Live Performance

Rapid Fire 20Q with cast of Playhouse 615’s ‘The Haunting of Hill House’; onstage October 17 thru November 2

October 14, 2025 by Jonathan

Just in time for the Halloween season, Playhouse 615 is presenting their production of playwright F. Andrew Leslie’s chilling adaptation of novelist Shirley Jackson’s classic frightmare, The Haunting of Hill House, inviting theatergoers into one of literature’s most haunted homes, brought to life on Playhouse 615’s stage under the direction of Joel Meriwether. As the cast prepared for their October 17 opening night, we caught up with four of the brave souls stepping into the supernatural—Lucy Turner, Preston Alexander Raymer, Andrea Coleman and James David West—for a Rapid Fire 20Q. From on-stage terror and off-stage frights to their thoughts on the show’s eerie subject matter, this fearsome foursome gives us a peek into the dark corners of Hill House itself. So, dim the lights, say your prayers and get ready because Hill House is watching…

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Rapid Fire 20Q with cast of Playhouse 615’s The Haunting of Hill House

Rapid Fire with Lucy Turner, Eleanor Vance in The Haunting of Hill House

JHPENTERTAINMENT: When Playhouse 615 reached out to me about doing a Rapid Fire 20Q with come of the cast of The Haunting of Hill House, and I saw your name, I knew I wanted to chat with you, remembering having seen you onstage when you were just a kid in local productions of Cindy & Ella and The Bad Seed. I understand in the years since, you graduated high school, studied at Baldwin Wallace and moved to New York. So…a two part questions to start us off…Are you back in Nashville for a while, or just a visit? AND…What can you tell me about Eleanor Vance, and your take on her?

LUCY TURNER: My plane ticket back home to New York is booked for literally the day we close the show! I’ve been in NYC for almost two years, but it’s such a large market that I still feel so fresh and new, which I like. Back in 2023 in my interim time I was home in between college and making the big move, I reunited with Joel for their production of The Woman in Black. I had such an amazing experience working with Joel that once I heard they were doing Hill House, I knew I had to throw my hat in the ring and come home for a brief stint.

As far as my take on Eleanor, it has been such a joy getting to know her. You rarely get to sink your teeth into a character that is truly so complex. I’m an avid reader, and originally read Shirley Jackson’s novel about a year and a half ago. I remember being so enthralled in Eleanor’s journey and her quick dissent into madness. She is a sheltered girl desperate for adventure and a place to call home and Hill House is more than happy to prey on that.

JHPENTERTAINMENT: According to the playwright’s original character breakdown of Eleanor Vance, she’s typically presented as a slightly older woman in her mid-to-late thirties. Was there any conversation with the show’s director, Joel Meriwether on the ten-year advance the character has on you?

LUCY TURNER: We had some conversation about the decision, but I think what’s more important than Eleanor’s precise age is that she feels ’fresh’; I’ve always thought of her as a ‘new soul’. A lot of my analysis stems from the women that occupy Hill House and what each of them represents in terms of the female experience. Eleanor, regardless of the description, must feel sheltered and naive to then juxtapose with the experience, wisdom, or bitterness of the other ladies of Hill House.

JHPENTERTAINMENT: OK, I mentioned earlier that you starred in The Bad Seed when you were what…thirteen? And I stumbled upon a certain SCREAM-themed birthday cake post while doing a little online sleuthing in preparation of our conversation. Is it safe to assume The Haunting of Hill House and the like is definitely in your wheelhouse?

LUCY TURNER: Haha, yes you can definitely say that Haunting of Hill House is in my wheelhouse. I was a very brave child and looked to horror movies and haunted houses as a challenge to see what could truly scare me. I also feel very inspired by the horror genre. I actually started a production company while in college, Burn to Shine Productions, that produces horror films. I’ve written and produced several shorts in the genre and find myself always drawn to it. When you look, horror is a wonderful gauge for where we are as a society in terms of what keeps us all up at night. You can say the same for Hill House, I can not wait for the audience to be terrified and to see them tremble at what we have in store, but this script is fraught with deeper meaning and the consequences of a repressed mind.

I also do need to correct you, Jonathan, I was freshly ten when I got to play Rhoda Penmark in Street Theatre’s Bad Seed, a role I still cherish to this day.

JHPENTERTAINMENT: Ten? Wow…I stand corrected. What’s the biggest challenge in playing someone like Eleanor, who’s quite psychologically fragile?

LUCY TURNER: What I have found to be the biggest challenge in playing Eleanor is letting her feel everything she feels…which is a lot. Eleanor is loose with her emotions, they often come out of nowhere and are loud and consequential. I tend to be very withdrawn with my feelings, holding them close to the vest. It has been both challenging and freeing to just follow Eleanor’s lead in her emotional rollercoaster. I’ve learned to not ask her any questions.

In addition, I’ve grown fond of her and feel rather guilty about the whole thing. She enters Hill House with all the optimism and hope in the world. She is desperate for independence and adventure, leaving behind a sequestered life of abuse, but she learns quickly that’s not the way the world is set up for women. I have to break the news to Eleanor that all of the complicated emotions she feels (guilt, rage, envy) are a sort of trauma that do not get left behind at the welcome mat.

JHPENTERTAINMENT: If you had to spend the night in a real haunted house, which of your fellow cast mates would you want by your side?

LUCY TURNER: Honestly, I think I would pick Preston, who plays Luke, to accompany me. But I’d get away from him and start playing tricks and tormenting him the whole time. He scares easily.

Rapid Fire with Preston Alexander Raymer, Luke Sanderson in The Haunting of Hill House

JHPENTERTAINMENT: How would you describe Luke Sanderson in one sentence?

PRESTON ALEXANDER RAYMER: Luke is carefree, skeptical of the rumors about the house, and loves to tease those around him.

JHPENTERTAINMENT: Instead of the typical actor bios seen in most playbills, for The Haunting of Hill House, the audience is treated to character bios. Did your director ask for any input in creating these? AND…What’s your favorite thing about the Luke bio?

PRESTON ALEXANDER RAYMER: The director allowed us creative freedom… “While others were captivated by these narratives, I hated them; their chilling nature haunted my thoughts and fed my fears. The relentless rumors and fear-driven tales spiraled into shadows that consumed me, ultimately leading me down a dark path toward alcoholism, seeking solace from the anxiety they instilled.”

I believe this is at the heart of Luke’s nature because the rumors about the house and his family have caused deeply rooted insecurities and trauma that have shaped his outlook on life. He masks these feelings, which is something I believe we, as humans, tend to do. This masking is what makes him human and relatable.

JHPENTERTAINMENT: So much of The Haunting of Hill House examines more than the fear of ghosts and spirits. What do you think Luke fears most?

PRESTON ALEXANDER RAYMER: Luke fears his reputation being overshadowed by rumors and reliving his childhood trauma.

JHPENTERTAINMENT: What can you tell me about the special effects, sound effects and lighting used to create the haunted ambiance of Hill House?

PRESTON ALEXANDER RAYMER: I don’t want to give away any spoilers, so one must attend the show to find out.

JHPENTERTAINMENT: Joel has enlisted the aide of Jordan Ivie as assistant director/dramaturg. How has Jordan aided you in your exploration of Luke?

PRESTON ALEXANDER RAYMER: Jordan has been a guru of subtle nuances and character relations that have helped me navigate the complexities of Luke’s psyche.

Rapid Fire with Andrea Coleman, Mrs. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Mrs. Montague’s entrance into Hill House seems to clue the audience into the fact that she feels she’s more spiritually connected than her husband. Would you say that’s a fair statement?

ANDREA COLEMAN: She certainly feels that way. Whether or not her abilities are genuine or fabricated, I’ll let the audience decide. Regardless of the accuracy of her methods, she definitely has a much more emotional approach.

JHPENTERTAINMENT: In preparation for this role, have you researched any real-life hauntings or binged any great ghostly movies or series?

ANDREA COLEMAN: I read The Haunting of Hill House book, which is pretty accurately represented by the play. I also watched The Haunting of Hill House series as well as The Haunting of Bly Manor – both excellent. I actually went on a scary movie binge and found some I really enjoyed! The Conjuring and all its many sequels and spin offs were some of my favorites.

JHPENTERTAINMENT: If you were to recast this production, using the same actors, how would you flip the roles?

ANDREA COLEMAN: I’m not sure I could! These actors feel tailor made for their roles and feel like everyone is so very well suited to their roles!

JHPENTERTAINMENT: As you’ve inhabited Mrs. Montague, have you created any backstory that might not be in the script, but that helps you bring the character to life on stage?

ANDREA COLEMAN: Absolutely, and I love to talk about it, though I would like to add a trigger warning that it involves difficult themes. Dr. And Mrs. Montague are currently suffering from a struggling marriage, but I believe they were once madly in love. Their marriage became strained when Mrs. Montague suffered the loss of a baby. Then again. And again. Loss after loss – hope brewed and then burned at the stake. Grief changes you, and I believe it changed both Dr. and Mrs. Montague in ways they don’t even realize and certainly would never admit. Dr. Montague poured himself into his work. He will make his life count by leaving an academic legacy, rather than a familial one. Mrs. Montague was alone in her grief. A kind of lonely that plays tricks on your mind and whispers enough lies that doubt slowly creeps in. Loneliness magnifies the grief, so she also dove into her husband’s line of work, looking for him, or at least a friend in the loneliness. There, she found not only Dr. Montague’s interests, but also companions in the no-longer-living; souls who ached just as much as she did. In them, she found familiarity in the pain and knew her legacy would be helping others ease their suffering where she could not ease her own. Along the way, she also found a moldable mind in Arthur that she could pour her love into – a pseudo son to fill the void in her heart left by her miscarriages and loneliness.

JHPENTERTAINMENT: Is there a scene, a bit of dialogue or a moment within the play that you genuinely love to be part of each night?

ANDREA COLEMAN: My favorite line of dialogue is “The fire wants stirring.” This line

gives such imagery to the events happening in the play. The forces at work in Hill House are ready to be heard and set their stories ablaze.

Rapid Fire with James David West, Dr. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Who is Dr. Montague to you and what interested you in the role?

JAMES DAVID WEST: Dr. Montague is an enigma, so to speak. He came from a humble background, somehow placed into an Ivy League school to get his doctorate in Psychology and Anthropology, has always been profoundly interested in the supernatural, and has made it his life’s goal to prove that ghosts are real, as it were. The role of Dr. M is normally played by someone a bit older than me, but I felt I had the right temperament to fit into the story. Our version is out to prove something, to make his mark on the scientific community. He wants notoriety. And yet, perhaps he has motives that aren’t so… apparent.

JHPENTERTAINMENT: When the house seems to show…shall we say…signs of life, how do you image Dr. Montague shows his fear?

JAMES DAVID WEST: Dr. Montague keeps his emotions in check, even under extreme pressure. During his time at Hill House, he recognizes that supernatural happenings are occurring around him… but he can’t show that he “didn’t know” things were going to happen. That is, until he stars being affected internally by the house, as well. His confidence melts off, leaving him perhaps even more vulnerable than his guests.

JHPENTERTAINMENT: In the world of Hill House, who’s more frightening Drew Ann Davis Borsos as Mrs. Dudley or the spirits that inhabit the house?

JAMES DAVID WEST: Dr. Montague is certain that Mrs. Dudley has no say so in the things that go bump in the night, but it is rather intriguing to observe her floating around without making a sound until she’s right up on you…

JHPENTERTAINMENT: Like a good Hitchcock film, it’s the unseen in The Haunting of Hill House that’s truly terrifying. What’s your personal favorite haunted moment in the play?

JAMES DAVID WEST: Without giving too much away, there is a point in the play where Dr. M begins to crack, himself. He isn’t quite sure WHY it is happening, but he is certain that the grasp he once had on Hill House has been forcibly removed by forces yet to be uncovered.

JHPENTERTAINMENT: What do you hope audiences take with them long after having seen The Haunting of Hill House?

JAMES DAVID WEST: Hill House, to me, represents a time in life we can all relate to. Some environments are inherently bad for us – they make us sick, depressed, and/or lonely. At times, we may even feel that we don’t belong – as if everyone and everything around us is screaming for us to leave and never come back. We may attempt to face those fears for as long as we can, but in the end we are at the mercy of the environment we have unfortunately chosen for ourselves, with next to no way to fully escape.

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Whether you believe in ghosts or not, one thing’s certain — the cast and crew of Playhouse 615’s The Haunting of Hill House are ready to deliver a spine-tingling experience audiences won’t soon forget. For tickets and showtimes CLICK HERE — but don’t wait too long. Hill House has a way of tormenting those who hesitate.

For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

THEATRE REVIEW: ‘LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom’ at The Keeton thru October 26

October 13, 2025 by Jonathan

Before LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom ever graced The Keeton stage for its Tennessee Premiere (onstage now thru October 26), it had already began its own fascinating chapter in the story of I Love Lucy. Based largely on Laughs, Luck… and Lucy: How I Came to Create the Most Popular Sitcom of All Time—a memoir by I Love Lucy creator Jess Oppenheimer, completed by his son Gregg Oppenheimer in 1996—the play traces the real-life creation of television’s most enduring comedy.

Originally premiering at UCLA’s James Bridges Theatre in 2018 as I Love Lucy: A Funny Thing Happened on the Way to the Sitcom in an L.A. Theatre Works production, the World Premiere featured Sarah Drew (Grey’s Anatomy) as Lucille Ball and Oscar Nuñez (The Office) as Desi Arnaz, and was recorded live for public radio. The piece was later reborn under its current title, LUCY LOVES DESI, for a 2020 BBC Radio 4 broadcast starring Anne Heche and Wilmer Valderrama. Most recently, the play completed a successful 21-city national tour with L.A. Theatre Works in 2023, bringing audiences across the U.S. an intimate, funny, and touching tribute to the groundbreaking sitcom.

Now, it’s Nashville’s turn as The Keeton’s audiences have the chance to experience this love letter to television history, thanks to The Keeton’s delightful and impeccably cast production. Directed by Donna Driver, the show invites audiences behind the curtain (or, more accurately, behind the microphone) to witness how Lucille Ball and Desi Arnaz fought to bring their vision to life in a skeptical, male-dominated industry—and how their persistence changed entertainment forever.

During Driver’s welcome remarks on Opening Night, she very kindly made mention that it was yours truly who had suggested the play be part of their current season, so you know I loved that. She also informed the audience that the playwright had been very accessible via numerous phone calls and emails during preparation and rehearsal for The Keeton’s production, even writing new scenes and adding in vignettes featuring classic musical moments from I Love Lucy to allow The Keeton’s production of the show to expand from its original one-act length to a full two-act show. In doing so, The Keeton’s production captures both the warmth and wit that defined I Love Lucy while reminding us that innovation often begins with risk.

The Keeton’s scenic designer, Kevin Driver’s clever set—the backdrop transformed into a vintage 21” wooden cabinet tv, upscaled to about 10’x10’, complete with old-school antenna—allowed the audience visuals for scene changes by way of stills projected onto the large tv screen of locations like CBS & Desilu Studios and The Arnaz’s Palm Springs home. Completing the set, simple chairs for the actors to sit while not featured, and the side stage riser all come together to evoke the golden age of live radio, complete with period microphones, a glowing “On Air” sign, and a prominently featured Foley table manned with precision and playfulness by Beverly Grant, whose sound effects artistry earns laughs all its own. You’ll likely find ourself looking up at the Foley table more to catch Grant’s antics from time to time.

I always correct folks when they introduce me as a theatre critic, preferring the term reviewer, but I have to be truthful, being a huge Lucille Ball fan and longtime memorabilia collector of both her I Love Lucy years and her film career before (and yes, even her years after), I came into the evening with reservations, with my critic hat fully in place. I also have to admit that I was, overall, pleasantly and thankfully surprised at just how sweetly, lovingly and honorably the cast of The Keeton presented the backstory of how my favorite comedy actress and her Cuban bandleader husband made television history.

