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Theatre Review: Playhouse 615’s ‘Ain’t Misbehavin’’ Swings, Sways and Soars as a Jazzy Celebration Worth Savoring

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When Ain’t Misbehavin’ first arrived on Broadway in 1978 starring Nell Carter, Ken Page, Amelia McQueen, Charlaine Woodard and André DeShields, it introduced a new generation to the music, humor and enduring brilliance of jazz icon Thomas Wright “Fats” Waller. Nearly five decades later, Playhouse 615’s production proves these songs haven’t lost a step. Under the direction of Mitchell Vantrease and featuring Yolanda Treece, Elliott Robinson, Lisa Graham, Raven Buntyn and Isiah Rankin, this vibrant revival is equal parts concert, cabaret, history lesson and celebration, delivered by a cast that understands the assignment and then some.

Unlike a traditional book musical, Ain’t Misbehavin’ doesn’t tell Waller’s life story. Instead, it uses his catalog as a lens through which to explore romance, heartbreak, joy, humor, resilience and Black artistry. The result is a revue that feels both nostalgic and surprisingly contemporary.

One of the production’s most charming touches is its homage to the aforementioned legendary original Broadway cast. Rather than adopting character names, or using their own as is often done in regional productions, the performers are billed as playing Nell, Ken, Andre, Armelia and Charlaine, honoring the now-iconic artists who first introduced these songs to Broadway audiences.

From the moment the company launches into the title number, followed by the energetic “Lookin’ Good But Feelin’ Bad,” audiences are welcomed into Vantrease’s intimate jazz club atmosphere.

Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.

Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.

Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.

The ensemble numbers are where the production truly catches fire. “The Joint is Jumpin’” practically explodes off the stage, delivering exactly the kind of high-octane energy audiences hope for when attending a show built around Waller’s music. As the Act 1 closer, it leaves the audience anticipating Act 2. Likewise, “Spreadin’ Rhythm Around” and the finale “Honeysuckle Band” showcase the cast’s impressive vocal blend and infectious enthusiasm.

Comedy plays a significant role throughout the evening, and two numbers in particular generate some of the production’s biggest laughs. Robinson’s “Your Feet’s Too Big” is a crowd-pleasing delight, while “Fat and Greasy,” featuring Robinson and Rankin, gleefully breaks down the wall between performers and audience. The interactive nature of both songs perfectly complements the nightclub setting and creates some of the evening’s most memorable moments.

Yet beneath the humor and exuberance lies something far more profound. Late in the second act comes “Black and Blue,” arguably the emotional centerpiece of the entire production. Presented simply and sincerely, the number lands with considerable power. Suddenly, the playful flirtations and comic observations that precede it take on added depth and context. It serves as both reflection and reminder, honoring the experiences woven throughout Black history while underscoring the cultural significance of Waller’s artistry. The cast delivers the number with remarkable restraint and honesty, creating one of the production’s most affecting moments.

The decision to position the musicians directly onstage pays immediate dividends.
Anchoring the evening are three exceptional musicians: John Todd on piano, Rick Malkin on drums and Owen Ananich on bass. Their presence onstage transforms the production from a traditional musical into something closer to a genuine Harlem nightclub experience. The trio doesn’t merely accompany the performers—they become an integral part of the storytelling.

Vantrease’s direction remains focused throughout. Even without a traditional narrative, he ensures every song functions as a miniature story. His choreography complements rather than overwhelms the material, allowing the performers and music to remain front and center. Especially entertaining a near-exactly move-for-move homage to the original Broadway company’s piano-ography during “Handful of Keys”.

Technically, the production embraces simplicity to excellent effect. Conceived by Ann Street-Kavanagh, Craig Hartline and Vantrease, the set utilizes silver ladder-style lighting battens wrapped in string lights and draped with shimmering fabric that forms an elegant arch around the onstage band. Stage right features what appears to be a fully stocked bar accompanied by a pair of stools beneath a sign reading “Fats Club.” Though one might playfully argue the sign could use an apostrophe after the “s”—or perhaps should have been named “Club Fats”—the overall effect contributes nicely to the immersive nightclub atmosphere.
Complementing the set beautifully is Carter Stumbo’s mood-enhancing lighting design, which effortlessly shifts from playful and vibrant to intimate and reflective depending on the emotional demands of each number. Strumbo doesn’t seem to leave out a single color in the rainbow in his lighting design. Each one perfectly enhancing the mood and emotion of the song being performed.

Playhouse 615‘s Ain’t Misbehavin’ is being presented during National Black Music Month and with closing weekend coinciding with Juneteenth celebrations, Ain’t Misbehavin’ arrives at a particularly meaningful moment. More than a revue, it serves as a celebration of an artist whose influence continues to echo throughout American music.

Playhouse 615’s production succeeds because it never treats Waller’s music like museum pieces. Instead, these songs feel vibrant, immediate and alive. Powered by a terrific cast, outstanding musicians and thoughtful direction, Ain’t Misbehavin’ offers audiences exactly what its title promises: an evening of irresistible fun with plenty of heart underneath the swing.

Whether you arrive as a longtime fan of Fats Waller or simply looking for an entertaining night at the theatre, this production sends audiences home smiling, humming and perhaps even tapping their too big feet all the way to the parking lot. Not gonna lie—after all, it’s a sin to tell a lie—since attending an opening weekend performance of Playhouse 615‘s Ain’t Misbehavin’, the music of Fats Waller has been a constant on my playlist.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HERE to grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

In case you missed it, check out our recent Rapid Fire 20Q with Ain’t Misbehavin’ director and cast.

Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21

Blue Ribbons, Romance & Rodgers and Hammerstein: A Rapid Fire 20Q with the Young Stars of The Keeton’s ‘State Fair’

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Rodgers & Hammerstein’s State Fair occupies a unique place in musical theatre history. Originally created for the silver screen in 1945—the legendary duo’s only musical written directly for film—it later found new life on the stage in a successful 1996 Broadway adaptation. Now, audiences have the chance to experience this warm-hearted slice of Americana at The Keeton Dinner Theatre, where the Frake family’s annual trip to the Iowa State Fair brings romance, blue ribbons, heartbreak, and plenty of unforgettable music. Before the curtain rises, JHPENTERTAINMENT caught up with four of the production’s young leads—Andrew Hutton (Wayne Frake), Caylin Maguire Gray (Emily Arden), Laura Walker (Margy Frake), and Robert Hatter (Pat Gilbert)—for a Rapid Fire 20Q conversation about their characters, favorite musical moments, fairground fun, and what makes State Fair such a timeless Rodgers & Hammerstein classic. 

RAPID FIRE 20Q WITH THE KEETON DINNER THEATRE’s STATE FAIR YOUNG COUPLES

RAPID FIRE WITH STATE FAIR‘s PAT GILBERT, ROBERT HATTER

JHPENTERTAINMENT: Pat Gilbert has that classic smooth-talking leading man energy, but there’s also a sincerity underneath it all. What’s been the key to finding the balance between Pat’s charm and vulnerability?

ROBERT HATTER: I think the key is understanding who he is with at any given moment, especially because he isn’t sure who he can trust yet. At the beginning of the show, he used to get the big stories as a reporter. But now, he’s a little washed up, so he doesn’t know who he can trust with that information. When he’s with a group of people that he may not know very well, he tries to be more charming. But with someone he’s closer to, Margy and Charlie for example, he feels that he can open up a little more.

JHPENTERTAINMENT: Pat represents excitement, possibility, and a world outside Margy’s everyday life. What do you think ultimately makes him such an appealing character in her story?

ROBERT HATTER: Ultimately, Pat is someone who has had a taste of what it’s like to leave home and explore the world. I think that’s what Margy finds most appealing about Pat. It’s his experience and knowledge of life outside of Iowa that makes Margy very curious about his character. It seems like Margy’s life has already been laid out for her, especially when we meet Harry, who everyone else around her has paired her off with. She finally has a glimpse at something outside of her small world in Pat.

JHPENTERTAINMENT: Your scenes opposite Laura Walker’s Margy are such an important part of the show’s emotional core. What’s been your favorite moment developing that chemistry together in rehearsals?

ROBERT HATTER: Laura Walker is incredibly talented, and it’s such an honor to get to work with her in this show. She inspires me to push myself to be a better performer. To pin down one favorite moment of developing chemistry together is difficult because I think that all the time spent running scenes, as well as the time in between, has helped incredibly in developing our chemistry. If I had to pick one, I would say our very first dance rehearsal for our song, “Isn’t It Kinda Fun.” I’ve always felt like dancing is my weakest point when it comes to performing. Having her there to help me has really boosted my confidence, and pushed me to work hard. Laura has studied dance and has so much expertise in this field, and she has encouraged me so much throughout the process.

JHPENTERTAINMENT: Between Dylan Kim’s direction, Royce Phillips’ music direction, Kimberly Wolff’s choreography, and Alexandra Anglim keeping the entire production moving backstage, what has stood out to you most about this creative team’s approach to bringing State Fair to life?

ROBERT HATTER: I think what’s stood out to me the most about this creative team is the level of professionalism and care they’ve shown throughout the entire process. It’s also been their willingness to help out whenever someone has a question that’s really stuck out to me. There have been many times when I’ve needed to ask Kimberly a question about a dance move, or Royce about a certain bar of a song. They’ve always been very quick and happy to help, and I’ve really appreciated that through this process.

JHPENTERTAINMENT: Rodgers & Hammerstein’s only movie-first musical still feels timeless all these years later. Why do you think audiences continue to fall in love with State Fair and its characters generation after generation?

ROBERT HATTER: I think there are two reasons. First, the comedic elements in this show are incredible. There have been moments every night where I find myself cracking up at a line or movement somebody does. This show is just filled with great humor. Second, I think the theme of debating between settling down vs. pursuing opportunities outside of your comfort zone is prevalent throughout the show. It’s a decision that I think everyone faces at some point in their lives, and State Fair does a great job of making the audience member face these decisions and see how things play out.

RAPID FIRE WITH STATE FAIR‘s MARGY FRANKE, LAURA WALKER

JHPENTERTAINMENT: Margy Frake is, in my estimation, one of Rodgers & Hammerstein’s most relatable young heroines. The story itself is wonderfully simple and heartfelt. While many modern musicals incorporate mind-boggling stage effects and cutting-edge technology, what is it about the simplicity of State Fair that makes it so enduring?

LAURA WALKER: I think that the simplicity of State Fair is crucial to being able to tell the story well – we see the Frake family both in their natural habitat, as well as in their yearly excursion to the fair. We see a glimpse into their everyday, so similar to many of our own lives, even 80 years apart. While the tech and effects used in so many musicals are wonderful to watch, State Fair is a show that benefits from being given the space to breathe: it is all-around heartwarming, earnest and fun. With such strengths as the breathtaking score, the relatable family dynamics, and the sweetness of the character relationships, one doesn’t need a live hog onstage, or an operable tilt-a-whirl.

JHPENTERTAINMENT: “It Might As Well Be Spring” has such an incredible legacy — from the 1945 film where Jeanne Crain portrayed Margy while Louanne Hogan provided the singing voice, to Broadway favorite Andrea McArdle taking on the role in the 1996 stage revival. What does it mean to you to step into that musical lineage?

LAURA WALKER: Being able to put my own twist on such a gorgeous song has been a really wonderful treat. The melancholic hope described in this song does a beautiful job of setting the stage for the world this show is set in, and is so much fun to sing! It has become very near and dear to my heart throughout the rehearsal process, and being able to put my own spin on it is an opportunity I’m very grateful to have!

JHPENTERTAINMENT: Margy dreams about a bigger world beyond the farm and the familiar rhythms of everyday life. What parts of that longing and restlessness do you personally connect with?

LAURA WALKER: All of it! Growing up in a smaller community, I always felt tired of doing the same routines day after day. One thing I appreciate about Margy, though, is that while sheknows she wants to experience more, she still appreciates the life she has grown up in. I feel the same way in this regard- thankful for what I’ve been given already, while still being ready to leap into new and exciting adventures when they come along.

JHPENTERTAINMENT: Margy has two very different suitors in the story — Robert Hatter as Pat and Connor Olen as Harry. What has it been like building those relationships and romantic dynamics with both actors?

LAURA WALKER: The first step that I always find helps in building any sort of onstage relationship is by simply making a new friend. Luckily, both Robert and Connor are easy people to be friends with! Connor is a hoot to be around, and his joy is infectious both on and offstage. Robert has also been both a great friend and onstage partner. Both of us have been passionate about putting forward the best performance we can, while still infusing the joy and fun from our friendship into our characters’ relationship.

