Q&A

Rapid Fire 20Q With Cast of Playhouse 615’s ‘RUTHLESS’; Opening Friday, July 25

July 24, 2025 by Jonathan

As Playhouse 615 gets ready to raise the curtain on the wildly outrageous Off-Broadway musical RUTHLESS, I recently caught up with four members of the cast to hit them with a round of Rapid Fire 20Q. From rising young stars to seasoned professionals, these performers bring their own brand of flair to the twisted tale of ambition, identity, and murder set to music. Read on to get to know Alyssa Borg, Kassidy Marsh, Caleb Parker Heath and Diane Bearden Enright just a little more ruthlessly.

RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s RUTHLESS

RAPID FIRE WITH KASSIDY MARSH, TINA DENMARK IN RUTHLESS

JHPENTERTAINMENT: What’s the most fun and most challenging part of playing Tina in RUTHLESS?

KASSIDY MARSH: The most fun part is getting to hang out with my cast mates. The most challenging is learning all the dances and having to remember how to tap.

JHPENTERTAINMENT: Tina is ambitious, dramatic, and a little scary—how do you channel all that energy while keeping it fun?

KASSIDY MARSH: I kind of have a little of her personality. I get to act a little crazy. But, getting to show a scary side on stage is fun.

JHPENTERTAINMENT: What’s been the coolest thing you’ve learned from working with an older cast?

KASSIDY MARSH: Each of the cast members are so nice and have been helpful in helping me do a better job of being Tina.

JHPENTERTAINMENT: On the subject of the adults you’re working with…in this production, your Mom, Melissa Marsh is the show’s costumer. What’s the best part of having your Mom on hand during the production? AND..what can you tell me about your look in the show as far as wardrobe is concerned?

KASSIDY MARSH: Her bringing me snacks to rehearsal is the best part. I feel her clothes show her change from innocent to scary.

JHPENTERTAINMENT: If Tina Denmark had a TikTok—what would her most viral video be about?

KASSIDY MARSH: It would probably be either Tina describing how she deals with Louise or singing about being ruthless.

RAPID FIRE WITH CALEB PARKER HEATH, SYLVIA ST. CROIX IN RUTHLESS

JHPENTERTAINMENT: Your MTSU debut was in THE LANGUAGE ARCHIVE, now you’re debuting with Playhouse 615 in RUTHLESS. Needless to say, the roles of George in THE LANGUAGE ARCHIVE and that of RUTHLESS’ Sylvia St. Croix are quite different. What I’m curious about is…have you found any similarities between the two?

CALEB PARKER HEATH: Honestly, I see George and Sylvia as polar opposites. George is soft-spoken and never really figures out how to say what he’s thinking, while Sylvia just says what comes to mind, whether she should or not. I don’t know that there are any similarities between the two characters, Sylvia has just been a crazy roller coaster of makeup and camp.

JHPENTERTAINMENT: RUTHLESS has been likened to a parody of shows like stage musicals GYPSY & MAME and classic films THE BAD SEED & WHATEVER HAPPENED TO BABY JANE?. Have you seen the alleged source materials? AND…Do you think that’s a fair assessment?

CALEB PARKER HEATH: I can definitely see where the inspiration came from, although I think the show kind of morphed into its own thing. I think that each character comes from one of each of the shows/films. I think that Sylvia definitely drew most of her inspiration from GYPSY and MAME. I’ve seen many different productions of GYPSY, I’ve seen MAME, but I haven’t gotten around THE BAD SEED or WHATEVER HAPPENED TO BABY JANE?. I drew a lot of my inspiration and characterization from MOMMIE DEAREST, Christine Baranski, and many YouTube videos and movies of Broadway divas.

JHPENTERTAINMENT: As the character name might imply, Sylvia St. Croix is, on occasion, played by a female, but it’s important to note that in the first Off-Broadway production, Joel Vig portrayed Sylvia, then during it’s successful Los Angeles run, Loren Freeman assumed the role, setting a bit of a precedence that the role is just uproariously funnier when played in camp drag. So…is this your first time in drag?

CALEB PARKER HEATH: I definitely think the drag element makes the show much campier. This definitely is my first time in drag, It’s definitely not easy, but it’s quickly become my favorite role I’ve ever played to date.

JHPENTERTAINMENT: Honestly I could see an entire production done in drag…and I’m sure it has been done. That said, IF you were to play another role, which would it be and why?

CALEB PARKER HEATH: If I were to play another role, it would probably be Eve because she’s so kooky and awesome.

JHPENTERTAINMENT: As you’re preparing to go on stage, when during the process do you feel you’ve fully slipped into Sylvia’s… heels?

CALEB PARKER HEATH: When I put the lipstick on, pin my wig in place, and put on my 6 inch heels… I feel like a completely different person. I feel like Sylvia. I have to become an entirely different person to do the show.

RAPID FIRE WITH ALYSSA BORG, JUDY DENMARK/GINGER DEL MARCO IN RUTHLESS

JHPENTERTAINMENT: Judy has one of the biggest transformations in the show—what helps you make the shift from doting mom to diva?

ALYSSA BORG: For me, it was all about vocal range and where it lives in the body. For instance, Judy is very fingertips-up, lady-like, Stepford wife meets robotic doll in movement. And Ginger is more hips, and more leaning forward with her heart, her sternum, her chest. And a deeper vocality. Lots of low deep inhales and exhales while belting as much as possible. Whereas Judy is all head voice (as much as possible) and even in speaking trying to be as much in my head voice and as breathy as I can be, without hurting my cords.

JHPENTERTAINMENT: One aspect of Judy’s character is that so much of the fast laughs go right over her head. Do you have a line or a scene that’s a personal favorite?

ALYSSA BORG: Judy is such an amazingly interesting character to me because, first of all, I love playing the “straight” man in comedy. I also love that she has so many wonderful snappy lines where she knows what she is saying, and the other person doesn’t get it, or she takes something very very literally. The other thing about Judy is – she’s a doting mother because she didn’t have a doting mother. She became the doting mother she always wanted as a child, but she’s also still this wounded little girl playing with dolls. That’s why her house is so whimsical, colorful, and over the top. That’s why she has the frilly crinoline petticoats, serves tea and birthday cakes, and everything is kind of magical and a little off.

JHPENTERTAINMENT: Your bio reveals you have a background in voiceover. Have you found that skill helpful in creating unique voices for the two halves of your character in RUTHLESS?

ALYSSA BORG: Having a background in voiceover has definitely helped with playing around with pitch and tonality. And with body movement too. One of the lesser known things about voice acting is that there’s actually a lot of physicality and movement, especially in your arms and in your torso. So once I got those down for the characters, it was really easy just kind of be in that – plus I was never ashamed to come into rehearsal (or auditions) with some sort of vocal warm-up device, whether it was a Vox water bottle, a neck massager, or even a kazoo.

JHPENTERTAINMENT: Playhouse 615 co-founder, Joel Meriwether is directing RUTHLESS. What’s he like as a director, particularly as a director of such an outlandish parody musical?

ALYSSA BORG: Joel, as a director is a very interesting experience and I say that with all the kindness in my heart. He is very open and receptive to feedback even in the moment, and open to actors sharing ideas, especially in the beginning of the rehearsal process. There is a really nice autonomy given to the actors in regards to trusting that we will learn our lines, trusting that we will learn songs, but also, being very collaborative in nature, being open and receptive to ideas about character, about set, about costume, things like that.

JHPENTERTAINMENT: When not on stage, I understand you teach yoga. If Judy Denmark and Ginger Del Marco were your yoga students, which poses would each master with ease?

ALYSSA BORG: Judy needs some ragdolls or wide leg forward folds – she’s very much a marionette who needs her strings cut and to relax. Ginger is very grounded, but I feel like she could use some child’s pose or supine twists – something to make her look a little deeper and more introspective. They both need to start meditating.

RAPID FIRE WITH DIANE BEARDEN ENRIGHT, MISS MYRNA THORN IN RUTHLESS

JHPENTERTAINMENT: If memory serves, did you tell me you were the one who brought RUTHLESS to the attention of Playhouse 615 for potential inclusion in the current season? What is it about this show that you feel fits the Playhouse 615 vibe? AND…What is it about Miss Thorn that attracted you to the role?

DIANE BEARDEN ENRIGHT: Yes, I did introduce RUTHLESS to Playhouse 615. I had done the show over 20 years ago at the Hippodrome Theatre in Gainesville, FL and never forgot how funny it was and how much fun we had doing it. The book is so clever how it weaves in moments from the musical GYPSY and the 1950’s movie THE BAD SEED. It is outrageous, hilarious, irreverent and promises to be an unforgettable evening of musical theatre. Miss Thorn is very special to me and so much fun to play. She’s just a big ole mess! I’m so fortunate to be able to play her again after all these years.

JHPENTERTAINMENT: With your background in both education and event planning, what skills from those roles sneak their way into your stage work?

DIANE BEARDEN ENRIGHT: It’s true I am a teacher as well as an event professional. Those two careers are much like Acting in the way one prepares for the main event. Research and preparedness followed by “flawless” execution. Simple as that.

JHPENTERTAINMENT: When not on-stage or behind the scenes, you serve as an adjunct instructor in theatre at MTSU. If Miss Thorn were to fill in for one of your university courses, what would her first instruction be to the class?

DIANE BEARDEN ENRIGHT: Assigning a student to supply snacks and wine. No joke. 🙂

JHPENTERTAINMENT: You also serve on the Board at Playhouse 615—what excites you most about the future of the company?

DIANE BEARDEN ENRIGHT: I am so proud to have been with this group from the start. Playhouse has done amazing things in a short amount of time. The audience is growing, our talent pool is expanding. We are the hidden gem that is quickly emerging from the shadows.

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

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

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

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

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

Rapid Fire 20Q with creator and cast of Bucket List Inspirations: ‘Neurospicy Players Unmasked’; onstage at MPAC June 27 & 28

June 26, 2025 by Jonathan

On June 27 and 28, Cat Eberwine and a group of area musicians, singers and actors will take to the stage of Mills-Pate Arts Center (7120 Old Nashville Hwy, Murfreesboro, TN) for the debut production from Eberwine’s Bucket List Inspirations. The evening, NEUROSPICY PLAYERS: UNMASKED, as the title might suggest, features a cast of creatives most of whom have been diagnosed as on the autism spectrum. It’s Eberwine’s hope that by featuring a cast of neurodivergent creatives, Bucket List Inspirations‘ production will not only entertain, but also educate and enlighten their audience while simultaneously raising awareness and money to further her mission. With just days before show’s open, I recently had the chance to chat with Eberwine and co for my latest Rapid Fire 20 Q. What follows are those conversations.

