After six installments that have brought Broadway favorites, themed musical celebrations and a distinctly New York cabaret vibe to Nashville, Rachel Potter’s Off-Broadway at Analog at The Hutton marks its one-year anniversary with a production that puts a creepy, kooky, mysterious, spooky spin on the latest installment just in time for the Halloween holiday season. On Friday and Saturday, October 30 and 31, Analog at The Hutton transforms into an altogether ooky hunted mansion when the Addams family moves in — and they’re bringing the entire musical score with them.
The Addams Family Musical in Concert brings together an impressive collection of performers with ties to the beloved musical, including Sara Gettelfinger, who starred as Morticia Addams in the first National Tour; Premiere tour star, Brian Justin Crum, reprising his connection to Wednesday’s unlikely beloved, Lucas Beineke from his time with the National Tour; Andrew Metzger as Uncle Fester, having portrayed the quirky chrome-domed romantic a number of times; and Nashville-based performer Jeremy Parrish as Lurch. Joining them will be Off-Broadway at Analog‘s host/emcee and former Wednesday Addams, Rachel Potter; Brian Charles Rooney as Gomez and Nashville’s own Carrie Brewer as Grandma. Rounding out the primary cast will be Megan Murphy Chambers and Geoff Davin fresh from their roles as Alice and Mal Beineke, having just wrapped a hugely popular run at Studio Tenn. Adding another special dimension to the festivities, original composer and lyricist Andrew Lippa will be on hand for this two-night musical celebration.
Unlike the previous Off-Broadway installments, which have explored a variety of songs connected by a common theme, this time around Potter and company are taking audiences through the complete score of The Addams Family Musical, sung through from the opening number to the finale. And with Lippa in the room, there’s even the tantalizing possibility of a Halloween treat: performances of songs originally created for the show but cut from its Broadway run. Consider our curiosity officially piqued.
The series has quickly become a destination for musical theatre lovers seeking something beyond the traditional concert experience. With Broadway talent sharing the spotlight with Nashville’s extraordinary local performers, Off-Broadway at Analog at The Hutton has carved out its own little corner of Music City’s entertainment scene — one that feels equally at home in the intimate cabaret rooms of New York and the increasingly diverse theatrical landscape of Nashville.
For this special anniversary celebration, we caught up with four members of the Addams clan for our latest Rapid Fire 20Q. From Gettelfinger’s long history with Morticia and Crum’s return to a role from his original national tour days to Metzger’s ongoing love affair with Fester and Parrish’s thoughtful approach to the famously taciturn Lurch, these performers have plenty to say about revisiting the material, reconnecting with fellow Addams alumni, Halloween traditions and the enduring appeal of Andrew Lippa’s score.
So, put on your blackest attire, prepare to move toward the darkness and join us as we go Rapid Fire 20Q with Sara Gettelfinger, Brian Justin Crum, Andrew Metzger and Jeremy Parrish.
RAPID FIRE 20Q WITH CAST MEMBERS OF THE ADDAMS FAMILY IN CONCERT
RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s MORTICIA ADDAMS, SARA GETTELFINGER
JHPENTERTAINMENT: Morticia has been a part of your theatrical life for quite a while now — from the first National Tour in 2011 to Broadway at Music Circus in 2023 and, most recently–earlier this month–your three-day run with Sugar Loaf Arts Collective. What is it about slipping into that black dress and embracing your inner Addams that keeps calling you back to the family? And…was it an immediate YES when Rachel Potter reached out to invite you to be part of this concert event?
SARA GETTELFINGER: Growing up, I was always intrigued with the character of Morticia- Her look, her quick wit and deadpan humor, and her mysterious, “less is more” fabulousness. As far as the musical- I have always idolized Bebe and MANY of the roles she’s originated or played were on my bucket list, so it was an honor to get to carry that torch, but also have the opportunity to go back into the room with all of the original creatives, and make changes and develop new material for the tour, which would end up being the version that was licensed. There’s nothing I enjoy more than being able to create something new, but also inevitably draw from those who’ve inspired and shaped me as an artist, so in this case, I quite literally had the best of both worlds. Morticia is a role that allows one to be beautiful, smart, funny, and truly dance- so I’ll return to it whenever and for as long as I can.
