BroadwayWorld.com Nashville Stories

ART WIRE Reading Event to Return for 8th Year at OZ Arts Nashville

Thu, 11 Jun 2026 17:12:06 PST

Contemporary arts center OZ Arts Nashville will host the annual celebratory reading of their ongoing Art Wire fellows program, a unique, cross-disciplinary collaboration with prominent literary nonprofit The Porch. Throughout the innovative 2025/26 Season at OZ Arts, 10 Art Wire Fellows of diverse backgrounds and ages experienced world-class productions from five continents, encountering experimental performance work from artists based in France, Chile, Spain, Japan, South Africa, and the United States. Audiences are invited into OZ's chic creative warehouse for an inviting, intimate reading event on Wednesday, June 24th at 6:30pm where they will hear a mix of poetry and prose writing from many of this year's fellows created in response to the OZ performances.

Now concluding its 8th year, Art Wire has been an instrumental collaboration between OZ Arts and The Porch, annually selecting a talented cohort of teen and adult writers to share their literary responses to the season's presentations with deeply personal, playful, and engaging writing. Each year, the chosen fellows work in many literary genres, including poetry, prose, and spoken word, and the Art Wire program has hosted over 80 emerging writers since beginning in 2018. Featured writers in the 2025/26 cohort include Koley Berry, Larkin Boyd, Rudrapriya Devi Dasi, Thalia Dills, Ezra Graff, Jarred "JJ" Johnson, Lane Scott Jones, DeAngelo McBride, Hannah Rodriguez, and Elizabeth Upshur.

This year, the writers drew inspiration from local, national, and international performance pieces from contemporary performance artists who are part of a cultural revelation. Fellows created ekphrastic writings in response to international performances by popular French dance collective Compagnie Dyptik, a smartly curated live film created on stage by Spain's Agrupación Señor Serrano, the staggering projection-dance whirlwind from Tokyo-based choreographer Hiroaki Umeda, and the riveting movements of South Africa's Impilo Mapantsula. The cohort also engaged with the Southeastern premiere of rising dance world star Ogemdi Ude's exploration of the majorette dance form, plus two new dance works created by Nashville-based artists Becca Hoback and shackled feet DANCE! Many of the fellows were also able to experience the stunning multimedia-theater style of Chilean troupe TeatroCinema, revel in the hilarious cabaret stylings of international sensation Meow Meow, and cheer on the all-local slate of artists premiering four original projects in the Brave New Works Lab 2026.

The Art Wire partnership with The Porch furthers OZ's mission to connect local creatives with leading contemporary artists from around the world. It also opens the floor to passionate members of the Nashville community to safely share personal reflections and generate entirely new written works that meaningfully engage with the programming OZ brings to the city. This year's group was mentored by acclaimed writer Nina Coyle, who oversaw the adult writing cohort, alongside Joe Kane, a lauded member of the arts community who serves as director of The Porch's youth programs and has been involved with the Art Wire program since its inception.

Art Wire is a free event, but ticket reservations are encouraged with an optional "pay what you will" donation.

Applications for the 2026/27 cohort of Art Wire fellows will be open on June 24 through August 10. Adult and teen writers of all experience levels are encouraged to apply.

DOLLY PARTON'S THREADS: MY SONGS IN SYMPHONY Set For Multi-Week Engagement In Nashville

Wed, 10 Jun 2026 09:17:52 PST

Dolly Parton’s Threads: My Songs in Symphony is set for a multi-week limited series with the Nashville Symphony.

In celebration, concertgoers will receive a swatch from the fabric of one of Dolly’s beloved dresses in line with the show’s theme of “threads.” Exclusive Dolly Parton merchandise will also be available via the Dolly Merch Trailer, located at One Symphony Place.

A special exhibit, Dolly’s Hall of Fame Gallery, will also be open to concertgoers throughout the series. The gallery showcases a collection of Dolly Parton’s gold and platinum album awards—a selection from her upcoming Life of Many Colors Museum—celebrating her remarkable career, enduring legacy, and status as one of the most honored and best-selling artists of all time.

New premium experiences and themed celebration packages—including options for girls’ nights out, bachelorette parties, and family outings—will be available on opening night and every Friday during the series. These elevated experiences include backstage tours, VIP lounge access, box seating, premium gift bags, and more.

Together, these offerings transform Threads from a concert into a uniquely Nashville destination event, giving fans new ways to celebrate Dolly’s music, story, and extraordinary career.

Created and co-produced by Parton, Schirmer Theatrical and Sony Music Publishing, the innovative multimedia symphonic experience features Dolly’s songs and stories accompanied by original video content, with Dolly herself appearing on-screen to lead audiences through a visual-musical journey.

The 90-minute performance (with no intermission) features a cast of guest vocalists and musicians along with new and innovative orchestrations by David Hamilton. The performance includes hit songs “Jolene,” “Coat Of Many Colors” and “I Will Always Love You,” in addition to Dolly’s personal favorites.

After a sold-out world premiere with the Nashville Symphony and this Music City summer series, Threads continues its successful performances in cities across the country with further stops in Spokane, Houston and Milwaukee.

Performances will run June 16 - July 31. Tickets can be purchased at the Nashville Symphony website.

NUNSENSE to Close Out Season 43 at Roxy Regional Theatre in Clarksville

Tue, 09 Jun 2026 22:14:37 PST

The hit musical comedy "Nunsense" opens at the Roxy Regional Theatre's temporary home at 114 Public Square on Friday, June 19, at 7:00pm.

In this zany musical which has become an international phenomenon, the Little Sisters of Hoboken are in dire need of funds after discovering that their cook, Sister Julia, Child of God, has accidentally poisoned fifty-two of the sisters. Hilarity ensues when the five remaining sisters decide that the best way to raise the money for the burials is to put on a variety show.

Directed and choreographed by Jeri Dickey with music direction by Amy Frederick, "Nunsense" stars Jama Bowen as Reverend Mother Regina, a former circus performer; Jackie Ostick as Sister Mary Hubert, the Mistress of Novices; Brooklynn Morales as Sister Robert Anne, a streetwise nun from Brooklyn; Melissa Goldberg as Sister Mary Leo, a novice who is a wannabe ballerina; and Chloe LaMar as the delightfully wacky Sister Mary Amnesia, the nun who lost her memory when a crucifix fell on her head.

Produced in part by Dr. Joseph & Nancye Britton, with additional funding support provided by Stacey Streetman and Gary & Linda Shephard, "Nunsense" is written by Dan Goggin and presented through special arrangement with Concord Theatricals, www.concordtheatricals.com.

Performances run June 19 through June 28 on Thursdays, Fridays and Saturdays at 7pm, with 2pm matinees on Saturdays and Sundays. In keeping with the theatre's opening night tradition, all tickets not pre-sold at the regular price will go on sale at 6:30pm on Friday, June 19, for a $5 Opening Night Rush.

Tickets are $35 (adults) and $15 (ages 10 and under) and may be reserved online at roxyregionaltheatre.org, by phone at (931) 645-7699, or at the theatre during regular box office hours (9:00am to 2:00pm, Monday through Friday, and one hour prior to performances). Performances will be held at the Roxy Regional Theatre's temporary home at 114 Public Square. Seating for this production will begin 30 minutes prior to the performance. Late arrivals will not be admitted, due to the configuration of the venue.

Military (veterans and active-duty) can enjoy Buy One, Get One 50% Off admission to all performances during the run. Austin Peay State University students can enjoy Buy One, Get One 50% Off admission to the Thursday performance. All students (with current ID) can take advantage of $10 Student Rush tickets, available at the door ten minutes prior to all performances.

The Roxy Regional Theatre (Roxy Productions, Inc.) is a 501(c)(3) nonprofit organization dedicated to producing professional live theatre and promoting the arts, with emphasis on education, in Clarksville, Middle Tennessee and the Southeast. During construction of the Clarksville Performing Arts Center, the theatre is temporarily located at 114 Public Square in historic downtown Clarksville. For more information, visit roxyregionaltheatre.org.

JERSEY BOYS 20th Anniversary Tour to Play Tennessee Performing Arts Center

Tue, 09 Jun 2026 18:39:11 PST

Tickets for the original Tony & Olivier Award-winning musical sensation, JERSEY BOYS, will go on sale June 12 for its highly anticipated engagement at Tennessee Performing Arts Center in Nashville, TN September 16-20. This engagement of JERSEY BOYS is part of a multi-city North American Tour beginning September 2026 in celebration of its 20th Anniversary year. For tickets please visit TPAC.org.

Casting will be announced at a later date. For more information and a complete tour schedule, please visit JerseyBoysInfo.com.

JERSEY BOYS is the behind-the-music true story of Frankie Valli and The Four Seasons. They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn't get enough of. But while their harmonies were perfect on stage, off stage it was a very different story – a story that has made them an international sensation all over again. The show features all their hits including “Sherry,” “Big Girls Don't Cry,” “December 1963 (Oh, What a Night),” “Walk Like A Man,” “Can't Take My Eyes Off You,” “Beggin'” and “Working My Way Back To You.”

JERSEY BOYS is written by Academy Award-winner Marshall Brickman and Rick Elice, with music by Grammy Award-winner Bob Gaudio, lyrics by Bob Crewe.

The recipient of Broadway's Tony, London's Olivier and Australia's Helpmann Awards for Best New Musical, JERSEY BOYS is the winner of 65 major awards and has been seen by over 30 million people worldwide.

The Broadway production originally opened on November 6, 2005, and, by the time it closed on January 15, 2017, it was the 12th longest running show in Broadway history. It returned to New York with a new production from November 2017 to May 2022. JERSEY BOYS has also had multiple record-breaking US National Tours from 2006 through 2022 as well as productions in Las Vegas, Chicago and Toronto.

JERSEY BOYS ran in London's West End from March 18, 2008 to March 26, 2017 and, at the time, was the 6th longest musical running in the West End. The musical returned to the West End as the first show to play the reinstated Trafalgar Theatre from April 14, 2021 to January 4, 2024. JERSEY BOYS previously played three record-breaking UK and Ireland tours from 2014 to 2016, 2017 to 2019 and 2021 to 2022.

A JERSEY BOYS 20th Anniversary UK and Ireland tour has also been announced that will open on June 15, 2026 at the New Wimbledon Theatre, currently booking dates through 2027.

The JERSEY BOYS 20th Anniversary North American tour will be staged by the entire original Broadway creative team, led by the Tony Award-winning team of director Des McAnuff and choreographer Sergio Trujillo, with scenic design by Klara Zieglerova, costume design by Jess Goldstein, lighting design by Howell Binkley, sound design by Steve Canyon Kennedy, projections design by Michael Clark and production supervision by Danny Austin. The orchestrations are by Steve Orich and the music supervision and vocal arrangements by Ron Melrose.

The Original Broadway Cast Recording of JERSEY BOYS, produced by Bob Gaudio, was certified Platinum by the Recording Industry Association of America. The cast recording is available on Rhino Records. JERSEY BOYS: The Story of Frankie Valli & The Four Seasons (Broadway Books) is the official handbook to the smash Broadway hit. Season's Greetings: A JERSEY BOYS Christmas, a holiday CD featuring international cast members of JERSEY BOYS, produced by Bob Gaudio, is available on Rhino Records.

Oak View Group Theater Alliance Benefit to Honor Industry Leaders at Vanderbilt

Tue, 09 Jun 2026 12:59:26 PST

Oak View Group will host the fourth annual Theater Alliance Benefit on Saturday, October 3, 2026, at Vanderbilt University in FirstBank Stadium's Commodore Club in Nashville, Tennessee. Tickets are on sale now for the signature industry event celebrating and supporting the future of live stage performance in theaters across North America.

This year's “Play with Purpose” theme introduces a new format built around networking, interactive games and friendly competition while keeping the event's philanthropic mission at the center. The 2026 event marks the fourth year of the Theater Alliance Benefit, which first launched in Nashville and has continued to contribute to the Theater Alliance Fund in different cities across the country.

