June 17 marked the beginning of Hamilton‘s third visit to Music City signaling another crowd-pleasing two-week run at Nashville’s TPAC. As this current tour stop of the Tony-winning juggernaut continues with performances Tuesday, June 23 thru Sunday, June 28, we caught up with four members of the company for our recurring Rapid Fire 20 Q feature. From Nashville native and Hume-Fogg alum Lily Soto, who returns home as Eliza Hamilton, to Angelica Schuyler performer Marja Harmon (with Nashville ties of her own) and Principal Standby Chibueze Ihuoma, to Assistant Sound Engineer & Belmont grad Joshua Boatman, we covered everything from hometown memories and Broadway debuts to what it takes to keep one of the most celebrated musicals of all time running eight performances a week. So, as cast and crew get ready step back into the room where it happens, let’s get started.
RAPID FIRE 20Q WITH HAMILTON NATIONAL TOUR CAST AND CREW
RAPID FIRE 20Q WITH HAMILTON‘s ELIZA, LILY SOTO
JHPENTERTAINMENT: Being from Nashville, what does it mean to return with this tour and perform at TPAC as Eliza Hamilton?
LILY SOTO: It’s truly a dream come true. I’ve been performing in Nashville since I was very young, so getting to come home with one of my favorite shows and step onto the TPAC stage as Eliza Hamilton is incredibly special. Nashville is where I first fell in love with performing, so sharing this moment with my friends, family, former teachers, and the community that supported me from the beginning means the world to me.
JHPENTERTAINMENT: While you were attending Hume-Fogg High School, you were honored at the 2019 Spotlight Awards as Outstanding Ensemble Actress and in 2020, you were honored as Outstanding Lead Actress. So, a two-parter for you… 1) Do you plan to visit your alma mater, or at least catch up with Hume-Fogg’s beloved theatre teacher, Daron Bruce while in town? AND 2) How have those early honors aided you as you become part of the Hamilton family?
LILY SOTO: Absolutely. I’m still very close with Daron Bruce, and he actually helped facilitate an interview I recently did with Talk of the Town. It was really meaningful to return to the place where I first fell in love with theatre and reflect on how much my experience at Hume-Fogg shaped me as both a performer and a person.
The Spotlight Awards were such a special experience. In 2019, I was honored to receive Outstanding Ensemble Actress, which was completely unexpected. Then in 2020, I received Outstanding Lead Actress for playing Donna Sheridan in Mamma Mia!. At the time, theatre was something I genuinely loved doing with my friends, so being recognized for something that brought me so much joy was incredibly encouraging. Those experiences gave me the confidence to seriously consider pursuing theatre professionally, and I’m grateful I did. I wouldn’t be standing on stage in Hamilton today without everything I learned through my high school theatre program.
JHPENTERTAINMENT: What does Eliza Hamilton represent to you personally as a performer?
LILY SOTO: Eliza has taught me so much about strength, resilience, and grace. One of the things I love most about her is that her strength isn’t always loud. Throughout the show she experiences tremendous joy, heartbreak, loss, and forgiveness, yet she continues to move forward with compassion and purpose. As a performer, she challenges me to be vulnerable and truthful every night. She reminds me that some of the most powerful moments on stage come from honesty and human connection. I’m grateful to tell her story every night.
JHPENTERTAINMENT: What was the first Nashville meal or stop once you were back in your hometown?
LILY SOTO: Any time I’m home, I have to make a stop at Waldo’s Chicken because it’s right in my neighborhood and has always been one of my favorites. But when our cast and crew first arrived in Nashville, I hosted a welcome party and we had catering from Big Al’s Deli, which was a huge hit. It was fun getting to share a local favorite with everyone.
JHPENTERTAINMENT: What advice would you give young performers considering a life in theatre?
LILY SOTO: Always remember what makes you unique. Your individuality, your experiences, your interests, and your strengths are what make you stand out. Stay curious, keep learning, and trust that the qualities that make you different are often your greatest assets.
