What’s the reading about?

The story of the repentant thief in the Bible focuses primarily on the crucifixion at Calvary. The

character’s name is Dathan, although the Biblical accounts do not name either of the

criminals. The Man on the Middle Cross - A New Musical, includes but goes beyond that event

alone, exploring the life of the repentant thief and how he ended up crucified with Jesus and

the other criminal. It is a storyline that weaves Biblical events with imagination, i.e., what might

have happened leading to that gruesome day. However, the story does not end there! The

repentant thief finds himself at the gates of heaven, just as Jesus said, but the angels will not

grant him entry without a coherent explanation.

A brief history of the musical. Yes, very brief.

In 2023, two minutes from a 45-minute sermon inspired an idea for a song. A song was written

and professionally critiqued by multiple reviewers, who stated, “but we all agreed that it would

be PERFECT for a theatre production a la Jesus Christ Superstar.” The long writing process began,

and in the meantime, the song won an award in an international songwriting competition.

Over the past three years, the musical has undergone many changes, including song, scene,

character, and storyline additions and deletions. We have also had many independent reviews

of the story, dialogue, and music/lyrics from dramaturgs, actors, directors, and other interested

parties. The piece has been worked and reworked many times over on paper, and now it's time

to see what really works - on stage. The time is right. We are ready for a staged reading!

You can help shape the musical’s development.

At the end of the reading, you’ll have an opportunity to provide feedback to the creative team

about the musical in a talk-back session. Music, lyrics, dialogue, pacing, character arcs, and

anything else musical theatre are all up for discussion.

Come on out to Chattanooga's new open stage drag show! Queen, kings, and everyone in-between will compete for a chance to place in the top 3, voted on by YOU! Bring your ones and get ready to party with us at Barking Legs!

Doors at 8:00 pm. Show at 7:30 pm.

This show is 18+ only.

Fundraiser for “Unreached Things”

Friday August 28th, 2026 

From 8pm-10pm 

$25/ticket 

“I have some exciting news to share! My original play, Unreached Things, has been selected to be produced Off-Broadway this fall as part of Circle Festival at RJ Theatre in New York City.

This story, which explores grief, love, and learning how to move forward when the road feels uncertain, will receive six performances in Manhattan. Even more special, I’ll be taking this journey alongside Chattanooga actress Cortney Warner, who will be performing in the production.

While this opportunity has my name on it, it truly belongs to the community that helped make it possible. Every director, actor, mentor, audience member, friend, family member, and fellow artist who has encouraged me along the way has played a part in this moment. Chattanooga has been my artistic home, and I am proud to carry a story born here to one of the largest theatre hubs in the world.

As exciting as New York is, our goal isn’t simply to take Unreached Things there, it’s to bring it back home. We hope to learn, grow, build new connections, and return to Chattanooga with an even stronger production to share with the community that has invested so much in us.

We’re currently raising funds to help make this opportunity possible. If you’d like to support us, we’d be incredibly grateful. Every donation, no matter the size, helps two Chattanooga artists represent our city and share local storytelling with a wider audience. And if donating isn’t possible, sharing this post is a meaningful way to support the journey as well.

Thank you for believing in local artists, new work, and the power of theatre to bring people together. We are honored by your support and excited to take Chattanooga with us to New York, and then bring that experience back home!” 

Dubbed one of Chattanooga's best kept secrets, the Monday Nite Big Band has been playing big band jazz music in Chattanooga for over 40 years. Founded by pianist and band leader Paul Lohorn, the group features professional musicians from the Chattanooga area.

Join their first performance as they revisit memories with these one of a kind, fun songs plus some of your other favorite 60's and 70's hits.

The One Hit Wonders are Terryl Greene, Tommy Blevins, Michael Welch, David Turner and Ranse Whitworth.

Seed Theatre’s Cat on a Hot Tin Roof

Directed by Mixy Mixon

Desire. Shame. Family. Truth. And all the things we refuse to say out loud.

Seed Theatre presents Tennessee Williams’ Cat on a Hot Tin Roof, directed by Mixy Mixon, a queer theatre artist whose own artistic journey is uniquely connected to Tennessee Williams and his legacy. Mixon was one of the first recipients of the Tennessee Williams Fellowship, funding that helped make their education possible and supported their pursuit of degrees in Theatre and Women’s & Gender Studies. Now, years later, Mixon returns to Williams’ work from the other side of that education—not only as a director and theatre-maker, but as a queer artist examining the work of a queer playwright whose stories were shaped by an era when so much could not safely be said aloud.

That perspective is particularly powerful in Cat on a Hot Tin Roof.

At the center of the play are Brick and Maggie, a marriage fractured by grief, resentment, desire, and silence. As the Pollitt family gathers at their Mississippi estate, questions of inheritance and legacy collide with sexuality, masculinity, repression, and the carefully constructed lies people tell in order to survive.

Under Mixon’s direction, the queerness at the heart of Brick’s story—and his relationship with Skipper—is not relegated to the margins. Instead, this production examines what Williams was able to put on the page, what his time and circumstances forced into subtext, and what contemporary queer artists and audiences can recognize more openly today.

For Mixon, directing Cat on a Hot Tin Roof also represents a remarkable full-circle moment: an artist whose education was made possible, in part, through funding bearing Tennessee Williams’ name now brings their own education, lived experience, and queer perspective to one of his most enduring works.

