By Heather Johnson of Saint Thomas Aquinas High School
There’s nothing like a classic summer camp experience roasting marshmallows, singing campfire songs, and fighting demons to restore peace in war-torn Olympus! Unlike the demigods the show follows, Westminster Academy’s “The Lightning Thief” was more than half-divine. But one does not have to defeat a minotaur or take a ten year odyssey to sit among gods; they just have to take a seat at Westminster and wait for the curtain to rise.
“The Lightning Thief” began as the first book in Rick Riordan’s acclaimed 2005 series, “Percy Jackson & the Olympians”. It follows twelve-year-old Percy, who discovers he is a demigod and embarks on a quest to recover Zeus’s stolen lightning bolt. In 2014, the story was adapted into a vibrant Broadway musical with music and lyrics by Rob Rokicki and a book by Joe Tracz. This adaptation brought new life to the tale, incorporating catchy songs and jazzy choreography. The musical has since captivated audiences from Broadway to the West End and of course, at Westminster Academy.
It is no Greek myth that Westminster students are gifted for the theater. As the charmingly chaotic Percy, Liam Pace delivered a performance filled with heart and humor. His near-flawless vocals electrified the stage, even without the help of Zeus’s bolt. Pace balanced the chip on Percy’s shoulder with mesmerizing warmth and vulnerability. It was hard to keep eyes off of him from his opening verse to final bow.
Equally as impressive was his counterpart Annabeth, played by Madison Sanders. Annabeth’s “grand plan” was to be remembered, and that she certainly did. Sanders captured Camp Half-Blood’s golden girl with a grace rarely seen on high school stages. Her pop-rock influenced vocal tone added depth to her character and the show’s soundtrack. The chemistry between Percy and Annabeth was electric, as if it was crafted by the gods themselves.
Dynamic supporting characters fleshed out the world of Camp Half-Blood. Most notably, Story Truss dazzled as Clarisse, daughter of the god of war. Though Clarisse was unsuccessful at capturing the other campers’ flag, her fiery song sure captured many hearts. Hannah Valdivia embodied the underworld’s punk prima donna, Charon. Her featured song “D.O.A.” showed the audience just how star-studded the afterlife can be. Andrew Lencse played Mr. D with Broadway-like expertise. It only makes sense he is the god of wine, considering his intoxicating stage presence and comedic timing.
The magic behind “The Lightning Thief” also came from the hard work and creativity of student leaders. Sara Davey, the student director, skillfully navigated the cast through the story, ensuring every moment was impactful and engaging. Her vision helped shape the overall production, allowing the actors to shine in their roles. Annie Farrar, the student stage manager, coordinated the show with precision. Her organizational skills were clear, as transitions were seamless and the cast was ready at just the right moment. Lastly, Jocelyn Kippes crafted choreography sharp as a knife…or should I say a sword? Her choreography for the fates captured the essence of these mythical characters, adding an enchanting layer to the performance.
Overall, “The Lightning Thief” was a camp-tivating experience. The show served as a reminder that sometimes you must find your own inner hero to shine the brightest. The cast rumbled with energy in every number and allowed no dull moment. Without a doubt, Westminster Academy left an impact that lasts far past the end of the summer.
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By Sam Dyer of NSU University School
When your identity crashes down like lightning in a troublesome thunderstorm, how do you become a hero? Playfully perilous and hilariously Homeric, Westminster Academy’s production of “The Lightning Thief” seeks to find bliss in who we truly are!
Based on Rick Riordan’s homonymous novel from 2005, “The Lightning Thief” was penned by Joe Tracz with music and lyrics by Rob Rokicki. With an off-Broadway debut in 2014, the musical had a limited stint on Broadway and was nominated for three Drama Desk Awards. Pulling from the everlasting epics of Greek mythology, the story follows Percy Jackson, an imaginative teen at Camp Half-Blood who sets out to find both Zeus’ lightning bolt and the identity of his Greek god father.
Leading this killer quest was the passionate Percy Jackson, played by Liam Pace. With vocals as soothing as the ocean’s waves, Pace cruised with commendable characterization, sharply mastering the trifecta of confidence, anger, and sadness like a three-pronged trident!
Deft and dexterous among demigods, Annabeth Chase was brought to life by Madison Sanders. Remembering to pack fine chemistry with Percy in that handy quest survival kit, Sanders also carried her own capability with grand vocals worthy of being remembered! Not far behind was the fated best-mate Grover, performed by Chelsea Matthews. Every road trip needs snacks, and this sated satyr delivered on that promise with a tasteful knack for comic sense!
Underscoring this odyssey was a great helping of Greek gods! Andrew Lencse commanded as the demanding counselor Mr. D (the D stands for Dionysus AND Drama Queen); blasting his comedy like a mighty megaphone, Lencse was happily heard loud and clear! Four-legged and fantastic, Brady Oropesa was three gods in one as Chiron, Ares, and Hades. Oropesa impressively differentiated between each legend with separate vocal deliveries and physicality, making his presence unexpected yet unbeatable!
To capture the flag of a poignant production, it takes an ensemble of heroic Half-Blood Campers! Whether sword fighting or sobbing over deadbeat dad-gods, most of the ensemble members excelled with effervescence while conquering their choreography. Like a hearty campfire, some campers shone brighter than the rest: Luke (Luis Ramirez) led the charge through both brotherhood and betrayal, while Clarisse (Story Truss) brought bombastic vocals to accompany her brutal fighting technique!
Holding up this cast like triumphant pillars were a Parthenon of technical achievements! Like Medusa’s inauspicious victims, the Stage Management & Crew (Sara Davey, Annie Farrar, Nathaniel Lencse, Sam Foster, Connor Pace, & Olivia Faber) had their skills set in stone; while at times transitions lacked cohesion, Farrar called over 359 total cues with potent precision. For such little time in their performance space, this feat is utterly commendable! Additionally, the Choreography done by Jocelyn Kippes, specifically made for the Fates (Kathryn Wright, Ella Wood, & Tatum Hollandsworth), spoke louder than words; both Kippes and the dancers pulled the strings of this performance with power and prowess!
Bringing on the monsters, Westminster Academy’s “The Lightning Thief” is a spectacle you must see to believe!
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By Abby Goldberg of Cooper City High School
Percy Jackson didn’t ask to be a hero, he just wanted to survive school without getting expelled… again. Westminster Academy’s production of “The Lightning Thief” explores a world where monsters are real, prophecies come true, and Percy just can’t seem to stay out of trouble!
With music and lyrics by Rob Rokicki and book by Joe Tracz, “The Lightning Thief” first premiered in 2014. Inspired by the 2005 novel of the same name, its plot follows Percy Jackson, an average “Good Kid,” who discovers he’s actually a demigod. Thrown onto a quest to retrieve Zeus’s stolen lightning bolt before a war erupts among the gods, the fate of the world lies in the hands of a troublemaker extraordinaire.
Charming the stage as the seaweed brained, savior of Olympus, Liam Pace made a splash as Percy Jackson. His commanding vocals paired with a whirlpool of dynamic characterization, allowed for a powerful and divine performance. Armed with a mind even sharper than her dagger, Madison Sanders portrayed Annabeth with a skillful mix of brilliance and poise. With impressive fight choreography execution and compelling physicality, she brought the character to life with precision and intensity. Together, Sanders and Pace captured the blossoming friendship of Annabeth and Percy through witty banter and moments of quiet understanding.
With a heart as big as her appetite, Chelsea Matthews embodied Grover with boundless energy and warmth. Her impeccable comedic timing and infectious stage presence highlighted the satyr’s quirky charms and insatiable snacking desires with remarkable talent. Son of Hermes, counselor at Camp Half-Blood, and master of manipulation, Luis Ramirez masterfully balanced charm and betrayal in his portrayal of Luke. He seamlessly navigated his character’s duality, presenting a clear shift from the charismatic and trusted leader to a deeply conflicted and vengeful adversary.
The ensemble of half-blood campers must be commended as their distinct characterization allowed each camper to contribute to the immersive camaraderie of the camp. Their sharp fight choreography and constant stage business allowed for dynamic interactions and characters. Their strong vocals and harmonies added depth creating many powerful musical moments. A standout among the cast was Olivia Oropesa as Sally Jackson. Her remarkable vocals and character were infused with warmth and elegance, presenting a heartfelt reminder of the importance of staying true to yourself.
The technical elements of the production helped transport audiences into the mythological madness of the show. The stage manager, Annie Farrar must be applauded as her timely cues allowed moments to flow seamlessly. The choreographer Jocelyn Kippes crafted visually striking pieces allowing the Fates to be highlighted with grace and intensity.
Westminster Academy’s stellar production of “The Lightning Thief” proves that sometimes the things that make us different can also make us heroes.
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By Chase Goldrich of American Heritage Broward
A storm is brewing at Westminster Academy…one charged with talent, energy, and a striking production of “The Lightning Thief”!
Based on Rick Riordan’s 2005 novel, “The Lightning Thief” follows twelve-year-old Percy Jackson as he discovers his demigod heritage and must embark on a daring quest. His mission: retrieve Zeus’ stolen lightning bolt the only hope of preventing a war among the Greek gods. The mythological masterpiece first took stages by storm in 2014 before electrifying Broadway with a sixteen-week run in 2019.
With the weight of Olympus on his shoulders, Liam Pace (Percy Jackson) commands the stage with charisma, energy, and sword-sharp vocals. His profound performance in “Son of Poseidon” unleashes a tidal wave of intensity, matched by his unique character arc from a misconstrued underdog to a fierce demigod. Opposite Pace, Madison Sanders brings spellbinding presence, fierce physicality, and resonant vocals to Annabeth Chase. From her captivating chemistry with the cast to her riveting rendition of “My Grand Plan,” Sanders will undoubtedly leave audiences thunderstruck.
A hero of humor and heart, Chelsea Matthews (Grover) brings authenticity to this action-packed story. Evident in “The Tree on the Hill,” Matthews storms the stage with engaging energy and vivacious vocals that linger long after the final notes. Meet Charon, the sparkling, underworldly receptionist at D.O.A. Recording Studios, portrayed by Hannah Valdivia. With her show-stopping number “D.O.A.,” Valdivia transports audiences to a high-energy, 1980s-esque extravaganza that will leave you Dead on Arrival! She’s fierce. She’s the daughter of Ares. She’s here to “Put You in Your Place.” She’s Story Truss as Clarisse! Truss consistently showcases thunderous vocal prowess while preserving the intimidating presence of her character. Equally as electric, the show’s ensemble maintains unwavering energy, consistently engaged and in character.
Looking for the ultimate Camp Half-Blood Tour Guide? Stage managers Sara Davey, Annie Farrar, Nathaniel Lencse, and their crew are the experts, impeccably calling 200 light cues and 44 sound cues. In intense scenes that rely on these cues’ precision, the team rises to the challenge and executes each flawlessly. Destiny-controlling and dreamlike, the three Fates, Kathryn Wright, Ella Wood, and Tatum Hollandsworth, strike the stage with poise, power, and pirouettes! With choreography by Jocelyn Kippes, the Fates flaunt stunning movement despite a few out-of-sync moments. From ethereal choreography to sublime stage management, this technical team is sure to leave you spellbound!
With powerhouse performances and tremendous tech, the only thing on the forecast at Westminster Academy is an electrifying production of “The Lightning Thief”!
By Kenny Gervais of Cooper City High School
Pack your bags, sheath your pens, and “Bring on the Monsters” at Westminster Academy’s shocking production of “The Lightning Thief.”
Deriving from the novel “The Lightning Thief” by Rick Riordan, this vivacious musical features a thunderous rock score by Rob Rokicki and a shocking book by Joe Tracz. The story centers on Percy Jackson, a misunderstood troublemaker with a catalyst for bad luck. Following a series of perilous field trips, familial shocks, and life or death scenarios, Percy is sent on a quest to prevent a catastrophic war amongst the big three, discovering that the things that make you different are the things that make you strong.
Like a wave crashing onto the shore, Liam Pace gave a splashing performance as the titular Percy Jackson. Pace’s steadied vocals and vast emotional range navigated the turbulent waters of his character growth, enacting his bravery and reluctance through his journey of self-acceptance. Serving as a furry, yet reliable protector and guide, Chelsea Matthews embodied Grover’s nurturing stride. She rooted the trio with her steadfast comedic timing, serving as comic relief through consequential scenes. Madison Sanders burned bright in her fiery adaptation of the intelligent and strategic Annabeth. Sanders showcased stunning vocal ability and sparking spacial awareness in combat scenes, capturing Annabeth’s unyielding inner fire. As a unit, Pace, Sanders and Matthews exhibited effortless chemistry, engaging audiences through every exploded bus and erratic expedition on their “Killer Quest.”
Uniting campers of all godly descent was Luis Ramirez as Luke. His enactment of Luke’s complex character evolution from a devoted leader to traitor was conducted with precision and accuracy. Showcasing talent more unique than food the color blue, Olivia Oropesa crafted Sally Jackson’s selflessness flawlessly. Her maternal characterization and prevalent vocals were astounding, especially in her heartfelt familial duet, “Strong.” Shining even through his absence as the dead-beat dad, Poseidon, Ryder Stroud meticulously utilized profound stage presence and amusing comedic delivery that crested like a wave in a stormy sea of laughter.
The cast of “The Lightning Thief” should be commended for their striking production! Their commitment to character was chiseled to perfection, impressively creating and maintaining statuesque pictures during scenes of chaos. Determined to capture the flag and their parent’s attention, the Half-Blood Campers gave a full-hearted performance. With the intense courage of demigods, they maintained polished harmonies and lively energy that lasted all summer.
Stealing the show, the technical elements shined brighter than Zeus’s lightning bolt! Under the expertise of Student Director Sarah Davey, the technical aspects collaborated to immerse audiences into the magical world of Greek mythology. Stage Manager Annie Farrar remarkably called over 350 cues with bolt-like precision, masterfully maintaining the whimsical atmosphere.
Spoiler alert: The gods are real, like the Greek gods, and they have kids. Summer is fastly approaching, so pedal to the metal and “Drive” to Westminster Academy’s electrifying production of “The Lightning Thief.”
By Kenny Gervais of Cooper City High School
Change. An ever-flowing drift of evolution and growth. AW Dreyfoos School of the Arts encourages audiences to wander into the darkness and journey along the road to wisdom in their profound production of “Metamorphoses.”
Written by Mary Zimmerman, “Metamorphoses” is a vignette-style adaptation of the epic poem by Roman poet, Ovid. Set between 2 CE and 8 CE, it shares interconnected tales of transformation from Greek and Roman mythology. Consisting of nine differentiating legends, the plot follows iconic mythological stories such as Midas, Vertumnus, and Orpheus. Blending humor, tragedy, and poeticism, it emphasizes the importance of embracing life’s difficulties and persevering for new beginnings.
Parting the harsh waters of love and loss, Shane Rainsburg (Ceyx) swelled with a passion deeper than a lazuli sea. Rainsburg’s impactful line delivery and mature physicality built like a tidal wave of emotions, crashing upon the shore. With a bed as empty as her azure heart, Melanie Simmons (Alycone) embodied the wrecked lover. Utilizing an influx of emotional intelligence and a deft portrayal of loss, Simmons exuded the immense suffering of grief, counting the one hundred shards of a broken heart. Converging like a cerulean surge on coastal sands, Rainsburg and Simmons displayed a romance as precious as a sapphire, considering each other’s love the greatest treasure of all.
Harboring the elegance and grace of aquamarine excellence, Andrew Hopta (Phaeton) was readily amusing. Hopta’s comedic physicality built Phaeton’s childish demeanor swimmingly, leaving audiences hovering with laughter. Guiding waves of melancholic blues, Andrea Mora (Therapist) employed precise comical reactions, establishing the dynamic relationship between her and Phaeton. Completing the harmonious farce, Graham Gilbert’s (Apollo) humorous mannerisms were as bold as ultramarine, inciting fluent laughter like an endless river.
With the consistent fluidity of rising tides, the Movement Ensemble created depth through the production. Executing intricate lifts, definitive portraits, and a diverse range of emotions, the ensemble expertly engaged audiences in each elaborate story, making their flowing movements a wonderful addition to the production. Shining through their lively storytelling, Audrey Walker and Kirra Bevilacqua (Eros and Psyche) executed their complex romance through intricate mannerisms, sharing their sentimental affection through stirring silence.
The technical aspects anchored the production with precision, immersing audiences into a world of indigo seas. The minimalist set design by Joey DiMare was simple yet effective, incorporating the soft form of silks to integrate motion and mimic the rhythm of water. Lighting, designed by Amira Green and DiMare, incorporated meaning through a selection of vibrant colors to symbolize the elements and create distinct pictures. Props Master Hannah Sherrod meticulously decorated the omniscient gods’ weapons with defining details, such as shells on Poseidon’s trident, to tie into the characters’ occupations.
So, journey into the unknown at AW Dreyfoos School of the Arts in their transformative production of “Metamorphoses,” for in the darkness where love goes, one finds their soul.
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By Charlotte Olivera of Dr. Joaquin Garcia High School
What happens when the divine and the mortal collide? When love, loss, and transformation shape the fate of those who defy the gods? Dreyfoos’ production of Metamorphoses masterfully brought ancient myths to life through expressive performances, striking movement, and breathtaking visuals.
Between 2 CE and 8 CE, the Roman poet Ovid wrote Metamorphoses, an epic poem spanning 15 books and weaving together 250 Greek and Roman myths. Though each tale stands alone, they all share the theme of transformation. Mary Zimmerman’s theatrical adaptation brings these myths to the stage through interconnected vignettes, where gods interfere with human lives, mortals undergo profound changes, and love and loss take center stage. The play explores the ever-changing nature of existence, proving that transformation is the one constant in mythology and life.
Dreyfoos’ production embodied both comedy and tragedy, relying on acting and body language to convey emotion. A scene that exemplified this was Alcyone and Ceyx, where the tone shifted seamlessly from humor to sorrow. The comedic moments with Aphrodite, Iris, and Sleep, played by Sanai McCray, Aissa Duclervil, and Conner Hullender, had the audience laughing with their witty gestures and delivery. This joy vanished when Alcyone, played by Melanie Simmons, learned her husband had died at sea. Searching the shore for him, she sobbed hysterically, calling out to his ghost in anguish. While this contrast heightened the emotional weight, the extremes of comedy and tragedy occasionally felt overwhelming, momentarily distracting from the story. However, the production remained a compelling exploration of humor and sorrow, delivering a performance that was both moving and engaging.
