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RAPID FIRE 20Q: BLAST OFF AS JHPENTERTAINMENT GOES BEHIND THE SCENES WITH ‘ALEX AND THE AFRONAUTS’; Staged Reading Wednesday, September 2 at Darkhorse Theater

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After two decades of covering theatre, one of the things I continue to enjoy most is getting the opportunity to discover and champion brand-new works—especially when they come from the creative mind of someone I’ve gotten to know over the years through Nashville’s theatre community. That makes Maya Riley’s Afrofuturist play, Alex and the Afronauts particularly exciting to follow. Having debuted an excerpt during last month’s 9th annual Kindling Arts Festival’s New Play Platter, it’s now time to hear the full story. At 7:30pm on Wednesday, September 2, playwright Maya Riley and director Jon Royal will present Alex and the Afronauts’s first-ever full staged reading at Darkhorse Theater as part of this year’s Shades of Black Theatre Festival. As the playwright, director and cast readied for the staged reading, JHPEntertainment had a chance to pose a few questions to Riley, Royal and actors Raven Buntyn and Andre Mason for our latest in our recurring interview feature, Rapid Fire 20Q.

RAPID FIRE 20Q WITH ALEX AND THE AFRONAUTS DIRECTOR, CAST MEMBERS & PLAYWRIGHT

RAPID FIRE WITH ALEX AND THE AFRONAUTS DIRECTOR JON ROYAL

JHPENTERTAINMENT: You directed the excerpt of Alex and the Afronauts presented at Kindling Arts Festival. What was it about Maya’s writing and this particular story that made you want to climb aboard and help bring it to life by way of the full staged reading?

JON ROYAL: I told this to the cast, and I’ll tell anyone who’ll listen, if you catch me at any random moment during the day, I’m consistently daydreaming about Black people in space, particularly from a sci-fi lens. I’m down for any story like this like four flat tires.

JHPENTERTAINMENT: Having now worked with Maya on both the festival excerpt and this staged reading, what have you discovered about her as a playwright? What is particularly rewarding about collaborating with her at this early stage in the process?

JON ROYAL: I like vibing with Maya on the sci fi and audio aspects of inspiration for this world. Do you know how long I’ve been waiting for a process where I can geek out with collaborators about stories like The Expanse, Star Trek, Battlestar Galactica [and creatives like] Sun Ra and Octavia Butler. Elements of all of those things are here, and Maya an I enthusiastically discussed a wide range of space interpretations in art, during both processes.

JHPENTERTAINMENT: This story deals with some enormous ideas—race, class disparity, exploitation, power and the question of who gets to decide what happens to a community’s future. The script reveals that both Wallace and Harper face oppression, but their reaction to it and their attitudes of dealing with it and going forward differ greatly. How key to the overall story is this?

JON ROYAL: I think they’re all dealing with Blackness as a continuum, and oppression is only a part of that. If Blackness through time is a cosmic river, then everybody’s boat isn’t going to put in at the same place. As a Black audience member, I’m searching to find the moments when they actually link up, and that’s where the delicious tension comes from.

JHPENTERTAINMENT: Directing a staged reading presents a very different set of challenges from directing a fully realized production. Without the completed sets, costumes, props, blocking and visual world you would ultimately have at your disposal, how do you and the actors bring out enough theatricality for the audience to imagine the world of Alex and the Afronauts?

JON ROYAL: You work with what you have. The focus is on the words, with the expectation that this is only a part of this piece’s journey, as it will hopefully be produced in many more ways. This is an evolutionary step, and it will be fully rendered in the context of honoring these words before we have other elements.

JHPENTERTAINMENT: Since you’ve already had the experience of directing a portion of this piece at Kindling, what are you most excited about getting to do differently—or explore more deeply—now that you’re presenting the full work, and how might this reading help point the way toward a future production?

JON ROYAL: Without a doubt, it’s gotta be that this is the full arc of the story. This is a larger cast that’s adding their unique talents so that we can go deeper into the lives of the characters and this thrilling story!!

RAPID FIRE WITH RAVEN BUNTYN, HARPER IN ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Harper is introduced in the middle of an escalating crisis, but it quickly becomes clear that her emotional baggage is every bit as significant as the technical problem facing the crew. What initially drew you to Harper, and what do you find most compelling about her?

RAVEN BUNTYN: I can relate to Harper in a lot of ways. I understand what it is like to be in the throes of grief and how the resulting anger and hurt can cloud your judgement. That’s why I feel so connected to her. She’s authentic, even if she’s wrong in a lot of ways. It’s real and raw and not pretty, but neither is true healing. And sometimes that clouded judgement can lead us to make harmful choices, but with patience and empathy, we always find our way back to ourselves.

JHPENTERTAINMENT: Harper carries the grief of losing her brother Kiante while also wrestling with his final message and the responsibility he seems to have left behind. How did you approach portraying someone whose grief is tangled up with anger, guilt, fear and the need to keep moving?

RAVEN BUNTYN: My approach to Harper is a deeply personal one. It’s not hard to tap into those emotions when I’ve had to sit in them myself. It’s a heavy task to allow yourself the space to have your feelings, without letting it paralyze you from moving forward. Even if that forward movement feels like trekking through quick sand. I’ve had to learn how not to allow my past to hold me back, just like Harper. It can be hard to learn how to move forward with what feels like a hole in your heart. But if we don’t, we stay stuck.

JHPENTERTAINMENT: Harper and Wallace have very different ideas about what survival means and whether returning to the people they left behind is actually an option. What do you think Harper sees that Wallace may not—and what do you think Wallace sees that Harper may be unwilling to confront?

