Panto

Rapid Fire 20Q with Director and Cast of ‘Cinderella: The FairyGodmother of All Pantos’; Opening December 5 at Playhouse 615 for the Holiday Season

December 2, 2025 by Jonathan

Playhouse 615 is ringing in the holiday season with a riotously fun twist on a classic fairytale, Cinderella,:The Fairy Godmother of All Pantos. Packed with comedy, music, audience interaction, and more fourth-wall-breaking than Cinderella has sparkles on her gown, this panto promises a festive night out for kids and grown-ups alike.

Directed by Ann Street-Kavanagh, and featuring Veronica Hodgson as a delightfully modern Cinderella, Deborah Seidel as the wickedly funny Baroness Vindetta, and Wanderson Rezende as the unforgettable Anita Bath, this production transforms tradition into pure holiday mischief.

To celebrate the laughter, magic, and mayhem ahead, we sat down with the director and cast members for a festive Rapid Fire 20Q to get their quick takes on panto chaos, backstage hilarity, and the special spark that makes this Cinderella unlike any other.

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF PLAYHOUSE 615’s CINDERELLA RAPID FIRE WITH CINDERELLA STAR, VERONICA HODGSON

JHPENTERTAINMENT: Panto heroines traditionally speak directly to the audience — what are you looking forward to most as far as breaking the fourth wall and teaming up with the crowd?

VERONICA HODGSON: Well I’m really looking forward to all of the fun kid responses to the on stage antics. The rest of the company is absolutely hilarious, and I think kids will be really responsive to all of it. I really think kids are amazing in the sense that they haven’t really developed a filter yet, and that’s totally awesome and ok especially for a show like this when we’re ready for whatever they (or anyone else) wants to throw at us.

JHPENTERTAINMENT: In your bio, you admit Cinderella rates among your favorite fairytales…When you audition for this, did you realize the full extent of how pantos take their original subject matter and expand upon them to the point of absurdity?

VERONICA HODGSON: I auditioned for this back in October. I was familiar with pantos being absurd versions of classic fairytales, but I did not realize the full extent of how the rest of the cast would take that and run with it. Everyone is so talented, and I’m really honored to be working alongside all of them.

JHPENTERTAINMENT: On the subject of absurdity, who among your cast mates can you just not make too much eye contact with for fear of cracking up?

VERONICA HODGSON: As I said before, everyone is an absolute blast and I’m so happy to be working alongside them. BUT if I had to pick one I can’t make too much eye contact with…it’s Wanderson Rezende. And he knows that. There are parts where he likes to mess with me and I just have to remind myself how the real Cinderella doesn’t see the humor in what he’s doing at all (He plays an ugly stepsister).

JHPENTERTAINMENT: I understand you’re currently pursing a degree in theatre as part of your double major and this is your first show at Playhouse 615. As an actor honing their craft, how important is it to do local theatre?

VERONICA HODGSON: It is so so so important for students to be involved with local theater. School shows can be great, but they only give you a small bit of perspective, especially if you work with the same students and/or faculty every show. I’ve learned so much and gotten to make so many fantastic connections being involved in local theater, I’d really recommend all theater students to come out of their shell and do it.

JHPENTERTAINMENT: What’s your approach to keeping your Cinderella’s heart genuine while everything around her gets gloriously silly?

VERONICA HODGSON: Something I remember is that while not all Cinderella retellings are the same, something that stays consistent about her is that she is sweet, she is hopeful, and she is kind no matter what else is happening to/around her. It’s why she’s my favorite princess, and I think it’s one of the reasons why her story remains timeless. No matter what else happens, you are going to hear a story about a girl who just wants to go to the ball. And I think we’ve all been that girl before. We’ve all had dreams that seem impossible, but that doesn’t stop us from working towards them no matter how difficult it gets.

RAPID FIRE WITH DEBORAH SEIDEL, BARONESS VINDETTA IN CINDERELLA

JHPENTERTAINMENT: While Lady Gaga lives for the applause, panto villains live for the “BOOOOs” How much fun are you having playing the baddie of the bunch?

DEBORAH SEIDEL: It’s so much more fun to play a villain (though may I suggest that the Baroness is simply misguided?) than a sweet, innocent character like Cinderella. The very loose parameters of a panto give me the freedom to explore a wide range of nastiness, both physically and vocally. It’s very cathartic, especially if I’m having a bad day! But seriously, my goal is to be wicked enough to get my share of BOOs, but also get some laughs when I’m dealing with my incorrigible daughters, and (awkwardly) trying to captivate King Charming.

