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Rapid Fire 20Q: ‘Death Becomes Her’ National Tour’s Jackie Burns, Kristen Beth Williams, Ken Marino & Nasia Thomas Dish with JHPEntertainment on Undying Beauty, Backstabbing and Broadway’s To-Die-For Musical!

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Madeline Ashton and Helen Sharp have never exactly been poster children for healthy female friendships. Throw in a little eternal youth, a questionable potion, a whole lot of plastic perfection, and enough theatrical special effects to make a Hollywood stunt coordinator sweat, and you’ve got the deliciously wicked musical comedy Death Becomes Her, now on tour across North America.

As the national tour prepares to bring its particular brand of immortal insanity to Nashville’s Tennessee Performing Arts Center (505 Deadrick Street), with performances Tuesday, November 3 thru Sunday, November 8,  JHPEntertainment caught up with four of the show’s stars: Jackie Burns (Madeline Ashton), Kristen Beth Williams (Helen Sharp), Ken Marino (Ernest Menville) and Nasia Thomas (Viola Van Horn). From divalicious backstage habits and elaborate costume changes to onstage rivalries, supernatural secrets and the occasional giant couch looming overhead, these four have plenty to say about life on the road, playing larger-than-life characters, and the eternal question of just how far one should go to look fabulous.

Based on the 1992 cult-classic film starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, this Tony Award-winning musical takes the original’s deliciously twisted tale of vanity, jealousy and immortality and gives it a gloriously over-the-top Broadway makeover. With a razor-sharp score by Julia Mattison and Noel Carey, spectacular costumes by Tony Award-winning designer Paul Tazewell, and enough outrageous physical comedy to make defying gravity look like child’s play, it’s a theatrical spectacle that proves some things really are forever. Unfortunately, common sense isn’t one of them. So slather on your favorite beauty serum, leave your mortal insecurities at the door, and get ready for a Rapid Fire 20Q that’s anything but dead on arrival!

RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF DEATH BECOMES HER NATIONAL TOUR

RAPID FIRE WITH JACKIE BURNS, MADELINE ASHTON IN DEATH BECOMES HER

JHPENTERTAINMENT: Madeline Ashton is a woman who believes the world revolves around her. This isn’t your first time playing a diva, after all, as you hold the record for having played Elphaba more than any other actress, with 1,300+ performances spanning two Wicked National Tours and two stints on Broadway. Not to mention, you took on the role of THE DIVA Celine Dion in a six-month run of the off-Broadway fan favorite Titanique! So, I gotta ask… What’s the most divalicious thing about Jackie Burns while on tour with Death Becomes Her?

JACKIE BURNS: Well, every fierce diva needs their little doggie, so naturally I’m traveling with mine! She comes with me everywhere!

JHPENTERTAINMENT: Love it! My own little Desilu is sitting at my feet as I type this. Both Madeline and her longtime frenemy Helen are obsessed with their looks and their attempts to stay young and beautiful… at any cost. Not that you’d ever need it, but just for fun, what’s the craziest beauty treatment you’ve ever heard of?

JACKIE BURNS: I mean, I’d love to go to Korea and try it all!

JHPENTERTAINMENT: Madeline and Helen’s relationship is practically the gold standard for toxic friendships. What is it like working opposite Kristen Beth Williams? And, a month into the National Tour, how are you two keeping that onstage rivalry sharp, unpredictable, and hilariously personal night after night?

JACKIE BURNS: I absolutely adore KB. I think our personalities complement each other on and off stage. We are both game to play and try new things, so it keeps things fresh every night!

JHPENTERTAINMENT: Your Death Becomes Her bio simply begins with “Jackie Burns is doing it For the Gaze!” I believe the appropriate current vernacular response is “Yes! Mother!” So, thank you for that. On the subject of your Act One debut number, the rapid costume changes in “For the Gaze” are mind-bogglingly fast and fabulous. Of the six costumes featured in that number, as well as the others created by Tony-winning costume designer Paul Tazewell, do you have a personal favorite?

JACKIE BURNS: First of all, thank you!!! “Gaze” is the Olympics of costume changes! It’s like getting shot out of a cannon in the best way. If I had to choose one costume, I think it would be the blue dress reveal.

JHPENTERTAINMENT: Having a showstopper like “For the Gaze” right out of the gate sets a high bar for the rest of the show, yet somehow Julia Mattison and Noel Carey, who collaborated on both the music and lyrics, manage to keep the tuneful quips coming. “Falling Apart” is brilliant… lyrically hilarious and vocally, technically challenging. “Remind them who the fuck you are” may be my favorite lyric ever! What’s one lyric or line of dialogue in the show you relish repeating?

JACKIE BURNS: Ooof, that’s a tough question. Julia and Noel have written some of the most brilliant lyrics I have ever heard. To pick one is next to impossible. Every night a new one hits me. But off the top of my head… “Is it the fact that I’m attracted to each kernel of external validation in the world that keeps me insecure to sell me needless crap. Or is it something new.”

RAPID FIRE WITH KRISTEN BETH WILLIAMS, HELEN SHARP IN DEATH BECOMES HER

JHPENTERTAINMENT: Helen Sharp begins as the woman who has been wronged and underestimated, but revenge has a way of bringing out someone’s inner diva. While preparing for the current national tour, what helped you shape your version of Helen Sharp?

KRISTEN BETH WILLIAMS: Honestly, the blueprint of this character, established by Goldie Hawn in the film and Jennifer Simard on Broadway, was the perfect guideline to help shape my version of Helen. Of course, I am not either one of those incredible women, so I’m never trying to be either one of them or do exactly what they did. I can only do what I do best. I love delving into a character (figuring out what makes them tick, what drives them) and letting those discoveries inform my character choices. Helen is delightfully unhinged, and it is incredibly fun getting to step into her shoes eight times a week.

JHPENTERTAINMENT: You and Jackie Burns get to turn a decades-long grudge into theatrical gold. How do you build that combustible chemistry with Jackie, balancing the genuine history between Madeline and Helen with the sheer joy of watching these two women try to destroy each other?

KRISTEN BETH WILLIAMS: Jackie and I have such “girl crushes” on each other. We have a great relationship offstage, and I think that translates to what audiences see onstage. Madeline and Helen are smart, witty, and absolutely cutthroat with each other. The fact that they end up spending eternity together is icing on their karma-cake. Jackie and I truly have the best time going on this journey together every night.

JHPENTERTAINMENT: Helen’s transformation is one of the story’s great turning points, and the musical takes the physical comedy and special effects to a whole (or should I say ‘hole’) new level. Without giving away the tricks of the trade, what has been the most challenging or surprising part of making Helen’s increasingly unconventional condition work onstage?

KRISTEN BETH WILLIAMS: One of our colleagues asked me a similar question in rehearsal…she asked, “is it weird that every time you come onstage you’re a different version of this character?” Yes and no. That’s one of the most challenging parts of playing Helen, but it’s also the most fun. The audience gets to see her at every point in her journey. The challenge for me is making sure I remember where in the arc I am and staying truthful to what Helen is going through at each point.

JHPENTERTAINMENT: The original movie is a beloved pop-culture touchstone, but the musical gives Helen a voice — quite literally — through a score that lets her tell her story in a new way. How has the music deepened your understanding of Helen, and is there a particular number that reveals something about her you particularly enjoy?

KRISTEN BETH WILLIAMS: Julia Mattison and Noel Carey have given us such an incredible score. Their lyrics are smart, the tunes are catchy…it’s everything you want in a musical. I love all of Helen’s songs, but I think a particular fan favorite is “Madeline.” I had a fan (of the show) stop me at the stage door the other day and tell me I really looked like I could escape a mental institution. I think that’s one of the best compliments I’ve ever received! #achievementunlocked

JHPENTERTAINMENT: Within the plot of Death Becomes Her, Helen has authored a glamorous lifestyle guide. If you were to write a book, what would it be titled AND what would it be about?

KRISTEN BETH WILLIAMS: Yes, the book title in the film is Forever Young. The book title in the musical is Hollywood Ending, which is funny because there has recently been a book released with that same title (by John Green). If I were to write a book, and let’s say I was keeping with Helen’s theme of writing a memoir, I would call it Cover Girl (with the subtitle “tales of a Broadway understudy”).” If I were to write a work of fiction, it would either be historical fiction, romantasy, or a murder mystery. But I think I’ll leave the writing to the writers.

RAPID FIRE WITH KEN MARINO, ERNEST MENVILLE IN DEATH BECOMES HER

JHPENTERTAINMENT: Audiences know you from your many television and film roles, including my personal favorite, your work on HBO Max’s The Other Two. Now you’re taking on Ernest Menville in Death Becomes Her. While you’re no stranger to the stage, it’s been a minute since you appeared in the 1992 stage adaptation of A Few Good Men. What has surprised you most about your return to live theatre, an effects-filled, grand-scale musical, no less, where there’s no editing, no second take, and absolutely nowhere to hide when the comedy goes gloriously off the rails?

KEN MARINO: I think I’d forgotten how much you have to be there for it. You can’t say, “We’ll fix that in post.” If a laugh comes late, or something goes a little sideways or I do something dumb because I’m a big dummy, everyone has to figure it out together. And that’s kind of great. The audience isn’t watching the same show every night. They’re part of the weather and the weather changes every night, which I love.

JHPENTERTAINMENT: Ernest finds himself caught between Madeline Ashton and Helen Sharp, two women whose capacity for revenge is matched only by their determination to look fabulous doing it. What’s it like sharing the stage with your two leading ladies, Jackie Burns and Kristen Beth Williams?

KEN MARINO: Jackie and Kristen are both so good. They’re funny, they’re generous, and they’re incredible at what they do. They make it look so easy, I’m learning a lot from them. I’m lucky to be in scenes with them. Ernest may be having a rough time, but I’m having an incredible time at work watching them work. And on top of that, I also get to watch Nasia Thomas perform every night, which is like this beautiful gift. Her voice is silk. I feel very lucky that I get to work with these three enormously talented women. I’m mostly there to be the tall one and stay out of the way.

JHPENTERTAINMENT: What have you discovered about Ernest that makes him more than just the poor guy caught in the middle of an immortal feud?

KEN MARINO: His name is Ernest, and he really is earnest. He cares about these women, he wants to do the right thing. He just tends to figure out what’s happening a few seconds after it’s already happened. He’s always a couple of steps behind, trying to catch up and hoping he can still fix it. That feels very human to me. And very… Ernest.

JHPENTERTAINMENT: This isn’t exactly a minimalist living-room musical. Between the elaborate staging, rapid-fire physical comedy and mind (and body)-bending special effects, the production has a lot happening around you. What’s been the biggest adjustment in learning to perform within a spectacle of this scale, and have you had any close calls with the theatrical magic in the month since you guys set out on the road?

KEN MARINO: The biggest adjustment is just learning where to be, when to be there, and then doing the scene like it’s all perfectly normal. There’s a lot happening around you, and the crew is so precise and so good at what they do. I haven’t had a real close call, thankfully. But sometimes you’re standing in the wings with a giant couch hanging over your head, thinking, “I know this is safe, but also, is this giant couch hanging over my head going to crush me tonight?” That keeps you present.

JHPENTERTAINMENT: Without giving away Ernest’s ending in the stage musical, let me just ask you one final simple question… While Madeline and Helen are obsessed with artificial perfection, Ernest seems to eventually find true fulfillment in the simple joys of life. What does fulfillment look like to you, Ken?

KEN MARINO: My family, my friends, getting to do work I care about, living in the moment and being able to laugh a lot. Oh, and being able to sit down and eat good food without checking the time. I like eating food and I like taking my time when I’m doing it. That’s a pretty good day. I think fulfillment is less glamorous than we expect. Which is good, because I’m a big dummy and not particularly glamorous.

RAPID FIRE WITH NASIA THOMAS, VIOLA VAN HORN IN DEATH BECOMES HER

JHPENTERTAINMENT: Let’s just get into it. Don’t tell Madeline or Helen, but from her first pivot on stage in that glorious amethyst crystal-encrusted gown, Viola Van Horn proves herself one to watch! So… how much does that dress and coat weigh, and how much fun are you having playing the instigator of all things Death Becomes Her?

NASIA THOMAS: Much like myself, Viola doesn’t really believe in the idea of traveling light. The coat itself is approximately 8 pounds, but the gown underneath is 13 pounds! However, I do believe it’s worth the weight to be able to wear these incredible costumes by Tony and Oscar winner Paul Tazewell! A small price to pay to be fierce! The coat is actually 10-15 pounds LIGHTER than the one used on Broadway. They had to scale it down because it had to be able to tour, and my back is thankful for that! Ha!

Playing Viola is honestly such a dream. To be able to step in and fill the shoes (pumps) of the incredible Michelle Williams is mind-blowing. Also, there’s something thrilling about playing a character who walks into a room and shifts the energy without having to lift a finger. She knows who she is, what she has, and what everyone wants. I’m basically getting paid to be mysterious and glamorous. Sounds good to me!

