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

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

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

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

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

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

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

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

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

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

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

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

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

1. Patty Simcox (Grease) 

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

2. Troy Bolton (High School Musical)

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

3. Regina George (Mean Girls)

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

4. Cher Horowitz (Clueless)

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

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

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

JHPENTERTAINMENT: What’s next for you?  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with ‘Back to the Future the Musical’ National Tour’s Marty, Lorraine, Biff and Doc; at TPAC thru Sunday

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When Back to the Future: The Musical hits the stage, it doesn’t just revisit a beloved story—it supercharges it with theatrical spectacle, heart, and 1.21 gigawatts of energy. On Tuesday, March 17 the National Tour set their destination to TPAC’s Jackson Hall for a five-day, 8-show run thru Sunday, March 22, inviting audiences to hop in the DeLorean and experience Hill Valley like never before.

In this edition of Rapid Fire 20Q, we caught up with BTTF‘s Marty McFly-Lucas Hallauer, Doc Brown-David Josefsberg, Lorraine Baines-McFly-Kathryn Adeline, and Biff Tannen-Nathaniel Hackmann to talk about stepping into iconic roles, honoring a cinematic legacy, life on the road, and the 88mph magic that brings this time-traveling adventure to life eight shows a week.

So buckle up, dreamers! It’s time to go Back to the Future!

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RAPID FIRE 20Q WITH CAST OF BACK TO THE FUTURE: THE MUSICAL

RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER

JHPENTERTAINMENT: You joined the national tour originally as a swing before stepping into the starring role of Marty McFly early in 2025. What was that transition like—from covering multiple tracks to suddenly being the guy tasked with securing his own future every night?

LUCAS HALLAUER: Getting to launch this tour and be part of the Original Tour Cast was an absolute dream come true, and when we started this tour I would have never imagined that I would be in the position that I am today. Both of the jobs I’ve had on this tour are incredibly difficult for different reasons. Obviously performing the high-energy role of Marty 8x a week is no joke and it’s the most vocally taxing show I’ve ever done, but as a swing, not knowing which of my 8 tracks they were going to put me on for was much more emotionally taxing and stress inducing. Swings and understudies are truly the backbone of our industry and they don’t get nearly enough credit for it. I’m incredibly grateful for my time as a swing because I learned so much and it gave me an even greater respect for the swings and understudies in the cast.

JHPENTERTAINMENT: Marty McFly, of course, was made famous on screen by Michael J. Fox. What aspects of the character felt most important for you to capture when stepping into the role?

LUCAS HALLAUER: The great thing about Back To The Future being such a popular movie is that most people likely know the characters and the story already. And for good reason, people really love these characters. Our director John Rando and Bob Gale, the creator of the franchise, were very open about us creating our own versions of these characters. And I think what helps with that is the bits in our show that aren’t in the movie. Obviously, because it’s a musical, we sing and dance, and that gives us an opportunity to see more into these characters mind’s and get a deeper understanding of them.

JHPENTERTAINMENT: Back to the Future carries a huge nostalgia factor, especially for audiences who grew up with the movie. Has performing the show night after night given you a deeper appreciation for what the story means to fans of a certain generation?

LUCAS HALLAUER: Absolutely. I was a fan of the movie before auditioning for the show, so I can understand the love and passion that fans have for the films. Doing this show every night, and having met so many of the people involved in creating that franchise like Bob Gale, Michael J. Fox, Christopher Lloyd, & Lea Thompson (to name a few) has only strengthened my love for Back To The Future and I’m so grateful to be even a small part of that legacy.

JHPENTERTAINMENT: Marty’s wardrobe—from the puffer vest to the sneakers, perfectly reimagined for the stage by scenic and costume designer Tim Hatley—is instantly recognizable. What’s it like to put on that iconic costume each night and step into such a visually legendary look?

LUCAS HALLAUER: The design team has spared no expense to make sure that these iconic costumes look like the ones from the films. I love being able to live out my 80’s fantasy every night in denim on denim, and the 50’s prom outfit that Marty gets to wear has always been one of my favorites, so as a Back to the Future fan, these costumes have definitely been fun for me to play around in. I will say that we go through a lot of those sneakers though. Running around our stage 8x a week means beating those things up pretty thoroughly.

JHPENTERTAINMENT: You graduated from Coastal Carolina University in 2023 and not long after find yourself starring in a major national tour. Has there been a moment during this run where you stopped and thought, “Okay…this is really happening”?

LUCAS HALLAUER: I’m still not sure I’ve come to terms with it. I visited my alma mater recently to attend a 25th Anniversary Gala, and while I was there it almost felt as if I had never left. The past 3 years that I’ve been touring have been so surreal and every day I think I’ll wake up from the dream. Every once in a while, I’ll finish the show and look out into the crowd and just try to take in the moment, because it truly has been one of the greatest experiences of my life and I will forever be grateful to Back To The Future for that.

RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE

JHPENTERTAINMENT: Lorraine is such an interesting character because of the time-travel element of the story. What’s it like sharing the stage with Lucas’ Marty as both the future son she’ll eventually have and the mysterious guy her teenage self suddenly develops a crush on?

KATHRYN ADELINE: First – playing this role opposite Lucas has been an amazing experience. He is so funny and talented, and I often feel like I’m literally in the movie. Along with the entire company, we are having a blast telling this story each and every night. Playing Lorraine comes with a challenging dynamic because the character lives at the intersection of comedy and sincerity. Young Lorraine feels a connection with Marty and an attraction towards him in a way that she has never experienced before. “There’s just something about that boy!” What creates the comedic tension is that both Marty and the audience know something she does not- He is her son. So it becomes this balance of playing the innocence of a genuine and curious teenage girl discovering her own feelings and desires, while allowing the comedy of the surreal nature of the situation to live on top. The two different versions of 1985 Lorraine highlight the truth that our choices and life experience help define who we become.

