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Rapid Fire 20 Q

Rapid Fire 20Q with the Storytellers of ‘Big Fish’; on stage at The Keeton February 6-22

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Few musicals capture the space between truth and imagination quite like BIG FISH, the 2014 Drama Desk–nominated musical by Andrew Lippa with a book by John August. Based on Daniel Wallace’s novel Big Fish: A Novel of Mythic Proportions and the 2003 film written by John August and directed by Tim Burton, the story explores the myths we create, the legacies we leave behind, and the love that binds families together.

Now swimming onto the stage at The Keeton beginning Friday, February 6, Big Fish blends soaring music, theatrical spectacle, and deeply human storytelling as it follows Edward Bloom — a man whose life is told through towering tales — and his son Will, who must learn how to listen beyond facts to understand the heart of his father’s stories. JHPENTERTAINMENT sat down with the artists bringing this mythic journey to life for a Rapid Fire 20Q conversation about imagination, family, and the power of storytelling.

RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s BIG FISH

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

JHPENTERTAINMENT: Edward Bloom is a man of myth, magic, and tall tales—what excited you most about stepping into his larger-than-life shoes?

MICHEAL WALLEY: The music of BIG FISH is absolutely gorgeous. This past fall, I was driving when Fight the Dragons came on the SiriusXM Broadway channel, and it completely stopped me in my tracks. I already knew BIG FISH was in The Keeton’s season, and I made plans to audition immediately. I’d describe myself as more of an “actor who sings” than a traditional vocalist, and Edward’s music stretches across haunting ballads, twangy pop, and everything in between. Bringing his character to life through that musical range has been both thrilling and demanding. Truthfully, I feel like I’ve been training for a marathon. My hope is that through every note, Edward’s larger-than-life heart and spirit come through loud and clear.

JHPENTERTAINMENT: A quick perusal of your theatre credits reveals your previous Keeton roles as Singin’ in the Rain’s Cosmo Brown and White Christmas’ Phil Davis share the common thread of being the comic foil to those show’s leading men—what sets Edward apart from roles you’ve played before?

MICHEAL WALLEY: At the end of our run of Singin’ in the Rain, my good friend Matthew Roberts, who played Don Lockwood, said something like, “I think you need the chance to play a leading man with some substance.” While I absolutely loved playing comic sidekicks like Phil and Cosmo (and I’d happily play either role again! Hint hint to any theatre company who needs a comic-dancer-goofball), Edward’s journey is overflowing with depth and meaning. I still get the chance to make ’em laugh, but this time I also get to take The Keeton audience on a much deeper emotional journey. Truly, I’ve never played a character anything like Edward.

JHPENTERTAINMENT: Edward’s stories often say more about love than facts. What do you think Edward is really trying to pass on?

MICHEAL WALLEY: Without giving too much away, a character near the end of the show realizes that Edward’s tall tales were always meant to inspire. I grew up in a small town in Mississippi, much like Edward’s Alabama hometown, and I always had this sense that there was something bigger out there. I wasn’t satisfied unless I was chasing it, and even now, in my 30s, that feeling hasn’t gone away. Edward is the same because he’s always chasing the next big dream, and his stories become a way to invite others into that sense of possibility. Facts may fade (and we live in 2026, does anyone really care about facts?), but inspiration is what lasts.

JHPENTERTAINMENT: As a writer, puppeteer, and voiceover artist, how have your many creative hats informed your approach to this role?

MICHEAL WALLEY: This role has flexed creative muscles I didn’t even know I had. I get to play Edward at multiple stages of his life, moving from wide-eyed teenage heartthrob to cranky old man. Jumping between different voices, physicality, and energy levels is something all my creative side-quests have really prepared me for. It also helped me better understand what John August was trying to convey. Edward evolves throughout his life, but his spirit stays consistent even as his body and circumstances change.

JHPENTERTAINMENT: If Edward Bloom were telling your life story, what detail would he absolutely exaggerate?

MICHEAL WALLEY: First of all, I’m 100% positive Edward would describe me as six-foot tall, wildly muscular, rich enough to buy a tall-and-skinny in 12 South, and effortlessly hitting every high note in Andrew Lippa’s score. But for real, I like to think he’d tell the story of a small-town Mississippi boy who loved theatre, set it aside during college and early adulthood to focus on what mattered, and then realized in his late 20s that his dreams and passions really mattered too. He’d talk about Micheal jumping into the Nashville theatre scene, making meaningful art, building lasting relationships, and getting to tell stories that truly matter, like Edward Bloom’s.

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

JHPENTERTAINMENT: This marks your Keeton debut—what made Big Fish the perfect first dive into this community?

CLAIRE YANCEY: The Keeton has been such a positive space from day one. Even at auditions, I felt immediately welcomed and comfortable, and it was clear how much heart and dedication everyone brings to make this not only a great production but a great experience for everyone involved. I feel deeply connected to this cast and genuinely look forward to coming to the Keeton for every rehearsal. This community has welcomed me with open arms, and I could not have asked for a better first show at this theatre.

JHPENTERTAINMENT: With a background in classical piano and voice, how does Lippa’s score speak to you as a musician?

CLAIRE YANCEY: As a musician, learning Lippa’s score has been one of my favorite parts of this process. There is something really special about working through the more intricate and challenging moments of the music together as a cast and watching it all click. Hearing songs you have listened to countless times come to life in the room with the people around you is incredibly satisfying. I love the rich harmonies and the wide range of musical styles throughout the show, which makes the score both exciting and deeply rewarding to perform.

JHPENTERTAINMENT: What’s one moment in the show where you feel Sandra’s heart most clearly?

CLAIRE YANCEY: This may feel like an obvious answer, but it is definitely during I Don’t Need a Roof. This is the moment where Sandra is seen most clearly and vulnerably. Throughout the show, she works hard to be strong for Edward and their family, often hiding how deeply his illness is affecting her.

JHPENTERTAINMENT: Sandra’s love story spans a lifetime—what do you find most beautiful about her journey?

CLAIRE YANCEY: From the very first moment they see each other, there is something magical about the way Sandra and Edward recognize something special in one another. Throughout the show, you can see that their relationship never loses its youthful spirit, even as the magic and adventure settle into the reality of growing old together. They remain deeply in love, still carrying that sense of playfulness and joy with each other.

JHPENTERTAINMENT: Sandra is the emotional anchor of Edward’s wild imagination. How do you ground her while still letting the magic exist?

CLAIRE YANCEY: I think Sandra is grounded because she is fully present and deeply attentive to the people she loves. She allows Edward, with his wild imagination, and Will, who is more grounded, to be fully themselves. Sandra has a beautiful ability to meet people exactly where they are and offer them steady love and support. While she still carries that same sense of wonder and adventure that connects her to Edward, she is also able to see the world clearly and hold space for both perspectives.

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

JHPENTERTAINMENT: Will Bloom is caught between frustration and wonder—what’s been the biggest challenge in telling his story?

JACOB HINNEN: The biggest challenge has been living in the tension between frustration and hope, especially as Will wrestles with what it means to be a father himself. He’s demanding truth from Edward, but underneath that is a deep need to understand the man behind the stories before he becomes a father himself. That tension drives every interaction. Hope is always present, but it’s tested, stretched, and reshaped as Will tries to reconcile who his father is with who he needs to be.

JHPENTERTAINMENT: You’ve played romantic leads and comedic roles—how does Will stretch you differently as a performer?

JACOB HINNEN: Playing Will stretches me differently because his confidence is paired with constant questioning. Unlike roles where the character’s path is clear or emotions are outwardly expressed, Will is always wrestling with what it means to be a son and a future father. I’ve had to channel that drive, balancing certainty with curiosity, so the audience can feel both his boldness and the weight of his internal journey.

JHPENTERTAINMENT: The father–son relationship is the emotional spine of BIG FISH. What has portraying Will taught you about listening?

JACOB HINNEN: Will has taught me that listening isn’t just about extracting answers and simply responding; it’s about recognizing intention. Edward is telling the truth in his own way, and Will has to learn that fatherhood isn’t always taught through facts, but through meaning. Playing this role has reminded me that listening sometimes means setting aside your expectations long enough to hear what someone is really trying to convey.

JHPENTERTAINMENT: This performance is dedicated to your dad. How does that personal connection shape the way you step onstage each night?

JACOB HINNEN: My dad always believed in me, even when we didn’t fully understand each other. I carry his presence with me onstage, feeling the push and pull of tension, hope, and love in every moment. It’s shaped how I tell this story: a story of love conquering death, of listening to understand rather than listening to simply respond, and of never giving up hope. Every night, stepping into Will’s shoes feels like honoring him while exploring what it truly means to be a son and eventually, a father.

JHPENTERTAINMENT: If Will could rewrite one of Edward’s stories, which moment would he finally see differently?

JACOB HINNEN: Will wouldn’t change the events themselves; he’d change the way he sees them. He’d recognize that Edward’s stories weren’t just embellishments, but expressions of love, courage, adventure and guidance. They were a father’s way of teaching him how to live fully, love boldly, and carry hope even in uncertainty. 

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

JHPENTERTAINMENT: What was the very first image or moment from BIG FISH that made you say, “I have to direct this show”?

AARON GRAY: The first time I saw BIG FISH, there were several moments that brought me to that realization, but they all came back to the father–son relationship at the heart of the show. As a father of a six year old son, that dynamic hit me in a very immediate way, especially the moment when Will realizes he’s about to become a father himself, and suddenly his relationship with his own dad begins to change. That felt incredibly honest and personal to me.
 
I was also deeply moved by the love story. The way Edward loves Sandra, with imagination, devotion, and unwavering certainty, is something I think every romantic partnership should strive for. It’s romantic, but it’s also rooted in commitment and choice.
What ultimately made me say I had to direct this show is that it truly has everything! Romance, comedy, drama, and moments of theatrical magic, but at its core, it’s just a beautifully told story about family, love, and how we come to understand one another.
 
JHPENTERTAINMENT: BIG FISH lives in the space between reality and imagination—how did you approach balancing spectacle with emotional truth onstage?
 
AARON GRAY: The magic in BIG FISH only works if it’s grounded in emotional truth. We always let the relationships lead, and allowed the spectacle to grow out of what the characters are feeling, rather than the other way around.
 
JHPENTERTAINMENT: What can you tell me about your creative discussions with Ian Mannino, this production’s musical director, in regard to bringing Andrew Lippa’s whimsical score to life?
 
AARON GRAY: John August includes a note to the director in the script that points to a video Andrew Lippa created, where he dives deeply into the score,  showing how the songs function dramatically and emotionally. Having that level of insight directly from the composer was an incredible resource, and it became a foundational tool in my conversations with Ian. 
 
From there, our discussions were really grounded in respect for Andrew Lippa’s writing. Our shared goal was to keep the music true and honest to what he wrote. The score already contains so much whimsy, warmth, and emotional clarity that we never felt the need to overcomplicate it. Instead, Ian focused on letting the music breathe and supporting the storytelling, while I concentrated on how the songs live inside the characters and the moment.
 
What emerged from that collaboration is a score that feels both playful and deeply sincere. When the music is treated with that kind of care, its beauty really speaks for itself, and it becomes a powerful emotional guide for the audience throughout the show.
 
JHPENTERTAINMENT: In your show bio you describe this as a dream project. What part of your own storytelling sensibility feels most at home in BIG FISH?
 
AARON GRAY: At its heart, BIG FISH asks two questions that feel very personal to me: “What makes a good father?” and “How do heroes live on?” As a father, I connect deeply to the first question. The show shows us that being a good father isn’t about perfection, it’s about listening, showing up, and creating a space where your children can grow into themselves. Watching Will navigate his relationship with Edward while stepping into fatherhood himself felt incredibly real to me, and it’s a story I wanted to bring to life onstage.
 
