Publishing student reviews of high school theater is the cornerstone of a new service from Florida Theater On Stage and the South Florida Critics and Awards Program, better known as The Cappies.
Now in its 19th year, the Cappies enrolls theatre and journalism students, trains the m as critics and assigns them to attend shows at 25 schools in Broward and Palm Beach counties. The student write reviews under the mentorship of teachers and volunteers.
For more information about the Cappies, visit www.cappies.com/sfc/Home.aspx
The most recent reviews will be at the top of the page, but all of them from this fall-spring season will appear here all year, plus a few from the season before. If you have questions of this site, email muckrayk@aol,com.
By Jack Steinman of NSU University School
When the pixie dust fades away and the truths become harder to swallow, what is left of the girls who once blew kisses and knew how to fly? Monarch High School’s searing production of Lost Girl was an immersive exploration of the repercussions of being forgotten.
Winner of the 2018 Kennedy Center Playwrighting Award, Kimberly Belflower’s Lost Girl is a continuation of J.M. Barrie’s Peter Pan, recalling Wendy Darling’s trauma and the effects of her time in Neverland. As time goes on, she stays in her second-floor nursery, gazing at the second star from the right, while her mother grapples with her daughter’s distress and friends around her grow up. Told in an incredibly intimate setting, the story’s resonance and underlying message becomes even more stark when watching 5 feet away from the actors.
Bringing the titular lost girl to life, Isabella Le Sante (Wendy Darling) embodied her role beautifully. LeSante, who never left the stage, stayed emotive and consistent. Her chemistry with the audience was palpable, conveying a genuine and dark story with grace.
Opening the story with chilling dialogue, Kiana Linares (A), Catherine Hoskins (B), Gabriella Galeno (C) played narrating dolls throughout the show. Voicing the lost girl’s inner thoughts, The ABC Girls created an interesting dynamic, shifting from onlookers to Wendy’s story, to empathizing victims. The trio’s popcorn style of line delivery was well executed, as well as their impressive physicality and stylistic movement.
Hailing from Neverland, the Lost Boys served as Wendy’s reminder of what she had lost. The lost boy ensemble played off one another well, notably in scenes with Wendy. Through her comedic timing, Morgan Rens (Toodles) brought levity to tense moments in the show. Phoenix Orival (Slightly) was a standout from the Lost Boys, giving a truthful performance as he attempted to connect with Wendy. Showcasing how time heals, the company brought an important story to life, telling the untold stories of adolescence and abuse. From the shadows of a dark tale, Sofia Nayar (Callie) displayed an in-depth performance of a survivor’s tale, with decisive delivery and acting choices.
Technically, Lost Girl embraced student driven work. The stage management team called cues promptly and ran a smooth show overall. Lighting, by Samantha Johns and Val Feria, created a star-twinkling atmosphere that when shifted, conveyed a change in energy throughout the theater. The hair and makeup team, led by Gabriella Galeno, created designs that represented the themes of the show and read well onstage. Additionally, the set was well used and helped bring the audience in to highlight the importance of the story.
Although sparkles may have dimmed, Monarch High School’s production of Lost Girl brings untold stories out of the shadows, allowing audience members to think about their show for more than 8 minutes a day.”
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By Sam Dyer of NSU University School
Love can feel like flying, but what happens when you never land? Balancing childlike wonder with the complexity of romantic trauma, Monarch High School’s production of Lost Girl truly set the bar sky high!
A fairytale focused on faulty imagination, Lost Girl was crafted by Kimberly Belflower. The story was based upon the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Up and its subsequent 1911 novel reworking Peter and Wendy, both penned by playwright J.M. Barrie. Unlike other retellings of Barrie’s work, Belflower chose to focus this adaptation on Wendy Darling, the girl who flies off with Peter Pan, and her quest to retrieve the kiss she gave him in Neverland. Lost Girl was acclaimed by critics upon release and was awarded The Kennedy Center’s Darrell Ayers National Playwriting Award in 2018.
Dearest and distraught, the darling Wendy was brought to life by Isabella Le Sante. Her expert delivery across Wendy’s emotional adventure carried an urgent potency, making every word feel like a desperate wish upon a star. Even more impressive were the small choices Le Sante made to amplify her expressions, from anxiously shaking her shoulders to vitriolically scrunching up her nose. Le Sante displayed such profundity that it’s certain audiences will think about her performance for at least eight minutes a day from now on!
Augmenting this woman waiting to be found, other cast members also hooked the audience with their artistry. Such charm could be found in A, B, and C, the storytelling personifications of Wendy’s childhood portrayed by Kiana Linares, Catherine Hoskins, and Gabriella Galeno respectively. With doll-like physicality that opened windows into Wendy’s psyche, all three of these lettered lulus demonstrated mesmerizing synchronization and dedication to their childish characters.
Another noteworthy portrayal was found in Slightly, the lovestruck Lost Boy played by Phoenix Orival. Promising to support Wendy for the rest of time, Orival packaged both light-hearted warmth and emotional intensity into one stellar performance.
Along with the captivating cast, there was also true magic to be found in the technical achievement of this production. To foster an immersive intimacy and heighten Bellflower’s text, this production of Lost Girl was staged in the round with actors in proximity of the audience as if they too were watching Wendy’s journey unfold.
While this approach provided a unique challenge, the Stage Management team (Laylah Francois and Morgan Swanson) was up to the task! With over a hundred different cues to call, each one was handled with professional precision that never overshadowed the powerful narrative.
Equally enchanting, the perceptive Props team (Val Feria & Crew) soared above the stars! From a bottle of flickering fireflies to a clever inclusion of Peter Pan’s red feather in a book and quill, their work shimmered in the blue like pure pixie dust.
Following the second star to the right straight on ‘til morning, the cast and crew of Monarch High School’s production of Lost Girl charted a course destined to reach the hearts of any audience!
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By Sydney Lotz of Marjory Stoneman Douglas HS
In the wake of a moonlit adventure from Neverland, Wendy Darling steps back into the ticking rhythm of the real world and starts to grow up. Join us, for just 8 minutes, to see just how Monarch High School uses a little faith, trust, and pixie dust into their mesmerizing rendition of Lost Girl.
Crafted by Kimberly Belflower, “Lost Girl” intricately weaves threads of J.M. Barrie’s cherished character, Wendy Darling. Amidst the countless cinematic adaptations that have explored Peter Pan’s tale from various angles, this rendition casts a spotlight on Wendy’s perspective. Long after the memory of Peter’s ethereal departure from her bedroom window fades, Wendy resolves to embark on a journey to reunite with him, seeking to reclaim her stolen kiss and, in doing so, rediscover the path to her own onward journey in life.
Isabella Le Sante embodied the role of Wendy with remarkable ease, skillfully employing a range of expressive emotions, nuanced vocal inflections, and adept physicality. Le Sante seamlessly executed outstanding characterization, marked by a convincing sense of naivety throughout the entirety of the production, in which her presence never left. The chemistry between Le Sante and Phoenix Orival, personifying Slightly, was nothing short of exemplary. Together, they artfully navigated the spectrum of their relationship, effortlessly transitioning between moments of humor and profundity with a captivating finesse.
Kiana Maria Linares, Catherine Hoskins, and Gabriella Galeno skillfully embodied the doll-like essence of A, B, and C, consistently presenting expressive facials, characterized vocal tones, and captivating narration throughout their entire performance. Collectively, the ensemble of this production adeptly maneuvered through the somber shades of trauma and heartbreak, employing expressive physicality and immersive storytelling. Despite sporadic lapses in character consistency, the overall dedication to delivering a commendable performance in such an intimate setting stands out. The set crew, in particular, crafted and built an immersive audience seating arrangement on the stage, enhancing the interaction and connection between characters and viewers to a profound level.
With an impressive number of sound and lighting cues, stage managers Laylah Francois and Morgan Swanson flawlessly executed the arduous task of orchestrating synchronized cues, seamlessly transitioning the settings and emotional landscapes of Wendy’s psyche. The lighting team carefully selected a blue color palette, intertwined with spotlights, artfully illuminating Wendy’s inner struggles and revelations. This captivating aesthetic extended beyond the stage, playing a pivotal role in the publicity team’s efforts to engage their community. From hosting lunchtime Kahoots to strategically placing photo ops around the school and creating entertaining social media content, the team successfully fostered community involvement, ultimately achieving the remarkable feat of selling out three shows.
Curious about Wendy’s fate? Monarch High School has the answers to all your burning questions, demonstrating that magic, just like Peter’s enduring shadow, lingers well beyond the final curtain in their production of “Lost Girl.”
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By Charlotte Canter of North Broward Preparatory School.
A tinge of magic, the chill of an open window, and the age where everything changes — everything matters. Become immersed in Monarch High School’s enchanting production of Lost Girl as Wendy Darling steps out of the shadows of her nursery to reclaim her kiss — and grows up in the process.
Years following Wendy’s return from Neverland, Lost Girl explores her life after Peter failed to reappear on her windowsill. Written by Kimberly Belflower, the dramatic coming-of-age play was awarded the 2018 Kennedy Center Darrell Ayers National Playwriting Award. Haunted by her memories of Peter Pan, Wendy navigates an adventure of self-discovery, meeting others who were taken to Neverland and struggling to reconcile the magical world she once knew with the realities of adulthood. In Lost Girl, J.M. Barrie’s renowned story continues, yet this time, no pixie dust can conceal the hardships of hurting and healing.
A girl stuck in the past , Isabella Le Sante expertly portrayed the iconic, imaginative Wendy. Le Sante brought extensive depth to the role, with physical choices contributing to the character arc exhibited. The intentionality of her movements was particularly impressive when her back was facing the audience — due to the show being performed in the round — as her emotional intent remained distinct. Le Sante’s facial expressions and vocal inflection synergized to craft a constant vulnerability in her performance, a noteworthy achievement given the extensive time spent on stage. Audiences will need far more than eight minutes to praise Isabella Le Sante’s passionate performance.
As the loyal, lovesick Slightly, Phoenix Orival excelled. He adeptly showed an expansive range of emotions, bringing laughter with each quippy remark while maintaining the serious tone of the story. Orival’s dynamic with the Lost Boys (Morgan Rens, Emma Alpern, Travis Cousino) was commendable.
The Lost Girl cast demonstrated distinct individuality while fostering a dark ambiance. As A, B, and C, Kiana Linares, Catherine Hoskins, and Gabriella Galeno should be praised; they maintained consistent characterization, and their chemistry as an ensemble was notable. Although the lack of projection in certain moments made it difficult to hear dialogue, the outstanding storytelling in the immersive yet unconventional space compensated for any discrepancies.
From a technical standpoint, the skill exhibited by the crew of Lost Girl was immense. The props were highly detailed, referencing previous variants of Peter Pan and Wendy’s story. The cues were perfectly timed, and the lighting aided the plot — the execution of Peter’s shadow was especially striking. The makeup team did a fantastic job: the silver highlighter, representing pixie dust, ensured the audience always knew who had journeyed to the second star to the right and straight on ‘til morning.
Monarch High School’s production of Lost Girl leaves all longing for the magic of Foreverland. As Wendy closes the nursery window curtains, bidding Neverland goodbye once and for all, audiences are reminded that to fly, you must first fall.
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By Abby Goldberg of Cooper City High School.
One kiss, one adventure, one boy, all only to be thought about in the fleeting span of eight minutes. Monarch High School’s riveting production of Lost Girl, beautifully encapsulates the magic and heartache of a tragic first love.
Written by Kimberly Belflower, Lost Girl follows characters from the timeless 1900’s tale of Peter Pan. As Wendy Darling struggles to heal from the insurmountable pain of her first love, the world around her appears to effortlessly move on. On a mission to find Peter and reclaim her kiss, Wendy discovers the truths behind embracing change and growing up. Eventually, she learns the power in shutting her window, keeping both feet on the ground, and letting go.
Leading the show with talent and grace was Isabella Le Sante as Wendy. With each nuanced gesture and expression, she masterfully conveyed a powerful range of emotions throughout the production. Le Sante impressively remained on stage throughout the entirety of the 90-minute production, without falter in her energy or emotion. Portraying Slightly, Phoenix Orival skillfully navigated a tapestry of feelings, serving as Wendy’s anchor in a sea of uncertainty.
Embodying A, B, and C, Kiana Linares, Catherine Hoskins, and Gabriella Galeno worked extremely well together. They each remained consistent, maintaining perfect synchronization throughout. All three actresses played off one another well and enhanced the overall cohesion of the performance. Travis Cousino was absolutely hilarious as Nibs. His comedic timing and humor brought much needed light amidst the moments of darkness.