Sultry, intimate, volatile, and deeply human, Cat on a Hot Tin Roof asks what happens when a family builds its life around things that cannot be spoken—and what it costs to finally tell the truth.

This production also continues Seed Theatre’s commitment to powerful storytelling that refuses to look away from difficult truths. Throughout our season, we choose stories that ask audiences to wrestle with identity, power, belonging, family, injustice, and the complicated ways people fight to be fully themselves. Whether through contemporary queer voices or a classic work viewed through a new lens, Seed believes theatre is at its most powerful when it does more than entertain—it gives us language for the things we have been taught not to say, makes space for stories pushed to the margins, and invites us to see one another more fully.

Seed Theatre’s Cat on a Hot Tin Roof

Directed by Mixy Mixon

Desire. Shame. Family. Truth. And all the things we refuse to say out loud.

Seed Theatre presents Tennessee Williams’ Cat on a Hot Tin Roof, directed by Mixy Mixon, a queer theatre artist whose own artistic journey is uniquely connected to Tennessee Williams and his legacy. Mixon was one of the first recipients of the Tennessee Williams Fellowship, funding that helped make their education possible and supported their pursuit of degrees in Theatre and Women’s & Gender Studies. Now, years later, Mixon returns to Williams’ work from the other side of that education—not only as a director and theatre-maker, but as a queer artist examining the work of a queer playwright whose stories were shaped by an era when so much could not safely be said aloud.

That perspective is particularly powerful in Cat on a Hot Tin Roof.

At the center of the play are Brick and Maggie, a marriage fractured by grief, resentment, desire, and silence. As the Pollitt family gathers at their Mississippi estate, questions of inheritance and legacy collide with sexuality, masculinity, repression, and the carefully constructed lies people tell in order to survive.

Under Mixon’s direction, the queerness at the heart of Brick’s story—and his relationship with Skipper—is not relegated to the margins. Instead, this production examines what Williams was able to put on the page, what his time and circumstances forced into subtext, and what contemporary queer artists and audiences can recognize more openly today.

For Mixon, directing Cat on a Hot Tin Roof also represents a remarkable full-circle moment: an artist whose education was made possible, in part, through funding bearing Tennessee Williams’ name now brings their own education, lived experience, and queer perspective to one of his most enduring works.

Sultry, intimate, volatile, and deeply human, Cat on a Hot Tin Roof asks what happens when a family builds its life around things that cannot be spoken—and what it costs to finally tell the truth.

This production also continues Seed Theatre’s commitment to powerful storytelling that refuses to look away from difficult truths. Throughout our season, we choose stories that ask audiences to wrestle with identity, power, belonging, family, injustice, and the complicated ways people fight to be fully themselves. Whether through contemporary queer voices or a classic work viewed through a new lens, Seed believes theatre is at its most powerful when it does more than entertain—it gives us language for the things we have been taught not to say, makes space for stories pushed to the margins, and invites us to see one another more fully.

Seed Theatre’s Cat on a Hot Tin Roof

Directed by Mixy Mixon

Desire. Shame. Family. Truth. And all the things we refuse to say out loud.

Seed Theatre presents Tennessee Williams’ Cat on a Hot Tin Roof, directed by Mixy Mixon, a queer theatre artist whose own artistic journey is uniquely connected to Tennessee Williams and his legacy. Mixon was one of the first recipients of the Tennessee Williams Fellowship, funding that helped make their education possible and supported their pursuit of degrees in Theatre and Women’s & Gender Studies. Now, years later, Mixon returns to Williams’ work from the other side of that education—not only as a director and theatre-maker, but as a queer artist examining the work of a queer playwright whose stories were shaped by an era when so much could not safely be said aloud.

That perspective is particularly powerful in Cat on a Hot Tin Roof.

At the center of the play are Brick and Maggie, a marriage fractured by grief, resentment, desire, and silence. As the Pollitt family gathers at their Mississippi estate, questions of inheritance and legacy collide with sexuality, masculinity, repression, and the carefully constructed lies people tell in order to survive.

Under Mixon’s direction, the queerness at the heart of Brick’s story—and his relationship with Skipper—is not relegated to the margins. Instead, this production examines what Williams was able to put on the page, what his time and circumstances forced into subtext, and what contemporary queer artists and audiences can recognize more openly today.

For Mixon, directing Cat on a Hot Tin Roof also represents a remarkable full-circle moment: an artist whose education was made possible, in part, through funding bearing Tennessee Williams’ name now brings their own education, lived experience, and queer perspective to one of his most enduring works.

Sultry, intimate, volatile, and deeply human, Cat on a Hot Tin Roof asks what happens when a family builds its life around things that cannot be spoken—and what it costs to finally tell the truth.

This production also continues Seed Theatre’s commitment to powerful storytelling that refuses to look away from difficult truths. Throughout our season, we choose stories that ask audiences to wrestle with identity, power, belonging, family, injustice, and the complicated ways people fight to be fully themselves. Whether through contemporary queer voices or a classic work viewed through a new lens, Seed believes theatre is at its most powerful when it does more than entertain—it gives us language for the things we have been taught not to say, makes space for stories pushed to the margins, and invites us to see one another more fully.