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2025

Rapid Fire 20Q With Director and Cast of ‘Ragtime’; on stage at The Keeton beginning Friday, August 15

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Earlier this week, as cast and crew of The Keeton Dinner Theatre’s RAGTIME: THE MUSICAL prepared for their Friday, August 15 opening night, I had the chance to chat with Mitchell Vantrease, the show’s director, as well as cast members Miya Nicole Burt, Nicholas Branson, Holli Trisler and Jayden Murphy for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH THE KEETON’s RAGTIME DIRECTOR AND CAST

RAPID FIRE 20Q WITH RAGTIME DIRECTOR, MITCHELL VANTREASE

JHPENTERTAINMENT: RAGTIME is a sweeping, emotionally charged musical—what drew you to this particular show as your next directing project at The Keeton?

MITCHELL VANTREASE: I’m very familiar with this musical—it’s one of my all-time favorites. I’ve had the honor of performing in it three times in Arizona, and each time deepened my understanding of its powerful themes. Set in 1906, this story still resonates today because we are still having the same conversations—about racial prejudice, police brutality, immigration, and privilege.

With my background as an actor in this piece, I felt called to bring my perspective to the director’s chair. This is my opportunity to help tell the story through a new lens, with truth, heart, and urgency.

JHPENTERTAINMENT: You’ve directed everything from FENCES to A CHRISTMAS STORY: THE MUSICAL. How does your approach shift when taking on a historical epic like RAGTIME with its layered themes?

MITCHELL VANTREASE: One thing that was especially important to me with this production was telling the truth—my truth—through the lens of a Black American man. There are moments in the script that I didn’t want to soften or gloss over. I wanted them to land, plain and clear. Audiences will feel that.

For example, our set has an industrial look, anchored by a worn, tattered American flag as the backdrop—a visual reminder of how far we’ve come, and how far we still have to go as a nation.

JHPENTERTAINMENT: As a theater educator and recent recipient of the Spotlight Award for Outstanding Direction, how does your work with students influence your process when working with a professional or community cast?

MITCHELL VANTREASE: I’ve been directing community and youth theater for years—even before becoming a high school teacher. Educational theater is a different experience, though. It’s not just about entertainment; it’s about learning, growing, and helping students discover their potential.

Community and professional theater may share similarities, especially in the caliber of performance, but the difference is often the cast—usually made up of adults with a great deal of experience. That’s what makes this summer’s production of Ragtime so unique. We have six high school, middle and elementary school students in the cast—three of whom are part of my program at Mt. Juliet High School.

It’s a big responsibility for a student to step into a production like this, surrounded by seasoned actors and professionals. That could easily be intimidating. But these students are rising to the occasion. They’re showing maturity, drive, and a real passion for the craft.

During the school year, I get to work with student performers almost 200 days out of the year, and I love it. But there’s something refreshing about collaborating with talented adults in the summer. This entire cast of 32 is phenomenal, and I’m so proud of the work we’re doing together.

JHPENTERTAINMENT: From creating the original work, THE SOUL OF BROADWAY to helming over 40 productions, what’s one core value or message you always strive to instill in any cast you direct?

MITCHELL VANTREASE: I’ve always told my cast—whether they’re adults or kids—that as artists, it’s our responsibility to entertain and tell the truth. That applies whether we’re sharing a lighthearted comedy or a powerful piece like RAGTIME: THE MUSICAL. We’re all working together to tell a story that could impact someone’s life—whether it stays with them for just a couple of hours or for a lifetime.

RAPID FIRE 20Q WITH RAGTIME’s SARAH, MIYA NICOLE BURT

JHPENTERTAINMENT: This is your Keeton Theatre debut—what has the experience of joining this production of RAGTIME meant to you personally and artistically?

MIYA NICOLE BURT:  Making my debut at the Keeton Theatre with RAGTIME has honestly been such an incredible and rewarding experience!  Personally, it’s a milestone that reminds me how much growth is possible when you step into new spaces and challenges. Artistically, RAGTIME offers such a rich tapestry of history, emotion, and humanity that it has pushed me to explore new depths in my craft. Being part of this production has allowed me to connect with a story that is both powerful and incredibly timely in our country today, and I’m extremely grateful to contribute to its message within our community. 

JHPENTERTAINMENT: Sarah is such a complex and demanding role. How have you connected with her story, and what do you hope audiences take away from your performance?

MIYA NICOLE BURT: Sarah’s journey resonates with me on so many different levels. Her strength, vulnerability, and determination to protect her family amidst societal change as a Black woman in America really hits home for me. I’ve connected with her by embracing the contradictions within her: her struggle to maintain control while facing uncertainty and her courage to evolve. I hope audiences walk away with a deeper empathy for the everyday heroes in history whose quiet battles helped shape the world. Ultimately, I want Sarah’s story to remind people of the power of resilience and compassion. 

JHPENTERTAINMENT: You’ve played everything from the lead in AIDA to Gary Coleman in AVENUE Q—what do you love most about tackling such a wide range of characters?

MIYA NICOLE BURT: Honestly, I love how every role is a new adventure! Having the opportunity to constantly reinvent myself and explore different facets of humanity is what attracted me to theatre in the first place. Each character, whether dramatic or comedic, gives me a fresh perspective and challenges me to adapt my voice, body, and emotions in unique ways. Playing such diverse roles keeps my work exciting, and it reminds me that storytelling is limitless! There’s always a new story to tell and a new truth to uncover within a character. 

JHPENTERTAINMENT: When not performing onstage, you work as a vocal coach. How does that work influence your performances on stage—and vice versa?

MIYA NICOLE BURT: Working as a vocal coach has given me a deeper understanding of breath control, vocal health, and emotional expression, which naturally enhances my stage performances. It’s rewarding to apply technical skills to bring authenticity and clarity to my singing and acting. Conversely, being onstage keeps me connected to the emotional and physical demands performers face, allowing me to empathize and tailor my teaching to support my students and their artistic journeys fully. The two roles enrich each other and fuel my passion for the craft. 

RAPID FIRE WITH RAGTIME’s TATEH, NICHOLAS BRANSON

JHPENTERTAINMENT: From Gilbert & Sullivan to Sondheim, you’ve performed on stages around the world—what was it about the role of Tateh in RAGTIME that spoke to you?

NICHOLAS BRANSON: I think what most drew me most to the role and the show is how important the story is to tell. In our current moment, I think it benefits us all to take a look back. Many of the issues we face today have historical antecedents that remain etched in our collective consciousness. I think a lot of us felt secure in believing these problems (anti-black racism, anti-immigrant sentiment, misogyny) were in the past. But so many of the story beats in this show set 120 years ago could easily be headlines from tomorrow. Progress is fought for and won, not given, and we must never forget that or become complacent. Tateh’s story is the story of so many of us; of our friends, coworkers, parents, and grandparents. It’s a story of hope. Naive hope, desperate hope, ecstatic hope. A hope for a new and better tomorrow for you and your family, and a willingness to defy odds to make it happen.

JHPENTERTAINMENT: You’ve studied classical voice and sung opera in cities like Prague and Salzburg—how do you approach storytelling differently when shifting into a character-driven musical like RAGTIME?

NICHOLAS BRANSON: I think the process is distinct in a couple ways. In the era before amplification, the need for vocal projection and clarity brought these fantastical, larger than life, often melodramatic, opera roles to the stage that played to the back of the room. Amplification gave musical theatre the freedom to explore so many more nuances of the human voice and the emotions it can express. A character like Tateh gets to explore trepidation, hope, the sting of failure, deep despair, and steely resolve all within the span of a single song! Where a lot of opera characters are really effective at imparting big, deep, cutting emotions; Tateh brings shades of real life to the stage. There’s also much more opportunity in musical theatre to try new things and collaborate. Many characters in the standard operatic repertoire have decades if not centuries of paratextual expectations and standard practice. A character like Tateh affords the actor so much more freedom to interpret and express.

JHPENTERTAINMENT: What’s been the most surprising or rewarding part of working with the cast and creative team at The Keeton for this production?

NICHOLAS BRANSON: I have been so overwhelmed by the genuine kindness of the cast and crew at the Keeton. Everyone has been so friendly and welcoming. This is my first show here and I can honestly say that everyone has been amazing to work with.The caliber of the performers as well as the artistry of the set designer, costume designer, director, music director, choreographer, stage managers and lighting and tech crew have made this production a joy to rehearse. 

JHPENTERTAINMENT: Tateh can sometimes be portrayed as a one-dimensional immigrant stereotype—how have you worked to bring authenticity and depth to his journey in RAGTIME while honoring the character’s cultural context?

NICHOLAS BRANSON: I definitely focused on finding a unique voice for Tateh as part of the learning process. I studied Polish, Russian, and Yiddish dialect coaching manuals to avoid creating an accent that was too unipolar. He’s an artist from war torn Latvia, leaving behind his homeland and people with nothing but his daughter, and I wanted to give Tateh the depth and nuance his character deserves. I definitely didn’t want to shy away from the immigrant narrative though. Immigrating to America is such a vital piece of Tateh’s story; he experiences poverty, hardship, discrimination and violence that all impact his character and shape his outlook on the world. His initial, simplistic view of the American dream is quickly shattered, but his love for his family allows him to carry on and forge a new life. I think that’s really the focus of his character: the love he has for his daughter and his willingness to do anything to improve her life for the better. 

RAPID FIRE WITH RAGTIME’s MOTHER, HOLLI TRISLER

JHPENTERTAINMENT: After performing across Disney Parks around the world, what drew you to take on the role of Mother in RAGTIME—and at The Keeton, no less?

