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Rapid Fire 20 Q

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. 

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In case you missed it, CLICK HERE to read my recent Rapid Fire 20Q with the director and four principal actors. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

Rapid Fire 20Q With Director and Cast of Nashville Rep’s ‘It’s a Wonderful Life’; at TPAC’s Polk Theatre December 5-21

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

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

 

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH JAYDEN MURPHY, GEORG IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH JIANA KEVILUS, AMALIA IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH TOMMY ANGLIM, KODALY IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH KIMBERLY WOLFF, ILONA IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH SHE LOVES ME DIRECTOR, MORGAN ROBERTSON

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH DEBORAH SEIDEL, BARONESS VINDETTA IN CINDERELLA

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH WANDERSON REZENDE, ANITA BATH IN CINDERELLA

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH CINDERELLA DIRECTOR, ANN STREET-KAVANAGH

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

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

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

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

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

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

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

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

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

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

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

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

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