RAPID FIRE WITH HAMILTON‘s ANGELICA, MARJA HARMON
JHPENTERTAINMENT: Your Angelica journey began in 2019 when Hamilton played Puerto Rico for a special limited run. Hamilton creator Lin Manuel Miranda stepped back in to the lead for that engagement. What’s among your most cherished memories of that time?
MARJA HARMON: So many memories from that time! It was powerful to see the impact of the show’s presence in Puerto Rico after the devastation of Hurricane Maria.
Going through the rehearsal process with Lin was so special. I started in that company as a Standby, so I was able to make my Angelica debut while I was there with my parents in the audience. Before I went on to perform “Satisfied” for the first time, Lin found a moment backstage to give me a little freestyle and hype me up and that was so cool! The And Peggy Tour experience in Puerto Rico was full of so many memories. It was just a lot of milestones happening all at once.
JHPENTERTAINMENT: On the subject of debuts, I gotta ask about your 2009 Broadway debut as part the Debbie Allen-directed all-BIPOC revival of Cat on a Hot Tin Roof. I’m, shall we say, of a certain age, and give Miss Allen full credit for nurturing my interest in the performing arts by way of her iconic TV series, FAME. Did making your Broadway debut in that particular show shape the way you think about your chosen path as a performer?
MARJA HARMON: Having my debut in that show taught me a lot about discipline and humility. I never understudied before and let alone in such an iconic role. I was stepping onto the stage with the theatrical giants, James Earl Jones and Phylicia Rashad.
I understood that some natural talent got me there, but in order to hold my own that I was going to need to constantly work on my craft. I was learning everything I could from these amazing actors during the day in rehearsal and also working with an acting coach at night so I could really feel confident. In the end, I learned the important lesson about trusting myself.
Debbie Allen was a wonderful director and incredibly encouraging, especially for my 25-year-old self.
I was a sponge soaking up everything I could from that entire experience and everything anyone could teach me about how to craft a role and how to bring things to life from a rehearsal process to the stage.
JHPENTERTAINMENT: The Hamilton tour ecosystem now consists of four distinct global productions, the current US tour known as the Angelica Tour being your current gig. So, what’s it like to be part of a tour named after the character you’re playing?
MARJA HARMON: I think being a part of Hamilton and seeing what it represents to people is such a wonderful and powerful thing. It’s a great reminder when we step on that stage nightly even if it’s for the 750th time that the power of theater and great storytelling is a magical experience. The Angelica namesake is just the icing on the cake!
JHPENTERTAINMENT: Earlier this year you returned to your hometown of Columbus, Indiana for a cabaret show. Does remembering and celebrating where you began your love of theatre keep you grounded?
MARJA HARMON: Absolutely! It’s also a moment for intense reflection to really sit back and understand that it really takes a village. I was so nurtured by the community of Columbus and of course my parents. I never felt my dreams were out of reach because of the support that I had.
JHPENTERTAINMENT: Speaking of hometowns, I understand your Mom graduated from TSU, Nashville’s only public HBCU, and when not on tour Music City is home for you. What are your top 5 must-do Nashville things you plan to share with your Hamilton family?
MARJA HARMON: Top five Nashville things:
1. Go have an evening cocktail and pizza at Urban Cowboy
2. Shop for your wine at Woodland Wine Merchant
3. Do not miss out on the Farmer’s Market on Rosa Parks Blvd
4. Cycle on the Greenway in Shelby Bottoms
5. Folk or Locust for Dinner
RAPID FIRE WITH HAMILTON PRINCIPAL STANDBY, CHIBUEZE IHUOMA
JHPENTERTAINMENT: For audiences who may not know, what all is involved in being a Principal Standby?
CHIBUEZE IHUOMA: Swings and standbys alike are the jack of all trades within a cast. We understudy multiple roles and tracks and perform whenever an ensemble member or principal is out, whether that be for sickness, injury, or vacation. I understudy four roles: Hamilton, Burr, Lafayette/Jefferson, and Washington. As you can imagine, a lot of words haha. Lucky for me, I have time when I’m not onstage and during afternoon rehearsals to brush up on lines and blocking.
JHPENTERTAINMENT: After touring as Orpheus in Hadestown, what drew you to Hamilton?
