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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.

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

 

 

Rapid Fire 20Q with SIX MUSICAL’s Four Alternate Queens; National Tour at TPAC February 3 thru 8

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

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

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

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

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

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

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

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

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

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

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

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

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

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Behind the Barricade: Rapid Fire 20Q with ‘Les Misérables’ National Tour Cast Members

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Few shows in Broadway history carry the emotional weight, cultural legacy, and sheer endurance of Les Misérables. Following its 1980 Paris debut and a subsequent London premiere, Les Mis first stormed Broadway in 1987. Since then, the musical has lived many lives: record-breaking original runs, celebrated revivals, concert spectaculars, a current 40th Anniversary National Tour and an upcoming 2026 Les Mis Concert engagement at Radio City in New York, all proof that this story still hits just as hard.

Two years after Les Mis’ Broadway debut, Nashville theatre goers got their first chance to witness the spectacle when the National Tour made its TPAC debut at Jackson Hall during the spring of ‘89. Over the years, TPAC has presented subsequent tours nearly half a dozen times. As Les Misérables prepares to return to TPAC next week with eight shows over five days from January 20-25, we sat down with members of the current tour for our signature Rapid Fire 20Q. From Broadway debuts and tour firsts to deeply personal connections with Fantine, Marius, Éponine and Cosette, cast members Lindsay Heather Pearce, Peter Neureuther, Jaedynn Latter and Alexa Lopez share what it means to step into a show that has shaped musical theater history—and continues to change lives as the tour continues.

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RAPID FIRE 20Q WITH MEMBERS OF LES MISÉRABLES NATIONAL TOUR

RAPID FIRE WITH LES MIS’ FANTINE, LINDSAY HEATHER PEARCE 

JHPENTERTAINMENT: From The Glee Project to belting it out as Elphaba in your Wicked Broadway debut in 2020 to touring with Mean Girls and now Fantine in the 40th Anniversary Tour of Les Misérables, your entire career (so far) feels full of pinch me moments. With all these great roles already, do you even have a bucket list? 

LINDSAY HEATHER PEARCE: It HAS been full of pinch me moments. The fact that I have yet to wake up from this dream is a good sign that it’s all real and actually happening. I have definitely been very lucky in the last five years of my life to play so many wonderful roles, but the bucket for my list is deep and my actual list is long. A lot of the roles I want to play the most are out of my age range right now (I would need a few more years under my belt), but my biggest dream is to originate or revive a show! 

JHPENTERTAINMENT: Across Broadway, tours, and television, which role has most profoundly shaped you as an artist?

LINDSAY HEATHER PEARCE: I don’t know if I can pick just one! Each role I’ve been lucky to play has been so crucial to who I am today and was so important for who I was then. 

If I had to choose, I would say Rebecca in Recovery Road on FreeForm and Elphaba in Wicked on Broadway. 

Recovery Road was such a special experience, and to show up to set almost every day, to learn how to use those on camera skills we well as grow the skills of how to be a good team member on a set were some of the most important ones.

Elphaba was like taking a masterclass in self-care, self-understanding, bravery, humility, curiosity, and steadfastness. That’s on TOP of the lessons in leading a Broadway company, learning how to do 8 shows a week, and the excitement of joining such an incredible arena. Huge lessons, huge huge huge life changing lessons.  

JHPENTERTAINMENT: How do you emotionally prepare to sing I Dreamed a Dream night after night?

LINDSAY HEATHER PEARCE: I’ll be honest, the show does it for me. Fantine has an entire factory scene before I Dreamed A Dream that is filled with character exposition. So much happens in that ten-minute scene that by the time I get thrown into the streets, I am emotionally there and ready to sing my heart out. That’s a testament to how well Les Misérables is written and structured. Even if it’s a tired day and I don’t know if I am mentally or emotionally there, the show will get me there.

JHPENTERTAINMENT: This tour cast features a great mix of actors making their tour debuts and folks like Nick Cartell (Jean Valjean) who have history with their roles, having appeared in prior productions. It’s often said that a touring company truly becomes family. Do you feel that with Les Mis?

LINDSAY HEATHER PEARCE: Absolutely, yes. More so than any other company I have ever been a part of (and I’ve been in some of the best companies). These are GOOD people, with good hearts and open arms. When you’re on the road, away from home and family and all that is familiar, being in a company with good, gracious and FUNNY people is truly a balm.

JHPENTERTAINMENT: Fantine’s story is brief but devastating — what do you hope audiences take with them after your final moment?

LINDSAY HEATHER PEARCE: We all know someone with Fantine’s story, or some aspect of it. Know that one kind act, or one good decision can change someone’s life. Without Fantine’s tragedy and sacrifice, the story doesn’t move forward.

Valjean is given the incredible opportunity to become a father to little Cosette, through whom he learns to love and look beyond himself in service of someone else. How beautiful is that? 

I hope people can take away the idea that there are opportunities around every corner to be good to someone else, to be of service, to help or save however they can. Even small stones make ripples.

RAPID FIRE WITH LES MIS’ MARIUS, PETER NEUREUTHE

JHPENTERTAINMENT: You first stepped into the role of Marius at The MUNY back in June of 2024, since first taking on the role, has anything changed or deepened in the way you portray him?

PETER NEUREUTHER: When I played Marius for the first time, rehearsals were so fast that I had to put this character together in just 10 days! Now being on the tour being over 100 shows in, I have learned so much more about Marius — the immense joy and hope he feels at the beginning of his story preparing for the revolution, and falling in love, to his deep trauma and maturity as he watches friends die on the barricade, and learning how to overcome this grief. I feel like now I really have been able to understand his story being on this tour alongside these incredibly talented storyteller castmates!

JHPENTERTAINMENT: Making your national tour debut on the barricade — after already having lived in this world at MUNY, is there a moment that still gives you full-body chills each night?

PETER NEUREUTHER: I truly do have to shoutout, and thank The MUNY for honestly, giving me my start into the business! I got such chills every night at that stage going out and performing for 11,000 people every night. We perform for massive stages everywhere in the country, but the MUNY’s venue will always hold a special place in my heart. Every night, from the MUNY to the dozens of cities we have been to, going out and singing Empty Chairs at Empty Tables always gives me full-body chills, as I know the weight this song holds, and how it is almost cathartic for Marius.

JHPENTERTAINMENT: You graduated high school in 2020 — fast forward to spring 2025 and you’re making your Broadway debut in Stephen Sondheim’s Old Friends alongside Bernadette Peters and Lea Salonga. How do you even begin to process a leap like that?

PETER NEUREUTHER: It definitely still doesn’t feel real! I honestly sometimes just try to take a minute when I’m feeling overwhelmed and stressed about auditions or the show, even just life, and remind my self how proud high school me would be to see me up on these stages, sharing the stage with legends, and talent I could’ve only ever dreamed of. I am truly so lucky to have had the opportunities that I have had, but it has come with lots of hard work in college, in and out of the classroom. I am so grateful for the experiences I’ve had thus far, and I know my hard work and work ethic will keep serving me. I’m never satisfied (in the best way!).