The way this performance is structured, Jason Rainwater’s Desi Arnaz steps in and out of the action of the play to talk directly to the audience. As Desi Arnaz, Rainwater delivers a winning performance full of charisma and authenticity. As he mentioned during our recent Rapid Fire 20Q when I questioned him on the authenticity of his Desi voice, his vocal work is uncanny—so richly textured and musically accurate that it often truly sounds like Arnaz himself. The chemistry between Rainwater and Grace Gaddy as Lucy is the stuff of which stage pairings are made; together they bring the Ball–Arnaz partnership to life with warmth, wit, and a rhythm that feels instinctual. Just as one would imagine him, Rainwater’s Desi is a charmer, a showman, a proud immigrant and a great example of a mid-century business man and entertainer who redefined what it is to live the American dream.

While none of the cast truly look like their real-life counterparts, it’s not an impersonator show in Las Vegas, after all, Grace Gaddy’s Lucille Ball is, when all is said and done, a loving tribute to the iconic comedian. From her expressive eyes and impeccable comic timing to the way she embodies Lucy’s signature blend of glamour and goofiness, Gaddy gives a performance that’s joyously alive. Her physicality and facial expressions elicit hearty laughter while paying true homage to one of television’s greatest icons. My only hesitation in a giving Gaddy’s Lucilly Ball a full five star review rests on the fact that Gaddy’s choice of voice isn’t quite there. Yes, Lucille Ball’s real-life voice was quite different from her quicker, higher-pitched Lucy Ricardo voice, but Gaddy, try as she may, never quite hits the mark vocally. Of course the average Keeton audience member will easily overlook this because of Gaddy’s otherwise full-force embodiment of the iconic comedic actress. It should be noted that Gaddy’s Lucy is at her best not only when recreating a few classic I Love Lucy moments–her lip-smacking, face-pulling expressions during a quick look at Vitameatavegamin is indeed near-perfection–but also during scenes that show the rarer more vulnerable moment of the woman behind the legendary laughs.

Even though he plays the man upon whose book this play is based, Michael Welch has the benefit of playing someone most people have never seen and whose physical appearance isn’t as easily recognized as the four stars of the groundbreaking sitcom. That anonymity works to Welch’s advantage as he simply shines as Jess Oppenheimer, serving as the grounding force amid the behind-the-scenes chaos. His balance of humor and sincerity keeps the story engaging and human. His scenes between Gaddy’s Lucy and Rainwater’s Desi truly exemplify Oppenheimer’s role as both close friend and trusted collaborator in the creating of one of the world’s most beloved sitcoms.

Cassidy Davis is delightful as Betty Garrett, a close pal of Lucille Ball’s who happens by the radio studio in a brief scene early on. Again, pop culture nerd that I am, I feel compelled to remind you that Garrett, a radio and film star like Ball in their early days, also gained fame on television—for roles on All in the Family and Laverne & Shirley (Garret played the girls’ landlord and Laverne’s eventual step-mom). I do wish there’d been time for a wig change as Garrett was more often a brunette. But yes, I’m just being picky. However, it’s Davis’ Vivian Vance that’s key to the story. Davis plays Vance a little sweeter, a little lighter than the real actress and again, there seems to be no concern for sounding like the original. Nonetheless, Davis nails each of her many roles—from Betty Garrett and various secretaries throughout to Vivian Vance and even a male executive at one point—with comedic grace and sharp timing. Again, does she really look or even sound like Vance? No, but does she deliver the goods? Yes.

Living up to his last name, Brian Best as William Frawley, is indeed, the best at fully embodying the role. Best turns in a masterclass of voice acting. His portrayal of William Frawley is eerily accurate, perfectly capturing Frawley’s gravelly timbre and gruff charm, while also handling multiple other characters—including network head William Paley—and with more than a bit of a smokers cough, Best’s Parker McComas, President of I Love Lucy sponsor Philip Morris, is a scene stealer. Rounding out the ensemble, Eric Crawford, Chris Hill, and Tony Bernui each contribute energetic and distinctive performances that heighten the show’s humor. Crawford’s facial reactions, Hill’s authoritarian vibe and Bernaui’s ability to switch from portraying Lucille’s early radio husband, the dashing Richard Denning, to I Love Lucy season one director and friend of Vivian Vance, the theatrically flamboyant Marc Daniels, all add to the fun of the piece.

Musically, this expanded version of the show delights with nostalgic selections that evoke memories of classic I Love Lucy episodes, including I’ll See You in C-U-B-A, Friendship, California Here I Come, and the beloved I Love Lucy theme song, complete with a bit of a did you know who wrote it spoiler and Rainwater and Gaddy singing the rarely heard lyrics. Enhancing the musical score throughout, frequent Keeton musical director Roger Hutson’s piano recordings add a lighthearted, era-appropriate touch, while Steve Love’s sound design, Brooke Sanders’ lighting, wig design by Alison Gaddy (loosen up those wigs so they look more natural and like the real-life ladies they’re styled after) and Denese René Evans’ costumes work in harmony to transport the audience straight to midcentury Hollywood. Evans’ costumes throughout are quite fun and seemingly period authentic, I do wish that Lucille’s Emmy dress was accurate, through…again, I’m just being an overzealous Lucy fan.

In spite of my above-reference initial hesitations and a strangely tepid Opening Night audience (Note: it’s ok to laugh out loud and to applaud after a particularly entertaining scene) and what could probably be chalked up to first night jitters from the cast resulting in the majority of Act 1’s delivery being a tad flat with several lines coming across as monotone with not real inflection and somewhat memorized, rather than convincingly felt and delivered with punch, those initial hesitations faded once the cast found their groove.

Bottom line, The Keeton’s LUCY LOVES DESI is a sentimental, heartfelt tribute to two of television’s most influential pioneers and the creative force behind them that believed America just might take to heart the story of a zany redhead and her latin love. Equal parts history lesson, love story, and nostalgic romp, it captures the magic that made I Love Lucy timeless—and proves that behind every great laugh is a story worth telling.

LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom runs through October 26 at The Keeton Dinner Theatre, oh and speaking of dinner, just like Lucy enjoyed at The Brown Derby, in the February 7, 1955 Season 4 episode of I Love Lucy titled L.A. at Last, The Keeton is serving up Spaghetti and Meatballs with a side salad and croissant and dessert for the pre-show dinner. CLICK HERE for tickets and showtimes.

If you happened to miss my recent Rapid Fire 20Q with the cast, CLICK HERE to check it out.

Following LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, The Keeton’s current season continues with SHE LOVES ME, onstage December 4-21, BIG FISH, running February 6-22, THE PLAY THAT GOES WRONG April 10-26, with STATE FAIR closing the season June 13-29! CLICK HERE for tickets and more details.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

Theatre Review: ‘Dracula’ at Studio Tenn Sinks its Teeth into Gothic Perfection for the Halloween Season

October 10, 2025 by Jonathan

From the moment the lights dim at Turner Theatre at The Factory in Franklin and shadowed members of the ensemble began their hypnotic whispered “the blood is the life” mantra, Studio Tenn’s production of DRACULA (on stage through Sunday, October 26) takes a firm hold of its audience with a smart and tight grip. Under former Nashville Ballet artistic director Paul Vasterling’s direction, expertly aided by costume genius and set design phenom, Matt Logan, this staging of William McNulty’s adaptation (first made available in 2008) strides confidently between classic Gothic terror and gorgeous modern theatrical immediacy.

McNulty’s version—while drawing on the legacy of Deane & Balderstone’s earlier stage dramatizations of Bram Stoker’s 1897 novel—makes clear that DRACULA is not meant to be the one-dimensional romantic antihero so often seen in television and film adaptations, but equally a predatory force. In the playwright’s own notes, the Count is emphatically a predator, not a lover. That conception is borne out vividly here. From start to finish, this is a show that relies equally on precision, mood, and theatrical craft.

Jay Sullivan is chilling as Count Dracula. He doesn’t simply linger in darkness or seduce with tropes and languid charm; he strikes, unsettles, and stalks. Director Vasterling’s background in artistic movement are ever-present in Sullivan’s Dracula. Not only does he enrapture the beautiful Mina (Savannah Stein) in a spell-binding dance early on, but with every jump-scare stage entrance, Sullivan’s Dracula moves with purpose. And yes, just for fun, there’s even a fully cloaked cape-tossing moment or two mixed in. Throughout, Sullivan’s Dracula’s presence is truly commanding. While he could easily fit the bill of the stereotypical matinee idol fanged icon, Sullivan is never merely handsome—remaining always horrifying.

Opposite him, Sullivan’s performances is beautifully balanced by Brian Webb Russell who gives a gravely controlled performance as Abram Van Helsing, anchoring the heroic opposition with clarity of intent and moral weight. Russell’s Van Helsing offers the perfect amount of sharp intellect and righteous urgency. His verbal sparring with Sullivan’s Dracula are electric—two forces circling each other in a battle of will and belief.

Morgan-Ellene Davis (Lucy Westphal) delivers one of the show’s most affecting arcs: her descent from bright innocence into vampiric torment is staged with heartbreaking clarity. Davis’ Lucy, once bitten, switches from demure to demonic with ease and believability.

As previously mentioned Stein’s Mina is simply breathtaking. As the Count’s earlier victim before the action of the play, Stein’s Mina is as enchanting as she is enchanted. A later scene involving Mina and The Child (Emily Stephens) is chillingly portrayed, evoking terror and tenderness as the undead Mina and The Child form a undead maternal bond that equally heartbreaking and horror.

Andrew Johnson (Dr. Thomas Seward) and Nathan Quay Thomas (Jonathan Harker) each ground the story in human urgency; their moments of fear, confusion, and resolve feel earned.

The trio of Lane Adam Williamson’s Renfield, DéYonté Jenkins’ Norbert Briggs and Catherine Gray’s Margaret Sullivan are tasked with carrying a bit of dark humor that helps temper the heavy suspense.

Williamson’s Renfield is the right mix of mania and pathos. Adding much-needed and unexpected light moments to the piece, Williamson’s Renfield is an absolute delight as he bounds around the stage in some sort of manic merriment. Truly a tour de force making the most of a role that is often portrayed simply as a fly-ingesting whack job, Williamson’s Renfield doesn’t just steal every scene he’s in, he steals it, strips it down for parts, rebuilds it and sells it to you again!

Jenkins and Gray also shine as employees of Dr. Seward, offering a bit of fun and frivolity in their relationship. When (Spoiler Alert) Margaret falls under the Count’s spell, her maniacal side takes over and Gray plays it like that one bipolar friend who’s off her meds. Additionally, Jenkins’ Briggs, when interacting with the bothersome Renfield is quite fun to watch.

On the subject of trios, the trio of brides—Savannah Stein, Jordan Tudor, and Emily Stephens—are ghostly and intoxicating. Their choreography, shifting entrances, and chilling harmonious wailings lend the production a spectral elegance.

Jonah M. Jackson as The Monster (the manifestation of Dracula’s cursed power) makes an audacious and visceral impression. His physicality in the climactic confrontation is bone-chilling, indeed.

Even the stagehands, cloaked in hood black, add to the seasonal spooktacular vibe.

From a design aspect, Matt Logan is simply a wunderkind. As mentioned above, Logan wears dual hats as scenic and costume designer, and his aesthetic is one of controlled Gothic minimalism. Rather than busying the stage with heavy, ornate wooden furniture, Logan has chosen to present a relatively stripped-down set design. Throughout the action, a pair of rolling stair units are easily moved for each scene change by the aforementioned cloaked stagehands, each with a lighted candelabra for effects. More candle-esque lighting is seen hanging high above the stage. Upstage is draped with a velvety fabric that reflects the light and seems to change color as the action (and Stephen Moss’ lighting cues) intensifies. Immediately in front of the drape Logan has designed a seemingly simple but effective stained glass backdrop reminiscent of oversized windows often seen atop a grand staircase in gothic castles of days gone by. Rather than present it as a typical pattern of multicolored glass, Logan’s stained glass appears to be translucent and iridescent shards in a circular pattern, not unlike a spider’s web. Perhaps yours truly is just too into the vampire lore, but I fancied Logan’s backdrop symbolic on many levels. The shards of glass represent the broken lives affected by the Count’s reign. The spiderweb-like pattern, a nod to the web of deceit the Count inflicts upon his victims. The iridescent glass, perhaps a call-back to the age-old notion that vampires cast no reflection.

Then there’s Logan’s costumes. Every costume a work of art. The female cast members regal and radiant in finery fitting the period of the action. Van Helsing’s leather wardrobe, perfectly fitting for battle. Renfield’s asylum attire tattered and torn, but with a hit of glamour by way of some blinged-out blood spots. But it’s Dracula’s wardrobe that is truly glamorous and entrancing. From his first appearance bare-chested, but corseted in black to a black jacket accented with blood-red beaded erratic epaulets when he returns from a mysterious night right. (Gotta love that this particular look gets no mention within the context of the play, but is a jarring visual clue to the most astute audience member). The beauty of that costume not without merit, my personal favorite is yet another black jacket and pants combination. The jacket, from one side appears nothing special as the hem hits just below the actor’s waist, but from front view, its asymmetrical as the other side is more the length of a morning coat. Perhaps another visual clue of the duality of the wearer? Just when you think Logan’s used up his bag of costume tricks, in the final scene Dracula appears the most sparkly transfixing figure yet, but I’ll let you experience that on your own.

Elsewhere among the creatives behind the scenes, Stephen Moss’ lighting (with contributions from Rylee Hickey) is a constant revelation: pools of cold moonlight, abrupt slashes of red, deep shadows that swallow actors whole. Danny Northup’s sound design magnifies the small — a footstep, the soft drawn breath, the low hum in a crypt, mysterious howls in the night — and turns them into moments of tension. Eric Pasto-Crosby’s fight choreography delivers fight sequences that are not merely stagey but grounded: scrambles in dim light, body’s crashing violently (and realistically) against walls and tables, accentuating both subtle and substantial power shifts. Nettie Mae Craft’s work as dialect coach ensures an authenticity to the time the action takes place. Meredith Schieltz and the wig and makeup team and dressers intensify the look without theater-of-the-grotesque excess, sustaining consistency even through blood and transformation. Props by Charlie Webb, scenic artistry by Lauren Walters, and the carpentry under Brandon Penry all contribute quietly but indispensably—when a creature of the night beckons, a window smashes, or the coffin appears, you believe it.

What impresses most about this DRACULA is how it leans into its horror while refusing sentimentality. McNulty’s choice to portray Dracula as predator (not tortured romantic) is honored here. That clarity gives other elements room to breathe: the trauma of Lucy’s affliction, Mina’s struggle with memory and agency, Van Helsing’s moral burden, Seward’s scientific disbelief challenged by the impossible.

The play’s structure (multiple fast scene changes, eerie transitions, raising stakes) is handled deftly. The pacing is smart: you never lose tension, but you’re given moments to breathe, to register dread, before it ratchets upward again. The final confrontation is, yes, wild and shocking — and fully satisfying.

Studio Tenn has earned a reputation for ambitious, emotionally rooted theater, and this DRACULA fits right in. It reminds me of their earlier presentations of Frankenstein and The Elephant Man. The earlier pieces ask “how do we see others?” While DRACULA asks “what does it mean to be unseen, to prey and be preyed upon?” Each, done exceptionally well, move past spectacle into something more haunting. In DRACULA, they pivot to horror, but retain that same appetite for theatrical integrity.

The fact that The Elephant Man and Frankenstein focused on what it means to be seen, to be judged by appearances—and DRACULA similarly addresses what is hidden, what preys beneath the surface—makes them complementary bookends in Studio Tenn’s always forward-moving trajectory.

