Few musicals have found a permanent home in the hearts of audiences quite like Rodgers and Hammerstein’s The Sound of Music. The beloved family musical premiered on Broadway over 65 years ago, introducing generations to a story of love, courage, family and the transformative power of music. With an unforgettable score featuring “My Favorite Things,” “Do-Re-Mi,” “Edelweiss” and its iconic title song, this timeless classic continues to remind us why certain stories never lose their ability to move us.
Now, the current national touring production directed by three-time Tony Award winner Jack O’Brien is bringing the cherished musical to a new generation of theatregoers. The production follows Maria, a spirited young postulant whose arrival in the home of Captain Georg von Trapp changes the lives of seven children — and their father — forever, even as the political climate in Austria threatens everything they hold dear.
The national tour arrives in Music City for a limited engagement at Tennessee Performing Arts Center’s Jackson Hall October 13–18, 2026. For this edition of JHPENTERTAINMENT’s Rapid Fire 20Q, I caught up with four members of the touring company: Kevin Earley, who portrays Captain Georg von Trapp; Kate Loprest, who plays Elsa Schraeder; Laura Stracko, who brings Frau Schmidt to life; and Daniel Robert Sullivan, who portrays Herr Zeller while also understudying the Captain.
From the emotional weight of “Edelweiss” and the complexities of their characters to life on the road, favorite backstage pastimes and the enduring relevance of this musical classic, these four performers offer a glimpse into the people helping keep The Sound of Music singing.
RAPID FIRE 20Q WITH CAST OF THE SOUND OF MUSIC NATIONAL TOUR
RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY
JHPENTERTAINMENT: They say never to work with animals or children. Captain von Trapp is surrounded by seven von Trapp children who are as much a part of his journey as any adult character. What has it been like working with the young performers playing your children night after night, and what have they brought to the family dynamic that perhaps surprised you?
KEVIN EARLEY: I’m glad you brought up the Vontrapplings. That’s our nick name for them. The young performers in our production are so talented, kind and professional. It makes me proud to know that the future of theater and live storytelling is safe in each one of there hands. They are focused, dedicated and relaxed. Even though they have school on most days, they still come in with such energy every single show.
They are also, at their core, just kids. And it’s great to work alongside them. They give a freshness to each other and me as their “Stage Dad” each and every show. I am constantly surprises at their creativity and commitment.
JHPENTERTAINMENT: “Edelweiss” gives Georg one of the production’s most poignant moments — and one of the few opportunities we get to hear the Captain sing from such an intimate, vulnerable place. What does singing “Edelweiss” mean to you as Georg, and how do you approach making that deceptively simple song emotionally resonate?
KEVIN EARLEY: Standing up for one’s beliefs with history, family and country are all infused into “Edelweiss.” As a song, it’s a simple melody that lulls the listener in a sense of peace, but when placed against the backdrop of Austria being invaded and annexed by Germany and the Third Reich, it tells a different story. A story of courage, hope, loss, love and anger.
My approach to the song was deepened by Jack O’Brien’s brilliant direction in the moments before the Captain sings. In this unique production, we see the Captain take in the menacing German flags for the first time. He looks upon the Auditorium Festival filled with the invading Germans sitting side by side with his fellow countrymen. He then decides… chooses, to sing a different song than the one he was asked to sing. He chooses “Edelweiss” because it represents what he believes are his homeland’s core values; peace, innocence, hope and freedom. That is a lot to expect of one song, but I do my best.
JHPENTERTAINMENT: Georg begins the story as a stern, seemingly unyielding patriarch before gradually allowing music — and Maria — to bring him back to the family he has emotionally shut out. What has been your favorite part of discovering that transformation over the course of the show?
KEVIN EARLEY: The journey starts with grief. It affects us all differently and the Captain is no exception. After the tragic loss of his wife, he retreats into what he feels he can control in order to keep his children safe. That’s where I start the show. We all experience grief uniquely, and we all need someone to help us through. It could be your spouse, who helped me, or a therapist, a friend, family member or a total stranger who sings your way back to joy and happiness. Maria does that for the Captain without him even knowing. Music is magic. When I get to sing for the first time in the show “The Sound of Music”, it opens my heart and brings me such joy. It’s the next step in his healing and moving forward.
