JHP Entertainment

Entertainment News, Reviews and Interviews

Rapid Fire Q&A

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

by

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

—–

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH SISTER ACT DIRECTOR, JASON SPELBRING

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

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

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

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

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

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

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

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

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

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

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

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

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

—–

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

Nashville Rep‘s Sister Act continues its two-week run with five show remaining Thursday, April 16 at 7:30pm, Friday, April 17 at 7:30pm, Saturday, April 18 at 2pm and 7:30pm and a final matinee Sunday, April 19 at 2pm. CLICK HERE for tickets. Following Sister Act, Nashville Rep closes out their current season with Amy Tofte‘s BLOOD SUCKING LEECH, as part of Nashville Rep‘s New Works: Next Stage, after having presented a staged reading of Tofte’s work just last season. CLICK HERE to purchase tickets. As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

 

 

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

by

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.

—–

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.

—–

 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 10Q with ‘Riverdance 30’ Lead Dancer Brothers Kieran and Will Bryant; at TPAC April 3 & 4

by

For three decades, Riverdance has captivated audiences around the globe with its electrifying blend of music, movement, and storytelling—and now, the legacy continues with the milestone Riverdance 30th Anniversary Tour. As part of just 67 cities on this celebratory U.S. tour, Nashville once again welcomes a limited engagement at Tennessee Performing Arts Center’s Jackson Hall, with performances set for Friday, April 3 at 7:30 p.m. and Saturday, April 4 at 2:00 p.m. and 7:30 p.m. Ahead of their Music City stop, JHPEntertainment caught up with siblings Kieran Bryant and Will Bryant—two of Riverdance 30’s internationally acclaimed lead dancers —for a quick-hit Rapid Fire Q&A, offering a behind-the-scenes glimpse into life on tour, stepping into the spotlight, and what it’s really like sharing the stage with family as part of this global phenomenon.

———-

RAPID FIRE 10Q WITH KIERAN AND WILL BRYANT OF RIVERDANCE 30: THE NEW GENERATION

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s KIERAN BRYANT

JHPENTERTAINMENT: You started dancing at just four years old—do you remember the moment it stopped being a hobby and became the path?

KIERAN BRYANT: I competed from a very young age both nationally and internationally. I guess the earliest moment I can remember that it clicked for me was my first time competing overseas in America. It opened my eyes to a whole new perspective and made me want to push myself to become the best I can possibly be. That’s when my love for it really took over.

JHPENTERTAINMENT: Hailing from Australia, what’s the most exciting aspect of touring the U.S. with Riverdance?

KIERAN BRYANT: US tours have always been my favorite tours. I love getting to see so many different parts of the country and how each city has its own vibe. It’s cool now getting to tour and perform in iconic places like New York & LA that growing up, I would’ve only really seen in the movies.

JHPENTERTAINMENT: Having joined Riverdance alongside your brother, who’s also a lead dancer in the company—what’s the biggest advantage of having him there, and what’s the one thing that can still drive you a little crazy?

KIERAN BRYANT: My brother and I have always been super close so getting to do what I love alongside my best friend, it’s the best. It’s natural for everybody to get a little homesick, especially being on the road for long periods of time so having him there helps massively dealing with that. That being said, us being so close we know each other better than we know ourselves sometimes, so like all siblings we do get on each other’s nerves from time to time. But it’s all love.

JHPENTERTAINMENT: Having officially made your lead debut in 2022—what shifted for you, mentally or physically, stepping into that level of responsibility?

KIERAN BRYANT: Becoming a lead dancer was always the goal so that was something I was building myself into from the beginning. There is a significantly higher demand on the body and mind that comes with the role so making sure I prioritize health and wellness has become even more significant in my day to day. It’s also essential having that trust and belief within yourself that you deserve to be there. I think that’s what keeps me striving to always push myself.

JHPENTERTAINMENT: Among the many international tour stops, you’ve performed lead in your hometown of Sydney, Australia, cheered on by family and friends. Quite the full-circle moment, I’m sure—what did that moment feel like in your body as you stepped onstage?

KIERAN BRYANT: It’s hard to explain really. It was kind of like an out of body experience, every movement felt a little different than usual. There were a lot of emotions going through my body, so I just tried to keep myself present and enjoy being in the moment. There’s a different energy from both the audience and the cast when it’s a big show like that. No better feeling than performing and showing gratitude towards the people who have supported you along your journey.

RAPID FIRE WITH RIVERDANCE 30: THE NEW GENERATION‘s WILL BRYANT

JHPENTERTAINMENT: You joined Riverdance in 2013 and became a lead in 2016—I caught the 20th anniversary performance at TPAC a decade ago. How has your perception of (and performance as) a lead dancer changed since that initial anniversary tour?

WILL BRYANT: Having toured with Riverdance for nearly 13 years now. My perception, especially as a lead performer, has changed a lot. As a dancer in such a prestigious show as this, there is a certain standard you have to hold yourself accountable for. When you step into the role of a lead position, it’s a whole different ball game. You have to maintain a physicality and mindset that allows you to essentially lead an entire production night after night, venue after venue. There’s definitely ups and downs but it’s all part of the journey. I was just starting out my lead career in 2016, so 10 years on, having solidified my position and experienced the dynamics of the role, I feel that I am at the top of my game.

JHPENTERTAINMENT: Having performed in over 24 countries—has any particular audience surprised you in the way they respond to the show?

WILL BRYANT: I’d have to say when I toured Mexico in 2022, I was pleasantly surprised by the response we got. I didn’t really know what to expect as I had never been there before. They loved the show. I remember they were even selling their own Riverdance merchandise out the front of the venue which was really cool. They had everything. T-shirts, mugs, hats, you name it. I managed to snag a mug with my face on it.

