Ring of Fire
Produced by Firehouse Theatre
Running Time: 2 hours with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable volume
Audio/Visuals to Prepare For: Large variety of instruments including a train whistle
Reviewed by Tim Bass
If you love the music of Johnny Cash, you will love Firehouse Theatre’s production of Ring of Fire. At various moments, I felt as though I was watching a traditional musical, a country-and-gospel concert review, and even a tribute band, all in the best possible ways. While the evening boasts several standout individual moments and performances, this is, at its core, an ensemble-driven show, and it succeeds because of that cast cohesion.
The five performers work seamlessly together both vocally and musically, creating a sound that feels rich, authentic, and deeply rooted in Cash’s legacy. One of Director Owen Beans’ strongest choices is evident immediately in the casting. Every member of the ensemble is a gifted vocalist, and most are also outstanding musicians. I lost count of how many instruments were played over the course of the evening, but it was easily double digits: guitar, bass, a wide assortment of percussion instruments (including chains and a hammer striking an anvil), and even the iconic trumpet that announces the show’s titular number.
Until I read the performers’ bios—many of which list substantial musical theatre credits—I remarked to my wife that I thought the “Tennessee Two,” played by the multi-talented Gideon Ethridge and Bryson Morlan, might actually be musicians who were just taught to act for this production. This is meant as a compliment to their musical prowess, not as a slight to their acting ability! Both performers move through the show with ease, confidence, and a natural musicality that anchors the ensemble.
The character of Johnny Cash himself, played with easy charisma by Ben Meadors, serves as the show’s clear focal point. Meadors rarely leaves the stage and is the only performer who plays just a single role throughout the production. His vocals are excellent, and he is more than competent on the acoustic guitar, providing a steady and grounded presence around which the rest of the cast revolves. I was initially skeptical of a baritenor playing Cash, known for his deep bass-baritone, but Meadors makes it work.
Rounding out the ensemble is Audrey Reilding and Nathan Benson. Reilding, who plays every female role in the show. She delivers each song with a nearly flawless alto and brings warmth, clarity, and charm to every moment. Nathan Benson, the production’s “everyman,” adds humor, consistently strong vocals, and impressive percussion skill, often leaving the audience wondering what instrument he might play next.
Ring of Fire is light on traditional storytelling, choosing instead to focus on Cash’s extensive musical catalog and gospel roots. Still, the production keeps the audience engaged by highlighting key emotional throughlines: Cash’s early years, the influence of his family, his love-at-first-sight connection with June Carter, and his struggle with substance abuse. These moments provide enough structure to give emotional context without overshadowing the music itself.
The technical elements wisely stay out of the way. The set is simple but effective, using minimal props and small set pieces that allow the music to remain front and center. Costume designer Dayna Rae Dutton takes a similarly restrained approach, ensuring that costumes support shifts in time and tone without being distracting.
While there is much to appreciate about this production, the strongest evidence of its quality is how it sticks with you. I found myself replaying moments in my head: the choral hook in “Ring of Fire”; Audrey Reilding’s charming ukulele turn in “Flushed from the Bathroom of Your Heart”; Meadors’ quiet reflection as Gideon Ethridge delivered the haunting “Sunday Morning Coming Down”; Bryson Morlan’s humor and wonderfully expressive facial work in my personal favorite, “Egg Suckin’ Dog”; and the sheer delight of watching Nathan Benson cycle through instruments including cajón, harmonica, trumpet, train whistle, and chains dropped to the floor in rhythm.
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