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Blue Ribbons, Romance & Rodgers and Hammerstein: A Rapid Fire 20Q with the Young Stars of The Keeton’s ‘State Fair’

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Rodgers & Hammerstein’s State Fair occupies a unique place in musical theatre history. Originally created for the silver screen in 1945—the legendary duo’s only musical written directly for film—it later found new life on the stage in a successful 1996 Broadway adaptation. Now, audiences have the chance to experience this warm-hearted slice of Americana at The Keeton Dinner Theatre, where the Frake family’s annual trip to the Iowa State Fair brings romance, blue ribbons, heartbreak, and plenty of unforgettable music. Before the curtain rises, JHPENTERTAINMENT caught up with four of the production’s young leads—Andrew Hutton (Wayne Frake), Caylin Maguire Gray (Emily Arden), Laura Walker (Margy Frake), and Robert Hatter (Pat Gilbert)—for a Rapid Fire 20Q conversation about their characters, favorite musical moments, fairground fun, and what makes State Fair such a timeless Rodgers & Hammerstein classic. 

RAPID FIRE 20Q WITH THE KEETON DINNER THEATRE’s STATE FAIR YOUNG COUPLES

RAPID FIRE WITH STATE FAIR‘s PAT GILBERT, ROBERT HATTER

JHPENTERTAINMENT: Pat Gilbert has that classic smooth-talking leading man energy, but there’s also a sincerity underneath it all. What’s been the key to finding the balance between Pat’s charm and vulnerability?

ROBERT HATTER: I think the key is understanding who he is with at any given moment, especially because he isn’t sure who he can trust yet. At the beginning of the show, he used to get the big stories as a reporter. But now, he’s a little washed up, so he doesn’t know who he can trust with that information. When he’s with a group of people that he may not know very well, he tries to be more charming. But with someone he’s closer to, Margy and Charlie for example, he feels that he can open up a little more.

JHPENTERTAINMENT: Pat represents excitement, possibility, and a world outside Margy’s everyday life. What do you think ultimately makes him such an appealing character in her story?

ROBERT HATTER: Ultimately, Pat is someone who has had a taste of what it’s like to leave home and explore the world. I think that’s what Margy finds most appealing about Pat. It’s his experience and knowledge of life outside of Iowa that makes Margy very curious about his character. It seems like Margy’s life has already been laid out for her, especially when we meet Harry, who everyone else around her has paired her off with. She finally has a glimpse at something outside of her small world in Pat.

JHPENTERTAINMENT: Your scenes opposite Laura Walker’s Margy are such an important part of the show’s emotional core. What’s been your favorite moment developing that chemistry together in rehearsals?

ROBERT HATTER: Laura Walker is incredibly talented, and it’s such an honor to get to work with her in this show. She inspires me to push myself to be a better performer. To pin down one favorite moment of developing chemistry together is difficult because I think that all the time spent running scenes, as well as the time in between, has helped incredibly in developing our chemistry. If I had to pick one, I would say our very first dance rehearsal for our song, “Isn’t It Kinda Fun.” I’ve always felt like dancing is my weakest point when it comes to performing. Having her there to help me has really boosted my confidence, and pushed me to work hard. Laura has studied dance and has so much expertise in this field, and she has encouraged me so much throughout the process.

JHPENTERTAINMENT: Between Dylan Kim’s direction, Royce Phillips’ music direction, Kimberly Wolff’s choreography, and Alexandra Anglim keeping the entire production moving backstage, what has stood out to you most about this creative team’s approach to bringing State Fair to life?

ROBERT HATTER: I think what’s stood out to me the most about this creative team is the level of professionalism and care they’ve shown throughout the entire process. It’s also been their willingness to help out whenever someone has a question that’s really stuck out to me. There have been many times when I’ve needed to ask Kimberly a question about a dance move, or Royce about a certain bar of a song. They’ve always been very quick and happy to help, and I’ve really appreciated that through this process.

JHPENTERTAINMENT: Rodgers & Hammerstein’s only movie-first musical still feels timeless all these years later. Why do you think audiences continue to fall in love with State Fair and its characters generation after generation?

ROBERT HATTER: I think there are two reasons. First, the comedic elements in this show are incredible. There have been moments every night where I find myself cracking up at a line or movement somebody does. This show is just filled with great humor. Second, I think the theme of debating between settling down vs. pursuing opportunities outside of your comfort zone is prevalent throughout the show. It’s a decision that I think everyone faces at some point in their lives, and State Fair does a great job of making the audience member face these decisions and see how things play out.

RAPID FIRE WITH STATE FAIR‘s MARGY FRANKE, LAURA WALKER

JHPENTERTAINMENT: Margy Frake is, in my estimation, one of Rodgers & Hammerstein’s most relatable young heroines. The story itself is wonderfully simple and heartfelt. While many modern musicals incorporate mind-boggling stage effects and cutting-edge technology, what is it about the simplicity of State Fair that makes it so enduring?

LAURA WALKER: I think that the simplicity of State Fair is crucial to being able to tell the story well – we see the Frake family both in their natural habitat, as well as in their yearly excursion to the fair. We see a glimpse into their everyday, so similar to many of our own lives, even 80 years apart. While the tech and effects used in so many musicals are wonderful to watch, State Fair is a show that benefits from being given the space to breathe: it is all-around heartwarming, earnest and fun. With such strengths as the breathtaking score, the relatable family dynamics, and the sweetness of the character relationships, one doesn’t need a live hog onstage, or an operable tilt-a-whirl.

JHPENTERTAINMENT: “It Might As Well Be Spring” has such an incredible legacy — from the 1945 film where Jeanne Crain portrayed Margy while Louanne Hogan provided the singing voice, to Broadway favorite Andrea McArdle taking on the role in the 1996 stage revival. What does it mean to you to step into that musical lineage?

LAURA WALKER: Being able to put my own twist on such a gorgeous song has been a really wonderful treat. The melancholic hope described in this song does a beautiful job of setting the stage for the world this show is set in, and is so much fun to sing! It has become very near and dear to my heart throughout the rehearsal process, and being able to put my own spin on it is an opportunity I’m very grateful to have!

JHPENTERTAINMENT: Margy dreams about a bigger world beyond the farm and the familiar rhythms of everyday life. What parts of that longing and restlessness do you personally connect with?

LAURA WALKER: All of it! Growing up in a smaller community, I always felt tired of doing the same routines day after day. One thing I appreciate about Margy, though, is that while sheknows she wants to experience more, she still appreciates the life she has grown up in. I feel the same way in this regard- thankful for what I’ve been given already, while still being ready to leap into new and exciting adventures when they come along.

JHPENTERTAINMENT: Margy has two very different suitors in the story — Robert Hatter as Pat and Connor Olen as Harry. What has it been like building those relationships and romantic dynamics with both actors?

LAURA WALKER: The first step that I always find helps in building any sort of onstage relationship is by simply making a new friend. Luckily, both Robert and Connor are easy people to be friends with! Connor is a hoot to be around, and his joy is infectious both on and offstage. Robert has also been both a great friend and onstage partner. Both of us have been passionate about putting forward the best performance we can, while still infusing the joy and fun from our friendship into our characters’ relationship.

JHPENTERTAINMENT: Since State Fair was originally created as a film before becoming a stage musical decades later, do you feel there’s a cinematic quality to the storytelling or score that makes this show unique among Rodgers & Hammerstein classics?

LAURA WALKER: I’ve always loved Rodgers & Hammerstein musicals because of their knack for beautiful storytelling, and State Fair isn’t any different in this regard. I would say the biggest difference between the original film and other musicals of theirs is that State Fair was originally written to be shown to everyday Americans across the country, rather than being written mainly for Broadway audiences. I think this gives State Fair an even stronger connection to the world that it finds itself set in. The same mothers who were entering mincemeat competitions and fathers who were raising prize-winning hogs were the intended audience for the film, requiring precision in telling both the story of the Frake family, as well as the stories of families across the country that had been through a particularly rough few years, and were trying to get back to “normal” everyday life. 

RAPID FIRE WITH STATE FAIR‘s WAYNE FRAKE, ANDREW HUTTON JHPENTERTAINMENT: Rodgers & Hammerstein’s State Fair has such a warm, nostalgic charm to it. What first drew you to Wayne Frake as a character, and where do you personally connect with him the most?

ANDREW HUTTON: Wayne is a strong-headed and focused young man. He has his own goals set in mind, but plans change so quickly around him. I love how he is easily taken in by the magic of the Fair & by Emily. I think I connect with this. Since I graduated college, I found out real quick that the plans you make will quickly be derailed. And I learned soon after that that it’s probably for the better.

JHPENTERTAINMENT: Wayne spends much of the story balancing family expectations, romance, and figuring out who he really wants to be. What’s been the most interesting part of unpacking his emotional journey?

ANDREW HUTTON: Wayne is an interesting case, emotionally. Early 20s, ready for love, yet doesn’t prioritize his family as he should. It’s very interesting to see where he lacks maturity, then springs into a passionate and honest man.

JHPENTERTAINMENT: You already alluded to Wayne’s fascination with Emily, who he meets at the fair. To that end, Wayne finds himself caught between two very different romantic dynamics in the show. What has it been like sharing the stage with your two leading ladies, Caylin Maguire Gray as Emily and Julia Mowry as Eleanor?

ANDREW HUTTON: Both Caylin and Julia are so talented and professional. I’ve had the honor to work with Julia Mowry while we both attended Trevecca Nazarene University in several productions – my personal favorite, Little Women (Julia as Jo March, myself as Laurie). But this is the first time I’ve gotten to work with Caylin. She’s been a wonderful scene partner and such fun to play off of. In our various scenes together, I love that she challenges me to react based on her honest delivery. It’s something every actor wants in a partner.

JHPENTERTAINMENT: Since the whole show revolves around fair competitions and blue ribbons, if Andrew Hutton entered the State Fair himself, what hidden talent would most likely earn you the Blue Ribbon?

ANDREW HUTTON: Oh boy! This one is tough. If I had a Blue Ribbon for a hidden talent, I’d say it was for Musical Composition. I sometimes play around with writing music for orchestras or small ensembles. Nothing published or performed, but still a fun hobby.

JHPENTERTAINMENT: Is there a specific moment, lyric, or musical sequence in the show where you feel Wayne’s heart the clearest — the point where you really feel connected to him as a character?

ANDREW HUTTON: I LOVE a short little scene between Wayne and his sister Margy. Both of them, separately, waiting to meet up with their significant other. They bump into each other and have a silly sibling side-eye moment. But right before Wayne leaves, he asks her if he needs to wait with her – as a brother, I really connect with the desire to see the wellbeing of a sister–love you, Abby.

RAPID FIRE WITH STATE FAIR‘s EMILY ARDEN, CAYLIN MAGUIRE GRAY

JHPENTERTAINMENT: Emily Arden brings so much sparkle and energy to the midway scenes. What’s been your favorite part of discovering her personality throughout rehearsals?

CAYLIN MAGUIRE GRAY: Emily is such a dynamic character. It has been fun finding how she contrasts with the farm folk of the fair as she has her eyes set on stardom. This role has brought a lot of confidence out of me as I have explored her confidence in herself. I have also loved exploring the depths and inner conflict that she feels throughout her scenes with Wayne as she gives herself over to the fleeting romance.

JHPENTERTAINMENT: Since your parents, Donna Driver and Kevin Driver are playing Margy’s parents in the show, was there ever any thought about auditioning for Margy yourself, or did that feel just a little too close to home?  

CAYLIN MAGUIRE GRAY: I auditioned for the show with an open mind for roles! I put myself out there for both Margy and Emily and am thrilled with the way the casting went. Laura is beautiful as Margy and I have had so much fun as Emily. We have also joked that Wayne’s character must have “mommy issues” because I look so much like his “mom.”

JHPENTERTAINMENT: Emily has a confidence and charm that immediately catches Wayne’s attention. What qualities do you admire most about her?

CAYLIN MAGUIRE GRAY: I admire her confidence to chase her dreams no matter what. She prioritizes her goals of stardom over romance and staying put. I personally prioritize family in my own life, but I have loved exploring a character so driven. In terms of her romance with Wayne, she also exudes confidence and control over what she wants and how to get it, but she also lets herself fall into some vulnerability with him.

JHPENTERTAINMENT: Emily feels a little more polished and worldly compared to the rural wholesomeness of the Frake family. How much have the costumes, the sets and overall look of the show helped you step into that mindset and define who Emily is?

CAYLIN MAGUIRE GRAY: The contrast between her and the Frake family has been a fun dynamic to explore. Emily’s costumes are elevated and glitzy, juxtaposed with the simple outfits of the fair crowd. She sticks out like a sore thumb, in a good way, and that is why Wayne and others become so enamored with her. This has really added to the confidence I was talking about: she draws attention in every space she walks into.

JHPENTERTAINMENT: Even though the story takes place in another era, what part of Emily or her relationships do you think modern audiences will still instantly recognize or relate to today? AND What do you hope audiences take with them long after the last tent is down at Keeton’s State Fair?

CAYLIN MAGUIRE GRAY: Emily is a motivated, driven character who is hesitant to let herself succumb to a romance because of her past and aspirations. She slowly allows herself to fall into the vulnerability of love with Wayne despite her better judgment. I think people can relate to the feeling of a fleeting weekend of passion with a stranger before going back to real life. I hope audiences take with them the feeling of endless possibilities that can come from a weekend at a state fair. It is a fun and exciting show that I hope has the audience smiling ear to ear. I hope it provides the audience with a good memory of a fun night at the theatre.

From Ferris wheel romances and blue-ribbon dreams to one of the most beloved scores Rodgers & Hammerstein ever penned, State Fair continues to remind audiences that sometimes life’s biggest adventures happen when we step away from the familiar. Be sure to catch State Fair on stage at The Keeton Dinner Theatre (108 Donelson Pike) Friday, June 12 thru Sunday, June 28 and discover why this charming musical has been winning hearts for generations. CLICK HERE for tickets.

State Fair marks the final show of The Keeton‘s current season, but their 2026/2027 season is right around the corner kicking off with Come From Away on stage August 14-30. CLICK HERE to take advantage of their upcoming season subscription. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21

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When Ain’t Misbehavin’ opened on Broadway in 1978, it introduced audiences to a joyous celebration of the music, humor, and spirit of jazz legend Thomas Wright “Fats” Waller. Now, Playhouse 615 brings the Tony-winning musical revue to Middle Tennessee audiences June 5-21 with a talented cast, live onstage musicians, and plenty of swing.

Before the curtain rises, JHPENTERTAINMENT caught up with director Mitchell Vantrease and cast members Elliott Robinson, Lisa Graham, Isiah Rankin, Raven Buntyn, and Yolanda Treece for another installment of our Rapid Fire 20Q feature. 