A highlight of the evening will be the presentation of the 2026 Impact Awards, recognizing two live entertainment industry leaders whose work has helped strengthen the performance ecosystem across the country: Gayle Holcomb, Partner and Agent at WME, and Colleen Fischer, recently retired Vice President and General Manager of Austin City Limits Live at The Moody Theater.

Holcomb has spent four decades with WMA/WME, building a respected career as a Los Angeles-based agent representing major artists. She began her career as the receptionist at the Academy of Country Music before joining WMA/WME. A 2024 Pollstar Women of Live honoree, past Chairman of the Academy of Country Music and a founding member of ACM Lifting Lives, Holcomb is also recognized for her commitment to mentorship and relationship-building across the industry.

Fischer has been a longtime leader in Austin's live music community, helping guide ACL Live at The Moody Theater as one of the city's premier music venues. She began her career at Rockefeller's in Houston, working through multiple roles before landing on talent buyer. She continued her career with senior venue booking and programming roles, including her work with ACL Live and 3TEN ACL Live, as well as prior experience as a Vice President at Live Nation and its predecessor companies.

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Review: THE 4TH WITCH at Oz

Sat, 06 Jun 2026 08:00:44 PST

“By the pricking of my thumbs, something wicked this way comes.”

Everyone who follows the world of theatre is familiar with the Scottish Play by William Shakespeare, even if they’ve never seen or read it. Arguably, the most iconic part of the show is any scene involving the three witches. They deliver the most memorable lines, such as “double double, toil and trouble,” and they have shaped how witch covens are seen in pop culture. Ever since the play’s debut (private) performance all the way back in 1606, the witches have been depicted differently in various productions. Some productions display the witches simply telling Mr. Scottish Play their little prophecy, while others like the one I did back in 2022 show the witches being even more involved by assuring that the prophecy comes true. Another key difference in various productions is the inclusion or removal of Hecate, the goddess of witchcraft and the leader of the witches. No matter how many times this show has been done, there is no shortage of retellings and interpretations. Running at Oz Arts Nashville June 4-6, Manual Cinema’s The 4th Witch is one retelling of Shakespeare’s bloody tragedy that’s nothing short of magical.

Manual Cinema is an Emmy-winning performance collective, design studio, and film and video production company from Chicago that was founded in 2010. Their works mainly feature puppetry. Prior to the opening night performance of The 4th Witch, I was familiar with their work in the 2021 version of Candyman. Because the protagonist was an artist from Chicago and art was a theme in the script, various Chicago artists created artwork for the movie. Manual Cinema was asked to create shadow puppetry for flashbacks scenes and the haunting end credits, which still disturb me to this day. The company was founded by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter. With The 4th Witch, Manual Cinema retells the Scottish Play by changing the time period to WWII and introducing a new character. She may not be Hecate, but one could argue that she’s a combination of the goddess and Macduff, the one who defeats Mr. Scottish Play. Yes, I’m refusing to mention the actual name in this review. Deal with it. Anyway, the titular character uses the classic story to weave a coming-of-age tale of trauma and revenge.

As soon as I took my seat, the setup intrigued me. You’ve got the overhead screen displaying a live recording of the shadows being shown on the sheet, you’ve got Lighting Designer David Goodman-Edberg’s elaborate setup, you’ve the tables of props and headpieces, and you’ve got a small space for the trio of musicians. The flawless layout of everything made me eager to see it play out. The selling point is the puppetry, which was designed by company co-founder and director Drew Dir. From the characters’ silhouettes to a red mushroom, every puppet is so detailed. The character puppets match perfectly with the performers, who often have to stand between the light and the sheet to do some things that you just can’t do with shadow puppets. Costume and Wig Designer Sully Ratke brings the silhouettes to life, and I must applaud the attention to details. Other than the visuals, the audio is also a delight. An orchestra sits off to the side of the stage, consisting of Erica Kremer on the cello, Lucy Little on the violin, and Alicia Walter on the piano. The musicians also provide the haunting vocals, and I find it fitting that the orchestra contained three women, which is the minimum needed for a coven. Company co-founders Ben Kauffman and Kyle Vegter provided the score and sound design, which added the perfect layer to the chilling atmosphere. Every design element is enough to enchant the audience.

Like how a coven needs at least three members in order to function, a puppet show needs the right puppeteers. Five talented artists take turns positioning the puppets and performing in front of the sheet. Jeffrey Paschal plays a soldier and Mr. Scottish Play, and he adds a delightful shade of menace to every scene he’s in. Despite his scary presence, he was nice to talk to after the show, and he asked if I wanted to test out some of the props in front of the sheet. Lizi Breit brings this warmth to the character of Mother, and it was sweet seeing her interact with her family. The same can be said about Leah Casey, who played Father and who looked good in a fake mustache. I was impressed by how both Casey and Briet were able to mirror both the Lead Witch as her fellow witches and the titular fourth witch as her own fellow witches later on in the story. Co-founder Julia Miller played the Lead Witch, who captures the classic essence of a witch from a fairytale. Miller’s body language was solid from beginning to end. She also designed the silhouette masks, which included the Lead Witch’s nose and Mr. Scottish Play’s gas masks for the actors. This detail impressed me a lot. And finally, we have co-founder Sarah Fornance as the titular fourth witch, who is referred to as “Girl” in the program. I was blown away by Fornance’s performance. Her physical acting was incredible, but I was also entertained by her facial acting and her comedic timing. She delivered as someone who goes from a scared child to a fearsome witch. It was truly bewitching.

Before I conclude, I wanted to mention something that happened right at the start of the show. We weren’t even a minute in when a voice said that there was a technical difficulty and the show would resume shortly. Thankfully, the problem was resolved almost immediately, and the show ran smoothly. After the technical difficulty announcement was made and the house lights came up, I said to those around me, “Alright, which one of you said the actual name of the Scottish Play?” A teacher in front of me admitted that she did it, and she joked about having to walk backwards in order to reverse the curse. Fortunately, there was no need for that.

The 4th Witch runs at Oz Arts Nashville June 4-6. Get your tickets now!

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

Interview: Adam Pascal, Olivia Valli, Mykal Kilgore & More Talk JESUS CHRIST SUPER STAR

Mon, 01 Jun 2026 16:44:33 PST

There is a distinct alchemy that occurs when a massive, legendary rock opera is stripped of its traditional stadium-sized distance and placed directly in front of an audience. At Studio Tenn’s Turner Theatre at The Factory in Franklin, Tennessee, director Patrick Cassidy has done just that, turning Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar into a visceral, in-your-face exploration of celebrity, devotion, and mortal terror.

By blending heavy-hitting Broadway royalty with the formidable wealth of local Nashville talent, this production strips away the show’s five-decade-old mythological veneer to expose its raw, beating heart. Here, the ensemble is a tech-obsessed modern mob, turning adoration into a violent media spectacle, while the central trio anchors the tragedy in devastatingly quiet human stakes.

Please enjoy BroadwayWorld's interview with director Patrick Cassidy and stars Adam Pascal (Jesus), Mykal Kilgore (Judas), and Olivia Valli (Mary Magdalene) to discuss vocal longevity, the power of artistic stillness, and what happens when an icon is crushed by his own fanbase.

*Adam Pascal (Jesus)

You’ve spent decades delivering some of the most demanding rock tenors in modern musical theater, from Roger Davis to now. 'Gethsemane' is famously brutal on the voice, yet in this intimate space, you’re still aggressively hitting those optional high notes on your knees. How has your relationship with your own vocal instrument evolved to allow you to handle the vulnerability and physical exhaustion of this specific song night after night?

“I’ve been fortunate enough to have been consistently singing all these years, and I’ve also been fortunate enough to have not done any damage to my vocal cords. I know my instrument pretty well, and I know how to do what I do without hurting myself. Those optional high notes are actually something that I’ve never had the opportunity to do. There’s really no other show that asks for that, and I just so happened to know where to place that in my face. I’m a huge fan of Ian Gillen, and I would definitely say I modeled my vocal performance after him over any other singer.”

Unlike your work in 'Pretty Woman' or 'Aida,' where you portray men trying to conquer or navigate a rigid system, Jesus is an icon whose public image completely escapes his own control. In Patrick’s staging, the ensemble uses cell phones and flash photography, turning your followers into an aggressive, modern fanbase. How did you balance the immense 'Superstar' mythology with the internal, quiet exhaustion of a man who knows he is being crushed by his own celebrity?

“Well, it’s an ever-repeating pattern to build people up to icon status and then revel in taking them down, and the same person can be exalted and torn down multiple times. It's something we do as a culture with this character. The ultimate motivation at the time when we meet him six days before the crucifixion is fear. He's terrified to die. I really try to play him as mortally as I can. I’ve seen so many productions where Jesus is this archetypal mythologically portrayed character that to me is very one-dimensional. It wasn’t interesting to me to explore the character in that way.”

You are used to massive houses and touring stages, but the Turner Theatre puts the audience right in your face. When you are standing downstage delivering Jesus’ final moments of bleak resignation, how does that immediate proximity change your acting choices compared to playing to the back row of a massive Broadway theater?

“I love playing in the small, intimate space and having people right there. I wasn’t sure how I was going to feel about it, but I really enjoyed it. It doesn’t really affect my performance. I don’t think I would do anything different in a larger house but to meet the intimacy adds to the excitement. I remember people‘s reactions to Rent when we were at the New York Theatre Workshop, and one of the most consistent comments was the in-your-face intimacy of the space. It’s a special experience.”

Are there any upcoming projects you would like to share with our BroadwayWorld readers?

“I’ve got a bunch of directing projects coming up this summer and fall, Dear Evan Hanson starring Orfeh at the Harbour Lights Theatre in Massachusetts. I’m also directing a new musical called Our Little Secret that is having its premiere at the Mirvish in Toronto this fall.”

*Mykal Kilgore (Judas)

Judas is structurally written as the antagonist, yet your performance forces the audience into an overwhelming state of empathy—particularly during the second-act descent toward suicide. Because the score relies heavily on your musical cadences and riffs, how did you use your own background in vocal improvisation to map Judas’ transition from logical, frantic worry to absolute heartbreak?

“Because the score was written with soul and rock in mind, it’s almost 2nd nature. You come to the music with a bit of a cultural concept of what it means to add ornaments to music. As someone who grew up singing gospel and soul music and also has a real love for classical art forms, and ‘opera’, this feels like the best way to portray emotion and tell a story.”

Some traditional interpretations view Judas as an aggressive, driving engine of anger against the status quo, but your portrayal brings a deeply layered, internal complexity. How did you work with Patrick to find the power in Judas’ vulnerability and fear, ensuring he didn't just feel like a villain, but a tragic observer caught in a mechanism larger than himself?

“I’ve always seen Judas as a character that is seeing someone that they love, making decisions that they are afraid are going to hurt them. I mean, that is exactly what happened. He’s a human like anybody who has friends that are radical who can absolutely believe in what they believe in, but that doesn’t mean sometimes you wish you could get in the way of their righteousness, if for no other reason, then to just keep peace.”

From your very first notes, you have to establish the entire stakes, tension, and musical vocabulary of the production. Given the grunge, minimalist aesthetic of the set, how much of the world-building did you feel you had to do purely through the texture and grit of your own belt?

“In our staging, Judas speaks directly towards the audience for the first number of the show, and I think that sets up for our audiences that this is going to be an intimate night that requires a conversation between what’s happening on the stage and the people in the seats. Yeah, there is a sort of pressure to set up the evening, but it feels like I’m set up to do it.”

Are there any upcoming projects you would like to share with our BroadwayWorld readers?

“I’m in an exciting period in my life where I’m exploring all sorts of possibilities inside myself. Am I a writer? Am I a director? I think I will be trying it all!”

*Olivia Valli (Mary Magdalene)

Mary Magdalene is so often played either with detached reverence or a heavy emphasis on a 'fallen woman' trope, but your performance feels like an anchor of steady, compassionate devotion. Coming from highly stylized, high-energy roles like Elphaba in 'Wicked' or Mary Delgado in 'Jersey Boys,' how did you approach the task of stripping back those theatrical layers to find the quiet, grounded humanity required for 'I Don't Know How to Love Him'?