JHPENTERTAINMENT: You and Kieran aren’t the only siblings on the 30th Anniversary Tour—there’s also Anna Mai Fitzpatrick and her brother Fergus. Do you feel like you four might have a slight advantage because of those familial relationships, or has your long tenure with the company created its own family vibe?

WILL BRYANT: I feel like every family relationship is different, but for me, my brother and I share a special bond. We are best mates. Always have been. Being able to share these experiences on the road with my brother isn’t something I take for granted. I feel like there is a definite advantage to having someone you’re so close to on the road with you. We are able to be brutally honest with each other on our performance and life, even when it isn’t asked for. But I love that.

JHPENTERTAINMENT: Hitting the Principal role and performing at Radio City Music Hall is no small milestone—did that moment live up to the ideals you put on it?

WILL BRYANT: Performing in Radio City is something that I will never forget. I have spent years performing in various venues across the globe but this one was very special for me. Due to unforeseen circumstances I was unable to perform lead in Radio City in 2020, so being able to strut my stuff as a lead performer in 2025 in front of the thousands, my parents included, was a phenomenal experience.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing Riverdance live on stage?

WILL BRYANT: A major takeaway I’d like audiences to experience is a sense of connection. Throughout the show there are so many elements of cultural identity and cohesiveness. The artistry of all performers share a special bond that connects us no matter where you are from. I also hope audiences discover a new found respect for the arts industry. We put a lot into what we do as performers and I don’t think a lot of people realise that. Life on the road isn’t all glitz and glamour. We essentially put our entire lives into putting on shows night after night ensuring people experience the best of the best. That’s what we strive for.

———-

Tickets for Riverdance 30: The New Generation range in price from $47 to $215, with a VIP Ticket option that includes premium orchestra-level seating, early access to the venue to watch cast blocking and warm-ups, a VIP laminate, and a pre-show Q&A with select cast members. For more information on VIP ticketing, call TPAC’s Box Office at 615.782.4040 or CLICK HERE to purchase tickets.

Following their limited engagement in Music City, Riverdance 30th Anniversary Tour continues as they head to Morgantown, WV; Dayton, OH; Johnstown, PA; Detroit, MI; and more through June as the U.S. anniversary tour continues. For future dates, to purchase tickets, or to see the full schedule CLICK HERE. For all things Riverdance, CLICK HERE or follow them on Insta, TikTok, Youtube and Facebook.

Beyond Riverdance, TPAC‘s calendar of events continues with Nashville Repertory Theatre‘s production of Sister Act on stage at the Polk Theatre April 10 thru 19 (Check back here at jhpentertainment.com for our upcoming chat with Sister Act‘s director and members of the cast). TPAC Inclusive Arts Presents two Arts Adventure Workshops—Stage Combat for ages 9-15 and Heroes and Villains for ages 8-16 on April 11. On April 16, TPAC InsideOut and Vanderbilt University team up to present a Lunchtime Preview of Nashville Ballet‘s Sherlock (onstage at the Polk Theatre May 1-3). April 16 thru 18, Nashville Opera presents The Barber of Seville at TPAC‘s Jackson Hall. CLICK HERE for all these and more great performances at TPAC.

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

Rapid Fire 20Q With Director and Cast of ‘Ragtime’; on stage at The Keeton beginning Friday, August 15

by

Earlier this week, as cast and crew of The Keeton Dinner Theatre’s RAGTIME: THE MUSICAL prepared for their Friday, August 15 opening night, I had the chance to chat with Mitchell Vantrease, the show’s director, as well as cast members Miya Nicole Burt, Nicholas Branson, Holli Trisler and Jayden Murphy for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

—————

RAPID FIRE 20Q WITH THE KEETON’s RAGTIME DIRECTOR AND CAST

RAPID FIRE 20Q WITH RAGTIME DIRECTOR, MITCHELL VANTREASE

JHPENTERTAINMENT: RAGTIME is a sweeping, emotionally charged musical—what drew you to this particular show as your next directing project at The Keeton?

MITCHELL VANTREASE: I’m very familiar with this musical—it’s one of my all-time favorites. I’ve had the honor of performing in it three times in Arizona, and each time deepened my understanding of its powerful themes. Set in 1906, this story still resonates today because we are still having the same conversations—about racial prejudice, police brutality, immigration, and privilege.

With my background as an actor in this piece, I felt called to bring my perspective to the director’s chair. This is my opportunity to help tell the story through a new lens, with truth, heart, and urgency.

JHPENTERTAINMENT: You’ve directed everything from FENCES to A CHRISTMAS STORY: THE MUSICAL. How does your approach shift when taking on a historical epic like RAGTIME with its layered themes?

MITCHELL VANTREASE: One thing that was especially important to me with this production was telling the truth—my truth—through the lens of a Black American man. There are moments in the script that I didn’t want to soften or gloss over. I wanted them to land, plain and clear. Audiences will feel that.

For example, our set has an industrial look, anchored by a worn, tattered American flag as the backdrop—a visual reminder of how far we’ve come, and how far we still have to go as a nation.

JHPENTERTAINMENT: As a theater educator and recent recipient of the Spotlight Award for Outstanding Direction, how does your work with students influence your process when working with a professional or community cast?

MITCHELL VANTREASE: I’ve been directing community and youth theater for years—even before becoming a high school teacher. Educational theater is a different experience, though. It’s not just about entertainment; it’s about learning, growing, and helping students discover their potential.

Community and professional theater may share similarities, especially in the caliber of performance, but the difference is often the cast—usually made up of adults with a great deal of experience. That’s what makes this summer’s production of Ragtime so unique. We have six high school, middle and elementary school students in the cast—three of whom are part of my program at Mt. Juliet High School.

It’s a big responsibility for a student to step into a production like this, surrounded by seasoned actors and professionals. That could easily be intimidating. But these students are rising to the occasion. They’re showing maturity, drive, and a real passion for the craft.