JHPENTERTAINMENT: Having performed Les Misérables in The MUNY’s massive outdoor amphitheater — how does that experience compare to setting up shop in a new indoor venue with each stop on the national tour?

PETER NEUREUTHER: The MUNY’s massive stage is truly like performing at a football stadium! I definitely feel like I had to emote more on that stage so even the people all the way in the back rows who looked like they were on the moon could understand the story! These indoor venues are a whole different beast. Setting up shop in a new theater almost every week and seeing how our show fits in every venue so perfectly is awesome! I love getting to perform for a new crowd and new theatre every week!

JHPENTERTAINMENT: If Marius could send one modern-day text message, who’s it to — Cosette or the revolution group chat? AND What might it say?

PETER NEUREUTHER: Well lucky for me, Alexa Lopez our Cosette in the show is also my partner outside of Les Mis. So, if it was Peter sending a message it would be “What’re we getting to eat after the show? I’m starving.” But as Marius to Cosette it would be “Dearest Cosette, I’ll come find you I promise. It doesn’t matter if you’re here or across the sea. My love for you makes any distance crossable. I love you endlessly”.

RAPID FIRE WITH LES MIS’ ÉPONINE, JAEDYNN LATTER

JHPENTERTAINMENT: Fresh out of Baldwin Wallace Conservatory of Music and straight into Les Misérables 40th Anniversary Tour. Not a bad way to jumpstart your professional career, huh? — when did it finally feel real?

JAEDYNN LATTER: When I put on the iconic red hat for the first time. That’s when I thought, “Oh, wow, I’m actually doing this for real.” It was like the physical embodiment of a legacy, and especially when I was first wearing it, I could feel the weight it had.

JHPENTERTAINMENT: Éponine’s journey is heartbreak, bravery, and resilience all at once — which lyric is the hardest to sing eight times a week?

JAEDYNN LATTER: “A world that’s full of happiness that I have never known.” Yes, it is vocally challenging, but I think one of the most tragic parts of Éponine is that she’s not really mad at Marius or Cosette because they fell in love. She’s grieving that she was born into her circumstances and thinks more than anything, “If things were different.” Seeing Cosette, (and in turn, Marius), reap the benefits of a life that she could have lived hurts most of all. Seeing their privilege and their ability to fall in love in such an innocent, ideal way, knowing that she will never experience that is so incredibly painful. I think coming to that realization every night is the most excruciating thing to enact eight times a week.

JHPENTERTAINMENT: You’ve played roles from Waitress’ Jenna to Into The Woods’ Little Red — how did those experiences prepare you for Éponine?

JAEDYNN LATTER: Waitress was the first show that I ever played the leading role in, and I barely left the stage. I think that experience taught me to trust my body’s own stamina, and to sort of be okay with not being able to second guess myself once we got going. Into the Woods had an eight-show week, so it definitely showed me what that schedule feels like. But actually, I think Little Red really prepared me for Éponine in the sense that they’re both younger than I am. In both cases, I had to mentally travel back to adolescence and think, “How does a teenager view love, or grief, or power, etc.?” It taught me to really listen to what I was actually hearing rather than acting based off of my own gained maturity and pre-conceived notions of her journey.

JHPENTERTAINMENT: Pre-show routine: quiet focus, vocal warm-ups, or hyping yourself up backstage?

JAEDYNN LATTER: It’s definitely more of a mid-show routine for me—mostly consisting of Jolly Ranchers and reminding myself to breathe. In a voice lesson, a coach had told me to remember I have toes (as a way to say, “be aware of your body as a whole”). So a lot of the time before On My Own, I’m telling myself, “You have toes.”

JHPENTERTAINMENT: If Les Mis were to go the route of some other musicals who use pop tunes to tell the story, what might Éponine’s pop counterpart to On My Own be?

JAEDYNN LATTER: I literally have an Éponine playlist that’s nearly six hours long. Some of my favorite fits for her are Waiting Room by Phoebe Bridgers and David by Lorde. If we’re talking old-school, I think the most literal counterpart would be All By Myself by Celine Dion.

RAPID FIRE WITH LES MIS’ COSETTE, ALEXA LOPEZ

JHPENTERTAINMENT: National tour debut and Cosette — what was the very first thought that hit you when you got the call welcoming you to the tour?

ALEXA LOPEZ: My heart literally burst out of my chest! I actually got the call as I was about to clock into my hostessing job at the time. It was one of those pinch me moments every performer in NYC dreams of having. I simply just couldn’t wait to be on stage sharing this story with thousands of people, bringing life to it and trying to do it justice every night. I could barely even concentrate that night as I was working – my mind was reeling with so many thoughts of the future, tour, excitement, gratitude, and the list goes on. 

JHPENTERTAINMENT: Cosette is often described as gentle — what strength do you love most about her that audiences sometimes overlook?

ALEXA LOPEZ: Cosette is definitely a gentle force of light and goodness in our show. However, and moreover, she is strong, determined, and has depth to her. She fights to learn the truth about her life, she fights to be there for the people that she loves in their hardest times. She could sit back and live the life that Valjean has built for her, no questions asked. But instead, she pushes to learn the truth and have her father know that she has grown into a woman–a woman with agency, a woman with desires, and a woman who deserves and can handle the truth. So, definitely her strength and determination. 

JHPENTERTAINMENT: What is it about Cosette that challenges you most as a performer?

ALEXA LOPEZ: The track itself can be challenging at times from a technical standpoint. I have to be careful about when I warm up so that my voice can be ready for certain moments in the show after not being on-stage for a good amount of time. Cosette’s big vocal moments come fast and furious, so being dropped in and prepared when the time comes has been a learning curve for me. 

JHPENTERTAINMENT: Quick pick: sweeping romantic ballads or emotionally charged duets?

ALEXA LOPEZ: Emotionally charged duets!

JHPENTERTAINMENT: When audiences see this tour, what do you hope stays with them after the curtain call?

ALEXA LOPEZ: This is a story that is timeless and that everyone, to some degree, can resonate with. I hope audiences feel a sense of hope as they walk out of the theater. Our show is about unconditional love, the strength of the human spirit, and the fact that redemption and light are possible, even through the darkest and most impossible times. 

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Celebrating 40 years since Les Misérables first arrived on Broadway, the revolution returns once more. This 40th Anniversary Tour honors every chapter of the show’s extraordinary life while proving its message remains as urgent as ever. Les Misérables plays TPAC’s Jackson Hall January 20–25, 2026. Tickets are on sale now at TPAC.org, starting at $72.55. Whether it’s your first barricade or your fiftieth, this is a dream worth dreaming—again.

