns with your Mom made the experience of being part of a show that celebrates I Love Lucy’s creation more meaningful to you?

CASSIDY DAVIS: Very much so. Like other Lucy fanatics, I’ve continued to find ways to include the show in my life. My I Love Lucy Barbies are in mint condition, my ringtone has been the theme song for about 10 years, and I still use the lampshades my mom and I collaged with black and white episode stills before I left for university. To be cast in a show written by Gregg Oppenheimer that allows me to embody people who’ve added so much joy to my life and those around me is beyond priceless.

JHPENTERTAINMENT: While the zany adventures of Lucy and Ethel that play out in I Love Lucy are obviously exaggerated for comedic effect, I think we all see ourselves in the friendships between Lucy & Ethel and Ricky & Fred. In your own life, are you more often the Lucy or the Ethel?

CASSIDY DAVIS: That’s a tough one!  I think it depends on which life phase and which friends. As an oldest daughter, I’m usually the Ethel – cautious, a good listener, and adaptable. But I’ve certainly been my fair share of Lucy. Shoutout to childhood friends who got roped into doorbell ditching the neighbors during summer sleepovers.

RAPID FIRE WITH BRIAN BEST, WILLIAM FRAWLEY IN LUCY LOVES DESI

JHPENTERTAINMENT: I find it interesting that William Frawley is only in one scene, but thanks to Gregg Oppenheimer’s script, it’s a memorable one. Did you go back and study Frawley’s Fred Mertz to capture the actor’s mannerisms & gruff persona, or are you leaning more on your own high-waisted gut instincts?

BRIAN BEST: One of my favorite TV shows to watch growing up (reruns, of course) was I Love Lucy. Lucy’s hysterical physical comedy and the sharp sarcastic wit of Fred were part of my “school” for acting. Fred reminds me of a cuddly Grandpa…even if he is a little cranky. The memories from that show seem to live on in my mind…so I didn’t really need to study Fred. However, I did pull up a YouTube video to make sure I had his voice mimicked correctly right before the audition.

JHPENTERTAINMENT: In addition to playing William Frawley, you’re also juggling the roles of CBS executive Bill Paley, and more in LUCY LOVES DESI—Which character has been the biggest stretch for you, and which one feels most natural? 

BRIAN BEST: That is a difficult question. Characters and voices come very naturally to me. The voice that is most like mine is Paley. And honestly, the character that is most like me is Fred…although I’m NOT as cranky as he is. Paley may be the biggest stretch because his personality is much pushier than mine. My cast mates just reminded me that Parker McComas may be my biggest challenge because he coughs throughout his scene…and it sometimes becomes too real. The biggest challenge with these characters is remembering which voice goes with which character.

JHPENTERTAINMENT: Frawley’s fondness for the occasional drink is mentioned in the script. In light of that, if you could belly-up to the bar with him, what would you order and what might you ask him? 

BRIAN BEST: I feel like Fred/Frawley would have been fun to hang out with anywhere. I am not a big drinker and usually make one drink last the entire night. Typically, it’s a fruity drink. I would ask him for advice…what to do and what NOT to do. His career may have been hurt by his attitude towards others that stemmed from his drinking. I would try to learn from him and see how it could help my own stage career.

JHPENTERTAINMENT: Because LUCY LOVES DESI is presented as a radio play, sound effects are being performed onstage. If William Frawley had a sound effect, what would it be? AND…same question for you…If Brian Best had a sound effect, what would it sound like? 

BRIAN BEST: Sound effects…interesting question. I feel like Fred would be a low bass drum…or maybe a tuba…reminiscent of a marching band. Sounds that make people happy but are still a little rough…bossy…cranky. I feel like my sound effect would be the giggle that The Pillsbury Doughboy makes when his tummy is poked. Or a nice “awwww”…like when people see a good friend they haven’t seen in a while…or a little puppy dog. Or a trombone slide…because that’s fun. I think that, like Fred, I am a fun, lovable guy that makes people happy…just hopefully not as cranky!

RAPID FIRE WITH MICHAEL WELCH, JESS OPPENHEIMER IN LUCY LOVES DESI 

JHPENTERTAINMENT: In LUCY LOVES DESI, you play Jess Oppenheimer, I Love Lucy’s producer and head writer. It was Jess’ posthumously-released memoir Laughs, Luck…and Lucy: How I Came to Create the Most Popular Sitcom of All Time co-authored by his son, Gregg, upon which the younger Oppenheimer based this play. Did you know much about Jess before auditioning for this role?

MICHAEL WELCH: I didn’t know much about him at all. I had only completed my usual pre-audition research. Listening to the audiobook version of the story by L.A. Theatre Works was quite helpful. The author, Gregg, was interviewed at the end of the show, so I was able to hear some tidbits directly from him. 

JHPENTERTAINMENT: Being a huge Lucille Ball fan and collector, myself, I was already familiar with the basics of how the classic sitcom came to be, but, speaking of research, in preparation of chatting with you and your cast mates, I read the script, and loved it. As you began preparing for the show, what surprised you about the script? 

MICHAEL WELCH: I was surprised by the warmth and tenderness of the characters. We have all heard how “show business” is a ruthless affair. However as presented in this show, Desi, Lucy and Jess seem to have a real friendship. I believe that will be translated to the audience. It is the romance between Lucy and Desi that was the real draw of the script for me. I might have shed a small tear when reading the last line of the script. 

JHPENTERTAINMENT: I understand the playwright won’t be able to be in attendance for the Nashville and Tennessee premiere production, but he’s asked that a video of the production be sent to him. What does knowing the playwright will not only see you perform, but also see you take on the role of his father mean to you as an actor? 

MICHAEL WELCH: Actually, I didn’t know that until now. My version of Jess is not an imitation. Jess was described as the “field general” and “the brains” of the outfit.  He just got things done. I hope that the playwright sees what I do as a reflection of what his father meant to I Love Lucy and to him. Hopefully, Gregg will be pleased with my effort.   

JHPENTERTAINMENT: I like to finish these interviews by asking…what do you hope audiences take with them after attending a performance of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom?

MICHAEL WELCH: Honestly, I hope that it encourages them to watch the reruns of I Love Lucy. Now that they will know a little bit more about the people behind the characters, the iconic situation comedy will, hopefully, have a broader meaning and appeal. Can anyone watch the “candy on the conveyor belt scene” without cracking up? We all need a surefire laugh now and then.  

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Much like Lucy and Ethel’s best-laid plans, this Rapid Fire 20Q proved to be equal parts laughter and heart. After chatting with the cast, I’m confident The Keeton’s LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom promises to deliver both in spades—with nostalgia, behind-the-scenes hilarity and a cast that truly loves Lucy.

Catch LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom at The Keeton Dinner Theatre October 10-26. CLICK HERE for tickets and showtimes.

Following LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, The Keeton’s current season continues with SHE LOVES ME, onstage December 4-21, BIG FISH, running February 6-22, THE PLAY THAT GOES WRONG April 10-26, with STATE FAIR closing the season June 13-29! CLICK HERE for tickets and more details.

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 director and cast of ‘The Laramie Project’; at New Bern Civic Theatre September 26 thru October 5

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THE LARAMIE PROJECT has been a groundbreaking piece of documentary theatre since its debut in 2000, giving voice to a community forever changed by the 1998 murder of Matthew Shepard. Now, New Bern Civic Theatre (414 Pollock Street, New Bern, NC 28560) brings this powerful work to its stage under the direction of Siobhan Brewer, with a dedicated cast stepping into multiple roles to tell the story of a town grappling with grief, reflection, and hope.

As part of our Rapid Fire 20Q interview series, JHPENTERTAINMENT.com recently had the opportunity to chat with the director and members of the cast to talk about their characters, their process, and what it means to share THE LARAMIE PROJECT’s story with audiences in 2025.

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RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF NEW BERN CIVIC THEATRE’s THE LARAMIE PROJECT    

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER CIARA BLOSSER

JHPENTERTAINMENT: You’re playing Reggie Fluty, Rebecca Hilliker, Zubaida Ula, a Newsperson, and even one of the Narrators in THE LARAMIE PROJECT. What’s been the most rewarding – and maybe the most challenging – part of juggling so many distinct voices and perspectives in one production?

CIARA BLOSSER: It’s been an incredibly rewarding experience. At first, truthfully, it was daunting knowing I would be playing so many roles, and remaining on stage the entire show. I have never done anything like this before. Once I was able to at least know what I was saying, then the fun part came — which was finding tiny movements and the posture of each person. For example, Reggie Fluty never has perfect posture, she’s a bit more laid back, whereas Zubaida is a hand talker, and Kristin Price (girlfriend of Aaron McKinney) picks at her nails, twirls her hair, and always leads with her hips. 

JHPENTERTAINMENT: Rebecca Hilliker says early on, “when I first heard you were thinking of coming here…I wanted to say …Why are you doing this to me?… but then I thought you’re not doing this to me.” How has living with that line informed your understanding of the town of Laramie, and what does it reveal to you about the way people process tragedy?

CIARA BLOSSER: The way I’ve been playing Rebecca has been cheerful. Even if she’s not talking about the most upbeat things, there’s always a slight smile on her face. When I (as Rebecca) say that line “Why are you doing this to me“, there’s a smile on my face because I think often, even if we don’t realize it, we will power through tough moments through smiles and jokes. What I love about Rebecca is that she has that initial thought, which is a valid one, and then takes a moment to process, and realizes that having the theatre company in Laramie might be the best thing for the community. Theatre is a therapeutic form of art, like most art, but what’s special about acting is it’s the study of human behavior. Rebecca is the head of the theatre department at the university, so she’s aware of that. I feel like she thinks inviting actors into Laramie to meet with people of the community, and understand them in a non-judgmental way, is the best way she knows to start the healing process.  