During the school year, I get to work with student performers almost 200 days out of the year, and I love it. But there’s something refreshing about collaborating with talented adults in the summer. This entire cast of 32 is phenomenal, and I’m so proud of the work we’re doing together.

JHPENTERTAINMENT: From creating the original work, THE SOUL OF BROADWAY to helming over 40 productions, what’s one core value or message you always strive to instill in any cast you direct?

MITCHELL VANTREASE: I’ve always told my cast—whether they’re adults or kids—that as artists, it’s our responsibility to entertain and tell the truth. That applies whether we’re sharing a lighthearted comedy or a powerful piece like RAGTIME: THE MUSICAL. We’re all working together to tell a story that could impact someone’s life—whether it stays with them for just a couple of hours or for a lifetime.

RAPID FIRE 20Q WITH RAGTIME’s SARAH, MIYA NICOLE BURT

JHPENTERTAINMENT: This is your Keeton Theatre debut—what has the experience of joining this production of RAGTIME meant to you personally and artistically?

MIYA NICOLE BURT:  Making my debut at the Keeton Theatre with RAGTIME has honestly been such an incredible and rewarding experience!  Personally, it’s a milestone that reminds me how much growth is possible when you step into new spaces and challenges. Artistically, RAGTIME offers such a rich tapestry of history, emotion, and humanity that it has pushed me to explore new depths in my craft. Being part of this production has allowed me to connect with a story that is both powerful and incredibly timely in our country today, and I’m extremely grateful to contribute to its message within our community. 

JHPENTERTAINMENT: Sarah is such a complex and demanding role. How have you connected with her story, and what do you hope audiences take away from your performance?

MIYA NICOLE BURT: Sarah’s journey resonates with me on so many different levels. Her strength, vulnerability, and determination to protect her family amidst societal change as a Black woman in America really hits home for me. I’ve connected with her by embracing the contradictions within her: her struggle to maintain control while facing uncertainty and her courage to evolve. I hope audiences walk away with a deeper empathy for the everyday heroes in history whose quiet battles helped shape the world. Ultimately, I want Sarah’s story to remind people of the power of resilience and compassion. 

JHPENTERTAINMENT: You’ve played everything from the lead in AIDA to Gary Coleman in AVENUE Q—what do you love most about tackling such a wide range of characters?

MIYA NICOLE BURT: Honestly, I love how every role is a new adventure! Having the opportunity to constantly reinvent myself and explore different facets of humanity is what attracted me to theatre in the first place. Each character, whether dramatic or comedic, gives me a fresh perspective and challenges me to adapt my voice, body, and emotions in unique ways. Playing such diverse roles keeps my work exciting, and it reminds me that storytelling is limitless! There’s always a new story to tell and a new truth to uncover within a character. 

JHPENTERTAINMENT: When not performing onstage, you work as a vocal coach. How does that work influence your performances on stage—and vice versa?

MIYA NICOLE BURT: Working as a vocal coach has given me a deeper understanding of breath control, vocal health, and emotional expression, which naturally enhances my stage performances. It’s rewarding to apply technical skills to bring authenticity and clarity to my singing and acting. Conversely, being onstage keeps me connected to the emotional and physical demands performers face, allowing me to empathize and tailor my teaching to support my students and their artistic journeys fully. The two roles enrich each other and fuel my passion for the craft. 

RAPID FIRE WITH RAGTIME’s TATEH, NICHOLAS BRANSON

JHPENTERTAINMENT: From Gilbert & Sullivan to Sondheim, you’ve performed on stages around the world—what was it about the role of Tateh in RAGTIME that spoke to you?

NICHOLAS BRANSON: I think what most drew me most to the role and the show is how important the story is to tell. In our current moment, I think it benefits us all to take a look back. Many of the issues we face today have historical antecedents that remain etched in our collective consciousness. I think a lot of us felt secure in believing these problems (anti-black racism, anti-immigrant sentiment, misogyny) were in the past. But so many of the story beats in this show set 120 years ago could easily be headlines from tomorrow. Progress is fought for and won, not given, and we must never forget that or become complacent. Tateh’s story is the story of so many of us; of our friends, coworkers, parents, and grandparents. It’s a story of hope. Naive hope, desperate hope, ecstatic hope. A hope for a new and better tomorrow for you and your family, and a willingness to defy odds to make it happen.

JHPENTERTAINMENT: You’ve studied classical voice and sung opera in cities like Prague and Salzburg—how do you approach storytelling differently when shifting into a character-driven musical like RAGTIME?

NICHOLAS BRANSON: I think the process is distinct in a couple ways. In the era before amplification, the need for vocal projection and clarity brought these fantastical, larger than life, often melodramatic, opera roles to the stage that played to the back of the room. Amplification gave musical theatre the freedom to explore so many more nuances of the human voice and the emotions it can express. A character like Tateh gets to explore trepidation, hope, the sting of failure, deep despair, and steely resolve all within the span of a single song! Where a lot of opera characters are really effective at imparting big, deep, cutting emotions; Tateh brings shades of real life to the stage. There’s also much more opportunity in musical theatre to try new things and collaborate. Many characters in the standard operatic repertoire have decades if not centuries of paratextual expectations and standard practice. A character like Tateh affords the actor so much more freedom to interpret and express.

JHPENTERTAINMENT: What’s been the most surprising or rewarding part of working with the cast and creative team at The Keeton for this production?

NICHOLAS BRANSON: I have been so overwhelmed by the genuine kindness of the cast and crew at the Keeton. Everyone has been so friendly and welcoming. This is my first show here and I can honestly say that everyone has been amazing to work with.The caliber of the performers as well as the artistry of the set designer, costume designer, director, music director, choreographer, stage managers and lighting and tech crew have made this production a joy to rehearse. 

JHPENTERTAINMENT: Tateh can sometimes be portrayed as a one-dimensional immigrant stereotype—how have you worked to bring authenticity and depth to his journey in RAGTIME while honoring the character’s cultural context?

