Publishing student reviews of high school theater is the cornerstone of a new service from Florida Theater On Stage and the South Florida Critics and Awards Program, better known as The Cappies.
Now in its 19th year, the Cappies enrolls theatre and journalism students, trains them as critics and assigns them to attend shows at 25 schools in Broward and Palm Beach counties. The student write reviews under the mentorship of teachers and volunteers.
For more information about the Cappies, visit www.cappies.com/sfc/Home.aspx
The most recent reviews will be at the top of the page, but all of them will appear here all year.
By Caroline Eaton of Marjory Stoneman Douglas High School
As of today, this hour, this minute, this second, the world continues to cope with the harping effects of depression, too often leading to suicide. “It’s a Wonderful Life’s” story of making one realize their immense worth in this society remains prevalent. West Broward’s production of “It’s a Wonderful Life” brought to life the story that keeps on giving, even almost a century later.
Originally produced as a movie in 1939, this play follows the story of a young man who is in the midst of contemplating life or death when, suddenly, an angel appears. The angel is sent by God to show this man that his life is of too much value to be wasted, making him look back upon his life to understand his impact on not only his own small town, but the domino effect he has enacted on a much larger level.
Playing the altruistic George Bailey was Noah Levin. With animated character movements and energy that reached the stars, Levin led this production with sheer confidence. As he watched his life before his own eyes, Levin believably showed the true sorrow he felt having to relive his pain once again. As the malicious Henry Potter, Matthew Cleveland nicely foiled Levin’s idealistic attitude with nasty sneers and glaring eyes. Cleveland’s clear resentment for Levin persevered as the story progressed and continued to be seen through each of their interactions.
As the awe-inspiring angel, Clarence, was Rhema Hooper. Her all-knowingness attitude proved infatuating as she enticed each listener with her exceptional storytelling techniques. She masterfully set the scene for each flashback scenario, undeniably creating a sense of reality to satisfy George Bailey’s need for clarification. Hooper showed an impressive change in stature between her more grounded human form, and her angelic appearance after finally receiving her long-desired wings. Victoria Manzato (Mary Hatch) exemplified an unwavering optimistic aura throughout the show, especially when countering the few times George Bailey needed a stable ground to stand on. Manzato stylistically captured the persona of a 1930s woman, with her evident, old-American movie inflections that created an impression of the time period in which the story took place.
Young George, played by Virgil Thompson, especially stood out in his small, yet enhancing performance of a crucial memory in George Bailey’s past. He exceptionally captured George’s charismatic tendencies that formed his character into the adored man he grew up to be. The Townspeople added a superb element to the production as they created efficient background chatter and movement without taking away too much attention from the scene. Each featured ensemble member made distinct character choices, showing incredible individuality.
The technical elements of the show were executed extremely well. Most notably, the stage management crew carried out smooth transitions to effectively move along the scene breaks and set pieces without creating any unnecessary or awkward moments.
In a time where suicide and depression is unfortunately a constant, West Broward’s production of “It’s a Wonderful Life” continues to ring true today, bringing light to the truth that every life is worth living. Whatever your life’s purpose may be, it is a purpose that deserves to be fulfilled
*** *** ***
By Nick Vela of J.P. Taravella High School
As the famous American novelist and playwright Edna Ferber once said, “Christmas isn’t a season. It’s a feeling.” The true meaning of Christmas has been debated endlessly throughout the entirety of the cherished holiday’s existence, as demonstrated through countless films and writings. However, as Ferber so beautifully expresses, many brilliant minds have all come to a similar conclusion: the selflessness and gratefulness found at the core of the holiday season is precisely what Christmas is all about. West Broward High School’s touching production of “It’s a Wonderful Life” embodies these underlying messages of Christmas exquisitely, making for a “wonderful” performance filled to the brim with Christmas spirit.
Based on the beloved American film by Frank Capra and the classic story by Peter Van Doren Stern, James W. Rodgers’ “It’s a Wonderful Life” was first performed at Paul Laurence Dunbar High School on December 15, 1993. Following the everyday life of one average man in Bedford Falls, the play begins with George Bailey’s serious contemplation of suicide driven by his failed pursuits at escaping the insignificance of his small town life and success. Thus appears his caring guardian angel, Clarence, in hopes to show him the true value of the friends and family that surrounds him by revealing a world where George was never born.
Leading the production, Noah Levin did a commendable job taking on the iconic role of George Bailey. While exhibiting unfaltering energy and expressive facials, Levin also managed to demonstrate clear character development as the play’s story progressed. Accompanying George as his charming wife, Victoria Manzato delivered an endearing and sweet performance as Mary Hatch. Manzato displayed a poised and graceful physicality, which was exactly what her role demanded. Commanding the stage, Rhema Hooper showcased a boundless vitality and remarkable stage presence through her captivating portrayal of Clarence, George Bailey’s very own guardian angel. Hooper’s lively vocal delivery and exuberant characterization acted as the prominent driving force of the production.
Despite some minor inconsistencies in the production’s vocal clarity and build to climactic moments, the cast as a whole gave an enjoyable performance. The ensemble’s constant dedication, prevalent relationships, refined vocal transitions, and distinct shifts in character when entering George’s alternate reality added tremendously to the production.
Overall, the technical elements of the production illustrated a well-executed and cohesive sense of collaboration. The lighting and sound’s fluidity and seamlessness, along with the costumed stage crew contributed greatly to the uninterrupted flow of the performance. The time-period appropriate costumes, hair, makeup, and props allowed for an authentic and accurate representation of the setting of the story, as well as being visually pleasing.
Telling a tale audiences need to hear, West Broward High School’s inspiring production of “It’s a Wonderful Life” illustrates the magnitude and impact one man’s life can have on those around him. Teaching us, once again, how one man can truly touch so many lives
*** *** ***
By Abbey Alder of Calvary Christian Academy
Hope can be found in the most unlikely of places, even for those who have forgotten the feeling and need someone to remind them. Who better to show what a life is worth than a guardian angel as depicted in West Broward High School’s production of “It’s a Wonderful Life”?
Since premiering in 1993 at Paul Laurence Dunbar High School, James W. Rogers’s stage adaptation of It’s a Wonderful Life has been performed across the nation. The 1946 film, directed by Frank Capra, and written by Phillip Van Doren Stern, revolves around the fictional small town of Bedford Falls. The show opens on Christmas Eve as George Bailey, a local businessman who’s down on his luck, teeters at the edge of a bridge. A guardian angel, in the hope of earning wings, reminds George Bailey how impactful a single life can be. The angel, Clarence, takes George Bailey through time and demonstrates the lonely life that George, and those close to him could have led. Though the story began on the bridge of despair, George’s outlook renews to valuing his life.
In the role of George Bailey, Noah Levin was undeniably bold with his approach to the character. Noah’s captivating vocal range gave the show life. Carrying the show on her wings, Rhema Hooper played the angel, Clarence. Hooper’s entrances were always powerful and instantly commanded the stage. Together, their relationship showed compassion even amid their different viewpoints.
Victoria Manzato, who portrayed Mary Hatch, exuded an old-timey movie glamour. Playfully singing, “Buffalo Gals (Won’t You Come Out Tonight),” Manzato exhibited her enduring love for George from girlfriend to wife. Another actor worth noting was Virgil Thompson, who played Young George, setting up the mannerisms and lifestyle of the older George Bailey. Despite sometimes overpowering the primary actors, the ensemble of townspeople brought a glow of holiday spirit within each scene, carol, or transition.
The charming atmosphere of Bedford Falls was conveyed by details in lighting, props, and the costumed stagehands. Particularly in the second act, the lighting evoked the power behind the actors’ dialogue. This showed a coherent relationship between technical and performance elements. Most sound components fit accurately, and the lighting usually encompassed all of the actors. Some sound throughout the show appeared jarring due to the high volume, but stage management, led by Gabriella Scott, was executed to near perfection.
The life-affirming production of It’s a Wonderful Life by West Broward High School offered a fresh perspective on the beloved holiday classic. Whether in the form of an unseen hero, a stranger, or a close friend, look for guardian angels and do not let a wonderful life go to waste.
*** *** ***
By Emma Sugarman of J.P. Taravella High School
“Each man’s life touches so many other lives. When he isn’t around, he leaves an awful hole, doesn’t he?” West Broward High School’s riveting production of “It’s A Wonderful Life” follows the journey of a man drowned in self-despair. The joyful essence of this emotional tale proves the vast impact of one man’s life while encompassing the true meaning of the holiday season.
Based on Frank Capra’s classic film, James W. Rodgers’s stage adaptation follows George Bailey, a generous banker, who’s life is halted by thoughts of suicide after finding himslef in debt and entangled in the self-regarding schemes of a millionaire. However, on Christmas Eve, 1946, when George’s distress has reached its peak, a guardian angel descends to awaken George to the light in his life. The angel shows George the positive impact he has had on the world by displaying a parallel reality in which he was never born.
George Bailey’s charismatic, yet dejected, demeanor was captured by Noah Levin. Levin showcased a captivating vocalization characteristic to the time era and consistently displayed his emotions through his expressive facials and physicality. Levin’s commendable performance was aided by his enthralling energy and clarity in each action.
Playing Mary Hatch, George’s wife, Victoria Manzato displayed endearing mannerisms and genuine expressions. Manzato’s impeccable distinction between her primary and alternate persona added an intriguing quality to the entire production. Clarence, the novice angel, was embodied by Rhema Hooper. With each entrance, Hooper lit up the stage with her grand presence. Hooper’s exemplary dialect was consistent, period appropriate, and produced a continuously alluring performance.
The production’s cohesive ensemble brought each scene to life with their various reactions, developed relationships, and well-maintained energy. Their perfectly unison and harmonious carols accented the production by adding a sense of joy throughout the commotion. Although some cast members periodically lacked motivation, the overall unity of the cast made up for any faults.
The technical aspects of the production were effective and executed nearly flawlessly. Scene transitions were efficient and remained immersive by having all stage hands dressed in period appropriate costumes. The lighting was appropriate in each scene and minor sound inconsistencies were accommodated for by the cast members’ projection. All costumes and props were suitable for the setting which created a constantly engaging visual.
“Every time a bell rings, an angel gets his wings.” Much like West Broward High School’s heart-warming production of “It’s A Wonderful Life”, this celebrated quote has resonated in the hearts of many. Through this timeless narrative, themes of stress and strife are conquered by faith, hope, and family; the ingredients for a truly “wonderful” life.
*** *** ***
By Madison Winkler of American Heritage School
While the majority of Bedford Falls illuminates the streets with Christmas spirit and cheer, the same cannot be said about protagonist George Bailey. Alone, clinging to the railing of the town’s icy bridge, Bailey contemplates taking his life, yet is whisked away by a reassuring guardian angel, who plans to show him how truly wonderful life is in West Broward High School’s production of “It’s a Wonderful Life”.
The play’s title “It’s A Wonderful Life” rings a bell in one’s vast memory via the 1946 Frank Capra movie “It’s A Wonderful Life”, further inspired by the short story, “The Greatest Gift”, written and published in 1943. The timeless Christmas tale ventures George Bailey through his own life, opening his and the town’s eyes to how “each man’s life touches so many other lives”. Adapting this priceless story to the stage, it is remarkable to witness how the play’s morals and beauty still apply to society today.
Leading man, Noah Levin, in his portrayal of Mr. George Bailey was successful in providing an intriguing character worth following in the highs and lows of his unpredictable life. Levin excelled in his clear delivery of dialogue and expressions to provide clarification of the tale. Complimenting Bailey was the holy answer to his prayers, the glorious Angel Second Class, Clarence, played by actress Rhema Hooper. Hooper was easily one of the most loveable characters to grace the stage, with consistent energy through her physicality and dialect. Ranging from a “human” guide to a flowy angel granted her wings, she claimed the stage with such dominant body language and presence, additionally possessing natural cadence and inflection in her voice.
Similar to the above personas, other cast members gave notable performances worth commending. Playing the immobile, hard headed Henry Potter, Matthew Cleveland demanded the stage with maturity and created a “Scrooge-like villain” to challenge the struggling George Bailey, specifically in his financial issues. Causing the monetary crash that spiraled the town into financial ruin, Uncle Billy (Anthony Mejias) also stood out in his comedic timing to highlight the craze of life.
The townspeople of both Bedford Falls and the alternate dimensional town, Pottersville, developed distinct, distinguishable characters that brought complexity to the production. With an added musical element of caroling, the cast worked cohesively to build relationships between principal and ensemble characters, bringing truth to a small town where everyone knows each other.
Technically speaking, the show was crisp and executed to a tee. Utilizing availability of lighting, Maria Carreno and Jasmine Farfan use different effects and color schemes to differentiate towns, as well as providing light that could effortlessly be found by the performers. The set changes of the show involved the townspeople which allowed a connected piece even when transitioning to a different moment.
All in all, West Broward High School collaborated to create a piece of art that captured the essence of the holidays and the inspiring theme of recognizing the impact of a life. While the show did lack in overall diction and holistic character progression, the cast revealed how truly wonderful life can be when surrounded by love.
*** *** ***
By Phoebe Zucker of David Posnack Jewish Day School
The Holocaust is one of the hardest pieces of history to confront. The idea of people being systematically murdered for their beliefs is inconceivable. Many hid, many fled, and millions were taken to concentration camps. In the play “The Diary of Anne Frank” by Francis Goodrich and Albert Hacket, adapted by Wendy Kesselman, we are given a peek into what it was like living in Nazi-occupied Europe with the fear of capture looming over head. The Frank family and the Van Daan family hide above Otto Frank’s work office for over a year and a half. The Maverick Players at Archbishop Edward A. McCarthy High School invites us into this intimate and deeply impactful annex in their rendition of “The Diary of Anne Frank.”
What a performance Erica Gouldthorpe gave! Gouldthorpe, (Anne Frank), transported us into the light-hearted mind of the 13-year-old aspiring writer. Gouldthorpe contrasts the anxiety-ridden Annex residents in such a stark and beautiful manner, expressing a wide range of depth and emotions. Gouldthorpe’s stage father, Justin Cook, was equally beautiful to follow through the story. Cook, (Otto Frank), was a grounded anchor for the characters around him. He was magnetic! The calming, level-headed presence Cook provides makes the audience believe there is hope for the residents of the annex. Christopher Muston, (Peter Van Daan), built such excellent chemistry with Gouldthorpe. Muston handles Peter’s world with such care and brought a great deal of detail to his character. We got a glimpse into this when props fell accidentally out of place, Muston was careful to treat the prop’s repositioning while remaining in character. The level of professionalism which with the cast performed was refreshing and admirable.
Running the technical side of the annex, Britni Barcelo’s stage management was impeccable. Every light and sound cue fell into place perfectly and never distracted from the actors’s performances. While exquisite lights and sounds tie the intimate annex together, Barcelo’s ability to juggle these technical elements cannot go unnoticed.
Congratulations to the Maverick Players on their phenomenal presentation of “The Diary of Anne Frank”!
*** *** ***
By Emma Gidlow of Cardinal Gibbons High School
Archbishop McCarthy High School’s production of The Diary of Anne Frank explores the great difficulties and small triumphs of living in a secret annex during Nazi rule.
Taken directly from Anne Frank’s diary, The Diary of a Young Girl, the worldwide phenomenon has taken the world on the hopeful child’s journey during such a trying and devastating child. Through the perspective of a young child, The Diary Of Anne Frank, tells the true story of a family during their desperate escape from the Nazi invasion of Amsterdam. Living among another family and a refuge dentist, the eight people must live in secret in order to survive.
With an enticing portrayal of the title role, Erica Gouldthorpe led the show. Her physicality and tone of voice was the perfect embodiment of a young and hopeful child. Gouldthorpe showed a strong acting range with her impeccable comedic timing and deep, emotional acting. Similar to Anne, Otto’s character is one of hope and optimism. Justin Cook, Otto Frank, was nothing short of phenomenal. Cook’s performance captivated the audience with his earnest and mature portrayal. His final monologue, that concluded the play, exceeded the expectations of a high school student.
The undeniable chemistry between Anne Frank and Peter Van Daan, Christopher Muston, mirrored that of a youthful romance. The two worked together perfectly, showing strong character development as they grew closer overtime. The contrast between the personality of Anne and her older sister Margot, Mariangeli Collado, was remarkable. Anne’s optimistic and youthful tendencies contrasted Margot’s fear and hopelessness. The trio, Muston, Collado, and Gouldthorpe, worked together seamlessly. They brought a necessary sense of light and youthfulness to the dark show.
Britni Barcelo’s superb stage management is deserving of the highest praise. Barcelo was exactly on time for each individual cue and led an excellent technical crew. The production had a brilliant use of lighting and sound that tied together perfectly. The combination of the two brought many chilling moments. Maria Soto also deserves to be commended as the hair stylist. Soto’s evident research and intelligent plan to clip up long hair in order to give off the illusion of a short haircut was flawless.
While there may be many social injustices in today’s society, Archbishop McCarthy’s production of The Diary of Anne Frank reminds its audience of the importance to be hopeful for a positive future. It keeps the human spirit alive.
*** *** ***
By Emma Sugarman of J.P. Taravella High School
Amsterdam, July 1942. Anne Frank’s father guides his family into a secret annex above his old workplace. The Jewish family has gone into hiding due to fear of Nazi persecution. From the moment the family arrives, Anne’s tireless optimism and positive outlook shines through the overbearing gloom outside the attic walls. Archbishop McCarthy High School’s captivating production of “The Diary of Anne Frank” revitalizes the most innocent account of the immoral tragedies of World War II.
Based on the book “The Diary of a Young Girl” by Anne Frank, the stage adaptation, written by Frances Goodrich and Albert Hackett, revisits the pages of Anne Frank’s documentation of her journey during the Holocaust. Trapped in the secret annex, the Franks, accompanied by the Van Daan family, attempt to maintain an essence of normalcy with the underlying fear of being discovered plaguing each day.
Embodying the bubbly and bright Anne Frank, Erica Gouldthorpe captured the lively spirit of her character through her unwavering energy and impeccable comedic timing. Gouldthorpe’s clear development from a bright-eyed child to a valiant young woman emerging into adolescence symbolized the incessant confinement and its effects on the annex’s residents. Justin Cook portrayed Otto Frank, Anne’s pragmatic father. Cook’s sensible and patient air, along with his expressive facials and grounded nature, produced an enthralling performance especially visible in his last monologue.
Edith Frank, Anne’s devoted mother, was played by Sophie Vega. Vega depicted the maternal and protective disposition of her character through her tender intonation and warm physicality. Mrs. Van Daan, the extravagant and sentimental mother of the Van Daan family, was embodied by Bianca Weston. Weston’s brilliant moments of comedic relief accompanied by her bold characterization formulated a multidimensional performance.
The cast of this production presented the severe content beautifully and with sensitivity. The cohesive ensemble’s well-executed stage business enhanced the performance’s sense of realism. The cast’s raw emotions and vulnerability alluded to the actors sense of experiencing each moment for the first time. Every actor developed a dynamic relationship with their fellow castmates that contributed to the production’s overall authenticity.
The technical aspects of this production accurately conveyed the solemnity of the environment. The magnificent set accurately conveyed the cramped nature of the annex which contributed to the development of the characters’ frustration and longing for the outside world. The innovative lighting design supported this concept while visibly distinguishing between the contrasting radio reports. The use of hair, makeup, and costumes supported the individualistic personas of each character while accurately representing the show’s time period.
November 2019. The story of Anne Frank has provided the 21st century a glimpse into the catastrophic devastation of the Holocaust. Paying tribute to Anne Frank’s resolute sense of hope, Archbishop McCarthy High School’s gripping production of “The Diary of Anne Frank” realizes the young girl’s dream that her story would forever live on.
*** *** ***
By Cameron Miller of David Posnack Jewish Day School
During a time in which the face of humanity had turned against itself, all seemed lost. Yet, a glimmer of hope still prevailed through the eyes of a child named Anne Frank.
Adapted from Anne’s own diary written during World War II, The Diary of Anne Frank was originally dramatized by Frances Goodrich and Albert Hackett, and later revised by Wendy Kesselman in 1997. The play brings to life the struggle of two Jewish families in Amsterdam, as they hide in an annex while Nazi terror consumes the world around them. Through the eyes of a vivacious young woman, The Diary of Anne Frank graces the world with a testament to the bravery and tenacity of the human spirit.
To take on a story of such poignant historical significance is no easy feat– yet, through their understanding of the script, emotional commitment, and natural chemistry, the young cast excelled in delivering an unbelievably compelling, heartbreaking, and resonating performance.
As Anne Frank, Erica Gouldthrope brought an unparalleled exuberance that flooded the stage. Gouldthorpe melted into Anne’s characteristic vitality and optimism! She skillfully contrasted aspects of Anne’s development, like her thirst for childlike fun, and outbursts of agony.
In a heroic portrayal of Otto Frank, Justin Cook served as a grounding presence on the stage, playing off other characters brilliantly and conveying poignant emotion. As the only surviving resident of the annex, he eulogizes the deaths of his dearest family and friends in a final monologue delivered with unbelievable power and emotion.
Mrs. Van Daan, portrayed by Bianca Weston, lightened the play, adding an aspect of comedy with her snooty quips and sarcastic comments. Her son, Peter van Daan (Christopher Muston), expertly conveyed his character arc. Muston had an outstanding approach to Peter’s awkwardness and unmistakable chemistry with Anne, his role bolstered the play to a degree of brilliance.
The final layer of the show’s excellence lay in its flawless technical execution. The stage manager of the production, Britini Barcelo enveloped the stage in Anne’s story, accomplishing every sound, light, and technical cue flawlessly.
“I want to go on living even after my death!” declared Anne Frank’s eternal voice of optimism. In Archbishop McCarthy’s rendition of The Diary of Anne Frank, Anne’s wish was brought to fruition. Despite its tragic ending, the story of Anne Frank is one of hope, tenacity, and optimism that pertains relevance to today’s issues and will continue to echo throughout history
*** *** ***
By Rylee Berger of Cooper City High School
“History cannot be written on the basis of historical decisions and documents alone,” declared a Dutch minister in a 1944 broadcast for the BBC. These words would inspire a young girl to refine her diary, a journal that would become, arguably, the most iconic piece of writing from the Holocaust. Archbishop McCarthy High School’s production of “The Diary of Anne Frank” was beautifully cathartic and raw, providing a glimpse into the despair and difficulties plaguing a small annex in Amsterdam.
Based on Anne Frank’s “The Diary of a Young Girl,” the play was adapted for the stage by Frances Goodrich and Albert Hackett in 1955. It would go on to win the Tony Award for Best Play as well as the Pulitzer Prize for Drama. Revised by Wendy Kesselman in 1997, the show has been widely produced by professionals and amateurs alike. The play follows Anne Frank (Erica Gouldthorpe) as she and her family go into hiding to escape Hitler’s regime. In the small, cramped annex, we see Anne laugh, cry, mature, and fall in love.
Gouldthorpe led the cast with fitting precociousness and candor; her performance showcased her wide range of expression and breathtaking acting abilities. Gouldthorpe was captivating both in joyful, innocent moments with her family and in her anguished, fearful deliveries when alone. Her comedic instincts were strong and her maturation into a young woman throughout the show was convincing. Though Gouldthorpe created believable relationships with the entire cast, her relationship to her father, Otto Frank (Justin Cook), stood out for its natural ease and touching subtleties. Cook himself provided a precise and compelling depiction of Mr. Frank, encompassing his paternalistic tendencies with great ease.
Gouldthorpe also built an adorably awkward and innocent relationship with love interest Peter Van Daan (Christopher Muston). Muston was equally invested in the bond, delivering genuine reactions and endearing clumsiness. Portraying the extravagant and good-humored Mrs. Van Daan, Bianca Weston demonstrated her theatrical prowess and ability to make bold acting choices.
The entire cast had authentic dynamics and illustrated the challenge of living with seven other people in a confined space. The company remained in character throughout the piece, accentuating their dialogue with specific gestures and stage business that, rather than distracting from the central action, added a layer of validity. The actors’ mastery of the script was evident, especially in the play’s climactic scene when their terror and desperation was on full display.
The technical elements were well-suited to the production; the precise cues aided in the delivery of moving moments. These stood out in Otto Frank’s moving final monologue during which the lights dimmed one by one as he revealed the passing of his loved ones.
Archbishop McCarthy’s supremely heartfelt production of “The Diary of Anne Frank” leaves us awestruck at the resilient spirit of a young girl and the love she was surrounded with, proving that hope prevails, even in the most unthinkable situations.
*** *** ***
By Reese Abrahamoff of Cooper City High School
Lock the car, start your engine, and get ready for a road trip to the 1900s! On your way to the Deep South, you’ll find Deerfield Beach High School and their heartfelt production of “Driving Miss Daisy” as they delve into themes of human dignity and the importance of friendship.
The play, written by Alfred Uhry, made its debut in 1987 at the Playwrights Horizons Studio Theatre. The show opened on Broadway in 2010 after two National Tours and a 1989 film adaption, which won the Academy Award for Best Picture. In the backseat of a 1949 Hudson Commodore, you’ll find Daisy Werthan, a Jewish, crotchety, white Southern woman with no intention of making friends. Enter Hoke Coleburn, a dignified, soft-spoken African American in desperate need of a job. When an unlikely friendship is formed, we are taken through twenty-five years of learning and enlightenment where we come to understand that companionship is, simply put, more important than societal expectations.
Leading lady Sarah Mellinger did a lovely job as the irritable Daisy Werthan. Mellinger’s olden physicality and constant state of dissatisfaction worked extremely well with her character’s grouchy tendencies and close-minded persona. From ridiculous accusations to subtle temper tantrums, Mellinger never faltered in showcasing the stubborn mannerisms of an elderly woman, which allowed for refreshing moments of comedy in a rather serious show. Alongside Mellinger was Chad Chambers as Hoke Coleburn. With clear motivations and a crisp southern dialect, Coleburn’s charismatic nature complemented his ability to play off of Daisy and her headstrong attitude. Together, Chambers and Mellinger demonstrated proper character development as time progressed, allowing for a sincere discovery of solace within each other.
Initiating the relationship between Daisy and Hoke was Alan Halaly (Boolie Werthan), Daisy’s insistent and loving son. With substantial energy and lively expression, Halaly’s sense of loyalty to his mother and her safe-keeping was evident throughout the entirety of the production and led to a truly genuine performance. In such a small cast, it can be easy to lose motivation and purpose. While certain lines seemed to be anticipated by the cast, the actors’ intimacy and character commitment allowed the audience to remain connected to the show and its mature themes.
The technical aspects of the show were outstanding, especially in reflecting the production’s passage of time. With the use of audible transitions throughout scene changes, such as snippets of Christmas music and, later, published songs, sound excelled in showing the character’s change in age as well as their understanding of life. The hair and makeup team, with the inclusion of sublime old-age makeup, accurately represented the maturity of the characters and presented remarkable attention to detail.
On the drive back to each of our own destinations, we are left to contemplate the true meaning of friendship. Upon the closing of the curtain, Deerfield Beach High School’s “Driving Miss Daisy,” leaves us with one thought; the road you travel on doesn’t always lead you to the destination you had hoped for, but if you can look back on your journey and smile, then it was worth it.
*** *** ***
By Kaitlyn Tully of Calvary Christian Academy
“Driving Miss Daisy” premiered off-Broadway in 1987 and made it onto Broadway in 2010. It won the Pulitzer prize in 1988 and was adapted into a popular movie in 1989. It follows a 72-year-old woman named Daisy whose son believes she needs a chauffeur, despite her adamant protestations that she does not. For the first week, she refuses to let the chauffeur, Hoke, transport her anywhere. When she finally allows him to drive her, they begin to become friends, caring deeply about each other.
The raw nature of this friendship shone through in the chemistry between Daisy (Sarah Mellinger) and Hoke (Chad Chambers). As their friendship blossomed, so did their interactions, leaving in their wake a friendship that would hold them together even when times grew difficult. Their comedic timing added a lighthearted air to the play, creating a sense of beauty in their friendship. Their accents increased the believability, making one feel as though one truly was in Atlanta. Sarah Mellinger’s ability to appear old added to this believability as she would shuffle down stairs and hold her hand to her back. However, other actors seemed to struggle slightly with the nuances of acting elderly. Despite this, the actors did manage to appear older at the end of the show, with Chad Chambers leaning on his cane like it was the only thing holding him up. And somehow, one felt that it was, that without Daisy to hold him up he was near collapsing.
The technical aspects of the show dropped one straight into 1948, allowing one to truly understand the context of the play. Props by Jennifer “Blue” Moore and Yeva Ilyankova became integral in establishing the setting, with magazines from the 1940s and rotary phones. Their attention to detail was incredible as they had real liquid in the teapot and real pie at the end. However, as the time period changed, the props did not, resulting in Daisy reading the same magazine in the 1960s as she did in the 1940s. Fortunately, sound by Michael Hahn also worked in establishing the time period, using classic songs in the transitions to create a sense of the passage of time. The timing of the sound cues was impeccable, making the play even more believable.
Deerfield Beach High School’s production of “Driving Miss Daisy” reminded one that friendship is what holds people together, even in the most difficult of times. It becomes the thing that is most important even as time passes and people change. And eventually, friendships are what allow us to become who we are meant to be.
*** *** ***
By Levi Cole of NSU University School
As people age, they are often distressed by their loss of independence. Deerfield Beach High School’s Production of “Driving Miss Daisy” tells the story of taking a step back and letting someone else take the wheel.
Authored by Alfred Uhry, Pulitzer Prize winning “Driving Miss Daisy” is the first of Uhry’s Atlanta Trilogy, which details the life of Jewish-Americans in Atlanta. The play first premiered Off-Broadway at the Playwrights Horizons Studio Theatre in April of 1987. Eventually, the production made its Broadway debut in 2010. Set over a 25 year period from the late 1940’s to the early 70’s, the narrative follows Daisy Werthan, an entitled, elderly Jewish woman, and her son Boolie. When Daisy’s age begins to degrade her driving ability, Boolie decides hire a chauffeur for Miss Daisy, an African-American man named Hoke. Initially, Daisy is hesitant, but, over time, Miss Daisy and Hoke develop an incredible bond.
As Miss Daisy, Sarah Mellinger displayed excellent characterization, physicality, and mannerisms throughout the performance, allowing her to portray a convincing elderly woman. Mellinger’s consistent Atlanta accent and delivery furthered the believability of her character and enhanced the production tremendously. Mellinger also exhibited laudable comedic timing, adding humor to the production. Chad Chambers demonstrated strong commitment and characterization as the sarcastic and wise chauffeur, Hoke. Similar to Mellinger, Chambers maintained a consistent accent and speech pattern, boosting his character further. Mellinger and Chambers possessed a wonderful chemistry onstage, adding to the believability of their roles and entertainment of the show. Portraying Miss Daisy’s protective son, Boolie, was Alan Halaly. Demonstrating strong diction and delivery, Halaly brought commendable energy and commitment to the stage.
Collectively, the cast worked very well together, developing realistic and believable relationships and entertaining dynamics. Despite lack of facial expressions at times, or occasionally fading out of accents, the cast brought excellent energy and engagement to the production. This play was staged in a black box setting, adding to the intimacy of the production.
The minimalistic technical elements of the play are also to be commended. The sound design by Michael Hahn is to be noted, as the timing of the sound effects was in sync with the actors. Notably, the hair and makeup team effectively showed the age of the characters as well as styling Miss Daisy’s wig realistically. Despite some awkward and lengthy transitions, overall, the tech components boosted the show’s enjoyment in an abundance of ways.
Telling the heartwarming story of a developing emotional bond between two differing personalities, Deerfield Beach High School’s production of “Driving Miss Daisy” captures the transition from unlikely acquaintances to best friends.
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By Leah Tomas of J.P. Taravella High School
In the midst of evolving race relations in America during one of the greatest social reform movements in the history of the United States, an unlikely friendship is flourishing. Travel back to the Deep South for a story of friendship against all odds with the cast of Deerfield Beach High School’s production of “Driving Miss Daisy.”
“Driving Miss Daisy” was written by Alfred Uhry. The play premiered at the Playwrights Horizon Studio Theatre in 1987, and made its Broadway debut at the John Golden Theatre in 2010. The play won the 1988 Pulitzer Prize for Drama, and the Broadway production received a Tony Award nomination for Best Actress in a Play. The story follows Daisy Werthan, a 72-year-old Jewish woman, and her son Boolie Werthan, over the span of 30 years. When a car accident forces Miss Daisy to give up driving, Boolie decides to hire a driver, much to her chagrin. However, an unlikely friendship grows between Miss Daisy and her chauffeur, an African-American man named Hoke Coleburn.
Sarah Mellinger (Daisy) demonstrated mastery of physicality and vocal inflection to convey the old age of her character. Mellinger made excellent use of ad-libbed lines to create comedic effect, and developed a wide range of expression throughout her performance. Chad Chambers (Hoke) utilized vocal inflection to convey emotional meaning in each of his lines, and demonstrated superb execution of a Southern dialect. The playful banter between Mellinger and Coleburn provided comedic relief, and the two actors developed endearing and sincere chemistry throughout the production.
Alan Halaly (Boolie) portrayed his character with boundless energy and clear diction. Halaly developed strong relationships and characterization throughout the production, and did an excellent job portraying an older role.
The cast as a whole demonstrated great diction and energy, and each character was well-developed with a unique emotional arc. Though brief inconsistencies in the execution of a Southern dialect were prevalent, the accent was overall believable, and established the time and location of the story well. The cast often experienced difficulties creating consistent pantomime, some blocking appeared to lack motivation, and the combination of upstage-facing actors along with the decision to omit microphones from the performance resulted in inconsistent volume at times. Overall, the cast did an excellent job portraying older characters during distinct time periods, and delivered an engaging performance.
The technical elements of this production were well executed. The experience was increasingly immersive as the audience was located onstage to create an arrangement similar to a black box theatre. The sound design skillfully represented the passage of time through audio clips, and all set pieces, costumes, and props were time-period appropriate. Makeup effectively conveyed the age of each actor. However, over the passage of time, set pieces and props did not change to become appropriate for new time periods, and actors did not appear to age gradually.
It can be difficult to overcome our differences and create friendships with those we consider different from ourselves. Deerfield Beach High School’s production of “Driving Miss Daisy” is a heartwarming representation of the friendships that prosper when differences are set aside, and unbreakable bonds are forged..
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By Cristian Velasquez of Cypress Bay High School
With the delicate depiction of the passage of time and the experience of aging, Deerfield Beach High School’s tender production of “Driving Miss Daisy” tells the story of the budding friendship between a stubborn elderly Jewish woman and her colored chauffeur.
“Driving Miss Daisy” was written by American playwright Alfred Uhry. The Off-Broadway production premiered at the Playwrights Horizons Studio Theatre in 1987, where it ran for three years and was later staged on Broadway in 2010. Set in 1948 Atlanta, “Driving Miss Daisy” tells the saccharine tale of Daisy Werthan, who’s son Boolie hires an elderly man, Hoke Coleburn, to be her driver after she gets in an accident. Despite their initial wariness of one another, over the years, they form a long-lasting bond that defies the struggles that come with old age.
Performed with the audience sitting on the stage, Deerfield Beach High School’s heartwarming rendition of the production added a unique element of intimacy to the performance, which transports the audience to the world of “Driving Miss Daisy.”
Leading the show with poise was Sarah Mellinger as the bashful Daisy Werthan. From Mellinger’s physicality to her mannerisms to her intonation, she created a bold depiction of a stubborn elderly woman. Her dynamic character arc demonstrated the vastness of Mellinger’s expressiveness, especially during the decline into Miss Daisy’s old age. Portrayed with integrity was Miss Daisy’s “best friend” Hoke Coleburn, played by Chad Chambers. Mellinger and Chamber’s exceptional chemistry established a believable relationship between the two characters, as the tension between them faded over time and grew into a playful friendship.
Another notable performance was that of Alan Halaly, portraying Boolie Werthan. Halaly remained consistent in his accent and his physicality, which contributed to the enthrallment of his character through the show’s entirety. At times, throughout the production, the actors wouldn’t pantomime the opening of the house and car doors, but their impeccable emotional delivery and chemistry of the cast immersed the audience into the narrative once again.
The progression of time throughout the production is wonderfully portrayed through the song choices played during the scenic transition, despite being very abrupt. The sound effects played, such as the car horn and the phone ringing, were remarkably accurate, which stage management must be commended for. The props team must additionally be credited for utilizing items that aptly fit the time period; however, some props that needed to change over time did not. Accurately executing the old ages of Miss Daisy and Hoke, the hair and makeup team should be acknowledged for their attention to detail.
Deerfield Beach High School’s charming production of “Driving Miss Daisy” demonstrates how the power of friendship defies the passage of time, despite Miss Daisy and Hoke’s differences.
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By Leah Tomas of J.P. Taravella High School
“Twenty-six pebbles. That’s exactly what happened. Each one of those a drop in a pond, and you know, it just emanates out. The ripples, the vibrations…It’s life. This stuff spreads.” When tragedy strikes, finding beauty in a bleak world ravaged by horrific cruelty can seem nearly impossible, but there is always a light in the darkness. South Plantation High School’s uplifting production of “26 Pebbles” is a true embodiment of the hope and kindness that ripples out from the core of even the most unspeakable sorrow.
“26 Pebbles” is a one-act drama written by Eric Ulloa following the citizens of Newtown, Connecticut during the aftermath of the tragic violence that took place at Sandy Hook Elementary School on December 14, 2012, resulting in the loss of 26 lives. The story is a depiction of the ways in which the Newtown community overcame the grief, frustration, and anger that ripples through monumental loss of this degree, and channeled their energy and emotion into social activism and motivation not only to heal the citizens of their hometown, but to heal the world. “26 Pebbles” premiered in February 2017 in Dayton, Ohio with the Human Race Theatre Company, and won the Kennedy Center Citizen Artist Award for 2017.
Kierstin Rose (Actor 1) delivered a captivating performance. Rose smoothly transitioned between playing two distinct characters, and expertly manipulated her physicality and vocal placement as a means to thoroughly distinguish between both roles. Jermaine Jenkins (Actor 2) did an excellent job creating complex emotional arcs for each of his characters. Kayla Smith (Actor 4) expertly emphasized the importance of each of her lines, and maintained an energetic and engaged presence throughout the performance.
The Interpreters demonstrated a vast range of expression throughout the production. Each interpreter did a phenomenal job conveying the emotions of their corresponding actor through both striking facial storytelling and physical movements. Each interpreter was easily distinguishable from the rest of the ensemble and added an additional layer of complexity to the performance
The ensemble of this production worked well together to form a cohesive unit. The actors did a fantastic job playing real people, and delivered an honest and authentic performance with strong focus on maintaining the original intent of the dialogue.. Though lacking emotional levels toward the beginning of the production, the group became largely more dynamic as the story progressed smoothly over time.
The technical elements of this production were overall very well executed. Intricate sound and lighting designs emphasized the emotional content of each scene, although sound clips appeared to cut off abruptly at times and draw attention away from the actors. Throughout the production, creative staging and special effects created an interesting foundation for storytelling.
South Plantation High School’s production of “26 Pebbles” is a heartwarming depiction of the power of community and creativity over anger in the face of adversity. “It’s all about how you ripple out, and what these vibrations can be. We are love. We are Newtown. That message says it all.”
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By Nick Vela of J.P. Taravella High School
With a glimmering and stagnant body of water follows the everlasting and comforting feeling of consistency, security, and safety. However, this sense of familiarity and protection is fragile, allowing a pebble to cause the utmost disruption and destruction. South Plantation High School’s meaningful production of “26 Pebbles” is the story of the “ripples and vibrations” large enough to change the world
Written by Eric Ulloa and making its 2017 world premiere at The Human Race Theatre Company in Dayton, Ohio, “26 Pebbles” was awarded the 2017 Kennedy Center Citizen Artist Award. Compiled and composed of real-world interviews of those who were personally affected, “26 Pebbles” truthfully tells the transformative tale the citizens of Newtown, Connecticut experienced after the devastating Sandy Hook incident. The play’s authenticity and emphasis on the uplifting and positive changes a community undergoes after a heartbreaking tragedy, such as developing a newfound strength, compassion, and unity, allowed the piece to connect with audiences from all over.
The actors of the production showcased an ensemble connected by a touching, honest, and natural chemistry. Their conversational line delivery and fully developed relationships provided an intimate environment, and therefore, established a sense of openness and vulnerability. Besides minor issues in the pacing and energy levels of the performance, the entire cast stayed true to the story and offered subtle, yet distinct character differentiation. Notably, Kierstin Rose (Actor 1) and Kamala Ramsey (Actor 5) demonstrated a commendable physicality and remarkable characterization in their many roles, as well as Jermaine Jenkins (Actor 2) and Kayla Smith (Actor 4), who displayed a captivating and appealing portrayal of their multiple characters.
The incorporation of American Sign Language illustrated a unique approach to live theatre and heightened the storytelling factor of the production tremendously. Making the performance accessible to an even broader audience, the interpreters of the production brilliantly and consistently mirrored their speaking counterparts. They displayed profound and genuine facial expressions, along with passionate and expressive movements, ultimately adding to the overall quality of the performance.
Demonstrating a true sense of collaboration, the technical elements of the production all beautifully blended together as a whole and raised the caliber of the piece significantly. The costumes effectively displayed the numerous characters through simplistic and quick onstage changes. The sound of the production, although at times faltering, completely immersed the audience in the story. The lighting design aided in conveying the present mood of each scene through its variety of hues, as well as added to the impact of the story through its inclusion of projections that offered visually enticing stimuli without being distracting.
South Plantation High School’s impactful production of “26 Pebbles” exquisitely expressed the importance of “resilience,” “faith,” “community,” and “family.”
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By Levi Cole of NSU University School
Tragedy and hope typically are not associated with one another, but from the darkness of tragedy emerges the light of hope. This concept is displayed beautifully in South Plantation High School’s production of “26 Pebbles”.
Written by Eric Ulloa, “26 Pebbles” debuted at the Human Race Theatre in 2017, focusing on the surrounding events of the heinous Sandy Hook shooting in Newtown, Connecticut. The play is an agglomeration of interviews with residents of Newtown, strung together into an ensemble-based production exploring the lives of individuals and the community affected by this tragedy.
Each actor in this performance was tasked with playing multiple roles, a challenge accomplished exquisitely by the cast. Additionally, paired with each actor was a shadow interpreter, who not only translated every line into American Sign Language, but was incorporated into the production as an actor. As a collective, the ensemble established a conversational tone, allowing for a unique and effective method of bringing the audience into the show. The ensemble worked excellently together, portraying the preexisting relationships of the citizens of Newtown brilliantly. Despite minimal microphone issues, the cast remained in character, and gave a believable and impassioned performance.
Kierstin Rose’s rendition of her characters in her role of Actor 1 was superb. Rose effectively portrayed multiple citizens of Newtown and clearly distinguished between them with changes in physicality, voice, and tone. Rose expressed a vast array of emotions and was responsible for many powerful moments in the show. Jermaine Jenkins (Actor 2) depicted his various characters with amazing skill. Displaying tremendous emotional commitment and dramatic timing, Jenkins brought an unforgettable performance to the stage. As Actor 4, Kayla Smith expertly exhibited praiseworthy delivery for her characters. Furthermore, Smith demonstrated her estimable acting proficiency, leading to many of the most remarkable moments of the play. Kamala Ramsey’s genuine acting and emotional commitment allowed her to create numerous believable characters in her role of Actor 5. Ramsey’s distinct and effective physicality and mannerisms helped to differentiate between her truly convincing characters.
The tech components of this production assisted in telling this powerful story. The special effects and technology by Reis Novaro successfully integrated a projector into the show, allowing for real footage and photographs from Newtown to be projected onto the stage. The lighting team and stage management must be commended, for there were over 100 light cues, all executed with no obvious glitches.
Shifting focus away from the violence and devastation, South Plantation High School’s “26 Pebbles” tells the moving story of recovery, community, and, most importantly, hope..
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By Jennifer Holz of NSU University School
With great loss comes the need to grieve and rebuild. South Plantation High School explores the questions of how a community can move past unthinkable horror, pain, and heartbreak, all of which occurred in Newtown, Connecticut on December 14, 2012, with its performance of “26 Pebbles”.
Written by Eric Ulloa, “26 Pebbles” tells the true stories of a town going through the process of regaining its identity and reclaiming its narrative after a horrifying massacre that put Newtown on the map. The play premiered at the Human Race Theatre in Dayton, OH in February 2017 and was featured in American Theatre Magazine and the New York Times. Its impactful message of hope and community won it the Kennedy Center Citizen Artist Award in 2017.
The entire cast worked together beautifully to explore the results of the suffering that the community was forced to endure. The connection that the actors had with each other was genuine and honest. Each principal actor wonderfully transformed their mannerisms and nuances to distinguish each character they were playing. Kierstin Rose’s subtle changes gave each of her characters their uniqueness and were executed superbly. The relationship she created with Victoria Kmiec, her interpreter, was so natural that it was as if they were moving and reacting as one. Jermaine Jenkins’s ability to project and work through the microphone difficulties that resulted in his microphone being turned off was commendable.
The performers were able to elegantly create the heartbeat of the close-knit community going through an indescribable tragedy. The interpreters of Newtown both enhanced the performance of their respective speakers and aided the community as a whole. The bonds that they formed with each other and the speakers molded the town and the experience of the audience. They amplified the impact of what the people were bound to endure and the emotions of the characters.
The lighting design by Hadrian Schrag and Daley Eisenmann nicely reflected the mood and atmosphere of the show. The use of props designed by Shaylen Deyo, such as the teddy bears, accurately reflected the events that occurred. The projections were impactful, especially in the scenes where they were displaying the picture of the children lost in the shooting.
Now more than ever, it is important to address the impacts that these tragedies have on individuals and communities throughout our country. South Plantation High School greatly explored how these pebbles ripple through society
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By Gabriela Phillips of Cooper City High School
Written by Eric Ulloa, “26 Pebbles” recounts the story of a close-knit community affected by the shooting at Sandy Hook. Ulloa utilized verbatim theatre, in which he conducted various interviews throughout the community of Newtown to piece together the dialogue of the play. It premiered at the Human Race Theatre in 2017 and won the Kennedy Center Citizen Artist Award. This play doesn’t simply focus on the tragedy itself, but on how the community worked together to move forward from this event.
Portraying 19 different characters, the ensemble of 6 speaking actors, along with their interpreter counterparts, seamlessly transitioned between various residents of Newtown. With an incredible emotional dedication to her role, Kierstin Rose (Actor 1) gave a strong, yet genuine performance, most notable in her monologue about a boy who gave his life to save his classmates. Her ability to distinguish between her two characters was executed excellently, her shift in vocal inflection and physicality aided in making the show all the more understandable.
Another notable performance was that of Kayla Smith (Actor 4), who played three different characters. Evident in her portrayal of the characters was her ability to remain natural, best highlighted in her emotional lines when she would take the time to collect herself onstage and then deliver the line effectively. Her seemingly simple character choices helped maintain the realism of the show, also evident in her touching performance of “Amazing Grace.” Jermaine Jenkins (Actor 2) maintained a powerful performance while effectively distinguishing between four characters, a difficult task.
Alongside each speaking actor was an American Sign Language interpreter. Each interpreter did an admirable job of matching the character choices of their speaking counterparts, making the show easy to follow. As a whole, the ensemble did a great job of giving the show a conversational feeling representative of a small town. The mature themes in the show were handled with care, and they excellently showcased the town’s development from feeling angry and lost to hopeful.
The technical aspects of the show worked well to fully immerse the audience into the world of Newtown. The attention to detail when it came down to props (Shaylen Deyo) was remarkable. They accurately represented what was used in real life. Another technical element that aided in making the show flow more effectively was the costume design (Adam Leneberg). With quick and simple costume changes throughout the show, they played a major role in differentiating between characters.
Tackling the intense themes within the show, South Plantation High School showcases the true strength, resilience, and transformation of Newtown, Connecticut in its emotional production of “26 Pebbles.”
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By Madeline Finkelman of North Broward Preparatory School
A charming latticed barn silhouetted against the sunset-streaked Blue Ridge Mountains sets the tone as the musical mood of the south sweeps across the stage. With the strumming of both banjo strings and heart-strings, Cardinal Gibbons High School’s bluegrass musical Bright Star beautifully tells a touching and tender tale, intertwining timelines in a sweet and sentimental spectacle.
Bright Star was written and composed by comedian Steve Martin and singer-songwriter Edie Brickell. The folk-style musical was inspired by the pair’s Grammy-winning 2013 bluegrass album, “Love Has Come For You” and the true-story “Iron Mountain Baby”. Bright Star premiered at San Diego’s Old Globe Theatre in 2014. The musical opened in 2016 on Broadway at the Cort Theatre and ran for 139 performances. Set in rural North Carolina, the unconventional musical Bright Star tells the heart wrenching story of Alice Murphy, depicting events ranging from her reckless youth in the 1920’s to her stern and steely adulthood in the 1940’s. Her past and present lives weave together in a pain-tinged tapestry of love, fight, and redemption.
Leading the show with grace was Darby Silverman as the head-strong teen turned renowned magazine editor, Alice Murphy. Silverman exhibited a strong vocal quality which remained captivating and consistent through the show’s entirety. From uptight professional to carefree 16 year old, Silverman tackled the demanding task of portraying two different ages and attitudes with commendable clarity.
Alice’s first love Jimmy Ray Dobbs was played with sweet sincerity by Parker Greenblatt. Greenblatt established a believable character and created a genuine connection with Silverman. The two were best showcased together in their heartbreaking duet “I Had A Vision”. Another notable performance was that of Cameron Relicke as the passionately persistent Billy Cane. Relicke ably brought the wannabe writer to life, portraying the youthful and wide-eyed optimistic character with great charisma. Relicke developed a tender relationship with Juliana Rios as Margo. Jimmy and Margo’s playful, budding romance contrasted delightfully with the darker more developed relationship between Alice and Billy.
Bringing comedy and vibrance to the stage were Amber Arevalo and Wes Morby as the dynamic magazine office duo Lucy and Daryl. Arevalo excellently portrayed the sassy southern bell and showcased her great dance and vocal abilities in her song “Another Round”. With tight harmonies and knee-slapping choreography, the show’s ensemble enhanced the down-home charm of the show, helping to propel and tell the entrancing story of Bright Star. A standout among them, showcasing elegance and grace with every step, was Beatriz Arevalo.
From the denim overalls and period men’s suits to the floral printed dresses and flower-adorned hats, the costumes beautifully fit the country feel and complemented each of the scenes in the show. The quick changes were seamlessly executed, most notably, Alice’s onstage hair and costume change to her younger self. The onstage switch made for a lovely transition and was a unique and effective introduction to the flashback scenes in the production.
In the harmonious and homespun Bright Star, Cardinal Gibbons High School shined in its sweeping storytelling of broken-hearted characters made whole again by the power of time, forgiveness and love
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By Nicole Sugarman of J.P. Taravella High School
The bluegrass train, fueled by the banjo’s optimistic twang, the fiddle’s flair, and the bellow of the bass, swiftly transports you to the Blue Ridge Mountains of North Carolina. In Cardinal Gibbons High School’s hopeful production of “Bright Star,” the celestial stars speckling the southern night sky serve as the essential conductor. The luminous bodies, in conjunction with the musical brilliance, light up the tracks to follow one’s own “Bright Star.”
With a refreshing score by Edie Brickell and Steve Martin, “Bright Star” shares the captivating tale of Alice Murphy, a successful editor. However, a glimpse into her teenage years of the 1920s exposes a painful part of her past that she has been forced to internally confront for all this time. As the story unfolds, the missing puzzle pieces of her past begin to assemble before her eyes, revealing a restoration of love and a revelation that can only be described as a miracle.
Darby Silverman, playing Alice Murphy, captured her character’s wide range of emotions with her chilling vocals and authentic reactions to the unimaginable circumstances. Silverman’s depiction of Alice in alternating time frames, consisting of her teenage self and the accomplished woman she has grown to be two decades later, was commendable. Playing Jimmy Ray Dobbs, Alice’s love interest, Parker Greenblatt effectively relayed the complex emotional journey of his character. Silverman and Greenblatt displayed nice chemistry throughout the production and skillfully adapted the maturity of their relationship as they aged.
Billy Cane, the eager young writer, was played by Cameron Relicke. Relicke displayed his character’s optimistic outlook through his lively vocals and exuberant energy. Playing Margo, the bookstore owner dreaming of a romance with Billy, Juliana Rios captured the sweet nature and hopeful spirit of her character. Relicke and Rios exhibited lovely development of their relationship, especially in their charming duet “Always Will.” Amber Arevalo, playing Alice’s spunky coworker, showcased terrific dance abilities and consistent characterization throughout the musical. She led the massive number, “Another Round,” with tremendous energy and bold vocal delivery.
While the orchestra did occasionally overpower the actors, the powerful melodies provided substantial energy that was expressed through their lively dancing and crisp harmonies. Although occasionally lacking facial expressions, the entire cast conveyed the folksy style of the score, creating a unique flavor of sound and accentuating the bluegrass allure of the storyline.
The quality technical elements aided the transitions of time throughout the story. The set, costume, and hair changes, specifically for Alice, were well-executed and did not distract. The set did occasionally obstruct the audience’s view of the action onstage, most notably at the end of Act One on the train. The colorful lighting and the image of the moon helped to establish the mood shifts and created a visually appealing landscape.
Cardinal Gibbons’ uplifting production of “Bright Star” explored the depth of heartbreaking loss, the power of redemption, and the pure dominance of love. The miraculous tale of Alice Murphy is sure to leave you with stars in your eyes, a pulsating rhythm in your feet, and a shimmering melody in your heart.
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By Reese Abrahamoff of Cooper City High School
“I had a vision” where writers and soldiers alike gathered to create an inspiring tale of hope and ambition. Transcending boundaries of time and space, Cardinal Gibbons High School opened our hearts to the power of love and its path to redemption in their touching production of “Bright Star.”
Written by Steve Martin and Edie Brickell, the musical originated from their Grammy-winning bluegrass album “Love Has Come for You,” and made its world premiere at the Old Globe Theatre in San Diego. After opening in 2014, “Bright Star” made its way to Broadway just two years later, receiving five Tony Award nominations including Best Musical. On a train headed towards the mountains of North Carolina, you’ll find two tracks. One side follows the life of Alice Murphy, a professional, hardened editor of a southern literary magazine. The other follows a similar name, just younger and more adventurous. Telling the story of this transformation and beyond, “Bright Star” invites us to explore untaken paths and challenge the idea of love.
Leading lady Darby Silverman did a wonderful job as Alice Murphy. Silverman excelled in demonstrating the contrast between her past and present life while also showcasing a wide range of emotions amongst both personas. With effortless vocals, Silverman grounded her performance through numbers like “So Familiar/At Long Last,” and “Please Don’t Take Him,” which certainly left a lasting impression. Alongside Silverman was Parker Greenblatt as Jimmy Ray Dobbs. Showing progression both vocally and emotionally, Greenblatt did a great job depicting his change from youth to maturity while also growing with Silverman in their own self-discovery.
Juliana Rios portrayed the role of Margo, the sweet and loving owner of the town’s local bookstore. With consistent energy and a lovely voice, Rios captured the hearts of the audience as well as Cameron Relicke (Billy Cane). Both Rios and Relicke established genuine connections and allowed each other to shine both together and individually, whether it be through voice or stage presence alone. An additional standout was Amber Arevalo as the sassy and strong-willed secretary, Lucy. With bold choices and precise comedic timing, Arevalo continuously livened the stage, most notably in the show-stopping number “Another Round.”
The ensemble as a whole was quite remarkable. From chilling harmonies to a constant southern dialect, the cast had clear motivations that never faltered throughout the production. While the cast overall had trouble staying together with choreography, Beatriz Arevalo showcased proper dance technique and told her own story through movement, which should certainly be recognized. The technical aspects of the production were executed very nicely. Stage Management allowed for a continuously flowing production with minimal faults and clean transitions. Costumes did an exceptional job differentiating the character changes as well as distinguishing the two time periods throughout the show.
Telling the true story of the life of Alice Murphy, Cardinal Gibbons High School’s production of “Bright Star” transports us into the harsh reality of the early 1900s where they proved that with a little bit of optimism, the “Sun’s Gonna Shine.”
*** *** ***
By Caroline Eaton of Marjory Stoneman Douglas High School
Through every wrong path taken, there will always be an unpaved road just dying to be walked upon, so why not be the one whose footprints are set in stone? Cardinal Gibbons High School’s production of “Bright Star” shows audiences that you are the only one who can tell your story, and tell it truthfully.
Written by Steve Martin and Edie Brickell, “Bright Star” uses the story-telling effects of folk music to fully take the show back in time to the hick town of Blue Ridge, North Carolina, when banjos and cowboy boots were a thing of the present. The powerful story follows a teenage girl, Alice Murphy, and her life following a teen pregnancy, heavily frowned upon by her small town community. Observing her life through her adolescent eyes versus her adult perception provides a one-way ticket into Alice Murphy’s progression through life.
Playing the strong-willed and tenacious Alice Murphy, Darby Silverman embodied Murphy’s extensive capacity for love and vitality. With the challenge presented to her to shift between two different points in Murphy’s life, Silverman provided seamless transitions from her adult self back to her careless and free-spirited teenage years. Along with her brilliant take on the effervescent Alice Murphy, Silverman’s magnificent vocals enveloped the theatre in her rendition of each folk-themed song, most outstanding in “Please Don’t Take Him”. Accompanying Silverman’s compelling stage presence was the equally emotive Parker Greenblatt (Jimmy Ray Dobbs). Greenblatt ably supported his love interest, showing his complete devotion to Silverman throughout the production. Silverman and Greenblatt’s believable chemistry made for a convincing and heart-throbbing performance, especially conveyed in their reunification melody, “I Had A Vision”.
As the effervescent and light-hearted Billy Cane was Cameron Relicke. Relicke’s sprightly personality captured his character’s youthful persona. Relicke exhibited his impressive versatility on the stage, whether breaking it down on the dance floor or confessing his everlasting love through song to his long-time sweetheart, Margo, played by Juliana Rios. Rios and Relicke’s buoyant and young relationship perfectly juxtaposed the fierce and adult love between Silverman and Greenblatt.
Also worth mentioning was the comedic duo consisting of Amber Arevalo and Wes Morby (Lucy and Daryl, respectively). Between the most melancholy instances, Arevalo and Morby appropriately provided moments of comedic relief, never failing to appreciate an occasion of potential laughter. In addition, the ensemble of townspeople added immense energy and liveliness to each scene and musical number in which they appeared, managing to exceptionally execute the difficult choreography and harmonies given. A most notable performance in the ensemble was Beatriz Arevalo, displaying stunning technique and illuminating the stage with each stride.
Technically, the production was executed with extreme efficiency and professionalism. The costumes team, Megan Price and Madison Mishkin, exemplified a clear understanding of the specific color scheme and 1920s-40s time period, exceptionally taking an ordinary stage and transforming it into a world of color.
As life moves on, one encounters just about everything: the troubled times along with the joyous moments. It is important to understand that all of those moments are what makes your story your own, and Cardinal Gibbons High School’s cast and crew of “Bright Star” told every piece of this story as if it was their own.
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By Roie Dahan of American Heritage School
1937 America was in turmoil; the Great Depression was at its height, drying out the economy and citizen’s jobs and incomes, and tensions in Europe escalated to the peak of World War II. In Coral Glades’ production of “Brighton Beach Memoirs”, the problems the Jerome and Morton families faced were commendably played out, incorporating the broader historical dilemmas of the time.
Written by Neil Simon, “Brighton Beach Memoirs” tells the story of Eugene Morris Jerome and his family in their home on Brighton Beach, where they are not too short of familial and fiscal predicaments; not to mention Eugene’s own confusion about his new feelings. Simon wrote the play in a semi-autobiographical style, so many of his own adolescent experiences are woven into it. Opening in 1982 in Los Angeles, the show has since been on Broadway twice, won two Tonys, and made into a motion picture.
Playing Eugene, Matthew Dell-Hak brought an air of optimism and laughter onto the stage amidst the family’s tough situation. His impeccable comedic line delivery and fluctuations of speech brought a nice contrast to the heavy themes of the play, emulating Simon’s intentions of embedding comedy into hardship. Although Eugene gradually matured throughout the show, Dell-Hak was consistently able to implement his childlike demeanor and sense of wonder. Tai Beasley upheld the role of the brazen Kate Jerome with distinct poise and strength, which enhanced her eventual meltdown, helping to create a full character arc. She maintained a robust yet motherly presence that increased the believability of her character and had seemingly genuine connections with her fellow family members.
Joshua Flynn played Eugene’s pragmatic yet disheveled brother Stanley Jerome with a charismatic charm that gave way to a vulnerable, anxious center. He had a profound connection with Eugene, particularly when he taught him about the wonders of puberty. His calm yet distressed temperament was enhanced by strong characterization choices that showed pronounced shifts in his personality. Playing the spunky Nora Morton, Julyette Vargas was always present on stage, showcasing Nora’s boldness and fierce independence. Her distinct intonation and understanding of her situation played into the credibility of her character and intensified her motivations and reactions .
Despite having some issues with momentum and heightened stakes during climactic scenes, the company was nevertheless able to present an engaging and heartfelt performance. Their notable chemistry with one another elevated the story, exhibiting a true family dynamic. Implementing the Mezuzah was a great way to encompass the family’s Jewish traditions.
Technically, the show must be commended for the amount of student input and historical accuracy, most prominent in hair, makeup, and costumes. They successfully emulated the style of the period with pin-up hairdos and colorful patterned dresses. Although somewhat lackluster in detail, the concept of the set’s design and construction served the flow of this production effectively.
Coral Glades’ production of “Brighton Beach Memoirs” presented the complications of late 1930’s America while resonating with real family issues still being dealt with in today’s world.
*** *** ***
By Rylee Berger of Cooper City High School
Money is tight, war is brewing, families are fighting, jobs are hard to come by, and – perhaps worst of all for Eugene – he’s going through puberty. Thus sets the stage for Coral Glades High School’s hilarious and heartfelt production of “Brighton Beach Memoirs.”
Written by Pulitzer-prize-winning playwright Neil Simon, the semi-autobiographical play is the first chapter in his Eugene Trilogy. After productions in California, “Brighton Beach Memoirs” opened on the Great White Way in 1983, where it enjoyed a three-year run, becoming the last non-musical play in Broadway history to have over 1,000 performances. Following the girl- and baseball-crazed Eugene, the coming-of-age comedy concerns his unusually hectic Brooklyn, NY household as they navigate changing family dynamics, the Great Depression, and world-wide political turmoil.
Matthew Dell-Hak delivered an energetic and memorable performance as the sassy-yet-sincere Eugene. His powerful performance showed great range and impressive development of his character’s arc. As the character also serves as the narrator of the play, Dell-Hak did an exceptional job differentiating between dialogue with other actors on stage and his asides to the audience. His clear commitment to his character shone through his choices in physicality and vocal delivery; his ability to allow his character to believably mature throughout the show was commendable.
Depicting Eugene’s worrisome, superhero of a mother, Tai Beasley (Kate) embodied her role with grace. Beasley balanced the mannerisms of a busy caretaker while still creating a character that, when pushed to her breaking point, delivered a persuasive and heart-wrenching performance. As Jack, the workaholic father who wants only for his family to be provided for, Caleb Ramey portrayed a highly convincing paternalistic physicality and authority when interacting with the other characters. His ability to evolve his relationships with his sons, especially Stanley (Joshua Flynn), was noteworthy. Flynn himself did an excellent job establishing a powerful and multilayered relationship.
Overall, the entire cast did a stellar job in creating authentic family dynamics. Each relationship was distinct from the next. This was especially prevalent in scenes where the characters would argue with each other, showcasing their understanding of these complex relationships. Moreover, the pacing of the play was remarkable and transitions between the show’s several serious and silly situations were smooth. Though some actors’ facial expressions were lost, the blocking was clearly motivated and was fluid throughout.