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RAPID FIRE 20Q WITH BUCKET LIST INSPIRATIONS’ NEUROSPICY PLAYERS: UNMASKED

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

JHPENTERTAINMENT: Before we get into talking about the upcoming NEUROSPICY PLAYERS: UNMASKED event, let’s talk about your journey discovering you are on the autism spectrum. What made you even consider you might be on the spectrum and when were you fully diagnosed?

CAT EBERWINE: It was during a casual conversation while shopping with one of my closest friends early in 2023. Seemingly out of the blue, she started asking me questions that I later realized were on a list of typical traits of women with autism. After answering yes to most of them, she said, I think you may be on the spectrum. At the point of the conversation, I didn’t know a single woman who was autistic, and I knew very few males personally who were. Most of my knowledge of autism was of the media stereotypes. So, after we parted, I went home and went down a two hour rabbit hole of women with autism and created a 20 page Power Point with flow charts and outlines of other diagnosis that I was currently being treated for or felt I might have. It took me months of research online and conversations with providers and insurance companies and support lines and FINALLY was pointed to a local clinic who did evaluations an accepted my insurance, but it was still pretty expensive, and I had to drive to Knoxville because the Nashville branch appointments were so backed up. After a three part evaluation over the course of a couple of months, I was officially diagnosed in September 2023 thru Athena Care.

JHPENTERTAINMENT: Once you received an official diagnosis, what advice were you given in dealing with such news?

CAT EBERWINE: “Keep it to yourself.” It was a journey for everyone around me and my family had a lot of patience, but none of us knew anything about it, so we were all starting at zero. I lost a therapist I really liked and had had for almost ten years because he “just didn’t see it”. “You’ve been married, you work”. “You don’t look autistic.” I had to find my own books. My first and favorite was Autism in Heels. It amazed me that this other woman had experienced so many of the same emotions and situations that made me feel so isolated all my life. Then I read another and another and a secret community began to emerge. Then I was reintroduced to Cat Burford, I had met her in 2022 but didn’t know she was also on the spectrum. We met for breakfast and had a great talk. We’ve been friends ever since, she’s really helped me a lot and is a great advocate for Autism Acceptance as well as being another member of the Neurospicy Players, an actor and a playwright.

JHPENTERTAINMENT: Now, on to Bucket List Inspirations. What prompted you to create the organization?

CAT EBERWINE: I don’t tell short stories, but I’ll try to stay at 5,000 feet on this one and if we ever want to, we can get into more detail. After my diagnosis, I searched for local organizations, support groups, therapists, not only for autistic adults, but females with autism…and found next to nothing. In many of the books I was reading, authored by late in life diagnosed women who are in highly educated positions, a common theme after diagnosis was the desire to then do what they could to help other women (and girls) become more familiar with how autism presents in women and encouraging earlier and more accurate diagnosis. (see, it’s already becoming a long story). There were many traumas I survived throughout my life that I feel I could have avoided or had better tools to navigate (yes, I have PTSD), had I known more about how my brain was wired. That coupled with wanting to honor the memory of my friend Dave Davis, who would have been right by my side during this journey, gave birth to the foundation. Dave started Bucket List Productions for our production of Assassins in 2022, and since he was my inspiration, that’s where Bucket List Inspirations came from.

JHPENTERTAINMENT: Bucket List Inspirations’ upcoming event NEUROSPICY PLAYERS: UNMASKED is a cabaret performance, but it’s also a fundraiser with a silent auction and a post performance Q&A. That seems like a lot right out of the gate. What was your thought process in debuting the organization in such a multi-level way and how will money raised during the event be used to further Bucket List Inspiration’s mission statement?

CAT EBERWINE: Because I can’t do anything halfway? I hate asking for money, and the more I talked about my autism the more people in my theatre family shared with me about their own diagnosis and I realized there were a lot of very talented people on the spectrum right here in our area. So I thought it would be a great way to highlight the wonderful talents and earn some the money we were asking for. The silent auction idea came from me looking for a template for what information I needed to put on the poster and I saw one that had a silent auction and I thought “ooohhhh, silent auction!”. Again, giving something in exchange for the money we are asking for. Someone in the cast suggested the Q&A and since our foundation is all about education (in an entertaining way), it seemed like a logical thing to do. As for thought process…it’s a lot of brainstorming…and being willing to go with the flow. To be honest, I’m scared to death it’s going to fail, which is a symptom of my diagnosis…perfectionism and a fear of failure…so I’m singing about it in the show.

As for the money, this first time around, I am hoping to cover my expenses from the last year of setting up the foundation, have enough to start producing our next show, and some left to pay someone to start developing the website. The website is the to be the hub of education and connection for Autism Education, Support, Social Activities, and celebrations of Autistic Artists and businesses owned by or supporting people with autism. We are focusing on 18 and over, but we want to start identifying seniors in high school and helping them with their transition to higher education. We have lots of great ideas, but it’s going to take a village and a bucket of gold at the end of my rainbow.

JHPENTERTAINMENT: What do you hope audiences take with them after having spent the evening at NEUROSPICY PLAYERS: UNMASKED?

CAT EBERWINE: A smile and a song in their heart? Maybe a cookie with our logo printed on it made by autism friendly bakery. And a few facts about autism that they never knew they never knew. But especially my eternal thanks for being a part of the birth of my dream.

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

JHPENTERTAINMENT: You were diagnosed as being on the spectrum in your twenties, while Cat and some of your other Neurospicy Players were diagnosed later in life. What do you perceive as an advantage of having been diagnoses at that time in your life?

WILL LASLEY: You know, it’s funny. I was diagnosed earlier, compared to them, but even still, it was later than ideal, which would have been during early childhood. But I never had a lot of trouble with eye contact as a kid, so at the time (late 90’s), they ruled out autism because that was considered such a make-or-break symptom. I do wish that we had real confirmation when I was a kid so that we could have known some level of what to expect and watch for. Now I have all this catching up to do with learning about myself and my community, but I suppose I don’t have maybe quite as much as those who find out even later than I did do, so if I had to name any particular advantage I may have, it would be that.

JHPENTERTAINMENT: How did you come to be part of Cat’s Neurospicy Players and this Unmasked benefit in particular?

WILL LASLEY: Well, Cat helped out with some of the shows I did with Act Too Players in my teens, so she really got to see me go through a lot of growth as a performer, and so I assume it came as no surprise to her when I got diagnosed. Then when SHE later got diagnosed, I was one of a few friends of hers who she knew were autistic that she reached out to, and we talked about it, and then later on she tells me what she wants to do with Bucket List Inspirations, and I was honored to be asked. I’ve loved having been a part of each other’s journeys.

JHPENTERTAINMENT: You’ve been on stage since your early teens, having been amongst the young pool of talent to pass through the doors of Act Too Players as you indicated above. What’s your fondest memories of your time with the beloved Middle Tennessee youth theatre company?

WILL LASLEY: My favorite thing I ever got to do with Act Too was play SWEENEY TODD. That was the thrill of a lifetime, and it was HARD. Sondra Morton and Jayme Smith put me through the wringer on that one, but it’s still my favorite role I’ve ever done. I say this, pun very much intended, that I would kill to play that role again. I definitely feel like I could do it even better now, but getting to do it with Act Too was such an important step in my musical career.

JHPENTERTAINMENT: As someone with a physical disability myself, I was particularly moved by the section of your bio that says you wear your diagnosis with pride. With that mindset, have you found folks are more willing to ask questions, rather than assume things about your disability?

WILL LASLEY: I feel like, even though most people aren’t nearly as educated on autism as I wish they were, it’s a recognizable enough label that people will usually hear you out if you bring it to their attention. I’ve had plenty of people make ignorant assumptions when they find out I’m autistic, and they usually mean well, but I much prefer when people react by asking questions. I do really wish people would just instinctively listen to autistic people when it comes to matters of how we are treated. But you know, people always have to have an opinion whether they’re informed or not, so my hope is that talking more about more about autism will create a more informed public.

JHPENTERTAINMENT: What do you hope you and your costars achieve by presenting NEUROSPICY PLAYERS: UNMASKED?

WILL LASLEY: Obviously, first and foremost, I want people to be entertained, but I hope people will leave with plenty to think about and reflect on. There’s so much about autism that people either don’t know or have completely wrong, and if we can teach people about autism by doing what we already love doing, what more could we want?

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

JHPENTERTAINMENT: How did you come to be part of Cat’s upcoming NEUROSPICY PLAYERS: UNMASKED event?

JOHNATHAN VEST: I saw Cat post something on a facebook group I had recently joined. It was a group for adults with a late autism diagnosis. I reached out to her as a fellow artist/creative, and we began a conversation that has now turned into a friendship.

JHPENTERTAINMENT: Like the other members of the company, you yourself have been diagnosed as being on the autism spectrum. When were you first diagnosed and how has that diagnosis helped you navigate your everyday personal and professional life?

JOHNATHAN VEST: I always thought that I might have ASD ever since the science and research was published about what they used to call Asperger’s Syndrome. But I figured it didn’t matter and as an adult, I had either “outgrown it” or “figured it out” If you will. (Hint: I had done neither of those things.) It was not until someone close to me was diagnosed with something similar that the dominos began to fall and I reached out for some testing.

JHPENTERTAINMENT: In addition to performing in the showcase, you’re also serving as music director for Neurospicy Players Unmasked. What’s been the most challenging/rewarding aspects of tackling that job for this show?

JOHNATHAN VEST: The most rewarding part is working with these talented artists, seeing their passion, and hearing their stories. As for the most challenging, well—you get a bunch of neurodivergent people with brilliant creative minds and circular story-telling on a Zoom call and tell me how that goes 🙂

JHPENTERTAINMENT: In preparation of chatting with you and your cast mates, Cat was kind enough to share the rundown of the show. Spoiler Alert: I love that you’ll be performing The Moon and St. Christopher, a song made popular by Mary Chapin Carpenter. Randomly, I saw Mary at 3rd and Lindsley just this past weekend…but back to my question…what is it about this song that prompted you to choose to perform it for UNMASKED?