The cast as a whole, must be commended for their truly phenomenal performance. Each actor crafted distinct and well-developed characters. The cast also remarkably conquered the difficult task of performing in the round with ease. They impressively remained immersed in each scene and maintained an incredible focus. Their overall portrayal of complex themes and heavy subject matter with vulnerability and grace helped to create an authentic and stellar performance.
The technical aspects of the show were fantastic. Since the audience was sat extremely close to actors, attention to detail was vital. The stage managers, Laylah Francois and Morgan Swanson, must be applauded, as their timely cues allowed audiences to be immersed into the world of the show. The hair and makeup team, led by Gabriella Galeno, must also be commended as their creative use of glittery makeup showed the lasting effect Neverland has on each person it touched.
There are two kinds of people in this world, those who shine and those who notice. The cast and crew of Monarch High School’s Lost Girl undeniably shine, captivating audiences who can’t help but notice.
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By Makayla Whelchel of North Broward Preparatory School
What if the thing that’s keeping us apart is actually the only thing holding us together? As wildly wonderful and darkly delicate as a puppet master’s strings, American Heritage Palm Beach asks this question and many more in their production of The Fantasticks.
Children. Lovers. Fantasticks. Geese. First written in 1960 by Harvey Schmidt and Tom Jones, The Fantasticks follows the story of Luisa and Matt, two lovers separated by an impenetrable wall, as they explore a world taut with the puppet strings of their parents and eventually tainted by the light of reality;s unexpectedly bright sun. The story of The Fantasticks weaves together a hopeful, humorous, and utterly honest tale about what it means to break down the dividing walls between us.
With a tip of his hat and a glint in his eye, Jack Pawlowski’s portrayal of El Gallo was as grand and glorious as the abduction his character so expertly orchestrates. Pawlowski lived in his character, bringing every second alive with deliberate physicality and phenomenal comedic timing that allowed the multifaceted depth of his character to shine through. Abigail Trachtenberg as Luisa likewise delivered a performance as perfectly “not normal” as her character hopes to be. Trachtenberg’s expansive vocal range and total commitment to her character was utterly captivating. Together with Jonathan Jacknow (Matt), the two created a delicate and believable dynamic that grew and changed over the course of the story, and which was furthered by the depth and subtlety of Trachtenber’s and Jacknow’s acting. The moment of reconciliation between the two after Matt returns home was a testament to the talent of these two actors.
From Hamlet to Romeo, King Lear to Caesar, there isn’t a role that Henry (Morgan Small) and Mort (Jamie Lauffer) can’t bring to life — or rather, death. From their consistent accents to their spot-on comedic timing, Small and Lauffer created a fantastically funny character dynamic that made the audience’s applause “accelerando con mucho pesto.” Kiara Charles (Bellany) and Evie Price’s (Hucklebee) chemistry was also commendable, as were their difficult harmonies.
As a whole, the ensemble of The Fantasticks was just as spectacular as the name of the show implies. Although some actors struggled with breath support, vocals as a whole were quite lovely, especially the multilayered harmonies present in more difficult musical numbers. Despite minor dips in energy, the cast completely committed to every onstage moment, including audience interaction led by El Gallo (Jack Pawlowski) and the Mutes (Nicole Miller, Domenick Swanson). Tech only enhanced this show-stopping production, Samuel Artel’s masterful accompaniment riddled with as many memorable moments as the show itself.
“The play is not ended, and the story is never done.” American Heritage Palm Beach’s production of the Fantasticks invoked new faith in the love that ties us together, showing us all that it is never too late to reach across the walls between us and find each other again. Because after all, it was never about the wall in the first place.
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By Jahanna Galloway of South Plantation High School
Romance? Authentic characters? Organic humor? And an interesting plot that ties it all together? What more could you want in a show! Calvary Christian Academy’s production of “Pygmalion” is a humorous-yet-layered love story that truly unfolds in five acts.
Taking inspiration from Greek mythology, Irish playwright George Bernard Shaw wrote “Pygmalion” in 1912 and transformed the tale of a man falling in love with his own creation. A year later, the first production of “Pygmalion” was performed in German at the Hofburg Theatre, and the English premiere took place the following year at His Majesty’s Theatre. The story follows Henry Higgins, a famous linguist obsessed with accents. Accompanied by Colonel Pickering, who is also known for his work in linguistics, these men take on the formidable task of passing off a young woman by the name of Eliza, who lives in poverty and has a Cockney accent, as a well-spoken duchess.
While suffering from some issues with diction, Calvary Christian’s adaptation of “Pygmalion” is charming, hilarious, and carried by its strong and interesting characters that never break or lose authenticity during the course of the play. Putting on an effortlessly clever and witty performance, Jesse Joel Oliva, playing Henry Higgins, captures the audience’s attention with his fast-paced dialogue and punctual humor. Elisabeth Chew, playing Eliza Doolittle, does an incredible amount of work maintaining such an authentic Cockney accent throughout the first two acts and then gracefully transitions into an elegant British accent after intermission.
Not to leave out any outstanding actors, Emma Bruce, who plays Henry Higgins’ mother (Mrs. Higgins), is able to be such a vocal and entertaining character while also being able to exhibit the restraint you would expect from an upper-class woman from the time period. Another hidden gem amongst the characters is Mrs. Pearce, played by Emma Glashower. While not being in the play nearly enough, Emma’s comedic timing as well as her ability to play off her fellow cast members is remarkable.
It is difficult to talk about the production without mentioning the meticulous attention to detail when it comes to the set. Everything from the luxurious-looking chairs to the smaller items, such as the phonograph, seem as though they came right out of the early-1900s. The costume designs are also very detailed and appropriate for the time. The costumes are also a well-thought out way to show the character changes that go on throughout the show. For instance, Eliza, in the beginning, dons more drab clothing as she lives in poverty, but towards the end, she wears refined and elegant dresses, signifying the character transformation that Eliza goes through.
In the end, Calvary Christian Academy has truly put on quite the production. From the first act, the audience is able to see every ounce of passion that went into the acting and the technical aspects. Now go see this bloody amazing show!
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By Olivia Allen of Coral Springs High School
Here’s to the ladies who lunch — and Boca Raton Community High School’s production of Company! If you want a fun filled show with laughs and maybe some tears, Have I got the (show) for you!
Based on a book of the same name by George Furth, Company was adapted for stage with music and lyrics by the renowned Stephen Sondheim. Its first production was in 1970 and it won six Tonys. The plot follows a non linear narrative and is strung together with the themes of marriage and love as the main character, Robert, takes a peek into the lives of his married friends.
In the role of Robert, Austin Tindell stood out with his lovable personality and charming demeanor. His vocals were strong and the chemistry he had with every character led the show to having an air of authenticity. Despite being the sole main lead in the show, Tindell had no problem commanding the stage and staying entertaining throughout.
Mia Salerno’s delivery of the frantic indecisive Amy was a joy to experience. Their use of body language and character choices set them apart. This is represented best in their performance of Getting Married Today, an insanely difficult song to pull off yet they did excellently! Harry, played by Antonio Saladino, was also a highlight of the show. His line delivery and acting was amusing and felt natural which paired well with his steady vocals.
The ensemble was just a joy to watch. Every time the characters were seen on stage together, it really brought the show to life. Some of the dancers left little to be desired, but it was made up for by continuously strong and powerful harmonies upheld by the entire cast. A noteworthy feat for a Sondheim production!
The show has a concept of organized chaos which the set encapsulates perfectly. The bar at the rear of the stage had a four-colored spread of diamonds, some with shadow some without, cleverly representing each of the couples and their struggles. The set also features separable moving chairs with the same four colors in more of a chaotic pattern. The color blocking reflects the time period and also serves as a way to fill more space on the stage, which is a feeling you want when the show revolves around the idea of Company.
Boca Raton Community High School’s production of Company is a joyous show that runs through the complex topics of love, marriage, divorce, and even just Being Alive!
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By Sofia Fernandez of Calvary Christian Academy
Stop over on your way home! Drop by anytime! We’ll be so glad to see you at Boca Raton Community High School’s production of Company!
Written by George Furth with music and lyrics by Stephen Sondheim, Company was an award-winning sensation that received six Tony awards. It premiered at the Shubert Theatre in Boston on March 24, 1970, and made its Broadway debut at the Alvin Theatre a month later. This concept musical is a composition of several vignettes that follows the love life (or lack thereof) of Robert as he navigates the struggles of singleness while surrounded by all of his married friends.
Who better to keep you company than Austin Tindell as Robert? His performance brought this charming and charismatic character to life. This role specifically highlighted his incredible vocal abilities where songs such as Marry Me a Little and Being Alive showcased his powerful belts and clean falsettos. Portraying some of “those good and crazy people” he calls his friends, Antonio Saladino (Harry) and Claudia Hammes (Sarah) had excellent chemistry and comedic timing together. Their coordinated karate sequence during The Little Things You Do Together specifically exemplified this couple’s playful dynamic.
Everybody rise for Nisa Guvenilir and her toast-worthy rendition of Joanna! Her mannerisms were elegant and sophisticated, portraying her character with confidence and poise. Vocally, her range was astounding, particularly in her song The Ladies Who Lunch. Jasmine Massari also had an exceptional vocal performance in the role of Jenny. Her airy and angelic voice shone in her solos in Getting Married Today and in the higher harmonies of group numbers.
As a cast, The Company distinctly developed each of their characters to create a unique yet cohesive ensemble. Each individual showed immense commitment to their roles with high energy levels throughout the entirety of the show. The expertise of their performance was best featured through their vocals where each harmony was crisp and blended beautifully. Although the pacing was occasionally slow, their dedication and consistent engagement allowed the audience to feel immersed in their performance.
“Phone rings, door chimes”, here comes stage manager Freddy Cycholl calling all the cues to perfection! The light cues specifically were thoughtfully designed to match the color scheme and mood of each scene. The same hues showcased in the lights were incorporated into the set design through wall decorations and furniture to create a more home-like environment. Finally, student choreographer Claudia Hammes impressively choreographed several dance sequences and showcased her advanced dancing techniques in the dance number Tick Tock. One could have no greater birthday wish than having such a fabulous crew!
So even when all the candles are blown out and the surprise parties come to an end, Boca Raton Community High School’s production of Company encourages their audience to cherish the company of the ones they love the most and celebrate everything that comes with “being alive.”
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By Anthony Costanzo of Dillard Center for the Arts
Strut into the alluring world of swinging jazz, electrifying dance, and violent crime with Chicago: Teen Edition.’ Prepare to be razzled, dazzled, and all that jazz as Cypress Bay High School takes to the stands.
Now for eyewitness testimonies with lyricist Fred Ebb, Composer John Kander, and legendary Director/Choreographer Bob Fosse. “Chicago takes a satirical look at justice and fame during prohibition era Chicago with a stylish vaudeville frame. The production opened on Broadway on June 3rd of 1975 at the 46th Street Theatre where it would remain till August 27th,1977. The show was revived in 1996 and is still the second longest-running show on Broadway with over 10,000 performances. In 2002, they made a picture out of the spectacle and it was a hit, winning 6 Academy Awards including best picture. With such a popular production, it wasn’t long till the Teen Edition arrived for high schools to put on a less scandalous adult story of scandals and adultery.
Onto a compelling deposition delivered by our dastardly diva Roxie Hart (Martina Rodriguez). Rodriguez delivers a phenomenal performance perfectly capturing the unhinged essence of Roxie with her physicality and emotion, all with a voice so fantastic it must be a crime. On the subject of criminally irresistible voices, representing the defense tonight is Billy Flynn (Miguel Cabrera). But he wasn’t just a good voice, Cabrera brought a certain charm and flair to this role that could win over any crowd. The pair absolutely excelled alongside the ensemble, which flawlessly executed every step choreographed by Cabrera and Gabbi Bongiovi in the number We Both Reached for the Gun. Calling a loveable dope to the stand, Amos Hart (Yoah Dahan) was hilarious. Dahan had wonderful expressions and body language. Dahan’s interactions with the rest of the cast were also a blast, clearly showing how well Dahan understood his character. The last witness takes the stand: the vaudevillianess h
erself Velma Kelly (Julia Poms). Poms‘s dancing was enchanting despite challenging choreography. Pom was performing beautifully while singing as well.
Now for a closing statement from the masterminds behind this whole operation. The stage manager Stefanny Hamburger ran a tight ship resolving any minor issues quickly and quietly. The prop team led by Victoria Shand and Joey Mejiah had wonderful and accurate props including one newspaper with Roxie’s picture in it. The sound had some issues picking up certain actors, but the show was mixed very well overall.
The jury’s made their decision and Chicago: Teen Edition.’ at Cypress Bay High School has been found … it appears they’ve left to chase the next story. Well, who needs them — overall the production was a spectacular one-of-a-kind experience, court is adjourned.
