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Arts Preview: Kindling Arts Festival Continues Through Sunday with a Weekend of Bold, Original Performances Across Nashville

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The Kindling Arts Festival: UTOPIAS kicked off Thursday evening and continues through Sunday, July 26, transforming venues across West Nashville into stages for world premiere theater, contemporary dance, opera, comedy, performance art and interactive experiences. Featuring 22 original performances and events created by more than 160 local artists, the festival has spent the past nine years building a reputation as one of Music City’s most exciting showcases for fearless creativity. If you missed opening night, don’t worry—there’s still plenty of time to experience one of Nashville’s most inventive celebrations of local artists.

Unlike festivals built around familiar titles, Kindling is all about discovery. It’s where audiences can experience brand-new musicals, see plays in development before they reach larger stages, witness immersive dance works and encounter performances that challenge expectations while celebrating the remarkable depth of Nashville’s artistic community.

This year’s theme, UTOPIAS, couldn’t be more fitting. In a recent press release Co-Founders and Co-Artistic Directors Daniel Jones and Jessika Malone explain the inspiration behind this year’s festival. “At a time when the arts are increasingly under attack through censorship, shrinking support, and political backlash, the act of imagining a better world is both radical and necessary.”

That spirit echoes throughout the weekend, with artists exploring hope, justice, belonging and the possibilities that emerge when creativity is allowed to flourish without limits. Jones and Malone continue by asking audiences, “What does it mean to create in the direction of a world that is not here yet? How might artists model new systems of belonging, justice, care, and joy?” Rather than offering easy answers, Kindling invites audiences to spend four days exploring those questions through storytelling, movement, music and shared experience.

If you’re deciding what to catch over the remainder of the festival, the six productions highlighted as this year’s Must Sees provide an excellent place to start. Musical theater fans should make time for Fairy Floss: A New Musical, a charming new work by Madeline Hicks featuring music by Kara McLeland. Inspired by the invention of cotton candy, the production blends romance, whimsy and history into what promises to be one of the festival’s sweetest offerings.

Found Movement Group’s Tea transforms the familiar Southern ritual of gathering over tea into an intimate blend of dance and theater celebrating hospitality, family traditions and human connection.

Dance enthusiasts will also want to experience Objects in the Mirror, where PYDANCE choreographers Emma Morrison, Becca Hoback and Asia Pyron present original contemporary works exploring identity, memory and transformation through movement.

Opera lovers shouldn’t miss Faith: A New Opera, composer Jeremy Smith’s ambitious new work combining Southern gospel traditions, Appalachian folk influences and classical opera in the story of a charismatic preacher whose growing influence comes at a cost.

For audiences looking for something delightfully unconventional, Off the Clock once again showcases Kindling’s adventurous spirit through original performance art created by Landry Butler, Grandmafun, Chris Strauss and Jennifer Whitcomb-Oliva. Expect an evening filled with humor, experimentation and the unexpected.

Another annual festival favorite, New Play Platter, gives audiences a front-row seat to the creative process with excerpts from five new plays currently in development, offering an exciting glimpse at the future of Nashville theater.

Of course, one of Kindling’s greatest strengths is the joy of discovering productions that may not have been on your radar before arriving. This year’s lineup also includes Common Ground, an evening of dance celebrating community and collaboration; Milk Makes Me Sick But My Body Needs It, Hannah Dorfman’s deeply personal exploration of womanhood and healing; 30 Plays in 60 Minutes, an energetic collection of miniature plays inspired by the festival’s UTOPIAS theme; and See You in Hell, an unforgettable mix of burlesque, drag, clowning and spoken word.

Other highlights include The Wreck of the Manifest Destiny, Late Stage Elisabeth, Kintsugi: Art of Scars, Ruined Causes, Faulty Premise, Chisme Fantasmagórico, The Queerest Comedy Show, Dance Studio Sharings, Embodied Creativity, Community Frolic, Writer’s Gym, the Free Nashville Poetry Library Reading, Unscripted: Festival Remix and Sunday’s Festival Wrap Party, making it nearly impossible to see everything in a single weekend. But you’ll have a blast trying.

That remarkable variety is exactly what has made Kindling such an important part of Nashville’s arts landscape. Every performance represents a different artistic voice, encouraging audiences to step outside their comfort zones and experience work they might never encounter in a traditional theater season.

The festival is equally committed to supporting artists behind the scenes. Kindling operates using a fee-free model that removes many of the financial barriers independent artists often face, covering essentials such as venue rentals, technical support and marketing so creators can focus on making their work.

As Jones and Malone share on the festival’s official site, “Kindling stands firm in our belief that artists must be free to speak truth, challenge existing systems, and create boldly without fear.” That philosophy has helped establish Kindling as one of Nashville’s most valuable incubators for original performance, giving emerging and established artists alike the opportunity to develop bold new work in front of adventurous audiences.

As one might expect, community support plays a vital role in keeping that mission alive. The organization invites patrons to become sustaining members through monthly giving, helping fund year-round artist development while ensuring future festivals remain accessible. Memberships begin at just $5 per month, with additional benefits available at higher levels, including festival discounts, exclusive events, limited-edition merchandise, VIP seating and behind-the-scenes rehearsal access.

With three days still remaining, there’s ample opportunity to dive into this year’s festival, whether you catch a single performance or spend the weekend hopping between venues. However you choose to experience it, Kindling offers something increasingly rare—the chance to witness artists taking genuine creative risks while inviting audiences to imagine what a better world might look like.

On the Kindling site, Jones and Malone close their letter with an invitation that perfectly captures the spirit of the weekend: “We invite you to explore all that Kindling Arts Festival 2026: UTOPIAS has to offer and to join us in imagining, creating, and moving toward a better world.” It’s an invitation well worth accepting.

Kindling Arts Festival: UTOPIAS continues through Sunday, July 26, at venues throughout West Nashville, including OZ Arts Nashville, Darkhorse Theater, The Curb Center at Vanderbilt University, Barbershop Theater, Spero Dei Church, Global Education Center, Back Bar at Verna and Richland Park. Festival passes, individual tickets and the complete performance schedule are available at KindlingArts.com. Be sure to check the online schedule before heading out, as performances take place throughout each day and evening at multiple locations and as word spreads, some of those festival favs are likely to sell out.

For the latest about Kindling Arts Festival and to get ahead of the game for next year’s mammoth 10th Anniversary celebration, find them online at KindlingArts.com and follow them on Facebook, Insta and YouTube.

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

 

 

As ‘Hamilton’ National Tour Prepares for Week Two at Nashville’s TPAC, Cast and Crew Prove They’re Not Throwing Away Their Shot in Our Latest Rapid Fire 20 Q

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June 17 marked the beginning of Hamilton‘s third visit to Music City signaling another crowd-pleasing two-week run at Nashville’s TPAC. As this current tour stop of the Tony-winning juggernaut continues with performances Tuesday, June 23 thru Sunday, June 28, we caught up with four members of the company for our recurring Rapid Fire 20 Q feature. From Nashville native and Hume-Fogg alum Lily Soto, who returns home as Eliza Hamilton, to Angelica Schuyler performer Marja Harmon (with Nashville ties of her own) and Principal Standby Chibueze Ihuoma, to Assistant Sound Engineer & Belmont grad Joshua Boatman, we covered everything from hometown memories and Broadway debuts to what it takes to keep one of the most celebrated musicals of all time running eight performances a week. So, as cast and crew get ready step back into the room where it happens, let’s get started.

RAPID FIRE 20Q WITH HAMILTON NATIONAL TOUR CAST AND CREW

RAPID FIRE 20Q WITH HAMILTON‘s ELIZA, LILY SOTO

JHPENTERTAINMENT: Being from Nashville, what does it mean to return with this tour and perform at TPAC as Eliza Hamilton?

