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Theatre Review: The Book of Mormon Returns to Nashville and Proves It Still Has Plenty to Say Beneath the Shock Value

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The cast of The Book of Mormon National Tour 2026 (Photo by Julieta Cervantes/courtesy The Book of Mormon on tour)

When The Book of Mormon first arrived on Broadway back in 2011, it felt downright dangerous. Not because of elaborate special effects or groundbreaking staging, but because it gleefully said the things most people wouldn’t dare say out loud. Fifteen years later, in a world where outrage often arrives faster than context and social media can turn a joke into a national controversy in warp-speed, one might wonder whether South Park creators Trey Parker & Matt Stone and Avenue Q’s Robert Lopez’s irreverent, bawdy and completely un-politically correct nine-time Tony-winning musical still lands with the same impact.

The answer, judging by the opening night audience at Nashville’s TPAC Tuesday evening, is an emphatic “Hello!”

Returning to Andrew Jackson Hall through June 7, The Book of Mormon remains exactly what its reputation suggests: outrageous, wildly inappropriate and frequently jaw-dropping. Yet, just as importantly, it remains what many of its detractors overlook—a surprisingly heartfelt story about friendship, faith, belonging and the stories people tell themselves in order to make sense of a complicated world.

For those somehow unfamiliar with the phenomenon, the musical follows an eager group of young Mormon missionaries dispatched from Salt Lake City to a remote Ugandan village facing poverty, disease and oppression. What begins as a fish-out-of-water comedy evolves into something considerably richer as the missionaries and villagers discover that belief, in all its forms, is often less about facts than it is hope.

And while the script remains largely unchanged from previous tours, this latest company brings fresh energy and personality to every role, making the show feel newly minted rather than a revival of a familiar favorite.

Leading the charge is Ethan Davenport, who takes on the pivotal role of Elder Price in this engagement. As Elder Price, Davenport embodies the character’s confidence, ambition and occasional arrogance with effortless charm. Blessed with a powerful Broadway tenor and an all-American leading man presence, he delivers “You and Me (But Mostly Me)” and the Act Two anthem “I Believe” with the kind of vocal confidence that anchors the entire production.

Opposite him, Jacob Aune’s Elder Cunningham is everything the role demands—awkward, lovable, wildly inappropriate and impossible not to root for. Cunningham is essentially a walking collection of half-remembered science fiction plots, social anxiety and misguided optimism & a bit of a walking, talking South Park character in human form, and Aune embraces every glorious second of it.

More importantly, he finds the humanity beneath the character’s compulsive storytelling. While the laughs come easily—and there are many—the emotional core of the show ultimately rests on Cunningham’s desire to matter. Aune never loses sight of that, making the character’s journey feel genuinely earned.

Yet it’s Craige Franke as Elder McKinley where Franke truly steals scenes. His performance of “Turn It Off” is a masterclass in comic timing, complete with dazzling choreography, impeccable facial expressions and enough jazz hands to illuminate Broadway itself. Heck, the featured ensemble during “Turn It Off” is simply tap-tactic. Having spent years with the company in multiple capacities, Franke understands this material inside and out, and it shows. His cheeky, campy cameo in “Scary Mormon Hell Dream”, helps make it a  glittery, shockingly hilarious dream indeed, but more about that later.

One of the evening’s biggest delights comes courtesy of Rayna J. as Nabulungi, stepping in for Music City’s opening night for an absent Charity Arianna. Making her professional theatre debut on a national tour would be enough pressure for most performers. Doing so while carrying one of the show’s most beloved roles feels downright unfair. Fortunately, J. rises magnificently to the challenge. Her Nabulungi radiates warmth, optimism and sincerity, providing the show’s emotional center amidst the chaos. Her rendition of “Sal Tlay Ka Siti” is beautifully sung and genuinely moving, reminding audiences that beneath all the satire and profanity lies a story about people searching for something better. J. also electrifies her scenes with Aune’s Cunningham, particularly during “Baptize Me,” a number whose hilariously escalating misunderstandings remain one of the funniest sequences in modern musical theatre.

As The General, Shafiq Hicks delivers one of the production’s most commanding performances. Possessing a booming stage presence and undeniable authority, Hicks makes an immediate impression from the moment he appears. His performance of “Hasa Diga Eebowai” earns exactly the reaction one hopes for from first-time audiences: gasps, nervous laughter and a collective realization that The Book of Mormon intends to push every button it can find. Yet Hicks doesn’t just play the role as a caricature. Instead, he grounds the character in a reality that gives the surrounding comedy greater impact.

Elsewhere, Jonathan Grunert proves remarkably versatile while juggling multiple roles including Price’s Dad, Joseph Smith, Missionary Voice and Mission President. Jarius Miquel Cliett makes a strong impression as Mafala Hatimbi.

The entire ensemble deserves special recognition as well. From the opening strains of “Hello” to the curtain call, they maintain an infectious level of energy that never dips. Whether executing the show’s precise choreography, navigating lightning-speed costume changes or delivering some of the evening’s biggest laughs, this company operates like a well-oiled machine, or, in The Book of Mormon terms, like a bunch of maggots tunneling through one’s scrotum! Trust me, in this case, that’s a good thing!

Casey Nicholaw’s Tony-winning choreo remains as impressive as ever. “Turn It Off” continues to be an absolute showstopper, while the aforementioned “Spooky Mormon Hell Dream” remains one of Broadway’s most delightfully unhinged production numbers. Gotta love the updated addition to the list of hell-bound evil-doers joining the likes of Hitler, Genghis Khan and Johnny Cochran, but I’m gonna redact that name so as not to spoil the surprise. Suffice it to say, the audience reaction to this hellacious human was just as I hoped it would be. Keeping it fresh with updated references is just another way The Book of Mormon keeps their audiences on their toes. A running gag in the show features Elder Cunningham frequently calling Nabulungi the wrong name. Everything from Neutrogena to Necrophilia…a clever comical callback with each name, so much so that I found myself eagerly anticipating what he’d call her next. My personal favorite new addition to the list…Ozempic. Add in the hilarious spectacle of “I Am Africa” (gotta love a bunch of self-righteous white boys declaring representation and solidarity with the African nation) and the show boasts enough memorable musical moments to satisfy even traditional musical theatre fans.