JHPENTERTAINMENT: In traditional pantos, audience interaction is essential — what line or moment exemplifies Baroness Vindetta’s wickedly hilarious ways?

DEBORAH SEIDEL: Toward the end of my first scene, I tell Cinderella: “Since you’re legally my daughter now, you must obey my every command. And now, I command you to work. Clean this place up!” However, there’s only one small problem – the place is spotless! I don’t want to give it away, so I’ll simply say that once we (the stepsisters, Cinderella, Buttons and I) realize that there’s nothing to clean up, the following moment is the perfect blend of evil and hilariousness!

JHPENTERTAINMENT: Panto villains often mix elegance with pure cartoonish mayhem. From the looks of the fabulous photoshoot done to promote the show, I’d say you get to play a bit of both. What’s your favorite aspect of the character and the way you’re visually presenting her?

DEBORAH SEIDEL: I love how confident Baroness Vindetta is; she knows she’s in charge and takes full advantage of that power – from controlling (or trying to control) her daughters and Cinderella, to assuming that King Charming would be remotely interested in hearing how she would have done things differently if she had planned the ball. She can be a bulldog or a poodle, depending on the situation she finds herself in. Visually, in keeping with the panto tradition, I wanted her to wear bright colors and have big hair – in this case, a bright red wig that looks like Reba on steroids, and which of course clashes with her gown. I’m still playing with her make-up; suffice it to say, it will not be subtle!

JHPENTERTAINMENT: As Baroness Vindetta, you’re frequently sharing scenes with Cindrella’s two wicked stepsisters, in this production their names are Hallie Tosis and Anita Bath and they’re played to the campy bearded drag hilt by Daniel Vincent and Wanderson Rezende. Between the three of you, who’s the bigger Diva? (Notice I didn’t even bring Veronika Electronika’s Fairy Godmother into this equation, because we ALL know what the answer would be then)

DEBORAH SEIDEL: You’re absolutely right that the three of us can’t possibly compete with Veronika Electronika’s Fairy Godmother, so we’ll take her out of the equation. But we also know that a mother should never have to choose between her children, so while both Anita Bath and Hallie Tosis have obvious Diva tendencies – to avoid any appearance of favoritism, I will humbly accept the bigger Diva label for the Baroness! When she enters the room, all eyes are on her (at least in her mind!). And don’t all Divas carry fans? This one certainly does. And don’t Divas lounge on couches and possibly get carried on stage in one? Again, this one does. Her sense of style and fashion is effortless, unlike her daughters, who fight about what color to wear and have abnormally large feet.

JHPENTERTAINMENT: I hear your husband has been credited for suggesting you’d be perfect as Cinderella’s wicked stepmother. Care to elaborate on that?

DEBORAH SEIDEL: Not really…but for the sake of this article, I will! If you were to ask him, my husband might say that I’m just a teensy-weensy bit controlling, at times a tad hard to please, and he may admit he has a difficult time adhering to all my house rules. (Is using a napkin when eating cookies on the couch really asking too much?) But does that make me a perfect wicked stepmother? I think not. It just means that I like to be in charge. Oh, like the Baroness does. Hmmm. I take the fifth.

RAPID FIRE WITH WANDERSON REZENDE, ANITA BATH IN CINDERELLA

JHPENTERTAINMENT: First things first. Anita Bath may be one of the funniest drag names ever. Gotta ask…If you were to ever perform drag, what drag name would you choose?

WANDERSON REZENDE: That is a question I have been asking myself since the beginning of the rehearsal process! I have been imagining something that could merge my background as a scientist in virology and my Brazilian roots, so what do you think about “Vera Virus, PhD (Pretty hot Diva)” or even “Dr. Rita Zika”?

JHPENTERTAINMENT: When I chatted with Deborah, I mentioned the publicity photos. They just might be the best I’ve ever seen for a show at Playhouse 615. What can you tell me about photoshoot day?

WANDERSON REZENDE: Photoshoot day was a blast! We were all in character, bringing face, and attitude. Our goal was to convey to the audience how over-the-top and ridiculous this show is going to be. I have to give a shoutout to my scene partner, Daniel Vincent. He brings the best out of my character, Anita Bath, and our dynamics on stage are incredibly freeing. I really hope the audience will like the chaos we are bringing to these characters!

