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

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

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

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

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

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

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

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

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

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

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

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

WALLY NASON:

Jack E. Chambers – Devoted

Isabel Smith – Joyful

Payton Justice – Free (spirited)

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

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

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

JHPENTERTAINMENT: Who is Chad to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with 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.

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

Rapid Fire 20Q With Director and Cast of ‘Ragtime’; on stage at The Keeton beginning Friday, August 15

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

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

RAPID FIRE 20Q WITH RAGTIME DIRECTOR, MITCHELL VANTREASE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH RAGTIME’s TATEH, NICHOLAS BRANSON

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

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

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

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

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

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

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

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

RAPID FIRE WITH RAGTIME’s MOTHER, HOLLI TRISLER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 Cast of Playhouse 615’s ‘RUTHLESS’; Opening Friday, July 25

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As Playhouse 615 gets ready to raise the curtain on the wildly outrageous Off-Broadway musical RUTHLESS, I recently caught up with four members of the cast to hit them with a round of Rapid Fire 20Q. From rising young stars to seasoned professionals, these performers bring their own brand of flair to the twisted tale of ambition, identity, and murder set to music. Read on to get to know Alyssa Borg, Kassidy Marsh, Caleb Parker Heath and Diane Bearden Enright just a little more ruthlessly.
RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s RUTHLESS
RAPID FIRE WITH KASSIDY MARSH, TINA DENMARK IN RUTHLESS  
JHPENTERTAINMENT: What’s the most fun and most challenging part of playing Tina in RUTHLESS?
KASSIDY MARSH: The most fun part is getting to hang out with my cast mates. The most challenging is learning all the dances and having to remember how to tap.
JHPENTERTAINMENT: Tina is ambitious, dramatic, and a little scary—how do you channel all that energy while keeping it fun?
KASSIDY MARSH: I kind of have a little of her personality. I get to act a little crazy. But, getting to show a scary side on stage is fun.
JHPENTERTAINMENT: What’s been the coolest thing you’ve learned from working with an older cast?
KASSIDY MARSH: Each of the cast members are so nice and have been helpful in helping me do a better job of being Tina.
JHPENTERTAINMENT: On the subject of the adults you’re working with…in this production, your Mom, Melissa Marsh is the show’s costumer. What’s the best part of having your Mom on hand during the production? AND..what can you tell me about your look in the show as far as wardrobe is concerned? 
KASSIDY MARSH: Her bringing me snacks to rehearsal is the best part. I feel her clothes show her change from innocent to scary.
JHPENTERTAINMENT: If Tina Denmark had a TikTok—what would her most viral video be about?
KASSIDY MARSH: It would probably be either Tina describing how she deals with Louise or singing about being ruthless.
RAPID FIRE WITH CALEB PARKER HEATH, SYLVIA ST. CROIX IN RUTHLESS  
JHPENTERTAINMENT: Your MTSU debut was in THE LANGUAGE ARCHIVE, now you’re debuting with Playhouse 615 in RUTHLESS. Needless to say, the roles of George in THE LANGUAGE ARCHIVE and that of RUTHLESS’ Sylvia St. Croix are quite different. What I’m curious about is…have you found any similarities between the two?
CALEB PARKER HEATH: Honestly, I see George and Sylvia as polar opposites. George is soft-spoken and never really figures out how to say what he’s thinking, while Sylvia just says what comes to mind, whether she should or not. I don’t know that there are any similarities between the two characters, Sylvia has just been a crazy roller coaster of makeup and camp.
JHPENTERTAINMENT: RUTHLESS has been likened to a parody of shows like  stage musicals GYPSY & MAME and classic films THE BAD SEED & WHATEVER HAPPENED TO BABY JANE?. Have you seen the alleged source materials? AND…Do you think that’s a fair assessment? 
CALEB PARKER HEATH: I can definitely see where the inspiration came from, although I think the show kind of morphed into its own thing. I think that each character comes from one of each of the shows/films. I think that Sylvia definitely drew most of her inspiration from GYPSY and MAME. I’ve seen many different productions of GYPSY, I’ve seen MAME, but I haven’t gotten around THE BAD SEED or WHATEVER HAPPENED TO BABY JANE?. I drew a lot of my inspiration and characterization from MOMMIE DEAREST, Christine Baranski, and many YouTube videos and movies of Broadway divas.
JHPENTERTAINMENT: As the character name might imply, Sylvia St. Croix is, on occasion, played by a female, but it’s important to note that in the first Off-Broadway production, Joel Vig portrayed Sylvia, then during it’s successful Los Angeles run, Loren Freeman assumed the role, setting a bit of a precedence that the role is just uproariously funnier when played in camp drag. So…is this your first time in drag? 
CALEB PARKER HEATH: I definitely think the drag element makes the show much campier. This definitely is my first time in drag, It’s definitely not easy, but it’s quickly become my favorite role I’ve ever played to date.
JHPENTERTAINMENT: Honestly I could see an entire production done in drag…and I’m sure it has been done. That said, IF you were to play another role, which would it be and why?
CALEB PARKER HEATH: If I were to play another role, it would probably be Eve because she’s so kooky and awesome.
JHPENTERTAINMENT: As you’re preparing to go on stage, when during the process do you feel you’ve fully slipped into Sylvia’s… heels?
CALEB PARKER HEATH: When I put the lipstick on, pin my wig in place, and put on my 6 inch heels… I feel like a completely different person. I feel like Sylvia. I have to become an entirely different person to do the show.
RAPID FIRE WITH ALYSSA BORG, JUDY DENMARK/GINGER DEL MARCO IN RUTHLESS  
JHPENTERTAINMENT: Judy has one of the biggest transformations in the show—what helps you make the shift from doting mom to diva?
ALYSSA BORG: For me, it was all about vocal range and where it lives in the body. For instance, Judy is very fingertips-up, lady-like, Stepford wife meets robotic doll in movement. And Ginger is more hips, and more leaning forward with her heart, her sternum, her chest. And a deeper vocality. Lots of low deep inhales and exhales while belting as much as possible. Whereas Judy is all head voice (as much as possible) and even in speaking trying to be as much in my head voice and as breathy as I can be, without hurting my cords.
JHPENTERTAINMENT: One aspect of Judy’s character is that so much of the fast laughs go right over her head. Do you have a line or a scene that’s a personal favorite?
ALYSSA BORG: Judy is such an amazingly interesting character to me because, first of all, I love playing the “straight” man in comedy. I also love that she has so many wonderful snappy lines where she knows what she is saying, and the other person doesn’t get it, or she takes something very very literally. The other thing about Judy is – she’s a doting mother because she didn’t have a doting mother. She became the doting mother she always wanted as a child, but she’s also still this wounded little girl playing with dolls. That’s why her house is so whimsical, colorful, and over the top. That’s why she has the frilly crinoline petticoats, serves tea and birthday cakes, and everything is kind of magical and a little off.
JHPENTERTAINMENT: Your bio reveals you have a background in voiceover. Have you found that skill helpful in creating unique voices for the two halves of your character in RUTHLESS?
ALYSSA BORG: Having a background in voiceover has definitely helped with playing around with pitch and tonality. And with body movement too. One of the lesser known things about voice acting is that there’s actually a lot of physicality and movement, especially in your arms and in your torso. So once I got those down for the characters, it was really easy just kind of be in that – plus I was never ashamed to come into rehearsal (or auditions) with some sort of vocal warm-up device, whether it was a Vox water bottle, a neck massager, or even a kazoo.
JHPENTERTAINMENT: Playhouse 615 co-founder, Joel Meriwether is directing RUTHLESS. What’s he like as a director, particularly as a director of such an outlandish parody musical?
ALYSSA BORG: Joel, as a director is a very interesting experience and I say that with all the kindness in my heart. He is very open and receptive to feedback even in the moment, and open to actors sharing ideas, especially in the beginning of the rehearsal process. There is a really nice autonomy given to the actors in regards to trusting that we will learn our lines, trusting that we will learn songs, but also, being very collaborative in nature, being open and receptive to ideas about character, about set, about costume, things like that. 
JHPENTERTAINMENT: When not on stage, I understand you teach yoga. If Judy Denmark and Ginger Del Marco were your yoga students, which poses would each master with ease?
ALYSSA BORG: Judy needs some ragdolls or wide leg forward folds – she’s very much a marionette who needs her strings cut and to relax. Ginger is very grounded, but I feel like she could use some child’s pose or supine twists – something to make her look a little deeper and more introspective. They both need to start meditating. 
RAPID FIRE WITH DIANE BEARDEN ENRIGHT, MISS MYRNA THORN IN RUTHLESS 
JHPENTERTAINMENT: If memory serves, did you tell me you were the one who brought RUTHLESS to the attention of Playhouse 615 for potential inclusion in the current season? What is it about this show that you feel fits the Playhouse 615 vibe? AND…What is it about Miss Thorn that attracted you to the role?
DIANE BEARDEN ENRIGHT:  Yes, I did introduce RUTHLESS to Playhouse 615. I had done the show over 20 years ago at the Hippodrome Theatre in Gainesville, FL and never forgot how funny it was and how much fun we had doing it.  The book is so clever how it weaves in moments from the musical GYPSY and the 1950’s movie THE BAD SEED.  It is outrageous, hilarious, irreverent and promises to be an unforgettable evening of musical theatre.  Miss Thorn is very special to me and so much fun to play.  She’s just a big ole mess!  I’m so fortunate to be able to play her again after all these years. 
JHPENTERTAINMENT: With your background in both education and event planning, what skills from those roles sneak their way into your stage work?
DIANE BEARDEN ENRIGHT:  It’s true I am a teacher as well as an event professional.  Those two careers are much like Acting in the way one prepares for the main event.  Research and preparedness followed by “flawless” execution.  Simple as that.
JHPENTERTAINMENT: When not on-stage or behind the scenes, you serve as an adjunct instructor in theatre at MTSU. If Miss Thorn were to fill in for one of your university courses, what would her first instruction be to the class?
DIANE BEARDEN ENRIGHT:  Assigning a student to supply snacks and wine.  No joke.  🙂
JHPENTERTAINMENT: You also serve on the Board at Playhouse 615—what excites you most about the future of the company?
DIANE BEARDEN ENRIGHT:  I am so proud to have been with this group from the start.  Playhouse has done amazing things in a short amount of time.  The audience is growing, our talent pool is expanding.  We are the hidden gem that is quickly emerging from the shadows. 

 JHPENTERTAINMENT: You likely know that I tend to end these chats with a variation on the same closing question…What do you hope audiences take with them after having seen Playhouse 615’s RUTHLESS?

DIANE BEARDEN ENRIGHT:  I hope their belly’s and jaw’s hurt from laughing!  I want the audience to sit back and forget about our chaotic world for 2 hours.  Let’s get lost in the joyous absurdity of RUTHLESS.

Don’t miss your chance to see this hilariously twisted tale of ambition, stage mothers, and killer instincts play out live at Playhouse 615. RUTHLESS opens Friday, July 25 and runs through August 10. CLICK HERE to grab your tickets now, and get ready for an outrageously fun night of musical mayhem! 