LILY SOTO: It’s truly a dream come true. I’ve been performing in Nashville since I was very young, so getting to come home with one of my favorite shows and step onto the TPAC stage as Eliza Hamilton is incredibly special. Nashville is where I first fell in love with performing, so sharing this moment with my friends, family, former teachers, and the community that supported me from the beginning means the world to me.

JHPENTERTAINMENT: While you were attending Hume-Fogg High School, you were honored at the 2019 Spotlight Awards as Outstanding Ensemble Actress and in 2020, you were honored as Outstanding Lead Actress. So, a two-parter for you… 1) Do you plan to visit your alma mater, or at least catch up with Hume-Fogg’s beloved theatre teacher, Daron Bruce while in town? AND 2) How have those early honors aided you as you become part of the Hamilton family?

LILY SOTO: Absolutely. I’m still very close with Daron Bruce, and he actually helped facilitate an interview I recently did with Talk of the Town. It was really meaningful to return to the place where I first fell in love with theatre and reflect on how much my experience at Hume-Fogg shaped me as both a performer and a person.

The Spotlight Awards were such a special experience. In 2019, I was honored to receive Outstanding Ensemble Actress, which was completely unexpected. Then in 2020, I received Outstanding Lead Actress for playing Donna Sheridan in Mamma Mia!. At the time, theatre was something I genuinely loved doing with my friends, so being recognized for something that brought me so much joy was incredibly encouraging. Those experiences gave me the confidence to seriously consider pursuing theatre professionally, and I’m grateful I did. I wouldn’t be standing on stage in Hamilton today without everything I learned through my high school theatre program.

JHPENTERTAINMENT: What does Eliza Hamilton represent to you personally as a performer?

Soto in character as Eliza (courtesy Soto’s Insta)

LILY SOTO: Eliza has taught me so much about strength, resilience, and grace. One of the things I love most about her is that her strength isn’t always loud. Throughout the show she experiences tremendous joy, heartbreak, loss, and forgiveness, yet she continues to move forward with compassion and purpose. As a performer, she challenges me to be vulnerable and truthful every night. She reminds me that some of the most powerful moments on stage come from honesty and human connection. I’m grateful to tell her story every night.

JHPENTERTAINMENT: What was the first Nashville meal or stop once you were back in your hometown?

LILY SOTO: Any time I’m home, I have to make a stop at Waldo’s Chicken because it’s right in my neighborhood and has always been one of my favorites. But when our cast and crew first arrived in Nashville, I hosted a welcome party and we had catering from Big Al’s Deli, which was a huge hit. It was fun getting to share a local favorite with everyone.

JHPENTERTAINMENT: What advice would you give young performers considering a life in theatre?

LILY SOTO: Always remember what makes you unique. Your individuality, your experiences, your interests, and your strengths are what make you stand out. Stay curious, keep learning, and trust that the qualities that make you different are often your greatest assets.

RAPID FIRE WITH HAMILTON‘s ANGELICA, MARJA HARMON

JHPENTERTAINMENT: Your Angelica journey began in 2019 when Hamilton played Puerto Rico for a special limited run. Hamilton creator Lin Manuel Miranda stepped back in to the lead for that engagement. What’s among your most cherished memories of that time?

MARJA HARMON: So many memories from that time! It was powerful to see the impact of the show’s presence in Puerto Rico after the devastation of Hurricane Maria.

Going through the rehearsal process with Lin was so special. I started in that company as a Standby, so I was able to make my Angelica debut while I was there with my parents in the audience. Before I went on to perform “Satisfied” for the first time, Lin found a moment backstage to give me a little freestyle and hype me up and that was so cool! The And Peggy Tour experience in Puerto Rico was full of so many memories. It was just a lot of milestones happening all at once.

JHPENTERTAINMENT: On the subject of debuts, I gotta ask about your 2009 Broadway debut as part the Debbie Allen-directed all-BIPOC revival of Cat on a Hot Tin Roof. I’m, shall we say, of a certain age, and give Miss Allen full credit for nurturing my interest in the performing arts by way of her iconic TV series, FAME. Did making your Broadway debut in that particular show shape the way you think about your chosen path as a performer?

MARJA HARMON: Having my debut in that show taught me a lot about discipline and humility. I never understudied before and let alone in such an iconic role. I was stepping onto the stage with the theatrical giants, James Earl Jones and Phylicia Rashad.

I understood that some natural talent got me there, but in order to hold my own that I was going to need to constantly work on my craft. I was learning everything I could from these amazing actors during the day in rehearsal and also working with an acting coach at night so I could really feel confident. In the end, I learned the important lesson about trusting myself.

Debbie Allen was a wonderful director and incredibly encouraging, especially for my 25-year-old self.

I was a sponge soaking up everything I could from that entire experience and everything anyone could teach me about how to craft a role and how to bring things to life from a rehearsal process to the stage.

Harmon backstage as Angelica (courtesy Harmon’s Insta)

JHPENTERTAINMENT: The Hamilton tour ecosystem now consists of four distinct global productions, the current US tour known as the Angelica Tour being your current gig. So, what’s it like to be part of a tour named after the character you’re playing?

MARJA HARMON: I think being a part of Hamilton and seeing what it represents to people is such a wonderful and powerful thing. It’s a great reminder when we step on that stage nightly even if it’s for the 750th time that the power of theater and great storytelling is a magical experience. The Angelica namesake is just the icing on the cake!

JHPENTERTAINMENT: Earlier this year you returned to your hometown of Columbus, Indiana for a cabaret show. Does remembering and celebrating where you began your love of theatre keep you grounded?

MARJA HARMON: Absolutely! It’s also a moment for intense reflection to really sit back and understand that it really takes a village. I was so nurtured by the community of Columbus and of course my parents. I never felt my dreams were out of reach because of the support that I had.

JHPENTERTAINMENT: Speaking of hometowns, I understand your Mom graduated from TSU, Nashville’s only public HBCU, and when not on tour Music City is home for you. What are your top 5 must-do Nashville things you plan to share with your Hamilton family?

MARJA HARMON: Top five Nashville things:

1. Go have an evening cocktail and pizza at Urban Cowboy
2. Shop for your wine at Woodland Wine Merchant
3. Do not miss out on the Farmer’s Market on Rosa Parks Blvd
4. Cycle on the Greenway in Shelby Bottoms
5. Folk or Locust for Dinner

RAPID FIRE WITH HAMILTON PRINCIPAL STANDBY, CHIBUEZE IHUOMA

JHPENTERTAINMENT: For audiences who may not know, what all is involved in being a Principal Standby?

CHIBUEZE IHUOMA: Swings and standbys alike are the jack of all trades within a cast. We understudy multiple roles and tracks and perform whenever an ensemble member or principal is out, whether that be for sickness, injury, or vacation. I understudy four roles: Hamilton, Burr, Lafayette/Jefferson, and Washington. As you can imagine, a lot of words haha. Lucky for me, I have time when I’m not onstage and during afternoon rehearsals to brush up on lines and blocking. 

JHPENTERTAINMENT: After touring as Orpheus in Hadestown, what drew you to Hamilton?

CHIBUEZE IHUOMA: Hamilton was actually one of my first musical theater loves. The cast album dropped when I was in high school, and I have a vivid memory of head banging to Mulligan’s verse in “Yorktown” as I steamed my mom’s blouse before church. Doing Hamilton after Hadestown felt like a natural transition. Both musicals are fully sung through, so I try to delve deep into how the music informs the character – the lightning speed of Lafayette, the near infinite rhyme schemes Hamilton deploys, the light beauty of Orpheus’ falsetto. That, and both shows try to imagine the way the world could be in spite of the way that it is; Hadestown with it’s themes of standing up to power with love at the forefront, and Hamilton through it’s colorblind casting which truly changed the music theater landscape. Excited for the next “H” opera I get to do!