NICHOLAS BRANSON: I definitely focused on finding a unique voice for Tateh as part of the learning process. I studied Polish, Russian, and Yiddish dialect coaching manuals to avoid creating an accent that was too unipolar. He’s an artist from war torn Latvia, leaving behind his homeland and people with nothing but his daughter, and I wanted to give Tateh the depth and nuance his character deserves. I definitely didn’t want to shy away from the immigrant narrative though. Immigrating to America is such a vital piece of Tateh’s story; he experiences poverty, hardship, discrimination and violence that all impact his character and shape his outlook on the world. His initial, simplistic view of the American dream is quickly shattered, but his love for his family allows him to carry on and forge a new life. I think that’s really the focus of his character: the love he has for his daughter and his willingness to do anything to improve her life for the better. 

RAPID FIRE WITH RAGTIME’s MOTHER, HOLLI TRISLER

JHPENTERTAINMENT: After performing across Disney Parks around the world, what drew you to take on the role of Mother in RAGTIME—and at The Keeton, no less?

HOLLI TRISLER: Performing for over a decade with the Walt Disney Company gave me extensive experience in the art of storytelling – something that Disney does best. It taught me how to bring different characters to life in an authentic and well rounded way, with an emphasis on drawing people in to each character’s story as if they were a part of it. The role of Mother drew me in because of the storytelling journey she gets to be part of in the show. She is such a rich, layered character, and I knew it would be a beautiful challenge for me not only as an actor and singer, but as a storyteller. Not only does this show have incredible, moving music from beginning to end, but the story is one that is timeless – it has and continues to be one that needs to be told, and I am honored to play a part in telling this story. The Keeton has a reputation for not only putting on great shows, but having an incredible production team behind the curtain, pouring their hearts into each show with care and passion. It is an honor to join the Keeton family in this production.

JHPENTERTAINMENT: Mother’s arc in RAGTIME is one of quiet strength and awakening—how have you approached portraying her evolution throughout the show?

HOLLI TRISLER: Mother’s character journey has been so challenging yet thrilling to dive into during our rehearsal process. To me, the purpose of her role is to demonstrate the evolution of a person becoming aware of the lives and hardships of those outside her social circle, developing empathy for those situations, and deciding to break from tradition to stand up for what she realizes is good and right – even at the sacrifice of her own reputation, resources, or relationships. In preparation for the role, I spent a lot of time studying her throughout the script – finding those moments where things start to shift for her in her mind and her subsequent actions. In each scene, she becomes more and more aware, more and more empathetic, and more and more bold in her choices to stand up for what she believes in. She’s a delicate balance of quiet strength and bold risks, and I’ve thoroughly enjoyed diving in to discover that balance.

JHPENTERTAINMENT: Your resume includes everything from Belle to Eponine—how does Mother compare to the iconic characters you’ve played in the past?

HOLLI TRISLER: I believe each character I’ve played has shaped me as an actor and storyteller and have in their own way prepared me for the role of Mother. If you think of those iconic characters, each goes on their own journey of discovery of the world around them being different than they hoped, thought, or expected, and have to consequently shift their points of view and grow in wisdom and strength. Belle finds a world outside her small, provincial town and learns that things aren’t always what they seem. Eponine gains her strength from enduring through hardship and unrequited love. Mother’s journey is of transformation within – she starts in a place of privilege and certainty, and ultimately has a complete shift in her worldview which draws out a strength in her that she never knew she had.

JHPENTERTAINMENT: When you’re not on stage, you’re running an Etsy shop and doing taxes—how do the creative and analytical sides of your life come together to fuel your work as a performer?

HOLLI TRISLER: It’s true, I have a lot of very seemingly unrelated interests and passions! However, I think this helps me to be more well rounded as an actor and storyteller. My creative side inspires my desire to tell stories and play roles in a unique way – to imagine and experiment with different character choices, line delivery, and reactions to the scene around me. My analytical side not only helps me with learning music and memorizing lines, but it also makes me more attentive to detail. It allows me to be able to see the nuances in the script and music and consequently use those details to create a fuller, more developed character. Performing is certainly a challenging balance of both those sides for me – to allow my analytical side to give way to creativity and experimentation and vice versa. This is one of the many ways that theatre is so beautiful – everyone brings a bit of themselves to each role, so no two casts will ever present a show in the same way. That means this production of RAGTIME will be unlike any you’ve ever seen or will see again. Thanks for joining us for this beautiful, unique moment in time at the Keeton Theatre!

RAPID FIRE WITH RAGTIME’S COALHOUSE WALKER, JR, JAYDEN MURPHY

JHPENTERTAINMENT: At just 18, you’re taking on one of musical theatre’s most demanding roles—what was your first reaction when you were cast as Coalhouse?

JAYDEN MURPHY: My reaction to getting cast as Coalhouse…I was just grateful. As you said, you rarely see someone my age get a role that is this taxing and demanding. The trust that the cast and crew has given me is so fulfilling and it keeps me pushing through those hardships and tough times. 

JHPENTERTAINMENT: You’ve played everything from Henry in NEXT TO NORMAL to Evan in 13: THE MUSICAL—how does stepping into RAGTIME compare to your previous experiences?

JAYDEN MURPHY: It’s definitely a full 360, but it’s been a fun process. I personally love character work and learning about the things my character went through. I studied the novel of this show to see all the things that didn’t even make it to the Broadway script and added that into my character. 

JHPENTERTAINMENT: As a Jimmy Awards Semi-Finalist and Spotlight Award Winner, how have those opportunities helped shape your growth as a performer?

JAYDEN MURPHY: It’s shown me a lot about myself. How I deal with high pressure situations and the opportunities and connections that I made during those two award shows will follow me through the rest of my career 

JHPENTERTAINMENT: RAGTIME is a show with deep emotional impact—what do you hope audiences leave thinking or feeling after seeing this production?

