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Theatre Review: Playhouse 615’s ‘Die, Mommie, Die!’: Campy Family Affair That’s Dressed To Kill with Caustic Laughs

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Charles Busch’s Die, Mommie, Die! , currently onstage thru September 13, as co-directed by Diane Bearden and Daniel Vincent, transforms Playhouse 615 into the lavish Beverly Hills home of Angela Arden Sussman (local drag persona Veronika Electronika), a once-famous Hollywood star whose glamorous life has become considerably less glamorous behind closed doors. Her marriage to film producer Sol (Daniel Vincent) is crumbling, her daughter Edith (Christian Swann) is devoted to Daddy while harboring a serious grudge against Mommie, and son Lance (Zach McMasters) is trying to navigate his own peculiar place within the family. Add Angela’s decidedly complicated relationship with her lover Tony Parker (Wanderson Rezende), Bootsie Carp (Deborah Seidel), a suspicious maid and enough secrets to fill a Hollywood gossip column, and Busch has concocted a comic thriller where murder and mayhem are served right alongside the martinis.

I attended opening night, and before the play even began, I was already impressed by what I saw onstage. The set design (courtesy Eric Bradley & Wanderson Rezende) and construction (Bradley, Rezende, McMasters & Abby Waddoups) perfectly convey the expected opulence of a forgotten star’s late-1960s Beverly Hills mansion. It’s a vast improvement over the company’s previous production’s bubbled-up faux wood wallpaper, giving me hope before the lights even dimmed to start the show.

Thankfully, that optimism wasn’t misplaced. While there were a few occasional fumbled lines and a couple of dropped props along the way, opening night jitters are to be expected, and the cast generally recovered without disrupting the momentum. More importantly, everyone seemed to understand precisely what kind of theatrical playground Busch has created—and they were more than willing to play in it.

Electronika, who, in recent years has appeared in pretty much every drag-related production at Playhouse 615, proves effective as Angela Arden Sussman. Having been a fan favorite amongst Nashville’s drag community for nearly a quarter of a century (she knows I love her, it just reads cattier that way) whether she’s reading to kiddies at drag story hour–literacy…it’s SO controversial–hosting a charity event, lobbying for LGBTQIA+ rights, performing a drag show or appearing in a theatrical production, you know you’re gonna get a bit of the diva that is Veronika Electronika, especially if that’s how she’s credited in the playbill. Such is the case with Veronika as Angela. She’s larger than life, self-indulging, wickedly self-important, and thanks to Veronika’s own wardrobe doubling for Angela’s, dressed to the mother-fuckin’ nines–or at least sixes, because that’s how many wardrobe changes I counted, not including at least two outer layer discardings revealing more fashion underneath–while chewing on every inch of that decadent scenery. Yes, per Busch’s script you’ll find aspects of many a great diva including, but not limited to Bette Davis, Joan Crawford, and even Mama Rose, but make no mistake about it, it’s Music City diva Veronika Electronika who’s most present in this portrayal of Angela Arden Sussman.

It’s difficult to imagine anyone more naturally suited to play a faded screen siren who has absolutely no intention of surrendering her place at center stage. Veronika understands Angela’s theatricality instinctively, but there’s enough calculation beneath the glamour to keep her from becoming merely a caricature. Her exchanges with Daniel Vincent’s Sol crackle with marital venom, while her scenes with Wanderson Rezende bring an entirely different kind of heat.

While Veronika Electronika’s Angela Arden Sussman is the assumed, and self-proclaimed star of the show, she’s got some tough competition for that honor, most notably Wanderson Rezende’s Tony Parker is literally and figuratively Veronica’s stiffest scene-stealing competition. From his hilariously overly-dramatic ‘soap opera stare’ after nearly every line, to the comedic callback of his ongoing flippant chain-smoking habit (He literally puts cigarette after cigarette in his mouth only to carelessly flip them somewhere in the vicinity of the nearest ashtray, only to rinse/repeat this action throughout the show). As if stealing each scene weren’t enough, Rezende’s Tony never simply exits the stage. With every exit comes a last-minute fourth wall-breaking knowing over-the-shoulder glance letting you know he’ll be back for more mayhem. The audience just couldn’t keep their eyes off this production’s licentious lothario. Then there’s the matter of his wardrobe. It’s well-established early on that Rezende’s Tony is, um…above average in certain aspects. Suffice it to say Jimmy Fallon’s “Tight Pants” skit could easily have been written in Rezende’s Tony Parker’s honor. Humor suited for any horned-up 12-year-old, and it plays hilariously in the hands of Rezende.

Oh, and you gotta love one particular scene in which Tony arrives at the mansion to give Angela a tennis lesson. Angela, dressed in a cute green knit tennis ensemble (a reliable source tells me it was procured at a local Goodwill, if you can believe that)  is carrying a matching equipment bag with the words RACKET and BALLS on it. Perfect to decribe both the racket going on within the house and well, Tony, in general. Meanwhile, it also wasn’t lost on me that Wanderson’s Tony is sporting track pants by Everlast©.

Rezende’s portrayal thrives on precision. That ridiculously prolonged stare, the ever-present cigarette and the calculated physicality could easily become tiresome in lesser hands, but he keeps finding new ways to wring another laugh from them. Tony is the kind of character who seems convinced that every room is his personal stage—and Rezende gives him exactly that level of shameless confidence. Having seen Rezende in just under a dozen roles in recent years, I’m continually impressed with his versatility as an actor and his masterclass-level comedic timing.

Daniel Vincent’s Sol Sussman is the butt of many of the show’s jokes. That ASSessment makes more sense if you’ve seen the show. Pulling double-duty as co-director of this production, perhaps Vincent leans a bit too heavily into the stereotypes of the character’s Jewish film producer tropes. Regardless, Vincent is most fun to watch when he’s trading barbs with his on-stage wife, when paired with Christian Swann as his too close for comfort dotting daughter, Edith Sussman. or dodging advances from his mildly obsessive maid.  But it’s the aforementioned nearly-incestuous ick between Sol and Edith as played by Vincent and Swann that’s pure Charles Busch camp.

There’s a particularly entertaining rhythm to Vincent’s scenes with Veronika, as Sol and Angela volley insults with the practiced ease of a couple who have spent far too many years perfecting the art of getting under each other’s skin. His scenes with Swann take that discomfort somewhere considerably stranger, particularly as Edith’s devotion to her father begins veering into decidedly inappropriate territory.

On the subject of Swann’s Edith, when I heard Playhouse 615 had cast a male  in the role of the Daddy-worshiping, Mommie-hating Edith Sussman, I fully expected the joke to be drag queens playing the rivaling mother/daughter duo to the hilt. Much to my absolute camp-loving delight, making his Playhouse 615 debut, Swann’s Edith is played strictly for laughs as a boy in a wig and a short dress. Sure his nails are painted, the wig has potential and he’s donned a bit of makeup, but there’s not even the slightest attempt at a higher-pitched voice, or perceived ultra-feminine gesturing or movement. Yet, somehow Swann simply reads brilliantly as Edith. I suspect the show’s co-director, Diane Bearden had a hand in this. Either way, kudos to Swann for not only making Edith his very own, but also for making her among my personal favorites in the show.

That choice proves particularly effective because Swann never seems to be chasing the joke. He simply inhabits Edith’s bizarre worldview and allows the circumstances around him to generate the comedy. His expressions and reactions do a tremendous amount of work, particularly when Edith is confronting Angela or fawning over her father. For a Playhouse 615 debut, Swann makes a memorable first impression, turning what could have been a one-note gag into a character with a distinct presence of her own.

Cast as Lance, the Sussman’s ne’er do well, oddly twitchy son is Zach McMasters. In my recent Rapid Fire 20Q with cast from this production, I chastised Zach about the raven-colored, poorly groomed wig as seen in the show’s promo shots, so at least they went with something less offensive for the performance. Looking AND sounding like a less-mellow Shaggy Rogers from Scooby-Doo, I half expected McMasters to let out the occasional “ZOINKS!” when action in the play took a surprising turn. Nonetheless, his Lance mugs for the audience, somehow transcending the camp, evoking a bit of sympathy for his familial circumstances. And is it weird that among the on-stage overlapping love interests, couplings, flirtations and strange bedfellows, his scenes with Rezende’s Tony somehow equate to the most chemistry between actors? Nope. It’s not weird. In a production filled with tangled relationships and improbable romantic entanglements, their exchanges have an oddly genuine spark that makes their scenes particularly enjoyable. Lance could easily disappear beneath the eccentricities, but McMasters gives him just enough vulnerability to make us wonder what might have happened if he’d grown up in literally any other family.

Rounding out the cast is yet another scene-stealing, dialogue-devouring member of the cast comes courtesy the Sussman family’s sedulous, albeit frequently soused (was that a Tiffany & Co. flask I spotted?) maid, Bootsie Carp, as played by Deborah Seidel. Part devoted Alice Nelson from The Brady Bunch, with a healthy does of Agnes Moorehead’s loudmouth, back-talking maid Velma Crutcher in Hush, Hush, Sweet Charlotte, Seidel’s Bootsie simultaneously throws verbal punches to Veronika while while whispering often unrequited sweet nothing to Sol. Spoiler Alert: her ‘death scene’ blatantly steals every over-reaching laugh-grab from classic comedians like Carol Burnette, and we’re here for it.

Seidel has the timing to make Bootsie’s every appearance feel like a comic punctuation mark. She knows exactly how long to hold a reaction, when to fire off a retort and when to let the audience enjoy the sheer ridiculousness of what’s unfolding around her. Her rapport with Veronika is especially delicious, with Bootsie seemingly possessing just enough nerve to say what everyone else in the mansion is thinking. And when she turns her attention toward Sol, that flirtation adds yet another wonderfully inappropriate wrinkle to the household. As for that death scene, subtlety clearly never entered the room. And frankly, why would it?

Charles Busch’s particular brand of comedy works best when the performers embrace the outrageousness rather than attempting to sand down its sharper edges. Having assembled a cast that brings distinctly different flavors to the Sussman household Playhouse 615 get it. Veronika Electronika has the glamorous excess of Angela down to a rhinestone-encrusted science, while Wanderson Rezende turns Tony into a walking, talking, smoking, smoldering testosterone laugh-fest. Daniel Vincent finds just enough mileage in Sol’s perpetual discomfort, Christian Swann delivers an unexpectedly terrific Edith in his Playhouse 615 debut, Zach McMasters gives Lance an appealing vulnerability beneath all that neuroses, and Deborah Seidel makes Bootsie the kind of maid you absolutely want around, especially if your’e the black sheep of the family and the rest of your relations start behaving badly. It’s worth mentioning again, this production also benefits enormously from that sumptuous set. It provides exactly the sort of decadent backdrop this story demands and immediately establishes the world in which these characters can indulge their worst impulses. Just remember: in Beverly Hills, the family that schemes together may not stay together—and when Mommie says everything is fine, you might want to check the body count.

If you like your family drama served with murder, marital betrayal, sexual innuendo, extravagant wardrobes and a maid who knows entirely too much, Die, Mommie, Die! is ready to welcome you into the Sussman mansion as Playhouse 615 continues the camplicious hysterical histrionics thru September 13. CLICK HERE to purchase tickets (use the drop-down to select specific date/time). For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

‘Die, Mommie, Die!’: 20 Questions, Four Suspects & One Very Dysfunctional Family

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Playhouse 615 is getting ready to serve up a deliciously twisted dose of murder, mayhem, familial dysfunction and theatrical camp as they present Charles Busch’s Die, Mommie, Die! co-directed by Daniel Vincent and Diane Bearden and onstage August 28-September 13. Before the curtain rises, JHPEntertainment put four members of the cast—Christian Swann, Zach McMasters, Deborah Seidel and Veronika Electronika—on the hot seat for a Rapid Fire 20Q covering their characters, their scene partners and the bizarre brilliance that is noir camp theatre.

RAPID FIRE 20Q WITH CAST MEMBERS OF PLAYHOUSE 615’s DIE,MOMMIE, DIE!

RAPID FIRE WITH CHRISTIAN SWANN, DIE, MOMMIE, DIE!’s EDITH SUSSMAN

JHPENTERTAINMENT: Edith Sussman is at the center of a family situation that makes the average dysfunctional household look positively well-adjusted. What was your first reaction when you got your hands on this script?

CHRISTIAN SWANN: I was completely enamored with it. The show’s so “out there” that you can’t help but wonder how people will react. The whole time I was reading through the script, I was thinking, “This line will get a big gasp,” or “The audience will go wild right here, absolutely bonkers.” And I was so excited to be playing Edith. The play is, among other things, a very screwed-up take on an Ancient Greek tragedy, so playing Edith is kind of like playing Electra, only much groovier.