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

 

Theatre Review: Nashville Rep’s It’s A Wonderful Life’ Delivers A Heartfelt triumph for the Holiday Season

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Nashville Repertory Theatre rings in the season with a warmly nostalgic, creatively staged production of It’s A Wonderful Life, directed by Alicia Lark Fuss and running now through December 22 at TPAC’s Polk Theater. With a stellar cast led by Brian Charles Rooney as George Bailey, Tamiko Robinson Steele as Mary Hatch Bailey, Jennifer Whitcomb-Oliva as Clarence and Matthew Carlton doing double duty as both Joseph, the supervising angel and as Potter, the beloved Frank Capra holiday classic, adapted for the stage by playwright Catherine Bush, is reimagined with theatrical magic.

This production leans into nostalgia while embracing a distinctly theatrical vocabulary with inventive movement, actors portraying multiple roles throughout and a visually stunning pop-up vintage Christmas card aesthetic —resulting in a version of Bedford Falls that feels both timeless and newly alive, all adding fresh dimension to a story generations know by heart.

Before a single line is spoken, the audience is transported by Gary C. Hoff’s breathtaking set design: a larger-than-life, die-cut, layered pop-up tableau rendered like a mid-century Christmas card cut from heavy white cardstock. It’s whimsical without being precious—an intricate snowy sculpture of Bedford Falls, with tiny cut-out doorways and windows glowing from within. Peer closely and you’ll catch vintage cyanotype portrait photos, representing the “everyday people” of the town, those whose quiet lives shape George Bailey’s world in ways he often forgets to see. It’s the perfect conceptual anchor for a story about taking note of what truly matters.

Playwright Bush seems to have taken inspiration from such classic theatre pieces as Our Town, in employing the above-mentioned practice of having actors portray multiple roles. Another of this production’s most enchanting elements is its use of movement. Thanks to movement coordinator Megan Castleberry, the ensemble shifts with a near-balletic grace—actors gracefully glide set pieces to and fro, and when called for, they physically personify snow gusts, swirling wind and fateful cracks across an icy pond. They mime-like movements echo emotional beats, and embody natural forces, adding a magical, abstract layer to the storytelling. It’s a bold directorial choice that works beautifully, enhancing the narrative without ever distracting from it. Especially effective in the more dramatic scenes, offering them up in an almost dreamlike vision.

At the center is Brian Charles Rooney, who’s made quite a name for himself, not only on the local level, but for his work in New York on Broadway, is well-known for his vocal prowess as a musical theatre powerhouse. Rooney captures the full breadth of George’s life journey—from mischievous boy to wide-eyed dreamer to the exhausted, cornered adult wondering where everything went wrong. Remarkably, he accomplishes this not through drastic physical transformation but through subtle, sharply observed choices: a shift in vocal pitch, a slight change in posture, the weight of responsibility settling into the shoulders. These gradations make his downward spiral heartbreaking and his redemption cathartic. As George Bailey, it’s his sincere believability as the multi-faceted depth he brings to the stage that holds the audience’s attention from that first appearance of a man defeated to the much-loved ringing of that angelic bell signifying all is well with the world. His performance as George Bailey is nothing short of revelatory. And YES…though this production is not a musical, the audiences is indeed treated to just a bit of Rooney’s pitch-perfect multi-octave voice for a quick little verse of Buffalo Gals, the beloved tune featured in the 1946 film classic.

As Mary Hatch Bailey, Tamiko Robinson Steele radiates warmth, quiet confidence, and fierce devotion. Her Mary is not simply the supportive spouse—she’s the emotional compass of the story, grounding George even when he’s flailing hardest. Steele’s effortless sincerity elevates every scene she touches. From their scenes depicting George and Mary’s childhood friendship to their teenage flirtation, Steele’s sweet embodiment of Mary is palpable. The scene at the drugstore soda fountain when Mary leans over to George and whispers in his bad ear her devotion, I couldn’t help but have a little eye sweat. With Steele in the role, it’s no wonder George offers Mary the moon.

A standout among the ensemble, Matthew Carlton impressively toggles between two primary characters, the compassionate, celestial Joseph and the acerbic, conniving Mr. Potter. The contrasts are stark yet fully realized. Particularly striking is a small but brilliant acting detail: Carlton’s decision to have the wheelchair-bound Potter occasionally rub his leg, as if easing a persistent ache. As someone with mobility and neuromuscular pain myself, that gesture resonated deeply—an understated physical cue that hints at the discomfort and bitterness fueling Potter’s worldview. Carlton’s scenes with apprentice angel, Clarence are equally as lovely.

To that end, Jennifer Whitcomb-Oliva, who I readily admit is one of my longtime theatre crushes, shines brilliantly as the eager-to-earn-his-wings Clarence. Ever-hopeful and constantly assuming its his time to get to work helping George as Carlton’s Joseph guides him through George’s journey thus far, Witcomb-Oliva is simply joyous to behold. Also tasked with also presenting the bumbling but big-hearted Uncle Billy, Witcomb-Oliva os equally at ease. Where physical choices and minute nuances in characterization are concerned, Witcomb-Oliva is astutely adept. From Clarence’s nervous excitement to not only help George, but to also earn is wings–to Uncle Billy’s blissful befuddlement, Witcomb-Oliva delivers performances indeed worthy the presentation of angel wings.

Among the remaining company members, Matthew Benenson Cruz offers charm and humor as Harry Bailey, Burt the Cop, and more. Garris Wimmer deftly give the ole “Hee-haw!” to his Sam Wainwright, offers a bit kindness with his Mr. Gower and is the perfect companion to Cruz’s Burt as Ernie the cabbie. (Side Note: As I do every time I have the chance to review It’s A Wonderful Life, YES, I will point out the fact that Jim Henson and Company got the names for two of Sesame Street’s best pals from the characters of Bert and Ernie in the Capra classic), but I digress. Back to the ensemble, as expected, Eve Petty gives a spirited turn as Violet Bick, injecting just the right note of vulnerability beneath the flirtation. She’s also ridiculously fun in her role as one of the Bailey children.

Among  the remaining ensemble are Eric D. Pasto Crosby, who is first seen in a brief appearance as Mr. Bailey and a little more stage time as Nick the barkeep (question…did they really have Sports Bars called as such in the 1940s? It’s rhetorical. Sports Bars weren’t a thing until the 1960s, thus my only complaint about the set, for when Clarences shows George what life would have been like had he not been born, they visit the bar formerly owned by Martini, now emblazoned with a mirror-etched sign reading Nick’s Sports Bar). Aleia Eagleton and Darci Nalepa Elam appear throughout portraying various townspeople. Among their standout turns, Elam’s Ma Bailey is motherly perfection while her Tilley is flirty and fun. Then there’s the small in stature, but big in energetic presence of Eagleton as she is fabulously convincing and utterly enjoyable in the tiny, but pivotal role of Zuzu.

Each member of the company, whether featured on ensemble beautifully adding texture, warmth, and an essential presence throughout, rounding out the world of Bedford Falls with the perfect blend of authenticity, heart and the occasional wink to cleverness of the minimal approach to the piece.