RAPID FIRE 20Q WITH THE CAST AND DIRECTOR OF PLAYHOUSE 615’s AIN’T MISBEHAVIN’

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ISIAH RANKIN

JHPENTERTAINMENT: Ain’t Misbehavin’ celebrates the music and spirit of Fats Waller without being a traditional biography. What do you think makes that approach so timeless?

ISIAH RANKIN: Traditionally, I’ve seen that these stories focus around the person’s upbringing and what drew them to do what they did. This show, on the other hand, takes a different approach in telling various stories of each character through the music while also incorporating some important information about the musical style itself, such as the introduction to “Your Feet’s Too Big”. As many say, music is a universal language that will continue to defy the confines of time and trends. I think these stories and the music will continue to connect to individuals in the years to come. 

JHPENTERTAINMENT: You’re pulling double duty as both performer and music director. I understand for this production, Playhouse 615 has opted to have three musicians on stage with the cast instead of the usual spot behind the audience. As music director and performer, how does that enhance your energy and performance?

ISIAH RANKIN: Funny enough, this is my first community theater opportunity to music direct a show on my own which has been a great honor and privilege. I previously music directed a high school show that ran on tracks, which was a unique experience. Having a live band for this experience, from both sides (MD & performer), creates an immersive experience that really creates new moments each performance. Though the music is there and learned, as you continue to connect with one another along with each audience, you begin to create new moments in each show. So, I believe it creates this organic experience that tracks and some other shows with live musicians don’t always allow. 

JHPENTERTAINMENT: What’s been the biggest challenge musically in bringing these iconic songs to life?

ISIAH RANKIN: The biggest challenge in this process has been staying true to the style and character of the music. Not being as familiar with this style of music, I was very intentional about listening to the various aspects of different versions of the show and songs to ensure I maintained the integrity (to the best of mine and each singer’s abilities) of each song and story. I believe that each rehearsal has brought more and more connection to the messages weaved throughout this show and will cause the show to continue to evolve in each performance. 

JHPENTERTAINMENT: If Fats Waller himself were seated in the audience, at which aspect of this show do you think he’d flash his notoriously joyful smile?

ISIAH RANKIN: I think he would be very proud of our presentation of “Black and Blue” because of all of the recent events over the last few years. I think that it is a timely song and our connection to the material feels highly authentic because of our understanding and close proximity to a lot of the concepts in the song, so I think he would be very pleased with our performance and presentation of this song.

RAPID FIRE WITH AIN’T MISBEHAVIN’’s YOLANDA TREECE.

JHPENTERTAINMENT: The original 1978 Broadway production won a Tony Award for Best Featured Actress for Nell Carter. Years later, I was fortunate enough to see the mid-90s revival starring R&B and Pop legends The Pointer Sisters, in which Anita Pointer took on the role Carter had originated. In Playhouse 615’s production, that honor falls to you. Does knowing the legacy attached influence you in any way as you step into this world?

YOLANDA TREECE: Nell Carter? Yes! I have definitely been influenced. With her larger -than-life persona and this role, I have  big shoes to fill! Paying homage to her in this iconic role while trying to bring my own flavor to this role has challenged me beyond measure. But I hope I’ve made her proud and I do her justice!

JHPENTERTAINMENT:  With just over two dozen songs featured in Ain’t Misbehavin’, do you have favorites, or does that vary each time you and your cast mates perform them?

YOLANDA TREECE: Yes. Two of my favorites are “Black and Blue” and “Mean to Me”. “Black and Blue” is the soul stirring cry of truth to explain how it was, how it has been and how  it will continue to be Black in this world while dealing with the inner struggle and repercussions of being Black. This song speaks volumes and ehen we as a people can’t say a word. This song is so relevant in today’s divided, messed up world and I am so thankful that Fats Waller gave this sing life. I am honored.

My other favorite song from the show is “Mean to Me”. Everyone at some point in life has or will experience heartbreak. It is especially difficult if it’s someone we shouldn’t have been attached to to begin with. Just because the heart wants what the heart wants doesn’t mean that person is meant for us. That is a difficult lesson to learn and heal from. But you can heal.

JHPENTERTAINMENT: On your off-time, what song on your personal music playlist gets your ‘joint jumpin’?

YOLANDA TREECE: I have an eclectic mix of music and it just depends on what I’m feeling or what is stuck in my head. My list includes contemporary gospel like Tye Tribbett, Kirk Franklin, Pastor Mike to Stevie Wonder, Earth, Wind and Fire, Queen, Prince, Ms. Aretha Franklin, Patti LaBelle, to name a few…I am all over the place. I love music!

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ELLIOTT ROBINSON

JHPENTERTAINMENT: Ain’t Misbehavin’ serves as a reunion of sorts for you and director Mitchell Vantrease, having appeared in his 2025 production of Ragtime at The Keeton. So a two-part question for you…What do you most enjoy about Vantrease’s directing style? AND…Did his involvement in the show sway your interest in auditioning?

ELLIOTT ROBINSON: Like most great directors, I love the way Mitchell trusts his actors to make choices. No actor wants to be instructed how to do every little thing about their character, because we want to bring in our own interpretation of who that character is, to integrate whatever research and work we’ve done in developing and eventually embodying it. If I were to get too far afield from where he wanted his vision of the show to land, I’m sure he would let me know (LOL)! I’m a big fan of the selections he chooses to direct, too; stories with great cultural and/or historical significance, or featuring depictions of societal issues that still linger with us from days gone by. Ragtime, Memphis, Guess Who’s Coming to Dinner?, The Piano Lesson, and Master Harold and the Boys all fit that template. I surely would have auditioned for this great piece no matter who was directing it, because stuff like this doesn’t come around a lot. I’ll admit I was super happy to see that it was my baby brother at the helm!

JHPENTERTAINMENT: By day you work in Nashville Library’s Civil Rights Room sharing important history with visitors. Considering your day job, does performing a show rooted in such iconic Black artistry carry extra meaning for you?

ELLIOTT ROBINSON: Yes, at work I get to share our great local Civil Rights history with people from all over this planet; you need to come down for a tour! Fats Waller represents the history of the Harlem Renaissance, and we know how influential that era was in the growth and development of Black artistic expression in America, in music, as well as in literature, dance and visual art. Between that and the very true phrase, “they just don’t write songs like they used to,” I am very excited to bring these songs to life! Extra significance is layered on by this being Black Music Month, a time dedicated to the celebration and remembrance of the greatness and influence of artists from back in the day. Then, to stack more historical significance on top of all that, we even get to do a show on the night of Juneteenth!

 JHPENTERTAINMENT: In your show bio, you promise audiences a “rip-roaring, jumpin-jammin-jivin good time.” Is there a particular section of the score that you feel embodies that sentiment or is it simply a culmination of the entire vibe of the piece?

ELLIOTT ROBINSON: “It’s gonna be a whole vibe, man!” I can’t wait to see how it feels in there with a sold-out house! The good time comes first from the audience enjoying the songs, whether they be comical, romantic, or social commentary. We are accompanied by a great live trio, which is special, too. More than anything, though, folks will also get to be more than spectators. I had not initially imagined how much of an interactive experience it would be! We just might break the fourth wall sometime, and we might need you to help us, in a kind of call-and-response way. It’s not gonna be your quiet, reserved night at the theatre, I tell you that! Get ready for some hand clappin’ & toe tappin’! I envision it as a kind of a speakeasy feel: small, intimate setting, maybe a few beverages flowing. Maybe we should have a code word for the door! LOL! 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s RAVEN BUNTYN

JHPENTERTAINMENT: Your journey from a career in STEM recently took what could be considered a full 180 when you decided to pursue a full-time career in the arts. As one of Ain’t Misbehavin’’s songs suggests, it ‘Tain’t Nobody’s Biz-ness’, but I gotta ask, When was your “Yep…this is exactly where I’m supposed to be” moment?

RAVEN BUNTYN: I wouldn’t say there was a singular moment. It was a culmination of multiple moments that, over time, added up to me knowing this was for me. No matter what I did, I couldn’t stay away from the stage. But when I started acting classes last November, it cemented in me that being on stage was my calling. No matter how anxious I became or how many limiting beliefs I had to battle, it didn’t matter because I was allowing myself to be vulnerable in a way that I’d always craved before. Being secure enough within myself to open myself up to an audience and allow them to hopefully feel what I feel, is an honor I’m grateful to live. 

JHPENTERTAINMENT: I’ve heard that the staging for this show is a little different for most shows at Playhouse 615, in that there’s a few cocktail tables in the front row of the audience area, giving this production more of a club feel. As a performer, what challenges/advantages does this setup present?

RAVEN BUNTYN: Being able to interact with the audience for a show is always somewhat a blessing and a curse depending on how you look at it. Sometimes, depending on the material, it’s easier to perform in front of an audience because you’re essentially pretending they aren’t there. But with this show, the audience is a part of the club and the show itself, which can be intimidating, but also very freeing. There’s no 4th wall, so we’re all in this universe together and that makes it fun and exciting. 

JHPENTERTAINMENT: What advice would you give someone sitting in the audience who has a creative dream they’ve been too nervous to chase?

RAVEN BUNTYN: The advice I would give is to trust. When you take a leap of faith, the thing that gets you through moments of doubt is trusting— trusting yourself, trusting your own timing, trusting your gut, and trusting that what you feel drawn to is right and true. Learn to trust your inner voice above anyone else’s. After all, it’s your life, and you deserve to live it exactly as you see it. 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s LISA GRAHAM

JHPENTERTAINMENT: What excites you most about stepping into this jazz-infused world?

LISA GRAHAM: What excites me the most is the music itself! It is challenging, funny, haunting, gorgeous- all the things. I love singing harmonies, so it was thrilling to work on the jazzy four and five part harmony and bring it all together. The lyrics, too, are so much fun.

JHPENTERTAINMENT: When not performing, in your day-to-day life, you work as a school librarian where you’re surrounded by stories every day. As the son of a retired high school librarian, and a former longtime bookstore employee myself, I love knowing this about you. What story does this production tell audiences beyond the music itself?

LISA GRAHAM: Yes! That’s so cool Jonathan- I love meeting other bibliophiles. Well, it’s definitely telling stories of Black culture- ways that we celebrate ourselves, express ourselves, and process the discrimination we experience. When you hear the song “Black and Blue” late in Act Two, it really frames the entire show. But for me, this production more than anything else tells the story of love, from first meetings, to falling in love, to dealing with issues in relationships. That’s what makes it so universal.

JHPENTERTAINMENT: This cast is stacked. What’s your favorite part of performing with this talented group of people?

LISA GRAHAM: This cast is very kind and very supportive. Everyone works so hard- we are all invested in this show and want it to be great. It really is a joy to go rehearse with these folks! 

RAPID FIRE WITH AIN’T MISBEHAVIN’ DIRECTOR MITCHELL VANTREASE

JHP ENTERTAINMENT: After the success of directing The Keeton’s Ragtime last year, what attracted you to taking on helming Ain’t Misbehavin’ at Playhouse 615?

MITCHELL VANTREASE: Ain’t Misbehavin’ has always been on my bucket list, whether as a performer or a director. So when the opportunity came up to take the helm of this production, there was no doubt in my mind that I was saying yes. I’ve always known the show as the production that really put Nell Carter on the map. There would be no Gimme a Break! without this show and her Tony Award-winning performance.

I also love jazz, and it doesn’t get much better than Fats Waller. He created and performed some of the greatest standards of all time, and this show puts that music fully on display.

JHP ENTERTAINMENT: This show is more revue than traditional book musical. How does that shift your approach as a director?

MITCHELL VANTREASE: It definitely shifts my approach a little, but I’m no stranger to musical revues. I actually crafted and co-created a revue in Arizona called The Soul of Broadway, which celebrated the music of African American musicals and characters. That production won an AriZoni Award, which is basically the state’s version of the Tony Awards, for Best Musical.

One of the biggest differences with this production is that I not only directed it, but I also choreographed most of the revue myself. Usually, I direct and have a choreographer working alongside me the entire time, but with this show I wanted to challenge myself and level up as an artist. Growth is important, and I wanted to push myself creatively.

I was definitely nervous at first, but I studied dances from that era and found a lot of inspiration there. I ended up creating choreography that feels clean, simple, and authentic while complementing both the actors and their incredible voices.

For me, the key to directing a musical revue is making sure every song tells a story. These numbers aren’t just performances — they’re mini stories. The cast isn’t only singing; they’re acting through every lyric and every moment. But make no mistake, it’s all about the music. 

JHP ENTERTAINMENT: Having the musicians on stage changes the entire visual energy of the production. What excites you most about that choice?

MITCHELL VANTREASE: There’s nothing like having live music onstage. Since the show is set in a club, I wanted the audience to truly feel that atmosphere the second they walk in. Putting the band onstage immediately elevates the energy and creates a more authentic nightclub experience. It brings the production to life in a completely different way.

JHP ENTERTAINMENT: What do you hope Nashville audiences feel walking out of the theater after this production?

MITCHELL VANTREASE: I hope audiences walk away with a deeper appreciation for Fats Waller, his music, and the legacy he left on the music industry. It’s especially meaningful that we’re presenting this show in June during National Black Music Month and around Juneteenth celebrations. There really couldn’t be a more perfect time to celebrate this history, this music, and such a phenomenal artist.

Whether you’re already a fan of Fats Waller’s music or discovering these timeless songs for the first time, Ain’t Misbehavin’ audiences at Playhouse 615 can expect an evening filled with laughter, incredible vocals, unforgettable musicianship, and the infectious energy that has made this show a favorite for nearly five decades. , settle in, and get ready for a jumpin’, jammin’, swingin’ celebration of one of Broadway’s most beloved musical revues.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HEREto grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

Shadows and Storytelling: Rapid Fire Q&A With Sarah Fornace & Julia Miller; Manual Cinema’s The 4th Witch at Oz Arts June 4-6

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Manual Cinema’s The 4th Witch at Oz Arts June 4-6

For more than 15 years, Manual Cinema has been redefining the boundaries of live performance, blending shadow puppetry, filmmaking, music, animation, and theatrical storytelling into an experience unlike anything else on stage. The Emmy Award-winning collective’s latest production, The 4th Witch, offers a bold new perspective on Shakespeare‘s Macbeth, transforming one of literature’s most enduring tales into an imaginative coming-of-age story filled with the company’s signature artistry and innovation.

Ahead of Manual Cinema’s June 4-6 engagement at OZ Arts Nashville, JHPENTERTAINMENT caught up with Julia Miller and Sarah Fornace, two of the collective’s five Co-Artistic Directors, to discuss the origins of the company, the challenges of touring such a technically ambitious production, the collaborative process behind their work, and what’s next for one of the most inventive theatrical collectives working today.