JHPENTERTAINMENT: You’re working with co-directors Diane Bearden and Daniel Vincent, with Daniel also stepping onto the stage as Edith’s father, Sol. What’s it like having one of your directors essentially say, “Okay, now I’m going to get into character and play along with you all”?

CHRISTIAN SWANN: It’s great! It’s a little surreal at times when you turn away from the directors’ table for a second and suddenly one of them is with you on stage, playing with your hair and talking about lepers and toilets and all this crazy stuff. But there’s a camaraderie to it too, like having your commanding officer with you in the trenches. I’ve never been to war, but I imagine it’s pretty much the same as community theater.

JHPENTERTAINMENT: Without giving away any of the deliciously dark details, and using only one word each, how would you describe Edith’s relationship with the other members of the Sussman family?

CHRISTIAN SWANN: Including honorary family members, something like:

Angela – Obliterate

Sol – Yum

Lance – Yuck

Bootsie – Obstacle

Tony – Swampy

JHPENTERTAINMENT: There’s a fine line between camp and schlock. What’s the biggest challenge of playing Edith without overplaying Edith?

CHRISTIAN SWANN: The thing about Edith is she’s completely ridiculous. She’s this screaming, histrionic mess whose dialogue is about fifty percent exclamation marks. But she’s got these big emotions—sorrow, passion, rage—that make her act the way she does. And since Edith’s such a huge source of conflict in the play, if the audience can’t see those emotions then the show loses that sense of tension. So the challenge for me was to find those emotions in a way that gets through to the audience. Edith’s reactions had to be ridiculous, but her feelings had to be real.

JHPENTERTAINMENT: What do you hope audiences take away from watching Edith—and this wonderfully twisted family—unravel?

CHRISTIAN SWANN: I hope they laugh, of course. The show’s a comedy after all. But I love so much about this show’s particular brand of humor is that it offers the audience a break from any notion of “morality” and “good taste,” so I hope the audience is able to put those ideas to the side and enjoy being bad for a couple hours.

RAPID FIRE WITH ZACH McMASTERS, DIE, MOMMIE, DIE!’s LANCE SUSSMAN

JHPENTERTAINMENT: Having made your stage debut last year in Playhouse 615’s The Haunting of Hill House, what drew you back to the company—and to Lance Sussman in particular?
ZACH MCMASTERS: I think anywhere you first try your hand at something creative always holds a special significance in your heart and mind. I also admire how Playhouse isn’t afraid to be a little transgressive with their show selection. When I first saw the 2026 lineup and noticed Die, Mommie, Die!, I knew I had to be involved. I first saw the film adaptation in 2007 and have never forgotten it, so when the opportunity came to audition, I knew I wanted to go for Lance. What I really love about this character is how multi-faceted he is. With Lance, there are many opportunities to take risks and just play. I’ve always been a silly goose, and Lance is a delightfully unhinged part for me to revel in!

JHPENTERTAINMENT: Let’s address the elephant—or perhaps the synthetic hairpiece—in the room. That wig in the promotional photos… was that actually supposed to look convincing, or just another obvious comedic camp moment?
ZACH MCMASTERS: Funny you should ask. What we thought was a 60s-style wig turned out to be an old we crow that must’ve accidentally flown inside the theatre one rainy day, bumped its head, and fell into a box of props. I had no idea until it bit my scalp after filming my promo videos for Lance and few away in a fit of rage. I had to get a rabies shot! Suffice to say, we procured an actual wig that doesn’t bite, doesn’t wash me out like a ghost, and more closely matches his mother Angela’s hair color. 

JHPENTERTAINMENT: Um…Ok…anyway, next question…What have you discovered about Lance that you didn’t necessarily see coming when you first started working on the role?
ZACH MCMASTERS: I feel like I sort of misjudged Lance at first, kind of writing him off as a one-dimensional, soon-to-be-burnout with no future. I had no idea he would emerge as being so dynamic as I got to further explore his character. Even though he is constantly berated for his lack of intelligence throughout the play, Lance is a lot more clever than he seems. He is also a very sensitive young man, and I like to think of him as becoming a successful artist or performer once all the dust settles from the drama of these events. 

JHPENTERTAINMENT: This is only your second production with Playhouse 615. Does returning for a completely different kind of show feel different now that you’ve survived your first theatrical experience?
ZACH MCMASTERS: In many ways, it feels exactly the same, like picking right back up where you left off with a good friend. There’s also that same chaotic energy that makes the whole process feel so worthwhile when it all finally comes together, and I think I enjoy that the most. The major difference for me this go around is the amount of time I get to spend on stage instead of behind it. Lance has a lot more lines than Arthur Parker from Hill House, so it’s been great getting to discover myself more as a performer. It definitely helps that this show is absolutely hilarious, so memorizing a lot more dialogue hasn’t been as challenging as I anticipated.

JHPENTERTAINMENT: Playhouse 615 has built quite the reputation for presenting…let’s say…slightly off-kilter shows from time to time. Is there anything in this uproarious camp classic that made you just shake your head when you first read the script?

ZACH MCMASTERS: Oh, absolutely. After our first read-through of the script, I thought, oh my, the things I have to say and do in this show… My parents can’t see this one! Aside from the outrageous dialogue, a few certain props and their particular uses had me absolutely cackling. Still do every time we rehearse! Oh, and I’ll never look at a Lazy Susan the same way again..

RAPID FIRE WITH DEBORAH SEIDEL, DIE, MOMMIE, DIE!’s BOOTSIE CARP

JHPENTERTAINMENT: As the Sussman’s loyal maid Bootsie Carp certainly knows a few secrets. What one secret you can share?
DEBORAH SEIDEL: Ooh, if I told, then it wouldn’t be a secret anymore, would it?  Hmmm, I think I can safely say that one (or more) characters may be hiding a deep, dark secret.  But that’s for the audience to find out, not for me to tell!

JHPENTERTAINMENT: You’re once again sharing the stage with Veronika Electronika, after previously playing opposite her in Playhouse 615’s Cinderella Christmas Panto. What’s it like coming back together for something that is…shall we say,…considerably less fairy-tale?
DEBORAH SEIDEL: Well, in Cinderella, my role as the evil stepmother actually had very little interaction with Veronika  Fairy Godmother until the end – when she turned my daughters and me into rabbits!  Thankfully, in this play no one becomes another species, though Veronika, this time in the role of Angela Arden, certainly likes to play mind games with me and the other characters in the play. In addition, the Christmas Panto had a lot more opportunities for improv, whereas now Veronika and I get to interact with each other as authentic (though somewhat whacky) characters in a more traditional format.

JHPENTERTAINMENT: What has surprised you most about Bootsie as you’ve gotten deeper into rehearsals?
DEBORAH SEIDEL:  I honestly wasn’t quite sure how to approach Bootsie at first and knew I had to figure out what ultimately makes her tick.  As  rehearsals progressed, I think what surprised me most is how integral the role is to the story line, and how confident Bootsie is in her interactions with the family and Tony, Angela’s lover.  After working for this family for 25 years, she’s not afraid to confront any of them, make strong suggestions regarding their behaviors, and to let her personal (and political!) goals be known – loud and clear!

JHPENTERTAINMENT: This show has a pretty outrageous tone. How do you keep yourself from cracking up when you’re supposed to be completely serious?
DEBORAH SEIDEL: It’s not easy, that’s for sure!  And we’re only in rehearsals, without audience feedback yet, so I imagine it will only become more difficult.  But the same rules apply to acting in any comedy, no matter how outrageous – hold for laughs, stay in character, focus, and if necessary, bite your (or your neighbor’s) lip!

JHPENTERTAINMENT: With Diane Bearden and Daniel Vincent sharing directorial duties, what’s most challenging about their potentially differing approaches?
DEBORAH SEIDEL:  Luckily, they’ve been very much on the same page, so having co-directors has been a positive experience rather than a challenge. Diane handled most of the blocking, welcomed our suggestions, and was careful not to waste anyone’s time. When Diane was out of town for a bit, Daniel stepped in and continued that approach. They both wanted us to have fun in rehearsal while also knowing the basics: our lines, our blocking, and what motivates our characters to do such outrageous things. They encouraged us to make big, bold choices, knowing they could pull us back if needed.

RAPID FIRE WITH VERONIKA ELECTRONIKA, DIE, MOMMIE, DIE!’s ANGELA ARDEN

JHPENTERTAINMENT: Having seen you in a few prominent drag-related roles over the years, as well as many Veronika Electronika gigs, it seems there’s a bit of Veronika that inevitably seeps through, regardless of who you’re playing. What’s the most difficult part of suppressing your usual stage persona to allow Angela Arden to fully emerge?

VERONIKA ELECTRONIKA: I would say that Angela is first and foremost a lady. Always keeping up appearances and trying to maintain a balance of Wife, Mother and Star.  Whereas Veronika is just…a star!  So while portraying Angela I wanted to follow some advice that the playwright gave me himself, “Angela is a lady.”  So I try and remember that while I am delivering my lines, and not tout them out a drag queen might, but as the lady that Angela is would.

JHPENTERTAINMENT: Angela is surrounded by some pretty formidable men in this story. What’s it like playing opposite your leading men, Wanderson Rezende and Daniel Vincent, and what have you discovered about your onstage dynamic?

VERONIKA ELECTRONIKA: Each of my love interests in this show are played by 2 amazing actors, and they each play completely different characters.  I think the casting was spot on! Daniel gives me a grounded, stern and comfortable man to bicker with while Wanderson has the energy and “spice” that one needs to have to play off of for the under the radar lover…I mean tennis coach!

JHPENTERTAINMENT: I noticed there’s no crew credit for wardrobe or costuming in the program information. Does that mean Angela Arden’s wardrobe for the show is courtesy of Veronika Electronika?

VERONIKA ELECTRONIKA: You may see one or two elements from Veronika’s closet on stage, however you will see new fashions as well.  After 24 years in the drag industry my wardrobe is extensive and chuck full of fun and fabulous custom made creations… Why not put them to use in a production that takes place in tinsel town after all!

JHPENTERTAINMENT: And speaking of Veronika Electronika, I saw that your show bio includes your Venmo…. Is this a theatrical program bio or a not-so-subtle request for tips? Have you no shame?

VERONIKA ELECTRONIKA: As one of my muses has said “It takes a lot of money to look this cheap!”  So take it as you will…tips are greatly appreciated, Veronika Electronika Merch is also available!* (*There was more to this answer, including a link, but I’m not running a charity here, so Google Veronika Electronika at your own risk!;-)) 

JHPENTERTAINMENT: Angela Arden is clearly not walking into this family drama without bringing some baggage of her own. What do you think audiences will find most surprising about her—and about Die, Mommie, Die! as a whole?

VERONIKA ELECTRONIKA: Angela, as an identical twin, was literally born with baggage!  Surprises lay around every corner, and just when you think you know what she is up to she may just make you rethink your life choices! The story of Die, Mommie, Die! is so outrageous, so over the top and so full of laughs It will be hard for our guests to not fall in love with any or all of us.  Dash to the front row if you can, it’s a real “splash zone” and where you will get the best “bang” for your buck!  The home of Angela Arden Sussman is a warm, welcoming, and lavish place to get all of your just desserts! 

And there you have it—20 questions, a few lies, a bit of chaos, and just plain campy outrageous fun…it’s the Sussman household way. One thing is certain: when the Sussman clan starts airing its dirty laundry onstage as Die, Mommie, Die! makes its way to Playhouse 615 at 11920 Lebanon Road, Mount Juliet, TN 37112, weekends August 28-September 13, you’ll definitely want to be there to watch it happen. CLICK HERE to purchase tickets (use the drop-down to select specific date/time). For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Theatre Review: Playhouse 615’s Agatha Christie’s ‘The Unexpected Guest’ Is a Delightfully Twisty Mystery Filled with Suspicious Characters and Standout Performances

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Members of the cast of Playhouse 615’s presentation of Agatha Christie’s ‘The Unexpected Guest’

Agatha Christie has long held the title of the undisputed Queen of Crime, crafting mysteries that have kept audiences guessing for generations. While The Mousetrap may be her most famous stage work, The Unexpected Guest deserves a place alongside it. Premiering in 1958, the play is classic Christie—a secluded country manor, a shocking murder, a house full of people harboring secrets, and enough twists to make even the most seasoned armchair detective second-guess every theory.