The second theme, how heroes live on, is really about memory and storytelling. Edward becomes a hero not because he’s flawless, but because of the way his stories shape Will’s understanding of him and, in turn, the person Will becomes. That idea, that our loved ones live on through the stories we carry, is central to the show, and it resonates deeply with my own sense of storytelling. I’ve always been drawn to stories that exist somewhere between reality and imagination, where emotion comes first and spectacle serves the heart of the story.
 
For me, BIG FISH perfectly blends those elements: family, love, myth, and imagination. It allows wonder and sincerity to coexist, and that balance is exactly why it feels like a dream project, it’s a story that is both fantastical and deeply human, and it’s a story I truly love. 
 
JHPENTERTAINMENT: What do you hope audiences carry with them long after they leave The Keeton and the curtain comes down on BIG FISH?
 
AARON GRAY: I hope audiences leave remembering the power of storytelling and the people they love. Big Fish reminds us that family and connection aren’t perfect, but they’re profound, and that our stories keep those we care about alive. I want them to feel the magic, the wonder, and the joy in seeing life, and love, through a lens of imagination, and to carry that feeling with them long after they leave the theatre. 

BIG FISH opens at The Keeton on Friday, February 6 and continues through Sunday, February 22. Thursday performances are show only with Doors at 6:30pm and Show at 7pm. Friday & Saturday Doors at 5:45pm/Dinner at 6pm and Show at 7pm. Sunday matinee Doors at 12:45pm/Meal at 1pm and Show at 2pm. Show Only Tickets: $30.00 (Thursday performances), Adult Dinner and Show: $40.00, Child Dinner and Show: $35.00. CLICK HERE for tickets. 

Following BIG FISH, The Keeton will present The Play That Goes Wrong with performances April 10-26. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X 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 SIX MUSICAL’s Four Alternate Queens; National Tour at TPAC February 3 thru 8

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

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

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RAPID FIRE 20Q WITH SIX’s FOUR ALTERNATE QUEENS 

RAPID FIRE WITH SIX ALTERNATE REESE CAMERON

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE & DANCE CAPTAIN CARLINA PARKER

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SIX ALTERNATE ANNA HERTEL

JHPENTERTAINMENT: National Tour debut…how does that feel?

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

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

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

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

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

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

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

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

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

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

ANNA HERTEL: ELECTRIC!

RAPID FIRE WITH SIX ALTERNATE ABIGAIL SPARROW

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Theatre Review: The Keeton’s ‘She Loves Me’; a Love Letter for the Holiday Season

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Romance, wit, and a dash of musical magic have drifted into Donelson as She Loves Me opened at The Keeton Dinner Theatre this past Thursday evening with the show continuing with Thursday thru Sunday shows until December 21. With its intimate space, casual dinner-theatre setting, and a cast obviously invested in the show’s nearly century-long legacy, The Keeton proves an ideal home for this sweet classic midcentury musical.

Based on Miklós László’s 1937 play Parfumerie—the source material for later films, The Shop Around the Corner, In the Good Old Summertime, and, spiritually, You’ve Got Mail—She Loves Me remains one of musical theatre’s most charming “quiet classics.” Its central “enemies-to-lovers through anonymous letters” premise still sparkles, especially when placed in the hands of performers who understand just how human, funny, and tender these characters truly are.

While Jimmy Stewart’s Alfred from 1940’s The Shop Around the Corner presented the male counterpart of the story as a bit of a prickly nay-sayer, the musical adaptation’s male lead Georg Now, played in The Keeton’s She Loves Me by Jayden Murphy,  who was last seen on The Keeton stage as Coalhouse in Ragtime, once again brings a youthful warm and layered and hopeful presence beneath the character’s famously cantankerous exterior. When we chatted with Murphy for our recent Rapid Fire 20Q, he admitted to being a bit of a “hopeless romantic” much like Georg. On stage Murphy channels that vulnerability to sweet success in the bittersweet Tonight at Eight and especially in the show’s title tune, She Loves Me. His smoothly rich voice—flexible, grounded, and carefully guided under Music Director Roger Hutson—honors the show’s more classical, operetta-leaning score while still feeling contemporary and honest. Murphy’s understanding of the show’s history is in full view throughout: this is a Georg who feels fully lived-in, not mimicked from past productions.

As Amalia Balash, Jiana Kevilus is radiant—sharp-tongued in the workplace to comedic delight when pitted again Georg one moment and achingly vulnerable when speaking (or singing) of her unidentified letter-writing love the next. Her interpretation honors Amalia’s insecurities, especially those revealed in Will He Like Me?, while infusing her with modern emotional clarity. As anticipated, Kevilus’ Vanilla Ice Cream—approached as a pivotal moment where Amalia subconsciously begins to realize Georg’s true identity—bubbles with joy, confusion, and discovery. It is one of the highlights of the evening: vocally agile and acted with specificity. In an admirable way, Kevilus’ performance of the song put me in mind of Olivia Newton-John’s Hopelessly Devoted Grease moment.

The chemistry between Murphy and Kevilus is strong and believable. Their banter often borders on playful chaos.That ease pays off—this Amalia and Georg disagree ferociously, but they always feel tethered by something deeper, and the much-anticipated revelation of their true identities and mutual feelings all the more sweet because of it.

Kimberly Wolff, who seems to have become a full-fledge member of the Keeton company of frequently seen actors, is a standout as Ilona Ritter. Wolff gives the role the perfect blend of glamour, vulnerability, no-nonsense practicality and emotional intelligence. Her work in the number I Resolve is especially effective—Ilona’s attempt at independence is tinged with hope, frustration, and surprising strength.

Her scenes with Tommy Anglim’s Kodaly are super-charged with electrically playful tension. Anglim’s Kodaly is smooth, sly, and charming in all the most infuriating ways. During their shared musical numbers—particularly Ilona, Anglim’s Kodaly delivers a somewhat bawdy, yet perfectly comedically timed riotous performance. Anglim’s delightfully narcissistic Kodaly and Wolff’s tough-but-tender Ilona feel like they walked straight out of a Golden Age film.

Director Morgan Robertson, making her directorial debut, does so with charm and an obvious admiration for the musical, having music directed a previous production across town. There are a few instances when blocking seems a bit awkward and clunky (sorry, but why are we seeing the backs of actors in scenes throughout?). The overall look and feel of the show is a success and the actors each seem to have been directed to make the characters their own in the most enjoyable way possible.

Once again, The Keeton’s in-house scenic designer, Kevin Driver delivers a triumph and his She Loves Me set should be one of the most-talked-about elements of the production. Inspired by the 2016 Tony-winning Broadway revival’s transformative shop design, Driver creates an only slightly scaled-down Maraczek’s Parfumerie that feels timeless, elegant, and tactile. The mobile units shift the space effortlessly, inviting the audience directly into the warmth of the 1930s Budapest shop.

Denese René Evans’ costumes reinforce that old-world charm—smart, flattering silhouettes and texture-rich fabrics that reflect class, profession, and personality without ever feeling like caricature. Loved the small detail of all the shop employees wearing an “M” initial lapel pin. If a couple suggestions could be offered…invest in a steamer to relieve a bit of static cling on those silk pjs and suspenders should take care of a few of the male performers’ pant legs dragging the floor.

Sound designer Steve Love and lighting designer Brooke Sanders work together to create seamless transitions between bustling shop scenes, intimate revelations, and the cozy glow of the story’s romantic scenes. Especially of note, following a particularly jarring event, flooding the interior of the shop with crimson light might have been my favorite lighting effect.

The supporting roles are filled with memorable performances. Brian Best, last seen as William Frawley in The Keeton’s Lucy Loves Desi, lends Mr. Maraczek gravitas and returns Best to the typical bravado roles for which he’s come to be known. His solo of Act 1’s Days Gone By and its Act 2 reprise are unexpectedly hauntingly touching. Sipos, a role often played as gentle and understated, in the hands of Victor Davis, creates a charmer with soulful presence and hilarious comedic timing. Making his Keeton debut, Samuel Boggs brings youthful earnestness to Arpad, his Try Me full of plucky determination. Boggs’ performances should be remembered as he’s definitely poised to be one to watch with a sure-fire future in Nashville’s theatre community. 

As for the rest of the cast, Brenda Brannon (always a personal favorite) is snooty perfection as the sever in the upscale restaurant where our two fated lovers attempt their first face-to-face, Rich Moses, and the ensemble—Chloe Beehm, Hazen Lawson, Kathleen McClanahan, and Amanda Noss—bring humor, color, and a bit of extra fun to each moment they touch. Again, particularly enjoyable is the restaurant scene, from the physical comedy to flirtation abounding.

All in all, She Loves Me is “cozy theatre.” It looks to present heart, honesty, and fun rather than spectacle—and The Keeton delivers all three. Robertson’s production is grounded in affection for the material, executed by a cast that understands the charm and underlying fragility of the story they’re telling. The result is a She Loves Me that feels warm, human, and full of light—exactly the kind of theatre Nashville audiences crave during the holiday season.

Ready to take a trip to Maraczek’s shop around the corner and check out the goods yourself? Dear Friend, you’re in for a treat as She Loves Me continues its run at The Keeton (108 Donelson Pike, Nashville, TN 37214) thru December 21 with evening diner and show performances Thursdays, Fridays and Saturdays and additional matinees Saturdays and Sundays. Tickets range from $35–$47. CLICK HERE to purchase before the run sells out, and visit thekeeton.org for more information.

In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the director and four principal actors. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X 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 Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

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To celebrate the holiday season, Nashville Repertory Theatre brings the cherished American classic, It’s a Wonderful Life, back to the stage at TPAC‘s Polk Theatre. For this special holiday edition of Rapid Fire 20Q, JHPEntertainment.com sat down with members of the extraordinary cast and creative team — Brian Charles Rooney, Tamiko Robinson Steele,  Jennifer Whitcomb-Oliva & Eve Petty, as well as the show’s director Alicia Lark Fuss — to talk character discoveries, backstage magic, family traditions, and why this timeless story still resonates so deeply. Ready for a visit to Bedford Falls? Let’s go.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NASHVILLE REP’s IT’S A WONDERFUL LIFE

 