Behind the scenes, the talent runs as deep. Melisa K. Durmon’s costumes, hair, and makeup perfectly capture the era while allowing each actor to glide seamlessly between roles and meet those quick change cues in time for their next character’s appearance. Dalton Hamilton’s lighting design bathes the stage in comforting holiday hues one moment and stark emotional shadows the next, guiding the audience through George’s shifting state of mind, but never over-dramatizing it. Kevin O’Donnell’s sound design subtly enhances the production’s magical realism—gentle chimes, rustling winds, and atmospheric underscoring that support without overwhelming.

Nashville Rep’s It’s A Wonderful Life is more than a nostalgic retelling; it’s a reminder—tender, inventive, and beautifully crafted—of the impact one life can have on an entire community. With its inventive staging, standout performances, and thoughtful direction, this production radiates the very heart of the holidays. Whether you’re revisiting Bedford Falls or discovering it for the first time, this beautifully crafted production is a heartfelt story of community, compassion, gratitude, connection, and the timeless belief that no one is a failure who has friends and the reminder of the difference one life can make.

The Rep‘s It’s A Wonderful Life continues its run through December 21, with performances at 7:30pm Thursday, December 18 and Fridays and Saturdays, and 2pm matinees Saturdays and Sundays. Truly a heartfelt, artfully realized gift to Nashville theatergoers, so grab your tickets, your Bevin Silver Bell, and maybe a tissue or two and get ready to head to TPAC‘s Polk Theatre to celebrate this Wonderful piece of American holiday history. CLICK HERE to purchase tickets.

Before you go, in case you missed it, CLICK HERE to check out my recent Rapid Fire 20Q with the director and cast members of the show.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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 Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

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To celebrate the holiday season, Nashville Repertory Theatre brings the cherished American classic, It’s a Wonderful Life, back to the stage at TPAC‘s Polk Theatre. For this special holiday edition of Rapid Fire 20Q, JHPEntertainment.com sat down with members of the extraordinary cast and creative team — Brian Charles Rooney, Tamiko Robinson Steele,  Jennifer Whitcomb-Oliva & Eve Petty, as well as the show’s director Alicia Lark Fuss — to talk character discoveries, backstage magic, family traditions, and why this timeless story still resonates so deeply. Ready for a visit to Bedford Falls? Let’s go.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NASHVILLE REP’s IT’S A WONDERFUL LIFE

 

RAPID FIRE WITH BRIAN CHARLES ROONEY, GEORGE BAILEY IN NASHVILLE REP’s IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: George Bailey is one of the most enduring characters in American storytelling — how did you begin finding your version of him?
BRIAN CHARLES ROONEY: The film version of this story is such a legendary piece of the cultural fabric; so it’s impossible to ignore it, and I would never want to do that in the first place. However, I have tried to stay focused on the script that we have in hand, as this is a staged/theatrical version, and even though it is obviously based upon the film, it is definitely its own artistic entity. So I wanted to try to create my own version of this character based on how that version could best serve the story, and this interpretation of that story.  I faced a similar challenge when playing Buddy the Elf in Elf, a few years ago for the Rep. In that case, the movie is also quite iconic, but the stage musical made enough changes and incorporated such a fun musical score, that it stood on its own. However, in both cases, I have attempted to pay homage, to what has come before!  
JHPENTERTAINMENT: That leads perfectly to my next question…as you mentioned, in recent years you’ve entertained Nashville audiences by  played roles as varied as Buddy the Elf, Nicely Nicely in Guys and Dolls and The Emcee in Cabaret — how does George Bailey compare in tone and emotional range?
BRIAN CHARLES ROONEY: This is a very different role for me, especially if we compare it to what audiences have seen me play in Nashville…  but at heart, George is a fighter, and he’s incredibly sensitive… when he is at his lowest, he still has a lot of faith in the people he loves… even though he loses faith in himself.  He is unafraid to feel deeply, and I think that’s a common trait amongst most of the characters I’ve played throughout my career… even here in Nashville! Is it a stretch? I think most people with whom I’ve worked and who support the theater in Nashville might think so; but I am an actor, and it is my joyful responsibility to be a storyteller and execute the vision of the playwright and the director. I’m very much looking forward to doing that with this show!!  
JHPENTERTAINMENT: You know I can’t chat with you without mentioning your incredible vocal range and skills as a singer. To that end, is Mariah’s All I Want for Christmas THE holiday song? Or do you have another unlikely favorite that you keep on your most-played Christmas playlist?
BRIAN CHARLES ROONEY: I quite like Mariah’s annual Christmas anthem, and I’m always amazed by how shrewd a business woman she has always been… That song makes her about $3 million in royalties every year. Not too shabby, right?!   I have a few other holiday favorites, including When Christmas Comes to Town, from the film The Polar Express, as well as the Kelly Clarkson/Ariana Grande duet Santa, Can’t You Hear Me?  I love both of their voices, and I think they sound wonderful together!!!  I am always obliged to sing O Holy Night, each year by my family, many friends, church, and other events. I like it because I can live in my classical voice for a moment or two during that song. That’s always fun!
JHPENTERTAINMENT: What’s something about It’s A Wonderful Life that resonates with you personally, especially in today’s world??
BRIAN CHARLES ROONEY: There are a number of reasons this show feels timely and relevant right now… During the show, George Bailey finds himself at odds with Henry Potter, who has all the money in the world, but very little heart. Matt Carlton plays Potter beautifully, and I feel very fortunate to work with him.  I’ve had the chance to work with him in The Sound of Music and Cabaret for Studio Tenn, and in A Christmas Carol, the last two years at TPAC for Nashville Rep. He feels like family to me, and I admire him greatly, so one might think it would be difficult seeing him as a villain and interacting with him as such… But it works so well! And I think the audience will particularly love those scenes!  I bring those scenes up because the theme of empathy, or rather the lack of empathy, is richly present in those scenes, and despite the fact that some people find empathy a liability, I cons consider it a strength. I think people might agree with me after seeing this show, assuming they may have thought differently beforehand. 
Another theme that is undeniably present in this story is that of love… Now that’s certainly a loaded statement, but George struggles with whether or not he matters… And I believe that if you have the capacity for love, you matter. If you are loved by other people, it is difficult to deny the fact that your existence is important. I think that idea, which is present in our play, can remind the audience that it’s never a waste of time to show love to others… it can be, in fact, quite a healing experience for everyone.
RAPID FIRE WITH TAMIKO ROBINSON STEELE, MARY HATCH BAILEY IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: What is it about Mary Hatch-Bailey that drew you to the role?
TAMIKO ROBINSON STEELE: Mary is grounding. She is that quiet but powerful force that keeps everything steady. I love women like that because they are often the glue in real life. She listens, she leads with love, and she stands firm even when the world shakes a little. Playing her felt like stepping into the heart of a home.
JHPENTERTAINMENT: What do you think gives this classic tale such lasting emotional power?
TAMIKO ROBINSON STEELE: Honestly, it is the community. The story reminds us that we are never doing life alone, even when it feels like it. People show up for you in big and small ways, and that is what makes the world feel warm. I actually grew up knowing about the movie more than watching it, but the story has lived around me my whole life. You can feel why. Even without all the details, the heart of it is unmistakable. People lean toward it because it celebrates community. It reminds us that we matter to each other, that we lift one another up, and that our impact on the people around us is often bigger than we realize. Anything that centers hope and connection lasts because we need it.
JHPENTERTAINMENT: What is one of your personal favorite holiday traditions?
TAMIKO ROBINSON STEELE: Family time. My family is big and loud and wild in the best way. We cook way too much food, eat until our stomachs and hearts are full, laugh until we cry, and just soak up that joy. It is chaos and comfort all at once. That is Christmas for me.
JHPENTERTAINMENT: How does performing live on stage feed you differently than film and TV?
TAMIKO ROBINSON STEELE: The stage gives me an immediate spark. The audience breathes with you and you all experience the story at the same time. There is nothing like that. Film and TV feed me in a different way because those stories live longer and reach into more homes. I love the intimacy of the camera, but theater is magic you share in the moment, and that is a gift every single time.
RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, CLARENCE & OTHERS IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: When I heard you were playing Clarence, Uncle Billy et al, I may have let out an uncontrollable squee of delight! What’s been the biggest joy (and challenge) in shifting between these unlikely roles for you?
JENNIFER WHITCOMB-OLIVA: It’s A Wonderful Life is such a beloved classic, the opportunity to portray any of its characters brings a special sense of nostalgic wonder. One of the biggest challenges in this production/adaptation, is the quick costume changes/focus and timing. While most of the costume changes are very minimal, some of them are within seconds. Moments. This piece calls for intense mental focus. These ensemble tracks move quickly and precisely. It’s kind of dance like. The way scenes flow into the next, swriling around. A bit of a Christmas trance, if you will. 
JHPENTERTAINMENT: Your theatre credits are as varied as your roles in this show, but over the years you do seem to always include a seasonal show in the mix. What keeps you coming back to holiday storytelling?
JENNIFER WHITCOMB-OLIVA: I don’t think it would come as a surprise when I tell you it’s because I want glitter on everything! I love anything that is larger than life. Holiday shows are filled with spectacular visuals. Lush costumes, imaginative sets, twinkling lights, snowy effects. Illusion. Miracles even.  I love magical things, and that “Anything Can Happen” feeling that comes with these types of shows. Also, there alway seems to be a deeper connection between the audience and the performers. There’s this instant connection and warmth from emotions, and cherished memories. I might be a bit of a romantic, but don’t go telling anyone! Stay cool. Be calm.
JHPENTERTAINMENT: You touched on this a bit already, but Clarence is such a whimsical and heartwarming figure — how are you approaching this guardian angel role in your own style?
JENNIFER WHITCOMB-OLIVA: Iconic roles are always tricky. I want nothing more than to honor the iconic nature of this beautiful character. My goal with this and any character I approach, is to play it with sincerity and emotinal truth. Something grounded and real, rather than a replication or imitation. Clarence is a goofy guy. Or in this sense, a young man. He has a good heart, and an exuberant love for life. He has a sense of adventure, and a taste for excitement. He might not be the brightest crayon in the box, but has the potential to light up the world. I want him to feel like you know him, or really want to. Maybe he bags your groceries at the grocery store. He’s the guy who throws your newspaper to your door, and breaks your flower pot every Wednesday. Maybe he’s the one that gets his bowl of cereal every morning, and when he takes the cap off the milk, he never screws it back on properly. He floods the kitchen floor every time. He’s messy, but he means well. I want audiences to genuinely roll their eyes a his silliness. But we know deep down, that one of these times he’s going to do the right thing, and all will be well.
JHPENTERTAINMENT: Speaking of heartwarming, what warms your heart during the holidays?
JENNIFER WHITCOMB-OLIVA: I love spending time with my family. Gathering around the table for a delicious meal. I love waking up in loud Christmas pajamas, and spending a whole day in them. It’s cozying up on the couch with treats and silly movies. Doing absolutely nothing, but doing it together. It’s the quiet moments of stillness and reflection. Swimming in a cup of hot coca with enough whipped cream in it to float an elephant. Daydreaming of things I want to do. It’s my endless love for the Nutcracker Ballet, and the Tchaikovsky score. And naps. So many naps. It’s sitting by the window with my fur babies, festively ticking down the days until Halloween. 