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By Kenny Gervais of Cooper City High School
Pop! Six! Squish! Uh-huh! Cicero! Lipschitz! Cypress Bay High School’s dazzling production of Chicago shares accounts of murder and lies while following themes of fame, manipulation, corruption and All That Jazz.
Set in the bustling city of Chicago in the 1920’s, this satirical musical futures music by John Kander, lyrics by Fred Ebb and book by Ebb and Bob Fosse. Based on real murders and trials, Chicago follows wannabe showgirl Roxie Hart after she murders her lover in cold blood. When she turns to her husband for cover and is betrayed, Roxie is thrown into the Cook County Jail, where fame buys you a quicker court date. Deception becomes a daily routine in a Cell Block Tango for media attention.
The name on everybody’s lips is gonna be Martina Rodriguez for her stellar performance as Roxie Hart. Rodriguez wonderfully executed Roxie’s iconic ditzy blonde personality while still maintaining the intensity of the show. Portraying the murderous starlet, Julia Poms gave a glamorous rendition of the narcissistic Velma Kelly. Poms’ impressive dancing ability shined onstage through her sharp movements and flexibility. Her expertise was evident through every tango and fosse. Together, Rodriguez and Poms’ chemistry splendidly built the rivalry between the two girls in their fight for the limelight.
Camera’s flash and reporters crowd at the sight of Miguel Cabrera in his performance as Chicago’s best criminal lawyer, Billy Flynn. Cabrera expertly implemented his triple threat abilities, especially through his audacious stage presence. Proving that When You’re Good to Mama any favor can come true, Julia Amigorena captivated audiences through her fantastic performance as the corrupt matron Mama Morton. Amigorena’s stellar vocals in her principal number made her a standout member of the production.
The ensemble is to be applauded for a killer performance! Although there were some issues with sound, the cast persevered and projected loudly to ensure they were heard by the audience. The Six Merry Murder Mistresses ensemble were cohesive and concise in their performance. Their breathtaking dancing and execution in Cell Block Tango established the relationships between the girls exquisitely. A notable performer was Neena Shaw as June. Shaw’s fluid dancing ability allowed her to dominate the stage with every hip, kick, and drop.
The technical aspects of this production gave it the old Razzle Dazzle. They showed extreme attention to detail and time period research was evident through specialized props (such as a newspaper with the cast member on it) and costumes such as Roxie’s court dress. Choreography expertly crafted by Miguel Cabrera and Gabbi Bongiovi grouped cast members together effectively in group numbers such as We Both Reached for the Gun and All That Jazz.
Cypress Bay High School pleads guilty to a breathtaking production of Chicago. Full of action, drama and comedy, it would simply be a crime to miss.
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By Sophie Simon of American Heritage Broward
Ladies and gentlemen of the jury. You’re about to read a review that tells of a musical full of murder, greed, corruption, violence, exploitation, and, last but certainly not least, talent! Cypress Bay High School’s production of Chicago: Teen Edition was so captivating, it’s almost criminal!
With music and lyrics by the dynamic, death-dealing duo, Kander and Ebb, Chicago has become a comfortable resident on the Great White Way, becoming the second longest-running show on Broadway in 2014. Showing teenagers that they too can Cell Block Tango, Concord Theatricals adapted the Tony-winning musical into Chicago: Teen Edition. As the curtain rises on a roaring twenties Chicago stage, the audience finds themselves locked up between Roxie Hart’s murder, her attempt to frame her husband, and her fight for freedom.
The name on everybody’s lips is gonna be Martina Rodriguez! Rodriguez’s portrayal of the not-so-righteous Roxie Hart was lethally illustrious. Equipped with delicate vocals and acting fit for the vaudeville age, Rodriguez had the audience falling at her silver shoes (with the rhinestone buckles, of course). In Roxie’s journey from innocence to infamy, she realizes that [She] Can’t Do It Alone. Enter Velma Kelly: fierce, fearless, and All That Jazz. Julia Poms’s take on Velma Kelly was striking, with clean Fosse jazz hands and astounding flexibility and vocal stamina as evidence.
No Merry Murderess would be complete without a lawyer pulling the strings. Miguel Cabrera as Billy Flynn was alluring and displayed a commanding stage presence! While he might not be Mr. Razzle Dazzle, Mr. Cellophane is sure to swell your hearts! Andy — I mean, Amos Hart, played by Yoav Dahan, was equally comedic and charming. Whether trapped behind the curtain or stuck with silence as exit music, Dahan’s performance was the furthest thing from see-through. Bailiff, bring in the defendants. These Cook County convicts, consisting of Gabbi Bongiovi, Mya Wolf, Neena Shaw, Isabel Rodarte, and Samantha Garcia, showed versatility in dance styles and portrayal of multiple characters. An uncommitted ensemble? Not guilty!
Unlike Billy Flynn, All I Care About is tech! Orchestrating this fatally flawless production, Stage Manager Stefani Hamburger Tellez called consistent cues and ensured that no cast or crew member was caught red-handed. Taking part as both the brains and ballerinas of this operation, Miguel Cabrera and Gabbi Bongiovi’s choreography was made for 42nd Street! Incorporating shoulders fit for Fosse, Cabrera, and Bongiovi’s skill can not be acquitted. The publicity team, run by Miguel Cabrera and Victoria Di Lauro, turned TikToks into ticket sales. From a black-and-white-themed Instagram to flash-mob performances on campus, this team let everyone know that it would be a crime to miss their show.
Now, jurors and jailbirds alike. You have heard evidence of a roaring audience and raving reviews following this production of Chicago: Teen Edition, and it is time to reach a verdict. It is clear that if polished performances are a crime, the cast and crew at Cypress Bay High School are found guilty! Case dismissed.
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By Mia Martinez of American Heritage Broward
Billy Flynn once said Give ’em a show that’s so splendiferous. Row after row will grow vociferous and that’s exactly what Cypress Bay High School delivered. Cypress Bay High School’s captivating production of Chicago: Teen Edition was full of mystery, shimmies and shakes, glamor, and All that Jazz!
The musical Chicago was created by Bob Fosse, Fred Ebb, and John Kander and was published in 1975. Ever since then the name on everybody’s lips [has been]Roxy with the musical winning both six Tony Awards and five Drama Desk Awards! The musical is set in the Roaring Twenties jazz era in Chicago and in this town murder’s a form of entertainment.
Cypress Bay High School did an incredible job giving us the old Razzle Dazzle performing the satirical story of Chicago’s story-hungry reporters and the corrupt system of celebrity criminals surrounding the main murderesses Velma Kelly and Roxie Hart. The main murderess with all the buzz was Velma Kelly until young, blonde, and beautiful Roxie Hart steals not only the spotlight but also the support of the infamous lawyer Billy Flynn and matron Mama Morton, leaving Miss Velma Kelly in an act of desperation.
Who says that murder’s not an art?. Definitely not Roxie Hart because Martina Rodriguez gave a masterful performance portraying the cunning and conceited vaudevillian wannabe Roxie Hart. The line “the audience loves me and I love them” became a reality for Rodriguez as she delivered consistently strong vocals, dancing, and committed comedic acting choices in numbers like We Both Reached for the Gun. However, she simply could not do it alone. This show-stopping number could not be done without the charismatic and calculated character of Billy Flynn skillfully presented by Miguel Cabrera. Cabrera drew audiences in with his confident characterization, vocal stamina, and dancing that perfectly embodied Billy Flynn’s suave nature. Notably, Miguel Cabrera and Gabbi Bonjovi choreographed the production leaving audiences stunned by the eye-catching and intricate Fosse-inspired choreography in numbers like Cell Block Tango.
Mama Morton’s motto “The system called reciprocity” proved successful during this performance! Mama Morton played by Julia Amigorena commanded the audience’s attention with her powerful vocals in When You’re Good to Mama proving the more energy you give the audience the more you win them over. Julia Poms did an outstanding job as Velma Kelly remarkably performing electrifying dances that never hindered her singing, demonstrating immense stamina in iconic numbers like All That Jazz. Lastly, we can not forget about our Funny Honey Amos Hart or should I say Mr. Cellophane played by Yoav Dahan who stole the audience’s heart with his sincere portrayal of Amos’ innocence and loyalty, especially with his exceptional vocals in these musical numbers.
As Amos said “I hope I didn’t take up too much of your time,” but before the final curtain closes it must be said one last time that Cypress Bay High School’s production of Chicago: Teen Edition had all the latest news, charm, and talent to make it big in any city!
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By Mia Wilson of Cooper City High School
Cypress Bay High School’s amazing production of Chicago was complete with revenge, revolvers, and Razzle Dazzle!.
From the minds of Fred Ebb, John Kander, and Bob Fosse in 1975, this iconic and engaging show encompasses the unique jazz style of the 1920s and the atmosphere of the bustling city of Chicago. Chicago follows the story of Roxie Hart when she gets caught for murdering her secret lover. As she strives to enter the spotlight to gain support from the press and jury, her dreams of becoming a showgirl gets closer to becoming a reality.
Martina Rodriguez (Roxie Hart) displayed incredible characterization through her charismatic role as the iconic murderess. Her mannerisms as she interacted with the other members of the cast stayed consistent throughout the performance. Her chemistry with her on-stage husband, Yoav Dahan (Amos Hart), showed their dynamic perfectly. Dahan’s vocal inflection and outstanding commitment made him unforgettable.
Miguel Cabrera (Billy Flynn) had a fantastic stage presence that perfectly encompassed his character. His role as a choreographer truly showed as he danced wonderfully without missing a beat. Another performer who showcased incredible dance ability was Julia Poms (Velma Kelly). Her flawless execution of choreography throughout the entire show paired with her outstanding vocals exhibited her impressive stamina and breath control. Despite some mic issues her lines were heard clearly, demonstrating her ability to project.
The ensemble of this production was very talented, displayed through their beautiful blend of harmonies and powerful dance numbers. They also were extremely reactive through their facial expressions creating a captivating atmosphere. A standout member of the ensemble was Julia Amigorena (Mama Morton) who had perfect pitch throughout her performance of When You’re Good to Mama. Her strong voice and physicality allowed the power of her persona to shine through. Other performers who wowed the audience were Gabbi Bongiovi, Mya Wolf, Neena Shaw, Isabel Rodarte, and Samantha Garcia. Their performance in Cell Block Tango, with the addition of Poms, showed stunning technique and precision. Each actress individually was expressive and unique while also having unity as a whole.
The technical achievements of the crew truly brought this show to life. The intricate choreography by Cabrera and Bongiovi was extremely impressive showcasing their knowledge of the iconic Fosse style and 1920s jazz. Their ability to create formations and beautiful images on stage complemented the true nature of the show. The costumes by Neena Shaw and Sofia Di Lauro created many different versatile characters and had extreme attention to detail. This team also executed many quick changes throughout the show which made transitions appear seamless. The set by Alex Gomez, Samantha Garcia, and Julia Amigorena created a setting that transformed the space into many diverse locations from the courtroom to the stage.
Overall, Cypress Bay High School’s production of Chicago was an astonishing show with sparkle, pizzazz, and All That Jazz!
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By Shaiden Tamim of AW Dreyfoos School of the Arts
In a whirlwind of ABBA-inspired energy, West Boca Raton Community High School’s rendition of “Mamma Mia” sizzles with talent, charm, and infectious joy that’ll have you dancing in the aisles from start to finish.
Set against the idyllic backdrop of a Greek island paradise, “Mamma Mia” weaves a tale of love, laughter, and unexpected twists as Sophie Sheridan (Gabriela Estabrook) embarks on a quest to discover her father’s identity before her wedding. With the timeless hits of ABBA as its soundtrack, the production catapults audiences into a feel-good frenzy of nostalgia and romance.
West Boca Raton Community High School’s production of “Mamma Mia” is a resounding success, buoyed by stellar performances and seamless execution. Anchored by a talented ensemble and dynamic staging, the production captures the essence of the beloved musical while infusing it with its own brand of youthful exuberance.
Marni Gass shines as Donna Sheridan, her powerhouse vocals and commanding stage presence channeling the spirit of a true Broadway star. From the poignant “The Winner Takes It All” to the uplifting “Dancing Queen,” Gass’s vocal prowess consistently mesmerizes the audience, leaving them on the edge of their seats throughout the performance.
Opposite her, Gabriela Estabrook embodies Sophie Sheridan with a perfect blend of innocence and determination. Estabrook’s angelic voice adds depth and emotion to her character, particularly in tender moments like “Slipping Through My Fingers.” Her chemistry with Jaden Blanco’s Sky is palpable and authentic, lending an undeniable sweetness to their on-stage romance.
Lucas Brown’s portrayal of Sam Charmichael is equally commendable, showcasing a depth of character and vocal prowess that marks him as a future Broadway luminary. Brown’s commitment to character development is evident in every aspect of his performance, from his nuanced portrayal of Sam’s inner turmoil to his heartfelt rendition of “S.O.S.”
