When The Book of Mormon first arrived on Broadway back in 2011, it felt downright dangerous. Not because of elaborate special effects or groundbreaking staging, but because it gleefully said the things most people wouldn’t dare say out loud. Fifteen years later, in a world where outrage often arrives faster than context and social media can turn a joke into a national controversy in warp-speed, one might wonder whether South Park creators Trey Parker & Matt Stone and Avenue Q’s Robert Lopez’s irreverent, bawdy and completely un-politically correct nine-time Tony-winning musical still lands with the same impact.
The answer, judging by the opening night audience at Nashville’s TPAC Tuesday evening, is an emphatic “Hello!”
Returning to Andrew Jackson Hall through June 7, The Book of Mormon remains exactly what its reputation suggests: outrageous, wildly inappropriate and frequently jaw-dropping. Yet, just as importantly, it remains what many of its detractors overlook—a surprisingly heartfelt story about friendship, faith, belonging and the stories people tell themselves in order to make sense of a complicated world.
For those somehow unfamiliar with the phenomenon, the musical follows an eager group of young Mormon missionaries dispatched from Salt Lake City to a remote Ugandan village facing poverty, disease and oppression. What begins as a fish-out-of-water comedy evolves into something considerably richer as the missionaries and villagers discover that belief, in all its forms, is often less about facts than it is hope.
And while the script remains largely unchanged from previous tours, this latest company brings fresh energy and personality to every role, making the show feel newly minted rather than a revival of a familiar favorite.
Leading the charge is Ethan Davenport, who takes on the pivotal role of Elder Price in this engagement. As Elder Price, Davenport embodies the character’s confidence, ambition and occasional arrogance with effortless charm. Blessed with a powerful Broadway tenor and an all-American leading man presence, he delivers “You and Me (But Mostly Me)” and the Act Two anthem “I Believe” with the kind of vocal confidence that anchors the entire production.
Opposite him, Jacob Aune’s Elder Cunningham is everything the role demands—awkward, lovable, wildly inappropriate and impossible not to root for. Cunningham is essentially a walking collection of half-remembered science fiction plots, social anxiety and misguided optimism & a bit of a walking, talking South Park character in human form, and Aune embraces every glorious second of it.
More importantly, he finds the humanity beneath the character’s compulsive storytelling. While the laughs come easily—and there are many—the emotional core of the show ultimately rests on Cunningham’s desire to matter. Aune never loses sight of that, making the character’s journey feel genuinely earned.
Yet it’s Craige Franke as Elder McKinley where Franke truly steals scenes. His performance of “Turn It Off” is a masterclass in comic timing, complete with dazzling choreography, impeccable facial expressions and enough jazz hands to illuminate Broadway itself. Heck, the featured ensemble during “Turn It Off” is simply tap-tactic. Having spent years with the company in multiple capacities, Franke understands this material inside and out, and it shows. His cheeky, campy cameo in “Scary Mormon Hell Dream”, helps make it a glittery, shockingly hilarious dream indeed, but more about that later.
One of the evening’s biggest delights comes courtesy of Rayna J. as Nabulungi, stepping in for Music City’s opening night for an absent Charity Arianna. Making her professional theatre debut on a national tour would be enough pressure for most performers. Doing so while carrying one of the show’s most beloved roles feels downright unfair. Fortunately, J. rises magnificently to the challenge. Her Nabulungi radiates warmth, optimism and sincerity, providing the show’s emotional center amidst the chaos. Her rendition of “Sal Tlay Ka Siti” is beautifully sung and genuinely moving, reminding audiences that beneath all the satire and profanity lies a story about people searching for something better. J. also electrifies her scenes with Aune’s Cunningham, particularly during “Baptize Me,” a number whose hilariously escalating misunderstandings remain one of the funniest sequences in modern musical theatre.