Studio Tenn’s DRACULA is a production about control—control of terror, of space, of silence, and finally, of life and death. Its success lies in restraint and focus: the cast, led by Sullivan and Russell, deliver committed and precise performances; Logan’s design and the entire technical team generates atmosphere that lives in your spine; and Vasterling’s direction always keeps more in shadow than in full reveal. After all, it’s what we don’t see that scares us the most.

If you’re looking for a Halloween theater experience that is both smart and visceral, Studio Tenn’s DRACULA is more than just a seasonal thrill—it’s a dark, disciplined piece of art. CLICK HERE for tickets and showtimes.

Following the drama of DRACULA, Studio Tenn lightens the mood with a PINK GOES GOOD WITH GREEN: A Cabaret Fundraiser for Studio Tenn at TPAC on November 8. Broadway stars Carrie St. Louis and Teal Wick, who both spent time on The Great White Way in the mega-hit WICKED, as Glinda and Elphaba, respectively, will headline this one-night-only event. CLICK HERE for tickets or more info. Then, it’s a decidedly different holiday offering when Studio Tenn‘s Season 16 resumes as they present IRVING BERLIN’s WHITE CHRISTMAS, which happens to be my personal favorite musical…not just holiday musical, but my favorite musical of any genre and any era! CLICK HERE for tickets or more information.

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

Theatre Preview: Studio Tenn Bites Into Darkness with ‘Dracula’; onstage October 9 thru 26

October 6, 2025 by Jonathan

Get ready, Middle Tennessee! From October 9 through October 26, Studio Tenn brings to life a chilling rendition of classic terror as they present William McNulty’s adaptation of DRACULA at the Turner Theater in The Factory at Franklin. If their previous presentations of other monster hits like 2017’s The Elephant Man and their 2018 original adaptation of Frankenstein are any indication, this promises to be a horror-theater experience perfectly crafted for the Halloween season.

This version of DRACULA first surfaced in 2008. One aspect that sets apart McNulty’s adaptation is that his script places emphasis on suspense, danger, and the predatory nature of Dracula rather than romantic tropes often seen in the myriad of tv and film adaptations of the legendary tale. With creatives like Paul Vasterling at the helm as director, and visionary costumer and set designer Matt Logan once again returning to the company he co-founded, Studio Tenn’s production promises to lean into that darkness full force to frighteningly glorious results.

The cast here is deep, textured, and brimming with promise. Jay Sullivan takes on Count Dracula, a role he previously played in 2014 at his longtime home theatre, Houston’s The Ally Theatre. He may be a Houston, Texas resident now, but Sullivan’s got local ties. If memory serves, as a onetime season subscriber to Franklin’s now-gone, but much-beloved Boiler Room Theatre, myself, I recall seeing the young actor back in 2001 when he appeared amongst the cast of their production of A Chorus Line. After a few years, and several shows in and around New York, Sullivan made the move to Texas where he’s appeared in dozens of productions at The Alley since his 2009 Houston debut as Orpheus in The Ally’s Eurydice.

Opposing Sullivan’s Count is Nashville favorite, Brian Webb Russell as Van Helsing. No doubt a familiar face to area theatre audiences, throughout the last couple decades, Webb has appeared in various productions around town. His acting resume includes many shows with Nashville Repertory Theatre, Chaffin’s Barn Dinner Theatre and more. Like his onstage vampiric nemesis, Russell is also no stranger to the Dracula lore, having previously portrayed Simmons in a 2003 production of an adaptation by playwright Robert Neblett. entitled Dracula: The Case of the Silver Scream with Nashville Repertory Theatre back when they were known as Tennessee Repertory Theatre.

Morgan-Ellene Davis plays Lucy Westphal, perhaps the most tragic arc, moving from vitality into vulnerability under Dracula’s shadow. Among her previous credits, Davis appeared as the equally tragic Elizabeth LaVenza in Studio Tenn’s World Premiere 2018 production of playwright A.S. Peterson’s adaptation of Mary Shelley’s Frankenstein. Additionally, Davis appeared as both Belle and Mrs. Cratchitt in Rabbit Room Theatre’s 2024 holiday offering A Christmas Carol, which was also adapted by Peterson.

Nashville native, Andrew Johnson steps into the role of Dr. Thomas Seward for DRACULA. Johnson’s theatre credits include numerous Nashville Shakespeare Festival productions. Rounding out the principal cast of Studio Tenn‘s DRACULA is Nathan Quay Thomas as Jonathan Harker. Having appeared in the 2024 U.S. premiere of Maggie: The Musical at Goodspeed Musicals in East Haddam, Connecticut, Thomas’s role in Dracula marks a return to Studio Tenn as Thomas previously appeared in the company’s 2023 production of The Sound of Music.

In the supporting cast, Lane Adam Williamson plays Robert Renfield with DéYonté Jenkins as Norbert Briggs. Catherine Gray is Margaret Sullivan and Jonah M. Jackson takes on the iconic role of The Monster. A lifelong DRACULA fan myself…after all rumor has it I was named after Jonathan Harker…my personal favorite supporting characters are Dracula’s Brides. Studio Tenn has cast Savannah Stein (Mina/Bride 3), Jordan Tudor (Bride 1), and Emily Stephens (Bride 2/Child) to take on these hauntingly beautiful roles.

Behind the scenes, as mentioned above, former longtime artistic director for Nashville Ballet, Paul Vasterling directs, marking Vasterling’s second collaboration with the company, having directed Cabaret for Studio Tenn just last year.

On the subject of Studio Tenn collaborators, former Studio Tenn founding artistic director, Matt Logan handles both scenic and costume design, assuring this production of DRACULA will be as mesmerizing as Count Dracula’s hypnotic gaze.

With a runtime of about 2 hours 15 minutes, including a 15-minute intermission, Studio Tenn will present DRACULA Wednesdays thru Sundays, October 9-26. CLICK HERE for day and time details and to purchase tickets.

Mixed throughout the run, Studio Tenn will offer the following enhanced performances:

• October 19 (Sunday matinee at 1:00 PM) features a Talkback — stick around after the performance to hear from cast and crew about the rehearsal journey and creative choices.

• October 18 (Saturday, 2:00 PM) is an ASL-interpreted performance.

• October 25 (Saturday, 2:00 PM) is a Sensory-Friendly performance, with modified lighting, sound, and comfort supports.

• Discounts apply for students, military/veterans, educators, and groups of 8+.

Because Studio Tenn sells tickets only through Ticketmaster or their in-house box office, it’s best to secure seats early. As of this preview article, Opening Night is already reported as sold out.

If you’re in Franklin or Nashville, this DRACULA is sure to be more than a seasonal treat. It’s sure to be an undeniable, irresistable pull into the darkness, a test of nerves…an invitation to watch what otherwise lurks in shadows. And with that Talkback on October 19, audience members get a chance not just to observe but to engage. Mark your calendars, take someone you dare to spook, and be ready to look over your shoulder as you exit the Turner Theatre and hopefully make your way back to your car. Studio Tenn’s DRACULA opens Thursday, October 9 and continues through Sunday, October 26.

Following the drama of DRACULA, Studio Tenn lightens the mood with a PINK GOES GOOD WITH GREEN: A Cabaret Fundraiser for Studio Tenn at TPAC on November 8. Broadway stars Carrie St. Louis and Teal Wick, who both spent time on The Great White Way in the mega-hit WICKED, as Glinda and Elphaba, respectively, will headline this one-night-only event. CLICK HERE for tickets or more info. Then, it’s a decidedly different holiday offering when Studio Tenn‘s Season 16 resumes as they present IRVING BERLIN’s WHITE CHRISTMAS, which happens to be my personal favorite musical…not just holiday musical, but my favorite musical of any genre and any era! CLICK HERE for tickets or more information.

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

Rapid Fire 20Q with Writer/Director and Cast of ‘Music City Melody’; Mid-State Tour Begins Saturday, October 27

September 24, 2025 by Jonathan

Welcome back, readers and theater lovers, to another edition of Rapid Fire 20Q.Today, we’re featuring playwright/director Wally Nason, the creative mind behind the musical, MUSIC CITY MELODY, as well as the three stars of the show, Jack E. Chambers, Isabel Smith, and Payton Justice. Making not only its Music City debut, but also it’s World Premiere, MUSIC CITY MELODY opens this weekend with a two-show day Saturday, October 27 at Mills Pate Performing Arts Center in Murfreesboro, TN before continuing an tour throughout venues in the mid-state area through November 1.

This brand-new musical comedy from Nason’s About The Town Productions takes place at a studio run by an eager music biz newbie and follows a slightly past-his-prime legendary entertainer in a potential career-saving/career-making writing session with an upstart young Taylor Swift-esque performer. The tension, the laughs, the songwriting—even the whiskey, mix for a uniquely Nashville ride. So settle in to see if we’ve got another Nashville hit on our hands.

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RAPID FIRE 20Q WITH WRITER/DIRECTOR AND CAST OF MUSIC CITY MELODY

RAPID FIRE 20Q WITH MUSIC CITY MELODY WRITER/DIRECTOR WALLY NASON

JHPENTERTAINMENT: You bio reveals that you’ve written 21 musicals. MUSIC CITY MELODY contains eleven songs. You’re credited as having written ten of those, so let’s say you’ve written at least 200+ songs for your musicals. While you’re not quite at the 2000+ songs from such Broadway luminaries as Sir Andrew Lloyd Webber and Stephen Sondheim, 200+ is nothing to sneeze at. Gotta ask, do you have a set routine for songwriting, like do you set aside a certain time each day/week to focus on writing music, or do you just find inspiration in any way it comes to you?

WALLY NASON: When I write songs…it’s usually for a specific reason. I’m not like a lot of my Nashville writer friend who have hundreds of songs that they have written ready to pitch. I call my self a ‘contract’ writer… write or a specific reason. That particular style works great for musicals. So my inspiration comes from the character in the show…the information that needs to be communicated…and the style, tempo, lyric, etc. that fits the moment!

JHPENTERTAINMENT: With MUSIC CITY MELODY, you’re debuting the with a two-show-day on Saturday, September 27, at Mills Pate Performing Arts Center, then doing an area tour with a couple performances at Playhouse 615, the Arts Center of Cannon County, Jenkins Church in Nolensville, the Williamson County Performing Arts Center and Circle Players. What’s the biggest challenge of touring in this manner?

WALLY NASON: Biggest challenge is working with the multiple issues in the multiple venues – providing what they need as far as promo goes, figuring out tech issues at each place, figuring out staging at each venue, figuring out schedules at each venue. And working with multiple communities as far as digital and printed materials…everyone wants a different size…Ha! I’ve become pretty good with Canva!

JHPENTERTAINMENT: On the flip…What’s your favorite aspect of presenting the show in this way as opposed to a two or three weekend run at a single venue?

WALLY NASON: My favorite aspect is the opportunity to provide original material to multiple communities. As a general rule, folks in Franklin won’t travel to see a show in Cannon County and people in Mt. Juliet aren’t coming to Franklin. It expands the potential audience… I also love the collaboration and building relationships with other theatre/venue directors. I learn tons from them and enjoy their insights and experience. Plus…they are just really cool people!

JHPENTERTAINMENT: I’m about to chat with your three cast members, so let’s play a little word association…give me the first word/words you think of when you think of each one…

WALLY NASON:

Jack E. Chambers – Devoted

Isabel Smith – Joyful

Payton Justice – Free (spirited)

JHPENTERTAINMENT: Following the tour, what’s next for the show?

WALLY NASON: Before starting About The Town Productions, I spent over a decade producing musicals in other tourist areas around the Eastern U.S. I’d love for MUSIC CITY MELODY to have a long term home in the Nashville area that would become an entertainment option for the cazillion tourists that are coming to Music City!

RAPID FIRE WITH MUSIC CITY MELODY’s CHAD, PAYTON JUSTICE

JHPENTERTAINMENT: Who is Chad to you?

PAYTON JUSTICE: Chad’s a young guy who takes his job managing Wallace Studios VERY seriously. He loves and supports Melody any way he can and then he has this interesting sort of camaraderie with Hugh. He’s a helper but… can maybe get carried away sometimes.

JHPENTERTAINMENT: Ok, I gotta ask…While rehearsing for your debut as Chad in MUSIC CITY MELODY, you were also right smack in the middle of performances as Sir Hugh Evans in Nashville Shakespeare Festival’s The Merry Wives of Winsor. How in the heck have you been juggling these two roles…AND…just for fun…Have you found any similarities between the two characters?

PAYTON JUSTICE: It’s been a blast! I definitely have been running Chad’s lines backstage during Merry Wives performances. Honestly, Sir Hugh Evans also takes himself a bit too seriously, so there is a funny overlap there!

JHPENTERTAINMENT: I love the Kenny Loggins/Kenny Rogers dialogue between your Chad and Jack E. Chambers’ Hugh. Not to sound like an old man, but I feel this same frustration any time I make any vintage pop culture reference around friends or relations of a certain youthful age. That just might be my favorite dialogue exchange in the show. What’s yours?

PAYTON JUSTICE: That moment is great! I really like this one scene where Chad is pushing Hugh to set his ego aside and open up to writing with other artists. Performing that with Jack is great. And Jack’s character just as a whole has some wonderfully vulnerable dialogue throughout the show.

JHPENTERTAINMENT: How excite are you to be part of the premiere presentation of MUSIC CITY MELODY?

PAYTON JUSTICE: I’m so excited! Being part of a new work is always rewarding, and it’s pretty cool that this one’s story is rooted here in Nashville

JHPENTERTAINMENT: I’m about to chat with your leading lady, so tell me something Isabel Smith won’t admit about herself as a scene partner?

PAYTON JUSTICE: Working with Isabel has been awesome! She was totally committed from day one and is a super supportive scene partner. And the girl can SING!

RAPID FIRE WITH MUSIC CITY MELODY’s MELODY, ISABEL SMITH

JHPENTERTAINMENT: What’s your favorite aspect of Melody, the character you play in MUSIC CITY MELODY?

ISABEL SMITH: My favorite aspect of Melody is her gritty optimism. She has a pretty tough past, but she remains hopeful, sweet, and strong-willed at the same time. I love it when a character can be more than one thing- just like real people.

JHPENTERTAINMENT: Alright, I always say if I ever wrote a book about my life in Nashville and ‘the biz’ It would be called I Never Drop a Name I Can’t Pick Up (yes, it’s already trademarked and copy-written). So, a two-part question for you…Your show bio mentions that you’ve done session work and background vocals for…among others…Dolly Parton. I, myself have had the great fortune of being in her presence a number of times over the years, so…What’s your favorite Dolly memory? AND…IF you were to ever write your memoir, what would it be called?

ISABEL SMITH: Sadly, when I recorded background vocals for Dolly, she wasn’t able to be there, but I have very fond memories of that session! I was very young and everyone was so kind and I think that’s a great example of the butterfly effect of working with Dolly. I think if I were to ever write a memoir, I would call it A Glance Between Pages. Every actor’s story is unique, especially in Nashville, and I think we often judge actors by their cover, and as an avid reader, I would for sure make many unnecessary book references!

JHPENTERTAINMENT: Like your costar and on-stage love interest, Payton Justice, you’ve also appeared in productions with Nashville Shakespeare Festival. How about a shameless plug for those folks…What do you say to people who think Shakespeare isn’t for them?

ISABEL SMITH: I love talking about Shakespeare with people who think they don’t or won’t like Shakespeare. The beautiful thing about Shakespeare is that it’s accessible for everyone, and when done well, is very easy to follow. Shakespeare was also way funnier than a lot of people give him credit for!

JHPENTERTAINMENT: As mentioned above, you share the stage in MUSIC CITY MELODY with Payton Justice. When I chatted with him I asked him to tell me something about you as an actor that you might not volunteer, so I”ll ask the same of you. Tell me something about Payton’s turn as Chad that you appreciate as a scene partner?

ISABEL SMITH: I really appreciate how well Payton connects on stage. He truly understands his character, as well as Chad’s relationship with both Melody and Hugh. He makes his character come alive, which is great to have in a stage partner.