JOHNATHAN VEST: I’m glad you know the song! I have always loved Mary Chapin Carpenter’s writing, and she really wrote some beautiful songs. This song is about going on a journey somewhere, and you really don’t know what you’re doing. You have no help, and you’re not even sure where you are going. The light of the moon and St. Christopher, the patron saint of travel, is all you have.

When I think about growing up with undiagnosed ASD, I now realize that I had no help. None of us did back then. If you were autistic back then you were Tommy the Pinball Wizard, and you “sure played a mean pinball” but you didn’t speak, showed little or no emotion, as if you were “locked inside yourself.” That wasn’t me. So I was just weird. So me, and everyone in the cast tonight, had to figure it out. Take the feedback we were given from our parents (not knowing how to help, or understanding they needed to) our peers (often cruel and soul-crushing) and others (often isolating us because of not knowing how to take us). All I had was a light and a prayer. I’m thankful I had them, though.

JHPENTERTAINMENT: I understand there’s a silent auction as part of the evening’s festivities, right?JOHNATHAN VEST: Yes, I hope everyone will consider bidding on something. Our hope is to continue to offer opportunities and resources for adults with autism, which right now, are very scarce.

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

JHPENTERTAINMENT: From the bio Cat provided as I began researching to chat with you all, I learned that you, like Cat were recently diagnosed as being on the autism spectrum. How has learning this information at this stage in your life helped you?

DAN KASSIS: More than anything, learning I have ASD has helped me accept those things about myself that I have tried to change or “fix” for most of my adult life. The goal now is to learn to thrive with my particular neurotype rather than fight against it.

JHPENTERTAINMENT: You’ve been a Nashvillian since 2001, having spent the early part of your life in your native California. What prompted you to relocate to Music City?

DAN KASSIS: We moved here from Sacramento (like Cat did!) because of a downsizing at my job there that deleted my position. From that day, it only took about four months to arrive in the Nashville area. I got a job with LifeWay Christian Resources. They moved my family and me here.

JHPENTERTAINMENT: As an actor, what’s been the most rewarding aspect of being on stage in front of a live audience?

DAN KASSIS: I’m a big fan of the moment when everything comes together after all the hard work and preparation, and the show seems to come alive. You realize you and your fellow actors and crew are no longer working on a project. You’re part of a bigger thing. I have also loved working alongside some of our region’s most talented actors and learning from them.

JHPENTERTAINMENT: I understand you first were drawn to your love of drumming at an early age. Who are some of your drummer heroes and is there a piece within the NEUROSPICY PLAYERS: UNMASKED that you’re particularly enjoying performing?

DAN KASSIS: The drummers who have inspired me the most have all come from the jazz genre – Dave Weckl, Vinnie Colaiuta, Steve Gadd, Peter Erskine, Brian Blade, Elvin Jones, Buddy Rich. I also learn a lot from session players like Jeff Porcaro and Keith Carlock. I love “What Else Can I Do” from Encanto – I always enjoy playing anything with a Latin groove.

JHPENTERTAINMENT: What do you think is the biggest misconception about being on the autism spectrum?

DAN KASSIS: The biggest misconception is that “we’re all on the spectrum.” No we aren’t! There are neurotypical people and neuro-atypical people. If we were all on the same spectrum, I don’t think autism would be considered a disorder. You don’t have to claim to be on the same spectrum as people with ASD to connect with them and and better understand them.

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Bucket List Productions’ NEUROSPICY PLAYERS: UNMASKED takes to the stage at Mills-Pate Arts Center on Friday, June 27 and Saturday, June 28. Each evening will begin with a Reception and Silent Auction at 6pm and show at 7pm. Immediately following the show there will be a talkback and Q&A with the cast. General Admission tickets are $20. For $100, there’s a cabaret table option (table for four nearer the stage). CLICK HERE to purchase tickets.

Can’t make the event but would like to support upcoming programs presented by Bucket List Inspirations? CLICK HERE. You can also follow Bucket List Inspirations on Faceboo k.

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

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

June 12, 2025 by Jonathan

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

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

RAPID FIRE WITH COMPANY MUSIC DIRECTOR, ROGER HUTSON

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

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

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

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

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

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

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

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

RAPID FIRE WITH COMPANY’s JOANNE, DONNA DRIVER

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

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

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

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

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

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

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

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

RAPID FIRE WITH COMPANY’s LARRY, ELLIOTT WINSTON ROBINSON

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

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

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

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

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

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

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

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

RAPID FIRE WITH COMPANY’s APRIL, SYDNEY ROGERS

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

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

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

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

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

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

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

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

RAPID FIRE WITH COMPANY’s BOBBY, TOMMY ANGLIM

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

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

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

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

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

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

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

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

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

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

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

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook. In the meantime, #GoSeeTheShow!

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

April 7, 2025 by Jonathan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Martin?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

March 13, 2025 by Jonathan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: When I heard you were part of this cast, I knew I had to chat with you! What can you tell me about Lashley Lashley, the character you play in THE SPARKLEY CLEAN FUNERAL SINGERS?

LAUREN BRADDOCK HAVEY: So great to chat with YOU Jonathan! Oh my gosh, Lashley Lee Lashley, what a dream to play. This is my third go round with a character of Lori’s that she has entrusted me with. I love them all-they are all so rich and Lashley is no exception and probably my favorite. What actress wouldn’t love playing an alcoholic country singer with ADHD?! And if anyone says it’s typecasting I’ll punch ‘em haha! Truly a blast to let loose with her and lean into her naughty behavior. She and I do have a similar mother issue in common interestingly in a coincidental art immitating life kind of way. Lashley to me is kind of like an M n M, hard on the outside but soft and sweet on the inside.

JHPENTERTAINMENT: When I chatted with Lori, I mentioned her dad being a well-known songwriter. Of course your dad is Bobby Braddock, who penned hits for everyone from George Jones and Tammy Wynette to Nancy Sinatra. Having grown up around music icons, I gotta know, have you gathered inspiration for Lashley Lashley from anyone in particular?

LAUREN BRADDOCK HAVEY: Great question! Yes I have! I have definitely given some thought to who some of her musical hero’s might have been and she also shares some personality traits with some artists I have known but I’d rather people guess who! She’s definitely a composite of some of the bigger than life artists I have had the good fortune to have gotten to know.

JHPENTERTAINMENT: Speaking of fathers, Alan Lee play’s Junie and Lashley’s father, Lyle Lashley. What’s Alan like as a scene partner?

LAUREN BRADDOCK HAVEY: Alan is such a warm, committed and generous scene mate. When he calls me “Peanut” I truly feel our shared history and can picture little Lashley and Junie at his knee. It’s such a joy to get to work with him!

JHPENTERTAINMENT: Do you have a favorite musical moment in the show?

LAUREN BRADDOCK HAVEY: Ah man, there are so many gems it’s kind of hard to choose just one! The sisterhood moments are fun and special, doing No Impulse Control with Robbie is a hoot and All That You Can Eat Liver and Onions is an absolute blast to perform.

JHPENTERTAINMENT: What can you tell me about Lashley Lashley’s look for the show?

LAUREN BRADDOCK HAVEY: I’d call Lashley’s look in this show a bit “country tarty chic.” A bit of big hair and big lashes. She raided my closet and is hoarding my lavender Luccasse boots. She enjoys some glitz some glamour and of course…SPARKLE!

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Lyle Lashley to you?

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire Q&A with ‘HADESTOWN’ stars Nickolaus Colón and Namisa Mdlalose Bizana; at TPAC March 7-9

March 5, 2025 by Jonathan

HADESTOWN, often described as a Broadway folk opera, is singer/songwriter/playwright Anaïs Mitchell’s Tony and Grammy-winning musical retelling of Greek myths involving Orpheus, Eurydice, Hades, Persephone, Hermes and The Fates. When I heard HADESTOWN would be playing a limited weekend run at TPAC’s Jackson Hall Friday, March 7 thru Sunday, March 9, I knew I had to chat with some of the company of the show’s current tour for the latest installment of my recurring interview feature, Rapid Fire Q&A.

To that end, what follows are my conversations with HADESTOWN’s Hades and Persephone, Nickolaus Colón and Namisa Mdlalose Bizana:

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RAPID FIRE Q&A WITH HADESTOWN STARS NICKOLAUS COLÓN AND NAMISA MDLALOSE BIZANA; NATIONAL TOUR AT TPAC BEGINNING MARCH 7

RAPID FIRE Q&A WITH NAMISA MDLALOSE BIZANA, PERSEPHONE IN HADESTOWN

JHPENTERTAINMENT: For the uninitiated, what is HADESTOWN about?

NAMISA MDLALOSE BIZANA: It’s about two intertwined love stories between Orpheus and Eurydice, and the gods Hades and Persephone. When the story begins Hades and Persephone are misaligned in their relationship which has consequences for the mortal world. In this discord Orpheus and Eurydice fall in love and then are faced with having to make choices based on love or survival.

JHPENTERTAINMENT: What can you tell me about Persephone?

NAMISA MDLALOSE BIZANA: She’s a complex character with many layers to her. At face value she’s fun and charismatic but she has so much more to her. She quite literally holds light and darkness within her and must wade through the complexity that comes with it.

JHPENTERTAINMENT: This tour of HADESTOWN began in October of last year. You’ve been with the company since. Are you still discovering nuances of the character?

NAMISA MDLALOSE BIZANA: Of course. We’re playing gods. And by nature, there are endless possibilities.

JHPENTERTAINMENT: What’s your favorite aspect of tour life?

NAMISA MDLALOSE BIZANA: Getting to meet people from all over the US. Getting to talk to audiences and schools. And of course, the food! We’ve just come from Dallas and of course I had to try some Texan BBQ and it’s everything I thought it would be!

JHPENTERTAINMENT: Speaking of touring…any plans to tour The Parthenon while HADESTOWN sets up shop in Nashville? After all, we are the Athens of the South!

NAMISA MDLALOSE BIZANA: It’s definitely on my list!

RAPID FIRE Q&A WITH NICKOLAUS COLÓN, HADES IN HADESTOWN

JHPENTERTAINMENT: How familiar were you with the story of Hades and Persephone prior to taking on the role of Hades of the current tour of HADESTOWN?

NICKOLAUS COLÓN: Besides what I’ve seen of Hades depicted in movies and shows I hadn’t really had the exposure to the proper myths. I wish I had sooner because they are incredible to read about.