JHPENTERTAINMENT: Since State Fair was originally created as a film before becoming a stage musical decades later, do you feel there’s a cinematic quality to the storytelling or score that makes this show unique among Rodgers & Hammerstein classics?

LAURA WALKER: I’ve always loved Rodgers & Hammerstein musicals because of their knack for beautiful storytelling, and State Fair isn’t any different in this regard. I would say the biggest difference between the original film and other musicals of theirs is that State Fair was originally written to be shown to everyday Americans across the country, rather than being written mainly for Broadway audiences. I think this gives State Fair an even stronger connection to the world that it finds itself set in. The same mothers who were entering mincemeat competitions and fathers who were raising prize-winning hogs were the intended audience for the film, requiring precision in telling both the story of the Frake family, as well as the stories of families across the country that had been through a particularly rough few years, and were trying to get back to “normal” everyday life. 

RAPID FIRE WITH STATE FAIR‘s WAYNE FRAKE, ANDREW HUTTON JHPENTERTAINMENT: Rodgers & Hammerstein’s State Fair has such a warm, nostalgic charm to it. What first drew you to Wayne Frake as a character, and where do you personally connect with him the most?

ANDREW HUTTON: Wayne is a strong-headed and focused young man. He has his own goals set in mind, but plans change so quickly around him. I love how he is easily taken in by the magic of the Fair & by Emily. I think I connect with this. Since I graduated college, I found out real quick that the plans you make will quickly be derailed. And I learned soon after that that it’s probably for the better.

JHPENTERTAINMENT: Wayne spends much of the story balancing family expectations, romance, and figuring out who he really wants to be. What’s been the most interesting part of unpacking his emotional journey?

ANDREW HUTTON: Wayne is an interesting case, emotionally. Early 20s, ready for love, yet doesn’t prioritize his family as he should. It’s very interesting to see where he lacks maturity, then springs into a passionate and honest man.

JHPENTERTAINMENT: You already alluded to Wayne’s fascination with Emily, who he meets at the fair. To that end, Wayne finds himself caught between two very different romantic dynamics in the show. What has it been like sharing the stage with your two leading ladies, Caylin Maguire Gray as Emily and Julia Mowry as Eleanor?

ANDREW HUTTON: Both Caylin and Julia are so talented and professional. I’ve had the honor to work with Julia Mowry while we both attended Trevecca Nazarene University in several productions – my personal favorite, Little Women (Julia as Jo March, myself as Laurie). But this is the first time I’ve gotten to work with Caylin. She’s been a wonderful scene partner and such fun to play off of. In our various scenes together, I love that she challenges me to react based on her honest delivery. It’s something every actor wants in a partner.

JHPENTERTAINMENT: Since the whole show revolves around fair competitions and blue ribbons, if Andrew Hutton entered the State Fair himself, what hidden talent would most likely earn you the Blue Ribbon?

ANDREW HUTTON: Oh boy! This one is tough. If I had a Blue Ribbon for a hidden talent, I’d say it was for Musical Composition. I sometimes play around with writing music for orchestras or small ensembles. Nothing published or performed, but still a fun hobby.

JHPENTERTAINMENT: Is there a specific moment, lyric, or musical sequence in the show where you feel Wayne’s heart the clearest — the point where you really feel connected to him as a character?

ANDREW HUTTON: I LOVE a short little scene between Wayne and his sister Margy. Both of them, separately, waiting to meet up with their significant other. They bump into each other and have a silly sibling side-eye moment. But right before Wayne leaves, he asks her if he needs to wait with her – as a brother, I really connect with the desire to see the wellbeing of a sister–love you, Abby.

RAPID FIRE WITH STATE FAIR‘s EMILY ARDEN, CAYLIN MAGUIRE GRAY

JHPENTERTAINMENT: Emily Arden brings so much sparkle and energy to the midway scenes. What’s been your favorite part of discovering her personality throughout rehearsals?

CAYLIN MAGUIRE GRAY: Emily is such a dynamic character. It has been fun finding how she contrasts with the farm folk of the fair as she has her eyes set on stardom. This role has brought a lot of confidence out of me as I have explored her confidence in herself. I have also loved exploring the depths and inner conflict that she feels throughout her scenes with Wayne as she gives herself over to the fleeting romance.

JHPENTERTAINMENT: Since your parents, Donna Driver and Kevin Driver are playing Margy’s parents in the show, was there ever any thought about auditioning for Margy yourself, or did that feel just a little too close to home?  

CAYLIN MAGUIRE GRAY: I auditioned for the show with an open mind for roles! I put myself out there for both Margy and Emily and am thrilled with the way the casting went. Laura is beautiful as Margy and I have had so much fun as Emily. We have also joked that Wayne’s character must have “mommy issues” because I look so much like his “mom.”

JHPENTERTAINMENT: Emily has a confidence and charm that immediately catches Wayne’s attention. What qualities do you admire most about her?

CAYLIN MAGUIRE GRAY: I admire her confidence to chase her dreams no matter what. She prioritizes her goals of stardom over romance and staying put. I personally prioritize family in my own life, but I have loved exploring a character so driven. In terms of her romance with Wayne, she also exudes confidence and control over what she wants and how to get it, but she also lets herself fall into some vulnerability with him.

JHPENTERTAINMENT: Emily feels a little more polished and worldly compared to the rural wholesomeness of the Frake family. How much have the costumes, the sets and overall look of the show helped you step into that mindset and define who Emily is?

CAYLIN MAGUIRE GRAY: The contrast between her and the Frake family has been a fun dynamic to explore. Emily’s costumes are elevated and glitzy, juxtaposed with the simple outfits of the fair crowd. She sticks out like a sore thumb, in a good way, and that is why Wayne and others become so enamored with her. This has really added to the confidence I was talking about: she draws attention in every space she walks into.

JHPENTERTAINMENT: Even though the story takes place in another era, what part of Emily or her relationships do you think modern audiences will still instantly recognize or relate to today? AND What do you hope audiences take with them long after the last tent is down at Keeton’s State Fair?

CAYLIN MAGUIRE GRAY: Emily is a motivated, driven character who is hesitant to let herself succumb to a romance because of her past and aspirations. She slowly allows herself to fall into the vulnerability of love with Wayne despite her better judgment. I think people can relate to the feeling of a fleeting weekend of passion with a stranger before going back to real life. I hope audiences take with them the feeling of endless possibilities that can come from a weekend at a state fair. It is a fun and exciting show that I hope has the audience smiling ear to ear. I hope it provides the audience with a good memory of a fun night at the theatre.

From Ferris wheel romances and blue-ribbon dreams to one of the most beloved scores Rodgers & Hammerstein ever penned, State Fair continues to remind audiences that sometimes life’s biggest adventures happen when we step away from the familiar. Be sure to catch State Fair on stage at The Keeton Dinner Theatre (108 Donelson Pike) Friday, June 12 thru Sunday, June 28 and discover why this charming musical has been winning hearts for generations. CLICK HERE for tickets.

State Fair marks the final show of The Keeton‘s current season, but their 2026/2027 season is right around the corner kicking off with Come From Away on stage August 14-30. CLICK HERE to take advantage of their upcoming season subscription. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

THEATRE REVIEW: Manual Cinema’s ‘The 4th Witch’ Casts a Spell Over OZ Arts Nashville; Performances Continue thru June 6

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There are plenty of productions that ask audiences to suspend disbelief. Then there is Manual Cinema‘s The 4th Witch, which somehow makes you forget disbelief exists in the first place. Presented at OZ Arts Nashville through Saturday, the Emmy Award-winning collective’s latest work transforms Shakespeare‘s Macbeth into something wholly original—a visually stunning coming-of-age story told through shadow puppetry, live performance, music, filmmaking, and sheer theatrical ingenuity. What unfolds over the course of the evening feels less like watching a play and more like witnessing a movie being created before your eyes.

Founded in 2010 by Drew Dir, Sarah Fornace, Julia Miller, Ben Kauffman, and Kyle Vegter–all five share co-artistic director credits–Manual Cinema has built an international reputation for pushing the boundaries of storytelling. The 4th Witch may be their most ambitious creation yet. Rather than simply retelling Macbeth from the perspective of kings, warriors, or even Shakespeare’s famous trio of witches, the production introduces audiences to a young girl whose life is forever altered by the violence occurring around her. What begins as a story unfolding in the shadows of Shakespeare’s tragedy gradually becomes a deeply human exploration of loss, survival, identity, and the choices we make when confronted with cycles of violence.

The plot itself is compelling, but it is the method of storytelling that leaves the strongest impression. Using vintage overhead projectors (you know the kind…those of us of a certain age surely recall teachers using them to project transparencies of mathematical equations and the like in high school classes), cameras, handcrafted puppets, live musicians, projected animation, and an astonishing amount of precision shadow-ography, the ensemble simultaneously performs the story while creating the cinematic images projected above them. One thrill of a Manual Cinema experience is that audience members can watch both the finished “film” and the intricate mechanics behind its creation at the same time. Somehow, knowing exactly how the illusion works only makes it more magical.

One of the evening’s most impressive achievements is the seamless collaboration between the performers, musicians, and designers responsible for bringing this world to life. Conceived and directed by Drew Dir and devised alongside Sarah Fornace and Julia Miller, The 4th Witch demonstrates the remarkable creative shorthand that has developed among Manual Cinema’s founding artists over the last fifteen years.

The production’s visual language is particularly striking. Dir’s storyboard and puppet design work provides the foundation for a series of hauntingly beautiful images, while Julia Miller’s silhouette mask designs help create a dreamlike aesthetic that feels simultaneously ancient and contemporary. Combined with David Goodman-Edberg‘s atmospheric lighting and Sully Ratke‘s costume and wig design, the result is a world that exists somewhere between folklore, nightmare, and fairy tale.

Yet for all of the technical wizardry on display, it is the performers who make the impossible seem effortless. The puppeteering ensemble works with the precision of a championship relay team. Lizi Breit, Leah Casey, Sarah Fornace, Julia Miller, and Jeffrey Paschal constantly shift responsibilities, characters, and storytelling functions, often within seconds. One moment they are manipulating puppets, the next they are operating cameras, creating visual effects, changing costumes, transitioning scenery and magically bringing the silhouetted shadow puppets to life. Watching them perform below the screen becomes almost as fascinating as the imagery being projected above it.

Particularly impressive is how seamlessly Fornace and Miller balance their roles as co-creators of the piece while simultaneously serving as performers within it. Miller’s commanding presence as the Lead Witch anchors much of the production’s visual storytelling, while Fornace’s work as the young Girl at the center of the narrative provides much of the show’s emotional heart. Jeffrey Paschal brings physicality and gravitas to multiple roles, including Macbeth himself, while Breit and Casey navigate a variety of characters that help populate the production’s ever-shifting world.

Equally deserving of recognition is the magical yet anything but witchy trio of musicians positioned in full view of the audience throughout the performance. Alicia Walter‘s vocals and keyboard work, joined by Lucy Little‘s violin and vocals and Erica Kremer‘s cello and vocals, create a lush, cinematic score that frequently serves as the emotional engine of the story. Their contributions elevate the production beyond a technical marvel into something genuinely moving, underscoring moments of wonder, danger, grief, and hope with remarkable sensitivity.

What makes The 4th Witch especially memorable is that none of these elements ever feel isolated from one another. The puppetry, music, projections, acting, sound design, and storytelling function as a single living organism, each piece dependent on the others. Kauffman and Vegter’s original score and sound design provide the connective tissue binding everything together, creating a production that feels less like a stage play and more like a handcrafted cinematic experience unfolding in real time.

Visually, The 4th Witch is breathtaking. Drawing inspiration from storybooks, silent cinema, and graphic novels, the imagery is often hauntingly beautiful. Interestingly, there’s no dialogue or narration, no intertitles like you’d see in a traditional silent movie. Moments of darkness and danger are balanced by scenes of wonder and imagination, creating a rich emotional landscape that feels both timeless and urgently contemporary. The story unfolds naturally and fully narratively cohesively through the skill and beauty of this truly groundbreaking cinematic medium.

What ultimately makes The 4th Witch resonate, however, is its heart. Beneath the inventive staging and dazzling visuals lies a story about resilience, empathy, and finding one’s place in a complicated world. It is a reminder that even amid chaos and conflict, there remains the possibility of hope.

In an era where audiences have seemingly endless entertainment options available at the touch of a screen, Manual Cinema offers something increasingly rare: a theatrical experience that can only truly be appreciated in person. For Nashville theatergoers looking for something unlike anything else currently on stage, The 4th Witch is not merely recommended—it is essential viewing.

