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Theatre Review: Adam Pascal Pays the Rent for Our Sins in Studio Tenn’s Imaginative Interpretation of ‘Jesus Christ Superstar’; On Stage Thru May 31

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Since its groundbreaking 1971 Broadway debut, Jesus Christ Superstar has remained one of musical theatre’s most provocative works. Andrew Lloyd Webber and Tim Rice’s legendary rock opera has never been content presenting a straightforward biblical retelling. Instead, the piece examines faith, fame, politics, and humanity through the eyes of the people surrounding Jesus during the final days leading to the crucifixion. More than fifty years later, the material still feels startlingly relevant.

Studio Tenn Artistic Director Patrick Cassidy, who’s at the helm of this production as the show’s director, clearly understands why. Rather than reinventing the show through gimmick or spectacle, Cassidy’s emotionally charged new production smartly leans into the themes already embedded within the material: celebrity worship, performative devotion, mob mentality, and the emotional cost of turning human beings into symbols.

As Cassidy notes in his director’s statement, this production asks audiences to consider what happens when a person becomes “more than human in the eyes of the world.” It is a concept that permeates nearly every aspect of this imaginative interpretation.

Adam Pascal as Jesus in Studio Tenn’s Jesus Christ Superstar (All photos by Sammy Hearn/Courtesy Studio Tenn)

Leading the cast is Broadway icon, Tony-nominated Adam Pascal as Jesus Christ, and despite the production being filled with powerhouse performances, Pascal remains its emotional center. Rather than portraying Jesus as some untouchable religious figure, Pascal presents him as a weary modern everyman crushed beneath the expectations of those around him. Costume designer Devon Renee Spencer wisely avoids the traditional flowing robes often associated with the role, instead dressing Pascal in loose linen shirt and neutral-toned pants  that ground the character in recognizable humanity.

Vocally, Pascal delivers exactly the kind of performance longtime fans hoped for while still finding fresh emotional textures within the score. One moment, his voice slips into soft, heartfelt vulnerability during quieter emotional exchanges. The next, he unleashes the kind of raw, anger-struck rock wailing that made him a Broadway icon in the first place. His “Gethsemane” becomes one of this production’s many emotional peak—not merely sung, but emotionally exorcised from somewhere deep within him. Pascal allows Jesus’ fear, frustration, exhaustion…and yes, rage…to boil violently to the surface.

Opposite him, Grammy nominee Mykal Kilgore delivers a mesmerizing Judas. From the opening notes of “Heaven on Their Minds,” Kilgore refuses to portray Judas as a simple villain. Instead, his Judas feels conflicted, frightened, frustrated, and heartbreakingly human as he watches events spiral beyond anyone’s control. His powerhouse vocals soar effortlessly through the score, but it is the emotional vulnerability beneath the performance that lingers longest.

The chemistry between Pascal and Kilgore fuels many of the production’s strongest moments, particularly during “What’s the Buzz?” and “The Last Supper,” where simmering resentment and emotional exhaustion visibly fracture the relationship between the two men.

As Mary Magdalene, powerhouse vocalist Olivia Valli comes by her talents naturally. Granddaughter of The Four Season‘s founding member Fankie Valli, she’s a legacy entertainer. As Mary Magdalene, Valli brings warmth and aching sincerity to the role. Early on During “Everything’s Alright,” Valli’s calming presence provides a needed emotional balance amid the increasingly chaotic atmosphere surrounding Jesus. Soon after, her rendition of “I Don’t Know How to Love Him” avoids unnecessary theatrics in favor of emotional honesty, allowing the heartbreak within the song to quietly unfold. Under Cassidy’s direction, Valli explores the often-avoided attraction between Mary the woman and Jesus the man, once again offering yet another layer to the humanity of the piece.

And while Pascal, Kilgore, and Valli anchor the production through their notoriety and talents, Cassidy’s supporting cast of beloved local performers repeatedly threatens to steal the evening out from under them—in the best possible way.

As Pontius Pilate, Geoffrey Davin offers one of the evening’s smartest tonal shifts . Presented as a gaudy, self-important joke of a man sporting an intentionally terrible hairpiece (kudos to the show’s wig designer Meredith Schieltz for just simply going for it), Davin leans fully into the absurdity of performative power. The portrayal initially earns plenty of laughs, but underneath the comedy lies another sharp reflection of the production’s larger themes—people desperate to appear more important than they truly are. His “Pilate’s Dream” balances nervous humor with growing dread, while sinisterly daunting presence during “Trial Before Pilate/39 Lashes” becomes genuinely unsettling.

Another noteworthy performance comes via Connor Barr. Barr also delivers emotionally effective work as Peter, particularly during “Peter’s Denial,” where fear and shame visibly consume him in real time. Knowing the Bible story like the good southern christian my Mama raised me to be, I found myself counting 1…2…3…as Barr fulfilled the prediction of denial in this small but surprisingly emotional moment within this production. 