JHPENTERTAINMENT: Viola may be the one holding the secret to eternal youth, but she’s also the catalyst who sends Madeline and Helen’s rivalry into overdrive. How do you approach being the formidable force between two larger-than-life personalities while ensuring Viola remains a fascinating character in her own right?

NASIA THOMAS: I think what’s really cool about Viola is that she’s not in competition with Madeline and Helen. While they are competing with each other, she is playing an entirely different game. And like Viola would say, you don’t compete where you don’t compare lol!

I approach her with confidence, control, and some humor on the side. She has to be likable. I don’t believe she is the person that comes off unapproachable because she’s mean or scary. I think she’s the one people WANT to be around because of her magnetism and personality. I want people to feel like she’s the cool girl people want to be like and also want to grab a drink with. She doesn’t need to be the loudest person in the room in order to get her point across, because she already knows she’s the most powerful person in the space. It’s so fascinating when you don’t feel like you need to prove yourself. And that’s a lesson that I am learning from playing Miss Van Horn.

Tactic? There are so many layers, ya know? Some would say manipulation, I say seduction of sorts. She knows exactly what buttons to press and how to press them. She’s really just giving them what they want, and they have to learn the lessons and consequences that come with it by themselves. After all, she did give them a warning.

JHPENTERTAINMENT: This production is packed with illusions, spectacular transformations and technical wizardry that practically dares audiences to question what they’re seeing. How much coordination does it take to make Viola’s magical world feel effortless, and is there a particular stage effect that you especially love being part of?

NASIA THOMAS: I honestly owe that to all of the brilliant people who are working behind the scenes to help create this world. Everyone from stage management to wardrobe to lighting to hair to makeup to props to scenery, to sound, to illusion. Truly everybody is essential in creating this world. So much so that I don’t really have to do anything but bring the craft and the storytelling to the center of it. I think one of the coolest things about live theater is that our job as performers is to make the audience forget that there is so much machinery that’s happening in order to create this world. All they have to do is sit back, relax, and believe in the magic.

My favorite illusion that I get to be a part of is at the very end of the show. I don’t want to give it away because I don’t want to spoil the magic. But hearing the audience go crazy every night when it happens is so satisfying.

JHPENTERTAINMENT: The potion Viola offers comes with a rather significant catch, and the musical turns that bargain into a wonderfully theatrical exploration of beauty, power and mortality. What do you think Viola understands about the price of eternal youth that Madeline and Helen don’t, at least initially?

NASIA THOMAS: I think that Viola understands that there is a difference between living forever and truly just living your life. Madeline and Helen get so wrapped up in their competition and their vanity that they don’t stop to consider what living forever actually looks like and what it means. They’re too focused on the potential of what they could gain versus the sacrifices that they have to make in order to get there. They aren’t stopping to think that forever is a very long time to think about their decisions.

I also think in order for Viola to be successful at selling the potion, she has to understand the idea of humanity and all the things that make humans the complex, beautiful beings that they are. Things like their insecurities, vanity, the need to be desired, validated, and wanted. And also the price that people would pay to get those things. While this show is a fun, hilarious good time, I do think that it leaves you with the question of how much value we place on appearance and desirability, and what sacrifices big or small are we willing to make in order to achieve and maintain “perfection.” And the thing is, we all know that living forever doesn’t cure your insecurities or your desire to be validated, etc. It kind of just gives you an eternity to have to deal with it. Ha!

JHPENTERTAINMENT: Viola has the kind of secret that could make her the most sought-after woman in Hollywood, Broadway and every beauty clinic in between. If you could borrow one of her supernatural abilities for 24 hours, what would you choose, and what would you absolutely refuse to do with it?

NASIA THOMAS: Honestly, I would borrow her ability to wake up and be completely flawless. Doing eight shows a week while also trying to be a fully realized human being outside of this job is quite the task. Being able to wake up in the morning flawlessly and know that I can get through my day effortlessly sounds like a dream.

Jackie Burns, Ken Marino, Kristen Beth Williams and Nasia Thomas star in the National Tour of ‘Death Becomes Her’

Having just kicked off the National Tour in September, Death Becomes Her brings its wickedly entertaining fun to TPAC’s Jackson Hall November 3–8. Whether you’re a longtime fan of the original film or simply someone who appreciates a little murder, mayhem and magnificent musical theatre, this is one beauty treatment that comes with a whole lot of theatrical bang for your buck. Expect dazzling costumes, outrageous comedy, spectacular stage magic and two women whose definition of happily ever after could use a little adjustment. After all, youth may be wasted on the young, but revenge, apparently, is forever. And in the world of Death Becomes Her, looking fabulous while falling apart is par for the course.

Performance schedule is as follows: Tuesday, November 3 thru Saturday, November 7 Evening performances at 7:30 p.m. Saturday, November 7 matinee at 2p.m., Sunday, November 8 matinee at 1p.m.* and a final Music City performances Sunday, November 8 at 6:3 p.m. (*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.)

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through September 2027. You can also follow Death Becomes Her on Insta, Facebook, TikTok, X and YouTube.

Following  Death Becomes Her, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with A Beautiful Noise: The Neil Diamond Musical on stage at Jackson Hall January 5-10. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

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

Theatre Review: Timeless Classic Finds New Meaning in Beautifully Sung ‘The Sound of Music’ National Tour; at TPAC thru Sunday, October 18

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Jack O’Brien’s touring production of Rodgers and Hammerstein’s beloved musical The Sound of Music at TPAC thru Sunday, October 18, delivers gorgeous vocals, grand theatrical storytelling and a timely reminder that love, hope and the courage to stand up for what’s right never go out of style.

Sharing a birth year (yes, I’m that old) with the iconic film adaptation I’ve watched the movie version of The Sound of Music pretty much every year of my life. I’ve seen previous national tours, along with numerous regional and local productions over the years. So, admittedly, I, like most, arrived at TPAC’s Jackson Hall with all the familiar melodies, memorable characters and iconic moments already tucked away in my memory. But something rather wonderful happened this time around: I found myself really listening to the lyrics. And in doing so, I discovered a fresh appreciation for a nostalgic family favorite I thought I knew inside and out. My date for the evening, a huge fan of the film, had never seen the original stage musical, adding another layer to our evening, as she discovered songs omitted from the film that remain in this faithful return to the hills. And, yes, in case there’s any doubt, the hills are indeed still alive with The Sound of Music.

That’s the magic of Rodgers and Hammerstein’s legendary work. Beneath the songs we can practically sing in our sleep is a story with a great deal more on its mind than nuns, children, curtains-turned-playclothes and a certain troublesome case of the yodeling goats. This is a story about finding where you belong, learning to love when life takes an unexpected turn, protecting the people who matter most and finding the courage to stand up for your convictions when doing so comes at a cost.

The current national tour, directed by Jack O’Brien, delivers all the warmth, romance, humor and heart audiences expect, while allowing the show’s more serious themes to resonate without weighing down its infectious spirit. It’s an uplifting theatrical experience, beautifully sung and staged with the sort of attention to detail that makes spending an evening with an old favorite feel like a genuinely special occasion.

At the center of it all is Cayleigh Capaldi as Maria, the spirited postulant whose restless nature and love of music make her a less-than-perfect fit for convent life. Perhaps looking more like our ideal of Beauty and the Beast‘s Belle than the embedded Julie Andrews image many have of Maria Rainer, Capaldi brings an appealing freshness to the role, capturing Maria’s exuberance, vulnerability and determination without turning her into a one-note bundle of sunshine. Her vocals are lovely. More than lovely, she approaches the beloved tunes with vitality and she handles the score’s familiar melodies with warmth and clarity, Immediately making Maria her own. Whether she’s introducing the von Trapp children to the joys of singing or discovering that her own heart has plans she never anticipated, Capaldi makes Maria’s journey feel sincere and relatable. There’s a reason this character has enchanted generations of theatergoers, and Capaldi gives us plenty of reasons to fall for her all over again.

Kevin Earley is equally compelling as Captain Georg von Trapp. Initially stern and emotionally guarded, Georg has built his household around discipline and order in the wake of personal loss. Earley gradually reveals the tenderness beneath that carefully maintained exterior, allowing the captain’s transformation to unfold naturally rather than rushing toward the inevitable romance. His chemistry with Capaldi gives the relationship a convincing emotional foundation, and his performance of “Edelweiss” is a particular highlight. It’s a deceptively simple song, but in Earley’s hands it becomes a crystal clear, heartfelt expression of love for a home and a country whose future is growing increasingly uncertain. Listening to those lyrics in the context of the story gives the moment an emotional weight that’s easy to overlook when the melody is so familiar. Add to that the current state of our own tenuous political climate and it creates a moment all too real.

Then there’s Lisa Howard as the Mother Abbess. Having only recently joined the tour last month, Howard brings a commanding presence and goosebump-inducingly beautiful vocal power to the role. Howard understands that the Abbess is more than a wise spiritual guide who appears to dispense a bit of well-timed advice. She is a woman who recognizes Maria’s gifts and knows that a life of faith sometimes requires trusting the path that leads beyond the convent walls. Howard’s “Climb Ev’ry Mountain” is a stirring showcase, delivered with the kind of soaring, full-bodied vocals that make you want to sit back and let the music wash over you. It’s one of those numbers that reminds you why hearing a great musical performed live is an experience no movie soundtrack can quite duplicate. I have a confession for the Mother Abbess. Listening and watching her command that stage…and the audience in one of the show’s more personal moments, I was awash with emotion, so much so that my “eyes began to sweat”.

As Elsa Schraeder, Kate Loprest brings welcome dimension to the Baroness, Georg’s sophisticated, gorgeous and wealthy romantic interest. In the hands of lesser talent, Elsa could easily be played as the obstacle standing between the captain and Maria, but Loprest gives her intelligence, polish and a very human understanding of what she wants from life. There’s a believable charm to her performance, and she makes Elsa more than a convenient plot device. Nicholas Rodriguez is also a delight as Max Detweiler, the charming, opportunistic family friend whose wit and social savvy provide some welcome comic relief. Rodriguez gives Max plenty of personality, balancing his playful nature with an awareness of the increasingly dangerous political climate surrounding them. Perhaps it’s my own observation, but as presented this go-round, Max’s flamboyance is giving closeted, making his political leanings yet another layer. It’s also most hidng in plain sight or if you can’t be ’em, join ’em vibe. Still another mirror to today’s world and the ever-perplexing Log Cabin Republican.

 Ariana Ferch brings a lovely combination of youthful excitement and vulnerability to Liesl, the eldest von Trapp child. Her performance of “Sixteen Going on Seventeen” captures the dizzying thrill of first love, even as IYKYK audience members may recognize that the romance she imagines is not quite as straightforward as she hopes. The number is a charming highlight, and Ferch makes Liesl’s coming-of-age story an engaging part of the larger family portrait. But that’s not the extent of Ferch’s approach to the eldest von Trapp. Her initial hesitation to foster a relationship with the latest governess seems genuinely to come from a place of a guarded heart, rather than a spoiled oldest child, making the eventual mutual respect and friendship she shares with Maria all the sweeter.

As Liesl’s would-be young suitor, Dylan Bradford‘s Rolf manages to portray both falling in love and falling in line with conviction. Again, though most watching know their relationship is doomed, Bradford and Ferch are so compelling in their portrayal of young love that we all hope against hope that love will inevitable win out.

And what would The Sound of Music be without the rest of the von Trapplings? (YES, I completely stole that moniker from my recent chat with Earley who used it in reference to his young costars in my latest Rapid Fire 20Q with members of the company) Each and every one of the young performers bring plenty of personality and enthusiasm to the production, creating a convincing sibling dynamic that helps the family feel like a family rather than a collection of talented youngsters waiting for their musical cues. Cooper Johnson‘s Frederich shows eagerness to step up into the man of the family role, yet retains a youthful uncertainty. Lilly Belle Lanese‘s Louise possesses one of the most incredible voices of the younger cast. As Kurt, Charlie Palmer‘s playfulness infectious. Stormie Piper Trevino‘s little instigator, Brigitta, whose observances become pivotal to the romantic rise, is a firecracker. Rory L. Prichard‘s Marta exemplifies the sweetness of a young girl eager to bond with her new governess. Emma Rose Marinoff‘s Gretl is a pint-size scene stealer. “Do-Re-Mi” is every bit as delightful as it should be, while “So Long, Farewell” delivers that irresistible blend of playfulness and charm that has made it a perennial audience favorite. The children are an essential part of the show’s charm, and this ensemble gives the musical plenty of heart.

