JHP Entertainment

Entertainment News, Reviews and Interviews

Rapid Fire Q&A

RAPID FIRE 10Q: Reisa Shimojima on Dancing Outside the Lines and Challenging Expectations; Shimojima’s KEDAGORO Dance Troupe at OZ Arts Nashville This Weekend

by

KEDAGORO, a Japan-based contemporary dance company makes its highly anticipated Music City debut at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. These performances not only launch OZ Arts Nashville’s 14th season but also mark part of KEDAGORO’s first-ever U.S. performances, with the company’s three-city American tour traveling from New York to Greenville, South Carolina, before concluding in Nashville.

Founded by Reisa Shimojima, KEDAGORO has developed a reputation for fearless, thought-provoking work that explores the complexities of human behavior, historical memory, cultural identity and the often uncomfortable questions that shape our understanding of the world. As we discovered during our recent conversation with Shimojma for our latest Rapid Fire 10Q, KEDAGORO’s latest work, The Age is Yours, My Liege! (A Tale of Proto-Japan), ventures into the surreal territory of ancient Japanese culture, imperial mythology, power and national identity.

RAPID FIRE 10Q WITH KEDAGORO’s REISA SHIMOJIMA

JHPENTERTAINMENT: You were born in Kagoshima, Japan, and began dancing at just seven years old, studying everything from jazz to traditional Yosakoi. What first sparked your passion for dance, and did you always envision it becoming your life’s work?

REISA SHIMOJIMA: When I was seven years old, a friend from elementary school invited me to join her at a jazz dance class. At the time, I had absolutely no interest in dance. To be honest, I really didn’t want to take lessons at all. Ever since I was little, I had been fascinated by history. At home, I loved playing games like pretending to be prehistoric humans or acting out wars. However, Kagoshima, where I grew up, is a rural part of Japan with very small, close-knit communities. If you turned down an invitation from a friend, you could suddenly become a target for bullying or even be ostracized by the community. So, reluctantly, I started attending the jazz dance classes.

Then, one day, something rather unexpected happened. My jazz dance teacher started having an affair with the chairman of the Kagoshima Chamber of Commerce and Industry. Around that time, the chairman wanted to make Kagoshima a more vibrant place and came up with the idea of bringing YOSAKOI, a Japanese festival dance tradition that wasn’t particularly popular in Kagoshima at the time, to the region. And my dance teacher, wanting to win the chairman’s heart, decided to turn the entire jazz dance school into a YOSAKOI dance school! From then on, we spent almost every weekend traveling to YOSAKOI festivals in different parts of Japan, performing to promote Kagoshima. YOSAKOI festivals bring together all kinds of teams from across the country. But what I found fascinating wasn’t just the dancing. There were middle-aged men and women dancing while enjoying alcohol and cigarettes, complicated romantic affairs between members of different teams, and all sorts of messy, very human dramas. It was a world full of raw human behavior, desires, and tangled relationships. I became fascinated by all of it.

And eventually, I started to enjoy dancing. But to be precise, it wasn’t really dancing itself that I fell in love with. I loved using dance as an excuse to observe human behavior and the way people live their lives. Somehow, almost 30 years have passed, and I’ve kept dancing all this time. I never imagined that dance would actually become my profession. Even now, I don’t think dancing itself is my ultimate goal. I suppose I’m still enjoying the many aspects of human life and behavior through dance, using it as my excuse.

JHPENTERTAINMENT: You attended J. F. Oberlin University, where you studied theater and contemporary dance under acclaimed choreographer Kuniko Kisanuki. Your early university work included choreography, composition and directing. While you utilize all three aspects in your creativity, do you primarily consider yourself a choreographer and does your theatrical background influence the way you approach dance today?

REISA SHIMOJIMA: To be honest, I have never really thought of myself as a “choreographer.” What I mean is that I don’t consider myself a choreographer in the conventional sense of the word. My role as a choreographer is not to create choreography, but rather to bring out the errors that already exist within bodies that have been choreographed. What I mean by this is that I believe human beings are naturally choreographed throughout their lives by various environments and cultures. Through this process, our understanding of the body and the ways we use it are gradually shaped. I believe my role is to create various triggers that expose the history embedded in each person’s body, bringing it out into the open and making it visible on stage. I imagine this way of thinking has been influenced by my background in YOSAKOI and theater. But I have also learned a great deal from my dance mentor, Kuniko Kisanuki. She taught me not only about dance, but also about fundamental questions such as what it means to be human and how we should live as human beings.

JHPENTERTAINMENT: Originally founded in 2013, KEDAGORO’s official website currently lists six core company members. Tell us a little about the company dynamic. How many performers are traveling with you on this American tour, and what makes this particular group of collaborators click?

REISA SHIMOJIMA: For this American tour, there are four KEDAGORO members, including myself. The other eight dancers were selected through auditions. When I was at university, before founding KEDAGORO, I had formed a dance group with some incredibly skilled dancers. However, relationships between dancers can be extremely complicated. I found myself caught in a dilemma: the higher our ambitions became, the harder it was to keep the group together. Eventually, the group fell apart.

At a time when I was completely at a loss about what to do next, I met the people who are now the core members of KEDAGORO at my university. They were students who didn’t really know what they wanted to do with their lives after graduation. They weren’t particularly enthusiastic about studying performing arts either. They were almost like ghosts, just drifting through university life. So, almost as a last resort, I asked them, “Why don’t we try forming a group and putting on just one performance together?” And somehow, before we knew it, we had been together for 13 years.

We’re a group of people with completely different personalities and interests, but somehow, being together feels very natural. Under the pretext of making work together, we can spend endless hours drinking and talking about all sorts of silly things. That’s the kind of team we are. Of course, that dynamic alone doesn’t always provide the balance we need, and that’s where the dancers selected through auditions come in. They support the group in ways that our core members cannot always provide.

I think dance companies can easily become trapped by certain preconceptions. There’s often an idea that working hard and performing well are the ultimate virtues. But I believe this is one of the most dangerous traps in dance. We also need to embrace the possibility of making mistakes and allow those errors to become fertile ground for creativity. I think the relationship between KEDAGORO’s core members and the audition-selected dancers creates a very delicate and interesting balance. It’s not that one group represents one particular way of thinking and the other represents something completely different. Rather, everyone constantly shifts their positions, changing the direction of the sails as we move forward together.

I also think of it this way: even if we’re all on the same boat, if everyone is looking in the same direction, we won’t notice what’s approaching from behind us. But in this group, although we’re all on the same boat, everyone is looking in a different direction — some looking forward, others backward, and others to the sides. I think that’s what makes KEDAGORO such an interesting team. We move forward together, but we don’t all look at the world from the same perspective.

JHPENTERTAINMENT: A quick Internet search reveals that KEDAGORO is a rather colorful name, reportedly translating to something along the lines of animal droppings on the ground in the Kagoshima dialect. That’s certainly one way to make a memorable first impression! What’s the story behind choosing the name, and have you ever had second thoughts about introducing your company to the world with it?

REISA SHIMOJIMA: As I mentioned earlier, KEDAGORO was originally formed for a one-time performance. So, to be honest, we weren’t particularly attached to the idea of having a company name. We simply wanted something unusual, a name that wouldn’t be used by many other people and would come up at the very top of the search results when someone looked it up online. That’s how we came up with “KEDAGORO.” Well, I suppose it was also a fitting name for a group of people who had been rolling around university like dog shit. We never imagined that we would still be using this name 13 years later. These days, we’ve adopted a slogan that goes something like this: “Even something as dirty and ugly as dog shit can be an essential source of nourishment for flies and other creatures. We want to become something like that for humanity, too.” I’ve never once regretted choosing this company name. If anything, I feel as though the people we were 13 years ago are still encouraging us from behind, saying: “Keep creating work that makes this name something to be proud of. Keep doing things that will never make you regret choosing it!”

JHPENTERTAINMENT: Your work doesn’t exactly shy away from controversial subject matter, tackling everything from the United Red Army incident and the Aum Shinrikyo cult to the Sewol ferry disaster and questions surrounding Japanese national identity. As an artist and choreographer, what excites you most about confronting difficult subjects through dance, and do you see provoking discussion as an essential part of your creative responsibility?

REISA SHIMOJIMA: Because I often deal with social and political themes in my work, people tend to describe my work as journalistic. But actually, I don’t really see it that way myself. I see historical events as important clues that can help us understand human beings. Rather than looking at these events through the information we receive from the media, I want to observe them on a much more cosmic scale through physical expression. I believe that memories dating back hundreds of millions, or even trillions, of years are engraved in our bodies. These memories go far beyond the limits of human thought and emotion. So, in my work, there is no question of taking sides, either for or against something. What exists is simply evidence of the fact that we are human beings.

When I use historical events as the subject of a work, audiences naturally try to find something in it. Depending on their age, gender, and personal life experiences, each person has a different relationship with the event. As a result, a wide range of opinions and reactions emerge. Contemporary dance often deals with abstract themes, but I believe that using specific events that are part of humanity’s collective memory can open up new possibilities for the audience’s imagination. And I myself sometimes discover entirely new interpretations of my own work through the opinions and reactions of the audience. What matters most to me is that the audience creates a world within the work that even the choreographer could never have imagined. I am fully prepared to accept every response from the audience, whether they love my work or absolutely hate it.

JHPENTERTAINMENT: Let’s talk about The Age is Yours, My Liege! (A Tale of Proto-Japan). The production takes audiences into a surreal world of ancient Japanese culture, imperial mythology, power and national identity, complete with some rather unexpected theatrical imagery. In a few words, what can audiences expect when they enter this world, and what was the initial spark that inspired you to create this particular piece?

REISA SHIMOJIMA: I’m very curious to know what kind of experience each audience member will have when they see our work. After all, I imagine that Japanese and American audiences may find very different things in the same piece. In fact, even during our performances in New York, there were moments when the audience reacted in ways I hadn’t expected. For me, this is one of the great joys of performing in another country. It’s fascinating to discover how people from different cultural backgrounds respond to our work. I think there are many things about Japan that we become blind to simply because we live in Japan. Actually, what inspired me to create this piece was my experience over the past few years of creating work in various Asian countries. During that time, I encountered many traces and remnants of the period when Japan colonized other Asian countries. As I came across these histories, I found myself wondering: “What exactly is Japan?” That question became the starting point for this work. I would really love to hear your honest thoughts about what you, as American audiences, experience and feel when you watch it. My hope is that when people leave the theater after seeing our work, they feel that something has shifted, even just a little, in the way they see the world and other human beings.

JHPENTERTAINMENT: I understand this production marks Kedagoro’s North American debut, with a three-city American tour taking you from New York to Greenville, South Carolina, and ultimately to Music City at OZ Arts Nashville. What’s most exciting about bringing your creative vision to American audiences for the very first time, and is there anything in particular you’re curious to discover about how audiences here will respond?

REISA SHIMOJIMA: Japan and the United States have had deep historical ties, and that relationship continues to this day. How does this work look from the perspective of a country that decided to keep the Emperor on the throne after World War II? And how do Americans see the Japanese people? More than anything, I am looking forward to hearing your honest opinions. They don’t have to be positive ones.

My aim is to interpret the world through my work. I hope to hear discussions and discover perspectives that I could never have imagined myself. That, to me, is what makes a work come alive. It’s what gives it blood flowing through its veins. I hope that American audiences will breathe new life into this work and give it a new existence through their own perspectives and responses.

JHPENTERTAINMENT: You’ve remarked that KEDAGORO was built around your belief that “dance is a method for interpreting the world.” Now here you are presenting your latest piece to U.S. audiences. Any hopes of discovering future collaborators while here in the states?

REISA SHIMOJIMA: Yes! So far, I’ve had many opportunities to collaborate with artists from across Asia and Europe, and I would really love to meet potential collaborators here in the United States as well. I don’t necessarily want to focus directly on political issues between Japan and the United States. What I would really like to explore is the kind of chaos that might emerge when bodies from these two countries come into collision with one another. As long as I’m alive, I want to keep exploring the world. So, to everyone here in the United States, I sincerely hope we can connect and create something together. I look forward to meeting you!

JHPENTERTAINMENT: While researching our conversation, I came across a quote from you that I absolutely love: “After I decided to do dance seriously, I ‘bared my fangs’ and adopted an attitude that I would kick my heels up and do things no one expected!” I love that rebellious spirit! For the next generation of dancers and choreographers who might be afraid to take creative risks or march to the beat of their own drum, what advice would you offer?

REISA SHIMOJIMA: Of course, having your own passion and beliefs is important. But if you want to stay true to what you believe in and keep following your own path, you need people by your side. I want you to find people who believe in you and support you, people who will help protect your passion and your convictions. I think the reason I was able to make the decision to pursue dance seriously was because I had people around me. Taking artistic risks is never easy. There will inevitably be times when you get hurt, when you lose faith in yourself, and when you start to doubt everything. So, rather than focusing on creating good or interesting work, I want you to focus on finding your comrades — people who share your vision and are willing to walk alongside you. And work hard to put yourself out there and meet those people. I believe that truly interesting work begins there. The world is vast. There are absolutely people out there who will become your allies. Dancers and choreographers should believe that first and foremost. Don’t worry so much about your own artistic talent.

JHPENTERTAINMENT: And finally, after audiences experience The Age is Yours, My Liege! (A Tale of Proto-Japan), what do you hope the production sparks in their minds? What questions, conversations or perhaps even a little controversy would you like them to take with them when they leave the theater?

REISA SHIMOJIMA: I want you to feel both the foolishness of humanity and how deeply lovable we are. This may sound harsh, but I believe that as long as human beings remain human, war will never come to an end. However, I believe that if we can release some of our deepest, hidden human desires within the fictional world of performing arts, we may be able to reduce conflict, even if only a little, in the real world. That is precisely why I believe theaters and works of performing art exist: to bear the weight of the world’s distortions. In other words, I invite you, the audience, to become accomplices in this shared time and space. As accomplices, you have every right to question, challenge, criticize, or debate anything about this work. I sincerely hope you will share your thoughts and reactions with me. A work does not end when it is presented to an audience. In fact, that is where it begins. I look forward to beginning this journey with all of you, together with this work!

Shimojima’s answers offer a fascinating glimpse into an artist who sees dance as far more than movement, technique or choreography. Whether she’s recounting an unconventional introduction to the art form, explaining the rather memorable origins of her company’s name, or inviting audiences to become accomplices in an exploration of humanity’s contradictions, one thing is abundantly clear: KEDAGORO isn’t particularly interested in playing it safe. And perhaps that’s precisely the point. As Shimojima reminds us, a performance doesn’t end when the curtain comes down. That’s where the conversation begins.

Nashville audiences will have their opportunity to join that conversation when KEDAGORO presents The Age is Yours, My Liege! (A Tale of Proto-Japan) at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. The performances open OZ Arts Nashville’s 14th season and are part of the dance company’s historic first U.S. tour. Come with an open mind, bring your curiosity and don’t be afraid to have an opinion. Reisa Shimojima and KEDAGORO are ready to hear it.

Ticket options include:

  • Artist & Creative Community (discounted, no code required) $25
  • General Admission $35
  • Generous Admission (I love this one!) $45

CLICK HERE for tickets.

Next up at OZ Arts Nashville as Season 14 continues its New York-based hip hop spoken word artist Dahlak Brathwaite‘s Try/Step/Trip Friday and Saturday, December 4 & 5 at 8pm.  CLICK HERE for more info or to purchase tickets. To keep up with all things OZ Arts, find them HERE or follow them on Facebook, X, YouTube and Insta.

For all things KEDAGORO, CLICK HEREor follow them on Insta, Facebook, X and YouTube.

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

A Very Addams Family Rapid Fire 20Q: Sara Gettelfinger, Brian Justin Crum, Andrew Metzger & Jeremy Parrish Join Rachel Potter as Analog at The Hutton Presents ‘The Addams Family Musical’ in Concert

by

After six installments that have brought Broadway favorites, themed musical celebrations and a distinctly New York cabaret vibe to Nashville, Rachel Potter’s Off-Broadway at Analog at The Hutton marks its one-year anniversary with a production that puts a creepy, kooky, mysterious, spooky spin on the latest installment just in time for the Halloween holiday season. On Friday and Saturday, October 30 and 31, Analog at The Hutton transforms into an altogether ooky hunted mansion when the Addams family moves in — and they’re bringing the entire musical score with them.

The Addams Family Musical in Concert brings together an impressive collection of performers with ties to the beloved musical, including Sara Gettelfinger, who starred as Morticia Addams in the first National Tour; Premiere tour star, Brian Justin Crum, reprising his connection to Wednesday’s unlikely beloved, Lucas Beineke from his time with the National Tour; Andrew Metzger as Uncle Fester, having portrayed the quirky chrome-domed romantic a number of times; and Nashville-based performer Jeremy Parrish as Lurch. Joining them will be Off-Broadway at Analog‘s host/emcee and former Wednesday Addams, Rachel Potter; Brian Charles Rooney as Gomez and Nashville’s own Carrie Brewer as Grandma. Rounding out the primary cast will be Megan Murphy Chambers and Geoff Davin fresh from their roles as Alice and Mal Beineke, having just wrapped a hugely popular run at Studio Tenn. Adding another special dimension to the festivities, original composer and lyricist Andrew Lippa will be on hand for this two-night musical celebration.