JHPENTERTAINMENT: Zubaida Ula brings a unique viewpoint as one of the younger voices in the play. What drew you most to embodying her, and how do you balance her youthful passion against the more pragmatic or weary outlook of your other characters?

CIARA BLOSSER: Zubaida has been an honor to play. I naturally gravitated towards her, even though I’m probably a decade older than her. She is so confident in herself and the way she talks, although still youthful, is extremely powerful. What I love about her is that she takes pride in holding others accountable, as well as herself, and follows up with great conviction. One of my favorite moments of the play, which is also the monologue I auditioned with, is when she’s demanding people of Laramie to own the crime, “These are people who are trying to distance themselves from the crime. We all need to own the crime”. She is a young woman who has overcome adversity in a small town, as a Muslim who is not fully understood, and she is a force to be reckoned with. 

JHPENTERTAINMENT: THE LARAMIE PROJECT marks your fifth show in New Bern. For those unfamiliar with the theatre scene in the area, what would you say to encourage folks to check it out, especially this production of THE LARAMIE PROJECT?

CIARA BLOSSER: The talent in eastern North Carolina is amazing. I can’t say that enough. I’m truly grateful to be a part of this community of artists. As for the cast of THE LARAMIE PROJECT, thank you, I’ve loved getting to watch us grow as a cast and crew, and it’s been a beautiful experience telling this story. For people who have never seen a show, I can’t force you out of your home, but the moment you sit in a seat at the theatre, you’re immersed into a new world.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER GINNY DORRINGTON

JHPENTERTAINMENT: You’re stepping into Allison Sears, Sherry Aenonson/Johnson, Dr. Cantaway, Doug Laws, a newsperson, and a narrator — that’s a wide range of voices to embody. Which of those characters has surprised you the most in rehearsal, and why?

 GINNY DORRINGTON: As I was living in the UK at the time this happened, it wasn’t widely reported.  I think the character that surprised me most was Doug Laws. I am a Christian and although I knew of the Mormon church (mainly through the Osmonds who were popular in the UK), I have been horrified at the bigotry and hate that they espouse.  I had no idea and it’s made me think about all the Mormon people who are gay and how they cannot be themselves,

JHPENTERTAINMENT: In total, there are more than 50 characters represented in THE LARAMIE PROJECT. Aside from those you portray, are there any other characters within the piece you’d like to perhaps take on in a future production?

GINNY DORRINGTON:  Oh I would love the part of Marge.  Such a character – very straightforward and plain speaking.  Also, due to my great age – there are few roles that would be fitting which is a shame.  It would be different in a radio show.

JHPENTERTAINMENT: Playwright Moisés Kaufman and the Tectonic Theater Project, who first presented THE LARAMIE PROJECT, are known for their use of “moment work” — building theatre from image, movement, and juxtaposition. What has it been like to create moments in this production, and how do they help reveal truths beyond just the spoken words?

GINNY DORRINGTON:  I love the idea of the Moments, but as an actor I have found that following the whole script through them difficult, because they are not necessarily sequential.  Having said that, I have loved the minimalist aspect of the play, the reliance on voices and the impact that that has on the listener/audience.

JHPENTERTAINMENT: This play asks both actors and audiences to lean into empathy. As you step offstage each night, what do you hope your community takes away from hearing this story told in their own backyard?

GINNY DORRINGTON: I really, really hope and pray that we can make a difference with this play.  It’s the reason I auditioned for it really.  I was in Calendar Girls at the beginning of the year and that too carried a message.  I love drama that does that.  I think that there is still a huge amount of intolerance towards anyone who is not a white, straight person and it really bothers me.  If we can get just one person to become less judgmental and hateful it will be worth it.  I know it has a powerful effect on the watchers because it exposes their own thoughts and feelings – either positive or negative and that is what I love about the theater.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER, JOSEPH HORTON

JHPENTERTAINMENT: You were last seen at NBCT as Dr. John Prentice in their 2024 production of Guess Who’s Coming to Dinner, now you’re stepping into multiple roles in THE LARAMIE PROJECT. How has moving from a classic drama about race and social change to a documentary-style play about intolerance and community resilience challenged you as an actor?

JOSEPH HORTON: Honestly, I hadn’t been on stage in almost 10 years when I got the role of Dr. Prentice. That in itself felt like a huge jump. I don’t think it’s off to say I felt closer to my character as Dr. Prentice, as I already had a huge connection to his situation. With TTHE LARAMIE PROJECT, I had to do my own personal research about anything I could on the subject and the people because they aren’t a creative expression. They are real people in a real town. So I had to try and honor them as much as possible as I developed each individual’s character.

JHPENTERTAINMENT: In this production of The Laramie Project you take on Shadow, Aaron Kreifels, Phil Labrie, Andrew Gomez, John Peacock, and a narrator. As you’ve explored the piece, have you found one character that you identify with most?

JOSEPH HORTON: My Director isn’t going to agree that this is the best answer. Andrew Gomez is probably the closest to base Joey you will see of me in this play. It’s the only time I just get to turn off my mind and just worry about my lines. He definitely isn’t my most impactful performance in the play, but any time I don’t have to think about how the character moves or talks, it feels like I am sailing on a wooden pirate ship with the wind in my sails.  

JHPENTERTAINMENT: As one of the newer members of the NBCT family, how has this company welcomed you in, and what excites you most about growing with this theatre community?

JOSEPH HORTON: Okay, so over the past year I have done everything I can to live in this theater. After Guess Who’s Coming to Dinner, I ended up doing the fly system for Grease, spotlight for Descendants, and assistant to the stage manager for Escape to Margaritaville. I also have a potential directing spot for the 24-hour Theater Project next month. And with the lineup of shows for next year, I am going to be living on stage, count on that. It’s about to be musicals all year, and I am a far better singer than I am an actor.

JHPENTERTAINMENT: We’re now a quarter century past the events that inspired The Laramie Project. What does it mean to you to help tell this story today, and why do you think its relevance endures for audiences in 2025?

JOSEPH HORTON: I will let you know I watch debate media in my free time. This year has been NUTS!!! The amount of fear that people are cultivating for the people in this country hurts me deeply. It’s never just one group that gets attacked when things like this happen; it’s anyone who doesn’t fit “the norm.” As an African American with my own set of mental disabilities, I can never be in that norm. I am aware people are fighting to make individuals like me fit into a status quo that I was never meant to be a part of. So with this current climate in America, I think it is extremely important that we are doing a play about what it was like when Americans wanted to start accepting differences. Now that we have done so much to try and turn away from the progress we made in this country, this is the America we hope to leave behind moving toward the future.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER KATHERINE ANDERSON TUTTLE

JHPENTERTAINMENT: In THE LARAMIE PROJECT you portray Marge Murray, Lucy Thompson, a Baptist Minister, a Mormon Spiritual Advisor, plus a narrator and a newsperson — such a diverse group of voices. Which role has challenged you the most to step outside yourself as a performer?

KATHERINE ANDERSON TUTTLE: Actually, the role of Sherry Johnson (wife of highway patrol man and a university admin assistant) has been the toughest to connect with. Her life experience has definitely been more narrow than mine. I had to draw on character traits and attitudes of folks I can remember from an earlier (ugly) time in America. Two of my dearest friends were victims of bigotry, hatred and vicious violence in the early 80’s. Both also succumbed to HIV. I hold them lovingly in my heart to this day. I knew there were Sherrys in the world. I hope I never was one.

JHPENTERTAINMENT: You’ve been part of the New Bern Civic Theatre family for over 15 years. Looking back, how has your journey with NBCT shaped you as an artist, and what makes this community such a lasting part of your story?

KATHERINE ANDERSON TUTTLE: NBCT has been a true blessing to me. I have opportunities to keep my performance skills sharp and mix with folks of all ages and life experiences,  keeping me safe from a dull and lifeless retirement. I hope I have given as much to the local community theatres as I have gained from the connections. 

JHPENTERTAINMENT: You previously worked with Siobhan Brewer in the past, including when she directed an area production of Cabaret. What has it been like reuniting with her on this production, and how has her directing style helped guide you through such complex material?

KATHERINE ANDERSON TUTTLE: I have been blessed and privileged to see Siobhan grow in confidence and ability over four productions. I love working with her. She gives me my head, so to speak, and only tugs on the reins when I ver off track. She is purposeful in her vision. Her passion drives her dedication and that is immense. 

JHPENTERTAINMENT: THE LARAMIE PROJECT is often staged with a minimalist or flexible set to highlight the actors and the words. What can you tell me about this production’s set design and how  it impacts the way you tell your aspects of the story onstage?

KATHERINE ANDERSON TUTTLE: In this show  the only tools you really can use are you face, your eyes, your voice and your body. And you only have a few lines, or even just a word,  and maybe no interaction, to convey a person,, an attitude or an emotion. And you must convey the truth. It’s definitely a workout for a performer. I switch characters over 30 times during the show. We never leave the stage.  I am emotionally spent by the end.

RAPID FIRE WITH THE LARAMIE PROJECT DIRECTOR, SIOBHAN BREWER

JHPENTERTAINMENT: You’ve directed everything from The Crucible to SpongeBob the Musical, Jr., and now you’re tackling THE LARAMIE PROJECT which is a very different kind of theatrical storytelling. What has been the most rewarding — and the most challenging — part of bringing this powerful piece to the New Bern Civic Theatre stage?