Julia Gonzalez and Rachel Sadow steal the show as Tanya and Rosie, delivering standout performances marked by impeccable comedic timing and vibrant characterizations. The ensemble’s energy and cohesion elevate the production to new heights, particularly during show-stopping numbers like “Mamma Mia.”
From the stunning set design to the dazzling costumes and expertly executed lighting, every technical element of the production contributes to its overall success. The dream sequence during “Under Attack” is a visual spectacle, with impressive lifts and creative staging that captivate the audience’s imagination.
With infectious energy and irresistible charm, West Boca Raton Community High School’s “Mamma Mia” is a must-see musical extravaganza that will leave you singing and dancing long after the final curtain falls. Don’t miss your chance to experience the magic of this unforgettable production! And if you’re wondering if you’ll enjoy it, take a chance on it – after all, “The Winner Takes It All”!
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By Charlotte Canter of North Broward Preparatory School
March 7t h— What a night! Spirited, bride-to-be Sophie is preparing for the white wedding of her dreams. There is only one problem: she doesn’t know who her father is and has invited all three possibilities. Become immersed in a tale of finding oneself and the bond of family, as West Boca Raton High School’s production of Mamma Mia! ignites a fire within every soul.
Since its debut on London’s West End in 1999, “Mamma Mia!” has captured audiences worldwide, evolving into a cultural phenomenon. With a book by Catherine Johnson and music by the iconic Swedish pop group ABBA, this jukebox musical unfolds on the enchanting fictional Greek island of Kalokairi, exploring the nature of unconventional family dynamics. At its heart are Donna and Sophie, a close-knit mother-daughter duo. However, tensions arise between them as Sophie’s impending wedding reignites her desire to uncover the truth about her paternity, wishing her father would walk her down the aisle. When three remnants of her past arrive on the little island, Donna must confront her history before her daughter slips through her fingers.
As an icon of female independence Marni Gass expertly portrayed Donna Sheridan, the former lead singer of Donna and Dynamos. Gass’s vocals were flawless, with profound range and maturity — particularly impressive in her act two solo, The Winner Takes it All. Her execution of a grand character arc and chemistry with on-stage daughter Gabriella Estabrook, who portrayed Sophie Sheridan, was noteworthy. As a duo, their dynamic was intimate and passionate, culminating in a tear-jerking rendition of Slipping Through My Fingers. Estabrook shined as the exuberant bride-to-be. Her vocal scope was expansive, coupled with a bright, clear tone, and her expert use of facial expressions aided her embodiment of the character.
Beyond the guise of being a successful architect, Lucas Brown brought layers of depth to his characterization of Sam Carmichael. Brown displayed unwavering commitment, engagement, and exuberant energy. His vocal skill was vast, explicit in the act two ballad, Knowing Me, Knowing You. Due to the emotional depth and vocal virtuosity exhibited, it was a standout. Marcos Ortiz-Marrero excelled in his portrayal of “headbanger” Harry Bright. His use of physicality and witty line delivery amplified the comedic element of the production.
The Mamma Mia! ensemble effectively enhanced the plot while maintaining individual characterization. With precise execution of choreography, perfectly balanced harmonies, and excessive energy, the cast brought the island of Kalokairi to life.
From a technical standpoint, the skill exhibited by the crew of Mamma Mia! was immense. The costumes were cohesive, with residents of the island maintaining a beachy, disco aesthetic while tourists, such as Tanya (Julia Gonzalez), starkly contrasted in bright-colored attire and stilettos. The publicity team should be praised for their successful financial campaign and execution of engaging Instagram takeovers.
If you have a dream and a song to sing, West Boca Raton High School’s rendition of Mamma Mia! certainly exceeds the wonder of a fairy tale. As wedding bells ring, audiences yearn to embrace their inner super trouper, feeling like a number one.
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By Sofia Palhano of Coral Springs High School
Take A Chance on West Boca Theatre Arts Academy’s production of Mamma Mia as they lay all their love on the stage!
With a book by Catherine Johnson and music based on ABBA’s discography, Mamma Mia premiered on April 6, 1999, at the Prince Edward Theater in London. On July 18, 2008, the stage show was adapted into a movie. The story takes place on a Greek Island, where 20-year-old Sophie is planning a wedding with her beloved Sky. All she wants is to walk down the aisle with her father, but there’s a problem; she doesn’t know who he is. She finds her mother’s diary and discovers three past lovers that could potentially be her father, so she invites them all to her wedding.
Honey, Honey, how Gabriella Estabrook thrilled the crowd with her outstanding performance as Sophie Sheridan! She entranced the audience with her magical voice from beginning to end and had great physicality throughout the show. She had such natural and amazing chemistry with her fellow cast mates, including Marni Gass who played her mother, Donna Sheridan. Gass displayed a wide vocal range that had everyone in awe, most noticeably in the songs Money, Money, Money and The Winner Takes It All. She took the viewers along on her journey of emotions as she faced the problems that lay ahead.
Sophie can’t have a wedding without her dear fiance, Sky, played by Jaden Blanco. Blanco brought to life the silly yet intimate persona of his character. His vocal range and execution were impressive, as well as the connection he had with his cherished Sophie. He wasn’t the only lover who shone on stage because Lucas Brown as Sam Carmichael dazzled the stage in his sparkly jumpsuit. Brown showed astonishing vocal clarity and characterization. He was constantly acting and reacting to everything around him, leaving no dull moment when he was on stage!
Helping the audience immerse themselves in the reality of the characters is the tech crew. Prop Designer Cindy Jacob and Prop Director Valerie Joy did an excellent job of finding and creating appropriate props that further helped the actors carry out the story. Props like Donna’s diary played a crucial role in the plot. Costume designers Lisa Lubinsky and Kelsey Bonner did a phenomenal job with the cast’s wardrobe. One song where the costumes were memorable was Under Attack because their circus attire helped indicate that the events occurring were a dream. They also had the actor for Sky appear in a beautiful wedding gown, which was a surprise for everyone. They were the real Super Troupers!
Thank You For The Music that was given to us by West Boca Theatre Arts Academy’s production of Mamma Mia! This chaotic but beautiful story taught us that we don’t need someone else for us to feel like ourselves. Everyone’s a Dancing Queen!
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By Lily Koplowitz of David Posnack Jewish Day School.
If extraordinary was The Name of the Game, West Boca High School;s production of Mamma Mia! wins, and of course, The Winner Takes It All.
Mamma Mia! is a jukebox musical based on the songs of the Swedish band, ABBA. Catherine Johnson wrote the book for the musical which first opened in 1999 on London’s West End. Mamma Mia! is set in Greece and tells the story of Sophie who is getting married and searching for her father. The show has become a fan favorite and is the West End’s sixth longest-running show, Broadway’s ninth longest-running show, and the longest daily-running show in the history of Russian theatre! West Boca High School’s Mamma Mia! was a stellar production, showcasing excellent vocals, choreography, and energy.
Lead actress Gabriella Estabrook, portraying Sophie Sheridan, had a wide range and was very professional. She was able to belt while doing impressive choreography and maintaining facial expressions strongly conveyed to the audience. Marni Gass, playing Donna Sheridan, had powerful vocals and was able to incorporate lots of emotion through her voice which she utilized to conquer difficult high notes with ease. One of Sophie’s fathers, Sam Carmichael (played by Lucas Brown), was another amazing singer and a phenomenal actor. Vocals were an extremely integral part of the show, so for that one must say Thank You For the Music!
Donna’s dynamo counterparts Rosie (Rachel Sadow) and Tanya (Julia Gonzalez) had incredible chemistry and comedic timing, especially in Chiquitita when they comfort Donna as she stresses over the arrival of her daughter’s three potential fathers. Speaking of Sophie’s fathers, Bill Austin, played by Isaac Lynne, and Marcos Ortiz-Marrero as Harry Bright were hilarious! They both portrayed their characters very well and created clear and clever distinctions between the three fathers through mediums like accents. Of course, the show would not have been complete without the Islanders ensemble who all maintained their energy throughout the show, creating a dynamic background without removing focus from the scene. They executed complicated choreography exceedingly well and with electric energy like a true Dancing Queen.
The set was very well designed and versatile, allowing for the use of the stage in large numbers to look less crowded. Numbers such as Mamma Mia! where doors and windows were constantly opened and shut showed the set’s functionality. Costumes were very well chosen for the setting of the show, and only a few felt out of place or did not fit the character wearing them. Stage management for this show must be commended for their efficient set changes during blackouts. The storyline was even creatively worked into set changes as cast members set up for the wedding while moving set pieces into their places, creating a very natural and flowy feel.
Knowing Me, Knowing You, knowing that West Boca High School’s Mamma Mia! was a smash hit through its cast members’ robust voices, the ever-intriguing choreography, and beautiful set elements.
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By Yael Eliani of David Posnack Jewish Day School
Look at what the tide washed in! Step into the enchanting world of West Boca Raton High School’s production of Mamma Mia!, where audiences are whisked away on a captivating journey filled with love, laughter, and heartfelt moments.
This musical follows the story of a young girl, Sophie Sheridan, who is getting married on the Greek island of Kalokairi. However, there’s a twist – she’s never known her father. Determined to find him, Sophie invites three men from her mother’s past to the island. As the wedding day approaches, secrets are revealed, relationships are tested, and Sophie learns valuable lessons about love, family, and self-discovery.
In her starring role, Gabriella Estabrook as Sophie Sheridan commanded the stage with her bubbly, sweet characterization and princess-like vocals. She had great chemistry with her fellow actors and really encapsulated the character well. Beside her, Marni Gass as Donna had an extremely powerful voice, which was amazingly demonstrated in solos like The Winner Takes It All. Alongside the mother-daughter duo were the 3 fathers: Marcos Ortiz-Marrero as Harry Bright, Isaac Lynne as Bill Austin, and Lucas Brown as Sam Carmichael. Each provided a great differentiation to their characters and relationships with their possible daughter. Ortiz-Marrero must be commended for his incredible accent work, comedic timing, and amazing vocals.
Another stand-out performance was Julia Gonzalez as Tanya. Gonzalez was incredible in every aspect: vocals, acting, and dancing. She never failed to make the audience laugh whenever she was on stage, especially in Does Your Mother Know. The incredible ensemble must also receive a commendation. Their harmonies were perfection and they never failed to give full energy whenever on stage.
As for the technical aspects, everything was executed flawlessly. The student directors (Ella Martinez, Rivanna Haggerty, and Emily Guevara) did an excellent job directing the cast and crew. Morgan Seeley as the Dance Captain choreographed captivating numbers, such as Gimme! Gimme! Gimme!, Money, Money, Money, and Under Attack. The costumes were incredible and extremely fitting, due to Lisa Lubinsky, Kelsey Bonner, and others on the costume team.
All in all, the cast and crew of Mamma Mia! were all Super Troupers, and each contributed to putting on an incredible show!
By Malaya Zabat of Coral Springs High School
This is a cautionary tale about corruption and betrayal. This is Marjory Stoneman Douglas High School’s Fearless production of Mean Girls!
Inspired by the novel Queen Bees and Wannabes by Rosalind Wiseman, Mean Girls was adapted into a musical in 2017, based on the movie of the same name both by Tina Fey. Mean Girls was then made into a movie premiering January 8th of 2024. Featuring Cady Heron, a homeschooled girl from Africa, finding herself in a frenzy of cliques in her new high school. Cady finds herself seated next to the apex predator herself, becoming a compliant prey in months.
Starting at the bottom of the food chain, Angelina Kennedy as Cady Heron does an impressive job embodying her role with undeniable vocal talent. “Regina! Regina! Regina!” played by Alanis DeSouza powered through the halls, with great dedication to her character and showcased her acting abilities.
It’s a Revenge Party with your two best friends: Ella Valente and Oliver Paul as Janis Sarkisian and Damian Hubbard! Valente remained amazingly in character throughout the whole show and wowed the audience with her impeccable vocal quality. Valente also showed great, believable chemistry with Oliver Paul as Damian Hubbard. Paul was a joy and shined a bright light of humor during emotional scenes with his clever comedic timing and impressive dance talent, featured in numbers such as Stop.
They’re shiny, fake, and hard: they’re The Plastics! The trio dominated the stage as a force to be reckoned with. All three actresses did an amazing job working together in their respective roles. As well as the Dance Team who nailed every dance thrown their way, livening up the stage with high energy and character dedication most notably in songs such as Whose House Is This?
I See Stars with the lighting design by Nicholas Eichner, who did a beautiful job at encapsulating the mood of the scene. The choreographers Zara Dautruche and Zoe Schwartzberg left the audience roaring with applause after every big number, such as Sexy, creating impressive choreography for nearly every song. Beautiful harmonies echoed throughout the stage with phenomenal vocal direction by Sydney Lotz, who powered through teaching regardless of any setbacks.