JAYDEN MURPHY: I personally hope the audience is aware that not really anything has changed and goes into life with a better mindset after it.

—————

That wraps up this round of Rapid Fire 20Q with the talented cast of RAGTIME: THE MUSICAL at the Keeton Dinner Theatre! This powerful, sweeping story with unforgettable music and a rich narrative of America at the turn of the 20th century is brought to life on stage August 15–31 at the Keeton Dinner Theatre, 108 Donelson Pike, Nashville, TN. So CLICK HERE to reserve your seats now for an evening of theatre paired with the Keeton’s signature dinner experience and see for yourself why RAGTIME..is timeless.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

by

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

——

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

RAPID FIRE WITH BUCKET LIST INSPIRATIONS FOUNDER, CAT EBERWINE

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ WILL LASLEY

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ JOHNATHAN VEST

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH NEUROSPICY PLAYERS’ Dan Kassis

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

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

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

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

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

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

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

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

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

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

——

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

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

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

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

by

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

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

—————

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

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

JHPENTERTAINMENT: For the uninitiated, what is HADESTOWN about?

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

JHPENTERTAINMENT: What can you tell me about Persephone?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—————

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

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

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

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

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

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

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

by

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Why should audiences see The Mountaintop?

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

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

———-
Nashville Repertory Theatre‘s The Mountaintop continues through February 23 with performances Friday, February 21 at 7:30pm, Saturday, February 22 matinee at 2pm and Saturday evening at 7:30pm and a final performance Sunday, February 23 at 2pm. CLICK HERE for tickets.
Next up at Nashville Rep, it’s Sondheim‘s Sunday in the Park with George, with performances April 4-13. Sunday will be directed by Jason Spelbring, with musical direction by Steve Kummer. In the roles of Georges Seraut and George it’s London West End favorite, Irish actor, David Shannon (Les Miserables, The Phantom of the Opera, Sweeney Todd). Just announced, the cast will also feature Christine Dwyer (Broadway‘s Wicked, National Tours of Waitress, Finding Neverland, RENT). Dwyer will take on the roles of Dot and Marie. The cast also includes Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Richard Harrison Jr. as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise.  CLICK HERE for tickets.

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

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

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

by

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Miss Shields to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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, Playwright and Cast Members of Rabbit Room Theatre’s ‘A Christmas Carol’; on stage December 7-22

by

On Saturday, December 7, and continuing through Sunday, December 22, Rabbit Room Theatre and Matt Logan Productions present an all-new retelling of Charles Dickens’ A Christmas Carol on stage at FSSDPAC (Franklin Special School District Performing Arts Center 1030 Excellence Way, Franklin, TN). Having been completely entranced by their 2022 teaming for The Hiding Place, I’m just gonna say it, anytime there’s a collaboration between Matt Logan Productions and Rabbit Room Theatre, I’m there! Matt Logan’s genius eye for stage and costume design detail paired with Rabbit Room Theatre’s Pete Peterson’s thoughtful and thought-provoking mastery as a playwright and the results are always spectacular. When I heard the these two powerhouses in regional theatre were coming together to present their vision of A Christmas Carol, I knew I had to feature them in the latest installment of my recurring interview feature, Rapid Fire 20Q. Rounding out the questions to a full 20, I requested a little time with the show’s Ebenezer Scrooge, Chip Arnold and The Ghost of Christmas Past, Ruthy Berends. What follows are all four conversations.

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s A Christmas Carol

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol playwright, Pete Peterson

JHPENTERTAINMENT: As a playwright, I’d imagine adapting a story so beloved might be a bit daunting. What was the catalyst for taking on A Christmas Carol?

PETE PETERSON: It’s not only beloved by audiences and readers worldwide, it’s beloved by ME. I love this book. I love Dickens. I think stepping up to the plate for a chance to retell a story that has entered the annals of literary history is a real privilege and challenge. And like storytellers have been doing for all of history, retelling the great tales of our language is a way of participating in the long tradition of Story in our culture. We tell stories and retell them over and over, and hopefully each new telling shows us a different facet of the tale so that it takes on new meanings and new relevance. That’s a great challenge and opportunity for a writer. It’s an honor.

JHPENTERTAINMENT: Is there a line you’ve written for A Christmas Carol that you’re particularly proud of?

PETE PETERSON: Again and again, people who read or see the show seem to find resonance in the line “What is hidden cannot heal.” The story is all about these Ghosts revealing hard truths to Scrooge in the hopes that he will change, and those truths are often about how wounded he has been in life and how the covering up of those wounds is what keeps him bitter and alone. Those hurts and traumas from his youth need to be exposed and dealt with if he’s to have any hope of healing and joy. That’s a phrase that’s original to my adaptation and I’ve been really moved by how deeply audiences have responded to it. I think it’s an idea that’s latent in Dickens’ prose throughout the original, and effectively giving it voice through that line is satisfying.

JHPENTERTAINMENT: Rabbit Room Theatre’s A Christmas Carol marks the latest collaboration between you and the show’s director, Matt Logan. Previously Matt helmed productions of The Battle of Franklin and Frankenstein, two of your other plays. What is it about Matt that makes it easy to entrust your written word?

PETE PETERSON: I feel like our imaginations are aligned in some mysterious way. He tends to intuit the way I tell stories and make them better with the design and staging and emotional intelligence he brings to them.. And I like to think I’ve learned to write in a way that allows his imagination to flourish. It’s been a really healthy collaboration. We tend to have a lot of back and forth as the shows develop, so that he can riff off of my ideas and I can riff off of his.

JHPENTERTAINMENT: While I’m sure Chip Arnold is your current favorite Scrooge on stage, which cinematic turn of the past stands out most in your mind?

