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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!

Rapid Fire 20Q with Cast Members of Playhouse 615’s ‘The Little Foxes’; onstage beginning March 20

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For such an intimate little theatre tucked away in a row of shops in Mount Juliet–just fifteen minutes from downtown Nashville–Playhouse 615 frequently presents a wide variety of plays throughout each theatre season ranging from farce to drama, camp to classics. With that in mind, it should come as no surprise that for their latest production they’re presenting the bold, character-driven story of  The Little Foxes, Lillian Hellman’s searing portrait of greed, power, and family dynamics. In this Rapid Fire 20Q, we catch up with cast members Ann Street-Kavanagh, Zoë Garner, Phil Brady, and Gwendolyn Clinton as they dive into their roles, reflect on this particular production’s modern lens, touch on a bit of familial nepotism and unpack what makes this American classic continue to resonate with audiences today.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s THE LITTLE FOXES

RAPID FIRE WITH THE LITTLE FOXES’ REGINA GIDDENS, ANN STREET-KAVANAGH

JHPENTERTAINMENT: The Little Foxes‘ Regina Giddens is one of the great roles in the American theatre canon. As a co-founder of Playhouse 615, I gotta ask…were you always gonna play Regina or did you actually have to audition for the role alongside others?

ANN STREET KAVANAGH: Actually, the show was chosen for [another actress], as Regina. We are huge fans of her talent, and consider her theatre royalty in Nashville. Unfortunately, she decided to step down for personal reasons.  At Playhouse 615, I always audition for any role I play. I would like to think that my work stands for itself, and that I don’t need to “call dibs” on a role in order to be cast.

JHPENTERTAINMENT: What was it about The Little Foxes that made it feel like the right choice for this particular season?

ANN STREET KAVANAGH: We always include a play of classic genre. The story is a powerful look at family dynamics and could be set in any time period and still be relevant.

JHPENTERTAINMENT: On that subject, in a recent post on Playhouse 615’s social media, it was revealed that co-directors Joel Meriweather and Preston Alexander Raymer have reimagined Hellman’s classic through a “sharp, modern lens.” As a huge fan of the 1941 film version of The Little Foxes, which kept the story in its original 1900 timeframe, as did 2017’s Broadway revival… should I be worried?

ANN STREET KAVANAGH: You shouldn’t be worried at all!  The script itself is intact other than a few minor things to update monetary amounts, etc.

JHPENTERTAINMENT: Regina is ruthless, brilliant, and endlessly calculating. What have you discovered about her motivations while working through Lillian Hellman’s script that surprised you the most?

ANN STREET KAVANAGH: That beyond being ruthless, brilliant, and endlessly calculating, she’s just really selfish to the core. She wants “things” and isn’t too interested in relationships of any kind unless they bring her more material things and a standing in society.

JHPENTERTAINMENT: While Tallulah Bankhead first brought Hellman’s Regina to fire-breathing life on the stage in 1939, it’s arguably Bette Davis’ turn in the film that’s most associated with the role. Of course Laura Linney and Cynthia Nixon alternated in the role during its most recent Broadway revival. So, what’s it like taking your place among these powerhouses of stage and screen as you put your touch on the legendary role of Regina Giddens??

ANN STREET KAVANAGH: Some powerhouse women indeed! Of course, I’d seen The Little Foxes, but that was years ago. I try to never watch someone else’s performance while in rehearsals. I want to explore the character without influence. I am delighted to add this character to my resume!  As someone who usually does comedy, it’s been refreshing to  play a villian, of sorts. I closed Birthday Candles at Lakewood Theatre about 2 weeks ago, so to jump from playing a very pleasant, loving woman to one who is only pleasant when it suits her, has been a lot of fun!

RAPID FIRE WITH THE LITTLE FOXES‘ ALEXANDRA GIDDENS, ZOË GARNER

JHPENTERTAINMENT: After spending much of your youth on stage, then stepping away from acting for a while, what made now the right moment—and Alexandra in Playhouse 615’s The Little Foxes the right role—to return to acting?

ZOË GARNER: It was always my intention to return to the stage when life calmed down enough for me. After living abroad for a while and finally being free from night shifts I was keeping an eye out everywhere for a place to start again. Joel is a director I worked with a long time ago when I had first started acting. It felt like a natural fit to try and work with him again to shake off the rust.

JHPENTERTAINMENT: How do you approach portraying Alexandra’s  transformative moral awakening over the course of The Little Foxes?

ZOË GARNER: I feel it’s like waking up from a daydream. When you’re young you’re used to people telling you not to worry about it. Especially about the challenging and often times emotionally charged interactions that come from adult relationships. At some point though you have to realize that looking away and pretending it’s not your problem is only going to cause you other problems. So it’s like waking up, not from a dead sleep, but from something you didn’t want to see.

JHPENTERTAINMENT: You’re sharing the stage with Ann Street Kavanagh as Regina—Alexandra’s formidable mother. What has that dynamic been like both in rehearsal and off-stage?

ZOË GARNER: It’s cliche to say but it’s honestly it’s been a privilege to share the stage with her. I spent so much of my childhood acting up with older, more accomplished actresses. And now I feel like I’m standing side by side with fantastic scene partners. Being able to go from stupid jokes and gags backstage to intense on stage confrontations without batting an eye feels natural and exciting.

JHPENTERTAINMENT: This production also marks your first time working with Playhouse 615. What has the experience with the company been like so far?

ZOË GARNER: It feels like the type of home that theatre has always felt like. Well, the type good theatres feel like! There’s also an attention to the safety and comfort of the actors that I appreciate.

JHPENTERTAINMENT: Alexandra ultimately chooses a very different path than the rest of her family. What do you hope modern audiences—watching this story unfold in 2026—take away from her journey?

ZOË GARNER: As the daughter of a mother or a son of a father or a child of a parent we don’t have to obey just because we always have. Because it’s the path of least resistance. If it’s something you believe in strongly, it’s not too late to talk back. Your family is who you choose it to be, not just who tells you what to do.

RAPID FIRE WITH THE LITTLE FOXES‘ OSCAR HUBBARD, PHIL BRADY

JHPENTERTAINMENT: Let’s start with the obvious question—how is it possible this is your first show with Playhouse 615?

PHIL BRADY: I’ve done shows with Joel and Ann in the past, but the drive from almost Bellevue to Mt. Juliet at rush hour for rehearsal has kept me away.

JHPENTERTAINMENT: Oscar Hubbard is one of the more openly unpleasant characters in The Little Foxes. When you first read the script, what stood out to you about him?

PHIL BRADY: I noticed how determined he was to secure his son’s future and to take every advantage to make it happen even if it meant putting Leo in the same situation as himself: marrying for money.

JHPENTERTAINMENT: Hellman gives Oscar some brutally revealing dialogue about power, money, and entitlement. Is there a particular bit of dialogue that you love delivering within the script?

PHIL BRADY: My favorite section is when he and Leo are coming to agreement about getting his uncle to “lend” him bonds to make the cotton mill deal.  The line that I think sums up the Hubbard phylosophy: “People aught to help other people, but that’s not always the way it happens.  And so sometimes you have to think of yourself.”

JHPENTERTAINMENT: How do you find the balance between leaning into Oscar’s villainy and making him feel like a real person?

PHIL BRADY: Oscar is like all of us: a product of his circumstances and choices; so both his villainy and better self work to achieve his goals.

JHPENTERTAINMENT: At its core, The Little Foxes is about the corrosive nature of ambition. Where do you see Oscar fitting into that larger moral ecosystem of the Hubbard family?

PHIL BRADY: I see Oscar as the blue heeler that tries to herd the family into prosperity.

RAPID FIRE WITH THE LITTLE FOXES’ ADDIE, GWENDOLYN CLINTON

JHPENTERTAINMENT: If memory serves, Playhouse 615 audiences first saw you as Calliope in Lysistrata, you stage managed their Death of a Streetcar Named Virginia Woolf, and appeared as Kate in Good People last fall, now you’re back onstage…this time as Addie in The Little Foxes. How has that journey—from performer to backstage collaborator and back again—shaped the way you approach this role with this company?

GWENDOLYN CLINTON: I am someone who works better when I know the why of how things are done. Working back of house is a great way to learn the why of theater and to appreciate the importance of every part of the production. I think theater is magic and I love the opportunity to peek behind the curtain and learn the tricks. Being back onstage fuels my soul and having the backstage experience makes me want to do my best and do my part to make the production the best it can be.

JHPENTERTAINMENT: Addie is sometimes discussed in the context of the “mammy” trope in American drama, yet in Hellman’s script she also serves as the play’s moral compass. How did you approach honoring the full scope and complexity of the character?

GWENDOLYN CLINTON: The mammy trope is a complicated one. While their existence was belittled and mocked for entertainment purposes, these women did exist. They took care of the households and mothered other people’s children while their own children were often in the fields working under extremely harsh conditions. My approach to Addie is to treat her character with the respect she deserved while also showing the toll this type of work took on these women physically and emotionally.

JHPENTERTAINMENT: Exploring that a bit more…What does it mean to portray Addie in 2026—nearly a century after the play premiered—especially given how conversations about representation and historical context have evolved?

GWENDOLYN CLINTON: It makes me proud. Women like Addie existed and I think it’s important to tell their stories with the respect they deserve. The opportunity to play Addie in 2026 allows me to breathe more complexity into the character.

JHPENTERTAINMENT: Much of Addie’s power comes from observation and restraint rather than big speeches. How do you build that quiet strength and watchful presence onstage?

GWENDOLYN CLINTON: The best way for me to do this is to truly understand who Addie is as a person, examines her relationships with those she interacts with, and to understand her motivations. This helps me to not waste a single moment onstage. Silence speaks volumes and I want Addie’s to be deafening.

JHPENTERTAINMENT: Your background includes years as a Latin dance teacher, performer, and touring company director. Do any of those movement or storytelling instincts carry over into the way you inhabit a character like Addie?

GWENDOLYN CLINTON: Absolutely. The different rhythms of latin music is what I connect to when dancing. Those rhythms tell a story that is important when translating those stories into dance. Understanding Addie and connecting to the rhythm of her life is the best thing I can do to help tell her story.

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Playhouse 615’s production of The Little Foxes runs March 20 through April 5, with performances held at Playhouse 615 11920 Lebanon Rd, Mount Juliet, TN. Friday and Saturday Evening performances begin at 7:30 PM, with Sunday matinee performances at 2:30 PM. Tickets are $17 for Seniors/Military and $20 for Adults. All tickets are General Admission. CLICK HERE to purchase tickets or call the box office at 615.319.7031. Whether you’re revisiting this American classic or experiencing it for the first time, this sharp, modern staging promises an interesting night of theatre just outside Nashville.

Next up at Playhouse 615 is God of Carnage onstage May 1-17, followed by 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q with ‘Back to the Future the Musical’ National Tour’s Marty, Lorraine, Biff and Doc; at TPAC thru Sunday

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When Back to the Future: The Musical hits the stage, it doesn’t just revisit a beloved story—it supercharges it with theatrical spectacle, heart, and 1.21 gigawatts of energy. On Tuesday, March 17 the National Tour set their destination to TPAC’s Jackson Hall for a five-day, 8-show run thru Sunday, March 22, inviting audiences to hop in the DeLorean and experience Hill Valley like never before.