What continues to impress most about The Book of Mormon, however, is how successfully it balances satire with sincerity. Yes, there are jokes that will make some audience members cringe. Yes, there are moments where you’ll likely find yourself laughing before immediately wondering whether you should have. And yes, Parker and Stone remain equal-opportunity offenders. Nobody is safe from ridicule in their The Book of Mormon world But beneath the profanity, religious satire and outrageous punchlines lies a surprisingly compassionate message about empathy, community and finding common ground despite differing beliefs.

When I first saw The Book of Mormon, I compared it to the classic CBS Norman Lear-driven sitcom All in the Family. Much like that boundry-pushing TV juggernaut, The Book of Mormon uses comedy not simply to provoke, but to hold up a mirror. The laughter may be loud, but the observations underneath it are often surprisingly thoughtful.

Fifteen years after its Broadway debut, The Book of Mormon remains one of the funniest musicals ever written. More impressively, it remains one of the smartest. And judging by the roar of laughter echoing through TPAC Tuesday night, Nashville audiences are still more than happy to answer the doorbell.

The Book of Mormon‘s latest return to TPAC runs Tuesday, June 2 through Sunday, June 7.  CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.

Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.

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

In case you missed it, check out my recent Rapid Fire Q&A with The Book of Mormon‘s cast members Craig Franke, Charity Arianna & Safiq Hicks.

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke,  Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

Ringing Doorbells & Raising Eyebrows: A Rapid Fire Q&A with The Book of Mormon’s Craig Franke,  Charity Arianna & Safiq Hicks; National Tour returns to TPAC June 2-7

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Having played TPAC in 2015 and again in 2019, Book of Mormon, Broadway’s riotous musical is returning to Music City for a third time! Created by South Park’s Trey Parker and Matt Stone (collaborating with Avenue Q co-creator Robert Lopez) the hit musical returns to Tennessee Performing Arts Center June 2 thru 7. Before the missionaries arrive,  JHPEntertainment.com turns the spotlight on Elder McKinley, Nabulungi and The General as cast members Craig Franke, Charity Arianna and Shafiq Hicks take part in our latest Rapid Fire Q&A quick-hit conversation to chat about the outrageous comedy, life on the road, dream doorbell visits and what keeps this wildly irreverent musical connecting with audiences night after night.

RAPID FIRE Q&A WITH BOOK OF MORMON’s ELDER McKINLEY, NABULUNGI & THE GENERAL

RAPID FIRE WITH BOOK OF MORMON’s ELDER McKINLEY, CRAIG FRANKE

JHPENTERTAINMENT: This is now your fourth year with the tour. What keeps you coming back to ring those doorbells?

CRAIG FRANKE: The travel keeps me coming back! It’s so fun to travel North America and see so many parts of the continent I may never have seen otherwise. It’s a privilege to feel like you’re in a hit Broadway musical touring to some of the most famous cities in the world. 

JHPENTERTAINMENT: You originally joined the company in the ensemble while covering both Elder McKinley and Elder Price. What’s the evolution been like from understudying those tracks to now playing Elder McKinley full-time for nearly two years?

CRAIG FRANKE: It’s been nice to live in Elder McKinley full time. When I was an understudy it’s hard to really feel the rhythm of the character and show, and then you never know when you’ll get to do it again to try and improve and tinker. So it would be frustrating if I felt I had made a mistake and would have to wait two months to correct it. Conversely I really miss the rush of adrenaline when you go on for your understudy track. That’s always an exciting night. 

JHPENTERTAINMENT: You’re still understudying Elder Price as well. Does keeping that role performance-ready while playing McKinley add an extra layer of adrenaline to tour life?

CRAIG FRANKE: Yes! It does. Keeping Price fresh, whether it’s for a put in, a rehearsal, or the once in a blue moon performance does add some spice and variety. It’s also fun watching all of the different Prices up close and personal. I think it’s inspiring to see another take, and you get to steal their best bits, while also evaluating your own haha. 

JHPENTERTAINMENT: Book of Mormon walks this razor-thin line between shocking, ridiculous and oddly heartfelt — which feels very on-brand considering the minds behind South Park created it. What’s your favorite moment where you can practically feel the audience collectively realizing, “Oh wow…they really just said that”?

CRAIG FRANKE: Well, I think I’m offstage for the biggest, “Oh they’re going there,” Moment. But I’d say Price has some dreams where I am involved, and some of those moments can be really fun when you hear the audience react to who might appear in that dream, and what they might do romantically with some other characters…. just come see the show haha. 

JHPENTERTAINMENT: Since your character spends plenty of time ringing doorbells…if you could knock on absolutely anyone’s front door — celebrity, historical figure, fictional character, whoever — just to see what happened, whose bell are you ringing?

CRAIG FRANKE: I’m boring, but I’m in theatre, so I’d love to ring Sondheim’s doorbell. He went to New York Military Academy as a boy, which is right down the street from where I went to Middle School, so I always felt maybe that would be something to talk about, my in with the big guy, who knows though. I’m also a sports fan, so I’d say Roger Federer or Dan Campbell to encourage him to help get the Lions their Super Bowl.

RAPID FIRE WITH BOOK OF MORMON’s NABULUNGI, CHARITY ARIANNA

JHPENTERTAINMENT: This is your first professional theatre gig, which honestly feels like getting tossed directly into the deep end considering the scale and popularity of Book of Mormon. Was joining this tour a little bit of a baptism by fire?

CHARITY ARIANNA: Before getting to play Nabalungi, I was hired as a swing; I didn’t feel intimidated by the of Book of Mormon and its popularity, I actually felt more pressure about learning to become a swing which is like an emergency cover for all of the female tracks. I felt fueled by my passion to be onstage, and I felt honored when they asked me to play Nabalungi full time. Most of my positive experience had to do with the love and support of my castmates and directors. So, you could say I used that “baptism by fire” to fuel me instead of intimidating me! 