Among the supporting performances, Laura Stracko makes a welcome impression as Frau Schmidt, the von Trapp household’s housekeeper. Having joined the tour recently following her recent stint in the National Tour of Suffs, she seamlessly brings a grounded, reassuring presence to the household, helping establish the everyday rhythms of life in the estate as the world outside grows more complicated. And, listen, even from the back of the house, when Stracko’s Frau Schmidt throws a disapproving glance, you feel it. As Franz, the von Trapp family butler, John Adkinson is the perfect combination of snark and secrecy as his loyalties shift from the family to the third reich.  Daniel Robert Sullivan gives Herr Zeller the sternness and self-assurance the character requires, providing a chilling reminder that the political threat developing around the family is not merely something happening in the background. Sullivan’s Herr Zeller is brutish without stepping into stereotype or caricature. These roles may not command the spotlight in the same way as Maria or the captain, but they contribute meaningfully to the world of the show.

Oh, and can we talk about The Sound of Music‘s very own Sister Act? Alongside the aforementioned Lisa Howard as Mother Abbess, Charlotte Jenkins as Sister Margaretta, Connor Lyon as Sister Sophia and Lisa Rosetta Strum as Sister Berthe are, well, heaven-sent! When the curtain rose at the top of the show and the sisters began “Preludium”, I leaned over and to my theatre companion and said, “I usually skip this part when watching the movie”, but I’m here to tell you…live, on stage, as performed by these talented vocalist, it’s breathtaking. Bookended by the show’s closing “Finale Ultimo”…a little taste of perfection from beginning to end.

The production values are every bit as transporting as the score, with scenic designer Douglas W. Schmidt delivering the kind of grand, sweeping backdrops that call to mind the glory days of old-school Broadway musicals. The Abbey and the von Trapp estate are especially impressive, each establishing a distinct sense of place while giving the story room to unfold on an appropriately expansive scale. Even the movement of the tracked scenic panels, as walls follow actors to transition from one scene to the next, is impressive.

Even the use of projected backdrop imagery is woven into the scenery so seamlessly that it never feels like a technical shortcut; instead, it deepens the atmosphere and makes each setting feel wonderfully alive. One particularly beautiful touch comes inside the Abbey chapel, where shafts of smoky, ethereal light appear to stream through the stained-glass windows. The effect is so convincing and so naturally integrated into the scene that you could easily mistake it for actual light filtering through real glass rather than a carefully crafted theatrical illusion. It’s a lovely example of how the work happening behind the scenes can create a little stage magic without ever calling attention to itself. It’s also a testament to the advances in technical aspects made since the show debuted on stage more than 65 years ago, and how they are being used to bring this story to modern audiences. That’s not to downplay Natasha Katz’s actual lighting. Katz’s skilled traditional lighting effects, blended with the latest advances in tech add dimension and atmosphere, enhancing both the intimate moments and the production’s larger theatrical images, Jane Greenwood’s costumes help establish the characters and their world, from the formal elegance of the adults–I’m looking at you Baroness–to the practical, playful outfits that become part of Maria’s transformation of the children’s lives. Under O’Brien’s direction, the various elements work together to create a polished, engaging production that understands the importance of spectacle while never losing sight of the people at the center of the story.

Of course, the music remains the beating heart of The Sound of Music. “My Favorite Things,” “The Lonely Goatherd,” “Climb Ev’ry Mountain,” “Edelweiss” and the title song are woven so deeply into popular culture that it’s easy to take them for granted. Yet hearing them performed live, in the context of the story and by a cast that embraces both their musical demands and emotional meaning, brings them back into focus. Elevating the experience, there’s also tunes like “How Can Love Survive?” and “No Way to Stop It” that were cut from the 1965 movie, but are in full effect in the stage musical, potentially giving even the most ardent fan of the film something new to add to their list of favorite things. Added Bonus: both of these numbers feature Max and Elsa, rightfully bolstering their presence in the action of the musical. The score is full of melodies that invite you to sing along, but the lyrics also tell us who these people are, what they fear, what they hope for and what they’re willing to risk.

That deeper meaning becomes especially apparent as the story moves toward its final act. The von Trapps’ decision to resist the forces attempting to claim their allegiance gives the musical a seriousness that contrasts with its earlier buoyancy. I gotta admit it, during the singing competition near the end of Act 2, while the von Trapps poured their hearts into “Do-Re-Me” and “Edelweiss” with four Nazi flags as the backdrop, another emotional wave washed over me, for are we really so far from a repeat?  As it is in the story, sadly, so is the current state of our world. The danger is real, the choices are difficult, and the family’s escape is about much more than reaching a safe destination. It’s about deciding what kind of people they want to be and what they are prepared to sacrifice to remain true to themselves.

And that, perhaps, is why The Sound of Music continues to speak to audiences across generations. Its optimism isn’t rooted in pretending that the world is always kind or that doing the right thing is easy. Instead, it suggests that music, love, family and personal conviction can help us find our way through even the darkest moments. That’s a message worth hearing again, especially when a production gives us so many reasons to listen.

I went into this performance expecting to revisit a familiar favorite. I left with a renewed appreciation for the songwriting, the story and the remarkable ability of live theater to reveal something new in material we think we already know. With its standout vocal performances, impressive scenic design, charming ensemble and generous supply of heart, this national tour offers a thoroughly satisfying evening of musical theater. If, like me, you’ve watched the movie more times than you can count, consider this an invitation to experience The Sound of Music again—but this time, really listen. You may find that those beloved songs have a few new things to tell you. YES, the hills are still alive, and this production gives us every reason to be glad they are.

The national tour of The Sound of Music continues in Nashville at TPAC’s Jackson Hall thru Sunday, October 18, 2026. Performance schedule is as follows: Thursday, October 15 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.

Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

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

[Read more…] about Theatre Review: Timeless Classic Finds New Meaning in Beautifully Sung ‘The Sound of Music’ National Tour; at TPAC thru Sunday, October 18

Rapid Fire 20Q: Cast Members of ‘The Sound of Music’ National Tour Share Insights on Being Part of One of Theatre’s Most Beloved Musicals, Their ‘Favorite Things’ and more; at TPAC This Week

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Few musicals have found a permanent home in the hearts of audiences quite like Rodgers and Hammerstein’s The Sound of Music. The beloved family musical premiered on Broadway over 65 years ago, introducing generations to a story of love, courage, family and the transformative power of music. With an unforgettable score featuring “My Favorite Things,” “Do-Re-Mi,” “Edelweiss” and its iconic title song, this timeless classic continues to remind us why certain stories never lose their ability to move us.

Now, the current national touring production directed by three-time Tony Award winner Jack O’Brien is bringing the cherished musical to a new generation of theatregoers. The production follows Maria, a spirited young postulant whose arrival in the home of Captain Georg von Trapp changes the lives of seven children — and their father — forever, even as the political climate in Austria threatens everything they hold dear.

The national tour arrives in Music City for a limited engagement at Tennessee Performing Arts Center’s Jackson Hall October 13–18, 2026. For this edition of JHPENTERTAINMENT’s Rapid Fire 20Q, I caught up with four members of the touring company: Kevin Earley, who portrays Captain Georg von Trapp; Kate Loprest, who plays Elsa Schraeder; Laura Stracko, who brings Frau Schmidt to life; and Daniel Robert Sullivan, who portrays Herr Zeller while also understudying the Captain.

From the emotional weight of “Edelweiss” and the complexities of their characters to life on the road, favorite backstage pastimes and the enduring relevance of this musical classic, these four performers offer a glimpse into the people helping keep The Sound of Music singing.

RAPID FIRE 20Q WITH CAST OF THE SOUND OF MUSIC NATIONAL TOUR

RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY 

JHPENTERTAINMENT: They say never to work with animals or children. Captain von Trapp is surrounded by seven von Trapp children who are as much a part of his journey as any adult character. What has it been like working with the young performers playing your children night after night, and what have they brought to the family dynamic that perhaps surprised you?

KEVIN EARLEY: I’m glad you brought up the Vontrapplings. That’s our nick name for them. The young performers in our production are so talented, kind and professional. It makes me proud to know that the future of theater and live storytelling is safe in each one of there hands. They are focused, dedicated and relaxed. Even though they have school on most days, they still come in with such energy every single show.

They are also, at their core, just kids. And it’s great to work alongside them. They give a freshness to each other and me as their “Stage Dad” each and every show. I am constantly surprises at their creativity and commitment.

JHPENTERTAINMENT: “Edelweiss” gives Georg one of the production’s most poignant moments — and one of the few opportunities we get to hear the Captain sing from such an intimate, vulnerable place. What does singing “Edelweiss” mean to you as Georg, and how do you approach making that deceptively simple song emotionally resonate?

KEVIN EARLEY: Standing up for one’s beliefs with history, family and country are all infused into “Edelweiss.” As a song, it’s a simple melody that lulls the listener in a sense of peace, but when placed against the backdrop of Austria being invaded and annexed by Germany and the Third Reich, it tells a different story. A story of courage, hope, loss, love and anger.

My approach to the song was deepened by Jack O’Brien’s brilliant direction in the moments before the Captain sings. In this unique production, we see the Captain take in the menacing German flags for the first time. He looks upon the Auditorium Festival filled with the invading Germans sitting side by side with his fellow countrymen. He then decides… chooses, to sing a different song than the one he was asked to sing. He chooses “Edelweiss” because it represents what he believes are his homeland’s core values; peace, innocence, hope and freedom. That is a lot to expect of one song, but I do my best.

JHPENTERTAINMENT: Georg begins the story as a stern, seemingly unyielding patriarch before gradually allowing music — and Maria — to bring him back to the family he has emotionally shut out. What has been your favorite part of discovering that transformation over the course of the show?

KEVIN EARLEY: The journey starts with grief. It affects us all differently and the Captain is no exception. After the tragic loss of his wife, he retreats into what he feels he can control in order to keep his children safe. That’s where I start the show. We all experience grief uniquely, and we all need someone to help us through. It could be your spouse, who helped me, or a therapist, a friend, family member or a total stranger who sings your way back to joy and happiness. Maria does that for the Captain without him even knowing. Music is magic. When I get to sing for the first time in the show “The Sound of Music”, it opens my heart and brings me such joy. It’s the next step in his healing and moving forward.

JHPENTERTAINMENT: You are the first of four cast members I’m chatting with for this particular Rapid Fire 20Q, so I gotta ask…What are a few of your personal “favorite things” when not on stage?

KEVIN EARLEY: Easy question. My wife, music and of course golf. I love to golf. I try and play at least 2 rounds of golf in each city I visit. I wish I could play more but the show must go on.

JHPENTERTAINMENT: You share the stage with two very different but equally important women in Georg’s story — Cayleigh as Maria and Kate as Elsa. What is it like having these two leading ladies as your scene partners, and how do their individual approaches to Maria and Elsa shape your performance as Georg?

KEVIN EARLEY: Firstly, I could not have asked for better scene partners and friends on this tour. They have both, as well as the rest of the cast, been a delight and a thrill to work with and get to know. We approached this “triangle” a bit differently than most productions. Letting Elsa and Georg’s courtship troubles to stand on their own and not turn into a “he’s in love with another woman” trope.

On paper, the Elsa and the Captain look like a perfect match, especially for Max who gets to ride on their coattales. In the end however, they have very different political and philosophical views of the world. This is what ultimately ends the relationship, not some love triangle. This makes more of a compelling and poignant story. Especially today when we have families, friends and neighbors who are deeply divided over politics. That makes it even more relatable. It’s slightly different than the movie but makes my relationship between the two unique and not entwined.

RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST

JHPENTERTAINMENT: Before we get going, I have to thank you…Seventeen years ago, we chatted for one of my first Rapid Fire 20Qs when you were touring the country as Nellie Oleson in Little House on the Prairie: The Musical. Now you’re touring as Elsa Schraeder in The Sound of Music. So, let’s settle an important question: who’s more self-involved and manipulative — Elsa or Nellie?

KATE LOPREST: First of all, thank YOU! What a lovely full circle experience getting to speak with you again. Easy answer: Nellie. Nellie has never had checks and balances in her life. She was raised in abundance with no consequences. If you want manipulative and self-involved in The Sound of Music, look no further than Max Detweiller.

JHPENTERTAINMENT: Elsa arrives believing she understands exactly what she wants from Georg — and exactly how to get it. What do you find most delicious about playing a woman who is sophisticated, socially savvy and absolutely not accustomed to hearing the word “no”?

KATE LOPREST: Most people are surprised to learn that the movie version of The Sound of Music predates the original Broadway musical. We are celebrating the 65th Anniversary of that Broadway show on this national tour. Audiences are also surprised to learn that the original libretto is quite different from the movie. The most significant differences involve the characters of Elsa and Max. You won’t be getting Elsa “the villain” in our production. There is no evidence of that in the original libretto. After all, isn’t the story a little bit more delicious if Elsa is, in fact, a good match for Georg?

JHPENTERTAINMENT: Elsa may not have a “Climb Ev’ry Mountain” moment of her own, but she certainly has her own emotional journey. What do you hope audiences understand about Elsa beneath the polished exterior and her seemingly effortless confidence?