Whether you belong with the mathletes or the art freaks, the audience left Marjory Stoneman Douglas High School Stupid With Love with their wonderful production of Mean Girls!
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By Avia Collymore of Coral Glades High School.
In the Wild-Wild-North Shore, Marjory Stoneman Douglas High School’s Mean Girls: HS Edition shows that the line between the jungle and high school isn’t as thick as it seems.
From the mind of Tina Fey, who wrote this story after reading Queen Bees and Wannabes by Rosalind Wiseman, Mean Girls was originally a teen comedy film directed by Mark Waters. It later gained its musical adaptation that was released at the National Theatre in Washington, D.C. on October 31, 2017. It was nominated for twelve awards at the 72nd Tony Awards, including Best Musical. It has recently received a film adaptation which premiered on January 8, 2024. The show follows Cady Heron, who moves away from Kenya and into the hands of North Shore High, an American high school with cliques and drama alike, and discovers the truth about where she belongs.
Playing Cady Heron, Angelina Kennedy showed great talent in her performance. As we watched Cady slowly transition from the math-loving new girl into the newest member of the Plastics, her changes in tone and body language were evident as she seamlessly maintained both personalities. Despite encountering a few microphone-related issues, Kennedy’s performance remained consistent. Ella Valente commands the stage with her impressive presence as Janis Sarkisian, captivating the audience with her flawlessly articulated high notes.
Her name is Sydney Lotz; her act was shining, her humor was perfect, her dynamics delighting! Sydney Lotz presented great dedication in her performance as Karen Smith, consistently emulating Karen’s character through immersive body language. While simultaneously performing and being vocal director, Sydney Lotz displayed major proficiency in both roles. With one camera and a whole lot of satin, Mrs. George pleases the stage with hilarity and charm. Myla Shapiro has proven herself to be nothing short of committed to this role, with consistent energy and interaction with the audience. Her act offstage during the iconic winter talent show scene was both engaging and comical for viewers.
In the Dance Team, Ava Fronstin thrilled the stage with her fast-paced yet organized execution of the choreography. As Dance Captain, Fronstin showed acumen in her lively performances, seamlessly bringing an abundance of enthusiasm to the production. Zara Dautruche, who is also in the Dance Team, gave an exemplary performance with her lively stage presence.
The technical aspects of this show were a “massive deal.” Nicholas Eichner, responsible for lighting, proved himself clever in the artful use of red lighting to represent the animalistic savagery of high school. The frequent use of spotlights added a great touch of suspense, especially during Regina George (Alanis DeSouza)’s arrival in “Meet The Plastics.” While many vocals were clear, there were several microphone issues, such as them continuously switching on and off at the beginning, and lower register vocals being harder to hear during numbers.
With hilarity, enthusiasm, predators, and prey, Marjory Stoneman Douglas High School’s production of Mean Girls: HS Edition is the fetch-iest thing since toaster strudel.
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By Christine Johnson of Coral Springs High School
“Seriously, Whose House Is This?” You’ll never have to question that again after watching Marjory Stoneman Douglas High’s production of Mean Girls!
Based on the 2004 film of the same name, the musical Mean Girls, was written by actress Tina Fey, with music and lyrics by Nell Benjamin and Jeff Richmond. The story was first inspired by Rosalind’s Wisemen’s 2002 book Queen Bees and Wannabes and was later adapted for stage performance, first premiering October 31, 2017. Moving all the way from Africa, a nervous but excited Cady Heron is ready to take on the world of public high school at North Shore High after being homeschooled her whole life. Immediately grabbing the interest of the hottest trio at North Shore (The Plastics), Cady must now navigate this jungle a little differently than she was expecting.
Opening up this Cautionary Tale in the role of North Shore’s newest hot gossip, it’s Cady Heron, played by Angelina Kennedy. Even with a minor mishap with her mic in the beginning of Act One, Kennedy still showcased to the audience her stunning vocal ability and strong emotion to a high level, never losing her professionalism and determination to the role.
Her name is Karen, and her hair is shiny. Also in the position of vocal director, Sydney Lotz quickly became a fan favorite among the audience. She absolutely dominated the stage with her hilariously timed “dumb blonde” moments and stellar commitment to the character. Sydney’s body language and facial expressions stayed consistent throughout the entire show never falling short of what was expected of her character. He’s almost too gay to function. Playing the role of the iconic Damian Hubbard, Oliver Paul went above and beyond. His dynamic and characterization was absolutely flawless. He not only had great chemistry with his other half, Janis, but with every character he comes across. Paul also graced the audience with his stunning vocals and dance skill, please never Stop!
Never a dull moment was to be had with the ensemble and Dance Team. Whether pretending to be an animal in the wild or just your average band geek, the ensemble actors brought so much life and energy to the stage. The Dance Team absolutely stole the show as they always executed the choreography with such skill and style in every single musical number, while also showcasing their beautifully blended vocals and harmonies.
We definitely couldn’t have had this Revenge Party without our amazing tech. The stage management team run by Hannah Hackney, did a terrific job as each cue was timed to perfection. No scene change or transition ever felt out of place or off in timing. Nicholas Eichner, Alyx Carr and Bridget Hart did a fabulous job in illuminating the stage to the appropriate setting for each scene and the musical numbers.
The audience can only See Stars because of how Stupid In Love they are with Marjory Stoneman Douglas High’s production of Mean Girls. They made sure to show us the right way to Do This Thing.
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By Jillian Lajoie of Monarch High School
Marjory Stoneman Douglas’s production of Mean Girls (High School Edition) is truly fearless, and utterly unapologetic.
Based on the hit 2004 film, Mean Girls (High School Version) features a book written by Tina Fey, with music by Jeff Richmond and lyrics by Nell Benjamin.
Premiering in Washington, D.C in October of 2017, Mean Girls won an Outer Critics Circle Award for Outstanding Book of a Musical.
Angelina Kennedy truly did belong in her role as Cady Heron, displaying impressive vocals and projection even with mic issues throughout part of Act One. With good characterization throughout, Kennedy showed good chemistry with the rest of the plastics, especially Alanis DeSouza, in her role as Regina George. DeSouza herself also showed admirable vocals, displaying an impressive low range in songs like “Someone Gets Hurt.”
Shining like stars in their roles as Janis Sarkisian and Damian Hubbard were Ella Valente and Oliver Paul. With palpable chemistry between them and truly stunning vocals on both parts, the pair brought to life the ferocity of this cautionary tale. Hilarious comedic timing was joined by incredible choreography, notably in songs like “Stop”, including a high-energy tap dance brought to life by Oliver Paul.
Completing The Plastics, Zoe Schwartzberg and Sydney Lotz, as Gretchen Wieners and Karen Smith, respectfully, displayed impressive chemistry both between them and other cast members. Lotz’s comedic timing as Karen Smith excelled, maintaining a steady undercurrent of hilarious moments throughout the show.
Joining them in the wildness of high school was the ensemble of North Shore High students. Maintaining high energy and executing impressive choreography while singing, these ensemble members brought the savannahs of Kenya all the way to North Shore. With clear set awareness, ensemble members expertly managed prop and set pieces throughout the show, and executed high-energy scenes with clear dedication.
Highlighted especially during I See Stars, lighting designer Nicholas Eichner created stunning lights transporting the audience into Cady’s world. Joining in creating a world around the audience, special effects designer Gracy Fraysure created projections throughout the show, often relating to on-stage events. Hair and makeup designers Rhi Markaj and Avery Robbins and costume designer Adrian O’Connell created stunning looks for cast members, notably on Janis, with complicated designs that matched the classic Mean Girls aesthetic.
With admirable vocals, ever-present energy, and transporting tech work, Marjory Stoneman Douglas’s production of Mean Girls (High School Edition) proves again and again that more is always better.
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By Josie Grimmett of David Posnack Jewish Day School.
Everyone needs to Stop and see Marjory Stoneman Douglas’s performance of Mean Girls!
Mean Girls the Musical is a comedy with music by Jeff Richmond and lyrics by Nell Benjamin. It’s based on the popular 2004 teen comedy film “Mean Girls,” written by Tina Fey. Mean Girls opened on Broadway at the August Wilson Theatre in April 2018 and was nominated for several Tony awards. The plot follows Cady Heron, a teenager who moves from Africa to a new high school and navigates the complex social divisions dominated by the “Plastics,” a clique of popular girls. Along the way, Cady must grapple with identity, friendship, and morality issues.
Playing Cady Heron, Angelina Kennedy embodied the demanding role through her voice and characterizations perfectly portraying Cady’s naivety to the new world she’s exposed to. Even with microphone issues, she persevered by projecting her voice and having clear diction, showcasing her great talent. Sydney Lotz’s rendition of Karen Smith accurately showed her character’s ditzy personality and infectious enthusiasm throughout. She had impeccable comedic timing and physicality when putting her hands out by her sides the whole performance.
The remarkable performance of Ella Valente as Janis Sarkisian was nothing short of fantastic! Valente had strong and illuminating vocals, bringing captivating intensity to the role. Her portrayal is rich in vulnerability and strength, capturing the nuances of Janis’s character with raw emotion and authenticity. This is especially seen in her performance in A Cautionary Tale with her right-hand man, Damian Hubbard, played by Oliver Paul. Paul’s comedic timing, flamboyant demeanor, and expressions set him apart through his infectious optimism and unwavering loyalty to his friends. Whether delivering a hilarious one-liner, offering a shoulder to cry on, or even lending a pink shirt, Damien is always there to lift spirits and spread joy.
The ensemble’s impeccable timing, fluidity, and infectious energy brought the world of North Shore High to life, creating a bustling and vibrant space for the cast to shine. Their harmonies never faltered, especially in the song Revenge Party where their voices blended beautifully and created an energetic mood.
Although some costumes did not properly represent the era of the 2000s, lighting design by Nicholas Eichner worked fantastically. Eichner’s lighting design was nothing short of impeccable, as he created lighting that shaped each scene’s mood, atmosphere, and emotional resonance. This was evident in What’s Wrong With Me with the blue lighting as Gretchen and Mrs. George had emotional moments and in Stupid with Love where Eichner made hearts by combining lights together when Cady was singing about her newfound sense of love.
I See Stars in Marjory Stoneman Douglas’s fun-filled performance of Mean Girls!
By Gavin MacArthur of Cooper City High School
September 3, 1975, a baby is born right as a blue fly takes flight. Through the years, soaring through the heavens, it lands on NSU University School, and becomes part of their admirably magnificent production of Amelie Teen Edition.
Opening on Broadway in 2017, Amelie encompasses music from Daniel Mess’, lyrics by Mess and Nathan Tysen, and book by Craig Lucas. This whimsical French tale revolves around Amelie who, after an unusual childhood, begins working as a waitress in a cafe. After a bizarre series of occurrences, Amelie devotes her life to kindness and, through a mysterious scrapbook, falls in love with a man whose name she does not yet know.
They say times are hard for dreamers but, with Lindsay Stern’s talent, they certainly won’t be hard for her! As the bright young woman, Lindsay Stern (Amelie Poulain) smoothly constructed her character through realistic mannerisms and facials. These attributes carried beautifully into Stern’s impeccable voice that lit up the theater with every flawless note. Lost in love, Jack Steinman (Nino Quincampoix) presented an equally remarkable vocal ability that aided in his powerful inflection through critical lines and lyrics. Together, these unlikely lovers carefully developed their adorable relationship until reaching its climax in the charmingly executed duet Stay.
Everyone’s connected though they may not understand — even to — Elton John? Depicting the Rocket Man himself, Sam Dyer thrilled the audience with his exceptionally accurate and elevated portrayal, flaunting hilarious comedic timing that invoked consistent uproar. Dyer was among a collection of actors who must be commended for expertly memorizing and performing for both their characters, and auxiliary members of the exceptional Two Windmills Band. Bringing youth to this wise musical, Rubi Katz (Young Amelie) exhibited adolescent awe that connected this whole interwoven production.
Following the blue arrows, finding the extraordinarily skilled cast of Amelie Teen Edition is as simple as discovering a purple-peeled fig! Fabulously, this company balanced evident stage business without drawing focus from the main scene or characters. Embodying these ideals, Zachary Kopelman (Joseph Cottard) excellently maintained character throughout appearances, accentuating every lifelike moment. The performers formulated exquisite harmonies to sound simply ravishing when grouped together.
Showing There’s No Place Like Gnome, the multi-talented Lindsay Stern choreographed many stunning numbers with grace. Stern cleverly incorporated set changes and furniture to create effective displays of the minds of the characters. They certainly were not in need of A Better Haircut, Sofia Caseres, Sophia Goldstein, and Haleigh Mish of the hair and makeup crew designed unique styles to match the time period and its current events.