JHPENTERTAINMENT: As you mention, you initially joined the company as a swing covering the female tracks before stepping into Nabulungi full-time. What do you remember most about learning you’d officially be taking on Nabulungi full-time every night?

CHARITY ARIANNA: I got the offer for Naba while actually in the Motown Museum Tour in Detroit. Getting to learn about so many African American artists and their breakthroughs and then experiencing one of my own felt so full circle. What I remember most was being around the girls (in the cast) and them encouraging me and lifting me up, for that I am forever grateful.

JHPENTERTAINMENT: As Nabulungi, you share scenes with Jarius Miquel Cliett, who plays Ugandan village leader, Mafala, who also happens to be Nabulungi’s father. What’s been most rewarding about building that relationship onstage with Jarius?

CHARITY ARIANNA: The most rewarding thing about working with Jarius is knowing that we have built a relationship that will withstand past what you see onstage. He has always been so supportive and caring, and I love getting to work with him and learn from him in so many ways.  Our synergy onstage mimics the true form of our bond offstage. 

JHPENTERTAINMENT: As a singer-songwriter, coming to Music City has to hit a little differently. Any chance you’ll be sneaking off to explore Nashville’s recording studio scene while you’re here?

CHARITY ARIANNA: I’m so excited to come to Nashville! The best thing about tour is getting to explore each city, and so this specific city seems right up my ally.  I have 2 songs out right now and one of my core memories is watching my music transform in the studio, and so I can’t wait to see what Nashville has to offer in that regard. I can’t wait to work on some more stuff in Nashville to keep the ball rolling! 

JHPENTERTAINMENT: Between the outrageous humor, the eyebrow-raising jokes and the fact Book of Mormon came from the creators of South Park, does it surprise you that there are still some audience members who walk in not knowing what they’re about to experience?  AND…What’s your favorite scene to perform in anticipation of the audience reaction?

CHARITY ARIANNA: It doesn’t surprise me that some people don’t know about what the Book of Mormon has to offer. Truth be told, when I first auditioned, I didn’t know anything about the musical. It’s unlike anything I have ever seen. My jaw was constantly on the floor. My experience of going in blind gives me some appreciation and an inside scoop about knowing exactly how the audience feels seeing it for the first time because my first time was only about 2 years ago. My absolute favorite scene to perform is in Act 2 with Cunningham! I don’t want to give too much away, you’ll have to watch it and find out, but It’s one of the few scenes we see my character really get to be herself and let go with Cunningham, plus any scene with Jake Aune is always my favorite! 

RAPID FIRE WITH BOOK OF MORMON’s GENERAL, SAFIQ HICKS

JHPENTERTAINMENT: Your one-year anniversary as Book of Mormon’s General is coming up next month. After spending all this time with The General, what have you learned from him — for better or worse?

SHAFIQ HICKS: I’ve learned stamina for sure. Coming up on a year in this role, definitely stands for something. I’ve also learned even the more not to judge my characters but to play them as honest as I know how.

JHPENTERTAINMENT: “Hasa Diga Eebowai” is just one example of Book of Mormon musical numbers where audiences seem simultaneously horrified and unable to stop laughing. What’s it like feeling the crowd react to these hilariously shocking earworms in real time?

SHAFIQ HICKS: I must say, that’s my favorite song of the show. For its hilarity yes, but the SONG itself is a bop. The beat is infectious. Even though I’m not in that number, I sometimes watch from the wings and watch as the audience reacts to the revelation in the song and how up until then they’ve been tapping along.

JHPENTERTAINMENT: Okay, I can’t chat with you and not ask about Saturday Night Live and your experience collaborating with Sam Smith, Aretha Franklin and others. What stands out most when you think back on that experience?

SHAFIQ HICKS: Being on SNL singing in a choir behind the one and only SAM SMITH…was a WILD experience…I just remember existing in the moment but also watching myself exist in the moment altogether. And with Ms. Aretha Franklin…I simply remember her bringing that infamous purse and fur coat, setting both on the piano…and rehearsal BEGAN. She was a tour de force vocalist, and an absolute blueprint for authenticity and soul.

JHPENTERTAINMENT: The General may not exactly be known for warm welcomes…but if you personally could go ring anybody’s doorbell just for the story it would create, who’s answering that door?

SHAFIQ HICKS: I’d pray it’d be a current or past Broadway composer for them to write a hit musical role for me, and cease this baritone erasure from the stages of Broadway and beyond. A certain Robert Lopez comes to mind *wink wink*.

The Book of Mormon returns to TPAC Tuesday, June 2 with shows continuing through Sunday, June 7. If this Rapid Fire Q&A is any indication, expect big laughs, wildly catchy songs, a few moments that may leave audiences clutching their pearls — yet, somehow, there’s a surprising amount of heart underneath all the chaos. CLICK HERE for tickets and more info. Not in Music City, but want to know more about Book of Mormon, CLICK HERE for tickets to upcoming tour stops including Miami, FL Erie, PA, Buffalo, NY, Willmington, NC and Chicago, IL and more as the tour continues. You can also follow the tour on Facebook, X, YouTube, TikTok and Instagram.

Following Book of Mormon, it’s the return of another audience favorite as Hamilton plays TPAC’s Jackson Hall June 17-28. While these two shows close out the current Broadway at TPAC season, there’s always something happening at Nashville’s beloved three-theatre venue. CLICK HERE for the full calendar of events. TPAC’s 2026/2027 Season is just around the corner with its official kickoff September 16-20 celebrated by the return of yet another fan favorite, Jersey Boys. You can also follow TPAC on Instagram, X, YouTube and Facebook.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: ‘Riverdance 30: The New Generation’; at TPAC Friday & Saturday as U.S. Tour Continues

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First presented as a 7-minute interval act during the 1994 Eurovision competition in Dublin, Ireland,  performed by Michel Flatley and Jean Butler as conceived by composer Bill Wheland and co-founders Moya Doherty and John McColgan, there’s a reason Riverdance has endured for three decades. With Riverdance 30: The New Generation–onstage in Nashville at TPAC‘s Jackson Hall April 3 & 4 as the U.S. Tour continues– that legacy isn’t just preserved—it’s reenergized with a thrilling sense of immediacy. From the first electrifying beats of Act I’s opener, “Reel Around the Sun,” this anniversary tour reminds audiences exactly why it became a global phenomenon in the first place and why its popularity is unwavering.