JHPENTERTAINMENT: Morticia gets some of the show’s most deliciously dark musical moments, from “Just Around the Corner” to “Tango de Amor.” Is there a particular lyric that captures her philosophy on life, love and the occasional family dysfunction — and one you find yourself enjoying a little more with every return?
SARA GETTELFINGER: It’s interesting because in “Just Around the Corner”, even though the lyric describes how much she is looking forward to “Death”, the song, along with so many of the others in the show, is really about making the most of the time we have and existing as one’s most fearless and authentic self. “When You’re an Addams,” “Secrets,” “Live Before We Die,” “Move Toward the Darkness,” and really the overall message of the show, are about the importance of embracing and celebrating who and ALL that you are, regardless of what others may think, and the beauty and power that comes with acceptance, love and forgiveness of oneself and for others.
I was going through an incredibly difficult time on that first tour, and by the end was at probably one of the lowest and unhealthiest points of my life. So in the years since, to have not only been fortunate enough to survive and still be here, but manage to come back stronger than ever, and be given the gift of returning to the role, as well as setting the show multiple times, is something for which I will always be profoundly grateful, and becomes more meaningful every time: “Only at our lowest, can we rise above…Move toward the darkness and love…”
JHPENTERTAINMENT: Here’s a reunion worthy of an Addams family portrait: you’re getting ready to share the stage again with Brian Justin Crum, who played Lucas during your time as Morticia on the original National Tour. What memories from that first tour are you bringing with you into this Halloween homecoming?
SARA GETTELFINGER: It’s funny because while Lucas is the subject of several scenes between Gomez and Morticia and she is very concerned about him as far as her daughter’s future, the 2 characters actually have very little direct interaction in the show. But Brian was always fabulous onstage- Beautiful, funny, with the most spectacular voice, and the chemistry he shared with Cortney Wolfson, who played Wednesday, was just wonderful.
JHPENTERTAINMENT: Do you have a favorite Halloween tradition, a memorable costume from childhood, or a spooky-season ritual that would earn Morticia’s enthusiastic approval?
SARA GETTELFINGER: Over the years, depending on where I was living, I used to love setting up a pretty elaborate “Haunted Cemetery” in the front yard. Headstones spattered with blood or spiders and cobwebs, with funny names and “HERE LIES” descriptions, along with scattered bones and in a few spots dug holes and partially buried and posed skeletons so it looked like they were trying to escape their graves.
I also watch Disney’s Original Legend of Sleepy Hollow and Something Wicked this Way Comes every year- those old school movies from the late 70’s/early 80’s were AMAZING and there was ZERO concern about potential nightmares or traumatizing kids LOL!
JHPENTERTAINMENT: You’ve inhabited Morticia in full productions, but this concert puts the music and lyrics front and center, with original composer and lyricist Andrew Lippa joining the festivities. What intrigues you most about revisiting the score in this stripped-back format, and what does it mean to have one of the show’s original creative minds on hand for this special occasion?
SARA GETTELFINGER: As I mentioned earlier, because we were lucky enough to go back into the room with the creative team in revising and preparing for the tour, I’ve known Andrew for over 15 years now, and he is as equally brilliant and wonderful a friend and human being as he is an artist, and I cannot WAIT to see and get to revisit this material with him. And again, regarding the music and lyrics, the show and its message, both professionally and personally, becomes more and more meaningful and resonates more deeply with me in every opportunity that I’m lucky enough to have had to revisit it, and with every year I’m lucky enough to still be living 😉🖤
RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LUCAS BEINEKE, BRIAN JUSTIN CRUM
JHPENTERTAINMENT: You were part of the original National Tour of The Addams Family as Lucas Beineke, the supposedly normal young man who falls head over heels for Wednesday Addams. Returning to the show all these years later, what memories of that original adventure have stuck with you — and given your life and career post-Addams, do you still relate to Lucas’s earnest attempts to fit into a family that makes normal look positively terrifying?
BRIAN JUSTIN CRUM: My time with Addams Family was so special. I made lifelong friends that I’m still in touch with today.
Playing Lucas was always a bit of a challenge for me in that, I’m much more of a Wednesday. I had a hard time connecting with that earnest good boy trait. That’s what’s fun about musical theatre we get to drop ourselves into these characters that are so unlike us and find ourselves in them.