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

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

 

Rapid Fire 20Q with cast of Franklin Theatrical Fellowship’s ‘Guys and Dolls’; onstage July 11 thru July 20

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Having presented TWELVE ANGRY JURORS, around this time last year, Franklin Theatrical Fellowship under the watchful eye of founder Melanie Sutton, quickly proved themselves as the latest addition to the Middle Tennessee theatre community. With the added immersive element of their current show, GUYS AND DOLLS, on stage July 11-20 at Studio 615 (272 Broadmoor Drive, Nashville, TN 37207), FTF is definitely upping the ante (thematic gambling reference fully intended).
As the cast and crew put the finishing touches on turning Studio 615 into New York’s Biltmore Garage, I had the chance to chat with four members of the cast for the latest installment in my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.
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Rapid Fire 20Q with cast of Franklin Theatrical Fellowship’s GUYS AND DOLLS
Rapid Fire With Brian Charles Rooney, Nicely Nicely Johnson in GUYS AND DOLLS
JHPENTERTAINMENT: To get things rolling, I gotta admit, Nicely Nicely has always been my absolute favorite musical theatre character name! What can you tell me about Nicely Nicely and what drew you to audition.
BRIAN CHARLES ROONEY: The name is a lot of fun! There’s a lot of room in this show for really great character work; which is one of the reasons I wanted to do the show in the first place!  It’s a classic, and there are so many songs in the show that have become part of the fabric of our culture. However, one of the main reasons I wanted to be in GUYS AND DOLLS was because of a speech that the artistic director of Franklin Theatre Fellowship, Melanie Sutton, made after a performance of their last production, GOOD NIGHT, OSCAR, I was thoroughly impressed by the production, the acting, the direction, the design… and that made me feel excited, but it was Melanie’s speech afterwards that really sealed the deal for me. I had just done the last production of A CHRISTMAS CAROL, for Nashville Rep; and some of us had participated in a talk back after the show. Someone asked us what we found valuable about being in the show. I took the opportunity to point out that live theater offers the community a chance to come together, regardless of so many variables that make people different. In the 2 hours, or so, that an audience has with the cast and crew of a show, they participate in a community experience.  Melanie talked about wanting to create a theater company that fosters the opportunity for people to come together, to take risks, to create art, and to be available to the community, regardless of their background.
I knew that I needed to get to know this person, and to try to work with her.  So when I saw that FTF would be producing GUYS AND DOLLS this summer, I reached out to Melanie, and to Allison Little, our choreographer, with whom I had performed in ELF for the Rep and CABARET for Studio Tenn. 
JHPENTERTAINMENT: You know I can’t do one of these Rapid Fire chat with you without mentioning your Broadway debut, having played Lucy Brown in Roundabout Theatre Company’s  2006 revival of THREEPENNY OPERA. From Lucy Brown to Nicely Nicely Johnson is quite a leap—are there any similarities you’ve found between these two?
BRIAN CHARLES ROONEY: Yes quite a leap visually, for sure! However… Both characters are absolute opportunists. They will do or say whatever they need to do to achieve a goal.  Nicely Nicely is often portrayed as rather vapid. Melanie has been wonderful about letting me experiment with this character, to make it my own… and I’m excited for people to get to know this version of the character!
JHPENTERTAINMENT: GUYS AND DOLLS is a classic American musical, having debuted in 1950. Do you view it as strictly nostalgic? Or are there themes and ideas that are still as relevant today?
BRIAN CHARLES ROONEY: I do think there is a huge amount of nostalgia attached to this show, and I think that’s a good thing! But the theme of honesty is one that really resonates with me. Taking the time to get to know someone, being honest about how you feel, creating healthy communication… All of those things are so important for functional, healthy relationships.  Now, of course, all of that is wrapped in delightful melodies and dance numbers, the visual feast of our set and costume designs, and the comedy that is so richly embedded in the story. But it really is about people learning how to communicate!  I think humanity really does need to revisit in-person communication on a more regular basis… we’ve been so obsessed with digital shortcuts, social media, and the ease of access that technology provides; but we lose out on a deeper connection. Even though this show is funny, and fantastical, it really is about the connection between friends and people in love.
JHPENTERTAINMENT: Nicely Nicely is known for bringing down the house with the 11th hour number, Sit Down, You’re Rockin’ the Boat. Has FTF’s GUYS AND DOLLS musical director Scott Brons taken advantage of your incredible multi-octave range during this number?
BRIAN CHARLES ROONEY: Mayyyybeee… my range is certainly unusual… a and it is often exploited, in the best way, no matter what show I’m doing. However, as an artist, I’m always looking for ways to utilize my range in order to tell the story in an honest and resonant way.  We’ve done some creative things with this character, and I’m excited for people to see that.  I’m also excited for them to HEAR that!
JHPENTERTAINMENT: What keeps you excited about musical theatre today, and what’s next for you creatively?
BRIAN CHARLES ROONEY: I think what keeps me most excited about musical theater is the constant evolution of the art form, and the new work that I encounter. I have dedicated most of my career to working on new works. It hasn’t always been lucrative, but it has always been artistically fulfilling. I was just in New York City again, working on a new musical called CHRISTMAS EVE IN DIKANKA, based on a fable by Gogol… think the classic stop motion Rudolph the Red-Nosed Reindeer meets Dr Zhivago meets Baba Yaga. I know that sounds crazy, but it’s actually quite a wonderful show!  It is in the development of something new where I always feel the most free to take the biggest risks artistically.  That kind of creative freedom is a privilege and a joy. Along with the fun of creating a new character with a new story, comes the chance to work with writers who are finding their voices. It’s such a thrill! And I hope there is more new work developed this coming season in Nashville… after all, any chance for the community to come together to see a piece of theater, is a good one!!! 

Rapid Fire With Rebekah Howell, Sarah Brown in GUYS AND DOLLS

JHPENTERTAINMENT: What aspect of Sarah Brown are you enjoying bringing to life most?
REBEKAH HOWELL: It’s so rewarding to portray a character who has such a dramatic arc. Sarah Brown undergoes a complete mindset shift, and she’s so different at the end of the story from when we first meet her in her opening monologue. She experiences a massive amount of personal growth when her ideas and preconceived notions are challenged. As an actress, it’s very fun to inhabit a character as they undergo this process of change and growth. 
JHPENTERTAINMENT: “This would be a wonderful way to get children to drink milk!” isn’t just my favorite Sarah Brown line, but a line I quote quite often while out and about with friends. Do you have a personal favorite line or scene as Sarah?
REBEKAH HOWELL: That’s such a great line – it’s so quotable! Haha! Some of my personal favorite lines are actually in the I’ll Know duet with Sky Masterson. Sarah says “I won’t take a chance; my love will be just what I need – not some fly-by-night broadway romance!” The irony is that she and Sky Masterson literally fly – by night, in fact – to Cuba, and they do have a whirlwind romance! I love the foreshadowing of this moment, even if it is a little “on the nose!”
JHPENTERTAINMENT: While I haven’t seen GUYS AND DOLLS on stage in quite a while, in preparing to chat with you and your fellow cast mates, I revisited the 1955 film adaptation.  My above-referenced favorite line is from the Havana scene between Sarah and Sky Masterson. That scene also features my favorite GUYS AND DOLLS dance sequence in the film. For FTF’s production, Allison Little serves as choreographer & Philip David Black plays opposite you as Sky. How much have you enjoyed working with Allison and Philip for this scene in particular?
REBEKAH HOWELL: Our version of the Havana scene is a little different from other productions and certainly from the 1955 film adaptation. I won’t give away any spoilers, but what I love most about our production is how skillfully Allison plays to each performer’s strengths and incorporates them into the storytelling. Her choreography is so detailed, clear, and comedic. Philip is a fantastic stage partner, and it’s been so much fun to prepare to tell this story with him.
JHPENTERTAINMENT: I love that your bio starts with, “From bel canto to “can belt-o” and everything in between”, a nod to your many versatile roles from opera to traditional musical theatre. For those who might feel they’d be out of place attending an opera performance, what advice would you give?
REBEKAH HOWELL: It’s funny, but I find opera and musical theatre to be more alike than they are different. They’re both storytelling art forms that use singing, and often they both require dialogue and dancing! The main difference is that opera singers are often stylistically required to perform without microphones or amplification while singing over a full orchestra; composers often choose to write in a vocal range that can accommodate this Herculean feat. What most people don’t know about older operas is that they WERE the modern musical theatre shows of their day, and they often addressed political and controversial topics that were current – and many times continue to be current today. If you want to enjoy your first opera, my best advice is to read the synopsis before you go, and maybe look into what was going on in the world at the time when it was written.
JHPENTERTAINMENT: Do you have a pre-show ritual, whether it’s as you’re preparing for an opera or a role in musical theatre?
REBEKAH HOWELL: This might be a surprising answer, but no – I don’t really have a “pre-show ritual” per se. The best pre-show prep is done in the daily choices that I make in regards to eating healthy foods, moving my body, getting good sleep the night before, and staying hydrated. I actively try to keep any pre-show vocal warmup to a minimum so that I can avoid fatigue beforehand and bring my best to the stage.
Rapid Fire With Austin Correll, Nathan Detroit in GUYS AND DOLLS
JHPENTERTAINMENT: Who is Nathan Detroit to you?
AUSTIN CORRELL: Nathan Detroit is a criminal, a gaslighter, and a ne’er do well. Beyond that, however, he is a true romantic. He loves his doll and his fellas (mafiosos) and wants nothing short of the best for them all. 
JHPENTERTAINMENT: You were part of Franklin Theatrical Fellowship’s inaugural production, TWELVE ANGRY JURORS last year, and now you’re back onstage with the company in GUYS AND DOLLS. What growth have you seen in FTF in that time as they establish themselves as a viable part of the Nashville area theatre community?
AUSTIN CORRELL: First and foremost, its range. TWELVE ANGRY JURORS is a poignant and intense look into American prejudice. GUYS AND DOLLS is anything but intense. This deviation isn’t a shift away from intensity but an exhibition of the range FTF can provide. Each show provided different entertainment sources for an audience, and I think we have taken an approach with each show to evoke that entertainment and sensations in a uniquely and incisively. 
JHPENTERTAINMENT: As she did with TWELVE ANGRY JURORS, FTF’s founder and artistic director, Melanie Sutton, is helming GUYS AND DOLLS. What is your favorite aspect of working with Melanie as a director?
AUSTIN CORRELL: She has visions and executes them. It’s one thing to imagine something but she finds a way to make those imaginations happen. Which is hard to do in any form of artistic expression. From an actors standpoint the process is refreshingly collaborative. She helps fine tune your ideas for moments or will provide you with an idea and let you fine tune it to match your vision for the character. It’s the perfect amount of freedom. 
JHPENTERTAINMENT: GUYS AND DOLLS is being presented as an immersive theatrical experience. Can you elaborate a bit on that?
AUSTIN CORRELL: We’re kinda coming at you from all angles. Both figuratively and literally. Guys and Dolls is typically a traditional big stage play with big sets and an audience admiring from afar. With this production we are right in your face. In your chairs. Handing you props. I’d say the fourth wall is built with newspapers. On top of that the pre-show element has us taking Damon Runyon’s world to new heights. Audiences will get to interact with the characters and get a sense of the unique elements of “Runyonland” New York
JHPENTERTAINMENT: Can’t talk about Nathan Detroit without mentioning some of the greats who’ve stepped into the role in the past, including Sam Levine, Alan King, Frank Sinatra (in the 1955 film adaptation), Robert Guillaume & Nathan Lane, to name a few. With such a pedigreed past, how are you making Nathan Detroit your own?
AUSTIN CORRELL: It’s impossible to take on this role without paying attention to those greats. I see taking on a classic role like this as more of creating an amalgamation of those elements that worked for the preceding artists. The coolness of Sinatra. The manic physical comedy of Lane. The traditional Jewish cadence in line delivery of Levene. I’ve tried to package all of these together. At the end of the day, my Nathan is going to be exasperated and sweaty and in love with his darling Adelaide. 

