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Rapid Fire 20Q with ‘Suffs: The Musical’ Cast Members; National Tour at TPAC March 3-8

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Members of the cast of ‘Suffs: The Musical’. (Photo by Joan Marcus courtesy musical.com)

There are few places in America where Sufffs lands with more historical weight than Tennessee — proudly known as the “Mother of the 19th Amendment.” In August 1920, it was the Volunteer State that became the 36th — and final — state needed to ratify the amendment, officially granting American women the right to vote. The dramatic showdown, later dubbed the “War of the Roses” — named for the yellow roses worn by pro-suffrage lawmakers and the red roses sported by those opposed — came down to a razor-thin margin and a 24-year-old East Tennessee lawmaker, Harry Burn, who famously changed his vote to “yes” after receiving a note from his mother urging him to “be a good boy” and support ratification. In that moment, Tennessee didn’t just make history — it sealed it.

More than a century later, the Tony Award-winning musical Suffs marches into TPAC’s Jackson Hall March 3–8, telling the story of the brilliant, relentless, and often divided women who made that historic victory possible. Created by Shaina Taub, this exciting new work doesn’t simply revisit the fight for suffrage — it underscores how fragile progress can be, and how much courage it takes to defend it.

Before the national tour takes the Nashville stage, JHPEntertainment caught up with Suffs cast members Marya Grandy, Trisha Jeffrey, Victoria Pekel and Tami Dahbura for an abbreviated Rapid Fire Q&A conversation about legacy, love, activism, and why this story feels anything but confined to the past.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF SUFFS: THE MUSICAL

RAPID FIRE WITH SUFFS‘ Carrie Chapman Catt, ACTRESS MARYA GRANDY

JHPENTERTAINMENT: Carrie Chapman Catt was a strategic architect of the suffrage movement — how do you approach portraying such a politically savvy woman?

MARYA GRANDY: Carrie was an extremely driven individual. In Suffs, she loses perspective and gets bogged down in the idea of her way being the only way, even when it’s to her detriment, and to the detriment of the movement itself. Everyone has felt that way at one point or another in their lives, of being so focussed on being right that it renders you immovable. It is such a human reaction

RAPID FIRE WITH SUFFS‘ Mary Church Terrell, ACTRESS TRISHA JEFFREY

JHPENTERTAINMENT: Mary Church Terrell fought for both suffrage and racial equality — what has been most eye-opening about learning her history?

TRISHA JEFFREY: Suffs makes you want to do a serious deep dive into history to learn the facts on who these women were and what they really did. Mary Church Terrell was one of the first Black women to graduate college, a pioneering activist and educator who spoke four languages. She was the co-founder of the NACW — their acting president for three terms — as well as a co-founder of the NAACP. Mary fought tirelessly for racial and gender equality and her many victories proved that racism and sexism could be crushed simultaneously.

JHPENTERTAINMENT: How does Suffs handle the complicated intersections of race and feminism within the movement?

TRISHA JEFFREY: Racism within the movement was no secret and Mary was determined to confront it head-on, fighting for everything she believed in. When white suffragists chose to ignore and sideline the needs of Black women, telling them to march at the back of the line, Mary Church Terrell staged a coup, mobilizing Howard’s Delta Sigma Theta sorority to integrate the parade, igniting headlines. Mary still spoke on behalf of suffragists despite the obstacles within the movement for Black women.

JHPENTERTAINMENT: Is there a particular element of the show that feels especially powerful from your perspective onstage?

TRISHA JEFFREY: Paul Tazewell’s amazing costume designs perfectly inform the era, the pride and regality of who Mary Church Terrell was, which is probably what my most favorite thing is about all her costumes. The details in Paul’s work are impeccable. As the artist, I can effortlessly slip into who Mary was, bringing me closer to how she must’ve felt and what her true vision was for the world. The hardest part is probably how hot I can get on stage from wearing so many genuine wool layers!

JHPENTERTAINMENT: What do you hope audiences take away about Mary Church Terrell after seeing the show?

TRISHA JEFFREY: Truth be told, Mary Church Terrell was a trailblazer. Instead of using her wealth to live an easy life, she chose to stand up for civil rights and women’s rights, fighting inexhaustibly until the day she died. Mary helped create significant change, leaving behind a legacy that deserves to be known worldwide.

JHPENTERTAINMENT: Having performed in productions as varied as Rent and Motown, how does the musical style of Suffs compare?

TRISHA JEFFREY: Suffs is a musical unlike any other. It beautifully emulates what the women experienced in their lifetimes, set to gorgeous, riveting music that moves your soul and makes you want to jump out of your seat.

RAPID FIRE WITH SUFFS‘ Phyllis Terrell and Robin, ACTRESS VICTORIA PEKEL

JHPENTERTAINMENT: As a recent Yale grad who studied Political Science and Theater major, you just might have landed in the perfect show. Do you agree?

VICTORIA PEKEL: Absolutely! It genuinely feels like the perfect combination of my interests. I studied both Political Science and Theater Studies because I’ve always been passionate about storytelling and social change, and Suffs lives right at that intersection. Especially in this current political climate, getting to be part of a show that sparks conversations about progress and civic engagement feels incredibly meaningful. Art has always been a very powerful way to hold a lens up to our world, and Suffs reminds us that the right to vote exists because of people who decided it was worth fighting for and refused to give up.

JHPENTERTAINMENT: Phyllis Terrell represents the younger generation observing the fight — what resonates most with you about her?

VICTORIA PEKEL: What resonates most with me is that she isn’t just observing the fight – she’s helping to finish it (reflected in the song “Finish the Fight” in the show). As a young person and someone who cares deeply about activism, it means a lot to represent the moment when the younger generation steps into a movement and realizes the fight now belongs to them. I love getting to talk with students at talkbacks or young people at the stage door who feel inspired by the story or relate to the character, especially young Black women. Both Phyllis and the other character I play, Robin, share this incredible determination and fire, and I really connect with that spirit.

JHPENTERTAINMENT: What has surprised you most about making your national tour debut with this production?

VICTORIA PEKEL: What has surprised me most is just how deeply the show impacts audiences. People cry every night, and getting to talk with them after the show is really special. I recently met two women in their seventies who had spent their life advocating for women’s rights, and they told me this show came at a moment when they were starting to feel discouraged. Hearing them and others talk about how hopeful the story made them feel, and how much they learned about this history, was incredibly moving. And of course, life on the road has been a bit of an adjustment — it’s definitely very different from my college dorm room!

JHPENTERTAINMENT: Mayte Natalio choreographed Suffs. Her work resulted in her receiving a Critics Choice Chita Rivera Award. Not exactly your typical Broadway musical dance-heavy show, how would you describe the choreo in Suffs?

VICTORIA PEKEL: Working with Mayte Natalio has been phenomenal. She’s not only a brilliant choreographer, but also such a thoughtful artist who brought the best energy to the rehearsal room. The choreography in Suffs feels very grounded in humanity and real movement. There are moments with more restrained, almost “ladylike” choreography that I believe reflects how women were expected to present themselves at the time, particularly with characters like Carrie Chapman Catt. But then there are songs like “The March” and “How Long” where the movement grows more passionate and expansive. My personal favorite is “Fire and Tea”, where the women protest at the White House gates by burning an effigy of Woodrow Wilson. The choreography leaves me out of breath in the best way. It feels earthy, powerful, and almost witchy. Sharp and yet fluid. It just captures Shaina Taub’s music beautifully.

JHPENTERTAINMENT: Within your show bio, you dedicate this role to the memory of your mother. What aspect of this show, and your character in particular, do you think your mother would most-relate to?

VICTORIA PEKEL: There are many things about this show that I believe would have meant a lot to my mother, Tanya. One of the things I love about playing Phyllis, the daughter of Mary Church Terrell, is the connection to the Delta Sigma Theta Sorority, one of the nine historic Black Greek-letter organizations. Mary Church Terrell was the sorority’s first honorary member and helped shape some of its founding principles. My mom was a proud Delta, along with my late grandmother and my aunts, so I come from a family of Deltas — a group deeply dedicated to activism and service in our communities. Every night we get to reference the Deltas showing up to the 1913 March even while Black women were being marginalized and excluded within the suffrage movement. That moment means a lot to me personally. My mother was a trailblazer and an incredibly strong woman, and I think about her every night when we honor the women who paved the way.

RAPID FIRE WITH SUFFS‘ Mollie Hay, ACTRESS TAMI DAHBURA

JHPENTERTAINMENT: Mollie Hay was one of the younger, more radical suffragists — what excites you most about stepping into her fire?

TAMI DAHBURA: I was excited to delve into finding out more about Mollie since we are so completely different. Her devotion to the causes she believed in was very inspiring to me, yet somewhat intimidating because I’ve never been a particularly political person. Mollie’s energy and devotion to the causes she believed in — women’s suffrage and the Temperance Movement — were seemingly endless. Mollie’s life, as well as being a part of Suffs, is really motivating me to become more involved in politics.

JHPENTERTAINMENT: You also cover powerhouse Alva Belmont. How different is it playing a street-level activist versus a major financial force behind the movement?

TAMI DAHBURA: Well, Alva seemed to be able to delegate people to do the hard work for her. All she had to do was write a check — or have someone write a check for her. Mollie was definitely “feet on the ground” involved in all her causes.

JHPENTERTAINMENT: Suffs’ creator Shaina Taub has spoken about including Mollie’s relationship with Carrie Chapman Catt within the structure of the musical. Do you think it’s vital to highlight their relationship, even if just as a notable aside?

TAMI DAHBURA: It is definitely very important and vital to this piece, and any recounting of this era in history. We need to normalize love in ALL its forms, and we need to let people know that love IS love IS love. Whether it be for a cause or another person. Mollie and Carrie loved their causes and they loved each other deeply. They were together for well over 30 years — a lot longer than a lot of marriages and relationships. They were a true testimony to a wonderful partnership in life and love. This is something that I feel is important to show and share with audiences everywhere.

JHPENTERTAINMENT: As Mollie, you’re a part Act 2’s “Fire & Tea” number. What’s your favorite aspect of this particular moment in the show?

TAMI DAHBURA: Well, Mollie does not say a lot in this scene, but she is listening and reacting very intensely, and I thought it was very important for me to focus on these two actions. Even though Carrie is doing most of the talking, Mollie is actively behind her supporting her in that unspoken way that partners do for each other. You can see everything both women are fighting for in this moment in my face and my physicality. I don’t really need to say anything in order for the audience to see and feel everything I am feeling in that moment.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Suffs?

TAMI DAHBURA: I really hope that audiences learn how important it is for all of us to continue to fight for human rights — especially for women. We are in a time in history that these rights are being threatened, and it is incumbent on all of us to be vigilant and active in ensuring that our human rights are not stripped away. I also hope that audiences learn that even though things are hard to do, they can still be achieved through hard work and persistence — and LOVE!

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Direct from Broadway, Suffs arrives in Nashville fresh off its Tony Award wins and widespread critical acclaim. Created by Shaina Taub, this thrilling and emotionally charged musical shines a spotlight on the brilliant, passionate, and often divided women who fought tirelessly for the right to vote. Beyond the accolades lies a story that feels especially resonant here in Tennessee — the final battleground that secured ratification of the 19th Amendment. More than a century after Tennessee cast the deciding vote, Suffs reminds us that history is not just something we inherit — it’s something we shape. And sometimes, it only takes one voice to tip the balance.

The national tour plays TPAC’s Jackson Hall March 3–8 with the following performances: Tuesday, March 3 – Friday, March 6 with 7:30pm curtain, Saturday, March 7 – 2:00pm & 7:30pm, Sunday, March 8 – 1:00pm* & 6:30pm.

*Sunday’s 1pm performance includes ASL interpretation, Open Captioning, Audio Description, and Large Print and Braille programs.

To purchase tickets to Suffs at TPAC, CLICK HERE. Following Suffs, Broadway at TPAC‘s 2025-2026 Season continues with another Music City debut as Back to the Future takes to the stage March 17-22. CLICK HERE for tickets or more info. Follow TPAC on Facebook, Instagram, YouTube & TikTok. 

Not in Nashville? Catch Suffs in a city near you as the National Tour continues with stops in Charlotte, Boston, Dayton, Minneapolis, Detriot and more through summer of 2026. CLICK HERE for upcoming tour stops. Keep up with all things Suffs via the show’s socials on  Facebook, Insta, X , TikTok and YouTube.

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

Theatre Review: ‘SIX: the musical’; Henry VIII’s Wives Hold Court and Reign Supreme as National Tour Continues

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The Queen of ‘SIX’ US National Tour (all photos by Joan Marcus, courtesy SIX on Tour)

As I mentioned in my recent Rapid Fire 20Q with the show’s Alternates the premise of SIX cheekily presents the history—or should I say HERstory—of King Henry VIII’s wives through a modern pop lens. Think: what if the Spice Girls were competing against each other on American Idol, but make it Tudoresque. That’s SIX in a rhinestoned corset, and it knows exactly how ridiculous—and how brilliant—that sounds.

From its opening beat drop to its final glitter-soaked mic pass, SIX wastes no time announcing exactly what it is: a Broadway musical engineered like a pop concert. Now playing Nashville’s TPAC Jackson Hall, the national tour of the Tony-winning hit delivers history as a high-gloss remix—loud, funny, and meticulously attuned to modern pop and R&B influences. Performed without an intermission, SIX unfolds as a 90-minute showdown where heartbreak, harmony, and bass drops battle for supremacy.