JHPENTERTAINMENT: In spite of connotations stirred simply by association of Hades and the underworld he rules, Hades, according to original mythos, is strong but rather passive and ultimately caring. What trait of Hades, as depicted in HADESTOWN, might you hope to mimic in your own life?

NICKOLAUS COLÓN: The greatest gift I’ve gotten from Hades has been a boost to my confidence. Confidence is power. To be able to hold myself to my full height when for so many years I’ve lowered myself to make others feel safe around me has been such a gift. I’ve always been confident in my abilities but ever since I put on the suit I’ve started to stand taller off the stage.

JHPENTERTAINMENT: As Hades, you not only rule the underworld, but you’re also betrothed to Namisa Mdlalose Bizana’s Persephone. What is your favorite thing about sharing the stage with her?

NICKOLAUS COLÓN: Namisa has been an absolute blessing of a scene partner. From the moment I met her and she asked if we could just take a breath together before our final callback, I knew she was my Persephone. Even on days when tour is hard, I can always count on her to be there with me on that stage and to make me laugh.

JHPENTERTAINMENT: Do you have a favorite musical moment in the show, whether it be yours or one that you just enjoy witnessing as a member of the company night at night?

NICKOLAUS COLÓN: Favorite musical moment for me would be during His Kiss, the Riot before I speak. The band and Fates watch as I slowly make my way around the stage to grab my stool and all the while they are fueling all the rage, fear, doubt, indecision, conflict that I am going through in that moment. Music is a powerful tool for storytelling.

JHPENTERTAINMENT: What do you hope audiences come away remembering long after their visit to HADESTOWN?

NICKOLAUS COLÓN: I hope they leave and have a core memory of the time a room of 3000 people for 2 hours were able to put aside their differences and take the ride of truly investing in these two mythical love stories.

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The current tour of HADESTOWN plays TPAC’s Jackson Hall with five performances over the three day period of Friday, March 7 thru Sunday, March 9. Friday and Saturday evening performances are at 7:30pm with matinees Saturday at 2pm & Sunday at 1pm and a final Music City performance Sunday evening at 6:30pm. Ticket prices start at $48.30. CLICK HERE for tickets or more information.

Not in Nashville? Be sure and check out HADESTOWN on Tour’s Official Site for upcoming cities including Johnson City, TN, Omaha, NE, Oxford, AL, Pensacola, FL, The Villages, FL, Columbia , SC and more as the tour continues.

Among the many entertainment options coming to TPAC following HADESTOWN, TPAC’s HCA Healthcare/TriStar Heath Broadway at TPAC in partnership with Nissan continues next with the return of MAMMA MIA, on stage at TPAC’s Jackson Hall March 18-23. CLICK HERE for tickets.

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

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

Rapid Fire Q&A with Director and Cast of Reimagining of Martin Luther King Jr.’s last night, ‘The Mountaintop’; at Nashville Rep through February 23

February 21, 2025 by Jonathan

Nashville Repertory Theatre‘s current offering, The Mountaintop, written by Katori Hall presents a fictional, yet thought-provoking representation of what Dr. Martin Luther King‘s last night of earth might have been like. Directed for Nashville Rep by Alicia Haymer, the two-person play (now onstage at TPAC‘s Johnson Theatre through Sunday, February 23), stars Rashad Rayford as Dr. King and Tamiko Robinson Steele as Camae, a motel maid, who thanks to Hall’s clever script, gets a suprisingly personal one-on-one chance meeting with the history-making Civil Rights leader. The entirety of the action of The Mountaintop takes place in room 306 of Memphis’ now-infamous Lorraine Motel on the evening of April 3, 1968, the night before Dr. King’s assassination. Last week, as cast and crew prepared to open the show, I had the honor of chatting with director and both stars for my latest Rapid Fire Q&A. What follow are those conversations.

RAPID FIRE Q&A WITH DIRECTOR AND CAST OF NASHVILLE REP’s THE MOUNTAINTOP

RAPID FIRE Q&A WITH THE MOUNTAINTOP DIRECTOR, ALICIA HAYMER

JHPENTERTAINMENT: As The Mountaintop director, what do audiences need to know going in?

ALICIA HAYMER: Whatever you’re expecting, this isn’t it. We often see the larger than life Dr King persona, but this is a reimagining of the man.

JHPENTERTAINMENT: In preparation of chatting with you and your cast, I read the script since I’ve never seen a production of The Mountaintop. I was immediately stuck by how playwright Katori Hall’s fictionalize account of Dr. King’s last night humanizes him. Is that humanization of the icon part of what drew you to this particular project?

ALICIA HAYMER: Absolutely. Katori Hall approached this idea in such a unique way. I couldn’t pass up the opportunity to tell this story, and work with my dear friends Rashad and Tamiko.

JHPENTERTAINMENT: Speaking of the script, early on when Dr. King and Camae comment on the rain, Camae simply remarks, “God ain’t gonna stop crying no time soon”. That line really hit me. Do you have a favorite line in the show?

ALICIA HAYMER: Yes! “Take the baton and pass, pass, pass it along!” We must all continue to do the work necessary to move our society forward.

JHPENTERTAINMENT: When directing a two-person play as opposed to a larger cast, how important is blocking/staging, and how have you addressed it with The Mountaintop?

ALICIA HAYMER: It’s much easier with two actors. The important thing about blocking is that it feels organic and authentic. I don’t want two robots on stage, but two people living and moving truthfully in the moment.

JHPENTERTAINMENT: I’m about to chat with your two actors, so I’d like to ask you…what is is about Rashad Rayford’s performances as Dr. King and Tamiko Robinson Steele’s turn as Camae that you hope audiences take note of most?

ALICIA HAYMER: Rashad has done extensive research to bring Dr. King to life in this unique way. I hope audiences resonate with the spirit of Dr. King that he invokes in his own authentic way. As for Tamiko, she is so brilliant, and brings such light and earnestness to Camae. I hope audiences see that any person, no matter how insignificant they believe themselves to be, can do extraordinary things.

RAPID FIRE Q&A WITH RASHAD RAYFORD, DR. MARTIN LUTHER KING, JR. IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, I need a little clarity to start…Your show bio indicates that The Mountaintop marks your Rep debut, but didn’t you appear in a 2012 staged reading of A Behanding in Spokane with The Rep?

RASHAD RAYFORD: I did the staged reading for A Behanding in Spokane. You are correct. This will be my mainstage debut.

JHPENTERTAINMENT: It’s not your first time playing the role of Dr. King in The Mountaintop, having appeared as the legendary Civil Rights leader in the regional premiere back in 2012. In the years since you first stepped into the role, have you discovered nuances in the role that you’re bringing to this performance?

RASHAD RAYFORD: Definitely, I’ve grown as a person, I was newly married, with no children back then. My wife and I now have four children, and 13 years of marriage and life experiences under my belt. There are so many differences between now and then. It’s been great to discover new things along the way this time.

JHPENTERTAINMENT: This show also serves as a bit of an on-stage reunion with your costar, Tamiko Robinson Steele, having shared the stage with her in The Piano Lesson, Never Been Home and 70% More (and a few film projects if my research serves me well). I have been enthralled by Tamiko from the first time I saw her on stage. She is truly a gift to Nashville’s theatre community. What is is about Tamiko’s talent that makes her the ideal scene partner?

RASHAD RAYFORD: I’ve known Tamiko for almost twenty years now and she is truly family. She is the consummate professional, and her work ethic and dedication are inspiring. We have this great ability to play off of each other and energize each other onstage. I always enjoy sharing the stage with actors who “get it”. The depths of her character development and understanding nuance. It’s a pleasure to watch her work.

JHPENTERTAINMENT: You’ve also shared the stage with your director, Alicia Haymer. As a director, how has she helped bring out your best performances in this show?

RASHAD RAYFORD: This is the first time Alicia has directed me, and I’ve appreciated her approach. She allows us to make decisions, but she also has enhanced what we’re doing, and pushed us to go further and get uncomfortable so that we could find comfort. She is a great director. It’s been an awesome experience.

JHPENTERTAINMENT: What do you hope audiences take with them after having seen The Mountaintop?

RASHAD RAYFORD: I hope audiences walk away knowing that they are enough. Wherever they are in their journey, they can get to The Mountaintop and they can also help others get there too.

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, CAMAE IN NASHVILLE REP’s THE MOUNTAINTOP

JHPENTERTAINMENT: Alright, just to begin…When I saw that you were playing Camae in The Rep’s The Mountaintop, I was so excited. I mean…you gotta know you’re among what I’ve always referred to as my ‘theatre crushes’. Who is Camae to you?

TAMIKO ROBINSON STEELE: First of all, I love that I’m on your ‘theatre crush’ list…I’ll take that honor! Camae, to me, is lightning in a bottle. She’s quick-witted, sharp as a blade, and carries a presence that is impossible to ignore. But beyond the humor and fire, she’s a mirror and a reckoning. She forces Dr. King, and the audience, to see him as more than just an icon, but a man with fears, flaws, and a fate he can’t outrun. Playing her is like stepping into a storm and a sermon at the same time, she is divine mischief, raw truth, and boundless energy wrapped in one unforgettable woman.

JHPENTERTAINMENT: As I mentioned to Alicia, prior to chatting with you all, I read the script as I was only vaguely familiar with the work. I love Camae’s spiritedness. Is that part of what drew you to this role?

TAMIKO ROBINSON STEELE: Absolutely! Camae is spirit and spark. She’s unpredictable, she flips the energy in the room on its head, and she refuses to be boxed in by expectation. But what truly drew me to her is what’s underneath all that fire, her purpose. She is sent for a reason, and watching her navigate that tension between her humor and her mission, between being in awe of Dr. King and challenging him, makes her one of the most deliciously layered roles I’ve ever stepped into. It’s exhilarating to play someone who gets to challenge history itself while still keeping you laughing, questioning, and on the edge of your seat.

JHPENTERTAINMENT: Before opening weekend, The Rep shared a sneak peek at the set designed by Gary C. Hoff. Is there an aspect of the set or a piece that the audience might miss that you find particularly interesting?

TAMIKO ROBINSON STEELE: Oh, that Gary C. Hoff! His sets always transport you somewhere. One thing I love is how the small details ground you in the time period—from the textures to how they may shift when the light hits it, it’s like stepping into 1968 itself. But there’s also a subtle unease in the space, a feeling that something bigger is at play. I won’t spoil too much, but let’s just say this set has a way of shifting right when you least expect it, much like the story itself.

