Interview

RAPID FIRE 10Q: Reisa Shimojima on Dancing Outside the Lines and Challenging Expectations; Shimojima’s KEDAGORO Dance Troupe at OZ Arts Nashville This Weekend

November 11, 2026 by Jonathan Pinkerton

KEDAGORO, a Japan-based contemporary dance company makes its highly anticipated Music City debut at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. These performances not only launch OZ Arts Nashville’s 14th season but also mark part of KEDAGORO’s first-ever U.S. performances, with the company’s three-city American tour traveling from New York to Greenville, South Carolina, before concluding in Nashville.

Founded by Reisa Shimojima, KEDAGORO has developed a reputation for fearless, thought-provoking work that explores the complexities of human behavior, historical memory, cultural identity and the often uncomfortable questions that shape our understanding of the world. As we discovered during our recent conversation with Shimojma for our latest Rapid Fire 10Q, KEDAGORO’s latest work, The Age is Yours, My Liege! (A Tale of Proto-Japan), ventures into the surreal territory of ancient Japanese culture, imperial mythology, power and national identity.

RAPID FIRE 10Q WITH KEDAGORO’s REISA SHIMOJIMA

JHPENTERTAINMENT: You were born in Kagoshima, Japan, and began dancing at just seven years old, studying everything from jazz to traditional Yosakoi. What first sparked your passion for dance, and did you always envision it becoming your life’s work?

REISA SHIMOJIMA: When I was seven years old, a friend from elementary school invited me to join her at a jazz dance class. At the time, I had absolutely no interest in dance. To be honest, I really didn’t want to take lessons at all. Ever since I was little, I had been fascinated by history. At home, I loved playing games like pretending to be prehistoric humans or acting out wars. However, Kagoshima, where I grew up, is a rural part of Japan with very small, close-knit communities. If you turned down an invitation from a friend, you could suddenly become a target for bullying or even be ostracized by the community. So, reluctantly, I started attending the jazz dance classes.

Then, one day, something rather unexpected happened. My jazz dance teacher started having an affair with the chairman of the Kagoshima Chamber of Commerce and Industry. Around that time, the chairman wanted to make Kagoshima a more vibrant place and came up with the idea of bringing YOSAKOI, a Japanese festival dance tradition that wasn’t particularly popular in Kagoshima at the time, to the region. And my dance teacher, wanting to win the chairman’s heart, decided to turn the entire jazz dance school into a YOSAKOI dance school! From then on, we spent almost every weekend traveling to YOSAKOI festivals in different parts of Japan, performing to promote Kagoshima. YOSAKOI festivals bring together all kinds of teams from across the country. But what I found fascinating wasn’t just the dancing. There were middle-aged men and women dancing while enjoying alcohol and cigarettes, complicated romantic affairs between members of different teams, and all sorts of messy, very human dramas. It was a world full of raw human behavior, desires, and tangled relationships. I became fascinated by all of it.

And eventually, I started to enjoy dancing. But to be precise, it wasn’t really dancing itself that I fell in love with. I loved using dance as an excuse to observe human behavior and the way people live their lives. Somehow, almost 30 years have passed, and I’ve kept dancing all this time. I never imagined that dance would actually become my profession. Even now, I don’t think dancing itself is my ultimate goal. I suppose I’m still enjoying the many aspects of human life and behavior through dance, using it as my excuse.

JHPENTERTAINMENT: You attended J. F. Oberlin University, where you studied theater and contemporary dance under acclaimed choreographer Kuniko Kisanuki. Your early university work included choreography, composition and directing. While you utilize all three aspects in your creativity, do you primarily consider yourself a choreographer and does your theatrical background influence the way you approach dance today?

REISA SHIMOJIMA: To be honest, I have never really thought of myself as a “choreographer.” What I mean is that I don’t consider myself a choreographer in the conventional sense of the word. My role as a choreographer is not to create choreography, but rather to bring out the errors that already exist within bodies that have been choreographed. What I mean by this is that I believe human beings are naturally choreographed throughout their lives by various environments and cultures. Through this process, our understanding of the body and the ways we use it are gradually shaped. I believe my role is to create various triggers that expose the history embedded in each person’s body, bringing it out into the open and making it visible on stage. I imagine this way of thinking has been influenced by my background in YOSAKOI and theater. But I have also learned a great deal from my dance mentor, Kuniko Kisanuki. She taught me not only about dance, but also about fundamental questions such as what it means to be human and how we should live as human beings.

JHPENTERTAINMENT: Originally founded in 2013, KEDAGORO’s official website currently lists six core company members. Tell us a little about the company dynamic. How many performers are traveling with you on this American tour, and what makes this particular group of collaborators click?

REISA SHIMOJIMA: For this American tour, there are four KEDAGORO members, including myself. The other eight dancers were selected through auditions. When I was at university, before founding KEDAGORO, I had formed a dance group with some incredibly skilled dancers. However, relationships between dancers can be extremely complicated. I found myself caught in a dilemma: the higher our ambitions became, the harder it was to keep the group together. Eventually, the group fell apart.

At a time when I was completely at a loss about what to do next, I met the people who are now the core members of KEDAGORO at my university. They were students who didn’t really know what they wanted to do with their lives after graduation. They weren’t particularly enthusiastic about studying performing arts either. They were almost like ghosts, just drifting through university life. So, almost as a last resort, I asked them, “Why don’t we try forming a group and putting on just one performance together?” And somehow, before we knew it, we had been together for 13 years.

We’re a group of people with completely different personalities and interests, but somehow, being together feels very natural. Under the pretext of making work together, we can spend endless hours drinking and talking about all sorts of silly things. That’s the kind of team we are. Of course, that dynamic alone doesn’t always provide the balance we need, and that’s where the dancers selected through auditions come in. They support the group in ways that our core members cannot always provide.

I think dance companies can easily become trapped by certain preconceptions. There’s often an idea that working hard and performing well are the ultimate virtues. But I believe this is one of the most dangerous traps in dance. We also need to embrace the possibility of making mistakes and allow those errors to become fertile ground for creativity. I think the relationship between KEDAGORO’s core members and the audition-selected dancers creates a very delicate and interesting balance. It’s not that one group represents one particular way of thinking and the other represents something completely different. Rather, everyone constantly shifts their positions, changing the direction of the sails as we move forward together.

I also think of it this way: even if we’re all on the same boat, if everyone is looking in the same direction, we won’t notice what’s approaching from behind us. But in this group, although we’re all on the same boat, everyone is looking in a different direction — some looking forward, others backward, and others to the sides. I think that’s what makes KEDAGORO such an interesting team. We move forward together, but we don’t all look at the world from the same perspective.

JHPENTERTAINMENT: A quick Internet search reveals that KEDAGORO is a rather colorful name, reportedly translating to something along the lines of animal droppings on the ground in the Kagoshima dialect. That’s certainly one way to make a memorable first impression! What’s the story behind choosing the name, and have you ever had second thoughts about introducing your company to the world with it?

REISA SHIMOJIMA: As I mentioned earlier, KEDAGORO was originally formed for a one-time performance. So, to be honest, we weren’t particularly attached to the idea of having a company name. We simply wanted something unusual, a name that wouldn’t be used by many other people and would come up at the very top of the search results when someone looked it up online. That’s how we came up with “KEDAGORO.” Well, I suppose it was also a fitting name for a group of people who had been rolling around university like dog shit. We never imagined that we would still be using this name 13 years later. These days, we’ve adopted a slogan that goes something like this: “Even something as dirty and ugly as dog shit can be an essential source of nourishment for flies and other creatures. We want to become something like that for humanity, too.” I’ve never once regretted choosing this company name. If anything, I feel as though the people we were 13 years ago are still encouraging us from behind, saying: “Keep creating work that makes this name something to be proud of. Keep doing things that will never make you regret choosing it!”

JHPENTERTAINMENT: Your work doesn’t exactly shy away from controversial subject matter, tackling everything from the United Red Army incident and the Aum Shinrikyo cult to the Sewol ferry disaster and questions surrounding Japanese national identity. As an artist and choreographer, what excites you most about confronting difficult subjects through dance, and do you see provoking discussion as an essential part of your creative responsibility?

REISA SHIMOJIMA: Because I often deal with social and political themes in my work, people tend to describe my work as journalistic. But actually, I don’t really see it that way myself. I see historical events as important clues that can help us understand human beings. Rather than looking at these events through the information we receive from the media, I want to observe them on a much more cosmic scale through physical expression. I believe that memories dating back hundreds of millions, or even trillions, of years are engraved in our bodies. These memories go far beyond the limits of human thought and emotion. So, in my work, there is no question of taking sides, either for or against something. What exists is simply evidence of the fact that we are human beings.

When I use historical events as the subject of a work, audiences naturally try to find something in it. Depending on their age, gender, and personal life experiences, each person has a different relationship with the event. As a result, a wide range of opinions and reactions emerge. Contemporary dance often deals with abstract themes, but I believe that using specific events that are part of humanity’s collective memory can open up new possibilities for the audience’s imagination. And I myself sometimes discover entirely new interpretations of my own work through the opinions and reactions of the audience. What matters most to me is that the audience creates a world within the work that even the choreographer could never have imagined. I am fully prepared to accept every response from the audience, whether they love my work or absolutely hate it.

JHPENTERTAINMENT: Let’s talk about The Age is Yours, My Liege! (A Tale of Proto-Japan). The production takes audiences into a surreal world of ancient Japanese culture, imperial mythology, power and national identity, complete with some rather unexpected theatrical imagery. In a few words, what can audiences expect when they enter this world, and what was the initial spark that inspired you to create this particular piece?

REISA SHIMOJIMA: I’m very curious to know what kind of experience each audience member will have when they see our work. After all, I imagine that Japanese and American audiences may find very different things in the same piece. In fact, even during our performances in New York, there were moments when the audience reacted in ways I hadn’t expected. For me, this is one of the great joys of performing in another country. It’s fascinating to discover how people from different cultural backgrounds respond to our work. I think there are many things about Japan that we become blind to simply because we live in Japan. Actually, what inspired me to create this piece was my experience over the past few years of creating work in various Asian countries. During that time, I encountered many traces and remnants of the period when Japan colonized other Asian countries. As I came across these histories, I found myself wondering: “What exactly is Japan?” That question became the starting point for this work. I would really love to hear your honest thoughts about what you, as American audiences, experience and feel when you watch it. My hope is that when people leave the theater after seeing our work, they feel that something has shifted, even just a little, in the way they see the world and other human beings.

JHPENTERTAINMENT: I understand this production marks Kedagoro’s North American debut, with a three-city American tour taking you from New York to Greenville, South Carolina, and ultimately to Music City at OZ Arts Nashville. What’s most exciting about bringing your creative vision to American audiences for the very first time, and is there anything in particular you’re curious to discover about how audiences here will respond?

REISA SHIMOJIMA: Japan and the United States have had deep historical ties, and that relationship continues to this day. How does this work look from the perspective of a country that decided to keep the Emperor on the throne after World War II? And how do Americans see the Japanese people? More than anything, I am looking forward to hearing your honest opinions. They don’t have to be positive ones.

My aim is to interpret the world through my work. I hope to hear discussions and discover perspectives that I could never have imagined myself. That, to me, is what makes a work come alive. It’s what gives it blood flowing through its veins. I hope that American audiences will breathe new life into this work and give it a new existence through their own perspectives and responses.

JHPENTERTAINMENT: You’ve remarked that KEDAGORO was built around your belief that “dance is a method for interpreting the world.” Now here you are presenting your latest piece to U.S. audiences. Any hopes of discovering future collaborators while here in the states?

REISA SHIMOJIMA: Yes! So far, I’ve had many opportunities to collaborate with artists from across Asia and Europe, and I would really love to meet potential collaborators here in the United States as well. I don’t necessarily want to focus directly on political issues between Japan and the United States. What I would really like to explore is the kind of chaos that might emerge when bodies from these two countries come into collision with one another. As long as I’m alive, I want to keep exploring the world. So, to everyone here in the United States, I sincerely hope we can connect and create something together. I look forward to meeting you!

JHPENTERTAINMENT: While researching our conversation, I came across a quote from you that I absolutely love: “After I decided to do dance seriously, I ‘bared my fangs’ and adopted an attitude that I would kick my heels up and do things no one expected!” I love that rebellious spirit! For the next generation of dancers and choreographers who might be afraid to take creative risks or march to the beat of their own drum, what advice would you offer?

REISA SHIMOJIMA: Of course, having your own passion and beliefs is important. But if you want to stay true to what you believe in and keep following your own path, you need people by your side. I want you to find people who believe in you and support you, people who will help protect your passion and your convictions. I think the reason I was able to make the decision to pursue dance seriously was because I had people around me. Taking artistic risks is never easy. There will inevitably be times when you get hurt, when you lose faith in yourself, and when you start to doubt everything. So, rather than focusing on creating good or interesting work, I want you to focus on finding your comrades — people who share your vision and are willing to walk alongside you. And work hard to put yourself out there and meet those people. I believe that truly interesting work begins there. The world is vast. There are absolutely people out there who will become your allies. Dancers and choreographers should believe that first and foremost. Don’t worry so much about your own artistic talent.