JHPENTERTAINMENT: As you mention, Lorraine transforms quite a bit between the first time audiences see her, then the 1955 version of herself and again into the 1985 Lorraine audiences see later. How do you approach that arc within the show? And how grateful are you to Campbell Young Associates for the wig/hair/makeup assist in the physical transformation?

KATHRYN ADELINE: Transforming between the different versions of Lorraine is one of my favorite things about playing this role. When audience members first meet her, she is a tired, apathetic, middle aged mother who is coping with the fact that her life didn’t necessarily play out the way she had hoped. A few scenes later, Lorraine enters the stage again but this time 30 years younger as a curious, eager, innocent, bright, and zealous teenager. Finally, at the end of the show, we meet a new and different version of middle aged Lorraine. She is now put together, energetic, spunky, and sweet.

I have been very intentional in differentiating these three versions of the same character. While she is the same person, her life experience is completely different in each part of her storyand this informs her intentions, attitudes and physicality.

There is no doubt that when it comes to building her arc, much credit belongs to the perfectly designed costumes and the fabulous wigs and makeup… thanks to Campbell Young Associates. Their talent and attention to detail is truly inspiring! For me, looking the part has always allowed me to better feel the part. They are some of the very best at what they do!

JHPENTERTAINMENT: This production marks your national tour debut. What did it feel like the first time you stepped onto the stage knowing you were officially part of the touring company of Back to the Future?

KATHRYN ADELINE: Stepping out on that stage for the first time came with a feeling I can’t even describe. This opportunity is one I have worked so hard for and it was made even more special by the fact that Back to the Future is such an iconic and well loved story. It’s been an absolute dream come true!

I grew up in a family that loves musical theatre and my parents were always taking us to see shows at the Fox Theatre in downtown Atlanta. With New York being so far away, it was always a treat to experience the magic of Broadway right in my own hometown as each tour came through. I remember being in such awe of the productions. It is so special to travel with this company and create accessible opportunities for theatre lovers across the country. Make no mistake, I didn’t step onto that stage alone. I have an amazing team that has helped me get here. I cannot talk about this opportunity without also thanking them!

JHPENTERTAINMENT: Hill Valley is filled with big personalities and comedic moments. How do you balance Lorraine’s humor with the sincerity at the heart of her story?

KATHRYN ADELINE: Yes, it’s a joy to be in a show filled with so many moments that make the audience laugh. What I love about this story is that woven through all the comedic moments, big personalities, and energetic dance numbers is so much relatable human experience. At the heart of this story is the timeless message that we all have the opportunity to write our own future. “You can accomplish anything if you just put your mind to it.”

Specific to Lorraine, while the plot drives many of her comedic moments, she is also an endearing character with a very tender heart. She ultimately wants what most of us desire… a life filled with love and happiness, where everyone lives up to their greatest potential.

JHPENTERTAINMENT: As someone making their national tour debut, what has surprised you most about life on the road with a production of this scale?

KATHRYN ADELINE: Well everything is still moving so fast, and I am definitely learning a lot! I’m grateful to be surrounded by an incredibly competent and talented company. They have been so kind, welcoming and generous. When it comes to life on tour, and specifically with a show of this size and scale, the members of our crew are the real heroes. Moving the magic of Broadway from one city to the next, week after week, is no easy feat. This production is a true spectacle when it comes to all ofits special effects and technical elements. There is no way we could travel and perform this show eight times a week, in a new city, without them. On Sunday evenings, while the cast gets to go back to the hotel, the crew members immediately start packing up the sets, lights, sound equipment, costumes, props, wigs, etc. into 11 semi-trucks which transport everything overnight to a new city. Then, upon arrival…they unload and set everything up in time for our Tuesday night performance. This all happens within a 48-hour time period. They don’t tell all their secrets and I think somehow the Flux Capacitor is involved, but it is completely mind blowing how they get it all done!!

RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN

JHPENTERTAINMENT: Having created the role of Biff in Back to the Future: The Musical on Broadway, has your perception or portrayal of the character evolved since those earliest performances?

NATHANIEL HACKMANN: Well…. I’m not sure my portrayal has changed… but the number of my age has certainly increased!!! lol. I found out I was going to play this part over four years ago!!! Well over a thousand performances! HAHA! But in all seriousness every show is subtly different depending on my fellow cast mates, the theater, and of course- the AUDIENCE! They are so integral to everything we do… the response we get in real time is why we all love live theater!!!

JHPENTERTAINMENT: What’s key to making Biff both intimidating and entertaining for a live audience?

NATHANIEL HACKMANN: Oh I can’t give away the recipe for the donuts! 🙂 However, there is always something that makes any character a real human… something we can all relate to, when we watch them do heroic or despicable things… for me in Biff- everything has to do with Lorraine. He objectifies her as the trophy and status symbol that will gain him the power and respect he is (in his own mind) due. When he is blocked from gaining this all-consumingobjective, that’s when he is truly capable of super-human (or sub-human) feats.

Also everyone likes to see Goliath get knocked down… so I can’t miss in that moment!

JHPENTERTAINMENT: Okay, anytime I spot a Six Degrees of Separation type situation while researching to chat with actors who’ve worked with friends of mine, I’ve gotta ask: You shared the stage during the Broadway run of Back to the Future: The Musical with my friend Jelani Remy, who created the role of Goldie, everybody’s favorite future mayor of Hill Valley. What was it like working with him during that original run?