RAPID FIRE Q&A WITH MANUAL CINEMA’s JULIA MILLER AND SARAH FORNACE

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: Manual Cinema’s audiences range from young children and families to theater lovers, film buffs, and aspiring artists. What do you think allows the work to connect with such a wide variety of people?

JULIA MILLER: I think puppetry as a medium can be profoundly impactful. There is something about bringing the inanimate to life that feels like magic. Something special happens through the work of the puppeteer and the audience, these objects are imbued with so much life and emotion, you feel it in a different way than watching a human perform. I think the handmade quality is also meaningful. Seeing the hands (sometimes literally) of the makers feels special in a time where so much of what we consume is digitally rendered. There is something about the humanness of the objects and the performance that seems to affect people.

JHPENTERTAINMENT: You’ve worn many hats within Manual Cinema as a director, puppeteer, puppet designer, and performer. Which part of the creative process feels most rewarding to you?

JULIA MILLER: My background/training is in performances, so I love being in rehearsal and performing in the shows. Working with so many amazing performers to create what eventually becomes a very intricate, tightly coordinated dance, is a special experience. I love developing new types of cinematic puppetry shots and techniques, but I also love designing puppets, directing, and devising stories with the other Co-Artistic Directors. I have so many interests I feel lucky to work in an environment that incorporates so many of them.

JHPENTERTAINMENT: Before co-founding Manual Cinema, you trained in devised theater, clown, and mask work in a variety of settings, including Italy. How do those disciplines continue to influence your storytelling today?

JULIA MILLER: The physical theatre training I did in mask, clown, and commedia dell’arte is all about specificity of action and gesture, how fast or slow you do something can tell the audience something different. So much of puppetry is that. Both share the same foundational principles, breath, focus, and weight. When I started working in puppetry I just began translating that work through an object instead of my body. I’ve always loved to work collaboratively, devising work in an ensemble is challenging in that there is a lot of give and take and negotiation between different ideas, but work made by many hands has so much more depth and personality to me. You can feel the many brains that worked together to make it, and I’ve always been drawn to that.

JHPENTERTAINMENT: Audiences see the finished production, but what would surprise them most about the amount of preparation and coordination required behind the scenes?

JULIA MILLER: Something unique to Manual Cinema performances is that you get to see the ensemble create all of the images of the movie in real time, on stage, below the projection screen. It takes a lot of work to coordinate all of that specific blocking, to make the transitions seamless and to the music, everything in sync. The puppeteers don’t get a break once the show starts. They play multiple characters, manipulate puppets, act as editors and lighting designers, track so many small props and costume changes, all tightly choreographed between five puppeteers. It’s like learning a dance by heart or memorizing a piece of music, you want to get to the point where you don’t have to think about what is next, your body just knows, and that takes repetition and doing the show over and over again. But when it’s there it really is like NASCAR, everyone moving in a tight little dance around each other, each move you make direct, efficient, and in relationship to someone else. It is amazing when it all comes together.

JHPENTERTAINMENT: Every Manual Cinema performance contains live, in-the-moment elements. Even with the film and projection components, is every performance of The 4th Witch a little different from the one before it?

JULIA MILLER: Absolutely. The container of the show is fixed in that we are all executing a series of repeatable actions. The choreography is set and does not change, even the timing is set exactly to sound design and music so there is no room for improvisation. That being said, it’s live theatre, props get left on the wrong side of the stage, puppets go missing, someone forgets a piece of blocking, but we just have to keep moving. There isn’t time to stop or feel bad because then you’ll be late for your next thing. The audience never notices, but the puppeteers always feel it, you just have to let go and move on. It’s a hard lesson I’m still learning. The audiences also really impact the performance. Sometimes we have a very rowdy house that isn’t afraid to laugh or audibly react. Those are always energizing because we get more feedback from the audience and play off of each other. Other times we get very focused but quiet houses and that changes the dynamic as well. Each audience is unique and reacts differently so that keeps us on our toes and changes the mood slightly night to night.

RAPID FIRE WITH MANUAL CINEMA CO ARTISTIC DIRECTOR JULIA MILLER

JHPENTERTAINMENT: For readers who may be discovering Manual Cinema for the first time, how do you describe what the company does in one or two sentences?

SARAH FORNACE: Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company. We combine handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen that feel human, handmade, and urgent. We try to combine the sweeping storytelling of cinema with the deep human connection of live theatre.

JHPENTERTAINMENT: Manual Cinema was founded in 2010 by you, Julia Miller, Drew Dir, Ben Kauffman, and Kyle Vegter. Looking back 15-plus years later, did you have any idea the collective would grow into what it is today?

SARAH FORNACE: No! We started working together to create a short piece called “The Ballad of Lula del Ray.” We performed it in DIY spaces and small festivals in Chicago. People started to ask us what we would make next, and we came up with ideas for more shows. We had no idea that we would tour the world (every continent except Antartica) and still be working together 15 years later!

JHPENTERTAINMENT: One of the things that makes Manual Cinema unique is its deeply collaborative nature. What does the creative process look like when five co-artistic directors are helping shape a project?

SARAH FORNACE: It depends on the project! Some start with a story idea, some start with literary or biographical material that we are adapting, and some start with music! Some parts of the shows start with storyboards or animatics, and some are music-first. Generally, we will have at least one artistic director in the puppetry ensemble who helps shape the choreography and the story from the inside of the show. And usually we will have a director or an outside eye who is shaping it from the outside.

JHPENTERTAINMENT: You’ve worked with the same founding team since 2010. What’s the secret to maintaining a creative partnership for that long?

SARAH FORNACE: Good question! Fifteen years in, I think that we are still figuring out how to make work that is artistically exciting to us and financially lucrative enough to keep our doors open! The industry is always shifting, and I think that all the Manual Cinema artistic directors are incredibly smart and uniquely talented at telling stories that address the highs and lows of what it means to be human and how we try (and sometimes fail) to connect with each other. There is no one else I would rather tell stories and make work with!

JHPENTERTAINMENT: Outside of Manual Cinema, you’ve worked in theater, choreography, filmmaking, and even video game storytelling. How do those experiences influence the work you bring back to the company?

SARAH FORNACE: The great thing about being a deviser/director or a performer with Manual Cinema is that you get to do a bit of everything and bring all of your skills, interests, and problem-solving abilities to the project! As a performer in The 4th Witch, I get to not only act in silhouette and puppeteer but also control the shots and pacing of the show in the same way that a film editor and director of photography would in an actual film. I also get to work in super close collaboration with four of the most incredible puppeteers working today. They bring insights and skills from their various other backgrounds in filmmaking, animation, ballet, musical theatre, and clown. It feels like being in a Nascar pit crew of storytelling!

JHPENTERTAINMENT: The 4th Witch turns Shakespeare’s Macbeth on its head. Where did the initial spark for this reimagining come from?

SARAH FORNACE: We knew that we wanted to take a sideways approach akin to Tom Stoppard’s Rosencrantz and Guildenstern are Dead. Adapting the show in this day and age, we were struck by how the play is suffused with an undercurrent of war. We thought that we would follow a young character whose village is destroyed in the first battle in the play. In Shakespeare’s text, we only hear about Macbeth’s conquest, but we wanted to show the human cost. It is also a coming of age story and a story about how we are all caught up in cycles of violence and capitalism even when we try to escape them. Ultimately, it is about how we can take all of the parts of ourselves and our past, the good and the bad, and move forward and create good in the world.

JHPENTERTAINMENT: Touring a production that combines film, live animation, puppetry, music, and performance seems like a massive logistical undertaking. What’s the biggest challenge in taking The 4th Witch from city to city?

SARAH FORNACE: We travel with a team of ten: 8 performers and 2 backstage positions (a sound engineer and a stage manager/technical director). Everyone in the cast is very good at their jobs. We not only perform and execute the show, but we also set it up in collaboration with the venue technicians and staff! There are so many moving parts in the show: hundreds of puppets, 4 old school overhead projectors, over a dozen sound looping pedals, several musical instruments both acoustic and electric, a camera, an array of video monitors…. All of that gets set up and calibrated to each venue before we welcome in the audience!

JHPENTERTAINMENT: Manual Cinema earned an Emmy Award in 2017 for The Forger. How did receiving that recognition impact the company and its future ambitions?

SARAH FORNACE: It was an honor to be on that project and tell the story of someone who helped so many hundreds of people (many children) escape Nazi France with the incredible journalists and filmmakers at the NYTimes (shout out to Samantha Stark and Alexandra Garcia) . I think that the success of that project opened the door to more documentary work. The shadow animation and rich sound/music scoring we do is actually a great fit for bringing historical material to life onscreen.

JHPENTERTAINMENT: Looking ahead, what’s next for you personally and what’s next for Manual Cinema as The 4th Witch continues its tour?

SARAH FORNACE: We are working on a new show inspired by A.I. and the way that we interact with technology in our daily lives. I am calling it a humanist show, and the tagline is “save your mind, save the world!”

Manual Cinema‘s work exists at the intersection of innovation and imagination, where centuries-old storytelling techniques meet cutting-edge theatrical craftsmanship. As The 4th Witch continues its journey across the country, audiences have an opportunity to witness firsthand why the company’s distinctive blend of puppetry, cinema, music, and live performance has captivated theatergoers around the world. For Nashville audiences, OZ Arts provides the perfect setting to experience a production that challenges expectations while reminding us of the enduring power of storytelling.

The 4th Witch takes to the stage at OZ Arts Nashville (6172 Cockrill Bend Circle) from Thursday, June 4 thru Saturday, June 6 with performances each night at 8pm and a Saturday matinee at 2pm. The venue opens an hour before each performance and offers a bar menu featuring a variety of alcoholic and nonalcoholic beverages for purchase. Youth and Artists/Creative tickets are $25, General Admission tickets are $35 and Generous tickets are $45. CLICK HERE to purchase tickets. As an extra bit of fun, following the June 5 performance, Oz Arts will host a post-show Friday Night Talkback featuring Sarah Fornace and Julia Miller moderated by Nashville Shakespeare Festival‘s Artistic Director Jason Spelbring. (this event is free to Friday night’s audience).

This three-day, four performance presentation of Manual Cinema’s The 4th Witch marks the close of Oz Arts‘  current season, so be sure and CLICK HERE to stay in the know as Oz Arts reveals their coming 2026/2027 Season soon. To keep up with all things Oz Arts, follow them on Facebook, YouTube and Insta.

For more about Manual Cinema, and their current multi-city tour schedule, CLICK HERE or follow them on Facebook, Insta, Vimeo and Bandcamp.

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 with Cast and Director of ‘Merrily We Roll Along’; Sondheim musical opening at Hendersonvillle Performing Arts Company May 28

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Hendersonville Performing Arts Company is getting ready to bring audiences along for a journey backward through friendship, ambition, heartbreak, and the price of success as they present Merrily We Roll Along May 28-June 14. Featuring a score by the legendary Stephen Sondheim and a story told in reverse chronological order, the musical has become one of theater’s most emotionally resonant explorations of friendship and the choices that shape our lives.

Just days before HPAC’s May 28 opening, we caught up with director Jacob Waid along with stars Gray Miller, McKenzie Bryan, and Elijah Wallace to talk Sondheim, old friends, artistic ambition, iconic songs, and what audiences can expect from this deeply human production for the latest installment of our recurring interview feature, Rapid Fire 20Q.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF HPAC’s MERRILY WE ROLL ALONG

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s FRANKLIN SHEPHARD, GRAY MILLER

JHPENTERTAINMENT: What initially drew you to Franklin Shephard and Merrily We Roll Along?

GRAY MILLER: I was initially introduced to this show by a friend of mine from back home and I was addicted from the jump (thanks Jon)! We even got to see the final performance of the Tony winning production together in 2024 in what was an incredibly special moment for us old friends from Virginia. What drew me to Frank are the struggles he faces trying to maintain the balance between relationships, success, and choices he makes along the way which all hit very personal notes for me and I believe make him incredibly compelling as a flawed protagonist.

JHPENTERTAINMENT: Franklin is charismatic, ambitious, complicated, and at times frustrating. What’s been the trickiest part of finding your way into him emotionally?

GRAY MILLER: For me the trickiest part of this process has been finding Frank’s compromising coldness towards the people who truly care about him as it is such a departure from how I operate in my relationships. Those moments where he shirks his obligations or promises to his loved ones always frustrates me and sometimes I just want to pull him out of the script and shake him.

JHPENTERTAINMENT: One of the joys of community theater is the close-knit atmosphere. What do you enjoy most about performing with smaller theater companies like Hendersonville Performing Arts Company?

GRAY MILLER: It’s right there in the name: community. There is a special energy that runs through these theaters that is nearly impossible to replicate because it takes a community to put the show together. While it ultimately is the director’s executed vision, there is a level of collaboration between actors, crew, and production team that is unmatched. When it is all assembled, the finished product is a shining example of teamwork and true care from all involved. 

JHPENTERTAINMENT: “Old Friends” has become one of the defining musical moments of Merrily We Roll Along. What’s it been like performing that number and exploring the history and emotional weight behind those friendships?

GRAY MILLER: The majority of my closest, best friends in all the world are those that I grew up with back in Virginia. Some even go all the way back to the cradle days. Outside of family, these are the relationships that mean the most as they form the structure of who I am as a person. To me, performing “Old Friends” is the truest expression of those relationships that I hold so dear to my heart and that through joys, fights, distance or time, my friends and I are still (and will forever be) “damn few”.

JHPENTERTAINMENT: Looking back at younger versions of ourselves is a major theme of this musical. If present-day Gray could give his younger self one piece of advice, what would it be?

GRAY MILLER: Don’t let opportunities go by without at least taking a swing. Even if you don’t think you’ll come out on top, it’s better to go for it and miss out than to never trust yourself with the possibility of being great. 

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s CHARLEY KRINGAS, ELIJAH WALLACE

JHPENTERTAINMENT: Charley Kringas is fiercely loyal, deeply passionate, and often the emotional truth-teller of the story. What’s been your favorite part of stepping into his shoes?

ELIJAH WALLACE: Charley has been very interesting to characterize for me especially with how passionate he is. He wants to make the art that matters to him and Frank and he is hesitant to compromise his morals to do so. I really feel like his keen eye for knowing where his artistic boundary is resonates with me a great deal. He loves creating, and he wants to do it under his terms with Frank. I respect and admire that tenacity in his core being.

JHPENTERTAINMENT: Jacob Waid is directing this production. What’s his rehearsal room been like, and what kind of director is he for actors to collaborate with?

ELIJAH WALLACE: From before I even had the part he had expectations set to a high bar, and that continued in the room with each new challenge. He is very kind and open minded with any choice you might want to try, and yet he has a clear vision that he shared with us as the show took on more shape. I felt supported to try things, but also confident that if something we tried needed to be adjusted that it would be seen and shifted. He likes to paint a picture with his shows and I love that!

