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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q With Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

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

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

 

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

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

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

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

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

If you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: With an Electrifyingly Youthful Cast, ‘The Outsiders’ Indeed Stays Gold; at TPAC thru Sunday, October 19 as National Tour Continues

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From the moment the house lights dimmed in TPAC’s Jackson Hall on October 14, the national touring production of the Tony-winning Best Musical, THE OUTSIDERS made it abundantly clear: this is much more than nostalgia, more than adaptation — it is an emotional lightning strike. If Opening Night of the show’s six night Nashville tour-stop in Music City is any indication, the show promises to bring Tulsa’s Greasers and Socs to life with gritty heart, physical daring, and a musical pulse that lingered long after the final bow.

Based on S.E. Hinton’s seminal 1967 novel and a more than noticeable nod to the beloved 1983 Francis Ford Coppola directed film, that starred a who’s who of Hollywood up-and-comers including C. Thomas Howell, Matt Dillon, Tom Cruise, Diane Lane, Ralph Macchio, Patrick Swayze, Rob Lowe & Emilio Estevez, THE OUTSIDERS is a coming-of-age tale rooted in class divides, brotherhood, trauma, and the fragility of youth. The touring production, carrying the same Tony-winning creative team behind the Broadway show—director Danya Taymor, choreography by Rick & Jeff Kuperman,  design courtesy the design collective AMP featuring Tatiana Kahvegian—hooks into the source material while carving out a new theatrical identity. 

As is always the case, whether the story unfolds on the pages of the original book, or the aforementioned star-packed 80s now-classic cinema, the heart of THE OUTSIDERS always lies rests on the young shoulders of Ponyboy, Johnny, and Dallas — and in this magnificent tour cast, they are delivered with conviction.

All Photos by Matthew Murphy

Ponyboy Curtis (played by Nashville’s own Nolan White) is an earnest center. His vulnerability is palpable: you feel his longing, his anger, his fear. The softer, more introspective moments become small victories of clarity. When Ponyboy admiringly watches Paul Newman on the movie screen, dreaming of escaping his current us-vs-them small-town life, he’s instantly relatable to anyone who grew up unsure of what the future holds for them. When he recites Robert Frost’s Nothing Gold Can Stay, there’s not a dry eye in the house. Such emotion from such a young man is breathtaking. Later, when confronting what it means to “stay gold”, White again proves talent beyond his years.  As I watched his performance on Opening Night of the Nashville dates, I marveled as the depth of his performance.

Johnny Cade (Bonale Fambrini) brings quiet intensity. His internal fragility — the sense that one more blow could break him — is juxtaposed with flashes of courage, especially in the church escape and later in his struggle to be seen. The camaraderie between Fambrini and White as Johnny Cade and Ponyboy Curtis is so believable, you just know these two young actors are forging a lifelong bond as friends on and off-stage.

Dallas Winston as portrayed by Tyler Jordan Wesley is swagger and sorrow intertwined. When the script calls for it, he roars like a lion, conversely, when necessary, he retreats far into himself, caught between angry rebellion and fracturing grief. In the inevitable climactic moments (surly by now we’ve all read the book or seen the movie), his breakdown feels earned — not sensational, but visceral, and sadly necessary.

The supporting ensemble (Sodapop, Two-Bit, Cherry, Bob and the rest of the Greasers and the Socs) feels fully realized. Corbin Drew Ross’s Sodapop Curtis, a standout, has infectious warmth, and yes, there’s no denying he looks the part, too. When he takes off his shirt early on in the show, I’m pretty sure I heard audible gasps as he revealed his sleek physique. I even asked my date for the evening (a dancer, herself) if she knew if he was a dancer or not. I also gotta mention Ross’s speaking voice. Meek and unassuming, I swear he’s having fun with the audience seeing if we think he sounds like Charlie Hunnam’s soft-spoken version of Ed Gein, but I digress.

As Cherry, Emmy Hearn soars, especially in moments where she bridges the divide between Socs and Greasers. A Cherry’s Socs steady, Bob, Mark Doyle paints the perfect high school bully and personification of thorn in Ponyboy’s life.  Travis Roy Rogers’ Darrel Curtis, the eldest of the Curtis boys, finds a perfect balance between forced adulthood as the unplanned patriarch of the family, while simultaneously exhibiting his own self-doubt and unrealized dreams. Jaydon Nget’s Two-Bit brings a subtle but studied undertone to the wisecracking youth.