NATHANIEL HACKMANN: I adore Jelani!! I call him the mayor of every room he’s in. 🙂 truly, he elevates the work and mood of all those around him. I can’t wait until we’re on something together again! That original Broadway cast of BTTF was something so special. Lightning in a bottle. Those that saw it can attest… and those that were backstage will all agree I’m sure!!

JHPENTERTAINMENT: You’ve famously played both Jean Valjean and Javert in productions of Les Misérables. Does stepping into a character like Biff tap into the same kind of villain energy as Javert—or is it an entirely different beast?

NATHANIEL HACKMANN: I love this question… first I think to myself: can anything I do be truly unique from my other work if I’m there? There will surely be some inevitable commonalities, BUT… Javert almost never has any moments of levity and his pursuit of Valjean is always about a higher cause… these are a couple of polar opposites from Biff who (in my opinion) is always trying to be perceived as smart and funny and charming for his own selfish sake. One thing I do think they share is a certain doggedness and animal cunning… but I would hope anyone who only saw my Javert would hardly recognize me in BTTF. As an actor my heroes are the people that disappear inside their parts. Their egos are secondary to the story and they can make the audience truly believe they are seeing the character and not necessarily their favorite actor portraying a part. That’s the true magic of excellent theater.

JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?

NATHANIEL HACKMANN: EASY! I LOVE THIS INTELLECTUAL PROPERTY! I have been a fan of Back to the Future as long as I can remember. I am honored and overjoyed to be associated with this property and universe and FANDOM every single day. What an amazing ride this has been and continues to be!! I am so thankful to the creative team and my colleagues and most to the audience for allowing me to play in this world with y’all!!!

RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG

JHPENTERTAINMENT: Immortalized on screen in all three Back to the Future films by Christopher Lloyd, what was your process for finding your own take on the character of Doc Brown while still honoring what audiences know and love?

DAVID JOSEFSBERG: Okay so, let me start by saying that as the elder of the company,  (ha) I was one of the only ones around back in 1985 to see the film when it came out. As most kids that age, it became a huge part of my life. I wore the vest, the shoes and always wanted to be Marty….turns out I had to wait 40 years to portray  an even better role! Ha. The iconic Doc Brown! Yes, it’s iconic so you absolutely get to bow down to Christopher Lloyd, and you obviously have to give the “roads, where we’re going? We don’t need…roads!” And “Great Scott!” (You heard that in his voice didn’t you) But, the great thing about the musical is that we have both Bob Gale, the creator of the entire franchise, and John Rando, the amazing director at the helm. They encourage us to bring who we are to the character. Especially since in this version Doc is sort of a rockstar that dances and sings! So cool! So basically, I take a cup of Christopher Lloyd, half a cup of Roger Bart, who created it on Broadway, and add a cup of myself. Uh oh. That’s 2 1/2 cups! Ha!

JHPENTERTAINMENT: You were part of Back to the Future: the Musical toward the end of its Broadway run playing Principal Strickland. What’s it been like going from that role to rejoining the BTTF family on tour as the wildly inventive Doc Brown?

DAVID JOSEFSBERG: It has been incredible. I loved being in New York playing Strickland. He’s in the mix in all the scenes. I also got to do Doc about twice a week. Moving from twice a week to 8 times a week has been really great. It’s given me the chance to really make it my own. Touring as Doc also allows me to add a few little city specific references to each new city. I love coming up with those. You also feel like a family out here. We spend almost every waking moment together as opposed to heading home to my family in NYC! Now….there are also some interesting challenges touring as Doc. The different temperatures, each new hotel, and all the travel. But I love it!

JHPENTERTAINMENT: Okay, totally off-topic but because I’m a complete pop culture nerd and remembered you from your 2005 turn as Henry Winkler/Fonzie in the TV movie The Unauthorized Story of Mork & Mindy…what can you tell me about that experience?

DAVID JOSEFSBERG: Ayyyyyyy! Who doesn’t love the Fonz! Talk about an icon!!!??? HA. My friend Chris was playing Mork and he got me in for the audition because I look a lot like Henry Winkler. So, I booked it and flew to Vancouver to film it. I finished filming and came home….unfortunately they needed me to come back the following weekend and…um…that’s when my son was born. So, I saw him born, spent the night, and flew back out to finish the filming. Ha. It was crazy! But the show must go on.

JHPENTERTAINMENT: Your Broadway acting résumé spans shows as varied as Adam in Beetlejuice, standby for multiple roles in the 2023 revival of Spamalot and a 2017 stint as Ogie alongside Jason Mraz’s Dr. Pomatter in Waitress. As Doc Brown is there a different type of theatrical energy you’re tapping into that you’ve previously not accessed?

DAVID JOSEFSBERG: Well, he is by far the oldest character I’ve had to play, but he still has this crazy youthful energy…maybe moving just a little bit slower. I’d say most of the characters I play are truly heartfelt with a wild energy. I think Doc gets the wild energy, but he also gets a great heartfelt moment with Marty, where he sings “For the Dreamers.” This is a song about failing, and failing, and failing until you succeed. Might be my favorite moment in the show.

JHPENTERTAINMENT: Speaking of energy, one of the most entertaining elements of Back to the Future on stage is the theatrical magic courtesy the collaborative efforts of the show’s lighting designers Tim Lutkin & Hugh Vanstone, video designer Finn Ross, sound designer Gareth Owen and illusion designer Chris Fisher. Without giving away too much, what can you tell me about your favorite moment in the show where these elements all come together perfectly?