Ihuoma covering all four principal roles (courtesy Ihuoma’s Insta)

JHPENTENTERTAINMENT: What is the most exciting challenge of being ready to step into multiple tracks at any moment?

CHIBUEZE IHUOMA: You get to see the show from so many angles, which is both super cool and very disorienting! There are a lot of songs like “Guns and Ships” or “Room Where it Happens” where all 4 of my tracks are on stage doing and saying very different things, and it’s an out of body experience when you go from one character to the next in short succession. I once did all 4 in one week, with a day that I played Hamilton in the afternoon and Burr at night. An accomplishment I’m very proud of, and that I have no desire to repeat haha. 

JHPENTERTAINMENT: From a Nigerian kid attending a Summer intensive program at New Jersey Performing Arts Center to stepping into multiple roles in the National Tour of Hamilton…What would you tell your younger self about the journey thus far?

CHIBUEZE IHUOMA: Growing up, I always worried that I wasn’t enough, and that I often doubted that I belonged in music theater. I would tell my younger self that he doesn’t need to prove his worth, that simply expressing who he is and what he loves is more than enough. That, and I’d tell him that consistency is the key, so continuing to show up as his best self will take him anywhere he needs to go. 

JHPENTERTAINMENT: Why do you think Hamilton continues to resonate so strongly with audiences?

CHIBUEZE IHUOMA: It resonates with audiences because so much of what we deal with today in the US are key themes of the musical – when to rise up against tyrannical powers and what it costs, debates on how the country should be run, the impact of immigrants and how they help shape the nation. It’s a show that humanizes the figures that we had propped up in our history books as infallible men, and gives voice to the women who were instrumental in their rise. And at the most fundamental level, everyone relates to an underdog story: the amount of edits of the New York Knicks with Hamilton songs played underneath is a testament to that!

RAPID FIRE WITH HAMILTON ASSISTANT SOUND ENGINEER, JOSHUA BOATMAN

JHPENTERTAINMENT: As the tour’s Assistant Sound Engineer, describe your typical load in day as the show arrives in its latest venue?

JOSHUA BOATMAN: The first few hours of load-in are all about organization. Hamilton travels in ten full size semi trailers, and even for big theatres like TPAC, that’s a lot of stuff to shove into the building. There’s about six or seven departments that all start working at the same time, so we try to find stuff where we aren’t stepping on each other, which for me means starting to get the audio racks put in place on the stage and patching all the cables. The rest of my load-in is focused on configuring all of our gear for the new space, troubleshooting and repairing anything that broke during the move, and assisting the rest of the sound team in making sure we’re ready to do the show!

JHPENTERTAINMENT: As a Belmont graduate, does this Nashville stop feel like a homecoming?

JOSHUA BOATMAN: I moved to Nashville full-time in 2017, and from the first day I got to town, it felt like home. The culture of this city is to welcome anyone who wants to be here and contribute positively. Every time I’ve had the chance to come back has been just as welcoming as that first day, it’s an extremely friendly city.

JHPENTERTAINMENT: Was the Oklahoma! National Tour in 2022 your last time working in Nashville before this engagement?

JOSHUA BOATMAN: I also got to play TPAC in February of 2024 with TINA: The Tina Turner Musical! It’s been a great pleasure to bring three very different shows into a theatre I know so well.

JHPENTERTAINMENT: OK, so unknowingly I’ve seen your work three times! Love that. What’s something audiences might not realize about the sound team’s role in a show like Hamilton?

JOSHUA BOATMAN: We handle a lot more than just the sound the audience hears. We’re in charge of multiple smaller sound systems, such as the speakers pointed at the stage for the actors, and the monitoring in the orchestra pit for the musicians to hear themselves. We’re also in charge of six different cameras and a bunch of video monitors, which provide video monitoring of the show for remote locations backstage. Finally, we have three different backstage communication systems, as well as a fleet of walkie-talkie style radios for folks to be able to talk to each other all around the theatre during the show. While keeping the sound of the show running out front is certainly our most important job, it can’t happen unless we also keep all of the systems behind the scenes running smooth as well.

JHPENTERTAINMENT: After hearing it nightly, is there still a moment in Hamilton makes you realize you chose the right career?

JOSHUA BOATMAN: One of my favorite aspects of doing this show eleven years after it premiered is that you have so many different kinds of people coming to the show every night. Some folks may have seen the show live many times, some may have seen it on Disney+ but have never seen it live, and some may be experiencing the show for the first time ever. This is why one of my favorite moments is “My Shot”, which is a three course meal of song early on in the show that showcases a lot of elements (lights, sound, choreography, automation) that we’re going to use throughout the remainder of the show to tell the story. It’s a “welcome back” for veteran Hamil-fans and a “get ready” for those experiencing the show for the first time. Getting to sit out front at the sound board and watch audiences experience those moments is what makes me excited to go to work.

A huge thanks to Lily Soto, Marja Harmon, Chibueze Ihuoma, and Joshua Boatman for taking part in this edition of Rapid Fire 20 Q. Whether they’re bringing Alexander Hamilton’s story to life on stage, stepping into multiple principal roles at a moment’s notice, or ensuring every lyric, cue, and musical moment reaches the audience perfectly, each member of this company plays a vital role in making the magic happen. Catch Hamilton during its Nashville engagement at TPAC with Tuesday thru Friday evening performances at 7:30, Saturday matinee at 2pm & evening at 8pm and Sunday matinee at 1pm and a final performance at 7pm. CLICK HERE for tickets. Trust us—you be glad you were in the room where it happens.

Not in Nashville? Hamilton‘s got you covered as the tour continues with upcoming engagements in Louisville, Fort Worth, San Antonio, Oklahoma City, Little Rock, Atlanta, Birmingham and more as the Angelica Tour continues across North America through summer and beyond. CLICK HERE for tickets. You can also follow Hamilton on Facebook, X, Insta, YouTube and TikTok.

As always, TPAC’s calendar of events is full, even during the summer. CAMP TPAC, their youth theatre initiative is happening now, with various programs through July 17. One Step at a Time a new musical highlighting the importance of supportive educators on their students takes to TPAC’s Polk Theatre June 30-July 1. On July 25, TPAC hosts its annual Family Day CLICK HERE for tickets. On August 29 in the Polk theatre it’s sketch comedy trio Ben Marshall, John Higgins and Martin Herlihy aka Please Don’t Destroy. Their video shorts have been must-see viewing on SNL since 2021. CLICK HERE for tickets or more info. Speaking of SNL, for cast mate Leslie Jones brings her I’m Hot Tour to TPAC‘s Polk Theatre September 12. CLICK HERE for tickets. Broadway at TPAC returns another favorite, Jersey Boys, celebrating their 20th Anniversary Tour with performances September 16-20. Then it’s the debut of TPAC’s 2026/2027 Season with its official kickoff October 13-18 as The Sound of Music returns. For a full list of shows, concerts and special events coming to Music City’s favorite theatre, you can also follow TPAC on Instagram, X, YouTube and Facebook.

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

Rapid Fire 20Q with Opry Star Mandy Barnett: Celebrating 30 Years of Timeless Music at 3rd & Lindsley June 11

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Few voices in country music possess the timeless elegance, emotional depth, and pure vocal artistry of Mandy Barnett. Thirty years after the release of her acclaimed self-titled major label debut album, the Grand Ole Opry member returns to those songs (and more) for a special anniversary concert at 3rd & Lindsley on Thursday, June 11. Ahead of the celebration, Barnett sat down with JHPEntertainment for a candid Rapid Fire 20Q covering everything from Patsy Cline and the Opry to family, loss, perseverance, and the music that continues to inspire her.