JHPENTERTAINMENT: You are the first of four cast members I’m chatting with for this particular Rapid Fire 20Q, so I gotta ask…What are a few of your personal “favorite things” when not on stage?
KEVIN EARLEY: Easy question. My wife, music and of course golf. I love to golf. I try and play at least 2 rounds of golf in each city I visit. I wish I could play more but the show must go on.
JHPENTERTAINMENT: You share the stage with two very different but equally important women in Georg’s story — Cayleigh as Maria and Kate as Elsa. What is it like having these two leading ladies as your scene partners, and how do their individual approaches to Maria and Elsa shape your performance as Georg?
KEVIN EARLEY: Firstly, I could not have asked for better scene partners and friends on this tour. They have both, as well as the rest of the cast, been a delight and a thrill to work with and get to know. We approached this “triangle” a bit differently than most productions. Letting Elsa and Georg’s courtship troubles to stand on their own and not turn into a “he’s in love with another woman” trope.
On paper, the Elsa and the Captain look like a perfect match, especially for Max who gets to ride on their coattales. In the end however, they have very different political and philosophical views of the world. This is what ultimately ends the relationship, not some love triangle. This makes more of a compelling and poignant story. Especially today when we have families, friends and neighbors who are deeply divided over politics. That makes it even more relatable. It’s slightly different than the movie but makes my relationship between the two unique and not entwined.
RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST
JHPENTERTAINMENT: Before we get going, I have to thank you…Seventeen years ago, we chatted for one of my first Rapid Fire 20Qs when you were touring the country as Nellie Oleson in Little House on the Prairie: The Musical. Now you’re touring as Elsa Schraeder in The Sound of Music. So, let’s settle an important question: who’s more self-involved and manipulative — Elsa or Nellie?
KATE LOPREST: First of all, thank YOU! What a lovely full circle experience getting to speak with you again. Easy answer: Nellie. Nellie has never had checks and balances in her life. She was raised in abundance with no consequences. If you want manipulative and self-involved in The Sound of Music, look no further than Max Detweiller.
JHPENTERTAINMENT: Elsa arrives believing she understands exactly what she wants from Georg — and exactly how to get it. What do you find most delicious about playing a woman who is sophisticated, socially savvy and absolutely not accustomed to hearing the word “no”?
KATE LOPREST: Most people are surprised to learn that the movie version of The Sound of Music predates the original Broadway musical. We are celebrating the 65th Anniversary of that Broadway show on this national tour. Audiences are also surprised to learn that the original libretto is quite different from the movie. The most significant differences involve the characters of Elsa and Max. You won’t be getting Elsa “the villain” in our production. There is no evidence of that in the original libretto. After all, isn’t the story a little bit more delicious if Elsa is, in fact, a good match for Georg?
JHPENTERTAINMENT: Elsa may not have a “Climb Ev’ry Mountain” moment of her own, but she certainly has her own emotional journey. What do you hope audiences understand about Elsa beneath the polished exterior and her seemingly effortless confidence?
KATE LOPREST: My job isn’t to make Elsa likeable; it is my job to portray her with honesty. Our director, Jack O’Brien, asked us on day one of rehearsals to take nothing for granted and to investigate every minutia. What we’ve found is that Elsa is not only deeply complex but incredibly relatable. To me, Elsa is a love letter to women of a certain age who are trying to balance it all: wife, mother, lover, leader. I’m very proud to play her and I hope audiences walk away from our production with a new perspective on her.
JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what is one favorite thing that’s a must-have while on tour?
KATE LOPREST: My crochet hooks. One of our cast members taught me late last year and I’m completely taken with it. In a very long run, like the one we are in, it’s wonderful to have a hobby that works the hands and the brain. Plus, gift-giving is my love language, so I’ve really enjoyed sending scarves, hats, and flower slings to friends and family across the US.