DAVID JOSEFSBERG: Absolutely. Here we go. The moment that first made me cry when I saw the show was when I am on the clocktower and Marty is driving our favorite co-star, the Delorean, through the streets. The lighting, video, sound and illusions all come together. It goes back and forth between the two moments and the swell of the music, that was from the movie, comes in and just takes your breath away. So nostalgic and really makes you feel like you are in a film. I feel so grateful every night to be in that scene. I won’t tell you if we succeed in sending him back to 1985! No spoilers here! Ha!

Thanks for the awesome questions. See you in the FUTUREEEEEE!

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From time-traveling teens and eccentric scientists to unforgettable villains and heartfelt transformations, Back to the Future: The Musical proves that some stories truly are timeless—especially when reimagined with the full force of live theatre magic.

Nashville audiences can catch the national tour at TPAC’s Jackson Hall now through Sunday, March 22, with performances that promise spectacle, nostalgia, and a whole lot of fun for longtime fans and first-time visitors to Hill Valley alike.

So whether you’re chasing time at 88 miles per hour or just looking for a nostalgic night at the theatre that hits all the right notes… now’s your moment.

For dates, times and tickets for Back to the Future‘s TPAC run, CLICK HERE. Following Back to the Future, the current season of Broadway at TPAC continues with Some Like It Hot onstage at Jackson Hall April 21-26. CLICK HERE for tix. You can also follow TPAC on Facebook, YouTube, Insta and TikTok.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

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

Theatre Review: A Historic Anniversary and a Bit of Local Influence Add to the Fire of Nashville Premiere as National Tour of ‘Suffs: The Musical’ Marches Across Stage at TPAC’s Jackson Hall

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Members of the cast of ‘Suffs’ First National Tour (all photo by Joan Marcus courtesy suffsmusical.com)

There are opening nights… and then there are opening nights that feel cosmically aligned with history. On March 3, 2026, the national tour of Suffs unfurled its banners at TPAC’s Jackson Hall in Nashville—and not just on any date. Music City’s first performance landed on the 113th anniversary of the 1913 Women’s March organized by young activist Alice Paul, when more than 5,000 women paraded down Pennsylvania Avenue demanding the right to vote, led by the indomitable Inez Milholland astride a white horse. History echoed loudly inside Jackson Hall that night.

From the opening strains of the period-perfect ragtime-syncopated “Let Mother Vote,” maternally led by Mary Grandy‘s Carrie Chapman Catt and backed by a vocally powerful ensemble, Suffs makes it clear: this isn’t a museum piece. It’s a movement. The storytelling feels urgent, strong, and emotionally immediate—never preachy, always human.

At the center stands Maya Keleher as Alice Paul—focused, flinty, and fiercely principled. Her “Finish the Fight” functions as both rallying cry and mission statement, delivered with unwavering conviction. Later, in “Insane,” Keleher reveals the psychological toll of imprisonment with a performance that is raw without losing control. Opposite her, Grandy’s  Carrie Chapman Catt brings seasoned authority and strategic patience to the aforementioned “Let Mother Vote.” Their Act II duet, “She and I,” beautifully captures the tension—and eventual respect—between two women fighting for the same goal through different methods. Grandy’s “This Girl” adds reflective depth, grounding the generational divide in lived experience.

As Ida B. Wells, Danyel Fulton commands attention with moral clarity, emotional precision and powerhouse vocals to rival a certain recent Broadway Gypsy. “Wait My Turn” simmers with justified frustration, and when she returns in “I Was Here,” alongside Mary  Church Terrell (Trisha Jeffrey) and Phyllis Terrell (Victoria Pekel), the moment lands as a declaration of presence that resonates well beyond the period setting. Speaking of Fulton’s co-stars, Jeffrey brings elegance and resolve to Mary Church Terrell, particularly in “Hold It Together,” serving as an emotional anchor amid political fractures. Meanwhile, Pekel’s Phyllis as well as a later turn as Robin, reinforce the vitality of youthful exuberance necessary for any movement to continue into the next generation. Whenever any of these three talented performers are on stage, the audience is mesmerized and treated to stunning vocals.

Monica Tulia Ramirez’s Inez Milholland radiates charisma in “The March (We Demand Equality),” which she leads alongside Fulton’s Ida and the ensemble in one of the production’s most visually arresting sequences. Act I’s “Show Them Who You Are” showcases Ramirez’s sass while Act II’s reprise  flips the script to haunting results. Milholland’s personal life and sacrifices poignantly reveal the true dedication these powerful, but often unsung heroes of the moment possessed.

As Lucy Burns, Gwynne Wood delivers a blazing “Lucy’s Song,” electrifying the audience with defiance, while Livvy Marcus injects Doris Stevens with sharp wit, youthful urgency and to borrow a descriptive of Mary Tyler Moore’s Mary Richards…spunk, particularly in “The Young Are at the Gates,” which propels Act II forward with fire.

Laura Stracko‘s Alva Belmont is boisterously brilliant. Gotta love a socialist socialite. Act I’s “Alva Belmont” introduces the character in a big way. With another period-nod, “Alva Belmont” is presented as a toe-tappin’ Tin Pan Alley-style ditty complete with playful, yet pointed lyrics: “I divorced my husband for philandering. Now I’ve got his millions for philanthropy.” Flawlessly introducing the character. Interestingly, while not really relevant to the plot, I discovered while researching to interview some of the cast that the real Alva Belmont, a native of Alabama, has ties-by-association to Tennessee. Her maternal grandfather, Robert Desha was a U.S. House of Representatives for the state of Tennessee. In the years before her political activism, she was first married to William Kissam Vanderbilt, the grandson of Commodore Cornelius Vanderbilt (for whom Nashville’s Vanderbilt University was named).