JHPENTERTAINMENT: Thirty years after your debut album, what emotions hit you hardest revisiting those songs for this upcoming show?

MANDY BARNETT:  There have been a lot of changes since I was 19 years old. In some ways, it feels like yesterday, and in other ways, it feels like another lifetime. I still love these songs and I’m very proud of that album, which Bill Schnee and Kyle Lehning produced . One of the funniest and honestly one of the best things ever written about me came from The Village Voice. They said I had surprisingly great taste for the secretary of the FFA from Tennessee. I think that quote says something important, even at 19, I knew exactly what kind of music I loved and these songs are still a reflection of that.  

JHPENTERTAINMENT: Your voice has always sounded timeless rather than trendy. Was there ever pressure to chase whatever country radio was doing at the moment?

MANDY BARNETT: I’ve never considered doing anything other than trying to be the best version of myself. I think collaboration works best when there’s common ground and mutual respect. I’m always open to ideas and growth, but if someone wants you to completely abandon who you are as an artist, it usually only creates confusion and despair. I have to do what feels right to me, or it just isn’t worth it. Music is supposed to be fun. 

Of course, I’d love to be rewarded for what I do, but I’ve learned that can’t be the reason for doing it. When I get discouraged, I think about some of the people who believed in me. Ahmet Ertegun once grabbed me, kissed me on the lips, and told me I was the best singer he’d heard in 25 years. Owen Bradley came out of retirement to make an album with me. Those are the kinds of things that remind me to trust my instincts.

JHPENTERTAINMENT: You’ve said you care more about singing than celebrity. What still excites you most about the craft itself after all these years?

MANDY BARNETT: I think you become different versions of yourself as you move through life, and that’s true as a singer, too. Even after all these years, I’m still learning. I’ve learned from great producers, fellow artists, and sometimes even from people I didn’t particularly enjoy working with. The most important thing can’t really be taught. It’s the willingness to be vulnerable and tell the truth in a song.

JHPENTERTAINMENT: You’ve performed more than 500 times on the Grand Ole Opry stage. Does stepping into that circle still feel magical, or has it become home at this point?

MANDY BARNETT: It feels like both home and magic. The Grand Ole Opry has been such a big part of my life for so many years that there’s a comfort and familiarity when I walk out on that stage. At the same time, I never lose sight of what an honor it is. Every time I step into that circle, I’m reminded of the people who stood there before me and the incredible history that surrounds it.

JHPENTERTAINMENT: In 2021, Connie Smith surprising you with your Opry invitation on your birthday sounds like something out of a movie. What do you remember most about that moment?

MANDY BARNETT: After more than 500 appearances on the Grand Ole Opry, I’d spent plenty of birthdays there, so while the thought may have crossed my mind over the years, I certainly didn’t think, “Well, it’s my birthday, so they’re going to make me a member tonight.” I knew it didn’t really work that way, and I wasn’t expecting anything. What I remember most is being genuinely surprised and overwhelmed. Becoming a member was something I’d wanted for a very long time.

 I’m especially glad it was Connie Smith who invited me. Connie has always been a good friend and such a sweetheart. She’s someone I’ve admired for years, and having her be the one to deliver that invitation made the moment even more meaningful. 

And of course, I’m grateful that my parents were able to see it happen. That means more to me now than ever. It meant a lot to my mother. She believed in me from the very beginning, and I think she needed to see that validation almost as much as I did.

JHPENTERTAINMENT: You became synonymous with Always… Patsy Cline having won out the coveted role in the jukebox musical of the iconic singer’s life when you were only 18. Looking back now, how much did Patsy’s music shape the artist you became?

MANDY BARNETT: Patsy shaped me in a profound way. I fell in love with everything about her records, her voice, her emotions, the songs, the production. I was about 8 years old when my mom brought home a Patsy Cline greatest hits cassette she’d picked up in a Kmart Blue Light Special. 

From the moment I heard it, I was hooked.I’ve always been drawn to emotion in music. My mamaw used to sing “You Are My Sunshine” to me when I was little, and I’d bawl my eyes out. Most people think of it as a sweet song, but I heard the sadness in it. I was always attracted to that tenderness and vulnerability.

That’s what Patsy had. She could break your heart when she sang, She wasn’t just singing notes, she was telling the truth. More than any vocal trick or technique, she taught me that the real power of singing comes from making people feel something.

JHPENTERTAINMENT: You channeled Patsy so perfectly that early on there were some detractors who tried to label you a “one-trick pony” because of that, but your catalog jumps from country to jazz to R&B to pop standards. Did proving your versatility become personal for you?

MANDY BARNETT: Well, it’s a pretty good trick. That show was so successful that I think when you’re portraying someone as iconic as Patsy Cline, it’s easy for people to put you in a box. 

But I’ve always been versatile. I had one of the first karaoke machines when I was a kid. It was so old it played 8-tracks. I’d sing all the songs I didn’t particularly want to sing just to get to the one I did, so I ended up trying everything—country, pop, R&B, gospel, whatever was on there. 

 Patsy herself was incredibly versatile. She could sing just about anything. And before Always… Patsy Cline ever came along, Jimmy Bowen signed me to Universal Records at 12 years old.  When he went to Capitol Records, he took me with him. I was recording with musicians from James Taylor’s band years before I ever moved to Nashville. We didn’t release any of the music but what an education that gave me. There was a change in A&R and I lost my record deal. That’s how I ended up auditioning for Always…Patsy Cline. Patsy was certainly one of my heroes, but so were Reba McEntire, Wynonna Judd, Tammy Wynette, Linda Ronstadt, and many others. When I got the role, I had one assignment: sound like Patsy Cline. I did the best I could. 

JHPENTERTAINMENT: Among your discography, I think my personal favorite is Every Star Above which you recorded using arrangements by the late Sammy Nestico (his final project). The inclusion of a 60-piece orchestra on the recordings feels incredibly cinematic. What did recording that project teach you about your own voice?

MANDY BARNETT:  Standing in front of a 60-piece orchestra is an amazing feeling. Talk about being inspired. Making Every Star Above was truly a dream come true. The album was produced by Fred Mollin and released through Melody Place, and Variety named it one of the best albums of 2021. 

Most importantly, it gave me the opportunity to work with the legendary Sammy Nestico on what would become his final recording project. Sammy wasn’t in the best health at the time, but I watched him rally around the music. It was as if the work itself energized him.

 One of the last conversations we had was about what we might do next, and I loved that. He never stopped dreaming and creating.

JHPENTERTAINMENT: Throughout your career, you’ve worked with legends like Owen Bradley, Harold Bradley, Gene Chrisman, and the Memphis Boys. What’s something younger artists today could learn from that generation of musicians?

MANDY BARNETT: What I loved about that generation was how generous they were. I’ve heard so many musicians say, “Harold gave me my first session,” or “Gene helped me with this or that.” Owen Bradley was incredibly generous to me, and so was Seymour Stein. Seymour signed Madonna, Talking Heads, and the Ramones. He was one of the great visionaries in the music business because he genuinely loved music and cared about the artists. I was the first artist he signed when he relaunched Sire Records, and that album was with Owen Bradley. I would also tell young artists that careers have peaks and valleys. People will tell you you’re the best and the worst, sometimes in the same week. There will be people who believe in you and others who don’t get you at all. You can’t let the ones who don’t get you define your worth. And finally, don’t become so competitive that you forget how to be a decent person. The people I admired most weren’t just great musicians, they were good people.

JHPENTERTAINMENT: Having known you as long as I have, I know there’s been more than one occasion when you’ve gone into the studio and recorded tracks for albums that for one reason or another never saw the light of day. Is there one project that you worked on that you still wish had been released?