RAPID FIRE WITH EVE PETTY, VIOLET IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: After several years working behind the scenes with Nashville Rep, how does it feel to step into the spotlight for your onstage debut — and in such a beloved holiday classic?
EVE PETTY: Nashville Repertory has been one of my favorite companies to work with behind the scenes over the years. I’ve loved watching the shows I’ve worked on from the wings, and now it feels amazing to step onto that same stage and be a part of the show in a new way. 
JHPENTERTAINMENT: Not only are you making your on-stage Nashville Rep debut, you’re also juggling several characters in this production — among them, the always entertaining Violet Bick— not gonna lie, Violet is one of my favorite characters in the show. What’s your favorite aspect of Violet, as you see her?
EVE PETTY: The other actors and I  have talked about how Violet has been seen as almost a villain in the way that she comes between Mary and George. But the way I  see her, she’s a girl going after a boy that she has liked all her life, just like Mary. I’ve liked discovering the similarities and differences between Violet and Mary’s characters and finding the depth within this flirty and forward character. Plus, who wouldn’t want people to say “Wow” when they walk across a stage 😉
JHPENTERTAINMENT: Since you’ve seen the Rep from both sides — backstage and onstage — what has surprised you most about the process this time around?
EVE PETTY: My brain still thinks very much in the way of how backstage runs and how to make the show smooth and efficient. It’s been a nice surprise to find that with this show, those skills are very much valued with how quickly the transitions come and go, taking us from scene to scene. 
JHPENTERTAINMENT: Just for fun…NOT counting It’s a Wonderful Life, what one movie or tv special truly signifies the start of the holiday season for you?
EVE PETTY: As a puppeteer, I  love watching The Muppets Christmas Carol and imagining how fun it must have been to perform in that movie. 
RAPID FIRE WITH IT’S A WONDERFUL LIFE DIRECTOR, ALICIA LARK FUSS
JHPENTERTAINMENT: It’s A Wonderful Life has such a cherished place in American culture — what inspired your vision for bringing this story to Nashville Rep’s stage?
ALICIA LARK FUSS: My husband and I watch the movie every year on New Year’s, so I am very familiar with it! As a cast and design team, we focused on the importance of community at the center of the story– it’s really about the way we take care of each other and  how important that is. Focusing on the heart of the story gave us all a lens to create this beautiful adaptation.
JHPENTERTAINMENT: You have a background in theatre for young audiences — how does that perspective influence your approach to this family-centered holiday production?
ALICIA LARK FUSS: My approach to directing doesn’t change much based on the audience; I find I ask really similar questions when investigating a new script and thinking about how to approach it. However, TYA has given me lots of practice in scripts that move at a brisk pace with actors playing multiple roles, and that is VERY true of this play. There are many sequences where we jump time and place every page or so, and our ensemble cast plays something like 47 people between 9 actors.
JHPENTERTAINMENT: This adaptation by Catherine Bush is theatrical and imaginative — what moments in this version most surprised or delighted you in rehearsal?
ALICIA LARK FUSS: Watching our incredible actors create so many distinct characters has been a DELIGHT. We also worked with a fabulous movement coordinator, Megan Castleberry. She guided us through creating moments like the kids falling through the ice and George jumping from the bridge, and it was incredible to watch her build these sequences, representing the action in a highly theatrical way that leans into physical storytelling. 
JHPENTERTAINMENT: What do you hope audiences take with them as they leave after seeing Nashville Rep’s It’s A Wonderful Lifethis holiday season?
ALICIA LARK FUSS: In rehearsals, I’ve seen the end of the show many, many times and I still get misty. My dream would be that audiences feel a deeper sense of connection to their loved ones, and a renewed hope for communities that lift up and take care of each other. 
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Nashville Rep’s It’s A Wonderful Life brightens the holidays at TPAC‘s Polk Theatre December 5–21, with performances at 7:30pm Fridays and Saturdays and 2pm matinees Saturdays and Sundays. As this uplifting classic fills the theatre with heart, hope, and a reminder that every life touches countless others, there’s no better way to celebrate the season. Gather your loved ones, step into Bedford Falls, and experience the magic live onstage. CLICK HERE to secure your seats now.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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 Norwegian Singer/Songwriter Magnhild; New Single, ‘Ending’ Out Now