JHPENTERTAINMENT: Elsa may not be the woman Georg ultimately chooses, but she certainly makes an impression during her time at the von Trapp villa. Whether it’s your own, or someone else’s, what’s a favorite moment from the show?
KATE LOPREST: Elsa has a relationship with each of the von Trapp children – after all, she is going to be their new mother. I’ve worked several moments of that into my performance, but my new favorite is one between Louisa (played by Lilly Belle Lanese) and me. Maria has left suddenly, Louisa tries to express the children’s sadness, and Georg quickly cuts her off. I always slip over to her, put my arm around her shoulder, and tell her that I’m sorry about Maria. It’s a wonderful moment of connection and I look forward to each performance. This is my third time playing the role of Elsa in my career and my second year with this national tour, and I’m still finding new things all the time.
RAPID FIRE WITH THE SOUND OF MUSIC‘s FRAU SCHMIDT, LAURA STRACKO
JHPENTERTAINMENT: In my JHPENTERTAINMENT review of last year’s Suffs National Tour, I dubbed your performance as the socialite Alva Belmont “boisterously brilliant.” In that same vein, if you had to give Frau Schmidt two alliterative adjectives of her own, what would they be — and why?
LAURA STRACKO: I love those words for Alva! I am so glad I got to spend a year with her to discover so many notes, thank you for seeing that in her. For my gal Schmidt I’d have to say “masterfully meticulous!” She is the very best at what she does, and she knows it. Absolutely nothing will stand between her and an organized household.
JHPENTERTAINMENT: Frau Schmidt is one of a handful of non-singing roles in one of the most beloved musicals of all time. What is the particular challenge — and perhaps the delicious freedom — of creating a memorable character in a show where nearly everyone around you gets to sing some of the most recognizable songs in musical-theatre history?
LAURA STRACKO: I find a lot of joy in this role, it can be liberating when there is no expectation to uphold! I have landed on a physicality with her that is akin to a duck – calm and smooth on the surface while paddling like crazy underneath. Additionally, Frau Schmidt is incredibly important, every time she is onstage she is bringing new and meaningful exposition for the audience. So while she may be supporting, she is doing so in a big way, and I am proud of that.
JHPENTERTAINMENT: In my twenty years of covering theatre, I’ve learned that many actors approach their roles by creating their own backstory in their minds. What have you discovered about Frau Schmidt that isn’t necessarily spelled out in the script but has helped you build her character?
LAURA STRACKO: I have to give credit to Jack O’Brien, Matt Lenz, and Anthony Daniel for this, there is a very rich backstory for Frau Schmidt. As we learn early in the show, the children have been without a mother for a few years, having only governesses instead. The seed that was planted for me is that I have been with this family and this household for a long time, probably decades, and I was very close with the mother. Caring for the children and home is a personal promise I made to her a long time ago. What I like to think is that, in between governesses, as the children navigate life and their father does too, I have been their constant. I see myself as the glue that has helped hold this home together in their mother’s absence. I also like to think that my service is generational, that my family has always been employed by the von Trapp family, so I take great pride in my position.
JHPENTERTAINMENT: As mentioned above, earlier this year visited TPAC with the Suffs National Tour, and now you’re returning to Music City with The Sound of Music. Is there anything you’re hoping to introduce your new touring cohorts to while you’re back in Nashville — a favorite restaurant, local haunt, or perhaps one of the city’s many theatrical treasures?
LAURA STRACKO: Oh Nashville is one of my favorite cities! Of course we had incredible tours of The Hermitage Hotel and the State House with Suffs, and I am looking forward to revisiting those with my current cast members. Beyond that, I am excited to check out Dolly’s new hotel and museum that just opened, brunch at Countrypolitan, getting some steps in at Category 10, and eating bbq. One week just isn’t enough time, so we’ll be soaking up all the live music and good times that we can!
JHPENTERTAINMENT: IF my research proves correct, you only recently joined the tour in early September. One month in, how much are you loving being part of such a beloved classic musical?