JHPENTERTAINMENT: How familiar were you with the history of British Panto before auditioning for the show?

WANDERSON REZENDE: I was already familiar with the structure, playfulness, and the historic roots of British Pantos from the Italian Commedia dell’Arte. Back in Houston, one of the major equity theater companies produces an annual traditional Panto, and I had the opportunity to attend their shows a few times over the years. It is such a joy to be in a Panto on stage after being in the audience for so long. Even though we are making this Panto our own, we have been attentive to maintain the main elements that make a Panto such a beloved tradition across the pond.

JHPENTERTAINMENT: Pantos rely heavily on physical comedy, improbable costumes, and improvised quips. As Anita Bath, what’s proven to be the most challenging for you?

WANDERSON REZENDE: I am a huge fan of physical comedy – as you can imagine! – and to me, the success of all comedic elements you mentioned in your question relies on the unshakable commitment to the character, and most importantly, on your scene partners. It is extremely hard to make comedy on your own. The entire cast must be on the same page, living under the same rules; otherwise, what could bring laughter becomes disjointed or “cringy”. And that is why I need to mention Daniel Vincent and Deborah Seidel again. They make improvisation safe, fun, and foster a “yes, and” mindset that brings out the best in us. Without them, bringing Anita Bath to life would be impossible. Working with them makes every challenge inherent to physical comedy a milestone that we conquer together.

JHPENTERTAINMENT: I understand you’re relatively new to the Nashville area having moved from the Houston area just a couple years ago. In that short time, Cinderella marks your third show at Playhouse 615. What is it about this company that keeps you coming back for more? AND…Why should audiences check out their Cinderella Panto?

WANDERSON REZENDE: I cannot stress enough how grateful I am for being embraced by the Playhouse 615 community. What I like most about them is their strong desire to bring good work to the community, thought-provoking subjects, and plays that bring laughter and joy. You know, sometimes it is very hard to find your people when moving to a new town. And all of those who I met through the Playhouse 615 over the past year have become such an integral part of my life here. That being said, I strongly encourage everyone to participate in the Playhouse 615 mission actively: as volunteers, as audience members, however you like! In my view, the synchronicity between theater and community is what keeps local theaters thriving. The audience is the foundation of theater, and we are here to foster a space where everyone can experience something that makes them leave thinking and feeling. Our Cinderella Panto is a show designed to make you laugh and enjoy a moment of pure absurdity on stage. A play where children and adults laugh as one, participate with us cheering the heroes and booing the villains. It is a play where the infamous fourth wall simply doesn’t exist and we are all together rooting for Cinderella to get to the ball and be found by her Prince. Come see the show to laugh with us!

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF PLAYHOUSE 615’s CINDERELLA: THE FAIRYGODMOTHER OF ALL PANTOS

RAPID FIRE WITH CINDERELLA DIRECTOR, ANN STREET-KAVANAGH

JHPENTERTAINMENT: As one of the co-founders of Playhouse 615, you are in on the decision-making of what shows to present each season. Was presenting a panto your idea? AND…Why Cinderella?

ANN STREET-KAVANAGH:Yes, the panto was my idea. We were trying to decide what to put in the December slot. I’ve seen pantos while visiting family in Ireland, and told the rest of the play selection committee how much I loved them. It was born from that. We went around the various fairy tales, but I kept coming back to Cinderella. It lends itself so well to gender bending, and featuring the traditional “dame” through out. The UK scripts that I read were very heavy with slang, references and jokes for that area. I didn’t think American audiences would always know what we were referring to, so at that point, I began to loosely pull things I liked, and add more to create our own panto!

JHPENTERTAINMENT: Pantos often rely on audience response to set the pace, as the director, has it been challenging to get your actors to take an extra beat when delivering their lines for those hoped-for moments of reaction from the audience?

ANN STREET-KAVANAGH: Not at all! The more experienced actors are used to listening to the audience as they perform, and know when to hold. The others have been quick learners. Everyone has also been great at reacting to each other and filling in what we hope will be the audience’s response!

JHPENTERTAINMENT: Every panto needs a dazzling dame, to that end you’ve enlisted the talents of Steve Raimo, better known to some as one of Nashville’s most bawdy drag performers, Veronika Electronika to play the role of The Fairy Godmother. Raimo previously wowed Playhouse 615 audiences in their production of Sordid Lives. I gotta ask…when you added this show to the season, was Steve/Veronika always your idea for the role?