The technical elements of the play were well-designed. The set provided a nice playing space for the actors and the props were believable and paid great attention to detail. However, the costumes could have better demonstrated the family’s economic status and the hair and makeup could have more sharply differentiated characters’ age. There were occasional microphone errors but the sound effects, however minimal, were effective.
With genuine acting and astonishing familial dynamics, Coral Glades High School’s production of “Brighton Beach Memoirs” shows masterful balance between tragedy and comedy, accentuating that, even when it hurts, laughing is always the best medicine.
*** *** ***
By Savannah Correa of West Broward High School
Growing up is hard to do, especially as a 15 year old Polish-Jewish American boy in 1937 Brooklyn. In Coral Glades Drama’s production of Brighton Beach Memoirs, we follow Eugene Jerome (Matthew Dell-Hak) in Neil Simon’s semi-autobiographical play based on his early teen years as he documents the trials and tribulations of all things awkward and uncomfortable.
Brighton Beach Memoirs is the first part of playwright Neil Simon’s autobiographical trilogy. In this coming of age comedy, we see the world from our main character Eugene’s perspective in his day to day life with a booming family of seven: strict mother Kate (Tai Beasley), widowed aunt Blanche (Shelby Stott), overworked father Jack (Caleb Ramey), older brother Stanley (Joshua Flynn), and cousins Nora (Julyette Vargas) and Laurie (Heidi Gruenbaum). It debuted on Broadway March 27th, 1983 at the Alvin Theatre, and was picked up once again in 2009 in the Nederlander Theatre. The play is the winner of Tony Awards including Best Performance by a Featured Actor in a Play and Best Direction of a Play.
The actors in Coral Glades’ production of Brighton Beach Memoirs had a great sense of sibling dynamics, however the relationship between Stanley and Eugene was the most entertaining to watch unfold. Duet scenes with these two characters played an essential part in some of the most important parts of the story, but was also essential in Eugene learning about less family friendly topics his other family members would not be able to comfortably talk to him about. Dell-Hak’s portrayal of Eugene was more than immersive, providing most of the comedy in the show and was very convincing as a 15 year old boy. As the storyteller it is important to keep your audience intrigued and help the plot move along smoothly, and he did just that.
As for our supporting characters, Caleb Ramey was very convincing as his role of a father figure, from the authoritative tone in his voice to his mannerisms. Eugene’s father/Uncle Jack is a character the other family members appreciate and look up to due to his kind, hardworking, and generous nature, and Ramey did more than a good job of emphasizing those loving qualities. Kate (Tai Beasley) was extremely convincing as not only a mother, but as an overprotective older sister. One scene in particular that really showcased their ranges was a heated argument involving the three. The actors maintained their intensity with great pacing and physicality, as well as with minor details such as shaking hands and legs, and fidgeting.
For technical aspects, hair and costumes were very much time accurate. Though there could have been more costume changes to pinpoint economic status and indicate when time has changed, they still managed to add to the plot and their characters and made the setting more believable. Sound was inconsistent at times, but actors powered through with great projection.
Needless to say, Coral Glades’ production of Brighton Beach Memoirs was a home run. Tune up the radio and get ready to listen to a story you’ll never forget, and prepare to be entertained.
*** *** ***
By Max Hsu of NSU University School
In the words of Neil Simon, “If you can go through life without experiencing pain you probably haven’t been born yet.” Coral Glades’ production of Simon’s Brighton Beach Memoirs brilliantly brings to life the struggles and pains of a poor Jewish family in the Great Depression, while contrapuntally telling the coming of age story of a young boy discovering himself as he goes through puberty.
Brighton Beach Memoirs is the first of three quasi-autobiographical plays by acclaimed playwright Neil Simon. First taking the Broadway stage in 1983, it takes place in Brooklyn, New York amidst the Great Depression of the 1930s. The story centers around Eugene Morris Jerome, a teenager who is forced to juggle the insecurities and uncertainties of puberty with the hardships of the pre-war era. As he grows up, his family breaks down, and with a head full of fantasies of naked girls, playing for the New York Yankees, and being a professional writer, he learns to cope with the monotony of life.
The relationships between the cast as a whole felt incredibly real, as if these characters really were a family with years of history. In moments where the scene focused on one or two characters, those in the background remained in character, helping to immerse the audience into the world. Despite many issues with sound, such as recurring feedback throughout the show and issues with microphones, the cast handled it professionally such that it did not break the audience’s immersion.
Matthew Dell-Hak expertly portrayed the role of Eugene with all the innocence and curiosity that the role demands. While many actors in comedic plays tend to sacrifice believability in favor of humor, Dell-Hak perfectly balanced genuine teenage awkwardness with over the top hilarity. Dell-Hak must also be commended for the growth that he portrayed in his character, as it was evident that each event of the story made an impact on Eugene.
Tai Beasley as Eugene’s mother Kate brought a motherly sincerity to the role which helped to counteract the comedy of Eugene. Joshua Flynn (Stanley) displayed impressive range in his acting, having some of the funniest moments in the show as well as some of the most emotional. Caleb Ramsey as Eugene’s father Jack balanced cool-tempered maturity when talking to Stanley with fiery anger in scenes with Kate and Blanche. As Nora, Julyette Vargas had such a contagious enthusiasm that the audience could not help but root for her success.
Jamie Metoyer must be commended for her work on costumes, the period correct costumes were crucial to creating the environment of 1930s New York. The use of real food and real lit matches on behalf of props designer Brielle Bickford also helped to draw the audience in, and the student-designed set included some nice touches like a mezuzah on the door frame. The layout of the set was well thought out to serve the purpose of the story.
Whether two brothers are discussing their pubescent sexual awakenings or two sisters having a heated argument about the man across the street, Coral Glades production of Brighton Beach Memoirs remains consistent in its energetic, intimate, and thoroughly hilarious performance.
*** *** ***
By Jaime Happel of J.P. Taravella High School
Everyone has problems, but when we are blinded by our own troubles, sometimes it is easy to forget that we must take others into consideration. Amidst all the chaos, sometimes blaming those who surround us becomes easier than deciding to do the right thing. Coral Glades Drama’s production of the timeless classic, “Brighton Beach Memoirs,” beautifully balances the harsh realities of life with glimmers of love and playful humor.
“Brighton Beach Memoirs,” a semi-autobiographical play by Neil Simon, dissects the familial struggles of a financially unstable Jewish family residing in New York during the 1930s. The comedy had its Broadway debut in March of 1983 at the Alvin Theatre, and won two Tony Awards later, that same year. The play is the first chapter of what is known as the Eugene trilogy – which also included Simon’s “Biloxi Blues” and “Broadway Bound.” Each play in the trilogy attests to Simon’s unique experiences throughout his early career and life.
Matthew Dell-Hak portrayed Eugene Jerome, a hormonal teen and dedicated Yankees fan that aspires to become a writer. Dell-Hak’s committed character choices, such as his quirky physicality and varying vocal inflection, made him an endearing narrator for Neil Simon’s memoirs. His strong comedic timing elevated interactions between Eugene and his family members, especially with his brother, Stanley (Joshua Flynn). The camaraderie between Flynn and Dell-Hak produced a believable sense of brotherhood that was both heartwarming and relatable.
Truly emphasizing the tension within the Jerome family is Eugene and Stanley’s mother, Kate (Tai Beasley). While Beasley’s captivating character develops throughout the production, her motherly intonation remains a pleasant constant. Kate’s sister, Blanche (Shelby Stott), and husband, Jack (Caleb Ramey), both exhibited powerful emotions accompanied by mature mannerisms in order to authentically distinguish themselves in terms of age. Julyette Vargas and Heidi Gruenbaum depicted Eugene’s cousins, Nora and Laurie respectively. Vargas’ bright energy drove each scene, and Gruenbaum’s demur demeanor complimented her honest character well.
The cast commendably functioned as a singular unit; even when their characters may have been consumed with their own conflicts, the strength of the family was still evident. The distinct relationships created between each pair of characters were furthered by their interactions in the background of scenes; the ensemble proved that they had a clear understanding of their roles and helped to communicate the riveting complexities of the characters’ family dynamic. There was a great attention to detail from both cast and crew. With the exception of some microphone issues, the show ran rather smoothly. While, at times, there was a lack of variation in lighting, the space was well utilized to invent both an indoor and outdoor environment and the overall atmosphere of the production was enhanced by clean, time-period-appropriate, student-made costumes.
Coral Glades Drama’s production of “Brighton Beach Memoirs” reminds us that although sometimes the hardest decisions may be the most important to make, growing up may be confusing, and life may bring unexpected complications, through it all, family will always be there.
*** *** ***
By Cristian Velasquez of Cypress Bay High School
The responsibilities of an adult are, at times, burdensome and taxing. The temptation of never growing up and being cared for by your mother seems alluring. These themes of growing up and responsibility are addressed beautifully in NSU University School’s whimsical production of “Peter Pan: A Musical Adventure.”
With music by George Stiles and lyrics by Anthony Drewe, “Peter Pan: A Musical Adventure” opened in Copenhagen in 1996. Based on J. M. Barrie’s play “Peter Pan,” the musical illustrates the importance of motherhood and family as Wendy takes on the task of caring for the Lost Boys. Meanwhile, Peter continues to satisfy his constant craving for adventure, as he ignores the adversities of leaving your childhood behind him and growing up.
In his portrayal of the fervent Peter Pan, Evan Eiglarsh remarkably embodies the youthful spirit and infectious energy of his character. Eiglarsh’s impeccable comedic timing made his overall performance all the more compelling. Charmed by Peter’s charismatic disposition, Nicolette Nunziato must also be commended for her exceptional performance as the motherly Wendy Darling. Nunziato’s crisp vocals shone through wonderfully in her stunning rendition of “Just Beyond the Stars (Reprise).” Her characterization choices and consistency in her accent further immersed the audience into the world of Peter Pan.
Portraying the infamous Captain Hook, Anthony Langone’s impressive vocal range, demonstrated in his musical numbers, contributed considerably to his dynamic temperament. Langone flawlessly executed Hook’s physicality and intonation, vividly bringing his character to life. Gabriel Feldenkrais, portraying Smee, brought an infectious comedic aspect to the production in contrast to Langone’s generally serious disposition. Feldenkrais delivered a humorous interpretation of the character through his over the top gestures and comical dancing. The chemistry between the two rapscallions was especially prevalent in the song “A Pirate With a Conscience.”
An outstanding ensemble amidst the production was the Lost Boys of Neverland. Their primitive physicality complemented their boisterous natures, especially in their song “The Lost Boys Gang,” which the female ensemble must be commended for, as they sang it in the male key. A particularly notable performance was that of Alina Macaulay, the Storyteller, who commanded the stage with her excellent stage presence and clear delivery of her lines. Although energy was lacking at times, the chemistry between the ensemble members boosted it anew.
Along with the performance aspects, the technical aspects of the performance worked together remarkably as well. The costume and makeup designers must be accredited for their research on Native American culture, as their interpretation of the costumes and makeup for the Braves modernized the stereotypical portrayal of Native Americans in earlier productions of this show. The crew and stage management must also be recognized for their fluid scenic transitions and accuracy on the numerous lighting and sound cues in the production, despite minor sound discrepancies.
NSU University School’s production of “Peter Pan: A Musical Adventure” discusses the difficulty of letting go of your childhood and taking on the responsibilities of an adult through two hours of sheer entertainment and a journey “Just Beyond the Stars.”
*** *** ***
By Rylee Berger of Cooper City High School
Close your eyes – close them tight – and imagine. Imagine a world full of fairies, of sirens, of pirates and captains. Of the spunky young girl and the lost little boys as they set off in adventurous fashion. Find yourself at NSU University School’s production of “Peter Pan: A Musical Adventure,” a noteworthy and original production filled with high-flying performances.
Based on J.M. Barrie’s beloved tale, the show opened in Copenhagen in 1996. It was later broadcast by the BBC and earned poor reviews until its well-received 2007 revision. Written by Willis Hall with music and lyrics by George Stiles and Anthony Drewe, the musical follows the title character (Evan Eiglarsh) and Wendy (Nicolette Nunziato) as they navigate their new friendship, Neverland, and the adventure of growing up.
As Peter, Eiglarsh embodied the iconic character with grace, showing vocal and emotional range. Eiglarsh had stellar comedic timing, bringing mischievous youthfulness to the boy who wouldn’t grow up. He had a commanding stage presence and clear commitment to his character which was showcased in numbers like “Never Land” and “The Cleverness of Me.” His spectacular chemistry with Wendy and the Lost Boys added a layer of believability to his already stellar performance. Nunziato’s Wendy was played with an unmatched conviction. Her outstanding vocals and clear understanding of her character shone, making for a remarkable performance. Both Eiglarsh and Nunziato were required to perform while being flown, a commendable feat accomplished with ease.
Dynamic duo Captain Hook (Anthony Langone) and Smee (Gabriel Feldenkrais) did not disappoint, adding hilarity and support to the production. Langone’s impressive vocal range was showcased in the song “When I Kill Peter Pan,” and his charisma was apparent throughout his portrayal of the pirate. Feldenkrais quickly established his relationship to Hook, creating a character with unparalleled energy and precision. His dance skills stood out in “A Pirate with a Conscience;” his commitment to his character was evident. Additionally, Peter Koltis’ portrayal of Gentleman Starkey deserves note for its focus and believability.
As a whole, the cast did an outstanding job in creating the whimsical, storytelling tone that is so necessary for such a production. The ensembles were distinct in their movements and motivations, providing entertaining and easily distinguished performances. This was aided by choreographer Bailey Busher’s use of movement motifs for each character group. Despite vocals that were occasionally inconsistent, the ensemble was focused and engaged, helping to create the magical world of Neverland.
Further contributing to this were efforts from the technical teams. Though all of the design elements were well-thought-out, the props team deserves specific praise for their attention to detail and innovation. The stage management team ran cues flawlessly and the seemingly effortless transitions added to the quality of the show.
NSU University School brings new life to a classic story in their not-to-be-missed rendition of “Peter Pan: A Musical Adventure,” a production filled with extraordinary performances and original designs that is sure to remind you that life really is “One Big Adventure.”
*** *** ***
By Dylan Jost of North Broward Preparatory School
“Second star to the right and straight on ’til morning,” off to Neverland! Filled with swampy lagoons, underground hideouts, and towering pirate ships, NSU University School’s production of “Peter Pan: A Musical Adventure” brought to life a land of mirth and fantasy.
With a captivating book by Willis Hall and dazzling music and lyrics by Geroge Stiles and Anthony Drewe, “Peter Pan: A Musical Adventure” opened in Copenhagen in 1996. Based on J.M. Barrie’s classic play, the musical chronicles the story of the mischievous Peter Pan and sweet Wendy Darling, recruited by the former to nurture a gaggle of kooky Lost Boys. On their journey through magical Neverland, the heroes must work together to navigate the dangers presented by the malicious Captain Hook and his crew and, ultimately, address the omnipresent part of childhood – growing up.
In the titular role, Evan Eiglarsh delivered a solid performance as the spirited Peter Pan. Encapsulating the naivety of his character, Eiglarsh’s voice was laced with youthful innocence as he spoke with clarity. His stage presence was graced with boundless energy epitomizing Peter’s state of eternal childhood. Nicolette Nunziato was wholly convincing in her portrayal of the kind and gentle Wendy Darling. She provided a calming presence, all the while maintaining an air of authority over her charges. Nunziato’s vocals were also commendable, particularly in “One Big Adventure.”
A performance that must be mentioned is that of Anthony Langone as Captain Hook. Langone seamlessly alternated between brutal buccaneer and whimpering coward, with mannerisms that were appropriately exaggerated and highly entertaining. Langone’s vibrato and timbre were engaging and memorable, particularly in “A Pirate with a Conscience.” Alongside Langone was Gabriel Feldenkrais as Smee, Hook’s sentimental and often mistreated first mate. Feldenkrais mastered the use of physical comedy through his hilarious portrayal of the bumbling Smee, while also managing to exhibit his sensational dancing skills.
The musical also found strength in its ensembles. The Lost Boys offered consistent comedic relief with their uncivilized remarks and absolute devotion to Peter and Wendy. Their enemies, the Pirates, created a thick atmosphere of unsavory brutality and evil through their use of chants and accents.
Technically the show was masterfully executed. The marketing and publicity were accomplished exquisitely, with very creative posters and promotional campaigns being utilized. The show was excellently choreographed by Bailey Busher, who remarkably conceived sixteen original dances and taught this complex choreography to other students. One of the most noteworthy technical accomplishments was the frequent use of flying in the show. The special effects team aided in the installation of all of the flying equipment and the tech crew seamlessly attached (and unattached) the actors to the system multiple times throughout the show. The hair and makeup were also well done, especially in the case of Wendy’s wig, which flawlessly remained sturdy throughout the show.
NSU University School encapsulated the fleeting innocence and utter beauty of childhood in their superbly executed production of “Peter Pan: A Musical Adventure.”The cast delivered an enchanting, enamoring performance that served as a reminder that while the years may go by, sometimes stories, and one little boy, will never grow old.
*** *** ***
By Ashley Valent of Cypress Bay High School
Tick, tock goes the clock. Never stopping for anyone or anything, the progression of time is inevitable. The clock will continue to tick, the world will continue to turn, and with this, we will continue to grow. Epitomizing this idea, University School’s production of “Peter Pan” showed that while inevitable, a youthful presence lives within everyone, no matter the age.
Originally based on J.M. Barrie’s play of the same name, this adaptation of “Peter Pan” first premiered in 1996 in Copenhagen with music by Stiles and Drewe. Similar to their other works such as “Honk” and the 2006 Broadway revival of “Mary Poppins,” the show evokes a playful nature through its score and use of magic throughout its entirety.
Portraying “the boy who never grows up,” Evan Eiglarsh aptly embodied the childlike persona of Peter Pan and showcased his versatility with precise comedic timing and moments of heartfelt sentiment. His character remained chiefly consistent even while soaring above the stage. Complementing his performance was that of Nicolette Nunziato as Wendy Darling. The two exhibited tremendous chemistry throughout the entirety of the show: never losing sight of their characters’ contrasting philosophies, but instead, learning through their differences.
The standout performances of the night were that of the dynamic duo of Captain Hook and Smee played by Anthony Langone and Gabriel Feldenkrais, respectively. Together, the pair displayed immense energy and commitment to their mischievous characters and juxtaposed one another nicely.
Bringing the storyline to life, each ensemble group demonstrated great diversity. While there were occurrences of dialect inconsistencies, the company remained engaged and invested in telling the story. Among those were the company of the Lost Boys, who portrayed the innocence necessary to aid in their likability.
Creating the magical spectacle, the technical aspect of the production did not disappoint. The choreography by Bailey Busher brought movement to the show that was effective and complementary rather than distracting. Worth commending was the stage management team led by Liberty Lapayowker, Jennifer Holz, and Erin Miller. With several cues, including those involving a flight system, the crew was successful in making the show cohesive.
As we grow and mature, we eventually lose sight of the simple joys that encapsulated our young lives. NSU University School’s breathtaking production of “Peter Pan” re-illuminated this youthful presence in all those watching and showed that you can stay young forever, as long as you just believe.
*** *** ***
By Lauren Ferrer of Calvary Christian Academy
“Take the second star to the right and straight on ’til morning!” With magical fairies, menacing pirates, and daunting adventure NSU University School’s production of Peter Pan: A Musical Adventure told the timeless tale of the boy who never grew up.
Peter Pan: A Musical Adventure is based on J.M. Barrie’s play “Peter Pan.” With a book by Willis Hall, music and lyrics by George Stiles and Anthony Drewe, the musical first opened as a New Years Eve concert in Copenhagen in 1996. It then played during the Christmas season of 2002-2003 where it received negative reviews. Stiles and Drewe then revised the show, which then played in the Christmas season of 2007 where it received positive reviews. The musical follows the story of the Darling children, whisked away by Peter Pan, who then takes them to Neverland, a magical island full of pirates, mermaids, fairies, and most importantly – adventure!
Evan Eiglarsh executed the role of Peter Pan wonderfully, highlighting the characters immature persona with his strong vocals and physicality. Eaiglarsh’s witty mannerisms contrasted the sophisticated character of Wendy Darling, played by Nicolette Nunziato. Nunziato’s consistent British accent and clean vocal execution made for an exquisite performance. Moreover, she achieved a balance in the youthfulness as well as the poised motherly figure Wendy is well known for.
Another stand out actor was Anthony Langone portraying Captain Hook. With a wide acting range and outstanding vocals, Langone commanded the stage. Working alongside Hook was his faithful accomplice, Smee, played by Gabriel Feldenkrais. Feldenkrais fueled the show with comic relief. His impeccable comedic timing and energetic mannerisms made for an incredible performance. Although some ensemble members lacked energy, the Lost Boys filled the theatre with boyish charm. Their clean, energy filled dances worked well alongside the childish Peter Pan.
Technically, the show ran beautifully. With smooth scene transitions and timely cues, the stage management team and stage crew is to be commended. The special effects team, Bailey Busher and Jennifer Holtz, completed the difficult task of putting actors in flight with ease. Using ensemble members during transitions in and out of flight showed that the performers as well as backstage crew knew how to use the difficult flight system. Having multiple characters in flight at the same time added to the difficulty of the process. Although some of the old age wrinkles were washed out by lights, the make-up crew did a great job distinguishing the different character groupings.
With starry nights and endless flights NSU University School’s production of Peter Pan; A Musical Adventure took its audience off to Neverland to experience a heartwarming adventure of fun, fear, and friendship!
*** *** ***
By Alonso Millan of South Plantation High School
Any social worker will tell you the same thing – the child’s well being is always the top priority. And in Somerset Academy’s gripping production of Luna Gale, just what that means morally, ethically, and professionally, is heavily tested.
Luna Gale, written by Rebecca Gilman, made its debut at the Goodman Theater in 2014. The play follows the story of Caroline, a social worker who is assigned the case of Luna Gale. Luna’s parents, Karlie and Peter, are meth addict teenagers, but who truly love and want the best for their daughter. Luna falls into the care of Cindy, Karlie’s religious mother, and Caroline is faced with the difficult task of deciding Luna’s future. Everyone believes they know what is best for Luna, but ultimately, it is Caroline who must navigate through the complex moral and professional matters of Luna’s case.
To tackle such a heavy and relevant piece of theater is no easy task, and Somerset Academy’s cast and crew shine in this production. Performed in an intimate black box setting, Somerset Academy transports the audience into the world of Luna Gale for a night, through strong performances and impressive technical elements.
In her portrayal of Caroline, Mariana Sierra gave a mature and well rounded performance. Carrying the breadth of the show on her shoulders, Caroline’s character is faced with difficult decisions and intense moments, and Sierra rises to the challenge wonderfully. Victoria Vitale must also be commended for her superb performance. Vitale disappears into the role of Karlie, giving a raw and honest performance that was a highlight whenever she appeared. Delivering lines with both overwhelming intensity and subtle emotion when needed, Vitale must be commended for her phenomenal job as the troubled mother.
The cast as a whole gave well acted performances, notably Daniel Calderon as Luna’s father, Peter. Providing the occasional comedic relief, Calderon gives a subtle but potent turn as the loving and dedicated father. At times, some cast members lacked chemistry amongst each other and energy in their performances, but overall maintained strong portrayals throughout the night.
The technical aspects of the show were quite impressive. In an intimate setting like a black box theater, even the most minuscule of details did not escape the props team of Garcia and Co. The props immersed the audience into the world of Luna Gale, being designed and executed masterfully. The costumes by Fadekemi Tella and Natalia Fernandez further helped to build the world of the play, through the clever way they showed the progression of Karlie and Peter from struggling addicts to parents determined to get their daughter back.
Somerset Academy’s production of Luna Gale was full of memorable performances and well executed technical aspects, and made for a compelling and powerful experience.
*** *** ***
By Madeline Finkelman of North Broward Preparatory School
As the fate of a hospitalized baby lies in the balance, the broken adults surrounding her search for answers in the dark corners of drugs, religion and the social welfare system. The baby is Luna Gale, the title character in Somerset Academy’s poignant and powerful production that explores the disturbingly real issues of addiction, abuse and apathy.
The gripping story of Luna Gale, written by Rebecca Gilman, had its world premiere at Chicago’s Goodman Theatre in 2014. Gilman is known for plays that shed light on current problems in our society, and Luna Gale is no exception. Set in present-day Cedar Rapids, Iowa, the story begins in the lobby of an emergency room. Lights up on a teenage girl frantically and frenetically pacing while her partner lays passed out on the waiting room seats. This meth-addicted pair are the parents of Luna Gale, the baby who has just been hospitalized. When social worker Caroline steps into their world, what seems to be a textbook case slowly evolves to reveal the tortured pasts and troubled lives of all of those involved.
Leading the cast with excellence was Mariana Sierra as Caroline. Sierra created a believable balance between Caroline’s no-nonsense, work-focused attitude and her sensitive vulnerability when dealing with her past and the memories that still haunt her. Sierra carried herself with a great sense of maturity and with her exemplary portrayal, helped further propel the other characters and the plotline of the play.
Victoria Vitale brilliantly portrayed the complexity of the drug addled teenage mother Karlie. Vitale brought honesty and truth to her performance, creating an impressive character arc as her past traumas are uncovered, going from frenzied meth-addict to sympathetic teen-mom. Vitale handles the mature subject matter fearlessly, delving into the varying stages of drug addiction and the true struggles of withdrawal. Playing Peter, her lovesick and drug-sickened boyfriend, was Daniel Calderon. Calderon added a sweet sincerity to the troubled Peter, especially in his subtle comedic moments, which starkly contrasted with Vitale’s neurotic portrayal. Vitale and Calderon created a well developed dynamic of the defeated and demoralized couple, highlighting the devastating effects of addiction and its impacts on a family. Another notable performance was Nina Alonso as Karlie’s faith-driven mother Cindy. Alonso excellently portrayed the nervous energy Cindy conveys in her attempts to impress social worker Caroline, a facade later unmasked when the story shows the truth behind who she really is as both a mother and caretaker.
The minimalistic technical elements in the production perfectly complemented the complex plot and performances in Luna Gale. Washes of blue light in transitions helped set the tone for each scene and the commendable choice of adding red light for the more explicit moments showed great attention to detail made by the student technical crew. The simple set pieces and costuming worked to put the actors and the story front and center for the audience, both physically and emotionally.
The Somerset Theater Factory players’ meaningful and melancholy take on the tale of Luna Gale gives a glaring glimpse into the lives of people forced to deal with the consequences of bad choices and the hard decisions they have to make because of them.
*** *** ***
By Emma Sugarman of J.P. Taravella High School
A young 19-year old girl anxiously examines every aspect of the dreary hospital waiting room, while pummeling the ground with her frenzied foot. She is awaiting information about her young baby’s health, which is instead replaced by the dreadful news that her child will be placed into kinship care. This heart wrenching story follows two drug abusing teens and an evangelical grandmother fighting for custody of the title character, Luna Gale. Somerset Academy’s compelling production of “Luna Gale” superbly displayed the unfiltered trenches of the modern world.
Premiering at the Goodman Theatre in 2014, this passionate play, written by Rebecca Gilman, tackles mature themes of religion, substance abuse, death, sexual abuse, and teenage pregnacy. The story is primarily shown from the perspective of the veteran social worker exhausted by her overbearing boss, traumatizing past, and the relativity of her current cases. As her clients’ familiar backstories are unveiled, the social worker’s sympathetic tendencies reveal her own truths.
Mariana Sierra portrayed Caroline, the methodical and meticulous social worker. Sierra steered the production by unfolding each layer of her entangled subplots with great attention to detail. Her superb maturity and great variation of mannerisms, dependant on her setting, aided in her captivating performance. Embodying the misguided mother and dependant addict Karlie, Victoria Vitale captured the intense content through her brilliant facials and distinct physicality of a drug abuser. Vitale’s smooth development into her manic breakdowns enhanced her vulnerable performance. Accompanying Vitale with his well executed comedic relief, Peter, played by Daniel Calderon, provided a sense of optimism amidst the somber tone of the show. Vitale and Calderon showcased outstanding chemistry through their complex relationship as teen parents.
Cindy, the religiously guided grandmother and opponent in the vicious custody battle was portrayed by Nina Alonso. Alonso’s mature intonation and remarkable character development demonstrated the intensity of her realistic circumstances. The remaining performers populating the production assisted in the portrayal of the dimensional storyline through their varying characterizations.
The cast of this production depicted the mature content with ease filtering in well-timed moments of comedic relief. The company adapted their performances to the confined space seamlessly with their personalized emotions and vulnerability. Although there were minor inconsistencies in energy, and some actors portraying older characters periodically reverted back to their teenage mannerisms, overall, the actors each established dimensional and diverse characters.
The simplistic and creative technical aspects of the production effectively established the minimalistic environment. The costume changes were precise, however, some costumes could have been better adjusted to the characters’ ages. Although the set changes could have been more efficient, they were compensated for by the great use of multipurpose set pieces and the detailed props.
When ordinary people in extraordinary circumstances face impossible decisions of moral quandary, paths of good intent and secret prejudices intertwine. Somerset Academy’s captivating production of “Luna Gale” will tug at the core of both your heart and mind.
*** *** ***
By Savannah Correa of West Broward High School
Each person has a story, but not everyone is willing to tell theirs. Some stories are easier to tell than others. But what if telling a not so easy story could change somebody’s life for good?
Luna Gale is a straight play written by Rebecca Gilman. The story follows social worker Caroline (Mariana Sierra) and clients Peter (Daniel Calderon) and Karlie (Victoria Vitale), two teenage drug addicts, after they are accused of neglecting their infant daughter, Luna Gale. After the child is placed within the care of Karlie’s mother, Cindy (Nina Alonso), Caroline begins to unravel more and more information about Karlie and her family’s past, proving that this is no ordinary case.
Luna Gale was dark, heart wrenching, and raw, and brought up very sensitive topics not usually touched upon on your typical high school stage. The production left many audience members at a loss for words, and in deep admiration of the young cast’s maturity towards such issues and their respectful portrayals.
The lead actors were very convincing in their roles, paying attention to detail in order to make the portrayals more convincing. During scenes of high intensity, Vitale and Calderon would often show how the way their characters react under stress and how it differed from how healthy people would act by performing nervous ticks (fidgeting, biting nails) and stumbling over their words. Vitale would often sell her breakdown scenes by portraying them in a “manic” manner, showing the decline in her mental state given the stressful scenarios she has been put in, as well as the result of substance withdrawal. Peter provided some of the very few bits of comedy the play had, providing some tranquility to audience members.
As for supporting members of the show, Nina Alonso performed her role as Cindy to the best of her ability, providing strong character development for one of our few antagonists. She went from a sweet, concerned grandmother who was abandoned by her rebellious daughter, to her true self being revealed, the side of her Karlie had known all too well. Much like Peter, Cliff (Kenneth Ninomiya) was also responsible for comic relief within the show and gave the audience a moment to laugh in between such intense scenes, despite not being written as a comedic character. Supporting and leading characters alike added depth and livelihood to the story, but diction could have been stronger at times, and lines could’ve been delivered much more naturally and with more emotion.
Sound for this production was done wonderfully. It was consistent, clear, and never faded out once. The cast made a wide rage of their own sound effects to make the experience of the whole show more immersive, which definitely worked in their favor. Though costumes were not essential to the plot, there were times in which certain characters were not properly dressed for their age, or were not fitted as best as they could be. Makeup was also simplistic and done well, but could have been used to help define the age of certain characters. However, makeup and costumes did a good job in showing the character development of our leads, giving them cleaner clothes and more fresh faced looks as the plot progressed.
The story of Luna Gale not only touched hearts, but left a window open for discussion about such dire issues affecting our society today. Join the discussion and see Somerset Academy’s Luna Gale at the NSU Black Box.
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By Kaitlyn Tully of Calvary Christian Academy
Oftentimes, we wonder if what we fight for is worth it. We wonder if redemption can ever be attained in situations that seem too far gone. And often, life proves that redemption does not come in the way we expect. This redemption manifests itself in Somerset Academy’s production of “Luna Gale”.
Premiering at the Goodman Theatre, “Luna Gale” was written by Rebecca Gilman and has won the ATCA New Play Award. “Luna Gale” focuses on the journey of a social worker, shedding light on foster care and on the debilitating situations in the world today. As Caroline, the social worker, tries desperately to help a set of teenage parents reunite with their baby, she addresses her own inner demons in the form of abuse and drug use. Perfect redemption is never obtained in the story; however, it continues to poke its hand through the broken cracks and pull characters out of the brokenness they have found themselves in.
This message was further emphasized by the energy of the actors. The raw emotion in this piece seemed to grasp each actor by the hand and make them better than they ever were before. The emotion and insecurity of the character of Caroline (Mariana Sierra) shone through every action, every word, and every expression. She never attempted to portray a social worker as glamorous or a hero, but rather as an exhausted, worried human, which, in reality, made the character more of a hero than if she had been perfect. However, this emotion was matched if not exceeded by Victoria Vitale (Karlie). She built up emotional breakdowns as if they were real, as if they were fires forming slowly inside of her until finally they burst, burning everything around them.She portrayed the true feelings of a helpless mother, one who needs someone else’s help to drag her out of the ocean she has found herself in. Other actors, however, were slightly less dynamic and convincing. Despite this,they still managed to add to the emotional pull of the story,forming a tale of redemption in every action.
Technically, the show remained simple in order to draw more attention to the story itself. However, small details in each technical aspect added even more intricacy to an already deep show.In terms of costumes, designed by Fadekemi Tella and Natalia Fernandez, the show was limited by its modern setting. However,they portrayed the journey of the actors in the clothes that they wore. As Peter (Daniel Calderon) slowly became redeemed, the clothes he wore followed that journey as well, going from dirty to clean.In set design, Callie Garcia utilized the same basic building blocks throughout the show, employing creativity to bring life to the various scenes.
Somerset Academy’s portrayal of “Luna Gale” served as a stark reminder that we are to fight for what we believe in. We are to fight for redemption and never give up on it, regardless of the outcome. Whenever we invest in a person, we reveal their inherent value and allow them to discover their own. As we tumble through this imperfect effort, everyone involved is sanded and polished to reveal their true selves. Thus, we find the lasting value in the fight for redemption regardless of the final results.
*** *** ***
By Alex Scaff of The Sagemont School
The lights flare, a cigarette is lit, and the smooth jazz slowly sets in. Black and white graces your eyes and it feels as if you’ve traveled back to the 40s. In walks the private eye sending us on a sprawling story in a world now forgotten – film noir. Behind every story, however, is a writer trying to get his big break, and both the writer and his noir reflection captivate the stage in North Broward Preparatory School’s dazzling production of “City of Angels”.
As an homage to the elegant noir era of the 1940s, “City of Angels” tells the dual tale of Detective Stone’s suspenseful case contrasting the writer Stine, master of that fictional world. The duality between Stine and Stone’s world propels this 1989 Broadway show, written by Larry Gelbert, to fantastical heights. One finds themselves lost in the world that Stine and Stone inhabit, along with the rowdy cast of supporting characters that make the world feel alive. Along with suspenseful writing, the original musical had a mesmerizing score by Cy Coleman and lyrics by David Zippel.
As the gritty Detective Stone finding his place in the world, Evan Laufman transforms the stage into a stylish detective’s office of the past. His diction, almost perfectly capturing the caricature of a 40s New Yorker, really helped sell his performance. While not the complete center of the narrative, Laufman seized any opportunity he had to mesmerize and convince all that the film noir world was much more than simply fiction. Apart from nailing the caricature, the moments when Laufman had to show off his vocalizations demonstrated truly how perfect of a “Stone” he was for his production.
Just as Cy Coleman and David Zippel’s music shined in the original Broadway debut, the musical aspects of this show are the heart of both narratives. As captivating as Laufman himself, Luke Di Liddo’s performance as writer Stine delighted all. Di Liddo’s singing was awe inspiring and left lasting impressions on any fortunate enough to listen. Other members of the company, such as Madeline Finkelman and Daniel Haubner, both had some of the most memorable numbers in the entire production.
While the parallelism in the narrative was sometimes confusing, the cast’s ambitions must be commended. Along with this, for a musical known for its inspired lyrics and melodies, the ensemble at times seemed a bit lifeless, yet their costuming and makeup kept the film noir style thriving. The musical strengths of this play were strongest during Stone and Stine’s joint duet of “You’re Nothing Without Me,” where the two young men’s chemistry truly shined. While sound was sometimes unclear, it was very clear how much effort was done behind the scenes through marketing and makeup to truly make an exciting and era-appropriate production.
As daunting a task as it may be to put on a production focused on a “play within a play,” North Broward Preparatory’s delightful and stylish production of “City of Angels” brought drama, intrigue, and much more.
*** *** ***
By Tai Beasley of Coral Glades High School
Jazz, love, and murder always makes for a cinematic masterpiece! North Broward Preparatory School’s enthralling performance of City of Angels did just that, unveiling the saucy and villainous film industry with a gripping story of two parallels.
With music by Cy Coleman, lyrics by David Zippel, and book by Larry Gelbart, this musical comedy interlaces two storylines: the artistic struggle of Hollywood novelist Stine trying to bring his story to the big screen, and the fictional world which his writing births. Stine finds himself caught in the temptations of Los Angeles, and realizes that the promise of fame, lust of women, and pressure of unrelenting compromises cannot live in harmony with his truth. Meanwhile, his fictional parallel, detective Stone, tries to solve a case of a missing girl, with hell to pay. Paying homage to the alluring film noir genre of 1940s motion pictures, this musical separates the two plots with bright color, and the absence of it. City of Angels opened on Broadway in 1889, closing with nearly 900 performances. The musical also took to the West End stage in 1993 and the Revival in 2014, winning several awards, including the Tony Award for Best Musical, and an Olivier Award for Best Musical Revival.
Leading men Luke Di Liddo (Stine) and Evan Laufman (Stone), exceeded expectations in their seamless character portrayal. Di Liddo completely embodied his role with detailed physicality and inflection, and successfully depicted his character arc from timid to undaunted. Laufman created a charismatic and bold character with seductive facial expressions and diction. Their chemistry and vocals shook the house with “You’re Nothing Without Me”.
Lead actresses Madeline Finkelman (Gabby/Bobbi), Natalie Langnas (Donna/Oolie), and Skylar Minett (Carla Haywood/ Alaura Kinglsey) fabulously brought their dual characters to life. Finkelman’s sultry vocals never faltered, especially in “With Every Breath I take”. Langnas added humor and zest to each of her characters, and fostered perfect duality in “What You Don’t Know About Women”. Minett sold her character with sassy facials and strong physicality.
The multifunctional set created depth to the story, while the use of various colored lighting enhanced the performance and helped separate the real world from fiction in a captivating way. Publicity for the show was incredibly done, with unique and inclusive methods of marketing. Makeup and hair were to time period and brought the characters to life. The ensembles added great energy to the plot. Although sound issues were prevalent and set changes could have been more efficient, the actors and crew did a commendable job in creating a great performance.
A round of applause is greatly deserved for North Broward Preparatory School’s beautiful rendition of City of Angels, for showing us that fame is nothing if you lose yourself to achieve it.
*** *** ***
By Roie Dahan of American Heritage School
The place? North Broward Preparatory School. The time? 1940’s Hollywood. The subject? The exuberant musical “City of Angels.” Grab some popcorn and find a seat because this picturesque show was a hit!
With a book by Larry Gelbart, music by Cy Coleman, and lyrics by David Zippel, “City of Angels” depicts the two-sided story of a mystery noir film accompanied by its struggling writer trying to keep control of his words amidst the glitz and glamour of Golden Age Hollywood. It premiered on Broadway in 1989 and won six Tony awards before transferring to the West End and West End tour. This show illustrates the behind-the-scenes of what happens in Tinseltown through two hours of laughter, song, and dance.
Evan Laufman captured the character of Stone, the charismatic detective, impeccably, reflecting the stereotypical noir private eye through his compelling characterization choices. Stone’s counterpart Stine, the timid yet ambitious novelist, was superbly played by Luke Di Liddo with his exemplary clean vocals and innocuous presence. When the two came together, their dynamic created a mighty force, most notably in “You’re Nothing Without Me”. Laufman’s character-infused portrayal complemented Di Liddo’s astounding vocal work perfectly to create a true powerhouse.
Playing Oolie and Donna, Natalie Langnas’ exceptional comedic timing and expressive facials played into both her characters commendably. Her robust vocal styling and commitment to character were righteously displayed through her solos “You Can Always Count on Me.” Madeline Finkelman, playing Gabby and Bobbi, dazzled audiences with her stunning voice and acting capabilities. Langnas and Finkelman brought the house down with their intertwined vocalization and powerful motivations in their duet “What You Don’t Know About Women.” Munoz, played by Daniel Haubner, rarely failed to get a laugh because of his perfectly timed comedy and overall humorous demeanor. Juliana Castillo executed her role as Mallory Kingsley stunningly, sporting intense vocal power and commitment in her song “Lost and Found,” and brought Avril Raines to life with her hilariously loopy disposition. The overall chemistry the cast had with one another electrified and elevated the entire performance.
The production’s ensemble admirably complemented the show’s over the top hilarity. Lacking bright facials and energy intermittently at times, they were nevertheless able to capture the essence of the show’s joviality and Broadwayesque style. A standout amidst the ensemble, The Angel City 6, despite some members carrying more than others, charmed audiences with their luscious harmonies and upbeat scatting. Although it did not translate as strongly off the stage, the hair and makeup team did an ample job of emulating the period’s style with its bold cherry lips and updos. The marketing and publicity team got the word out through inventive techniques like ticket giveaways and a social media page.
With its numerous unforgettable characters, vivacious musical numbers and comical plotline, it was hard not to fall in love with North Broward Preparatory School’s production of “City of Angels.”
*** *** ***
By Eva Daskos of The Sagemont School
In 1940s Los Angeles, it’s easy to get swept away in the glamour of Hollywood, while the hard crimes of the city get swept under the rug. What lies behind the starry eyes of every high-class lady? Murder? Love? Maybe it’s an unsatisfied author who thinks it’s all too cliché? Find out this and more in North Broward Preparatory school’s production of “City of Angels”!
It’s another colorless day in the life of Stone, a hard detective who’s looking for his next case, while the author writing his story, the exasperated Stine, is just looking for some creative freedom on his detective script. Stone and Stine represent the two worlds City of Angels creates, one the 1940s crime ridden black and white streets of LA, the other the bustling world of film production-where the biggest criminal Stine has to face is his boss, who’s more concerned with money than if Stine’s script has any substance. This show within a show is critically acclaimed with award winning music by Cy Coleman, and lyrics by David Zippel.
Stone, played by Evan Laufman, never broke his confident aura onstage. Stone’s hardened personality and wild, bloodshot, private eyes were always present in Laufman’s performance. Even while playing an older character, Laufman made a change in his own maturity with simple mannerisms and physicality, as well as a smooth deep voice that is iconic to film noir and perfectly fit Stone. Laufman consistently had strong chemistry with other performers as his character dodged in and out of relationships-as well as dodging bullets.
Stone’s life may be full of adventure, but that’s only due to Stine’s big ideas that his boss, Buddy Fidler, keeps shooting down. The cocky director Buddy Fidler was brought to life by Dylan Jost. who used this outrageous role to his advantage by making the most of Buddy’s time onstage with exemplary comedic timing and use of a hilarious pompous attitude. Meanwhile in Stone’s world, he’s shot down by the vixen club singer Bobbi. Madeline Finkelman as Bobbi served the jazzy sounds of the 1940s justice as her powerful voice hit every note and never faltered. Luke Di Liddo as Stine also gave a vocally compelling performance, translating David Zippel’s lyrics with power and vocal technique.
The publicity team of “City of Angels” used inventive marketing strategies in their spirted campaign for the show. Marketing and Publicity by Natalie Langnas & Company made fantastic use of the musical’s movie-making plot, planning creative events to publicize their show, including a movie trivia night that awarded the winner a free ticket to this standout production. Hair and Makeup by Christina McCabe and Company outlined the faces of actors well onstage, but was overly simple for the Hollywood theme they proposed.
North Broward Preparatory School’s production of City of Angels managed to create two compelling storylines on one stage, this standout production will prove the two worlds of story and author are nothing without each other!
*** *** ***
By Reese Abrahamoff of Cooper City High School
Somewhere between a sky full of stars and the sound of crashing waves lies Calvary Christian Academy, a powerful vessel whose crew of captains and pirates have conquered the sea. Set sail for a tale of self-discovery, unbreakable bonds, and a tiny bit of starstuff in their enchanting production of “Peter and the Starcatcher.”
Based on a book by Dave Barry and Ridley Pearson, “Peter and the Starcatcher” sailed to Broadway in 2012 earning nine Tony Award nominations, including Best Play. Written by Rick Elice, the story follows Boy, a nameless orphan whose hardened nature was the result of an oppressive childhood. Next on deck is Molly Aster, the feisty and determined apprentice whose sense of adventure shines brighter than any other. When Molly discovers Boy and his friends in the bilge of the ship, the audience is transported into a story of dancing pirates, hidden treasures, and a life-changing decision.
Leading the production as the initially fragile but eventually confident hero was Maxim Rose (Boy/Peter). From the moment Rose entered the stage, he reflected an earnest and genuine nature that never faltered. Rose excelled in encompassing his character’s physicality, but what was truly remarkable about his depiction was his sincerity and charisma. On a quest to uncover his own identity, Rose guided us through heartbreak and pain, allowing his performance to soar. Alongside Rose was Jenna McCoy as the fearless Molly Aster. Both McCoy and Rose worked well off one another allowing their inevitable separation to be both gut-wrenching and unexpected.
Terrorizing the seven seas in hope of finding a worthy adversary, Richard Egues delivered an outstanding performance as Black Stache. From his own animated musical number to his devious plan to conquer the “Neverland,” Egues’s flamboyant characterization was always met with a hint of malice. Erring on the side of comedy was Kelly Goenaga (Smee) who played the simple-minded first mate to Black Stache. With Goenaga’s high energy and dramatic nature, she was able to fully encompass her character, heeding the captain’s every whim.
Despite inconsistencies in accents, the cast as a whole was quite remarkable. With perfect pacing, clear unity, and evident commitment, the ensemble told a clear story from scratch, and for that, they should be commended. A standout group in the production was the orphan children (Maxim Rose, Soleil Escobar, and Gage Eller) whose connections were perfectly established from the moment the show began. Technically speaking, stage management did an exceptional job handling a large number of cues. Almost every call was executed nicely, allowing for smooth transitions throughout the show. Additionally, with only a few key objects, the props team was able to contribute to the plot in an extensive amount of ways.
As the sun sets and the moon comes out, we are left adrift on the ship of Calvary Christian Academy with the cast and crew of “Peter and the Starcatcher,” where they proved that not every star belongs to the sky.
*** *** ***
By Emma Sugarman of J.P. Taravella High School
“Glowing! Ringing! Flying! It can only mean one thing:” a mystical quest is underway. Seafaring vessels have docked, filled to the brim with orphans, mothers, pirates, and sailors. So hoist the sails and swab the deck because our adventure begins with Calvary Christian Academy’s whimsical production of “Peter and the Starcatcher.”
Based on Dave Barry and Ridley Pearson’s novel, “Peter and the Starcatchers,” Rick Elice’s stage adaptation, “Peter and the Starcatcher” tells the thrilling backstory of the beloved characters from J.M. Barrie’s “Peter and Wendy.” Set in 1885 under the influential reign of Queen Victoria, a young girl and apprentice starcatcher, Molly Aster, finds herself traveling with three mistreated orphans, aboard the slow and steady ship, the Neverland. Journeying on Britain’s fastest battleship, the Wasp, Molly’s noble father, an adept starcatcher, is embarking on a secret mission for Her Majesty; protecting the prestigious yet dangerous starstuff. When his mission is compromised, Molly and her new friends find themselves entangled in a trek of tremendous tribulation.
Portraying the “insatiably curious, insufferably bright, and pretty much friendless” Molly Aster, Jenna McCoy embodied the role through her childlike essence and lively spirit. McCoy’s expressive intonation and animated facials conveyed her character’s tenacity and leadership during a period where girls are typically viewed as submissive. Dazzling Molly through his cryptic air, the nameless orphan and traumatized child was embodied by Maxim Rose. Rose handled the delicate subject of his character’s backstory beautifully, expressing his character’s stellar development from his harrowing beginnings to the confident boy who will never grow up. Rose captured his astronomical character arc through his stellar change of physicality and demeanor.
The nameless boy was accompanied by two other orphans, Prentiss and Ted, played by Soleil Escobar and Gage Eller respectively. The actors developed a visible camaraderie that created a compelling dynamic. Accompanying the children on their voyage, the ensemble of pirates and sailors enhanced the overall production with their expressive facials and well-rehearsed stage action. Although, the cast presented minor inconsistencies in their accents and periodically lacked range of expression, the overall production was cohesive and amusing.
The technical aspects of this production created a majestic world emulating the visions of a child’s imagination. Through the abstract use of set pieces and props combined with zappy lighting, one was overcome with the twinkling sensation only otherwise produced by the vigor of a playground. With few sound hiccups and minor lighting inconsistencies, there were no errors that detracted from the overall presentation and the cast handled any trivial mishaps professionally.
With actors shining brighter than starstuff and the playful enhancements of a child’s dream, Calvary Christian Academy’s captivating production of “Peter and the Starcatcher” will leave you flying past impossible odds.
*** *** ***
By Caroline Eaton of Marjory Stoneman Douglas High School
Every story has a beginning. An origin story that defines each character’s destiny. The path they stroll along for the rest of their life. A prequel can be observed as a gift to the audience, closing the door on the uncertainty of a story’s past, and finally presenting the world with the answers they have been looking for. Calvary Christian Academy’s production of “Peter and the Starcatcher” took storytelling to the next level and told the tale of why Peter Pan never grew up.
Based on the 2004 novel, “Peter and the Starcatchers,” the story serves as the prequel to the world-renowned story of Peter Pan, the boy who could fly. This uniquely performed production develops the narratives of the original characters introduced in Peter Pan. Earning itself 5 Tony awards from 11 nominations, it took Broadway by storm, or more likely, by starstuff.
Playing the light-hearted Boy/Peter, Maxim Rose embodied Peter’s youthful spirit while skillfully maintaining the remains of his pain-stricken past at the orphanage. Rose showed a clear understanding of his incomparable life as an orphan. Through his ever-changing body language and tone of voice, he presented a true character arc upon laying eyes on the fiery Molly Aster (Jenna McCoy), transforming from a damaged soul into the capable leader of the island of Neverland. McCoy displayed Molly’s extreme love for adventure through her nonstop energy and lively physicality.
Black Stache, a cunning yet somewhat childish man with a “mouth brow” prominent enough to serve as his own name, was portrayed by Richard Egues. Egues triumphantly captured the carelessness of having to act like a true pirate, and the perpetual desire for one thing: treasure. Egues’s animated gestures and effervescent facial expressions obscured the reality that Black Stache was not the menacing pirate he wished everyone to see. Playing Black Stache’s right-hand man, Smee, was Kelly Goenaga. Goenaga’s unwavering energy and devotion to Egues illustrated her comprehension of Smee’s role in the world of Black Stache.
The rambunctious orphans of Ted and Prentiss (Gage Eller and Soleil Escobar, respectively), exhibited a perception of their specific roles within their small society: Prentiss being the leader and Ted following closely behind, at least until Molly showed up. Most notably, Eller’s steadfast focus on food, especially the unbreakable pineapple, ably made for the comedic relief in times of sorrowful scenes. Eller, along with Escobar, McCoy, and Rose cohesively formed a resolute front who, as long as they believed, could take on the world if need be.
The choreographed stunts and lifts were executed with grace and poise, especially when Peter gained the ability of flight. These moments of suspension were enhanced by the obvious dedication and rehearsal put on by the choreography team. The costumes and makeup attributed to each character, from the dirt of the orphans to the fish scales and tails on the mermaids.
With a story the whole world can relate to, Calvary Christian Academy’s “Peter and the Starcatcher” explored the meaning of love, adventure, and most importantly, friendship that can withstand even the toughest of pirates.
*** *** ***
By Rylee Berger of Cooper City High School
“There it is, Wendy! Second star to the right and straight on till morning!” exclaims Peter Pan in the classic 1953 film. But how did Peter Pan become such an iconic character? Why did he choose Wendy, of all people? And perhaps most pressing, how did Neverland come to be? Find out in Calvary Christian Academy’s dreamy production of “Peter and the Starcatcher.”
Written by Rick Elice and based on the novel by Dave Barry and Ridley Pearson, “Peter and the Starcatcher” opened on Broadway in 2012. The “play with music” concerns a young orphan known as Boy and the spunky Molly Aster as they navigate the tumultuous waters of hope, friendship, and love that are, naturally, plagued by pirates. When Molly’s father tasks her with protecting a chest full of precious cargo for the Queen, Molly and her new friends must dodge pirates and thieves to secure the treasure and save the world from evil.
Jenna McCoy’s natural talent radiated through her portrayal of the slightly insufferable but ultimately lovable Molly Aster. McCoy perfectly embodied Molly’s fearlessness and wit in her vocal delivery and physicality. McCoy made certain that Molly towered over peers and pirates alike through her captivating stage presence and her eye-catching energy. Her characterization served as a nice juxtaposition to that of Maxim Rose, playing Boy (who would eventually be given the name Peter). The innocence and playfulness of their relationship was evident, showing a clear understanding of their respective characters. Rose made highly effective choices in his mannerisms, standing out in his ability to communicate Boy/Peter’s emotional journey throughout the show.
Depicting the over-the-top, narcissistic, and downright hilarious Black Stache, Richard Egues was consistent in his accent, energy, and command of both script and stage. Complemented by the incredibly entertaining Kelly Goenaga as Smee, the dynamic duo brought new life and understanding to the legendary pirates. Goenaga was stellar in her comedic timing and delivery, providing a profoundly memorable performance. Other notable performers included Soleil Escobar (Prentiss) and Gage Eller (Ted), both of whom successfully portrayed their distinct characters while highlighting their similarities, resulting in a well-developed dynamic between the orphaned boys and Molly.
The ensemble skillfully tackled the complex script. Stunning stage pictures were prevalent, including those depicting Molly’s journey through the ship’s different rooms and the jungle on Mollusk Island. Though accents fluctuated and were difficult to understand, swift transitions and good pacing aided in the play’s effectiveness.
The skills of the actors were complemented by the impressive use of props and other technical elements, effectively creating the world of the show. Though lighting cues were often late and microphones were at times unreliable, most of the design elements were cohesive and compelling.
Carl Sagan once said, “We are all made of star stuff,” and Calvary Christian Academy proved just that. Their production of “Peter and the Starcatcher” invited audiences to experience the joy of storytelling and to remember that, “To have faith, is to have wings.”
*** *** ***
By Peri Harris of Marjory Stoneman Douglas High School
Questions are left unanswered, pressure is boiling through the roof, and innocence becomes controversy, as the fate a 19 year old boy is in the hands of Archbishop McCarthy High School’s “12 Angry Jurors”.
Written by Reginald Rose, “12 Angry Jurors” juxtaposes the decency of human nature, and revolves around the deliberations of a jury. Trapped in a room with the summer heat and a pending death sentence, the phrase “innocent until proven guilty” is lost in arguments of hostility. The group almost comes to a unanimous decision about an alleged first degree murder, but they slowly begin to internalize the possibility of “reasonable doubt”, as one juror is determined uncover the mystery of the whole truth, and nothing but the truth. One man is already dead, but why should one more be ruthlessly killed for the wrong reason, and more importantly, why should this decision be made by racially biased strangers?
Justin Cook portrayed “Juror #8” with calming line delivery and persistent character. Cook’s performance reflected on his deep understanding of the “courage to stand alone”, as his desire to save a man’s life overcame any obstacles. As the antagonist of the production, Bennett Sommer (Juror #3) greatly conveyed the short temper and fiery instigation of his character. Together, Cook and Sommer developed a distinguishable feud, as each of them felt strongly about their stance on the final verdict, and the development of their relationship only grew more tense.
Emiliana Quiceno (Juror #11) took on a challenging foreign accent with ease, as she spoke clearly and consistently throughout the production. Quiceno impressively utilized this dialect, and made sassy remarks to lighten the energies of the holding room. With strict determination and an intimidating stage presence, Megan Whitaker, (Juror #10) provided a sharp contrast to the subtleties of the other personas onstage. Her harsh demeanor and impatience was showcased throughout the entirety of the production, as she was always in disagreement with her peers.
With clashing personalities and groundbreaking commitment, “The 12 Angry Jurors” ensemble did a phenomenal job of conveying the messages of the story. As “the life of a man is at stake”, the group of 12 are put through the stress of analyzing fate and fantasy. Even when they weren’t the main focus of the scene, the actors still managed to be fully engaged, having side interactions with their opposers.
The technical aspects of the production were simple, yet effective, as they were an appropriate enhancer to the already captivating performance. The old age makeup and hair by Maria Soto added a sense of realism to the production, as the age of the characters was easily differentiated by their appearance.
Archbishop McCarthy High School’s production of “12 Angry Jurors” was none other than truthful; the actors flawlessly dissected the meaning of honesty, and proved that there is always another side to every story, and even if it takes some investigating to find it, the outcome can change any initial mindset .
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By Alan Halaly of Deerfield Beach High School
The tension in the air is almost tangible as twelve irate jurors debate whether or not claims against a 19-year-old who seemingly murdered his father are “beyond reasonable doubt.” If proven guilty, the boy will be killed. In this sweltering adjudication room, it seems as though the defendant’s fate is sealed until new analysis of the evidence is presented, perhaps suggesting the obvious is not as cut and dry as it once appeared. Archbishop McCarthy High School’s production of 12 Angry Jurors proves to be a rousing drama that explores the complexities of the criminal justice system and capital punishment.
First seen as a teleplay in 1954 written by Reginald Rose, the story soon was adapted for the stage, and in 1957 was made into a highly praised feature film. The 1996 West End production held at the Old Vic Theater gained the play international recognition with renowned playwright Harold Pinter as the director. Since first premiering as 12 Angry Men, the script has been converted into adaptations such as 12 Angry Women and 12 Angry Jurors to provide a female perspective.
The first to courageously challenge the assertion that the defendant was guilty was Juror #8 played by Justin Cook. Acting as a catalyst in the spark of debate, his maintenance of a rational, yet passionate tone helped his argument seem realistic and believable. On the opposite end of the spectrum stood Bennett Sommer as Juror #3, who adamantly asserted the defendant’s guilt. Often resorting to raw emotion rather than rational argument, his violent outbursts were expertly executed. His intonation and body language perfectly communicated his age, and he was able to effectively showcase a complex range of emotion and vulnerability.
The ensemble of jurors must be commended for the difficulty of their roles, as all of them were on stage for the entirety of the show. There was not a moment that did not seem completely believable, thanks to the ensemble never breaking character and always reacting to what was going on around them. It’s the little character quirks such as Juror #2 (Laura Cullen) constantly checking her watch that create the distinction between someone playing a character versus someone literally becoming their character. Standouts in the ensemble were Juror #10 (Megan Whitaker) and Juror #11 (Emiliana Quiceno). Whitaker powerfully delivered a racially-charged and hateful monologue through bold choices in her voice and mannerisms. Quiceno’s difficult Russian accent carried throughout the production, and there was never a time where she was not understood.
Technical elements of the show effectively crafted a simplistic office setting. Certain characters meant to be older portrayed their age thanks to expert makeup and hair design executed by Maria Soto. As a whole, the sophisticated and calculated blocking provided great pacing throughout the show, and the little regard for the audience in staging provided a heightened sense of realism.
The message of the show can be summed up in a simple quote: “It takes a great deal of courage to stand alone.” However, I know I am not being radical in thinking that Archbishop McCarthy High School’s production of 12 Angry Jurors delivered a compelling reminder of the importance of courage and integrity. There is no “reasonable doubt” in my mind.
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By Dylan Redshaw of Marjory Stoneman Douglas High School
The scene is set as the jurors crowd into the incredibly hot courtroom and the door is suddenly locked behind them. Twelve angry jurors faced with a grave responsibility. A man’s life in their hands. Guilty or not guilty, the stakes are clearly high in Archbishop McCarthy High School’s compelling production of “Twelve Angry Jurors”.
Written by Reginald Rose in 1954, the fascinating courtroom thriller follows twelve strangers as they deliberate the fate of one individual on trial for the murder of his father. With eleven jurors agreed that the young man is guilty, the remaining juror works feverishly to explore the idea of reasonable doubt, forcing his colleagues to question their morals and values. Originally written with twelve white male roles, the play has since been updated into many diverse versions that capture the realistic style and intense social themes.
Leading the production with fierce charisma was Justin Cook as Juror #8. Cook convincingly depicted his character’s courageous persona as he fought for justice against the panel of jurors and masterfully presented a multitude of distinct emotional levels. Throughout the entirety of the production, Cook remained fully committed to his compelling arguments and articulated each of his thoughts with ease. Portraying Juror #3 was Bennett Sommer, who ceaselessly fought against Cook to prove the defendant as guilty. Sommer believably embodied the juror’s demanding presence, demonstrating a refined growth throughout the play that ultimately reflected the plot’s profound resolution.
Furthermore, Juror #10 was portrayed by Megan Whitaker with mighty energy and bold inflections as she forcefully spoke against the defendant. Whitaker captured her character’s age with poise, and her genuine engagement in the courtroom thoroughly amplified the authenticity of the production. Other jurors, such as Juror #9 and Juror #11, depicted by Cali Hinesley and Emiliana Quiceno, stood out amongst the ensemble as they thrived off of their versatile believability and captivating line delivery.
The ensemble of jurors as a whole appeared remarkably professional. The twelve actors worked incredibly together as they strikingly illustrated the intensity of a heated courtroom.
Technically, the show was executed brilliantly. Hair and makeup, by Maria Soto, highlighted the play’s attention to detail and perfectly established each character’s age and status in society. Stage management, by Maisy Surman, was also extremely successful with efficient organization and clear dedication throughout the entire rehearsal process.
All in all, the twelve jurors presented a provocative debate that allowed the audience to truly follow the evidence and embrace the power of democracy. While the young man was finally ruled not guilty, the cast and crew at Archbishop McCarthy is certainly found guilty of one phenomenal performance filled with powerful drama and extraordinary doubt.
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By Tyler Mackey of Monarch High School
Heated arguments are not fun to be in. But most can agree it is enthralling to watch other people duke it out on whether or not an accused murder should receive the death sentence. Which is exactly why Archbishop McCarthy High School’s rendition of Reginald Rose’s 12 Angry Jurors was “without a reasonable doubt” a spectacular performance.
Released in 1957 as a radio drama, the story centers on a jury discussing whether or not they are to sentence a 19 year old boy to death, for the murder of his father via a switch blade knife. At first, 11 jurors are set on the boy being
guilty. But juror #8 (played by Justin Cook) believes there is reasonable doubt the boy is innocent, and he starts a thought provoking wave of discussion.
Throughout the entire performance the actors and actresses assure the play lives up to its name, and the tension is thick. With Juror #3 (Bennet Sommer) causing the audience to gasp with fear as he becomes so engulfed in rage he threatens to kill another member of the jury. What helped with the mood was the realistic feeling that was set with Maisy Surman’s skillful blocking. The juror’s movements very much reflected the plot development. With certain members moving closer to juror #8 as they began agreeing with him. That and other brilliant movements kept the flow going steady throughout the entire show. Each juror having their own unique and stand out personality
As Juror #8, Justin Cook was the lead actor, and he stayed in character for ever like delivered, with no faults at all. He was the first one who believed the accused was not guilty, and that belief reflected in his calm and thoughtful delivery of his lines. The one who most opposed him, Bennet Sommer as Juror #3, always had a powerful presence on stage, whether he was angry or disrespectful, he boldly delivered lines with vigor and passion.
All the jury members did a wonderful job propelling the story arc. Megan Whitaker (Juror #10) delivered a powerful monologue that caused the entire jury to turn her backs on her. You could see her exasperation as she stood towards the wall afterwards. Jose Santana (Juror #4) also perfectly encapsulated his role as the rich and reasonable mediator, accompanied by a snobby slicked hair do by hair and makeup artist Maria Soto, who did a great job giving each juror a unique look that matched their character.