Movement and physicality played a crucial role in storytelling. From the opening moments, actors danced onto the stage, shifting seamlessly into statuesque poses. They contorted and moved fluidly to embody natural elements, transforming into trees, snakes, or the ocean itself. Instead of traditional set pieces, the performers represented these elements with their own bodies, making them feel almost human. Though the ensemble sometimes seemed adrift, their presence kept the stage dynamic and immersive, reinforcing the mythical nature of Metamorphoses.
One of the production’s most striking aspects was its lighting, designed by Amira Green and Joey DiMare. Nearly professional in quality, the lighting transformed the stage into a work of art. A particularly memorable moment occurred during Erysichthon, when the lighting shifted from calming blues and whites to swirling purples, reds, and greens, reflecting hunger and desperation. At times, the lighting felt excessive, momentarily overpowering the scene, but its breathtaking artistry ultimately enhanced the storytelling.
Like the myths it portrays, Metamorphoses is a story of transformation. Laughter gives way to sorrow, movement shifts to stillness, and light changes from warmth to darkness. With imaginative staging, compelling performances, and stunning visuals, Dreyfoos’ production delivered an unforgettable theatrical experience. Whether through the power of comedy or the weight of tragedy, it reminded audiences that stories, much like life itself, are always evolving.
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By Gavin MacArthur of Cooper City High School
In the beginning, there was water. Vast, endless streams of it. A force as primal as time itself, able to contort into any shape it sees fit. It flows gracefully from white-capped waves, bellowing with rage, to ethereal, cerulean shores and, finally, into AW Dreyfoos School of the Arts’ serene production of “Metamorphoses.” Audiences were able to witness a fleeting glimpse of water’s true power, not just to dampen, but to bring about change, to transform, to truly metamorphosize.
“Metamorphoses” by Mary Zimmerman first splashed onto the scene as an artistic interpretation of Ovid’s poem of the same name from 8 CE. Through episodic vignettes, the play recounts various tales from Ovid’s timeless collection, largely based around Greek mythology. While the scenes themselves are separate, they are woven together by a thread of love, loss, and evolution. The great tapestry that follows is one of immense beauty, a crystalline reflection of the very things that make us human.
To open the show, Graham Gilbert (Midas) gave a golden portrayal as the prominent king, masterfully detailing how his profuse greed led to a foolish wish. Gilbert enlisted genuine vocal inflection and physicality to embody Midas on every step of his descent, leading to a performance glimmering with authenticity. Revealing his range as an actor, Gilbert’s take on Apollo sent laughter trickling throughout the audience, as they basked in the warm, beaming nature of this comedic role.
Crashing like a great wave upon the shore, Shane Rainsburg (Ceyx) and Melanie Simmons (Alcyone) brilliantly flooded audiences with sympathy through their emotional depictions of the passionate couple tragically torn apart by the ocean. As the widowed lover, Simmons emanated her character’s despairing qualities through effective body language and sorrowful cries of distress. This mature performance figuratively ascended terrestrial restriction, soaring effortlessly across the heavens and landing as certainly with the audience’s hearts as a gull to the sea.
Cohesively, this cast excelled in the creation of a singular, fluid body. Seamlessly transitioning between narrating tales and acting as their watery background. All actors maintained emotional presence throughout the majority of scenes, ensuring a commendable degree of realism and elegance.
As a vine relies upon a tree for completion, this production’s spectacular disposition is heavily reliant on the technical aspects. Niko Gerrard and Alice Novak ingeniously perfected the design of every godly staff, guaranteeing their accurate reflection of each wielder. Rippling into further components, Amira Green and Joey DiMare designed lighting variations that painted each moment with raw brilliance. Whether depicting emotion or underscoring scenes, the lighting proved a prime example of the intoxicating quality that made this performance so marvelous.
When the storm settles and the waves finally recede, it is proven that nothing can wash away the beauty of AW Dreyfoos School of the Arts’ impeccable production of “Metamorphoses.” Teaching a lesson as old as time itself: that change is inevitable, and the only way to overcome it is to persevere, flowing as readily onwards as a river to the sea.
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By Sam Dyer of NSU University School
What lengths will you walk for love? Revolving around classic trials of connection and affection, the cast and crew of “Metamorphoses” at AW Dreyfoos School of the Arts journeyed through masterful stories made of pure gold!
Pulling from the homonymous poem penned by Ovid, “Metamorphoses” was adapted by Mary Zimmerman. After debuting in 1998, the play moved to Broadway in 2002 where it won the Tony Award for Best Direction of a Play. Featuring Ancient Greek myths from 2 C.E. to 8 C.E., Zimmerman’s play follows a vignette-based structure, employing water as a common motif across themes of passion, greed, kindness, and ignorance.
Rooted in radiance, this production blossomed in the hands of an eloquent ensemble of storytellers! Together invested in each epic, the collective cast demonstrated dedication to their craft; fluidity in movement and waves of cohesion made every stage tableau a droplet of divine delectation! In addition, several narrators dictated anecdotes with natural ability. Sophia Papayannis was a sure standout; amidst technical difficulty, her projection kept every word consistently clear, conveying utter prowess!
Outstanding hearts oceans apart, the lovers Ceyx and Alcyone, Shane Rainsburg and Melanie Simmons respectively, washed up on the shore! Navigating the choppy waters of their love and separation, the partners’ performances were never shallow: Rainsburg set a course for commendable character expression, while Simmons caught the wind of emotional maturity in her sails. If the pair’s chemistry powered a towering lighthouse, they’d beam over the sea for miles!
Shining light on the son of the sun god, Andrew Hopta perfected his portrayal of Phaeton! Filled with fiery angst, Hopta was a burning ball of hilarity whether heated in a sky-searing rampage or hovering around his daddy issues with the gob-smacking god Apollo (Graham Gilbert). Quelling his teenage rampage, his Therapist (Andrea Mora) was an amusing muse, pontificating over Phaeton with pleasant stage presence!
Taking turns in tragedy, Orpheus (David Pereira) and Eurydice (Kirra Bevilacqua) delivered performances no one would dare look away from! Through emotional intensity, in togetherness and tears, the two evolved undoubtable effort worthy of watching unfold!
When communication is complicated, actions speak louder. Wordless yet wonderful, Eros (Audrey Walker) and Psyche (Kirra Bevilacqua) expressed through immaculate motion only, dancing with miraculous movement even gods would gape at. Deft in disguise, Vertumnus (Connor Hullender) set eyes on Pomona (Zepplyn Berry); the couple’s cat-and-mouse dynamic was sincerely silly, creating a bubbly, budding romance!
Alike the gods of Ancient Greek lore, this production’s technical teams held heavenly control over the elements! Making use of mood, the Lighting done by Amira Green and Joey DiMare implemented color theory to align stories with alluring emotion. The Props team (Niko Gerrard, Alice Novak, & Company) wielded similar wonder; constructing unique staffs for every god with immense attention to detail, this team encompassed empyrean handiwork!
Built like brilliant bark on a springtime tree, the cast and crew of “Metamorphoses” at AW Dreyfoos School of the Arts stood tall to bask in the glow of gleaming artistry!
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By Mia Wilson of Cooper City High School
“It has been said that the myth is a public dream, dreams are private myths.” AW Dreyfoos School of the Arts made these dreams a reality with their legendary production of “Metamorphoses!”
“Metamorphoses” follows the tales of the mythological poem series of the same name, written by Ovid. Depicting many fantastical stories within Greek mythology, this vignette-style play, adapted by Mary Zimmerman, showcases themes of transformation displaying the hardships and growth of each character.
Melanie Simmons showcased incredible talent as she portrayed Alcyone with impressive genuinity. Her deep understanding of her role was clear as she delivered each line with passion. Counterpart, Shane Rainsburg brought a layer of depth to Ceyx as he remained emotionally connected to his character’s motivations. His reactions to his environment and authentic interactions with Simmons made their relationship impactful to watch. Their portrayal of the tragedy was heart-wrenching and showcased a devastating contrast to the loving and carefree relationship they once had.
Floating across the stage, Andrew Hopta hysterically portrayed the raconteur Phaeton. Alongside his impeccable line delivery, Hopta’s comedic timing and vocal inflection were masterfully executed. Andrea Mora counteracted many of these moments with rational yet hilarious reactions as Therapist. Her dynamic with Hopta created an engaging repartee and flooded the audience with laughter. The standout moments of Graham Gilbert as the glistening Apollo showcased his excellent commitment to character. His mannerisms and stature reflected his godly character as his operatic interpretation added unexpected absurdity to the scene.
The Movement Ensemble enchanted audiences through their meticulously crafted physicality. Their natural unity and sync allowed them to create many versatile atmospheres that encapsulated the whimsical nature of the production. Each member was uniquely expressive showcasing the clear intention behind every gesture and immersing themselves within each story. Standout cast members Audrey Walker (Eros) and Kirra Bevilacqua (Psyche) embodied their lustful characters beautifully while perfectly telling their stories despite limited dialogue.
The technical aspects of this production must be commended for curating a fully cohesive environment. The clear collaboration and synergy between the varying departments highlight the strong dedication of the entire crew. Amira Green and Joey DiMare did an amazing job creating magical lighting that added focus to each scene. The use of color theory to display differing emotional peaks cultivated a powerful experience. DiMare also shined as a member of the set crew designing a versatile set that served as a strong base for the wide variety of scenes. Costumes, done by Rikki Crossland, Kylie Motta, and Company, connected each character to the central theme of water marvelously. With the addition of flowy skirts and detailed resin work, the costumes within this production were immaculate.
Once the gold washes away and the water drains, AW Dreyfoos School of the Arts’s production of “Metamorphoses” discovers that the key to eternal happiness lies not in the hands of the gods but within your heart.
By Sydney Lotz of Marjory Stoneman Douglas HS
Love is in session at Coral Springs High School, where matchmaking is just as essential as midterms, and the vending machines serve up more than just snacks. Whether it’s cramming for the next great romance, snacking on heartbreak, or expelling bad matches, EMMA! A Pop Musical earns top marks as the ultimate lesson in love.
EMMA! A Pop Musical reimagines Jane Austen’s classic 1814 novel Emma with a fresh, modern twist. With a book and concept by Eric Price and a soundtrack featuring hit songs from artists like Natasha Bedingfield, Katy Perry, Sara Bareilles, and more, this contemporary adaptation first premiered in September 2007 by TheatreWorks. Set at Highbury Prep, the story follows Emma Woodhouse, a confident senior and self-proclaimed matchmaker. Determined to find Harriet “the perfect match”, Emma becomes so caught up in others’ love lives that she overlooks her own, sparking a whirlwind of love triangles and unexpected twists.
Sofia Palhano was a perfect match for Emma Woodhouse, orchestrating a “Straight Up” spectacular performance. Like a true master matchmaker, she paired energetic comedic expressions with characterized emotional development, seamlessly bringing Emma’s teenage journey to life. Despite being onstage for nearly the entire show, her stamina never wavered, and if vocal brilliance were a suitor, Palhano sealed the deal, delivering a performance that was both technically stunning and emotionally captivating, rightfully earning her place as the “King of Anything.” Samuel Douglas aced his performance as Jeff Knightley, bringing honor-roll-worthy charisma and comedic timing to the role, balancing humor with sincerity. Vocally, Douglas was impeccable, especially in duets with Palhano, where their seamless blend and charged dynamic earned an A+ on this chemistry quiz.
Miss Bates, portrayed by Gabi Florvil, marked her performance with principal-level physicality, physical comedy, and characterized mature vocal inflections. And just when you thought she couldn’t do more, she busted a move, proving her talent goes beyond the classroom and onto the dance floor! The ensemble brought this production to life with boundless energy, engaging interactions, and seamless harmonies, guided by vocal director Sofia Palhano. Their passionate, precise dancing, thanks to choreographers Elisse Rodriguez and Malaya Zabat, stole the show, especially during “Turn the Beat Around/I Wanna Dance with Somebody”, where dancers like Elisse Rodriguez and Koran Carty shone under the spotlight.
A production of this caliber wouldn’t be complete without its match made in heaven of stunning technical achievements. Under the expert direction of Gianna Ritchson, the lighting was creative and immersive, especially the vibrant disco effects in “Heartbreaker”, giving an electrifying boost to the musical numbers and character storylines. Props designed by Leila Desmonthe and Deja Adams graduated with honors, from realistic wedding reception food to campaign posters for student council president Philip Elton, passing the test of detail and authenticity, enhancing the storytelling throughout the production.
So rush on over to the Chapel of Love and prepare for a reception full of romance, drama, and unforgettable performances in Coral Springs High School’s EMMA! A Pop Musical.
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By Ellie Pulsifer of Marjory Stoneman Douglas HS
If you have the look in your eye of a lonely old squirrel who’s lost his family, his acorns, and isn’t sure if he’ll ever find them again… then Coral Springs High School’s production of EMMA! A Pop Musical is exactly where you need to be!
EMMA! A Pop Musical, with a book by Eric Price and based on Jane Austen’s classic novel, had a New York workshop in 2017. The show follows high school senior and self-proclaimed matchmaker Emma Woodhouse as she sets out to find the perfect match for her best friend. But when her plans take an unexpected turn, she realizes that matchmaking isn’t as easy as she thought. Maybe it’s time to figure out what she truly wants. Featuring iconic pop hits from powerhouse female artists, this production gives Austen’s timeless story a fresh and exciting musical twist.
Stepping into the title role of Emma Woodhouse, Sofia Palhano delivered an outstanding performance. With an insane vocal range and remarkable consistency, she breathed new life into the songs you know and love. Her sharp comedic timing, stage presence, and heartfelt acting made every moment compelling. Her performance was “Straight Up” incredible! On top of that, as both Music Director and Assistant Director, Palhano balanced multiple roles effortlessly, showcasing her immense talent on and off the stage. Alongside her as Emma’s unexpected love interest was Samuel Douglas playing Jeff Knightley. Douglas brought a grounded performance with hilarious moments and strong vocals. Their voices blended beautifully, and their undeniable chemistry made their scenes shine proving this casting was truly a match made in heaven.
Attention Highbury students! Attention Porcupines! Please welcome your guest entertainment… Frankie Churchill! Tristan Chung as Frankie Churchill commanded the stage with pop-star energy, delivering powerhouse performances of songs like “Heartbreaker” that made the audience feel like they were at a concert. With fierce vocals, dynamic stage presence, and outstanding character development truly, “Whatta man!” Playing the hopeless romantic and fuchsia-loving Harriet Smith, Eduarda Ortiz did a fantastic job. With impeccable comedic timing and beautiful vocals, she completely charmed the audience, bringing laughter and heart to every scene. Gabi Florvil as Miss Bates brought incredible energy, passion, and stellar acting to the stage. With her flawless comic timing, she made the audience “Roar” with laughter, making every moment unforgettable!
While Emma was busy setting up love stories, the tech team was busy setting the stage! Bringing Highbury to life, Samara Ramos and Brady Porter delivered an amazing set design, with intricate details that captured the essence of a prep school and made the audience feel like true Highbury students. Lighting up the stage was Gianna Ritchson, whose masterful use of colors perfectly conveyed the mood and enhanced every scene. No need for Emma’s meddling tech had everything under control!
Coral Springs High School turned the stage into a “Chapel of Love” because the audience fell in love with this show!
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By Maggie Starr of Marjory Stoneman Douglas HS
Welcome to Highbury Prep, where love spins like a scratched vinyl and drama drops like a number-one single. Coral Springs High School may not have rockstars or vending machine heiresses, but their production of Emma: A Pop Musical is pure pop chart gold.
Based on Jane Austen’s Emma, this vibrant adaptation features chart-topping hits from beloved artists, from Katy Perry’s anthems to lyrics by Jack Antonoff and Sara Bareilles. Written by Eric Price, the show has gained popularity through productions like a 2017 New York workshop and a 2020 virtual staging. The story follows Emma Woodhouse, a student at Highbury Prep who, after seeing two of her teachers marry, appoints herself the school’s matchmaker. Determined to find love for her best friend Harriet, Emma embarks on a journey of friendship, romance, and self-discovery, learning that sometimes, you can’t hurry love.
Leading the charge, Sofia Palhano delivered a platinum performance as Emma Woodhouse, showcasing vocal, physical, and emotional expertise while also serving as assistant and vocal director. Opposite her, Samuel Douglas Jeff Knightley? Sorry, Mr. Knightley brought charm and strength, his phenomenal vocals blending seamlessly with Palhano’s, especially in King of Anything where their chemistry was undeniable, driving the story with energy and precision. Meanwhile, Eduarda Ortiz (Harriet) shone as Emma’s fuchsia-loving best friend on a mission to find “her baby,” delivering a performance so full of warmth and personality that she’s sure to find somebody to dance with.
As future president of the United States, Jeremiah Johnson (Philip Elton) charged the stage with dramatic flair, bringing his character to life with unwavering dedication and a commanding presence. Adding to the lively atmosphere, Gabi Florvil (Miss Bates) dazzled with killer dance moves and impeccable comedic timing, effortlessly stealing scenes. Likewise, choreographer and ensemble member Elisse Rodriguez kept the momentum going, seamlessly turning the beat around with her vibrant movement. Though the ensemble occasionally lacked power, their enthusiasm and well-timed humor added an extra layer of charm, helping to propel the story forward and keep the audience engaged.
The Coral Springs set team, led by Samara Ramos and Brady Porter, brought Highbury Prep to life with a design inspired by Catholic private schools, rich in detail and depth. The multi-level set, combined with the cast’s dynamic use of space, made audiences feel like they had stepped into a school for the elite. Olivia Allen and Co.’s costumes further enhanced the world of Emma, with school uniforms that balanced cohesion while subtly reflecting each character’s personality. Gianna Ritchson’s lighting design tied it all together, using spotlights to highlight key moments and electrifying LED displays to amplify the excitement of Frankie Churchill’s show-stopping surprise performance.
Catch the beat at Coral Springs High School’s theatre, where Emma: A Pop Musical proves that the best hits are the ones yet to be written!