PETE PETERSON: I feel like it’s a cliche to say The Muppets’ but like all cliches, they are cliches for a reason. It’s hard to beat Muppets. But otherwise I grew up with George C Scott, and I really like the animated version by Zemekis and Carrey. 

JHPENTERTAINMENT: After attending a performance of Rabbit Room Theatre’s A Christmas Carol, what do you hope audiences take with them?

PETE PETERSON: One of the questions I’ve tried to wrestle with in the writing process is whether a man is changed (by some external force) or whether a man changes (by his own agency). Ultimately, I think the answer is both–and either way there’s a Spirit involved in the process. I hope folks will go home thinking about how we all might be more open to the people around us and how we all have the opportunity for change, both internal and external.

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol director and designer, Matt Logan

JHPENTERTAINMENT: I think I say this every time I get the opportunity to chat with you about a show, but in my estimation, you are one of the most talented directors and designers the Nashville-area theatre company has ever seen. Your attention to detail is such a joy to experience. What’s been the most rewarding aspect of directing and designing Rabbit Room Theatre’s A Christmas Carol

MATT LOGAN: Wow, you are so kind. I do love theater design, but most of all it’s story and the impact it has on our lives that keeps bringing me back to the theater. In this process, my favorite part has been reconnecting with the childlike imagination that brings about theatrical magic. In all aspects of this piece, we tried to find the magical way to help tell the story of Ebenezer Scrooge . Sometimes it’s finding a new approach to period costume design or it’s using simple things to create ghosts and water. I will always be drawn to theater magic over realism. I hope that with everything I do, there is a strong approach to emotional realism and theatrical magic.

JHPENTERTAINMENT: When I spoke with Pete, I noted that A Christmas Carol is just the latest in a line of collaborations between the two of you as playwright and director. What keeps you saying yes to bringing his work to the stage?

MATT LOGAN: Haha! It’s such a joy working with Pete. Our gifts are completely different and yet we find a common goal for excellence. I will forever be in awe of Pete’s writing . His gift for language astounds me. On top of that he knows my work and my collaborators so well, that it gives us a shorthand on each project. In many ways, he envisions what I’m going to do with a piece as he’s writing it. We just fit together nicely and it’s a great blessing to have that synchronicity

JHPENTERTAINMENT: I understand this production will feature an original score. Can you tell me a bit about that?

MATT LOGAN: Yes, Anthony Matula is composing an original score for the piece. As you can imagine this is a very difficult thing to do with an original play. So much was in development and not set until the very end. So even now we are trying to finalize the details, but Tony offers such a unique sensibility to the score. He comes from the film world and has brought an incredible perspective to each scene. Our goal is to enhance the cinematic feel of our theater production 

JHPENTERTAINMENT: On the subject of music, what’s your favorite holiday tune? And why does it hold such a special place in your mind?

MATT LOGAN: Hard to say, but I’ll Be Home for Christmas is my all-time favorite. I’ve sung it many times on stage because I was away from my hometown for about 12 years. This is when I lived in Los Angeles and New York. Nothing brought me greater joy than when I could come home for Christmas. I longed for it. My parents and grandparents always made the season so full of love. I’m definitely a Christmas guy, I love this time of year. And that’s why I’m so grateful to be sharing this season with Rabbit Room Theatre, our incredible cast, and this Middle Tennessee community. 

JHPENTERTAINMENT: As alluded to in my first question for you, your attention to detail in even the most minute props or set design elements is always such fun to see. Is there something in this show that you’re hoping audience members will spot and get a smile from?

MATT LOGAN: Haha! There is so much of me in this piece. From real items to my designs for this show, my fingerprints are all over it. On my 21st birthday my mom gave me a Shakespeare bust. Years later I bought another one that is almost life size. Somehow this bust reminds me of the delight I found in theatre class with my high school drama teacher Paula Flautt. The idea of the stage and how I feel in love with it is symbolized by that bust. I had to add it to the stage pictures! 

Rapid Fire with Ruthy Berends, Ghosts of Christmas Past and Future in Rabbit Room Theatre’s A Christmas Carol

JHPENTERTAINMENT: I just chatted with Matt Logan, your director and designer for A Christmas Carol. I saw a social media post previewing your wardrobe for The Ghost of Christmas Past. Of course it’s truly gorgeous. How much does wardrobe enhance your portrayal on stage?

RUTHY BERENDS: Ugh isn’t it glorious?! Wardrobe always helps me feel more connected to a role, but the magic and grandeur of the costumes Matt has created for Past (and Yet To Come) are especially impactful. Past is whimsical and twinkly and mysterious, and the dress Matt designed not only helps capture that for the audience, but also for me. I slip into it and immediately feel myself raising an eyebrow, putting my shoulders back, and really embodying the role we have all worked to create.

JHPENTERTAINMENT: Speaking of The Ghost of Christmas Future, you’re playing that role as well. Two very different roles. How much fun are you having in this duality?

RUTHY BERENDS: It’s a total delight. I love the contrast and the continuity I keep finding between the two. On the surface, they are very different; Past is spritely, light, and sparkly, and Future is dreadful, dark, and decrepit. Their demeanors are different, their costumes are different, they move very differently. But they’re also after the same thing: to help Scrooge see himself more fully and move him toward change. It’s been so fun getting to play with the different characters and their almost opposite tactics for achieving the same goal. 

JHPENTERTAINMENT: A Christmas Carol marks your return to live theatre after having focused on tv and film in recent years. To my estimation, Matt Logan is a very cinematic director, so has that made the return to the stage easier for you?

RUTHY BERENDS: I’ve been working with Matt since I was 14 years old, so I feel very at home under his direction. It’s funny, in my audition for A Christmas Carol, Matt immediately gave me the same note he’s been giving me since I was a teenager – “Do it again but for the back of the room!” which made us both chuckle with knowing. He has always provided a safe and creative space to play and explore, and his approach was a huge reason I wanted to be an actor in the first place. And I definitely have a new appreciation for his ability to blend theatre and cinema after these years focusing on film, and his whole approach has made this experience a delight. 

