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Rapid Fire 20 Q

    Rapid Fire 20Q: On the Run and On the Record with ‘Some Like It Hot’ National Tour Cast; at TPAC April 21-26

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When the national tour of Some Like It Hot taps its way into Tennessee Performing Arts Center April 21–26, audiences can expect a high-octane blend of classic Hollywood glamour, sharp-edged comedy, and full-throttle musical theatre spectacle. Set against the backdrop of Prohibition-era Chicago and a cross-country escape to California, the show follows two musicians on the run who find themselves embedded in an all-female band—leading to mistaken identities, romantic entanglements, and plenty of tap-dancing chaos.

At the center of it all is a company of performers tasked with balancing farce, heart, and precision night after night. With the Music City dates marking the final stop on the show’s current tour schedule, JHPEntertainment caught up with cast members Edward Juvier (Osgood), DeQuina Moore (Sweet Sue), Matt Allen (Mulligan), Devon Goffman (Spats), and Devon Hadsell (Minnie) for a Rapid Fire 20Q—covering everything from character approach to the mechanics of keeping a show this fast-moving fresh on tour.

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 RAPID FIRE 20Q WITH CAST OF SOME LIKE IT HOT NATIONAL TOUR

RAPID FIRE WITH SOME LIKE IT HOT‘s SWEET SUE, DEQUINA MOORE

 JHPENTERTAINMENT: As Sweet Sue, you’re front and center during the show’s opening number, “What Are You Thirsty For?” How exhilarating is it to kick off the show with this number each night? 

DEQUINA MOORE: It’s BEYOND exhilarating, honestly! My heart is pounding, my excitement is through the roof, and I get chills sometimes once the audience is moved to scream!  To be able to tell the story with such large belly notes and humungous presence and such power and control are all traits of a number that most artists can only dream of. Sweet Sue gets to set the tone and the pace of the show, and also the energy! She holds it all in the palm of her hands from the very beginning, and as much fun as it is, it’s also a lot of responsibility–one that can never ever be taken for granted. So every single show, I try to take the bull by the horns, no matter how I’m feeling personally, and get the show started with a BANG! The music of the speakeasy and the life of Prohibition struggles and fights for survival all have to be prevalent themes from the very top!

JHPENTERTAINMENT: What are YOU thirsty for? 

DEQUINA MOORE: Whew, that’s a great question! I, as Sweet Sue, am “thirsty” for a life that is not scared of the day-to-day. Just to live without going to jail for the selfish gangsters that she works for is what she’s really working hard towards. Selling booze under the table for them and then always having to take the heat for them is EXHAUSTING! She would much rather make her music, lead her band, teach some life lessons, and rest without stressing for a change. The sweet and simple life is within her grasp, but trying to make sure she makes enough money for the night, all while being Black and female, is the never-ending trial she has to face and eventually conquer as the story unfolds.

As, DeQuina Moore, the artist and dreamer, I am “thirsty” for more time with my new baby boy, Kevin Montrel!  He’smy dream these days, only 1 year old, and he holds my entire heart and soul in the palm of his little hands. I cannot wait to sing to him more and dance with him, and play with him and have our little chats, and go outside and play, and keep him from putting everything in his mouth, and teach him all the life lessons like how to share and how to be friendly, and how to maintain his humility all while remaining confident…and so on and so forth! I am extremely “thirsty” for these moments with Baby Kevin, and I simply cannot wait! 

 JHPENTERTAINMENT: What’s the key to keeping Sue grounded in such a heightened world? 

DEQUINA MOORE: I think the key to keeping Sweet Sue grounded in such a heightened world is constantly remembering what she needs and what she wants. She is so hyper-focused on reaching her dreams that it makes her also a true lifesaver, literally and figuratively.  Not only is she working hard so that she can help provide for her own family and herself back home, but she is also keeping in mind the life and the dreams of all of her band members.

Every single lady that is a part of Sue’s lineup has a family and aspirations of their own, and it’s extremely important throughout the arc of the story that Sue never loses site of that. Therefore, her stakes remain very high, to the point where she can’t ever stray too far from her goals. Music and ultimately succeeding with the band is actually life or death for her!  So, any and all distractions/noise of any kind that’s all around her must be put on the backburner or be completely ignored in order for her to be the hero she is in this extraordinary story.

JHPENTERTAINMENT: What part of Sue’s journey resonates most with you personally?

DEQUINA MOORE: The part of Sue’s journey that resonates with me the most is most certainly the surprise that she is hit with suddenly and subliminally as she grows and matures in her bandleading position.  As it all unfolds, she’s not just a director and a manager, but she’s also a huge maternal figure to every single lady. She’s a mother figure to so many, and this is a role that is very unexpected for the character. So in the moments where Sue would rather remain hard and stern and disciplinary, she actually, at times, has to find her soft side and rely on her femininity and her truth as not just a woman, but a mother in order to get her through some of the toughest moments in the story.

This particular character trait is crucial for the story to work. It’s part of the heart of the journey. It’s what makes not only the ladies fall in love with Sue, but also is what makes them want to remain in her band. They not only feel protected physically, but also emotionally, and this is what makes all their relationships even more relatable and interesting to the audience. It adds a level of complication that makes sense, which is never easy to play, but very easyand thrilling to spot and witness!  

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RAPID FIRE WITH SOME LIKE IT HOT‘s MULLIGAN, MATT ALLEN 

JHPENTERTAINMENT: As Milligan, you’re the show’s “straight man”. What is the challenge of playing it straight in a farce like Some Like It Hot? 

MATT ALLEN: Hello Jonathan, and thanks for these amazing questions! With a cast of gifted actors/comedians, playing the “straight man” is an honor and a breeze.  And with a finely crafted script like this one, it also becomes acutely necessary for there to be a “straight man” in the beginning of the show to give the pertinent information that tells the story to allow the characters to make their drastic decisions that sparks the basis for this zany, off the wall, and touching story.

 JHPENTERTAINMENT: Alright, I can’t waste this opportunity…Putting Some Like It Hot aside for just a second…What’s your favorite memory of your time in Once Upon a One More Time, the 2023 all-Britney Spears jukebox feminist fairytale? 

MATT ALLEN: Wow, I didn’t see this one coming!! And thanks for doing your research.  There were so many incredible moments with Once Upon a One More Time, but the one that immediately pops up when you asked the question was the moment I received the “Legacy Robe” on Opening Night.  That ceremony is so rich in tradition, and such and honor.  The first time I witnessed a Legacy Robe ceremony many years ago, I wondered if I would ever be so lucky to be a recipient.  And then to receive not only one, but two Legacy Robes kind of blew my mind.  And funny enough, both robes I received were on the exact same stage at the exact same theatre, The Marriott Marquis, [the first being 2018] with Escape to Margaritaville!

JHPENTERTAINMENT: Back to Some Like It Hot…Without giving too much away concerning a bit of…‘undercover work’ during a particular chase scene, how much fun are you having each night when it’s time to trap Spats in a Josephine-esque honeypot?  

MATT ALLEN: Well, as you put it, with being the “straight man,” this is my first opportunity to really jump in on the fun that has been happening on stage all night.  However, none of this fun could truly happen without the brilliant writing of this show.  Watching and feeling the journey of this show finally coming down to this moment of truth is a real thrill each and every night. Everyone is onstage at this moment, and all the storylines have merged to form a very dramatic and comedic pinnacle.  Needless to say, it’s about as much fun as you can possibly have in a classic musical theatre setting…DREAMY!

JHPENTERTAINMENT: The audience quickly learn what/who Milligan is pursuing. What’s Matt after? 

MATT ALLEN: Well Jonathan, I’m “after” the constant search for happiness, I guess.  I am lucky to be blessed with an abundance of it, but it takes work and effort to keep it. My wife, Paula, and my dog, Vixen, provide a tremendous amount of happiness for me. But I haven’t seen them very often while on tour. I am lucky to be able to say my work provides me with happiness, and especially with this show because of its gifted cast and incredible script. So sometimes work, which makes me happy,  takes me away from family, which also makes me happy. It requires work to balance all of that out. So in the pursuit of happiness, I guess I am also after “balance.”  Wow, thanks Jonathan for that question!  It helped me work this all out…I guess I am really after balance!

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RAPID FIRE WITH SOME LIKE IT HOT‘s SPATS, DEVON GOFFMAN

JHPENTERTAINMENT: As someone who worked alongside Simon Cowell during the original first two seasons of American Idol, I gotta admit, I literally LOL’d when I ran across a clip of you comparing Spats Colombo to a “Simon Cowell of the 1930s”…care to expand on that a bit? 

DEVON GOFFMAN: Aw, yes! I’m a huge fan of Simon, and I loved watching him on those original seasons of American Idol. He was always tough on the exterior… but had a heart of gold that would just melt from the right performance. Watching Simon be soothed by the best performance was what the audience waited for– soothing the “savage” beast. I feel like Spats Colombo may be a tough, and “literally savage” mobster from Chicago. But everything he does in the show is driven by him searching for the best talent for his club. It was Prohibition, and no matter what, Spats wants the top-notch entertainers working at HIS club. He’sproud of it. He respects it, and he forgets about his dark motives when watching Sugar Kane sing a ballad. (Leandra Ellis-Gaston melts Spats, me, and the crowd every night with her vocals & gutsy performance). If you notice, a lot of the “mob” bosses in organized crime in the 30’s wore the best suits with the best fabrics, ate the finest meals, and drank the finest liquor and wines. They wanted only the best singers & dancers in their club.  Fortunately, that’s what the audiences get when they watch our company of Some Like it Hot. And the finest suits/threads–Gregg Barnes won a Tony for the costumes. And my three piece suit & tux… when I put those on, I’m catapulted into 1933.

JHPENTERTAINMENT: What makes Spats more than a traditional gangster antagonist and so fun to play?

DEVON GOFFMAN: Spats is so much fun. He gets to bring the frightening truth of the 30’s organized crime to a show with fun songs, tap dancing, and great laughs. Slowing down the show a bit with a sense of humor, combined with a sense of ominous fear. That where good theatre starts: having that opposing energy. Spats loves to crack jokes, and he loves to crack craniums as well. 

The St. Valentine’s Day massacre in Chicago is what the “moment” of this show is based on. That’s scary real stuff. Bringing a bit of that reality into a very fun comedy really makes for an interesting story. I love that I get to join in on Casey Nicholaw’shistoric and genius choreography in the show. I like to call some of it Door-E-Ography…he won the Tony Award for the genius Choreography in the show. I’m lucky Spats gets to join in on it!  What a thrill.

JHPENTERTAINMENT: With half a dozen tours from Jersey Boys to Grease to your credit, What’s been the most rewarding aspect of playing this role on this tour?

DEVON GOFFMAN: I’m fortunate to have done a hand full of really great musicals on the road. Great music, and some great scripts. Some Like It Hot MAY be one of the funniest scripts I’ve gotten to do. It’s got the sit-com laughs, and hearing the realaudience every night (for 580+ shows) on the road laughing throughout… it’s encouraging. I think theatre is heading into a great Renaissance period of time. People are starved for connection, and genuine entertainment that isn’t on a screen.

Especially the young people. They seem to be reallyinspired by this show. It is nice to see people put down their phones for 2.5 hours and laugh, smile, cheer, and maybe even tear up a bit! Live theatre at its best. But the laughs are the secret weapon of this show–audiences walk out feeling GOOD!

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the scene when Mulligan goes…“undercover” to trap Spats. How do you keep it together and in-character during the hilarity of this particular situation opposite Matt?

DEVON GOFFMAN: Yeah, the first time I saw Matt Allen “undercover” was tough not to break on stage. That goofball dressed up like that drove me to the brink! He’s a hilarious actor with such great energy on and off stage. Our company is led by some veteran performers who have really been doing this all our lives. Edward Juvier is a comic genius who makes every Osgood moment shine bright with honesty and kindness. Matt Loehr as Joe/Josephine is one of those unicorn performers who can do EVERYTHING well, and always has a huge smile and a hug waiting for you offstage! Having leadership like them in the building since day one on this tour truly set the tone. Tavis Kordell is an extraordinary talent with a huge heart that shines as Jerry/Daphne! DeQuina Moore & Devon Hadsell bring so much good energy, and endless experience to their roles. Kindness + Work Ethic +  Joy = a Show that Radiates! We are a family. Every theatre show doesn’t have to become a family… but this tour has become the best kind of one. One that cares for each other and keeps the love of the show, and experience for the audience as our number one objective.

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RAPID FIRE WITH SOME LIKE IT HOT‘s MINNIE, DEVON HADSELL

JHPENTERTAINMENT: Having understudied the role of Minnie during the show’s Broadway run and now taking on the role for the touring company, How do you feel you’ve made Minnie your own? AND…what do you love most about her? 