RAVEN BUNTYN: I think Wallace and Harper both have valid points in their approach to the resistance. I think Harper understands the importance of letting the people have a say in what they’re getting themselves into. But Wallace, however, understands that there are always casualties in war, and those casualties don’t mean the war is over. And it would be dishonorable to those lost to give up on the mission. And I think because Harper is grieving her brother, it’s hard for her to see the bigger picture.

JHPENTERTAINMENT: This is a new character in a new play, so you’re essentially helping create Harper from the ground up. What has that process been like, and how much room has Maya given you to discover the character through rehearsal?

RAVEN BUNTYN: The process of discovering Harper has been beautiful and explorative. We often want to play characters who are very likable, and Harper does some things in the story that aren’t very likable. She can be selfish at times and let her fear get in the way of the bigger picture, and I find her so human for these reasons. It’s helped me accept myself and my humanity in deeper ways, which, in turn, makes my portrayal of Harper feel more authentic. Maya has opened the floor for us to really explore who these characters are and it’s such a cool, collaborative environment.

JHPENTERTAINMENT: When (and I’m saying WHEN, because it Will) Alex and the Afronauts eventually becomes a fully mounted production, would you jump at the opportunity to return and continue developing Harper?

RAVEN BUNTYN: Absolutely, I would love to continue developing Harper. I’m honored to even be a part of her journey now. And if it’s meant for me to continue her portrayal, I’ll always be available for it!

RAPID FIRE WITH ANDRE MASON, WALLACE IN ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Wallace is carrying the enormous responsibility of leading this group while simultaneously carrying the scars of everything that happened aboard the ship. What was your first reaction to Wallace, and what makes him such an interesting character to play?

ANDRE MASON: Initially, when I was reading for Wallace the first thing that came to mind was: “Man, this brother is a piece of work.” He wants to help his people; however, he has this “It’s my way or the highway” mindset. To be a leader, one has to not just be authoritative, but willing to listen to others, especially when found in the rather precarious position our intrepid afronauts find themselves in. To me, he is the phrase “The road to hell is paved with good intentions” personified. And I think that is partially why I enjoy being given the chance to portray him. Because sure, at times, he can come off as the other antagonist in this show, but at the end of the day, the brother is deeply unhealed, and had things gone his way, to his specific plan, well, the show would have had quite a different outcome. To me from a moral standpoint, when we first meet him, Wallace is neither black nor white, but rather a shade of gray. A shade of gray that got slightly darker with every injustice he encountered aboard that ship. And for me, morally gray characters are always fun to play as.

JHPENTERTAINMENT: Wallace’s anger comes from a very specific history of exploitation. He reminds Harper that they built the ship while others enjoyed the privileges of being aboard it, and that he—a licensed pilot—was reduced to working as a janitor. What do you think Wallace’s experience says about race, class, and who is considered valuable in this world?

ANDRE MASON: Sadly, this experience is all too common for people of color. It’s not a secret that in this country people of color have to work twice as hard to get half as far as non-POCs. Imagine: doing everything he did on Earth, helping not only to build but to maintain that ship, only to be regarded as the guy who empties the trash bins. It’s not exactly an ideal or just situation is it? What happens to him happens to far too many POCs, and of course it can take a toll on one’s view of self, as well as their view of the world around them.

JHPENTERTAINMENT: Wallace is absolutely determined not to turn back, even when Harper questions whether they are on a survival mission or a suicide mission. Do you see his determination as courage, stubbornness, leadership—or some complicated combination of all three?

ANDRE MASON: It’s definitely a sort of stew of the 3. On the one hand, I do not doubt that he truly believes that anywhere has to be better than being under the Armada. To him, death is stagnation, and allowing themselves to be subjugated is another form of death. In the face of what essentially appears to be a space army, Wallace helps to steal one of their ships in order to save the people who are regarded as lesser within the Armada’s main vessel. It takes some degree of courage/confidence in ones own actions to stage what is essentially a mutiny and steal a ship from a larger entity that can most definitely kill them all. On the other hand, he isn’t exactly the most diplomatic or democratic leader. He doesn’t consider his fellow crew mates’ insights, feeling as if he knows what is right for them all and should not be questioned on his strategies. I will also say I think there’s a little bit of ego in that stew I mentioned earlier, just off the interactions Wallace has with his crew mates, especially in his conversations with Harper.

JHPENTERTAINMENT: There can be something wonderfully freeing about a staged reading because you’re not dealing with costumes, elaborate sets, props or all the physical machinery of a full production. Does that more stripped-down environment allow you to concentrate differently on Wallace and the words Maya has written?

ANDRE MASON: Truthfully, this is a new experience for me with regards to a stage reading, but I will say it definitely feels like I can direct all my attention on developing the character within the parameters given by our playwright in this story. I can focus a little more on the story itself and how we can tell the story through our words and emotions in the moment.

JHPENTERTAINMENT: Finally, there’s something especially exciting about audiences getting only one opportunity to experience this particular version of Alex and the Afronauts. What does the exclusivity of a one-night-only staged reading mean to you, and what are you hoping audiences take away from this first full journey with Wallace and the Afronauts?