Co-directed by Ann Street-Kavanagh and Craig Hartline, Playhouse 615 wisely leans into those strengths, allowing the script’s carefully constructed puzzle to take center stage. Rather than revealing too much about who did what—and to whom—it’s far more enjoyable to examine the people under suspicion. With that in mind, there’s be no plot summary herein. Suffice it to say, in true Christie form, there’s a murder, and there’s a manor house full of suspects. After all, every detective knows the truth is found not in the crime itself, but in the behavior of those who knew the victim best.

Matt Smith’s Michael Starkwedder is immediately established as a man who is almost too smooth for his own good. Arriving unexpectedly at exactly the wrong place and exactly the right time, Smith gives the character an easy confidence that constantly keeps audiences wondering whether he’s genuinely trying to help or quietly manipulating everyone around him. His charmingly smarmy portrayal walks that wonderfully uncomfortable line where every reassuring smile somehow feels just suspicious enough. Smith never tips his hand, making Starkwedder exactly the kind of Christie protagonist audiences love trying—and failing—to figure out.

We next meet Katie Delaune’s Laura Warwick. Delaune brings warmth and vulnerability to the young mistress of the manor, making her plight immediately sympathetic while wisely never eliminating the possibility that she could be hiding something. Her performance allows audiences to continually question whether Laura is simply a victim of circumstance or someone carefully concealing the truth. Delaune’s sincerity gives the emotional stakes of the story a much-needed anchor amid the ever-growing list of suspects.

It seems only fitting that one of the grande dames of Nashville community theatre should portray the grande dame of this troubled estate. Linda Speir is perfectly cast as Mrs. Warwick, carrying herself with the unmistakable air of someone who has spent decades believing everyone else exists merely to disappoint her. Speir expertly mixes aristocratic self-importance with dismissive disdain for nearly everyone she encounters, yet wisely avoids making the character simply cold or cruel. In fleeting moments—a softened glance, a quieter line delivery, the slightest crack in an otherwise rigid exterior—she reveals the forgotten gentler woman buried beneath years of grief, pride and disappointment. Those subtle glimpses make Mrs. Warwick far more interesting than the stereotypical overbearing matriarch she could have easily become.

Connor Olen provides one of the production’s most quietly delightful performances as Jan. His childlike excitability gives the character an innocent unpredictability that continually leaves audiences questioning exactly how much Jan understands. Olen fills the role with nervous energy and wonderfully specific character choices that never call attention to themselves but enrich every scene. One particularly inspired moment occurs during an interrogation as Jan absentmindedly fidgets with the peel from an apple slice. It’s such a seemingly insignificant detail, yet it speaks volumes about the character’s restless, distracted mind while simultaneously adding another layer to his delightfully peculiar personality. It’s the kind of understated acting choice that often goes unnoticed consciously but subconsciously makes a performance feel remarkably authentic.

Rounding out the cast Emma Reinbold is, on the surface, a steady, reassuring presence as the devoted Ms. Bennett, grounding many of the play’s more emotionally charged moments with quiet sincerity. But of course there’s more to her long-tenured devoted presence. Rich Moses lends Julian an affable confidence that keeps audiences guessing exactly where his loyalties lie. Andrea Coleman’s police Sergeant provides some of the nights’ more comical moments. She and her on-stage superior, Rezende’s Inspector, trade eye-rolls and seemingly unscripted, adlibed barbs, giving the Sergeant more range of character than the calm professionalism with which the role is typically presented. Kamron Smith rounds out the ensemble as Angell, offering up the tried and true embodiment of the age-old mystery trope that raises the question, did indeed the butler do it? OK, so Angell isn’t a butler, but he is a male attendant to the murder victim, but you get the gist. 

The evening, however, belongs to Wanderson Rezende. As Inspector Thomas, Rezende delivers a performance that feels refreshingly original while remaining completely faithful to Christie’s world. Every mystery needs the brilliant detective capable of seeing what everyone else misses, but Rezende refuses to settle for merely playing another stoic inspector.

During his interrogations—particularly opposite Linda Speir, Connor Olen and the other increasingly uncomfortable suspects—he demonstrates remarkable control over every aspect of his performance. With brilliant shifts in vocal inflection, posture, facial expression and physicality, Rezende effortlessly transitions from the stern seriousness audiences expect from a Christie detective to flashes of quirky, almost childlike playfulness reminiscent of Pee-Wee Herman or Mr. Bean. Never broad enough to become caricature, but just enough to make the Inspector endlessly fascinating.

His investigative process becomes theatrical in all the best ways. Whether employing the murder weapon as a visual aid, incorporating a fruit snack into his deductions, or somehow turning a bit of knitting into investigative tool, Rezende constantly finds inventive bits of business that not only earn laughs but reinforce the notion that this Inspector’s mind is always several clues ahead of everyone else. A prime example come in the aforementioned investigation of Speir’s Mrs. Warwick. As the Inspector invites the elder matriarch to join him on the sofa for a little chat, he nonchalantly takes out his knitting needs, and yarn. He nonchalantly tosses the yarn into Mrs. Warwick’s lap, which she quickly and calmly removes from her lap a sets the yarn between them. It’s a simple but effective scene. The Inspector is either trying to equate the humdrum hobby of knitting with the senior suspect, or he’s establishing dominance by assuming she’ll hold the yarn as he coaxes her to weave her tale of the events of the murderous night. Either way, in the hands of Rezende–with an able assist from Speir–it’s one of the most inventive Christie moments you’re likely to encounter on a local stage.

As is the case with most mysteries, there’s that uncomfortable moment when difficult facts are presented. It is in that spirit that the usual suspects of technical issues within Playhouse 615’s production need be addressed. While the majority of the Welsh accents were certainly serviceable, several wandered throughout the evening, occasionally drifting toward a more generic British sound before finding their way back again.

Prior to interviewing members of the cast, I had reached out to one of the co-directors for a bit of behind-the-scenes intelligence. Knowing Playhouse 615 occasionally enjoys modernizing or relocating classic works, I specifically asked whether The Unexpected Guest would remain the mid-century Welsh affair Christie originally envisioned. I was told the production would still take place in the Welsh countryside but had been moved forward to the 1980s.

As an 80s kid myself, naturally, that raised expectations. A wealthy family living in the 1980s immediately conjures images of bold colors, oversized silhouettes and the sort of nouveau riche excess that would make the Carringtons from Dynasty feel right at home. Instead, the costumes and scenic design lack any definitive aesthetic. With no shoulder pads to be found among the female cast wardrobe choices and what appears to be peel and stick shelf and drawer paper doubling as paneled walls (resplendent with air bubbles, I might add), and without a director’s note explaining the conceptual shift, there is little visual evidence that the story has moved to the 80s—although I did catch one of the actors reply with “Cool” at one point— making the timeline adjustment feel more puzzling than purposeful. It would, perhaps, have made more sense to shift the action to present-day America if budget, time and resources wouldn’t allow the production to remain in the period Christie originally intended.

Those minor critiques, however, are ultimately overshadowed by the strength of the performances. Wanderson Rezende crafts an Inspector Thomas unlike any you’re likely to see, blending razor-sharp deduction with unexpected whimsy and becoming the production’s undeniable standout. Linda Speir reminds audiences why she continues to be one of Nashville theatre’s most respected leading ladies, Connor Olen quietly steals scene after scene with wonderfully specific character work, and Matt Smith and Katie Lelaune’s combined effortless charm keep suspicion hanging over them both until Christie’s final revelation. Together, alongside the entire cast, they elevate an already clever script into an evening of thoroughly engaging theatre.

Like every great Agatha Christie mystery, The Unexpected Guest isn’t simply about discovering the murderer—it’s about savoring every cleverly planted clue, every suspicious glance and every delicious red herring along the way. Playhouse 615 has assembled a cast that clearly relishes that challenge, inviting audiences to play detective right alongside them as performances continue weekends through Sunday, August 2.  Whether you’re a lifelong Christie devotee or making your first trip into her wonderfully deceptive world, this is one case well worth investigating. Just don’t expect to solve it before the Inspector does.

CLICK HERE for tickets. For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q: Secrets, Suspects & Surprises Await in Agatha Christie’s ‘The Unexpected Guest’ on Stage at Playhouse 615

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A dark and stormy night. A mysterious stranger. A shocking discovery. A house full of secrets. Sounds like the perfect recipe for an Agatha Christie mystery. Beginning Friday, July 17, Playhouse 615 invites audiences to become detectives as it presents the Grande Dame of suspense’s murderous The Unexpected Guest — a classic whodunnit where every character has a secret, every conversation may contain a clue, and nothing is quite what it first appears.

Before audiences start gathering clues, JHPEntertainment goes behind the scenes for a Rapid Fire 20Q with co-director Craig Hartline and cast members Katie Delaune (Laura Warwick), Emma Reinbold (Miss Bennett) and Kam Smith (Henry Angell) to talk Agatha Christie, theatrical mysteries, suspicious characters and bringing one of the world’s greatest storytellers to the Playhouse 615 stage.

RAPID FIRE 20Q WITH CO-DIRECTOR AND CAST MEMBERS OF AGATHA CHRISTIE’s THE UNEXPECTED GUEST

RAPID FIRE WITH THE UNEXPECTED GUEST CO-DIRECTOR CRAIG HARTLINE

JHPENTERTAINMENT: For more than a century, Agatha Christie‘s novels, movie adaptations and plays have been convincing audiences that everyone is a suspect. Having appeared onstage in a handful of Playhouse 615 productions (as well as numerous theatre companies across the mid-state), what was it about The Unexpected Guest that made you want to step behind the scenes as co-director to bring this particular mystery to life?

CRAIG HARTLINE: I have wanted to direct for a while, but have really never had the opportunity to take on that role.  Ann asked me earlier in the year if I would be interested in directing a show for 615.  When I saw the upcoming shows, I jumped at Agatha Christie.  I have loved her works for years and couldn’t think of a better show to get my feet wet in the directors role. 

 JHPENTERTAINMENT: You’re co-directing this production with Ann Street-Cavanagh. For audiences who have never experienced a co-directing process, how does that actually work? Is it a creative partnership where you divide responsibilities, challenge each other’s ideas, or occasionally have a theatrical version of “I thought YOU were watching that”?

CRAIG HARTLINE: Ann and I have been in several plays together as actors.  We seem to think alike when it comes to what our vision of how action should occur on the stage.  There have been more than a few times either I have leaned and whispered to her or vice a versa about a scene and we were thinking the exact same thing.  As far as a creative working partnership, I am absorbing as much as I can from Ann’s directing talent as possible and she has been very good at asking what I think about all aspects of the process, everything from set design, to costumes, to blocking.  Having two sets of eyes really helps the process, so we don’t miss too much.

JHPENTERTAINMENT: Christie’s mysteries depend on atmosphere, pacing and keeping audiences guessing. In addition to directing the show, I understand you also designed the set alongside cast member Wanderson Rezende. What are some of the biggest challenges — and opportunities — of creating that suspenseful world inside the more intimate space of Playhouse 615?

CRAIG HARTLINE: What can I say about Wanderson and the way his minds eye envisions a show?  It is truly remarkable to watch the wheels turn in his mind.  We bounce ideas off each other and think of subtle ways to pull the audience in. The biggest challenges for me, is to find a way to bring his vision to life with the set construction, along with incredible help from Rich Moses, we have striven to do it justice.  All “black box” theaters have an intimate feel, but we are hoping to grab the audience and pull them along on this journey, by helping to immerse them into the story.

JHPENTERTAINMENT: This cast is bringing characters to life who all have different layers, motivations and secrets. What has impressed you most about watching the cast explore their roles and discover the people behind the mystery?

CRAIG HARTLINE: It has truly been a thrill to watch each of these amazing actors find their characters voices from Agatha Christies written words.  Their subtle facial expressions, the way they envision how their particular character walks, talks, even breaths shows up in every performance.  They are phenomenal actors and it shows up in every rehearsal.  I cannot wait for audiences to see how they bring these people to life from just words on a page. They impress me every night.  The director side of me is amazed at their vision and the actor side wishes I could be on the stage sharing it with them.

JHPENTERTAINMENT: Without giving away the ending and causing Christie fans to come looking for answers… what one key element that makes this production of The Unexpected Guest a mystery audiences will want to experience live?

CRAIG HARTLINE: Goodness, just one key element? For Christie fans seeing the story performed in front of them is always a thrill, but to those who may not know her works, the key element is misdirection.  Just when you think you know “who done it” she laughs and says not so fast, here is the real murderer.  