RAPID FIRE WITH BRIAN CHARLES ROONEY, GEORGE BAILEY IN NASHVILLE REP’s IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: George Bailey is one of the most enduring characters in American storytelling — how did you begin finding your version of him?
BRIAN CHARLES ROONEY: The film version of this story is such a legendary piece of the cultural fabric; so it’s impossible to ignore it, and I would never want to do that in the first place. However, I have tried to stay focused on the script that we have in hand, as this is a staged/theatrical version, and even though it is obviously based upon the film, it is definitely its own artistic entity. So I wanted to try to create my own version of this character based on how that version could best serve the story, and this interpretation of that story.  I faced a similar challenge when playing Buddy the Elf in Elf, a few years ago for the Rep. In that case, the movie is also quite iconic, but the stage musical made enough changes and incorporated such a fun musical score, that it stood on its own. However, in both cases, I have attempted to pay homage, to what has come before!  
JHPENTERTAINMENT: That leads perfectly to my next question…as you mentioned, in recent years you’ve entertained Nashville audiences by  played roles as varied as Buddy the Elf, Nicely Nicely in Guys and Dolls and The Emcee in Cabaret — how does George Bailey compare in tone and emotional range?
BRIAN CHARLES ROONEY: This is a very different role for me, especially if we compare it to what audiences have seen me play in Nashville…  but at heart, George is a fighter, and he’s incredibly sensitive… when he is at his lowest, he still has a lot of faith in the people he loves… even though he loses faith in himself.  He is unafraid to feel deeply, and I think that’s a common trait amongst most of the characters I’ve played throughout my career… even here in Nashville! Is it a stretch? I think most people with whom I’ve worked and who support the theater in Nashville might think so; but I am an actor, and it is my joyful responsibility to be a storyteller and execute the vision of the playwright and the director. I’m very much looking forward to doing that with this show!!  
JHPENTERTAINMENT: You know I can’t chat with you without mentioning your incredible vocal range and skills as a singer. To that end, is Mariah’s All I Want for Christmas THE holiday song? Or do you have another unlikely favorite that you keep on your most-played Christmas playlist?
BRIAN CHARLES ROONEY: I quite like Mariah’s annual Christmas anthem, and I’m always amazed by how shrewd a business woman she has always been… That song makes her about $3 million in royalties every year. Not too shabby, right?!   I have a few other holiday favorites, including When Christmas Comes to Town, from the film The Polar Express, as well as the Kelly Clarkson/Ariana Grande duet Santa, Can’t You Hear Me?  I love both of their voices, and I think they sound wonderful together!!!  I am always obliged to sing O Holy Night, each year by my family, many friends, church, and other events. I like it because I can live in my classical voice for a moment or two during that song. That’s always fun!
JHPENTERTAINMENT: What’s something about It’s A Wonderful Life that resonates with you personally, especially in today’s world??
BRIAN CHARLES ROONEY: There are a number of reasons this show feels timely and relevant right now… During the show, George Bailey finds himself at odds with Henry Potter, who has all the money in the world, but very little heart. Matt Carlton plays Potter beautifully, and I feel very fortunate to work with him.  I’ve had the chance to work with him in The Sound of Music and Cabaret for Studio Tenn, and in A Christmas Carol, the last two years at TPAC for Nashville Rep. He feels like family to me, and I admire him greatly, so one might think it would be difficult seeing him as a villain and interacting with him as such… But it works so well! And I think the audience will particularly love those scenes!  I bring those scenes up because the theme of empathy, or rather the lack of empathy, is richly present in those scenes, and despite the fact that some people find empathy a liability, I cons consider it a strength. I think people might agree with me after seeing this show, assuming they may have thought differently beforehand. 
Another theme that is undeniably present in this story is that of love… Now that’s certainly a loaded statement, but George struggles with whether or not he matters… And I believe that if you have the capacity for love, you matter. If you are loved by other people, it is difficult to deny the fact that your existence is important. I think that idea, which is present in our play, can remind the audience that it’s never a waste of time to show love to others… it can be, in fact, quite a healing experience for everyone.
RAPID FIRE WITH TAMIKO ROBINSON STEELE, MARY HATCH BAILEY IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: What is it about Mary Hatch-Bailey that drew you to the role?
TAMIKO ROBINSON STEELE: Mary is grounding. She is that quiet but powerful force that keeps everything steady. I love women like that because they are often the glue in real life. She listens, she leads with love, and she stands firm even when the world shakes a little. Playing her felt like stepping into the heart of a home.
JHPENTERTAINMENT: What do you think gives this classic tale such lasting emotional power?
TAMIKO ROBINSON STEELE: Honestly, it is the community. The story reminds us that we are never doing life alone, even when it feels like it. People show up for you in big and small ways, and that is what makes the world feel warm. I actually grew up knowing about the movie more than watching it, but the story has lived around me my whole life. You can feel why. Even without all the details, the heart of it is unmistakable. People lean toward it because it celebrates community. It reminds us that we matter to each other, that we lift one another up, and that our impact on the people around us is often bigger than we realize. Anything that centers hope and connection lasts because we need it.
JHPENTERTAINMENT: What is one of your personal favorite holiday traditions?
TAMIKO ROBINSON STEELE: Family time. My family is big and loud and wild in the best way. We cook way too much food, eat until our stomachs and hearts are full, laugh until we cry, and just soak up that joy. It is chaos and comfort all at once. That is Christmas for me.
JHPENTERTAINMENT: How does performing live on stage feed you differently than film and TV?
TAMIKO ROBINSON STEELE: The stage gives me an immediate spark. The audience breathes with you and you all experience the story at the same time. There is nothing like that. Film and TV feed me in a different way because those stories live longer and reach into more homes. I love the intimacy of the camera, but theater is magic you share in the moment, and that is a gift every single time.
RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, CLARENCE & OTHERS IN IT’S A WONDERFUL LIFE
JHPENTERTAINMENT: When I heard you were playing Clarence, Uncle Billy et al, I may have let out an uncontrollable squee of delight! What’s been the biggest joy (and challenge) in shifting between these unlikely roles for you?
JENNIFER WHITCOMB-OLIVA: It’s A Wonderful Life is such a beloved classic, the opportunity to portray any of its characters brings a special sense of nostalgic wonder. One of the biggest challenges in this production/adaptation, is the quick costume changes/focus and timing. While most of the costume changes are very minimal, some of them are within seconds. Moments. This piece calls for intense mental focus. These ensemble tracks move quickly and precisely. It’s kind of dance like. The way scenes flow into the next, swriling around. A bit of a Christmas trance, if you will. 
JHPENTERTAINMENT: Your theatre credits are as varied as your roles in this show, but over the years you do seem to always include a seasonal show in the mix. What keeps you coming back to holiday storytelling?
JENNIFER WHITCOMB-OLIVA: I don’t think it would come as a surprise when I tell you it’s because I want glitter on everything! I love anything that is larger than life. Holiday shows are filled with spectacular visuals. Lush costumes, imaginative sets, twinkling lights, snowy effects. Illusion. Miracles even.  I love magical things, and that “Anything Can Happen” feeling that comes with these types of shows. Also, there alway seems to be a deeper connection between the audience and the performers. There’s this instant connection and warmth from emotions, and cherished memories. I might be a bit of a romantic, but don’t go telling anyone! Stay cool. Be calm.
JHPENTERTAINMENT: You touched on this a bit already, but Clarence is such a whimsical and heartwarming figure — how are you approaching this guardian angel role in your own style?
JENNIFER WHITCOMB-OLIVA: Iconic roles are always tricky. I want nothing more than to honor the iconic nature of this beautiful character. My goal with this and any character I approach, is to play it with sincerity and emotinal truth. Something grounded and real, rather than a replication or imitation. Clarence is a goofy guy. Or in this sense, a young man. He has a good heart, and an exuberant love for life. He has a sense of adventure, and a taste for excitement. He might not be the brightest crayon in the box, but has the potential to light up the world. I want him to feel like you know him, or really want to. Maybe he bags your groceries at the grocery store. He’s the guy who throws your newspaper to your door, and breaks your flower pot every Wednesday. Maybe he’s the one that gets his bowl of cereal every morning, and when he takes the cap off the milk, he never screws it back on properly. He floods the kitchen floor every time. He’s messy, but he means well. I want audiences to genuinely roll their eyes a his silliness. But we know deep down, that one of these times he’s going to do the right thing, and all will be well.
JHPENTERTAINMENT: Speaking of heartwarming, what warms your heart during the holidays?
JENNIFER WHITCOMB-OLIVA: I love spending time with my family. Gathering around the table for a delicious meal. I love waking up in loud Christmas pajamas, and spending a whole day in them. It’s cozying up on the couch with treats and silly movies. Doing absolutely nothing, but doing it together. It’s the quiet moments of stillness and reflection. Swimming in a cup of hot coca with enough whipped cream in it to float an elephant. Daydreaming of things I want to do. It’s my endless love for the Nutcracker Ballet, and the Tchaikovsky score. And naps. So many naps. It’s sitting by the window with my fur babies, festively ticking down the days until Halloween. 

RAPID FIRE WITH EVE PETTY, VIOLET IN IT’S A WONDERFUL LIFE

JHPENTERTAINMENT: After several years working behind the scenes with Nashville Rep, how does it feel to step into the spotlight for your onstage debut — and in such a beloved holiday classic?
EVE PETTY: Nashville Repertory has been one of my favorite companies to work with behind the scenes over the years. I’ve loved watching the shows I’ve worked on from the wings, and now it feels amazing to step onto that same stage and be a part of the show in a new way. 
JHPENTERTAINMENT: Not only are you making your on-stage Nashville Rep debut, you’re also juggling several characters in this production — among them, the always entertaining Violet Bick— not gonna lie, Violet is one of my favorite characters in the show. What’s your favorite aspect of Violet, as you see her?
EVE PETTY: The other actors and I  have talked about how Violet has been seen as almost a villain in the way that she comes between Mary and George. But the way I  see her, she’s a girl going after a boy that she has liked all her life, just like Mary. I’ve liked discovering the similarities and differences between Violet and Mary’s characters and finding the depth within this flirty and forward character. Plus, who wouldn’t want people to say “Wow” when they walk across a stage 😉
JHPENTERTAINMENT: Since you’ve seen the Rep from both sides — backstage and onstage — what has surprised you most about the process this time around?
EVE PETTY: My brain still thinks very much in the way of how backstage runs and how to make the show smooth and efficient. It’s been a nice surprise to find that with this show, those skills are very much valued with how quickly the transitions come and go, taking us from scene to scene. 
JHPENTERTAINMENT: Just for fun…NOT counting It’s a Wonderful Life, what one movie or tv special truly signifies the start of the holiday season for you?
EVE PETTY: As a puppeteer, I  love watching The Muppets Christmas Carol and imagining how fun it must have been to perform in that movie. 
RAPID FIRE WITH IT’S A WONDERFUL LIFE DIRECTOR, ALICIA LARK FUSS
JHPENTERTAINMENT: It’s A Wonderful Life has such a cherished place in American culture — what inspired your vision for bringing this story to Nashville Rep’s stage?
ALICIA LARK FUSS: My husband and I watch the movie every year on New Year’s, so I am very familiar with it! As a cast and design team, we focused on the importance of community at the center of the story– it’s really about the way we take care of each other and  how important that is. Focusing on the heart of the story gave us all a lens to create this beautiful adaptation.
JHPENTERTAINMENT: You have a background in theatre for young audiences — how does that perspective influence your approach to this family-centered holiday production?
ALICIA LARK FUSS: My approach to directing doesn’t change much based on the audience; I find I ask really similar questions when investigating a new script and thinking about how to approach it. However, TYA has given me lots of practice in scripts that move at a brisk pace with actors playing multiple roles, and that is VERY true of this play. There are many sequences where we jump time and place every page or so, and our ensemble cast plays something like 47 people between 9 actors.
JHPENTERTAINMENT: This adaptation by Catherine Bush is theatrical and imaginative — what moments in this version most surprised or delighted you in rehearsal?
ALICIA LARK FUSS: Watching our incredible actors create so many distinct characters has been a DELIGHT. We also worked with a fabulous movement coordinator, Megan Castleberry. She guided us through creating moments like the kids falling through the ice and George jumping from the bridge, and it was incredible to watch her build these sequences, representing the action in a highly theatrical way that leans into physical storytelling. 
JHPENTERTAINMENT: What do you hope audiences take with them as they leave after seeing Nashville Rep’s It’s A Wonderful Lifethis holiday season?
ALICIA LARK FUSS: In rehearsals, I’ve seen the end of the show many, many times and I still get misty. My dream would be that audiences feel a deeper sense of connection to their loved ones, and a renewed hope for communities that lift up and take care of each other. 
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Nashville Rep’s It’s A Wonderful Life brightens the holidays at TPAC‘s Polk Theatre December 5–21, with performances at 7:30pm Fridays and Saturdays and 2pm matinees Saturdays and Sundays. As this uplifting classic fills the theatre with heart, hope, and a reminder that every life touches countless others, there’s no better way to celebrate the season. Gather your loved ones, step into Bedford Falls, and experience the magic live onstage. CLICK HERE to secure your seats now.

Following It’s A Wonderful Life, Nashville Rep’s season continues in the new year with FAT HAM, James Ijames‘ Pulitzer Prize-winning reinvention of Hamlet, a co-production alongside Nashville Shakespeare Festival, onstage February 13-22, followed by the audience favorite SISTER ACT April 10-19. Closing out the season will be Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase Season Tickets.