W. Scott Stewart’s thunderous bass vocals as Caiaphas roll in like a deep fog, brilliantly setting the stage for the dread and darkness to come. Robert Parker Jenkins‘ Annas perfectly snarky glances peering over those disturbingly small, dark glasses, brings an unspoken self-righteousness to his role as a high priest. As other members of Caiaphas’ doom squad, Garris Wimmer‘s sinister voice and Jennifer Whitcomb-Oliva‘s snide presence all come together perfectly to present a united and terrifying quartet who initiate the plot to end Jesus.

Then there’s the most intriguing of  Whitcomb-Oliva’s multiple roles, her dazzlingly, gloriously commanding presence as King Herod. Landing somewhere firmly between Tina Turner’s Auntie Entity from Mad Max: Beyond the Thunderdome and Elton John’s Pinball Wizard from yet another rock opera, Tommy, Whitcomb-Oliva’s Herod is the true definition of the villainous character we know we’re not supposed to love, but we just can’t help ourselves. Combine the stage presence and spectacular wardrobe with Whitcomb-Oliva’s undeniable talents and you’ve got yourself a show-stopping performance and another of Studio Tenn‘s Jesus Christ Superstar‘s truly magical cast members. There is no role this mega-watt talented performer can’t handle and she proves it show after show after show.

Other ensemble members like Bakari King, Garris Wimmer, Maya Antoinette Riley, Matthew Hayes Hunter, Savannah Stein, Lane Adam Williamson, Victoria Griffin, Emma Rose Williamson, Connor Adair, Nikki Berra, Christina Ledbetter and Patrick Jones each contribute to the overall energy, emotion and beauty of the piece. From the full ensemble Act 1 favorite, “What’s the Buzz’ to a shining, glittering all-in late-hour moment, the entire cast brings everything they’ve got, resulting in a feast for the eyes, the mind, the heart and soul. 

Cassidy’s contemporary framing of the musical proves equally effective visually. Scenic designer Andrew Cohen’s stripped-down, two-tiered industrial scaffolding set serves the material beautifully. After all, Jesus Christ Superstar has never truly been about lavish scenery—it has always been about the music, emotion, and collision of faith, celebrity, and mob mentality.

Dominating the stage is a massive painted mural of Jesus that vacillates between sacred tribute and selfie-ready photo backdrop, serving as a sharp visual commentary on true belief versus performative optics.

Devon Renee Spencer’s costume work deserves particular praise throughout. With what feels like a subtle nod to Pascal’s Tony-nominated turn in Rent, much of the ensemble appears in elevated retro-grunge aesthetics layered with plaid flannels, distressed textures, and muted earth tones.

But Spencer’s most effective storytelling device is color. The militaristic blood-red dusters worn by Caiaphas and his followers immediately establish danger and authoritarian control. Meanwhile, Judas’ wardrobe slowly evolves alongside his emotional deterioration. Kilgore first appears in a sleeveless black shirt emblazoned with a bright red star. By the time betrayal arrives, the star has vanished, replaced instead with a spiderweb design—a haunting visual metaphor for the trap Judas both creates and becomes trapped within.

Darren Levin’s lighting design further deepens the production’s emotional power. Much of his work is so seamlessly integrated audiences may not consciously notice its impact until a startling–even though we know it’s coming–Act 2 moment when the stage suddenly floods in violent crimson. Combined with Danny Northrup’s immersive sound design and Randy Craft’s music direction (featuring Craft and Ming Aldrich-Gan on keys, Brad Williamson on drums, bassist Thomas Altman, Sam Merrill on trumpet, Jennifer Kummer on French horn, Gus Arnold on reeds, and guitarists Cameron Cleland & Miles Aubrey), the behind the scenes crew turns out to be just as stacked as the players on-stage.

Likewise, Joi Ware’s choreography injects continuous movement and urgency into the production. There are moments where subtle Bob Fosse-inspired isolations seem to collide with flashes of Michael Jackson-inspired movement during larger ensemble sequences, creating choreography that feels simultaneously nostalgic and contemporary. Even those ensemble moments reinforce the power-in-numbers juxtaposed to the isolation of one theme found throughout the piece. Coupled with Cassidy’s direction, Ware’s choreography fills the stage with passionate movement, whether the entire company is on stage for a group number, or the action slows for a solitary moment from Pascal, Kilgore or Valli.

The production’s final moments ultimately land with devastating restraint. Rather than over-staging the Crucifixion, Cassidy allows Pascal’s increasingly broken physicality and exhausted vocals to carry the emotional weight of the scene. The result is haunting. By the time the orchestra transitions into “John 19:41,” the audience sits in near-total silence…followed immediately by thunderous applause.

Studio Tenn’s Jesus Christ Superstar succeeds not because it attempts to reinvent the material, but because it trusts the emotional complexity already living inside it. The result is a hauntingly modern interpretation of a decades-old rock opera that somehow feels more relevant than ever. Even before the show opened it was announced that it would extend its initial run through May 31. Performances of Studio Tenn‘s Jesus Christ Superstar on stage at Turner Theatre inside The Factory at Franklin (230 Franklin Road, Franklin, TN 37064) are Wednesdays thru Sundays with 7pm performances Wednesdays-Saturdays, Saturday matinees at 2pm and Sunday matinees at 1pm. CLICK HERE to purchase tickets or for more information. 