MANDY BARNETT: That’s just the way the music business works sometimes. Not every project makes it across the finish line. So focus on the next one!

JHPENTERTAINMENT: Over the years you’ve shared that your earliest memories of singing took place alongside your Aunt Linda at the church founded by your grandfather. What do you recall most about those memories of family and music? 

MANDY BARNETT: I didn’t know it at the time, but those were some of the best days of my life. The love and support my family gave me was extraordinary, and I’d give just about anything to go back and spend one more day with them.

JHPENTERTAINMENT: Speaking of family, these last couple of years have been hard on you, having lost both your sweet Mama, Betty and your Dad. Was it difficult to get back out on stage, or did music play a role in picking up the pieces after such devastating loss?

MANDY BARNETT:  They were both the kind of people who would tell you to get on with it, so I do the best I can. They would want me to work, keep singing, and keep moving forward.But the truth is, I’ve struggled with those losses. Nothing has ever broken my heart more.What makes it especially emotional is that we had such an extraordinary last chapter together. My parents had been divorced for 30 years, and then suddenly life threw us all back together. There I was taking them to doctor’s appointments, helping them through illnesses and challenges neither of us saw coming. It was healing in some ways, brutal in others, and often very sweet. For a period of time, the three of us were together again, and I’m so grateful for that. It wasn’t always easy, but it gave us an opportunity to reconnect and understand each other in a deeper way. Music has certainly helped me cope, but grief doesn’t follow a schedule. Some days are easier than others. I just know how fortunate I was to have had the parents I did, and how grateful I am that I got that time with both of them before they were gone.

JHPENTERTAINMENT: Not long after your church performing debut, you won a singing competition at Dollywood and began performing in Archie Campbell’s Hee Haw Village in Pigeon Forge. What do those opportunities mean to you as you look back on that time?

MANDY BARNETT: They were golden opportunities, and I’m grateful for every one of them.It was the first year Dollywood was open, and I was just a kid getting the chance to be around some incredible people. I got to work with Dolly and her family, perform with a live band, and learn things that you simply can’t learn anywhere else.I met Archie Campbell while opening a show that also featured Chet Atkins and Wilma Burgess. Afterward, Archie told me, “Come up anytime. You’re always welcome.” And he meant it. He gave a young singer the opportunity to come perform at his show whenever I wanted, with a real band and a real audience.Looking back, that was an extraordinary gift. Archie didn’t have to do that, but he did. Those experiences gave me confidence, stage time, and memories I’ll always treasure.

JHPENTERTAINMENT: Another connection to a legend…when your friend and Opry sister Miss Jeannie Seely passed away, you were chosen to take on hosting duties of Sundays with Seely on SiriusXM’s Willie’s Roadhouse channel. Rechristened Sundays with Mandy, you spin classic country records and share conversations with legends and up-and-coming country artists. What’s it been like to add radio host to your resume? 

MANDY BARNETT:  I’m enjoying it a lot. I’ve always been a fan of country music, so getting to put together a different show every week is a lot of fun for me. I’ve always been a bit of a music nerd. There are certainly people who know more than I do, but I was fortunate enough to know many of these artists and work with them at the Grand Ole Opry, so I have stories and a personal perspective to share. I also loved Jeannie Seely and miss her very much. We all do at the Opry. In a lot of ways, I think we’re all trying to carry on in a way that would make her proud. I still find myself wondering, “How would Jeannie handle this?” more often than you’d think.

JHPENTERTAINMENT: Hosting duties aside, your brilliant vocal skills have always been the focus of your performing career, but in recent years you’ve expanded your talents a bit by picking up the ukulele, even strumming it a time or two in concert. What is it about the instrument that intrigues you?

MANDY BARNETT:I think it’s the instant gratification. It’s easier than a guitar, it’s smaller, and for whatever reason I seem to have a knack for it. I do wish I’d grown up playing an instrument. 

 I was so focused on singing that I never really developed that side of my musicianship. When I was coming up, being a great singer was enough. You didn’t necessarily have to play an instrument or write your own songs. So it’s been fun to learn something new and challenge myself a little. It’s given me a whole new appreciation for the people who accompany themselves. . And I’ve also started doing more songwriting and have found that to be an exciting and fulfilling creative outlet.

JHPENTERTAINMENT: You grew up around gospel music, bluegrass, country, jazz, and classic pop standards. Which genre still feels the most like “home” emotionally?

MANDY BARNETT:  Honestly, all of them. I’ve never really felt the need to choose just one.I grew up around gospel, bluegrass, country, rock and classic pop, and I’ve spent my career singing a little bit of everything. Each genre speaks to a different part of me. Country music is certainly my foundation, but I love the storytelling of country, the emotion of gospel, the musicianship of jazz, and the timeless melodies of the great pop standards.

JHPENTERTAINMENT: In 2024, you and your friend, jazz songstress Monica Ramey co-hosted Variety on Main, a monthly performance night at Franklin Theatre. During these shows you showcased a variety of entertainers from all genres and of all ages. What was most gratifying about that experience? AND…are there any plans for your and Monica to team up again professionally, either in a redo of Variety on Main, or perhaps in the studio?

MANDY BARNETT:What was most gratifying was seeing it all come together. We had amazing guests, wonderful audiences, and a really good mix of performers from different generations and musical backgrounds. Monica and I produced the shows ourselves, so we were involved in everything from booking talent to planning the format and making sure the details were covered. We had different strengths that complemented each other well. I focused a lot on booking the artists, and Monica was terrific at keeping everything organized and running smoothly. I’d love to do something like that again at some point. We had a lot of fun with it, and I think the audience did too.

JHPENTERTAINMENT: Having known you as a friend and also being an ardent fan of your music, I love that you’ll occasionally show an unexpected deep cut from any number of artists into the mix when you’re live in concert. Beyond the track-by-track from your first major label debut album and a few Patsy Cline songs, can you give us a hint of what else we might expect to hear during your upcoming 3rd & Lindsley show?

MANDY BARNETT: I will say that we’re playing the debut album in sequence, and beyond that, there will be a few surprises. I’ve never been very good at giving everything away ahead of time. Part of the fun is being in the room and experiencing it as it unfolds.

JHPENTERTAINMENT: Following this anniversary show, you’ve got another special performance planned as you return to your high school alma mater, Cumberland County High School for a one-night-only concert benefitting the high school’s football program. Why is it important to you to be part of this particular event?

MANDY BARNETT:I want to help the kids in Crossville. The more time I spend there, the more I appreciate what a special place it is and how much it shaped me.I believe young people need their talents to be encouraged and cultivated, whether that’s music, sports, academics, or anything else. And they need the right tools to succeed. When I was growing up, I had a little karaoke machine that played 8-tracks, and that helped spark my love of singing. It was the right equipment for me at the time. These young athletes deserve the equipment they need to compete at a high level and have every opportunity to succeed. If I can help in some small way, I’m happy to do it. It’s a chance to give something back to the community that gave so much to me.

JHPENTERTAINMENT: Last one — when the lights go down after this 30th anniversary celebration, what do you hope people remember most about Mandy Barnett as an artist?

MANDY BARNETT: I hope people remember that I stayed true to myself.I’ve never been very good at chasing trends. I’ve always followed my instincts, trusted my taste, and sung the music I love, whether it was popular at the time or not.I’ve been fortunate to have a long career, and I’ve learned that the right audience eventually finds you. There have been ups and downs, disappointments and wonderful surprises, but I’ve always found a way to keep going. At the end of the day, I hope people remember me as someone who cared deeply about the music, respected the artists who came before me, and never stopped trying to grow.