Rapid Fire With Philip David Black, Sky Masterson in GUYS AND DOLLS

JHPENTERTAINMENT: Sky Masterson seems the epitome of golden era musical male characters. Is there anything surprising that you’ve discovered about the character as you’ve delved into the role?
PHILIP DAVID BLACK: Sky’s cool guy persona is a mask for his roots, which are less worldly, as shown by his real first name, Obediah. Falling in love with the missionary, Sarah, fuses his past with his present. That is a great dynamic to play, and it hits a little different every time.  
JHPENTERTAINMENT:Earlier this year you appeared in Studio Tenn’s THE PLAY THAT GOES WRONG. From the chaos of comedic farce to the cool confidence of Sky Masterson—what’s your favorite aspect of shifting gears from comedy to classic musical theatre?
PHILIP DAVID BLACK: The huge lift you get from a musical is that well-written music does so much work for you. You just learn your notes and take the ride. Comedy plays are great fun, too, but you have to work much harder for every little moment. With a band backing you up, even a madcap comic dunce like me can make the switch to suave, or close enough. 
JHPENTERTAINMENT: Sky’s big number is Luck Be a Lady. Marlon Brando performed the song as Sky Masterson in the 1955 film adaptation. What’s your favorite aspect of performing this song?
PHILIP DAVID BLACK: An audience leaves a show with Act 2 on their minds, so I love that Sky’s biggest song is almost the last thing he does in the show. It’s a treat to leave on such a high note. 
JHPENTERTAINMENT: I’ve always found it interesting that it was Frank Sinatra, who had played Nathan Detroit in the film, who later made Luck Be a Lady one of his signature tunes. In that vein…if you were to choose a signature song, or your own personal theme song, of any musical genre, what would it be and why?
PHILIP DAVID BLACK: Make ‘Em Laugh from SINGIN’ IN THE RAIN comes to mind first. Life is hard enough. I much prefer well-rehearsed laughs to hard-rung tears.  
JHPENTERTAINMENT: You kind of touched on this earlier, but I typically end these interviews by asking some variation on the following…What do you hope audiences take with them after having experienced FTF’s GUYS AND DOLLS?
PHILIP DAVID BLACK: I hope they leave humming a good tune, floating on the kind of cloud that only comes from shared moments. We are all God’s children, and I believe the theater is our playhouse. We dream better together. 
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Franklin Theatrical Fellowship‘s GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE opens at Studio 615 (272 Broadmoor Drive) on Friday, July 10 and continues through Sunday, July 20. To witness part of the pre-show immersive aspect, plan on arriving at 6:30pm for the Thursday, Friday and Saturday evening shows and at 1:30pm for the Saturday and Sunday matinee performances. Further adding to the immersive vibe of secretive gambling night, ticket prices are as follows: High Rollers Velvet Booth Section: $90.62, High Rollers Velvet Rope Section: $85.42, Holy Rollers Velvet Pew Section $80.22 and General Admission: $64.62. All ticket prices mentioned include fees. CLICK HERE for tickets or more information.
Following GUYS AND DOLLS, FTF will present THE DIARY OF ANNE FRANK, onstage at FSD PERFORMING ARTS CENTER in Franklin, TN from November 29-December 7. 2025. To keep up with what’s next for FTF, CLICK HERE or follow them on Facebook and Instagram.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

Rapid Fire 20Q with Music Director and Cast of Stephen Sondheim’s ‘Company’; Opening at The Keeton Friday, June 13

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With a string of beloved Broadway classics to his name, Stephen Sondheim’s COMPANY remains a standout for its wit, insight, and unmistakable score. Featuring a talented cast of Nashville-area performers, the upcoming Keeton Dinner Theatre staging of the Tony-winning musical opens Friday, June 13 and continues through Sunday, June 29. With a production that promises to bring Sondheim’s complex characters and timeless themes to vibrant life, in anticipation of opening night, I recently caught up with the show’s music director and members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are our conversations.

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RAPID FIRE 20Q WITH MUSIC DIRECTOR AND CAST OF THE KEETON’s COMPANY

RAPID FIRE WITH COMPANY MUSIC DIRECTOR, ROGER HUTSON

JHPENTERTAINMENT: When I spoke with The Keeton’s Donna Driver about setting up these interviews, she noted that the score of Company is quite complex. What have been the biggest musical challenges in bringing Company to life at The Keeton Theatre?

ROGER HUTSON:  Donna is right!  When I signed on to music-direct this show, I was a bit intimidated. Stephen Sondheim’s musicals are legendary for their unexpected chordal intervals, heavy use of dissonance to create tension for resolution, harmonic chromaticism, varying meters in atypical patterns and several other unique elements that can make his music challenging to teach and perform.  And these nuances apply to both vocals and pit orchestration. The beauty of Sondheim musicals is WITHIN the complexity, not because of it. So, I made sure that our cast learned each part as written. Some numbers were more challenging than others. I recorded our own rehearsal tracks on especially tricky, layered vocal segments with a glockenspiel to play each of their notes, line by line, so they could rehearse and hear where their part hit in relation to everyone else’s descants and harmonies. And a simple process, too…repetition! Some parts just require muscle memory vs. trying to find a diatonic reference point.

JHPENTERTAINMENT: The Keeton’s musical productions always feature a stellar group of musicians in the pit. Who do you have working alongside you providing the live music for COMPANY?

ROGER HUTSON:  I am honored to have a great group of musicians to call on for each show I music direct.  For this production, we have Matt Love (drums, aux perc), Jimmy Ownby (trumpet, bass trombone), Dillon Wright (piccolo, flute, alto flute, clarinet, alto saxophone), Mike Capadais (electric and upright bass), Brandon Salaway (acoustic & electric guitar, banjitar) and me on piano.  These guys are brilliantly intuitive and adaptive players and cover multiple instruments like crazy!  We also have Steven Love, our amazing Sound Director, insuring a proper balanced sound for not only the audience, but for the cast for full instrumental support for peak vocal performance.   I have also created some backing and click tracks to add strings and a few other instruments that we don’t have live.  They kind of “sit in the middle” of the overall mix to accent and add texture to certain numbers.

JHPENTERTAINMENT: As musical director, how do you approach balancing the demands of Sondheim’s intricate score with the vocal strengths of a community theater cast?

ROGER HUTSON: Our fantastic director, Clay Hillwig, acknowledged with me before auditions were even held that one of the biggest casting factors would be vocal range, vocal ability and musical prowess. We had an extremely talented group of actors come out for COMPANY auditions. For certain roles, I had to really dial-in to their vocal ranges, where their registers transitioned, tone, etc. to ensure the music would be performed accurately and with proper tonality. And I’m very pleased to say that this cast exceeded all my expectations on the vocal demands of this production. Their perseverance to get it right was and is non-stop. 

JHPENTERTAINMENT: During the rehearsal process, was there a moment the the cast truly clicked with the music—when you felt the spirit of the show truly come alive?

ROGER HUTSON:  Oh gosh.  This cast bonded right out of the gate and was near-instantly cohesive. But in the beginning, we teach in segments; music first, then layer in choreography, followed by blocking. It was either our first or second stumble-through, I had recorded a scratch piano track on the backing/click track of the big opener, Company.  So instead of having to play piano for them to sing/dance, I was able to be on stage with them, with my handy iPad, listening and coaching the cast through the entire song, and the many changes in meter and multiple descants.  And they were off book already with the music! I was blown away with their obvious self-rehearsal time they had each put in to start the show with such an explosive number. Clay had told them that this opener sets the tone for the entire show….and it does! And man, did they show up and show out!  Yes, it was still a stumble through with little things to fix. But that’s when I knew they understood the assignment and would deliver in a great way!  I am humbled and honored to work with this entire cast, crew and production team. 

RAPID FIRE WITH COMPANY’s JOANNE, DONNA DRIVER

JHPENTERTAINMENT: You indicate in your bio that Joanne is a bucket list role. Played by many legendary actress in COMPANY’s storied history, Joanne is certainly a crowd favorite. What’s it been like to bring your own style to the iconic character?

DONNA DRIVER: I feel like most musical theatre actresses of a certain age have their hearts set on this juicy role. I have to admit that all the ladies in the callback room with me were all formidable talents, and each had their own take on the character. Joanne is a complicated lady. She’s friends with this young man, Bobby, but she’s also so guarded, bitter and judgmental toward everyone else. She’s been wounded somewhere along the way and wears it like armor. However, I wanted to steer away from making her too depressed or angry and focus more on why she and Bobby get along. What do they have in common? Why DOES she only drink like this with him? And how does she think she can help him not turn out full of regrets like her?

 JHPENTERTAINMENT:Sondheim’s material can be both vocally and emotionally demanding. What’s been your biggest challenge performing his work for this production?

DONNA DRIVER: The speed of these songs and getting my aging brain to remember what I need to sing at the tempo it needs to come out. And all those “Bobby”, “Robby”, “Robby love” lines that are never the same. I’m in awe of Kelsey Keny who gets all those lyrics for Getting Marred Today out with such ease. I don’t know how she does it.

JHPENTERTAINMENT: How has working with director Clay Hillwig and music director Roger Hutson shaped your interpretation of Joanne for The Keeton’s Company?

DONNA DRIVER: Clay is so wonderful at encouraging us to try things and cheering us on when they work. He’s offered great bits for me to add here and there that I love. Most of all, though, he’s allowed me to bring a more playful, sassy side to Joanne and not keep her dark and edgy the whole time. Roger has been great at keeping me on track with my rhythms (not my strongest point) and working with me on getting my two songs at tempos that serve the score and my acting choices. Both men are so kind.

JHPENTERTAINMENT: The title of the show is COMPANY, so I gotta ask…does this company of COMPANY stand up to the task at hand?

DONNA DRIVER: The company I’m keeping is astonishing. I’m honored to be among them. We have a couple familiar Keeton faces, but most of the cast members are new to us, or haven’t been on our stage in a while. They each bring so much to their characters. Tommy Anglim, as Bobby, is so talented and believable, with this incredible voice, and he’s as humble as could be. I’ve loved getting to work opposite Elliott Winston Robinson who has been a friend of mine for over 15 years. We’re having a blast. Our production team is also terrific, and the set by Kevin, my real life husband, is pretty cool.

RAPID FIRE WITH COMPANY’s LARRY, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: Larry is often thought of as the calm, steady presence in COMPANY, especially in contrast to his wife, Joanne, played in The Keeton’s production by Donna Driver. Meanwhile you are one of the Nashville Theatre communities most beloved actors. How did you approach bringing depth and nuance to a role that can often be overshadowed by his on-stage counterparts?

ELLIOTT WINSTON ROBINSON: Larry is quite the calming presence, the older (definitely) and wiser (maybe?) friend that you can lean on sometimes; the one that might not give you the greatest advice, but will always be straight and honest with you. I often feel that way in the dressing room, being so often one of the oldest cast members; ever encouraging to my cast mates, there is some real life Larry in me. As far as being overshadowed on stage, I believe that every role in a story is important, so I don’t feel diminished in any way. Besides, Larry has the perfect demeanor, the calming presence, to deal with Joanne, who overshadows everybody on stage when she’s having her moments! LOL

JHPENTERTAINMENT: As is often the case with supporting roles, especially when crafted by the legend himself, Sondheim, there’s frequently more going on below the surface. To that end, what did you discover about Larry during the rehearsal process that you decided to incorporate (even if only mentally) to your portrayal?

ELLIOTT WINSTON ROBINSON: I think Larry has fallen quite well into his role of “trophy husband.” Opposites attract, they say; Joanne needs Larry to offset her directness, her lack of filter, even if sometime she says things he wishes he could say. Larry is the one who buoys her up, because she doesn’t have the greatest level of self-esteem (he even mentions that the one time you really get to hear Larry speak). They complement each other very well. There are some similarities between them and my grandparents (though my grandmother was not a drunk): the outspoken lady, out front as the face of the relationship, while hubby stays steady, stoic, and smoothly makes things happen behind the scenes.

JHPENTERTAINMENT: One of Sondheim’s most iconic works, What does being part of COMPANY mean to you, and how does this production feel uniquely Nashville?

ELLIOTT WINSTON ROBINSON: This is my first Sondheim show, and his musical genius is reflected throughout. It has been a good challenge to learn his music, for example, dealing with some of the time signature/tempo/key changes he likes to make, but overall there is some really beautiful stuff in here. I think being able to put on shows like this reflects well on the level of talent in our city, and the willingness of spaces like The Keeton to sometimes stretch themselves away from the usual classics people would expect to see there.

JHPENTERTAINMENT: Is there a musical moment in COMPANY, whether yours or that of one of your co-stars, that you truly enjoy night after. night?