SIOBHAN BREWER: THE LARAMIE PROJECT is definitely a different style of storytelling. The fact that the play is not linear and is told in a series of moments has been both challenging and really fun to work with. When I agree (or ask) to direct a show, generally it needs to be something that really speaks to me. I feel like previous shows I have directed like Cabaret, The Crucible, The Vagina Monologues, and now THE LARAMIE PROJECT are ones that evoke  compelling emotion that leads to real reflection and conversation, and that is my favorite thing about theatre. 

I think the most powerful thing about this play is something that Moises Kaufman has stated in interviews. He has stated that he keeps waiting for the show to become historical, but it never seems to become historical. The themes and the conversations that stem from them are still so relevant to current events, and we need to keep talking about them.

JHPENTERTAINMENT: Every director brings their own personal approach to the rehearsal process—how would you describe your style of directing and how has that influenced the way you’re guiding your cast through the emotionally powerful and ensemble-driven storytelling of THE LARAMIE PROJECT? 

SIOBHAN BREWER: I really prefer to be a collaborative director, and this show lends itself fully to that. The actors on stage play a huge role in determining their characters and how to portray them and what they need. We talk about things as a cast, and I am always open to ideas from the cast. Those ideas turn into really powerful moments, because we are working collaboratively, through a variety of lenses to tell the story in an ensemble-driven manner. I also love telling a story through stage pictures, and the moment to moment style of this particular show lends itself well to that. I think the most important part of telling a story like this one is the dedication and care of the cast and crew, and that 100% happened with this show. Our cast and crew were all dramaturgs for this show: doing their own research and really learning about not only what happened in Laramie but the characters they portray as well. With 10 actors playing almost 70 roles, that’s a lot of research and dedication!

JHPENTERTAINMENT: As someone who has both directed and performed, what draws you back to directing again and again?

SIOBHAN BREWER: My own children asked me this recently, and I jokingly told them it’s because I like to be in charge. Honestly, I love seeing things from the big picture and helping to create a vision for a show. From casting to blocking to seeing the vision come to life, it is such a rewarding experience to direct. When I am in a show, it is fun to have that cast bonding and the freedom to limit my focus to just my role, but I prefer in most aspects of my life more of the big picture approach. 

JHPENTERTAINMENT: THE LARAMIE PROJECT asks its cast and audiences alike to sit with difficult truths. As a director, what do you hope audiences carry home with them after experiencing this story through your company’s portrayals?

SIOBHAN BREWER: I truly hope our audiences take away the profound truth that most of what is said in this play, the themes throughout, are still very present in modern day. There are some lines from this show that I have heard being played out in the media today, so I really hope our audiences are able to see that, to make those connections, and to think about what they can do to effect some kind of change in our community and country at large. I saw an interview with Judy Shepard, Matthew’s mother, and she stated that no matter who you are, it is likely you are going to see some character on that stage throughout the production that is similar to you. I hope our audiences take the time to reflect on who they may be, who their loved ones and those in their circles may be, and how we can challenge ourselves and others to make change real and lasting. I think the show has been asking us to do this for over two decades, and I am hopeful that this production reaches our audiences, prompting that reflection and action. 

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Chatting with the director and members of the cast of New Bern Civic Theatre’s upcoming production of THE LARAMIE PROJECT serves as a reminder that this show and the messages found herein remain as urgent and relevant today as it was when first created by Moisés Kaufman and the Tectonic Theater Project over two decades ago. By revisiting the words of the people of Laramie, this cast and creative team at NBCT invite audiences to reflect not only on history, but also on the present and the future we all are shaping together. NBCT’s THE LARAMIE PROJECT opens Friday, September 26 with weekend performances through Sunday, October 5. Friday and Saturday evening performances begin at 7:30pm and Sunday matinees start at 2pm. Tickets range in price from $18 to $24 with discounts available for Students and Military. CLICK HERE to purchase tickets.

After THE LARAMIE PROJECT, Encore Local Series @NBCT & The Aerie B&B present A BONAFIDE OLD-TIME RADIO SHOW, 2025 on Friday, October 10, then it’s WALK-IN BATHTUB IMPROV on October 11 and THE 24 HOUR THEATRE PROJECT on October 18. NBCT’s current theatrical season resumes with MONTY PYTHON’s SPAMALOT, onstage Friday, November 7 through Saturday, November 22. For information to theses performances and more, visit NBCT or follow them on Facebook, Instagram and TikTok.

If you want to 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, movies and more, find us on Facebook, Instagram and Twitter. Got an event or show we should know about? Drop us a line via the contact tab. Until then, #GoSeeTheShow!