As President Woodrow Wilson, Jenny Ashman offers a sharply drawn portrayal. “Ladies” drips with calculated condescension (and sadly echoes a little too closely our current administration’s views on the arguably stronger sex, but I digress). Later in the show, Ashman’s Wilson attemps to placate with “Let Mother Vote (reprise)”, which lands with pointed irony. On Opening Night in Nashville, Ariana Burks stepped into the role of President Wilson’s Third Assistant Secretary of State Dudley Malone, a role usually played by Brandi Portert. Covering the role, Burks shines in “Respectfully Yours, Dudley Malone,” blending romantic sincerity with political awakening. Her chemistry with Marcus’ Doris in “If We Were Married” and its reprise adds warmth and texture to the broader narrative. Just one of a handful of relationships, while not at the center of the narrative, a wonderful aside. Other notable personal relationships alluded to within Suffs include sorority sisters Ida B. Wells and Mary Church Terrell, friends Alice Paul and Lucy Burns and longtime partners Carrie Chapman Catt and Mollie Hay.

The ensemble numbers—“Find a Way,” “The Convention Part 1 & 2,” “The Campaign,” and “August 26th, 1920”—surge with collective momentum, creating stage pictures that feel both intimate and epic. Act I builds to the layered and emotionally charged “How Long?,” leaving the audience suspended in uncertainty before intermission. Act II escalates quickly with the explosive “Fire & Tea,” a collision of ideology and impatience that crackles with tension. Side Note: I love that during my Rapid Fire 20Q, Marya Grandy noted that the effigy to Woodrow Wilson seen in “Fire & Tea” is made of kitchen utensils! Giving me a little insider info that I’m happy to pass along to my readers.

Across the board, the vocals are exceptional. Touring companies frequently fall victim to the occasional technical issue inherent in the logistics of setting up in a new venue each week—but not Suffs thanks to Jason Crystal‘s sound design and the impeccable vocals skills of the entire cast. From the first notes of “Let Mother Vote” to the powerful final bars of “Keep Marching,” the vocals—both individual and united—were crisp, clear, and strong. Harmonies were tight. Lyrics were fully intelligible. Not a single mic felt unbalanced, and the orchestra never overpowered the storytelling. The sound mixing and design were remarkably polished for an opening night in a new city, allowing the emotional weight of each lyric to land cleanly and confidently. Considering even though I was there to review the show, yet relegated to the back of the theatre in seats Ida B. Wells herself would reject, the sound throughout the show was simply perfect. Every lyric, every note delivered and received with precision and clarity.

Visually, the touring production is both strong and fluid. Based on Riccardo Hernandez‘ Broadway scenic designs, Christine Peters has adapted ever-moving walls and platforms, unfurling drapes and banners suggesting both protest staging and democracy under construction, while seamless transitions allow rallies, jail cells, convention halls, and the Tennessee State House to materialize with cinematic efficiency. Hair and wig design by Charles G. LaPointe and Paul Tazwell‘s period-authentic costuming clearly delineates factions, with the crisp whites of the National Woman’s Party glowing under strategic lighting in “The March (We Demand Equality).” Lap Chi Chu‘s lighting design proves especially effective in “Insane,” where stark isolation heightens emotional impact. Add to that choreographer Mayte Natalio‘s movement choices from the opening number and throughout the show…what I’ve dubbed marchography. It’s succinct and effective without being too rigid, further conveying the forward-momentum and motivation of the cause. On the lighter side, there’s a segment about halfway through the show that takes place at a bar when Natalio’s genius draws the eye to a couple patrons in the background who raise their beers and clink their drinks in rhythm to the song being performed that caused me to make a mental note: drinkography. The absolute attention to everything from period references in wardrobe and music styles to sets, lighting and movement throughout Suffs, a multitude of reasons this show is so enjoyable.

Earlier, I made reference to Tennessee’s connection to the subject matter. While “Down at the State House” sets the stage, it’s “A Letter From Harry’s Mother”, featuring Laura Stracko, Jenna Lee Rosen and Maya Keheler, that transforms the evening into something deeply local for those of us from The Volunteer State. As mentioned in my recent Rapid Fire 20Q with members of the cast, this moment recounts Tennessee’s pivotal role in ratifying the 19th Amendment, when, in August 1920, Tennessee became the 36th and final state needed for ratification.

When Stracko’s Phoebe, Rosen’s Harry, and Keheler’s Alice bring that story to life onstage, it hits differently in Tennessee. The reaction inside Jackson Hall was immediate and thunderous—very possibly the most sustained applause the company has received on tour during that particular sequence. It wasn’t simply appreciation. It was pride. It was recognition. It was a state seeing itself in the story of progress. Something, sadly we as a state are lacking these days. (An aside: Dubbed in the press of the day as “War of the Roses,” saw pro-suffrage lawmakers wearing yellow roses while opponents donned red. So naturally, yours truly donned a yellow lapel flower while attending Music City’s Opening Night.)

By the time “Keep Marching” swelled in the finale, led by Alice and the full ensemble, it no longer felt like the end of a performance. It felt like a charge forward. After all, as Suffs reiterates time and time again, progress is not inevitable. It is organized. On opening night at TPAC, Nashville didn’t just witness history. It gratefully recognized its role in it.