JHPENTERTAINMENT: As Melody, you’re featured in almost every song in the show. Is there a particular song or lyric that you find yourself thinking about even when you’re not on stage?

ISABEL SMITH: I think my favorite lyric to sing is “I might live with some scars, but I won’t live the wounds.” It’s such a profound line that I come back to often! But my favorite song to sing as a whole is What Am I Doing Here?. It’s super catchy and fun and gets stuck in my head.

RAPID FIRE WITH MUSIC CITY MELODY’s HUGH, JACK E. CHAMBERS

JHPENTERTAINMENT: What can you tell me about Hugh Blackburn, the character you play in MUSIC CITY MELODY?

JACK E. CHAMBERS: Hugh Blackburn is a gritty, past-his-prime singer/songwriter, a veteran of too much drinking and partying, who is trying to make his way in a Nashville that seems to have moved on without him. He’s gruff and crotchety and often downright unpleasant, but there’s a damaged tenderness under it all when he opens up about where he’s been and what he’s gone through. There’s some echoes of some familiar faces in there: Robert Duvall in Tender Mercies, Jeff Bridges in Crazy Heart, in addition to gruff and gravelly dreamers like Kris Kristofferson, who’s a personal favorite of mine. He gets roped into a writing session with a young wannabe country-pop starlet who seems to represent everything he despises about New Nashville.

JHPENTERTAINMENT: When I spoke with Wally, I mentioned the one or two-show day aspect of this tour. What drew you to being in a show in this manner, as opposed to performing a show at a single venue for multiple performances?

JACK E. CHAMBERS: What drew me into the show? It’s the job, man! But seriously, it’s funny: I’ve been looking at this calendar like we’re actually going on tour — we’ve rehearsed the show (and all the songs), and now we’re going on a mid-state tour of… 6 venues in 6 different towns over 5 weeks. I think I’m gonna make me a 2025 World Tour shirt with the towns and dates!

JHPENTERTAINMENT: I love that there’s a quote Hugh shares in the show, a quote from famed Nashville songwriter Bob Morrison. I’ll save the actual quote for audiences to discover when they attend, but its inclusion in the show prompted me to ask…Is there a quote, famous or not, that you relate to from time to time in your own life?

JACK E. CHAMBERS: In these often-brutal times, I hold on to a line from Stephen King. It was about writing, but I’ve held it tight with regards to any creative endeavor and also to starting therapy: “You can, you should, and if you’re brave enough to start, you will.” It kind of ties in with Hugh’s progress in a couple of different ways in the show.

JHPENTERTAINMENT: What’s your favorite musical moment in the show?

JACK E. CHAMBERS: There’s a moment where Hugh plays one of his old songs. He’s a little bit lost in himself in the singing and playing of it, getting to do the one thing he loves most in the world, and Melody joins in, even though the song is probably as old as she is. There’s a connection from the music, and from family, and from being able to create something and be proud of it, and right away in rehearsals it felt like Isabel and I had been singing the song onstage together for years.

JHPENTERTAINMENT: I tend to end these interviews by asking my last interview subject a variation of the following…What do you hope audiences take with them after having seen MUSIC CITY MELODY?

JACK E. CHAMBERS: I think that there’s always a chance for us to do better, and to be better, and sometimes it’s just a matter of the right person coming along at the right time and giving us that chance, or believing that we deserve that chance, or allowing us to be that chance for them. Anything is possible.

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And just like the last chord of any good three chords and the truth country tune, we’ve arrived at the end of our latest Rapid Fire 20Q. A huge thanks to Wally Nason, Jack E. Chambers, Isabel Smith, and Payton Justice for giving us a peek behind the scenes of MUSIC CITY MELODY.

If you enjoyed this Rapid Fire 20Q with the creator and cast of MUSIC CITY MELODY, don’t miss catching the show as it tours Middle Tennessee this fall. MUSIC CITY MELODY will play Mills Pate Performing Arts Center in Murfreesboro on Saturday, September 27 with a 2:30pm matinee and a 7:30pm evening performance. CLICK HERE for tickets. On Saturday and Sunday, October 4th and 5th, the show heads to Mt. Juliet’s Playhouse 615 for a Saturday evening performance at 7:30pm and a Sunday afternoon matinee at 2:30pm. CLICK HERE for tickets. On Saturday, October 18, the show sets up shop for a two-show-day with a 2pm matinee and a 7:30pm evening performances in Woodbury at Arts Center of Cannon County. CLICK HERE for tickets. The mid-state tour continues on Sunday, October 26 with a 5pm performances at Jenkins Church in Nolensville (CLICK HERE for tickets), a Thursday, October 30th 7pm show at Williamson County Performing Arts Center in Franklin. CLICK HERE for tickets. Then there’s a final two-show-day in conjunction with Circle Players on Saturday, November 1 at 3pm and 7pm at NuMynd Studios in Nashville. CLICK HERE for tickets. For more information on the show, CLICK HERE.

Next up from About The Town Productions it’s JOLLY OL’ ST. NICK: AN ‘ACCIDENTAL’ CHRISTMAS MUSICAL with performances at Life Church in Nashville on December 6, Jenkins Church on December 14 and Williamson Country Performing Arts Center on December 17. Tickets to go on sale in October. Click the venue links above for tickets to each show. To keep up with the latest news from About The Town Productions, CLICK HERE and scroll to the bottom of the page to sign up for updates on their upcoming shows.

Stay tuned for more exclusive chats with the folks making theater magic in and around the Nashville area. If you want to follow JHPEntertainment to find out who we’re chatting with for our next Rapid Fire 20Q, or for our take on the latest local and national theatre, music, movies and more, find us on Facebook, Instagram and Twitter. Got an event or show we should know about? Drop us a line via the contact tab. Until then, as always…#GoSeeTheShow!

Rapid Fire 20Q with director and cast of ‘The Laramie Project’; at New Bern Civic Theatre September 26 thru October 5

September 23, 2025 by Jonathan

THE LARAMIE PROJECT has been a groundbreaking piece of documentary theatre since its debut in 2000, giving voice to a community forever changed by the 1998 murder of Matthew Shepard. Now, New Bern Civic Theatre (414 Pollock Street, New Bern, NC 28560) brings this powerful work to its stage under the direction of Siobhan Brewer, with a dedicated cast stepping into multiple roles to tell the story of a town grappling with grief, reflection, and hope.

As part of our Rapid Fire 20Q interview series, JHPENTERTAINMENT.com recently had the opportunity to chat with the director and members of the cast to talk about their characters, their process, and what it means to share THE LARAMIE PROJECT’s story with audiences in 2025.

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RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF NEW BERN CIVIC THEATRE’s THE LARAMIE PROJECT

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER CIARA BLOSSER

JHPENTERTAINMENT: You’re playing Reggie Fluty, Rebecca Hilliker, Zubaida Ula, a Newsperson, and even one of the Narrators in THE LARAMIE PROJECT. What’s been the most rewarding – and maybe the most challenging – part of juggling so many distinct voices and perspectives in one production?

CIARA BLOSSER: It’s been an incredibly rewarding experience. At first, truthfully, it was daunting knowing I would be playing so many roles, and remaining on stage the entire show. I have never done anything like this before. Once I was able to at least know what I was saying, then the fun part came — which was finding tiny movements and the posture of each person. For example, Reggie Fluty never has perfect posture, she’s a bit more laid back, whereas Zubaida is a hand talker, and Kristin Price (girlfriend of Aaron McKinney) picks at her nails, twirls her hair, and always leads with her hips.

JHPENTERTAINMENT: Rebecca Hilliker says early on, “when I first heard you were thinking of coming here…I wanted to say …Why are you doing this to me?… but then I thought you’re not doing this to me.” How has living with that line informed your understanding of the town of Laramie, and what does it reveal to you about the way people process tragedy?

CIARA BLOSSER: The way I’ve been playing Rebecca has been cheerful. Even if she’s not talking about the most upbeat things, there’s always a slight smile on her face. When I (as Rebecca) say that line “Why are you doing this to me“, there’s a smile on my face because I think often, even if we don’t realize it, we will power through tough moments through smiles and jokes. What I love about Rebecca is that she has that initial thought, which is a valid one, and then takes a moment to process, and realizes that having the theatre company in Laramie might be the best thing for the community. Theatre is a therapeutic form of art, like most art, but what’s special about acting is it’s the study of human behavior. Rebecca is the head of the theatre department at the university, so she’s aware of that. I feel like she thinks inviting actors into Laramie to meet with people of the community, and understand them in a non-judgmental way, is the best way she knows to start the healing process.

JHPENTERTAINMENT: Zubaida Ula brings a unique viewpoint as one of the younger voices in the play. What drew you most to embodying her, and how do you balance her youthful passion against the more pragmatic or weary outlook of your other characters?

CIARA BLOSSER: Zubaida has been an honor to play. I naturally gravitated towards her, even though I’m probably a decade older than her. She is so confident in herself and the way she talks, although still youthful, is extremely powerful. What I love about her is that she takes pride in holding others accountable, as well as herself, and follows up with great conviction. One of my favorite moments of the play, which is also the monologue I auditioned with, is when she’s demanding people of Laramie to own the crime, “These are people who are trying to distance themselves from the crime. We all need to own the crime”. She is a young woman who has overcome adversity in a small town, as a Muslim who is not fully understood, and she is a force to be reckoned with.

JHPENTERTAINMENT: THE LARAMIE PROJECT marks your fifth show in New Bern. For those unfamiliar with the theatre scene in the area, what would you say to encourage folks to check it out, especially this production of THE LARAMIE PROJECT?

CIARA BLOSSER: The talent in eastern North Carolina is amazing. I can’t say that enough. I’m truly grateful to be a part of this community of artists. As for the cast of THE LARAMIE PROJECT, thank you, I’ve loved getting to watch us grow as a cast and crew, and it’s been a beautiful experience telling this story. For people who have never seen a show, I can’t force you out of your home, but the moment you sit in a seat at the theatre, you’re immersed into a new world.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER GINNY DORRINGTON

JHPENTERTAINMENT: You’re stepping into Allison Sears, Sherry Aenonson/Johnson, Dr. Cantaway, Doug Laws, a newsperson, and a narrator — that’s a wide range of voices to embody. Which of those characters has surprised you the most in rehearsal, and why?

GINNY DORRINGTON: As I was living in the UK at the time this happened, it wasn’t widely reported. I think the character that surprised me most was Doug Laws. I am a Christian and although I knew of the Mormon church (mainly through the Osmonds who were popular in the UK), I have been horrified at the bigotry and hate that they espouse. I had no idea and it’s made me think about all the Mormon people who are gay and how they cannot be themselves,

JHPENTERTAINMENT: In total, there are more than 50 characters represented in THE LARAMIE PROJECT. Aside from those you portray, are there any other characters within the piece you’d like to perhaps take on in a future production?

GINNY DORRINGTON: Oh I would love the part of Marge. Such a character – very straightforward and plain speaking. Also, due to my great age – there are few roles that would be fitting which is a shame. It would be different in a radio show.

JHPENTERTAINMENT: Playwright Moisés Kaufman and the Tectonic Theater Project, who first presented THE LARAMIE PROJECT, are known for their use of “moment work” — building theatre from image, movement, and juxtaposition. What has it been like to create moments in this production, and how do they help reveal truths beyond just the spoken words?

GINNY DORRINGTON: I love the idea of the Moments, but as an actor I have found that following the whole script through them difficult, because they are not necessarily sequential. Having said that, I have loved the minimalist aspect of the play, the reliance on voices and the impact that that has on the listener/audience.

JHPENTERTAINMENT: This play asks both actors and audiences to lean into empathy. As you step offstage each night, what do you hope your community takes away from hearing this story told in their own backyard?

GINNY DORRINGTON: I really, really hope and pray that we can make a difference with this play. It’s the reason I auditioned for it really. I was in Calendar Girls at the beginning of the year and that too carried a message. I love drama that does that. I think that there is still a huge amount of intolerance towards anyone who is not a white, straight person and it really bothers me. If we can get just one person to become less judgmental and hateful it will be worth it. I know it has a powerful effect on the watchers because it exposes their own thoughts and feelings – either positive or negative and that is what I love about the theater.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER, JOSEPH HORTON

JHPENTERTAINMENT: You were last seen at NBCT as Dr. John Prentice in their 2024 production of Guess Who’s Coming to Dinner, now you’re stepping into multiple roles in THE LARAMIE PROJECT. How has moving from a classic drama about race and social change to a documentary-style play about intolerance and community resilience challenged you as an actor?

JOSEPH HORTON: Honestly, I hadn’t been on stage in almost 10 years when I got the role of Dr. Prentice. That in itself felt like a huge jump. I don’t think it’s off to say I felt closer to my character as Dr. Prentice, as I already had a huge connection to his situation. With TTHE LARAMIE PROJECT, I had to do my own personal research about anything I could on the subject and the people because they aren’t a creative expression. They are real people in a real town. So I had to try and honor them as much as possible as I developed each individual’s character.

JHPENTERTAINMENT: In this production of The Laramie Project you take on Shadow, Aaron Kreifels, Phil Labrie, Andrew Gomez, John Peacock, and a narrator. As you’ve explored the piece, have you found one character that you identify with most?

JOSEPH HORTON: My Director isn’t going to agree that this is the best answer. Andrew Gomez is probably the closest to base Joey you will see of me in this play. It’s the only time I just get to turn off my mind and just worry about my lines. He definitely isn’t my most impactful performance in the play, but any time I don’t have to think about how the character moves or talks, it feels like I am sailing on a wooden pirate ship with the wind in my sails.

JHPENTERTAINMENT: As one of the newer members of the NBCT family, how has this company welcomed you in, and what excites you most about growing with this theatre community?

JOSEPH HORTON: Okay, so over the past year I have done everything I can to live in this theater. After Guess Who’s Coming to Dinner, I ended up doing the fly system for Grease, spotlight for Descendants, and assistant to the stage manager for Escape to Margaritaville. I also have a potential directing spot for the 24-hour Theater Project next month. And with the lineup of shows for next year, I am going to be living on stage, count on that. It’s about to be musicals all year, and I am a far better singer than I am an actor.

JHPENTERTAINMENT: We’re now a quarter century past the events that inspired The Laramie Project. What does it mean to you to help tell this story today, and why do you think its relevance endures for audiences in 2025?

JOSEPH HORTON: I will let you know I watch debate media in my free time. This year has been NUTS!!! The amount of fear that people are cultivating for the people in this country hurts me deeply. It’s never just one group that gets attacked when things like this happen; it’s anyone who doesn’t fit “the norm.” As an African American with my own set of mental disabilities, I can never be in that norm. I am aware people are fighting to make individuals like me fit into a status quo that I was never meant to be a part of. So with this current climate in America, I think it is extremely important that we are doing a play about what it was like when Americans wanted to start accepting differences. Now that we have done so much to try and turn away from the progress we made in this country, this is the America we hope to leave behind moving toward the future.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER KATHERINE ANDERSON TUTTLE

JHPENTERTAINMENT: In THE LARAMIE PROJECT you portray Marge Murray, Lucy Thompson, a Baptist Minister, a Mormon Spiritual Advisor, plus a narrator and a newsperson — such a diverse group of voices. Which role has challenged you the most to step outside yourself as a performer?

KATHERINE ANDERSON TUTTLE: Actually, the role of Sherry Johnson (wife of highway patrol man and a university admin assistant) has been the toughest to connect with. Her life experience has definitely been more narrow than mine. I had to draw on character traits and attitudes of folks I can remember from an earlier (ugly) time in America. Two of my dearest friends were victims of bigotry, hatred and vicious violence in the early 80’s. Both also succumbed to HIV. I hold them lovingly in my heart to this day. I knew there were Sherrys in the world. I hope I never was one.

JHPENTERTAINMENT: You’ve been part of the New Bern Civic Theatre family for over 15 years. Looking back, how has your journey with NBCT shaped you as an artist, and what makes this community such a lasting part of your story?