Tuesday’s opening night of the Music City tour stop featured all six primary cast members, giving Nashville audiences the full force of the tour’s leading Queens right out of the gate. While it was undeniably thrilling to see the principals in action, I’ll admit to a slight pang of disappointment that none of the four alternates I recently interviewed for the Rapid Fire 20Q were onstage that evening—a very specific kind of theater-nerd heartbreak.

The show kicks off with “Ex-Wives”, an all-in girl-group manifesto disguised as a history lesson, instantly embedding the now-iconic refrain “Divorced, beheaded, died / Divorced, beheaded, survived” into the audience’s collective brain. The Queens emerge in a unified visual language —Tudor corsetry fused with pop-star silhouettes, metallic finishes, studs, and platform boots—each Queen’s attire color-coded yet cohesively styled courtesy costumer Gabriella Slade. Tim Deiling‘s Concert lighting pulses like a stadium opener, making it clear these women are here to headline, not footnote.

Emma Elizabeth Smith (Catherine of Aragon) steps forward first with “No Way”, clad in commanding yellow and gold with accents of black—a direct references to her Spanish roots, the wealth of the Spanish crown, and the opulence of the Catholic Church. The regal palette reinforces Catherine’s authority as the original Queen, while the structured corset and bold detailing give visual weight to her refusal to be dismissed. As Smith belts “I’m not sorry for my honesty,” the look radiates righteousness and resolve.

The mood flips into mischievous rebellion with Nella Cole (Anne Boleyn) and “Don’t Lose Ur Head”. Draped in unmistakable green, Boleyn’s costume offers an obvious nod to “Greensleeves”, despite the enduring myth that Henry VIII wrote it for her—a bit of historical irony the show knowingly side-eyes. Punk-pop detailing and playful asymmetry reinforce Anne’s flirtatious chaos. It’s bubblegum pop as survival tactic—a little Katy Perry, but with the very real threat of the axe.

The evening’s emotional pivot arrives with Kelly Denice Taylor (Jane Seymour) and “Heart of Stone”. Her corseted white costume trimmed in black, complete with sleeves and skirt panels reminiscent of chainmaille armor, signals purity without fragility and strength without aggression. The design quietly reinforces Seymour’s emotional fortitude as Taylor laments “Soon I’ll have to go / I’ll never see him grow,” allowing stillness and restraint to become some of the most powerful choices of the night.

Before the competition resumes, SIX detonates into full high-camp absurdity with another all-in. “Haus of Holbein”, with its neon accents, blacklight, exaggerated silhouettes, and stylized poses turn the stage into a Renaissance runway on rave mode. Sonically, the number leans hard into Madonna’s club-era maximalism, evoking the relentless pulse and fashion-as-performance-art ethos of “Ray of Light”–era remixes (with a little SNL‘s Dieter accent exaggeration thrown in)—less spiritual awakening, more high-fashion satire. It’s ridiculous, deliberate, and exactly the reset the show needs.

Swagger floods the stage with Hailey Alexis Lewis (Anna of Cleves) and “Get Down”. Dressed in unapologetic red, Cleves’ costume signals defiance—she is, after all, one of only two wives to divorce Henry and live. Rolled fabric at the shoulders cleverly references her infamous portrait, reframed here as armor rather than flaw. The Euro-pop anthem pulls heavily from Atlanta trap-pop energy, particularly the minimalist bounce and swagger-forward attitude that put me in mindof Beyoncé’s “7/11”. When Lewis declares “I’m the Queen of the castle, Get down you dirty rascal,” the lyric lands as deserved prophecy, not threat.

There’s an interesting shift in tone with Alizé Cruz (Katherine Howard) and “All You Wanna Do”. Her pink-and-black costume reflects youthful vitality layered with looming danger—the sweetness of pink undercut (no pun intended) by the severity of black. What begins flirtatious quickly curdles as the repetition of “All you wanna do, baby” exposes the song’s darker truth. As the lighting cools and the meaning sharpens, the visual contrast underscores just how trapped Howard truly is. It’s Britney‘s “Womanizer”, sing-songy and fun, but if the aggressor had access to the guillotine.

The competition’s final turn belongs to Tasia Jungbauer (Catherine Parr), who reframes the entire premise (what are they competing? Who would even remember Henry were it not for them?) with “I Don’t Need Your Love”. Wearing black and blue, and notably incorporating pants, Parr’s look subtly nods to shifting fashions centuries after her lifetime while underscoring her independence as the Queen who survived. Clean lines and minimal ornamentation allow Catherine to declare “I don’t need your love / I just need to tell my story”.

When the Queens reunite for “Six,” individuality gives way to collective power. Costume reveals heighten each look—more shimmer, more shine—while maintaining the shared design language that has bound them from the start. Concert lighting, synchronized choreography, and wall-of-sound harmonies transform the finale into a euphoric pop encore rather than a winner-take-all ending.

Anchoring the entire experience and elevating Toby Marlow and Lucy Moss‘ clever score and pop lingo-filled lyrics is the onstage band, The Ladies in Waiting, who are far more than musical accompaniment. Tuesday’s opening night performance was conducted by Lizzie Webb, whose steady leadership kept the score’s pop precision razor-sharp. Music Director and Keyboardist Valerie Maze drives the sound, supported by Yonit Spiegelman on bass, Rose Laguana on guitars, and Camila Mennitte Pereyra on drums. Visually, their sleek black styling mirrors the Queens’ aesthetic, reinforcing the concert vibe while keeping the spotlight exactly where it belongs.

SIX doesn’t aim for subtlety—it thrives on impact. Pop culture becomes narrative shorthand, feminism arrives wrapped in corsets, combat boots, and beats you can feel in your chest, with a message you can feel in your heart as HERstory becomes a remix. SIX proves once again that this show isn’t just clever—it’s culturally fluent. Long live the Queens!

At TPAC, though Sunday February 8 as the national tour continues, CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok. 

Following SIX, next up at TPAC, it’s SUFFS: The Musical with shows March 3 thru 8. CLICK HERE for more info and follow TPAC on Facebook, Instagram, YouTube & TikTok. 

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

Behind the Barricade: Rapid Fire 20Q with ‘Les Misérables’ National Tour Cast Members

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Few shows in Broadway history carry the emotional weight, cultural legacy, and sheer endurance of Les Misérables. Following its 1980 Paris debut and a subsequent London premiere, Les Mis first stormed Broadway in 1987. Since then, the musical has lived many lives: record-breaking original runs, celebrated revivals, concert spectaculars, a current 40th Anniversary National Tour and an upcoming 2026 Les Mis Concert engagement at Radio City in New York, all proof that this story still hits just as hard.

Two years after Les Mis’ Broadway debut, Nashville theatre goers got their first chance to witness the spectacle when the National Tour made its TPAC debut at Jackson Hall during the spring of ‘89. Over the years, TPAC has presented subsequent tours nearly half a dozen times. As Les Misérables prepares to return to TPAC next week with eight shows over five days from January 20-25, we sat down with members of the current tour for our signature Rapid Fire 20Q. From Broadway debuts and tour firsts to deeply personal connections with Fantine, Marius, Éponine and Cosette, cast members Lindsay Heather Pearce, Peter Neureuther, Jaedynn Latter and Alexa Lopez share what it means to step into a show that has shaped musical theater history—and continues to change lives as the tour continues.

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RAPID FIRE 20Q WITH MEMBERS OF LES MISÉRABLES NATIONAL TOUR

RAPID FIRE WITH LES MIS’ FANTINE, LINDSAY HEATHER PEARCE 

JHPENTERTAINMENT: From The Glee Project to belting it out as Elphaba in your Wicked Broadway debut in 2020 to touring with Mean Girls and now Fantine in the 40th Anniversary Tour of Les Misérables, your entire career (so far) feels full of pinch me moments. With all these great roles already, do you even have a bucket list? 

LINDSAY HEATHER PEARCE: It HAS been full of pinch me moments. The fact that I have yet to wake up from this dream is a good sign that it’s all real and actually happening. I have definitely been very lucky in the last five years of my life to play so many wonderful roles, but the bucket for my list is deep and my actual list is long. A lot of the roles I want to play the most are out of my age range right now (I would need a few more years under my belt), but my biggest dream is to originate or revive a show! 

JHPENTERTAINMENT: Across Broadway, tours, and television, which role has most profoundly shaped you as an artist?

LINDSAY HEATHER PEARCE: I don’t know if I can pick just one! Each role I’ve been lucky to play has been so crucial to who I am today and was so important for who I was then. 

If I had to choose, I would say Rebecca in Recovery Road on FreeForm and Elphaba in Wicked on Broadway. 

Recovery Road was such a special experience, and to show up to set almost every day, to learn how to use those on camera skills we well as grow the skills of how to be a good team member on a set were some of the most important ones.

Elphaba was like taking a masterclass in self-care, self-understanding, bravery, humility, curiosity, and steadfastness. That’s on TOP of the lessons in leading a Broadway company, learning how to do 8 shows a week, and the excitement of joining such an incredible arena. Huge lessons, huge huge huge life changing lessons.  

JHPENTERTAINMENT: How do you emotionally prepare to sing I Dreamed a Dream night after night?

LINDSAY HEATHER PEARCE: I’ll be honest, the show does it for me. Fantine has an entire factory scene before I Dreamed A Dream that is filled with character exposition. So much happens in that ten-minute scene that by the time I get thrown into the streets, I am emotionally there and ready to sing my heart out. That’s a testament to how well Les Misérables is written and structured. Even if it’s a tired day and I don’t know if I am mentally or emotionally there, the show will get me there.

JHPENTERTAINMENT: This tour cast features a great mix of actors making their tour debuts and folks like Nick Cartell (Jean Valjean) who have history with their roles, having appeared in prior productions. It’s often said that a touring company truly becomes family. Do you feel that with Les Mis?

LINDSAY HEATHER PEARCE: Absolutely, yes. More so than any other company I have ever been a part of (and I’ve been in some of the best companies). These are GOOD people, with good hearts and open arms. When you’re on the road, away from home and family and all that is familiar, being in a company with good, gracious and FUNNY people is truly a balm.

JHPENTERTAINMENT: Fantine’s story is brief but devastating — what do you hope audiences take with them after your final moment?

LINDSAY HEATHER PEARCE: We all know someone with Fantine’s story, or some aspect of it. Know that one kind act, or one good decision can change someone’s life. Without Fantine’s tragedy and sacrifice, the story doesn’t move forward.

Valjean is given the incredible opportunity to become a father to little Cosette, through whom he learns to love and look beyond himself in service of someone else. How beautiful is that? 

I hope people can take away the idea that there are opportunities around every corner to be good to someone else, to be of service, to help or save however they can. Even small stones make ripples.

RAPID FIRE WITH LES MIS’ MARIUS, PETER NEUREUTHE

JHPENTERTAINMENT: You first stepped into the role of Marius at The MUNY back in June of 2024, since first taking on the role, has anything changed or deepened in the way you portray him?

PETER NEUREUTHER: When I played Marius for the first time, rehearsals were so fast that I had to put this character together in just 10 days! Now being on the tour being over 100 shows in, I have learned so much more about Marius — the immense joy and hope he feels at the beginning of his story preparing for the revolution, and falling in love, to his deep trauma and maturity as he watches friends die on the barricade, and learning how to overcome this grief. I feel like now I really have been able to understand his story being on this tour alongside these incredibly talented storyteller castmates!

JHPENTERTAINMENT: Making your national tour debut on the barricade — after already having lived in this world at MUNY, is there a moment that still gives you full-body chills each night?

PETER NEUREUTHER: I truly do have to shoutout, and thank The MUNY for honestly, giving me my start into the business! I got such chills every night at that stage going out and performing for 11,000 people every night. We perform for massive stages everywhere in the country, but the MUNY’s venue will always hold a special place in my heart. Every night, from the MUNY to the dozens of cities we have been to, going out and singing Empty Chairs at Empty Tables always gives me full-body chills, as I know the weight this song holds, and how it is almost cathartic for Marius.

JHPENTERTAINMENT: You graduated high school in 2020 — fast forward to spring 2025 and you’re making your Broadway debut in Stephen Sondheim’s Old Friends alongside Bernadette Peters and Lea Salonga. How do you even begin to process a leap like that?

PETER NEUREUTHER: It definitely still doesn’t feel real! I honestly sometimes just try to take a minute when I’m feeling overwhelmed and stressed about auditions or the show, even just life, and remind my self how proud high school me would be to see me up on these stages, sharing the stage with legends, and talent I could’ve only ever dreamed of. I am truly so lucky to have had the opportunities that I have had, but it has come with lots of hard work in college, in and out of the classroom. I am so grateful for the experiences I’ve had thus far, and I know my hard work and work ethic will keep serving me. I’m never satisfied (in the best way!).

JHPENTERTAINMENT: Having performed Les Misérables in The MUNY’s massive outdoor amphitheater — how does that experience compare to setting up shop in a new indoor venue with each stop on the national tour?

PETER NEUREUTHER: The MUNY’s massive stage is truly like performing at a football stadium! I definitely feel like I had to emote more on that stage so even the people all the way in the back rows who looked like they were on the moon could understand the story! These indoor venues are a whole different beast. Setting up shop in a new theater almost every week and seeing how our show fits in every venue so perfectly is awesome! I love getting to perform for a new crowd and new theatre every week!

JHPENTERTAINMENT: If Marius could send one modern-day text message, who’s it to — Cosette or the revolution group chat? AND What might it say?

PETER NEUREUTHER: Well lucky for me, Alexa Lopez our Cosette in the show is also my partner outside of Les Mis. So, if it was Peter sending a message it would be “What’re we getting to eat after the show? I’m starving.” But as Marius to Cosette it would be “Dearest Cosette, I’ll come find you I promise. It doesn’t matter if you’re here or across the sea. My love for you makes any distance crossable. I love you endlessly”.