Manual Cinema’s The 4th Witch continues at OZ Arts Nashville (6172 Cockrill Bend Circle) with an 8pm performance Friday, June 5 and concludes Saturday, June 6 with both a 2pm matinee and a final 8pm evening performance. 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).

Whether you’re a Shakespeare enthusiast, a theatre lover, a film buff, or simply someone searching for an unforgettable artistic experience, this remarkable production proves that some of the most powerful magic still happens live and right before you eyes. Forget what The Wizard of Oz said…at this Oz Arts Nashville performance, go ahead and pay attention to the men and women behind the curtain!

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.

In case you missed it, check out JHPEntertainment.com‘s Rapid Fire 20Q with Manual Cinema’s Julia Miller and Sarah Fornace, then…#GoSeeTheShow!

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

 

 

 

Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21

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When Ain’t Misbehavin’ opened on Broadway in 1978, it introduced audiences to a joyous celebration of the music, humor, and spirit of jazz legend Thomas Wright “Fats” Waller. Now, Playhouse 615 brings the Tony-winning musical revue to Middle Tennessee audiences June 5-21 with a talented cast, live onstage musicians, and plenty of swing.

Before the curtain rises, JHPENTERTAINMENT caught up with director Mitchell Vantrease and cast members Elliott Robinson, Lisa Graham, Isiah Rankin, Raven Buntyn, and Yolanda Treece for another installment of our Rapid Fire 20Q feature. 

RAPID FIRE 20Q WITH THE CAST AND DIRECTOR OF PLAYHOUSE 615’s AIN’T MISBEHAVIN’

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ISIAH RANKIN

JHPENTERTAINMENT: Ain’t Misbehavin’ celebrates the music and spirit of Fats Waller without being a traditional biography. What do you think makes that approach so timeless?

ISIAH RANKIN: Traditionally, I’ve seen that these stories focus around the person’s upbringing and what drew them to do what they did. This show, on the other hand, takes a different approach in telling various stories of each character through the music while also incorporating some important information about the musical style itself, such as the introduction to “Your Feet’s Too Big”. As many say, music is a universal language that will continue to defy the confines of time and trends. I think these stories and the music will continue to connect to individuals in the years to come. 

JHPENTERTAINMENT: You’re pulling double duty as both performer and music director. I understand for this production, Playhouse 615 has opted to have three musicians on stage with the cast instead of the usual spot behind the audience. As music director and performer, how does that enhance your energy and performance?

ISIAH RANKIN: Funny enough, this is my first community theater opportunity to music direct a show on my own which has been a great honor and privilege. I previously music directed a high school show that ran on tracks, which was a unique experience. Having a live band for this experience, from both sides (MD & performer), creates an immersive experience that really creates new moments each performance. Though the music is there and learned, as you continue to connect with one another along with each audience, you begin to create new moments in each show. So, I believe it creates this organic experience that tracks and some other shows with live musicians don’t always allow. 

JHPENTERTAINMENT: What’s been the biggest challenge musically in bringing these iconic songs to life?

ISIAH RANKIN: The biggest challenge in this process has been staying true to the style and character of the music. Not being as familiar with this style of music, I was very intentional about listening to the various aspects of different versions of the show and songs to ensure I maintained the integrity (to the best of mine and each singer’s abilities) of each song and story. I believe that each rehearsal has brought more and more connection to the messages weaved throughout this show and will cause the show to continue to evolve in each performance. 

JHPENTERTAINMENT: If Fats Waller himself were seated in the audience, at which aspect of this show do you think he’d flash his notoriously joyful smile?

ISIAH RANKIN: I think he would be very proud of our presentation of “Black and Blue” because of all of the recent events over the last few years. I think that it is a timely song and our connection to the material feels highly authentic because of our understanding and close proximity to a lot of the concepts in the song, so I think he would be very pleased with our performance and presentation of this song.

RAPID FIRE WITH AIN’T MISBEHAVIN’’s YOLANDA TREECE.

JHPENTERTAINMENT: The original 1978 Broadway production won a Tony Award for Best Featured Actress for Nell Carter. Years later, I was fortunate enough to see the mid-90s revival starring R&B and Pop legends The Pointer Sisters, in which Anita Pointer took on the role Carter had originated. In Playhouse 615’s production, that honor falls to you. Does knowing the legacy attached influence you in any way as you step into this world?

YOLANDA TREECE: Nell Carter? Yes! I have definitely been influenced. With her larger -than-life persona and this role, I have  big shoes to fill! Paying homage to her in this iconic role while trying to bring my own flavor to this role has challenged me beyond measure. But I hope I’ve made her proud and I do her justice!

JHPENTERTAINMENT:  With just over two dozen songs featured in Ain’t Misbehavin’, do you have favorites, or does that vary each time you and your cast mates perform them?

YOLANDA TREECE: Yes. Two of my favorites are “Black and Blue” and “Mean to Me”. “Black and Blue” is the soul stirring cry of truth to explain how it was, how it has been and how  it will continue to be Black in this world while dealing with the inner struggle and repercussions of being Black. This song speaks volumes and ehen we as a people can’t say a word. This song is so relevant in today’s divided, messed up world and I am so thankful that Fats Waller gave this sing life. I am honored.

My other favorite song from the show is “Mean to Me”. Everyone at some point in life has or will experience heartbreak. It is especially difficult if it’s someone we shouldn’t have been attached to to begin with. Just because the heart wants what the heart wants doesn’t mean that person is meant for us. That is a difficult lesson to learn and heal from. But you can heal.

JHPENTERTAINMENT: On your off-time, what song on your personal music playlist gets your ‘joint jumpin’?

YOLANDA TREECE: I have an eclectic mix of music and it just depends on what I’m feeling or what is stuck in my head. My list includes contemporary gospel like Tye Tribbett, Kirk Franklin, Pastor Mike to Stevie Wonder, Earth, Wind and Fire, Queen, Prince, Ms. Aretha Franklin, Patti LaBelle, to name a few…I am all over the place. I love music!

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ELLIOTT ROBINSON

JHPENTERTAINMENT: Ain’t Misbehavin’ serves as a reunion of sorts for you and director Mitchell Vantrease, having appeared in his 2025 production of Ragtime at The Keeton. So a two-part question for you…What do you most enjoy about Vantrease’s directing style? AND…Did his involvement in the show sway your interest in auditioning?

ELLIOTT ROBINSON: Like most great directors, I love the way Mitchell trusts his actors to make choices. No actor wants to be instructed how to do every little thing about their character, because we want to bring in our own interpretation of who that character is, to integrate whatever research and work we’ve done in developing and eventually embodying it. If I were to get too far afield from where he wanted his vision of the show to land, I’m sure he would let me know (LOL)! I’m a big fan of the selections he chooses to direct, too; stories with great cultural and/or historical significance, or featuring depictions of societal issues that still linger with us from days gone by. Ragtime, Memphis, Guess Who’s Coming to Dinner?, The Piano Lesson, and Master Harold and the Boys all fit that template. I surely would have auditioned for this great piece no matter who was directing it, because stuff like this doesn’t come around a lot. I’ll admit I was super happy to see that it was my baby brother at the helm!

JHPENTERTAINMENT: By day you work in Nashville Library’s Civil Rights Room sharing important history with visitors. Considering your day job, does performing a show rooted in such iconic Black artistry carry extra meaning for you?

ELLIOTT ROBINSON: Yes, at work I get to share our great local Civil Rights history with people from all over this planet; you need to come down for a tour! Fats Waller represents the history of the Harlem Renaissance, and we know how influential that era was in the growth and development of Black artistic expression in America, in music, as well as in literature, dance and visual art. Between that and the very true phrase, “they just don’t write songs like they used to,” I am very excited to bring these songs to life! Extra significance is layered on by this being Black Music Month, a time dedicated to the celebration and remembrance of the greatness and influence of artists from back in the day. Then, to stack more historical significance on top of all that, we even get to do a show on the night of Juneteenth!

 JHPENTERTAINMENT: In your show bio, you promise audiences a “rip-roaring, jumpin-jammin-jivin good time.” Is there a particular section of the score that you feel embodies that sentiment or is it simply a culmination of the entire vibe of the piece?

ELLIOTT ROBINSON: “It’s gonna be a whole vibe, man!” I can’t wait to see how it feels in there with a sold-out house! The good time comes first from the audience enjoying the songs, whether they be comical, romantic, or social commentary. We are accompanied by a great live trio, which is special, too. More than anything, though, folks will also get to be more than spectators. I had not initially imagined how much of an interactive experience it would be! We just might break the fourth wall sometime, and we might need you to help us, in a kind of call-and-response way. It’s not gonna be your quiet, reserved night at the theatre, I tell you that! Get ready for some hand clappin’ & toe tappin’! I envision it as a kind of a speakeasy feel: small, intimate setting, maybe a few beverages flowing. Maybe we should have a code word for the door! LOL! 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s RAVEN BUNTYN

JHPENTERTAINMENT: Your journey from a career in STEM recently took what could be considered a full 180 when you decided to pursue a full-time career in the arts. As one of Ain’t Misbehavin’’s songs suggests, it ‘Tain’t Nobody’s Biz-ness’, but I gotta ask, When was your “Yep…this is exactly where I’m supposed to be” moment?

RAVEN BUNTYN: I wouldn’t say there was a singular moment. It was a culmination of multiple moments that, over time, added up to me knowing this was for me. No matter what I did, I couldn’t stay away from the stage. But when I started acting classes last November, it cemented in me that being on stage was my calling. No matter how anxious I became or how many limiting beliefs I had to battle, it didn’t matter because I was allowing myself to be vulnerable in a way that I’d always craved before. Being secure enough within myself to open myself up to an audience and allow them to hopefully feel what I feel, is an honor I’m grateful to live. 

JHPENTERTAINMENT: I’ve heard that the staging for this show is a little different for most shows at Playhouse 615, in that there’s a few cocktail tables in the front row of the audience area, giving this production more of a club feel. As a performer, what challenges/advantages does this setup present?

RAVEN BUNTYN: Being able to interact with the audience for a show is always somewhat a blessing and a curse depending on how you look at it. Sometimes, depending on the material, it’s easier to perform in front of an audience because you’re essentially pretending they aren’t there. But with this show, the audience is a part of the club and the show itself, which can be intimidating, but also very freeing. There’s no 4th wall, so we’re all in this universe together and that makes it fun and exciting. 

JHPENTERTAINMENT: What advice would you give someone sitting in the audience who has a creative dream they’ve been too nervous to chase?

RAVEN BUNTYN: The advice I would give is to trust. When you take a leap of faith, the thing that gets you through moments of doubt is trusting— trusting yourself, trusting your own timing, trusting your gut, and trusting that what you feel drawn to is right and true. Learn to trust your inner voice above anyone else’s. After all, it’s your life, and you deserve to live it exactly as you see it. 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s LISA GRAHAM

JHPENTERTAINMENT: What excites you most about stepping into this jazz-infused world?

LISA GRAHAM: What excites me the most is the music itself! It is challenging, funny, haunting, gorgeous- all the things. I love singing harmonies, so it was thrilling to work on the jazzy four and five part harmony and bring it all together. The lyrics, too, are so much fun.

JHPENTERTAINMENT: When not performing, in your day-to-day life, you work as a school librarian where you’re surrounded by stories every day. As the son of a retired high school librarian, and a former longtime bookstore employee myself, I love knowing this about you. What story does this production tell audiences beyond the music itself?

LISA GRAHAM: Yes! That’s so cool Jonathan- I love meeting other bibliophiles. Well, it’s definitely telling stories of Black culture- ways that we celebrate ourselves, express ourselves, and process the discrimination we experience. When you hear the song “Black and Blue” late in Act Two, it really frames the entire show. But for me, this production more than anything else tells the story of love, from first meetings, to falling in love, to dealing with issues in relationships. That’s what makes it so universal.

JHPENTERTAINMENT: This cast is stacked. What’s your favorite part of performing with this talented group of people?

LISA GRAHAM: This cast is very kind and very supportive. Everyone works so hard- we are all invested in this show and want it to be great. It really is a joy to go rehearse with these folks! 

RAPID FIRE WITH AIN’T MISBEHAVIN’ DIRECTOR MITCHELL VANTREASE

JHP ENTERTAINMENT: After the success of directing The Keeton’s Ragtime last year, what attracted you to taking on helming Ain’t Misbehavin’ at Playhouse 615?

MITCHELL VANTREASE: Ain’t Misbehavin’ has always been on my bucket list, whether as a performer or a director. So when the opportunity came up to take the helm of this production, there was no doubt in my mind that I was saying yes. I’ve always known the show as the production that really put Nell Carter on the map. There would be no Gimme a Break! without this show and her Tony Award-winning performance.