KATHERINE ANDERSON TUTTLE: NBCT has been a true blessing to me. I have opportunities to keep my performance skills sharp and mix with folks of all ages and life experiences, keeping me safe from a dull and lifeless retirement. I hope I have given as much to the local community theatres as I have gained from the connections.

JHPENTERTAINMENT: You previously worked with Siobhan Brewer in the past, including when she directed an area production of Cabaret. What has it been like reuniting with her on this production, and how has her directing style helped guide you through such complex material?

KATHERINE ANDERSON TUTTLE: I have been blessed and privileged to see Siobhan grow in confidence and ability over four productions. I love working with her. She gives me my head, so to speak, and only tugs on the reins when I ver off track. She is purposeful in her vision. Her passion drives her dedication and that is immense.

JHPENTERTAINMENT: THE LARAMIE PROJECT is often staged with a minimalist or flexible set to highlight the actors and the words. What can you tell me about this production’s set design and how it impacts the way you tell your aspects of the story onstage?

KATHERINE ANDERSON TUTTLE: In this show the only tools you really can use are you face, your eyes, your voice and your body. And you only have a few lines, or even just a word, and maybe no interaction, to convey a person,, an attitude or an emotion. And you must convey the truth. It’s definitely a workout for a performer. I switch characters over 30 times during the show. We never leave the stage. I am emotionally spent by the end.

RAPID FIRE WITH THE LARAMIE PROJECT DIRECTOR, SIOBHAN BREWER

JHPENTERTAINMENT: You’ve directed everything from The Crucible to SpongeBob the Musical, Jr., and now you’re tackling THE LARAMIE PROJECT which is a very different kind of theatrical storytelling. What has been the most rewarding — and the most challenging — part of bringing this powerful piece to the New Bern Civic Theatre stage?

SIOBHAN BREWER: THE LARAMIE PROJECT is definitely a different style of storytelling. The fact that the play is not linear and is told in a series of moments has been both challenging and really fun to work with. When I agree (or ask) to direct a show, generally it needs to be something that really speaks to me. I feel like previous shows I have directed like Cabaret, The Crucible, The Vagina Monologues, and now THE LARAMIE PROJECT are ones that evoke compelling emotion that leads to real reflection and conversation, and that is my favorite thing about theatre.

I think the most powerful thing about this play is something that Moises Kaufman has stated in interviews. He has stated that he keeps waiting for the show to become historical, but it never seems to become historical. The themes and the conversations that stem from them are still so relevant to current events, and we need to keep talking about them.

JHPENTERTAINMENT: Every director brings their own personal approach to the rehearsal process—how would you describe your style of directing and how has that influenced the way you’re guiding your cast through the emotionally powerful and ensemble-driven storytelling of THE LARAMIE PROJECT?

SIOBHAN BREWER: I really prefer to be a collaborative director, and this show lends itself fully to that. The actors on stage play a huge role in determining their characters and how to portray them and what they need. We talk about things as a cast, and I am always open to ideas from the cast. Those ideas turn into really powerful moments, because we are working collaboratively, through a variety of lenses to tell the story in an ensemble-driven manner. I also love telling a story through stage pictures, and the moment to moment style of this particular show lends itself well to that. I think the most important part of telling a story like this one is the dedication and care of the cast and crew, and that 100% happened with this show. Our cast and crew were all dramaturgs for this show: doing their own research and really learning about not only what happened in Laramie but the characters they portray as well. With 10 actors playing almost 70 roles, that’s a lot of research and dedication!

JHPENTERTAINMENT: As someone who has both directed and performed, what draws you back to directing again and again?

SIOBHAN BREWER: My own children asked me this recently, and I jokingly told them it’s because I like to be in charge. Honestly, I love seeing things from the big picture and helping to create a vision for a show. From casting to blocking to seeing the vision come to life, it is such a rewarding experience to direct. When I am in a show, it is fun to have that cast bonding and the freedom to limit my focus to just my role, but I prefer in most aspects of my life more of the big picture approach.

JHPENTERTAINMENT: THE LARAMIE PROJECT asks its cast and audiences alike to sit with difficult truths. As a director, what do you hope audiences carry home with them after experiencing this story through your company’s portrayals?

SIOBHAN BREWER: I truly hope our audiences take away the profound truth that most of what is said in this play, the themes throughout, are still very present in modern day. There are some lines from this show that I have heard being played out in the media today, so I really hope our audiences are able to see that, to make those connections, and to think about what they can do to effect some kind of change in our community and country at large. I saw an interview with Judy Shepard, Matthew’s mother, and she stated that no matter who you are, it is likely you are going to see some character on that stage throughout the production that is similar to you. I hope our audiences take the time to reflect on who they may be, who their loved ones and those in their circles may be, and how we can challenge ourselves and others to make change real and lasting. I think the show has been asking us to do this for over two decades, and I am hopeful that this production reaches our audiences, prompting that reflection and action.

—————

Chatting with the director and members of the cast of New Bern Civic Theatre’s upcoming production of THE LARAMIE PROJECT serves as a reminder that this show and the messages found herein remain as urgent and relevant today as it was when first created by Moisés Kaufman and the Tectonic Theater Project over two decades ago. By revisiting the words of the people of Laramie, this cast and creative team at NBCT invite audiences to reflect not only on history, but also on the present and the future we all are shaping together. NBCT’s THE LARAMIE PROJECT opens Friday, September 26 with weekend performances through Sunday, October 5. Friday and Saturday evening performances begin at 7:30pm and Sunday matinees start at 2pm. Tickets range in price from $18 to $24 with discounts available for Students and Military. CLICK HERE to purchase tickets.

After THE LARAMIE PROJECT, Encore Local Series @NBCT & The Aerie B&B present A BONAFIDE OLD-TIME RADIO SHOW, 2025 on Friday, October 10, then it’s WALK-IN BATHTUB IMPROV on October 11 and THE 24 HOUR THEATRE PROJECT on October 18. NBCT’s current theatrical season resumes with MONTY PYTHON’s SPAMALOT, onstage Friday, November 7 through Saturday, November 22. For information to theses performances and more, visit NBCT or follow them on Facebook, Instagram and TikTok.

If you want to follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music, movies and more, find us on Facebook, Instagram and Twitter. Got an event or show we should know about? Drop us a line via the contact tab. Until then, #GoSeeTheShow!

Rapid Fire 20Q with cast of Nashville Rep’s ‘Come From Away’

September 10, 2025 by Jonathan

As Nashville Repertory Theatre prepares for their 2025/2026 season opener, it’s time for another edition of Rapid Fire 20Q, where we put some of Nashville’s finest theatre talent in the hot seat. This time around, I’m joined by Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks, who are among the powerhouse cast of The Rep’s upcoming production of COME FROM AWAY.

Nashville Rep’s production is sure to honor the original Broadway creative team—creators Irene Sankoff and David Hein, with Tony-winning direction by Christopher Ashley, choreography by Kelly Devine, and musical staging by Ian Eisendrath—as they enlist the talents of a who’s who of Nashville finsest actors as well as folks behind the scenes including: Lean Lowe, who’s helming the project as the show’s director, with music direction by Sarah Michele Bailey, choreographer Joi Ware, scenic designer Gary C. Hoff, costumer Melissa K. Durmon, lighting design by Dalton Hamilton, stage manager Zach Jenkins and sound design courtesy Mark Zuckerman.

So, before the cast steps onto the stage of the Polk Theater for their Friday, September 12 debut performance, we’re throwing them our signature Rapid Fire 20 Q. Maybe not so Quick, but definitely quirky, fun and revealing—here’s what they had to say!

RAPID FIRE 20Q WITH THE CAST OF NASHVILLE REP’s COME FROM AWAY

RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS

JHPENTERTAINMENT: You’re stepping into the role of Beverley Bass, the first female captain for American Airlines, in COME FROM AWAY. Prior to being cast, were you familiar with Bass’ significance in the history of commercial aviation or her role in this historic story? AND…Did you do any research on her in preparation of portraying this role?

CARRIE TILLIS: I was not familiar with Beverly Bass before the show. But I was so intrigued with her path once I started studying this show…. and that her life/career and that big achievement also collided later with 9/11. Makes me think about people who are so right for a job and she definitely knew it was her path- knew who she was. And that’s written into the music and the dialogue, too.

JHPENTERTAINMENT: The original production of COME FROM AWAY won both the Drama League Award and the Drama Desk Award for Best Musical. How has it been stepping into this celebrated show, and what has your experience been like working with Sarah Michele Bailey as music director for Nashville Rep’s production?

CARRIE TILLIS: I thought long and hard about auditioning for this show. I knew it would be a challenge for different reasons, technically it’s a tough one and vocally- it’s in a different place than what I usually sing. But those are also some of the reasons I wanted to try… the challenge. And it’s such a great show and people love it so. I get it now. And Sarah Michele is nothing but a joy and so musical. She is a great encourager. I really appreciate the work she has put in.

JHPENTERTAINMENT: One of the most powerful moments in COME FROM AWAY is Beverley’s spotlight song, Me and the Sky. Throughout the rehearsal process, have you found a personal connection or a piece of the lyrics that you relate to?

CARRIE TILLIS: Me and the Sky. There have been times this song has been like a life arc in and of itself! A true reminder of where you come from and the hurdles we all face and somehow make it over… with a lot of years and grit under your belt. Not always pretty, but staying the course…vulnerability, life, high points. It’s all of it. And it happens fast. Yeah…it’s a good time to sing this. I’m age appropriate for all those things….hahahahaha.

JHPENTERTAINMENT: Among your recent theatrical roles, you appeared in The Battle of Franklin and The Hiding Place, both based on historical events. Now, with your role in COME FROM AWAY, you’re tackling another real-life story. Is there something that draws you to this kind of storytelling?

CARRIE TILLIS: Yes. Those are all big and serious roles, true life stories! I need to do a comedy, don’t I ?! But seriously, I do love a true story, real people to portray. And these are important events to look at. We see ourselves in them currently, don’t we? As history repeats? Are we getting any better at understanding one another? Theatre is so vital this way.

JHPENTERTAINMENT: What do you hope audiences will take with them after experiencing Nashville Rep’s production of COME FROM AWAY?

CARRIE TILLIS: I want people to leave the theatre happy and entertained. To feel moved. To be reminded of a time when people reached out and gave when others needed it. All of that motivates a lot of reflection on where we’re at now, too. I’m so glad for anyone to be in the seats and grateful to be a part of it. And thanks for the questions!

RAPID FIRE WITH COME FROM AWAY‘s GARRIS WIMMER

JHPENTERTAINMENT: You’re juggling multiple roles in Come From Away—Claude, Derm, Brenda’s Brother, and Eddie. What’s been the most exciting challenge about shifting between so many characters in one production?

GARRIS WIMMER:Well in one respect I’m fortunate in that most of my characters are Newfoundlanders so I’m really mostly just dealing with one dialect and then pitching them in different ways.The most difficult part of learning the actual physical show and switching these characters so quickly is literally “where do I get that costume piece from and where does it need to go next ?” Fortunately for us we have Kaitlin Steer, our wardrobe supervisor, who is incredible in figuring out all of the backstage and costume logistics.The emotional switching does get a little confusing as well.

JHPENTERTAINMENT: Nashville Rep has truly become one of your home theaters, with memorable roles in their productions of Our Town, Indecent, Ragtime, and Urinetown. What makes performing with this company so special for you?

GARRIS WIMMER: The Rep really has been my home base from the beginning.I did my first Equity production in Tennessee Rep’s second season playing Baby John in West Side Story. At that time we were a sort of Repertory company. There was a Company of actors, directors, designers, and tech people and we would convene often several days a week and do workshops and scene study, movement classes, audition workshops etc. We built a community that carried over into the performances and it was a really great time to be a part of this brain child of Mac Pirkle’s. I’ve done theatre all around the world but when I’m in the Polk or Johnson theatre with the Rep, that really is home. And to put an even finer point on it, when I’m with anyone in this incredible pool of Nashville actors and directors and crew, well then I am really home.

JHPENTERTAINMENT: You were part of both The Rabbit Room’s stage adaptation and film version of The Hiding Place. As an actor, what did you take from that unique experience?

GARRIS WIMMER: Well first of all if Matt Logan is involved I don’t even ask what it is I just say yes. And that certainly goes for Pete Peterson too. It’s always so creative working with them because these are all brand new plays that we are getting to help build from the ground up. Then you add a fantastic cast some of whom I’ve worked with for forty years and really it’s just a pleasure. The result of that show was something I was very proud to be a part of. And then to get the chance to film it with Laura Matula directing was such a bonus. And we were able to do all of that because we have years of working together now and the level of trust frees everyone up to be their most collaborative and creative selves. It’s heaven.

JHPENTERTAINMENT: Among your COME FROM AWAY costars, you’re reuniting once again on stage with Carrie Tillis, one of your co-stars from The Hiding Place. What’s it like stepping back into a production alongside her?

GARRIS WIMMER:Well Carrie and I go back a little further than that. We first worked together in 2010 on Guys and Dolls for Studio Tenn, I was the ASM for that. But I go wayyyy back with her family. I sang with her father, Mel several times in the 80s and have known her sister, Pam since the early 80s. Pam and I were Mary and Peter (respectively 😊) in the Rep’s production of Jesus Christ Superstar in 1988. So when Carrie told me she was playing Beverly I was thrilled. We blocked a hug between Beverly and Claude in the finale, but it’s for us, too.

JHPENTERTAINMENT: Recently, you played the comedic chaos of Studio Tenn’s The Play That Goes Wrong. Do you prefer leaning into the laughs or the heavier storytelling? Or does that change, depending on the current role you’re tackling?

GARRIS WIMMER: The process of telling the story is the same in both. I love both of course but what I loved about The Play That Goes Wrong was the way people laughed. That show keeps hitting them with such ridiculousness that they lose control of themselves. They laugh more like 5 year olds and they make sounds that they never would make in public. That is my favorite sound in the world. On the other hand, hearing some sniffles and a few sobs at the end of Indecent was very satisfying as well. Both of those sounds connected me to the audience in a profound way. That’s a gift that I am always grateful to receive. So BOTH please.

RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON

JHPENTERTAINMENT: You’re making your Nashville Rep debut in COME FROM AWAY! What has it been like stepping into this production and joining the Rep family for the first time

JENNIFER JACKSON: I’ve admired Nashville Rep’s talent and production quality for a long time, so I would’ve been thrilled to be part of any of their shows. But for my debut to be COME FROM AWAY feels especially meaningful—not only because of the powerful story it tells, but also because of where I was in my own life the first time I saw it. It really does feel a little cosmic, and I couldn’t be more grateful to join the Rep family through this production.

JHPENTERTAINMENT: In this show you’re playing Hannah, Margie, and Mickey. Hannah O’Rourke is based on a real passenger whose story touched so many—how did you approach honoring her while also making the role your own?

JENNIFER JACKSON: It’s a strange and wonderful responsibility to portray a real person, especially during what were likely the hardest days of her life. Hannah was different from the character you see on stage; in the musical she’s portrayed as a single mother, but in reality she was married and traveling with her husband on 9/11. She was also an Irish Catholic Caucasian woman, which of course is different from my own experience. That alone means my portrayal can’t and shouldn’t be an imitation. Instead, I try to honor her by bringing empathy and truth to the role. I hope to channel that into something authentic. Hannah passed away just before we began rehearsals, and from everything I’ve learned, she was a beloved wife, mother, and friend who believed in hope, kindness, and even laughter in the face of adversity. It’s an honor to tell her story and I hope I do her justice.

JHPENTERTAINMENT: In COME FROM AWAY, Hannah forms a bond with Beulah, played by Brenda Sparks. What has it been like playing opposite her and developing that connection on stage?