Unlike the previous Off-Broadway installments, which have explored a variety of songs connected by a common theme, this time around Potter and company are taking audiences through the complete score of The Addams Family Musical, sung through from the opening number to the finale. And with Lippa in the room, there’s even the tantalizing possibility of a Halloween treat: performances of songs originally created for the show but cut from its Broadway run. Consider our curiosity officially piqued.

The series has quickly become a destination for musical theatre lovers seeking something beyond the traditional concert experience. With Broadway talent sharing the spotlight with Nashville’s extraordinary local performers, Off-Broadway at Analog at The Hutton has carved out its own little corner of Music City’s entertainment scene — one that feels equally at home in the intimate cabaret rooms of New York and the increasingly diverse theatrical landscape of Nashville.

For this special anniversary celebration, we caught up with four members of the Addams clan for our latest Rapid Fire 20Q. From Gettelfinger’s long history with Morticia and Crum’s return to a role from his original national tour days to Metzger’s ongoing love affair with Fester and Parrish’s thoughtful approach to the famously taciturn Lurch, these performers have plenty to say about revisiting the material, reconnecting with fellow Addams alumni, Halloween traditions and the enduring appeal of Andrew Lippa’s score.

So, put on your blackest attire, prepare to move toward the darkness and join us as we go Rapid Fire 20Q with Sara Gettelfinger, Brian Justin Crum, Andrew Metzger and Jeremy Parrish.

RAPID FIRE 20Q WITH CAST MEMBERS OF THE ADDAMS FAMILY IN CONCERT

 

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s MORTICIA ADDAMS, SARA GETTELFINGER 

JHPENTERTAINMENT: Morticia has been a part of your theatrical life for quite a while now — from the first National Tour in 2011 to Broadway at Music Circus in 2023 and, most recently–earlier this month–your three-day run with Sugar Loaf Arts Collective. What is it about slipping into that black dress and embracing your inner Addams that keeps calling you back to the family? And…was it an immediate YES when Rachel Potter reached out to invite you to be part of this concert event?

SARA GETTELFINGER: Growing up, I was always intrigued with the character of Morticia- Her look, her quick wit and deadpan humor, and her mysterious, “less is more” fabulousness. As far as the musical- I have always idolized Bebe and MANY of the roles she’s originated or played were on my bucket list, so it was an honor to get to carry that torch, but also have the opportunity to go back into the room with all of the original creatives, and make changes and develop new material for the tour, which would end up being the version that was licensed. There’s nothing I enjoy more than being able to create something new, but also inevitably draw from those who’ve inspired and shaped me as an artist, so in this case, I quite literally had the best of both worlds. Morticia is a role that allows one to be beautiful, smart, funny, and truly dance- so I’ll return to it whenever and for as long as I can.

JHPENTERTAINMENT: Morticia gets some of the show’s most deliciously dark musical moments, from “Just Around the Corner” to “Tango de Amor.” Is there a particular lyric that captures her philosophy on life, love and the occasional family dysfunction — and one you find yourself enjoying a little more with every return?

SARA GETTELFINGER: It’s interesting because in “Just Around the Corner”, even though the lyric describes how much she is looking forward to “Death”, the song, along with so many of the others in the show, is really about making the most of the time we have and existing as one’s most fearless and authentic self. “When You’re an Addams,” “Secrets,” “Live Before We Die,” “Move Toward the Darkness,” and really the overall message of the show, are about the importance of embracing and celebrating who and ALL that you are, regardless of what others may think, and the beauty and power that comes with acceptance, love and forgiveness of oneself and for others.

I was going through an incredibly difficult time on that first tour, and by the end was at probably one of the lowest and unhealthiest points of my life. So in the years since, to have not only been fortunate enough to survive and still be here, but manage to come back stronger than ever, and be given the gift of returning to the role, as well as setting the show multiple times, is something for which I will always be profoundly grateful, and becomes more meaningful every time: “Only at our lowest, can we rise above…Move toward the darkness and love…”

JHPENTERTAINMENT: Here’s a reunion worthy of an Addams family portrait: you’re getting ready to share the stage again with Brian Justin Crum, who played Lucas during your time as Morticia on the original National Tour. What memories from that first tour are you bringing with you into this Halloween homecoming?

SARA GETTELFINGER: It’s funny because while Lucas is the subject of several scenes between Gomez and Morticia and she is very concerned about him as far as her daughter’s future, the 2 characters actually have very little direct interaction in the show. But Brian was always fabulous onstage- Beautiful, funny, with the most spectacular voice, and the chemistry he shared with Cortney Wolfson, who played Wednesday, was just wonderful.

JHPENTERTAINMENT: Do you have a favorite Halloween tradition, a memorable costume from childhood, or a spooky-season ritual that would earn Morticia’s enthusiastic approval?

SARA GETTELFINGER: Over the years, depending on where I was living, I used to love setting up a pretty elaborate “Haunted Cemetery” in the front yard. Headstones spattered with blood or spiders and cobwebs, with funny names and “HERE LIES” descriptions, along with scattered bones and in a few spots dug holes and partially buried and posed skeletons so it looked like they were trying to escape their graves.

I also watch Disney’s Original Legend of Sleepy Hollow and Something Wicked this Way Comes every year- those old school movies from the late 70’s/early 80’s were AMAZING and there was ZERO concern about potential nightmares or traumatizing kids LOL!

JHPENTERTAINMENT: You’ve inhabited Morticia in full productions, but this concert puts the music and lyrics front and center, with original composer and lyricist Andrew Lippa joining the festivities. What intrigues you most about revisiting the score in this stripped-back format, and what does it mean to have one of the show’s original creative minds on hand for this special occasion?

SARA GETTELFINGER: As I mentioned earlier, because we were lucky enough to go back into the room with the creative team in revising and preparing for the tour, I’ve known Andrew for over 15 years now, and he is as equally brilliant and wonderful a friend and human being as he is an artist, and I cannot WAIT to see and get to revisit this material with him. And again, regarding the music and lyrics, the show and its message, both professionally and personally, becomes more and more meaningful and resonates more deeply with me in every opportunity that I’m lucky enough to have had to revisit it, and with every year I’m lucky enough to still be living 😉🖤

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LUCAS BEINEKE, BRIAN JUSTIN CRUM

JHPENTERTAINMENT: You were part of the original National Tour of The Addams Family as Lucas Beineke, the supposedly normal young man who falls head over heels for Wednesday Addams. Returning to the show all these years later, what memories of that original adventure have stuck with you — and given your life and career post-Addams, do you still relate to Lucas’s earnest attempts to fit into a family that makes normal look positively terrifying?

BRIAN JUSTIN CRUM: My time with Addams Family was so special. I made lifelong friends that I’m still in touch with today.

Playing Lucas was always a bit of a challenge for me in that, I’m much more of a Wednesday. I had a hard time connecting with that earnest good boy trait. That’s what’s fun about musical theatre we get to drop ourselves into these characters that are so unlike us and find ourselves in them.

JHPENTERTAINMENT: Lucas gets to unleash his inner wild man in “Crazier Than You,” a number that takes youthful rebellion and romantic commitment to wonderfully unhinged extremes. I understand that while you and Rachel Potter never crossed paths onstage as Lucas and Wednesday, the two of you first met in your early New York days occasionally performing in the same concerts in the city. How much convincing did Rachel have to do to get you to come to Nashville to be part of The Addams Family In Concert?

BRIAN JUSTIN CRUM: I actually remember when Rachel got cast! I was doing Next to Normal on Broadway at the time and she and I had become friendly doing things around NYC. I went and saw her in the show and visited with her in her dressing room after. It was so exciting! We’ve both gone on to make our music and made careers as solo artists. When she asked me to do this, it was a no-brainer! We never got to do it together – this is a full circle moment for us both!

JHPENTERTAINMENT: Speaking of reunions: you’re returning to The Addams Family with Sara Gettelfinger, your original touring Morticia. Before you even had a chance to rehearse together, what excited you most about reconnecting after all these years, and what do you remember most fondly about sharing the road with her?

BRIAN JUSTIN CRUM: Sara is a such a special performer and kind soul. Life has been crazy since then and so many ups and downs and we lost touch after the tour. I’m thrilled to see her and have her back on the Broadway stage where she belongs!

She perfectly captures Morticia and I’m excited to see what she does with it now after so many years!

JHPENTERTAINMENT: We’re talking Halloween Eve and Halloween night, so let’s get personal. When you were a kid, were you the spooky, spooky-adjacent or decidedly unscary costume type? What’s your all-time favorite Halloween costume you’ve worn, and is there a fictional character you’d still love to dress up as?

BRIAN JUSTIN CRUM: I’ve always been a “let’s see what I can pull off at the last second” kind of Halloween costume guy. During Covid I ordered a bunch of random stuff off Amazon and turned myself into a beautiful Merman! I like anything mythical and fabulous!

JHPENTERTAINMENT: With Andrew Lippa himself joining this concert, you’ll have the rare opportunity to perform a score in the presence of the person who created its music and lyrics. Does knowing he’ll be in the room change how you think about approaching Lucas this time around, and is there something about Lippa’s writing you’ve come to appreciate even more since your original tour?

BRIAN JUSTIN CRUM: I was always a huge Lippa fan. “Wild Party” was THE staple in my household as a kid learning to sing. I’m excited to see him and catch up!

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s UNCLE FESTER, ANDREW METZGER

JHPENTERTAINMENT: You’ve been moonlighting as Uncle Fester since your 2017 community-theatre outing in Simi Valley, followed by the Welk Resort in 2019 and 5-Star Theatricals in 2022. That’s a pretty impressive résumé for a man whose romantic life revolves around the moon! What keeps drawing you back to Fester, and how has your relationship with this wonderfully eccentric character evolved over the years?

ANDREW METZGER: Uncle Fester fits like a glove for me, he’s such a fun character to play, and when Halloween time comes around I always enjoy the prospect of getting an opportunity to do it again. Actually, I was set to join the cast of the most recent national tour last year in the fall, as a replacement for the outgoing performer playing Fester towards the end of their itinerary, but unfortunately I was going through a complicated medical situation with my father and the passing of my mother, which forced me to have to bow out. As Fester, you get to be broad and wacky, but also have moments of warmth while trying to meet the expectations of that the audience has, as he’s truly such an iconic character that has been portrayed in so many mediums but such legendary performers (and heroes of mine) such as Christopher Lloyd, Kevin Chamberlain, and of course Jackie Coogan. I’ve always thought that it was such a great idea to make Fester the narrator of the show, kind of a “gateway” for the audience to travel into the Addams Family world, as he is able to be irreverent but charming at the same time, as he basically declares that at the center of the creepy and kooky show, we’re going to see a tale about love (“Let’s not talk about anything else, but love!”). Plus, breaking the fourth wall is always such a guilty pleasure of mine. It’s been such a joy to get to revisit this role and this show, while trying to find ways to bring something new to each outing.

JHPENTERTAINMENT: “The Moon and Me” is Fester’s big, heartfelt declaration of love to a celestial body that never has to meet the family. What do you love about that number, and how do you strike the balance between playing the comedy of Fester’s obsession and letting the audience feel the genuine romance underneath it all?

ANDREW METZGER: That song is such a rollercoaster. You absolutely have to play into the absurdity, while also treating it as a genuine love ballad. First you start off with this lovely little intimate and charming introduction, and it transforms into this abstract and bombastic proclamation of his love for the literal moon, which usually takes on a personality of itself in the number depending on how it’s staged. Which speaking of staging, it really can be the trickiest and most technically challenging moment in the show, as you have so many moving pieces! The stage is usually almost completely dark, with very specific lighting, as you wear a bodysuit with puppet legs attached with the puppeteers behind you as you climb up stairs on wheels (in the dark!) to simulate flying through the stars…and yet it’s such a blast! It can also be a challenge vocally, as you need to stay true to Fester’s clenched-throat character voice that the audience has become familiar with, but also make sure to hit the notes that show off Andrew Lippa’s brilliant writing. I absolutely adore it.

JHPENTERTAINMENT: You’ve performed Fester in several full productions, but this time you’re diving into the show in concert with barely a rehearsal before the curtain goes up. What are you most excited to revisit about Fester, and how does having played him across several productions shape your anticipation for this latest outing?

ANDREW METZGER: With each opportunity, I like to think I’ve brought something new that I’ve gained from my experiences as a performer (and as a person) each time I slip into the brown coat. I’ve also had the chance to perform with so many lovely talented artists both on the stage and behind the scenes, with some of my closest friendships having started from being in this show. In the last production I did with 5-Star Theatricals, I got to work alongside Teri Hatcher as Morticia (she just made her debut on the West End!) who was such a pleasure to work with, and that will always be a such a special moment for me in my career. Honestly, I’m just so honored to be joining fellow Addams “alumni” who have been a part of this show’s journey, it’s daunting but exciting to share the stage with these folks who’s resumes are so impressive. I mean obviously there’s Rachel Potter, who made her own impact on the character of Wednesday that has trickled into the DNA of the show over the years since she played it on Broadway, and she’s at the helm of putting together what will be such an amazing tribute to this show.

JHPENTERTAINMENT: Fester has a gift for finding beauty where other people might see something a little… unusual. In honor of Halloween, what’s your favorite spooky-season tradition or childhood costume memory? And if you could invite any Addams Family character to your Halloween party, who would make the guest list — and who would absolutely have to leave early?

ANDREW METZGER: Honestly, one of my favorite memories as a child was when my dad helped me make my idea a reality to transform our garage into a full pirate cave with skeletons and treasure piles and a fog machine…all just to pass out candy to families walking by! It’s one of those examples of my father’s love and support for me, and I’ll always hold onto that. Currently, my Halloween tradition involves watching movies with my fiancé, stuffing our faces with pizza and candy, and putting our dog in a costume he hates having on. If I was going to invite some of the Addams clan over…I’d definitely want to invite Cousin It, he seems like a fun guy. As far as I’d ask to leave early…probably Grandma, as she…has a tendency to leave a mess behind (if you’ve seen the show you understand!).

JHPENTERTAINMENT: Having Andrew Lippa in the room for this concert must be a special prospect for someone who’s spent so much time living inside Fester’s world. What are you most looking forward to about performing his work with him present, and is there anything about Lippa’s music or lyrics that has taken on a different meaning for you over the years?

ANDREW METZGER: Oh I’m just hoping he enjoys my interpretation of the character. He’s literally a living icon of the musical theatre world, and it’s daunting to even think I’ll be singing his work with him next to us on stage. It’s also such a testament to his talent that each character brings their own unique flavor and identity, such as Wednesday being more pop-rock while Gomez has the fun Spanish flair, but somehow he melds it all together without the audience even questioning it. Fester lives more in a classic Vaudeville-sound for most of the show, but when we get to “Moon and Me”, it’s such a gift because as a broad character performer, you get to show off your more affectionate side with such a lovely melody, evoking a Jim Henson-like vibe while also being wonderfully haunting towards the end (with almost a nostalgic 90’s movie score sound). It’s seemingly completely insane that he’s in love with the moon, but through Lippa’s lyrics, the audience sees how genuine that love really is, as it’s not defined by what is considered “normal,” which as I’ve come to learn, is a wonderful representation of what the show is essentially about.

RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LURCH, JEREMY PARRISH

JHPENTERTAINMENT: Lurch is a man of few words, but when he does speak — or sing — the entire room tends to pay attention. How do you approach creating a character whose presence, timing and physicality can say so much without saying very much at all? And is playing the silent, towering butler secretly liberating for someone who doesn’t have to memorize pages of dialogue?

JEREMY PARRISH: I think that having the opportunity to create a “silent” character like Lurch is truly unique one. I feel like Lurch is almost like the Greek chorus of the story. While he is physically involved in the in-the-moment action; his facial reactions, comically timed non-verbal or unintelligible reactions, and ultimate musical outburst are often saying the unspoken subtext of a scene. He is often the first one in on the joke, the silent voice of reason, and ultimately delivers one of the core messages of love and togetherness in the show. It’s a unique challenge because when you have pages of text, your answers are there… you just shape them with your own choices as an actor. With a character like Lurch, it all has to be developed with nuance, a strong backstory, and physical choices. It’s a huge and fascinating challenge as an actor! I think that’s why he ultimately breaks into song… he just HAS to get the core message out that everyone else has been dancing, or tangoing, around.

JHPENTERTAINMENT: Both currently being Nashvillians, You and Rachel Potter have previously worked together at a few events around town. How did she talk you into stepping on stage as Lurch for this two-night in concert performance?

JEREMY PARRISH: Rachel and I have done a few concert versions of shows around Nashville over the years after we both relocated here from NYC, so it didn’t take much convincing to rejoin her for the Addams Family. I was in callbacks for the original Broadway production a few times, and I had several friends in the original company; so, getting the chance to perform in Nashville with this unbelievable collection of talents was an incredible opportunity. I have also been obsessed with Andrew Lippa as a composer since my Belmont days when I basically wore his version of the WILD PARTY out. So, to get to perform in one of his shows with him present… with this company… this felt like a Nashville full-circle moment! I may have hung up my proverbial tap shoes in pursuit of theater being my sole career… but once an actor, always an actor. So when the subject came up I, of course, agreed to join with a ready grunt!

JHPENTERTAINMENT: Your day job as a Lux Spirits portfolio consultant with Gallo gives you a rather different set of ingredients to work with than a typical actor. So, let’s put that expertise to the test: if you were creating a Lurch-inspired cocktail, what would go into it, what would you call it, and would it be served shaken, stirred or with one very ominous “You rang?”