In this edition of Rapid Fire 20Q, we caught up with BTTF‘s Marty McFly-Lucas Hallauer, Doc Brown-David Josefsberg, Lorraine Baines-McFly-Kathryn Adeline, and Biff Tannen-Nathaniel Hackmann to talk about stepping into iconic roles, honoring a cinematic legacy, life on the road, and the 88mph magic that brings this time-traveling adventure to life eight shows a week.

So buckle up, dreamers! It’s time to go Back to the Future!

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RAPID FIRE 20Q WITH CAST OF BACK TO THE FUTURE: THE MUSICAL

RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER

JHPENTERTAINMENT: You joined the national tour originally as a swing before stepping into the starring role of Marty McFly early in 2025. What was that transition like—from covering multiple tracks to suddenly being the guy tasked with securing his own future every night?

LUCAS HALLAUER: Getting to launch this tour and be part of the Original Tour Cast was an absolute dream come true, and when we started this tour I would have never imagined that I would be in the position that I am today. Both of the jobs I’ve had on this tour are incredibly difficult for different reasons. Obviously performing the high-energy role of Marty 8x a week is no joke and it’s the most vocally taxing show I’ve ever done, but as a swing, not knowing which of my 8 tracks they were going to put me on for was much more emotionally taxing and stress inducing. Swings and understudies are truly the backbone of our industry and they don’t get nearly enough credit for it. I’m incredibly grateful for my time as a swing because I learned so much and it gave me an even greater respect for the swings and understudies in the cast.

JHPENTERTAINMENT: Marty McFly, of course, was made famous on screen by Michael J. Fox. What aspects of the character felt most important for you to capture when stepping into the role?

LUCAS HALLAUER: The great thing about Back To The Future being such a popular movie is that most people likely know the characters and the story already. And for good reason, people really love these characters. Our director John Rando and Bob Gale, the creator of the franchise, were very open about us creating our own versions of these characters. And I think what helps with that is the bits in our show that aren’t in the movie. Obviously, because it’s a musical, we sing and dance, and that gives us an opportunity to see more into these characters mind’s and get a deeper understanding of them.

JHPENTERTAINMENT: Back to the Future carries a huge nostalgia factor, especially for audiences who grew up with the movie. Has performing the show night after night given you a deeper appreciation for what the story means to fans of a certain generation?

LUCAS HALLAUER: Absolutely. I was a fan of the movie before auditioning for the show, so I can understand the love and passion that fans have for the films. Doing this show every night, and having met so many of the people involved in creating that franchise like Bob Gale, Michael J. Fox, Christopher Lloyd, & Lea Thompson (to name a few) has only strengthened my love for Back To The Future and I’m so grateful to be even a small part of that legacy.

JHPENTERTAINMENT: Marty’s wardrobe—from the puffer vest to the sneakers, perfectly reimagined for the stage by scenic and costume designer Tim Hatley—is instantly recognizable. What’s it like to put on that iconic costume each night and step into such a visually legendary look?

LUCAS HALLAUER: The design team has spared no expense to make sure that these iconic costumes look like the ones from the films. I love being able to live out my 80’s fantasy every night in denim on denim, and the 50’s prom outfit that Marty gets to wear has always been one of my favorites, so as a Back to the Future fan, these costumes have definitely been fun for me to play around in. I will say that we go through a lot of those sneakers though. Running around our stage 8x a week means beating those things up pretty thoroughly.

JHPENTERTAINMENT: You graduated from Coastal Carolina University in 2023 and not long after find yourself starring in a major national tour. Has there been a moment during this run where you stopped and thought, “Okay…this is really happening”?

LUCAS HALLAUER: I’m still not sure I’ve come to terms with it. I visited my alma mater recently to attend a 25th Anniversary Gala, and while I was there it almost felt as if I had never left. The past 3 years that I’ve been touring have been so surreal and every day I think I’ll wake up from the dream. Every once in a while, I’ll finish the show and look out into the crowd and just try to take in the moment, because it truly has been one of the greatest experiences of my life and I will forever be grateful to Back To The Future for that.

RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE

JHPENTERTAINMENT: Lorraine is such an interesting character because of the time-travel element of the story. What’s it like sharing the stage with Lucas’ Marty as both the future son she’ll eventually have and the mysterious guy her teenage self suddenly develops a crush on?

KATHRYN ADELINE: First – playing this role opposite Lucas has been an amazing experience. He is so funny and talented, and I often feel like I’m literally in the movie. Along with the entire company, we are having a blast telling this story each and every night. Playing Lorraine comes with a challenging dynamic because the character lives at the intersection of comedy and sincerity. Young Lorraine feels a connection with Marty and an attraction towards him in a way that she has never experienced before. “There’s just something about that boy!” What creates the comedic tension is that both Marty and the audience know something she does not- He is her son. So it becomes this balance of playing the innocence of a genuine and curious teenage girl discovering her own feelings and desires, while allowing the comedy of the surreal nature of the situation to live on top. The two different versions of 1985 Lorraine highlight the truth that our choices and life experience help define who we become.

JHPENTERTAINMENT: As you mention, Lorraine transforms quite a bit between the first time audiences see her, then the 1955 version of herself and again into the 1985 Lorraine audiences see later. How do you approach that arc within the show? And how grateful are you to Campbell Young Associates for the wig/hair/makeup assist in the physical transformation?

KATHRYN ADELINE: Transforming between the different versions of Lorraine is one of my favorite things about playing this role. When audience members first meet her, she is a tired, apathetic, middle aged mother who is coping with the fact that her life didn’t necessarily play out the way she had hoped. A few scenes later, Lorraine enters the stage again but this time 30 years younger as a curious, eager, innocent, bright, and zealous teenager. Finally, at the end of the show, we meet a new and different version of middle aged Lorraine. She is now put together, energetic, spunky, and sweet.

I have been very intentional in differentiating these three versions of the same character. While she is the same person, her life experience is completely different in each part of her storyand this informs her intentions, attitudes and physicality.

There is no doubt that when it comes to building her arc, much credit belongs to the perfectly designed costumes and the fabulous wigs and makeup… thanks to Campbell Young Associates. Their talent and attention to detail is truly inspiring! For me, looking the part has always allowed me to better feel the part. They are some of the very best at what they do!

JHPENTERTAINMENT: This production marks your national tour debut. What did it feel like the first time you stepped onto the stage knowing you were officially part of the touring company of Back to the Future?

KATHRYN ADELINE: Stepping out on that stage for the first time came with a feeling I can’t even describe. This opportunity is one I have worked so hard for and it was made even more special by the fact that Back to the Future is such an iconic and well loved story. It’s been an absolute dream come true!

I grew up in a family that loves musical theatre and my parents were always taking us to see shows at the Fox Theatre in downtown Atlanta. With New York being so far away, it was always a treat to experience the magic of Broadway right in my own hometown as each tour came through. I remember being in such awe of the productions. It is so special to travel with this company and create accessible opportunities for theatre lovers across the country. Make no mistake, I didn’t step onto that stage alone. I have an amazing team that has helped me get here. I cannot talk about this opportunity without also thanking them!

JHPENTERTAINMENT: Hill Valley is filled with big personalities and comedic moments. How do you balance Lorraine’s humor with the sincerity at the heart of her story?

KATHRYN ADELINE: Yes, it’s a joy to be in a show filled with so many moments that make the audience laugh. What I love about this story is that woven through all the comedic moments, big personalities, and energetic dance numbers is so much relatable human experience. At the heart of this story is the timeless message that we all have the opportunity to write our own future. “You can accomplish anything if you just put your mind to it.”

Specific to Lorraine, while the plot drives many of her comedic moments, she is also an endearing character with a very tender heart. She ultimately wants what most of us desire… a life filled with love and happiness, where everyone lives up to their greatest potential.

JHPENTERTAINMENT: As someone making their national tour debut, what has surprised you most about life on the road with a production of this scale?

KATHRYN ADELINE: Well everything is still moving so fast, and I am definitely learning a lot! I’m grateful to be surrounded by an incredibly competent and talented company. They have been so kind, welcoming and generous. When it comes to life on tour, and specifically with a show of this size and scale, the members of our crew are the real heroes. Moving the magic of Broadway from one city to the next, week after week, is no easy feat. This production is a true spectacle when it comes to all ofits special effects and technical elements. There is no way we could travel and perform this show eight times a week, in a new city, without them. On Sunday evenings, while the cast gets to go back to the hotel, the crew members immediately start packing up the sets, lights, sound equipment, costumes, props, wigs, etc. into 11 semi-trucks which transport everything overnight to a new city. Then, upon arrival…they unload and set everything up in time for our Tuesday night performance. This all happens within a 48-hour time period. They don’t tell all their secrets and I think somehow the Flux Capacitor is involved, but it is completely mind blowing how they get it all done!!

RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN

JHPENTERTAINMENT: Having created the role of Biff in Back to the Future: The Musical on Broadway, has your perception or portrayal of the character evolved since those earliest performances?

NATHANIEL HACKMANN: Well…. I’m not sure my portrayal has changed… but the number of my age has certainly increased!!! lol. I found out I was going to play this part over four years ago!!! Well over a thousand performances! HAHA! But in all seriousness every show is subtly different depending on my fellow cast mates, the theater, and of course- the AUDIENCE! They are so integral to everything we do… the response we get in real time is why we all love live theater!!!

JHPENTERTAINMENT: What’s key to making Biff both intimidating and entertaining for a live audience?

NATHANIEL HACKMANN: Oh I can’t give away the recipe for the donuts! 🙂 However, there is always something that makes any character a real human… something we can all relate to, when we watch them do heroic or despicable things… for me in Biff- everything has to do with Lorraine. He objectifies her as the trophy and status symbol that will gain him the power and respect he is (in his own mind) due. When he is blocked from gaining this all-consumingobjective, that’s when he is truly capable of super-human (or sub-human) feats.

Also everyone likes to see Goliath get knocked down… so I can’t miss in that moment!

JHPENTERTAINMENT: Okay, anytime I spot a Six Degrees of Separation type situation while researching to chat with actors who’ve worked with friends of mine, I’ve gotta ask: You shared the stage during the Broadway run of Back to the Future: The Musical with my friend Jelani Remy, who created the role of Goldie, everybody’s favorite future mayor of Hill Valley. What was it like working with him during that original run?

NATHANIEL HACKMANN: I adore Jelani!! I call him the mayor of every room he’s in. 🙂 truly, he elevates the work and mood of all those around him. I can’t wait until we’re on something together again! That original Broadway cast of BTTF was something so special. Lightning in a bottle. Those that saw it can attest… and those that were backstage will all agree I’m sure!!

JHPENTERTAINMENT: You’ve famously played both Jean Valjean and Javert in productions of Les Misérables. Does stepping into a character like Biff tap into the same kind of villain energy as Javert—or is it an entirely different beast?