RAPID FIRE WITH LES MIS’ ÉPONINE, JAEDYNN LATTER

JHPENTERTAINMENT: Fresh out of Baldwin Wallace Conservatory of Music and straight into Les Misérables 40th Anniversary Tour. Not a bad way to jumpstart your professional career, huh? — when did it finally feel real?

JAEDYNN LATTER: When I put on the iconic red hat for the first time. That’s when I thought, “Oh, wow, I’m actually doing this for real.” It was like the physical embodiment of a legacy, and especially when I was first wearing it, I could feel the weight it had.

JHPENTERTAINMENT: Éponine’s journey is heartbreak, bravery, and resilience all at once — which lyric is the hardest to sing eight times a week?

JAEDYNN LATTER: “A world that’s full of happiness that I have never known.” Yes, it is vocally challenging, but I think one of the most tragic parts of Éponine is that she’s not really mad at Marius or Cosette because they fell in love. She’s grieving that she was born into her circumstances and thinks more than anything, “If things were different.” Seeing Cosette, (and in turn, Marius), reap the benefits of a life that she could have lived hurts most of all. Seeing their privilege and their ability to fall in love in such an innocent, ideal way, knowing that she will never experience that is so incredibly painful. I think coming to that realization every night is the most excruciating thing to enact eight times a week.

JHPENTERTAINMENT: You’ve played roles from Waitress’ Jenna to Into The Woods’ Little Red — how did those experiences prepare you for Éponine?

JAEDYNN LATTER: Waitress was the first show that I ever played the leading role in, and I barely left the stage. I think that experience taught me to trust my body’s own stamina, and to sort of be okay with not being able to second guess myself once we got going. Into the Woods had an eight-show week, so it definitely showed me what that schedule feels like. But actually, I think Little Red really prepared me for Éponine in the sense that they’re both younger than I am. In both cases, I had to mentally travel back to adolescence and think, “How does a teenager view love, or grief, or power, etc.?” It taught me to really listen to what I was actually hearing rather than acting based off of my own gained maturity and pre-conceived notions of her journey.

JHPENTERTAINMENT: Pre-show routine: quiet focus, vocal warm-ups, or hyping yourself up backstage?

JAEDYNN LATTER: It’s definitely more of a mid-show routine for me—mostly consisting of Jolly Ranchers and reminding myself to breathe. In a voice lesson, a coach had told me to remember I have toes (as a way to say, “be aware of your body as a whole”). So a lot of the time before On My Own, I’m telling myself, “You have toes.”

JHPENTERTAINMENT: If Les Mis were to go the route of some other musicals who use pop tunes to tell the story, what might Éponine’s pop counterpart to On My Own be?

JAEDYNN LATTER: I literally have an Éponine playlist that’s nearly six hours long. Some of my favorite fits for her are Waiting Room by Phoebe Bridgers and David by Lorde. If we’re talking old-school, I think the most literal counterpart would be All By Myself by Celine Dion.

RAPID FIRE WITH LES MIS’ COSETTE, ALEXA LOPEZ

JHPENTERTAINMENT: National tour debut and Cosette — what was the very first thought that hit you when you got the call welcoming you to the tour?

ALEXA LOPEZ: My heart literally burst out of my chest! I actually got the call as I was about to clock into my hostessing job at the time. It was one of those pinch me moments every performer in NYC dreams of having. I simply just couldn’t wait to be on stage sharing this story with thousands of people, bringing life to it and trying to do it justice every night. I could barely even concentrate that night as I was working – my mind was reeling with so many thoughts of the future, tour, excitement, gratitude, and the list goes on. 

JHPENTERTAINMENT: Cosette is often described as gentle — what strength do you love most about her that audiences sometimes overlook?

ALEXA LOPEZ: Cosette is definitely a gentle force of light and goodness in our show. However, and moreover, she is strong, determined, and has depth to her. She fights to learn the truth about her life, she fights to be there for the people that she loves in their hardest times. She could sit back and live the life that Valjean has built for her, no questions asked. But instead, she pushes to learn the truth and have her father know that she has grown into a woman–a woman with agency, a woman with desires, and a woman who deserves and can handle the truth. So, definitely her strength and determination. 

JHPENTERTAINMENT: What is it about Cosette that challenges you most as a performer?

ALEXA LOPEZ: The track itself can be challenging at times from a technical standpoint. I have to be careful about when I warm up so that my voice can be ready for certain moments in the show after not being on-stage for a good amount of time. Cosette’s big vocal moments come fast and furious, so being dropped in and prepared when the time comes has been a learning curve for me. 

JHPENTERTAINMENT: Quick pick: sweeping romantic ballads or emotionally charged duets?

ALEXA LOPEZ: Emotionally charged duets!

JHPENTERTAINMENT: When audiences see this tour, what do you hope stays with them after the curtain call?

ALEXA LOPEZ: This is a story that is timeless and that everyone, to some degree, can resonate with. I hope audiences feel a sense of hope as they walk out of the theater. Our show is about unconditional love, the strength of the human spirit, and the fact that redemption and light are possible, even through the darkest and most impossible times. 

⸻

Celebrating 40 years since Les Misérables first arrived on Broadway, the revolution returns once more. This 40th Anniversary Tour honors every chapter of the show’s extraordinary life while proving its message remains as urgent as ever. Les Misérables plays TPAC’s Jackson Hall January 20–25, 2026. Tickets are on sale now at TPAC.org, starting at $72.55. Whether it’s your first barricade or your fiftieth, this is a dream worth dreaming—again.

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

 

Theatre Review: With an Electrifyingly Youthful Cast, ‘The Outsiders’ Indeed Stays Gold; at TPAC thru Sunday, October 19 as National Tour Continues

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From the moment the house lights dimmed in TPAC’s Jackson Hall on October 14, the national touring production of the Tony-winning Best Musical, THE OUTSIDERS made it abundantly clear: this is much more than nostalgia, more than adaptation — it is an emotional lightning strike. If Opening Night of the show’s six night Nashville tour-stop in Music City is any indication, the show promises to bring Tulsa’s Greasers and Socs to life with gritty heart, physical daring, and a musical pulse that lingered long after the final bow.

Based on S.E. Hinton’s seminal 1967 novel and a more than noticeable nod to the beloved 1983 Francis Ford Coppola directed film, that starred a who’s who of Hollywood up-and-comers including C. Thomas Howell, Matt Dillon, Tom Cruise, Diane Lane, Ralph Macchio, Patrick Swayze, Rob Lowe & Emilio Estevez, THE OUTSIDERS is a coming-of-age tale rooted in class divides, brotherhood, trauma, and the fragility of youth. The touring production, carrying the same Tony-winning creative team behind the Broadway show—director Danya Taymor, choreography by Rick & Jeff Kuperman,  design courtesy the design collective AMP featuring Tatiana Kahvegian—hooks into the source material while carving out a new theatrical identity. 

As is always the case, whether the story unfolds on the pages of the original book, or the aforementioned star-packed 80s now-classic cinema, the heart of THE OUTSIDERS always lies rests on the young shoulders of Ponyboy, Johnny, and Dallas — and in this magnificent tour cast, they are delivered with conviction.

All Photos by Matthew Murphy

Ponyboy Curtis (played by Nashville’s own Nolan White) is an earnest center. His vulnerability is palpable: you feel his longing, his anger, his fear. The softer, more introspective moments become small victories of clarity. When Ponyboy admiringly watches Paul Newman on the movie screen, dreaming of escaping his current us-vs-them small-town life, he’s instantly relatable to anyone who grew up unsure of what the future holds for them. When he recites Robert Frost’s Nothing Gold Can Stay, there’s not a dry eye in the house. Such emotion from such a young man is breathtaking. Later, when confronting what it means to “stay gold”, White again proves talent beyond his years.  As I watched his performance on Opening Night of the Nashville dates, I marveled as the depth of his performance.

Johnny Cade (Bonale Fambrini) brings quiet intensity. His internal fragility — the sense that one more blow could break him — is juxtaposed with flashes of courage, especially in the church escape and later in his struggle to be seen. The camaraderie between Fambrini and White as Johnny Cade and Ponyboy Curtis is so believable, you just know these two young actors are forging a lifelong bond as friends on and off-stage.

Dallas Winston as portrayed by Tyler Jordan Wesley is swagger and sorrow intertwined. When the script calls for it, he roars like a lion, conversely, when necessary, he retreats far into himself, caught between angry rebellion and fracturing grief. In the inevitable climactic moments (surly by now we’ve all read the book or seen the movie), his breakdown feels earned — not sensational, but visceral, and sadly necessary.

The supporting ensemble (Sodapop, Two-Bit, Cherry, Bob and the rest of the Greasers and the Socs) feels fully realized. Corbin Drew Ross’s Sodapop Curtis, a standout, has infectious warmth, and yes, there’s no denying he looks the part, too. When he takes off his shirt early on in the show, I’m pretty sure I heard audible gasps as he revealed his sleek physique. I even asked my date for the evening (a dancer, herself) if she knew if he was a dancer or not. I also gotta mention Ross’s speaking voice. Meek and unassuming, I swear he’s having fun with the audience seeing if we think he sounds like Charlie Hunnam’s soft-spoken version of Ed Gein, but I digress.

As Cherry, Emmy Hearn soars, especially in moments where she bridges the divide between Socs and Greasers. A Cherry’s Socs steady, Bob, Mark Doyle paints the perfect high school bully and personification of thorn in Ponyboy’s life.  Travis Roy Rogers’ Darrel Curtis, the eldest of the Curtis boys, finds a perfect balance between forced adulthood as the unplanned patriarch of the family, while simultaneously exhibiting his own self-doubt and unrealized dreams. Jaydon Nget’s Two-Bit brings a subtle but studied undertone to the wisecracking youth.

The structure propels you forward. With rapid scene changes, interwoven monologues and dreamlike transitions, it is never dull.  The minimal scaffolding, projections, and shifting platforms keep the world lean yet alive. A perfect metaphor for the young cast themselves, lean, strong, always moving forward and alive. Interestingly, even before checking the Playbill and seeing that Kahvegian is credited as having created the scenography, I whispered to my date for the evening that I was coining a new term setography, because even when wood planks, tires, and various other elements of the minimal set were moved between scenes, they were done so-by the cast, no less- with such precisions and grace that the we at once unnoticeable, yet seamlessly part of the overall choreography of the piece

Coining another term, the fightography, especially in the pivotal confrontation between the Greasers and the Socs, is now the most beautiful movement I’ve ever seen on the stage. That honor, previously held by the quick/sharp jazz movement of the fight between West Side Story’s Sharks and Jets, no fully belongs to THE OUTSIDERS’ Greasers and Socs. Magnificently aided by Brian MacDevitt’s impactful lighting design, Cody Spencer’s chillingly vibrant sound design, Jeremy Chernick and Tillis Meeh’s mood-intensifying special effects design, the aforementioned AMP featuring Tatiana Kahvegian’s Tony-nominated scenography, and choreography by Rick and Jeff Kuperman, the fight choreography — punches, tumbles, and heart-pounding tension the show is choreographed to haunt, with no detail unattended. Slow-mo momentary freezes, punctuated by lighting cues, thunderous sound and an on-stage downpour, create a scene like none ever witnessed. A hauntingly perfect moment that’s likely forever etched into memory.

With a score by Jonathan Clay and Zach Chance, known collectively as folks duo Jamestown Revival, and Justin Levine, who also wrote the book of the musical, the score of THE OUTSIDERS fully embraces the rural small-town setting. Heck, the first number set the tone and time with the aptly named Tulsa ’67. THE OUTSIDERS score isn’t one that you’re likely to be humming after the show’s over. But, in the moment-while watching the story of young people trying to figure out who they are in their world as they struggle with inherent class division, sadness and expectations-realized or dreamed-the musical numbers perfectly propel the story, the emotion and the hopefulness of the characters. Fans of the novel might know that Ponyboy is reading Gone With the Wind. For the musical adaptation, Margaret Mitchell’s classic has been replace, dare I say, more fittingly, with Charles Dickens’ Great Expectations. To that end, Great Expectations, an impressive all-in musical number midway through Act 1, as lead by White’s Ponyboy, becomes a pivotal point as the audience fully realizes how trapped our antihero feels. Act 2’s Soda’s Letter, performed by Sodapop (Ross), Darrel (Rogers) and Ponyboy (White), in its raw, revealing, secure-in-their-masculity brotherhood realness, proves a tender audience favorite. Dallas (Wesley) and the company’s Little Brother, the perfect eleventh hour soulful and soul-gripping emotional melody. Of course you can’t have a THE OUTSIDERS musical without paying tuneful homage to the phrase “Stay Gold”. That said, the show’s final number, Stay Gold featuring White’s Ponyboy and Fambrini’s Johnny lyrically recounts the action of the story, reiterated Johnny’s wish for his friend and just like the precious metal referenced in the phrase, reflects brightly the beauty of friendship.

THE OUTSIDERS National Tour continues at TPAC’s Jackson Hall with a Friday evening performance, matinee and evening performances Saturday and Sunday. CLICK HERE to tickets and showtime details.

Having officially kicked off the National Tour in Tulsa (appropriately enough) just last month, following its Music City dates, THE OUTSIDERS tour continues with a four-city Texas tour in Austin, San Antonio, Dallas and Houston, then it’s on to Atlanta, GA, Durham, NC, Greensboro, NC, Orlando, FL, Tampa, FL, St Louis, MO and more through September of 2026. CLICK HERE for specific dates and the full tour schedule. Of course THE OUTSIDERS is still enjoying a hugely successful Broadway run at the Bernard B. Jacobs Theatre, so if you’re in New York, CLICK HERE. To keep up with the latest from THE OUTSIDERS, follow them on Insta, Facebook, Threads and YouTube.