HOLLI TRISLER: Performing for over a decade with the Walt Disney Company gave me extensive experience in the art of storytelling – something that Disney does best. It taught me how to bring different characters to life in an authentic and well rounded way, with an emphasis on drawing people in to each character’s story as if they were a part of it. The role of Mother drew me in because of the storytelling journey she gets to be part of in the show. She is such a rich, layered character, and I knew it would be a beautiful challenge for me not only as an actor and singer, but as a storyteller. Not only does this show have incredible, moving music from beginning to end, but the story is one that is timeless – it has and continues to be one that needs to be told, and I am honored to play a part in telling this story. The Keeton has a reputation for not only putting on great shows, but having an incredible production team behind the curtain, pouring their hearts into each show with care and passion. It is an honor to join the Keeton family in this production.

JHPENTERTAINMENT: Mother’s arc in RAGTIME is one of quiet strength and awakening—how have you approached portraying her evolution throughout the show?

HOLLI TRISLER: Mother’s character journey has been so challenging yet thrilling to dive into during our rehearsal process. To me, the purpose of her role is to demonstrate the evolution of a person becoming aware of the lives and hardships of those outside her social circle, developing empathy for those situations, and deciding to break from tradition to stand up for what she realizes is good and right – even at the sacrifice of her own reputation, resources, or relationships. In preparation for the role, I spent a lot of time studying her throughout the script – finding those moments where things start to shift for her in her mind and her subsequent actions. In each scene, she becomes more and more aware, more and more empathetic, and more and more bold in her choices to stand up for what she believes in. She’s a delicate balance of quiet strength and bold risks, and I’ve thoroughly enjoyed diving in to discover that balance.

JHPENTERTAINMENT: Your resume includes everything from Belle to Eponine—how does Mother compare to the iconic characters you’ve played in the past?

HOLLI TRISLER: I believe each character I’ve played has shaped me as an actor and storyteller and have in their own way prepared me for the role of Mother. If you think of those iconic characters, each goes on their own journey of discovery of the world around them being different than they hoped, thought, or expected, and have to consequently shift their points of view and grow in wisdom and strength. Belle finds a world outside her small, provincial town and learns that things aren’t always what they seem. Eponine gains her strength from enduring through hardship and unrequited love. Mother’s journey is of transformation within – she starts in a place of privilege and certainty, and ultimately has a complete shift in her worldview which draws out a strength in her that she never knew she had.

JHPENTERTAINMENT: When you’re not on stage, you’re running an Etsy shop and doing taxes—how do the creative and analytical sides of your life come together to fuel your work as a performer?

HOLLI TRISLER: It’s true, I have a lot of very seemingly unrelated interests and passions! However, I think this helps me to be more well rounded as an actor and storyteller. My creative side inspires my desire to tell stories and play roles in a unique way – to imagine and experiment with different character choices, line delivery, and reactions to the scene around me. My analytical side not only helps me with learning music and memorizing lines, but it also makes me more attentive to detail. It allows me to be able to see the nuances in the script and music and consequently use those details to create a fuller, more developed character. Performing is certainly a challenging balance of both those sides for me – to allow my analytical side to give way to creativity and experimentation and vice versa. This is one of the many ways that theatre is so beautiful – everyone brings a bit of themselves to each role, so no two casts will ever present a show in the same way. That means this production of RAGTIME will be unlike any you’ve ever seen or will see again. Thanks for joining us for this beautiful, unique moment in time at the Keeton Theatre!

RAPID FIRE WITH RAGTIME’S COALHOUSE WALKER, JR, JAYDEN MURPHY

JHPENTERTAINMENT: At just 18, you’re taking on one of musical theatre’s most demanding roles—what was your first reaction when you were cast as Coalhouse?

JAYDEN MURPHY: My reaction to getting cast as Coalhouse…I was just grateful. As you said, you rarely see someone my age get a role that is this taxing and demanding. The trust that the cast and crew has given me is so fulfilling and it keeps me pushing through those hardships and tough times. 

JHPENTERTAINMENT: You’ve played everything from Henry in NEXT TO NORMAL to Evan in 13: THE MUSICAL—how does stepping into RAGTIME compare to your previous experiences?

JAYDEN MURPHY: It’s definitely a full 360, but it’s been a fun process. I personally love character work and learning about the things my character went through. I studied the novel of this show to see all the things that didn’t even make it to the Broadway script and added that into my character. 

JHPENTERTAINMENT: As a Jimmy Awards Semi-Finalist and Spotlight Award Winner, how have those opportunities helped shape your growth as a performer?

JAYDEN MURPHY: It’s shown me a lot about myself. How I deal with high pressure situations and the opportunities and connections that I made during those two award shows will follow me through the rest of my career 

JHPENTERTAINMENT: RAGTIME is a show with deep emotional impact—what do you hope audiences leave thinking or feeling after seeing this production?

JAYDEN MURPHY: I personally hope the audience is aware that not really anything has changed and goes into life with a better mindset after it.

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That wraps up this round of Rapid Fire 20Q with the talented cast of RAGTIME: THE MUSICAL at the Keeton Dinner Theatre! This powerful, sweeping story with unforgettable music and a rich narrative of America at the turn of the 20th century is brought to life on stage August 15–31 at the Keeton Dinner Theatre, 108 Donelson Pike, Nashville, TN. So CLICK HERE to reserve your seats now for an evening of theatre paired with the Keeton’s signature dinner experience and see for yourself why RAGTIME..is timeless.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

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

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

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

For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

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

 

Theatre Review: Franklin Theatrical Fellowship’s ‘Guys and Dolls’ Isn’t Just a Lucky Roll—It’s a Winning Hand; On Stage at Studio 615 thru July 20

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Franklin Theatrical Fellowship ups the ante with its high-energy, high-stakes production of GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE at Studio 615 as they transform the space into the hustle and bustle of 1950’s Biltmore Garage, lighting up the stage with a vivid blend of Broadway polish, classic charm, and heartfelt performances. Under the direction of Melanie Sutton, this beloved musical comedy overflows like a collection plate…or a bookie’s IOUs…with style, sincerity, and a whole lot of dicey fun.

At the center of the action is Philip David Black as the suave, gambling man Sky Masterson. Black brings the expected effortless charisma mixed with the perfect blend of uncertainty that only unforseen love can cause. His Luck Be A Lady is smooth and sweet, showcasing his ability to walk the line between rogue and romantic with ease. His chemistry with Rebekah Howell’s Sarah Brown is electric, especially in the Havana sequence where sparks (and drinks) fly. Howell, ever the vocal powerhouse, lends depth and sincerity to the morally upright mission worker. Her rendition of If I Were a Bell, a charm-filled Act 1 highlight.

As Nathan Detroit, Austin Correll brings an easy likability, capturing both the desperation and devotion of a man balancing his floating crap game with a 14-year-long engagement. Savannah Stein as the object of Nathan’s affections/objections, Miss Adelaide, is a true comedic standout, leaning brilliantly into the always-crowd-pleasing nasal New York twang and physical comedy with glorious abandon. Her performance of Adelaide’s Lament earns big laughs and even bigger sympathy for the much-delayed future Mrs. Detroit.

It comes as no surprise that Brian Charles Rooney’s Nicely-Nicely Johnson is a true showstopper. With impeccable comic timing and a dynamite voice–gotta love that sopranista range–Rooney brings down the house in the rollicking Sit Down, You’re Rockin’ the Boat—arguably the night’s most rousing number. He’s well matched by Jahi Emaud’s Benny Southstreet, whose swagger and harmony work are equally sharp. If you’re reading this, Studio Tenn, I’ve got your Wallace and Davis cast for your upcoming holiday production of White Christmas right here with these two!

Max Fleischhacker (Harry the Horse), James Wier (Scranton Slim), Matthew Hunter Hayes (Rusty Charlie) and especially the flask-sneaking Trayton Kaminski (Brandy Bottle Bates) round out the gang of gamblers with gusto, each adding unique flair to this criminally fun ensemble.

As for this productions  uptight citizens brigade, Brian Best offers a warm, paternal Arvide Abernathy, particularly touching in More I Cannot Wish You, while Jordan Tudor delivers authority and compassion, with a nice dose of humor for good measure, as General Cartwright. Katie Webb as Agatha and James Weir (doing double duty on the side of good as Calvin) round out the God squad of Salvation Army-esque Bible-thumpin’, cymbal-bangin’ do-gooders.

The Hot Box numbers are just plain fun, led with style and precision by Kelsey Brodeur (also serving as dance captain), alongside the effervescent Madison Crosby, Emily Stephens, and Allie Spengler. Their ensemble work perfectly sizzles thanks to playful choreography courtesy Allison Little, who keeps the movement crisp and era-appropriate while still leaving room for individual character. With Stein’s Adelaide, the Hot Box Girls’ performance of A Bushel and a Peck (one of my personal favorite Doris Day tunes, recorded the year the Broadway musical debuted) wonderfully presents the flitatious innocence of such numbers from that era.

Rounding out the cast, the towering Josh Kiev makes for a delightfully menacing notorious gambler, Big Jule, and Sawyer Latham’s by-the-book police Lt. Brannigan provides a nice comedic contrast.

Visually, the show pops with Jim Manning’s versatile, Old Hollywood-style set design. You know those big mid-centry musical movies…1955’s GUYS AND DOLLS being one of them, where between scenes there’s a montage of neon signs and marquees? Well, to my estimation, Manning pays perfect homage with areas of the immersive stage lit with such signage. With minimal set pieces…literally a few church pews, a newspaper box and the occasional chair, Manning’s set design seemlessly transforms from mission hall to Havana nightclub to big city alleyways with fluid ingenuity. Enhancing the show’s visual bliss, Melissa Durmon’s vibrant, mid-century-perfect costumes are a feast of pinstripes, sequins, and Salvation Army dress blues…well, reds. Kelly Scheuman’s lighting design and Jonah Burch‘s sound design ensure that every peak, from solo moments to ensemble showstoppers, hits just right.