CHIBUEZE IHUOMA: Hamilton was actually one of my first musical theater loves. The cast album dropped when I was in high school, and I have a vivid memory of head banging to Mulligan’s verse in “Yorktown” as I steamed my mom’s blouse before church. Doing Hamilton after Hadestown felt like a natural transition. Both musicals are fully sung through, so I try to delve deep into how the music informs the character – the lightning speed of Lafayette, the near infinite rhyme schemes Hamilton deploys, the light beauty of Orpheus’ falsetto. That, and both shows try to imagine the way the world could be in spite of the way that it is; Hadestown with it’s themes of standing up to power with love at the forefront, and Hamilton through it’s colorblind casting which truly changed the music theater landscape. Excited for the next “H” opera I get to do!
JHPENTENTERTAINMENT: What is the most exciting challenge of being ready to step into multiple tracks at any moment?
CHIBUEZE IHUOMA: You get to see the show from so many angles, which is both super cool and very disorienting! There are a lot of songs like “Guns and Ships” or “Room Where it Happens” where all 4 of my tracks are on stage doing and saying very different things, and it’s an out of body experience when you go from one character to the next in short succession. I once did all 4 in one week, with a day that I played Hamilton in the afternoon and Burr at night. An accomplishment I’m very proud of, and that I have no desire to repeat haha.
JHPENTERTAINMENT: From a Nigerian kid attending a Summer intensive program at New Jersey Performing Arts Center to stepping into multiple roles in the National Tour of Hamilton…What would you tell your younger self about the journey thus far?
CHIBUEZE IHUOMA: Growing up, I always worried that I wasn’t enough, and that I often doubted that I belonged in music theater. I would tell my younger self that he doesn’t need to prove his worth, that simply expressing who he is and what he loves is more than enough. That, and I’d tell him that consistency is the key, so continuing to show up as his best self will take him anywhere he needs to go.
JHPENTERTAINMENT: Why do you think Hamilton continues to resonate so strongly with audiences?
CHIBUEZE IHUOMA: It resonates with audiences because so much of what we deal with today in the US are key themes of the musical – when to rise up against tyrannical powers and what it costs, debates on how the country should be run, the impact of immigrants and how they help shape the nation. It’s a show that humanizes the figures that we had propped up in our history books as infallible men, and gives voice to the women who were instrumental in their rise. And at the most fundamental level, everyone relates to an underdog story: the amount of edits of the New York Knicks with Hamilton songs played underneath is a testament to that!
RAPID FIRE WITH HAMILTON ASSISTANT SOUND ENGINEER, JOSHUA BOATMAN
JHPENTERTAINMENT: As the tour’s Assistant Sound Engineer, describe your typical load in day as the show arrives in its latest venue?
JOSHUA BOATMAN: The first few hours of load-in are all about organization. Hamilton travels in ten full size semi trailers, and even for big theatres like TPAC, that’s a lot of stuff to shove into the building. There’s about six or seven departments that all start working at the same time, so we try to find stuff where we aren’t stepping on each other, which for me means starting to get the audio racks put in place on the stage and patching all the cables. The rest of my load-in is focused on configuring all of our gear for the new space, troubleshooting and repairing anything that broke during the move, and assisting the rest of the sound team in making sure we’re ready to do the show!
JHPENTERTAINMENT: As a Belmont graduate, does this Nashville stop feel like a homecoming?
JOSHUA BOATMAN: I moved to Nashville full-time in 2017, and from the first day I got to town, it felt like home. The culture of this city is to welcome anyone who wants to be here and contribute positively. Every time I’ve had the chance to come back has been just as welcoming as that first day, it’s an extremely friendly city.
JHPENTERTAINMENT: Was the Oklahoma! National Tour in 2022 your last time working in Nashville before this engagement?
JOSHUA BOATMAN: I also got to play TPAC in February of 2024 with TINA: The Tina Turner Musical! It’s been a great pleasure to bring three very different shows into a theatre I know so well.
JHPENTERTAINMENT: OK, so unknowingly I’ve seen your work three times! Love that. What’s something audiences might not realize about the sound team’s role in a show like Hamilton?