NATHANIEL HACKMANN: I love this question… first I think to myself: can anything I do be truly unique from my other work if I’m there? There will surely be some inevitable commonalities, BUT… Javert almost never has any moments of levity and his pursuit of Valjean is always about a higher cause… these are a couple of polar opposites from Biff who (in my opinion) is always trying to be perceived as smart and funny and charming for his own selfish sake. One thing I do think they share is a certain doggedness and animal cunning… but I would hope anyone who only saw my Javert would hardly recognize me in BTTF. As an actor my heroes are the people that disappear inside their parts. Their egos are secondary to the story and they can make the audience truly believe they are seeing the character and not necessarily their favorite actor portraying a part. That’s the true magic of excellent theater.

JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?

NATHANIEL HACKMANN: EASY! I LOVE THIS INTELLECTUAL PROPERTY! I have been a fan of Back to the Future as long as I can remember. I am honored and overjoyed to be associated with this property and universe and FANDOM every single day. What an amazing ride this has been and continues to be!! I am so thankful to the creative team and my colleagues and most to the audience for allowing me to play in this world with y’all!!!

RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG

JHPENTERTAINMENT: Immortalized on screen in all three Back to the Future films by Christopher Lloyd, what was your process for finding your own take on the character of Doc Brown while still honoring what audiences know and love?

DAVID JOSEFSBERG: Okay so, let me start by saying that as the elder of the company,  (ha) I was one of the only ones around back in 1985 to see the film when it came out. As most kids that age, it became a huge part of my life. I wore the vest, the shoes and always wanted to be Marty….turns out I had to wait 40 years to portray  an even better role! Ha. The iconic Doc Brown! Yes, it’s iconic so you absolutely get to bow down to Christopher Lloyd, and you obviously have to give the “roads, where we’re going? We don’t need…roads!” And “Great Scott!” (You heard that in his voice didn’t you) But, the great thing about the musical is that we have both Bob Gale, the creator of the entire franchise, and John Rando, the amazing director at the helm. They encourage us to bring who we are to the character. Especially since in this version Doc is sort of a rockstar that dances and sings! So cool! So basically, I take a cup of Christopher Lloyd, half a cup of Roger Bart, who created it on Broadway, and add a cup of myself. Uh oh. That’s 2 1/2 cups! Ha!

JHPENTERTAINMENT: You were part of Back to the Future: the Musical toward the end of its Broadway run playing Principal Strickland. What’s it been like going from that role to rejoining the BTTF family on tour as the wildly inventive Doc Brown?

DAVID JOSEFSBERG: It has been incredible. I loved being in New York playing Strickland. He’s in the mix in all the scenes. I also got to do Doc about twice a week. Moving from twice a week to 8 times a week has been really great. It’s given me the chance to really make it my own. Touring as Doc also allows me to add a few little city specific references to each new city. I love coming up with those. You also feel like a family out here. We spend almost every waking moment together as opposed to heading home to my family in NYC! Now….there are also some interesting challenges touring as Doc. The different temperatures, each new hotel, and all the travel. But I love it!

JHPENTERTAINMENT: Okay, totally off-topic but because I’m a complete pop culture nerd and remembered you from your 2005 turn as Henry Winkler/Fonzie in the TV movie The Unauthorized Story of Mork & Mindy…what can you tell me about that experience?

DAVID JOSEFSBERG: Ayyyyyyy! Who doesn’t love the Fonz! Talk about an icon!!!??? HA. My friend Chris was playing Mork and he got me in for the audition because I look a lot like Henry Winkler. So, I booked it and flew to Vancouver to film it. I finished filming and came home….unfortunately they needed me to come back the following weekend and…um…that’s when my son was born. So, I saw him born, spent the night, and flew back out to finish the filming. Ha. It was crazy! But the show must go on.

JHPENTERTAINMENT: Your Broadway acting résumé spans shows as varied as Adam in Beetlejuice, standby for multiple roles in the 2023 revival of Spamalot and a 2017 stint as Ogie alongside Jason Mraz’s Dr. Pomatter in Waitress. As Doc Brown is there a different type of theatrical energy you’re tapping into that you’ve previously not accessed?

DAVID JOSEFSBERG: Well, he is by far the oldest character I’ve had to play, but he still has this crazy youthful energy…maybe moving just a little bit slower. I’d say most of the characters I play are truly heartfelt with a wild energy. I think Doc gets the wild energy, but he also gets a great heartfelt moment with Marty, where he sings “For the Dreamers.” This is a song about failing, and failing, and failing until you succeed. Might be my favorite moment in the show.

JHPENTERTAINMENT: Speaking of energy, one of the most entertaining elements of Back to the Future on stage is the theatrical magic courtesy the collaborative efforts of the show’s lighting designers Tim Lutkin & Hugh Vanstone, video designer Finn Ross, sound designer Gareth Owen and illusion designer Chris Fisher. Without giving away too much, what can you tell me about your favorite moment in the show where these elements all come together perfectly?

DAVID JOSEFSBERG: Absolutely. Here we go. The moment that first made me cry when I saw the show was when I am on the clocktower and Marty is driving our favorite co-star, the Delorean, through the streets. The lighting, video, sound and illusions all come together. It goes back and forth between the two moments and the swell of the music, that was from the movie, comes in and just takes your breath away. So nostalgic and really makes you feel like you are in a film. I feel so grateful every night to be in that scene. I won’t tell you if we succeed in sending him back to 1985! No spoilers here! Ha!

Thanks for the awesome questions. See you in the FUTUREEEEEE!

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From time-traveling teens and eccentric scientists to unforgettable villains and heartfelt transformations, Back to the Future: The Musical proves that some stories truly are timeless—especially when reimagined with the full force of live theatre magic.

Nashville audiences can catch the national tour at TPAC’s Jackson Hall now through Sunday, March 22, with performances that promise spectacle, nostalgia, and a whole lot of fun for longtime fans and first-time visitors to Hill Valley alike.

So whether you’re chasing time at 88 miles per hour or just looking for a nostalgic night at the theatre that hits all the right notes… now’s your moment.

For dates, times and tickets for Back to the Future‘s TPAC run, CLICK HERE. Following Back to the Future, the current season of Broadway at TPAC continues with Some Like It Hot onstage at Jackson Hall April 21-26. CLICK HERE for tix. You can also follow TPAC on Facebook, YouTube, Insta and TikTok.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

Rapid Fire 20 Q with Director and Cast of The Gift of Song’s ‘Footloose: The Musical’; onstage March 19-22

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High-energy, heartfelt, and packed with ‘80s nostalgia, The Gift of Song ‘s  Footloose: the Musical is ready to cut loose with performances Thursday, March 19 thru Sunday, March 22. With a dynamic cast led by Jonny Child & Claire Billingsley, with Steven Kraski and more, under the direction of the youth-oriented company’s longtime creative force Leslie Berra, this production promises to bring the beloved story of rebellion, healing, and the power of music to life in a fresh and electrifying way at Shelby Theatre at Freedom Middle School (1000 Excellence Way, Franklin, TN 37064). For my latest Rapid Fire 20Q, I recent posed questions to the aforementioned cast and director, diving into everything from iconic roles and behind-the-scenes insights to the nostalgia inherent in a show like Footloose.

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RAPID FIRE WITH FOOTLOOSE‘s REN, JONNY CHILD
JHPENTERTAINMENT: Ren McCormack arrives in Bomont as the ultimate outsider. What was your way into understanding this character and the frustration he feels walking into a town with a ban on dancing?

JONNY CHILD: I believe dancing serves as Ren’s escape from the emotional pain he experiences after his father leaves him and his mother. When he arrives in a place where dancing is banned, he realizes that the one outlet he has for coping with that trauma is suddenly taken away. Because of this, it makes sense that he would strongly speak out against the rule. I connected with this idea through music. Music is my own escape from reality, so if I were told that I was not allowed to sing, play, or even listen to music, it would be very difficult for me to simply accept that.

JHPENTERTAINMENT: At 18, you’ve been involved in theatre for more than half your life and have already stepped into directing and composing. How have those behind-the-scenes interests and experiences influenced the way you approach a role like Ren?

JONNY CHILD: Through my experience working both on stage and behind the scenes, I have developed a process for approaching characters. I begin by looking at the character from a broad perspective, considering their backstory and the events that may have shaped them before the story begins, as well as what their life might look like after the events of the show. This helps me understand why they behave and react the way they do. Next, I try to connect the character’s experiences with moments or emotions from my own life. Finding those personal connections allows me to step into the character’s perspective and better understand what they might be thinking or feeling with each line they deliver. Finally, I bring all of these elements together to build a character that feels complete and fully understood from my point of view.

JHPENTERTAINMENT: is there a trait that Ren possesses that you might adapt in your own life after the show closes?

JONNY CHILD: Yes, Ren is a very observant character. Personally, I am not always as observant as he is. I tend to focus on one thing at a time rather than allowing my attention to wander and simply observe what is happening around me. However, I think being observant is a very valuable trait. It allows someone to better understand the people and situations around them, which ultimately leads to a deeper awareness of others.

JHPENTERTAINMENT: Footloose is famous for its electrifying dance numbers. What’s the most physically demanding moment in the show for you?

JONNY CHILD: The most physically demanding moment in the show for me is the song “I Can’t Stand Still.” As the title suggests, I am moving for nearly the entire number. In addition to the constant movement, the vocals are also quite challenging. Because the choreography includes breakdancing and I still have to deliver several longer vocal lines, it requires a lot of stamina. By the end of the song, I am pretty out of breath.

JHPENTERTAINMENT: Of course the 80s feature prominently in the Footloose score. If Ren McCormack could pick one modern song——to blast in his Walkman headphones while dancing around  Bomont, what would it be?

JONNY CHILD: I’ve got to say, I think “Uptown Funk” by Mark Ronson (featuring Bruno Mars) is a song Ren would have a blast dancing to. 

RAPID FIRE WITH FOOTLOOSE‘s ARIEL, CLAIRE BILLINGSLEY
JHPENTERTAINMENT: Ariel Moore is bold, rebellious, and fiercely independent. What do you find most compelling about stepping into her shoes?CLAIRE BILLINGSLEY: I find her confident nature and sense of self extremely compelling. I love her determination to achieve more that what others expect of her, and it feels great to be able to perform the role of an independent and intelligent woman.

JHPENTERTAINMENT: How has exploring Ariel inspired you outside the show?

CLAIRE BILLINGSLEY: Exploring Ariel has inspired me to look into what we do for ourselves and what we are really only doing for others. Ariel has many moments throughout the show where she is pretending to be something she is not just to gain recognition from another person. After taking a deeper look into my own habits, I have found myself being more genuine in day to day life.

JHPENTERTAINMENT: Ariel and Ren share a spark that pushes the story forward. What’s been the most fun part of building that onstage chemistry with Jonny Child?

CLAIRE BILLINGSLEY: Being love interests with someone in a musical can be both awkward and really fun. It means that even in the more intense one on one scenes, there is someone else who is feeling exactly what you are, which creates more genuine connections offstage as well. The whole cast has become very close over the past few weeks and I am definitely going to miss being in this show.