JHPENTERTAINMENT: And finally, after audiences experience The Age is Yours, My Liege! (A Tale of Proto-Japan), what do you hope the production sparks in their minds? What questions, conversations or perhaps even a little controversy would you like them to take with them when they leave the theater?

REISA SHIMOJIMA: I want you to feel both the foolishness of humanity and how deeply lovable we are. This may sound harsh, but I believe that as long as human beings remain human, war will never come to an end. However, I believe that if we can release some of our deepest, hidden human desires within the fictional world of performing arts, we may be able to reduce conflict, even if only a little, in the real world. That is precisely why I believe theaters and works of performing art exist: to bear the weight of the world’s distortions. In other words, I invite you, the audience, to become accomplices in this shared time and space. As accomplices, you have every right to question, challenge, criticize, or debate anything about this work. I sincerely hope you will share your thoughts and reactions with me. A work does not end when it is presented to an audience. In fact, that is where it begins. I look forward to beginning this journey with all of you, together with this work!

Shimojima’s answers offer a fascinating glimpse into an artist who sees dance as far more than movement, technique or choreography. Whether she’s recounting an unconventional introduction to the art form, explaining the rather memorable origins of her company’s name, or inviting audiences to become accomplices in an exploration of humanity’s contradictions, one thing is abundantly clear: KEDAGORO isn’t particularly interested in playing it safe. And perhaps that’s precisely the point. As Shimojima reminds us, a performance doesn’t end when the curtain comes down. That’s where the conversation begins.

Nashville audiences will have their opportunity to join that conversation when KEDAGORO presents The Age is Yours, My Liege! (A Tale of Proto-Japan) at OZ Arts Nashville on Saturday, November 14, at 8 p.m. and Sunday, November 15, at 5 p.m. The performances open OZ Arts Nashville’s 14th season and are part of the dance company’s historic first U.S. tour. Come with an open mind, bring your curiosity and don’t be afraid to have an opinion. Reisa Shimojima and KEDAGORO are ready to hear it.

Ticket options include:

Artist & Creative Community (discounted, no code required) $25
General Admission $35
Generous Admission (I love this one!) $45

CLICK HERE for tickets.

Next up at OZ Arts Nashville as Season 14 continues its New York-based hip hop spoken word artist Dahlak Brathwaite‘s Try/Step/Trip Friday and Saturday, December 4 & 5 at 8pm. CLICK HERE for more info or to purchase tickets. To keep up with all things OZ Arts, find them HERE or follow them on Facebook, X, YouTube and Insta.

For all things KEDAGORO, CLICK HEREor follow them on Insta, Facebook, X and YouTube.

As always, If you want to read our latest on Music, Movies, Performing or Visual Arts, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

Rapid Fire 20Q: ‘Love Never Dies: A Patsy Cline Anthology’ Star Courtney Linam and Playwright Joy Tilley Perryman Keep the Iconic Singer’s Legacy Alive

November 5, 2026 by Jonathan Pinkerton

Some voices are simply unforgettable, and more than 60 years after her untimely death at just 30, Patsy Cline’s remains one of them. From the heartbreak of “I Fall to Pieces” and “Crazy” to the timeless appeal of “Walkin’ After Midnight,” her music continues to find new generations of fans, proving that some legacies really are built to last. Enter Love Never Dies: A Patsy Cline Anthology, an original theatrical tribute written by Joy Tilley Perryman and starring Courtney Linam as the legendary country songstress, accompanied by a live band. Rather than simply retracing the familiar milestones of Patsy’s life, Perryman takes a more intimate approach, imagining the singer reflecting on her journey in the moments before her final flight, weaving together memories, music, and the extraordinary story behind that unmistakable voice.

Linam and Perryman are bringing Patsy’s story to The Venue at Coosa Landing in Gadsden for two performances, November 7 and 8. Love Never Dies: A Patsy Cline Anthology is just the latest in a creative partnership has included costarring in both The Ritz’s 2024 presentation of Steel Magnolias and last year’s Queens of Heart at The Local Scene. Having reunited this past summer to present the anthology debut performances in Atlanta in July, then again just last month in nearby Oneonta, Alabama, this week’s presentation marks the show’s Gadsden premiere.

From discovering the woman behind the iconic voice and recreating her signature look to the inspiration behind an original Patsy Cline musical, Perryman and Linam’s latest creative adventure has plenty to dish about. JHPENTERTAINMENT caught up with both women for a Rapid Fire 20Q about the music, the memories, the magic of collaboration, and why, when it comes to Patsy Cline, Love Never Dies.

RAPID FIRE 20Q WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY STAR AND PLAYWRIGHT

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY PLAYWRIGHT, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: When did the idea of creating Love Never Dies: A Patsy Cline Anthology first begin to take shape?

JOY TILLEY PERRYMAN: Courtney had played Patsy in Theatre of Gadsden’s production of Always…Patsy Cline. I did the costumes for that show and we had a great time working on together and she makes an utterly fantastic Patsy. Then a year later our dear friend, Mike Beecham approached us about bringing a Patsy show to his theatre in Atlanta. But he wanted something different that what was already out there, so I just decided to write a new show!

JHPENTERTAINMENT: For those who might be familiar with other Patsy Cline stage musicals like Always…Patsy Cline and A Closer Walk with Patsy Cline, what makes Love Never Dies: A Patsy Cline Anthology unique?

JOY TILLEY PERRYMAN: To write this show, I wanted to make it more of a memory play. As if Patsy were looking back on her life in those moments before the plane went down. So we start at the end. The last concert where Patsy performed was on March 3, 1963 at Soldiers and Sailors Memorial Hall in Kansas City, Kansas, It was a benefit for DJ “Catcus” Jack Call. The last song she ever sang was “I’ll Sail My Ship Alone”. The lyrics are haunting and that is where we start our show and then back in time to her beginnings at the Grand Ole Opry.

JHPENTERTAINMENT: Beyond the basic biographical details and familiar stories most fans know, were there lesser-known aspects of Patsy’s life, personality, relationships, or career that particularly surprised you or helped shape the anthology?

JOY TILLEY PERRYMAN: Sitting down to decided the songlist and put the songs in some kind of order, made me really see how sad and tragic her life truly was. Besides the tragedy of a far too early death, Patsy overcame many hardships along the way.

JHPENTERTAINMENT: During her all-too-brief career as a recording artist, Patsy recorded more than 100 songs. Aside from the more familiar hits, have you included any deep-cuts to tell this story?

JOY TILLEY PERRYMAN: The very first song is an extremely deep cut and it was quite difficult to find the sheet music. We never found it in Patsy’s key and had to have it transposed. Once you hear it it context of the show it is haunting and beautiful and totally perfect.

JHPENTERTAINMENT: You and Courtney have worked together repeatedly. What makes Courtney someone you keep coming back to as a creative collaborator, and how has your working relationship evolved over the years?

JOY TILLEY PERRYMAN: I cannot really talk about Courtney without getting all gushing and fangirling and being all sentimental. She is one of the most talented people I have ever known. She stepped into my life at a time when I most desperately needed a creative collaborator and a dear friend. She is a superstar in all those regards. I cannot express how much she means to me and how blessed I am to call her friend. We joke and call ourselves the Bad Decision Sisters, but she is right by my side no matter how nutty the plans get or how impossible the project seems. Look out for our next venture! We are opening a booth at an antique mall called Bad Decision Sisters Shop! Coming at the end of November to Kolectic Treasures in Rainbow City, Alabama.

JHPENTERTAINMENT: You’re wearing several hats with this production: playwright, collaborator, and costumer. As costumer, how do you balance historical authenticity with the practical demands of a live theatrical performance?

JOY TILLEY PERRYMAN: I have scoured hundreds of images of Patsy Cline. And I was able to recreate looks with modern fabrics so there is no worry about damaging an historical garment. I think I most proud of her first costume. It is almost an exact replica of the gown Patsy wore in her last concert and it appears onstage for exactly one song!

JHPENTERTAINMENT: Patsy’s songs are famous for their emotional honesty, whether she’s singing about heartbreak, longing, resilience, or love. If Patsy were around today, what recent song might she have covered?

JOY TILLEY PERRYMAN: So, lately we don’t have the girl singers that we used to have (sorry Ella, I do love you) so I think Patsy would have had to take a man’s song and change the perspective so it could be sung by a woman. For my money the best song this year as far as story telling and longing and just good music is Graylan James’ “Water at a Wedding”. I think Patsy would have worked that to suit her.

JHPENTERTAINMENT: Patsy was only 30 when her life ended, but her career was already transforming the sound and reach of country music. As the writer looking at the full arc of her story, where do you imagine her career might have taken her had she lived to continue recording and performing for decades to come?

JOY TILLEY PERRYMAN: I believe she would have continued to make hit records and be at the top of the charts until she decided she was ready to scale it back and enjoy grandkids and retirement.

JHPENTERTAINMENT: The title Love Never Dies feels particularly fitting for an artist whose music continues to connect with people long after her passing. Why was that the right title for this anthology, and what do you hope audiences understand about Patsy’s enduring legacy when they leave the theatre?

JOY TILLEY PERRYMAN: That phrase actually comes from part of the inscription on her tombstone. I hope that people will walk away with a new or deeper appreciation for her music and her legacy and the knowledge that as long as we continue to sing her music, the love never dies.

JHPENTERTAINMENT: Having already presented Love Never Dies in Atlanta and nearby Oneonta and now bringing it to Gadsden for these two performances, have you and Courtney discussed taking the production on the road? Are there any plans for other cities eventually have the opportunity to experience your Patsy Cline anthology? I mean…Nashville is always up for a visit from you…just sayin’.

JOY TILLEY PERRYMAN: Having debuted this show back during the summer in Atlanta with EPIC Productions, this is our third production of the show. We are ready to go any and everywhere that will have us! Just give us a call and you know I am always ready to come back home to Music City!

RAPID FIRE WITH LOVE NEVER DIES: A PATSY CLINE ANTHOLOGY‘s COURTNEY LINAM

JHPENTERTAINMENT: Patsy Cline remains one of country music’s most beloved and influential voices, more than six decades after her death. What do you think it is about her voice, her music, and her story that continues to resonate with audiences across generations?

COURTNEY LINAM: Honesty. When Patsy sings, you believe every word, because she isn’t performing heartbreak, she’s living it right there in front of you. Her voice had this rare combination of power and tenderness. Her story matters too. She was a small-town girl from Virginia who fought her way into a business that didn’t make much room for women and she did it on her own terms. People still connect to that. Every generation has someone who’s been lonely, or lovesick, or underestimated, and Patsy’s songs meet them right where they are.

JHPENTERTAINMENT: Every actor who portrays a legendary performer faces the challenge of honoring the original while bringing something of themselves to the role. How did you go about finding your Patsy Cline voice, and how do you balance imitation with interpretation?

COURTNEY LINAM: I listened. A lot. In the car, in the kitchen, before bed. I studied her phrasing, those little catches in her voice I refer to them as Patsy-isms, the way she’d lean into a note and then let it fall. Nobody can replace Patsy, and I’d never want to try. So my goal is to honor her style and her signature sound while singing from my own heart. The imitation gets you in the door; the interpretation is what makes people feel something. I want the audience to feel like they’re spending an evening with Patsy, not watching a copy of her.

JHPENTERTAINMENT: Patsy was primarily a country artist, but her music crossed genres, earning her success on the pop charts as well. She was also part of the emerging Nashville Sound and recorded gospel music. How does exploring those different sides of her musical legacy influence your approach to portraying her?

COURTNEY LINAM: It reminds me that she was never just one thing. You’ve got the early honky-tonk Patsy, the cowgirl who could sing a rowdy, up tempo number, and then you’ve got the polished Nashville Sound Patsy with the strings and the smooth backing vocals, singing ballads that made the pop charts. And then the gospel side, which shows you where so much of that feeling came from. Each style asks something different of me vocally, but more than that, each one reveals a different side of who she was.

JHPENTERTAINMENT: Patsy had a distinctive look as well as an unmistakable voice. With Joy Tilley Perryman serving as both the playwright and the show’s costumer, how much collaboration goes into bringing Patsy’s appearance to life? And do you have a favorite Patsy look or era that you especially enjoy recreating?

COURTNEY LINAM: So much! Joy has such an eye for detail, and because she wrote the show, she knows exactly what each moment needs to say, so the costumes are telling the story right along with the songs. We talk through every look, how it fits the era, how it moves on stage, and of course whether I can breathe and sing in it! As for a favorite, I have a real soft spot for the western-style outfits from her early years, the fringe and the boots. There’s something so spunky and fearless about that Patsy.

JHPENTERTAINMENT: In additon to this collaboration, you’ve also costarred alongside Joy in a couple of shows, so you’ve experienced her as a fellow performer as well as a writer. How is working with Joy the playwright different from working with Joy the costar?

COURTNEY LINAM: As a costar, Joy is just so incredible. I’ve loved watching her work and learning from her as a fellow actress. As a playwright, she’s the keeper of the vision. She knows why every line and every song is where it is, and she can tell you exactly what she’s hoping a scene will make the audience feel. What’s the same in both is her heart. Joy wrote this show as a love letter to Patsy, and the fact that she created this role with me in mind means more to me than I can say. And she’s not only beside me on stage or watching from the house. She’s also on the sidelines, because she has been my “dresser” in every production in which I’ve portrayed Patsy Cline, and this will be my fourth time! She stays so calm during those really fast changes, and that allows me to stay in character. We laugh because I’ve become so needy of her being my dresser, although I know one day I’ll have to let her go so she can just relax and enjoy the show. Wherever she is, I always know she’s got my back.