Following THE OUTSIDERS, TPAC’s Broadway Season continues with the return of a favorite, Disney’s BEAUTY AND THE BEAST with an extended run November 4-16. CLICK HERE for tickets and showtimes. You can also follow TPAC on Insta, X, YouTube and Facebook.

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

Rapid Fire 20Q with cast of Nashville Rep’s ‘Come From Away’

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As Nashville Repertory Theatre prepares for their 2025/2026 season opener, it’s time for another edition of Rapid Fire 20Q, where we put some of Nashville’s finest theatre talent in the hot seat. This time around, I’m joined by Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks, who are among the powerhouse cast of The Rep’s upcoming production of COME FROM AWAY.

Nashville Rep’s production is sure to honor the original Broadway creative team—creators Irene Sankoff and David Hein, with Tony-winning direction by Christopher Ashley, choreography by Kelly Devine, and musical staging by Ian Eisendrath—as they enlist the talents of a who’s who of Nashville finsest actors as well as folks behind the scenes including: Lean Lowe, who’s helming the project as the show’s director, with music direction by Sarah Michele Bailey, choreographer Joi Ware, scenic designer Gary C. Hoff, costumer Melissa K. Durmon, lighting design by Dalton Hamilton, stage manager Zach Jenkins and sound design courtesy Mark Zuckerman.

So, before the cast steps onto the stage of the Polk Theater for their Friday, September 12 debut performance, we’re throwing them our signature Rapid Fire 20 Q. Maybe not so Quick, but definitely quirky, fun and revealing—here’s what they had to say!

RAPID FIRE 20Q WITH THE CAST OF NASHVILLE REP’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS

JHPENTERTAINMENT: You’re stepping into the role of Beverley Bass, the first female captain for American Airlines, in COME FROM AWAY. Prior to being cast, were you familiar with Bass’ significance in the history of commercial aviation or her role in this historic story? AND…Did you do any research on her in preparation of portraying this role?

CARRIE TILLIS: I was not familiar with Beverly Bass before the show.  But I was so intrigued with her path once I started studying this show…. and that her life/career and that big achievement also collided later with 9/11.  Makes me think about people who are so right for a job and she definitely knew it was her path- knew who she was. And that’s written into the music and the dialogue, too. 

JHPENTERTAINMENT: The original production of COME FROM AWAY won both the Drama League Award and the Drama Desk Award for Best Musical. How has it been stepping into this celebrated show, and what has your experience been like working with Sarah Michele Bailey as music director for Nashville Rep’s production?

CARRIE TILLIS: I thought long and hard about auditioning for this show. I knew it would be a challenge for different reasons, technically it’s a tough one and vocally- it’s in a different place than what I usually sing.  But those are also some of the reasons I wanted to try… the challenge. And it’s such a great show and people love it so.  I get it now. And Sarah Michele is nothing but a joy and so musical.  She is a great encourager.  I really appreciate the work she has put in. 

JHPENTERTAINMENT: One of the most powerful moments in COME FROM AWAY is Beverley’s spotlight song, Me and the Sky. Throughout the rehearsal process, have you found a personal connection or a piece of the lyrics that you relate to?

CARRIE TILLIS: Me and the Sky. There have been times  this song  has been like a life arc in and of itself!  A true reminder of where you come from and the hurdles we all face and somehow make it over… with a lot of years and grit under your belt. Not always pretty, but staying the course…vulnerability, life, high points.  It’s all of it. And it happens fast.  Yeah…it’s a good time to sing this.  I’m age appropriate for all those things….hahahahaha.

JHPENTERTAINMENT: Among your recent theatrical roles, you appeared in The Battle of Franklin and The Hiding Place, both based on historical events. Now, with your role in COME FROM AWAY, you’re tackling another real-life story. Is there something that draws you to this kind of storytelling?

CARRIE TILLIS: Yes. Those are all big and serious roles, true life stories!  I need to do a comedy, don’t I ?! But seriously, I do love a true story, real people to portray. And these are important events to look at.  We see ourselves in them currently, don’t we? As history repeats?  Are we getting any better at understanding one another? Theatre is so vital this way. 

JHPENTERTAINMENT: What do you hope audiences will take with them after experiencing Nashville Rep’s production of COME FROM AWAY?

CARRIE TILLIS: I want people to leave the theatre happy and entertained.  To feel moved.  To be reminded of a time when people reached out and gave when others needed it.   All of that motivates a lot of reflection on where we’re at now, too.  I’m so glad for anyone to be in the seats and grateful to be a part of it.  And thanks for the questions! 

RAPID FIRE WITH COME FROM AWAY‘s GARRIS WIMMER

JHPENTERTAINMENT: You’re juggling multiple roles in Come From Away—Claude, Derm, Brenda’s Brother, and Eddie. What’s been the most exciting challenge about shifting between so many characters in one production?

GARRIS WIMMER:Well in one respect I’m fortunate in that most of my characters are Newfoundlanders so I’m really mostly just dealing with one dialect and then pitching them in different ways.The most difficult part of learning the actual physical show and switching these characters so quickly is literally “where do I get that costume piece from and where does it need to go next ?” Fortunately for us we have Kaitlin Steer, our wardrobe supervisor, who is incredible in figuring out all of the backstage and costume logistics.The emotional switching does get a little confusing as well.

JHPENTERTAINMENT: Nashville Rep has truly become one of your home theaters, with memorable roles in their productions of Our Town, Indecent, Ragtime, and Urinetown. What makes performing with this company so special for you?

GARRIS WIMMER: The Rep really has been my home base from the beginning.I did my first Equity production in Tennessee Rep’s second season playing Baby John in West Side Story. At that time we were a sort of Repertory company. There was a Company of actors, directors, designers, and tech people and we would convene often several days a week and do workshops and scene study, movement classes, audition workshops etc. We built a community that carried over into the performances and it was a really great time to be a part of this brain child of Mac Pirkle’s. I’ve done theatre all around the world but when I’m in the Polk or Johnson theatre with the Rep, that really is home. And to put an even finer point on it, when I’m with anyone in this incredible pool of Nashville actors and directors and crew, well then I am really home.

JHPENTERTAINMENT: You were part of both The Rabbit Room’s stage adaptation and film version of The Hiding Place. As an actor, what did you take from that unique experience?

GARRIS WIMMER: Well first of all if Matt Logan is involved I don’t even ask what it is I just say yes. And that certainly goes for Pete Peterson too. It’s always so creative working with them because these are all brand new plays that we are getting to help build from the ground up. Then you add a fantastic cast some of whom I’ve worked with for forty years and really it’s just a pleasure. The result of that show was something I was very proud to be a part of. And then to get the chance to film it with Laura Matula directing was such a bonus. And we were able to do all of that because we have years of working together now and the level of trust frees everyone up to be their most collaborative and creative selves. It’s heaven.

JHPENTERTAINMENT: Among your COME FROM AWAY costars, you’re reuniting once again on stage with Carrie Tillis, one of your co-stars from The Hiding Place. What’s it like stepping back into a production alongside her?

GARRIS WIMMER:Well Carrie and I go back a little further than that. We first worked together in 2010 on Guys and Dolls for Studio Tenn, I was the ASM for that. But I go wayyyy back with her family. I sang with her father, Mel several times in the 80s and have known her sister, Pam since the early 80s. Pam and I were Mary and Peter (respectively 😊) in the Rep’s production of Jesus Christ Superstar in 1988. So when Carrie told me she was playing Beverly I was thrilled. We blocked a hug between Beverly and Claude in the finale, but it’s for us, too.  

JHPENTERTAINMENT: Recently, you played the comedic chaos of Studio Tenn’s The Play That Goes Wrong. Do you prefer leaning into the laughs or the heavier storytelling? Or does that change, depending on the current role you’re tackling?

GARRIS WIMMER: The process of telling the story is the same in both. I love both of course but what I loved about The Play That Goes Wrong was the way people laughed. That show keeps hitting them with such ridiculousness that they lose control of themselves. They laugh more like 5 year olds and they make sounds that they never would make in public. That is my favorite sound in the world. On the other hand, hearing some sniffles and a few sobs at the end of Indecent was very satisfying as well. Both of those sounds connected me to the audience in a profound way. That’s a gift that I am always grateful to receive. So BOTH please. 

RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON

JHPENTERTAINMENT: You’re making your Nashville Rep debut in COME FROM AWAY! What has it been like stepping into this production and joining the Rep family for the first time

JENNIFER JACKSON: I’ve admired Nashville Rep’s talent and production quality for a long time, so I would’ve been thrilled to be part of any of their shows. But for my debut to be COME FROM AWAY feels especially meaningful—not only because of the powerful story it tells, but also because of where I was in my own life the first time I saw it. It really does feel a little cosmic, and I couldn’t be more grateful to join the Rep family through this production.

JHPENTERTAINMENT: In this show you’re playing Hannah, Margie, and Mickey. Hannah O’Rourke is based on a real passenger whose story touched so many—how did you approach honoring her while also making the role your own?

JENNIFER JACKSON: It’s a strange and wonderful responsibility to portray a real person, especially during what were likely the hardest days of her life. Hannah was different from the character you see on stage; in the musical she’s portrayed as a single mother, but in reality she was married and traveling with her husband on 9/11. She was also an Irish Catholic Caucasian woman, which of course is different from my own experience. That alone means my portrayal can’t and shouldn’t be an imitation. Instead, I try to honor her by bringing empathy and truth to the role. I hope to channel that into something authentic. Hannah passed away just before we began rehearsals, and from everything I’ve learned, she was a beloved wife, mother, and friend who believed in hope, kindness, and even laughter in the face of adversity. It’s an honor to tell her story and I hope I do her justice.

JHPENTERTAINMENT: In COME FROM AWAY, Hannah forms a bond with Beulah, played by Brenda Sparks. What has it been like playing opposite her and developing that connection on stage?

JENNIFER JACKSON: One of the things that connects Hannah and Beulah in the show is their shared love of humor—laughter is what finally breaks through Hannah’s walls. That made it so natural to build the bond with Brenda, because she makes me laugh every single day. From the moment I met her, I knew she was a force—hilarious, authentic, and full of heart, and playing opposite her has been an absolute joy.

JHPENTERTAINMENT: From Hannah in COME FROM AWAY to Mama in A Raisin in the Sun and DeeDee Allen in The Prom, you’ve taken on powerful, dynamic women. Which of these roles has taught you the most as a performer?

JENNIFER JACKSON: It’s meant so much to finally be seen as this kind of powerhouse archetype, especially since before my 40s I was never considered for leading roles. That shifted with DeeDee Allen (which was my first lead). I remember when I got that call I was over the moon, then immediately terrified. I felt the weight of responsibility, I wasn’t sure that I could do it. I didn’t want to let anyone down. But I did it scared—and I proved to myself that I could.

Each role since has carried its own kind of intimidation. Playing Mama meant stepping into the shoes of women I’ve idolized, and Hannah has been a dream role for years. If anything, these characters have taught me that I can push myself, I can do hard things and that maybe trusting myself makes me a powerhouse too.

JHPENTERTAINMENT: In your bio, you joke that your husband is the only person who knows who the 21st president was. So…Who WAS the 21st president?—AND…What does it mean to have your husband’s support as you pursue your theatrical endeavors?

JENNIFER JACKSON: Chester A. Arthur. 1881 to 1885. Nominated vice-president in 1880! Did you know he was Collector of Customs in New York? (neither of us would know that without Die Hard) What’s actually funny is- when my husband and I first met,I was managing restaurants and had pretty much walked away from acting because I thought I needed a more ‘stable’ life. After the pandemic, though, I realized I wasn’t happy and I needed to get back on stage.  He could’ve rolled his eyes at all of it, but instead he leaned in because I love it—and he loves me. From the very beginning, he’s been in it with me. Now it feels like something we share, and that support honestly means everything.

RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS

JHPENTERTAINMENT: You’re stepping into the roles of Deloris and Beulah in COME FROM AWAY. What excites you most about bringing these two very different women to life on stage?

BRENDA SPARKS: I must preface this by saying that I am in no way equating the mass-casualty terrorist attacks of 9/11/2001 to the 1,000-year flood that ravaged Nashville in 2010. However, I feel kindred with the real-life Beulah Cooper & Diane Davis (the two women who make up my character of Beulah Davis in Come From Away) because of how they responded to the “plane people” in those early days following 9/11. My little town of Kingston Springs was literally torn apart when the Harpeth River jumped its banks in 2010 and ran through our little elementary school, destroying roads, and carrying homes away. We organized quickly and created our own disaster relief center in the middle school. By the time the Red Cross arrived they told us they’d never seen anything like it. I barely slept during those days. We’d work 17-18 hours and sometimes around the clock doing everything to help our neighbors. Our stories closely mirror and are as plentiful as our Ganderite counterparts. Hey, maybe I need to write a musical about Kingston Springs and the 2010 flood! That’s what excites me most about Beulah. She’s a helper. She has the exterior of a tough old broad, but she has a big empathetic heart. Oh, and her quick wit! Beulah loves making people laugh. As for the hot mess that is Delores, what excites me most about playing her is that she’s whacked out on Xanax in one scene and drunk off her keister in another, but she’s singing the Titanic song in both. What’s not to love about that? The combination of both characters allows me to run the gamut from much needed comedic relief to genuine pathos. 