The structure propels you forward. With rapid scene changes, interwoven monologues and dreamlike transitions, it is never dull.  The minimal scaffolding, projections, and shifting platforms keep the world lean yet alive. A perfect metaphor for the young cast themselves, lean, strong, always moving forward and alive. Interestingly, even before checking the Playbill and seeing that Kahvegian is credited as having created the scenography, I whispered to my date for the evening that I was coining a new term setography, because even when wood planks, tires, and various other elements of the minimal set were moved between scenes, they were done so-by the cast, no less- with such precisions and grace that the we at once unnoticeable, yet seamlessly part of the overall choreography of the piece

Coining another term, the fightography, especially in the pivotal confrontation between the Greasers and the Socs, is now the most beautiful movement I’ve ever seen on the stage. That honor, previously held by the quick/sharp jazz movement of the fight between West Side Story’s Sharks and Jets, no fully belongs to THE OUTSIDERS’ Greasers and Socs. Magnificently aided by Brian MacDevitt’s impactful lighting design, Cody Spencer’s chillingly vibrant sound design, Jeremy Chernick and Tillis Meeh’s mood-intensifying special effects design, the aforementioned AMP featuring Tatiana Kahvegian’s Tony-nominated scenography, and choreography by Rick and Jeff Kuperman, the fight choreography — punches, tumbles, and heart-pounding tension the show is choreographed to haunt, with no detail unattended. Slow-mo momentary freezes, punctuated by lighting cues, thunderous sound and an on-stage downpour, create a scene like none ever witnessed. A hauntingly perfect moment that’s likely forever etched into memory.

With a score by Jonathan Clay and Zach Chance, known collectively as folks duo Jamestown Revival, and Justin Levine, who also wrote the book of the musical, the score of THE OUTSIDERS fully embraces the rural small-town setting. Heck, the first number set the tone and time with the aptly named Tulsa ’67. THE OUTSIDERS score isn’t one that you’re likely to be humming after the show’s over. But, in the moment-while watching the story of young people trying to figure out who they are in their world as they struggle with inherent class division, sadness and expectations-realized or dreamed-the musical numbers perfectly propel the story, the emotion and the hopefulness of the characters. Fans of the novel might know that Ponyboy is reading Gone With the Wind. For the musical adaptation, Margaret Mitchell’s classic has been replace, dare I say, more fittingly, with Charles Dickens’ Great Expectations. To that end, Great Expectations, an impressive all-in musical number midway through Act 1, as lead by White’s Ponyboy, becomes a pivotal point as the audience fully realizes how trapped our antihero feels. Act 2’s Soda’s Letter, performed by Sodapop (Ross), Darrel (Rogers) and Ponyboy (White), in its raw, revealing, secure-in-their-masculity brotherhood realness, proves a tender audience favorite. Dallas (Wesley) and the company’s Little Brother, the perfect eleventh hour soulful and soul-gripping emotional melody. Of course you can’t have a THE OUTSIDERS musical without paying tuneful homage to the phrase “Stay Gold”. That said, the show’s final number, Stay Gold featuring White’s Ponyboy and Fambrini’s Johnny lyrically recounts the action of the story, reiterated Johnny’s wish for his friend and just like the precious metal referenced in the phrase, reflects brightly the beauty of friendship.

THE OUTSIDERS National Tour continues at TPAC’s Jackson Hall with a Friday evening performance, matinee and evening performances Saturday and Sunday. CLICK HERE to tickets and showtime details.

Having officially kicked off the National Tour in Tulsa (appropriately enough) just last month, following its Music City dates, THE OUTSIDERS tour continues with a four-city Texas tour in Austin, San Antonio, Dallas and Houston, then it’s on to Atlanta, GA, Durham, NC, Greensboro, NC, Orlando, FL, Tampa, FL, St Louis, MO and more through September of 2026. CLICK HERE for specific dates and the full tour schedule. Of course THE OUTSIDERS is still enjoying a hugely successful Broadway run at the Bernard B. Jacobs Theatre, so if you’re in New York, CLICK HERE. To keep up with the latest from THE OUTSIDERS, follow them on Insta, Facebook, Threads and YouTube.

Following THE OUTSIDERS, TPAC’s Broadway Season continues with the return of a favorite, Disney’s BEAUTY AND THE BEAST with an extended run November 4-16. CLICK HERE for tickets and showtimes. You can also follow TPAC on Insta, X, YouTube and Facebook.