I also love jazz, and it doesn’t get much better than Fats Waller. He created and performed some of the greatest standards of all time, and this show puts that music fully on display.

JHP ENTERTAINMENT: This show is more revue than traditional book musical. How does that shift your approach as a director?

MITCHELL VANTREASE: It definitely shifts my approach a little, but I’m no stranger to musical revues. I actually crafted and co-created a revue in Arizona called The Soul of Broadway, which celebrated the music of African American musicals and characters. That production won an AriZoni Award, which is basically the state’s version of the Tony Awards, for Best Musical.

One of the biggest differences with this production is that I not only directed it, but I also choreographed most of the revue myself. Usually, I direct and have a choreographer working alongside me the entire time, but with this show I wanted to challenge myself and level up as an artist. Growth is important, and I wanted to push myself creatively.

I was definitely nervous at first, but I studied dances from that era and found a lot of inspiration there. I ended up creating choreography that feels clean, simple, and authentic while complementing both the actors and their incredible voices.

For me, the key to directing a musical revue is making sure every song tells a story. These numbers aren’t just performances — they’re mini stories. The cast isn’t only singing; they’re acting through every lyric and every moment. But make no mistake, it’s all about the music. 

JHP ENTERTAINMENT: Having the musicians on stage changes the entire visual energy of the production. What excites you most about that choice?

MITCHELL VANTREASE: There’s nothing like having live music onstage. Since the show is set in a club, I wanted the audience to truly feel that atmosphere the second they walk in. Putting the band onstage immediately elevates the energy and creates a more authentic nightclub experience. It brings the production to life in a completely different way.

JHP ENTERTAINMENT: What do you hope Nashville audiences feel walking out of the theater after this production?

MITCHELL VANTREASE: I hope audiences walk away with a deeper appreciation for Fats Waller, his music, and the legacy he left on the music industry. It’s especially meaningful that we’re presenting this show in June during National Black Music Month and around Juneteenth celebrations. There really couldn’t be a more perfect time to celebrate this history, this music, and such a phenomenal artist.

Whether you’re already a fan of Fats Waller’s music or discovering these timeless songs for the first time, Ain’t Misbehavin’ audiences at Playhouse 615 can expect an evening filled with laughter, incredible vocals, unforgettable musicianship, and the infectious energy that has made this show a favorite for nearly five decades. , settle in, and get ready for a jumpin’, jammin’, swingin’ celebration of one of Broadway’s most beloved musical revues.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HEREto grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

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

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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!

Theatre Review: The Book of Mormon Returns to Nashville and Proves It Still Has Plenty to Say Beneath the Shock Value

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The cast of The Book of Mormon National Tour 2026 (Photo by Julieta Cervantes/courtesy The Book of Mormon on tour)

When The Book of Mormon first arrived on Broadway back in 2011, it felt downright dangerous. Not because of elaborate special effects or groundbreaking staging, but because it gleefully said the things most people wouldn’t dare say out loud. Fifteen years later, in a world where outrage often arrives faster than context and social media can turn a joke into a national controversy in warp-speed, one might wonder whether South Park creators Trey Parker & Matt Stone and Avenue Q’s Robert Lopez’s irreverent, bawdy and completely un-politically correct nine-time Tony-winning musical still lands with the same impact.

The answer, judging by the opening night audience at Nashville’s TPAC Tuesday evening, is an emphatic “Hello!”

Returning to Andrew Jackson Hall through June 7, The Book of Mormon remains exactly what its reputation suggests: outrageous, wildly inappropriate and frequently jaw-dropping. Yet, just as importantly, it remains what many of its detractors overlook—a surprisingly heartfelt story about friendship, faith, belonging and the stories people tell themselves in order to make sense of a complicated world.

For those somehow unfamiliar with the phenomenon, the musical follows an eager group of young Mormon missionaries dispatched from Salt Lake City to a remote Ugandan village facing poverty, disease and oppression. What begins as a fish-out-of-water comedy evolves into something considerably richer as the missionaries and villagers discover that belief, in all its forms, is often less about facts than it is hope.

And while the script remains largely unchanged from previous tours, this latest company brings fresh energy and personality to every role, making the show feel newly minted rather than a revival of a familiar favorite.

Leading the charge is Ethan Davenport, who takes on the pivotal role of Elder Price in this engagement. As Elder Price, Davenport embodies the character’s confidence, ambition and occasional arrogance with effortless charm. Blessed with a powerful Broadway tenor and an all-American leading man presence, he delivers “You and Me (But Mostly Me)” and the Act Two anthem “I Believe” with the kind of vocal confidence that anchors the entire production.

Opposite him, Jacob Aune’s Elder Cunningham is everything the role demands—awkward, lovable, wildly inappropriate and impossible not to root for. Cunningham is essentially a walking collection of half-remembered science fiction plots, social anxiety and misguided optimism & a bit of a walking, talking South Park character in human form, and Aune embraces every glorious second of it.

More importantly, he finds the humanity beneath the character’s compulsive storytelling. While the laughs come easily—and there are many—the emotional core of the show ultimately rests on Cunningham’s desire to matter. Aune never loses sight of that, making the character’s journey feel genuinely earned.

Yet it’s Craige Franke as Elder McKinley where Franke truly steals scenes. His performance of “Turn It Off” is a masterclass in comic timing, complete with dazzling choreography, impeccable facial expressions and enough jazz hands to illuminate Broadway itself. Heck, the featured ensemble during “Turn It Off” is simply tap-tactic. Having spent years with the company in multiple capacities, Franke understands this material inside and out, and it shows. His cheeky, campy cameo in “Scary Mormon Hell Dream”, helps make it a  glittery, shockingly hilarious dream indeed, but more about that later.

One of the evening’s biggest delights comes courtesy of Rayna J. as Nabulungi, stepping in for Music City’s opening night for an absent Charity Arianna. Making her professional theatre debut on a national tour would be enough pressure for most performers. Doing so while carrying one of the show’s most beloved roles feels downright unfair. Fortunately, J. rises magnificently to the challenge. Her Nabulungi radiates warmth, optimism and sincerity, providing the show’s emotional center amidst the chaos. Her rendition of “Sal Tlay Ka Siti” is beautifully sung and genuinely moving, reminding audiences that beneath all the satire and profanity lies a story about people searching for something better. J. also electrifies her scenes with Aune’s Cunningham, particularly during “Baptize Me,” a number whose hilariously escalating misunderstandings remain one of the funniest sequences in modern musical theatre.

As The General, Shafiq Hicks delivers one of the production’s most commanding performances. Possessing a booming stage presence and undeniable authority, Hicks makes an immediate impression from the moment he appears. His performance of “Hasa Diga Eebowai” earns exactly the reaction one hopes for from first-time audiences: gasps, nervous laughter and a collective realization that The Book of Mormon intends to push every button it can find. Yet Hicks doesn’t just play the role as a caricature. Instead, he grounds the character in a reality that gives the surrounding comedy greater impact.

Elsewhere, Jonathan Grunert proves remarkably versatile while juggling multiple roles including Price’s Dad, Joseph Smith, Missionary Voice and Mission President. Jarius Miquel Cliett makes a strong impression as Mafala Hatimbi.

The entire ensemble deserves special recognition as well. From the opening strains of “Hello” to the curtain call, they maintain an infectious level of energy that never dips. Whether executing the show’s precise choreography, navigating lightning-speed costume changes or delivering some of the evening’s biggest laughs, this company operates like a well-oiled machine, or, in The Book of Mormon terms, like a bunch of maggots tunneling through one’s scrotum! Trust me, in this case, that’s a good thing!

Casey Nicholaw’s Tony-winning choreo remains as impressive as ever. “Turn It Off” continues to be an absolute showstopper, while the aforementioned “Spooky Mormon Hell Dream” remains one of Broadway’s most delightfully unhinged production numbers. Gotta love the updated addition to the list of hell-bound evil-doers joining the likes of Hitler, Genghis Khan and Johnny Cochran, but I’m gonna redact that name so as not to spoil the surprise. Suffice it to say, the audience reaction to this hellacious human was just as I hoped it would be. Keeping it fresh with updated references is just another way The Book of Mormon keeps their audiences on their toes. A running gag in the show features Elder Cunningham frequently calling Nabulungi the wrong name. Everything from Neutrogena to Necrophilia…a clever comical callback with each name, so much so that I found myself eagerly anticipating what he’d call her next. My personal favorite new addition to the list…Ozempic. Add in the hilarious spectacle of “I Am Africa” (gotta love a bunch of self-righteous white boys declaring representation and solidarity with the African nation) and the show boasts enough memorable musical moments to satisfy even traditional musical theatre fans.

What continues to impress most about The Book of Mormon, however, is how successfully it balances satire with sincerity. Yes, there are jokes that will make some audience members cringe. Yes, there are moments where you’ll likely find yourself laughing before immediately wondering whether you should have. And yes, Parker and Stone remain equal-opportunity offenders. Nobody is safe from ridicule in their The Book of Mormon world But beneath the profanity, religious satire and outrageous punchlines lies a surprisingly compassionate message about empathy, community and finding common ground despite differing beliefs.

When I first saw The Book of Mormon, I compared it to the classic CBS Norman Lear-driven sitcom All in the Family. Much like that boundry-pushing TV juggernaut, The Book of Mormon uses comedy not simply to provoke, but to hold up a mirror. The laughter may be loud, but the observations underneath it are often surprisingly thoughtful.

Fifteen years after its Broadway debut, The Book of Mormon remains one of the funniest musicals ever written. More impressively, it remains one of the smartest. And judging by the roar of laughter echoing through TPAC Tuesday night, Nashville audiences are still more than happy to answer the doorbell.

The Book of Mormon‘s latest return to TPAC runs Tuesday, June 2 through Sunday, June 7.  CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.

Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.

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

In case you missed it, check out my recent Rapid Fire Q&A with The Book of Mormon‘s cast members Craig Franke, Charity Arianna & Safiq Hicks.

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke,  Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

Rapid Fire 20Q with Cast and Director of ‘Merrily We Roll Along’; Sondheim musical opening at Hendersonvillle Performing Arts Company May 28

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Hendersonville Performing Arts Company is getting ready to bring audiences along for a journey backward through friendship, ambition, heartbreak, and the price of success as they present Merrily We Roll Along May 28-June 14. Featuring a score by the legendary Stephen Sondheim and a story told in reverse chronological order, the musical has become one of theater’s most emotionally resonant explorations of friendship and the choices that shape our lives.

Just days before HPAC’s May 28 opening, we caught up with director Jacob Waid along with stars Gray Miller, McKenzie Bryan, and Elijah Wallace to talk Sondheim, old friends, artistic ambition, iconic songs, and what audiences can expect from this deeply human production for the latest installment of our recurring interview feature, Rapid Fire 20Q.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF HPAC’s MERRILY WE ROLL ALONG

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s FRANKLIN SHEPHARD, GRAY MILLER

JHPENTERTAINMENT: What initially drew you to Franklin Shephard and Merrily We Roll Along?

GRAY MILLER: I was initially introduced to this show by a friend of mine from back home and I was addicted from the jump (thanks Jon)! We even got to see the final performance of the Tony winning production together in 2024 in what was an incredibly special moment for us old friends from Virginia. What drew me to Frank are the struggles he faces trying to maintain the balance between relationships, success, and choices he makes along the way which all hit very personal notes for me and I believe make him incredibly compelling as a flawed protagonist.

JHPENTERTAINMENT: Franklin is charismatic, ambitious, complicated, and at times frustrating. What’s been the trickiest part of finding your way into him emotionally?

GRAY MILLER: For me the trickiest part of this process has been finding Frank’s compromising coldness towards the people who truly care about him as it is such a departure from how I operate in my relationships. Those moments where he shirks his obligations or promises to his loved ones always frustrates me and sometimes I just want to pull him out of the script and shake him.

JHPENTERTAINMENT: One of the joys of community theater is the close-knit atmosphere. What do you enjoy most about performing with smaller theater companies like Hendersonville Performing Arts Company?

GRAY MILLER: It’s right there in the name: community. There is a special energy that runs through these theaters that is nearly impossible to replicate because it takes a community to put the show together. While it ultimately is the director’s executed vision, there is a level of collaboration between actors, crew, and production team that is unmatched. When it is all assembled, the finished product is a shining example of teamwork and true care from all involved. 

JHPENTERTAINMENT: “Old Friends” has become one of the defining musical moments of Merrily We Roll Along. What’s it been like performing that number and exploring the history and emotional weight behind those friendships?