The company wastes no time establishing its signature precision, led by principal dancers Kieran Bryant, Will Bryant, Anna Mai Fitzpatrick, Fergus Fitzpatrick, Olivia Nachtigal, and Mairead Trainor—each bringing a distinct presence while maintaining the razor-sharp synchronicity that defines the production. (And for a deeper dive into two of the evening’s standouts, be sure to check out my recent Rapid Fire 10Q with lead dancers and brothers Kieran Bryant & Will Bryant.)

“Reel Around the Sun,” with original choreography by Riverdance‘s legendary Michael Flatley, sets the tone with a commanding blend of power and polish, while “The Heart’s Cry” and “The Countess Cathleen” introduce the production’s more lyrical and folkloric elements. Throughout, John Kavanagh’s narration threads its way between segments, landing somewhere between folklore, fairytale, and fact. While evocative, the through line can feel a bit elusive at times—beautiful in isolation, though occasionally lacking clarity in the larger arc. Perhaps falling victim to life on the road, the sound–at least during Night One of the tour’s Music City Stop–struggled a bit with the live instrumentation and vocal performances occasionally overpowering the narration and all three suffering in the aftermath.

That said, when the show leans into its rhythmic intensity, it’s virtually unstoppable. “Thunderstorm” delivers one of Act I’s most exhilarating sequences, the male troupe unleashing a barrage of percussive footwork that feels both primal and impossibly precise. “Firedance” shifts the energy entirely, with flamenco soloist Rocio Dusmet Orellano commanding the stage in a fiery fusion of Irish and Spanish traditions—an arresting reminder of the show’s global reach.

Musically, the production is as rich as ever, thanks to The Riverdance Band under the direction of Mark Alfred (drums, percussion, bodhrán). Cathal Croke’s uilleann pipes and low whistle add an unmistakable Celtic texture, while Haley Richardson’s fiddle and Emma McPhilemy’s saxophone bring both warmth and unexpected contemporary flair. Together with the company’s singers and drummers, they create a soundscape that feels as alive as the movement it drives. Interesting

Act I builds—inevitably, gloriously—to the showstopping “Riverdance.” It’s the moment audiences wait for, and it still delivers that mid-show ovation energy, the full company in perfect unison as rhythm becomes spectacle.

Act II opens with “American Wake,” a vibrant nod to the Irish diaspora, before launching into one of the production’s most visually and culturally compelling segments: “Trading Taps.” Featuring Riverdance Tappers Kenji Igus and Dharmesh Patel, the number unfolds—per state-of-the-art projections—Down Under the Manhattan Bridge Overpass (DUMBO), a detail my date for the evening, a former New Yorker, was quick to appreciate. Here, the show brilliantly illustrates how Irish rhythmic traditions echo through tap and hip-hop, creating a dialogue between styles that feels both historic and strikingly modern.

It’s a standout moment, though its placement feels slightly out of sync with the show’s overall progression. In a production that might benefit from some light editing or reordering, “Trading Taps” arguably belongs closer to the finale, where its thematic resonance could land with even greater impact.

Other highlights in Act II include “Ritmos del Corazon / Andalucía,” once again showcasing Orellano’s commanding flamenco artistry, and the continued interplay between the company’s diverse dance traditions, including the applause-garnering contributions of the Dervish Folk Dance Troupe.

Ultimately, Riverdance 30: The New Generation is at its best when it leans into what it has always done so well: uniting music and movement in a way that transcends language and narrative. Even when the storytelling thread feels slightly diffused, the sheer talent onstage never wavers.

The evening closes with “Home and The Heartland,” a fan-favorite finale dating back to the 1995 Dublin stage debut. It’s as rousing and emotionally satisfying as ever—a full-circle moment that honors the show’s origins while celebrating its continued evolution.

Thirty years on, Riverdance still knows how to bring an audience to its feet—and in the hands (and feet) of this new generation, its rhythm feels as unstoppable as ever. Riverdance 30: The New Generation wraps it’s limited two-day Nashville stop with two performances at TPAC‘s Jackson Hall Saturday, April 4 with a 2pm matinee and a 7:30pm evening performance. CLICK HERE for tickets.

Following their Music City tour stop, Riverdance 30 continues its U.S. Tour with stops in Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Beyond Riverdance, TPAC‘s calendar of events continues with Nashville Repertory Theatre‘s production of Sister Act on stage at the Polk Theatre April 10 thru 19 (Check back here at jhpentertainment.com for our upcoming chat with Sister Act‘s director and members of the cast). TPAC Inclusive Arts Presents two Arts Adventure Workshops—Stage Combat for ages 9-15 and Heroes and Villains for ages 8-16 on April 11. On April 16, TPAC InsideOut and Vanderbilt University team up to present a Lunchtime Preview of Nashville Ballet‘s Sherlock (onstage at the Polk Theatre May 1-3). April 16 thru 18, Nashville Opera presents The Barber of Seville at TPAC‘s Jackson Hall. CLICK HERE for all these and more great performances at TPAC.

As always, If you want to read our latest on Music, Movies, Performing or Visual Arts, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In case you missed it, CLICK HERE to read my Rapid Fire 20Q with members of the Suffs cast. As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. In the meantime… #GoSeeTheShow!

Theatre Review: ‘SIX: the musical’; Henry VIII’s Wives Hold Court and Reign Supreme as National Tour Continues

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The Queen of ‘SIX’ US National Tour (all photos by Joan Marcus, courtesy SIX on Tour)

As I mentioned in my recent Rapid Fire 20Q with the show’s Alternates the premise of SIX cheekily presents the history—or should I say HERstory—of King Henry VIII’s wives through a modern pop lens. Think: what if the Spice Girls were competing against each other on American Idol, but make it Tudoresque. That’s SIX in a rhinestoned corset, and it knows exactly how ridiculous—and how brilliant—that sounds.