As The General, Shafiq Hicks delivers one of the production’s most commanding performances. Possessing a booming stage presence and undeniable authority, Hicks makes an immediate impression from the moment he appears. His performance of “Hasa Diga Eebowai” earns exactly the reaction one hopes for from first-time audiences: gasps, nervous laughter and a collective realization that The Book of Mormon intends to push every button it can find. Yet Hicks doesn’t just play the role as a caricature. Instead, he grounds the character in a reality that gives the surrounding comedy greater impact.
Elsewhere, Jonathan Grunert proves remarkably versatile while juggling multiple roles including Price’s Dad, Joseph Smith, Missionary Voice and Mission President. Jarius Miquel Cliett makes a strong impression as Mafala Hatimbi.
The entire ensemble deserves special recognition as well. From the opening strains of “Hello” to the curtain call, they maintain an infectious level of energy that never dips. Whether executing the show’s precise choreography, navigating lightning-speed costume changes or delivering some of the evening’s biggest laughs, this company operates like a well-oiled machine, or, in The Book of Mormon terms, like a bunch of maggots tunneling through one’s scrotum! Trust me, in this case, that’s a good thing!
Casey Nicholaw’s Tony-winning choreo remains as impressive as ever. “Turn It Off” continues to be an absolute showstopper, while the aforementioned “Spooky Mormon Hell Dream” remains one of Broadway’s most delightfully unhinged production numbers. Gotta love the updated addition to the list of hell-bound evil-doers joining the likes of Hitler, Genghis Khan and Johnny Cochran, but I’m gonna redact that name so as not to spoil the surprise. Suffice it to say, the audience reaction to this hellacious human was just as I hoped it would be. Keeping it fresh with updated references is just another way The Book of Mormon keeps their audiences on their toes. A running gag in the show features Elder Cunningham frequently calling Nabulungi the wrong name. Everything from Neutrogena to Necrophilia…a clever comical callback with each name, so much so that I found myself eagerly anticipating what he’d call her next. My personal favorite new addition to the list…Ozempic. Add in the hilarious spectacle of “I Am Africa” (gotta love a bunch of self-righteous white boys declaring representation and solidarity with the African nation) and the show boasts enough memorable musical moments to satisfy even traditional musical theatre fans.
What continues to impress most about The Book of Mormon, however, is how successfully it balances satire with sincerity. Yes, there are jokes that will make some audience members cringe. Yes, there are moments where you’ll likely find yourself laughing before immediately wondering whether you should have. And yes, Parker and Stone remain equal-opportunity offenders. Nobody is safe from ridicule in their The Book of Mormon world But beneath the profanity, religious satire and outrageous punchlines lies a surprisingly compassionate message about empathy, community and finding common ground despite differing beliefs.
When I first saw The Book of Mormon, I compared it to the classic CBS Norman Lear-driven sitcom All in the Family. Much like that boundry-pushing TV juggernaut, The Book of Mormon uses comedy not simply to provoke, but to hold up a mirror. The laughter may be loud, but the observations underneath it are often surprisingly thoughtful.
Fifteen years after its Broadway debut, The Book of Mormon remains one of the funniest musicals ever written. More impressively, it remains one of the smartest. And judging by the roar of laughter echoing through TPAC Tuesday night, Nashville audiences are still more than happy to answer the doorbell.
The Book of Mormon‘s latest return to TPAC runs Tuesday, June 2 through Sunday, June 7. CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.
Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us on Facebook, Instagram and X.
In case you missed it, check out my recent Rapid Fire Q&A with The Book of Mormon‘s cast members Craig Franke, Charity Arianna & Safiq Hicks.
RAPID FIRE WITH BOOK OF MORMON’s ELDER McKINLEY, CRAIG FRANKE
RAPID FIRE WITH BOOK OF MORMON’s NABULUNGI, CHARITY ARIANNA
RAPID FIRE WITH BOOK OF MORMON’s GENERAL, SAFIQ HICKS
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