When a finger points to the sky, only a fool looks at the finger. NSU University School was undoubtedly not a fool, as they delivered a transcendent production of Amelie Teen Edition.
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By Kimaya Lindo of Dillard Center for the Arts
September 3rd, 1975, a fly takes flight – bzzz — it passes a fruit stand, lands on a fig; the cloths start to dance and take turns in the wind.The fly meets the girl and before it lands, the girl named Amelie’s journey began! With buzzingly beautiful instruments and heartfelt vocals, NSU University School’s production of Amelie: Teen Edition reminds us that everyone’s connected and that even little buzzing flies at some point must land!
Entre dans the world of Amelie. Amelie is a musical based on the 2001 romantic comedy film of the same name with music by Daniel Mess, lyrics by Mess and Nathan Tysen, and a book by Craig Lucas. Le Magnifique Musicale first made its grandiose opening at Berkeley Repertory Theatre in September 2015, later on, a transformed production of the show with a new vision opened on the West End in December 2019, at the Other Palace. L’histoire follows a young girl named Amelie who finds her voice in the realization that to find happiness she;ll have to risk everything and say what’s in her heart!
They say times are hard for dreamers, but they won’t be hard for Amelie (Lindsay Stern)! Stern played the role of the silent dreamer beautifully; from her strong and lovely vocals to her in-depth characterization, Stern navigated this intricate character well and in return gave a swoon-worthy performance! Stern put out the breadcrumbs and went where they led; he stayed for his notebook but found her instead! Nino Quincampoix (Jack Steinman) did a great job at playing the offbeat but sweet daydreamer; from the choices in physicality to the beauty in his vocality, Steinman did a phenomenal job! Together the couple made quite the pair, their growing relationship was apparent and beautiful to watch as the chemistry was undeniable!
Ba-Bum Ba-bum goes the young Amelie’s (Rubi Katz) heart as she gets her checkup. Katz did a phenomenal job at playing the younger role. She accurately captured the childlike essence of the girl and did it with astounding vocality, not to mention her great puppet skills! In the cafe reside three girls with stories of their own (Lea Boldon, Haleigh Mish, and Ellie Esquenazi), these three girls shook the theater with their beautiful harmonies and strong individuality within their characters. Their dynamic with Amelie was also beautiful to watch!
From the strumming guitars to the simplistic choreography, the tech was quite the sight to behold! All the tech in the show was simple yet wholly fitting as it did just enough to make the show beautiful every move felt meaningful! The choreography for the cast members with instruments was quite fitting as it allowed them to move freely and still be engaged in the piece.
There were a few issues with balance between the orchestra sound and the mics, but they were quickly resolved by Act Two!
Overall the show was beautiful and NSU University School’s production of Amelie: Teen Edition helped me to remember that everyone is truly connected!
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By Charlotte Canter of North Broward Preparatory School.
Embark on a Tour de France through NSU University School’s impeccable rendition of Amelie.
Based on the French film of the same name, Amelie follows the adventures of its titular character — a shy yet imaginative young woman who discovers the magic hidden within everyday moments. With music by Daniel Mess, lyrics by Mess and Nathan Tysen, and a book by Craig Lucas, the musical enjoyed a brief but memorable run on Broadway in 2017. As Amelie finds joy in committing small, selfless acts for strangers, she soon discovers that love can be the most magical adventure of all — if only she can muster the courage not to run away. Set against the backdrop of Paris, she embarks on a journey of self-discovery, learning to overcome her fears and embrace the world around her. In Amelie, an introspective dreamer finds her voice, discovering the power of possibility in the process.
Follow the trail of breadcrumbs to Lindsay Stern’s captivating performance as Amelie Poulain. Stern’s vocal control and range were a testament to her talent, showcased in every featured moment. Her emotional depth, particularly evident in the act two duet, Stay, and her expressive facials and precise mannerisms truly brought the character to life. Stern’s stark choices to distinguish between internal and external dialogue added depth to her portrayal.
In portraying Young Amelie, Rubi Katz masterfully distinguished herself from her older counterpart with convincing idiosyncrasies and explicit facial expressions. Her duality and versatility as a puppeteer and performer were also noteworthy; she excelled simultaneously in both aspects of her role. Haleigh Mish enthralled audiences as former trapeze artist Suzanne Sacripant. Her physicality was impressive, especially with the consistent use of a realistic limp. Mish’s dance technique was also praiseworthy.
Overall, the Amelie cast demonstrated well-balanced, blended harmonies and pristine choreography execution while maintaining unique characterization. As Elton John, Sam Dyer should be applauded; his vocals, comedic timing, and individualization of an iconic character were notable throughout Goodbye, Amelie.
From a technical standpoint, the crew of Amelie exhibited immense skill. Stage Management should be praised for their perfectly timed cues. Highly detailed props, including the dual photo-and-phone booth, furthered the plot effectively. The members of the live orchestra, doubling as actors, deserve recognition for their large undertaking and impeccable performances.
NSU University School’s exemplary production of Amelie is a love letter to dreamers everywhere. Guided by a path of blue arrows, audiences are reminded that even in the most ordinary of circumstances, there is magic to be found for those who dare to dream.
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By Jailah Butler of Dillard Center for the Arts
From Point A to Point B. Everyone falls as the fly comes into view, and everyone’s connected though they may not know it’s true. On September 3rd, 1975, a child was born. A child who lived loudly in her mind, but was afraid of reality. But later in the evening, her life will change; later that evening it did in Amelie: Teen Edition at NSU University School.
Premiering on Broadway in 2017, based on the film of the same name, with music & lyrics written by Daniel Mess and Nathan Tysen, and book by Craig Lucas, Amelie takes us on a trip to France. Living in her imaginary world has been safe, but it’s time Amelie finds joy for herself and leaves her dreams. In this, she finds love with a mysterious man through his photo album. It’s a beautiful tale for dreamers everywhere.
What do you see when the booth goes bright? For this performance, it was Lindsay Stern (Amelie Poulain) and Jack Steinman (Nino Quincampoix). Stern’s vocals are nothing short of wonderful, leaving the audience in awe. Her quirkiness and actions perfectly align with the character of Amelie. Similarly, Steinman as Nino captivated the audience with his mesmerizing voice. His rendition of “When The Booth Goes Bright” has the audience falling in love. Steinman’s acting is also strong, being honest and clear with his intentions. The chemistry between these two characters is palpable, and it is beautifully witnessed as they develop a connection, never meeting face-to-face until the very end. After all, Nino loves her, but he doesnt even know her name.
Amelie has the best Maman, and Sofia Casares (Amandine Poulain) did an amazing job portraying her. Despite appearing for just a few minutes, she showed how Amelie became the person she was, hidden from the world. While playing the mother, Casares was also a part of the on-stage orchestra. Learning the lines, vocals, and dances of the show requires a great deal of strength.
Where do we go from here? We go to the Two Windmills Cafe where we meet the ensemble of Amelie who were one of the main causes of the whimsical magic felt throughout the room. With harmonies so clean, the ensemble was an amazing background to this beautiful show. But, Lea Bolden (Georgette Corunel) stood out with her comedic prowess and clean vocals.
Now behind the scenes of the Cafe, we meet the orchestra that gave a sense of life to the story. Although there were moments where it was overpowering the cast’s voices, this was easily fixed by Act 2. When the entire cast came together to sing, there was no overwhelming sound, but rather a smooth and harmonious blend of voices. The choreography also was simple and never overshadowed the vocals of the cast. Rather, it complemented and enhanced the overall performance, adding another layer of enjoyment for the audience. It also took inspiration from Hamilton, which was well progressed throughout the show.
They say times are hard for dreamers, and who knows, maybe they are. Amelie: Teen Edition at NSU University School was a whimsical story full of love, magic, and dreams. We learned that it’s good to step into reality and take risks. We’ve gone from Point A to Point B, but what’s gonna happen? I don’t know, but whatever happens, here we go.
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By Kenny Gervais of Cooper City High School. * * *
If you look for it, love is all around. Whether it’s in the photo booth, the Two Windmills Cafe or the local train station, you can find romance anywhere in the City of Love. So, pull the curtain tight, adjust the seat and lean into the light of NSU University School’s enchanting production of Amelie Teen Edition.
Opening on Broadway in 2017, Amelie features music by Daniel Mess, lyrics by Mess and Nathan Tysen, and a book by Craig Lucas. Set in 1990’s France, this romantic comedy follows Amelie Poulain, a girl who is quiet to others yet imaginative and bold in her mind. Her life changes when she discovers a treasure in her home and dedicates herself to returning it to the rightful owner. After seeing the effect of her good deed, she realizes the joy she can bring to others. However, when she falls in love, Amlie must learn to live her own life rather than the lives of others.
Guiding the stage like a blue fly in flight was Lindsay Stern as Amelie Poulain. Stern’s impressive vocals alongside her prominent expressions wonderfully contrasted Amelie’s shy external appearance to her creative mind. With a performance brighter than the flash in a photo booth, Jack Steinman captivated the audience as Nino Quincampoix. His bold characterization and excellent emotions exquisitely built Nino’s quirky personality. Together, Steinman and Stern’s romantic chemistry was as complex as Zeno’s paradox, building from a distance until they finally met Halfway.
Painting the picture of love was Sam Dyer as the reclusive Julien Dufayel. Dyer’s elderly inflection and impeccable line delivery beautifully crafted a love as fragile as glass. He impressively balanced being an orchestra member while maintaining consistent character and stage presence. Dyer also graced the stage with his angelic voice as Elton John. His audacious stage presence and amusing comedic timing had audiences roaring in their seats. Rubi Katz excelled onstage as Young Amelie. Her stellar vocals and childish characterization wonderfully represented Amelie’s childhood.
The entire cast is to be commended for their hard work and dedication. Although there were occasional issues with diction, each ensemble member employed exquisite stage business and energy. The Waitresses ensemble was a dynamic trio, each exhibiting strong vocal ability and characterization. Haleigh Mish led the ensemble as Suzanne Sacripant through her proficient dancing and consistency.
The technical achievements in this production were delightful. Choreography done by Lindsay Stern used Hamilton-inspired movement to create simple yet effective stage business in the cafe. Stage Manager David Taylor impeccably called 682 light cues, creating an immersive environment. Dramaturgy led by Sam Dyer masterfully incorporated research of the period and playwright to ensure accuracy in both technical elements and acting.
NSU University School’s heartfelt production of Amelie Teen Edition promotes that even when life seems confusing and you wonder Where Do We Go From Here?, remember that everyone’s connected, though they may not know it’s true.
By Makayla Whelchel of North Broward Preparatory School
It’s rad, it’s rocking, it’s a 1960s banana-infused take on the first book of the Bible. American Heritage Broward presents a ferociously funny and earnestly entertaining production of a lifetime: Joseph and the Amazing Technicolor Dreamcoat.
An origin story for the ages, Joseph and the Amazing Technicolor Dreamcoat was written in 1968 by Tim Rice and Andrew Lloyd Webber first as a 15-minute mini production that soon evolved into the ride of a show we know today. It follows the constantly dreaming Joseph, whose unpopular prophetic visions lead his eleven fantastically jealous brothers to sell him into slavery. With trials and tribulations and Twister games galore, the production eventually culminates in this underdog’s rise to the most powerful figure in Biblical Egypt.
In the role of Joseph, Jack Ryan delivered a performance greater than Potiphar’s claim to the Nile. Ryan truly lived in his character, and his humble but captivating presence coupled with his undoubtedly beautiful vocals were more than enough to fulfill any theatergoer’s dream. Maya Levinson, Krystal Molina, and Shea Korman likewise delivered as the story’s Narrators, their vocals entrancing from start to finish.
The performances from Joseph’s Brothers had everyone ready to Grovel, Grovel for more! Their energy as an ensemble was unmatched. With great chemistry, full-out dance, and fabulously funny stand out performances from individual brothers such as Judah (Daniel Font-Wilets) and Simeon (Nathan Rothbard), this ensemble greatly contributed to the show.
Ensemble as a whole was also on point throughout the entirety of the production, featuring performers such as Mira Levinson, who imbibed the stage with crackling energy as Pharaoh, and Sara Awada, whose dance and technique as Mrs. Potiphar was commendable. Although there were issues with diction, the ensemble’s high energy dance and heavenly harmonies were more engaging and colorful than the Dreamcoat itself.
Blow-up bananas, dancing cows, happy meals and Stanley cups- this props team did it all. Tara Peart and Daniella Bieber’s props were well crafted and consistent, bringing Joseph’s dream sequences to life. Lighting work by Hayley Schachter was likewise admirable with color-coordinated effects in songs like Joseph’s Coat and a creative jail bar effect in Close Every Door. Makeup by Emma Kolb and Damien Ellowitz added to the storybook vibe with well executed flair, and the student orchestra was nothing short of flawless. Although there were some minor mic issues, sound was on point throughout the show and stage management’s near perfect cueing had everyone tipping their French berets to a job well done.