ANDRE MASON: For me, it’s bittersweet I can’t lie. Because on the one hand, a one-night-only reading makes this whole experience feel like something special. Like, we are about to perform what is basically the proto-version of this show, and I have loved every moment of the process thus far. On the other hand, I am a little bummed out that this is a one-night-only thing because I want as many people as possible to see this show because it is that good, in my opinion. I think the biggest thing I want the people to take away from this show, from my perspective, is trust. Its not likely that any of us will find ourselves in a situation where we are in space dealing with a space army on top of other issues that for the sake of spoilers I will not mention, however, we can find ourselves in a position where we are working with others in a precarious setting or scenario, and the only real way to come out of the scenario stronger is having trust in your fellow man/woman who is currently in the metaphorical trenches with you. Wallace can be so set in his ways, and I feel as if had he been a little more diplomatic, a lot of what happens in the show won’t have to come to pass… but then again, if he weren’t the stubborn semi-egotistical man that he is, well, we wouldn’t have a show would we? Or at least, it’d be a very different story that unfolds.

RAPID FIRE WITH MAYA ANTOINETTE RILEY, PLAYWRIGHT OF ALEX AND THE AFRONAUTS

JHPENTERTAINMENT: Take us back to the beginning. What was the original concept or spark for Alex and the Afronauts, and how has that initial idea evolved into the play we’re seeing today?

MAYA ANTOINETTE RILEY: Well, this play has taken quite a pivot over the course of 12 months. But this latest version was heavily inspired by a lot of Afrofuturist art. Music by Digable Planets and Sun Ra. Poetry by Douglas Kearney and Nikki Giovanni. Paintings and sculptures by Mikel Elam and Wangechi Mutu. So much of the Black experience is defined by the past. All the artists I mentioned are exploring the future. The alternatives to this current path we walk. I wanted to join in that exploration. This play, like many Afrofuturist works, is a daydream. A fantasy, embracing the unknown. Because change begins with dreaming a better life. And then you have to leap, step out on faith, to make the dream reality. That’s the golden nugget of this play.

JHPENTERTAINMENT: What has the writing process looked like from that first concept to this point? How long has Alex and the Afronauts been taking shape, and were there particular moments when you realized the piece had become something substantially different from where you started?

MAYA ANTOINETTE RILEY: It’s actually pretty wild. This play has taken so many different shapes over the course of this year. I started writing it in summer 2025, and it was a sci-fi take on a kitchen play. A story about two lovers trying to reconcile a failing relationship. But the world that I created around these two characters kept nagging at me. It brought up so many questions for me, so I decided to start answering those questions and ended up with an entirely different piece. The joy of writing…haha. But the two lovers who were originally at the center of the play have remained throughout every iteration.

JHPENTERTAINMENT: Audiences first encountered an excerpt of the work at last month’s Kindling Arts Festival as part of the New Play Platter. What was it like to hear and see a portion of this world in front of an audience for the first time, and what did that experience reveal to you about the piece?

MAYA ANTOINETTE RILEY: It’s always exhilarating to have an audience! I was revitalized by the experience. That was the first time any of my written work had been fully staged. A milestone for sure. Getting audience feedback is truly the final piece of any theatrical project/process. I needed to know what people loved, what they were confused about, what they talked about on the car ride home. I learned a lot. The characters and relationships were working, the mystery was working, but there were some world-building things I needed to flesh out. So I worked to tackle that. And I had to write Act II, because everyone was curious to see what happened next. A good place to be for sure.

JHPENTERTAINMENT: Moving from that excerpt to a complete staged reading is a significant next step for a new play. What have you discovered or changed between the Kindling presentation and this reading, and what are you hoping to glean from hearing the full piece in front of an audience?

MAYA ANTOINETTE RILEY: Well, I just wrote basically all of Act II in less than a month, so that was wild. I’m discovering things about the world of the play and the characters in it every single day. I go to bed thinking one thing about them, then wake up the next morning with new ideas. After the first read-thru last week, I gave the cast about 40 pages of rewrites. That’s the gig for new works, I suppose. I’m definitely not done tinkering. Having a full staged reading is just a pit stop on the journey to deepening this work. It’s just part of the process. I’ve looked at the script almost every day for the past 3 months. I can’t keep up with how many versions there have been. So seeing what lands with an audience will be incredibly beneficial. I’ve been zoomed into the piece for so long, I need their help to zoom back out and see it as a whole. I can’t wait to hear what people think!

JHPENTERTAINMENT: Alex and the Afronauts uses a futuristic space journey to examine very recognizable issues of race, class, inequality, exploitation, power and who gets access to resources. After this reading, what do you hope to learn about the play—and what do you hope the next chapter of its journey might be?

MAYA ANTOINETTE RILEY: I’m particularly interested in the paranormal aspect of the play. I won’t spoil it, but I think it’ll get people talking. It asks a very specific question of the audience, one that forces you to interrogate your ideas progress, legacy, and belief. It’s a very meaningful concept for me, and I wonder if others will feel similarly about it. I hope to someday mount a full production. It’s so rare to see Black Sci-fi get produced in any medium — film, television, theater, etc. I want to see Black people in space, having rich and compelling lives, searching for truth and new possibilities. So, I hope this journey can lead me there.

With Alex and the Afronauts, the journey is very much still in progress—and that may be the most exciting part. From a play that began as something entirely different, through months of rewrites, a first glimpse at Kindling Arts Festival and now a complete staged reading as part of Shades of Black Theatre Festival, Maya Antoinette Riley’s work continues to evolve with every step. And as Riley and her collaborators make clear, the audience isn’t simply there to watch that evolution—they’re part of it.

That makes Wednesday, September 2, at Darkhorse Theatre a particularly special opportunity. For one night only, Nashville audiences can experience the full Alex and the Afronauts while it is still in its developmental stage, hear where the story has traveled and help provide the feedback that could influence where it goes next. Because sometimes the most exciting theatre isn’t the show that’s already finished. It’s the one that’s just beginning to find its way.