The entire cast and crew did a wonderful job delivering a performance that portrayed the 12 angry jurors, how they should be. Thoughtful, relentless, and most of all, angry.
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By Rylee Berger of Cooper City High School
Why do you tell the story? For life? For love? For hope? South Plantation High School’s production of “Once on This Island” brings these question to life, and proves that the reason behind telling the story is just as important as how you tell it.
Written by Lynn Ahrens and Stephen Flaherty, “Once on This Island” opened on Broadway in 1990 and its Tony Award-winning revival is currently playing at the Circle Square Theatre in New York. Centered around a young woman by the name of Ti Moune (Sierra Nixon) and her love for the wealthier Daniel (Logan Moreno), “Once on This Island” tells the tale of a society split by race, wealth, and, in this production, ability to hear. Unique to South Plantation High School’s rendition, the story was told in both English and American Sign Language.
Leading lady Sierra Nixon brought warmth, optimism, and power to the stage as the lovable Ti Moune. Nixon’s facial expressions clearly showed her character’s emotions and feelings. Her acting prowess was evident, culminating in a clear expression of Ti Moune’s arc when she is broken by the realization that she will never be accepted into the wealthier society of the Beauxhommes. Nixon was also able to build believable relationships with both her adoptive mother and father, played by Abriella Richards (voiced by Jocelyn Velazquez) and Dwayne Reed (voiced by Wayde Boswell).
Ti Moune’s story is largely affected by the actions of four gods: Papa Ge (Hannah Prezant), Asaka (Kayla Smith), Agwe (Jalu Rachel), and Erzulie (Nya Hedman) The actors successfully differentiated their characters through vocal delivery and physicality. The chemistry within their character group was clear, consistent, and helped to define their importance as characters Prezant’s portrayal of the demon goddess of death was engaging, and her devotion to the role was evident when she tried to convince Ti Moune to kill Daniel. Kayla Smith as Asaka stood out in her strong vocal delivery and presence on stage, especially in numbers like “Mama will Provide.”
The company brought energy to the stage and allowed for the music to drive the emotion. Each member of the ensemble was completely invested in the story and exquisitely executed well-blended harmonies. Though some actors had difficulties with their diction, their commitment to their characters was clear. The telling of the story through sign language was impressive and beautifully executed on stage. The voices and interpreters were always in character and were just as invested as their counterparts, adding dimension and depth.
The technical aspects of the show were cohesive and worked extremely well with each other and the action on the stage. Costumes, hair, and makeup helped to define the differences between the two sides of the island. The scenic design of the show was brilliant, allowing for stunning stage pictures and a beautiful backdrop for each scene.
Filled with strong vocals and emotional performances, South Plantation High School’s not-to-be-missed production of “Once on This Island” was moving, powerful, and a unique take on a classic tale of love and loss.
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By Madeline Finkelman of North Broward Preparatory School
If you’re looking for an enchanting musical with infectious island-style music, poetic storytelling, and characters that touch the human heart, South Plantation High School’s production of “Once On This Island” will provide.
“Once On This Island” originally opened on Broadway in 1990 with book and lyrics by Lynn Ahrens and music by Stephen Flaherty. The musical returned to Broadway in 2017 and won the Tony Award for Best Revival of a Musical. Borrowing fairy tale elements from “The Little Mermaid” and star-crossed lover aspects from “Romeo and Juliet,” the musical tells the story of Ti Moune, a peasant girl on a Caribbean island whose journey reveals the triumphs and consequences of all-consuming love.
As the “one small girl” at the center of the tale, Sierra Nixon was anything but, portraying Ti Moune as a joyful, exuberant and lovably larger-than-life heroine. Nixon’s effervescence and spirit on stage beautifully relayed Ti Moune’s yearning to follow her heart and leave her family behind. The depth of what it means for her to leave the only world she’s ever known is hauntingly conveyed in the song “Ti Moune”, sweetly and soulfully serenaded by Wayde Boswell and Jocelyn Velazquez, the voices of Ti Moune’s dearly devoted parents. Boswell and Velazquez exquisitely and emotionally harmonized both their voices and their heartbreak as they watch their adopted daughter venture off into the unknown.
Looking down on Ti Moune were the mythical deities of water, earth, love and death. Commanding the stage as they commanded her journey, the gods were one of the show’s supreme standouts, each actor transcendentally bringing their individual characters to life. Papa Ge, the mythical death-seeking god was portrayed with malicious intensity by Hannah Prezant. Prezant’s dark and devilish delivery, menacing movements and physicality artfully exhibited Papa Ge’s potent powers. The god of earth was divinely and entrancingly played by Kayla Smith Smith’s stunning stage presence and seemingly effortless powerhouse vocals were best showcased in her soulful song “Mama Will Provide.”
In the story’s ending, Ti Moune bridges social divides, so the inclusion of American Sign Language throughout the show was especially powerful. The blocking and staging of both actors and an ensemble of interpreters throughout the set was its own graceful choreography, ensuring deaf or hard of hearing audience members never missed a moment of the performance. South Plantation’s enthralling use of American Sign Language highlighted the story’s ultimate message of acceptance and inclusion.
From a terrific tin-roofed hut to a remarkable rotating platform, the student-built set astonishingly created an atmosphere that seamlessly transformed the stage from poverty to privilege. Further setting the scene were the colorful and culturally-contrasting costumes and the vibrant, vivid makeup. All of these elements worked in harmony to propel the story while craftily conveying the lives of those within it.
On this island of two different worlds, people are brought together in dance, song and storytelling. South Plantation artfully wove those elements together, presenting a moving and immersive adventure that proved the strength of love is truly more powerful than death.
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By Alex Wind of Marjory Stoneman Douglas High School
There is an island where rivers run deep. Where the sea, sparkling in the sun, earns it the name “Jewel of the Antilles.” On this island, the citizens are separated between the laboring peasants and the poised grand hommes. In South Plantation High School’s production of “Once on this Island” this island is the location for the story that asks the question, “Can love conquer death?”
Making its premiere in 1990, “Once on this Island,” written by the Broadway legends Lynn Ahrens and Stephen Flaherty, follows the story of a young peasant girl named Ti Moune who is spared by the Gods when she is a child. For her whole life, Ti Moune wonders why she was spared and eventually she saves a wealthy boy named Daniel from his certain death and she discovers her purpose. In South Plantation’s innovative production, the use of American Sign Language (ASL) was integrated to create a performance that could be enjoyed by both hearing and deaf people.
As Ti Moune, Sierra Nixon displayed a wide range of emotions with the use of her remarkable singing voice and her passionate signing. Nixon did an incredible job of capturing the curiosity and bright-eyed spirit of Ti Moune, especially during her solo, “Waiting for Life.” Abriella Richards and Dwayne Reed, portraying Mama Euralie and Tonton Julian, respectively, created complex and dynamic characters only through the use of ASL, using body language and facial expressions to convey the emotions of the words they were signing.
As the Gods are praised in this show in many ways, the actors playing them should not be praised any less. As Papa Ge, Hannah Prezant fully embodied the sly demon of death. Even when not the main focus of the scene, Prezant remained in character and committed. Her conniving and cunning attitude created an intimidating antagonist for the story. Kayla Smith as the Earth goddess Asaka gave such truth to the quote, “On this island, the Earth sings” with her fantastic voice, showcasing riffs and high notes in “Mama Will Provide.” As the goddess of love, Erzulie, Nya Hedman was gentle in her performance, fully understanding the character. Jalu Rachel’s booming voice added another layer to his performance as the rain God, Agwe, and matched incredibly with his song, “Rain.”
The multiple ensembles were distinct and worked as cohesive units. Whether actors played the birds, the breeze, or the trees, they were fully committed and connected to the words they were either signing or speaking. The costumes by Abriella Richards showed clear differences between the classes on the island and the makeup by Paige Slowinski and Isabel Bello was effective in adding to the grandeur of the Gods. The set, designed by Chase Dietrich, was extremely impressive and brought together all the elements of the island atmosphere to create the perfect backdrop to the unfolding story.
The story of Ti Moune is an important and beautiful one to tell, and South Plantation High School’s marvelous production of “Once on this Island” did incredible justice to the tale and showing “Why We Tell the Story.”
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By Dylan Redshaw of Marjory Stoneman Douglas High School
Greetings from South Plantation’s radiating island of two different worlds with an enchanting tale to tell and one small girl to begin the journey. With the addition of engaging American Sign Language, South Plantation High School’s production of “Once On This Island” grants accessibility to a multitude of people and truly offers a colorful new perspective to the traditional musical.
Currently on Broadway with a Tony award win for Best Revival of a Musical, “Once On This Island” tells the beloved story of a young, peasant girl, Ti Moune, as she travels far and wide to reunite with the man who conquers her heart and ultimately prove to the Gods that the strength of unconditional love always overcomes the power of death. South Plantation High School’s inclusion of deaf culture truly heightens the show’s journey of acceptance as it explores the underlying themes of discrimination and isolation on a completely original platform.
Leading the production with fierce charisma was Sierra Nixon as the vivacious dreamer, Ti Moune. Nixon convincingly depicted Ti Moune’s childish attitude and awe-inspiring spirit as she danced across the stage with undeniable rhythm. The island’s captivating gods dominated the bulk of the performance with lively energy and vital connection to the story. Portraying the Goddess of Earth, Asaka, Kayla Smith fully commanded the stage and successfully showcased her powerful vocals in the captivating number, “Mama Will Provide.” Hannah Prezant as the sly demon of death, Papa Ge, completely embodied the intense role with her deep, booming voice and consistently chilling physicality. Furthermore, Nya Hedman as the Goddess of Love, Erzulie, admirably added an emotional touch to the production in her delicate solo, “The Human Heart.”
The American Sign Language interpreters and voices excellently mirrored their counterparts onstage, illustrating a unique, noteworthy approach to live theatre. Right from the start, the entire ensemble of storytellers and gods alike effectively brought sign interpretation to a whole new level with their strikingly distinct movements throughout each song. Communicating entirely in sign language, Abriella Richards and Dwayne Reed as Mama Euralie and Tonton Julian, respectively, fostered Ti Moune into a deaf world and delivered passionate facial expressions that strengthened the authenticity of the production.
Technically, the show was executed brilliantly. Costumes, by Abriella Richards, decorated the stage with compelling, bright patterns and radiating selections that clearly solidified distinctions between the multiple ensembles. Hair and makeup, by Paige Slowinski and Isabel Bello, appeared extremely professional with remarkable attention to detail, most notably in each of the God’s unique and vibrant makeup design. Furthermore, the interesting student-constructed set designed by Chase Dietrich fully captured the island landscape and immersed the audience into the imaginative, calypso-flavored world of Ti Moune.
All in all, South Plantation High School’s production of “Once On This Island” was truly charming, and inspired a unique new outlook on the world. The students should take pride in their immense accomplishment of merging the impact of deaf culture into the impassioned journey of social prejudice and forbidden love
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By Jason Rosenberg of Cypress Bay High School
“Some Say” there is a distant island ruled by temperamental Gods, ladened with dancing peasants and sneering with wealthy Grand Hommes. In a lighthearted tale of love and forgiveness, South Plantation High School (SPHS) and encapsulated audience members voyage to the mystical Antilles in “Once on This Island.”
Making its Broadway debut in 1990, “Once on This Island” has largely remained a force to be reckoned with, evident in the Tony Award-winning 2017 revival, which features such stars as Lea Salonga and Hailey Kilgore. Based on a 1985 novel, the musical recounts the tale of a young peasant girl on a tropical island, who ultimately uses the power of love to unite those of varying social classes. Fitting to this story of societal divisions, SPHS incorporates an extensive, and quite elegant, usage of American Sign Language (ASL) throughout the production, as a way to point to the division between hearing and deaf individuals.
Leading the show as Ti Moune was the ever- enjoyable Sierra Nixon, alongside her splendid vocal counterpart Tiahna Lilavois. Nixon’s immersive dancing and upbeat personality, in conjunction with Lilavois’ exquisite vocal technique, culminated into a wonderful portrayal of the optimistic peasant girl, highlighted in Nixon’s powerhouse rendition of “Waiting for Life.” Abriella Richards and Dwayne Reed tackled the roles of Ti Moune’s adoptive parents, Mama Euralie and Tonton Julian, respectively. With their sensational acting capabilities, they withheld the attention of the crowd whilst actively signing and engaging with fellow cast members. Their vocal counterparts, Jocelyn Velazquez and Wayde Boswell, were immense highlights to the production as well as crowd favorites. Velazquez and Boswell’s smooth harmonic blending served as pivotal additions to Richards and Reed, and elevated the emotional journey of the production as a whole.
As one might presume, the Gods were mystical and captivating forces who almost compelled audience members to stare; their angelic presence was bewitching. Nya Hedman and Jalu Rachel displayed their opulence and dignified vocals as Erzulie, the Goddess of Love and Agwe, the God of the Water. Conversely, Hannah Prezant showcased her darker side, dimming the atmosphere whilst on stage as Papa Ge, the “sly demon of death.” Nonetheless, Kayla Smith counterbalanced such gloom as Asaka, or Mother of the Earth. Smith gave a jaw-dropping surprise with her solid vocals and soulful presence, reminiscent of classic popular icons, in her critically-acclaimed performance of “Mama Will Provide.”
From the instant one entered the theatre, all eyes diverted to the spectacular, multi-level set spanning across the entire stage, even into the audience. The Set Construction crew appeared to have outdone themselves, as the cast utilized every inch of space to establish magnificent pictures and groupings. Additionally, the onstage Orchestra served to heighten the authenticity of the musical. Although they collectively overpowered the cast at times, their immersion in the production and overall positive attitude catapulted the rendition forward, allowing many to overlook any flaws and hone in solely on the positive.
“Once on This Island” reminds us all of the power of unconditional love, and the role we play in determining our own fate. Sparking conversation on historical racial discrimination and the absurdity of social hierarchies, the cast emphasizes the obstacles the human race has endured and stresses to continue relaying “the story.”
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By Julia Musso of NSU University School
Throw up your hands up in a hearty “Hallelujah!”, because Dillard Center for the Arts’s heart-wrenching presentation of “The Color Purple” is a “glory to behold”!
Based off of the Pulitzer Prize-winning novel by Alice Walker, “The Color Purple” is a tale of two sisters, Celie and Nettie, and their metamorphosis into women of tenacity and self-sufficiency in the South during the early 20th century. Along this treacherous journey, the duo learns to keep their eyes and hearts open to “the color purple” – the experiences and people in life we have to be thankful for that we often overlook.
Abigail Magnus’s (Celie) masterful portrayal of her role included the perfect blend of strength and vulnerability, shedding light on her expert understanding of Celie herself and her unique relationships with other characters on stage, specifically Nylah Cruz (Nettie) and Tatiana Colon (Shug Avery) Magnus’s jaw-dropping vocals were showcased in numerous musical numbers throughout the production, most notably “I’m Here”, the story’s stunning eleven-o’clock filled to the brim with challenging riffs and belts. Delicate, dream-filled, and driven, Cruz embodied the essence of young Nettie wonderfully, and successfully developed her character’s complex arch as the show evolved.
Adding a touch of humor to the production’s heavy plot line was Kevaughn Reid (Harpo). Reid’s comedic timing was impeccable, and his energy rarely if ever plateaued, especially in moments of extreme physical demand. Right by his side was powerhouse Mikala Phillips (Sofia), whose booming belt and show-stopping sass left the audience begging for more every time she opened her mouth. Memorable performances also included Jermaine Jenkins (Grady) and Shanice Dawkins (Squeak). Both performers made the most of their limited stage time with bold character choices and facial expressions, leaving a positive and lasting imprint on the story.
From their eccentric mannerisms to their heavenly harmonic blend, the Church Gossip Quartet’s presence added a whole new level of vivacious energy and grace to the story. Each member of the ensemble possessed unique traits that made them stand out as individuals, but when singing together in seamless syncrasy, the bunch was a force to be reckoned with, especially in group songs like “The Color Purple (Reprise)” where their undeniable unity brought the final moments of the show together beautifully.
The technical aspects of the production were beautifully executed overall, with the exception of a few microphone mishaps sprinkled throughout. Choreography (Kevaughn Reid), although simplistic at times, allowed for the show’s surging spirit to be revealed through movement in an effective manner. Both props (Dilts, Rodriguez, and Tiedje) and costumes (Herrera, Gomez, and Pena-Torres) were time appropriate and fit the mood of the piece perfectly, while also adding another dimension to the stage’s awe-inspiring aesthetic.
Like a blade of corn and a honeybee, Dillard Center for the Arts’s exquisite execution of “The Color Purple” was apart of the audience long after the curtain fell!
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By Zoe Larson of Calvary Christian Academy
Purple is a highly symbolic color in literary works, combining the ferocity of red with the stability of blue. It frequently represents ambition, dignity, devotion, and independence. Each of these elements operate in perfect harmony throughout Dillard Center for the Arts’ musical “The Color Purple,” a production that wrestles with devotion and independence whilst maintaining ambition and dignity.
Documenting the tumultuous life of a young woman named Celie, “The Color Purple” first opened on Broadway in 2005. Based on the 1982 novel by Alice Walker and the 1985 film, “The Color Purple” received eleven Tony nominations. It was soon revived with new power and passion, and the 2015 production received two Tony awards, including Best Revival of a Musical. It is rare for a high school to take on such a challenging production, but Dillard Center for the Arts executed “The Color Purple” with mastery, beauty, and truth.
Abigail Magnus achieved a magnificent performance with the role of Celie, a complex and inspiring role. With stunning vocals and raw, pure emotion, Magnus encompassed the bitter challenges Celie faced throughout her life. As a teengager playing such a multifaceted role, Magnus brought true innocence and care to a character with little hope left. Opposite Celie was her sister Nettie, played by Nylah Cruz. Cruz was loving, passionate, and exciting, revealing the magnificence of Nettie in “African Homeland.”
Kevaughn Reid, as Harpo, provided necessary and entertaining comedic relief in the midst of a heavy plot. His lines were delivered with enthusiasm, and he left the crowd rolling with laughter following “Any Little Thing.” Additionally, he was eye catching and mesmerizing during large dance numbers, specifically “Push Da Button.” His energy was matched by Mikala Phillips as Sofia, who was the source of many a laugh from the audience. She was strong yet comedic, and brought a new life to the stage with each entrance.
The technical elements of “The Color Purple” only made the hard work of the Dillard students more impressive. Marketing and publicity by Emily Nordoni specifically stood out, with many tactics used to advertise the production. Not only was social media frequently used, but ads were also put out on the radio to advertise to a larger audience. Additionally, choreography by Kevaughn Reid added a new level of professionalism to the production. Each move was choreographed with intention and creativity, and was stunning across the stage. While there were occasional microphone issues and some late cues, actors demonstrated perseverance.
Dillard Center for the Arts’ production of “The Color Purple” was full of pain and excitement, love and hurt, beauty and shame. All of the elements combined for a heartwarming and inspiring performance.
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By Reese Abrahamoff of Cooper City High School
“If God ever listened to a poor colored woman, the world be a different place.” Dillard Center for the Arts’ production of “The Color Purple” transported us into the harsh reality of the early 1900’s and delved into the theme of self discovery.
With a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, “The Color Purple” opened on Broadway in 2005, earning eleven Tony Award nominations. Based off Alice Walker’s 1982 novel of the same name, the show was seen as a revival in 2015 and received two Tony Awards including Best Revival of a Musical. The show follows the life of fourteen-year-old Celie, who is taken from her childhood home and forced to marry an arrogant farmer. After years of hardship and a little bit of guidance, Celie dismisses her expected role in society and finds the strength to create a better life for herself.
Leading lady Abigail Magnus did an outstanding job as Celie. Magnus excelled in showing the contrast between her individuality and submissive role as an African-American woman, which was commonly seen in this time period. Pouring her heart and soul into her singing, Magnus showcased a wide range of emotion filled with impressive belts, most evident in her solo, “I’m Here.” Alongside Magnus was Nylah Cruz as Nettie, Celie’s loving sister. As another vocal powerhouse, the dynamics between Cruz and Magnus were perfect to which their long-awaited reunion was both heartwarming and sincere.
The role of Sofia was played by Mikala Phillips. Her endless zest, non-stop energy, and flawless comedic timing livened the stage from the moment she entered. She was able to clearly show the transition from her bold attitude to one that was hopeless and beaten down. An additional standout was that of Kevaughn Reid (Harpo). With adept dancing technique and creative choices, Reid’s consistent humor and youthful vitality worked very well towards his uproarious relationship with Phillips. Their lovable personalities complimented each other most notably in their duet, “Any Little Thing.”
From group numbers to duets, the cast’s vocal performance was superb. Despite a somewhat lack of diction among the ensemble, the company did an exceptional job acting as a single unit, which can be extremely difficult with high school shows. The technical aspects were executed very well. A standout element was that of music direction under Jarvis Neal. Every musical number flowed perfectly with chilling harmonies and excellent blending, especially with the Church Quartet who never faltered a note. The costume crew did a great job with accurately depicting the time period of the show and representing each character clearly.
Dillard Center for the Arts’ moving and enchanting production of “The Color Purple” invites us to explore untaken paths, discover our true self, and live life to the fullest. Upon leaving the theater, the audience was left with one question, “Like the color purple, where do it come from?”
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By Nicole Wroth of Calvary Christian Academy
Transcending barriers, Dillard Center for the Arts’ production of “The Color Purple” encompassed the vitality of relationships through the actor’s portrayal of these demanding characters.
This extraordinary story originated from Marsha Norman’s novel which follows Celie through her life in Mississippi in the early 1900s. With producers including Oprah Winfrey, Celie’s story communicates the importance of female relationships and power of voice. Deputing on Broadway in 2005, this musical captivated America, earning eleven Tony Award nominations while the 2015 revival brought home two Tony Awards including Best Revival of a Musical.
Abigail Magnus as Celie fully embodied her character and stunned the audience with her mature vocal range as a high school sophomore. Despite the demanding requirements of role, Magnus portrays the contrast between her suppressing relationships with the men in her life compared to the liberation she experiences as she connects with female characters such as Shug (Tatiana Colon) and Sofia (Mikala Phillips).
Empowering Celie through their tenacious characters, Mikala Phillips as Sofia and Nylah Cruz as Nettie epitomize the different aspects of sisterhood. Phillips demonstrates her robust character through her physicality and thundering execution of “Hell No!”. Characterizing the tenderness of sisterhood, Cruz displayed a deep connection with Celie through her body language and earnest rendition of “Somebody Gonna Love You”.
Despite issues with microphones, the cast remained unfazed and continued their action on stage. The church gossips featured in the ensemble harmonized beautifully, showcasing their control and expertise over the score. “Push Da Button” brought a burst of electricity to act one, exciting the crowd on stage and engaging the audience. With grace and splendor, “African Homeland” exquisitely displayed the interconnection between Celie and Nettie’s African heritage through the socialization between African and American culture in the characters, props, and choreography.
Costumes showed the progression of maturity in Nettie’s differing costumes as well as the grandeur of Shug Avery’s character through her numerous dazzling costumes. Emily Nardoni used her expertise in social media to create a relatable platform, reaching students with marketing and publicity. The show’s instagram page highlighted the journey of the production, generating excitement for opening night. The use of basic wooden chairs to signify setting and develop choreography transmitted the original and creative ideas of the props crew.
With grace, prowess, and skill, this production left the audience saying it was “Too Beautiful for Words”.
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By Nick Vela of JP Taravella High School
When a poor, young African-American girl, in the rural South is bargained into marriage, a lifetime of heartache and hardships is bound to emerge. With an inspiring tale of faith, unexpected love, and inner beauty, Dillard Center for the Art’s powerful performance of “The Color Purple” will take you on a spirited journey, communicating various essential messages, such as why “the good lord works in mysterious ways.”
Based on Alice Walker’s 1982 novel by the same name, “The Color Purple” was destined to be a hit. With a book written by Marsha Norman and music and lyrics composed by Brenda Russell, Allee Willis, and Stephen Bray, the original Broadway production opened at the The Broadway Theatre on December 1, 2005. Closing on February 24, 2008, the production was nominated for eleven Tony awards. The later revival of the show, running from December 10, 2015 to January 8, 2017 at the Bernard B. Jacobs Theatre, was also a huge success. The production was nominated for four Tony awards and won the 2016 Tony for Best Actress in a Musical and the 2016 Tony for Best Revival of a Musical.
Celie, the young girl which the story revolves around, portrayed by Abigail Magnus, did a phenomenal job leading the show. Magnus’ stunning vocals, specifically shown in her show-stopping number “I’m Here,” and outstanding emotional commitment to her character, made for a captivating performance. Mister, Celie’s oppressive husband, portrayed by Mondrae Johnson, was fantastic at embodying the stern characterization his role demanded. Magnus and Johnson’s dysfunctional relationship was extremely believable and both displayed remarkable character development as the story progressed.
Nettie (Nylah Cruz) and Shug Avery (Tatiana Colon) both supported the central storyline impressively. Cruz’s melodious voice and graceful physicality made the essence of her character clear. Colon was marvelous in the sultry characterization of her role and had notable chemistry with all the other characters, particularly shown in the duet “What About Love.”
Sofia (Mikala Phillips) and Harpo (Kevaughn Reid) also supported the plot immensely. Reid’s great comedic timing paired with Phillips’ endless confidence and hilarious line delivery, created some much needed comedic relief to the rather dramatic story, as shown in their humorous duet “Any Little Thing.” The ensemble of the production showcased enormous amounts of energy. Their execution of the choreography was dynamic and their vocals were well-blended.
Except for some major inconsistencies in the sound, the overall technical features of the production were exquisite. The lighting transitions were incredibly smooth and added tremendously to each scene’s environment. The costumes were time period appropriate, visual appealing, and distinguished individual characters. Not to mention, the magnificent choreography created by Kevaughn Reid, which effectively conveyed thoughts through movement and was pleasant to watch.
The pressing issues of racism, sexism, and controversial love are all topics that need to be discussed in this day and age. Dillard Center for the Art’s moving production of “The Color Purple” attacked these issues with great care and efficiency, allowing for a strikingly meaningful performance.
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By Ashley Valent of Cypress Bay High School
Disability does not mean inability. While it has its limitations, a disability could be overcome with drive and ambition. Marjory Stoneman Douglas High School’s production of “The Curious Incident of the Dog in the Night-Time” superbly captivated audience members in this essential theme leaving all those watching speechless.
Based on Mark Haddon’s 2003 mystery novel of the same name, “The Curious Incident of the Dog in the Night-Time” first premiered in the West End before making its Broadway debut at the Ethel Barrymore Theatre in 2014. Having been awarded a multitude of accolades, the stage adaptation follows the adventures Christopher Boone, a 15-year-old mathematical genius with an autism spectrum disorder, and his navigation through difficult subject matters such as murder, betrayal, and acceptance.
All conflicts arise following one incident: the murder of Wellington, a neighbor’s dog. Throughout the first act, Christopher becomes enthralled with the mysterious case and begins to question fellow neighbors as possible suspects. It is over the course of his detective work that the actuality of his mother, played by Sawyer Garrity, and the violent tendencies of his father, played by Alex Wind, become evident. Both actors aptly depicted the parental nature of these characters and made the audience sympathize with their hardships. Despite the distress brought to Christopher through his family dynamics, he, at last, accomplishes his primary goal of passing his A-level mathematics exam, all the while solving the murder of Wellington, finding his mother, and writing a book about his journey.
Above all, the standout performance of the night was that of Logan Weber as Christopher. Portraying the play’s protagonist, Weber embodied the mannerisms and emotional depth required throughout the entirety of the production all while remaining consistent with a foreign dialect. Weber’s portrayal established the mind in which Christopher Boone struggled with and brought no offense in the process.
Along with the excellent performances, the technical aspect of this production was quite admirable. Having been almost entirely student-operated, the intricate lighting design by Euan Beith, the special effects created by Cameron Appel, and the musical composition of Andrea Peńa indeed created the visual and auditory facets of Christopher’s mind and made this performance the utmost memorable.
A minor inconsistency, however, was the usage of dialect by select company members. Jumping in and out of their intended diction, certain actors made the location and the plot seem implausible during specific scenes. However, in retrospect, these flaws had little to no effect on the overall performance.
Marjory Stoneman Douglas High School’s production “The Curious Incident of the Dog in the Night-Time” undoubtedly had a lasting effect on audience members and adequately conveyed the compelling message that disability does not mean inability.
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By Madeline Finkelman of North Broward Preparatory School
Who killed Wellington? In Marjory Stoneman Douglas High School’s powerful presentation of the Curious Incident of the Dog in the Night-Time, what begins as a typical whodunit transforms into a touching family drama told from inside the complex mind of an atypical teen.
Written by Simon Stephens and based on the novel by Mark Haddon, the play first premiered in London in 2012 and hit the West End the next year. The show, which debuted on Broadway in 2014 and won the Tony for Best Play, follows Christopher, a 15-year old boy on the autism spectrum. As he tries to solve the mystery of the neighbor’s murdered dog after he is falsely accused, he finds the real mysteries are within his own life. The story is told through his eyes, offering a unique perspective on his attempts to make sense of a world he doesn’t always understand
Christopher was bravely and believably brought to life by Logan Weber. Weber movingly and maturely captured Christopher’s literal-mindedness and social anxieties through his incredibly deliberate movements, mannerisms, and speech patterns. Despite Christopher’s difficulty with human interaction, Weber’s deft acting created a character who is painfully real and relatable. His father, Ed, was played with aching emotion by Alex Wind. Wind’s palpably pained portrayal displayed a dynamic range from violent intensity to tender vulnerability as Ed deals with his ever-challenging son. His anguish over the choices he’s made and how they have affected Christopher infuse the scenes Weber and Wind share with a heart-wrenching sentiment.
While Christopher’s dad dominates his day-to-day home life, it’s the women in his world that most illuminate his path of self-discovery. As his eternally and maternally patient teacher Siobhan, Dylan Redshaw radiated compassion and warmth, passionately propelling the story through eloquent narration of her student’s writings. Redshaw’s heartfelt performance helped to humanize Christopher and made her devotion to him feel authentic and honest. Sawyer Garrity ably played Judy, the estranged mother who Christopher is determined to find. With an aching unguardedness, Garrity beautifully exhibits her character’s conflicting roles of loving mother and fallible woman.
The production’s ensemble exquisitely served as both the supporting characters and part of the set itself. The cast’s precision and fluidity created the feeling of a breathing canvas on which Christopher’s adventure unfolds. From waves in the ocean to an interactive ATM, actors artfully created vivid, living set pieces that brought intensity and purpose to the stage.
The technical elements of the show were central to telling the story from Christopher’s point of view. The video projection of a floor-to-ceiling grid consumed the stage and with images like cascading numbers and shooting stars, aptly represented Christopher’s mathematical and mystical mind at work. Lighting elements effectively served to delineate space and time on the stage, and an original musical score was both chilling and compelling.
With sweet sincerity and masterful storytelling, Douglas Drama’s remarkable cast and crew conveyed a conventional coming-of-age tale with the unconventional message that acceptance, understanding, and hope can solve some of life’s greatest mysteries.
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By Liv Byrne of American Heritage School
Words can be lies, but actions speak the truth. We use “sayings” and “metaphors” that means the opposite of our intention, and sometimes we say one thing, but do another. In Marjory Stoneman Douglas’s version of The Curious Incident of the Dog in the Night-Time, the protagonist, Christopher Boone, helps us realize this.
The Curious Incident of the Dog in the Night-Time follows the story of a young boy, Christopher Boone, solving the mystery of his neighbor’s dog’s murder. Along the way, Christopher discovers more mysteries involving the “disappearance” of his mother, his father’s struggle with anger and depression, and what living situation fits him best. Based off of Mark Haddon’s 2003 novel, Simon Stephens turned this beautiful story into a play in 2012. It premiered at the Royal National Theatre in London in 2012 before moving to the Apollo Theatre in 2013. After its first premiere, it tied the record for winning seven Olivier Awards.
Logan Weber (Christopher Boone) exceeded expectations with his well-researched approach to his character. Weber distinguished his idiosyncrasies and made strong choices in his physicality. Dylan Redshaw (Siophan, Christopher’s motherlike teacher) did an excellent job of carrying the show as the translator of Christopher Boone with her unwavering spirit and unstoppable energy. Alongside the two talented actors was, Alex Wind (Ed Boone). Wind established a firm and multilayered relationship with his son, Christopher, and successfully took on the challenge of silence, using it to his advantage.
The ensemble provided a skillful vitality to the multiple scenes of the show. With great commitment and attention to detail, the “Voices” helped express the chaos going on inside Christopher’s mind. In busy scenes such as “Willesden Junction,” set at a train station in London, the ensemble created unique and easily differentiable characters. But, were, later on, able to join forces, creating one strong focus in Christopher’s bedroom scenes. Overall, the members’ intense focus and unity provided a strong foundation for the show.
In addition to the ensemble, the light projections heavily added to the audience’s relation to the workings of Christopher’s mind. Based off of the original Broadway production, Cameron Appel created a brilliant light show which played an essential part in the show. Representing Christopher’s views on the world, the light show contained multiple mind illusions including zooming numbers, fidgeting raindrops, flying dogs, and grid illusions. With excellent execution and terrific timing, the light show held a steady helping hand in aiding the audience’s understanding of Christopher.
Looking through Christopher’s perspective on life, we learn that sometimes we don’t look or listen carefully. We make “impulsive” decisions and hide the truth to escape its pain. Christopher understands the flaws of those around him more piercingly than we like to acknowledge but shows us that there is always a way to get through the troubles of our eternal obstacle: daily life.
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By Naja Brown of Cypress Bay High School
Adolescence is a stressful, and confusing period of life, especially for the estimated 500,000 teenagers living with Autism. In Marjory Stoneman Douglas High School’s production of The Curious Incident of the Dog in the Night-Time, the touching story of a young boy with Autism is told. Adapted from the novel penned by Mark Haddon in 2003, and written for the stage by Simon Stephens in 2012. The play follows a 15-year old mathematical genius named Christopher Boone, who is living with Asperger’s Syndrome. After finding his neighbor’s deceased dog, Christopher decides that he will attempt to uncover who murdered the dog. What seemed like a harmless search for a mysterious murderer, soon evolves into Christopher’s oblivious unraveling of some buried family secrets.
Leading the play as Christopher, was Logan Weber. Portraying a mentally disabled character can be a challenging task for many, but Weber managed to deliver a nearly flawless performance. From his consistent British accent, and a dedication to most accurately depicting his character, Weber’s performance is truly worth celebrating. Some other commendable performances include: Dylan Redshaw as Siobhan, Christopher’s school teacher, and Alex Wind as Ed Boone, Christopher’s father. They both truly cherished every moment they had on stage, and were refreshing to watch as they were fearless in allowing their performances to be vulnerable, by displaying raw emotions. Not only did these actors shine, but the group of actors portraying the Voices, did a brilliant job. Considering that they rarely left the stage, and collectively remained in sync throughout the play, displays that the ensemble had a fantastic connection with each other, and a commitment to their roles.
While the production did have exceptional actors among it, the technical aspects deserve to be applauded as well. The special effects team added a unique aspect to the experience, by using animated projections that complimented different elements of the story. In addition to special effects, the publicity, marketing crew worked diligently to promote their show. The crew acquired advertisements, made promotional videos, had a British word of the day, and used many other strategies in order to attract an audience. But, one of the most remarkable technical aspects, was the work of Andrea Peńa. She impressively composed many complex original musical pieces, which added a pleasant feeling to the show. In general, the play was technically pleasing and creative.
Overall, Marjory Stoneman Douglas High School’s production of The Curious Incident of the Dog in the Night-Time was quite exceptional. They told a tale of the journey a young man took, that allowed him to prove that he was capable of being independent and that the obstacles that we face in life can be beneficial in helping us grow as humans. Despite any disorders, or disabilities.
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By Emma Sugarman of JP Taravella High School
“Some people think the Milky Way is a long line of stars, but it isn’t. Our galaxy is a huge disc of stars millions of light-years across.” Equivalent to the many misconceptions about outer space, Christopher, a 15 year old boy, has transcended the limitations implemented on him by society by demonstrating his bravery as the story unraveled. Marjory Stoneman Douglas’s production of “The Curious Incident of the Dog in the Night-Time” will have you asking whodunnit until the stars align and the truth is unveiled.
Based on the novel by Mark Haddon, this captivating play, written by Simon Stephens, premiered on August 12, 2012 at the Royal National Theatre. The narrative revolves around a brilliant teenager, Christopher, with Asperger’s Syndrome. The story begins as a murder mystery surrounding the death of the neighbor’s dog, Wellington, and eventually evolves into a touching tale regarding the family’s unique relationships.
Logan Weber portrayed the inquisitive math prodigy, Christopher Boone. Due to the character’s developmental disorder, Weber incorporated “self-stimulating behaviors” into his physicality. Christopher struggles with social interaction and verbal communication and relies on distinct mechanisms to convey his emotions. Weber executed these attributes flawlessly. Also assisting in delivering Christopher’s mentality to the audience, was Christopher’s primary school teacher, Siobhan, played by Dylan Redshaw. Redshaw expressed an optimistic view of Christopher’s story through her bright and positive narration.
Christopher’s parents, Ed Boone and Judy, were portrayed by Alex Wind and Sawyer Garrity, respectively. Wind and Garrity both developed strong chemistry with Weber. They both showcased their affection for their child, however, presented it in an individual way. The mature actors executed the discordant dynamic between the parents impeccably. Wind did a marvelous job hinting at his secrets while leaving the perfect amount of suspense. Garrity, Wind’s adversary, integrated the caring and impatient aspects of her character together beautifully
The technical aspects of the production did an exquisite job communicating to the audience how Christopher perceives the world The Voices’ well choreographed and clean movements enhanced each scene by producing a visual representation of Christopher’s mind. Accompanying the choreography, the projections depicted a mesmerizing image. The addition of the original score composed by Andrea Pena immersed each audience member into the scene.
Watch a boy solve the mystery of how to liberate the bravery he always had inside him with Marjory Stoneman Douglas’s production of “The Curious Incident of the Dog in the Night-Time.” Prepare to venture off into a universe of detectives, family, and sacrifice. Leave behind the yellow and brown conundrum and reach for the gold stars in the sky.
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By Tai Beasley of Coral Glades High School
Cardinal Gibbons’ production of “The Addams Family” was far from “One Normal Night.” The Addams Family, a clan who bathes in gloom and lives for death, has their graves shaken when one of their own falls for a “normal boy.” Two unlikely worlds collide through dark comedy, deception, and love, and the Addams’s are spooked to find that their lives will never be the same.
The Addams Family is a kooky musical comedy with music and lyrics by Andrew Lippa and book by Marshall Brickman and Rick Elice. Staying true to its uniqueness, this musical was the first to be based on characters from Charles Addams’s single-panel gag cartoons, debuting on Broadway in April 2010. Its popularity fostered a revised national tour of North America in 2011, and a UK tour in 2016. “The Addams Family Musical’s” productions have been nominated for numerous awards, including the Tony Award for Best Original Score and winning the Drama Desk Award for Outstanding Set Design. The ghoulish Addams family live in an upside-down world of death and sorrow, and love every minute of it. However, when heartless daughter Wednesday falls in love with sweet, normal Lucas Beineke, everything the family knows goes ghost. Patriarch Gomez is trapped between keeping his daughter’s engagement secret from his wife Morticia. After a hurricane hits while the Beineke’s are over for dinner,
the fateful night turns into one of “Full Disclosure,” tested relationships, and terrifying change.
Star of the show Madeline Diamond (Wednesday) flawlessly portrayed the stubborn, sinister character. Her chilling facials, sharp physicality, and intense emotion dominated every scene, and succeeded in providing a stark contrast with timid Lucas, and tension with Matriarch Morticia. Diamond’s powerful vocals shook the stage and blazed with emotion, especially in “Pulled.”
Kelly Harris (Morticia Addams) successfully took on the sultry, head of the house. Her rich voice and deadpan gestures created a character of elegance and force. Harris’s strong vocals and demeanor shone through in “Just Around the Corner,”and her developing chemistry with Gomez was clearly portrayed in her physicality and diction.
Dylan Machado (Gomez) absolutely “knocked ’em dead” with his performance. His character commitment never once faltered, whether it was his accent, humor, or chemistry with every cast member. Machado’s vocals were melodious and passionate, particularly in “Not Today,” and his impeccable comedic timing was continuously present in his physicality, diction, and facials.
Crowd favorite Fester was incredibly played by William Eichholtz. He completely made this strange character his own and was a memorable character in every sense. Eichholtz’s energy, spot-on comedic timing, and weird accent dominated the stage. His animated, genuine vocals in “The Moon and Me” stole the hearts of the audience, and his jokes and bubbly physicality evoked laughter from all.
The haunting costumes, makeup, and hair successfully brought the characters to life with their intricacy and relevance to the theme. Props used were realistic and essential to the plot. The Ancestors eerily moved the story along through beautiful dance, and although some characters lacked energy and development, the entire cast brought life to every scene.
Giving “Full Disclosure,”ecstatic congratulations to Cardinal Gibbons’ incredible production of “The Addams Family,” for proving that no matter how crazy or morbid, family will always stick together.
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By Kaitlyn Tully of Calvary Christian Academy
In the words of Morticia Addams, “Normal is an illusion. What is normal for the spider is chaos for the fly”. Cardinal Gibbons High School questioned the boundaries of normal in their production of “The Addams Family,” by composer-lyricist Andrew Lippa.
Premiering on Broadway in April 2010, “The Addams Family” ran for 722 shows until its close in December 2011, winning a Drama Desk Award for Best Set Design. It chronicles Wednesday Addams and her soon-to-be fiance, Lucas When Wednesday reveals to her father that Lucas proposed and will be coming for dinner, she makes him promise not to tell her mother about the proposal. Naturally, this lie causes many debacles including a fight between Wednesday’s parents, a fight between Lucas’ parents, and a third argument between Wednesday and Lucas. Fortunately, by the end of the musical, all parties have made up, mostly thanks to Uncle Fester and the chorus of Ancestors.
Cardinal Gibbons High School delivered a striking performance of “The Addams Family” in which every character and actor added an element of depth to the show, taking it from a simple comedy to a heartwarming tale with lessons for all. Dylan Machado (Gomez Addams) continually provided great comedic timing, bringing the audience nearly to tears with their laughter. He provided extremely strong vocals, most especially in the song “Happy/Sad”. Madeline Diamond (Wednesday Addams) also amazed the audience with her belting voice that resonated throughout the theatre. William Eichholtz (Fester) effectively combined roaring comedy with life lessons, keeping the audience hungry for more. Another notable actress was Darby Silverman as Alice Beineke who, despite a malfunctioning microphone, still managed to project enough for the entire theatre to hear her without straining. Never slipping out of character, she also easily portrayed Alice, a character with two seemingly opposite personal
ities.
Not to be outdone by the cast, the crew also performed exceedingly well. The costumes, designed by Alyssa Chiarello, were exceptional, portraying the personality of the characters. Multiple costumes were student produced, including Wednesday’s black dress which was beautifully crafted and perfect for the role The props, led by Julia Zanatta, also stood out. Each prop successfully contributed to the personality and themes of each character, only adding to the depth of the show. Grandma’s tray of potions and remedies was extremely eye-catching and unique, foreshadowing later events even before the dialogue foreshadowed them.
Cardinal Gibbons High School successfully juxtaposes the lightheartedness of comedy with the drama of family life, forcing the audience to see that normal is a spectrum and that no one is perfect. The themes also brought to light the realization that family is more important than any petty argument and is worthy of a second chance.
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By Avery Anger of Marjory Stoneman Douglas High School
“Full Disclosure,” this dark comedy has nothing to hide; unless it involves a secret engagement or a man in love with the moon. With all of these elements, Cardinal Gibbons High School’s production of “The Addams Family” shows us what it really means to be an Addams.
This creepy, kooky, and mysteriously spooky musical was based on original cartoon characters created by Charles Addams. “The Addams Family,” music and lyrics by Andrew Lippa, opened on Broadway in April 2010 and closed in December 2011. The musical comedy focuses on the ghoulish eighteen-year old Wednesday Addams, who falls in love with the kind, intelligent Lucas Beineke from Ohio, who is far from the typical Addams man. One not- so-normal day, Wednesday invites Lucas’s family to the Addams family household for one “normal” dinner party, which erupts into a night of rhymes, disclosed secrets, tested relationships, and the delicious anarchy of this anything-but-ordinary family.
Pulling the audience into her captivating portrayal of the love-stricken Wednesday Addams was Madeline Diamond. Diamond exhibited Wednesday’s passion for the dark through her superior acting skills and chilling vocals, which were displayed in numbers such as “Pulled” and “One Normal Night.” Dylan Machado successfully executed his delivery of the charismatic and comical nature of Gomez Addams. His chemistry with the rest of the cast was impeccable, as was his comedic timing. Machado also demonstrated his ability to devise a contrasted character by holding his ground in the more serious moments, which enabled him to make his role even more enjoyable to watch on stage.
William Eichholtz depicted the perfect concoction of dark and lighthearted humor in his rendition of Uncle Fester. The enthusiasm he brought to the stage was commendable and evident in numbers such as, “The Moon and Me”. Emily Perkins presented impeccable dance skills through the lively choreography in her role as an Ancestor. The Ancestors ensemble provided the audience with energetic performances, and it was interesting to see how each individual member was costumed and portrayed an Ancestor from different time periods.
Technically, the show was visually stunning. The attention to detail in the Addams household was impressive and added to the already professional quality of the production, as did the seamless set transitions and spot-on lighting, which allowed for a smooth-running show. The costumes, designed by Alyssa Chiarello, Isabella Sweeney, Noalani Valle, and Elisa Saldias-Leon were breathtaking and aided in bringing all of these chaotic, crazy characters to life (or death).
Whether you are living, dead, or undecided, Cardinal Gibbons High School welcomes you to their phenomenal rendition of “The Addams Family.” It is truly a show you don’t want to miss. Who knows? It might just “pull” you in a new direction.
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By Madeline Finkelman of North Broward Preparatory School
Featuring a family that puts the fun in dysfunctional and the ditty in morbidity, Cardinal Gibbons High School’s delightfully dreadful production of “The Addams Family” brought to life the story of a clan in love with death.
Written by Marshall Brickman and Rick Elice, and featuring music and lyrics by Andrew Lippa, the musical premiered on Broadway in 2010 and is based on the comics by Charles Addams that first appeared in 1938. The cartoonishly dark musical follows the macabre yet melodious antics of a family in conflict when their grown daughter falls in love with a “normal” boy.
As the family’s passionate patriarch, Gomez, Dylan Machado carried the show with his comically charming performance. His consistent Spanish dialect and dead-on comedic timing allowed Machado to convincingly convey Gomez’s inner turmoil as a man “trapped” between his love for his wife and his loyalty to his daughter. Gomez’s determined and defiant daughter Wednesday was brilliantly brought to the stage by Madeline Diamond. Diamond was a vocal standout with her stunning range powerfully on display in her solo “Pulled.”Diamond excellently expressed Wednesday’s arch from angsty brat to young woman in love. Machado and Diamond forged a believable father-daughter chemistry, best showcased in the song “Happy/Sad,” where a deep and genuine connection between the two is clearly created.
The diabolical diva and ominous mom, Morticia, was portrayed by Kelly Harris. Harris’s statuesque physicality and stone-faced expressions artfully conveyed her contrasting roles as lustful spouse and loving mother. William Eichholtz played the loveable and love-obsessed Uncle Fester. Eichholtz served as a beacon of light in the otherwise dark and deathly family unit, shining especially bright in “The Moon and Me” as he sweetly serenades his long distance love, the moon.
Death never looked so alive than in the performance of the ensemble of ancestors. Their ethereal movements and ghostly presence made them compelling facilitators of the story, eventually helping the young lovers dig up their true feelings for one another. Another notable performer was Olivia Te Kolste in her role as the masochistic and mischievous Pugsley. Her sympathetic portrayal of the tortured little brother was both humorous and heartwarming.
The morbid makeup and ghoulishly gauzy costumes helped create the show’s eerie aesthetic and spooky setting. Props were used to great effect, especially Pugsley’s giant pet lizard and Wednesday’s formidable crossbow. These elements helped the cast achieve the creepy atmosphere of the Addams’ abode, furthering the idea that this “extremely normal” family was anything but normal.
Whether you are among the living, dead or undecided, the show’s message of “family first” touched the heart- and possibly other disembodied organs. The cast and crew of “The Addams Family” luminously illustrated that it is life’s constant contradictions that guide us to a perfectly imperfect (un)happily ever after.
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By Aysha Zackria of NSU University School
The Addams household makes every day seem as if it were Halloween, not caring about how the world perceives them. Cardinal Gibbons High School’s hilarious production of “The Addams Family” proves that “normal is an illusion.”
The Addams family is an unusual bunch of people: living, dead, and undecided. When Wednesday, the fearsome teenage daughter, falls in love with Lucas Beineke, they decide to get married. Only one thing stands in their way: a dinner with Lucas’s absurdly normal parents in the Addams family mansion. With music and lyrics by Andrew Lippa and book by Brickman and Elice, “The Addams Family” was based on the cartoons by Charles Addams. The show premiered on Broadway in April 2010, following a preview in Chicago. The Broadway production received two Tony Award nominations and eight Drama Desk Award nominations, winning one.
Dylan Machado, playing Gomez, mastered the iconic role with a consistent Spanish accent and mature physicality. Because of his complete engagement, his soliloquies felt true to the story and character. Every joke landed as a result of his spot-on comedic timing. The strongest part of his characterization, however, was the dynamic relationships with every family member. He obviously understood his own character as well as everyone else’s. Madeline Diamond, as Wednesday, stood out with her powerful voice, prominent in both solos and larger ensemble numbers. By using exaggerated facial expressions, her attention to vocal quality did not detract from her acting. William Eichholtz, playing Uncle Fester, fully invested himself in frequent goofy ramblings. This commitment manifested in hysterical physical comedy, over-the-top delivery of lines, and the maintenance of a silly, high-pitched voice. Kelly Harris, as Morticia, conveyed the poised air of the iconic character with her dead
pan execution of lines. Her connections to her children and Gomez were evident and natural.
Darby Silverman, playing Alice, evolved from a prim and proper mother of an ordinary family to a completely uninhibited eccentric. Her quiet energy grew into a complete command over scenes. Emily Perkins, as an Ancestor, cleanly executed the choreography with infectious energy, constantly catching the eye. Olivia Te Kolste, as Pugsley, excellently portrayed a boy who just wanted to be tortured by his sister. The character’s young age and immaturity was unmistakable in her line delivery. The Ancestors supported the story, both in vocals and dance. They were unified as an ensemble, but each had an individual role. Although sometimes there were unnecessary pauses between lines, the cast kept the story alive through energy and engagement in scenes, even when they were not the focus.
Costumes, by Chiarello, Sweeney, Valle, and Saldias-Leon, contributed to the environment of the show as a whole, establishing color palettes for the living Addams family, the ancestors, and the Beineke family. Similarly, hair and makeup, by Krause, Dunne, Cuozzo, and McCarver, clearly distinguished between the undead and living. Many characters appeared to have sunken eyes, without losing their facial expressions in the dark makeup. Stage management and crew, by Gauthier, Gidlow, Nicolaus, and Quirk, facilitated smooth, fast transitions from scene to scene, often moving large set pieces with ease.
Cardinal Gibbons High School’s production of The Addams Family thrilled, showing that no matter the frightening situation, “love still conquers all.”
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By Gabriela Coutinho of American Heritage School
It’d be a “sweet charity” to grab a friend to go out on the town and be transported back to the groovy 60s at JP Taravella High School. In its production of Sweet Charity, students evoked the hope and gaiety of youth despite rough trials and tribulations through consistent performances, skilled dance, and colorful technical elements.
The musical follows Charity, a young dance hall hostess, and her unbridled joy and romanticism, even amid the turbulency of her love life. The original Broadway musical featured direction and choreography by genius Bob Fosse and a book by comedic playwright Neil Simon. Iconic music by Cy Coleman and Dorothy Fields, including songs like “Big Spender” and “The Rhythm of Life,” add timeless fun to the show. JP Taravella’s rendition exuded the energy, presentational quality, and consistency this musical demands.
Gliding across the stage and drawing gasps with her high kicks, Kimberly Sessions as the title character sustained dazzling grace and flexibility, a bright character, and supported vocals throughout the show. In numbers like “There’s Gotta Be Something Better Than This,” Nicole Sugarman as Charity’s more mature ballroom friend, Nickie, provided a contrast in age and commanded the stage with her 60s period poses, intense gaze, and strong vocal and physical presence. Vittorio Vidal and Oscar Lindquist (played by Riley Frost and Hunter Quinn) added comedic timing and excellent portrayals of classic archetypes: the lover and the neurotic. Quinn in particular drew laughter in the elevator scene.
As a whole, the cast at JP Taravella set the mood for each number with vigor, style, and distinct character choices. Rising to the dance challenge that Sweet Charity poses, the bewitching “Rich Man’s Frug” and impressive, robust “If My Friends Could See Me Now” exemplified their success. Although they could have painted more levels in their characters’ emotional arcs, their vitality, focus, and constant commitment to challenging numbers and their characters more than compensated for this.
Visually establishing the time period, the show’s technical elements set the tone for an evening surrounding a search for love. Opening the show with enchanting silhouettes in a wash of blue, the student lighting design featured beautiful shifts in color which contributed to constructing various moods. While costumes, hair/makeup, and props for such a large cast in a period show may have presented a hefty challenge, one would never be able to tell as they were some of the production’s crowning achievements due to their variety, quality, and (namely wig) security throughout extensive movement.
Cast of Sweet Charity, “the minute you walked in”, everyone could tell you would deliver a night “of distinction” with precision and pizazz. While the title character may not have found the love she sought, theatregoers certainly found it in this polished and charming production.
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By Dylan Jost of North Broward Preparatory School
Bob Fosse once said, “Life is just a bowl of cherries, so live and laugh, laugh at love, love a laugh, and laugh and love.” The cast of J.P. Taravella High School’s well-executed production of “Sweet Charity” took this message to heart, producing a show that the audience could not only laugh at, but also one they could connect with at an emotional level through themes of friendship, heartbreak, and the cyclical nature of life.
Directed and choreographed by the famous Bob Fosse, “Sweet Charity” danced its way to a Broadway premiere in 1966. With dazzling music by Cy Coleman, clever lyrics by Dorothy Fields, and a splendid book by Neil Simon, this timeless musical received 9 Tony nominations and has had multiple revivals. “Sweet Charity” follows Charity Hope Valentine, a dance hall hostess with a rocky love life. Charity never seems to be able to find “the one”- a man who is willing to commit to her. When Charity meets the reserved Oscar Lindquist, she thinks that he is finally “the one”, but only time will tell if he is truly the one who will release her from her troubling cycle of heartbreak.
Leading the show with infectious joy and commendable dedication was Kimberly Sessions as Charity Hope Valentine. Enthralling from start to finish, Sessions commanded the stage with her effervescence. Continuously dancing and jumping around the stage, Sessions displayed impressive stamina. While Charity is an extremely difficult role to play, Sessions was up to the challenge and succeeded to the utmost regard. Alongside Sessions was Hunter Quinn as the quirky Oscar Lindquist. Quinn always remained engaging due to his unfaltering energy. The chemistry between Quinn and Sessions felt authentic and effortless, making for many dynamic interactions between the two of them.
Exquisitely portraying Nickie, one of Charity’s fellow dance hall hostesses, was Nicole Sugarman. Sugarman’s performance was spectacular, with breathtaking vocals and a consistent accent. Sugarman and Dani Wolfe (Helene) exhibited beautiful harmonies in their memorable duet, “Baby Dream Your Dream”. A performance that must be mentioned is that of Boaz Levy as Herman. Levy displayed immense maturity in his role, while also showcasing his impressive vibrato and clear pitch in “I Love to Cry at Weddings.”
Technically the show was masterfully executed. The props and costumes were all consistent with the era of the musical, which made the overall production all the more believable. The hair and makeup team was responsible for 50 wigs, all of which looked impeccable and genuine. Furthermore, the costume team was responsible for 149 costumes, making their success all the more impressive.
The cast as a whole must be acknowledged for putting on a performance of professional quality. Although there was an occasional lack of energy among the cast, this was more than made up for by their overall stage awareness and evident devotion to this artistic endeavor.
J.P. Taravella High School masterfully told the story of an unlucky in love dance hall hostess who yearns for something more in their superbly-executed production of “Sweet Charity.” Transporting the audience to the Fandango Ballroom, the cast of “Sweet Charity” proved that sometimes all you can do is live…hopefully…ever after.
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By Alonso Millan of South Plantation High School
If you’re looking for fun, laughs, and a good time, JP Taravella High School’s remarkable production of Sweet Charity is sure to give you just that.
Sweet Charity was directed and choreographed by the great Bob Fosse, with music by Cy Coleman, lyrics by Dorothy Fields, and book by Neil Simon. The show follows the story of hopeless romantic Charity Hope Valentine, who after several failed attempts at love, yearns to leave her dance hall hostess days at the Fandango Ballroom behind and find the man of her dreams. Opening in 1966 at the Palace Theater, the role of Charity was originated by Fosse’s wife Gwen Verdon, with revivals in 1986, 2005, and 2017.
As a whole, JP Taravella High School brought luminous energy to the stage at all times, nailing even the most difficult choreography throughout the show. Both ensemble and leading characters alike rarely faltered in their delivery of their over the top characters. From Charity’s bubbly and hopeful personality to the aloof and “too cool” attitudes of the Frug Dancers, the cast of Sweet Charity gave strong performances the whole night, backed up by excellent technical aspects such as lighting and sound.
Kimberly Sessions’ outstanding portrayal of Charity was unwavering in its energy and enthusiasm. Playing the delightful and spirited character expertly, her stellar dancing further amplified the audience’s delight. Sessions never once faltered in her execution of the choreography and did so while maintaining a strong vocal performance. Bouncing across the stage at all moments, her dancing and overall performance was a huge highlight throughout the show.
The supporting cast must also be commended for their stellar performances. Nicole Sugarman’s portrayal of Nickie, Charity’s wise and witty best friend, consistently impressed. Every moment Sugarman was on stage she was completely committed to her character, shown through her wonderful accent as well as her expert comedic timing and strong delivery of the sassy character. The Frug Dancers were another standout in the show, completely dominating the stage during “Rich Man’s Frug.” Nicholas Ismailoff, in particular, was a delight to watch on stage during the number, captivating eyes with his energetic and eccentric delivery of the choreography.
The technical aspects of the show were extremely strong. While at times some actors were difficult to hear due to microphones being low, the sound as a whole was very well executed, not missing one sound cue throughout the show and keeping a great balance between the instrumental tracks and the vocals. The lighting was also very strong, fitting and molding the moods of the scenes and the songs during the entirety of the show. The lighting also aided in having seamless and effective set changes through the use of very few blackouts.
JP Taravella High School’s production of Sweet Charity was dynamic, over the top, and hilarious. The cast and crew truly gave the audience a “good time!”
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By Madeline Finkelman of North Broward Preparatory School
The free-wheeling and fancy free tale of Sweet Charity follows the simple story of a girl who wants to be loved. Full of fun, laughs, and good times, J.P. Taravella High School’s production brought a posh period piece to timeless, technicolor life.
Sweet Charity originally premiered on Broadway in 1966 with music and lyrics by Cy Coleman and Dorothy Fields. Bob Fosse directed and choreographed the show’s Tony award winning dance numbers. The show focuses on Charity Hope Valentine, a hopeless romantic who dances through life trying to find happiness, purpose, and the true meaning of love.
Leading the show with ease, the lovely Charity was played by Kimberly Sessions. Sessions lit up the stage with her expressive face and willowy dancing, and kept up her jubilant energy consistently throughout the show. Sessions charismatically showcased Charity’s continuing cycle of love and heartbreak, conveying a sense of hope to the audience. Hunter Quinn portrayed Charity’s nervous and naive love interest Oscar Lindquist. Quinn excellently executed the quirkiness of his character, adding an extra element of comedy, sweetly complementing Charity’s splashy personality. Sessions and Quinn developed a believably burgeoning relationship, best showcased in their duet “Bravest Individual.”
The night’s biggest laughs came courtesy of the sassy and sarcastic Nickie, delightfully brought to life by Nicole Sugarman. Sugarman was truly a standout amongst the cast, conveying a striking sense of maturity and eloquently delivering her lines in her spot-on New York dialect, which never faded even in her extraordinary singing performances. Alongside Sugarman was Dani Wolfe, who played the fierce and feisty Helene. Sugarman and Wolfe strongly portrayed Charity’s snarky yet supportive sidekicks. The two blended brilliantly in their wishful and wistful duet “Baby Dream Your Dream”.
The show’s ensemble masterfully replicated Fosse’s complex choreography, most notably by Lead Frug Dancer, Jaime Happel. Happel luminously led the company with her sharp isolations and larger-than-life ponytail The Fandango Dance Hall Girls established a cohesive unit in their steamy performances, using seductive poses and sultry expressions, most effectively in the song “Big Spender.” Another standout performer was Boaz Levy in his portrayal of the stern yet sentimental boss Herman. Levy commanded the stage with his strong vocals and presence in the show stopping number “I Love To Cry At Weddings.”
From big wigs to bright lights, the technical aspects of the show were pulled off beautifully. The vibrant makeup, glitzy costumes and voluminous hair fit the 60’s era and stayed in place even through the most vigorous dance numbers. The comic book-style posters brought onto the stage by actors helped narrate and propel the story while adding an extra layer of comedy and nostalgia to the show.
For the cast and crew of Sweet Charity, the “fickle finger of fate” most definitely pointed to a fun and frivolous night of theater. This light and lavish production shows us that while a quest for love cannot always end happily, it can end hopefully.
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By Aysha Zackria of NSU University School
Want “fun, laughs, and good times?” Look no further than JP Taravella’s lively production of Sweet Charity.
Set in the 1960’s, Charity Hope Valentine is a dance hall hostess who just wants to be loved. Time and time again, she gives her heart to men who do not care for her. Finally, she meets Oscar, a man who might break the cycle. With music by Cy Coleman, lyrics by Dorothy Fields, and book by Neil Simon, Sweet Charity premiered on Broadway in 1966. It was nominated for nine Tony Awards, winning for choreography by Bob Fosse.
Kimberly Sessions, playing Charity, incredibly performed the role of the bubbly dance hall hostess. Her character was largely conveyed through dance, which skillfully toed the line between elegant and silly. While consistently playful, Sessions still managed to portray Charity’s growth and supposed newfound maturity. She always had high energy, ensuring clarity in her speaking, singing, and dancing. Hunter Quinn, as Oscar Lindquist, oscillated between outright hysterics and quiet composure. Through physical exaggeration and complete immersion in the story, he elevated the intensity and comedy of Oscar’s neurotic nature. The chemistry between Quinn and Sessions was apparent, allowing them to feed off of each other’s energy. Nicole Sugarman, playing Nickie, maintained her casual appearance while fully committing to the choreography and vocals. Her character’s age was more believable because of this aloofness. Her accent was so unwavering that it blended seamlessly into her lines, both spoken and sung.
Boaz Levy, playing Herman, had a noticeable command of stage as a result of his powerful voice and presence. He conveyed the dual nature of a tough, yet caring boss. In “Rich Man’s Frug,” an iconic Fosse dance number, Jaime Happel, a Frug Dancer, led the ensemble with her bold physicality and striking confidence. Another notable Frug Dancer was Nicholas Ismailoff, who stood out with his clean execution of difficult choreography. The Fandango Girls were unified by their environment and attitudes, but each had distinct characters, which made their performance more natural and entertaining. Although some actors lacked range or intensity, the production as a whole was supported by each individual’s engagement, interaction with the story, and execution of dance with difficult timing.