JHPENTERTAINMENT: With COME FROM AWAY opening on September 12, just one day after the anniversary of 9/11, was that timing—and the real-life events at the heart of the story—something your director addressed during the rehearsal process?

BRENDA SPARKS: Honestly, not really. Leah certainly touched on it, and her belief that we need to be reminded of our humanity now more than ever. But we really didn’t dwell too much on our personal memories of 9/11 or the real-life events in the rehearsal process. That’s not to say it wasn’t at the heart of every single decision we made. But because that day and those memories are still so closely-knit to our hearts, it was kind of built in. Also, we hit the ground running with the massive technical undertaking that is this show. Simple is seldom easy. A “minimalist approach” rarely equals less work for anyone on the cast or creative team. It usually means we work even harder to create an intentionally focused cohesive experience for our audience that allows them to experience storytelling in its purest form. Actor-driven scene changes simply means we add that to the list of things as actors that we have to memorize to perform this show. So, it’s our lines, our music, our choreography, who am I in this scene, and where the heck do I move this chair next?!? 

JHPENTERTAINMENT: While COME FROM AWAY is a musical, having not only been nominated for seven Tonys, but also winning a Grammy, it’s not exactly the kind of musical you rush out to buy the cast recording because of a catchy earworm. That said, what’s your favorite musical moment in the show?

BRENDA SPARKS: Oh, wow! There are too many to count. Many of them for myself are harmony lines. The vast majority of times I’m onstage in a musical, I’m belting my face off. Mrs. Lovett in Sweeney Todd, Mrs. Peachum in The Threepenny Opera, Domina in Forum, Rita in Lucky Stiff, the list goes on. And whereas I do belt as Delores in the show, I get to do some real easy beautiful alto harmonies, too. And I love singing on stage in this intimate and folksy conversational style. I will say I think one of the most underrated lyrics in the show is “Who am I if I don’t feel like the me of yesterday?” That’s a weighty question about identity, and I love it. Screech In is super fun to perform. I mean, we’re all drunk and rowdy in a bar in Newfoundland. Me and The Sky is just such a specific and personal ballad, equal parts triumphant and sorrowful. Stop the World is so beautifully intimate, as is Prayer. I really love that we are all singing the same prayer, just in different languages and expressed from different faiths. 

JHPENTERTAINMENT: Scenic Designer Garr C. Hoff has crafted the world audiences will step into for COME FROM AWAY. What’s your favorite aspect of what he’s created for this production?

BRENDA SPARKS: Gary Hoff is one of the greatest (if not THE greatest) scenic designers I’ve ever worked with. He’s also just one of the kindest human beings you’ll ever meet in the theatre. I love his painted burlap trees that are almost like an homage to the original design that utilized actual trees from the Adirondacks. I also love how he built us an “island” that is cantilevered out over the pit. We have so many lyrics about being islanders, so he built us an island. It’s so cool. The entire set illustrates why Gary is such an inspired artist. It may look “simple”, but as with the above – that just means Gary put the extra thought into it so the audience didn’t have to. The set is rustic, remote, isolated, and welcoming all at once. So, it’s perfect. 

JHPENTERTAINMENT:  So, I gotta admit, I love a bit of shameless self-promotion. To that end, your current theatre bio starts off by mentioning Act Three, the comedy/drama you wrote that enjoyed its world premiere at Tibbits Opera House just a couple months ago. A two-parter for you… 1) What’s next for Act Three? AND…2) How has your experience as a playwright and director shaped the way you approach storytelling as an actress, in particular, with your dual roles in COME FROM AWAY?

BRENDA SPARKS: I love this question! Thank you for asking. 1) I am more than halfway through writing the sequel to Act Three (Act Three: Act Two). Act Three was always designed to be a trilogy. I was compelled to write a play cycle after directing The Trip to Bountiful at Cumberland County Playhouse and befriending Horton Foote’s dear friend and fellow writer Gerald “Jerry” Wood. It’s a beautiful and largely forgotten art form, giving audiences multiple entry points to get to know these characters and experience their stories. Act Three is inspired by the real-life 30-year friendship of three actors now in the act three of their lives. Together they’re dealing with everything that comes with the existential crisis of aging and staring down death as we walk each other home. There’s plenty of comedy (I’m happy to say that my “menopause monologue” brought the house down each night of its world premiere. I almost always had to hold for applause, not just laughter) but there’s genuine pathos as well. One of my favorite audience quotes from the premiere was “I knew I was going to laugh a lot, I didn’t know I was going to cry so much.” So now I finish the sequel, and get Act Three (the first) its second professional production. Then rinse and repeat until Act Three: The Finale has been professionally produced. The goal is to get all three published so they can generate mailbox money for me so I can focus on finishing El Dorado Stardust, the original musical I started writing with my friend and Nashville singer/songwriter Mark Elliott. We sadly lost Mark almost two years ago, but I’m determined to finish what we started. Act Three is a low-cost three-hander that can literally be performed anywhere or in rep with any other set or production. The hope is that it will be exactly what many producers are looking for.

2) In short, being a playwright and a director clarifies my work as an actress. At least I think it does. I’ve always been a professional actor/director/writer, so that’s the only viewpoint I’ve ever known. I know some actors become directors at some point in their careers, but my triple threat has been actor/director/writer from the beginning. In fact, years ago my adaptation of Rip Van Winkle for The Nashville Shakespeare Festival was performed on The Polk stage at TPAC as part of their H.O.T. (Humanities Outreach of Tennessee) programming. I was the writer and director on that project. I can tell you this, being both actor and director I have infinite empathy when I am on either side of the stage/table. I know what it takes to direct an ensemble musical, for instance. Just weeks ago I directed The 25th Annual Putnam County Spelling Bee in Michigan. I literally left after that production was up to come down here for publicity photos for COME FROM AWAY. So watching our artistic team of brilliant women (music director, director, and choreographer) all navigate the complexities of staging this show – I have all the empathy in the world. It’s not hard for me to switch hats again because it’s all I’ve ever known. My seasons are always direct this, act in that, act in this, direct that. So when I’m onstage I don’t try to direct the show, and when I’m in the director’s seat I don’t try to act it. As it regards playing different characters in this, being a playwright definitely helps in finding context clues. We plant those as playwrights because we want to honor the autonomy and individual artistry of whoever will inhabit these roles. So good playwrights try to create context without dictating everything. Because true magic lies in the artistic voice of each individual artist. You want to leave room for their interpretation. At least I do. So, for instance – there are plenty of breadcrumbs to lead one to understanding that Beulah has a big kind heart. But there are clues that could lead one to believe that Delores is less sympathetic. She’s described as a “hot mess” but she also has lines that can be interpreted as being stuck with a person you definitely don’t want to be stuck with. I’ve leaned into the discomfort with Delores. It’s not how I would respond personally in those circumstances. But my script analysis leads me to believe it’s a valid artistic choice to take Delores in that direction. Not everyone you meet on a plane is someone you’d want to spend time with in real life.

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Again, a big thank-you to Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks for playing along with our Rapid-Fire 20Q! Their energy and insight are just a taste of what you’ll experience when Nashville Rep brings the unforgettable story of COME FROM AWAY to life.

Catch COME FROM AWAY at TPAC’s Polk Theater, running September 12–21, 2025, with performances as follows:

  • Friday, September 12 at 7:30 p.m.
  • Saturday, September 13 at 2:00 p.m. and 7:30 p.m.
  • Sunday, September 14 at 2:00 p.m.
  • Thursday, September 18 at 7:30 p.m.
  • Friday, September 19 at 7:30 p.m.
  • Saturday, September 20 at 2:00 p.m. (ASL-interpreted/open captioned) and 7:30 p.m.
  • Sunday, September 21 at 2:00 p.m.

Tickets start at $45 and are available now. CLICK HERE to purchase tickets. Don’t miss the chance to experience this heartfelt, hope-filled musical that reminds us of the best in humanity.

Kicking off their 2025/2026 season with the regional premiere of COME FROM AWAY is just the beginning for Nashville Repertory Theatre‘s 41st Season. Following COME FROM AWAY, Nashville Rep will ring in the holiday season with IT’s A WONDERFUL LIFE onstage December 5-21, then there’s FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season 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!

Rapid Fire 20Q with cast members of ‘MJ: The Michael Jackson Musical’; National Tour at TPAC’s Jackson Hall through May 11

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The term soundtrack of a generation might be overused, but with a solo career that spanned 45 years and included 13 number-one hits, 30 top ten singles, six decades of hits as an artist, 8 Grammys, and 26 American Music Awards…just to name a few accolades…it’s easy to say that Michael Jackson not only provided the soundtrack of a generation, but of GENERATIONS! That said, when I heard that the four-time Tony-winning Broadway musical, MJ: THE MUSICAL National Tour was headed to Music City, playing TPAC’s Jackson Hall thru May 11, I knew I had to chat with members of the company for my latest Rapid Fire 20Q. When I reached out to my TPAC contact, I found out I would be chatting with Anastasia Talley who plays Jackson’s Mom, Katherine Jackson, J. Daughtry who takes on the role of Motown hitmaker Berry Gordy, JoJo Carmichael, the company’s Dance Captain and Nashville’s own, Devin Bowles, who stars as Jackson family patriarch, Joe Jackson, so I knew these interviews were sure to be a Thriller!

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RAPID FIRE 20Q WITH CAST AND CREATIVES OF MJ: THE MUSICAL NATIONAL TOUR

RAPID FIRE WITH DEVIN BOWLES, JOE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: You play Joe Jackson, the patriarch of the Jackson family in MJ: THE MUSICAL. What can you tell me about Joe, as he is written in the show?

DEVIN BOWLES: Joe Jackson is the Sun and everyone else and every thing navigates around him. We see the dominate and influential grip that he had on Michael and the remanence of his teachings. The environment that Joe created for his family was very controlling, abusive, and filled with mental schemes but all stemmed back to a tough love ideology that we showcase in this show.

JHPENTERTAINMENT: Devin, I gotta tell you, when I heard you were joining the tour as Joe, I was so excited. It’s always fun for me seeing actors I knew from the local theatre scene go on to bigger things. Heck, I recall seeing you in shows at Chaffin’s Barn Dinner Theatre and Studio Tenn. What’s most exciting about returning to Nashville for a tour stop at TPAC?

DEVIN BOWLES: It’s truly so surreal being back in Nashville! This city is where I began my professional career, it’s where my found my first community of artist, it’s the soil that ignited the ambition to be where I am now and to keep going. From Chaffin’s and to Studio Tenn, it’s a reminder of the power of manifestations, prayer, and full circle moments. I’m excited to continue to expand my artistry and career with this show and furthermore.

JHPENTERTAINMENT: As expected, the show is overflowing with classic MJ tunes. A few lesser-known Jackson songs are also among the mix. Money, a track from 1995 release HIStory: Past, Present and Future, Book I is one that you’re featured on. What’s the significance of this song appearing in Act 2?

DEVIN BOWLES: There’s for sure some songs that wasn’t too known me when I began this journey, Money was also one of these songs. In this show, Joe sings about Money as substance that controls people and with that, he compares himself to it. He believes he owns Michael and is proclaiming that he will do anything for him and for the product he is trying to make.

JHPENTERTAINMENT: Having been with the tour since the onset back in August of ’23, as Joe, you share the stage with all the actors portraying Michael at various points in his life. The current lineup includes Jordan Markus as MJ, Deaundré Woods at MJ (Alternate), Erik Hamilton as Michael and Quentin Blanton Jr. and Bane Griffith sharing the role of Little Michael. Using one word each, how would you describe the actors playing Michael?

DEVIN BOWLES:

Jordan Markus- Powerhouse

Erik Hamilton-Consistant

Dre Woods-Mastermind

Bane Griffith-Iconic

Quentin Blanton Jr.-Light

JHPENTERTAINMENT: As I mentioned earlier, you’re current Music City dates mark a homecoming for you. What are a couple of the ‘Must See’ Nashville things you hope to share with your cast mates while in town?

DEVIN BOWLES: I have already shared a list of restaurants, bars, lounges, and just all around great spots with the cast. I’m definitely going to dive into the food here that I have missed while being on the road, there’s nothing like it.

RAPID FIRE WITH JOJO CARMICHAEL, MJ THE MUSICAL’s DANCE CAPTAIN

JHPENTERTAINMENT: For those who might not be fully familiar, what exactly does being Dance Captain for MJ: THE MUSICAL entail?

JOJO CARMICHAEL: A number of responsibilities come with being dance captain for MJ: THE MUSICAL. One of them being, upholding the integrity of the choreography that we were taught day one. This can be married to making sure everyone is moving as one and the visuals are clean, clear and effective. I am also a swing, so I have the opportunity to perform. When new cast members join our company, I assist in teaching them the show. And I also teach classes across the country that are inspired by the movement we do in the show which I thoroughly enjoy. I’ve been able to learn so much through this position, as dance captain, and it is an opportunity I don’t take lightly.

JHPENTERTAINMENT: It’s not a stretch to say that Michael Jackson might be the most iconic pop star with some of the most memorable dance sequences ever. Is there a choreo moment in the show that you absolutely love performing night after night?

JOJO CARMICHAEL: My favorite number to perform would have to be the Fosse sequence into Smooth Criminal at the top of act two. There’s a sense of ferocity intertwined with mystery that comes with the movement which I find so fun to play with. Considering that it’s the only number in the show where it’s just MJ and the dancers on stage, it introduces a different energy to the show as well.

JHPENTERTAINMENT: When did you know a career in movement was the life for you?