JHPENTERTAINMENT: Love Never Dies is presented with a live band, which brings its own energy and immediacy to Patsy’s music. What can you tell me about the musicians accompanying you?

COURTNEY LINAM: Oh, I am so incredibly lucky! We’ve got Deborah Sarcinelli on piano, Sid Brown on drums, Rob Bruce on guitar, Nick Staff on bass, and Butch Dixon on pedal steel. Every one of them is incredibly talented, and together they bring so many years of musical experience to this stage. The second that band starts playing, you’re transported straight back to 1960s Nashville. Honestly, the music they make is so beautiful that sometimes I get lost in it and almost forget I’m supposed to be singing! A live band changes everything.

JHPENTERTAINMENT: The show features nearly 30 tunes recorded by Cline during her career. Is there a particular song in the anthology that feels especially personal to you, or one that challenges you in a way the others don’t?

COURTNEY LINAM: “Crazy” is the one that challenges me every single time. Everyone knows it, everyone has her version in their head, and it’s deceptively hard. It’s slow, it’s exposed, and the phrasing has to feel effortless even though it’s anything but. As for personal favorites, I love singing “Two Cigarettes in an Ashtray.” It tells such a great story, and it’s so much fun to sing. I also really love “Eyes of a Child.” It’s so hopeful and beautiful, and between the song and the gorgeous dialogue Joy wrote leading into it, I get chills every time. They’re two very different songs, so it’s hard to pick just one!

JHPENTERTAINMENT: Joy’s theatre background covers a lot of bases, having been an actress, costumer, playwright, producer and more. Does having a collaborator who understands the material from so many different angles help you inhabit Patsy and tell her story?

COURTNEY LINAM: Absolutely. Joy understands what it feels like to be the one standing in the light, so when she gives a note, she knows what she’s asking of an actor. But she also sees the whole picture: the costumes, the pacing, the music, what the audience needs and when. That means nothing is an afterthought. When everything around me is so thoughtfully built, I can stop worrying about the details and just be Patsy. That kind of trust is rare, and it frees me up to go deeper every performance.

JHPENTERTAINMENT: Patsy’s life and career were tragically cut short when she died at just 30, yet her influence has only grown. When you think about the years of music and artistic evolution she never got to experience, what do you imagine the next chapter of her career might have looked like?

COURTNEY LINAM: I think about this all the time. She was only just getting started. I imagine she would have kept crossing over. She had the voice for pop, for torch songs, even for jazz standards, and I can picture her on the big Las Vegas stages and on television variety shows. I also think she would have become a mentor. She was already looking out for younger women like Loretta Lynn, and I believe she would’ve been a fierce advocate for women in country music for decades. In true Patsy fashion,she would have kept doing it all her own way.

JHPENTERTAINMENT: After revisiting Patsy’s life and music through this anthology, what do you hope audiences will take away about the woman behind the songs—and what do you hope they carry with them after the final note?

COURTNEY LINAM: I hope they see that behind the legend was a real woman: funny, tough, loving, sometimes stubborn, and deeply devoted to her family and her friends. She wasn’t just a voice on a record; she was a person who fought hard for her dreams and gave everything she had to her music. And after the final note, I hope people carry home the memories of their own loved ones that come rushing back when they hear those Patsy songs. Patsy’s music has always kept me close to the memory of my Meemaw, and I know so many people in that audience have someone they think of when “Crazy” or “Walkin’ After Midnight” comes on. The people we love, and the music that moves us, don’t really leave us. Patsy’s grave marker reads, “Death cannot kill what never dies: Love”. Patsy’s been gone more than 60 years, and she’s still filling rooms with feeling. That’s a legacy worth celebrating.

Love Never Dies: A Patsy Cline Anthology starring Courtney Linam as Patsy Cline, with a live band, in an original production written by Joy Tilley Perryman and presented by Joy’s Jubilations arrives at The Venue at Coosa Landing (201 George Wallace Drive, Gadsden, AL 35903) for two performances, Saturday, November 7 at 7:30pm and a Sunday matinee November 8 at 2:30pm. Tickets are $22.37 (fees included). All seating is General Admission with doors opening half and hour prior to each showtime. Purchase Tickets HERE.

To keep up with Joy’s Jubilations and what’s next, find them on Facebook. And as Perryman mentioned, something tells me a Bad Decision Sisters Facebook page is in the works for this dynamic duo’s non-theatrical endeavors.

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.

A Very Addams Family Rapid Fire 20Q: Sara Gettelfinger, Brian Justin Crum, Andrew Metzger & Jeremy Parrish Join Rachel Potter as Analog at The Hutton Presents ‘The Addams Family Musical’ in Concert

October 26, 2026 by Jonathan Pinkerton

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 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

October 12, 2026 by Jonathan Pinkerton

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.

Rock Ballads, Romance & The ’80s: Rapid Fire 20Q with the Cast of ‘Rock of Ages’; The Gift of Song production at Mills-Pate Arts Center Beginning October 2

September 29, 2026 by Jonathan Pinkerton

There’s nothing quite like a musical that can deliver power ballads, screaming guitar solos, enormous hair and enough ’80s excess to make a can of Aqua Net rethink its part in the ozone layer crisis. Rock of Ages IS just such a musical. The Gift of Song is bringing the totally awesome jukebox musical resplendent with classic 80s tunes by such arena rock legends as Journey, Styx, Poison, Europe and more to the stage at Mills-Pate Arts Center in Murfreesboro, with Leslie Berra directing and a cast ready to crank up the volume on some of the biggest rock anthems of the era.

Set on Los Angeles’ legendary Sunset Strip, Rock of Ages follows aspiring rocker Drew, wide-eyed newcomer Sherrie, Bourbon Room owner Dennis and Venus Club proprietor Justice as dreams, romance, friendship and the threat of change collide against a soundtrack packed with ’80s rock classics. In this JHPENTERTAINMENT Rapid Fire 20Q, Dylan Ellis, Allee Williams, Clint Randolph and Corrie Maxwell take us behind their characters, their musical moments, their ’80s inspirations and what it’s been like creating this production with Berra and the creative team. So turn up the volume, tease your hair to the max and let’s get ready to rock!

RAPID FIRE 20Q WITH THE CAST OF THE GIFT OF SONG’s ROCK OF AGES

RAPID FIRE WITH DYLAN ELLIS, DREW BOLEY IN ROCK OF AGES

JHPENTERTAINMENT: Drew arrives in Los Angeles determined to become a rock star. What do you think is driving him most at the beginning of the story—his love of music, the dream of fame, or simply the need to prove to himself that he can make it?

DYLAN ELLIS: I think Drew is a wide eyed dreamer who is surrounded by constant inspiration. He loves the music but also the rockstar image and lifestyle his heroes embody, and at the start of the story he’s just trying to carve his place in the legendary rock scene on the sunset strip.

JHPENTERTAINMENT: The world of Rock of Ages is unapologetically late ’80s. Since you’re an 00 baby, What’s been your greatest source of research as you’ve taken on this role?

DYLAN ELLIS: Even though I’m a 2000’s baby I grew up playing in bands and listening to classic rock especially from the 80’s. Much like Drew, my childhood heroes were all rockstars so stepping into this show felt very familiar and close to home. To prepare, I mostly just tapped into what I was like in high school.

JHPENTERTAINMENT: Drew gets some serious musical moments, among them, Twisted Sister’s “I Wanna Rock”, Bryan Adams’ “Heaven,” “Waiting for a Girl Like You” by Foreigner and of course Steve Perry’s “Oh Sherrie”. Is there one number you’re particularly excited—or nervous—to perform?

DYLAN ELLIS: I’m very excited to perform “Heaven” because I get to play guitar during that song, and also the blocking Leslie gave Allie and I for “Waiting For A Girl” has been so fun and hilarious. “High Enough”, one of my duets with Sherrie is very vocally taxing and daunting but nonetheless still very excited to perform it.

JHPENTERTAINMENT: Drew’s relationship with Sherrie goes through quite a roller coaster. What have you discovered about him through that relationship that you didn’t necessarily see when you first approached the character? AND…what’s it been like to develop that relationship on stage with your Sherrie, Allie Williams?

DYLAN ELLIS: Rock of Ages is a very funny and raunchy show but I think Sherrie and Drew’s relationship shows a more sentimental and emotional side of the musical. It helped me get a better idea of his inner thoughts and feelings. Working with Allie has been awesome, she’s such an excellent performer. Doing scenes with her have been great because she’s so into it and it’s easy to get into character with her.

JHPENTERTAINMENT: If there were ever a Rock of Ages sequel musical or update, Where might we find Drew in 2026 AND…What current tune might work well as Drew’s theme?

DYLAN ELLIS: I think Drew and Sherrie would have had more kids and I could see him owning one of those School Of Rock type of businesses that teaches kids music and puts them in bands. As far as current tunes, I think in the 90’s Drew went through a big brit-rock phase and with the Oasis reunion, he’s breaking out all of his old Oasis records again.

RAPID FIRE WITH ALLEE WILLIAMS, SHERRIE CHRISTIAN IN ROCK OF AGES

JHPENTERTAINMENT: Sherrie arrives in Hollywood with stars in her eyes and a dream of becoming an actress. What do you think audiences will find most relatable about her journey from wide-eyed newcomer to the woman she becomes by the end of the show?

ALLEE WILLIAMS: I think the audience will really relate to her zeal for new experiences in her dream city, as well as her tenacity to try new things and not give up. Sherrie goes through so many of the ups and downs we all have felt moving to a new city to pursue our dream careers, but in the end she is reminded that she is always on time, and everything works out exactly how its supposed to.

JHPENTERTAINMENT: If you could magically transport yourself back to one specific moment in the late ’80s, what would you want to experience firsthand?

ALLEE WILLIAMS: Oh my gosh, honestly I wish I could have seen any of the major Michael Jackson events, like the premiere of the “Thriller” music video, attend his Bad World Tour, or even just been there when he debuted his moon walk. His music and dance-style really shaped my passion for dancing since I was a little girl. I can only imagine what it was like to witness those great events during the ’80s. He truly is such a legend!

JHPENTERTAINMENT: Sherrie gets to sing some terrific material, including Night Ranger’s “Sister Christian,” “More Than Words” by Extreme, Quarterflash’s “Harden My Heart mixed with Pat Benatar’s Shadows of the Night” and more. Which musical moment feels most personal to you?

ALLEE WILLIAMS: The song that feels the most personal to me is definitely “Harden My Heart.” I feel I can fully relate to the grief Sherrie is going through after a rough breakup, being so far from home, and feeling like you are failing at everything you do. I went through a similar experience back in the summer of 2022 when I moved back to Nashville. I had gone through a very painful breakup, had to leave all the hard-work I had built at my jobs, leave my friends, and move back in with my parents in Nashville with no clue what I was doing with my life anymore. However, just like Justice is waiting for Sherrie at the end of the song, I had a newer and better life waiting for me at the end of my struggle. Harden My Heart is a sad song about closing yourself off to the world when pain arrives, but once you allow the pain to run its course, you slowly begin to see the light at the end of the tunnel, and see that if it weren’t for the difficulties, you wouldn’t have made it to your new and even better beginning. Sometimes, we must go through tribulations, to be put into even better circumstances. Rejection is just redirection. – On a simpler note, I also love “Don’t Stop Believing!”

JHPENTERTAINMENT: Sherrie’s journey takes her places she certainly never expected when she first steps off that bus in Los Angeles. How do you approach playing the vulnerability, resilience and growing independence underneath all that ’80s glamour?

ALLEE WILLIAMS: First off, the glamour, primarily the hair, is probably heavier than the emotional journey itself. However, I take a lot of my own experience into account when I join Sherrie onstage. I relate to her story, growing up in a more conservative upbringing, taking a chance to move across the country to pursue your unconventional artistic dreams (except I must say that my parents were more supportive than Sherrie’s…hi mom!), and then ultimately facing some of the biggest adversities of your life during it all. I see a lot of myself in her. It’s like tapping back to seventeen-year-old Allee, she’s smart and capable, but inexperienced. I allow Sherrie to be completely excited and full of naivety, and then allow the script to slowly guide her through a hard lesson, that will eventually make her so much stronger.

JHPENTERTAINMENT: Speaking of Sherrie’s unexpected circumstances. One turn find her working at The Venus Club alongside Corrie Maxwell as Justice. How has Corrie been as a scene partner and as a source of support and guidance for Sherrie?

ALLEE WILLIAMS: Where do I even start with Corrie other than she’s absolutely amazing. Her experience in theatre has really grounded me and helped me grow as a actress. Corrie is always so consistent and reliable, and is above and beyond what I could ask for in a scene partner. As for Sherrie, Justice really helps her find her voice and strength to push-through hardships. You will see that even in Sherrie’s lowest moment, someone was there looking out for her. I believe we can always trust that even in our darkest moments, there is always a light, or, there is always a Justice.