From its opening beat drop to its final glitter-soaked mic pass, SIX wastes no time announcing exactly what it is: a Broadway musical engineered like a pop concert. Now playing Nashville’s TPAC Jackson Hall, the national tour of the Tony-winning hit delivers history as a high-gloss remix—loud, funny, and meticulously attuned to modern pop and R&B influences. Performed without an intermission, SIX unfolds as a 90-minute showdown where heartbreak, harmony, and bass drops battle for supremacy.

Tuesday’s opening night of the Music City tour stop featured all six primary cast members, giving Nashville audiences the full force of the tour’s leading Queens right out of the gate. While it was undeniably thrilling to see the principals in action, I’ll admit to a slight pang of disappointment that none of the four alternates I recently interviewed for the Rapid Fire 20Q were onstage that evening—a very specific kind of theater-nerd heartbreak.

The show kicks off with “Ex-Wives”, an all-in girl-group manifesto disguised as a history lesson, instantly embedding the now-iconic refrain “Divorced, beheaded, died / Divorced, beheaded, survived” into the audience’s collective brain. The Queens emerge in a unified visual language —Tudor corsetry fused with pop-star silhouettes, metallic finishes, studs, and platform boots—each Queen’s attire color-coded yet cohesively styled courtesy costumer Gabriella Slade. Tim Deiling‘s Concert lighting pulses like a stadium opener, making it clear these women are here to headline, not footnote.

Emma Elizabeth Smith (Catherine of Aragon) steps forward first with “No Way”, clad in commanding yellow and gold with accents of black—a direct references to her Spanish roots, the wealth of the Spanish crown, and the opulence of the Catholic Church. The regal palette reinforces Catherine’s authority as the original Queen, while the structured corset and bold detailing give visual weight to her refusal to be dismissed. As Smith belts “I’m not sorry for my honesty,” the look radiates righteousness and resolve.

The mood flips into mischievous rebellion with Nella Cole (Anne Boleyn) and “Don’t Lose Ur Head”. Draped in unmistakable green, Boleyn’s costume offers an obvious nod to “Greensleeves”, despite the enduring myth that Henry VIII wrote it for her—a bit of historical irony the show knowingly side-eyes. Punk-pop detailing and playful asymmetry reinforce Anne’s flirtatious chaos. It’s bubblegum pop as survival tactic—a little Katy Perry, but with the very real threat of the axe.

The evening’s emotional pivot arrives with Kelly Denice Taylor (Jane Seymour) and “Heart of Stone”. Her corseted white costume trimmed in black, complete with sleeves and skirt panels reminiscent of chainmaille armor, signals purity without fragility and strength without aggression. The design quietly reinforces Seymour’s emotional fortitude as Taylor laments “Soon I’ll have to go / I’ll never see him grow,” allowing stillness and restraint to become some of the most powerful choices of the night.

Before the competition resumes, SIX detonates into full high-camp absurdity with another all-in. “Haus of Holbein”, with its neon accents, blacklight, exaggerated silhouettes, and stylized poses turn the stage into a Renaissance runway on rave mode. Sonically, the number leans hard into Madonna’s club-era maximalism, evoking the relentless pulse and fashion-as-performance-art ethos of “Ray of Light”–era remixes (with a little SNL‘s Dieter accent exaggeration thrown in)—less spiritual awakening, more high-fashion satire. It’s ridiculous, deliberate, and exactly the reset the show needs.

Swagger floods the stage with Hailey Alexis Lewis (Anna of Cleves) and “Get Down”. Dressed in unapologetic red, Cleves’ costume signals defiance—she is, after all, one of only two wives to divorce Henry and live. Rolled fabric at the shoulders cleverly references her infamous portrait, reframed here as armor rather than flaw. The Euro-pop anthem pulls heavily from Atlanta trap-pop energy, particularly the minimalist bounce and swagger-forward attitude that put me in mindof Beyoncé’s “7/11”. When Lewis declares “I’m the Queen of the castle, Get down you dirty rascal,” the lyric lands as deserved prophecy, not threat.

There’s an interesting shift in tone with Alizé Cruz (Katherine Howard) and “All You Wanna Do”. Her pink-and-black costume reflects youthful vitality layered with looming danger—the sweetness of pink undercut (no pun intended) by the severity of black. What begins flirtatious quickly curdles as the repetition of “All you wanna do, baby” exposes the song’s darker truth. As the lighting cools and the meaning sharpens, the visual contrast underscores just how trapped Howard truly is. It’s Britney‘s “Womanizer”, sing-songy and fun, but if the aggressor had access to the guillotine.

The competition’s final turn belongs to Tasia Jungbauer (Catherine Parr), who reframes the entire premise (what are they competing? Who would even remember Henry were it not for them?) with “I Don’t Need Your Love”. Wearing black and blue, and notably incorporating pants, Parr’s look subtly nods to shifting fashions centuries after her lifetime while underscoring her independence as the Queen who survived. Clean lines and minimal ornamentation allow Catherine to declare “I don’t need your love / I just need to tell my story”.

When the Queens reunite for “Six,” individuality gives way to collective power. Costume reveals heighten each look—more shimmer, more shine—while maintaining the shared design language that has bound them from the start. Concert lighting, synchronized choreography, and wall-of-sound harmonies transform the finale into a euphoric pop encore rather than a winner-take-all ending.

Anchoring the entire experience and elevating Toby Marlow and Lucy Moss‘ clever score and pop lingo-filled lyrics is the onstage band, The Ladies in Waiting, who are far more than musical accompaniment. Tuesday’s opening night performance was conducted by Lizzie Webb, whose steady leadership kept the score’s pop precision razor-sharp. Music Director and Keyboardist Valerie Maze drives the sound, supported by Yonit Spiegelman on bass, Rose Laguana on guitars, and Camila Mennitte Pereyra on drums. Visually, their sleek black styling mirrors the Queens’ aesthetic, reinforcing the concert vibe while keeping the spotlight exactly where it belongs.