GRAY MILLER: The majority of my closest, best friends in all the world are those that I grew up with back in Virginia. Some even go all the way back to the cradle days. Outside of family, these are the relationships that mean the most as they form the structure of who I am as a person. To me, performing “Old Friends” is the truest expression of those relationships that I hold so dear to my heart and that through joys, fights, distance or time, my friends and I are still (and will forever be) “damn few”.

JHPENTERTAINMENT: Looking back at younger versions of ourselves is a major theme of this musical. If present-day Gray could give his younger self one piece of advice, what would it be?

GRAY MILLER: Don’t let opportunities go by without at least taking a swing. Even if you don’t think you’ll come out on top, it’s better to go for it and miss out than to never trust yourself with the possibility of being great. 

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s CHARLEY KRINGAS, ELIJAH WALLACE

JHPENTERTAINMENT: Charley Kringas is fiercely loyal, deeply passionate, and often the emotional truth-teller of the story. What’s been your favorite part of stepping into his shoes?

ELIJAH WALLACE: Charley has been very interesting to characterize for me especially with how passionate he is. He wants to make the art that matters to him and Frank and he is hesitant to compromise his morals to do so. I really feel like his keen eye for knowing where his artistic boundary is resonates with me a great deal. He loves creating, and he wants to do it under his terms with Frank. I respect and admire that tenacity in his core being.

JHPENTERTAINMENT: Jacob Waid is directing this production. What’s his rehearsal room been like, and what kind of director is he for actors to collaborate with?

ELIJAH WALLACE: From before I even had the part he had expectations set to a high bar, and that continued in the room with each new challenge. He is very kind and open minded with any choice you might want to try, and yet he has a clear vision that he shared with us as the show took on more shape. I felt supported to try things, but also confident that if something we tried needed to be adjusted that it would be seen and shifted. He likes to paint a picture with his shows and I love that!

JHPENTERTAINMENT: “Franklin Shepard, Inc.” is one of the most intense and exhilarating numbers in the show. How demanding has that sequence been vocally and emotionally?

ELIJAH WALLACE: Oh my gosh it has been incredibly challenging from the first rehearsal we had. I approached it with an open mind knowing that trying it while just singing as opposed to on its feet would be a dynamic difference. The first time I did it it was pretty rough as expected, but I have found as I keep at it I find a new thing that gets better each time. That being said, it is tough to start the show on and I have really had to pace myself to make sure I don’t overextend. I hope it comes out as a rewarding and truly heartbreaking moment for the audience.

JHPENTERTAINMENT: Charley and Franklin share years of friendship, conflict, and creative partnership. Have you and Gray built any offstage chemistry or rituals that help strengthen that connection onstage?

ELIJAH WALLACE: No real rituals other than we have gotten along really fast. We found we like a lot of the same things outside of theater, and we bonded quickly both in and outside of the rehearsal space. He and I joke a lot offstage and it has given a lovely camaraderie that I feel lives in the performance we give. With the unique nature of the chronology of the show we start at our worst and get to our best by the end. I bring the joy he and I have shared as well as the blossoming friendship to how I act and react with him. He is a great guy and I’m lucky to have him as a scene partner.

JHPENTERTAINMENT: Merrily We Roll Along asks some big questions about success, fulfillment, and the roads we choose. What’s one personal goal — artistic or otherwise — that you hope never loses its spark for you?

ELIJAH WALLACE: I have always been a part of the theater since I was very small. It gave me some of the best and sometimes painful experiences that I have ever had. I would bot trade it for anything because it has shaped me into the man I am today. I always want to bring the light of storytelling to anyone who wants to hear, any person who might need to watch something to take their cares away for a while. I never want to stop telling the stories that mean something not just to me, but to the people who might need that story to get through the day, or who need to hear one specific line that helps them so deeply. That is so important to me and at one point in my life I almost walked away from it for good. Merrily reaffirms that importance to me of holding tight to what drives you, and I really appreciate that.

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s MARY FLYNN, McKENZIE BRYAN

JHPENTERTAINMENT: Mary Flynn has some of the sharpest wit and deepest emotional insight in the entire show. What’s your favorite thing about getting to play her?

MCKENZIE BRYAN: Mary has been a dream role of mine for a while now so everything about getting to play her is my favorite thing! But if I had to narrow it down, it would be getting to tackle the challenge of telling a story that spans 20 years in 2 hours. Everything about my characters speech patterns, to the way she holds herself, to her mannerisms, all adjusts in different ways over the course of the show as we travel backwards in time and that has been such a treat to dive into as an actor. 

JHPENTERTAINMENT: The show travels through several distinct eras and styles. How much fun has it been working with the production’s costumer to bring those iconic fashions and changing time periods to life?

MCKENZIE BRYAN: So much fun!! My style in real life is greatly influenced by the decades that this show lives in so I have been lucky to incorporate a lot of my own personal articles of clothing from my closet into Mary’s wardrobe. That makes playing her feel even more special and makes me feel that much more connected to her. 

JHPENTERTAINMENT: Sondheim lyrics are legendary for a reason. Do you have a favorite lyric or line in the show that hits differently for you now that you’re performing it?

MCKENZIE BRYAN: The entirety of “Our Time”, the closing number, is a favorite of mine. The first time we blocked the number I just cried & cried. It was so sweet & sad and that number still impacts me deeply every single time we perform it. Even though we’ve seen these people’s stories play out in front of us it almost feels like for a second they just might have a chance at something better, a different ending and I try to cling to that hope as an anchor emotionally during this number every night. 

JHPENTERTAINMENT: Mary spends much of the musical watching old friendships shift and evolve. What’s something you’ve learned in your own life about holding onto meaningful friendships?

MCKENZIE BRYAN: I am a really lucky lady who has a lot of meaningful friendships in her life that I take great pride & joy in maintaining, so I have to say, Mary has actually taught me more about what not to do than what to do. Bless her sweet heart, she obviously has great intentions but I do think a little more honesty and a lot less self abandonment would have taken her a long way. Because at the end of the day, real friendship thrives on openness, vulnerability, & communication. And in the wise words of Taylor Swift “my advice is always ruin the friendship, better that than regret it for all time.” Take that and run with it Mary, speak your truth girl! 

JHPENTERTAINMENT: In a show that wrestles so heavily with ambition and happiness, what does happiness currently look like for you outside the theater?

MCKENZIE BRYAN: Theatre is definitely a huge source of happiness for me that seeps into every other part of my life so it is difficult to actually separate the two. Performing is such an integral piece of who I am that my happiness & theatre are just kind of naturally woven together. I am happiest in a show! That being said I of course find joy in so many things, including but not limited to, spending time with my sweet family, cutie friends, & perfect angel pets, my day job that is such a gift (shoutout to my students!), any time i get to be at Walt Disney World, talking about Stars Wars (specifically the prequels), laughing with my sister, eating cheese of any and all kinds, sitting outside with the sun on my face, listening to Mamma Mia on a loop, and just the fact that it’s gemini season which means we are on the brink of my birthday. 

RAPID FIRE WITH MERRILY WE ROLL ALONG DIRECTOR JACOB WAID

JHPENTERTAINMENT: Merrily We Roll Along famously tells its story in reverse chronological order. What’s been the most exciting part of unpacking that unique narrative structure in rehearsal?

JACOB WAID: Honestly, the most exciting part has been watching the cast slowly discover that the “villains” of the story are not really villains at all. When you experience someone at the worst point in their life first, it is very easy to judge them. Then the show keeps peeling back layers and suddenly you understand the heartbreak, the compromises, the ambition, the fear, and the moments that shaped them into who they became.

That has been fascinating in rehearsal because every scene changes meaning once you know what comes later…or technically earlier. We have spent a lot of time discussing subtext and history. A line that feels cold or selfish in the opening scenes suddenly feels devastating once you understand the friendship and hope these people once had.

I also think the structure mirrors life in a strange way. So often we meet people at a single moment and assume that moment defines them. Merrily forces us to ask how they got there -“how did you get to be here? What was the moment?.”  It asks us to reconsider people over and over again and to look at what or who made them the person they are today. 

JHPENTERTAINMENT: This production spans roughly two decades of these characters’ lives. What are some of the biggest challenges — and rewards — of directing a story that evolves so dramatically over 20 years?

JACOB WAID: The biggest challenge is making sure the evolution feels truthful and not “performed.” I did not want actors simply putting on an older voice or changing posture and calling it a day. We have really focused on emotional evolution instead. How does disappointment reshape someone? How does success inflate or isolate them? How does grief harden them or soften them?

One thing that was very important to me from the beginning is that we are not really “aging up” or “aging down” the actors in a theatrical or exaggerated way. The story speaks for itself. The audience is intelligent, and the writing does so much of the work already. There are subtle physical shifts and changes in energy as the characters move backward and become younger, but for the most part, the emphasis is on the emotional storytelling and the relationships. I did not want distraction from the humanity of the piece.

What makes Merrily so special is that you are watching dreams form and then watching what life does to those dreams over time. That requires an incredible amount of detail work from the actors because every scene has to carry the weight of what the audience already knows is coming.

The reward has been watching the cast build entire lifetimes for these characters. By the end of rehearsal, they are not just playing scenes anymore. They know the history between every glance, every joke, every uncomfortable silence. It starts to feel less like actors performing and more like real people with decades of shared experiences.

JHPENTERTAINMENT: Sondheim shows often demand emotional precision and razor-sharp pacing. What has this cast brought to the table that’s surprised you the most?

JACOB WAID: Their honesty. This cast has been willing to live in the uncomfortable spaces of the show. Merrily is funny, sharp, and entertaining, but underneath it there is loneliness, regret, insecurity, longing, heartbreak, and love woven throughout every relationship. The actors have not shied away from that.

What has surprised and impressed me most is their willingness to examine themselves as human beings, not just actors. Watching them lean into these complicated emotional moments with such clarity and connection has been stunning.

Some of my favorite moments in this production are not the loud emotional explosions. They are the fleeting glances, the pauses, the moments where someone almost says something but chooses not to. Someone once told me that great acting is not just crying on stage when you are sad, it is doing everything possible not to cry while the audience watches the battle happening across your face. I think there is tremendous truth in that.

The real beauty of Merrily lives in the things left unsaid. Sometimes an entire relationship shifts because of a single glance across the stage. This cast has understood that in a really profound way, and I think audiences are going to feel those quiet moments just as deeply as the big ones.

Vocally, they are phenomenal. The score may not be Sondheim’s most harmonically dense work, but I actually think that simplicity is intentional. It keeps your focus on the relationships and storytelling. The cast has understood that beautifully. They are not just singing the music. They are using it to expose the emotional fractures underneath these friendships.

JHPENTERTAINMENT: Theater is full of stories about ambition, friendship, and the cost of success. How personally relatable does this show feel to you at this stage in your life and career?

JACOB WAID: I think anyone who has spent a long time in the arts eventually wrestles with some version of the questions this show asks. What are you willing to sacrifice for success? At what point does ambition become destructive? How do you hold onto friendships and authenticity in industries/life styles that constantly encourage reinvention and competition?

What hits me the hardest now is not necessarily the fame or success aspect of the show, but rather the loss of simplicity. The older I get, the more emotional those final scenes become because you see these characters before the damage, before the ego, before disappointment complicated everything. There is something deeply moving about watching people at the beginning of their dreams when everything still feels possible.

I also think the show is incredibly relatable because all of us have experienced loss in relationships and friendships in some way. That is just part of life. Sometimes friendships drift apart because of ambition, timing, pride, distance, or simply becoming different versions of ourselves over time. Sometimes those relationships find their way back, and sometimes they are lost for good. I think part of the beauty and heartbreak of life is learning how to process that loss, understand it, grow from it, and carry those memories with you anyway. Merrily captures that feeling in an incredibly honest and human way.

This show also holds a mirror up to the performance industry in a very truthful way. Sometimes people are celebrated only as long as they are useful, profitable, successful, or helping move someone else forward. The moment they stop being viewed as valuable in that way, they can suddenly find themselves pushed aside for the next rising star or new opportunity. That sounds harsh, but I think there is a real honesty to it, and Merrily is brave enough to explore that reality without losing compassion for the people inside of it.

JHPENTERTAINMENT: After audiences leave Hendersonville Performing Arts Company’s production of Merrily We Roll Along, what do you hope they carry with them?

JACOB WAID: I hope they leave thinking about the people in their own lives. I hope they think about old friendships, old dreams, the moments where life took unexpected turns, and the ways success and failure shape us over time. I hope the show encourages people to have a little more empathy for one another because none of us are just one moment in time.