Costumes, by Polgar, Mendez, Feinstein, and Niles, clearly portrayed the 1960’s era, which was essential to the clarity of the plot and unification of the show’s aesthetic. Their specific clothing choices and sewing alterations made each character look unique. Hair and makeup, by Jasmin Victoria and crew, conveyed an obvious distinction between the Fandango girls and the people of New York. The styling and securing of dozens of wigs was extremely effective and period appropriate. Sound, by Gonzalez, Daley, Carolan, and Herrera, blended the ensemble well, staying balanced even when many actors were singing in unison.
JP Taravella’s production of Sweet Charity both entertains and educates. The pursuit of love can be tedious and complicated, but it gives life purpose.
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By Ashley Valent of Cypress Bay High School
Since the beginning of time, people have evolved both physically and mentally Given that humans have been on Earth for nearly 200,000 years, the changes undergone have been colossal. However, we are still connected at our core. From ancient Greece to the modern era, society has proven time and time again that history repeats itself. This connection is prevalent in Cooper City High School’s innovative adaptation of “The Frogs.”
Originally written by Aristophanes in 405 BC, “The Frogs” tells the story of Dionysus, the Greek god of wine, festivity, and theatre, and his quest to redirect the Athenian theatre by reviving the deceased playwright Euripides. In Cooper City High School’s production, this plot was used as a framework and was further built upon as a “play inside a play” with modern day political figures portraying the characters. This unique aspect not only provided a refreshing take on the piece, but it gave audience members a parallel that made the storyline easier to comprehend. Taking into consideration the difficulty of the material itself and this specific production’s originality, Cooper City’s execution is worth applauding.
The show began by establishing the political figures and the roles they would portray in “The Frogs.” This opening made the plot clear so that any confusion as to the identity of the characters was resolved with the distinct characterization used by the company. This individualism, brought to the stage by each actor, demonstrated the company’s collective effort and extensive knowledge of each distinguished person down to his/her body language, speech, and facial expressions. A few memorable executions were that of John Yearick as Euripides Hypeman and Katarina Esquivel as Pluto; however, the most notable was Reese Abrahamoff as Dionysus who carried the show with such expressive physicality while only having a significant role in the first act. The dedication throughout the entirety of the show expressed by the actors made this quality very admirable as an audience member.
Despite this impactful first scene, there was a lack of articulation by many prominent leading characters throughout the show that made it difficult to follow the storyline. Adding to the fluctuating diction, technical difficulties made comprehension arduous. The technical crew did, however, aid in this confusion by using screens displaying the context of each act and following the show scene by scene.
While there were a few discrepancies, the thematic purposes of tradition and following the old ways to reach success were translated clearly with the adaptations made to fit modern day. Cooper City High School competently used this originality to represent that throughout history, certain issues will remain timeless..
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By Alex Wind of Marjory Stoneman Douglas High School
What lengths would you go to in order to bring back one of your favorite authors from the dead? Would you travel into the depths of the underworld? Would you sit at Pluto’s dinner table? Would you fight off a group of pesky frogs? That last part might not sound like a very heroic act, but the god Dionysus is all too familiar with it in Cooper City High School’s production of “The Frogs.”
In this classic Grecian tale by Aristophanes, Dionysus, “the raucous god of theatre and inebriation”, attempts to bring his favorite playwright, Euripides, back from the dead. Accompanied by Xanthius, Dionysus makes the treacherous journey to the underworld, disguising himself as Herakles. Eventually, it is up to Dionysus to judge a contest of the best playwright between Euripides and Aeschylus. In an innovative twist, the show was adapted to the modern day, having the dead poets of the past portrayed as politicians. Another element was the addition of the director and stage manager roles, which added a different layer of comedy, other than the farcical nature of the show on its own. Additionally, songs were composed by Dustin Symonette for longer monologues and choral exposition.
Reese Abrahamoff perfectly executed the over-the-top comedy of the play as the fearful Dionysus. Abrahamoff was also able to distinctly show a difference between when he was acting as Dionysus compared to when he was playing the dramatized version of himself. Gabriela Phillips, in the role of Xanthius, was high-spirited and charismatic, perfectly pairing with Abrahamoff and creating a distinct relationship between the two characters.
Annabelle Rosa did an incredible job remaining grounded as Aeschylus; her strong, serious performance complemented the madcap antics of the show. However, there were also several actors that fully understood and committed to the riotous comedy. Chantel Millo’s Charon perfectly captured the outlandish essence of the piece by showing how even with limited movement, Millo was able to create a memorable character with her vocal tone and commanding presence. Another standout performer was Katarina Esquivel as the lord of the underworld, Pluto. Esquivel’s maniacal presence from climbing behind the set throughout the entire second act showed outstanding commitment to character and it made Pluto’s introduction to the storyline more important.
The Initiates, serving as a modern-day Greek chorus, added an intense, sinister element to the show, and was a reminder that Dionysus was in the underworld. Additionally, the Initiates showed great dedication when they were onstage. They continued to stay in character and also did not overshadow the scene going on. At times, it was hard to hear or understand some actors due to some issues with microphone amplifying or projection from the actor, but most of the time the actors were able to push through these issues, even sometimes turning them into hilarious bits.
In one of Aristophanes’ plays, “Thesmophoriazusae” he wrote, “Under every stone is a politician.” Who’s to say Aristophanes didn’t predict Cooper City High School’s political twist with their production of “The Frogs”?
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By Emma Summers of Coral Glades High School
What do you get when you combine Greek comedy, a plethora of political figures, Greek god rap battles, and singing frogs into one evening? Cooper City High School’s intricate play-within-a-play take on the Greek comedy, “The Frogs.”
“The Frogs” was written by the ancient Greek playwright Aristophanes. It has no Broadway history, as its origins solely come from Ancient Greece. This modern take on the classic begins as we are greeted by a stage manager and director striving to cast their version of “The Frogs” with prominent political figures. It then transitions into the rehearsal of the said play where the Greek god of wine, Dionysus, and his quick-witted slave Xanthius, go on a long journey to the underworld to bring the playwright Euripides back from the dead. Through the frivolous journey, they encounter many Greek gods and frogs, who help to determine which Greek playwright will be brought back.
Reese Abrahamoff (Dionysus) anchored the entire first act through his exaggerated stage presence and precise comedic timing. When Abrahamoff was on stage, every move he made helped the audience better understand the mature plot and the humor of Greek comedy. Gabriela Phillips (Xanthius) embodied the all-knowing sidekick archetype eloquently. Phillips and Abrahomoff’s master-slave relationship brought an element of comedy as Abrahamoff routinely made mistakes and Phillips always fixed them, but every time Abrahamoff would escape with a clean slate.
Always engaged dead or alive, John Yearick (Euripides Hypeman) portrayed the wit of his character remarkably. Yearick consistently bounced off the walls with energy, invoking laughs from the entire audience. Annabelle Rosa (Aeschylus) and Selene Serra (Euripides) created an evident rivalry in the debate for who was the best playwright. Rapping, in general, can be quite difficult, but rapping in ancient Greek lingo is even more of a challenge. Serra and Rosa pulled off the difficult task with ease, heightening the stakes of the intense rivalry.
Although confusing at times, every character in the show invested in their individual roles with evident character development. In particular, the Initiate ensemble always committed to their choices. Their bizarre twitching body language and in sync lines were consistent throughout, establishing a mystical intensity to the show. The entire cast displayed they had a keen understanding of this complex play; however, it was not always executed clearly for the audience. Though sometimes lacking in energy and articulation, the cast was always in character and embodied the challenging characters this show offered.
The set of the show efficiently brought ancient Greek politics into modern day context. The American-themed lighting was a unique, tasteful touch to the show, although some characters were not always seen. Despite issues with microphones, the actors did an honorable job with projection. The songs added to the show were a creative and fun element that were enjoyable for all.
Ultimately, the cast and crew of The Frogs gave a commendable performance with an abundance of energy and devotion. Cooper City High School’s production of The Frogs effectively transported us into Aristophanes’ classic Greek play.
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By Kaitlyn Tully of Calvary Christian Academy
Modern politics, ancient comedy, and disguised Greek gods aren’t generally things one would assume go together. However, Cooper City High School proved these ideas complement each other in unique ways in its production of “The Frogs” by Aristophanes.
Winning first prize at the Lenaia drama festival in 405 BC, this play provided the precedent for the genre of ancient Greek comedy. It chronicles the tale of Dionysus, the ancient Greek god of both wine and theatre, who embarks on a journey to save the state of Greek tragedies by raising the playwright, Euripides, from the dead. Arriving in Hades, he is made the judge of a debate between Euripides and his predecessor, Aeschylus, leading Dionysus to instead bring Aeschylus back to life.
Cooper City High School places its own creative spin on the play, likening each character to an American political figure. In doing so, it also treats this as a play within a play, holding auditions for “The Frogs” as its first scene. While an interesting choice, this did cause a bit of confusion regarding who each character was supposed to represent.
Despite some technical difficulties regarding his microphone, Reese Abrahamoff (Dionysus) remained focused and stole the stage with his charisma and comedic timing. The incredible chemistry between him and Gabriela Phillips, who played his slave Xanthius, was evident, adding to the comedy of their scenes. The Initiates were a striking addition to the production as they eerily permeated the play. Additional praise goes to Donna Nesselroth (Initiate). Despite being a part of the ensemble, she stood out, adding a significant amount of believability to the death-like nature of the Initiates. Katarina Esquivel (Pluto) also caught the audience’s attention with her dedication to the personality of the Greek god of the underworld. She portrayed him in a nearly psychotic way, never breaking character.
There were multiple incidents of actors breaking character and a few evident mistakes in reciting lines. Many of the actors lacked the articulation and diction necessary to fully comprehend their words. For much of the production, the Frogs were not in sync, starkly contrasting with the perfect synchronization of the Initiates.
While the costumes were interesting and clearly established the politics of the show, they were not cohesive and often clashed, distracting from the overall performance of the actors. Sound-wise, it was extremely difficult to hear most of the actors. Many actors did not have microphones, and the hanging microphones did not appear to be on. This made it difficult to follow the plot. The makeup design by Abbi Sachs, however, truly succeeded in its mission, proving very striking and unique onstage. The dangling eyeball on the corpse was absolutely incredible, as was the Frogs’ makeup.
Cooper City High School provided great energy and creativity in its portrayal of “The Frogs” focusing on how this play applies to today’s world. It proved a reminder that plays, even those from ancient times, still have lessons to be learned and applied.
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By Dylan Redshaw of Marjory Stoneman Douglas High School
Sprinkled with spectacular stunts, soaring straddle jumps, and a whole lot of sass, North Broward Preparatory School’s production of “Bring It On” truly captured the epitome of high school cheer and wiped the floor with their legendary performance.
With score by Tony-award winning team, Lin-Manuel Miranda and Tom Kitt, this contemporary hit musical focuses on the life of Campbell Davis, head cheerleader at wealthy and white Truman High, who is suddenly redistricted to Jackson, a nearby school with no cheer squad. Despite her negative expectations, Campbell befriends the dance crew at Jackson and, with some help from its headstrong leader, Danielle, manages to form a powerhouse team for the cheer National Championships. This spirited musical, loosely based on the 2000 film, received a Best Musical Tony award nomination after its 2012 run, and holds the record for most debuts in a production with thirty out of the thirty-five cast members flipping across the Broadway stage for the first time ever.
Leading the production with fierce charisma was Madeline Finkelman as the former ruler of Truman High, Campbell Davis. Finkelman convincingly depicted Campbell’s spunky, teenage girl persona, while still managing to reach the genuine core of her cheerleader spirit. In her solo “One Perfect Moment”, Finkelman was able to showcase her compassionate side, as well as her beautiful voice and stunning falsetto. Alongside Finkelman was Juliana Castillo, playing the almighty Jackson crew leader, Danielle, who fully embodied her character’s sassy personality through her dominant stage presence and bold dance moves, most notably in the “Do Your Own Thing” dance break. Natalie Langnas, playing the cheery misfit, Bridget, brought the high school reality to life as she exquisitely exhibited the comedic heart of her eccentric role, as well as her powerful vocals in her solo, “It Ain’t No Thing”.
Portraying Campbell’s popular new lover, Randall, Daniel Haubner illustrated clear chemistry with Finkelman and stunned the audience with his impressive vocal range, on top of his standout guitar performance in “Enjoy the Trip”. The inevitable antagonist of the play’s plot, Eva, was depicted by Eve Cohen with engaging character development from the sweet, young protégé to the manipulative cheerleading queen. By truly following her (killer) instinct, Cohen masterfully presented a variety of diverse facial expressions and brought the show full circle as she sneakily worked her way to the top of the cheer pyramid.
The ensemble helped to solidify the two distinct cheerleading squads at Truman and Jackson through their sharp movements and entertaining cheers. Though occasionally lacking energy, the cast as a whole strengthened the high-flying journey with thrilling basket tosses and striking images at the end of each routine.
Technically, the show was executed brilliantly. Costumes, by Juliana McCabe, heightened the authenticity of the performance with extremely efficient selections and remarkable attention to detail for each school’s uniform. The colorful lighting properly fit the lively production and thoroughly enhanced the mood of every scene, most notably in Eva’s demonic outbursts with dark red hues across the stage.
All in all, the superior cast and crew at North Broward Preparatory School stuck the final landing and made each moment a perfect one in its “cheertastic” production of “Bring It On”.
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By Emma Sugarman of JP Taravella High School
Tumble into the theatre because next on the mat is North Broward Preparatory School’s high flying production of “Bring It On: The Musical.” Grab your pom poms and prepare to enter the electrifying world of cheerleading, rivalries, and romance.
With a book by Jeff Whitty, music by Lin-Manuel Miranda and Tom Kitt, and lyrics by Miranda and Amanda Green, Bring It On is the story of a typical, popular cheerleader who seems to have it all until she is forced to change schools. Everything is unfamiliar to her including manipulation, exclusion, and no cheer squad. Loosely based on the film, “Bring It On” by Jessica Bendinger, this production demonstrates the struggles of fitting into a new school.
Though her character, Campbell, lost the position as captain at her former school, Madeline Finkelman certainly led her team to success. Finkelman’s clear vocals and expressive tone captured the essence of her vocally rigorous role. Her distinguished facials were maintained throughout her complex dancing and impressive stunts. Portraying Danielle, the assertive leader of the crew, Juliana Castillo displayed a fierce personality while incorporating caring attributes. Every time she entered the stage, she exuded a powerful presence.
Conveying the villainous Eva, Eve Cohen displayed her transition from the amiable neighbor to the manipulative tyrant of the cheerleaders excellently. The quirky friend Bridget, played by Natalie Langnas, brought a hilarious spirit with her impeccable comedic timing and carefree physicality. Accompanying Bridget was the audacious hip hop enthusiast, Twig, played by Evan Laufman. Laufman and Langnas presented exceptional chemistry and bounced off each other’s amusing one liners.
Although their energy levels were periodically inconsistent, the ensemble provided diverse characterization, adding an extra level of entertainment. The ensemble did a magnificent job varying their body language and facial expressions based on the environment of the scene. Though both equally impressive, the contrast between the choreography of the Truman and Jackson squads helped differentiate the atmospheres of the two schools.
The technical aspects of the performance enhanced the overall quality of the musical. Though the set changes could have been tighter, the simplistic set was a great building block which allowed for additional scenery pieces to be added to distinguish the different settings. The costumes were very efficient in capturing the different identities of each character. However, exposed mic belts occasionally took away from the buzzing world of the musical. Although occasionally overpowering the actors, the orchestra provided a driving force behind the lyrics of each song.
This exuberant performance reminds us you do not always have to stick the landing; however, this all star cast undoubtedly did. So chant, jump, and “do your own thing” with North Broward Preparatory School’s production of “Bring It On: The Musical.” You will certainly “enjoy the trip.”
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By Jonah Warhaft of American Heritage School
Although High School may be a source of stress for many, having a niche may be the one thing that can get you through! For some, however, the liberty of fulfilling that interest can be ruthlessly stripped at any moment as emphasized in North Broward Preparatory School’s highflying production of “Bring It On: The Musical”.
“Bring It On” premiered on Broadway in 2012 alongside 32 novices. Holding the record for the most Broadway debuts in one night, the show partnered with coveted Varsity Spirit to bring cheerleading to the stage. Additionally, it was the first musical to showcase a transgender high school character; a momentous milestone for the LGBTQ+ community. The show revolves around head cheerleader Campbell, who is unexpectedly redistricted and forced to a new school just two weeks shy of her senior year. Though closing after just 173 regular performances, “Bring It On” was nominated for 5 Drama Desk Awards and 2 Tony Awards. With music and lyrics by Lin Manuel Miranda and Tom Kitt, it’s no wonder the show was such a hit!
Starring as Campbell, Madeline Finkelman brought layers of emotion adding to the depth of her character. Finkelman’s vocal performance was well beyond expectation and truly added to the emotional expression in her character. The source of her characterization was her eyes, however, portraying the rawness needed to drive the show forward. Although her voice was amongst the strongest in the cast, she never let it interfere with her acting, always doing something new with the different words she was saying. Altogether, Finkelman shined brightly amongst her cast mates and did an excellent job leading the show across the finish line.
Other standouts included none other than the parrot head herself, Bridget, played by Natalie Langnas. Showcasing exceptional use of comedic timing, her scenes always filled the theater with laughter. Langnas wowed the audience with her powerful voice while consistently keeping her awkward inexperienced persona alive. Alongside Langnas was Evan Laufman as Twig. Always doing something notable on the outskirts of the scene, Laufman kept the stage alive with his larger than life expressions and his admirable interest in Bridget. Together, the two were hilarious and left the audience in heaps of laughter.
Technically, the show was very pleasing to the eye. The set was well-crafted and aided the cast in creating an ambience perfect for the show. Though the costumes felt appropriate, the lack of complexity shone through and at times yearned for improvement. Inversely, the marketing and publicity team did an awesome job promoting the show. The use of a “spirit stick” to showcase those “Cross(ing) the Line” of rehearsing and performing was a fantastic addition on social media accounts.
As a whole, North Broward Preparatory School’s production of “Bring It On” was strong, witty, and filled with well constructed comedy; showcasing immense vocal talent, leaving the audience wanting more!
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By Rylee Berger of Cooper City High School
“Truman girls are superhuman girls,” and North Broward Preparatory School students are just as extraordinary. “Bring It On” at North Broward was a “Legendary” production that made for a night of not-to-be-missed and engaging theatre.
Inspired by the 2000 movie of the same name, “Bring It On” was nominated for two Tony Awards, including Best Musical, when it ran on Broadway in 2012. With a libretto by Jeff Whitty, music by Tom Kitt and Lin-Manuel Miranda, and lyrics by Amanda Green and Lin-Manuel Miranda, “Bring It On” follows the story of Campbell (Madeline Finkelman) as she navigates the complexities of high school while attempting to win the coveted Nationals’ trophy for cheerleading. However, Campbell’s efforts are undermined when new-girl Eva (Eve Cohen) conspires to take the power – and the trophy – for herself. Ultimately, Campbell learns that winning the trophy is less important when the true prize is friendship.
As Campbell, Finkelman maintained a believable character and was consistently engaging throughout her performance. Showcasing a complex and wide range, strong acting ability, and vocal prowess, Finkelman truly enveloped her character’s genuine personality. Opposite Campbell stood Eve Cohen as the manipulative Eva. Cohen had a clear understanding of her character’s arc, developing Eva from the quiet, eager-to-please new girl to a villainous and superficial mastermind. Cohen’s physicality, voice, and facial expressions were highlighted in Campbell’s nightmare sequences and in the entertaining “Killer Instinct.”
Natalie Langnas as Bridget delivered a performance full of comedy and heartwarming authenticity. Be it in a parrot costume or a quirky outfit from her mom’s closet, Langnas had impeccable vocals and was successful in portraying the awkward but equally adorable relationship between herself and Twig (Evan Laufman). Laufman’s comedic timing and performance were strong and consistent from start to finish.
The vocal performance of the entire cast was strong, even through demanding choreography. Cheer stunts, though perhaps overused, were well-executed. Despite parts of the ensemble lacking energy and synchronicity, many members of the company stood out in their commitment to their characters, creating stunning stage pictures and entertaining ensemble work. This work stood out in numbers such as “What I Was Born to Do,” “Bring It On,” and “I Got You,” which showcased their skills in both voice and dance.
The publicity team (Cohen, Langnas, and Finkelman) sold out both performances and executed a well-thought-out, cohesive, and creative campaign. Costumes (Juliana McCabe) were successful in defining the differences between the two schools. Though at times mic belts were visible and scene changes were distracting, the technical elements allowed both the actors and the audience to become enveloped in the world of competitive high school cheerleading.
Filled with strong performances, demanding choreography, and incredible vocals, North Broward’s “Bring It On” is “One Perfect Moment” after the next.
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By Jonah Warhaft of American Heritage School
Although High School may be a source of stress for many, having a niche may be the one thing that can get you through! For some, however, the liberty of fulfilling that interest can be ruthlessly stripped at any moment as emphasized in North Broward Preparatory School’s highflying production of “Bring It On: The Musical”.
“Bring It On” premiered on Broadway in 2012 alongside 32 novices. Holding the record for the most Broadway debuts in one night, the show partnered with coveted Varsity Spirit to bring cheerleading to the stage. Additionally, it was the first musical to showcase a transgender high school character; a momentous milestone for the LGBTQ+ community. The show revolves around head cheerleader Campbell, who is unexpectedly redistricted and forced to a new school just two weeks shy of her senior year. Though closing after just 173 regular performances, “Bring It On” was nominated for 5 Drama Desk Awards and 2 Tony Awards. With music and lyrics by Lin Manuel Miranda and Tom Kitt, it’s no wonder the show was such a hit!
Starring as Campbell, Madeline Finkelman brought layers of emotion adding to the depth of her character. Finkelman’s vocal performance was well beyond expectation and truly added to the emotional expression in her character. The source of her characterization was her eyes, however, portraying the rawness needed to drive the show forward. Although her voice was amongst the strongest in the cast, she never let it interfere with her acting, always doing something new with the different words she was saying. Altogether, Finkelman shined brightly amongst her cast mates and did an excellent job leading the show across the finish line.
Other standouts included none other than the parrot head herself, Bridget, played by Natalie Langnas. Showcasing exceptional use of comedic timing, her scenes always filled the theater with laughter. Langnas wowed the audience with her powerful voice while consistently keeping her awkward inexperienced persona alive. Alongside Langnas was Evan Laufman as Twig. Always doing something notable on the outskirts of the scene, Laufman kept the stage alive with his larger than life expressions and his admirable interest in Bridget. Together, the two were hilarious and left the audience in heaps of laughter.
Technically, the show was very pleasing to the eye. The set was well-crafted and aided the cast in creating an ambience perfect for the show. Though the costumes felt appropriate, the lack of complexity shone through and at times yearned for improvement. Inversely, the marketing and publicity team did an awesome job promoting the show. The use of a “spirit stick” to showcase those “Cross(ing) the Line” of rehearsing and performing was a fantastic addition on social media accounts.
As a whole, North Broward Preparatory School’s production of “Bring It On” was strong, witty, and filled with well constructed comedy; showcasing immense vocal talent, leaving the audience wanting more!
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By Leah Tomas of JP Taravella High School
Ready? OK! Put on your best cheer face and get ready for North Broward Preparatory School’s “Legendary” production of Bring it On the Musical. The story follows high school senior Campbell Davis and her quest to find her “One Perfect Moment” as captain of the cheerleading squad, and the trouble that ensues when her Sophomore Spirit Leader Eva conspires against her in an attempt to steal her spotlight.
Featuring a book created by Jeff Whitty and paired with music composed by Tom Kitt and Lin-Manuel Miranda underscoring lyrics written by Amanda Green and Lin-Manuel Miranda, Bring it On: the Musical was inspired by the hit 2000 film of the same name. Bring it On premiered at the Alliance Theater in Atlanta during January of 2011, followed by a national tour in November of 2011, and the musical’s Broadway run from July to December of 2012. The Broadway cast was comprised of seasoned professionals including Taylor Louderman (Campbell) and Kate Rockwell (Skylar), as well as several award winning regional cheerleaders. Bring it On made history by establishing itself as the first piece of musical theatre to feature a transgender character.
Madeline Finkelman (Campbell) delivered stunning vocals and excellent characterization during her performance, and the development of her relationship with Daniel Haubner (Randall) was fascinating to watch. The two expressed clear commitment to their roles and boundless vocal abilities during the song “Enjoy the Trip”, and their chemistry was impeccable. Juliana Castillo (Danielle) demonstrated impressive dance abilities and strong objectives throughout the production. Her commanding presence and sass brought an air of confidence and competition to the stage.
Natalie Langnas (Bridget) effortlessly captured and portrayed the infectious energy and charisma of her character. Combined with Evan Laufman’s (Twig) brilliant comedic timing, the two were a hysterical duo that provided much of the production’s comedic relief. Eve Cohen (Eva) did an amazing job portraying an extremely vicious and complex character. She showcased “killer” vocal abilities, phenomenal acting, and immense focus during the scenes in which she was featured.
Though at times lacking energy and facial expressions, the ensemble members of this production did a great job tackling the intricate cheerleading and dance sequences they were faced with Some actors appeared to struggle with the musicality and timing of certain numbers, but the overall ensemble demonstrated exceptional harmonies and balanced blending. Samantha Hallenberg (Kylar) was a strong leader of the ensemble, along with Skylar Minett (Skylar), and Dylan Jost (Steven).
The technical elements of this show were overall very well executed. Aside from minor inconsistencies in costumes and sound, The tech crew presented seamless set transitions, and tasteful use of onstage screens, fog, and lighting along the proscenium arch.
North Broward Preparatory school combined themes of friendship, acceptance, and determination to create a production of Bring it On the Musical that will convince you that being different “Ain’t No Thing”, and that high school can be a place where your happiest memories are made if you just make an effort to “Enjoy the Trip.”
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By Charlotte Bacharach of Cardinal Gibbons High School
Is the life of the soul less important than that of the body? Calvary Christian Academy’s “The Miracle Worker” delved into this introspective proposition of metaphysics, revealing the inspirational story of Helen Keller and her teacher Annie Sullivan.
Written by William Gibson in 1947 as a teleplay before debuting as a Broadway production in October of 1959, “The Miracle Worker” describes the true story of blind, deaf Helen Keller. In late nineteenth century Alabama, young Helen is shut out to the world due to her afflictions, unable to be tamed by her distraught family. Annie Sullivan defies all odds in becoming Helen’s governess: she teaches the girl language through hand signals. The startling emotional evocation of Gibson’s intricate play stirred audiences, earning it the 1960 Tony Award for Best Play. With numerous revivals and recreations since it’s debut, CCA’s “The Miracle Worker” impacted audiences as it did in 1959, putting on a show of such maturity and difficulty with zealous poise.
Jenna McCoy, portraying Helen Keller, embodied her ailments, upholding a breathtaking synthesis of internal emotive focus and lack of perceptive awareness. McCoy was actively present in her scenes as she personified Keller’s sporadic physicality and fiery temperament. Remarkably adept in establishing an emotional range, she showed great depth and versatility as she divulged into both the infuriated, tantrum-throwing Helen as well as her inquisitive, cerebral disposition. Helen’s development was prominent in scenes with Annie Sullivan, portrayed by Zoey Boyette. Boyette unerringly manifested the rigid instructor, bringing decisive tenacity to the stage, countering Helen’s erratic nature. She maintained a consistent accent defined by organic inflection and acute diction, which inculcated endless effervescence into her scenes. Boyette and McCoy fostered an intriguing dynamic most memorably in their Act Two kitchen fight, their contrasting intentions yet analogous fervor creating a chillingly authentic performance.
A standout character was Helen’s brother, James, played by Luke Di Liddo, who epitomized juvenile snark and timeless cynicism in his vocal quality, physical stature, and scene relations. Yielding humorous flippancy as well as imposing pragmatism, Di Liddo facilitated his unparalleled persona with flawless articulation and a debonair Southern timbre. Memorable featured roles include Young Annie (Madison Norman) and Young Jimmie (Maxim Rose), who catalyzed Annie’s backstory through their impassioned presence among foreboding flashbacks.
The technicalities of “The Miracle Worker” complemented the laudable cast. Establishing the moods of each scene was the vivid lighting with timely cue calls by Stage Management under Nicole Wroth and Lauren Ferrer. The set by Samuel Hernandez was both prodigious and spatially efficient for the black box theatre. The white set representing the blankness of Helen’s sight, in contrast to the vibrant props in the eyes of Annie, reflected a deep level of theatrical understanding.
Annie promised, “Two weeks for one miracle.” At Calvary Christian Academy, one night created quite a miracle. Powerful actors and tireless technical teams created an atmosphere of love despite pain and hope despite hardship for a true phenomenon of a production. Taking on the heavy task of mature themes within a difficult script, CCA proved genuine and skilled in their exemplary production of “The Miracle Worker.”
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By Caroline Eaton of Marjory Stoneman Douglas High School
Miracles happen every single day, at any time, and at any place. The story of Helen Keller is certainly no exception. Calvary Christian Academy’s “The Miracle Worker” tells the heart-warming story of a deaf and blind girl learning how to speak with her hands.
Written by William Gibson, “The Miracle Worker” conveys the story of how one young woman changes the entirety of another’s life using only but a miracle. Annie Sullivan is the so-called “Miracle Worker” who is able to teach Helen Keller to see and to talk, without Helen using her eyes or her mouth. Annie’s ability to undo the teachings of only rewards and no punishments proves to be difficult but effective. As Helen begins to appear hopeless, a miracle happens, proving all the odds against her to be wrong.
The hard-headed Annie Sullivan was played by Zoey Boyette, who was the backbone of this “miraculous” production. Boyette continued to develop Annie’s character through every emotional flashback, transformational courageous act, and each moment in between. Her harsh, Irish accent never wavered throughout even the toughest of scenes. Alongside Boyette, Jenna McCoy formulated her own version of Helen Keller with grace and intelligence. McCoy skillfully used the set to her advantage in which she used her hands to navigate around the house and to attempt to connect with her family. Boyette and McCoy had an organic chemistry that was necessary to carry out this intricate show.
Helen Keller’s contrasting parents, Captain Arthur Keller and Kate Keller (Michael Tralongo and Carolina Torres-Tello, respectively), accented each other graciously. With Tralongo’s powerful, fatherly moments, and Torres-Tello’s loving and compassionate air, they skillfully combine their differentiating personalities. Adding to the Keller family, Luke Di Liddo played the comical yet down-to-earth half-brother to Helen Keller, James Keller, providing the show with seconds of laughter to break from the somber tone, though still contributing his worthy opinions to his father, specifically when standing up for the education of Helen.
Playing the younger version of Annie, Madison Norman believably conveyed Sullivan’s horrific childhood memories. Every scream, shout, and call for help was brilliantly counteracted by the monotonous Crones (Nina Poulos, Hannah Sherrod, Annie Sudler, Kelsey Wells). During the intense moments when Annie was experiencing flashbacks of her youth, the talented ensemble assisted in creating these powerful instances
The technical elements of the show were extremely complementary to the actors and their directorial directions. Samuel Hernandez constructed an undistracting yet intricate set that was designed flawlessly, but didn’t take away from the pandemonium that Helen and Annie created. Each costume, produced by Kaitlyn Tully and Ana Polania, emphasized the exact time period and place with beautiful designs, especially the blue dress Annie wore in the first scene in which she appears.
Calvary Christian Academy’s “The Miracle Worker” thoughtfully executed the story of Helen Keller and the teacher that single-handedly created a miracle.
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By Kimberly Sessions of JP Taravella High School
Who would have imagined a blind, deaf child could learn to communicate? It would take a Miracle Worker, a person capable of miraculous feats. That is exactly who Anne Sullivan embodied for Helen Keller. Through Calvary Christian Academy’s fascinating production of The Miracle Worker, uncover the strength and determination it takes to truly create miracles.
Based on Helen Keller’s autobiography “The Story of my Life,” this play, written by William Gibson, first appeared as a broadcast in 1957, before being transferred to Broadway in 1959. It was later turned into a movie in 1962. It follows the story of Helen Keller, a deaf and blind child and her teacher Annie Sullivan, who teachers her how to communicate, by making connections between words and physical objects.
Leading the show was Zoey Boyette as Annie Sullivan and Jenna McCoy as Helen Keller. Boyette displayed an impressive sense of maturity in addition to her headstrong, brazen nature. For McCoy, It is extremely difficult to correctly portray an impairment that you have never experienced and she seemed to do it with ease. Between her violent, spontaneous outbreaks and varied reactions she created a strong-willed, character. Together they developed an engaging and believable relationship.
Kate Keller played by Carolina Torres-Tello, fully captured a motherly demeanor through her warm and caring persona. Her husband, Captain Keller, played by Michael Tralango displayed a dominating presence and tough disposition, which accurately presented him as the man of the house. James Keller, their son, portrayed by Luke Di Liddo added the perfect amount of comedic timing, through his witty, cheeky comments. Their chemistry aided in creating an authentic troubled family dynamic.
Overall the show flowed quickly, even with the multiple blackouts. Since the cast moved around the set so comfortably, it seemed that they truly were living there, enhancing the realism of the show. While the accents were not always consistent and seemed to differentiate between cast members, Annie’s Irish accent was flawless. The cast did an excellent job with displaying their maturity through physicality but at moments some of their unvaried and “teenage-like” inflection, took away from the believability of the scene.
The technical concept of having the set seen through Helen’s eyes, in a sepia color, and the props seen through Annie’s eyes, in bright colors, was brilliant. The student designed and built set was stunning, and truly created an accurate representation of a house in the late 1800’s. The sounds effects set the atmosphere and the music during blackouts quickened the pace. The costumes were all time period and looked beautiful, although it was a little confusing that the women continued to change clothes to show passage of time, but the men did not.
As Helen Keller once said “Alone we can do so little, together we can do so much,” and Calvary Christian Academy’s surely demonstrated this concept through their production of The Miracle Worker .
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By Nick Vela of JP Taravella High School
“I don’t think Helen’s greatest handicap is deafness or blindness. I think it’s your love and pity” (Annie Sullivan, The Miracle Worker.) With a riveting and heartfelt story, Calvary Christian Academy’s production of “The Miracle Worker” amplified this message of perseverance and hope over all obstacles life creates.
Written by William Gibson, “The Miracle Worker” was adapted from his 1957 Playhouse 90 teleplay and based off of Helen Keller’s autobiography, “The Story of My Life.” It first premiered on Broadway at the Playhouse theatre on October 19,1959 and closed on July 1, 1961. The play’s plot surrounds Helen Keller, a blind and deaf girl, and Annie Sullivan, her governess, on their journey to give Helen the gift of language and communication.
Jenna McCoy, portraying the role of Helen Keller, did a marvelous job with a very demanding role. McCoy handled Helen’s particular physicality very realistically. She maintained her character throughout the whole piece and her emotions were clearly identified, though she could not speak. Annie Sullivan played by Zoey Boyette was incredible in all aspects of her role. Boyette’s difficult Irish accent was executed exceptionally well and her characterization was extremely believable. McCoy and Boyette had amazing chemistry on stage, specifically during Helen’s tantrums, and there was a definite arch in both characters in order to arrive at the climatic ending.
The Keller family did a wonderful job in helping the play move forward and gave insight to Helen’s origins. Portraying the role of Helen’s father, Captain Arthur Keller, Michael Tralongo displayed fantastic characterization, allowing the believability of his mature character. Kate Keller, Helen’s mother, played by Carolina Torres-Tello did an amazing job displaying the traits her role needed, radiating warmth and love. Helen’s half-brother, James Keller, portrayed by Luke Di Liddo had superb comedic timing. As well as bringing comedy to story with his snarky remarks, he also had clear objectives and his actions to obtain them were greatly motivated. Although the family as a whole did have some inconsistencies in their Southern dialect, they did a commendable job overall.
The ensemble of the show did a lovely job assisting the story. They helped give a further understanding of Annie’s background, specifically during the flashback scenes, and while doing so demonstrated energy and awareness. Even though they needed improvement in their projection and diction, they still added to the piece tremendously.
The various technical aspects for this production were magnificent. The set was beautifully designed with many levels and with an intriguing absence of color. The costumes were very pleasing to the eye and the concept of certain characters being dressed in more vibrant clothing added to the quality of the production. The sound and lighting was cleanly executed and set the environment of the piece. Not to the mention the insane number of props used in the play, that were most often very realistic.
Calvary Christian Academy’s complex production of “The Miracle Worker” brought life to this stunning story of overcoming hardships through determination, faith, and love. Although having some areas of improvement, it was a “miraculous” performance creating a sophisticated level of theatre.
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By Sierra Nixon of South Plantation High School
Disagreements, painful pasts, and a little laughter, a wonderful combination for a moving story in Calvary Christian Academy’s production of “The Miracle Worker.”
“The Miracle Worker,” written by William Gibson opened on Broadway in 1959 and ran for a total of 719 performances. Since then, “The Miracle Worker” has been nominated for 5 Tony Awards and has won 4 out of the 5. The play follows the real events of Helen Keller’s life. Keller was born deaf and blind with no means of communication. She was spoiled and had many behavioral issues. That is until her parents hired Annie Sullivan, a woman who was once blind herself, to teach her how to communicate. The story follows the struggle of the two to form a relationship as well as Sullivan’s struggles to teach the wild Helen language and manners.
Zoey Boyette led the show with confidence and commitment to the outspoken character of Annie Sullivan. Her accent was always consistent and she kept her character genuine. Playing the role of her unruly student was Jenna McCoy. McCoy portrayed the role of Helen Keller excellently. Although McCoy was unable to use words, this did not impede on her ability to show exactly how she was feeling. Boyette and McCoy’s chemistry on stage was commendable. This relationship developed as the plot progressed and ended with a beautiful moment where Helen finally understands that things have names.
The ensemble of this production had a clear dynamic. Each character had a different way of dealing with Helen and the variation of responses kept the story honest. Luke Di Liddo served as comedic relief within this production as the role of James Keller. Di Liddo’s comedic timing was spot on. In the end when James finally stands up to his father, it was nice to see Di Liddo’s shift in character.
The set of this production was entirely white with the exception of a few set pieces and props. This choice reflected the coldness that was often present in the Keller household. The costumes were all period appropriate and reflected the characters wearing them nicely. A stand out among the costumes was a gorgeous pink dress worn by the character of Kate Keller. This costume was constructed from the ground up and was executed wonderfully. While the costumes were nice and period appropriate, there were some inconsistencies in terms of costume changes. Some characters remained in the same outfit for the run of the show while others had multiple outfits. This inconsistency made it difficult to follow the progression of time within the play.
Overall, the cast and crew of Calvary Christian Academy produced a good show and did justice to Helen Keller’s heart warming story.
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By Eve Cohen of North Broward Preparatory School
With “Mix-ups, mayhem, and a gay wedding!”, one “cannoli” assume that they’ve been transported to Palm Beach Central High School’s lively production of “The Drowsy Chaperone”.
Written by Bob Martin and Don McKellar with music and lyrics by Lisa Lambert and Greg Morrison, the “Drowsy Chaperone” is a humorous parody of a typical 1920’s musical. This show within a show first hit Broadway on May 1, 2006 and ran for over a year, receiving tremendous recognition, including 5 Tony Awards and 7 Drama Desk Awards. The story is wryly told by a middle-aged, introverted theatre enthusiast; as he guides us through his favorite record, “The Drowsy Chaperone”, bringing the story to life on stage.
Cameron Silverman, as Man In Chair, kept consistently engaged throughout the entire performance. His character brought an approachable and affectionate aspect to the production, while still managing to keep the quirky, asocial elements for which the character calls. Naive bride to be, Janet Van De Graaff was depicted by Cassie Ortiz. With superb vocal capability and audacious personality, Ortiz completely understood the vibrancy of her role and continued to develop it as the show progressed. Her alluring vocals were specifically showcased through her highly impressive belting in numbers such as “Show Off” and “Bride’s Lament”.
Diverting, ditzy, and desperate for the limelight, Tori Lobdell, as wannabe showgirl Kitty, displayed dignified humor and commanding stage presence in her portrayal of the role. Lobdell consistently kept the energy up in the production with her amusing antics and hilariously piercing voice, keeping her engagement in the story even when her fellow cast members lacked. Portraying the seductive Latino Casanova, Aldolpho, Joey Dallas’s suave buffoonery most certainly caught the audience’s attention. His physicality and vocals in numbers such as, “Aldolpho,” helped to establish his hilarity and appeal.
Technical elements such as the detailed and intricate set impressively allowed the entire story to take place in one man’s house. While keeping the entire show confined to one room sometimes led to confusion in the plot, the versatile set pieces such as the roll-out bed and the refrigerator serving as an entrance allowed the scenes to be swiftly transported from one location to the next. The show suffered no significant issues with lighting or sound, and the timely costumes perfectly set us in the boisterous 1920’s atmosphere
With vivacious energy, show-stopping dance numbers, and captivating comedy, it’s no “Toledo Surprise” that Palm Beach Central’s tasteful production of “The Drowsy Chaperone” was a recipe for success.
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By Charlotte Bacharach of Cardinal Gibbons High School
Get ready for a Toledo surprise! Make them cold feet hot as we stumble along to Palm Beach Central High School for them to show off “The Drowsy Chaperone.”
Accenting the bustling Jazz Age, “The Drowsy Chaperone” centers an asocial theatre lover as he listens to his favorite musical entailing the hectic yet hilarious wedding of a Broadway star and oil tycoon. With music and lyrics by Lisa Lambert and Greg Morrison, “The Drowsy Chaperone” premiered on Broadway in 2006, subsequently winning five Tony Awards. Pulling you to the edge of your seat, Palm Beach Central’s Bronco Players charged the stage with vibrant tenacity.
The Man in Chair (Cameron Silverman) narrates the show with witty and endearing commentary, allowing his world, and apartment, to be whisked into his favorite musical. Setting into action this play within a play, his exemplary monologues were performed with distinct character and quirky persona. He displayed broad emotional range and dedicated development during his more taxing moments in Act II. The leading lady, Janet Van De Graaff was portrayed by Cassie Ortiz, dazzling audiences with her bright belt and robust vocal support. She shared a sweet chemistry with fiancé Robert Martin (Sebastian Sosa-Reese), nicely developing their connection through the frivolous tribulations. Sosa-Reese captured the love-sick heartache of his role while continuing to render the suave and debonair of the prosperous magnate.
The musical’s plethora of archetypal characters embodied certain qualities, with highlights including the anxious George (Ben Shaevitz), seductive Aldolpho (Joey Dallas), and ditzy Kitty (Tori Lobdell). As the best man and organizer of the ceremony, Shaevitz’s portrayal of George manifested this stress, matching it with animated expression and physicality. He especially shone in his “Cold Feet” tap number, where he deftly executed the quick-paced choreography while singing resiliently and maintaining enthusiasm. Contrastingly confidant and overwhelmingly sexual, Joey Dallas as Aldolpho boldly captivated the stage. Filling every moment with colorful vivacity, Dallas passionately staged bold choices and held a consistent accent for a ludicrously laughable performance. Competing for fame in Feldzieg’s Follies, Tori Lobdell as Kitty played the role with hilarity in her precise comedic timing and exuberant charisma. Her giddy voice and strong intention infused with endless energy and sharp dancing charmed crowds.
The set by Jason Goetz-Stern allowed for a convenient mesh of atmospheres between the apartment and wedding, utilizing pieces such as the refrigerator and fireplace for entrances and exits. The actors maneuvered the space well, most notable being the commendable house staff ensemble. Lighting and sound cues, called by Stage Management under Coltin Garcia, were timely and meticulous ensuring fluidity of scenes. Promoting the show prior, the marketing and publicity team’s impressive community outreach and social media campaign reached wide viewerships, demonstrating their diligent efforts.
Though the 1920’s are already bursting with alluring exuberance, throw in an entertaining narrator and a glut of chaos for things to get even better. Palm Beach Central High School’s “The Drowsy Chaperone” proved this and more, showing that, despite the mayhem, “everything always works out in musicals” for a heartwarming and engaging performance.
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By John Roig of Calvary Christian Academy
A heart warming satire about musicals and love, Palm Beach Central High School delivers a hilarious interpretation of “The Drowsy Chaperone.”
Opening on Broadway in 2006, this musical was nominated for an impressive thirteen Tony Awards, winning five. It was written by Bob Martin and Don McKellar with music and lyrics by Lisa Lambert and Greg Morrison. It centers around a middle-aged man obsessed with musicals, his favorite being “The Drowsy Chaperone.” He opens the show immediately breaking the fourth wall and imploring the audience to let him play his record for them. He does, and the musical within the musical comes to life in his living room!
The cast understood the show perfectly and each member crafted distinct caricatures. At the center of the show was Cameron Silverman (Man in Chair). He created the perfect balance between comedy and drama giving him a sense of concreteness necessary to separate him from the musical within. That musical centers around Janet Van De Graaff, a stage star giving up her career for love resulting in “mixups, mayhem, and a gay wedding.” Cassie Ortiz portrayed Janet’s melodrama brilliantly with a booming voice to back it up. Another standout was Tori Lobdell (Kitty). She had defined vocalization and physicality, which augmented her impeccable comedic timing. She also proved to be a strong triple threat in the big numbers, namely “Toledo Surprise.” Lastly, Nicole Pena (Trix the Aviatrix) gave huge presence to her limited stage time and a strong voice to lead “I Do, I Do, in the Sky.” While pacing was an issue at times because of many unnecessary pauses, the cast pushed through valiantly.
Technically, the show ran smoothly and without any noticeable hiccups. The Man in Chair’s living room was created beautifully with precise attention to detail. Going in and out of the musical within caused for an extreme amount of light cues all of which were handled professionally. Additionally, the duo tap number “Cold Feet”, performed by Sebastian Sosa-Reese and Ben Shaevitz, was exceptionally executed and communion between the two made it all the more hilarious. The ensemble was strong and their hard work was showed off in “Toledo Surprise” with excellent choreography, vocals, and timing.
Palm Beach Central’s “The Drowsy Chaperone” was a celebration of theatre at its finest. Musicals, while at times far-fetched and seemingly unrealistic, allow us to escape our mundane lives for a brief two hours to experience something new. This musical was just that. It provided escape into a playful, hilarious, and bizarre world making it an uplifting afternoon of theatre.
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By Evan Laufman of North Broward Preparatory School
A bride who’s giving up the stage for love, her debonair bridegroom, a harried producer, jovial gangsters posing as pastry chefs, a Latin Lothario, an aviatrix, and of course, the Drowsy Chaperone. What more do you need for an evening’s entertainment? Bob Martin and Don McKellar’s canny musical within a comedy was a smashing hit on the Broadway stage, just as it was on Palm Beach Central High School’s.
The school set the stage with a plain, yet intricately decorated apartment belonging to our protagonist, aptly named Man in Chair. Through this man’s fourth-wall breaking narration, we are transported to his favorite musical, the 1920’s musical, “The Drowsy Chaperone”. Although the musical focuses on the story within the story, as the show goes on, we learn more about our narrator and his reason for sharing this story with us. This quaint story was captivating to watch as it beautifully unfolded on Palm Beach Central High School’s stage.
Man in Chair, played by Cameron Silverman, walked us through this convoluted yet simplistic story in a delightful and incredibly entertaining fashion. His immense stage presence was sweetly contrasted by his contained and subtle physicalities. Silverman remained on stage throughout the entire show and showed a great deal of patience and focus as he stayed in character and persisted his engagement in his own story. His powerful character arc allowed for the audience to connect with him, and truly allow us to become engrossed in his narrative.
Supporting the musical within the comedy was Joey Dallas, playing the ridiculously bombastic Aldolpho. Dallas’s rhapsodic manner of speaking brought his character to life, never leaving the audience without smiles from ear-to-ear. In a vibrant and playful musical number appropriately named, “Aldolpho”, we hear Aldolpho drilling his name into the Drowsy Chaperone. Dallas’s persistent and amusing accent kept his character consistently entertaining to watch, and always roused laughs. Joey Dallas’s vivacious energy always kept the audience on the edge of their seat, wondering what crazy thing he would say, or what over-the-top stunt he would perform next. Great praise is deserved by the King of Romance.
Palm Beach Central High’s set stunned the audience, with a cozy yet inviting design, even having hidden passages in the refrigerator and fireplace. The entire set even came apart at the end to provide a landscape view of the sky as the finale takes place high in the air. The ensemble in this production balanced many costume changes, challenging choreography, and incredibly difficult music, all whilst maintaining energy and staying in character. However, despite all this, there were many times the vocals as an ensemble lacked severely. This dragged the momentum the show down, making for a show that of a tiring sprint up a steep hill rather than a swift jog down a straight path.
Ultimately, Palm Beach Central High School’s production of the award-winning show-within-a-show did what a musical was supposed to do- it took us to another world, and it gave us a little tune to carry with us in our head for whenever we’re feeling blue.
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By Nicole Sugarman of J.P. Taravella High School
As the curtains swing open, the audience is greeted by a Broadway-loving theatre fanatic clutching his most prized possession, his record of Gable and Stein’s “The Drowsy Chaperone.” This musical theatre aficionado then helps viewers to visualize a crisp November in 1928 at the Morosco Theatre in New York. With the help of the students at Palm Beach Central High School, spectators are whisked away into a world of baking gangsters, Latin lovers, roller-skating fiances, and one overly-intoxicated chaperone.
With music and lyrics by Lisa Lambert and Greg Morrison, “The Drowsy Chaperone” envelops the audience in the quintessence of a perfect Broadway musical amalgamation. “The Drowsy Chaperone features a book by Bob Martin and Don McKellar, receiving five Tony Awards, including Best Book and Best Original Score. The masterful musical debuted in 1998 at The Rivoli in Toronto and opened on Broadway in May 2006.
Playing the agoraphobic theatre-loving Man in Chair, Cameron Silverman completely embodied his character’s enthusiastic attitude and passion for the power of a musical. Silverman successfully set the tone for the show, exquisitely carrying the weight of the show as the lens in which the audience views it. Cassie Ortiz, portraying the glamorous and vivacious star of Feldzieg’s Follies, Janet Van De Graaff, wonderfully captured the “star quality” of her role. Ortiz enhanced her performance with her powerhouse vocals and air of confidence. Sebastian Sosa-Reese, portraying Janet’s dashing groom, Robert Martin, and Ben Shaevitz, playing his anxious best man, George, performed a fantastic rendition of “Cold Feet.” Both Sosa-Reese and Shaevitz appeared to successfully execute the tap steps and infuse the number with loads of energy.
Tori Lobdell, playing the dim-witted wannabe star, Kitty, showcased incredible characterization. With her well-executed antics, polished dance moves, and consistent accent, Lobdell successfully brought life and hilarity to the role. Playing the self-proclaimed “ladies man,” Aldolpho, Joey Dallas gave an excellent performance, completed by his amusing version of “Aldolpho.” Mrs. Tottendale, the flighty and forgetful wedding host, was portrayed by Sarah Ingram. Ingram’s eccentric and oblivious attitude made her a standout in this production.
Although occasionally wavering, the energy of the ensemble remained rather high at most times. The performers displayed a strong commitment to their characters and maintained lively facials throughout the show. The actors handled the heightened reality within the production nicely, although at moments, they could have even gone farther with the extravagance and over-the-top energy.
The elaborate set was extremely versatile and functional, allowing the Man in Chair’s simple apartment to transform into a stage for the show to take place upon. The costuming, hair, and makeup in this production were befitting to every role and assisted in characterization. All scene transitions and costume changes appeared quick and seamless.
“One cannoli hope” that they had the opportunity to see Palm Beach Central High School’s delectable production of “The Drowsy Chaperone.” The students made themselves perfectly “Eclair” on one concept: “The Drowsy Chaperone” is a delicious recipe for uncontrollable laughter, served with a side of infectious tunes, and a touching story to satisfy all of your senses for dessert.
*** *** ***
By Chloe Ward of Boca Raton High School
If you eased on down the road this weekend, you might have found yourself in the land of Oz, at Piper High Schools performance of The Wiz. An energetic cast combined with bright scenery and costumes made for a magical evening.
The Wiz is a spin off of the classic musical The Wizard of Oz. The show is rooted in African American culture and notably originated with an all black cast, an unusual and impressive feat shorty after the civil rights movement. It opened in 1975, and won seven awards, including Best Musical. Although the story of The Wiz derives from The Wizard of Oz, the music is filled with groove and funk of the 70s. The music and lyrics are by Charlie Smalls and others and the book is written by William F. Brown.
Daneeva Newland played the sweet “Dorothy” with charm and grace. Newland also carried much of the show with her delicate vocals that gushed emotion. Brittany McGregor, “Scarecrow”, showcased her smooth vocals as well, making the musical numbers entertaining to watch and listen to. Wade Augustin as the “Lion” had perceptive comedic timing allowing him to make the atmosphere uplifting with his punch lines.
Although the sound of the show had issues, with many microphones not being able to work properly, the actors still continued strong, and managed to carry their voices past the stage without much help from their microphones. In terms of the visual aesthetic of the show, set pieces were limited but managed to convey the setting with colors and structured pieces. Costuming generally was simplistic, but still appealed to the show’s setting, and incorporated creative ideas, such as the munchkins having donut munchkin costumes.
The ensemble as a whole burst with energy throughout the whole production. Although the microphones were faulty, the overall energy of the cast did not deteriorate because of it. A particular scene with the munchkins lit up the whole stage, and the actors appeared to have a lot of fun. A smaller cast in comparison to the amount of parts written allowed for ensemble members to be double cast in the production. One example of this would be Lowrence Toussaint, who took the stage as a vibrant munchkin but also as “The Wiz”, a stern character, indicating his ability to play a range of characters.
Overall, Piper High School shined on stage in their production of The Wiz. This past weekend, all you needed was a yellow brick road, sparkling pumps, and a cheery cast to have fun.
*** *** ***
By Jerwayne Graham of Coral Glades High School
Piper High School’s production of “The Wiz” led me through a road of emotions as they took on such a classic.
This fantasy was musically written by Charlie Smalls, the book by William F. Brown. This 20th century musical is a retelling of the classic children’s novel “The wonderful Wizard of Oz”. Performed on broadway in 1975, this production has won a total of 7 Tony awards.
Dorothy (Daneeva Newland), is a restless adolescent from Kansas, who is transported by a tornado ensemble down a Yellow Brick Road to a Magical world. Newland does a commendable job showing the constant changes through out the production, she is not only confused but scared, and curious. Newland makes each of these emotions notable through her diction and body language, along with her effortless vocals especially in her song, “Ease On Down The Road”. Staying true to her role Newland constructed an energy that created a pleasurable stage presence.
The entourage that Dorothy creates on her way to see the Wiz, include a Scarecrow (Brittany McGregor), McGregor allowed her character to come to life as she joins Dorothy on her journey, openly conveying her fears through expression. Along with that, McGregor continued to impress with wide range of vocals. The Tinman (Carrington Boothe), brought an immense amount of energy to the table as well throughout the journey. Boothe’s vocals complemented the group as they traveled the path to the Wiz. The Lion (Wade Augustin) was the last character added to the journey, he introduced himself with an outstanding amount of energy and comedy that was absolutely refreshing. As he roared across the stage, especially in his song, “(I’m a) Mean Ole Lion” he definitely produced an eye catching performance whenever he was on stage. These characters made their motives clear and complemented one another incredibly, making their ensemble a joy to watch.
The Wiz (Lowrence Toussaint) brought power to the stage through projection and the great amount of energy. Through both his diction and bold acting choices, Toussaint presented this role excellently, being a pleasure to watch as he demands the stage. In Act 2 Toussaint also does a commendable job at removing this sense of power and replaces it with venerability as his true identity is discovered.
Technically, the costumes created for each of these roles fit each of the characters flawlessly, keeping the cast consistent and relevant to the scene. The set as well came together within each scene and was utilized beautifully. The makeup done one each character, especially the Lion and Tinman was a impressive job done by, Adam Dwyer. The makeup applied to the cast was advanced and allowed the characters to feel their roles completely. The overall crew, through any implications were proper the backbones to this production.
This “super soul” production of the Wiz by Piper High school had me easing down the road because as they said, “there’s no place like home.”
*** *** ***
By Erin Cary of NSU University School
Ease on down the road to Piper High School to see their energetic production of The Wiz!
A retelling of L. Frank Baum’s The Wonderful Wizard of Oz, The Wiz is a musical celebration of black culture, traditionally featuring an all-black cast. The show follows Dorothy on her journey through Oz, as she struggles to find her way home. Dorothy meets all the traditional characters, including the Scarecrow, the Tinman, the Lion, and the Wizard, but there are also a couple of new faces. Premiering on Broadway in 1975, the show won 7 Tony Awards, including Best Musical.
Leading the show was Daneeva Newland as Dorothy. She displayed great charm and enthusiasm throughout her performance. Her cheerfulness bounced off other characters and helped to keep the energy up throughout the performance. Dorothy’s friends, Scarecrow, Tinman, and Lion, also added excitement and charisma to the cast.
Brittany McGregor, as the Scarecrow, got into the physicality of her character, with impressive tricks and authentically flimsy movements. The Tinman (Carrington Boothe) also displayed enthusiastic physicality, and his vocals particularly stood out as impressive. The Lion (Wade Augustin) added a unique character to the show, with solid comedic timing. The four main characters worked well together in the number “Ease On Down The Road,” which brightened the atmosphere of the show. In general, some of the leads lacked clear purpose or authenticity, but the show still remained engaging and fun to watch.
The ensemble brought a lot to the production. Many actors were clearly dedicated to their performance, which came across in their dancing and expressions. Lowrence Toussaint gave a strong performance as The Wiz and also as a Munchkin in the show’s opening. The performances of Alexander Masters (Gatekeeper), Allie King (Evillene), and Asia King (Addaperle) also stood out for their humor and distinctiveness. Overall, the show lacked flow from one scene to the next, and characters seemed at times disengaged with each other.
The technical aspects of the show generally added to the performance, with a few exceptions. The show’s costumes were particularly impressive, displaying a large amount of creativity and color. Although the actors could have used more props, the props that they had were functional and used well. Marketing and publicity was successful, making use of social media and the local community. Makeup sketches were impressive and creative, but the makeup was generally difficult to see from the audience. Stage management and sound created some problems with late cues and quiet vocals, but the actors powered through. The lighting, however, added to the production, with well thought-out and unique lights that matched the tone of every scene.
Overall, the cast and crew gave a commendable performance with a lot of enthusiasm and commitment. The Wiz is a celebration of culture and community that brought love to the stage of Piper High School.
*** *** ***
By Hayley Hunt of Coral Glades High School
Ease on down the yellow brick road to Piper High School’s wicked production of “The Wiz.” With wicked witches and adorable munchkins, this show will bring you no bad news.
“The Wiz”, based on the 1900’s children book “The Wonderful Wizard of Oz”, debuted on Broadway in 1975, winning seven Tony Awards that same year. In 1983, the cult classic was adapted into a big-budget film starring Diana Ross. With one of the first all-black casts, it represents a breakthrough of African-American culture in a time where this was still rare. The story follows Dorothy after waking up in the obscure Land of the Oz. On her journey to return to Kansas, Dorothy must visit the Wiz, who rules the enchanting Emerald City. Along the path, she befriends a scarecrow, lion, and tinman, all whom wish to see the almighty Wiz as well. Full of friendship and determination, we learn that home holds a different meaning to everyone.
Daneeva Newland (Dorothy) exhibited her character’s kind-hearted youthfulness immaculately with her soft voice and graceful mannerisms. Newland portrayed her various emotions throughout the show seamlessly, as her character development was consistently clear. Wade Augustin (Lion) roared with charisma and energy from the moment he performed “Mean Ole Lion”. Augustin produced faultless comedic timing and formed gratifying character choices in every scene. Whether he was the scene’s focus or a background character, his energy radiated consistently, drawing attention to himself in every number.
With appealing vocals and realistic physicality, Carrington Boothe (Tinman) portrayed the quirkiness and kindness of his character remarkably. Boothe remained audible and delivered a refreshing ray of energy in his song, “Slide Some Oil to Me”. Allie King (Evillene) commanded the stage with her compelling performance as the wicked witch. King’s vocals in “Don’t Nobody Bring Me No Bad News” were rich and her pitch never strayed. Her authoritative presence was authentic and powerful, as she owned the stage and everyone on it.
Although overall energy was lacking at times, the cast made up for it with pleasant vocals and apparent commitment. An especially commendable performance was that of the hilariously adorable munchkins. Their energy was always beaming, and their comedic timing never failed. The cast had obvious chemistry and it was clear the actors were enjoying themselves on stage.
Although set changes were somewhat distracting, the set pieces themselves were intricate and tasteful, especially the set for the Emerald City. Despite issues with microphones, the actors did a decent job of remaining audible with their solid projection. The makeup could have been more elaborate, however the costumes made up for it with a creative execution.
Not even a “mean ole lion” can stop you from seeing Piper High School’s enchanting production of “The Wiz”.
*** *** ***
By Lindsey Beyda of Coral Glades High School
You “Can’t Stand Still” during West Broward High School’s production of “Footloose.” The tale of self-expression, romance, and friendship will knock your socks off.
Following Ren McCormack from Chicago, “Footloose,” based off the 1984 movie, depicts the story of correcting injustices and overcoming fears. When the town bans dancing after four friends pass away in a car accident on prom night, it is up to Ren to bring back the rhythm. “Footloose,” first produced on Broadway in 1998, came out with another film adaptation 2011. With book and lyrics written by Dean Pitchford with the help of Walter Bobbie, and music by Tom Snow and Jim Steinman, “Footloose” was nominated for four Tony awards.
Francesca Pinilla (Ariel Moore) displayed distinctive diction and consistent vocals. Her effortless movements and rebellious personality aided the believability of her performance. Pinilla’s impressive range particularly shone through in numbers like “Holding Out for a Hero.” Kaleb Hobson-Garcia (Reverend Shaw Moore) did a remarkable job at portraying a mature father-figure with authoritative morals. His rich tone and powerful vocals created a demanding stage presence. Although their relationship faced many tests, Pinilla and Garcia seemed to have a genuine familial connection, despite their conflicting ideals.
The charmingly ridiculous, Noah Levin (Willard Hewitt), graced the audience with his commendably comedic character choices and unfaltering accent. Levin exhibited a defensive physicality for his friends and maintained a high level of refreshing energy. He adopted a quirky sense of humor especially showcased in “Let’s Hear it for the Boy.” Levin’s love interest, Stephanie Madow (Rusty) illustrated a charismatic persona who longed for Willard’s attention. Madow revealed melodic inflection which complemented her characters kind-hearted nature.
The platonic chemistry between Francesca Pinilla (Ariel), Stephanie Madow (Rusty), Carly Mandel (Wendy Jo), and Juliana Velazquez (Urleen) is extremely evident during their ensemble piece “Holding Out for a Hero.” The boyish charm of friendship was unveiled in “Mama Says,” featuring Noah Levin (Willard), Matthew Cleveland (Garvin), Kyle Alicea (Bickle), Ethan Centeno (Jeter), and Jacob Dungan (Ren). Vocals remained rehearsed and powerful for most cast members and the harmonies demonstrated extensive time and effort.
Although some more creative opportunities could have been seized in certain technical aspects of the show, the performance was especially commendable in terms of stage management, set, and uniformity of the choreography. Throughout any sound complications, the actors remained unfazed and projected to the best of their abilities. In addition to the seamless set changes, the rapid costume changes were exceptionally impressive and allowed for smooth transitions between the scenes.
Throughout the restrictive authority, family conflict, and lovers’ quarrels, West Broward’s production of “Footloose” is “Still Rockin.'”
*** *** ***
By Nya Hedman of South Plantation High School
Big hair, leg warmers, and some killer dance moves, the perfect combination for a 1980’s throwback in West Broward High School’s production of “Footloose.”
“Footloose,” written by Dean Pitchford and Walter Bobbie with music and lyrics by Tom Snow and Pitchford, opened on Broadway in 1998 following the story of the popular 1984 film of the same name. The show ran on Broadway for 709 performances and was nominated for 4 Tony awards. The story follows Ren McCormack, a boy from Chicago who has just moved to a small town, as he navigates friendships, relationships, and adjusting to the local laws, one of which is a ban on dancing.