SIX doesn’t aim for subtlety—it thrives on impact. Pop culture becomes narrative shorthand, feminism arrives wrapped in corsets, combat boots, and beats you can feel in your chest, with a message you can feel in your heart as HERstory becomes a remix. SIX proves once again that this show isn’t just clever—it’s culturally fluent. Long live the Queens!

At TPAC, though Sunday February 8 as the national tour continues, CLICK HERE to purchase tickets. Not in Nashville? No problem. You can catch these royals as their empowering processional continues its U.S. takeover with upcoming tour stops in Fort Worth, Los Angeles and a couple dozen more cities as the National Tour continues through early 2027. CLICK HERE for the full tour schedule or follow SIX on Facebook, X, YouTube, Instagram & TikTok. 

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

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

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

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

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

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

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

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

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

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

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

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

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

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

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

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

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Rapid Fire Q&A With ‘Beauty and the Beast’ Cast Members Kathy Voytko and Spencer Dean as Beloved Disney Musical Returns to TPAC November 4 through 16

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It’s a tale as old as time—and it’s coming back to Nashville! Disney’s Beauty and the Beast national tour brings its reimagined magic to TPAC for an extended two-week run November 4–16, featuring dazzling choreography, stunning visuals, and a heartfelt message that still rings true: beauty is found within.

Before the enchanted candlesticks, clocks, and dinnerware invite Music City to be their guest, we caught up with two of the show’s talented cast members for a special abbreviated edition of our recurring interview feature, Rapid Fire Q&A.

First, Broadway veteran Kathy Voytko, who steps into the iconic role of Mrs. Potts, reflects on honoring the beloved musical’s legacy, the lessons of love and change, and the nightly magic of singing the show’s unforgettable title song.

Then, Nashville native Spencer Dean, who plays the deliciously sinister Monsieur D’Arque (and other colorful townsfolk), shares what it means to bring his hometown audience a story that helped inspire his love of theatre—plus why a little villainy can be so much fun.

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RAPID FIRE Q&A WITH BEAUTY AND THE BEAST NATIONAL TOUR CAST MEMBERS

RAPID FIRE WITH BEAUTY AND THE BEAST’s MRS. POTTS, KATHY VOYTKO

JHPENTERTAINMENT: Performing the title song, Beauty and the Beast, is a true Broadway musical legacy moment. What goes through your mind in that instant under the spotlight?

KATHY VOYTKO: Singing Beauty and the Beast is such a unique honor because it has become such a beloved moment in the animated film and such a recognizable song originated by the extraordinary Angela Lansbury. However, when I sing it in the show, I have to attempt to forget all of that, and just tell the story, sing the notes, and say the beautiful words as though it’s the first time every single night because for one person in the audience, it is the first time they are hearing it.

JHPENTERTAINMENT: Angela Lansbury certainly set the gold standard as Mrs. Potts in the beloved animated classic—did you give any thought to honoring her while also making the role uniquely your own?

KATHY VOYTKO: As a lifelong Angela Lansbury fan I sure hope I am honoring her masterful blueprint of Mrs. Potts! Our director, Matt West, along with associate director Sam Scalamoni, music director David Andrews Rogers, and the entire Disney team guided us to shape our characters so they would be familiar to the audience, but still encouraged us to find our own unique take within the framework of the iconic characters. I’m extremely grateful that they trusted us and encouraged us to bring a little of ourselves into the mix.

JHPENTERTAINMENT: The show’s message of love and acceptance feels timeless—what part of Mrs. Potts’ wisdom resonates most with you personally?

KATHY VOYTKO: The biggest lesson that I had never really taken notice of in this story is one that I had discussed with our remarkable book writer, Linda Wolverton, who also wrote the original screenplay for the film. You can make a terrible choice/mistake in your life, and when you learn to make better, kinder choices, your entire world can change for the better. (And I even get to sing about it: “bittersweet and strange finding you can change learning you were wrong”).

Danny Gardner, Kathy Voytko, Kevin Ligon, Cameron Monroe Thomas, Javier Ignacio and Holly Ann Butler in Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: The current tour reunites some of the original Broadway creatives behind Beauty and the Beast, including director and choreographer Matt West, who you mentioned. Do you have a favorite aspect of the newly enhanced production?

KATHY VOYTKO: Geez, I don’t think we have enough space for me to tell you all the things I love in this production, but let me give you my top three: 

I wildly love how we present Chip. The Disney magic for all the castle objects is very cool and tricky. And most folks ask about it at the Stage door. 

The musical numbers Gaston and Be Our Guest are extended and honestly, I could watch them each for 10 more minutes because the company is outrageously talented and I find it thrilling every single night.

Kyra Belle Johnson and Fergie Philippe (Belle and Beast) have a wonderful rapport that tells the story in a fresh way that by the time they are connecting and truly seeing each other in Act Two, you are giggling and rooting for them with unexpected delight.

JHPENTERTAINMENT: With apologies to Cogsworth, when you’re offstage, what helps you “unwind the clock” after bringing the necessary warmth and heart to every performance?

KATHY VOYTKO: Performing 8 shows a week can be challenging to our bodies and our voices, but getting to witness towns across America enjoying Beauty and the Beast is such a unique privilege. 

Many of us on tour try to do something decidedly local in every city. Sometimes it is going to a museum or renting a bike and going along a river trail or asking locals their opinion on their favorite little slice of life or favorite cuisine for the area. 

But for me personally, sometimes it’s just a hot cup of tea or a glass of wine and The Great British Bake Off or a long FaceTime with my family to unwind the clock and refresh my heart.

RAPID FIRE WITH BEAUTY & THE BEAST’s MONSIEUR D’ARQUE & OTHERS, ENSEMBLE MEMBER, SPENCER DEAN

JHPENTERTAINMENT: As a Nashville native, what’s it like returning home to perform at TPAC with such a beloved Disney musical?

SPENCER DEAN: Beauty and the Beast was the first Broadway show I ever saw. Then, I played Lumiere at both Act Too Players & Franklin High School, so this show means A LOT to me. Bringing it to the TPAC stage (where I saw every national tour as a kid) is an emotional and full circle moment. I’m so lucky to be here with this gorgeous production! Getting to share this with so many loved ones is the greatest gift!!