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Norwegian singer-songwriter Magnhild (pronounced MAHN-yill) continues to make her mark on the international scene, thanks to her distinctive blend of vulnerability, warmth, and quietly powerful vocals. After signing an exclusive publishing and distribution deal with Nashville/Portugal-based Soundcrest Music Group, the reflective storyteller behind 17 is back with her evocative new single, Ending, now streaming everywhere.

Echoing the emotional clarity of ‘70s country-pop with a modern indie-folk sensibility, Magnhild’s sound bridges continents and generations — with hints of Olivia Newton-John nostalgia wrapped in Scandinavian soul.

In this latest edition of JHPENTERTAINMENT’s recurring interview feature, Rapid Fire 20Q, we caught up with Magnhild to talk about growing up on a small Norwegian island, her evolving artistry, and the deeply personal journey behind her latest release.

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RAPID FIRE 20Q WITH MAGNHILD
JHPENTERTAINMENT: Did you grow up in a musical household?

MAGNHILD: Yes, in a way. My family loves music.  My dad played the guitar, and my sister loved to sing. Music was always around, even if it wasn’t a big “music family” in a professional sense.

JHPENTERTAINMENT: What’s among your earliest musical memories?
MAGNHILD: I think it’s when my dad taught me the first chords on the guitar. It opened up a whole new world for me. 

JHPENTERTAINMENT: Who do you cite among your favorite musical artists?
MAGNHILD: Lizzy McAlpine’s music was kind of a wake-up call for me — it made me realize the kind of sound I wanted to find for myself. I also love Joni Mitchell, and I grew up listening to Adele. They’ve all shaped me in different ways.

JHPENTERTAINMENT: When did you realize you wanted to pursue a career as a performer?
MAGNHILD: Very early on. I got my first gig when I was 11 and just kept going from there. Performing has always felt like home to me.

JHPENTERTAINMENT: Can you tell me about that first time performing for others?
MAGNHILD: My first paid gig was at a wedding for my former babysitter. I was 11 and played one of my favorite songs, Hjerteknuser, by a Norwegian band called Kaizers Orchestra. I got paid with a ticket to their concert in my hometown. Both that performance and the concert itself are core memories for me

JHPENTERTAINMENT: Last year, you released your debut single Maybe, then the follow-up, 17 and now you’ve got Ending. How excited are you for listeners to hear the new track as they continue to discover you as an up-and-coming artist?

MAGNHILD: I’m really excited. When I released 17, I told listeners that it was the most authentic version of myself I had ever shown through music — but I feel like both I and my sound have come a long way since then. I’m now producing my own band, and for the first time, I feel like I’m truly on the right track.

JHPENTERTAINMENT: You grew up on Stord, a small island on the western coast of Norway. What’s your fondest memory of your childhood there?
MAGNHILD: That’s a hard one — I have so many good memories. A lot of them are with my brother and sister. One that always makes me smile is when my sister and I got a cat behind our parents’ backs. We kept him in the basement for a month before we told them. When my parents came home from vacation, my mom said she was moving out because she hated cats. Now he’s eight years old — and one of her favorite things in the world.

JHPENTERTAINMENT: A few years ago, you moved from an island with about 20,000 people to the Norwegian capital, Oslo (population around one million). I understand your previous single 17 was inspired by that move. Can you tell me more about how the move prompted you to write that song?
MAGNHILD: Yeah, 17 is about leaving everything familiar behind and starting over in a big city. I moved from a place where everyone knew everyone, to a city where I suddenly felt very anonymous. It was exciting, but also scary and lonely at times. The song became my way of processing that — the feeling of growing up and realizing that change always comes with both loss and freedom.

JHPENTERTAINMENT: Among the lyrics of your new single Ending, the line “Will someone still sing my songs” really struck a chord with me. Do you think we ever get to a point where we feel like we’re making a lasting impact?
MAGNHILD: Yeah — or at least I hope we do. I know that some people have already found comfort in my music, and that means so much. I don’t think you ever really know how far your songs reach, but if even one person feels seen or understood through something I’ve written, that’s already a lasting impact to me.

JHPENTERTAINMENT: As a native Tennessean, I appreciate the Memphis name-drop in your Ending lyrics. Of all the cities in the world, how did you come to mention Memphis in your latest release?
MAGNHILD: Honestly I took some inspiration from Walking in Memphis,  by Marc Cohn, plus it rhymes with the other cities I mention in the song. I’d love to go there one day. For some reason, Tennessee keeps showing up in the music I listen to, maybe because of that nostalgic country feel. And yes, I did grow up watching Hannah Montana.

JHPENTERTAINMENT: As a songwriter, what’s your creative process like? Do you set aside a certain time daily to explore lyric ideas and melodies, or do you take a more organic approach?
MAGNHILD: It’s very organic. I travel a lot between cities because of school, family, and my boyfriend, so a lot of inspiration comes to me while I’m on the bus, in the car, or on the train. I usually don’t sit down to “write” in a structured way — ideas come when I’m out in the world, and then I build melodies or lyrics around them later.

JHPENTERTAINMENT: When and where did you record Ending?
MAGNHILD: I recorded it in February at the University of Agder, where I’m currently studying my master’s in songwriting and performance. Later, I added lead vocals, background vocals, pedal steel, synths, and string arrangements.