JEREMY PARRISH: Well, I feel like Lurch’s gin martini game is strong behind the bar for sure. Something tells me that the Addams’ like a stiff drink! Am I wrong? But for Lurch to BE the cocktail? I think that I’d go with a riff on Ramos Gin Fizz meets a tequila sour, that perhaps Lurch’s slow & steady approach to movement gives the time for the cocktail to be well crafted and deliciously foamy. I’d use Don Fulano Añejo tequila, something naturally crafted & dry with a good bit of age and baking spice, in an egg white Sour, cut with a bit of soda water and shaken with fresh citrus and a wine-based amaro, like Lo-Fi Gentian Amaro that uses hibiscus or Amaro Pasubio that uses blueberry. Served as a highball to honor Lurch’s classic height; it would be deep in color, with a thick foam cap, garnished with lime and a nice drippy brandied cherry skewer for a touch of the macabre and a nod to Lurch’s frequent fencing spars with Gomez. The Lurch Fizz is a bit like the butler himself, tall, strong, mysterious… and requires a bit of patience but is, deep down, a delight!

JHPENTERTAINMENT: Hmmm. Wonder what happens when I order a Lurch Fizz at Analog this weekend? Ok, so, Halloween Eve and Halloween night seem tailor-made for an Addams Family celebration. What’s your favorite Halloween tradition or childhood costume memory? And if you could raid the Addams Family wardrobe for one costume to wear to a party, would you go full Lurch, or is there another member of the family whose look you’d love to borrow?

JEREMY PARRISH: Some of my favorite Halloween memories were from a few years in NYC when I was waiting tables and bartending between shows. The staff would collaborate, and all of our costumes would piece together to tell a story, and we’d end up creating scenes throughout the night with customers. It was fun and gave us all an idea to build a costume. From the Addams’, Gomez for sure! Stylish facial hair and a beautiful, well-cut suit… not to mention a fencing foil for panache!

JHPENTERTAINMENT: The Addams Family Musical in Concert marks the one-year anniversary of Rachel Potter’s Off-Broadway at Analog at The Hutton. In addition to Broadway stars, Rachel has once again tapped into the local Music City talent pool to round out the cast. Of previous installments in this continuing residency, I’ve compared the events to New York’s 54 Below and Jim Caruso’s Cast Party at Birdland. As a Nashville resident, and as someone in the food and beverage industry, how lucky is Music City to have Rachel and Off-Broadway at Analog at The Hutton?

JEREMY PARRISH: I am consistently amazed by the talent that exists in Nashville. I am grateful that Rachel uses her vision and reach to create opportunities to show that Nashville is more than just a hub for country music. There are incredible, multi-talented performers in Music City that can mingle seamlessly with NY talent if given the opportunity, and she’s doing just that. I also am in awe of the immensely talented folks that seem all too ready to grace the stages in Nashville as well. I also love that Rachel continues to advocate for musical theater’s place here in Nashville… to bring “Broadway” to audiences that are chock-full of folks who love the genre, and people who are experiencing it in a new, more approachable way and I’m so grateful that she is. Even in NYC; cabaret and concert venues, like 54 Below & Birdland, give stage performers an opportunity to be more intimate, approachable… to show their individuality and creativity in a way not strictly dictated by a script. Shows like what Rachel and Analog are doing with the Off-Broadway series bring audiences in for a bespoke experience, but it also gives interested bartenders an opportunity to create unique experiential cocktails. And the old “2 drink minimum” is a staple for cabaret, so that helps those of us in the bar world for sure! I only hope to be able to continue to be involved… both working with Analog in the cocktail world, as well as with Rachel onstage!

For those hoping to spend Halloween with The Addams Family, there’s a little urgency to the invitation. As of this Rapid Fire 20Q publication, the Friday, October 30 first night of this two-night event is already SOLD OUT, with limited tickets remaining for Halloween night, Saturday, October 31.

Presented as part of Rachel Potter’s continuing Off-Broadway at The Hutton residency, The Addams Family Musical in Concert takes place at Analog at The Hutton (1808 West End Avenue, 2nd Floor Nashville, TN 37203). Standing Room General Admission tickets are $35. Reserved Seating is $60. VIP Upgrade of $75 (valid only with purchase of Standing Room GA or Reserved tix) includes pre-show lounge with meet and greet. Premium VIP Seating for $150 adds front row seating to the VIP Upgrade. CLICK HERE to purchase tickets. Pre-Show VIP perks begin at 6pm before general admission or regular reserved attendees arrive.

With the complete musical score performed from beginning to end, familiar Addams Family favorites, Broadway & Music City talent and Andrew Lippa himself in attendance, this promises to be a particularly memorable Halloween gathering. And if those rumored songs that never made it into the Broadway production do make an appearance? Well, that would be the sort of treat that even Wednesday might crack a smile over. And remember, when you’re an Addams, you do what Addams do or die. Happy Halloween!

To keep up with all happenings at Analog at The Hutton, CLICK HERE or follow them on Facebook and Insta.

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

‘The Crucible’ Gets a Gen-Z makeover: Rapid Fire 20Q with Cast & Director of Nash Rep’s ‘John Proctor is the Villain’; at TPAC’s Johnson Theatre October 2-18

by

Playwright Kimberly Belflower’s John Proctor Is the Villain turns Arthur Miller’s The Crucible upside down, trading Salem’s witch trials for a Georgia high school classroom where feminism, friendship, consent and long-held assumptions are suddenly up for debate. As Nashville Repertory Theatre brings the acclaimed Broadway hit to Nashville for the first time, JHPEntertainment fires off 20 questions for director Lauren Shouse and cast members Lucas Calhoun, Norah Younger and Advika Ravishankar about reexamining a classic, finding the humanity beneath their characters and navigating the complicated—and sometimes hilarious—world of growing up. From a teacher caught in the middle to young women finding their voices, this Rapid Fire 20Q goes behind the scenes with the artists bringing Belflower’s provocative, funny and conversation-starting play to TPAC ‘s Johnston Theatre stage.

RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF NASHVILLE REP’s JOHN PROCTOR IS THE VILLAIN

RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s LUCAS CALHOUN

JHPENTERTAINMENT: Carter Smith is the English teacher who becomes the faculty advisor for the girls’ newly formed Feminism Club, which makes you one of the relatively few male voices in a play dominated by young women. What has been interesting about occupying that particular place in this world—and being the guy who has to know when to speak and when to simply listen?

LUCAS CALHOUN: I am an insatiably curious person. My experiences are wholly my own and in so limited in their breadth. To be surrounded by people whose journey through life has granted them unique and foreign experiences to me is a gift. If ever I have to consider when to listen or speak the answer is almost always listen. I’m not sure Carter would agree.

Carter’s pedagogy lies deeply in giving his students a voice. He creates a space where students are encouraged to question, challenge, fail, and fully express their viewpoints outside the restrictive conventions of their small religious town. To him this requires control. This ideology is called into question when Shelby returns and tests Carter’s control, belief in himself, and his skill as a teacher. That particular challenge is the interesting bit.

JHPENTERTAINMENT: Your own résumé includes graduating from The Second City Conservatory in Hollywood and eventually teaching in Second City’s youth program. Did that experience working with younger performers give you any particular insight into the rhythms, humor or occasionally gloriously unpredictable energy of the teenage world you’re surrounded by in this play? 

LUCAS CALHOUN: Kimberly Bellflower masterfully captures the contradiction of the teenage experience. That sense of ‘knowing everything’ while in a constant state of insecurity over their understanding of the world. The Second City in addition to my training at Improv Olympic made me an active and attentive listener who searches for the new and unexpected. The beauty of working with teenage characters is their lives are rich with new and unexpected experiences. I just need to be willing to go along for the ride.

JHPENTERTAINMENT: Carter is teaching The Crucible while his students are essentially dismantling some of the assumptions behind it. As an actor playing the teacher, do you find yourself thinking about the difference between teaching young people what a story says and encouraging them to question why the story has been told that way?

LUCAS CALHOUN: I’m not sure there is any daylight between “what a story says” and “why the story has been told that way.” Both are essential when seeking meaning. This play challenges the fallacy of “evergreen art” by pitting a known historical allegory against a modern dialogue. 

JHPENTERTAINMENT: You’re also a dad to a young daughter. While you have a few years before you’re faced with the inevitable task of helping her navigate some of the challenges young women face in today’s cultural climate, has working on this play planted any new seeds in your mind about how you hope to keep the lines of communication open with her?

LUCAS CALHOUN: One strength my wife and I share is the willingness to have difficult conversations. I admire my daughter’s bravery and self actualization at such an early age.  She’ll inevitably face difficult challenges and uncertainty – I’m confident when those moments arise she’ll advocate for herself. 

JHPENTERTAINMENT: Carter spends a lot of time in a room where the conversation is getting increasingly complicated, personal and uncomfortable. What’s the one thing about playing him that has surprised you most—and has there been a moment when you thought, “Okay, Carter, you really need to sit down and let the kids talk now”?

LUCAS CALHOUN: I imagine experiencing Carter from the audience and as the performer might be very different. To elaborate before we open would be doing both a disservice, but therein lies the surprise. 

Screenshot

RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s NORAH YOUNGER

JHPENTERTAINMENT: Shelby Holcomb is described as someone whose brain works faster than her mouth—and whose mouth works pretty darn fast—while also being someone people have consistently underestimated. What part of Shelby’s personality was the easiest for you to connect with, and what part required you to dig a little deeper? 

NORAH YOUNGER: The part of Shelby’s personality that was the easiest to connect with was her rage. To be completely honest, as a woman experiencing the world outside the shelter of childhood, everything that is wrong and broken with the world makes me ragefully angry. Shelby’s frustration with her circumstances and with the troubles she must face was a very accesible connection for me. One aspect of Shelby that required me to dig a little deeper was the trauma she carries into this show. Without giving too much away, Shelby has been through some shit, and the majority of my character research was toward the short and long term psychological effects of some of those events.

JHPENTERTAINMENT: Shelby’s return to school after being away for a while changes the temperature in the room pretty quickly. Without giving away too much, what do you think she desperately wants the other girls—and perhaps the audience—to understand about her?

NORAH YOUNGER: Shelby’s desperation in this show comes from the need for her friends to listen to her. Shelby is constantly dismissed, interrupted, and never taken seriously by authority figures and her own best friends. So as a result she finds ways to make people listen. 

JHPENTERTAINMENT: There’s a lot of very serious subject matter in John Proctor Is the Villain, but Belflower also gives these girls plenty of humor, pop-culture references and teenage attitude. I was struck at how perfectly the playwright captures the speech pattern and tone of 2018 youth. As someone who isn’t too far removed from their own teen years, has that aided you in finding Shelby’s voice?

NORAH YOUNGER: Somehow, Kimberly wrote Shelby’s speech pattern in a way that very much emulates my own, which has connected me to the character in such a beautiful way. Kimberly’s genius use of dialogue has given me so much insight into not only the character but her relationships with the others. So much of this show is dependent on the character relationships, and the text informs so much of those distinctions.

JHPENTERTAINMENT: With all the pop culture and music artist references present in the dialogue of the girls, while reading the script in anticipation of chatting with your director and cast mates, I couldn’t help but thing…this work could absolutely be a musical! Humor me…What tune, past or present could easily be Shelby’s ‘theme’?

NORAH YOUNGER: “Mad Woman” by Taylor Swift could easily be Shelby’s Theme. The song expresses how society scorns women who seem “crazy” and “angry” because women are never allowed the space to react proportionately to any terrible situation. Any time they speak up it seems like they are “breathing flames”.

JHPENTERTAINMENT: This play really depends on the feeling that these young women know each other—their friendships, frustrations, inside jokes and occasional explosions all have to feel lived-in. What has the fast-paced process of bonding with this cast been like?

NORAH YOUNGER: The bonding aspect of this play process has been one of the easiest parts for me. Not only is everyone in the cast just a lovely human, this play gives permission to be seen, to feel, to speak to not only the audience but also to us, as actors. I clicked with the other girls almost instantly on the surface level. But working on this play has brought the deepest, most vulnerable part of my soul to the surface; fragile and exposed, and my cast mates see this part of me every day and still accept me and love me through it all. 

RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s ADVIKA RAVISHANKAR

JHPENTERTAINMENT: Raelynn Nix initially looks like she has the whole small-town high-school experience figured out—the cheerleader type who has spent much of her life living according to other people’s expectations. What did you discover underneath that exterior that changed the way you saw her?

ADVIKA RAVISHANKAR: Rae definitely looks like she has it all figured out, but honestly, almost none of it was ever up to her. Her dad is the town preacher, so everyone knows him, which means everyone knows her too. She isn’t just representing herself; she’s representing her dad and her whole family, so there’s an image she always has to maintain. What she actually wants doesn’t really matter, because everyone has already decided who the head cheerleader and preacher’s daughter is supposed to be. Once I understood what her life has been like, it completely changed how I wanted to tell her story. Her arc felt so much bigger, and her struggle felt so much more real. 

JHPENTERTAINMENT: I love that Raelynn is dealing with some pretty complicated questions about identity, relationships and the expectations placed on her. Is there a particular aspect of her personality or her journey that feels surprisingly close to something you recognize in yourself?

ADVIKA RAVISHANKAR: Setting aside the fact that I was a high schooler in 2018 (funny enough, I read The Crucible that year too), there’s a lot I recognize in her. I’m definitely not from a one-stoplight town in Georgia, but there are real similarities between Raelynn’s community and the one I grew up in, especially with the unspoken expectations about who you’re supposed to be. Throughout the show, Raelynn tries to take up as little space as possible. Women are so often taught to be agreeable, never make mistakes, and have everything figured out, and I know what it’s like to be shamed for not fitting the mold people build for you. Whenever I speak my mind or let my personality show, I’m sometimes told I’m ‘too much’ or that I need to ‘calm down.’ So, like Rae, I find myself shrinking back to avoid ruffling any feathers. But also like her, I feel free to break away from those expectations when I’m leaning into the female friendships in my life. My friends from high school and the ones I found in college make me braver than I’ve ever been about just being myself, the same way Shelby and the feminist club do for Rae. 

JHPENTERTAINMENT: One of the fascinating things about John Proctor Is the Villain is watching these characters discover that growing up sometimes means questioning things you previously accepted without thinking twice. What is the biggest question Raelynn finds herself wrestling with—and has exploring that question changed anything about how you view her?

ADVIKA RAVISHANKAR: I think the biggest thing Rae wrestles with is who to believe. When the show starts, Shelby’s been gone for a while, and no one really knows why, so the whole town has a theory. Rae and Shelby have a complicated history, and she’s stuck choosing between what people are saying and what she knows about the girl she grew up with. For someone who’s always gone along with the crowd, that’s huge. It might be the first time she’s ever had to make up her own mind and actually stick to it. It’s easy to see her as a follower, but watching her learn to trust herself showed me she’s had this quiet strength the whole time. Questioning something that people around you take as fact is scary, especially when you have as much to lose as she does. And really, the debate over whether John Proctor is a villain is just the tip of the iceberg. Once Rae starts asking whether the hero of The Crucible is actually a hero, she starts asking that about everything she grew up believing, like how girls are supposed to act and who always seems to get the blame. 

JHPENTERTAINMENT: What has working with Lauren Shouse been like? With a young ensemble tackling material that can become emotionally intense, what does Lauren bring into the rehearsal room that helps everyone feel comfortable enough to take risks?

ADVIKA RAVISHANKAR: I cannot say enough good things about Lauren. She’s reminded me that the best work comes from a room where you’re allowed to be fully yourself, messy and vulnerable and all. I didn’t expect this show to hit so close to home, and it can be really hard to let your guard down enough to do these characters justice. Lauren is constantly checking in with us, and on the days when the material hits too hard, she always makes sure our mental and physical well-being comes first. She’s also created a space where we’re free to play with these characters and the world around them, and she’s encouraged us to make them our own and lean into the relationships we’ve built with each other. I think that’s a big part of why the friendships onstage feel so real: we’ve built real ones offstage too!

JHPENTERTAINMENT: Finally, this is a show about a group of teenagers who spend a lot of time talking, arguing, laughing, challenging one another. IF the characters in John Proctor had a group chat, who do you suspect would be the first person to get kicked out? AND who would quietly remove themselves from the chat?  

ADVIKA RAVISHANKAR: For who’d get kicked out first, my gut says Mason, but not permanently. He’s hilarious and means well, but he’d absolutely send something out of pocket, and Nell (or even Beth) would clock him and put him on probation for a couple of hours while he “thinks about what he’s said.” Then he’d get added back just in time to send a notes app apology that Beth probably edited for him. Quietly leaving could go a couple of ways, but my first instinct is Rae. Lee would say something dumb, and she’d just leave without a word because she doesn’t want to deal with it.

RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN DIRECTOR LAUREN SHOUSE

JHPENTERTAINMENT: You’re an Associate Professor of Theatre Directing at Middle Tennessee State University, where your teaching includes directing and script analysis. How much did the classroom side of your life—particularly teaching students how to break down a script and make directing choices—inform your approach to directing this predominantly younger cast?