The 2026 Shades of Black Theatre Festival officially kicks off with an Opening Mixer Monday August 31 thru Sunday, September 27 with nearly a dozen works presented throughout the month. The festival will include  staged readings, full length plays, dance show, films, workshops, and other special events. CLICK HERE for a full list of the festival’s offerings. The Opening Mixer is free and open to the public. Alex and the Afronauts’ staged reading is free as well, but a suggested donation of $10 would be appreciated. Admission varies for the remaining festival events. All events of Shades of Black Theatre Festival will take place at Darkhorse Theater, 4610 Charlotte Avenue, Nashville, TN 37209, unless otherwise specified via the link above.

To keep up with Maya Riley and follow what’s next for her as well as for Alex and the Afronauts, CLICK HERE.

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, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X. Till then #GoSeeTheShow!

Rapid Fire 10Q With ‘The Tide’ Playwright/Director Cathy Street and Cast Member Chris Lee; World Premiere Staged Reading at Darkhorse Theatre July 9-11

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While most folks were experimenting with sourdough and reorganizing closets during the pandemic, playwright and director Cathy Street used that uncertain time in a much more creative way. At her husband JJ‘s suggestion, Street listened to the music of The War and Treaty. From the get, the music of the then-future Grammy nominees sparked something in Street as the project began to take shape. What started as an idea in 2020 has become THE TIDE, a powerful new musical featuring songs by The War and Treaty with a book by Cathy Street. Working with Street Theatre Company– the company Street herself founded in 2006–to present this staged readying at The Darkhorse Theatre July 9-11—it’s the perfect symbiotic homecoming indeed. 

The reading also features another Nashville homecoming as Chris Lee takes on THE TIDE‘s lead role, Marcus. Lee’s acting career began to take shape while attending Belmont University, appearing in a a handful of production on campus and around Music City. In the years since, his career has taken him from local theatre stages to the Chicago company of Hamilton, a Broadway debut in Hell’s Kitchen as well as acclaimed roles on TV’s The Chi and his current role as Randy on CBS‘s Tracker. Before audiences experience this exciting new work in development, we caught up with Street and Lee for another edition of JHPEntertainment.com’s recurring interview feature Rapid Fire 10Q. 

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RAPID FIRE 10Q WITH THE TIDE’s PLAYWRIGHT/DIRECTOR CATHY STREET AND ACTOR CHRIS LEE

RAPID FIRE WITH THE TIDE‘s PLAYWRIGHT/DIRECTOR CATHY STREET

JHPENTERTAINMENT: THE TIDE began taking shape during one of the most uncertain periods in recent history. Looking back to 2020, what was the spark that first made you realize this story was one you simply had to tell?

CATHY STREET: It was a combination of a few things: feeling isolated during the pandemic, the social injustices that were happening at the time (and obviously still are), hearing the music of The War and Treaty, and learning their story.  All of those elements came together and I wanted to explore the issue of feeling powerless when everything is so overwhelming…and what it is that keeps us going forward in the face of feeling helpless. 

JHPENTERTAINMENT: The songs of The War and Treaty are so emotionally rich and deeply rooted in hope, perseverance and love. What was it about their music that inspired this story, and what was it like reaching out to them with your vision and receiving their blessing to build a musical around their work?

CATHY STREET: It was magical. The Hearts Town album in particular is written SO theatrically! The harmonies, the feel/emotions of the songs…I could literally visualize moments on stage listening to the songs. I reached out to Michael and Tanya through Facebook (!) and asked them how they would feel if I used their songs in an original musical. I let them know the idea of the piece and they were very enthusiastic. They said they had always felt their songs had a theatrical life to them. So at that point I started writing, met with them a couple of times, and they even shared a few songs that had not previously been released that were perfect for the story!

JHPENTERTAINMENT: Thanks in part to a successful Kickstarter campaign THE TIDE is making its debut with this world premiere staged reading in Nashville, presented by Street Theatre Company—the company you founded 20 years ago. What does it mean to introduce this new musical in the city where Street Theatre Company began and to see the organization continuing to thrive all these years later?

CATHY STREET: WOW is all I can say. It is so fitting to be introducing the work here. Randy Craft has done such an amazing job at the helm of STC-he’s been  A.D. almost as long as I was! I have been lucky enough to sneak in and see a few STC shows through the years and he is doing such impressive work. Being able to partner with him and so many STC friends from my years here has been very emotional. 

JHPENTERTAINMENT: You’ve assembled a cast that includes longtime Street Theatre Company favorites alongside some exciting new performers, including a reunion with Chris Lee. What made this group the right artists to help introduce THE TIDE to an audience for the very first time?

CATHY STREET: When I reached out to Chris about this, I told him the truth-that when I started writing this piece, he was always who I pictured as Marcus in a ‘perfect world.’ And crazy that the perfect world has come true. And having STC friends involved onstage and off-it is like a beautiful reunion. There is so much joy, reminiscing, and love in the room. And I don’t want to leave out the new people I am getting to work with, too. They are incredible and kind and talented. Nashville is so spoiled with talent! Also super cool is that I did an initial seated reading of the show in Wilmington, NC a few years back and a few of those actors are coming into town for THIS one, too.

JHPENTERTAINMENT: As the director of this staged reading, you are now bringing the world you created in THE TIDE from the page to the stage. What has that process been like, and what does it mean to have Randy Craft and Street Theatre Company supporting this next step in the musical’s journey?