RAPID FIRE WITH KATIE DELAUNE THE UNEXPECTED GUEST‘s LAURA WARWICK

JHPENTERTAINMENT: Laura Warwick begins The Unexpected Guest surrounded by questions, suspicion and circumstances that immediately make audiences wonder what really happened. What drew you to exploring such a complicated character?

KATIE DELAUNE: Agatha Christie truly wrote Laura as a dynamic character. In someone else’s hands, she could be a one-dimensional gold digger. But Christie knows that humans are multifaceted, and they move differently in their relationships, even within their own families. As an actor, how could you not want to explore that type of role! In the opening scene, I hope the audience sees the complicated emotions she has towards her husband, who has become a shadow of the person she fell in love with. 

JHPENTERTAINMENT: Laura is a character who forces audiences to constantly reevaluate what they think they know. What has been the biggest challenge in finding the balance between vulnerability, strength and mystery in her?

KATIE DELAUNE: I think the biggest challenge is allowing all three of those characteristics to exist. Her strength and vulnerability are quiet and controlled, respectively, and from that a mystery naturally emerges. 

JHPENTERTAINMENT: Agatha Christie’s The Unexpected Guest premiered onstage in 1958, with the action taking place in Wales. I understand while the locale hasn’t changed, for Playhouse 615’s production, the time period has been bumped up to 1982. What’s been the most fun about reliving that era by way of this show?

KATIE DELAUNE: Working on the wardrobe with Zoe (our costume designer) has been so fun. Thank goodness the 80s loved wide wheels, because I can’t balance on stilts anymore. I also bought a set of Velcro hair rollers. Haven’t done that since I was a kid. 

JHPENTERTAINMENT: Important investigative journalism question… Whodunnit? OK, OK…no spoilers, I know…seriously though…Who amongst your cast could get away with just about anything? 

KATIE DELAUNE: Haha! As a former journalist myself, I appreciate trying to wrangle that secret out of me. Linda Spier could get away with just about anything because we (cast and crew) trust her so much. Her experience and advice are invaluable.

JHPENTERTAINMENT: The play opens with a tense scene between your Laura Warwick and Matt Smith’s Michael Starkwedder. Through the course of the action, their relationship rollercoasters between unforeseen allies to suspicious frienemies. As a scene partner, how has working with Matt aided in walking this tightrope?

KATIE DELAUNE: Matt is a great scene partner. I believe we’ve created this fun dance at the beginning of the show. I also really enjoy listening to him talk about his character, as he explores Starkwedder’s motives. It’s helped me shape Laura’s character and has made me a better actor. He gives me space in each scene to try different beats so that we can maintain that tension. I’m so amazed at how he locks into our scene he is in.  

RAPID FIRE WITH EMMA REINBOLD, THE UNEXPECTED GUEST’s MISS BENNETT

JHPENTERTAINMENT: Miss Bennett is part of the Warwick household, a place where everyone seems to know something — but perhaps not everything. What makes her such an interesting character to bring to life?

EMMA REINBOLD: Miss Bennett, affectionately known as Benny, is in that strange position in the household where she’s not quite family but she’s not just a servant either. She cares about and takes care of each and every Warwick with a fierce protectiveness. Benny is a fun mix of stern and earnest, fastidious and frazzled, and it’s a delight to bring her to life with this cast and crew. 

JHPENTERTAINMENT: Agatha Christie published her first book in 1920 and is widely considered the most successful mystery writer in history, having written 66 detective novels, 14 short story collections, two memoirs and 20 original stage plays. In the hundred+ years since her debut, her books have sold more than 2 billion copies! What is it about her mysteries that keeps audiences returning to them generation after generation?

EMMA REINBOLD: There are so many reasons Agatha Christie is the queen of mystery. I think one reason is that she has such a way of bringing her readers/audiences along and making them feel  clever when they spot important details as the truth of the mystery unfurls. Her stories beautifully walk that fine line of providing clues throughout without beating us over the head with them. 

Also, the quickest way to pull me out of a story is to have the characters do something or have the actions unfold in such a way that’s just not possible. But Agatha Christie pays heed to both the science and the psychology of it all.

JHPENTERTAINMENT: Mystery stories thrive on observation — noticing the little details, the pauses and the things people don’t say. Is there a detail of the set, the props, the costumes or the story itself that you find most intriguing?

EMMA REINBOLD: I’m always most intrigued by the things people choose not to say, what they say without speaking, and those moments they decide to lie about something or someone. I particularly love the moments when the characters are verbally sparring, trying to figure each other out, during a tete-a-tete. 

JHPENTERTAINMENT: If you found yourself inside a real-life mystery, would you be the detective carefully collecting clues, the suspicious character everyone watches, or the person quietly sitting in the corner knowing more than they admit?

EMMA REINBOLD: Oooh, it would probably depend because I can see myself doing a bit of all three. I would want to be the one sitting back, observing and quietly unraveling the threads of the mystery behind the scenes just to prove to myself I can figure it out.

But, if there wasn’t already a capable detective leading the investigation (and giving me the opportunity to people-watch), then I’d probably step forward to organize and analyze the mystery in a more official capacity. 

And, if the case wasn’t serious (if, say, a murder hadn’t been done), then I might find myself leaning into mischievousness and acting suspicious to see if others would fall for it, just for a bit of fun. 

JHPENTERTAINMENT: Every mystery has someone who seems to know more than they’re letting on. During the rehearsal process as you’ve gotten to know your cast mates, who do you suspect is best at keeping secrets—or at least acting like they are?

EMMA REINBOLD: Hmm, that might have two different answers. I’d say Rich Moses is probably the most likely to know things, either because any of the rest of us have confided in him and/or because he has sat back and quietly observed things for himself. Either way, he’d never even let on that there was a secret to divulge.

As for who’s most likely to act like they’re the best at keeping a secret – maybe Wanderson Rezende. But then he’d get excited and share anyway.

RAPID FIRE WITH THE UNEXPECTED GUEST’s HENRY ANGELL, KAM SMITH

JHPENTERTAINMENT: Henry Angell is part of a story where family, loyalty and hidden truths all collide. What interested you most about stepping into this role?

KAM SMITH: Just how slimy this character is. Angell is such a sly character that will try just about anything to move up the social ladder. I was so interested in trying my hand at a different type of power on stage, where my words and wits can battle with costars who are physically more imposing than myself.

JHPENTERTAINMENT: Christie’s characters often live in a world where appearances can be deceiving. How much fun is it playing someone where audiences may constantly question motives and intentions?

KAM SMITH: Oh an unbelievable amount of fun. Getting to kind of grow and pick and choose with the script where I can place little nuggets of info and tells for the more sleuthy audience members has been a real treat!

JHPENTERTAINMENT: With the action of the play taking place in Wales, I hear you all have been working on your Welsh dialect. How’s that going?

KAM SMITH: It’s going great! We were given help from a dialect coach that has been instrumental in getting all of us up to speed. On the same note, getting to learn the ins and outs of that specific dialect has also been a Swiss Army knife for the other nearby regions. So I feel confident that we can be as accurate as possible to the Welsh accent and dialect.

JHPENTERTAINMENT: If this cast were actually trapped in a Christie-style mystery, who amongst your crew and fellow cast mates would you want leading the investigation — and who would you keep under close surveillance?

KAM SMITH: I personally feel Rich Moses would be perfect as a leader in the investigation, much like Michael Starkwedder in this show, he has a way of making you feel really comfortable talking to him that if you had something to hide, you might accidentally let it slip during a conversation with him. As for largely suspicious characters, I’d have to give it to our own director Ann. Mostly because you can’t tell what she’s thinking at all, and that’s a big point of confusion when you’re trying to see if you’re putting on a good show in rehearsals, but also she seems a little too unlikely, which is the exact person you want to look for!

JHPENTERTAINMENT: After audiences leave Playhouse 615, what do you hope they’re still debating, discussing and trying to solve on the drive home?

KAM SMITH: Even though obviously there can be only one person who truly committed the murder, I would hope they still wonder who would commit it if given even a few more days. Most everyone in the rogues gallery of this show completely despises the deceased Mr. Warwick, so you’re always on your toes just to see who could’ve actually done it. Some of them even might have violent tendencies to begin with, so even if there could only be one. Who was right at the breaking point?

Agatha Christie’s The Unexpected Guest has been inviting audiences into a suspenseful world of secrets, suspicion and unexpected revelations since making its stage debut back in 1958. Playhouse 615’s slightly modernized 80s take brings this intriguing whodunnit into their intimate theatrical setting where every glance, pause and revelation becomes part of the investigation with performances Friday, July 17 through Sunday, August 2. So gather your clues, question everything and join Playhouse 615 for an evening where the biggest mystery isn’t just what happened — it’s who you can believe. CLICK HERE for tickets. For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Theatre Review: Playhouse 615’s ‘Ain’t Misbehavin’’ Swings, Sways and Soars as a Jazzy Celebration Worth Savoring

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When Ain’t Misbehavin’ first arrived on Broadway in 1978 starring Nell Carter, Ken Page, Amelia McQueen, Charlaine Woodard and André DeShields, it introduced a new generation to the music, humor and enduring brilliance of jazz icon Thomas Wright “Fats” Waller. Nearly five decades later, Playhouse 615’s production proves these songs haven’t lost a step. Under the direction of Mitchell Vantrease and featuring Yolanda Treece, Elliott Robinson, Lisa Graham, Raven Buntyn and Isiah Rankin, this vibrant revival is equal parts concert, cabaret, history lesson and celebration, delivered by a cast that understands the assignment and then some.

Unlike a traditional book musical, Ain’t Misbehavin’ doesn’t tell Waller’s life story. Instead, it uses his catalog as a lens through which to explore romance, heartbreak, joy, humor, resilience and Black artistry. The result is a revue that feels both nostalgic and surprisingly contemporary.

One of the production’s most charming touches is its homage to the aforementioned legendary original Broadway cast. Rather than adopting character names, or using their own as is often done in regional productions, the performers are billed as playing Nell, Ken, Andre, Armelia and Charlaine, honoring the now-iconic artists who first introduced these songs to Broadway audiences.

From the moment the company launches into the title number, followed by the energetic “Lookin’ Good But Feelin’ Bad,” audiences are welcomed into Vantrease’s intimate jazz club atmosphere.

Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.

Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.

Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.

The ensemble numbers are where the production truly catches fire. “The Joint is Jumpin’” practically explodes off the stage, delivering exactly the kind of high-octane energy audiences hope for when attending a show built around Waller’s music. As the Act 1 closer, it leaves the audience anticipating Act 2. Likewise, “Spreadin’ Rhythm Around” and the finale “Honeysuckle Band” showcase the cast’s impressive vocal blend and infectious enthusiasm.

Comedy plays a significant role throughout the evening, and two numbers in particular generate some of the production’s biggest laughs. Robinson’s “Your Feet’s Too Big” is a crowd-pleasing delight, while “Fat and Greasy,” featuring Robinson and Rankin, gleefully breaks down the wall between performers and audience. The interactive nature of both songs perfectly complements the nightclub setting and creates some of the evening’s most memorable moments.

Yet beneath the humor and exuberance lies something far more profound. Late in the second act comes “Black and Blue,” arguably the emotional centerpiece of the entire production. Presented simply and sincerely, the number lands with considerable power. Suddenly, the playful flirtations and comic observations that precede it take on added depth and context. It serves as both reflection and reminder, honoring the experiences woven throughout Black history while underscoring the cultural significance of Waller’s artistry. The cast delivers the number with remarkable restraint and honesty, creating one of the production’s most affecting moments.

The decision to position the musicians directly onstage pays immediate dividends.
Anchoring the evening are three exceptional musicians: John Todd on piano, Rick Malkin on drums and Owen Ananich on bass. Their presence onstage transforms the production from a traditional musical into something closer to a genuine Harlem nightclub experience. The trio doesn’t merely accompany the performers—they become an integral part of the storytelling.

Vantrease’s direction remains focused throughout. Even without a traditional narrative, he ensures every song functions as a miniature story. His choreography complements rather than overwhelms the material, allowing the performers and music to remain front and center. Especially entertaining a near-exactly move-for-move homage to the original Broadway company’s piano-ography during “Handful of Keys”.