Jacob Dungan led the show with unwavering energy and a commitment to the sprightly character of Ren McCormack. He commanded the stage with upbeat dance moves and fantastic character work. Alongside him was the incredibly talented Francesca Pinilla as Ariel Moore, who showcased beautiful vocals and wonderful dance technique. The two had an undeniable chemistry with one another that became evident as the plot developed, as well as dynamic character relationships with the other actors onstage.
The ensemble provided an exuberant vitality to the show’s challenging musical numbers, with enormous energy that resonated through each song from vocals to choreography. The vocals featured beautiful harmonies that were perfectly executed in each number and provided an incredible addition to the already stellar dance moves. Some commendable performers included Stephanie Madow as Rusty who featured wonderful characterization and powerful vocals, as well as Brianna Rivas as Betty Blast who was absolutely hysterical with her over-the-top character and perfect comedic timing.
Though the technical elements of the production helped to make the setting of the show evident, however, they were a bit inconsistent in execution. The lighting was effective in complementing the mood of the show but had difficulty with creating smooth transitions and at times left actors in the dark. The set transitions from scene to scene ran very smoothly, although fewer blackouts and less frequent curtain closes would have allowed the show to run seamlessly.
Overall, the cast and crew of West Broward produced an exciting show and did an undeniable justice to the iconic 1980’s classic “Footloose.”
*** *** ***
By Nicole Sugarman of J.P. Taravella High School
American modern dancer and choreographer Martha Graham once said, “Dance is the hidden language of the soul of the body.” In West Broward High School’s larger-than-life production of “Footloose,” Graham’s wise words rang true. After dancing is named the leading cause of a fatal car crash in the quaint town of Bomont, the behavior becomes outlawed. It is not until the arrival of city-kid Ren McCormack, and his inability to stand still, that the people of Bomont begin to recognize dancing as a form of healing and individual expression.
Based on the 1984 film of the same name, “Footloose” features a book by Dean Pitchford and Walter Bobbie. With music by Tom Snow and lyrics by Pitchford, “Footloose” opened at Broadway’s Richard Rodgers Theatre in 1998, receiving four Tony nominations. Featuring infectious tunes, such as “Holding Out For a Hero” and “Let’s Hear It For The Boy,” the addictive melodies provide a fun-packed and uplifting evening of theatre.
Jacob Dungan, portraying the quick-witted and extroverted Bomont outsider, Ren McCormack, gave a wonderfully energetic performance, successfully laying a concrete foundation upon which to build the show. Playing the Reverend’s “wild” daughter, Ariel Moore, Francesca Pinilla displayed chilling vocals, polished dance steps, and strong characterization. In their beautiful duet, “Almost Paradise,” both Pinilla and Dungan showcased gorgeous harmonies and a strong connection to one another.
Playing country youngster Willard Hewitt, Noah Levin completely embodied this short-tempered mama’s boy with his lovable line delivery and impeccable comedic timing. Portraying Rusty, Ariel’s sassy best friend, Stephanie Madow lead multiple numbers with her exquisite vocals and bubbly energy. Kaleb Hobson-Garcia, playing Reverend Shaw Moore, wonderfully captured the arc of his character and brought a mature essence to his role.
The ensemble displayed captivating energy and polished choreography, allowing the multiple group numbers to soar. With crisp harmonies and lively facial expressions, the ensemble elevated the overall production value and enhanced the “rebellious teen” atmosphere. The performers showcased an intense commitment to their characters and remained reactive throughout each scene, whether or not they were the main focus at that particular moment.
Almost all of the technical aspects within this production were well-done and clean. Although there were an excessive number of blackouts, the lighting seemed to fit perfectly into each moment, such as in the number “Somebody’s Eyes.” All costuming, hair, and makeup successfully worked for each character.
Get ready to cut footloose with the cast of West Broward High School’s extraordinarily entertaining production. Wipe away your blues, don’t try to refuse, and strap on your dancing shoes!
*** *** ***
By Dailyn Robaina of Coral Glades High School
“Cut loose, kick off your Sunday shoes,” and get ready to dance with West Broward High School’s rocking production of “Footloose!”
In 1984, “Footloose,” written by Dean Pitchford, appeared on the silver screen and was one of the most successful motion pictures of that year. Pitchford and Walter Bobbie began to work on creating a stage adaptation, and in the summer of 1998, the show first appeared at the Kennedy Center in Washington D.C. Later that year, “Footloose” opened on Broadway on October 22. In 1999, the show was nominated for multiple Tony Awards and was remade into another film in 2011. The show follows a Chicago city slicker named Ren and his move to a small town with his mother. Upon arrival, Ren has to adjust to the new environment. One thing he can’t adjust to are the strict laws which ban dancing, set by the town’s Reverend. When the Reverend’s rebellious daughter falls for Ren, the story that ensues is one of friendship, love, and doing what is right.
Owning the stage was Francesca Pinilla as Ariel Moore. Right from the beginning of the show, Pinilla stole the stage with her incredible dancing skills. In the opening number of “Footloose,” Pinilla was dancing front and center in a fantastic display of her ability to move her feet. In “Holding Out For a Hero,” Pinilla blew audience members away with her high energy and powerful vocals.
Ariel’s love interest Ren McCormack, played by Jacob Dungan, maintained good energy throughout the show. Dungan came to life on stage as Ren, leading many numbers and carrying along the plot of the production nicely. His tough choreography looked simple as Dungan effortlessly glided across stage and showed off his moves with ease.
As the main antagonist, Reverend Shaw Moore, played by Kaleb Hobson-Garcia captivated the audience. His powerful vocals in “On Any Sunday” and “Heaven Help Me” were extremely impressive. Hobson-Garcia’s character arc was well received, and he had an extremely strong stage presence.
The funny and adorable Willard Hewitt, played by Noah Levin, left audience members doubled over. Levin’s character choices as the quirky farm boy were genius, and his ability to maintain an accent was incredible. Willard, Ren, Bickle (Kyle Alicea), Garvin (Matthew Cleveland), and Jeter (Ethan Centeno) created a memorable number of “Mama Says (You Can’t Back Down)” Through hilarious choreography and great choices, “Mama Says” was the hit of the night.
The technical aspects of the show were great. The costumes by Matthew Burton were beautiful. Burton’s ability to costume a large cast and put thought into each piece is remarkable. Many of the outfits were very appropriate for the time period and felt authentic. Stage management by Gabriella Scott was superb. The set changes were quick and silent, and light and sound cues were called impeccably.
West Broward High School’s production of “Footloose” teaches audience members of change, strict authority, love, loss, and most importantly to fight for what is right.
*** *** ***
By Rylee Berger of Cooper City High School
Ecclesiastes 3:4 reads: “A time to weep and a time to laugh, a time to mourn and a time to dance.” Opportunities for each of these presents itself in West Broward High School’s production of “Footloose.”
Based on a movie of the same name, the 1998 musical received four Tony Award nominations. Written by Tom Snow and Dean Pitchford, with the stage adaptation by Dean Pitchford and Walter Bobbie, the score sold over 15 million copies. “Footloose” follows the story of Ren, a high school student who moves to small-town Bomont from Chicago. Upon arrival, he realizes that life in Bomont is very different from city life, as dancing and other activities have been outlawed. Spearheaded by Ren (Jacob Dungan), the youth of the town rally against Reverend Moore (Kaleb Hobson-Garcia) in order to bring back dancing.
As Ren, Dungan enveloped his quirky character and successfully took advantage of small moments to develop his character’s relationships. One such relationship was that between Ren and Ariel Moore (Francesca Pinilla). Dungan and Pinilla worked nicely together, gradually progressing their relationship. Pinilla stood out in her ability to maintain her character and in her skills in voice, dance, and acting. Portraying Reverend Moore, her father, Hobson-Garcia was consistently believable and clearly understood his character’s arc.
Ren’s best friend, Willard Hewitt (Noah Levin) added necessary comedy and energy to the musical. The platonic relationship between Levin and Dungan was genuine, hilarious, and consistent from start to finish. Levin was able to remain consistent in his accent and acting throughout the show, an admirable feat. Contributing to the energy and believability of the show was Stephanie Madow, who portrayed Rusty. Madow was consistently engaged in the scene occurring onstage and shined in her vocal and dance skills.
Throughout difficult choreography, the cast managed to maintain beautiful harmonies and blended nicely. Despite issues with diction and character development, the company was successful in emanating necessary energy in numbers such as “Footloose” and “Let’s Hear It For The Boy.” Other standout numbers include “Holding Out For a Hero” and “Mama Says,” both of which were incredibly engaging and entertaining to watch.
The technical elements of this production were done well, contributing to the world the ensemble created. The lighting designer (Jonathan Perez) did an incredible job of matching the mood of the action occurring onstage. Despite the perhaps excessive blackouts and closing of the curtains, the transitions of bulky set pieces were done smoothly and silently, contributing to the overall flow of the piece.
West Broward High School’s production of “Footloose” teaches that there is always time for dance, and their rendition of the coming-of-age story certainly allowed audiences to “cut loose.”
*** *** ***
By Charlotte Bacharach of Cardinal Gibbons High School
The depression may be depressing and days may be gray and lonely, but don’t fret! Brace the hard knock life, get fully dressed with a smile, and stroll down Easy Street toward the pulse, the beat, and the drive of NYC at West Boca High School’s “Annie”!
“Annie” made its Broadway debut in 1977 at the Alvin Theatre, with music by Charles Strouse, lyrics by Martin Charnin, and book by Thomas Meehan based off the comic “Little Orphan Annie.” Filled with energetic dance numbers, quirky characters, and timeless songs, a red-headed orphan named Annie captivates hearts in her journey to find her parents. Billionaire Oliver Warbucks opens his home to Annie solely to elevate his public image, but as the pair grow closer, he opens his heart as well.
Brianna Quackenbush, clad with classic red curls and bounds of spunk, embodied the spitfire orphan, Annie. This role being no easy feat, she commanded her scenes with a distinctive presence, particularly through her full belt and sky-high range in “Maybe” and “Tomorrow.” She formed a heartwarming dynamic with Oliver Warbucks, portrayed by Michael Patella, who withdrew his domineering facade to let out his inner-child with Annie. Back at the orphanage, yielding vile and so-called “medicine”, Miss Hannigan (Samara Shavrick) brought the perfect blend of snark and insolence to her role with consistent character and authenticity.
No story is quite complete without the villains, and Rooster Hannigan (Spencer Glazer) and Lily St. Regis (Melody Burrage) fit the bill. Pretending to be Annie’s parents, their developed relationship presented astounding versatility as they switched between their swindling-selves and the fake Ralph and Shirley Mudge. Their comedic balance and intuitive choices allowed for a synced duo.
A true ensemble effort, the cast performed fast-paced dances with strong vocals and striking energy. The orphans never allowed for a dull moment, flooding the stage with upbeat girlish giggling to whiny childhood tantrums. “Hard Knock Life” displayed the immense dedication of the girls, who adeptly executed the impressive choreography while maintaining intention and drive. Similarly enjoyable, “Tomorrow (Cabinet)” shined in their mellifluous harmonies and jovial acting, with a notable performance by Daniel Ortiz as Harold Ickes who sang his heart out despite the initial reluctance and awkwardness of the character.
The enchanting old Broadway ambiance of the show charmed audiences, primarily catalyzed by the breathtaking set. The set, transforming from orphanage to the Big Apple to the Warbucks mansion, was not only exquisitely crafted and intricately detailed, but efficiently utilized by the actors. The timing and blend of the student-involved orchestra flawlessly complemented the scenes, as did the props. Pieces like NBC mics in “Never Fully Dressed” and the beautiful Christmas tree of the Warbucks home added extra flair and personality.
West Boca’s rendition of “Annie” brought the classic story to life, with both engaging actors and a diligent technical crew conveying a message of love, family, and friendship for a truly admirable show.
*** *** ***
By Annie Murray-Campbell of Cardinal Gibbons High School
Optimism! Hope for tomorrow! The Great Depression? For West Boca High School’s spunky, red-headed orphan Annie, nothing is impossible, even in America’s darkest time. First opening on Broadway in 1977, Annie boasts 7 Tony awards including best book by Thomas Meehan, Best Original Score by Charles Strouse and Martin Charnin, and Best Musical. Little orphan Annie (Brianna Quackenbush) has lived in an orphanage her whole life at the mercy of the cruel Miss Hannigan (Samara Shavrick). Until one holiday season, Oliver Warbucks (Michael Patella), a wealthy Wall Street tycoon, decides to care for an orphan over Christmas. With a little luck and persuasion, Annie got to be that orphan. But when jealousy and greed rise, so does conflict for Annie.
Performing Annie in high school may put students in a unique position, presenting a few challenges. The characters are either small children or full-grown adults, so the cast must create a visible contrast between the the child and adult characters, adjust to a childlike/mature vocal style, and maintain it all throughout the show. West Boca takes these challenges head-on. Quackenbush’s Annie, interacting with adults for a majority of the show, needed to maintain this contrast consistently. She did so through use of a childlike wonder unique to her characterization that shined when she discovers New York City for the very first time and was elevated by her young but strong vocals. Another notable characterization is Shavrick’s Hannigan. The mature comedy and jazzy showgirl voice with which she portrays the matron was a stark contrast from the crowd of “little girls” around her that built the implicit humor of her scenes.
Large ensemble numbers like “Hard-Knock Life”, “I Think I’m Gonna Like It Here”, and “Tomorrow (Reprise)” showcase the talent and capabilities of a large cast. “Hard-Knock Life” was filled with a youthful energy and intricate (even acrobatic) choreography executed with what can be best described as an artful group tantrum. “I Think I’m Gonna Like It Here” had similar intricacies, but starkly contrasting choreography. This number was polished with grace and maturity. On the complete other side of the spectrum, “Tomorrow (Reprise)” had an undeniable comedy and stand-out harmonies with a surprising impact, considering the small size of the group. Among this featured ensemble was Daniel Ortiz as Harold Ickes who impressively and hilariously developed his character in such a short scene.
The cast alone did not make the show, however. West Boca’s publicity team managed to fill a theatre on a Thursday night, Props furnished a 1930s foley sound stage, costumes managed countless quick-changes, and the stage management saw it all went smoothly. Though not perfect, the amount of work put into the backstage aspects of such a large show is commended and recognized. Furthermore, the Annie Pit Orchestra performed phenomenally and professionally. The musicians and actors blended to the point the orchestra’s performance sounded like a professional track.
West Boca High School’s Annie stands out as a testament to what students can achieve by working hard and working together. Sooner or later, they’ll be making their own way to “Easy Street”, or at least the end of the semester.
*** *** ***
By Kelly Mathesie of Marjory Stoneman Douglas High School
Grab the keys to your Duesenberg and take a ride on down to Easy Street. A little bit of red-headed optimism could change your view on tomorrow. West Boca High School’s whimsical production of Annie the musical was magnificent, and that’s no lie!
Based upon the 1920s comic strip, “Little Orphan Annie”, Annie the musical, follows the story of Annie, a young orphan girl living with an unstable drunken foster mother. It’s 1930s New York City, mid-depression, and Annie gets the opportunity of a lifetime to live with THE Oliver Warbucks, a billionaire, for Christmas; the story of their journey brings light and joy even to the coldest of hearts. The show made its Broadway debut in 1977, winning a Tony for Best Musical, and has since been adapted into three movies.
Annie, played by Brianna Quackenbush, opened the show with her boisterous attitude, commanding the stage with her fiery red hair, consistent childlike eagerness, and impressive vocal resilience. She took charge in her solo “Tomorrow”, accompanied by a puppy, with an irresistible charm that brought smiles to all. Oliver Warbucks, portrayed by Michael Patella, dominated the stage with an up-tight posture and assertive voice. Throughout the show Patella transformed from a serious business man to a kind-hearted, loving father figure. The two depicted the unlikely friendship of the orphan girl and the benevolent billionaire wonderfully, and there was never a dull moment.
Samara Shavrick portrayed Miss Hannigan, the orphans’ abrasive, alcoholic caretaker, displaying the perfect mix of comedy and cruelty. Shavrick’s jazzy, raspy singing and physicality were showcased during the song “Little Girls”, in which she succeeded both in portraying her character’s villain-like antics, while drawing a smidge of sympathy for her life’s trials and tribulations.
The ensemble of orphans proved there is always fun to be had in spite of terrible circumstances. Whether it was stomping on Miss Hannigan’s toes, braiding each other’s’ hair, or playing a game of patty-cake to pass the time, the girls perfectly encapsulated the energy of youth. Isabella Torrance, as the orphan, Pepper, had an exuberant amount of energy while dancing, never missing a beat.
The show had a number of technical aspects, starting with hair and makeup, and costumes by, Martin, Wells, Bonner & Co., and Crout & Co., respectively. All of those aspects were appropriate to the time period from the maids’ prim and proper hair updos and uniforms, to the orphans’ dirty, frizzy hair, raggedy work clothes, and hand crafted christmas dresses.
Leapin’ lizards! The cast and crew of West Boca High School’s production of “Annie” did an impeccable job of bringing the show to life, and every member of the audience left the theatre fully dressed with a smile.
*** *** ***
By Kimberly Sessions of J.P. Taravella High School
Clear away the cobwebs and the sorrows, slap on a smile and head on down to Easy Street for West Boca High School’s entertaining production of Annie.
Based on the Harold Gray comic strip “Little Orphan Annie”, this family-friendly musical features music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan. Revolving around 11 year little old orphan Annie who’s desperate to find her parents. It opened on Broadway in 1977, winning the Tony for Best Musical.
Playing the title role was Brianna Quakenbush. Her high energy and boisterous, spunky persona helped to portray the essence of this spirited friendly young girl. She displayed powerful vocals, demonstrating a large range, in songs such as “Maybe” and “Tomorrow.” With his mature physicalities and warm nature, Michael Patella encompassed the big hearted millionaire, or rather billionaire, Oliver Warbucks. Together they developed a loving believable relationship. His personal secretary, Grace, played by Jessica Balton, demonstrated a strong, sweet voice and a caring affection towards Annie.
Annie’s caretaker, Mrs. Hannigan, portrayed by Samara Shavrick took a new and different approach to Hannigan by playing up the more dramatic moments in the show. With her grounded movements and gruff vocals, she fully embodied the iconic character, while still making it her own. With her floozy attitude and high-pitched accent, Melody Burrage who played Rooster’s partner in crime, Lily, delivered a standout performance. Together, she and Spencer Glazer (Rooster) did a commendable job differentiating their physicality and nailing their fake southern accent when attempting to be Annie’s parents, while still hitting most comedic moments. Together, the three of them established a believable relationship with great chemistry, which was displayed in “Easy Street.”
The show was packed with talented ensemble members filling the show with strong and clean dance numbers. With their high energy and commitment to the distinct characters, the orphans were a highlight of the show. They worked wonderfully together on stage, demonstrating their strong relationships and powerful voices in numbers such as “Hard Knock Life” and “You’re Never Fully Dressed Without a Smile (reprise).” Due to the age ranges of the characters in Annie, it is difficult for a high school to do. Some actors did miss the mark on understanding how they should portray these distinct ages and a few plot points were also weakened or missed due to the lack of believability in some actors.
Technically the show was visually stunning. The incredible set, which was professionally done, truly enhanced the show. The stage crew, led by Julia Farenga, delivered seamless set changes. The smart lighting choices set the mood for show, especially notable with the red and green lights in the christmas scene. The costumes, which were mostly student made, were time period and fit the characters. Due to the multiple amount of props, the props team had a difficult job, but they seemed to handle it with ease. All props were appropriate and looked great.
When you’re stuck in a day that’s gray and lonely, just stick out your chin and grin and come see West Boca High School’s production Annie, for you can bet your bottom dollar, that it’s going to be a great night!
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By Kali Clougherty of Marjory Stoneman Douglas High School
Aw, gee! Even in a time of depression and despair, one girl with red curls and a dazzling smile can find the optimism and happiness where others cannot. “Bet your bottom dollar” that you’ll have a night filled with extravagant technical aspects, energetic dance breaks, and an adorable puppy at West Boca High School’s production of “Annie.”
With music and lyrics written by Charles Strouse and Martin Charnin, “Annie” debuted on Broadway in 1977, having a six-year run. “Annie” follows the story of young orphan Annie in search for her parents in 1930’s New York City. When Annie is chosen to be taken in by the billionaire, Oliver Warbucks, her life is turned from rags to riches!
Leading the show with contagious enthusiasm and a hopeful attitude was Brianna Quackenbush as Annie. Quackenbush passionately showcased her crisp belt in iconic numbers “Maybe” and “Tomorrow.” The drunken antagonist Miss Hannigan was played by the talented Samara Shavrick. Her animated facials, intoxicated physicality, and raspy voice fully contributed to her dynamic characterization, giving a believable performance.
Playing Miss Hannigan’s gangster sidekicks were Melody Burrage as Lily and Spencer Glazer as Rooster. Burrage served as a breath of fresh air, bringing a whole new energy to the stage with her commanding presence and quirky personality. Glazer wowed the audience with his dancing in his tap number “Easy Street.” Together, Burrage and Glazer form an unforgettable dynamic duo.
The ensemble of orphans collectively generated the highest amounts of energy throughout the duration of the production. This was especially showcased in the songs “Hard Knock Life” and “Never Fully Dressed (Reprise).” Standout orphan, Pepper, played by Isabella Torrance, was the spice to every number, showing off her high kicks and annoyed personality which differentiated her from the others. Technically, the performance was close to flawless. With the help of a live orchestra, effective use of props, mood-setting starry light projections, and simplistic makeup, West Boca High School truly put on a near professional production.
West Boca High School positively shed light on the importance of optimism even in the darkest of times. Come down to “Easy Street” to see “Annie” tomorrow, before it’s too late!
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By Kimberly Sessions of J.P. Taravella High School
“In these dangerous times, where it seems the world is ripping apart at the seams, we should reach out to each other and bond as a community.” (Jonathan Larson) While at the time he may have been discussing the explosion of HIV/AIDS raging throughout New York City, in the 1990’s, his quote could not be more relevant to the world we live in today. So there is truly “No Day But Today” to witness Cypress Bay High School’s riveting production of RENT.
Loosely based on Giacomo Puccini’s opera La Boheme, this Rock musical features music, lyrics and book by Jonathan Larson, who sadly died before the show opened on Broadway in 1996. It won 4 Tony Awards including Best Musical, Best Book, and Best Score and is the 11th longest running Broadway Musical. Set in the early 1990’s it follows a group of young New York artists dealing with the effects of the HIV/AIDS epidemic and their tumultuous love lives.
This high-energy performance was filled to the brim with powerful voices and actors who were fully committed to their characters. Leading the performance as Mark, the show’s narrator, and aspiring filmmaker was Leandro Biarrieta. With his consistent voice and nerdy physicality, he aided in sharing the story with the audience. His roommate and struggling musician Roger, portrayed by Gianni Palermo displayed smooth, unfaltering vocals, especially in the songs “One Song Glory” and “Your Eyes”. Together they developed a strong chemistry, especially shown in their duet “What You Own.” His love interest Mimi, played by Kyleigh Jehlicka was captivating to watch on stage. She demonstrated believable character development transitioning from her confident seductive nature in numbers such as “Out Tonight” to dealing with the effects of her disease through the end of the show, especially notable in the final scene.
One standout performance was Yasemin Atesnak who played Maureen, a confident, flirty performance artist. She displayed a fierce amount of energy onstage, demonstrating an incredibly large range, hitting multiple impressive high notes, especially in her song “Over the Moon.” Jason Rosenberg brought the energy to the show with his performance of drag queen, Angel. He commanded the stage with his loud spirit and spunky nature, especially in his song “Today 4 U”.
The actors did a phenomenal job handling the mature subject matter entailed with the show, although some major plot points were missed due to staging. The entire cast blended beautifully together and displayed incredible harmonies in “Rent” and “Seasons of Love.” The use of the ensemble in the audience and surrounding the stage, while a bit distracting and unnecessary at moments, was a smart choice for creating the bustling New York atmosphere. All ensemble members developed distinct characters and were fully engaged. Each prominent character was strong individually, but some did not develop believable relationships together.
The simple industrial style set worked was helpful in setting the mood of the show, and housing many different locations. The costumes were time period, helped distinguish between the characters onstage.
Head “Out Tonight” to Cypress Bay’s outstanding production of Rent, to witness what it’s like to live in America at the end of the millennium.
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By Hannah Ellowitz of American Heritage School
With 525,600 minutes, how do you measure your year? Whether finding glory or just lighting a candle for warmth, the NYC Bohemian struggles of the 1990’s were made clear in Cypress Bay High School’s production of RENT, each student shimmering while presenting this brutally rugged and honest piece of theatre.
Composer and playwright Jonathan Larson’s beloved pop/rock musical RENT is an ode to Puccini’s classic 1896 opera “La Bohéme”, now taking place in 1990’s East Village in New York City. The original Off-Broadway run of the production, scheduled to open January 25th, 1996 after years of trials and workshops, was canceled when Larson suffered an aortic dissection and passed away early that same morning. Three months later, the show moved to the Nederlander Theater on Broadway. The musical was instantly critically acclaimed, earning four Tony Awards, including “Best Musical” and “Best Score”, along with the 1996 Pulitzer Prize for Drama. RENT is currently the eleventh longest running show on Broadway, with the production grossing over $280 million.
Leandro Biarrieta and Gianni Palermo, playing Mark and Roger respectively, showcased a strong chemistry as artistic roommates struggling with their friendship along with their own self-conflicts. Kyleigh Jehlicka shone as Mimi, demonstrating an honest acting ability. Yasemin Atesnak exuberantly commanded the stage and presented an incredible comedic talent during her performance as Maureen. Jason Rosenberg gave a brilliantly unapologetic performance as Angel, showing off her true spunk and optimism for life despite her death sentence. All lead performers captured the hearts of the audience with their stellar vocals that truly rocked the show’s notably challenging score. The cast’s greater ensemble supported the leads, maintaining a high energy throughout the entirety of the piece. While their passion was applaudable, they often drew focus and upstaged the scene being performed.
While RENT is not known for its choreography, Amanda Ribnick did a great job at staging some dance moments while also allowing the actors to simply rock out and groove all around the stage to the music, allowing for further characterizations to be shown. The set was dark and cluttered, perfectly fitting the grungy 90’s aesthetic. The structure was practically built, allowing for the actors to play on various levels, creating many nice pictures for the audience. There seemed to be a separation between the cast and crew, as sound cues were often late and the spotlights had some trouble finding actors during various songs.
Even 20 years after it’s original Broadway opening, many of RENT’s dramatic themes are still as relevant as ever. While they may have been only high schoolers, Cypress Bay students authentically depicted the true adult struggles of disease, sexuality, urban gentrification, and addiction.
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By Curtis Dodgen of South Plantation High School
Living life to its fullest isn’t the easiest thing to do, and for most people, learning to embrace love and living in the moment is tough. At Cypress Bay High School’s production of “Rent”, watch as a group of young artists struggle to find acceptance, hope, and inspiration.
Opening on Broadway in 1996, “Rent” is a rock-musical based loosely off an opera entitled “La Boheme” by Giacomo Puccini. Music and lyrics were written by Jonathan Larson, who had been working on this show since the early 90’s. The show has spawned a massive fan base, and has received many adaptations and awards; most notably four Tony wins and a successful 2005 movie version of the musical.
The story focuses on Mark (Leandro Biarrieta) and Roger (Gianni Palermo), best friends and aspiring artists living together during the rise of the AIDS epidemic. Both actors effectively showed a realistic development within the friendship of their characters. Palermo also developed a consistent characterization that mixed well with his powerful vocal delivery. Kyleigh Jehlicka played Mimi, an addict and adult entertainer that struggles to identify her own self-worth. Jehlicka gave a standout performance that exuded raw emotion and maturity, which was evident in songs such as “Another Day”.
Jason Rosenberg played Angel, a loud-and-proud drag queen and street percussionist. Rosenberg dominated the stage with his boisterous personality, and fully embodied his character in both emotional scenes as well as songs. Two performers that should also be commended are Yasemin Atesnak (Maureen) and Daniela Machado (Joanne). The actresses maintained a consistent connection throughout the show and also displayed powerful vocal abilities in both solo and ensemble numbers. The ensemble in this production showcased a wide range of character types and well-blended harmonies that added an intricate layer to the performance.
The industrial-styled set provided a fun backdrop to the show, and was utilized effectively by most actors. Make-up was used to accurately reflect each character individually, as was with costumes. Although not all costumes seemed appropriate for the setting, the majority of characters seemed to resemble their iconic roles quite well.
Although many might think that content within the show is too “edgy”, the students of Cypress Bay tackled it with a high level of maturity and realism. “Rent” is a story that follows themes of acceptance within the lives of many of its characters and serves as an inspiration to anyone wanting to truly live for the present.
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By Kali Clougherty of Marjory Stoneman Douglas High School
Life is too short to not enjoy the little things. For all we know, we could die tomorrow. Cypress Bay High School reminds us to live every day as our last in their inspiring production of “Rent.”
With banging rock ‘n’ roll music and heartening lyrics by Jonathon Larson, “Rent” first made its way to Broadway on April 29, 1996. While “Rent” was not the traditional Broadway musical, its popularity soared through the roof becoming one of the longest-running musicals of all time. Covering controversial topics such as HIV, AIDS, and homosexuality, “Rent” displays the reality that millions of Americans struggled with throughout the 1980s, 90s, and even today.
Leading the show with authentic chemistry and crisp vocals were Leandro Biarrieta (Mark) and Gianni Palermo (Rodger). Biarrieta channeled his inner “nerdiness” through his closed-off physicality and preppy costuming, contributing to his believable performance. Palermo’s commanding presence was especially highlighted by his swooning vocals in songs such as “One Song Glory” and “What You Own.” Alongside Palermo was Kyleigh Jehlicka as Mimi. Jehlicka brought vivacity to the stage with her seductive dancing and angelic vocals. Together, they presented a strong chemistry that consistently developed throughout the entire production.
As Maureen, Yasemin Atesnak brought liveliness to the stage with her stellar rendition of her acapella solo “Over the Moon,” never going off pitch. Her incredible vocal range, energetic physicality, and bubbly personality instantly made her a stand-out performer. Daniela Machado played the stuck-up Joanne, Maureen’s girlfriend. Although completely different from each other, Machado and Atesnak displayed admirable chemistry, especially in their memorable duet “Take Me or Leave Me.” Portraying the dazzling Angel was Jason Rosenburg. With a flip of his hair and a pop of his hip, Roseburg fully embraced the physicality of a woman.
From the beginning to the end of the show, every character maintained a tremendous amount of energy throughout the entire performance, never faltering. Not only was the Homeless/Bohemian ensemble fully animated from head to toe, they also developed distinct characters from one another. Although it felt a tad crowded on stage with the entire cast, it fully portrayed the setting of a poor town in New York City. Not to mention, the technical aspects were executed at a professional level, with a visually pleasing intricate set and quick scene changes, which contributed to the overall quality of the production.
Cypress Bay High School took the audience on a journey of struggle, love, laughter, and death, touching each emotion in their refreshing rendition of “Rent.”
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By Eva Daskos of The Sagemont School
Dillard, Dillard, toil and trouble; Macbeth shall burn and the plot will bubble, Costumes and Props, both they make, Dillard’s Macbeth an enflamed take! The witches have spoken, the prophecy foretold. Now prepare to view “The Tragedy of Macbeth” unfold!
Written by William Shakespeare, this acclaimed play has become an omen in the theatre community. To say ‘Macbeth’ in a theater is sure to bring damage and bad fortune, due to many superstitions around the Witches and past performance dilemmas. Nonetheless, Dillard Center for the Arts preformed this treacherous play with no hiccups and portrayed Macbeth’s rise to King and his rise to insanity effectively, and chillingly. Since Shakespearean content is very difficult to understand, Dillard Center of the Art’s Macbeth team has created script cuts to ensure the main storyline is understood and that the show will be the appropriate time length.
His name may go unspoken, but his performance will not; Macbeth, played by Quintin Chicoye, ruled both Scotland and the stage with his empowered stage presence. Chicoye kept a stoic role for Macbeth, but was not hesitant to include emotion and action to keep his monologues engaging. Most appreciated was his chemistry with Lady Macbeth, played by Grace Sindaco. Sindaco created beautiful emotional scenes, and her engagement in scenes let her truly become Lady Macbeth. One of Sindaco’s most powerful scenes was Lady Macbeth’s episode of madness. Sindaco’s vocalization of her character’s strife was bone-chilling, as she completely embodied her character and seemed to be immersed into storyline.
Lady Macbeth’s episode was caused by fulfilled prophecy of the witches, all of whom demonstrated complete immersion in their roles. This allowed them separately to create an eerier effect with each line and an overall more believable scene. The leader of these witches, played by Amanda Doty, used a unique persona of a more excitable witch and seemed extremely comfortable in her role. Another actor who was very confident in his role was Yasharwan Blain, who performed as Macduff. Blain demonstrated cunning speed and strategy in the sword duel against Chicoye. It was evident that Blain had undergone much training, even dueling in the same style that was traditional in the story.
At the end of Macbeth’s and Macduff’s duel, Macbeth was left decapitated. Macbeth’s severed head was painted and assembled by the Props crew of Jevaughn Jean Gillies & Co. Using paint, fake blood, and mixed media, a mock face of Quintin Chicoye was created artfully and contributed to this dramatic scene. Another component that complimented this play’s already suspenseful plot was the decision of the Creativity team to add a student-composed orchestra. These skilled musicians created a level of cinematic success that further improved the feeling of the story.
The Prophecy is true! Macbeth is dead, but his story lives on. Dillard Center for the Arts performed “The Tragedy of Macbeth” magically, and undeniably were unaffected by this play’s bad luck. Their use of creativity, music, props, and confident actors created a knock-your-head-off production of “The Tragedy of Macbeth”.
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By Susanna Ninomiya of Somerset Academy
When given a chance to have your dream come to fruition, or be told about a fulfilling destiny, would you do whatever it takes to make it happen? Can one really control one’s destiny to ensure a happy ending, or will fate rear its ugly head and prove superior? The age-old conflict between fate and free will, and the extent of ambition, are underscored in Dillard High School’s production of “Macbeth.”
The William Shakespeare classic, also known as “The Scottish Play”, “Macbeth” takes place in Medieval Scotland and follows the tragedy of Macbeth, a war hero who later becomes obsessed with ambition when receiving a prophecy from three witches that he will become king. Famous for its dark and spiritual tones, the play itself is said to have a curse – a theatrical superstition that states that speaking the name Macbeth inside a theatre will cause disaster.
Starting with a bang, the sound of drums filled the air as three witches plot to deceive Macbeth. Wicked in their physicality and articulation, Amanda Doty, Tatiana Colon, and De’avion Seisay each embodied devilish personas. Doty was intriguing with her precise diction and had a great presence. Seisay was eye-catching as she twisted and contorted her body. With a mischievous chemistry, they led Macbeth to his demise.
Quintin Chicoye played the valiant Macbeth. His attention to line delivery and understanding of the complex language accentuated the “Fair is foul, and foul is fair” motif, and further showed how playing with fate corrupted Macbeth. Grace Sindaco captured the manipulative and headstrong Lady Macbeth with her beautiful delivery of Shakespeare’s prose. Sindaco showed her deep understanding of her character with her powerful expressions and was admirable in her fragile journey into the depths of insanity. The chemistry between Sindaco and Chicoye shone as Lady Macbeth convinced Macbeth to commit heinous crimes in order to have the prophecy fulfilled.
Yasharwan Blain stole the latter half of the show as the noble Macduff. His careful approach to the news of Macbeth killing his family was agonizing and never felt overdone. Blain showed raw emotions and strong energy as he fought Macbeth. Kevaughn Reid as Banquo did a commendable job maintaining stage presence even when he was a ghost who came to haunt Macbeth. Although some lines felt mechanical and lacked some articulation, the ensemble and cast as a whole demonstrated their understanding of the difficult script and play.
The music, composed by Danilo Mina, was incredible. Although overpowering at times, the music expertly raised tensions in every scene, ranging from the eerie strings to symbolize the Macbeths’ descent into madness, to the drums of war. Most notable was the thrilling fight between Macbeth and Macduff, as the hair-raising music exemplified the climax. The costumes were time appropriate and the light designs complimented the atmospheric set with smooth transitions.
Dillard High School’s production of “Macbeth” admirably gave witness to the devastation that can occur when ambition oversteps its moral boundaries.
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By Dylan Redshaw of Marjory Stoneman Douglas High School
Double, double toil and trouble! Fire burn, and cauldron bubble! With motifs of fate and free-will, something wickedly intriguing this way comes at Dillard High School’s intense production of “Macbeth,” as they tackle the imminent downfall that arises from the utter desire for power.
Written in 1606 by the bard himself, “Macbeth” is considered one of Shakespeare’s deepest and most powerful tragedies. The title of the play itself is universally believed to bring bad luck due to Shakespeare’s authentic spells in the witches’ dialogue. The so-called cursed play focuses on the brave Scottish soldier, Macbeth, who receives an ominous prophecy from a trio of witches suggesting that he will one day take over as king. Overcome with ambition, Macbeth spirals out of control as he commits numerous murders in order to gain ultimate power and hastily secure his fate.
Leading the show with a booming voice was Quintin Chicoye as the powerful Macbeth. Throughout his challenging monologues, Chicoye demonstrated unending authenticity and the utmost commitment in his every step. He masterfully presented intriguing emotional levels as his guilt and paranoia exacerbated his mental state of instability. Portraying the ruthless female icon was Grace Sindaco as Lady Macbeth. Sindaco exuded ceaseless energy as she boldly convinced her devoted husband to commit brutal murders, but she offered continually heightening glimpses of her internal struggle with the impact of her deeds as the sinister schemes progressed. She brought an element of truth to the tragedy’s complex circumstances through her strong charisma and true understanding of Shakespeare’s challenging prose. With their genuine chemistry and charm, Chicoye and Sindaco illustrated the true depth of their devout, yet distorted, relationship.
Yasharwan Blain, as the loyal nobleman Macduff, delivered an admirable performance with striking choices that helped tremendously in the development of his dramatic role. Blain consistently dominated the stage with his dynamic physicality and evident animosity towards Macbeth, most notably in the fiercely realistic sword fight scene. Amanda Doty, Tatiana Colon, and De’avion Seisay, as the three witches, truly captured the eerie essence of their characters. The frightening trio expressed distinct characterization, utilizing their compelling vocal inflections and creepy physicality to epitomize the dark mood of the production.
Technically, the show ran smoothly with captivating technical aspects. The impressive music underscore, composed by student Danilo Mina, added a refreshing feature to the classic play and flawlessly accentuated the heightened energy of each scene. Although late at times, the vibrant lighting, designed by Nicole Gilardi, thoroughly enhanced the suspenseful scenes with the use of multicolor gels.
Despite the indeterminate doom of the witches’ curse lingering around the pure essence of “Macbeth,” Dillard High School escaped the prophecy of this maniacal trio with powerful, profesional performances throughout this Shakespearean classic.
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By Paul Levine of NSU University School
A castle can hold many things: servants, chambers, and swords. However, a castle can hold only one true king. Oh, if walls could talk! Follow Dillard Center for the Arts as they descend into madness with their devilishly good performance of Macbeth.
Set in medieval Scotland, Macbeth follows a king and queen’s hunger for power. When a clan of witches destine another to be king, Macbeth will do anything to remain in control, regardless of the consequences. Written around the turn of the 17th century, Macbeth is one of Shakespeare’s most notable tragedies. Shakespeare drew upon sources such as the Daemonologie of King James and Holinshed’s Chronicles to craft his tale. It was published in the First Folio, one of the most influential sources of English literature. Macbeth is often referred to as The Scottish Play due to its notorious reputation for inflicting dismay upon any theater company that dare utter its name.
Playing the title character was Quintin Chicoye. He showed his acting ability as he grappled with the decision to murder his best friend. Chicoye exhibited a bold stage presence, using projection and enunciation to distinguish himself from many others in the cast. In turn, this helped establish his status as a superior and king. Opposite Chicoye was Grace Sindaco as Lady Macbeth. She used a commanding presence to accomplish her goals. The control she displayed over her husband was menacing. Sindaco created a strong character arc as she progressed from possessive to ghastly as the power overtook her. This made her final moments on stage all the more horrifying.
Two standout roles were Yasharwan Blain as Macduff and Kevaughn Reid as Banquo. Macduff had exceptional diction and a powerful voice. During his sword fight with Macbeth, Blain used harsh facial expressions and vocalizations, such as grunting, to add to the intense scene. Reid, as Banquo, was devoted to his sauve, cool character, even in the face of death. His role as Macbeth’s best friend was furthered by their developed relationship. The Three Witches, played by Amanda Doty, Tatiana Colon, and De’avion Seisay, were a pleasure to see on-stage. Each actress committed to their character. They used chilling gestures and eerie physicalities, such as performing a backbend, to set an ominous mood. They knew their space well, often climbing, crawling, and sometimes jumping off set pieces.
Despite minor delays in cues, the technical elements of the production aided in creating an unsettling atmosphere. Lighting, designed by Nicole Gilardi, utilized texture lighting to establish supernatural elements. Props looked realistic and were period appropriate. The most noteworthy technical aspect was the sinister music composed and orchestrated by Danilo Mina. Mina’s use of drums and strings added suspenseful tension to scenes.
The Three Witches might have needed “eye of newt, and toe of frog” to create their hex, but all Dillard Center for the Arts needed was talent to cast a spell upon the audience with their powerful rendition of Macbeth.
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By Santiago Zornosa of Western High School
A creeping forest seemingly moves up the hill, the castle at Dunsinane fearing siege and a revolt against the tyrant. Shakespeare’s “Macbeth” dramatizes the allure of power and the sinister corruption many take to achieve glory. Dillard Center For The Arts’ production of “Macbeth” was well-crafted and powerfully performed.
The narrative revolves around Macbeth, in line to king, backed by the prophecy of three witches and their false promise of his immortality and eternal reign. Macbeth becomes increasingly overwhelmed and he ponders the inevitability of fate and the possibility of going against it. The Scottish play has been performed many times since the 17th century, becoming one of the most famous plays in Shakespeare’s arsenal and in the world of theatre. A notable performance in 1955 featured Laurence Olivier, for which the Olivier award is named after, as one of the most exceptional Macbeths.
Even before the play began, the darkened somber stone pieces rising off the stage, accompanied by the booming orchestra, set the atmosphere for a night in warring medieval Scotland. Leading lady Grace Sindaco as Lady Macbeth captured the wickedness and insanity of the character brilliantly. Sindaco’s understanding of the material showed on stage especially with the famous “unsex me here” monologue, enticing and manic in her characterization and delivery. Yasharwan Blain as Macduff commanded the stage, with precise diction, fierce movements, and booming vocal inflections, Blain’s Macduff perfectly embodied his character’s role as the foil in this tragedy. Additionally, Quintin Chicoye as Macbeth produced the title character exceptionally well, his change from simply Thane of Cawdor to a morally haunted tyrant was noticeable in his tormented tone and depreciating physicality, his Macbeth in Act V a shadow of the man that once was in the beginning. One notable moment was the climactic duel between Macbeth and Macduff; both playing extremely well off each other. As the metal of the swords clashed, alongside the looming score in the background, the two fulfilled the promise of the thrilling fight.
Technically, the production had a level of grandeur. A notable and quite commendable aspect was the student composed score for the show, a seldom seen feat in high school theater and one that complimented the script and stage business extremely well. Despite not having microphones, the majority of the ensemble did well to project, however there were some instances of lost dialogue either due to delivery issues or vocal projection, however they were minor and the performers remained strong in continuing the narrative. The hair, makeup and costumes were all appropriate and added a degree of believability to the production, notably the gashes and bloody wounds in the beginning as well as King Duncan’s royal robe.
To this day the superstition regarding the Scottish Play still persists; some may choose to believe it, others ignore it. The truth remains that “Macbeth” is an extremely difficult show to produce, and produce well. Dillard Center For The Performing Arts displayed immense talent in a respectable production of “Macbeth”.
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By Dylan Jost of North Broward Preparatory School
There’s a well-known adage that states, “Time flies when you’re having fun.” While it focuses on the story of a family stuck in the inescapable confines of time, NSU University School’s production of “Tuck Everlasting” was anything but immobile, continuously remaining engaging and entertaining to the utmost.
With dazzling music by Chris Miller, introspective lyrics by Nathan Tysen, and an ambitious book by Claudia Shear and Tim Federle, “Tuck Everlasting” premiered on Broadway on April 26th, 2016, playing for 39 performances. “Tuck Everlasting” focuses on 11-year-old Winnie Foster, who runs away from home and discovers the mysterious Tuck family. The Tucks are immortal, an occurrence brought about by the water in a seemingly normal spring in the woods. Little do they know, the devious Man in the Yellow Suit is searching for this spring. As the story unfolds, relationships are established, jubilation is ubiquitous, and the morality of immortality is questioned.
Leading the show with vivacious energy was Nicolette Nunziato as Winnie Foster. Nunziato consistently kept up her perky persona, and delivered invigorating, stellar vocals, especially in her solo “Everlasting.” Alongside Nunziato was Jared Cohen as Jesse Tuck. Cohen brought ebullience to the stage, joyfully displaying mellifluous vocals. The chemistry between Nunziato and Cohen was apparent, allowing them to skillfully convey an authentic and utterly appealing bond.
As the Man in the Yellow Suit, the show’s antagonist, Shannon Williams admirably delivered a performance full of gleeful, grasping menace. Williams’s notes were constantly on-pitch, despite the challenging nature of the deeper notes. As motherly Mae Tuck, Camden Stankus displayed a laudable maternal rapport with young Winnie. Paul Levine (Hugo) brought an endearing presence to the stage, inducing laughter repeatedly. Julia Musso, as Teenage Winnie, managed to demonstrate an incredible amount of emotion, despite not speaking a word. The ensemble as a whole was remarkably professional, with clear harmonies and sensational dancing, notably in “The Story of Winnie Foster,” where dancing proved extremely effective at conveying a poignant tale without saying a word.
Technically the show was masterfully executed, with the technical aspects beautifully complementing the actors. Creativity was impressive, with Jared Cohen serving as the vocal director and successfully teaching the other students harmonies. Hair and makeup were very well done, with sublime old age makeup, and wigs that flawlessly remained sturdy. The show was exquisitely choreographed by Yuval Benit, who remarkably conceived fifteen original dances and taught this complex choreography to other students. Lightning was also smoothly executed, with colored gels being used in various instances to add to the overall mood of the scene, such as the yellow gel used during the Man in the Yellow Suit’s songs.
The cast as a whole must be acknowledged for putting on a performance of professional quality. Despite occasional lapses in diction, the cast’s incredible energy and devotion to this artistic endeavor were evident on the stage.
NSU University School marvelously took an introspective look at immortality in their superbly-executed production of “Tuck Everlasting.” Transporting the audience to a woods full of everlasting life, friendly centenarians, and exceptional tales, the actors of “Tuck Everlasting” proved that you don’t need to live forever, you just need to live life to the fullest.
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By Mackenzie Jacob of St. Thomas Aquinas High School
Age is just a number, right? NSU University School’s rendition of Tuck Everlasting tackles the duality of immortality and the evolution of life. Centered around lively eleven-year-old Winnie Foster (played by Nicolette Nunziato), this musical chronicles young Winnie’s life as she is whisked away by an intriguing young man who introduces her to a world of exploration and adventure.
Nunziato’s Winnie Foster exudes a girlish charm, which sets an underlying playful tone for the character. Beginning with the character-defining tune “Good Girl Winnie Foster,” Foster laments about her life on the straight and narrow. However, after stumbling upon Jesse Tuck (played by Jared Cohen) in the woods, Winnie’s life will forever be far from normal. The charismatic pair complement each other and display striking chemistry. The duo instantly exhibit a heartfelt bond and a friendship rooted in their exuberant personalities. Ranging from the flashy “Partner in Crime” to the idealistic “Seventeen,” Nunziato and Cohen drive the production with their epic partnership.
The couple is consistently surrounded by the angelic pastel chorus comprised of standout dancers like Gabriel Feldenkrais, Julia Musso, and Bailey Busher. Impressively student choreographed by Yuval Benit, the ensemble drew focus with its notable technique and personality. The carnival band, in particular, showcases high flying tricks, intricate choreography, and intense stamina. The ballet in “The Story of Winnie Foster” also marks a performance highlight as the sophistication in choreography is remarkable. Benit certainly outdid herself with the professional level movements and visually stunning combinations.
Not only was this production grounded in outstanding dance, but comedy defined the show with character actors like Paul Levine’s Hugo and Shannon Williams’s Man in the Yellow Suit. Hugo’s mischievous nature serves as comic relief while he attempts to uncover the reason for Winnie’s disappearance. Often slighted by his Constable father, (played by Foster Hirsch), Hugo incites hilarity as he scurries across the stage striving to crack open his first case. Williams’s Man in the Yellow Suit’s troublesome nature also evokes laughter. The epitome of showmanship, Williams’s masculine physicality authenticated her performance while heightening the level of character acting. Specifically, jazzy numbers, like “Join the Parade” and “Everything’s Golden,” emphasize Williams’s command over the stage. In addition, Nana’s (Erin Cary) comedic timing while delivering legendary one-liners added to the performance.
Moreover, the effective stage makeup and hair, seamless lighting, and efficient stage crew more than compensate for sound issues. The period accurate makeup and hair conveyed the era and set a 19th-century tone. Gradient lighting further contributed to the ever-changing mood; reflecting the Man in the Yellow Suit in the appropriate hue and contrasting color schemes at the fair enhanced the respective songs. Furthermore, dressed in relevant costumes, the stage crew managed to maneuver the picturesque cycle, foggy boat, and cookie cutter Foster home in an efficient and commendable fashion.
This ageless musical appeals to all audiences as it explores infinite life, love, and loss. Tuck Everlasting is an instant cult-classic that electrified the NSU University School stage with its bursting heart and youthful spark.
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By Andres Hernandez of The Sagemont School
Imagine experiencing life behind the confines of a white picket fence. Suddenly, the opportunity arises, and you take a leap of faith towards the unknown. Such risk is often met with danger, but the feeling of being at the top of the world can make it all worthwhile. In a similar fashion, the students of NSU University School ventured into unchartered territory to be one of the first high schools ever to bring “Tuck Everlasting” to the stage, and boy did it pay off!
From the page to the screen to the stage, the whimsical narrative of “Tuck Everlasting” has spread across a wide range of media. Originally a 1975 novel penned by Natalie Babbitt, it later went on to become a 1981 film, followed by a 2002 film adaptation, until finally heading towards the Great White Way in 2016. When 11 year-old Winnie Foster stumbles upon a magical spring in her own backyard, she’s introduced to a family that present her with a life-altering question: return to everyday life or live forever?
Wonderfully capturing the youthful innocence of Winnie Foster was Nicolette Nunziato. From wig to toe, Nunziato embodied Winnie’s spirit, most notably in her relationship with Jesse Tuck, played by Jared Cohen. Cohen was successful at understanding the flaws in his character and connecting them to the plot, which contributed to his subtle yet well-received character arc. Cohen admirably tackled the tenor vocals in his score, particularly in “Partner in Crime,” his duet with Nunziato.
Adding another dimension to the production were the stellar featured performances, most notably Julia Musso as Teenage Winnie and Paul Levine as Hugo. Musso not only displayed beautiful dance technique during the wondrous “Story of Winnie Foster” number, but also used animated facial expressions to become an extension of the 11 year-old Winnie we saw throughout the show. Paul Levine sported distinct characterization as the goofy Hugo, utilizing vocal inflection and physicality that drew laughs whenever present.
While some cast members occasionally struggled with the demanding score, the ensemble provided melodious vocal support whenever present. The Featured Dancers particularly stood out as an ensemble, largely due to the dynamic choreography of Yuval Benit. One standout dancer was Gabriel Feldenkrais, whose flawless technique was a sight to behold. Other technical elements in this production were nothing short of professional quality, specifically the exceptional lighting design of Tal Kochav. Utilizing stunning pastel hues and sharp spotlight work, Kochav’s design was original and inspired. Also worthy of praise was the stage management team, who had the challenging task of maneuvering large set pieces in a timely matter. This task was handled flawlessly.
Do you hear that? Adventure is calling! Grab your backpack, pet toad, and magic water on your way to NSU University School, and witness their superb performance of “Tuck Everlasting!”
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By Anna Hopson of Calvary Christian Academy
“You don’t need to live forever, you just need to live.” This lesson manifests itself throughout NSU University School’s heartfelt production of Tuck Everlasting. Through beautifully crafted song, dance, and technical elements, the story of a young girl who meets an immortal family is brought to life.
Based on the children’s novel of the same name, Tuck Everlasting premiered in 2015 at the Alliance Theatre in Atlanta, Georgia, preceding a short-lived run on Broadway. The plot follows Winnie Foster, an 11 year old “good girl,” and her expeditions through the woods in hopes of finding adventure outside her dreary home. In her escape, she stumbles across Jesse Tuck, energetic and “Forever 17,” drinking from the spring of a tree. When Jesse’s family realizes he has befriended a stranger, they kidnap Winnie and reveal the secret of the spring: those who drink from it never die. Winnie chooses to help the Tucks conceal their secret, warding off an evil man in a yellow suit and learning what it means to take part in “The Wheel” of life.
Jared Cohen (Jesse Tuck) embodies the good-naturedness of his character. Cohen exudes boyish charm in his casual demeanor and smooth vocal quality. Scenes with Winnie, notably the duet “Top of the World,” allow Cohen to convincingly portray Jesse Tuck’s care for her and love of the unknown. Nicolette Nunziato does justice to the role of Winnie Foster, originally written for a child. Nunziato aptly conveys youth in her physicality and vocalization, both colored with exuberance. The musical features much dance, and credit is due to the ensemble and featured dancers in their dedication to storytelling through movement. Standouts include Gabriel Feldenkrais (Winnie’s Teenage Son) and Julia Musso (Teenage Winnie), creating fully formed characters without speaking once.
Several technical elements in the show stand alone as professional-level work. Lighting by Tal Kochav complements the mood of the story by use of resplendent color and well timed lighting changes. Hair and makeup by Maia Cole, Gabriel Feldenkrais, and Ainsley Kohler looks flawless on stage, especially the impressive Victorian-era styling of the wigs. Yuval Benit’s engaging choreography proves to be as impressive in large ensemble numbers as in smaller group songs with minute gestures perfectly timed to the music.
Minor issues present themselves throughout the performance. Microphones popped, faltered, and turned on backstage. Actors were at times difficult to hear under the orchestra. Age differences could have been more defined with greater physical and vocal commitment from the older characters. Also, actors found difficulty in transferring from their lower to higher vocal registers while singing. However, all grievancances were forgotten upon performance of the show’s penultimate number, “The Story of Winnie Foster.”
The breathtaking, five-minute dance sequence showcases the beauty of life’s cyclical nature. Winnie’s future is summarized through ballet with dancers acting as older versions of characters. No words are spoken, but the arc of her life is clearly conveyed and moving to watch as she loses her loved ones to time.
Like the water from the magical spring, NSU University School’s Tuck Everlasting shimmers with promise and hope in a production that is truly “undying.”
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By Nya Hedman of South Plantation High School
“If you could live forever, would you?” NSU University School’s production of Tuck Everlasting explores the concept of eternal life, and what it truly means to live.
NSU University School brilliantly told the story of Tuck Everlasting through spectacular choreography and vocals that paired stunningly with the technical aspects. Almost all of these elements were entirely student directed, adding a uniqueness to the production that was undeniable. The choreography by Yuval Benit was absolutely breathtaking, combining a mixture of musical theater style dance as well as ballet.
The musical Tuck Everlasting, based on the novel of the same name by Natalie Babbitt, opened on Broadway in 2016 at the Broadhurst Theatre, where it ran for thirty-nine performances before closing. The show, written by Claudia Shear and Tim Federle, follows the story of Winnie Foster after she befriends Jesse Tuck, a boy who does not age. The story follows her as she must decide whether or not to leave her past behind and live a life of eternity.
Nicolette Nunziato was absolutely marvelous, truly embodying the character of Winnie Foster through her physicality and vocal inflection. She perfectly captured the essence of the young character, presenting her with a dynamic youthfulness that implied both maturity as well as naivety. Jared Cohen’s portrayal of Jesse Tuck was incredibly enjoyable as he perfectly channeled the character’s sprightly disposition into a focused energy that resounded throughout the entire show.
The ensemble was a vital aspect of the show as they helped establish scenes through beautiful choreography and stage pictures. The entire ensemble must be commended for their unwavering energy throughout the entirety of the show, as they were able to drive the plot line, without any spoken dialogue. They were especially exceptional during the dance sequence that provided the resolution of the show, where absolutely no words were being said or sung, yet there was no question as to what the ending entailed. One standout performer was Julia Musso as Teenage Winnie who not only had brilliant technique as she was dancing, but told a story through her facial expressions and body movements.
Technically, the show was absolutely breathtaking. Ranging from lights to hair and makeup, the tech never missed a beat and was almost perfectly on point. At times, the sound was a bit problematic and microphones could be heard popping, giving feedback, or turned on backstage. Despite these minor flaws, the stage management of the show was beautifully executed and featured complex scene changes that occurred absolutely seamlessly. The lighting allowed for the mood of the show to change in an instant, and provided multiple colors as a representation of different aspects within the show.
NSU University School tackled this beautiful show with incredible refinement and poise, as they unfolded the story that is Tuck Everlasting.
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By Kimberly Sessions of J.P. Taravella High School
Do you wanna have fun? How about a few laughs? Well, Boca Raton High School’s dazzling production of Sweet Charity is sure to show you a good time. Come follow the adventures of a girl who wanted to be loved with this talented cast.
The story revolves around Charity Hope Valentine, an optimistic dance hall hostess with a lousy track record of men, and her everlasting quest to be loved. Based on Fellini’s screenplay, “Nights of Cabiria”, this musical features music by Cy Coleman, lyrics by Dorothy Fields, and a book by Neil Simon. It was originally choreographed by the infamous Bob Fosse and the original 1966 musical starred his wife, Gwen Verdon, in the title role. It was revived on Broadway in 2005, starring Christina Applegate and Off-Broadway in 2017, starring Sutton Foster.
Leading the show and dancing into the audience’s hearts, was Samantha O’ Donnell, playing Charity Hope Valentine, who lit up the stage with her beautiful smile and hopeful persona. She commanded the stage with her high energy and powerful vocals. While Charity is an extremely challenging and demanding role to play, she seemed to handle it with ease, displaying strong commitment to her character. Her best friends, Nickie and Helene, portrayed by Keana Yazdan and Chloe Ward, had great chemistry and wonderful comedic timing. They each had exquisite voices, which were demonstrated in the song “Baby, Dream your Dream,” where they held beautiful harmonies. Vittorio Vidal, the Italian movie star was portrayed by Spencer Wayne. With his consistent, perfectly executed accent and smooth vocals, presented in “Too Many Tomorrows” he gave an extraordinary performance.
Overall the show was very entertaining. One standout moment was “Rich Man’s Frug”, where the cast captivated us with their precise dance moves. Neala Gordon, the Lead Frug Dancer was mesmerizing to watch onstage, for all eyes darted directly to her, and her obnoxiously long ponytail. Each one of the dance hall hostesses developed distinct characters and together they sounded incredible in “Big Spender”. Although the cast had high energy throughout most of the show some moments fell flat, especially “I’m a Brass Band”, which is supposed to be the climactic highlight of the show.
Technically the show was visually stunning. Since this show takes place in so many locations, the set is very difficult, but they solved this problem with projections around the proscenium arch and back of the stage, displaying the location, truly enhancing the show. The production ran smoothly do to the flawless set changes. The sound was also impeccable, for there was little to no feedback and the actors could always be heard.The student orchestra had the difficult task of playing the original Broadway score and they sounded fantastic.
Step into a world of peace, love and happiness and feel the “Rhythm of Life” with Boca Raton High School’s exciting production of Sweet Charity.
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By Dailyn Robaina of Coral Glades High School
Grab your hairspray, put on your dancing shoes, and travel back to the 60’s with Boca Raton Community High School’s high energy production of “Sweet Charity”.
With music by Cy Coleman, book by Neil Simon and choreography by Bob Fosse, “Sweet Charity” roared onto Broadway in 1966. With nine Tony awards and multiple revivals and international productions, the story of a hopeful dance hall hostess with a rocky love life remains timeless to this day. In 1969, Sweet Charity was adapted for the screen and was directed by Bob Fosse himself.
Bringing the role of Charity to life, Samantha O’Donnell was entertaining and enthralling from start to finish. The big choices and outstanding vocals required for the part were executed without fail. The vibrancy O’Donnell emitted on stage created a believable and lovable character. O’Donnell successfully showcased Charity’s character arc and left audience members hopeful for sweet little Charity.
Oscar, portrayed by Dylan Severin, maintained high energy from the moment he walked on stage. His believability and dedication to his character choices allowed for Severin to flourish as an actor. The chemistry between Severin and O’Donnell felt effortless and extremely authentic. Severin displayed his maturity as a vocalist throughout both the first and second acts. His bright and quirky personality was present and endeared him to the audience members.
The Lead Frug Dancer, played by Nela Gordon, commanded the stage. With an entire ensemble accompanying her in “Rich Man’s Frug”, all eyes were fixed on her alone. Her impressive flexibility and effortless fluidity captivated the audience. Marvin, played by Thomas Restrepo, gave an incredible and upbeat performance in “Charity’s Soliloquy”. His timing and movements were spot-on and intriguing. The Dance Hall Girls gave a phenomenal performance in “Big Spender”. The replication of Fosse’s challenging choreography was handled extremely well and was executed with great precision.
The technical aspects of the show were nearly flawless. The use of projections rather than large set pieces was ingenious and beautiful. Set changes performed by the technical crew were executed seamlessly and did not distract at all. The lighting of the cyc set the tone of scenes and cast incredible silhouettes for “Big Spender”. Occasionally, spotlights were too tight or didn’t follow actors well, but did not take away from the production as a whole. The pit orchestra was overpowering at times, but overall played with great intonation and note accuracy. Hair was appropriate with the time period of the show and gave personality and individuality to each cast member.
Packed with impressive vocals, beautiful dancing and great comedy, Boca Raton Community High School’s production of “Sweet Chartity” will leave you “nuts about happy endings” and teach you that things are always looking up.
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By Peri Harris of Marjory Stoneman Douglas High School
Not even being pushed into a lake (multiple times), getting trapped in an elevator, or spending a night in a closet will stop this hopeless romantic from finding her soul mate! A story of ups and downs, optimism, and the sweetest girl in New York, Boca Raton Community High School’s production of “Sweet Charity” tells a story of heartbreaks, “Big Spenders” and “The Rhythm of Life”.
“Sweet Charity” appeared on Broadway in 1966, choreographed and directed by Bob Fosse. The original Broadway cast received nine Tony nominations and won “Best Choreography” (Bob Fosse). The uplifting and jazzy musical follows protagonist of the story, “Sweet” Charity Hope Valentine, and her quest for romance. She always looks on the bright side of life; despite her countless bad dates and her job at a rundown dance-hall, The Fandango Ballroom. However, when Charity finds herself stuck in an elevator with the reserved Oscar Lindquist, she thinks she might have finally met her match. Although love may prevail, it can be the driving force that emits lies and disaster.
Samantha O’Donnell displayed elegance and defiance in her depiction of the benevolent dance-hall hostess, “Charity”. O’Donnell was consistent in her energy throughout the entirety of the show, and amongst her dance, strong vocals, and audacious personality, her visible passion for the stage was eminent. Specifically, in her strong song, “If My Friends Could See Me Now,” O’Donnell’s captivating energy never once wavered, which significantly contributed to her phenomenal performance. Alongside O’Donnell was her quirky and nervous love interest, “Oscar,” embodied by Dylan Severin impeccably. Severin exuded an air of eccentricity, showing true understanding of his character, and bringing an essence of comedy to complement O’Donnell’s flamboyant personality. O’Donnell and Severin flawlessly embodied the power couple, and their vibrant relationship was displayed during their duet, “Bravest Individual”.