JHPENTERTAINMENT: Monsieur D’Arque might be small in stage time but big in impact—how do you make the most of every deliciously dark moment? SPENCER DEAN: The incredible custom coat I get to wear and crooked top hat (with detailing from the ORIGINAL Monsieur D’Arque costume) helps! Throw on some creepy contour and a grimace and I’ve got the audience both laughing and frightened. 

Dean (5th from right) Company of Disney’s Beauty and the Beast. Photo by Matthew Murphy. (c) Disney

JHPENTERTAINMENT: Villainy can be fun—what’s the best part of playing someone audiences love to hate as well as the other roles you take on?

SPENCER DEAN: It’s such a bold contrast from my quirky village character and our dashing Be Our Guest glam. I appreciate what a range of characters I get to step into every night! Definitely keeps it fresh and fun!

 JHPENTERTAINMENT: If an existing song from any genre were added to the score to serve as D’Arque villainous theme (à la Gaston), what would it be?
SPENCER DEAN: Creep by Radiohead. You’ll have to see the show to understand!

 JHPENTERTAINMENT: This reimagined Beauty and the Beast tour brings new life to a classic—what do you hope audiences take with them after experiencing this updated production?

SPENCER DEAN: A brief escape from the scary world outside. A reminder to lead with kindness and love. Beauty TRULY is found within. Never judge a book by its cover & treat others the way you want to be treated.

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Whether you grew up with the animated film or first met Belle and the Beast on stage, this newly enhanced production of Disney’s Beauty and the Beast promises an unforgettable theatrical experience filled with heart, humor, and timeless lessons about kindness and love.

Catch the national tour at Nashville’s TPAC, November 4–16. Tickets are available now at TPAC.org.

Following their Music City tour stop, Beauty and the Beast will continue its National Tour with multiple stops across the U.S. through September 2026, with more dates expected to be announced. CLICK HERE for full details or follow Beauty and the Beast on Insta.

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

Rapid Fire 20Q with international Dolly Parton tribute artist Kelly O’Brien as she brings ‘The Dolly Show’ to City Winery Nashville Sunday, May 18

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Having been named the UK’s Best Dolly Parton Tribute Act four years in a row by the Agent’s Association of Great Britain, Kelly O’Brien has been thrilling audiences across the pond since creating and touring THE DOLLY SHOW. Being a huge Dolly fan myself, I became aware of O’Brien’s uncanny ability to not only resemble the Queen of Country Music but to also speak and sing live as the beloved Tennessee treasure when I started following her on social media a couple years ago. So naturally, when I learned that O’Brien was embarking on her first-ever stateside tour, including a performance right here in Music City at City Winery Nashville on May 18, I knew I had to chat with her for the latest installment in my recurring interview feature, Rapid Fire 20Q. What follow is that conversation.

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RAPID FIRE 20Q WITH THE DOLLY SHOW TRIBUTE ARTIST, KELLY OBRIEN

JHPENTERTAINMENT: Your upcoming May 18 show at City Winery Nashville marks your Music City debut. How excited are you to be performing as Dolly Parton in the town that claims her as our own?

KELLY O’BRIEN: I am beyond thrilled. It’s a real ‘pinch me’ moment in my career. And I’ve heard some of her family members may be there, so it’s a huge honor to be bringing my show to Nashville 

JHPENTERTAINMENT: Before we chat about your Dolly Parton tribute show, THE DOLLY SHOW, I wanna ask you about your life ‘before Dolly’ if you will. You frequently credit your parents for your initial, albeit unintentional introduction to Dolly, remembering them playing her vinyl records when you were growing up in relatively rural McLaren Vale, Australia as you drifted off to sleep. So let’s start there…besides Dolly, what are your earliest musical memories?

KELLY O’BRIEN: Singing in the truck with my dad. I was about 4 years old and my parents had a bakery run. During the holidays we would get up at 4am to drive into Adelaide and load up the trucks with pies, pasties and donuts. All I had to keep me company in those days was the radio, so I was always singing. 

JHPENTERTAINMENT: You’re also quoted as deciding on a career in entertainment as young as eight thanks to seeing Kylie Minogue (another personal favorite of mine) and her sister Dannii on tv. What was it about the two of them that struck you as a viable career choice at such a young age?

KELLY O’BRIEN: I think I just loved attention, haha. Dannii was on a show called Young Talent Time (where Kyle also sang with her.) It was on TV every Saturday night. A group of 10 young kids singing, dancing and dressed in amazing costumes. I was hooked. 

JHPENTERTAINMENT: By age 14 you were competing in country music singing competitions. What was your first win? AND what song did you win with?

KELLY O’BRIEN: I sang When Will I Be Loved by Linda Rondstadt. I think I won a trophy and a meat tray. 

JHPENTERTAINMENT: To hone your craft, you attended University of Sydney’s Conservatorium of Music. What’s your favorite memory of that time in your life?

KELLY O’BRIEN: It was a jazz course. I wanted to learn the skill of improvisation, and playing piano whilst singing… It helped me immensely. 

JHPENTERTAINMENT: You also began enjoying a career in musical theatre around that time, if research serves me, landing roles in Starlight Express, The Hunchback of Notre Dame and more, even traveling to Germany with a national touring company. Talk about life on the road! Was that your first taste of tour life?

KELLY O’BRIEN: My first big lead role was in Starlight Express, Germany. I’d never been to Europe before that. Deep down, I know I would end up living on the other side of the world. There were just more opportunitys there. And I was right. 

JHPENTERTAINMENT: OK, now for some Dolly-centered questions…I’ve met Dolly several times through the years, so when I say sound like Dolly, I mean it!…you not only sing live like her but also speak live as her during your act. You’ve got what I affectionately refer to as her ‘hiccup giggle’ down pat! When did you first discover you could sound like Dolly? 

KELLY O’BRIEN: Well, this part was difficult. Dolly is a soprano and I am an alto, so it took a huge amount of practice. Her voice is very forward in the mouth, it’s a skill. It took a LONG time to perfect. 