LAUREN SHOUSE: I love working with young people and feel fortunate to have a front row seat to people in the critical stage of becoming who they are and finding their own unique voice. So for me, this process continues to teach me, not only all the cultural references that go over my head as they chat at lunch, but just what matters to them as individuals and as a generation. Also working with Governor’s School of the Arts for the last 5 years has given me the opportunity to see just how naturally Kimberly Belflower has crafted the language of this play for teenagers. The cast has said many times that they speak just like their character. It has been a gift to work with this exceptionally talented cast. Their energy has been infectious and the future is bright. 

JHPENTERTAINMENT: John Proctor Is the Villain was just on Broadway last year, and now you’re the director introducing Kimberly Belflower’s very timely take on The Crucible to Nashville audiences for the first time. Is there an extra bit of excitement—or pressure—that comes with getting to be the person who brings a brand-new Broadway title home to Nashville?

LAUREN SHOUSE: I feel lucky and excited as this play has been on my list since I first read it in 2019. Also, the very first show I worked on with Nashville Rep was the 2007 production of  The Crucible – I was the assistant stage manager. So, it has been fun to come full circle nearly 20 years later. 

JHPENTERTAINMENT: The Johnson Theater at TPAC is considerably more intimate than a traditional proscenium setting. With a play that essentially puts us inside the world of a close-knit group of high schoolers—where conversations, alliances and secrets can change in a heartbeat—what does that intimacy give you as a director?

LAUREN SHOUSE: I love working in the Johnson with the thrust staging, especially for a fast-moving play like this. The dialogue is snappy and the tension builds throughout the play, so being close and especially if you are on the side audience banks, you feel like you are eavesdropping in the best way. I also feel like we just get to share the emotional moments of the play in a more impactful way, where the audience have the access to the actor and are collectively gasping or laughing with them. 

JHPENTERTAINMENT: While researching your chat with you and members of your cast, I loved Mason’s line at about the midway point of the play when he says, “I feel like I’m reading a completely different play…I thought The Crucible was about witches.” One of the things I love about John Proctor Is the Villain is taking a canonical work like Arthur Miller’s The Crucible and essentially saying, “Okay, but what if we look at this story differently?” If you could give another classic play the John Proctor Is the Villain treatment and reexamine it through a modern lens, which one would you love to tackle—and why?

LAUREN SHOUSE: Oh man, what a question! I am sure I would have a deeper answer with more time, but my first thought is just to look at the genre of the Golden Age musical and how women were depicted in many of those “classic” musicals. I feel like in almost everyone one, the women give away their agency almost immediately and so I would love to explore what would it be like for a young woman today to play such a role and what does it say to our students? Those are the questions I would love to investigate in that genre.

JHPENTERTAINMENT: Without giving away the discoveries audiences will make along the way, what do you hope people walk out of the Johnson Theater thinking—or perhaps talking about—after experiencing John Proctor Is the Villain?

LAUREN SHOUSE: For me, this play is specifically about that moment in adolescence where we stop regurgitating the things our parents, teachers, church, government leaders said verbatim, and we shape our own individual truth. I hope the audience will ask what stories they have readily believed because someone in power told them it was true. John Proctor Is the Villainreminds us that the question is not simply whether we will tell the truth. It is whether we will have the courage to listen and act when someone else does.

With its mix of sharp humor, teenage candor and questions that refuse to stay neatly inside the classroom, John Proctor Is the Villain is sure to give audiences plenty to chew on long after the final curtain. We’ll leave the last word to Lauren, Lucas, Norah and Advika—because sometimes the most interesting part of rewriting the story is discovering what happens when someone finally asks, “But who gets to tell it?”

Nashville Repertory Theatre‘s John Proctor is the Villain opens at TPAC’s Johnson Theatre (505 Deaderick Street, Nashville, TN 37243) Friday, October 2 and runs weekends through Sunday, October 18. Thursday thru Saturday evening performances are at 7:30pm. Saturday and Sunday matinees begin at 2pm. Tickets range in price from $45.53-$89.23 (including fees). CLICK HERE to purchase tickets. 

Following John Proctor is the Villain, Nash Rep presents Disney‘s Frozen starring Rachel Potter as Elsa and Aleia Eagleton as Anna, with Lane Adam Williamson as Hans, Colin Carswell as Kristoff, Reagan Allen as Olaf and Connor Adair as Sven. Frozen will be presented in TPAC’s Polk Theatre from December 4-20. CLICK HERE to purchase tickets or for more information. As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rock Ballads, Romance & The ’80s: Rapid Fire 20Q with the Cast of ‘Rock of Ages’; The Gift of Song production at Mills-Pate Arts Center Beginning October 2

by

There’s nothing quite like a musical that can deliver power ballads, screaming guitar solos, enormous hair and enough ’80s excess to make a can of Aqua Net rethink its part in the ozone layer crisis. Rock of Ages IS just such a musical. The Gift of Song is bringing the totally awesome jukebox musical resplendent with classic 80s tunes by such arena rock legends as Journey, Styx, Poison, Europe and more to the stage at Mills-Pate Arts Center in Murfreesboro, with Leslie Berra directing and a cast ready to crank up the volume on some of the biggest rock anthems of the era.

Set on Los Angeles’ legendary Sunset Strip, Rock of Ages follows aspiring rocker Drew, wide-eyed newcomer Sherrie, Bourbon Room owner Dennis and Venus Club proprietor Justice as dreams, romance, friendship and the threat of change collide against a soundtrack packed with ’80s rock classics. In this JHPENTERTAINMENT Rapid Fire 20Q, Dylan Ellis, Allee Williams, Clint Randolph and Corrie Maxwell take us behind their characters, their musical moments, their ’80s inspirations and what it’s been like creating this production with Berra and the creative team. So turn up the volume, tease your hair to the max and let’s get ready to rock!

RAPID FIRE 20Q WITH THE CAST OF THE GIFT OF SONG’s ROCK OF AGES

RAPID FIRE WITH DYLAN ELLIS, DREW BOLEY IN ROCK OF AGES

JHPENTERTAINMENT: Drew arrives in Los Angeles determined to become a rock star. What do you think is driving him most at the beginning of the story—his love of music, the dream of fame, or simply the need to prove to himself that he can make it?

DYLAN ELLIS: I think Drew is a wide eyed dreamer who is surrounded by constant inspiration. He loves the music but also the rockstar image and lifestyle his heroes embody, and at the start of the story he’s just trying to carve his place in the legendary rock scene on the sunset strip.

JHPENTERTAINMENT: The world of Rock of Ages is unapologetically late ’80s. Since you’re an 00 baby, What’s been your greatest source of research as you’ve taken on this role?

DYLAN ELLIS: Even though I’m a 2000’s baby I grew up playing in bands and listening to classic rock especially from the 80’s. Much like Drew, my childhood heroes were all rockstars so stepping into this show felt very familiar and close to home. To prepare, I mostly just tapped into what I was like in high school.

JHPENTERTAINMENT: Drew gets some serious musical moments, among them, Twisted Sister’s “I Wanna Rock”, Bryan Adams’ “Heaven,” “Waiting for a Girl Like You” by Foreigner and of course Steve Perry’s “Oh Sherrie”. Is there one number you’re particularly excited—or nervous—to perform?

DYLAN ELLIS: I’m very excited to perform “Heaven” because I get to play guitar during that song, and also the blocking Leslie gave Allie and I for “Waiting For A Girl” has been so fun and hilarious. “High Enough”, one of my duets with Sherrie is very vocally taxing and daunting but nonetheless still very excited to perform it.

JHPENTERTAINMENT: Drew’s relationship with Sherrie goes through quite a roller coaster. What have you discovered about him through that relationship that you didn’t necessarily see when you first approached the character? AND…what’s it been like to develop that relationship on stage with your Sherrie, Allie Williams?

DYLAN ELLIS: Rock of Ages is a very funny and raunchy show but I think Sherrie and Drew’s relationship shows a more sentimental and emotional side of the musical. It helped me get a better idea of his inner thoughts and feelings. Working with Allie has been awesome, she’s such an excellent performer. Doing scenes with her have been great because she’s so into it and it’s easy to get into character with her.

JHPENTERTAINMENT: If there were ever a Rock of Ages sequel musical or update, Where might we find Drew in 2026 AND…What current tune might work well as Drew’s theme?

DYLAN ELLIS: I think Drew and Sherrie would have had more kids and I could see him owning one of those School Of Rock type of businesses that teaches kids music and puts them in bands. As far as current tunes, I think in the 90’s Drew went through a big brit-rock phase and with the Oasis reunion, he’s breaking out all of his old Oasis records again.

RAPID FIRE WITH ALLEE WILLIAMS, SHERRIE CHRISTIAN IN ROCK OF AGES

JHPENTERTAINMENT: Sherrie arrives in Hollywood with stars in her eyes and a dream of becoming an actress. What do you think audiences will find most relatable about her journey from wide-eyed newcomer to the woman she becomes by the end of the show?

ALLEE WILLIAMS: I think the audience will really relate to her zeal for new experiences in her dream city, as well as her tenacity to try new things and not give up. Sherrie goes through so many of the ups and downs we all have felt moving to a new city to pursue our dream careers, but in the end she is reminded that she is always on time, and everything works out exactly how its supposed to.

JHPENTERTAINMENT: If you could magically transport yourself back to one specific moment in the late ’80s, what would you want to experience firsthand?

ALLEE WILLIAMS: Oh my gosh, honestly I wish I could have seen any of the major Michael Jackson events, like the premiere of the “Thriller” music video, attend his Bad World Tour, or even just been there when he debuted his moon walk. His music and dance-style really shaped my passion for dancing since I was a little girl. I can only imagine what it was like to witness those great events during the ’80s. He truly is such a legend!

JHPENTERTAINMENT: Sherrie gets to sing some terrific material, including Night Ranger’s “Sister Christian,” “More Than Words” by Extreme, Quarterflash’s “Harden My Heart mixed with Pat Benatar’s Shadows of the Night” and more. Which musical moment feels most personal to you?

ALLEE WILLIAMS: The song that feels the most personal to me is definitely “Harden My Heart.” I feel I can fully relate to the grief Sherrie is going through after a rough breakup, being so far from home, and feeling like you are failing at everything you do. I went through a similar experience back in the summer of 2022 when I moved back to Nashville. I had gone through a very painful breakup, had to leave all the hard-work I had built at my jobs, leave my friends, and move back in with my parents in Nashville with no clue what I was doing with my life anymore. However, just like Justice is waiting for Sherrie at the end of the song, I had a newer and better life waiting for me at the end of my struggle. Harden My Heart is a sad song about closing yourself off to the world when pain arrives, but once you allow the pain to run its course, you slowly begin to see the light at the end of the tunnel, and see that if it weren’t for the difficulties, you wouldn’t have made it to your new and even better beginning. Sometimes, we must go through tribulations, to be put into even better circumstances. Rejection is just redirection. – On a simpler note, I also love “Don’t Stop Believing!”

JHPENTERTAINMENT: Sherrie’s journey takes her places she certainly never expected when she first steps off that bus in Los Angeles. How do you approach playing the vulnerability, resilience and growing independence underneath all that ’80s glamour?

ALLEE WILLIAMS: First off, the glamour, primarily the hair, is probably heavier than the emotional journey itself. However, I take a lot of my own experience into account when I join Sherrie onstage. I relate to her story, growing up in a more conservative upbringing, taking a chance to move across the country to pursue your unconventional artistic dreams (except I must say that my parents were more supportive than Sherrie’s…hi mom!), and then ultimately facing some of the biggest adversities of your life during it all. I see a lot of myself in her. It’s like tapping back to seventeen-year-old Allee, she’s smart and capable, but inexperienced. I allow Sherrie to be completely excited and full of naivety, and then allow the script to slowly guide her through a hard lesson, that will eventually make her so much stronger.

JHPENTERTAINMENT: Speaking of Sherrie’s unexpected circumstances. One turn find her working at The Venus Club alongside Corrie Maxwell as Justice. How has Corrie been as a scene partner and as a source of support and guidance for Sherrie?

ALLEE WILLIAMS:  Where do I even start with Corrie other than she’s absolutely amazing. Her experience in theatre has really grounded me and helped me grow as a actress. Corrie is always so consistent and reliable, and is above and beyond what I could ask for in a scene partner. As for Sherrie, Justice really helps her find her voice and strength to push-through hardships. You will see that even in Sherrie’s lowest moment, someone was there looking out for her. I believe we can always trust that even in our darkest moments, there is always a light, or, there is always a Justice.

RAPID FIRE WITH CLINT RANDOLPH, DENNIS DUPREE IN ROCK OF AGES

JHPENTERTAINMENT: Dennis is trying to keep the Bourbon Room alive while surrounded by characters who seem determined to make his life increasingly complicated. What is your favorite contradiction about this guy?

CLINT RANDOLPH: Dennis tries to put on a “tough guy” persona, but he’s really just a softy with a huge heart.  He loves all of his employees, and does all he can to take care of them.

JHPENTERTAINMENT: The Bourbon Room is practically a character itself. If Dennis could give a guided tour of his beloved club, what do you think would be the first thing he’d proudly show—and what would he hope you didn’t notice?

CLINT RANDOLPH: You’ve got to notice the moose head plaque above the bar. It’s so Rock’n’roll! The horns are perfect for catching bras that party chicks throw at the band!
Don’t look too closely at the bathroom stalls,  though. The dividers are perfectly placed for some low perspective peeking.

JHPENTERTAINMENT: Dennis gets to be part of some wonderfully over-the-top musical moments, including “We Built This City,” “The Final Countdown,” “I Can’t Fight This Feeling” and others. Which number has been the most fun to attack so far?

CLINT RANDOLPH: “I Can’t Fight This Feeling” is such a campy number that’s as funny as it is touching. It’s been a blast to perform that song every night .

JHPENTERTAINMENT: Rock of Ages takes place in an era when rock clubs, big hair, MTV and power ballads were practically their own cultural universe. My research tells me you are literally and 80s baby, having just made the cut with your ’89 birth. What piece of late-’80s rock culture do you think you would have embraced most enthusiastically?

CLINT RANDOLPH: I would have most likely been more of a Madonna fan than a rocker myself, but I love the glitz, glitter, and style of glam rockers. Long-haired shirtless men in tight pants are A+ in sex appeal.

JHPENTERTAINMENT: How has working with director Leslie Berra influenced the way you’re approaching Dennis as more than just the comic relief behind the bar?

CLINT RANDOLPH: Leslie is a very talented and visionary director. It is so refreshing to be trusted with my role and respected as a performer. Under Leslie‘s guidance and coaching, I have found many creative ways to bring depth, as well as charm, to the role. Leslie is so uplifting, positive, and generous to her actors and she always recognizes and acknowledges the hard work being done. Being a part of this show has inspired me as an actor, and reminded me why I love being a theater artist.

RAPID FIRE WITH CORRIE MAXWELL, JUSTICE CHARLIER IN ROCK OF AGES

JHPENTERTAINMENT: Justice has already lived enough life to recognize the difference between a dream and the reality of chasing one. What do you think she sees in Sherrie that makes her want to take the younger woman under her wing?

CORRIE MAXWELL: Justice sees Sherrie and immediately recognizes her younger self.  She WAS Sherrie. She moved to LA with high aspirations of being a singer (Sherrie, an actress) and I think she got beaten down by the culture that was the music business pre-“me too.”  In my mind, she ended up with nowhere to turn and in a similar situation. She may have had no family, no mother to turn to. I imagine that she bought the club from the previous owner to ensure that she could look out for those lost souls who needed family and a mentor and protector (or “Mama,” if you will), as well as to pave her own way so that no one could ever take advantage of her, or her girls, ever again if she could have anything to say about it. That’s why her motto is, “any way my girls want it,” and NOT any way the customers want it.

JHPENTERTAINMENT: Justice runs the Venus Club, but she’s also something of a protector and maternal figure for the women who work there. How do you balance her tough exterior with the compassion underneath it?

CORRIE MAXWELL: She is a sharp businesswoman and knows that there is a tough balance between running a successful business that makes money, that allows her dancers/staff to make money, while sticking to principles. I imagine those are especially at odds in a business such as hers. I believe while she tries her hardest to protect her employees (i.e. no touching, etc…), she knows that sometimes in order to pay the bills they may have to suck it up and muddle through dancing for someone they despise. But I also think she is closely watching in those instances, like when she keeps an eye on Sherrie dancing for Stacy. The audience may not see her, but she’s watching; standing guard to be sure her family is safe. She’ll take their money but she will be damn sure her “family” comes out ahead.

JHPENTERTAINMENT: One of Justice’s most memorable musical moments comes near the end of act one when she and Sherrie team up for a classic 80s powerhouse musical sequence with “Harden My Heart/Shadows of the Night.” What makes that particular number such an exciting challenge for you as a performer?

CORRIE MAXWELL: Man – that is quite a moment. It’s that gut punch where you know someone is sad and hurting, and you’ve been there – you’ve felt that hurt, and you want to help. You know you can at least offer something to get them back on solid ground, even if it may not be what they ever expected or even wanted. And for me – it’s about somehow making her feel compelled to trust and go with me because she senses I will take care of her. That’s an exciting challenge. And I am a caretaker personality by nature, so I find myself truly experiencing that feeling of, “come on baby, I got you. You are safe with me!”

JHPENTERTAINMENT: If my research serves, you might actually remember the late-80s era at the heart of Rock of Ages. Please tell me as an 80s preteen girl you had a Sony Walkman…or at the very least might have made your own mixtape or two…What late 80s classic tune that’s not in the musical might you include as Justice’s theme?