With Scott Brons providing skillful musical direction, the band (Brons on keyboard, Max Dvorin and Gus Arnold on reeds, trumpeter Sam Merrill, trombonist Desmond Ng, Dan Kozlowski on drums and bassist Andy Byrd) keeps the tempo swinging and the harmonies lush throughout.

As FTF’s production’s full title suggests, GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE is being touted as an immersive night of theatre. To that end, patrons are encouraged to arrive an hour before curtain to take part in a little pre-show antics that include a backstage peek where the Hot Box girls ready themselves, a couple of casino tables for a quick roll of the dice and a chance for luck and some in-character interaction with the cast. As for the immersive aspect of the show itself, translation: think in-the-round or blackbox, as the creative team has cleverly included VIP seating (two pink velveteen banquettes and cocktail tables), as well as a Velvet Rope seating option and a Saints section (church pews) in addition to their general admission seating to up the ante for audience members, and to bring them close to the action. Big laughs, big voices, and a whole lot of Broadway-worthy brass make this a sure bet for summer theatergoers.

Franklin Theatrical Fellowship‘s GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE continues at Studio 615 (272 Broadmoor Drive) through Sunday, July 20. To witness part of the pre-show immersive aspect, plan on arriving at 6:30pm for the Thursday, Friday and Saturday evening shows and at 1:30pm for the Saturday and Sunday matinee performances. Further adding to the immersive vibe of secretive gambling night, ticket prices are as follows: High Rollers Velvet Booth Section: $90.62, High Rollers Velvet Rope Section: $85.42, Holy Rollers Velvet Pew Section $80.22 and General Admission: $64.62. All ticket prices mentioned include fees. CLICK HERE for tickets or more information.
Following GUYS AND DOLLS, FTF will present THE DIARY OF ANNE FRANK, onstage at FSD PERFORMING ARTS CENTER in Franklin, TN from November 29-December 7. 2025. To keep up with what’s next for FTF, CLICK HERE or follow them on Facebook and Instagram.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

 

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

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

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

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Following RUN FOR YOU WIFE, it’s RUTHLESS: THE MUSICAL, onstage at Playhouse 615 July 25-August 10. CLICK HERE for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

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

Rapid Fire 20Q with Music Director and Cast of Stephen Sondheim’s ‘Company’; Opening at The Keeton Friday, June 13

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With a string of beloved Broadway classics to his name, Stephen Sondheim’s COMPANY remains a standout for its wit, insight, and unmistakable score. Featuring a talented cast of Nashville-area performers, the upcoming Keeton Dinner Theatre staging of the Tony-winning musical opens Friday, June 13 and continues through Sunday, June 29. With a production that promises to bring Sondheim’s complex characters and timeless themes to vibrant life, in anticipation of opening night, I recently caught up with the show’s music director and members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are our conversations.

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RAPID FIRE 20Q WITH MUSIC DIRECTOR AND CAST OF THE KEETON’s COMPANY

RAPID FIRE WITH COMPANY MUSIC DIRECTOR, ROGER HUTSON

JHPENTERTAINMENT: When I spoke with The Keeton’s Donna Driver about setting up these interviews, she noted that the score of Company is quite complex. What have been the biggest musical challenges in bringing Company to life at The Keeton Theatre?

ROGER HUTSON:  Donna is right!  When I signed on to music-direct this show, I was a bit intimidated. Stephen Sondheim’s musicals are legendary for their unexpected chordal intervals, heavy use of dissonance to create tension for resolution, harmonic chromaticism, varying meters in atypical patterns and several other unique elements that can make his music challenging to teach and perform.  And these nuances apply to both vocals and pit orchestration. The beauty of Sondheim musicals is WITHIN the complexity, not because of it. So, I made sure that our cast learned each part as written. Some numbers were more challenging than others. I recorded our own rehearsal tracks on especially tricky, layered vocal segments with a glockenspiel to play each of their notes, line by line, so they could rehearse and hear where their part hit in relation to everyone else’s descants and harmonies. And a simple process, too…repetition! Some parts just require muscle memory vs. trying to find a diatonic reference point.

JHPENTERTAINMENT: The Keeton’s musical productions always feature a stellar group of musicians in the pit. Who do you have working alongside you providing the live music for COMPANY?

ROGER HUTSON:  I am honored to have a great group of musicians to call on for each show I music direct.  For this production, we have Matt Love (drums, aux perc), Jimmy Ownby (trumpet, bass trombone), Dillon Wright (piccolo, flute, alto flute, clarinet, alto saxophone), Mike Capadais (electric and upright bass), Brandon Salaway (acoustic & electric guitar, banjitar) and me on piano.  These guys are brilliantly intuitive and adaptive players and cover multiple instruments like crazy!  We also have Steven Love, our amazing Sound Director, insuring a proper balanced sound for not only the audience, but for the cast for full instrumental support for peak vocal performance.   I have also created some backing and click tracks to add strings and a few other instruments that we don’t have live.  They kind of “sit in the middle” of the overall mix to accent and add texture to certain numbers.

JHPENTERTAINMENT: As musical director, how do you approach balancing the demands of Sondheim’s intricate score with the vocal strengths of a community theater cast?

ROGER HUTSON: Our fantastic director, Clay Hillwig, acknowledged with me before auditions were even held that one of the biggest casting factors would be vocal range, vocal ability and musical prowess. We had an extremely talented group of actors come out for COMPANY auditions. For certain roles, I had to really dial-in to their vocal ranges, where their registers transitioned, tone, etc. to ensure the music would be performed accurately and with proper tonality. And I’m very pleased to say that this cast exceeded all my expectations on the vocal demands of this production. Their perseverance to get it right was and is non-stop. 

JHPENTERTAINMENT: During the rehearsal process, was there a moment the the cast truly clicked with the music—when you felt the spirit of the show truly come alive?

ROGER HUTSON:  Oh gosh.  This cast bonded right out of the gate and was near-instantly cohesive. But in the beginning, we teach in segments; music first, then layer in choreography, followed by blocking. It was either our first or second stumble-through, I had recorded a scratch piano track on the backing/click track of the big opener, Company.  So instead of having to play piano for them to sing/dance, I was able to be on stage with them, with my handy iPad, listening and coaching the cast through the entire song, and the many changes in meter and multiple descants.  And they were off book already with the music! I was blown away with their obvious self-rehearsal time they had each put in to start the show with such an explosive number. Clay had told them that this opener sets the tone for the entire show….and it does! And man, did they show up and show out!  Yes, it was still a stumble through with little things to fix. But that’s when I knew they understood the assignment and would deliver in a great way!  I am humbled and honored to work with this entire cast, crew and production team. 

RAPID FIRE WITH COMPANY’s JOANNE, DONNA DRIVER

JHPENTERTAINMENT: You indicate in your bio that Joanne is a bucket list role. Played by many legendary actress in COMPANY’s storied history, Joanne is certainly a crowd favorite. What’s it been like to bring your own style to the iconic character?

DONNA DRIVER: I feel like most musical theatre actresses of a certain age have their hearts set on this juicy role. I have to admit that all the ladies in the callback room with me were all formidable talents, and each had their own take on the character. Joanne is a complicated lady. She’s friends with this young man, Bobby, but she’s also so guarded, bitter and judgmental toward everyone else. She’s been wounded somewhere along the way and wears it like armor. However, I wanted to steer away from making her too depressed or angry and focus more on why she and Bobby get along. What do they have in common? Why DOES she only drink like this with him? And how does she think she can help him not turn out full of regrets like her?

 JHPENTERTAINMENT:Sondheim’s material can be both vocally and emotionally demanding. What’s been your biggest challenge performing his work for this production?

DONNA DRIVER: The speed of these songs and getting my aging brain to remember what I need to sing at the tempo it needs to come out. And all those “Bobby”, “Robby”, “Robby love” lines that are never the same. I’m in awe of Kelsey Keny who gets all those lyrics for Getting Marred Today out with such ease. I don’t know how she does it.

JHPENTERTAINMENT: How has working with director Clay Hillwig and music director Roger Hutson shaped your interpretation of Joanne for The Keeton’s Company?

DONNA DRIVER: Clay is so wonderful at encouraging us to try things and cheering us on when they work. He’s offered great bits for me to add here and there that I love. Most of all, though, he’s allowed me to bring a more playful, sassy side to Joanne and not keep her dark and edgy the whole time. Roger has been great at keeping me on track with my rhythms (not my strongest point) and working with me on getting my two songs at tempos that serve the score and my acting choices. Both men are so kind.

JHPENTERTAINMENT: The title of the show is COMPANY, so I gotta ask…does this company of COMPANY stand up to the task at hand?

DONNA DRIVER: The company I’m keeping is astonishing. I’m honored to be among them. We have a couple familiar Keeton faces, but most of the cast members are new to us, or haven’t been on our stage in a while. They each bring so much to their characters. Tommy Anglim, as Bobby, is so talented and believable, with this incredible voice, and he’s as humble as could be. I’ve loved getting to work opposite Elliott Winston Robinson who has been a friend of mine for over 15 years. We’re having a blast. Our production team is also terrific, and the set by Kevin, my real life husband, is pretty cool.

RAPID FIRE WITH COMPANY’s LARRY, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: Larry is often thought of as the calm, steady presence in COMPANY, especially in contrast to his wife, Joanne, played in The Keeton’s production by Donna Driver. Meanwhile you are one of the Nashville Theatre communities most beloved actors. How did you approach bringing depth and nuance to a role that can often be overshadowed by his on-stage counterparts?