JOJO CARMICHAEL: Around eighth grade is when I started to look at dance as a professional career. For the longest time, I wanted to be a neurosurgeon and dance was just gonna be a hobby or side hustle. So my Mom arranged a conversation with a neurosurgeon who was in their residency at the time, and they shared with me that it’s about fifteen years of schooling. I couldn’t compute how to go to school for that long and still dance, so I chose dance and never looked back.

JHPENTERTAINMENT: One key element of MJ: THE MUSICAL is the family. Michael always had his family whether onstage as part of The Jackson 5 to their behind-the-scenes support. You always hear that theatre is family, too. I’d imagine that sense of family is only amplified on a National Tour, traveling together, performing together and likely spending off-hours together. What does the family aspect of tour life mean to you?

JOJO CARMICHAEL: On tour we only have each other. We celebrate birthdays, we console and support each other through hardships. We look after each other as if we are family. And this cast and crew is truly a beautiful group of human beings that I am proud to call family. In general, family is something that I heavily value and prioritize in my life. So, to now have this connection with my cast is one thing I’m most grateful for MJ: THE MUSICAL bringing into my life.

JHPENTERTAINMENT: In addition to being Dance Captain, you’re also Swing, meaning you cover a multitude of roles stepping in to fill in when a member of the ensemble is out. What’s the most fun aspect of being Swing for a show like MJ?

JOJO CARMICHAEL: The most fun aspect of being a swing for this show is simply sharing the stage with  this cast. We have a lot of fun up there. Even when we’re tired we find ways to lift each other’s spirits or make someone laugh. Being a swing also keeps my mind working, attentive and requires me to stay present which I find just as enjoyable as it is challenging.

RAPID FIRE WITH J. DAUGHTRY, BERRY GORDY/NICK in MJ: THE MUSICAL

JHPENTERTAINMENT: What can you tell me about your dual roles as Berry Gordy and Nick in MJ: THE MUSICAL?

J. DAUGHTRY: Nick is a savvy tour manager keeping things on track during rehearsals for Michael Jackson’s 1992 Dangerous World Tour. As Berry Gordy, I appear in flashbacks as the legendary founder of Motown Records—the man who first recognized young Michael’s extraordinary talent. Both roles highlight the forces shaping Michael’s artistic journey, from the business demands of the present to the mentorship and music legacy of his past.

JHPENTERTAINMENT: How did you come to be part of the tour?

J. DAUGHTRY: I love the Motown story  in fact the music is a part of the fabric of my life. So anytime there is a show related to Motown I make sure I audition. There was a position opening up on Broadway and I threw my hat in the ring. I didn’t get the role on Broadway but I was blessed with the tour.

JHPENTERTAINMENT: There are so many Michael Jackson looks, from his preteen natural hair and bellbottoms during the Jackson 5 era and his red leather Beat It jacket to single gloves and military-style regalia. Do you have a favorite wardrobe moment represented in the show?

J. DAUGHTRY: Absolutely! There are so many but surprisingly my favorite looks of MJ in the musical are when he’s in a simple blue silk shirt, white tee shirt and black slacks with the iconic loafers.

JHPENTERTAINMENT: As I indicated in my intro to this piece, Michael Jackson’s music can truly be called the soundtrack of a generation. Which era is your favorite and why?

J. DAUGHTRY: I am an 80’s baby so I quite literally grew up on his music. I would have to say the Jackson 5 music is my favorite only because it’s what I grew up on.

JHPENTERTAINMENT: Is there a song included in the musical that you weren’t as familiar with that you are now obsessed with hearing night after night?

J. DAUGHTRY: Yes, Keep the Faith. I had never heard the song and now it is a moment of inspiration.

RAPID FIRE WITH ANASTASIA TALLEY, KATHERINE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: Who is Katherine Jackson to you? 

ANASTASIA TALLEY: Katherine Jackson is the matriarch of the Jackson family and the mother of one of the greatest artists of our time. She is an undeniable source of love and compassion, and Michael Jackson was vocal about the influence she had in his life. This is portrayed beautifully in her song with MJ in the show.

JHPENTERTAINMENT: Having been a fan of the Jacksons pretty much my whole life, I have this image of Katherine as the quieter, supportive parent, whereas Joe always seems to be portrayed in the media as the more business-oriented force behind the family. As she’s written in MJ: THE MUSICAL, what’s the most surprising aspect of Katherine’s persona that you’ve discovered? 

ANASTASIA TALLEY: While it’s perhaps not surprising, I find myself deeply moved by the quiet but profound love she shows for her son and his artistry. Though often imagined as the reserved, supportive parent, the depth and fierceness of her devotion are portrayed with such clarity that it catches me off guard every time. There is a quiet power in her presence — deliberate, unwavering, and fiercely tender — and that quiet strength lingers with me more than I expect.

JHPENTERTAINMENT: Speaking of Joe, to kick off this Rapid Fire 20Q, I chatted with Devin Bowles, who plays your on-stage husband. What’s it like sharing the stage with Devin night after night? 

ANASTASIA TALLEY: It is an absolute joy to share the stage with Devin. He is an incredibly curious, compassionate, and growth-focused human being, and it truly shines through in his acting. His generosity as an actor is tremendously grounding, and that generosity serves as the perfect inspiration for the cast to discover and rediscover the scenes every night. Side note: Devin Bowles is HILARIOUS offstage! He also treats everyone with genuine warmth and care. A true class act.

JHPENTERTAINMENT: As Katherine you’re featured in Act 1 alongside Little Michael and MJ on I’ll Be There, one of The Jackson 5’s more poignant songs. What does that scene and that song mean to you? 

ANASTASIA TALLEY: I have sung that song literally hundreds of times with the show, and the way the meaning of the song deepens and changes never fails to astound me. The song is such a powerful display and vow of love. It’ is also a promise to show up, not just in words, but in action, for the people you love. It is a reminder that love is a verb. It is also a decision. I think the lyrics of the song depict that truth beautifully. 

JHPENTERTAINMENT: What do you hope audiences come away remembering long after they’ve seen MJ: THE MUSICAL? 

ANASTASIA TALLEY: I hope audiences remember the artistry, the music, the history, and the call to action: make the world a better place through change. 

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MJ: THE MUSICAL wraps its two-week engagement at TPAC’s Jackson Hall with performances through May 11. CLICK HERE for tickets. While MJ: THE MUSICAL closes out TPAC’s current Broadway at TPAC season, there’s no stopping the art and entertainment. Among TPAC’s upcoming events: the annual Spotlight Awards: Nashville High School Musical Theatre Awards takes to the stage May 17. TPAC presents Paul Taylor Dance Company May 30-31, CAMP TPAC returns with theatre-centered intensives for various ages throughout June, plus much more entertainment throughout the summer. TPAC’s Broadway at TPAC 2025-2026 Season kicks off September 23-28 with THE WIZ. For more on these and all TPAC events, CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

Following it’s Music City dates, MJ: THE MUSICAL continues its National Tour with performances in Fort Worth, TX May 13-18, Fayetteville, AR May 20-25, Milwaukee, WI May 27-June 1, Appleton, WI June 3-8 and more. For the full schedule of dates, or to purchase tickets in your city, CLICK HERE.You can also follow MJ: THE MUSICAL on their socials, so check them out on Facebook, Bluesky, Insta, YouTube and TikTok.

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 ‘KIMBERLY AKIMBO’ stars Carolee Carmello, Jim Hogan, Emily Koch and Darron Hayes as National Tour continues; at TPAC’s Jackson Hall beginning April 8

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KIMBERLY AKIMBO, a musical story of a young woman with a disease that rapidly ages her, who, instead of giving up, decides to live her life to the fullest every day. With book by David Lindsay-Abaire (based on his earlier comedy play of the same name) and music by Jeanine Tesori, the original Broadway run garnered the show eight Tony nominations, taking home five, including Best Musical. When the National Tour was announced, three-time Tony nominee Carolee Carmello was cast in the lead role as 16-year-old Kimberly, alongside five understudies of the original company.

As the cast and crew of KIMBERLY AKIMBO readied themselves for their Nashville debut, with performances at TPAC’s Jackson Hall April 8-13, I recently had the chance to pose a few questions to the show’s lead actress Carolee Carmello and her fellow cast members Jim Hogan, Emily Koch and Darron Hayes for the latest installment of my recurring interview feature Rapid Fire 20Q. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST OF KIMBERLY AKIMBO; AT TPAC APRIL 8-13

RAPID FIRE Q&A WITH JIM HOGAN, BUDDY IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Buddy, the character you play in KIMBERLY AKIMBO?

JIM HOGAN:  Buddy is our protagonist, Kimberly’s, troubled (and loving) father who just can’t seem to get it right despite his best (and worst) efforts.

JHP ENTERTAINMENT: While the tour began in September of last year, you have been part of the KIMBERLY AKIMBO family since late 2022 when you joined the Broadway company as standby for Buddy. In the two years since you’ve been associated with the role, has your approach to the character changed?

JIM HOGAN:  I don’t think I’d say changed as much as I’d say grown.  Being able to play Buddy night after night as opposed to the occasional nature of being a standby has heightened my sense of truth within his words and actions, despite how complicated they can be.  I’m truly grateful to get to step into his Reeboks every night. 

JHP ENTERTAINMENT: Prior to joining this show, you previously toured with WAITRESS and PHANTOM, so tour life has been part of your life for a decade now. What’s your favorite thing about life on the road?

JIM HOGAN: I LOVE touring.  There’s something so special about it, and I hope every performer, both professional and aspiring, gets the chance to do it.  I’d say my favorite part is exploring each city, but specifically trying each city’s unique cuisines. 

JHP ENTERTAINMENT: Speaking of life on the road, in another lifetime, I too spent a couple years traveling from town to town during the original first two seasons of AMERICAN IDOL as part of the production. My main gig was registering hopefuls as they readied auditions for then-judges Randy Jackson, Paul Abdul and Simon Cowell. I bring this up because when I was told I’d be chatting with you for this Rapid Fire 20Q featuring members of the National Tour of KIMBERLY AKIMBO, I immediately recognized your name as being part of the vocal group T3 who appeared during 2021’s Season 16 of AMERICA’s GOT TALENT. So a two-parter…What’s your fondest memory of your time on AGT? AND…What’s going on with T3 now?

JIM HOGAN:  That’s so cool!!  We have a Simon Cowell connection 😅  T.3 had a blast on AGT, I’d say our favorite part was getting to meet and learn from everyone involved: the celebrity judges/host of course, but the artists/performers within the show and those backstage perhaps even more.  It was a very eye-opening and important part of T.3’s creation and a great stepping stone to get us to where we are today!  We are actively releasing new music, our viral cover of Imogen Heap’s “Hide and Seek” will be available on streaming shortly, and we tour all over the country whenever our schedule allows!  We are releasing our biggest tour schedule yet in the coming weeks, so be on the lookout to see T.3 near you in August and September of this year 🙂

JHP ENTERTAINMENT: Back to KIMBERLY AKIMBO, Within the context of the show, even though Buddy is Kimberly’s father, he’s not exactly the ideal dad, and the roles seem a bit reversed at times. What’s your favorite aspect of exploring this dynamic with Carolee Carmello on stage night after night?

JIM HOGAN:  Well first of all, Carolee is incredible in this part and it’s been an honor to act alongside her every night.  As far as Buddy’s complexities go, I have always felt like I know him. For better or for worse, but I think more people are like Buddy than they would care to admit. I think that’s been the biggest thing, is tapping into the parts of myself that maybe I don’t love so much. But that in itself, has been healing.

RAPID FIRE Q&A WITH EMILY KOCH, DEBRA IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Debra, the role you play in KIMBERLY AKIMBO?

EMILY KOCH: Debra is a bold, brash, fabulous woman. She might be involved in some unsavory activities but she knows how to get what she wants by any means necessary. She also, most importantly, adores her niece, Kim and wants her to have the best life she can. I love getting to play someone so sure of themselves, it’s inspiring.

JHP ENTERTAINMENT: Your show bio reveals that Jim Hogan, who plays Buddy, has been your boyfriend in real life for seven years. If my math is mathin’, that means you two began dating while you were both on tour with WAITRESS. Even though I’d love to know the worst, I’ll play nice and ask…What’s the best part of sharing scenes with your actual love interest AND having them on the road with you?

 EMILY KOCH: Your math is mathin’! That is where we met. I’m being totally honest when I say, there really isn’t a worst part. Jim and I have both worked a lot separately and together and both done multiple tours so we just know how to do it well, so, knock on wood, we haven’t had any problems out here. We also just really deeply get along and respect each other’s work. It’s also been fun to play people who don’t like each other in the show. Maybe that’s why we are so happy, we work it all out on the stage!

JHP ENTERTAINMENT: During the Broadway run, you were standby for both Debra and Patti. How excited were you when you learned you’d been cast as Debra for the tour?

EMILY KOCH: I was ecstatic. Being the avid theatre fan that I am, learning you’re gonna lead a David Lindsay-Abaire and Jeanine Tesori musical is like winning the theatre lottery. I have to admit when I got cast on Broadway, I considered my time there as an extended audition for the tour. I just had never loved a show so much and wanted to be a part of it for as long as I could. I was also hoping Jim would get cast and he got the call from him agents about five minutes after me. Needless to say, it was an awesome day for our household. We drank champagne at noon.

 JHP ENTERTAINMENT: From what I hear, there’s a few minor differences as far as staging and such from the Broadway run. Among the changes, Aunt Debra now skates. I gotta know, was skating already among your ‘special skills’ and what all was involved in brushing up on your technique during the rehearsal process of KIMBERLY AKIMBO?