Rapid Fire 20Q With Cast of Playhouse 615’s ‘RUTHLESS’; Opening Friday, July 25

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As Playhouse 615 gets ready to raise the curtain on the wildly outrageous Off-Broadway musical RUTHLESS, I recently caught up with four members of the cast to hit them with a round of Rapid Fire 20Q. From rising young stars to seasoned professionals, these performers bring their own brand of flair to the twisted tale of ambition, identity, and murder set to music. Read on to get to know Alyssa Borg, Kassidy Marsh, Caleb Parker Heath and Diane Bearden Enright just a little more ruthlessly.
RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s RUTHLESS
RAPID FIRE WITH KASSIDY MARSH, TINA DENMARK IN RUTHLESS  
JHPENTERTAINMENT: What’s the most fun and most challenging part of playing Tina in RUTHLESS?
KASSIDY MARSH: The most fun part is getting to hang out with my cast mates. The most challenging is learning all the dances and having to remember how to tap.
JHPENTERTAINMENT: Tina is ambitious, dramatic, and a little scary—how do you channel all that energy while keeping it fun?
KASSIDY MARSH: I kind of have a little of her personality. I get to act a little crazy. But, getting to show a scary side on stage is fun.
JHPENTERTAINMENT: What’s been the coolest thing you’ve learned from working with an older cast?
KASSIDY MARSH: Each of the cast members are so nice and have been helpful in helping me do a better job of being Tina.
JHPENTERTAINMENT: On the subject of the adults you’re working with…in this production, your Mom, Melissa Marsh is the show’s costumer. What’s the best part of having your Mom on hand during the production? AND..what can you tell me about your look in the show as far as wardrobe is concerned? 
KASSIDY MARSH: Her bringing me snacks to rehearsal is the best part. I feel her clothes show her change from innocent to scary.
JHPENTERTAINMENT: If Tina Denmark had a TikTok—what would her most viral video be about?
KASSIDY MARSH: It would probably be either Tina describing how she deals with Louise or singing about being ruthless.
RAPID FIRE WITH CALEB PARKER HEATH, SYLVIA ST. CROIX IN RUTHLESS  
JHPENTERTAINMENT: Your MTSU debut was in THE LANGUAGE ARCHIVE, now you’re debuting with Playhouse 615 in RUTHLESS. Needless to say, the roles of George in THE LANGUAGE ARCHIVE and that of RUTHLESS’ Sylvia St. Croix are quite different. What I’m curious about is…have you found any similarities between the two?
CALEB PARKER HEATH: Honestly, I see George and Sylvia as polar opposites. George is soft-spoken and never really figures out how to say what he’s thinking, while Sylvia just says what comes to mind, whether she should or not. I don’t know that there are any similarities between the two characters, Sylvia has just been a crazy roller coaster of makeup and camp.
JHPENTERTAINMENT: RUTHLESS has been likened to a parody of shows like  stage musicals GYPSY & MAME and classic films THE BAD SEED & WHATEVER HAPPENED TO BABY JANE?. Have you seen the alleged source materials? AND…Do you think that’s a fair assessment? 
CALEB PARKER HEATH: I can definitely see where the inspiration came from, although I think the show kind of morphed into its own thing. I think that each character comes from one of each of the shows/films. I think that Sylvia definitely drew most of her inspiration from GYPSY and MAME. I’ve seen many different productions of GYPSY, I’ve seen MAME, but I haven’t gotten around THE BAD SEED or WHATEVER HAPPENED TO BABY JANE?. I drew a lot of my inspiration and characterization from MOMMIE DEAREST, Christine Baranski, and many YouTube videos and movies of Broadway divas.
JHPENTERTAINMENT: As the character name might imply, Sylvia St. Croix is, on occasion, played by a female, but it’s important to note that in the first Off-Broadway production, Joel Vig portrayed Sylvia, then during it’s successful Los Angeles run, Loren Freeman assumed the role, setting a bit of a precedence that the role is just uproariously funnier when played in camp drag. So…is this your first time in drag? 
CALEB PARKER HEATH: I definitely think the drag element makes the show much campier. This definitely is my first time in drag, It’s definitely not easy, but it’s quickly become my favorite role I’ve ever played to date.
JHPENTERTAINMENT: Honestly I could see an entire production done in drag…and I’m sure it has been done. That said, IF you were to play another role, which would it be and why?
CALEB PARKER HEATH: If I were to play another role, it would probably be Eve because she’s so kooky and awesome.
JHPENTERTAINMENT: As you’re preparing to go on stage, when during the process do you feel you’ve fully slipped into Sylvia’s… heels?
CALEB PARKER HEATH: When I put the lipstick on, pin my wig in place, and put on my 6 inch heels… I feel like a completely different person. I feel like Sylvia. I have to become an entirely different person to do the show.
RAPID FIRE WITH ALYSSA BORG, JUDY DENMARK/GINGER DEL MARCO IN RUTHLESS  
JHPENTERTAINMENT: Judy has one of the biggest transformations in the show—what helps you make the shift from doting mom to diva?
ALYSSA BORG: For me, it was all about vocal range and where it lives in the body. For instance, Judy is very fingertips-up, lady-like, Stepford wife meets robotic doll in movement. And Ginger is more hips, and more leaning forward with her heart, her sternum, her chest. And a deeper vocality. Lots of low deep inhales and exhales while belting as much as possible. Whereas Judy is all head voice (as much as possible) and even in speaking trying to be as much in my head voice and as breathy as I can be, without hurting my cords.
JHPENTERTAINMENT: One aspect of Judy’s character is that so much of the fast laughs go right over her head. Do you have a line or a scene that’s a personal favorite?
ALYSSA BORG: Judy is such an amazingly interesting character to me because, first of all, I love playing the “straight” man in comedy. I also love that she has so many wonderful snappy lines where she knows what she is saying, and the other person doesn’t get it, or she takes something very very literally. The other thing about Judy is – she’s a doting mother because she didn’t have a doting mother. She became the doting mother she always wanted as a child, but she’s also still this wounded little girl playing with dolls. That’s why her house is so whimsical, colorful, and over the top. That’s why she has the frilly crinoline petticoats, serves tea and birthday cakes, and everything is kind of magical and a little off.
JHPENTERTAINMENT: Your bio reveals you have a background in voiceover. Have you found that skill helpful in creating unique voices for the two halves of your character in RUTHLESS?
ALYSSA BORG: Having a background in voiceover has definitely helped with playing around with pitch and tonality. And with body movement too. One of the lesser known things about voice acting is that there’s actually a lot of physicality and movement, especially in your arms and in your torso. So once I got those down for the characters, it was really easy just kind of be in that – plus I was never ashamed to come into rehearsal (or auditions) with some sort of vocal warm-up device, whether it was a Vox water bottle, a neck massager, or even a kazoo.
JHPENTERTAINMENT: Playhouse 615 co-founder, Joel Meriwether is directing RUTHLESS. What’s he like as a director, particularly as a director of such an outlandish parody musical?
ALYSSA BORG: Joel, as a director is a very interesting experience and I say that with all the kindness in my heart. He is very open and receptive to feedback even in the moment, and open to actors sharing ideas, especially in the beginning of the rehearsal process. There is a really nice autonomy given to the actors in regards to trusting that we will learn our lines, trusting that we will learn songs, but also, being very collaborative in nature, being open and receptive to ideas about character, about set, about costume, things like that. 
JHPENTERTAINMENT: When not on stage, I understand you teach yoga. If Judy Denmark and Ginger Del Marco were your yoga students, which poses would each master with ease?
ALYSSA BORG: Judy needs some ragdolls or wide leg forward folds – she’s very much a marionette who needs her strings cut and to relax. Ginger is very grounded, but I feel like she could use some child’s pose or supine twists – something to make her look a little deeper and more introspective. They both need to start meditating. 
RAPID FIRE WITH DIANE BEARDEN ENRIGHT, MISS MYRNA THORN IN RUTHLESS 
JHPENTERTAINMENT: If memory serves, did you tell me you were the one who brought RUTHLESS to the attention of Playhouse 615 for potential inclusion in the current season? What is it about this show that you feel fits the Playhouse 615 vibe? AND…What is it about Miss Thorn that attracted you to the role?
DIANE BEARDEN ENRIGHT:  Yes, I did introduce RUTHLESS to Playhouse 615. I had done the show over 20 years ago at the Hippodrome Theatre in Gainesville, FL and never forgot how funny it was and how much fun we had doing it.  The book is so clever how it weaves in moments from the musical GYPSY and the 1950’s movie THE BAD SEED.  It is outrageous, hilarious, irreverent and promises to be an unforgettable evening of musical theatre.  Miss Thorn is very special to me and so much fun to play.  She’s just a big ole mess!  I’m so fortunate to be able to play her again after all these years. 
JHPENTERTAINMENT: With your background in both education and event planning, what skills from those roles sneak their way into your stage work?
DIANE BEARDEN ENRIGHT:  It’s true I am a teacher as well as an event professional.  Those two careers are much like Acting in the way one prepares for the main event.  Research and preparedness followed by “flawless” execution.  Simple as that.
JHPENTERTAINMENT: When not on-stage or behind the scenes, you serve as an adjunct instructor in theatre at MTSU. If Miss Thorn were to fill in for one of your university courses, what would her first instruction be to the class?
DIANE BEARDEN ENRIGHT:  Assigning a student to supply snacks and wine.  No joke.  🙂
JHPENTERTAINMENT: You also serve on the Board at Playhouse 615—what excites you most about the future of the company?
DIANE BEARDEN ENRIGHT:  I am so proud to have been with this group from the start.  Playhouse has done amazing things in a short amount of time.  The audience is growing, our talent pool is expanding.  We are the hidden gem that is quickly emerging from the shadows. 

 JHPENTERTAINMENT: You likely know that I tend to end these chats with a variation on the same closing question…What do you hope audiences take with them after having seen Playhouse 615’s RUTHLESS?

DIANE BEARDEN ENRIGHT:  I hope their belly’s and jaw’s hurt from laughing!  I want the audience to sit back and forget about our chaotic world for 2 hours.  Let’s get lost in the joyous absurdity of RUTHLESS.

Don’t miss your chance to see this hilariously twisted tale of ambition, stage mothers, and killer instincts play out live at Playhouse 615. RUTHLESS opens Friday, July 25 and runs through August 10. CLICK HERE to grab your tickets now, and get ready for an outrageously fun night of musical mayhem! 

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 Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

 

Rapid Fire 20Q with cast of Franklin Theatrical Fellowship’s ‘Guys and Dolls’; onstage July 11 thru July 20

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Having presented TWELVE ANGRY JURORS, around this time last year, Franklin Theatrical Fellowship under the watchful eye of founder Melanie Sutton, quickly proved themselves as the latest addition to the Middle Tennessee theatre community. With the added immersive element of their current show, GUYS AND DOLLS, on stage July 11-20 at Studio 615 (272 Broadmoor Drive, Nashville, TN 37207), FTF is definitely upping the ante (thematic gambling reference fully intended).
As the cast and crew put the finishing touches on turning Studio 615 into New York’s Biltmore Garage, I had the chance to chat with four members of the cast for the latest installment in my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.
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Rapid Fire 20Q with cast of Franklin Theatrical Fellowship’s GUYS AND DOLLS
Rapid Fire With Brian Charles Rooney, Nicely Nicely Johnson in GUYS AND DOLLS
JHPENTERTAINMENT: To get things rolling, I gotta admit, Nicely Nicely has always been my absolute favorite musical theatre character name! What can you tell me about Nicely Nicely and what drew you to audition.
BRIAN CHARLES ROONEY: The name is a lot of fun! There’s a lot of room in this show for really great character work; which is one of the reasons I wanted to do the show in the first place!  It’s a classic, and there are so many songs in the show that have become part of the fabric of our culture. However, one of the main reasons I wanted to be in GUYS AND DOLLS was because of a speech that the artistic director of Franklin Theatre Fellowship, Melanie Sutton, made after a performance of their last production, GOOD NIGHT, OSCAR, I was thoroughly impressed by the production, the acting, the direction, the design… and that made me feel excited, but it was Melanie’s speech afterwards that really sealed the deal for me. I had just done the last production of A CHRISTMAS CAROL, for Nashville Rep; and some of us had participated in a talk back after the show. Someone asked us what we found valuable about being in the show. I took the opportunity to point out that live theater offers the community a chance to come together, regardless of so many variables that make people different. In the 2 hours, or so, that an audience has with the cast and crew of a show, they participate in a community experience.  Melanie talked about wanting to create a theater company that fosters the opportunity for people to come together, to take risks, to create art, and to be available to the community, regardless of their background.
I knew that I needed to get to know this person, and to try to work with her.  So when I saw that FTF would be producing GUYS AND DOLLS this summer, I reached out to Melanie, and to Allison Little, our choreographer, with whom I had performed in ELF for the Rep and CABARET for Studio Tenn. 
JHPENTERTAINMENT: You know I can’t do one of these Rapid Fire chat with you without mentioning your Broadway debut, having played Lucy Brown in Roundabout Theatre Company’s  2006 revival of THREEPENNY OPERA. From Lucy Brown to Nicely Nicely Johnson is quite a leap—are there any similarities you’ve found between these two?
BRIAN CHARLES ROONEY: Yes quite a leap visually, for sure! However… Both characters are absolute opportunists. They will do or say whatever they need to do to achieve a goal.  Nicely Nicely is often portrayed as rather vapid. Melanie has been wonderful about letting me experiment with this character, to make it my own… and I’m excited for people to get to know this version of the character!
JHPENTERTAINMENT: GUYS AND DOLLS is a classic American musical, having debuted in 1950. Do you view it as strictly nostalgic? Or are there themes and ideas that are still as relevant today?
BRIAN CHARLES ROONEY: I do think there is a huge amount of nostalgia attached to this show, and I think that’s a good thing! But the theme of honesty is one that really resonates with me. Taking the time to get to know someone, being honest about how you feel, creating healthy communication… All of those things are so important for functional, healthy relationships.  Now, of course, all of that is wrapped in delightful melodies and dance numbers, the visual feast of our set and costume designs, and the comedy that is so richly embedded in the story. But it really is about people learning how to communicate!  I think humanity really does need to revisit in-person communication on a more regular basis… we’ve been so obsessed with digital shortcuts, social media, and the ease of access that technology provides; but we lose out on a deeper connection. Even though this show is funny, and fantastical, it really is about the connection between friends and people in love.
JHPENTERTAINMENT: Nicely Nicely is known for bringing down the house with the 11th hour number, Sit Down, You’re Rockin’ the Boat. Has FTF’s GUYS AND DOLLS musical director Scott Brons taken advantage of your incredible multi-octave range during this number?
BRIAN CHARLES ROONEY: Mayyyybeee… my range is certainly unusual… a and it is often exploited, in the best way, no matter what show I’m doing. However, as an artist, I’m always looking for ways to utilize my range in order to tell the story in an honest and resonant way.  We’ve done some creative things with this character, and I’m excited for people to see that.  I’m also excited for them to HEAR that!
JHPENTERTAINMENT: What keeps you excited about musical theatre today, and what’s next for you creatively?
BRIAN CHARLES ROONEY: I think what keeps me most excited about musical theater is the constant evolution of the art form, and the new work that I encounter. I have dedicated most of my career to working on new works. It hasn’t always been lucrative, but it has always been artistically fulfilling. I was just in New York City again, working on a new musical called CHRISTMAS EVE IN DIKANKA, based on a fable by Gogol… think the classic stop motion Rudolph the Red-Nosed Reindeer meets Dr Zhivago meets Baba Yaga. I know that sounds crazy, but it’s actually quite a wonderful show!  It is in the development of something new where I always feel the most free to take the biggest risks artistically.  That kind of creative freedom is a privilege and a joy. Along with the fun of creating a new character with a new story, comes the chance to work with writers who are finding their voices. It’s such a thrill! And I hope there is more new work developed this coming season in Nashville… after all, any chance for the community to come together to see a piece of theater, is a good one!!! 