ELLIOTT WINSTON ROBINSON: Larry is quite the calming presence, the older (definitely) and wiser (maybe?) friend that you can lean on sometimes; the one that might not give you the greatest advice, but will always be straight and honest with you. I often feel that way in the dressing room, being so often one of the oldest cast members; ever encouraging to my cast mates, there is some real life Larry in me. As far as being overshadowed on stage, I believe that every role in a story is important, so I don’t feel diminished in any way. Besides, Larry has the perfect demeanor, the calming presence, to deal with Joanne, who overshadows everybody on stage when she’s having her moments! LOL

JHPENTERTAINMENT: As is often the case with supporting roles, especially when crafted by the legend himself, Sondheim, there’s frequently more going on below the surface. To that end, what did you discover about Larry during the rehearsal process that you decided to incorporate (even if only mentally) to your portrayal?

ELLIOTT WINSTON ROBINSON: I think Larry has fallen quite well into his role of “trophy husband.” Opposites attract, they say; Joanne needs Larry to offset her directness, her lack of filter, even if sometime she says things he wishes he could say. Larry is the one who buoys her up, because she doesn’t have the greatest level of self-esteem (he even mentions that the one time you really get to hear Larry speak). They complement each other very well. There are some similarities between them and my grandparents (though my grandmother was not a drunk): the outspoken lady, out front as the face of the relationship, while hubby stays steady, stoic, and smoothly makes things happen behind the scenes.

JHPENTERTAINMENT: One of Sondheim’s most iconic works, What does being part of COMPANY mean to you, and how does this production feel uniquely Nashville?

ELLIOTT WINSTON ROBINSON: This is my first Sondheim show, and his musical genius is reflected throughout. It has been a good challenge to learn his music, for example, dealing with some of the time signature/tempo/key changes he likes to make, but overall there is some really beautiful stuff in here. I think being able to put on shows like this reflects well on the level of talent in our city, and the willingness of spaces like The Keeton to sometimes stretch themselves away from the usual classics people would expect to see there.

JHPENTERTAINMENT: Is there a musical moment in COMPANY, whether yours or that of one of your co-stars, that you truly enjoy night after. night?

ELLIOTT WINSTON ROBINSON: Plenty of them! For my character, it has to be Sorry-Grateful, the brief trio part with my fellow husbands, played by Zach Williams and Barrett Thomas. Have I Got a Girl for You is simply hilarious with all the guys. I absolutely love Getting Married Today; I have great admiration for the physical feat of saying all those words; I can’t even read along fast enough to keep up with Kelsey! The girlfriends are awesome on You Could Drive a Person Crazy, and the group numbers are all fun because we have a bunch of great singers up there. The Ladies Who Lunch, of course (Donna is killing it); and don’t forget Bobby’s songs, especially Being Alive. That’s been a theatre fave of mine long before I ever imagined I’d have an opportunity to do this show, and I think Tommy is doing a really fantastic job with it. I could say something about just about every moment; I love the variety of styles Sondheim plays with!

RAPID FIRE WITH COMPANY’s APRIL, SYDNEY ROGERS

JHPENTERTAINMENT: Keeton audience will remember you for your emotionally charged portrayal of The Mistress in their production of EVITA. Now you’re playing the comedic and quirky April in The Keeton’s COMPANY. How much fun are you having navigating that shift in tone and character for this show?

SYDNEY ROGERS: Oh, it has been an enjoyably challenging experience!  Shifting out of that fragile and vulnerable state, into the quirkiness of April’s character, I’ve had the opportunity to grow outside of my comfort zone a bit.  April is such a fun role to play!  She’s an odd and ditzy New York-based flight attendant who really falls for Bobby, but, not unlike the Mistress, has a naivety and innocence about her as well.

JHPENTERTAINMENT: When I interviewed Elliott about playing Larry, I noted that Sondheim’s characters are often multi-layered. April is a prime example. On the surface she comes across as lighthearted, but she’s also one of Bobby’s most memorable and layered relationships. What do you find most compelling about her, and how have you made the role your own?

SYDNEY ROGERS:  I’ll be honest – it took some time for me to feel like I fully understood April. She appears and claims to be “dumb”, but she’s actually quite smart in her own reality. What I love most about her is that she’s a dreamer. April may have her head in the clouds at times, but she appreciates the small things and always means well. I hope to bring a sweetness to April that makes the audience root for her and Bobby.

JHPENTERTAINMENT: Your bio reveals that your ‘day job’ involves working as a royalties analyst at Warner Music Group. A former WB Nashville creative drone myself, I gotta ask. What’s the biggest misconception when people hear your ‘in the music business’? AND…just for fun, do you think April could do your job?

SYDNEY ROGERS:  What a fun question!  I think a lot of people believe that the music industry is all glitz and glamour, and forget that there are so many cogs in the machine that make it function the way it does.  Analytical and administrative sectors of the business may not be glamorous, but they are critical.  Do I think that April could do it?  Whew.  I think that April would be enamored with the idea of working in the music industry, but I don’t think anyone would want her handling the finances!

JHPENTERTAINMENT: What has it meant to be back onstage at The Keeton and how has this stretch from the seriousness of EVITA to the comedic fun of COMPANY helped you grow as a performer in the Nashville theatre community?

SYDNEY ROGERS:  I’m thrilled to be back on the Keeton stage and working with this wonderful community. Usually, I tend to gravitate toward shows with a dramatic storyline or some sort of heaviness. It’s rare that I’m a part of something so upbeat.  But that’s the beauty of COMPANY – in between all of the lightheartedness and hilarious moments, there is a deeper theme and message found in Bobby’s journey.  

RAPID FIRE WITH COMPANY’s BOBBY, TOMMY ANGLIM

JHPENTERTAINMENT: How would you describe Bobby and how have you personally connected with him?

TOMMY ANGLIM: I think Bobby is the kind of person everyone has either been, is currently, or knows well. He’s single and simultaneously craves and fears intimacy. At the start of the show, he’s settled into a comfortable, almost passive existence. He is surrounded by his married friends but unable (or subconsciously unwilling) to pursue a deeper connection of his own. He’s getting pressure to settle down, but he also starts to see the cracks in his friends’ relationships, realizing that none of them embody the ideal he’s been chasing.

Personally, I’ve found a lot of parallels between Bobby’s journey and moments in my own life when I’ve observed others’ relationships and used that lens to evaluate my own. Stepping into Bobby’s shoes has helped me reflect more deeply on my own patterns and what connection really means to me.

JHPENTERTAINMENT: What’s been most challenging about stepping into Bobby’s shoes?

TOMMY ANGLIM: With Bobby, the old cliché “acting is reacting” is especially true. He’s the central figure of the show and appears in every scene, yet he’s more of an observer than an active participant. Much of the challenge lies in conveying his inner life while he’s quietly processing what others are saying and doing around him. Because of this, I’ve worked to focus on balancing subtle shifts (how he hears his friends, how he interprets their relationships, and how that reflects on his own beliefs about connection and commitment) with the larger caricature style acting that exists naturally in staged comedies such as this one. On the flip side, it’s easy to get lost in his passivity and start to feel the same isolation he does—even while surrounded by people who love him. 

JHPENTERTAINMENT: As Bobby, you take on one of Sondheim’s most beloved and iconic numbers, Being Alive. How did you approach preparing for the number and what has the rehearsal process taught you about Bobby’s journey?

TOMMY ANGLIM: Being Alive was one of the first songs I ever heard from COMPANY, so I have been singing it to myself for years. I’ve always admired it, but now getting to bring it to life on stage, I’ve come to appreciate it on a much deeper level. The number is both a culmination of everything Bobby has learned and a turning point where he finally confesses and confronts his own loneliness. He’s spent the show analyzing his friends, but in this moment, he finally turns the mirror on himself. Our director, Clay Hillwig, has been instrumental in guiding me to that emotional breaking point—helping me find the vulnerability and urgency the song demands. It’s a huge emotional lift, and we spent a lot of time working to make that arc as raw and honest as possible.

JHPENTERTAINMENT: First presented on Broadway in 1970’s the themes of COMPANY include thoughts on commitment, loneliness and connection…still so relevant today. How do you think audiences will relate to Bobby’s story in 2025 and what do you hope audiences take with them after having seen The Keeton’s production?

TOMMY ANGLIM: Each scene in COMPANY is a deceptively simple vignette (i.e. a dinner party, a walk in the park, a night out), but within those everyday moments are deep, emotional truths about how we connect and conflict with each other. Our Keeton production places this story in the present day, and I think that’s a powerful reminder that these themes haven’t changed. I believe that audience members’ takeaways will vary depending on where they are in their own lives. We’ve talked about Being Alive, and I think what’s so impactful about the end of the show is that it doesn’t tie everything up in a bow. I know that some audiences have historically found this ending unsatisfying, but I think it ends with a challenge for audiences to reflect. The final moment of residual tension comes from a hopeful uncertainty. I hope audiences leave feeling seen and inspired to be more present in their own relationships. Ultimately, I hope some audience members find this show to be a little vignette in their journey of growth, as it has been in mine.

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The Keeton’s COMPANY opens Friday, June 13 and continues through Sunday, June 29 with with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight upcharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.