RAPID FIRE WITH CLINT RANDOLPH, DENNIS DUPREE IN ROCK OF AGES

JHPENTERTAINMENT: Dennis is trying to keep the Bourbon Room alive while surrounded by characters who seem determined to make his life increasingly complicated. What is your favorite contradiction about this guy?

CLINT RANDOLPH: Dennis tries to put on a “tough guy” persona, but he’s really just a softy with a huge heart. He loves all of his employees, and does all he can to take care of them.

JHPENTERTAINMENT: The Bourbon Room is practically a character itself. If Dennis could give a guided tour of his beloved club, what do you think would be the first thing he’d proudly show—and what would he hope you didn’t notice?

CLINT RANDOLPH: You’ve got to notice the moose head plaque above the bar. It’s so Rock’n’roll! The horns are perfect for catching bras that party chicks throw at the band!
Don’t look too closely at the bathroom stalls, though. The dividers are perfectly placed for some low perspective peeking.

JHPENTERTAINMENT: Dennis gets to be part of some wonderfully over-the-top musical moments, including “We Built This City,” “The Final Countdown,” “I Can’t Fight This Feeling” and others. Which number has been the most fun to attack so far?

CLINT RANDOLPH: “I Can’t Fight This Feeling” is such a campy number that’s as funny as it is touching. It’s been a blast to perform that song every night .

JHPENTERTAINMENT: Rock of Ages takes place in an era when rock clubs, big hair, MTV and power ballads were practically their own cultural universe. My research tells me you are literally and 80s baby, having just made the cut with your ’89 birth. What piece of late-’80s rock culture do you think you would have embraced most enthusiastically?

CLINT RANDOLPH: I would have most likely been more of a Madonna fan than a rocker myself, but I love the glitz, glitter, and style of glam rockers. Long-haired shirtless men in tight pants are A+ in sex appeal.

JHPENTERTAINMENT: How has working with director Leslie Berra influenced the way you’re approaching Dennis as more than just the comic relief behind the bar?

CLINT RANDOLPH: Leslie is a very talented and visionary director. It is so refreshing to be trusted with my role and respected as a performer. Under Leslie‘s guidance and coaching, I have found many creative ways to bring depth, as well as charm, to the role. Leslie is so uplifting, positive, and generous to her actors and she always recognizes and acknowledges the hard work being done. Being a part of this show has inspired me as an actor, and reminded me why I love being a theater artist.

RAPID FIRE WITH CORRIE MAXWELL, JUSTICE CHARLIER IN ROCK OF AGES

JHPENTERTAINMENT: Justice has already lived enough life to recognize the difference between a dream and the reality of chasing one. What do you think she sees in Sherrie that makes her want to take the younger woman under her wing?

CORRIE MAXWELL: Justice sees Sherrie and immediately recognizes her younger self. She WAS Sherrie. She moved to LA with high aspirations of being a singer (Sherrie, an actress) and I think she got beaten down by the culture that was the music business pre-“me too.” In my mind, she ended up with nowhere to turn and in a similar situation. She may have had no family, no mother to turn to. I imagine that she bought the club from the previous owner to ensure that she could look out for those lost souls who needed family and a mentor and protector (or “Mama,” if you will), as well as to pave her own way so that no one could ever take advantage of her, or her girls, ever again if she could have anything to say about it. That’s why her motto is, “any way my girls want it,” and NOT any way the customers want it.

JHPENTERTAINMENT: Justice runs the Venus Club, but she’s also something of a protector and maternal figure for the women who work there. How do you balance her tough exterior with the compassion underneath it?

CORRIE MAXWELL: She is a sharp businesswoman and knows that there is a tough balance between running a successful business that makes money, that allows her dancers/staff to make money, while sticking to principles. I imagine those are especially at odds in a business such as hers. I believe while she tries her hardest to protect her employees (i.e. no touching, etc…), she knows that sometimes in order to pay the bills they may have to suck it up and muddle through dancing for someone they despise. But I also think she is closely watching in those instances, like when she keeps an eye on Sherrie dancing for Stacy. The audience may not see her, but she’s watching; standing guard to be sure her family is safe. She’ll take their money but she will be damn sure her “family” comes out ahead.

JHPENTERTAINMENT: One of Justice’s most memorable musical moments comes near the end of act one when she and Sherrie team up for a classic 80s powerhouse musical sequence with “Harden My Heart/Shadows of the Night.” What makes that particular number such an exciting challenge for you as a performer?

CORRIE MAXWELL: Man – that is quite a moment. It’s that gut punch where you know someone is sad and hurting, and you’ve been there – you’ve felt that hurt, and you want to help. You know you can at least offer something to get them back on solid ground, even if it may not be what they ever expected or even wanted. And for me – it’s about somehow making her feel compelled to trust and go with me because she senses I will take care of her. That’s an exciting challenge. And I am a caretaker personality by nature, so I find myself truly experiencing that feeling of, “come on baby, I got you. You are safe with me!”

JHPENTERTAINMENT: If my research serves, you might actually remember the late-80s era at the heart of Rock of Ages. Please tell me as an 80s preteen girl you had a Sony Walkman…or at the very least might have made your own mixtape or two…What late 80s classic tune that’s not in the musical might you include as Justice’s theme?

CORRIE MAXWELL: Oh man. Yeah… for sure. I am part of that micro-generation between Gen X and Millennial that straddled the 80s and 90s. I for sure sat by my radio with my tape-loaded boom box ready to record my favorite songs when they came on. Haha I still have a few mixtapes in my possession. Then I was in middle school when CDs came out (game changer because you could no longer do the recording off the radio thing). My middle school was listening to Bon Jovi, Motley Crue, Warrant, Guns and Roses… but also at the same time I was all into Pop, R&B, and Rap. I think, though, if I could add an anthem for Justice it would be either She Works Hard For the Money, or Control by Janet Jackson.

JHPENTERTAINMENT: What do you hope audiences come away with after attending a performance of Rock of Ages?

CORRIE MAXWELL: I hope they leave smiling, laughing, and having had a great time, but I hope they also receive it’s underlying message. Behind all the camp and nostalgia, at the show’s heart is a theme of loving each other, without judgement, without fear, against the odds, and with all your heart.

Get ready to turn up the volume as The Gift of Song‘s Rock of Ages directed by Leslie Berra hits the stage October 2–4 & 8–10, 2026, at Mills-Pate Arts Center (7120 Old Nashville Highway, Murfreesboro, TN 37129). Tickets are $21.74 for Seniors and Students and $26.91 for Adults, with fees included. So grab your tickets, tease that hair, break out the spandex or parachute pants and prepare for a night of power ballads, big dreams, bigger hair and the kind of unapologetic ’80s rock excess that Rock of Ages was built to deliver. CLICK HERE for tickets. To keep up with the latest from The Gift of Song, CLICK HERE or check them out on Facebook.

Love, Madness & the Monster Within: Rapid Fire 20Q with Director and Cast of HPAC’s ‘Jekyll & Hyde

September 15, 2026 by Jonathan Pinkerton

Good versus Evil. Love versus obsession. Respectability versus temptation. Few musicals offer more delicious opportunities for theatrical duality than Jekyll & Hyde: The Musical, ushering in spooky season at Hendersonville Performing Arts Company (HPAC) September 17-October 4. With just days before audiences witness the transformation, JHPEntertainment had the chance to chat with director Marsalis Turner and cast members DéYonté Jenkins (Henry Jekyll/Edward Hyde), Francesca Noe (Lucy Harris) and Rebekah Joy (Emma Carew) for a revealing Rapid Fire 20Q about the characters, relationships, music, mayhem and just a little personal Hyde behaviour.

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF HPAC’s JEKYLL & HYDE

RAPID FIRE WITH JEKYLL & HYDE‘s DÉYONTÉ JENKINS

JHPENTERTAINMENT: Henry Jekyll creates the experiment believing he can separate the good and evil within himself. What do you think he gets most wrong about human nature?

DÉYONTÉ JENKINS: I think Henry Jekyll believes that men and women have no control over their human nature. That humans have no choice but to succumb to the darker nature of themselves. What he fails to realize is that when we are faced with these moments we have made a choice to go through with them. Even after a night of debauchery and murder, fully aware of what has happened, he CHOOSES to continue taking the formula that turns him into Hyde. Human nature will always be what it is. I think what’s more important is how we as humans choose to operate within the confines of good and evil.

JHPENTERTAINMENT: Marsalis Turner has the director’s-eye view of this production. What advice has he given you about navigating the challenge of playing both Jekyll and Hyde—and has any of it changed the way you approach the character?

DÉYONTÉ JENKINS: Marsalis has done an amazing job directing this production. We have had multiple conversations about this story and the struggle that Henry faces. Everyone comes into this story with the idea of a Good Guy vs. Bad Guy point of view. For me a big thing was realizing that Henry Jekyll himself is not a “Good Person”. He is a human just like everyone one else. He is flawed, weak to temptation, and has the ability to be just as evil as his counterpart. I believe Edward Hyde has always been inside of Henry lying dormant/suppressed. I love playing the little moments that hint at Hyde rising to the surface of Henry even before he chooses to take the formula. Ultimately Jekyll and Hyde are one in the same. Approaching the character from that point of view brings a real and raw humanity to a character that could easily be portrayed as farcical.

JHPENTERTAINMENT: Forget murder and mayhem—what tiny, everyday annoyance is most likely to unleash your personal Edward Hyde?

DÉYONTÉ JENKINS: Honestly, being woken up and immediately bombarded with questions! It is the most annoying thing to me. I am definitely a, “Don’t talk to me until I have had my coffee!” person. Haha

JHPENTERTAINMENT: Dr. Jekyll isn’t the only doctor involved in HPAC’s production as Dr. Andrew Armstrong is charged with set design with an assist from Britt Burkey. Without giving too much away, do you have a personal favorite aspect of the set?

DÉYONTÉ JENKINS: This set is truly amazing! The design and creativity that Dr. Andrew and Britt put into this production will definitely not go unnoticed! There are so many little details and Easter Eggs to find built into the set design. I’m for sure a little biased, but Dr. Jekyll’s Lab has to be one of my favorite aspects of the set! Also, there is a slight nod to our great city of Nashville built into the city skyline! If you look close enough, you will find The Caped Crusader himself keeping a watchful eye over the dangerous streets of London.

JHPENTERTAINMENT: Hyde is obviously the darker side of the equation, but what do you think is most seductive about him—for Jekyll and for an audience watching him?

DÉYONTÉ JENKINS: A quote comes to mind that Dr. Jekyll mentions in the original novel by Robert Louis Stevenson. “Men have before hired bravos to transact their crimes, while their own person and reputation sat under shelter. I was the first that ever did so for his pleasures. I was the first that could plod in the public eye with a load of genial respectability, and in a moment, like a schoolboy, strip off these lendings and spring headlong into the sea of liberty.” We all have been tempted by our darker natures and have chosen to not indulge in them due to a myriad of reasons. Whether it’s societal pressures, our morals, or even because we are afraid that we might be punished in the afterlife. What’s seductive about Hyde is that none of those ideas come into his thought processes. Hyde is a truly Free individual and I believe a lot of us long for that feeling of true liberty/freedom without the guilt of shame or fear.

RAPID FIRE WITH FRANCESCA NOE, JEKYLL & HYDE‘s LUCY

JHP ENTERTAINMENT: Lucy sings about wanting “A New Life.” What do you think that phrase means specifically to Lucy—and what is she willing to risk to get it?

FRANCESCA NOE: Lucy doesn’t yearn after great wealth or fame. Her “New Life” is one where she has dignity, safety, and agency, that’s really the whole of it. There’s a fantastic song from early productions of Jekyll & Hyde called “No One Knows Who I Am,” and it’s our first introduction to her. In it, she asks the audience to tell her who she is, why she is, what she is. Then she points out that because she can’t answer her own question, that must make her a fool, and she owns that. But I don’t think it’s because she doesn’t know who she is. I think it’s because she does know, and she’s simply refusing to tell or show anyone. That song sums up her inner turmoil so beautifully. “A New Life” isn’t about becoming someone new, it’s about Lucy finally gaining the freedom to be who she already is. And she’s willing to risk everything for that, because in truth, she has nothing left to lose. Only herself to save.

JHP ENTERTAINMENT: Lucy finds herself caught in the dangerous orbit of Jekyll and Hyde. What do you think she sees in Henry, and what does she see—or sense—in Hyde?

FRANCESCA NOE: Henry offers Lucy kindness without demanding anything in return, and for a woman who’s been starved of affection and respect, it makes total sense that she’d be drawn to him right away. Her connection to Hyde is dangerously nuanced. Hyde embodies the darker qualities of men that Lucy already knows all too well. She knows how to survive men like him, or maybe more tragically, she just doesn’t care anymore whether she does. But Hyde takes this particular, sustained interest in her, and that gives her a taste of being noticed beyond just one night, maybe even feeling seen. She finds the freedom he has strangely compelling. Henry is so painfully repressed, while Hyde is completely uninhibited, totally unbound by the roles and expectations that trap her and Henry both. There’s something familiar in that contrast between the two men, and even though she’s not fully conscious of it while it’s happening, it stirs up a kind of subconscious recognition in her, one that pulls her toward him like a moth to a flame and spurs her search for humanity in him, even though there’s none to find.