CORRIE MAXWELL: Oh man. Yeah… for sure. I am part of that micro-generation between Gen X and Millennial that straddled the 80s and 90s. I for sure sat by my radio with my tape-loaded boom box ready to record my favorite songs when they came on. Haha I still have a few mixtapes in my possession. Then I was in middle school when CDs came out (game changer because you could no longer do the recording off the radio thing). My middle school was listening to Bon Jovi, Motley Crue, Warrant, Guns and Roses… but also at the same time I was all into Pop, R&B, and Rap. I think, though, if I could add an anthem for Justice it would be either She Works Hard For the Money, or Control by Janet Jackson.

JHPENTERTAINMENT: What do you hope audiences come away with after attending a performance of Rock of Ages?

CORRIE MAXWELL: I hope they leave smiling, laughing, and having had a great time, but I hope they also receive it’s underlying message. Behind all the camp and nostalgia, at the show’s heart is a theme of loving each other, without judgement, without fear, against the odds, and with all your heart.

Get ready to turn up the volume as The Gift of Song‘s Rock of Ages directed by Leslie Berra hits the stage October 2–4 & 8–10, 2026, at Mills-Pate Arts Center (7120 Old Nashville Highway, Murfreesboro, TN 37129). Tickets are $21.74 for Seniors and Students and $26.91 for Adults, with fees included. So grab your tickets, tease that hair, break out the spandex or parachute pants and prepare for a night of power ballads, big dreams, bigger hair and the kind of unapologetic ’80s rock excess that Rock of Ages was built to deliver. CLICK HERE for tickets. To keep up with the latest from The Gift of Song, CLICK HERE or check them out on Facebook.

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

Rapid Fire 20Q with Director and Cast Members of ‘SMOKE: A Ballad of the Night Riders’; Opening Annual Bell Witch Fall Fest This Weekend

by

Rolling fields, winding country roads and the unmistakable, spicy scent of dark-fired tobacco set the stage in Adams, Tennessee, home to the legendary Bell Witch and the Bell Witch Fall Festival. For two decades, the festival has brought local history and legend to life, and among its signature productions is SMOKE: A Ballad of the Night Riders, David Alford’s fiery bluegrass musical about the Black Patch Tobacco Wars of the early 1900s. First presented at the festival in 2010, SMOKE explores the corporate greed, desperation and moral compromises that turned farmer against farmer and ultimately gave rise to the masked Night Riders—all performed beneath the stars and surrounded by the very tobacco country that inspired the story.

For this year’s production, longtime SMOKE performer Galen Fott, who has appeared in six of the festival’s previous productions, steps behind the curtain as director. To get a little BTS take on this year’s production, Fott, along with retuning cast members Bradley Gale and Cassandra Donegan and SMOKE newcomer Payton Justice agreed to a little Rapid Fire 20Q to chat with JHPEntertainment about history, family, bluegrass, outdoor theatre, complicated characters—and, yes, even the Bell Witch.

RAPID FIRE 20Q WITH DIRECTOR AND CAST MEMBERS OF SMOKE: A BALLAD OF THE NIGHT RIDERS

RAPID FIRE WITH SMOKE DIRECTOR GALEN FOTT

JHPENTERTAINMENT: Having appeared in six of the local productions of SMOKE presented during previous Bell Witch Fall Festivals, what prompted you to move from being onstage to taking on the behind-the-scenes role of director for this year’s production?

GALEN FOTT: Because it’s something I’ve never done before! I’ve directed more than two dozen animated films for Scholastic, and I directed actors in dozens of scenes when Pipeline-Collective’s playwriting workshop Salon was in operation a few years ago. But I had never directed a full-length play or musical before. And why not start with a show you know so well, and love so much?

JHPENTERTAINMENT: SMOKE takes audiences back to 1904–1908, when dark-fired tobacco farmers found themselves caught in a violent economic struggle with powerful corporations attempting to control market prices. Is there a particular scene or line of dialogue crafted by the playwright, David Alford that feels immediate and personal to you in the telling of this history-based story?

GALEN FOTT: One of the main issues SMOKE wrestles with is the idea that destruction and violence are justifiable if they contribute to a greater good. David wrote two short scenes that dramatize this concept in microcosmic form, one in each act. These parallel scenes involve the central character of Owen Hartley, his son Owen Jr., and the lowly tobacco worm. On one level, the scope of the entire play is encapsulated in those two scenes.

JHPENTERTAINMENT: As a native of nearby Clarksville, Tennessee, you have a personal connection to the region in which the events of SMOKE unfolded. What has it meant to you as a director to bring your touch to this particular—and sometimes overlooked—piece of local history?

GALEN FOTT: There’s a narrative passage of the play that contains multiple quotes from the Clarksville Leaf-Chronicle, the newspaper I grew up reading. (Remember newspapers?) But I knew absolutely nothing about the Black Patch Tobacco Wars until I read the play 11 years ago. I’m so glad I know about it now — it’s a remarkable, if troubling, story. Of course, it’s not uncommon for natives of a particular place to be unaware of — or uninterested in — the history that unfolded right outside their door. During the five years I lived in New York City, I met many native New Yorkers who had never been to the Empire State Building or visited the Statue of Liberty. And plenty of Nashvillians have never been to the Grand Ole Opry!

JHPENTERTAINMENT: David Alford’s original bluegrass score is filled with songs that help tell the story of the Black Patch Tobacco Wars. Do you have a particular favorite among the musical numbers penned by Alford—AND what makes that one stand out for you?

GALEN FOTT: I’d have to go with the title song, “Smoke”. David does an ingenious thing in that song. Owen is remembering his time serving in the brutal Philippine-American War, and in the song he experiences a sudden, visceral return to that experience. Suddenly he’s “there” in the Philippines, on unfamiliar ground, and David switches the time signature from 6/4 to 5/4, pushing it way out of typical bluegrass fare. It feels like there’s either a beat missing or one beat too many, and it perfectly evokes Owen’s unease in such unfamiliar territory. It’s a masterstroke.

JHPENTERTAINMENT: SMOKE debuted in 2010 as a bit of a companion piece to SPIRIT: The Authentic Story of the Bell Witch and has its roots in the Bell Witch Festival. One hundred years after the events that inspired it and more than a decade after the musical’s debut, it seems to me if you swap out tobacco for essential farmed produce, the core message of the story still rings true today. Would you agree with that?

GALEN FOTT: Certainly the difficulties of farming, the existence of monopolies, and collective bargaining remain issues today. But what makes the Black Patch Tobacco Wars different — and what makes SMOKE particularly compelling — is the vigilante justice used to force farmers into that collective action. And even if your moral compass can encompass those violent acts, what toll does that ultimately take on your humanity? David asks us to contemplate all of this in SMOKE. And did I mention? It’s a musical! I’ve heard David say he doesn’t really like musicals, but he wrote a damned good one. SMOKE is an amazing piece of theatre that deserves a wide audience. I hope everyone reading this will be a part of that audience!

RAPID FIRE WITH BRADLEY GALE, OWEN HARTLEY IN SMOKE

JHPENTERTAINMENT: Owen Hartley is a 30-year-old farmer, husband and father trying to protect his family and livelihood during an extraordinarily volatile period. What was the key to finding the man underneath the historical circumstances surrounding him?

BRADLEY GALE: Owen Hartley is integrity to his core; harnessing that sort of selflessness causes me to reflect a lot on my life and the examples Ive had.  A specific man often pops into my mind during certain scenes; he has since passed and was a father to me.  Larry Copeland.   I often think of him when I look at my ‘son’ and ‘wife’.  It’s my “What Would Larry Do” hack.

JHPENTERTAINMENT: Owen isn’t just dealing with the price of tobacco—he’s watching the world around his family become increasingly dangerous. What do you think scares Owen the most: losing his livelihood, losing control of his family’s future, or what the Night Riders might bring to his doorstep?

BRADLEY GALE: I would say that Owen is mostly concerned with protecting the innocence of his family.  He has seen the horrors that humans can invoke upon other humans and wants to protect them from ever having to experience the same.

JHPENTERTAINMENT: Owen gets his Act One solo musical moment with “Little Man.” What does that song reveal about Owen that perhaps the dialogue alone doesn’t—and what was it like getting inside that particular musical moment?

BRADLEY GALE: The song “Little Man” reveals how deeply he wants his son to be protected from the evils of this world.  It shows just how tender and sensitive Owen actually is.  Owen does not make a single decision without thinking about his wife and his son.  Getting inside that moment is more about making sure my co-star can sit still for three minutes.  Gunner, I hope you’re reading this!  (Im teasing; the actor playing my son is a blast to work with; he definitely keeps us all on our toes).

JHPENTERTAINMENT: I gotta ask…what’s it like working with your co-star? NO, I’m not talking about Cassie as your on-stage wife, Callie, I’m taking about Kat, the horse featured on stage during the show, billed simply as, well, Horse, and her wrangler, Mandie Neblett?

BRADLEY GALE: Oh that’s one of the best parts.  Kat and Mandie are actually the longest running cast members of Smoke.  They are an institution.  And in fact we have an extra three horses this year who are training to become Kat’s understudy.  Aside from the fact that they don’t give us the courtesy of using the public bathrooms…. (Im just talking about the horses)

JHPENTERTAINMENT: There are plenty of larger-than-life figures and historical forces swirling around SMOKE, but Owen’s world ultimately comes down to one very simple thing: a little patch of dirt and the people he loves. I love that in the script, the playwright’s dedication reads: “For Ben Robert Who saved me a little patch of dirt”. In that vein, Who—or what—represents your own “little patch of dirt” in your real life these days?

BRADLEY GALE: Simply put, home has never been a place for me.  It’s always been the people.  And frankly, coming back to Adams (Springfield, Nashville, etc) it reminds me just how much ‘home’ this little patch of dirt is to me.

RAPID FIRE WITH CASSIE DONEGAN, CALLIE HARTLEY IN SMOKE

JHPENTERTAINMENT: Callie Hartley is a farmer’s wife living in a world where the economic struggle over tobacco is anything but an abstract political issue—it directly affects her family. What did you discover about Callie by looking at the story through her eyes rather than simply through the larger historical events surrounding her?
CASSIE DONEGAN: This story has always felt incredibly personal to me because my own family were tobacco farmers. The first time I played Callie seven years ago, I saw so much of my great-grandmother in her. That particular kind of Southern woman who could carry an enormous amount for her family and still somehow make sure the rest of the world never quite knew how heavy it was. A complete spitfire and slightly ahead of her time.

Coming back seven years later, there is a lot more of myself I now see in her. Seven years later, I understand resilience differently. I understand the instinct to protect the people you love differently. And I understand much more deeply that strange dance of carrying very real struggles within your family and home while presenting a completely different version of life to the outside world.

I always say Callie is far gutsier than I could ever wish to be, but I recognize so much of myself in her now. Callie isn’t thinking about how this moment will someday be written about. She’s thinking about her husband, her home, their livelihood, and the life they’ve worked to build together. She’s strong without needing to announce that she’s strong, and there is a quiet resilience underneath all of that fire that I understand far more deeply now.

JHPENTERTAINMENT: Callie and Owen have built a life together on their farm, but the events unfolding around them increasingly threaten that life. What do you think keeps Callie grounded when everything around her begins to feel increasingly uncertain? Let’s make this one a two-parter…same question, but for Cassie?

CASSIE DONEGAN: For Callie, I think it’s Owen. It’s love, home and this deep sense of responsibility to the life they have built together. She loves him fiercely, and even when she doesn’t necessarily agree with him, he is still her person. When everything else becomes uncertain, Owen is still where she belongs.

For Cassie, the answer is actually pretty similar. My family, my faith, the people I love and remembering who I am when you strip away every title, accomplishment and expectation are what bring me back to center. For a long time, I thought strength meant carrying difficult things gracefully enough that no one else ever had to see how heavy they were. I’ve learned that sometimes strength is admitting they’re heavy. Life can change incredibly quickly, but when I come back to my faith, my family and the people who know Cassie rather than any title or role attached to her name, I remember that the most important parts of my life were never the loudest ones. That’s where I find my footing again.

JHPENTERTAINMENT: Adding visually to the show’s authentic early 20th Century visuals, Denese Evans is on-hand as the show’s costumer. Does donning Callie’s wardrobe help you become her?

CASSIE DONEGAN: Absolutely. Costuming is one of those things that can immediately change the way you inhabit your body as an actor. The silhouette, the layers, the shoes, the weight of the clothing, even the way you naturally stand, sit or move changes. With Callie, it’s another layer of information about who she is, the work she does, the life she lives and even how she wants the world to see her. And working with Denese is just so much fun. She is genuinely such a joy, and what I appreciate most is that she understands me not only as an actor, but as a human being. I think that is incredibly important in a costumer. She obviously cares tremendously about her creation and about making sure everything is historically and visually right for the world of the show, but she cares just as much about how I feel inside that creation. There’s never a sense that I simply have to fit myself into her vision; it feels like we’re discovering the character together each time we do this.

That kind of trust actually gives you more freedom as an actor. Denese has created something that feels lived-in and specific to her rather than simply “period,” and that distinction matters. There’s always this wonderful final moment for me when the hair is done, the shoes are on and I’m completely dressed. I look in the mirror and I think “Callie has arrived.”

JHPENTERTAINMENT: What does presenting this show outdoors add to the overall feel of the piece?

CASSIE DONEGAN: There’s something incredibly special about telling this particular story outdoors because suddenly the environment becomes part of the production. You feel the temperature change as the evening goes on, you hear the sounds around you, you feel the ground beneath your feet. You’re telling the story of people whose lives and livelihoods were quite literally tied to this land while standing on that land yourself.
And I think what makes it even more extraordinary is that we aren’t just performing Smoke outdoors. We’re performing it in Adams, Tennessee, where so much of this history actually happened. There are people in this community whose families have been connected to tobacco farming for generations, and there are many people here working in that profession today. This isn’t simply a piece of Tennessee history. It’s family history. It makes you feel a real responsibility to tell it honestly.

There are also things nature gives you that no lighting or sound designer could ever perfectly recreate. The sky gets darker around you as the story gets darker. You hear insects and wind and all of those sounds that belong to rural Tennessee. And, occasionally, you get a pack of coyotes howling somewhere in the distance in the middle of a scene which is always a particularly exciting reminder that we are, in fact, doing outdoor theatre! There’s a rawness and unpredictability to it. In a piece like Smoke, where land, livelihood, community and survival are so intertwined, I can’t imagine a more fitting way to experience it.

JHPENTERTAINMENT: Ok, in the spirit of your pageant career—you did, after all, just end your reign as Miss America 2026—let’s indulge in a little Final Question focusing on the pageant system’s mission of empowering women… Do you think things might have turned out differently during the Black Patch Tobacco Wars if the women had been the ones calling the shots?

CASSIE DONEGAN: Well, I think the question is more what might have been different if the women living with the consequences had also been given equal power in determining the choices. Women may have approached some of those decisions with a different calculation of what was actually at stake. When you are thinking not only about winning the fight in front of you, but about what happens to the family, the home and the community after that fight is over, it can change what victory even means. Would there still have been anger? Absolutely. Would women have agreed on everything? Certainly not. But perhaps there would have been more voices asking, “What happens after this? What does this decision cost us? And who will still be carrying that cost when the men making it have left the room?”

I think we sometimes do women a disservice when we suggest that if women were in charge, everything would automatically become peaceful and perfect. Women are human. We disagree. We make mistakes. We can be stubborn, ambitious, angry and complicated. I actually think acknowledging that is part of equality, too. Empowerment isn’t putting women on a pedestal and expecting them to save everyone. It’s giving women the same freedom to be fully human and still trusting them with a seat at the table. I don’t believe leadership has to be the loudest voice in the room. In fact, it is often quite the opposite. Sometimes it is asking the question no one else thought to ask. Sometimes, yes, it means being gutsy enough to plant your feet and say, “No. We’re going to do this differently.” Callie certainly has that last one down!

I think that is one of the great lessons of women’s empowerment for me: women don’t need power because we will always make the right decisions. Women deserve power because decisions are better when the people affected by them have an equal hand in making them. No society makes its best decisions when half of the people living with the consequences are missing from the conversation.

And after spending a year with the privilege of carrying a title built around scholarship, service and the empowerment of women, I believe that more strongly than ever. Give women the education, the opportunity, the microphone and, most importantly, an actual seat at the table with listening ears and then don’t be surprised when they change the conversation.

RAPID FIRE WITH PAYTON JUSTICE, NED MUNROE IN SMOKE

JHPENTERTAINMENT: Ned Munroe is Callie’s twenty-something brother, making him one of the younger members of a family caught up in a conflict much bigger than himself. How does Ned’s youth and relationship to the Hartley family influence the way you play him?

PAYTON JUSTICE: I think Ned has a lot of confidence in what he believes and doesn’t really hesitate once he decides something is right. His youth gives him a kind of certainty about what needs to change, maybe to the point of being slightly naive, but he only becomes more committed as the story goes on. He truly cares about the Hartley family, and I think watching what they go through makes the fight very personal for him very quickly.