More than anything, I hope audiences feel connected to these characters. Even when they make frustrating or painful choices, I want people to recognize themselves somewhere in them. We all have moments we regret. We all have moments where we have lost sight of who we wanted to be. I want the focus to stay on the people, the relationships, and the story itself.

To me, that honors what Sondheim does so brilliantly in this piece. Even musically, Merrily is surprisingly simple compared to some of his other scores. I think that simplicity is intentional. It creates space for the emotional complexity underneath it all. I wanted to create a world where the humanity of these characters could breathe without anything getting in the way of it. 

From favorite lyrics and emotionally demanding musical numbers to reflections on friendship, happiness, and chasing creative dreams, the cast and creative team behind Merrily We Roll Along offered an honest and heartfelt glimpse into the work happening behind the scenes at Hendersonville Performing Arts Company (260 W Main Street, Hendersonville, TN 37075).

Whether you’re a longtime Sondheim fan or experiencing Merrily for the very first time, this production promises an evening full of humor, heartache, nostalgia, and plenty to think about long after the final curtain falls. HPAC‘s Merrily We Roll Along opens Thursday, May 28 and runs weekends through Sunday, June 14. Performances are at 7:30pm Thursdays-Saturdays with 2pm matinees on Sundays. Tickets are $25/Adults and $22/Students and Seniors. All tickets are reserved seating. CLICK HERE to purchase tickets. For ADA accommodations, please call the box office at 615.826.6037.

Merrily We Roll Along may signify the end of HPAC‘s 2025/2026 show season, but they’re just getting started with their summer classes. CLICK HERE to learn more about their acting classes, theatre day camps, tap dance classes and more for kids of all ages.

To keep up with HPAC, CLICK HERE to receive info on upcoming shows, auditions and everything Hendersonville Performing Arts Company. You can also find them on Facebook and Instagram.

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

Rapid Fire 20Q with ‘Water for Elephants’ Kinker & Roust Cast Members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis & John Neurohr; at TPAC thru May 17 as National Tour Continues

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The circus has rolled into Music City, well, Broadway’s recent fan-favorite circus-centric show, that is.  On stage now through Sunday, May 17, the National Tour of Water for Elephants has quickly become one of the most visually inventive and emotionally stirring productions currently touring the country. Based on the bestselling 2006 novel by Sara Gruen, adapted for the big screen in 2011, the Broadway extravaganza—with a book by Rick Elice and music and lyrics by PigPen Theatre Co.—features jaw-dropping physicality, striking puppetry, soaring folk-inspired music, and an ensemble that quite literally keeps the circus running, the production transforms TPAC‘s Jackson Hall into a living, breathing spectacle each night as the Nashville tour stop continues.

With five shows of the eight-show Music City run remaining, JHP Entertainment caught up with cast members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr to talk about life on the road, special skills, backstage friendships, fight choreography, Rosie the elephant, and the organized chaos that comes with bringing the circus to life eight shows a week. So, step right up for this latest edition of Rapid Fire 20Q.

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RAPID FIRE 20Q WITH WATER FOR ELEPHANTS‘ KINKERS & ROUSTS

RAPID FIRE WITH WATER FOR ELEPHANTS‘ BRADLEY PARRISH

JHPENTERTAINMENT: Bradley, the music and lyrics for Water for Elephants were created by the collaborative collective PigPen Theatre Co.. In a way, does that collaborative spirit mirror the way the ensemble members work together to quite literally help bring Rosie and the circus world to life every night?

BRADLEY PARRISH: I think it absolutely does. PigPen’s work on this show, in tandem with our director Jessica Stone, choreographers Jesse Robb & Shana Carroll, and music supervisor Benedict Braxton Smith, was all about collaboration and creating a culture of unity, excellence, and love. In every aspect of this show it has been our desire and intent to flourish on and off the stage, and that’s been a beautiful thing to be a part of. 

JHPENTERTAINMENT: This marks your National Tour debut. What’s been the biggest adjustment from regional theatre life to living out of a suitcase and performing in a different city every week?

BRADLEY PARRISH: One of the biggest adjustments has been exactly that – being in a new city every week. To be able to see the country, explore the beautiful cities we’re in, and meet the locals has been a sweet privilege. 

JHPENTERTAINMENT: Speaking of different cities…You’re a Belmont University alum, so getting to return to Nashville with a major national tour has to feel a little full circle. While it’s only been a couple years since graduation, what memories immediately come rushing back whenever you’re in Music City?

BRADLEY PARRISH: Being back in Nashville is definitely full circle – very much feels like coming home. The best part of being here is certainly going down memory lane a bit (coming to TPAC to see shows, hanging at Crema and Sevier Park) and getting to share this show with my community that’s here in Nashville. 

JHPENTERTAINMENT: I’m about to chat with some of your fellow Kinkers & Rousts ensemble cohorts, so a two-part question for you…What exactly ARE Kinkers & Rousts…AND…What are some of the talents or tricks audiences will get to see from you as part of the Kinkers & Rousts ensemble?

BRADLEY PARRISH: Great question. A Kinker is a circus performer, and a roust is just another name for a worker! Our whole ensemble has some beautiful acts and performances for you, personally I’ll be singing, dancing, and doing puppeteering work with our many puppets. One of my absolute favorite acts in the show is a silks performance by Yves Artiéres during the song “Easy.” 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CARL ROBINETT

JHPENTERTAINMENT: Carl, you were a 2022 Rising Star Jimmy Award recipient. How important are the Jimmy Awards and programs like that in helping young performers realize a professional career in theatre is actually possible?

CARL ROBINETT: The Jimmy Awards were one of the most life-changing and incredible experiences of my life. The fact that, year after year, the Jimmy’s are able to give kids from around the country the opportunity to work with Broadway legends, be a part of the creation of a new piece, and perform on a Broadway stage—all while making it completely free—is simply unlike any other opportunity out there for a kid interested in pursuing musical theatre. I made some lifelong friendships there and met some of the most talented people I have ever come across, and moreover I just felt like I was able to learn and absorb so much because of how immersed I was, showing up to rehearsal in a fast, furious and fun process. Programs like these are vital to helping kids realize a career in the world of theatre is possible, and surely for me it solidified that, all the while giving me an unforgettable experience that I will always be grateful for.

JHPENTERTAINMENT: There was a time when it wasn’t uncommon for a kid to daydream of running away with the circus and you’re basically doing that every night…What has been the most surreal “I can’t believe this is my job now” moment for you so far?

CARL ROBINETT: I think honestly that moment came the first time I performed the show with my parents in the audience. My dad was able to come see the show in Baltimore (where we teched) and my mom a bit later in Greenville, and I just remember standing on the scaffold during the finale, looking out into the audience towards my parents each time and thinking back to the first touring show I saw. It just felt so full circle because I remember seeing the first national of Young Frankenstein at the Orpheum (my local touring house in San Francisco) with my parents and sisters, and now looking out into the audience all I could think about was how happy young me would be. I left that theater grinning from ear to ear and singing “Together Again”, and my parents continued to bring me to so many shows after that furthering my love for this art form. I have always been so supported by my them, and so having them in the audience always reminds me of how lucky I am to have the parents I do. I love you, Mom and Dad, and thank you for supporting my dreams and letting me run away with the circus.

JHPENTERTAINMENT: What has it been like collaborating with tour director Ryan Emmons and helping maintain the scale and emotional intimacy of a production this massive while traveling city to city?

CARL ROBINETT: It’s been such an incredible experience. Ryan is the best. He is such a kind person and just such an insightful resource when it comes to the world of this show. We have been so lucky to spend so much time as understudies diving into the text and doing table work to craft these characters, and a lot of the time that has been put aside for that has been because of Ryan. He’s made numerous trips out to visit us on the road and check in, and we’ve had so many fun rehearsals just walking through the show, the text, and the world building surrounding it all. He has been so supportive and really helped to maintain the show while we’ve been on the road, and I don’t know what we’d do without him. Thank you, Ryan!

JHPENTERTAINMENT: Résumé special skills can sometimes feel random until you land a show like this one. Which of your own skills or physical abilities have unexpectedly become most useful as one of the Kinkers & Rousts?

CARL ROBINETT: Honestly, I would say my Jennifer Coolidge impression has been the most useful. No, but in all seriousness, I feel as though some of the very basic acrobatics that I could do have helped me tremendously in learning new skills for the show. One new skill is a macacowhich I have to do in the big number where we are setting up the tent. It is like a cross between a back walkover and a one-handed cartwheel, and just being able to do some basic acrobatics such as cartwheels and kip-ups helped me tremendously with learning that. Although I’m not one of the acrobats I have definitely learned a lot of acrobatics from this show that will be making the resume moving forward, and I honestly thought I would be doing no acrobatics when I booked this, so I would say truthfully that has been the most unexpectedly useful special skill.

Also, a little fun fact is that the ensemble character name I crafted is a cross between the actor who portrayed my track on Broadway, Sean Stack, and this acrobatic trick that I do in the show, a macaco, so I named my character Stack Macack!

RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS

JHPENTERTAINMENT: Ella, Water for Elephants has some truly stunning costumes. What has it been like stepping into the world created by costume designer David I. Reynoso, and do you have a favorite costume piece in the show?

ELLA HUESTIS: I love all of the “Grand Spec” costumes I get to wear in all the tracks I perform and cover! My Roust design is this gorgeous turquoise, green, and pink number with stars and sequins galore. My Marlena outfit is a stunning red, sequin, beaded leotard with the most fabulous red and gold custom boots. My Barbara costume is a hot pink, long sleeve, sequined leotard with a spectacular cape, complete with a custom teal LaDuca boot. All three make me feel like the prettiest showgirl in the world and it is an absolute honor to wear David I. Reynoso’s Tony Award-nominated designs every single night!

JHPENTERTAINMENT: Your show bio mentions getting to make your National Tour debut alongside your best friend, Summer Severin. How special has it been sharing this entire experience — the travel, the rehearsals, the chaos, all of it — together?

ELLA HUESTIS: It has been the biggest dream come true, it’s hard to adequately put into words how special it is. Summer and I have been best friends/roommates/sisters for the past five years and have seen each other through thick and thin. We did the entire audition process together, danced the last combo in the final callback as a duet, and got the calls with our offers five minutes apart! Being able to see each other grow and evolve over the years and continuing the adventure with this incredible show, has been the gift of a lifetime! She’s my ride or die and I could not be prouder of her!

JHPENTERTAINMENT: Actors spend years collecting special skills for their résumés, but this show may actually require all of them. What’s one skill you get to show off in Water for Elephants that audiences might not expect?

ELLA HUESTIS: Honestly, this show has only added more special skills to my resume that I’m really proud of! I was lucky enough to get to learn the art of puppetry from Joshua Holden and trapeze/acro from Shana Carroll and our spectacular circus cast and it has been the most fulfilling experience to dip my feet into other specialties. I’m so excited to continue exploring these parts of theatre and performance and build upon the knowledge I’ve gained by running away with the circus!

JHPENTERTAINMENT: Water for Elephants is such an ensemble-driven piece where everyone seems essential to creating magic. To that end, as part of the team bringing Rosie to life night after night, do you have a particular scene between Rosie and Helen Krushinski’s Marlena that you love being on stage for each night?

ELLA HUESTIS: I have so many, it’s hard to choose! Getting to build all the little moments with Helen as a scene partner has been such a gift. She is seriously the best. I think my favorite one has to be the first time I interact with her using the trunk puppet. It’s such a cute, mischievous sequence and I love all the ways we’ve gotten to play around and find new gestures and interactions over the months of performances. It’s the highlight of my Act One and something I look forward to every night! 

RAPID FIRE WITH WATER FOR ELEPHANTS’ JOHN NEUROHR

JHPENTERTAINMENT: John, Rosie has become one of the most talked-about elements of the production. From a performer’s perspective onstage every night, what’s your favorite aspect of Rosie’s design and the way audiences react when she appears?

JOHN NEUROHR: What I think is so beautiful about Rosie, and all of the puppets in our show is that they are seen through the eyes of Jacob’s memory. The audience sees fragments of Rosie throughout the first act, but it isn’t until there’s a breakthrough that we see her in her full form. It’s such an amazing moment to witness every night.

JHPENTERTAINMENT: The show’s puppetry work by Ray Wetmore, JR Goodman, Camille Labarre, and puppetry director Joshua Holden is unlike anything audiences typically see on tour. What was the learning curve like in rehearsal for that style of storytelling?