JHPENTERTAINMENT: Who did you work with musician-wise while recording Ending?
MAGNHILD: I worked with my band — Aron Flatland, Magnus, Kristina Rusdal, Jeppe Volden Skara, Einar Bergersen, and Benjamin Næss. Hans-kristian Holthe, Oskar Holldorff , and Tobias Paulsen helped me later in the post-production process.

JHPENTERTAINMENT: Upon my initial listen, Ending has a bit of a 70s country ease to it. As I mentioned in my intro above, your vocals paired with the cry of the pedal steel put me in mind of Olivia Newton-John’s 1973 project Let Me Be There. How would you describe your current sound?
MAGNHILD: I’d say it’s somewhere between indie pop and indie folk — with a focus on vocals and string instruments. It’s organic and emotional, with a warm, nostalgic touch.

JHPENTERTAINMENT: In addition to singing, you also play guitar. Are you self-taught or have you had formal training?
MAGNHILD: Self-taught! As I mentioned, my dad showed me three chords, and it just evolved from there. In recent years, my guitarist boyfriend has helped me explore more advanced voicings and open tunings, which has really expanded how I write songs.

JHPENTERTAINMENT: What’s your take on the current Norwegian music scene?
MAGNHILD: I think it’s really inspiring right now. There’s a lot of experimentation and authenticity — artists are daring to sound like themselves, which I love. Even though Norway is small, there’s a strong sense of community. People genuinely want to see each other succeed.

JHPENTERTAINMENT: It’s been a year since you joined Soundcrest Music Group to enhance your streaming audience. How are you feeling about this partnership and the thought of expanding your audience globally?
MAGNHILD: It’s been great! They’ve helped me reach new listeners beyond Norway, which is something I’ve always dreamed of. Theres a reason why I´ve chosen to write and perform in English though it’s not my native language. It’s wild to think that someone across the world might be listening to a song I wrote/ recorded in a small studio in southern Norway. The idea of growing my audience globally is both exciting and humbling.

JHPENTERTAINMENT: With Ending now streaming, is there any talk of a music video? How would you like to see it visualized?
MAGNHILD: I’d love to make a music video someday. I imagine something very cinematic — open landscapes, soft light, and that quiet, reflective feeling that Ending carries.

JHPENTERTAINMENT: Where can fans find out more about you?
MAGNHILD: Mostly through social media — Instagram and TikTok, both @magnhildhalland. I’m trying to get better at posting.. hehe. I also love when people reach out or message me directly.

JHPENTERTAINMENT: What’s on the horizon for you as a performer?
MAGNHILD: I’m working on my debut EP, which will be released next year. It’s my most personal work so far, and I can’t wait to share it. I’m also focusing on playing more live shows with my band — that’s where I feel the songs truly come alive.   

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With her signing to Soundcrest Music Group and the release of Ending, Magnhild continues carving out her place among the new wave of global singer-songwriters blending authenticity with timeless style. As she works toward her debut EP and prepares for more live performances with her band, one thing is certain — this rising artist from Norway’s western coast is only just beginning her story.

Stream Ending HERE on all platforms, and follow @Magnhild on Instagram and TikTok to keep up with her latest music, performances, and behind-the-scenes moments.

Catch more exclusive artist interviews, reviews, and spotlights — only on JHPENTERTAINMENT.com.

RAPID FIRE 20Q WITH CAST OF WOMEN IN THEATRE NASHVILLE’s ‘MS HOLMES + MS WATSON-APT 2B‘

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RAPID FIRE 20Q WITH CAST OF WOMEN IN THEATRE NASHVILLE’s MS HOLMES + MS WATSON-APT 2B

Get ready for quick wit, sharp minds, and a touch of mystery! With Women in Theatre Nashville’s (WIT Nashville)’s upcoming production of playwright Kate Hamill’s clever reimagining of Sir Arthur Conan Doyle’s world, Ms Holmes + Ms Watson – Apt 2B, directed by Diane Bearden Enright, brings the famous detective duo into the modern age — where friendship, intellect, and a few absurd surprises are the ultimate clues. Ahead of the show’s opening at Darkhorse Theatre (Friday, October 24 through, November 1), we sat down for a round of Rapid Fire 20Q with the production’s scene-stealing cast — Elyse Dawson (Sherlock Holmes), Beth Henderson (Ms Watson), Skyler Cole (Lestrade, Elliott Monk & others), and Nashville newcomer Jen Houghton (Irene Adler, Mrs. Hudson & others) — to talk character quirks, comedic chaos, and why this twisty mystery is one you’ll want to solve for yourself.

Let’s dive in — no magnifying glass required! 

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RAPID FIRE 20Q WITH THE CAST OF WIT NASHVILLE’s MS HOLMES + MS WATSON – APT 2B

RAPID FIRE WITH BETH HENDERSON, JOAN WATSON IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: When I began researching in preparation of chatting with you and your co-stars, I found it interesting that the playwright, Kate Hamill played Watson, not Holmes in the world premiere production of this piece. Does knowing the playwright in essence created this role for herself inspire you to approach the role any differently than other roles you’ve played?

BETH HENDERSON: I know! When I found that out, I was pretty intimidated. But, I haven’t really approached it any differently than I have any other roles. I honestly just try not to think about it. Ha!

JHPENTERTAINMENT: In this adaptation of the classic, Watson—an American now living in London post pandemic and post-divorce—seems eager for a fresh start. If you were to relocate and start anew, where might you end up and what career path might you choose?

BETH HENDERSON: Oooohhh, good question! I think about that a lot, because I plan to retire out of the country one day. But, whereas I’ll retire somewhere warm and sunny, my answer for relocation and starting over in a career sense would be different. If I was younger and had the funds and actually permitted to move there, I would move to Scotland and own my own little bookstore.

JHPENTERTAINMENT: Sir Arthur Conan Doyle published his first Holmes and Watson story more than 130 years ago. What is it about this unique pairing that still holds an audience’s attention?

BETH HENDERSON: I think it’s the whole opposites attract, odd couple, yin and yang idea. People like to see two very different personalities work together to create balanced solutions. 

JHPENTERTAINMENT: When Holmes and Watson first “re-boot” their detective partnership post-pandemic, what is the one gesture or moment you think defines their new status quo?

BETH HENDERSON: Well, in this production, Watson is new to the crime solving business. She is brought into it simply because she’s there. But, I think Sherlock brings Watson into the biz to form this duo because Watson provides an emotional element that Sherlock lacks. 

JHPENTERTAINMENT: What trait of Watson’s do you find most relatable—and what about her do you admire most?

BETH HENDERSON: I can definitely be a bit neurotic and all over the place like Watson is, and I really understand her emotional struggles. I think the thing I admire most about her is what you referred to earlier, her courage to move somewhere new and just start all over without a safety net. 

RAPID FIRE WITH SKYLER COLE, LESTRADE, ELLIOTT MONK & OTHERS IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: What’s the trickiest part of stepping into Lestrade’s shoes?