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Created by Shaina Taub, this thrilling and emotionally charged musical shines a spotlight on the brilliant, passionate, and often divided women who fought tirelessly for the right to vote. Beyond the accolades lies a story that feels especially resonant here in Tennessee — the final battleground that secured ratification of the 19th Amendment. More than a century after Tennessee cast the deciding vote, Suffs reminds us that history is not just something we inherit — it’s something we shape. And sometimes, it only takes one voice to tip the balance.

The national tour plays TPAC’s Jackson Hall March 3–8 with the following performances: Tuesday, March 3 – Friday, March 6 with 7:30pm curtain, Saturday, March 7 – 2:00pm & 7:30pm, Sunday, March 8 – 1:00pm* & 6:30pm.

*Sunday’s 1pm performance includes ASL interpretation, Open Captioning, Audio Description, and Large Print and Braille programs.

To purchase tickets to Suffs at TPAC, CLICK HERE. Following Suffs, Broadway at TPAC‘s 2025-2026 Season continues with another Music City debut as Back to the Future takes to the stage March 17-22. CLICK HERE for tickets or more info. Follow TPAC on Facebook, Instagram, YouTube & TikTok. 

Not in Nashville? Catch Suffs in a city near you as the National Tour continues with stops in Charlotte, Boston, Dayton, Minneapolis, Detriot and more through summer of 2026. CLICK HERE for upcoming tour stops. Keep up with all things Suffs via the show’s socials on  Facebook, Insta, X , TikTok and YouTube.

In case you missed it, CLICK HERE to read my Rapid Fire 20Q with members of the Suffs cast. 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. In the meantime… #GoSeeTheShow!

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

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

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

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

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

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

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

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

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

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

 

 

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

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

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

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

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

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

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

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

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

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

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

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

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

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

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Rapid Fire 20Q with Director and Cast of ‘She Loves Me’; The Keeton’s classic musical holiday gift runs December 4 thru 21

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Romance, wit, and a dash of musical magic are heading to the Donelson stage as SHE LOVES ME opens at The Keeton Dinner Theatre, running December 4–21, 2025. With show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, audiences can step into Maraczek’s Parfumerie for an evening of charm wrapped in melody. We caught up with the cast and creative team for a Rapid Fire 20Q—diving into character work, classic film adaptations, backstage dynamics, and what makes this production sparkle. Consider this your first peek behind the counter before the curtain rises.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s SHE LOVES ME

RAPID FIRE WITH JAYDEN MURPHY, GEORG IN SHE LOVES ME

JHPENTERTAINMENT: Georg is the original “grumpy romantic.” What part of his personality do you most relate to in your everyday life?

JAYDEN MURPHY: Oh my gosh, where do I even start? I’m kidding, but honestly, even at my age, dating is rough. We have all this technology now and it still feels confusing and disappointing most of the time. I’m not saying I’m trying to settle down and start a family right now, but I definitely relate to Georg on that level. What I connect with the most is that his grumpy romantic side really comes from him being a hopeless romantic. He wants to fall in love so badly, and when things don’t go the way he hopes, that disappointment shows up as frustration. I understand that. I’m a hopeless romantic myself, and that helps me tap into who he is. His grumpiness isn’t about being cold. It is because he genuinely cares and he wants that storybook ending with someone. And we will see if he finds it.

JHPENTERTAINMENT: SHE LOVES ME has such a beloved lineage — from the original play Parfumerie to this musical adaptation to the classic film The Shop Around the Corner to the more modern You’ve Got Mail. I know you’re much younger than the character you’re portraying. Heck, you were born more than a decade after the Tom Hanks film version came out, so…were you familiar at all with the history of the show prior to your audition?

JAYDEN MURPHY: I spent a lot of time researching the full history of SHE LOVES ME. I’m the kind of actor who prides himself on being well-prepared before an audition or before my name goes into a Playbill. In college, I actually worked on all of Georg’s songs, which gave me an early understanding of who he is. My college director also directed a national tour of SHE LOVES ME and has close ties to the original writers, so being around him helped me learn even more about the show. I also looked back at the original play, the musical itself, and the film versions. One of my favorite parts of musical theatre is becoming a character, so even though I’m younger than Georg, I wanted to fully understand his world and the legacy of the role before stepping onstage. All that research helped me connect with him in a real and honest way.

JHPENTERTAINMENT: The original run of SHE LOVES ME debuted on Broadway in 1963. Since then it has enjoyed Broadway revivals in 1993 and 2016. One aspect it has maintained since its debut is that many of the tunes feature a more operatic vocal style, as opposed the the more common showtimes flair of many modern musicals. Having seen you wow the crowd as Coalhouse in The Keeton’s Ragtime, I’m curious to know if this second pairing with Roger Hutson as your Music Director has helped you lock in on your approach to Georg vocally?

JAYDEN MURPHY: Yes, absolutely. I really pride myself on being a versatile vocalist. My vocal coach and everyone I work with knows that I don’t like to put labels on what I am or what I can be. I’m only 19, and my voice is still developing, so I try to stay as agile and flexible as possible in what I do. Working with Roger again has been amazing. He really lets me explore who I believe Georg is, both onstage and through the songs. At the same time, he holds me accountable and pushes me in all the right ways. We work really well together, and I definitely feel like he’s helped me find a strong vocal approach to this role. I think people will be surprised by how I portray Georg and how he sounds, because Roger has helped me tap into a version of the character that feels natural and honest to me while still honoring the more classical style of the show.

JHPENTERTAINMENT: If Georg were working at Maraczek’s Parfumerie today, what modern-day app or platform do you think he’d be using? AND…How would the opening line of his profile bio read?