JHPENTERTAINMENT: JHPENTERTAINMENT: As I familiarized myself with the script in preparation of chatting with you all, I noticed David Alford includes a quote from Robert Penn Warren’s Night Rider within the opening pages of the script: “The good Lord never got a thousand or so men together for any purpose without a liberal assortment of sons-or-bitchen thrown in.” Has your understanding of that quote—or what it says about Ned and the world he’s living in—changed as you’ve gotten to know Ned through the rehearsal process?

PAYTON JUSTICE: I think that quote really speaks to how complicated people can be once they’re united around the same cause. Everyone may agree that something needs to change, but that doesn’t mean they agree on how to get there or how far they should go, you know? And the cool thing about SMOKE is that every character walks away completely changed. Finding that contrast between Ned in the first scene and his last is something I’ve loved playing around with and finding with Galen and the cast. Cassie, who plays my sister, offered some wonderful insight on how our dynamic potentially shifts through the show. And I think that will really come through.

JHPENTERTAINMENT: With the Night Riders, raids and escalating violence surrounding the Hartley family, Ned’s world is hardly the idyllic family-farm existence it might initially appear to be. How do you balance his youth with the increasingly serious circumstances he’s facing?

PAYTON JUSTICE: I don’t really approach Ned as innocent just because he’s young. He’s outspoken and sure of himself from the beginning, and even decides to put law school on hold to fight for what he thinks is right. He really only becomes more committed as things get more and more consequential.

JHPENTERTAINMENT: This production is being presented in the Kay Bagby Outdoor Theatre on the grounds of the Bell School—the same grounds where David Alford’s SPIRIT: The Authentic Story of the Bell Witch is performed, and, of course, the very place associated with the actual Bell Witch hauntings. So, during rehearsals, has “Kate”—the infamous spirit herself—made her presence known to you?

PAYTON JUSTICE: She has not yet. Thankfully. And I’m totally fine with keeping it that way!

JHPENTERTAINMENT: If SMOKE gives audiences a window into a piece of Tennessee and Kentucky history that many may not know, what do you hope they take away about the people who actually lived through the Black Patch Tobacco Wars?

PAYTON JUSTICE:  I hope people leave understanding why these farmers felt like they had to do something, while also seeing how complicated what came after that became. There is a very relevant conversation about what happens when people feel powerless long enough and finally decide to fight back. I don’t think the show necessarily gives you an easy answer to the moral conundrum the characters are all facing. And that is something I actually really like about it.

SMOKE: A Ballad of the Night Riders signifies the opening of this year’s annual installment of Bell Witch Festival with performances weekends Thursday October 1 thru Saturday, October 10. Specific show dates are October 1, 2, 3, 8, 9 & 10. Each evening the grounds at the Bell School Community Complex  (7517 US-41 Adams, TN 37010) open at 6pm giving attendees the time and opportunity to peruse the grounds, the gift shop and vendors, including food trucks for a delicious meal before the at Kay Bagby Theatre and Brooksher Outdoor Pavilion seating opens at 7pm for the 7:30pm showtime. Grass Lawn tickets are $22.13 to 27.38. Seating at the covered pavilion range in price from $37.89 to $27.35 (prices include fees). CLICK HERE to purchase SMOKE tickets. For a preview of the music from SMOKE, give the original 2010 cast recording a listen on Spotify or Amazon.

Following SMOKE, the Bell Witch Fall Festival continues October 17 with Red River Tales & The Bell Witch Opry Revue. The afternoon celebration begins from 3:00–6:00 p.m. and features local blacksmiths, tobacco twisters, chandlers, broom makers and more, along with clogging, storytelling and music—all free to enjoy. Food will also be available for purchase from vendors on the Bell School grounds.

Then at 6:30 p.m., The Bell Witch Opry Revue makes its festival debut. Directed and arranged by Bel Stuart, the revue transports audiences into the world of a live radio program from days gone by. Tickets are $5 for Grass Lawn seating or $15-$20 for pavilion seating. CLICK HERE to reserve your FREE tickets for the afternoon fun and to purchase tickets to Red River Tales  & The Bell Witch Opry Revue. Please Note: On the ticket grid, the red area can be selected for the FREE aspects of October 17 events, to purchase tickets for the Revue, please select either green (lawn ticket option) or reserved seating under the pavilion.

The Bell Witch Fall Festival then culminates October 22–31 with the annual presentation of David Alford’s spellbinding SPIRIT: The Authentic Story of the Bell Witch, presented on the hallowed grounds where the legendary Bell Witch is said to have roamed. Festival grounds open nightly at 6pm, with seating at 7pm and the show at 7:30pm, giving visitors time to explore vendors, grab dinner and settle in for an evening of history, entertainment and a little supernatural intrigue. SPIRIT tickets range in price from $27.38 to $43.14. CLICK HERE for tickets. For more information, call 615.696.1300 or visit bellwitchfallfestival.com. To keep up with all things Bell Witch Fall Festival, check them out on Facebook and Insta.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 10Q With ‘The Tide’ Playwright/Director Cathy Street and Cast Member Chris Lee; World Premiere Staged Reading at Darkhorse Theatre July 9-11

by

While most folks were experimenting with sourdough and reorganizing closets during the pandemic, playwright and director Cathy Street used that uncertain time in a much more creative way. At her husband JJ‘s suggestion, Street listened to the music of The War and Treaty. From the get, the music of the then-future Grammy nominees sparked something in Street as the project began to take shape. What started as an idea in 2020 has become THE TIDE, a powerful new musical featuring songs by The War and Treaty with a book by Cathy Street. Working with Street Theatre Company– the company Street herself founded in 2006–to present this staged readying at The Darkhorse Theatre July 9-11—it’s the perfect symbiotic homecoming indeed. 

The reading also features another Nashville homecoming as Chris Lee takes on THE TIDE‘s lead role, Marcus. Lee’s acting career began to take shape while attending Belmont University, appearing in a a handful of production on campus and around Music City. In the years since, his career has taken him from local theatre stages to the Chicago company of Hamilton, a Broadway debut in Hell’s Kitchen as well as acclaimed roles on TV’s The Chi and his current role as Randy on CBS‘s Tracker. Before audiences experience this exciting new work in development, we caught up with Street and Lee for another edition of JHPEntertainment.com’s recurring interview feature Rapid Fire 10Q. 

—————

RAPID FIRE 10Q WITH THE TIDE’s PLAYWRIGHT/DIRECTOR CATHY STREET AND ACTOR CHRIS LEE

RAPID FIRE WITH THE TIDE‘s PLAYWRIGHT/DIRECTOR CATHY STREET

JHPENTERTAINMENT: THE TIDE began taking shape during one of the most uncertain periods in recent history. Looking back to 2020, what was the spark that first made you realize this story was one you simply had to tell?

CATHY STREET: It was a combination of a few things: feeling isolated during the pandemic, the social injustices that were happening at the time (and obviously still are), hearing the music of The War and Treaty, and learning their story.  All of those elements came together and I wanted to explore the issue of feeling powerless when everything is so overwhelming…and what it is that keeps us going forward in the face of feeling helpless. 

JHPENTERTAINMENT: The songs of The War and Treaty are so emotionally rich and deeply rooted in hope, perseverance and love. What was it about their music that inspired this story, and what was it like reaching out to them with your vision and receiving their blessing to build a musical around their work?

CATHY STREET: It was magical. The Hearts Town album in particular is written SO theatrically! The harmonies, the feel/emotions of the songs…I could literally visualize moments on stage listening to the songs. I reached out to Michael and Tanya through Facebook (!) and asked them how they would feel if I used their songs in an original musical. I let them know the idea of the piece and they were very enthusiastic. They said they had always felt their songs had a theatrical life to them. So at that point I started writing, met with them a couple of times, and they even shared a few songs that had not previously been released that were perfect for the story!

JHPENTERTAINMENT: Thanks in part to a successful Kickstarter campaign THE TIDE is making its debut with this world premiere staged reading in Nashville, presented by Street Theatre Company—the company you founded 20 years ago. What does it mean to introduce this new musical in the city where Street Theatre Company began and to see the organization continuing to thrive all these years later?

CATHY STREET: WOW is all I can say. It is so fitting to be introducing the work here. Randy Craft has done such an amazing job at the helm of STC-he’s been  A.D. almost as long as I was! I have been lucky enough to sneak in and see a few STC shows through the years and he is doing such impressive work. Being able to partner with him and so many STC friends from my years here has been very emotional. 

JHPENTERTAINMENT: You’ve assembled a cast that includes longtime Street Theatre Company favorites alongside some exciting new performers, including a reunion with Chris Lee. What made this group the right artists to help introduce THE TIDE to an audience for the very first time?

CATHY STREET: When I reached out to Chris about this, I told him the truth-that when I started writing this piece, he was always who I pictured as Marcus in a ‘perfect world.’ And crazy that the perfect world has come true. And having STC friends involved onstage and off-it is like a beautiful reunion. There is so much joy, reminiscing, and love in the room. And I don’t want to leave out the new people I am getting to work with, too. They are incredible and kind and talented. Nashville is so spoiled with talent! Also super cool is that I did an initial seated reading of the show in Wilmington, NC a few years back and a few of those actors are coming into town for THIS one, too.

JHPENTERTAINMENT: As the director of this staged reading, you are now bringing the world you created in THE TIDE from the page to the stage. What has that process been like, and what does it mean to have Randy Craft and Street Theatre Company supporting this next step in the musical’s journey?

CATHY STREET: The process has been (and still is) pretty terrifying-haha. Every day I have a range of emotions from excitement to fear. I mean, I think anyone developing a piece is probably filled with self-doubt along the way. Right?? But when I hear the actors sing the songs with vocal arrangements created by STC’s Randy Craft, who’s not only helping us produce it, but also leading the band, I am so happy-hearing and seeing what was in my head six years ago. And I am reminded by my supportive friends and amazing husband JJ who has been with me every step of the way that this is only a step in the journey. It is not expected to be done-that’s why we are doing this. To see what works, what doesn’t… And honestly, seeing it on stage in and with my community of 13 years in Nashville is enough-it provides me with a sense of completion. I am surrounded by support and love and I feel it-so to quote a line from the show, I will just “Do it scared.” 

RAPID FIRE WITH THE TIDE‘s MARCUS, ACTOR CHRIS LEE

JHPENTERTAINMENT: What does it feel like returning to Nashville—and to the Street Theatre Company family—to help introduce THE TIDE to audiences?

CHRIS LEE: Wow. Honestly, brother, it’s been absolutely incredible. Remarkably refreshing. Being around so many artists of deferent ages and background that truly just care about the work and nothing more feels so rare these days in theatre. Not to mention where it all really began for me. Nashville theatre is the center of my stage education and Cathy gave me so many opportunities as a young person to shine, learn with grace, and find my voice with the audience. It’s been such a joy to be back and help bring life to this thoughtful piece. 

JHPENTERTAINMENT: You’re not the only one returning home…Marcus—your staged reading role in THE TIDE—returns home aa well. While he expects one reality, he finds his world turned upside down. How would you describe Marcus and his circumstances, and what makes him such a compelling character to explore?

CHRIS LEE: Marcus feels to me like a beautiful representation of the average American. Experiencing trauma in life can often aid us in creating a narrative that hope may be a fallacy. And that narrative can be validated by the terrible issues that we as a nation develop over time or realize have always been underlying and begin to come to light in a way that makes us feel like everything we’ve been taught about love and acceptance is a lie. What makes Marcus so compelling to me is that he feels so deeply while he claims he can’t feel. He’s in constant search for reason though it seems he’s given up. It leads me to believe we are never actually truly satisfied with hanging it up in life. There’s something in us that won’t let go of trying to find that light within ourselves and others around us. There must be good. 

JHPENTERTAINMENT: As you’ve gotten to know Marcus throughout the rehearsal process, what’s one quality or character trait he possesses that you’d be ok if it stays with you?

CHRIS LEE: His curiosity. Though he’s defeated, he remains curious of the future. Especially when it comes to Faith. He’s curious if it’s possible to find the hope she has. I admire that. 

JHPENTERTAINMENT: You built the foundation of your career performing with Street Theatre Company and other Nashville theaters. Looking back now, how did those experiences prepare you for the path that’s followed—from Hamilton in Chicago to The Chi and your current role as Randy on CBS’s hugely popular action drama Tracker? (congrats on the bump to series regular for the upcoming 4th Season, btw!)

CHRIS LEE: Haha, thank you. Man, there’s so much to say about that. Simply put, I would’ve never been prepared to truly understand the responsibility of carrying and serving a show. It was monumental that at such a young age I was able to fail gracefully on stage in safe environments. I learned everything and still apply the same principals today. I’m eternally grateful. Especially to Cathy and the Belmont University Musical Theatre program! 

JHPENTERTAINMENT: THE TIDE explores themes of fear, freedom, resistance and the importance of human connection. What do you hope audiences take away after experiencing this first staged reading?

CHRIS LEE: I hope that if they’re asleep they WAKE UP! And if they’re awake they remain alert and aware that change is inevitable but it is necessary. We must do our part!

—————

THE TIDE: A New Musical features songs by The War and Treaty with a book by Cathy Street. Joining Chris Lee, is a talented cast including Isiah Rankin, Dee Hammonds, Raven Buntyn, Dawson Rose Hammonds, James Rudolph, Savannah Stein, Brandon Cox, O’Neal Black, Nikki Berra, Tristan Valdez, Shane Kopischke, Tony Nappo, Alan Smith, Adrian Cook & Clay Hillwig with ensemble members Heidi Buyck, Sam Robinson, Yeavonne Cox, Sarah Levis, Helen Ralston, Jake Peluso-Harper, Brea Lynn Wardlaw and Jon Royal. Crew for THE TIDE includes: Music Director Randy Craft, Stage Manager Sarah Johnson, Light Designer/Operator Steven Steele, Sound Designer/Operator Jacob Allen, Projections JJ Street with live musical accompaniment by Conductor/Keyboardist Randy Craft , Nick Palmer on Guitar, Bassist Braxton Algood & JJ Street on Drums.  

Presented FREE to all attendees by Street Theatre Company, the production is part of the musical’s ongoing development journey, with audience feedback helping shape the future of this new work. The production contains strong language, potentially disturbing imagery and references to assault. Viewer discretion is advised for younger audience members. The world premiere staged reading runs July 9-11, 2026, with a 7:30 curtain each night at The Darkhorse Theater (4610 Charlotte Ave, Nashville, TN 37209). 

To RSVP for FREE tickets to any of THE TIDE‘s three staged readings, CLICK HERE. For future developments of THE TIDE and to catch their coming season, follow Street Theatre Company on Facebook and Insta or CLICK HERE to join their mailing list.

Following THE TIDE, STC kicks off their 2026/2027 Season with THE WOODSMAN, an inventive exploration of the untold story of the Tin Man inspired by Frank L. Baum‘s Oz novels. Written by James Ortiz with music by Edward W. Hardy and lyrics by Jennifer Loring, this adaptation tells the story through puppetry, song and movement and will be directed for STC by Jonah M. Jackson, CLICK HERE to purchase season tickets.

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

Shadows and Storytelling: Rapid Fire Q&A With Sarah Fornace & Julia Miller; Manual Cinema’s The 4th Witch at Oz Arts June 4-6

by

Manual Cinema’s The 4th Witch at Oz Arts June 4-6

For more than 15 years, Manual Cinema has been redefining the boundaries of live performance, blending shadow puppetry, filmmaking, music, animation, and theatrical storytelling into an experience unlike anything else on stage. The Emmy Award-winning collective’s latest production, The 4th Witch, offers a bold new perspective on Shakespeare‘s Macbeth, transforming one of literature’s most enduring tales into an imaginative coming-of-age story filled with the company’s signature artistry and innovation.

Ahead of Manual Cinema’s June 4-6 engagement at OZ Arts Nashville, JHPENTERTAINMENT caught up with Julia Miller and Sarah Fornace, two of the collective’s five Co-Artistic Directors, to discuss the origins of the company, the challenges of touring such a technically ambitious production, the collaborative process behind their work, and what’s next for one of the most inventive theatrical collectives working today.

RAPID FIRE Q&A WITH MANUAL CINEMA’s JULIA MILLER AND SARAH FORNACE

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: Manual Cinema’s audiences range from young children and families to theater lovers, film buffs, and aspiring artists. What do you think allows the work to connect with such a wide variety of people?

JULIA MILLER: I think puppetry as a medium can be profoundly impactful. There is something about bringing the inanimate to life that feels like magic. Something special happens through the work of the puppeteer and the audience, these objects are imbued with so much life and emotion, you feel it in a different way than watching a human perform. I think the handmade quality is also meaningful. Seeing the hands (sometimes literally) of the makers feels special in a time where so much of what we consume is digitally rendered. There is something about the humanness of the objects and the performance that seems to affect people.

JHPENTERTAINMENT: You’ve worn many hats within Manual Cinema as a director, puppeteer, puppet designer, and performer. Which part of the creative process feels most rewarding to you?

JULIA MILLER: My background/training is in performances, so I love being in rehearsal and performing in the shows. Working with so many amazing performers to create what eventually becomes a very intricate, tightly coordinated dance, is a special experience. I love developing new types of cinematic puppetry shots and techniques, but I also love designing puppets, directing, and devising stories with the other Co-Artistic Directors. I have so many interests I feel lucky to work in an environment that incorporates so many of them.

JHPENTERTAINMENT: Before co-founding Manual Cinema, you trained in devised theater, clown, and mask work in a variety of settings, including Italy. How do those disciplines continue to influence your storytelling today?