JHPENTERTAINMENT: When I spoke with Rashad Rayford, I noted that you two have shared the stage a handful of times in the past. This show also reunites you with director Alicia Haymer, who directed you in Nashville Rep’s School Girls; or The African Mean Girls Play. Is there a bit of advice or direction that Alicia has offered that opened up a new perspective of Camae to you?

TAMIKO ROBINSON STEELE: Rashad and Alicia are family to me. I can’t express how much knowing that the three of us would build this world together excited me! Alicia has this incredible way of finding the heart inside every scene. One thing she pushed me to do was to honor the stillness in moments because Camae is such an electric presence, it’s easy to play into the fast-talking, sharp-witted firecracker side of her. But Alicia reminded me that Camae doesn’t just disrupt, she listens, she absorbs, she knows exactly when to hold back and when to strike. That balance is what makes her so powerful. Working with Alicia again has been a gift, because she trusts her actors while also making sure every choice we make serves the story in a real and honest way.

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

TAMIKO ROBINSON STEELE: Because it’s not just a play, it’s an experience. It takes one of the most monumental figures in history and lets you see him as a man, tired, flawed, afraid, funny, hopeful, real. It makes you laugh, think, and wrestle with what it means to carry the weight of change. And then, just when you think you know where it’s going, it flips everything on its head.

This play is urgent, intimate, and unforgettable. It reminds us that history isn’t just something we look back on, it’s something we’re still shaping, right now. So if you come to see The Mountaintop, be prepared. You’ll leave differently than when you walked in.

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Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.

Next up at Nashville Rep, it’s Sondheim‘s Sunday in the Park with George, with performances April 4-13. Sunday will be directed by Jason Spelbring, with musical direction by Steve Kummer. In the roles of Georges Seraut and George it’s London West End favorite, Irish actor, David Shannon (Les Miserables, The Phantom of the Opera, Sweeney Todd). Just announced, the cast will also feature Christine Dwyer (Broadway‘s Wicked, National Tours of Waitress, Finding Neverland, RENT). Dwyer will take on the roles of Dot and Marie. The cast also includes Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Richard Harrison Jr. as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise. CLICK HERE for tickets.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rapid Fire Q&A with Aristophanes’ Lysistrata co-director and lead actors; at Playhouse 615 January 31-February 16

February 7, 2025 by Jonathan

Originally written in 411BC, Aristophanes’ Lysistrata tells the tale of the women of Greece attempting to end the Peloponnesian war by using arguably the most powerful weapon of all…sex. The effort is spearheaded by Lysistrata, a woman who’s grown tired of the failures of men running things. While considered one of the most well-known Greek plays ever written, Lysistrata isn’t exactly among the most-performed plays in today’s theatre world.

That said, leave it to Playhouse 615 to present it. Once again veering from the typical musical of the moment or guaranteed asses in seats retread of shows everyone in town is doing, Playhouse 615 is currently presenting Lysistrata as adapted by playwright Robert Coles, whose original play, Aunt Sally’s Wild Ride, recently debut at Playhouse 615.

As the cast and crew readied for week two of their three week run, I recently had the chance to chat up cast members Abby Waddoups and Daniel Vincent, the aforementioned playwright, Robert Coles, and director, Diane Bearden-Enright for the latest installment of my recurring interview feature Rapid Fire 20Q. What follows are those conversations:

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Rapid Fire 20Q with playwright, director and leads of Playhouse 615’s new adaptation of Aristophanes’ Lysistrata

Rapid Fire with Lysistrata lead, Abby Waddoups

JHPENTERTAINMENT: For the uninitiated, who is Lysistrata and what can you tell me about the plot?

ABBY WADDOUPS: Lysistrata is a comedy from Ancient Greece written by Aristophanes. Basically, the women want to end a decade long war and bring the men home safely for the good of the whole city of Athens and their families. The main way they go about this is by withholding from their husbands. Well, Lysistrata persuades all women in Greece to withhold those privileges and wait for the men to negotiate peace. It’s a battle of the sexes, Hilarity ensues…

JHPENTERTAINMENT: Not gonna lie, I vaguely remember scanning the Cliff Notes for Aristophanes’ Lysistrata for some lit or theatre class back in my college years, but beyond that, I never saw a production or read the full script. How familiar were you with the piece prior to auditioning

ABBY WADDOUPS: I was a theatre major, so I had read it in college. It’s a pretty memorable plot and character… but I am convinced the only people familiar with Lysistrata today were either theatre majors or a student of classic literature. Other than in my research, I hadn’t stumbled across another production of Lysistrata to see live, so it’s rare.

JHPENTERTAINMENT: What was it about this role that prompted you to audition? AND…did you come into the auditions with Lysistrata and only Lysistrata in mind to play?

ABBY WADDOUPS: I don’t usually hold out for lead roles when auditioning. I trust the director’s vision with who else auditions and I have played plenty of secondary roles in my time – But I thought I had a good chance for Lysistrata. I am truly honored to play this fierce woman, a leader and a force to be reckoned with.

JHPENTERTAINMENT: In researching to chat with you all about the show, I fell down a video rabbit hole of various interpretations and productions of Lysistrata. Some seemingly very faithful to Aristophanes’ original antiquated ideals and some, more modern takes. Where does this one fall as adapted by Robert Coles?

ABBY WADDOUPS: Robby did an amazing job adapting this! As advertised, it is a modern take on a classic, with plenty of laughs, witty bits, but the language holds true to the intent and Lysistrata is one of the only serious characters, a stark contrast from the others. This take was adapted for the Playhouse stage and our middle TN audience, pushing the envelope just enough, but not as raunchy or in your face as other interpretations of it.

JHPENTERTAINMENT: Speaking of Robert, you shared the stage him in Playhouse 615’s Sordid Lives, and you and Lysistrata director Diane Bearden-Enright appeared alongside each other in their recent production of The Sugar Bean Sisters. Is there an ease or advantage of having shared the stage with the two of them, now that they’re directing you in this show?

ABBY WADDOUPS: Diane and I have worked on several shows together and in different capacities over the past few years. We first met at Playhouse 615 in Steel Magnolias in 2021. Robby and I haven’t known each other but a few months, though it feels longer and we did get close with Sordid Lives. I love working with both of them and am so happy we all get to work together again on Lysistrata! There is definitely an ease and built in trust working with people again who have become friends. Playhouse 615 in general is a wonderful venue and like being a part of a family, which is why so many of us keep returning. In addition to a few familiar faces, we have several new cast members in Lysistrata who you must see! It’s clear there is some magic at Playhouse and people feel comfortable to explore and play and bring engaging, intimate theatre to the greater Nashville area.

Rapid Fire with Lysistrata’s Magistrate, Daniel Vincent

JHPENTERTAINMENT: Who is Magistrate to you?

DANIEL VINCENT: He’s lawful good. He sees the issues and does sympathize with Lysistrata’s plight, but rules, traditions, and politics get in his way. Order must be maintained.

JHPENTERTAINMENT: How excited are you to be back onstage after quite some time behind the scenes?

DANIEL VINCENT: I’m having a lot of fun with this cast. At first, I was only signed on to build the set, but Diane and Robby persuaded me to audition and I’m very glad they did. It feels great to re-engage the actor in me after wearing so many other hats this past year.

JHPENTERTAINMENT: A quick peek at your bio reveals even though you’ve been an integral part of Nashville’s theatre community for nearly three decades, this adaptation of Lysistrata marks your first time appearing in a Greek classic. What took you so long?

DANIEL VINCENT: Well, to my knowledge there aren’t a lot of Greek classics being mounted around Nashville, but in fairness, I’ve never sought them out. Modern plays and musicals have always kept me very busy. I’ve always enjoyed reading plays by Aristophanes, Euripides, Aeschylus, and others, particularly the tragedies, but the opportunity to perform one never really presented itself.

JHPENTERTAINMENT: Robert Coles, who adapted this version of the show, was kind enough to allow me to peruse the script in preparation of my conversations with you and others involved in the show. There are some truly hilarious moments therein. Even if it’s totally out of context for this interview, do you have a favorite line or scene you could share?

DANIEL VINCENT: There are so many hilarious moments in the show, but my favorite scene has to be one with Lysistrata (Abby Waddoups). She and I are trying to convince the other in what I would call “a dance of persuasion”. In the one conversation we go back and forth, constantly shifting tactics from blatant, full contact seduction to posturing to threats and everything in between. It goes from steamy to hilarious and back, turning on a dime.

JHPENTERTAINMENT: What is it about Lysistrata, this version in particular, that you hope will resonate with audiences?

DANIEL VINCENT: I’m hoping people will see that as far as we’ve come in the 2400 years since this was written, we haven’t really gotten very far. The issues are still relevant and relatable. The struggle for power and having a voice, sexual politics, and the needs inherent in being human haven’t changed all that much.

Rapid Fire with Lysistrata adapter and co-director, Robert Coles

JHPENTERTAINMENT: While researching to chat with you, I’ve found several articles about Aristophanes’ Lysistrata indicating that over the years, the tone has changed from his original intent to mock women and their roles as sexual property. Does your adaptation address/alter this original concept?

ROBERT COLES: We live in a society that already mocks women enough. My goal with this adaptation was to put the power back with the women and showcase how important women are to society. In the script, the story does place a lot of emphasis on a woman’s place at home as a caretaker, but there are subtle (and some not so subtle) nods to how this is an outdated system and women deserve equal rights. I feel this argument is more powerful and timely than ever.

JHPENTERTAINMENT: I gotta ask…why revisit this particular piece rather than just present a standard production of the original or write a new work altogether?

ROBERT COLES: I’ve always wanted to adapt a piece. I’ve never done an adaptation before, and when Diane approached me to write this, I dove all in. I read probably 15 different adaptations, as well as one that almost follows the original to the word, and I realized I wanted to do something new. We very much honor the original Greek text and language styles, but we’ve brought it to a more modern context to give audiences a fresh take. As for writing a new work, I’ve always got one up my sleeve! This was just a particularly fun challenge for me as a writer.

JHPENTERTAINMENT: In adapting this play, you added scenes/characters that weren’t present in Aristophanes’ original, right?