JENNIFER JACKSON: One of the things that connects Hannah and Beulah in the show is their shared love of humor—laughter is what finally breaks through Hannah’s walls. That made it so natural to build the bond with Brenda, because she makes me laugh every single day. From the moment I met her, I knew she was a force—hilarious, authentic, and full of heart, and playing opposite her has been an absolute joy.

JHPENTERTAINMENT: From Hannah in COME FROM AWAY to Mama in A Raisin in the Sun and DeeDee Allen in The Prom, you’ve taken on powerful, dynamic women. Which of these roles has taught you the most as a performer?

JENNIFER JACKSON: It’s meant so much to finally be seen as this kind of powerhouse archetype, especially since before my 40s I was never considered for leading roles. That shifted with DeeDee Allen (which was my first lead). I remember when I got that call I was over the moon, then immediately terrified. I felt the weight of responsibility, I wasn’t sure that I could do it. I didn’t want to let anyone down. But I did it scared—and I proved to myself that I could.

Each role since has carried its own kind of intimidation. Playing Mama meant stepping into the shoes of women I’ve idolized, and Hannah has been a dream role for years. If anything, these characters have taught me that I can push myself, I can do hard things and that maybe trusting myself makes me a powerhouse too.

JHPENTERTAINMENT: In your bio, you joke that your husband is the only person who knows who the 21st president was. So…Who WAS the 21st president?—AND…What does it mean to have your husband’s support as you pursue your theatrical endeavors?

JENNIFER JACKSON: Chester A. Arthur. 1881 to 1885. Nominated vice-president in 1880! Did you know he was Collector of Customs in New York? (neither of us would know that without Die Hard) What’s actually funny is- when my husband and I first met,I was managing restaurants and had pretty much walked away from acting because I thought I needed a more ‘stable’ life. After the pandemic, though, I realized I wasn’t happy and I needed to get back on stage. He could’ve rolled his eyes at all of it, but instead he leaned in because I love it—and he loves me. From the very beginning, he’s been in it with me. Now it feels like something we share, and that support honestly means everything.

RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS

JHPENTERTAINMENT: You’re stepping into the roles of Deloris and Beulah in COME FROM AWAY. What excites you most about bringing these two very different women to life on stage?

BRENDA SPARKS: I must preface this by saying that I am in no way equating the mass-casualty terrorist attacks of 9/11/2001 to the 1,000-year flood that ravaged Nashville in 2010. However, I feel kindred with the real-life Beulah Cooper & Diane Davis (the two women who make up my character of Beulah Davis in Come From Away) because of how they responded to the “plane people” in those early days following 9/11. My little town of Kingston Springs was literally torn apart when the Harpeth River jumped its banks in 2010 and ran through our little elementary school, destroying roads, and carrying homes away. We organized quickly and created our own disaster relief center in the middle school. By the time the Red Cross arrived they told us they’d never seen anything like it. I barely slept during those days. We’d work 17-18 hours and sometimes around the clock doing everything to help our neighbors. Our stories closely mirror and are as plentiful as our Ganderite counterparts. Hey, maybe I need to write a musical about Kingston Springs and the 2010 flood! That’s what excites me most about Beulah. She’s a helper. She has the exterior of a tough old broad, but she has a big empathetic heart. Oh, and her quick wit! Beulah loves making people laugh. As for the hot mess that is Delores, what excites me most about playing her is that she’s whacked out on Xanax in one scene and drunk off her keister in another, but she’s singing the Titanic song in both. What’s not to love about that? The combination of both characters allows me to run the gamut from much needed comedic relief to genuine pathos.

JHPENTERTAINMENT: With COME FROM AWAY opening on September 12, just one day after the anniversary of 9/11, was that timing—and the real-life events at the heart of the story—something your director addressed during the rehearsal process?

BRENDA SPARKS: Honestly, not really. Leah certainly touched on it, and her belief that we need to be reminded of our humanity now more than ever. But we really didn’t dwell too much on our personal memories of 9/11 or the real-life events in the rehearsal process. That’s not to say it wasn’t at the heart of every single decision we made. But because that day and those memories are still so closely-knit to our hearts, it was kind of built in. Also, we hit the ground running with the massive technical undertaking that is this show. Simple is seldom easy. A “minimalist approach” rarely equals less work for anyone on the cast or creative team. It usually means we work even harder to create an intentionally focused cohesive experience for our audience that allows them to experience storytelling in its purest form. Actor-driven scene changes simply means we add that to the list of things as actors that we have to memorize to perform this show. So, it’s our lines, our music, our choreography, who am I in this scene, and where the heck do I move this chair next?!?

JHPENTERTAINMENT: While COME FROM AWAY is a musical, having not only been nominated for seven Tonys, but also winning a Grammy, it’s not exactly the kind of musical you rush out to buy the cast recording because of a catchy earworm. That said, what’s your favorite musical moment in the show?

BRENDA SPARKS: Oh, wow! There are too many to count. Many of them for myself are harmony lines. The vast majority of times I’m onstage in a musical, I’m belting my face off. Mrs. Lovett in Sweeney Todd, Mrs. Peachum in The Threepenny Opera, Domina in Forum, Rita in Lucky Stiff, the list goes on. And whereas I do belt as Delores in the show, I get to do some real easy beautiful alto harmonies, too. And I love singing on stage in this intimate and folksy conversational style. I will say I think one of the most underrated lyrics in the show is “Who am I if I don’t feel like the me of yesterday?” That’s a weighty question about identity, and I love it. Screech In is super fun to perform. I mean, we’re all drunk and rowdy in a bar in Newfoundland. Me and The Sky is just such a specific and personal ballad, equal parts triumphant and sorrowful. Stop the World is so beautifully intimate, as is Prayer. I really love that we are all singing the same prayer, just in different languages and expressed from different faiths.

JHPENTERTAINMENT: Scenic Designer Garr C. Hoff has crafted the world audiences will step into for COME FROM AWAY. What’s your favorite aspect of what he’s created for this production?

BRENDA SPARKS: Gary Hoff is one of the greatest (if not THE greatest) scenic designers I’ve ever worked with. He’s also just one of the kindest human beings you’ll ever meet in the theatre. I love his painted burlap trees that are almost like an homage to the original design that utilized actual trees from the Adirondacks. I also love how he built us an “island” that is cantilevered out over the pit. We have so many lyrics about being islanders, so he built us an island. It’s so cool. The entire set illustrates why Gary is such an inspired artist. It may look “simple”, but as with the above – that just means Gary put the extra thought into it so the audience didn’t have to. The set is rustic, remote, isolated, and welcoming all at once. So, it’s perfect.

JHPENTERTAINMENT: So, I gotta admit, I love a bit of shameless self-promotion. To that end, your current theatre bio starts off by mentioning Act Three, the comedy/drama you wrote that enjoyed its world premiere at Tibbits Opera House just a couple months ago. A two-parter for you… 1) What’s next for Act Three? AND…2) How has your experience as a playwright and director shaped the way you approach storytelling as an actress, in particular, with your dual roles in COME FROM AWAY?

BRENDA SPARKS: I love this question! Thank you for asking. 1) I am more than halfway through writing the sequel to Act Three (Act Three: Act Two). Act Three was always designed to be a trilogy. I was compelled to write a play cycle after directing The Trip to Bountiful at Cumberland County Playhouse and befriending Horton Foote’s dear friend and fellow writer Gerald “Jerry” Wood. It’s a beautiful and largely forgotten art form, giving audiences multiple entry points to get to know these characters and experience their stories. Act Three is inspired by the real-life 30-year friendship of three actors now in the act three of their lives. Together they’re dealing with everything that comes with the existential crisis of aging and staring down death as we walk each other home. There’s plenty of comedy (I’m happy to say that my “menopause monologue” brought the house down each night of its world premiere. I almost always had to hold for applause, not just laughter) but there’s genuine pathos as well. One of my favorite audience quotes from the premiere was “I knew I was going to laugh a lot, I didn’t know I was going to cry so much.” So now I finish the sequel, and get Act Three (the first) its second professional production. Then rinse and repeat until Act Three: The Finale has been professionally produced. The goal is to get all three published so they can generate mailbox money for me so I can focus on finishing El Dorado Stardust, the original musical I started writing with my friend and Nashville singer/songwriter Mark Elliott. We sadly lost Mark almost two years ago, but I’m determined to finish what we started. Act Three is a low-cost three-hander that can literally be performed anywhere or in rep with any other set or production. The hope is that it will be exactly what many producers are looking for.

2) In short, being a playwright and a director clarifies my work as an actress. At least I think it does. I’ve always been a professional actor/director/writer, so that’s the only viewpoint I’ve ever known. I know some actors become directors at some point in their careers, but my triple threat has been actor/director/writer from the beginning. In fact, years ago my adaptation of Rip Van Winkle for The Nashville Shakespeare Festival was performed on The Polk stage at TPAC as part of their H.O.T. (Humanities Outreach of Tennessee) programming. I was the writer and director on that project. I can tell you this, being both actor and director I have infinite empathy when I am on either side of the stage/table. I know what it takes to direct an ensemble musical, for instance. Just weeks ago I directed The 25th Annual Putnam County Spelling Bee in Michigan. I literally left after that production was up to come down here for publicity photos for COME FROM AWAY. So watching our artistic team of brilliant women (music director, director, and choreographer) all navigate the complexities of staging this show – I have all the empathy in the world. It’s not hard for me to switch hats again because it’s all I’ve ever known. My seasons are always direct this, act in that, act in this, direct that. So when I’m onstage I don’t try to direct the show, and when I’m in the director’s seat I don’t try to act it. As it regards playing different characters in this, being a playwright definitely helps in finding context clues. We plant those as playwrights because we want to honor the autonomy and individual artistry of whoever will inhabit these roles. So good playwrights try to create context without dictating everything. Because true magic lies in the artistic voice of each individual artist. You want to leave room for their interpretation. At least I do. So, for instance – there are plenty of breadcrumbs to lead one to understanding that Beulah has a big kind heart. But there are clues that could lead one to believe that Delores is less sympathetic. She’s described as a “hot mess” but she also has lines that can be interpreted as being stuck with a person you definitely don’t want to be stuck with. I’ve leaned into the discomfort with Delores. It’s not how I would respond personally in those circumstances. But my script analysis leads me to believe it’s a valid artistic choice to take Delores in that direction. Not everyone you meet on a plane is someone you’d want to spend time with in real life.

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Again, a big thank-you to Carrie Tillis, Garris Wimmer, Jennifer Jackson, and Brenda Sparks for playing along with our Rapid-Fire 20Q! Their energy and insight are just a taste of what you’ll experience when Nashville Rep brings the unforgettable story of COME FROM AWAY to life.

Catch COME FROM AWAY at TPAC’s Polk Theater, running September 12–21, 2025, with performances as follows:

Friday, September 12 at 7:30 p.m.
Saturday, September 13 at 2:00 p.m. and 7:30 p.m.
Sunday, September 14 at 2:00 p.m.
Thursday, September 18 at 7:30 p.m.
Friday, September 19 at 7:30 p.m.
Saturday, September 20 at 2:00 p.m. (ASL-interpreted/open captioned) and 7:30 p.m.
Sunday, September 21 at 2:00 p.m.

Tickets start at $45 and are available now. CLICK HERE to purchase tickets. Don’t miss the chance to experience this heartfelt, hope-filled musical that reminds us of the best in humanity.

Kicking off their 2025/2026 season with the regional premiere of COME FROM AWAY is just the beginning for Nashville Repertory Theatre‘s 41st Season. Following COME FROM AWAY, Nashville Rep will ring in the holiday season with IT’s A WONDERFUL LIFE onstage December 5-21, then there’s 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 ‘Ragtime’; on stage at The Keeton beginning Friday, August 15

August 15, 2025 by Jonathan

Earlier this week, as cast and crew of The Keeton Dinner Theatre’s RAGTIME: THE MUSICAL prepared for their Friday, August 15 opening night, I had the chance to chat with Mitchell Vantrease, the show’s director, as well as cast members Miya Nicole Burt, Nicholas Branson, Holli Trisler and Jayden Murphy for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH THE KEETON’s RAGTIME DIRECTOR AND CAST

RAPID FIRE 20Q WITH RAGTIME DIRECTOR, MITCHELL VANTREASE

JHPENTERTAINMENT: RAGTIME is a sweeping, emotionally charged musical—what drew you to this particular show as your next directing project at The Keeton?

MITCHELL VANTREASE: I’m very familiar with this musical—it’s one of my all-time favorites. I’ve had the honor of performing in it three times in Arizona, and each time deepened my understanding of its powerful themes. Set in 1906, this story still resonates today because we are still having the same conversations—about racial prejudice, police brutality, immigration, and privilege.

With my background as an actor in this piece, I felt called to bring my perspective to the director’s chair. This is my opportunity to help tell the story through a new lens, with truth, heart, and urgency.

JHPENTERTAINMENT: You’ve directed everything from FENCES to A CHRISTMAS STORY: THE MUSICAL. How does your approach shift when taking on a historical epic like RAGTIME with its layered themes?

MITCHELL VANTREASE: One thing that was especially important to me with this production was telling the truth—my truth—through the lens of a Black American man. There are moments in the script that I didn’t want to soften or gloss over. I wanted them to land, plain and clear. Audiences will feel that.

For example, our set has an industrial look, anchored by a worn, tattered American flag as the backdrop—a visual reminder of how far we’ve come, and how far we still have to go as a nation.

JHPENTERTAINMENT: As a theater educator and recent recipient of the Spotlight Award for Outstanding Direction, how does your work with students influence your process when working with a professional or community cast?

MITCHELL VANTREASE: I’ve been directing community and youth theater for years—even before becoming a high school teacher. Educational theater is a different experience, though. It’s not just about entertainment; it’s about learning, growing, and helping students discover their potential.

Community and professional theater may share similarities, especially in the caliber of performance, but the difference is often the cast—usually made up of adults with a great deal of experience. That’s what makes this summer’s production of Ragtime so unique. We have six high school, middle and elementary school students in the cast—three of whom are part of my program at Mt. Juliet High School.

It’s a big responsibility for a student to step into a production like this, surrounded by seasoned actors and professionals. That could easily be intimidating. But these students are rising to the occasion. They’re showing maturity, drive, and a real passion for the craft.

During the school year, I get to work with student performers almost 200 days out of the year, and I love it. But there’s something refreshing about collaborating with talented adults in the summer. This entire cast of 32 is phenomenal, and I’m so proud of the work we’re doing together.

JHPENTERTAINMENT: From creating the original work, THE SOUL OF BROADWAY to helming over 40 productions, what’s one core value or message you always strive to instill in any cast you direct?

MITCHELL VANTREASE: I’ve always told my cast—whether they’re adults or kids—that as artists, it’s our responsibility to entertain and tell the truth. That applies whether we’re sharing a lighthearted comedy or a powerful piece like RAGTIME: THE MUSICAL. We’re all working together to tell a story that could impact someone’s life—whether it stays with them for just a couple of hours or for a lifetime.

RAPID FIRE 20Q WITH RAGTIME’s SARAH, MIYA NICOLE BURT

JHPENTERTAINMENT: This is your Keeton Theatre debut—what has the experience of joining this production of RAGTIME meant to you personally and artistically?

MIYA NICOLE BURT: Making my debut at the Keeton Theatre with RAGTIME has honestly been such an incredible and rewarding experience! Personally, it’s a milestone that reminds me how much growth is possible when you step into new spaces and challenges. Artistically, RAGTIME offers such a rich tapestry of history, emotion, and humanity that it has pushed me to explore new depths in my craft. Being part of this production has allowed me to connect with a story that is both powerful and incredibly timely in our country today, and I’m extremely grateful to contribute to its message within our community.

JHPENTERTAINMENT: Sarah is such a complex and demanding role. How have you connected with her story, and what do you hope audiences take away from your performance?