JAYDEN MURPHY: That is a hilarious question. I definitely think Georg would be on Hinge. He just gives me “Hinge guy” energy. His opening line would probably sound very proper, like “Good day, madam, may I help you?” lol But honestly, I think he’d lie a little on his profile at first. He’d probably say he was some kind of businessman or shop owner, something that makes him sound more impressive. But I also think once he actually met the girl, he’d come clean. Georg is charming, and he means well, so he’d eventually tell the truth. But yeah… he’s absolutely a Hinge guy.

RAPID FIRE WITH JIANA KEVILUS, AMALIA IN SHE LOVES ME

JHPENTERTAINMENT: Amalia is smart, stubborn, and deeply hopeful. What’s your favorite contrast between how she sees herself vs. how others see her?

JIANA KEVILUS:  I think the contrast in Amalia’s self-image versus how others see her is one of the most compelling things about her as a character. In one of her songs, we learn that she worries that “Dear Friend” will be disappointed to find that she is “shy” and “quiet.” This is a stark contrast to the confident and witty personality we see from her when interacting with Georg and the other clerks and customers at the shop. I think this offers a very human and relatable side to Amalia, because while she may be secretly insecure, the people around her are more focused on her charm. 

JHPENTERTAINMENT: The 1940 film The Shop Around the Corner gave Amalia a slightly different flavor. In researching the role, did you check out either film adaptation? Or, did you simply find your own Amalia through the rehearsal process?

JIANA KEVILUS: This show has been a favorite of mine for a long time. Because of this, I was already somewhat familiar with different productions and adaptations. When preparing for the role however, I’ve tried to avoid spending too much time watching other people’s interpretations of Amalia as I tried to learn what my own organic take on the character should be. I think there is happy medium between golden age damsel and independent and headstrong young woman that I’ve found in my interpretation of her. 

JHPENTERTAINMENT: Vanilla Ice Cream is a beast of a number. Did your Director, Morgan Roberts or the show’s Musical Director, Roger Hutson offer any specific advice that changed how you approach this number? 

JIANA KEVILUS: Morgan and Roger have both had such wonderful visions for this production! With their guidance, I’ve been lucky enough to have been given a lot of artistic freedom in this number. When discussing with Morgan what Amalia’s motivation is in this song, we found that it is much more compelling if this is the beginning of her slowly starting to realize the true identity of “Dear Friend.” Whether she fully understands it yet or not, this is a turning point for her character and altogether such a fun number to sing!

JHPENTERTAINMENT: As Amalia and Georg, you and Jayden have to walk the tightrope between enemies, coworkers, and secret lovers. What has helped you unlocked that balance?

JIANA KEVILUS: Jayden is a delight to work with and he puts on such a charming performance. While our characters certainly take some hard digs at each other, so much of the dialogue is so humorous that we find it hard not to laugh when rehearsing many of the scenes. We just have so much fun with these characters that I think it translates well to the different dynamics between them. 

RAPID FIRE WITH TOMMY ANGLIM, KODALY IN SHE LOVES ME

JHPENTERTAINMENT: If Kodaly were to follow in Georg’s example and begin corresponding to an unknown potential love interest, how would the opening line of his introductory letter read? 

TOMMY ANGLIM: Kodaly would NEVER pick up a woman without knowing what she looks like! However, his go to pick up line for strangers on the street (or in the shop) is likely along the lines of “Cherie, I have never seen a face like yours. You are absolutely as glamorous as Garbo.” And somehow… that line would work every time.

JHPENTERTAINMENT: The banter between the characters in SHE LOVES ME is iconic. What’s one line in the show—whether yours or that of a co-star—that makes you laugh even after dozens of runs?

TOMMY ANGLIM: I feel like two specific moments come to mind. The scene leading up to the song Ilona is one of my favorite ones to do with Kim Wolff. She and I have found a rhythm to those lines that are quick jabs at each other and it’s a joy every time (even though we seem quite angry in the moment!). For my second answer, I have to give a shoutout to Sam Boggs who plays Arpad. He brings such an innocent humor to that role that makes me laugh at lines I’ve never even thought were meant to be funny!

JHPENTERTAINMENT: If Kodaly were giving modern-day dating advice, what’s the first rule he’d insist everyone follow?

TOMMY ANGLIM: Always have a backup plan in case you need to replace your date!

JHPENTERTAINMENT: This show is quite the conundrum. It’s beloved by those who know it, but by-and-large, it’s rarely done by local theatre companies. How excited are you to potentially be introducing audiences members to this show?

TOMMY ANGLIM: I think it’s a very exciting opportunity! The show is a pretty trope-heavy, low stakes, enemies-to-lovers story that also has a cozy, Christmas ending, so it’s generally easy for audience members to find something about it to enjoy. I think what really sets the bar high in this production is the set that Kevin Driver has designed. He has really outdone himself providing mobile set pieces to really bring this story to life, and bring the audience into the shop with all of us.

RAPID FIRE WITH KIMBERLY WOLFF, ILONA IN SHE LOVES ME

JHPENTERTAINMENT: Ilona’s glamour and vulnerabilities are such a fun combination. What part of her surprised you most once you started digging in?

KIMBERLY WOLFF: Ilona, although may not be the smartest, she is still a catch. She is caring, loving, and very loyal. She’s just looking for someone to treat her right so that she can do the exact same for someone else. One the surface she may come across one way, but when you really dig in and see who she is, she offers so much more. 

JHPENTERTAINMENT: Every adaptation handles Ilona a little differently. In preparing for the role, did you check out any of the previous incarnations, whether stage adaptations or film versions?  — or did you purposely avoid them?