JHPENTERTAINMENT: Lucas gets to unleash his inner wild man in “Crazier Than You,” a number that takes youthful rebellion and romantic commitment to wonderfully unhinged extremes. I understand that while you and Rachel Potter never crossed paths onstage as Lucas and Wednesday, the two of you first met in your early New York days occasionally performing in the same concerts in the city. How much convincing did Rachel have to do to get you to come to Nashville to be part of The Addams Family In Concert?
BRIAN JUSTIN CRUM: I actually remember when Rachel got cast! I was doing Next to Normal on Broadway at the time and she and I had become friendly doing things around NYC. I went and saw her in the show and visited with her in her dressing room after. It was so exciting! We’ve both gone on to make our music and made careers as solo artists. When she asked me to do this, it was a no-brainer! We never got to do it together – this is a full circle moment for us both!
JHPENTERTAINMENT: Speaking of reunions: you’re returning to The Addams Family with Sara Gettelfinger, your original touring Morticia. Before you even had a chance to rehearse together, what excited you most about reconnecting after all these years, and what do you remember most fondly about sharing the road with her?
BRIAN JUSTIN CRUM: Sara is a such a special performer and kind soul. Life has been crazy since then and so many ups and downs and we lost touch after the tour. I’m thrilled to see her and have her back on the Broadway stage where she belongs!
She perfectly captures Morticia and I’m excited to see what she does with it now after so many years!
JHPENTERTAINMENT: We’re talking Halloween Eve and Halloween night, so let’s get personal. When you were a kid, were you the spooky, spooky-adjacent or decidedly unscary costume type? What’s your all-time favorite Halloween costume you’ve worn, and is there a fictional character you’d still love to dress up as?
BRIAN JUSTIN CRUM: I’ve always been a “let’s see what I can pull off at the last second” kind of Halloween costume guy. During Covid I ordered a bunch of random stuff off Amazon and turned myself into a beautiful Merman! I like anything mythical and fabulous!
JHPENTERTAINMENT: With Andrew Lippa himself joining this concert, you’ll have the rare opportunity to perform a score in the presence of the person who created its music and lyrics. Does knowing he’ll be in the room change how you think about approaching Lucas this time around, and is there something about Lippa’s writing you’ve come to appreciate even more since your original tour?
BRIAN JUSTIN CRUM: I was always a huge Lippa fan. “Wild Party” was THE staple in my household as a kid learning to sing. I’m excited to see him and catch up!
RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s UNCLE FESTER, ANDREW METZGER
JHPENTERTAINMENT: You’ve been moonlighting as Uncle Fester since your 2017 community-theatre outing in Simi Valley, followed by the Welk Resort in 2019 and 5-Star Theatricals in 2022. That’s a pretty impressive résumé for a man whose romantic life revolves around the moon! What keeps drawing you back to Fester, and how has your relationship with this wonderfully eccentric character evolved over the years?
ANDREW METZGER: Uncle Fester fits like a glove for me, he’s such a fun character to play, and when Halloween time comes around I always enjoy the prospect of getting an opportunity to do it again. Actually, I was set to join the cast of the most recent national tour last year in the fall, as a replacement for the outgoing performer playing Fester towards the end of their itinerary, but unfortunately I was going through a complicated medical situation with my father and the passing of my mother, which forced me to have to bow out. As Fester, you get to be broad and wacky, but also have moments of warmth while trying to meet the expectations of that the audience has, as he’s truly such an iconic character that has been portrayed in so many mediums but such legendary performers (and heroes of mine) such as Christopher Lloyd, Kevin Chamberlain, and of course Jackie Coogan. I’ve always thought that it was such a great idea to make Fester the narrator of the show, kind of a “gateway” for the audience to travel into the Addams Family world, as he is able to be irreverent but charming at the same time, as he basically declares that at the center of the creepy and kooky show, we’re going to see a tale about love (“Let’s not talk about anything else, but love!”). Plus, breaking the fourth wall is always such a guilty pleasure of mine. It’s been such a joy to get to revisit this role and this show, while trying to find ways to bring something new to each outing.
JHPENTERTAINMENT: “The Moon and Me” is Fester’s big, heartfelt declaration of love to a celestial body that never has to meet the family. What do you love about that number, and how do you strike the balance between playing the comedy of Fester’s obsession and letting the audience feel the genuine romance underneath it all?