KATE LOPREST: My job isn’t to make Elsa likeable; it is my job to portray her with honesty. Our director, Jack O’Brien, asked us on day one of rehearsals to take nothing for granted and to investigate every minutia. What we’ve found is that Elsa is not only deeply complex but incredibly relatable. To me, Elsa is a love letter to women of a certain age who are trying to balance it all: wife, mother, lover, leader. I’m very proud to play her and I hope audiences walk away from our production with a new perspective on her.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what is one favorite thing that’s a must-have while on tour?

KATE LOPREST: My crochet hooks. One of our cast members taught me late last year and I’m completely taken with it. In a very long run, like the one we are in, it’s wonderful to have a hobby that works the hands and the brain. Plus, gift-giving is my love language, so I’ve really enjoyed sending scarves, hats, and flower slings to friends and family across the US.

JHPENTERTAINMENT: Elsa may not be the woman Georg ultimately chooses, but she certainly makes an impression during her time at the von Trapp villa. Whether it’s your own, or someone else’s, what’s a favorite moment from the show?

KATE LOPREST: Elsa has a relationship with each of the von Trapp children – after all, she is going to be their new mother. I’ve worked several moments of that into my performance, but my new favorite is one between Louisa (played by Lilly Belle Lanese) and me. Maria has left suddenly, Louisa tries to express the children’s sadness, and Georg quickly cuts her off. I always slip over to her, put my arm around her shoulder, and tell her that I’m sorry about Maria. It’s a wonderful moment of connection and I look forward to each performance. This is my third time playing the role of Elsa in my career and my second year with this national tour, and I’m still finding new things all the time.

RAPID FIRE WITH THE SOUND OF MUSIC‘s FRAU SCHMIDT, LAURA STRACKO

JHPENTERTAINMENT: In my JHPENTERTAINMENT review of last year’s Suffs National Tour, I dubbed your performance as the socialite Alva Belmont “boisterously brilliant.” In that same vein, if you had to give Frau Schmidt two alliterative adjectives of her own, what would they be — and why?

LAURA STRACKO: I love those words for Alva! I am so glad I got to spend a year with her to discover so many notes, thank you for seeing that in her. For my gal Schmidt I’d have to say “masterfully meticulous!” She is the very best at what she does, and she knows it. Absolutely nothing will stand between her and an organized household.

JHPENTERTAINMENT: Frau Schmidt is one of a handful of non-singing roles in one of the most beloved musicals of all time. What is the particular challenge — and perhaps the delicious freedom — of creating a memorable character in a show where nearly everyone around you gets to sing some of the most recognizable songs in musical-theatre history?

LAURA STRACKO: I find a lot of joy in this role, it can be liberating when there is no expectation to uphold! I have landed on a physicality with her that is akin to a duck – calm and smooth on the surface while paddling like crazy underneath. Additionally, Frau Schmidt is incredibly important, every time she is onstage she is bringing new and meaningful exposition for the audience. So while she may be supporting, she is doing so in a big way, and I am proud of that.

JHPENTERTAINMENT: In my twenty years of covering theatre, I’ve learned that many actors approach their roles by creating their own backstory in their minds. What have you discovered about Frau Schmidt that isn’t necessarily spelled out in the script but has helped you build her character?

LAURA STRACKO: I have to give credit to Jack O’Brien, Matt Lenz, and Anthony Daniel for this, there is a very rich backstory for Frau Schmidt. As we learn early in the show, the children have been without a mother for a few years, having only governesses instead. The seed that was planted for me is that I have been with this family and this household for a long time, probably decades, and I was very close with the mother. Caring for the children and home is a personal promise I made to her a long time ago. What I like to think is that, in between governesses, as the children navigate life and their father does too, I have been their constant. I see myself as the glue that has helped hold this home together in their mother’s absence. I also like to think that my service is generational, that my family has always been employed by the von Trapp family, so I take great pride in my position.

JHPENTERTAINMENT: As mentioned above, earlier this year visited TPAC with the Suffs National Tour, and now you’re returning to Music City with The Sound of Music. Is there anything you’re hoping to introduce your new touring cohorts to while you’re back in Nashville — a favorite restaurant, local haunt, or perhaps one of the city’s many theatrical treasures?

LAURA STRACKO: Oh Nashville is one of my favorite cities! Of course we had incredible tours of The Hermitage Hotel and the State House with Suffs, and I am looking forward to revisiting those with my current cast members. Beyond that, I am excited to check out Dolly’s new hotel and museum that just opened, brunch at Countrypolitan, getting some steps in at Category 10, and eating bbq. One week just isn’t enough time, so we’ll be soaking up all the live music and good times that we can!

JHPENTERTAINMENT: IF my research proves correct, you only recently joined the tour in early September. One month in, how much are you loving being part of such a beloved classic musical?

LAURA STRACKO: Yes! I closed Suffs in August, and had three weeks off before joining this company. There’s something special about doing a show that means a lot to people. The familiarity and comfort that come with The Sound of Music encourages people to join us, but then Jack’s direction of the show gives them a fresh perspective to take home. I feel so lucky to get to do what I love each day, and to be a small part of a beautiful evening at the theatre!

RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN

JHPENTERTAINMENT: Herr Zeller represents the increasingly threatening political reality closing in around the von Trapp family. What have you found most interesting about playing the villain of the piece, particularly in a musical whose heart is so firmly rooted in family, love and resistance?

DANIEL ROBERT SULLIVAN: What fascinates me about Zeller is that he never thinks he’s the villain. He walks into that house completely sure he’s on the right side of history, and that certainty is what makes him frightening. Every night I get to be the cold draft blowing through all that warmth, and the colder I play it, the brighter Maria and the family shine. It’s a real gift to be the character that lets an audience see how strong the von Trapp family had become.

JHPENTERTAINMENT: Zeller can easily become a one-dimensional authoritarian figure, but every compelling villain needs something more beneath the surface. What choices have you made to give Herr Zeller dimension while still making his intentions and allegiances unmistakably clear?

DANIEL ROBERT SULLIVAN: I play him as a man who’s demandingly good at his job and proud of it. Zeller is direct and moves quickly, and he really does want the Captain on his side, so the menace lives in how fast he is able to force the Captain’s hand. I hold onto that speed and never lose control. This character is scary because he barrels ahead with a dangerous allegiance, and I want people to recognize him because men like Zeller didn’t disappear in 1938.

JHPENTERTAINMENT: You also understudy Captain Georg von Trapp, which means you’re preparing to inhabit two very different men on opposite sides of the story. What is the biggest challenge — and the greatest theatrical treat — of having both Herr Zeller and the Captain in your repertoire?

DANIEL ROBERT SULLIVAN: The hard part is that these two men want opposite things in the very same rooms, so I have to keep two completely different sets of instincts ready to go. Zeller pushes hard, and the Captain has to decide what he’s willing to lose by pushing back. In real life, the von Trapps really did sacrifice their entire way of life in order to push against fascism.

JHPENTERTAINMENT: Taking a cue from “My Favorite Things,” what are some of your favorite things about this particular Sound of Music experience — whether it’s something about the company, the score, the audiences, or the wonderfully chaotic life of a national tour?

DANIEL ROBERT SULLIVAN: Hearing that score played live every night still gets me! What an orchestra we have! My other favorite thing on tour is having some quiet time to write, whether it’s at a hotel desk or in a dressing room between shows. I’m really proud of a book I wrote while touring with another show, Braving the Bronx River, which is out now. And these days what I’m most excited about is my new solo holiday play, since I’ve recently acquired the dramatic adaptation rights to the New York Times bestseller, The Santa Claus Man. It’s the inspiring true story of real letters children sent to Santa in 1913, and you can follow along at DanielRobertSullivan.org.

JHPENTERTAINMENT: What do you hope audiences take with them after seeing this particular production of The Sound of Music?

DANIEL ROBERT SULLIVAN: I hope they leave remembering that standing up for what’s right is something ordinary people do, sometimes armed with nothing but a song. The von Trapps were a regular family who refused to look away when it would have been so much easier to go along. (And to any young performer out there who dreams of doing this, I’ve been touring for about twenty years and I still learn something every single night, so keep at it!)

As Kevin Earley, Kate Loprest, Laura Stracko and Daniel Robert Sullivan illustrate in this Rapid Fire 20Q, there are always new layers to discover in a familiar story — whether it is a father finding his way back to his children, a woman whose motivations deserve a closer look, a housekeeper who quietly holds a family together, or a villain whose certainty reveals the danger of unquestioning allegiance. The national tour of The Sound of Music plays TPAC’s Jackson Hall in Nashville October 13–18, 2026. Performance schedule is as follows: Tuesday, October 13 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)

Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.

Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Theatre Review: OH, WHAT A NIGHT! JERSEY BOYS Still Has the Magic 20 Years Later; at TPAC thru Sunday as National Tour continues

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There are shows you see once and check off the list. Then there are shows that keep pulling you back, year after year, like some sort of particularly catchy musical siren song. For me, Jersey Boys is definitely the latter. Now onstage at TPAC‘s Jackson Hall thru Sunday, September 20 as the 20th Anniversary National Tour continues, attending the show’s second night in Music City marks the sixth time in 20 years I’ve seen it—and my third time seeing it at Tennessee Performing Arts Center. So, yes, I know when the songs are coming, I know where the laughs are, I know where the story is going…and I still found myself completely caught up in the ride.

That may be the greatest compliment I can give Jersey Boys: after six times, it still works. Officially kicking off just last week in Syracuse, this national tour arrives with an interesting distinction. While the 20th Anniversary Tour is a non-Equity production, the creative forces behind the original phenomenon remain very much in charge. Des McAnuff, the show’s original director, is back at the helm, while Sergio Trujillo, whose original choreography helped define the production, returns with his original choreography. I mention the non-equity status because a non-equity tour can, occasionally, be scaled-down considerably from a show’s Broadway run. Perhaps, because this tour has been so hands-on with the full cooperation of the original creative forces, this incarnation doesn’t feel like any expenses were spared, no corners were cut and no holds barred for this landmark anniversary tour. For the show’s two and a half hour runtime, I’m confident that the entire audience at TPAC would tell the cast our eyes and ears adored them!

This isn’t just another jukebox musical. This is a show with some serious hardware in its trophy case: the Tony Award for Best Musical, the Laurence Olivier Award for Best New Musical and the Grammy Award for Best Musical Show Album. Twenty years after its Broadway debut, it doesn’t take long to see why.

The genius of Jersey Boys has always been its storytelling structure. The show cheekily divides itself into Spring, Summer, Fall and Winter, giving a knowing wink to the name of the group while providing four distinct chapters in the lives of The Four Seasons.

Spring gives us the genesis—the young men, the dreams and the unlikely beginnings. Summer is the rocket ride, as the group discovers fame, fortune and what happens when those little songs they’ve been working on suddenly become enormous hits. Fall brings the cracks in the foundation: personal conflicts, financial problems, uncertainty and the realization that success can be every bit as complicated as failure. Then comes Winter, with its reflection, loss and the ultimate accolade: The Four Seasons’ 1990 induction into the Rock and Roll Hall of Fame. Not bad for some kids from Jersey.

The cleverness of that four-season structure isn’t merely branding. It gives the show a natural dramatic progression while providing one of those delightful little theatrical winks that Jersey Boys is so good at delivering.

Of course, you can’t talk about Jersey Boys without talking about the music. And in the vernacular of the Jersey Boys, holy f’in jukebox, is there a lot of it. The production packs more than 30 songs, and this cast nails the vocal demands with the kind of precision that makes The Four Seasons’ famously distinctive sound seem effortless.

The Four Seasons’ musical catalog is so deep—they had 40 songs land on the Billboard Top 40—that there simply isn’t enough room in one musical to accommodate all those hits. The Playbill acknowledges that problem in particularly delightful fashion, with a footnote titled “The Ones That Got Away,” recognizing more than a dozen additional Four Seasons and Frankie Valli bangers that didn’t make the final cut.

But it’s not simply the quantity of the songs that makes this production sing. It’s the quality of the vocals. Audiences arrive knowing exactly how these songs are supposed to sound, from Valli’s unmistakable falsetto to those intricate Four Seasons harmonies.

This cast understands that assignment.

As Frankie Valli, Coby Oram delivers the vocal precision you’d expect from a performer stepping into one of pop music’s most distinctive voices, but there’s also a strong emotional dimension beneath the falsetto. Valli isn’t simply the guy who sings the really high notes; we’re watching a young man grow into the person who ultimately has to carry the group forward. Oram is equally adept at hitting the high notes as he is knocking it out of the park during the show’s more tense relationship moments whether exploring his fractured family dynamic or the never-ending allegiance to his fellow hitmakers.

Peyton Schoenhofer brings youthful energy and confidence to Bob Gaudio, the songwriter whose creative contributions helped fuel the group’s remarkable run. His Gaudio possesses just the right combination of ambition, talent and youthful uncertainty. Schoenhofer exemplifies a great balance of Gaudio’s seemingly more sheltered upbringing–compared to the a couple of the other boys, who racked up police records before platinum ones–with an unexpected business savvy that would be a key element in his relationship with Valli.