Keana Yazdan (Nickie), and Chloe Ward (Helene) portrayed sassy dance-show hostesses with clear charisma and outstanding energy. In their memorable duet, “Baby Dream Your Dream,” their vocals blended beautifully, and they brought the stage to life. The dynamic duo’s genuine relationship was impeccable, and they did an incredible job with their complex roles. “The Dance Hall Girls” took control of the stage with cultivating dance moves and sharp inflections that grounded the production as a whole, most notably in their showstopper performance of “Big Spender”.
The choreography was time period appropriate, and the immaculate “Fosse” material was performed flawlessly. Keala Gordon ultimately led the Fosse inspired number “Rich Man’s Frug” with grace and passion. Each performer exhibited lively energy throughout each song, along with the fantastic student orchestra, conducted by Lauren Rizzo.
The technical aspects of the production were carried out impeccably. From the seamless set changes to the ambient lighting, the behind the scenes efforts were highly successful. Despite some small microphone issues, the production overall brought the audience back to the 60’s with the intricate set pieces, picturesque costumes and wigs, and authentic props.
Boca Raton Community High School’s production of “Sweet Charity” not only teaches one how to love, but how to face countless rejections. “If My Friends Could See Me Now” they would be the “Bravest Individual” and never give up on love.
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By Oliva Te Kolste of Cardinal Gibbons High School
Featuring an eager dance hall hostess, a slightly neurotic accountant, and an exorbitant amount of rainbows, Boca Raton Community High School’s production of “Sweet Charity” came to life onstage in a dazzling display of color and music.
Based on a screenplay written by Federico Fellini, Sweet Charity originally premiered on Broadway in 1966, with music and lyrics by Cy Coleman and Dorothy Fields and choreography by Bob Fosse in a production that was nominated for nine Tony awards. Chronicling the exploits of an optimistic dance hall hostess, Sweet Charity weaves a comedic, lighthearted tale of the search for romance and purpose.
At the heart of this story is Charity Hope Valentine, portrayed by Samantha O’Donnell. O’Donnell consistently lit up the stage with her boundless energy, bringing ample life and humor to her role as she belted and danced her way through the show. Her talent was showcased fully in the numbers “If They Could See Me Now” and “I’m A Brass Band,” in which she commanded the stage with her effervescence while flawlessly executing difficult choreography and vocals. Playing Charity’s primary love interest, Oscar Lindquist, was Dylan Severin, who captured his character’s dual anxious and sweet natures exceedingly well throughout the production. The two exhibited excellent chemistry throughout the building of their relationship, as displayed in the song “Bravest Individual.”
Keana Yazdan and Chloe Ward’s respective portrayals of Nickie and Helene proved to be a memorable duo with their witty, biting humor and natural chemistry, while also reflecting their characters’ hopeful, tender sides impressively in songs such as “There’s Got To Be Something Better Than This.” Another standout performer was Jo Piccin as Daddy, the lax hippie ringleader, whose combination of physical humor and vibrant enthusiasm lit up the stage both figuratively and literally in “Rhythm of Life.” Though there were occasionally issues with articulation, the entire cast overall proved to be a triple threat, bringing energy to the stage from beginning to end as they executed Fosse’s original choreography with remarkable crispness and enthusiasm.
An especially notable aspect of the show was the use of the student orchestra. Conducted by Lauren Rizzo, the orchestra executed each number impeccably from the Overture to the Finale. The use of a projector in the backdrop made for a variety of eye-popping, colorful scenery, and though there were a couple problems with the lights, overall they set the mood and scene remarkably well. The costumes, which reflected the time period well, also provided a nice blend of color and variety as they widened the array of eye-pleasing hues onstage in accordance with the sets. The stage crew itself worked like a well-oiled machine, carrying out scene changes and transitions smoothly and efficiently throughout the entire show.
Overall, Boca Raton Community High School’s production of Sweet Charity was nothing short of spectacular, and showcased the talent of each and every member of the cast and crew wonderfully throughout this charming story of love and life.
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By Hayley Hunt of Coral Glades High School
Full of dance, self-discovery, and friendship, Boca Raton High School’s production of “Sweet Charity” will make you want to “get up and get out” and follow the heart-warming story of Charity Hope Valentine and her quest for love.
“Sweet Charity”, with music by Cy Coleman and directed by Bob Fosse, premiered on Broadway in 1966. It was nominated for nine Tony awards and was adapted into a movie in 1969. It follows the story of Charity Hope Valentine who works at a dance hall and has had many failed relationships. She falls in love with several men until meeting Oscar Lindquist, who could potentially fulfill her journey for love.
Samantha O’Donnell (Charity) commanded the stage with her spunky attitude and impeccable vocals. With impressive dancing and consistent physicality, O’Donnell never strayed from her high energy. Even while she sang “If My Friends Could See Me Now” as she danced and jumped around the apartment, she maintained perfect pitch and exuded confidence and stamina. O’Donnell demonstrated continuous relatability with her authentic mannerisms and comedic timing. Keana Yazdan (Nickie) had astounding vocals, as she stood out in every number she performed in. Yazdan maintained high energy and her sister-like friendship with O’Donnell was realistic and believable.
Bringing a refreshing sense of quirkiness and congeniality was Dylan Severin (Oscar) as Charity’s love interest in the show. Severin stayed true to his character choices and maintained a light-hearted, adorable demeanor. Jo Piccin (Daddy) radiated with humor during “Rhythm of Life” as the charismatic, cultish church leader. Piccin adapted to his wild, hippie persona faultlessly, as he lead the ensemble with constant vivacity.
The most striking aspect of the show was the synchronization of the ensemble. Having an immense number of ensemble members is difficult, but every single dancer possessed perfect timing as all of their movements complemented each other. Each cast member upheld relentless energy and every move made was made with purpose. It was apparent that the harmonies in every number had been mastered and the ensemble as a whole was confident and determined. Projection and diction remained clear as they executed every line with certainty.
The set and lighting were beyond attractive and innovative. The color schemes fit every scene perfectly and the lighting transitions were smooth and well thought out. From the elevator to the Ferris wheel, the set pieces were embellished with immaculate detail and all set changes were executed seamlessly. The mostly student-conducted orchestra played flawlessly and was never overpowering. The actors timing with the orchestra never faltered and they harmonized professionally together. The hair, makeup, and costumes were suiting to the time period of the show with detailed wigs and elaborate head pieces.
The prevalent quote, “without love, life has no purpose”, was proven false in Boca Raton High Schools production of “Sweet Charity”, as we see Charity find love and independence with herself. The polished vocals, well-timed choreography, and strong character development called for a “sweet” and engaging performance.
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By Hayley Hunt of Coral Glades High School
Once upon a time, the intertwining fairytale of a baker, a boy, a maiden, a little girl, a wolf, and a witch came to life in Cooper City High School’s magical production of “Into the Woods.”
“Into the Woods,” with music written by Stephen Sondheim, debuted at the Old Globe Theatre in 1986 and premiered on Broadway in 1987. With three Tony Awards and even more nominations, this fan-favorite musical had multiple revivals and even a movie rendition. It follows a combination of famous fairytales, such as Cinderella and Little Red Riding Hood, in overlapping plotlines that connect to form one central idea: be careful what you wish for.
Sophia Pera (Baker’s Wife) exhibited maturity and confidence in her character choices. Pera’s emotional development is especially prominent in “Moments in the Woods” where her clear determination and powerful vocals shined. Joania Hernandez (Witch) exuded wicked physicality, transforming her movements and voice to fit the infamous, comical persona of her character. Hernandez stole the show with her faultless comedic timing and continuous believability as she seamlessly executed her compelling and rather difficult role.
A refreshing ray of comedy shined on the show from the moment Reese Abrahamoff (Jack) entered the stage. Not only did Abrahamoff burst with energy, but his vocals in “Giants in the Sky” were unblemished as he carried every note with certainty and vigor. His counterpart, Nathan Jakovich (Milky White) was a hilarious and creative addition to the show, as Jack’s unusual pet cow isn’t always portrayed by an actor. The chemistry between Jackovich and Abrahamoff displayed an authentic connection between the two characters, allowing for Jack’s youthfulness to blossom. Another genuine connection was between Joania Hernandez (Witch) and Giovanna Phillips (Rapunzel). Phillips and Hernandez demonstrated a realistic mother-daughter relationship, especially in Act II as both of their characters’ depths reached their peak. Phillips made strong character decisions and presented her youthfulness and curiosity with compassion.
Despite an absence of chemistry in some numbers, the relationships between specific characters were truthful and believable. The harmonies in the ensemble numbers were mostly perfected and the choreography, although somewhat distracting, didn’t halt their ability to stay in key.
Cooper City’s Pit Orchestra was extraordinary, especially having student-transposed music. Their timing flowed with the actor’s singing and rarely overpowered the lyrics. Although the makeup could have been more intricate, the costumes made up for it with their remarkable detail and cohesive color schemes. An especially astonishing costume piece was Chandler Braisted’s (Mysterious Man) cape that transformed into a rock. It was an innovative and brilliant way to camouflage Braisted’s character. Despite a few issues with microphones, the actors remained mostly audible throughout the show.
With comedy, maturity, and lessons of morality, Cooper City High School’s enchanting production of “Into the Woods” certainly left the audience with a happily ever after.
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By Charlotte Bacharach of Cardinal Gibbons High School
“I was meant to be charming, not sincere!” While this candid declaration may hold true to Cinderella’s Prince, the performers of “Into the Woods” at Cooper City High School represented not only debonair but emotional candor. With music and lyrics by Stephen Sondheim and book by James Lapine, the show depicts famous fairy-tales such as those by the Brothers Grimm. Its Broadway premiere in 1987 resulted in Tony awards for Best Book, Best Score, and Best Lead Actress in a Musical, one year after its debut at San Diego’s Old Globe Theatre. Cooper City High’s rendition of Sondheim’s “Into the Woods” showed enigmatic moral dilemmas, grasping the many maxims, while still beaming an aura of jovial fantasy.
A baker (Danilo Deluca) and his wife (Sophia Pera) wish for a child, striving to undo an infertility curse placed upon their family by a ghastly witch (Joania Hernandez). The quest delegated by the witch entangles them into the lives of other storybook characters, where they exchange Jack’s cow for magic beans, beg for Cinderella’s slipper, rip off Rapunzel’s hair, and steal Little Red’s cloak. Hernandez held a captivating presence as the spiteful ringleader, embodying a witch physicality and employing a nasal voice to capture both the humor and vile of her role. She remained acutely involved in scenes and developed entertaining dynamics. Sophia Pera, portraying the Baker’s Wife, brought bounds of energy and distinctive personality showcasing spunk and drive, as well as a vulnerability is prominently shown in “Moments in the Woods.” Her husband, played by Deluca, similarly developed an emotional evocation as he grieved his wife’s death in “No More”, further presenting the couple’s bond. The Baker’s happier moments show a kind, gentle spirit that worked well on stage.
While the Baker has his wife, a young boy named Jack has his best friend: Milky White the cow. Reese Abrahamoff as Jack personifies youthful vitality in his speech and movement, showcasing both childhood glee and boyish tantrums. His endless zest, bold choices, and precise comedic timing livened the stage and complemented his adept singing. Milky White was played by Nathan Jakovich, who made hilarious choices, especially in the uproarious friendship with Abrahamoff. Annabelle Rosa as Cinderella was witty and sweet, most notably shining in “On the Steps of the Palace” where she flourished vocally and acting-wise. Her evil stepmother (Reece Suarez) and step-sisters (Selene Serra and Veronica Martinez) engaged audiences in their haughty displays of vanity and conceit as a cohesive comedic unit. The cast occasionally struggled with vocal clarity and projection but persisted with tenacity.
The admirable actors were matched by a dedicated production team. The student-made set conveyed a simple, advantageous design which allowed for easy movement. Costumes reflected the characters superbly, with each piece holding its own individual flair, exemplified in the step-sisters’ obnoxiously colorful gowns; Mysterious Man (Chandler Braisted) even had a leafy cape that transformed him into a bush! The praiseworthy student orchestra met the challenge of Sondheim’s score delightfully.
Audiences learned that witches can be right and giants can be good, thanks to the cast and crew of this enchanting tale. With lively actors and diligent technical teams, Cooper City High School met the difficult task of “Into the Woods” with immense composure in a thoroughly pleasant show.
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By Sierra Nixon of South Plantation High School
When all is said and done and the books are closed we are left with nothing but the cliché saying: “and they lived happily ever after,” but did they really? Cooper City High School’s production of Into the Woods unveils the dark truth behind every happily ever after.
James Lapine’s “Into The Woods” was first seen on the Old Globe Theatre stage in December of 1986. Since then, the musical has been performed in theatres across the United States, London, Australia, New Zealand, Spain, and Singapore. It was re-worked and revived several times on the Broadway stage and was even adapted into a movie in 2014. “Into The Woods” throws fairytale entities such as Little Red Riding Hood, Rapunzel and Jack and the Beanstalk into a connected storyline as they all search for their own happily ever after.
Cooper City High School’s production of “Into The Woods” was jam-packed with light cues, fun costumes, and a wide array of levels within acting.
Playing the character of the determined Baker was Danilo Deluca. Portraying his strong-willed wife was Sophia Pera. Pera’s character developed beautifully throughout the show. Rachel Goldberg embodied the classic character of Little Red with spunk and sass. It was clear that she understood her character and made strong character choices that assisted in making this storybook character come to life. Depicting the character of Jack was Reese Abrahamoff. A standout element within Abrahamoff’s performance as Jack was his willingness to play on stage. He allowed his inner child to shine through and found the fun in his character which in turn created a sincerely amusing performance.
Collectively, the ensemble of the production worked well together. A standout among the ensemble was Nathan Jakovich who played the role of Milky White, Jack’s cow. Jakovich’s performance was hilarious and the chemistry he shared with Abrahamoff’s character was perfect. Despite having no lines, Jakovich still managed to show humor through his physicality, facial expressions, and commitment to being a cow.
In terms of technical elements, the costumes were impressive because of how thought-out they were. As characters personalities’ shifted so did their costumes. The interaction between costume and character development helped advance the plot. While sometimes transitions between light cues were abrupt, attention to detail was evident here as well. Small things such as washing the stage with green lights when a scene is taking place in the woods added to the believability of the production.
Into The Woods shows the comical reality behind happily ever after. Cooper City High School should be commended for taking on the challenge of producing a classic such as this show with such a difficult score.
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By Andres Hernandez of The Sagemont School
Whether selling the cow, seeing the king, of visiting grandmother, each character headed “Into the Woods” to turn their wishes into realities. What they came to realize, though, is that they’d need to depend on one another in the pursuit of their own inner desires. In a similar fashion, the cast and crew of Cooper City High School banded together to conquer the towering giant known as live theatre, combining creative technical elements and some charismatic leads to bring Stephen Sondheim’s “Into the Woods” to life.
All hail Stephen Sondheim, the master American composer behind so many classic musicals such as “Sweeney Todd”, “Merrily We Roll Along”, and “Sunday in the Park with George”. His most celebrated work, “Into the Woods”, features a Tony-winning book by James Lapine that combines classic fairy-tale characters as they simultaneously enter the woods in pursuit of their own “wishes”. An inventive take on the stories that shaped our childhoods, it is no wonder “Into the Woods” has been met with such timeless success.
With an arched back and an even more arched character, Joania Hernandez did a wicked good job in her portrayal of the Witch. Hernandez drew laughs with her decrepit physicality but raised the intensity during more climactic scenes. This juxtaposition between humor and depravity is what gives her performance such commendable depth. Erring on the side of comedy was Reese Abrahamoff in his energetic performance as Jack. Consistently engaging and present, Abrahamoff filled Jack with such youthful exuberance and life, especially during his solo, “Giants in the Sky.”
The Baker’s wife, played by Sophia Pera, should not go without praise for her melodious performance of “Moments in the Woods”. Pera’s grasp on the material was evident as she lamented of the beauty, mystery, and unexpected fulfillment that hid within the towering trees that surrounded her. Nathan Jakovich gave meaning to the phrase “there are no small roles” with his spirited portrayal of Milky White, Jack’s cow. Jakovich’s animated facial expressions and distinct mannerisms aided in bringing Milky White to life, then death, then life again!
The entire cast and crew should be commended for tackling such a demanding production, though at times the show’s energy faltered due to a lack of facial expression and engagement. Certain technical elements definitely shined nevertheless, such as the wonderful costumes. The costume of the Mysterious Man was particularly superb as it transformed from a cloak to a bush almost instantly. Major kudos to the student orchestra for tackling this extremely complex score with no major mishaps, and the multilayered set was ambitious and certainly brought dimension to the stage. Some occasional mic and projection inconsistencies were handled well and did not detract too much from the production.
What is it about the woods? A complicated question to say the least, but the answer may be hidden amongst the treetops and beanstalks in Cooper City High School’s charming production of “Into the Woods”.
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By Nya Hedman of South Plantation High School
Once upon a time, in a land not so far away, Cooper City High School produced a musical that ventured into the woods, through the trees, and arrived at the land of happily ever after.
Into the Woods, written by James Lapine and composed by Stephen Sondheim, follows the story of the Grimm’s fairytale characters after they receive their happy endings. The show opened on Broadway at the Old Globe Theatre in 1987, where it won 3 Tony Awards. The story embraces themes such as “be careful what you wish for,” as it follows the characters through the climaxes and downfalls of their journey before and after their wishes come true.
The story follows Danilo Deluca as the Baker and Sophia Pera as the Baker’s wife, as they go on a quest to break the curse that prevents them from conceiving a child. Both of the actors had a wonderful energy that carried the show and provided a connection for all of the characters’ paths to cross. The Witch played by Joania Hernandez, was absolutely stellar as she provided a character that was developed brilliantly through physicality and voice inflection. Another commendable performance was that of Reese Abrahamoff (Jack), as he commanded the stage with exceptional enthusiasm and impressive vocals.
The supporting cast was vital to the plot, as “Into the Woods” is an ensemble show. While the ensemble must be commended for the commitment to their performance, often times it seemed like many of the characters lacked motivation in their actions as well as their dialogue. This caused many scenes to fall flat and made it difficult to feel the depth of the plot. However, the ensemble worked well together and provided a unique chemistry between the characters.
The technical aspects of the show were especially important to the production as it featured many scene changes and a plethora of characters, each with a unique style. The set was composed of platforms and flats that allowed the stage to transform from scene to scene. Although the set could have been used a bit more effectively to create some dynamic stage pictures, it was functional and helped to forward the storyline. The costumes were impressive and represented each character perfectly. As the characters changed and progressed as the story unfolded, so did the costumes. The sound was a bit problematic throughout the production as the microphones were spotty and a bit muffled, however, the majority of the actors could still be heard as well.
And that is the story of how Cooper City High School’s “Into the Woods” took a journey into the land of witches, wolves, and giants in the sky, where the cast and crew all lived happily ever after.
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By Kareem Rodriguez of Palm Beach Central High School
Deerfield Beach High School’s production of “Boeing Boeing” provided an evening of laughs as the actors on stage engaged in a fast-paced series of unfortunate mishaps, leading to hilarious scenarios.
The show centers around Bernard, who is engaged to three beautiful stewardesses, whom all know nothing of each other. He thinks he has everything under control and in place. Each lady spends two days at his apartment in Paris before having to board another flight, until the invention of the Boeing jet speeds up arrival times of said flights. Soon, all three of his fiancés find themselves at his apartment, and he must carefully juggle them all to prevent catastrophic consequences. The show is a classic farce and was written by Marc Camoletti. The show was originally written in French, but due to its substantial popularity, it was translated into English and many other languages throughout the years. Interestingly, the show received an award that isn’t common in theatrical works; The Guinness World Record for the most performed French play throughout the world.
Robert, played by Alan Halaly had many comedic moments on stage. Halaly’s interpretation of his character as an awkward bachelor was great. He took many pauses to increase the tension and awkwardness in the scene, both increasing his believably and making me roar in laughter. The maid, named Berthe, was portrayed by actress Ananda Espinal. Espinal seized every opportunity to make the audience laugh. She had excellent comedic timing and left me, as well as the rest of the audience, in tears. She remained consistent throughout the show, keeping her difficult French accent the entirety of the performance, which truly showcased her as an accomplished actress.
The trio of girls, named Gloria, Gabriella, and Gretchen, were played by Enijdna Van Bokkelen, Delinah Rosario, and Sarah Mellinger, respectively. Each member of the trio was excellent in their performance, and Mellinger’s portrayal of Gretchen was especially outstanding. She had a deep understanding of her character and made sure that she made bold choices that would make her character stand out. Her decision to immediately drop her bags and begin to strip down and throw her clothing behind her upon entering the apartment, leaving a mess behind for Berthe to clean up, made me understand that she was a girl who liked to make others clean up after her. Her decisions showed she understood the material, and could take her characterization to the next level.
In a blend of comedy and absurdity, the show “Boeing Boeing” has always been a French classic, and Deerfield Beach High School tackled the internationally acclaimed show with a deep understanding of the more complex characters, and provided a believable and humorous performance.
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By Amorie Barton of Pompano Beach High
Equipped with life jackets, oxygen masks, and beautiful hostesses, Deerfield Beach High school’s production of “Boeing Boeing” provided its passengers with a one way ticket to drama.
“Boeing Boeing” is a very popular French play written by esteemed play write Marc Camoletti, and translated to English by Beverly Cross and Francis Evans. The production has been widely praised and celebrated ever since its initial debut in 1960s France, spawning several revivals and translations. The play itself is written in an over the top farcical style as the audience is pulled into the life of Bernard, an eligible bachelor with a tendency to favor secretive polygamy to marriage. Bernard lives in a lovely Paris flat with his three fiancé stewardesses whom are all unaware of each other’s existence. But once his timetables are askew, the rest of the ride is anything but smooth.
Alan Halaly did a commendable job playing Robert, one of the story’s central characters. His stage time was always met with consistent characterization and development. His bold portrayal of his character positively breathed life into his scenes. His counterpart, Jatin Handa, who played Bernard was also an enjoyable sight. His decay from self-assuredness to panic showed great mobility in his character’s arch.
Aside Handa and Halaly sat Bernard’s headstrong French maid Berthe, portrayed by Ananda Espinal. Espinal was always a delight and commanded the stage with professional gusto. Playing characters from foreign nations can often be challenging to accomplish, but this is a feat that she handled with grace. Her accent was consistent and her stage presence was bold and noteworthy. Aside from this, Espinal’s comedic timing was always on point, heightening the farcical nature of the show.
As a unit the cast was able to sufficiently work well together. The air stewardesses Gloria, Gabriella, and Gretchen, played by Enijdna Van Bokkelen, Delinah Rosario, and Sarah Mellinger respectively, were able to create well developed characters that starkly contrasted each other. Mellinger’s commitment to her role as Gretchen was evident as her overbearing nature remained strong throughout the play, without venturing into the realm of overacting.
For a majority of the production the characterization remained strong, but there were moments when necessary accents were dropped or overdone, causing problems with aspects such as diction. However, These moments were few and did not veer away from the meaning of the overall production. The technical aspect of the show ran rather smooth. In regards to sound, there were certain moments in which lines were lost due to poor inflection, but the physicality of the characters often made up for such occurrences.
Overall, Deerfield Beach High School’s production of “Boeing Boeing” was a thrilling flight accompanied only by some minor turbulence.
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By Dylan Jost of North Broward Preparatory School
A typical Boeing 747 flies above the clouds at an altitude of 40,000 feet, with an average speed of 555 mph. Like this high-flying commercial jet, Deerfield Beach High School’s well-executed production of “Boeing Boeing” flew quickly and efficiently, providing nonstop laughter and entertainment for its passengers.
Written by French playwright Marc Camoletti, “Boeing Boeing” premiered at the Comédie-Caumartin on December 10th, 1960, eventually being staged in London in 1962. Notably, “Boeing Boeing” holds the Guinness World Record for the most performed French play throughout the world. “Boeing Boeing” is set in 1965 in the apartment of Bernard, a bachelor who is engaged to three different stewardesses, each of whom does not know about the others. However, when his friend Robert comes to visit, Bernard’s easy going life hits a little turbulence. A new, speedier Boeing jet leads to all three of the stewardesses being present in the city simultaneously, disrupting Bernard’s careful planning. Soon, lies are told, catastrophe looms, and all the while, hilarity ensues.
Leading the show with comical timidity was Alan Halaly as Robert. As Bernard’s old schoolmate from Wisconsin, Halaly delivered a performance that was endearing and entertaining. Halaly successfully portrayed Robert’s timidity, utilizing vocal inflections and a contained persona. Alongside Halaly was Jatin Handa as Bernard, the womanizing bachelor and Parisian architect. The confidence and narcissism held by Bernard were evident, aided by Handa’s admirable performance that employed a laid back physicality and calm personality. However, as Bernard’s carefully-laid plan came undone, Handa demonstrated this shift in his performance, depicting Bernard as more frantic and worried.
Providing a notable comedic presence was Ananda Espinal as Berthe, Bernard’s witty housekeeper. Espinal’s continuous one-liners and comedic moments served as a boost to the overall energy of the show. With commendable comedic timing and an impeccable French accent, Espinal drew forth merriment. Three performances that must be mentioned are those of Enijdna Van Bokkelen, Delinah Rosario, and Sarah Mellinger. These three actresses each portrayed one of Bernard’s oblivious stewardesses, with each actress bringing something unique to their character. Bokkelen brought vigor to the role of Gloria, portraying her as supremely confident. Sultry and full of fire, Rosario successfully depicted the character of Gabriella. Along with delivering a flawless German Accent, Mellinger brought a commendable intensity to the complex role of Gretchen.
Technically the show was marvelously executed. Hair and makeup were smartly applied, with the hair and makeup of the three stewardesses matching their personalities. For example, Gretchen’s striking makeup and bright blonde hair matched her bright, bold personality.
Shows with small casts can often be difficult for high schools to put on, as a high level of commitment and professionalism is needed. Therefore, the entire cast of “Boeing Boeing” must be commended for successfully putting on a performance of such quality and making bold choices throughout the play.
Deerfield Beach High School brought a hilarious story full of foiled plans and tricky situations to the stage in their production of “Boeing Boeing”. Transporting the audience to a Parisian apartment full of stewardesses, a bachelor in trouble, and one best friend from Wisconsin. The actors of “Boeing Boeing” provided high-quality in-flight entertainment and soared far beyond the clouds of success.
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By Ben Shaevitz of Palm Beach Central High School
Get ready for takeoff! Deerfield Beach High School’s production of Boeing Boeing is a high-flying wacky farce that should not be missed. This French play was written by Camoletti and premiered in 1960. The play was immensely popular and was even listed in the Guinness Book of World Records as the most performed French play throughout the world.
The story follows bachelor Bernard. A man with a very tricky secret. He is engaged to three different flight attendants who all are entirely unaware of each other. He keeps a time table of all of the women’s flights and is confident that they will never meet each other. That is until his best friend Robert comes to town. Panic ensues as the women’s schedules begin to collide.
The show overall carried a high, fun energy that kept the audience engaged and interested. The two male leads Bernard and Robert (Jatin Handa and Alan Halaly) had a nice chemistry together that made their scenes together very entertaining. The actors made great use of comedy, most notably Ananda Espinal, who played Bernard’s maid Bertha. Every second she had on stage the audience was rolling on the floor. Her characterization was incredibly strong and every move she made was just undeniably funny. The three stewardesses each had very distinct personalities and characters. The American girl Gloria (Enijda Van Bokkelen) was bright eyed, funny, and sultry. The Italian girl Gabriella (Delinah Rosario) was sassy and very confident. The German girl Gretchen (Sarah Mellinger) had strong comedic timing and provided the 2nd and 3rd acts with a lot of fun and energy.
The set looked very nice and suited the needs of the show well. The use of several doors leading to different “rooms” allowed for many close calls between the girls almost finding out about one another.
Issues came in the form of line memorization and pacing that, energy wise, could have added even more hilarity to the scenes. But otherwise this was an excellent adaptation of an older piece.
All in all, the performers had fun playing off of each other and in turn, the audience had themselves a great time. If you haven’t already booked your flight I’d recommend coming down to Deerfield Beach High for a fun night of mishaps and comedy.
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By Tai Beasley of Coral Glades High School
Fasten your seat belts, because Deerfield Beach High School’s production of Boeing Boeing will take you on the ride of your life! “When one door closes, another opens”, only too many doors can cause more chaos than you bargained for. Through comedy, this play tells the story of love, betrayal, and resolution that will take you to new heights.
Boeing Boeing was originally written by French playwright Marc Camoletti, but adapted in English by Beverly Cross. This farce’s English premiere was at the Apollo Theatre in London, 1962. In 1991, it was listed as the most performed French play in the world in the Guiness Book of World Records. This show has multiple adaptations that has been nominated for a plethora of awards, winning the Tony award for Best Revival of a Play and many more.
It’s the 1960s, and bachelor Bernard is living the high life in a Paris flat, happily engaged…to three women! An American, an Italian, and a German stewardess, who don’t know about each other. Bernard thinks he has everything controlled, until his friend Robert visits, and a faster Boeing plane messes with his times tables. Before long, all three stewardesses are “home” simultaneously, and the landing looks rough, especially with confused Robert butchering the lies.
Alan Halaly (Robert) successfully embodied a timid character that became more confident as the story progressed. His awkward gestures and ditsy personality personified this role as his humor and charm thoroughly entertained the audience. Bernard (Jatin Handa) had an overconfident, “player” attitude, exhibited by his calm mannerisms and playful tone. His hilarious outbursts of panic added dimension to his character. The pair struggling to deal with each other while keeping track of the women was definitely entertaining.
The star of the show, however, goes to Ananda Espinal (Berthe). From the moment she stepped onstage, her completely hilarious persona took over. She mastered the typical snappy maid, and her sarcastic facials and accent added such humor to her line delivery that the audience was left crying of laughter. From slamming breakfast on the table, to giving everyone a piece of her mind, to kicking suitcases to the curb, Espinal’s performance was extremely memorable. Another astounding actress, Sarah Mellinger (Grethen), also shined in the play. Her intense passion, thick accent, and crazy personality was flawlessly executed in her ridiculous and aggressive actions.
The set was beautifully made, resembling a modern house of that period. The functioning doors added humor and suspense in the plot, and the other props looked well comprised. The costumes, makeup, and hair should be especially praised, as their vibrant colors and look matched each nationality and reflected the time. The characters could’ve used mics, but were heard most of the time. Although some of the cast could have memorized their lines more and had higher energy, their performances were still overall entertaining.
Congratulations to Deerfield Beach High School’s production of Boeing Boeing, which not only taught us that “it’s not impossible” for plans to fall through, but that love can have a time limit!
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By Eve Cohen of North Broward Preparatory School
“The least important day of your life will be important enough”. When you never know what day will be your last, every day is one worth cherishing. The poignant transience of human life and importance of companionship are beautifully illustrated in Somerset Academy’s production of “Our Town.”
Written by Thornton Wilder, “Our Town” first appeared at the McCarter Theatre in Princeton, New Jersey in 1938. This landmark in American drama is the winner of the 1938 Pulitzer Prize for Drama and 1989 Tony Award for Best Revival. The entire play takes place in the American small town of Grover’s Corners between 1901 and 1913, through the everyday lives of its citizens. Narrated by the Stage Manager, we follow the residents of Grover’s Corners, through twelve years of life changes – from the accustomed routine in Act I, “Daily Life,” to the romantic Act II, “Love and Marriage,” and finally the devastating Act III, “Death and Eternity.”
Sweet, shy, and somewhat self conscious, Emily Webb, portrayed by Victoria Vitale, served as the story’s innocent ingenue. Vitale accurately portrayed her age as time progressed, and ultimately understood her character. From the precocious young girl in Act I, to enamored adolescent in Act II, and finally her late self as she reflects on her life in Act III, her honesty and commitment were evident throughout.
Somerset made a very fascinating choice to alternate actresses playing the Stage Manager for each Act, giving the audience the story through three different storytellers. Stand out Lucienne Zetrenne depicting the Stage Manager in Act III particularly intrigued the audience with her articulate and powerful inflection. Zetrenne’s monologue at the start of Act III perfectly set the somber tone for the most dismal portion of the show, and showcased her intricate acting abilities.
Besides minor sound issues, particularly the popping and in and out amplification of certain microphones, all technical aspects of the production ran smoothly and properly fit the essence of the show. The choice to keep all members of the ensemble onstage throughout the entirety of the production was strong, and perfectly encompassed the towns solidarity. The gender-bending of female actresses playing male characters was for the most part believable and never took away from the genuineness of the piece. Somerset entirely understood “Our Town’s” famous minimalistic set, and made use of pantomime and stage projections to further the understanding of the plot.
“Do any human beings ever realize life while they live it?”
“Our Town” reminds us all that time is limited and to spend life enjoying what is offered instead of wasting it looking for more. Somerset Academy wonderfully displays this message with simplicity and grace in their touching production of “Our Town.”
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By Madeline Finkelman of North Broward Preparatory School
“Do any human beings ever realize life while they live it?” An audience of teenagers was probably never meant to understand or have to face the reality of those words, but after the tragedy that claimed 17 young lives in our own community, we cannot help but appreciate how important the smallest moments are. Somerset Academy’s poignant production of “Our Town” illustrates how while times may have changed in America, the fleeting nature of life has not.
“Our Town” was first performed in 1938 at the McCarter Theatre in Princeton, New Jersey and received the Pulitzer Prize that same year. Thornton Wilder’s classic play depicts life in the fictional New Hampshire town of Grover’s Corners in three acts. The scenes show both wide angle and close up snapshots of traditional America at every stage of life: birth, love and marriage, and death. It is through the lens of these milestones that the themes of time and existence develop on the stage.
Emily, Mr. and Mrs. Webb’s intelligent and conscientious daughter was portrayed by Victoria Vitale. Vitale skillfully showcased Emily’s character arch through the three acts, deftly displaying a range from the sweet innocence of a child to the wisdom of a young mother. Shelby Tudor did a commendable job embodying the All-American boy George Gibbs. With a cute and acute chemistry, Vitale and Tudor developed a realistic relationship, showing the progression of young romance and highlighting Wilder’s pondering questions of love and marriage.
The play is presented in a unique metatheatrical framework with three actresses portraying the enigmatic and omniscient Stage Manager who serves as both a narrator and facilitator of the action. Susanna Ninomiya, Nina Alonso and Lucienne Zetrenne each held their own keeping themselves effectively emotionally detached from the players they directed on the stage. Zetrenne in particular conducted Act III with a somber maturity, the perfect compliment to the aching and ethereal scene playing out onstage.
The bare bones set is an intentional production element. With only chairs and minimal props adorning the stage, the actors skillfully mimed most actions. From Milkman Howie Newsome (Gregory Holt) pulling his cow to Mrs. Webb (Leslie Rodriguez) shucking beans on her front porch, the presentation of these mundane activities gave the audience members vivid mental pictures to wrap their imagination around. The attention to monochromatic detail in the costumes helped distinguish the characters, setting the appropriate mood for each act. The element of makeup was best implemented in Act III, using contours of black around the eyes and cheeks to detail the dead.
Somerset’s heartfelt and heart wrenching production of “Our Town” shows not just a slice of life, but also what it means to live it. In our real world that is now tainted with sadness and pain, this show reminds us that even the most boring, everyday things we do should never be taken for granted.
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By Hayley Hunt of Coral Glades High School
Thomas Edison once said, “Time is really the only capital that any human being has, and the only thing we can’t afford to lose.” Somerset Academy truly captured the essence of the preciousness of time in their production of “Our Town.”
“Our Town”, written by Thornton Wilder, debuted in Princeton, New Jersey at the McCarter Theatre in 1938. It later premiered on Broadway and won the Pulitzer Prize for Drama. The three-act metatheatrical play, narrated by the “Stage Manager”, tells the story of a small town in New Hampshire, Grover’s Corners, from 1901 to 1913. It follows 12 years of the Webb and Gibbs families’ lives as they experience change, love, and loss, while demonstrating the truth of humanity and the perception of time.
Victoria Vitale (Emily Webb) possessed believability and consistency throughout all three acts. As her age jumped from act to act, she adapted to it with grace and was able to portray the time period seamlessly. Her chemistry with Shelby Tudor (George Gibbs), her love interest in the show, radiated with authenticity and certainty. Webb and Tudor depicted the youth of their characters very genuinely and the connection between their characters never faltered. Lucienne Zetrenne (Stage Manager Act III) narrated the final act with pure eloquence. Zetrenne’s diction was rich and made the final act very easy to follow. She executed her monologue with good energy while still maintaining the solemnity of the piece.
Solange Andreu (Mr. Webb) exhibited constant believability as she faced the challenge of playing a male character as a woman. Despite her gender, Andreu captured a relatable fatherly essence, exuding persistence from start to finish. She demonstrated confidence in her character and made distinct choices and stuck with them. Gregory Holt (Howie Newsome) displayed a refreshing sense of comedy in a rather serious show. Holt’s timing matched the sound affects perfectly.
Although high energy was absent in certain scenes, the cast continued to stay in character throughout the show. The use of pantomiming was well done and the timing was mostly spot on. With or without sound effects, their movements were believable and carried details to support their actions.
The set was minimalistic which assisted in making the audience focus on the symbolism of the show. However, the lighting choices could have been more creative, especially in Act III as the separation of the dead and living was displayed. With having very little props, the cast incorporated appropriate use of pantomiming along with aiding sound effects, although the sound effects overpowered the dialogue at times. Despite difficulties with some of the microphones, the actors maintained audible projection in most scenes.
Somerset Academy’s production of “Our Town” held great representation of both life and death through everyday scenarios of everyday people.
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By Santiago Zornosa of Western High School
A gentle wind blows on the corner of Main Street, the jingle of the doorbell rings at the corner store, and the far off train blows its hefty horn. “Our Town” relays the simple everyday occurrences and the inevitability of life and death in Grover’s Corners, New Hampshire. Somerset Academy captured a slice of life in their commendable production of “Our Town.”
In Thornton Wilder’s metatheatrical play, an onstage ensemble observes the production taking place over a series of years in the early 20th century, all in Grover’s Corners. The play premiered in 1938 and went onto Broadway, even acquiring a Pulitzer Prize for Drama. Acts One, Two and Three, titled “Daily Life”, “Love and Marriage” and “Death and Eternity” respectively, set the mood for what to expect in each Act, as the characters and the town itself change with the passage of time, in accordance with the overall theme of the show.
The play opens with the onstage audience taking their seats, as the Stage Manager for Act One, Susanna Ninomiya, paints the picture of Grover’s Corners alongside ingeniously used projections of what could very well have been the actual town, combining narration and imagery to instill a sense of familiarity needed when watching “Our Town.” Emily Webb and George Gibbs, played by Victoria Vitale and Shelby Tudor, had remarkable stage presence, asserting their characters throughout the show. They had a natural and endearing relationship which grew from their first meeting and then to their wedding and beyond. Vitale’s genuine line delivery and soft, nuanced physicality brilliantly captured her character’s intentions in each scene. Tudor’s timid portrayal of George complimented Emily’s powerful self-assurance. Solange Andreu and Leslie Rodriguez, as Mr. and Mrs. Webb, had a commendable marital relationship playing off one another. Their dry, yet witty humor helped to lighten the mood of the play, adding a simplistic amusement. The Ensemble fluctuated in energy but remained strong throughout.
In regards to the set, “Our Town” demands a relatively simplistic set, choosing interpretation over visualization. Somerset Academy achieved exactly that with a fine balance between sincere and essential, such as the iconic ladders for George and Emily’s window scene. Somerset’s Company pantomimed the majority of actions, working in tandem with sound cues to achieve a relative level of believability with their miming. The production did suffer from sound issues, namely microphones dropping and at times very modern music choices but the company never broke character and continued rigorously through the technical issues, denoting an experienced cast.
“Our Town” remains a true classic piece of theatre, and a difficult one to perform well. Somerset Academy’s excellent production deserves praise for a well-crafted show!
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By Hannah Ellowitz of American Heritage School
Especially in today’s world, it’s extremely important to remain in the moment; appreciating all of the incredible gifts around you. Somerset Academy’s performance of “Our Town” realizes humanity’s ignorance and blindness, teaching us that it is important to not take even a single moment for granted, even on the most “unimportant” days.
“Our Town” was written by American playwright Thornton Wilder in 1938. The metatheatrical three-act play takes place in the early 1900s in Grover’s Corners, a town located in New Hampshire near Massachusetts. “Our Town” digs deep into the meaning of life and death, while highlighting humanity’s blindness and numbness towards life and their constant unappreciation it. The play is led by the Stage Manager who, much like a narrator, guides the show, bringing in characters to present a part of their day or inviting a guest lecturer such as a doctor or choir director. The play was first performed in 1938 at the McCarter Theatre in Princeton, New Jersey. It soon had a successful run on Broadway before winning the Pulitzer Prize for Drama.
The Stage Manager role was split between three intriguing women, each one taking a different act. Each girl created a completely different character for themselves, yet they all commanded the stage, keeping the audience interested in the flow of the story. Victoria Vitale gave a charming performance as Emily Webb. Her acting skills were especially shown during her final monologue presented in Act Three. Another commendable performance was Solange Andreu, who played Mr. Webb and fully embodied the male role. The entire ensemble gave exemplary performances throughout the play, always taking the stage and conveying clear characterizations. While all of the actors were clearly invested in their roles and storytelling, a lack of diction often created a barrier between the play and the audience. The entire ensemble remained onstage for the entirety of the play, consistently remaining engaged while sitting in a row across the back of the stage.
The costumes were simple and fit the time period: black and white garments with bright red, yellow, and blue accents: the primary colors. Traditionally, the show is done simplistically with a bare set and no props. Somerset’s set was mostly bare with a few wooden blocks and tables to give the audience an idea of the street. Even with the absence of props, the actors had a good understanding through spacial awareness of the items they were using. The lighting sometimes washed out the actors. The sound quality was poor as the mics often changed frequency or cut out entirely, leaving important plot points to be missed by the audience. The music choices did not fit the time theme, sometimes creating a confusing vibe when listening to Bruce Springsteen in the early 1900’s. Despite a few technical errors, Somerset Academy should be commended for using the stage well as guests in Flanagan High School’s theater.
Somerset Academy’s performance of “Our Town” presented moments of delightful characterizations, conveying a strong and relevant message.
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By Madeline Finkelman of North Broward Preparatory School
It is no spoiler to say that in the end, the deepest dreams and desires of the fairy tale favorites of beloved childhood classics always come true. But it turns out, those happy endings are just the beginning. Western High School’s production of “Into the Woods” sends well-known storybook characters on an enchanting and haunting quest where anything can happen, forcing them to confront the sometimes sorrowful aftermath of “happily ever after”.
Into the Woods’s demanding yet dazzling lyrics and score was written by music composer Stephen Sondheim. It opened on Broadway in 1987 and premiered on London’s West end in 1988. In 2014, the show reached a mass audience when Disney Pictures brought a lighter, more kid-friendly version to the big screen. The ambitious book by James Lapine is considered an epic musical adventure intertwining the stories of several characters from the Brothers Grimm tales.
The Baker, a kind but headstrong man who will do anything to grow his family was portrayed by Aidan Havens. With high energy and stellar vocals, Havens ably embodied the sweet stubborness of his character. Ishani Kamalani played The Baker’s strong and supportive wife. Kamalani exemplified excellent comedic timing and a powerful vocal quality, both contributing to her overall engaging performance. Both Havens and Kamalani conveyed an authentic and utterly appealing relationship, proving that to create convincing chemistry, it really does take two.
Santiago Zornosa served skillfully as The Narrator, communicating the story’s convoluted conflicts as they unfolded. In a show with a major theme of life and its moments, Zornosa certainly had his, energizing the stage with his resonant speaking tone and commanding physicality. The poised and bewildered maiden Cinderella was played by Jessica Restrepo. With her sweet vocal quality, Restrepo’s charm emerged in the most sympathetic and emotional ways when conveyed through song.
The cast as a whole mined the script for all its comedic gold. The actors’ over-the-top physicality and enthusiasm added an exuberant layer of entertainment to the production. The cast members playing trees made the woods itself a notable character in the show. The sense of movement these nimble performers brought to the scenes enhanced the show’s visual quality, creating an appealing ebb and flow element with their abstract poses and interpretive moves.
The uncomplicated aesthetic of the set and its moving pieces gave the cast a fitting backdrop to help tell their characters’ tortured tales. The costumes worked to enhance the performers’ relationship with their roles and helped transport the audience to an exciting “once upon a time.”
Packed with humor, drama and ironic lessons of morality, Western’s production takes the audience into the woods alongside fairy tale characters who eventually awake to reality and are forced to see the consequences of their most wistful wishes coming true. As they learn to cope with the loss and disappointment their journey has handed them, this show conveys a grim and grown-up version of the tales we only thought we knew.
*** *** ***
By Sofie Whitney of Marjory Stoneman Douglas High School
“Once upon a time in a far-off kingdom there lay a small village at the edge of the woods.” Take a trip through the trees and down the dell with the cast of Western High School’s marvelous and magical production of “Into the Woods.”
With music and lyrics by Stephen Sondheim and book by James Lapine, “Into the Woods” is a highly acclaimed musical that weaves together multiple Brothers Grimm and Charles Perrault fairy tales, including “Little Red Riding Hood,” “Jack and the Beanstalk,” “Cinderella,” and more.The show opened on Broadway in 1987 and went on to win 3 Tony Awards. Since then there have been numerous revivals and adaptations, most notably the 2014 film starring Meryl Streep.
At the center of the production is a lonely couple desperate to have a child, The Baker and the Baker’s Wife, portrayed by Aidan Havens and Ishani Kalamani, respectively. Havens accurately depicted the emotions of his character, ranging from the utter prosperity because of the birth of his child, to the unexplainable sorrow of the loss of his wife. Specifically, Havens thrived vocally and emotionally in his touching performance of “No More.” As The Baker’s more bold and decisive other half, Kalamani exuded an air of confidence. The two displayed a genuine chemistry throughout the entirety of the production, especially in their heartwarming duet “It Takes Two.”
As the show’s Narrator, Santiago Zornosa used superb articulation and characterization to keep even the moments of exposition lively and entertaining. Zornosa contributed an enjoyable and refreshing energy that is not prevalent in his character. Jessica Restrepo charmingly brought to life the iconic and kind-hearted character of Cinderella. Restrepo excelled at presenting both her animosity towards her step-family and her compassion towards those she deemed deserving. Another standout performer was Marco Massari, depicting the Wolf. In the notable musical number “Hello Little Girl,” Massari displayed impressive vocals and animalistic physicality, truly transforming into his carnivorous character.
Despite quite a few sound errors, the technical aspects of the production ran smoothly. The lighting, costumes, and set all appropriately fit the magical and vibrant land of “Into the Woods.” With a unique ensemble of human tree dancers, the choreography by Briana Oristano and Ashley Shrewsbury added an impressive element of creativity to the production.
Western High School’s heartwarming and enchanting production of “Into the Woods” inspires us all to make wishes, take journeys, and explore paths we never dared to before.
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By Nicole Sugarman of J.P. Taravella High School
With an enchanting medley of magic and music, Western High School’s production of “Into the Woods” emphasizes the old adage, “be careful what you wish for,” and reminds us that the story may not be complete after the fairytale ending.
With a book by James Lapine, and an intricate score by Stephen Sondheim, “Into the Woods” explores what happens when a gaggle of classic fairytale characters are whisked into the woods, compelled by their own personal desires and wishes. The stories become intertwined when a childless Baker and his Wife are sent on a quest by the Witch next door. They must retrieve several items for a potion to undo a curse the Witch had thrust upon their house, declaring that their “family tree would always be a barren one.”
Ishani Kamalani, playing the Baker’s Wife, exhibited magnificent acting skills and chilling vocals. These abilities were displayed in numbers such as “Moments in the Woods.” Aidan Havens, playing the disheartened Baker, was an excellent addition to the production, staying in the moment without cessation and displaying incredible vocal ability. Kamalani and Havens built a very strong and believable relationship, displayed in the song “It Takes Two.”
Playing the warm-hearted peasant-turned-princess, Cinderella, Jessica Restrepo brought a sense of sweetness to the role which, accompanied by her beautiful vocals, made her a standout in this production. Restrepo demonstrated impressive character development as the show progressed and splendidly displayed her character’s inner struggles in numbers such as “On the Steps of the Palace.” Playing Cinderella’s obnoxious Prince, Roman Amento gave a hilarious performance and maintained high energy throughout the production. His selfish attitude and cluelessness helped to create a character for the audience to despise.
The entire cast displayed soaring amounts of energy throughout the production, as well as distinctive and unique characters. Although some of the actors did not completely embody the age of their characters, this was made up for by their strong commitment to their roles. The addition of the Trees as an ensemble created an interesting and inventive element to the production, assisting in establishing the tone of the show and developing pleasing pictures onstage.
The costuming, hair, and makeup in this production befitted each character as well as the whimsical, fairytale world of “Into the Woods.” The decorative set allowed for swift scene changes and visually appealing scenery.
Charming princes, big bad wolves, indignant giants, mysterious men, and other timeless Brothers Grimm characters comprise Western High School’s thrilling production of “Into the Woods,” each setting forth into a fantasy world on a quest
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By Megan Salsamendi of Calvary Christian Academy
“Into the woods, each time you go, there’s more to learn of what you know.” Western High School drama department undertook the Tony Award-winning musical “Into the Woods” with poise and dedication. Any theatre, movie, or Sondheim fan is familiar with the challenging material, giving the high school “giant” shoes to fill. Be that as it may, the students of Western High School delivered with new and creative takes on a classic interpretation.
Music and lyrics by Stephen Sondheim and book by James Lapine, the original “Into the Woods” opened on Broadway in 1987. The plot intertwines infamous Grimm Brothers’ fairy tales such as Cinderella, Little Red Riding Hood, Rapunzel, and Jack and the Beanstalk, into seamlessly related storylines. When the Baker and the Baker’s Wife wish for a child, they learn that their neighbor, a witch, has placed a curse on their family line and left the wife barren. The Witch produces a strange laundry list of ingredients to undo the curse: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold.” Desperate for a child, the husband and wife duo venture into the formidable woods in search of these ingredients. Riddled with life lessons and growth for each character, these woods are filled with humor, tragedy, and spells.
Western High School’s production of “Into the Woods” began with a lovely student choreographed introduction to the woods itself. Portrayed by dancers, the trees helped to establish the mood and incorporate the set in a fresh and immersive way. The prologue, which introduced each fairy tale character, was lively and energetic. A mature and likeable portrayal of the Narrator by Santiago Zornosa added a complex layer to dense material. Notable throughout the entire production was the chemistry between the Baker and the Baker’s Wife who carried the show vocally and led the storyline with excellent character development. Actress Ishani Kamalani, The Baker’s Wife, truly made each of her scenes and songs a delight with her charm and believability. All appropriate moments lent themselves to impressive comedy by the ensemble. Praise worthy was the Princes’ duet “Agony” which invoked excellent physicality and brave humor. The wordless yet priceless Milky White, played by Julia Pihokken, deserves recognition for her commitment and success in making a minor character memorable.
Where the show lacked in articulation and vocals, it made up for in focus and character relationships. As the musical came to an end, the full cast number “Children Will Listen” was executed with passion that superbly emphasized the touching theme. In the words of Cinderella’s Prince, “The harder to get, the better to have.” Western High School’s talent was showcased beautifully in this ambitious musical journey “into the woods, and out of the woods, and home before dark!”
*** *** ***
By Taylor Briesemeister of The Sagemont School
“Steel was me, and I owned the world. Now I ain’t steel and the world owns me”. Those surrounded by the soot and steel allow the upper class decks to enjoy their drinks on the terrace, basking in the sun. These positions surely weren’t earned, so who decided who was placed where? Pompano Beach High School’s production of “The Hairy Ape” is a thought-provoking piece expressing existentialism and a sense of belonging.
“The Hairy Ape” is an expressionist play written by Nobel prize-winner, Eugene O’Neill and was first produced by the Provincetown Players in 1922. O’Neill had actually been aboard a ship where he endured a death of a crew-member. As any playwright would, he began to give in to the nature of his attraction to progressive social theories and politics. He then concluded that this crew member had become hopelessly lodged within that craw of modern society which impacted those stuck within by a desperate feeling of not being able to fit. He had left humanity on his own terms, because of the recognition that he simply did not belong.
Amorie Barton embraced the power of steel when portraying the transatlantic ocean line stoker, Yank. He was able to embody both the brutish and questioning nature of the character with conviction. His abrupt outbursts clearly conveyed his sense of self-worth as well as his confusion about his position in the social class. Steel is power. When Yank’s power was stripped off of him, he could relate to none other than the hairy ape in which he caged himself as.
Yank could not have questioned his belonging without the quick wit of fellow stoker, Paddy (Alfonse Mazzarella). With an impressive consistent accent, Mazzarella brought The Voices to life. Paddy was the first to be appointed as someone who doesn’t belong, revealing Yank’s constant inner thoughts about himself. His characterization was shown successfully on stage
Sound was often successful in projecting the actors’ voices throughout the theatre along with no noticeable missing cues. Sets connected the color orange with the tables in the bottom of the ship with the masks and gloves of the group Yank runs into, making it noticeable that it was a climactic scene for his character.
The story of “The Hairy Ape” is not meant to be completely understood right away. It uses symbolism alongside metaphors that force a person to think. The cast at Pompano Beach High School put forth an outstanding effort in telling a story of socialism and capitalism, wealth and poverty, working class and upper class as they all collide to intentionally offer us no answers at all.
*** *** ***
By Shea Simpson of Archbishop McCarthy High School
How far is one willing to go to find their place in the world? Pompano Beach High School’s innovative rendition of “The Hairy Ape” explores one man’s relentless journey of finding his purpose in status-driven world, beginning inside the scorching bowels of a ship and ending within the concrete confines of a gorilla’s cage.
“The Hairy Ape” is an expressionist piece written by the acclaimed playwright Eugene O’Neil. Compacted with layers of thought-provoking motifs, the play centers around Yank, a hardworking laborer who challenges authority and bellows about the importance he plays in the scheme of life itself. However, that idea is tested when a young heiress treads upon his territory and defames him, calling him a “filthy beast.” This accusation causes Yank to sink into a deep hole of despair, where he soon vows to take revenge on the girl and her “kind” for exposing the hairy ape Yank now believes he truly embodies.
Pompano Beach took a different route in the approach of this classic show, enlisting one of their very own students, Kylie Severine, to adapt the original script in a fashion best suiting the cast and overall production of the play. Her earnest dedication in slightly altering the language originally used by O’Neil proved beneficial in the portrayal of the richly laminated story. Each and every accurately possessed their newly modified dialogue, interpreting O’Neil’s story in a fresh and impactful way.
Immersing himself into the brutish role of Yank was Amorie Barton, embracing the troubled ship worker with his distinct ape-like mannerisms and swift agility. Unafraid to make bold movement choices, he prominently displayed his character as he tackled the stage. Barton’s portrayal of the soul-searching ship-worker shed light on both Yank’s strong masculinity and his hidden fragility as his character arc beautifully blossomed in the final heart-wrenching scenes of the show. Alongside Barton was Alfonse Mazzarella, playing the aged Irish worker Paddy, assisting as the comedic relief in the production. His commitment to his character was genuine, bringing to life the oafish native in a seamless and hilarious manner.
At no point in the show did the actors cease to stop working with one another. Their chemistry was blatant and commendable, interacting with each other while making sure all the attention remained on the focal points of the scenes at hand. The collective ensembles, such as the Voices and Walkers, shared an undeniable bond that produced quality relationships undeniably perceived and appreciated by audience members.
As said by Yank, “I start something, the world moves.” However, Pompano Beach High School proved that it takes a village to produce something of meaning. As Yank found his purpose, so did each actor and crew member as they tackled such a classic and poignant piece of theatre in a professional and impactful manner.
*** *** ***
By Dylan Jost of North Broward Preparatory School
Philosopher Friedrich Nietzsche once said, “Man is more ape than many of the apes.” Pompano Beach High School’s sublimely-executed production of “The Hairy Ape” tackled challenging themes and proved that, indeed, man may be more intrinsically aggressive and animalistic than even an ape.
Penned by Nobel Prize-winning playwright Eugene O’Neill, “The Hairy Ape” was first produced by the Provincetown Players, eventually transferring to the Plymouth Theatre on Broadway. “The Hairy Ape” focuses on Yank, a brutish worker onboard a ship. Yank is confident in his physical power over his men, acting as their demanding leader. He repeatedly shows contempt towards the upper class. When the daughter of a steel tycoon calls Yank a “filthy beast”, he experiences an identity crisis. As Yank fruitlessly seeks a sense of social belonging, his mental and physical states deteriorate. Eventually, Yank has a fateful encounter with an ape- the very creature he has come to represent through his animalistic behavior.
Leading the show with a dynamic presence was Amorie Barton as Yank. Portraying a character who experiences a descent into madness as severe as Yank’s can often be challenging for a high school actor. Barton deftly rose to the challenge and, alternating between various emotions, successfully portrayed Yank’s transformation from a headstrong, rash worker to a man who is better characterized as an unthinking beast. Barton’s hard work was evident in his clear character development, bold choices, and commendable stage presence.
Adding a comedic presence to the show was Alfonse Mazzarella as Paddy, an old Irishman who, often drunkenly, works on the ship alongside Yank. Along with an impeccable Irish accent, Mazzarella’s posture, voice inflections, and consistent stage presence all resulted in him successfully portraying a character who is simultaneously endearing and irritating. As the “hairy ape”, Ryan Hiott provided a well-executed example of physical theatre at its best. Hiott’s ape-like movements and convincing grunts contributed to his successful portrayal as a barbarous beast. The Voices were a successful ensemble, always staying in character and remaining invested in the action on the stage.
Technically the show was excellently executed, with the technical aspects complementing the actors beautifully. The props were well-selected and fit the overall tone of the show. The sound cues were used to seamlessly transition from scene to scene. In regards to creativity, Kylie Severine must be lauded for her hard work; she spent 5 months dutifully rewriting the script.
Putting on a show with as complex of themes as “The Hairy Ape” is a daunting task for even the best of actors. The actors of Pompano Beach High School succeeded in expressing themes of existentialism, masculinity, and social class through their dedicated performances. Although there was sometimes a lack of diction among the cast, this was more than made up for by their overall stage awareness.
Pompano Beach High School brought a moving story of one man’s dark descent into beasthood to the stage in their production of “The Hairy Ape”. Transporting the audience to various locations ranging from the dark underbelly of a ship to the vast and confusing world of Manhattan, the actors of “The Hairy Ape” revealed the innate qualities of man and the path through which these qualities come to fruition.
*** *** ***
By Erin Cary of NSU University School
Full of steel, dreams, and a hairy ape, Pompano Beach High School’s “The Hairy Ape” is a tragic commentary on class struggle and the desire to belong.
Eugene O’Neill’s “The Hairy Ape” is an expressionist play that follows the story of a working-class man named Yank, looking for his place in life. He initially finds meaning in his role as a fireman on an oceanliner, but when the ship’s engines are visited by a rich, aristocratic woman, he begins to question his identity and the differences between classes. The play investigates the impacts of industrialization and class struggle on an individual. “The Hairy Ape” was first produced by the Provincetown Players in 1922 and later moved to Broadway. The play initially received bad reviews but is praised to this day for its dramatic language and powerful themes.
Amorie Barton (Yank) tackled difficult monologues and scenes with composure. His physicality and demeanor fit his character well, and he clearly grasped the major themes at play. Alfonse Mazzarella (Paddy) created a solid character, with a convincing and consistent accent. Whereas other actors at time lacked clear diction, he projected well and always clearly conveyed his meaning. His well-timed humor contrasted the darker themes present throughout the show.
Besides those standout characters, the show was mostly ensemble driven. Audrey Maggio (Secretary) and Ryan Hiott (Ape) accentuated their characters with voice and physicality respectively. Mikaela Whitmer (Aunt) and Jessica Romer (Mildred) did an excellent job distinguishing themselves from the lower-class characters in the play. Although the production sometimes seemed rushed, the ensemble members remained present, with well-developed and consistent reactions. However, many of the individual characters lacked emotional build-up and passion in their scenes.
Kylie Severine adapted O’Neill’s original script so that the show was a better fit for Pompano Beach. Her work was thorough and made the script’s meaning clearer from scene to scene. Although it was at times repetitive, the sound (Wittie and Co.) generally enhanced the production and ran without error. The simplistic set (Vagasy and Co.) added much needed levels to the show that helped the actors’ energy and deepened the class divide. In general, the technical elements lacked creativity and uniqueness and sometimes failed to convey the time period and setting of the play. However, marketing and publicity (Romer and Co.) particularly stood out as detailed and creative, with an interesting promotional project and inventive advertising.
“The Hairy Ape” is a classic piece with a message that is still relevant in the modern era. Pompano Beach High School tackled this complex play with energy and persistence.
*** *** ***
By Gabriela Coutinho of American Heritage School
In the arena of high school theatre, one rarely finds existentialism – let alone transforming proletariat into ape and aristocrat into surreal masked vision – menacing audiences. In its rendition of Eugene O’Neill’s The Hairy Ape, Pompano Beach High School took on a challenging piece and managed to establish a rushed, simplified criticism of an industrialized, dehumanized world of class struggle and deteriorating human interaction.
Opening in 1922 to mixed reviews in Greenwich Village, The Hairy Ape has attracted fans as well as confused critics for decades before arriving at this high school stage. Being a period and absurd piece, this enterprise imposes era familiarity, intense physical manifestations of human regression into ape and “dolls”, and thorough text comprehension. Understandably struggling with these, Pompano Beach’s production may have felt emotionally flat and physically stagnant at times due to some inconsistencies, but the time and work dedicated to make the show more accessible to students remained admirable.
As the hypermasculine initial epitome of laborer (Yank), Amorie Barton exhibited an animalistic physicality and loud voice, hitting moments of narrow-minded domination, contemplation, and defeat. With vigorous movement and consistent Irish accent as Paddy, Alfonse Mazzarella’s humor and presence, especially in monologues concerning freedom, livened Act I. Maintaining appropriate stage business, the “voices” (firemen) interacted well with one another and established a grimy setting of slightly drunken men. Symbolically on a higher scenic level, aristocratic Mildred and her aunt (Jessica Romer and Mikaela Whitmer respectively) strongly juxtaposing them in status, grandly exuding airs of refined poise and disdain for the firmen.
With an ensemble of actors supporting the play’s themes, the blocking of masked churchgoers on Fifth Avenue interestingly displayed existentialist expression of social detachment. Contributing realistic acting to the show’s depiction of the 1920s socioeconomic hierarchy in America despite brief stage time, Audrey Maggio as IWW secretary and Anderson Michel as guard committed to distinct character choices. The ape himself (Ryan Hiott) faithfully stepped into this violent animal’s paws, immediately attacking Yank upon being freed and even wearing his costume for school to advertise the show (thanks to marketing/publicity by Romer & company).
Creating the play’s tangible unique world, the technical elements supported the performance with symbolism and hard work. Despite a low budget, set and props (by Vegasy and company) got creative, using a periaktoi and accent color – orange – which could be found on the masks, fur, and other symbols of status to symbolize survival and elite oblivion to its difficulty in lower classes. Adapting the play for “educational theatre” and working as the dramaturg, Kylie Severine aided understanding of the text and filled the void of an underrepresented field of theatrical study in high school theatre.
Even drawing some laughs with energy and irony’s portrayal, The Hairy Ape at Pompano Beach High School attained what few productions of this play ever could. For handling intimidating material with the limited resources they had and staying in their established characters, the students ought to feel proud of their work and attempt at O’Neill’s complex commentary on humanity’s displacement within a stratified, mechanized society.
*** *** ***
By Alex Wind of Marjory Stoneman Douglas High School
What do you get when you combine marital mix-ups, aerial apples, and a messy maid striving to be a comedienne? It doesn’t sound like the perfect joke but in truth, all these elements combine in hilarious harmony in Coral Glades High School’s production of “The Clean House.”
Sarah Ruhl’s comedy, “The Clean House,” cleverly disguises its romantic comedy content with a farcical and witty nature. After the serious Lane hires the quirky, bizarre, and Brazilian Matilde as a maid, Matilde soon reveals that she hates cleaning. Seeing what a mess her house has become, Lane’s sister, Virginia, decides to take matters into her own hands and clean the house herself, much to Matilde’s happiness. As soon as Lane discovers the charade, madness ensues as her newly estranged husband returns with his “beshert.”
Haley Amann (Lane) embodied the stoic and poised doctor with professionalism. Amann grasped not only the absurdness of the material but was also able to hold her ground when it came time to deliver serious dialogue. Amann’s knowledge of the events occurring around her was made apparent in scenes when she may not have been the center of attention yet still remained in the moment at all times. Mava Gonzalez (Matilde) exploded with eccentricity as the hysterical housemaid. Gonzalez’s mannerisms and vocal dynamics crafted an exciting character as she told stories of her parents and her life in Brazil and her aspirations of finding the perfect joke. Gonzalez also managed to articulate each and every single one her words while keeping up her Brazilian accent.
Blaine DeBerry (Charles) embraced the nonsensical in his portrayal of Lane’s ex-husband. DeBerry fully captured the physical comedy of the show along with the wit and humor of the dialogue. Alexa Libert (Virginia) maintained a high octane energy throughout the entire show as the somewhat OCD sister of Lane. As Charles’ mistress, Megan Begley (Ana) brought a fresh calm to the show during the second act. Begley created a very likable character despite the fact that her character’s actions may not have been the most genuine.
It was nice to see how the small cast of seven played so well off one another. Amann and Libert’s chemistry created a realistic sisterly bond between the two actresses. Gonzalez and Begley also contributed well to the dynamic as they became more integral to the story. The lighting (Vanessa West) created an effective mood that matched the essence of the show. The set (West and Co.) was effective and simplistic, including an innovative yet somewhat distracting use of two thin see-through curtains to distinguish different places or times.
In the perfect juxtaposition of chaos and compassion, Coral Glades High School’s production of “The Clean House” shows that beauty can be found in even the filthiest of messes.
*** *** ***
By Dylan Jost of North Broward Preparatory School
There’s a famous expression that states “Happiness is – a freshly cleaned house.” Happiness is also – watching Coral Glades High School’s superbly executed production of “The Clean House”, a show that brought a fresh sense of comedy and heart to the stage.
“The Clean House”, written by Sarah Ruhl, premiered at the Yale Repertory Theatre in 2004, eventually being produced Off-Broadway in 2006. The play focuses on Lane, a middle-aged doctor who employs Matilde, a maid who is depressed due to the passing of her parents. Matilde possesses a distaste for cleaning, but Lane’s sister, Virginia, loves cleaning, and starts doing Matilde’s duties for her. Soon, Virginia and Matilde discover that Charles, Lane’s husband, is having an affair with Ana, one of his patients. Chaos breaks out, relationships are tested, unlikely friendships are formed, and all the while, hilarity ensues.
Leading the show with poise and wit was Haley Amann as Lane. Amann excelled in showing both the tough exterior, as well as the fragile interior, of Lane. Amann’s body posture and voice inflections allowed her to believably portray a middle-aged woman, a task that is often challenging for high school actors. Amann diligently portrayed Lane’s transformation from a resilient doctor to a more vulnerable woman with a husband who left her. Lane’s vulnerability when Charles leaves her was a point in the play where Amann shined, alternating between crying and laughing, and as hilarious as she was honest.
Bringing an extra level of comedy to the show was Mava Gonzalez as Matilde. Alternating between depression in the wake of her parents’ deaths and energetic jubilation while spouting jokes, Gonzalez lit up the stage with her dynamic performance. As Lane’s sister Virginia, Alexa Libert delightfully delivered a performance full of nuanced humor and cheerful optimism. Libert did not stop there – she made Virginia a fully three-dimensional character by expressing Virginia’s yearning for a true relationship with her sister. The chemistry between Amann and Libert was evident, and added to the believability of their relationship.
Technically the show was exquisitely executed, with the technical aspects complementing the actors. The set was wisely multifunctional, with the stairs of Lane’s house also being used later as a balcony. The scrims on the stage proved to be a successful storytelling tool, used during Matilde’s flashbacks of her parents. The props were well selected and suited for the show’s intimate feel. Sound and lighting were also executed without fail, with music that signified the aforementioned flashback sequences.
Shows with small casts can often be difficult for high schools to put on, as a high level of commitment and professionalism is needed. Hence, the entire cast of “The Clean House” must be commended for successfully putting on a performance of professional quality and making bold choices throughout the play.
Coral Glades High School brought a hilarious story of sisterhood and unlikely friendships to the stage in their production of “The Clean House”. Transporting the audience to a house full of witty characters, rolling apples, and clean clothes, the actors of “The Clean House” proved that happiness is, more than anything else, laughter.
*** *** ***
By Madyson Prudente of West Boca High School
Coral Glades High School’s production of the critically acclaimed classic, “The Clean House,” was a timeless piece that showed off culture, comedy, acceptance, and love! “The Clean House” was first performed at the Yale Repertory Theatre in September of 2004 and was a finalist in 2005 for the Pulitzer Prize for Drama.
The play is an amusing farce written by Sara Ruhl. It is centered on a Brazilian cleaning woman, Matilde, who would rather be telling a joke than actually cleaning. Matilde’s lack of motivation to clean drives her boss, Lane, absolutely nuts. Lane is a tenacious woman, who works as a doctor at the hospital. The plot line follows some issues in her personal life, including an invasive sister and cheating husband.
The cast carried the show with wonderful character development. Mava Gonzalez played Matilde with great comedic timing. Her portrayal of Matilde was lovable from beginning to end. From trying to find the perfect joke to dancing around to a catchy Brazilian tune, she was always able to grab the spotlight. Haley Aman played Lane, displaying the strong woman she needed to be. Her age was shown effectively through her tone of voice and her characterization, which was extremely strong throughout the entire duration of the show. Lane’s sister, Virginia, was played by Alexa Libert. Alexa did an incredible job delivering her lines with such a funny sense of anxiety. The chemistry between Lane and Virginia on stage was incomparable. Each line shared between them was expressed with such sass, comedy, and emotion. Every actor was able to show the transformation of their character. It was very apparent that they all clearly understood their character arc.
The Technical side of the show also deserves a round of applause, despite a few minor issues. The lighting was beautiful, but a bit ineffective at some points. Scrim frames were used to distinguish flashbacks and dream sequences, however, they were a bit distracting at times. At times the set seemed hard for the characters to maneuver around, but altogether had a great look. One of the greatest aspects of the set was the painting of the clouds symbolizing the dreams the characters have. The technical work in the production was great and did not go unnoticed.
The costumes were extremely time appropriate and extremely pleasant to look at. Virginia’s prim and proper outfits properly displayed her pristine character. Lane’s strong, business-first mindset was exceptionally displayed in all of her costumes. Even the hair and makeup added to the being of each character.
With very minimal errors, Coral Glades High School excelled at executing the classic farce, “The Clean House”. They definitely s brought this comedy to a whole new level.
*** *** ***
By Dylan Redshaw of Marjory Stoneman Douglas High School
Any true comedian knows that the key to comedy is timing. Thriving off of their impressive humor and truly farcical reactions, Coral Glades High School successfully mastered the art of timing in their well-paced, engaging production of “The Clean House.”
‘The Clean House’, written by the imaginative playwright, Sarah Ruhl, premiered at the Yale Repertory Theatre in 2004 and was presented Off-broadway at the New York City Lincoln Center in 2006. The romantic comedy revolves around Lane, a serious surgeon in her fifties, and her young Brazilian maid, Matilde, who would much rather tell jokes than clean houses. When Lane’s husband unexpectedly falls in love with a new woman, Lane struggles to accept the chaotic mess that comes from her love and loss. Filled with contrasting tones of exhilarating humor and soft-hearted simplicity, ‘The Clean House’ leaves viewers dying of laughter from the first joke to the very last.
Opening the production with an intricate line in portuguese was Mava Gonzalez as the gleeful maid, Matilde. Contributing immensely to the play’s farcical nature, Gonzalez excellently exhibited her character’s humorous quirks, expressing animated hilarity through her ceaseless charisma. Gonzalez exuded high energy as she daydreamed vivid stories of Brazil and engaged in lively antics around the house. Haley Amann, portraying the role of Lane, added an element of truth to the play’s complex circumstances as she masterfully presented a multitude of dynamic emotional levels. Amann believably embodied her demanding character, demonstrating a refined growth that ultimately reflected the plot’s compassionate resolution.
Lane’s eccentric sister, Virginia, was admirably portrayed by Alexa Libert. Libert provided an enjoyable presence through her bold inflections as she meticulously described her insane passion for cleaning. The vitality of the production indubitably heightened when Lane’s husband, Charles, brought home his passionate mistress, Anna, portrayed by Blaine DeBerry and Megan Begley, respectively. With their charming chemistry, DeBerry and Begley convincingly justified their newfound love, most notably in the uproarious scene that centered around the Jewish Law of Bashert.
The cast as a whole worked magnificently together to convey the clever humor in life’s most peculiar situations. Each character remained thoroughly invested in every scene, and the play sustained impeccable momentum as every actor exhibited effective comedic timing.
Technically, the show was executed brilliantly. The innovative set, by West and Co., encapsulated the ideal ‘clean house’ with stunning blue accents and beautifully painted clouds. Serving as a home for Charles and his sweetheart, Anna, the sturdy balcony, decorated with appealing lights and baskets of fresh fruit, allowed for a delightful change of location in Act Two. Throughout each compelling dream sequence, the memorable music accompanied by dimmed lighting upon the white scrim frames thoroughly enhanced the whimsical mood of Matilde’s imagination.
“The perfect joke makes you forget about life.” While it is easy to become consumed in the hardships of our world, the students at Coral Glades High School truly encouraged pure laughter throughout audiences and embraced the beauty in reality’s messy situations. Finding humor even in sorrow, the entire cast and crew should take pride in their hilariously touching rendition of ‘The Clean House.’
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By Sofie Whitney of Marjory Stoneman Douglas High School
Full of flying apples, Jewish soulmates, and jokes told in Portuguese, Coral Glades High School’s production of “The Clean House” will be sure to have you “dying of laughter!”
“The Clean House”, written by Sarah Ruhl, premiered in 2004 at Yale Repertory Theatre and in 2005, was a finalist for the Pulitzer Prize for Drama. The play centers around Lane, a middle-aged doctor who is bombarded with the news that her husband has left her for an even older woman, and her cleaning lady, who hates to clean and strives to be a comedian. This romantic comedy focuses on five very peculiar characters as they deal with the themes of love, life, and loss in a very untraditional way.
The cast as a whole did a superb job with the material and presented the perfect combination between the comical and dramatic aspects of their characters. They expertly handled difficult subject matter, such as illness and death, while still producing a humorous and enjoyable production.
As Lane, a serious, middle-aged doctor whose life is falling apart, Haley Amann exhibited an undeniable professionalism, portraying the age of her character wonderfully. Amann created an impeccable balance between the extreme comedy and sincere emotion of the play, specifically during her nervous breakdown scene, as she went from crying to hysterical laughter effortlessly. Mava Gonzalez portrayed Lane’s 27-year old Brazilian cleaning lady, Matilde, who aspires to be a comedian and tell the perfect joke. With excellent comedic timing, the right amount of sarcasm, and lovable charm, Gonzalez captured the essence of her bizarre character.
Lane’s compulsive and slightly morbid sister, Virginia, was excellently depicted by Alexa Libert. Whether she was frantically cleaning Lane’s house, making uncomfortable comments about impending death, or making subtle passes at Lane’s Husband, Charles, Libert presented consistent and spot on comedic timing. Her truthful relationship with onstage sister, Amann, created an element of sincerity to the show as the two continued to fight and make up. Megan Begley, as Charles’ elegant and kindhearted “bashert” Anna, exuded an air of confidence as she formed beautiful and genuine relationships with each and every one of her cast members.
The set by West & Co. charmingly transformed the stage into Lane’s very classy living room with a delightful color scheme of blue and white and an excellently constructed set. Props, done by Alexa Libert, were all appropriate and made useful by the actors throughout the show.
“A good laugh cleans your insides out”. Although Matilde may have not actually cleaned Lane’s house, the students of Coral Glades high school surely gave everyone plenty of good laughs in their refreshing production of “The Clean House”.
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By Alex Wind of Marjory Stoneman Douglas High School
What do you get when you combine marital mix-ups, aerial apples, and a messy maid striving to be a comedienne? It doesn’t sound like the perfect joke but in truth, all these elements combine in hilarious harmony in Coral Glades High School’s production of “The Clean House.”
Sarah Ruhl’s comedy, “The Clean House,” cleverly disguises its romantic comedy content with a farcical and witty nature. After the serious Lane hires the quirky, bizarre, and Brazilian Matilde as a maid, Matilde soon reveals that she hates cleaning. Seeing what a mess her house has become, Lane’s sister, Virginia, decides to take matters into her own hands and clean the house herself, much to Matilde’s happiness. As soon as Lane discovers the charade, madness ensues as her newly estranged husband returns with his “beshert.”
Haley Amann (Lane) embodied the stoic and poised doctor with professionalism. Amann grasped not only the absurdness of the material but was also able to hold her ground when it came time to deliver serious dialogue. Amann’s knowledge of the events occurring around her was made apparent in scenes when she may not have been the center of attention yet still remained in the moment at all times. Mava Gonzalez (Matilde) exploded with eccentricity as the hysterical housemaid. Gonzalez’s mannerisms and vocal dynamics crafted an exciting character as she told stories of her parents and her life in Brazil and her aspirations of finding the perfect joke. Gonzalez also managed to articulate each and every single one her words while keeping up her Brazilian accent.
Blaine DeBerry (Charles) embraced the nonsensical in his portrayal of Lane’s ex-husband. DeBerry fully captured the physical comedy of the show along with the wit and humor of the dialogue. Alexa Libert (Virginia) maintained a high octane energy throughout the entire show as the somewhat OCD sister of Lane. As Charles’ mistress, Megan Begley (Ana) brought a fresh calm to the show during the second act. Begley created a very likable character despite the fact that her character’s actions may not have been the most genuine.
It was nice to see how the small cast of seven played so well off one another. Amann and Libert’s chemistry created a realistic sisterly bond between the two actresses. Gonzalez and Begley also contributed well to the dynamic as they became more integral to the story. The lighting (Vanessa West) created an effective mood that matched the essence of the show. The set (West and Co.) was effective and simplistic, including an innovative yet somewhat distracting use of two thin see-through curtains to distinguish different places or times.
In the perfect juxtaposition of chaos and compassion, Coral Glades High School’s production of “The Clean House” shows that beauty can be found in even the filthiest of messes.
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By Dylan Jost of North Broward Preparatory School
David Sarnoff once said, “The thrill, believe me, is as much in the battle as in the victory.” Delivering a victory of epic proportions, Archbishop McCarthy High School brought this thrilling battle to the stage in their superbly executed production of “The Farnsworth Invention”.
Penned by acclaimed television screenwriter Aaron Sorkin, “The Farnsworth Invention” opened on Broadway in December 2007, closing in March 2008. “The Farnsworth Invention” tells the story of the battle between Philo Farnsworth, a young man who comes up with a design for an electronic television, and David Sarnoff, a young radio executive who recognizes the extreme potential of television. As Farnsworth struggles to perfect the television, Sarnoff aims to use money, hired inventors, and thievery to beat him to it. Who will win the race to invent the most influential product of the 20th century?
Leading the show with extraordinary commitment was Pablo Uribasterra as David Sarnoff. Serving as the “unreliable narrator” of the show, Uribasterra consistently delivered a performance not usually expected of a high school actor. Uribasterra’s character development throughout the show was admirable, as he clearly displayed his transition from a determined young man trying to prove himself in the vast world of radio to a powerful, almost ruthless communications mogul. Uribasterra particularly excelled in his closing monologue, impeccably using inflections of the voice to display regret for his actions. Countering Sarnoff was Bennett Sommer as Philo Farnsworth. Sommer brought both exuberance and charisma to the character of Farnsworth. Yet, Sommer was also able to expertly show Farnsworth’s descent into depression, culminating in a nervous breakdown masterfully depicted by Sommer. The interactions between Sommer and Uribasterra were always electric, infusing the overall show with outstanding energy and vitality.
Providing an enjoyable supporting presence was Rebecca Correa as Pem Farnsworth, the devoted wife of Philo Farnsworth. Correa laid out an array of emotions onstage, ranging from the upbeat excitement of a newly married woman to the extreme heartbreak of a mother who has lost a child. Despite this spacious range of emotions, Correa’s performance was believable throughout the show, with her actions always adding to the plausibility of her character. Another noteworthy performance was that of Justin Cook as Russian Officer #1. Armed with a frightening stage presence and a pitch-perfect Russian accent, Cook set the show off on a strong note.
Technically the show was marvelously executed. Shea Simpson, as the stage manager, helped to bring the production together, admirably balancing the demanding responsibilities of stage managing with the equally challenging job of handling light, sound, and set cues. Set changes were also flawlessly executed, serving as seamless transitions from one location to another.
The cast as a whole must be acknowledged for putting on a performance of professional quality. Despite occasional pacing issues, the cast’s incredible energy and devotion to this artistic endeavor were evident on the stage.
Archbishop McCarthy High School brought the astonishing story of the television to the stage in their production of “The Farnsworth Invention.” Filling the theatre with a dynamic presence, the actors of “The Farnsworth Production” successfully transported viewers to the world of the burgeoning television industry.
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By Nicole Sugarman of J.P. Taravella High School
Russian-American novelist and philosopher Ayn Rand once said, “An inventor is a man who asks ‘Why?’ of the universe and lets nothing stand between the answer and his mind.” In Archbishop McCarthy’s compelling and thought-provoking production of “The Farnsworth Invention,” two men – a self-taught farm boy and a merciless media mogul – face this mind-boggling task with tremendous intensity, creativity, and perseverance.
“The Farnsworth Invention,” written by Aaron Sorkin, follows Philo Farnsworth, a gifted Idahoan scientist, as he begins experiments using electricity, only to become tangled up in an unyielding battle with the young president of the Radio Corporation of America, David Sarnoff. The two ambitious visionaries find themselves in a race to claim the title of “inventor of the television.” “The Farnsworth Invention” opened on Broadway at the Music Box Theatre in December 2007 and ran until March 2008.
Playing David Sarnoff, the RCA founder of great stature, Pablo Uribasterra possessed the ability to convey his character’s strong opinions, inner struggles, and deepest thoughts superbly. His lengthy monologues allowed him the opportunity to showcase his meticulous acting skills and granted time to effectively display his impressive character development. Portraying Sarnoff’s opposer, Philo Farnsworth, Bennett Sommer believably embodied this challenging role, handling strenuous themes such as alcoholism, heartbreaking loss, and mental instability exceptionally. Uribasterra and Sommer did an incredible job distinguishing themselves from one another through their physicality and the manner in which they reacted to different revelations throughout the play.
Philo’s wife, Pem Farnsworth, was extraordinarily portrayed by Rebecca Correa. Similarly to Sommer, Correa handled the challenging themes her character was met with splendidly. She displayed a phenomenal array of emotional levels and varying inflection, creating an enjoyable character. Another notable performance was Justin Cook as Russian Officer #1. Cook’s crisp and clear tone of voice and commanding presence were just a few factors contributing to his prominence.
The cast did an amazing job managing this “fact-packed” production, never allowing the show to deteriorate into monotony and staying in the moment without cessation. The impeccable pacing throughout the play never seemed to become too rapid or drawn out, but remained at a consistently perfected pace at all times, sustaining the show’s momentum.
The well-choreographed and seamless set changes did not detract from the production in the slightest. The addition of an original soundtrack of music enhanced the production immensely, assisting in the establishment of mood or adding nostalgia accordingly.
Ralph Waldo Emerson, a leader of the Transcendentalist movement, once stated, “We are all inventors, each sailing out on a voyage of discovery, guided each by a private chart, of which there is no duplicate. The world is all gates, all opportunities.” The cast of Archbishop McCarthy’s “The Farnsworth Invention” brought this motif, as well as several other intriguing themes, to the forefront in this moving and inspiring piece of theatre.
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By Rylee Berger of Cooper City High School
History can often be seen as boring or repetitive. However, “The Farnsworth Invention,” a true rendition of the origins of television, is anything but. Archbishop McCarthy High School’s production of this play can only be described as interesting, entertaining, and impressive.
Written by Aaron Sorkin, a popular screenwriter, “The Farnsworth Invention” was originally intended to be a screenplay; however, Sorkin ended up adapting it for the stage. This is reflected in the fast-paced momentum of the play, which takes place in over 40 different locations. The play follows two men, David Sarnoff (played by Pablo Uribasterra) and Philo Farnsworth (played by Bennett Sommer); it describes the true story of their race to be the first to invent television.
Though Sarnoff and Farnsworth rarely speak directly to each other, Uribasterra and Sommer built a clear and well-defined relationship between their respective characters. Through each of their character’s physicality, differences were apparent, as Sommer hunched over, always trying to make himself appear smaller, while Uribasterra stood tall and confident. It was clear through his choices and presence that Uribasterra was dedicated to his craft, leaving many in disbelief at the fact that he was only a high school student. Throughout the entirety of the performance, Uribasterra was consistent in his believability and ability to keep his character dynamic, even through his long monologues.
Setting up the exposition for the rest of the play, William Goehmann (Young Philo) successfully portrayed the boyish qualities one would expect of a young man from Utah. As a whole, the cast (many of which played multiple characters) was consistently acting and reacting to the action on stage. The fact-heavy, fast-moving play had the potential to be confusing, however, the actors’ understanding of the piece helped to keep the story fluid and moving at a satisfying pace. This was beautifully reflected in the final (fictional) scene between Sarnoff and Farnsworth, where Uribasterra and Sommer impeccably completed the arc to their respective characters.
This flow was further aided by the work of stage manager, Shea Simpson. Simpson flawlessly choreographed the various scene changes in the play. These changes were done by the actors in the show, and, if anything, they helped to further develop their characters. The set pieces used were often minimalistic, yet multi-purposed, which effectively made use of the small black box stage without overcrowding it.
Overall, Archbishop McCarthy’s production of “The Farnsworth Invention” was a well-paced, engaging piece of theatre that was accentuated by the admirable acting of the entire cast.
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By Sydnie Rathe of American Heritage School
The television is one of the most revolutionary inventions humanity has ever witnessed, but how much do we really know about the origin of this machine? In “The Farnsworth Invention,” the students of Archbishop McCarthy navigated this powerful story and delivered a performance that was both cohesive and stunning.
Written by Aaron Sorkin (author of “The Social Network” and “A Few Good Men”), “The Farnsworth Invention” is a dramatic retelling of the lives of two men, David Sarnoff and Philo Farnsworth, as they race to invent the television. Each man tells the other’s story, observing and narrating as the events of their lives unfold. Originally intended to be a screenplay, “The Farnsworth Invention” allows for deeper exploration of these characters through imagined sequences where Sarnoff and Farnsworth confront one another. The play examines their experiences through the lens of moral ambiguity and ultimately, good and evil are left undefined.
Direction of this show was impeccably clean, creative, and consistent, always enhancing the plot and truly pulling audiences into the reality of this production. With over 40 locations and 70 different characters played by 18 actors in a black-box theater, a typical high school cast would (understandably) be overwhelmed by the magnitude of this production. However, this was not the case for the students of Archbishop McCarthy, who – coordinated by stage manager Shea Simpson – effortlessly transitioned from location to location. The inventive use of the simplistic set was effective and diverse, a box with angled extending legs portrayed a car and what had been a bench became a podium without any confusion. The blocking was interesting and engaging to an extent where it never appeared as though the actors were “moving because they were told to,” but rather living truthfully the experiences of their characters. The music was a perfect underscore to the plot and pleasantly developed the atmospheres of many of the more dramatic scenes.
Pablo Uribasterra as David Sarnoff was absolutely radiant as he navigated the cold and often cutthroat nature of his ambitious character, while simultaneously remaining incredibly realistic and truthful to the text. His dedication to his character was unwavering and his dynamic, meticulous performance truly drove the production. Bennett Sommer as Philo Farnsworth showcased a powerful and emotional character arc unparalleled by most high school performers. His brilliant depiction of mental devolution was harrowing as he unravelled throughout the production. Even further, the dichotomy between Uribasterra’s ruthless and arrogant Sarnoff and Sommer’s nervous and naive Farnsworth was flawless.
The most impressive aspect of this production, however, lay in the ensemble of passionate and dedicated students working tirelessly in every scene to bring this story to life. Transitions between the many characters they all played were distinct and sharp, and each character had such unique physicality and development that every one was memorable. There was no point throughout the production that was not buzzing with energy and filled with justified yet engaging stage business. The dedication of these students to each of their characters was exceptionally refreshing and well beyond the level expected of any high school production.
“The Farnsworth Invention” is an incredibly intriguing story navigating the themes of motion and communication in a revolutionary era, and the students of Archbishop McCarthy only enhanced this with their immense spirit and skill. This production was a wonderful showcase of the talents of everyone involved and the product was truly outstanding.
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By Gabriela Coutinho of American Heritage School
Blue fades, red burns, and electrons bounce as light is reflected off of three-dimensional people before they proceed with a spectacle of professionally handled pace, science, history, and raw humanity captivating hearts and minds with every moment of its nearly forty scenes. Appearing as miraculous as the invention of a television or landing a man on the moon, “The Farnsworth Invention” at Archbishop McCarthy High School impressively tackled mature and logistically difficult material with the brilliance of its iconic leading characters.
Crafted by esteemed screenwriter Aaron Sorkin, “The Farnsworth Invention” script interestingly parallels the rapidly evolving yet deteriorating 1920s and 30s, jumping across time and space to depict the (mostly) true story of television’s birth and fight to secure patents. Originally written for the screen in 2004, the stage play demands seamless scene changes, a dedicated stage manager (Shea Simpson) enacting countless cues, tirelessly engaging actors, diction with challenging accents, and realism: triumphs Archbishop McCarthy students excelled in. At the forefront of the conflict stood calculating mogul David Sarnoff (Pablo Uribasterra) and Utah farm boy turned television inventor Philo Farnsworth (Bennett Sommer).
Quipping at each other, the two beautifully juxtaposed in whirlwinds of argumentation and dynamic – violin music to the ears. While Uribasterra dominated the stage by stepping completely and meticulously into the often ruthless Sarnoff with clear intentions, Sommer embodied the passion and often helplessness in Farnsworth. They kept their shifts in status, confidence, and control realistic with physicality – namely in Farnsworth’s drunken, decaying mental state – and vocally emotional escalation – notably in Sarnoff’s accumulating frustration, anger, and jealousy of Farnsworth’s mounting success. These actors not only believably manifested historical figures, but also felt the weight of old, numb hardship and recent, stinging loss; as television can transmit distant images, they could strikingly transmit vivid pain and adults distant from themselves.
Portraying nearly seventy characters in a cast of sixteen, the ensemble must claim patents on its numerous character inventions. Actors constructed up to seven diverse roles and accents, such as poised Emiliana Quiceno with French and intimidating Justin Cook with Russian. As Pem Farnsworth, Rebecca Correa extracted laughter in love scenes yet also maturely expressed anguish from her son’s illness and death. Uniting like puzzle pieces of technology, the ensemble movingly immersed the theater in historical events, from overwhelming despair of the stock market crash to awe the moon landing on television inspired, with engaged interactions and heartfelt variety in mood.
In flashes of information, humor, and compelling examinations of people’s faults as well as capabilities, “The Farnsworth Invention” offered fresh eyes upon a universally influential household object – and remorse when competitive careers blur honesty, empathy, and familial priorities. Although Sarnoff and Farnsworth ultimately failed to personally fulfill one of their most prized achievements – communication – by never confronting each other, Archbishop McCarthy wrote its own history in an alternative of authenticity by painting in such human colors that they speak as loudly and move as boldly as its title invention.
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By Coltin Garcia of Palm Beach Central High School
The circus has come to South Florida and no it is not your classic big top. This is a circus of Greek Geeks that have one or two stories to tell us. St. Thomas Aquinas High School’s production of “Circus Olympus” teaches us many different morals from various different Greek myths, but with a more humorous twist.
The play “Circus Olympus” was written by Lindsay Price. This play was published and hit the market in 2006. The play follows a troupe of Greek Geeks that do a show portraying a series of stories that retell Greek Myths. This play allows us to see a reenactment of six different myths; Demeter vs. the Underworld, Perseus and Medusa, The Mythapalooza Slam Jam, Athena, King Midas, and Pandora’s Box.
Overall, the production was very high energy and had talent to match. Merve, Ishy and the entire ensemble captivated the entire audience with their wacky but intriguing stories. The entire cast was fully connected to the story, with a high-energy and commitment to characterization.
Leading the show as Merve was Greg Telasco, whose strong vocal dialogue and well-developed character brought the audience to the circus. Ishy, played by Samara Chahine, worked alongside Telasco to narrate the show. She was able to act out scenes in the beginning and then take control towards the end to narrate. Alexa Hui, playing Osina, had excellent character development during the entire show. She was able to portray a cute and bubbly personality and able to transition into different characters she also had to portray. Though there were inorganic reactions and unnecessary shouting throughout the show, the characters’ high energy and good chemistry kept the show alive.
A standout actor was Sam Infantino, with the role of Perseus. He had good comedic timing and was fully involved with the show from start to finish. Persephone, played by Shannon Reid, was another one to remember. In the limited speaking role that she had, Reid did one of the best jobs with having a completely developed character and sticking with that character throughout. As a whole, the ensemble was strong and helped properly portray each different story. Even though some scenes felt rushed through and the audience struggled to differentiate between some characters from scene to scene, the cast was able to portray the myths properly with comedic timing and high levels of energy.
The technical aspects of the show were overall very well done. The set was unique and well used. The hair, makeup and costumes were quirky, which fit the style of this show and added to the creativity involved in creating individual characters. The props where done magnificently and enhanced the production with great versatility on stage. Other technical aspects, including the sound and lights were well executed. The sound cues done on stage where spot on and allowed for comedic points during the show to be enhanced. Though there where some mishaps during the show, it didn’t not phase the actors and the show went on.
The St. Thomas Aquinas High School production of “Circus Olympus” was inspired and creative. We know for a fact that there was no clowning around in this production of “Circus Olympus” at St. Thomas Aquinas High School.
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By Natalie Medina of The Sagemont School
In a style similar to Perseus’s rhyming, here’s a poem about a show with great comedic timing: Performing in a tent was a group of Greek geeks, giving a performance that was incredibly unique. Sitting in the corner was the brilliant sound guy, with a guitar and ukulele on standby.
Not even clichés can give this show the proper praise. Yes, I know this rhyming isn’t cool, but there are better poems and a great show at Saint Thomas Aquinas High School.
“Circus Olympus” is an epistolary-styled play written by the popular playwright, Lindsey Price. Although there are none of the usual circus attractions, there is a band of Greek geeks ready to share the ancient myths of Greece through comedic portrayals of gods and exaggerated character choices.
The ringleader should always have one of the strongest impressions on the circus floor, and this production was no exception. Commanding the stage as the leader of the Greek Geeks was Merve (Greg Telasco). Telasco gave a very comedic and prominent performance as he strode across the stage, towering over everyone with his oversized, brightly colored bowtie. His narrations were clear, and when he became a part of the anecdotes, he had a very distinguished character shift.
The entire ensemble of Greek Geeks had high energy that persisted throughout act one, and for the entirety of act two. All members had good chemistry with one another, and for the most part had excellent comedic timing. The over-dramatic portrayals of characters added a level of surrealism, but still could have had more character development to support their performances.
Coming on stage as a part of the cast, but having the job of a crewmember was the multitalented Brian Sayre. Sayre stayed on stage, surrounded by a myriad of musical instruments and other sound-producing props, to create all the background music and sound effects of the show. He was constantly switching his ukulele to a guitar, his slide-whistle to a kazoo, his maracas back to his ukulele, and just kept going back and forth. His impressive undertaking of such a complicated task was very commendable.
There are no elephants on bicycles, and no, it is not Cirque du Soleil, but Saint Thomas Aquinas High School’s production of “Circus Olympus” is definitely a show worth attending.
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By Dylan Jost of North Broward Preparatory School
Fernando Botero, an artist and sculptor, once said “The circus leaves a sweet memory.” St. Thomas Aquinas High School’s highly enjoyable and superbly executed production of “Circus Olympus” truly did leave a sweet memory etched into the minds of the audience members.
Written by Lindsay Price, author of more than 60 plays, “Circus Olympus” tells the story of a troupe of traveling actors and performers. When the time comes to set up their tent once again, they perform a series of Greek myths in a comical manner, operating as a circus of sorts. These Greek Geeks, as they are called, each play various roles including, but not limited to, Zeus, Demeter, Hades, and Athena. Utilizing a variety of costumes, props, and other gags, the Greek Geeks transport their audience to the world of Greek mythology.
Acting as the narrators of these myths were Merve (Gregory Telasco) and Ishy (Samara Chahine), both of whom also played additional characters in the wide array of myths performed by the troupe. Telasco masterfully portrayed Merve as the leader of the troupe, adding levels of character nuance through his strong diction and projection. Telasco’s hard work was evident in his commendable comedic timing, clear character development, and comical reactions to others on stage. Chahine also delivered an admirable performance as Ishy, displaying exuberance through her use of vibrant facial expressions. Chanine used spunk and moxie to give her character a little something extra, distinguishing her from the rest of the cast.
Osina, played by Alexa Hui, added an extra level of comedy and energy to the play. Hui brought the quality of ebullience to the stage, always staying in character as she deftly maneuvered from myth to myth. Two performances that must be mentioned are those of Shannon Reid as Persephone and Bianca Brutus as Demeter, her mother. Both actresses brought the audiences to tears of laughter, mainly due to their commitment to their characters. Both Reid and Brutus must be commended for making bold character choices that ultimately added to effectiveness of their portrayals.
The technical aspects of the show complemented the actors beautifully. The sound cues, performed onstage by Brian Sayre, were exquisitely timed, not detracting at all from what was happening elsewhere onstage. Props and costumes were ingeniously selected for this show, providing the actors with the tools necessary to put on a performance of this high caliber.
As a whole, the Greek Geeks of “Circus Olympus” filled the theatre with their seemingly never ending energy throughout the entire show. As an actor, it can sometimes be a challenge to consistently remain in character, yet this was a challenge that these actors conquered almost effortlessly. Although diction could have been improved at times, this was made up for by the incredible spirit and stamina of the cast.
St. Thomas Aquinas High School truly brought the circus to town in their laugh-filled production of “Circus Olympus”. With compelling performances, laudable technical aspects, and quippy dialogue, “Circus Olympus” proved to be an entertaining venture into the vast world of Greek mythology.
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By Alex Wind of Marjory Stoneman Douglas High School
The most popular and well-known creation stories come from Greek mythology; stories like Pandora’s Box, King Midas, and Perseus and Medusa. All of these teach lessons and instill strong moral principles unto people. So, come one, come all to hear these memorable stories told in St. Thomas Aquinas High School’s production of “Circus Olympus.”
Written by Lindsay Price, “Circus Olympus” follows the Greek Geeks, a traveling circus troupe whose specialty lies in the storytelling of Greek myths and legends, but this is not a traditional circus. You won’t find elephants on bicycles or clowns running rampant, but instead, you will find zany and wacky actors who love depicting the stories of Grecian Gods and Goddesses and the trials and tribulations of Grecian citizens from times long ago. As the plot unravels, new love flourishes, eavesdropping occurs, and after a cast member seems to be missing, someone is given the daunting task of wearing the dreaded grape suit!
Gregory Telasco’s (Merve) stage presence and booming vocals aided in his portrayal of the magical and fantastical Merve. He skillfully moved the plot along with ease as the ringleader of the absurd circus. Samara Chahine (Ishy) equally impressed with her astute and dignified performance through clear diction and high-octane energy, which she maintained throughout the entire production. Alexa Hui (Osina) embodied the dim-witted and somewhat materialistic character perfectly as she fell in love with James Lawlor’s Manso.
As the story unfolds, many actors portray different characters within the show in a series of vignettes. Some stand out actors were Bianca Brutus, Jason Pietrafetta, and Michael Ryder (Demeter, Hermes, and Hades, respectively). All characters displayed impeccable comedic timing whether it was Brutus’ over-the-top humor, Pietrafetta’s dry wit, or Ryder’s lisp. Another standout, Sam Infantino (Perseus) captured the rhyming hero exquisitely, making every joke better than the last and loading each line with purpose and emotion.
Altogether, the ensemble cooperated to create the rambunctious and boisterous atmosphere of the circus olympus. Each actor remained in character at all times while onstage and also sustained high energy through both acts of the play. A wonderful technical aspect of the show was that the sound effects were actually done on stage by one student, Brian Sayre. Sayre played the guitar, ukulele, and an assortment of other gizmos and gadgets to create a realistic atmosphere. The vibrant costumes done by Lara Jimenez and Jacqueline Miller immensely added to the characters and showed their personalities. They also showed distinction in a sort of hierarchy with Merve’s costume being reminiscent of the classic circus ringleader, displaying his position. The makeup, done by Sophie O’Sullivan and Co. effectively conveyed the Greek Geeks as flashy, flamboyant circus performers.
As St. Thomas Aquinas High School’s production of “Circus Olympus” closes up shop, the mythical stories told will be deeply embedded in minds for all eternity.
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By Jade Carey of Piper High School
When the circus comes into town, most people expect acrobats, magicians, dancers, even an elephant on a bicycle. But in St. Thomas Aquinas High School’s rendition of “Circus Olympus,” the reveal is something far from the norm. Circus Olympus by Lindsay Price, follows a group of actors, known as the “Greek Geeks,” as they tell stories of Greek mythology. Throughout the play characters from famous Greek stories such as Pandora’s Box and King Midas, are brought to life in this circus through colorful costumes, sets, and high energy.
The students of St. Thomas Aquinas High School brought their characters to life as they performed each scene on stage. Bianca Brutus, through her portrayal of the goddess Demeter in “Demeter vs. the Underworld,” did a great job of capturing the frantic tone a mother has when losing a daughter, while having hilarious facial expressions and actions that tied it all together. Jason Pietrafetta portrayed the hysterical Hermes through the stories of “Demeter vs. the Underworld” and “Perseus and Medusa,” with great comedic timing and amusing one-liners. Sam Infantino brought a vibrant, animated tone to the character Perseus in the story of “Perseus and Medusa” with great energy. Gregory Telasco and Samara Chahine, as Merve and Ishy respectively, did an amazing job of narrating the stories and helping to move each scene along. The ensemble of the “Greek Geeks” delivered an energetic and exuberant performance throughout the play. The use of the stage along with lively expressions, great chemistry, and interaction with the audience, helped to portray the chaotic scene of how a circus can be. Between each scene, the actors were able to transition into their different roles smoothly often with changes of voices, mannerisms, and costumes. Even when not the center of attention, the actors did an amazing job of keeping in character to set the mood of each scene. Although the actors did a great job of putting in a lot of energy to portray their characters, at some points, the performers tended to over exaggerate, which made some scenes feel forced and took away from comical moments. At certain times, the high volume and fast pace talking made it difficult to hear lines said by performers, yet it did help to add vibrancy and enthusiasm to each scene. Even though the stage was used thoroughly, some actors were blocked, and their facial expressions and body language were not able to be properly seen.
The set and use of props helped to set the mood of an actual circus. The lighting between the transition of scenes was amazing and was done smoothly. The use of different colors such as red and yellow helped to distinguish different scenes within the play. The costumes seemed a bit disjointed, but were still able to capture the lively personalities of each character with bright colors and patterns. The use of live sound by Brian Sayre was an amazing choice as it brought a different element to the play and helped the portrayal of the circus seem more authentic. The use of sounds from a guitar to even a thin sheet of metal to make the sound of thunder was great and had amazing timing.
All in all, St. Thomas Aquinas Hugh School’s production of “Circus Olympus” was a dynamic experience, filled with amazing storytelling and hilarious moments.
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By Dylan Redshaw of Marjory Stoneman Douglas High School
“Blessed are those who don’t think they have to go out and do something about it!” Discussing many righteous messages such as this, South Plantation High School’s captivating production of “It Can’t Happen Here” incorporates well executed American Sign Language and significant political truths that continue to resonate with the American people today.
Originally written as a novel in 1935 when fascism in Europe was on the rise, Sinclair Lewis’ darkly satirical play “It Can’t Happen Here” imagines the hypothetical election of the authoritarian president named Buzz Windrip who promises to return the country to greatness. Windrip’s presidency results in a social upheaval, witnessed by disapproving newspaper editor and political activist, Doremus Jessup. The cautionary tale contains shrewd parallels to recent historical events, that emphasize the fragility of government, and argues for free speech as a basic foundation in democracy.
Leading the show as the strongly opinionated liberal editor, Doremus Jessup, Grace Emery commanded the stage exceptionally, exuding an air of confidence as she fervently fought for social justice against a rising fascist ruler. Through her clear choices and ceaseless charisma, Emery was able to deliver a refined growth between act one and two that ideally reflected her headstrong character’s dismal outcome. Doremus’ intellectual lover and co-conspirator, Lorinda Pike, was portrayed by Yasmin Rocha with bold characterization and admirable maturity. Rocha constantly expressed versatile levels that effectively amplified the authenticity of the show. Curtis Dodgen as the outspoken presidential candidate, Buzz Windrip, provided a realistic and uneasy comedy, most notable in his dominating campaign sequence. Dodgen consistently kept up the politician’s manipulative demeanor through his animated physicality and powerful inflections.
The American Sign Language interpreters excellently mirrored their speaking counterparts throughout every scene, presenting a unique approach to live theater. Despite the occasional lack of genuine expression, the ensemble brought side interpretations to a whole new level with their strikingly distinct mannerisms and exuberant facial expressions. Doremus’ interpreter, Carolyn Kean, gave a noteworthy performance as she expressed Doremus’ profound emotions entirely through her heightened reactions and passionate movements.
From the favorably intimate staging to the compelling, symbolic set pieces, the production’s technical elements contributed immensely to the evident 1930s atmosphere. Sound, by Ramses Ascanio, enhanced the intense mood with subtle, yet chilling, patriotic transition music between each scene. The intricate costumes, by Tiernan Ramer, were time-period appropriate and altogether helped to establish each character’s role in society. Overall, the cast and crew used the stage impeccably to create picturesque images that emphasized thrilling moments and forcefully conveyed their empowering central message.
South Plantation High School’s production of “It Can’t Happen Here” was truly thought-provoking, offering a new perspective to a multitude of audiences.The students should take pride in their immense accomplishment of merging deaf culture and theatrics with the complicated world of politics
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By Taylor Briesemeister of The Sagemont School
Thirteen of “Earth’s finest” have gathered here today due to the divination of a second chance at the end of the world – at least they’re surrounded by deli meat. Saint John Paul II Academy’s “Higher Power” burned and sedated the question: what will come of judgement day?
Bradley Walton spent seven long years trying to make it as a comic book writer and an artist until he finally decided to be a playwright. “Higher Power” was released in 2009 and has went on to be primarily performed in schools across the United States. Walton’s most proud writings have been published by companies such as Image Comics, Desperado Publishing, Caliber Comics, Basement Comics, and Brooklyn Publishers.
The stone-cold, super human prophet that comes to be known as “Nevermore” (Sabrina Benson), gave a mysterious performance as we come to find out that she is the very reason these all-powerful beings have come together. It becomes clear that not all heroes wear capes, but not all who wear capes are heroes. Nevermore goes on to point out that everyone in that room was given a chance to improve the world and not a single one of them, including herself, did anything to utilize that power to their full potential. Several cures for cancer have slipped through their fingers and now nobody will ever know what dolphins have to say.
Blake Earl created a relatable and comedic character as Mel, who tried to help us figure out just what in the world was going on. Although some characters were listening with the intent to respond rather than to react and understand, Earl reacted to just about everything on stage, making his presence amusing. A noteworthy, animal print covered comedic actress was none other than Sarah Vilcnik, who maintained a consistent and entertaining performance as Critter. Critter gave life and astonishment to the simple things for the Baltimore Butt Bashers and lead us to the conclusion that the meaning of life is 42. Who knew? Most of the cast members could have improved their diction but nonetheless, the story was carried out with energy and a longing for the unknown.
As for creativity, Audriana Harrypersad took this Viking by the horns and commendably student directed this entire production. Costumes had room for a bit more experimentation and personalization but every person was apt for their character.
Not even a flight along the east coast could aid in locating a group quite like this one. “Higher Power” concludes with many unanswered questions and shined a light on who the real higher power was. Now that felicitations and sandwiches have been given, that’ll be $1.28.
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By Kali Clougherty of Marjory Stoneman Douglas High School
Boom! Boom! Pow! The asteroid fizzled out, wow! Giving people super human powers, but the question is how? It’s 10 years to the date. Hurry up, it’ll be too late! Nevermore called them to the room, to determine all of their dooms. Saint John Paul II Academy’s performance was everything but sour in their production of the play Higher Power!
Higher Power, a play about society’s reactions in the face of imminent destruction, challenged the ideas of what is classified as good or evil in the eyes of God. The telepathic proprietor Nevermore rallies up the local superhumans of Baltimore, Maryland at “ground zero,” otherwise known as Mel’s Diner, to witness the coming of a “higher power.” Inspired by Star Wars, Aquaman, and an array of comic book plots, writer Bradley Walton composed a unique piece of theatre that relates to all ages.
Sabrina Benson portrayed the mysteriously compelling Nevermore, exercising her power of telepathy to control the minds of her inferiors. From her glaring eyes to her dark features, Benson boldly characterized a villainous disposition. In the midst of chaos, the standout near normal human Mel, played by Blake Earl, served as a comedic relief throughout the dark story. Earl’s quick witted comments and clear characterization brought a heightened sense of realism to the production.
Supporting characters Mystic Bob (John Douglas) and Critter (Sarah Vilcnik) displayed distinct personalities from their fellow superhumans, truly flaunting their “mojo.” Although some characters lacked the ability to stay in the moment, Douglas and Vilcnik managed to steal the spotlight with their side interactions. Despite for the overall energy deficiency, Sue (Kaleigh Krolikowski) made up for it in her unexpected entrance in Act 2. Krolikowski manifested a visible conception of a mental patient, enhanced by wild hair and bulging eyes.
Taking on the challenging task of student director, Audriana Harrypersad’s vision was clear and executed admirably. Harrypersad’s obvious commitment was displayed through thoughtful characterization and scene blocking, allowing each actor to uniquely stand out. Not only did Harrypersad have her hands full in directing a two act play, she also fully contributed to the costuming alongside Sarah Vilcnik. Fully fitting to the personality of each character, the costumes accentuated the overall mood, equally adding to comedy and dramatics of the play.
In the end, it is not the powers who make heroes, but instead the heroes who make powers. Take advantage of your gifts to make a difference in the lives around you, for Judgement Day is upon us. Saint John Paul II Academy truly displayed the “meaning of life” in their heroic rendition of Higher Power.
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By Nicole Sugarman of J.P. Taravella High School
The asteroid hurtling towards the Earth could have had fatal effects. Yet, instead of obliterating all of humankind, the catastrophic celestial body disintegrated into nothing. Saint John Paul II Academy’s production of “Higher Power” presents a look into Mel’s Diner, the location that would have been Ground Zero had the asteroid struck, and displays how life looks ten years after the world’s near end.
Written by Bradley Walton, a former comic book writer and artist, “Higher Power” examines the imperfections of humanity in an amusing manner. In this dark comedy set in Baltimore, Maryland, it is discovered that after the almost-tragic incident ten years prior, a number of people gained superhuman powers. Some developed telepathic powers, superhuman strength, light powers, telekinetic abilities, and Roz could talk to fish. The smattering of people who acquired powers are summoned to Mel’s Diner by the mysterious being, Nevermore. Today they are meeting…for their judgement.
Portraying the enigmatic entity Nevermore, the one being with the ability to speak directly into the minds of those who attained powers after the odd occurrence, Sabrina Benson completely embodied the character’s all-knowing aura and exuded a confidence about herself. Benson dominated the stage and created a sturdy foundation for the play to build upon. Playing Mel, the Diner’s owner, Blake Earl developed a believable character through his often clever commentary and natural acting ability.
Roz, the “worthless fish chick,” was portrayed by Nicole Sous. Her hilariously dry sense of humor and un-impressed attitude in regards to her “fish talent” assisted in building a likeable and enjoyable character. The Baltimore Butt Bashers, composed of Mystic Bob, Psychedelia, and Critter, added an additional layer of entertainment to the production through their goofy remarks and impeccable comedic timing. The three performers developed distinct and unique personas, seizing every opportunity they were given for an amusing moment.
Although occasionally lacking energy, the cast seemed to hold a strong understanding of the subject matter discussed in the production, tackling tough themes such as religion and the questioning of God’s existence. Some of the actors’ movements seemed slightly artificial and unmotivated. However, the cast did a commendable job staying present within the scene and reactive to their surroundings.
The costuming in the show was very reflective of each character, such as Critter’s animal-print clad costume and Nevermore’s leather get-up with her velvety purple cape. Providing direction for this production, Senior, Audriana Harrypersad did an incredible job handling the instruction of her peers and with the overall execution of her vision.
Saint John Paul II Academy’s “out-of-this-world” production teeming with heroes, villains, Butt Bashers, and fish telepaths, explores the faults of even those who appear to be in the elite sector of society. The cast of “Higher Power” presented a fantastic evening of theatre “booming” with superhuman-sized fun!
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By Eva Daskos of The Sagemont School
Do you hear abstract voices in your head? Are they fish related? If so, you will find Saint John Paul II Academy’s production of Higher Power particularly relatable. With comical characters and a thought-provoking plot, Higher Power invites the audience to a super-powered production.
Set in present day Baltimore our story zooms in on Mel, played by Blake Earl, and his quiet diner, that is suddenly disrupted by a meeting of super humans. Higher Power started as an original play by Bradley Walton in 2009, and thanks to its recent publishing it contains controversial topics such as religion and character flaws we still discuss today.
Leader of the super humans and commander of stage, Sabrina Benson, Nevermore, did a beautiful job representing her stoic and suspenseful roll. While other characters could relieve themselves on stage with comic intervals, Benson kept her straight-faced seriousness alive and thriving. Her role provided the depth and seriousness of the dark comedy which structured the entire plot. Her acting was precise and aligned with her character perfectly, whenever Benson spoke all eyes were drawn to her as she stole the stage.
Mel, the owner of the diner, played the role of the audience as he reacted to strange and unknown things happening around him. Blake Earl, his actor, used his charmingly funny dialogue to bring a sense of believability to the show and reinforced the complicated relationship between super humans and normal people. His precise in-time reactions and investment in every scene made Earl’s character extremely believable. Some of the colorful characters entering his diner were the Baltimore Butt Bashers, whose over the top dialogue was further improved by their commitment to roles and characterization. The basher that stood out the most was Critter, played creatively by Sarah Vilcnik. Vilcnik’s embodiment of Critter’s laid-back and unique personality always left a silly spark on stage that made up for other character’s un-enthusiasm.
Creativity by Audriana Harrypersad was stunningly shown through the creativity board. Audition forms, Critique sheets, and cast lists were all provided for cappies to examine, it was evident that Harrypersad was extremely dedicated to this production, even keeping a personal day-to-day journal about problems and rehearsals. Some of her roadblocks included Hurricane Irma, sports and other extra-curricular factors that made rehearsing harder, and a low budget provided by the school. The actors and tech crew jumped over these hurdles in order to create a successful show. Publicity also showed how actors promoted their show through social media, showing cappies how much the show meant to them.
The overall level of difficulty and outside problems were smashed and flown-over by Saint John Paul II’s actors and tech crew. Higher Power brings its compelling plot and lovable characters, Saint John Paul II brings its experienced actors and commitment, they both bring an unforgettable, electrifying experience.
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By Gabriela Coutinho of American Heritage School
A cross hangs on the wall of the theater as lights go up on a deli – and the next generation of actors and modern disciples of Catholicism artfully discussing free will, responsibility, and God’s interrelationships and roles from multiple perspectives in the context of twenty-first century America. With superhumans, a fish-talker, a militant, a deli owner, some flutter of deep purple cape, and bagels, what could go wrong? In the often funny and provocative play Higher Power, Saint John Paul II’s students took personal, worldly, and spiritual themes’ exploration into their own hands.
Written by lesser known playwright Bradley Walton, Higher Power unfolds ten years into the miraculously avoided apocalypse. Superhumans meet in “Mel’s Deli” at ‘ground zero’ – where an asteroid would have hit – upon summons from an omniscient, omnipotent woman. While she observes her subjects’ reactions to free will, the notions of “higher power” and responsibility extract their ironically human flaws and sentiments. Facing a hefty challenge, the high schoolers sometimes neglected the high stakes of impending doom but nonetheless rose to the occasion with balanced yet diverse characters and respect in the play’s metaphor for ‘Judgement Day’ from Revelation.
Symbolically portraying God as “Nevermore”, Sabrina Benson’s unfazed and solemn interpretation of divinity interestingly contrasted with the other characters and impacted the final “revelation”. As Mel (owner of the deli for the momentous meeting), Blake Earl’s committed presence, realistic stage business, and believable interactions with both set and characters not only provided grounded ‘normality’ for audiences, but also comedic relief. Mixed with Roz’s (Nicole Sous) cynicism and Colleen’s (Katrina Ybanez) pain, the first to arrive had already fostered a comically tense environment.
Offering a more “chill” approach, Baltimore Butt Bashers – namely Critter (Sarah Vilcnik) with her deep connection to animals – drew laughs and later ensued conflict, especially when “Higher Power” soldiers entered. These two ensembles appropriately juxtaposed through “essence, dude” and kept Act I fun and light, while General Rath’s (played by Madison DiJoseph) detached, harsh disposition made her the perfect symbolic character to face judgement. Despite painting two featured roles, Kaleigh Krolikowski’s Act II monologue as manipulated, suffering, and remorseful Sue filled the space with raw human empathy and despair.
Being the school’s first student directed play, Audriana Harrypersad’s work set an exciting precedent for theatre’s future at the school. Even involved in set and costume design, her extensive notations translated into a smooth performance utilizing the stage well and playing with the notion of a physical barrier between the soldiers and ‘hippies’ with each group on its respective stage side. Overall, the blocking facilitated higher energy levels and confrontations. Accurate and practical, the costumes enhanced the characters’ personas. Thankfully, students certainly knew of the show due to the artwork featured on a big poster at the school’s entrance.
Tackling hubris and other faults when wielding “higher power” in irresponsible, selfish, aloof, or unauthorized fashions, actors and crew members at Saint John Paul II trespassed the line of typical secondary school topics and expressed their beliefs through art while pondering others. Satiring extremes within society and its detrimentally obstinate and self-interested nature, this play compelled audiences to reflect on their own lives, treating each blessing or responsibility with open minds, respect, philanthropy, honesty, and faith in oneself – rather than solely relying on a “higher power”.
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By Ananda Espinal of Deerfield Beach High School
While everyone may admit to not being what they seem, an entirely different situation arises when one pretends to be what they are not. Double lives and alternate identities seem ridiculous, but happen to be the main theme of Cardinal Gibbon’s production of The Importance of Being Earnest!
The Importance of Being Earnest, written by Oscar Wilde in 1895, is an English Farce play that received its first performance at the St. James’s Theatre in London. Despite it’s initial success, Wilde’s imprisonment for homosexuality led to this play having only 83 performances. The Importance of Being Earnest, set in 1895, follows two men, Algernon Moncrieff and John Worthing as they admit to both living double lives in order to avoid their societal responsibilities. However, when both these men eventually impersonate the false identity of one Earnest Worthing, they find themselves in hilarious situations as their respective brides to be are also thrown into the mix.
At the front of the show were the two male leads, Spencer Knight as Algernon Moncrieff and Matthew Brodrick as John “Earnest” Worthing. The seamless interactions between these two characters was especially heightened by their extravagant body language and childish roughhousing. Furthermore, their dynamic as a trouble-maker and a nervous character showed a typical and relatable relationship. Spencer Knight’s execution of Algernon’s character was very convincing in his confident body language and suave tone.
The supporting cast was extremely entertaining and absolutely talented in their chemistry with the two leads. The engaged women, Tiffany Pettus as Gwendolen Fairfax and Kelly Harris as Cecily Cardew, were not only notable in their relationships with their respective fiances, but also excellently fulfilled their roles as a sophisticated, high-class woman or as a young, naive girl. Additionally, Emily Tallman phenomenally executed the role of Lady Bracknell, not only with her screeching voice and commanding tone, but also her scowling facial expressions.
The featured cast was plentiful in appearance and in talent, flowing around the more vocal cast and especially adding to the play’s humor in several smaller aspects, creating an overall positive and hilarious experience. Especially notable is the character of Merriman played by Hannah Eichholtz, who was not written with the intention of being comic, yet was executed with a hilarious appearance, significant body language, and ever-present limp wrists.
Additionally, while the tech was overall very impressive with its use of background noise and music, there were small moments that occurred that disrupted the play’s flow. These events included a small mistake with the mics and backstage could be heard, the piano music suddenly cutting off, and the background water noise being a bit too loud and distracting.
Thus, Cardinal Gibbon High School’s production of The Importance of Being Earnest was extremely professional with its excellent cast, and, despite some tech mistakes, succeeded in portraying a humorous and outrageous portrayal of strange situations in 1895 London.
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By Rita Wojitas of St. Thomas Aquinas High School
What’s the big deal about the name Earnest? To Gwendolen Fairfax and Cecily Cardew, the name Earnest represents everything they could want in a husband. However, this presents a fundamental problem for their prospective lovers John Worthing and Algernon Moncrieff, neither of whom are named Earnest. Cardinal Gibbons High School takes on this timeless story in their own creative production of The Importance of Being Earnest, ultimately revealing an important message regarding societal values in 19th century London.
First written in 1895 by renowned playwright Oscar Wilde, The Importance of Being Earnest is an acclaimed play known for its witty dialogue and surprising depth. It originally debuted at the St. James Theatre in London, where it ran for 83 performances, and has also been adapted into nine Broadway plays and three separate movies. Cardinal Gibbons’s production of The Importance of Being Earnest certainly did not disappoint, in which the costumes were beautifully designed, the actors were confident in their portrayals, and the housekeepers brought a comedic aspect to the plot.
The play follows Jack Worthing, an important member of his community, who also happens to be harboring a secret regarding his identity. For years he has pretended to have an irresponsible younger brother named Earnest, whom he uses as a reason to disappear for days at a time. To his ward, Cecily Cardew, he is Jack; however, to the glamorous members of London society, he is Earnest. His dishonest system has worked well for him in the past; however, as he plans to propose to his love Gwendolyn Fairfax, he must face the truth about his real name, releasing a myriad of problems and antics in the process.
For a relatively small cast, the Cardinal Gibbons actors brought a powerful presence to the stage in their confident and hilarious portrayals of their respective characters. Spencer Knight’s performance as Algernon Moncrieff was especially commendable. He had great comedic timing and impressive endurance, even acting with a believable British accent. Both he and Matthew Brodrick (John Worthing) had great comedic chemistry and were excellent in their witty delivery of many lines.
Additionally, Emily Tallman was notable in her portrayal of Lady Bracknell, whom she played with great poise and assurance, often stealing her scenes with her ruthless dialogue and hilarious delivery. The ensemble of housekeepers consistently brought a lightheartedness to the scenes.
The costumes, designed by Alexandra Cassis, were an especially consistent and beautiful aspect of the show, and allowed Cardinal Gibbons to successfully transport its audience back to the 19th century for a few hours. Although there seemed to be technical issues at some points, all in all, Cardinal Gibbons succeeded in its rendition of The Importance of Being Earnest, boldly bringing to life the hilarious dialogue with its talented actors and crew.
Despite its light-hearted banter, the play left a lasting message about the trivial aspects of marriage present 100 years ago. Today, unlike Gwendolyn and Cecily, we value character a little bit more than names – I hope.
*** *** ***
By Audri Harrypersad of Saint John Paul II Academy
“The truth is rarely pure and never simple” in Oscar Wilde’s “The Importance of Being Earnest,” a farcical play which was written and first performed for a short time in 1895, London, England, before being revived numerous times and making its way to Broadway. The show centralizes around protagonists, John Worthing and Algernon Moncrieff, two relatively well-to-do bachelors who rely on deception and various forms of “bunburrying” to escape the duties and expectations of their lifestyles in the Victorian era.
In Cardinal Gibbons’ rendition of this well known comedic play, muffins and tea cake flew just as easily as the slapstick humor consistent throughout the play. Spencer Knight, casted as Algernon Moncrieff (and at times Earnest), presented a great deal of the comedic moments in the show with his take on Algernon’s blasé attitude about anything serious. His timing and reactions to the happenings around him and chemistry with every character he corresponded with adequately broadened him as a character. He particularly displayed his range when in conversation with his aunt, Lady Bracknell, played by Emily Tallman. Through her interpretation of an outrageous high socially ranking woman of Victorian times, she contrasted as well as complimented Algernon with her strict adherence to the culture of their day while playing to the farcical essence of her lines. While she would ramble on, Algernon would present his boredom as an aside which was an interesting acting choice to extract laughs from the audience.
An unlikely ensemble of maids dusted this show with more comedic relief than initially intended while flouncing about stage and at times acting as the stage crew. They acted well as a unit to provide an additional comedic element not written into the original script. Though they had funny moments, at times their presence was distracting from the canonical dialogue in certain scenes.
Costumes in this show were mostly period exact. Some, being student made, exhibited close attention to detail while other aspects of attire seemed less thought out. Lady Bracknell’s dresses as well as John Worthing’s suits were the two stand out costume sets as they exemplified colors and styles popular in 19th century London.
“The Importance of Being Earnest,” is a very difficult work of theatre but Cardinal Gibbons’ actors and technical crew tackled it with a level of maturity to produce a must-see performance. Though deception was a central theme in the play, in the end the tea was spilled and the truth came out and Cardinal Gibbons was able to teach us the vital importance of being earnest!
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By Alyssa Moore of Saint John Paul II Academy
Marriage, money, and muffins were the focus of this satirical play. If you are interested in seeing a slapstick show then “The Importance of Being Earnest” is definitely a must see.
The play was first performed at the St. James’s theatre, in London. on February 14th, 1895. It was written by Oscar Wilde, who was a well-known for his writings on whichever were the social aspects of the time. The play has been revived several times. The Importance of Being Earnest is a comedic play centered around two men named Algernon Moncrieff and John Worthing. These two created fake identities to detach themselves from their posh lives, but their bunburying way came to an end when two women found out who they really are.
Cardinal Gibbons’ performance of this farcical play turned the well-known show into a pleasurable performance to watch. Though many actors displayed their commitment to their characters, others seemed less motivated and disconnected. Many of the actors displayed authentic British accents while some dwindled as the play progressed. This high school’s overall liveliness of the classic show remained in tack during the play.
The consistent energy from Spencer Knight, who successfully played the role of Algernon Moncrieff, had an engaging role through his hilarious rhetoric. He portrayed his character’s nonchalant attitude very well through his comedic timing and the chemistry he had with each character. Knight’s connections to other actors were especially displayed during his scenes with Matthew Brodrick, who was casted as John Worthing. The duo’s brotherly banter was authentic and engaging. Emily Tallman’s persona as Lady Bracknell illustrated a fine contrast between the other roles. Bracknell was the aunt to Algernon and had the attitude of a higher ranked woman and whose social standards were close to impossible to reach. Tallman stayed in character throughout the entirety of the show and she successfully made an uptight character entertaining to watch.
The housekeepers, unexpectedly, provided comedic scenes through their whimsical engagements with each other while they were cleaning the house. One housekeeper that stood out was Merriman who was played by Hannah Eichholtz. Though Hannah was not given much to work with, she made the most out of her role and she provided comedic interactions with the fellow actors through her movements and overall attitude.