ANDREW METZGER: That song is such a rollercoaster. You absolutely have to play into the absurdity, while also treating it as a genuine love ballad. First you start off with this lovely little intimate and charming introduction, and it transforms into this abstract and bombastic proclamation of his love for the literal moon, which usually takes on a personality of itself in the number depending on how it’s staged. Which speaking of staging, it really can be the trickiest and most technically challenging moment in the show, as you have so many moving pieces! The stage is usually almost completely dark, with very specific lighting, as you wear a bodysuit with puppet legs attached with the puppeteers behind you as you climb up stairs on wheels (in the dark!) to simulate flying through the stars…and yet it’s such a blast! It can also be a challenge vocally, as you need to stay true to Fester’s clenched-throat character voice that the audience has become familiar with, but also make sure to hit the notes that show off Andrew Lippa’s brilliant writing. I absolutely adore it.
JHPENTERTAINMENT: You’ve performed Fester in several full productions, but this time you’re diving into the show in concert with barely a rehearsal before the curtain goes up. What are you most excited to revisit about Fester, and how does having played him across several productions shape your anticipation for this latest outing?
ANDREW METZGER: With each opportunity, I like to think I’ve brought something new that I’ve gained from my experiences as a performer (and as a person) each time I slip into the brown coat. I’ve also had the chance to perform with so many lovely talented artists both on the stage and behind the scenes, with some of my closest friendships having started from being in this show. In the last production I did with 5-Star Theatricals, I got to work alongside Teri Hatcher as Morticia (she just made her debut on the West End!) who was such a pleasure to work with, and that will always be a such a special moment for me in my career. Honestly, I’m just so honored to be joining fellow Addams “alumni” who have been a part of this show’s journey, it’s daunting but exciting to share the stage with these folks who’s resumes are so impressive. I mean obviously there’s Rachel Potter, who made her own impact on the character of Wednesday that has trickled into the DNA of the show over the years since she played it on Broadway, and she’s at the helm of putting together what will be such an amazing tribute to this show.
JHPENTERTAINMENT: Fester has a gift for finding beauty where other people might see something a little… unusual. In honor of Halloween, what’s your favorite spooky-season tradition or childhood costume memory? And if you could invite any Addams Family character to your Halloween party, who would make the guest list — and who would absolutely have to leave early?
ANDREW METZGER: Honestly, one of my favorite memories as a child was when my dad helped me make my idea a reality to transform our garage into a full pirate cave with skeletons and treasure piles and a fog machine…all just to pass out candy to families walking by! It’s one of those examples of my father’s love and support for me, and I’ll always hold onto that. Currently, my Halloween tradition involves watching movies with my fiancé, stuffing our faces with pizza and candy, and putting our dog in a costume he hates having on. If I was going to invite some of the Addams clan over…I’d definitely want to invite Cousin It, he seems like a fun guy. As far as I’d ask to leave early…probably Grandma, as she…has a tendency to leave a mess behind (if you’ve seen the show you understand!).
JHPENTERTAINMENT: Having Andrew Lippa in the room for this concert must be a special prospect for someone who’s spent so much time living inside Fester’s world. What are you most looking forward to about performing his work with him present, and is there anything about Lippa’s music or lyrics that has taken on a different meaning for you over the years?
ANDREW METZGER: Oh I’m just hoping he enjoys my interpretation of the character. He’s literally a living icon of the musical theatre world, and it’s daunting to even think I’ll be singing his work with him next to us on stage. It’s also such a testament to his talent that each character brings their own unique flavor and identity, such as Wednesday being more pop-rock while Gomez has the fun Spanish flair, but somehow he melds it all together without the audience even questioning it. Fester lives more in a classic Vaudeville-sound for most of the show, but when we get to “Moon and Me”, it’s such a gift because as a broad character performer, you get to show off your more affectionate side with such a lovely melody, evoking a Jim Henson-like vibe while also being wonderfully haunting towards the end (with almost a nostalgic 90’s movie score sound). It’s seemingly completely insane that he’s in love with the moon, but through Lippa’s lyrics, the audience sees how genuine that love really is, as it’s not defined by what is considered “normal,” which as I’ve come to learn, is a wonderful representation of what the show is essentially about.