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

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

Rapid Fire 20Q with Director and Cast of ‘She Loves Me’; The Keeton’s classic musical holiday gift runs December 4 thru 21

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Romance, wit, and a dash of musical magic are heading to the Donelson stage as SHE LOVES ME opens at The Keeton Dinner Theatre, running December 4–21, 2025. With show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, audiences can step into Maraczek’s Parfumerie for an evening of charm wrapped in melody. We caught up with the cast and creative team for a Rapid Fire 20Q—diving into character work, classic film adaptations, backstage dynamics, and what makes this production sparkle. Consider this your first peek behind the counter before the curtain rises.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF THE KEETON’s SHE LOVES ME

RAPID FIRE WITH JAYDEN MURPHY, GEORG IN SHE LOVES ME

JHPENTERTAINMENT: Georg is the original “grumpy romantic.” What part of his personality do you most relate to in your everyday life?

JAYDEN MURPHY: Oh my gosh, where do I even start? I’m kidding, but honestly, even at my age, dating is rough. We have all this technology now and it still feels confusing and disappointing most of the time. I’m not saying I’m trying to settle down and start a family right now, but I definitely relate to Georg on that level. What I connect with the most is that his grumpy romantic side really comes from him being a hopeless romantic. He wants to fall in love so badly, and when things don’t go the way he hopes, that disappointment shows up as frustration. I understand that. I’m a hopeless romantic myself, and that helps me tap into who he is. His grumpiness isn’t about being cold. It is because he genuinely cares and he wants that storybook ending with someone. And we will see if he finds it.

JHPENTERTAINMENT: SHE LOVES ME has such a beloved lineage — from the original play Parfumerie to this musical adaptation to the classic film The Shop Around the Corner to the more modern You’ve Got Mail. I know you’re much younger than the character you’re portraying. Heck, you were born more than a decade after the Tom Hanks film version came out, so…were you familiar at all with the history of the show prior to your audition?

JAYDEN MURPHY: I spent a lot of time researching the full history of SHE LOVES ME. I’m the kind of actor who prides himself on being well-prepared before an audition or before my name goes into a Playbill. In college, I actually worked on all of Georg’s songs, which gave me an early understanding of who he is. My college director also directed a national tour of SHE LOVES ME and has close ties to the original writers, so being around him helped me learn even more about the show. I also looked back at the original play, the musical itself, and the film versions. One of my favorite parts of musical theatre is becoming a character, so even though I’m younger than Georg, I wanted to fully understand his world and the legacy of the role before stepping onstage. All that research helped me connect with him in a real and honest way.

JHPENTERTAINMENT: The original run of SHE LOVES ME debuted on Broadway in 1963. Since then it has enjoyed Broadway revivals in 1993 and 2016. One aspect it has maintained since its debut is that many of the tunes feature a more operatic vocal style, as opposed the the more common showtimes flair of many modern musicals. Having seen you wow the crowd as Coalhouse in The Keeton’s Ragtime, I’m curious to know if this second pairing with Roger Hutson as your Music Director has helped you lock in on your approach to Georg vocally?

JAYDEN MURPHY: Yes, absolutely. I really pride myself on being a versatile vocalist. My vocal coach and everyone I work with knows that I don’t like to put labels on what I am or what I can be. I’m only 19, and my voice is still developing, so I try to stay as agile and flexible as possible in what I do. Working with Roger again has been amazing. He really lets me explore who I believe Georg is, both onstage and through the songs. At the same time, he holds me accountable and pushes me in all the right ways. We work really well together, and I definitely feel like he’s helped me find a strong vocal approach to this role. I think people will be surprised by how I portray Georg and how he sounds, because Roger has helped me tap into a version of the character that feels natural and honest to me while still honoring the more classical style of the show.

JHPENTERTAINMENT: If Georg were working at Maraczek’s Parfumerie today, what modern-day app or platform do you think he’d be using? AND…How would the opening line of his profile bio read?

JAYDEN MURPHY: That is a hilarious question. I definitely think Georg would be on Hinge. He just gives me “Hinge guy” energy. His opening line would probably sound very proper, like “Good day, madam, may I help you?” lol But honestly, I think he’d lie a little on his profile at first. He’d probably say he was some kind of businessman or shop owner, something that makes him sound more impressive. But I also think once he actually met the girl, he’d come clean. Georg is charming, and he means well, so he’d eventually tell the truth. But yeah… he’s absolutely a Hinge guy.

RAPID FIRE WITH JIANA KEVILUS, AMALIA IN SHE LOVES ME

JHPENTERTAINMENT: Amalia is smart, stubborn, and deeply hopeful. What’s your favorite contrast between how she sees herself vs. how others see her?

JIANA KEVILUS:  I think the contrast in Amalia’s self-image versus how others see her is one of the most compelling things about her as a character. In one of her songs, we learn that she worries that “Dear Friend” will be disappointed to find that she is “shy” and “quiet.” This is a stark contrast to the confident and witty personality we see from her when interacting with Georg and the other clerks and customers at the shop. I think this offers a very human and relatable side to Amalia, because while she may be secretly insecure, the people around her are more focused on her charm. 

JHPENTERTAINMENT: The 1940 film The Shop Around the Corner gave Amalia a slightly different flavor. In researching the role, did you check out either film adaptation? Or, did you simply find your own Amalia through the rehearsal process?

JIANA KEVILUS: This show has been a favorite of mine for a long time. Because of this, I was already somewhat familiar with different productions and adaptations. When preparing for the role however, I’ve tried to avoid spending too much time watching other people’s interpretations of Amalia as I tried to learn what my own organic take on the character should be. I think there is happy medium between golden age damsel and independent and headstrong young woman that I’ve found in my interpretation of her. 

JHPENTERTAINMENT: Vanilla Ice Cream is a beast of a number. Did your Director, Morgan Roberts or the show’s Musical Director, Roger Hutson offer any specific advice that changed how you approach this number? 

JIANA KEVILUS: Morgan and Roger have both had such wonderful visions for this production! With their guidance, I’ve been lucky enough to have been given a lot of artistic freedom in this number. When discussing with Morgan what Amalia’s motivation is in this song, we found that it is much more compelling if this is the beginning of her slowly starting to realize the true identity of “Dear Friend.” Whether she fully understands it yet or not, this is a turning point for her character and altogether such a fun number to sing!

JHPENTERTAINMENT: As Amalia and Georg, you and Jayden have to walk the tightrope between enemies, coworkers, and secret lovers. What has helped you unlocked that balance?

JIANA KEVILUS: Jayden is a delight to work with and he puts on such a charming performance. While our characters certainly take some hard digs at each other, so much of the dialogue is so humorous that we find it hard not to laugh when rehearsing many of the scenes. We just have so much fun with these characters that I think it translates well to the different dynamics between them. 

RAPID FIRE WITH TOMMY ANGLIM, KODALY IN SHE LOVES ME

JHPENTERTAINMENT: If Kodaly were to follow in Georg’s example and begin corresponding to an unknown potential love interest, how would the opening line of his introductory letter read? 

TOMMY ANGLIM: Kodaly would NEVER pick up a woman without knowing what she looks like! However, his go to pick up line for strangers on the street (or in the shop) is likely along the lines of “Cherie, I have never seen a face like yours. You are absolutely as glamorous as Garbo.” And somehow… that line would work every time.

JHPENTERTAINMENT: The banter between the characters in SHE LOVES ME is iconic. What’s one line in the show—whether yours or that of a co-star—that makes you laugh even after dozens of runs?

TOMMY ANGLIM: I feel like two specific moments come to mind. The scene leading up to the song Ilona is one of my favorite ones to do with Kim Wolff. She and I have found a rhythm to those lines that are quick jabs at each other and it’s a joy every time (even though we seem quite angry in the moment!). For my second answer, I have to give a shoutout to Sam Boggs who plays Arpad. He brings such an innocent humor to that role that makes me laugh at lines I’ve never even thought were meant to be funny!

JHPENTERTAINMENT: If Kodaly were giving modern-day dating advice, what’s the first rule he’d insist everyone follow?

TOMMY ANGLIM: Always have a backup plan in case you need to replace your date!

JHPENTERTAINMENT: This show is quite the conundrum. It’s beloved by those who know it, but by-and-large, it’s rarely done by local theatre companies. How excited are you to potentially be introducing audiences members to this show?

TOMMY ANGLIM: I think it’s a very exciting opportunity! The show is a pretty trope-heavy, low stakes, enemies-to-lovers story that also has a cozy, Christmas ending, so it’s generally easy for audience members to find something about it to enjoy. I think what really sets the bar high in this production is the set that Kevin Driver has designed. He has really outdone himself providing mobile set pieces to really bring this story to life, and bring the audience into the shop with all of us.

RAPID FIRE WITH KIMBERLY WOLFF, ILONA IN SHE LOVES ME

JHPENTERTAINMENT: Ilona’s glamour and vulnerabilities are such a fun combination. What part of her surprised you most once you started digging in?

KIMBERLY WOLFF: Ilona, although may not be the smartest, she is still a catch. She is caring, loving, and very loyal. She’s just looking for someone to treat her right so that she can do the exact same for someone else. One the surface she may come across one way, but when you really dig in and see who she is, she offers so much more. 

JHPENTERTAINMENT: Every adaptation handles Ilona a little differently. In preparing for the role, did you check out any of the previous incarnations, whether stage adaptations or film versions?  — or did you purposely avoid them?

KIMBERLY WOLFF: Before I even audition, I will generally skim through other productions so that I have a good grasp on what the show is about and who these characters are. After that, I never go back, as I don’t want to be too influenced by other performances. Once I have the script in hand, and start acting it out with the other actors cast, I can bring her to life how I see her. That is half the fun of it. Bringing to life this character that I have spent weeks getting to know. 

JHPENTERTAINMENT: With a background in choreography yourself, how has it been having Heidi Buyck as choreographer for the show? AND…Which number makes you feel the most like you’re living your full Ilona fantasy?

KIMBERLY WOLFF: I’m very excited to finally get to work with Heidi. I have seen other shows she has choreographed, and she has seen other shows I have been a part of. We have both mentioned we hope we get to work together one day. Now, here we are. Performing the song, Ilona, that Tommy, aka Kodaly, sings has been a blast. Tommy and I have had a lot of fun bringing that one to life. Ilona is once again seduced by Kodaly’s charm, and against her better judgement gives him, yet again, another chance. 

JHPENTERTAINMENT: Ilona and Kodaly have… a complicated relationship. What’s one thing your Kodaly, Tommy Anglim brings to the dynamic that made your scenes instantly click?

KIMBERLY WOLFF: Tommy is a great scene partner. He has certainly brought all of his Kodaly energy for this role. His ability to transform into this character is effortless. We were both very excited when we found out we would get to play these characters together. We already have hilarious banter off stage so we couldn’t wait to be in this dynamic on stage. 

RAPID FIRE WITH SHE LOVES ME DIRECTOR, MORGAN ROBERTSON

JHPENTERTAINMENT: While you’ve performed as an actor, music director, teaching artist and choreographer, I understand The Keeton’s SHE LOVES ME marks your directorial debut. The show is famously delicate — grounded, funny, and deeply human. What was your North Star when shaping the tone of this production?

MORGAN ROBERTSON: As you say – this show is deeply human.   We’ve been interacting with various iterations of this narrative for years, (enemies to lovers is one of the most successful themes in pop culture!) With that being said, my two objectives as a first time director were 1) cast it well and 2) empower the team. This show (as a musical and a play before that) has been around for nearly 100 years. That means the bones are good! All I needed to do was find the people that could respect and highlight the central themes of the show and make sure they feel fully supported to embody the human experience. I consider this show to be a loving call for self reflection. I wanted our rehearsal process to feel the same way and I think this cast has been fully engaged with that idea. 

JHPENTERTAINMENT: Having music directed a 2023 production of SHE LOVES ME elsewhere about town, is there an aspect of the show’s score, as music directed by The Keeton’s Roger Hutson that you absolutely love?

MORGAN ROBERTSON: Yes! I fell in love with this show as music director for Trevecca University back in 2023, under the direction of Jeff Frame. Roger has always made me feel that my experience as MD is as valuable as my process as Director. I love the way he gets excited about the music! He’s a true music lover and he’s working with a huge range of musical styles in this show. Not only that, but he knows this cast (having worked with most of them on multiple productions) and so his attention to the needs of each song and each actor have really allowed me to take an outside view of just how unique this score is and how it serves each of the scenes with such specificity. 