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By Alyvia Rigg of J.P. Taravella High School
There is no need to crack open a Jane Austen novel this evening when you can watch one illuminated on stage! Coral Springs High School’s production of “Emma: A Pop Musical” displayed the wonderful unpredictability of love and following your own path, with extreme and impressive talent.
“Emma: A Pop Musical” is a jukebox musical featuring songs by all women singers, from girl groups like the Supremes to solo artists like Katy Perry. Originally based on Jane Austen’s novel, “Emma” written in 1815, this show is set in the 21st century and follows a naive and meddlesome Emma as she learns to keep out of others’ lives after failing to live up to her self-proclaimed title as a “matchmaker.” Emma learns to focus on telling her own story, rather than trying to write someone else’s.
The quick-witted self-proclaimed matchmaker “Emma Woodhouse” was portrayed on stage by the endlessly talented Sofia Palhano. Palhano showed her strength in all fields; her dancing was strong, and her powerhouse voice was beautiful throughout the entire show. Her vibrant characterization and stamina while on stage were admirable. She did all of this while also being music director and assistant director, wearing many different hats, and executing all of them wonderfully. Palhano had wondrous chemistry with the smart and reserved “Jeff Knightley,” or like his fellow classmates/students call him, “Mr. Knightley,” portrayed by Samuel Douglas. Douglas had a gorgeous voice and wonderful characterization. Palhano and Douglas displayed a close connection on stage, especially in their duet “King of Anything.”
Clumsy and lovestruck “Harriet,” played by Eduarda Ortiz, was bubbly and visually enticing to watch on stage. Ortiz had great physicality and characterization; her naturally kind and innocent nature was apparent while on stage. Never giving up a moment to party hard, Gabi Florvil as “Miss Bates” was hilariously bright on stage. Her comedic timing and wondrous dance moves caught your eye, and her wonderful characterization kept you engaged.
Seamlessly transporting the audience into the unpredictable halls of Highbury Prep were the technical elements in this show. Olivia Allen and Co.’s costume design was tremendously intricate, with incredible detail given to each actor, showing each character’s individuality and style with little accents like hairbands and tights. Elisse Rodriguez and Malaya Zabat’s choreography was very well executed and both simple and complex enough to display the talented ensemble while not being too confusing, especially in the song “Turn the Beat Around/I Wanna Dance with Somebody.” Displaying the actors phenomenally, Samara Ramos and Brady Porters’ set was transcendent; it allowed for the perfect setting and was balanced on the stage, creating a great vessel for the rest of the show.
You can’t write someone else’s story for them; you must focus on your own dream and path. As for the future, well, “the rest is still unwritten.” Coral Springs High School engulfed the audience in the constant ups and downs of life, love, and faulty vending machines in “Emma: A Pop Musical.”
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By Avia Collymore of Coral Glades High School
Regardless of type, looks, or character, you’re sure to meet your match at Coral Springs High School’s production of EMMA! A Pop Musical, as they have the cast, the crew, and the talent!
Adapted from a novel of the same name by Jane Austen, EMMA! A Pop Musical is a jukebox musical with lyrics and book by Eric Price. Featuring classics by artists such as Katy Perry, Cyndi Lauper, and Whitney Houston with a unique twist, this production takes place at Highbury Prep, where Emma Woodhouse, a well-known matchmaker, attempts to find the perfect match for shy sophomore Harriet Smith.
Leading this chaotic love sequence was Sofia Palhano as Emma Woodhouse. Even throughout various energetic musical sequences, Emma’s enthusiasm continued to shine through Palhano as she commanded the stage with confidence and humor. As Emma transitioned from a detached matchmaker to someone beginning to discover her own happiness, Palhano delivered a phenomenal performance, skillfully demonstrating a wide range of emotions. As her chosen client, Eduarda Ortiz was truly entertaining as Harriet Smith. Whether dancing, singing, or speaking, Ortiz’s characterization remained stellar, perfectly embodying Harriet’s timid nature.
Across the hall, Samuel Douglas was remarkable as Jeff Knightley, making the role even more admirable as Jeff learned to experience romance despite his logical persona. Douglas’s vocals were spectacular, further immersing the audience in his story. Jeremiah Johnson added a pleasant comedic touch in his performance as Philip Elton; his comedic timing was consistently excellent, creating a character audiences truly wanted to vote for. Leading (and dancing along with) the student body was Gabi Florvil as Miss Bates. Even when commanding the stage, Florvil maintained the same energy and posture one would expect from a school principal, making for a positively hilarious act.
The production’s pop theme was brought to life through the dedication of the ensemble. Even when seated in the background, members remained consistently engaged, effectively resembling a typical high school setting. The physical comedy was strong, though occasionally distracting from the main storyline. Performances such as Straight Up were enhanced by the ensemble’s cohesiveness and talent. Standout members included Koran Carty, with phenomenal comedic timing, and Elisse Rodriguez, who took the stage through choreography, further immersing the audience in the world of EMMA! A Pop Musical.
The technical aspects of this production were a perfect match for the show. Sets, designed by Samara Ramos and Brady Porter, were fitting for both dorm rooms and concerts while simultaneously being radiant and visually stunning. Props, handled by Leila Desmonthe and Deja Adams, were well-executed and appropriate for the show’s setting. Lighting, designed by Gianna Ritchson, was exemplary during dance sequences and sudden Be My Baby numbers.
With a hilarious cast, a competent crew, and one energetic school principal, Coral Springs High School’s production of EMMA! A Pop Musical is one you’re sure to fall in love with!
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By Maggie Starr of Marjory Stoneman Douglas HS
At Chaminade Madonna College Prep, get ready to ogre-indulge in magic, mischief, and music as fairy tale misfits and Duloc’s finest take the stage for the Shrek-tacular adventure of Shrek The Musical!
This tale first began with William Steig’s 1990 picture book “Shrek!”, which later found its happily-ever-after on the big screen in DreamWorks Animation’s 2001 film. The story then took a big, bright, beautiful leap to Broadway, debuting at The Broadway Theatre on December 14, 2008. Following the journey of a grumpy green ogre on a quest to rescue a princess and reclaim his precious swamp this musical proves that true heroes come in all shapes, sizes, and shades of green.
With as many layers as an onion, Thomas Mendez-Wall brought Shrek to life, roaring through the stage with burps, farts, and all. Consistently nailing his ogre accent, Mendez-Wall effortlessly built the ‘Big Bright Beautiful World’ we saw on stage. Opposite him, Mia Perez sparkled as Fiona, bringing her exceptional vocal and acting talent to the role with impressive character depth. The duo’s chemistry was nothing short of phenomenal and yes, slightly smelly showcasing the unique dynamics of their characters through thick and thin. Completing the trio, Zoe Marotta delivered a standout performance as Donkey, proving that when ‘Words Fail,’ a killer sense of physicality speaks volumes!
While the Dragon might not have been slain, she definitely slayed the stage, with Abigail Murillo delivering a fire-breathing performance. Murillo’s vocals created a standout moment in the production, particularly in the song “Forever”, where she may or may not have had some old knights as backup singers. As the lord of lords with a slight stature issue, Nicholas Ortuno embodied Lord Farquaad with exceptional physicality and perfect comedic timing. Kicked out of Duloc by Farquaad, the fairytale creatures let their ‘Freak Flags’ fly high! Crafting an ensemble full of cohesion, the fairytale creatures were a highlight of the production, with standout performances by Ava Kelly as Pinocchio, Nadia Menendez as Gingy, and Daniel Echeverry as the Big Bad Wolf (who, despite some false accusations, is definitely not a fashion crime).
Lighting up the world of Duloc, Journey Russell’s lighting design brought a touch of magic to the fairy tale, especially during key moments like Shrek’s roars. While the music initially overpowered the vocals, Reagan Thomas and Alyssa Kiibler’s sound team quickly worked their magic to balance everything out. Stage Manager Adriana Toral was on top of it all, flawlessly calling cues for both lighting and sound, perfectly timing those iconic fart and burp effects in “I Think I Got You Beat” and keeping the show running smoothly.
As the storybook closes and the swamp is cleared, Chaminade Madonna College Prep’s production of Shrek The Musical leaves us with a powerful reminder: ‘beautiful ain’t always pretty,’ and true strength lies in embracing what makes us unique!
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By Kenny Gervais of Cooper City High School
In the far, far away land of Hollywood, Florida, Chaminade Madonna College Prep welcomes all fruitcakes and freaks to their “Big, Bright, Beautiful World” with their charming production of “Shrek.”
Deriving from William Steig’s 1990 book and the iconic 2001 DreamWorks movie, “Shrek” features eclectic music by Jeanine Tesori alongside witty lyrics and a book by David Lindsay-Abaire. Following themes of self-acceptance, love, and friendship, this musical parodies stereotypical fairytale tropes by providing an atypical twist on happily-ever-after. The storybook opens with Shrek, an outcast ogre who, after gaining an abundance of abnormal visitors, embarks on a journey through fire-breathing dragons, furry friends, and miniature monarchs to save Princess Fiona in exchange for his swamp’s return to him. Through his perilous journey, Shrek discovers the importance of love and friendship, proving that the world is full of wonders when you look at it from the right perspective.
As the titular, brooding ogre, Thomas Mendez-Wall (Shrek) was engrossing. With a pungent layered performance, Mendez-Wall implemented both the vulgar and vulnerable aspects of Shrek’s character through his witty remarks and diverse range of emotions. His consistent Scottish accent and comedic line delivery had audiences roaring! By day one way, by night another, Mia Perez (Fiona) shined like no other! Perez expertly demonstrated her stellar triple threat abilities, exuding Fiona’s bipolar mannerisms, unwavering vocals, and energetic dancing. Like two toads in a bog, Mendez-Wall and Perez fostered flatulent chemistry, executing their complex and forbidden love.
Now what is a hero without his noble steed? Zoe Marotta’s (Donkey) humorous rendition was simply ass-tounding! Marotta exuded comedic excellence through her lively energy and heartful physicality, building her and Mendez-Wall’s fur-ever friendship. Soaring with stellar vocal ability, Abigail Murillo (Dragon) gave a fiery performance. Murillo’s smoky chemistry with Marotta was sizzling, building a searing romance that lasts “Forever.”
Utilizing vivacious energy and a couple of special quirks, the Fairytale Creatures dominated the stage! The ensemble’s comedic chemistry and methodical individuality demonstrated unique standout characterization while remaining a cohesive unit. With a performance sweeter than gumdrop buttons, Nadia Menendez’s (Gingy) unique character voice was readily tasteful, maintaining its sugary tone even through luscious vocal belts.
“I’m a Believer” that the technical aspects of this production were a dream come true! Adapting through the struggle of utilizing limited space, Stage Manager Adriana Toral meticulously called 192 cues with utmost precision and ensured set changes were swift and purposeful, maintaining the smooth flow of the show. Props Designer Alyssa Kiibler carefully crafted a multitude of props and incorporated vibrant comedic energy through exaggerated accessories such as inflatable deers or exploding birds.
So, raise your “Freak Flag” and fly on over to Chaminade Madonna College Prep for a not-so-typical fairytale and embrace that what makes us special makes us strong in their whimsical production of “Shrek.”
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By Alexis Adler of Cooper City High School
Welcome to Duloc, the vibrant and flawless kingdom where no fairytale creatures can be found. Beyond the perfect kingdom lies a different world – a smelly swamp- where Chaminade Madonna College Prep’s production of “Shrek” unfolds.
With music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire, “Shrek” is based off the beloved DreamWorks animation film by the same name. The musical follows the grumpy ogre, Shrek, on a quest to reclaim his swamp after fairytale creatures were dumped there by Lord Farquaad, ruler of Duloc. Joined by the energetic Donkey, Shrek sets off to find Princess Fiona and take her to marry Lord Farquaad. With friendship, romance, and dragons, “Shrek” will have the audience roaring with laughter!
Once upon a time, there was a little ogre named Shrek, played by Thomas Mendez-Wall. Exhibiting the grotesque and short-tempered emotions of Shrek, Mendez-Wall maintained authentic expressions, a consistent accent, and sharp comedic timing, demonstrating layers of characterization much like an onion. What’s donuts without diabetes? Or yin without yang? Luckily, Donkey, played by Zoe Marotta, perfectly matched with Shrek! Marotta displayed impeccable humor and physicality, adding depth to the hilarious chemistry with Shrek.
Conquering the stereotypical “princess norms” was Princess Fiona, played by Mia Perez. Perez exhibited a solid contrast between elegant to assertive, which was highlighted seamlessly when leading the dancing and vocals in “Morning Person.” She also brought genuine romance with Mendez-Wall, emphasizing moments of connection and burps. Together, the two perfectly encapsulated a chaotic love story, developed in their duet, “I Think I Got You Beat.” Meanwhile, there was a smaller issue in this story: Lord Farquaad, played by Nicholas Ortuno. His ability to perform on his knees throughout the production was nothing short of impressive. Ortuno persistently captured flawless diction, and the whole kingdom of Duloc was highly impressed!
Power to zi piggies! The Fairytale Creatures took over Shrek’s swamp and left an undeniable mark of talent! The ensemble contained individuality for each creature and had high energy throughout the show. As a collective unit, the Fairytale Creatures were engaging and waved their “Freak Flag” high! Leading the ensemble was Pinochhio, played by Ava Kelly. Her commitment to the vocal inflection of the wooden boy was impeccable. Setting the stage ablaze, Abigail Murillo flawlessly performed as Dragon! Murillo portrayed the fire-breathing powerhouse with excellence, showcasing beautiful vocal ability, making the audience want to stay “Forever!”
The most magical aspect of the production was the technical elements! As the stage manager, Adriana Toral smoothly called a variety of light and sound cues, perfectly timed to the performances, and should be commended for this skill. From the Gingy puppet to scrolls, Props designer Alyssa Kiibler crafted props that were remarkably attention-to-detail, and “I’m a Believer” that Kiibler brought an enchanting technical aspect to the production!
So, sing a song and run as fast as you can to catch Chaminade Madonna College Prep’s production of “Shrek” for an unforgettable experience!
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By Samantha Burke of Cypress Bay High School
“I’m a believer” that Chaminade Madonna’s production of Shrek The Musical was swamped with high energy, consistent characterization, and impressive chemistry.
Originally opening in 2008, “Shrek The Musical” is an adaptation of the widely successful animated film “Shrek”. With a score by Jeanine Tesori, lyrics by David Lindsay Abaire, and a cast led by Brian d’Arcy James as Shrek with Sutton Foster as Fiona, the musical surprisingly received mixed reviews compared to the 2001 film Shrek which generated over 488 million dollars. Despite varied opinions, The show ended up running for two years and even receiving 8 Tony Award Nominations as well as a Drama Desk Award.
Although Thomas Mendez-Wall (Shrek) attempted to appear as a “Fearsome Ogre” in order to scare the fairytale creatures away, he appealed to the audience through embodying his character to its fullest potential, accurate facials, and grand mannerisms. Not only was he able to play his role exceptionally precise, his voice was equally impressive, especially in his vocal performances of “Words Fail” and “Big Bright Beautiful World (Reprise)”. Alongside Shrek with her bright spirit and radiant charm, Mia Perez (Fiona) was a force to be reckoned with. Through her wide vocal range and incredible commitment to her character, she was not only an elegant princess but a captivating powerhouse throughout the duration of the show.
With magnificent line delivery and being a spectacular addition to comedic scenes, Zoe Maratto (Donkey) proved that he is not just a sidekick to Shrek in the musical. Even with Donkey’s larger-than-life persona, he was still able to build flawless chemistry with the entirety of the cast. Regardless of Nicholas Ortuno (Lord Farquaad) being small in size, he makes up for it with his large performance. With his dynamic physicality and hilarious movements, he kept the audience thoroughly engaged through his humorous reactions and admirable way of building off of other performers.
Enthralling the audience with breathtaking vocal abilities was Abigail Murillo (Dragon). With remarkable pipes, the Dragon made the number “Forever” a standout song in this show. Providing strong diction and showstopping range, it made it difficult to not remember the powerful creature. From the moment Nadia Menendez (Gingy) stepped on stage, I was easily hooked. Between having a remarkable stage presence along with a hysterical voice, Gingy was a fan favorite among the audience.
The fairytale creatures were a perfect addition to this high energy cast. Whether it was Melanie Nikoloski’s (Mama Bear) stand out vocals, Ava Kelly’s (Pinocchio) incredible rendition of an iconic character, or Daniel Echeverry’s (Big Bad Wolf) alluring dance moves, this cast had impeccable chemistry and worked exceedingly well together.
Chaminade Madonna’s version of Shrek The Musical brought me to a “Big Bright Beautiful World” from the moment the curtain opened all the way till the cast took their bows.
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By Sydney Lotz of Marjory Stoneman Douglas HS
First, turn left at Yunita Pal Avenue, then wander past a smelly swamp teeming with pigs and bears, and finally make a right at the towering castle (clearly compensating for something), and you’ll find yourself at Chaminade Madonna College Prep’s production of Shrek, where green is the new heroic hue and happily ever after comes with a hint of onion breath.
With music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire, Shrek is based off the 2001 DreamWorks Animation film of the same name, drawing inspiration from a variety of cinematic adaptations. Premiering on Broadway in 2008, Shrek unfolds in a fairytale world where an unlikely hero and his noble steed embark on a whimsical quest to rescue Princess Fiona. Tasked with delivering her to her so-called “true love” in exchange for reclaiming his swamp, Shrek soon discovers that perhaps he’s not so unlovable after all.
Beware: OGRE! From his first growl to his final roar, Thomas Mendez-Wall as Shrek was ogre-whelmingly captivating. With a spot-on accent, sharp diction, and expert comedic timing, he peeled back the layers of the iconic persona (not the parfait kind), balancing gruffness with charm. His chemistry with Princess Fiona (Mia Perez) and Donkey (Zoe Marotta) was as strong as a dragon-guarded tower. Perez brought Fiona to life with a dynamic mix of expressive physicality and pitch-perfect vocals, nailing every note and dance move in “Morning Person.” Meanwhile, Marotta was pure comedic gold, stealing the show with her boundless energy and razor-sharp wit, rightfully earning her half of the swamp.