DEVON HADSELL: First of all, I feel so grateful to have understudied Minnie on Broadway and to then originate this role for tour. The way I’ve made this character my own is I tried to deepen Minnie’s connection with Sweet Sue and her need to make Sweet Sue happy. I also leaned into Minnie’s ditziness and her bad memory when it comes to knowing the correct apartment she’s supposed to grab things from. I LOVE that Minnie is always down for a good time and a good gimmick. She’s got major talent on the drums and never goes anywhere without her cigarettes.

JHPENTERTAINMENT: Minnie seems like the kind of character with an interesting backstory. In your own mind, as you’ve developed your portrayal, what’s something you’ve imagine in Minnie’s past that led her to where she is? 

DEVON HADSELL: Something I always imagined in Minnie’s past was a divorce from a guy she got married to when she was very young. I imagine it was a messy one, and she’s decided she’s through with men for the time being and is excited to devote her life to empowering women through this girl band with Sue. I think she’d be open to finding love in the future, but for now, she’s having a blast living life on her own terms and being a little wild.

JHPENTERTAINMENT: Minnie has a penchant for having sticky fingers. IF you could get away with it, what’ssomething you might ‘lift’ from the show—a set piece, a prop, a bit of wardrobe—after the tour is over? 

DEVON HADSELL: Oh my gosh! If I could take my deep purple Mexico dress with the orange flowers and sparkling pendant in the front, I’d be sooooo happy. The shawl I wear with it is gorgeous too. It’s my favorite costume I wear in the entire show, and it’s for the number, “Let’s Be Bad”.

JHPENTERTAINMENT: As Sweet Sue’s right-hand-woman, Minnie manages the all-girl band, The Syncopators. If you were to start a band, what would you call it AND what role would you play in it?

DEVON HADSELL: If I were to start a band I’d name it “Velvet Vixens” and I’d be the Manager and Conductor and also play the keys!

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RAPID FIRE WITH SOME LIKE IT HOT‘s OSGOOD, EDWARD JUVIER

JHPENTERTAINMENT: What drew you to the role of Osgood in this production?

EDWARD JUVIER: I was drawn to Osgood immediately. He leads with curiosity instead of judgment, and the chance to play someone who is wildly funny and grounded in love and acceptance is something any actor would jump at. As a Cuban American, it’s rare to find a role that feels so specifically Latin in its roots while still living fully in the world of American musical theater.

JHPENTERTAINMENT: In the source material, writer/director Billy Wilder’s 1959 blockbuster film, Osgood is played mostly for laughs and the brunt of jokes, especially in his pursuit of Daphne. In the stage musical, he’s still funny, but more the comedic hero. What’s your favorite aspect of this change in the character? 

EDWARD JUVIER: I love that he’s in on the joke now. He’s not the punchline, he’s part of the storytelling in a real way. More than that, his love is taken seriously. He sees Daphne clearly and chooses her without hesitation, and that gives him a kind of quiet strength that makes the comedy land in a much more joyful way.

JHPENTERTAINMENT: Of Osgood’s featured musical numbers, Do you have a favorite, or does that change night-to-night, venue-to-venue, audience-to-audience?

EDWARD JUVIER: It honestly changes. Marc and Scott wrote such a rich score for Osgood, and what I love most is how much the audience shapes each moment. You can feel when they’re leaning in, when they’re surprised, when they’re rooting for him. So my favorite tends to be whatever moment feels most alive in that particular room. That said, “Fly, Mariposa, Fly” is a gorgeous song that I love singing and sharing every night.

JHPENTERTAINMENT: What do you hope audiences take with them long after seeing Some Like It Hot?

EDWARD JUVIER: I hope they leave feeling a little lighter and a little more open. At its heart, the show is about seeing people for who they truly are, and choosing love anyway. If someone walks out laughing, humming a tune, and maybe thinking a little differently about how they show up for others, then we’ve done our job.

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With a show that thrives on timing, chemistry, and sheer momentum, it’s clear this company has found its rhythm on the road. Whether navigating the demands of farce, anchoring the story’s emotional beats, or keeping pace with some of the most intricate staging currently touring, each performer brings a distinct perspective to a production that refuses to slow down.

Some Like It Hot plays TPAC‘s Jackson Hall April 21 thru 26—delivering a fast, funny, and thoroughly modern take on a classic story, with just the right amount of old-school showbiz shine. CLICK HERE for tickets. To follow Some Like It Hot, check out their official site or find them on Facebook, X, Insta and TikTok. 

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

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

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

 

Rapid Fire Confessional with ‘Sister Act’ Cast and Director; Nashville Rep’s Production Continuing at TPAC Through April 19

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There’s joy, there’s gospel, there’s glittering habits, powerhouse vocals and a nun on the run—basically everything you want from Nashville Repertory Theatre’s production of Sister Act–continuing at TPAC‘s Polk Theatre thru Sunday, April 19. As the cast and crew prepared for the show’s run, Sister Act stars Deloris Van Cartier herself, Meggan Utech, Mother Superior (Megan Murphy Chambers), and Sister Mary Robert (Shelby Talbert) –along with director Jason Spelbring, spilled a little holy tea with JHPEntertainment in our latest Rapid Fire 20Q.

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RAPID FIRE Q&A WITH NASHVILLE REP’s SISTER ACT CAST MEMBERS AND DIRECTOR

RAPID FIRE WITH SISTER ACT‘s DELORIS VAN CARTIER, MEGGAN UTECH

JHPENTERTAINMENT: As I was researching to chat with you, your cast mates and your director, I remembered, this isn’t your first time in the role of Sister Act’s Deloris.  Back in 2018 you starred in the iconic role at the now-defunct, but fondly remembered Chaffin’s Barn —in the time since, has your perspective on Deloris evolved, and are you approaching her differently this time around, or is it simply a case of getting “back in the habit”? 

MEGGAN UTECH: It’s a double edged sword to replay any role. I LOVE Deloris and to have her in my bones and memorized made it easier to play and learn new things (and thanks to Jason’s incredible direction I got to dive SO DEEP into Deloris’ brain) but I also had to forget all of the bad habits (pun intended) that I had learned…weird notes (Sorry Sarah!)* old choreo (Sorry Joi) *[Sarah Michele Bailey and Joi Ware being this production’s music director and choreographer], rote ways I delivered lines that no longer apply, Etc. Fresh eyes is always best, but thank god I didn’t have to relearn these lines and songs completely. My brain is not as elastic as it was in 2018. Who’s is!?

JHPENTERTAINMENT: over the years you’ve appeared in a number of shows with Nashville Rep. How does stepping back into this role, this time with one of Nashville’s most respected and accomplished companies, feel at this point in your journey as a performer? 

MEGGAN UTECH: I worked really hard to be here. But harshest part of theatre is, just because you’ve done the work and put in the time does not mean you get to just HAVE a role. You have to earn every single casting, from Deloris to Featured Third Christmas Tree From the Right. I had a very wild journey to get here both professionally and, in this last year, personally. It was hard not to see this as a conclusion to a long journey, no matter which way the chips fell. I’m so SO filled with gratitude that this how it turned out. 

JHPENTERTAINMENT: Deloris is such a force of personality—what’s been the most rewarding (or surprising) part of rediscovering her in this production? 

MEGGAN UTECH: It was working with Jason. He is truly one of the most brilliant directors I’ve worked with. I could come to him and ask the most minute detailed  questions (“do we think this is the first time Deloris has ever gotten a present from Curtis?”) and he would fire off an answer that made me rethink an entire scene (“I think it’s  the first time he’s done it in front of his boys”).

He was never annoyed or impatient, was always curious about my opinions, and trusted that when I had them, it was for good reason.

This is a long story but…One of the most validating moments I’ve ever had as a black actress was when working on a scene where Deloris is sleeping. Bare hair on pillowcase. Jason had fostered an environment where I could say to him “a black woman would almost NEVER sleep without a bonnet on with all this glorious hair”(shout out to Melissa Drumon for her incredible design across the board and Meredith Schieltz for their excellent execution. I look like a god). He immediately said “ok how do we fix it?”. Not five minutes later, I had to jump up on my bed in my slippers/house shoes. Once again I trepidatiously had to say black folks would never stand on their bed with house shoes on, most black folks won’t even allow outside clothes in their bed. I expected pushback or excuses or to feel like I was just making a big deal out of nothing. Not only did he immediately take it all in, solve the problem, and then THANK ME for bringing him this new knowledge. He did not want to have the black members of the audience taken out of the production by missing this small but significant cultural thing. 

So many things have to be in place to have a team of actors, tech, costumes, music, choreo pitch in to fix this, and everyone did it happily. And that’s because we are under the great umbrella of Jason’s direction. 

JHPENTERTAINMENT: Deloris’ “Take Me to Heaven” not only starts Sister Act, but quickly sets the bar for the caliber of  music featured throughout. From a technical standpoint, how has working with Music Director Sarah Michele Bailey helped shape your vocal approach to Deloris’ iconic numbers?

MEGGAN UTECH: Music is always the scariest part of any process to me, and to have Sarah’s gentile but constant force emanating from the pit is the only reason I get through this show. When I’m unsure she looks up at me, and I am reinvigorated. I also MUST mention that she worked her ass of to provide every single cast member with individual vocal tracks THAT SHE CREATED for every single song so they could learn and review without having to listen to horrible voice memos of themselves struggling through new harmonies. That kind of preparation is invaluable to an actor, and being led by someone that cares enough to ensure that preparation is the only way I can get through my insecurities as a singer. 

JHPENTERTAINMENT: Is there an attitude or attribute of Deloris’ that you might incorporate into your own life going forward?

MEGGAN UTECH: I firmly believe that I’ve gotten to play this role more than once because Deloris comes into my life when I need her most. She busts in and forces me sing out loud “Look at me, can’t you see, I’m fabulous, baby”, over and over until I can’t help but believe it. Everything else falls away, and I am standing there, and I feel truly TRULY fabulous. I will take that feeling with me forever. 

 

RAPID FIRE WITH SISTER ACT‘s MOTHER SUPERIOR, MEGAN MURPHY CHAMBERS

JHPENTERTAINMENT: You recently directed Boeing Boeing for another local company and now step into the role of Sister Act’s Mother Superior for Nashville Rep—how does shifting from director back to performer influence your process and enhance your performance?

MEGAN MURPHY CHAMBERS: I loved every second of my Boeing experience, and I truly hope to direct again soon, and it’s positively luxurious to downshift from directing to performing, especially in hands as capable as Jason’s. It’s wonderful to have a directing experience fresh on my mind as I step into the rehearsal process. It’s always useful to remember that everything an individual performer is doing has to be in service at the bigger picture, so I feel like I came into day one of rehearsal for Sister Act feeling very sharp, very ready, and very happy to not be the one answering all the questions.

JHPENTERTAINMENT: Mother Superior walks a delicate line between authority and warmth—what’s your key to finding that balance?

MEGAN MURPHY CHAMBERS: I feel really lucky to be working opposite some of my favorite performers in town, who also happened to be close friends of mine (and some fabulous new friends as well – welcome additions to our family, one and all!) So it’s felt really easy to snap in and out of Mother Superior’s distinct speeds. Her stiffness and directness feel totally justified, and then it’s the easiest thing in the world to melt when I’m looking in the faces of these ladies. They’re all just magical, and you can’t help but soften when the moment calls for it.

JHPENTERTAINMENT: You’ve had several memorable turns on The Rep stage—what makes this role feel unique or particularly meaningful?

MEGAN MURPHY CHAMBERS: I don’t take a single second of any of this work for granted, so each show and rehearsal process feel like a fresh challenge and gift. But this one has ended up being special for me in a way I didn’t expect. Since Mother Superior doesn’t join in the fun, if you will, for a good part of the show, the payoff at the end once I finally come around makes me feel like my heart will burst. It’s a really earned moment for the character, and a really joyful moment for me as a human. I finally get to shake my tailfeather and cut up with my friends! Well worth the wait!

JHPENTERTAINMENT: Your one-woman show Broad was a fan favorite, as were your MAS collabs—does that type of cabaret-style storytelling experience inform how you connect within an ensemble in a more traditional musical like Sister Act? AND…any plans for more solo shows or another MAS reunion?

MEGAN MURPHY CHAMBERS: I have loved my one woman show experiences, and hope to have many more of them. But, there’s no substitute for the collaborative process of being on stage with other people, and it’s always so fantastic to sing and laugh and act as a group. What could be better than feeling all that energy around you and getting yourself plugged into that feedback loop? I’ve never felt more accomplished than when I’ve wrapped up one of my one woman shows, but I never feel more at home than when I’m surrounded by other actors. And I’m ALWAYS cooking on another show – stay tuned.

JHPENTERTAINMENT: You recently shared a post previewing a blinged-out habit courtesy of The Rep’s resident design wizard Melissa K. Durmon—how do her creations help you physically and emotionally step into Mother Superior’s world?

MEGAN MURPHY CHAMBERS: Melissa is a master of her craft, and her attention to detail is beyond inspiring. She doesn’t miss a single opportunity to amplify a character or moment with the wardrobe, so I take every opportunity to display her work with an equal level of finesse. She nails it every time, and our Sister Act audiences are not ready for the 70s bonanza she’s serving up. It’s going to look sensational!!!