ELLIOTT WINSTON ROBINSON: Plenty of them! For my character, it has to be Sorry-Grateful, the brief trio part with my fellow husbands, played by Zach Williams and Barrett Thomas. Have I Got a Girl for You is simply hilarious with all the guys. I absolutely love Getting Married Today; I have great admiration for the physical feat of saying all those words; I can’t even read along fast enough to keep up with Kelsey! The girlfriends are awesome on You Could Drive a Person Crazy, and the group numbers are all fun because we have a bunch of great singers up there. The Ladies Who Lunch, of course (Donna is killing it); and don’t forget Bobby’s songs, especially Being Alive. That’s been a theatre fave of mine long before I ever imagined I’d have an opportunity to do this show, and I think Tommy is doing a really fantastic job with it. I could say something about just about every moment; I love the variety of styles Sondheim plays with!

RAPID FIRE WITH COMPANY’s APRIL, SYDNEY ROGERS

JHPENTERTAINMENT: Keeton audience will remember you for your emotionally charged portrayal of The Mistress in their production of EVITA. Now you’re playing the comedic and quirky April in The Keeton’s COMPANY. How much fun are you having navigating that shift in tone and character for this show?

SYDNEY ROGERS: Oh, it has been an enjoyably challenging experience!  Shifting out of that fragile and vulnerable state, into the quirkiness of April’s character, I’ve had the opportunity to grow outside of my comfort zone a bit.  April is such a fun role to play!  She’s an odd and ditzy New York-based flight attendant who really falls for Bobby, but, not unlike the Mistress, has a naivety and innocence about her as well.

JHPENTERTAINMENT: When I interviewed Elliott about playing Larry, I noted that Sondheim’s characters are often multi-layered. April is a prime example. On the surface she comes across as lighthearted, but she’s also one of Bobby’s most memorable and layered relationships. What do you find most compelling about her, and how have you made the role your own?

SYDNEY ROGERS:  I’ll be honest – it took some time for me to feel like I fully understood April. She appears and claims to be “dumb”, but she’s actually quite smart in her own reality. What I love most about her is that she’s a dreamer. April may have her head in the clouds at times, but she appreciates the small things and always means well. I hope to bring a sweetness to April that makes the audience root for her and Bobby.

JHPENTERTAINMENT: Your bio reveals that your ‘day job’ involves working as a royalties analyst at Warner Music Group. A former WB Nashville creative drone myself, I gotta ask. What’s the biggest misconception when people hear your ‘in the music business’? AND…just for fun, do you think April could do your job?

SYDNEY ROGERS:  What a fun question!  I think a lot of people believe that the music industry is all glitz and glamour, and forget that there are so many cogs in the machine that make it function the way it does.  Analytical and administrative sectors of the business may not be glamorous, but they are critical.  Do I think that April could do it?  Whew.  I think that April would be enamored with the idea of working in the music industry, but I don’t think anyone would want her handling the finances!

JHPENTERTAINMENT: What has it meant to be back onstage at The Keeton and how has this stretch from the seriousness of EVITA to the comedic fun of COMPANY helped you grow as a performer in the Nashville theatre community?

SYDNEY ROGERS:  I’m thrilled to be back on the Keeton stage and working with this wonderful community. Usually, I tend to gravitate toward shows with a dramatic storyline or some sort of heaviness. It’s rare that I’m a part of something so upbeat.  But that’s the beauty of COMPANY – in between all of the lightheartedness and hilarious moments, there is a deeper theme and message found in Bobby’s journey.  

RAPID FIRE WITH COMPANY’s BOBBY, TOMMY ANGLIM

JHPENTERTAINMENT: How would you describe Bobby and how have you personally connected with him?

TOMMY ANGLIM: I think Bobby is the kind of person everyone has either been, is currently, or knows well. He’s single and simultaneously craves and fears intimacy. At the start of the show, he’s settled into a comfortable, almost passive existence. He is surrounded by his married friends but unable (or subconsciously unwilling) to pursue a deeper connection of his own. He’s getting pressure to settle down, but he also starts to see the cracks in his friends’ relationships, realizing that none of them embody the ideal he’s been chasing.

Personally, I’ve found a lot of parallels between Bobby’s journey and moments in my own life when I’ve observed others’ relationships and used that lens to evaluate my own. Stepping into Bobby’s shoes has helped me reflect more deeply on my own patterns and what connection really means to me.

JHPENTERTAINMENT: What’s been most challenging about stepping into Bobby’s shoes?

TOMMY ANGLIM: With Bobby, the old cliché “acting is reacting” is especially true. He’s the central figure of the show and appears in every scene, yet he’s more of an observer than an active participant. Much of the challenge lies in conveying his inner life while he’s quietly processing what others are saying and doing around him. Because of this, I’ve worked to focus on balancing subtle shifts (how he hears his friends, how he interprets their relationships, and how that reflects on his own beliefs about connection and commitment) with the larger caricature style acting that exists naturally in staged comedies such as this one. On the flip side, it’s easy to get lost in his passivity and start to feel the same isolation he does—even while surrounded by people who love him. 

JHPENTERTAINMENT: As Bobby, you take on one of Sondheim’s most beloved and iconic numbers, Being Alive. How did you approach preparing for the number and what has the rehearsal process taught you about Bobby’s journey?

TOMMY ANGLIM: Being Alive was one of the first songs I ever heard from COMPANY, so I have been singing it to myself for years. I’ve always admired it, but now getting to bring it to life on stage, I’ve come to appreciate it on a much deeper level. The number is both a culmination of everything Bobby has learned and a turning point where he finally confesses and confronts his own loneliness. He’s spent the show analyzing his friends, but in this moment, he finally turns the mirror on himself. Our director, Clay Hillwig, has been instrumental in guiding me to that emotional breaking point—helping me find the vulnerability and urgency the song demands. It’s a huge emotional lift, and we spent a lot of time working to make that arc as raw and honest as possible.

JHPENTERTAINMENT: First presented on Broadway in 1970’s the themes of COMPANY include thoughts on commitment, loneliness and connection…still so relevant today. How do you think audiences will relate to Bobby’s story in 2025 and what do you hope audiences take with them after having seen The Keeton’s production?

TOMMY ANGLIM: Each scene in COMPANY is a deceptively simple vignette (i.e. a dinner party, a walk in the park, a night out), but within those everyday moments are deep, emotional truths about how we connect and conflict with each other. Our Keeton production places this story in the present day, and I think that’s a powerful reminder that these themes haven’t changed. I believe that audience members’ takeaways will vary depending on where they are in their own lives. We’ve talked about Being Alive, and I think what’s so impactful about the end of the show is that it doesn’t tie everything up in a bow. I know that some audiences have historically found this ending unsatisfying, but I think it ends with a challenge for audiences to reflect. The final moment of residual tension comes from a hopeful uncertainty. I hope audiences leave feeling seen and inspired to be more present in their own relationships. Ultimately, I hope some audience members find this show to be a little vignette in their journey of growth, as it has been in mine.

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The Keeton’s COMPANY opens Friday, June 13 and continues through Sunday, June 29 with with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight upcharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.

COMPANY closes The Keeton’s 2024-2025 Season, but not to worry, The Keeton’s 2025-2026 Season kicks off almost immediately with RAGTIME: THE MUSICAL on stage August 15-31. The Keeton’s new season also includes the regional premiere of LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, SHE LOVES ME, BIG FISH, THE PLAY THAT GOES WRONG and STATE FAIR! Season Tickets are available now. CLICK HERE for details.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter 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 cast members of ‘MJ: The Michael Jackson Musical’; National Tour at TPAC’s Jackson Hall through May 11

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The term soundtrack of a generation might be overused, but with a solo career that spanned 45 years and included 13 number-one hits, 30 top ten singles, six decades of hits as an artist, 8 Grammys, and 26 American Music Awards…just to name a few accolades…it’s easy to say that Michael Jackson not only provided the soundtrack of a generation, but of GENERATIONS! That said, when I heard that the four-time Tony-winning Broadway musical, MJ: THE MUSICAL National Tour was headed to Music City, playing TPAC’s Jackson Hall thru May 11, I knew I had to chat with members of the company for my latest Rapid Fire 20Q. When I reached out to my TPAC contact, I found out I would be chatting with Anastasia Talley who plays Jackson’s Mom, Katherine Jackson, J. Daughtry who takes on the role of Motown hitmaker Berry Gordy, JoJo Carmichael, the company’s Dance Captain and Nashville’s own, Devin Bowles, who stars as Jackson family patriarch, Joe Jackson, so I knew these interviews were sure to be a Thriller!

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RAPID FIRE 20Q WITH CAST AND CREATIVES OF MJ: THE MUSICAL NATIONAL TOUR

RAPID FIRE WITH DEVIN BOWLES, JOE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: You play Joe Jackson, the patriarch of the Jackson family in MJ: THE MUSICAL. What can you tell me about Joe, as he is written in the show?

DEVIN BOWLES: Joe Jackson is the Sun and everyone else and every thing navigates around him. We see the dominate and influential grip that he had on Michael and the remanence of his teachings. The environment that Joe created for his family was very controlling, abusive, and filled with mental schemes but all stemmed back to a tough love ideology that we showcase in this show.

JHPENTERTAINMENT: Devin, I gotta tell you, when I heard you were joining the tour as Joe, I was so excited. It’s always fun for me seeing actors I knew from the local theatre scene go on to bigger things. Heck, I recall seeing you in shows at Chaffin’s Barn Dinner Theatre and Studio Tenn. What’s most exciting about returning to Nashville for a tour stop at TPAC?

DEVIN BOWLES: It’s truly so surreal being back in Nashville! This city is where I began my professional career, it’s where my found my first community of artist, it’s the soil that ignited the ambition to be where I am now and to keep going. From Chaffin’s and to Studio Tenn, it’s a reminder of the power of manifestations, prayer, and full circle moments. I’m excited to continue to expand my artistry and career with this show and furthermore.

JHPENTERTAINMENT: As expected, the show is overflowing with classic MJ tunes. A few lesser-known Jackson songs are also among the mix. Money, a track from 1995 release HIStory: Past, Present and Future, Book I is one that you’re featured on. What’s the significance of this song appearing in Act 2?

DEVIN BOWLES: There’s for sure some songs that wasn’t too known me when I began this journey, Money was also one of these songs. In this show, Joe sings about Money as substance that controls people and with that, he compares himself to it. He believes he owns Michael and is proclaiming that he will do anything for him and for the product he is trying to make.

JHPENTERTAINMENT: Having been with the tour since the onset back in August of ’23, as Joe, you share the stage with all the actors portraying Michael at various points in his life. The current lineup includes Jordan Markus as MJ, Deaundré Woods at MJ (Alternate), Erik Hamilton as Michael and Quentin Blanton Jr. and Bane Griffith sharing the role of Little Michael. Using one word each, how would you describe the actors playing Michael?

DEVIN BOWLES:

Jordan Markus- Powerhouse

Erik Hamilton-Consistant

Dre Woods-Mastermind

Bane Griffith-Iconic

Quentin Blanton Jr.-Light

JHPENTERTAINMENT: As I mentioned earlier, you’re current Music City dates mark a homecoming for you. What are a couple of the ‘Must See’ Nashville things you hope to share with your cast mates while in town?

DEVIN BOWLES: I have already shared a list of restaurants, bars, lounges, and just all around great spots with the cast. I’m definitely going to dive into the food here that I have missed while being on the road, there’s nothing like it.

RAPID FIRE WITH JOJO CARMICHAEL, MJ THE MUSICAL’s DANCE CAPTAIN

JHPENTERTAINMENT: For those who might not be fully familiar, what exactly does being Dance Captain for MJ: THE MUSICAL entail?

JOJO CARMICHAEL: A number of responsibilities come with being dance captain for MJ: THE MUSICAL. One of them being, upholding the integrity of the choreography that we were taught day one. This can be married to making sure everyone is moving as one and the visuals are clean, clear and effective. I am also a swing, so I have the opportunity to perform. When new cast members join our company, I assist in teaching them the show. And I also teach classes across the country that are inspired by the movement we do in the show which I thoroughly enjoy. I’ve been able to learn so much through this position, as dance captain, and it is an opportunity I don’t take lightly.