Abigail Murillo brought the fiery Dragon to life with a voice as fierce as the character’s flame-breathing personality. Her chemistry with Marotta was electric, culminating in the powerhouse ballad “Forever.” The fairytale ensemble was nothing short of enchanting, with standout performances from Melanie Nikoloski as a bearly lovable Mama Bear, Nadia Menendez serving up a sweet yet sassy Gingy, and Daniel Echeverry huffing and puffing as the Big Bad Wolf. From pre-show antics to wedding objections, the cast’s spellbinding audience engagement and individuality brought this storybook adventure to life!
Transporting us into their “Big Bright Beautiful World”, the technical elements of this production were nothing short of spectacular. Journey Russell’s colorful lighting design seamlessly guided the audience through the show’s many whimsical settings, from the murky depths of Shrek’s swamp to the fiery glow of the dragon’s lair. Coordinated lighting shifts during musical numbers enhanced the emotional depth of each scene, thanks to the stage management team executing 129 lighting cues and 63 sound cues with impeccable precision. Despite some slight sound imbalance in Act I, Reagan Thomas and Alyssa Kiibler quickly fine-tuned the mix by Act II, cranking up the magic and hitting all the right notes to transport us into a world of pure enchantment.
The cast and crew of Chaminade Madonna College Prep’s production of Shrek proved no matter how strange or smelly you may seem, there’s always room for love, laughter, and letting your freak flag fly.
By Kenny Gervais of Cooper City High School
With a blend of catchy tunes, heartfelt moments, and a touch of nostalgia, American Heritage Palm Beach immersed audiences into two nights of technicolor and vibrance in their timeless performance of “The Marvelous Wonderettes.”
Utilizing hit pop songs from the groovy 1950s and 60s, this jukebox musical comedy features a stellar book by Roger Bean that pays homage to girl groups of the time period. “The Marvelous Wonderettes” follows a group of best friends who, after a series of fortunate events, perform at their Super Senior Prom, inciting drama and chaos as the prom queen is revealed. When they reunite ten years later, the girls get to perform one last time, attempting to heal old wounds. Through this, they prove that sometimes the things we can’t change, are the things that change us the most.
L is for Miriam Smith’s lovely performance as Missy! As the “Leader of the Pack,” Smith excelled at uniting the Wonderettes with her captivating stage presence and profound vocals. Her hilarious audience interactions through her forbidden romance with her secret lover were particularly commendable, impressively maintaining her composure through awkward moments.
O is for the outstanding Sofia Jorgensen as Suzy! Jorgensen’s precise comedic delivery flawlessly encapsulated Suzy’s ditsy character, splitting the audience’s sides. Her ability to create a romantic relationship with her electric lover was perfectly managed, calling the cues to each other’s heart
V is the very, very extraordinary Evangeline Price as Cindy Lou! Price’s phenomenal vocal ability was mesmerizing, enchanting the crowd with every word from her “Lucky Lips.” Her impeccable execution of her diverse character evolution was passionate, trading in her red lipstick for a roseate heart.
E is Penny Stone’s energetic execution as Betty Jean! Dominating the stage with her precise movements, Stone impressively maintained her kooky persona while still presenting her empathy or distaste in background moments. Her comical hatred for Cindy Lou allowed her characterization to stand out like “Lipstick on Your Collar.”
Together, the Wonderettes spelled out love in their remarkable performance. Their dynamic chemistry crafted their complex relationship marvelously. Executing intense vocals as intricate as a dreamcatcher, they conquered a multitude of meticulous four-part harmonies with ease. As a unit they maintained character individuality through complex character arcs and evolving maturity through the transition from adolescence to adulthood, creating a readily engaging display.
The technical elements of this production were a medley of dreams! Stage Manager Jonathan Jacknow impressively called 118 cues while embodying Suzy’s behind-the-scenes lover, Richie. The period research amongst the crew built an immersive atmosphere. Props Master Jade Keskinen utilized vintage microphones and transformative presidential portraits to expertly exhibit the progression in time.
It is with a heavy heart that American Heritage Palm Beach says, “Thank You and Goodnight,” so whether you’re a fan of nostalgic tunes, or looking for a sincere story of friendship, “The Marvelous Wonderettes” proves that you don’t have to be perfect, you just have to be yourself.
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By Sam Dyer of NSU University School
Following final grades, hallway crushes, and too much truancy, senior year paves its way for one special night: the Prom. Underscoring memories that’ll last forever, a celebratory cast and crew make perfect harmony in American Heritage Palm Beach’s production of “The Marvelous Wonderettes” (mmm-hmm!).
A passionate party worth attending, “The Marvelous Wonderettes” (mmm-hmm!) was written by Roger Bean. Bean’s jukebox musical comedy premiered in 1999, yet its songs pull from the 1950s and 1960s with vintage ditties sure to whirl lovers around the gym floor and make their sneakers squeak. Inspired by high school song leader squads, the story follows the Marvelous Wonderettes (mmm-hmm!) as they perform through two eventful evenings: their senior year prom and their subsequent 10-year high school reunion.
Attention! Voting’s about to begin, so all eyes on Missy, portrayed by Miriam Smith. Never afraid to share the spotlight, Smith not only shined through pleasantly pedantic physicality but also uplifted her gal pals with supportive scene awareness. Even when she was hot-for-teacher, Smith was a superlative substitute; as an understudy stepping into Missy’s shoes only a week before opening, she impressively pulled together an A+ performance!
What other nominees are up for Prom Queen? Check out contender Cindy Lou, played by Evangeline Price. Besides snatching others’ boyfriends and biker jackets, Price’s top prizes were the hearts she stole from the audience with vocals that soared higher than the Allegheny Moon!
Think Cindy’s too mean for Queen? Place your bets on Betty Jean, performed by Penny Stone. Perky and quirky, Stone commanded with comical characterization; whether swinging up front or singing as a beaming backup vocalist, her sentiment always brought a smile. Stone also displayed commitment to choreography, consistently step-touching in time while still in character.
With all ballots counted, our Prom Queen voters have set their sights on Suzy, brought to life by Sofia Jorgensen. A chipper cheerleader for the Chipmunks, Jorgensen’s dopey disposition worked wonders with comedy. While present throughout, her physicality specifically peaked with Suzy’s surprise pregnancy during the second act, sending bountiful belly laughter across the audience!
Faring as a foursome, the Marvelous Wonderettes (mmm-hmm!) were a quartet of piquant quality! Between barrages of bum-bum-bum-bums, these beauties blended brilliantly with often-perfect harmonies! If anything, no true Prom Queen can be picked when these wonderful women were all royalty of their own regard!
No school board could put a prom together quite as well as this production’s technical dream teams! Leading the pack was the Stage Management Team (Jonathan Jacknow, Laila Thaler Sucher, & Crew). While calling 118 cues with perfect precision, Jacknow also provided a pantomimed portrayal of Suzy’s lovebird, Ritchie; his balance between execution and expression was a commendable feat! The Lighting Team (Jack O’Donnell, Sophia Luque, & Jonathan Jacknow) made similar magnificence: lighting choices were period-appropriate and kept each actress vibrant and visible!
Proving the power of L-O-V-E (that spells love), American Heritage Palm Beach surely earned respect with their production of “The Marvelous Wonderettes” (mmm-hmm!). Thank You and Goodnight!
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By Valentina Exposito of Somerset Arts Conservatory
Ready for a blast from the past? The Marvelous Wonderettes at American Heritage Palm Beach was a sock-hop back in time that delivered bubblegum pop, heartstring tugs, and a few surprise vocal fireworks. This production was a “candy-coated blast” that dipped audiences into 1950s and ’60s nostalgia sweeter than a cherry Coke float!
The Marvelous Wonderettes, written by Roger Bean, is a comedic jukebox musical that takes us through the lives of four high school friends; Betty Jean, Cindy Lou, Missy, and Suzy, during two key moments in their lives: their senior prom in 1958 and their 10-year reunion. The show features a mix of iconic ’50s and ’60s hits, while the friends navigate love, friendship, rivalry, and the ups and downs of life.
The Wonderettes had chemistry so strong it could light up a jukebox on its last dime. As a quartet, they harmonized beautifully, moving as a cohesive unit while maintaining distinct, vibrant characters and relationships. Did we buy into their chaotic friendship? Absolutely. Would we trust them to handle prom queen voting again? Absolutely not. Their stamina was nothing short of marvelous! They barely left the stage, singing hit after hit with a bottomless supply of energy. With only a short intermission and an endless stream of musical numbers, they proved themselves the “Leader of the Pack” when it came to endurance.
She’s girly, she’s cute, a bit clueless, and pregnant?! Your class of 58′ prom queen, Suzy, played by Sofia Jorgensen showcased hilarious physicality and bold characterization from the second she stepped on stage (or out of the bathroom.) A big round of applause should be given to understudy turned lead actress Miriam Smith, portraying the role of Missy. Smith stepped into the role just a week before opening night, and you wouldn’t have guessed it from the way she fit into Missy’s shoes as if she’d been rehearsing the role for months. Missy required a blend of energy and comedic timing to push the story forward that Smith absolutely nailed.
“Standby confetti cannon, confetti cannon go!” The technical aspects of the show are what truly brought this prom to life. The stage management team composed of stage manager Jonathan Jacknow and assistant stage manager Laila Thaler Sucher orchestrated the coordination of a substantial number of complex cues like a smooth slow dance. Each cue lolli-POPed at the right time, from confetti cannon explosions to flawless lighting changes, you’d think Jacknow and Thaler Sucher were born with a script in one hand and a headset in the other. And if that wasn’t impressive enough, Jacknow also brought the character Richie to life from the tech booth, seamlessly balancing acting and managing the show. Without these stage manager’s hard work, those magical moments wouldn’t have come together so marvelously!
So, as the party comes to an end and the confetti settles, I’ll leave you with this: Thank you and goodnight! Sincerely, the Marvelous Wonderettes at American Heritage Palm Beach.
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By Kate Velez of AW Dreyfoos School of the Arts
The night has finally come! After four long years, the class of 1958 final has the night of their dreams at their super senior prom! Join us as American Heritage presents a night full of jiving, poofy dresses, and, of course, love songs!
The Marvelous Wonderettes is a jukebox musical comedy written by Roger Bean. It features hit pop songs from the 1950s and 60s taking us through the class of 1958’s Prom and then fast forward 10 years their reunion! Its first performance was in 1999 at the Milwaukee Repertory Theater and has seen multiple revivals until 2019 with its UK opening at the Gate House in London. It follows Springfield High Songleaders Betty Jean, Cindy Lou, Missy, and Suzy as they perform at their senior year prom then reunite a decade later at their high school reunion.
The queen of YOUR dreams Suzy played by Sofia Jorgensen showcased incredible stage presence in her songs “Stupid Cupid” and “RESPECT”. She was incredibly charismatic and stole the show especially with her reappearance at the reunion pregnant and hormonal which she played to perfection with an amazing acting shift showing age growth while still holding on to her character’s original personality traits.
Missy portrayed by Miriam Smith performed as our Springfield High Songleaders head. Stepping in as a understudy for the role Smith had impressive prop awareness as well as a solid understanding of the dance moves which showed clearly in her confident movements.
Ms. Lucky Lips’ Cindy Lou, played by Evangeline Price had a commanding energy when she sang with strong vocals and characterization in her songs “Son of a Preacher Man” and “Leader of the Pack” Price also showed great character development from the prom to the reunion making the time change of 10 years more believable.
It’s Betty Jean’s party and she’ll cry if she wants too! Betty Jean (Penny Stone) had such a vibrant and hilarious energy in all of her moments. She utilized physical comedy and strong vocals in a way that clearly communicated who her character was and then in Act 2 how she had changed over the 10 years.
The tech elements of the show created a “Dreams Medley” you’re sure to not forget. Props led by Jade Keskinen immediately set the scene with personalized sports banners and antismoking ads from the time plastered on the walls immersing the audience in a high school atmosphere. Then after intermission, the props on stage were quickly changed to represent the passage of time with President Lyndon B. Johnson’s poster where Eisenhower once was, new sports championships, and many other details that marked the change of the era before a word was even said.
Lights designed by Jack O’Donnell and run by Sophia Luque did a great job of creating the atmosphere. Utilizing pink and blue party lights that were balanced nicely with the white light to ensure the actors were visible, created the prom feel with a single cue. Additionally, the costumes done by Constantina Lambrou accurately reflected the time period and utilized a clear color scheme to identify each of the characters.
Three Questions! Are you in love? Yes! Is it something we know? Yes! Is it here tonight? Yes! What is it? American Heritage’s production of the Marvelous Wonderettes! You won’t want to miss it!
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By Gabriel Cadet of Somerset Arts Conservatory
High school is hard enough. High school led by four adolescent singers with a tendency for the dramatic, romantic, and downright hilarious? Even harder, but ever more entertaining. While countless stories depict tales from high school, none takes a spin on the classic tale quite like The Marvelous Wonderettes, set in the 1950s and ’60s and bound to entertain, a fact only made possible by the stellar production team at American Heritage Palm Beach.
In Roger Bean’s The Marvelous Wonderettes, the audience is taken on a journey that feels eerily familiar, complete with cheating, betrayal, teenage hormones, and mid-20th-century pop music performances! Although the last element may seem out of place at first, it’s central to the story as we follow four young girls navigating their interpersonal relationships from their Super Senior Prom to a reunion ten years later all through the power of song…and step touches.
So many jukebox musicals, like The Marvelous Wonderettes, often fall flat, feeling artificial and forced; a pitfall entirely missed in this production, thanks largely to the talented performances of its four leads: Evangeline Price, Miriam Smith, Penny Stone, and Sofia Jorgensen. These young actresses truly embodied their characters (despite the 70-year time gap) and told a heartfelt story rather than letting their songs sing it for them. From their stunning vocals to their subtle facial expressions and tailored reactions to each plot point, these girls made their characters feel alive and dynamic, despite the dated setting and endless plethora of mid-century pop songs; they truly made us care deeply for these ladies we had just met, an accomplishment few achieve.
While all four actresses delivered standout performances despite their age, two truly shone through their character portrayal and astounding vocal prowess. Notably, Sofia Jorgensen, playing Suzy, delivered an outright hilarious portrayal of her ditzy, airheaded character that sent truly hysterical laughs throughout the audience, while also managing to underscore her performance with notes of adolescent anxieties and later, marital dysfunction. Similarly, Evangeline Price, as the confident and ambitious Cindy Lou, is honestly amazed with her vocal power and stage presence making songs that she led like Leader of the Pack, among the show’s best, mirroring professional Broadway actresses.
Behind the scenes, the production team’s skill was just as remarkable and cannot go understated. Headed by students like Jonathan Jacknow, the stage manager, who not only ran the show incredibly but also participated in the show, acting as a character insert and making the show ever more charming. It was technical heads like Jack O’Donnell who designed an incredible light scheme that matched every emotional beat in the show, Jade Keskinen who offered astoundingly time accurate props with truly impressive precision, and so, so many more talented individuals that, at least from the audience worked professionally and efficiently for which the show would be nothing without.
Overall, The Marvelous Wonderettes was simply amazing. While there were minor issues with sound management and wigs, they were truly insignificant in the grand scheme of the show that amazingly added a comedic and heartfelt touch to so many famous songs. Given the show being student led and student performed, this production completely exceeded that expectation and truly deserves all of our R-E-S-P-E-C-T.
By Mia Wilson of Cooper City High School
Plant the seeds, water the roots, and watch the story of “The Secret Garden” bloom at Somerset Arts Conservatory!
“The Secret Garden” is an operetta-style musical based on the 1911 book of the same name. Its flourishing success was due to the brilliant story of Mary, an orphan who is forced to live with her uncle after the tragic death of her parents. When she arrives at his home, she is instantly drawn to the magic of her deceased aunt’s garden. Through the help of some newfound friends, she revives this garden into the magical place that they once knew.
Amelia Pulido (Mary Lennox) embodied her character brilliantly. Her childlike mannerisms and vocal inflection created a genuine character. Her uncle, Suraj Kaniyur (Archibald Craven), also demonstrated fantastic commitment to character as he used his physicality to reflect his old age. He created a heartfelt story through his emotional connection, allowing the audience to feel his longing for his late wife, Lily. His chemistry with Isabella Diaz Salvioli (Lily Craven) was undeniable. As they sang duets such as “A Girl in the Valley,” their beautiful harmonies and loving relationship shared their enchanting love story. Salvioli also showcased her impressive vocal range through her incredible high notes and operatic moments.
Apryl Cabrera (Martha) did an outstanding job of keeping her accent consistent, becoming a highly authentic character. This followed even through her songs where she displayed perfect pitch while still staying fully in character. Jared Robaina (Dickon) portrayed the lively nature enthusiast perfectly. His vibrant attitude and exemplary characterization made his character multifaceted through his comedic and personal moments. Gabriel Gonzalez Marino (Dr. Neville Craven) had amazing stage presence and moved through every scene with clear motivation. His manipulative character and ingenuine intention was hidden behind his cunning exterior, creating a layered storyline that unfolded as the story progressed.
What is magic without a dream? The Dreamers brought the story to life as they added depth into every scene. Their harmonies were executed magically as they invoked feelings of anticipation and intensity. Though there were some diction issues due to accents, the story was told effectively through the characterization of each member of the ensemble. Their clear emotions reflected through their characters and filled the stage with incredible passion.
The technical aspects of the show were the roots that helped this production blossom. The intricate costumes by Angelique Gerena & Co. reflected the many diverse characters and, with the help of Ashley Sosa’s dramaturgy, stayed consistent with the time period. Sosa’s contributions to this production were seen throughout many aspects, showcasing her immense research. The set team, led by Matteo Amaral and Jared Robaina, perfectly encapsulated the environment. The portrait was a standout piece, bringing a fascinating reveal to the character of Lily.
Somerset Arts Conservatory’s outstanding production of “The Secret Garden” flourished with a little help from magic, family, but most importantly, love.
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By Hadley Mantell of NSU University School
What does it take to bring a withering garden and a grieving heart back to life? Somerset Academy’s production of “The Secret Garden” opens the locked gate to reveal the blossoming path that enchanted audiences with its emotionally moving tales of growth and escapism.