You know what they say? You’ll make it someday. American Heritage Broward’s production of Joseph and the Amazing Technicolor Dreamcoat showed us all that however wild our dreams may be, we too have the power to take control of and thrive in the lives we lead.
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By Broderick Sullivan of Saint Thomas Aquinas High School
The story of Joseph and his brothers has been passed down for ages, reinterpreted time and time again — but it’s never been quite so flashy! Just like its eponymous accessory, American Heritage Broward’s dreamy production of Joseph and the Amazing Technicolor Dreamcoat was an eclectic sight to behold!
This tale of a dreamer has been around for a long time! The story of Joseph originates in the Book of Genesis in the Bible, and in 1968, famed lyric and music duo Tim Rice and Andrew Lloyd Webber put on their first version of the musical adaptation at Colet Court School, where it gained immediate attention in amateur circuits. Following the success of Rice and Webber’s next collaboration, Jesus Christ Superstar, Joseph immediately received more attention, moving to the West End in 1973 and Broadway in 1982. The show follows Joseph as he reads dreams and goes from favorite son to slave to a prince of the Pharaoh.
Brothers, Ishmaelites, cows, oh my! American Heritage Broward’s cast was a shapeshifting group of passionate actors who exceeded expectations throughout. Jack Ryan’s Joseph was the emotional core of the show, a technical powerhouse that soared from scene to scene, situation to situation. The show’s narrators, played by Maya Levinson, Krystal Molina and Shea Korman, were both incredibly funny and well timed, as well as doing their part to keep the story understandable and investing. Jacob’s eleven other sons, the ensemble of brothers, kept spirits high with their incredible comedic range, with raps and ballads only being the tip of the infectiously funny iceberg. While projection and diction could sometimes muddy lines, the full-force energy of the cast kept things moving with their clear love of the material and performance.
Building on a complex spectrum of characters and scenes, American Heritage Broward’s tech team provided the flourishes to make their production truly catch the eye. The Heritage Pit Orchestra accented each and every song with their passionate, wide-ranging score that never missed a beat. Tara Peart and Daniella Bieber’s prop work added visual flair to the stage, with a multitude of items from Happy Meals to fanny packs creating havoc on stage. Similarly, the colors cultivated by Hayley Schachter’s lighting work were beautifully timed and matched the vibrant energy of the show. A few facets of technical work had issues during act one, but by act two, the crew’s determined work shined through.
From country to calypso, American Heritage Broward’s inspired take on Joseph and the Amazing Technicolor Dreamcoat was bright and bold, a high-concept display of talent that was a joy to watch unfold.
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By Abby Goldberg of Cooper City High School
Transporting audiences to a world of vibrant hues and kaleidoscopic wonder, American Heritage Broward’s dazzling production of Joseph and the Amazing Technicolor Dreamcoat” was a delightful journey that rewrote history with child-like wonder.
With music by Andrew Lloyd Webber and lyrics by Tim Rice, Joseph and the Amazing Technicolor Dreamcoat” is based on the story of Joseph from the Bible’s Book of Genesis. Premiering on the West End in 1973 before gracing Broadway in 1982, this musical tells the biblical tale of Jacob’s favorite son, Joseph, and his 11 brothers. When Joseph is gifted “a coat of many colors,” his brothers become so consumed with jealousy that they sell him into slavery. Thrown into the journey of a lifetime, Joseph must learn to survive and reclaim his vibrancy.
Leading the show with a boundless charisma was Jack Ryan as Joseph. Through heavenly vocals, captivating stage presence, and an infectious child-like charm, Ryan delivered a consistently stellar performance. His ability to express such a vast range of emotions was a testament to both his commitment and talent. No story can be properly told without a good Narrator, or three. Maya Levinson, Krystal Molina, and Shea Korman, brought this story to life with their phenomenal vocals and remarkable storytelling. Their performance, complete with crisp harmonies and clear dedication, was impeccable.
The ensemble of 11 brothers worked brilliantly together with impressive vocal technique and endless energy. While also displaying individuality between their characters, the brothers maintained an excellent dynamic and hilarious comedic timing that made the performance that much more enjoyable. Notably, Christopher Moody as Reuben exhibited expressive facials and physical comedy, making him a hilarious standout.
The cast as a whole must be commended for their colorful performance. The ensemble maintained high energy through intense numbers and intricate choreography. Mira Levinson must be commended for her standout performance as Pharaoh. Her exceptional vocals and unique stage presence made for a mesmerizing performance.
The technical elements of this production were stellar. Each aspect was creative and successfully worked hand-in-hand to help cultivate feelings of adolescence. With an impressive 350 light cues, stage manager Rebecca Weltmann and lighting designer Hayley Schachter worked well to create and call each vibrant cue seamlessly. As each prop was carefully crafted to appear from a child’s perspective, the stage was filled with a storybook-like wonder. Proving to be both effective and at times comedic, Tara Peart and Daniella Bieber must be commended on their creative design.
American Heritage Broward’s shining production of Joseph and the Amazing Technicolor Dreamcoat” was a testament to their talent and imaginations, offering a reminder of hope to the dreamers of the world.
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By Clara Pangalangan of Cypress Bay High School
With visions of corn stalks and cows, dancing bananas, and a brightly colored cast, American Heritage Broward’s production of Joseph and the Amazing Technicolor Dreamcoat was a dream come true!
First arriving on Broadway in 1982 and running for 747 dazzling performances, Joseph and the Amazing Technicolor Dreamcoat features a book and lyrics by Tim Rice as well as music by Andrew Lloyd Webber. The show takes a journey through the story of Joseph from the book of Genesis in the Bible. Joseph, most beloved by his father out of the twelve sons, is betrayed by his brothers in an act of jealousy, resulting in his enslavement in Egypt.
Leading the stellar production as Joseph, Jack Ryan delivered a truthful depiction with every color of emotion and expression. Ryan also showcased exceptional vocals in songs such as Close Every Door, demonstrating a different dimension of the character compared to that at the end of the show. While there were some moments where actors were hard to understand due to sound imbalances, Ryan captivated the audience with his amazing performance.
The three narrators’ exhilarating performance held the show together with their technicolor telling of the story, not once wavering in energy as their voices blended harmoniously. The narrator played by Shea Korman presented electrifying vocals that continuously impressed the audience, particularly in Potiphar and Poor, Poor Pharaoh. Similarly, Nathan Rothbard’s hilarious portrayal of Simeon, the most jealous of Joseph’s brothers, stole the show in Those Canaan Days while holding an effective French accent.
Ruling over all of Egypt, Pharaoh, played by Mira Levinson, stood out amongst the rest of the cast. Levinson masterfully emulated Cher with excellent characterization throughout her time on stage. Daniel Font-Wilets’ unexpected solo as Judah in Benjamin Calypso was a terrific display of talent, especially in singing while being lifted in the air.
Within the cast, the ensemble held the show’s comedic tone well throughout the production. Each dance was filled with energy and was synchronized to perfection. The Brothers especially shined with constant chemistry with one another, standing out in the lively song One More Angel In Heaven.
Regarding the technical aspect of the production, the impressive work by stage manager Rebecca Weltmann and light board operator Hayley Schachter in seamlessly executing hundreds of complex lighting cues perfectly on time created a brilliant visual that persisted throughout the show. Schachter’s choices in lighting design were also commendable in her selection of gobos such as the jail cell and consistent illumination of the cyclorama. While occasional difficulties occurred with the microphones, the handling of audio as a whole was skillfully executed in the coordination between the incredibly talented orchestra and the actors. Considering props, the cartoon-like appearance helped to further accentuate the flamboyant and often campy visuals.
Overall, American Heritage Broward’s production of Joseph and the Amazing Technicolor Dreamcoat rocked the stage with unmatched energetic intensity and an unforgettably colorful performance.
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By Sofia Fernandez of Calvary Christian Academy
What can be more dazzling than a coat of many colors? Well, look no further than American Heritage Broward’s production of Joseph and the Amazing Technicolor Dreamcoat, the most vibrant performance on this side of Egypt!
The genesis of this production came from the musical work of Andrew Lloyd Webber and the lyrical work of Tim Rice. This piece was originally 15 minutes long and first presented at the Colet Court School in London on March 1, 1968. After fourteen years of revisions and expansion, this production made its Broadway debut on January 27, 1982, at the Royale Theatre. Derived from the book of Genesis, this production follows the story of Joseph, a young man who was favored by his father and gifted a colorful coat.
All the corn in the fields and the stars in the sky must bow down to Jack Ryan and his outstanding performance as Joseph. His voice was rich and smooth, most notably in his heartfelt solo number Close Every Door. The shift between portraying a lowly servant to working alongside Pharaoh was executed professionally. Overall, Ryan showcased immense talent and emotion that was “woven” throughout his entire performance. Additionally, the three Narrators (Maya Levinson, Krystal Molina, and Shea Korman) propelled the story further through their differentiation between their roles and acting moments. Vocally, each of their ranges was exceptional with clear and bright notes. Specifically, Korman’s execution of jumping the octave in Potiphar was fresh out of a dream with her strong chest voice and projection.
The ensemble of the Brothers each added their unique color of talent to the production as well. Their brotherly dynamic had strong chemistry, which created lively energy that allowed their musical numbers to remain lighthearted and upbeat. One More Angel in Heaven and Benjamin Calypso were their standout numbers, with powerful vocals accompanied by energetic choreography. These numbers were led by Reuben (Christopher Moody) and Judah (Daniel Font-Wilets) who exhibited natural charisma and spirited vocals. Overall, the entirety of the ensemble showcased angelic harmonies and synchronized dancing throughout the performance. They also utilized the spacious set effectively by using each of the levels in their musical numbers.
The technical aspects of this production truly made this performance fit for a king — or a Pharaoh! Managing over 900 cues, stage manager Rebecca Weltmann allowed the show to run smoothly and flawlessly. Additionally, all the reds, yellows, greens, browns, and rainbow of hues were incorporated into the lighting and the makeup to allow the audience to be immersed in a palette of color! The lighting shifted between different emotions and was timed impeccably, especially in the number Joseph’s Coat. Finally, the props were intricately designed and selected to bring greater comedic effect to the scenes such as the dancing cows in Pharaoh‘s Dreams Explained.
American Heritage Broward’s production of Joseph and the Amazing Technicolor Dreamcoat was a fun-filled journey from sheepskin to colorful coats to show that dreams really do come true!
By Yoav Dahan of Cypress Bay High School
Come on down to the sand and surf Playhouse to see some of the best new plays in the business. Stories of sizzling romance, sweet-sounding songs, and secret siblings? JP Taravella High School’s production of the musical Babes in Arms left audiences twisting and turning while laughing the whole way through.
Rodgers & Hart originally wrote Babes in Arms in the late 1930s, and it received critical feedback for its outdated and political connotations, leading it to be rewritten in a more modern and less political way by George Oppenheimer in 1959. The story follows a group of teenage apprentices trying to put on their revue, while the owner of the theatre tries to force the apprentices to put their revue aside.
Austin Blakely, who portrayed Valentine White, gave the love-confused young man life on stage through his outstanding vocal technique and sincere nature. Paired with Brianna De Los Santos portraying Susie Ward, the lovestruck and naive girl who brought contagious energy and had facial expressions on point. Their chemistry together proved to be a strong point of the musical, as they played off each other very nicely with excellent reactions to one another. Another amazing aspect was the character of Bunny Byron, perfectly executed by Yasmeen Smith. Everything from her line deliveries to her immaculate singing voice in songs like “Johnny One-Note” and “The Lady is a Tramp” left audiences excited whenever she would walk on stage. Though some characters seemed unsure while delivering comedic lines, they would pick it up right after and refuel the energy.
The comedic duo of Gus Field (Bailey Fier) and Terry Thompson (Alyvia Rigg) never stopped delivering hilarious lines and made audiences laugh with their consistent comedic timing and characterization. In “Ballet: Imagine This,” they were continuous with their motivated movements and well-executed references, accomplishing the task of this number well.
Playing the man with a walk so unmistakable and a talk with the most southern draw, Marco Medina as Lee Calhoun, was something to write about. Medina’s representation of the egotistical, amateur writer had many great moments, especially when getting frustrated at every little slip-up in “The Deep North.” The Apprentices as a whole added a lot to the numbers in the show, with standout Zaniyah Eady, who always had an attention-capturing yet appropriate reaction and had every dance down pat. Although, as a whole, the ensemble was missing some strong energy in the first act, it picked up and felt doubled for the second act.