Rapid Fire With Rebekah Howell, Sarah Brown in GUYS AND DOLLS

JHPENTERTAINMENT: What aspect of Sarah Brown are you enjoying bringing to life most?
REBEKAH HOWELL: It’s so rewarding to portray a character who has such a dramatic arc. Sarah Brown undergoes a complete mindset shift, and she’s so different at the end of the story from when we first meet her in her opening monologue. She experiences a massive amount of personal growth when her ideas and preconceived notions are challenged. As an actress, it’s very fun to inhabit a character as they undergo this process of change and growth. 
JHPENTERTAINMENT: “This would be a wonderful way to get children to drink milk!” isn’t just my favorite Sarah Brown line, but a line I quote quite often while out and about with friends. Do you have a personal favorite line or scene as Sarah?
REBEKAH HOWELL: That’s such a great line – it’s so quotable! Haha! Some of my personal favorite lines are actually in the I’ll Know duet with Sky Masterson. Sarah says “I won’t take a chance; my love will be just what I need – not some fly-by-night broadway romance!” The irony is that she and Sky Masterson literally fly – by night, in fact – to Cuba, and they do have a whirlwind romance! I love the foreshadowing of this moment, even if it is a little “on the nose!”
JHPENTERTAINMENT: While I haven’t seen GUYS AND DOLLS on stage in quite a while, in preparing to chat with you and your fellow cast mates, I revisited the 1955 film adaptation.  My above-referenced favorite line is from the Havana scene between Sarah and Sky Masterson. That scene also features my favorite GUYS AND DOLLS dance sequence in the film. For FTF’s production, Allison Little serves as choreographer & Philip David Black plays opposite you as Sky. How much have you enjoyed working with Allison and Philip for this scene in particular?
REBEKAH HOWELL: Our version of the Havana scene is a little different from other productions and certainly from the 1955 film adaptation. I won’t give away any spoilers, but what I love most about our production is how skillfully Allison plays to each performer’s strengths and incorporates them into the storytelling. Her choreography is so detailed, clear, and comedic. Philip is a fantastic stage partner, and it’s been so much fun to prepare to tell this story with him.
JHPENTERTAINMENT: I love that your bio starts with, “From bel canto to “can belt-o” and everything in between”, a nod to your many versatile roles from opera to traditional musical theatre. For those who might feel they’d be out of place attending an opera performance, what advice would you give?
REBEKAH HOWELL: It’s funny, but I find opera and musical theatre to be more alike than they are different. They’re both storytelling art forms that use singing, and often they both require dialogue and dancing! The main difference is that opera singers are often stylistically required to perform without microphones or amplification while singing over a full orchestra; composers often choose to write in a vocal range that can accommodate this Herculean feat. What most people don’t know about older operas is that they WERE the modern musical theatre shows of their day, and they often addressed political and controversial topics that were current – and many times continue to be current today. If you want to enjoy your first opera, my best advice is to read the synopsis before you go, and maybe look into what was going on in the world at the time when it was written.
JHPENTERTAINMENT: Do you have a pre-show ritual, whether it’s as you’re preparing for an opera or a role in musical theatre?
REBEKAH HOWELL: This might be a surprising answer, but no – I don’t really have a “pre-show ritual” per se. The best pre-show prep is done in the daily choices that I make in regards to eating healthy foods, moving my body, getting good sleep the night before, and staying hydrated. I actively try to keep any pre-show vocal warmup to a minimum so that I can avoid fatigue beforehand and bring my best to the stage.
Rapid Fire With Austin Correll, Nathan Detroit in GUYS AND DOLLS
JHPENTERTAINMENT: Who is Nathan Detroit to you?
AUSTIN CORRELL: Nathan Detroit is a criminal, a gaslighter, and a ne’er do well. Beyond that, however, he is a true romantic. He loves his doll and his fellas (mafiosos) and wants nothing short of the best for them all. 
JHPENTERTAINMENT: You were part of Franklin Theatrical Fellowship’s inaugural production, TWELVE ANGRY JURORS last year, and now you’re back onstage with the company in GUYS AND DOLLS. What growth have you seen in FTF in that time as they establish themselves as a viable part of the Nashville area theatre community?
AUSTIN CORRELL: First and foremost, its range. TWELVE ANGRY JURORS is a poignant and intense look into American prejudice. GUYS AND DOLLS is anything but intense. This deviation isn’t a shift away from intensity but an exhibition of the range FTF can provide. Each show provided different entertainment sources for an audience, and I think we have taken an approach with each show to evoke that entertainment and sensations in a uniquely and incisively. 
JHPENTERTAINMENT: As she did with TWELVE ANGRY JURORS, FTF’s founder and artistic director, Melanie Sutton, is helming GUYS AND DOLLS. What is your favorite aspect of working with Melanie as a director?
AUSTIN CORRELL: She has visions and executes them. It’s one thing to imagine something but she finds a way to make those imaginations happen. Which is hard to do in any form of artistic expression. From an actors standpoint the process is refreshingly collaborative. She helps fine tune your ideas for moments or will provide you with an idea and let you fine tune it to match your vision for the character. It’s the perfect amount of freedom. 
JHPENTERTAINMENT: GUYS AND DOLLS is being presented as an immersive theatrical experience. Can you elaborate a bit on that?
AUSTIN CORRELL: We’re kinda coming at you from all angles. Both figuratively and literally. Guys and Dolls is typically a traditional big stage play with big sets and an audience admiring from afar. With this production we are right in your face. In your chairs. Handing you props. I’d say the fourth wall is built with newspapers. On top of that the pre-show element has us taking Damon Runyon’s world to new heights. Audiences will get to interact with the characters and get a sense of the unique elements of “Runyonland” New York
JHPENTERTAINMENT: Can’t talk about Nathan Detroit without mentioning some of the greats who’ve stepped into the role in the past, including Sam Levine, Alan King, Frank Sinatra (in the 1955 film adaptation), Robert Guillaume & Nathan Lane, to name a few. With such a pedigreed past, how are you making Nathan Detroit your own?
AUSTIN CORRELL: It’s impossible to take on this role without paying attention to those greats. I see taking on a classic role like this as more of creating an amalgamation of those elements that worked for the preceding artists. The coolness of Sinatra. The manic physical comedy of Lane. The traditional Jewish cadence in line delivery of Levene. I’ve tried to package all of these together. At the end of the day, my Nathan is going to be exasperated and sweaty and in love with his darling Adelaide. 