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

Rapid Fire 20Q with Cast of Joy’s Jubilations’ Presentation of ‘Queens of Heart’; at Gadsden, Alabama’s The Local Scene October 17 thru 25

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Playwright Lydia Bushfield has entertained Southern audiences for years having penned such plays as Yule Y’all, I’ll Be Seeing You and The Bop She Bops and now it’s Gadsden’s turn to sample a bit of her Southern sass when her play QUEENS OF HEART , as directed by Joy Tilley Perryman, makes it’s Alabama debut. The show takes centerstage at The Local Scene at 118 (118 Chestnut Street, Gadsden, AL 35901) with performances October 17-25. Produced by Gadsden’s own Joy’s Jubilations, this heart-filled comedy follows a group of Southern women who gather weekly for game night to swap stories, share secrets, and deal with life’s ups and downs—one hand at a time.

Among the cast, Perryman plays the ever-honest, but often brutally truthful Rose Kincaid, a role she’s familiar with, having first played her during the show’s World Premiere back in 2003. For the show’s Alabama premiere,  Perryman is joined by an exceptional cast of local and regional talent. Alongside Perryman, the show also features Kathleen Jensen as the wise and wry Doris Ducacus, Katie Campbell as newcomer Alice Anderson, Angie Smith Townsel as sweet and sincere Betty Linwell, Jean Leah Atkins as the big-hearted Faith Middleton, and Courtney Linam as the spirited Emily Patterson.

As the queens were fine-tuning their performances…and their game faces…we recently sat down with Perryman, Jensen, Campbell and Linam for JHPEntertainment’s latest Rapid Fire 20Q to talk poker nights, Southern charm, and the real-life friendships on- and off-stage that make this show shine.

RAPID FIRE 20Q WITH CAST MEMBERS OF JOY’s JUBILATIONS’ QUEENS OF HEART

RAPID FIRE WITH QUEENS OF HEART’s DORIS, KATHLEEN JENSEN

JHPENTERTAINMENT: When Joy Tilley Perryman reached out to me about the possibility of doing a Rapid Fire 20Q with cast members of QUEENS OF HEART, I was excited to see a couple of familiar names, yours included, the two of us having chatted back in 2023 when you appeared in a production of Sordid Lives at The Ritz in Gadsden. What can you tell me about Doris Ducacus, your role in QUEENS OF HEART?

KATHLEEN JENSEN: Doris is Smart Alec of the group. She is also very insightful, devoted to her daughter and very much in love with her husband, Harry.

JHPENTERTAINMENT: According to the character breakdown in the script, Doris is meeker and milder than Rose, making them a good balance. So, I gotta know…as scene partners, who’s really keeping the scales steady on stage and who’s the one tipping them over?

KATHLEEN JENSEN: Like you say Rose and Doris are a good balance much like Joy and myself. We lift each other up.

JHPENTERTAINMENT: There’s a quote in that other play about a group of southern friends…as Dolly Parton’s Truvy says in Steel Magnolias, “Laughter through tears is my favorite emotion”. That could easily be one of Doris’ lines as she brings up a bit of a secret to her girlfriends. As an actress, how do you prepare yourself to switch from the more lighthearted moments to the more serious ones?

KATHLEEN JENSEN: It’s kind of like life therefore I try to draw from real life experiences. You have to find a similar experience to capture the feeling.

JHPENTERTAINMENT: Right off the bat playwright Lydia Bushfield sets the overall humorous tone of the show with Doris’ line “She’s been nipped and tucked more times than a good pleated drape” Do you have a favorite in the show, whether one you get to deliver, or one you wish was Doris’?

KATHLEEN JENSEN: “If that woman pulls her skin any tighter, she will have to pierce her nipples to wear earrings.” Doris is always ragging on Shania.

JHPENTERTAINMENT: A large portion of the play takes place around a game table. If you and a group of friends were to get together for game night, what game would you insist on playing?

KATHLEEN JENSEN: Spades, I am a champion, spades player!

RAPID FIRE WITH QUEENS OF HEART’s ALICE, KATIE CAMPBELL

JHPENTERTAINMENT: I understand this is your theatre debut. When did you first realize you might want to try your hand at acting? 

KATIE CAMPBELL: I have always had the idea in the back of my mind. I have the heart of an entertainer for sure. But my daughter is who pushed me to try it. She is fearless and talented, and I want to make her proud. 

 

JHPENTERTAINMENT: I think my favorite of Alice’s lines is “Bein’ a southern woman is all about keepin’ up appearances. God forbid that one of us should admit that we are havin’ a bad day.” Playwright Lydia Bushfield hit the nail on the head with that one, don’t you think?

KATIE CAMPBELL: Sure, I do. We put the world on our shoulders. I would venture to say that that could be true for all women, though. We are natural caretakers. 