JHP ENTERTAINMENT: Lucy is a woman trying to survive in a world that doesn’t always give women many choices. What do you think is her greatest strength?

FRANCESCA NOE: Lucy’s greatest strength ends up being her most dangerous one: hope. The world has given her every reason to exist in bitterness and cynicism, and yet survival hasn’t hardened her beyond the capacity to imagine goodness in it. It’s what keeps her open when she should probably guard herself, and in this story, that kind of openness always comes at a cost.

JHP ENTERTAINMENT: Every gothic musical needs a look to match its atmosphere. How does costumer Melissa Harris help create the world of Jekyll & Hyde through the costumes, and is there a particular look or costume detail that you’re especially excited for audiences to see?

FRANCESCA NOE: I could sit here and say my favorite pieces are the gorgeous ballgowns Melissa has sourced, or Lucy’s daring Red Rat ensemble, but my favorite costume is the one I wear at the start of Act II. It’s definitely Lucy’s least glamorous look: a simple, aged shift and a tattered old sweater. But there’s something so authentic and vulnerable about her in it.

While we were distressing the sweater with cuts and holes, Melissa suggested it might be something Lucy has had for years, maybe even something that belonged to a family member who’s passed away, but she’s held onto it anyway. I loved that idea. The first time I wore the full costume onstage, I actually felt like I understood Lucy a little better. That’s one of my favorite things about costuming: sometimes putting on a character’s clothes tells you something about them you hadn’t quite found on the page yet.

It’s worn, imperfect, a little sloppy, and it quietly reveals so much about what Lucy really values beneath everything else: comfort, family, safety. In a show full of beautiful costumes, I love that the simplest one tells us the most about who she really is.

JHP ENTERTAINMENT: What’s one tiny backstage, rehearsal-room or everyday annoyance that could have Lucy saying, “I’ve had ENOUGH”—and bring out your own Hyde-like personality in the process?

FRANCESCA NOE: Corset strings. I can painstakingly try to loosen and tie them into perfect little bows, and about two seconds later they’ll look like I dragged them behind my car for a few miles. Don’t even attempt to remove them entirely and restring your corset, because they are guaranteed to get lost in the abyss of the corset-string graveyard, never to be found again. I don’t know where they go. I don’t know how they get there. But after spending far too long backstage untangling, retying, and searching for them, I begin to understand Dr. Jekyll’s decision to simply embrace the darkness.

RAPID FIRE WITH REBEKAH JOY, JEKYLL & HYDE‘s EMMA

JHPENTERTAINMENT: Emma loves Henry Jekyll, but she’s also forced to watch his obsession with his experiment grow increasingly dangerous. At what point do you think Emma realizes this is no longer simply the man she loves pursuing a scientific breakthrough?

REBEKAH JOY: I believe that Emma realizes Henry’s dedication to his work has turned dangerous when she finds his journal in his study. As she reads, it is not clear to the audience how much she discovers in his pages of journaling, but I believe that Emma learns everything that Henry has been hiding from her in those notes. What is so interesting about this perspective, however, is that if she did in fact discover Henry’s secret in this scene, she chooses to not only keep his secret but also to continue on with the wedding as planned. If the audience does not think she knows he has gone too far, her willingness to still marry Henry loses some of its shock.

JHPENTERTAINMENT: Emma is often portrayed as the emotional heart of the story. What do you think makes her strong enough to continue loving Henry even as everything around them begins to unravel?

REBEKAH JOY: I believe that Emma is strong enough to continue loving Henry because she doesn’t just hope that he will eventually heal and return to her, she truly believes he will, that he is destined to. As long as she is in his life, she knows that her Henry is still in there. As long as she can look into his eyes, she knows that he will return to her. That kind of faith is not common. Some would call it naive, but I would call it a choice. She is actively choosing to believe that the man she fell in love with is not only a good man, but will prevail once whatever he has gotten himself into is over.

JHPENTERTAINMENT: Jekyll & Hyde is practically tailor-made for Spooky Season. What’s your favorite Halloween tradition—and what spooky movie, book or TV show is an absolute must for you every October?

REBEKAH JOY: Halloween is my absolute favorite holiday! My favorite halloween tradition is decorating my house in all sorts of fun decor. I have a big affinity for glitter, so my decorations are less scary ghouls and more sparkly bats. I also love to dress up (can you guess why I am drawn to theater?) so I like to go all out with my Halloween costumes. I don’t have a favorite Halloween themed movie/TV show/book, but the weather in autumn always makes me want to watch Twilight, so I associate that with Halloween!

JHPENTERTAINMENT: Of all the musical moments in Jekyll & Hyde, which song or moment is your personal favorite—and what makes it so special to you?

REBEKAH JOY: My favorite musical moment in the show is when Lucy and Emma sing “In His Eyes” together. These two characters have heartbreaking overlap even though they are presented very differently to the audience. Emma is deeply in love with a man who cannot put her first, but does love her back. She finds herself in Henry and will support him as he pursues his dreams, even at the expense of her own. Lucy has never once known true love in her whole life and mistakes a simple act of kindness for love. The love she feels for Dr. Jekyll is based around the idea that she may be worthy of someone else’s love, not just their abuse. Both of these women deserve more than the love they are willing to accept and it is absolutely shattering to hear them express their longing for that love in the same words, even though they are opposing characters.

JHPENTERTAINMENT: If Emma could sit down with Henry before the story begins and have one brutally honest conversation with him, what do you think she would say?

REBEKAH JOY: If Emma could have one conversation with Henry before the story begins, I think it would just be to tell Henry how much she believes in him and supports him. I don’t think Emma would try to do anything to change his future. Part of what makes Emma so endearing is that she never tries to control Henry. She is understanding of his passions and wants to see him succeed in all things. Now, if I were Emma, I do think Henry and I would be having a few words before the whole thing unraveled. I would want Henry to know that his identity does not lie in who he is on the outside, but rather in the choices he makes when no one is watching. Henry struggles to determine if he is a good man or if there is something inside of him that makes him a bad man. The truth is, we have both good and evil inside of us at all times. The only thing we can do is make a choice. Henry’s goal is to take the choice away, but the Emma that I have grown to know and relate to would say if there is no choice, it’s not really a sacrifice. To choose to do the right thing when you want to do the wrong thing is the definition of devotion.

RAPID FIRE WITH JEKYLL & HYDE DIRECTOR MARSALIS TURNER

JHPENTERTAINMENT: As a director, how do you approach making the transformation from Henry Jekyll to Edward Hyde feel like more than just a physical change—that we’re actually watching one man wrestle with two sides of himself?

MARSALIS TURNER: For us, we wanted to be creative in how the two personalities behave in similar situations—Henry when he’s with Emma and Utterson, or Hyde when he’s with Lucy and Utterson. There will be distinct differences between the interactions while still showing qualities of both personalities. Both Henry Jekyll and Edward Hyde are fighting for dominance while still navigating the world Jekyll built before the serum. In some cases, when DéYonté or Josiah [Josiah Kareck, Kaitlyn Ziebell and Jessica Fonville have been cast as understudies] hits the stage as Jekyll/Hyde, the audience—just like some characters—shouldn’t know if it’s Henry or Edward they’re talking to. Leading to the question: which is the true self? What I want is for that line between the two to blur until the audience feels the same thing the characters do: the fear that they were never really separate at all.

JHPENTERTAINMENT: You’re simultaneously a member of HPAC’s Board and the director of this production. Is there ever a moment when those two sides of your HPAC identity collide—and which one tends to win?

MARSALIS TURNER: I’ve been with HPAC since 2016, with some acting credits and predominantly tech credits, and I’ve been a board member since 2022. This is my second time directing during my tenure. I have a lot of goals as a board member, and luckily directing doesn’t get in the way of them as of now. But I would say if there was an identity collision, it would be directing that wins. There’s so much joy in bringing people together to create art and entertain the community when you genuinely enjoy it. You get to surround yourself with people who want the same thing: to put on the best show possible. Those are the people who motivate my work as a board member—making sure we always provide a place for anyone to come enjoy this experience as entertainers.

JHPENTERTAINMENT: HPAC has a brand-new marquee! How excited are you—and the entire HPAC theatre family—to see that new marquee lighting up the building and helping announce what’s happening onstage inside?

MARSALIS TURNER: Extremely excited—more than anyone could know. Back when I directed my first show, Winter Wonderettes, the tornado came through Sumner County, destroying so much, and our theater was in its path. Having the new marquee in time for our season opening is a beautiful full-circle moment for me, since my first run as a director was cut short by Mother Nature. It’s a bittersweet thing to be in this position again, able to once more share a story with the best group of people I could ask for.

JHPENTERTAINMENT: What has it been like collaborating with Music Director Matthew Marcus on Jekyll & Hyde, and what does he bring to the production that you think audiences will especially notice?

MARSALIS TURNER: This being our first collaboration, I absolutely love this guy. Matthew has been a dream MD for me and the cast. Coming from Vanderbilt’s Blair School of Music, he brings so much knowledge and experience to the room in every way possible. Teaching 28 adults very complex music while also bringing together 12 more to form our live pit orchestra wasn’t easy, but he handled it with so much class and grace. One thing I absolutely loved was his effort to make sure everyone got their moment in the big ensemble numbers when giving out solos. Sharing the love with the cast in a show so heavily focused on one man was an amazing thing to see come together. I think people will love seeing everyone shine and have their moment on our stage. Any production would be lucky and thankful to have Matthew Marcus on their team.

JHPENTERTAINMENT: Jekyll & Hyde is a story about the battle between good and evil, but there’s a lot of gray area in between. What do you most want audiences to understand about that battle when they leave the theatre?

MARSALIS TURNER: I definitely believe this show is way more than a story about good and evil. There is a primitive nature we as humans mask for society’s sake. For some, this mask is genuine and no different from the person behind closed doors, but for others it hides who they truly are and can be terrifying. In this story we witness a man, Dr. Jekyll, whose intentions are good—he wants to cure the evil within mankind—but who ultimately brings about who he truly and always was deep down: Edward Hyde. When people leave, I hope they understand we all have an Edward Hyde within us; it’s just a matter of what we allow to be shown and what we hide behind our facade. But even more, when someone you care about is hiding a terrible secret behind a facade, will you turn away and allow it, or do what’s right before it’s too late?

With its haunting score and classic tale of complicated relationships that explore the darkness lurking just beneath the surface of mankind, Jekyll & Hyde: The Musical promises HPAC patrons a suitably sinister and thoroughly entertaining way to ease into the Halloween season. Jekyll & Hyde opens at Hendersonville Performing Arts Company (260 West Main Street Suite 204, Hendersonville, TN 37075) Thursday, September 17 with performances Thursdays-Sundays through October 4. Performances are at 7:30pm Thursdays-Saturdays with 2pm matinees on Sundays. Tickets are $25/Adults and $22/Students and Seniors. All tickets are reserved seating. CLICK HERE to purchase tickets. For ADA accommodations, please call the box office at 615.826.6037. Please note: Jekyll & Hyde is rated PG-13 for violence, dark themes, sexual content and frightening scenes.

Jekyll & Hyde marks the start of HPAC‘s 2026/2027 show season. Next up is the beloved classic, The Secret Garden with performances December 3-20. CLICK HERE to secure season tickets, or to purchase individual tickets for upcoming shows.

To keep up with HPAC, CLICK HERE to receive info on upcoming shows, auditions and everything Hendersonville Performing Arts Company. You can also find them on Facebook and Instagram.

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 on Facebook, Instagram & X.

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

September 15, 2026 by Jonathan Pinkerton

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.

‘Die, Mommie, Die!’: 20 Questions, Four Suspects & One Very Dysfunctional Family

August 27, 2026 by Jonathan Pinkerton

Playhouse 615 is getting ready to serve up a deliciously twisted dose of murder, mayhem, familial dysfunction and theatrical camp as they present Charles Busch’s Die, Mommie, Die! co-directed by Daniel Vincent and Diane Bearden and onstage August 28-September 13. Before the curtain rises, JHPEntertainment put four members of the cast—Christian Swann, Zach McMasters, Deborah Seidel and Veronika Electronika—on the hot seat for a Rapid Fire 20Q covering their characters, their scene partners and the bizarre brilliance that is noir camp theatre.

RAPID FIRE 20Q WITH CAST MEMBERS OF PLAYHOUSE 615’s DIE,MOMMIE, DIE!

RAPID FIRE WITH CHRISTIAN SWANN, DIE, MOMMIE, DIE!’s EDITH SUSSMAN

JHPENTERTAINMENT: Edith Sussman is at the center of a family situation that makes the average dysfunctional household look positively well-adjusted. What was your first reaction when you got your hands on this script?

CHRISTIAN SWANN: I was completely enamored with it. The show’s so “out there” that you can’t help but wonder how people will react. The whole time I was reading through the script, I was thinking, “This line will get a big gasp,” or “The audience will go wild right here, absolutely bonkers.” And I was so excited to be playing Edith. The play is, among other things, a very screwed-up take on an Ancient Greek tragedy, so playing Edith is kind of like playing Electra, only much groovier.