“I started this process determined to show that Mary, like all women, is so deeply complex and that her story in this show matters too. My version of Mary is about devotion, connection, and simply being a human being with a range of emotions. We forget that Mary, like everyone else in the show, is experiencing these events for the first time as well. Women are often only allowed to be one thing. They can only be quiet and never chaotic, they can only be caring and never strong, we cannot exist in multitudes, and that’s where I feel Mary can fall short. I decided early on that I had to show her humanity and let go of what people might expect from Mary. That is exactly how I tell a story in a high-energy show as well, because these characters are experiencing the things around them for the first time. You can’t let the spectacle get in the way of ground, honest, and authentic storytelling. I believe that one of the biggest powers an actor can have is to trust in stillness. That is Mary's superpower and the thing that feels so needed in the show. “I Don’t Know How To Love Him” is such a quiet yet complex moment in the show where we finally get to see Mary's inner world. It feels like a confession to the audience. So, with removing the need to perform, I feel like that song really hits home because I’m allowing a very relatable side of Mary to come out, which is the complexity of living someone.”

You and Adam previously shared the stage on the national tour of 'Pretty Woman: The Musical' under completely different character dynamics. How did that pre-existing professional trust alter the way you two developed the complex, non-verbal shorthand between Mary and Jesus in this rehearsal room?

“During Pretty Woman, Adam and I created such a strong bond because of the nature of the roles. We also became friends through the process, and we have such a great connection because of Pretty Woman. I think because of that, there is a trust and respect for one another that translates into something palpable for the audience to see. We are friends, and we cheer each other on so naturally that it is easy to read on stage. We decided early on that this relationship between Mary and Jesus is certainly love, but not exactly romantic love. It’s admiration and genuine care.”

In a production where the ensemble represents a volatile, modern mob mentality, constantly shifting from adoration to violence, Mary remains the singular constant. How did you conceptualize her place within Patrick's staging? Is she immune to the media spectacle surrounding Jesus, or is she just the only one seeing the man instead of the icon?

“I’m not going to lie, it was very difficult at first. Mary can be so ambiguous and often tossed to the side because people don’t know what to do with her. So I had to bring it back to what I would do. I’m a naturally empathetic person who picks up on everything a person is feeling. So I applied that to my version of Mary. Mary sees Jesus as the man who experiences the joys and the anguish of being the icon. She's naturally empathetic to her friend who is suffering. During rehearsals, I was moving so much, and it felt too chaotic. I wasn’t connecting with the story, with our cast, or with Mary. So, I tried stillness, and everything clicked. The more still I was, the more connected I was to the piece. I wanted to be the connective tissue that brings everyone together and sees every character's feelings beneath the surface. I wanted to be a Mary who tries to remind Jesus that she sees him simply as the man who is her friend, whom she deeply cares about.”

Are there any upcoming projects you would like to share with our BroadwayWorld readers?

“I’m headed up to North Shore in June to play the Narrator in Joseph and the Amazing Technicolor Dreamcoat! It’s my first time performing at North Shore. I’m so excited to get started!”

*Patrick Cassidy (Director / Artistic Director)

Middle Tennessee has an incredibly vibrant, proud, and discerning local theater community. When you are looking at potential shows to bring to The Factory, how do you read the specific pulse of this audience? What tells you that a classic piece like 'Jesus Christ Superstar' is exactly what the local community wants to experience right now?

“When I’m building a five-show season, I spend a tremendous amount of time thinking about our audience, their familiarity with titles, the balance of musicals versus plays, and what stories will resonate most deeply in this particular community. A big part of my process is pondering if our audience knows a piece and whether they will feel a connection to it. With Jesus Christ Superstar, there was already a rich cultural history that made it compelling. This is a show that has lived for over fifty years, beginning with the concept album that introduced audiences to two young, groundbreaking composers, Tim Rice and Andrew Lloyd Webber, whose music people became obsessed with long before the show even reached the stage. Then came the iconic film adaptation, which cemented its place in popular culture. I’ll admit, there was a bit of trepidation in choosing it. This is a rock opera centered on the final days of Jesus’ life, and historically, when the show first opened, there was controversy, criticism, and even picketing outside theaters. But culture evolves. Today, audiences are far more open to contemporary interpretations of spiritual storytelling. In fact, if you walk into many churches today, including right here in Middle Tennessee, you’ll find worship teams using rock instrumentation, theatrical lighting, and contemporary performance styles that aren’t far removed from the language of Superstar. I also felt that the scale and intimacy of Turner Theater made this the perfect environment for the piece. Rather than presenting it from a distance, we could create an experience that feels immediate, immersive, and deeply personal for our audience, allowing them to engage with this familiar story in a powerful new way.”

Bringing together Adam, Mykal, and Olivia gives you an immense amount of vocal power. When you were shaping the production, how did you guide these three distinct powerhouse energies to ensure they didn’t just sound incredible individually, but locked together perfectly to tell this specific, grounded story?

“Each of them was hired because of their extraordinary talent, not just vocally, but as actors and complete performers. The strength and individuality of their voices were absolutely one of the reasons I wanted them for these roles. But the way they blend together has less to do with vocal power and more to do with truthfully embodying these characters and their relationships to one another. Adam is one of my closest friends, and when I asked him if he had ever played Jesus in Superstar, he said no. In that moment, I knew he was the perfect fit. Mykal and Olivia followed, and I felt incredibly fortunate to bring them together alongside the remarkable talent we have here in Tennessee. What makes their performances connect isn’t simply that they each sound incredible on their own; it’s that they fully inhabit who these people are. Their chemistry, their humanity, and their commitment to telling this story in a grounded, honest way are what allow their voices and performances to lock together so effectively.”

This production is a spectacular blend of heavy-hitting Broadway talent and brilliant local artists. How do you balance bringing in outside stars with honoring and elevating the incredible pool of talent that already lives and works right here in the Nashville area?

“The artists here in Tennessee honor and elevate themselves because they are extraordinarily talented. For me, this has never been about “New York versus Tennessee.” The talent pool here is every bit as gifted, skilled, and inspiring as anywhere else. In fact, every performer we’ve brought in from Broadway or Los Angeles has said exactly that after having the opportunity to work and share the stage with the incredible artists here in Tennessee. My goal is always to cast our productions entirely with Tennessee performers. Only in certain circumstances do I look outside the state to recruit additional artists. When that happens, it’s not about replacing local talent, it’s about creating the strongest possible storytelling ensemble. What I’ve found is that bringing together performers from different backgrounds often creates a wonderful artistic exchange, but the exceptional talent that already lives and works here in Tennessee is, and always will be, the foundation of what we do.”

Tell us more about the new post-performance conversation series, Beyond The Stage, you are launching, inviting the public to explore ideas, themes, and questions raised by the shows that will be performed throughout the season.

“One of the things I’m especially excited about surrounding Jesus Christ Superstar is our “Beyond On the Stage” talkback event. We’ll be bringing together spiritual leaders from our community, including a rabbi, a pastor, and individuals who are deeply passionate and knowledgeable about the Gospels, to engage in an open conversation about the show and its relationship to the Gospel story. What makes this so compelling is that Jesus Christ Superstar has always sparked thought, discussion, and different interpretations. This talkback creates a space for audiences to hear a variety of perspectives from different faith traditions and backgrounds, ask questions, and engage in meaningful dialogue. I think it’s going to be a fascinating conversation, thoughtful, respectful, and deeply engaging. As the director of JCS, I’m genuinely looking forward to being part of that audience myself, listening, learning, and asking questions right alongside everyone else. That kind of shared exploration is part of what makes theater so powerful.”

What makes Studio Tenn’s production of Jesus Christ Superstar linger long after the final chord of the rock score fades is its stubborn insistence on the humanity of its characters. Through Adam Pascal’s fiercely mortal, fear-driven Jesus, Mykal Kilgore’s heartbreakingly empathetic Judas, and Olivia Valli’s grounding, still portrayal of Mary Magdalene, the production transcends the boundaries of a traditional revival. Under Patrick Cassidy’s direction, the show bridged the gap between Broadway excellence and Middle Tennessee's vibrant cultural landscape, proving that a 50-year-old rock opera can still perfectly mirror our modern obsession with building icons up just to watch them fall.

As Studio Tenn looks toward its upcoming season and its new Beyond the Stage conversation series, it is clear that theater in Franklin is not just about entertainment; it is a catalyst for community dialogue, artistic exchange, and profound human connection. Audiences have plenty of reasons to stay excited. Subscriptions are already buzzing for their upcoming 2026–2027 Season 17 lineup, which promises a magnificent mix of laughter, legacy, and spectacular music. Including, The Addams Family, a spooky, kooky musical comedy celebrating the wonderfully weird, It’s a Wonderful Life, A Live Radio Play, (marking the return of their sold-out, nostalgic holiday hit), Steel Magnolias, one of the most beloved, wit-filled Southern American plays of all time, Ring of Fire: The Music of Johnny Cash, a foot-stomping, high-energy journey through the life of the "Man in Black", and Something Rotten!, the hilarious, crowd-pleasing Broadway smash full of big dance numbers and Renaissance mischief, co-written by Wayne Kirkpatrick, longtime Nashville-based songwriter and Nashville Songewriters Hall of Fame inductee.

It is impressive that theater in Franklin is not just about entertainment; it is a catalyst for community dialogue, artistic exchange, and profound human connection. Keep an eye on BroadwayWorld Nashville for updates on incredible productions starring local and visiting artists as they take on their next exciting chapters right here in our own backyard.

See ya at the theater!

SONIC LIVE IN CONCERT to Launch Global Tour With US and UK Premieres

Wed, 27 May 2026 20:59:39 PST

As Sonic the Hedgehog celebrates 35 years as one of the most iconic video game franchises of all time, Senbla and SEGA today announced Sonic Live In Concert (www.sonicliveinconcert.com). This new concert experience brings the music and moments of the beloved video games to the stage.

Featuring iconic moments and music from the very first game in 1991 through today, the production will debut in the U.S. at the Dolby Theatre in Hollywood on September 26, 2026, before making its European premiere at London's Eventim Apollo on September 30. The U.S. tour will visit more than 30 cities nationwide, and a UK tour will follow in February 2027. More European dates will be announced at a later time. Tickets will go on sale May 29, 2026, with pre-sale tickets going on sale on May 28, 2026.

As part of a global rollout celebrating the franchise's milestone anniversary, Sonic Live In Concert features the most recognizable music from the Sonic universe, performed by a live ensemble alongside rock musicians, vocalists, and electronic elements. The setlist includes fan-favorite tracks and an incredible array of music from the very first game through to today accompanied by synchronized HD footage of iconic levels, moments and boss battles from the franchise. Audiences can expect musical Easter eggs woven into the arrangements, adding an extra layer of discovery that brings Sonic's world vividly to life on stage.

The concert also highlights the creative legacy behind Sonic's music from legendary composers Jun Senoue and Tomoya Ohtani, whose work has helped define Sonic's sound across generations.

"Sonic has some of the most distinct and celebrated music in gaming," says Ollie Rosenblatt, CEO of Senbla. "We wanted to create a live show that stays true to what the fans love about Sonic's music, from the electronic and melodic themes to high-energy rock."

“Music has always been a core part of Sonic's identity, shaping how fans experience this world across generations," said Ivo Gerscovich, Chief Business & Brand Officer at SEGA of America, Inc. "With this concert, we're looking forward to celebrating that legacy in a live setting; bringing together the energy, emotion, and creativity of Sonic's music in a way that both longtime fans and new audiences can enjoy together.”

Since his debut in 1991, Sonic the Hedgehog has become a global entertainment icon spanning video games, film, television, and consumer products. With renewed momentum driven by recent film releases, new game titles, and a global brand campaign tied to the 35th anniversary, the franchise continues to reach new generations of fans worldwide.

The performance schedule includes:

September 20, 2026 – Spokane, Washington – First Interstate Center for the Arts
September 22, 2026 – Seattle, WA – Paramount Theatre (preview)
September 23, 2026 – Portland, OR – Keller Auditorium (preview)
September 25, 2026 – San Diego, CA – San Diego Civic Theatre (preview)
September 26, 2026 – Hollywood, CA – Dolby Theatre
September 27, 2026 – Riverside, CA – Fox Performing Arts Center
September 29, 2026 – Mesa, AZ – Mesa Arts Center - Ikeda Theater
September 30, 2026 – London, U.K. – London Eventim Apollo
October 1, 2026 – Las Vegas, NV – Resorts World Theatre
October 2, 2026 – Fresno, CA – Saroyan Theatre
October 3, 2026 – San Jose, CA – San Jose Civic
October 4, 2026 – Reno, NV – Grand Theatre at The Grand Sierra Resort & Casino
October 6, 2026 – Denver, CO – Temple Hoyne Buell Theatre
October 8, 2026 – Irving, TX – The Pavilion at Toyota Music Factory
October 9, 2026 – Houston, TX – Bayou Music Center
October 10, 2026 – San Antonio, TX – Boeing Center at Tech Port
October 11, 2026 – Oklahoma City, OK – The Criterion
October 13, 2026 – Wichita, KS – Orpheum Theatre
October 15, 2026 – Omaha, NE – Orpheum Theater
October 16, 2026 – Peoria, IL – Prairie Home Alliance Theater
October 17, 2026 – Louisville, KY – The Louisville Palace Theatre
October 18, 2026 – St. Louis, MO – The Factory
October 19, 2026 – Nashville, TN – Ryman Auditorium
October 20, 2026 – Mobile, AL – Saenger Theatre
October 22, 2026 – Brandon, MS – City Hall Live
October 23, 2026 – Huntsville, AL – VBC Mark C. Smith Concert Hall
October 24, 2026 – Atlanta, GA – Fox Theatre
October 25, 2026 – Greensboro, NC – Steven Tanger Center for Performing Arts
October 27, 2026 – Charlotte, NC – Ovens Auditorium
October 28, 2026 – North Charleston, SC – North Charleston Performing Arts Center
October 29, 2026 – Jacksonville, FL – Florida Theatre
October 30, 2026 – St. Petersburg, FL – Duke Energy Center for the Arts - Mahaffey Theater
October 31, 2026 – Fort Lauderdale, FL – Broward Center for the Performing Arts - Au Rene Theater
November 1, 2026 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
February 17, 2027 – Glasgow, UK – Royal Concert Hall
February 18, 2027 – Edinburgh, UK – Usher Hall
February 19, 2027 – Manchester, UK – Bridgewater Hall
February 20, 2027 – Birmingham, UK – Symphony Hall

For more information, tour dates, and tickets, visit www.sonicliveinconcert.com.

George Strait and Lainey Wilson Join Alan Jackson's Nashville Finale Concert

Wed, 27 May 2026 16:26:15 PST

Country musicians George Strait and Lainey Wilson will join Alan Jackman for his Last Call: One More for the Road – The Finale, taking place next month. The Country Music Hall of Famer will conclude his performance career with one final concert in Nashville, Saturday, June 27, at Nashville’s Nissan Stadium, home of the Tennessee Titans.

Strait, known as the "King of Country Music," has collaborated with Jackson several times over the years, including the duets “Designated Drinker” and the CMA Award-winning “Murder on Music Row," a concert album and DVD with the late Jimmy Buffett, and more.

Wilson was part of the all-star lineup that saluted Jackson when he received the Country Music Association’s Willie Nelson Lifetime Achievement Award at the 2022 CMA Awards, performing “Chasin’ That Neon Rainbow” before joining him (and others) on an all-star rendition of “Don’t Rock the Jukebox.”

The two performers are part of an all-star lineup of artists joining Jackson at the concert. Previously announced participants include Luke Bryan, Eric Church, Luke Combs, Riley Green, Cody Johnson, Miranda Lambert, Little Big Town, Jake Owen, Jon Pardi, Thomas Rhett, Carrie Underwood and Lee Ann Womack, along with Adam Wright, Big City Brian Wright and Carlisle Wright.

Jackson’s touring career has taken his catalog of country music from coast-to-coast countless times, even traveling to such far-reaching places as Australia, Brazil, and Europe. Over the last three years, his Last Call: One More for the Road tour played to sellout and capacity concerts.

Last Call: One More for the Road – The Finale is promoted by Doussan Music Group and Peachtree Entertainment. Complete tour information is available here. For each ticket that was sold, $1.00 is being donated to the CMT Research Foundation, a 501(c)(3) federal tax-exempt organization that funds research to find a cure for Charcot-Marie-Tooth disease, and matched by $2.00 from a generous donor.

About Alan Jackson:

A member of the Country Music Hall of Fame and an inductee to the Songwriters Hall of Fame, Alan Jackson’s accolades include three CMA Entertainer of the Year honors, over 30 years of membership in the Grand Ole Opry, a Billboard ranking as one of the Top 10 Country Artists of All-Time, induction to the Nashville Songwriters Hall of Fame, and the Heritage Award as the most-performed country songwriter-artist of ASCAP’s first 100 years.

He has sold nearly 60-million albums worldwide and released more than 60 singles – registering 50 Top Ten hits and 35 #1s (including 26 Billboard chart-toppers). He has earned more than 150 major music industry awards – including 22 Academy of Country Music Awards, 17 Country Music Association Awards (including the Willie Nelson Lifetime Achievement Award), a pair of Grammys, ASCAP’s Founders and Golden Note Awards, and the NSAI’s Kris Kristofferson Lifetime Achievement Award. He was recently presented with the inaugural Alan Jackson Lifetime Achievement Award from the Academy of Country Music, an honor which now bears his name.

George Strait Photo credit: Peggy Sirota; Lainey Wilson Photo credit: CeCe Dawson

Dolly Parton Sets Grand Opening Date for Tennessee Travel Stop

Wed, 27 May 2026 15:32:31 PST

Country icon Dolly Parton has set the date for Dolly’s Tennessean Travel Stop, her new destination offering travelers a space for food, music, and more. Located at exit 22 off of I-65 in Cornersville, TN, the travel experience will officially open on June 24.

Located approximately one hour south of Nashville and one hour northwest of Huntsville, Dolly’s Tennessean Travel Stop offers an opportunity for guests to relax, shop custom merch, and eat, including barbecue offerings from DLY BBQ, a cup of Dolly’s Cup of Ambition Coffee, and a full-service sit-down cafe & restaurant.

Dolly’s Tennessean Travel Stop will also feature an original mural commissioned as a permanent love letter to Cornersville, Tennessee. A tour bus inspired by the one Dolly has traveled in for years will also be on-site, providing photo ops for guests.

This flagship travel stop is the first of many planned locations, born from the partnership between Parton and her manager, Danny Nozell, and Gregory H. Sachs, who has owned and operated the trusted Tennessean Travel Stop brand since 2017. It is inspired by Dolly’s lifelong connection to the open road, from her childhood in the hills of East Tennessee to decades spent touring the world by bus.

The grand opening event will be a large-scale celebration, with the public invited to attend. Additional details on grand opening festivities will be revealed in the coming weeks. For more information about Dolly’s Tennessean Travel Stop, please visit here.

Additionally, the Travel Stop has opened a call for local Tennessee musicians to provide live music at the location. Those interested in being considered for booking at the Grand Opening Week and beyond are encouraged to submit their information here.

Photo courtesy of Dolly Parton

COME FROM AWAY, WEST SIDE STORY, and More Set For Chattanooga Theatre Centre 2026-2027 Season

Tue, 26 May 2026 05:17:40 PST

The Chattanooga Theatre Centre has announced its 2026-27 season. From the kindness of strangers in the days after 9/11 to the revolutionary ideals that ignited a nation, from the intimate struggles of Southern families to the vibrant streets of New York City, this season invites audiences to experience America through many lenses-historic, humorous, musical, and deeply human.

A Season of Heart, History, and Humanity

The journey begins with the internationally acclaimed musical Come From Away, a soaring testament to generosity and global connection. We then leap back to the nation's founding with the lightning‑fast comedy The American Revolution (in 40 Minutes or Less!), a joyful reminder that history belongs to everyone.

Autumn brings the tender Southern storytelling of See Rock City, followed by the jazzy holiday charm of Harry Connick Jr.'s The Happy Elf-a festive celebration for families and theatre lovers alike.

In the new year, the stage bursts into song with Schoolhouse Rock Live!, before shifting into the political intrigue of Shakespeare's Julius Caesar, a timeless reflection on ambition, loyalty, and the fragile balance of democracy.

Spring delivers a double dose of comedic brilliance with The Complete History of America (abridged) and the beloved American classic You Can't Take It With You, each offering a joyful reminder of the quirks, contradictions, and dreams that define us.

The season culminates in a spectacular summer production of West Side Story, the iconic musical that reimagines Romeo and Juliet through the lens of identity, belonging, and the American Dream.

New Voices, New Perspectives

This season also features a special staged reading of The Cost of Justice by Brazil Remani, presented in partnership with the Del Shores Foundation. This new‑work initiative expands the Theatre Centre's commitment to amplifying emerging voices and fostering bold, contemporary storytelling.

Be Part of the Story

The 2026-2027 season is more than a lineup of shows-it's an invitation. An invitation to reflect on where we've been, imagine where we're going, and celebrate the stories that continue to shape us. Whether you're a lifelong theatre lover or stepping into the CTC for the first time, this season offers something to move, challenge, and inspire you.

Join in for a year of unforgettable performances, meaningful conversations, and shared experiences that remind us what it truly means to be part of this American journey.

COME FROM AWAY, WEST SIDE STORY, and More Set For Chattanooga Theatre Centre 2026-2027 Season

Tue, 26 May 2026 05:17:40 PST

A Season of Heart, History, and Humanity

Autumn brings the tender Southern storytelling of See Rock City, followed by the jazzy holiday charm of Harry Connick Jr.'s The Happy Elf-a festive celebration for families and theatre lovers alike.

The season culminates in a spectacular summer production of West Side Story, the iconic musical that reimagines Romeo and Juliet through the lens of identity, belonging, and the American Dream.

New Voices, New Perspectives

Be Part of the Story

Join in for a year of unforgettable performances, meaningful conversations, and shared experiences that remind us what it truly means to be part of this American journey.

The University Choir Of Sewanee To Perform in Nova Scotia

Sat, 23 May 2026 17:00:55 PST

Continuing a legacy of choral excellence and international touring, The University Choir of Sewanee will perform at three distinguished churches in Nova Scotia and the Confederation Centre for the Arts in Prince Edward Island from May 24-31, 2026.

The University Choir is the heart of musical life at Sewanee. Under the direction of University Organist and Choirmaster Dr. Geoffrey Harris Ward, the choir comprises 70 dedicated undergraduates and is accompanied by Assistant Organist Stephanie Yoder.

The choir members hail from across the United States and abroad, representing a range of majors and minors, spiritual traditions, musical experiences, and varied interests. The University Choir sings weekly worship services in All Saints' Chapel, leads regular choral evensongs, and performs various concerts and recitals throughout the academic year. As an active touring ensemble, the University Choir has performed extensively across the United States, Canada, Ireland, and England.

The choir's Canadian spring tour adventures will be featured on Facebook and Instagram (@sewaneechoir) with some services and concerts available via livestream.

Performance Schedule:

Sunday, May 24 - 4 pm - Concert - Free and open to the public
Saint Matthew's United Church of Canada, 1479 Barrington Street, Halifax, NS

Tuesday, May 26 - 7:30 pm - Concert
Trinity-Saint Stephen's United Church of Canada, 1 Ratchford Street, Amherst, NS
Tickets @ $20 (advance); $25 at the door. (902) 667-8483
Children and Youth over 7 and under 18 welcomed free of charge with adult ticket holder.

Thursday, May 28 - Noon - Concert - Free and open to the public
Confederation Centre of the Arts, Lou MacEachern Plaza, 145 Richmond St, Charlottetown, PEI

Sunday, May 31 - 11 am - Eucharist & 4 pm - Choral Evensong
Cathedral Church of All Saints , 1340 Cathedral Lane, Halifax, NS
Livestream: https://www.youtube.com/@cathedralchurchofallsaints7991/streams

For more information on the choir, please visit https://sewanee.edu/universitychoir.

Steel Magnolias To Perform At Ledbetter Auditorium

Sat, 23 May 2026 16:00:43 PST

The 2025-26 season for Watershed Public Theatre (WPT) is set to wrap up with a beloved Southern classic dramedy, Steel Magnolias, which opens May 29 and runs through June 7, 2026. Each play in Watershed Public Theatre's 25-26 season has represented the common theme of strong women, and Steel Magnolias has them in spades. The conversations that abound in the beauty salon move the plot through every emotion imaginable. The play shows time passing in 1980s Chinquapin, Louisiana through a series of moments; some are light, even mundane, while others carry quiet weight. In the two-year timeline, just about every one of life's milestones gets touched by somebody in this tight community.

Audience members may have fond memories of the 1989 film which was written by Robert Harling. The screenplay for Steel Magnolias came from the writer's original stage play, which came from a short story, which served as a way for Harling to process the death of his sister.

According to production director Sarah Tatom, "These women are not defined by tragedy, but by their ability to endure it - and to do so together." To her, the characters represent strength and softness, resilience wrapped in grace.

Salon owner Truvy is played by Sarah Fye. "These women continue to show up to the space that is held for them, the beauty shop," Sarah says. "It seems like a place where women go to pull themselves together, but in this play, we see how they actually fall apart. Truvy's beauty shop is a place where there are no secrets. She also strives to make it a place where there is no judgement."

The cast for Steel Magnolias features Kay Ayers (M'Lynn) and Deb Meeks (Ouiser), both of whom have appeared in many past WPT productions. Appearing for the first time on the WPT stage are Colby Block (Clairee), Sarah Fye (Truvy), Kelsey Keny (Shelby) and Annie Zander (Annelle).

Continuing the theme of supporting women, WPT is hosting a donation drive for Paula's Purse, a GFWC of Maury County program that provides purses and feminine hygiene supplies to middle school girls. Those who bring purse-size hand sanitizer, lotion and/or deodorant to donate for Paula's Purse will receive a $5 discount on tickets purchased at the door.

Performances of Steel Magnolias span across two weekends in Columbia, TN at Columbia State Community College's Ledbetter Auditorium located at 1665 Hampshire Pike, Columbia. Showtimes are at 7pm Friday May 29, Saturday May 30, Friday June 5, and Saturday June 6; 3pm matinee shows will take place on Sunday May 31 and Sunday June 7. Tickets can be purchased online at the Watershed Public Theatre's website or at the door.

Review: JESUS CHRIST SUPERSTAR at Studio Tenn

Thu, 21 May 2026 12:53:45 PST

Jesus Christ Superstar began as a concept album in 1970 before making its stage debut in 1971. The original 1970 concept album was the brainchild of composer Andrew Lloyd Webber and lyricist Tim Rice. Weber and Rice were unable to find a producer willing to back a stage production about the life of Jesus. Jumping that hurdle, an innovative decision was made to record and release a "rock opera" album to build their initial audience. I’d like to point out here that the decision to release the rock opera as a studio album first was a masterstroke of strategic foresight. Rather than waiting for a stage to prove its worth, the album bypassed traditional financial barriers and went straight to the public's ears. This created a built-in community of fans who had already developed emotional ties with the characters and lyrics. By the time the project transitioned to Broadway, it was a highly anticipated event supported by a loyal audience that already knew every word. The success of the album, which reached #1 on the Billboard charts, eventually paved the way for the 1971 Broadway production. The album featured Ian Gillan (lead singer of Deep Purple) as the original voice of Jesus, and Murray Head (One Night in Bangkok) as Judas. The screenplay for the 1973 film was co-written by the film's director, Norman Jewison, and British writer/broadcaster Melvyn Bragg. The production helped launch several careers and featured consistent talent across the stage and screen. The original Broadway cast starred Jeff Fenholt as Jesus, Ben Vereen as Judas Iscariot, and Yvonne Elliman as Mary Magdalene. In the film, Ted Neeley took over the role of Jesus (after being a chorus member and understudy on Broadway), while Carl Anderson played Judas. Yvonne Elliman and Barry Dennen (Pontius Pilate) reprised their roles from the original Broadway production. The show was highly controversial upon its release, with reactions ranging from condemnation to high praise.

Studio Tenn Theatre Company is currently closing its blockbuster 16th season with a production that feels less like a local theater run and more like a Broadway event. Staged at the Turner Theater inside the Factory at Franklin, this rendition of Jesus Christ Superstar serves as an electrifying finale before the company transitions into its newly announced 2026-2027 lineup. This production leans heavily into the show's origins as a rock opera that emphasizes raw energy over traditional Biblical sets. This set bypasses desert landscapes for a more industrial or dystopian aesthetic on a multi-level stage design with scaffolding that allows the ensemble to loom over the action, amplifying the feeling of a society on the edge.

The headline draw is undoubtedly Broadway royalty Adam Pascal in the title role. Adam Pascal’s career is defined by his role as the quintessential "rock tenor" of modern Broadway. Beyond his legendary turn as Roger Davis in the original cast of Rent, a role he reprised for the 2005 film adaptation, he has consistently led some of the most successful productions of the last two decades. Pascal starred as Radames in the original Broadway cast of Elton John and Tim Rice’s Aida, earning a Drama League Award for his performance. He also famously stepped into the iconic roles of the Emcee in Cabaret and Huey Calhoun in Memphis. Most recently, he showcased his comedic and vocal versatility as William Shakespeare in the hit musical Something Rotten! and as Edward Lewis in the Broadway premiere of Pretty Woman: The Musical. For those who grew up on the original cast recording of Rent, hearing that iconic, raspy rock tenor in the intimate 300-seat Turner Theater is a visceral experience. Pascal brings a weary, humanness to Jesus with a vocal prowess that remains remarkably preserved. His performance anchors the show, reminding us why he remains a definitive voice in the rock musical canon. Pascal’s approach to Jesus is less about ethereal divinity and entirely about raw, exhausted humanity. He portrays a man buckling under the immense weight of his predetermined destiny. Nowhere is this more potent than in his rendition of "Gethsemane," the emotional and vocal Mount Everest of the show. Pascal takes the audience on a breathtaking vocal and emotional roller coaster in "Gethsemane," masterfully transitioning from a weary, desperate whisper to an explosive, guttural rock scream that demands answers from a silent heaven. This visceral release of trauma then collapses back into a frail, hollow whisper of tragic resignation, drawing us entirely into the raw, unfiltered humanity of a broken man accepting his fate.

Pascal is supported by a cast that arguably marks Studio Tenn’s most high-profile ensemble to date, bringing powerhouse vocals to this production. While Adam Pascal brings the Rent legacy, his co-stars bring equally impressive resumes from the worlds of Broadway and pop-soul. Mykal Kilgore (Judas Iscariot) as the show’s antagonist and narrator, provides a soulful, high-octane contrast to Pascal. His interpretation captures the frantic desperation of a man watching his world unravel. Olivia Valli (Mary Magdalene) delivers a grounded and vocally stunning performance, bringing a necessary tenderness to the production’s more reflective moments and the pipes to belt to the rafters when needed.

Mykal Kilgore (Judas) is a vocal dynamo whose career bridges the gap between Broadway and the Billboard charts. He has starred in Motown the Musical, Hair, and the first national tour of The Book of Mormon. A Grammy-nominated artist for his debut album A Man Born Black, Mykal is known for a multi-octave range that can shift seamlessly from gospel-inflected soul to soaring Broadway tenor. You may recognize him from NBC’s Jesus Christ Superstar Live in Concert (starring John Legend) and The Wiz Live!. Singing “Heaven on Their Minds”, Kilgore commands the stage right from his opening notes, leaving audiences awestruck with a crystal-clear, piercing belt and immaculate diction. What truly sets his interpretation apart is a masterclass in vocal cadence. Leveraging his deep background in soul and R&B, Kilgore integrates brilliant, effortless improvisations and riffs over Andrew Lloyd Webber’s notoriously difficult lines. If the first act is about vocal dominance and political frustration, Act II's tragic climax is where Kilgore delivers absolute heartbreak in betraying Jesus.

Olivia Valli (Mary Magdalene) is a musical theater virtuoso, having carved out a major career as a leading lady. Olivia recently completed a long, celebrated run as Elphaba in the National Tour of Wicked, a role that demands incredible vocal stamina. She also played Mary Delgado in the Off-Broadway production of Jersey Boys, and originated the role of Vivian Ward in the first national tour of Pretty Woman: The Musical. Her vocals in "Everything's Alright," where Mary attempts to create a peaceful space for Jesus, as she sees him buckling under the weight of the world. Valli plays this with an intentional, soothing maternal grounding, physically and vocally acting as a counterweight to the frantic, angular energy of Mykal Kilgore's Judas and the mounting existential exhaustion of Adam Pascal’s Jesus. You could tell the audience was waiting for her version of “I Don’t Know How to Love Him” as you could have heard a pin drop, as ears and eyes leaned in to hear every emotional note.

Geoffrey Davin’s Pontius Pilate brings a riveting, highly stylized performance that borders on a Liberace-like flamboyance. Embodying the Roman leader with a fluid, rather feminine grace, Davin is mesmerizingly slow in his movements and deliberately calculated in his speech. Wrapped in a memorable royal blue pantsuit and cape, his striking presence and rich vocal delivery perfectly capture a conflicted ruler balancing flashes of dark humor with an imposing, severe authority.

As the high priest Caiaphas, W. Scott Stewart anchors the show’s antagonistic forces with a commanding, deep bass voice that sounds genuinely foreboding. His tall stature creates an imposing, physically dominating presence on stage, effortlessly capturing the severe and threatening authority needed to make "This Jesus Must Die" a chilling highlight of the production.

Jennifer Whitcomb-Oliva delivers a showstopping, larger-than-life performance of King Herod that commands the stage the moment she steps onto it. Towering and majestic in stature, she is a spectacular sight to be seen, draped in flashy, glittering sequins that perfectly match her character's boisterous malice. Whitcomb-Oliva brings a riveting, commanding presence to the role, balancing dazzling showmanship with razor-sharp taunting toward Jesus, which makes "Herod's Song" an unforgettable, deliciously wicked highlight of the evening.

The vocal strength of the production extends deep into the supporting cast. Parker Jenkins commands the stage with a sinister, calculating presence as Annas, pairing brilliantly with the high priests to ground the show's political tension. In stark contrast, Connor Barr’s portrayal of Peter provides a deeply moving emotional anchor among the disciples, delivering his moments of doubt and denial with quiet, haunting sincerity.

Overseeing this monumental undertaking is the exceptional direction of Patrick Cassidy, an accomplished actor, director, film, television, and theater veteran. He famously originated the role of the Balladeer in Stephen Sondheim’s off-Broadway production of Assassins, starred on Broadway as Radames in Elton John and Tim Rice’s Aida, and made history alongside his mother, Shirley Jones, in the 2004 Broadway revival of 49th Street. Wearing two demanding hats for this production, Cassidy effortlessly balances his vision as the director with his overarching leadership as the Executive Artistic Director of Studio Tenn. Because of his hard-earned stature in the entertainment industry and the deep respect and affection he commands nationwide, he was able to pull together a powerhouse cast of a caliber that Nashville audiences would typically only see on a Broadway stage. Under his steady guidance, the entire company moves with a unified purpose, resulting in a meticulously run, finely tuned production that showcases Cassidy's profound understanding of grand-scale musical theater.

Lighting Design by Darren Levin is a stark, high-contrast lighting plot. The use of industrial-style lighting rigs and moving concert beams creates a frenetic, modern energy, especially during "Heaven on Their Minds" and the title track "Superstar." The production's rock-and-roll energy is thoughtfully amplified through vibrant lighting design, which infuses the musical numbers with a concert-like thrill while maintaining sharp theatrical focus.

Sound Designer Danny Northup ensures that the sudden leaps in volume feel impactful rather than jarring or distorted and maintains a clean vocal mix that keeps every lyric crisp. Given the Turner Theater's 300-seat intimacy, his sound design was engineered for impact. Dealing with vocal powerhouses like Adam Pascal, Mykal Kilgore, and Olivia Valli, who effortlessly pivot from intimate whispers to glass-shattering rock belting, Northup delivered incredibly agile sound mixing for the ever-changing landscape of vocals that this production demands.

Choreographer Joi Ware crafted dance numbers into a distinct character unto itself, absolutely driving the energy of the production forward. Rather than aligning the dancers into a rigid, orchestrated unison, Ware allows them to move dynamically within their own specific roles. This savvy choice ensures that each performer maintains a unique personality on stage that dares the audience to watch them individually to see exactly what their singular character contribution is to the larger production. Bravo to Featured Ensemble members Emma Rose Williamson (Dance Captain), Garris Wimmer, Bakari King, Matthew Hayes Hunter, Lane Adam Williamson, Connor Adair, Victoria Griffin, and Maya Antoinette Riley. Further accolades to Ensemble members Nikki Berra, Patrick Jones, Christina Ledbetter, and Savannah Stein.

The production’s visual storytelling gets notched up by Costume Designer Devon Renee Spencer's amazing and inspired costumes, which brilliantly bridge contrasting worlds. Spencer masterfully handles the show’s stylistic evolution, seamlessly shifting the ensemble from a raw, gritty, 1970s hippie-grunge look into moments of pure, eye-popping glitter and glitz, and injects the entire production with a dazzling, rock-and-roll vitality.

Andrew Cohen, Scenic Designer, leaves maximum room for the show’s high-energy choreography and explosive ensemble numbers. The minimalist approach ensures that the focus remains squarely on the human drama and the actors' performances. The use of multi-tiered steel scaffolding allows the production to dynamically separate the characters. The high priests and Roman authorities can look down threateningly from the upper decks, while Jesus and his followers operate in the open space below. This verticality instantly establishes the oppressive power dynamics of the story. By keeping the stage free of cluttered scenery,

The backbone of any production is a strong, creative, and organized stage manager, steering with precision from the helm, the unseen, unsung hero working behind the scenes. A production as high-octane and seamlessly paced as this requires masterful coordination, and Stage Manager Marlee Shelton deserves immense credit for meticulously calling cues, managing intricate transitions, and maintaining the sharp, relentless momentum demanded by the driving rock score.

The stunning visual identity of the production is further elevated by the exceptional work of Wig Designer Meredith Schieltz. Her designs provide the perfect finishing touches to the characters, effortlessly transitioning from the severe, structured authority of the high priests to the flamboyant, show-stopping extravagance of Herod. It's worth noting that there were several audible “oohs” and “ahhs” from the audience in appreciation of unexpected costume changes that ignited the stage.

Matching the production's visual grandeur is the sensational musical execution led by Music Director Randy Kraft. Kraft expertly steers the vocalists and the powerhouse rock band through Andrew Lloyd Webber’s demanding and iconic score. Under his sharp musical direction, the orchestra delivers a wall of sound that is both remarkably tight and electrifyingly raw, driving the show's intense emotional beats forward and giving the entire production a thrilling, concert-quality energy.

With performances running through May 31, 2026, this production is a testament to the "Broadway-caliber" reputation Studio Tenn has built in Middle Tennessee. It is a bold, loud, and deeply moving reimagining of the Andrew Lloyd Webber and Tim Rice classic. For more information on this production and Studio Tenn, visit www.studiotenn.com.

Photos: Curtis Brown Curtis Brown Photography

Fun facts: Accusations of heresy were raised by many religious groups who criticized the show for portraying Jesus as too "human" by displaying traits of doubt, fear, and frustration, rather than a fully divine nature. A major point of contention was the omission of the Resurrection, since the show ends with the Crucifixion, which led critics to argue it denied Christ's divinity. Some Jewish organizations expressed concern that the harsh depiction of the high priests could stir anti-Semitic sentiments.

As far as Biblical accuracy, while the lyrics often pull directly from scripture (such as the Trial before Pilate), the show takes creative liberties by focusing on the political and interpersonal tension between Jesus and Judas. It also introduces a romanticized subtext to Mary Magdalene’s infatuation, which many theologians felt strayed from biblical canon.

Despite the backlash, the show found an unlikely ally in Pope Paul VI, who reportedly attended a private screening and spoke favorably of it, believing it would bring more people to Christianity by making Christ’s gospel accessible to a younger audience.

A MIDSUMMER NIGHT'S DREAM to Make Outdoor Debut for Bravo Boro

Tue, 19 May 2026 23:11:29 PST

Bravo Boro will debut its first outdoor theatrical production with A Midsummer Night's Dream beginning June 5 at Hop Springs.

Directed by Nicholas Buckley and Sky Roberts and produced by Tyler Tsoumbos, the production runs June 5-7 and June 12-14. The show introduces a new style of performance for Bravo Boro as the company expands its programming and immersive theater experiences in Murfreesboro.

Set in a moonlit forest where fairies meddle, lovers lose their way, and actors stumble into chaos, A Midsummer Night's Dream is widely regarded as one of Shakespeare's most beloved plays. Staged outdoors at Hop Springs, the comedy aims to capture the atmosphere of a warm Tennessee summer evening beneath the stars.

"There's something timeless about experiencing Shakespeare outdoors in the summer," says director Nicholas Buckley. "This play is already so magical, and being under the night sky allows audiences to step into that world in a completely different way."

Co-director Sky Roberts says the setting naturally complements the play's atmosphere.

"The show has this dreamlike quality to it," Roberts says. "You have moonlight, music, comedy, and all of these fantastical elements unfolding around the audience. Performing it outdoors at night makes the whole experience feel more immersive."

The production marks another milestone for Bravo Boro as the company continues expanding its presence in Murfreesboro's arts community.

Performances will take place at Hop Springs, located at 6790 John Bragg Highway in Murfreesboro, Tennessee. Tickets and additional information are available at bravoboro.theater.

TPAC to Expand Arts Access Initiative for Middle Tennessee Communities

Tue, 19 May 2026 22:51:42 PST

Tennessee Performing Arts Center (TPAC) is strengthening its Arts Access initiative, expanding partnerships with nonprofit organizations, schools and community groups across Middle Tennessee to connect more people with live performing arts.

For many participants, attending a performance through Arts Access marks their first visit to TPAC, and often their first experience with live theatre. These moments spark imagination, inspire creativity and introduce individuals and families to the excitement and shared connection that live performance uniquely provides.

“The performing arts create shared experiences that stay with us for a lifetime,” said Jennifer Turner, TPAC President and CEO. “Arts Access reflects our commitment to working alongside partners to ensure more of our community across Middle Tennessee have opportunities to experience the excitement, inspiration and sense of belonging that live performance creates.”

Through Arts Access, TPAC partners with nonprofit organizations and community groups throughout the region to connect individuals with performances at the performing arts center. Each season, participants attend Broadway productions, dance performances, family programming and other live performances through the initiative.

As part of the program's continued growth, TPAC will welcome participants from the USO Fort Campbell/Nashville and 100 Black Men of Middle Tennessee's Black Kings program to attend HAMILTON in June through Arts Access, creating opportunities for youth and military families to experience the award-winning production at TPAC.

The program is supported by community partners and sponsors, including Amazon, a longtime supporter of Arts Access.

“Amazon is proud to support TPAC's Arts Access program and its mission to make the performing arts more accessible across Middle Tennessee,” said Courtney Ross, Senior Manager of Community Engagement at Amazon. “The arts have a unique ability to bring people together, and we're honored to help create opportunities for more members of our community to experience the joy and connection that live performance provides.”

Arts Access reflects TPAC's ongoing commitment to partnering with organizations that serve communities across the region and helping more people experience the arts.

Support from Merus Foundation further helps expand the program's reach and deepen its impact across the community.

"The Merus Foundation believes the arts are an essential part of a thriving and connected community,” said Patrick Poole, SVP, Nashville Market Leader with Merus Foundation. “Through our partnership with TPAC's Arts Access program, we're proud to help create opportunities for more people to feel welcomed into the theater and experience the shared moments that only live performance can provide."

As part of this effort, TPAC is also launching Share the Gift of Experience in June, inviting individuals to help expand access to live performance by contributing directly to Arts Access. To help kick off the campaign, Amazon will match donations supporting the initiative, helping connect even more people across Middle Tennessee with performances at TPAC.

As TPAC looks toward the future and the development of a new performing arts center for Nashville, initiatives like Arts Access remain central to TPAC's commitment to connecting communities through the performing arts.

More information about Arts Access is available at TPAC.ORG.

TPAC to Expand Arts Access Initiative for Middle Tennessee Communities

Tue, 19 May 2026 22:51:42 PST

The program is supported by community partners and sponsors, including Amazon, a longtime supporter of Arts Access.

Arts Access reflects TPAC's ongoing commitment to partnering with organizations that serve communities across the region and helping more people experience the arts.

Support from Merus Foundation further helps expand the program's reach and deepen its impact across the community.

More information about Arts Access is available at TPAC.ORG.

THE NOTEBOOK North American Tour Adds 26 Cities to 2026-27 Route

Tue, 19 May 2026 08:13:15 PST

The North American Tour of THE NOTEBOOK hasannounced engagements for the 2026-27 season, adding 26 cites to the previously announced route, including stops in Atlanta, Boston, Dallas, and Houston. The tour began performances on September 6, 2025, at Playhouse Square in Cleveland, Ohio, and has welcomed over 500,000 patrons to date.

Read the reviews for the touring production of The Notebook.

Allie and Noah, two people from different worlds, share a lifetime of love despite the forces that threaten to pull them apart in a deeply moving portrait of the enduring power of love. Based on the book that has sold millions of copies worldwide and a film that is one of the highest-grossing romantic dramas of all-time, the musical adaptation of THE NOTEBOOK played Broadway at the Schoenfeld Theatre from March 2024 to December 2024 following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in the fall of 2022.

THE NOTEBOOK features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical).

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production's music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Casting by The Telsey Office, Patrick Goodwin, CSA.

The production was recognized with three 2024 Tony Award nominations (Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Performance by an Actor in a Leading Role in a Musical), Drama League Award nominations for Outstanding Production of a Musical, two Distinguished Performance Awards and the Founders Award for Excellence in Directing, Drama Desk Award nominations for Outstanding Featured Performance in a Musical, and an Outer Critics Circle Award nomination for Outstanding Lead Performer in a Broadway Musical.

2026-2027 Tour Dates:

Detroit, MI — Fisher Theatre
September 22 – October 4, 2026

Dayton, OH — Schuster Center
October 6 – 11, 2026

Grand Rapids, MI — DeVos Performance Hall
October 13 – 18, 2026

East Lansing, MI — Wharton Center
October 27 – November 1, 2026

Richmond, VA — Altria Theater
November 3 – 8, 2026

Pittsburgh, PA — Benedum Center
November 10 – 15, 2026

Schenectady, NY — Proctors
December 1 – 6, 2026

Boston, MA — Emerson Colonial Theatre
December 8 – 20, 2026

Oklahoma City, OK — Civic Center Music Hall
December 29, 2026 – January 3, 2027

Houston, TX — Hobby Center
January 5 – 10, 2027

Dallas, TX — Winspear Opera House
January 12 – 24, 2027

New Orleans, LA — Saenger Theatre
January 26 – 31, 2027

Hershey, PA — Hershey Theatre
February 3 – 7, 2027

Providence, RI — PPAC
February 9 – 14, 2027

Rochester, NY — Auditorium Theatre
February 16 – 21, 2027

Fayetteville, AR — Walton Arts Center
February 24 – 28, 2027

Huntsville, AL — Von Braun Center
March 2 – 7, 2027

Ft. Lauderdale, FL — Broward Center
March 9 – 14, 2027

Ft. Myers, FL — Barbara B. Mann Hall
March 16 – 21, 2027

Naples, FL — Artis—Naples
March 23 – 28, 2027

North Charleston, SC — North Charleston PAC
March 30 – April 4, 2027

Birmingham, AL — BJCC Concert Hall
April 6 – 11, 2027

Atlanta, GA — Fox Theatre
April 13 – 18, 2027

Tucson, AZ — Centennial Hall
April 27 – May 2, 2027

San Jose, CA — Center for the Performing Arts
May 4 – 9, 2027

Sacramento, CA — SAFE Credit Union PAC
May 11 – 16, 2027

Valery Saul Named Nashville Symphony's New Associate Conductor

Tue, 19 May 2026 05:13:16 PST

The Nashville Symphony has announced the recent appointment of Valery Saul as the orchestra's Associate Conductor. The Associate Conductor position is a three-season appointment beginning in the 2026/2027 season, continuing until the conclusion of the 2028/2029 season.

The Associate Conductor is an integral member of the artistic leadership team and conducting staff of the Nashville Symphony. In collaboration with key staff, they are responsible for creatively planning and executing the Nashville Symphony's Education and Community Concerts. These highly visible programs are essential to the Nashville Symphony's mission and serve 70,000 people annually. The Associate Conductor also provides vital support for the Nashville Symphony's Music Director, guest conductors, and musicians as cover conductor for all the orchestra's activities, as well as leading a wide range of additional performances, such as pops, film, and the occasional subscription concert or special event.

“We are honored to welcome Valery Saul to the Nashville Symphony team,” said Nashville Symphony President & CEO Alan D. Valentine. “Valery brings a wealth of experience, artistic versatility, and technical command that we are excited for Nashville to experience.”

Described by Marin Alsop as a “powerful presence on the podium,” Saul is recognized for her ability to forge immediate connections with orchestras, leading to engagements across the United States. In 2025, Saul was selected for the Dallas Opera Hart Institute for Women Conductors. Most recently, she served as the Associate Conductor of the Arkansas Symphony Orchestra from 2023–2026, culminating in her acclaimed Masterworks debut with the orchestra.

“I am deeply honored to join the Nashville Symphony and become part of such a vibrant artistic community. From my very first interactions with the organization, I was struck by the orchestra's commitment to artistic excellence and meaningful community engagement,” said Saul. “There is no city quite like Nashville, and I look forward to creating musical experiences that celebrate the city's rich and eclectic musical culture.”

Saul holds dual master's degrees in Conducting (Peabody Conservatory) and Opera Performance (University of British Columbia). She has been mentored by Marin Alsop, Cristian Măcelaru, Yannick Nézet-Séguin, Nicole Paiement, Marcelo Lehninger, and George Manahan. She has participated in numerous distinguished masterclasses, working with the Buffalo Philharmonic Orchestra, Orchestre Métropolitain, National Symphony Orchestra, Baltimore Symphony Orchestra, and the Romanian Chamber Orchestra. A prizewinner of the Denver Philharmonic Orchestra's Conducting Competition, she has also been a conducting fellow at the Bellingham Festival of Music. Saul is a frequent cover conductor for the Oregon Symphony, St. Louis Symphony, Minnesota Orchestra, and Charlotte Symphony. In addition to her conducting career, she is also an accomplished professional opera singer.

DEATH BECOMES HER Sets Closing Date

Mon, 18 May 2026 11:00:20 PST

BroadwayWorld has just learned that the Tony Award winning and Grammy Award nominated musical, and the most nominated production of the 2024/2025 Broadway season, DEATH BECOMES HER, will conclude its Broadway run on Sunday, June 28, 2026 after 20 months, over 650 performances and 900,000 tickets sold at the Lunt-Fontanne Theatre.

Lowe Cunningham, SVP, Head of Creative & Strategy, Universal Theatrical Group said today on behalf of the producers, “Bringing Death Becomes Her to Broadway has been an incredible joy, and we are immensely proud of every artist, musician, crew member, and individual who helped make this show what it is. Night after night, it has been a thrill to watch audiences come together to laugh, celebrate, and embrace the wildly entertaining spirit of this production. We are deeply proud of what this show has brought into the world, and we are excited for its life to continue as it tours across the U.S. and beyond in the years ahead.”

DEATH BECOMES HER will launch a multi-year North American tour this September at Playhouse Square in Cleveland, OH.

DEATH BECOMES HER North American tour schedule:

CLEVELAND, OH 9/12/2026 10/3/2026 Playhouse Square
COLUMBUS, OH 10/6/2026 10/11/2026 Ohio Theatre
ST. LOUIS, MO 10/13/2026 10/25/2026 The Fabulous Fox
OMAHA, NE 10/27/2026 11/1/2026 Orpheum Theatre
NASHVILLE, TN 11/3/2026 11/8/2026 TPAC
DURHAM, NC 11/10/2026 11/15/2026 DPAC
ATLANTA, GA 11/17/2026 11/22/2026 The Fox Theatre
KNOXVILLE, TN 11/24/2026 11/29/2026 Tennessee Theatre
ORLANDO, FL 12/1/2026 12/6/2026 Dr. Phillips Center
TAMPA, FL 12/8/2026 12/13/2026 Straz
FORT LAUDERDALE, FL 12/15/2026 12/27/2026 Broward Center for the Performing Arts
NAPLES, FL 12/29/2026 1/3/2027 Artis-Naples
GREENSBORO, NC 1/5/2027 1/10/2027 The Tanger Center
BOSTON, MA 1/12/2027 1/24/2027 Citizens Bank Opera House
PROVIDENCE, RI 1/26/2027 1/31/2027 Providence Performing Arts Center
BALTIMORE, MD 2/2/2027 2/7/2027 The Hippodrome Theatre
CHARLOTTE, NC 2/9/2027 2/14/2027 Blumenthal | Belk Theater
BUFFALO, NY 2/16/2027 2/21/2027 Shea's Performing Arts Center
PITTSBURGH, PA 2/23/2027 2/28/2027 Benedum Center
GRAND RAPIDS, MI 3/2/2027 3/7/2027 DeVos Performance Hall
LOUISVILLE, KY 3/9/2027 3/14/2027 Overture Center
MADISON, WI 3/16/2027 3/21/2027 Overture Hall
DETROIT, MI 3/23/2027 4/4/2027 Detroit Opera House
TULSA, OK 4/6/2027 4/11/2027 Tulsa Performing Arts Center
OKLAHOMA CITY, OK 4/13/2027 4/18/2027 Civic Center Music Hall
HOUSTON, TX 4/20/2027 4/25/2027 The Hobby Center
AUSTIN, TX 4/27/2027 5/2/2027 Bass Concert Hall
SAN ANTONIO, TX 5/4/2027 5/9/2027 Majestic Theatre
DALLAS, TX 5/11/2027 5/23/2027 Music Hall at Fair Park
DENVER, CO 5/25/2027 6/6/2027 Buell Theatre
SAN FRANCSISCO, CA 6/9/2027 6/27/2027 Orpheum Theatre
LOS ANGELES, CA 7/6/2027 7/25/2027 Hollywood Pantages Theatre
COSTA MESA, CA 7/27/2027 8/8/2027 Segerstrom Center for the Arts
SAN DIEGO, CA 8/10/2027 8/15/2027 San Diego Civic Theatre
TEMPE, AZ 8/24/2027 8/29/2027 ASU Gammage
SACRAMENTO, CA 9/1/2027 9/5/2027 SAFE Credit Union Performing Arts Center

For more information on the tour, visit https://deathbecomesher.com/tour/.

Death Becomes her opened at the Lunt-Fontanne Theatre on November 21, 2025. Check out what the critics had to say.

Death Becomes Her at the box office.

DEATH BECOMES HER was the most nominated show of the 2024-2025 Season with 34 total nominations, including: 12 Outer Critics’ Circle Award Nominations, Five Drama Desk Award Nominations, Four Drama Leage Award Nominations, Two Chita Rivera Award Nominations, 10 Tony Award Nominations, and One GRAMMY Award Nomination for “Best Musical Theater Album.”

DEATH BECOMES HER became a viral sensation on social media following the release of the Original Broadway Cast Recording, which has been streamed over 34 million times in North America and 16 million times elsewhere worldwide. A clip of Tony Nominee Jennifer Simard performing the album’s 16th track, “Hit Me,” went viral on TikTok—peaking at #2 on the TikTok Viral Chart and #13 on the TikTok 50 Chart—with 491,000 creator uses and over 2.7 billion total views to date. The track “Let’s Run Away Together” has also gained traction on the platform, inspiring over 10,000 videos using its audio.

The cast and creative team of DEATH BECOMES HER made over 30 national television appearances during the Broadway run, completing interviews and musical performances on such programs as NBC’s Macy’s Thanksgiving Day Parade, CBS’s Tony Awards, NBC’s The Tonight Show with Jimmy Fallon, NBC’s TODAY (Four musical performances and multiple interview segments), CNN’s New Year’s Eve Live, ABC’s Good Morning America, NBC’s The Kelly Clarkson Show, Fox’s SHERRI, Bravo TV’s Watch What Happens Live, ABC’s Nightline, NBC’s Late Night with Seth Meyers, and more.

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DEATH BECOMES HER features direction and choreography by Tony Award winner Christopher Gattelli, a book by Tony Award Nominee Marco Pennette, and an original score by Tony Award Nominees Julia Mattison and Noel Carey, and stars Tony Award nominees Betsy Wolfe (Madeline Ashton), Tony Award Nominee Jennifer Simard (Helen Sharp), Tony Award Nominee Christopher Sieber (Ernest Menville), and Grammy® Award winner Michelle Williams (Violet Van Horn) with Taurean Everett (Chagall) and Josh Lamon (Stefan). The cast also features Marija Abney, Kate Bailey, Sarita Colón, Alexa DeBaar, Brayden Newby, Ximone Rose, Jonalyn Saxer, Bethany Ann Tesarck, Mitch Tobin, Sir Brock Warren, Bud Weber, Ryan Worsing, David Wright Jr., Warren Yang, Ayla Ciccone-Burton, Kristine Covillo, Alex Hartman, Lakota Knuckle, McKinley Knuckle, Justin O’Brien, Preston Perez, Amy Quanbeck, and Dee Roscioli.

DEATH BECOMES HER features scenic design by two-time Tony Award winner Derek McLane, costume design by Tony Award winner Paul Tazewell, lighting design by Tony Award winner Justin Townsend, sound design by Tony Award winner Peter Hylenski, hair and wig design by two-time Drama Desk Award winner Charles G. LaPointe, make-up design by Joe Dulude II, fight direction by Drama Desk Award winner Cha Ramos, with music supervision by Drama Desk Award winner Mary-Mitchell Campbell, orchestrations by three-time Tony Award winner Doug Besterman, music direction by Mary-Mitchell Campbell, dance & music arrangements by Tony Award nominee Sam Davis, vocal arrangements by Mary-Mitchell Campbell, Julia Mattison & Noel Carey, music coordination by Kristy Norter, casting by Tara Rubin Casting, production stage management by Rachel Sterner, and general management by 321 Theatrical Management. Marcia Goldberg serves as Executive Producer.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies… until Madeline steals Helen’s fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that’s to die for. After one sip of Viola’s magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored…and a grudge to last eternity. Life’s a bitch and then you die. Or not!

Review: BLOOD SUCKING LEECH at Noah Lift Opera Center

Sat, 16 May 2026 09:12:56 PST

In 2024, I attended a staged reading of a new play. It was ‌part of the Ingram New Works Festival, which is presented by Nashville Repertory Theatre as an opportunity for playwrights to have their new scripts workshopped. It was my first time seeing a staged reading for INW, and I was one of the audience members who said that they’d see an official production of the show. Fast-forward to 2026, and I finally get the chance to see Blood Sucking Leech, a comedy-drama about a playwright whose elderly mother is falling victim to a couple of scammers. It was such a satisfying full-circle moment to see the new and improved show by Amy Tofte, who based the script on actual events regarding her own mother. Running May 14-17 at the Noah Lift Opera Center, Blood Sucking Leech isn’t afraid to balance harsh reality and side-splitting humor.

Amy Tofte uses humor to guide the audience through a serious subject matter before we reach the more disturbing moments. She’s not afraid to get chaotic, and she needs the right director to contain the chaos on the tiny stage. Thankfully, Beki Baker reprises her role as the director from the stage reading. No matter how explosive things get, Baker does an excellent job of containing as much chaos onstage as possible. Even when things start spilling offstage (literally), it never feels like a concern to the audience in the front row. Despite all the humor, Baker is fully aware of how serious the subject of scammers targeting the vulnerable truly is. According to her Director’s Note regarding the original staged reading, “During the post-show discussion, we asked how many audience members knew someone who had experienced a situation like the one depicted in the play. Most of the hands in the room went up. The response made me gasp. I knew the issue was real; I didn’t realize how pervasive it was.” To say that she handled the script well is an understatement.