JHPENTERTAINMENT: I understand you’re a relatively new Mom. Given that, have you thought of any Christmas traditions, activities or holiday specials and movies that you are excited to introduce to you child as the years progress?

RUTHY BERENDS: Yes, my son just turned two! I would love for the arts to be a part of it, whether it’s seeing a play or going to the symphony or a choral recital. Definitely watching all of the Christmas movies: Home Alone, Elf, The Santa Clause, Christmas Vacation. And honestly, I can’t wait to see A Christmas Carol with him one day and talk all about its meaning. It’s become such an important story to me over these last several months.

JHPENTERTAINMENT: As written by the playwright, Pete Peterson, what’s your favorite aspect of the ghosts you play?

RUTHY BERENDS: Oh man, it’s so hard to name just one. I guess for Past I would say her wonder and humor. Pete has written her so beautifully as both deep/wise and funny/light-hearted, and I love playing with those different aspects in one character. It’s very complex and mysterious. And with Future, I love that she is not the usual hooded black shroud that one typically associates with A Christmas Carol. In this version, she is more akin to a decaying bride, a representation of all Scrooge has lost and still could lose if he stays on his curmudgeonly path. And the challenge of playing a character who does not speak but has so much to impart, is so fun.

Rapid Fire with Chip Arnold, Scrooge in Rabbit Room Theatre’s A Christmas Carol 

JHPENTERTAINMENT: Having previously played Scrooge a few years in a row in another area theatre company’s production of A Christmas Carol, what stands out to you about this particular incarnation as adapted by Rabbit Room Theatre’s artistic director, Pete Peterson?

CHIP ARNOLD: A few things stood out immediately: Pete Peterson’s beautiful integration of his words with Dickens words. They are dense, beautiful, and require savory chewing.  Then Pete’s incorporation of the spirit world beyond Marley, and his three ghostly ambassadors. And finally, Scrooge’s inner child is a revelation. 

JHPENTERTAINMENT: This adaptation is directed by Matt Logan, another member of the area theatre community with whom you’ve worked with in the past. What’s your favorite aspect of Matt as a director?

CHIP ARNOLD: His vision. Matt is a visionary and the clarity with which he creates this vision. His generosity as he invites the actors into this vision and gives us the freedom to play and explore as we find ourselves becoming contributors to the story.

JHPENTERTAINMENT: In your estimation, is Scrooge villain or victim?

CHIP ARNOLD: Actually, neither. Modern cultures have created a one-dimensional character with descriptors such as “miserly” and “greedy.” This is not villainous. These of symptoms of hurt and rejection. In Pete’s version of the story, we explore the reasons why these choices were made.

JHPENTERTAINMENT: What’s one of your most cherished holiday memories?

CHIP ARNOLD: A tradition my wife and I started years ago with our grands is what we call the Christmas Tree Fairies who will come to our farm the day after Thanksgiving and leave a Christmas tree somewhere in the woods and we hike back to the woods in search of the treasure. 

JHPENTERTAINMENT: What is it about this story that has proven a beloved part of the holiday season for 181 years?

CHIP ARNOLD: It is a story of rescue and redemption. And, for me personally, it is tied to the Nativity story that so many celebrate at this time of year. The point of the arrival of the Christ child was to save humankind. The point of the arrival of Marley and the Three Spirits was to save Ebenezer Scrooge. That tale never grows old.

Matt Logan Productions and Rabbit Room Theatre’s A Christmas Carol opens Saturday, December 4 and continues through Sunday, December 22 with performances Wednesdays, Saturdays and Sundays. Saturday and Sunday performances are at 2:30pm and 7:30pm. Wednesday shows are at 7:30pm. The final week of the run, there’s also a Thursday evening show at 7:30pm. Tickets start at $45. CLICK HERE to purchase tickets or for more information.

Check out The Rabbit Room online or follow them on Facebook and Instagram. To keep with all things creative from Matt Logan Productions, check out their Facebook and Instagram.

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

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

Rapid Fire Q&A With Stars of The Other Me Theater Company’s ‘Visiting Mr. Green’; Opening Thursday, November 7 at Playhouse 615

by

A few months ago I attended a performance of a play presented by The Other Me Theater Company, the show served as a relaunch of sorts for the theatre company whose mission as their site suggests, is to present thought-provoking theater performances. With their latest production, playwright Jeff Baron’s NYC Drama League-nominated Visiting Mr. Green, The Other Me Theatre Company appears to be once again rising to the challenge. With Bowd Beal as director, Visiting Mr. Green opens Thursday, November 7 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) and continuing through Saturday, November 16. A two-person dramatic work examining the commonalities we share in spite of our initial perceived differences, Visiting Mr. Green features Bryan Kratoska and RJ Comer As the two actors readied for opening night, I recently had the chance to chat with them for the latest in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

—————

Rapid Fire Q&A with the stars of The Other Me Theater Company’s Visiting Mr. Green

Rapid Fire with Bryan Kratoska, Ross Gardiner in Visiting Mr. Green

JHPENTERTAINMENT: What can you tell me about Ross Gardiner, the character you play in Visiting Mr. Green?

BRYAN KRATOSKA: Ross is a young man learning to slow down and appreciate others, along with learning to be okay with himself along the way.

JHPENTERTAINMENT: While I had heard of the play, I gotta be honest, I was mostly unfamiliar with it prior to doing a little research in preparation of chatting with you and your costar. From what I’ve ascertained, in the broadest sense possible, it seems to be somewhere between Tuesdays with Morrie and The Odd Couple. Is that a fair assessment? AND…How might you more accurately describe what transpires during the play?