JHPENTERTAINMENT: If you could play another character in this show, regardless of whether you ‘fit the type’ or not, who would it be and why?

KATIE CAMPBELL: Betty! I’ve been her before and I admire that type of independence in a woman. 

JHPENTERTAINMENT: As Alice, you’re at the heart of one of the show’s most surprising twists. Without giving anything away, how much fun are you having playing this part?

KATIE CAMPBELL: It’s much more fun than I thought it would be! When I read the script I was a little intimidated, but our director, the one and only Joy, helped me find my voice. 

JHPENTERTAINMENT: Your bio reveals that you’re a licensed massage therapist. Who among the ladies of QUEENS OF HEART would benefit most from a session with you at your day job?

KATIE CAMPBELL: That is so hard to say because after all of this is said and done, we’ll all need a good massage. I’m gonna go with Emily though. That girl sure was goin’ through it. 

RAPID FIRE WITH QUEENS OF HEART’s EMILY, COURTNEY LINAM

JHPENTERTAINMENT: When I chatted with Kathleen, I mentioned that I was excited to see her name among those I’d be chatting with, having interviewed her before. The same goes for you, the two of us having chatted just last year when you were starring in Steel Magnolias at The Ritz. Now here you are as Emily in yet another tale of southern friendships. What was it about QUEENS OF HEART and the role of Emily that drew you to audition?

COURTNEY LINAM: Thank you so much for this interview—it’s always great to chat with you! I loved getting to visit with you last year during Steel Magnolias, and I’m just as grateful to reconnect again for QUEENS OF HEART.

I was immediately drawn to Emily because she’s so real. She’s fun-loving, hopeful, and just trying to get it right—even when life keeps throwing her detours. I love that QUEENS OF HEART celebrates friendship, strength, and those moments when women lift each other up.

I was also drawn to the play because I was so excited to be directed by one of the most talented people I know—Joy Tilley Perryman. She has such a gift for bringing out truth and heart in every story, and I knew that under her direction, this show would be something special.

JHPENTERTAINMENT: While reading the script to familiarize myself with the play before chatting with you and your costars, I immediately picked up on the name of the town where all the action takes place…Fate, Texas. So, just curious…do you believe in fate, free will, or a mix of the two?

COURTNEY LINAM: It’s really a mix. I think fate puts certain people and moments in our path, but free will decides what we do with them. Emily’s story shows that perfectly—she might’ve been led down the aisle by fate, but it was her own strength, and the help of her true friends, that gave her the courage to walk away from something that wasn’t right.

JHPENTERTAINMENT: On the subject of the play’s Texas setting, the script contains a note from the playwright about the Texas dialect. During the rehearsal process was there discussion on just how Texas the cast would sound? Where have you personally drawn your Texas drawl from?

COURTNEY LINAM: Oh yes, we had plenty of fun with that! The goal was to sound authentically Southern without needing subtitles. I’m more Alabama than Texas, but there’s a shared sweetness and rhythm to both accents that feels like home. I leaned into that warm, melodic tone—you know, the kind that can make a compliment or a comeback sound equally charming.

JHPENTERTAINMENT: Is there any aspect of Emily’s personality that you might adapt to your own?

COURTNEY LINAM: Her courage to finally put herself first. Emily’s been through a lot of “almost right” love stories, but she finds her voice and realizes she doesn’t have to settle. That message really stuck with me—it’s never too late to choose peace, joy, and the people who truly love you for who you are.

JHPENTERTAINMENT: Early in the play, there’s mention of Emily’s poker face. In your real life, do you have a poker face, or can folks generally tell what you’re thinking just by looking at your expression?

COURTNEY LINAM: Oh, I absolutely have a poker face—and I’m actually pretty good at poker, too! I can keep a straight face when I need to, which comes in handy both on stage and at the card table. But catch me off guard with something funny, and I’m done for—no hiding that laugh. I think that balance is what makes acting fun for me—being able to control your expression when it counts, but also knowing when to just let the real emotion show.

RAPID FIRE WITH QUEENS OF HEART’s ROSE, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: You’re no stranger to Rose Kincaid, having been portrayed the role back in 2003 during the World Premiere performance of QUEENS OF HEART at Chaffin’s Barn Dinner Theatre in Nashville and now you’re spearheading the Alabama premiere. What is it about this show and the role of Rose that drew you back in?