Harry Sperduto makes Tommy DeVito an entertainingly combustible force, bringing plenty of swagger and humor to a character whose ambitions ultimately come with a steep price. Tommy can be charming, funny, infuriating and reckless—and Sperduto keeps all of those qualities in play without reducing DeVito to a cartoon gangster. You know he’s good when, time after time of screwing over his bandmates, the audience still feels for him and cheers both his misdeeds and his achievements.

Owen McCredie gives Nick Massi the quietest member of the quartet a genuine presence, allowing us to understand the man beneath that reserved exterior. There’s a dry wit and simmering frustration beneath Nick’s reserved exterior,  and McCreedie lets those qualities emerge naturally, making Nick’s eventual departure from the group on of the evening’s more effective moments. McCredie doesn’t let get lost amid all those bigger personalities, he crafts a careful, thoughtful presence. While Valli’s falsetto might have made him the bigger star, McCredie’s booming bass voice as Massi is swoon worthy.

Together, the four are a cohesive, convincing unit—and that’s crucial. The Four Seasons weren’t four soloists who happened to stand next to each other. Their magic was in the blend. This cast gets it.

While the primary focus is of course on the aforementioned quartet, one of the strengths of this production is that Jersey Boys doesn’t treat its four principals as the only people worth watching. Andrew Sattler makes an especially memorable impression as Bob Crewe, bringing a larger-than-life theatricality to the eccentric producer and lyricist who becomes such an important part of the group’s story.

Nicholas Dion Reese gets the evening off to an energetic start with an updated, internationally flavored take on “Ces soirées-là,” better known stateside as “December, 1963 (Oh, What a Night!),” The Four Seasons’ final No. 1 hit from 1975. It’s an attention-grabbing opening that immediately announces that this isn’t going to be a sleepy trip through an oldies playlist.

Among the female members of the ensemble, Eliza Levy makes an impression as Mary Delgado and others, helping bring the women surrounding these four men into sharper focus rather than allowing them to become mere scenery in the boys’ story. While she’s initially written as a stereotypical Jersey girl, Delgado doesn’t rest on that, bringing dimension to what could easily be a throw-away role. Her vocals on the late Act 1 tune “My Eyes Adored You” in an adroit call and response opposite Oram’s Frankie, reveal a welcomed depth to not only her portrayal, but the classic song itself. 

Another highlight in the supporting cast comes in Sarah Coleman‘s turn as Francine Valli particularly as the story begins exploring the one of the show’s more somber elements revealing the personal costs of Frankie Valli’s extraordinary career. It’s a relatively small role with only a couple of minutes on stage, but it’s one of the show’s most impactful. Coleman, like many of the supporting players appears throughout in a multitude of other roles, but it’s her brief time on stage as Valli’s daughter that stays with the audience.

And then there’s Joe Pesci. Yes, THAT Joe Pesci, as the script cheekily reminds us. The real Pesci was friends with the young Four Seasons, and his connection to the group is one of those almost-too-good-to-be-true details from their early history. Here, the role gets an especially fun Nashville twist thanks to Grant Weathington, a 2025 Belmont University graduate. For those in the TPAC audience who know that little bit of local trivia, it’s one more reason to enjoy the character when he pops up.

Speaking of Nashville, the Music City connection doesn’t stop there. One of the original members and creative forces behind The Four Seasons, Bob Gaudio, has been a Nashville resident since the 1990s. So when the show reaches its later “where are they now?” passage and mentions that Gaudio now spends his days on his boat in Nashville, the response from the TPAC audience was noticeably more enthusiastic than your average biographical footnote. There was definitely a little “That’s OUR Bob!” energy in the room. It’s a small moment, but it’s one of those details that makes seeing a touring production in its proper local context so much fun.

The remarkable thing about Jersey Boys after two decades (six decades if you count The Four Seasons’ real-life history) isn’t simply that the songs remain popular. It’s that the story still works. The musical understands that success stories are rarely as simple as the finished record. Behind every No. 1 hit are relationships, egos, debts, bad decisions, sacrifices, arguments and people trying to figure out what comes next.

That’s what keeps Jersey Boys from becoming nothing more than a jukebox with a plot. The music may be the sugar, but the complicated relationships are the substance. And the 20th Anniversary Tour gives audiences the best of both worlds: a production rooted in the staging that originally made the musical a Tony-, Olivier- and Grammy-winning phenomenon, now performed by a fresh cast with its own chemistry and energy.

Twenty years after Jersey Boys first took Broadway by storm, this new generation of Four Seasons proves that the songs still soar, the story still resonates and there are apparently still plenty of audiences willing to sing along. After six trips alongside The Four Seasons myself, I’m apparently still not ready to say goodbye. And really…why would I? Four seasons. More than 30 songs. Forty Top 40 hits. Twenty years. as one of modern theatre’s most beloved musical.Oh, what a night!

Catch the 20th Anniversary National Tour at Nashville’s TPAC September 16-20. CLICK HERE to purchase tickets or for more information. Following Jersey Boys TPAC’s 2026/2027 Season continues with The Sound of Music onstage October 13-18. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

Not in Nashville? It’s likely Jersey Boys will be working their way back to you, so check them out on Facebook, X, Insta, TikTok, YouTube and Threads to see when it rolls into your city and find out why, two decades later, Jersey Boys remains one of Broadway’s most irresistible musical stories.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Four Seasons, 20 Years & 20 Questions: Rapid Fire 20Q with ‘Jersey Boys’ 20th Anniversary National Tour Stars Coby Oram, Peyton Schoenhofer, Harry Sperduto & Owen McCredie

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Twenty Years, countless standing ovations and more than a few earworm-inducing harmonies later, Jersey Boys, the Broadway sensation celebrating the music, friendships and struggles of The Four Seasons is making it’s way back across the country with the 20th Anniversary National Tour. Having kicked of the 20th Anniversary Tour just last week in Syracuse, New York, the tour is making it’s way back to Music City. Just days before their return to Nashville’s Tennessee Performing Arts Center for their September 16-20 Music City run, JHPEntertainment caught up with the tour’s leading men. Jersey Boys‘ Coby Oram (Frankie Valli), Peyton Schoenhofer (Bob Gaudio), Harry Sperduto (Tommy DeVito) and Owen McCredie (Nick Massi) answered 20 questions about stepping into those iconic spit-shined shoes and finely tailored suits, finding the chemistry behind one of pop music’s legendary groups, and keeping fans of the 20-year-old Broadway phenom shouting “Oh, What a Night”, night after night.

RAPID FIRE 20Q WITH THE CAST OF JERSEY BOYS 20TH ANNIVERSARY NATIONAL TOUR

RAPID FIRE WITH COBY ORAM STARRING AS FRANKIE VALLI IN JERSEY BOYS

JHPENTERTAINMENT: This is your eighth Jersey Boys contract, and you first came into the show as a swing aboard Norwegian Bliss before ultimately stepping into the role of Frankie Valli on this 20th Anniversary National Tour. What keeps you working your way back?

COBY ORAM: Jersey Boys covers Frankie’s entire professional career from the young age of 16 to about 60 years old. With so much life to live on stage, it’s honestly hard to get bored of it. It’s also challenging enough there’s still plenty to improve, plenty to learn, and plenty to discover.

JHPENTERTAINMENT: Frankie’s journey takes him from a young singer with an unmistakable falsetto to the frontman of one of the biggest musical groups in the world. What part of that evolution has become more fascinating to you as you’ve continued to play him?

COBY ORAM: I think the most fascinating part of Frankie’s story is watching him go from one of the Four Seasons to a solo artist. The part I find interesting is that Frankie had to be convinced it would work, and it wasn’t until after “Can’t Take My Eyes Off of You” succeeded that he believed it.

JHPENTERTAINMENT: You’ve played Frankie alternating the role alongside your identical twin brother, Chris Oram—on both the Bliss and again last year at a dinner theatre in Kansas City. If this tour ever required you to take a day off, how tempting would it be to pull a classic The Parent Trap switcheroo and send your twin onstage in your place?

COBY ORAM: The Parent Trap idea has tempted me more than a few times, but it would be quite the travel for Chris to make it to me wherever I am to perform the one night. Fortunately we do have a Frankie Alternate, Andrew Martin Maguire, who travels with us and also swings the show, and he has already covered for me brilliantly on opening night when I had a mild vocal strain to rest from. 

JHPENTERTAINMENT: Frankie’s voice is obviously one of the most recognizable elements of The Four Seasons’ sound. What has been the biggest challenge—and the most rewarding part—of recreating that unmistakable sound?

COBY ORAM: The biggest challenge in singing Frankie stuff is actually all the care I have to take when I’m not on stage. My associate director Danny Austin says “You have to be monk,” and he’s only half-kidding. I don’t drink with the cast after a show, I don’t go to the club and scream and shout, and I have to be careful how much of my voice I use in my day-to-day life so I still have enough left in the tank for the performance. The most rewarding part is actually doing it, and witnessing the impact it has on audiences. The hit songs are so iconic, they are part of the soundscape of pop culture even today, and when people get to hear them contextualized by the play, it means so much to them I can hear it and see it in them from up on stage.

JHPENTERTAINMENT: After eight trips through Jersey Boys, you’ve undoubtedly experienced countless performances of the show. Is there a particular moment in the current production—whether it’s a song, a scene or even something happening between the Four Seasons—that still gives you that little “Wow, this is why I love this show” feeling?

COBY ORAM: The moment in this production that really gets me is Bob Gaudio’s introduction to the group. Ron Melrose’s brilliant arrangement of this show saves the traditional “Four Seasons” harmonies and sounds specifically for this scene, opting in earlier musical numbers to use other inspirations for the time period that previous iterations of the band (Varietones, Four Lovers, etc.) might have used. The audience subliminally gets to land at the same conclusion at the same time as us on stage – this is the sound we are after. 

RAPID FIRE WITH PEYTON SCHOENHOFER STARRING AS BOB GAUDIO IN JERSEY BOYS

JHPENTERTAINMENT: Bob Gaudio is not only one of the architects of The Four Seasons’ sound, he’s responsible for writing so many of the songs audiences have come to associate with the group. As an actor, how do you approach portraying the man behind those songs while still allowing us to see the young man who is discovering his voice as a songwriter?

PEYTON SCHOENHOFER: I’ve had a lot of help throughout this process from Des McAnuff, Danny Austin, and people who have known Bob for a long time and can help me understand his characteristics. But when it comes to the young man discovering his voice, I can really relate to that as a fellow artist. When we’re younger, there’s so much discovery in finding your voice, regardless of what medium you’re creating in. I try to tap into that feeling from my own experience, those moments when you’re just so excited to be creating and you start to see doors opening for you. I think bringing that sense of wonder and discovery to Bob is a big part of how I approach him.

JHPENTERTAINMENT: You’re making your national tour debut with Jersey Boys, which means you’re experiencing the show—and the country—one city at a time. What has surprised you most about taking Bob Gaudio on the road?

PEYTON SCHOENHOFER: I think what’s surprised me most is how receptive each audience is. You know, obviously, it’s called Jersey Boys, and of course, there’s going to be deeper roots for people from Jersey, but being able to take this show anywhere and see people connect with the music, the story, the characters, it’s incredible. It’s such a specific group of guys and a very specific story, but it’s been really fun to see audiences in all these different cities react in similar ways, to find something in the show that they can connect with.

JHPENTERTAINMENT: Here in Nashville, there’s an especially interesting layer to playing Bob: the real Bob Gaudio lives right here in Music City and will likely have an opportunity to see the show during your Nashville engagement. What goes through your mind knowing that the man whose life you’re portraying may actually be sitting in the audience watching your performance?

PEYTON SCHOENHOFER: Besides being terrifying, it’s extremely exciting! Getting to play the role I’ve portrayed for years, for the man himself, means the world to me. I am extremely grateful for the opportunity he has provided us actors to continue telling this story through multiple generations. And to be able to bring this music that feels timeless to Nashville, to Music City, couldn’t be better!

JHPENTERTAINMENT: You’ve gone from performing in the wildly irreverent Titanique as a member of that show’s Chicago company to stepping into a story rooted in the real lives and music of The Four Seasons. What has that change in tone and style been like for you as a performer?

PEYTON SCHOENHOFER:What do you mean? They’re basically the same show….. All jokes aside, it’s been amazing to experience the two sides of theater I enjoy most. Titanique is a very self-aware comedy that lets me play with the audience, and lean into my improv background. While Jersey Boys is the other side of that coin. It’s extremely grounded and very real. And those are the two types of theater I love most. So the fact I’ve been able to experience both is truly a blessing!

JHPENTERTAINMENT: There’s such a distinctive chemistry among the four men who become The Four Seasons, and Bob’s relationship with Frankie is at the heart of much of that story. What have you and Coby discovered together that has helped make that partnership feel authentic onstage?