COMPANY closes The Keeton’s 2024-2025 Season, but not to worry, The Keeton’s 2025-2026 Season kicks off almost immediately with RAGTIME: THE MUSICAL on stage August 15-31. The Keeton’s new season also includes the regional premiere of LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, SHE LOVES ME, BIG FISH, THE PLAY THAT GOES WRONG and STATE FAIR! Season Tickets are available now. CLICK HERE for details.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire 20Q with international Dolly Parton tribute artist Kelly O’Brien as she brings ‘The Dolly Show’ to City Winery Nashville Sunday, May 18

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Having been named the UK’s Best Dolly Parton Tribute Act four years in a row by the Agent’s Association of Great Britain, Kelly O’Brien has been thrilling audiences across the pond since creating and touring THE DOLLY SHOW. Being a huge Dolly fan myself, I became aware of O’Brien’s uncanny ability to not only resemble the Queen of Country Music but to also speak and sing live as the beloved Tennessee treasure when I started following her on social media a couple years ago. So naturally, when I learned that O’Brien was embarking on her first-ever stateside tour, including a performance right here in Music City at City Winery Nashville on May 18, I knew I had to chat with her for the latest installment in my recurring interview feature, Rapid Fire 20Q. What follow is that conversation.

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RAPID FIRE 20Q WITH THE DOLLY SHOW TRIBUTE ARTIST, KELLY OBRIEN

JHPENTERTAINMENT: Your upcoming May 18 show at City Winery Nashville marks your Music City debut. How excited are you to be performing as Dolly Parton in the town that claims her as our own?

KELLY O’BRIEN: I am beyond thrilled. It’s a real ‘pinch me’ moment in my career. And I’ve heard some of her family members may be there, so it’s a huge honor to be bringing my show to Nashville 

JHPENTERTAINMENT: Before we chat about your Dolly Parton tribute show, THE DOLLY SHOW, I wanna ask you about your life ‘before Dolly’ if you will. You frequently credit your parents for your initial, albeit unintentional introduction to Dolly, remembering them playing her vinyl records when you were growing up in relatively rural McLaren Vale, Australia as you drifted off to sleep. So let’s start there…besides Dolly, what are your earliest musical memories?

KELLY O’BRIEN: Singing in the truck with my dad. I was about 4 years old and my parents had a bakery run. During the holidays we would get up at 4am to drive into Adelaide and load up the trucks with pies, pasties and donuts. All I had to keep me company in those days was the radio, so I was always singing. 

JHPENTERTAINMENT: You’re also quoted as deciding on a career in entertainment as young as eight thanks to seeing Kylie Minogue (another personal favorite of mine) and her sister Dannii on tv. What was it about the two of them that struck you as a viable career choice at such a young age?

KELLY O’BRIEN: I think I just loved attention, haha. Dannii was on a show called Young Talent Time (where Kyle also sang with her.) It was on TV every Saturday night. A group of 10 young kids singing, dancing and dressed in amazing costumes. I was hooked. 

JHPENTERTAINMENT: By age 14 you were competing in country music singing competitions. What was your first win? AND what song did you win with?

KELLY O’BRIEN: I sang When Will I Be Loved by Linda Rondstadt. I think I won a trophy and a meat tray. 

JHPENTERTAINMENT: To hone your craft, you attended University of Sydney’s Conservatorium of Music. What’s your favorite memory of that time in your life?

KELLY O’BRIEN: It was a jazz course. I wanted to learn the skill of improvisation, and playing piano whilst singing… It helped me immensely. 

JHPENTERTAINMENT: You also began enjoying a career in musical theatre around that time, if research serves me, landing roles in Starlight Express, The Hunchback of Notre Dame and more, even traveling to Germany with a national touring company. Talk about life on the road! Was that your first taste of tour life?

KELLY O’BRIEN: My first big lead role was in Starlight Express, Germany. I’d never been to Europe before that. Deep down, I know I would end up living on the other side of the world. There were just more opportunitys there. And I was right. 

JHPENTERTAINMENT: OK, now for some Dolly-centered questions…I’ve met Dolly several times through the years, so when I say sound like Dolly, I mean it!…you not only sing live like her but also speak live as her during your act. You’ve got what I affectionately refer to as her ‘hiccup giggle’ down pat! When did you first discover you could sound like Dolly? 

KELLY O’BRIEN: Well, this part was difficult. Dolly is a soprano and I am an alto, so it took a huge amount of practice. Her voice is very forward in the mouth, it’s a skill. It took a LONG time to perfect. 

JHPENTERTAINMENT: Then there’s Dolly’s look. You’ve been performing as Dolly in one form or another for about two decades, and from photos and clips I’ve seen, you just keep getting better. Do you find yourself studying Dolly still, in an effort to keep up the look and sound?

KELLY O’BRIEN: Absolutely. I am never complacent. There is so much to learn about Dolly. The instruments she plays, the Dolly-isms and stories she tells. I am always learning something new. 

JHPENTERTAINMENT: I mentioned Kylie earlier. You’ve performed as Kylie in the past, Brittney Spears and Judy Garland too, right? So what is it about Dolly that prompted you to build an entire show around her and not the other artists you’ve paid homage to in tribute?

KELLY O’BRIEN: For starters, I am only 5 ft tall, so that helped. haha Then I guess it was the fact I started singing country music so young. And the fact I was in musical theatre meant I knew how to create the ‘look’ needed to be a fabulous representation of Dolly. 

JHPENTERTAINMENT: I remember the first time I met Dolly, and every time since then, so I gotta ask. What was it like when you met her in 2011?

KELLY O’BRIEN: It’s quite surreal meeting your idol. There are so many things you want to say… I told her how I was an impersonator and she loved that. She was very complimentary. 

JHPENTERTAINMENT: In doing a little online sleuthing in preparation of our chat, I discovered not only is Dolly a 1° of separation for us, but so was the late great prolific tv producer, Nigel Lythgoe; you having secured a Top 12 spot on Popstars Australia and I having worked on the first two season of American Idol! What do you remember most about your experience with that particular brand of reality television?

KELLY O’BRIEN: Oh dear! That was tough. I was in my twenties then. Not as confident back then. People tell you to ‘jump’ and you do it. If I were spoken to like that now, I’d tell THEM to go jump! haha

JHPENTERTAINMENT: Your Nashville debut is midway through your first-ever THE DOLLY SHOW tour in the U.S.. In fact, as we conduct this interview you’re boarding your flight to the U.S. What are you looking forward to most in sharing this show with your stateside audience?

KELLY O’BRIEN: I wonder if they will laugh at my jokes. I mean, they are Dolly gags, but I incorporate my own flair. I also involve the audience quite a bit. It’s an interative show. I hope it translates well… 

JHPENTERTAINMENT: In the show you present several Dolly ‘looks’ representing her career from the earlier years to a more modern Dolly. Do you have a personal favorite of your Dolly looks?

KELLY O’BRIEN: Oooooh, I love the 70’s. Dolly’s hair was BIG! I love that look. 

JHPENTERTAINMENT: Ok, I gotta know…how much luggage do you travel with? How many wigs and costumes are among your gear?

KELLY O’BRIEN: Three suitcases, 7 costumes, 6 wigs. It’s a lot. 

JHPENTERTAINMENT: For you personally, when, during your transformation into Dolly, do you feel the illusion is complete? Is it the wig, the wardrobe or the moment you walk onto the stage and greet your eager audience?

KELLY O’BRIEN: I always take a moment before the show to get into character. It’s usually once my wig is glued on and the transformation is complete. 

JHPENTERTAINMENT: Dolly isn’t just a fabulous singer, she’s a ridiculously prolific songwriter, so not only is the vocal skill important, the music is also key. To that end, I understand current Nashvillian, guitarist Danny Werner is part of your backing back. How did you meet Danny and who else have you got joining you in for your U.S. dates as part of THE DOLLY SHOW band? 

KELLY O’BRIEN: Oh wow, you know Danny? How brilliant. I also have John Hagewood, Jon Ross and Jason Sullivan. They will be traveling from Nashville to do my shows in three different states. I will meet them on the first day of rehearsals. I hear they’re great musicians. 

JHPENTERTAINMENT: Like Dolly, being a singer is only part of who you are. You’re also a Wife and Mom. Have you brought the family along for the U.S. tour? OR are FaceTime and video chats what keep you connected during life on the road?

KELLY O’BRIEN: Not this time. My daughter performs at a very high level and is representing England at this years  ‘Dance World Cup.’ She has to stay home and rehearse. And my husband Ben needs to drive her around. They will be traveling back with my in October for round two.

JHPENTERTAINMENT: Wait a minute! Did I just get an exclusive? Round two in October, huh? That’s awesome! If you could only play one Dolly Parton album the rest of your life, what would it be and what song in particular means the most to you?

KELLY O’BRIEN: Little Sparrow, I just love that Bluegrass sound. I love Mountain Angel. It’s a seriously beautiful and haunting song. 

JHPENTERTAINMENT: YES! Little Sparrow is my favorite Dolly album as well. I just love The Grass is Blue. Alright, we’re almost to the 20th questions, so…What’s next for you?

KELLY O’BRIEN: A rest! haha

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing your tribute to Dolly in THE DOLLY SHOW?

KELLY O’BRIEN: I hope they feel they’ve spent the night with Dolly. I hope they have fun, leave feeling a little lighter and full of love. Dolly brings people together like that. 