ROBERT COLES: Yes! That’s the fun with adaptations! You get to play fast and loose with the original. Diane wanted a script that was funny and heartfelt and showcased powerful women. In building that world, I had to add in a few scenes to weave the story together and take it out of the original context. Additionally, we had so many amazingly talented actors come out an audition for this that we really decided at the last minute to expand the original draft of the script and incorporate a larger men’s and women’s chorus. We kept with the traditional Greek theatre style of synchronized speech, but incorporated some theatre of the absurd styles that I love so much as a director. This cast, with Diane’s expert leadership, has really embraced the absurdity. I laugh every night at something new!

JHPENTERTAINMENT: Lysistrata is just the latest in your on-going relationship with Playhouse 615 having appeared in their recent production of Sordid Lives, and having written their premiere engagement of your southern comedy, Aunt Sally’s Wild Ride. Full disclosure, you’re also the company’s marketing guru and a board member. What is it about Playhouse 615 that has drawn you in?

ROBERT COLES: I could talk for days about the magic that happens at Playhouse 615. I’ve never felt more loved, accepted, and understood. Playhouse 615’s Joel Meriwether and Ann Street-Kavanagh have built a safe space for actors, writers, and creators to do what they do best. When you add in the board of directors and host of volunteers that come together eight times a year to put on superior productions that keep our audiences coming back for more, you have a recipe for something really, really special. At Playhouse, the stage is so close to the audience that you feel like you get to know them intimately, and I love that.

JHPENTERTAINMENT: Not only have you adapted this piece, but you’re also serving as this production’s co-director, alongside the show’s primary director, Diane Bearden-Enright. I’m about to chat with Diane, so I’ll wrap out chat by asking what it is about Diane’s style of directing that ensures your adaptation will be presented in a way that will honor your words?

ROBERT COLES: Diane is a visionary director. She comes in with a concept and knows what she wants, and won’t stop until she gets it! I love working with people like that. She comes to every rehearsal prepared and makes the cast feel like they’re part of the process and building the world together. I’ve learned so much watching her. As a playwright, it’s important to have trust in the director bringing your work to life for the first time, and I trust Diane completely.

Rapid Fire with Lysistrata director, Diane Bearden-Enright

JHPENTERTAINMENT: What was it about this project that piqued your interest as a director?

DIANE BEARDEN-ENRIGHT: I have always loved this story. I read it years ago in school and later, in graduate school, had the opportunity to appear in a different adaptation. I love these powerful, cunning women.

JHPENTERTAINMENT: Robert Coles not only adapted this particular version, based on Aristophanes’ classic Greek comedy, but he is also serving as your co-director. What’s the advantage of having the playwright as you co-director?

DIANE BEARDEN-ENRIGHT: Oh my goodness, what a joy! It’s rare to have the playwight sitting there beside you. I always have questions along the way and having Robby there to answer them is a luxury. He has also been a wonderful Assistant Director. We make a great team.

JHPENTERTAINMENT: On the flip side, has there been a challenging aspect of having the playwright as your co-director?

DIANE BEARDEN-ENRIGHT: In all honesty, there were no challenges. Robby just let me do my thing and never tried to over step, only support.

JHPENTERTAINMENT: Among the rather large cast, there’s a few familiar names as well as some folks who are new to Playhouse 615. How exciting is it to work with this particular mix of actors?

DIANE BEARDEN-ENRIGHT: I am very fortunate to have this talented cast. Variety is the spice of life! We have some familiar faces in the cast but also a large number of first-timers! You will meet, a bevy of beautiful ladies and some rather handsome men. Oh, and they happen to be very talented to boot!

JHPENTERTAINMENT: What do you hope audience take with them after having seen this production of Lysistrata?

DIANE BEARDEN-ENRIGHT: A new found appreciation for Greek comedy? Who knew it could be so funny and so relevant to today’s world. It’s fascinating how themes repeat throughout history and how relatable this story is for modern audiences. Theatre is here to educate and hold the up the mirror, right? Most of all, I want folks to sit back, relax and laugh their asses off!

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Playhouse 615’s Lysistrata continues its run with performances Friday February 7 thru Sunday, February 16. Friday and Saturday performances are at 7:30pm with Sunday matinees at 2:30pm. Tickets are $17 for Seniors and Military and $20 for Adults. All seating is General Admission. Tickets are available online at or by calling the box office at 615.319.7031.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and running March 21-April 6. WATCH THIS LINK for ticket info when it becomes available. 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.

Rapid Fire 20Q with cast of ‘CHICAGO’; National Tour at TPAC’s Jackson Hall January 28- February 2

January 27, 2025 by Jonathan

Considering the original 1975 Broadway smash hit CHICAGO came to the stage with musical pedigree in hand, thanks to music by John Kander, lyrics by Fred Ebb and an equally engaging book by Ebb and Bob Fosse, it should be no real shock that fifty years later, it’s still one of the most beloved musicals of all time. Proving it’s popularity, the 1996 revival now not only holds the record as Broadway’s longest-running musical revival and the longest running American musical in Broadway history. So naturally I was among the droves of fans excited to hear that the current National Tour is making its way back to Nashville as part of TPAC’s current HCA Healthcare/TriStar Health Broadway at TPAC series.

As the cast and crew of CHICAGO readied for their return to Music City at TPAC’s Jackson Hall January 28-February 2, I recently had the chance to chat up four of the show’s cast. So settle in as CHICAGO stars Taylor Lane, Ellie Roddy, Connor Sullivan and Illy Kirven take the stand for the latest edition of my recurring interview feature, Rapid Fire 20Q.

Rapid Fire 20Q with cast of CHICAGO; National Tour at TPAC’s Jackson Hall January 28- February 2

Rapid Fire with Taylor Lane, Velma Kelly in CHICAGO National Tour

JHPENTERTAINMENT: The current National Tour of the iconic CHICAGO kicked off just a few months ago. What has it been like to step into the role of Velma Kelly thus far?

TAYLOR LANE: Stepping into the role of Velma Kelly has been an absolute thrill. It’s a dream come true to bring such an iconic character to life. I’ve loved diving into her strength, sass, and complexity, and it’s been an incredible challenge to embody her boldness while making her my own.

JHPENTERTAINMENT: As Velma, you are front and center leading the ensemble during the show’s spectacular, high-octane All That Jazz. Of course renowned choreographer Bob Fosse created the moves for the original production, and his style is typically honored by incorporating some Fosse-esque moves. The current national tour is using the equally iconic 1996 revival Ann Reinking choreo with Gregory Butler recreating Reinking’s choreography. Do you have a particular dance-centric moment in the open, or elsewhere in the show, that you absolutely love performing night after night?

TAYLOR LANE: Absolutely! There’s no better feeling than rising onto the stage, Fosse-walking to center stage, and diving into the intricate, precise moves of All That Jazz with the entire ensemble dancing in perfect unison behind me. The energy is electric, and it’s surreal to perform these legendary dance steps that we had the great honor of learning from Gregory Butler passed down from Ann Reinking. Some of my favorite moves in the show include the ‘pippin’ and ‘the lola’.

JHPENTERTAINMENT: Another choreo-heavy number is I Can’t Do It Alone. I can’t wait to see this company take on this ‘act of desperation’. On the subject of choreography. How much time goes into rehearsing the dance sequences for a show like CHICAGO?

TAYLOR LANE: We rehearsed for three weeks in New York City before heading out on the road. During that time, we learned all the music, choreography, and the book of the show, including lines and staging. Now that we’re performing regularly on tour, our dance captains give us notes to keep the show as sharp and clean as possible. We also have scheduled brush-up rehearsals with our choreographer to ensure we’re staying true to the original intention behind the choreography.

JHPENTERTAINMENT: Some audience members may not realize it, but CHICAGO is actually based on real life murderesses. Belva Gaertner, a thrice-married cabaret singer who murdered her married lover in 1924. Have you done any research on Belva in preparation for the role?

TAYLOR LANE: Yes, I’ve done some research on Belva Gaertner, the real-life inspiration behind Velma Kelly. It’s fascinating to learn about her story and how her persona influenced the character. Understanding the historical context and her bold, unapologetic attitude has helped me bring depth to Velma while still making her my own. It’s incredible to step into a role rooted in real history but reimagined with all the flair and style of CHICAGO.

JHPENTERTAINMENT: Since I’m about to chat with Ellie Roddy, who plays Roxie opposite your Velma, can tell me how it’s been to share the stage with her?

TAYLOR LANE: It’s such an honor to share the stage with the brilliance that is Ellie Roddy. Unlike our characters, who have a rivalry in the show, I absolutely adore her and love performing with her every night. She’s an incredible actress, and I truly enjoy getting to play off her energy onstage. My absolute favorite moment is singing Nowadays and dancing Hot Honey Rag with her at the end of the show. There’s something so special about dancing together as two powerful women—it brings me so much joy.

Rapid Fire with Ellie Roddy, Roxie Hart in CHICAGO National Tour

JHPENTERTAINMENT: When I spoke with Taylor Lane, I mentioned the fact that CHICAGO is based on real life murderesses. Your character, Roxie Hart is based on Beulah May Annan, a bookkeeper, who, while arguing with her lover, ‘reached for the gun’. What can you share about your creative process in playing Roxie?

ELLIE RODDY: It really was such a journey, and it’s still ever evolving. I find I continue to learn more and more nuances about this character the more I perform the role! They gave me a lot of freedom, creatively speaking. What’s really unique about CHICAGO is that yes, it is set staging and choreography that’s been on the Broadway stage since 1997, but it’s tailored to each and every individual and caters to their strengths. They play with each person’s individuality for each company member that is joining the CHICAGO family. It was a lot of trial and error for me. I’d try out a bit or try a certain inflection for certain lines, and they’d tweak it or we’d start fresh from the drawing board. It was one of the greatest gifts to receive as an actor, the trial and error with a safe space to play.

JHPENTERTAINMENT: In the previous question, I alluded to the song We Both Reached for the Gun. This number is one of my favorites in the show–admittedly there are several favorites. I love that Roxie is so bent on stealing the spotlight from Velma as the latest notorious murderess that she’s willing to do whatever her hot shot lawyer Billy Flynn (played by Connor Sullivan) tells her. How much fun have you are you and Connor having in fine-tuning this particular number?