PEYTON SCHOENHOFER: To be honest, we’ve only known each other for about a month and a half, so we’re still making discoveries and getting to know each other as the tour goes on. But that’s what makes it exciting! We’ve both played these roles before, but never together, so we each came in with our own interpretations and ideas of what a Bob or a Frankie might be. It’s been really fun to find those differences, learn each other’s interpretations, and bring more and more to the relationship both on and off stage. It also helps that Coby is an incredible performer and individual, so it makes my job really easy!

RAPID FIRE WITH HARRY SPERDUTO STARRING AS TOMMY DeVITO IN JERSEY BOYS

JHPENTERTAINMENT: This is your national tour debut, and you’re making it in a show as iconic as Jersey Boys. What has the reality of that milestone felt like now that you’re actually out there performing Tommy DeVito for audiences across the country?

HARRY SPERDUTO: It has been a dream come true, and then some. I have wanted to be in this show and perform at this level of theatre for as long as I can remember. Getting to step into Tommy’s shoes in the remounted original production of Jersey Boys every night is even more perfect than I could’ve planned for my national tour debut. I thank God every day for this opportunity.

JHPENTERTAINMENT: While this is your first national tour, it’s not your first time in Jersey Boys. That honor happened two years ago when you first played Tommy DeVito in Clear Space Theatre Company’s 2024 summer-stock production of Jersey Boys in Rehoboth Beach, Delaware. What have you learned about Tommy—and how has your portrayal of him changed—since that first production

HARRY SPERDUTO: I am a lot more grounded and knowledgeable this time around. I’ve created a multifaceted version of my character through my deeper understanding of Tommy. That is the glory of getting the chance to work with the original creative team on this piece. The original director Des McAnuff and Associate Danny Austin gave me so much great direction and information about this story, their over 20 year process with the piece, and real life encounters with the original Four Seasons, specifically Tommy DeVito. That first hand knowledge is something I could only get from these directors and it has helped me immensely in my portrayal, especially in bringing the truth of Tommy’s life into my work.

JHPENTERTAINMENT: How do you keep the audience connected to Tommy when his ambition and personality can make him such a difficult guy to root for?

HARRY SPERDUTO: Tommy struggled with his addictions, and I think there is a certain feeling of sympathy seeing him going through the hardships that he did. Playing my objectives every night and leaning into that area creates this level of emotion that I can pull out of people. Making my portrayal of Tommy as human as possible is the best thing you can do to make an audience connect with you. He did what he did because he truly felt he was making the right choices for himself and for the group, despite how rough he could be to the people around him. I hope audiences can leave the theater remembering and respecting all of the things he accomplished in his lifetime. 

JHPENTERTAINMENT: The Four Seasons became known for not only their glorious lamppost harmonies, but also their syncopated moves and classic attire. While these elements—and more—make up the full package that is Jersey Boys, do you have a personal favorite element?

HARRY SPERDUTO: The element of breaking the fourth wall, which, in simpler terms means getting to speak directly to the audience in many of my lines. As a performer, I love getting to do this in Jersey Boys because I can look around and connect with every audience member throughout the show and make them feel like they’re in our show too. It is what makes theatre live, fresh, and exciting every night. It is very fulfilling to me as a performer.

JHPENTERTAINMENT: Tommy has some of the show’s biggest personality moments, but Jersey Boys ultimately asks us to watch four very different men become a family—and then watch that family fracture. What is the most important thing you want audiences to understand about Tommy by the time he walks away from The Four Seasons?

HARRY SPERDUTO: Tommy strived for greatness in his own way. If you got out of the neighborhood in his time, that alone was the highest accomplishment. He started a Hall of Fame rock & roll group and he took Frankie Valli off the streets, which turned him into the icon he now is today. This is undeniable. He might’ve not cared about being a star in the long run, but he took pride in giving back, especially to his community in North Jersey. He cared so much about where he came from, which is right where their whole story begins.

RAPID FIRE WITH OWEN McCREDIE STARRING AS NICK MASSI IN JERSEY BOYS

JHPENTERTAINMENT: You first portrayed Nick Massi aboard Norwegian Cruise Lines, and now you’re bringing him to audiences throughout North America. How has your perception of Nick—and your performance of him—evolved between that first experience and this 20th Anniversary National Tour?

OWEN McCREDIE: Nick Massi has always been a character with whom I’ve felt an emotional resonance. He’s a guarded, seemingly aloof guy who has a very tumultuous inner life. What I’ve appreciated most about Nick during this process that perhaps I hadn’t before, is how of all the Four Seasons, he is the one to really admit his mistakes and own up to his shortcomings. I like to think that I’m a little wiser than I was at age 22. I’m much more cognisantof the fact that “success” is accompanied by levels of personal sacrifice. I’ve given up a lot of family time to tour and live in another country. I hope that an awareness of these things translates into a more emotionally honest and grounded performance.

JHPENTERTAINMENT: Nick is the quiet one of the four, often literally standing in the background while the other personalities dominate the room. How do you make sure there’s a fully realized Nick Massi underneath that reserved exterior?

OWEN McCREDIE: I’m trying always to interact with the scene in whatever way I can. Which is not to say that I’m trying to steal attention from the actual scene. But by making creative decisions about what Nick values, what’s driving him and how he’s feeling about the other characters at that particular moment, I find opportunities to be affected by things within the scene. Nick is very meticulous, perhaps to the point of OCD. As Bob Gaudio says, “he irons his shirts twice”. That part of his behaviouris a lot of fun to play with as an actor, particularly in those moments when I’m not at the forefront of a scene.

JHPENTERTAINMENT: You were born and raised in Australia and studied theatre at Melbourne’s Victorian College of the Arts, so Nick’s Newark accent is a pretty significant vocal departure from your own. Did you work with a dialect coach during rehearsals to perfect that sound, and what was the biggest challenge in making it feel natural?

OWEN McCREDIE: Yes, we were incredibly fortunate to work with Charley Layton, who I’d done some dialect coaching with for Norwegian as well. He was able to tell me when I was beginning to stray into Australian vowel sounds, and when I could be committing further to the sounds of a North Jersey accent. I’ve found this time that I’ve been fighting the impulse to add in some of the characteristics of what you’d consider a General American accent — the rhotic R, for instance. I think that my fear as an actor who’s trying to approach this dialect with respect and authenticity, is that I go too far into that cartoonish “New Joisey” accent. In trying to avoid that perhaps I’m making Nick sound too much like a New Jerseyan from 2026. All that to say, it’s forever a work in progress, and I’m sure the audiences of New Brunswick will keep me honest!  

JHPENTERTAINMENT: You and Coby actually have something pretty unique in common: you both began your Jersey Boys journeys on the high seas. Have you two bonded over that shared experience, and does it give you a different perspective on the journey that brought you both to this 20th Anniversary National Tour?

OWEN McCREDIE: Oh yeah, Coby and I have know each other for a long time now. 6 months together aboard a floating vessel is always a unique bonding experience. We both started as swings for the Norwegian Cruise Lines production, so I think there’s a real sense of pride that we’re both standing up front together now, especially for something as momentous as the 20th anniversary tour. A fun fact — I first knew him in the Barry Belson track, as he was our Male Swing and had to cover that track for the first couple of weeks of rehearsals. For those who didn’t get to see it, you missed a real treat.

JHPENTERTAINMENT: Twenty years after Jersey Boys first arrived on Broadway, what do you hope audiences take away with them after seeing this 20th Anniversary National Tour—and what do you think makes the story and music of The Four Seasons continue to resonate with audiences today?

OWEN McCREDIE: This story is proof that generational greatness can come from working class people. Like so many artists from that time, The Four Seasons were self-taught guys who rose to the top through grit, determination and a love of music. I hope that audiences who were lucky enough to grow up with their songs on the charts get a good dose of nostalgia, and that newcomers to the show walk away with an appreciation for why it’s been so successful for so long.

Four guys. Four very different personalities. One legendary sound—and a story that still knows how to make audiences laugh, cheer and, of course, sing along. As Jersey Boys celebrates its 20th anniversary, this latest generation of talented entertainers stepping into the roles of The Four Seasons is proving that Frankie, Bob, Tommy and Nick as played by Coby, Peyton, Harry and Owen still have plenty to say—and plenty of songs left to sing. Catch the 20th Anniversary National Tour at Nashville’s TPAC September 16-20. CLICK HERE to purchase tickets or for more information. Following Jersey Boys TPAC’s 2026/2027 Season continues with The Sound of Music onstage October 13-18. Follow TPAC on TikTok, Instagram, YouTube and Facebook.

Not in Nashville? It’s likely Jersey Boys will be working their way back to you, so check them out on Facebook, X, Insta, TikTok, YouTube and Threads to see when it rolls into your city and find out why, two decades later, Jersey Boys remains one of Broadway’s most irresistible musical stories.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

 

Theatre Review: The Book of Mormon Returns to Nashville and Proves It Still Has Plenty to Say Beneath the Shock Value

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The cast of The Book of Mormon National Tour 2026 (Photo by Julieta Cervantes/courtesy The Book of Mormon on tour)

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.

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke,  Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke,  Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

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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.

Rapid Fire 20Q with ‘Water for Elephants’ Kinker & Roust Cast Members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis & John Neurohr; at TPAC thru May 17 as National Tour Continues

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The circus has rolled into Music City, well, Broadway’s recent fan-favorite circus-centric show, that is.  On stage now through Sunday, May 17, the National Tour of Water for Elephants has quickly become one of the most visually inventive and emotionally stirring productions currently touring the country. Based on the bestselling 2006 novel by Sara Gruen, adapted for the big screen in 2011, the Broadway extravaganza—with a book by Rick Elice and music and lyrics by PigPen Theatre Co.—features jaw-dropping physicality, striking puppetry, soaring folk-inspired music, and an ensemble that quite literally keeps the circus running, the production transforms TPAC‘s Jackson Hall into a living, breathing spectacle each night as the Nashville tour stop continues.

With five shows of the eight-show Music City run remaining, JHP Entertainment caught up with cast members Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr to talk about life on the road, special skills, backstage friendships, fight choreography, Rosie the elephant, and the organized chaos that comes with bringing the circus to life eight shows a week. So, step right up for this latest edition of Rapid Fire 20Q.

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RAPID FIRE 20Q WITH WATER FOR ELEPHANTS‘ KINKERS & ROUSTS

RAPID FIRE WITH WATER FOR ELEPHANTS‘ BRADLEY PARRISH

JHPENTERTAINMENT: Bradley, the music and lyrics for Water for Elephants were created by the collaborative collective PigPen Theatre Co.. In a way, does that collaborative spirit mirror the way the ensemble members work together to quite literally help bring Rosie and the circus world to life every night?

BRADLEY PARRISH: I think it absolutely does. PigPen’s work on this show, in tandem with our director Jessica Stone, choreographers Jesse Robb & Shana Carroll, and music supervisor Benedict Braxton Smith, was all about collaboration and creating a culture of unity, excellence, and love. In every aspect of this show it has been our desire and intent to flourish on and off the stage, and that’s been a beautiful thing to be a part of. 

JHPENTERTAINMENT: This marks your National Tour debut. What’s been the biggest adjustment from regional theatre life to living out of a suitcase and performing in a different city every week?

BRADLEY PARRISH: One of the biggest adjustments has been exactly that – being in a new city every week. To be able to see the country, explore the beautiful cities we’re in, and meet the locals has been a sweet privilege. 

JHPENTERTAINMENT: Speaking of different cities…You’re a Belmont University alum, so getting to return to Nashville with a major national tour has to feel a little full circle. While it’s only been a couple years since graduation, what memories immediately come rushing back whenever you’re in Music City?

BRADLEY PARRISH: Being back in Nashville is definitely full circle – very much feels like coming home. The best part of being here is certainly going down memory lane a bit (coming to TPAC to see shows, hanging at Crema and Sevier Park) and getting to share this show with my community that’s here in Nashville. 

JHPENTERTAINMENT: I’m about to chat with some of your fellow Kinkers & Rousts ensemble cohorts, so a two-part question for you…What exactly ARE Kinkers & Rousts…AND…What are some of the talents or tricks audiences will get to see from you as part of the Kinkers & Rousts ensemble?

BRADLEY PARRISH: Great question. A Kinker is a circus performer, and a roust is just another name for a worker! Our whole ensemble has some beautiful acts and performances for you, personally I’ll be singing, dancing, and doing puppeteering work with our many puppets. One of my absolute favorite acts in the show is a silks performance by Yves Artiéres during the song “Easy.” 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CARL ROBINETT

JHPENTERTAINMENT: Carl, you were a 2022 Rising Star Jimmy Award recipient. How important are the Jimmy Awards and programs like that in helping young performers realize a professional career in theatre is actually possible?