JOSHUA BOATMAN: We handle a lot more than just the sound the audience hears. We’re in charge of multiple smaller sound systems, such as the speakers pointed at the stage for the actors, and the monitoring in the orchestra pit for the musicians to hear themselves. We’re also in charge of six different cameras and a bunch of video monitors, which provide video monitoring of the show for remote locations backstage. Finally, we have three different backstage communication systems, as well as a fleet of walkie-talkie style radios for folks to be able to talk to each other all around the theatre during the show. While keeping the sound of the show running out front is certainly our most important job, it can’t happen unless we also keep all of the systems behind the scenes running smooth as well.
JHPENTERTAINMENT: After hearing it nightly, is there still a moment in Hamilton makes you realize you chose the right career?
JOSHUA BOATMAN: One of my favorite aspects of doing this show eleven years after it premiered is that you have so many different kinds of people coming to the show every night. Some folks may have seen the show live many times, some may have seen it on Disney+ but have never seen it live, and some may be experiencing the show for the first time ever. This is why one of my favorite moments is “My Shot”, which is a three course meal of song early on in the show that showcases a lot of elements (lights, sound, choreography, automation) that we’re going to use throughout the remainder of the show to tell the story. It’s a “welcome back” for veteran Hamil-fans and a “get ready” for those experiencing the show for the first time. Getting to sit out front at the sound board and watch audiences experience those moments is what makes me excited to go to work.
A huge thanks to Lily Soto, Marja Harmon, Chibueze Ihuoma, and Joshua Boatman for taking part in this edition of Rapid Fire 20 Q. Whether they’re bringing Alexander Hamilton’s story to life on stage, stepping into multiple principal roles at a moment’s notice, or ensuring every lyric, cue, and musical moment reaches the audience perfectly, each member of this company plays a vital role in making the magic happen. Catch Hamilton during its Nashville engagement at TPAC with Tuesday thru Friday evening performances at 7:30, Saturday matinee at 2pm & evening at 8pm and Sunday matinee at 1pm and a final performance at 7pm. CLICK HERE for tickets. Trust us—you be glad you were in the room where it happens.
Not in Nashville? Hamilton‘s got you covered as the tour continues with upcoming engagements in Louisville, Fort Worth, San Antonio, Oklahoma City, Little Rock, Atlanta, Birmingham and more as the Angelica Tour continues across North America through summer and beyond. CLICK HERE for tickets. You can also follow Hamilton on Facebook, X, Insta, YouTube and TikTok.
As always, TPAC’s calendar of events is full, even during the summer. CAMP TPAC, their youth theatre initiative is happening now, with various programs through July 17. One Step at a Time a new musical highlighting the importance of supportive educators on their students takes to TPAC’s Polk Theatre June 30-July 1. On July 25, TPAC hosts its annual Family Day CLICK HERE for tickets. On August 29 in the Polk theatre it’s sketch comedy trio Ben Marshall, John Higgins and Martin Herlihy aka Please Don’t Destroy. Their video shorts have been must-see viewing on SNL since 2021. CLICK HERE for tickets or more info. Speaking of SNL, for cast mate Leslie Jones brings her I’m Hot Tour to TPAC‘s Polk Theatre September 12. CLICK HERE for tickets. Broadway at TPAC returns another favorite, Jersey Boys, celebrating their 20th Anniversary Tour with performances September 16-20. Then it’s the debut of TPAC’s 2026/2027 Season with its official kickoff October 13-18 as The Sound of Music returns. For a full list of shows, concerts and special events coming to Music City’s favorite theatre, you can also follow TPAC on Instagram, X, YouTube and Facebook.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us on Facebook, Instagram and X.
Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.
Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.
Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.
The decision to position the musicians directly onstage pays immediate dividends.
RAPID FIRE WITH AIN’T MISBEHAVIN’’s ISIAH RANKIN
RAPID FIRE WITH AIN’T MISBEHAVIN’’s YOLANDA TREECE. 