RAPID FIRE WITH THE ADDAMS FAMILY IN CONCERT‘s LURCH, JEREMY PARRISH
JHPENTERTAINMENT: Lurch is a man of few words, but when he does speak — or sing — the entire room tends to pay attention. How do you approach creating a character whose presence, timing and physicality can say so much without saying very much at all? And is playing the silent, towering butler secretly liberating for someone who doesn’t have to memorize pages of dialogue?
JEREMY PARRISH: I think that having the opportunity to create a “silent” character like Lurch is truly unique one. I feel like Lurch is almost like the Greek chorus of the story. While he is physically involved in the in-the-moment action; his facial reactions, comically timed non-verbal or unintelligible reactions, and ultimate musical outburst are often saying the unspoken subtext of a scene. He is often the first one in on the joke, the silent voice of reason, and ultimately delivers one of the core messages of love and togetherness in the show. It’s a unique challenge because when you have pages of text, your answers are there… you just shape them with your own choices as an actor. With a character like Lurch, it all has to be developed with nuance, a strong backstory, and physical choices. It’s a huge and fascinating challenge as an actor! I think that’s why he ultimately breaks into song… he just HAS to get the core message out that everyone else has been dancing, or tangoing, around.
JHPENTERTAINMENT: Both currently being Nashvillians, You and Rachel Potter have previously worked together at a few events around town. How did she talk you into stepping on stage as Lurch for this two-night in concert performance?
JEREMY PARRISH: Rachel and I have done a few concert versions of shows around Nashville over the years after we both relocated here from NYC, so it didn’t take much convincing to rejoin her for the Addams Family. I was in callbacks for the original Broadway production a few times, and I had several friends in the original company; so, getting the chance to perform in Nashville with this unbelievable collection of talents was an incredible opportunity. I have also been obsessed with Andrew Lippa as a composer since my Belmont days when I basically wore his version of the WILD PARTY out. So, to get to perform in one of his shows with him present… with this company… this felt like a Nashville full-circle moment! I may have hung up my proverbial tap shoes in pursuit of theater being my sole career… but once an actor, always an actor. So when the subject came up I, of course, agreed to join with a ready grunt!
JHPENTERTAINMENT: Your day job as a Lux Spirits portfolio consultant with Gallo gives you a rather different set of ingredients to work with than a typical actor. So, let’s put that expertise to the test: if you were creating a Lurch-inspired cocktail, what would go into it, what would you call it, and would it be served shaken, stirred or with one very ominous “You rang?”
JEREMY PARRISH: Well, I feel like Lurch’s gin martini game is strong behind the bar for sure. Something tells me that the Addams’ like a stiff drink! Am I wrong? But for Lurch to BE the cocktail? I think that I’d go with a riff on Ramos Gin Fizz meets a tequila sour, that perhaps Lurch’s slow & steady approach to movement gives the time for the cocktail to be well crafted and deliciously foamy. I’d use Don Fulano Añejo tequila, something naturally crafted & dry with a good bit of age and baking spice, in an egg white Sour, cut with a bit of soda water and shaken with fresh citrus and a wine-based amaro, like Lo-Fi Gentian Amaro that uses hibiscus or Amaro Pasubio that uses blueberry. Served as a highball to honor Lurch’s classic height; it would be deep in color, with a thick foam cap, garnished with lime and a nice drippy brandied cherry skewer for a touch of the macabre and a nod to Lurch’s frequent fencing spars with Gomez. The Lurch Fizz is a bit like the butler himself, tall, strong, mysterious… and requires a bit of patience but is, deep down, a delight!
JHPENTERTAINMENT: Hmmm. Wonder what happens when I order a Lurch Fizz at Analog this weekend? Ok, so, Halloween Eve and Halloween night seem tailor-made for an Addams Family celebration. What’s your favorite Halloween tradition or childhood costume memory? And if you could raid the Addams Family wardrobe for one costume to wear to a party, would you go full Lurch, or is there another member of the family whose look you’d love to borrow?
JEREMY PARRISH: Some of my favorite Halloween memories were from a few years in NYC when I was waiting tables and bartending between shows. The staff would collaborate, and all of our costumes would piece together to tell a story, and we’d end up creating scenes throughout the night with customers. It was fun and gave us all an idea to build a costume. From the Addams’, Gomez for sure! Stylish facial hair and a beautiful, well-cut suit… not to mention a fencing foil for panache!
