Having played TPAC in 2015 and again in 2019, Book of Mormon, Broadway’s riotous musical is returning to Music City for a third time! Created by South Park’s Trey Parker and Matt Stone (collaborating with Avenue Q co-creator Robert Lopez) the hit musical returns to Tennessee Performing Arts Center June 2 thru 7. Before the missionaries arrive, JHPEntertainment.com turns the spotlight on Elder McKinley, Nabulungi and The General as cast members Craig Franke, Charity Arianna and Shafiq Hicks take part in our latest Rapid Fire Q&A quick-hit conversation to chat about the outrageous comedy, life on the road, dream doorbell visits and what keeps this wildly irreverent musical connecting with audiences night after night.
RAPID FIRE Q&A WITH BOOK OF MORMON’s ELDER McKINLEY, NABULUNGI & THE GENERAL
RAPID FIRE WITH BOOK OF MORMON’s ELDER McKINLEY, CRAIG FRANKE
JHPENTERTAINMENT: This is now your fourth year with the tour. What keeps you coming back to ring those doorbells?
CRAIG FRANKE: The travel keeps me coming back! It’s so fun to travel North America and see so many parts of the continent I may never have seen otherwise. It’s a privilege to feel like you’re in a hit Broadway musical touring to some of the most famous cities in the world.
JHPENTERTAINMENT: You originally joined the company in the ensemble while covering both Elder McKinley and Elder Price. What’s the evolution been like from understudying those tracks to now playing Elder McKinley full-time for nearly two years?
CRAIG FRANKE: It’s been nice to live in Elder McKinley full time. When I was an understudy it’s hard to really feel the rhythm of the character and show, and then you never know when you’ll get to do it again to try and improve and tinker. So it would be frustrating if I felt I had made a mistake and would have to wait two months to correct it. Conversely I really miss the rush of adrenaline when you go on for your understudy track. That’s always an exciting night.
JHPENTERTAINMENT: You’re still understudying Elder Price as well. Does keeping that role performance-ready while playing McKinley add an extra layer of adrenaline to tour life?
CRAIG FRANKE: Yes! It does. Keeping Price fresh, whether it’s for a put in, a rehearsal, or the once in a blue moon performance does add some spice and variety. It’s also fun watching all of the different Prices up close and personal. I think it’s inspiring to see another take, and you get to steal their best bits, while also evaluating your own haha.
JHPENTERTAINMENT: Book of Mormon walks this razor-thin line between shocking, ridiculous and oddly heartfelt — which feels very on-brand considering the minds behind South Park created it. What’s your favorite moment where you can practically feel the audience collectively realizing, “Oh wow…they really just said that”?
CRAIG FRANKE: Well, I think I’m offstage for the biggest, “Oh they’re going there,” Moment. But I’d say Price has some dreams where I am involved, and some of those moments can be really fun when you hear the audience react to who might appear in that dream, and what they might do romantically with some other characters…. just come see the show haha.
JHPENTERTAINMENT: Since your character spends plenty of time ringing doorbells…if you could knock on absolutely anyone’s front door — celebrity, historical figure, fictional character, whoever — just to see what happened, whose bell are you ringing?
CRAIG FRANKE: I’m boring, but I’m in theatre, so I’d love to ring Sondheim’s doorbell. He went to New York Military Academy as a boy, which is right down the street from where I went to Middle School, so I always felt maybe that would be something to talk about, my in with the big guy, who knows though. I’m also a sports fan, so I’d say Roger Federer or Dan Campbell to encourage him to help get the Lions their Super Bowl.
RAPID FIRE WITH BOOK OF MORMON’s NABULUNGI, CHARITY ARIANNA
JHPENTERTAINMENT: This is your first professional theatre gig, which honestly feels like getting tossed directly into the deep end considering the scale and popularity of Book of Mormon. Was joining this tour a little bit of a baptism by fire?
CHARITY ARIANNA: Before getting to play Nabalungi, I was hired as a swing; I didn’t feel intimidated by the of Book of Mormon and its popularity, I actually felt more pressure about learning to become a swing which is like an emergency cover for all of the female tracks. I felt fueled by my passion to be onstage, and I felt honored when they asked me to play Nabalungi full time. Most of my positive experience had to do with the love and support of my castmates and directors. So, you could say I used that “baptism by fire” to fuel me instead of intimidating me!