JHPENTERTAINMENT: When SHE LOVES ME enjoyed its latest Broadway revival in 2016, the exterior of the Parfumerie moved to reveal the charming little shop and in doing so, the show’s scenic design won the Tony, beating out, among others, a little show called Hamilton. For The Keeton’s production, What’s your personal favorite aspect of the set?

MORGAN ROBERTSON: Well I don’t want to spoil anything … but I will say – my favorite aspect of the set is the set designer – Kevin Driver. Kevin has been extremely collaborative and often thinks my thoughts before I need to voice them. We discussed what wealth looks like in a glamorized society as well as what it looks like for a place like Maraczek’s parfumerie which exists in 1930’s Hungary. We’re dealing with old world ideas like buildings should be built well, with good material, meant to last. So we explored heightened natural elements. What does it look to make something marvelous and timeless? And I think we have found a really grounded balance. 

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing The Keeton’s SHE LOVES ME?

MORGAN ROBERTSON: Remember that it was worth it to get out and see live theater! Especially as the Keeton does it! The Keeton is uniquely situated in that they’ve been offering heightened, intimate theatrical experiences for years now.  The talent is incredible, every bit what you would see at any pro venue in town.  They’re brining in people who are ready to try new things with theatre in Nashville and that means all of their productions are filled with heart.  We’ve been brave with this show – we’ve opened the doors on every level for new ideas.  I’m a new director, though not new to the Nashville theater community.  I’ve developed my artistic voice in these communities and it feels incredible to be trusted with this experience.  I hope they remember how amazing it felt to watch people who love what they do and are incredibly good at it. Remember that we love what we do and we love sharing it with you.

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Ready to unwrap the enchantment of SHE LOVES ME for yourself? Performances run at The Keeton (108 Donelson Pike, Nashville, TN 37214) December 4–21, 2025, with show-only Thursday evenings and full dinner-and-a-show experiences on Fridays, Saturdays, and Sundays, a. Tickets range from $35–$47. CLICK HERE to purchase tickets before the entire run sells out. More information can be found at thekeeton.org. “Dear Friend,” you’re in for a treat, so #GoSeeTheShow!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH DEBORAH SEIDEL, BARONESS VINDETTA IN CINDERELLA

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH WANDERSON REZENDE, ANITA BATH IN CINDERELLA

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH CINDERELLA DIRECTOR, ANN STREET-KAVANAGH

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q With Norwegian Singer/Songwriter Magnhild; New Single, ‘Ending’ Out Now

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Norwegian singer-songwriter Magnhild (pronounced MAHN-yill) continues to make her mark on the international scene, thanks to her distinctive blend of vulnerability, warmth, and quietly powerful vocals. After signing an exclusive publishing and distribution deal with Nashville/Portugal-based Soundcrest Music Group, the reflective storyteller behind 17 is back with her evocative new single, Ending, now streaming everywhere.

Echoing the emotional clarity of ‘70s country-pop with a modern indie-folk sensibility, Magnhild’s sound bridges continents and generations — with hints of Olivia Newton-John nostalgia wrapped in Scandinavian soul.

In this latest edition of JHPENTERTAINMENT’s recurring interview feature, Rapid Fire 20Q, we caught up with Magnhild to talk about growing up on a small Norwegian island, her evolving artistry, and the deeply personal journey behind her latest release.

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RAPID FIRE 20Q WITH MAGNHILD
JHPENTERTAINMENT: Did you grow up in a musical household?

MAGNHILD: Yes, in a way. My family loves music.  My dad played the guitar, and my sister loved to sing. Music was always around, even if it wasn’t a big “music family” in a professional sense.

JHPENTERTAINMENT: What’s among your earliest musical memories?
MAGNHILD: I think it’s when my dad taught me the first chords on the guitar. It opened up a whole new world for me. 

JHPENTERTAINMENT: Who do you cite among your favorite musical artists?
MAGNHILD: Lizzy McAlpine’s music was kind of a wake-up call for me — it made me realize the kind of sound I wanted to find for myself. I also love Joni Mitchell, and I grew up listening to Adele. They’ve all shaped me in different ways.

JHPENTERTAINMENT: When did you realize you wanted to pursue a career as a performer?
MAGNHILD: Very early on. I got my first gig when I was 11 and just kept going from there. Performing has always felt like home to me.

JHPENTERTAINMENT: Can you tell me about that first time performing for others?
MAGNHILD: My first paid gig was at a wedding for my former babysitter. I was 11 and played one of my favorite songs, Hjerteknuser, by a Norwegian band called Kaizers Orchestra. I got paid with a ticket to their concert in my hometown. Both that performance and the concert itself are core memories for me

JHPENTERTAINMENT: Last year, you released your debut single Maybe, then the follow-up, 17 and now you’ve got Ending. How excited are you for listeners to hear the new track as they continue to discover you as an up-and-coming artist?

MAGNHILD: I’m really excited. When I released 17, I told listeners that it was the most authentic version of myself I had ever shown through music — but I feel like both I and my sound have come a long way since then. I’m now producing my own band, and for the first time, I feel like I’m truly on the right track.

JHPENTERTAINMENT: You grew up on Stord, a small island on the western coast of Norway. What’s your fondest memory of your childhood there?
MAGNHILD: That’s a hard one — I have so many good memories. A lot of them are with my brother and sister. One that always makes me smile is when my sister and I got a cat behind our parents’ backs. We kept him in the basement for a month before we told them. When my parents came home from vacation, my mom said she was moving out because she hated cats. Now he’s eight years old — and one of her favorite things in the world.

JHPENTERTAINMENT: A few years ago, you moved from an island with about 20,000 people to the Norwegian capital, Oslo (population around one million). I understand your previous single 17 was inspired by that move. Can you tell me more about how the move prompted you to write that song?
MAGNHILD: Yeah, 17 is about leaving everything familiar behind and starting over in a big city. I moved from a place where everyone knew everyone, to a city where I suddenly felt very anonymous. It was exciting, but also scary and lonely at times. The song became my way of processing that — the feeling of growing up and realizing that change always comes with both loss and freedom.

JHPENTERTAINMENT: Among the lyrics of your new single Ending, the line “Will someone still sing my songs” really struck a chord with me. Do you think we ever get to a point where we feel like we’re making a lasting impact?
MAGNHILD: Yeah — or at least I hope we do. I know that some people have already found comfort in my music, and that means so much. I don’t think you ever really know how far your songs reach, but if even one person feels seen or understood through something I’ve written, that’s already a lasting impact to me.

JHPENTERTAINMENT: As a native Tennessean, I appreciate the Memphis name-drop in your Ending lyrics. Of all the cities in the world, how did you come to mention Memphis in your latest release?
MAGNHILD: Honestly I took some inspiration from Walking in Memphis,  by Marc Cohn, plus it rhymes with the other cities I mention in the song. I’d love to go there one day. For some reason, Tennessee keeps showing up in the music I listen to, maybe because of that nostalgic country feel. And yes, I did grow up watching Hannah Montana.

JHPENTERTAINMENT: As a songwriter, what’s your creative process like? Do you set aside a certain time daily to explore lyric ideas and melodies, or do you take a more organic approach?
MAGNHILD: It’s very organic. I travel a lot between cities because of school, family, and my boyfriend, so a lot of inspiration comes to me while I’m on the bus, in the car, or on the train. I usually don’t sit down to “write” in a structured way — ideas come when I’m out in the world, and then I build melodies or lyrics around them later.

JHPENTERTAINMENT: When and where did you record Ending?
MAGNHILD: I recorded it in February at the University of Agder, where I’m currently studying my master’s in songwriting and performance. Later, I added lead vocals, background vocals, pedal steel, synths, and string arrangements.

JHPENTERTAINMENT: Who did you work with musician-wise while recording Ending?
MAGNHILD: I worked with my band — Aron Flatland, Magnus, Kristina Rusdal, Jeppe Volden Skara, Einar Bergersen, and Benjamin Næss. Hans-kristian Holthe, Oskar Holldorff , and Tobias Paulsen helped me later in the post-production process.

JHPENTERTAINMENT: Upon my initial listen, Ending has a bit of a 70s country ease to it. As I mentioned in my intro above, your vocals paired with the cry of the pedal steel put me in mind of Olivia Newton-John’s 1973 project Let Me Be There. How would you describe your current sound?
MAGNHILD: I’d say it’s somewhere between indie pop and indie folk — with a focus on vocals and string instruments. It’s organic and emotional, with a warm, nostalgic touch.

JHPENTERTAINMENT: In addition to singing, you also play guitar. Are you self-taught or have you had formal training?
MAGNHILD: Self-taught! As I mentioned, my dad showed me three chords, and it just evolved from there. In recent years, my guitarist boyfriend has helped me explore more advanced voicings and open tunings, which has really expanded how I write songs.

JHPENTERTAINMENT: What’s your take on the current Norwegian music scene?
MAGNHILD: I think it’s really inspiring right now. There’s a lot of experimentation and authenticity — artists are daring to sound like themselves, which I love. Even though Norway is small, there’s a strong sense of community. People genuinely want to see each other succeed.

JHPENTERTAINMENT: It’s been a year since you joined Soundcrest Music Group to enhance your streaming audience. How are you feeling about this partnership and the thought of expanding your audience globally?
MAGNHILD: It’s been great! They’ve helped me reach new listeners beyond Norway, which is something I’ve always dreamed of. Theres a reason why I´ve chosen to write and perform in English though it’s not my native language. It’s wild to think that someone across the world might be listening to a song I wrote/ recorded in a small studio in southern Norway. The idea of growing my audience globally is both exciting and humbling.

JHPENTERTAINMENT: With Ending now streaming, is there any talk of a music video? How would you like to see it visualized?
MAGNHILD: I’d love to make a music video someday. I imagine something very cinematic — open landscapes, soft light, and that quiet, reflective feeling that Ending carries.

JHPENTERTAINMENT: Where can fans find out more about you?
MAGNHILD: Mostly through social media — Instagram and TikTok, both @magnhildhalland. I’m trying to get better at posting.. hehe. I also love when people reach out or message me directly.

JHPENTERTAINMENT: What’s on the horizon for you as a performer?
MAGNHILD: I’m working on my debut EP, which will be released next year. It’s my most personal work so far, and I can’t wait to share it. I’m also focusing on playing more live shows with my band — that’s where I feel the songs truly come alive.   

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With her signing to Soundcrest Music Group and the release of Ending, Magnhild continues carving out her place among the new wave of global singer-songwriters blending authenticity with timeless style. As she works toward her debut EP and prepares for more live performances with her band, one thing is certain — this rising artist from Norway’s western coast is only just beginning her story.

Stream Ending HERE on all platforms, and follow @Magnhild on Instagram and TikTok to keep up with her latest music, performances, and behind-the-scenes moments.

Catch more exclusive artist interviews, reviews, and spotlights — only on JHPENTERTAINMENT.com.

RAPID FIRE 20Q WITH CAST OF WOMEN IN THEATRE NASHVILLE’s ‘MS HOLMES + MS WATSON-APT 2B‘

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RAPID FIRE 20Q WITH CAST OF WOMEN IN THEATRE NASHVILLE’s MS HOLMES + MS WATSON-APT 2B

Get ready for quick wit, sharp minds, and a touch of mystery! With Women in Theatre Nashville’s (WIT Nashville)’s upcoming production of playwright Kate Hamill’s clever reimagining of Sir Arthur Conan Doyle’s world, Ms Holmes + Ms Watson – Apt 2B, directed by Diane Bearden Enright, brings the famous detective duo into the modern age — where friendship, intellect, and a few absurd surprises are the ultimate clues. Ahead of the show’s opening at Darkhorse Theatre (Friday, October 24 through, November 1), we sat down for a round of Rapid Fire 20Q with the production’s scene-stealing cast — Elyse Dawson (Sherlock Holmes), Beth Henderson (Ms Watson), Skyler Cole (Lestrade, Elliott Monk & others), and Nashville newcomer Jen Houghton (Irene Adler, Mrs. Hudson & others) — to talk character quirks, comedic chaos, and why this twisty mystery is one you’ll want to solve for yourself.