Since its Broadway debut in 1991, “The Secret Garden” based on the literary classic by Frances Hodgson Burnett, earned seven Tony nominations and won three! With script and lyrics by Marsha Norman and music by Lucy Simon, the story follows newly orphaned Mary Lennox, sent to Yorkshire to live with her reclusive uncle (plus the omnipresent memory of his late wife) after the unsettling loss of her family.
The “Tempter Tantrum Heroine” herself, Mary Lennox (Amelia Pulido), may only be a nascent freshman. Still, Pulido displays emotional maturity, subtly shifting from the aristocratic “bratty” persona to the emotionally charged hero in Act 2. As Mary enters the somber manor, she meets her Uncle, Archibald Craven (Suraj Kaniyur). Kaniyur displays excellent vocal ability and woeful chemistry with his postmortem wife, Lily Craven (Isabella Diaz Salvioli), whose ubiquitous performance would be a disservice not to highlight. Isabella demonstrates incredible vocal ability, especially in “Come to My Garden.”
While sibling duo Martha (Apryl Cabrera) and Dickon (Jared Robaina) may not have been the tale’s focal point, they stole the show with their incredible stage presence and vocals. These two deliver the most consistent and distinct Yorkshire accents, which are not easy by any means! Cabrera also delivers a highlight performance in Act 2; her solo, “Hold On,” is one incredible moment that captivated audiences!
One of the most entrancing moments of the show is the ensemble number “I Heard Someone Crying.” The ensemble added incredible, concise harmonies that blended perfectly.
From the haunting moors to the vibrant garden, The world of “The Secret Garden” could not have been built (literally) without the magic of technicians. This production took place in the makeshift “Gymnatorium,” and the sound difficulties were, of course, beyond the control of the sound team (Yaneils Perez & Co.). It is quite commendable that the sound team put in a tremendous effort despite facing challenges. This production also included two large-scale sets designed and constructed by their diligent team (Jared Robaina & Co.). The costumes (Angelique Gerena & Co.) captured period accuracy. While the costume team intended to incorporate a distinct color theory progression, this aspect wasn’t as prominent as hoped.
Somerset Academy’s “The Secret Garden” truly flourished into something special. This production guarantees reassurances that anything can grow and evolve with the proper care, maybe love, health, or even hope. Well, who knew that such a “secret” could bloom so brightly on stage?
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By Zachary Kopelman of NSU University School
A forgotten garden blooms once more at Somerset Arts Conservatory, bringing with it a tale of loss, love, and renewal. “The Secret Garden” transports audiences to a world where ivy-covered walls hold secrets and where the smallest seeds of hope can spark life in even the darkest corners. With a mix of heartfelt performances, a breathtaking set, and enchanting harmonies, this production invited viewers to step into the magic of this timeless story.
“The Secret Garden,” adapted from Frances Hodgson Burnett’s classic novel, tells the story of Mary Lennox, a young orphan sent to live with her uncle in a vast, shadowy house filled with secrets. Among them is an abandoned garden once cared for by her late aunt Lily. As Mary befriends the household staff and others she breathes life and light into the house and the hearts of those who call it home.
Amelia Pulido (Mary Lennox) found the sweet spot of realistic storytelling not over-the-top, but truly believable. Pulido’s mannerisms and luscious singing were delivered with exceptional skill, showcasing her impressive range of emotions. Suraj Kaniyur (Archibald Craven) shared palpable chemistry with Pulido and showcased remarkable vocal talent, highlighted by his impressive falsetto in “I Heard Someone Crying.” His acting felt refreshingly authentic, as if he were uncovering the story’s events alongside the audience.
Isabella Diaz Salvioli (Lily Craven) delivered a captivating performance, combining heartfelt emotion with a strong connection to her character that made Lily feel remarkably relatable. Her vocal expression added depth to every scene she graced. Similarly, Apryl Cabrera (Martha) dazzled with her exceptional voice, which was nothing short of extraordinary. Her authentic chemistry with Pulido brought an added richness to their interactions, ensuring her songs left a lasting impression on the audience. Despite microphone and audio challenges, these two vocal powerhouses powered through with professionalism and poise.
The ensemble delivered stunning harmonies, blending effortlessly to create a cohesive sound that enhanced the storytelling of the production. Their commanding stage presence, paired with minimal choreography, was more than enough to captivate and fill the gymnatorium.
It is no secret that the technical elements of this production were nothing short of exceptional! The costumes, designed by Angelique Genera, were a perfect reflection of the Victorian/Edwardian era, embodying class and power while also symbolizing the shift toward happiness as the garden healed. The set, masterfully crafted by the students of Somerset Arts Conservatory under the direction of Jared Robaina, was equally stunning, highlighted by a hand-painted portrait of Salvioli that graced the stage throughout the entire show. Together, these elements seamlessly captured the essence of the time period, keeping the audience immersed in the story.
Somerset Arts Conservatory masterfully pulled the audience into a world brimming with wonder and magic. The talented performers, alongside the creative team behind the scenes, seamlessly brought the story of a garden and its secret to life. From start to finish, “The Secret Garden” uncovered the heart of storytelling, revealing the power of transformation and connection.
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By Kenny Gervais of Cooper City High School
Come spirit, come charm, come all to Somerset Arts Conservatory, where mystery, friendships, and roses bloom in their whimsical production of “The Secret Garden.”
Based on the 1911 book of the same name, “The Secret Garden” is a 1991 musical operetta featuring classical music by Lucy Simon alongside dynamic lyrics and book by Marsha Norman. The story follows Mary Lennox, a young girl who is orphaned and then moved into her uncle’s pristine estate in Yorkshire, England. After discovering a long-forgotten garden, she attempts to revive the lush vegetation, forming new friendships and proving that the world is full of beauty when your heart is full of love.
“Where in the World” could you find a performance quite like Amelia Pulido’s as Mary Lennox! Pulido’s diverse characterization and comedic delivery flawlessly executed Mary’s evolution from a spoiled brat to a mature, hopeful girl. Serving by Pulido’s side, Apryl Cabrera was mesmerizing as Martha. Cabrera’s enigmatic depiction of Martha’s kind-hearted spirit and impeccable vocals captivated audiences, making them “Hold On” to the edge of their seats. Together, Pulido and Cabrera’s chemistry was remarkable, pulling at heartstrings with their compassion and care for each other.
Consumed by heartache and grief, Suraj Kaniyur meticulously embodied Archibald Craven’s melancholic nature. Through his profound vocals and sincere emotions, Kaniyur gave a heartfelt performance full of passion and sorrow. His romantic chemistry with his deceased love Lily Craven, played by Isabella Diaz Salvioli, was enchanting. Salvioli’s powerful operatic vocals and wistful characterization were angelic, true to Lily’s loving nature. As a couple, the duo crafted their love and undying sense of longing for each other’s embrace with remarkable care, with every touch blossoming with devotion.
The cast of “The Secret Garden” bloomed onstage! While working in an unconventional staging arrangement, they utilized and adapted to the area they were given to encapsulate the magical environment of the garden. Emphasizing the dramatics of the production, the Dreamers ensemble gave a dynamic performance. Their polished harmonies and characterization were profound and powerful, particularly in the impactful closing number “Finale: Come to My Garden (Reprise).” A particular standout in the cast was Jared Robaina as the upbeat Dickon. Robaina’s consistent, thick accent and audacious physicality were readily amusing and charismatic, expertly crafting Dickon’s cheerful and earthy demeanor.
Immersing audiences into the whimsical nature of “The Secret Garden,” the technical aspects were flowering with excellence! The cohesiveness among all the technical achievements is particularly notable. Dramaturg Ashley Sosa’s in-depth research on the time-period ensured cohesivity amongst the different crews through Victorian-style costumes, hairstyles, and set decor. Additionally, Sosa impressively analyzed the different accents in Victorian England to distinguish the wealth and class of individual characters.
Seasons change, flowers bloom, and secrets unfold at Somerset Arts Conservatory. So, brush away the overgrowth and step into the magical world of “The Secret Garden.”
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By Sam Dyer of NSU University School
When secrets are sealed, love is lost, and seeds of change begin to bloom, what becomes of human nature? With a garden sprouting potent performances and technical prowess, the cast and crew of Somerset Arts Conservatory’s “The Secret Garden” unlocked astounding answers buried at its roots!
Based on the homonymous 1911 novel by Frances Hodgson Burnett, “The Secret Garden” features a book and lyrics by Marsha Norman with music by Lucy Simon. After premiering at New York’s Skidmore College in 1989, the operetta opened on Broadway in 1991, where it received three Tony Awards, including the Tony Award for Best Book of a Musical. The story follows Mary Lennox, an India-born orphan sent to live with her eccentric uncle whose house hides a tragic past along with its miraculous hidden garden.
Blossoming above all was the modest Mary Lennox, portrayed by Amelia Pulido. For her freshman year of high school, Pulido illustrated impressive character growth, holding the key to each emotion of the lovable little lass! Wearily watching over her was Archibald Craven, the chapfallen master of the house, played by Suraj Kaniyur. Pairing commanding passion with a falsetto that floated higher than the garden walls, Kaniyur excelled as a performer. With valiance and verdure, he was the definition of a storyteller!
As present as her painted picture just above the landing was Lily Craven, brought to life by Isabella Diaz Salvioli. With such a vibrant vibrato, it’s no surprise Archibald (and the audience) got tangled up in her graceful spirit; the lost lovers’ chemistry fostered a budding connection that made for sweet sprouts of heartbreak!
Gardens can’t grow without helping hands, and the manor maid Martha (Apryl Cabrera) was one such support; her standout vocal solos were second only to the singing of spring chickadees! Martha’s droll brother Dickon (Jared Robaina) sowed similar seeds with mirthful physicality that blessed each bit of earth.
Weaving this topiary tapestry was an ensemble of Dreamers! Making great use of their limited performance space, most ensemble members broke brick barriers with undeniable energy and blooming harmonies! Standing together, their leafy green lesson was clear: when navigating a thorny hedge maze, it’s best to bring a friend or two!
Tending to wonderful weeds were this production’s technical teams! The Set team (Jared Robaina, Gabriel Gonzalez, Matteo Amaral, Madison Londono, Camila Morales-Lopez & Co.) founded the fruits of their labor; their marvelous mansion with a hand-crafted canvas of Lily Craven made for a flowering feast for the eyes. Keeping crops in line was the Dramaturgy done by Ashley Sosa. Guiding Make-Up & Hair (Saraiya Jean-Claude), Costumes (Angelique Gerena & Co.), and more, Sosa’s drive for dramaturgical accuracy to period and style was a commendable feat!
Flourishing through it all, the cast and crew of Somerset Arts Conservatory’s “The Secret Garden” planted a production as swell as the springtime!
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By Matthew Ortiz of Piper High School
AVADA KEDABRA!!! It was truly a mystical and magical production of “Puffs” presented by Coral Glades High School.
Puffs was created in 2015 by Matt Cox. It first premiered at The Peoples Improv Theater and was later moved to Off-Broadway theater New World Stages in 2016, where it was nominated for the Off-Broadway Alliance Award for “Best Unique Theatrical Experience” in 2017. The play is a parody of the Harry Potter book series, from the perspective of the “Puffs” being the members in the Hogwarts house Hufflepuff.
With the understanding that this is not the home school of Coral Glades High School, they were able to beautifully present this production, only having a limited time to prepare. The Puffs as an ensemble had great energy. In their cast of 14, they had to play more than 20 different characters. Actors such as Donald Dicarlo and Malakai Rosemey stood out from others in the cast due to their memorable different roles and how you can tell all of them apart. Nialya Flores, who played Harry and other characters, was a highlight of the show. Throughout the whole show, she showed high energy and well-placed comedic moments. The facial expressions and physicality’s of all in the cast truly captured every character’s emotion. It was remarkable to see how the choreographers (Ivy Levine and Vivian Marsiello) made great use of the stage and the orchestra pit, paired with the lighting for the fight scene.
Megan Jones’s (Ivy Levine) portrayal of the “emo” Puff truly distinguishes her from others in the cast by really playing up the different Puffs. Her chemistry with Oliver Rivers (Abstrong Alix Charles) was truly amazing due to how unexpected it was. Keon Silas’ portrayal of Wayne Hopkins was truly a work of art. The chemistry between Megan Jones, Wayne Hopkins and Oliver Rivers was wonderful and made them an amazing trio.
To help bring whimsy into this fun production, the technical aspects of this show are not something to overlook. The sound cues were nothing short of amazing, even with minor mic issues toward the end of the show. The costumes were truly magical and unique. With the beautifully executed quick changes, Hanna Delva and Trinity Moss’s use of make-up and wigs was marvelous. The use of many different wigs to tell the different characters apart was the true magic of the show. Using the mop head to represent Ron Weasley was an amazing use of props and shows the originality that went into them.
Overall, this play had the audience constantly doubled over with laughter, while also being a delight to watch. Coral Glades High School really conjured their way in this production of “Puffs.”
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By Afreeca Fullwood of Piper High School
Ever wondered what was happening at Hogwarts while Harry Potter was busy being “The Chosen One”? Well, Coral Glades High School gave us a delightful glimpse into the life of the Puffs, the ones who didn’t save the world but were really good at being there.
Originally written by Matt Cox in 2015, this Harry Potter parody follows Wayne Hopkins and his fellow Puffs through seven years of magic and mayhem. “Puffs” is the story of the Hogwarts kids who didn’t get the glory, the fame or the prophecies; they just tried their best to avoid getting eaten or cursed.
Keon Silas did a wonderful job of playing Wayne Hopkins, a guy whose greatest magical achievement is showing up. Silas showcased an impressive range, effortlessly shifting from the charismatic energy of chanting “Third or nothing!” to the raw vulnerability of an angsty teen grieving the loss of a beloved friend and uncle. Silas’ skillful portrayal of Wayne accurately depicted the awkward charm of a guy simply trying his best. Next up, we have Ivy Levine as Megan Jones, whose brilliant performance managed to turn teenage rebellion into an art form. Levine stole every scene she was in, whether she was scowling upstage or effortlessly serving up sarcasm with impeccable timing.
From the moment Stephen Karow (Cedric) emerged from the back of the auditorium, it was clear that he was born to stand in the spotlight. Karow dominated the role of Cedric by putting every dazzling smile, heroic pose and over-the-top charisma to good use. Introducing the lovable sidekick, J. Finch Fletchley, played by Malakai Rosemey. Rosemey had a knack for delivering memorable one-liners that made the audience erupt in laughter. Sometimes Rosemey wouldn’t say a word, but his facial expression and physicality would cast their own kind of enchantment. It was as though Rosemey’s whole being was a spellbook, and every move he made held a page of humor waiting to be unlocked.
The stage management team didn’t just run the show; they executed it like a complex spell, ensuring every prop, cue and scene change was executed with a puff-like charm. A huge shout-out to the choreographers for crafting a stunning fight scene that didn’t just stay on stage but charged into the audience, making everyone feel like they were right in the heart of the action. Let’s not forget the Props crew for making every scene more magical. From giant googly eyes to a large stuffed snake, the props team turned ordinary objects into enchanted relics, proving that, in the wizarding world, anything is possible.
In the end, Coral Glades didn’t just give us a play; they left us with a reminder that you don’t need to be the hero to have a magical time. Whether you’re the chosen one or a quirky kid living in a basement, there’s room for everyone to have a jolly ole time.
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By Xharia Campbell of Piper High School
Anyone want to see a play where magical mishaps have you rolling in your seat? Coral Glades’ production of “Puffs” will leave you laughing so hard that you’ll probably need a spell to recover.
Written by Matt Cox, “Puffs” is a parody of the Harry Potter book series by J.K. Rowling, told from the perspective of the Hufflepuff house, hence their name, Puffs. The play debuted on December 3, 2015, off-off-Broadway at The People’s Improv Theater and later moved to the off-Broadway Elektra Theatre in late 2015.
Leading the audience on a hilarious journey, the Narrator, played by Vivian Marsiello, delivered an impressive performance. Marsiello’s commitment to her character was stunning, keeping the audience at the edge of their seats, wondering what would happen next. Her character choices and knack for improvisation turned any silence into laughter. Keon Silas’ portrayal of Wayne was also fantastic. Silas’ range of emotions and acting choices made his intentions throughout the show crystal clear. His chemistry with different characters kept every moment interesting until the very end. In contrast to all the bright, light-hearted characters, Ivy Levine’s portrayal of the dark Megan Jones was spot-on. Levine’s intentional physicality and vocal inflections made her a clear standout compared to the other Puffs. Her clear character development and chemistry with Abstrong Alix Charles, who played Oliver, added significant depth to the show. Charles’ nerdy characterization definitely contributed to the dynamic of the main cast.
Stephen Karow’s portrayal of Cedric was phenomenal; his line delivery and charisma made him a joy to watch on stage. If you wanted comedy, Malakai Rosemey’s performance as J. Finch Fletchy was superb. Rosemey’s energy and comedic timing had the audience roaring with laughter. Another hilarious character was Leanne, played by Abigail Miller. Miller’s bubbly voice and expressive physicality provided a lot of comedic relief throughout the show.
It’s time to give a round of applause to the tech crew of this production. Despite limited rehearsal time in a new theater, they handled the technical aspects excellently, with only a few minor mishaps, all quickly fixed. A memorable part of the show was the fight scene choreographed by Vivian Marsiello. The great use of space and comedic moments worked well with the actors and was executed flawlessly, enhancing the comedy of the show. Another technical aspect that boosted the comedy were the props designed by Gabriela Barrios. Barrios’ prop selections were fantastic, allowing the actors to use them with ease, which added to the comedy and the joyous nature of the production.
Go and embark on a magical journey with Coral Glades’ production of “Puffs,” where seven years of adventure await you.
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By Abby Goldberg of Cooper City High School
Getting sorted into the Puffs might not come with the most dramatic stories or greatest destinies, but Coral Glades High School’s charming production proved it does come with humor, heart and easy access to the kitchen!
Inspired by the magical world introduced in J.K. Rowling’s iconic 1997 novel, “Puffs” is a fast-paced, ensemble-driven show that plays a sincere homage to the Harry Potter series. This clever reimagining is told through the eyes of students sorted into the overlooked house of the Puffs. Exploring themes of belonging, triumph and unlikely heroes, the story invites audiences to discover what it truly means to be a Puff.