KIMBERLY WOLFF: Before I even audition, I will generally skim through other productions so that I have a good grasp on what the show is about and who these characters are. After that, I never go back, as I don’t want to be too influenced by other performances. Once I have the script in hand, and start acting it out with the other actors cast, I can bring her to life how I see her. That is half the fun of it. Bringing to life this character that I have spent weeks getting to know. 

JHPENTERTAINMENT: With a background in choreography yourself, how has it been having Heidi Buyck as choreographer for the show? AND…Which number makes you feel the most like you’re living your full Ilona fantasy?

KIMBERLY WOLFF: I’m very excited to finally get to work with Heidi. I have seen other shows she has choreographed, and she has seen other shows I have been a part of. We have both mentioned we hope we get to work together one day. Now, here we are. Performing the song, Ilona, that Tommy, aka Kodaly, sings has been a blast. Tommy and I have had a lot of fun bringing that one to life. Ilona is once again seduced by Kodaly’s charm, and against her better judgement gives him, yet again, another chance. 

JHPENTERTAINMENT: Ilona and Kodaly have… a complicated relationship. What’s one thing your Kodaly, Tommy Anglim brings to the dynamic that made your scenes instantly click?

KIMBERLY WOLFF: Tommy is a great scene partner. He has certainly brought all of his Kodaly energy for this role. His ability to transform into this character is effortless. We were both very excited when we found out we would get to play these characters together. We already have hilarious banter off stage so we couldn’t wait to be in this dynamic on stage. 

RAPID FIRE WITH SHE LOVES ME DIRECTOR, MORGAN ROBERTSON

JHPENTERTAINMENT: While you’ve performed as an actor, music director, teaching artist and choreographer, I understand The Keeton’s SHE LOVES ME marks your directorial debut. The show is famously delicate — grounded, funny, and deeply human. What was your North Star when shaping the tone of this production?

MORGAN ROBERTSON: As you say – this show is deeply human.   We’ve been interacting with various iterations of this narrative for years, (enemies to lovers is one of the most successful themes in pop culture!) With that being said, my two objectives as a first time director were 1) cast it well and 2) empower the team. This show (as a musical and a play before that) has been around for nearly 100 years. That means the bones are good! All I needed to do was find the people that could respect and highlight the central themes of the show and make sure they feel fully supported to embody the human experience. I consider this show to be a loving call for self reflection. I wanted our rehearsal process to feel the same way and I think this cast has been fully engaged with that idea. 

JHPENTERTAINMENT: Having music directed a 2023 production of SHE LOVES ME elsewhere about town, is there an aspect of the show’s score, as music directed by The Keeton’s Roger Hutson that you absolutely love?

MORGAN ROBERTSON: Yes! I fell in love with this show as music director for Trevecca University back in 2023, under the direction of Jeff Frame. Roger has always made me feel that my experience as MD is as valuable as my process as Director. I love the way he gets excited about the music! He’s a true music lover and he’s working with a huge range of musical styles in this show. Not only that, but he knows this cast (having worked with most of them on multiple productions) and so his attention to the needs of each song and each actor have really allowed me to take an outside view of just how unique this score is and how it serves each of the scenes with such specificity. 

JHPENTERTAINMENT: When SHE LOVES ME enjoyed its latest Broadway revival in 2016, the exterior of the Parfumerie moved to reveal the charming little shop and in doing so, the show’s scenic design won the Tony, beating out, among others, a little show called Hamilton. For The Keeton’s production, What’s your personal favorite aspect of the set?

MORGAN ROBERTSON: Well I don’t want to spoil anything … but I will say – my favorite aspect of the set is the set designer – Kevin Driver. Kevin has been extremely collaborative and often thinks my thoughts before I need to voice them. We discussed what wealth looks like in a glamorized society as well as what it looks like for a place like Maraczek’s parfumerie which exists in 1930’s Hungary. We’re dealing with old world ideas like buildings should be built well, with good material, meant to last. So we explored heightened natural elements. What does it look to make something marvelous and timeless? And I think we have found a really grounded balance. 

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing The Keeton’s SHE LOVES ME?

MORGAN ROBERTSON: Remember that it was worth it to get out and see live theater! Especially as the Keeton does it! The Keeton is uniquely situated in that they’ve been offering heightened, intimate theatrical experiences for years now.  The talent is incredible, every bit what you would see at any pro venue in town.  They’re brining in people who are ready to try new things with theatre in Nashville and that means all of their productions are filled with heart.  We’ve been brave with this show – we’ve opened the doors on every level for new ideas.  I’m a new director, though not new to the Nashville theater community.  I’ve developed my artistic voice in these communities and it feels incredible to be trusted with this experience.  I hope they remember how amazing it felt to watch people who love what they do and are incredibly good at it. Remember that we love what we do and we love sharing it with you.

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Ready to unwrap the enchantment of SHE LOVES ME for yourself? Performances run at The Keeton (108 Donelson Pike, Nashville, TN 37214) December 4–21, 2025, with show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, a. Tickets range from $35–$47. CLICK HERE to purchase tickets before the entire run sells out. More information can be found at thekeeton.org. “Dear Friend,” you’re in for a treat, so #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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WALLY NASON:

Jack E. Chambers – Devoted

Isabel Smith – Joyful

Payton Justice – Free (spirited)

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

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

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

JHPENTERTAINMENT: Who is Chad to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—————

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH COME FROM AWAY‘s GARRIS WIMMER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kicking off their 2025/2026 season with the regional premiere of COME FROM AWAY is just the beginning for Nashville Repertory Theatre‘s 41st Season. Following COME FROM AWAY, Nashville Rep will ring in the holiday season with IT’s A WONDERFUL LIFE onstage December 5-21, then there’s FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

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

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