Thirty years after introducing herself to the world on her major label debut, Mandy Barnett remains exactly what she has always been: an artist guided by instinct, integrity, and an unwavering love of great songs. Whether revisiting the album that launched her career, honoring the legacy of Patsy Cline, stepping into the Grand Ole Opry circle, or sharing stories behind the music, Barnett continues to prove that authenticity never goes out of style.

Mandy Barnett’s concert celebrating the 30th anniversary of her debut album takes place Thursday, June 11 at 3rd & Lindsley in Nashville. General Admission tickets are $26.46 (fees included). For longtime fans and first-time listeners alike, it promises to be a special evening celebrating one of Music City’s most enduring voices. CLICK HERE for tickets. To see Mandy at her high school alma mater, Cumberland County High School on July 18, CLICK HERE for tickets.  To keep up with Mandy and to see where she’s performing next, follow her on Instagram and Facebook. 

For the latest music events at 3rd & Lindsley, 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: Step Right Up as ‘Water for Elephants’ National Tour turns TPAC into Broadway’s Most Breathtaking Spectacle; onstage thru Sunday, May 17

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There is a moment early in Water for Elephants when the ensemble begins swaying in synchronized rhythm, bodies rocking side to side as if connected by an invisible thread, and suddenly the audience is no longer sitting inside Jackson Hall at Tennessee Performing Arts Center — we are barreling across America with the Benzini Brothers Circus. It is one of the production’s most inspired visual motifs, a kind of train-ography, if you will, that becomes the pulse of the entire evening. Through movement alone, the cast conjures locomotives, instability, exhaustion, hope, and the restless momentum of Depression-era survival. Simple? Seemingly so. But in execution, it is theatrical magic.

Now playing Music City through Sunday, May 17, the National Tour of Water for Elephants delivers spectacle without drowning in it. Rather than relying solely on oversized circus gimmickry, the production trusts movement, music, lighting, lush storytelling and deeply committed performances to transport audiences into its world. The result is a stirring, emotionally textured theatrical experience that balances intimacy with astonishing visual ambition.

At the center of the production is Zachary Keller as Jacob Jankowski, the grieving veterinary student who impulsively abandons his former life and jumps aboard the Benzini train. Keller anchors the production with a grounded sincerity and a soaring vocal performance that gives emotional weight to Jacob’s internal struggle between safety and risk, logic and passion. His voice carries a warm ache throughout the evening, particularly in moments when Jacob wrestles with the moral compromises surrounding the circus and his growing connection to Marlena. There are moments within Keller’s performance that the entire audience falls in love with his Jacob. Heck, there are moments his near-perfect pitch vocals fill the venue so melodically that you even wonder if he needs a mic. A true testament to his skills and those of the show’s sound designer Walter Trarbach and the entire technical team.

In the role of Jacob’s older self, Mr. Jankowski is Robert Tully. Fittingly, Tully’s show bio reveals among his many theatre credits, he actually served as Ringmaster for Ringling Bros. and Barnum & Bailey circus, making his narrative duties all the more authentic as he regales Jacob’s time riding the rails as a circus roustabout.

Opposite Keller (and Tully), Helen Krushinski delivers a luminous performance as Marlena, the circus star trapped inside an increasingly dangerous marriage. Krushinski possesses the kind of voice that cuts cleanly through the orchestrations without ever losing emotional nuance. She brings both fragility and fierce determination to Marlena, avoiding cliché and instead presenting a woman desperately searching for dignity and freedom amid chaos. Like so many of her ensemble cast mates, Krushinski also demonstrates a bit of impressive arial skills, adding a literal and figurative extra layer to her performance.

Then there is Connor Sullivan as August, whose volatile presence practically crackles across the stage. Sullivan’s vocals are thunderous and commanding, but it is the unpredictability simmering beneath every line that makes the performance so riveting. He creates a genuinely unsettling antagonist — charming one second, terrifying the next — while still revealing enough humanity to keep the character from becoming cartoonish. Without having checked out the playbill prior to attending Nashville’s Opening Night performance, the second Sullivan entered the stage, I recognized him immediately. No doubt theatre fans across the country have done the same, given Sullivan joined Water for Elephants not long after his previous gig as Billy Flynn in last year’s National Tour of Chicago came to an end.

Together, Keller, Krushinski, and Sullivan form a powerhouse central trio whose vocals elevate the production far beyond spectacle alone. Their emotional authenticity keeps the audience invested even as acrobats fly overhead and circus acts unfold around them.

The same can be said for the modern-day interludes in which Tully’s Mr. Jankowski shares tales of his younger self with Krushinski and Sullivan–in present-days scenes playing circus workers June and Charlie. The respect, admiration and care with which Krushinski’s June and Sullivan’s Charlie attentively listen to Tully’s Mr. Jankowski as he relives the glory days and heartaches of his former life serves as a reminder to us all that our elders have incredible stories to be listened to and learned from. We just have to take the time and make the effort to hear them.

While the score of Water for Elephants falls into the category of musicals that are quite effective in the moment, but for the most part, unless you’re a die-hard devotee of the show, you’re likely not going to add it to your daily playlist, several musical numbers land with exceptional force. “Anywhere” becomes an emotional turning point for Jacob and Marlena, with Keller and Krushinski blending their vocals beautifully while revealing the aching vulnerability beneath their growing connection. Meanwhile, August’s explosive numbers pulse with danger and desperation, allowing Sullivan to unleash the full power of his commanding voice and increasingly fractured psyche. The company-wide numbers prove equally affective, particularly those involving the traveling circus ensemble, where choreography, percussion-like movement, and the now-signature train-ography fuse together into thrilling theatrical momentum. Rather than pausing the story for songs, the score continuously propels the narrative forward like the locomotive at its center. The harmonies of the entire company singing in unison is simply quite spectacular.

Special recognition also belongs to John Neurohr, who stepped into the role of Walter, the knife-throwing clown, for Nashville’s Opening Night performance. Neurohr brought an endearing warmth and understated melancholy to the role, grounding Walter’s eccentricity with genuine heart. His stage presence blended seamlessly into the production’s emotional fabric, while his physicality and comic timing added welcome texture to several ensemble-driven moments throughout the evening.

And yes — the aerial and acrobatic work is extraordinary. This production understands that circus artistry should not simply interrupt the narrative; it should become the narrative. Silks, balancing acts, lifts, and gravity-defying choreography emerge organically from the emotional life of the story. The transitions feel seamless rather than showy for the sake of applause. From the jump, as the circus ‘crew’ is setting up shop at their latest stop, even the pounding of the tent-stakes into the ground and the raising of the tent becomes a cadenced ballet of movement, acrobatics and mind-boggling balance and strength. This elegance of motion and bodily discipline becomes another character throughout.

Particular praise belongs to Yves Artières, whose physical performance as Silver Star, Marlena’s beloved show horse, becomes one of the evening’s unexpected emotional centerpieces. Through movement alone, Artières creates personality, loyalty, exhaustion, and tenderness in a way that feels almost impossibly expressive. In a key scene when Silver Star reaches his untimely end, the visual of his spirit leaving his body, by way of Artières ascending silks hanging from the rafters above the stage, then dramatically unfurling the silks as he descends to return to the earth–simply breathtakingly beautiful. The puppetry/animal work throughout the production is remarkably inventive, but Silver Star’s presence lingers long after curtain call.

As Silver Star evokes emotion, Gabriela Diaz as Agnes, the orangutan elicits laughter while Kayden Woodridge‘s puppetry as Rex, the lion evokes fear.