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With that, my chat with Kelly O’Brien came to an end, but that’s not all for me, as you better believe I purchased tickets to THE DOLLY SHOW’s May 18 performance at City Winery Nashville. Doors open at 6pm for the Sunday, May 18 7:30pm show. Tickets range in price from $20 to $35. CLICK HERE to purchase tickets. Not in Nashville? You still have another chance to see Kelly O’Brien as Dolly stateside during this phase of the tour when she brings THE DOLLY SHOW to Roxy’s Cabaret in Minneapolis on May 23, and don’t forget the upcoming above-mentioned round two of US dates coming in October. Of course if you’re reading this interview and you happen to be in the UK, as soon as Kelly wraps her US dates she’s headed back for more dates in the UK with shows at Festival Theatre at Hever Castle’s Two Sisters Theatre in Kent on May 31,  Wales Millennium Centre in Cardiff on June 6&7, Bush Hall in London on June 20, The Glasshouse in Gateshead on June 28 and more. CLICK HERE for Kelly’s full tour schedule. You can also follow her on Facebook, X, Instagram and YouTube. Heck, you can even book a personal Cameo message! In the meantime, check out Kelly O’Brien’s THE DOLLY SHOW promo video below!

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.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF ‘SAYRE’; Presented by Brand Spankin’ New Theatre at Playhouse 615 February 28 through March 9

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Co-written by Bel Stuart and Emily Dodson, SAYRE: An Original Musical About Spirited Women in the Athens of the South, will take to the stage at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) beginning Friday, February 28 with shows through March 9. Earlier this week, as the playwrights and cast readied for opening night of this World Premiere production presented by Brand Spankin’ New Theatre, I had the chance to pose a few questions to Stuart and Dodson, as well as two members of the cast—Tameshia Martin and Mandy Moon, for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF SAYRE

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT, BEL STUART

JHPENTERTAINMENT: What can you tell me about the plot of SAYRE?

BEL STUART: SAYRE follows a group of women inspired by the Muses of Greek Mythology during an Open Mic night at the fictional Athena’s, a woman owned metaphysical shop and cafe. Throughout the course of their evening we address women’s and civil rights currently and historically in Tennessee and the critical role Nashville played in those movements. By personifying these struggles we hope to bring a broader understanding to all the ways a woman’s work is never done. 

JHPENTERTAINMENT: In researching to chat with you all, I discovered there was a reason this show seemed familiar to me. While I didn’t get the chance to see it, it premiered back in 2019, right?  What prompted you to revisit this work and remount it with Brand Spakin’ New Theatre?

 BEL STUART: Emily and I wrote and produced that version in just four months in 2019! The first monologue was written on June 1st and we workshopped it at Centennial Black Box the last week of September with our original cast. The plan was to produce a larger scale version in 2020 as part of the 100th Anniversary of Women’s Right to Vote but the pandemic shut all theatres down. I pivoted to writing/producing a socially distanced filmed theatre piece titled THE MUMU MEMOIRS with Metro Arts and Thrive Funding. Life took over and the timing to pick it back up had just never seemed right until now. Robby, Abby and I performed together in SORDID LIVES directed by Erin Grace Bailey at Playhouse 615 last July. I had spoken to them all then about SAYRE and the regret of it never reaching its potential. Robby approached me to read the original script and produce it this year in conjunction with BSN. We met with Abby to direct and here we are! We all believe it is absolutely the right time and place for the message of this show. 

JHPENTERTAINMENT: Speaking of BSN and the company’s founder, Robert Coles serves as this production’s producer. What’s been the best aspect of having him onboard?

BEL STUART: I think Robby is a great supporter of theatre in this town and is helping to expand the scene with more original adaptations and writing. 

JHPENTERTAINMENT: As alluded above, the show was co-written by Emily Dodson, who I’ll also be chatting with about SAYRE, so I’m curious to know how you two met and what makes her a great fit as a co-writer?

BEL STUART: Emily and I met at Ladies Rock Camp just a few months prior to embarking on our whirlwind adventure of co-writing the original script in 2019. We realized we had some common threads with people in our lives initially but we operate very differently creatively speaking. We have found this to be a huge benefit as co-writers, however. At the core of what makes us work is our hearts. When you’re tackling the material we present in SAYRE, it is almost impossible to not get emotionally charged or overwhelmed. The stories we tell through these characters are all very much rooted in the women we have been and known in Nashville over the years. Having such a strong natural bond and trust has been the key to success both in our comprehension of our process and our true desire for collaboration with mutual respect and support. 

JHPENTERTAINMENT: In addition to co-writing the script, you also serve as the show’s musical director. When creating the music for this show, was there a preconceived tone or vibe you wanted to convey or did it morph as you went along developing the story?

BEL STUART: These songs are all written by Emily and myself and they are quite diverse. Some were pieces floating around without a home and some were written specifically for SAYRE. The common thread is that they all were the perfect drivers in the storytelling of these characters. I grew up in and around the music business here and Emily has been a local now for most of her adult life. The songs are so important and it was critical that each character has their own voice. We hope that reflects in their performances. The music is mostly confessional and that takes on different tones through the women you meet in this show. 

RAPID FIRE WITH SAYRE’s MEMORY, TAMESHIA MARTIN

JHPENTERTAINMENT: Who is Memory to you?

TAMESHIA MARTIN: Memory is QUEEN MOTHER. She is the very reason that creation exists. She is a strong, fierce leader with a creative imagination that paints very vivid, detailed pictures of her life, as evidenced throughout the piece with her specific choice of vocabulary.

JHPENTERTAINMENT: Right from the get you not only have a rather lengthy monologue that starts the show, but you also perform SAYRE’s first musical number. Is there a particular piece of dialogue or lyric that you feel perfectly represents Memory?

TAMESHIA MARTIN: In the initial monologue, Memory states: “I am the unlikely mother of multitudes. I am a mystery within myself. Let me define that simply for you. I am my own. And where this is madness, there is magic!” That has to be THE MOST POWERFUL set of lines in the entire show for Memory. She admits to being who she is, flaws and all, DIFFERENT, a PERFECT IMPERFECTION! In other words, she let’s this world know that although I am a bit rough around the edges with some bruising and scarring if you will, that does not define my character. I AM GREAT. I AM WORTHY. I AM A PIECE OF ART. MY PAST DOES NOT DEFINE ME. I AM MAGICAL! POINT! BLANK! PERIOD! And that is not up for discussion or negotiation. 

JHPENTERTAINMENT: First monologue, first song…SAYRE also marks your first time to be part of a show mounted at Playhouse 615. What’s the experience been like thus far?

TAMESHIA MARTIN: This experience is very special to me. It has definitely challenged me in a great way, expanding my ability to character develop. I have played several characters throughout my career, but not one quite this robust and spicy! Thanks to Bel Stuart (one of the original authors of SAYRE and music director) and Abby Waddoups (the director of the show), for giving me free range to develop this character through my very on lens. 

JHPENTERTAINMENT: If you weren’t playing Memory, is there another character in Sayre that you’d like to tackle?

TAMESHIA MARTIN: Definitely Memory’s daughter, Mel. She is definitely her mother’s child. She is a representation of leadership, fire and strength as well, but from a little softer perspective. Mel not only holds her own life together, but she keeps the doors of Athena’s open and running after her mother’s death to help all the other women “hold their lives together” as well, in a very private space where they all come to hash out all the CRAZY that life has thrown them. That is an example of a kind human that cares about others……that’s pretty special to me.

JHPENTERTAINMENT: Memory is the original owner of the cafe, so I want to ask you about the set design and the immersive aspect of the show. Of course your thoughts on this might change once the show opens and the audiences fills those bistro tables, but for now…how do you think having members of the audience right there in the midst of the action might affect the energy of your performance?

TAMESHIA MARTIN: It will only enhance the performance. The audience will feel like an integral part of the open mic night, and that is the very point of Athena’s existence, for everyone to feel welcomed, wanted, included, and in a safe space. Drawing the audience into my world is going to be magical for them and myself. They will definitely leave Athena’s better than they came.

RAPID FIRE WITH SAYRE’s ECHO, MANDY MOON

JHPENTERTAINMENT: Who is Echo?

MANDY MOON: Echo, in mythology, is an Oread, a mountain nymph. The story of ECHO comes from Hera removing her “voice” due to her suspicions of ECHO consorting with Zeus. Her punishment from Hera was that she could only repeat, or echo, the last words spoken to her. In Sayre, Echo is a late 70s rock goddess (think Stevie Nicks/Ann Wilson energy), who co-hosts with Era at Athena’s. She is a singer-songwriter and a part of the coffee house artist community. She is nurturing, loving, and peaceful, but also lost, but in a beautiful way as an artist. Echo is everyone’s voice in Sayre and shares the stage with the cast throughout the show as a seasoned musician supporting her friends and community.

JHPENTERTAINMENT: Echo, as described in the character breakdown, is a singer/songwriter and host of the coffeehouse’s open mic night. As a singer/songwriter yourself in real life, the character seems to pretty much echo (pun fully intended) your own creative path. So I gotta ask, what are key similarities and differences in your on-stage persona in SAYRE and your own personality?

MANDY MOON: Sure. Haha yes, there was pure synchronicity when this part was offered to me in Sayre. I don’t think the production team knew I had experience hosting events, and open mics, and had done so in Nashville until after I accepted the role. Whether is was AAPI events, or events for charity or themed shows. That’s been a big part of my life as a musician and part of the Nashville music community. My real-world persona versus on-stage persona are close but far from each other. Echo and I are similar in how we see the world and want to be supportive of others and “hold space” in the best way for people to come as they are with their artistic expression. In my real-life persona, I do find myself much more sarcastic, dry, and unapologetic with how I show up as a woman and artist. It’s taken years to get here and find my voice. With Echo, while is an incredible musician, is still lost in that pursuit of who she is and how she shows up and speaks her truth. It brings me back to times when I questioned my values and who I was. I think Echo was the woman I was. We all were.

JHPENTERTAINMENT: As a singer/songwriter yourself, do you have a favorite musical moment in the show?