JHPENTERTAINMENT: Ariel has some unforgettable musical moments. Which song in the show do you think will be part of your playlist long after the final curtain?

CLAIRE BILLINGSLEY: “Holding Out for a Hero” will forever me part of my playlist. It is just a fun song with an all too familiar storyline and deeper meaning. Not to mention that both the broadway and Bonnie Tyler versions are fantastically done.

JHPENTERTAINMENT: You’re a senior planning to study musical theatre and law after graduation—quite the combination! Is there a lesson within Footloose that might shaped those ambitions?

CLAIRE BILLINGSLEY: In Footloose, the teens of the town realize that it is their responsibility to invoke the change they would like to see. This has contributed to my ambitions by confirming the fact that I want to be one of those change makers in the world. Whether it is through storytelling or new bill proposals, I want to help those around me and make the world a better place.

RAPID FIRE WITH FOOTLOOSE‘s REVEREND MOORE, STEPHEN KRASKI

JHPENTERTAINMENT: You actually played Ren in your high school production of Footloose over 20 years ago. What was your reaction when you realized you’d now be stepping into the role of Reverend Shaw Moore?

STEVEN KRASKI: It has definitely been a full circle kind of moment for me, that’s for sure. I had a lot of fun channeling my inner Kevin Bacon in my senior year, and I have so many great memories from it. Now having the opportunity, two decades later, to be this group’s Shaw for their go around feels pretty cool. There may have also been a part of me that got a little bit too excited about the character’s baked-in lack of choreography.

JHPENTERTAINMENT: Reverend Moore is often seen as the antagonist, but he’s also a grieving father trying to protect his community. How do you humanize him for the audience?

STEVEN KRASKI: Some of the best antagonists are ones who believe they’re doing the right thing. Shaw, motivated by grief-driven fear to protect his child, very much fits that mold so that alone humanizes him in a tragic way for me. His actions, particularly against his family, will make it hard for the audience to like him throughout but the shame he feels by the end is what finally lets us see him for what he is…lost.

JHPENTERTAINMENT: Where does Reverend Moore fall on the spectrum of roles you’ve played?

STEVEN KRASKI: This role falls into a very unique category for me. I haven’t had many opportunities to play the antagonist before, let alone one with such a sad arc tucked into an otherwise light-hearted romp. It’s been an interesting journey and one I will cherish as I do my previous run with this show.

JHPENTERTAINMENT: The relationship between Reverend Moore and Ariel sits at the emotional heart of the story. What has it been like building that dynamic with Claire Billingsley?

STEVEN KRASKI: I think one of the hardest things I have ever had to do in all my years on stage is to be so mean to Claire Billingsley! She’s such a sweet and talented person, an amazing singer, and so easy to work with, but when I have to raise my voice (or hand) to her, it breaks my heart every time. Otherwise, it has been an absolute joy! 

JHPENTERTAINMENT: Having once been the rebellious teen at the center of the story and now portraying the authority figure—has your perspective on Footloose changed? AND…What do you hope audiences take with them after experiencing The Gift of Song’s Footloose?

STEVEN KRASKI: Oh most certainly! I must admit, as a teenager I don’t feel like I had quite the respect for the depth of Shaw’s arc and the greater story it tells about unhealed trauma and the pain it can cause the ones we love. So that is absolutely something I will personally be taking home with me. As for the audience, deeper themes aside, I just hope everyone has as much fun watching it as we have had putting it on! 

RAPID FIRE WITH FOOTLOOSE DIRECTOR, LESLIE BERRA

JHPENTERTAINMENT: Before we get into talking about your current production of Footloose, what can you tell me about The Gift of Song, the youth-oriented theater company you found it in 2007?

LESLIE BERRA: The Gift of Song began as a way to reward kids who, when they were unable to land a role at our local community theater in Santa Clarita, would often serve as crew instead. The original vision was to provide one night where these kids could perform whatever they wanted, without having to fit a role, without any restrictions as to content, and without any cost involved. After gifting these kids that one night, my husband and I realized we could keep the group going, offering more kids a chance to shine. We continued with the Santa Clarita group through 2013 (and I still fly back to do two projects a year there, even now).

Fast forward to 2015, about 18 months after I moved here, and the group was resurrected to provide the same opportunities to youth here, with one change: all ticket proceeds would benefit the non-profit theater company where we were performing (we spent two years helping Towne Centre Theatre, and in 2019 we worked closely with Street Theatre Company) . 

Fast forward again, and we are now an official non-profit, enabling us to receive grants and fundraise. I returned to my first love: producing and directing full-length musicals, initially just for teens. Starting in 2024, we expanded our programming to include two adult/mixed generation musicals, three youth musicals and two teen musicals. And the group has always had a focus on community service, conducting a minimum of three charity drives a year to help the homeless, kids in foster care and house-bound, low-income seniors.

JHPENTERTAINMENT: What is it about Footloose that makes it a perfect fit as The Gift of Song‘s latest offering?

LESLIE BERRA: The Gift of Song’s mission is to provide performance opportunities, especially where they are few and far between. Surprisingly, Williamson County doesn’t offer a lot of mixed-generation community theater, it’s mostly all-adult or all-youth casts . Footloose is a perfect fit because we have some incredibly seasoned adult actors performing alongside a dozen enthusiastic teens with varying degrees of experience. I’m a firm believer that we can all learn from each other, old (er) and young, and that we need more theater that includes all generations working side-by-side.

JHPENTERTAINMENT: For a show that tells the story of a town that outlaws dancing there there’s a lot of dancing in Footloose. To that end, you’ve enlisted choreographer Schuyler Phoenix. What’s it been like collaborating on this project with Schuyler?

LESLIE BERRA: This is my eighth collaboration with Schuyler in less than three years. We first worked together on Cabaret at Pull-Tight in 2023 and discovered that we really clicked creatively, often finishing each other’s sentences as our vision of a production number naturally aligns. Schuyler is so good at always incorporating the characters and their storylines into the dance, and has a way of bringing out the best in each performer, ensuring that everyone looks good and is comfortable with what they are doing. She’s also not afraid to take risks creatively, which is something I greatly value in a production team member.

JHPENTERTAINMENT: On the subject of collaborators, in addition to directing you’re also divvying up the vocal direction tasks with Lauren Case. How had sharing this responsibility affected rehearsals?

LESLIE BERRA: I’ve almost always handled the vocals for the shows I’ve directed, so I’ve come up with a pretty smooth process to handle both that and the direction of the show (as the founder of this organization, I’ve worn many, many hats over the years). 

I’ve been working with Lauren for 11 years now.  She was one of the first young performers I worked with here in Tennessee after moving here from Santa Clarita. I’ve had the privilege of directing her in countless musical variety shows and A Taffetas Christmas. I’ve watched her grow up, go off to college, and return with several degrees from Eastman School of Music. Lauren truly “gets me,” knowing how to help out wherever I might need it.  For Footloose, having Lauren co-vocal direct meant we were able to accomplish everything in half the time, as we would divide and conquer the parts to each song. It’s a deceptively difficult score, so Lauren’s expertise brought tremendous value to Footloose, and her assistance freed me up to focus on other things.

JHPENTERTAINMENT: With an ‘80s score packed with recognizable hits, what moment in this production do you think audiences will be talking about most on the drive home?

LESLIE BERRA: I’m pretty sure it will be “Holding Out for a Hero”, it’s an out-of-this-world experience, and unlike the traditional staging people are accustomed to seeing.

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Ready to cut loose? Whether you’re an ‘80s superfan or just looking for an evening of high-energy entertainment with heart, you won’t want to miss The Gift of Song’s production of Footloose: the Musical, running Thursday through Saturday, March 19–21 at 7:30 PM, with matinee performances on Saturday and Sunday, March 21 and 22 at 2:00 PM at the Shelby Theater inside Freedom Middle School. CLICK HERE for tickets. To keep up with the latest from The Gift of Song, CLICK HERE or check them out on 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. In the meantime… #GoSeeTheShow!

 

Rapid Fire 20Q with ‘Suffs: The Musical’ Cast Members; National Tour at TPAC March 3-8

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Members of the cast of ‘Suffs: The Musical’. (Photo by Joan Marcus courtesy musical.com)

There are few places in America where Sufffs lands with more historical weight than Tennessee — proudly known as the “Mother of the 19th Amendment.” In August 1920, it was the Volunteer State that became the 36th — and final — state needed to ratify the amendment, officially granting American women the right to vote. The dramatic showdown, later dubbed the “War of the Roses” — named for the yellow roses worn by pro-suffrage lawmakers and the red roses sported by those opposed — came down to a razor-thin margin and a 24-year-old East Tennessee lawmaker, Harry Burn, who famously changed his vote to “yes” after receiving a note from his mother urging him to “be a good boy” and support ratification. In that moment, Tennessee didn’t just make history — it sealed it.

More than a century later, the Tony Award-winning musical Suffs marches into TPAC’s Jackson Hall March 3–8, telling the story of the brilliant, relentless, and often divided women who made that historic victory possible. Created by Shaina Taub, this exciting new work doesn’t simply revisit the fight for suffrage — it underscores how fragile progress can be, and how much courage it takes to defend it.

Before the national tour takes the Nashville stage, JHPEntertainment caught up with Suffs cast members Marya Grandy, Trisha Jeffrey, Victoria Pekel and Tami Dahbura for an abbreviated Rapid Fire Q&A conversation about legacy, love, activism, and why this story feels anything but confined to the past.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF SUFFS: THE MUSICAL

RAPID FIRE WITH SUFFS‘ Carrie Chapman Catt, ACTRESS MARYA GRANDY

JHPENTERTAINMENT: Carrie Chapman Catt was a strategic architect of the suffrage movement — how do you approach portraying such a politically savvy woman?

MARYA GRANDY: Carrie was an extremely driven individual. In Suffs, she loses perspective and gets bogged down in the idea of her way being the only way, even when it’s to her detriment, and to the detriment of the movement itself. Everyone has felt that way at one point or another in their lives, of being so focussed on being right that it renders you immovable. It is such a human reaction

RAPID FIRE WITH SUFFS‘ Mary Church Terrell, ACTRESS TRISHA JEFFREY

JHPENTERTAINMENT: Mary Church Terrell fought for both suffrage and racial equality — what has been most eye-opening about learning her history?

TRISHA JEFFREY: Suffs makes you want to do a serious deep dive into history to learn the facts on who these women were and what they really did. Mary Church Terrell was one of the first Black women to graduate college, a pioneering activist and educator who spoke four languages. She was the co-founder of the NACW — their acting president for three terms — as well as a co-founder of the NAACP. Mary fought tirelessly for racial and gender equality and her many victories proved that racism and sexism could be crushed simultaneously.

JHPENTERTAINMENT: How does Suffs handle the complicated intersections of race and feminism within the movement?

TRISHA JEFFREY: Racism within the movement was no secret and Mary was determined to confront it head-on, fighting for everything she believed in. When white suffragists chose to ignore and sideline the needs of Black women, telling them to march at the back of the line, Mary Church Terrell staged a coup, mobilizing Howard’s Delta Sigma Theta sorority to integrate the parade, igniting headlines. Mary still spoke on behalf of suffragists despite the obstacles within the movement for Black women.

JHPENTERTAINMENT: Is there a particular element of the show that feels especially powerful from your perspective onstage?

TRISHA JEFFREY: Paul Tazewell’s amazing costume designs perfectly inform the era, the pride and regality of who Mary Church Terrell was, which is probably what my most favorite thing is about all her costumes. The details in Paul’s work are impeccable. As the artist, I can effortlessly slip into who Mary was, bringing me closer to how she must’ve felt and what her true vision was for the world. The hardest part is probably how hot I can get on stage from wearing so many genuine wool layers!

JHPENTERTAINMENT: What do you hope audiences take away about Mary Church Terrell after seeing the show?

TRISHA JEFFREY: Truth be told, Mary Church Terrell was a trailblazer. Instead of using her wealth to live an easy life, she chose to stand up for civil rights and women’s rights, fighting inexhaustibly until the day she died. Mary helped create significant change, leaving behind a legacy that deserves to be known worldwide.

JHPENTERTAINMENT: Having performed in productions as varied as Rent and Motown, how does the musical style of Suffs compare?

TRISHA JEFFREY: Suffs is a musical unlike any other. It beautifully emulates what the women experienced in their lifetimes, set to gorgeous, riveting music that moves your soul and makes you want to jump out of your seat.

RAPID FIRE WITH SUFFS‘ Phyllis Terrell and Robin, ACTRESS VICTORIA PEKEL

JHPENTERTAINMENT: As a recent Yale grad who studied Political Science and Theater major, you just might have landed in the perfect show. Do you agree?

VICTORIA PEKEL: Absolutely! It genuinely feels like the perfect combination of my interests. I studied both Political Science and Theater Studies because I’ve always been passionate about storytelling and social change, and Suffs lives right at that intersection. Especially in this current political climate, getting to be part of a show that sparks conversations about progress and civic engagement feels incredibly meaningful. Art has always been a very powerful way to hold a lens up to our world, and Suffs reminds us that the right to vote exists because of people who decided it was worth fighting for and refused to give up.

JHPENTERTAINMENT: Phyllis Terrell represents the younger generation observing the fight — what resonates most with you about her?

VICTORIA PEKEL: What resonates most with me is that she isn’t just observing the fight – she’s helping to finish it (reflected in the song “Finish the Fight” in the show). As a young person and someone who cares deeply about activism, it means a lot to represent the moment when the younger generation steps into a movement and realizes the fight now belongs to them. I love getting to talk with students at talkbacks or young people at the stage door who feel inspired by the story or relate to the character, especially young Black women. Both Phyllis and the other character I play, Robin, share this incredible determination and fire, and I really connect with that spirit.

JHPENTERTAINMENT: What has surprised you most about making your national tour debut with this production?

VICTORIA PEKEL: What has surprised me most is just how deeply the show impacts audiences. People cry every night, and getting to talk with them after the show is really special. I recently met two women in their seventies who had spent their life advocating for women’s rights, and they told me this show came at a moment when they were starting to feel discouraged. Hearing them and others talk about how hopeful the story made them feel, and how much they learned about this history, was incredibly moving. And of course, life on the road has been a bit of an adjustment — it’s definitely very different from my college dorm room!

JHPENTERTAINMENT: Mayte Natalio choreographed Suffs. Her work resulted in her receiving a Critics Choice Chita Rivera Award. Not exactly your typical Broadway musical dance-heavy show, how would you describe the choreo in Suffs?

VICTORIA PEKEL: Working with Mayte Natalio has been phenomenal. She’s not only a brilliant choreographer, but also such a thoughtful artist who brought the best energy to the rehearsal room. The choreography in Suffs feels very grounded in humanity and real movement. There are moments with more restrained, almost “ladylike” choreography that I believe reflects how women were expected to present themselves at the time, particularly with characters like Carrie Chapman Catt. But then there are songs like “The March” and “How Long” where the movement grows more passionate and expansive. My personal favorite is “Fire and Tea”, where the women protest at the White House gates by burning an effigy of Woodrow Wilson. The choreography leaves me out of breath in the best way. It feels earthy, powerful, and almost witchy. Sharp and yet fluid. It just captures Shaina Taub’s music beautifully.

JHPENTERTAINMENT: Within your show bio, you dedicate this role to the memory of your mother. What aspect of this show, and your character in particular, do you think your mother would most-relate to?

VICTORIA PEKEL: There are many things about this show that I believe would have meant a lot to my mother, Tanya. One of the things I love about playing Phyllis, the daughter of Mary Church Terrell, is the connection to the Delta Sigma Theta Sorority, one of the nine historic Black Greek-letter organizations. Mary Church Terrell was the sorority’s first honorary member and helped shape some of its founding principles. My mom was a proud Delta, along with my late grandmother and my aunts, so I come from a family of Deltas — a group deeply dedicated to activism and service in our communities. Every night we get to reference the Deltas showing up to the 1913 March even while Black women were being marginalized and excluded within the suffrage movement. That moment means a lot to me personally. My mother was a trailblazer and an incredibly strong woman, and I think about her every night when we honor the women who paved the way.

RAPID FIRE WITH SUFFS‘ Mollie Hay, ACTRESS TAMI DAHBURA

JHPENTERTAINMENT: Mollie Hay was one of the younger, more radical suffragists — what excites you most about stepping into her fire?

TAMI DAHBURA: I was excited to delve into finding out more about Mollie since we are so completely different. Her devotion to the causes she believed in was very inspiring to me, yet somewhat intimidating because I’ve never been a particularly political person. Mollie’s energy and devotion to the causes she believed in — women’s suffrage and the Temperance Movement — were seemingly endless. Mollie’s life, as well as being a part of Suffs, is really motivating me to become more involved in politics.

JHPENTERTAINMENT: You also cover powerhouse Alva Belmont. How different is it playing a street-level activist versus a major financial force behind the movement?

TAMI DAHBURA: Well, Alva seemed to be able to delegate people to do the hard work for her. All she had to do was write a check — or have someone write a check for her. Mollie was definitely “feet on the ground” involved in all her causes.

JHPENTERTAINMENT: Suffs’ creator Shaina Taub has spoken about including Mollie’s relationship with Carrie Chapman Catt within the structure of the musical. Do you think it’s vital to highlight their relationship, even if just as a notable aside?

TAMI DAHBURA: It is definitely very important and vital to this piece, and any recounting of this era in history. We need to normalize love in ALL its forms, and we need to let people know that love IS love IS love. Whether it be for a cause or another person. Mollie and Carrie loved their causes and they loved each other deeply. They were together for well over 30 years — a lot longer than a lot of marriages and relationships. They were a true testimony to a wonderful partnership in life and love. This is something that I feel is important to show and share with audiences everywhere.

JHPENTERTAINMENT: As Mollie, you’re a part Act 2’s “Fire & Tea” number. What’s your favorite aspect of this particular moment in the show?

TAMI DAHBURA: Well, Mollie does not say a lot in this scene, but she is listening and reacting very intensely, and I thought it was very important for me to focus on these two actions. Even though Carrie is doing most of the talking, Mollie is actively behind her supporting her in that unspoken way that partners do for each other. You can see everything both women are fighting for in this moment in my face and my physicality. I don’t really need to say anything in order for the audience to see and feel everything I am feeling in that moment.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Suffs?

TAMI DAHBURA: I really hope that audiences learn how important it is for all of us to continue to fight for human rights — especially for women. We are in a time in history that these rights are being threatened, and it is incumbent on all of us to be vigilant and active in ensuring that our human rights are not stripped away. I also hope that audiences learn that even though things are hard to do, they can still be achieved through hard work and persistence — and LOVE!

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Direct from Broadway, Suffs arrives in Nashville fresh off its Tony Award wins and widespread critical acclaim. Created by Shaina Taub, this thrilling and emotionally charged musical shines a spotlight on the brilliant, passionate, and often divided women who fought tirelessly for the right to vote. Beyond the accolades lies a story that feels especially resonant here in Tennessee — the final battleground that secured ratification of the 19th Amendment. More than a century after Tennessee cast the deciding vote, Suffs reminds us that history is not just something we inherit — it’s something we shape. And sometimes, it only takes one voice to tip the balance.

The national tour plays TPAC’s Jackson Hall March 3–8 with the following performances: Tuesday, March 3 – Friday, March 6 with 7:30pm curtain, Saturday, March 7 – 2:00pm & 7:30pm, Sunday, March 8 – 1:00pm* & 6:30pm.

*Sunday’s 1pm performance includes ASL interpretation, Open Captioning, Audio Description, and Large Print and Braille programs.

To purchase tickets to Suffs at TPAC, CLICK HERE. Following Suffs, Broadway at TPAC‘s 2025-2026 Season continues with another Music City debut as Back to the Future takes to the stage March 17-22. CLICK HERE for tickets or more info. Follow TPAC on Facebook, Instagram, YouTube & TikTok. 

Not in Nashville? Catch Suffs in a city near you as the National Tour continues with stops in Charlotte, Boston, Dayton, Minneapolis, Detriot and more through summer of 2026. CLICK HERE for upcoming tour stops. Keep up with all things Suffs via the show’s socials on  Facebook, Insta, X , TikTok and YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. In the meantime… #GoSeeTheShow!

Rapid Fire 20Q with the Storytellers of ‘Big Fish’; on stage at The Keeton February 6-22

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Few musicals capture the space between truth and imagination quite like BIG FISH, the 2014 Drama Desk–nominated musical by Andrew Lippa with a book by John August. Based on Daniel Wallace’s novel Big Fish: A Novel of Mythic Proportions and the 2003 film written by John August and directed by Tim Burton, the story explores the myths we create, the legacies we leave behind, and the love that binds families together.

Now swimming onto the stage at The Keeton beginning Friday, February 6, Big Fish blends soaring music, theatrical spectacle, and deeply human storytelling as it follows Edward Bloom — a man whose life is told through towering tales — and his son Will, who must learn how to listen beyond facts to understand the heart of his father’s stories. JHPENTERTAINMENT sat down with the artists bringing this mythic journey to life for a Rapid Fire 20Q conversation about imagination, family, and the power of storytelling.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s BIG FISH

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

JHPENTERTAINMENT: Edward Bloom is a man of myth, magic, and tall tales—what excited you most about stepping into his larger-than-life shoes?

MICHEAL WALLEY: The music of BIG FISH is absolutely gorgeous. This past fall, I was driving when Fight the Dragons came on the SiriusXM Broadway channel, and it completely stopped me in my tracks. I already knew BIG FISH was in The Keeton’s season, and I made plans to audition immediately. I’d describe myself as more of an “actor who sings” than a traditional vocalist, and Edward’s music stretches across haunting ballads, twangy pop, and everything in between. Bringing his character to life through that musical range has been both thrilling and demanding. Truthfully, I feel like I’ve been training for a marathon. My hope is that through every note, Edward’s larger-than-life heart and spirit come through loud and clear.

JHPENTERTAINMENT: A quick perusal of your theatre credits reveals your previous Keeton roles as Singin’ in the Rain’s Cosmo Brown and White Christmas’ Phil Davis share the common thread of being the comic foil to those show’s leading men—what sets Edward apart from roles you’ve played before?

MICHEAL WALLEY: At the end of our run of Singin’ in the Rain, my good friend Matthew Roberts, who played Don Lockwood, said something like, “I think you need the chance to play a leading man with some substance.” While I absolutely loved playing comic sidekicks like Phil and Cosmo (and I’d happily play either role again! Hint hint to any theatre company who needs a comic-dancer-goofball), Edward’s journey is overflowing with depth and meaning. I still get the chance to make ’em laugh, but this time I also get to take The Keeton audience on a much deeper emotional journey. Truly, I’ve never played a character anything like Edward.

JHPENTERTAINMENT: Edward’s stories often say more about love than facts. What do you think Edward is really trying to pass on?

MICHEAL WALLEY: Without giving too much away, a character near the end of the show realizes that Edward’s tall tales were always meant to inspire. I grew up in a small town in Mississippi, much like Edward’s Alabama hometown, and I always had this sense that there was something bigger out there. I wasn’t satisfied unless I was chasing it, and even now, in my 30s, that feeling hasn’t gone away. Edward is the same because he’s always chasing the next big dream, and his stories become a way to invite others into that sense of possibility. Facts may fade (and we live in 2026, does anyone really care about facts?), but inspiration is what lasts.

JHPENTERTAINMENT: As a writer, puppeteer, and voiceover artist, how have your many creative hats informed your approach to this role?

MICHEAL WALLEY: This role has flexed creative muscles I didn’t even know I had. I get to play Edward at multiple stages of his life, moving from wide-eyed teenage heartthrob to cranky old man. Jumping between different voices, physicality, and energy levels is something all my creative side-quests have really prepared me for. It also helped me better understand what John August was trying to convey. Edward evolves throughout his life, but his spirit stays consistent even as his body and circumstances change.

JHPENTERTAINMENT: If Edward Bloom were telling your life story, what detail would he absolutely exaggerate?

MICHEAL WALLEY: First of all, I’m 100% positive Edward would describe me as six-foot tall, wildly muscular, rich enough to buy a tall-and-skinny in 12 South, and effortlessly hitting every high note in Andrew Lippa’s score. But for real, I like to think he’d tell the story of a small-town Mississippi boy who loved theatre, set it aside during college and early adulthood to focus on what mattered, and then realized in his late 20s that his dreams and passions really mattered too. He’d talk about Micheal jumping into the Nashville theatre scene, making meaningful art, building lasting relationships, and getting to tell stories that truly matter, like Edward Bloom’s.

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

JHPENTERTAINMENT: This marks your Keeton debut—what made Big Fish the perfect first dive into this community?

CLAIRE YANCEY: The Keeton has been such a positive space from day one. Even at auditions, I felt immediately welcomed and comfortable, and it was clear how much heart and dedication everyone brings to make this not only a great production but a great experience for everyone involved. I feel deeply connected to this cast and genuinely look forward to coming to the Keeton for every rehearsal. This community has welcomed me with open arms, and I could not have asked for a better first show at this theatre.

JHPENTERTAINMENT: With a background in classical piano and voice, how does Lippa’s score speak to you as a musician?

CLAIRE YANCEY: As a musician, learning Lippa’s score has been one of my favorite parts of this process. There is something really special about working through the more intricate and challenging moments of the music together as a cast and watching it all click. Hearing songs you have listened to countless times come to life in the room with the people around you is incredibly satisfying. I love the rich harmonies and the wide range of musical styles throughout the show, which makes the score both exciting and deeply rewarding to perform.

JHPENTERTAINMENT: What’s one moment in the show where you feel Sandra’s heart most clearly?

CLAIRE YANCEY: This may feel like an obvious answer, but it is definitely during I Don’t Need a Roof. This is the moment where Sandra is seen most clearly and vulnerably. Throughout the show, she works hard to be strong for Edward and their family, often hiding how deeply his illness is affecting her.

JHPENTERTAINMENT: Sandra’s love story spans a lifetime—what do you find most beautiful about her journey?

CLAIRE YANCEY: From the very first moment they see each other, there is something magical about the way Sandra and Edward recognize something special in one another. Throughout the show, you can see that their relationship never loses its youthful spirit, even as the magic and adventure settle into the reality of growing old together. They remain deeply in love, still carrying that sense of playfulness and joy with each other.

JHPENTERTAINMENT: Sandra is the emotional anchor of Edward’s wild imagination. How do you ground her while still letting the magic exist?

CLAIRE YANCEY: I think Sandra is grounded because she is fully present and deeply attentive to the people she loves. She allows Edward, with his wild imagination, and Will, who is more grounded, to be fully themselves. Sandra has a beautiful ability to meet people exactly where they are and offer them steady love and support. While she still carries that same sense of wonder and adventure that connects her to Edward, she is also able to see the world clearly and hold space for both perspectives.

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

JHPENTERTAINMENT: Will Bloom is caught between frustration and wonder—what’s been the biggest challenge in telling his story?

JACOB HINNEN: The biggest challenge has been living in the tension between frustration and hope, especially as Will wrestles with what it means to be a father himself. He’s demanding truth from Edward, but underneath that is a deep need to understand the man behind the stories before he becomes a father himself. That tension drives every interaction. Hope is always present, but it’s tested, stretched, and reshaped as Will tries to reconcile who his father is with who he needs to be.

JHPENTERTAINMENT: You’ve played romantic leads and comedic roles—how does Will stretch you differently as a performer?

JACOB HINNEN: Playing Will stretches me differently because his confidence is paired with constant questioning. Unlike roles where the character’s path is clear or emotions are outwardly expressed, Will is always wrestling with what it means to be a son and a future father. I’ve had to channel that drive, balancing certainty with curiosity, so the audience can feel both his boldness and the weight of his internal journey.

JHPENTERTAINMENT: The father–son relationship is the emotional spine of BIG FISH. What has portraying Will taught you about listening?

JACOB HINNEN: Will has taught me that listening isn’t just about extracting answers and simply responding; it’s about recognizing intention. Edward is telling the truth in his own way, and Will has to learn that fatherhood isn’t always taught through facts, but through meaning. Playing this role has reminded me that listening sometimes means setting aside your expectations long enough to hear what someone is really trying to convey.

JHPENTERTAINMENT: This performance is dedicated to your dad. How does that personal connection shape the way you step onstage each night?

JACOB HINNEN: My dad always believed in me, even when we didn’t fully understand each other. I carry his presence with me onstage, feeling the push and pull of tension, hope, and love in every moment. It’s shaped how I tell this story: a story of love conquering death, of listening to understand rather than listening to simply respond, and of never giving up hope. Every night, stepping into Will’s shoes feels like honoring him while exploring what it truly means to be a son and eventually, a father.

JHPENTERTAINMENT: If Will could rewrite one of Edward’s stories, which moment would he finally see differently?

JACOB HINNEN: Will wouldn’t change the events themselves; he’d change the way he sees them. He’d recognize that Edward’s stories weren’t just embellishments, but expressions of love, courage, adventure and guidance. They were a father’s way of teaching him how to live fully, love boldly, and carry hope even in uncertainty. 

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

JHPENTERTAINMENT: What was the very first image or moment from BIG FISH that made you say, “I have to direct this show”?

AARON GRAY: The first time I saw BIG FISH, there were several moments that brought me to that realization, but they all came back to the father–son relationship at the heart of the show. As a father of a six year old son, that dynamic hit me in a very immediate way, especially the moment when Will realizes he’s about to become a father himself, and suddenly his relationship with his own dad begins to change. That felt incredibly honest and personal to me.
 
I was also deeply moved by the love story. The way Edward loves Sandra, with imagination, devotion, and unwavering certainty, is something I think every romantic partnership should strive for. It’s romantic, but it’s also rooted in commitment and choice.
What ultimately made me say I had to direct this show is that it truly has everything! Romance, comedy, drama, and moments of theatrical magic, but at its core, it’s just a beautifully told story about family, love, and how we come to understand one another.
 
JHPENTERTAINMENT: BIG FISH lives in the space between reality and imagination—how did you approach balancing spectacle with emotional truth onstage?
 
AARON GRAY: The magic in BIG FISH only works if it’s grounded in emotional truth. We always let the relationships lead, and allowed the spectacle to grow out of what the characters are feeling, rather than the other way around.
 
JHPENTERTAINMENT: What can you tell me about your creative discussions with Ian Mannino, this production’s musical director, in regard to bringing Andrew Lippa’s whimsical score to life?
 
AARON GRAY: John August includes a note to the director in the script that points to a video Andrew Lippa created, where he dives deeply into the score,  showing how the songs function dramatically and emotionally. Having that level of insight directly from the composer was an incredible resource, and it became a foundational tool in my conversations with Ian. 
 
From there, our discussions were really grounded in respect for Andrew Lippa’s writing. Our shared goal was to keep the music true and honest to what he wrote. The score already contains so much whimsy, warmth, and emotional clarity that we never felt the need to overcomplicate it. Instead, Ian focused on letting the music breathe and supporting the storytelling, while I concentrated on how the songs live inside the characters and the moment.
 
What emerged from that collaboration is a score that feels both playful and deeply sincere. When the music is treated with that kind of care, its beauty really speaks for itself, and it becomes a powerful emotional guide for the audience throughout the show.
 
JHPENTERTAINMENT: In your show bio you describe this as a dream project. What part of your own storytelling sensibility feels most at home in BIG FISH?
 
AARON GRAY: At its heart, BIG FISH asks two questions that feel very personal to me: “What makes a good father?” and “How do heroes live on?” As a father, I connect deeply to the first question. The show shows us that being a good father isn’t about perfection, it’s about listening, showing up, and creating a space where your children can grow into themselves. Watching Will navigate his relationship with Edward while stepping into fatherhood himself felt incredibly real to me, and it’s a story I wanted to bring to life onstage.
 
The second theme, how heroes live on, is really about memory and storytelling. Edward becomes a hero not because he’s flawless, but because of the way his stories shape Will’s understanding of him and, in turn, the person Will becomes. That idea, that our loved ones live on through the stories we carry, is central to the show, and it resonates deeply with my own sense of storytelling. I’ve always been drawn to stories that exist somewhere between reality and imagination, where emotion comes first and spectacle serves the heart of the story.
 
For me, BIG FISH perfectly blends those elements: family, love, myth, and imagination. It allows wonder and sincerity to coexist, and that balance is exactly why it feels like a dream project, it’s a story that is both fantastical and deeply human, and it’s a story I truly love. 
 
JHPENTERTAINMENT: What do you hope audiences carry with them long after they leave The Keeton and the curtain comes down on BIG FISH?
 