JHPENTERTAINMENT: It’s not a stretch to say that Michael Jackson might be the most iconic pop star with some of the most memorable dance sequences ever. Is there a choreo moment in the show that you absolutely love performing night after night?

JOJO CARMICHAEL: My favorite number to perform would have to be the Fosse sequence into Smooth Criminal at the top of act two. There’s a sense of ferocity intertwined with mystery that comes with the movement which I find so fun to play with. Considering that it’s the only number in the show where it’s just MJ and the dancers on stage, it introduces a different energy to the show as well.

JHPENTERTAINMENT: When did you know a career in movement was the life for you?

JOJO CARMICHAEL: Around eighth grade is when I started to look at dance as a professional career. For the longest time, I wanted to be a neurosurgeon and dance was just gonna be a hobby or side hustle. So my Mom arranged a conversation with a neurosurgeon who was in their residency at the time, and they shared with me that it’s about fifteen years of schooling. I couldn’t compute how to go to school for that long and still dance, so I chose dance and never looked back.

JHPENTERTAINMENT: One key element of MJ: THE MUSICAL is the family. Michael always had his family whether onstage as part of The Jackson 5 to their behind-the-scenes support. You always hear that theatre is family, too. I’d imagine that sense of family is only amplified on a National Tour, traveling together, performing together and likely spending off-hours together. What does the family aspect of tour life mean to you?

JOJO CARMICHAEL: On tour we only have each other. We celebrate birthdays, we console and support each other through hardships. We look after each other as if we are family. And this cast and crew is truly a beautiful group of human beings that I am proud to call family. In general, family is something that I heavily value and prioritize in my life. So, to now have this connection with my cast is one thing I’m most grateful for MJ: THE MUSICAL bringing into my life.

JHPENTERTAINMENT: In addition to being Dance Captain, you’re also Swing, meaning you cover a multitude of roles stepping in to fill in when a member of the ensemble is out. What’s the most fun aspect of being Swing for a show like MJ?

JOJO CARMICHAEL: The most fun aspect of being a swing for this show is simply sharing the stage with  this cast. We have a lot of fun up there. Even when we’re tired we find ways to lift each other’s spirits or make someone laugh. Being a swing also keeps my mind working, attentive and requires me to stay present which I find just as enjoyable as it is challenging.

RAPID FIRE WITH J. DAUGHTRY, BERRY GORDY/NICK in MJ: THE MUSICAL

JHPENTERTAINMENT: What can you tell me about your dual roles as Berry Gordy and Nick in MJ: THE MUSICAL?

J. DAUGHTRY: Nick is a savvy tour manager keeping things on track during rehearsals for Michael Jackson’s 1992 Dangerous World Tour. As Berry Gordy, I appear in flashbacks as the legendary founder of Motown Records—the man who first recognized young Michael’s extraordinary talent. Both roles highlight the forces shaping Michael’s artistic journey, from the business demands of the present to the mentorship and music legacy of his past.

JHPENTERTAINMENT: How did you come to be part of the tour?

J. DAUGHTRY: I love the Motown story  in fact the music is a part of the fabric of my life. So anytime there is a show related to Motown I make sure I audition. There was a position opening up on Broadway and I threw my hat in the ring. I didn’t get the role on Broadway but I was blessed with the tour.

JHPENTERTAINMENT: There are so many Michael Jackson looks, from his preteen natural hair and bellbottoms during the Jackson 5 era and his red leather Beat It jacket to single gloves and military-style regalia. Do you have a favorite wardrobe moment represented in the show?

J. DAUGHTRY: Absolutely! There are so many but surprisingly my favorite looks of MJ in the musical are when he’s in a simple blue silk shirt, white tee shirt and black slacks with the iconic loafers.

JHPENTERTAINMENT: As I indicated in my intro to this piece, Michael Jackson’s music can truly be called the soundtrack of a generation. Which era is your favorite and why?

J. DAUGHTRY: I am an 80’s baby so I quite literally grew up on his music. I would have to say the Jackson 5 music is my favorite only because it’s what I grew up on.

JHPENTERTAINMENT: Is there a song included in the musical that you weren’t as familiar with that you are now obsessed with hearing night after night?

J. DAUGHTRY: Yes, Keep the Faith. I had never heard the song and now it is a moment of inspiration.

RAPID FIRE WITH ANASTASIA TALLEY, KATHERINE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: Who is Katherine Jackson to you? 

ANASTASIA TALLEY: Katherine Jackson is the matriarch of the Jackson family and the mother of one of the greatest artists of our time. She is an undeniable source of love and compassion, and Michael Jackson was vocal about the influence she had in his life. This is portrayed beautifully in her song with MJ in the show.

JHPENTERTAINMENT: Having been a fan of the Jacksons pretty much my whole life, I have this image of Katherine as the quieter, supportive parent, whereas Joe always seems to be portrayed in the media as the more business-oriented force behind the family. As she’s written in MJ: THE MUSICAL, what’s the most surprising aspect of Katherine’s persona that you’ve discovered? 

ANASTASIA TALLEY: While it’s perhaps not surprising, I find myself deeply moved by the quiet but profound love she shows for her son and his artistry. Though often imagined as the reserved, supportive parent, the depth and fierceness of her devotion are portrayed with such clarity that it catches me off guard every time. There is a quiet power in her presence — deliberate, unwavering, and fiercely tender — and that quiet strength lingers with me more than I expect.

JHPENTERTAINMENT: Speaking of Joe, to kick off this Rapid Fire 20Q, I chatted with Devin Bowles, who plays your on-stage husband. What’s it like sharing the stage with Devin night after night? 

ANASTASIA TALLEY: It is an absolute joy to share the stage with Devin. He is an incredibly curious, compassionate, and growth-focused human being, and it truly shines through in his acting. His generosity as an actor is tremendously grounding, and that generosity serves as the perfect inspiration for the cast to discover and rediscover the scenes every night. Side note: Devin Bowles is HILARIOUS offstage! He also treats everyone with genuine warmth and care. A true class act.

JHPENTERTAINMENT: As Katherine you’re featured in Act 1 alongside Little Michael and MJ on I’ll Be There, one of The Jackson 5’s more poignant songs. What does that scene and that song mean to you? 

ANASTASIA TALLEY: I have sung that song literally hundreds of times with the show, and the way the meaning of the song deepens and changes never fails to astound me. The song is such a powerful display and vow of love. It’ is also a promise to show up, not just in words, but in action, for the people you love. It is a reminder that love is a verb. It is also a decision. I think the lyrics of the song depict that truth beautifully. 

JHPENTERTAINMENT: What do you hope audiences come away remembering long after they’ve seen MJ: THE MUSICAL? 

ANASTASIA TALLEY: I hope audiences remember the artistry, the music, the history, and the call to action: make the world a better place through change. 

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MJ: THE MUSICAL wraps its two-week engagement at TPAC’s Jackson Hall with performances through May 11. CLICK HERE for tickets. While MJ: THE MUSICAL closes out TPAC’s current Broadway at TPAC season, there’s no stopping the art and entertainment. Among TPAC’s upcoming events: the annual Spotlight Awards: Nashville High School Musical Theatre Awards takes to the stage May 17. TPAC presents Paul Taylor Dance Company May 30-31, CAMP TPAC returns with theatre-centered intensives for various ages throughout June, plus much more entertainment throughout the summer. TPAC’s Broadway at TPAC 2025-2026 Season kicks off September 23-28 with THE WIZ. For more on these and all TPAC events, CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

Following it’s Music City dates, MJ: THE MUSICAL continues its National Tour with performances in Fort Worth, TX May 13-18, Fayetteville, AR May 20-25, Milwaukee, WI May 27-June 1, Appleton, WI June 3-8 and more. For the full schedule of dates, or to purchase tickets in your city, CLICK HERE.You can also follow MJ: THE MUSICAL on their socials, so check them out on Facebook, Bluesky, Insta, YouTube and 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, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

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

Rapid Fire 20Q with director and cast of Nashville Rep’s ‘Sunday in the Park with George’; final performances April 10-13 at TPAC’s Polk Theater

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As someone who’s shared my insights as a reviewer and interviewer for the past couple decades, it’s not often that there’s such a legendary show as SUNDAY IN THE PARK WITH GEORGE that I’ve somehow never seen live on stage, so when I learned Nashville Rep was bringing this classic piece of modern theatre to life at TPAC’s Polk Theater with performances April 4-13, I knew I had to chat with director Jason Spelbring and cast members David Shannon, Christine Dwyer and Nancy Allen for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20Q with director and cast members of Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE

Rapid Fire with David Shannon, George in Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE

JHPENTERTAINMENT: For those who may not be familiar with the show, what’s your one-sentence break-down of the plot of SUNDAY IN THE PARK WITH GEORGE?

DAVID SHANNON: A neurotic artist struggles to paint a perfect Sunday afternoon in the park while dealing with his own self-doubt, and the ever-present fear that his masterpiece might just be a bit too…pointless

JHPENTERTAINMENT: What can you tell me about George?

DAVID SHANNON: George 1.0 is an artist struggling with his own creativity and lack of connection to those around him George 2.0 also struggles to find his individual creativity but is willing to look for it and connect , eventually.

JHPENTERTAINMENT: When the cast announcement included your name, I can’t tell you how excited I was. Having enjoyed a hugely successful career both as a touring solo performer across the US and Europe, you’ve also achieved huge success on the West End stage including roles in the World Premier productions of MISS SAIGON and LES MISERABLES. Ireland, Sweden, London…Nashville? So I gotta ask…exactly how did this latest stop on your worldwide domination come to be?

DAVID SHANNON: My family and I decided we wanted to move back stateside post pandemic and we chose TN as it ticked so many boxes , we’d never even visited before but 4 years ago we took a risk and moved sight unseen and it is the best decision we’ve ever made.

JHPENTERTAINMENT: For a little fun, I’m asking you and your fellow SUNDAY company members…If you could mount an all-new play about your personal favorite piece of art, what would it be and why?

DAVID SHANNON:I’m a sucker for a Turner so it’d have to be THE FIGHTING TEMERAIRE, so much history and change in that painting

JHPENTERTAINMENT: I’m about to chat with your leading lady, so as my final question for you…What’s your favorite aspect of sharing the stage with Christine been thus far?

DAVID SHANNON: Well we seem to gel voice wise quiet effortlessly so when we do get to sing together its a joy and so easy, but honestly we have very similar attitudes to things so we do laugh a lot, maybe a little too much

Rapid Fire with  SUNDAY IN THE PARK WITH GEORGE ’s Dot, Christine Dwyer

JHPENTERTAINMENT: Who is Dot to you?

CHRISTINE DWYER: Dot is everyone’s best friend, biggest supporter, truth teller, and muse. She is seen by the community as one thing, but when it really comes down to it, she is a constant for George. She is smart and kind and resourceful and so strong. She reminds me alot of my late mother in law Janice combined with my mom. And that’s where I draw the inspiration from when playing her. 

JHPENTERTAINMENT: When I spoke with David, I asked him about sharing the stage with you, so turnabout is fair play…how is David as a scene partner?

CHRISTINE DWYER: David is the best. We instantly became buddies when I think these two characters are. Yes they are lovers, but they are best friends. And I instantly felt that connection with him which translates seamlessly onstage. He is a phenomenal actor and takes himself just as seriously and UNseriously as I do. So it has been a great match.

JHPENTERTAINMENT: Having appeared in everything from WICKED to WAITRESS, RENT and more, what’s it like to be performing Sondheim? AND…Do you have a favorite musical moment in the show?