MANDY MOON: That’s so hard and without giving it away. 😉 I LOVE the sing-a-longs we do with our cast and hopefully at the show, with our audience! The end scene is extremely powerful and I don’t think Nashville is ready for this mic drop. 

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been in Nashville for a decade now. What do you see as the biggest misconception when folks learn that you’re a singer/songwriter in Music City?

MANDY MOON: That I play country music. haha, I play a lot of soul, r&b, and jazz. But honestly, I consider myself a very genre-fluid songwriter. Letting go of what I need to sound like, or be, has given me absolute creative freedom to write more authentically. That also includes stepping into projects that stretch my comfort zone. I love Nashville for always continuing to challenge me. I’m incredibly grateful to Bel, Emily, and Abby for entrusting me.

JHPENTERTAINMENT: The show is directed by Abby Waddoups. What’s one aspect of Abby’s directing style that you appreciate as a performer?

MANDY MOON: Abby allows us to work very organically and fluidly with our characters’ stories. She is open to change and how we have developed with our role(s). With it being the 1st edition of this production, it’s given us as actors so much runway to develop these characters versus something that already exists. That also includes developing these songs from literally demo inception and arranging parts for each cast member. 

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT EMILY DODSON

JHPENTERTAINMENT: When I chatted with Bel, I asked her what makes you a great fit as a co-writer, so I’ll ask you the same of her?

EMILY DODSON: We balance each other.  There was an instant authenticity and vulnerability to our relationship that is rare and I think we both knew we had to create together. Bel continues to set a fire under my ass and push me to let go of my tendency towards perfectionism. Co-writing isn’t for everyone and it isn’t always a good fit, but it helps when you find someone who truly sees your artistic genius and encourages you to let it free.  I think we do this for each other.  There’s a lot of competitive energy in this industry, which tends to smother creativity.  Bel and I don’t have that.  We encourage each other to allow our light to shine fully, without restraint or a need to diminish due to jealousy. It’s refreshing and I wish there was more of it in this world. 

JHPENTERTAINMENT: I also noted that the show was first produced back in 2019. What do you recall of the creative process of co-writing SAYRE?

EMILY DODSON:  It helped that it happened so organically, as if it had to happen and we were just vessels. The process was a bullet train and we were along for the ride, fast tracked, no stopping, and intent on the destination. The words came from our souls, tumbling out like water being released after being dammed too long.  It was our stories, taken from our lives or those we deeply loved. We had to tell them, there was no other alternative, especially with what was happening in our world.  

JHPENTERTAINMENT: Speaking of that 2019 debut, you not only co-wrote the script, but you also originated the role of Melpomene, the owner of the cafe. In this production, Mel is played by Emma Reinbold. Did you offer any advice to Emma as she takes the reins of the role?

EMILY DODSON: Actually, no. I offered support if she needed it, but I wanted Mel to be hers to mold. As a playwright, I write the words and then relinquish them to the director and cast. The actress side of me also considers this to be off limits.  Every production should be at least slightly different because every actor brings a different perspective to the character, otherwise the performance becomes stale. Trying to reproduce someone else’s portrayal has a tendency to lead to canned line readings and forced emotional responses, taking the performer out of being in the moment.  My training at The Atlantic Theatre Company at NYU really emphasized the importance of this and it has stuck with me.  Part of the creative process is finding your own personal connection with the character, making them yours, and having real moments with your scene partners. That’s what makes good theatre.  

JHPENTERTAINMENT: Having sadly missed that original production back in 2019, as I was preparing to chat with you all for this round of Rapid Fire 20Q, Robert Coles was kind enough to share with me the script. Before I even got into the story, I was immediately struck by the description of Athena’s the metaphysical coffee house that serves as the setting in which the action takes place. It’s described as “a welcoming older craftsman residence turned shop that encourages hours of conversations while surrounded by all manner of creative pursuit”. I think I spent a few hours in just such a place during my post-college years. While you’re originally from Virginia, you’ve called Nashville home for the past couple decades. So, I gotta ask…is Athena’s based on any real spot from Music City’s recent past?

EMILY DODSON: For me it’s a combo of places and times, during college it was mainly a coffee shop in the East Village of NYC called Alt Dot. I met many interesting folks there and it lent to a lot of good writing. When I moved to Nashville, I needed to find that space here. I stumbled across the original Bongo Java off of Belmont and it felt like home for me. I’ve been in East Nashville for most of my time in Nashville, not necessarily a coffee shop, but definitely a community vibe that nurtured me. During the creation of Sayre, we spent many an hour at High Garden (sadly lost to the tornado of 2020) and Retrograde.  I think all of them are represented in my version of Athena’s.

JHPENTERTAINMENT: What do you hope audiences take with them after a visit to Athena’s?

EMILY DODSON: That they are not alone in their experiences and feelings. Their power is still there and cannot be diminished or extinguished by someone else.  Your tribe is important. The most powerful thing you can do in life is to tell fear to go fuck itself because it will only keep you caged.  Take the leap, have the hard conversations, open your heart, let your genius shine, be bold and brave, and above all always remember that you….exactly as you are, with all your scars and bruises, are enough.  

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Brand Spankin’ New Theatre’s presentation of SAYRE opens Friday, February 28 and continues through Sunday, March 9 at Playhouse 615. Friday and Saturday performances are at 7:30pm with Sunday matinees beginning at 2:30pm. During the second week of the run, there is a Thursday evening 7:30pm performances in addition to the Friday thru Sunday schedule.

As the above conversations reveal, SAYRE is set in a coffeeshop. Adding an immersive aspect to the show, a limited number of bistro-style tables have been added to the seating configuration. Limited bistro seating for each performance is available for $40/ea with standard general admission seating priced at $25/ea. CLICK HERE for tickets. To keep up with the latest from BSN, CLICK HERE.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and starring Playhouse 615’s own Joel Meriwether, with shows March 21-April 6. CLICK HERE for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

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

Rapid Fire Q&A with Director and Cast of Reimagining of Martin Luther King Jr.’s last night, ‘The Mountaintop’; at Nashville Rep through February 23

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Nashville Repertory Theatre‘s current offering, The Mountaintop, written by Katori Hall presents a fictional, yet thought-provoking representation of what Dr. Martin Luther King‘s last night of earth might have been like. Directed for Nashville Rep by Alicia Haymer, the two-person play (now onstage at TPAC‘s Johnson Theatre through Sunday, February 23), stars Rashad Rayford as Dr. King and Tamiko Robinson Steele as Camae, a motel maid, who thanks to Hall’s clever script, gets a suprisingly personal one-on-one chance meeting with the history-making Civil Rights leader. The entirety of the action of The Mountaintop takes place in room 306 of Memphis’ now-infamous Lorraine Motel on the evening of April 3, 1968, the night before Dr. King’s assassination.  Last week, as cast and crew prepared to open the show, I had the honor of chatting with director and both stars for my latest Rapid Fire Q&A. What follow are those conversations.

RAPID FIRE Q&A WITH DIRECTOR AND CAST OF NASHVILLE REP’s THE MOUNTAINTOP

RAPID FIRE Q&A WITH THE MOUNTAINTOP DIRECTOR, ALICIA HAYMER

JHPENTERTAINMENT: As The Mountaintop director, what do audiences need to know going in?

ALICIA HAYMER: Whatever you’re expecting, this isn’t it. We often see the larger than life Dr King persona, but this is a reimagining of the man. 

JHPENTERTAINMENT: In preparation of chatting with you and your cast, I read the script since I’ve never seen a production of The Mountaintop. I was immediately stuck by how playwright Katori Hall’s fictionalize account of Dr. King’s last night humanizes him. Is that humanization of the icon part of what drew you to this particular project?

ALICIA HAYMER: Absolutely. Katori Hall approached this idea in such a unique way. I couldn’t pass up the opportunity to tell this story, and work with my dear friends Rashad and Tamiko.

JHPENTERTAINMENT: Speaking of the script, early on when Dr. King and Camae comment on the rain, Camae simply remarks, “God ain’t gonna stop crying no time soon”. That line really hit me. Do you have a favorite line in the show?

ALICIA HAYMER: Yes! “Take the baton and pass, pass, pass it along!” We must all continue to do the work necessary to move our society forward.

JHPENTERTAINMENT: When directing a two-person play as opposed to a larger cast, how important is blocking/staging, and how have you addressed it with The Mountaintop?

ALICIA HAYMER: It’s much easier with two actors. The important thing about blocking is that it feels organic and authentic. I don’t want two robots on stage, but two people living and moving truthfully in the moment. 

JHPENTERTAINMENT: I’m about to chat with your two actors, so I’d like to ask you…what is is about Rashad Rayford’s performances as Dr. King and Tamiko Robinson Steele’s turn as Camae that you hope audiences take note of most?

ALICIA HAYMER: Rashad has done extensive research to bring Dr. King to life in this unique way. I hope audiences resonate with the spirit of Dr. King that he invokes in his own authentic way. As for Tamiko, she is so brilliant, and brings such light and earnestness to Camae. I hope audiences see that any person, no matter how insignificant they believe themselves to be, can do extraordinary things. 

RAPID FIRE Q&A WITH RASHAD RAYFORD, DR. MARTIN LUTHER KING, JR. IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, I need a little clarity to start…Your show bio indicates that The Mountaintop marks your Rep debut, but didn’t you appear in a 2012 staged reading of A Behanding in Spokane with The Rep?

RASHAD RAYFORD: I did the staged reading for A Behanding in Spokane. You are correct. This will be my mainstage debut.

JHPENTERTAINMENT: It’s not your first time playing the role of Dr. King in The Mountaintop, having appeared as the legendary Civil Rights leader in the regional premiere back in 2012. In the years since you first stepped into the role, have you discovered nuances in the role that you’re bringing to this performance?