Let’s dive in — no magnifying glass required! 

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RAPID FIRE 20Q WITH THE CAST OF WIT NASHVILLE’s MS HOLMES + MS WATSON – APT 2B

RAPID FIRE WITH BETH HENDERSON, JOAN WATSON IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: When I began researching in preparation of chatting with you and your co-stars, I found it interesting that the playwright, Kate Hamill played Watson, not Holmes in the world premiere production of this piece. Does knowing the playwright in essence created this role for herself inspire you to approach the role any differently than other roles you’ve played?

BETH HENDERSON: I know! When I found that out, I was pretty intimidated. But, I haven’t really approached it any differently than I have any other roles. I honestly just try not to think about it. Ha!

JHPENTERTAINMENT: In this adaptation of the classic, Watson—an American now living in London post pandemic and post-divorce—seems eager for a fresh start. If you were to relocate and start anew, where might you end up and what career path might you choose?

BETH HENDERSON: Oooohhh, good question! I think about that a lot, because I plan to retire out of the country one day. But, whereas I’ll retire somewhere warm and sunny, my answer for relocation and starting over in a career sense would be different. If I was younger and had the funds and actually permitted to move there, I would move to Scotland and own my own little bookstore.

JHPENTERTAINMENT: Sir Arthur Conan Doyle published his first Holmes and Watson story more than 130 years ago. What is it about this unique pairing that still holds an audience’s attention?

BETH HENDERSON: I think it’s the whole opposites attract, odd couple, yin and yang idea. People like to see two very different personalities work together to create balanced solutions. 

JHPENTERTAINMENT: When Holmes and Watson first “re-boot” their detective partnership post-pandemic, what is the one gesture or moment you think defines their new status quo?

BETH HENDERSON: Well, in this production, Watson is new to the crime solving business. She is brought into it simply because she’s there. But, I think Sherlock brings Watson into the biz to form this duo because Watson provides an emotional element that Sherlock lacks. 

JHPENTERTAINMENT: What trait of Watson’s do you find most relatable—and what about her do you admire most?

BETH HENDERSON: I can definitely be a bit neurotic and all over the place like Watson is, and I really understand her emotional struggles. I think the thing I admire most about her is what you referred to earlier, her courage to move somewhere new and just start all over without a safety net. 

RAPID FIRE WITH SKYLER COLE, LESTRADE, ELLIOTT MONK & OTHERS IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: What’s the trickiest part of stepping into Lestrade’s shoes?

SKYLER COLE: The balance of competence to incompetence. He is a cop and knows protocol, but his imagination can lead him down a wild goose chase for sure.

JHPENTERTAINMENT: As Lestrade, you often stumble or say the “wrong thing.” Which particular gag or line do you relish most, and what slight twist will you put on it in performance?

SKYLER COLE: I have a certain moment with a bug where I very quickly go from joy to fear. Love any moment some physical comedy can be added in.

JHPENTERTAINMENT: Who in the cast would Lestrade secretly admire (or envy) and why?

SKYLER COLE: Character? Watson for sure. You may even see some of that admiration on stage…

Cast? Elyse (Holmes) because she loves Lady Gaga and Lestrade also has a thing for pop music.

JHPENTERTAINMENT: As Elliot Monk (the tech billionaire villain), you mask ambitions with slick confidence. In the moment you reveal (or hint) your vendetta, how do you calibrate that betrayal moment?

SKYLER COLE: A character can only beat around the bush for so long before they have to address the problem head on. Monk would probably want to live in the bush if he could, but sometimes ambitions speak louder than a scary bush.

JHPENTERTAINMENT: In the dance of masks (Lestrade vs. Monk vs. public persona), which of your roles is your “default” internally, and how do you switch physically or vocally among them?

SKYLER COLE: I would say Lestrade is my default as I play him most of the show. All my characters have different dialects and physicality with how they walk/carry themselves. I actually worked with a dialect coach to make sure my British dialects sound different enough for the different characters so as not to confuse any of the audience (hopefully). Switching physically is all about knowing where the energy of the character lies. Lestrade is mostly near his chest, Monk is wide taking up space, and others…well you will just have to come and see for yourself!

RAPID FIRE WITH JEN HOUGHTON, IRENE ADLER, MRS HUDSON & OTHERS IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: How do you shift between characters like Irene Adler and Mrs. Hudson—what’s your internal “switch”?

JEN HOUGHTON: Because I go back and forth between several characters so many times, and each one has a completely different dialect, age and physicality, I go through a little multi-step ritual before I enter each time. 

1. I set my feet in a specific stance, which triggers my brain-body-memory into that character’s center of gravity

2. I adjust my shoulders & posture, which helps me remember each character’s age and physicality

3. I quietly say a silly tongue-twister so I remember which dialect to use. 

It all probably looks quite ridiculous, but it helps!

JHPENTERTAINMENT: Which role gives you the greatest freedom to play, and which challenges you most?

JEN HOUGHTON: All three roles leave room for a lot of play, which is what makes this project so much fun. Mrs. Hudson is a lot closer to roles I’ve played before, so I probably found the quickest freedom to play with that character. Irene Adler is a VERY different “type” than I’m used to playing, and she really challenges me to face some major insecurities, so that feels like quite a gift of an experience.

JHPENTERTAINMENT: If Mrs. Hudson had a hidden past, what would you imagine it to be?

JEN HOUGHTON: I think Mrs. Hudson was a bit of a wild-child in her younger years. Maybe she spent a bit of time performing as a lounge singer on a cruise ship where she loved the life of travel & trysts. While that chapter of her life may be over, she’ll always remember her days of frivolity with fondness.

JHPENTERTAINMENT: In a fictional “Adler + Hudson crossover moment” (not in script), what would you imagine Mrs. Hudson saying to Irene about Holmes and Watson—and how might that line reveal a hidden relationship?

JEN HOUGHTON: I think Mrs. Hudson fancies herself a bit of a matchmaker, and we know she loves American cinema, so I think she would tell Irene to go for it with Holmes, because “The heart wants what the heart wants, and sometimes ya just have to carry the watermelon, dear.”

JHPENTERTAINMENT: Which of your characters would you want to “hang out” with for a day, and what would you do together?

JEN HOUGHTON:  Haha, well, since my choices are a narcissist, a sociopath and a sweet sassy landlady; for my own safety, I’m gonna have to go with Mrs. Hudson. I think we would probably sing & dance while baking some delicious sweets.

RAPID FIRE WITH ELYSE DAWSON, SHERLOCK HOLMES IN MS HOLMES + MS WATSON

JHPENTERTAINMENT: What can you tell me about your Sherlock Holmes, as conceived by the playwright Kate Hamill and now under the direction of Diane Bearden-Enright as you’re playing her?

ELYSE DAWSON: This is a version of Sherlock that allows her to be messy and flawed. When we meet her she’s having a bit of an identity crisis as she feels unmoored without a case to entertain her busy brain. Then, throughout the show Sherlock gets to prove her prowess repeatedly but we also see her struggle in the face of some difficult mysteries and characters that throw her off balance. 

JHPENTERTAINMENT: What’s one non-logical, emotional thing your version of Holmes secretly does when no one’s watching?

ELYSE DAWSON: Sherlock most definitely shares her most intimate thoughts and feelings with Mr. Bones (the skeleton that resides in Apartment 2B). 

JHPENTERTAINMENT: Do you have a favorite detective in TV, film, or literature (besides Holmes herself)?

ELYSE DAWSON: I grew up an avid reader of The Boxcar Children and the Bailey School Kids series. I think reading them as a kid, I found something really empowering about children who have such little control over their circumstances taking matters into their own hands to make sense of the world around them. I see that reflected a lot in Sherlock. She gets her sense of security from organizing and understanding facts very deeply. Oh and of course the Mystery Gang from Scooby Doo. I love how each member brings their own strengths and weaknesses together to solve the case.  

JHPENTERTAINMENT: In the “process is the point” monologue , which phrase do you lean most into in performance, and why?

ELYSE DAWSON: In that monologue, I lean into her explanation of the process being the point. She describes it as “The joy of the chase, not control of the hunt”. This particular monologue really resonates with me as an actor. It’s easy to get fixated on a final product: the show that’s presented to the audience; but I find the most joy and freedom comes from the exploratory rehearsal process. Sherlock is the most in her element when she’s on the case. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen WIT’s production of MS HOLMES + MS WATSON-Apt 2B?

ELYSE DAWSON: I hope that audiences leave with a renewed sense of wonder and curiosity. One of the big themes in this show is the marvel of the human mind. Isn’t it incredible that we have the capacity not just for extraordinary reasoning and logic but also infinite access to imagination without having to rely on technology or externals? I hope they are also reminded of our shared necessity for human connection and vulnerability. Holmes and Watson both start this play with the idea that they are on their own individual journeys but by the end, it’s made very clear that much more can be accomplished when they connect, shortcomings and all. 

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This Rapid Fire 20Q  might have concluded, but rest assured the game is afoot! Don’t miss WIT Nashville’s production of Ms Holmes + Ms Watson – Apt 2B, directed by Diane Bearden-Enright, running October 24 – November 1 at Darkhorse Theatre. Tickets are $25 and on sale now — CLICK HERE to get yours before they vanish faster than a clue at a crime scene!

Be sure and check out WIT’s Official Site and follow them on Facebook, Instagram and YouTube.

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 Twitter.

 

 

Rapid Fire 20Q with Cast of Joy’s Jubilations’ Presentation of ‘Queens of Heart’; at Gadsden, Alabama’s The Local Scene October 17 thru 25

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Playwright Lydia Bushfield has entertained Southern audiences for years having penned such plays as Yule Y’all, I’ll Be Seeing You and The Bop She Bops and now it’s Gadsden’s turn to sample a bit of her Southern sass when her play QUEENS OF HEART , as directed by Joy Tilley Perryman, makes it’s Alabama debut. The show takes centerstage at The Local Scene at 118 (118 Chestnut Street, Gadsden, AL 35901) with performances October 17-25. Produced by Gadsden’s own Joy’s Jubilations, this heart-filled comedy follows a group of Southern women who gather weekly for game night to swap stories, share secrets, and deal with life’s ups and downs—one hand at a time.

Among the cast, Perryman plays the ever-honest, but often brutally truthful Rose Kincaid, a role she’s familiar with, having first played her during the show’s World Premiere back in 2003. For the show’s Alabama premiere,  Perryman is joined by an exceptional cast of local and regional talent. Alongside Perryman, the show also features Kathleen Jensen as the wise and wry Doris Ducacus, Katie Campbell as newcomer Alice Anderson, Angie Smith Townsel as sweet and sincere Betty Linwell, Jean Leah Atkins as the big-hearted Faith Middleton, and Courtney Linam as the spirited Emily Patterson.

As the queens were fine-tuning their performances…and their game faces…we recently sat down with Perryman, Jensen, Campbell and Linam for JHPEntertainment’s latest Rapid Fire 20Q to talk poker nights, Southern charm, and the real-life friendships on- and off-stage that make this show shine.

RAPID FIRE 20Q WITH CAST MEMBERS OF JOY’s JUBILATIONS’ QUEENS OF HEART

RAPID FIRE WITH QUEENS OF HEART’s DORIS, KATHLEEN JENSEN

JHPENTERTAINMENT: When Joy Tilley Perryman reached out to me about the possibility of doing a Rapid Fire 20Q with cast members of QUEENS OF HEART, I was excited to see a couple of familiar names, yours included, the two of us having chatted back in 2023 when you appeared in a production of Sordid Lives at The Ritz in Gadsden. What can you tell me about Doris Ducacus, your role in QUEENS OF HEART?