CATHY STREET: The process has been (and still is) pretty terrifying-haha. Every day I have a range of emotions from excitement to fear. I mean, I think anyone developing a piece is probably filled with self-doubt along the way. Right?? But when I hear the actors sing the songs with vocal arrangements created by STC’s Randy Craft, who’s not only helping us produce it, but also leading the band, I am so happy-hearing and seeing what was in my head six years ago. And I am reminded by my supportive friends and amazing husband JJ who has been with me every step of the way that this is only a step in the journey. It is not expected to be done-that’s why we are doing this. To see what works, what doesn’t… And honestly, seeing it on stage in and with my community of 13 years in Nashville is enough-it provides me with a sense of completion. I am surrounded by support and love and I feel it-so to quote a line from the show, I will just “Do it scared.” 

RAPID FIRE WITH THE TIDE‘s MARCUS, ACTOR CHRIS LEE

JHPENTERTAINMENT: What does it feel like returning to Nashville—and to the Street Theatre Company family—to help introduce THE TIDE to audiences?

CHRIS LEE: Wow. Honestly, brother, it’s been absolutely incredible. Remarkably refreshing. Being around so many artists of deferent ages and background that truly just care about the work and nothing more feels so rare these days in theatre. Not to mention where it all really began for me. Nashville theatre is the center of my stage education and Cathy gave me so many opportunities as a young person to shine, learn with grace, and find my voice with the audience. It’s been such a joy to be back and help bring life to this thoughtful piece. 

JHPENTERTAINMENT: You’re not the only one returning home…Marcus—your staged reading role in THE TIDE—returns home aa well. While he expects one reality, he finds his world turned upside down. How would you describe Marcus and his circumstances, and what makes him such a compelling character to explore?

CHRIS LEE: Marcus feels to me like a beautiful representation of the average American. Experiencing trauma in life can often aid us in creating a narrative that hope may be a fallacy. And that narrative can be validated by the terrible issues that we as a nation develop over time or realize have always been underlying and begin to come to light in a way that makes us feel like everything we’ve been taught about love and acceptance is a lie. What makes Marcus so compelling to me is that he feels so deeply while he claims he can’t feel. He’s in constant search for reason though it seems he’s given up. It leads me to believe we are never actually truly satisfied with hanging it up in life. There’s something in us that won’t let go of trying to find that light within ourselves and others around us. There must be good. 

JHPENTERTAINMENT: As you’ve gotten to know Marcus throughout the rehearsal process, what’s one quality or character trait he possesses that you’d be ok if it stays with you?

CHRIS LEE: His curiosity. Though he’s defeated, he remains curious of the future. Especially when it comes to Faith. He’s curious if it’s possible to find the hope she has. I admire that. 

JHPENTERTAINMENT: You built the foundation of your career performing with Street Theatre Company and other Nashville theaters. Looking back now, how did those experiences prepare you for the path that’s followed—from Hamilton in Chicago to The Chi and your current role as Randy on CBS’s hugely popular action drama Tracker? (congrats on the bump to series regular for the upcoming 4th Season, btw!)

CHRIS LEE: Haha, thank you. Man, there’s so much to say about that. Simply put, I would’ve never been prepared to truly understand the responsibility of carrying and serving a show. It was monumental that at such a young age I was able to fail gracefully on stage in safe environments. I learned everything and still apply the same principals today. I’m eternally grateful. Especially to Cathy and the Belmont University Musical Theatre program! 

JHPENTERTAINMENT: THE TIDE explores themes of fear, freedom, resistance and the importance of human connection. What do you hope audiences take away after experiencing this first staged reading?

CHRIS LEE: I hope that if they’re asleep they WAKE UP! And if they’re awake they remain alert and aware that change is inevitable but it is necessary. We must do our part!

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THE TIDE: A New Musical features songs by The War and Treaty with a book by Cathy Street. Joining Chris Lee, is a talented cast including Isiah Rankin, Dee Hammonds, Raven Buntyn, Dawson Rose Hammonds, James Rudolph, Savannah Stein, Brandon Cox, O’Neal Black, Nikki Berra, Tristan Valdez, Shane Kopischke, Tony Nappo, Alan Smith, Adrian Cook & Clay Hillwig with ensemble members Heidi Buyck, Sam Robinson, Yeavonne Cox, Sarah Levis, Helen Ralston, Jake Peluso-Harper, Brea Lynn Wardlaw and Jon Royal. Crew for THE TIDE includes: Music Director Randy Craft, Stage Manager Sarah Johnson, Light Designer/Operator Steven Steele, Sound Designer/Operator Jacob Allen, Projections JJ Street with live musical accompaniment by Conductor/Keyboardist Randy Craft , Nick Palmer on Guitar, Bassist Braxton Algood & JJ Street on Drums.  

Presented FREE to all attendees by Street Theatre Company, the production is part of the musical’s ongoing development journey, with audience feedback helping shape the future of this new work. The production contains strong language, potentially disturbing imagery and references to assault. Viewer discretion is advised for younger audience members. The world premiere staged reading runs July 9-11, 2026, with a 7:30 curtain each night at The Darkhorse Theater (4610 Charlotte Ave, Nashville, TN 37209). 

To RSVP for FREE tickets to any of THE TIDE‘s three staged readings, CLICK HERE. For future developments of THE TIDE and to catch their coming season, follow Street Theatre Company on Facebook and Insta or CLICK HERE to join their mailing list.

Following THE TIDE, STC kicks off their 2026/2027 Season with THE WOODSMAN, an inventive exploration of the untold story of the Tin Man inspired by Frank L. Baum‘s Oz novels. Written by James Ortiz with music by Edward W. Hardy and lyrics by Jennifer Loring, this adaptation tells the story through puppetry, song and movement and will be directed for STC by Jonah M. Jackson, CLICK HERE to purchase season tickets.