RAPID FIRE WITH AIN’T MISBEHAVIN’’s RAVEN BUNTYN
Opposite him, Grammy nominee Mykal Kilgore delivers a mesmerizing Judas. From the opening notes of “Heaven on Their Minds,” Kilgore refuses to portray Judas as a simple villain. Instead, his Judas feels conflicted, frightened, frustrated, and heartbreakingly human as he watches events spiral beyond anyone’s control. His powerhouse vocals soar effortlessly through the score, but it is the emotional vulnerability beneath the performance that lingers longest.
As Mary Magdalene, powerhouse vocalist Olivia Valli comes by her talents naturally. Granddaughter of The Four Season‘s founding member Fankie Valli, she’s a legacy entertainer. As Mary Magdalene, Valli brings warmth and aching sincerity to the role. Early on During “Everything’s Alright,” Valli’s calming presence provides a needed emotional balance amid the increasingly chaotic atmosphere surrounding Jesus. Soon after, her rendition of “I Don’t Know How to Love Him” avoids unnecessary theatrics in favor of emotional honesty, allowing the heartbreak within the song to quietly unfold. Under Cassidy’s direction, Valli explores the often-avoided attraction between Mary the woman and Jesus the man, once again offering yet another layer to the humanity of the piece.
As Pontius Pilate, Geoffrey Davin offers one of the evening’s smartest tonal shifts . Presented as a gaudy, self-important joke of a man sporting an intentionally terrible hairpiece (kudos to the show’s wig designer Meredith Schieltz for just simply going for it), Davin leans fully into the absurdity of performative power. The portrayal initially earns plenty of laughs, but underneath the comedy lies another sharp reflection of the production’s larger themes—people desperate to appear more important than they truly are. His “Pilate’s Dream” balances nervous humor with growing dread, while sinisterly daunting presence during “Trial Before Pilate/39 Lashes” becomes genuinely unsettling.
W. Scott Stewart’s thunderous bass vocals as Caiaphas roll in like a deep fog, brilliantly setting the stage for the dread and darkness to come. Robert Parker Jenkins‘ Annas perfectly snarky glances peering over those disturbingly small, dark glasses, brings an unspoken self-righteousness to his role as a high priest. As other members of Caiaphas’ doom squad, Garris Wimmer‘s sinister voice and Jennifer Whitcomb-Oliva‘s snide presence all come together perfectly to present a united and terrifying quartet who initiate the plot to end Jesus.
Then there’s the most intriguing of Whitcomb-Oliva’s multiple roles, her dazzlingly, gloriously commanding presence as King Herod. Landing somewhere firmly between Tina Turner’s Auntie Entity from Mad Max: Beyond the Thunderdome and Elton John’s Pinball Wizard from yet another rock opera, Tommy, Whitcomb-Oliva’s Herod is the true definition of the villainous character we know we’re not supposed to love, but we just can’t help ourselves. Combine the stage presence and spectacular wardrobe with Whitcomb-Oliva’s undeniable talents and you’ve got yourself a show-stopping performance and another of Studio Tenn‘s Jesus Christ Superstar‘s truly magical cast members. There is no role this mega-watt talented performer can’t handle and she proves it show after show after show.
Other ensemble members like Bakari King, Garris Wimmer, Maya Antoinette Riley, Matthew Hayes Hunter, Savannah Stein, Lane Adam Williamson, Victoria Griffin, Emma Rose Williamson, Connor Adair, Nikki Berra, Christina Ledbetter and Patrick Jones each contribute to the overall energy, emotion and beauty of the piece. From the full ensemble Act 1 favorite, “What’s the Buzz’ to a shining, glittering all-in late-hour moment, the entire cast brings everything they’ve got, resulting in a feast for the eyes, the mind, the heart and soul. 
Likewise, Joi Ware’s choreography injects continuous movement and urgency into the production. There are moments where subtle Bob Fosse-inspired isolations seem to collide with flashes of Michael Jackson-inspired movement during larger ensemble sequences, creating choreography that feels simultaneously nostalgic and contemporary. Even those ensemble moments reinforce the power-in-numbers juxtaposed to the isolation of one theme found throughout the piece. Coupled with Cassidy’s direction, Ware’s choreography fills the stage with passionate movement, whether the entire company is on stage for a group number, or the action slows for a solitary moment from Pascal, Kilgore or Valli.