Technically, the production embraces simplicity to excellent effect. Conceived by Ann Street-Kavanagh, Craig Hartline and Vantrease, the set utilizes silver ladder-style lighting battens wrapped in string lights and draped with shimmering fabric that forms an elegant arch around the onstage band. Stage right features what appears to be a fully stocked bar accompanied by a pair of stools beneath a sign reading “Fats Club.” Though one might playfully argue the sign could use an apostrophe after the “s”—or perhaps should have been named “Club Fats”—the overall effect contributes nicely to the immersive nightclub atmosphere.
Complementing the set beautifully is Carter Stumbo’s mood-enhancing lighting design, which effortlessly shifts from playful and vibrant to intimate and reflective depending on the emotional demands of each number. Strumbo doesn’t seem to leave out a single color in the rainbow in his lighting design. Each one perfectly enhancing the mood and emotion of the song being performed.

Playhouse 615‘s Ain’t Misbehavin’ is being presented during National Black Music Month and with closing weekend coinciding with Juneteenth celebrations, Ain’t Misbehavin’ arrives at a particularly meaningful moment. More than a revue, it serves as a celebration of an artist whose influence continues to echo throughout American music.

Playhouse 615’s production succeeds because it never treats Waller’s music like museum pieces. Instead, these songs feel vibrant, immediate and alive. Powered by a terrific cast, outstanding musicians and thoughtful direction, Ain’t Misbehavin’ offers audiences exactly what its title promises: an evening of irresistible fun with plenty of heart underneath the swing.

Whether you arrive as a longtime fan of Fats Waller or simply looking for an entertaining night at the theatre, this production sends audiences home smiling, humming and perhaps even tapping their too big feet all the way to the parking lot. Not gonna lie—after all, it’s a sin to tell a lie—since attending an opening weekend performance of Playhouse 615‘s Ain’t Misbehavin’, the music of Fats Waller has been a constant on my playlist.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HERE to grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

In case you missed it, check out our recent Rapid Fire 20Q with Ain’t Misbehavin’ director and cast.

Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21

Rapid Fire 20Q: Cast and Creatives of Playhouse 615’s ‘Ain’t Misbehavin’ Talk Fats Waller, Jazz, and Bringing a Beloved Broadway Classic to Life; On Stage June 5 thru 21

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When Ain’t Misbehavin’ opened on Broadway in 1978, it introduced audiences to a joyous celebration of the music, humor, and spirit of jazz legend Thomas Wright “Fats” Waller. Now, Playhouse 615 brings the Tony-winning musical revue to Middle Tennessee audiences June 5-21 with a talented cast, live onstage musicians, and plenty of swing.

Before the curtain rises, JHPENTERTAINMENT caught up with director Mitchell Vantrease and cast members Elliott Robinson, Lisa Graham, Isiah Rankin, Raven Buntyn, and Yolanda Treece for another installment of our Rapid Fire 20Q feature. 

RAPID FIRE 20Q WITH THE CAST AND DIRECTOR OF PLAYHOUSE 615’s AIN’T MISBEHAVIN’

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ISIAH RANKIN

JHPENTERTAINMENT: Ain’t Misbehavin’ celebrates the music and spirit of Fats Waller without being a traditional biography. What do you think makes that approach so timeless?

ISIAH RANKIN: Traditionally, I’ve seen that these stories focus around the person’s upbringing and what drew them to do what they did. This show, on the other hand, takes a different approach in telling various stories of each character through the music while also incorporating some important information about the musical style itself, such as the introduction to “Your Feet’s Too Big”. As many say, music is a universal language that will continue to defy the confines of time and trends. I think these stories and the music will continue to connect to individuals in the years to come. 

JHPENTERTAINMENT: You’re pulling double duty as both performer and music director. I understand for this production, Playhouse 615 has opted to have three musicians on stage with the cast instead of the usual spot behind the audience. As music director and performer, how does that enhance your energy and performance?

ISIAH RANKIN: Funny enough, this is my first community theater opportunity to music direct a show on my own which has been a great honor and privilege. I previously music directed a high school show that ran on tracks, which was a unique experience. Having a live band for this experience, from both sides (MD & performer), creates an immersive experience that really creates new moments each performance. Though the music is there and learned, as you continue to connect with one another along with each audience, you begin to create new moments in each show. So, I believe it creates this organic experience that tracks and some other shows with live musicians don’t always allow. 

JHPENTERTAINMENT: What’s been the biggest challenge musically in bringing these iconic songs to life?

ISIAH RANKIN: The biggest challenge in this process has been staying true to the style and character of the music. Not being as familiar with this style of music, I was very intentional about listening to the various aspects of different versions of the show and songs to ensure I maintained the integrity (to the best of mine and each singer’s abilities) of each song and story. I believe that each rehearsal has brought more and more connection to the messages weaved throughout this show and will cause the show to continue to evolve in each performance. 

JHPENTERTAINMENT: If Fats Waller himself were seated in the audience, at which aspect of this show do you think he’d flash his notoriously joyful smile?

ISIAH RANKIN: I think he would be very proud of our presentation of “Black and Blue” because of all of the recent events over the last few years. I think that it is a timely song and our connection to the material feels highly authentic because of our understanding and close proximity to a lot of the concepts in the song, so I think he would be very pleased with our performance and presentation of this song.

RAPID FIRE WITH AIN’T MISBEHAVIN’’s YOLANDA TREECE.

JHPENTERTAINMENT: The original 1978 Broadway production won a Tony Award for Best Featured Actress for Nell Carter. Years later, I was fortunate enough to see the mid-90s revival starring R&B and Pop legends The Pointer Sisters, in which Anita Pointer took on the role Carter had originated. In Playhouse 615’s production, that honor falls to you. Does knowing the legacy attached influence you in any way as you step into this world?

YOLANDA TREECE: Nell Carter? Yes! I have definitely been influenced. With her larger -than-life persona and this role, I have  big shoes to fill! Paying homage to her in this iconic role while trying to bring my own flavor to this role has challenged me beyond measure. But I hope I’ve made her proud and I do her justice!

JHPENTERTAINMENT:  With just over two dozen songs featured in Ain’t Misbehavin’, do you have favorites, or does that vary each time you and your cast mates perform them?

YOLANDA TREECE: Yes. Two of my favorites are “Black and Blue” and “Mean to Me”. “Black and Blue” is the soul stirring cry of truth to explain how it was, how it has been and how  it will continue to be Black in this world while dealing with the inner struggle and repercussions of being Black. This song speaks volumes and ehen we as a people can’t say a word. This song is so relevant in today’s divided, messed up world and I am so thankful that Fats Waller gave this sing life. I am honored.

My other favorite song from the show is “Mean to Me”. Everyone at some point in life has or will experience heartbreak. It is especially difficult if it’s someone we shouldn’t have been attached to to begin with. Just because the heart wants what the heart wants doesn’t mean that person is meant for us. That is a difficult lesson to learn and heal from. But you can heal.

JHPENTERTAINMENT: On your off-time, what song on your personal music playlist gets your ‘joint jumpin’?

YOLANDA TREECE: I have an eclectic mix of music and it just depends on what I’m feeling or what is stuck in my head. My list includes contemporary gospel like Tye Tribbett, Kirk Franklin, Pastor Mike to Stevie Wonder, Earth, Wind and Fire, Queen, Prince, Ms. Aretha Franklin, Patti LaBelle, to name a few…I am all over the place. I love music!

RAPID FIRE WITH AIN’T MISBEHAVIN’’s ELLIOTT ROBINSON

JHPENTERTAINMENT: Ain’t Misbehavin’ serves as a reunion of sorts for you and director Mitchell Vantrease, having appeared in his 2025 production of Ragtime at The Keeton. So a two-part question for you…What do you most enjoy about Vantrease’s directing style? AND…Did his involvement in the show sway your interest in auditioning?

ELLIOTT ROBINSON: Like most great directors, I love the way Mitchell trusts his actors to make choices. No actor wants to be instructed how to do every little thing about their character, because we want to bring in our own interpretation of who that character is, to integrate whatever research and work we’ve done in developing and eventually embodying it. If I were to get too far afield from where he wanted his vision of the show to land, I’m sure he would let me know (LOL)! I’m a big fan of the selections he chooses to direct, too; stories with great cultural and/or historical significance, or featuring depictions of societal issues that still linger with us from days gone by. Ragtime, Memphis, Guess Who’s Coming to Dinner?, The Piano Lesson, and Master Harold and the Boys all fit that template. I surely would have auditioned for this great piece no matter who was directing it, because stuff like this doesn’t come around a lot. I’ll admit I was super happy to see that it was my baby brother at the helm!

JHPENTERTAINMENT: By day you work in Nashville Library’s Civil Rights Room sharing important history with visitors. Considering your day job, does performing a show rooted in such iconic Black artistry carry extra meaning for you?

ELLIOTT ROBINSON: Yes, at work I get to share our great local Civil Rights history with people from all over this planet; you need to come down for a tour! Fats Waller represents the history of the Harlem Renaissance, and we know how influential that era was in the growth and development of Black artistic expression in America, in music, as well as in literature, dance and visual art. Between that and the very true phrase, “they just don’t write songs like they used to,” I am very excited to bring these songs to life! Extra significance is layered on by this being Black Music Month, a time dedicated to the celebration and remembrance of the greatness and influence of artists from back in the day. Then, to stack more historical significance on top of all that, we even get to do a show on the night of Juneteenth!

 JHPENTERTAINMENT: In your show bio, you promise audiences a “rip-roaring, jumpin-jammin-jivin good time.” Is there a particular section of the score that you feel embodies that sentiment or is it simply a culmination of the entire vibe of the piece?

ELLIOTT ROBINSON: “It’s gonna be a whole vibe, man!” I can’t wait to see how it feels in there with a sold-out house! The good time comes first from the audience enjoying the songs, whether they be comical, romantic, or social commentary. We are accompanied by a great live trio, which is special, too. More than anything, though, folks will also get to be more than spectators. I had not initially imagined how much of an interactive experience it would be! We just might break the fourth wall sometime, and we might need you to help us, in a kind of call-and-response way. It’s not gonna be your quiet, reserved night at the theatre, I tell you that! Get ready for some hand clappin’ & toe tappin’! I envision it as a kind of a speakeasy feel: small, intimate setting, maybe a few beverages flowing. Maybe we should have a code word for the door! LOL! 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s RAVEN BUNTYN

JHPENTERTAINMENT: Your journey from a career in STEM recently took what could be considered a full 180 when you decided to pursue a full-time career in the arts. As one of Ain’t Misbehavin’’s songs suggests, it ‘Tain’t Nobody’s Biz-ness’, but I gotta ask, When was your “Yep…this is exactly where I’m supposed to be” moment?

RAVEN BUNTYN: I wouldn’t say there was a singular moment. It was a culmination of multiple moments that, over time, added up to me knowing this was for me. No matter what I did, I couldn’t stay away from the stage. But when I started acting classes last November, it cemented in me that being on stage was my calling. No matter how anxious I became or how many limiting beliefs I had to battle, it didn’t matter because I was allowing myself to be vulnerable in a way that I’d always craved before. Being secure enough within myself to open myself up to an audience and allow them to hopefully feel what I feel, is an honor I’m grateful to live. 

JHPENTERTAINMENT: I’ve heard that the staging for this show is a little different for most shows at Playhouse 615, in that there’s a few cocktail tables in the front row of the audience area, giving this production more of a club feel. As a performer, what challenges/advantages does this setup present?

RAVEN BUNTYN: Being able to interact with the audience for a show is always somewhat a blessing and a curse depending on how you look at it. Sometimes, depending on the material, it’s easier to perform in front of an audience because you’re essentially pretending they aren’t there. But with this show, the audience is a part of the club and the show itself, which can be intimidating, but also very freeing. There’s no 4th wall, so we’re all in this universe together and that makes it fun and exciting. 

JHPENTERTAINMENT: What advice would you give someone sitting in the audience who has a creative dream they’ve been too nervous to chase?

RAVEN BUNTYN: The advice I would give is to trust. When you take a leap of faith, the thing that gets you through moments of doubt is trusting— trusting yourself, trusting your own timing, trusting your gut, and trusting that what you feel drawn to is right and true. Learn to trust your inner voice above anyone else’s. After all, it’s your life, and you deserve to live it exactly as you see it. 

RAPID FIRE WITH AIN’T MISBEHAVIN’’s LISA GRAHAM

JHPENTERTAINMENT: What excites you most about stepping into this jazz-infused world?

LISA GRAHAM: What excites me the most is the music itself! It is challenging, funny, haunting, gorgeous- all the things. I love singing harmonies, so it was thrilling to work on the jazzy four and five part harmony and bring it all together. The lyrics, too, are so much fun.