Portraying the totally uncool, yet undeniably lovable Wayne Hopkins, Keon Silas perfectly embodied the character’s comedic charm. Through hilarious physicality, impeccable humor and a heartfelt depth, he brought this endearing underdog’s journey to life. Alongside Silas, Abstrong Alix Charles perfectly captured the a-dork-able character of Oliver Rivers. Embodying the fiercely independent Megan Jones, Ivy Levine brought comedy and authenticity to the role. Her eventual transition was heartfelt and impactful, while her rebelliousness allowed for a dynamic contrast from Wayne and Oliver. Together, this inseparable trio had a natural chemistry, grounding the heart of the production.
Leading the Puffs, Stephen Karow brought a boundless energy as Cedric. Embracing his badger-loving character, Karow added a contagious enthusiasm to each moment. Transforming into the puffiest of the Puffs, Abigail Miller radiated ebullience as Leanne. Elevating each scene with her strong characterization, Miller’s energy was as perfect as an ice-cold butter beverage!
Whether it’s their quirky personalities, endless enthusiasm, or their extreme love of badgers, there really is no house quite like the Puffs. Each cast member did a remarkable job of creating unique and well-developed characters throughout the production. A standout among the Puffs was Malakai Rosemey as J. Finch Fletchley. Although he was “imaginary,” the audience couldn’t help but be drawn to Rosemey’s larger-than-life comedy and hilarious antics.
The true comedy of the show shined through the production’s hysterical technical elements. From wigs to bald caps, the Hair and Makeup team, led by Trinity Moss and Hanna Delva, must be commended for their brilliant work. Additionally, Gabriela Barrios’ creative prop and wardrobe work allowed for clear, character-specific costumes as well as crafty, personalized wands. Clean, quick changes were vital to the fast humor of the show, and each crew executed them masterfully.
Maybe being a Puff doesn’t mean you have some courageous quest to join, or an ingenious book to write. Being a Puff means embracing who you are and showing that true strength lies in standing by those you love. Coral Glades High School’s production of “Puffs” reminds audiences that anything is possible with the magic of friendship and a whole lot of badger pride.
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By Mia Martinez of Archbishop McCarthy High School
Braves, Smarts, Snakes, and…the Puffs? Coral Glades High School’s production of “Puffs” by Matt Cox, a 2015 parody of the Harry Potter series, charmed the audience by showcasing the story through the eyes of the often-overlooked Puff house.
This lighthearted comedy tells the story of Wayne Hopkins, Oliver River and Megan Jones, who are all sorted into the Puff house. Over seven years at wizarding school, the trio experiences life as Puffs, with the Narrator, portrayed by Vivian Marsiello, guiding the audience through their unique perspective on the events of the Harry Potter series.
Keon Silas brought charm and humor to the role of Wayne Hopkins, captivating the audience with his expressive physicality, which added an extra layer of comedy to his interactions with Oliver River, played by Abstrong Alix Charles, and Megan Jones, portrayed by Ivy Levine. Charles and Levine kept the audience engaged and laughing from start to finish with their dynamic chemistry throughout the show. While there were some minor issues with pacing and comedic timing, the overall production was a joy to watch. Marsiello guided the story with consistent energy and pacing, helping to bring the Puffs’ journey to life.
Stephen Karow fully embodied his role as Cedric, staying in character from the moment he stepped on stage. His excellent characterization made him nearly unrecognizable when he later appeared as Mr. Voldy. Let’s not overlook the hilarity brought by Abigail Miller as Leanne. Miller showcased impeccable comedic timing and demonstrated great promise. She did an excellent job differentiating between her characters, such as the bubbly Leanne and the more stoic Frenchy, bringing distinct energy and personality to each role.
Last but certainly not least, the Puffs ensemble deserves high praise. The actors fostered a sense of camaraderie, making their onstage relationships feel like a close-knit family. Despite a few onstage prop mishaps, their excellent spatial awareness stood out, particularly during the magical and action-packed scenes. Additionally, the cast transitioned effortlessly between the show’s comedic and dramatic moments, delivering a well-rounded and engaging performance.
An aspect of the show that deserves special recognition is the costume design by Gabriella Barrios. Each costume was thoughtfully crafted to fit the time period, adding an authentic touch to the production. An honorable mention goes to, once again, Gabriella Barrios who was also responsible for the props. Each prop was intricately detailed and carefully considered. While there were occasional mic mishaps, the technical elements of the show were impressive, especially given the level of complexity involved.
Overall, the show was filled to the brim with comedy and magic. From beginning to end, the audience was on the edge of their seats, leaning in, waiting for the next joke or the next magic spell.
By Natasha Pierson of Cardinal Gibbons High School
In the 1960s, many catholic schools were centered around strict conservatism and many insecurities within the church. However, when modern educators and leaders challenged conservatism, they were often met with conflict from those who feared change and those filled with doubt. Doubt, A Parable was written by John Patrick Shanley and explores many mature themes, making it a challenging play for an actor. Atlantic Community High School did a good job of embracing the tensions among educators in the Catholic Church.
In Doubt, A Parable, Sister Aloysius Beauvier grows suspicious of Father Flynn and eventually accuses him of inappropriate behavior with the student Donald Muller. The play follows this accusation, with different reactions from each character showing contradicting morals.
Erik Edwards (Father Flynn) showed the audience that he genuinely cared for the children at St. Nicholas Church School and dedicated himself to caring for the members of their parish. Father Flynn had many monologues; in each one, he truly connected to the audience, giving his own take on the role. Alana Pearce (Sister Aloysius Beauvier) fully embodied the role of a conservative principal who stubbornly followed her morals. Alana Pearce did an excellent job making her character truly intimidating and cold but with good intentions. Patt Malangwasira (Sister James) portrays her character as one who wished to connect to her students but was overshadowed by those above her. Patt Malangwasira showed her character’s growth through the play, eventually stepping out of Sister Aloysius Beauvier’s shadow and standing on her beliefs. Jaedah Jones (Mrs. Muller) showed the audience that she cared for her son. She portrayed her character as a strong mother figure, trying to set her son up
for a good life.
Although the actresses’ faces were covered by their headpieces at times, they could still express their emotions even without seeing faces. The sound was evident at most times. However, there were times when it was static, and the cast’s lines were lost when yelling. There were many smooth and quiet transitions from scene to scene. However, they were on the longer side. The sets allowed the audience to understand the setting; however, less simple sets would engage the audience in the story.
Overall, Atlantic Community High School portrayed the maturity and depth of Doubt, A Parable. It notably portrayed the tensions among all four characters, sourcing these tensions from the corruption and insecurity within the Catholic Church.
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By Charlotte Olivera of Dr. Joaquin Garcia High School
How do you uncover the truth when uncertainty clouds every corner of knowledge? This is the central question posed by the thought-provoking 2005 Broadway play Doubt: A Parable, brought to life once again, this time at Atlantic Community High School. Written by John Patrick Shanley, Doubt: A Parable explores one of the Catholic Church’s darkest and most troubling controversies: whether a priest has had inappropriate relations with a young boy. The story follows the escalating accusations leveled by Sister Aloysius, the rigid and conservative principal of a private Catholic school, against Father Flynn, the charismatic priest. Although the play never reveals the truth of the matter, it brilliantly delves into a tangled web of conservatism, racism, and sexual misconduct set against the backdrop of the 1960s.
Among the standout performances was Erik Edwards, who was captivating as Father Flynn, bringing a compelling mix of passion and ambiguity to the role. His portrayal balanced the character’s warmth and defensiveness, leaving the audience torn between sympathy and doubt. One of his most striking moments came during a heated confrontation with Sister Aloysius, played by the phenomenal Alana Pearce. Pearce’s commanding presence as the unyielding principal was riveting, her rigid mannerisms and sharp tone embodying her character’s unshakable authority. In a remarkable emotional shift during the play’s climax, Pearce revealed Sister Aloysius’s vulnerability and doubt, creating a deeply human and unforgettable moment.
While the performances shone, a few technical issues detracted slightly from the production’s smoothness. Scene transitions, particularly the blackouts, occasionally felt prolonged, disrupting the narrative’s flow. At one point, two actors had to improvise to fill time, subtly signaling for another performer to enter. However, these minor hiccups did little to overshadow the overall quality of the production.
The costumes were thoughtfully designed and enhanced the storytelling by reflecting the character development of the period. Father Flynn’s green attire at the beginning of the play, reflective of the November setting, later transitioned to traditional black-and-white clerical clothing, mirroring the growing tension in the narrative. His more casual outfit during a teaching scene in the directory added authenticity and dimension to his character.
The sound design also stood out, despite occasional microphone issues that caused some breathiness and reverb. These minor flaws were understandable during scenes with close physical proximity between characters. On the other hand, the background music was carefully chosen, complementing the setting and adding emotional weight to key moments in the play.
Doubt: A Parable is a masterclass in storytelling, and Atlantic Community High School’s production did justice to its complexity. Through outstanding performances and a thoughtful, creative approach, the cast and crew left their audience with lingering questions, profound discomfort, and a deeper appreciation for the intricacies of truth and conviction.
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By Griffin Lawman of West Boca Raton Community High
Doubt: A Parable at Atlantic Community High School was a captivating production that kept the audience engaged from start to finish. Set in 1964, the story follows Sister Aloysius as she accuses Father Flynn of inappropriate behavior with a student. Without clear evidence, the play delves into themes of morality, faith, and uncertainty. This powerful production masterfully brought these complex ideas to life, combining strong acting with palpable tension.
Alana Pearce delivered a standout performance as Sister Aloysius. Her portrayal was both elegant and commanding, perfectly capturing the character’s sharp demeanor and underlying doubts. Each time she was on stage, Pearce exuded confidence and emotion, fully immersing the audience in her internal conflict. Her confrontation with Father Flynn, played by Erik Edwards, was the highlight of the show. The intensity in her voice during their argument was electrifying, drawing the audience into the heart of the play’s tension.
Erik Edwards also delivered an exceptional performance as Father Flynn. His nuanced portrayal kept the audience guessing, reflecting the ambiguity at the center of the play. Edwards skillfully balanced Father Flynn’s charm and defensiveness, making it impossible to determine his innocence or guilt. The chemistry between Pearce and Edwards elevated the production, as their scenes together were filled with emotional depth and suspense.
While the acting was outstanding, there were some technical issues that slightly impacted the experience. On occasion, the microphones cut out, and backstage chatter could be heard. Additionally, a persistent ringing sound was noticeable at certain points, which disrupted a few moments of the performance. The chatter was not extremely noticeable but it did interrupt some important moments. However, these flaws were minor and did not overshadow the overall quality of the production.
This production of Doubt: A Parable was a testament to Atlantic Community High School’s dedication to the arts. The actors’ commitment to their roles, combined with calculated physical actions and detailed character work, made the story come alive. Although sound and blocking could have been improved, the incredible performances more than made up for these shortcomings. Overall, the cast and crew delivered a thought provoking and enthralling production that left a lasting impression on the audience.
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By Ilia Peck of The Benjamin School
Audiences are in for a night of uncertainty when watching Atlantic Community High School’s production of Doubt: A Parable. Written in 2004 and first performed at the off-Broadway Manhattan Theatre Club, Doubt: A Parable is a play that follows the story of a Catholic school teacher’s suspicions that the school’s priest, teacher, and coach, Father Flynn, has been sexually abusing a boy in the eighth grade. Set in the 1960s, the story gains tension when we learn that the suspected victim is the only Black boy in the school. The play is left open-ended, and audiences themselves must decide what and who they believe.
Erik Edwards, who portrayed Father Flynn, had the audience questioning him throughout his performance. He seemed remarkably in touch with his character, which was a difficult feat, especially during his long sermons. Although some characters appeared to have difficulty with motivation, he seemed evident in his storytelling.
The two sisters, Sister James (Patt Malangwasira) and Sister Aloysius (Alana Pearce), had excellent opposing chemistry. Sister James did a nice job portraying her innocence, while Sister Aloysius embodied a strict, rule-oriented leader. She brought out Sister Aloysius’s inner emotions, beginning by caring strictly about religion, then transforming into a woman who truly cared about the children and the school’s wellbeing. The actors’ diction was mainly on point throughout the production.
The sound was also a major part of the production. At the beginning of the production, church hymns played in the background, but it may have been interesting to see more of that throughout the play. The microphones were generally well handled, despite a few cutouts. Sound effects ran smoothly; however, some were very startlingly loud.
Marketing and Publicity for the show included ticket and playbill design, posters, and social media updates. It may have been helpful to see a few more posts on their social media pages that gave more regular updates to the community, but overall, the design was excellent and eye-catching.
Doubt: A Parable is a challenging play, and the actors and crew handled it well. The subject matter is certainly not for the faint of heart, and in the end, Atlantic Community High School’s Doubt: A Parable was an engaging and thought-provoking performance that was sure to leave the audience with one final question: what and who do they doubt?
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By Sage Ponchock of The Benjamin School
Doubt: A Parable, a play by John Patrick Shanley, deals with themes often avoided in high school theatre. Atlantic Community High School, however, took on the formidable challenge that is Doubt. The play is one of deception, conviction, mystery, and shame. The story centers around a priest and a Catholic school; the nuns suspect the priest of the institution of having inappropriate relations with one of the young students. Doubt is a harsh, blunt look into a world of ideas and actions no one wants to face.
Bravely Atlantic Community High School and its cast of only four actors took on the challenge of this somber play. In but one act, the cast succeeded in constructing characters, relationships, and tensions that were nearly tangible. Each character was convincingly set in their own convictions. Particularly, Erik Edwards’ character, Father Flynn, was so passionately convinced of his innocence and Alana Pearce (Sister Aloysius) who was so equally convinced of his guilt that the audience could not help but be conflicted, agreeing with one wholeheartedly while he was speaking and the other when she was. The title and theme of this play is Doubt, and the strong convictions and convincing eloquence of Father Flynn and Sister Aloysius’s arguments brought this theme to life.
Equally commendable is the acting of Patt Malangwasira (Sister James), whose transformation from a malleable young nun to a woman with her own beliefs and values was well performed. While, on occasion, costumes hindered the audience’s view of face and expression, the characters overcame the challenge with physical movements and vocal inflection or tone that conveyed their meaning just as well.
Doubt is a tricky piece, one wrought with lengthy monologues and high-intensity and tension scenes. These scenes, however, were where the actors shined. Despite difficulties with sound and the occasional muffling of speech, the actors performed convincingly. The high-intensity scenes between Sister Aloysius and Mrs. Muller (Jaedah Jones) as well as Sister Aloysius and Father Flynn showed an impressive acting capacity that overcame the obstacle of the sound. So, too, were the actors able to overcome obstacles such as late stage cues, because of which a degree of improvisation was obligatory. The cast’s poise and grace throughout unexpected difficulties and tense, disturbing scenes of confrontation are truly to be commended.
The play put on by Atlantic Community High School was not an easy one. Despite the play’s complex nature and unexpected difficulties, the small cast performed a convincing and moving adaptation of Doubt by John Patrick Shanley. The characters’ convictions on either side gave the audience just enough belief on either side to leave them with what they were intended to be left with: Doubt.
By Julianna (Jules) Vollaro of North Broward Preparatory School
Monarch High School’s production of Clue was a thrilling combination of humor, mystery, and creativity that kept the audience guessing until the very end. With strong performances, intricate technical elements, and a vibrant ensemble, the show masterfully brought the classic board game and movie to life on stage.
The story of Clue, written by Sandy Rustin and based on the 1985 screenplay by Jonathan Lynn, unfolds in the enigmatic Boddy Manor. The six guests– Miss Scarlet, Colonel Mustard, Mrs. Peacock, Mr. Green, Mrs. White, and Professor Plum– are blackmail victims gathered under suspicious circumstances. As murders pile up, the group, led by Wadsworth the butler, must unravel the mystery of who is behind the chaos.
Jordyn Hibbert’s portrayal of Mrs. White was delightfully dark, blending simmering intensity with beautiful comedic timing. Her biting one-liners and detached demeanor were perfectly balanced, creating a performance both chilling and hilarious. Juliana Zamorano brought elegance and allure to Miss Scarlet, exuding confidence and charisma with every line. Her nuanced delivery and commanding presence added depth to the sultry character, making her secrets all the more intriguing.
Julia Debrito’s Mr. Green was an audience favorite, captivating with nervous energy and a hilarious transformation as the story unfolded. Debrito’s physical comedy and expressive delivery brought both charm and unpredictability to the role, grounding the ensemble in comedic realism. Finally, Phoenix Orival’s Wadsworth was a standout, leading the chaos with sensationally engaging improv. Orival’s dynamic performance as the clever butler led the ensemble, delivering rapid-fire wit and uniquely managing the play’s high-stakes energy.
Technical elements played a pivotal role in creating the world of Clue. The set, designed by Morgan Rens and her crew, featured innovative rotating platforms that transformed Boddy Manor into an immersive setting. Despite minor spacing issues, the set transitions were seamless and added to the fast-paced nature of the story. Sofia Nayar and the makeup team excelled with their realistic blood effects and detailed character makeup, particularly the old-age designs and gory visuals that enhanced the stakes of the murders.
The ensemble’s chemistry was evident throughout the production, with the cast working cohesively to deliver the show’s farcical humor and escalating tension. While occasional dips in pacing and projection occurred, the actors’ ability to improvise and stay in character kept the audience engaged. The comedic timing of the group as a whole brought the chaos of Boddy Manor to life, ensuring that no moment on stage felt stagnant.
Monarch High School’s Clue was a resounding success, combining sharp performances, innovative technical work, and laugh-out-loud humor to create an unforgettable theatrical experience. The show reminded audiences that in the game of Clue, nothing is as it seems and the journey to solving the mystery is as enjoyable as the reveal itself.
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By Avery Garfinkel of Cooper City High School
Pick your player, roll the dice, and investigate Monarch High School’s riveting production of “Clue (High School Edition).”
Based on the hit 1949 board game and 1985 movie, “Clue (High School Edition),” written by Sandy Rustin, follows six outlandish guests and one mysterious butler after a murder has been committed in the Boddy Manor. This farce comedy engages audiences in an intense “whodunit” as the characters accuse, analyze, avoid certain death, and prove that no one is ever truly innocent.