JULIA MILLER: The physical theatre training I did in mask, clown, and commedia dell’arte is all about specificity of action and gesture, how fast or slow you do something can tell the audience something different. So much of puppetry is that. Both share the same foundational principles, breath, focus, and weight. When I started working in puppetry I just began translating that work through an object instead of my body. I’ve always loved to work collaboratively, devising work in an ensemble is challenging in that there is a lot of give and take and negotiation between different ideas, but work made by many hands has so much more depth and personality to me. You can feel the many brains that worked together to make it, and I’ve always been drawn to that.

JHPENTERTAINMENT: Audiences see the finished production, but what would surprise them most about the amount of preparation and coordination required behind the scenes?

JULIA MILLER: Something unique to Manual Cinema performances is that you get to see the ensemble create all of the images of the movie in real time, on stage, below the projection screen. It takes a lot of work to coordinate all of that specific blocking, to make the transitions seamless and to the music, everything in sync. The puppeteers don’t get a break once the show starts. They play multiple characters, manipulate puppets, act as editors and lighting designers, track so many small props and costume changes, all tightly choreographed between five puppeteers. It’s like learning a dance by heart or memorizing a piece of music, you want to get to the point where you don’t have to think about what is next, your body just knows, and that takes repetition and doing the show over and over again. But when it’s there it really is like NASCAR, everyone moving in a tight little dance around each other, each move you make direct, efficient, and in relationship to someone else. It is amazing when it all comes together.

JHPENTERTAINMENT: Every Manual Cinema performance contains live, in-the-moment elements. Even with the film and projection components, is every performance of The 4th Witch a little different from the one before it?

JULIA MILLER: Absolutely. The container of the show is fixed in that we are all executing a series of repeatable actions. The choreography is set and does not change, even the timing is set exactly to sound design and music so there is no room for improvisation. That being said, it’s live theatre, props get left on the wrong side of the stage, puppets go missing, someone forgets a piece of blocking, but we just have to keep moving. There isn’t time to stop or feel bad because then you’ll be late for your next thing. The audience never notices, but the puppeteers always feel it, you just have to let go and move on. It’s a hard lesson I’m still learning. The audiences also really impact the performance. Sometimes we have a very rowdy house that isn’t afraid to laugh or audibly react. Those are always energizing because we get more feedback from the audience and play off of each other. Other times we get very focused but quiet houses and that changes the dynamic as well. Each audience is unique and reacts differently so that keeps us on our toes and changes the mood slightly night to night.

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: For readers who may be discovering Manual Cinema for the first time, how do you describe what the company does in one or two sentences?

SARAH FORNACE: Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company. We combine handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen that feel human, handmade, and urgent. We try to combine the sweeping storytelling of cinema with the deep human connection of live theatre.

JHPENTERTAINMENT: Manual Cinema was founded in 2010 by you, Julia Miller, Drew Dir, Ben Kauffman, and Kyle Vegter. Looking back 15-plus years later, did you have any idea the collective would grow into what it is today?

SARAH FORNACE: No! We started working together to create a short piece called “The Ballad of Lula del Ray.” We performed it in DIY spaces and small festivals in Chicago. People started to ask us what we would make next, and we came up with ideas for more shows. We had no idea that we would tour the world (every continent except Antartica) and still be working together 15 years later!

JHPENTERTAINMENT: One of the things that makes Manual Cinema unique is its deeply collaborative nature. What does the creative process look like when five co-artistic directors are helping shape a project?

SARAH FORNACE: It depends on the project! Some start with a story idea, some start with literary or biographical material that we are adapting, and some start with music! Some parts of the shows start with storyboards or animatics, and some are music-first. Generally, we will have at least one artistic director in the puppetry ensemble who helps shape the choreography and the story from the inside of the show. And usually we will have a director or an outside eye who is shaping it from the outside.

JHPENTERTAINMENT: You’ve worked with the same founding team since 2010. What’s the secret to maintaining a creative partnership for that long?

SARAH FORNACE: Good question! Fifteen years in, I think that we are still figuring out how to make work that is artistically exciting to us and financially lucrative enough to keep our doors open! The industry is always shifting, and I think that all the Manual Cinema artistic directors are incredibly smart and uniquely talented at telling stories that address the highs and lows of what it means to be human and how we try (and sometimes fail) to connect with each other. There is no one else I would rather tell stories and make work with!

JHPENTERTAINMENT: Outside of Manual Cinema, you’ve worked in theater, choreography, filmmaking, and even video game storytelling. How do those experiences influence the work you bring back to the company?

SARAH FORNACE: The great thing about being a deviser/director or a performer with Manual Cinema is that you get to do a bit of everything and bring all of your skills, interests, and problem-solving abilities to the project! As a performer in The 4th Witch, I get to not only act in silhouette and puppeteer but also control the shots and pacing of the show in the same way that a film editor and director of photography would in an actual film. I also get to work in super close collaboration with four of the most incredible puppeteers working today. They bring insights and skills from their various other backgrounds in filmmaking, animation, ballet, musical theatre, and clown. It feels like being in a Nascar pit crew of storytelling!

JHPENTERTAINMENT: The 4th Witch turns Shakespeare’s Macbeth on its head. Where did the initial spark for this reimagining come from?

SARAH FORNACE: We knew that we wanted to take a sideways approach akin to Tom Stoppard’s Rosencrantz and Guildenstern are Dead. Adapting the show in this day and age, we were struck by how the play is suffused with an undercurrent of war. We thought that we would follow a young character whose village is destroyed in the first battle in the play. In Shakespeare’s text, we only hear about Macbeth’s conquest, but we wanted to show the human cost. It is also a coming of age story and a story about how we are all caught up in cycles of violence and capitalism even when we try to escape them. Ultimately, it is about how we can take all of the parts of ourselves and our past, the good and the bad, and move forward and create good in the world.

JHPENTERTAINMENT: Touring a production that combines film, live animation, puppetry, music, and performance seems like a massive logistical undertaking. What’s the biggest challenge in taking The 4th Witch from city to city?

SARAH FORNACE: We travel with a team of ten: 8 performers and 2 backstage positions (a sound engineer and a stage manager/technical director). Everyone in the cast is very good at their jobs. We not only perform and execute the show, but we also set it up in collaboration with the venue technicians and staff! There are so many moving parts in the show: hundreds of puppets, 4 old school overhead projectors, over a dozen sound looping pedals, several musical instruments both acoustic and electric, a camera, an array of video monitors…. All of that gets set up and calibrated to each venue before we welcome in the audience!

JHPENTERTAINMENT: Manual Cinema earned an Emmy Award in 2017 for The Forger. How did receiving that recognition impact the company and its future ambitions?

SARAH FORNACE: It was an honor to be on that project and tell the story of someone who helped so many hundreds of people (many children) escape Nazi France with the incredible journalists and filmmakers at the NYTimes (shout out to Samantha Stark and Alexandra Garcia) . I think that the success of that project opened the door to more documentary work. The shadow animation and rich sound/music scoring we do is actually a great fit for bringing historical material to life onscreen.

JHPENTERTAINMENT: Looking ahead, what’s next for you personally and what’s next for Manual Cinema as The 4th Witch continues its tour?

SARAH FORNACE: We are working on a new show inspired by A.I. and the way that we interact with technology in our daily lives. I am calling it a humanist show, and the tagline is “save your mind, save the world!”

Manual Cinema‘s work exists at the intersection of innovation and imagination, where centuries-old storytelling techniques meet cutting-edge theatrical craftsmanship. As The 4th Witch continues its journey across the country, audiences have an opportunity to witness firsthand why the company’s distinctive blend of puppetry, cinema, music, and live performance has captivated theatergoers around the world. For Nashville audiences, OZ Arts provides the perfect setting to experience a production that challenges expectations while reminding us of the enduring power of storytelling.

The 4th Witch takes to the stage at OZ Arts Nashville (6172 Cockrill Bend Circle) from Thursday, June 4 thru Saturday, June 6 with performances each night at 8pm and a Saturday matinee at 2pm. The venue opens an hour before each performance and offers a bar menu featuring a variety of alcoholic and nonalcoholic beverages for purchase. Youth and Artists/Creative tickets are $25, General Admission tickets are $35 and Generous tickets are $45. CLICK HERE to purchase tickets. As an extra bit of fun, following the June 5 performance, Oz Arts will host a post-show Friday Night Talkback featuring Sarah Fornace and Julia Miller moderated by Nashville Shakespeare Festival‘s Artistic Director Jason Spelbring. (this event is free to Friday night’s audience).

This three-day, four performance presentation of Manual Cinema’s The 4th Witch marks the close of Oz Arts‘  current season, so be sure and CLICK HERE to stay in the know as Oz Arts reveals their coming 2026/2027 Season soon. To keep up with all things Oz Arts, follow them on Facebook, YouTube and Insta.

For more about Manual Cinema, and their current multi-city tour schedule, CLICK HERE or follow them on Facebook, Insta, Vimeo and Bandcamp.

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

Rapid Fire Confessional with ‘Sister Act’ Cast and Director; Nashville Rep’s Production Continuing at TPAC Through April 19

by

There’s joy, there’s gospel, there’s glittering habits, powerhouse vocals and a nun on the run—basically everything you want from Nashville Repertory Theatre’s production of Sister Act–continuing at TPAC‘s Polk Theatre thru Sunday, April 19. As the cast and crew prepared for the show’s run, Sister Act stars Deloris Van Cartier herself, Meggan Utech, Mother Superior (Megan Murphy Chambers), and Sister Mary Robert (Shelby Talbert) –along with director Jason Spelbring, spilled a little holy tea with JHPEntertainment in our latest Rapid Fire 20Q.

—–

RAPID FIRE Q&A WITH NASHVILLE REP’s SISTER ACT CAST MEMBERS AND DIRECTOR

RAPID FIRE WITH SISTER ACT‘s DELORIS VAN CARTIER, MEGGAN UTECH

JHPENTERTAINMENT: As I was researching to chat with you, your cast mates and your director, I remembered, this isn’t your first time in the role of Sister Act’s Deloris.  Back in 2018 you starred in the iconic role at the now-defunct, but fondly remembered Chaffin’s Barn —in the time since, has your perspective on Deloris evolved, and are you approaching her differently this time around, or is it simply a case of getting “back in the habit”? 

MEGGAN UTECH: It’s a double edged sword to replay any role. I LOVE Deloris and to have her in my bones and memorized made it easier to play and learn new things (and thanks to Jason’s incredible direction I got to dive SO DEEP into Deloris’ brain) but I also had to forget all of the bad habits (pun intended) that I had learned…weird notes (Sorry Sarah!)* old choreo (Sorry Joi) *[Sarah Michele Bailey and Joi Ware being this production’s music director and choreographer], rote ways I delivered lines that no longer apply, Etc. Fresh eyes is always best, but thank god I didn’t have to relearn these lines and songs completely. My brain is not as elastic as it was in 2018. Who’s is!?

JHPENTERTAINMENT: over the years you’ve appeared in a number of shows with Nashville Rep. How does stepping back into this role, this time with one of Nashville’s most respected and accomplished companies, feel at this point in your journey as a performer? 

MEGGAN UTECH: I worked really hard to be here. But harshest part of theatre is, just because you’ve done the work and put in the time does not mean you get to just HAVE a role. You have to earn every single casting, from Deloris to Featured Third Christmas Tree From the Right. I had a very wild journey to get here both professionally and, in this last year, personally. It was hard not to see this as a conclusion to a long journey, no matter which way the chips fell. I’m so SO filled with gratitude that this how it turned out. 

JHPENTERTAINMENT: Deloris is such a force of personality—what’s been the most rewarding (or surprising) part of rediscovering her in this production? 

MEGGAN UTECH: It was working with Jason. He is truly one of the most brilliant directors I’ve worked with. I could come to him and ask the most minute detailed  questions (“do we think this is the first time Deloris has ever gotten a present from Curtis?”) and he would fire off an answer that made me rethink an entire scene (“I think it’s  the first time he’s done it in front of his boys”).

He was never annoyed or impatient, was always curious about my opinions, and trusted that when I had them, it was for good reason.

This is a long story but…One of the most validating moments I’ve ever had as a black actress was when working on a scene where Deloris is sleeping. Bare hair on pillowcase. Jason had fostered an environment where I could say to him “a black woman would almost NEVER sleep without a bonnet on with all this glorious hair”(shout out to Melissa Drumon for her incredible design across the board and Meredith Schieltz for their excellent execution. I look like a god). He immediately said “ok how do we fix it?”. Not five minutes later, I had to jump up on my bed in my slippers/house shoes. Once again I trepidatiously had to say black folks would never stand on their bed with house shoes on, most black folks won’t even allow outside clothes in their bed. I expected pushback or excuses or to feel like I was just making a big deal out of nothing. Not only did he immediately take it all in, solve the problem, and then THANK ME for bringing him this new knowledge. He did not want to have the black members of the audience taken out of the production by missing this small but significant cultural thing. 

So many things have to be in place to have a team of actors, tech, costumes, music, choreo pitch in to fix this, and everyone did it happily. And that’s because we are under the great umbrella of Jason’s direction. 

JHPENTERTAINMENT: Deloris’ “Take Me to Heaven” not only starts Sister Act, but quickly sets the bar for the caliber of  music featured throughout. From a technical standpoint, how has working with Music Director Sarah Michele Bailey helped shape your vocal approach to Deloris’ iconic numbers?

MEGGAN UTECH: Music is always the scariest part of any process to me, and to have Sarah’s gentile but constant force emanating from the pit is the only reason I get through this show. When I’m unsure she looks up at me, and I am reinvigorated. I also MUST mention that she worked her ass of to provide every single cast member with individual vocal tracks THAT SHE CREATED for every single song so they could learn and review without having to listen to horrible voice memos of themselves struggling through new harmonies. That kind of preparation is invaluable to an actor, and being led by someone that cares enough to ensure that preparation is the only way I can get through my insecurities as a singer. 

JHPENTERTAINMENT: Is there an attitude or attribute of Deloris’ that you might incorporate into your own life going forward?

MEGGAN UTECH: I firmly believe that I’ve gotten to play this role more than once because Deloris comes into my life when I need her most. She busts in and forces me sing out loud “Look at me, can’t you see, I’m fabulous, baby”, over and over until I can’t help but believe it. Everything else falls away, and I am standing there, and I feel truly TRULY fabulous. I will take that feeling with me forever. 

 

RAPID FIRE WITH SISTER ACT‘s MOTHER SUPERIOR, MEGAN MURPHY CHAMBERS

JHPENTERTAINMENT: You recently directed Boeing Boeing for another local company and now step into the role of Sister Act’s Mother Superior for Nashville Rep—how does shifting from director back to performer influence your process and enhance your performance?

MEGAN MURPHY CHAMBERS: I loved every second of my Boeing experience, and I truly hope to direct again soon, and it’s positively luxurious to downshift from directing to performing, especially in hands as capable as Jason’s. It’s wonderful to have a directing experience fresh on my mind as I step into the rehearsal process. It’s always useful to remember that everything an individual performer is doing has to be in service at the bigger picture, so I feel like I came into day one of rehearsal for Sister Act feeling very sharp, very ready, and very happy to not be the one answering all the questions.

JHPENTERTAINMENT: Mother Superior walks a delicate line between authority and warmth—what’s your key to finding that balance?

MEGAN MURPHY CHAMBERS: I feel really lucky to be working opposite some of my favorite performers in town, who also happened to be close friends of mine (and some fabulous new friends as well – welcome additions to our family, one and all!) So it’s felt really easy to snap in and out of Mother Superior’s distinct speeds. Her stiffness and directness feel totally justified, and then it’s the easiest thing in the world to melt when I’m looking in the faces of these ladies. They’re all just magical, and you can’t help but soften when the moment calls for it.

JHPENTERTAINMENT: You’ve had several memorable turns on The Rep stage—what makes this role feel unique or particularly meaningful?

MEGAN MURPHY CHAMBERS: I don’t take a single second of any of this work for granted, so each show and rehearsal process feel like a fresh challenge and gift. But this one has ended up being special for me in a way I didn’t expect. Since Mother Superior doesn’t join in the fun, if you will, for a good part of the show, the payoff at the end once I finally come around makes me feel like my heart will burst. It’s a really earned moment for the character, and a really joyful moment for me as a human. I finally get to shake my tailfeather and cut up with my friends! Well worth the wait!

JHPENTERTAINMENT: Your one-woman show Broad was a fan favorite, as were your MAS collabs—does that type of cabaret-style storytelling experience inform how you connect within an ensemble in a more traditional musical like Sister Act? AND…any plans for more solo shows or another MAS reunion?

MEGAN MURPHY CHAMBERS: I have loved my one woman show experiences, and hope to have many more of them. But, there’s no substitute for the collaborative process of being on stage with other people, and it’s always so fantastic to sing and laugh and act as a group. What could be better than feeling all that energy around you and getting yourself plugged into that feedback loop? I’ve never felt more accomplished than when I’ve wrapped up one of my one woman shows, but I never feel more at home than when I’m surrounded by other actors. And I’m ALWAYS cooking on another show – stay tuned.

JHPENTERTAINMENT: You recently shared a post previewing a blinged-out habit courtesy of The Rep’s resident design wizard Melissa K. Durmon—how do her creations help you physically and emotionally step into Mother Superior’s world?