JHPENTERTAINMENT: “Franklin Shepard, Inc.” is one of the most intense and exhilarating numbers in the show. How demanding has that sequence been vocally and emotionally?

ELIJAH WALLACE: Oh my gosh it has been incredibly challenging from the first rehearsal we had. I approached it with an open mind knowing that trying it while just singing as opposed to on its feet would be a dynamic difference. The first time I did it it was pretty rough as expected, but I have found as I keep at it I find a new thing that gets better each time. That being said, it is tough to start the show on and I have really had to pace myself to make sure I don’t overextend. I hope it comes out as a rewarding and truly heartbreaking moment for the audience.

JHPENTERTAINMENT: Charley and Franklin share years of friendship, conflict, and creative partnership. Have you and Gray built any offstage chemistry or rituals that help strengthen that connection onstage?

ELIJAH WALLACE: No real rituals other than we have gotten along really fast. We found we like a lot of the same things outside of theater, and we bonded quickly both in and outside of the rehearsal space. He and I joke a lot offstage and it has given a lovely camaraderie that I feel lives in the performance we give. With the unique nature of the chronology of the show we start at our worst and get to our best by the end. I bring the joy he and I have shared as well as the blossoming friendship to how I act and react with him. He is a great guy and I’m lucky to have him as a scene partner.

JHPENTERTAINMENT: Merrily We Roll Along asks some big questions about success, fulfillment, and the roads we choose. What’s one personal goal — artistic or otherwise — that you hope never loses its spark for you?

ELIJAH WALLACE: I have always been a part of the theater since I was very small. It gave me some of the best and sometimes painful experiences that I have ever had. I would bot trade it for anything because it has shaped me into the man I am today. I always want to bring the light of storytelling to anyone who wants to hear, any person who might need to watch something to take their cares away for a while. I never want to stop telling the stories that mean something not just to me, but to the people who might need that story to get through the day, or who need to hear one specific line that helps them so deeply. That is so important to me and at one point in my life I almost walked away from it for good. Merrily reaffirms that importance to me of holding tight to what drives you, and I really appreciate that.

RAPID FIRE WITH MERRILY WE ROLL ALONG‘s MARY FLYNN, McKENZIE BRYAN

JHPENTERTAINMENT: Mary Flynn has some of the sharpest wit and deepest emotional insight in the entire show. What’s your favorite thing about getting to play her?

MCKENZIE BRYAN: Mary has been a dream role of mine for a while now so everything about getting to play her is my favorite thing! But if I had to narrow it down, it would be getting to tackle the challenge of telling a story that spans 20 years in 2 hours. Everything about my characters speech patterns, to the way she holds herself, to her mannerisms, all adjusts in different ways over the course of the show as we travel backwards in time and that has been such a treat to dive into as an actor. 

JHPENTERTAINMENT: The show travels through several distinct eras and styles. How much fun has it been working with the production’s costumer to bring those iconic fashions and changing time periods to life?

MCKENZIE BRYAN: So much fun!! My style in real life is greatly influenced by the decades that this show lives in so I have been lucky to incorporate a lot of my own personal articles of clothing from my closet into Mary’s wardrobe. That makes playing her feel even more special and makes me feel that much more connected to her. 

JHPENTERTAINMENT: Sondheim lyrics are legendary for a reason. Do you have a favorite lyric or line in the show that hits differently for you now that you’re performing it?

MCKENZIE BRYAN: The entirety of “Our Time”, the closing number, is a favorite of mine. The first time we blocked the number I just cried & cried. It was so sweet & sad and that number still impacts me deeply every single time we perform it. Even though we’ve seen these people’s stories play out in front of us it almost feels like for a second they just might have a chance at something better, a different ending and I try to cling to that hope as an anchor emotionally during this number every night. 

JHPENTERTAINMENT: Mary spends much of the musical watching old friendships shift and evolve. What’s something you’ve learned in your own life about holding onto meaningful friendships?

MCKENZIE BRYAN: I am a really lucky lady who has a lot of meaningful friendships in her life that I take great pride & joy in maintaining, so I have to say, Mary has actually taught me more about what not to do than what to do. Bless her sweet heart, she obviously has great intentions but I do think a little more honesty and a lot less self abandonment would have taken her a long way. Because at the end of the day, real friendship thrives on openness, vulnerability, & communication. And in the wise words of Taylor Swift “my advice is always ruin the friendship, better that than regret it for all time.” Take that and run with it Mary, speak your truth girl! 

JHPENTERTAINMENT: In a show that wrestles so heavily with ambition and happiness, what does happiness currently look like for you outside the theater?

MCKENZIE BRYAN: Theatre is definitely a huge source of happiness for me that seeps into every other part of my life so it is difficult to actually separate the two. Performing is such an integral piece of who I am that my happiness & theatre are just kind of naturally woven together. I am happiest in a show! That being said I of course find joy in so many things, including but not limited to, spending time with my sweet family, cutie friends, & perfect angel pets, my day job that is such a gift (shoutout to my students!), any time i get to be at Walt Disney World, talking about Stars Wars (specifically the prequels), laughing with my sister, eating cheese of any and all kinds, sitting outside with the sun on my face, listening to Mamma Mia on a loop, and just the fact that it’s gemini season which means we are on the brink of my birthday. 

RAPID FIRE WITH MERRILY WE ROLL ALONG DIRECTOR JACOB WAID

JHPENTERTAINMENT: Merrily We Roll Along famously tells its story in reverse chronological order. What’s been the most exciting part of unpacking that unique narrative structure in rehearsal?

JACOB WAID: Honestly, the most exciting part has been watching the cast slowly discover that the “villains” of the story are not really villains at all. When you experience someone at the worst point in their life first, it is very easy to judge them. Then the show keeps peeling back layers and suddenly you understand the heartbreak, the compromises, the ambition, the fear, and the moments that shaped them into who they became.

That has been fascinating in rehearsal because every scene changes meaning once you know what comes later…or technically earlier. We have spent a lot of time discussing subtext and history. A line that feels cold or selfish in the opening scenes suddenly feels devastating once you understand the friendship and hope these people once had.

I also think the structure mirrors life in a strange way. So often we meet people at a single moment and assume that moment defines them. Merrily forces us to ask how they got there -“how did you get to be here? What was the moment?.”  It asks us to reconsider people over and over again and to look at what or who made them the person they are today. 

JHPENTERTAINMENT: This production spans roughly two decades of these characters’ lives. What are some of the biggest challenges — and rewards — of directing a story that evolves so dramatically over 20 years?

JACOB WAID: The biggest challenge is making sure the evolution feels truthful and not “performed.” I did not want actors simply putting on an older voice or changing posture and calling it a day. We have really focused on emotional evolution instead. How does disappointment reshape someone? How does success inflate or isolate them? How does grief harden them or soften them?

One thing that was very important to me from the beginning is that we are not really “aging up” or “aging down” the actors in a theatrical or exaggerated way. The story speaks for itself. The audience is intelligent, and the writing does so much of the work already. There are subtle physical shifts and changes in energy as the characters move backward and become younger, but for the most part, the emphasis is on the emotional storytelling and the relationships. I did not want distraction from the humanity of the piece.

What makes Merrily so special is that you are watching dreams form and then watching what life does to those dreams over time. That requires an incredible amount of detail work from the actors because every scene has to carry the weight of what the audience already knows is coming.

The reward has been watching the cast build entire lifetimes for these characters. By the end of rehearsal, they are not just playing scenes anymore. They know the history between every glance, every joke, every uncomfortable silence. It starts to feel less like actors performing and more like real people with decades of shared experiences.

JHPENTERTAINMENT: Sondheim shows often demand emotional precision and razor-sharp pacing. What has this cast brought to the table that’s surprised you the most?

JACOB WAID: Their honesty. This cast has been willing to live in the uncomfortable spaces of the show. Merrily is funny, sharp, and entertaining, but underneath it there is loneliness, regret, insecurity, longing, heartbreak, and love woven throughout every relationship. The actors have not shied away from that.

What has surprised and impressed me most is their willingness to examine themselves as human beings, not just actors. Watching them lean into these complicated emotional moments with such clarity and connection has been stunning.

Some of my favorite moments in this production are not the loud emotional explosions. They are the fleeting glances, the pauses, the moments where someone almost says something but chooses not to. Someone once told me that great acting is not just crying on stage when you are sad, it is doing everything possible not to cry while the audience watches the battle happening across your face. I think there is tremendous truth in that.

The real beauty of Merrily lives in the things left unsaid. Sometimes an entire relationship shifts because of a single glance across the stage. This cast has understood that in a really profound way, and I think audiences are going to feel those quiet moments just as deeply as the big ones.

Vocally, they are phenomenal. The score may not be Sondheim’s most harmonically dense work, but I actually think that simplicity is intentional. It keeps your focus on the relationships and storytelling. The cast has understood that beautifully. They are not just singing the music. They are using it to expose the emotional fractures underneath these friendships.

JHPENTERTAINMENT: Theater is full of stories about ambition, friendship, and the cost of success. How personally relatable does this show feel to you at this stage in your life and career?

JACOB WAID: I think anyone who has spent a long time in the arts eventually wrestles with some version of the questions this show asks. What are you willing to sacrifice for success? At what point does ambition become destructive? How do you hold onto friendships and authenticity in industries/life styles that constantly encourage reinvention and competition?

What hits me the hardest now is not necessarily the fame or success aspect of the show, but rather the loss of simplicity. The older I get, the more emotional those final scenes become because you see these characters before the damage, before the ego, before disappointment complicated everything. There is something deeply moving about watching people at the beginning of their dreams when everything still feels possible.

I also think the show is incredibly relatable because all of us have experienced loss in relationships and friendships in some way. That is just part of life. Sometimes friendships drift apart because of ambition, timing, pride, distance, or simply becoming different versions of ourselves over time. Sometimes those relationships find their way back, and sometimes they are lost for good. I think part of the beauty and heartbreak of life is learning how to process that loss, understand it, grow from it, and carry those memories with you anyway. Merrily captures that feeling in an incredibly honest and human way.

This show also holds a mirror up to the performance industry in a very truthful way. Sometimes people are celebrated only as long as they are useful, profitable, successful, or helping move someone else forward. The moment they stop being viewed as valuable in that way, they can suddenly find themselves pushed aside for the next rising star or new opportunity. That sounds harsh, but I think there is a real honesty to it, and Merrily is brave enough to explore that reality without losing compassion for the people inside of it.

JHPENTERTAINMENT: After audiences leave Hendersonville Performing Arts Company’s production of Merrily We Roll Along, what do you hope they carry with them?

JACOB WAID: I hope they leave thinking about the people in their own lives. I hope they think about old friendships, old dreams, the moments where life took unexpected turns, and the ways success and failure shape us over time. I hope the show encourages people to have a little more empathy for one another because none of us are just one moment in time.

More than anything, I hope audiences feel connected to these characters. Even when they make frustrating or painful choices, I want people to recognize themselves somewhere in them. We all have moments we regret. We all have moments where we have lost sight of who we wanted to be. I want the focus to stay on the people, the relationships, and the story itself.

To me, that honors what Sondheim does so brilliantly in this piece. Even musically, Merrily is surprisingly simple compared to some of his other scores. I think that simplicity is intentional. It creates space for the emotional complexity underneath it all. I wanted to create a world where the humanity of these characters could breathe without anything getting in the way of it. 

From favorite lyrics and emotionally demanding musical numbers to reflections on friendship, happiness, and chasing creative dreams, the cast and creative team behind Merrily We Roll Along offered an honest and heartfelt glimpse into the work happening behind the scenes at Hendersonville Performing Arts Company (260 W Main Street, Hendersonville, TN 37075).

Whether you’re a longtime Sondheim fan or experiencing Merrily for the very first time, this production promises an evening full of humor, heartache, nostalgia, and plenty to think about long after the final curtain falls. HPAC‘s Merrily We Roll Along opens Thursday, May 28 and runs weekends through Sunday, June 14. 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.

Merrily We Roll Along may signify the end of HPAC‘s 2025/2026 show season, but they’re just getting started with their summer classes. CLICK HERE to learn more about their acting classes, theatre day camps, tap dance classes and more for kids of all ages.

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.

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

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

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

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

RAPID FIRE WITH WATER FOR ELEPHANTS‘ BRADLEY PARRISH

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

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

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

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

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

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

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

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

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CARL ROBINETT

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH WATER FOR ELEPHANTS‘ ELLA HUESTIS

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

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

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

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

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

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

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

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

RAPID FIRE WITH WATER FOR ELEPHANTS’ JOHN NEUROHR

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

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

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

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

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

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

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

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

RAPID FIRE WITH WATER FOR ELEPHANTS‘ CHRIS MARTH

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

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

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

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

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

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

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

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

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

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

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

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

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

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

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

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

 

 

Rapid Fire 20Q: Playhouse 615’s ‘God of Carnage’ Cast and Director Break Down Politeness, Power Plays, and Emotional Freefall; On Stage May 1- 17

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Polite conversation. Civilized adults. What could possibly go wrong? Plenty, as it turns out. God of Carnage is the kind of play that starts with a handshake and spirals into something far messier—and far more revealing. As Playhouse 615 gears up for this razor-sharp dark comedy’s May 1 opening, director Diane Bearden-Enright and her powerhouse four-person cast–Wanderson Rezende, Beth Henderson, Ben Gregory and Abby Waddoups–are diving headfirst into the tension between who we think we are and who we become when the filter slips. We caught up with the cast and director for our signature Rapid Fire 20Q to talk civility, chaos, marriage, morality—and why this deceptively simple setup leaves absolutely nowhere to hide. 

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF GOD OF CARNAGE

RAPID FIRE WITH GOD OF CARNAGE’s ALAN, WANDERSON REZENDE

JHPENTERTAINMENT: Alan often feels like he’s operating in a completely different moral universe—how do you ground that in truth rather than caricature?

WANDERSON REZENDE: I think Alan’s morality (or lack of it, sometimes) is inside all of us. That is true for every character in this play, and that is part of Reza’s brilliance. To me, Alan is the voice of chaos that whispers “do it” when morality and social norms are screaming “don’t.” Brutal honesty and unfiltered rationalization. We all go through that in our thoughts, and that is how Alan becomes real: you have to look in the mirror and acknowledge the part of your soul that wants to set the room on fire. The part that, when given the opportunity, will stir the pot just to see what happens. I don’t play him as a villain. I play him as the part of yourself you were taught to keep quiet, which is sometimes villainous.

JHPENTERTAINMENT: How do you interpret the play’s critique of Western ideas of civility and “good behavior”?