RAPID FIRE WITH SISTER ACT‘s SISTER MARY ROBERT, SHELBY TALBERT

JHPENTERTAINMENT: You’re returning to Nashville Rep after having played young Martha Cratchit in A Christmas Carol in 2023—what does it feel like to be back with the company, and how has that previous experience shaped your work?

SHELBY TALBERT: It feels amazing to come back to The Rep. It’s very exciting to see familiar faces and get to continue those relationships, while also getting to know new faces! My previous work with The Rep taught me so much about working with a big ensemble, something that came in handy with this show. It’s so important to work as a team in such a big cast and luckily everyone in this show is wonderful!

JHPENTERTAINMENT: Sister Mary Robert has some of the show’s most heartfelt—and funniest—moments. How are you leaning into the comedic side of the role?

SHELBY TALBERT: There can be a fear as an actor to feel embarrassed or scared to make a wrong choice. Our director Jason has had this saying throughout rehearsal about “failing forward,” which has given me a lot of freedom in the room to try things and lean into the comedic/awkward side of Mary Robert. That fear of making a mistake in the rehearsal process was completely wiped away which just left room to play and explore!

JHPENTERTAINMENT: This role is also a bit of a coming-of-age journey—what resonates most with you personally about Mary Robert’s arc?

SHELBY TALBERT: A lot of what Mary Robert has to overcome in this story is less about the people around her and more about her struggling with her own sense of bravery. While the influence of the convent has been a major factor in her life, it’s really her own fear that has been the thing stopping her from living the life she wants. The theme of being confident enough to take real authority of your life is something that has really resonated with me.

JHPENTERTAINMENT: Choreography plays such a huge role in this show—what has the collaboration with Joi Ware been like in shaping your physical storytelling? AND…do you have a favorite choreo moment in the show?

SHELBY TALBERT: Getting to work with Joi is always such an honor. She is the kind of choreographer who takes the time to understand each character’s motives through the choreography and why they move the way they do. At the beginning of the show Mary Robert is constantly hiding behind people and trying to make herself less noticeable. As we move through Joi’s choreography Mary Robert slowly becomes more and more sure of herself and you can see that in the later dance numbers. My favorite choreo moment in the show has got to be our trio of ladies in “Fabulous, Baby!” at the top of the show. They open the show with such power and it really sets the tone!

JHPENTERTAINMENT: Already in your stage work, you’ve tackled everything from Anne Frank to Romeo & Juliet—how does a high-energy musical comedy like Sister Act challenge you in new ways?

SHELBY TALBERT: I have never been a part of a show that has challenged me so much vocally as Sister Act does! Mary Robert goes through this incredible journey and it all culminates in “The Life I Never Led.” I wanted to make sure that I did everything I could to make that moment as beautiful and satisfying as possible. It has really pushed me to be a more confident and consistent vocalist. Luckily our show is music directed by Sarah-Michelle Bailey, who is one of the most encouraging and helpful people I have ever worked with. All the creatives and cast have put so much work and positive energy into this piece of art and I’m excited.

RAPID FIRE WITH SISTER ACT DIRECTOR, JASON SPELBRING

JHPENTERTAINMENT: Following last month’s Fat Ham, a collaboration between Nashville Shakespeare Festival and Nashvilke Repertory Theatre, you’re now directing The Rep‘s Sister Act. As Nashville Shakes‘ Artistic Director and as Director of The Rep‘s Sister Act, What do these continued partnerships between the two theatre companies mean to you?

JASON SPELBRING: This collaboration means a great deal to me both personally and for the broader theatre community here in Nashville. I do want to clarify that Sister Act is not an official co-production in the same way that Fat Ham was between Nashville Shakespeare Festival and Nashville Repertory Theatre. Rather, Sister Act represents a meaningful cross-pollination of artists, ideas, and shared values between our sister organizations. There is a natural overlap in our creative communities, and this production is a great example of that collaboration in action. What excites me most is that this kind of collaboration reflects a growing sense of alignment across our theatre community. Fat Ham was a true co-production and a strong step in that direction, and I’m incredibly proud of what we built together there. 

So while Sister Act is a different kind of partnership, it still speaks to a deepening relationship, one that I believe is setting the stage for future, fully realized co-productions. I’m genuinely excited about what’s next, and I see this as part of a broader, ongoing conversation about how our institutions can work together to better serve artists and audiences in Nashville.

JHPENTERTAINMENT: You’ve worked across a wide range of classical and contemporary pieces—what drew you specifically to Sister Act at this moment?

JASON SPELBRING: What drew me to Sister Act at this moment is its core story of transformation. As I shared in my director’s notes, we begin in a world of fear and uncertainty, and through music, community, and courage, everything shifts. What starts as muted becommes vibrant, joyful, and fully alive.  That journey—from isolation to connection, from restraint to radiance—felt especially resonant right now. I’m also continually interested in stories where a singular voice ignites change in a larger community. Deloris doesn’t lose herself in the process; she discovers herself and, in doing so, helps others do the same. That idea, that when you find your voice, you help others find theirs, is something I find both theatrically compelling and deeply human. At this moment, it feels like exactly the kind of story worth telling.

JHPENTERTAINMENT: Nashville Rep’s in-house scenic designer Gary C. Hoff never fails to wow—I frequently say I could live on his sets. What’s your favorite aspect of the set you’ve collaborated with Hoff to bring to life in Sister Act?

JASON SPELBRING: Gary is extraordinary, truly. His artistry is matched by his generosity, his kindness, and the genuine joy he brings into the room. Gary is the kind of collaborator who elevates not just the work, but everyone around him. What I love most about the set he’s designed is its sense of transformation. It holds both worlds. The grit and urgency of Deloris’s life at the start of the musical, and the warmth, structure and surprising vibrancy of the convent. Gary’s design allows them to shift seamlessly. There’s a theatrical magic to it—it feels expansive, dynamic, and deeply supportive of the storytelling. And yes, I could absolutely live in one of Gary’s sets.

I also want to express my respect for the entire design and production tea at Nashville Repertory Theatre. They are consummate professionals, skilled, collaborative, and a true dream to work with. It’s a department that operates with precision, and pride, and that makes all the difference. 

JHPENTERTAINMENT: With such a strong ensemble and creative team, how do you foster collaboration in the rehearsal room?

JASON SPELBRING: For me, collaboration isn’t just a value—it’s a necessity. I simply cannot do my job without it. I don’t have, nor should I have, all the answers. We bring the full cast and creative team into the room because each person has something to contribute. My goal as a director is to create a space where people feel empowered to share ideas, ask question, problem-solve together and ultimately shine. When that happens, the work becomes richer, more dynamic, and more truthful. It stops being about any one perspective and becomes about collective investment in telling the story as well as possible.

I really believe that to thrive in this industry, you have to collaborate openly, generously, and wit respect. That’s where the best work lives. 

JHPENTERTAINMENT: What do you hope audiences take with them long after hearing those last heavenly intonacions of Sister Act?

JASON SPELBRING: I hope audiences leave the theatre with a smile on their face and a bounce in their step. My hope is that audiences feel the journey themselves and are reminded of the power of finding their own voice and the impact it can have on the people and community around them. If anything lingers, I hope it’s that sense of possibility. That is when we show up authentically, we can connect, when we allow ourselves to be seen and heard, we don’t just transform our own lives, we help transform a community. And that’s something worth holding onto long after the final note.

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Whether you’re coming for the music, the comedy or the choreography, one thing’s for sure–the cast of Nashville Rep’s Sister Act is definitely in the habit of delivering and as the show moves into its second and finals week of performances, the sisters of are ready to raise the roof—and your spirits—one heavenly note at a time.

Nashville Rep‘s Sister Act continues its two-week run with five show remaining Thursday, April 16 at 7:30pm, Friday, April 17 at 7:30pm, Saturday, April 18 at 2pm and 7:30pm and a final matinee Sunday, April 19 at 2pm. CLICK HERE for tickets. Following Sister Act, Nashville Rep closes out their current season with 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 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 onInstagram 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 Musical Theater Stars Rachel Potter, Elle McLemore, Marty Thomas and Jelani Remy; ‘Off Broadway: That’s So High School’ at Analog at The Hutton April 18

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Pop quiz: What happens when Broadway favorites, high school nostalgia, and one seriously chic Nashville venue collide for one night only? Enter That’s So High School, the latest installment in the ever-buzzy Off Broadway series at Analog at The Hutton Hotel on Saturday, April 18. Led by the unstoppable Rachel Potter (The Addams Family, Evita) and featuring a lineup that includes Elle McLemore (Heathers, Bring It On, Grease Live), Marty Thomas (Xanadu, Wicked), and Jelani Remy (High School Musical, The Lion King, Ain’t Too Proud: The Life and Times of The Temptations), this one-night-only event is serving throwback realness with powerhouse vocals to match. Before the curtain goes up (and the prom afterparty kicks in), we put the cast through our signature Rapid Fire 20Q because, after all, as the song says, “We’re All in This Together!” 

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RAPID FIRE 20Q WITH BROADWAY PERFORMERS HEADED TO ANALOG FOR OFF BROADWAY: THAT’s SO HIGH SCHOOL

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s ELLE MCLEMORE

JHPENTERTAINMENT: With the built-in pedigree of having originated the Broadway roles of both Bring It On’s Eva and Heathers: The Musical’s Heather McNamara, plus playing Patty Simcox in 2016’s Grease Live, you seem tailor-made for Off Broadway: That’s So High School. Did it take much convincing for you to agree to be part of it? 

ELLE McLEMORE: Thank you, Jonathan! HahaI I will say, I normally am the first person to typecast myself out of things, but this couldn’t be more on brand, so zero convincing at all. To quote Heathers–“High school never really ends.”

When I found out Taylor Louderman was on board as well, I was very excited to reunite with her, as we made our Broadway debuts together playing the villain and hero in Bring It On The Musical! In a way, It feels like we went to high school and grew up together, so it’s gonna be really fun being onstage again all grown up. 

I’ve also never been to Nashville before, so I am very excited to spend a bit of time here with this really special group of people!

JHPENTERTAINMENT: With each Off Broadway at Analog at Hutton Hotel, Rachel Potter has proven herself something along the lines of Music City’s own Six Degrees of Kevin Bacon of the theatre world, so…How did you and Rachel first met?

ELLE McLEMORE: That is AMAZING! Rachel is such a powerhouse. Not only do I think she’s one of the greatest vocalists of our time, she’s also an entrepreneur, mom, actress, and  the director/ producer responsible for bringing all this theatre magic to Music City! It’s truly special what she has created and I don’t know how she sleeps? LOL! 

I first was introduced to Rachel ironically (or by fate’s design) while I was doing Bring It On in NYC. She was doing a concert called The Glitter Ball at New World Stages. I remember being on Pinterest for WEEKS leading up to this event, as we were all trying to figure out what “sparkly” outfits to wear, and how to rhinestone our eye makeup. I have photos for receipts if you need. Needless to say, I’ve since been a fan, and honored to be a part of her Kevin Bacon lore. 

JHPENTERTAINMENT: Taking a queue from your Insta, Who would you include on your Mount Rushmore of High School characters? and YES it’s OK to include at least one that you have played yourself…

ELLE McLEMORE: I LOVE IT. Okay I need you to know how hard I thought about this, as these games are my world. So here we go:

1. Patty Simcox (Grease) 

I know this is controversial, and the correct choice should probably be Danny Zuko or Sandy, but since you said I could pick one of my characters, this is the one I would go with. Rydell High School simply would not function without Patty Simcox. She was head of the cheerleading squad, student council, yearbook committee, holding dance competitions, all while literally running for office (Student Council Vice President). She embodies high school, through every generation. All I can say is…missed opportunity, Danny.

2. Troy Bolton (High School Musical)

I had a cardboard cutout of Zac Efron from Blockbuster in my childhood bedroom that lives rent free in my heart forever. So maybe that’s subconsciously why I think he’s “peak” as the kids say, but I actually think it’s more! He challenged high school hierarchies and gender norms with his passion for both basketball and theatre that I honestly just find so inspiring. He’s got that perfect “coming of age “ and “breaking the status quo” arc it requires to be on my mountain range. 

3. Regina George (Mean Girls)

 Although Heathers came 15 or so years earlier, Mean Girls was my generation’s EVERYTHING. If you’re a millennial you probably lived and breathed this movie while wearing your Juicy Couture sweatsuit and Tiffany and Co necklace. If Troy Bolton is the “good guy” archetype, Regina George represents that beautiful “dictator” role that exists in almost every high school setting.  Also, I just adore Rachel McAdams and obviously Taylor Louderman, too.

4. Cher Horowitz (Clueless)

This was hard. I could have gone Marty McFly, Tracy Turnblad or even Veronica Sawyer for honorable mentions, but we have to round it out with Cher. There’s something about her being the optimistic (clueless) protagonist that annoyingly gets away with everything that is just “so high school” to me. I also just love her outfits and the 90’s Beverly Hills setting. As IF!