ELLIE RODDY: On a scale of 1-10 I’d say 100. Oh, it is one of my absolute favorite parts in the show. It’s such a smart song and plot line. And not only is it catchy, but Greg Butler’s choreography and specificity with it is brilliant within the story telling aspect of it as well. Everything is so mapped out to a tee, and it’s so much fun to get to do. And to hear the crowd roar for Connor is nothing less than spectacular.

JHPENTERTAINMENT: Of course Roxie’s big number is, well..Roxie. If you had to rate the level of razzle dazzle in this particular sequence, what would you rate it, and why?

ELLIE RODDY: That is such a great question! Because it’s the first time in the show you really get to see her honesty and her point of view (now whether or not it is entirely the truth is up for debate) but it’s the first time where she gets to be stripped down as herself, vamped by a walking bass and piano line. When rehearsing the monologue into the song, David Hyslop and Greg Butler encouraged me to think of something like “Judy Garland’s one woman show, sitting at the front of the stage, microphone in hand, sharing a story with lots of charm and charisma.” So, with that in mind, it’s not so much flashy razzle dazzle, it’s little sparks and glitters weaved within. It’s more internal, and you get to go on the journey with Roxie and her dream and learn about her WHY. It just happens to be in a little tongue-in-cheek way.

JHPENTERTAINMENT: Since the show tells the tale of a group of felonious females, I’m just gonna ask….IF you could get away with murder, how would you choose to pull off the ultimate crime?

ELLIE RODDY: Ooh, I have never been asked this question before! Personally, I do watch some true crime documentaries/tv shows and have listened to some podcasts in the past, because I find the topic so fascinating. IF I could get away with murder, I think I would probably claim an act of self-defense, such as Roxie. Again, emphasis on IF!

JHPENTERTAINMENT: In spite of the fact that much of the show takes place in the Cook County Jail, CHICAGO features some gorgeous period-authentic 1920’s fashions courtesy six-time Tony-winning costume designer William Ivy Long. What’s your favorite piece of wardrobe in the show?

ELLIE RODDY: I think my favorite piece that I personally wear is the open back dress when I do Roxie. It’s a gorgeous tight fit lace dress with an open back, and I think it’s so sleek and classy, but has a little edge to it. As for the entire show, I think the costume that Faith Jordan Candino (Mona) or Serena Kozusko (Swing/DC) wears! I feel fortunate enough that during our rehearsal process in NYC this past September, I got to go to William Ivey Long Studios in person, and try on a handful of archived costume pieces to find the perfect fit! It was such an honor.

Rapid Fire with Connor Sullivan, Billy Flynn in National Tour of Chicago

JHPENTERTAINMENT: Who is Billy Flynn to you?

CONNOR SULLIVAN: To me, Billy is a person who loves what he does and works hard to make sure he stays at the top of his field. He views the legal system as a game, and he is fiercely competitive. His goal is to win, and he feels no qualms about doing whatever he needs to in order to make that happen.

JHPENTERTAINMENT: Billy Flynn, like most lawyers, comes off as suave, manipulative and driven by the opportunity to gain notoriety and success by painting his murderous clients as victims themselves. Those are a few of Billy’s less-savory characteristics. Have you discovered any redeeming qualities while creating your version of him?

CONNOR SULLIVAN: Billy is passionate about defending his clients and protecting his people. There are aspects of loyalty and verve to him that are, if not redeeming, at least somewhat positive. Once you are on his team, he will do whatever it takes to get you over the finish line with him.

JHPENTERTAINMENT: If you weren’t cast as Billy, who would you ‘kill’ to play in the show?

CONNOR SULLIVAN: I would love to play Velma Kelly. She has such a fearless tenacity that I think would be fun to embody every night. However, I could never do the role justice the way that Taylor Lane does – she’s currently playing Velma on our tour!

JHPENTERTAINMENT: One of your big numbers as Billy is Razzle Dazzle. It speaks of giving it everything you’ve got to wow the crowd. What is it about your three female co-stars: Taylor, Ellie and illy that will ‘razzle dazzle’ Nashville’s audiences?

CONNOR SULLIVAN: Ellie Roddy is a true triple threat performer. Her acting, vocal, and dance chops all shine through in her performance. Taylor Lane really captures the essence of who Velma is – her performance is self assured, grounded, and edgy. Illy is an incredible vocalist and has one of my favorite numbers in the show. She brings such a powerful presence to the stage and to our company!

JHPENTERTAINMENT: CHICAGO first opened on Broadway in 1975. The 1996 revival, from which this tour was born, is now the longest running revival in the history of Broadway. What’s it like being part of such a storied show?

CONNOR SULLIVAN: It has been such a huge blessing to be part of a show with the legacy that CHICAGO has. Working with our incredible creative team, some of whom have been with the show since the revival opened in 1996, has been the biggest honor of my career!

Rapid Fire with Illeana ‘illy’ Kirven, Matron Mama Morton in CHICAGO National Tour

JHPENTERTAINMENT: As Mama Morton, you get to belt out the show-stopping tune When You’re Good To Mama. It’s just one in a show full of wickedly wonderful tune by Broadway legends Kander and Ebb. How magical is it to perform such iconic tunes?

ILLY KIRVEN: From the time Matron Mama Morton is announced, the crowd is ready for her. Every night I am blessed to take to the stage to sing this incredibly iconic song. It truly feels like a gift. It’s a gift I’ve been given to give, but I also receive great gifts back from each audience, every single show. I’m completely humbled and honored to follow in the footsteps of so many iconic women who have filled Mama’s shoes. It really does feel quite magical.

JHPENTERTAINMENT: Which leads me to my next question…With such a grand theatrical history, there’s been so many fabulous actresses who’s brought Mama Morton to life. From Mary McCarty who originated the role on Broadway to my pal, Roz Ryan, who’s played her more than any other actress, having appeared both on Broadway in the revival and numerous subsequent tours. Can you reveal just a hint of how you’re making Mama your own?

ILLY KIRVEN: I love Ms. Roz Ryan so much. How amazing that you get to call this legend “friend”. I actually have photos that were printed for me for continuous inspiration with many of the ladies who have portrayed Mama including Ms. Ryan and Ms. McCarty. I did quite a bit of research for the role. Every video or sound byte I could find of various Mama’s singing voices and speaking styles were taken into consideration. I put lots of bits and pieces together of my own in order to let the director mold me into the Mama that works best for this current production. I like to think that I carry parts of all of them within me while putting myself fully into the soul of Mama. I won’t give away any more, but I hope the ladies would appreciate the performance if they were in the audience.

JHPENTERTAINMENT: CHICAGO first debuted on Broadway in 1975, then was revived in 1996 and is still running both on Broadway and as a tour in both the US and UK. Since you play the prison matron, I’ll ask you…what makes CHICAGO such arresting entertainment?

ILLY KIRVEN: I believe it is such “arresting entertainment” because it completely captivates you from the very first introduction. Even the opening announcements draw you in before one note is played or sung. You can literally see audience members leaning forward and trying not to miss a single moment.

CHICAGO, the Musical is written so well. Even the words have rhythm. And it’s got all the aspects that bring excitement to live entertainment: greed, corruption, violence, romance, coupled with beautiful performers and incredible song and dance. It is a show that continues to WOW audiences. Whether it’s their first time or their fifth time seeing it, it has a tendency to win fans over who come back over and over again. I think it’ll be around for many years to come. I’d definitely love and appreciate that.

JHPENTERTAINMENT: When we began chatting, I mentioned Mama’s big number, When You’re Good To Mama, so I gotta ask…what’s it take to be good to Illeana?

ILLY KIRVEN: Honestly, I’m not complicated. I like simple things. I enjoy learning, traveling and exploring. I really love my family, friends, cast, orchestra, crew and people who are genuinely kind. That’s all.

JHPENTERTAINMENT: Alright, one last question for you before this inquisition is over…What do you hope audiences take with them long after the last lights out at the Cook County Jail?

ILLY KIRVEN: I hope the show leads them to want to learn more about the real Roxie, Velma & other characters in the show. A lot of people do not realize that the musical is based on real life happenings. I hope audiences are inspired to want to know more.

But mostly, I want our audiences to leave feeling fully entertained. I’d want them to go home energized with some really great music in their hearts for a long time.

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CHICAGO TPAC’s Jackson Hall January 28 thru February 2. CLICK HERE for tickets. After their Music City dates, CHICAGO heads to Dayton, OH, Knoxville, TN, College Station, TX and more as the tour continues through June. To follow Chicago on Tour, check out their Official Website, or find them on Facebook, X, Instagram and YouTube.

Up next for Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

Rapid Fire 20Q with director and cast of The Keeton’s ‘A Christmas Story’; on stage thru December 22

December 6, 2024 by Jonathan

“You’ll shoot your eye out!”…arguably a phase almost as synonymous with the holidays as “Merry Christmas” itself, thanks to the now-classic 1983 film adaptation of A Christmas Story, humorist Jean Shepherd’s take on holidays of days gone by. This holiday season, The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) is presenting A Christmas Story: The Musical as their holiday offering. I’m not gonna lie, I came to A Christmas Story relatively late in the game, never having seen the film, and only first becoming fully familiar with it when another area theatre company mounted the non-musical stage version a few years running. That said, once I witnessed the fun of the show, I was all in! So you know I had to reach out to my friends at The Keeton to chat with the show’s director, Jacob Waid and four of his cast members, including Toby Turner who’s playing The Narrator, Chelsea Ranelle who’s playing Mother, Kimberly Wolff who’s choreographing the show and playing Mrs. Shields and young Noah Owens, who’s playing Ralphie! So grab a cup of hot cocoa and check out my latest Rapid Fire 20Q.

Rapid Fire 20Q with director, choreographer and cast of The Keeton’s A Christmas Story

Rapid Fire with Noah Owens, Ralphie in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite part of playing Ralphie in A Christmas Story?

NOAH OWENS: I love working with my stage family, Ryman, Kevin, and Chelsea. We have really developed a strong relationship with inside jokes and even a pre-show ritual. I also LOVE the songs! The first time I heard Ralphie to the Rescue (a song from the show), I could not stop singing it for 3 DAYS!

JHPENTERTAINMENT: As Ralphie, there’s a hilarious scene involving a department store Santa, played by Elliott Winston Robinson in The Keeton’s A Christmas Story. How much fun are you having sharing the stage with Elliott?

NOAH OWENS: It is so fun because Elliot is extremely funny even when he is pretending he hates us kids.

JHPENTERTAINMENT: Other than A Christmas Story, what’s your favorite Christmas movie or tv special?