To keep up with the latest from Studio Tenn be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.

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. Until then, #GoSeeTheShow!

Theatre Review: The Keeton’s ‘The Play That Goes Wrong’ Nails the Art of Disaster as Everything Falls Apart (Right on Cue); Final performances this weekend through Sunday, April 26

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The cast of ‘The Play That Goes Wrong’ (all photos by Alixandria Brown/courtesy The Keeton)

Imagine if British comedy icons French and Saunders or The Mighty Boosh decided to mount an Agatha Christie Hercule Poirot mystery…There, now you’ve got the basic vibe of The Keeton’s latest offering. The Play That Goes Wrong, a madcap mishap of a show-within-a-show similar in theme to Noises Off–in that the audience witness the backstage antics of a fictitious theatre troupe while simultaneously trying to follow the storyline of their attempt to put on a classic murder mystery–The Keeton‘s production of The Play That Goes Wrong is wrapping it’s three week run with shows through Sunday, April 26. As directed by Erin-Grace Bailey, The Play that Goes Wrong is the kind of gleefully unhinged farce that practically dares its audience not to laugh—and then steamrolls them anyway. This production leans hard (sometimes a little too hard) into the chaos but ultimately comes out the other side with a win…even if everything onstage most certainly does not.

The premise is simple: the Cornley Polytechnic Drama Society is attempting to present a very serious murder mystery, The Murder at Haversham Manor. The reality? Nothing works. Props go missing, lines are butchered, actors drop like flies (sometimes literally), and the set itself seems to have taken out a personal vendetta against the cast. And yet, somehow, it all clicks with clockwork precision.

From the moment you step into the theatre, it’s clear this isn’t your standard night of community theatre. Pre-show antics spill into the house, there’s mention of a missing dog, a raffle that no one seems to know anything about, “tech issues” are already in full swing, and the fourth wall is less of a wall and more of a polite suggestion. It’s immersive…whether you asked for that or not.

Now, I’ll be honest, having seen the National Tour back in 2018, and two more recent regional productions including last year’s Clarence Brown Theatre mounting, I am a huge fan of this work—so, when I first heard The Keeton was tackling The Play That Goes Wrong, I raised a somewhat doubting eyebrow. This is a show that, by design, demands a lot from a technical standpoint. It’s big, it’s intricate, and it requires a set that doesn’t just exist, but actively participates in the chaos. In a more intimate space like The Keeton, it’s fair to wonder if that kind of controlled destruction might be a bit…ambitious. And yet, credit where it’s due: this team doesn’t just meet the challenge—they lean into it with gusto. The result is a production that feels just as delightfully unstable as it should, without ever actually losing control.

Leading this beautifully doomed endeavor is Joshua Mertz as Chris, the director/star/producer/everything-else of the show-within-the-show. Mertz plays Chris with just the right mix of puffed-up authority and slow-burn panic. As The Inspector within the mystery, watching him try to maintain control as things unravel faster than a cheap sweater is half the fun—and when he finally snaps, it’s worth the wait. Mertz, in his sixth show at The Keeton is proving himself to be a valuable asset the the company.

Aaron Gray’s Robert is the kind of community theatre actor who clearly believes he’s performing in Masterpiece Theatre, even as the world collapses around him. The fact that Gray is in or involved with nearly every Keeton production somehow added a if you know you know aspect to his role as Robert. As Thomas Collymoore, his dead-serious commitment in the face of utter nonsense makes every moment land harder, especially as the physical comedy ramps up and refuses to let him off easy. Kudos to his library scene. While the Keeton stage area does limit the intensity of the prospect of the second floor of the set completely collapsing, Gray’s physicality while keeping himself and all the props around his from falling away as the floor beneath him gives way, is gasping, belly-laughing joy to behold.

Hazen Lawson’s Dennis Tyde meanwhile, is a walking (and frequently stumbling) disaster in the best possible way as the newbie of the theatre troupe within the show tasked with playing the typically forgettable role of Perkins the butler within the mystery. With lines written on his forearm and a completely naturally nervous nature, Lawson delivers line flubs and verbal gymnastics with such earnest confusion you almost feel bad for laughing…almost. His constant mispronunciation of such words as cyanide, ominous and morose quickly becomes a running gag.

Keeton newcomer, Connor Boggs is tasked with the key role of Max. Initially cast in another role, Boggs stepped into the role of Max after the original actor had to drop out of the show. As Max and his mystery counterpart, Cecil, he figures out very early on that subtlety is overrated. Within the supposed seriousness of the murder mystery, for Cecil, once he gets a taste of audience laughter, it’s game over. He milks every moment for all it’s worth, turning even the smallest slip into a full-blown bit. That said, dressed in wardrobe that can only be described as a technicolor travesty—yes, the character is typically a bit of a dandy, but not quite so…flamboyant. Usually played as an overly confident community theatre actor with at least an initial modicum of subtlety, Bogg’s Cecil starts at 100mph and never slows down doing everything short of cartwheels from his stage entrance right on through to the final curtain. Under the direction of Bailey, Bogg’s Cecil is amped up and definitely played for laughs so much so that it runs the risk on a SNL skit that just doesn’t know when to  stop. But still, within the craziness of this show, it somehow works.