JHPENTERTAINMENT: In preparation of chatting with you I did an online sleuthing via your fabulous socials, where I learned that last year you traveled to Japan to be part of a Masterclass. What was that experience like? 

ELLE McLEMORE: I am honored to have been a small part of your “doom scroll”, Jonathan.  Thank you so much. If you haven’t been to Japan, please put it on your bucket list, ASAP! It’s truly life changing. It was very special for me, as I am a quarter Japanese, and I got to see a lot of where I came from. My mom is also a performer (she is a dancer turned Las Vegas showgirl) and Tokyo and Okinawa Japan is where she began her performer journey at 18. So to be at the birth place of where it began for the both of us, then teaching students younger than me was one of those cull circle moments.  To have students show up in a classroom half way across the world singing your songs in Japanese, was just something I never imagined possible.  Even with a small language barrier, It showed me that the language of musical theatre is truly universal. They are so incredibly respectful, disciplined and passionate. Something I really took note of is, for a culture that has a reputation of being reserved, they are also so deeply open, raw and brave. Their talent was INSANE. I left there thinking, wow I really need to step my game up…

JHPENTERTAINMENT: What’s next for you?  

ELLE McLEMORE: I’m really excited about this next chapter. I’ve been focusing a lot the last three years on building my own production studio, Established Magic with my husband, Josh. We have created some beautiful cinematic work  in partnership with some of the biggest brands all over the world, that I’m really proud of. I started acting professionally in LA when I was 16, and as the entertainment landscape has evolved, it became really clear to me I needed to create my stories, on my own terms. It’s hard as an artist to give your power away to an entity outside of yourself, and I really admire people that go out there and do their own thing— exactly like what you’re doing here, Jonathan! 

I also host a show/podcast called PLAYDATE, where we play games (like the Mount Rushmore one!)— it’s adult slumber party game night vibes on the internet. It kind of blew up on YouTube, so I have been slowly integrating it into longer form content with interviews. Aside from that, I would just love to to keep blending storytelling/performing/traveling and creating an expansive career— along with spend as much time with my fur son, my golden retriever Marshmallow, as possible (main priority). And I’m always open to jumping back on stage when the right project comes along. But ONLY if it’s set in high school.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s MARTY THOMAS

JHPENTERTAINMENT: In 2019 you released the album Slow Dancing with a Boy. At the time, it was described as a prom-themed piece, so you seem a natural choice for Off Broadway: That’s So High School. Was it an immediate yes when Rachel asked you to be part of this fun night of musical memories?

MARTY THOMAS: Absolutely! I threw a prom for my album release party/concert, and Rachel was both on the album and at the prom! We had such a great time, I can’t imagine that evening wasn’t partially responsible for a prom coming to Nashville!  We had such a blast. I’m so glad we get to do it again!

JHPENTERTAINMENT: On your album Slow Dancing with a Boy, Rachel provided guest vocals on the track “Dreamlover”. How did that come about? AND…any chance you two might perform it live at That’s So High School? 

MARTY THOMAS: I love that record so much. I don’t think we will be performing that, mainly because it’s a Broadway themed evening. When Rachel lived in NYC, we had a country band with our best friend Jamey Ray. We would rearrange pop tunes to have bluegrass and country vibes. This Mariah Carey tune was my favorite of our collection. I just HAD to get a studio recording of it. 

JHPENTERTAINMENT: Your Broadway credits include Wicked and Xanadu. I’m just gonna admit it…I LOVE all things Xanadu. Whether we are talking about ONJ’s movie or the musical. What’s your favorite memory of your time with Xanadu on Broadway? 

MARTY THOMAS: Oh gosh finding just one is impossible. Xanadu was such a huge window of my life, but the tremendous cast is the highlight for me. I got to work with some of the most talented iconic performers out there and I’ll never forget it. The Tony awards was a definitive highlight as well!

JHPENTERTAINMENT: Any Spoilers for what the Nashville audience can expect from you at That’s So High School?

MARTY THOMAS: Those lucky folks are in for a fun nostalgic evening. Amazing singers, great band, super cool ambiance, great drinks, I’m hoping everyone gets dressed up for the prom theme!

JHPENTERTAINMENT: As much as I wanna ask about your 1992 Star Search Junior win over some girl named Britney Spears, I’ll just ask WHEN can we expect OR…What have you got coming up next?  

MARTY THOMAS: Oh man, Slow Dancing With A Boy really would make an amazing musical. I’ll have to get back to you on that! I’m touring so much this year, but have been working on a new album slowly but surely! 

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s JELANI REMY

JHPENTERTAINMENT: In 2019, you and Rachel Potter were among those performing at a gala celebrating Broadway composer & lyricist, Andrew Lippa. Was that the first time you and Rachel met? AND How did she convince you to be part of her latest Off Broadway series of one-night-only concert events here in Nashville?

JELANI REMY: Rachel and I met while I was on tour doing High School Musical maybe 2006 ish? Our cast crossed paths with the casts from the park and I was introduced to her incredible talents and connected to her beautiful heart. We have always kept in touch rooting for each other ever since so when she called me to be part of this – I immediately said yes! Well, to be honest -she asked me earlier but I was booked at Disneyworld which is actually ironic. However, I think being part of this show particularly is quite perfection!

JHPENTERTAINMENT: To my way of thinking, Grease is the granddaddy of all high school musicals, therefore, High School Musical is the daddy, or at the the older brother. It has been 20 years since the phenom began, after all. Having played Chad Danforth in High School Musical during the 2007-2008 concert tour, what is it about these types of musicals that resonates as time passes? 

JELANI REMY: We have to talk about the fact that the first solo I sang was “Those Magic Changes” my freshman year of high school! It changed me. Bit by that theater bug forever. Fast forward to landing High School Musical. The beginning of my career!

The thing about these shows is that those years- the high school ones are so formidable and relatable to everyone! The friends you had- the phases – the teachers. They made you. They stay with you and if you happened to be in the theater department.. it was the start of something new……. lol

JHPENTERTAINMENT: While I saw you on stage in the original High School Musical national tour, it wasn’t until a few years later when I not only saw you as Simba in The Lion King, but was also fortunate enough to get to know you a little during the tours four week residency at Nashville‘s TPAC. What’s among your favorite memories of your time with The Lion King? AND…Any chance Nashville audiences might get a little Simba song during Off Broadway: That’s So High School? 

JELANI REMY: My favorite memory of The Lion King is 10 years of telling an iconic story to so many! I really grew up with that show and Simba means more to man than anyone will know! Though I did the show for a bit- no show was the same! That’s magic of theater.  I will say I had an absolute blast in Nashville on tour and can’t wait to be back!

I can’t give any secrets away! Come to the show and find out!

JHPENTERTAINMENT: While Off Broadway: That’s So High School brings you back to your roots—HSM having been your first pro gig (if my research proves correct)—it’s not your first time to revisit Wildcats country. In 2024, you directed a HSM tour cast reunion at New York’s iconic 54 Below. What was a highlight of that night for you, both as a HSM alum and as the show’s director? 

JELANI REMY: As I put on my director choreographer hat. I was honored to be given this opportunity to bring my Wildcat family together to revisit the show and lift up our musical director Bryan Louiselle.  A highlight of that night was our version of “When There Was Me and You” It was beautiful and for Our Bryan.

JHPENTERTAINMENT: All right, I can’t do this interview with you and not mention something. A few years ago, at my request, you created a video encouraging the cast of a local production of The Lion King Jr. As someone who got their professional start not long after their own high school experience how important is it to encourage the next generation of performers? 

JELANI REMY: Yes, yes and more yes! They are the future! It’s vital! It’s a joy of mine to let others know that they can and should! We are essential to humanity.

RAPID FIRE 20Q WITH OFF BROADWAY: THAT’s SO HIGH SCHOOL‘s RACHEL POTTER

JHPENTERTAINMENT: How did you come up with the idea for the Off Broadway series at Analog?

RACHEL POTTER: This series was really a happy accident! I have always wanted to start an event series here in Nashville for Broadway/musical theater folk, but the venue had never really made itself known. I actually reached out to Analog to be the location for my Broadway album release party in Nashville, but they said, “Actually, we have this idea for a Wicked themed event, maybe you could collaborate with us on it and maybe host it?” So, together, we came up with this fabulous event, and it was such a success that the Hutton and Analog were excited to keep it going – and so am I! I’ve fallen into the role of producer, performer and host, which is a big job, but the payoff is so worth it. My good friend Chris Brent Davis is the musical brain behind my visions, and I couldn’t do it without him! 

JHPENTERTAINMENT: The latest, Off Broadway: That’s So High School is the fourth in the ongoing series, right?  Can you give me a sneak peek as far as what shows are being represented this go-round?

RACHEL POTTER: Yes, the 4th! So far, we have had Witch, Please! (Wicked), Best of Broadway, and An Evening of Magic (Disney). This month’s show will visit all the most popular musicals about high school: Dear Evan Hansen, Mean Girls, Bring it On, and Grease, of course! Also, a very important detail, we are having a Prom Dance Afterparty in the space right after the concert! 

JHPENTERTAINMENT: So…Is it too late to request “Reproduction” or “Cool Rider” from Grease 2?

RACHEL POTTER: Unfortunately, yes, but you’ll be happy to hear Grease is definitely represented from the first film!! You’ll have to put your requests in sooner next time… this takes lots of planning and having people learn numbers in advance! 

JHPENTERTAINMENT: For this Rapid Fire 20Q, in addition to our conversation, I’m also chatting with Elle, Jelani & Marty. Who else have you lined up for Off Broadway: That’s So High School? 

RACHEL POTTER: Oh, it is such a great lineup… in addition to those legends Taylor Louderman (Tony Nominee for Regina George in Mean Girls, Lauren in Kinky Boots, Bring it On), Carolina Rial (The Voice), Ben Laxton (Book of Mormon Broadway), Jada Wasserman (TikTok Star), and Nashville Musical theater artists Erin McCracken and Dustin Davis.

JHPENTERTAINMENT: What do you have audiences take with them after attending one of your Off Broadway nights? AND…what’s up next for this concert series? 

RACHEL POTTER: JOY and CONNECTION. So much of what’s going on in the world today is dark and always seems to be getting worse. At the end of the day, if I can bring meaningful connection and joy to my community through music and storytelling, then that is a huge win. We are all walking this human experience together, and while different, we’re actually way more similar than we are led to believe. Our night allows music and theater to tell human stories and brings our Nashville community together in a way they aren’t accustomed to. It’s thrilling to be a part of, and to hear from the audience how much they are getting from our evenings together. 

What’s coming next? Just you wait! If Nashville continues to show up, we will only keep growing this special thing and getting cooler opportunities to create theater magic with Analog! July 11 will be The Room Where it Happened, featuring music of protest and patriotism, from musicals like Hamilton, Spring Awakening, Les Mis, Hair, and more! Then, our season closer on October 30 and 31 will be The Addams Family Musical in Concert! I will be reprising my role as Wednesday alongside Broadway, National Tour, and regional cast alumni, complete with the musical composer, Andrew Lippa, here to narrate! The hotel will incorporate a haunted house immersive element – it is going to be SO FUN. We are already dreaming up next year’s themes, and I’m so excited to begin casting them. Keep an eye on Off Broadway at the Hutton, Nashville – these one-night-only events are not to be missed! 

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Just because these interviews are over, don’t think for a minute that class is dismissed! From Wildcats to Plastics, pep rallies to power ballads, Off Broadway: That’s So High School, Saturday, April 18 at 8pm (doors at 7) at Analog at The Hutton (1808 West End Ave. Nashville, 37203) promises a nostalgia-fueled night that hits every note—and then invites you to dance it out after. With a cast this stacked and a concept this irresistible, Off Broadway at Analog continues to prove that Music City has a serious theater heartbeat. Off Broadway : That’s So High School Reserved Seating Tickets are $60 and General Admission Tickets forare $35. You don’t need a permission slip, so consider this your official homework: CLICK HERE to grab your tickets, dress for the prom (obvi), and get ready to relive the glory days—now THAT’S an after school assignment I think we can all get into.

To keep up with all happenings at Analog at The Hutton, CLICK HERE or follow them on Facebook and Insta.

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

Rapid Fire Q&A: Meow Meow Returns to Music City; Kamikaze Cabaret Darling at Oz Arts April 11

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As the saying…and lyrics go…“Life is a cabaret, old chum”–and no one embodies that spirit, living life and palling around, quite like the delicious diva Meow Meow. Ahead of her April 11 return to Music City, this time playing Oz Arts Nashville, JHPEntertainment is handing the mic over (carefully…very carefully) for a chat with the one and only exquisite chanteuse for a memorable Rapid Fire Q&A.

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RAPID FIRE Q&A WITH MEOW MEOW; AT OZ ARTS NASHVILLE APRIL 11

JHP ENTERTAINMENT: Ok, let’s just dive right in…I keep seeing your show described as Kamikaze Cabaret. Is that a fair descriptor of an evening with Meow Meow?