JHPENTERTAINMENT: You’re working with co-directors Diane Bearden and Daniel Vincent, with Daniel also stepping onto the stage as Edith’s father, Sol. What’s it like having one of your directors essentially say, “Okay, now I’m going to get into character and play along with you all”?

CHRISTIAN SWANN: It’s great! It’s a little surreal at times when you turn away from the directors’ table for a second and suddenly one of them is with you on stage, playing with your hair and talking about lepers and toilets and all this crazy stuff. But there’s a camaraderie to it too, like having your commanding officer with you in the trenches. I’ve never been to war, but I imagine it’s pretty much the same as community theater.

JHPENTERTAINMENT: Without giving away any of the deliciously dark details, and using only one word each, how would you describe Edith’s relationship with the other members of the Sussman family?

CHRISTIAN SWANN: Including honorary family members, something like:

Angela – Obliterate

Sol – Yum

Lance – Yuck

Bootsie – Obstacle

Tony – Swampy

JHPENTERTAINMENT: There’s a fine line between camp and schlock. What’s the biggest challenge of playing Edith without overplaying Edith?

CHRISTIAN SWANN: The thing about Edith is she’s completely ridiculous. She’s this screaming, histrionic mess whose dialogue is about fifty percent exclamation marks. But she’s got these big emotions—sorrow, passion, rage—that make her act the way she does. And since Edith’s such a huge source of conflict in the play, if the audience can’t see those emotions then the show loses that sense of tension. So the challenge for me was to find those emotions in a way that gets through to the audience. Edith’s reactions had to be ridiculous, but her feelings had to be real.

JHPENTERTAINMENT: What do you hope audiences take away from watching Edith—and this wonderfully twisted family—unravel?

CHRISTIAN SWANN: I hope they laugh, of course. The show’s a comedy after all. But I love so much about this show’s particular brand of humor is that it offers the audience a break from any notion of “morality” and “good taste,” so I hope the audience is able to put those ideas to the side and enjoy being bad for a couple hours.

RAPID FIRE WITH ZACH McMASTERS, DIE, MOMMIE, DIE!’s LANCE SUSSMAN

JHPENTERTAINMENT: Having made your stage debut last year in Playhouse 615’s The Haunting of Hill House, what drew you back to the company—and to Lance Sussman in particular?
ZACH MCMASTERS: I think anywhere you first try your hand at something creative always holds a special significance in your heart and mind. I also admire how Playhouse isn’t afraid to be a little transgressive with their show selection. When I first saw the 2026 lineup and noticed Die, Mommie, Die!, I knew I had to be involved. I first saw the film adaptation in 2007 and have never forgotten it, so when the opportunity came to audition, I knew I wanted to go for Lance. What I really love about this character is how multi-faceted he is. With Lance, there are many opportunities to take risks and just play. I’ve always been a silly goose, and Lance is a delightfully unhinged part for me to revel in!

JHPENTERTAINMENT: Let’s address the elephant—or perhaps the synthetic hairpiece—in the room. That wig in the promotional photos… was that actually supposed to look convincing, or just another obvious comedic camp moment?
ZACH MCMASTERS: Funny you should ask. What we thought was a 60s-style wig turned out to be an old we crow that must’ve accidentally flown inside the theatre one rainy day, bumped its head, and fell into a box of props. I had no idea until it bit my scalp after filming my promo videos for Lance and few away in a fit of rage. I had to get a rabies shot! Suffice to say, we procured an actual wig that doesn’t bite, doesn’t wash me out like a ghost, and more closely matches his mother Angela’s hair color.

JHPENTERTAINMENT: Um…Ok…anyway, next question…What have you discovered about Lance that you didn’t necessarily see coming when you first started working on the role?
ZACH MCMASTERS: I feel like I sort of misjudged Lance at first, kind of writing him off as a one-dimensional, soon-to-be-burnout with no future. I had no idea he would emerge as being so dynamic as I got to further explore his character. Even though he is constantly berated for his lack of intelligence throughout the play, Lance is a lot more clever than he seems. He is also a very sensitive young man, and I like to think of him as becoming a successful artist or performer once all the dust settles from the drama of these events.

JHPENTERTAINMENT: This is only your second production with Playhouse 615. Does returning for a completely different kind of show feel different now that you’ve survived your first theatrical experience?
ZACH MCMASTERS: In many ways, it feels exactly the same, like picking right back up where you left off with a good friend. There’s also that same chaotic energy that makes the whole process feel so worthwhile when it all finally comes together, and I think I enjoy that the most. The major difference for me this go around is the amount of time I get to spend on stage instead of behind it. Lance has a lot more lines than Arthur Parker from Hill House, so it’s been great getting to discover myself more as a performer. It definitely helps that this show is absolutely hilarious, so memorizing a lot more dialogue hasn’t been as challenging as I anticipated.

JHPENTERTAINMENT: Playhouse 615 has built quite the reputation for presenting…let’s say…slightly off-kilter shows from time to time. Is there anything in this uproarious camp classic that made you just shake your head when you first read the script?

ZACH MCMASTERS: Oh, absolutely. After our first read-through of the script, I thought, oh my, the things I have to say and do in this show… My parents can’t see this one! Aside from the outrageous dialogue, a few certain props and their particular uses had me absolutely cackling. Still do every time we rehearse! Oh, and I’ll never look at a Lazy Susan the same way again..

RAPID FIRE WITH DEBORAH SEIDEL, DIE, MOMMIE, DIE!’s BOOTSIE CARP

JHPENTERTAINMENT: As the Sussman’s loyal maid Bootsie Carp certainly knows a few secrets. What one secret you can share?
DEBORAH SEIDEL: Ooh, if I told, then it wouldn’t be a secret anymore, would it? Hmmm, I think I can safely say that one (or more) characters may be hiding a deep, dark secret. But that’s for the audience to find out, not for me to tell!

JHPENTERTAINMENT: You’re once again sharing the stage with Veronika Electronika, after previously playing opposite her in Playhouse 615’s Cinderella Christmas Panto. What’s it like coming back together for something that is…shall we say,…considerably less fairy-tale?
DEBORAH SEIDEL: Well, in Cinderella, my role as the evil stepmother actually had very little interaction with Veronika Fairy Godmother until the end – when she turned my daughters and me into rabbits! Thankfully, in this play no one becomes another species, though Veronika, this time in the role of Angela Arden, certainly likes to play mind games with me and the other characters in the play. In addition, the Christmas Panto had a lot more opportunities for improv, whereas now Veronika and I get to interact with each other as authentic (though somewhat whacky) characters in a more traditional format.

JHPENTERTAINMENT: What has surprised you most about Bootsie as you’ve gotten deeper into rehearsals?
DEBORAH SEIDEL: I honestly wasn’t quite sure how to approach Bootsie at first and knew I had to figure out what ultimately makes her tick. As rehearsals progressed, I think what surprised me most is how integral the role is to the story line, and how confident Bootsie is in her interactions with the family and Tony, Angela’s lover. After working for this family for 25 years, she’s not afraid to confront any of them, make strong suggestions regarding their behaviors, and to let her personal (and political!) goals be known – loud and clear!

JHPENTERTAINMENT: This show has a pretty outrageous tone. How do you keep yourself from cracking up when you’re supposed to be completely serious?
DEBORAH SEIDEL: It’s not easy, that’s for sure! And we’re only in rehearsals, without audience feedback yet, so I imagine it will only become more difficult. But the same rules apply to acting in any comedy, no matter how outrageous – hold for laughs, stay in character, focus, and if necessary, bite your (or your neighbor’s) lip!

JHPENTERTAINMENT: With Diane Bearden and Daniel Vincent sharing directorial duties, what’s most challenging about their potentially differing approaches?
DEBORAH SEIDEL: Luckily, they’ve been very much on the same page, so having co-directors has been a positive experience rather than a challenge. Diane handled most of the blocking, welcomed our suggestions, and was careful not to waste anyone’s time. When Diane was out of town for a bit, Daniel stepped in and continued that approach. They both wanted us to have fun in rehearsal while also knowing the basics: our lines, our blocking, and what motivates our characters to do such outrageous things. They encouraged us to make big, bold choices, knowing they could pull us back if needed.

RAPID FIRE WITH VERONIKA ELECTRONIKA, DIE, MOMMIE, DIE!’s ANGELA ARDEN

JHPENTERTAINMENT: Having seen you in a few prominent drag-related roles over the years, as well as many Veronika Electronika gigs, it seems there’s a bit of Veronika that inevitably seeps through, regardless of who you’re playing. What’s the most difficult part of suppressing your usual stage persona to allow Angela Arden to fully emerge?

VERONIKA ELECTRONIKA: I would say that Angela is first and foremost a lady. Always keeping up appearances and trying to maintain a balance of Wife, Mother and Star. Whereas Veronika is just…a star! So while portraying Angela I wanted to follow some advice that the playwright gave me himself, “Angela is a lady.” So I try and remember that while I am delivering my lines, and not tout them out a drag queen might, but as the lady that Angela is would.

JHPENTERTAINMENT: Angela is surrounded by some pretty formidable men in this story. What’s it like playing opposite your leading men, Wanderson Rezende and Daniel Vincent, and what have you discovered about your onstage dynamic?

VERONIKA ELECTRONIKA: Each of my love interests in this show are played by 2 amazing actors, and they each play completely different characters. I think the casting was spot on! Daniel gives me a grounded, stern and comfortable man to bicker with while Wanderson has the energy and “spice” that one needs to have to play off of for the under the radar lover…I mean tennis coach!

JHPENTERTAINMENT: I noticed there’s no crew credit for wardrobe or costuming in the program information. Does that mean Angela Arden’s wardrobe for the show is courtesy of Veronika Electronika?

VERONIKA ELECTRONIKA: You may see one or two elements from Veronika’s closet on stage, however you will see new fashions as well. After 24 years in the drag industry my wardrobe is extensive and chuck full of fun and fabulous custom made creations… Why not put them to use in a production that takes place in tinsel town after all!

JHPENTERTAINMENT: And speaking of Veronika Electronika, I saw that your show bio includes your Venmo…. Is this a theatrical program bio or a not-so-subtle request for tips? Have you no shame?

VERONIKA ELECTRONIKA: As one of my muses has said “It takes a lot of money to look this cheap!” So take it as you will…tips are greatly appreciated, Veronika Electronika Merch is also available!* (*There was more to this answer, including a link, but I’m not running a charity here, so Google Veronika Electronika at your own risk!;-))

JHPENTERTAINMENT: Angela Arden is clearly not walking into this family drama without bringing some baggage of her own. What do you think audiences will find most surprising about her—and about Die, Mommie, Die! as a whole?

VERONIKA ELECTRONIKA: Angela, as an identical twin, was literally born with baggage! Surprises lay around every corner, and just when you think you know what she is up to she may just make you rethink your life choices! The story of Die, Mommie, Die! is so outrageous, so over the top and so full of laughs It will be hard for our guests to not fall in love with any or all of us. Dash to the front row if you can, it’s a real “splash zone” and where you will get the best “bang” for your buck! The home of Angela Arden Sussman is a warm, welcoming, and lavish place to get all of your just desserts!

And there you have it—20 questions, a few lies, a bit of chaos, and just plain campy outrageous fun…it’s the Sussman household way. One thing is certain: when the Sussman clan starts airing its dirty laundry onstage as Die, Mommie, Die! makes its way to Playhouse 615 at 11920 Lebanon Road, Mount Juliet, TN 37112, weekends August 28-September 13, you’ll definitely want to be there to watch it happen. CLICK HERE to purchase tickets (use the drop-down to select specific date/time). For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

BEFORE THE KEETON’S ‘COME FROM AWAY’ TAKES FLIGHT, A PRE-BOARDING RAPID FIRE 20Q

August 13, 2026 by Jonathan Pinkerton

The Keeton’s upcoming production of Come From Away (on stage August 14-30) brings the extraordinary true story of the 7,000 passengers who found themselves stranded in Gander, Newfoundland, following the events of September 11, 2001, to the stage in a celebration of compassion, community, resilience and kindness. For this JHPEntertainment Rapid Fire 20Q, we go behind the scenes with director Susan Walsworth and three members of the cast,–Melissa Silengo, Justin Tinker and Jason Scott–as they talk about returning to The Keeton, bringing real-life people to the stage, the unique challenges of Come From Away, aviation, friendship, finding the heart of a character and, ultimately, why this story continues to resonate.

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RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF THE KEETON’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s BEVERLY, MELISSA SILENGO

JHPENTERTAINMENT: You’ve played everything from Maria in The Sound of Music to Sister Mary Amnesia in Nunsense. What excited you most about taking on Beverly, Annette, and your other roles in Come From Away?

MELISSA SILENGO: I generally enjoy playing characters who are based on real-life people, so I was especially excited to take on multiple real-life people in this show. Beverly Bass is an inspiring woman who made her way in a man’s world with dedication and her love of flying. Annette is an amalgamation of multiple real-life people, so I have enjoyed the freedom to make her my own and lean into the character description of her as “a school teacher… with an active fantasy life.” The range of characters that each actor plays is one of the things that makes this show such a joy to interpret and to watch.