JHPENTERTAINMENT: As you mention, you initially joined the company as a swing covering the female tracks before stepping into Nabulungi full-time. What do you remember most about learning you’d officially be taking on Nabulungi full-time every night?
CHARITY ARIANNA: I got the offer for Naba while actually in the Motown Museum Tour in Detroit. Getting to learn about so many African American artists and their breakthroughs and then experiencing one of my own felt so full circle. What I remember most was being around the girls (in the cast) and them encouraging me and lifting me up, for that I am forever grateful.
JHPENTERTAINMENT: As Nabulungi, you share scenes with Jarius Miquel Cliett, who plays Ugandan village leader, Mafala, who also happens to be Nabulungi’s father. What’s been most rewarding about building that relationship onstage with Jarius?
CHARITY ARIANNA: The most rewarding thing about working with Jarius is knowing that we have built a relationship that will withstand past what you see onstage. He has always been so supportive and caring, and I love getting to work with him and learn from him in so many ways. Our synergy onstage mimics the true form of our bond offstage.
JHPENTERTAINMENT: As a singer-songwriter, coming to Music City has to hit a little differently. Any chance you’ll be sneaking off to explore Nashville’s recording studio scene while you’re here?
CHARITY ARIANNA: I’m so excited to come to Nashville! The best thing about tour is getting to explore each city, and so this specific city seems right up my ally. I have 2 songs out right now and one of my core memories is watching my music transform in the studio, and so I can’t wait to see what Nashville has to offer in that regard. I can’t wait to work on some more stuff in Nashville to keep the ball rolling!
JHPENTERTAINMENT: Between the outrageous humor, the eyebrow-raising jokes and the fact Book of Mormon came from the creators of South Park, does it surprise you that there are still some audience members who walk in not knowing what they’re about to experience? AND…What’s your favorite scene to perform in anticipation of the audience reaction?
CHARITY ARIANNA: It doesn’t surprise me that some people don’t know about what the Book of Mormon has to offer. Truth be told, when I first auditioned, I didn’t know anything about the musical. It’s unlike anything I have ever seen. My jaw was constantly on the floor. My experience of going in blind gives me some appreciation and an inside scoop about knowing exactly how the audience feels seeing it for the first time because my first time was only about 2 years ago. My absolute favorite scene to perform is in Act 2 with Cunningham! I don’t want to give too much away, you’ll have to watch it and find out, but It’s one of the few scenes we see my character really get to be herself and let go with Cunningham, plus any scene with Jake Aune is always my favorite!
RAPID FIRE WITH BOOK OF MORMON’s GENERAL, SAFIQ HICKS
JHPENTERTAINMENT: Your one-year anniversary as Book of Mormon’s General is coming up next month. After spending all this time with The General, what have you learned from him — for better or worse?
SHAFIQ HICKS: I’ve learned stamina for sure. Coming up on a year in this role, definitely stands for something. I’ve also learned even the more not to judge my characters but to play them as honest as I know how.
JHPENTERTAINMENT: “Hasa Diga Eebowai” is just one example of Book of Mormon musical numbers where audiences seem simultaneously horrified and unable to stop laughing. What’s it like feeling the crowd react to these hilariously shocking earworms in real time?
SHAFIQ HICKS: I must say, that’s my favorite song of the show. For its hilarity yes, but the SONG itself is a bop. The beat is infectious. Even though I’m not in that number, I sometimes watch from the wings and watch as the audience reacts to the revelation in the song and how up until then they’ve been tapping along.
JHPENTERTAINMENT: Okay, I can’t chat with you and not ask about Saturday Night Live and your experience collaborating with Sam Smith, Aretha Franklin and others. What stands out most when you think back on that experience?
SHAFIQ HICKS: Being on SNL singing in a choir behind the one and only SAM SMITH…was a WILD experience…I just remember existing in the moment but also watching myself exist in the moment altogether. And with Ms. Aretha Franklin…I simply remember her bringing that infamous purse and fur coat, setting both on the piano…and rehearsal BEGAN. She was a tour de force vocalist, and an absolute blueprint for authenticity and soul.
JHPENTERTAINMENT: The General may not exactly be known for warm welcomes…but if you personally could go ring anybody’s doorbell just for the story it would create, who’s answering that door?