MEOW MEOW: Well, I certainly give everything I’ve got to every show ! I never want to waste a moment on that stage…with a captive audience !

JHP ENTERTAINMENT: As you prepare to take the stage each night, at what point in your dressing room do you feel fully in Meow Meow mode?

MEOW MEOW: I am always in Meow mode. Stage and Life are the same for me…. I think Shakespeare MAY have put it rather better with “all the world’s a stage”…

JHP ENTERTAINMENT: Of your current set list is there a song that challenges you vocally more than others?

MEOW MEOW: NEVER ADMIT DEFEAT. CARRY ON. KAMIKAZE Cabaret, remember ? I think there is a wonderful attitude ascribed by the playwright Terence McNally to the great opera Diva Maria Callas in his play “Masterclass” : “Don’t TRY, DO” !

JHP ENTERTAINMENT: Your April 11 performance at OZ Arts marks a return to Music City, having previously wowed Nashville audiences in 2022. Is there anything you hope to revisit while you are Nashville?

MEOW MEOW: The audience was sensational. I can’t wait to love and hug them (politely) again!

JHP ENTERTAINMENT: Touring internationally, what do you cherish most about each new city you visit?

MEOW MEOW: How audiences change and how wonderful a flexible form like cabaret is to respond to those changes.

JHP ENTERTAINMENT: In previous interviews you mention drawing inspiration from a wide variety of sources…from Germany’s Weimar Era (don’t worry, my readers can Google it) to the glamour of Hedy Lamar with the avante garde unexpectedness of Dadaism (again, my readers can Google it). What is it about the early 1900s and these stylistic examples that speak to you?

MEOW MEOW: It’s particularly the teens into the 1920’s and 30’s where invention and exploration in music, language ideologies, politics are all smashing up against each other.  A fascinating time in the shattered world after the Great War and into the second world war. Everything resonates. There is nihilism and optimism.

JHP ENTERTAINMENT: Let’s be real though…do you think the 1920s could have handled Meow Meow?

MEOW MEOW: Again, I would have said to the 1920’s “don’t try, just DO”.

JHP ENTERTAINMENT: When I learned you were bringing your current show to Nashville, it took me a minute to clue in to why I knew of you…it was your collab with bandleader Thomas Lauderdale on Pink Martini’s 2019 album HOTEL AMOUR, particularly the song “I Lost Myself”. How did your participation in that project come about?

MEOW MEOW: He and I were introduced by a wonderful champion and curator of Arts and Artists – Kristy Edmunds. She just ‘had a feeling’ about the two of together  and it was musical and soul connection from the beginning. It’s a constantly inspiring and precious friendship and I’m so grateful for the adventures we’ve had around the world together – from little bars in Portland  to major orchestras and the Hollywood Bowl. I love the whole Pink Martini family and we get together whenever we can. 

JHP ENTERTAINMENT: More about “I Lost Myself”—with the opening lyric, “I’m hungry, bring me some pills on which to dine”, I was in! Whether campy or classic, teasing or torchy, do you have a lyric in a song that’s in your repertoire that you are absolutely mad about?

MEOW MEOW: SO many. I have to love all of them or I can’t sing them ! I love Patty Griffin’s poetry in her songs – one of my favourites that is like a prayer 

“All the girls you will never see

Forever a Mystery

All the Girls with their secret ways

All the Girls who went… astray.

Be Careful”

I love Thom Yorke’s writing for Radiohead. I love Brecht’s lyrics so much..I love Noel Coward !

JHP ENTERTAINMENT: I read something online describing your fan base as a cult following…that got me to thinking…if Meow Meow were a cult leader, would your music or your bawdiness be the kool-aide everyone would drink that drew them in? Or is there something else just as enticing from an evening with Meow Meow? What would your cult followers be called?

MEOW MEOW: I would hope it was my heart and joy and faith in human connection that shines through the music and the mayhem.

 JHP ENTERTAINMENT: What would the cult of Meow Meow be called?

MEOW MEOW: I have no idea what the lovers would be called…. But they definitely love to go on an adventure with me. And have very good taste, obviously.

JHP ENTERTAINMENT: Your official site meowmeowrevolution.com (love that web addy name, by the way) teases MERMAID, a new album as ‘Coming Soon’. What’s the skinny?

MEOW MEOW: Oh! It’s actually on Spotify now ! As is the gorgeous album HOTEL AMOUR of songs that I wrote with Thomas and Pink Martini and members of Oregon Symphony, with gorgeous duets with Rufus Wainwright, Michel Legrand, Barry Humphries and the Von Trapp Family singers 

JHP ENTERTAINMENT: Looking back on the 2007 High Line Festival, curated by David Bowie—where you took your place among fellow featured artists Arcade Fire, Laurie Anderson, Ricky Gervaiis, The Legendary Stardust Cowboy and more—sounds almost surreal—How did you feel in that moment?

MEOW MEOW: DIVINE

JHP ENTERTAINMENT: From Shakespeare to cabaret to film, your career spans an incredible range—including your role as Griddlebone in the 2019 star-studded film adaptation of CATS (Purrrfectly karmic casting if ever there was). Having gotten to know her a bit myself during her early country music reign, I gotta ask…what was it like working alongside Taylor Swift, in particular, in the “Macavity” number?

MEOW MEOW: Ah yes the hilarious brief moment ! She is heaven. Divine, professional, warm , and there is seriously a ray of something magical that emanates from her. She was like a special shining sun! I loved her.

JHP ENTERTAINMENT: You’ve cited comedy influences from AbFab, Dawn French & Jennifer Saunders and Lucille Ball. Gotta admit it, these mentions are just more reason to adore you as I’ve been an AbFab devotee since getting my hands on bootleg episodes before it ever made it was across the pond officially, and I have an extensive collection of Lucille Ball material. Heck, my dog is even named Lucille Desirée Ball Pinkerton—Desilu for short, but I digress…What is it about those legendary ladies of comedy and their broad style that resonates with you?

MEOW MEOW: They have funny bones, they are all their own singular creatures and they are brilliant observers of humans – and themselves . There is joy in the play of performance and they are part of the ridiculousness. All so different but so special.

JHP ENTERTAINMENT: Your shows are known for pulling audience members into the performance—sometimes as dancers, props, even furniture. What do you love most about that unpredictability?

MEOW MEOW: That’s life isn’t it ? We all need a little help from time to time… let’s see if people jump in or get scared. Im reaching out the metaphorical hand of friendship as it were. I may never even go near the audience in a show, but I like to feel we are all connected. It should be fun and full of LIFE and changeability and we should all celebrate being alive together in the room – it’s always a miracle !

JHP ENTERTAINMENT: On the subject of unpredictability—How do you handle it when an audience “volunteer” just isn’t matching the vibe?

MEOW MEOW: I don’t always ask for volunteers – it depends on the show – and I NEVER want anyone to help me if they would rather just be an onlooker. That’s bullying and I hate that. I just walk on by if people indicate. Everyone should have a great time and just feel good. The show is about the music and the fun !

JHP ENTERTAINMENT: Finally, what do you hope audiences recall long after spending the night with Meow Meow?

MEOW MEOW: I hope they can’t wait for us to visit again !!! 

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If there’s one thing abundantly clear after a whirlwind conversation with Meow Meow, it’s this: a night in her presence isn’t just a performance–it’s a shared act of joyful defiance, connection, and beautifully orchestrated chaos. Equal parts heart, humor and unpredictability, her brand of kamikaze cabaret invites audiences not just to watch, but to feel, to laugh and maybe even leap a little into the unknown right alongside her.
When Meow Meow returns to Music City on April 11 at Oz Arts Nashville (6172 Cockrill Bend Circle) for her 8pm show, expect the unexpected…but also expect to leave a little lighter, a little more alive, and already hoping–just as she does–that it won’t be long before she’s back to do it all over again.  At the time of this writing, Premium Table Seating has SOLD OUT, but a few General Admission tickets are still available at $40. As usual, Oz Arts Nashville also offers Artist & Creative Community tickets for $30. CLICK HERE for more info or to purchase tickets.

For the latest on Meow Meow, CLICK HERE or follow her on Insta and Facebook. To check out Meow Meow’s music, check her out on Spotify, Apple Music and Amazon Music. To keep up with all things Oz Arts Nashville, follow them on Facebook, X, YouTube and Insta.

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

An Accidental (On Purpose) Rapid Fire 20Q with The Keeton’s ‘The Play That Goes Wrong’

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Frequently described as Sherlock Holmes meets Monty Python, The Play That Goes Wrong began as a spirited production created by the UK-based Mischief Theatre Company. What started as a fringe production quickly snowballed into a West End hit and Broadway favorite, delighting audiences with its perfectly timed mishaps, collapsing sets, and characters determined to press on no matter how disastrous things become. 

Now, that same brand of orchestrated mayhem takes center stage at The Keeton Theatre from April 10–26, bringing Nashville audiences a whirlwind of laughter where every missed cue, falling prop, and “accidental” blunder must be carefully executed in order to keep the illusion of screw-up believable.

As the cast and crew prepared for their opening night, we caught up with cast members Josh Mertz (Chris), Leslie King (Sandra), Hazen Lawson (Dennis), and director Erin-Grace Bailey to talk about the art of controlled chaos, the technical precision behind the comedy, and exactly what it takes to make everything go so hilariously wrong.

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RAPID FIRE 20Q WITH THE KEETON’s THE PLAY THAT GOES WRONG

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s JOSH MERTZ

JHPENTERTAINMENT:As a Nashville native and frequent Keeton performer, what makes coming back for this show feel special?

JOSH MERTZ: The Keeton is my theatre home. I absolutely love performing here! Kevin and Donna Driver are amazing, and they run this space with such care- which is one of the many reasons I keep coming back. The reason I auditioned for this particular show in the first place is the absolute dream production team of Erin-Grace Bailey, Allison Gaddy, and Fiona Barrett. I love getting to work with them so much!  I think they bring fun energy and passion for this craft into the rehearsal space. I appreciate the production team’s ability to create nuanced performances and challenge us to be the best actors we can be. Allison is an unsung hero as our stage manager because without her calm presence backstage running the show, there simply wouldn’t be one. Fun fact – during the audition, I told the team I would play “Tree number 1” just to work with them again, and the trust they had in me to play Chris is just an added bonus, as it is a dream role for me to portray.

JHPENTERTAINMENT: Chris takes himself very seriously—how fun is it to play someone completely unaware of how wrong things are going?

JOSH MERTZ: Chris has been such a fun character to build. In my interpretation of Chris, he is your typical over the top, overbearing director with a “the show must go on” mentality. I do believe he’s more oblivious to how wrong things are going earlier on in the show but … Chris certainly has a breaking point! This show is fun as an actor because while we know all the things that will “go wrong,” our characters do not always see what’s coming. And hopefully, neither does the audience!

JHPENTERTAINMENT: You’ve done everything from Ragtime to Footloose—how does comedy like this challenge you differently?

JOSH MERTZ: I consider myself as primarily a character actor, so this show was right in my wheelhouse. I think what challenges me the most as a performer is how fast-paced and high energy the show is. This has been the most challenging show I’ve ever done in my life. Between the running, jumping and falling, by the end 0f the night Chris is so exhausted. The play goes by so fast, and I hope the audience is ready to buckle up for this rollercoaster of a show.

JHPENTERTAINMENT: What’s the most difficult accidental moment you have to execute on purpose each night?

JOSH MERTZ: The most difficult moment for me personally is having to fall off of a high platform. Erin-Grace prioritizes actor safety in all of the choreographed chaos of this show, so it has been incredible to know that I would never be asked to do anything that was going to put me at risk of injury. I won’t give away the stage magic, but it was definitely something I had to mentally ease my way into. 

JHPENTERTAINMENT: What’s your personal favorite moment of chaos in the show? 

JOSH MERTZ: My favorite moment of utter chaos is the ending of Act 2. The entire cast is on stage, and it is so fun to all be there together for the culmination of the show. I cannot give too much away, so you will just have to get your tickets to see how it ALL falls apart.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s LESLIE KING

JHPENTERTAINMENT: Sandra has to juggle performance and disaster at the same time—what’s the trick to balancing both?

LESLIE KING: I’ve found that being able to trust my fellow cast mates is super important. All of our disasters are carefully constructed and executed and if I’m focusing on what everyone else is doing it doesn’t leave much bandwidth to focus on myself and my character. Because I trust my cast mates to be where they’re supposed to be and do what they need to do, it makes it easy to balance both. 

JHPENTERTAINMENT: Sandra’s claim to fame is that her aunt is Dame Diana Rigg. In your real life, who’s your favorite name drop?

LESLIE KING: I have a connection to Gabe Gibbs (played Elder Price in The Book of Mormon on Broadway 2015-2017) and his family. He probably wouldn’t have any idea who I am but his parents would. We went to church with them for about a decade, and I went to high school with his brother. 