CHRISTINE DWYER: The last Sondheim I performed in was INTO THE WOODS my senior year of high school. So to revisit his material is so special. He is an actor’s writer. Every musical choice and lyric furthers the story and deepens the character. While musical theatre is what I have had success in, I’ve always considered myself an actor first. So getting to do this is so wonderful. There are so many musical moments in the show that I love, but I think my favorite song to sing also has my favorite lyrics and musical moment in the show. It is Marie’s song Children and Art when she says “Mama says ‘Darling, musn’t be blue. It’s not so much do what you like as it is that you like what you do”. I just love that sentiment and the melody is so beautiful. It makes me emotional every time. 

JHPENTERTAINMENT: I gotta tell you when I heard you were stepping into the role of Dot for Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE, I may or may not have misquoted Buddy the Elf and said out loud, “I know her!” Of course you and I originally met years ago when you were appearing as Elphaba in WICKED National Tour and the company did a wonderful fundraiser while here in Nashville. Obviously philanthropy has always been important to you. While researching to chat with you, I discovered you and your husband, Matt DeAngelis founded and oversee THE JANICE JAM, a Breast Cancer Research Foundation charity in honor of Matt’s mother whom you mentioned earlier. What can you tell me about the foundation? AND When is the next fundraiser? 

CHRISTINE DWYER: THE JANICE JAM: BROADWAY FOR BREAST CANCER is a foundation Matt and I started in honor of Janice DeAngelis. She was the biggest theatre fan you know. Everyone’s mom. The best friend. The funniest person. And we are honored to honor her every year. This year, we have moved to a larger venue, Sony Hall in New York City and it will take place on May 5th. We have incredible performers including Kara Lindsay, Jeremy Jordan, Krysta Rodriguez and Academy Award Winner Ariana DeBose. Research saves lives and we are so fortunate to have teamed up with BCRF: The Breast Cancer Research Foundation to raise funds for more research to help those struggling with this disease.

JHPENTERTAINMENT: As witnessed by the two two-part questions above, I could have done all 20 questions with you, but alas my time with you is running short. I’m asking the others in the company this final question, so it’s your turn…If you could turn your favorite painting into a stage show, what would it be and why?

CHRISTINE DWYER: I am going to go to a funny place here. I would turn the painting THE SCREAM into a musical starring Cole Escola and it would be a dark comedy that is completely over the top and ridiculous. Maybe an annual Halloween type show. I don’t know what it would be about…but I can imagine it being an absolute BLAST. 

Rapid Fire with SUNDAY IN THE PARK WITH GEORGE ’s Blair, Nancy Allen

JHPENTERTAINMENT: As indicated in the header above, you play Blair Daniels in SUNDAY IN THE PARK WITH GEORGE, but you also have a duel role as Old Lady. What can you tell me about the challenges of two roles and the duality of the story/stories in the show

NANCY ALLEN: I wouldn’t say it was a challenge, but more of a chance to find both women in me.  My mother died recently and I am channeling much of her later years in Old Woman.  She was sometimes confused as she aged and when she was, it frightened her. When she was frightened, she could be critical and harsh. Yet, when she was lucid, she was dignified, funny, intelligent and one of the most supportive and tolerant people I knew of her generation. I think the Old Lady is similar, she relies on Nurse to help her navigate life and is most happy in the park when it is quiet. My mother also regressed in chaos, but enjoyed peace. She enjoys solitude because she is not reminded that she is aging and losing her memory.  Blair Daniels is less like me, but I do know what it is like to have opinions because you are an expert on a subject. She enjoys being flamboyant, and “larger than life” which we as actors can also enjoy. I like Blair so it was fun to create who she might be. Our wig master gave me a fabulous wig to help embody this character. Both characters encourage George in they own ways – wanting him to create yet not always able to understand his methods or to communicate well. Both have strong personalities which do not instinctively have an urge to nurture; yet they obviously love George and know he is different from other artists – more advanced. They know he sees beyond what other artists see.  

JHPENTERTAINMENT: While perusing your bio in preparation of chatting with you, I loved that seeing the original Broadway production of SUNDAY IN THE PARK WITH GEORGE served as a catalyst for your career in theatre. While I didn’t see it on Broadway (my first Broadway show was Patti LuPone in EVITA, so not too shabby), I do remember the PBS broadcast of SUNDAY IN THE PARK WITH GEORGE. So, I gotta know. What do you remember specifically about the original production and why/how it had such an impact on you?

NANCY ALLEN: I remember seeing this when I was in college. During that time I was beginning to think about what a career in musical theatre performance might look like.  I remember being awed by the set and scenery – how they created the painting and how you could escape or travel to a whole world inside the theatre. I also remember the dynamic portrayal of George on stage by Mandy Patinkin which immediately sparked a 40 year crush on the man; AND seeing his energy, diction, and passion on stage defined what I continue to desire in all theater performers. 

JHPENTERTAINMENT: I’ve been writing about theatre, interviewing cast and reviewing shows for nearly twenty years now. In that time, I’ve seen you in several shows, so I was thrilled when I learned you’d be one of the folks I’d be chatting you up about SUNDAY IN THE PARK WITH GEORGE . For the last decade and a half, when not on stage, you’ve spent your days as a voice instructor at Belmont. What’s the most gratifying aspect of teaching voice?

NANCY ALLEN: I love seeing a student’s face when they accomplish something we have been working on, or when that light goes on in discovery. The first time they actually “feel” their breath support the tone, or the first time they know they sang that belt in the pocket and it was open, gorgeous and effortless. I recently helped a young woman find her head voice. She is a strong belter, but had not accessed her soprano classical sound. When she finally began to understand it she was glowing.  I love it when I have “touted” (to use a word Blair says in our production) their work and they are rewarded with a role or university award. I also have to admit, seeing your student perform in a national tour or on Broadway is a real rush of emotions and just plain fun. 

JHPENTERTAINMENT: If you could develop a musical based on your favorite painting, what would it be and why?

NANCY ALLEN: I have so many favorites – my mother was an artist as was my grandmother.  I have collected contemporary art my whole life. Our first stop when traveling was always the art museum in the city. I loved Magritte’s art as a young woman and think it would be fun to see a musical about the MAN IN THE BOWLER HAT. (IYKYK) And, I own a fun painting called PINK PIANO DOG by Joe Baker. It would be fun to see a musical based on what that dog is thinking. 

Rapid Fire with  SUNDAY IN THE PARK WITH GEORGE director, Jason Spelbring

JHPENTERTAINMENT: Having recently been named Artistic Director of the Nashville Shakespeare Festival, how did you come to direct SUNDAY IN THE PARK WITH GEORGE for Nashville Rep?

JASON SPELBRING: Theatre is a deeply collaborative art form, and Nashville has an incredible community of artists and organizations that support each other. While my primary role is leading the Nashville Shakespeare Festival, I was thrilled when the opportunity arose to direct  SUNDAY IN THE PARK WITH GEORGE  with Nashville Rep. It’s a stunning piece about the creative process, something that resonates deeply with me as both a director and an arts leader. Working with Nashville Rep on this production allows me to bring a fresh perspective to Sondheim’s masterpiece while continuing to foster artistic collaboration in the city. 

JHPENTERTAINMENT: While researching to chat with you, I discovered this isn’t your first Stephen Sondheim/James Lapine musical, having appeared as the Stewart in a production of INTO THE WOODS a few years back. Now you’re helming Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE . How excited are you to bring this beloved piece to Nashville audiences?

JASON SPELBRING: I am very excited and proud to bring this beloved masterpiece to Nashville audiences.  SUNDAY IN THE PARK WITH GEORGE  is a truly iconic musical, and it is always a thrill to see it brought to life for new audiences. Combining Stephen Sondheim’s masterful music and James Lapine’s insightful book creates something profound and unique for everyone. I am also excited for Nashville audiences to see themselves represented in this musical.

JHPENTERTAINMENT: As further research, I recently rewatched the mid-80s PBS broadcast of the original Broadway production of SUNDAY IN THE PARK WITH GEORGE , starring Mandy Patinkin and Bernadette Peters. I was immediately struck by how iconic the set design is for this show. It’s so iconic, in fact, that Tony Strages won the Tony for his original scenic design. You must have addressed paying some sort of homage to the original set design while making it this production’s own with Gary C. Hoff, Nashville Rep’s incredibly talented scenic designer. Can you give me any hints about how you and the creative team approached the set design for SUNDAY IN THE PARK WITH GEORGE ?

JASON SPELBRING: Gary C. Hoff’s work on this production has been extraordinary. With his 25-year legacy at Nashville Rep, Gary crafted a set that feels like a blank canvas—just as George, the artist, brings something new into existence from nothing. The set design perfectly blends iconic elements from the original production and a fresh interpretation that captures the show’s spirit. It’s a beautiful, transformative space that draws the audience into the world of the play.

JHPENTERTAINMENT: If you were to develop another stage production that brings to life a painting by your own personal favorite artist, what painting would it be and why?

JASON SPELBRING: THE EXECUTION OF LADY JANE GREY by Paul Delaroche (1797 – 1856)

THE EXECUTION OF LADY JANE GREY would make a compelling musical because it combines elements of tragedy, complex characters, political intrigue, and the opportunity to explore timeless themes. The painting’s dramatic and historical weight, combined with the expressive potential of musical theater, could create a profoundly moving and memorable experience for audiences.

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing Nashville Rep’s SUNDAY IN THE PARK WITH GEORGE ?

JASON SPELBRING: I hope audiences leave SUNDAY IN THE PARK WITH GEORGE feeling deeply moved by the connection between art, life, and the human experience. This show explores the complexities of creativity, relationships, and legacy—how they intertwine and how we often sacrifice parts of ourselves to pursue our passion. I want people to reflect on their connections to their work, their loved ones, and what they leave behind.

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Marking the close of Nashville Rep’s current season, SUNDAY IN THE PARK WITH GEORGE premiered at TPAC’s Polk Theater on Friday, April 4 and continues through Sunday, April 13. Evening performances are Thursday, Friday and Saturday, April 10-12 at 7:30pm, with matinees Saturday, April 12 and Sunday, April 13 at 2pm. Tickets range in price from $45 to $106. CLICK HERE to purchase tickets or for more information.

Though their official 2024-2025 Season ends with SUNDAY IN THE PARK WITH GEORGE, Nashville Rep continues to bring new and innovative theatre to Music City with their next Ingram New Works entry as they present a staged reading of Cameron L. Mitchell’s REGICIDE: TO KILL A KING, April 25 at Nashville PBS Studios (161 Rains Avenue). As always, tickets to Nashville Rep’s Ingram New Works series are FREE. CLICK HERE to RSVP.

The Rep will then host their 9th ANNUAL BROADWAY BRUNCH on Sunday, August 18 from 10:30am until 2pm at Music City Center. This year’s event will be co-charied by Holli Harrision and Kim Hewell. CLICK HERE for tickets or more information.

Follow a brief hiatus, Nashville Rep will be back with the Nashville-area regional premiere of COME FROM AWAY onstage September 12-21 as the opener of their 2025-2026 Season. CLICK HERE to purchase Season Tickets.

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

Rapid Fire 20Q with ‘KIMBERLY AKIMBO’ stars Carolee Carmello, Jim Hogan, Emily Koch and Darron Hayes as National Tour continues; at TPAC’s Jackson Hall beginning April 8

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KIMBERLY AKIMBO, a musical story of a young woman with a disease that rapidly ages her, who, instead of giving up, decides to live her life to the fullest every day. With book by David Lindsay-Abaire (based on his earlier comedy play of the same name) and music by Jeanine Tesori, the original Broadway run garnered the show eight Tony nominations, taking home five, including Best Musical. When the National Tour was announced, three-time Tony nominee Carolee Carmello was cast in the lead role as 16-year-old Kimberly, alongside five understudies of the original company.