As the gamemaster himself, Phoenix Orival (Wadsworth), exquisitely executed his eccentric character. His buoyant and idiosyncratic behavior was extraordinarily comedic, adding to the farce atmosphere flawlessly. Julia Debrito (Mr. Green) presented a characterized and distinctive portrayal. She enacted a clean character shift and grounded the story when performing her closing monologue, establishing a coherent and dynamic conclusion. Jordyn Hibbert (Mrs. White) added extreme hilarity to the performance. Her impeccable comedic timing and attitude blended magnificently with the emotive ensemble, and was a universal delight to watch.
Bonjour! Audrey Gomez (Yvette) delineated her character sensationally, captivating audiences with her persona. Her physicality was the paragon of excellence, giving an honest sense of character that was convincing yet unorthodox. Her timing and delivery was stupendous, and her consistent yet clear accent added an extra layer to her already hilarious portrayal. Additionally, Lina Kazaneh’s (Mrs. Peacock) well executed ad-libbing allowed for an extremely comedic experience. Her timing was impeccable, creating a flawless comical environment. Other stand outs include Matteo Galindo-Razuri (Mr. Boddy), Jillian Lajoie (Cook), and Dahlia Jaramillo (Dead Motorist) as the production’s most brutally assaulted victims. Their ability to stay stagnant in the background created an unobtrusive and realistic picture.
As an ensemble, the Suspects worked together tremendously. Their chaotic energy and beautiful stage pictures allowed for an interesting and engaging story. Their improvisational ad-libbing and outlandish maneuvers aided in comedic moments remarkably, enveloping audiences and creating general hilarity. Each of the Suspects were extremely individualized, making them stand out independently while continuing to consolidate as a group with ease. Overall, these accomplished actors should be congratulated for their immaculate synergy.
No-Boddy deserves more praise than the incredible technical crews, adding whimsy and heart into the show. While there were some inconsistencies, the scenery was beautifully hand-crafted and allowed for great efficiency. Led by Morgan Rens, the detailed and intricate set allowed for smooth scene transitions and phenomenal stage pictures. The costumes, designed by Jillian Lajoie, were stunning. They were extraordinarily constructed and assembled, creating cohesiveness despite the outlandish color scheme.
Here’s what really happened: Monarch High School produced an incredible rendition of “Clue (High School Edition)” that left the audience laughing to death.
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By Abby Goldberg of Cooper City High School
Six dinner party guests, four residents, and a deadly game at play. With locked doors around each corner, Monarch High School’s production of “Clue (High School Edition)” left audiences on the edge of their seats with one burning question: “whodunit?”
Written by Sandy Rustin and based on the classic board game, “Clue (High School Edition)” unfolds the events of a peculiar dinner party gone awry. This unexpected murder mystery invites six unsuspecting guests to play their roles in an unusual game of secrets and deceit. With time slipping away and the body count rising, suspense builds and the truth becomes hard to uncover, leaving everyone questioning who can be trusted.
Leading the show was Phoenix Orival as Wadsworth, who expertly conveyed the quick-witted, enigmatic butler with a masterful use of physicality. His high energy movements and frenzied energy allowed for a physically comedic character throughout. A standout alongside him was Audrey Gomez as Yvette, who swept the audience off their feet with her magnifique performance. Her humorous line delivery, paired with her perfectly consistent French accent, dusted each scene with elegance and humor.
Portraying Mr. Green, Julia Debrito killed it with her delightfully quirky performance. Through jumps, shouts, and trembles of fear, she captured the nervous energy of the seemingly awkward character. When his true identity was revealed, Debrito presented a striking contrast in confidence that tied the chaos of the story to a satisfying close. As Mrs. White, Jordyn Hibbert always brought laughter to the audience with her exceptional performance. Her remarkable comedic timing and strong characterization elevated the humor in each scene. Hibbert’s energy was undeniable, constantly driving laughter into the audience.
The six suspicious party guests worked extremely well together, remaining true to their distinct characters while building off one another to create dynamic interactions. With each new visitor, the cast brought fast-paced energy and chaotic chemistry that kept the comedy of the show alive. As the mystery unfolded and new suspects emerged, the cast delivered a variety of impeccable hilarious moments, showcasing their dead-on timing and humor. Although their diction faltered at times, the actors made up for it with consistent character accents and quick-witted improvisation that kept the audience thoroughly entertained.
Hair and makeup, led by Sofia Nayar and costumes, designed by Jillian Lajoie, made for the perfect crime-solving duo! Each highlighted the individuality of the characters and their gore collaboration, both onstage and offstage, added a bone-chilling touch to the atmosphere. Additionally, the set led by Morgan Rens was killer! The set crew must be commended for their brilliant use of turntables, making scene transitions clean and efficient, and immense attention to detail within each of the rooms.
With seamless teamwork both onstage and behind the scenes, Monarch High School terrifically crafted a high-stake night of murderous charm. Unfolding a whirlwind of chaos, the production invites audiences to play the game, and each other!
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By Sam Dyer of NSU University School
When stakes are high and dead bodies are low, three questions command the fate of six fatal suspects: Who, where, and with what? At Monarch High School, the cast and crew of “Clue (High School Edition)” learn that murder isn’t a game… or is it?
A wacky whodunnit worthy of watching, “Clue (High School Edition)” was penned by Sandy Rustin. With an initial concept based on the Hasbro board game of the same name, this iteration of the meddling murder mystery pulls from a homonymous 1985 film adaptation written and directed by Jonathan Lynn. Set during the maddening era of McCarthyism, six suspicious (and appropriately color-coordinated) guests stumble into a classic murder mystery, and it’s up to them and their mysterious butler host to crack the case.
Like a clever chess master parading a pack of pawns, Phoenix Orival perfectly pulled strings as the leading butler Wadsworth. If physicality were a card game, Orival was a jack of all trades; whether blocking doors or sprinting for the nearest one, his cartoonish commitment to the character made for criminally good comedy!
Terrifically timid, Julia Debrito brought the germophobic Mr. Green to life! Debrito knew just how to catch chortles from the audience, whether delivering comedy as cutthroat as a cleaver or anxiously melting to the floor like a sinking battleship! On the other hand, afraid of nothing (except snakes) was the sinister Mrs. White, portrayed by Jordyn Hibbert. Roping in cold-blooded confessions and flaming-face rage, Hibbert hilariously held true to the part and to her testimony.
Sly and seductive, Miss Scarlet (Juliana Zamorano) strutted into Boddy Manor and stood tall among her fellow suspects thanks to more than high heels! Conniving with a candlestick, Zamorano consistently stayed in the moment with smooth characterization. Funneling further flair into the half-dozen’s homicidal hoedown was Mrs. Peacock, played by Lina Kazaneh. With poisonous quips and a flask full of funny faces, Kazaneh’s comedic timing sweetened a soup-spitting performance!
Beyond the core cast, Boddy Manor was home to some marvelous murder victims! Wiping away the dust (or fingerprints?) was the maniacal maid Yvette, performed by Audrey Gomez. With flimsy physicality and a persistent French accent, did Gomez kill it? Oui, oui. Brought to life (and death) by Jillian Lajoie and Matteo Galindo-Razuri respectively, the Cook and Mr. Boddy were also commendable culprits. The pair convincingly played dead for sprawling bouts of stage time, making for two captivating corpses!
Boddy Manor and its unfortunate inhabitants would be remiss without a handful of technical achievements! The murderous Make-Up and Hair team (Sofia Nayar & Crew) crafted gorgeous gore for each death, decorating each demise with bloody beauty! Constructing around each killer’s katzenjammer was the Set team (Morgan Rens & Crew). Assembling two turntables, the team switched location through rotation; for most of the crew’s first build, this feat was fantastic!
From first hellos to handcuffs, it’s clear the cast and crew of Monarch High School’s “Clue (High School Edition)” did not come to play around!
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By Mia Wilson of Cooper City High School
Murder is in the air and the killer is on the loose so let the games begin at Monarch High School’s production of “Clue (High School Edition).”
Written by Sandy Rustin, “Clue (High School Edition)” is a classic tale of a murder mystery including comedic and farcical elements. Taking inspiration from the 1949 board game and 1985 movie, this treacherous tale is set in 1950s America, following six strangers who are invited to Mr. Boddy’s dinner party where murder is on the menu. Once Mr. Boddy is killed, this unlikely group must work together to discover who among them is the murderer before it is too late.
Phoenix Orival (Wadsworth) showcased incredible physicality as he embodied his character with meticulous intention. His movements and mannerisms were extremely entertaining, allowing for an enticing story. Audrey Gomez (Yvette) had extraordinary commitment to character as she embraced her french persona perfectly. Her accent stayed consistent and authentic creating a genuine character. She also had impeccable vocal inflection as she utilized her speech to add many comedic moments that had the audience dying for more.
Julia Debrito did an outstanding job portraying the elusive Mr. Green. She represented her character arc beautifully as she demonstrated contrast between the anxious party guest and vigilant agent. Her standout monologue at the end tied the story together and answered the hard hitting question: “whodunnit?” Jordyn Hibbert (Mrs. White) embraced her elegant character wonderfully. Her use of small but hilarious mannerisms perfectly fit the comical nature of the show. She also exhibited tremendous skills as she performed moments of stage combat with grace and fluidity.
The Suspects showcased fantastic individuality while complementing each other nicely as a unit. Their chemistry was impressive as they encompassed the chaotic and mysterious energy of the production. Though there were some malfunctions, the cast did a wonderful job of utilizing improvisation to quickly pull the audience back into the story. A standout member of this ensemble was Lina Kazaneh (Mrs. Peacock). Her vocal inflection and addition of ad-libs kept her character engaging.
The technical crew must be commended for their incredible achievements. Sofia Nayar and crew exhibited extreme talent through their application of blood and gore. They presented detailed work that seemed realistic and uniquely portrayed each murder. Jilian Lajoie’s ability to encapsulate every individual character through their costume while also doing ample research to preserve the time period was amazing. The set, created by Morgan Rens and crew, had great versatility. The execution of the turntable was flawless, allowing each room to be highlighted through seamless transitions.
Was it Ms. Scarlett in the billiard room with the candlestick? Or Colonel Mustard in the kitchen with the dagger? To solve the mystery, don’t miss the killer dinner party at Monarch High School in their production of “Clue (High School Edition).”
By Zachary Kopelman of NSU University School
Shalom! “As the good book says,” David Posnack Jewish Day School’s production of “Fiddler on the Roof” was a match made in heaven! They invited us to light the Sabbath candles in their humble shtetl, Anatevka, where they don’t eat like kings, but they don’t starve either!
With music by Jerry Bock, Sheldon Harnick lyrics, and Joseph Stein’s book, Sholem Aleichem’s “Tevye the Dairyman” was brought to life–L’Chaim! “Fiddler on the Roof” premiered at the Imperial Theatre and captivated audiences with a record-breaking 3,242 performances. This timeless story follows Tevye, an impoverished Jewish dairy farmer in the Russian village of Anatevka, as his beliefs are challenged. At the same time, he tries to uphold tradition and navigate the marriages of his five daughters. The musical explores themes of family, love, and the conflict between tradition and change in a rapidly evolving world.
As the papa, Sacha Codron (Tevye) delivered a passionate and compelling performance that truly resonated with the audience. His ability to express a wide array of emotions was remarkable, making each scene impactful. With the not-so-rich man’s consistent accent and impeccable comedic timing, Codron consistently captivated viewers and brought the character to life. Zoe Avinir (Golde) has spent 25 years meticulously washing his clothes and keeping his house in order, but her connection with Codron goes beyond mere duty. She infuses her character with a warm maternal energy that perfectly captures the essence of an older, nurturing figure. Together, these two were standout performers on stage, particularly in songs like “Do You Love Me” and “The Tailor, Motel Kamzoil.”
“I just heard that” Jordyn Jacobs (Hodel) did a marvelous job singing and dancing her way through this production. Turns out, it’s not just gossip on the streets of Anatevka! Her acting and expression were truly remarkable, showcasing a depth of emotion and skill that brought her character to life in a compelling way.
The ensemble truly infused the show with a vibrant spirit and energy. Although there were a few moments when certain words were difficult to hear, it was clear that their dedication to the performance added depth to the narrative. Katelyn Lips was a standout dancer, showcasing remarkable strength and skill, and her engagement, along with that of the entire ensemble, made the performance all the more captivating.
“On the other hand”, the technical elements of this performance assisted with the storytelling, accurately representing the time period. And yes, there really was a fiddler on the roof �nheard of, absurd! Yuval Osterweil played the entire show on his violin as part of the orchestra, seamlessly weaving their artistry into the fabric of each prayer shawl.
David Posnack Jewish Day School’s rendition of “Fiddler on the Roof” was nothing short of spectacular! The authenticity of the performance brought the timeless story to life in a truly captivating way. “Mazel Tov!” to the talented cast and crew for their outstanding work!
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By Julisa Landin of J.P. Taravella High School
“Without our traditions, our lives would be as shaky as, as… as a fiddler on the roof!” At David Posnack Jewish Day School, traditions are changed, Jewish culture is celebrated, and love is cherished in this enthralling production of “Fiddler on the Roof!”
Set in a small village in the Russian Empire, “Fiddler on the Roof” takes place in the early 20th century. With music by Jerry Bock, lyrics by Sheldon Harnick, and a book by Joesph Stein, the classic tale tells the story of a Jewish man named Tevye, his wife named Golde, their five daughters, and the community they live in. The Broadway musical held the record for the longest-running Broadway musical for almost 10 years, winning 9 Tony awards.
“Good news will stay, bad news will refuse to leave” – wise words learned from the wise father, Tevye (Sacha Codron). Codron had a wide emotional range throughout the show, highlighting his fatherly connections with his daughters, specifically in Act 2. His accent stood out, sounding realistic and accurate throughout the entirety of the show. Both he and Zoe Avinir, playing his wife Golde, played the older roles of parents admirably, portraying their age in their mannerisms, vocals, and interactions with their children.
Each of the family’s daughters had their own praiseworthy moments, as well. Jordyn Jacobs, playing Hodel, had astounding vocals in her solo “Far From the Home I Love.” Shaylah Benaim poured her emotions into her character, Chava, after her father Tevye didn’t accept her loving someone outside of their religion. Collectively, the family played their respective parts beautifully and should be proud.
But, what would this show be without the rest of the people of Anatevka? The ensemble completed the show with impressive dances and high energy in songs like “Tradition” and “To Life.” The harmonies in “Tradition” blended together nicely and the choreography was culturally accurate. A specific ensemble member that stood out was dancer Katelyn Lips playing three characters: Ivan, Herschel, and Fredel.
One of the most impressive aspects of the show was the technical aspect. The makeup crew, led by Sasha Shor, succeeded as their age makeup and faux facial hair really brought all of the characters to life, adding depth to the production, and making it all the more enjoyable. Costume crew, led by Cami Rotter, conveyed the village people’s connection to their culture and status by the garments they chose for the actors and the purposeful use of muted earthy tones. The “OYchestra” did a fabulous job underscoring the musical; the musicians sounded beautiful and nailed the difficult task of keeping up with the actors.
David Posnack Jewish Day school’s production of “Fiddler on the Roof” tells a harrowing story that is more relevant today than ever. It’ll leave you wanting to see and experience more of this deeply meaningful tale.
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By Angie Uzdavines of Calvary Christian Academy
Pull your wagon down to the endearing village of Anatevka to learn heartwarming traditions and Jewish culture through David Posnack Jewish Day School’s production of Fiddler on the Roof!
“Fiddler on the Roof” was first a collection of Yiddish stories about Jewish culture in early 1900s Russia, revolving around the life of the author Sholem Aleichem. After being adapted into both a movie and an off-Broadway musical, the show made its debut on Broadway in 1964. This timeless tale has seen several revivals, winning a total of 9 Tony awards throughout its run. In this lively show, The Fiddler plays the tune of overworked father Teyve and his daughters who wish to marry for love, going against their long-standing religious traditions.
Breaking onto the stage with authenticity and humor was the humble father, Teyve (Sacha Codron). His outstanding performance was backed by rich vocals as he instilled his core values of tradition and family into his daughters. From the bartender to his stern wife, Codron had great chemistry with everyone on stage while also showcasing his hilarious physicality. There was a clear dedication to his character, especially in the humorous solo “If I Were a Rich Man.” Codron had an immense emotional understanding and depth to his character that was clear in “freeze frame” moments where he wrestled with his fears and doubts with God. Codron’s portrayal of Tevye challenged the typical work-a-day stereotype of a Jewish father and brought in real love for his culture, religion, and family.
The beautiful daughters of the family brought happiness and life to the village, while also testing their religious traditions. Teyve’s middle daughters Chava (Shaylah Benaim) and Hodel (Jordyn Jacobs) rebel and marry outside of the matchmaker’s plans, with both actresses beautifully balancing their faith against their self-willed nature. Benaim’s outstanding portrayal of the strong-willed and graceful Chava moved the audience to tears with her passionate dancing in the song “Chavaleh.” Acting alongside her sister, Jacobs’s performance as Hodel also resonated with the audience emotionally with her strong facial expressions and refined vocals when she found secret love with her tutor Perchik (Shaia Lipnik). Hodel’s chemistry with her father was heartwarming and allowed both actors to open up on deeper emotional levels.
The ensemble brought culture and life to the show through synchronized traditional Jewish dancing, celebrating, and enjoying life together in Anatevka! Their infectious energy and harmonized vocals were most notably present in the opening number “Tradition.” Overall the entire cast and crew of this show honored their culture and heritage by celebrating this historical tale and preserving the beautiful religious foundation for their show.
From the moment the cast stepped onstage, their impressively detailed and time-period-appropriate costumes put the audience right into the village of Anatevka. The costume crew (Cami Rotter and co.) took on the especially commendable task of designing each costume to be culturally and religiously appropriate down to the smallest detail, even ensuring the daughters wore traditional sheitels once they were married. Additionally, the stage management of this show was effective and the scenes were well organized.
“As the good book says” make sure you don’t miss Fiddler on the Roof at David Posnack Jewish Day School!
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By Hayley Schachter of American Heritage Broward
As the sunset nears and theater lights dim, the audience takes their seats for David Posnack Jewish Day School’s production of “Fiddler on the Roof”, where the cast and crew were a perfect match, successfully delivering a performance full of charm and transformation.
Making its debut on the Great White Way in 1964, “Fiddler on the Roof” ran for over an outstanding 3,000 performances. The show, based on short stories by Yiddish author Sholem Aleichem, focuses on the life of Tevye, a poor Jewish milkman living in the fictional village of Anatevka. Its exploration of tradition, family, and love, set against the backdrop of a changing world, has made the show a timeless classic, resonating with audiences of all generations.
Playing “The papa, the papa!” – the overworked and underpaid patriarch – Sacha Codron (Tevye) embodied all the traditional fatherly characteristics. Codron’s wide range of emotions is astounding, mastering both comedic and dramatic moments without missing a beat. Through all of his relationships with his wife, his children, or the other folks in Codron cultivates beautiful connections. Most notably, the chemistry between Codron and his stage wife, Zoe Avinir (Golde), has the audience fully invested in their family’s story. Avinir wowed the audience with her clear vocals. Her motherly prowess and protective instincts elevate her performance as the matriarch of this tradition-defying family.
As the rebellious, romantic, second-eldest daughter of Tevye, Jordyn Jacobs (Hodel) graces the stage with nuanced, dynamic energy. Her angelic vocals in “Far from the Home I Love” brought an authentically emotional performance; with each note, Jacobs captures the strength and vulnerability of her character. “I Just Heard” that Brooke Koch (Yente), the meddling matchmaker, brings charm and charisma to the stage that is unmatched! Through unique vocal inflections, expressive physicality, and incomparable comedic timing, Koch brings every scene she’s in to life. Despite some diction and enunciation issues, the cast is attentive and mindful of making every scene easily understood.
“Matchmaker, matchmaker…”, find me a crew! Josie Grimmett and Isaac Wise’s hand painted shingles added a beautiful, textured frame to the proscenium of the stage, creating an immersive experience for audience members. The use of a stair unit to seat the Fiddler added an ingenious layer to the visual elements of the show. Connecting to the religious underscores of the production, the costume crew, Cami Rotter, Hanna Maia Kattan, and Shirel Flicki, clearly dedicated numerous hours to perfecting the gorgeous tichels (headcovers) carefully created for each character. Though the design concept aimed to use more muted tones, the costumes did include some vibrant accents that added to the aesthetic of the show. Between sublime sets and carefully curated costumes, this crew is a perfect match for the technical demands of the show.
The house lights flicker on, and by sunrise, everyone’s buzzing about Posnack School’s production of “Fiddler on the Roof”. Whether through unforgettable sisterly bonds, the town gossip, or Tevye’s heartfelt moments with God, the cast’s vibrant energy and heartfelt storytelling had the audience talking long after the curtain fell, celebrating a performance that brought the heart of Anatevka “To Life”!
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By Jack Steinman of NSU University School
Raise a glass and cheer “L’chaim!” to David Posnack Jewish Day School’s production of “Fiddler on the Roof!”
Based on short stories by Sholem Aleichem, “Fiddler on the Roof” premiered on Broadway in 1964, featuring a score by Jerry Bock and Sheldon Harnick and a book by Joseph Stein. Facing a battle between tradition and the changing world, the story follows Tevye, a poor milkman, and his five daughters as they find love and learn what’s important in life in their small village of Anatevka.
Leading the production, Sacha Codron (Tevye) played a genuine and loving father. With dynamic chemistry opposite both his daughters and his wife, Codron’s actions were clear and decisive. As such, he employed a consistent accent throughout the production, highlighted during his inner monologues with the audience. Opposite Codron, Zoe Avinir (Golde) used maternal candor to gracefully guide her performance. Avinir’s connection with the character was evident, especially in her act two duet, “Do You Love Me?”
Tevye’s daughters, Emmanuelle Grunbaum (Tzietel), Shaylah Benaim (Chava), and Jordyn Jacobs (Hodel) shined together and individually. As the show progressed, their portrayals flourished, notably from skilled dancing in “Matchmaker, Matchmaker” to the somber finale “Anatevka”. A stand-out from the trio was Jordyn Jacobs, whose vocals soared in “Far From The Home I Love.” Moreover, Adiel Zinn (Motel) and Shaia Lipnik (Perchik) were charming love-catalysts to the family, with great timing and honesty.
Bringing the streets of Anatevka “To Life,” the ensemble had compelling energy throughout most of the show, and through interesting tableaus and great use of the set, all actions were culturally accurate. The cast shined in group numbers like “Tradition” and “Sabbath Prayer”. Furthermore, Brooke Koch (Yente) gave a notable and hilarious performance. Through remarkable physicality and consistent interactions with others, Koch’s comedy was always well-timed.
An integral part of the pit and the cast, Yuval Osterweil remained onstage for the entire show, playing the fiddle with great skill and rich quality! Accompanied by the rest of the “OYchestra,” the music seamlessly blended with the voices of the company.
The costume team (Cami Rotter, Hanna Maia Kattan, and Shirel Flicki) worked well to craft period-accurate clothes and adornments. Additionally, each costume piece was aesthetic and authentic, from head coverings to prayer shawls. Hair and make-up utilized old-age makeup and facial hair, which worked perfectly, making the actor’s faces vivid and unique. Although at times long, scene changes were effective at transforming the stage into a Jewish shtetl.
Weaving classic musical theatre, cultural significance, and a talented cast and crew, “Fiddler on the Roof” has found a match at David Posnack Jewish Day School!
By Niasia Massey of Archbishop McCarthy High School
You truly can’t go wrong with a classic. J.P Taravella High School’s production of Wizard of Oz took the audience through this fairy tale with such ease and delight.
Wizard of Oz was first a children’s book published by L. Frank Baum. This story is about a girl named Dorothy Gale who ends up in the magical land of Oz after she and her pet dog Toto are swept away by a Tornado. This book later was changed into a musical with the writers Harold Arlen and E.Y. Harburg. Opening up the show, we are greeted by the one and only, Dorothy Gale played by Brianna De Los Santos. Her consistent use of a convincing accent throughout the entire production was a nice touch that added authenticity to her portrayal. Vocally, she was outstanding, particularly in the iconic “Over the Rainbow,” where she captivated the audience with her powerful and emotional performance.
The transition from Kansas to Munchkinland was a thrilling moment. The actors portraying the Tornado did an excellent job at ensuring the set pieces moved smoothly while still doing all the given choreography. Once Dorothy starts following the yellow brick road, we are introduced to Marco Medina as the Scarecrow, Benjamin Arteaga as the Tinman, and Austin Blakely as the Cowardly Lion. Their characterizations were spot on, bringing each character to life. Even when they were playing their “human” counterparts in Kansas, the audience could recognize who was who. The chemistry between De Le Santos, Medina, Arteaga, and Blakely was strong, making their bond as a group feel genuine.
In Act 2, the audience was taken away by Austin Blakely’s (Cowardly Lion) performance of ” If I Were King of Forest”. His vocals were incredible, but it was his comedic timing and consistent energy that truly made the character of the Cowardly Lion shine. We can’t forget the rivalry between the two witches. Glinda played by Alyvia Rigg and The Wicked Witch of the West played by Aasiya Vann both did a great job with their characters. Their physicality, voice inflections, and dynamic interactions added depth to the characters and kept the audience engaged throughout the show.
Moving on to what really put the show together — costumes, make-up and hair and lighting. Costumes made by Jenniefer Fier and crew were vibrant and truly brought the fairytale to life, especially the colorful outfits of the Citizens of Munchkinland.The makeup and hair team, including Abigayle Hurst, Semya Ketant, Sophia Greene, and Samuel Caycedo, executed their designs beautifully, especially considering the quick costume changes required for the Tinman, Scarecrow, and Cowardly Lion. Finally, the lighting team Julisa Landin, Shayna Silverstein, and Emma Khodadadi created perfect picture moments with smooth transitions, especially during the tornado scenes, adding to the show’s magical atmosphere.
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By Daniella Abadir of Monarch High School
If following the Yellow Brick Road led you to J.P. Taravella High School’s production of The Wizard of Oz, then you must have wished upon a star, because “because, because, because, because becaaaauuuussseee…” of the wonderful things we saw!
Written by L. Frank Baum, with music by Harold Arlen and lyrics by E.Y. Harburg, the Broadway revival of this beloved fairy tale debuted in 1902. Originally starring Judy Garland, the Wizard of Oz film adaptation captured the hearts of audiences worldwide and continues to enchant in the theatrical realm. This nostalgic story follows Dorothy Gale, a young girl from Kansas, and her dog Toto, who are swept away by a twister to the magical land of Oz. Dorothy embarks on a quest to return home to her family.
The role of Dorothy Gale was brought to life by Brianna De Los Santos. Particularly in the iconic song “Over the Rainbow,” Brianna’s portrayal was exceptional, showcasing stunning vocals and a commanding stage presence. Her graceful movements and effervescent persona mirrored Judy Garland’s performance in the original film, delivering a familiar yet fresh take on the classic character. Of course, no rendition of The Wizard of Oz would be complete without the companions Dorothy meets along the way.
No one can traverse the yellow brick road alone, and the adventure would not have been the same without Scarecrow, Tinman, and the Cowardly Lion. Though lacking a brain, Scarecrow was filled with charm and determination, skillfully portrayed by Marco Medina. His use of the stage during “I Only Had a Brain” was engaging, and his meticulous blocking emphasized Scarecrow’s clumsiness. Benjamin Vela, as the Tinman, may have been heartless, but his performance was anything but. In his rendition of “If I Only Had a Heart,” Benjamin delivered a heartfelt portrayal brimming with emotion. The Cowardly Lion, played by Austin Blakely, might have roared with fear, but his comedic timing was fearless, making his stage debut truly unforgettable. His performance had the audience laughing so loud, it could be heard all the way back in Kansas.
Every story of good must have a touch of bad. Oz is no exception. Alyvia Rigg admirably balanced the dual roles of Aunt Em and Glinda, while Aasiya Vann seamlessly transitioned between Almira Gulch and the Wicked Witch of the West, demonstrating impressive versatility. Mark Davis, as the Wizard, delivered an unexpected and engaging portrayal that defied expectations.
The ensemble played an essential role in supporting the leads without overshadowing their moments. A particularly striking sequence was the tornado scene, where the cast and crew worked in unison to create an immersive, dynamic effect. In the Ozian ensemble, Sophia Greene stood out for her captivating expressions and sharp, precise movements, adding brightness to the vibrant world of Oz.
The technical aspects of the show were equally impressive. Hair and makeup were expertly tailored to each character, and quick costume changes were executed seamlessly. The lighting team did an exceptional job, using colors and effects to reflect the shifting moods throughout the performance. The stage crew and managers were efficient and effective, ensuring smooth and rapid set changes.
In conclusion, the cast and crew of J.P. Taravella High School came together in perfect harmony to deliver an unforgettable performance. With each scene, they clicked their heels and transported the audience on a magical journey from Kansas to Oz, leaving all who witnessed it truly wonderstruck.
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By Ivy Levine of Coral Glades High School
Todo! Todo? Where are you?! At the J.P. Taravella production of The Wizard of Oz!? Well why didn’t you say so! I’ll be there in a jiffy!
The Wizard of Oz, famously known throughout the world originated as a book in 1900. The movie, which came out in 1939 is a love story for technicolor especially over the rainbow in the land of Oz. Music and Lyrics of the songs were created by Harold Arlen and E.Y. Harburg. The wondrous story was adapted to the stage at the Royal Shakespeare Company by John Kane. The story revolves around Dorothy Gale in Kansas running away from home after her dog gets taken away from her but shortly after escapes. After a powerful tornado hits the small house, Dorothy is transported to the colorful land of Oz where she gets given a pair of ruby slippers and travels down the yellow brick road to meet the Wizard and find her way home. Along the way Dorothy meets some new unlikely companions and faces off against the Wicked Witch trying to get her slippers.
Playing the role of Dorothy Gale is Brianna De Los Santos. Throughout the show, Santos is shown to have the character of Dorothy down pact. Whether it be from keeping the character’s accent, especially when singing or doing choreography in those ruby heels, overall Santos does a magnificent job.
Going down the yellow brick road we meet some unlikely friends. The scarecrow played by Marco Medina, the Tinman played by Benjamin Arteaga, and the Cowardly Lion played by Austin Blakey. Every single one of the actors while on stage give a masterclass of physicality and comedic timing. Each one of them is perfectly in tune with their characters and with each other while on stage. And when paired with Santos you can expect to continue your journey down the yellow brick road knowing it will be a fun trip with each character.
Whether traveling by broom or bubble, Aasiya Vann and Alyvia Rigg do a spectacular job bewitching the audience while playing the Wicked Witch of the West and Glinda respectively. The two embrace their characters and the audience can just tell how much fun the pair must be having on that stage during their scenes.
The tech aspect of the show was done phenomenally. The minimal sets created by Julisa Landin and Krissy Orellana, worked very well and let the actors embrace the stage that they were on. Costuming for the show is superb, created by Jennifer Fier, with quick changes done on stage in Oz and even more quick changes done when actors needed to switch between characters! Hair and Makeup, done by Abbie Hurst, works beautifully especially when removing the Tinman’s makeup before Dorothy is transported back to Kansas which is in a decently short period of time. Overall every tech aspect of the show was done marvelously.
So follow the yellow brick road to J.P. Taravella and their production of The Wizard of Oz. You’ll be sure to get your wish of a spectacular show!
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By Olivia Thompson of American Heritage Palm Beach
“Toto, I’ve a feeling we aren’t in Kansas anymore.” Dorothy, The Wizard of Oz (1939). In a visually stunning and storybook-like portrayal, J.P. Taravella’s production of The Wizard of Oz encapsulated the childlike wonder of magic, hope, and found family.
Originally written by L. Frank Baum in 1900, The Wonderful Wizard of Oz inspired the 1902 Broadway musical with music by Paul Tietjens and A. Baldwin Sloan. It was later adapted into the 1939 film directed by Victor Fleming and John Kane’s 1987 adaptation for the Royal Shakespeare Company. Dorothy, a Kansas farm girl, is swept into a magical realm where she joins the Scarecrow, Tin Man, and Cowardly Lion to meet the Wizard. Facing the Wicked Witch’s threats, they discover courage, heart, and wisdom were within them all along in this timeless tale of adventure and self-discovery.
Brianna De Los Santos as Dorothy gave this role her all; every note was on point. Every word was enunciated with an unwavering transatlantic accent, and she brought the perfect amount of energy and emotion to every scene she was in. One especially commendable performance was that of Austin Blakely as the Cowardly Lion. Blakely was born for the stage. Every physicality and vocal variation naturally captured the audience’s attention with charm and comedic timing. Additionally, Benjamin Arteaga and Marco Medina deserve praise for their never wavering physicality in complicated dance scenes and emotional portrayal. Aasiya Vann as the Wicked Witch of the West embodied the role; her accent was unwaveringly fitting and her portrayal of the unlikeable nature of the character in a joyful way to watch is simple talent. And of course, the Wonderful Wizard of Oz himself, Mark Davis. Davis was notably comfortable on stage, and every little movement was intentionally fitting for his suave,
deceptive character.
The ensembles in this show were an exciting and unexpected take. Particularly that of the Tornado, which was a unique “twist” on this part of the show, was an intense combination of the dance, props, and strobe lighting making it impossible to tear your eyes away. The Jitterbugs went through an impressive and difficult dance scene, keeping high energy and precision to the role. While there were minor microphone issues, overall everyone was well heard and articulated, and the actors should be commended for not breaking through any of the few mishaps on stage.
Lighting was well utilized to set the scene, whether the bright lights of Munchkinland, the strobe lights of the tornado, or the dreadful lights of the forest. The on stage effects and props were incredibly impressive, particularly the quick change of Dorothy’s dress in The Merry Old Land of Oz and the humorous aspect of a remote controlled Toto.
A timeless classic, The Wizard of Oz continues to captivate with its heartfelt story, unforgettable characters, and enchanting music. Its message of self-discovery and the power of home remains as impactful today as ever. Whether on stage or screen, this beloved tale proves there’s truly no place like home.
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By Melanie Catto of West Boca Raton Community High
Prepare to be enchanted by a production that is as dazzling as the Emerald City. J.P. Taravella’s performance of “The Wizard of Oz,” makes you feel magical, without a pair of ruby slippers! The timeless tale brought to life will leave you bewitched and wanting more!
“The Wizard of Oz” was first based on a film and novel, and later turned into a musical. Harold Arlen and E.Y. Harburg composed the music and lyrics for “The Wizard of Oz,” and Herbert Stohart provided the background music. The musical follows Dorothy Gale who gets swept away by a tornado from her homeland in Kansas, to the charming land of Oz. On her way to encounter the wizard, she meets the fan-favorite characters: the scarecrow, the lion, and the Tin Man. Classic melodies such as “Over the Rainbow” and “We’re Off to See the Wizard,” fill the audience with feelings of nostalgia, laughter, and friendship.
Anchoring the performance, the core four, did a fantastic job of bringing the show to life. Dorothy Gale played by Brianna De Los Santos had the difficult task of playing a well-known, old-timey, character. She knocked it out of the park and made Dorothy unique while also holding onto those traditional vibes. Her rendition of “Over the Rainbow”, was out of this world, and her vocals were impressive and controlled. Next, the Scarecrow played by Marco Medina excelled at his chemistry with the others on stage and continually made bold and distinct character choices. All of his moves and physicality had clear intentions. The Tinman played by Benjamin Arteaga was amusing to watch. His physicality and stiff movements were on point! Last but not least, the Cowardly Lion played by Austin Blakely, was mesmerizing to watch. His vocals were outstanding, and his comedic timing was spot on! The dynamic between these characters were portrayed perfectly and made for such a fun and entertaining show.
On the other hand, the tech side of the show was incredible. The performance had many hidden gems that were terrifically executed. The hair and makeup of all the cast, specifically the Tinman and The Wicked Witch of the West, were incredible. The hair and makeup designer Abbie Hurst along with Semta Ketant, and Sophia Greene, excelled at painting an accurate picture that does the characters justice. The lighting, designed by Julisa Landed and Shayna Silverstein, gave the show a captivating ambiance. The strobe light, rainbow lighting, and neutral lighting in the beginning of the show all contributed to the performance.
Overall, J.P. Taravella High School’s performance of “The Wizard of Oz,” is magical. The production will have you wishing for more!
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