WANDERSON REZENDE: Oh, this question made me laugh! A good kind of chuckle, I mean. This play is like the animated movie Inside Out but for adults. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. I think Reza was clever in making us question our values as a society without slipping into a lecture or wrapping up the play in a pretty bow. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. These are four educated, well-meaning adults who, within 90 minutes, are drinking and screaming at each other. To me, the critique isn’t aimed at bad people; it’s aimed at good ones. The “good behavior” dissolves so fast it makes me wonder whether it was ever real or just an agreement we made with each other. Reza seems to be saying that civility can simply evaporate if you turn up the heat in the room.

JHPENTERTAINMENT: Alan’s constant connection to his phone feels symbolic—what do you think he’s avoiding, and what does that say about power and detachment?

WANDERSON REZENDE: I find Alan’s relationship with his phone fascinating. It is a safety blanket, an escape valve, a weapon, an exit strategy. But also, I see his phone as a simple tool, an extension of his arm, almost a part of his body. This play premiered in the early 2000s when cell phones had a very different place in the social context than they do now, but what I don’t think Alan is doing is avoiding. He’s not hiding behind the phone. He’s operating. The phone shows where Alan has power, clarity, and purpose. He’s present in the only way that feels natural to him. Which is exactly why the moment the phone is taken away is so revealing: you suddenly see what’s underneath when the tool is gone. And what you see is just another vulnerable man who needs to pick himself up from the floor.

JHPENTERTAINMENT: Do you see Alan as the most honest person in the room—or simply the least interested in pretending?

WANDERSON REZENDE: I don’t think Alan is pretending. I think he does everything but pretend. And yes, I do think he’s the most honest person in the room. I had conversations with our director Diane Bearden and with Ben, Abby, and Beth about this. Alan understands that children and adults have fundamentally different tools for solving conflicts. He’s interested in the adult dimension of what happened between their sons: the dentist, the insurance, and giving the kids space to work it out themselves. What he refuses to do is inject adult morality into a children’s fight. He knows that life and time will already do that job. Alan is the kind of parent who wouldn’t stop his kid from sticking a fork in an outlet. He’d say, “Go ahead, then let’s talk about what happens next.” There’s actually a twisted kind of respect in that.

RAPID FIRE WITH GOD OF CARNAGE’s ANNETTE, BETH HENDERSON

JHPENTERTAINMENT: Annette’s journey from composed to completely unfiltered is one of the play’s most striking arcs—how do you map that descent each night?

BETH HENDERSON: That’s what makes this role so fun. I love getting to play such different aspects of one character. There are definite points in the script that help those transitions along, but it’s also important to make sure that the slide from point A to point B is gradual so that it feels like a natural progression. 

JHPENTERTAINMENT: How do you balance the play’s farcical comedy with its darker, more unsettling undertones?

BETH HENDERSON: I think what creates the balance is playing up the realness and believability of the characters, rather than asking for laughs. Like real life often is, the script itself is dark and funny at the same time. If we, as the actors, can successfully portray people who genuinely believe in what they’re saying and doing, the playwright’s words will automatically strike the balance.

JHPENTERTAINMENT: How do you interpret the dynamic between Annette and Alan—united front or already fractured?


BETH HENDERSON: Wanderson and I have actually talked about this quite a bit. Annette and Alan have a lot of issues between the two of them, but the intensity they share is part of what makes them work. It may not be a loving relationship, but it’s a partnership that I think works for them and withstands the course of the afternoon covered by the play. I also think their takes on Veronica and Michael, their disdain, ultimately unite them on the actual situation at hand (the situation between the sons).

JHPENTERTAINMENT: By the end of the play, who holds the most power in the room—and does Annette ever truly lose hers?
BETH HENDERSON: That’s a tough one. I think to a certain extent, they’ve all lost at least an aspect of their power. If you look at the power dynamics within the marriages, I think Annette comes out on top. I believe she holds a good bit of power in her marriage coming in to the play, but she claims even more during it. I don’t think anyone else really does that. But, if looking at who holds the most power among the four of them, I don’t think I could decide. There’s an argument to be made for each of them and none of them.

RAPID FIRE WITH GOD OF CARNAGE’s MICHAEL, BEN GREGORY

JHPENTERTAINMENT: Michael uses humor as both a weapon and a shield – how do you navigate when the audience should laugh versus when they should feel uncomfortable?

BEN GREGORY: The author of the play pontificates about the dichotomy between how we present ourselves and how we actually feel. Society has drawn too many rules about when we should laugh or cry. When we are uncomfortable, sometimes we laugh. It’s a way to relieve tension. This show is full of tension and awkward silence. Our audiences will avail themselves of the opportunities to laugh at the absurdity of moments of human interaction with which they identify, either in themselves or in people they have known. God of Carnage directs the players to shift between restraint, lightheartedness, and complete lack of self-control. Those shifts will resonate differently with different audiences. We just follow the map laid out by the author and by our brilliant director, Diane.

JHPENTERTAINMENT: The play exposes cracks in marriage-what do you think Michael truly wants from Veronica beneath all the bluster?


BEN GREGORY: Michael wants to be respected by Veronica. He wants to be valued and cared for in the same way that she cares about the outside world. He doesn’t feel seen or heard by Veronica because he spends too much time trying to echo her thoughts, to appear to be who she wants him to be. He’s terrified of being exposed for his own fears, or to be revealed as less sophisticated than she is. He is stuck in a loop of putting on an act for her benefit (which doesn’t benefit anyone, really). Michael is a man who wants to work hard, and enjoy his nights and weekends without having to worry about the heaviness of the world. He wants love without conflict.  

JHPENTERTAINMENT: There’s a casual cruelty that emerges in Michael – how do you build to that without tipping your hand too early?

BEN GREGORY: To avoid letting the degree of his resentment reveal itself too quickly, I focus on his attempts to make light of things, his efforts to be a peacemaker. He wants so badly to avoid conflict. Though the tension eventually breaks, he tries to restrain it as much as possible, often with offhand remarks intended to make light of things.

JHPENTERTAINMENT: What makes Playhouse 615 the right space for a play that strips everything down to raw human behavior?

BEN GREGORY: Working on this production in an intimate space such as Playhouse 615 makes it imperative to be as raw and real as possible. Every expression and motion is visible to the audience. It’s as intimate as a theater gets in Nashville. More than the space itself, though, is that the people who work and play here are willing to be vulnerable. It is a safe space and a loving space. We’re allowed to be human: ambitious, fallible, and full of love for our art.

RAPID FIRE WITH GOD OF CARNAGE’s VERONICA, ABBY WADDOUPS

JHPENTERTAINMENT: What’s your entry point into Veronica’s need to control the evening—and where do you let that control slip?

ABBY WADDOUPS: Veronica’s need to control is pretty much set from the start of the show. She is cordial on the surface with appropriate small talk, but very no-nonsense and clearly has an agenda for the evening to run smoothly. It is an uncomfortable meeting to have to have, so she has a plan to get through it. When the truth of the other character types starts becoming clear, and even her own husband acts in a way she disapproves of, it is impossible to maintain any control over these people.

JHPENTERTAINMENT: Veronica clings to ideals of culture and morality—do you see those as authentic beliefs or part of a carefully constructed identity?

ABBY WADDOUPS: Veronica is flawed, despite trying desperately not to show it. In doing so it becomes harder to hide it. But she comes by it naturally and does not understand how others perceive her. Veronica is one of the worst at being congenial on the surface, but then really drilling into people with her supposed higher moral ground and expectations. She doesn’t know any better, it’s just the type of person she is. She does love culture and has traveled to many places. She takes great pride in being worldly, but she doesn’t strike me as ever having immersed herself in another culture, staying in a place for too long, or really spending much time away from NY or the US. She’s ultimately a scholar and has read most of what she knows, not necessarily through her own lived personal experiences. Veronica is a mama bear and very condescending to her peers.

JHPENTERTAINMENT: How has working again with Diane shaped your understanding of the play’s central question—are we ever truly civilized?

ABBY WADDOUPS: It has been wonderful working with Diane again, and the whole cast. I trust her completely and am honored she saw me in this role. Diane has skillfully pitted characters against each other physically onstage when the dialogue suggests. She has defined the peaks and valleys, where conflicts arc and go back down to formality. This production shows how quickly adults, in all their experiences and worldly knowledge, can revert back to their childhood. It has been good to dig into these characters in a masterfully written dark comedy. The language is rich, the characters are a reflection of the best and worst of people. The tension is high and rehearsing is exhausting, draining, but fun. I feel like I’m in college again, doing an intensive character study in a cutting edge drama. Shows like this, roles like Veronica and working with these wonderful people – are all what I love most about acting. We are always in good hands with Diane and her expertise.

JHPENTERTAINMENT: By the end of God of Carnage, do you think Veronica is more disillusioned—or more revealed?

ABBY WADDOUPS: Veronica is incredibly disillusioned. “If we stick with the strict definition of the word, it’s use is far from inaccurate” (that’s a show quote), “Disillusioned- having lost faith or trust in something formerly regarded as good or valuable.” She is bitter and disappointed that this meeting, including her husband’s actions, failed to live up to her expectations. It is a harsh truth being discovered close to the end, “losing belief or trust in something once admired, resulting in a loss of idealism” and makes her examine herself and her relationships closer.

RAPID FIRE WITH GOD OF CARNAGE DIRECTOR, DIANE BEARDEN-ENRIGHT

JHPENTERTAINMENT: When you and I spoke recently about God of Carnage, you mentioned approaching rehearsals almost like a scene study class—can you elaborate on that process?

DIANE BEARDEN:  Being Adjunct Faculty at MTSU, I think I approach just about everything as a teaching moment!  The most interesting thing about this project is I’ve worked with each of these actors in the past.  I’ve gotten to know them and have learned a lot about how they approach a role, their rehearsal process, etc.  We dug into the rhythm and intention of the script.  We got on our feet and “played”; investigating different ideas and tactics.  It has been a joy delving into the material and having in depth discussions about character and relationships.  I tried to create a safe space for experimentation.  In turn, the actors have let go, relaxed and created remarkable ensemble.

JHPENTERTAINMENT: What are the unique challenges—and advantages—of directing a four-person cast on a single set where there’s nowhere to hide?

DIANE BEARDEN:  Four people on stage for the entirety of the play (with no escape) can be daunting at first but ultimately is an important obstacle for the actors.  These four characters are quite literally “stuck” in a room together, expecting to hash out the problem at hand.  That confinement becomes a powerful catalyst for tension.  Another  challenge is the logistical aspect of moving the actors about the room, to keep it visually interesting and relevant while helping the actors create tension moving about the  physical space.  Every cross, pause and shift has to mean something.

JHPENTERTAINMENT: This play lives in the tension between civility and chaos—how do you guide actors in navigating that razor-thin line?

DIANE BEARDEN:  That tension is exactly what makes this script so thrilling and challenging.  My job is to create an environment where the actors feel completely secure in their choices, so they are free to walk that fine line between control and chaos.    I’m lucky to have incredibly flexible actors, willing to really “play”.   Always willing to try new tactics and push through the uncomfortable moments.  That’s when the truth reveals itself.

JHPENTERTAINMENT: What do you hope audiences walk away questioning about themselves after spending an evening with these characters?

DIANE BEARDEN:  I hope audiences recognize themselves in these characters.  How we react as adults is rooted in our childhood instincts and those impulses are just below the surface.  When provoked and the right pressure is applied, all those impulses can rise up and pour out.   Suddenly fears, insecurities, hopes and prejudices are on display.   God of Carnage is funny, messy, uncomfortable and deeply human.  I hope audiences leave not only asking “Who are these people?” but also “Where do I recognize that in myself?.

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Come for the polite conversation. Stay for the unraveling. By the end of the night, the question isn’t who’s right—it’s who’s left pretending. Playhouse 615’s production of God of Carnage opens May 1 and runs weekends through May 17. Performances are Fridays and Saturdays at 7:30 PM with Sunday matinees at 2:30 PM. All seating is general admission, with tickets ranging from $17–$20. at 11920 Lebanon Rd, Mt. Juliet, TN 37122. CLICK HERE to purchase tickets. 

Following God of Carnage, Playhouse 615 presents Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

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

    Rapid Fire 20Q: On the Run and On the Record with ‘Some Like It Hot’ National Tour Cast; at TPAC April 21-26

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When the national tour of Some Like It Hot taps its way into Tennessee Performing Arts Center April 21–26, audiences can expect a high-octane blend of classic Hollywood glamour, sharp-edged comedy, and full-throttle musical theatre spectacle. Set against the backdrop of Prohibition-era Chicago and a cross-country escape to California, the show follows two musicians on the run who find themselves embedded in an all-female band—leading to mistaken identities, romantic entanglements, and plenty of tap-dancing chaos.

At the center of it all is a company of performers tasked with balancing farce, heart, and precision night after night. With the Music City dates marking the final stop on the show’s current tour schedule, JHPEntertainment caught up with cast members Edward Juvier (Osgood), DeQuina Moore (Sweet Sue), Matt Allen (Mulligan), Devon Goffman (Spats), and Devon Hadsell (Minnie) for a Rapid Fire 20Q—covering everything from character approach to the mechanics of keeping a show this fast-moving fresh on tour.

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 RAPID FIRE 20Q WITH CAST OF SOME LIKE IT HOT NATIONAL TOUR

RAPID FIRE WITH SOME LIKE IT HOT‘s SWEET SUE, DEQUINA MOORE

 JHPENTERTAINMENT: As Sweet Sue, you’re front and center during the show’s opening number, “What Are You Thirsty For?” How exhilarating is it to kick off the show with this number each night? 

DEQUINA MOORE: It’s BEYOND exhilarating, honestly! My heart is pounding, my excitement is through the roof, and I get chills sometimes once the audience is moved to scream!  To be able to tell the story with such large belly notes and humungous presence and such power and control are all traits of a number that most artists can only dream of. Sweet Sue gets to set the tone and the pace of the show, and also the energy! She holds it all in the palm of her hands from the very beginning, and as much fun as it is, it’s also a lot of responsibility–one that can never ever be taken for granted. So every single show, I try to take the bull by the horns, no matter how I’m feeling personally, and get the show started with a BANG! The music of the speakeasy and the life of Prohibition struggles and fights for survival all have to be prevalent themes from the very top!

JHPENTERTAINMENT: What are YOU thirsty for? 

DEQUINA MOORE: Whew, that’s a great question! I, as Sweet Sue, am “thirsty” for a life that is not scared of the day-to-day. Just to live without going to jail for the selfish gangsters that she works for is what she’s really working hard towards. Selling booze under the table for them and then always having to take the heat for them is EXHAUSTING! She would much rather make her music, lead her band, teach some life lessons, and rest without stressing for a change. The sweet and simple life is within her grasp, but trying to make sure she makes enough money for the night, all while being Black and female, is the never-ending trial she has to face and eventually conquer as the story unfolds.

