BWW Q&A: Caitlin McKechney of RING OF FIRE: THE MUSIC OF JOHNNY CASH at Repertory Theatre of St. Louis
On stage through April 12th, 2026.
The Repertory Theatre of St. Louis caps its 59th season with a powerhouse musical event: Ring of Fire: The Music of Johnny Cash, running March 18–April 12, 2026, at the Loretto‑Hilton Center. Directed by Augustin Family Artistic Director Kate Bergstrom, this electrifying production channels the passion, storytelling, and unmistakable spirit of Johnny Cash.
With a dynamic creative team and world-class actor‑musicians, Ring of Fire: The Music of Johnny Cash celebrates the music and legacy of The Man in Black. Featuring more than 30 of Johnny Cash’s greatest hits—including “Ring of Fire,” “Folsom Prison Blues,” and “I Walk the Line”—this high‑spirited musical pays homage to his Arkansas roots and the love, faith, and grit that shaped his storied life. Through rich storytelling and unforgettable music, audiences will experience the heart and soul of one of America’s most iconic performers.
“Johnny Cash’s music and complex character pulses with a heartbeat that we feel across generations. With this production, we’re blending nationally and locally renowned actor-musicians to create a concert-reckoning of Cash’s life through the power of his sound. This Ring of Fire will pulse with spirit, grit, and the enduring legacy of his soul,” said Augustin Family Artistic Director Kate Bergstrom. “It’s a privilege to shape a musical experience that celebrates an artist’s legacy and the joy he sparked as we close out The Rep’s 59th season.”
The cast includes Kurt Zischke (All the Way and Born Yesterday, The Rep) as Johnny,, Caitlin McKechney (Kiss Me Kate, North Street Playhouse) as June, Ryan Guerra (A Flat Rock Playhouse Christmas) as Luther, and local favorites Eric Scott Anthony (Ring of Fire, Broadway) as Marshall, Kim Blanck (Suffs, Broadway) as Viv, and understudies Kristen Lintvedt and Crayton Haney.
The production is directed by Augustin Family Artistic Director Kate Bergstrom and music directed by Chuck Mead, best known from Broadway's Million Dollar Quartet with choreography by Taavon Gamble (Upside Down, Off-Broadway), set design by Scott Neale (One Man Two Guvnors, The Rep), costume design by Renee Garcia (The Cottage, The Rep), lighting design by Jayson Lawshee (The Brothers Size, The Rep), sound design by Amanda Werre (The Cottage, The Rep) and stage managed by Kelly Hardy (Anastasia, Broadway).
Ring of Fire: The Music of Johnny Cash continues The Rep’s commitment to presenting dynamic, storytelling that resonates across generations. Whether a lifelong Johnny Cash fan or discovering his music for the first time, this production promises an evening of heart, humor, and unforgettable songs.
Ring of Fire: The Music of Johnny Cash is sponsored by Leading Ladies.
For more information, please visit repstl.org.
What drew you to the role of June in Ring of Fire: The Music of Johnny Cash?
I am a huge fan of country music, particularly those artists of the 50's and 60's... and the Carter family essentially invented the genre. So getting to play this role in a production that really honors the musical tradition (thanks to our expert Music Director Chuck Mead) is a joy. Additionally, actor-musician shows (where performers play their instruments while also playing characters in the production, serving as bost cast and orchestra) is very exciting to me... Not only is it a fun challenge to sing, act, dance AND play your instrument simultaneously, but I think it is thrillling for audiences because the performers are so invested in every aspect of the show at every moment. And, finally, I was drawn to the role of June because, like me, she is a mother in the performing arts trying to balance her life and love while also creating art. She did it... she wasn't perfect, but she lived her life fully on stage and off.
How do you prepare to portray such a well-known figure like June Carter Cash?
I think with shows like this it's a delicate balance of doing an impersonation while also being authentic on stage and allowing some of yourself into the character. We are lucky to have many videos of June and Johnny performing live, so Kate Bergstrom (our fabulous director) and I have incorporated certain iconic mannerisms, while I also allow my own self as a performer to be incorporated as well. Vocally, we have put most of the songs in their original keys, so that they sound like Johnny and June's recordings, but I sing with my own voice and don't try to do a vocal impression. We hope to strike a balance of honoring this great, iconic performer while also giving our own authentic performance.
Can you talk about the musical style of this show and how it is different from what you've done before?
My musical journey is quite a unique one! I started off singing blues and folk music with my dad, who also taught me how to play guitar. But then when I started taking voice lessons in high school, my voice teacher gave me the music of Bach and Brahms and I learned how to sing classically. I studied both musical theater and opera in college, but ended up early on getting work in opera, which is where I did most of my performing for the first 10 years of my career. But while I was between opera and the occasional musical gigs, I started a band with some fellow opera singers who also played instruments. We called it The Opera Cowgirls, initially purely based on the fact that I wore Cowboy boots alot (they're comfortable and never go out of style!). Our arrangements include accompanying opera arias on country instruments and also covering great singers like Patsy Cline, Reba and The Chicks. Our group has performed all over the country now, mostly as a special event for opera companies, and I've been singing and playing country music alongside Puccini since 2011! If you're curious about what that might actually sound like, feel free to check out www.operacowgirls.com! I was cast in an actor-musician production of The Irish and How They Got That Way, which introduced me to this amazing form of storytelling, and since, with my band and orchestrator Joe Brent, I created an actor-musician production of Bizet's opera Carmen. So Ring of Fire feels like home... I get to incorporate my guitar playing, choral singing and country vocals all why playing a deeply interesting woman. So rather than feeling different from what I've done in the past, it feels more like a culmination.
How does the music of Johnny Cash inform your performance?
Johnny Cash was a fascinating man and musician. I think that our production is very true to his style. Johnny was a man of contraditions - he was imperfect and did things that could be judged harshly, but he was also a man of God and loved Gospel music. Our performances delves deeply into those darknesses as well as the humor, joy and reverence that he also embodied, both as a man and an artist.
How has this role challenged you vocally?
June Carter didn't use much head voice (a more soprano sound), so for me, I am always trying to bring my chest voice/belt as high as I can when I am playing her. But then there are ensemble moments where a higher harmony is needed, so I need to switch registers. Luckily, this is something I've practiced alot with Opera Cowgirls! Trying to get the country style to sound authentic and not too "proper" is my own challenge for myself.
How do you approach playing a real person compared to a fictional character?
I think it's important to honor the character you're playing by using gestures and mannerisms, both physical and vocal, that are as authentic as possible. Most of these aren't natural to what I would do if I was playing a fictional country singer, whose mannerisms might match my own more closely. And rather than needing to imagine the life a fictional character has experienced, there is more research and understanding of what June was going through at the time to inform the acting choices.
What do you hope audiences take away from this production?
First of all, I hope that audiences just have a great time hearing this awesome music! The music is the real star of this show, and that star is bright. But it is also an emotional journey about someone looking back at their life when they are nearing the end, learning to have compassion for one's self and gratitude for the beauty in life, despite all the bumps in the road. In the end, it's the people that we love that matter most.
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