Also making her Keeton debut, Leslie King’s Sandra Wilkinson brings a diva energy that feels both earned and hilariously misplaced given the circumstances. Her Florence Colleymoore is equal parts glamour and growing frustration, and King handles the show’s increasingly demanding physical comedy without ever dropping character. In one scene in particular, she’s pulled and flopped around by her cast mates as if her joins are made of bendy straws. Her physicality is slapstick at its best.

Bree Presson—yet another new face to Keeton audiences— as Annie, is an MVP for anyone who’s ever worked backstage and thought, “Well…this is fine,” while everything burned down around them. Presson’s journey from frazzled stage manager to unwilling leading lady—when the above-mentioned King’s Florence becomes incapacitated—is a comedic slow burn that pays off big in true Goes Wrong style the payoff somehow gets even bigger when she’s forced into the spotlight opposite King in two-divas, one role scene that quickly devolves into chaos squared.

Wanderson Rezende’s Trevor Watson, stationed at the tech booth, proves that sometimes less is more. His distracted, couldn’t-care-less approach to running the show results in some of the night’s most perfectly timed “mistakes,” and when he’s finally dragged into the action, it’s awkward brilliance. And yes, Denese Rene’ Evans (the show’s costumer) I did indeed appreciate that Trevor is sporting a Duran Duran t-shirt!

And then there’s David Fonville as Jonathan (nice character name, by the way), tasked with playing a corpse who…isn’t exactly great at the whole “lying still” thing. Fonville’s physical comedy—mistimed reactions, missed cues, and all—adds an extra layer of delightful absurdity to a role that could just be…well, dead.

Adding to the mayhem is the Tech Chorus—Hannah Blough, MaryGrace Brittain, Hazely Merkle-Sanderson, Rich Moses, Advika Ravishankar, and  the above-mentioned Wanderson Rezende—all blur the line between backstage and onstage with impeccable timing. The mantle falls early on…no biggie, a stagehand dressed in black will just stand there with arms extended holding whatever props were supposed to rest on the mantle. Problem solved. Their presence reinforces the idea that in this production, literally no one is safe and the old adage that the show must go on is of utmost importance.

From a technical standpoint, this show is a masterclass in controlled chaos. Kevin Driver’s set design is essentially a ticking time bomb of comedic payoff, collapsing, malfunctioning, and misbehaving on cue. Was I a little let down that the telephone gag seems to have dropped the call, yes, but when an entire wall collapses around an actor, I was like “Damn, they did it!” Every sight gag is there, the patriarch portrait, the house intercom, the fainting grandfather clock—and all somehow carried off with precision and resulting uproarious laughter from the audience. In a space where something like this does feel a bit scaled down, Driver still finds ways to make every gag land with impact. Brooke Sanders’ lighting and Steve Love’s sound design are in on the joke at every turn.

Director Erin-Grace Bailey deserves serious credit for orchestrating what looks like total anarchy but is anything but. With Assistant Director Fiona Barrett and Stage Manager Alison Gaddy keeping the wheels (barely) on, the production hits its marks—even when it looks like it’s missing all of them.

Bottom line, if you like your theatre polished, pristine, and predictable…this ain’t it. But if you’re in the mood to laugh until your face hurts while watching a cast absolutely commit to the bit—even as the set tries to take them out—The Play That Goes Wrong at The Keeton is exactly the kind of beautifully disastrous night out you’re looking for. Just don’t expect anything to go right, because…Where’s the fun in that?

The Keeton’s The Play That Goes Wrong wraps it’s three-week run with shows continuing now thru Sunday, April 26. The Keeton Theatre is 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. 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. In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the show’s director and cast members. 

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!

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

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

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

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

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

One notable change is the role of Sweet Sue, bandleader of the all-girl band that serves as the perfect hiding in plain site destination for our two unintentional leading men, or should I say leading ladies? Little more than a brief appearance in the source material, Ruffin and Lopez wisely fleshed out Sweet Sue and as played by DeQuina Moore, we’re glad they did. Moore’s Sweet Sue doesn’t just open the show—she detonates it. Her “What Are You Thirsty For?” lands with the kind of electrifying force she herself described in our recent Rapid Fire 20Q, noting that she takes the responsibility “by the horns” each night to set the tone with a bang. That intention is unmistakable in performance. There’s power here, yes, but also purpose—her Sue is a bandleader carrying not just the rhythm, but the weight of every woman in her orbit. As she also shared in our recent Rapid Fire 20Q, that maternal instinct—balancing toughness with unexpected softness—becomes central to the character’s journey, and Moore threads that needle beautifully. With a commanding stage presence that put me in mind of the late, great Nell Carter, Moore’s Sweet Sue exudes class, brass and just enough sass to put the syncopation in Sweet Sue and her Society Syncopators. There’s a point in the show when Moore’s Sweet Sue is at a loss for words but that doesn’t keep her from garnering belly-laughs from the audiences as she pulls her face with with wide-eyed and open mouth exaggerated reactionary looks. A true queen of her craft.