As, DeQuina Moore, the artist and dreamer, I am “thirsty” for more time with my new baby boy, Kevin Montrel!  He’smy dream these days, only 1 year old, and he holds my entire heart and soul in the palm of his little hands. I cannot wait to sing to him more and dance with him, and play with him and have our little chats, and go outside and play, and keep him from putting everything in his mouth, and teach him all the life lessons like how to share and how to be friendly, and how to maintain his humility all while remaining confident…and so on and so forth! I am extremely “thirsty” for these moments with Baby Kevin, and I simply cannot wait! 

 JHPENTERTAINMENT: What’s the key to keeping Sue grounded in such a heightened world? 

DEQUINA MOORE: I think the key to keeping Sweet Sue grounded in such a heightened world is constantly remembering what she needs and what she wants. She is so hyper-focused on reaching her dreams that it makes her also a true lifesaver, literally and figuratively.  Not only is she working hard so that she can help provide for her own family and herself back home, but she is also keeping in mind the life and the dreams of all of her band members.

Every single lady that is a part of Sue’s lineup has a family and aspirations of their own, and it’s extremely important throughout the arc of the story that Sue never loses site of that. Therefore, her stakes remain very high, to the point where she can’t ever stray too far from her goals. Music and ultimately succeeding with the band is actually life or death for her!  So, any and all distractions/noise of any kind that’s all around her must be put on the backburner or be completely ignored in order for her to be the hero she is in this extraordinary story.

JHPENTERTAINMENT: What part of Sue’s journey resonates most with you personally?

DEQUINA MOORE: The part of Sue’s journey that resonates with me the most is most certainly the surprise that she is hit with suddenly and subliminally as she grows and matures in her bandleading position.  As it all unfolds, she’s not just a director and a manager, but she’s also a huge maternal figure to every single lady. She’s a mother figure to so many, and this is a role that is very unexpected for the character. So in the moments where Sue would rather remain hard and stern and disciplinary, she actually, at times, has to find her soft side and rely on her femininity and her truth as not just a woman, but a mother in order to get her through some of the toughest moments in the story.

This particular character trait is crucial for the story to work. It’s part of the heart of the journey. It’s what makes not only the ladies fall in love with Sue, but also is what makes them want to remain in her band. They not only feel protected physically, but also emotionally, and this is what makes all their relationships even more relatable and interesting to the audience. It adds a level of complication that makes sense, which is never easy to play, but very easyand thrilling to spot and witness!  

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RAPID FIRE WITH SOME LIKE IT HOT‘s MULLIGAN, MATT ALLEN 

JHPENTERTAINMENT: As Milligan, you’re the show’s “straight man”. What is the challenge of playing it straight in a farce like Some Like It Hot? 

MATT ALLEN: Hello Jonathan, and thanks for these amazing questions! With a cast of gifted actors/comedians, playing the “straight man” is an honor and a breeze.  And with a finely crafted script like this one, it also becomes acutely necessary for there to be a “straight man” in the beginning of the show to give the pertinent information that tells the story to allow the characters to make their drastic decisions that sparks the basis for this zany, off the wall, and touching story.

 JHPENTERTAINMENT: Alright, I can’t waste this opportunity…Putting Some Like It Hot aside for just a second…What’s your favorite memory of your time in Once Upon a One More Time, the 2023 all-Britney Spears jukebox feminist fairytale? 

MATT ALLEN: Wow, I didn’t see this one coming!! And thanks for doing your research.  There were so many incredible moments with Once Upon a One More Time, but the one that immediately pops up when you asked the question was the moment I received the “Legacy Robe” on Opening Night.  That ceremony is so rich in tradition, and such and honor.  The first time I witnessed a Legacy Robe ceremony many years ago, I wondered if I would ever be so lucky to be a recipient.  And then to receive not only one, but two Legacy Robes kind of blew my mind.  And funny enough, both robes I received were on the exact same stage at the exact same theatre, The Marriott Marquis, [the first being 2018] with Escape to Margaritaville!

JHPENTERTAINMENT: Back to Some Like It Hot…Without giving too much away concerning a bit of…‘undercover work’ during a particular chase scene, how much fun are you having each night when it’s time to trap Spats in a Josephine-esque honeypot?  

MATT ALLEN: Well, as you put it, with being the “straight man,” this is my first opportunity to really jump in on the fun that has been happening on stage all night.  However, none of this fun could truly happen without the brilliant writing of this show.  Watching and feeling the journey of this show finally coming down to this moment of truth is a real thrill each and every night. Everyone is onstage at this moment, and all the storylines have merged to form a very dramatic and comedic pinnacle.  Needless to say, it’s about as much fun as you can possibly have in a classic musical theatre setting…DREAMY!

JHPENTERTAINMENT: The audience quickly learn what/who Milligan is pursuing. What’s Matt after? 

MATT ALLEN: Well Jonathan, I’m “after” the constant search for happiness, I guess.  I am lucky to be blessed with an abundance of it, but it takes work and effort to keep it. My wife, Paula, and my dog, Vixen, provide a tremendous amount of happiness for me. But I haven’t seen them very often while on tour. I am lucky to be able to say my work provides me with happiness, and especially with this show because of its gifted cast and incredible script. So sometimes work, which makes me happy,  takes me away from family, which also makes me happy. It requires work to balance all of that out. So in the pursuit of happiness, I guess I am also after “balance.”  Wow, thanks Jonathan for that question!  It helped me work this all out…I guess I am really after balance!

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RAPID FIRE WITH SOME LIKE IT HOT‘s SPATS, DEVON GOFFMAN

JHPENTERTAINMENT: As someone who worked alongside Simon Cowell during the original first two seasons of American Idol, I gotta admit, I literally LOL’d when I ran across a clip of you comparing Spats Colombo to a “Simon Cowell of the 1930s”…care to expand on that a bit? 

DEVON GOFFMAN: Aw, yes! I’m a huge fan of Simon, and I loved watching him on those original seasons of American Idol. He was always tough on the exterior… but had a heart of gold that would just melt from the right performance. Watching Simon be soothed by the best performance was what the audience waited for– soothing the “savage” beast. I feel like Spats Colombo may be a tough, and “literally savage” mobster from Chicago. But everything he does in the show is driven by him searching for the best talent for his club. It was Prohibition, and no matter what, Spats wants the top-notch entertainers working at HIS club. He’sproud of it. He respects it, and he forgets about his dark motives when watching Sugar Kane sing a ballad. (Leandra Ellis-Gaston melts Spats, me, and the crowd every night with her vocals & gutsy performance). If you notice, a lot of the “mob” bosses in organized crime in the 30’s wore the best suits with the best fabrics, ate the finest meals, and drank the finest liquor and wines. They wanted only the best singers & dancers in their club.  Fortunately, that’s what the audiences get when they watch our company of Some Like it Hot. And the finest suits/threads–Gregg Barnes won a Tony for the costumes. And my three piece suit & tux… when I put those on, I’m catapulted into 1933.

JHPENTERTAINMENT: What makes Spats more than a traditional gangster antagonist and so fun to play?

DEVON GOFFMAN: Spats is so much fun. He gets to bring the frightening truth of the 30’s organized crime to a show with fun songs, tap dancing, and great laughs. Slowing down the show a bit with a sense of humor, combined with a sense of ominous fear. That where good theatre starts: having that opposing energy. Spats loves to crack jokes, and he loves to crack craniums as well. 

The St. Valentine’s Day massacre in Chicago is what the “moment” of this show is based on. That’s scary real stuff. Bringing a bit of that reality into a very fun comedy really makes for an interesting story. I love that I get to join in on Casey Nicholaw’shistoric and genius choreography in the show. I like to call some of it Door-E-Ography…he won the Tony Award for the genius Choreography in the show. I’m lucky Spats gets to join in on it!  What a thrill.

JHPENTERTAINMENT: With half a dozen tours from Jersey Boys to Grease to your credit, What’s been the most rewarding aspect of playing this role on this tour?

DEVON GOFFMAN: I’m fortunate to have done a hand full of really great musicals on the road. Great music, and some great scripts. Some Like It Hot MAY be one of the funniest scripts I’ve gotten to do. It’s got the sit-com laughs, and hearing the realaudience every night (for 580+ shows) on the road laughing throughout… it’s encouraging. I think theatre is heading into a great Renaissance period of time. People are starved for connection, and genuine entertainment that isn’t on a screen.

Especially the young people. They seem to be reallyinspired by this show. It is nice to see people put down their phones for 2.5 hours and laugh, smile, cheer, and maybe even tear up a bit! Live theatre at its best. But the laughs are the secret weapon of this show–audiences walk out feeling GOOD!

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the scene when Mulligan goes…“undercover” to trap Spats. How do you keep it together and in-character during the hilarity of this particular situation opposite Matt?

DEVON GOFFMAN: Yeah, the first time I saw Matt Allen “undercover” was tough not to break on stage. That goofball dressed up like that drove me to the brink! He’s a hilarious actor with such great energy on and off stage. Our company is led by some veteran performers who have really been doing this all our lives. Edward Juvier is a comic genius who makes every Osgood moment shine bright with honesty and kindness. Matt Loehr as Joe/Josephine is one of those unicorn performers who can do EVERYTHING well, and always has a huge smile and a hug waiting for you offstage! Having leadership like them in the building since day one on this tour truly set the tone. Tavis Kordell is an extraordinary talent with a huge heart that shines as Jerry/Daphne! DeQuina Moore & Devon Hadsell bring so much good energy, and endless experience to their roles. Kindness + Work Ethic +  Joy = a Show that Radiates! We are a family. Every theatre show doesn’t have to become a family… but this tour has become the best kind of one. One that cares for each other and keeps the love of the show, and experience for the audience as our number one objective.

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RAPID FIRE WITH SOME LIKE IT HOT‘s MINNIE, DEVON HADSELL

JHPENTERTAINMENT: Having understudied the role of Minnie during the show’s Broadway run and now taking on the role for the touring company, How do you feel you’ve made Minnie your own? AND…what do you love most about her? 

DEVON HADSELL: First of all, I feel so grateful to have understudied Minnie on Broadway and to then originate this role for tour. The way I’ve made this character my own is I tried to deepen Minnie’s connection with Sweet Sue and her need to make Sweet Sue happy. I also leaned into Minnie’s ditziness and her bad memory when it comes to knowing the correct apartment she’s supposed to grab things from. I LOVE that Minnie is always down for a good time and a good gimmick. She’s got major talent on the drums and never goes anywhere without her cigarettes.

JHPENTERTAINMENT: Minnie seems like the kind of character with an interesting backstory. In your own mind, as you’ve developed your portrayal, what’s something you’ve imagine in Minnie’s past that led her to where she is? 

DEVON HADSELL: Something I always imagined in Minnie’s past was a divorce from a guy she got married to when she was very young. I imagine it was a messy one, and she’s decided she’s through with men for the time being and is excited to devote her life to empowering women through this girl band with Sue. I think she’d be open to finding love in the future, but for now, she’s having a blast living life on her own terms and being a little wild.

JHPENTERTAINMENT: Minnie has a penchant for having sticky fingers. IF you could get away with it, what’ssomething you might ‘lift’ from the show—a set piece, a prop, a bit of wardrobe—after the tour is over? 

DEVON HADSELL: Oh my gosh! If I could take my deep purple Mexico dress with the orange flowers and sparkling pendant in the front, I’d be sooooo happy. The shawl I wear with it is gorgeous too. It’s my favorite costume I wear in the entire show, and it’s for the number, “Let’s Be Bad”.

JHPENTERTAINMENT: As Sweet Sue’s right-hand-woman, Minnie manages the all-girl band, The Syncopators. If you were to start a band, what would you call it AND what role would you play in it?

DEVON HADSELL: If I were to start a band I’d name it “Velvet Vixens” and I’d be the Manager and Conductor and also play the keys!

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RAPID FIRE WITH SOME LIKE IT HOT‘s OSGOOD, EDWARD JUVIER

JHPENTERTAINMENT: What drew you to the role of Osgood in this production?

EDWARD JUVIER: I was drawn to Osgood immediately. He leads with curiosity instead of judgment, and the chance to play someone who is wildly funny and grounded in love and acceptance is something any actor would jump at. As a Cuban American, it’s rare to find a role that feels so specifically Latin in its roots while still living fully in the world of American musical theater.

JHPENTERTAINMENT: In the source material, writer/director Billy Wilder’s 1959 blockbuster film, Osgood is played mostly for laughs and the brunt of jokes, especially in his pursuit of Daphne. In the stage musical, he’s still funny, but more the comedic hero. What’s your favorite aspect of this change in the character? 

EDWARD JUVIER: I love that he’s in on the joke now. He’s not the punchline, he’s part of the storytelling in a real way. More than that, his love is taken seriously. He sees Daphne clearly and chooses her without hesitation, and that gives him a kind of quiet strength that makes the comedy land in a much more joyful way.

JHPENTERTAINMENT: Of Osgood’s featured musical numbers, Do you have a favorite, or does that change night-to-night, venue-to-venue, audience-to-audience?

EDWARD JUVIER: It honestly changes. Marc and Scott wrote such a rich score for Osgood, and what I love most is how much the audience shapes each moment. You can feel when they’re leaning in, when they’re surprised, when they’re rooting for him. So my favorite tends to be whatever moment feels most alive in that particular room. That said, “Fly, Mariposa, Fly” is a gorgeous song that I love singing and sharing every night.

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing Some Like It Hot?

EDWARD JUVIER: I hope they leave feeling a little lighter and a little more open. At its heart, the show is about seeing people for who they truly are, and choosing love anyway. If someone walks out laughing, humming a tune, and maybe thinking a little differently about how they show up for others, then we’ve done our job.

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With a show that thrives on timing, chemistry, and sheer momentum, it’s clear this company has found its rhythm on the road. Whether navigating the demands of farce, anchoring the story’s emotional beats, or keeping pace with some of the most intricate staging currently touring, each performer brings a distinct perspective to a production that refuses to slow down.

Some Like It Hot plays TPAC‘s Jackson Hall April 21 thru 26—delivering a fast, funny, and thoroughly modern take on a classic story, with just the right amount of old-school showbiz shine. CLICK HERE for tickets. To follow Some Like It Hot, check out their official site or find them on Facebook, X, Insta and TikTok. 

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

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

 

Rapid Fire Q&A: Meow Meow Returns to Music City; Kamikaze Cabaret Darling at Oz Arts April 11

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As the saying…and lyrics go…“Life is a cabaret, old chum”–and no one embodies that spirit, living life and palling around, quite like the delicious diva Meow Meow. Ahead of her April 11 return to Music City, this time playing Oz Arts Nashville, JHPEntertainment is handing the mic over (carefully…very carefully) for a chat with the one and only exquisite chanteuse for a memorable Rapid Fire Q&A.