As the cast and crew of KIMBERLY AKIMBO readied themselves for their Nashville debut, with performances at TPAC’s Jackson Hall April 8-13, I recently had the chance to pose a few questions to the show’s lead actress Carolee Carmello and her fellow cast members Jim Hogan, Emily Koch and Darron Hayes for the latest installment of my recurring interview feature Rapid Fire 20Q. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST OF KIMBERLY AKIMBO; AT TPAC APRIL 8-13

RAPID FIRE Q&A WITH JIM HOGAN, BUDDY IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Buddy, the character you play in KIMBERLY AKIMBO?

JIM HOGAN:  Buddy is our protagonist, Kimberly’s, troubled (and loving) father who just can’t seem to get it right despite his best (and worst) efforts.

JHP ENTERTAINMENT: While the tour began in September of last year, you have been part of the KIMBERLY AKIMBO family since late 2022 when you joined the Broadway company as standby for Buddy. In the two years since you’ve been associated with the role, has your approach to the character changed?

JIM HOGAN:  I don’t think I’d say changed as much as I’d say grown.  Being able to play Buddy night after night as opposed to the occasional nature of being a standby has heightened my sense of truth within his words and actions, despite how complicated they can be.  I’m truly grateful to get to step into his Reeboks every night. 

JHP ENTERTAINMENT: Prior to joining this show, you previously toured with WAITRESS and PHANTOM, so tour life has been part of your life for a decade now. What’s your favorite thing about life on the road?

JIM HOGAN: I LOVE touring.  There’s something so special about it, and I hope every performer, both professional and aspiring, gets the chance to do it.  I’d say my favorite part is exploring each city, but specifically trying each city’s unique cuisines. 

JHP ENTERTAINMENT: Speaking of life on the road, in another lifetime, I too spent a couple years traveling from town to town during the original first two seasons of AMERICAN IDOL as part of the production. My main gig was registering hopefuls as they readied auditions for then-judges Randy Jackson, Paul Abdul and Simon Cowell. I bring this up because when I was told I’d be chatting with you for this Rapid Fire 20Q featuring members of the National Tour of KIMBERLY AKIMBO, I immediately recognized your name as being part of the vocal group T3 who appeared during 2021’s Season 16 of AMERICA’s GOT TALENT. So a two-parter…What’s your fondest memory of your time on AGT? AND…What’s going on with T3 now?

JIM HOGAN:  That’s so cool!!  We have a Simon Cowell connection 😅  T.3 had a blast on AGT, I’d say our favorite part was getting to meet and learn from everyone involved: the celebrity judges/host of course, but the artists/performers within the show and those backstage perhaps even more.  It was a very eye-opening and important part of T.3’s creation and a great stepping stone to get us to where we are today!  We are actively releasing new music, our viral cover of Imogen Heap’s “Hide and Seek” will be available on streaming shortly, and we tour all over the country whenever our schedule allows!  We are releasing our biggest tour schedule yet in the coming weeks, so be on the lookout to see T.3 near you in August and September of this year 🙂

JHP ENTERTAINMENT: Back to KIMBERLY AKIMBO, Within the context of the show, even though Buddy is Kimberly’s father, he’s not exactly the ideal dad, and the roles seem a bit reversed at times. What’s your favorite aspect of exploring this dynamic with Carolee Carmello on stage night after night?

JIM HOGAN:  Well first of all, Carolee is incredible in this part and it’s been an honor to act alongside her every night.  As far as Buddy’s complexities go, I have always felt like I know him. For better or for worse, but I think more people are like Buddy than they would care to admit. I think that’s been the biggest thing, is tapping into the parts of myself that maybe I don’t love so much. But that in itself, has been healing.

RAPID FIRE Q&A WITH EMILY KOCH, DEBRA IN KIMBERLY AKIMBO

JHP ENTERTAINMENT: What can you tell me about Debra, the role you play in KIMBERLY AKIMBO?

EMILY KOCH: Debra is a bold, brash, fabulous woman. She might be involved in some unsavory activities but she knows how to get what she wants by any means necessary. She also, most importantly, adores her niece, Kim and wants her to have the best life she can. I love getting to play someone so sure of themselves, it’s inspiring.

JHP ENTERTAINMENT: Your show bio reveals that Jim Hogan, who plays Buddy, has been your boyfriend in real life for seven years. If my math is mathin’, that means you two began dating while you were both on tour with WAITRESS. Even though I’d love to know the worst, I’ll play nice and ask…What’s the best part of sharing scenes with your actual love interest AND having them on the road with you?

 EMILY KOCH: Your math is mathin’! That is where we met. I’m being totally honest when I say, there really isn’t a worst part. Jim and I have both worked a lot separately and together and both done multiple tours so we just know how to do it well, so, knock on wood, we haven’t had any problems out here. We also just really deeply get along and respect each other’s work. It’s also been fun to play people who don’t like each other in the show. Maybe that’s why we are so happy, we work it all out on the stage!

JHP ENTERTAINMENT: During the Broadway run, you were standby for both Debra and Patti. How excited were you when you learned you’d been cast as Debra for the tour?

EMILY KOCH: I was ecstatic. Being the avid theatre fan that I am, learning you’re gonna lead a David Lindsay-Abaire and Jeanine Tesori musical is like winning the theatre lottery. I have to admit when I got cast on Broadway, I considered my time there as an extended audition for the tour. I just had never loved a show so much and wanted to be a part of it for as long as I could. I was also hoping Jim would get cast and he got the call from him agents about five minutes after me. Needless to say, it was an awesome day for our household. We drank champagne at noon.

 JHP ENTERTAINMENT: From what I hear, there’s a few minor differences as far as staging and such from the Broadway run. Among the changes, Aunt Debra now skates. I gotta know, was skating already among your ‘special skills’ and what all was involved in brushing up on your technique during the rehearsal process of KIMBERLY AKIMBO?

EMILY KOCH: Yes,Debra does skate! I think the reason that change happened is because when I was covering on Broadway, I had to skate as Patti, so they knew I could already do it. Skating was definitely not a special skill of mine, but I do love to watch it and always have. We got to take a few lessons on actual ice for Broadway and Tour which was helpful and fun, and we do a cast “skate call” three times a week so now I think we all feel pretty comfortable out there.

 JHP ENTERTAINMENT: Having previously toured with WAITRESS and WICKED, when you find yourself coming back to cities you’ve previously visited, do you try to revisit spots you enjoyed before, or do you try to scope out new things in now-familiar cities? Oh, and by the way, I hear The Escape Game Nashville in my little neighborhood of Berry Hill is quite fun, so…you’re welcome!

 EMILY KOCH: Thank you so much for the rec! Escape rooms are such a good tour activity! And yes, that’s my favorite thing about tour honestly, is going back to my old haunts in all these awesome cities. They fully transport me to how I felt the last time I was there and I love that feeling. Aside from Memphis, TN, I have played every single city we are going to in this first year and I’m so happy to return to all of them.

RAPID FIRE Q&A WITH DARRON HAYES, MARTIN IN KIMBERLY AKIMBO

JHPENTERTAINMENT: Who is Martin?

DARRON HAYES: Martin is a star to be. He’s one of the teens in show choir who’s in a sticky love square, but knows there’s a beautiful and fulfilling life awaiting him outside of New Jersey.

JHPENTERTAINMENT: Like a number of your tour mates, you were also part of the Broadway cast of KIMBERLY AKIMBO. Has that fact aided in the company feeling like family as you’ve all taken the show on the road?

DARRON HAYES: Yes, it’s been so nice to return to Kimberly Akimbo with familiar faces and relationships. We get to tell this incredible story in a slightly different way with some great new faces as well!

JHPENTERTAINMENT: During your time with the Broadway production, you understudied the roles of Martin, Aaron and Seth. If a bit of internet sleuthing proved useful, it was March of last year that you made your Broadway debut as Martin. What was that moment like AND…how has your interpretation of Martin changed now that he’s yours completely?

DARRON HAYES: My Broadway debut, that happened almost a year ago today, was the most magical night of my life thus far. I’d worked for and hoped and dreamed of this moment my entire life. And when it happened, I thought… Here we go. This is just the beginning. Keep going, grasshopper, and I’m so proud of you! What has changed about me playing Martin full time now, is that I’m allowed to take full ownership of my interpretation, rather than feeling like I need to figure out how I fit in, what can sometimes feel like someone else’s play.

JHPENTERTAINMENT: Alright, when I chatted with Jim Hogan earlier, I asked him a bit about T3 and his experience on AGT. As I confessed to him, I worked on the original AMERICAN IDOL back in the day, so when I discovered you auditioned for IDOL a couple years ago, I knew I had to ask you about that experience. What did you use for your audition song?….AND…Have you and Jim ever compared ‘reality competition tv’ notes?

DARRON HAYES: We haven’t had the chance to compare our experiences yet, but maybe now we will. And I sang All I Do by legend, Stevie Wonder. And my experience with AMERICAN IDOL was interesting. I took it for what it was, met some insanely talented singers, and learned what I could from that unique experience!

JHPENTERTAINMENT: IS there a theme or idea presented in KIMBERLY AKIMBO that you find yourself consciously or unconsciously being more mindful of in your off time?

DARRON HAYES: ABSOLUTELY! As Crazy as Aunt Deb is, she never lied. Life is gonna life, and sometimes you aren’t dealt the best stack of cards. But to me, life is about looking at what you DO have control over. What decisions and choices can I make for a better outcome? Or to be more fulfilled? So the song Better is basically my motto for life.

RAPID FIRE Q&A WITH CAROLEE CARMELLO, KIMBERLY IN KIMBERLY AKIMBO

JHPENTERTAINMENT: OK, before we get into talking about KIMBERLY AKIMBO, I’m just gonna fanboy a bit. I’ve enjoyed your work since your stint as Maple LaMarsh on AMC’s comedy series Remember WENN? What do you remember most about your time on that series?

CAROLEE CARMELLO: CAROLEE CARMELLO:  That show was a dream come true for me! I loved the scripts (by the brilliant Rupert Holmes) and I loved the 40s costumes and hairstyles (despite the fact that I didn’t wear a wig and all that hair spray definitely took a toll on my hair). Plus the cast was so talented!

JHPENTERTAINMENT: Now, on to KIMBERLY AKIMBO…From the start, what do audiences need to know about KIMBERLY, the show…and the character?

CAROLEE CARMELLO: I love the show! So smartly written, so funny, so touching … it really is the kind of musical I enjoy watching because it gives you ALL the feels! And the character I play is so positive, despite all of her many challenges. I learn a lot from Kimberly every night!

JHPENTERTAINMENT: If my research and memory serve me right, you’ve been in something like 16 Broadways shows, received three Tony nominations, and KIMBERLY marks your 7th national tour. Revisiting your incredible body of work, I was reminded of something my now-90 year-old former art teach frequently says, “Art is Life”. In regards to you, that certainly seems true. What’s behind your love of the arts and what keeps you continuing to explore your own creativity?

CAROLEE CARMELLO: Oh gosh, I still love musicals … I think it’s such an amazing way to tell a story. And I think live theater is the best way to experience story telling … sitting in a dark theater with a community of people watching LIVE actors and LIVE musicians bringing a story to life! It brings people together in so many ways … which is vital, especially right now.

JHPENTERTAINMENT: Back to KIMBERLY AKIMBO, If you were faced with circumstances similar to Kimberly’s is there anything you’d do differently or anything you’d lift from Kimberly’s reactions to her circumstances to better your own remaining time?

CAROLEE CARMELLO: I can only hope that I would take on each day the way Kimberly does … she wants an adventure, and she gets it, despite all of her challenges! It’s really inspiring!

JHPENTERTAINMENT: Dang! I could have done all 20 questions with you, but our time is up as I’m about to chat with a couple of your costars, so I’ll end our conversation with this. What do you hope audiences take with them after seeing KIMBERLY AKIMBO?

CAROLEE CARMELLO: I think the message of the show is to enjoy the time we have and the people we have to share it with … nothing else matters!

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The National Tour of KIMBERLY AKIMBO comes to Music City for eight performances beginning Tuesday, April 8 and continuing through Sunday, April 13 at TPAC’s Jackson Hall as part of the current Broadway at TPAC Series. CLICK HERE for tickets or more information.