JHPENTERTAINMENT: The Addams Family Musical in Concert marks the one-year anniversary of Rachel Potter’s Off-Broadway at Analog at The Hutton. In addition to Broadway stars, Rachel has once again tapped into the local Music City talent pool to round out the cast. Of previous installments in this continuing residency, I’ve compared the events to New York’s 54 Below and Jim Caruso’s Cast Party at Birdland. As a Nashville resident, and as someone in the food and beverage industry, how lucky is Music City to have Rachel and Off-Broadway at Analog at The Hutton?
JEREMY PARRISH: I am consistently amazed by the talent that exists in Nashville. I am grateful that Rachel uses her vision and reach to create opportunities to show that Nashville is more than just a hub for country music. There are incredible, multi-talented performers in Music City that can mingle seamlessly with NY talent if given the opportunity, and she’s doing just that. I also am in awe of the immensely talented folks that seem all too ready to grace the stages in Nashville as well. I also love that Rachel continues to advocate for musical theater’s place here in Nashville… to bring “Broadway” to audiences that are chock-full of folks who love the genre, and people who are experiencing it in a new, more approachable way and I’m so grateful that she is. Even in NYC; cabaret and concert venues, like 54 Below & Birdland, give stage performers an opportunity to be more intimate, approachable… to show their individuality and creativity in a way not strictly dictated by a script. Shows like what Rachel and Analog are doing with the Off-Broadway series bring audiences in for a bespoke experience, but it also gives interested bartenders an opportunity to create unique experiential cocktails. And the old “2 drink minimum” is a staple for cabaret, so that helps those of us in the bar world for sure! I only hope to be able to continue to be involved… both working with Analog in the cocktail world, as well as with Rachel onstage!
For those hoping to spend Halloween with The Addams Family, there’s a little urgency to the invitation. As of this Rapid Fire 20Q publication, the Friday, October 30 first night of this two-night event is already SOLD OUT, with limited tickets remaining for Halloween night, Saturday, October 31.
Presented as part of Rachel Potter’s continuing Off-Broadway at The Hutton residency, The Addams Family Musical in Concert takes place at Analog at The Hutton (1808 West End Avenue, 2nd Floor Nashville, TN 37203). Standing Room General Admission tickets are $35. Reserved Seating is $60. VIP Upgrade of $75 (valid only with purchase of Standing Room GA or Reserved tix) includes pre-show lounge with meet and greet. Premium VIP Seating for $150 adds front row seating to the VIP Upgrade. CLICK HERE to purchase tickets. Pre-Show VIP perks begin at 6pm before general admission or regular reserved attendees arrive.
With the complete musical score performed from beginning to end, familiar Addams Family favorites, Broadway & Music City talent and Andrew Lippa himself in attendance, this promises to be a particularly memorable Halloween gathering. And if those rumored songs that never made it into the Broadway production do make an appearance? Well, that would be the sort of treat that even Wednesday might crack a smile over. And remember, when you’re an Addams, you do what Addams do or die. Happy Halloween!
To keep up with all happenings at Analog at The Hutton, CLICK HERE or follow them on Facebook and Insta.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and X. In the meantime… #GoSeeTheShow!
RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY 
RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST
RAPID FIRE WITH 
RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN
RAPID FIRE WITH COBY ORAM STARRING AS FRANKIE VALLI IN JERSEY BOYS
RAPID FIRE WITH PEYTON SCHOENHOFER STARRING AS BOB GAUDIO IN JERSEY BOYS
RAPID FIRE WITH HARRY SPERDUTO STARRING AS TOMMY DeVITO IN JERSEY BOYS
RAPID FIRE WITH OWEN McCREDIE STARRING AS NICK MASSI IN JERSEY BOYS
Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.
Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.
Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.
The decision to position the musicians directly onstage pays immediate dividends.
JHPENTERTAINMENT:
RAPID FIRE WITH WATER FOR ELEPHANTS‘ 
RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS
RAPID FIRE WITH WATER FOR ELEPHANTS’ 
RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH
Opposite him, Grammy nominee Mykal Kilgore delivers a mesmerizing Judas. From the opening notes of “Heaven on Their Minds,” Kilgore refuses to portray Judas as a simple villain. Instead, his Judas feels conflicted, frightened, frustrated, and heartbreakingly human as he watches events spiral beyond anyone’s control. His powerhouse vocals soar effortlessly through the score, but it is the emotional vulnerability beneath the performance that lingers longest.