MEGAN MURPHY CHAMBERS: Melissa is a master of her craft, and her attention to detail is beyond inspiring. She doesn’t miss a single opportunity to amplify a character or moment with the wardrobe, so I take every opportunity to display her work with an equal level of finesse. She nails it every time, and our Sister Act audiences are not ready for the 70s bonanza she’s serving up. It’s going to look sensational!!!

RAPID FIRE WITH SISTER ACT‘s SISTER MARY ROBERT, SHELBY TALBERT

JHPENTERTAINMENT: You’re returning to Nashville Rep after having played young Martha Cratchit in A Christmas Carol in 2023—what does it feel like to be back with the company, and how has that previous experience shaped your work?

SHELBY TALBERT: It feels amazing to come back to The Rep. It’s very exciting to see familiar faces and get to continue those relationships, while also getting to know new faces! My previous work with The Rep taught me so much about working with a big ensemble, something that came in handy with this show. It’s so important to work as a team in such a big cast and luckily everyone in this show is wonderful!

JHPENTERTAINMENT: Sister Mary Robert has some of the show’s most heartfelt—and funniest—moments. How are you leaning into the comedic side of the role?

SHELBY TALBERT: There can be a fear as an actor to feel embarrassed or scared to make a wrong choice. Our director Jason has had this saying throughout rehearsal about “failing forward,” which has given me a lot of freedom in the room to try things and lean into the comedic/awkward side of Mary Robert. That fear of making a mistake in the rehearsal process was completely wiped away which just left room to play and explore!

JHPENTERTAINMENT: This role is also a bit of a coming-of-age journey—what resonates most with you personally about Mary Robert’s arc?

SHELBY TALBERT: A lot of what Mary Robert has to overcome in this story is less about the people around her and more about her struggling with her own sense of bravery. While the influence of the convent has been a major factor in her life, it’s really her own fear that has been the thing stopping her from living the life she wants. The theme of being confident enough to take real authority of your life is something that has really resonated with me.

JHPENTERTAINMENT: Choreography plays such a huge role in this show—what has the collaboration with Joi Ware been like in shaping your physical storytelling? AND…do you have a favorite choreo moment in the show?

SHELBY TALBERT: Getting to work with Joi is always such an honor. She is the kind of choreographer who takes the time to understand each character’s motives through the choreography and why they move the way they do. At the beginning of the show Mary Robert is constantly hiding behind people and trying to make herself less noticeable. As we move through Joi’s choreography Mary Robert slowly becomes more and more sure of herself and you can see that in the later dance numbers. My favorite choreo moment in the show has got to be our trio of ladies in “Fabulous, Baby!” at the top of the show. They open the show with such power and it really sets the tone!

JHPENTERTAINMENT: Already in your stage work, you’ve tackled everything from Anne Frank to Romeo & Juliet—how does a high-energy musical comedy like Sister Act challenge you in new ways?

SHELBY TALBERT: I have never been a part of a show that has challenged me so much vocally as Sister Act does! Mary Robert goes through this incredible journey and it all culminates in “The Life I Never Led.” I wanted to make sure that I did everything I could to make that moment as beautiful and satisfying as possible. It has really pushed me to be a more confident and consistent vocalist. Luckily our show is music directed by Sarah-Michelle Bailey, who is one of the most encouraging and helpful people I have ever worked with. All the creatives and cast have put so much work and positive energy into this piece of art and I’m excited.

RAPID FIRE WITH SISTER ACT DIRECTOR, JASON SPELBRING

JHPENTERTAINMENT: Following last month’s Fat Ham, a collaboration between Nashville Shakespeare Festival and Nashvilke Repertory Theatre, you’re now directing The Rep‘s Sister Act. As Nashville Shakes‘ Artistic Director and as Director of The Rep‘s Sister Act, What do these continued partnerships between the two theatre companies mean to you?

JASON SPELBRING: This collaboration means a great deal to me both personally and for the broader theatre community here in Nashville. I do want to clarify that Sister Act is not an official co-production in the same way that Fat Ham was between Nashville Shakespeare Festival and Nashville Repertory Theatre. Rather, Sister Act represents a meaningful cross-pollination of artists, ideas, and shared values between our sister organizations. There is a natural overlap in our creative communities, and this production is a great example of that collaboration in action. What excites me most is that this kind of collaboration reflects a growing sense of alignment across our theatre community. Fat Ham was a true co-production and a strong step in that direction, and I’m incredibly proud of what we built together there. 

So while Sister Act is a different kind of partnership, it still speaks to a deepening relationship, one that I believe is setting the stage for future, fully realized co-productions. I’m genuinely excited about what’s next, and I see this as part of a broader, ongoing conversation about how our institutions can work together to better serve artists and audiences in Nashville.

JHPENTERTAINMENT: You’ve worked across a wide range of classical and contemporary pieces—what drew you specifically to Sister Act at this moment?

JASON SPELBRING: What drew me to Sister Act at this moment is its core story of transformation. As I shared in my director’s notes, we begin in a world of fear and uncertainty, and through music, community, and courage, everything shifts. What starts as muted becommes vibrant, joyful, and fully alive.  That journey—from isolation to connection, from restraint to radiance—felt especially resonant right now. I’m also continually interested in stories where a singular voice ignites change in a larger community. Deloris doesn’t lose herself in the process; she discovers herself and, in doing so, helps others do the same. That idea, that when you find your voice, you help others find theirs, is something I find both theatrically compelling and deeply human. At this moment, it feels like exactly the kind of story worth telling.

JHPENTERTAINMENT: Nashville Rep’s in-house scenic designer Gary C. Hoff never fails to wow—I frequently say I could live on his sets. What’s your favorite aspect of the set you’ve collaborated with Hoff to bring to life in Sister Act?

JASON SPELBRING: Gary is extraordinary, truly. His artistry is matched by his generosity, his kindness, and the genuine joy he brings into the room. Gary is the kind of collaborator who elevates not just the work, but everyone around him. What I love most about the set he’s designed is its sense of transformation. It holds both worlds. The grit and urgency of Deloris’s life at the start of the musical, and the warmth, structure and surprising vibrancy of the convent. Gary’s design allows them to shift seamlessly. There’s a theatrical magic to it—it feels expansive, dynamic, and deeply supportive of the storytelling. And yes, I could absolutely live in one of Gary’s sets.

I also want to express my respect for the entire design and production tea at Nashville Repertory Theatre. They are consummate professionals, skilled, collaborative, and a true dream to work with. It’s a department that operates with precision, and pride, and that makes all the difference. 

JHPENTERTAINMENT: With such a strong ensemble and creative team, how do you foster collaboration in the rehearsal room?

JASON SPELBRING: For me, collaboration isn’t just a value—it’s a necessity. I simply cannot do my job without it. I don’t have, nor should I have, all the answers. We bring the full cast and creative team into the room because each person has something to contribute. My goal as a director is to create a space where people feel empowered to share ideas, ask question, problem-solve together and ultimately shine. When that happens, the work becomes richer, more dynamic, and more truthful. It stops being about any one perspective and becomes about collective investment in telling the story as well as possible.

I really believe that to thrive in this industry, you have to collaborate openly, generously, and wit respect. That’s where the best work lives. 

JHPENTERTAINMENT: What do you hope audiences take with them long after hearing those last heavenly intonacions of Sister Act?

JASON SPELBRING: I hope audiences leave the theatre with a smile on their face and a bounce in their step. My hope is that audiences feel the journey themselves and are reminded of the power of finding their own voice and the impact it can have on the people and community around them. If anything lingers, I hope it’s that sense of possibility. That is when we show up authentically, we can connect, when we allow ourselves to be seen and heard, we don’t just transform our own lives, we help transform a community. And that’s something worth holding onto long after the final note.

—–

Whether you’re coming for the music, the comedy or the choreography, one thing’s for sure–the cast of Nashville Rep’s Sister Act is definitely in the habit of delivering and as the show moves into its second and finals week of performances, the sisters of are ready to raise the roof—and your spirits—one heavenly note at a time.

Nashville Rep‘s Sister Act continues its two-week run with five show remaining Thursday, April 16 at 7:30pm, Friday, April 17 at 7:30pm, Saturday, April 18 at 2pm and 7:30pm and a final matinee Sunday, April 19 at 2pm. CLICK HERE for tickets. Following Sister Act, Nashville Rep closes out their current season with Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase tickets. As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

 

 

Rapid Fire Q&A: Meow Meow Returns to Music City; Kamikaze Cabaret Darling at Oz Arts April 11

by

As the saying…and lyrics go…“Life is a cabaret, old chum”–and no one embodies that spirit, living life and palling around, quite like the delicious diva Meow Meow. Ahead of her April 11 return to Music City, this time playing Oz Arts Nashville, JHPEntertainment is handing the mic over (carefully…very carefully) for a chat with the one and only exquisite chanteuse for a memorable Rapid Fire Q&A.

———-

RAPID FIRE Q&A WITH MEOW MEOW; AT OZ ARTS NASHVILLE APRIL 11

JHP ENTERTAINMENT: Ok, let’s just dive right in…I keep seeing your show described as Kamikaze Cabaret. Is that a fair descriptor of an evening with Meow Meow?

MEOW MEOW: Well, I certainly give everything I’ve got to every show ! I never want to waste a moment on that stage…with a captive audience !

JHP ENTERTAINMENT: As you prepare to take the stage each night, at what point in your dressing room do you feel fully in Meow Meow mode?

MEOW MEOW: I am always in Meow mode. Stage and Life are the same for me…. I think Shakespeare MAY have put it rather better with “all the world’s a stage”…

JHP ENTERTAINMENT: Of your current set list is there a song that challenges you vocally more than others?

MEOW MEOW: NEVER ADMIT DEFEAT. CARRY ON. KAMIKAZE Cabaret, remember ? I think there is a wonderful attitude ascribed by the playwright Terence McNally to the great opera Diva Maria Callas in his play “Masterclass” : “Don’t TRY, DO” !

JHP ENTERTAINMENT: Your April 11 performance at OZ Arts marks a return to Music City, having previously wowed Nashville audiences in 2022. Is there anything you hope to revisit while you are Nashville?

MEOW MEOW: The audience was sensational. I can’t wait to love and hug them (politely) again!

JHP ENTERTAINMENT: Touring internationally, what do you cherish most about each new city you visit?

MEOW MEOW: How audiences change and how wonderful a flexible form like cabaret is to respond to those changes.

JHP ENTERTAINMENT: In previous interviews you mention drawing inspiration from a wide variety of sources…from Germany’s Weimar Era (don’t worry, my readers can Google it) to the glamour of Hedy Lamar with the avante garde unexpectedness of Dadaism (again, my readers can Google it). What is it about the early 1900s and these stylistic examples that speak to you?

MEOW MEOW: It’s particularly the teens into the 1920’s and 30’s where invention and exploration in music, language ideologies, politics are all smashing up against each other.  A fascinating time in the shattered world after the Great War and into the second world war. Everything resonates. There is nihilism and optimism.

JHP ENTERTAINMENT: Let’s be real though…do you think the 1920s could have handled Meow Meow?

MEOW MEOW: Again, I would have said to the 1920’s “don’t try, just DO”.

JHP ENTERTAINMENT: When I learned you were bringing your current show to Nashville, it took me a minute to clue in to why I knew of you…it was your collab with bandleader Thomas Lauderdale on Pink Martini’s 2019 album HOTEL AMOUR, particularly the song “I Lost Myself”. How did your participation in that project come about?

MEOW MEOW: He and I were introduced by a wonderful champion and curator of Arts and Artists – Kristy Edmunds. She just ‘had a feeling’ about the two of together  and it was musical and soul connection from the beginning. It’s a constantly inspiring and precious friendship and I’m so grateful for the adventures we’ve had around the world together – from little bars in Portland  to major orchestras and the Hollywood Bowl. I love the whole Pink Martini family and we get together whenever we can. 

JHP ENTERTAINMENT: More about “I Lost Myself”—with the opening lyric, “I’m hungry, bring me some pills on which to dine”, I was in! Whether campy or classic, teasing or torchy, do you have a lyric in a song that’s in your repertoire that you are absolutely mad about?

MEOW MEOW: SO many. I have to love all of them or I can’t sing them ! I love Patty Griffin’s poetry in her songs – one of my favourites that is like a prayer 

“All the girls you will never see

Forever a Mystery

All the Girls with their secret ways

All the Girls who went… astray.

Be Careful”

I love Thom Yorke’s writing for Radiohead. I love Brecht’s lyrics so much..I love Noel Coward !

JHP ENTERTAINMENT: I read something online describing your fan base as a cult following…that got me to thinking…if Meow Meow were a cult leader, would your music or your bawdiness be the kool-aide everyone would drink that drew them in? Or is there something else just as enticing from an evening with Meow Meow? What would your cult followers be called?

MEOW MEOW: I would hope it was my heart and joy and faith in human connection that shines through the music and the mayhem.

 JHP ENTERTAINMENT: What would the cult of Meow Meow be called?

MEOW MEOW: I have no idea what the lovers would be called…. But they definitely love to go on an adventure with me. And have very good taste, obviously.

JHP ENTERTAINMENT: Your official site meowmeowrevolution.com (love that web addy name, by the way) teases MERMAID, a new album as ‘Coming Soon’. What’s the skinny?

MEOW MEOW: Oh! It’s actually on Spotify now ! As is the gorgeous album HOTEL AMOUR of songs that I wrote with Thomas and Pink Martini and members of Oregon Symphony, with gorgeous duets with Rufus Wainwright, Michel Legrand, Barry Humphries and the Von Trapp Family singers 

JHP ENTERTAINMENT: Looking back on the 2007 High Line Festival, curated by David Bowie—where you took your place among fellow featured artists Arcade Fire, Laurie Anderson, Ricky Gervaiis, The Legendary Stardust Cowboy and more—sounds almost surreal—How did you feel in that moment?

MEOW MEOW: DIVINE

JHP ENTERTAINMENT: From Shakespeare to cabaret to film, your career spans an incredible range—including your role as Griddlebone in the 2019 star-studded film adaptation of CATS (Purrrfectly karmic casting if ever there was). Having gotten to know her a bit myself during her early country music reign, I gotta ask…what was it like working alongside Taylor Swift, in particular, in the “Macavity” number?

MEOW MEOW: Ah yes the hilarious brief moment ! She is heaven. Divine, professional, warm , and there is seriously a ray of something magical that emanates from her. She was like a special shining sun! I loved her.

JHP ENTERTAINMENT: You’ve cited comedy influences from AbFab, Dawn French & Jennifer Saunders and Lucille Ball. Gotta admit it, these mentions are just more reason to adore you as I’ve been an AbFab devotee since getting my hands on bootleg episodes before it ever made it was across the pond officially, and I have an extensive collection of Lucille Ball material. Heck, my dog is even named Lucille Desirée Ball Pinkerton—Desilu for short, but I digress…What is it about those legendary ladies of comedy and their broad style that resonates with you?

MEOW MEOW: They have funny bones, they are all their own singular creatures and they are brilliant observers of humans – and themselves . There is joy in the play of performance and they are part of the ridiculousness. All so different but so special.

JHP ENTERTAINMENT: Your shows are known for pulling audience members into the performance—sometimes as dancers, props, even furniture. What do you love most about that unpredictability?

MEOW MEOW: That’s life isn’t it ? We all need a little help from time to time… let’s see if people jump in or get scared. Im reaching out the metaphorical hand of friendship as it were. I may never even go near the audience in a show, but I like to feel we are all connected. It should be fun and full of LIFE and changeability and we should all celebrate being alive together in the room – it’s always a miracle !

JHP ENTERTAINMENT: On the subject of unpredictability—How do you handle it when an audience “volunteer” just isn’t matching the vibe?

MEOW MEOW: I don’t always ask for volunteers – it depends on the show – and I NEVER want anyone to help me if they would rather just be an onlooker. That’s bullying and I hate that. I just walk on by if people indicate. Everyone should have a great time and just feel good. The show is about the music and the fun !

JHP ENTERTAINMENT: Finally, what do you hope audiences recall long after spending the night with Meow Meow?

MEOW MEOW: I hope they can’t wait for us to visit again !!! 

———-
If there’s one thing abundantly clear after a whirlwind conversation with Meow Meow, it’s this: a night in her presence isn’t just a performance–it’s a shared act of joyful defiance, connection, and beautifully orchestrated chaos. Equal parts heart, humor and unpredictability, her brand of kamikaze cabaret invites audiences not just to watch, but to feel, to laugh and maybe even leap a little into the unknown right alongside her.
When Meow Meow returns to Music City on April 11 at Oz Arts Nashville (6172 Cockrill Bend Circle) for her 8pm show, expect the unexpected…but also expect to leave a little lighter, a little more alive, and already hoping–just as she does–that it won’t be long before she’s back to do it all over again.  At the time of this writing, Premium Table Seating has SOLD OUT, but a few General Admission tickets are still available at $40. As usual, Oz Arts Nashville also offers Artist & Creative Community tickets for $30. CLICK HERE for more info or to purchase tickets.

For the latest on Meow Meow, CLICK HERE or follow her on Insta and Facebook. To check out Meow Meow’s music, check her out on Spotify, Apple Music and Amazon Music. To keep up with all things Oz Arts Nashville, follow them on Facebook, X, YouTube and Insta.

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

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

by

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

———-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

———-

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

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

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

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