EMILY KOCH: Yes,Debra does skate! I think the reason that change happened is because when I was covering on Broadway, I had to skate as Patti, so they knew I could already do it. Skating was definitely not a special skill of mine, but I do love to watch it and always have. We got to take a few lessons on actual ice for Broadway and Tour which was helpful and fun, and we do a cast “skate call” three times a week so now I think we all feel pretty comfortable out there.

 JHP ENTERTAINMENT: Having previously toured with WAITRESS and WICKED, when you find yourself coming back to cities you’ve previously visited, do you try to revisit spots you enjoyed before, or do you try to scope out new things in now-familiar cities? Oh, and by the way, I hear The Escape Game Nashville in my little neighborhood of Berry Hill is quite fun, so…you’re welcome!

 EMILY KOCH: Thank you so much for the rec! Escape rooms are such a good tour activity! And yes, that’s my favorite thing about tour honestly, is going back to my old haunts in all these awesome cities. They fully transport me to how I felt the last time I was there and I love that feeling. Aside from Memphis, TN, I have played every single city we are going to in this first year and I’m so happy to return to all of them.

RAPID FIRE Q&A WITH DARRON HAYES, MARTIN IN KIMBERLY AKIMBO

JHPENTERTAINMENT: Who is Martin?

DARRON HAYES: Martin is a star to be. He’s one of the teens in show choir who’s in a sticky love square, but knows there’s a beautiful and fulfilling life awaiting him outside of New Jersey.

JHPENTERTAINMENT: Like a number of your tour mates, you were also part of the Broadway cast of KIMBERLY AKIMBO. Has that fact aided in the company feeling like family as you’ve all taken the show on the road?

DARRON HAYES: Yes, it’s been so nice to return to Kimberly Akimbo with familiar faces and relationships. We get to tell this incredible story in a slightly different way with some great new faces as well!

JHPENTERTAINMENT: During your time with the Broadway production, you understudied the roles of Martin, Aaron and Seth. If a bit of internet sleuthing proved useful, it was March of last year that you made your Broadway debut as Martin. What was that moment like AND…how has your interpretation of Martin changed now that he’s yours completely?

DARRON HAYES: My Broadway debut, that happened almost a year ago today, was the most magical night of my life thus far. I’d worked for and hoped and dreamed of this moment my entire life. And when it happened, I thought… Here we go. This is just the beginning. Keep going, grasshopper, and I’m so proud of you! What has changed about me playing Martin full time now, is that I’m allowed to take full ownership of my interpretation, rather than feeling like I need to figure out how I fit in, what can sometimes feel like someone else’s play.

JHPENTERTAINMENT: Alright, when I chatted with Jim Hogan earlier, I asked him a bit about T3 and his experience on AGT. As I confessed to him, I worked on the original AMERICAN IDOL back in the day, so when I discovered you auditioned for IDOL a couple years ago, I knew I had to ask you about that experience. What did you use for your audition song?….AND…Have you and Jim ever compared ‘reality competition tv’ notes?

DARRON HAYES: We haven’t had the chance to compare our experiences yet, but maybe now we will. And I sang All I Do by legend, Stevie Wonder. And my experience with AMERICAN IDOL was interesting. I took it for what it was, met some insanely talented singers, and learned what I could from that unique experience!

JHPENTERTAINMENT: IS there a theme or idea presented in KIMBERLY AKIMBO that you find yourself consciously or unconsciously being more mindful of in your off time?

DARRON HAYES: ABSOLUTELY! As Crazy as Aunt Deb is, she never lied. Life is gonna life, and sometimes you aren’t dealt the best stack of cards. But to me, life is about looking at what you DO have control over. What decisions and choices can I make for a better outcome? Or to be more fulfilled? So the song Better is basically my motto for life.

RAPID FIRE Q&A WITH CAROLEE CARMELLO, KIMBERLY IN KIMBERLY AKIMBO

JHPENTERTAINMENT: OK, before we get into talking about KIMBERLY AKIMBO, I’m just gonna fanboy a bit. I’ve enjoyed your work since your stint as Maple LaMarsh on AMC’s comedy series Remember WENN? What do you remember most about your time on that series?

CAROLEE CARMELLO: CAROLEE CARMELLO:  That show was a dream come true for me! I loved the scripts (by the brilliant Rupert Holmes) and I loved the 40s costumes and hairstyles (despite the fact that I didn’t wear a wig and all that hair spray definitely took a toll on my hair). Plus the cast was so talented!

JHPENTERTAINMENT: Now, on to KIMBERLY AKIMBO…From the start, what do audiences need to know about KIMBERLY, the show…and the character?

CAROLEE CARMELLO: I love the show! So smartly written, so funny, so touching … it really is the kind of musical I enjoy watching because it gives you ALL the feels! And the character I play is so positive, despite all of her many challenges. I learn a lot from Kimberly every night!

JHPENTERTAINMENT: If my research and memory serve me right, you’ve been in something like 16 Broadways shows, received three Tony nominations, and KIMBERLY marks your 7th national tour. Revisiting your incredible body of work, I was reminded of something my now-90 year-old former art teach frequently says, “Art is Life”. In regards to you, that certainly seems true. What’s behind your love of the arts and what keeps you continuing to explore your own creativity?

CAROLEE CARMELLO: Oh gosh, I still love musicals … I think it’s such an amazing way to tell a story. And I think live theater is the best way to experience story telling … sitting in a dark theater with a community of people watching LIVE actors and LIVE musicians bringing a story to life! It brings people together in so many ways … which is vital, especially right now.

JHPENTERTAINMENT: Back to KIMBERLY AKIMBO, If you were faced with circumstances similar to Kimberly’s is there anything you’d do differently or anything you’d lift from Kimberly’s reactions to her circumstances to better your own remaining time?

CAROLEE CARMELLO: I can only hope that I would take on each day the way Kimberly does … she wants an adventure, and she gets it, despite all of her challenges! It’s really inspiring!

JHPENTERTAINMENT: Dang! I could have done all 20 questions with you, but our time is up as I’m about to chat with a couple of your costars, so I’ll end our conversation with this. What do you hope audiences take with them after seeing KIMBERLY AKIMBO?

CAROLEE CARMELLO: I think the message of the show is to enjoy the time we have and the people we have to share it with … nothing else matters!

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The National Tour of KIMBERLY AKIMBO comes to Music City for eight performances beginning Tuesday, April 8 and continuing through Sunday, April 13 at TPAC’s Jackson Hall as part of the current Broadway at TPAC Series. CLICK HERE for tickets or more information.

Following the Music City dates,  KIMBERLY AKIMBO stops in Charlotte, Durham, Boston, Washington DC and more as the current National Tour continues through May of 2026. To keep up with all things KIMBERLY AKIMBO, checkout their Official Site and follow them on Facebook, X, Instagram, Youtube and TikTok.

Next up at TPAC, it’s yet another Tony-winner as MJ: THE MUSICAL, exploring the life and career of music mega-star Michael Jackson closes out the current season of Broadway at TPAC with shows April 29-May 11. CLICK HERE for tickets and more information and be sure and check back right here at JHPENTERTAINMENT.COM as I’ll soon be chatting with members of the cast of MJ prior to their Nashville debut.

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!

Rapid Fire Q&A with ‘HADESTOWN’ stars Nickolaus Colón and Namisa Mdlalose Bizana; at TPAC March 7-9

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HADESTOWN, often described as a Broadway folk opera, is singer/songwriter/playwright Anaïs Mitchell’s Tony and Grammy-winning musical retelling of Greek myths involving Orpheus, Eurydice, Hades, Persephone, Hermes and The Fates. When I heard HADESTOWN would be playing a limited weekend run at TPAC’s Jackson Hall Friday, March 7 thru Sunday, March 9, I knew I had to chat with some of the company of the show’s current tour for the latest installment of my recurring interview feature, Rapid Fire Q&A.

To that end, what follows are my conversations with HADESTOWN’s Hades and Persephone, Nickolaus Colón and Namisa Mdlalose Bizana:

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RAPID FIRE Q&A WITH HADESTOWN STARS NICKOLAUS COLÓN AND NAMISA MDLALOSE BIZANA; NATIONAL TOUR AT TPAC BEGINNING MARCH 7

RAPID FIRE Q&A WITH NAMISA MDLALOSE BIZANA, PERSEPHONE IN HADESTOWN

JHPENTERTAINMENT: For the uninitiated, what is HADESTOWN about?

NAMISA MDLALOSE BIZANA: It’s about two intertwined love stories between Orpheus and Eurydice, and the gods Hades and Persephone. When the story begins Hades and Persephone are misaligned in their relationship which has consequences for the mortal world. In this discord Orpheus and Eurydice fall in love and then are faced with having to make choices based on love or survival. 

JHPENTERTAINMENT: What can you tell me about Persephone?

NAMISA MDLALOSE BIZANA: She’s a complex character with many layers to her. At face value she’s fun and charismatic but she has so much more to her. She quite literally holds light and darkness within her and must wade through the complexity that comes with it. 

JHPENTERTAINMENT: This tour of HADESTOWN began in October of last year. You’ve been with the company since. Are you still discovering nuances of the character?

NAMISA MDLALOSE BIZANA: Of course. We’re playing gods. And by nature, there are endless possibilities.  

JHPENTERTAINMENT: What’s your favorite aspect of tour life?

NAMISA MDLALOSE BIZANA: Getting to meet people from all over the US. Getting to talk to audiences and schools. And of course, the food! We’ve just come from Dallas and of course I had to try some Texan BBQ and it’s everything I thought it would be!

JHPENTERTAINMENT: Speaking of touring…any plans to tour The Parthenon while HADESTOWN sets up shop in Nashville? After all, we are the Athens of the South!

NAMISA MDLALOSE BIZANA: It’s definitely on my list!

RAPID FIRE Q&A WITH NICKOLAUS COLÓN, HADES IN HADESTOWN

JHPENTERTAINMENT: How familiar were you with the story of Hades and Persephone prior to taking on the role of Hades of the current tour of HADESTOWN?

NICKOLAUS COLÓN: Besides what I’ve seen of Hades depicted in movies and shows I hadn’t really had the exposure to the proper myths. I wish I had sooner because they are incredible to read about.

JHPENTERTAINMENT: In spite of connotations stirred simply by association of Hades and the underworld he rules, Hades, according to original mythos, is strong but rather passive and ultimately caring. What trait of Hades, as depicted in HADESTOWN, might you hope to mimic in your own life?

NICKOLAUS COLÓN: The greatest gift I’ve gotten from Hades has been a boost to my confidence. Confidence is power. To be able to hold myself to my full height when for so many years I’ve lowered myself to make others feel safe around me has been such a gift. I’ve always been confident in my abilities but ever since I put on the suit I’ve started to stand taller off the stage.

JHPENTERTAINMENT: As Hades, you not only rule the underworld, but you’re also betrothed to Namisa Mdlalose Bizana’s Persephone. What is your favorite thing about sharing the stage with her?

NICKOLAUS COLÓN: Namisa has been an absolute blessing of a scene partner. From the moment I met her and she asked if we could just take a breath together before our final callback, I knew she was my Persephone. Even on days when tour is hard, I can always count on her to be there with me on that stage and to make me laugh.

JHPENTERTAINMENT: Do you have a favorite musical moment in the show, whether it be yours or one that you just enjoy witnessing as a member of the company night at night?

NICKOLAUS COLÓN: Favorite musical moment for me would be during His Kiss, the Riot before I speak. The band and Fates watch as I slowly make my way around the stage to grab my stool and all the while they are fueling all the rage, fear, doubt, indecision, conflict that I am going through in that moment. Music is a powerful tool for storytelling.

JHPENTERTAINMENT: What do you hope audiences come away remembering long after their visit to HADESTOWN?

NICKOLAUS COLÓN: I hope they leave and have a core memory of the time a room of 3000 people for 2 hours were able to put aside their differences and take the ride of truly investing in these two mythical love stories.

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The current tour of HADESTOWN plays TPAC’s Jackson Hall with five performances over the three day period of Friday, March 7 thru Sunday, March 9. Friday and Saturday evening performances are at 7:30pm with matinees Saturday at 2pm & Sunday at 1pm and a final Music City performance Sunday evening at 6:30pm. Ticket prices start at $48.30. CLICK HERE for tickets or more information. 

Not in Nashville? Be sure and check out HADESTOWN on Tour’s Official Site for upcoming cities including Johnson City, TN, Omaha, NE, Oxford, AL, Pensacola, FL, The Villages, FL, Columbia , SC and more as the tour continues. 

Among the many entertainment options coming to TPAC following HADESTOWN, TPAC’s HCA Healthcare/TriStar Heath Broadway at TPAC in partnership with Nissan continues next with the return of MAMMA MIA, on stage at TPAC’s Jackson Hall March 18-23. 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!

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!

Rapid Fire 20Q with cast of ‘CHICAGO’; National Tour at TPAC’s Jackson Hall January 28- February 2

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Considering the original 1975 Broadway smash hit CHICAGO came to the stage with musical pedigree in hand, thanks to music by John Kander, lyrics by Fred Ebb and an equally engaging book by Ebb and Bob Fosse, it should be no real shock that fifty years later, it’s still one of the most beloved musicals of all time. Proving it’s popularity, the 1996 revival now not only holds the record as Broadway’s longest-running musical revival and the longest running American musical in Broadway history. So naturally I was among the droves of fans excited to hear that the current National Tour is making its way back to Nashville as part of TPAC’s current HCA Healthcare/TriStar Health Broadway at TPAC series.