JHPENTERTAINMENT: You’ve previously appeared in area productions as varied as Cabaret and Puffs. Where does a physical comedy like The Play That Goes Wrong fall in the mix?

LESLIE KING: It has been so much fun to work on. While I’ve done comedies before, the physicality of this show is unlike anything I’ve done before. It adds an extra element of challenge, but I’ve absolutely loved it. 

JHPENTERTAINMENT: What’s the hardest moment to keep a straight face when everything is going wrong? AND Who among your fellow cast mates breaks easiest? 

LESLIE KING:  I’d have to say watching David Fonville inch his way off stage after the gurney fails is high on the list of moments I struggle to keep a straight face. Either that, or the ring around the rosey scene at the end of act one where they get stuck going in circles on the same scene. Luckily I’m offstage for that so I can laugh as much as I like. 

Honestly we’ve all worked pretty hard to stay composed but occasionally I’ll still get Josh Mertz to break. 

JHPENTERTAINMENT: The Keeton’s resident scenic designer Kevin Driver has his work cut out for him with this show. What’s your favorite set element that Goes Wrong?

LESLIE KING: I think the walls or the platform are both great elements. They’re both completely unexpected if you haven’t seen the show before and I love the moment we really catch people off guard with elements like those. 

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s HAZEN LAWSON

JHPENTERTAINMENT: Even though he is a bit of a novice on the stage, Dennis quickly realizes even his flubs get a memorable reaction from the audience. How much fun are you having leaning into that aspect of the character?

HAZEN LAWSON: It’s been a lot of fun digging into how Dennis sees himself on and off the stage. His biggest dream is to be in “the big leagues” with actors like Robert, Chris, and Sandra, and I think he just can’t even believe he gets to be on stage with these talented actors. Dennis strives so hard to do everything right, but every time he messes up – to fanfare from the audience – it’s another reminder that he’s not as polished as his fellow actors. Playing off the juxtaposition of Max has also been a lot of fun; where Max pushes for attention from the audience, Dennis is absolutely mortified by it. 

 JHPENTERTAINMENT: This show is very physical—what’s the most demanding part for you?

HAZEN LAWSON: The ending scene of Act I is a bit of a gauntlet for me when Dennis can’t quite seem to get his lines right. It’s a full-on mental circus act keeping track of the script and blocking while everything loops over and over again to make sure that everything runs exactly as it should every time. And then by the end of the scene, I’ve been thrown on the floor, drenched with several glasses of scotch, and Dennis is having a full-blown panic attack. It’s a big push, but it’s absolutely worth it for the utter catharsis those ending lines bring. 

JHPENTERTAINMENT: Your show bio reveals a love of reading, knitting, and hiking—all seemingly tranquil—How do you mentally shift into the fast-paced chaos of The Play That Goes Wrong?

HAZEN LAWSON: Funnily enough, I think my love for my grandma activities as I call them has been crucial to helping me keep up with the show. Every single joke, line, and practical effect has been knit into this intricate story that will start to unravel the second a thread gets dropped. Tranquility, and especially attention to detail, is the name of the game when you need to keep a level head and stay in complete control while the show seemingly falls apart around you. To the audience it should look like total chaos, but for those of us up on stage it should be running like clockwork.

JHPENTERTAINMENT: What’s one moment where timing is absolutely everything for the joke to land?

HAZEN LAWSON: Is saying the entire show an option?? If I had to choose just one moment, it would probably be at the beginning of Act II where Dennis’ lines are cut off by Trevor having fun with some sound cues. It’s a moment where I really have to be in sync with Wanderson Rezende – who’s playing Trevor up in the fake sound booth – and with Steve Love – our actual sound designer/operator in the real sound booth – to make sure everything lines up.

JHPENTERTAINMENT: Have you had any almost mishaps that felt a little too real?

HAZEN LAWSON: During one of our rehearsals, the set may have fallen apart just a little too early. Thankfully everyone was where they needed to be and no one was in any danger – but I will say I have a newfound perspective on Dennis’ reaction to almost being crushed by a flat.

RAPID FIRE WITH THE PLAY THAT GOES WRONG’s DIRECTOR, ERIN-GRACE BAILEY 

JHPENTERTAINMENT: You’ve directed a wide range of work, from the Bell Witch Fall Festival‘s Smoke and Women In Theatre‘s Tiny Beautiful Things to The Keeton‘s 2024 production of William Inge‘s Bus Stop—what drew you to The Play That Goes Wrong?

ERIN-GRACE BAILEY: This was kind of a dream show for me. I’m a big fan of a lot of British work and grew up on a lot of that classic slapstick comedy. I was that weird teenager that would rather re-watchI Love Lucy and Downton Abbey than keep up with the latest fad. That interest grew in high school when I discovered Oscar Wilde and then even more in college when I started studying Noel Coward. I got to see the National Tour of The Play That Goes Wrong my sophomore year for free after a friend gave up some tickets. I had no idea what I was walking into but immediately fell in love with it. I felt like it combined all of my favorite things. I’ve been an avid follower of Mischief Theatre Company who created the play ever since. The work they’re doing is not only incredibly creative and entertaining but extremely impressive. It’s an honor to bring a little piece of that to middle Tennessee.

JHPENTERTAINMENT: You had me at I Love Lucy, but I digress…How do you begin to direct something that’s supposed to look completely chaotic?

ERIN-GRACE BAILEY: Well, Step One is to swallow your anxiety and pray, haha. Step Two is a lot of research. We spent a lot of time on YouTube looking at other production, reading and then re-reading the script, and talking to people we knew who had done the show before. 

A lot goes into this show. Our technical director Kevin Driver has outdone himself. The set for this show is no easy feat, and we’ve had it for a while for the actors to practice on. Everyone in this show has spent a lot of time learning stage combat and stunts, memorizing their lines early on, and fine tuning little things so they’re shocking to the audience but predictable for the people they’re on stage with. 

Above all, I want to recognize that while every show takes a village, this one especially does. Everyone apart of this has put in a lot of work, contributed ideas, and collaborated to bring out the best in one another. Nothing about this show is possible without an amazing team. 

JHPENTERTAINMENT: What’s the biggest challenge in balancing technical precision with comedic freedom?

ERIN-GRACE BAILEY: Time. We could have probably rehearsed this show for the rest of the year and continued to have made discoveries, but in a rehearsal period, there has to be sort of a cut off for new things. I still encourage the actors to play so it’s fresh every night, but there are some pieces of the show that have to happen the exact same way every time so all of the elements can work together. It’s a fine line, but this cast and crew has mastered it with professionalism.

JHPENTERTAINMENT: You touched on it a bit earlier, but let’s delve into it a tad more…What has this show’s technical team done particularly well in bringing your vision of “controlled chaos” to life?

ERIN-GRACE BAILEY: Their dedication and communication has been nothing short of phenomenal. There’s a lot of bouncing ideas off one another. I think Kevin and I have had a phone call almost daily for the past two weeks talking about magnets and measurements. Ironically, for something to look so chaotic, it all has to be extremely precise. We’ve used the script as a formula, and then I think just about every designer has added little things of their own, too. It’s also a lot of fun to be directing a show where the designers get to bring out their comedic side as well. They’re so creative and lovely. I can’t thank them enough for the hours they’ve put in on this show.

JHPENTERTAINMENT: What do you hope audiences leave with after seeing The Keeton‘s production of The Play That Goes Wrong?

ERIN-GRACE BAILEY: As Dolly Parton says, “If you see someone without a smile, give them yours!” We’re living in some dark times. Even the day-to-day struggles just feel a little bit extra heavy lately. I hope folks get to come in to the theatre, have a nice meal, and just leave those struggles at the door for a little while. I hope they’re entertained, that they laugh, and they get to have an evening of no internet – just a bunch of strangers in a crowded room enjoying some weird, hilarious, impressive art.

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 The Play That Goes Wrong runs April 10–26 at The Keeton Theatre, located at 108 Donelson Pike, Nashville, TN 37214. 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. Please note that the two Thursday evening performances during the run are show-only with Doors at 6:30pm and Show at 7pm. Show Only Tickets: $32.00 (Thursday performances), Adult Dinner and Show: $42.00, Child Dinner and Show: $37.00. For a slight upcharge, Salmon can be chosen as the dinner entree. Group tickets receive a discount. Please call the Box Office at 615.883.8375 or CLICK HERE for tickets.

During the run of The Play That Goes Wrong, The Keeton will present The Keeton Community Wind Ensemble’s Spring Concert An Evening at the Theatre, directed by Dillon Wright and featuring a selection of music from the movies. Door open for this one-night-only event at 6:30pm with the performances beginning at 7pm on Tuesday, April 14. Tickets are $15. CLICK HERE to purchase.  Following The Play That Goes Wrong, on Tuesday, May 2 at 7pm, it’s time for The Keeton’s Annual Gala directed by The Keeton‘s own Donna Driver with musical direction by Jane Kelley. This year’s annual fundraiser for the theatre is themed: Role Reversal. Tickets to the gala are $60. Gala tickets include dinner, a chance to win some great prizes donated by supporters of the theatre and the opportunity to be among the first to purchase Season Tickets for The Keeton’s upcoming 2026-2027 Season. CLICK HERE to purchase gala tickets. 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:This Empty Vessel on Their Debut Album ‘NOD’; Now Streaming Everywhere

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Atmospheric, cinematic, and emotionally charged, NOD marks the debut release from This Empty Vessel (TEV)—a collaborative project built on evolution, storytelling, and sonic exploration. Released on February 27, the album was written and produced by Gerald Josef, J Booth, and Wes Bishop, with vocals from Jennifer McLane guiding listeners through its layered, immersive soundscape.

Blending elements of alt-rock, electronic textures, and folk-inspired storytelling, NOD was crafted as a front-to-back listening experience—one that invites audiences into an etherial space somewhere between dream and reality.

JHP Entertainment caught up with the creative forces behind This Empty Vessel to talk about the origins of the project, the making of NOD, and what lies ahead in TEV‘s ever-evolving musical journey.

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RAPID FIRE 20Q: THIS EMPTY VESSEL ON THEIR DEBUT ALBUM, NOD 

RAPID FIRE WITH TEV’s GERALD JOSEF

JHPENTERTAINMENT: You’re credited as one of the founding forces behind This Empty Vessel. What first sparked the idea for the project, and at what point did the concept for the debut album NOD begin to take shape?

GERALD JOSEF: First, let me say that I’ve known J for nearly 40 years. His ability to write prophetic, emotionally deep lyrics—while still making them work within a pop or alt-rock framework—is unmatched. I always knew that if I ever started something new, he’d be the person I’d want to build it with.

The core idea behind This Empty Vessel is simple: create the best music we’re capable of. With each release, we plan to introduce a new artist—both to lift them up and to push ourselves as writers to keep evolving.

The concept for NOD came straight from J. He has this rare gift for taking a spark of an idea, shaping it, and carrying it all the way to a fully realized story.

JHPENTERTAINMENT: As a multi-instrumentalist and composer on NOD, how did you approach shaping the sonic palette of the record—from the gothic mysticism heard in “Prologue” to the folk-tinged textures of tracks like “Oceans and Blankets”?

GERALD JOSEF: One of the things I love about having a few years of experience under my belt is finally having access to tools I could only dream about when I first started. Most of what I use now is software-based, but so many of these instruments are incredibly faithful recreations of the originals—classic synthesizers, beautifully expressive orchestral libraries, and everything in between.

I’m especially drawn to sounds with a slightly spooky edge, like “Prologue,” or the dramatic, atmospheric textures you get from “Oceans and Blankets.” Anything with a cinematic feel tends to pull me in.

JHPENTERTAINMENT: Ok, let’s just get into it… NOD. When I first heard the name, I had two thoughts—Nod, the biblical city of exile just East of Eden…OR, The Land of Nod, a dreamlike state as written about in Robert Louis Stevenson’s 1885 collection of poetry. So, what was the inspiration for the project title?

GERALD JOSEF: This is truly a question for J as he is the author of this concept. I will say NOD leans more towards the liminal space in between awake and fully asleep.

JHPENTERTAINMENT: NOD was written as a front-to-back listening experience rather than simply a collection of songs. How intentional were you about sequencing the record and guiding the emotional arc from “Prologue” all the way to “Home”?

GERALD JOSEF: Everything about this project was intentional. J and I worked closely on every aspect of the production to make sure the album had a consistent feel and a natural flow. It was the perfect way to ease back into working together and a reminder of the direction we believe we’re heading.

Because our long-term vision is to collaborate with a different artist on each project, that intentionality becomes even more important. It allows us to stay true to our own writing style while also being mindful of the artist we’re working with and the direction they naturally want to take.

JHPENTERTAINMENT: Now that NOD is out in the world, what’s next for This Empty Vessel—more recordings, live performances, or perhaps expanding the collaborative circle behind the project?

GERALD JOSEF: We’re already excited about what’s next. Our next artist is lined up, and we’ll most likely shift to smaller, more frequent releases before moving on to the next vocalist. As for live performances, that’s not our focus right now. If the right opportunity comes along, we can revisit it, but it may be challenging since we plan to work with many different vocalists over time.