KATHLEEN JENSEN: Doris is Smart Alec of the group. She is also very insightful, devoted to her daughter and very much in love with her husband, Harry.

JHPENTERTAINMENT: According to the character breakdown in the script, Doris is meeker and milder than Rose, making them a good balance. So, I gotta know…as scene partners, who’s really keeping the scales steady on stage and who’s the one tipping them over?

KATHLEEN JENSEN: Like you say Rose and Doris are a good balance much like Joy and myself. We lift each other up.

JHPENTERTAINMENT: There’s a quote in that other play about a group of southern friends…as Dolly Parton’s Truvy says in Steel Magnolias, “Laughter through tears is my favorite emotion”. That could easily be one of Doris’ lines as she brings up a bit of a secret to her girlfriends. As an actress, how do you prepare yourself to switch from the more lighthearted moments to the more serious ones?

KATHLEEN JENSEN: It’s kind of like life therefore I try to draw from real life experiences. You have to find a similar experience to capture the feeling.

JHPENTERTAINMENT: Right off the bat playwright Lydia Bushfield sets the overall humorous tone of the show with Doris’ line “She’s been nipped and tucked more times than a good pleated drape” Do you have a favorite in the show, whether one you get to deliver, or one you wish was Doris’?

KATHLEEN JENSEN: “If that woman pulls her skin any tighter, she will have to pierce her nipples to wear earrings.” Doris is always ragging on Shania.

JHPENTERTAINMENT: A large portion of the play takes place around a game table. If you and a group of friends were to get together for game night, what game would you insist on playing?

KATHLEEN JENSEN: Spades, I am a champion, spades player!

RAPID FIRE WITH QUEENS OF HEART’s ALICE, KATIE CAMPBELL

JHPENTERTAINMENT: I understand this is your theatre debut. When did you first realize you might want to try your hand at acting? 

KATIE CAMPBELL: I have always had the idea in the back of my mind. I have the heart of an entertainer for sure. But my daughter is who pushed me to try it. She is fearless and talented, and I want to make her proud. 

 

JHPENTERTAINMENT: I think my favorite of Alice’s lines is “Bein’ a southern woman is all about keepin’ up appearances. God forbid that one of us should admit that we are havin’ a bad day.” Playwright Lydia Bushfield hit the nail on the head with that one, don’t you think?

KATIE CAMPBELL: Sure, I do. We put the world on our shoulders. I would venture to say that that could be true for all women, though. We are natural caretakers. 

JHPENTERTAINMENT: If you could play another character in this show, regardless of whether you ‘fit the type’ or not, who would it be and why?

KATIE CAMPBELL: Betty! I’ve been her before and I admire that type of independence in a woman. 

JHPENTERTAINMENT: As Alice, you’re at the heart of one of the show’s most surprising twists. Without giving anything away, how much fun are you having playing this part?

KATIE CAMPBELL: It’s much more fun than I thought it would be! When I read the script I was a little intimidated, but our director, the one and only Joy, helped me find my voice. 

JHPENTERTAINMENT: Your bio reveals that you’re a licensed massage therapist. Who among the ladies of QUEENS OF HEART would benefit most from a session with you at your day job?

KATIE CAMPBELL: That is so hard to say because after all of this is said and done, we’ll all need a good massage. I’m gonna go with Emily though. That girl sure was goin’ through it. 

RAPID FIRE WITH QUEENS OF HEART’s EMILY, COURTNEY LINAM

JHPENTERTAINMENT: When I chatted with Kathleen, I mentioned that I was excited to see her name among those I’d be chatting with, having interviewed her before. The same goes for you, the two of us having chatted just last year when you were starring in Steel Magnolias at The Ritz. Now here you are as Emily in yet another tale of southern friendships. What was it about QUEENS OF HEART and the role of Emily that drew you to audition?

COURTNEY LINAM: Thank you so much for this interview—it’s always great to chat with you! I loved getting to visit with you last year during Steel Magnolias, and I’m just as grateful to reconnect again for QUEENS OF HEART.

I was immediately drawn to Emily because she’s so real. She’s fun-loving, hopeful, and just trying to get it right—even when life keeps throwing her detours. I love that QUEENS OF HEART celebrates friendship, strength, and those moments when women lift each other up.

I was also drawn to the play because I was so excited to be directed by one of the most talented people I know—Joy Tilley Perryman. She has such a gift for bringing out truth and heart in every story, and I knew that under her direction, this show would be something special.

JHPENTERTAINMENT: While reading the script to familiarize myself with the play before chatting with you and your costars, I immediately picked up on the name of the town where all the action takes place…Fate, Texas. So, just curious…do you believe in fate, free will, or a mix of the two?

COURTNEY LINAM: It’s really a mix. I think fate puts certain people and moments in our path, but free will decides what we do with them. Emily’s story shows that perfectly—she might’ve been led down the aisle by fate, but it was her own strength, and the help of her true friends, that gave her the courage to walk away from something that wasn’t right.

JHPENTERTAINMENT: On the subject of the play’s Texas setting, the script contains a note from the playwright about the Texas dialect. During the rehearsal process was there discussion on just how Texas the cast would sound? Where have you personally drawn your Texas drawl from?

COURTNEY LINAM: Oh yes, we had plenty of fun with that! The goal was to sound authentically Southern without needing subtitles. I’m more Alabama than Texas, but there’s a shared sweetness and rhythm to both accents that feels like home. I leaned into that warm, melodic tone—you know, the kind that can make a compliment or a comeback sound equally charming.

JHPENTERTAINMENT: Is there any aspect of Emily’s personality that you might adapt to your own?

COURTNEY LINAM: Her courage to finally put herself first. Emily’s been through a lot of “almost right” love stories, but she finds her voice and realizes she doesn’t have to settle. That message really stuck with me—it’s never too late to choose peace, joy, and the people who truly love you for who you are.

JHPENTERTAINMENT: Early in the play, there’s mention of Emily’s poker face. In your real life, do you have a poker face, or can folks generally tell what you’re thinking just by looking at your expression?

COURTNEY LINAM: Oh, I absolutely have a poker face—and I’m actually pretty good at poker, too! I can keep a straight face when I need to, which comes in handy both on stage and at the card table. But catch me off guard with something funny, and I’m done for—no hiding that laugh. I think that balance is what makes acting fun for me—being able to control your expression when it counts, but also knowing when to just let the real emotion show.

RAPID FIRE WITH QUEENS OF HEART’s ROSE, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: You’re no stranger to Rose Kincaid, having been portrayed the role back in 2003 during the World Premiere performance of QUEENS OF HEART at Chaffin’s Barn Dinner Theatre in Nashville and now you’re spearheading the Alabama premiere. What is it about this show and the role of Rose that drew you back in?

JOY TILLEY PERRYMAN: The show is such a lovely story of female friendships and female interactions. Then throw in that is a group of Southern women and some of the best lines ever written and I have always wanted to go back and sit at rose’s table one more time. When I first contacted the playwright, my dear friend Lydia Bushfield about remounting the show, she had doubts, She thought it might be dated (she did bring it forward in time just a bit) but I assured her that the stories and the companionship these women share is timeless. 

JHPENTERTAINMENT: When chatting with one of you cast mates, I noted that QUEENS OF HEART shares some similarities with another play about a group of southern women, Steel Magnolias. Do you think it’s a fair comparison? And what would you say to fans of that show to get them to check out this one?

JOY TILLEY PERRYMAN: I think it is a fair comparison and I think fans of the Magnolias will LOVE the QUEENS! If you enjoy heartfelt shows with true to life depictions of what it means to have a strong group of girlfriends, then come see the show. And bonus, Poker!

JHPENTERTAINMENT: When you and I first talked about me featuring the cast of Queens of Heart in a Rapid Fire 20Q, you mentioned that you’d secured a great venue for the performances. What can you tell me about the venue and how does it lend itself to the action of the play?

JOY TILLEY PERRYMAN: As you know, I moved back to my hometown in 2021. When I left Gadsden, AL in 1985 the downtown area was a dead place. Like most small Southern towns, when the mall came in, downtown dried up. But in the years since I have been gone, downtown Gadsden has reinvented itself! We have a thriving entertainment district and one of the best art museums in the state. And we have murals all over just like Nashville! I work my day job on Chestnut Street, one block from Broad Street and when I was thinking of finding space to do this show it hit me like a ton of beautiful bricks. The space at the top of Chestnut was vacant. It is owned by a school chum and her husband, so I called Syndee and asked if she was open to a short term rental. Built in 1930, it is a lovely brick building with a  big open space and smaller rooms to use as dressing rooms. It has 2 big store windows that I have used as my marquee, so to speak. It is store front theatre, I can only fit about 45 chairs. But folks will truly feel like they are in Rose’s living room. And the best part? The store next door, that my friend Syndee owns? It is called The Stone Market and is the best wine shop around! She is going to extend her hours on Fridays and Saturdays, so folks can bring a glass of wine over to the show. 

JHPENTERTAINMENT: While reading the script in preparation of chatting with you, when Rose responds to Betty revealing where a particularly uneventful date took her to dinner. Rose’s line, “He did not take you to Sonic”, could easily be a throwaway, but having seen you in a number of plays over the years, I could hear you delivering that line as I read it and it made me giggle. Without giving too much away, what’s your favorite line or scene in the play?

JOY TILLEY PERRYMAN: That is one of my favorite lines! I totally channel my MawMaw Thompson in the delivery. I take her delivery of the phrase “You don’t mean” and apply it to the Sonic line. But I do love the scene after the wedding. You will have to buy a ticket to get to see the sherbet-colored bridesmaid dress! And matching headdress. Trust me it is worth the price of admission.

JHPENTERTAINMENT: What do you hope audiences take with them after spending a little time with the ladies of QUEENS OF HEART?

JOY TILLEY PERRYMAN: I told someone recently that the role of theatre has always been to entertain and maybe sometimes to uplift and educate. But in these perilous times when there is so much hate and anger and just ugliness around every corner, I hope the audiences will come away with love. That the love these 6 women have for each other can spill out and over and in to everyone’s lives and maybe ease the sorrow for just a bit. They are not all alike, they do not share the same views or life experiences but they share a common ground in their friendship and acceptance. That is maybe not a bad lesson either.  

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From laughter to life lessons, the ladies of QUEENS OF HEART prove that every hand you’re dealt can be a winning one when your friends deck is stacked with queens. Don’t miss Joy’s Jubilations’ staging of Lydia Bushfield’s QUEENS OF HEART, playing October 17–25 at The Local at 118 in downtown Gadsden, Alabama. Performances are Fridays and Saturdays October 17-25 at 7:30pm. There will also be a Sunday matinee at 2pm on October 19, Tickets are only $15. Seating is limited so CLICK HERE for tickets or more information. To keep up with the latest from Joy’s Jubilations, CLICK HERE to follow them on Facebook.

For more theatre coverage, cast interviews, and behind-the-scenes peeks from across the Southeast, like and follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or follow us on Facebook, Insta and X. And remember—always bet on the queens. ♠️♥️♦️♣️

Rapid Fire 20Q with cast of Playhouse 615’s ‘The Haunting of Hill House’; onstage October 17 thru November 2

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Just in time for the Halloween season, Playhouse 615 is presenting their production of playwright F. Andrew Leslie’s chilling adaptation of novelist Shirley Jackson’s classic frightmare, The Haunting of Hill House, inviting theatergoers into one of literature’s most haunted homes, brought to life on Playhouse 615’s stage under the direction of Joel Meriwether. As the cast prepared for their October 17 opening night, we caught up with four of the brave souls stepping into the supernatural—Lucy Turner, Preston Alexander Raymer, Andrea Coleman and James David West—for a Rapid Fire 20Q. From on-stage terror and off-stage frights to their thoughts on the show’s eerie subject matter, this fearsome foursome gives us a peek into the dark corners of Hill House itself. So, dim the lights, say your prayers and get ready because Hill House is watching…

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Rapid Fire 20Q with cast of Playhouse 615’s The Haunting of Hill House

Rapid Fire with Lucy Turner, Eleanor Vance in The Haunting of Hill House

JHPENTERTAINMENT: When Playhouse 615 reached out to me about doing a Rapid Fire 20Q with come of the cast of The Haunting of Hill House, and I saw your name, I knew I wanted to chat with you, remembering having seen you onstage when you were just a kid in local productions of Cindy & Ella and The Bad Seed. I understand in the years since, you graduated high school, studied at Baldwin Wallace and moved to New York. So…a two part questions to start us off…Are you back in Nashville for a while, or just a visit? AND…What can you tell me about Eleanor Vance, and your take on her?