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 on Facebook, Instagram  and X.

Rapid Fire Q&A with Pipeline-Collective’s David Ian Lee; ‘Star Wars Holiday Special LIVE’ staged reading at Jamison Hall tonight, Wednesday, December 11

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Having made my parents stand in line at the Belle Meade Theatre back in the spring of 1977 to be among the first of my friends to see the original Star Wars movie, you better believe I eagerly sat inches away from my 13″ black and white TV in my bedroom later that next year to tune into The Star Wars Holiday Special. You also better believe I totally geeked out when I heard Pipeline-Collective‘s Producing Artistic Director David Ian Lee was assembling some of Nashville’s favorite theatre folk to recreate the classic, beloved and yes, oft ridiculed holiday special LIVE on stage!

A long time ago in a galaxy far, far away….OK, OK,…last week–by way of email–I I had the chance to pose a few questions to Lee for the latest installment t of my recurring interview feature, Rapid Fire as he and his cast prepared to go where no man has gone before….Oh, wait! Wrong franchise…as he and some of my theatre crushes take to The Factory at Franklin‘s Jamison Hall on Wednesday, December 11 to present a one-night-only staged reading of The Star Wars Holiday Special benefitting Make-A-Wish.

RAPID IFIRE WITH THE STAR WARS HOLIDAY SPECIAL LIVE DIRECTOR, DAVID IAN LEE

JHP: I’m old enough to have actually tuned into the one and only televised broadcast of the original Star Wars Holiday Special. When did you first become aware of it?

DAVID IAN LEE: Growing up you’d hear whispers about the special, but the whole thing sounded like a fever dream or like some kind of prank. In the late 90s – as the Internet became a thing and George Lucas started to talk about making Episodes I, II, and III –clips and images began to circulate, and any evidence that the special had once existed was like catnip.  In 2003 I bought a bootleg on eBay, and when the package arrived I felt I’d obtained explicit contraband. I took a day off of work to watch it, I was so pumped… and then I watched it. Whatever you’ve heard about The Star Wars Holiday Special – however you might imagine it in your mind – it’s like the Grand Canyon or The Matrix: You have to see it for yourself. 

JHP: Where did the idea come from to present a staged reading of the special?

DAVID IAN LEE: My wife, Karen also happens to be my co-Producing Artistic Director, which means that we talk a lot about Pipeline and also a lot about Star Wars; or, maybe more accurately, she listens to me talk a lot about Star Wars. I call myself a Completist in that I watch and I love it all: The original films, the prequels, the Ewok movies, every animated series, and, yes, even the Holiday Special. About a year ago I got my hands on a copy of an original shooting script, and an idea began to form that we might adapt the text into a staged reading: We’d retain as much dialogue as possible, translate descriptive action into narration, and substitute any copy written music with more earthly holiday songs. And we’d lean into the camp. I’d tell people about my half-ironic passion project, and I was encouraged that responses ranged from enthusiastic to emphatic that we had to do this. Karen wasn’t sold right away; the Holiday Special is an obscure bit of ephemera for folks who haven’t seen it, and for people who have… Well, they’ve seen it. While I was away on a job this summer I spent my downtime adapting the shooting script, and when I got home we had a reading of the piece in our living room with a bunch of friends and collaborators. Everyone’s sides hurt from laughing, and with that the die was cast for A Very Special Live Staged Reading of The Star Wars Holiday Special: LIVE, On Stage… and Special! (or AVSLSRoTSWHS:LOS…AS! for short), provided we could find the right charitable organization to support and a space that would have us. The second concern resolved itself when Benji Kern generously offered Studio Tenn’s space on a dark night to stage the reading. 

JHP: For those not familiar, can you tell me a bit about Pipeline-Collective?

DAVID IAN LEE: Pipeline-Collective’s work is guerilla-style, with emphasis on the craft of the actor, dynamic storytelling, and theatrical magic on a shoestring budget. We foster relationships and collaborations that cross state lines and into non-arts realms. Through innovative programming such as the Playground Series (which seeks to make “dark nights” a thing of the past), The Salon (a new works project run in collaboration with Studio Tenn), and theatrical benefits that call attention to the work of charitable organizations, Pipeline-Collective extends the reach of the arts, empowering theatremakers to tell their stories.

JHP: The special performance will benefit Make A Wish Foundation. How did this partnership occur?

DAVID IAN LEE: Pipeline’s inaugural production was Anne Nelson’s The Guys, presented on the anniversary of September 11th by a team almost entirely comprised of expat New Yorkers. Proceeds benefited the FealGood Foundation, whose mission is in service of first responders. We found such value in that project that now about once a year Pipeline presents a theatrical event intended to raise awareness of and funds for a charitable organization. When we decided to explore an adaption of The Star Wars Holiday Special, we knew that we wanted to create a theatrical benefit, but finding the appropriate charitable organization took some time. The 501st Legion is such a wonderful organization, with a mission equally devoted to having fun and doing good work. The 501st Legion Make-A-Wish Endowment Fund allows Make-A-Wish America and Make-A-Wish International to grant Star Wars-related wishes to children diagnosed with life-threatening medical conditions. We’re thrilled to do our small part to contribute to this worthy cause.

JHP: What can you tell me about the cast you’ve assembled for the staged reading?