For now, we’re keeping the writing circle to just the three of us. We may eventually expand the process, but we’re still early enough in this journey that it isn’t necessary yet.

RAPID FIRE WITH TEV’s J BOOTH

JHPENTERTAINMENT: You’re part of the trio that formed This Empty Vessel. How did your lyrical/musical background and instrumental role in the band influence the sound and direction of NOD?…AND…When I chatted with Gerald, he deferred to you when I ask about the inspiration for the album title, so…

J BOOTH: When Gerald, Wes, and myself set out to work on this album we made two decisions at the onset. 1.) We wanted to work with a female vocalist on TEV’s first album—something the three of us hadn’t done in some time and missed. 2.) We wanted to write songs that were accessible to a large audience.

We challenged ourselves to use lighter tonal colors, focus on clear themes, and create hooks that complement a female voice. I approached it the old way—just me, an acoustic guitar, and weeks in a room. Once I had something strong, I’d send it to G and Wes. When approved, I’d dig into my studio and start building from there.

[as for the project title] When I was younger we would always “go off to the land of Nod” when we were going to bed. I didn’t realize at that young age that there were religious implications to the term or place. I thought it meant it was where you went when you nodded off—a place where you go to dream. Literally, that’s what I thought.

JHPENTERTAINMENT: While somehow remaining cohesive, NOD blends alt-rock, electronic textures, shoegaze elements, and folk storytelling. When working on the arrangements, how did you strike that balance between atmosphere and raw edge?

J BOOTH: I love this question. We approached the album like we were filming a movie—each song is a scene. From “Prologue” to “Clean,” we let each track be itself while tying them together subtly.

When atmosphere was needed, G’s orchestration and synth work led the way. When it needed edge, I brought that on guitar, and Wes is a powerhouse on drums when it comes to accenting emotion. The songs told us what they needed—we just followed.

JHPENTERTAINMENT: Tracks like “Knock Knock Road” introduce dissonant electronics alongside roots-leaning melodies. Can you walk us through the creative process behind building a track like that?

J BOOTH: Believe it or not, “Knock Knock Road” was inspired by “Ode to Billie Joe” by Bobbie Gentry. At its core, it’s a folk song—arpeggiated verses with sliding riffs instead of straight strumming.

We knew it had to follow “Japanese Tile,” so it needed to push the album forward. G added dark synth layers, we created an opening line together, and Jenn doubled it vocally with a bit of a Led Zeppelin vibe. Then I layered in percussive guitars while Wes and G built a groove.

Honestly, none of it should’ve worked—which is probably why it did. And yeah, we had a blast.

JHPENTERTAINMENT: Where were the NOD sessions tracked, and what did those studio collaborations bring to the final sound?

J BOOTH: Gerald set up a system where I tracked guitars at my home studio while he handled orchestration, drums, vocals, and mixing at his place.

We’d share files back and forth—sending tracks to Wes with a click so he could build his parts before we all got together. It made the process efficient but still collaborative when we met in person.

JHPENTERTAINMENT: With the album now released through Soundcrest Music Group and reaching listeners worldwide, how do you see This Empty Vessel evolving musically from here?

J BOOTH: The whole purpose of This Empty Vessel is to evolve with every project. The next one will feature a new vocalist, new direction, and a fresh blend of influences.

We’re doing this to challenge ourselves and to spotlight artists we believe in. The days of being boxed into one lane are over—we’re here to explore.

RAPID FIRE WITH TEV’s WES BISHOP

JHPENTERTAINMENT: As one of the founding musicians of This Empty Vessel, what initially drew you into the project, and how did your instrumental role shape NOD?

WES: Anytime I get the opportunity to create original material with G and J, I’m all in. The idea of being a production company rather than just a band really fits this stage of life.

For NOD, I wanted drum grooves that broke away from standard rock patterns—blending raw drums with synth elements alongside G.

JHPENTERTAINMENT: Which track on NOD best represents your personal musical fingerprint?

WES: I’d have to say “Knock Knock Road.” It’s got an unusual groove, sensitive dynamics, and raw power—all things I love.

JHPENTERTAINMENT: The album explores themes of loneliness, uncertainty, and communication breakdown. How did those ideas influence your approach in the studio?

WES: Like you said—we’ve all been there. We each brought our own emotional interpretation into the songs, and that helped shape something that feels real and meaningful.

JHPENTERTAINMENT: At what point during the single rollout did you feel momentum building toward the full release?

WES: I was excited from day one with “Valentine,” but it was after “Joey’s Getting Mad Again” that I really felt the momentum take off.

JHPENTERTAINMENT: What excites you most about the next chapter?

WES: Starting new material. A new vocalist, new direction, new concept—that’s what has me fired up.

RAPID FIRE WITH TEV GUEST VOCALIST, JENNIFER McLANE

JHPENTERTAINMENT: You provide the lead vocals on NOD. How did you first become involved with This Empty Vessel?

JENNIFER McLANE: I’ve known Gerald for years and had worked on some of his music before. When he reached out again, I was intrigued. Coming from a folk, blues, and R&B background, I knew this would stretch me—and that challenge is what drew me in.

JHPENTERTAINMENT: Your voice carries a haunting emotional weight across the record, especially on “You Don’t Want Me.” How did you approach that?

JENNIFER McLANE: “Haunting emotional weight”—I like that. I just stepped into that space. It’s something many of us can relate to. Lines like “I hate your popcorn…” made me laugh—they’re so specific, but so real.

JHPENTERTAINMENT: How did you adapt your vocals to match the shifting moods of the album?

JENNIFER McLANE: Each song felt like a play, a movie—sometimes even a circus. I placed myself inside each story. The guys would share their perspectives, and I’d blend that with my own life experiences. Life is colorful—I had plenty to draw from.

JHPENTERTAINMENT: Do you have a favorite track that pushed you vocally?

JENNIFER McLANE: That’s tough—they all stretched me in different ways. “Prologue” moves from whisper to howl. “Japanese Tile” broke my heart. “Clean” feels like a lament. “17” has this unrequited love energy. “Maybe” hits with the line, “If you don’t know that you’re the best part of me, then that’s my fault.”

JHPENTERTAINMENT: What do you hope listeners take away from NOD?

JENNIFER McLANE: I hope people enjoy the journey. More than anything, I hope something resonates. Music is such a gift—to give and to receive.

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With NOD, This Empty Vessel has introduced a bold and deeply intentional debut—one that not only showcases the collective strengths of Gerald Josef, J Booth, Wes Bishop, and vocalist Jennifer McLane, but also sets the tone for a project rooted in collaboration and constant reinvention.

As the group looks ahead to new artists, new sounds, and new creative territory, one thing is clear: This Empty Vessel is just getting started.

NOD, released February 27, is available now on all major streaming platforms. CLICK HERE to check out the full album on your favorite streaming service. To check out a recent review of NOD, CLICK HERE.

To keep up with This Empty Vessel, CLICK HERE or follow them on Spotify, Apple Music, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Music, Movie or Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #ListenToTheMusic!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH THE LITTLE FOXES’ ADDIE, GWENDOLYN CLINTON

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

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

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

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

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

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

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

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

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

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

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

Next up at Playhouse 615 is God of Carnage onstage May 1-17, followed by Ain’t Misbehavin’ June 5-21 and Agatha Christie‘s The Unexpected Guest on-stage July 17-August 2. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 20Q with ‘Back to the Future the Musical’ National Tour’s Marty, Lorraine, Biff and Doc; at TPAC thru Sunday

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When Back to the Future: The Musical hits the stage, it doesn’t just revisit a beloved story—it supercharges it with theatrical spectacle, heart, and 1.21 gigawatts of energy. On Tuesday, March 17 the National Tour set their destination to TPAC’s Jackson Hall for a five-day, 8-show run thru Sunday, March 22, inviting audiences to hop in the DeLorean and experience Hill Valley like never before.

In this edition of Rapid Fire 20Q, we caught up with BTTF‘s Marty McFly-Lucas Hallauer, Doc Brown-David Josefsberg, Lorraine Baines-McFly-Kathryn Adeline, and Biff Tannen-Nathaniel Hackmann to talk about stepping into iconic roles, honoring a cinematic legacy, life on the road, and the 88mph magic that brings this time-traveling adventure to life eight shows a week.

So buckle up, dreamers! It’s time to go Back to the Future!

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RAPID FIRE 20Q WITH CAST OF BACK TO THE FUTURE: THE MUSICAL

RAPID FIRE WITH BACK TO THE FUTURE’S MARTY MCFLY, LUCAS HALLAUER

JHPENTERTAINMENT: You joined the national tour originally as a swing before stepping into the starring role of Marty McFly early in 2025. What was that transition like—from covering multiple tracks to suddenly being the guy tasked with securing his own future every night?

LUCAS HALLAUER: Getting to launch this tour and be part of the Original Tour Cast was an absolute dream come true, and when we started this tour I would have never imagined that I would be in the position that I am today. Both of the jobs I’ve had on this tour are incredibly difficult for different reasons. Obviously performing the high-energy role of Marty 8x a week is no joke and it’s the most vocally taxing show I’ve ever done, but as a swing, not knowing which of my 8 tracks they were going to put me on for was much more emotionally taxing and stress inducing. Swings and understudies are truly the backbone of our industry and they don’t get nearly enough credit for it. I’m incredibly grateful for my time as a swing because I learned so much and it gave me an even greater respect for the swings and understudies in the cast.

JHPENTERTAINMENT: Marty McFly, of course, was made famous on screen by Michael J. Fox. What aspects of the character felt most important for you to capture when stepping into the role?

LUCAS HALLAUER: The great thing about Back To The Future being such a popular movie is that most people likely know the characters and the story already. And for good reason, people really love these characters. Our director John Rando and Bob Gale, the creator of the franchise, were very open about us creating our own versions of these characters. And I think what helps with that is the bits in our show that aren’t in the movie. Obviously, because it’s a musical, we sing and dance, and that gives us an opportunity to see more into these characters mind’s and get a deeper understanding of them.

JHPENTERTAINMENT: Back to the Future carries a huge nostalgia factor, especially for audiences who grew up with the movie. Has performing the show night after night given you a deeper appreciation for what the story means to fans of a certain generation?

LUCAS HALLAUER: Absolutely. I was a fan of the movie before auditioning for the show, so I can understand the love and passion that fans have for the films. Doing this show every night, and having met so many of the people involved in creating that franchise like Bob Gale, Michael J. Fox, Christopher Lloyd, & Lea Thompson (to name a few) has only strengthened my love for Back To The Future and I’m so grateful to be even a small part of that legacy.

JHPENTERTAINMENT: Marty’s wardrobe—from the puffer vest to the sneakers, perfectly reimagined for the stage by scenic and costume designer Tim Hatley—is instantly recognizable. What’s it like to put on that iconic costume each night and step into such a visually legendary look?

LUCAS HALLAUER: The design team has spared no expense to make sure that these iconic costumes look like the ones from the films. I love being able to live out my 80’s fantasy every night in denim on denim, and the 50’s prom outfit that Marty gets to wear has always been one of my favorites, so as a Back to the Future fan, these costumes have definitely been fun for me to play around in. I will say that we go through a lot of those sneakers though. Running around our stage 8x a week means beating those things up pretty thoroughly.

JHPENTERTAINMENT: You graduated from Coastal Carolina University in 2023 and not long after find yourself starring in a major national tour. Has there been a moment during this run where you stopped and thought, “Okay…this is really happening”?

LUCAS HALLAUER: I’m still not sure I’ve come to terms with it. I visited my alma mater recently to attend a 25th Anniversary Gala, and while I was there it almost felt as if I had never left. The past 3 years that I’ve been touring have been so surreal and every day I think I’ll wake up from the dream. Every once in a while, I’ll finish the show and look out into the crowd and just try to take in the moment, because it truly has been one of the greatest experiences of my life and I will forever be grateful to Back To The Future for that.

RAPID FIRE WITH BACK TO THE FUTURE’S LORRAINE BAINES, KATHRYN ADELINE

JHPENTERTAINMENT: Lorraine is such an interesting character because of the time-travel element of the story. What’s it like sharing the stage with Lucas’ Marty as both the future son she’ll eventually have and the mysterious guy her teenage self suddenly develops a crush on?

KATHRYN ADELINE: First – playing this role opposite Lucas has been an amazing experience. He is so funny and talented, and I often feel like I’m literally in the movie. Along with the entire company, we are having a blast telling this story each and every night. Playing Lorraine comes with a challenging dynamic because the character lives at the intersection of comedy and sincerity. Young Lorraine feels a connection with Marty and an attraction towards him in a way that she has never experienced before. “There’s just something about that boy!” What creates the comedic tension is that both Marty and the audience know something she does not- He is her son. So it becomes this balance of playing the innocence of a genuine and curious teenage girl discovering her own feelings and desires, while allowing the comedy of the surreal nature of the situation to live on top. The two different versions of 1985 Lorraine highlight the truth that our choices and life experience help define who we become.