MIYA NICOLE BURT: Sarah’s journey resonates with me on so many different levels. Her strength, vulnerability, and determination to protect her family amidst societal change as a Black woman in America really hits home for me. I’ve connected with her by embracing the contradictions within her: her struggle to maintain control while facing uncertainty and her courage to evolve. I hope audiences walk away with a deeper empathy for the everyday heroes in history whose quiet battles helped shape the world. Ultimately, I want Sarah’s story to remind people of the power of resilience and compassion.

JHPENTERTAINMENT: You’ve played everything from the lead in AIDA to Gary Coleman in AVENUE Q—what do you love most about tackling such a wide range of characters?

MIYA NICOLE BURT: Honestly, I love how every role is a new adventure! Having the opportunity to constantly reinvent myself and explore different facets of humanity is what attracted me to theatre in the first place. Each character, whether dramatic or comedic, gives me a fresh perspective and challenges me to adapt my voice, body, and emotions in unique ways. Playing such diverse roles keeps my work exciting, and it reminds me that storytelling is limitless! There’s always a new story to tell and a new truth to uncover within a character.

JHPENTERTAINMENT: When not performing onstage, you work as a vocal coach. How does that work influence your performances on stage—and vice versa?

MIYA NICOLE BURT: Working as a vocal coach has given me a deeper understanding of breath control, vocal health, and emotional expression, which naturally enhances my stage performances. It’s rewarding to apply technical skills to bring authenticity and clarity to my singing and acting. Conversely, being onstage keeps me connected to the emotional and physical demands performers face, allowing me to empathize and tailor my teaching to support my students and their artistic journeys fully. The two roles enrich each other and fuel my passion for the craft.

RAPID FIRE WITH RAGTIME’s TATEH, NICHOLAS BRANSON

JHPENTERTAINMENT: From Gilbert & Sullivan to Sondheim, you’ve performed on stages around the world—what was it about the role of Tateh in RAGTIME that spoke to you?

NICHOLAS BRANSON: I think what most drew me most to the role and the show is how important the story is to tell. In our current moment, I think it benefits us all to take a look back. Many of the issues we face today have historical antecedents that remain etched in our collective consciousness. I think a lot of us felt secure in believing these problems (anti-black racism, anti-immigrant sentiment, misogyny) were in the past. But so many of the story beats in this show set 120 years ago could easily be headlines from tomorrow. Progress is fought for and won, not given, and we must never forget that or become complacent. Tateh’s story is the story of so many of us; of our friends, coworkers, parents, and grandparents. It’s a story of hope. Naive hope, desperate hope, ecstatic hope. A hope for a new and better tomorrow for you and your family, and a willingness to defy odds to make it happen.

JHPENTERTAINMENT: You’ve studied classical voice and sung opera in cities like Prague and Salzburg—how do you approach storytelling differently when shifting into a character-driven musical like RAGTIME?

NICHOLAS BRANSON: I think the process is distinct in a couple ways. In the era before amplification, the need for vocal projection and clarity brought these fantastical, larger than life, often melodramatic, opera roles to the stage that played to the back of the room. Amplification gave musical theatre the freedom to explore so many more nuances of the human voice and the emotions it can express. A character like Tateh gets to explore trepidation, hope, the sting of failure, deep despair, and steely resolve all within the span of a single song! Where a lot of opera characters are really effective at imparting big, deep, cutting emotions; Tateh brings shades of real life to the stage. There’s also much more opportunity in musical theatre to try new things and collaborate. Many characters in the standard operatic repertoire have decades if not centuries of paratextual expectations and standard practice. A character like Tateh affords the actor so much more freedom to interpret and express.

JHPENTERTAINMENT: What’s been the most surprising or rewarding part of working with the cast and creative team at The Keeton for this production?

NICHOLAS BRANSON: I have been so overwhelmed by the genuine kindness of the cast and crew at the Keeton. Everyone has been so friendly and welcoming. This is my first show here and I can honestly say that everyone has been amazing to work with.The caliber of the performers as well as the artistry of the set designer, costume designer, director, music director, choreographer, stage managers and lighting and tech crew have made this production a joy to rehearse.

JHPENTERTAINMENT: Tateh can sometimes be portrayed as a one-dimensional immigrant stereotype—how have you worked to bring authenticity and depth to his journey in RAGTIME while honoring the character’s cultural context?

NICHOLAS BRANSON: I definitely focused on finding a unique voice for Tateh as part of the learning process. I studied Polish, Russian, and Yiddish dialect coaching manuals to avoid creating an accent that was too unipolar. He’s an artist from war torn Latvia, leaving behind his homeland and people with nothing but his daughter, and I wanted to give Tateh the depth and nuance his character deserves. I definitely didn’t want to shy away from the immigrant narrative though. Immigrating to America is such a vital piece of Tateh’s story; he experiences poverty, hardship, discrimination and violence that all impact his character and shape his outlook on the world. His initial, simplistic view of the American dream is quickly shattered, but his love for his family allows him to carry on and forge a new life. I think that’s really the focus of his character: the love he has for his daughter and his willingness to do anything to improve her life for the better.

RAPID FIRE WITH RAGTIME’s MOTHER, HOLLI TRISLER

JHPENTERTAINMENT: After performing across Disney Parks around the world, what drew you to take on the role of Mother in RAGTIME—and at The Keeton, no less?

HOLLI TRISLER: Performing for over a decade with the Walt Disney Company gave me extensive experience in the art of storytelling – something that Disney does best. It taught me how to bring different characters to life in an authentic and well rounded way, with an emphasis on drawing people in to each character’s story as if they were a part of it. The role of Mother drew me in because of the storytelling journey she gets to be part of in the show. She is such a rich, layered character, and I knew it would be a beautiful challenge for me not only as an actor and singer, but as a storyteller. Not only does this show have incredible, moving music from beginning to end, but the story is one that is timeless – it has and continues to be one that needs to be told, and I am honored to play a part in telling this story. The Keeton has a reputation for not only putting on great shows, but having an incredible production team behind the curtain, pouring their hearts into each show with care and passion. It is an honor to join the Keeton family in this production.

JHPENTERTAINMENT: Mother’s arc in RAGTIME is one of quiet strength and awakening—how have you approached portraying her evolution throughout the show?

HOLLI TRISLER: Mother’s character journey has been so challenging yet thrilling to dive into during our rehearsal process. To me, the purpose of her role is to demonstrate the evolution of a person becoming aware of the lives and hardships of those outside her social circle, developing empathy for those situations, and deciding to break from tradition to stand up for what she realizes is good and right – even at the sacrifice of her own reputation, resources, or relationships. In preparation for the role, I spent a lot of time studying her throughout the script – finding those moments where things start to shift for her in her mind and her subsequent actions. In each scene, she becomes more and more aware, more and more empathetic, and more and more bold in her choices to stand up for what she believes in. She’s a delicate balance of quiet strength and bold risks, and I’ve thoroughly enjoyed diving in to discover that balance.

JHPENTERTAINMENT: Your resume includes everything from Belle to Eponine—how does Mother compare to the iconic characters you’ve played in the past?

HOLLI TRISLER: I believe each character I’ve played has shaped me as an actor and storyteller and have in their own way prepared me for the role of Mother. If you think of those iconic characters, each goes on their own journey of discovery of the world around them being different than they hoped, thought, or expected, and have to consequently shift their points of view and grow in wisdom and strength. Belle finds a world outside her small, provincial town and learns that things aren’t always what they seem. Eponine gains her strength from enduring through hardship and unrequited love. Mother’s journey is of transformation within – she starts in a place of privilege and certainty, and ultimately has a complete shift in her worldview which draws out a strength in her that she never knew she had.

JHPENTERTAINMENT: When you’re not on stage, you’re running an Etsy shop and doing taxes—how do the creative and analytical sides of your life come together to fuel your work as a performer?

HOLLI TRISLER: It’s true, I have a lot of very seemingly unrelated interests and passions! However, I think this helps me to be more well rounded as an actor and storyteller. My creative side inspires my desire to tell stories and play roles in a unique way – to imagine and experiment with different character choices, line delivery, and reactions to the scene around me. My analytical side not only helps me with learning music and memorizing lines, but it also makes me more attentive to detail. It allows me to be able to see the nuances in the script and music and consequently use those details to create a fuller, more developed character. Performing is certainly a challenging balance of both those sides for me – to allow my analytical side to give way to creativity and experimentation and vice versa. This is one of the many ways that theatre is so beautiful – everyone brings a bit of themselves to each role, so no two casts will ever present a show in the same way. That means this production of RAGTIME will be unlike any you’ve ever seen or will see again. Thanks for joining us for this beautiful, unique moment in time at the Keeton Theatre!

RAPID FIRE WITH RAGTIME’S COALHOUSE WALKER, JR, JAYDEN MURPHY

JHPENTERTAINMENT: At just 18, you’re taking on one of musical theatre’s most demanding roles—what was your first reaction when you were cast as Coalhouse?

JAYDEN MURPHY: My reaction to getting cast as Coalhouse…I was just grateful. As you said, you rarely see someone my age get a role that is this taxing and demanding. The trust that the cast and crew has given me is so fulfilling and it keeps me pushing through those hardships and tough times.

JHPENTERTAINMENT: You’ve played everything from Henry in NEXT TO NORMAL to Evan in 13: THE MUSICAL—how does stepping into RAGTIME compare to your previous experiences?

JAYDEN MURPHY: It’s definitely a full 360, but it’s been a fun process. I personally love character work and learning about the things my character went through. I studied the novel of this show to see all the things that didn’t even make it to the Broadway script and added that into my character.

JHPENTERTAINMENT: As a Jimmy Awards Semi-Finalist and Spotlight Award Winner, how have those opportunities helped shape your growth as a performer?

JAYDEN MURPHY: It’s shown me a lot about myself. How I deal with high pressure situations and the opportunities and connections that I made during those two award shows will follow me through the rest of my career

JHPENTERTAINMENT: RAGTIME is a show with deep emotional impact—what do you hope audiences leave thinking or feeling after seeing this production?

JAYDEN MURPHY: I personally hope the audience is aware that not really anything has changed and goes into life with a better mindset after it.

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That wraps up this round of Rapid Fire 20Q with the talented cast of RAGTIME: THE MUSICAL at the Keeton Dinner Theatre! This powerful, sweeping story with unforgettable music and a rich narrative of America at the turn of the 20th century is brought to life on stage August 15–31 at the Keeton Dinner Theatre, 108 Donelson Pike, Nashville, TN. So CLICK HERE to reserve your seats now for an evening of theatre paired with the Keeton’s signature dinner experience and see for yourself why RAGTIME..is timeless.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

Theatre Review: Franklin Theatrical Fellowship’s ‘Guys and Dolls’ Isn’t Just a Lucky Roll—It’s a Winning Hand; On Stage at Studio 615 thru July 20

July 16, 2025 by Jonathan

Franklin Theatrical Fellowship ups the ante with its high-energy, high-stakes production of GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE at Studio 615 as they transform the space into the hustle and bustle of 1950’s Biltmore Garage, lighting up the stage with a vivid blend of Broadway polish, classic charm, and heartfelt performances. Under the direction of Melanie Sutton, this beloved musical comedy overflows like a collection plate…or a bookie’s IOUs…with style, sincerity, and a whole lot of dicey fun.

At the center of the action is Philip David Black as the suave, gambling man Sky Masterson. Black brings the expected effortless charisma mixed with the perfect blend of uncertainty that only unforseen love can cause. His Luck Be A Lady is smooth and sweet, showcasing his ability to walk the line between rogue and romantic with ease. His chemistry with Rebekah Howell’s Sarah Brown is electric, especially in the Havana sequence where sparks (and drinks) fly. Howell, ever the vocal powerhouse, lends depth and sincerity to the morally upright mission worker. Her rendition of If I Were a Bell, a charm-filled Act 1 highlight.

As Nathan Detroit, Austin Correll brings an easy likability, capturing both the desperation and devotion of a man balancing his floating crap game with a 14-year-long engagement. Savannah Stein as the object of Nathan’s affections/objections, Miss Adelaide, is a true comedic standout, leaning brilliantly into the always-crowd-pleasing nasal New York twang and physical comedy with glorious abandon. Her performance of Adelaide’s Lament earns big laughs and even bigger sympathy for the much-delayed future Mrs. Detroit.

It comes as no surprise that Brian Charles Rooney’s Nicely-Nicely Johnson is a true showstopper. With impeccable comic timing and a dynamite voice–gotta love that sopranista range–Rooney brings down the house in the rollicking Sit Down, You’re Rockin’ the Boat—arguably the night’s most rousing number. He’s well matched by Jahi Emaud’s Benny Southstreet, whose swagger and harmony work are equally sharp. If you’re reading this, Studio Tenn, I’ve got your Wallace and Davis cast for your upcoming holiday production of White Christmas right here with these two!

Max Fleischhacker (Harry the Horse), James Wier (Scranton Slim), Matthew Hunter Hayes (Rusty Charlie) and especially the flask-sneaking Trayton Kaminski (Brandy Bottle Bates) round out the gang of gamblers with gusto, each adding unique flair to this criminally fun ensemble.

As for this productions uptight citizens brigade, Brian Best offers a warm, paternal Arvide Abernathy, particularly touching in More I Cannot Wish You, while Jordan Tudor delivers authority and compassion, with a nice dose of humor for good measure, as General Cartwright. Katie Webb as Agatha and James Weir (doing double duty on the side of good as Calvin) round out the God squad of Salvation Army-esque Bible-thumpin’, cymbal-bangin’ do-gooders.

The Hot Box numbers are just plain fun, led with style and precision by Kelsey Brodeur (also serving as dance captain), alongside the effervescent Madison Crosby, Emily Stephens, and Allie Spengler. Their ensemble work perfectly sizzles thanks to playful choreography courtesy Allison Little, who keeps the movement crisp and era-appropriate while still leaving room for individual character. With Stein’s Adelaide, the Hot Box Girls’ performance of A Bushel and a Peck (one of my personal favorite Doris Day tunes, recorded the year the Broadway musical debuted) wonderfully presents the flitatious innocence of such numbers from that era.

Rounding out the cast, the towering Josh Kiev makes for a delightfully menacing notorious gambler, Big Jule, and Sawyer Latham’s by-the-book police Lt. Brannigan provides a nice comedic contrast.

Visually, the show pops with Jim Manning’s versatile, Old Hollywood-style set design. You know those big mid-centry musical movies…1955’s GUYS AND DOLLS being one of them, where between scenes there’s a montage of neon signs and marquees? Well, to my estimation, Manning pays perfect homage with areas of the immersive stage lit with such signage. With minimal set pieces…literally a few church pews, a newspaper box and the occasional chair, Manning’s set design seemlessly transforms from mission hall to Havana nightclub to big city alleyways with fluid ingenuity. Enhancing the show’s visual bliss, Melissa Durmon’s vibrant, mid-century-perfect costumes are a feast of pinstripes, sequins, and Salvation Army dress blues…well, reds. Kelly Scheuman’s lighting design and Jonah Burch‘s sound design ensure that every peak, from solo moments to ensemble showstoppers, hits just right.

With Scott Brons providing skillful musical direction, the band (Brons on keyboard, Max Dvorin and Gus Arnold on reeds, trumpeter Sam Merrill, trombonist Desmond Ng, Dan Kozlowski on drums and bassist Andy Byrd) keeps the tempo swinging and the harmonies lush throughout.

As FTF’s production’s full title suggests, GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE is being touted as an immersive night of theatre. To that end, patrons are encouraged to arrive an hour before curtain to take part in a little pre-show antics that include a backstage peek where the Hot Box girls ready themselves, a couple of casino tables for a quick roll of the dice and a chance for luck and some in-character interaction with the cast. As for the immersive aspect of the show itself, translation: think in-the-round or blackbox, as the creative team has cleverly included VIP seating (two pink velveteen banquettes and cocktail tables), as well as a Velvet Rope seating option and a Saints section (church pews) in addition to their general admission seating to up the ante for audience members, and to bring them close to the action. Big laughs, big voices, and a whole lot of Broadway-worthy brass make this a sure bet for summer theatergoers.