One notable change is the role of Sweet Sue, bandleader of the all-girl band that serves as the perfect hiding in plain site destination for our two unintentional leading men, or should I say leading ladies? Little more than a brief appearance in the source material, Ruffin and Lopez wisely fleshed out Sweet Sue and as played by DeQuina Moore, we’re glad they did. Moore’s Sweet Sue doesn’t just open the show—she detonates it. Her “What Are You Thirsty For?” lands with the kind of electrifying force she herself described in our recent 
Leandra Ellis-Gaston’s Sugar Kane arguably comes with the steepest climb. Not because of the technical demands—though those are certainly present—but because Marilyn Monroe’s original Sugar remains so indelibly iconic. Wisely, the creators of the stage adaptation “understood the assignment,” sidestepping imitation entirely. By reimagining Sugar as a strong-willed, career-driven woman of color, the role becomes instantly unshackled from direct comparison—and Ellis-Gaston runs with it. With a speaking voice that lands somewhere between The Color Purple’s Squeak and legendary chanteuse Lena Horne, her Sugar is equal parts vulnerability and resolve. Sweet? Absolutely. But never simple.
As G-man Mulligan, Matt Allen plays the essential “straight man” with surgical precision, anchoring the show’s more outlandish antics while quietly setting up some of its biggest payoffs. As he said in our recent Rapid Fire 20Q, that role is not only necessary but foundational in launching the show’s farcical momentum. And when he finally gets to dip into the madness—particularly in that delightfully ridiculous undercover sequence—it’s a payoff worth the wait.
Minnie, Sweet Sue’s right-hand woman is revealed throughout as a bit of a sticky-fingered gal. One of the show’s running gags is her revelations of accidentally entering the wrong apartments thinking they were Sue’s and taking things that weren’t hers. To that end it makes perfect sense that Devon Hadsell’s Minnie is a scene-stealing delight, leaning fully into the character’s charming chaos and absconding with laughs each time she’s on the stage. There’s a lived-in sense of loyalty and mischief here, making Minnie far more than just comic relief. She’s an essential part of the heartbeat of the band. And that ever-present cigarette dangling from her ruby red lips, the kind of subtle sight gag that again perfectly pays homage to that 1930 prohibition-era Hollywood spirit. Side Note: When that Gregg Oppenheimer I Love Lucy play makes its way to Broadway, Hadsell has my vote for the Vivian Vance/Ethel Mertz role!
And then there’s Edward Juvier’s Osgood, who may just be the show’s most quietly radical reinvention. As he shared in our recent Rapid Fire 20Q, what drew him to the role was Osgood’s ability to lead with curiosity rather than judgment—and that ethos radiates throughout his performance. Where the film played him as the punchline, this version is in on the joke and, more importantly, in on the love. That shift—from caricature to fully realized romantic—becomes one of the production’s most meaningful evolutions.
RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s ELLE MCLEMORE
RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER
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?
RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE
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?
RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN
JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?
RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG
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?
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.
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.
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.
Emma Elizabeth Smith (Catherine of Aragon) steps forward first with “No Way”, clad in commanding yellow and gold with accents of black—a direct references to her Spanish roots, the wealth of the Spanish crown, and the opulence of the Catholic Church. The regal palette reinforces Catherine’s authority as the original Queen, while the structured corset and bold detailing give visual weight to her refusal to be dismissed. As Smith belts “I’m not sorry for my honesty,” the look radiates righteousness and resolve.
There’s an interesting shift in tone with Alizé Cruz (Katherine Howard) and “All You Wanna Do”. Her pink-and-black costume reflects youthful vitality layered with looming danger—the sweetness of pink undercut (no pun intended) by the severity of black. What begins flirtatious quickly curdles as the repetition of “All you wanna do, baby” exposes the song’s darker truth. As the lighting cools and the meaning sharpens, the visual contrast underscores just how trapped Howard truly is. It’s Britney‘s “Womanizer”, sing-songy and fun, but if the aggressor had access to the guillotine.
RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH
RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH
RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH
RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH