The Keeton

Theater Review: Keeton Dinner Theatre Hooks Delightful Tall Tale with ‘Big Fish’; on Stage Through February 22

February 13, 2026 by Jonathan

From the first triumphant notes of the all-in opening number Be the Hero, The Keeton’s production of “Big Fish” announces itself with confidence, color, and heart. Andrew Lippa and John August’s Drama Desk–nominated musical has always walked a delicate line between spectacle and sincerity, and under the direction of Aaron Gray, this staging embraces both.

Gray keeps the father–son relationship firmly at the center. Even as witches appear, giants roam, and daffodils bloom by the hundreds, the emotional throughline never wavers: this is a story about legacy, about listening, and about what we choose to believe.

As Edward Bloom, Micheal Walley bursts onto the stage with charisma and conviction. From his first entrance, his speech pattern and delivery lands near Mark Twain’s distinctive Southern storytelling drawl — deliberate, charming, measured — and for some reason put me in mind of French Stewart’s Harry Solomon from “Third Rock from the Sun”, quick with an unexpected sarcastic bite. The blend gives Edward both homespun authenticity and razor-edged comedic timing, a balance that keeps the character from drifting into caricature. The subtle but effective vocal change between younger Edward to his more frail self in later years is quite interesting to take in.

Be the Hero sets the tone — brassy, buoyant, unapologetically theatrical — and Walley meets the marathon demands of Lippa’s eclectic score with stamina and emotional nuance. As Walley revealed in my recent Rapid Fire 20Q with the show’s director, Walley and two of his fellow cast members, he’s a self-proclaimed “actor who sings”. That said, his Edward isn’t simply performing for applause; he’s inviting us into possibility.

Edward’s early adventures unfold with theatrical flourish. Miya Nicole Burt delivers a bewitching — and yes, pun entirely intended — turn as The Witch. Her presence is equal parts playful and ominous, her vocals slicing cleanly through Lippa’s driving rhythms while maintaining an alluring mystique. In particular, during her early solo during The Witch, hers is a performance that anchors one of the show’s most pivotal revelations.

Then there is Karl. Portrayed by Gray Miller, the gentle giant is, quite literally, larger than life. Miller commands the stage both physically and emotionally, bringing warmth and childlike innocence to the towering role. Remarkably, he had never walked on stilts before rehearsals began — a fact that makes his comfort and control in performance all the more impressive. What could have been a novelty becomes a fully realized character, and one the audience revels in seeing.

Musically, the production is in confident hands. Under the direction of Ian Mannino, the orchestra navigates Lippa’s stylistic range — from Broadway brass to tender balladry to gospel-infused exuberance — with clarity and cohesion. Mannino ensures the score supports the storytelling rather than overpowering it.

Choreographer Andrea Campbell, working in clear collaboration with director Aaron Gray, makes masterful use of The Keeton’s intimate stage. With a cast of twenty, filling the space without overwhelming it is no small feat, yet the production never once feels crowded. Instead, it feels alive. From kick lines to tap and everything in between, the variety of choreography reflects the musical’s tonal shifts while showcasing the ensemble’s versatility. One can only imagine the rigor of rehearsals required to master such range within spatial constraints, and the ensemble rises to the challenge with precision and enthusiasm. Director Gray deserves equal praise for staging that maximizes every inch of the performance area, creating dynamic stage pictures that feel expansive, an appropriate nod to the story’s 2003 cinematic retelling courtesy Tim Burton‘s film adaptation, despite the venue’s modest footprint.

Equally essential to that visual storytelling is Kevin Driver‘s set design. From the opening scene in which the backdrop of the Bloom family house and picket fence appear in mostly in silhouette, there’s an immediate storybook feel to the actors’ surroundings. Balancing storybook whimsy with practical fluidity, the stage elements allow scenes to transition seamlessly from small-town Alabama to mythic landscapes without interrupting the show’s pacing or emotional rhythm. The stage area’s aquatic element…quite effective and fanciful.

If Walley’s Edward provides the fireworks, Claire Yancy as Edward’s lifelong love, Sandra provides the stillness — and the soaring vocals. Yancey’s vocal prowess is undeniable. Her tone is rich, controlled, and emotionally open, particularly in Time Stops, where the courtship unfolds in suspended romantic glow. As Sandra matures into the family’s emotional anchor, Yancey deepens the portrayal beautifully. Her performance of I Don’t Need a Roof becomes one of the evening’s most affecting moments — restrained, resolute, and vocally luminous.

Jacob Hinnen as Edward’s adult son, delivers a fully believable, emotionally grounded portrayal of Will Bloom. Hinnen never pushes for sympathy; instead, he allows Will’s frustration and skepticism to emerge organically. The result is authenticity. As Will prepares to become a father himself, the shift in perspective is subtle yet powerful. You believe him — every step of the way.

With an ensemble of twenty actors, it would be nearly impossible to single out every strong performance, but several deserve special mention. Audrey Bagley, as Josephine, perfectly portrays her devotion to Will while balancing a genuine fascination with her seemingly eccentric future father-in-law. Her warmth and quiet curiosity add texture to the generational dynamic at the heart of the story.

Ryman Stanton, portraying Young Will, delivers a heartfelt performance that marks his third production with the company, further securing his place as a full-fledged member of The Keeton family. His enthusiastic appreciation of his father’s tall tales strengthens and perfectly exemplifies the emotional bridge between past and present.

In the supporting but pivotal role of Jenny Hill, Jessica Fonville makes an impressive Keeton debut, convincingly aging nearly forty years over the course of the production. Her transformation, while only slightly visually different, is emotional and understated, grounding one of the show’s most poignant and surprising storylines to life.

There are also delightful scene-stealers throughout the ensemble. Among them, Wanderson Rezende, who has the rare ability to catch the audience’s eye with a subtle facial flex or an intentionally flamboyant gesture, commanding attention in both restraint and exuberance. Meanwhile, Tommy Anglim, another Keeton favorite, repeatedly makes audiences double-take with the quickness of his rapid costume changes, shifting characters — including Dr. Bennett — with ease and in record time.

As the story moves toward its conclusion, fantasy and reality stop competing and begin coexisting. The final sequences land with earned emotional resonance. YES, my eyes began to sweat! Walley softens into fragility without losing Edward’s spark. Hinnen allows Will’s understanding to shift naturally. Bagley’s support, a needed comfort. Yancey’s quiet strength anchors it all.

What makes The Keeton’s “Big Fish” succeed is not simply its theatrical flourish, inventive choreography, cohesive musical direction, or imaginative scenic design — though all are present in abundance. It is the belief at its center, and the message at its core: Heroes are not defined by perfection. They are defined by the stories that outlive them. In this heartfelt, thoughtfully crafted production, those stories will certainly swim long after the curtain falls.

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

Following BIG FISH, The Keeton will present “The Play That Goes Wrong” with performances April 10-26. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

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

February 5, 2026 by Jonathan

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

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

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

RAPID FIRE WITH MICHAEL WALLEY, EDWARD BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH CLAIRE YANCEY, SANDRA BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH JACOB HINNEN, WILL BLOOM IN BIG FISH

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH AARON GRAY, DIRECTOR OF BIG FISH

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

AARON GRAY: The first time I saw BIG FISH, there were several moments that brought me to that realization, but they all came back to the father–son relationship at the heart of the show. As a father of a six year old son, that dynamic hit me in a very immediate way, especially the moment when Will realizes he’s about to become a father himself, and suddenly his relationship with his own dad begins to change. That felt incredibly honest and personal to me.

I was also deeply moved by the love story. The way Edward loves Sandra, with imagination, devotion, and unwavering certainty, is something I think every romantic partnership should strive for. It’s romantic, but it’s also rooted in commitment and choice.

What ultimately made me say I had to direct this show is that it truly has everything! Romance, comedy, drama, and moments of theatrical magic, but at its core, it’s just a beautifully told story about family, love, and how we come to understand one another.

JHPENTERTAINMENT: BIG FISH lives in the space between reality and imagination—how did you approach balancing spectacle with emotional truth onstage?

AARON GRAY: The magic in BIG FISH only works if it’s grounded in emotional truth. We always let the relationships lead, and allowed the spectacle to grow out of what the characters are feeling, rather than the other way around.

JHPENTERTAINMENT: What can you tell me about your creative discussions with Ian Mannino, this production’s musical director, in regard to bringing Andrew Lippa’s whimsical score to life?

AARON GRAY: John August includes a note to the director in the script that points to a video Andrew Lippa created, where he dives deeply into the score, showing how the songs function dramatically and emotionally. Having that level of insight directly from the composer was an incredible resource, and it became a foundational tool in my conversations with Ian.

From there, our discussions were really grounded in respect for Andrew Lippa’s writing. Our shared goal was to keep the music true and honest to what he wrote. The score already contains so much whimsy, warmth, and emotional clarity that we never felt the need to overcomplicate it. Instead, Ian focused on letting the music breathe and supporting the storytelling, while I concentrated on how the songs live inside the characters and the moment.

What emerged from that collaboration is a score that feels both playful and deeply sincere. When the music is treated with that kind of care, its beauty really speaks for itself, and it becomes a powerful emotional guide for the audience throughout the show.

JHPENTERTAINMENT: In your show bio you describe this as a dream project. What part of your own storytelling sensibility feels most at home in BIG FISH?

AARON GRAY: At its heart, BIG FISH asks two questions that feel very personal to me: “What makes a good father?” and “How do heroes live on?” As a father, I connect deeply to the first question. The show shows us that being a good father isn’t about perfection, it’s about listening, showing up, and creating a space where your children can grow into themselves. Watching Will navigate his relationship with Edward while stepping into fatherhood himself felt incredibly real to me, and it’s a story I wanted to bring to life onstage.

The second theme, how heroes live on, is really about memory and storytelling. Edward becomes a hero not because he’s flawless, but because of the way his stories shape Will’s understanding of him and, in turn, the person Will becomes. That idea, that our loved ones live on through the stories we carry, is central to the show, and it resonates deeply with my own sense of storytelling. I’ve always been drawn to stories that exist somewhere between reality and imagination, where emotion comes first and spectacle serves the heart of the story.

For me, BIG FISH perfectly blends those elements: family, love, myth, and imagination. It allows wonder and sincerity to coexist, and that balance is exactly why it feels like a dream project, it’s a story that is both fantastical and deeply human, and it’s a story I truly love.

JHPENTERTAINMENT: What do you hope audiences carry with them long after they leave The Keeton and the curtain comes down on BIG FISH?

AARON GRAY: I hope audiences leave remembering the power of storytelling and the people they love. Big Fish reminds us that family and connection aren’t perfect, but they’re profound, and that our stories keep those we care about alive. I want them to feel the magic, the wonder, and the joy in seeing life, and love, through a lens of imagination, and to carry that feeling with them long after they leave the theatre.

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

Following BIG FISH, The Keeton will present The Play That Goes Wrong with performances April 10-26. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

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

December 3, 2025 by Jonathan

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

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

RAPID FIRE WITH JAYDEN MURPHY, GEORG IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH JIANA KEVILUS, AMALIA IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH TOMMY ANGLIM, KODALY IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH KIMBERLY WOLFF, ILONA IN SHE LOVES ME

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

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

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

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

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

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

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

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

RAPID FIRE WITH SHE LOVES ME DIRECTOR, MORGAN ROBERTSON

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

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

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

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

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

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

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

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

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

THEATRE REVIEW: ‘LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom’ at The Keeton thru October 26

October 13, 2025 by Jonathan

Before LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom ever graced The Keeton stage for its Tennessee Premiere (onstage now thru October 26), it had already began its own fascinating chapter in the story of I Love Lucy. Based largely on Laughs, Luck… and Lucy: How I Came to Create the Most Popular Sitcom of All Time—a memoir by I Love Lucy creator Jess Oppenheimer, completed by his son Gregg Oppenheimer in 1996—the play traces the real-life creation of television’s most enduring comedy.

Originally premiering at UCLA’s James Bridges Theatre in 2018 as I Love Lucy: A Funny Thing Happened on the Way to the Sitcom in an L.A. Theatre Works production, the World Premiere featured Sarah Drew (Grey’s Anatomy) as Lucille Ball and Oscar Nuñez (The Office) as Desi Arnaz, and was recorded live for public radio. The piece was later reborn under its current title, LUCY LOVES DESI, for a 2020 BBC Radio 4 broadcast starring Anne Heche and Wilmer Valderrama. Most recently, the play completed a successful 21-city national tour with L.A. Theatre Works in 2023, bringing audiences across the U.S. an intimate, funny, and touching tribute to the groundbreaking sitcom.

Now, it’s Nashville’s turn as The Keeton’s audiences have the chance to experience this love letter to television history, thanks to The Keeton’s delightful and impeccably cast production. Directed by Donna Driver, the show invites audiences behind the curtain (or, more accurately, behind the microphone) to witness how Lucille Ball and Desi Arnaz fought to bring their vision to life in a skeptical, male-dominated industry—and how their persistence changed entertainment forever.

During Driver’s welcome remarks on Opening Night, she very kindly made mention that it was yours truly who had suggested the play be part of their current season, so you know I loved that. She also informed the audience that the playwright had been very accessible via numerous phone calls and emails during preparation and rehearsal for The Keeton’s production, even writing new scenes and adding in vignettes featuring classic musical moments from I Love Lucy to allow The Keeton’s production of the show to expand from its original one-act length to a full two-act show. In doing so, The Keeton’s production captures both the warmth and wit that defined I Love Lucy while reminding us that innovation often begins with risk.

The Keeton’s scenic designer, Kevin Driver’s clever set—the backdrop transformed into a vintage 21” wooden cabinet tv, upscaled to about 10’x10’, complete with old-school antenna—allowed the audience visuals for scene changes by way of stills projected onto the large tv screen of locations like CBS & Desilu Studios and The Arnaz’s Palm Springs home. Completing the set, simple chairs for the actors to sit while not featured, and the side stage riser all come together to evoke the golden age of live radio, complete with period microphones, a glowing “On Air” sign, and a prominently featured Foley table manned with precision and playfulness by Beverly Grant, whose sound effects artistry earns laughs all its own. You’ll likely find ourself looking up at the Foley table more to catch Grant’s antics from time to time.

I always correct folks when they introduce me as a theatre critic, preferring the term reviewer, but I have to be truthful, being a huge Lucille Ball fan and longtime memorabilia collector of both her I Love Lucy years and her film career before (and yes, even her years after), I came into the evening with reservations, with my critic hat fully in place. I also have to admit that I was, overall, pleasantly and thankfully surprised at just how sweetly, lovingly and honorably the cast of The Keeton presented the backstory of how my favorite comedy actress and her Cuban bandleader husband made television history.

The way this performance is structured, Jason Rainwater’s Desi Arnaz steps in and out of the action of the play to talk directly to the audience. As Desi Arnaz, Rainwater delivers a winning performance full of charisma and authenticity. As he mentioned during our recent Rapid Fire 20Q when I questioned him on the authenticity of his Desi voice, his vocal work is uncanny—so richly textured and musically accurate that it often truly sounds like Arnaz himself. The chemistry between Rainwater and Grace Gaddy as Lucy is the stuff of which stage pairings are made; together they bring the Ball–Arnaz partnership to life with warmth, wit, and a rhythm that feels instinctual. Just as one would imagine him, Rainwater’s Desi is a charmer, a showman, a proud immigrant and a great example of a mid-century business man and entertainer who redefined what it is to live the American dream.

While none of the cast truly look like their real-life counterparts, it’s not an impersonator show in Las Vegas, after all, Grace Gaddy’s Lucille Ball is, when all is said and done, a loving tribute to the iconic comedian. From her expressive eyes and impeccable comic timing to the way she embodies Lucy’s signature blend of glamour and goofiness, Gaddy gives a performance that’s joyously alive. Her physicality and facial expressions elicit hearty laughter while paying true homage to one of television’s greatest icons. My only hesitation in a giving Gaddy’s Lucilly Ball a full five star review rests on the fact that Gaddy’s choice of voice isn’t quite there. Yes, Lucille Ball’s real-life voice was quite different from her quicker, higher-pitched Lucy Ricardo voice, but Gaddy, try as she may, never quite hits the mark vocally. Of course the average Keeton audience member will easily overlook this because of Gaddy’s otherwise full-force embodiment of the iconic comedic actress. It should be noted that Gaddy’s Lucy is at her best not only when recreating a few classic I Love Lucy moments–her lip-smacking, face-pulling expressions during a quick look at Vitameatavegamin is indeed near-perfection–but also during scenes that show the rarer more vulnerable moment of the woman behind the legendary laughs.

Even though he plays the man upon whose book this play is based, Michael Welch has the benefit of playing someone most people have never seen and whose physical appearance isn’t as easily recognized as the four stars of the groundbreaking sitcom. That anonymity works to Welch’s advantage as he simply shines as Jess Oppenheimer, serving as the grounding force amid the behind-the-scenes chaos. His balance of humor and sincerity keeps the story engaging and human. His scenes between Gaddy’s Lucy and Rainwater’s Desi truly exemplify Oppenheimer’s role as both close friend and trusted collaborator in the creating of one of the world’s most beloved sitcoms.

Cassidy Davis is delightful as Betty Garrett, a close pal of Lucille Ball’s who happens by the radio studio in a brief scene early on. Again, pop culture nerd that I am, I feel compelled to remind you that Garrett, a radio and film star like Ball in their early days, also gained fame on television—for roles on All in the Family and Laverne & Shirley (Garret played the girls’ landlord and Laverne’s eventual step-mom). I do wish there’d been time for a wig change as Garrett was more often a brunette. But yes, I’m just being picky. However, it’s Davis’ Vivian Vance that’s key to the story. Davis plays Vance a little sweeter, a little lighter than the real actress and again, there seems to be no concern for sounding like the original. Nonetheless, Davis nails each of her many roles—from Betty Garrett and various secretaries throughout to Vivian Vance and even a male executive at one point—with comedic grace and sharp timing. Again, does she really look or even sound like Vance? No, but does she deliver the goods? Yes.

Living up to his last name, Brian Best as William Frawley, is indeed, the best at fully embodying the role. Best turns in a masterclass of voice acting. His portrayal of William Frawley is eerily accurate, perfectly capturing Frawley’s gravelly timbre and gruff charm, while also handling multiple other characters—including network head William Paley—and with more than a bit of a smokers cough, Best’s Parker McComas, President of I Love Lucy sponsor Philip Morris, is a scene stealer. Rounding out the ensemble, Eric Crawford, Chris Hill, and Tony Bernui each contribute energetic and distinctive performances that heighten the show’s humor. Crawford’s facial reactions, Hill’s authoritarian vibe and Bernaui’s ability to switch from portraying Lucille’s early radio husband, the dashing Richard Denning, to I Love Lucy season one director and friend of Vivian Vance, the theatrically flamboyant Marc Daniels, all add to the fun of the piece.

Musically, this expanded version of the show delights with nostalgic selections that evoke memories of classic I Love Lucy episodes, including I’ll See You in C-U-B-A, Friendship, California Here I Come, and the beloved I Love Lucy theme song, complete with a bit of a did you know who wrote it spoiler and Rainwater and Gaddy singing the rarely heard lyrics. Enhancing the musical score throughout, frequent Keeton musical director Roger Hutson’s piano recordings add a lighthearted, era-appropriate touch, while Steve Love’s sound design, Brooke Sanders’ lighting, wig design by Alison Gaddy (loosen up those wigs so they look more natural and like the real-life ladies they’re styled after) and Denese René Evans’ costumes work in harmony to transport the audience straight to midcentury Hollywood. Evans’ costumes throughout are quite fun and seemingly period authentic, I do wish that Lucille’s Emmy dress was accurate, through…again, I’m just being an overzealous Lucy fan.

In spite of my above-reference initial hesitations and a strangely tepid Opening Night audience (Note: it’s ok to laugh out loud and to applaud after a particularly entertaining scene) and what could probably be chalked up to first night jitters from the cast resulting in the majority of Act 1’s delivery being a tad flat with several lines coming across as monotone with not real inflection and somewhat memorized, rather than convincingly felt and delivered with punch, those initial hesitations faded once the cast found their groove.

Bottom line, The Keeton’s LUCY LOVES DESI is a sentimental, heartfelt tribute to two of television’s most influential pioneers and the creative force behind them that believed America just might take to heart the story of a zany redhead and her latin love. Equal parts history lesson, love story, and nostalgic romp, it captures the magic that made I Love Lucy timeless—and proves that behind every great laugh is a story worth telling.

LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom runs through October 26 at The Keeton Dinner Theatre, oh and speaking of dinner, just like Lucy enjoyed at The Brown Derby, in the February 7, 1955 Season 4 episode of I Love Lucy titled L.A. at Last, The Keeton is serving up Spaghetti and Meatballs with a side salad and croissant and dessert for the pre-show dinner. CLICK HERE for tickets and showtimes.

If you happened to miss my recent Rapid Fire 20Q with the cast, CLICK HERE to check it out.

Following LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, The Keeton’s current season continues with SHE LOVES ME, onstage December 4-21, BIG FISH, running February 6-22, THE PLAY THAT GOES WRONG April 10-26, with STATE FAIR closing the season June 13-29! CLICK HERE for tickets and more details.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

Rapid Fire 20Q with cast of ‘Lucy Loves Desi: A Funny Thing Happened on the Way to the Sitcom’; at Keeton Dinner Theatre Beginning October 10

October 8, 2025 by Jonathan

For their new production, The Keeton will present LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom by Gregg Oppenheimer, on stage October 10 through 26. Directed by the company’s managing administrator, Donna Driver, the show features Grace Gaddy as Lucille Ball, Jason Rainwater as Desi Arnaz, Michael Welch as Jess Oppenheimer, Cassidy Davis as Vivian Vance and Brian Best as William Frawley. If you know me, you know I’ve been a fan of I Love Lucy, and more to the point, it’s star Lucille Ball since writing a school paper on her during my freshman year of college. A few months ago Driver posted on Facebook asking for suggestion for their upcoming theatrical season. So I quickly commented that they should check into presenting the live radio play the junior Gregg had written, based on his father’s memoir. Thrilled when I learned the show had indeed been added to their season, I just had to chat with the cast for my latest Rapid Fire 20Q. So get ready to step back into the golden age of television and behind-the-scenes of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom by Gregg Oppenheimer as I chat with the cast just days before the live radio play makes its Tennessee Premiere revealing just how of one of the most enduring televison series of all time came to be.

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RAPID FIRE 20Q WITH CAST OF LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom

RAPID FIRE WITH GRACE GADDY, LUCILLE BALL IN LUCY LOVES DESI

JHPENTERTAINMENT: You’re portraying Lucille Ball in The Keeton’s production of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom. With the audience’s idea of Lucille and her iconic Lucy Ricardo character such a presence in pop culture, was there any discussion with your director, Donna Driver on just how much of a characterization of Lucille Ball she wanted you to delve into as you make the character your own?

GRACE GADDY: There were definitely discussions about how to portray Lucille in this production since there are so many versions of her you see over the span of her life and career. This play is very much dedicated to the legacy of the playwright’s father, Jess Oppenheimer, so it shines a light on all of their greatest moments. My portrayal of Lucille may give subtle hints at her strong willed, determination, but overall is a light and joyful reenactment of her journey to stardom alongside her love, Desi.

JHPENTERTAINMENT: How have Denese Rene’ Evans’ costumes for the show aided in your Lucille transformation?

GRACE GADDY: Denese is a genius and crafted a spot-on lineup of costumes for this production. Each outfit has allowed me to truly feel in tune with Lucille and Lucy alike. There are some outfits that look like they were picked right out of an episode of I Love Lucy which has made each scene even more fulfilling.

JHPENTERTAINMENT: In addition to sharing the stage with Jason Rainwater as Desi, you also have scenes with Tony Bernui as Richard Denning. Denning having played George Cugat opposite Lucille’s Liz Cugat in the pre-I Love Lucy radio show My Favorite Husband (Side Note: I love that the playwright included a scene from the radio show within this play). How much fun are you having sharing the stage with your two leading men?

GRACE GADDY: It has been absolutely delightful to work with each of them throughout the rehearsal process. Both Jason and Tony are class acts and their dedication to each scene has inspired and motivated me in my own role. Tony skillfully plays many characters in this show, but we have the most fun during our My Favorite Husband scenes, although his character, Richard Denning, may look a bit distressed at Liz’s antics. Jason’s portrayal of Desi is truly awe inspiring. Every choice he makes brings his character even more to life and has encouraged me in my characterization as well.

JHPENTERTAINMENT: In LUCY LOVES DESI, as the powers that be are wheeling and dealing to get the sitcom green-lit there’s a lot of phone conversations the audience is privy to. Taking a queue from that, if you could have a phone conversation with Lucille Ball, what would you ask her?, AND What would you say to her?

GRACE GADDY: I would have to ask her what they put in that Vitameatavegamin bottle that had her chewing so much. But in all seriousness, I would ask her how it truly felt to be such a trailblazer in a time when women weren’t very autonomous. She got what she wanted and made history doing so. I would also like to tell her just how inspired I am by the woman she was on and off stage. She was such a beautiful, smart, hilarious, and determined woman who loved fiercely and made an iconic career out of being a goofball. Her legacy has always inspired me and my theatrical endeavors, because at the end of the day, all I want to do is make someone laugh.

RAPID FIRE WITH JASON RAINWATER, DESI ARNAZ IN LUCY LOVES DESI

JHPENTERTAINMENT: As Desi Arnaz, you’re on stage most of the time during Lucy Loves Desi: A Funny Thing Happened on the Way to the Sitcom. What’s your secret to keeping your energy up and to making the dialogue sound fresh when you’ve rarely got a second off-stage?

JASON RAINWATER: A great thing about the narration that Desi provides in the play is that he’s talking to the audience as if they came to visit him in his living room and they asked him to tell a story. And does he ever have a story to tell! The secret? I want the audience just as excited to hear the story as I am to tell it to them. I owe it to them for the entirety of the play to let them know we’re sharing the journey together and I use that as motivation throughout the performance. In my mind, the audience for this show is the play that Desi is going to see and he wants to be just as glued to the story as I hope they will be.

JHPENTERTAINMENT: Rainwater…I could be wrong, but that doesn’t exactly sound of Cuban origin, so, how are you approaching Desi’s distinct accent without it coming across as parody or too much of a stereotype?

JASON RAINWATER: You got me there. My lineage is not Cuban. My family is a mixture of Native American and Mexican descent. Desi had a TV voice, but then he had his home voice. I did my best to study both and use the accents that I grew up listening to since I was a little boy and merge them the best I can. I think I have been successful and the praise from my fellow cast members regarding my accent has been very touching. Desi Arnaz in my family was idolized. So that pressure to not make my performance a caricature of the man is not just motivation for me as an actor, but for my family and heritage in my small way.

JHPENTERTAINMENT: Your bio mentions you’re a Star Trek fan. Please tell me you already knew the Star Trek/Desi & Lucy connection by way of their production company, Desilu, before taking on the role of Desi?

JASON RAINWATER: Desi and Lucy are the Godparents of Star Trek. They are also that for Mission Impossible, Our Miss Brooks and countless other creations that nearly every other production company turned away. That is what is great about Desi and Lucy. They created their brand, but they opened their arms to help create others. Growing up, my family only had one channel. Channel 6, and you knew you would get three things: The local news, Star Trek: The Next Generation, and I Love Lucy. So to say that both shows helped shape the person I am today, is an understatement.

JHPENTERTAINMENT: Gregg Oppenheimer’s script does a fantastic job of capturing the essence of not only Lucille and Desi, but also offers audiences a bit of a peek at their I Love Lucy dynamic. Is there a particular scene or line that stands out to you as a personal favorite?

JASON RAINWATER: There are so many good scenes and while the finale is special, my favorite scene is a scene I share with Grace Gaddy who plays Lucy. All that is happening is that Desi is reading a letter. But, the letter shows just how cunning and ambitious Desi was, but without even saying it, it also shows the love Desi has for Lucy. To share that moment with Grace has been the biggest blessing of this whole experience. I adore her as a performer as much as Desi did Lucy.

RAPID FIRE WITH CASSIDY DAVIS, VIVIAN VANCE IN LUCY LOVES DESI

JHPENTERTAINMENT: Before taking on the role of Vivian Vance, did you already know she came to join one of television’s most enduring comedies, or have you discovered her in a whole new way through this show?

CASSIDY DAVIS: I’ve absolutely discovered Vivian in new ways! She was a fascinating gal – the consummate professional, persevering in a really tough business. She was wildly talented and had a huge range of character capability. Something a lot of people don’t consider is how difficult it is to be a good “sidekick”. Ethel’s function was to help Lucy shine while still holding her own. Can you imagine trying to do that next to Lucille Ball?!

JHPENTERTAINMENT: You mention in your show bio that you grew up watching reruns of I Love Lucy with your mom. With that in mind, what’s one episode that still makes you laugh every time?

CASSIDY DAVIS: To this day, my mom and I get in laughing fits watching The Ballet. My mom owned a dance studio when I was little, and I spent my formative years in ballet classes. So, to watch Lucille Ball swinging on a ballet barre in a tutu because her leg is stuck? Please. We have no chance of keeping our mascara intact. Laughing that hard with my mom is my favorite thing.

JHPENTERTAINMENT: Has that personal memory of growing up enjoying the reruns with your Mom made the experience of being part of a show that celebrates I Love Lucy’s creation more meaningful to you?

CASSIDY DAVIS: Very much so. Like other Lucy fanatics, I’ve continued to find ways to include the show in my life. My I Love Lucy Barbies are in mint condition, my ringtone has been the theme song for about 10 years, and I still use the lampshades my mom and I collaged with black and white episode stills before I left for university. To be cast in a show written by Gregg Oppenheimer that allows me to embody people who’ve added so much joy to my life and those around me is beyond priceless.

JHPENTERTAINMENT: While the zany adventures of Lucy and Ethel that play out in I Love Lucy are obviously exaggerated for comedic effect, I think we all see ourselves in the friendships between Lucy & Ethel and Ricky & Fred. In your own life, are you more often the Lucy or the Ethel?

CASSIDY DAVIS: That’s a tough one! I think it depends on which life phase and which friends. As an oldest daughter, I’m usually the Ethel – cautious, a good listener, and adaptable. But I’ve certainly been my fair share of Lucy. Shoutout to childhood friends who got roped into doorbell ditching the neighbors during summer sleepovers.

RAPID FIRE WITH BRIAN BEST, WILLIAM FRAWLEY IN LUCY LOVES DESI

JHPENTERTAINMENT: I find it interesting that William Frawley is only in one scene, but thanks to Gregg Oppenheimer’s script, it’s a memorable one. Did you go back and study Frawley’s Fred Mertz to capture the actor’s mannerisms & gruff persona, or are you leaning more on your own high-waisted gut instincts?

BRIAN BEST: One of my favorite TV shows to watch growing up (reruns, of course) was I Love Lucy. Lucy’s hysterical physical comedy and the sharp sarcastic wit of Fred were part of my “school” for acting. Fred reminds me of a cuddly Grandpa…even if he is a little cranky. The memories from that show seem to live on in my mind…so I didn’t really need to study Fred. However, I did pull up a YouTube video to make sure I had his voice mimicked correctly right before the audition.

JHPENTERTAINMENT: In addition to playing William Frawley, you’re also juggling the roles of CBS executive Bill Paley, and more in LUCY LOVES DESI—Which character has been the biggest stretch for you, and which one feels most natural?

BRIAN BEST: That is a difficult question. Characters and voices come very naturally to me. The voice that is most like mine is Paley. And honestly, the character that is most like me is Fred…although I’m NOT as cranky as he is. Paley may be the biggest stretch because his personality is much pushier than mine. My cast mates just reminded me that Parker McComas may be my biggest challenge because he coughs throughout his scene…and it sometimes becomes too real. The biggest challenge with these characters is remembering which voice goes with which character.

JHPENTERTAINMENT: Frawley’s fondness for the occasional drink is mentioned in the script. In light of that, if you could belly-up to the bar with him, what would you order and what might you ask him?

BRIAN BEST: I feel like Fred/Frawley would have been fun to hang out with anywhere. I am not a big drinker and usually make one drink last the entire night. Typically, it’s a fruity drink. I would ask him for advice…what to do and what NOT to do. His career may have been hurt by his attitude towards others that stemmed from his drinking. I would try to learn from him and see how it could help my own stage career.

JHPENTERTAINMENT: Because LUCY LOVES DESI is presented as a radio play, sound effects are being performed onstage. If William Frawley had a sound effect, what would it be? AND…same question for you…If Brian Best had a sound effect, what would it sound like?

BRIAN BEST: Sound effects…interesting question. I feel like Fred would be a low bass drum…or maybe a tuba…reminiscent of a marching band. Sounds that make people happy but are still a little rough…bossy…cranky. I feel like my sound effect would be the giggle that The Pillsbury Doughboy makes when his tummy is poked. Or a nice “awwww”…like when people see a good friend they haven’t seen in a while…or a little puppy dog. Or a trombone slide…because that’s fun. I think that, like Fred, I am a fun, lovable guy that makes people happy…just hopefully not as cranky!

RAPID FIRE WITH MICHAEL WELCH, JESS OPPENHEIMER IN LUCY LOVES DESI

JHPENTERTAINMENT: In LUCY LOVES DESI, you play Jess Oppenheimer, I Love Lucy’s producer and head writer. It was Jess’ posthumously-released memoir Laughs, Luck…and Lucy: How I Came to Create the Most Popular Sitcom of All Time co-authored by his son, Gregg, upon which the younger Oppenheimer based this play. Did you know much about Jess before auditioning for this role?

MICHAEL WELCH: I didn’t know much about him at all. I had only completed my usual pre-audition research. Listening to the audiobook version of the story by L.A. Theatre Works was quite helpful. The author, Gregg, was interviewed at the end of the show, so I was able to hear some tidbits directly from him.

JHPENTERTAINMENT: Being a huge Lucille Ball fan and collector, myself, I was already familiar with the basics of how the classic sitcom came to be, but, speaking of research, in preparation of chatting with you and your cast mates, I read the script, and loved it. As you began preparing for the show, what surprised you about the script?

MICHAEL WELCH: I was surprised by the warmth and tenderness of the characters. We have all heard how “show business” is a ruthless affair. However as presented in this show, Desi, Lucy and Jess seem to have a real friendship. I believe that will be translated to the audience. It is the romance between Lucy and Desi that was the real draw of the script for me. I might have shed a small tear when reading the last line of the script.

JHPENTERTAINMENT: I understand the playwright won’t be able to be in attendance for the Nashville and Tennessee premiere production, but he’s asked that a video of the production be sent to him. What does knowing the playwright will not only see you perform, but also see you take on the role of his father mean to you as an actor?

MICHAEL WELCH: Actually, I didn’t know that until now. My version of Jess is not an imitation. Jess was described as the “field general” and “the brains” of the outfit. He just got things done. I hope that the playwright sees what I do as a reflection of what his father meant to I Love Lucy and to him. Hopefully, Gregg will be pleased with my effort.

JHPENTERTAINMENT: I like to finish these interviews by asking…what do you hope audiences take with them after attending a performance of LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom?

MICHAEL WELCH: Honestly, I hope that it encourages them to watch the reruns of I Love Lucy. Now that they will know a little bit more about the people behind the characters, the iconic situation comedy will, hopefully, have a broader meaning and appeal. Can anyone watch the “candy on the conveyor belt scene” without cracking up? We all need a surefire laugh now and then.

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Much like Lucy and Ethel’s best-laid plans, this Rapid Fire 20Q proved to be equal parts laughter and heart. After chatting with the cast, I’m confident The Keeton’s LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom promises to deliver both in spades—with nostalgia, behind-the-scenes hilarity and a cast that truly loves Lucy.

Catch LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom at The Keeton Dinner Theatre October 10-26. CLICK HERE for tickets and showtimes.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.

Theatre Review: ‘Ragtime: The Musical’; at The Keeton through Sunday, August 31

August 20, 2025 by Jonathan

There’s a certain something about heading into The Keeton-this area’s oldest continuing dinner theatre-on a summer night. You’re greeted with good food, friendly faces, and a buzz of anticipation. This certainly held true as I attended opening night of RAGTIME, their current production helmed by director Mitchell Vantrease. Under Vantrease’s sure-handed direction, with Roger Hutson conducting a lush, heart-pounding score, this powerful production doesn’t just entertain—it moves you.

Before I delve into my thoughts on this production, let me just get one thing out of the way—Jayden Murphy is a revelation. At only 18, this recent Jimmy Awards semi-finalist steps into the role of Coalhouse Walker, Jr. with the kind of intensity and nuance you usually see from actors twice his age. His booming vocals, his emotional honesty, his laser-focused presence—Murphy’s Coalhouse is equal parts inspiring and heartbreaking. If you read his segment of my recent Rapid Fire 20Q, you already know he understands the depth and power of this role. On stage? He proves it. His voice, rich and smooth, possesses the perfect combination of strength, heartache and comfort. Act I’s Justice…just fabulous.

Matching him note for note is Miya Nichole Burt as Sarah. From her tender take on Your Daddy’s Son to each of her gut-wrenching ballads, Burt makes Sarah’s journey deeply personal. The chemistry between Burt and Murphy shines through, making Sarah’s fate hit all the harder.

Then there’s Holli Trisler as Mother. She’s the heart of this production—warm, grounded, and quietly commanding. Her Back to Before brought the house to much deserved applause, and judging from the audience around me, more than a few tears.

Nicholas Branson brings grit and grace as Tateh. His Gliding was staged with such simple beauty that it practically shimmered. You believe him when he sings of the American Dream, because he sings it like he’s living it. A gorgeous reminder that we’re ALL hoping to live it.

Meanwhile, Matthew Marcus gives us a restless, fiery Mother’s Younger Brother. His energy in every scene makes you sit up straighter, as if you’re being pulled into the whirlwind of his convictions. Like many of the cast, RAGTIME marks Marcus’ Keeton debut, but something tells me we’ll be seeing a lot more of this scene-snagging actor.

On the subject of noteworthy ensemble performances, The Keeton’s RAGTIME is brimming with them, chocked-full with moments you likely won’t be able to stop talking about on the drive home. For me? LaToya Gardner—one of my longtime “theatre crush”—absolutely slayed the Act I closer Till We Reach That Day. Her voice soared, her presence commanded the stage, and suddenly the entire room was with her, united in that raw cry for justice.

If Act I’s wow moment belonged to Gardner, Act II belonged to another of my longtime “theatre crushes”, Elliott Robinson as his Booker T. Washington pleads with Murphy’s Coalhouse Walker, Jr to Look What You’ve Done. Commanding yet full of quiet dignity, this monologue/song is the kind of performance that makes you lean in and take note.

Let’s not forget yet another veteran scene-stealer Danny Proctor as Grandfather. Only Proctor could toss out a couple perfectly timed quip that had the audience roaring, and then turn around and remind us why Grandfather’s cantankerous spirit has always been a fan-favorite.

Others whose performances added to this production include Joshua Mertz as Houdini, Brenda Brannon as Emma Goldman Brian Best as Willie Conklin and young actors Ryman Stanton and Ayla Carlock, who play Little Boy and Little Girl. Oh, and perhaps the biggest little scene-stealer of them all, Lawson Dowlen, who, with one eleventh hour walk-on, serves as another beautiful reminder that with each new generation, there’s hope for the future of us all.

Kudos also to the technical crew, including: Denese Rene Evans, for her work on some pleasing period-perfect wardrobe choices, choreographer McKenna Driver, who keeps the cast literally moving (though there was a bit of a modern take included in a few of the Harlem Ensemble scenes). Tech director Kevin Driver’s stripped-down set, basically a catwalk, two rolling stairs and a 45-star flag, seemed initially a tad lackluster, but when you realize the music, the voices and the talent are the focus, the industrial set design makes perfect sense. Then, when Murphy’s Coalhouse Walker, Jr. rolls up in stage-created Model T, complete with working headlamps, it’s evident that Driver was indeed in the driver’s seat as far as set design was concerned.

Lastly, I’m not sure if it was director Vantrease’s suggestion, or that of the costumer, or someone else, but I can’t tell you how much I appreciated the small, but noticeable detail of the hairstyles. The majority of the female cast elegantly sported either high pompadours or figure 8s while the majority of the male cast were sleek and sophisticated with deep side parts and a little hair grease.

With vocals rich and commanding to emotional performances from Murphy, Burt, Trisler, Branson, and Marcus, alongside unforgettable turns by Gardner, Robinson, & Proctor and all-‘round, this RAGTIME doesn’t just tell a story—it demands you listen to it. Mitchell Vantrease and his team have crafted a production that honors the show’s sweeping history while keeping it intimate and immediate. It’s safe to say RAGTIME at the Keeton Dinner Theatre is one of the must-see productions of the summer.

What makes this RAGTIME so impactful isn’t just the talent on stage, but the truth of its themes. More than 25 years after its Broadway debut—and over a century after the events it dramatizes—the struggles against racism, class divides, and injustice are, heartbreakingly, still with us. Yet, in the midst of that sobering reality, RAGTIME reminds us that unity, compassion, and resilience can light the way forward.

It’s that blend of hard truth and enduring hope that makes this production so necessary—and so moving—right now. At the Keeton Dinner Theatre, RAGTIME isn’t just a night of great music and performance. It’s a call to remember where we’ve been, reflect on where we are, and hopefully, to believe in where we can still go.

But don’t just take my word for it. CLICK HERE to reserve your seats now and head to Donelson to experience RAGTIME for yourself. The show runs through August 31, and if the energy on opening weekend was any indication, you’ll want to snag tickets before they’re gone.

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

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

August 15, 2025 by Jonathan

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.

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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.

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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.

Rapid Fire 20Q with Music Director and Cast of Stephen Sondheim’s ‘Company’; Opening at The Keeton Friday, June 13

June 12, 2025 by Jonathan

With a string of beloved Broadway classics to his name, Stephen Sondheim’s COMPANY remains a standout for its wit, insight, and unmistakable score. Featuring a talented cast of Nashville-area performers, the upcoming Keeton Dinner Theatre staging of the Tony-winning musical opens Friday, June 13 and continues through Sunday, June 29. With a production that promises to bring Sondheim’s complex characters and timeless themes to vibrant life, in anticipation of opening night, I recently caught up with the show’s music director and members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are our conversations.

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RAPID FIRE 20Q WITH MUSIC DIRECTOR AND CAST OF THE KEETON’s COMPANY

RAPID FIRE WITH COMPANY MUSIC DIRECTOR, ROGER HUTSON

JHPENTERTAINMENT: When I spoke with The Keeton’s Donna Driver about setting up these interviews, she noted that the score of Company is quite complex. What have been the biggest musical challenges in bringing Company to life at The Keeton Theatre?

ROGER HUTSON: Donna is right! When I signed on to music-direct this show, I was a bit intimidated. Stephen Sondheim’s musicals are legendary for their unexpected chordal intervals, heavy use of dissonance to create tension for resolution, harmonic chromaticism, varying meters in atypical patterns and several other unique elements that can make his music challenging to teach and perform. And these nuances apply to both vocals and pit orchestration. The beauty of Sondheim musicals is WITHIN the complexity, not because of it. So, I made sure that our cast learned each part as written. Some numbers were more challenging than others. I recorded our own rehearsal tracks on especially tricky, layered vocal segments with a glockenspiel to play each of their notes, line by line, so they could rehearse and hear where their part hit in relation to everyone else’s descants and harmonies. And a simple process, too…repetition! Some parts just require muscle memory vs. trying to find a diatonic reference point.

JHPENTERTAINMENT: The Keeton’s musical productions always feature a stellar group of musicians in the pit. Who do you have working alongside you providing the live music for COMPANY?

ROGER HUTSON: I am honored to have a great group of musicians to call on for each show I music direct. For this production, we have Matt Love (drums, aux perc), Jimmy Ownby (trumpet, bass trombone), Dillon Wright (piccolo, flute, alto flute, clarinet, alto saxophone), Mike Capadais (electric and upright bass), Brandon Salaway (acoustic & electric guitar, banjitar) and me on piano. These guys are brilliantly intuitive and adaptive players and cover multiple instruments like crazy! We also have Steven Love, our amazing Sound Director, insuring a proper balanced sound for not only the audience, but for the cast for full instrumental support for peak vocal performance. I have also created some backing and click tracks to add strings and a few other instruments that we don’t have live. They kind of “sit in the middle” of the overall mix to accent and add texture to certain numbers.

JHPENTERTAINMENT: As musical director, how do you approach balancing the demands of Sondheim’s intricate score with the vocal strengths of a community theater cast?

ROGER HUTSON: Our fantastic director, Clay Hillwig, acknowledged with me before auditions were even held that one of the biggest casting factors would be vocal range, vocal ability and musical prowess. We had an extremely talented group of actors come out for COMPANY auditions. For certain roles, I had to really dial-in to their vocal ranges, where their registers transitioned, tone, etc. to ensure the music would be performed accurately and with proper tonality. And I’m very pleased to say that this cast exceeded all my expectations on the vocal demands of this production. Their perseverance to get it right was and is non-stop.

JHPENTERTAINMENT: During the rehearsal process, was there a moment the the cast truly clicked with the music—when you felt the spirit of the show truly come alive?

ROGER HUTSON: Oh gosh. This cast bonded right out of the gate and was near-instantly cohesive. But in the beginning, we teach in segments; music first, then layer in choreography, followed by blocking. It was either our first or second stumble-through, I had recorded a scratch piano track on the backing/click track of the big opener, Company. So instead of having to play piano for them to sing/dance, I was able to be on stage with them, with my handy iPad, listening and coaching the cast through the entire song, and the many changes in meter and multiple descants. And they were off book already with the music! I was blown away with their obvious self-rehearsal time they had each put in to start the show with such an explosive number. Clay had told them that this opener sets the tone for the entire show….and it does! And man, did they show up and show out! Yes, it was still a stumble through with little things to fix. But that’s when I knew they understood the assignment and would deliver in a great way! I am humbled and honored to work with this entire cast, crew and production team.

RAPID FIRE WITH COMPANY’s JOANNE, DONNA DRIVER

JHPENTERTAINMENT: You indicate in your bio that Joanne is a bucket list role. Played by many legendary actress in COMPANY’s storied history, Joanne is certainly a crowd favorite. What’s it been like to bring your own style to the iconic character?

DONNA DRIVER: I feel like most musical theatre actresses of a certain age have their hearts set on this juicy role. I have to admit that all the ladies in the callback room with me were all formidable talents, and each had their own take on the character. Joanne is a complicated lady. She’s friends with this young man, Bobby, but she’s also so guarded, bitter and judgmental toward everyone else. She’s been wounded somewhere along the way and wears it like armor. However, I wanted to steer away from making her too depressed or angry and focus more on why she and Bobby get along. What do they have in common? Why DOES she only drink like this with him? And how does she think she can help him not turn out full of regrets like her?

JHPENTERTAINMENT:Sondheim’s material can be both vocally and emotionally demanding. What’s been your biggest challenge performing his work for this production?

DONNA DRIVER: The speed of these songs and getting my aging brain to remember what I need to sing at the tempo it needs to come out. And all those “Bobby”, “Robby”, “Robby love” lines that are never the same. I’m in awe of Kelsey Keny who gets all those lyrics for Getting Marred Today out with such ease. I don’t know how she does it.

JHPENTERTAINMENT: How has working with director Clay Hillwig and music director Roger Hutson shaped your interpretation of Joanne for The Keeton’s Company?

DONNA DRIVER: Clay is so wonderful at encouraging us to try things and cheering us on when they work. He’s offered great bits for me to add here and there that I love. Most of all, though, he’s allowed me to bring a more playful, sassy side to Joanne and not keep her dark and edgy the whole time. Roger has been great at keeping me on track with my rhythms (not my strongest point) and working with me on getting my two songs at tempos that serve the score and my acting choices. Both men are so kind.

JHPENTERTAINMENT: The title of the show is COMPANY, so I gotta ask…does this company of COMPANY stand up to the task at hand?

DONNA DRIVER: The company I’m keeping is astonishing. I’m honored to be among them. We have a couple familiar Keeton faces, but most of the cast members are new to us, or haven’t been on our stage in a while. They each bring so much to their characters. Tommy Anglim, as Bobby, is so talented and believable, with this incredible voice, and he’s as humble as could be. I’ve loved getting to work opposite Elliott Winston Robinson who has been a friend of mine for over 15 years. We’re having a blast. Our production team is also terrific, and the set by Kevin, my real life husband, is pretty cool.

RAPID FIRE WITH COMPANY’s LARRY, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: Larry is often thought of as the calm, steady presence in COMPANY, especially in contrast to his wife, Joanne, played in The Keeton’s production by Donna Driver. Meanwhile you are one of the Nashville Theatre communities most beloved actors. How did you approach bringing depth and nuance to a role that can often be overshadowed by his on-stage counterparts?

ELLIOTT WINSTON ROBINSON: Larry is quite the calming presence, the older (definitely) and wiser (maybe?) friend that you can lean on sometimes; the one that might not give you the greatest advice, but will always be straight and honest with you. I often feel that way in the dressing room, being so often one of the oldest cast members; ever encouraging to my cast mates, there is some real life Larry in me. As far as being overshadowed on stage, I believe that every role in a story is important, so I don’t feel diminished in any way. Besides, Larry has the perfect demeanor, the calming presence, to deal with Joanne, who overshadows everybody on stage when she’s having her moments! LOL

JHPENTERTAINMENT: As is often the case with supporting roles, especially when crafted by the legend himself, Sondheim, there’s frequently more going on below the surface. To that end, what did you discover about Larry during the rehearsal process that you decided to incorporate (even if only mentally) to your portrayal?

ELLIOTT WINSTON ROBINSON: I think Larry has fallen quite well into his role of “trophy husband.” Opposites attract, they say; Joanne needs Larry to offset her directness, her lack of filter, even if sometime she says things he wishes he could say. Larry is the one who buoys her up, because she doesn’t have the greatest level of self-esteem (he even mentions that the one time you really get to hear Larry speak). They complement each other very well. There are some similarities between them and my grandparents (though my grandmother was not a drunk): the outspoken lady, out front as the face of the relationship, while hubby stays steady, stoic, and smoothly makes things happen behind the scenes.

JHPENTERTAINMENT: One of Sondheim’s most iconic works, What does being part of COMPANY mean to you, and how does this production feel uniquely Nashville?

ELLIOTT WINSTON ROBINSON: This is my first Sondheim show, and his musical genius is reflected throughout. It has been a good challenge to learn his music, for example, dealing with some of the time signature/tempo/key changes he likes to make, but overall there is some really beautiful stuff in here. I think being able to put on shows like this reflects well on the level of talent in our city, and the willingness of spaces like The Keeton to sometimes stretch themselves away from the usual classics people would expect to see there.

JHPENTERTAINMENT: Is there a musical moment in COMPANY, whether yours or that of one of your co-stars, that you truly enjoy night after. night?

ELLIOTT WINSTON ROBINSON: Plenty of them! For my character, it has to be Sorry-Grateful, the brief trio part with my fellow husbands, played by Zach Williams and Barrett Thomas. Have I Got a Girl for You is simply hilarious with all the guys. I absolutely love Getting Married Today; I have great admiration for the physical feat of saying all those words; I can’t even read along fast enough to keep up with Kelsey! The girlfriends are awesome on You Could Drive a Person Crazy, and the group numbers are all fun because we have a bunch of great singers up there. The Ladies Who Lunch, of course (Donna is killing it); and don’t forget Bobby’s songs, especially Being Alive. That’s been a theatre fave of mine long before I ever imagined I’d have an opportunity to do this show, and I think Tommy is doing a really fantastic job with it. I could say something about just about every moment; I love the variety of styles Sondheim plays with!

RAPID FIRE WITH COMPANY’s APRIL, SYDNEY ROGERS

JHPENTERTAINMENT: Keeton audience will remember you for your emotionally charged portrayal of The Mistress in their production of EVITA. Now you’re playing the comedic and quirky April in The Keeton’s COMPANY. How much fun are you having navigating that shift in tone and character for this show?

SYDNEY ROGERS: Oh, it has been an enjoyably challenging experience! Shifting out of that fragile and vulnerable state, into the quirkiness of April’s character, I’ve had the opportunity to grow outside of my comfort zone a bit. April is such a fun role to play! She’s an odd and ditzy New York-based flight attendant who really falls for Bobby, but, not unlike the Mistress, has a naivety and innocence about her as well.

JHPENTERTAINMENT: When I interviewed Elliott about playing Larry, I noted that Sondheim’s characters are often multi-layered. April is a prime example. On the surface she comes across as lighthearted, but she’s also one of Bobby’s most memorable and layered relationships. What do you find most compelling about her, and how have you made the role your own?

SYDNEY ROGERS: I’ll be honest – it took some time for me to feel like I fully understood April. She appears and claims to be “dumb”, but she’s actually quite smart in her own reality. What I love most about her is that she’s a dreamer. April may have her head in the clouds at times, but she appreciates the small things and always means well. I hope to bring a sweetness to April that makes the audience root for her and Bobby.

JHPENTERTAINMENT: Your bio reveals that your ‘day job’ involves working as a royalties analyst at Warner Music Group. A former WB Nashville creative drone myself, I gotta ask. What’s the biggest misconception when people hear your ‘in the music business’? AND…just for fun, do you think April could do your job?

SYDNEY ROGERS: What a fun question! I think a lot of people believe that the music industry is all glitz and glamour, and forget that there are so many cogs in the machine that make it function the way it does. Analytical and administrative sectors of the business may not be glamorous, but they are critical. Do I think that April could do it? Whew. I think that April would be enamored with the idea of working in the music industry, but I don’t think anyone would want her handling the finances!

JHPENTERTAINMENT: What has it meant to be back onstage at The Keeton and how has this stretch from the seriousness of EVITA to the comedic fun of COMPANY helped you grow as a performer in the Nashville theatre community?

SYDNEY ROGERS: I’m thrilled to be back on the Keeton stage and working with this wonderful community. Usually, I tend to gravitate toward shows with a dramatic storyline or some sort of heaviness. It’s rare that I’m a part of something so upbeat. But that’s the beauty of COMPANY – in between all of the lightheartedness and hilarious moments, there is a deeper theme and message found in Bobby’s journey.

RAPID FIRE WITH COMPANY’s BOBBY, TOMMY ANGLIM

JHPENTERTAINMENT: How would you describe Bobby and how have you personally connected with him?

TOMMY ANGLIM: I think Bobby is the kind of person everyone has either been, is currently, or knows well. He’s single and simultaneously craves and fears intimacy. At the start of the show, he’s settled into a comfortable, almost passive existence. He is surrounded by his married friends but unable (or subconsciously unwilling) to pursue a deeper connection of his own. He’s getting pressure to settle down, but he also starts to see the cracks in his friends’ relationships, realizing that none of them embody the ideal he’s been chasing.

Personally, I’ve found a lot of parallels between Bobby’s journey and moments in my own life when I’ve observed others’ relationships and used that lens to evaluate my own. Stepping into Bobby’s shoes has helped me reflect more deeply on my own patterns and what connection really means to me.

JHPENTERTAINMENT: What’s been most challenging about stepping into Bobby’s shoes?

TOMMY ANGLIM: With Bobby, the old cliché “acting is reacting” is especially true. He’s the central figure of the show and appears in every scene, yet he’s more of an observer than an active participant. Much of the challenge lies in conveying his inner life while he’s quietly processing what others are saying and doing around him. Because of this, I’ve worked to focus on balancing subtle shifts (how he hears his friends, how he interprets their relationships, and how that reflects on his own beliefs about connection and commitment) with the larger caricature style acting that exists naturally in staged comedies such as this one. On the flip side, it’s easy to get lost in his passivity and start to feel the same isolation he does—even while surrounded by people who love him.

JHPENTERTAINMENT: As Bobby, you take on one of Sondheim’s most beloved and iconic numbers, Being Alive. How did you approach preparing for the number and what has the rehearsal process taught you about Bobby’s journey?

TOMMY ANGLIM: Being Alive was one of the first songs I ever heard from COMPANY, so I have been singing it to myself for years. I’ve always admired it, but now getting to bring it to life on stage, I’ve come to appreciate it on a much deeper level. The number is both a culmination of everything Bobby has learned and a turning point where he finally confesses and confronts his own loneliness. He’s spent the show analyzing his friends, but in this moment, he finally turns the mirror on himself. Our director, Clay Hillwig, has been instrumental in guiding me to that emotional breaking point—helping me find the vulnerability and urgency the song demands. It’s a huge emotional lift, and we spent a lot of time working to make that arc as raw and honest as possible.

JHPENTERTAINMENT: First presented on Broadway in 1970’s the themes of COMPANY include thoughts on commitment, loneliness and connection…still so relevant today. How do you think audiences will relate to Bobby’s story in 2025 and what do you hope audiences take with them after having seen The Keeton’s production?

TOMMY ANGLIM: Each scene in COMPANY is a deceptively simple vignette (i.e. a dinner party, a walk in the park, a night out), but within those everyday moments are deep, emotional truths about how we connect and conflict with each other. Our Keeton production places this story in the present day, and I think that’s a powerful reminder that these themes haven’t changed. I believe that audience members’ takeaways will vary depending on where they are in their own lives. We’ve talked about Being Alive, and I think what’s so impactful about the end of the show is that it doesn’t tie everything up in a bow. I know that some audiences have historically found this ending unsatisfying, but I think it ends with a challenge for audiences to reflect. The final moment of residual tension comes from a hopeful uncertainty. I hope audiences leave feeling seen and inspired to be more present in their own relationships. Ultimately, I hope some audience members find this show to be a little vignette in their journey of growth, as it has been in mine.

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The Keeton’s COMPANY opens Friday, June 13 and continues through Sunday, June 29 with with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight upcharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.

COMPANY closes The Keeton’s 2024-2025 Season, but not to worry, The Keeton’s 2025-2026 Season kicks off almost immediately with RAGTIME: THE MUSICAL on stage August 15-31. The Keeton’s new season also includes the regional premiere of LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, SHE LOVES ME, BIG FISH, THE PLAY THAT GOES WRONG and STATE FAIR! Season Tickets are available now. CLICK HERE for details.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

Rapid Fire 20Q with Cast of ‘Beautiful: The Carole King Musical’; Continuing at The Keeton Through February 23

February 14, 2025 by Jonathan

As the cast of BEAUTIFUL: THE CAROLE KING MUSICAL readied for their second of three weekends at The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN), I recently had the opportunity to pose a few questions to the show’s four leads, Layla Frankel, Dylan Kim, Kimberly Wolff and Jacob Armstrong for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE KEETON’s BEAUTIFUL

RAPID FIRE WITH KIMBERLY WOLFF, WHO PLAYS CYNTHIA WEIL IN BEAUTIFUL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KIMBERLY WOLFF: To me, Cynthia Weil is a grounded, confident, trailblazing talent of a woman. What she has accomplished in her lifetime is nothing short of amazing. I see her as someone who is not afraid to take a chance and she knows what she wants.

JHPENTERTAINMENT: Keeton patrons will no doubt recognize you for your recent role as Miss Shields in A Christmas Story, which you also choreographed and as Evita Perón in Keeton’s Evita last year. McKenna Driver choreographed Evita and is back as choreographer for BEAUTIFUL. While the role of Cynthia doesn’t really require any choreo, are there any Beautiful choreo moments you’ve enjoyed watching during the rehearsal process?

KIMBERLY: McKenna is an extremely talented choreographer. Her vision is always spot on, and she is a great teacher. It has been incredible watching The Drifters, and The Shirelles come to life. I think my favorite though, is Locomotion. It is so energetic and fun to watch. What McKenna has created with Beautiful, is, well…Beautiful.

JHPENTERTAINMENT: Much like Carole King and her professional partnership with her husband, Cynthia Weil and Barry Mann were also involved professionally and personally. For The Keeton’s BEAUTIFUL, you’re paired with Jacob Armstrong as Barry Mann. What’s Jacob like as a scene partner?

KIMBERLY WOLFF: It has been fun working with Jacob. It has been easy from the start. We are both open to listening to each other’s ideas and we both have the same goal. We want to do everything we can to bring these characters to life and do them justice. It has been great getting to share the stage with him.

JHPENTERTAINMENT: IF there were to be a Cynthia Weil jukebox musical, what would it be called?

KIMBERLY WOLFF: Somewhere Out There! While doing a deep dive on the internet to learn more about Cynthia, and to get to know her better, I found out she wrote one of my favorite songs. Somewhere Out There, is from An American Tail. One of my absolute favorite movies growing up. That song has always been a favorite of mine. I sing it to my daughter sometimes to put her to sleep. Something that has been so mind blowing to me, is seeing how many hit songs all 4 of these main characters have written. I had no idea there were so many songs we all know.

JHPENTERTAINMENT: As portrayed in BEAUTIFUL, is there a facet of Cynthia’s personality that you might try to incorporate into your own?

KIMBERLY WOLFF: She comes across as being so sure of herself with a great confidence. You don’t see much self doubt. It’s admirable. Sometimes I can tend to stand in my own way. I’d love to tell myself to “MOVE OVER” a little more often.

RAPID FIRE WITH JACOB ARMSTRONG, APPEARING AS BARRY MANN IN BEAUTIFUL

JHPENTERTAINMENT: You were last seen at The Keeton in their Spring 2024 production of The Music Man as a member of that show’s barbershop quartet and now you’re co-starring as Barry Mann in BEAUTIFUL. What can you tell me about this role?

JACOB ARMSTRONG: Barry is a delightfully neurotic character to play. I feel like he has quite a few insecurities that he covers with humor. I relate to Barry quite a bit. He is so much fun to play, and I absolutely love is sarcastic one liners. Though his real concerns do later pop through in the show in a real way.

JHPENTERTAINMENT: When I chatted with Kimberly, I asked her about you as a scene partner, so turn about is fair play…What is your favorite thing about sharing the stage with Kimberly Wolff, who plays Mann’s writing partner and love interest, Cynthia Weil?

JACOB ARMSTRONG: Kim is so easy to share the stage with. Though, I think my favorite moments we share together happen back stage. We find ourselves sometimes having to hold on to each other out of fear of missing a scene that we both apparently think does not exist. This has resulted in many laughs together.

JHPENTERTAINMENT: When you auditioned for BEAUTIFUL, did you specifically audition for the role of Barry Mann?

JACOB ARMSTRONG: When auditioning, Barry was the only character I had in mind. I really wanted to play this comedic part, it felt like it would be a great fit from the beginning.

JHPENTERTAINMENT: In researching the role, were there songs Mann penned that you were familiar with but didn’t realize he’d written?

JACOB ARMSTRONG: Yes! I had no idea he was involved with You’ve Lost That Loving Feeling, and On Broadway.

JHPENTERTAINMENT: As he is written in BEAUTIFUL, Mann provides some of the show’s funniest comebacks and lines. Do you have a favorite?

JACOB ARMSTRONG: My favorite line by far is, “I’ve realized I’m just as miserable without you as I am with you. So I figured if I’m going to be miserable, I might as well have the sex that goes a long with it.” This always gets a great laugh!

RAPID FIRE WITH BEAUTIFUL’s GERRY GOFFIN ACTOR, DYLAN KIM

JHPENTERTAINMENT: Were you familiar with Gerry Goffin prior to joining the cast of The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL?

DYLAN KIM: Honestly, I hadn’t heard of Gerry Goffin before this role. I knew Carole King’s music, of course, but diving into the show was my introduction to Gerry’s story. It’s been eye-opening to discover how integral he was to shaping so many iconic songs and the complexities of his partnership with Carole. Learning about his legacy—both the brilliance and the struggles—has been a huge part of preparing for this character.

JHPENTERTAINMENT: This marks your third Keeton show in the last several months. What keeps you coming back?

DYLAN KIM: The community, hands down. The Keeton feels like a second home—everyone from the cast to the crew radiates this infectious passion for storytelling. It’s rare to find a space where you’re equally challenged and supported, and that balance keeps me hooked.

JHPENTERTAINMENT: Do you have a favorite moment in the show, whether you’re part of it or not?

DYLAN KIM: You’ve Got a Friend gets me every time. Right after Carole’s weathered so much, that scene feels like a warm embrace. There’s this quiet power in its simplicity, and the way the audience leans into it… it’s magic.

JHPENTERTAINMENT: Some of Gerry’s darker moments are represented in BEAUTIFUL. Do you do anything specific to prepare for those scenes

DYLAN KIM: I lean into Stanislavski’s psychophysical action—using small, deliberate movements to anchor myself in Gerry’s emotions. It’s less about forcing feelings and more about letting the body guide you. And shoutout to my scene partner, Layla—she brings such honesty to those moments that it’s easy to meet her halfway.

JHPENTERTAINMENT: Donna Driver is directing this production. What can you tell me about Donna’s style as a director?

DYLAN KIM: Donna’s done her homework—she knows this era and these characters backward and forward. But what stands out is her ability to pull greatness out of people. She’ll spot a spark in your performance you didn’t even see, then nudge you to fan it into a flame. She trusts actors to take risks, and that freedom lets everyone shine.

RAPID FIRE WITH BEAUTIFUL STAR, LAYLA FRANKEL

JHPENTERTAINMENT: I understand playing singer/songwriter Carole King in The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL marks your Keeton debut. How familiar were you with the company prior to auditioning?

LAYLA FRANKEL: I actually had not heard of the Keeton until a friend from my previous show encouraged me to audition for this part. She had great things to say about Donna as a director and I was excited about the role so I figured I would give it a shot. I’m so glad to have found the Keeton! Their team is so passionate and committed to delivering high-quality productions; it’s been a pleasure working with them!

JHPENTERTAINMENT: While it’s your Keeton debut, the same can not be said for the role, as you recently appeared in another company’s production of BEAUTIFUL where you understudied the lead role. Not only did you understudy, you also appeared in the lead role a couple times during the run. How excited are you to be taking on this role again and making it truly your own?

LAYLA FRANKEL: Beyond excited. I was really grateful for the opportunity to spend more time with Carole and her story. In my experience as understudy, I knew the part well enough to perform it, but my performances essentially felt like three dress rehearsals that happened to be in front of audiences. I didn’t have the chance to perform as confidently in the part as I had hoped. It is an incredibly demanding lead role (think 13 costume changes, 3 wigs,12 songs, plus piano parts) but I was driven to do the character justice. As a songwriter myself, Carole King is one of my creative heroes and has been influential for my own songwriting journey. I’ve had a blast doing a deep dive into her songs and story, and just learning more about who she is. I feel very connected to this character, she’s truly an inspiration in every way.

JHPENTERTAINMENT: As Carole, you share quite a bit of stage time with Dylan Kim as Carole’s first husband and frequent writing partner, Gerry Goffin. What’s your favorite aspect of Dylan as a scene partner?

LAYLA FRANKEL: First off, Dylan is an incredible talent and there are many things that I really appreciate about our scenes together. He’s a joy to perform with. One thing that I really appreciate is his ability to be really present in the scene every time we go on stage in a way that I think shows how practiced he is as an actor. I feel like I’m a better actor for it; like I’m able to connect more to our stage relationship because he’s so present. It’s been fun to see our stage chemistry grow more and more with each show.

JHPENTERTAINMENT: During the rehearsal process and early run of the show has there been a particular song of Carole’s that’s become a personal favorite to perform?

LAYLA FRANKEL: There are so many good ones! The One Fine Day Reprise at the end of Act 1 is one of my favorites to sing because there’s so much emotion packed into that moment and I can put it directly into the song. It’s a really satisfying end to the first act. But I also enjoy singing Will You Still Love Me Tomorrow and It’s Too Late and trying to find Carole-isms in my own voice. She has such a unique, raspy quality to her voice that I cannot physically match, but – and this may sound very vocal-nerdy – I’ve really enjoyed the task of studying her deliveries and trying as best I can to mimic her phasing and melodic choices. She’s such a nuanced, dynamic singer and it’s exciting to find moments when I remind myself of Carole. It feels like the ultimate success in the role.

JHPENTERTAINMENT: What do you hope audiences take with them after seeing BEAUTIFUL: THE CAROLE KING MUSICAL?

LAYLA FRANKEL: There’s a line that a 16-year-old Carole says in the show: “When I hear a good song, I feel like someone understands me. Even if I’m all alone, it’s like I’ve got a friend in the room.” I would hope that audiences leave feeling like they’ve heard music and a story they can connect to. Music that maybe takes them back to another moment in their lives. But beyond that, I hope that the show can provide audiences with a moment of respite from some of the external chaos of the news and media at the moment.

One of the things I love most about live theatre is the magic of so many talented people coming together to create something spectacular, tell a story, and share creative beauty with an audience all together in one moment in time. There is so much power and purpose in that communal experience. I hope this show leaves audiences feeling excited and inspired to move and sing and be more present in their own stories. And, hopefully, buy a ticket to the next Keeton show.

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The Keeton Dinner Theatre’s BEAUTIFUL: THE CAROLE KING MUSICAL continues with performances Friday, Saturday & Sunday, February 14-16 and Thursday-Sunday, February 20-23. Tickets range in price from $30 to $47. Adult Dinner and Show tickets are $40. Child Dinner and Show tickets are $35 and Show Only Tickets are $30. Thursdays are Show Only performances with doors opening at 6:30pm and show at 7pm. Friday and Saturday doors are at 5:45pm with dinner served at 6pm and show at 7pm. Sunday matinees doors at 12:45pm, meal at 1pm and show at 2pm. For the dinner aspect of this run, The Keeton is offering Dinner Salad, Vegetable Lasagna, Mediterranean Vegetable Blend, Dinner Rolls and Carrot Cake. (Salmon may be substituted for the entree for a slight uncharge). At the time of this interview, Limited Tickets are still available for all performances except for Sunday, February 16, which has now SOLD OUT. CLICK HERE or call the box office at 615.231.1231 for tickets and availability.

Next up at The Keeton, it’s Neil Simon’s Barefoot in the Park with performances April 11-27. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

December 6, 2024 by Jonathan

“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.