ANN STREET-KAVANAGH: I met Steve when we worked on La Cage Aux Folles. He entertained pre-show as Veronika, and I played the conservative mother. I thought he was fabulous! We were both in Sordid Lives, and I had the chance to watch him work. He is intentional in his choices, and very professional. He led an auction after the show and was amazing with the audience every night. When we decided to do the panto, I approached him right away. After he told me that he was president of the Drag Story Hour, I knew that he’d be able to refrain from the bawdiness that we adults enjoy! I never thought of anyone else.

JHPENTERTAINMENT: Panto humor walks a tightrope between kid-friendly silliness and cheeky grown-up winks. Having known Steve for ages and attending my fair share of Veronika Electronika shows, I know she can be a bit bawdy, but this show is being promoted as family friendly. How much fun have you had during the rehearsal process of reigning in your cast?

ANN STREET-KAVANAGH: I’ve told the cast to get it out of their system, so to speak! They’ve added some rated “R” material at times, and we’ve all laughed ourselves silly. The cast is so creative! We’ve added a lot of great moments that came out of rehearsal.

JHPENTERTAINMENT: British pantos thrive on topical jokes — can you give us a little hint as to one very 2025 nod or reference that made it into the show?

ANN STREET-KAVANAGH: I don’t want to give anything away! We want everyone who is our guest to feel safe and welcome. Instead, there are lots of moments to laugh, sing. dance, and talk back to the actors!

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Ready for the magic? The curtain’s rising… and anything can happen in a panto. From big laughs and bigger characters to the heartwarming charm that panto does best, Playhouse 615’s Cinderella: The Fairy Godmother of All Pantos is shaping up to be a holiday highlight you won’t want to miss. Whether you come for the jokes, the glitter, the unexpected twists, or the chance to boo the baddies and cheer the heroes, this cast and creative team bring enough energy and joy to light up the whole season.

Cinderella opens Friday, December 5 at Playhouse 615 (1190 Lebanon Road, Mt. Juliet, TN) and continues through Sunday, December 14. Friday and Saturday evening performances begin at 7:30pm with Saturday and Sunday matinees at 2:30pm. Tickets are $10 for Children 10 and under, $17 for Military and Seniors and $20 for Adults. CLICK HERE for tickets. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X. Till then… #GoSeeTheShow!

Lythgoe Family Panto officially an annual Music City event as ‘Aladdin and His Winter Wish’ plays TPAC’s Polk Theatre through December 22

December 21, 2019 by Jonathan

Kira Kosarin and Damon J. Gillespie starring in Aladdin and His Winter Wish/

Just as they did by presenting their take on Peter Pan during the holiday season last year, The Lythgoe Family has once again teamed up with TPAC to present yet another familiar tale with a decidedly modern twist as Aladdin and His Winter Wish continues its two-week run at Polk Theatre thru Sunday, December 22.

While based on the centuries old Middle Eastern folk tale, with a couple of lighthearted winks to a certain Arabian tale from the House of Mouse, Lythgoe Family’s Aladdin and His Winter Wish steps right into the 21st Century by combining elements from the original story, and classic British Pantomime with pop tunes and enough Nashville-centric one-liners, jokes and jabs to keep the audience in stitches whether they be 8 or 80.

For the uninitiated, as I did when I reviewed Peter Pan last year, allow me to explain a little about traditional British Pantomime. It’s a centuries old theatrical art-form known as Panto for short. Granted, when most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, pan-to—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Not only are there local mentions of things like Pedal Taverns and Nashville and surrounding cities (sorry Memphis, but you kinda deserve being the brunt of a few jabs), the show is chocked full of modern pop tunes that drive the story along.

Opening the show with a high energy belly dance-vibe take on The Pussycat Dolls’ 2009 mega-hit Jai Ho!, the ensemble gives a hint of the fun to come. As the story of Aladdin and his brother Wishee Washee (what can I say, their Mom, The Widow Twankey owns a laundry service) unfolds (pun fully intended), we learn that the two street rats dream of bettering life for themselves and their mother. This leads to the brothers joining forces for their take on the early 80s hit, Matthew Wilder’s Break My Stride. When Aladdin meets the Princess, there’s a little classic country flavor as he wistfully croons You Don’t Know Me, a song made popular in the 1950s by country legend, Eddy Arnold.