CARL ROBINETT: The Jimmy Awards were one of the most life-changing and incredible experiences of my life. The fact that, year after year, the Jimmy’s are able to give kids from around the country the opportunity to work with Broadway legends, be a part of the creation of a new piece, and perform on a Broadway stage—all while making it completely free—is simply unlike any other opportunity out there for a kid interested in pursuing musical theatre. I made some lifelong friendships there and met some of the most talented people I have ever come across, and moreover I just felt like I was able to learn and absorb so much because of how immersed I was, showing up to rehearsal in a fast, furious and fun process. Programs like these are vital to helping kids realize a career in the world of theatre is possible, and surely for me it solidified that, all the while giving me an unforgettable experience that I will always be grateful for.

JHPENTERTAINMENT: There was a time when it wasn’t uncommon for a kid to daydream of running away with the circus and you’re basically doing that every night…What has been the most surreal “I can’t believe this is my job now” moment for you so far?

CARL ROBINETT: I think honestly that moment came the first time I performed the show with my parents in the audience. My dad was able to come see the show in Baltimore (where we teched) and my mom a bit later in Greenville, and I just remember standing on the scaffold during the finale, looking out into the audience towards my parents each time and thinking back to the first touring show I saw. It just felt so full circle because I remember seeing the first national of Young Frankenstein at the Orpheum (my local touring house in San Francisco) with my parents and sisters, and now looking out into the audience all I could think about was how happy young me would be. I left that theater grinning from ear to ear and singing “Together Again”, and my parents continued to bring me to so many shows after that furthering my love for this art form. I have always been so supported by my them, and so having them in the audience always reminds me of how lucky I am to have the parents I do. I love you, Mom and Dad, and thank you for supporting my dreams and letting me run away with the circus.

JHPENTERTAINMENT: What has it been like collaborating with tour director Ryan Emmons and helping maintain the scale and emotional intimacy of a production this massive while traveling city to city?

CARL ROBINETT: It’s been such an incredible experience. Ryan is the best. He is such a kind person and just such an insightful resource when it comes to the world of this show. We have been so lucky to spend so much time as understudies diving into the text and doing table work to craft these characters, and a lot of the time that has been put aside for that has been because of Ryan. He’s made numerous trips out to visit us on the road and check in, and we’ve had so many fun rehearsals just walking through the show, the text, and the world building surrounding it all. He has been so supportive and really helped to maintain the show while we’ve been on the road, and I don’t know what we’d do without him. Thank you, Ryan!

JHPENTERTAINMENT: Résumé special skills can sometimes feel random until you land a show like this one. Which of your own skills or physical abilities have unexpectedly become most useful as one of the Kinkers & Rousts?

CARL ROBINETT: Honestly, I would say my Jennifer Coolidge impression has been the most useful. No, but in all seriousness, I feel as though some of the very basic acrobatics that I could do have helped me tremendously in learning new skills for the show. One new skill is a macacowhich I have to do in the big number where we are setting up the tent. It is like a cross between a back walkover and a one-handed cartwheel, and just being able to do some basic acrobatics such as cartwheels and kip-ups helped me tremendously with learning that. Although I’m not one of the acrobats I have definitely learned a lot of acrobatics from this show that will be making the resume moving forward, and I honestly thought I would be doing no acrobatics when I booked this, so I would say truthfully that has been the most unexpectedly useful special skill.

Also, a little fun fact is that the ensemble character name I crafted is a cross between the actor who portrayed my track on Broadway, Sean Stack, and this acrobatic trick that I do in the show, a macaco, so I named my character Stack Macack!

RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS

JHPENTERTAINMENT: Ella, Water for Elephants has some truly stunning costumes. What has it been like stepping into the world created by costume designer David I. Reynoso, and do you have a favorite costume piece in the show?

ELLA HUESTIS: I love all of the “Grand Spec” costumes I get to wear in all the tracks I perform and cover! My Roust design is this gorgeous turquoise, green, and pink number with stars and sequins galore. My Marlena outfit is a stunning red, sequin, beaded leotard with the most fabulous red and gold custom boots. My Barbara costume is a hot pink, long sleeve, sequined leotard with a spectacular cape, complete with a custom teal LaDuca boot. All three make me feel like the prettiest showgirl in the world and it is an absolute honor to wear David I. Reynoso’s Tony Award-nominated designs every single night!

JHPENTERTAINMENT: Your show bio mentions getting to make your National Tour debut alongside your best friend, Summer Severin. How special has it been sharing this entire experience — the travel, the rehearsals, the chaos, all of it — together?

ELLA HUESTIS: It has been the biggest dream come true, it’s hard to adequately put into words how special it is. Summer and I have been best friends/roommates/sisters for the past five years and have seen each other through thick and thin. We did the entire audition process together, danced the last combo in the final callback as a duet, and got the calls with our offers five minutes apart! Being able to see each other grow and evolve over the years and continuing the adventure with this incredible show, has been the gift of a lifetime! She’s my ride or die and I could not be prouder of her!

JHPENTERTAINMENT: Actors spend years collecting special skills for their résumés, but this show may actually require all of them. What’s one skill you get to show off in Water for Elephants that audiences might not expect?

ELLA HUESTIS: Honestly, this show has only added more special skills to my resume that I’m really proud of! I was lucky enough to get to learn the art of puppetry from Joshua Holden and trapeze/acro from Shana Carroll and our spectacular circus cast and it has been the most fulfilling experience to dip my feet into other specialties. I’m so excited to continue exploring these parts of theatre and performance and build upon the knowledge I’ve gained by running away with the circus!

JHPENTERTAINMENT: Water for Elephants is such an ensemble-driven piece where everyone seems essential to creating magic. To that end, as part of the team bringing Rosie to life night after night, do you have a particular scene between Rosie and Helen Krushinski’s Marlena that you love being on stage for each night?

ELLA HUESTIS: I have so many, it’s hard to choose! Getting to build all the little moments with Helen as a scene partner has been such a gift. She is seriously the best. I think my favorite one has to be the first time I interact with her using the trunk puppet. It’s such a cute, mischievous sequence and I love all the ways we’ve gotten to play around and find new gestures and interactions over the months of performances. It’s the highlight of my Act One and something I look forward to every night! 

RAPID FIRE WITH WATER FOR ELEPHANTS’ JOHN NEUROHR

JHPENTERTAINMENT: John, Rosie has become one of the most talked-about elements of the production. From a performer’s perspective onstage every night, what’s your favorite aspect of Rosie’s design and the way audiences react when she appears?

JOHN NEUROHR: What I think is so beautiful about Rosie, and all of the puppets in our show is that they are seen through the eyes of Jacob’s memory. The audience sees fragments of Rosie throughout the first act, but it isn’t until there’s a breakthrough that we see her in her full form. It’s such an amazing moment to witness every night.

JHPENTERTAINMENT: The show’s puppetry work by Ray Wetmore, JR Goodman, Camille Labarre, and puppetry director Joshua Holden is unlike anything audiences typically see on tour. What was the learning curve like in rehearsal for that style of storytelling?

JOHN NEUROHR: I’ve never studied or had puppetry experience before this show, and so there was a massive learning curve with stepping into the shoes of Rosie. The puppeteers and I studied, in great detail with Joshua, exactly how an elephant moves, how they breathe, and even small shifts of focus. At first, we used dowel rods walking around our rehearsal space, probably looking very silly, and slowly moved into Rosie. We get strapped into the puppet, like a hiking backpack, and use mechanisms in the legs to control her ear flapping, blinking, and tail movement. She’s a beast, but it’s so rewarding hearing and seeing the reaction from the audience and company when she comes to life.

JHPENTERTAINMENT: In addition to your role as a member of the Kinkers & Rousts, you also step into the Caretaker role. What can you tell me about the Caretaker?

JOHN NEUROHR: Being the extremely humble person that I am, I would say the Caretaker is the single most important character of the show. Without him, the Benzini Brothers would have never been able to buy Rosie and bring her into their circus. Of course, I kid, but the caretaker is a bit of a grouch and does not treat Rosie properly while she’s at the rival circus. It’s a good thing she got away from him. 

JHPENTERTAINMENT: For you personally, which ‘special skill’—nearly every theatre actor’s resume mentions them— has proven most valuable in surviving the organized circus chaos of being a Kinker & Roust in this production?

JOHN NEUROHR: Well, thankfully I’m not doing any of the real circus elements in this show. Our acrobats are truly incredible, and I watch in awe every night at the incredible feats they perform. For myself, I do give a pretty good cartwheel, that makes an appearance. More than anything I’ve learned so many new ‘special skills’ because of this show, from knife throwing, learning to crack a whip, juggling, and more. 

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH

JHPENTERTAINMENT: Chris, you officially joined the national tour in April. What has the whirlwind of stepping into Water for Elephants been like for you so far, and what has surprised you most about joining an already tightly-knit company?

CHRIS MARTH: Whirlwind is a great way to put it, but it’s been a very rewarding challenge so far! Learning a show by yourself in a studio, especially a show of this magnitude, is not for the faint of heart.  There are so many moving pieces that trying to “imagine” them in a rehearsal studio can be really difficult. Luckily our incredible dance captain, stage management, and music direction team led me through it every step of the way! It’s definitely nerve–wracking to step into a show with an established rhythm and a group of people who have been living this for the past 8 months, but luckily this is such a welcoming group of people, I was able to slip right into the fold. 

JHPENTERTAINMENT: Wade initially comes into the story with a pretty serious chip on his shoulder when it comes to Jacob Jankowski. How have you approached Wade’s evolving dynamic with Jacob, and what do you enjoy most about that story arc opposite Zachary Keller?

CHRIS MARTH: Wade is really tough on Jacob in the beginning of this story. It’s the Great Depression and there are countless people out of work and looking for a job. Then this seemingly well–off kid jumps our train car and Wade does not have the reason or resources to give him a chance, he is another mouth to feed and we are already scraping by as it is.

He believes that Jacob has not earned his position. But as the story progresses, Wade absolutely begins to soften towards Jacob, as he sees the value that he is bringing to the circus. However, his developing relationship with Marlena certainly does not go unnoticed. 

So, I think I approach their evolving relationship with trepidation. Even when things begin to go well for the entire gang, I’m trying to keep Jacob at arm’s length, knowing that when push comes to shove, I’ll likely be the one that has todeal with it.  My favorite part where this manifests itself in the show, are small moments between Zack and I during “Zostan” where you see those initial moments of firm intimidation at the start of the show have now softened into a kind of brotherly annoyance. 

JHPENTERTAINMENT: This production is incredibly physical. What has it been like working with fight director Cha Ramos to build the intensity and realism of those moments onstage?

CHRIS MARTH: Cha is simply incredible at her job. The detail and specificity that she brings to the fight choreography in this show is truly unmatched. Every moment is so meticulously thought out to keep the actors safe and comfortable, while still delivering a result that looks so real to audiences. There’s one moment in particular (I won’t spoil), that I love hearing audiences gasp at every night. I also have to shoutout Andrew, our incredible fight captain and swing. He guides Zack and me through the fights every night preshow and keeps them looking tight, while making sure we are safe and maintaining Cha’s brilliant choreography. 

JHPENTERTAINMENT: Water for Elephants balances spectacle with emotional storytelling in such a unique way. From your perspective playing Wade, what do you think audiences connect with most by the final curtain?

CHRIS MARTH: It’s easy to look at Wade as the villain of this story, but as you peel back the layers, you start to realize that he is a victim of his circumstances. That the decisions that he makes are fueled out of, to him, what feels like necessity. And I think that rings true for every character in this play, they all chose to join this circus out of necessity. So, my hope is that audiences walk away with deep empathy for these characters and the understanding that while they may not have all made the perfect or even right decisions over the course of our story. They made the decisions that felt right for them in their given circumstances, at that given moment. 

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JHPEntertainment thanks Chris Marth, Bradley Parrish, Carl Robinett, Ella Huestis, and John Neurohr for stepping into the Rapid Fire spotlight midway through the tour’s Nashville stop — and for giving audiences a behind-the-scenes glimpse at the magic under the big top.

With its stunning visual storytelling, emotionally rich performances, and extraordinary ensemble work, Water for Elephants continues to prove why audiences across the country are falling in love with this theatrical spectacle. From the breathtaking puppetry of Rosie to the athleticism and heart poured into every moment by the Kinkers & Rousts, the production captures both the wonder and humanity at the center of the story.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. 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.

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In case you missed it, check out our review of Water For Elephants‘ Opening Night performance in Nashville.

Theatre Review: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

 

 

Theatre Review: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

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There is a moment early in Water for Elephants when the ensemble begins swaying in synchronized rhythm, bodies rocking side to side as if connected by an invisible thread, and suddenly the audience is no longer sitting inside Jackson Hall at Tennessee Performing Arts Center — we are barreling across America with the Benzini Brothers Circus. It is one of the production’s most inspired visual motifs, a kind of train-ography, if you will, that becomes the pulse of the entire evening. Through movement alone, the cast conjures locomotives, instability, exhaustion, hope, and the restless momentum of Depression-era survival. Simple? Seemingly so. But in execution, it is theatrical magic.