That artistry that extends beautifully into the production’s remarkable puppetry design is most notably witnessed in Rosie, the titular pachyderm herself. Even before Rosie makes her official entrance, her presence looms larger than life throughout the narrative — a symbol of hope, survival, and emotional connection for nearly every character onstage. When she finally appears, the effect is genuinely awe-inspiring. Brought to life by on Opening Night in Nashville by Ella Huestis, Chris Marth, Bradley Parrish, Andrew Meier, and Carl Robinett, Rosie is far more than a puppet; she becomes a fully realized emotional force within the story. The coordination and grace required by the performers is staggering, yet the mechanics disappear almost instantly, allowing audiences to emotionally invest in the elephant herself. It is a masterclass in collaborative physical storytelling. Not since Dumbo or Mr. Snuffleupagus has a pachy won over an entire audience by simply walking across the stage.

Ruby Gibbs‘ Barbara, while employed as the circus’ somewhat bawdy leading lady, reveals a softer side where Jacob is concerned. Javier Garcia‘s Camel, a drink-swilling roustabout veteran, who takes Jacob under his wing, becomes a bit of a father-figure to newbie. Both of these actors endear themselves to the audience with their abilities.

The entire company, whether lead actors, featured supporting cast or the incredibly gifted high-flyers, tumblers, acrobats, jugglers–just like a real circus troupe–it’s the entire company, and the individual skills they bring, that make up the full multitude of experiences for a night of incredible joy and entertainment overload. Seriously, this ensemble is nothing short of phenomenal. Whether transforming into roustabouts, circus performers, fellow travelers, or performing animals, the company operates with astonishing precision and energy. Their physical storytelling becomes a vital connective tissue of the production, especially during those unforgettable rail-travel sequences where synchronized motion and rhythmic choreography create the sensation of perpetual movement.

Equally effective is the production’s restraint in its technical design. Rather than constructing an oversized literal circus environment, the creative team leans into minimalism with confidence. Scenic elements remain spare and fluid, allowing the actors and movement to define the environment. That simplicity makes the production’s biggest visual moments land even harder.

Most impressive is the staging of the circus tent itself. Instead of unveiling some predictable red-and-white striped spectacle, the production opts for a hauntingly beautiful sheer grey canopy that rises overhead and transforms through lighting into the shadowed suggestion of a massive big top. It is elegant, dreamlike, and emotionally evocative — less interested in realism than memory. The choice perfectly reflects the production’s overall artistic philosophy: suggest rather than overwhelm.

The lighting design deserves enormous credit for shaping the show’s emotional landscape. Warm ambers, smoky blues, and stark silhouettes constantly shift the atmosphere from romance to danger to wonder. Combined with a richly textured sound design that captures both the intimacy of whispered confessions and the thunder of circus chaos, the technical package immerses the audience completely without ever feeling excessive.

What makes Water for Elephants resonate so deeply is that beneath all its acrobatics and visual invention lies a profoundly human story about survival, reinvention, and finding family in unexpected places. This touring production never loses sight of that heart. By the time the company takes its final bow, audiences are likely to feel exactly like Jacob himself: changed by the journey…and excitedly anticipating what life has in store next.

Water for Elephants at TPAC is not merely a musical. It is a moving act of theatrical imagination — one that races forward with the force of a locomotive while never forgetting the fragile souls riding inside it and their ultimate purpose of bringing a little joy wherever the rails, the circus and their lives take them.

Water for Elephants continues it’s tour-stop in Nashville at TPAC’s Jackson Hall with performances thru Sunday, May 17. CLICK HERE for tickets or more information. After its Nashville dates, Water for Elephants continues its National Tour with stops in Hartford, CT June 2-7, Columbus, OH June 9-14, Madison, WI June 16-21, Chicago, IL June 23-July 5 and many more cities across North America through May of next year! CLICK HERE for the full schedule of remaining tour dates. Check out Water for Elephants online HERE and on Insta, Facebook, X, TikTok and YouTube for more.

Following Water for Elephants, the current Broadway at TPAC season continues with the return of two favorites. First Book of Mormon  returns to Music City with performances June 2-7 followed by Hamilton June 17-28. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q:This Empty Vessel on Their Debut Album ‘NOD’; Now Streaming Everywhere

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Atmospheric, cinematic, and emotionally charged, NOD marks the debut release from This Empty Vessel (TEV)—a collaborative project built on evolution, storytelling, and sonic exploration. Released on February 27, the album was written and produced by Gerald Josef, J Booth, and Wes Bishop, with vocals from Jennifer McLane guiding listeners through its layered, immersive soundscape.

Blending elements of alt-rock, electronic textures, and folk-inspired storytelling, NOD was crafted as a front-to-back listening experience—one that invites audiences into an etherial space somewhere between dream and reality.

JHP Entertainment caught up with the creative forces behind This Empty Vessel to talk about the origins of the project, the making of NOD, and what lies ahead in TEV‘s ever-evolving musical journey.

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RAPID FIRE 20Q: THIS EMPTY VESSEL ON THEIR DEBUT ALBUM, NOD 

RAPID FIRE WITH TEV’s GERALD JOSEF

JHPENTERTAINMENT: You’re credited as one of the founding forces behind This Empty Vessel. What first sparked the idea for the project, and at what point did the concept for the debut album NOD begin to take shape?

GERALD JOSEF: First, let me say that I’ve known J for nearly 40 years. His ability to write prophetic, emotionally deep lyrics—while still making them work within a pop or alt-rock framework—is unmatched. I always knew that if I ever started something new, he’d be the person I’d want to build it with.

The core idea behind This Empty Vessel is simple: create the best music we’re capable of. With each release, we plan to introduce a new artist—both to lift them up and to push ourselves as writers to keep evolving.

The concept for NOD came straight from J. He has this rare gift for taking a spark of an idea, shaping it, and carrying it all the way to a fully realized story.

JHPENTERTAINMENT: As a multi-instrumentalist and composer on NOD, how did you approach shaping the sonic palette of the record—from the gothic mysticism heard in “Prologue” to the folk-tinged textures of tracks like “Oceans and Blankets”?

GERALD JOSEF: One of the things I love about having a few years of experience under my belt is finally having access to tools I could only dream about when I first started. Most of what I use now is software-based, but so many of these instruments are incredibly faithful recreations of the originals—classic synthesizers, beautifully expressive orchestral libraries, and everything in between.

I’m especially drawn to sounds with a slightly spooky edge, like “Prologue,” or the dramatic, atmospheric textures you get from “Oceans and Blankets.” Anything with a cinematic feel tends to pull me in.

JHPENTERTAINMENT: Ok, let’s just get into it… NOD. When I first heard the name, I had two thoughts—Nod, the biblical city of exile just East of Eden…OR, The Land of Nod, a dreamlike state as written about in Robert Louis Stevenson’s 1885 collection of poetry. So, what was the inspiration for the project title?

GERALD JOSEF: This is truly a question for J as he is the author of this concept. I will say NOD leans more towards the liminal space in between awake and fully asleep.

JHPENTERTAINMENT: NOD was written as a front-to-back listening experience rather than simply a collection of songs. How intentional were you about sequencing the record and guiding the emotional arc from “Prologue” all the way to “Home”?

GERALD JOSEF: Everything about this project was intentional. J and I worked closely on every aspect of the production to make sure the album had a consistent feel and a natural flow. It was the perfect way to ease back into working together and a reminder of the direction we believe we’re heading.

Because our long-term vision is to collaborate with a different artist on each project, that intentionality becomes even more important. It allows us to stay true to our own writing style while also being mindful of the artist we’re working with and the direction they naturally want to take.

JHPENTERTAINMENT: Now that NOD is out in the world, what’s next for This Empty Vessel—more recordings, live performances, or perhaps expanding the collaborative circle behind the project?

GERALD JOSEF: We’re already excited about what’s next. Our next artist is lined up, and we’ll most likely shift to smaller, more frequent releases before moving on to the next vocalist. As for live performances, that’s not our focus right now. If the right opportunity comes along, we can revisit it, but it may be challenging since we plan to work with many different vocalists over time.