As Mary Magdalene, powerhouse vocalist Olivia Valli comes by her talents naturally. Granddaughter of The Four Season‘s founding member Fankie Valli, she’s a legacy entertainer. As Mary Magdalene, Valli brings warmth and aching sincerity to the role. Early on During “Everything’s Alright,” Valli’s calming presence provides a needed emotional balance amid the increasingly chaotic atmosphere surrounding Jesus. Soon after, her rendition of “I Don’t Know How to Love Him” avoids unnecessary theatrics in favor of emotional honesty, allowing the heartbreak within the song to quietly unfold. Under Cassidy’s direction, Valli explores the often-avoided attraction between Mary the woman and Jesus the man, once again offering yet another layer to the humanity of the piece.
As Pontius Pilate, Geoffrey Davin offers one of the evening’s smartest tonal shifts . Presented as a gaudy, self-important joke of a man sporting an intentionally terrible hairpiece (kudos to the show’s wig designer Meredith Schieltz for just simply going for it), Davin leans fully into the absurdity of performative power. The portrayal initially earns plenty of laughs, but underneath the comedy lies another sharp reflection of the production’s larger themes—people desperate to appear more important than they truly are. His “Pilate’s Dream” balances nervous humor with growing dread, while sinisterly daunting presence during “Trial Before Pilate/39 Lashes” becomes genuinely unsettling.
W. Scott Stewart’s thunderous bass vocals as Caiaphas roll in like a deep fog, brilliantly setting the stage for the dread and darkness to come. Robert Parker Jenkins‘ Annas perfectly snarky glances peering over those disturbingly small, dark glasses, brings an unspoken self-righteousness to his role as a high priest. As other members of Caiaphas’ doom squad, Garris Wimmer‘s sinister voice and Jennifer Whitcomb-Oliva‘s snide presence all come together perfectly to present a united and terrifying quartet who initiate the plot to end Jesus.
Then there’s the most intriguing of Whitcomb-Oliva’s multiple roles, her dazzlingly, gloriously commanding presence as King Herod. Landing somewhere firmly between Tina Turner’s Auntie Entity from Mad Max: Beyond the Thunderdome and Elton John’s Pinball Wizard from yet another rock opera, Tommy, Whitcomb-Oliva’s Herod is the true definition of the villainous character we know we’re not supposed to love, but we just can’t help ourselves. Combine the stage presence and spectacular wardrobe with Whitcomb-Oliva’s undeniable talents and you’ve got yourself a show-stopping performance and another of Studio Tenn‘s Jesus Christ Superstar‘s truly magical cast members. There is no role this mega-watt talented performer can’t handle and she proves it show after show after show.
Other ensemble members like Bakari King, Garris Wimmer, Maya Antoinette Riley, Matthew Hayes Hunter, Savannah Stein, Lane Adam Williamson, Victoria Griffin, Emma Rose Williamson, Connor Adair, Nikki Berra, Christina Ledbetter and Patrick Jones each contribute to the overall energy, emotion and beauty of the piece. From the full ensemble Act 1 favorite, “What’s the Buzz’ to a shining, glittering all-in late-hour moment, the entire cast brings everything they’ve got, resulting in a feast for the eyes, the mind, the heart and soul. 
Likewise, Joi Ware’s choreography injects continuous movement and urgency into the production. There are moments where subtle Bob Fosse-inspired isolations seem to collide with flashes of Michael Jackson-inspired movement during larger ensemble sequences, creating choreography that feels simultaneously nostalgic and contemporary. Even those ensemble moments reinforce the power-in-numbers juxtaposed to the isolation of one theme found throughout the piece. Coupled with Cassidy’s direction, Ware’s choreography fills the stage with passionate movement, whether the entire company is on stage for a group number, or the action slows for a solitary moment from Pascal, Kilgore or Valli.