JHPENTERTAINMENT: When not performing, in your day-to-day life, you work as a school librarian where you’re surrounded by stories every day. As the son of a retired high school librarian, and a former longtime bookstore employee myself, I love knowing this about you. What story does this production tell audiences beyond the music itself?

LISA GRAHAM: Yes! That’s so cool Jonathan- I love meeting other bibliophiles. Well, it’s definitely telling stories of Black culture- ways that we celebrate ourselves, express ourselves, and process the discrimination we experience. When you hear the song “Black and Blue” late in Act Two, it really frames the entire show. But for me, this production more than anything else tells the story of love, from first meetings, to falling in love, to dealing with issues in relationships. That’s what makes it so universal.

JHPENTERTAINMENT: This cast is stacked. What’s your favorite part of performing with this talented group of people?

LISA GRAHAM: This cast is very kind and very supportive. Everyone works so hard- we are all invested in this show and want it to be great. It really is a joy to go rehearse with these folks! 

RAPID FIRE WITH AIN’T MISBEHAVIN’ DIRECTOR MITCHELL VANTREASE

JHP ENTERTAINMENT: After the success of directing The Keeton’s Ragtime last year, what attracted you to taking on helming Ain’t Misbehavin’ at Playhouse 615?

MITCHELL VANTREASE: Ain’t Misbehavin’ has always been on my bucket list, whether as a performer or a director. So when the opportunity came up to take the helm of this production, there was no doubt in my mind that I was saying yes. I’ve always known the show as the production that really put Nell Carter on the map. There would be no Gimme a Break! without this show and her Tony Award-winning performance.

I also love jazz, and it doesn’t get much better than Fats Waller. He created and performed some of the greatest standards of all time, and this show puts that music fully on display.

JHP ENTERTAINMENT: This show is more revue than traditional book musical. How does that shift your approach as a director?

MITCHELL VANTREASE: It definitely shifts my approach a little, but I’m no stranger to musical revues. I actually crafted and co-created a revue in Arizona called The Soul of Broadway, which celebrated the music of African American musicals and characters. That production won an AriZoni Award, which is basically the state’s version of the Tony Awards, for Best Musical.

One of the biggest differences with this production is that I not only directed it, but I also choreographed most of the revue myself. Usually, I direct and have a choreographer working alongside me the entire time, but with this show I wanted to challenge myself and level up as an artist. Growth is important, and I wanted to push myself creatively.

I was definitely nervous at first, but I studied dances from that era and found a lot of inspiration there. I ended up creating choreography that feels clean, simple, and authentic while complementing both the actors and their incredible voices.

For me, the key to directing a musical revue is making sure every song tells a story. These numbers aren’t just performances — they’re mini stories. The cast isn’t only singing; they’re acting through every lyric and every moment. But make no mistake, it’s all about the music. 

JHP ENTERTAINMENT: Having the musicians on stage changes the entire visual energy of the production. What excites you most about that choice?

MITCHELL VANTREASE: There’s nothing like having live music onstage. Since the show is set in a club, I wanted the audience to truly feel that atmosphere the second they walk in. Putting the band onstage immediately elevates the energy and creates a more authentic nightclub experience. It brings the production to life in a completely different way.

JHP ENTERTAINMENT: What do you hope Nashville audiences feel walking out of the theater after this production?

MITCHELL VANTREASE: I hope audiences walk away with a deeper appreciation for Fats Waller, his music, and the legacy he left on the music industry. It’s especially meaningful that we’re presenting this show in June during National Black Music Month and around Juneteenth celebrations. There really couldn’t be a more perfect time to celebrate this history, this music, and such a phenomenal artist.

Whether you’re already a fan of Fats Waller’s music or discovering these timeless songs for the first time, Ain’t Misbehavin’ audiences at Playhouse 615 can expect an evening filled with laughter, incredible vocals, unforgettable musicianship, and the infectious energy that has made this show a favorite for nearly five decades. , settle in, and get ready for a jumpin’, jammin’, swingin’ celebration of one of Broadway’s most beloved musical revues.

Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HEREto grab your tickets. 

Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q: Playhouse 615’s ‘God of Carnage’ Cast and Director Break Down Politeness, Power Plays, and Emotional Freefall; On Stage May 1- 17

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Polite conversation. Civilized adults. What could possibly go wrong? Plenty, as it turns out. God of Carnage is the kind of play that starts with a handshake and spirals into something far messier—and far more revealing. As Playhouse 615 gears up for this razor-sharp dark comedy’s May 1 opening, director Diane Bearden-Enright and her powerhouse four-person cast–Wanderson Rezende, Beth Henderson, Ben Gregory and Abby Waddoups–are diving headfirst into the tension between who we think we are and who we become when the filter slips. We caught up with the cast and director for our signature Rapid Fire 20Q to talk civility, chaos, marriage, morality—and why this deceptively simple setup leaves absolutely nowhere to hide. 

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF GOD OF CARNAGE

RAPID FIRE WITH GOD OF CARNAGE’s ALAN, WANDERSON REZENDE

JHPENTERTAINMENT: Alan often feels like he’s operating in a completely different moral universe—how do you ground that in truth rather than caricature?

WANDERSON REZENDE: I think Alan’s morality (or lack of it, sometimes) is inside all of us. That is true for every character in this play, and that is part of Reza’s brilliance. To me, Alan is the voice of chaos that whispers “do it” when morality and social norms are screaming “don’t.” Brutal honesty and unfiltered rationalization. We all go through that in our thoughts, and that is how Alan becomes real: you have to look in the mirror and acknowledge the part of your soul that wants to set the room on fire. The part that, when given the opportunity, will stir the pot just to see what happens. I don’t play him as a villain. I play him as the part of yourself you were taught to keep quiet, which is sometimes villainous.

JHPENTERTAINMENT: How do you interpret the play’s critique of Western ideas of civility and “good behavior”?

WANDERSON REZENDE: Oh, this question made me laugh! A good kind of chuckle, I mean. This play is like the animated movie Inside Out but for adults. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. I think Reza was clever in making us question our values as a society without slipping into a lecture or wrapping up the play in a pretty bow. All those characters live within us, and we can agree or disagree with them, but it is impossible to remain indifferent. These are four educated, well-meaning adults who, within 90 minutes, are drinking and screaming at each other. To me, the critique isn’t aimed at bad people; it’s aimed at good ones. The “good behavior” dissolves so fast it makes me wonder whether it was ever real or just an agreement we made with each other. Reza seems to be saying that civility can simply evaporate if you turn up the heat in the room.

JHPENTERTAINMENT: Alan’s constant connection to his phone feels symbolic—what do you think he’s avoiding, and what does that say about power and detachment?

WANDERSON REZENDE: I find Alan’s relationship with his phone fascinating. It is a safety blanket, an escape valve, a weapon, an exit strategy. But also, I see his phone as a simple tool, an extension of his arm, almost a part of his body. This play premiered in the early 2000s when cell phones had a very different place in the social context than they do now, but what I don’t think Alan is doing is avoiding. He’s not hiding behind the phone. He’s operating. The phone shows where Alan has power, clarity, and purpose. He’s present in the only way that feels natural to him. Which is exactly why the moment the phone is taken away is so revealing: you suddenly see what’s underneath when the tool is gone. And what you see is just another vulnerable man who needs to pick himself up from the floor.

JHPENTERTAINMENT: Do you see Alan as the most honest person in the room—or simply the least interested in pretending?

WANDERSON REZENDE: I don’t think Alan is pretending. I think he does everything but pretend. And yes, I do think he’s the most honest person in the room. I had conversations with our director Diane Bearden and with Ben, Abby, and Beth about this. Alan understands that children and adults have fundamentally different tools for solving conflicts. He’s interested in the adult dimension of what happened between their sons: the dentist, the insurance, and giving the kids space to work it out themselves. What he refuses to do is inject adult morality into a children’s fight. He knows that life and time will already do that job. Alan is the kind of parent who wouldn’t stop his kid from sticking a fork in an outlet. He’d say, “Go ahead, then let’s talk about what happens next.” There’s actually a twisted kind of respect in that.

RAPID FIRE WITH GOD OF CARNAGE’s ANNETTE, BETH HENDERSON

JHPENTERTAINMENT: Annette’s journey from composed to completely unfiltered is one of the play’s most striking arcs—how do you map that descent each night?

BETH HENDERSON: That’s what makes this role so fun. I love getting to play such different aspects of one character. There are definite points in the script that help those transitions along, but it’s also important to make sure that the slide from point A to point B is gradual so that it feels like a natural progression. 

JHPENTERTAINMENT: How do you balance the play’s farcical comedy with its darker, more unsettling undertones?

BETH HENDERSON: I think what creates the balance is playing up the realness and believability of the characters, rather than asking for laughs. Like real life often is, the script itself is dark and funny at the same time. If we, as the actors, can successfully portray people who genuinely believe in what they’re saying and doing, the playwright’s words will automatically strike the balance.

JHPENTERTAINMENT: How do you interpret the dynamic between Annette and Alan—united front or already fractured?


BETH HENDERSON: Wanderson and I have actually talked about this quite a bit. Annette and Alan have a lot of issues between the two of them, but the intensity they share is part of what makes them work. It may not be a loving relationship, but it’s a partnership that I think works for them and withstands the course of the afternoon covered by the play. I also think their takes on Veronica and Michael, their disdain, ultimately unite them on the actual situation at hand (the situation between the sons).

JHPENTERTAINMENT: By the end of the play, who holds the most power in the room—and does Annette ever truly lose hers?
BETH HENDERSON: That’s a tough one. I think to a certain extent, they’ve all lost at least an aspect of their power. If you look at the power dynamics within the marriages, I think Annette comes out on top. I believe she holds a good bit of power in her marriage coming in to the play, but she claims even more during it. I don’t think anyone else really does that. But, if looking at who holds the most power among the four of them, I don’t think I could decide. There’s an argument to be made for each of them and none of them.

RAPID FIRE WITH GOD OF CARNAGE’s MICHAEL, BEN GREGORY

JHPENTERTAINMENT: Michael uses humor as both a weapon and a shield – how do you navigate when the audience should laugh versus when they should feel uncomfortable?

BEN GREGORY: The author of the play pontificates about the dichotomy between how we present ourselves and how we actually feel. Society has drawn too many rules about when we should laugh or cry. When we are uncomfortable, sometimes we laugh. It’s a way to relieve tension. This show is full of tension and awkward silence. Our audiences will avail themselves of the opportunities to laugh at the absurdity of moments of human interaction with which they identify, either in themselves or in people they have known. God of Carnage directs the players to shift between restraint, lightheartedness, and complete lack of self-control. Those shifts will resonate differently with different audiences. We just follow the map laid out by the author and by our brilliant director, Diane.

JHPENTERTAINMENT: The play exposes cracks in marriage-what do you think Michael truly wants from Veronica beneath all the bluster?


BEN GREGORY: Michael wants to be respected by Veronica. He wants to be valued and cared for in the same way that she cares about the outside world. He doesn’t feel seen or heard by Veronica because he spends too much time trying to echo her thoughts, to appear to be who she wants him to be. He’s terrified of being exposed for his own fears, or to be revealed as less sophisticated than she is. He is stuck in a loop of putting on an act for her benefit (which doesn’t benefit anyone, really). Michael is a man who wants to work hard, and enjoy his nights and weekends without having to worry about the heaviness of the world. He wants love without conflict.  

JHPENTERTAINMENT: There’s a casual cruelty that emerges in Michael – how do you build to that without tipping your hand too early?

BEN GREGORY: To avoid letting the degree of his resentment reveal itself too quickly, I focus on his attempts to make light of things, his efforts to be a peacemaker. He wants so badly to avoid conflict. Though the tension eventually breaks, he tries to restrain it as much as possible, often with offhand remarks intended to make light of things.

JHPENTERTAINMENT: What makes Playhouse 615 the right space for a play that strips everything down to raw human behavior?

BEN GREGORY: Working on this production in an intimate space such as Playhouse 615 makes it imperative to be as raw and real as possible. Every expression and motion is visible to the audience. It’s as intimate as a theater gets in Nashville. More than the space itself, though, is that the people who work and play here are willing to be vulnerable. It is a safe space and a loving space. We’re allowed to be human: ambitious, fallible, and full of love for our art.

RAPID FIRE WITH GOD OF CARNAGE’s VERONICA, ABBY WADDOUPS

JHPENTERTAINMENT: What’s your entry point into Veronica’s need to control the evening—and where do you let that control slip?