Bruce Vilanch as The Widow Twankey, flanked by sons, Aladdin (Gillespie) and Wishee Washee (Jonathan Meza)

The Widow Twankey then kicks things up a notch alongside the ladies of the chorus for a rollicking cover of Old Time Rock and Roll.

As the story continues and we learn that Aladdin believes his way into the Princess heart is through some miracle of riches, the audience is treated to his version of the Bruno Mars hit, Billionaire. Keeping it in an R&B vein, the Genie closes out Act 1 on a high note with a simply perfect rendition of Earth, Wind and Fire’s Fantasy.

Act 2 opens with another Bruno Mars tune, Treasure, performed by the company. Not forgetting one of Aladdin’s most treasured moments…Spoiler Alert….the magic carpet scene is, well, magical indeed. Perfectly framed by the sappy but sweet On the Wings of Love and the optimistic Walking on Sunshine. By show’s end, there’s the inevitable wedding followed by a wonderful winter surprise as the cast sings a faithful Let it Snow…another Spoiler Alert…you better believe it does…IN the theatre! Always a crowd pleaser!

And that’s just the music. The entire show is brimming with hilarious one-liners, clever jokes, a few bad-but still laugh inducing-puns and more than a handful of inside jokes referencing the actors and their previous claims to fame.

Audiences may not be readily familiar with The Lythgoe Family name, but chances are they’re very familiar with some of the projects they’ve spearheaded for television. Case in point, Nigel Lythgoe, the family’s patriarch, alongside son, Simon Lythgoe, have at one time both produced everything from So You Think You Can Dance to American Idol, while son Kris Lythgoe also worked with the family on So You Think You Can Dance and other projects.

This brings us back to Lythgoe Family Panto, which Kris and wife Becky Lythgoe began in 2010 with their take on Cinderella.

As was the case during last year’s Nashville presentation of Peter Pan, the company of Aladdin and His Winter Wish is also peppered with well-known talent of all ages and a healthy selection of Music City performers both on stage and behind the scenes.

In the title role is Tennessee native, Damon J. Gillespie. While he’s got roots in Tennessee, and seems to only be beginning his career, he, too has an impressive resume, having appeared on Broadway in Newsies and Aladdin, as well as television shows like Rise, Empire and Inside Amy Schumer. As Aladdin, Gillespie is perfectly mischievous and quite the charmer.

While Disney fans might be expecting Aladdin’s love interest to be named Jasmine, for this iteration, his intended is simply referred to as The Princess, as played by Kira Kosarin, who garnered popularity as well as three Kid’s Choice Award nominations for Favorite TV Actress for her starring role as Phoebe on Nickelodeon’s The Thudermans during the show’s four season run. Kosarin’s Princess is naturally beautiful with an enchanting voice to match. Who can blame Aladdin for doing whatever it takes to win her heart?

Richard Karn and Kira Kosarin as The Sultan and The Princess

Starring as The Princess’ father is Richard Karn as The Sultan. Karn, of course starred alongside Tim Allen in the hugely popular ABC sitcom, Home Improvement as Al Borland, Tim’s best friend and co-host. Karn’s comedic timing is perfectly suited for this type of interactive theatre where they encourage the audience to cheer to good guys and jeer the bad. Heck, on opening night, there was a minor snafu with a line or two and at one point the door of the set didn’t work as expected, but Karn and company rolled with the punches, even occasionally cracking up themselves. A truly endearing occurrence reminding older audiences of such classic comedy moments as The Carol Burnett Show when she and her co-stars couldn’t help but laugh at themselves.

Unlike that famous animated tale, this Aladdin isn’t an orphan. To that end, Jonathan Meza co-stars as Aladdin’s appropriately named brother, Wishee Washee. While Meza may be new to Nashville theatre, he’s no stranger to Lythgoe Family Panto as this marks his eighth show with the company. Audience members in the pre-teen to teenage range might also be familiar with Meza as Josh from the popular Nick Jr. bilingual musical series Jumpitz. Meza’s Wishee Washee not only plays second banana (and leap frog partner) to brother Aladdin, he also serves as narrator, therefore constantly breaking the fourth wall to get audience responses and reactions to what’s going on within the story. Another aspect of Panto that makes it fun for the whole family.