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

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

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

Leandra Ellis-Gaston’s Sugar Kane arguably comes with the steepest climb. Not because of the technical demands—though those are certainly present—but because Marilyn Monroe’s original Sugar remains so indelibly iconic. Wisely, the creators of the stage adaptation “understood the assignment,” sidestepping imitation entirely. By reimagining Sugar as a strong-willed, career-driven woman of color, the role becomes instantly unshackled from direct comparison—and Ellis-Gaston runs with it. With a speaking voice that lands somewhere between The Color Purple’s Squeak and legendary chanteuse Lena Horne, her Sugar is equal parts vulnerability and resolve. Sweet? Absolutely. But never simple.

As G-man Mulligan, Matt Allen plays the essential “straight man” with surgical precision, anchoring the show’s more outlandish antics while quietly setting up some of its biggest payoffs. As he said in our recent Rapid Fire 20Q, that role is not only necessary but foundational in launching the show’s farcical momentum. And when he finally gets to dip into the madness—particularly in that delightfully ridiculous undercover sequence—it’s a payoff worth the wait.

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

Minnie, Sweet Sue’s right-hand woman is revealed throughout as a bit of a sticky-fingered gal. One of the show’s running gags is her revelations of accidentally entering the wrong apartments thinking they were Sue’s and taking things that weren’t hers. To that end it makes perfect sense that Devon Hadsell’s Minnie is a scene-stealing delight, leaning fully into the character’s charming chaos and absconding with laughs each time she’s on the stage. There’s a lived-in sense of loyalty and mischief here, making Minnie far more than just comic relief. She’s an essential part of the heartbeat of the band. And that ever-present cigarette dangling from her ruby red lips, the kind of subtle sight gag that again perfectly pays homage to that 1930 prohibition-era Hollywood spirit. Side Note: When that Gregg Oppenheimer I Love Lucy play makes its way to Broadway, Hadsell has my vote for the Vivian Vance/Ethel Mertz role!

And then there’s Edward Juvier’s Osgood, who may just be the show’s most quietly radical reinvention. As he shared in our recent Rapid Fire 20Q, what drew him to the role was Osgood’s ability to lead with curiosity rather than judgment—and that ethos radiates throughout his performance. Where the film played him as the punchline, this version is in on the joke and, more importantly, in on the love. That shift—from caricature to fully realized romantic—becomes one of the production’s most meaningful evolutions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: What are YOU thirsty for? 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Rapid Fire 20Q with Musical Theater Stars Rachel Potter, Elle McLemore, Marty Thomas and Jelani Remy; ‘Off Broadway: That’s So High School’ at Analog at The Hutton April 18

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Pop quiz: What happens when Broadway favorites, high school nostalgia, and one seriously chic Nashville venue collide for one night only? Enter That’s So High School, the latest installment in the ever-buzzy Off Broadway series at Analog at The Hutton Hotel on Saturday, April 18. Led by the unstoppable Rachel Potter (The Addams Family, Evita) and featuring a lineup that includes Elle McLemore (Heathers, Bring It On, Grease Live), Marty Thomas (Xanadu, Wicked), and Jelani Remy (High School Musical, The Lion King, Ain’t Too Proud: The Life and Times of The Temptations), this one-night-only event is serving throwback realness with powerhouse vocals to match. Before the curtain goes up (and the prom afterparty kicks in), we put the cast through our signature Rapid Fire 20Q because, after all, as the song says, “We’re All in This Together!” 

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RAPID FIRE 20Q WITH BROADWAY PERFORMERS HEADED TO ANALOG FOR OFF BROADWAY: THAT’s SO HIGH SCHOOL

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s ELLE MCLEMORE

JHPENTERTAINMENT: With the built-in pedigree of having originated the Broadway roles of both Bring It On’s Eva and Heathers: The Musical’s Heather McNamara, plus playing Patty Simcox in 2016’s Grease Live, you seem tailor-made for Off Broadway: That’s So High School. Did it take much convincing for you to agree to be part of it? 

ELLE McLEMORE: Thank you, Jonathan! HahaI I will say, I normally am the first person to typecast myself out of things, but this couldn’t be more on brand, so zero convincing at all. To quote Heathers–“High school never really ends.”

When I found out Taylor Louderman was on board as well, I was very excited to reunite with her, as we made our Broadway debuts together playing the villain and hero in Bring It On The Musical! In a way, It feels like we went to high school and grew up together, so it’s gonna be really fun being onstage again all grown up. 

I’ve also never been to Nashville before, so I am very excited to spend a bit of time here with this really special group of people!

JHPENTERTAINMENT: With each Off Broadway at Analog at Hutton Hotel, Rachel Potter has proven herself something along the lines of Music City’s own Six Degrees of Kevin Bacon of the theatre world, so…How did you and Rachel first met?