DAVID IAN LEE: The problem with this cast is that they’re all impossibly brilliant, and every one of them – in a “normal” show – could be regarded as a ringer. Of course, AVSLSRoTSWHS:LOS…AS! is anything but normal, and when you’ve got a cast overflowing with ringers it means that what you really have is just a damn fine cast. There are too many people to single out individually, and I don’t want to give anyone short shrift, so let’s just say I just cannot believe our good fortune to have such a company. We’ve been posting images of our performers to Facebook and Instagram, so folks should check out the embarrassment of riches there. We have such a marvelous aggregation of Nashville’s theatrical talent! 

JHP: Most staged readings are simply actors sitting on stage reading the script, but the show is billed as A Very Special LIVE staged reading The Star Wars Holiday Special, Live on stage…and SPECIAL! So, I gotta ask…what makes it so special? 

DAVID IAN LEE: Well, a fine dose of hyperbole and humor goes a long way towards making the case for satire, but also  – though our reading has great affection for the Holiday Special  – we do treat the 1978 variety show as a jumping-off place, resulting in what Lucas might have called “a few new surprises.” Our narrative is streamlined, and our musical numbers are intended to evoke the spirit of the original special while commenting on the absurdity of the whole endeavor – plus, we send folks back into the street giddy with holiday cheer. And, I mean, how many staged readings feature appearances by the Dark Lord of the Sith and the man with the bag?

JHP: As a legit fan of the original special, which includes an animated segment that introduced Boba Fett, a full two years before his film debut in 1980’s Empire Strikes Back, I’m curious…how do you plan on presenting that in the staged reading? 

DAVID IAN LEE: Tragically, certain aspects of the original special didn’t translate to our reading, including a ten-minute animated sequence created by Nelvana Ltd.  People have fond memories of this sequence: the animation is cool, the voice performances include Carrie Fisher, Harrison Ford, and Mark Hamill, and Boba Fett is introduced in appropriately mysterious and sinister fashion. For a time, we explored different ways of translating the animated sequence to the reading; we talked about puppets, about acting the sequence out with action figures, about piping the actual audio into the theatre. But, at the end of the day, a problem remained that the animated sequence itself is a self-contained in-universe short film that Chewbacca’s son, Lumpy, watches in order to distract himself from dangerous Stormtroopers that have forced their way into his home. We wanted to keep our focus on Chewie and his family, and so: This is the way.  Still, for those seeking some sweet, sweet Mandalorian action, might I strongly recommend Disney+.

JHP: Another aspect of the original special that I love was the appearance of Diahann Carroll as Mermiah, a holographic entertainer. I totally stan Meggan Utech, who’s cast as Mermiah. What can you divulge about her performance?

DAVID IAN LEE: Do not allow my previous answer to crush your spirits on Life Day: Oh, Mermeia absolutely appears in our reading! How could she not? The infamous sequence in which Chewbacca’s father, Itchy, is given a mind-evaporator cassette by Art Carney and conjures up a Holographic WOW is, frankly, one of the things that drives people to seek out bootlegs of The Star Wars Holiday Special. The original sequence is readily available on YouTube – as is the full special – and I strongly encourage anyone curious as to why the special is considered to be something halfway between camp and a synaptic breakdown to check it out. Meggan’s Mermeia is delightful, evoking the spirit of Diahann Carroll’s iconic performance while finding her own fun, playful, flirtatious take on the character. Instead of This Minute Now, she’ll be singing a song that’s equally appealing while in the vein of our take on the material. 

JHP: Pipeline-Collective’s AVSLSRoTSWHS:LOS…AS! is a one-night-only event. Any chance for a fully fleshed-out stage production with an extended run in the future?

DAVID IAN LEE: Here and now there’s so much spectacular storytelling happening in Star Wars: I was in California for the opening weekend of Galaxy’s Edge (which means I’ve yet to experience Rise of the Resistance). All I want for Christmas is Jedi: Fallen Order (and I know my co-Producing Artistic Director is reading this, so that’s a cheap plug). The Mandalorian and Resistance are great television programs. And, of course, a week after our reading I have tickets to Rise of Skywalker. But… Who knows? Pipeline has yet to announce our summer programming. And always in motion is the future.

JHP: What’s you holiday wish for family and friend this Life Day season? 

DAVID IAN LEE: I try to write a daily inspirational quote on my office door. The only quote I repeat is Princess Leia, from The Star Wars Holiday Special, which I write every year at this time: “No matter how different we appear, we’re all the same in our struggle against the powers of evil and darkness. I hope that this day will be a day of joy, in which we can reconfirm our dedication and our courage. And, more than anything else, our love for one another. This is the promise of the Tree of Life.”

What better way to end out chat than with a quote from Princess Leia herself? As for AVSLSRoTSWHS:LOS…AS!, you’re only hope of witnessing this one-night-only benefit event at Jamison Hall inside The Factory at Franklin (230 Franklin Road, Franklin, TN) is to CLICK HERE to purchase tickets. This event is General Admission. All tickets are $15. Members of The 501st Legion will be on-hand to take photos with those in attendance so be sure and arrive when the doors open at 6:30p.m. to give yourself time to enjoy an extra bit of fun before the 7:30p.m. curtain.

Can make it tonight, but feeling generous as Life Day approaches, CLICK HERE to make a donation to Make-A-Wish.

To keep up with the latest from Pipeline-Collective, find them online at Pipeline-Collective.com, ’like’ them on Facebook 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.