JHPENTERTAINMENT: After taking a few years away from the stage, what made this the perfect production to return with?

MELISSA SILENGO: The beautiful story and characters made this a great come-back production for me. The way the show is written makes it a challenge for everyone involved, and I have truly enjoyed dusting off many old skills and tricks of the trade to find my way through this process. The ensemble nature of the production and the people in our amazing cast and team have made this a very meaningful experience for me, and I am so thankful to be back in theatre.

JHPENTERTAINMENT: As you mentioned, Beverly is based on a real person. Her story is both inspiring and heartbreaking. What has it meant to step into her shoes?

MELISSA SILENGO: Stepping into the shoes of Beverly Bass is a huge honor and responsibility. I hope she would agree that her role in the events surrounding September 11th in Gander, Newfoundland was to provide some reassurance for her passengers in a time of complete uncertainty. Her strength, clarity of purpose, passion for aviation, communication skills, and earnest concern for her passengers made her the perfect pilot to handle this type of emergency situation. I hope I can convey at least some of those qualities and give her story the respect it deserves.

JHPENTERTAINMENT: You’ve performed at several theaters across Middle Tennessee. What keeps bringing you back to The Keeton?

MELISSA SILENGO: The Keeton feels like my home theater, partly because it is close to my house, so that keeps me coming back. I am glad that people I have worked with over the years, like Donna and Kevin Driver, are still there continuing to keep the theater going. And one perk of doing shows at the Keeton is rehearsing on the same stage where you will perform. I have learned a lot performing at the Keeton over the years, and it feels nice to be back.

JHPENTERTAINMENT: If someone has never seen Come From Away, what’s the one thing you’d tell them before the lights go down?

MELISSA SILENGO: Can I say two things? Come From Away is a telling of multiple stories at once, so be prepared for the actors to change characters quickly and frequently. But more importantly, be prepared to remember your own experience of 9/11 and connect it with the story of a small town community caring for people from around the world in a show of true human spirit.

RAPID FIRE WITH COME FROM AWAY‘s KEVIN T., JASON SCOTT

JHPENTERTAINMENT: I understand that since your last Keeton production, you’ve become a flight instructor. Has that unique perspective made working on this show even more personal?

JASON SCOTT: Absolutely! This show is a perfect marriage of two of my biggest passions, and I couldn’t have asked for a better production to bring me back to the stage.

JHPENTERTAINMENT: Kevin T. experiences one of the musical’s most moving emotional journeys. What have you discovered about him (and yourself) during rehearsals?

JASON SCOTT: It has been so interesting to play with the relative joy that Kevin tries to maintain even in the midst of such a tragic event. He refused to let the sadness consume him, and I’ve definitely found inspiration for myself in his story.

JHPENTERTAINMENT: Between theater and aviation, storytelling and flying both require trust. Have you found any other surprising similarities between the two?

JASON SCOTT: I have long felt that my theatrical background was so useful in learning how to fly. There’s a lot of memorization involved, the ability to “improv” and react to things quickly, the ability to do the same sequence of “steps” on repeat, and so much more.

JHPENTERTAINMENT: Is there a particular musical number or scene that really resonates with you, whether your’s or one you witness by way of your fellow cast mates?

JASON SCOTT: Well I think the obvious answer is “Me and the Sky”, so I’m going to add a second one. I truly think one of the moments that will resonates with me, and with most people who were around when it happened, is seeing all the plane people witness the footage for the first time. I can’t help but imagine my own experience on that day and seeing and hearing about what happened for the first time myself.

JHPENTERTAINMENT: I’m about to chat with Justin Tinker who plays your Kevin’s other half. Describe sharing the stage with Justin in three words…

JASON SCOTT: Safe, Emotional, FUN

RAPID FIRE WITH COME FROM AWAY’s KEVIN J., JUSTIN TINKER

JHPENTERTAINMENT: You’re portraying both Kevin J. and Ali, two characters whose stories couldn’t be more different. What has been the biggest challenge of bringing both of them to life?

JUSTIN TINKER: This is a great question. Of the two characters, I feel more personally connected to Kevin J. I think we share a similar sense of humor and sass, but my biggest challenge has been finding his heart. At first glance, many of his lines can come across as snappy or arrogant. But I keep reminding myself that Kevin T wouldn’t have been with Kevin J for five years if that was all there was to him. That has led me to ask, “What made Kevin T fall in love with Kevin J?” Finding the answer to that question has helped me approach him with more empathy and complexity.

Ali has been a very different experience because, in many ways, he is nothing like me. My goal has been to honor his culture while still bringing my own truth to the role. Since I’m not Egyptian, I was initially most concerned about getting the accent right. But beyond that, I realized I could connect to Ali through my own experiences. As a Black man in America, I’ve experienced moments where I’ve felt judged or treated as an outsider, and that emotional truth has helped me better understand Ali’s journey.

JHPENTERTAINMENT: Aside from the multiple roles, How has this show challenged you in new ways?

JUSTIN TINKER: Being born on September 12, 2001, I don’t have any personal memories of 9/11, so I couldn’t draw from my own experience. That made finding an emotional connection to the story a challenge at first. Instead, I leaned on the real stories of the people who lived through it (my parents and most of my cast mate)and connected to the show’s universal themes of compassion, resilience, and community. This production has also been a vocal beast for me. Once we started doing full runs, it became a mental challenge to stay present in each moment while also thinking five steps ahead because of all the moving parts. Throughout the process, though, I’ve continued to surprise myself. I’ve always felt most confident in my dancing and acting, but this show has challenged me to grow as a vocalist. It’s helped me realize that singing is a strength of mine as well. I’m especially grateful to our director, Susan Walsworth, and our music director, Trey Lundquist, for believing in me and giving me the confidence to grow. Thanks to their guidance, I’ve discovered a new level of confidence in my voice, and I’m incredibly thankful for the opportunity.

JHPENTERTAINMENT: Come From Away is known for its demanding dialects and lightning-fast character changes. Which aspect has required the most preparation?

JUSTIN TINKER: Oh it’s definitely the lighting fast character changes. I’m constantly checking the script to make sure I know where I am and who I’m playing at every moment. For the first time, I even created a track sheet (a spreadsheet that maps out every character I play, along with my costume changes and scene transitions). Because I switch between multiple characters, sometimes only a few lines apart, staying organized has become essential to keeping up with the pace of the show.

JHPENTERTAINMENT: Has there been a rehearsal moment that reminded you why this musical has resonated with audiences around the world?

JUSTIN TINKER: One moment that really stands out to me was our first full read-through after learning all of the music. I remember Trey telling us that even though the show wasn’t on its feet yet and our faces would probably be buried in our scripts, we should still be able to hear the emotion in the storytelling. As we performed the entire show for the first time, it felt like a light bulb went off. I remember thinking, “Oh yeah, we have the right people to tell this story.” Even without the staging, costumes, or choreography, the heart of the show was already there, and that was a really special moment to witness.

JHPENTERTAINMENT: Finish this sentence: Audiences will leave Come From Away feeling __________.

JUSTIN TINKER: how important community is.

RAPID FIRE WITH COME FROM AWAY DIRECTOR SUSAN WALSWORTH

JHPENTERTAINMENT: Come From Away has become one of the most beloved musicals of the last decade. How did you come to be directing it for The Keeton?

SUSAN WALSWORTH: It is an amazing story and Donna knew that my son Sevon was in it last summer and that I was very familiar with the show so when she asked me, I jumped at the chance.

JHPENTERTAINMENT: You’ve both directed and performed on The Keeton stage over the years. How has your experience as an actor shaped the way you approach directing?

SUSAN WALSWORTH: I believe that being an actor before becoming a director gives me a better perspective of things that work, and also things that don’t; That includes using the uniqueness of the Keeton stage, my rehearsal process, and communication with my cast.

JHPENTERTAINMENT: The creators of Come From Away often say the show isn’t a 9/11 musical, but rather a 9/12 musical Do you agree with that assessment? If so, why (or why not)?

SUSAN WALSWORTH: I both agree and disagree, yes it is about the stories of the people of Gander and the plane people the days following 9/11 but we wouldn’t have these stories to tell if the horrible attacks hadn’t happened that day.

JHPENTERTAINMENT: Come From Away relies on a seamless blend of storytelling and music. What’s it been like collaborating with music director Trey Lundquist to bring this incredible score to life?

SUSAN WALSWORTH: I met Trey during our first production meeting for the show and quickly realized that we both had the same vision for bringing this show to the stage. The vocals in the show are dynamic and have to tell the story and Trey has done an amazing job making this stellar cast sound absolutely incredible! Trey and I have developed a great working relationship and will remain friends once this process is complete. I hope I get to work with him again in the future.

JHPENTERTAINMENT: What do you hope audiences are still thinking about on the drive home after experiencing this production?

SUSAN WALSWORTH: I hope audiences walk away with the kindness in their hearts and feeling uplifted that there is hope for a brighter future even during a time of darkness.

———-

Alongside Melissa Silengo, Jason Scott and Justin Tinker, the cast of The Keeton‘s Come From Away is made of a who’s who of area talent including Brian Best, Leslie King, Stephanie Jackson, Jack Joiner, Ben Gregory, Ashlie Welte-Lopez, Clair Yancey, Jayden Murphy, Yolanda Treece and Tyler Samuel. The Show’s production team, helmed by director Susan Walsworth, includes music director Trey Lundquist, choreographer McKenna Driver and stage manager Kaleigh Ruiz.

The Keeton being the area’s only dinner theatre, there’s always a dinner option accompanying the show. For Come From Away, the pre-show in-flight meal will feature a dinner salad, pulled pork barbecue sandwich (a pre-0rdered substitute of grilled salmon is available for a slight up-charge), red skin potato salad, a side of mixed veggies and lemon bar for dessert.

The Keeton‘s Come From Away marks the opening of the company’s 2026/2027 season with performances Friday, August 17 thru Sunday, August 30. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.

The Keeton‘s Come From Away is ultimately a story about what can happen when strangers choose to care for one another in the face of unimaginable circumstances. With a director and cast who have clearly connected deeply with that message, The Keeton’s production promises to offer Nashville audiences not only an unforgettable musical experience, but also a timely reminder of the power of community. That sounds like a pretty perfect reason to let Come From Away take you on its journey.

Next up following Come From Away, The Keeton presents John Patrick‘s wickedly funny mid-century comedy The Curious Savage on stage October 9-25. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook. In the meantime, #GoSeeTheShow!

As ‘Hamilton’ National Tour Prepares for Week Two at Nashville’s TPAC, Cast and Crew Prove They’re Not Throwing Away Their Shot in Our Latest Rapid Fire 20 Q

June 23, 2026 by Jonathan Pinkerton

June 17 marked the beginning of Hamilton‘s third visit to Music City signaling another crowd-pleasing two-week run at Nashville’s TPAC. As this current tour stop of the Tony-winning juggernaut continues with performances Tuesday, June 23 thru Sunday, June 28, we caught up with four members of the company for our recurring Rapid Fire 20 Q feature. From Nashville native and Hume-Fogg alum Lily Soto, who returns home as Eliza Hamilton, to Angelica Schuyler performer Marja Harmon (with Nashville ties of her own) and Principal Standby Chibueze Ihuoma, to Assistant Sound Engineer & Belmont grad Joshua Boatman, we covered everything from hometown memories and Broadway debuts to what it takes to keep one of the most celebrated musicals of all time running eight performances a week. So, as cast and crew get ready step back into the room where it happens, let’s get started.

RAPID FIRE 20Q WITH HAMILTON NATIONAL TOUR CAST AND CREW

RAPID FIRE 20Q WITH HAMILTON‘s ELIZA, LILY SOTO

JHPENTERTAINMENT: Being from Nashville, what does it mean to return with this tour and perform at TPAC as Eliza Hamilton?

LILY SOTO: It’s truly a dream come true. I’ve been performing in Nashville since I was very young, so getting to come home with one of my favorite shows and step onto the TPAC stage as Eliza Hamilton is incredibly special. Nashville is where I first fell in love with performing, so sharing this moment with my friends, family, former teachers, and the community that supported me from the beginning means the world to me.

JHPENTERTAINMENT: While you were attending Hume-Fogg High School, you were honored at the 2019 Spotlight Awards as Outstanding Ensemble Actress and in 2020, you were honored as Outstanding Lead Actress. So, a two-parter for you… 1) Do you plan to visit your alma mater, or at least catch up with Hume-Fogg’s beloved theatre teacher, Daron Bruce while in town? AND 2) How have those early honors aided you as you become part of the Hamilton family?

LILY SOTO: Absolutely. I’m still very close with Daron Bruce, and he actually helped facilitate an interview I recently did with Talk of the Town. It was really meaningful to return to the place where I first fell in love with theatre and reflect on how much my experience at Hume-Fogg shaped me as both a performer and a person.

The Spotlight Awards were such a special experience. In 2019, I was honored to receive Outstanding Ensemble Actress, which was completely unexpected. Then in 2020, I received Outstanding Lead Actress for playing Donna Sheridan in Mamma Mia!. At the time, theatre was something I genuinely loved doing with my friends, so being recognized for something that brought me so much joy was incredibly encouraging. Those experiences gave me the confidence to seriously consider pursuing theatre professionally, and I’m grateful I did. I wouldn’t be standing on stage in Hamilton today without everything I learned through my high school theatre program.