RASHAD RAYFORD: Definitely, I’ve grown as a person, I was newly married, with no children back then. My wife and I now have four children, and 13 years of marriage and life experiences under my belt. There are so many differences between now and then. It’s been great to discover new things along the way this time.

JHPENTERTAINMENT: This show also serves as a bit of an on-stage reunion with your costar, Tamiko Robinson Steele, having shared the stage with her in The Piano Lesson, Never Been Home and 70% More (and a few film projects if my research serves me well). I have been enthralled by Tamiko from the first time I saw her on stage. She is truly a gift to Nashville’s theatre community. What is is about Tamiko’s talent that makes her the ideal scene partner?

RASHAD RAYFORD: I’ve known Tamiko for almost twenty years now and she is truly family. She is the consummate professional, and her work ethic and dedication are inspiring. We have this great ability to play off of each other and energize each other onstage.  I always enjoy sharing the stage with actors who “get it”. The depths of her character development and  understanding nuance. It’s a pleasure to watch her work. 

JHPENTERTAINMENT: You’ve also shared the stage with your director, Alicia Haymer. As a director, how has she helped bring out your best performances in this show?

RASHAD RAYFORD: This is the first time Alicia has directed me, and I’ve appreciated her approach. She allows us to make decisions, but she also has enhanced what we’re doing, and pushed us to go further and get uncomfortable so that we could find comfort. She is a great director. It’s been an awesome experience. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen The Mountaintop?

RASHAD RAYFORD: I hope audiences walk away knowing that they are enough. Wherever they are in their journey, they can get to The Mountaintop and they can also help others get there too.

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, CAMAE IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, just to begin…When I saw that you were playing Camae in The Rep’s The Mountaintop, I was so excited. I mean…you gotta know you’re among what I’ve always referred to as my ‘theatre crushes’. Who is Camae to you?

TAMIKO ROBINSON STEELE: First of all, I love that I’m on your ‘theatre crush’ list…I’ll take that honor! Camae, to me, is lightning in a bottle. She’s quick-witted, sharp as a blade, and carries a presence that is impossible to ignore. But beyond the humor and fire, she’s a mirror and a reckoning. She forces Dr. King, and the audience, to see him as more than just an icon, but a man with fears, flaws, and a fate he can’t outrun. Playing her is like stepping into a storm and a sermon at the same time, she is divine mischief, raw truth, and boundless energy wrapped in one unforgettable woman.

JHPENTERTAINMENT: As I mentioned to Alicia, prior to chatting with you all, I read the script as I was only vaguely familiar with the work. I love Camae’s spiritedness. Is that part of what drew you to this role?

TAMIKO ROBINSON STEELE: Absolutely! Camae is spirit and spark. She’s unpredictable, she flips the energy in the room on its head, and she refuses to be boxed in by expectation. But what truly drew me to her is what’s underneath all that fire, her purpose. She is sent for a reason, and watching her navigate that tension between her humor and her mission, between being in awe of Dr. King and challenging him, makes her one of the most deliciously layered roles I’ve ever stepped into. It’s exhilarating to play someone who gets to challenge history itself while still keeping you laughing, questioning, and on the edge of your seat.

JHPENTERTAINMENT: Before opening weekend, The Rep shared a sneak peek at the set designed by Gary C. Hoff. Is there an aspect of the set or a piece that the audience might miss that you find particularly interesting?

TAMIKO ROBINSON STEELE: Oh, that Gary C. Hoff! His sets always transport you somewhere.  One thing I love is how the small details ground you in the time period—from the textures to how they may shift when the light hits it, it’s like stepping into 1968 itself. But there’s also a subtle unease in the space, a feeling that something bigger is at play. I won’t spoil too much, but let’s just say this set has a way of shifting right when you least expect it, much like the story itself.

JHPENTERTAINMENT: When I spoke with Rashad Rayford, I noted that you two have shared the stage a handful of times in the past. This show also reunites you with director Alicia Haymer, who directed you in Nashville Rep’s School Girls; or The African Mean Girls Play. Is there a bit of advice or direction that Alicia has offered that opened up a new perspective of Camae to you?

TAMIKO ROBINSON STEELE: Rashad and Alicia are family to me. I can’t express how much knowing that the three of us would build this world together excited me! Alicia has this incredible way of finding the heart inside every scene. One thing she pushed me to do was to honor the stillness in moments because Camae is such an electric presence, it’s easy to play into the fast-talking, sharp-witted firecracker side of her. But Alicia reminded me that Camae doesn’t just disrupt, she listens, she absorbs, she knows exactly when to hold back and when to strike. That balance is what makes her so powerful. Working with Alicia again has been a gift, because she trusts her actors while also making sure every choice we make serves the story in a real and honest way.

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

TAMIKO ROBINSON STEELE: Because it’s not just a play, it’s an experience. It takes one of the most monumental figures in history and lets you see him as a man, tired, flawed, afraid, funny, hopeful, real. It makes you laugh, think, and wrestle with what it means to carry the weight of change. And then, just when you think you know where it’s going, it flips everything on its head.

This play is urgent, intimate, and unforgettable. It reminds us that history isn’t just something we look back on, it’s something we’re still shaping, right now. So if you come to see The Mountaintop, be prepared. You’ll leave differently than when you walked in.

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Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.
Next up at Nashville Rep, it’s Sondheim‘s Sunday in the Park with George, with performances April 4-13. Sunday will be directed by Jason Spelbring, with musical direction by Steve Kummer. In the roles of Georges Seraut and George it’s London West End favorite, Irish actor, David Shannon (Les Miserables, The Phantom of the Opera, Sweeney Todd). Just announced, the cast will also feature Christine Dwyer (Broadway‘s Wicked, National Tours of Waitress, Finding Neverland, RENT). Dwyer will take on the roles of Dot and Marie. The cast also includes Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Richard Harrison Jr. as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise.  CLICK HERE for tickets.

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

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

TPAC Announces 2025/2026 Broadway Season; ‘The Outsiders’, ‘Suffs’, ‘The Wiz’ and more making their Music City Debuts while favorites ‘Hamilton’ & ‘Beauty and the Beast’ return for two weeks each

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On Tuesday evening, February 10, Tennessee Performing Arts Center hosted an invite only event for members of the media and social influencers to reveal their upcoming Broadway Season. On Wednesday, February 11, a press release detailing the coming season revealed the following.

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NASHVILLE, Tenn. – A storybook season awaits as the nonprofit Tennessee Performing Arts Center® announces its 2025-26 HCA Healthcare/TriStar Health Broadway at TPAC season, presented in partnership with Nissan and Farm Bureau Health Plans, as part of its 45th Anniversary.

The upcoming season features six Nashville premieres, plus the return of a classic fairy tale and the revolutionary re-telling of American history, with two-week engagements of Disney’s BEAUTY AND THE BEAST and HAMILTON. The lineup celebrates stories that range American theatre’s past, present and future with the groundbreaking twist on The Wizard of Oz, THE WIZ; the brilliant, passionate and funny American women who fought tirelessly for the right to vote, SUFFS; the beloved, cinematic classic that is now a Broadway musical, BACK TO THE FUTURE: THE MUSICAL; the life-chasing, life-changing trip of a lifetime, SOME LIKE IT HOT; the bestselling novel with a poignant reminder that life – and love – can begin again at any age, WATER FOR ELEPHANTS; and the coming-of-age story that takes you to Tulsa, Oklahoma in 1967, Tony Award-winning Best Musical, THE OUTSIDERS.

 

In addition, TPAC will present three limited return engagement presentations, including the world’s most popular musical, LES MISÉRABLES; the global sensation that remixes five hundred years of historic heartbreak told by the six wives of Henry VIII, SIX; and the outrageous musical comedy of a mismatched pair of missionaries sent halfway across the world to spread the Good Word, THE BOOK OF MORMON.

“For 45 years, TPAC has brought stories to life on our stages, creating unforgettable memories and fostering connections that inspire and entertain. This milestone 45th Anniversary season celebrates the transformative power of live theatre, featuring timeless classics and groundbreaking new works that honor our past, reflect our present, and look toward the future as America approaches its 250th birthday,” says Jennifer Turner, TPAC President and CEO.

“We invite audiences to join us on this remarkable journey through American storytelling, reinforcing TPAC’s role as a cultural cornerstone for Tennessee and a premier destination for extraordinary performing arts experiences.”

 Season tickets are available now for new and renewing patrons for as low as $380. Purchasing season tickets allows theatre lovers to get the best seats at the best price when buying in advance. Plus, interest-free flexible plans allow patrons to spread the cost of a season package over up to seven months.

Season ticket holders also enjoy other exclusive benefits such as easy exchange privileges, priority access to buy additional Broadway tickets at a discount, and much more.

The Full 2025/2026 Broadway at TPAC SEASON

THE WIZ – Sept. 23-28, 2025

THE OUTSIDERS – Oct. 14-19, 2025

Disney’s BEAUTY AND THE BEAST – Nov. 4-16, 2025

SUFFS – March 3-8, 2026

BACK TO THE FUTURE – March 17-22, 2026

SOME LIKE IT HOT – April 21-26, 2026

WATER FOR ELEPHANTS – May 12-17, 2026

HAMILTON – June 17-28, 2026

Additional Broadway at TPAC presentations

LES MISÉRABLES – Jan. 20-25, 2026

SIX – Feb. 3-8, 2026

THE BOOK OF MORMON – June 2-7, 2026

To purchase season tickets and review the full benefits, pricing and seat map, CLICK HERE, or call TPAC Patron Services at 615-782-6560.

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Up next for the current season of Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE  for tickets. 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.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!