Rapid Fire Q&A with ’It’s My Party’ director, Bradley Moore; Studio Tenn to host staged reading of new musical Saturday, October 5

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In recent months, Studio Tenn has announced several new initiatives from new educational outreach programs, classes and services to the development of new theatrical works. At 7 p.m. Saturday October 5, one such new work will be presented during the premiere staged reading of It’s My Party, a new musical featuring the songs of 60s pop icon Leslie Gore. Written by playwrights Jamison Lingle and Nick Hirata, It’s My Party brings the popular beach movie concept to the stage as directed by Bradley Moore with a cast including Studio Tenn darlings (and former American Idol fan favs) Diana DeGarmo and Ace Young.

Earlier this week I had a chance to chat with my friend Moore for the latest installment of my recurring interview feature, Rapid Fire Q&A to find out a little more about the project, the creatives behind it and what audiences can expect.

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Bradley Moore

JHP: How did you become involved in this project?

BRADLEY MOORE: About a year ago, I started getting together with Benji Kern (interim Artistic Director of Studio Tenn) for coffee and lunches to chat all things theatre. He’s really into reaching out to other creative folks in town and getting to know them. At one of our coffee hangs, he told me about this project. He thought that I should get together with the writers and see if we jived. And the rest is history!

JHP: I’ve attended a few staged readings over the years, but never one for a musical. How does that work?

BRADLEY MOORE: Well you know, I have directed some in the past, but never one for a musical either, so it was definitely exciting, uncharted territory for me. What I love about readings is that there are really no rules. It can be as simple as a bunch of people on stage with music stands to people with scripts moving all over the place. This show has such a great, youthful energy that I wanted to make sure that what we were presenting represented that. So our presentation is somewhere in the middle and all around. You know me, I don’t really love simple and never want to do what anyone has done before. I love what is going to be on that stage Saturday night. And yes! There will be a live band and singing!

JHP: Who have you got amongst your cast?

BRADLEY MOORE: We were so fortunate that Diana DeGarmo and Ace Young were in town and graciously agreed to be a part of this journey. It has been a thrill working with them. Both are ridiculously talented and the kindest humans you could ever hope to know. And joining them on stage are some incredible performers including Heather Hershow, Kristen Fields, Annika Burley, Emmarose Williamson, Ben George, Jackson Rector, Ty Russell, Jonah Jackson, Matthew Roberts, Zachary Waters, Kat Shannon, & Kelly Whitlow.

JHP: What can you tell me about the plot?

BRADLEY MOORE: It’s My Party is set in the 1960’s in Malibu, California. It follows a group of college coeds through love triangles, hair-brained schemes, revenge plots, mistaken identities, among other hilarious plot points. The fantastic writers, Jamison Lingle & Nick Hirata, have poured so much love and time into this project. They have really crafted a wickedly fun and well-written show. 

JHP: I’ve said it many many times in my reviews, Studio Tenn is as close to Broadway-quality as we get. How exciting to be involved with them for this piece?

BRADLEY MOORE: Extremely. I have admired Studio Tenn’s productions for years. It’s really nice to be creative with people who appreciate the complete scope of creativity. And Benji has been so supportive and trusting. It has been a dream come true. I hope there are many more projects with Studio Tenn in my future. 

JHP: You mention Benji. He’s producing, right? How is he as a producer? 

BRADLEY MOORE: Fantastic. His work-ethic and trusting nature are a beautiful thing. I am forever grateful for his faith in me. I have kind of had a very weird 18 months in the theatre world. This project has definitely helped me to believe that I am right where I should be. Sometimes one opportunity can really turn things around for someone. Benji felt that I was the right person for this project and I am so glad he did!

JHP: I understand as part of the staged reading your cast will be performing a handful of the songs featured within the musical. Who are some of the musicians you’ve been working with for the reading?

BRADLEY MOORE: Sandy Tipping. Sandy Tipping. Sandy Tipping. Sandy is our Music Director and the one who worked on the arrangements of all the songs. He is brilliant and one of the easiest humans to work with. I did not know Sandy prior to this process, but I am so grateful that I know him now. He has created some beautiful arrangements of Leslie Gore’s music with the help of the playwrights Jamison and Nick.

JHP: Speaking of Leslie Gore. Have you always been a fan of her music or is she an artist you discovered by accident? 

BRADLEY MOORE: My introduction to Lesley Gore was definitely because of the film, The First Wives Club, which to this day is still one of my favorites. For those who have not seen it, at the end of the film, Diane Keaton, Bette Midler, and Goldie Hawn perform a very enthusiastic version of You Don’t Own Me. It is amazing and super fun, not to mention you have three of the greatest actresses on this planet. I had the soundtrack to the film and wore it out. So maybe my love for that moment in that film has lead me to directing this project. A little kismet never hurt anyone!

JHP: If people want to attend the reading on Saturday, October 5 at 408 Church Street (3rd Floor) in Franklin, can they still RSVP?

BRADLEY MOORE: Yes! Just go to the link and sign up! The reading is free, but you must RSVP!

JHP: For those who miss Saturday’s staged reading, when might we see this work developed into a full stage production?

BRADLEY MOORE: Personally, I would love to see a fully staged production. Here’s hoping! It’s really ready. Usually, with any new work, there are a lot of rewrites and retooling after the initial reading/workshop phase. I’m not so sure this piece needs all that. It is pretty awesome the way it is!

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To check out just how awesome It’s My Party is, be sure and CLICK HERE to RSVP to the staged reading.

Following this weekend’s staged reading, Studio Tenn immediately dives into their next endeavor on Friday, October 18 as they present their spectacular annual fundraising gala, One Night Only, themed this year as “An Evening With Friends”. CLICK HERE for more info or to purchase tickets. Then, from December 6-29, Studio Tenn will present Rodgers and Hammerstein’s Cinderella. CLICK HERE for details. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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.