Rounding out Aladdin’s family is comedy icon and LGBT legend, Bruce Vilanch as Aladdin and Wishee Washee’s mother, the Widow Twankey. As a comedy writer, Vilance has provided the scripted banter for the Oscars and Emmy Awards for years. Early in his career, he wrote for and worked with everyone from Bette Midler and Donny and Marie Osmond and even penned two of my all-time favorite holiday specials, The Paul Lynde Halloween Special and the unforgettable (as much as George Lucas would like to try) Star Wars Holiday Special! Fans of a certain age will no doubt remember him as a frequent panelist (and writer) for Hollywood Squares in the late 90s and early 2000s. Of course this isn’t the first time Vilanch has appeared onstage stage in dresses and women’s wigs. In 2002, he took over the coveted role of Edna Turnblad during Broadway’s original run of Hairspray, then the following year, join the National Tour in the same role. As the Widow Twankey, Vilanch steals every scene he’s in, especially when she takes a shine to the evil sorcerer.

Speaking of…Josh Adamson stars as Abanazer, the show’s villain…think Jafar. Adamson, a native Aussie, has previously been seen in number of regional theatrical productions, including several Lythgoe Family Pantos, both here and in Australia, including Cinderella, Snow White and previous productions of Aladdin. Perfectly evil, but not so much as to truly scare younger audience members, Adamson is the consummate bad guy, maniacal laugh and all.

Rounding out the main cast are Mykal Kilgore as Genie and Alexis Gilbert as Alexa, the Slave of the Ring.

Mykal Kilgore and Damon J. Gillespie as The Genie and Aladdin

As for Kilgore he’s yet another performer familiar to many theatre-goers having appeared on Broadway in Hair, the first national tour of Book of Mormon. He was also seen in both recent televised musical productions of Jesus Christ Superstar and The Wiz. With more than a few nods to Will Smith’s recent turn as Genie for the big screen, Kilgore holds his own and makes the role truly his with a voice as smooth as Stevie Wonder and some fabulous moves.

Gilbert once again joins the Lythgoes, having previously appeared on stage in Aladdin as the Slave of the Ring, as well as previously appearing on Season 14 of So You Think You Can Dance. As a professional dancer, she’s worked with everyone from You Tube star Matthew Santoro, as well as pop superstar Pharrel Williams and electronic music superstars Daft Punk. And, Yes, you better believe the take full advance of the name Alexa with a number of jokes at that other Alexa we’re all so fond of talking to on our personal devices. While she floats in and out of the story, at the common of whomever is wearing the ring, Gilbert steals every scene she’s part of, thanks to her remarkable dance moves.

Which leads me to the ensemble. With the Lythgoe Family’s ties to dance, the remainder of the company is made up largely of phenomenal dance talent including Daniel Thomas, Albanus Thierry, Anna Melendres, Rachel Melendres, and Nashville’s own Chelsea Hough.

Speaking of Nashville, directing Aladdin and His Winter Wish is Ernie Nolan, known to Music City audiences for his work as Executive Artistic Director at our beloved Nashville Children’s Theatre. The show’s choreographer, Chase Benz is also another Nashville native. Now residing in Los Angeles, Benz’s impressive resume drops names like Brittney Spears, JLo, Rihanna, Back Street Boys and many more.

TPAC’s own Christi Dortch co-produced the show, alongside primary producers Becky and Kris Lythgoe, Kris also wrote the show.

Aladdin and His Winter Wish continues its holiday run in Nashville at TPAC‘s Polk Theatre with six performances remaining. On Friday, December 20, there’s a 7p.m. evening performance, on Saturday, December 21, there’s an 11a.m. morning performance as well as a 3p.m. matinee and a 7p.m. evening show and on Sunday, December 22, 12noon matinee and a 5p.m. final early evening performance. Tickets range in price from $45-$55. CLICK HERE to purchase tickets.

In case you don’t make it to Aladdin, I have it on good authority that the Lythgoe Family plans to continue to bring these entertaining American Pantos to Nashville with yet another new-to-Music City production next year!

Immediately following a very brief holiday break, TPAC’s Broadway series returns with the highly anticipated Nashville premier of the first-ever touring company of Hamilton onstage at TPAC’s Jackson Hall from December 31 thru January 19. CLICK HERE for tickets or more information. CLICK HERE to learn about TPAC’s recently announce $10 ticket lottery for every single Music City Performance. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.