Following the Music City dates,  KIMBERLY AKIMBO stops in Charlotte, Durham, Boston, Washington DC and more as the current National Tour continues through May of 2026. To keep up with all things KIMBERLY AKIMBO, checkout their Official Site and follow them on Facebook, X, Instagram, Youtube and TikTok.

Next up at TPAC, it’s yet another Tony-winner as MJ: THE MUSICAL, exploring the life and career of music mega-star Michael Jackson closes out the current season of Broadway at TPAC with shows April 29-May 11. CLICK HERE for tickets and more information and be sure and check back right here at JHPENTERTAINMENT.COM as I’ll soon be chatting with members of the cast of MJ prior to their Nashville debut.

You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire 20Q with playwright and cast of ‘The Sparkley Clean Funeral Singers’; at Darkhorse Theatre beginning March 13

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A musical about a failed country music duo who’ve returned to their small town, work at the family dry cleaning business and return to music by singing personalized songs at funerals…I’m in! Written by Lori Fischer with tunes by Fischer and her songwriting partner Don Chaffer, THE SPARKLEY CLEAN FUNERAL SINGERS opens Thursday, March 13 at Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209) and continues through Saturday, March 22. Earlier this week, as the cast and crew prepared for opening night, I had the chance to chat with Fischer and her costars Lauren Braddock Havey, Robert Coles and Alan Lee for the latest installment of my recurring interview feature, Rapid Fire 20Q. Those conversations follow.

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RAPID FIRE 20Q WITH PLAYWRIGHT AND CAST OF THE SPARKLEY CLEAN FUNERAL SINGERS

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ JUNIE LASHLEY, ACTRESS AND PLAYWRIGHT, LORI FISHCHER

JHPENTERTAINMENT: What can you tell me about the plot of your musical, THE SPARKLEY CLEAN FUNERAL SINGERS?

LORI FISCHER: THE SPARKLEY CLEAN FUNERAL SINGERS is about two country singing sisters who had a record deal, but then lost it when the lead singing sister crashes their tour bus. The backup singing sister, however, is not done with the singing dream. So, she gets them a gig as funeral singers, hoping it will be their comeback.

The show is also about reconciliation and revolves around the Lashley family and the mother that left them long ago.

JHPENTERTAINMENT: While SPARKLEY debuted over a decade ago in New York, and among its previous mountings, was presented at Cumberland County Playhouse a few years back, this marks the show’s Nashville debut. Has the show changed much since its original staging?

LORI FISCHER: Yes! The script went through massive changes after its debut at Capitol Repertory Theatre. Post first show, SPARKLEY was then workshopped at Florida Studio Theater where, once again, major script and music changes occurred. By the time the show was produced at the Cumberland County Playhouse, the script and songs were pretty set. Although, even during that production, more changes occurred. After CCP, the show was set and is now published by Concord Theatricals.

JHPENTERTAINMENT: Considering your Dad is legendary songwriter, Bobby Fischer, I’d imagine the songwriting aspect came second-hand to you. How easily did the songs fall into place for SPARKLEY?

LORI FISCHER: Some of the songs came easily. Don and I wrote Big Time Plans and I don’t think we changed one lyric. Other songs though, took quite awhile though. I think we went through three different opening numbers before landing on Honky Without the Tonky. 

JHPENTERTAINMENT: Among your co-stars is our mutual friend Lauren Braddock Havey. You two actually did a staged reading of this show about a year ago, right? How much fun are you having sharing the stage with Lauren in SPARKLEY?

LORI FISCHER: I adore Lauren and working with her is a dream-come-true. She brings so much heart and excellence to the Lashley role! 

JHPENTERTAINMENT: As not only a star of the show, but also the playwright, what do you hope audiences take with them long after seeing the show?

LORI FISCHER: Laughter. We’re living in divisive, difficult times. But laughter can bring us together. Laughter soothes the soul and theater in general creates heightened empathy.

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ LASHLEY  LASHLEY, LAUREN BRADDOCK HAVEY

JHPENTERTAINMENT: When I heard you were part of this cast, I knew I had to chat with you! What can you tell me about Lashley Lashley, the character you play in THE SPARKLEY CLEAN FUNERAL SINGERS?
LAUREN BRADDOCK HAVEY: So great to chat with YOU Jonathan! Oh my gosh, Lashley Lee Lashley, what a dream to play. This is my third go round with a character of Lori’s that she has entrusted me with. I love them all-they are all so rich and Lashley is no exception and probably my favorite. What actress wouldn’t love playing an alcoholic country singer with ADHD?! And if anyone says it’s typecasting I’ll punch ‘em haha! Truly a blast to let loose with her and lean into her naughty behavior. She and I do have a similar mother issue in common interestingly in a coincidental art immitating life kind of way. Lashley to me is kind of like an M n M, hard on the outside but soft and sweet on the inside.
JHPENTERTAINMENT: When I chatted with Lori, I mentioned her dad being a well-known songwriter. Of course your dad is Bobby Braddock, who penned hits for everyone from George Jones and Tammy Wynette to Nancy Sinatra. Having grown up around music icons, I gotta know, have you gathered inspiration for Lashley Lashley from anyone in particular?
LAUREN BRADDOCK HAVEY: Great question! Yes I have! I have definitely given some thought to who some of her musical hero’s might have been and she also shares some personality traits with some artists I have known but I’d rather people guess who! She’s definitely a composite of some of the bigger than life artists I have had the good fortune to have gotten to know.
JHPENTERTAINMENT: Speaking of fathers, Alan Lee play’s Junie and Lashley’s father, Lyle Lashley. What’s Alan like as a scene partner?
LAUREN BRADDOCK HAVEY: Alan is such a warm, committed and generous scene mate. When he calls me “Peanut” I truly feel our shared history and can picture little Lashley and Junie at his knee. It’s such a joy to get to work with him!
JHPENTERTAINMENT: Do you have a favorite musical moment in the show?
LAUREN BRADDOCK HAVEY: Ah man, there are so many gems it’s kind of hard to choose just one! The sisterhood moments are fun and special, doing No Impulse Control with Robbie is a hoot and All That You Can Eat Liver and Onions is an absolute blast to perform.
JHPENTERTAINMENT: What can you tell me about Lashley Lashley’s look for the show?
LAUREN BRADDOCK HAVEY: I’d call Lashley’s look in this show a bit “country tarty chic.” A bit of big hair and big lashes. She raided my closet and is hoarding my lavender Luccasse boots. She enjoys some glitz some glamour and of course…SPARKLE! 

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ PASTOR PHIL, ROBERT COLES

JHPENTERTAINMENT: What can you tell me about Pastor Phil, the character you play in THE SPARKLEY CLEAN FUNERAL SINGERS?

ROBERT COLES: Pastor Phil is a kind-hearted preacher, but he’s not perfect. He has a bit of a gambling addiction and sometimes lets his impulses get the better of him. He’s a huge fan of the Lashley Sisters and finds himself star-struck when they come home from their tour and suddenly need a new opportunity. I’ve really loved taking on this role and giving him some heart. He provides some comedic relief throughout the show, but at his core, he loves his wife, his faith, and his congregation. 

JHPENTERTAINMENT: How did you come to be involved in this show?

ROBERT COLES: Lori and I have been friends for years. We met doing a playwriting festival back in 2019 and have kept in touch. When this opportunity came along, she reached out to me to submit an audition and I jumped at it! I’ve loved working with this incredibly talented cast, including one of my acting heros, Alan Lee. 

JHPENTERTAINMENT: As Pastor Phil, you’re a huge Lashley Sisters fan. You’re a playwright yourself, so I was wondering…IF you were to write a show about your favorite music duo who would it be about?

ROBERT COLES: That’s a great question! I’d love to write a show about The White Stripes. Think about the music! And the storytelling! They’ve got such an interesting dynamic and vocal style that I think it would be a real winning combo. 

JHPENTERTAINMENT: I understand David Hemsley Caldwell is directing the show. What’s your favorite aspect of David’s directing style?

ROBERT COLES: I like how David lets us unfold the characters naturally. He has allowed us to make some choices when it comes to characterization, and that’s been a fun process. We’ve gotten close during this process, and I think that’s showing on stage every night. 

JHPENTERTAINMENT: Lately you’ve been one of the busiest guys in the Nashville theatre scene, so I gotta ask…what’s next for you?

ROBERT COLES: I don’t like downtime! Next, I’m performing as Letterwriter #3 in Women In Theatre Nashville’s production of TINY BEAUTIFUL THINGS at the Darkhorse March 28 and 29! After that, I’m focusing on two of my shows that are headed to the Next Step Theatre Festival in New York City, opening Off-Broadway at the end of May. I’m also currently directing THE SOUND INSIDE, opening in late June! I love to stay busy!

RAPID FIRE WITH THE SPARKLEY CLEAN FUNERAL SINGERS’ LYLE LASHLEY, ALAN LEE

JHPENTERTAINMENT: Who is Lyle Lashley to you?

ALAN LEE: Lyle is a dear soul who has kept his hurt bottled up for many years in an attempt to protect his daughters and give them a happy, fulfilled life.He loves them dearly, and that is not diminished by his impairment.

JHPENTERTAINMENT: The character description for Lyle reveals that like his daughters, he has Alzheimer’s. Not exactly what you think of when you think of musical comedy. So I gotta ask, What’s been the biggest challenge AND the biggest reward of approaching such a serious illness with humor and heart?

ALAN LEE: Lyle’s dementia is near constant, but he is given a few lucid episodes. My challenge with him was to make him, at his core, the same loving father to his daughters. The more diminished he is, the closer he becomes to the person who he is at his core. Someone who is loving and giving, so that the audience can see that his soul is the same whether he is lucid or trapped in dementia. He can get frustrated, but it is always with himself, never his girls. I seek to show that his sacrifices for their welfare are, in his mind, all justified.

JHPENTERTAINMENT: I’m sure you know this already, but I’ve been a fan of yours since the days of The Boiler Room Theatre. The Darkhorse Theatre reminds me a lot of Boiler Room, in that both venues provide a more intimate theatrical experience. Does the venue or theatre company where a show will be mounted ever influence your interest in auditioning for a role?

ALAN LEE: Thank you, Jonathan. Yes, the venue has a definite bearing on how the audience will receive a work. The Darkhorse, like the Boiler Room, allows a more intimate connection with the audience emotionally, and that pays off with a musical like this. I think the Darkhorse is a great venue for this work.

JHPENTERTAINMENT: With THE SPARKLEY CLEAN FUNERAL SINGERS you’ve had the playwright right there in the mix as Lori is playing one of your character’s two daughters. Have there been times during the rehearsal process that she’s offered insight into the character you’re playing, having written the role?

ALAN LEE: Having Lori both as author and scene partner has been a rich experience. She is the ultimate resource and has been an unfailingly positive influence on my work in finding and playing Lyle. 

JHPENTERTAINMENT: Channeling your character, what would Lyle say to those considering seeing THE SPARKLEY CLEAN FUNERAL SINGERS during its Darkhorse Theatre run?

ALAN LEE: “I’m as proud of these girls as I can be and know that if you come see us you will be as taken with them as I am.” 

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Presented by Art4Art’s Sake Productions, THE SPARKLEY CLEAN FUNERAL SINGERS opens at Darkhorse Theatre March 13 and continues through March 22. Performances are as follows: 7:30pm performances March 13-15, as well as March 19-22. There are also matinee performances March 15, 16 and 22. Tickets are $20 plus a $3.18 handling fee. Seating is General Admission. CLICK HERE for tickets. For the latest from Art4Art’s Sake Productions, CLICK HERE.

Next up at Darkhorse Theatre, WIT (Women in Theatre) will present Tiny Beautiful Things. Based on the book by Cheryl Strayed and adapted for the stage by Nia Vardalos, WIT’s production will be directed by Erin Grace Bailey and will take to the stage at Darkhorse March 28 and 29. CLICK HERE for more.

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