AARON GRAY: I hope audiences leave remembering the power of storytelling and the people they love. Big Fish reminds us that family and connection aren’t perfect, but they’re profound, and that our stories keep those we care about alive. I want them to feel the magic, the wonder, and the joy in seeing life, and love, through a lens of imagination, and to carry that feeling with them long after they leave the theatre. 

BIG FISH opens at The Keeton on Friday, February 6 and continues through Sunday, February 22. Thursday performances are show only with Doors at 6:30pm and Show at 7pm. 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. Show Only Tickets: $30.00 (Thursday performances), Adult Dinner and Show: $40.00, Child Dinner and Show: $35.00. CLICK HERE for tickets. 

Following BIG FISH, The Keeton will present The Play That Goes Wrong with performances April 10-26. 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 20Q with SIX MUSICAL’s Four Alternate Queens; National Tour at TPAC February 3 thru 8

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It’s been almost three years to the date since Music City theatre goers were first privy to experience a live audience with the Queens of SIX, the two-time Tony-winning musical that explores the stories of the women behind that morbidly fun sing-songy rhyme “Divorced, Beheaded, Died, Divorced, Beheaded, Survived”. As of Tuesday, February 3, that all changes as the Queens return to Nashville to hold court at Tennessee Performing Arts Center’s Andrew Jackson Hall with eight performances the through Sunday, February 8. 

As expected, an audience with the Queen is an almost impossible task, let alone six of them, and let’s face it—without the use of a guillotine, 20 Questions don’t exactly divide by six evenly, so rather than interviewing the leads, I had the unique opportunity to chat with four members of the royal court known as The Alternates (more about that below in my first question) as the regal company of SIX prepared for their Music City reign.

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

JHPENTERTAINMENT: To start, while I’m pretty certain I know, for those who might not, What’s the basic difference between an alternate, understudy, swing and standby?

REESE CAMERON: An “alternate” is typically an on or off-stage cast member who will have weekly guaranteed performances to take over for a principal role— usually one that is very physically or vocally demanding (e.g. Tina Turner, Elphaba, Fanny Brice every Thursday is played by an “Alternate”). But in the SIX world, an Alternate means an off-stage cast member who understudies 3-4 Queens (our union caps us at 4 in the U.S., anywhere from 3-6 in the U.K. and elsewhere) The reasoning behind making us called “Alternates” instead of “Standbys” “Swings” or “Understudies” was because the team wanted us to feel just as important as our on-stage Queens. They emphasized that the reason we are off-stage is not because we are inferior or less talented, but rather that we have the capability of playing 1 or more On-stage Queens if we wanted to, therefore they wanted to give us a title with more respect. Oftentimes understudies, swings, and standbys are not given the same treatment or careful attention as onstage cast members and that’s something we’re constantly fighting for more rights about with other shows.

Understudies are on-stage cast members who play a character every night and also cover a principal role

Swings are typically off-stage members who cover several or all of the ensemble members — sometimes divided by gender and sometimes not. Swings can also be on-stage but it’s far more rare, usually because two of the swings are Dance Captain and Assistant Dance Captain and need to watch the show every week to note it and make sure the choreography upholds the integrity of the choreographer. 

Standby’s are hired to be specifically off-stage but ready at a moments notice to go on for a principal role. I like to call standby’s the principal swings haha. If a principal calls out of a show, either the standby or the understudy will go on. It depends on the show which one is chosen.

JHPENTERTAINMENT: A quick perusal of your socials in preparation of our chat revealed you debuted as three of the queens within three weeks of each other— whose boots were the hardest to step into that first time?

REESE CAMERON: The hardest was most definitely Aragon because I learned her 2nd. I had a month of rehearsals with Cleves, 2-3 weeks with Boleyn, and only 5 days with Aragon and she has the most lines in the show and fires out of a cannon with her aerobic song and dance number right after an exciting and dynamic almost 6 minute opening of Ex-Wives which is a huge challenge of stamina. 

JHPENTERTAINMENT: What has been the most gratifying aspect of tackling these roles on tour?

REESE CAMERON: I am simply so proud of myself and my Alternate family for having the mental professionalism and preparedness required to memorize 3 different principal characters for an 80 minute non-stop show. There is no time to check your notes for the next number like a swing might be able to do with a few song and dance numbers in between their next onstage moment, but for us? This 80 minute train doesn’t stop. And being prepared and CONFIDENT is such a huge accomplishment not just for 1 Queen, but for 3!!! I’ve loved playing 3 completely different characters and have unlocked parts of myself and my inner child that I have never gotten before with any other show.

JHPENTERTAINMENT: Which do you admire most? Aragon’s power or Cleves’ confidence?

REESE CAMERON: Aragon’s power for sure! Cleve’s confidence is something I definitely need and aspire to have, but Aragon historically endured starvation and abuse from Henry’s father even before her marriage to Henry the VIII, and then after 24 years of marriage when Henry cheated on her, she had the strength to do what no woman at this time had ever done which was 1) speak in court 2) make her own court case and 3) represent herself in court against his misinterpretation and manipulation of Biblical word to prove the marriage was just and 4) WIN! And even after he abusively sends her away and separates her from her daughter, she remained emotionally strong, devoted to justice, a role model for the people of England, and remained the beloved Queen for many decades after her death. She endured some of the hardest trials and tribulations a person can go through and she did it with grace. I highly recommend reading more about her life. Aragon is a powerhouse of a human being and an outstanding woman.

JHPENTERTAINMENT: As a non-binary performer, what would you say to the queer kid sitting in the balcony?

REESE CAMERON: As I say in my bio “to the queer non-binary kid in the audience: you belong here”. In a hateful and divisive world, trans children need to know they have an accepting and loving family in the theatre community and especially in major cities like New York and LA. Trans actors belong in theatre, tv, and film just as much as cis actors. Theatre is a safe space for queer and trans people and there are so many roles and opportunities to be had in our industry that don’t require you to change yourself in order to fit into a show or a role. Theatre does not have to be gender dysphoric. My biggest recommendation is that trans and queer people start writing our own stories and musicals and films and TV shows and share it with the world because there are so many people who don’t know that they are queer or trans yet that watch media on Netflix and Spotify and go to see a Broadway show, and that may be the moment that they find themselves and discover who they are.  Just look at how The L Word became a Sapphic Bible, or how Heated Rivalry is opening doors for athletes to come out or even for their stories to be heard. Trans and queer media changes the world and spreads love and Empathy. We need more trans and queer media. 

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

JHPENTERTAINMENT: You’re not only a performer in SIX, but also the tour’s Dance Captain. What does that added responsibility entail?

CARLINA PARKER:  As Dance Captain, it’s my job to be a point person for choreography team while we’re on tour. I watch the show once or twice a week  and write notes to make sure both the movements and the story behind them are being executed. I’m also available should anyone have any questions or concerns. We have an amazing choreography team based in New York that I’m in constant communication with, and the original choreographer will even pop in from London from time to time!

JHPENTERTAINMENT: Of the SIX, only one survived King Henry VIII. How would you describe Catherine Parr’s energy as portrayed in the musical in six words?

CARLINA PARKER: Honest, Kind, Intelligent, Empathetic, Inspiring, Powerful.

JHPENTERTAINMENT: SIX is resplendent with clever lyrics courtesy Book and Music collaborators Toby Marlow & Lucy Moss. What’s among your personal favorites?

CARLINA PARKER: Some of the script is written how some people text, and the audience would never know, but there’s one Parr line that’s written “R U 4 real?”and it’s SO funny. Also, “Okay ladies, lets get in reformation” -Cleves

JHPENTERTAINMENT: Touring perk you didn’t expect to love?

CARLINA PARKER: I expected to love the travel, I expected to love meeting the different fans from all over, but what surprised me is probably really silly. Since we don’t always have kitchens, I never have to feel guilty for ordering DoorDash.

JHPENTERTAINMENT: Beyond the inherent closeness of a touring company, have you also developed an extra bond with your fellow alternates?

CARLINA PARKER: Yes! Arguably, the alternates are spending the most time together, between weekly rehearsals and (more often than not) sharing a dressing room with each other. The support you get from another alt is unmatched. We all know the joys and struggles of being an offstage cover in this show, covering multiple Queens, and we can be there for each other in the highs and the lows. It’s also so nice that we get along. I adopted the term “swing siblings” from another contract of mine, and it couldn’t be more true.

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

ANNA HERTEL: This tour is an absolute BLESSING! It truly feels like a pinch-me moment—this is my dream show, and getting to tell this story around the country is such a gift. I’m also so grateful for the opportunity to explore so many incredible cities along the way. 

JHPENTERTAINMENT: Is it just me? Or does Boleyn’s costume include a couple Easter eggs in its design? I mean…the neckline has what looks like a dotted line, as in ‘cut here’. Is that a reference to her demise by way of beheading or am I just overthinking it? AND…What’s your personal favorite detail in costumer Gabriella Slade ‘s Tony-winning creations?

ANNA HERTEL: There are so many Easter eggs woven into Anne Boleyn’s costume. My favorite is her iconic “B” necklace, symbolizing her pride in her family name. She wore it openly in court—something no woman had ever done at the time. After her execution, the “B” became a powerful symbol of strength, defiance, and legacy. I also love how Gabriella Slade incorporated Anne’s green sleeves into the design, a subtle nod to a love poem Henry VIII once wrote for her.

JHPENTERTAINMENT: You’re a Jimmy Awards Best Dancer honoree— how much did it mean to you to be honored for your talent in high school AND did that shape the way you approach each role in the time since?

ANNA HERTEL: The Jimmy Awards will always be one of the most meaningful moments in my career. Being able to perform on a Broadway stage alongside so many passionate, aspiring artists was truly unforgettable. The relationships I formed that week are still thriving, and I’m constantly reminded of how supportive and uplifting that community is. That experience gave me the confidence, perspective, and tools I needed to continue chasing this dream.

JHPENTERTAINMENT: Researching to pose questions to you and your cast mates, I discovered you’re a bit of a newlywed, and will be celebrating your wedding anniversary in a few months. Your husband has come to see you on tour a few times, right? What’s been the most challenging aspect of touring while simultaneously starting such an exciting chapter in your personal life?

ANNA HERTEL: My husband, Brendan Coulter, is truly the biggest blessing in my life. We’ll be celebrating our 2-year wedding anniversary on March 23rd, and I’m feeling extra grateful reflecting on our journey. We met in college at Elon University studying Musical Theatre, and not long after, moved to NYC to chase our shared love for performance.

A year later, we became an acoustic duo called Honey I Duo, performing all around Manhattan — some of my favorite memories. He has been the most supportive husband throughout this tour (and has seen the show 10 times already). Long distance was hard at first, but then he joined the tour, working remotely and pouring his heart into writing his own music.

His music is truly incredible and is out now on all platforms — go listen.

JHPENTERTAINMENT: What’s one word that defines SIX for you?