The students who made the costumes, evidently, did their research into the Victorian era because each piece seemed to fit the period well, and flowed with each character’s personality.
“The importance of Being Earnest” is without a doubt difficult to make unique because it is so well-known, and it has been done several times, but Cardinal Gibbons effectively added their own little twists to it making it an enjoyable show to watch.
*** *** ***
By Shelby Tudor of Somerset Academy
One can fall in love with a guy named Earnest. But what if his name’s not Earnest? Cardinal Gibbons High School shares the farcical work of Oscar Wilde’s, The Importance of Being Earnest. The play follows two men and their attempts to release themselves from social obligations by living double lives. This leads to a comical series of events leading to falling in false accusations and even falling in love. Notably, this was the last play Wilde ever wrote for he was imprisoned for his homosexuality leading to the play lasting 82 days at St. James Theatre. Cardinal Gibbons students’ adaption of this classic surpassed the difficulties of Victorian London language, doing a commendable representation.
The show’s plot was held on a conversation, with little physical action, that the actors shared clearly and welcoming. The cast had great chemistry, bouncing lines and emotions between each other like a tennis ball. They carried themselves with purpose with wonderful posture and distinctive London and country accents that annunciated every line with commendable diction. They’re use of the entire stage and cast mates led for a fun, amusing performance.
Talent filled the cast. Spencer Knight, playing Algernon Moncrieff was engaging in every scene he was in, filling every line and action with charisma and silly gestures. His boldness fit well into Matthew Brodrick’s serious yet passionate character, John “Earnest” Worthing. The two characters had nonstop chemistry that was a wonder to watch. Especially when it came to woo-ing their female counterparts.
A crowd stopper came in the form of Emily Tallman, who took over the stage, demanding her voice to be heard with clear diction, and a confident and loud demeanor, as she tries to meddle her way through every relationship.
The makeup design, by Caroline Aristizabal wonderfully captures the age of the characters. The costumes were intricately hand made by the costume team, Alex Cassis, Maria Arevalo and Anna Murray-Campbell. The colorful dresses and ties lovely contrasted with the black and whites of the house-keeping and set, showing that the interesting parts of the story lies with-in the characters.
Some make-up and props weren’t exactly consistent with the time and rest of the show. There were some sounds that didn’t sound correct within the space, and some diction and acting choices weren’t consistent with the proper element of the show. However, scene changes were creatively performed, and there were minimal error compared to the production as a whole. Cardinal Gibbon brought hysterics and great theatrics with their show The Importance of Being Earnest, leaving a statement left in laughter, saying that love always regardless of being earnest and proper.
*** *** ***
By Shea Simpson of Archbishop McCarthy High School
Shalom! Welcome to the town of Anatevka, a small shtetl where tradition is broken, matches are made, and rabbis pray over sewing machines. “As the good book says,” Marjory Stoneman Douglas triumphantly presented this “Miracles of Miracles”, bringing to life a traditional piece of classic theatre.
Inspired by Sholem Aleichem’s “Tevye and His Daughters,” Fiddler on the Roof first premiered on Broadway in 1964, running for a successful 10 years. Due to the production’s massive success, the show has been revived five times and was made into a film adaptation in 1971. Taking place in imperialistic Russia, Fiddler on the Roof tells the story of Tevye, a poor Jewish milkman who firmly believes in the power of maintaining tradition. However, those morals are soon tested as his three eldest daughters wish to marry for love, each one slowly straying further away from what is customary of their faith.
Stoneman Douglas left no technical detail untouched, from their minimalistic yet effective and time appropriate set to every tzitzit suspended from the men’s waists. Every light cue played an important role in creating scenic ambiance, whether it was the bright, singular spotlight illuminating one of Tevye’s numerous monologues or the dark, ominous amber wash over the somber Anatevka evacuation scene.
Playing the iconic father figure, Alex Wind did a commendable job portraying the loving yet conflicted main character. His monologues were executed seamlessly and his sharp comedic timing did not falter, particularly highlighted in his hilarious rendition of “If I Were a Rich Man.” Also giving a believable and whimsical performance was Sawyer Garrity as Tevye’s wife Golde, the unerring voice of reason and strength in the family. Her quick wit and outstanding vocals were showcased in numbers like “Sabbath Prayer” and “Do You Love Me.” Wind and Garrity had an organic chemistry on stage, bringing the celebrated and theatrical duo to life.
With a cast of over 30 students, there was never a lackluster moment on stage. In the large ensemble numbers such as “Tradition” and “To Life,” each actor put enormous energy into their complex choreography and harmonious singing. Their enthusiasm and technique was evident throughout the performance, brandishing talents in scenes such as the iconic bottle dance. Each villager and Russian contributed to this success, making for an engaging performance filled with laughter and admiration.
Stoneman Douglas undoubtedly presented this captivating musical effortlessly, putting on a show “laden with happiness and tears.” Through their authentic rendition, the actors gave a worthy performance, leaving audience members cheering “Mazel Tov” for an incredible job well done!
*** *** ***
By Korinna Perez-Nunez of Palm Beach Central High School
Marjory Stoneman Douglas High School’s production of the critically acclaimed classic, “Fiddler on the Roof,” was a timeless piece that showed off culture, love, acceptance, and of course, tradition! Fiddler on the Roof was first performed on Broadway in 1964, and has been performed over 3,000 times all over the world. It is most popular because of its story and message. It shows the difficult truths of having to catch up with the world around you. This performance helped capture the aspects of each character and bring their stories to life.
The cast carried the show with their song, dance, and wonderful characterization. Alex Wind played Tevye, a poor Jewish milkman with five daughters who are slowly breaking away from the traditions he holds near and dear to his heart. His portrayal of Tevye was loveable from beginning to end. Between his great vocals and humorous ad lib, his acting throughout the show was wonderful. Sawyer Garrity played Golde, the strong and protective wife of Tevye. Her vocals were beautifully displayed in each of her songs. Her characterization was strong throughout the entire show; each line was expressed with sass, emotion, character, and charm. Kali Clougherty was Hodel, the second eldest daughter of Golde and Tevye. Her performance was wonderful and showed off her talent. She played Hodel very well and showcased her amazing voice. She was able to show the transformation of the character, you could tell she really understood her character arc.
Other actors in the show also added great characterization and made the show memorable. Bailey Feuerman’s Yente stole the show with her comedic relief. Her characterization was flawless and delivered her lines wonderfully. The Rabbi, played by John Barnitt was another role that shined through. His character’s wisdom and humor helped bring the show extra joy. The ensemble had excellent choreography that was executed well. They could’ve had more energy during the dance numbers, but their rhythm made the routines enjoyable.
The Technical side of the show also deserves its praise. The lighting was beautiful, but a bit distracting at times, throughout the show. It helped set the mood of each scene, and we were never left in the dark. The costumes and makeup were very time appropriate and pleasant to look at. The stage-management was great, and provided quick, quiet, and seamless set changes that made the show run very smooth. The sound was also swell. It was at a perfect volume and everyone was heard.
Overall, Fiddler on the Roof is a very important and emotional piece; it shows how difficult change can be. Each cast and crew member’s dedication can be seen in the finished product. They showed their sense of “Tradition” and made it a very enjoyable performance. This production defiantly captured the feel and purpose of the show.
*** *** ***
By Rebecca Correa of Archbishop McCarthy High School
As Tevye says, “Because of our traditions, we’ve kept our balance for many, many years.” Well, not for long. Come and experience Marjory Stoneman Douglas’s production of “Fiddler on the Roof” that contradicts this statement in an unforgettable way.
Based off of Sholem Aleichem’s “Tevye and His Daughters,” “Fiddler on the Roof,” the Tony award-winning musical, opened in 1964 with great profit and popularity. The storyline takes place in Imperial Russia in the early 1900’s, following Tevye, a poor milkman, in his struggle of maintaining Jewish tradition in his tiny village of Anetevka. Three of Tevye’s five daughters challenge his determination by asking to marry for love, rather than wealth, and go against tradition. Tevye is forced to revisit his morals and decide whether or not to permit his daughters’ happiness in marrying the man of their choice, despite any problems it may provoke in the village.
Leading the show as the loving, fatherly figure was Alex Wind, portraying the role of Tevye. Wind took on this iconic role and personalized it with a lovable personality and intriguing presence, which created a dynamic contrast to when he’s faced with a decision that would challenge all of his morals. In addition to his dramatic moments, Wind also demonstrated a strong comedic timing, which was especially evident in his references to the “Good Book.” Alongside Wind was Sawyer Garrity playing the role of Golde, his wife. Their chemistry throughout the show stole the hearts of many, especially as they sang the song, “Do You Love Me?”. They both showcased their beautiful voices, while staying true to their character.
Both familial and marital relationships served as a strong suit in this production of “Fiddler on the Roof.” The love between Tevye and his daughters is vital to a successful production, and the cast succeeded in establishing a loving and organic connection within the family. On the other hand, one of the marital relationships that stood out amongst the others was between Hodel and Perchik, played by Kali Clougherty and Ethan Kaufman, due to their genuine and consistent connection.
The simple, yet efficient set portrayed the perfect mood when it was displayed through an impactful silhouette, before the show even started. This cue, along with many others, formulated a beautiful effect that set the stage for the iconic story that was to come. Along with the fantastic use of lighting, the use of special effects, such as fog in “The Dream”, also set the proper atmosphere for the scene that was about to take place. Each technical cue was performed adequately, which created a believable aura to the show. Similarly, the stage crew succeeded in moving set pieces quickly and quietly throughout the show, never stealing the attention away from the events taking place. Another commendable technical aspect is the makeup, especially for Yente (Bailey Feuerman) and Grandma Tzeitel (Avery Anger), whose aged makeup was executed flawlessly, adding on to their amazing and consistent physicality and stage presence.
Mazel Tov! Marjory Stoneman Douglas High School’s commendable production of “Fiddler on the Roof” definitely didn’t need a matchmaker to put together this difficult, yet memorable show.
*** *** ***
By Tori Lobdell of Palm Beach Central High School
Fiddler on the Roof is not only a classic in the world of musical theatre, but across the world, the story and music resonating with anyone who hears or sees it. Majory Stoneman Douglas High School has taken on the feat of doing this traditional show the justice it deserves, and they have done a fabulous job at doing just that. In this show, we enter the village of Anatevka, following a man named Tevye, his family, and others who live there. The story, full of romance, comedy, and chaos, is beautifully illustrated through its music and the close relationship of its characters.
This production enchanted its audience, mainly through the impressive chemistry between the characters. This is extremely important, the show being largely about family and tradition. The most apparent and realistic relationship on stage was between Tevye (Alex Wind) and his family. This stood out the most in the songs “Do You Love Me?” and “Far From the Home I Love.” Golde (Sawyer Garrity) and Tevye’s relationship was clearly demonstrated through their duet in Act 2. They, being married for 25 years, may not have had the spark of young lovers anymore, but an immortal love could be felt between the two actors, which was very impressive. Hodel (Kali Clougherty) and Tevye also had lovely chemistry on stage that could make anyone melt at the sight of. The father-daughter relationship was tangible between the two, and combined with Hodel’s beautiful, sweet voice, it made for a wonderful scene. Out of every actor’s characterization in the show, Yente, played by Bailey Feuerman, stood out the most comedically, and was very impressive in her delivery of her character.
On the other hand, the music in this show is very important to pull off, holding such classic songs, such as “If I Were A Rich Man” and “Tradition.” The ensembles harmonies sounded beautiful and tight. Anyone could tell that there was much work done on singing each part correctly. The vocalists in this production were amazing, especially for the high school level. Choreography is also a huge element in this story, again, tracing back to tradition and culture. Much of ths show was student choreographed by John Barnitt and Isabela Barry. The moves were very well done and true to the show. In some numbers, such as “To Life,” the dancers could have been cleaner, but the talent and moves were there.
The tech work in the production was wonderfully done and did not go unnoticed. The projections onto the screen, especially at the top of the show, were beautiful, and did a great job of reeling in the audience, letting us know that we were about to see something incredible. The lighting, combined with the simplistic set, were something to marvel at. The colors used, along with the technique, created an interesting silouhette effect on the backdrop. Everything seen on stage put the audience right into Anatevka with the characters, making the whole show feel incredibly geniuine.
This classic show has been done thousands of times around the world, and the players at Marjory Stoneman Douglas have done an amazing job of recreating it in their own unique way. The actors, along with the set and lights, were truly enchanting, leaving the audience wanting to give a toast to their own lives. L’Chaim!
*** *** ***
By Celina Pomare of West Broward High School
Once the fiddler on the roof plays the iconic beginning of “tradition”, the lives of Tevye and the village come to life. Fiddler on the Roof shows not only the tradition but also the discrimination they faced. Taking place in the fictional town of Anatevka during the political and social crisis in Russia, the story shows the powerful lesson of staying true to yourself and to your family.
With music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, they brought to life the story of Tevye and His Daughters by Sholem Aleichem. Later becoming a motion picture in 1971, this story has been in the hearts of so many. Receiving three Tony’s and eight revivals throughout the years, Joseph Stein wrote the story for not one generation, but for the world. With discrimination and persecution against religious groups still happening in 2017, Fiddler on the Roof gives a ray of hope. No matter if, the sun rises or sets, your tradition will live on.
Alex Wind portrayed the powerful and not so rich man Tevye without hesitation and a clear understanding of his characters importance on the lives of those around him. Sawyer Garrity portrayed the passionate mother of five. The pair showed the difficulty of their marriage without making it awkward and unrealistic. The three main daughters where brought to life by Sofie Whitney, Kali Clougherty, and Ashley Paseltiner. When the three sang Matchmaker, their voices harmonized beautifully, while still being able to recognize their voices separately. The town’s matchmaker Yente, played by Bailey Feuerman, had the task of acting as someone way beyond her age. Any time Yente was on stage, Bailey gave the marriage maker a lovable personality.
When the show opens, the clear screen has a graphic that paints on the show’s logo. Painting on the logo gave the feel that they have just painted on their tradition on the world. The performance of Tradition lacked energy in certain parts but overall the execution was well done. Throughout this production, the vocal and dancing ability of the cast displayed. The three daughters Tzeitel, Hodel, and Chava came together in their song Matchmaker. When performing this song each of their vocals had a presence, while still harmonizing beautifully. John Barnitt and Isabela Barry did the choreography of the production; they kept the traditional dancing of the Jewish culture while still making it unique for their production.
The tech team was a huge part of bringing the story to life. Moving huge set pieces with ease, and making the costumes for the Dream scene, they delivered more than expected in a high school. The lights used in the show stayed with the theme they presented in their playbill, using orange and red and their staple lights. Clearly knowing the cues throughout the show, they never missed a beat and made sure the life of the Anatevka came to life.
Tradition will forever live on, the same way Fiddler on the Roof has throughout the years. This production never failed to deliver the true meaning behind this story; we still live in a world were religions are discriminated against. Family, tradition, and the meaning of love where all beautifully portrayed in this production of Fiddler on the Roof.
*** *** ***
By Amorie Barton of Pompano Beach High
A tale of finding love through adventure, “The Matchmaker” came to life on stage at Calvary Christian Academy.
“The Matchmaker” by Thornton Wilder, is a classic play with a rich history. Originally performed in 1938 under the name “The Merchant of Yonkers”, the play underwent various incarnations before becoming “The Matchmaker” that we all love today. The 1955 version, which we witnessed on stage, became Wilder’s most popular play at the time, even spawning a 1964 musical remake in the tony-award winning musical “Hello, Dolly!”. The story follows the matchmaker, Dolly Levi, a widow who somehow finds herself involved in everybody else’s affairs as she attempts to find a wife for the rich merchant Horace Vandergelder. From there, a series of wacky events involving mistaken identities, forbidden romance, and adventure ensue until everyone finds their perfect match.
At the shows forefront was Dolly Levi, played by Anna Hopson. Hopson did an excellent job in her title role. She commanded the stage with a refined maturity and was never slow to miss a cue. Her comedic timing and fearless characterization made her an enjoyable sight. Counter to her was the talented Steven Day, who played Horace Vandergelder. Day embodied every aspect of Vandergelder in the physical and mental sense. His mannerisms and physicality on stage were consistently enjoyable and gave a definitive sense of his older age. Day and Hopson surely gave some of the most genuine and believable performances of the night.
Other comedic standouts were Megan Salsamendi, Zoey Boyette, and Ariel Feld who played Irene Malloy, Minnie Fay, and Gertrude, respectively. The dedication that these actors showed to their roles was consistently commendable. Their comedic timing was impeccable and their ability to stay in character even when they weren’t the focus of the scene was admirable.
From a technical perspective, the show ran rather smoothly. The student created set was wonderfully made. Every piece had a purpose and was aesthetically appealing to the eye. However, there were certain choices involving the set that were hard to interpret in regards to things such as established entrances and exits. There were moments when it was hard to determine which way was in and which way was out, but this was only a minor oversight.
The choreography of the play was fantastic. In between scene changes, rather than having the audience wait patiently in silence, comical dance numbers and character interactions would take place so as to distract the audience from the actions happening In the background. Slapstick comedy is not easy to accomplish and there is always the risk that it will fall short, however this was not the case in this production. Comical dance numbers were well rehearsed and well executed making the production an effective farce comedy.
With very minimal errors, Calvary Christian Academy excelled at executing the classic comedy of errors, “The Matchmaker”.
*** *** ***
By Nicole Sugarman of J.P. Taravella High School
With mistaken identities, multiple mixups, and a fair amount of mischief, Calvary Christian Academy’s production of “The Matchmaker” presents a hysterical farce regarding the topics of love and money. Overflowing with unique and animated characters, clever storylines, and stunning technical elements, “The Matchmaker” provides entertainment at its finest quality.
Written by Thornton Wilder, “The Matchmaker” is originally based on John Oxenford’s 1835 one-act farce “A Day Well Spent” which was then expanded into a full-length play entitled “Einen Jux will er sich machen” written by Austrian playwright Johann Nestroy in 1842. In 1938, it was adapted by Wilder into an Americanized comedic version entitled “The Merchant of Yonkers.” Fifteen years later, Wilder rewrote the play and created “The Matchmaker,” a farcical comedy set in the 1880s, in Yonkers, New York. With an old-fashioned sense, this play follows Dolly Levi, a widowed matchmaker who has got her eye on Horace Vandergelder, a sly local merchant who has hired her to find him a match. In 1964, this production was converted into a musical entitled “Hello, Dolly!” Aspects of this musical version were incorporated into Calvary Christian Academy’s stellar production through the use of choreography.
Portraying the irritable Horace Vandergelder, Steven Day completely embodied this grouchy, 60-year-old man through his incredible physicality and constant state of dissatisfaction.
Playing Dolly Levi, the manipulative matchmaker, or “woman who arranges things,” Anna Hopson developed a strong and over-the-top character. Hopson maintained a soaring amount of energy and, due to her varying inflection and smooth vocalization, remained interesting to listen to. Both Day and Hopson did an excellent job aging themselves in their bodies and in their voices, making it easier to believe them as an older man and woman.
Playing Cornelius Hackl, the chief clerk at Mr. Vandergelder’s store yearning for a day off, John Roig developed an animated character and sustained impeccable comedic timing throughout the play. His 17-year-old “partner in crime,” Barnaby Tucker, was brought to life by Juan Mojica. Mojica carried out his hilarious antics superbly, consistently receiving laughs. Roig and Mojica created a great chemistry in their relationship with one another, effortlessly executing their back-and-forth dialogue and actions. Minnie Fay, a worker in Mrs. Molloy’s hat shop, was played by Zoey Boyette. Although in more of a minor role, Boyette remained in the moment without cessation and became a stand-out actress due to her terrific comedic delivery. Playing Miss Flora Van Huysen, a romantic old spinster, Hannah Citelli captured the flightiness of the role exquisitely.
The cast of the production maintained exemplary projection and diction throughout the course of the play, never seeming to waver. All of the performers created distinct and comical characters with unique personalities, keeping the show intriguing. The scene transitions were extremely well-choreographed and done in a timely manner.
The technical elements in this play were flawless. The set was pleasing to the eye and helped to effectively differentiate between the four settings. The costuming, hair, and makeup in this production was befitting to each character as well as the 1880’s time period.
As Barnaby declared at the end of the play, the moral lies in the need for adventure in life. The cast of Calvary Christian Academy’s “The Matchmaker” put on an amusing production with lots of mayhem, mishaps, and an abundance of adventure!
*** *** ***
By Dani Wolfe of J.P. Taravella High School
What happens when you’re hired as a matchmaker but you fall in love with your own client? That’s the basic premise of “The Matchmaker,” a heartwarming romantic comedy that relies on some timeless classic scenarios, such as mistaken identity and accidental meetings. Calvary Christian Academy delivered a brilliant performance of this farce.
The fact that “The Matchmaker” is a show at all is pretty amazing. Thornton Wilder originally wrote the idea as a comedy entitled “The Merchant of Yonkers,” and it opened on Broadway in 1938. Thirty-nine performances later, it closed, labeled a flop. Fifteen years later, Wilder revisited the idea and turned it into “The Matchmaker.” The show was so successful that it became the premise for the musical “Hello, Dolly!”
The matchmaker herself, Dolly Levi, is a widow who finds happiness in finding love for others. Dolly was perfectly portrayed by Anna Hopson, who embodied this humorous character with a lot of heart and warmth. Watching Hopson turn Dolly from an over-the-top and highly energetic woman covering up her loneliness to a person rediscovering what it’s like to be in love was a revelation. Her love interest, Horace Vandergelder, originally hires her to find him a wife. While Dolly immediately is smitten, it takes Horace the entire show to realize she’s the woman for him. Steven Day played Horace, a bitter, older gentleman, with a zest that made his character truly believable. He physically and emotionally took on this man in his 60s, delivering hilarious one-liners flawlessly.
Escalating the comedy were Cornelius Hackl (John Roig) and Barnaby Tucker (Juan Mojica). These two bumbling employees of Horace’s were intent on finding their own love interests and headed to New York City, embarrassing themselves at every turn. When they realize that Horace has also come to New York City and believes they are still at work in Yonkers, they must hide from him, which created great comedic moments and let Roig and Mojica show off their physical acting and allowed Mojica to show off his incredible acrobatic skills.
Megan Salsamendi played Irene Malloy, Hackl’s love interest. She displayed great comedic chops as did Zoe Boyette, portraying her co-worker Minnie Fay. Both characters work in a hat shop and become the object of Hackl’s and Tucker’s affections. The four had some great scenes together as the men tried to woo the women while hiding from their boss.
Stealing every scene she was in was Ariel Feldman as the elderly, stubborn Gertrude. Even when she wasn’t speaking, Feldman would constantly be in character. In one particular scene, she sat at a table, silently speaking into a loaf of bread she had mistaken for a phone while the rest of the scene was going on around her.
Set changes were done quickly and efficiently and were even set to music with beautiful choreography by student Jesse McCoy. Lighting and sound worked well throughout the entire show.
“The Matchmaker” is a comedy with heart as its characters learn that love makes the world go round. Calvary Christian Academy created the perfect “match” between cast and material as they elevated this comedy to a whole new level.
*** *** ***
By Erin Cary of NSU University School
“Being good is a fearful occupation” in this sleepy Illinois town for 13-year-old boys Jim and Will, but being happy might just save their lives. Come see the circus freaks perform at The Sagemont School’s spine-chilling production of Something Wicked This Way Comes.
Something Wicked This Way Comes is Ray Bradbury’s adaptation, based on his novel of the same name. It premiered in Los Angeles in 2003, produced by Bradbury’s Pandemonium Theatre Company. The show follows the story of two 13-year-old boys, Jim Nightshade and Will Halloway, in a rural Midwestern town and how their lives are dramatically altered by the arrival of a traveling circus. This mix between fantasy and horror explores themes of family, fear, happiness, and humanity versus the supernatural.
Natalie Medina, as the young William Halloway, was constantly engaged and present on stage. Her character’s emotions were clearly expressed in moments of confusion or fear through physicality and tone of voice. Medina had excellent relationships with Jim and in particular with her character’s father, Mr. Halloway. Nico Betancur, as Mr. Halloway, made an impression throughout the show, especially in the second act, when his character moved to the forefront of the story.
Marc Plaskett, as Jim Nightshade, accurately portrayed his age and lust to be older. However, the creepily charismatic Mr. Dark, portrayed by Andres Hernandez, really captured the stage. His movements and reactions encapsulated the eeriness of the show, and he remained consistently engaged and interesting. Taylor Briesemeister, as the Dust Witch, also created an enticing character, bringing humor to an otherwise serious show.
The rest of the cast generally enhanced the show, although there were a few slow moments. The Circus Freaks each developed a unique and interesting character and worked well together as a unit. Their physicality and character choices enhanced the show’s creepy factor.
The show’s technical aspects helped move the story along and generally enhanced the production. From the very first impression, the set looked striking, and throughout the show, it was effectively used. Although some set changes could have been more fluid, there were no mishaps, and the stage management team worked effectively. The production’s special effects ran smoothly and added to the ambiance. Sound and lighting also ran without flaws and enhanced quality, adding to the storyline in moments such as the train’s arrival and the lightning storms. Makeup and costumes were effective and appealing, although a little simple. The show’s publicity particularly stood out, with creative ideas such as a haunted house and a pep rally performance. Choreography, although not a major element, was well staged and executed.
The Sagemont School took an interesting and intriguing play and created a wonderfully creepy performance. Something Wicked This Way Comes truly makes us stop and consider: what makes a monster and what makes a man?
*** *** ***
By Grace Sindaco of Dillard Center for the Arts
Something Wicked This Way Comes, first opening in 1970, is Ray Bradbury’s idyllic tribute to his small town childhood. Two boys, born on either side of midnight on Halloween, rash Jim and cautious Will, visit the carnival in which horrors tempt. It is an evil place, with a terrifying maze of mirrors, a carousel that tampers with age, peopled by freaks and led by the preening, threatening Mr. Dark. Jim yearns to be a few years older while, Will’s 54-year-old father, who works at the library, would love to be a few years younger. This is an overall conflict in the characters as they each have to become okay with who they are.
Natalie Medina (Will Halloway) and Marc Plaskett (Jim Nightshade) embodied the energy that young boys display, carrying most of the play’s exposition. Nico Betancur, as Will’s father, shows sudden and convincing mettle as he takes on the increasingly charismatic Mr. Dark (Andres Hernandez). These two portray a well-developed power struggle in scenes together with chemistry that didn’t miss a beat. Hernandez strutted the stage with menacing characterization and commanding stage presence. The Dust Witch (Taylor Briesemesiter) and the genuinely spooky sound and music by Skylar Scorca, Marc Plaskett and co., are high points in this hugely ambitious story.
Some frustrating issues that bog this production down were projection and energy of the cast as a whole, although it successfully solves so many other potential problems that could be deadly for an adaptation of Something Wicked. For example, the carnival’s carousel, which is so pivotal to the show’s plot, is perfectly created by actors playing the carousel horses. Even the performances of the carnival grotesqueries were eerily creepy. The makeup and hair (Eva Daskos) of the carousel actors and the old age makeup was well executed with a high degree of difficulty. The costumes, overall, could have been more specific and cleaner displayed, but the construction of the costumes was well-made and time accurate. The overall mood, set by the lighting (Arturo Fernandez) and sound, worked perfectly, with expertly timed cues.
Some stand out elements from the set (Victor Paes-Leme, Andres Hernandez and crew) were the two climbable house wagons and the carnival attraction displays. For example, the illuminating box that displayed the Ice Woman brought a chilling vibe to the cold and frozen actress. The two windows on the top of the houses brought interesting levels to the stage. They arranged difficult set changes efficiently, going from the library to the carnival floor, to the house of Mrs. Foley. The specificity of the flower changes in the windowsill helped differentiate the houses of different characters.
Come see where the horrors lurk in Greenville, Illinois, and come see this heckin’ good production of Something Wicked This Way Comes at The Sagemont School.
*** *** ***
By Santiago Zornosa of Western High School
A typical Labor Day, the birds chirp blissfully as the bright summer’s day leads into the highly anticipated picnic. As the sun sets, romance and conflicts ensue, creating delightful chaos among neighbors and newcomers. JP Taravella’s Picnic captured a nostalgic realism in its production, providing a slice of life.
Written by William Inge, Picnic premiered on Broadway in 1953, amassing 477 performances, as well as a Pulitzer Prize for Drama. Madge, a pleasant to the eye yet unfulfilled teen, alongside her playfully rebellious sister, Millie, prepare for a Labor Day outing; however, when the unexpected troublemaker Hal arrives, the neighbors question his needed presence and begin to scapegoat Hal in order to hide their greater conflicts. Over a two day period, Millie’s insecurities, Rosemary’s commitments, Flo’s vicarious living through Madge, and Hal’s constant working troubles develop into an intense calamity in the foreground, placing the supposed subject matter, the actual picnic, as an afterthought.
As the lights rose, the carefully crafted and well-designed set led with an imposing first impression; the trimmed lawn grass adorning the stage floor, the delivered bottles of milk placed by the door, surrounded by the two homes, each constructed in such a way to indicate an entire life behind its wooden panels. Madge and Millie step on stage, played by Kimberly Sessions and Madison Kelleher, respectively. These two sisters display a vibrant chemistry on stage. The rambunctious teasing of one another about boys or their appearance, or both, paired with challenging insights on their mother’s treatment created a strong and defined on stage relationship. As Hal makes his first appearance, played by Daniel Agmon, he instantly sways the hearts of every female character. His exuberant and confident disposition snazzily reflects his appearance, especially during the dancing scene between him and Madge; even though they have limited dialogue, the slow and close dance, aided by the excellent sound design playing the tune of an oldie, created a defined single moment between the two characters. Although the intimacy of the relationship could have been explored more, they more than satisfied with their spontaneity and charm. Elsewhere in the town, Rosemary dabbles in the search for love, not quite content with her “friend boy” Howard, yet pursuing him all the same. Vanessa Nottingham’s portrayal of Rosemary found a lovely balance between playful dancing and flirting, and strictly defined moral values, all while in search of marriage. Her range captured even the most nuanced details of the character, with variation in vocalization and facial expressions alike. At times, perhaps, suspenseful moments between characters could have been slower and stronger due to the situation, but this certainly did not detract from the overall production.
The sounds of birds chirping and rumbling motor engines, paired with the changing light to indicate the time of day made the auditorium almost seem like a typical Kansas town, the light and sound design worked in unison to provide an engaging experience. JP Taravella’s Picnic delivered themes of romance, individuality, and the search for what comes next, creating a marvelous performance.
*** *** ***
By Emma Wasserman of Western High School
A picnic, a holiday weekend, and time spent with friends and family. What could possibly go wrong? “Picnic,” a play by William Inge, premiered at the Music Box theatre in 1953. It revolves around a Labor Day picnic that the characters are set to attend. Madge Owens, the eldest daughter of Flo Owens, is dating Alan Seymour, with the intent to marry him. But when Alan’s friend from college, Hal Carter, comes to visit, the connection between him and Madge is undeniable.
Leading lady Kimberly Sessions flawlessly depicted the highs and lows of Madge, showing the character at her best and her worst. Sessions executed the character arch in a believable and realistic manner, allowing audiences to empathize with her. Madison Kelleher, who portrayed the role of Millie, Flo’s younger daughter, had impeccable comedic timing, with humorous antics that had the audience bursting out with laughter. Vanessa Nottingham gave a standout performance as Rosemary, the schoolteacher renting a room at the Owens’ home. With well developed facial expressions and exceptional line delivery, Nottingham clearly shows the audience the depth of Rosemary’s character. Even without speaking, the strength of her acting talent is clearly evident. While some relationships lacked obvious chemistry, the familial relationship between Madge and her sister Millie never seemed forced and shined throughout the show.
The technical aspects of the JP Taravella’s “Picnic” truly brought the show to life. The play featured a beautiful set that encapsulated the essence of the time period. The lighting design of the show was also quite breathtaking, with clear attention to detail, especially when Rosemary mentioned sunset and the lighting reflected that line in the subtle hues that changed. The costumes were well-made and the cast executed costume changes in a quick and efficient manner.
JP Taravella High School’s production of “Picnic” was mesmerizing. With a dedicated cast and crew, and attention to not only technical but character details, the final product was able to genuinely shine.
*** *** ***
By Amorie Barton of Pompano Beach High
It’s not uncommon to feel boxed in by society; expected to behave in the manner that others want, while simultaneously yearning for so much more in life. The pretty girl is supposed to sit there and look pretty, while the smart girl is too “ugly” for anyone to notice her. But sometimes, when faced with opportunity to break free of the archetype, surprising things will happen, and surprising things did happen on stage at J.P Taravella’s production of “Picnic”.
“Picnic” is a 1953 play written by William Inge. Originally running for 477 performances on Broadway, “Picnic” became a critical success winning a Tony award and Pulitzer Prize for Drama. The story follows a group of people who are preparing for their annual neighborhood picnic. At first everything seems picturesque, with the beautiful Madge engaged to marry Alan, tomboy Millie enjoying her book and the neighborhood acting just as it should. But with the arrival of Hal, a streetwise new face, the picnic is anything but pleasant.
Carrying the show was Madge, played by Kimberly Sessions, and her sister Millie, played by Madison Kelleher. Sessions and Kelleher did an excellent job of portraying their sibling rivalry for all to see. The two had very believable chemistry on stage and their interactions always seemed very genuine. Kelleher in particular was always one to watch. Her comedic timing and devotion to her character made her a stand out in almost any scene she was in. Another outstanding performance was by Vanessa Nottingham, who played Rosemary. The role of Rosemary was not an easy one, as she changes immensely from the start of the play to its conclusion. Nottingham was able to handle this role with grace, having memorable characterization and delightful line delivery throughout.
Overall the acting on stage was typically strong. However, there were moments when certain emotions were lost due to fixable things such as poor diction or projection. I also wish that greater risks were taken in changing the inflection of some of the lines as, again, meaningful moments were lost.
Taravella did an excellent job of bringing the melodrama “Picnic” to life. The set designed by the JPT Stagecraft class was brilliantly done. It was clear that great attention to detail was used when creating the set as everything on stage had a purpose and never took away from play’s overall meaning. The set pieces, props and costumes were all clean and consistent with the era of the play, which only worked to positively benefit the production. With the exception of minor sound issues, lights and sound were mostly consistent and beautiful. The lights always helped set the mood of the current scene, changing with the time of day or with the emotions happening on stage. The sound crew never missed a cue, which is a commendable feat considering the amount of sound effects used in this production.
Beyond a few minor issues, JP Tavarella’s production of “Picnic” was a wonderful display of passion and story-telling.
*** *** ***
By Kelly Taylor of American Heritage School
JP Taravella High School’s production of “Picnic” turned a breezy November evening into a steamy September night full of romance and betrayal.
Set in 1953, “Picnic” by William Inge tells the story of a young woman, Madge Owens, living in one of the poorer neighborhoods in town and struggling to fit into a life of loveless marriages until Hal Carter, a bad boy staying next door, swoops in and steals her heart in one sweltering Labor Day weekend. Along with her story, the play depicts the struggles of the spinster school teacher, Rosemary Sydney, and Madge’s smart, independent sister Millie as they look to develop relationships of their own. Premiering in February of 1953 on Broadway, the show ran for 477 performances before it began touring through 1955. While popular in its time, the play and its historical struggles of women looking for a balance between supporting themselves and embracing love has become widely overlooked in recent years.
Overall, the cast of JP Taravella High School’s production did a phenomenal job of playing up the maturity of their characters. Their distinct character choices of each actor brought out the story in a very detailed manner while maintaining a high energy level to engage the audience.
The relationship between Madge and Millie Owens, played by Kimberly Sessions and Madison Kelleher respectively, stood out among the many character interactions as well developed and executed. The way that the girls teased, chased, and yelled at each other brought to life the challenging, and sometimes infuriating, relationship between sisters.
Among the featured and supporting cast, Vanessa Nottingham portrayed an ever-aging woman very clearly in her role as Rosemary Sydney, and depicted the imminent challenges of women in the time period beautifully. Not only was Nottingham’s performance incredibly consistent, she played the role with a remarkably professional air and put forth a very believable character.
The most eminent technical aspect of the show was the use of the natural sound effects, including that of birds and trains, to set the mood and define the season as well as the time of day. The balance between hearing the sounds while not drowning out the actors on stage was kept very precisely, and the sounds were placed fittingly throughout the production. The changes in color of the lights was also timed perfectly and contributed to the locale.
As a whole, the establishment of the time period through character choices and the technical portrayal of the setting remained particularly engaging and had professional qualities. The overall production successfully established Inge’s adult characters and the struggles woven through the story line.
*** *** ***
By Dylan Jost of North Broward Preparatory School
At the heart of every neighborhood are the people who live there. At the heart of J.P. Taravella High School’s production of “Picnic”, are the women of a small neighborhood on the “wrong side of the tracks” who lead this well-executed story of repression, yearning, and disappointment.
Penned by William Inge, “Picnic” premiered on Broadway in 1953, where it ran for 477 performances. A Pulitzer Prize for Drama winner, “Picnic” takes place in 1950’s Kansas as a group of women are preparing for a neighborhood Labor Day picnic. At this same time, drifter Hal Carter rolls into town. The Owen sisters, Madge and Millie, are immediately attracted to Hal, although their mother is disapproving of him. As Madge begins to get closer to Hal, sisterhood is tested, bonds are broken, and complicated relationships begin to form.
Leading the show were Kimberly Sessions as Madge Owens and Daniel Agmon as Hal Carter. Both actors believably depicted the love between Madge and Hal. Sessions shone with a strong stage presence and extraordinary believability, yearning for something more in her life. Agmon delivered an admirable performance as Hal Carter, a cocky vagabond who is new to town. Agmon also managed to show Hal’s more vulnerable side, especially in Act 3. Both Agmon and Sessions must be recognized for handling their roles with utter poise, as well as consistently making bold choices throughout the show.
A performance that must be mentioned is that of Madison Kelleher as Millie Owens. Kelleher’s impeccable comedic timing was commendable. This was especially evident in moments where Millie interacted with Madge, her sister. In addition, Kelleher also showed a more insecure side of Millie, in which Millie lives in the shadow of her beautiful sister, Madge. Another standout character was Rosemary Sydney (Vanessa Nottingham). Nottingham delivered a performance characterized by an incredible range of emotions, alternating between contentment, exasperation, and infatuation. Nottingham made the audience feel for Rosemary as she, under the facade of being happily independent, hoped for a man to call her own.
Technically the show was masterfully executed. A laudable technical aspect of “Picnic” was its intimate set. Walking into the theater, the first thing the audience saw was the set in all of its simple, yet beautiful glory. The lights by Alex Rodriguez must also be acknowledged for the way in which they added to the play by portraying times of day.
The cast as a whole worked well together in putting on this difficult play. An admirable aspect of the play was the interaction between the two sisters, as they clearly had great, enjoyable chemistry. Although the energy and diction of some actors were lacking at some points, this was made up for by an overall stage awareness by the cast.
J.P. Taravella High School masterfully brought messages of insecurity, yearning, and sexuality to the stage in its production of “Picnic”. Bringing the audience to laughs, tears, and gasps, “Picnic” proved to be a worthwhile venture into the world of 1950’s Kansas.
*** *** ***
By Jade Carey of Piper High School
Energetic expressions, colorful costumes, exuberant characters, and amazing creativity, are just a few words that can be used to describe Saint Andrew’s School’s rendition of the play, “The Great All-American Musical Disaster”. The Great All-American Musical Disaster follows the journey Junior Dover Jr., a young film producer who is determined to create the next big movie. To ensure his next film is a success, he gets every Hollywood star into his film by giving them each a different script which meets each star’s requirements. Throughout the play, Junior Dover Jr. struggles to keep everything in line while making his next big hit.
Many students brought their characters to the stage with life and vigor. Performers such as Noelle Norona brought a vibrant, comedic tone to the 1950’s style character known as Apassionatta Abalone. Catherine Schrubb delivered a diverse performance as Ethel Kent, as she showcased the characters ability to be comedic at some points and serious at others. Alex Watson portrayed the hilarious Flint Wormwood with the use of vibrant facial expressions and great comedic timing. The ensemble captures the exciting yet chaotic scene of the movie-making business in the 70’s. Some performers lacked the required energy at certain parts of the play, but all together the cast was able to bring enough excitement to every scene. At certain times some lines could not be heard from the characters, but the mood was still portrayed through body language and facial expressions. Even though the comedy was well executed, some performers tended to over exaggerate their characters which took away from
the pivotal comical scenes.
The set, although minimalistic, was very intriguing as it set the tone of the 70’s Hollywood era. Props such as cameras and microphones allowed the characters to portray what it was like during these times. Altogether the costumes did not accurately portray the timing of which the play was set, but individually it did help to express the personality of each character. The lighting and sound helped to express what was happening throughout the play. The lighting and special effects when each character entered, or when new scenes were introduced, were very well executed and brought life to the show. The addition of extra videos in between scenes was very well done and showcased the creativeness of the tech crew.
All in all, Saint Andrew’s School’s production of, “The Great All-American Musical Disaster,” was a vigorous and dynamic experience, filled with hilarious moments and characters you will never forget.
*** *** ***
By Angel Martinez of West Broward High School
The Great All-American Musical Disaster, A Farce in Three Acts. Saint Andrew’s School really pulled off a very good rendition of the show. The farce concept is quite hard to pull of correctly, being that it is pure comedy and timing and no real moral is being taught. The show starts off with Ethel Kent (Catherine Schrubb) with Ginger (Addie Saltz) awaiting the arrival of the “world-renowned” producer, Junior Dover Jr. (Ben Snider). Junior arrives, Ethel, furious about his dramatic entrance, asks what his next disastrous flop of a movie is. He comes up with the next big disaster movie “Disasterama”, and plans to hire the biggest stars in Hollywood. He brings in Bronco Whinny (Hayden Sikora), Apassionatta Abalone (Noelle Norona), Chuckles Lafoon (Colin Finney), Baby Bernice (Alice Moldavskaya), Gee-Gee Fontaine (Bria Weisz), and Flint Wormwood (Alex Watson). He also hired T.V director, Plato Voltaire (Matthew Eisenberg). He does so but gives everyone different scripts and plans to only feature them rather than star them. Hell breaks loose and they all find out and try to kill Junior.
Short clips were made by Brendan Assaf, Noelle Norona, and Bria Weisz. They were played after the act ended and before one started with the exception of the Academy Awards scene. They were a very nice touch to the show and added a new dimension of the comedy that most have never seen in a high school production. This setting takes place in the 70’s and they did an amazing job conveying the stereotypical 70’s movie star/ director character. Though their costumes were very modern and sometimes didn’t fit the setting. Their stage also felt very empty and some transitions felt they took too long. A reoccurring issue is that some have issues with diction and projecting their voices. There were moments when the characters spoke too fast or slurred their words and were quite difficult to understand.
Characters that stood out were Apassionatta Abalone played by Noelle and Flint Wormwood played by Alex, they really seemed to enjoy the role and never seized to break character or lose focus. Ethel Kent played by Catherine was an amazing relief to some of the comedy for when it tried too hard to be funny.
Saint Andrew’s rendition of The Great All-American Musical Disaster was quite good considering it is a high school production. The characters were lovable and funny. The jokes may have gone too long and stale, the tech was pretty amazing and the creativity was there for those videos. This show gave farce a good name.
*** *** ***
By Megan Begley of Coral Glades High School
Everyone loves a good old disaster movie, right? With such vibrant characters and intriguing and entertaining additional special effects, Saint Andrews’ School’s production of the decidedly outrageous farce about a film gone wrong, “The Great All-American Musical Disaster,” was anything but a disaster (or a musical).
Written by Tim Kelly, “The Great All-American Musical Disaster” follows the story of a struggling film producer of the 1970s, Junior Dover, Jr., who has repeatedly failed to recreate the prior successes of his late father in the film industry. In a desperate attempt to create the greatest film of all time, Junior scams several popular actors into agreeing to be in his next big film by convincing each of them that they are to be the film’s star. This outrageous, three-act narrative provides an abundance of hilarious characters, written to be spoofed interpretations of stereotypical characters that were prominent in Hollywood films of the period.
Among a large cast of crazy and outlandish characters, it is difficult to be the level-headed voice of reason; Catherine Schrubb gives a genuine performance as a strong and hardworking woman, Ethel Kent. Noelle Norona’s portrayal of Apassionatta Abalone offered a consistent, slow, and dramatic tone and accent, bringing an immediate and constant presence to the stage. Another comedic highlight of the show was Bria Weisz’s Gee-Gee Fontaine; with an unwavering discordant voice and clunky movements, Weisz provided many of the show’s most comedic moments. Although among the ensemble of outrageous characters, Alex Essig (Flint Wormwood) and Jeremy Matsil (Bob Everlove) provided some of the more developed and believable characters of the production with genuine actions and reactions throughout. A refreshing aspect of the show was the independent characterizations of each role; some characters could have easily been portrayed in very similar ways, however, the idiosyncrasies of each role, consistently portrayed by the actors provided a cast of very distinct characters. With many hilarious moments, most of the cast exhibited perfect comedic timing, although some jokes were dragged out for an overly extended amount of time. Without the use of body mics, the entire cast was able to project very well, however, some lines were lost to the exaggerated accents of a few characters. The cast as a whole delivered unique individual characterizations, loud and mostly audible dialogue, and a consistent, high level of energy.
The clever use of video clips, projected on a wall of the theatre, provided some of the most hilarious moments of the show. This unique element of the show added so much humor that perfectly fits the overall tone this farce. The costumes and makeup were very well done. Some costumes did not appear to be very time period appropriate, however, the meticulous color-coding of costumes in some scenes created a noticeable color scheme that was very pleasing to the eye. Makeup, while very well done, could have been better utilized to express the various ages of the many characters in the show. Clever use of lighting and sound successfully added to the overall ambiance the show.
With a large yet consistent and energetic cast with great comedic timing and clever and entertaining technical aspects, Saint Andrews’ School’s production of “The Great All-American Musical Disaster” was one non-musical, non-disaster audiences won’t soon forget.
*** *** ***
By Daniel Calderon of Somerset Academy
Imagine a cast of Hollywood stars coming together on a film, where they all believe they are the lead. Anything can happen in Hollywood, right? The Saint Andrew’s School production of “The Great All-American Musical Disaster” was a lively, hilarious, a pie in your face (literally!) rendition of this great farce.
Written by Tim Kelly, ” The Great All- American Musical Disaster” is a comedic play commenting on the big Hollywood actors of the 70s, with characters embodying key personalities of real-life stars of the time period. This play revolves around Junior Dover, Jr. a struggling producer trying to save his producing company. Since his last movie “Zombies of the Stratosphere” wasn’t a box office hit, he convinces major Hollywood actors to come and perform in his new movie. The thing is the actors were all given a different script, making them believe that they are the lead and everyone around them is merely the supporting cast.
The producer in charge of this new movie was Junior Dover, play by Ben Snider, who had great physicality and high energy throughout the play. Junior Dover wouldn’t have been able to put this movie without the help of his secretary Ethel Kent, played by Catherine Schrubb. Schrubb demonstrated a great understanding of her character playing as the “straight man” in the comedy. Schrubb’s being grounded and determined through the play showed her great skills. The friendship portrayed by Snider and Schrubb really helped move the play along keeping it together.
The supporting cast consisted of the major actors in this new film working together. As a group these characters had no dull moments, though at some times the comedy felt forced. A standout in this show was Noelle Norona playing Apassionatta Abalone, an old Hollywood star trying to make it back on television with the new kids. Whether it was when she was saying her name or interacting with Flint Wormwood, Norona showed great skills in her physicality, comedic timing, and with a great accent encompassing this character. Each actor in the supporting cast was fully committed never dropping character, though at moments felt overacted, they kept the energy and laughter high and rolling throughout the play.
Great scenes like the Oscar awards showcased the chemistry of the cast and other scenes like the chasing of the Junior Dover, Jr. highlighted not only the casts overall great physicality but there interaction with the audience. The lighting was smooth and efficient setting the scene for the actors at hand. The costumes were very nice, although sometimes inconsistent with time periods; they did help establish characters personality. At some times it did feel like the audience was left in the dark too much during transitions, but the crew worked diligently moving set pieces around. The most intriguing part of this play was the special effects, more specifically the videos created by the cast shown throughout the play, which was a great add-on that helped the show with there scenes but more specifically it was a comedic genius idea.
The overall production of The Saint Andrews School “The Great All- American Musical Disaster” was a very good, over-the-top farce.With a large yet consistent and energetic cast with great comedic timing and clever and entertaining technical aspects, Saint Andrews’ School’s production of “The Great All-American Musical Disaster” was one non-musical, non-disaster audiences won’t soon forget.
*** *** ***
By Susanna Ninomiya of Somerset Academy
Come see a play where “Lights, Camera, Action!” has a new meaning in the Saint Andrew’s production of “The Great All-American Musical Disaster.”
Deemed a “farce in three acts”, the play was written by Tim Kelly and follows the story of a failing producer, Junior Dover Jr., and his attempt in making his greatest hit: an outrageous disaster film that is full of Hollywood’s biggest stars. The catch, however, is that each actor believes they are playing the main role, and the other stars as minor roles. With this in mind, chaos and hilarity ensue as Junior tries to stay one step ahead of the charade.
Playing as Junior, Ben Snider exuded great physicality that allowed his body to express more than enough emotions, allowing for more room to be the wacky producer. Catherine Schrubb plays Ethel Kent, the intelligent yet snarky secretary of Junior’s, and connected the scenes to the story with her commitment to the role and her energy that always filled the room.
The Hollywood stars all brought charm and did a great job developing distinct characterizations as they gave comically absurd caricatures from decades of film. Bria Weisz was charismatic as the gorgeous and ditzy Gee-Gee Fontaine, impressively manipulating her body to help land jokes. No one could forget the outlandish Apassionatta Abalone, played by Noelle Norona, an old-time forgotten actress that wants her popularity to be reborn. Alex Watson embodied Flint Wormwood, a macho man that mainly plays cops, with ease and passion as he showed his prowess, good looks, and a fear of Apassionata. Brendan Assaf and Grace Sodi, in the roles of Television Announcer and Sylvia Metroland respectively, helped lead the story as transitions with a dose of comedy. Although there were some instances where the comedy dragged on, everyone had great chemistry, and each had a blend of different styles of comedy, leaving the scenes that had all of the stars in one room as very satisfying.
Tech-wise, this show was very creative. Projections were displayed throughout the play to exemplify the Hollywood actors’ personas and overall feel of the show. Each actor had their own introduction- fit with a special spotlight, movement, and theme music- effectively setting the characters up. The set was nicely executed, using minimal but efficient pieces, and the costumes were generally consistent with the time period. Although there were some delays in the execution, the lights and their transitions beautifully brought the scenes to life, and the makeup made it easy to see the zany expressions of each actor.
“The Great All- American Musical Disaster” is an ode to the legend that is Hollywood, full of tropes and laughs, and the Saint Andrew’s School wonderfully relayed the classic message of Hollywood- “Anything can happen!”
*** *** ***
By Dani Wolfe of J.P. Taravella High School
Three overworked women, a gun, a harness, and a “sexist, egotistical, lying, hypocritical bigot” of a boss make for hilarious workplace antics in the musical “9 to 5,” based on the 1980 movie. North Broward Preparatory School delivered an entertaining rendition of this beloved story.
Helping the transition from screen to stage was Dolly Parton, one of the movie’s stars. She wrote the music and lyrics for the stage version, while Patricia Resnick wrote the book. Resnick definitely knew the material, since she was one of the film’s writers. The Parton/Resnick version premiered in Los Angeles in 2008 and then went to Broadway the following year. Both the film and the movie tell the story of three co-workers (Violet Newstead, Doralee Rhodes, and Judy Bernly) who turn the tables on their selfish boss (Franklin Hart, Jr.). Hart not only keeps women from moving up the corporate ladder, but he also embezzles money from the company, a fact the women discover after kidnapping him and making improvements at the office in his absence.
Bringing these women to life for North Broward were three powerhouse actors and singers. Danielle Ganz played Violet, the leader of the women, and Ganz really embodied her character and made bold choices playing this bold woman. Eve Cohen had a lot to live up to as Doralee, played in the film by Parton herself. Cohen did a wonderful job with the Southern accent and big movements required in the part. Playing Judy, the new girl in the office who has a lot to prove, even to herself, was the incredible Natalie Langnas. Langnas really delivered with her vocals, and her incredible range soared on the solo “Get Out and Stay Out.”
The evil, sexist Mr. Hart was portrayed very convincingly by Samuel Kelly-Cohen. His acting choices were impeccable and left the audience laughing, and sometimes cringing, every time he appeared. He also delivered outstanding vocals while staying in character. Another standout comic performer was Quinn DeVita, who was absolutely hilarious in the role of Roz Keith, an assistant obsessed with the married Mr. Hart. DeVita really brought this quirky character to life, making consistently bold choices throughout the show, and particularly in her song “Heart to Hart.”
The ensemble were together in most numbers but lacked a bit of energy at times, although there were some standouts who were consistent in every scene. Costumes stuck to the time period as well as the characters’ income levels and ages while props really sold the office sets, including the dated, corded telephones. An impressive addition was the use of a background screen that changed from scene to scene and really enhanced what was going on in the show.
It may be 2017, but “9 to 5” definitely stands the test of time, from its 1980 film debut to the 2008 musical. Watching these three women prevail against their sexist boss continues to entertain, and North Broward Preparatory School did a fantastic job of bringing the story to life.
*** *** ***
By Daniel Agmon of J.P. Taravella High School
North Broward Preparatory School’s heartfelt production of “9 to 5” focuses on messages of male chauvinism and women’s equality in the workplace, with a very upbeat and entertaining delivery. On a much more serious note, the production is very topical, with the recent scandal involving a renowned film producer and the many accounts of his sexual harassment, and the ensuing #MeToo campaign. While “9 to 5” may make light of the issue, it is yet another reminder of the century old male dominating culture we still have a long way to change.
Based off the hit motion picture that was first screened in 1980, the musical, with the same title, debuted on Broadway in 2009. With a book written by Patricia Resnick, and music composed by the star whose story it is based off, Dolly Parton. The show was quite unsuccessful on Broadway, running only five months, despite receiving four Tony nominations. The story set in the early eighties is centered around three secretaries: Violet Newstead, a hardworking single mother; Judy Bernly, new at her job and recently divorced by her abusive husband; and Doralee Rhstriodes, the woman modeled off the attractive Dolly Parton, who is happily married. Their sexist boss, Franklin Hart Jr. oversteps the mark, when he persistently tries to pursue Doralee into having sex, and spreading rumors that she is sleeping with him. While the women jokingly plot to kill Franklin, Violet actually accidently poisons him; a kidnap, and chaos ensue.
Danielle Ganz starred as Violet with a striking stage presence and realistic maturity while Eve Cohen captured the Dolly Parton essence as Doralee Rhodes with breathtaking vocals and exhibited vibrant energy. Natalie Langnas’s vocals were both harmonious and crisp, noteworthy in the challenging song “Get Out and Stay Out.” Ganz, Cohen, and Langnas shared comedic chemistry as they plan to kill their bigoted boss, Franklin Hart Jr. played by Samuel Kelly-Cohen who superbly mastered the tasking role and displayed quality vocal technique in songs such as “Here for You,”
Quinn DeVita portrayed the fanatic Roz Keith with impeccable comedic timing. Her song “Heart to Hart” was highly entertaining. Dylan Jost was a lovely addition as the young Joe, presenting quirky facial expressions, as he nervously crushed on Violet. Eitan Pessah made great use of his minimal stage time as the company chairman Tinsworthy. Overall, the cast should be commended for the daunting achievement of taking on such adult themes with utmost believability. The acting was realistic, and the actors were well understood. The ensemble at times lacked energy, but this was more than compensated by their flawless harmonies.
Technically, the production was impeccable, incorporating a projection screen that provided authenticity to the settings, and created a new level of comedy to the production during the dream sequence. Costumes coordinated by Almira Shardarbekova were exceptional, highlighting the 80s’ and quick changes were done faultlessly. The use of a live orchestra was another wonderful addition.
North Broward Preparatory School brought messages of equality, love, and independence in their bouncy, uproarious production of “9 to 5”, leaving you with “a cup of ambition” and “dreams that he will never take away”.
*** *** ***
By Sofie Leathers of Boca Raton High School
Most workplaces have a “sexist, egotistical, lying, hypocritical bigot.” Especially in the 1970’s, when women’s rights were beginning to gain more momentum in the corporate world. 9 to 5 shows the struggles of Consolidated Industries, a cutthroat office in which the only way to rise to the top is to be a man – but not for long.
North Broward Prep’s 9 to 5, written by Dolly Parton, debuted on Broadway in 2009. The story follows three unhappy women working under a misogynistic and manipulative boss. Its witty script, lively score, and dark humor were made memorable by the committed cast and crew.
The production’s standout element was its well-rounded execution of comedy. Its three protagonists and other characters had excellent chemistry, and their clean delivery of comedic lines elevated the show’s quality.
The show’s three leading ladies carried the show with poise and sophisticated character depth. Danielle Ganz portrayed Violet Newstead, the experienced and ambitious secretary in the office, with conviction. Her acting skills made it easy to believe she was a single mother whose commitment to her job has proved unsuccessful for too long. Eve Cohen played Doralee Rhodes, the misjudged southern belle whose beauty gets her labeled shallow and easy. Her clear voice and extensive range revealed the character’s true emotions and desires, and her realistic Texan accent was commendable considering its difficulty. Natalie Langnas brought the wide-eyed new employee, Judy Bernly, to life. Her dynamic character arc was expressed beautifully, coming to a climax with a well-done ballad. Another standout lead was the notorious boss, Franklin Hart, played by Samuel Kelly-Cohen with praiseworthy comedic timing and high-quality vocals.
The supporting cast also added another layer of comedy and interest to the show. However, Quinn DeVita completely captured the audience’s attention. Her performance as Roz Keith, the mousey, uptight, rule-abiding secretary, was hilarious due to the character’s big secret – her crush on the boss. Roz’s fantasies were revealed in “Heart to Hart,” a ridiculous and entertaining comedic ballad. The ensemble, though not always perfectly synchronized or energetic, delivered difficult choreography and complex quick changes well. They enhanced the protagonists’ plot, and they visually materialized each of their deepest wishes.
The technical aspects of 9 to 5 were seamless and brought the show to life. Costumes were well-made, and the principals balanced many quick changes smoothly. The makeup also made the actors pop, and it fit in with the show’s 70’s plot. Their stage management was also well-organized and efficient, but there were a few moments during which the audience was left lingering in the dark. The set was creatively used and took advantage of a background screen that provided innovative scene changes, backgrounds, and a brilliantly amusing twist. The lighting and pit were of professional quality, allowing audience members to feel completely immersed in the story.
9 to 5 was a lighthearted, funny piece with a deeper message that especially resonates today. The actors and technicians clearly put hours of hard work into the show, and their attention-to-detail read well onstage. The musical’s relevant message proves to be true – sometimes, “nothin’s gonna change if you don’t change it.”
*** *** ***
By Charlotte Bacharach of Cardinal Gibbons High School
An unexpected kidnapping, Dolly Parton, the 1980’s, major girl power – need I say more? North Broward Preparatory School’s rendition of “9 to 5” brought together all this and more accompanied by bundles of laughter. With music and lyrics by Dolly Parton and book by Patricia Resnick, “9 to 5” is based off the famous 1980 movie. After it’s premiere in Los Angeles, the musical opened on Broadway in April 2009. It received 15 Drama Desk Award nominations and four Tony Award nominations during it’s brief Broadway run. Focusing on the poorly-run Consolidated Industries led by a sexist and egotistical CEO, three strong women come together – albeit through drugs, kidnapping, and a touch of attempted murder – to better their workplace through tolerance and compassion.
Violet Newstead (Danielle Ganz), Doralee Rhodes (Eve Cohen), and Judy Bernly (Natalie Langnas) comprised the close-knit trio dedicated to creating an environment of equality in their office. Danielle Ganz, portraying Violet Newstead, presented herself with extraordinary talent and polish. She always remained in character and made bold, animated character choices forming a dynamic and engaging role. She sang brilliantly and held supported harmonies. Eve Cohen as Doralee Rhodes embodied the Western essence of her character with a larger than life personality and charming accent. Despite the difficulty of an accent, she sang exquisitely with a clear, smooth tone and expansive range. Natalie Langnas’ Judy Bernly brought a sweet persona to the stage. Her versatile voice, strong in both head and chest, proved astonishing in her solo, “Get Out and Stay Out”. They performed as a cohesive unit in their beautifully blended harmonies, hilarious scenes, and sharp dances. The ladies’ motivation to work together stemmed from their wicked boss, Franklin Hart JR (Samuel Kelly-Cohen). He never had a dull moment, and filled every aspect of his character with eccentric energy in facial expressions, physicality, and more. His comedic skill and smooth singing propelled his song, “Here for You”.
Other outstanding roles include Roz Keith (Quinn DeVita) and Tinsworthy (Eitan Pessah). DeVita’s performance was hysterical in all facets. Her quirky character, though disliked by her coworkers, was loved by audiences due to her wacky personality and peculiar love for her boss, Franklin Hart. Making the most of every moment on stage, DeVita belted her “Hart” out, danced uproariously, and made stellar choices and expressions. Eitan Pessah played Tinsworthy, a company executive, and showed his immense dedication in the maturity he carried himself with and his command of the stage. The ensemble danced with clean movements, and added liveliness to the show with their presence. Though at times actors lacked intention or proper diction, the cast met the task of this arduous show with tenacity.
The technical categories shone alongside the cast. The intricate set complimented the show well, and integrated technology in the form of media projections. The numerous costume changes were executed efficiently and fit the time period well. Set changes moved smoothly with little interruption to the scene.
North Broward Preparatory School showed exceptional diligence and talent in “9 to 5”. Regardless of a few bumps in the road, like poisoning your boss or holding him hostage, their zestful musical showed that they truly “Shine Like the Sun”!
*** *** ***
By Nicole Sugarman of J.P. Taravella High School
Three women, fed up with being just “a step on the boss man’s ladder,” take on their misogynistic manager in North Broward Preparatory School’s production of 9 to 5: The Musical! Gear up for a “Dolly” good time and prepare to experience an empowering piece of musical theatre.
With an exuberant score by Dolly Parton, and a hilarious book by Patricia Resnick, 9 to 5 tells the uplifting story of three female secretaries working for Consolidated Companies who devise a plan to get even with their self-absorbed and pompous jerk of a boss. Based on the 1980 movie of the same name, 9 to 5: The Musical premiered in Los Angeles in September 2008 making its debut on Broadway in April 2009. This lively musical tells a story of revenge and unlikely friendship, inspiring women to take control of their lives and prove they are nobody’s fool.
Danielle Ganz portrayed Violet Newstead, a smart and efficient woman facing the struggle of watching her colleagues surpass her on the corporate ladder based merely upon their gender rather than skill. Ganz realistically captured Violet’s frustrations, as well as her wonderfully dry sense of humor, creating a concrete base for the show to build upon. Playing the glamorous, country gal, Doralee Rhodes, Eve Cohen seized the hearts of all viewers with her sweet southern charm and quick wit. Cohen showcased her impressive vocal ability, as well as her strong characterization in numbers such as Backwoods Barbie, Cowgirl’s Revenge, and Change It. Portraying the role of “new girl” Judy Bernly, a meek housewife turned strong, independant woman, Natalie Langnas depicted the character’s transition from timid to tough exquisitely. Langnas truly captured the essence of her role, as well as the production as a whole, in her powerful number “Get Out and Stay Out,” passionately declaring her feelings of mistreatment and asserting the beginning of a new chapter in her life.
Samuel Kelly-Cohen, playing Franklin Hart, the “sexist, egotistical, lying, hypocritical bigot” of a boss, convincingly depicted the disgusting and arrogant personality of his character, forcing the audience to despise him by the end of the show. His amusing antics throughout the production were well-executed and consistently received laughs. Portraying the role of Roz Keith, the attentive office busybody and gossip queen, Quinn DeVita provided another layer of comedy to the production, particularly in her show-stopping number “Heart to Hart.”
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