NOAH OWENS: Without a doubt I would say another great Christmas comedy, The Santa Clause, starring Tim Allen.

JHPENTERTAINMENT: What’s at the top of your Christmas list this year?

NOAH OWENS: My family and I like to have experiences so I am asking for us to get to go to an Escape Room!

Rapid Fire with Chelsea Ranelle, Mother in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite aspect of Mother, the character you play in The Keeton’s A Christmas Story?

CHELSEA RANELLE: I love how caring she is with her children in the moments where it counts. She’s a busy, frazzled, boy mom but she still knows when to slow things down and make special moments for her babies.

JHPENTERTAINMENT: A little online sleuthing revealed that you’re a high school teacher by day. Has the day job helped you relate to your younger cast mates?

CHELSEA RANELLE: For sure! It’s felt totally natural. I’ve enjoyed being in this cast with our amazing youth ensemble. They are truly fantastic young people. They’ve been a an inspiration to me and an absolute joy to work with!

JHPENTERTAINMENT: While most are familiar with A Christmas Story by way of the now-classic film, this particular stage version is a musical. Is there a particular musical moment that you love, whether it be one you’re part of, or one you simply enjoy from the wings?

CHELSEA RANELLE: I really love working with my stage family. Kevin is incredibly natural on stage which makes him an interesting scene partner to play off of. Noah is so in the moment; I love seeing him light up and make choices on stage. He’s truly phenomenal! And Ryman is just as wonderful on stage and off. He’s a super strong singer and a really lovely kid to spend time with. My favorite number to watch from the wings is You’ll Shoot Your Eye Out. It’s lively and the women’s ensemble is stunningly talented!

JHPENTERTAINMENT: Since A Christmas Story centers-round Ralphie’s most memorable Christmas, What’s one of your favorite holiday memories from your own childhood?

CHELSEA RANELLE: No Christmas stands out in particular. My childhood Christmases remind me of the Parkers’. My step-father was born in the 40’s and he reminds me of Mr. Parker in many ways. Stressed with work during the year, using words my mother would have preferred he hadn’t, and Jimmy-rigging everything that ever broke in our house! Christmas time, though freezing where we lived in the hills of West Virginia, was always warm and joyful. It was my dad’s favorite season. He’d alway take us to get a huge flocked tree which my mother would decorate just like the Parkers—with big colored lights and silver tinsel. My mother, like Mrs. Parker, worked hard to make Christmas perfect, inventing and carrying on many traditions that we still have today. Even though I’m now in my mid 30’s, she still insists on our traditions and I’m glad she does! One of my favorite traditions was the colored bubble lights we had on our tree. I loved watching the lights bubble at night while snow was falling outside. Everything felt at peace during those Christmas seasons.

Rapid Fire with Kimberly Wolff, Miss Shields in The Keeton’s A Christmas Story

JHPENTERTAINMENT: Who is Miss Shields to you?

KIMBERLY WOLFF: Miss Shields to me, is a nice teacher. She is fair but firm, and slightly quirky. Especially if you don’t pay attention to the MARGINS!!!! I see her as a teacher that students enjoy, but at the same time, she’s not someone you can get things by too easily.

JHPENTERTAINMENT: Not only are you playing Miss Shields, you’re also choreographing the show. What that experience been like thus far?

KIMBERLY WOLFF: Although slightly challenging, I have loved every second of it. Getting to be a part of this show as Miss Shields, and creating all the dances has been so fulfilling. Miss Shields has a whole tap number to “You’ll Shoot Your Eye Out.” Tapping had always been a huge passion of mine and getting to do it in this show has been so much fun. I would say, that tap number and Ralphie to the Rescue have been my favorite dances to create and see them come life with our incredible cast.

JHPENTERTAINMENT: On the subject of choreography, do you have a favorite Christmas musical movie? AND…What is it about that film that makes it required holiday viewing for you?

KIMBERLY WOLFF: Well, since we are talking choreography and Christmas musicals, I think it would have to be White Christmas. The precision and difficulty of dancing that takes place in that movie is incredible and they make it look so effortless and easy. The talent is unmatched and it just makes it such an enjoyable movie to watch!

JHPENTERTAINMENT: YES! White Christmas is my absolute favorite musical movie! Since you play a teacher, I gotta ask. What teacher from your formative years do you still think of fondly?

KIMBERLY WOLFF: There are a handful of teachers that will always stick out to me. From 5th grade all the way through high school. However, when I reached high school we had an incredible principle. Mr. Carl. He genuinely cared for all of the students in our school and would take the time to get to know everyone. Every morning, rain, shine, or snow, he would stand on the corner with Mr. Rankin, and greet the kids and made sure everyone got in safely. He took notice of my passion and abilities and would always ask about the things I was doing. By the time I reached my senior year, he had heard me and another student sing The Prayer by Celine Dion and Andrea Bocelli at a choir concert. He asked us to sing it at my graduation ceremony and it was a moment I will never forget. I am thankful for the teachers who care and create a positive impact on kids lives. It’s not an easy job.

Rapid Fire with Toby Turner, Jean Shepherd in The Keeton’s A Christmas Story

JHPENTERTAINMENT: You play Jean Shepard, the narrator of A Christmas Story. What’s been the most challenging aspect of playing this character?

TOBY TURNER: There’s a lot in this show that reflects on Jean’s relationship with his parents–especially his father. I don’t think I’ve ever heard my own father utter a single curse word, but there’s still a lot of similarities between my old man and The Old Man. Earlier this year my dad had a stroke and it has severely impacted his life. It’s been difficult to draw upon the intensity of the emotions I am feeling about my own relationship with my dad while filtering out the sadness and frustration of the current situation

JHPENTERTAINMENT: Since you’re playing the man who actually wrote the film and the short story upon which it’s based, If you were to write a story about your most memorable Christmas, what would it be about?

TOBY TURNER: I’m willing to bet that A Christmas Story combines a couple of different years in Jean’s life and mine would be similar. There was a year my mom wrapped up a pet crate with a kitten in it. We knew things were out of the ordinary when my mom insisted we open a specific present first. More recently, I took my wife and daughter to spend Christmas in New York City. It was tremendously fun for me to go by a tree down the street and carry it back to our rented apartment. We took our daughter to her first Broadway show – Winnie the Pooh. She was vibrating with glee the entire time. At one point during the performance, the little 5 year old grabbed my face, pulled it to hers, stared into my eyes and silently screamed with joy. We even got a light coating of snow on Christmas morning.

JHPENTERTAINMENT: What’s one holiday activity you look forward to each year?

TOBY TURNER: I never cared about turkey stuffing or dressing my whole life until I met my wife. The way she cooks it is mind blowing. I spend all of January through October dreaming about her stuffing and all of November and December begging her to cook some more for me.

JHPENTERTAINMENT: They say write about what you know…to that end, settle it once and for all, is Jean Shepard Ralphie grown up?

TOBY TURNER: I think the answer is mostly yes. However, I bet there’s either one really good story that didn’t actually happen to Jean and he didn’t want to take full credit for it. Or, there’s one really embarrassing story that did happen to him and he doesn’t want to admit it…. maybe Jean was the one who stuck his tongue to a flagpole? Or maybe Jean was actually the bully Scut Farkus before getting taught a lesson.

JHPENTERTAINMENT: What is it about A Christmas Story that draws audiences year after year?

Rapid Fire with The Keeton’s A Christmas Story director, Jacob Waid

JACOB WAID: Ultimately, it’s a classic story we all connect with. It’s timeless and full of heart, capturing the chaos, humor, and joy of the holidays in a way that feels so real. Everyone can see themselves in the family onstage—whether it’s the funny moments, the big holiday dreams, or the mishaps that somehow become your favorite memories.

We’ve all had that one Christmas where something didn’t go as planned or that one gift we couldn’t stop thinking about. This show taps into those experiences, blending laughter and nostalgia to remind us what makes the holidays so special. It’s about family, traditions, and the magic of seeing Christmas through a child’s eyes. Whether it’s your first time watching or a tradition of its own, A Christmas Story always feels like coming home for the holidays.

JHPENTERTAINMENT: In the show, Ralphie is laser-focused on getting that ONE Christmas present he’s been dreaming of. As a kid, was there an equivalent to Ralphie’s Red Ryder Carbine Action 200-shot Range Model air rifle for you that you just had to have as a gift?

JACOB WAID: As a kid, there were definitely a few things I just had to have—computer games, a Gameboy, and one year…a hamster! But honestly, I’ve never been too focused on the gifts themselves unless they were tied to memories or something sentimental. For me, the magic of Christmas was always about the experience, the memories, and the family traditions.

I loved the tradition of putting out cookies for Santa and waking up to see if he’d enjoyed them. One of my favorite memories was being allowed to open one gift on Christmas Eve with just me and my mom prior to opening the gifts that Santa brought on Christmas morning. Christmas felt magical because of the little things: the candlelight service on Christmas Eve, the time spent with family, Kenny G’s Christmas album playing in the background, and, of course, the food—always the food! Those are the memories and traditions that have stayed with me and made the holidays so special.

JHPENTERTAINMENT: What do you hope audience remember long after seeing The Keeton’s production of A Christmas Story?

JACOB WAID: I hope that audiences remember the joy of the season, the memories made with friends and family, and the spirit that ties it all together. Whether you celebrate Christmas, Hanukkah, Kwanzaa, or no holiday at all, this time of year is a chance to embrace the energy of the season—or even just the beauty of winter’s beginning.

This show is about nostalgia and the moments that bring us together. I hope people leave with that warm and fuzzy feeling, reminded to treasure all of the memories, laugh through the chaos, and find ways to keep the magic of the season alive. My goal with this production was to fill every moment—both the heartfelt and the hilarious—with the wonder of this time of year. I hope it inspires our audiences to carry that magic with them, celebrating in their own way, and sharing it with those they love.

The Keeton’s A Christmas Story: The Musical runs weekends through December 22. At the time these interviews were posted, The Keeton’s socials indicate that the entire run of the show has SOLD OUT, that said, be like Ralphie, be persistent! It can’t hurt to call the box office at 615.231.1231 just to check to see if any last-minute tickets might open up. You can also email boxoffice@thekeeton.org.

Next up at The Keeton it’s Beautiful: The Carole King Musical, onstage February 7-23. CLICK HERE for tickets or more information. To be sure you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.