JHPENTERTAINMENT: As you mention, Lorraine transforms quite a bit between the first time audiences see her, then the 1955 version of herself and again into the 1985 Lorraine audiences see later. How do you approach that arc within the show? And how grateful are you to Campbell Young Associates for the wig/hair/makeup assist in the physical transformation?

KATHRYN ADELINE: Transforming between the different versions of Lorraine is one of my favorite things about playing this role. When audience members first meet her, she is a tired, apathetic, middle aged mother who is coping with the fact that her life didn’t necessarily play out the way she had hoped. A few scenes later, Lorraine enters the stage again but this time 30 years younger as a curious, eager, innocent, bright, and zealous teenager. Finally, at the end of the show, we meet a new and different version of middle aged Lorraine. She is now put together, energetic, spunky, and sweet.

I have been very intentional in differentiating these three versions of the same character. While she is the same person, her life experience is completely different in each part of her storyand this informs her intentions, attitudes and physicality.

There is no doubt that when it comes to building her arc, much credit belongs to the perfectly designed costumes and the fabulous wigs and makeup… thanks to Campbell Young Associates. Their talent and attention to detail is truly inspiring! For me, looking the part has always allowed me to better feel the part. They are some of the very best at what they do!

JHPENTERTAINMENT: This production marks your national tour debut. What did it feel like the first time you stepped onto the stage knowing you were officially part of the touring company of Back to the Future?

KATHRYN ADELINE: Stepping out on that stage for the first time came with a feeling I can’t even describe. This opportunity is one I have worked so hard for and it was made even more special by the fact that Back to the Future is such an iconic and well loved story. It’s been an absolute dream come true!

I grew up in a family that loves musical theatre and my parents were always taking us to see shows at the Fox Theatre in downtown Atlanta. With New York being so far away, it was always a treat to experience the magic of Broadway right in my own hometown as each tour came through. I remember being in such awe of the productions. It is so special to travel with this company and create accessible opportunities for theatre lovers across the country. Make no mistake, I didn’t step onto that stage alone. I have an amazing team that has helped me get here. I cannot talk about this opportunity without also thanking them!

JHPENTERTAINMENT: Hill Valley is filled with big personalities and comedic moments. How do you balance Lorraine’s humor with the sincerity at the heart of her story?

KATHRYN ADELINE: Yes, it’s a joy to be in a show filled with so many moments that make the audience laugh. What I love about this story is that woven through all the comedic moments, big personalities, and energetic dance numbers is so much relatable human experience. At the heart of this story is the timeless message that we all have the opportunity to write our own future. “You can accomplish anything if you just put your mind to it.”

Specific to Lorraine, while the plot drives many of her comedic moments, she is also an endearing character with a very tender heart. She ultimately wants what most of us desire… a life filled with love and happiness, where everyone lives up to their greatest potential.

JHPENTERTAINMENT: As someone making their national tour debut, what has surprised you most about life on the road with a production of this scale?

KATHRYN ADELINE: Well everything is still moving so fast, and I am definitely learning a lot! I’m grateful to be surrounded by an incredibly competent and talented company. They have been so kind, welcoming and generous. When it comes to life on tour, and specifically with a show of this size and scale, the members of our crew are the real heroes. Moving the magic of Broadway from one city to the next, week after week, is no easy feat. This production is a true spectacle when it comes to all ofits special effects and technical elements. There is no way we could travel and perform this show eight times a week, in a new city, without them. On Sunday evenings, while the cast gets to go back to the hotel, the crew members immediately start packing up the sets, lights, sound equipment, costumes, props, wigs, etc. into 11 semi-trucks which transport everything overnight to a new city. Then, upon arrival…they unload and set everything up in time for our Tuesday night performance. This all happens within a 48-hour time period. They don’t tell all their secrets and I think somehow the Flux Capacitor is involved, but it is completely mind blowing how they get it all done!!

RAPID FIRE WITH BACK TO THE FUTURE’S BIFF TANNEN, NATHANIEL HACKMANN

JHPENTERTAINMENT: Having created the role of Biff in Back to the Future: The Musical on Broadway, has your perception or portrayal of the character evolved since those earliest performances?

NATHANIEL HACKMANN: Well…. I’m not sure my portrayal has changed… but the number of my age has certainly increased!!! lol. I found out I was going to play this part over four years ago!!! Well over a thousand performances! HAHA! But in all seriousness every show is subtly different depending on my fellow cast mates, the theater, and of course- the AUDIENCE! They are so integral to everything we do… the response we get in real time is why we all love live theater!!!

JHPENTERTAINMENT: What’s key to making Biff both intimidating and entertaining for a live audience?

NATHANIEL HACKMANN: Oh I can’t give away the recipe for the donuts! 🙂 However, there is always something that makes any character a real human… something we can all relate to, when we watch them do heroic or despicable things… for me in Biff- everything has to do with Lorraine. He objectifies her as the trophy and status symbol that will gain him the power and respect he is (in his own mind) due. When he is blocked from gaining this all-consumingobjective, that’s when he is truly capable of super-human (or sub-human) feats.

Also everyone likes to see Goliath get knocked down… so I can’t miss in that moment!

JHPENTERTAINMENT: Okay, anytime I spot a Six Degrees of Separation type situation while researching to chat with actors who’ve worked with friends of mine, I’ve gotta ask: You shared the stage during the Broadway run of Back to the Future: The Musical with my friend Jelani Remy, who created the role of Goldie, everybody’s favorite future mayor of Hill Valley. What was it like working with him during that original run?

NATHANIEL HACKMANN: I adore Jelani!! I call him the mayor of every room he’s in. 🙂 truly, he elevates the work and mood of all those around him. I can’t wait until we’re on something together again! That original Broadway cast of BTTF was something so special. Lightning in a bottle. Those that saw it can attest… and those that were backstage will all agree I’m sure!!

JHPENTERTAINMENT: You’ve famously played both Jean Valjean and Javert in productions of Les Misérables. Does stepping into a character like Biff tap into the same kind of villain energy as Javert—or is it an entirely different beast?

NATHANIEL HACKMANN: I love this question… first I think to myself: can anything I do be truly unique from my other work if I’m there? There will surely be some inevitable commonalities, BUT… Javert almost never has any moments of levity and his pursuit of Valjean is always about a higher cause… these are a couple of polar opposites from Biff who (in my opinion) is always trying to be perceived as smart and funny and charming for his own selfish sake. One thing I do think they share is a certain doggedness and animal cunning… but I would hope anyone who only saw my Javert would hardly recognize me in BTTF. As an actor my heroes are the people that disappear inside their parts. Their egos are secondary to the story and they can make the audience truly believe they are seeing the character and not necessarily their favorite actor portraying a part. That’s the true magic of excellent theater.

JHPENTERTAINMENT: After originating the role on Broadway, what lured you back to Hill Valley for year two of the National Tour?

NATHANIEL HACKMANN: EASY! I LOVE THIS INTELLECTUAL PROPERTY! I have been a fan of Back to the Future as long as I can remember. I am honored and overjoyed to be associated with this property and universe and FANDOM every single day. What an amazing ride this has been and continues to be!! I am so thankful to the creative team and my colleagues and most to the audience for allowing me to play in this world with y’all!!!

RAPID FIRE WITH BACK TO THE FUTURE’S DOC BROWN, DAVID JOSEFSBERG

JHPENTERTAINMENT: Immortalized on screen in all three Back to the Future films by Christopher Lloyd, what was your process for finding your own take on the character of Doc Brown while still honoring what audiences know and love?

DAVID JOSEFSBERG: Okay so, let me start by saying that as the elder of the company,  (ha) I was one of the only ones around back in 1985 to see the film when it came out. As most kids that age, it became a huge part of my life. I wore the vest, the shoes and always wanted to be Marty….turns out I had to wait 40 years to portray  an even better role! Ha. The iconic Doc Brown! Yes, it’s iconic so you absolutely get to bow down to Christopher Lloyd, and you obviously have to give the “roads, where we’re going? We don’t need…roads!” And “Great Scott!” (You heard that in his voice didn’t you) But, the great thing about the musical is that we have both Bob Gale, the creator of the entire franchise, and John Rando, the amazing director at the helm. They encourage us to bring who we are to the character. Especially since in this version Doc is sort of a rockstar that dances and sings! So cool! So basically, I take a cup of Christopher Lloyd, half a cup of Roger Bart, who created it on Broadway, and add a cup of myself. Uh oh. That’s 2 1/2 cups! Ha!

JHPENTERTAINMENT: You were part of Back to the Future: the Musical toward the end of its Broadway run playing Principal Strickland. What’s it been like going from that role to rejoining the BTTF family on tour as the wildly inventive Doc Brown?

DAVID JOSEFSBERG: It has been incredible. I loved being in New York playing Strickland. He’s in the mix in all the scenes. I also got to do Doc about twice a week. Moving from twice a week to 8 times a week has been really great. It’s given me the chance to really make it my own. Touring as Doc also allows me to add a few little city specific references to each new city. I love coming up with those. You also feel like a family out here. We spend almost every waking moment together as opposed to heading home to my family in NYC! Now….there are also some interesting challenges touring as Doc. The different temperatures, each new hotel, and all the travel. But I love it!

JHPENTERTAINMENT: Okay, totally off-topic but because I’m a complete pop culture nerd and remembered you from your 2005 turn as Henry Winkler/Fonzie in the TV movie The Unauthorized Story of Mork & Mindy…what can you tell me about that experience?

DAVID JOSEFSBERG: Ayyyyyyy! Who doesn’t love the Fonz! Talk about an icon!!!??? HA. My friend Chris was playing Mork and he got me in for the audition because I look a lot like Henry Winkler. So, I booked it and flew to Vancouver to film it. I finished filming and came home….unfortunately they needed me to come back the following weekend and…um…that’s when my son was born. So, I saw him born, spent the night, and flew back out to finish the filming. Ha. It was crazy! But the show must go on.

JHPENTERTAINMENT: Your Broadway acting résumé spans shows as varied as Adam in Beetlejuice, standby for multiple roles in the 2023 revival of Spamalot and a 2017 stint as Ogie alongside Jason Mraz’s Dr. Pomatter in Waitress. As Doc Brown is there a different type of theatrical energy you’re tapping into that you’ve previously not accessed?

DAVID JOSEFSBERG: Well, he is by far the oldest character I’ve had to play, but he still has this crazy youthful energy…maybe moving just a little bit slower. I’d say most of the characters I play are truly heartfelt with a wild energy. I think Doc gets the wild energy, but he also gets a great heartfelt moment with Marty, where he sings “For the Dreamers.” This is a song about failing, and failing, and failing until you succeed. Might be my favorite moment in the show.

JHPENTERTAINMENT: Speaking of energy, one of the most entertaining elements of Back to the Future on stage is the theatrical magic courtesy the collaborative efforts of the show’s lighting designers Tim Lutkin & Hugh Vanstone, video designer Finn Ross, sound designer Gareth Owen and illusion designer Chris Fisher. Without giving away too much, what can you tell me about your favorite moment in the show where these elements all come together perfectly?

DAVID JOSEFSBERG: Absolutely. Here we go. The moment that first made me cry when I saw the show was when I am on the clocktower and Marty is driving our favorite co-star, the Delorean, through the streets. The lighting, video, sound and illusions all come together. It goes back and forth between the two moments and the swell of the music, that was from the movie, comes in and just takes your breath away. So nostalgic and really makes you feel like you are in a film. I feel so grateful every night to be in that scene. I won’t tell you if we succeed in sending him back to 1985! No spoilers here! Ha!

Thanks for the awesome questions. See you in the FUTUREEEEEE!

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From time-traveling teens and eccentric scientists to unforgettable villains and heartfelt transformations, Back to the Future: The Musical proves that some stories truly are timeless—especially when reimagined with the full force of live theatre magic.

Nashville audiences can catch the national tour at TPAC’s Jackson Hall now through Sunday, March 22, with performances that promise spectacle, nostalgia, and a whole lot of fun for longtime fans and first-time visitors to Hill Valley alike.

So whether you’re chasing time at 88 miles per hour or just looking for a nostalgic night at the theatre that hits all the right notes… now’s your moment.

For dates, times and tickets for Back to the Future‘s TPAC run, CLICK HERE. Following Back to the Future, the current season of Broadway at TPAC continues with Some Like It Hot onstage at Jackson Hall April 21-26. CLICK HERE for tix. You can also follow TPAC on Facebook, YouTube, Insta and TikTok.

Not in Music City? No worries! You don’t need a flux capacitor to catch Back to the Future: the Musical as the National Tour continues. CLICK HERE to follow Back to the Future, or check them out on Facebook, X, Insta and TikTok.

As always, If you wanna check out who we’re chatting with for our latest Rapid Fire 20Q, or to read our latest Theatre Review, please check out JHPEntertainment online or socials at Facebook, Insta, X and Threads. Till then…. #GoSeeTheShow!

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. 

——-

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.