ELLE McLEMORE: That is AMAZING! Rachel is such a powerhouse. Not only do I think she’s one of the greatest vocalists of our time, she’s also an entrepreneur, mom, actress, and  the director/ producer responsible for bringing all this theatre magic to Music City! It’s truly special what she has created and I don’t know how she sleeps? LOL! 

I first was introduced to Rachel ironically (or by fate’s design) while I was doing Bring It On in NYC. She was doing a concert called The Glitter Ball at New World Stages. I remember being on Pinterest for WEEKS leading up to this event, as we were all trying to figure out what “sparkly” outfits to wear, and how to rhinestone our eye makeup. I have photos for receipts if you need. Needless to say, I’ve since been a fan, and honored to be a part of her Kevin Bacon lore. 

JHPENTERTAINMENT: Taking a queue from your Insta, Who would you include on your Mount Rushmore of High School characters? and YES it’s OK to include at least one that you have played yourself…

ELLE McLEMORE: I LOVE IT. Okay I need you to know how hard I thought about this, as these games are my world. So here we go:

1. Patty Simcox (Grease) 

I know this is controversial, and the correct choice should probably be Danny Zuko or Sandy, but since you said I could pick one of my characters, this is the one I would go with. Rydell High School simply would not function without Patty Simcox. She was head of the cheerleading squad, student council, yearbook committee, holding dance competitions, all while literally running for office (Student Council Vice President). She embodies high school, through every generation. All I can say is…missed opportunity, Danny.

2. Troy Bolton (High School Musical)

I had a cardboard cutout of Zac Efron from Blockbuster in my childhood bedroom that lives rent free in my heart forever. So maybe that’s subconsciously why I think he’s “peak” as the kids say, but I actually think it’s more! He challenged high school hierarchies and gender norms with his passion for both basketball and theatre that I honestly just find so inspiring. He’s got that perfect “coming of age “ and “breaking the status quo” arc it requires to be on my mountain range. 

3. Regina George (Mean Girls)

 Although Heathers came 15 or so years earlier, Mean Girls was my generation’s EVERYTHING. If you’re a millennial you probably lived and breathed this movie while wearing your Juicy Couture sweatsuit and Tiffany and Co necklace. If Troy Bolton is the “good guy” archetype, Regina George represents that beautiful “dictator” role that exists in almost every high school setting.  Also, I just adore Rachel McAdams and obviously Taylor Louderman, too.

4. Cher Horowitz (Clueless)

This was hard. I could have gone Marty McFly, Tracy Turnblad or even Veronica Sawyer for honorable mentions, but we have to round it out with Cher. There’s something about her being the optimistic (clueless) protagonist that annoyingly gets away with everything that is just “so high school” to me. I also just love her outfits and the 90’s Beverly Hills setting. As IF!

JHPENTERTAINMENT: In preparation of chatting with you I did an online sleuthing via your fabulous socials, where I learned that last year you traveled to Japan to be part of a Masterclass. What was that experience like? 

ELLE McLEMORE: I am honored to have been a small part of your “doom scroll”, Jonathan.  Thank you so much. If you haven’t been to Japan, please put it on your bucket list, ASAP! It’s truly life changing. It was very special for me, as I am a quarter Japanese, and I got to see a lot of where I came from. My mom is also a performer (she is a dancer turned Las Vegas showgirl) and Tokyo and Okinawa Japan is where she began her performer journey at 18. So to be at the birth place of where it began for the both of us, then teaching students younger than me was one of those cull circle moments.  To have students show up in a classroom half way across the world singing your songs in Japanese, was just something I never imagined possible.  Even with a small language barrier, It showed me that the language of musical theatre is truly universal. They are so incredibly respectful, disciplined and passionate. Something I really took note of is, for a culture that has a reputation of being reserved, they are also so deeply open, raw and brave. Their talent was INSANE. I left there thinking, wow I really need to step my game up…

JHPENTERTAINMENT: What’s next for you?  

ELLE McLEMORE: I’m really excited about this next chapter. I’ve been focusing a lot the last three years on building my own production studio, Established Magic with my husband, Josh. We have created some beautiful cinematic work  in partnership with some of the biggest brands all over the world, that I’m really proud of. I started acting professionally in LA when I was 16, and as the entertainment landscape has evolved, it became really clear to me I needed to create my stories, on my own terms. It’s hard as an artist to give your power away to an entity outside of yourself, and I really admire people that go out there and do their own thing— exactly like what you’re doing here, Jonathan! 

I also host a show/podcast called PLAYDATE, where we play games (like the Mount Rushmore one!)— it’s adult slumber party game night vibes on the internet. It kind of blew up on YouTube, so I have been slowly integrating it into longer form content with interviews. Aside from that, I would just love to to keep blending storytelling/performing/traveling and creating an expansive career— along with spend as much time with my fur son, my golden retriever Marshmallow, as possible (main priority). And I’m always open to jumping back on stage when the right project comes along. But ONLY if it’s set in high school.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s MARTY THOMAS

JHPENTERTAINMENT: In 2019 you released the album Slow Dancing with a Boy. At the time, it was described as a prom-themed piece, so you seem a natural choice for Off Broadway: That’s So High School. Was it an immediate yes when Rachel asked you to be part of this fun night of musical memories?