SKYLER COLE: The balance of competence to incompetence. He is a cop and knows protocol, but his imagination can lead him down a wild goose chase for sure.

JHPENTERTAINMENT: As Lestrade, you often stumble or say the “wrong thing.” Which particular gag or line do you relish most, and what slight twist will you put on it in performance?

SKYLER COLE: I have a certain moment with a bug where I very quickly go from joy to fear. Love any moment some physical comedy can be added in.

JHPENTERTAINMENT: Who in the cast would Lestrade secretly admire (or envy) and why?

SKYLER COLE: Character? Watson for sure. You may even see some of that admiration on stage…

Cast? Elyse (Holmes) because she loves Lady Gaga and Lestrade also has a thing for pop music.

JHPENTERTAINMENT: As Elliot Monk (the tech billionaire villain), you mask ambitions with slick confidence. In the moment you reveal (or hint) your vendetta, how do you calibrate that betrayal moment?

SKYLER COLE: A character can only beat around the bush for so long before they have to address the problem head on. Monk would probably want to live in the bush if he could, but sometimes ambitions speak louder than a scary bush.

JHPENTERTAINMENT: In the dance of masks (Lestrade vs. Monk vs. public persona), which of your roles is your “default” internally, and how do you switch physically or vocally among them?

SKYLER COLE: I would say Lestrade is my default as I play him most of the show. All my characters have different dialects and physicality with how they walk/carry themselves. I actually worked with a dialect coach to make sure my British dialects sound different enough for the different characters so as not to confuse any of the audience (hopefully). Switching physically is all about knowing where the energy of the character lies. Lestrade is mostly near his chest, Monk is wide taking up space, and others…well you will just have to come and see for yourself!

RAPID FIRE WITH JEN HOUGHTON, IRENE ADLER, MRS HUDSON & OTHERS IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: How do you shift between characters like Irene Adler and Mrs. Hudson—what’s your internal “switch”?

JEN HOUGHTON: Because I go back and forth between several characters so many times, and each one has a completely different dialect, age and physicality, I go through a little multi-step ritual before I enter each time. 

1. I set my feet in a specific stance, which triggers my brain-body-memory into that character’s center of gravity

2. I adjust my shoulders & posture, which helps me remember each character’s age and physicality

3. I quietly say a silly tongue-twister so I remember which dialect to use. 

It all probably looks quite ridiculous, but it helps!

JHPENTERTAINMENT: Which role gives you the greatest freedom to play, and which challenges you most?

JEN HOUGHTON: All three roles leave room for a lot of play, which is what makes this project so much fun. Mrs. Hudson is a lot closer to roles I’ve played before, so I probably found the quickest freedom to play with that character. Irene Adler is a VERY different “type” than I’m used to playing, and she really challenges me to face some major insecurities, so that feels like quite a gift of an experience.

JHPENTERTAINMENT: If Mrs. Hudson had a hidden past, what would you imagine it to be?

JEN HOUGHTON: I think Mrs. Hudson was a bit of a wild-child in her younger years. Maybe she spent a bit of time performing as a lounge singer on a cruise ship where she loved the life of travel & trysts. While that chapter of her life may be over, she’ll always remember her days of frivolity with fondness.

JHPENTERTAINMENT: In a fictional “Adler + Hudson crossover moment” (not in script), what would you imagine Mrs. Hudson saying to Irene about Holmes and Watson—and how might that line reveal a hidden relationship?

JEN HOUGHTON: I think Mrs. Hudson fancies herself a bit of a matchmaker, and we know she loves American cinema, so I think she would tell Irene to go for it with Holmes, because “The heart wants what the heart wants, and sometimes ya just have to carry the watermelon, dear.”

JHPENTERTAINMENT: Which of your characters would you want to “hang out” with for a day, and what would you do together?

JEN HOUGHTON:  Haha, well, since my choices are a narcissist, a sociopath and a sweet sassy landlady; for my own safety, I’m gonna have to go with Mrs. Hudson. I think we would probably sing & dance while baking some delicious sweets.

RAPID FIRE WITH ELYSE DAWSON, SHERLOCK HOLMES IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: What can you tell me about your Sherlock Holmes, as conceived by the playwright Kate Hamill and now under the direction of Diane Bearden-Enright as you’re playing her?

ELYSE DAWSON: This is a version of Sherlock that allows her to be messy and flawed. When we meet her she’s having a bit of an identity crisis as she feels unmoored without a case to entertain her busy brain. Then, throughout the show Sherlock gets to prove her prowess repeatedly but we also see her struggle in the face of some difficult mysteries and characters that throw her off balance. 

JHPENTERTAINMENT: What’s one non-logical, emotional thing your version of Holmes secretly does when no one’s watching?

ELYSE DAWSON: Sherlock most definitely shares her most intimate thoughts and feelings with Mr. Bones (the skeleton that resides in Apartment 2B). 

JHPENTERTAINMENT: Do you have a favorite detective in TV, film, or literature (besides Holmes herself)?

ELYSE DAWSON: I grew up an avid reader of The Boxcar Children and the Bailey School Kids series. I think reading them as a kid, I found something really empowering about children who have such little control over their circumstances taking matters into their own hands to make sense of the world around them. I see that reflected a lot in Sherlock. She gets her sense of security from organizing and understanding facts very deeply. Oh and of course the Mystery Gang from Scooby Doo. I love how each member brings their own strengths and weaknesses together to solve the case.  

JHPENTERTAINMENT: In the “process is the point” monologue , which phrase do you lean most into in performance, and why?

ELYSE DAWSON: In that monologue, I lean into her explanation of the process being the point. She describes it as “The joy of the chase, not control of the hunt”. This particular monologue really resonates with me as an actor. It’s easy to get fixated on a final product: the show that’s presented to the audience; but I find the most joy and freedom comes from the exploratory rehearsal process. Sherlock is the most in her element when she’s on the case. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen WIT’s production of MS HOLMES + MS WATSON-Apt 2B?

ELYSE DAWSON: I hope that audiences leave with a renewed sense of wonder and curiosity. One of the big themes in this show is the marvel of the human mind. Isn’t it incredible that we have the capacity not just for extraordinary reasoning and logic but also infinite access to imagination without having to rely on technology or externals? I hope they are also reminded of our shared necessity for human connection and vulnerability. Holmes and Watson both start this play with the idea that they are on their own individual journeys but by the end, it’s made very clear that much more can be accomplished when they connect, shortcomings and all. 

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This Rapid Fire 20Q  might have concluded, but rest assured the game is afoot! Don’t miss WIT Nashville’s production of Ms Holmes + Ms Watson – Apt 2B, directed by Diane Bearden-Enright, running October 24 – November 1 at Darkhorse Theatre. Tickets are $25 and on sale now — CLICK HERE to get yours before they vanish faster than a clue at a crime scene!

Be sure and check out WIT’s Official Site and follow them on Facebook, Instagram and YouTube.

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