For now, we’re keeping the writing circle to just the three of us. We may eventually expand the process, but we’re still early enough in this journey that it isn’t necessary yet.

RAPID FIRE WITH TEV’s J BOOTH

JHPENTERTAINMENT: You’re part of the trio that formed This Empty Vessel. How did your lyrical/musical background and instrumental role in the band influence the sound and direction of NOD?…AND…When I chatted with Gerald, he deferred to you when I ask about the inspiration for the album title, so…

J BOOTH: When Gerald, Wes, and myself set out to work on this album we made two decisions at the onset. 1.) We wanted to work with a female vocalist on TEV’s first album—something the three of us hadn’t done in some time and missed. 2.) We wanted to write songs that were accessible to a large audience.

We challenged ourselves to use lighter tonal colors, focus on clear themes, and create hooks that complement a female voice. I approached it the old way—just me, an acoustic guitar, and weeks in a room. Once I had something strong, I’d send it to G and Wes. When approved, I’d dig into my studio and start building from there.

[as for the project title] When I was younger we would always “go off to the land of Nod” when we were going to bed. I didn’t realize at that young age that there were religious implications to the term or place. I thought it meant it was where you went when you nodded off—a place where you go to dream. Literally, that’s what I thought.

JHPENTERTAINMENT: While somehow remaining cohesive, NOD blends alt-rock, electronic textures, shoegaze elements, and folk storytelling. When working on the arrangements, how did you strike that balance between atmosphere and raw edge?

J BOOTH: I love this question. We approached the album like we were filming a movie—each song is a scene. From “Prologue” to “Clean,” we let each track be itself while tying them together subtly.

When atmosphere was needed, G’s orchestration and synth work led the way. When it needed edge, I brought that on guitar, and Wes is a powerhouse on drums when it comes to accenting emotion. The songs told us what they needed—we just followed.

JHPENTERTAINMENT: Tracks like “Knock Knock Road” introduce dissonant electronics alongside roots-leaning melodies. Can you walk us through the creative process behind building a track like that?

J BOOTH: Believe it or not, “Knock Knock Road” was inspired by “Ode to Billie Joe” by Bobbie Gentry. At its core, it’s a folk song—arpeggiated verses with sliding riffs instead of straight strumming.

We knew it had to follow “Japanese Tile,” so it needed to push the album forward. G added dark synth layers, we created an opening line together, and Jenn doubled it vocally with a bit of a Led Zeppelin vibe. Then I layered in percussive guitars while Wes and G built a groove.

Honestly, none of it should’ve worked—which is probably why it did. And yeah, we had a blast.

JHPENTERTAINMENT: Where were the NOD sessions tracked, and what did those studio collaborations bring to the final sound?

J BOOTH: Gerald set up a system where I tracked guitars at my home studio while he handled orchestration, drums, vocals, and mixing at his place.

We’d share files back and forth—sending tracks to Wes with a click so he could build his parts before we all got together. It made the process efficient but still collaborative when we met in person.

JHPENTERTAINMENT: With the album now released through Soundcrest Music Group and reaching listeners worldwide, how do you see This Empty Vessel evolving musically from here?

J BOOTH: The whole purpose of This Empty Vessel is to evolve with every project. The next one will feature a new vocalist, new direction, and a fresh blend of influences.

We’re doing this to challenge ourselves and to spotlight artists we believe in. The days of being boxed into one lane are over—we’re here to explore.

RAPID FIRE WITH TEV’s WES BISHOP

JHPENTERTAINMENT: As one of the founding musicians of This Empty Vessel, what initially drew you into the project, and how did your instrumental role shape NOD?

WES: Anytime I get the opportunity to create original material with G and J, I’m all in. The idea of being a production company rather than just a band really fits this stage of life.

For NOD, I wanted drum grooves that broke away from standard rock patterns—blending raw drums with synth elements alongside G.

JHPENTERTAINMENT: Which track on NOD best represents your personal musical fingerprint?

WES: I’d have to say “Knock Knock Road.” It’s got an unusual groove, sensitive dynamics, and raw power—all things I love.

JHPENTERTAINMENT: The album explores themes of loneliness, uncertainty, and communication breakdown. How did those ideas influence your approach in the studio?

WES: Like you said—we’ve all been there. We each brought our own emotional interpretation into the songs, and that helped shape something that feels real and meaningful.

JHPENTERTAINMENT: At what point during the single rollout did you feel momentum building toward the full release?

WES: I was excited from day one with “Valentine,” but it was after “Joey’s Getting Mad Again” that I really felt the momentum take off.

JHPENTERTAINMENT: What excites you most about the next chapter?

WES: Starting new material. A new vocalist, new direction, new concept—that’s what has me fired up.

RAPID FIRE WITH TEV GUEST VOCALIST, JENNIFER McLANE

JHPENTERTAINMENT: You provide the lead vocals on NOD. How did you first become involved with This Empty Vessel?

JENNIFER McLANE: I’ve known Gerald for years and had worked on some of his music before. When he reached out again, I was intrigued. Coming from a folk, blues, and R&B background, I knew this would stretch me—and that challenge is what drew me in.

JHPENTERTAINMENT: Your voice carries a haunting emotional weight across the record, especially on “You Don’t Want Me.” How did you approach that?

JENNIFER McLANE: “Haunting emotional weight”—I like that. I just stepped into that space. It’s something many of us can relate to. Lines like “I hate your popcorn…” made me laugh—they’re so specific, but so real.

JHPENTERTAINMENT: How did you adapt your vocals to match the shifting moods of the album?

JENNIFER McLANE: Each song felt like a play, a movie—sometimes even a circus. I placed myself inside each story. The guys would share their perspectives, and I’d blend that with my own life experiences. Life is colorful—I had plenty to draw from.

JHPENTERTAINMENT: Do you have a favorite track that pushed you vocally?

JENNIFER McLANE: That’s tough—they all stretched me in different ways. “Prologue” moves from whisper to howl. “Japanese Tile” broke my heart. “Clean” feels like a lament. “17” has this unrequited love energy. “Maybe” hits with the line, “If you don’t know that you’re the best part of me, then that’s my fault.”

JHPENTERTAINMENT: What do you hope listeners take away from NOD?

JENNIFER McLANE: I hope people enjoy the journey. More than anything, I hope something resonates. Music is such a gift—to give and to receive.

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With NOD, This Empty Vessel has introduced a bold and deeply intentional debut—one that not only showcases the collective strengths of Gerald Josef, J Booth, Wes Bishop, and vocalist Jennifer McLane, but also sets the tone for a project rooted in collaboration and constant reinvention.

As the group looks ahead to new artists, new sounds, and new creative territory, one thing is clear: This Empty Vessel is just getting started.

NOD, released February 27, is available now on all major streaming platforms. CLICK HERE to check out the full album on your favorite streaming service. To check out a recent review of NOD, CLICK HERE.

To keep up with This Empty Vessel, CLICK HERE or follow them on Spotify, Apple Music, Insta and TikTok.

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

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

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

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

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

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

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

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

BIG FISH opens at The Keeton on Friday, February 6 and continues through Sunday, February 22. Thursday performances are show only with Doors at 6:30pm and Show at 7pm. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Show Only Tickets: $30.00 (Thursday performances), Adult Dinner and Show: $40.00, Child Dinner and Show: $35.00. CLICK HERE for tickets. 

Following BIG FISH, The Keeton will present The Play That Goes Wrong with performances April 10-26. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

 

 

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

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

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

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

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

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

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

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

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

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

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

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

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

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

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

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

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

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

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

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

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

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

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

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

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

——-

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

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

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

 

Theatre Review: 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!

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.