MARTY THOMAS: Absolutely! I threw a prom for my album release party/concert, and Rachel was both on the album and at the prom! We had such a great time, I can’t imagine that evening wasn’t partially responsible for a prom coming to Nashville!  We had such a blast. I’m so glad we get to do it again!

JHPENTERTAINMENT: On your album Slow Dancing with a Boy, Rachel provided guest vocals on the track “Dreamlover”. How did that come about? AND…any chance you two might perform it live at That’s So High School? 

MARTY THOMAS: I love that record so much. I don’t think we will be performing that, mainly because it’s a Broadway themed evening. When Rachel lived in NYC, we had a country band with our best friend Jamey Ray. We would rearrange pop tunes to have bluegrass and country vibes. This Mariah Carey tune was my favorite of our collection. I just HAD to get a studio recording of it. 

JHPENTERTAINMENT: Your Broadway credits include Wicked and Xanadu. I’m just gonna admit it…I LOVE all things Xanadu. Whether we are talking about ONJ’s movie or the musical. What’s your favorite memory of your time with Xanadu on Broadway? 

MARTY THOMAS: Oh gosh finding just one is impossible. Xanadu was such a huge window of my life, but the tremendous cast is the highlight for me. I got to work with some of the most talented iconic performers out there and I’ll never forget it. The Tony awards was a definitive highlight as well!

JHPENTERTAINMENT: Any Spoilers for what the Nashville audience can expect from you at That’s So High School?

MARTY THOMAS: Those lucky folks are in for a fun nostalgic evening. Amazing singers, great band, super cool ambiance, great drinks, I’m hoping everyone gets dressed up for the prom theme!

JHPENTERTAINMENT: As much as I wanna ask about your 1992 Star Search Junior win over some girl named Britney Spears, I’ll just ask WHEN can we expect OR…What have you got coming up next?  

MARTY THOMAS: Oh man, Slow Dancing With A Boy really would make an amazing musical. I’ll have to get back to you on that! I’m touring so much this year, but have been working on a new album slowly but surely! 

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s JELANI REMY

JHPENTERTAINMENT: In 2019, you and Rachel Potter were among those performing at a gala celebrating Broadway composer & lyricist, Andrew Lippa. Was that the first time you and Rachel met? AND How did she convince you to be part of her latest Off Broadway series of one-night-only concert events here in Nashville?

JELANI REMY: Rachel and I met while I was on tour doing High School Musical maybe 2006 ish? Our cast crossed paths with the casts from the park and I was introduced to her incredible talents and connected to her beautiful heart. We have always kept in touch rooting for each other ever since so when she called me to be part of this – I immediately said yes! Well, to be honest -she asked me earlier but I was booked at Disneyworld which is actually ironic. However, I think being part of this show particularly is quite perfection!

JHPENTERTAINMENT: To my way of thinking, Grease is the granddaddy of all high school musicals, therefore, High School Musical is the daddy, or at the the older brother. It has been 20 years since the phenom began, after all. Having played Chad Danforth in High School Musical during the 2007-2008 concert tour, what is it about these types of musicals that resonates as time passes? 

JELANI REMY: We have to talk about the fact that the first solo I sang was “Those Magic Changes” my freshman year of high school! It changed me. Bit by that theater bug forever. Fast forward to landing High School Musical. The beginning of my career!

The thing about these shows is that those years- the high school ones are so formidable and relatable to everyone! The friends you had- the phases – the teachers. They made you. They stay with you and if you happened to be in the theater department.. it was the start of something new……. lol

JHPENTERTAINMENT: While I saw you on stage in the original High School Musical national tour, it wasn’t until a few years later when I not only saw you as Simba in The Lion King, but was also fortunate enough to get to know you a little during the tours four week residency at Nashville‘s TPAC. What’s among your favorite memories of your time with The Lion King? AND…Any chance Nashville audiences might get a little Simba song during Off Broadway: That’s So High School? 

JELANI REMY: My favorite memory of The Lion King is 10 years of telling an iconic story to so many! I really grew up with that show and Simba means more to man than anyone will know! Though I did the show for a bit- no show was the same! That’s magic of theater.  I will say I had an absolute blast in Nashville on tour and can’t wait to be back!

I can’t give any secrets away! Come to the show and find out!

JHPENTERTAINMENT: While Off Broadway: That’s So High School brings you back to your roots—HSM having been your first pro gig (if my research proves correct)—it’s not your first time to revisit Wildcats country. In 2024, you directed a HSM tour cast reunion at New York’s iconic 54 Below. What was a highlight of that night for you, both as a HSM alum and as the show’s director? 

JELANI REMY: As I put on my director choreographer hat. I was honored to be given this opportunity to bring my Wildcat family together to revisit the show and lift up our musical director Bryan Louiselle.  A highlight of that night was our version of “When There Was Me and You” It was beautiful and for Our Bryan.