SHAFIQ HICKS: I’d pray it’d be a current or past Broadway composer for them to write a hit musical role for me, and cease this baritone erasure from the stages of Broadway and beyond. A certain Robert Lopez comes to mind *wink wink*.
The Book of Mormon returns to TPAC Tuesday, June 2 with shows continuing through Sunday, June 7. If this Rapid Fire Q&A is any indication, expect big laughs, wildly catchy songs, a few moments that may leave audiences clutching their pearls — yet, somehow, there’s a surprising amount of heart underneath all the chaos. CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.
Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us on Facebook, Instagram and X.
JHPENTERTAINMENT:
RAPID FIRE WITH WATER FOR ELEPHANTS‘ 
RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS
RAPID FIRE WITH WATER FOR ELEPHANTS’ 
RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH
At the center of the production is Zachary Keller as Jacob Jankowski, the grieving veterinary student who impulsively abandons his former life and jumps aboard the Benzini train. Keller anchors the production with a grounded sincerity and a soaring vocal performance that gives emotional weight to Jacob’s internal struggle between safety and risk, logic and passion. His voice carries a warm ache throughout the evening, particularly in moments when Jacob wrestles with the moral compromises surrounding the circus and his growing connection to Marlena. There are moments within Keller’s performance that the entire audience falls in love with his Jacob. Heck, there are moments his near-perfect pitch vocals fill the venue so melodically that you even wonder if he needs a mic. A true testament to his skills and those of the show’s sound designer Walter Trarbach and the entire technical team.
Opposite Keller (and Tully), Helen Krushinski delivers a luminous performance as Marlena, the circus star trapped inside an increasingly dangerous marriage. Krushinski possesses the kind of voice that cuts cleanly through the orchestrations without ever losing emotional nuance. She brings both fragility and fierce determination to Marlena, avoiding cliché and instead presenting a woman desperately searching for dignity and freedom amid chaos. Like so many of her ensemble cast mates, Krushinski also demonstrates a bit of impressive arial skills, adding a literal and figurative extra layer to her performance.
And yes — the aerial and acrobatic work is extraordinary. This production understands that circus artistry should not simply interrupt the narrative; it should become the narrative. Silks, balancing acts, lifts, and gravity-defying choreography emerge organically from the emotional life of the story. The transitions feel seamless rather than showy for the sake of applause. From the jump, as the circus ‘crew’ is setting up shop at their latest stop, even the pounding of the tent-stakes into the ground and the raising of the tent becomes a cadenced ballet of movement, acrobatics and mind-boggling balance and strength. This elegance of motion and bodily discipline becomes another character throughout.
Particular praise belongs to Yves Artières, whose physical performance as Silver Star, Marlena’s beloved show horse, becomes one of the evening’s unexpected emotional centerpieces. Through movement alone, Artières creates personality, loyalty, exhaustion, and tenderness in a way that feels almost impossibly expressive. In a key scene when Silver Star reaches his untimely end, the visual of his spirit leaving his body, by way of Artières ascending silks hanging from the rafters above the stage, then dramatically unfurling the silks as he descends to return to the earth–simply breathtakingly beautiful. The puppetry/animal work throughout the production is remarkably inventive, but Silver Star’s presence lingers long after curtain call.
The lighting design deserves enormous credit for shaping the show’s emotional landscape. Warm ambers, smoky blues, and stark silhouettes constantly shift the atmosphere from romance to danger to wonder. Combined with a richly textured sound design that captures both the intimacy of whispered confessions and the thunder of circus chaos, the technical package immerses the audience completely without ever feeling excessive.
One notable change is the role of Sweet Sue, bandleader of the all-girl band that serves as the perfect hiding in plain site destination for our two unintentional leading men, or should I say leading ladies? Little more than a brief appearance in the source material, Ruffin and Lopez wisely fleshed out Sweet Sue and as played by DeQuina Moore, we’re glad they did. Moore’s Sweet Sue doesn’t just open the show—she detonates it. Her “What Are You Thirsty For?” lands with the kind of electrifying force she herself described in our recent 
Leandra Ellis-Gaston’s Sugar Kane arguably comes with the steepest climb. Not because of the technical demands—though those are certainly present—but because Marilyn Monroe’s original Sugar remains so indelibly iconic. Wisely, the creators of the stage adaptation “understood the assignment,” sidestepping imitation entirely. By reimagining Sugar as a strong-willed, career-driven woman of color, the role becomes instantly unshackled from direct comparison—and Ellis-Gaston runs with it. With a speaking voice that lands somewhere between The Color Purple’s Squeak and legendary chanteuse Lena Horne, her Sugar is equal parts vulnerability and resolve. Sweet? Absolutely. But never simple.