Rapid Fire With Philip David Black, Sky Masterson in GUYS AND DOLLS

JHPENTERTAINMENT: Sky Masterson seems the epitome of golden era musical male characters. Is there anything surprising that you’ve discovered about the character as you’ve delved into the role?
PHILIP DAVID BLACK: Sky’s cool guy persona is a mask for his roots, which are less worldly, as shown by his real first name, Obediah. Falling in love with the missionary, Sarah, fuses his past with his present. That is a great dynamic to play, and it hits a little different every time.  
JHPENTERTAINMENT:Earlier this year you appeared in Studio Tenn’s THE PLAY THAT GOES WRONG. From the chaos of comedic farce to the cool confidence of Sky Masterson—what’s your favorite aspect of shifting gears from comedy to classic musical theatre?
PHILIP DAVID BLACK: The huge lift you get from a musical is that well-written music does so much work for you. You just learn your notes and take the ride. Comedy plays are great fun, too, but you have to work much harder for every little moment. With a band backing you up, even a madcap comic dunce like me can make the switch to suave, or close enough. 
JHPENTERTAINMENT: Sky’s big number is Luck Be a Lady. Marlon Brando performed the song as Sky Masterson in the 1955 film adaptation. What’s your favorite aspect of performing this song?
PHILIP DAVID BLACK: An audience leaves a show with Act 2 on their minds, so I love that Sky’s biggest song is almost the last thing he does in the show. It’s a treat to leave on such a high note. 
JHPENTERTAINMENT: I’ve always found it interesting that it was Frank Sinatra, who had played Nathan Detroit in the film, who later made Luck Be a Lady one of his signature tunes. In that vein…if you were to choose a signature song, or your own personal theme song, of any musical genre, what would it be and why?
PHILIP DAVID BLACK: Make ‘Em Laugh from SINGIN’ IN THE RAIN comes to mind first. Life is hard enough. I much prefer well-rehearsed laughs to hard-rung tears.  
JHPENTERTAINMENT: You kind of touched on this earlier, but I typically end these interviews by asking some variation on the following…What do you hope audiences take with them after having experienced FTF’s GUYS AND DOLLS?
PHILIP DAVID BLACK: I hope they leave humming a good tune, floating on the kind of cloud that only comes from shared moments. We are all God’s children, and I believe the theater is our playhouse. We dream better together. 
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Franklin Theatrical Fellowship‘s GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE opens at Studio 615 (272 Broadmoor Drive) on Friday, July 10 and continues through Sunday, July 20. To witness part of the pre-show immersive aspect, plan on arriving at 6:30pm for the Thursday, Friday and Saturday evening shows and at 1:30pm for the Saturday and Sunday matinee performances. Further adding to the immersive vibe of secretive gambling night, ticket prices are as follows: High Rollers Velvet Booth Section: $90.62, High Rollers Velvet Rope Section: $85.42, Holy Rollers Velvet Pew Section $80.22 and General Admission: $64.62. All ticket prices mentioned include fees. CLICK HERE for tickets or more information.
Following GUYS AND DOLLS, FTF will present THE DIARY OF ANNE FRANK, onstage at FSD PERFORMING ARTS CENTER in Franklin, TN from November 29-December 7. 2025. To keep up with what’s next for FTF, CLICK HERE or follow them on Facebook and Instagram.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

Rapid Fire 20Q with creator and cast of Bucket List Inspirations: ‘Neurospicy Players Unmasked’; onstage at MPAC June 27 & 28

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On June 27 and 28, Cat Eberwine and a group of area musicians, singers and actors will take to the stage of Mills-Pate Arts Center (7120 Old Nashville Hwy, Murfreesboro, TN) for the debut production from Eberwine’s Bucket List Inspirations. The evening, NEUROSPICY PLAYERS: UNMASKED, as the title might suggest, features a cast of creatives most of whom have been diagnosed as on the autism spectrum. It’s Eberwine’s hope that by featuring a cast of neurodivergent creatives, Bucket List Inspirations‘ production will not only entertain, but also educate and enlighten their audience while simultaneously raising awareness and money to further her mission. With just days before show’s open, I recently had the chance to chat with Eberwine and co for my latest Rapid Fire 20 Q. What follows are those conversations.

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RAPID FIRE 20Q WITH BUCKET LIST INSPIRATIONS’ NEUROSPICY PLAYERS: UNMASKED

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

JHPENTERTAINMENT: Before we get into talking about the upcoming NEUROSPICY PLAYERS: UNMASKED event, let’s talk about your journey discovering you are on the autism spectrum. What made you even consider you might be on the spectrum and when were you fully diagnosed?

CAT EBERWINE: It was during a casual conversation while shopping with one of my closest friends early in 2023. Seemingly out of the blue, she started asking me questions that I later realized were on a list of typical traits of women with autism. After answering yes to most of them, she said, I think you may be on the spectrum. At the point of the conversation, I didn’t know a single woman who was autistic, and I knew very few males personally who were.  Most of my knowledge of autism was of the media stereotypes. So, after we parted, I went home and went down a two hour rabbit hole of women with autism and created a 20 page Power Point with flow charts and outlines of other diagnosis that I was currently being treated for or felt I might have. It took me months of research online and conversations with providers and insurance companies and support lines and FINALLY was pointed to a local clinic who did evaluations an accepted my insurance, but it was still pretty expensive, and I had to drive to Knoxville because the Nashville branch appointments were so backed up. After a three part evaluation over the course of a couple of months, I was officially diagnosed in September 2023 thru Athena Care.

JHPENTERTAINMENT: Once you received an official diagnosis, what advice were you given in dealing with such news?

CAT EBERWINE: “Keep it to yourself.” It was a journey for everyone around me and my family had a lot of patience, but none of us knew anything about it, so we were all starting at zero. I lost a therapist I really liked and had had for almost ten years because he “just didn’t see it”. “You’ve been married, you work”. “You don’t look autistic.” I had to find my own books. My first and favorite was Autism in Heels. It amazed me that this other woman had experienced so many of the same emotions and situations that made me feel so isolated all my life. Then I read another and another and a secret community began to emerge. Then I was reintroduced to Cat Burford, I had met her in 2022 but didn’t know she was also on the spectrum. We met for breakfast and had a great talk. We’ve been friends ever since, she’s really helped me a lot and is a great advocate for Autism Acceptance as well as being another member of the Neurospicy Players, an actor and a playwright.

JHPENTERTAINMENT: Now, on to Bucket List Inspirations. What prompted you to create the organization?

CAT EBERWINE: I don’t tell short stories, but I’ll try to stay at 5,000 feet on this one and if we ever want to, we can get into more detail. After my diagnosis, I searched for local organizations, support groups, therapists, not only for autistic adults, but females with autism…and found next to nothing. In many of the books I was reading, authored by late in life diagnosed women who are in highly educated positions, a common theme after diagnosis was the desire to then do what they could to help other women (and girls) become more familiar with how autism presents in women and encouraging earlier and more accurate diagnosis. (see, it’s already becoming a long story). There were many traumas I survived throughout my life that I feel I could have avoided or had better tools to navigate (yes, I have PTSD), had I known more about how my brain was wired. That coupled with wanting to honor the memory of my friend Dave Davis, who would have been right by my side during this journey, gave birth to the foundation. Dave started Bucket List Productions for our production of Assassins in 2022, and since he was my inspiration, that’s where Bucket List Inspirations came from.

JHPENTERTAINMENT: Bucket List Inspirations’ upcoming event NEUROSPICY PLAYERS: UNMASKED is a cabaret performance, but it’s also a fundraiser with a silent auction and a post performance Q&A. That seems like a lot right out of the gate. What was your thought process in debuting the organization in such a multi-level way and how will money raised during the event be used to further Bucket List Inspiration’s mission statement?

CAT EBERWINE: Because I can’t do anything halfway? I hate asking for money, and the more I talked about my autism the more people in my theatre family shared with me about their own diagnosis and I realized there were a lot of very talented people on the spectrum right here in our area. So I thought it would be a great way to highlight the wonderful talents and earn some the money we were asking for. The silent auction idea came from me looking for a template for what information I needed to put on the poster and I saw one that had a silent auction and I thought “ooohhhh, silent auction!”. Again, giving something in exchange for the money we are asking for. Someone in the cast suggested the Q&A and since our foundation is all about education (in an entertaining way), it seemed like a logical thing to do. As for thought process…it’s a lot of brainstorming…and being willing to go with the flow. To be honest, I’m scared to death it’s going to fail, which is a symptom of my diagnosis…perfectionism and a fear of failure…so I’m singing about it in the show.

As for the money, this first time around, I am hoping to cover my expenses from the last year of setting up the foundation, have enough to start producing our next show, and some left to pay someone to start developing the website. The website is the to be the hub of education and connection for Autism Education, Support, Social Activities, and celebrations of Autistic Artists and businesses owned by or supporting people with autism. We are focusing on 18 and over, but we want to start identifying seniors in high school and helping them with their transition to higher education. We have lots of great ideas, but it’s going to take a village and a bucket of gold at the end of my rainbow.

JHPENTERTAINMENT: What do you hope audiences take with them after having spent the evening at NEUROSPICY PLAYERS: UNMASKED?

CAT EBERWINE: A smile and a song in their heart? Maybe a cookie with our logo printed on it made by autism friendly bakery. And a few facts about autism that they never knew they never knew. But especially my eternal thanks for being a part of the birth of my dream.

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

JHPENTERTAINMENT: You were diagnosed as being on the spectrum in your twenties, while Cat and some of your other Neurospicy Players were diagnosed later in life. What do you perceive as an advantage of having been diagnoses at that time in your life?

WILL LASLEY: You know, it’s funny. I was diagnosed earlier, compared to them, but even still, it was later than ideal, which would have been during early childhood. But I never had a lot of trouble with eye contact as a kid, so at the time (late 90’s), they ruled out autism because that was considered such a make-or-break symptom. I do wish that we had real confirmation when I was a kid so that we could have known some level of what to expect and watch for. Now I have all this catching up to do with learning about myself and my community, but I suppose I don’t have maybe quite as much as those who find out even later than I did do, so if I had to name any particular advantage I may have, it would be that.

JHPENTERTAINMENT: How did you come to be part of Cat’s Neurospicy Players and this Unmasked benefit in particular?

WILL LASLEY: Well, Cat helped out with some of the shows I did with Act Too Players in my teens, so she really got to see me go through a lot of growth as a performer, and so I assume it came as no surprise to her when I got diagnosed. Then when SHE later got diagnosed, I was one of a few friends of hers who she knew were autistic that she reached out to, and we talked about it, and then later on she tells me what she wants to do with Bucket List Inspirations, and I was honored to be asked. I’ve loved having been a part of each other’s journeys.

JHPENTERTAINMENT: You’ve been on stage since your early teens, having been amongst the young pool of talent to pass through the doors of Act Too Players as you indicated above. What’s your fondest memories of your time with the beloved Middle Tennessee youth theatre company?