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

JHPENTERTAINMENT: First time I heard about SIX was from friends who saw it during its pre-Broadway trial run aboard a cruise ship.  My research in anticipation of chatting with you and your costars revealed you first performed in SIX on the high seas as Katherine Howard in Norwegian Cruise Line’s production of SIX aboard the Breakaway luxury ship — so, I gotta know — performing a Broadway musical at sea — wild or wonderful?

ABIGAIL SPARROW: You’ve done your research! It was BOTH: wild AND wonderful. Working on SIX with Norwegian was my first professional job straight out of college. I learned a LOT about being a working professional actor and there was absolutely a learning curve of living on a floating vessel for 9 months. Doing performances on a rocky boat during the stormy weather patches was certainly an experience I will not forget, haha. I met some of my closest friends to this day on that cruise ship, and am very grateful that I have been able to stay in the SIX family for years to follow.

JHPENTERTAINMENT: After seeing SIX for the first time a couple of years ago during the first national tour, I described it as American Idol meets Spice Girls meets The Tudors. Fair assessment? AND How do you describe it?

ABIGAIL SPARROW: You’re definitely hitting the nail on the head with that assessment, totally! I’d add a little bit of K-POP flair into that description too, for my two cents. It’s certainly not your average Broadway musical, that’s for sure. A 90 minute high energy pop concert with killer costumes, lighting, and choreography that everyone is sure to enjoy no matter their background or connection to Tudor history.

JHPENTERTAINMENT: In addition to your current SIX responsibilities, you’re also working an album — what can you tell me about that?

ABIGAIL SPARROW: Thank you for asking! Yes, I am currently working on my first full length album set for release in Fall 2026. Back in March of 2025 I was incredibly honored to be awarded a $30,000 dollar grant from the Posthumous Prodigy Productions Fellowship for the album. Being on the road has allowed me lots of free time to write music and work with different producers across the country. Actually, I’m meeting with a producer right here in Nashville, the Music City! Which felt very fitting. I’m very excited to share it with the world this year. I also recently released my first EP on December 5th, 2025 called Jacaranda Trees. My music style is indie pop, think Muna meets Gracie Abrams meets The 1975. My music is available on all streaming platforms! I hope you check it out. 

JHPENTERTAINMENT: Since you have a bit of history with her — Katherine Howard — misunderstood or simply iconic?

ABIGAIL SPARROW: Oh, K Howie. Certainly misunderstood, and definitely iconic. The real Katherine Howard was known as the most promiscuous Queen back in her day, which feels like an unfair assessment given she was only 13 when the King took notice of her (ew). Her story is very reminiscent of the victim blaming stories of the modern day, where we look for errors in the victim rather than condemn the perpetrators of abuse and violence towards them. Of course we will never know for certain without asking her directly, but I feel she never had ill intentions towards the people she was involved with, and was taken advantage of by much older and more powerful men. In our show, Katherine takes back her power and changes the narrative to prove her intelligence and strength in her femininity. Which I definitely would say is… simply iconic. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing the show for the first time?

ABIGAIL SPARROW: I hope that audiences leave with a new sense of empowerment to stand up to the Henry‘s in their own lives! We all have come across someone who has tried their hardest to make us small and powerless. And we all need to find that power within ourselves to rise up and fight back against those people. I hope people leave feeling inspired, and perhaps humming our songs on the way home with a little extra pep in their step. 

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Whether they’re commanding the stage or waiting to rule from just offstage, these four Alternates prove that SIX isn’t just about crowns and costumes—it’s about resilience, community, and unapologetic power. Their own stories add yet another layer to an already exhilarating night at the theatre, reminding us that every Queen has a voice, whether they’re front and center or just off-stage ready to step into a regal role. Catch SIX as it storms back into Nashville at TPAC’s Andrew Jackson Hall Tuesday through Sunday, February 3-8, and come ready to cheer, sing along, and maybe leave feeling a little more emboldened than when you arrived. After all, these Queens aren’t loosing heads, they’re dropping mics! CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok. 

Following SIX, next up at TPAC, it’s SUFFS: The Musical with shows March 3 thru 8. CLICK HERE for more info and follow TPAC on Facebook, Instagram, YouTube & TikTok. 

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

 

Theatre Review: The Keeton’s ‘She Loves Me’; a Love Letter for the Holiday Season

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Romance, wit, and a dash of musical magic have drifted into Donelson as She Loves Me opened at The Keeton Dinner Theatre this past Thursday evening with the show continuing with Thursday thru Sunday shows until December 21. With its intimate space, casual dinner-theatre setting, and a cast obviously invested in the show’s nearly century-long legacy, The Keeton proves an ideal home for this sweet classic midcentury musical.

Based on Miklós László’s 1937 play Parfumerie—the source material for later films, The Shop Around the Corner, In the Good Old Summertime, and, spiritually, You’ve Got Mail—She Loves Me remains one of musical theatre’s most charming “quiet classics.” Its central “enemies-to-lovers through anonymous letters” premise still sparkles, especially when placed in the hands of performers who understand just how human, funny, and tender these characters truly are.

While Jimmy Stewart’s Alfred from 1940’s The Shop Around the Corner presented the male counterpart of the story as a bit of a prickly nay-sayer, the musical adaptation’s male lead Georg Now, played in The Keeton’s She Loves Me by Jayden Murphy,  who was last seen on The Keeton stage as Coalhouse in Ragtime, once again brings a youthful warm and layered and hopeful presence beneath the character’s famously cantankerous exterior. When we chatted with Murphy for our recent Rapid Fire 20Q, he admitted to being a bit of a “hopeless romantic” much like Georg. On stage Murphy channels that vulnerability to sweet success in the bittersweet Tonight at Eight and especially in the show’s title tune, She Loves Me. His smoothly rich voice—flexible, grounded, and carefully guided under Music Director Roger Hutson—honors the show’s more classical, operetta-leaning score while still feeling contemporary and honest. Murphy’s understanding of the show’s history is in full view throughout: this is a Georg who feels fully lived-in, not mimicked from past productions.

As Amalia Balash, Jiana Kevilus is radiant—sharp-tongued in the workplace to comedic delight when pitted again Georg one moment and achingly vulnerable when speaking (or singing) of her unidentified letter-writing love the next. Her interpretation honors Amalia’s insecurities, especially those revealed in Will He Like Me?, while infusing her with modern emotional clarity. As anticipated, Kevilus’ Vanilla Ice Cream—approached as a pivotal moment where Amalia subconsciously begins to realize Georg’s true identity—bubbles with joy, confusion, and discovery. It is one of the highlights of the evening: vocally agile and acted with specificity. In an admirable way, Kevilus’ performance of the song put me in mind of Olivia Newton-John’s Hopelessly Devoted Grease moment.

The chemistry between Murphy and Kevilus is strong and believable. Their banter often borders on playful chaos.That ease pays off—this Amalia and Georg disagree ferociously, but they always feel tethered by something deeper, and the much-anticipated revelation of their true identities and mutual feelings all the more sweet because of it.

Kimberly Wolff, who seems to have become a full-fledge member of the Keeton company of frequently seen actors, is a standout as Ilona Ritter. Wolff gives the role the perfect blend of glamour, vulnerability, no-nonsense practicality and emotional intelligence. Her work in the number I Resolve is especially effective—Ilona’s attempt at independence is tinged with hope, frustration, and surprising strength.

Her scenes with Tommy Anglim’s Kodaly are super-charged with electrically playful tension. Anglim’s Kodaly is smooth, sly, and charming in all the most infuriating ways. During their shared musical numbers—particularly Ilona, Anglim’s Kodaly delivers a somewhat bawdy, yet perfectly comedically timed riotous performance. Anglim’s delightfully narcissistic Kodaly and Wolff’s tough-but-tender Ilona feel like they walked straight out of a Golden Age film.

Director Morgan Robertson, making her directorial debut, does so with charm and an obvious admiration for the musical, having music directed a previous production across town. There are a few instances when blocking seems a bit awkward and clunky (sorry, but why are we seeing the backs of actors in scenes throughout?). The overall look and feel of the show is a success and the actors each seem to have been directed to make the characters their own in the most enjoyable way possible.

Once again, The Keeton’s in-house scenic designer, Kevin Driver delivers a triumph and his She Loves Me set should be one of the most-talked-about elements of the production. Inspired by the 2016 Tony-winning Broadway revival’s transformative shop design, Driver creates an only slightly scaled-down Maraczek’s Parfumerie that feels timeless, elegant, and tactile. The mobile units shift the space effortlessly, inviting the audience directly into the warmth of the 1930s Budapest shop.

Denese René Evans’ costumes reinforce that old-world charm—smart, flattering silhouettes and texture-rich fabrics that reflect class, profession, and personality without ever feeling like caricature. Loved the small detail of all the shop employees wearing an “M” initial lapel pin. If a couple suggestions could be offered…invest in a steamer to relieve a bit of static cling on those silk pjs and suspenders should take care of a few of the male performers’ pant legs dragging the floor.

Sound designer Steve Love and lighting designer Brooke Sanders work together to create seamless transitions between bustling shop scenes, intimate revelations, and the cozy glow of the story’s romantic scenes. Especially of note, following a particularly jarring event, flooding the interior of the shop with crimson light might have been my favorite lighting effect.

The supporting roles are filled with memorable performances. Brian Best, last seen as William Frawley in The Keeton’s Lucy Loves Desi, lends Mr. Maraczek gravitas and returns Best to the typical bravado roles for which he’s come to be known. His solo of Act 1’s Days Gone By and its Act 2 reprise are unexpectedly hauntingly touching. Sipos, a role often played as gentle and understated, in the hands of Victor Davis, creates a charmer with soulful presence and hilarious comedic timing. Making his Keeton debut, Samuel Boggs brings youthful earnestness to Arpad, his Try Me full of plucky determination. Boggs’ performances should be remembered as he’s definitely poised to be one to watch with a sure-fire future in Nashville’s theatre community. 

As for the rest of the cast, Brenda Brannon (always a personal favorite) is snooty perfection as the sever in the upscale restaurant where our two fated lovers attempt their first face-to-face, Rich Moses, and the ensemble—Chloe Beehm, Hazen Lawson, Kathleen McClanahan, and Amanda Noss—bring humor, color, and a bit of extra fun to each moment they touch. Again, particularly enjoyable is the restaurant scene, from the physical comedy to flirtation abounding.

All in all, She Loves Me is “cozy theatre.” It looks to present heart, honesty, and fun rather than spectacle—and The Keeton delivers all three. Robertson’s production is grounded in affection for the material, executed by a cast that understands the charm and underlying fragility of the story they’re telling. The result is a She Loves Me that feels warm, human, and full of light—exactly the kind of theatre Nashville audiences crave during the holiday season.

Ready to take a trip to Maraczek’s shop around the corner and check out the goods yourself? Dear Friend, you’re in for a treat as She Loves Me continues its run at The Keeton (108 Donelson Pike, Nashville, TN 37214) thru December 21 with evening diner and show performances Thursdays, Fridays and Saturdays and additional matinees Saturdays and Sundays. Tickets range from $35–$47. CLICK HERE to purchase before the run sells out, and visit thekeeton.org for more information.

In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the director and four principal actors. 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!