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RAPID FIRE Q&A WITH MEOW MEOW; AT OZ ARTS NASHVILLE APRIL 11

JHP ENTERTAINMENT: Ok, let’s just dive right in…I keep seeing your show described as Kamikaze Cabaret. Is that a fair descriptor of an evening with Meow Meow?

MEOW MEOW: Well, I certainly give everything I’ve got to every show ! I never want to waste a moment on that stage…with a captive audience !

JHP ENTERTAINMENT: As you prepare to take the stage each night, at what point in your dressing room do you feel fully in Meow Meow mode?

MEOW MEOW: I am always in Meow mode. Stage and Life are the same for me…. I think Shakespeare MAY have put it rather better with “all the world’s a stage”…

JHP ENTERTAINMENT: Of your current set list is there a song that challenges you vocally more than others?

MEOW MEOW: NEVER ADMIT DEFEAT. CARRY ON. KAMIKAZE Cabaret, remember ? I think there is a wonderful attitude ascribed by the playwright Terence McNally to the great opera Diva Maria Callas in his play “Masterclass” : “Don’t TRY, DO” !

JHP ENTERTAINMENT: Your April 11 performance at OZ Arts marks a return to Music City, having previously wowed Nashville audiences in 2022. Is there anything you hope to revisit while you are Nashville?

MEOW MEOW: The audience was sensational. I can’t wait to love and hug them (politely) again!

JHP ENTERTAINMENT: Touring internationally, what do you cherish most about each new city you visit?

MEOW MEOW: How audiences change and how wonderful a flexible form like cabaret is to respond to those changes.

JHP ENTERTAINMENT: In previous interviews you mention drawing inspiration from a wide variety of sources…from Germany’s Weimar Era (don’t worry, my readers can Google it) to the glamour of Hedy Lamar with the avante garde unexpectedness of Dadaism (again, my readers can Google it). What is it about the early 1900s and these stylistic examples that speak to you?

MEOW MEOW: It’s particularly the teens into the 1920’s and 30’s where invention and exploration in music, language ideologies, politics are all smashing up against each other.  A fascinating time in the shattered world after the Great War and into the second world war. Everything resonates. There is nihilism and optimism.

JHP ENTERTAINMENT: Let’s be real though…do you think the 1920s could have handled Meow Meow?

MEOW MEOW: Again, I would have said to the 1920’s “don’t try, just DO”.

JHP ENTERTAINMENT: When I learned you were bringing your current show to Nashville, it took me a minute to clue in to why I knew of you…it was your collab with bandleader Thomas Lauderdale on Pink Martini’s 2019 album HOTEL AMOUR, particularly the song “I Lost Myself”. How did your participation in that project come about?

MEOW MEOW: He and I were introduced by a wonderful champion and curator of Arts and Artists – Kristy Edmunds. She just ‘had a feeling’ about the two of together  and it was musical and soul connection from the beginning. It’s a constantly inspiring and precious friendship and I’m so grateful for the adventures we’ve had around the world together – from little bars in Portland  to major orchestras and the Hollywood Bowl. I love the whole Pink Martini family and we get together whenever we can. 

JHP ENTERTAINMENT: More about “I Lost Myself”—with the opening lyric, “I’m hungry, bring me some pills on which to dine”, I was in! Whether campy or classic, teasing or torchy, do you have a lyric in a song that’s in your repertoire that you are absolutely mad about?

MEOW MEOW: SO many. I have to love all of them or I can’t sing them ! I love Patty Griffin’s poetry in her songs – one of my favourites that is like a prayer 

“All the girls you will never see

Forever a Mystery

All the Girls with their secret ways

All the Girls who went… astray.

Be Careful”

I love Thom Yorke’s writing for Radiohead. I love Brecht’s lyrics so much..I love Noel Coward !

JHP ENTERTAINMENT: I read something online describing your fan base as a cult following…that got me to thinking…if Meow Meow were a cult leader, would your music or your bawdiness be the kool-aide everyone would drink that drew them in? Or is there something else just as enticing from an evening with Meow Meow? What would your cult followers be called?

MEOW MEOW: I would hope it was my heart and joy and faith in human connection that shines through the music and the mayhem.

 JHP ENTERTAINMENT: What would the cult of Meow Meow be called?

MEOW MEOW: I have no idea what the lovers would be called…. But they definitely love to go on an adventure with me. And have very good taste, obviously.

JHP ENTERTAINMENT: Your official site meowmeowrevolution.com (love that web addy name, by the way) teases MERMAID, a new album as ‘Coming Soon’. What’s the skinny?

MEOW MEOW: Oh! It’s actually on Spotify now ! As is the gorgeous album HOTEL AMOUR of songs that I wrote with Thomas and Pink Martini and members of Oregon Symphony, with gorgeous duets with Rufus Wainwright, Michel Legrand, Barry Humphries and the Von Trapp Family singers 

JHP ENTERTAINMENT: Looking back on the 2007 High Line Festival, curated by David Bowie—where you took your place among fellow featured artists Arcade Fire, Laurie Anderson, Ricky Gervaiis, The Legendary Stardust Cowboy and more—sounds almost surreal—How did you feel in that moment?

MEOW MEOW: DIVINE

JHP ENTERTAINMENT: From Shakespeare to cabaret to film, your career spans an incredible range—including your role as Griddlebone in the 2019 star-studded film adaptation of CATS (Purrrfectly karmic casting if ever there was). Having gotten to know her a bit myself during her early country music reign, I gotta ask…what was it like working alongside Taylor Swift, in particular, in the “Macavity” number?

MEOW MEOW: Ah yes the hilarious brief moment ! She is heaven. Divine, professional, warm , and there is seriously a ray of something magical that emanates from her. She was like a special shining sun! I loved her.

JHP ENTERTAINMENT: You’ve cited comedy influences from AbFab, Dawn French & Jennifer Saunders and Lucille Ball. Gotta admit it, these mentions are just more reason to adore you as I’ve been an AbFab devotee since getting my hands on bootleg episodes before it ever made it was across the pond officially, and I have an extensive collection of Lucille Ball material. Heck, my dog is even named Lucille Desirée Ball Pinkerton—Desilu for short, but I digress…What is it about those legendary ladies of comedy and their broad style that resonates with you?

MEOW MEOW: They have funny bones, they are all their own singular creatures and they are brilliant observers of humans – and themselves . There is joy in the play of performance and they are part of the ridiculousness. All so different but so special.

JHP ENTERTAINMENT: Your shows are known for pulling audience members into the performance—sometimes as dancers, props, even furniture. What do you love most about that unpredictability?

MEOW MEOW: That’s life isn’t it ? We all need a little help from time to time… let’s see if people jump in or get scared. Im reaching out the metaphorical hand of friendship as it were. I may never even go near the audience in a show, but I like to feel we are all connected. It should be fun and full of LIFE and changeability and we should all celebrate being alive together in the room – it’s always a miracle !

JHP ENTERTAINMENT: On the subject of unpredictability—How do you handle it when an audience “volunteer” just isn’t matching the vibe?

MEOW MEOW: I don’t always ask for volunteers – it depends on the show – and I NEVER want anyone to help me if they would rather just be an onlooker. That’s bullying and I hate that. I just walk on by if people indicate. Everyone should have a great time and just feel good. The show is about the music and the fun !

JHP ENTERTAINMENT: Finally, what do you hope audiences recall long after spending the night with Meow Meow?

MEOW MEOW: I hope they can’t wait for us to visit again !!! 

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If there’s one thing abundantly clear after a whirlwind conversation with Meow Meow, it’s this: a night in her presence isn’t just a performance–it’s a shared act of joyful defiance, connection, and beautifully orchestrated chaos. Equal parts heart, humor and unpredictability, her brand of kamikaze cabaret invites audiences not just to watch, but to feel, to laugh and maybe even leap a little into the unknown right alongside her.
When Meow Meow returns to Music City on April 11 at Oz Arts Nashville (6172 Cockrill Bend Circle) for her 8pm show, expect the unexpected…but also expect to leave a little lighter, a little more alive, and already hoping–just as she does–that it won’t be long before she’s back to do it all over again.  At the time of this writing, Premium Table Seating has SOLD OUT, but a few General Admission tickets are still available at $40. As usual, Oz Arts Nashville also offers Artist & Creative Community tickets for $30. CLICK HERE for more info or to purchase tickets.

For the latest on Meow Meow, CLICK HERE or follow her on Insta and Facebook. To check out Meow Meow’s music, check her out on Spotify, Apple Music and Amazon Music. To keep up with all things Oz Arts Nashville, follow them on Facebook, X, YouTube and Insta.

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!

An Accidental (On Purpose) Rapid Fire 20Q with The Keeton’s ‘The Play That Goes Wrong’

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Frequently described as Sherlock Holmes meets Monty Python, The Play That Goes Wrong began as a spirited production created by the UK-based Mischief Theatre Company. What started as a fringe production quickly snowballed into a West End hit and Broadway favorite, delighting audiences with its perfectly timed mishaps, collapsing sets, and characters determined to press on no matter how disastrous things become. 

Now, that same brand of orchestrated mayhem takes center stage at The Keeton Theatre from April 10–26, bringing Nashville audiences a whirlwind of laughter where every missed cue, falling prop, and “accidental” blunder must be carefully executed in order to keep the illusion of screw-up believable.

As the cast and crew prepared for their opening night, we caught up with cast members Josh Mertz (Chris), Leslie King (Sandra), Hazen Lawson (Dennis), and director Erin-Grace Bailey to talk about the art of controlled chaos, the technical precision behind the comedy, and exactly what it takes to make everything go so hilariously wrong.

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RAPID FIRE 20Q WITH THE KEETON’s THE PLAY THAT GOES WRONG

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s JOSH MERTZ

JHPENTERTAINMENT:As a Nashville native and frequent Keeton performer, what makes coming back for this show feel special?

JOSH MERTZ: The Keeton is my theatre home. I absolutely love performing here! Kevin and Donna Driver are amazing, and they run this space with such care- which is one of the many reasons I keep coming back. The reason I auditioned for this particular show in the first place is the absolute dream production team of Erin-Grace Bailey, Allison Gaddy, and Fiona Barrett. I love getting to work with them so much!  I think they bring fun energy and passion for this craft into the rehearsal space. I appreciate the production team’s ability to create nuanced performances and challenge us to be the best actors we can be. Allison is an unsung hero as our stage manager because without her calm presence backstage running the show, there simply wouldn’t be one. Fun fact – during the audition, I told the team I would play “Tree number 1” just to work with them again, and the trust they had in me to play Chris is just an added bonus, as it is a dream role for me to portray.

JHPENTERTAINMENT: Chris takes himself very seriously—how fun is it to play someone completely unaware of how wrong things are going?

JOSH MERTZ: Chris has been such a fun character to build. In my interpretation of Chris, he is your typical over the top, overbearing director with a “the show must go on” mentality. I do believe he’s more oblivious to how wrong things are going earlier on in the show but … Chris certainly has a breaking point! This show is fun as an actor because while we know all the things that will “go wrong,” our characters do not always see what’s coming. And hopefully, neither does the audience!

JHPENTERTAINMENT: You’ve done everything from Ragtime to Footloose—how does comedy like this challenge you differently?

JOSH MERTZ: I consider myself as primarily a character actor, so this show was right in my wheelhouse. I think what challenges me the most as a performer is how fast-paced and high energy the show is. This has been the most challenging show I’ve ever done in my life. Between the running, jumping and falling, by the end 0f the night Chris is so exhausted. The play goes by so fast, and I hope the audience is ready to buckle up for this rollercoaster of a show.

JHPENTERTAINMENT: What’s the most difficult accidental moment you have to execute on purpose each night?

JOSH MERTZ: The most difficult moment for me personally is having to fall off of a high platform. Erin-Grace prioritizes actor safety in all of the choreographed chaos of this show, so it has been incredible to know that I would never be asked to do anything that was going to put me at risk of injury. I won’t give away the stage magic, but it was definitely something I had to mentally ease my way into. 

JHPENTERTAINMENT: What’s your personal favorite moment of chaos in the show? 

JOSH MERTZ: My favorite moment of utter chaos is the ending of Act 2. The entire cast is on stage, and it is so fun to all be there together for the culmination of the show. I cannot give too much away, so you will just have to get your tickets to see how it ALL falls apart.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s LESLIE KING

JHPENTERTAINMENT: Sandra has to juggle performance and disaster at the same time—what’s the trick to balancing both?

LESLIE KING: I’ve found that being able to trust my fellow cast mates is super important. All of our disasters are carefully constructed and executed and if I’m focusing on what everyone else is doing it doesn’t leave much bandwidth to focus on myself and my character. Because I trust my cast mates to be where they’re supposed to be and do what they need to do, it makes it easy to balance both. 

JHPENTERTAINMENT: Sandra’s claim to fame is that her aunt is Dame Diana Rigg. In your real life, who’s your favorite name drop?

LESLIE KING: I have a connection to Gabe Gibbs (played Elder Price in The Book of Mormon on Broadway 2015-2017) and his family. He probably wouldn’t have any idea who I am but his parents would. We went to church with them for about a decade, and I went to high school with his brother. 

JHPENTERTAINMENT: You’ve previously appeared in area productions as varied as Cabaret and Puffs. Where does a physical comedy like The Play That Goes Wrong fall in the mix?

LESLIE KING: It has been so much fun to work on. While I’ve done comedies before, the physicality of this show is unlike anything I’ve done before. It adds an extra element of challenge, but I’ve absolutely loved it. 

JHPENTERTAINMENT: What’s the hardest moment to keep a straight face when everything is going wrong? AND Who among your fellow cast mates breaks easiest? 

LESLIE KING:  I’d have to say watching David Fonville inch his way off stage after the gurney fails is high on the list of moments I struggle to keep a straight face. Either that, or the ring around the rosey scene at the end of act one where they get stuck going in circles on the same scene. Luckily I’m offstage for that so I can laugh as much as I like. 

Honestly we’ve all worked pretty hard to stay composed but occasionally I’ll still get Josh Mertz to break. 

JHPENTERTAINMENT: The Keeton’s resident scenic designer Kevin Driver has his work cut out for him with this show. What’s your favorite set element that Goes Wrong?

LESLIE KING: I think the walls or the platform are both great elements. They’re both completely unexpected if you haven’t seen the show before and I love the moment we really catch people off guard with elements like those. 

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s HAZEN LAWSON

JHPENTERTAINMENT: Even though he is a bit of a novice on the stage, Dennis quickly realizes even his flubs get a memorable reaction from the audience. How much fun are you having leaning into that aspect of the character?

HAZEN LAWSON: It’s been a lot of fun digging into how Dennis sees himself on and off the stage. His biggest dream is to be in “the big leagues” with actors like Robert, Chris, and Sandra, and I think he just can’t even believe he gets to be on stage with these talented actors. Dennis strives so hard to do everything right, but every time he messes up – to fanfare from the audience – it’s another reminder that he’s not as polished as his fellow actors. Playing off the juxtaposition of Max has also been a lot of fun; where Max pushes for attention from the audience, Dennis is absolutely mortified by it. 