WILL LASLEY: My favorite thing I ever got to do with Act Too was play SWEENEY TODD. That was the thrill of a lifetime, and it was HARD. Sondra Morton and Jayme Smith put me through the wringer on that one, but it’s still my favorite role I’ve ever done. I say this, pun very much intended, that I would kill to play that role again. I definitely feel like I could do it even better now, but getting to do it with Act Too was such an important step in my musical career.

JHPENTERTAINMENT: As someone with a physical disability myself, I was particularly moved by the section of your bio that says you wear your diagnosis with pride. With that mindset, have you found folks are more willing to ask questions, rather than assume things about your disability?

WILL LASLEY: I feel like, even though most people aren’t nearly as educated on autism as I wish they were, it’s a recognizable enough label that people will usually hear you out if you bring it to their attention. I’ve had plenty of people make ignorant assumptions when they find out I’m autistic, and they usually mean well, but I much prefer when people react by asking questions.  I do really wish people would just instinctively listen to autistic people when it comes to matters of how we are treated. But you know, people always have to have an opinion whether they’re informed or not, so my hope is that talking more about more about autism will create a more informed public.

JHPENTERTAINMENT: What do you hope you and your costars achieve by presenting NEUROSPICY PLAYERS: UNMASKED?

WILL LASLEY: Obviously, first and foremost, I want people to be entertained, but I hope people will leave with plenty to think about and reflect on. There’s so much about autism that people either don’t know or have completely wrong, and if we can teach people about autism by doing what we already love doing, what more could we want?

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

JHPENTERTAINMENT: How did you come to be part of Cat’s upcoming NEUROSPICY PLAYERS: UNMASKED event?

JOHNATHAN VEST: I saw Cat post something on a facebook group I had recently joined. It was a group for adults with a late autism diagnosis. I reached out to her as a fellow artist/creative, and we began a conversation that has now turned into a friendship.  

JHPENTERTAINMENT: Like the other members of the company, you yourself have been diagnosed as being on the autism spectrum. When were you first diagnosed and how has that diagnosis helped you navigate your everyday personal and professional life?

JOHNATHAN VEST: I always thought that I might have ASD ever since the science and research was published about what they used to call Asperger’s Syndrome. But I figured it didn’t matter and as an adult, I had either “outgrown it” or “figured it out”  If you will. (Hint: I had done neither of those things.) It was not until someone close to me was diagnosed with something similar that the dominos began to fall and I reached out for some testing. 

JHPENTERTAINMENT: In addition to performing in the showcase, you’re also serving as music director for Neurospicy Players Unmasked. What’s been the most challenging/rewarding aspects of tackling that job for this show? 

JOHNATHAN VEST: The most rewarding part is working with these talented artists, seeing their passion, and hearing their stories. As for the most challenging, well—you get a bunch of neurodivergent people with brilliant creative minds and circular story-telling on a Zoom call and tell me how that goes 🙂

JHPENTERTAINMENT: In preparation of chatting with you and your cast mates, Cat was kind enough to share the rundown of the show. Spoiler Alert: I love that you’ll be performing The Moon and St. Christopher, a song made popular by Mary Chapin Carpenter. Randomly, I saw Mary at 3rd and Lindsley just this past weekend…but back to my question…what is it about this song that prompted you to choose to perform it for UNMASKED?  

JOHNATHAN VEST: I’m glad you know the song! I have always loved Mary Chapin Carpenter’s writing, and she really wrote some beautiful songs. This song is about going on a journey somewhere, and you really don’t know what you’re doing. You have no help, and you’re not even sure where you are going. The light of the moon and St. Christopher, the patron saint of travel, is all you have.  

When I think about growing up with undiagnosed ASD, I now realize that I had no help. None of us did back then. If you were autistic back then you were Tommy the Pinball Wizard, and you “sure played a mean pinball” but you didn’t speak, showed little or no emotion, as if you were “locked inside yourself.” That wasn’t me. So I was just weird. So me, and everyone in the cast tonight, had to figure it out. Take the feedback we were given from our parents (not knowing how to help, or understanding they needed to) our peers (often cruel and soul-crushing) and others (often isolating us because of not knowing how to take us). All I had was a light and a prayer. I’m thankful I had them, though.  

JHPENTERTAINMENT: I understand there’s a silent auction as part of the evening’s festivities, right?JOHNATHAN VEST: Yes, I hope everyone will consider bidding on something. Our hope is to continue to offer opportunities and resources for adults with autism, which right now, are very scarce.  

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

JHPENTERTAINMENT: From the bio Cat provided as I began researching to chat with you all, I learned that you, like Cat were recently diagnosed as being on the autism spectrum. How has learning this information at this stage in your life helped you?

DAN KASSIS: More than anything, learning I have ASD has helped me accept those things about myself that I have tried to change or “fix” for most of my adult life. The goal now is to learn to thrive with my particular neurotype rather than fight against it.

JHPENTERTAINMENT: You’ve been a Nashvillian since 2001, having spent the early part of your life in your native California. What prompted you to relocate to Music City?

DAN KASSIS: We moved here from Sacramento (like Cat did!) because of a downsizing at my job there that deleted my position. From that day, it only took about four months to arrive in the Nashville area. I got a job with LifeWay Christian Resources. They moved my family and me here.

JHPENTERTAINMENT: As an actor, what’s been the most rewarding aspect of being on stage in front of a live audience?

DAN KASSIS: I’m a big fan of the moment when everything comes together after all the hard work and preparation, and the show seems to come alive. You realize you and your fellow actors and crew are no longer working on a project. You’re part of a bigger thing. I have also loved working alongside some of our region’s most talented actors and learning from them.

JHPENTERTAINMENT: I understand you first were drawn to your love of drumming at an early age. Who are some of your drummer heroes and is there a piece within the NEUROSPICY PLAYERS: UNMASKED that you’re particularly enjoying performing?

DAN KASSIS: The drummers who have inspired me the most have all come from the jazz genre – Dave Weckl, Vinnie Colaiuta, Steve Gadd, Peter Erskine, Brian Blade, Elvin Jones, Buddy Rich. I also learn a lot from session players like Jeff Porcaro and Keith Carlock. I love “What Else Can I Do” from Encanto – I always enjoy playing anything with a Latin groove. 

JHPENTERTAINMENT: What do you think is the biggest misconception about being on the autism spectrum?

DAN KASSIS: The biggest misconception is that “we’re all on the spectrum.” No we aren’t! There are neurotypical people and neuro-atypical people. If we were all on the same spectrum, I don’t think autism would be considered a disorder. You don’t have to claim to be on the same spectrum as people with ASD to connect with them and and better understand them.

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Bucket List Productions’ NEUROSPICY PLAYERS: UNMASKED takes to the stage at Mills-Pate Arts Center on Friday, June 27 and Saturday, June 28. Each evening will begin with a Reception and Silent Auction at 6pm and show at 7pm. Immediately following the show there will be a talkback and Q&A with the cast. General Admission tickets are $20. For $100, there’s a cabaret table option (table for four nearer the stage). CLICK HERE to purchase tickets. 

Can’t make the event but would like to support upcoming programs presented by Bucket List Inspirations? CLICK HERE. You can also follow Bucket List Inspirations on Facebook.

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

Rapid Fire 20Q with cast of Playhouse 615’s ‘Run For Your Wife’; onstage June 13 thru June 29

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Since Ray Cooney’s RUN FOR YOUR WIFE debuted on the London stage back in 1982, it’s become a staple of theatre companies worldwide thanks to its outlandish farcical plot, slapstick physicality and side-splitting laughs, so it should come as no surprise that Playhouse 615 is including it in their current season. Earlier this week, while the cast and crew prepped for their Friday the 13th opening night, I had a chance to chat with four of the show’s cast members for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s RUN FOR YOU WIFE; ON STAGE JUNE 13-29

RAPID FIRE WITH BEN GREGORY, JOHN SMITH IN PLAYHOUSE 615’s RUN FOR YOUR WIFE

JHPENTERTAINMENT: For those unaware, what’s the basic plot of Ray Cooney’s RUN FOR YOUR WIFE?

BEN GREGORY: It’s no spoiler to say that John Smith has been living a double life. As the play opens, the audience will know that John Smith is married to two different women and lives in two different, though nearly identical, flats. He spends the rest of the play trying to avoid getting discovered with the reluctant help of his upstairs neighbor, Stanley (played by Artis Elrod). It’s essentially a maelstrom of confusion and misdirection with John at the eye of the storm and Stanley swirling nearby, while two police officers attempt (with varying degrees of competence) to uncover the truth; caring Mary and sweet Barbara try to make sense of things, and Bobby (played delightfully over-the-top by the fabulous Daniel Vincent) just does his merry best to keep things from getting too messy.

JHPENTERTAINMENT: While you’ve been a staple of the Nashville Theatre scene for years, RUN FOR YOUR WIFE marks your Playhouse 615 debut. What’s been the most memorable part of the experience so far?

BEN GREGORY: It’s a fantastically challenging show for a number of reasons, which is a joy for growth as an actor. We have a small, fun, hard-working cast who all partake in the production of the show in some aspect beyond performing, and feeling that devotion and collaboration, along with working under the tutelage of Joel, who has directed a great number of comedies and yet remains open to suggestions, feedback, adjustments, etc…it’s a dream to feel so welcome, respected, and included at Playhouse 615.

JHPENTERTAINMENT: One recurring trope in many of playwright Ray Cooney’s shows is the physicality of the comedy. Is there a particular moment in the show that’s both physically demanding and hilariously fun to perform?