As the cast and crew of CHICAGO readied for their return to Music City at TPAC’s Jackson Hall January 28-February 2, I recently had the chance to chat up four of the show’s cast. So settle in as CHICAGO stars Taylor Lane, Ellie Roddy, Connor Sullivan and Illy Kirven take the stand for the latest edition of my recurring interview feature, Rapid Fire 20Q.

Rapid Fire 20Q with cast of CHICAGO; National Tour at TPAC’s Jackson Hall January 28- February 2

Rapid Fire with Taylor Lane, Velma Kelly in CHICAGO National Tour

JHPENTERTAINMENT: The current National Tour of the iconic CHICAGO kicked off just a few months ago. What has it been like to step into the role of Velma Kelly thus far?

TAYLOR LANE: Stepping into the role of Velma Kelly has been an absolute thrill. It’s a dream come true to bring such an iconic character to life. I’ve loved diving into her strength, sass, and complexity, and it’s been an incredible challenge to embody her boldness while making her my own.

JHPENTERTAINMENT: As Velma, you are front and center leading the ensemble during the show’s spectacular, high-octane All That Jazz. Of course renowned choreographer Bob Fosse created the moves for the original production, and his style is typically honored by incorporating some Fosse-esque moves. The current national tour is using the equally iconic 1996 revival Ann Reinking choreo with Gregory Butler recreating Reinking’s choreography. Do you have a particular dance-centric moment in the open, or elsewhere in the show, that you absolutely love performing night after night? 

TAYLOR LANE: Absolutely! There’s no better feeling than rising onto the stage, Fosse-walking to center stage, and diving into the intricate, precise moves of All That Jazz with the entire ensemble dancing in perfect unison behind me. The energy is electric, and it’s surreal to perform these legendary dance steps that we had the great honor of learning from Gregory Butler passed down from Ann Reinking. Some of my favorite moves in the show include the ‘pippin’ and ‘the lola’.

JHPENTERTAINMENT: Another choreo-heavy number is I Can’t Do It Alone. I can’t wait to see this company take on this ‘act of desperation’. On the subject of choreography. How much time goes into rehearsing the dance sequences for a show like CHICAGO?

TAYLOR LANE: We rehearsed for three weeks in New York City before heading out on the road. During that time, we learned all the music, choreography, and the book of the show, including lines and staging. Now that we’re performing regularly on tour, our dance captains give us notes to keep the show as sharp and clean as possible. We also have scheduled brush-up rehearsals with our choreographer to ensure we’re staying true to the original intention behind the choreography.

JHPENTERTAINMENT: Some audience members may not realize it, but CHICAGO is actually based on real life murderesses. Belva Gaertner, a thrice-married cabaret singer who murdered her married lover in 1924. Have you done any research on Belva in preparation for the role?

TAYLOR LANE: Yes, I’ve done some research on Belva Gaertner, the real-life inspiration behind Velma Kelly. It’s fascinating to learn about her story and how her persona influenced the character. Understanding the historical context and her bold, unapologetic attitude has helped me bring depth to Velma while still making her my own. It’s incredible to step into a role rooted in real history but reimagined with all the flair and style of CHICAGO.

JHPENTERTAINMENT: Since I’m about to chat with Ellie Roddy, who plays Roxie opposite your Velma, can tell me how it’s been to share the stage with her?

TAYLOR LANE: It’s such an honor to share the stage with the brilliance that is Ellie Roddy. Unlike our characters, who have a rivalry in the show, I absolutely adore her and love performing with her every night. She’s an incredible actress, and I truly enjoy getting to play off her energy onstage. My absolute favorite moment is singing Nowadays and dancing Hot Honey Rag with her at the end of the show. There’s something so special about dancing together as two powerful women—it brings me so much joy.

Rapid Fire with Ellie Roddy, Roxie Hart in  CHICAGO National Tour

JHPENTERTAINMENT:  When I spoke with Taylor Lane, I mentioned the fact that CHICAGO is based on real life murderesses. Your character, Roxie Hart is based on Beulah May Annan, a bookkeeper, who, while arguing with her lover, ‘reached for the gun’. What can you share about your creative process in playing Roxie?

ELLIE RODDY: It really was such a journey, and it’s still ever evolving. I find I continue to learn more and more nuances about this character the more I perform the role! They gave me a lot of freedom, creatively speaking. What’s really unique about CHICAGO is that yes, it is set staging and choreography that’s been on the Broadway stage since 1997, but it’s tailored to each and every individual and caters to their strengths. They play with each person’s individuality for each company member that is joining the CHICAGO family. It was a lot of trial and error for me. I’d try out a bit or try a certain inflection for certain lines, and they’d tweak it or we’d start fresh from the drawing board. It was one of the greatest gifts to receive as an actor, the trial and error with a safe space to play. 

JHPENTERTAINMENT: In the previous question, I alluded to the song We Both Reached for the Gun. This number is one of my favorites in the show–admittedly there are several favorites. I love that Roxie is so bent on stealing the spotlight from Velma as the latest notorious murderess that she’s willing to do whatever her hot shot lawyer Billy Flynn (played by Connor Sullivan) tells her. How much fun have you are you and Connor having in fine-tuning this particular number?

ELLIE RODDY: On a scale of 1-10 I’d say 100. Oh, it is one of my absolute favorite parts in the show. It’s such a smart song and plot line. And not only is it catchy, but Greg Butler’s choreography and specificity with it is brilliant within the story telling aspect of it as well. Everything is so mapped out to a tee, and it’s so much fun to get to do. And to hear the crowd roar for Connor is nothing less than spectacular. 

JHPENTERTAINMENT: Of course Roxie’s big number is, well..Roxie. If you had to rate the level of razzle dazzle in this particular sequence, what would you rate it, and why?

ELLIE RODDY: That is such a great question! Because it’s the first time in the show you really get to see her honesty and her point of view (now whether or not it is entirely the truth is up for debate) but it’s the first time where she gets to be stripped down as herself, vamped by a walking bass and piano line. When rehearsing the monologue into the song, David Hyslop and Greg Butler encouraged me to think of something like “Judy Garland’s one woman show, sitting at the front of the stage, microphone in hand, sharing a story with lots of charm and charisma.” So, with that in mind, it’s not so much flashy razzle dazzle, it’s little sparks and glitters weaved within. It’s more internal, and you get to go on the journey with Roxie and her dream and learn about her WHY. It just happens to be in a little tongue-in-cheek way. 

JHPENTERTAINMENT:  Since the show tells the tale of a group of felonious females, I’m just gonna ask….IF you could get away with murder, how would you choose to pull off the ultimate crime?

ELLIE RODDY: Ooh, I have never been asked this question before! Personally, I do watch some true crime documentaries/tv shows and have listened to some podcasts in the past, because I find the topic so fascinating. IF I could get away with murder, I think I would probably claim an act of self-defense, such as Roxie. Again, emphasis on IF! 

JHPENTERTAINMENT: In spite of the fact that much of the show takes place in the Cook County Jail, CHICAGO features some gorgeous period-authentic 1920’s fashions courtesy six-time Tony-winning costume designer William Ivy Long. What’s your favorite piece of wardrobe in the show?

ELLIE RODDY: I think my favorite piece that I personally wear is the open back dress when I do Roxie. It’s a gorgeous tight fit lace dress with an open back, and I think it’s so sleek and classy, but has a little edge to it. As for the entire show, I think the costume that Faith Jordan Candino (Mona) or Serena Kozusko (Swing/DC) wears! I feel fortunate enough that during our rehearsal process in NYC this past September, I got to go to William Ivey Long Studios in person, and try on a handful of archived costume pieces to find the perfect fit! It was such an honor. 

Rapid Fire with Connor Sullivan, Billy Flynn in National Tour of Chicago

JHPENTERTAINMENT: Who is Billy Flynn to you?

CONNOR SULLIVAN: To me, Billy is a person who loves what he does and works hard to make sure he stays at the top of his field. He views the legal system as a game, and he is fiercely competitive. His goal is to win, and he feels no qualms about doing whatever he needs to in order to make that happen. 

JHPENTERTAINMENT:  Billy Flynn, like most lawyers, comes off as suave, manipulative and driven by the opportunity to gain notoriety and success by painting his murderous clients as victims themselves. Those are a few of Billy’s less-savory characteristics. Have you discovered any redeeming qualities while creating your version of him?

CONNOR SULLIVAN: Billy is passionate about defending his clients and protecting his people. There are aspects of loyalty and verve to him that are, if not redeeming, at least somewhat positive. Once you are on his team, he will do whatever it takes to get you over the finish line with him. 

JHPENTERTAINMENT:  If you weren’t cast as Billy, who would you ‘kill’ to play in the show?

CONNOR SULLIVAN: I would love to play Velma Kelly. She has such a fearless tenacity that I think would be fun to embody every night. However, I could never do the role justice the way that Taylor Lane does – she’s currently playing Velma on our tour! 

JHPENTERTAINMENT:  One of your big numbers as Billy is Razzle Dazzle. It speaks of giving it everything you’ve got to wow the crowd. What is it about your three female co-stars: Taylor, Ellie and illy that will ‘razzle dazzle’ Nashville’s audiences?

CONNOR SULLIVAN: Ellie Roddy is a true triple threat performer. Her acting, vocal, and dance chops all shine through in her performance. Taylor Lane really captures the essence of who Velma is – her performance is self assured, grounded, and edgy. Illy is an incredible vocalist and has one of my favorite numbers in the show. She brings such a powerful presence to the stage and to our company! 

JHPENTERTAINMENT: CHICAGO first opened on Broadway in 1975. The 1996 revival, from which this tour was born, is now the longest running revival in the history of Broadway. What’s it like being part of such a storied show?

CONNOR SULLIVAN: It has been such a huge blessing to be part of a show with the legacy that CHICAGO has. Working with our incredible creative team, some of whom have been with the show since the revival opened in 1996, has been the biggest honor of my career! 

Rapid Fire with Illeana ‘illy’ Kirven, Matron Mama Morton in CHICAGO National Tour

JHPENTERTAINMENT:  As Mama Morton, you get to belt out the show-stopping tune When You’re Good To Mama. It’s just one in a show full of wickedly wonderful tune by Broadway legends Kander and Ebb. How magical is it to perform such iconic tunes?

ILLY KIRVEN: From the time Matron Mama Morton is announced, the crowd is ready for her. Every night I am blessed to take to the stage to sing this incredibly iconic song. It truly feels like a gift. It’s a gift I’ve been given to give, but I also receive great gifts back from each audience, every single show. I’m completely humbled and honored to follow in the footsteps of so many iconic women who have filled Mama’s shoes. It really does feel quite magical. 

JHPENTERTAINMENT: Which leads me to my next question…With such a grand theatrical history, there’s been so many fabulous actresses who’s brought Mama Morton to life. From Mary McCarty who originated the role on Broadway to my pal, Roz Ryan, who’s played her more than any other actress, having appeared both on Broadway in the revival and numerous subsequent tours. Can you reveal just a hint of how you’re making Mama your own?

ILLY KIRVEN: I love Ms. Roz Ryan so much. How amazing that you get to call this legend “friend”. I actually have photos that were printed for me for continuous inspiration with many of the ladies who have portrayed Mama including Ms. Ryan and Ms. McCarty. I did quite a bit of research for the role. Every video or sound byte I could find of various Mama’s singing voices and speaking styles were taken into consideration. I put lots of bits and pieces together of my own in order to let the director mold me into the Mama that works best for this current production. I like to think that I carry parts of all of them within me while putting myself fully into the soul of Mama. I won’t give away any more, but I hope the ladies would appreciate the performance if they were in the audience.

JHPENTERTAINMENT:  CHICAGO first debuted on Broadway in 1975, then was revived in 1996 and is still running both on Broadway and as a tour in both the US and UK. Since you play the prison matron, I’ll ask you…what makes CHICAGO such arresting entertainment?

ILLY KIRVEN: I believe it is such “arresting entertainment” because it completely captivates you from the very first introduction. Even the opening announcements draw you in before one note is played or sung. You can literally see audience members leaning forward and trying not to miss a single moment. 

CHICAGO, the Musical is written so well. Even the words have rhythm. And it’s got all the aspects that bring excitement to live entertainment: greed, corruption, violence, romance, coupled with beautiful performers and incredible song and dance. It is a show that continues to WOW audiences. Whether it’s their first time or their fifth time seeing it, it has a tendency to win fans over who come back over and over again. I think it’ll be around for many years to come. I’d definitely love and appreciate that. 

JHPENTERTAINMENT: When we began chatting, I mentioned Mama’s big number, When You’re Good To Mama, so I gotta ask…what’s it take to be good to Illeana?

ILLY KIRVEN: Honestly, I’m not complicated. I like simple things. I enjoy learning, traveling and exploring. I really love my family, friends, cast, orchestra, crew and people who are genuinely kind.  That’s all. 

JHPENTERTAINMENT:  Alright, one last question for you before this inquisition is over…What do you hope audiences take with them long after the last lights out at the Cook County Jail?

ILLY KIRVEN: I hope the show leads them to want to learn more about the real Roxie, Velma &  other characters in the show. A lot of people do not realize that the musical is based on real life happenings. I hope audiences are inspired to want to know more. 

But mostly, I want our audiences to leave feeling fully entertained. I’d want them to go home energized with some really great music in their hearts for a long time. 

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CHICAGO  TPAC’s Jackson Hall January 28 thru February 2. CLICK HERE for tickets. After their Music City dates, CHICAGO heads to Dayton, OH, Knoxville, TN, College Station, TX and more as the tour continues through June. To follow Chicago on Tour, check out their Official Website, or find them on Facebook, X, Instagram and YouTube.

Up next for Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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