Franklin Theatrical Fellowship‘s GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE continues at Studio 615 (272 Broadmoor Drive) through Sunday, July 20. To witness part of the pre-show immersive aspect, plan on arriving at 6:30pm for the Thursday, Friday and Saturday evening shows and at 1:30pm for the Saturday and Sunday matinee performances. Further adding to the immersive vibe of secretive gambling night, ticket prices are as follows: High Rollers Velvet Booth Section: $90.62, High Rollers Velvet Rope Section: $85.42, Holy Rollers Velvet Pew Section $80.22 and General Admission: $64.62. All ticket prices mentioned include fees. CLICK HERE for tickets or more information.

Following GUYS AND DOLLS, FTF will present THE DIARY OF ANNE FRANK, onstage at FSD PERFORMING ARTS CENTER in Franklin, TN from November 29-December 7. 2025. To keep up with what’s next for FTF, CLICK HERE or follow them on Facebook and Instagram.

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

Rapid Fire 20Q with creator and cast of Bucket List Inspirations: ‘Neurospicy Players Unmasked’; onstage at MPAC June 27 & 28

June 26, 2025 by Jonathan

On June 27 and 28, Cat Eberwine and a group of area musicians, singers and actors will take to the stage of Mills-Pate Arts Center (7120 Old Nashville Hwy, Murfreesboro, TN) for the debut production from Eberwine’s Bucket List Inspirations. The evening, NEUROSPICY PLAYERS: UNMASKED, as the title might suggest, features a cast of creatives most of whom have been diagnosed as on the autism spectrum. It’s Eberwine’s hope that by featuring a cast of neurodivergent creatives, Bucket List Inspirations‘ production will not only entertain, but also educate and enlighten their audience while simultaneously raising awareness and money to further her mission. With just days before show’s open, I recently had the chance to chat with Eberwine and co for my latest Rapid Fire 20 Q. What follows are those conversations.

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RAPID FIRE 20Q WITH BUCKET LIST INSPIRATIONS’ NEUROSPICY PLAYERS: UNMASKED

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

JHPENTERTAINMENT: Before we get into talking about the upcoming NEUROSPICY PLAYERS: UNMASKED event, let’s talk about your journey discovering you are on the autism spectrum. What made you even consider you might be on the spectrum and when were you fully diagnosed?

CAT EBERWINE: It was during a casual conversation while shopping with one of my closest friends early in 2023. Seemingly out of the blue, she started asking me questions that I later realized were on a list of typical traits of women with autism. After answering yes to most of them, she said, I think you may be on the spectrum. At the point of the conversation, I didn’t know a single woman who was autistic, and I knew very few males personally who were. Most of my knowledge of autism was of the media stereotypes. So, after we parted, I went home and went down a two hour rabbit hole of women with autism and created a 20 page Power Point with flow charts and outlines of other diagnosis that I was currently being treated for or felt I might have. It took me months of research online and conversations with providers and insurance companies and support lines and FINALLY was pointed to a local clinic who did evaluations an accepted my insurance, but it was still pretty expensive, and I had to drive to Knoxville because the Nashville branch appointments were so backed up. After a three part evaluation over the course of a couple of months, I was officially diagnosed in September 2023 thru Athena Care.

JHPENTERTAINMENT: Once you received an official diagnosis, what advice were you given in dealing with such news?

CAT EBERWINE: “Keep it to yourself.” It was a journey for everyone around me and my family had a lot of patience, but none of us knew anything about it, so we were all starting at zero. I lost a therapist I really liked and had had for almost ten years because he “just didn’t see it”. “You’ve been married, you work”. “You don’t look autistic.” I had to find my own books. My first and favorite was Autism in Heels. It amazed me that this other woman had experienced so many of the same emotions and situations that made me feel so isolated all my life. Then I read another and another and a secret community began to emerge. Then I was reintroduced to Cat Burford, I had met her in 2022 but didn’t know she was also on the spectrum. We met for breakfast and had a great talk. We’ve been friends ever since, she’s really helped me a lot and is a great advocate for Autism Acceptance as well as being another member of the Neurospicy Players, an actor and a playwright.

JHPENTERTAINMENT: Now, on to Bucket List Inspirations. What prompted you to create the organization?

CAT EBERWINE: I don’t tell short stories, but I’ll try to stay at 5,000 feet on this one and if we ever want to, we can get into more detail. After my diagnosis, I searched for local organizations, support groups, therapists, not only for autistic adults, but females with autism…and found next to nothing. In many of the books I was reading, authored by late in life diagnosed women who are in highly educated positions, a common theme after diagnosis was the desire to then do what they could to help other women (and girls) become more familiar with how autism presents in women and encouraging earlier and more accurate diagnosis. (see, it’s already becoming a long story). There were many traumas I survived throughout my life that I feel I could have avoided or had better tools to navigate (yes, I have PTSD), had I known more about how my brain was wired. That coupled with wanting to honor the memory of my friend Dave Davis, who would have been right by my side during this journey, gave birth to the foundation. Dave started Bucket List Productions for our production of Assassins in 2022, and since he was my inspiration, that’s where Bucket List Inspirations came from.

JHPENTERTAINMENT: Bucket List Inspirations’ upcoming event NEUROSPICY PLAYERS: UNMASKED is a cabaret performance, but it’s also a fundraiser with a silent auction and a post performance Q&A. That seems like a lot right out of the gate. What was your thought process in debuting the organization in such a multi-level way and how will money raised during the event be used to further Bucket List Inspiration’s mission statement?

CAT EBERWINE: Because I can’t do anything halfway? I hate asking for money, and the more I talked about my autism the more people in my theatre family shared with me about their own diagnosis and I realized there were a lot of very talented people on the spectrum right here in our area. So I thought it would be a great way to highlight the wonderful talents and earn some the money we were asking for. The silent auction idea came from me looking for a template for what information I needed to put on the poster and I saw one that had a silent auction and I thought “ooohhhh, silent auction!”. Again, giving something in exchange for the money we are asking for. Someone in the cast suggested the Q&A and since our foundation is all about education (in an entertaining way), it seemed like a logical thing to do. As for thought process…it’s a lot of brainstorming…and being willing to go with the flow. To be honest, I’m scared to death it’s going to fail, which is a symptom of my diagnosis…perfectionism and a fear of failure…so I’m singing about it in the show.

As for the money, this first time around, I am hoping to cover my expenses from the last year of setting up the foundation, have enough to start producing our next show, and some left to pay someone to start developing the website. The website is the to be the hub of education and connection for Autism Education, Support, Social Activities, and celebrations of Autistic Artists and businesses owned by or supporting people with autism. We are focusing on 18 and over, but we want to start identifying seniors in high school and helping them with their transition to higher education. We have lots of great ideas, but it’s going to take a village and a bucket of gold at the end of my rainbow.

JHPENTERTAINMENT: What do you hope audiences take with them after having spent the evening at NEUROSPICY PLAYERS: UNMASKED?

CAT EBERWINE: A smile and a song in their heart? Maybe a cookie with our logo printed on it made by autism friendly bakery. And a few facts about autism that they never knew they never knew. But especially my eternal thanks for being a part of the birth of my dream.

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

JHPENTERTAINMENT: You were diagnosed as being on the spectrum in your twenties, while Cat and some of your other Neurospicy Players were diagnosed later in life. What do you perceive as an advantage of having been diagnoses at that time in your life?

WILL LASLEY: You know, it’s funny. I was diagnosed earlier, compared to them, but even still, it was later than ideal, which would have been during early childhood. But I never had a lot of trouble with eye contact as a kid, so at the time (late 90’s), they ruled out autism because that was considered such a make-or-break symptom. I do wish that we had real confirmation when I was a kid so that we could have known some level of what to expect and watch for. Now I have all this catching up to do with learning about myself and my community, but I suppose I don’t have maybe quite as much as those who find out even later than I did do, so if I had to name any particular advantage I may have, it would be that.

JHPENTERTAINMENT: How did you come to be part of Cat’s Neurospicy Players and this Unmasked benefit in particular?

WILL LASLEY: Well, Cat helped out with some of the shows I did with Act Too Players in my teens, so she really got to see me go through a lot of growth as a performer, and so I assume it came as no surprise to her when I got diagnosed. Then when SHE later got diagnosed, I was one of a few friends of hers who she knew were autistic that she reached out to, and we talked about it, and then later on she tells me what she wants to do with Bucket List Inspirations, and I was honored to be asked. I’ve loved having been a part of each other’s journeys.

JHPENTERTAINMENT: You’ve been on stage since your early teens, having been amongst the young pool of talent to pass through the doors of Act Too Players as you indicated above. What’s your fondest memories of your time with the beloved Middle Tennessee youth theatre company?

WILL LASLEY: My favorite thing I ever got to do with Act Too was play SWEENEY TODD. That was the thrill of a lifetime, and it was HARD. Sondra Morton and Jayme Smith put me through the wringer on that one, but it’s still my favorite role I’ve ever done. I say this, pun very much intended, that I would kill to play that role again. I definitely feel like I could do it even better now, but getting to do it with Act Too was such an important step in my musical career.

JHPENTERTAINMENT: As someone with a physical disability myself, I was particularly moved by the section of your bio that says you wear your diagnosis with pride. With that mindset, have you found folks are more willing to ask questions, rather than assume things about your disability?

WILL LASLEY: I feel like, even though most people aren’t nearly as educated on autism as I wish they were, it’s a recognizable enough label that people will usually hear you out if you bring it to their attention. I’ve had plenty of people make ignorant assumptions when they find out I’m autistic, and they usually mean well, but I much prefer when people react by asking questions. I do really wish people would just instinctively listen to autistic people when it comes to matters of how we are treated. But you know, people always have to have an opinion whether they’re informed or not, so my hope is that talking more about more about autism will create a more informed public.

JHPENTERTAINMENT: What do you hope you and your costars achieve by presenting NEUROSPICY PLAYERS: UNMASKED?

WILL LASLEY: Obviously, first and foremost, I want people to be entertained, but I hope people will leave with plenty to think about and reflect on. There’s so much about autism that people either don’t know or have completely wrong, and if we can teach people about autism by doing what we already love doing, what more could we want?

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

JHPENTERTAINMENT: How did you come to be part of Cat’s upcoming NEUROSPICY PLAYERS: UNMASKED event?

JOHNATHAN VEST: I saw Cat post something on a facebook group I had recently joined. It was a group for adults with a late autism diagnosis. I reached out to her as a fellow artist/creative, and we began a conversation that has now turned into a friendship.

JHPENTERTAINMENT: Like the other members of the company, you yourself have been diagnosed as being on the autism spectrum. When were you first diagnosed and how has that diagnosis helped you navigate your everyday personal and professional life?

JOHNATHAN VEST: I always thought that I might have ASD ever since the science and research was published about what they used to call Asperger’s Syndrome. But I figured it didn’t matter and as an adult, I had either “outgrown it” or “figured it out” If you will. (Hint: I had done neither of those things.) It was not until someone close to me was diagnosed with something similar that the dominos began to fall and I reached out for some testing.

JHPENTERTAINMENT: In addition to performing in the showcase, you’re also serving as music director for Neurospicy Players Unmasked. What’s been the most challenging/rewarding aspects of tackling that job for this show?

JOHNATHAN VEST: The most rewarding part is working with these talented artists, seeing their passion, and hearing their stories. As for the most challenging, well—you get a bunch of neurodivergent people with brilliant creative minds and circular story-telling on a Zoom call and tell me how that goes 🙂

JHPENTERTAINMENT: In preparation of chatting with you and your cast mates, Cat was kind enough to share the rundown of the show. Spoiler Alert: I love that you’ll be performing The Moon and St. Christopher, a song made popular by Mary Chapin Carpenter. Randomly, I saw Mary at 3rd and Lindsley just this past weekend…but back to my question…what is it about this song that prompted you to choose to perform it for UNMASKED?

JOHNATHAN VEST: I’m glad you know the song! I have always loved Mary Chapin Carpenter’s writing, and she really wrote some beautiful songs. This song is about going on a journey somewhere, and you really don’t know what you’re doing. You have no help, and you’re not even sure where you are going. The light of the moon and St. Christopher, the patron saint of travel, is all you have.

When I think about growing up with undiagnosed ASD, I now realize that I had no help. None of us did back then. If you were autistic back then you were Tommy the Pinball Wizard, and you “sure played a mean pinball” but you didn’t speak, showed little or no emotion, as if you were “locked inside yourself.” That wasn’t me. So I was just weird. So me, and everyone in the cast tonight, had to figure it out. Take the feedback we were given from our parents (not knowing how to help, or understanding they needed to) our peers (often cruel and soul-crushing) and others (often isolating us because of not knowing how to take us). All I had was a light and a prayer. I’m thankful I had them, though.

JHPENTERTAINMENT: I understand there’s a silent auction as part of the evening’s festivities, right?JOHNATHAN VEST: Yes, I hope everyone will consider bidding on something. Our hope is to continue to offer opportunities and resources for adults with autism, which right now, are very scarce.

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

JHPENTERTAINMENT: From the bio Cat provided as I began researching to chat with you all, I learned that you, like Cat were recently diagnosed as being on the autism spectrum. How has learning this information at this stage in your life helped you?

DAN KASSIS: More than anything, learning I have ASD has helped me accept those things about myself that I have tried to change or “fix” for most of my adult life. The goal now is to learn to thrive with my particular neurotype rather than fight against it.

JHPENTERTAINMENT: You’ve been a Nashvillian since 2001, having spent the early part of your life in your native California. What prompted you to relocate to Music City?

DAN KASSIS: We moved here from Sacramento (like Cat did!) because of a downsizing at my job there that deleted my position. From that day, it only took about four months to arrive in the Nashville area. I got a job with LifeWay Christian Resources. They moved my family and me here.

JHPENTERTAINMENT: As an actor, what’s been the most rewarding aspect of being on stage in front of a live audience?

DAN KASSIS: I’m a big fan of the moment when everything comes together after all the hard work and preparation, and the show seems to come alive. You realize you and your fellow actors and crew are no longer working on a project. You’re part of a bigger thing. I have also loved working alongside some of our region’s most talented actors and learning from them.

JHPENTERTAINMENT: I understand you first were drawn to your love of drumming at an early age. Who are some of your drummer heroes and is there a piece within the NEUROSPICY PLAYERS: UNMASKED that you’re particularly enjoying performing?

DAN KASSIS: The drummers who have inspired me the most have all come from the jazz genre – Dave Weckl, Vinnie Colaiuta, Steve Gadd, Peter Erskine, Brian Blade, Elvin Jones, Buddy Rich. I also learn a lot from session players like Jeff Porcaro and Keith Carlock. I love “What Else Can I Do” from Encanto – I always enjoy playing anything with a Latin groove.

JHPENTERTAINMENT: What do you think is the biggest misconception about being on the autism spectrum?

DAN KASSIS: The biggest misconception is that “we’re all on the spectrum.” No we aren’t! There are neurotypical people and neuro-atypical people. If we were all on the same spectrum, I don’t think autism would be considered a disorder. You don’t have to claim to be on the same spectrum as people with ASD to connect with them and and better understand them.

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Bucket List Productions’ NEUROSPICY PLAYERS: UNMASKED takes to the stage at Mills-Pate Arts Center on Friday, June 27 and Saturday, June 28. Each evening will begin with a Reception and Silent Auction at 6pm and show at 7pm. Immediately following the show there will be a talkback and Q&A with the cast. General Admission tickets are $20. For $100, there’s a cabaret table option (table for four nearer the stage). CLICK HERE to purchase tickets.

Can’t make the event but would like to support upcoming programs presented by Bucket List Inspirations? CLICK HERE. You can also follow Bucket List Inspirations on Faceboo k.