LAURA STRACKO: Yes! I closed Suffs in August, and had three weeks off before joining this company. There’s something special about doing a show that means a lot to people. The familiarity and comfort that come with The Sound of Music encourages people to join us, but then Jack’s direction of the show gives them a fresh perspective to take home. I feel so lucky to get to do what I love each day, and to be a small part of a beautiful evening at the theatre!
RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN
JHPENTERTAINMENT: Herr Zeller represents the increasingly threatening political reality closing in around the von Trapp family. What have you found most interesting about playing the villain of the piece, particularly in a musical whose heart is so firmly rooted in family, love and resistance?
DANIEL ROBERT SULLIVAN: What fascinates me about Zeller is that he never thinks he’s the villain. He walks into that house completely sure he’s on the right side of history, and that certainty is what makes him frightening. Every night I get to be the cold draft blowing through all that warmth, and the colder I play it, the brighter Maria and the family shine. It’s a real gift to be the character that lets an audience see how strong the von Trapp family had become.
JHPENTERTAINMENT: Zeller can easily become a one-dimensional authoritarian figure, but every compelling villain needs something more beneath the surface. What choices have you made to give Herr Zeller dimension while still making his intentions and allegiances unmistakably clear?
DANIEL ROBERT SULLIVAN: I play him as a man who’s demandingly good at his job and proud of it. Zeller is direct and moves quickly, and he really does want the Captain on his side, so the menace lives in how fast he is able to force the Captain’s hand. I hold onto that speed and never lose control. This character is scary because he barrels ahead with a dangerous allegiance, and I want people to recognize him because men like Zeller didn’t disappear in 1938.
JHPENTERTAINMENT: You also understudy Captain Georg von Trapp, which means you’re preparing to inhabit two very different men on opposite sides of the story. What is the biggest challenge — and the greatest theatrical treat — of having both Herr Zeller and the Captain in your repertoire?
DANIEL ROBERT SULLIVAN: The hard part is that these two men want opposite things in the very same rooms, so I have to keep two completely different sets of instincts ready to go. Zeller pushes hard, and the Captain has to decide what he’s willing to lose by pushing back. In real life, the von Trapps really did sacrifice their entire way of life in order to push against fascism.
JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what are some of your favorite things about this particular Sound of Music experience — whether it’s something about the company, the score, the audiences, or the wonderfully chaotic life of a national tour?
DANIEL ROBERT SULLIVAN: Hearing that score played live every night still gets me! What an orchestra we have! My other favorite thing on tour is having some quiet time to write, whether it’s at a hotel desk or in a dressing room between shows. I’m really proud of a book I wrote while touring with another show, Braving the Bronx River, which is out now. And these days what I’m most excited about is my new solo holiday play, since I’ve recently acquired the dramatic adaptation rights to the New York Times bestseller, The Santa Claus Man. It’s the inspiring true story of real letters children sent to Santa in 1913, and you can follow along at DanielRobertSullivan.org.
JHPENTERTAINMENT: What do you hope audiences take with them after seeing this particular production of The Sound of Music?
DANIEL ROBERT SULLIVAN: I hope they leave remembering that standing up for what’s right is something ordinary people do, sometimes armed with nothing but a song. The von Trapps were a regular family who refused to look away when it would have been so much easier to go along. (And to any young performer out there who dreams of doing this, I’ve been touring for about twenty years and I still learn something every single night, so keep at it!)
As Kevin Earley, Kate Loprest, Laura Stracko and Daniel Robert Sullivan illustrate in this Rapid Fire 20Q, there are always new layers to discover in a familiar story — whether it is a father finding his way back to his children, a woman whose motivations deserve a closer look, a housekeeper who quietly holds a family together, or a villain whose certainty reveals the danger of unquestioning allegiance. The national tour of The Sound of Music plays TPAC’s Jackson Hall in Nashville October 13–18, 2026. Performance schedule is as follows: Tuesday, October 13 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)
Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.
Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!