JOY TILLEY PERRYMAN: The show is such a lovely story of female friendships and female interactions. Then throw in that is a group of Southern women and some of the best lines ever written and I have always wanted to go back and sit at rose’s table one more time. When I first contacted the playwright, my dear friend Lydia Bushfield about remounting the show, she had doubts, She thought it might be dated (she did bring it forward in time just a bit) but I assured her that the stories and the companionship these women share is timeless. 

JHPENTERTAINMENT: When chatting with one of you cast mates, I noted that QUEENS OF HEART shares some similarities with another play about a group of southern women, Steel Magnolias. Do you think it’s a fair comparison? And what would you say to fans of that show to get them to check out this one?

JOY TILLEY PERRYMAN: I think it is a fair comparison and I think fans of the Magnolias will LOVE the QUEENS! If you enjoy heartfelt shows with true to life depictions of what it means to have a strong group of girlfriends, then come see the show. And bonus, Poker!

JHPENTERTAINMENT: When you and I first talked about me featuring the cast of Queens of Heart in a Rapid Fire 20Q, you mentioned that you’d secured a great venue for the performances. What can you tell me about the venue and how does it lend itself to the action of the play?

JOY TILLEY PERRYMAN: As you know, I moved back to my hometown in 2021. When I left Gadsden, AL in 1985 the downtown area was a dead place. Like most small Southern towns, when the mall came in, downtown dried up. But in the years since I have been gone, downtown Gadsden has reinvented itself! We have a thriving entertainment district and one of the best art museums in the state. And we have murals all over just like Nashville! I work my day job on Chestnut Street, one block from Broad Street and when I was thinking of finding space to do this show it hit me like a ton of beautiful bricks. The space at the top of Chestnut was vacant. It is owned by a school chum and her husband, so I called Syndee and asked if she was open to a short term rental. Built in 1930, it is a lovely brick building with a  big open space and smaller rooms to use as dressing rooms. It has 2 big store windows that I have used as my marquee, so to speak. It is store front theatre, I can only fit about 45 chairs. But folks will truly feel like they are in Rose’s living room. And the best part? The store next door, that my friend Syndee owns? It is called The Stone Market and is the best wine shop around! She is going to extend her hours on Fridays and Saturdays, so folks can bring a glass of wine over to the show. 

JHPENTERTAINMENT: While reading the script in preparation of chatting with you, when Rose responds to Betty revealing where a particularly uneventful date took her to dinner. Rose’s line, “He did not take you to Sonic”, could easily be a throwaway, but having seen you in a number of plays over the years, I could hear you delivering that line as I read it and it made me giggle. Without giving too much away, what’s your favorite line or scene in the play?

JOY TILLEY PERRYMAN: That is one of my favorite lines! I totally channel my MawMaw Thompson in the delivery. I take her delivery of the phrase “You don’t mean” and apply it to the Sonic line. But I do love the scene after the wedding. You will have to buy a ticket to get to see the sherbet-colored bridesmaid dress! And matching headdress. Trust me it is worth the price of admission.

JHPENTERTAINMENT: What do you hope audiences take with them after spending a little time with the ladies of QUEENS OF HEART?

JOY TILLEY PERRYMAN: I told someone recently that the role of theatre has always been to entertain and maybe sometimes to uplift and educate. But in these perilous times when there is so much hate and anger and just ugliness around every corner, I hope the audiences will come away with love. That the love these 6 women have for each other can spill out and over and in to everyone’s lives and maybe ease the sorrow for just a bit. They are not all alike, they do not share the same views or life experiences but they share a common ground in their friendship and acceptance. That is maybe not a bad lesson either.  

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From laughter to life lessons, the ladies of QUEENS OF HEART prove that every hand you’re dealt can be a winning one when your friends deck is stacked with queens. Don’t miss Joy’s Jubilations’ staging of Lydia Bushfield’s QUEENS OF HEART, playing October 17–25 at The Local at 118 in downtown Gadsden, Alabama. Performances are Fridays and Saturdays October 17-25 at 7:30pm. There will also be a Sunday matinee at 2pm on October 19, Tickets are only $15. Seating is limited so CLICK HERE for tickets or more information. To keep up with the latest from Joy’s Jubilations, CLICK HERE to follow them on Facebook.

For more theatre coverage, cast interviews, and behind-the-scenes peeks from across the Southeast, like and follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or follow us on Facebook, Insta and X. And remember—always bet on the queens. ♠️♥️♦️♣️

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

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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

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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

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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.

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

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

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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.

Jay Sullivan

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. 

Brian Webb Russell

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

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.

Nathan Quay Thomas
Andrew Johnson

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.

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

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

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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

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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. 

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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.

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