JHPENTERTAINMENT: All right, I can’t do this interview with you and not mention something. A few years ago, at my request, you created a video encouraging the cast of a local production of The Lion King Jr. As someone who got their professional start not long after their own high school experience how important is it to encourage the next generation of performers? 

JELANI REMY: Yes, yes and more yes! They are the future! It’s vital! It’s a joy of mine to let others know that they can and should! We are essential to humanity.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s RACHEL POTTER

JHPENTERTAINMENT: How did you come up with the idea for the Off Broadway series at Analog?

RACHEL POTTER: This series was really a happy accident! I have always wanted to start an event series here in Nashville for Broadway/musical theater folk, but the venue had never really made itself known. I actually reached out to Analog to be the location for my Broadway album release party in Nashville, but they said, “Actually, we have this idea for a Wicked themed event, maybe you could collaborate with us on it and maybe host it?” So, together, we came up with this fabulous event, and it was such a success that the Hutton and Analog were excited to keep it going – and so am I! I’ve fallen into the role of producer, performer and host, which is a big job, but the payoff is so worth it. My good friend Chris Brent Davis is the musical brain behind my visions, and I couldn’t do it without him! 

JHPENTERTAINMENT: The latest, Off Broadway: That’s So High School is the fourth in the ongoing series, right?  Can you give me a sneak peek as far as what shows are being represented this go-round?

RACHEL POTTER: Yes, the 4th! So far, we have had Witch, Please! (Wicked), Best of Broadway, and An Evening of Magic (Disney). This month’s show will visit all the most popular musicals about high school: Dear Evan Hansen, Mean Girls, Bring it On, and Grease, of course! Also, a very important detail, we are having a Prom Dance Afterparty in the space right after the concert! 

JHPENTERTAINMENT: So…Is it too late to request “Reproduction” or “Cool Rider” from Grease 2?

RACHEL POTTER: Unfortunately, yes, but you’ll be happy to hear Grease is definitely represented from the first film!! You’ll have to put your requests in sooner next time… this takes lots of planning and having people learn numbers in advance! 

JHPENTERTAINMENT: For this Rapid Fire 20Q, in addition to our conversation, I’m also chatting with Elle, Jelani & Marty. Who else have you lined up for Off Broadway: That’s So High School? 

RACHEL POTTER: Oh, it is such a great lineup… in addition to those legends Taylor Louderman (Tony Nominee for Regina George in Mean Girls, Lauren in Kinky Boots, Bring it On), Carolina Rial (The Voice), Ben Laxton (Book of Mormon Broadway), Jada Wasserman (TikTok Star), and Nashville Musical theater artists Erin McCracken and Dustin Davis.

JHPENTERTAINMENT: What do you have audiences take with them after attending one of your Off Broadway nights? AND…what’s up next for this concert series? 

RACHEL POTTER: JOY and CONNECTION. So much of what’s going on in the world today is dark and always seems to be getting worse. At the end of the day, if I can bring meaningful connection and joy to my community through music and storytelling, then that is a huge win. We are all walking this human experience together, and while different, we’re actually way more similar than we are led to believe. Our night allows music and theater to tell human stories and brings our Nashville community together in a way they aren’t accustomed to. It’s thrilling to be a part of, and to hear from the audience how much they are getting from our evenings together. 

What’s coming next? Just you wait! If Nashville continues to show up, we will only keep growing this special thing and getting cooler opportunities to create theater magic with Analog! July 11 will be The Room Where it Happened, featuring music of protest and patriotism, from musicals like Hamilton, Spring Awakening, Les Mis, Hair, and more! Then, our season closer on October 30 and 31 will be The Addams Family Musical in Concert! I will be reprising my role as Wednesday alongside Broadway, National Tour, and regional cast alumni, complete with the musical composer, Andrew Lippa, here to narrate! The hotel will incorporate a haunted house immersive element – it is going to be SO FUN. We are already dreaming up next year’s themes, and I’m so excited to begin casting them. Keep an eye on Off Broadway at the Hutton, Nashville – these one-night-only events are not to be missed! 

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Just because these interviews are over, don’t think for a minute that class is dismissed! From Wildcats to Plastics, pep rallies to power ballads, Off Broadway: That’s So High School, Saturday, April 18 at 8pm (doors at 7) at Analog at The Hutton (1808 West End Ave. Nashville, 37203) promises a nostalgia-fueled night that hits every note—and then invites you to dance it out after. With a cast this stacked and a concept this irresistible, Off Broadway at Analog continues to prove that Music City has a serious theater heartbeat. Off Broadway : That’s So High School Reserved Seating Tickets are $60 and General Admission Tickets forare $35. You don’t need a permission slip, so consider this your official homework: CLICK HERE to grab your tickets, dress for the prom (obvi), and get ready to relive the glory days—now THAT’S an after school assignment I think we can all get into.

To keep up with all happenings at Analog at The Hutton, CLICK HERE or follow them on Facebook and Insta.

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

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!

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 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.

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