LUCY TURNER: My plane ticket back home to New York is booked for literally the day we close the show! I’ve been in NYC for almost two years, but it’s such a large market that I still feel so fresh and new, which I like. Back in 2023 in my interim time I was home in between college and making the big move, I reunited with Joel for their production of The Woman in Black. I had such an amazing experience working with Joel that once I heard they were doing Hill House, I knew I had to throw my hat in the ring and come home for a brief stint.

As far as my take on Eleanor, it has been such a joy getting to know her. You rarely get to sink your teeth into a character that is truly so complex. I’m an avid reader, and originally read Shirley Jackson’s novel about a year and a half ago. I remember being so enthralled in Eleanor’s journey and her quick dissent into madness. She is a sheltered girl desperate for adventure and a place to call home and Hill House is more than happy to prey on that. 

JHPENTERTAINMENT: According to the playwright’s original character breakdown of Eleanor Vance, she’s typically presented as a slightly older woman in her mid-to-late thirties. Was there any conversation with the show’s director, Joel Meriwether on the ten-year advance the character has on you?

LUCY TURNER: We had some conversation about the decision, but I think what’s more important than Eleanor’s precise age is that she feels ’fresh’; I’ve always thought of her as a ‘new soul’. A lot of my analysis stems from the women that occupy Hill House and what each of them represents in terms of the female experience. Eleanor, regardless of the description, must feel sheltered and naive to then juxtapose with the experience, wisdom, or bitterness of the other ladies of Hill House.  

JHPENTERTAINMENT: OK, I mentioned earlier that you starred in The Bad Seed when you were what…thirteen? And I stumbled upon a certain SCREAM-themed birthday cake post while doing a little online sleuthing in preparation of our conversation. Is it safe to assume The Haunting of Hill House and the like is definitely in your wheelhouse?

LUCY TURNER: Haha, yes you can definitely say that Haunting of Hill House is in my wheelhouse. I was a very brave child and looked to horror movies and haunted houses as a challenge to see what could truly scare me. I also feel very inspired by the horror genre. I actually started a production company while in college, Burn to Shine Productions, that produces horror films. I’ve written and produced several shorts in the genre and find myself always drawn to it. When you look, horror is a wonderful gauge for where we are as a society in terms of what keeps us all up at night. You can say the same for Hill House, I can not wait for the audience to be terrified and to see them tremble at what we have in store, but this script is fraught with deeper meaning and the consequences of a repressed mind. 

I also do need to correct you, Jonathan, I was freshly ten when I got to play Rhoda Penmark in Street Theatre’s Bad Seed, a role I still cherish to this day. 

JHPENTERTAINMENT: Ten? Wow…I stand corrected. What’s the biggest challenge in playing someone like Eleanor, who’s quite psychologically fragile?

LUCY TURNER: What I have found to be the biggest challenge in playing Eleanor is letting her feel everything she feels…which is a lot. Eleanor is loose with her emotions, they often come out of nowhere and are loud and consequential. I tend to be very withdrawn with my feelings, holding them close to the vest. It has been both challenging and freeing to just follow Eleanor’s lead in her emotional rollercoaster. I’ve learned to not ask her any questions. 

In addition, I’ve grown fond of her and feel rather guilty about the whole thing. She enters Hill House with all the optimism and hope in the world. She is desperate for independence and adventure, leaving behind a sequestered life of abuse, but she learns quickly that’s not the way the world is set up for women. I have to break the news to Eleanor that all of the complicated emotions she feels (guilt, rage, envy) are a sort of trauma that do not get left behind at the welcome mat.

JHPENTERTAINMENT: If you had to spend the night in a real haunted house, which of your fellow cast mates would you want by your side?

LUCY TURNER: Honestly, I think I would pick Preston, who plays Luke, to accompany me. But I’d get away from him and start playing tricks and tormenting him the whole time. He scares easily. 

Rapid Fire with Preston Alexander Raymer, Luke Sanderson in The Haunting of Hill House

JHPENTERTAINMENT: How would you describe Luke Sanderson in one sentence?

PRESTON ALEXANDER RAYMER: Luke is carefree, skeptical of the rumors about the house, and loves to tease those around him.

JHPENTERTAINMENT: Instead of the typical actor bios seen in most playbills, for The Haunting of Hill House, the audience is treated to character bios. Did your director ask for any input in creating these? AND…What’s your favorite thing about the Luke bio?

PRESTON ALEXANDER RAYMER: The director allowed us creative freedom… “While others were captivated by these narratives, I hated them; their chilling nature haunted my thoughts and fed my fears. The relentless rumors and fear-driven tales spiraled into shadows that consumed me, ultimately leading me down a dark path toward alcoholism, seeking solace from the anxiety they instilled.” 

I believe this is at the heart of Luke’s nature because the rumors about the house and his family have caused deeply rooted insecurities and trauma that have shaped his outlook on life. He masks these feelings, which is something I believe we, as humans, tend to do. This masking is what makes him human and relatable.

JHPENTERTAINMENT: So much of The Haunting of Hill House examines more than the fear of ghosts and spirits. What do you think Luke fears most?

PRESTON ALEXANDER RAYMER: Luke fears his reputation being overshadowed by rumors and reliving his childhood trauma. 

JHPENTERTAINMENT: What can you tell me about the special effects, sound effects and lighting used to create the haunted ambiance of Hill House?

PRESTON ALEXANDER RAYMER: I don’t want to give away any spoilers, so one must attend the show to find out.

JHPENTERTAINMENT: Joel has enlisted the aide of Jordan Ivie as assistant director/dramaturg. How has Jordan aided you in your exploration of Luke?

PRESTON ALEXANDER RAYMER: Jordan has been a guru of subtle nuances and character relations that have helped me navigate the complexities of Luke’s psyche. 

Rapid Fire with Andrea Coleman, Mrs. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Mrs. Montague’s entrance into Hill House seems to clue the audience into the fact that she feels she’s more spiritually connected than her husband. Would you say that’s a fair statement?

ANDREA COLEMAN: She certainly feels that way. Whether or not her abilities are genuine or fabricated, I’ll let the audience decide. Regardless of the accuracy of her methods, she definitely has a much more emotional approach. 

JHPENTERTAINMENT: In preparation for this role, have you researched any real-life hauntings or binged any great ghostly movies or series?

ANDREA COLEMAN: I read The Haunting of Hill House book, which is pretty accurately represented by the play. I also watched The Haunting of Hill House series as well as The Haunting of Bly Manor – both excellent. I actually went on a scary movie binge and found some I really enjoyed! The Conjuring and all its many sequels and spin offs were some of my favorites.

JHPENTERTAINMENT: If you were to recast this production, using the same actors, how would you flip the roles?

ANDREA COLEMAN: I’m not sure I could! These actors feel tailor made for their roles and feel like everyone is so very well suited to their roles! 

JHPENTERTAINMENT: As you’ve inhabited Mrs. Montague, have you created any backstory that might not be in the script, but that helps you bring the character to life on stage?

ANDREA COLEMAN: Absolutely, and I love to talk about it, though I would like to add a trigger warning that it involves difficult themes. Dr. And Mrs. Montague are currently suffering from a struggling marriage, but I believe they were once madly in love. Their marriage became strained when Mrs. Montague suffered the loss of a baby. Then again. And again. Loss after loss – hope brewed and then burned at the stake. Grief changes you, and I believe it changed both Dr. and Mrs. Montague in ways they don’t even realize and certainly would never admit. Dr. Montague poured himself into his work. He will make his life count by leaving an academic legacy, rather than a familial one. Mrs. Montague was alone in her grief. A kind of lonely that plays tricks on your mind and whispers enough lies that doubt slowly creeps in. Loneliness magnifies the grief, so she also dove into her husband’s line of work, looking for him, or at least a friend in the loneliness. There, she found not only Dr. Montague’s interests, but also companions in the no-longer-living; souls who ached just as much as she did. In them, she found familiarity in the pain and knew her legacy would be helping others ease their suffering where she could not ease her own. Along the way, she also found a moldable mind in Arthur that she could pour her love into – a pseudo son to fill the void in her heart left by her miscarriages and loneliness. 

JHPENTERTAINMENT: Is there a scene, a bit of dialogue or a moment within the play that you genuinely love to be part of each night?

ANDREA COLEMAN: My favorite line of dialogue is “The fire wants stirring.” This line

gives such imagery to the events happening in the play. The forces at work in Hill House are ready to be heard and set their stories ablaze. 

Rapid Fire with James David West, Dr. Montague in The Haunting of Hill House

JHPENTERTAINMENT: Who is Dr. Montague to you and what interested you in the role?

JAMES DAVID WEST: Dr. Montague is an enigma, so to speak. He came from a humble background, somehow placed into an Ivy League school to get his doctorate in Psychology and Anthropology, has always been profoundly interested in the supernatural, and has made it his life’s goal to prove that ghosts are real, as it were. The role of Dr. M is normally played by someone a bit older than me, but I felt I had the right temperament to fit into the story. Our version is out to prove something, to make his mark on the scientific community. He wants notoriety. And yet, perhaps he has motives that aren’t so… apparent.

JHPENTERTAINMENT: When the house seems to show…shall we say…signs of life, how do you image Dr. Montague shows his fear?

JAMES DAVID WEST: Dr. Montague keeps his emotions in check, even under extreme pressure. During his time at Hill House, he recognizes that supernatural happenings are occurring around him… but he can’t show that he “didn’t know” things were going to happen.  That is, until he stars being affected internally by the house, as well.  His confidence melts off, leaving him perhaps even more vulnerable than his guests.

JHPENTERTAINMENT: In the world of Hill House, who’s more frightening Drew Ann Davis Borsos as Mrs. Dudley or the spirits that inhabit the house?

JAMES DAVID WEST: Dr. Montague is certain that Mrs. Dudley has no say so in the things that go bump in the night, but it is rather intriguing to observe her floating around without making a sound until she’s right up on you…

JHPENTERTAINMENT: Like a good Hitchcock film, it’s the unseen in The Haunting of Hill House that’s truly terrifying.  What’s your personal favorite haunted moment in the play?

JAMES DAVID WEST:  Without giving too much away, there is a point in the play where Dr. M begins to crack, himself.  He isn’t quite sure WHY it is happening, but he is certain that the grasp he once had on Hill House has been forcibly removed by forces yet to be uncovered.

JHPENTERTAINMENT: What do you hope audiences take with them long after having seen The Haunting of Hill House?

JAMES DAVID WEST:  Hill House, to me, represents a time in life we can all relate to.  Some environments are inherently bad for us – they make us sick, depressed, and/or lonely.  At times, we may even feel that we don’t belong – as if everyone and everything around us is screaming for us to leave and never come back.  We may attempt to face those fears for as long as we can, but in the end we are at the mercy of the environment we have unfortunately chosen for ourselves, with next to no way to fully escape.

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Whether you believe in ghosts or not, one thing’s certain — the cast and crew of Playhouse 615’s The Haunting of Hill House are ready to deliver a spine-tingling experience audiences won’t soon forget. For tickets and showtimes CLICK HERE — but don’t wait too long. Hill House has a way of tormenting those who hesitate.

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

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