BRYAN KRATOSKA: While I don’t know Tuesdays With Morrie, I do know The Odd Couple. I would say it’s within reason to say this show is close/adjacent to The Odd Couple. This is a story of two men learning to live with both each other, and to learn to live with themselves and/or their mistakes.

JHPENTERTAINMENT: How did you come to be part of this production?

BRYAN KRATOSKA: I assistant directed Bowd Beal last year around this time in A Tuna Christmas over at Pull-Tight Players. He did a wonderful job and was a lot of fun to work with and learn from on my end. So when he called and asked if I would like to read the part with RJ, I had to at least give it a shot, and I am glad I did.

JHPENTERTAINMENT: Is there a line or a scene in the show that you particularly look forward to each time it comes up in the script?

BRYAN KRATOSKA: Act 2 Scene 1. It’s tough, and I can’t say more than that without spoilers!

JHPENTERTAINMENT: As mentioned, Bowd Beal is the show’s director. While I’ve known of him for a while, it was only recently that we met when he starred in The Other Me Theatre Company’s most recent production, The Sunset Limited. What’s been your favorite aspect of exploring these characters under Beal’s direction?

BRYAN KRATOSKA: Bowd is great at developing characters. Anyone who had the chance to see him and Chad Stem in A Tuna Christmas would know that. So combining his creative mind when it comes to building characters and the fact that he has played Ross in the past, it’s led to many in-depth conversations regarding Ross and this world. He’s also pushed me outside of my own box in a lot of ways. I typically act in musicals, so this has been a real treat to take part in and play/build Ross under his direction.

Rapid Fire with RJ Comer, Mr. Green in Visiting Mr. Green

JHPENTERTAINMENT: In researching to chat with you and your co-star, I discovered this play has not only been around since 1996, it has played in more than 50 countries world-wide. In spite of that popularity, the last time a Tennessee audience was privy to a production, was nearly fifteen years ago when a company just outside Memphis presented it. That said, The Other Me Theater Company’s presentation will undoubtedly mark many audience members’ introduction to the piece. Does being part of a show that is largely unfamiliar to the majority of its audience lend a certain freedom to the way you present the character and make it your own?

RJ COMER:  First, thank you for your interest in our production of Visiting Mr. Green and for your editorial support for live theater in this area. When it comes to playing Mr. Green, the long shadow on any actor is Eli Wallach who originated the role. But I approach my responsibility as an actor the same whether the part (or the play) is new to the audience or is very familiar to them. My job, as an actor and interpretive artist, is to find the truth of the character as revealed in the script, consistent with the director’s vision, and inhabit that truth in every way. So no, doing a part or play that is unfamiliar to an audience is no more liberating than doing one they’ve seen many times. I will say this though: it is more fulfilling, more fun, and I think more worthwhile. Live theater is a unique and powerful way to communicate and illuminate through art. So I applaud any company that produces work that middle TN audiences have not seen before. I’m equally excited about Franklin Theatrical Fellowship’s upcoming production of Goodnight Oscar (the first production of this Tony-winner since it left Broadway) and was super pleased to see Bradley Moore bring the world premiere of Lithium and Xanax to this market at The Darkhorse.  

JHPENTERTAINMENT: As I mentioned when I chatted with Bryan, I recently saw your director Bowd Beal appear onstage in The Other Me Theatre Company’s The Sunset Limited. That production marking the theatre company’s reemergence after a few years. How excited are you to be part of the rebirth of this thought-provoking theatre company?

RJ COMER: I’m stoked! I’m always excited to contribute to any company (new or established, professional or community) that seeks to elevate the offerings beyond the familiar, the safe, and the silly. Make no mistake, Mr. Green is full of LOL moments as well as charming and dramatic surprises – it isn’t an interpretive think-piece – but it transcends the identities and circumstances of the characters to address universally applicable questions about love, family, and identity. Yeah, I’m very pleased to be performing for a company committed to that kind of work.        

JHPENTERTAINMENT: I understand Bowd is not only directing, but also serves as the set designer for Visiting Mr. Green. Is there a detail in the set that you enjoy that you hope the audience might take note of?

RJ COMER: Our director, Bowd Beal, designed and built the set. It’s a typical middle-class apartment in New York, now a little run down, dim, and messy from neglect. But there are two seemingly inconsequential moments when more light appears. I hope the audience spots and appreciates the metaphor of the light in those moments. After all, this is a play about opening one’s heart, and I love it when the set in small ways does more than merely frame the action, but also helps tell the story in subtle ways.

JHPENTERTAINMENT: In 2018, two decades after Visiting Mr. Green’s debut, playwright Jeff Baron presented a sequel, So This is My Family: Mr. Green Part 2. IF The Other Me were to take on this sequel in the future, would you consider revisiting the role?

RJ COMER: Ha! Well, that depends on two things: first, whether I like the script – which I haven’t read; and second, whether our production of Visiting Mr. Green attracts and wins the hearts of this audience. I just encourage everyone to come to see this play. Then, if they like it as much as I think they will, we can talk about doing the sequel.

JHPENTERTAINMENT: What do you hope audiences will take with them long after Visiting Mr. Green?

RJ COMER: I hope the audience will be mindful that while strongly held beliefs and convictions provide structure and certainty – thereby providing security and comfort in an uncertain world – they can also lead to absurd and tragic results when not tempered by love. Love allows us to maintain the integrity of our beliefs while making room in our hearts for those who may not share them.   

—————

The Other Me Theater Company’s Visiting Mr. Green debuts at Playhouse 615 with 7:30pm performances Thursdays-Saturdays November 7-9 & 14-16 and a 2:30pm matinee midway through the run on Sunday, November 10. Tickets are General Admission $17/Adults and $15/Seniors. CLICK HERE to purchase tickets. To keep up with what’s next as The Other Me Theater Company continues to emerge as one of the area’s theaters to watch, check them out at their Official Site where you can Subscribe to their email list for future updates. You can also follow them Facebook.

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