As soon as I heard that Blood Sucking Leech was going to be one of the shows in Nashville Repertory Theatre’s 2025/2026 Season, I was curious about the staging in a different venue. Gary C. Hoff’s scenic design does the impossible by providing the unlikely combination of cozy and claustrophobic. On one hand, he and Prop Manager Lillian Hargesheimer added enough details to Martha's house to remind me of my late grandmother’s house. All it was missing was a bit more tidiness, some portraits and statues of angels, and a portrait of Jesus. On the other hand, it felt so suffocating to see the leeches come between mother and daughter in such a small space. I don’t know how Hoff pulled it off so effortlessly, but it worked. Since the show is set in everyday life in the present day, you probably wouldn’t think that the Costume Designer needed to do much. However, Melissa K. Durmon gave each character specific costumes that matched the characters perfectly. Erica’s costume provides more coverage and darker tones than the other costumes. The leeches are given costumes that are a tad more revealing or colorful, contrasting them greatly from Erica. Durmon also served as the Hair and Makeup Designer, transforming Rona Carter into a more stereotypical grandmother. Logan Purcell’s lighting design grows more uncomfortable and claustrophobic as time goes on, and Liz Morgan had too much fun with the sound design. I also need to give a shout out to Fight Coordinator Carrie Brewer. Her contributions got too real that I needed to look away.

Three of the original cast members reprised their roles from the staged reading. Meggan Utech breathed new life into Berta, an online scammer and one of the leeches. I have seen Utech in other productions, but I’ve never seen her play anyone so despicable. Yes, she still delivers the laughs, but she also depicts one of the last people you’d want to cross paths with. Megan Murphy Chambers reprises her role of Nikko, the other leech. I found her funny in the staged reading, and I find her even more hilarious today. Like Utech, I wasn’t used to seeing Chambers play someone so despicable. She may have you cracking up, but she will also make you feel uncomfortable in a matter of seconds. The third and final returning cast member is Shannon Hoppe as Erica, a playwright and Martha’s protective daughter. Erica is a bit more of a straight-forward character, and she could’ve easily been overshadowed by everyone else. Thankfully, Hoppe perfectly balances humor and heart as Erica. As the narrator, she effortlessly navigates the audience through the chaos. Rona Carter joins the cast as Martha, a role Deb Meeks originally played in the staged reading. Carter is so sweet, and yet so tragic as Martha. Even when she pushes away her loved ones, you can’t help but feel sorry for her. Carter perfectly captures an elderly woman who just wants some company. No matter how unhinged things get, the actresses play off each other so well.

Blood Sucking Leech runs May 14-17 at the Noah Lift Opera Center. Get your tickets now before they sell out!

Review: WATER FOR ELEPHANTS at TPAC'S Jackson Hall

Thu, 14 May 2026 10:16:22 PST

“You hear that, Star? A good review!”

It’s another night at TPAC for me, and I’m watching another musical based on a movie. Well, it’s actually based on a book by Sara Gruen, but it was adapted into a movie in 2011. I’ve yet to check out the book or movie, so I went into this as blind as possible. This means that I’m viewing this as a regular theatre audience member and will not be comparing it to its source material. With that being said, I was blown away by the show. It was one thing for me to admire the set pieces and choreography, but the acting and dramatic moments got audible reactions out of me. I was gasping and going “ooooooooh”. Running at TPAC’s Jackson Hall May 12-17, Water For Elephants is a dazzling and emotional spectacle.

All I knew about Water For Elephants was that it is a romantic drama set in a traveling circus during the Great Depression. I expected a circus with a rich color palette, beautiful costumes, acrobatics, and an elephant. To say that my expectations were met is an understatement. Multiple directors were on board to bring this circus to life. Using the original direction made by Jessica Stone, Tour Director Ryan Emmons does an excellent job of containing all the movements, excitement, and emotions onstage. As for the design of the circus, former trapeze artist and Cirque du Soleil soloist Shana Carroll truly captures the essence of circus life. She collaborated with Jesse Robb for the choreography, and what we get is nothing short of magical. I marveled at the numerous set pieces that had multiple uses. For instance, one set piece could be a cage one minute and a train car the next. Takeshi Kata’s scenic design needs to be studied. The spectrum of 1930s fashion, from the work clothes to the stunning circus costumes, was captured brilliantly by David I. Reynoso. Luc Verschueren/Campbell Young Associates triumphed with the hair and makeup. Every curl was on point. Bradley King’s lighting design and David Bengali’s projection work expertly highlighted the actors and set, and Sound Designer Walter Trarbach really outdid himself near the end of the show. Of course, the one thing that people came to see was Rosie the Elephant. The marvelous creature and all the other animals were designed by Ray Wetmore, JR Goodman, and Camille Labarre. With direction from Joshua Holden, the audience is drawn to Rosie and falls in love with her. When we finally got to see her in her full form, she got the same reaction as that time I saw The Lion King on the same stage and everyone cheered when the animals came out during “Circle of Life”.

A circus needs a strong ensemble to keep the ball rolling, and this show is no exception. With several ensemble members filling in for multiple roles and numerous stunts to be performed, this team worked together so effortlessly. As usual, I’d like to point out which swings had to fill in for other actors the night I attended. Marina Mendoza filled in for ensemble member Serafina Walker, Kayden Woodridge filled in for Adam Fullick and played Rex the Lion, and Andrew Fullick filled in for ensemble member John Neurohr. Neurohr performed the role of Walter in place of Tyler West. Neurohr crushed it as the hilarious clown and knife thrower. The multiple ensemble members who had to depict animals impressed me. These include Gabriela Diaz as an orangutan named Agnes, Yves Artiéres as a horse named Silver Star, and the many people who brought Rosie to life. Other supporting roles that I need to highlight include Javier Garcia as the humorous Camel, Ruby Gibbs as the sassy Barbara, and Chris Marth as reluctant foreman Wade.

As usual, I need to dedicate a whole paragraph to the stars of the show. I feel like there’s a rule that every dramatic love story that’s set in the past needs a great villain. Connor Sullivan is deliciously revolting as August, the cruel ringmaster. Yes, he’s disgusting and makes you want to root for his downfall, but he’s also so charismatic and entertaining. Sullivan also plays Charlie, a man in the present day who listens as Mr. Jankowski tells his story. It’s amazing seeing him be a revolting villain one minute and a curious man the next. Speaking of Mr. Jankowski, he’s played by former ringmaster Robert Tully. I swear, every time I saw this man onstage, I just wanted to give him a hug. Whether he’s mirroring his younger self or just standing there, he gives off this warmth that fills ‌the entire room. Zachary Keller plays the younger version of Jacob Jankowski, and he is one burning ball of talent. From his vocal chops to his physicality to his chemistry with the leading lady, Keller is hard to ignore onstage. He’s the kind of protagonist that you want to root for. And now, we have the leading lady herself; Helen Krushinski as Marlena. Where do I begin to describe this woman? Vocal chops? Amazing. Dance skills? Incredible. Acting skills and chemistry with the male lead? Trivago. In all seriousness, I’m in awe of how she manages to capture the gentleness and fierceness of Marlena. Like Sullivan, Krushinski plays a main character in the past and another character in the present. As Mr. Jankowski tells his story, she plays a sweet woman named June. She balances well with everyone in the show, like a true circus star.

Water For Elephants runs at TPAC’s Jackson Hall May 12-17. Get your tickets now!

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

WALKING ACROSS EGYPT Will Come to the Cumberland County Playhouse

Fri, 08 May 2026 08:07:15 PST

Beginning May 22, the Cumberland County Playhouse will present the heartwarming Southern comedy Walking Across Egypt, adapted by Catherine Bush from the beloved novel by Clyde Edgerton.

Set in a small North Carolina town in the 1980s, the story follows spunky Mattie Rigsbee, who discovers a stray dog on her back porch. Believing she's too old to care for a pet, she calls the dogcatcher—unaware that this simple decision will open her eyes to a world she's never known. That world includes car theft, prison breaks, and a troubled teenager named Wesley, who is as desperate for a family as Mattie is.

Armed with her mouthwatering cornbread and a deep, abiding faith, Mattie is determined to guide Wesley toward God—and good Southern manners—if she can manage to stay out of jail herself.

This charming, heartfelt production stars Patty Payne (The Trip to Bountiful) as Mattie Rigsbee. Evan Lisic and Zachary Simpson (The Lion King Jr.) share the role of Wesley Benfield. The cast also features Playhouse favorites Daniel Black (Curtains) and Lauren Marshall (Steel Magnolias) as Mattie's neighbors, Finner and Alora Swanson; Jason Ross (Deathtrap) as her son, Robert; and Caleb Sager (Deathtrap) as dogcatcher Lamar Benfield. Michael Ruff (The Miss Firecracker Contest) and Jeremiah Ordway (The Wizard of Oz) appear as Reverend Bass and Sheriff Tillman.

Walking Across Egypt is directed by Playhouse Education Director Weslie Webster (The Foreigner) and runs in the Adventure Theater through July 26. The production is rated PG.

WALKING ACROSS EGYPT Will Come to the Cumberland County Playhouse

Fri, 08 May 2026 08:07:15 PST

Beginning May 22, the Cumberland County Playhouse will present the heartwarming Southern comedy Walking Across Egypt, adapted by Catherine Bush from the beloved novel by Clyde Edgerton.

Armed with her mouthwatering cornbread and a deep, abiding faith, Mattie is determined to guide Wesley toward God—and good Southern manners—if she can manage to stay out of jail herself.

Walking Across Egypt is directed by Playhouse Education Director Weslie Webster (The Foreigner) and runs in the Adventure Theater through July 26. The production is rated PG.

Nashville Symphony To Present Community Concerts This Summer

Thu, 07 May 2026 23:53:21 PST

The Nashville Symphony has announced dates and programs for their popular annual Community Concerts, a beloved summer tradition throughout Middle Tennessee. From June 3 through 13, the Orchestra will perform free concerts in local parks and communities in Davidson, Montgomery, Sumner, Williamson, and Wilson counties.

Nashville Symphony Conductor Nathan Aspinall will conduct a program featuring American classics including John Philip Sousa's The Stars and Stripes Forever; selections from John Williams's scores from Far and Away and Star Wars; Berlioz's Roman Carnival overture; Copland's Hoe-Down from Rodeo and an excerpt from Lincoln Portrait; Rodgers's The Sound of Music; and Strauss II's On the Beautiful Blue Danube Waltzes. Nashville Symphony Chorus Director Tucker Biddlecombe will also conduct a one-night-only program with the Nashville Symphony Chorus on Sunday, Jun 7 at The Factory at Franklin.

“We are thrilled to continue this longstanding tradition of bringing the orchestra to communities around Middle Tennessee, and we are equally excited to add a choral performance to the series,” said Kelley Bell, Director of Community Engagement. “These concerts are the perfect chance to connect with your neighbors, celebrate community, and enjoy the magic of the Nashville Symphony.”

Several concert locations will offer family-friendly pre-concert activities and food options. Concertgoers are encouraged to bring blankets and chairs and arrive early to enjoy beautiful summer evenings and live symphonic music in the parks. More information can be found at NashvilleSymphony.org/CommunityConcerts.

The Nashville Symphony's Free Community Concerts are made possible through the leadership support of Benefits, Inc., with additional vital funding from Pinnacle Financial Partners, Publix Super Markets, Inc., the Memorial Foundation, and the Metropolitan Government of Nashville & Davidson County. A special thank you to our community partners Montgomery County Parks and Recreation, Centennial Park Conservancy, Two Rivers Mansion, The Factory at Franklin, and Cumberland University.

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WALKING ACROSS EGYPT Will Come to the Cumberland County Playhouse

WALKING ACROSS EGYPT Will Come to the Cumberland County Playhouse

Nashville Symphony To Present Community Concerts This Summer