One notable change is the role of Sweet Sue, bandleader of the all-girl band that serves as the perfect hiding in plain site destination for our two unintentional leading men, or should I say leading ladies? Little more than a brief appearance in the source material, Ruffin and Lopez wisely fleshed out Sweet Sue and as played by DeQuina Moore, we’re glad they did. Moore’s Sweet Sue doesn’t just open the show—she detonates it. Her “What Are You Thirsty For?” lands with the kind of electrifying force she herself described in our recent 
Leandra Ellis-Gaston’s Sugar Kane arguably comes with the steepest climb. Not because of the technical demands—though those are certainly present—but because Marilyn Monroe’s original Sugar remains so indelibly iconic. Wisely, the creators of the stage adaptation “understood the assignment,” sidestepping imitation entirely. By reimagining Sugar as a strong-willed, career-driven woman of color, the role becomes instantly unshackled from direct comparison—and Ellis-Gaston runs with it. With a speaking voice that lands somewhere between The Color Purple’s Squeak and legendary chanteuse Lena Horne, her Sugar is equal parts vulnerability and resolve. Sweet? Absolutely. But never simple.
As G-man Mulligan, Matt Allen plays the essential “straight man” with surgical precision, anchoring the show’s more outlandish antics while quietly setting up some of its biggest payoffs. As he said in our recent Rapid Fire 20Q, that role is not only necessary but foundational in launching the show’s farcical momentum. And when he finally gets to dip into the madness—particularly in that delightfully ridiculous undercover sequence—it’s a payoff worth the wait.
Minnie, Sweet Sue’s right-hand woman is revealed throughout as a bit of a sticky-fingered gal. One of the show’s running gags is her revelations of accidentally entering the wrong apartments thinking they were Sue’s and taking things that weren’t hers. To that end it makes perfect sense that Devon Hadsell’s Minnie is a scene-stealing delight, leaning fully into the character’s charming chaos and absconding with laughs each time she’s on the stage. There’s a lived-in sense of loyalty and mischief here, making Minnie far more than just comic relief. She’s an essential part of the heartbeat of the band. And that ever-present cigarette dangling from her ruby red lips, the kind of subtle sight gag that again perfectly pays homage to that 1930 prohibition-era Hollywood spirit. Side Note: When that Gregg Oppenheimer I Love Lucy play makes its way to Broadway, Hadsell has my vote for the Vivian Vance/Ethel Mertz role!
And then there’s Edward Juvier’s Osgood, who may just be the show’s most quietly radical reinvention. As he shared in our recent Rapid Fire 20Q, what drew him to the role was Osgood’s ability to lead with curiosity rather than judgment—and that ethos radiates throughout his performance. Where the film played him as the punchline, this version is in on the joke and, more importantly, in on the love. That shift—from caricature to fully realized romantic—becomes one of the production’s most meaningful evolutions.
RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s ELLE MCLEMORE
Then there’s Doc. David Josefsberg’s take on the eccentric inventor is where the show truly locks into place. Wonderfully unhinged in the best way, his Doc balances manic comedy with genuine heart. His early numbers are the turning point where the audience collectively leans in and says, “Okay, I’m in.” Josefsberg doesn’t imitate—he reinvents, while still honoring what makes Doc such an iconic character.
And then there’s Cartreze Tucker as Goldie Wilson (and Marvin Berry), who nearly steals the entire show. From the moment he steps onstage, Tucker commands attention. His big number earns one of the largest audience responses of the night, and for good reason—his vocals are powerhouse-level, and his charisma is off the charts. It’s a star-making turn that injects an extra jolt of electricity into an already high-energy production.
Visually, the production is stunning. The use of projections, layered with practical effects and good old-fashioned stage magic and some mind-blowing state-of-the-art new theatrical tricks, the effects become a character in its own right. Whether it’s the clock tower sequence or the time-travel effects, the technical execution is nothing short of jaw-dropping. It’s the kind of design work that reminds you how thrilling live theatre can be when all the elements are firing.
Act Two does bring one of the more head-scratching moments in the show—a neon-soaked, new wave-inspired “21st Century” opening number featuring Doc and a troupe of backup dancers. It’s flashy and fun, but also feels a bit unnecessary and tonally out of sync with the rest of the piece. And on opening night in Nashville, it was followed by a rare hiccup: the hoverboard didn’t quite cooperate. Still, the moment was handled with total professionalism, and honestly, it was quickly forgiven given the sheer volume of technical wizardry the show gets right. Because when it works—and it mostly does—it really works.