 JHPENTERTAINMENT: This show is very physical—what’s the most demanding part for you?

HAZEN LAWSON: The ending scene of Act I is a bit of a gauntlet for me when Dennis can’t quite seem to get his lines right. It’s a full-on mental circus act keeping track of the script and blocking while everything loops over and over again to make sure that everything runs exactly as it should every time. And then by the end of the scene, I’ve been thrown on the floor, drenched with several glasses of scotch, and Dennis is having a full-blown panic attack. It’s a big push, but it’s absolutely worth it for the utter catharsis those ending lines bring. 

JHPENTERTAINMENT: Your show bio reveals a love of reading, knitting, and hiking—all seemingly tranquil—How do you mentally shift into the fast-paced chaos of The Play That Goes Wrong?

HAZEN LAWSON: Funnily enough, I think my love for my grandma activities as I call them has been crucial to helping me keep up with the show. Every single joke, line, and practical effect has been knit into this intricate story that will start to unravel the second a thread gets dropped. Tranquility, and especially attention to detail, is the name of the game when you need to keep a level head and stay in complete control while the show seemingly falls apart around you. To the audience it should look like total chaos, but for those of us up on stage it should be running like clockwork.

JHPENTERTAINMENT: What’s one moment where timing is absolutely everything for the joke to land?

HAZEN LAWSON: Is saying the entire show an option?? If I had to choose just one moment, it would probably be at the beginning of Act II where Dennis’ lines are cut off by Trevor having fun with some sound cues. It’s a moment where I really have to be in sync with Wanderson Rezende – who’s playing Trevor up in the fake sound booth – and with Steve Love – our actual sound designer/operator in the real sound booth – to make sure everything lines up.

JHPENTERTAINMENT: Have you had any almost mishaps that felt a little too real?

HAZEN LAWSON: During one of our rehearsals, the set may have fallen apart just a little too early. Thankfully everyone was where they needed to be and no one was in any danger – but I will say I have a newfound perspective on Dennis’ reaction to almost being crushed by a flat.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s DIRECTOR, ERIN-GRACE BAILEY 

JHPENTERTAINMENT: You’ve directed a wide range of work, from the Bell Witch Fall Festival‘s Smoke and Women In Theatre‘s Tiny Beautiful Things to The Keeton‘s 2024 production of William Inge‘s Bus Stop—what drew you to The Play That Goes Wrong?

ERIN-GRACE BAILEY: This was kind of a dream show for me. I’m a big fan of a lot of British work and grew up on a lot of that classic slapstick comedy. I was that weird teenager that would rather re-watchI Love Lucy and Downton Abbey than keep up with the latest fad. That interest grew in high school when I discovered Oscar Wilde and then even more in college when I started studying Noel Coward. I got to see the National Tour of The Play That Goes Wrong my sophomore year for free after a friend gave up some tickets. I had no idea what I was walking into but immediately fell in love with it. I felt like it combined all of my favorite things. I’ve been an avid follower of Mischief Theatre Company who created the play ever since. The work they’re doing is not only incredibly creative and entertaining but extremely impressive. It’s an honor to bring a little piece of that to middle Tennessee.

JHPENTERTAINMENT: You had me at I Love Lucy, but I digress…How do you begin to direct something that’s supposed to look completely chaotic?

ERIN-GRACE BAILEY: Well, Step One is to swallow your anxiety and pray, haha. Step Two is a lot of research. We spent a lot of time on YouTube looking at other production, reading and then re-reading the script, and talking to people we knew who had done the show before. 

A lot goes into this show. Our technical director Kevin Driver has outdone himself. The set for this show is no easy feat, and we’ve had it for a while for the actors to practice on. Everyone in this show has spent a lot of time learning stage combat and stunts, memorizing their lines early on, and fine tuning little things so they’re shocking to the audience but predictable for the people they’re on stage with. 

Above all, I want to recognize that while every show takes a village, this one especially does. Everyone apart of this has put in a lot of work, contributed ideas, and collaborated to bring out the best in one another. Nothing about this show is possible without an amazing team. 

JHPENTERTAINMENT: What’s the biggest challenge in balancing technical precision with comedic freedom?

ERIN-GRACE BAILEY: Time. We could have probably rehearsed this show for the rest of the year and continued to have made discoveries, but in a rehearsal period, there has to be sort of a cut off for new things. I still encourage the actors to play so it’s fresh every night, but there are some pieces of the show that have to happen the exact same way every time so all of the elements can work together. It’s a fine line, but this cast and crew has mastered it with professionalism.

JHPENTERTAINMENT: You touched on it a bit earlier, but let’s delve into it a tad more…What has this show’s technical team done particularly well in bringing your vision of “controlled chaos” to life?

ERIN-GRACE BAILEY: Their dedication and communication has been nothing short of phenomenal. There’s a lot of bouncing ideas off one another. I think Kevin and I have had a phone call almost daily for the past two weeks talking about magnets and measurements. Ironically, for something to look so chaotic, it all has to be extremely precise. We’ve used the script as a formula, and then I think just about every designer has added little things of their own, too. It’s also a lot of fun to be directing a show where the designers get to bring out their comedic side as well. They’re so creative and lovely. I can’t thank them enough for the hours they’ve put in on this show.

JHPENTERTAINMENT: What do you hope audiences leave with after seeing The Keeton‘s production of The Play That Goes Wrong?

ERIN-GRACE BAILEY: As Dolly Parton says, “If you see someone without a smile, give them yours!” We’re living in some dark times. Even the day-to-day struggles just feel a little bit extra heavy lately. I hope folks get to come in to the theatre, have a nice meal, and just leave those struggles at the door for a little while. I hope they’re entertained, that they laugh, and they get to have an evening of no internet – just a bunch of strangers in a crowded room enjoying some weird, hilarious, impressive art.

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 The Play That Goes Wrong runs April 10–26 at The Keeton Theatre, located at 108 Donelson Pike, Nashville, TN 37214. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Please note that the two Thursday evening performances during the run are show-only with Doors at 6:30pm and Show at 7pm. Show Only Tickets: $32.00 (Thursday performances), Adult Dinner and Show: $42.00, Child Dinner and Show: $37.00. For a slight upcharge, Salmon can be chosen as the dinner entree. Group tickets receive a discount. Please call the Box Office at 615.883.8375 or CLICK HERE for tickets.

During the run of The Play That Goes Wrong, The Keeton will present The Keeton Community Wind Ensemble’s Spring Concert An Evening at the Theatre, directed by Dillon Wright and featuring a selection of music from the movies. Door open for this one-night-only event at 6:30pm with the performances beginning at 7pm on Tuesday, April 14. Tickets are $15. CLICK HERE to purchase.  Following The Play That Goes Wrong, on Tuesday, May 2 at 7pm, it’s time for The Keeton’s Annual Gala directed by The Keeton‘s own Donna Driver with musical direction by Jane Kelley. This year’s annual fundraiser for the theatre is themed: Role Reversal. Tickets to the gala are $60. Gala tickets include dinner, a chance to win some great prizes donated by supporters of the theatre and the opportunity to be among the first to purchase Season Tickets for The Keeton’s upcoming 2026-2027 Season. CLICK HERE to purchase gala tickets. 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!

Rapid Fire 10Q with ‘Riverdance 30’ Lead Dancer Brothers Kieran and Will Bryant; at TPAC April 3 & 4

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For three decades, Riverdance has captivated audiences around the globe with its electrifying blend of music, movement, and storytelling—and now, the legacy continues with the milestone Riverdance 30th Anniversary Tour. As part of just 67 cities on this celebratory U.S. tour, Nashville once again welcomes a limited engagement at Tennessee Performing Arts Center’s Jackson Hall, with performances set for Friday, April 3 at 7:30 p.m. and Saturday, April 4 at 2:00 p.m. and 7:30 p.m. Ahead of their Music City stop, JHPEntertainment caught up with siblings Kieran Bryant and Will Bryant—two of Riverdance 30’s internationally acclaimed lead dancers —for a quick-hit Rapid Fire Q&A, offering a behind-the-scenes glimpse into life on tour, stepping into the spotlight, and what it’s really like sharing the stage with family as part of this global phenomenon.

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RAPID FIRE 10Q WITH KIERAN AND WILL BRYANT OF RIVERDANCE 30: THE NEW GENERATION

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s KIERAN BRYANT

JHPENTERTAINMENT: You started dancing at just four years old—do you remember the moment it stopped being a hobby and became the path?

KIERAN BRYANT: I competed from a very young age both nationally and internationally. I guess the earliest moment I can remember that it clicked for me was my first time competing overseas in America. It opened my eyes to a whole new perspective and made me want to push myself to become the best I can possibly be. That’s when my love for it really took over.

JHPENTERTAINMENT: Hailing from Australia, what’s the most exciting aspect of touring the U.S. with Riverdance?

KIERAN BRYANT: US tours have always been my favorite tours. I love getting to see so many different parts of the country and how each city has its own vibe. It’s cool now getting to tour and perform in iconic places like New York & LA that growing up, I would’ve only really seen in the movies.

JHPENTERTAINMENT: Having joined Riverdance alongside your brother, who’s also a lead dancer in the company—what’s the biggest advantage of having him there, and what’s the one thing that can still drive you a little crazy?

KIERAN BRYANT: My brother and I have always been super close so getting to do what I love alongside my best friend, it’s the best. It’s natural for everybody to get a little homesick, especially being on the road for long periods of time so having him there helps massively dealing with that. That being said, us being so close we know each other better than we know ourselves sometimes, so like all siblings we do get on each other’s nerves from time to time. But it’s all love.

JHPENTERTAINMENT: Having officially made your lead debut in 2022—what shifted for you, mentally or physically, stepping into that level of responsibility?

KIERAN BRYANT: Becoming a lead dancer was always the goal so that was something I was building myself into from the beginning. There is a significantly higher demand on the body and mind that comes with the role so making sure I prioritize health and wellness has become even more significant in my day to day. It’s also essential having that trust and belief within yourself that you deserve to be there. I think that’s what keeps me striving to always push myself.

JHPENTERTAINMENT: Among the many international tour stops, you’ve performed lead in your hometown of Sydney, Australia, cheered on by family and friends. Quite the full-circle moment, I’m sure—what did that moment feel like in your body as you stepped onstage?

KIERAN BRYANT: It’s hard to explain really. It was kind of like an out of body experience, every movement felt a little different than usual. There were a lot of emotions going through my body, so I just tried to keep myself present and enjoy being in the moment. There’s a different energy from both the audience and the cast when it’s a big show like that. No better feeling than performing and showing gratitude towards the people who have supported you along your journey.

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s WILL BRYANT

JHPENTERTAINMENT: You joined Riverdance in 2013 and became a lead in 2016—I caught the 20th anniversary performance at TPAC a decade ago. How has your perception of (and performance as) a lead dancer changed since that initial anniversary tour?

WILL BRYANT: Having toured with Riverdance for nearly 13 years now. My perception, especially as a lead performer, has changed a lot. As a dancer in such a prestigious show as this, there is a certain standard you have to hold yourself accountable for. When you step into the role of a lead position, it’s a whole different ball game. You have to maintain a physicality and mindset that allows you to essentially lead an entire production night after night, venue after venue. There’s definitely ups and downs but it’s all part of the journey. I was just starting out my lead career in 2016, so 10 years on, having solidified my position and experienced the dynamics of the role, I feel that I am at the top of my game.

JHPENTERTAINMENT: Having performed in over 24 countries—has any particular audience surprised you in the way they respond to the show?

WILL BRYANT: I’d have to say when I toured Mexico in 2022, I was pleasantly surprised by the response we got. I didn’t really know what to expect as I had never been there before. They loved the show. I remember they were even selling their own Riverdance merchandise out the front of the venue which was really cool. They had everything. T-shirts, mugs, hats, you name it. I managed to snag a mug with my face on it.

JHPENTERTAINMENT: You and Kieran aren’t the only siblings on the 30th Anniversary Tour—there’s also Anna Mai Fitzpatrick and her brother Fergus. Do you feel like you four might have a slight advantage because of those familial relationships, or has your long tenure with the company created its own family vibe?

WILL BRYANT: I feel like every family relationship is different, but for me, my brother and I share a special bond. We are best mates. Always have been. Being able to share these experiences on the road with my brother isn’t something I take for granted. I feel like there is a definite advantage to having someone you’re so close to on the road with you. We are able to be brutally honest with each other on our performance and life, even when it isn’t asked for. But I love that.

JHPENTERTAINMENT: Hitting the Principal role and performing at Radio City Music Hall is no small milestone—did that moment live up to the ideals you put on it?

WILL BRYANT: Performing in Radio City is something that I will never forget. I have spent years performing in various venues across the globe but this one was very special for me. Due to unforeseen circumstances I was unable to perform lead in Radio City in 2020, so being able to strut my stuff as a lead performer in 2025 in front of the thousands, my parents included, was a phenomenal experience.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Riverdance live on stage?

WILL BRYANT: A major takeaway I’d like audiences to experience is a sense of connection. Throughout the show there are so many elements of cultural identity and cohesiveness. The artistry of all performers share a special bond that connects us no matter where you are from. I also hope audiences discover a new found respect for the arts industry. We put a lot into what we do as performers and I don’t think a lot of people realise that. Life on the road isn’t all glitz and glamour. We essentially put our entire lives into putting on shows night after night ensuring people experience the best of the best. That’s what we strive for.

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Tickets for Riverdance 30: The New Generation range in price from $47 to $215, with a VIP Ticket option that includes premium orchestra-level seating, early access to the venue to watch cast blocking and warm-ups, a VIP laminate, and a pre-show Q&A with select cast members. For more information on VIP ticketing, call TPAC’s Box Office at 615.782.4040 or CLICK HERE to purchase tickets.

Following their limited engagement in Music City, Riverdance 30th Anniversary Tour continues as they head to Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Beyond Riverdance, TPAC‘s calendar of events continues with Nashville Repertory Theatre‘s production of Sister Act on stage at the Polk Theatre April 10 thru 19 (Check back here at jhpentertainment.com for our upcoming chat with Sister Act‘s director and members of the cast). TPAC Inclusive Arts Presents two Arts Adventure Workshops—Stage Combat for ages 9-15 and Heroes and Villains for ages 8-16 on April 11. On April 16, TPAC InsideOut and Vanderbilt University team up to present a Lunchtime Preview of Nashville Ballet‘s Sherlock (onstage at the Polk Theatre May 1-3). April 16 thru 18, Nashville Opera presents The Barber of Seville at TPAC‘s Jackson Hall. CLICK HERE for all these and more great performances at TPAC.

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!