As G-man Mulligan, Matt Allen plays the essential “straight man” with surgical precision, anchoring the show’s more outlandish antics while quietly setting up some of its biggest payoffs. As he said in our recent Rapid Fire 20Q, that role is not only necessary but foundational in launching the show’s farcical momentum. And when he finally gets to dip into the madness—particularly in that delightfully ridiculous undercover sequence—it’s a payoff worth the wait.
Minnie, Sweet Sue’s right-hand woman is revealed throughout as a bit of a sticky-fingered gal. One of the show’s running gags is her revelations of accidentally entering the wrong apartments thinking they were Sue’s and taking things that weren’t hers. To that end it makes perfect sense that Devon Hadsell’s Minnie is a scene-stealing delight, leaning fully into the character’s charming chaos and absconding with laughs each time she’s on the stage. There’s a lived-in sense of loyalty and mischief here, making Minnie far more than just comic relief. She’s an essential part of the heartbeat of the band. And that ever-present cigarette dangling from her ruby red lips, the kind of subtle sight gag that again perfectly pays homage to that 1930 prohibition-era Hollywood spirit. Side Note: When that Gregg Oppenheimer I Love Lucy play makes its way to Broadway, Hadsell has my vote for the Vivian Vance/Ethel Mertz role!
And then there’s Edward Juvier’s Osgood, who may just be the show’s most quietly radical reinvention. As he shared in our recent Rapid Fire 20Q, what drew him to the role was Osgood’s ability to lead with curiosity rather than judgment—and that ethos radiates throughout his performance. Where the film played him as the punchline, this version is in on the joke and, more importantly, in on the love. That shift—from caricature to fully realized romantic—becomes one of the production’s most meaningful evolutions.
Then there’s Doc. David Josefsberg’s take on the eccentric inventor is where the show truly locks into place. Wonderfully unhinged in the best way, his Doc balances manic comedy with genuine heart. His early numbers are the turning point where the audience collectively leans in and says, “Okay, I’m in.” Josefsberg doesn’t imitate—he reinvents, while still honoring what makes Doc such an iconic character.
And then there’s Cartreze Tucker as Goldie Wilson (and Marvin Berry), who nearly steals the entire show. From the moment he steps onstage, Tucker commands attention. His big number earns one of the largest audience responses of the night, and for good reason—his vocals are powerhouse-level, and his charisma is off the charts. It’s a star-making turn that injects an extra jolt of electricity into an already high-energy production.
Visually, the production is stunning. The use of projections, layered with practical effects and good old-fashioned stage magic and some mind-blowing state-of-the-art new theatrical tricks, the effects become a character in its own right. Whether it’s the clock tower sequence or the time-travel effects, the technical execution is nothing short of jaw-dropping. It’s the kind of design work that reminds you how thrilling live theatre can be when all the elements are firing.
Act Two does bring one of the more head-scratching moments in the show—a neon-soaked, new wave-inspired “21st Century” opening number featuring Doc and a troupe of backup dancers. It’s flashy and fun, but also feels a bit unnecessary and tonally out of sync with the rest of the piece. And on opening night in Nashville, it was followed by a rare hiccup: the hoverboard didn’t quite cooperate. Still, the moment was handled with total professionalism, and honestly, it was quickly forgiven given the sheer volume of technical wizardry the show gets right. Because when it works—and it mostly does—it really works.
RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER
JHPENTERTAINMENT: Marty’s wardrobe—from the puffer vest to the sneakers, perfectly reimagined for the stage by scenic and costume designer Tim Hatley—is instantly recognizable. What’s it like to put on that iconic costume each night and step into such a visually legendary look?
RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE
RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN
JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?
RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG
JHPENTERTAINMENT: Speaking of energy, one of the most entertaining elements of Back to the Future on stage is the theatrical magic courtesy the collaborative efforts of the show’s lighting designers Tim Lutkin & Hugh Vanstone, video designer Finn Ross, sound designer Gareth Owen and illusion designer Chris Fisher. Without giving away too much, what can you tell me about your favorite moment in the show where these elements all come together perfectly?
From the opening strains of the period-perfect ragtime-syncopated “Let Mother Vote,” maternally led by Mary Grandy‘s Carrie Chapman Catt and backed by a vocally powerful ensemble, Suffs makes it clear: this isn’t a museum piece. It’s a movement. The storytelling feels urgent, strong, and emotionally immediate—never preachy, always human.
As Ida B. Wells, Danyel Fulton commands attention with moral clarity, emotional precision and powerhouse vocals to rival a certain recent Broadway Gypsy. “Wait My Turn” simmers with justified frustration, and when she returns in “I Was Here,” alongside Mary Church Terrell (Trisha Jeffrey) and Phyllis Terrell (Victoria Pekel), the moment lands as a declaration of presence that resonates well beyond the period setting. Speaking of Fulton’s co-stars, Jeffrey brings elegance and resolve to Mary Church Terrell, particularly in “Hold It Together,” serving as an emotional anchor amid political fractures. Meanwhile, Pekel’s Phyllis as well as a later turn as Robin, reinforce the vitality of youthful exuberance necessary for any movement to continue into the next generation. Whenever any of these three talented performers are on stage, the audience is mesmerized and treated to stunning vocals.
Monica Tulia Ramirez’s Inez Milholland radiates charisma in “The March (We Demand Equality),” which she leads alongside Fulton’s Ida and the ensemble in one of the production’s most visually arresting sequences. Act I’s “Show Them Who You Are” showcases Ramirez’s sass while Act II’s reprise flips the script to haunting results. Milholland’s personal life and sacrifices poignantly reveal the true dedication these powerful, but often unsung heroes of the moment possessed.
Laura Stracko‘s Alva Belmont is boisterously brilliant. Gotta love a socialist socialite. Act I’s “Alva Belmont” introduces the character in a big way. With another period-nod, “Alva Belmont” is presented as a toe-tappin’ Tin Pan Alley-style ditty complete with playful, yet pointed lyrics: “I divorced my husband for philandering. Now I’ve got his millions for philanthropy.” Flawlessly introducing the character. Interestingly, while not really relevant to the plot, I discovered while researching to interview some of the cast that the real Alva Belmont, a native of Alabama, has ties-by-association to Tennessee. Her maternal grandfather, Robert Desha was a U.S. House of Representatives for the state of Tennessee. In the years before her political activism, she was first married to William Kissam Vanderbilt, the grandson of Commodore Cornelius Vanderbilt (for whom Nashville’s Vanderbilt University was named).
As President Woodrow Wilson, Jenny Ashman offers a sharply drawn portrayal. “Ladies” drips with calculated condescension (and sadly echoes a little too closely our current administration’s views on the arguably stronger sex, but I digress). Later in the show, Ashman’s Wilson attemps to placate with “Let Mother Vote (reprise)”, which lands with pointed irony. On Opening Night in Nashville, Ariana Burks stepped into the role of President Wilson’s Third Assistant Secretary of State Dudley Malone, a role usually played by Brandi Portert. Covering the role, Burks shines in “Respectfully Yours, Dudley Malone,” blending romantic sincerity with political awakening. Her chemistry with Marcus’ Doris in “If We Were Married” and its reprise adds warmth and texture to the broader narrative. Just one of a handful of relationships, while not at the center of the narrative, a wonderful aside. Other notable personal relationships alluded to within Suffs include sorority sisters Ida B. Wells and Mary Church Terrell, friends Alice Paul and Lucy Burns and longtime partners Carrie Chapman Catt and Mollie Hay.
RAPID FIRE WITH SUFFS‘ Carrie Chapman Catt, ACTRESS MARYA GRANDY
RAPID FIRE WITH SUFFS‘ Mary Church Terrell, ACTRESS 
RAPID FIRE WITH SUFFS‘ Phyllis Terrell and Robin, ACTRESS VICTORIA PEKEL
RAPID FIRE WITH SUFFS‘ Mollie Hay, ACTRESS TAMI DAHBURA
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.
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.