JOHN NEUROHR: I’ve never studied or had puppetry experience before this show, and so there was a massive learning curve with stepping into the shoes of Rosie. The puppeteers and I studied, in great detail with Joshua, exactly how an elephant moves, how they breathe, and even small shifts of focus. At first, we used dowel rods walking around our rehearsal space, probably looking very silly, and slowly moved into Rosie. We get strapped into the puppet, like a hiking backpack, and use mechanisms in the legs to control her ear flapping, blinking, and tail movement. She’s a beast, but it’s so rewarding hearing and seeing the reaction from the audience and company when she comes to life.

JHPENTERTAINMENT: In addition to your role as a member of the Kinkers & Rousts, you also step into the Caretaker role. What can you tell me about the Caretaker?

JOHN NEUROHR: Being the extremely humble person that I am, I would say the Caretaker is the single most important character of the show. Without him, the Benzini Brothers would have never been able to buy Rosie and bring her into their circus. Of course, I kid, but the caretaker is a bit of a grouch and does not treat Rosie properly while she’s at the rival circus. It’s a good thing she got away from him. 

JHPENTERTAINMENT: For you personally, which ‘special skill’—nearly every theatre actor’s resume mentions them— has proven most valuable in surviving the organized circus chaos of being a Kinker & Roust in this production?

JOHN NEUROHR: Well, thankfully I’m not doing any of the real circus elements in this show. Our acrobats are truly incredible, and I watch in awe every night at the incredible feats they perform. For myself, I do give a pretty good cartwheel, that makes an appearance. More than anything I’ve learned so many new ‘special skills’ because of this show, from knife throwing, learning to crack a whip, juggling, and more. 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH

JHPENTERTAINMENT: Chris, you officially joined the national tour in April. What has the whirlwind of stepping into Water for Elephants been like for you so far, and what has surprised you most about joining an already tightly-knit company?

CHRIS MARTH: Whirlwind is a great way to put it, but it’s been a very rewarding challenge so far! Learning a show by yourself in a studio, especially a show of this magnitude, is not for the faint of heart.  There are so many moving pieces that trying to “imagine” them in a rehearsal studio can be really difficult. Luckily our incredible dance captain, stage management, and music direction team led me through it every step of the way! It’s definitely nerve–wracking to step into a show with an established rhythm and a group of people who have been living this for the past 8 months, but luckily this is such a welcoming group of people, I was able to slip right into the fold. 

JHPENTERTAINMENT: Wade initially comes into the story with a pretty serious chip on his shoulder when it comes to Jacob Jankowski. How have you approached Wade’s evolving dynamic with Jacob, and what do you enjoy most about that story arc opposite Zachary Keller?

CHRIS MARTH: Wade is really tough on Jacob in the beginning of this story. It’s the Great Depression and there are countless people out of work and looking for a job. Then this seemingly well–off kid jumps our train car and Wade does not have the reason or resources to give him a chance, he is another mouth to feed and we are already scraping by as it is.

He believes that Jacob has not earned his position. But as the story progresses, Wade absolutely begins to soften towards Jacob, as he sees the value that he is bringing to the circus. However, his developing relationship with Marlena certainly does not go unnoticed. 

So, I think I approach their evolving relationship with trepidation. Even when things begin to go well for the entire gang, I’m trying to keep Jacob at arm’s length, knowing that when push comes to shove, I’ll likely be the one that has todeal with it.  My favorite part where this manifests itself in the show, are small moments between Zack and I during “Zostan” where you see those initial moments of firm intimidation at the start of the show have now softened into a kind of brotherly annoyance. 

JHPENTERTAINMENT: This production is incredibly physical. What has it been like working with fight director Cha Ramos to build the intensity and realism of those moments onstage?

CHRIS MARTH: Cha is simply incredible at her job. The detail and specificity that she brings to the fight choreography in this show is truly unmatched. Every moment is so meticulously thought out to keep the actors safe and comfortable, while still delivering a result that looks so real to audiences. There’s one moment in particular (I won’t spoil), that I love hearing audiences gasp at every night. I also have to shoutout Andrew, our incredible fight captain and swing. He guides Zack and me through the fights every night preshow and keeps them looking tight, while making sure we are safe and maintaining Cha’s brilliant choreography. 

JHPENTERTAINMENT: Water for Elephants balances spectacle with emotional storytelling in such a unique way. From your perspective playing Wade, what do you think audiences connect with most by the final curtain?

CHRIS MARTH: It’s easy to look at Wade as the villain of this story, but as you peel back the layers, you start to realize that he is a victim of his circumstances. That the decisions that he makes are fueled out of, to him, what feels like necessity. And I think that rings true for every character in this play, they all chose to join this circus out of necessity. So, my hope is that audiences walk away with deep empathy for these characters and the understanding that while they may not have all made the perfect or even right decisions over the course of our story. They made the decisions that felt right for them in their given circumstances, at that given moment. 

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JHPEntertainment thanks Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr for stepping into the Rapid Fire spotlight midway through the tour’s Nashville stop — and for giving audiences a behind-the-scenes glimpse at the magic under the big top.

With its stunning visual storytelling, emotionally rich performances, and extraordinary ensemble work, Water for Elephants continues to prove why audiences across the country are falling in love with this theatrical spectacle. From the breathtaking puppetry of Rosie to the athleticism and heart poured into every moment by the Kinkers & Rousts, the production captures both the wonder and humanity at the center of the story.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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In case you missed it, check out our review of Water For Elephants‘ Opening Night performance in Nashville.

Theatre Review: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

 

 

Theatre Review: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

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There is a moment early in Water for Elephants when the ensemble begins swaying in synchronized rhythm, bodies rocking side to side as if connected by an invisible thread, and suddenly the audience is no longer sitting inside Jackson Hall at Tennessee Performing Arts Center — we are barreling across America with the Benzini Brothers Circus. It is one of the production’s most inspired visual motifs, a kind of train-ography, if you will, that becomes the pulse of the entire evening. Through movement alone, the cast conjures locomotives, instability, exhaustion, hope, and the restless momentum of Depression-era survival. Simple? Seemingly so. But in execution, it is theatrical magic.

Now playing Music City through Sunday, May 17, the National Tour of Water for Elephants delivers spectacle without drowning in it. Rather than relying solely on oversized circus gimmickry, the production trusts movement, music, lighting, lush storytelling and deeply committed performances to transport audiences into its world. The result is a stirring, emotionally textured theatrical experience that balances intimacy with astonishing visual ambition.

At the center of the production is Zachary Keller as Jacob Jankowski, the grieving veterinary student who impulsively abandons his former life and jumps aboard the Benzini train. Keller anchors the production with a grounded sincerity and a soaring vocal performance that gives emotional weight to Jacob’s internal struggle between safety and risk, logic and passion. His voice carries a warm ache throughout the evening, particularly in moments when Jacob wrestles with the moral compromises surrounding the circus and his growing connection to Marlena. There are moments within Keller’s performance that the entire audience falls in love with his Jacob. Heck, there are moments his near-perfect pitch vocals fill the venue so melodically that you even wonder if he needs a mic. A true testament to his skills and those of the show’s sound designer Walter Trarbach and the entire technical team.

In the role of Jacob’s older self, Mr. Jankowski is Robert Tully. Fittingly, Tully’s show bio reveals among his many theatre credits, he actually served as Ringmaster for Ringling Bros. and Barnum & Bailey circus, making his narrative duties all the more authentic as he regales Jacob’s time riding the rails as a circus roustabout.

Opposite Keller (and Tully), Helen Krushinski delivers a luminous performance as Marlena, the circus star trapped inside an increasingly dangerous marriage. Krushinski possesses the kind of voice that cuts cleanly through the orchestrations without ever losing emotional nuance. She brings both fragility and fierce determination to Marlena, avoiding cliché and instead presenting a woman desperately searching for dignity and freedom amid chaos. Like so many of her ensemble cast mates, Krushinski also demonstrates a bit of impressive arial skills, adding a literal and figurative extra layer to her performance.

Then there is Connor Sullivan as August, whose volatile presence practically crackles across the stage. Sullivan’s vocals are thunderous and commanding, but it is the unpredictability simmering beneath every line that makes the performance so riveting. He creates a genuinely unsettling antagonist — charming one second, terrifying the next — while still revealing enough humanity to keep the character from becoming cartoonish. Without having checked out the playbill prior to attending Nashville’s Opening Night performance, the second Sullivan entered the stage, I recognized him immediately. No doubt theatre fans across the country have done the same, given Sullivan joined Water for Elephants not long after his previous gig as Billy Flynn in last year’s National Tour of Chicago came to an end.

Together, Keller, Krushinski, and Sullivan form a powerhouse central trio whose vocals elevate the production far beyond spectacle alone. Their emotional authenticity keeps the audience invested even as acrobats fly overhead and circus acts unfold around them.

The same can be said for the modern-day interludes in which Tully’s Mr. Jankowski shares tales of his younger self with Krushinski and Sullivan–in present-days scenes playing circus workers June and Charlie. The respect, admiration and care with which Krushinski’s June and Sullivan’s Charlie attentively listen to Tully’s Mr. Jankowski as he relives the glory days and heartaches of his former life serves as a reminder to us all that our elders have incredible stories to be listened to and learned from. We just have to take the time and make the effort to hear them.

While the score of Water for Elephants falls into the category of musicals that are quite effective in the moment, but for the most part, unless you’re a die-hard devotee of the show, you’re likely not going to add it to your daily playlist, several musical numbers land with exceptional force. “Anywhere” becomes an emotional turning point for Jacob and Marlena, with Keller and Krushinski blending their vocals beautifully while revealing the aching vulnerability beneath their growing connection. Meanwhile, August’s explosive numbers pulse with danger and desperation, allowing Sullivan to unleash the full power of his commanding voice and increasingly fractured psyche. The company-wide numbers prove equally affective, particularly those involving the traveling circus ensemble, where choreography, percussion-like movement, and the now-signature train-ography fuse together into thrilling theatrical momentum. Rather than pausing the story for songs, the score continuously propels the narrative forward like the locomotive at its center. The harmonies of the entire company singing in unison is simply quite spectacular.

Special recognition also belongs to John Neurohr, who stepped into the role of Walter, the knife-throwing clown, for Nashville’s Opening Night performance. Neurohr brought an endearing warmth and understated melancholy to the role, grounding Walter’s eccentricity with genuine heart. His stage presence blended seamlessly into the production’s emotional fabric, while his physicality and comic timing added welcome texture to several ensemble-driven moments throughout the evening.

And yes — the aerial and acrobatic work is extraordinary. This production understands that circus artistry should not simply interrupt the narrative; it should become the narrative. Silks, balancing acts, lifts, and gravity-defying choreography emerge organically from the emotional life of the story. The transitions feel seamless rather than showy for the sake of applause. From the jump, as the circus ‘crew’ is setting up shop at their latest stop, even the pounding of the tent-stakes into the ground and the raising of the tent becomes a cadenced ballet of movement, acrobatics and mind-boggling balance and strength. This elegance of motion and bodily discipline becomes another character throughout.

Particular praise belongs to Yves Artières, whose physical performance as Silver Star, Marlena’s beloved show horse, becomes one of the evening’s unexpected emotional centerpieces. Through movement alone, Artières creates personality, loyalty, exhaustion, and tenderness in a way that feels almost impossibly expressive. In a key scene when Silver Star reaches his untimely end, the visual of his spirit leaving his body, by way of Artières ascending silks hanging from the rafters above the stage, then dramatically unfurling the silks as he descends to return to the earth–simply breathtakingly beautiful. The puppetry/animal work throughout the production is remarkably inventive, but Silver Star’s presence lingers long after curtain call.

As Silver Star evokes emotion, Gabriela Diaz as Agnes, the orangutan elicits laughter while Kayden Woodridge‘s puppetry as Rex, the lion evokes fear.

That artistry that extends beautifully into the production’s remarkable puppetry design is most notably witnessed in Rosie, the titular pachyderm herself. Even before Rosie makes her official entrance, her presence looms larger than life throughout the narrative — a symbol of hope, survival, and emotional connection for nearly every character onstage. When she finally appears, the effect is genuinely awe-inspiring. Brought to life by on Opening Night in Nashville by Ella Huestis, Chris Marth, Bradley Parrish, Andrew Meier, and Carl Robinett, Rosie is far more than a puppet; she becomes a fully realized emotional force within the story. The coordination and grace required by the performers is staggering, yet the mechanics disappear almost instantly, allowing audiences to emotionally invest in the elephant herself. It is a masterclass in collaborative physical storytelling. Not since Dumbo or Mr. Snuffleupagus has a pachy won over an entire audience by simply walking across the stage.