BEN GREGORY:  I don’t want to isolate any particular moment, lest I give away too much. As much as happens within the blocking, I imagine that there will be moments that change and evolve in unexpected ways based on audience reactions. Suffice it to say, there are several bits that we will rehearse at fight call prior to each performance. Audiences will just have to see it live! 

JHPENTERTAINMENT: What’s it been like to share the stage with John’s two wives played by Abby Waddoups and Tiffany Vinson?

BEN GREGORY: They are both excellent at their craft and their grasp of the dialect is fantastic. I feel, as John Smith, truly cared for by Mary and desired by Barbara throughout the play. Both are quite lovable and make it clear how stupid a man would have to be to carry on as John has. 

JHPENTERTAINMENT: So much of British farce finds some laughs in the comings and goings of the characters in near-miss situations. To that end, what can you tell me about the set as conceived by Joel Meriwether and Wanderson Rezende?

BEN GREGORY: They have designed a set which has scenes taking place in two different flats at the same time, but both flats, on stage, exist in the same space. The key differences are that each apartment has a separate front door and a separate phone. The challenge for the cast: not to acknowledge what is happening in a scene which is happening in the same space as the scene in which they are participating, which is in a different imaginary space, though on stage at the same. There is, undoubtedly, a better way to say that. The overlap of the apartments intentionally creates opportunity for some extra laughs, and extra challenges for the actors.

RAPID FIRE WITH TIFFANY VINSON, BARBARA SMITH IN PLAYHOUSE 615’s RUN FOR YOUR WIFE

JHPENTERTAINMENT: What can you tell me about Barbara, your role in RUN FOR YOUR WIFE?

TIFFANY VINSON: Barbara is a feisty, confident and vibrant woman who is self-possessed and passionate about life.

JHPENTERTAINMENT: Playhouse 615 audiences will no doubt recognize you from recent role in Sordid Lives. To your estimation, what’s something that sets British farce apart from Southern comedy?

TIFFANY VINSON: Being from the south, I have a heart for Southern comedy b/c I have lived with various versions of these characters. I find it comforting and sometimes painfully familiar which helps inform my acting choices. That said, I grew up watching British comedies on tv with my dad and have always enjoyed some good English humor. Both Southern and British comedies can be savvy and witty but the British farce moves at a breakneck pace. In my experience, British farce is more physically demanding. I love both.

JHPENTERTAINMENT: This is also a return to this show for you, having played Mary, John Smith’s other wife in a production some years back. What’s your favorite aspect of taking on the role of Barbara for Playhouse 615’s take on the classic British farce?

TIFFANY VINSON: Playing Barbara has really taken me out of my comfort zone. I don’t think I’ve ever played a character so comfortable and confident in their sexuality. I am usually the quirky sidekick. It’s hard to take myself seriously enough to play the physical aspects of her but it’s also been fun. I was super comfortable playing Mary and found it challenging to channel Barbara at first.  That said, the point of art is to challenge you and to shake things up. I appreciate Joel believing in me that I could make this role my own and for helping me grow as an actor.

JHPENTERTAINMENT: Potential Spoiler Alert. At one point in the show, Barbara typically appears on stage in a rather compromising state of undress. So, just between us…did RUN FOR YOUR WIFE director, Joel Meriwether have to talk you into it?

TIFFANY VINSON: I should have remembered that Barbara was a very physical character but it didn’t dawn on me until a few weeks in that I’d need to be in various states of undress. This is a first for me.  Joel can be very  persuasive but he was also respectful of my personal boundaries. I feel like we made a great compromise that feels  true to character while not causing me personal distress.  

JHPENTERTAINMENT: if there were a song to describe Barbara, what would it be?

TIFFANY VINSON: Pour Some Sugar on Me?….Hmmm…I might need to get back to you on this one.

RAPID FIRE WITH ART ELROD, STANLEY GARDNER IN PLAYHOUSE 615’s RUN FOR YOUR WIFE

JHPENTERTAINMENT: Since you were part of Playhouse 615’s 2021 production of RUN FOR YOUR WIFE (cut short due to the pandemic), what’s it been like to return to the role of John and Mary Smith’s upstairs neighbor, Stanley Gardner?
ART ELROD: It’s been a joy to join fellow cast mates Abby Whaddoups and Rich Moses for this revival. Four years have passed since the first production and that has allowed my character to be fresh and new, so it’s like a whole different role.

JHPENTERTAINMENT: Having the gift of time since you first took on the role, are you approaching Stanley any differently now?
ART ELROD: Yes. Working with a different cast obviously makes the experience different. I’ve had the chance to create a new character and that is always enjoyable, and as an actor I would not want to simply repeat what I did before. I believe this time around, I’ve made Stanley more lovable, even though he’s a curmudgeon!

JHPENTERTAINMENT: Who among the cast has had the hardest time keeping it together during the chaos while rehearsing?
ART ELROD: I don’t think any one cast member has had a harder time keeping it together. Farce is not easy. We’ve all had our moments.

JHPENTERTAINMENT: If you could switch roles with any other cast member, regardless of whether you fit the type or not, what role would it be and why?
ART ELROD: Porterhouse, the role played by Rich Moses. That role is just plain fun, and would be a blast to play. He’s totally clueless. There’s so much you could do with that, not just with the lines but with the character as a whole.

JHPENTERTAINMENT: From his first scene, it seems evident that Stanley Gardner, the role you play in RUN FOR YOUR WIFE is…shall we say…excitable and panicked. What’s the most fun—or exhausting—aspect playing Stanley?
ART ELROD: Honestly the lines are the most fun. I believe Stanley has many of the best lines in the show. He requires a lot of energy so I have to kick it into high gear and that in turn kicks the adrenaline into high gear. Stanley has a good deal of time onstage, so running at double speed for nearly two hours is in itself exhausting- but it’s what makes Stanley such a great character. And that’s what I love about farce.

RAPID FIRE WITH DANIEL VINCENT, BOBBY FRANKLYN IN PLAYHOUSE 615’s RUN FOR YOUR WIFE

JHPENTERTAINMENT: You play Bobby Franklyn, the flamboyant upstairs neighbor to John and Barbara Smith. What attracted you to the role and this show?

DANIEL VINCENT: The show is so much fun. It’s really hilarious. I knew some of the original cast was coming back and they always bring their A-game. It seemed like a good time and if you’re going to be in a show this fun, why not play the most outrageous character? The experience has surpassed my expectations.

 JHPENTERTAINMENT: RUN FOR YOU WIFE debuted on the London stage back in 1983, where, after clocking in nine years, it became London’s longest-running comedy. In the years since, it’s pretty much been performed somewhere in the world each theatre season. What is it about this show that keeps audiences laughing all these decades later?

DANIEL VINCENT: There are lots of shows that don’t hold up. They eventually become dated. Especially with comedies, some of that comedy doesn’t age well. Lots of things that were “funny” 40 years ago are just offensive now. This show has aged beautifully. There’s a reason there’s always a production of it somewhere in the world.

 JHPENTERTAINMENT: Alright, I’m just gonna ask…since the show’s first reviews back in the 80s, some critics occasionally labeled RUN FOR YOU WIFE as homophobic and misogynistic. Are gay stereotypes still funny, or is it just comedic low-hanging fruit? AND…Was there any discussion between director Joel Meriwether and the cast about the audience perceiving the stereotypes as offensive, given the current state of things?

DANIEL VINCENT: I don’t think there is anything inherently homophobic about the script, but I’m sure it’s been played that way over the years. Being gay myself, I’m not just putting on a stereotype and calling it a day. I’m pulling from people I know in my life that really do behave this way. I know people like Bobby. They are lots of fun and sometimes they’re just a lot, period. LOL It is a British sex farce and that can come with a small dose of misogyny, but again, it’s all in how you play it. The lead character is a bigamist which is misogynistic itself, but he’s the one who loses in the end. I had some initial discussions with Joel about not just going stereotypical. It’s very important to me that Bobby is a fully realized person and not just a stereotypical, two-dimensional ridiculous gay neighbor. That would be lazy as well as offensive.

JHPENTERTAINMENT: In addition to being in the show, you’ve also been part of the set construction team, something you do quite often with Playhouse 615. As is the case with many British farces, the set, with the quick succession of exits and entrances, becomes a character itself. Because of the way the set is typically constructed for RUN FOR YOU WIFE, I’d imagine it had to be pared down to fit the confines of Playhouse 615’s intimate space. What’s been the most challenging aspect of the set and utilizing the space for this show?

DANIEL VINCENT: To be honest, the last time Playhouse 615 did this show, the stage was even smaller, so we feel like we have all the room in the world. It’s usually done with 6 doors, but we decided to just use 4 as a design choice, not for lack of space. I think we had as many as 8 doors on stage in a previous British farce.

JHPENTERTAINMENT: What do you hope audiences come away with after having seen Playhouse 615’s RUN FOR YOU WIFE?

DANIEL VINCENT: I hope they can’t remember the last time they have laughed that much and that hard, so better abs? A good core workout?

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RUN FOR YOU WIFE opens at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN) on Friday, June 13 and continues through Sunday, June 29. Tickets are $20/Adults or $17 for Seniors/Military. All seating is General Admission. Friday and Saturday performances are at 7:30pm, with Sunday matinees at 2:30pm. CLICK HERE to purchase tickets, or call the Box Office at 615-319-7031.

Following RUN FOR YOU WIFE, it’s RUTHLESS: THE MUSICAL, onstage at Playhouse 615 July 25-August 10. CLICK HERE for ticket info when it becomes available. 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 Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.