JHPENTERTAINMENT: What does Eliza Hamilton represent to you personally as a performer?

Soto in character as Eliza (courtesy Soto’s Insta)

LILY SOTO: Eliza has taught me so much about strength, resilience, and grace. One of the things I love most about her is that her strength isn’t always loud. Throughout the show she experiences tremendous joy, heartbreak, loss, and forgiveness, yet she continues to move forward with compassion and purpose. As a performer, she challenges me to be vulnerable and truthful every night. She reminds me that some of the most powerful moments on stage come from honesty and human connection. I’m grateful to tell her story every night.

JHPENTERTAINMENT: What was the first Nashville meal or stop once you were back in your hometown?

LILY SOTO: Any time I’m home, I have to make a stop at Waldo’s Chicken because it’s right in my neighborhood and has always been one of my favorites. But when our cast and crew first arrived in Nashville, I hosted a welcome party and we had catering from Big Al’s Deli, which was a huge hit. It was fun getting to share a local favorite with everyone.

JHPENTERTAINMENT: What advice would you give young performers considering a life in theatre?

LILY SOTO: Always remember what makes you unique. Your individuality, your experiences, your interests, and your strengths are what make you stand out. Stay curious, keep learning, and trust that the qualities that make you different are often your greatest assets.

RAPID FIRE WITH HAMILTON‘s ANGELICA, MARJA HARMON

JHPENTERTAINMENT: Your Angelica journey began in 2019 when Hamilton played Puerto Rico for a special limited run. Hamilton creator Lin Manuel Miranda stepped back in to the lead for that engagement. What’s among your most cherished memories of that time?

MARJA HARMON: So many memories from that time! It was powerful to see the impact of the show’s presence in Puerto Rico after the devastation of Hurricane Maria.

Going through the rehearsal process with Lin was so special. I started in that company as a Standby, so I was able to make my Angelica debut while I was there with my parents in the audience. Before I went on to perform “Satisfied” for the first time, Lin found a moment backstage to give me a little freestyle and hype me up and that was so cool! The And Peggy Tour experience in Puerto Rico was full of so many memories. It was just a lot of milestones happening all at once.

JHPENTERTAINMENT: On the subject of debuts, I gotta ask about your 2009 Broadway debut as part the Debbie Allen-directed all-BIPOC revival of Cat on a Hot Tin Roof. I’m, shall we say, of a certain age, and give Miss Allen full credit for nurturing my interest in the performing arts by way of her iconic TV series, FAME. Did making your Broadway debut in that particular show shape the way you think about your chosen path as a performer?

MARJA HARMON: Having my debut in that show taught me a lot about discipline and humility. I never understudied before and let alone in such an iconic role. I was stepping onto the stage with the theatrical giants, James Earl Jones and Phylicia Rashad.

I understood that some natural talent got me there, but in order to hold my own that I was going to need to constantly work on my craft. I was learning everything I could from these amazing actors during the day in rehearsal and also working with an acting coach at night so I could really feel confident. In the end, I learned the important lesson about trusting myself.

Debbie Allen was a wonderful director and incredibly encouraging, especially for my 25-year-old self.

I was a sponge soaking up everything I could from that entire experience and everything anyone could teach me about how to craft a role and how to bring things to life from a rehearsal process to the stage.

Harmon backstage as Angelica (courtesy Harmon’s Insta)

JHPENTERTAINMENT: The Hamilton tour ecosystem now consists of four distinct global productions, the current US tour known as the Angelica Tour being your current gig. So, what’s it like to be part of a tour named after the character you’re playing?

MARJA HARMON: I think being a part of Hamilton and seeing what it represents to people is such a wonderful and powerful thing. It’s a great reminder when we step on that stage nightly even if it’s for the 750th time that the power of theater and great storytelling is a magical experience. The Angelica namesake is just the icing on the cake!

JHPENTERTAINMENT: Earlier this year you returned to your hometown of Columbus, Indiana for a cabaret show. Does remembering and celebrating where you began your love of theatre keep you grounded?

MARJA HARMON: Absolutely! It’s also a moment for intense reflection to really sit back and understand that it really takes a village. I was so nurtured by the community of Columbus and of course my parents. I never felt my dreams were out of reach because of the support that I had.

JHPENTERTAINMENT: Speaking of hometowns, I understand your Mom graduated from TSU, Nashville’s only public HBCU, and when not on tour Music City is home for you. What are your top 5 must-do Nashville things you plan to share with your Hamilton family?

MARJA HARMON: Top five Nashville things:

1. Go have an evening cocktail and pizza at Urban Cowboy
2. Shop for your wine at Woodland Wine Merchant
3. Do not miss out on the Farmer’s Market on Rosa Parks Blvd
4. Cycle on the Greenway in Shelby Bottoms
5. Folk or Locust for Dinner

RAPID FIRE WITH HAMILTON PRINCIPAL STANDBY, CHIBUEZE IHUOMA

JHPENTERTAINMENT: For audiences who may not know, what all is involved in being a Principal Standby?

CHIBUEZE IHUOMA: Swings and standbys alike are the jack of all trades within a cast. We understudy multiple roles and tracks and perform whenever an ensemble member or principal is out, whether that be for sickness, injury, or vacation. I understudy four roles: Hamilton, Burr, Lafayette/Jefferson, and Washington. As you can imagine, a lot of words haha. Lucky for me, I have time when I’m not onstage and during afternoon rehearsals to brush up on lines and blocking.

JHPENTERTAINMENT: After touring as Orpheus in Hadestown, what drew you to Hamilton?

CHIBUEZE IHUOMA: Hamilton was actually one of my first musical theater loves. The cast album dropped when I was in high school, and I have a vivid memory of head banging to Mulligan’s verse in “Yorktown” as I steamed my mom’s blouse before church. Doing Hamilton after Hadestown felt like a natural transition. Both musicals are fully sung through, so I try to delve deep into how the music informs the character – the lightning speed of Lafayette, the near infinite rhyme schemes Hamilton deploys, the light beauty of Orpheus’ falsetto. That, and both shows try to imagine the way the world could be in spite of the way that it is; Hadestown with it’s themes of standing up to power with love at the forefront, and Hamilton through it’s colorblind casting which truly changed the music theater landscape. Excited for the next “H” opera I get to do!

Ihuoma covering all four principal roles (courtesy Ihuoma’s Insta)

JHPENTENTERTAINMENT: What is the most exciting challenge of being ready to step into multiple tracks at any moment?

CHIBUEZE IHUOMA: You get to see the show from so many angles, which is both super cool and very disorienting! There are a lot of songs like “Guns and Ships” or “Room Where it Happens” where all 4 of my tracks are on stage doing and saying very different things, and it’s an out of body experience when you go from one character to the next in short succession. I once did all 4 in one week, with a day that I played Hamilton in the afternoon and Burr at night. An accomplishment I’m very proud of, and that I have no desire to repeat haha.

JHPENTERTAINMENT: From a Nigerian kid attending a Summer intensive program at New Jersey Performing Arts Center to stepping into multiple roles in the National Tour of Hamilton…What would you tell your younger self about the journey thus far?

CHIBUEZE IHUOMA: Growing up, I always worried that I wasn’t enough, and that I often doubted that I belonged in music theater. I would tell my younger self that he doesn’t need to prove his worth, that simply expressing who he is and what he loves is more than enough. That, and I’d tell him that consistency is the key, so continuing to show up as his best self will take him anywhere he needs to go.

JHPENTERTAINMENT: Why do you think Hamilton continues to resonate so strongly with audiences?

CHIBUEZE IHUOMA: It resonates with audiences because so much of what we deal with today in the US are key themes of the musical – when to rise up against tyrannical powers and what it costs, debates on how the country should be run, the impact of immigrants and how they help shape the nation. It’s a show that humanizes the figures that we had propped up in our history books as infallible men, and gives voice to the women who were instrumental in their rise. And at the most fundamental level, everyone relates to an underdog story: the amount of edits of the New York Knicks with Hamilton songs played underneath is a testament to that!

RAPID FIRE WITH HAMILTON ASSISTANT SOUND ENGINEER, JOSHUA BOATMAN

JHPENTERTAINMENT: As the tour’s Assistant Sound Engineer, describe your typical load in day as the show arrives in its latest venue?

JOSHUA BOATMAN: The first few hours of load-in are all about organization. Hamilton travels in ten full size semi trailers, and even for big theatres like TPAC, that’s a lot of stuff to shove into the building. There’s about six or seven departments that all start working at the same time, so we try to find stuff where we aren’t stepping on each other, which for me means starting to get the audio racks put in place on the stage and patching all the cables. The rest of my load-in is focused on configuring all of our gear for the new space, troubleshooting and repairing anything that broke during the move, and assisting the rest of the sound team in making sure we’re ready to do the show!

JHPENTERTAINMENT: As a Belmont graduate, does this Nashville stop feel like a homecoming?

JOSHUA BOATMAN: I moved to Nashville full-time in 2017, and from the first day I got to town, it felt like home. The culture of this city is to welcome anyone who wants to be here and contribute positively. Every time I’ve had the chance to come back has been just as welcoming as that first day, it’s an extremely friendly city.

JHPENTERTAINMENT: Was the Oklahoma! National Tour in 2022 your last time working in Nashville before this engagement?

JOSHUA BOATMAN: I also got to play TPAC in February of 2024 with TINA: The Tina Turner Musical! It’s been a great pleasure to bring three very different shows into a theatre I know so well.

JHPENTERTAINMENT: OK, so unknowingly I’ve seen your work three times! Love that. What’s something audiences might not realize about the sound team’s role in a show like Hamilton?

JOSHUA BOATMAN: We handle a lot more than just the sound the audience hears. We’re in charge of multiple smaller sound systems, such as the speakers pointed at the stage for the actors, and the monitoring in the orchestra pit for the musicians to hear themselves. We’re also in charge of six different cameras and a bunch of video monitors, which provide video monitoring of the show for remote locations backstage. Finally, we have three different backstage communication systems, as well as a fleet of walkie-talkie style radios for folks to be able to talk to each other all around the theatre during the show. While keeping the sound of the show running out front is certainly our most important job, it can’t happen unless we also keep all of the systems behind the scenes running smooth as well.

JHPENTERTAINMENT: After hearing it nightly, is there still a moment in Hamilton makes you realize you chose the right career?

JOSHUA BOATMAN: One of my favorite aspects of doing this show eleven years after it premiered is that you have so many different kinds of people coming to the show every night. Some folks may have seen the show live many times, some may have seen it on Disney+ but have never seen it live, and some may be experiencing the show for the first time ever. This is why one of my favorite moments is “My Shot”, which is a three course meal of song early on in the show that showcases a lot of elements (lights, sound, choreography, automation) that we’re going to use throughout the remainder of the show to tell the story. It’s a “welcome back” for veteran Hamil-fans and a “get ready” for those experiencing the show for the first time. Getting to sit out front at the sound board and watch audiences experience those moments is what makes me excited to go to work.

A huge thanks to Lily Soto, Marja Harmon, Chibueze Ihuoma, and Joshua Boatman for taking part in this edition of Rapid Fire 20 Q. Whether they’re bringing Alexander Hamilton’s story to life on stage, stepping into multiple principal roles at a moment’s notice, or ensuring every lyric, cue, and musical moment reaches the audience perfectly, each member of this company plays a vital role in making the magic happen. Catch Hamilton during its Nashville engagement at TPAC with Tuesday thru Friday evening performances at 7:30, Saturday matinee at 2pm & evening at 8pm and Sunday matinee at 1pm and a final performance at 7pm. CLICK HERE for tickets. Trust us—you be glad you were in the room where it happens.

Not in Nashville? Hamilton‘s got you covered as the tour continues with upcoming engagements in Louisville, Fort Worth, San Antonio, Oklahoma City, Little Rock, Atlanta, Birmingham and more as the Angelica Tour continues across North America through summer and beyond. CLICK HERE for tickets. You can also follow Hamilton on Facebook, X, Insta, YouTube and TikTok.

As always, TPAC’s calendar of events is full, even during the summer. CAMP TPAC, their youth theatre initiative is happening now, with various programs through July 17. One Step at a Time a new musical highlighting the importance of supportive educators on their students takes to TPAC’s Polk Theatre June 30-July 1. On July 25, TPAC hosts its annual Family Day CLICK HERE for tickets. On August 29 in the Polk theatre it’s sketch comedy trio Ben Marshall, John Higgins and Martin Herlihy aka Please Don’t Destroy. Their video shorts have been must-see viewing on SNL since 2021. CLICK HERE for tickets or more info. Speaking of SNL, for cast mate Leslie Jones brings her I’m Hot Tour to TPAC‘s Polk Theatre September 12. CLICK HERE for tickets. Broadway at TPAC returns another favorite, Jersey Boys, celebrating their 20th Anniversary Tour with performances September 16-20. Then it’s the debut of TPAC’s 2026/2027 Season with its official kickoff October 13-18 as The Sound of Music returns. For a full list of shows, concerts and special events coming to Music City’s favorite theatre, you can also follow TPAC on Instagram, X, YouTube and Facebook.