ABBY WADDOUPS: Veronica’s need to control is pretty much set from the start of the show. She is cordial on the surface with appropriate small talk, but very no-nonsense and clearly has an agenda for the evening to run smoothly. It is an uncomfortable meeting to have to have, so she has a plan to get through it. When the truth of the other character types starts becoming clear, and even her own husband acts in a way she disapproves of, it is impossible to maintain any control over these people.

JHPENTERTAINMENT: Veronica clings to ideals of culture and morality—do you see those as authentic beliefs or part of a carefully constructed identity?

ABBY WADDOUPS: Veronica is flawed, despite trying desperately not to show it. In doing so it becomes harder to hide it. But she comes by it naturally and does not understand how others perceive her. Veronica is one of the worst at being congenial on the surface, but then really drilling into people with her supposed higher moral ground and expectations. She doesn’t know any better, it’s just the type of person she is. She does love culture and has traveled to many places. She takes great pride in being worldly, but she doesn’t strike me as ever having immersed herself in another culture, staying in a place for too long, or really spending much time away from NY or the US. She’s ultimately a scholar and has read most of what she knows, not necessarily through her own lived personal experiences. Veronica is a mama bear and very condescending to her peers.

JHPENTERTAINMENT: How has working again with Diane shaped your understanding of the play’s central question—are we ever truly civilized?

ABBY WADDOUPS: It has been wonderful working with Diane again, and the whole cast. I trust her completely and am honored she saw me in this role. Diane has skillfully pitted characters against each other physically onstage when the dialogue suggests. She has defined the peaks and valleys, where conflicts arc and go back down to formality. This production shows how quickly adults, in all their experiences and worldly knowledge, can revert back to their childhood. It has been good to dig into these characters in a masterfully written dark comedy. The language is rich, the characters are a reflection of the best and worst of people. The tension is high and rehearsing is exhausting, draining, but fun. I feel like I’m in college again, doing an intensive character study in a cutting edge drama. Shows like this, roles like Veronica and working with these wonderful people – are all what I love most about acting. We are always in good hands with Diane and her expertise.

JHPENTERTAINMENT: By the end of God of Carnage, do you think Veronica is more disillusioned—or more revealed?

ABBY WADDOUPS: Veronica is incredibly disillusioned. “If we stick with the strict definition of the word, it’s use is far from inaccurate” (that’s a show quote), “Disillusioned- having lost faith or trust in something formerly regarded as good or valuable.” She is bitter and disappointed that this meeting, including her husband’s actions, failed to live up to her expectations. It is a harsh truth being discovered close to the end, “losing belief or trust in something once admired, resulting in a loss of idealism” and makes her examine herself and her relationships closer.

RAPID FIRE WITH GOD OF CARNAGE DIRECTOR, DIANE BEARDEN-ENRIGHT

JHPENTERTAINMENT: When you and I spoke recently about God of Carnage, you mentioned approaching rehearsals almost like a scene study class—can you elaborate on that process?

DIANE BEARDEN:  Being Adjunct Faculty at MTSU, I think I approach just about everything as a teaching moment!  The most interesting thing about this project is I’ve worked with each of these actors in the past.  I’ve gotten to know them and have learned a lot about how they approach a role, their rehearsal process, etc.  We dug into the rhythm and intention of the script.  We got on our feet and “played”; investigating different ideas and tactics.  It has been a joy delving into the material and having in depth discussions about character and relationships.  I tried to create a safe space for experimentation.  In turn, the actors have let go, relaxed and created remarkable ensemble.

JHPENTERTAINMENT: What are the unique challenges—and advantages—of directing a four-person cast on a single set where there’s nowhere to hide?

DIANE BEARDEN:  Four people on stage for the entirety of the play (with no escape) can be daunting at first but ultimately is an important obstacle for the actors.  These four characters are quite literally “stuck” in a room together, expecting to hash out the problem at hand.  That confinement becomes a powerful catalyst for tension.  Another  challenge is the logistical aspect of moving the actors about the room, to keep it visually interesting and relevant while helping the actors create tension moving about the  physical space.  Every cross, pause and shift has to mean something.

JHPENTERTAINMENT: This play lives in the tension between civility and chaos—how do you guide actors in navigating that razor-thin line?

DIANE BEARDEN:  That tension is exactly what makes this script so thrilling and challenging.  My job is to create an environment where the actors feel completely secure in their choices, so they are free to walk that fine line between control and chaos.    I’m lucky to have incredibly flexible actors, willing to really “play”.   Always willing to try new tactics and push through the uncomfortable moments.  That’s when the truth reveals itself.

JHPENTERTAINMENT: What do you hope audiences walk away questioning about themselves after spending an evening with these characters?

DIANE BEARDEN:  I hope audiences recognize themselves in these characters.  How we react as adults is rooted in our childhood instincts and those impulses are just below the surface.  When provoked and the right pressure is applied, all those impulses can rise up and pour out.   Suddenly fears, insecurities, hopes and prejudices are on display.   God of Carnage is funny, messy, uncomfortable and deeply human.  I hope audiences leave not only asking “Who are these people?” but also “Where do I recognize that in myself?.

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Come for the polite conversation. Stay for the unraveling. By the end of the night, the question isn’t who’s right—it’s who’s left pretending. Playhouse 615’s production of God of Carnage opens May 1 and runs weekends through May 17. Performances are Fridays and Saturdays at 7:30 PM with Sunday matinees at 2:30 PM. All seating is general admission, with tickets ranging from $17–$20. at 11920 Lebanon Rd, Mt. Juliet, TN 37122. CLICK HERE to purchase tickets. 

Following God of Carnage, Playhouse 615 presents Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. For more from Playhouse 615, check out their website or follow them on Instagram 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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q with Cast Members of Playhouse 615’s ‘The Little Foxes’; onstage beginning March 20

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For such an intimate little theatre tucked away in a row of shops in Mount Juliet–just fifteen minutes from downtown Nashville–Playhouse 615 frequently presents a wide variety of plays throughout each theatre season ranging from farce to drama, camp to classics. With that in mind, it should come as no surprise that for their latest production they’re presenting the bold, character-driven story of  The Little Foxes, Lillian Hellman’s searing portrait of greed, power, and family dynamics. In this Rapid Fire 20Q, we catch up with cast members Ann Street-Kavanagh, Zoë Garner, Phil Brady, and Gwendolyn Clinton as they dive into their roles, reflect on this particular production’s modern lens, touch on a bit of familial nepotism and unpack what makes this American classic continue to resonate with audiences today.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s THE LITTLE FOXES

RAPID FIRE WITH THE LITTLE FOXES’ REGINA GIDDENS, ANN STREET-KAVANAGH

JHPENTERTAINMENT: The Little Foxes‘ Regina Giddens is one of the great roles in the American theatre canon. As a co-founder of Playhouse 615, I gotta ask…were you always gonna play Regina or did you actually have to audition for the role alongside others?

ANN STREET KAVANAGH: Actually, the show was chosen for [another actress], as Regina. We are huge fans of her talent, and consider her theatre royalty in Nashville. Unfortunately, she decided to step down for personal reasons.  At Playhouse 615, I always audition for any role I play. I would like to think that my work stands for itself, and that I don’t need to “call dibs” on a role in order to be cast.

JHPENTERTAINMENT: What was it about The Little Foxes that made it feel like the right choice for this particular season?

ANN STREET KAVANAGH: We always include a play of classic genre. The story is a powerful look at family dynamics and could be set in any time period and still be relevant.

JHPENTERTAINMENT: On that subject, in a recent post on Playhouse 615’s social media, it was revealed that co-directors Joel Meriweather and Preston Alexander Raymer have reimagined Hellman’s classic through a “sharp, modern lens.” As a huge fan of the 1941 film version of The Little Foxes, which kept the story in its original 1900 timeframe, as did 2017’s Broadway revival… should I be worried?

ANN STREET KAVANAGH: You shouldn’t be worried at all!  The script itself is intact other than a few minor things to update monetary amounts, etc.

JHPENTERTAINMENT: Regina is ruthless, brilliant, and endlessly calculating. What have you discovered about her motivations while working through Lillian Hellman’s script that surprised you the most?

ANN STREET KAVANAGH: That beyond being ruthless, brilliant, and endlessly calculating, she’s just really selfish to the core. She wants “things” and isn’t too interested in relationships of any kind unless they bring her more material things and a standing in society.

JHPENTERTAINMENT: While Tallulah Bankhead first brought Hellman’s Regina to fire-breathing life on the stage in 1939, it’s arguably Bette Davis’ turn in the film that’s most associated with the role. Of course Laura Linney and Cynthia Nixon alternated in the role during its most recent Broadway revival. So, what’s it like taking your place among these powerhouses of stage and screen as you put your touch on the legendary role of Regina Giddens??

ANN STREET KAVANAGH: Some powerhouse women indeed! Of course, I’d seen The Little Foxes, but that was years ago. I try to never watch someone else’s performance while in rehearsals. I want to explore the character without influence. I am delighted to add this character to my resume!  As someone who usually does comedy, it’s been refreshing to  play a villian, of sorts. I closed Birthday Candles at Lakewood Theatre about 2 weeks ago, so to jump from playing a very pleasant, loving woman to one who is only pleasant when it suits her, has been a lot of fun!

RAPID FIRE WITH THE LITTLE FOXES‘ ALEXANDRA GIDDENS, ZOË GARNER

JHPENTERTAINMENT: After spending much of your youth on stage, then stepping away from acting for a while, what made now the right moment—and Alexandra in Playhouse 615’s The Little Foxes the right role—to return to acting?

ZOË GARNER: It was always my intention to return to the stage when life calmed down enough for me. After living abroad for a while and finally being free from night shifts I was keeping an eye out everywhere for a place to start again. Joel is a director I worked with a long time ago when I had first started acting. It felt like a natural fit to try and work with him again to shake off the rust.

JHPENTERTAINMENT: How do you approach portraying Alexandra’s  transformative moral awakening over the course of The Little Foxes?

ZOË GARNER: I feel it’s like waking up from a daydream. When you’re young you’re used to people telling you not to worry about it. Especially about the challenging and often times emotionally charged interactions that come from adult relationships. At some point though you have to realize that looking away and pretending it’s not your problem is only going to cause you other problems. So it’s like waking up, not from a dead sleep, but from something you didn’t want to see.

JHPENTERTAINMENT: You’re sharing the stage with Ann Street Kavanagh as Regina—Alexandra’s formidable mother. What has that dynamic been like both in rehearsal and off-stage?

ZOË GARNER: It’s cliche to say but it’s honestly it’s been a privilege to share the stage with her. I spent so much of my childhood acting up with older, more accomplished actresses. And now I feel like I’m standing side by side with fantastic scene partners. Being able to go from stupid jokes and gags backstage to intense on stage confrontations without batting an eye feels natural and exciting.

JHPENTERTAINMENT: This production also marks your first time working with Playhouse 615. What has the experience with the company been like so far?

ZOË GARNER: It feels like the type of home that theatre has always felt like. Well, the type good theatres feel like! There’s also an attention to the safety and comfort of the actors that I appreciate.

JHPENTERTAINMENT: Alexandra ultimately chooses a very different path than the rest of her family. What do you hope modern audiences—watching this story unfold in 2026—take away from her journey?

ZOË GARNER: As the daughter of a mother or a son of a father or a child of a parent we don’t have to obey just because we always have. Because it’s the path of least resistance. If it’s something you believe in strongly, it’s not too late to talk back. Your family is who you choose it to be, not just who tells you what to do.

RAPID FIRE WITH THE LITTLE FOXES‘ OSCAR HUBBARD, PHIL BRADY

JHPENTERTAINMENT: Let’s start with the obvious question—how is it possible this is your first show with Playhouse 615?

PHIL BRADY: I’ve done shows with Joel and Ann in the past, but the drive from almost Bellevue to Mt. Juliet at rush hour for rehearsal has kept me away.

JHPENTERTAINMENT: Oscar Hubbard is one of the more openly unpleasant characters in The Little Foxes. When you first read the script, what stood out to you about him?

PHIL BRADY: I noticed how determined he was to secure his son’s future and to take every advantage to make it happen even if it meant putting Leo in the same situation as himself: marrying for money.

JHPENTERTAINMENT: Hellman gives Oscar some brutally revealing dialogue about power, money, and entitlement. Is there a particular bit of dialogue that you love delivering within the script?

PHIL BRADY: My favorite section is when he and Leo are coming to agreement about getting his uncle to “lend” him bonds to make the cotton mill deal.  The line that I think sums up the Hubbard phylosophy: “People aught to help other people, but that’s not always the way it happens.  And so sometimes you have to think of yourself.”