Now playing Music City through Sunday, May 17, the National Tour of Water for Elephants delivers spectacle without drowning in it. Rather than relying solely on oversized circus gimmickry, the production trusts movement, music, lighting, lush storytelling and deeply committed performances to transport audiences into its world. The result is a stirring, emotionally textured theatrical experience that balances intimacy with astonishing visual ambition.

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.

In the role of Jacob’s older self, Mr. Jankowski is Robert Tully. Fittingly, Tully’s show bio reveals among his many theatre credits, he actually served as Ringmaster for Ringling Bros. and Barnum & Bailey circus, making his narrative duties all the more authentic as he regales Jacob’s time riding the rails as a circus roustabout.

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.

Then there is Connor Sullivan as August, whose volatile presence practically crackles across the stage. Sullivan’s vocals are thunderous and commanding, but it is the unpredictability simmering beneath every line that makes the performance so riveting. He creates a genuinely unsettling antagonist — charming one second, terrifying the next — while still revealing enough humanity to keep the character from becoming cartoonish. Without having checked out the playbill prior to attending Nashville’s Opening Night performance, the second Sullivan entered the stage, I recognized him immediately. No doubt theatre fans across the country have done the same, given Sullivan joined Water for Elephants not long after his previous gig as Billy Flynn in last year’s National Tour of Chicago came to an end.

Together, Keller, Krushinski, and Sullivan form a powerhouse central trio whose vocals elevate the production far beyond spectacle alone. Their emotional authenticity keeps the audience invested even as acrobats fly overhead and circus acts unfold around them.

The same can be said for the modern-day interludes in which Tully’s Mr. Jankowski shares tales of his younger self with Krushinski and Sullivan–in present-days scenes playing circus workers June and Charlie. The respect, admiration and care with which Krushinski’s June and Sullivan’s Charlie attentively listen to Tully’s Mr. Jankowski as he relives the glory days and heartaches of his former life serves as a reminder to us all that our elders have incredible stories to be listened to and learned from. We just have to take the time and make the effort to hear them.

While the score of Water for Elephants falls into the category of musicals that are quite effective in the moment, but for the most part, unless you’re a die-hard devotee of the show, you’re likely not going to add it to your daily playlist, several musical numbers land with exceptional force. “Anywhere” becomes an emotional turning point for Jacob and Marlena, with Keller and Krushinski blending their vocals beautifully while revealing the aching vulnerability beneath their growing connection. Meanwhile, August’s explosive numbers pulse with danger and desperation, allowing Sullivan to unleash the full power of his commanding voice and increasingly fractured psyche. The company-wide numbers prove equally affective, particularly those involving the traveling circus ensemble, where choreography, percussion-like movement, and the now-signature train-ography fuse together into thrilling theatrical momentum. Rather than pausing the story for songs, the score continuously propels the narrative forward like the locomotive at its center. The harmonies of the entire company singing in unison is simply quite spectacular.

Special recognition also belongs to John Neurohr, who stepped into the role of Walter, the knife-throwing clown, for Nashville’s Opening Night performance. Neurohr brought an endearing warmth and understated melancholy to the role, grounding Walter’s eccentricity with genuine heart. His stage presence blended seamlessly into the production’s emotional fabric, while his physicality and comic timing added welcome texture to several ensemble-driven moments throughout the evening.

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.

As Silver Star evokes emotion, Gabriela Diaz as Agnes, the orangutan elicits laughter while Kayden Woodridge‘s puppetry as Rex, the lion evokes fear.

That artistry that extends beautifully into the production’s remarkable puppetry design is most notably witnessed in Rosie, the titular pachyderm herself. Even before Rosie makes her official entrance, her presence looms larger than life throughout the narrative — a symbol of hope, survival, and emotional connection for nearly every character onstage. When she finally appears, the effect is genuinely awe-inspiring. Brought to life by on Opening Night in Nashville by Ella Huestis, Chris Marth, Bradley Parrish, Andrew Meier, and Carl Robinett, Rosie is far more than a puppet; she becomes a fully realized emotional force within the story. The coordination and grace required by the performers is staggering, yet the mechanics disappear almost instantly, allowing audiences to emotionally invest in the elephant herself. It is a masterclass in collaborative physical storytelling. Not since Dumbo or Mr. Snuffleupagus has a pachy won over an entire audience by simply walking across the stage.

Ruby Gibbs‘ Barbara, while employed as the circus’ somewhat bawdy leading lady, reveals a softer side where Jacob is concerned. Javier Garcia‘s Camel, a drink-swilling roustabout veteran, who takes Jacob under his wing, becomes a bit of a father-figure to newbie. Both of these actors endear themselves to the audience with their abilities.

The entire company, whether lead actors, featured supporting cast or the incredibly gifted high-flyers, tumblers, acrobats, jugglers–just like a real circus troupe–it’s the entire company, and the individual skills they bring, that make up the full multitude of experiences for a night of incredible joy and entertainment overload. Seriously, this ensemble is nothing short of phenomenal. Whether transforming into roustabouts, circus performers, fellow travelers, or performing animals, the company operates with astonishing precision and energy. Their physical storytelling becomes a vital connective tissue of the production, especially during those unforgettable rail-travel sequences where synchronized motion and rhythmic choreography create the sensation of perpetual movement.

Equally effective is the production’s restraint in its technical design. Rather than constructing an oversized literal circus environment, the creative team leans into minimalism with confidence. Scenic elements remain spare and fluid, allowing the actors and movement to define the environment. That simplicity makes the production’s biggest visual moments land even harder.

Most impressive is the staging of the circus tent itself. Instead of unveiling some predictable red-and-white striped spectacle, the production opts for a hauntingly beautiful sheer grey canopy that rises overhead and transforms through lighting into the shadowed suggestion of a massive big top. It is elegant, dreamlike, and emotionally evocative — less interested in realism than memory. The choice perfectly reflects the production’s overall artistic philosophy: suggest rather than overwhelm.

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.

What makes Water for Elephants resonate so deeply is that beneath all its acrobatics and visual invention lies a profoundly human story about survival, reinvention, and finding family in unexpected places. This touring production never loses sight of that heart. By the time the company takes its final bow, audiences are likely to feel exactly like Jacob himself: changed by the journey…and excitedly anticipating what life has in store next.

Water for Elephants at TPAC is not merely a musical. It is a moving act of theatrical imagination — one that races forward with the force of a locomotive while never forgetting the fragile souls riding inside it and their ultimate purpose of bringing a little joy wherever the rails, the circus and their lives take them.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. 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.

Theatre Review: ‘Some Like It Hot’ and Hot is What They’ve Got; Tour Wraps 2-Year National Taptastic Trek with Music City Stop at TPAC thru Sunday

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As the national tour of Some Like It Hot blazes through its final stretch at Tennessee Performing Arts Center‘s Jackson Hall with shows thru Sunday, April 26, there’s a palpable sense that this is more than just another stop on the road—for it’s also a curtain call on a two-year, coast-to-coast victory lap. And if ever a show deserved to go out in a blaze of brassy, tap-drenched glory, it’s this one.

Adapted from the beloved 1959 film of the same name by legendary director Billy Wilder, the stage musical carries forward the legacy of roles made part of the lexicon of classic cinema by Tony Curtis, Jack Lemmon, and Marilyn Monroe. The 2022 Broadway adaptation—with a book by Matthew Lopez (Tony-winner for The Inheritance) and Amber Ruffin (Emmy-winning scribe for The Late Show with Seth Meyers), and music by Marc Shaiman with lyrics by Scott Wittman and Shaiman (the duo who brought us Hairspay: The Musical and so much more)—pays loving homage to the film’s cinematic flair and Prohibition-era hijinks while updating the story with a more expansive, inclusive lens.

Here’s the thing, though. this isn’t just a backstage farce anymore; it’s a more well-rounded representation of the people who might have populated the 1930s nightclub circuit, as well as the ideals and personal discoveries that resonate with today’s audiences.

As a massive fan of the film, I was delighted in the inclusion of a handful of my favorite lines. From Sugar’s lament, “I’m tired of getting the fuzzy end of the lollipop” to Osgood’s revealing, telling, and ultimately true, “Well, nobody’s perfect”…Some Like It Hot purists should be gloriously satisfied.

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 Rapid Fire 20Q, noting that she takes the responsibility “by the horns” each night to set the tone with a bang. That intention is unmistakable in performance. There’s power here, yes, but also purpose—her Sue is a bandleader carrying not just the rhythm, but the weight of every woman in her orbit. As she also shared in our recent Rapid Fire 20Q, that maternal instinct—balancing toughness with unexpected softness—becomes central to the character’s journey, and Moore threads that needle beautifully. With a commanding stage presence that put me in mind of the late, great Nell Carter, Moore’s Sweet Sue exudes class, brass and just enough sass to put the syncopation in Sweet Sue and her Society Syncopators. There’s a point in the show when Moore’s Sweet Sue is at a loss for words but that doesn’t keep her from garnering belly-laughs from the audiences as she pulls her face with with wide-eyed and open mouth exaggerated reactionary looks. A true queen of her craft.

During the show’s Broadway debut, the central trio was played by Christian Borle, J. Harrison Ghee (whose Tony-winning performance helped redefine Daphne), and Adrianna Hicks. The touring company—led by Matt Loehr (Joe/Josephine), Tavis Kordell (Jerry/Daphne), and Leandra Ellis-Gaston (Sugar)—echoes those performances in spirit while continuing to lean into the show’s modern sensibilities. Together, this Tip Tap Trio gleefully steps into the legendary tap shoes of Curtis, Lemmon, and Monroe, while confidently making Josephine/Joe, Daphne/Jerry, and Sugar wholly their own.

Matt Loehr’s Joe/Josephine is a magician of controlled chaos. There’s a joyfulness he brings to the character—a kind of gleeful mischief—that makes the con man’s scheming feel less cynical and more survivalist charm. His performance…part fast-talking opportunist, part wide-eyed dreamer…keeps the audience firmly in his corner even as the lies Joe’s perpetrating become as tricky to maneuver as Josephine walking in those high heel shoes.

Tavis Kordell, in what his bio reveals is his first national tour (talk about diving in headfirst), delivers a Daphne/Jerry that is as charming as it is emotionally resonant. Having had the Broadway cast recording on repeat in the days leading up to opening night in Music City, there’s an undeniable—and frankly uncanny—vocal similarity to J. Harrison Ghee that immediately stands out. But imitation this is not. Kordell makes the role his own, particularly as the story leans into the duality of Jerry and Daphne. What unfolds is less a punchline and more a revelation—one that lands as a genuinely heartwarming triumph.

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.

Devon Goffman’s Spats Colombo walks a delicious tightrope between menace and absurdity, leaning into his character’s 1930 mob boss ways with aplomb. Goffman’s Spats plays beautifully here. After all, who doesn’t love an appealing bad guy?

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.

Director/choreographer Casey Nicholaw delivers a production that feels like a love letter to the Hollywood Golden Age—if that love letter were written in morse code and expressed through tap shoes moving at breakneck speed. The musical numbers burst with big-band swagger, kaleidoscopic staging, and the kind of precision that makes you wonder if the cast has secretly replaced their bones with metronomes. It’s lush, it’s lavish, and it never once lets its foot off the gas. A true high octane delight and I’m not just talking about what’s in Sugar’s flask.

Now, if you read my reviews with any regularity, you know I love an allegorical ography…I frequently describe choreo in such a way…I’ve written about hairography, chairography and even waterography, so when Goffman described Nicholaw’s Tony-winning choreo as door-e-ography, I knew I’d be adding that descriptor to my vocabulary. Here’s the funny thing about that…my date for TPAC’s Opening Night of Some Like It Hot, an actress and dancer herself, who knows my penchant for ography designations, leaned over and said “doorography”–and she hadn’t even read the Rapid Fire 20Q! It’s the farcial slamming of doors, but elevated to movement that’s both comedically guffaw-ensuing and rhythmically pleasing. Gotta hand it to Nicholaw, that’s the first chase scene I’ve ever seen on stage where both the pursued and pursuer are outfitted in tap shoes. Forget running from danger, they’re tap, tap, tapping from it and that makes the chase all the more enjoyable!

As this tour takes its final bow at TPAC, Some Like It Hot proves itself to be more than a nostalgic retread. It’s a reimagined classic that honors its roots while dancing confidently into the present—one high-kick, high-stakes, high-style number at a time.

Catch it while you can. After all, shows like this don’t just close…they exit with a flourish.

Some Like It Hot plays TPAC‘s Jackson Hall thru 26—delivering a fast, funny, and thoroughly modern take on a classic story, with just the right amount of old-school showbiz shine. CLICK HERE for tickets. To follow Some Like It Hot, check out their official site or find them on Facebook, X, Insta and TikTok. 

While this may be the end of the road for Some Like It Hot‘s current national tour schedule, TPAC‘s Broadway season continues next with Water for Elephants on stage May 12-17. Then it’s the return of two favorites with Book of Mormon June 2-17 followed by Hamilton June 17-28. 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!