Ruby Gibbs‘ Barbara, while employed as the circus’ somewhat bawdy leading lady, reveals a softer side where Jacob is concerned. Javier Garcia‘s Camel, a drink-swilling roustabout veteran, who takes Jacob under his wing, becomes a bit of a father-figure to newbie. Both of these actors endear themselves to the audience with their abilities.

The entire company, whether lead actors, featured supporting cast or the incredibly gifted high-flyers, tumblers, acrobats, jugglers–just like a real circus troupe–it’s the entire company, and the individual skills they bring, that make up the full multitude of experiences for a night of incredible joy and entertainment overload. Seriously, this ensemble is nothing short of phenomenal. Whether transforming into roustabouts, circus performers, fellow travelers, or performing animals, the company operates with astonishing precision and energy. Their physical storytelling becomes a vital connective tissue of the production, especially during those unforgettable rail-travel sequences where synchronized motion and rhythmic choreography create the sensation of perpetual movement.

Equally effective is the production’s restraint in its technical design. Rather than constructing an oversized literal circus environment, the creative team leans into minimalism with confidence. Scenic elements remain spare and fluid, allowing the actors and movement to define the environment. That simplicity makes the production’s biggest visual moments land even harder.

Most impressive is the staging of the circus tent itself. Instead of unveiling some predictable red-and-white striped spectacle, the production opts for a hauntingly beautiful sheer grey canopy that rises overhead and transforms through lighting into the shadowed suggestion of a massive big top. It is elegant, dreamlike, and emotionally evocative — less interested in realism than memory. The choice perfectly reflects the production’s overall artistic philosophy: suggest rather than overwhelm.

The lighting design deserves enormous credit for shaping the show’s emotional landscape. Warm ambers, smoky blues, and stark silhouettes constantly shift the atmosphere from romance to danger to wonder. Combined with a richly textured sound design that captures both the intimacy of whispered confessions and the thunder of circus chaos, the technical package immerses the audience completely without ever feeling excessive.

What makes Water for Elephants resonate so deeply is that beneath all its acrobatics and visual invention lies a profoundly human story about survival, reinvention, and finding family in unexpected places. This touring production never loses sight of that heart. By the time the company takes its final bow, audiences are likely to feel exactly like Jacob himself: changed by the journey…and excitedly anticipating what life has in store next.

Water for Elephants at TPAC is not merely a musical. It is a moving act of theatrical imagination — one that races forward with the force of a locomotive while never forgetting the fragile souls riding inside it and their ultimate purpose of bringing a little joy wherever the rails, the circus and their lives take them.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

Theatre Review: Adam Pascal Pays the Rent for Our Sins in Studio Tenn’s Imaginative Interpretation of ‘Jesus Christ Superstar’; On Stage Thru May 31

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Since its groundbreaking 1971 Broadway debut, Jesus Christ Superstar has remained one of musical theatre’s most provocative works. Andrew Lloyd Webber and Tim Rice’s legendary rock opera has never been content presenting a straightforward biblical retelling. Instead, the piece examines faith, fame, politics, and humanity through the eyes of the people surrounding Jesus during the final days leading to the crucifixion. More than fifty years later, the material still feels startlingly relevant.

Studio Tenn Artistic Director Patrick Cassidy, who’s at the helm of this production as the show’s director, clearly understands why. Rather than reinventing the show through gimmick or spectacle, Cassidy’s emotionally charged new production smartly leans into the themes already embedded within the material: celebrity worship, performative devotion, mob mentality, and the emotional cost of turning human beings into symbols.

As Cassidy notes in his director’s statement, this production asks audiences to consider what happens when a person becomes “more than human in the eyes of the world.” It is a concept that permeates nearly every aspect of this imaginative interpretation.

Adam Pascal as Jesus in Studio Tenn’s Jesus Christ Superstar (All photos by Sammy Hearn/Courtesy Studio Tenn)

Leading the cast is Broadway icon, Tony-nominated Adam Pascal as Jesus Christ, and despite the production being filled with powerhouse performances, Pascal remains its emotional center. Rather than portraying Jesus as some untouchable religious figure, Pascal presents him as a weary modern everyman crushed beneath the expectations of those around him. Costume designer Devon Renee Spencer wisely avoids the traditional flowing robes often associated with the role, instead dressing Pascal in loose linen shirt and neutral-toned pants  that ground the character in recognizable humanity.

Vocally, Pascal delivers exactly the kind of performance longtime fans hoped for while still finding fresh emotional textures within the score. One moment, his voice slips into soft, heartfelt vulnerability during quieter emotional exchanges. The next, he unleashes the kind of raw, anger-struck rock wailing that made him a Broadway icon in the first place. His “Gethsemane” becomes one of this production’s many emotional peak—not merely sung, but emotionally exorcised from somewhere deep within him. Pascal allows Jesus’ fear, frustration, exhaustion…and yes, rage…to boil violently to the surface.

Opposite him, Grammy nominee Mykal Kilgore delivers a mesmerizing Judas. From the opening notes of “Heaven on Their Minds,” Kilgore refuses to portray Judas as a simple villain. Instead, his Judas feels conflicted, frightened, frustrated, and heartbreakingly human as he watches events spiral beyond anyone’s control. His powerhouse vocals soar effortlessly through the score, but it is the emotional vulnerability beneath the performance that lingers longest.

The chemistry between Pascal and Kilgore fuels many of the production’s strongest moments, particularly during “What’s the Buzz?” and “The Last Supper,” where simmering resentment and emotional exhaustion visibly fracture the relationship between the two men.

As Mary Magdalene, powerhouse vocalist Olivia Valli comes by her talents naturally. Granddaughter of The Four Season‘s founding member Fankie Valli, she’s a legacy entertainer. As Mary Magdalene, Valli brings warmth and aching sincerity to the role. Early on During “Everything’s Alright,” Valli’s calming presence provides a needed emotional balance amid the increasingly chaotic atmosphere surrounding Jesus. Soon after, her rendition of “I Don’t Know How to Love Him” avoids unnecessary theatrics in favor of emotional honesty, allowing the heartbreak within the song to quietly unfold. Under Cassidy’s direction, Valli explores the often-avoided attraction between Mary the woman and Jesus the man, once again offering yet another layer to the humanity of the piece.

And while Pascal, Kilgore, and Valli anchor the production through their notoriety and talents, Cassidy’s supporting cast of beloved local performers repeatedly threatens to steal the evening out from under them—in the best possible way.

As Pontius Pilate, Geoffrey Davin offers one of the evening’s smartest tonal shifts . Presented as a gaudy, self-important joke of a man sporting an intentionally terrible hairpiece (kudos to the show’s wig designer Meredith Schieltz for just simply going for it), Davin leans fully into the absurdity of performative power. The portrayal initially earns plenty of laughs, but underneath the comedy lies another sharp reflection of the production’s larger themes—people desperate to appear more important than they truly are. His “Pilate’s Dream” balances nervous humor with growing dread, while sinisterly daunting presence during “Trial Before Pilate/39 Lashes” becomes genuinely unsettling.

Another noteworthy performance comes via Connor Barr. Barr also delivers emotionally effective work as Peter, particularly during “Peter’s Denial,” where fear and shame visibly consume him in real time. Knowing the Bible story like the good southern christian my Mama raised me to be, I found myself counting 1…2…3…as Barr fulfilled the prediction of denial in this small but surprisingly emotional moment within this production. 

W. Scott Stewart’s thunderous bass vocals as Caiaphas roll in like a deep fog, brilliantly setting the stage for the dread and darkness to come. Robert Parker Jenkins‘ Annas perfectly snarky glances peering over those disturbingly small, dark glasses, brings an unspoken self-righteousness to his role as a high priest. As other members of Caiaphas’ doom squad, Garris Wimmer‘s sinister voice and Jennifer Whitcomb-Oliva‘s snide presence all come together perfectly to present a united and terrifying quartet who initiate the plot to end Jesus.

Then there’s the most intriguing of  Whitcomb-Oliva’s multiple roles, her dazzlingly, gloriously commanding presence as King Herod. Landing somewhere firmly between Tina Turner’s Auntie Entity from Mad Max: Beyond the Thunderdome and Elton John’s Pinball Wizard from yet another rock opera, Tommy, Whitcomb-Oliva’s Herod is the true definition of the villainous character we know we’re not supposed to love, but we just can’t help ourselves. Combine the stage presence and spectacular wardrobe with Whitcomb-Oliva’s undeniable talents and you’ve got yourself a show-stopping performance and another of Studio Tenn‘s Jesus Christ Superstar‘s truly magical cast members. There is no role this mega-watt talented performer can’t handle and she proves it show after show after show.

Other ensemble members like Bakari King, Garris Wimmer, Maya Antoinette Riley, Matthew Hayes Hunter, Savannah Stein, Lane Adam Williamson, Victoria Griffin, Emma Rose Williamson, Connor Adair, Nikki Berra, Christina Ledbetter and Patrick Jones each contribute to the overall energy, emotion and beauty of the piece. From the full ensemble Act 1 favorite, “What’s the Buzz’ to a shining, glittering all-in late-hour moment, the entire cast brings everything they’ve got, resulting in a feast for the eyes, the mind, the heart and soul. 

Cassidy’s contemporary framing of the musical proves equally effective visually. Scenic designer Andrew Cohen’s stripped-down, two-tiered industrial scaffolding set serves the material beautifully. After all, Jesus Christ Superstar has never truly been about lavish scenery—it has always been about the music, emotion, and collision of faith, celebrity, and mob mentality.

Dominating the stage is a massive painted mural of Jesus that vacillates between sacred tribute and selfie-ready photo backdrop, serving as a sharp visual commentary on true belief versus performative optics.

Devon Renee Spencer’s costume work deserves particular praise throughout. With what feels like a subtle nod to Pascal’s Tony-nominated turn in Rent, much of the ensemble appears in elevated retro-grunge aesthetics layered with plaid flannels, distressed textures, and muted earth tones.

But Spencer’s most effective storytelling device is color. The militaristic blood-red dusters worn by Caiaphas and his followers immediately establish danger and authoritarian control. Meanwhile, Judas’ wardrobe slowly evolves alongside his emotional deterioration. Kilgore first appears in a sleeveless black shirt emblazoned with a bright red star. By the time betrayal arrives, the star has vanished, replaced instead with a spiderweb design—a haunting visual metaphor for the trap Judas both creates and becomes trapped within.

Darren Levin’s lighting design further deepens the production’s emotional power. Much of his work is so seamlessly integrated audiences may not consciously notice its impact until a startling–even though we know it’s coming–Act 2 moment when the stage suddenly floods in violent crimson. Combined with Danny Northrup’s immersive sound design and Randy Craft’s music direction (featuring Craft and Ming Aldrich-Gan on keys, Brad Williamson on drums, bassist Thomas Altman, Sam Merrill on trumpet, Jennifer Kummer on French horn, Gus Arnold on reeds, and guitarists Cameron Cleland & Miles Aubrey), the behind the scenes crew turns out to be just as stacked as the players on-stage.

Likewise, Joi Ware’s choreography injects continuous movement and urgency into the production. There are moments where subtle Bob Fosse-inspired isolations seem to collide with flashes of Michael Jackson-inspired movement during larger ensemble sequences, creating choreography that feels simultaneously nostalgic and contemporary. Even those ensemble moments reinforce the power-in-numbers juxtaposed to the isolation of one theme found throughout the piece. Coupled with Cassidy’s direction, Ware’s choreography fills the stage with passionate movement, whether the entire company is on stage for a group number, or the action slows for a solitary moment from Pascal, Kilgore or Valli.

The production’s final moments ultimately land with devastating restraint. Rather than over-staging the Crucifixion, Cassidy allows Pascal’s increasingly broken physicality and exhausted vocals to carry the emotional weight of the scene. The result is haunting. By the time the orchestra transitions into “John 19:41,” the audience sits in near-total silence…followed immediately by thunderous applause.

Studio Tenn’s Jesus Christ Superstar succeeds not because it attempts to reinvent the material, but because it trusts the emotional complexity already living inside it. The result is a hauntingly modern interpretation of a decades-old rock opera that somehow feels more relevant than ever. Even before the show opened it was announced that it would extend its initial run through May 31. Performances of Studio Tenn‘s Jesus Christ Superstar on stage at Turner Theatre inside The Factory at Franklin (230 Franklin Road, Franklin, TN 37064) are Wednesdays thru Sundays with 7pm performances Wednesdays-Saturdays, Saturday matinees at 2pm and Sunday matinees at 1pm. CLICK HERE to purchase tickets or for more information. 

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