JHPENTERTAINMENT: How do you find the balance between leaning into Oscar’s villainy and making him feel like a real person?

PHIL BRADY: Oscar is like all of us: a product of his circumstances and choices; so both his villainy and better self work to achieve his goals.

JHPENTERTAINMENT: At its core, The Little Foxes is about the corrosive nature of ambition. Where do you see Oscar fitting into that larger moral ecosystem of the Hubbard family?

PHIL BRADY: I see Oscar as the blue heeler that tries to herd the family into prosperity.

RAPID FIRE WITH THE LITTLE FOXES’ ADDIE, GWENDOLYN CLINTON

JHPENTERTAINMENT: If memory serves, Playhouse 615 audiences first saw you as Calliope in Lysistrata, you stage managed their Death of a Streetcar Named Virginia Woolf, and appeared as Kate in Good People last fall, now you’re back onstage…this time as Addie in The Little Foxes. How has that journey—from performer to backstage collaborator and back again—shaped the way you approach this role with this company?

GWENDOLYN CLINTON: I am someone who works better when I know the why of how things are done. Working back of house is a great way to learn the why of theater and to appreciate the importance of every part of the production. I think theater is magic and I love the opportunity to peek behind the curtain and learn the tricks. Being back onstage fuels my soul and having the backstage experience makes me want to do my best and do my part to make the production the best it can be.

JHPENTERTAINMENT: Addie is sometimes discussed in the context of the “mammy” trope in American drama, yet in Hellman’s script she also serves as the play’s moral compass. How did you approach honoring the full scope and complexity of the character?

GWENDOLYN CLINTON: The mammy trope is a complicated one. While their existence was belittled and mocked for entertainment purposes, these women did exist. They took care of the households and mothered other people’s children while their own children were often in the fields working under extremely harsh conditions. My approach to Addie is to treat her character with the respect she deserved while also showing the toll this type of work took on these women physically and emotionally.

JHPENTERTAINMENT: Exploring that a bit more…What does it mean to portray Addie in 2026—nearly a century after the play premiered—especially given how conversations about representation and historical context have evolved?

GWENDOLYN CLINTON: It makes me proud. Women like Addie existed and I think it’s important to tell their stories with the respect they deserve. The opportunity to play Addie in 2026 allows me to breathe more complexity into the character.

JHPENTERTAINMENT: Much of Addie’s power comes from observation and restraint rather than big speeches. How do you build that quiet strength and watchful presence onstage?

GWENDOLYN CLINTON: The best way for me to do this is to truly understand who Addie is as a person, examines her relationships with those she interacts with, and to understand her motivations. This helps me to not waste a single moment onstage. Silence speaks volumes and I want Addie’s to be deafening.

JHPENTERTAINMENT: Your background includes years as a Latin dance teacher, performer, and touring company director. Do any of those movement or storytelling instincts carry over into the way you inhabit a character like Addie?

GWENDOLYN CLINTON: Absolutely. The different rhythms of latin music is what I connect to when dancing. Those rhythms tell a story that is important when translating those stories into dance. Understanding Addie and connecting to the rhythm of her life is the best thing I can do to help tell her story.

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Playhouse 615’s production of The Little Foxes runs March 20 through April 5, with performances held at Playhouse 615 11920 Lebanon Rd, Mount Juliet, TN. Friday and Saturday Evening performances begin at 7:30 PM, with Sunday matinee performances at 2:30 PM. Tickets are $17 for Seniors/Military and $20 for Adults. All tickets are General Admission. CLICK HERE to purchase tickets or call the box office at 615.319.7031. Whether you’re revisiting this American classic or experiencing it for the first time, this sharp, modern staging promises an interesting night of theatre just outside Nashville.

Next up at Playhouse 615 is God of Carnage onstage May 1-17, followed by Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. For more from Playhouse 615, check out their website or follow them on Instagram 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q with Director and Cast of Playhouse 615’s ‘A Bad Year for Tomatoes’; On Stage Through February 22

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Last weekend, Playhouse 615 opened their current production, A Bad Year for Tomatoes, the classic farce by John Patrick that proves small towns, big secrets, and sudden chaos are a recipe for nonstop laughs. Now on stage through February 22, this fresh Nashville staging brings together returning-to-the-stage performers, fearless comedic timing, and a creative team eager to let the absurdity bloom. In this Rapid Fire 20Q, we chat with stars Michele Geller-Crain, Melissa Peduzzi, Katarie Herman, and director Preston Raymer , touching on everything from embracing farce to Uta Hagen!

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF A BAD YEAR FOR TOMATOES

RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ MYRA, MICHELE GELLER-CRAIN

JHPENTERTAINMENT: Myra Marlowe is a star, a recluse, and a walking contradiction — what was the first thing that clicked for you about her

MICHELE GELLER-CRAIN: What first clicked for me was the contradiction at the heart of Myra. She lives under a spotlight she never fully chose, yet all she really wants is control over her own life. I’ve always been somewhat feisty and a people pleaser myself, and I know how easy it is to get lost in the persona you present to the world instead of staying connected to who you really are.

I also tend to attract people who want to take care of me, and Myra does too. There’s something powerful and enjoyable about feeling like the star, as long as you remember to share the stage.

JHPENTERTAINMENT: As Myra (and her assumed identity, Sadie) balance elegance and absolute absurdity in this role — how do you keep Myra grounded while the farce spirals?

MICHELE GELLER-CRAIN: Myra uses humor to stay grounded. Her life is a nonstop cycle of lights, camera, action—parties, paparazzi, scandal, and always answering to someone else. With so little control, her drive for privacy and self-determination is essential. Reclaiming that control and discovering who she really is is the fire that keeps her grounded.

JHPENTERTAINMENT: You’ve directed and taught for years — does leaving those responsibilities to your director feel freeing, challenging, or both?

MICHELE GELLER-CRAIN: It’s both freeing and challenging. I may have a million ideas that I may think are better, but I have to stay in my own lane and remind myself to keep my mouth shut. The fun is in letting go, trusting the director’s vision, and diving fully into the acting—even when every instinct is screaming, “Here’s what I’d do!”

JHPENTERTAINMENT: You play both the glamorous Myra and her very different fictional sister Sadie — how did working with Costuming Consultant Gwendolyn Clinton help you physically and psychologically separate those two women?

MICHELE GELLER-CRAIN: First of all, Gwendolyn is amazing! She gave me some classic notes—like, “Maybe wear pants under that dress,” which, yes, probably should’ve thought of that myself. As for Sadie? Oh, she’s a little mix of all four of my kids, and a sprinkle of the crazy from Brittany Murphy’s character in Don’t Say a Word. Basically, just a hot mess with a lot of heart—and I love playing her. Distinguishing between Myra and Sadie is basically separating the rose from the thorn.

JHPENTERTAINMENT: If Myra were write YOUR autobiography, what do you think she’d focus on that you might rather she leave out?

MICHELE GELLER-CRAIN: I’m pretty much an open book, so I’m not sure there’s anything she could write about that I wouldn’t want her to. I wear my heart on my sleeve, ask questions that are probably none of my business, and love my husband and children with every ounce of my being—let her tell the world on every page!

RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ REBA, MELISSA PEDUZZI

JHPENTERTAINMENT: After a 25-year break, what was the moment in rehearsal when you thought, “Oh yeah — this is why I missed this”?

MELISSA PEDUZZI: From the very first read-through, it was like a part of me I didn’t even realize was missing clicked back into place. Being in the room with such a talented cast, hearing them breathe life into this script, and getting to tell the story set in this small town in Beaver Haven was such a gift. Not to get too sentimental, but every rehearsal since has built on that, and I look forward to showing up every night to see what magic is created!

JHPENTERTAINMENT: How do you balance sincerity with comedy within Reba?

MELISSA PEDUZZI: I think sincerity and comedy go hand in hand. The more reality and depth we can bring to these characters, the more the comedy hits. I just try to embody Reba each show and let the absurdity of life be the comedian.

JHPENTERTAINMENT: Tomatoes…fruit OR vegetable?

MELISSA PEDUZZI: Both! Tomatoes belong everywhere for every occasion. They’re too delicious to keep contained in one category.

JHPENTERTAINMENT: This show features some strong female characters, but was written by a man and Playhouse 615’s production is being directed and assistant directed by men. How’s that working out?

MELISSA PEDUZZI: I feel like the actresses in this show have been heard, celebrated, and given so much creative space to make these characters jump off the page and shine. It’s been an incredibly safe and collaborative environment, and I’m grateful to have been part of it!

JHPENTERTAINMENT: If Reba Harper were to give you one piece of life advice, what do you think it would be?

MELISSA PEDUZZI: Always bring your crochet – you never know when you might need to sit a while with someone who needs you, and idle hands are the devil’s handiwork, after all!

RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ CORA, KATARIE “KAT” HERMAN

JHPENTERTAINMENT: This is your return to the stage after 15 years — what finally pulled you back into theatre?

KATARIE HERMAN: Actually my partner pushed me to do it. She told me that if I love acting so much I should just put myself out there. She inspires me so much.

JHPENTERTAINMENT: Cora Gump has opinions, suspicions, and zero filter — what part of her do you secretly enjoy the most?

KATARIE HERMAN: Cora is definitely ADHD and I love that she just says what comes up in her brain.

JHPENTERTAINMENT: How did it feel jumping into this farce where timing, listening, and reaction are everything?

KATARIE HERMAN: Oh my goodness it’s hectic because there is so much going on and I tend to focus on something new every time. That makes every single rehearsal and run through different so different reactions. It’s fun though.

JHPENTERTAINMENT: Cora spends a lot of time observing — how has Wanderson Rezende’s set design help inform where Cora places herself, what she notices, and how she inserts herself into the action?

KATARIE HERMAN: It’s fun moving around the set and kind of just interacting with everything. I’m always just everywhere so there’s always something new to play with.

JHPENTERTAINMENT: What’s it like sharing scenes with Michele?

KATARIE HERMAN: Working with Michelle has been joyous. I’ve learned so much from her. She leaves me in awe.

RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ DIRECTOR, PRESTON ALEXANDER RAYMER

JHPENTERTAINMENT: IF my research and memory serve me, A Bad Year for Tomatoes hasn’t been seen in Nashville in over a decade since a much-loved production at the now-defunct Chaffin’s Barn Dinner Theatre— what makes now feel like the right moment to bring this farce back to local audiences?

PRESTON ALEXANDER RAYMER: I think it’s a show that everyone can relate to. As humans, we are constantly evolving and embracing whatever “chaos” comes our way, and it’s up to us to decide how we handle it. It makes me think of the Bear Grylls quote, “Improve, Adapt, Overcome”.

JHPENTERTAINMENT: You show bio boldly touts your directing style as blending Constantine Stanislavsky and Uta Hagen techniques — how exactly do those methods show up in a fast, physical comedy like this?

PRESTON ALEXANDER RAYMER: Because in a Comedy, you cannot “play the comedy”. As Uta says, you must play a comedy like a drama, and in order to do that you must find and play your “Objectives, Obstacles, and Actions” (Stanislavsky).

JHPENTERTAINMENT: This is your first show as director at Playhouse 615 — what surprised you most about stepping into that role in this space?

PRESTON ALEXANDER RAYMER: What surprised me the most was the new talent that came out to audition.

JHPENTERTAINMENT: You’ve worked with Playhouse 615 cofounder Joel Meriwether a few times over the last year. As an actor, he directed you in The Haunting of Hill House and you served as his assistant director in two shows. Now he’s your assistant director. How have previous collaborations shaped your approach to directing A Bad Year for Tomatoes and working with Joel with you at the helm of this production?

PRESTON ALEXANDER RAYMER: It helped me to know the “atmosphere” of Playhouse 615 and how they operate.

JHPENTERTAINMENT: If audiences walk away with one thing stuck in their heads after curtain call, what do you hope it is?

PRESTON ALEXANDER RAYMER: I hope they walk away reflecting on the “chaos” in their own life and recognize what things are truly important to them.

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A Bad Year for Tomatoes is now on stage at Playhouse 615 (1190 Lebanon Road, Mt. Juliet, TN) and continues through Sunday, February 22. Friday and Saturday evening performances begin at 7:30pm, with Sunday matinees at 2:30pm. Tickets are $17 for Military and Seniors, and $20 for Adults. All seating is General Admision/First Come First Served. CLICK HERE for tickets. For more on the show — and to keep up with what’s next at Playhouse 615, including their upcoming production of The Little Foxes on stage March 20–April 5 — check out their website or follow them on Instagram 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, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. Till then #GoSeeTheShow!

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

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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!