JHPENTERTAINMENT: Then there’s Dolly’s look. You’ve been performing as Dolly in one form or another for about two decades, and from photos and clips I’ve seen, you just keep getting better. Do you find yourself studying Dolly still, in an effort to keep up the look and sound?

KELLY O’BRIEN: Absolutely. I am never complacent. There is so much to learn about Dolly. The instruments she plays, the Dolly-isms and stories she tells. I am always learning something new. 

JHPENTERTAINMENT: I mentioned Kylie earlier. You’ve performed as Kylie in the past, Brittney Spears and Judy Garland too, right? So what is it about Dolly that prompted you to build an entire show around her and not the other artists you’ve paid homage to in tribute?

KELLY O’BRIEN: For starters, I am only 5 ft tall, so that helped. haha Then I guess it was the fact I started singing country music so young. And the fact I was in musical theatre meant I knew how to create the ‘look’ needed to be a fabulous representation of Dolly. 

JHPENTERTAINMENT: I remember the first time I met Dolly, and every time since then, so I gotta ask. What was it like when you met her in 2011?

KELLY O’BRIEN: It’s quite surreal meeting your idol. There are so many things you want to say… I told her how I was an impersonator and she loved that. She was very complimentary. 

JHPENTERTAINMENT: In doing a little online sleuthing in preparation of our chat, I discovered not only is Dolly a 1° of separation for us, but so was the late great prolific tv producer, Nigel Lythgoe; you having secured a Top 12 spot on Popstars Australia and I having worked on the first two season of American Idol! What do you remember most about your experience with that particular brand of reality television?

KELLY O’BRIEN: Oh dear! That was tough. I was in my twenties then. Not as confident back then. People tell you to ‘jump’ and you do it. If I were spoken to like that now, I’d tell THEM to go jump! haha

JHPENTERTAINMENT: Your Nashville debut is midway through your first-ever THE DOLLY SHOW tour in the U.S.. In fact, as we conduct this interview you’re boarding your flight to the U.S. What are you looking forward to most in sharing this show with your stateside audience?

KELLY O’BRIEN: I wonder if they will laugh at my jokes. I mean, they are Dolly gags, but I incorporate my own flair. I also involve the audience quite a bit. It’s an interative show. I hope it translates well… 

JHPENTERTAINMENT: In the show you present several Dolly ‘looks’ representing her career from the earlier years to a more modern Dolly. Do you have a personal favorite of your Dolly looks?

KELLY O’BRIEN: Oooooh, I love the 70’s. Dolly’s hair was BIG! I love that look. 

JHPENTERTAINMENT: Ok, I gotta know…how much luggage do you travel with? How many wigs and costumes are among your gear?

KELLY O’BRIEN: Three suitcases, 7 costumes, 6 wigs. It’s a lot. 

JHPENTERTAINMENT: For you personally, when, during your transformation into Dolly, do you feel the illusion is complete? Is it the wig, the wardrobe or the moment you walk onto the stage and greet your eager audience?

KELLY O’BRIEN: I always take a moment before the show to get into character. It’s usually once my wig is glued on and the transformation is complete. 

JHPENTERTAINMENT: Dolly isn’t just a fabulous singer, she’s a ridiculously prolific songwriter, so not only is the vocal skill important, the music is also key. To that end, I understand current Nashvillian, guitarist Danny Werner is part of your backing back. How did you meet Danny and who else have you got joining you in for your U.S. dates as part of THE DOLLY SHOW band? 

KELLY O’BRIEN: Oh wow, you know Danny? How brilliant. I also have John Hagewood, Jon Ross and Jason Sullivan. They will be traveling from Nashville to do my shows in three different states. I will meet them on the first day of rehearsals. I hear they’re great musicians. 

JHPENTERTAINMENT: Like Dolly, being a singer is only part of who you are. You’re also a Wife and Mom. Have you brought the family along for the U.S. tour? OR are FaceTime and video chats what keep you connected during life on the road?

KELLY O’BRIEN: Not this time. My daughter performs at a very high level and is representing England at this years  ‘Dance World Cup.’ She has to stay home and rehearse. And my husband Ben needs to drive her around. They will be traveling back with my in October for round two.

JHPENTERTAINMENT: Wait a minute! Did I just get an exclusive? Round two in October, huh? That’s awesome! If you could only play one Dolly Parton album the rest of your life, what would it be and what song in particular means the most to you?

KELLY O’BRIEN: Little Sparrow, I just love that Bluegrass sound. I love Mountain Angel. It’s a seriously beautiful and haunting song. 

JHPENTERTAINMENT: YES! Little Sparrow is my favorite Dolly album as well. I just love The Grass is Blue. Alright, we’re almost to the 20th questions, so…What’s next for you?

KELLY O’BRIEN: A rest! haha

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing your tribute to Dolly in THE DOLLY SHOW?

KELLY O’BRIEN: I hope they feel they’ve spent the night with Dolly. I hope they have fun, leave feeling a little lighter and full of love. Dolly brings people together like that. 

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With that, my chat with Kelly O’Brien came to an end, but that’s not all for me, as you better believe I purchased tickets to THE DOLLY SHOW’s May 18 performance at City Winery Nashville. Doors open at 6pm for the Sunday, May 18 7:30pm show. Tickets range in price from $20 to $35. CLICK HERE to purchase tickets. Not in Nashville? You still have another chance to see Kelly O’Brien as Dolly stateside during this phase of the tour when she brings THE DOLLY SHOW to Roxy’s Cabaret in Minneapolis on May 23, and don’t forget the upcoming above-mentioned round two of US dates coming in October. Of course if you’re reading this interview and you happen to be in the UK, as soon as Kelly wraps her US dates she’s headed back for more dates in the UK with shows at Festival Theatre at Hever Castle’s Two Sisters Theatre in Kent on May 31,  Wales Millennium Centre in Cardiff on June 6&7, Bush Hall in London on June 20, The Glasshouse in Gateshead on June 28 and more. CLICK HERE for Kelly’s full tour schedule. You can also follow her on Facebook, X, Instagram and YouTube. Heck, you can even book a personal Cameo message! In the meantime, check out Kelly O’Brien’s THE DOLLY SHOW promo video below!

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 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!