Despite the orchestras struggle at times with the challenging score, the orchestra was completely comprised of students, and that is commendable. Another technical aspect that was seamless was the set crew. The setting would completely change in seconds; they were professional and did not distract from the show
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By Rebecca Sherman of Fort Lauderdale High School
“We can do it in the barn!” perfectly encapsulates the show, and this production’s ability to let love and friendship defy all odds. Safe to say that JP Taravella’s production of Babes in Arms was a hit!
Written by Richard Rodgers and Lorenz Hart, Babes in Arms had a long journey to the production we see today. Originally making a humble Broadway debut in 1937, the show featured children putting on a show in a barn, to avoid being sent to work. However, due to controversiality, Richard Rodgers and George Oppenheimer reworked the script to the one being showcased here; the story of a group of teenagers saving a local summer stock theater.
Playing Susie Ward is Brianna De Los Santos! With wonderful physicality, chosen character voice, and facial expressions, Santos’ portrayal of the young girl growing up is captivating. She wonderfully captured the longing, frustration, and momentary hope Susie went through in relation to her crush on Valentine White. Smooth vocals that display an impressive range is the cherry on top.
The vocal cornerstone of this whole production is Yasmeen Smith as Bunny Byron! Though all songs were spectacular in execution, the character and attitude exuded through “The Lady Is a Tramp” made for a fun glimpse into who this character really is. Notably, her belt while laying on a bench that had people sitting on it was very well supported and projected.
Special recognition goes to the relationship between Alyvia Rigg (Terry Thompson) and Bailey Fier (Gus Field), for being wildly hilarious, and dynamic throughout the length of the production. That said, the whole cast did a wonderful job of maintaining energy during songs such as “Babes in Arms” and “Johnny One-Note”. The choreography was executed with a prominent level of dancing talent.
The Orchestra was a wonderfully unique, and challenging task. Attention should be paid to assuring the timing of all instruments are synchronized, however, it was very enlightening to have a live orchestra at a high school production.
Costumes (Jennifer Fier, Eesha Mahabir, Cheyenne Jackson, and Mia Pagan) are wonderfully on period and appropriate for the characters. Next time, more attention should be paid to the fit of costumes to maximize actor comfortability and limit frequent repositioning. Hair and makeup done by Abigayle Hurt, Dayna Lee Polo, and Tech Class paid appreciated detail to character hair styles, which elevated the character development work already done by the cast and Costumes. Lighting (Julisa Landin, Kayla McInnis Convery, and Shelby Watt) was simply amazing. The colors added energy to the scenes, and all cues were on time- a remarkable achievement due to harsh time constraints. Sets (JPT’s Technical Theater Class, Cast, and Crew) were also great, and overcoming the challenge of limited wing space was impressive.
Overall, JP Taravella’s production of Babes in Arms showed audiences the importance of perseverance, teamwork, and friendship, in a way that left audiences in tears and fits of laughter. Well done to the cast and crew!
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By Gabrielle Hoffman of Marjory Stoneman Douglas HS
In the mood for a nineteen-fifties fun-filled and funny fever-dream-like show? J.P. Taravella High School must have enacted schemes of grandeur and demonstrated an unyielding determination to tell the hilarious and heartwarming tale of Babes In Arms!
With an adapted book by George Oppenheimer, music by Richard Rodgers, and lyrics by Lorenz Hart, Babes In Arms tells the comical tale of a group of romantically intertwined apprentices of the theater who wish to put on an original production. Adapted from Rodgers and Hart’s own original production, this musical was altered from a nineteen-thirties setting to that of the nineteen-fifties to better appeal to post-war American audiences.
In the role of Suzie Ward, Brianna De Los Santos maintained a youthful physicality and showcased her charmingly clear tone and well-supported chest voice. Furthermore, her acting choices and vocal ability blended well during
“My Funny Valentine.” In the role of Valentine White, Austin Blakely demonstrated great dedication to his characterization work through consistent movements. With a palpable stage presence, Bunny Byron (played by Yasmeen Smith) was very expressive. She demonstrated impressive vocal stamina during the incredibly fun songs “Way Out West On West End Avenue,” ”The Lady Is A Tramp,” and
“Johnny One-Note.”
Although certain character relationships could be unclear at moments in the production, Alyvia Rigg and Bailey Fier (in the roles of Terry Thompson and Gus Field) entertainingly developed their chemistry as the plot progressed and their characters’ entanglement thickened. Rigg carried herself with noteworthy confidence and nailed each joke with her comedic timing. Furthermore, Marco Medina, in the role of Lee Calhoun, was consistent in his deep southern dialect and played with his caricature-like physicality through distinctive walks and comedically exaggerated movements. Despite occasional struggles maintaining a collective presence on stage, The Apprentices developed rich harmonies that livened the show’s musical numbers.
Lighting tableaus were creatively utilized and impressively timed to further the visual storytelling of musical numbers such as “Johnny One-Note.” Furthermore, the role of indirect storytelling, with complex golden-age music and a band entirely composed of students, the music of this production impressively held its own with minimal missteps. The choreography was well-stylized for this period, although certain choices in hair and makeup seemed to contrast this historical accuracy. Additionally, although specific cues appeared to be off in time, the cast handled each hiccup professionally. An equally professional running crew passed as nearly invisible during the show’s seamless and rapid scene changes. Even More, the publicity department crafted a neutral color palette to create consistency within their social media advertisements.
The twists and turns of this musical were too numerous to count and left the audience hanging off the edges of their seats (or respective ladders)! J.P. Taravella High School brought Babes In Arms to life with exceptional comedic timing, energy, and professionalism.
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By Sydney Lotz of Marjory Stoneman Douglas HS
While the Surf and Sand Playhouse may attract only 14 spectators a night, at J.P. Taravella High School, every seat is brimming with excitement and anticipation for the next big hit! So, prepare to dance the night away and join us for “Babes in Arms.”
“Babes in Arms,” a coming-of-age musical comedy with music by Richard Rodgers and lyrics by Lorenz Hart, made its Broadway debut in 1937. In 1959, George Oppenheimer revised the script, resulting in the official licensed version that is beloved to this day. “Babes in Arms” is centered around a group of young apprentices, determined to put on an original revue despite the cunning theater owner’s constant attempts to sabotage them. Nevertheless, as the saying goes, “the show must go on,” and indeed it does, resulting with themes of resurgence, reconciliation, and romance.
Transcending her typical portrayal of a maid, Yasmeen Smith (Bunny Byron) commanded the spotlight. Although she told the tale of “Johnny One-Note”, Smith was certainly far from a one-note performance. Her flawless comedic timing, dynamic dance prowess, expressive facials, and showstopping vocals, showcased her multifaceted talent. Austin Blakely, embodying the charismatic Valentine White, exhibited remarkable vocal techniques, demonstrating impressive control over tone and vibrato. Despite minor technical difficulties, Blakely effortlessly displayed superb projection and diction. Brianna De Los Santos (Susie Ward), joined forces with Blakely in the collective effort to rescue the revue. De Los Santos flawlessly embodied Susie’s naive persona, combining it with captivating vocals and compelling physicality.
“I Wish I Were in Love Again” takes on a renewed meaning with Bailey Fier and Alyvia Rigg’s portrayals of Gus Field and Terry Thompson. Through Fier’s charmingly awkward characterization and impeccable vocals, paired with Rigg’s expressive physicality and dynamic inflections, a beloved connection resulted from the two’s genuine chemistry. “Way Out West On West End Avenue” is where you might find the devious Southern playwright, Lee Calhoun, played by Marco Medina. Throughout the performance, Medina sustained a humorous accent, enhanced by flawless comedic timing and expressive physicality. As a whole, the apprentices upheld a captivating, energetic presence, particularly shining in the number “Johnny One-Note.”
The hair and makeup team skillfully captured the essence and maturity of each character, from a cleverly crafted up-do that embodied the sophistication of Jennifer Owen, to playful braided pigtails that exuded the youthful energy of Susie Ward. Their further collaboration with the costume department was outstanding, despite minor malfunctions of unfitted costumes. The team’s meticulously chosen color palette, authentically reflected the show’s 1950s setting and character profiles, further utilized by the head of publicity, Abigayle Hurst, to curate an Instagram feed that harmonized seamlessly with the show’s overall vibe.
J.P. Taravella High School’s production of Babes in Arms demonstrates how determination, commitment, and true love culminate in a captivating experience that transcends boundaries far beyond “The Deep North.”
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By Makayla Whelchel of North Broward Preparatory School.
What’s one thing teenage relationships and the theater have in common? Answer: both are chock- full of drama, humor, and a good deal of heart. Hijinks and hearts collide in this humorous take on what it means to fight for what you believe in JP Taravella’s production of Babes in Arms.
Who says kids can’t change the world? Written by Richard Rodgers and Lorenz Hart in 1937, Babes in Arms follows the story of a group of young actors as they desperately work to create a production of their own to raise money for their friend Bunny Byron — without their terrifically tyrannical director, Seymour Fleming, catching wind. What follows is a story that proves that even a couple of babes can take up arms and fight for what is right.
With a pen in hand, her head held high, and a stage presence glorious enough to put a Fleming show to shame, Yasmeen Smith as Bunny Byron commanded the stage with spot- on characterization and showstopping vocal ability. Songs like “Johnny One Note” were a testament to Smith’s remarkable performative skill. Brianna De Los Santos brought the feisty and fiercely lovable character of Suzie Ward to life with captivating vocals, expressive facials, and unfaltering energy. Her love interest, Valentine White (played by Austin Blakely) likewise showcased admirable vocal skill.
From first kiss to final bow, Terry Thompson (Alyvia Rigg) and Gus Field (Bailey Fier) lit up the stage with their comedic energy. Together, the duo created a well developed and highly entertaining dynamic that made everyone wish they were in love again. But who could forget the playhouse’s best (and only) resident playwright, Lee Calhoun? Marco Medina as Calhoun had the audience in stitches with his distinct physicality and an accent as unflappable as Calhoun’s confidence.
Although there were some minor issues with vocal clarity and occasionally unclear character dynamics, the ensemble as a whole was actively engaged throughout the production. Their comic moments such as those in the Deep North scene and overall enthusiasm showcased the ensemble’s positive contribution to the show.
From the Deep North to the Wild West, there’s no place JP Taravella’s tech team didn’t leave their mark. Costumes (Fier & Company) and props (Silverstein & Company) were both appealing, character-focused, and period appropriate. Lighting added color and interest to the production, and the show’s student orchestra did a good job tackling the notoriously difficult score of a Golden Age musical. Although there were some late sound cues and a few mic mishaps, the run crew was quick and efficient, and tech as a whole did a commendable job setting the stage for the Apprentices’ show-within-a-show.
The youth will arrive! Let them know you’re alive! JP Taravella’s production of Babes in Arms showed the world that you don’t have to “be somebody” to change the world — causing the audience to consider the idea that just maybe, they can take up arms to make a difference, too.
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By Lila De Almeida of Saint Thomas Aquinas High School
Riddle me this:
The costumes are black, the lies are white.
Where can you find Wednesday on a Friday night?
The answer, of course, is Sagemont Preparatory School’s production of “The Addams Family,” full of sickeningly sweet love stories and dangerously dark humor.
“The Addams Family” is a musical comedy that ravaged Broadway from 2010 to 2011. The comic strip by Charles Addams was Frankensteined into a musical containing themes of love, friendship, and family loyalty. The Addams family may have morbid and disturbing interests, but they are staunch supporters of Full Disclosure in relationships. When daughter Wednesday Addams finds herself engaged to “normal” Lucas Beineke, her father, Gomez, is forced to choose between honesty to his wife, Morticia, or loyalty to his daughter’s secret. This conflict turns to chaos at an unusual dinner party featuring both sets of parents and a host of other strange family members, creepy Ancestors, and a zombified doorman.
We all know and love a classic love story, such as between a man and a celestial body. Brandon Jerry, as Fester, perfectly encapsulated the role of the weird uncle with his over-the-top physicality and consistent characterization. His interactions with other cast members were hilariously in-character, and his chemistry with the moon was as if he was being pulled like the tides. The undead butler, Lurch, was portrayed by Thomas Balding, whose presence prompted laughs with every thousand-yard stare, stiff walk across the stage, and straight-faced grunt.
Morticia, played by Sara Alhadeff, is the paragon of an Addams: deadpan, wickedly witty, and abnormally protective. Alhadeff’s speaking voice was enchanting, and even more so when singing with haunting clarity and skill, displayed in numbers like “Just Around the Corner.”
She must be commended for her cleverly nuanced acting choices, portraying emotion while still keeping with Morticia’s famously monotone mannerisms. Furthermore, Wednesday, the moody and lovestruck daughter, was played by Sienna Epstein, who brought strong vocals and chemistry to the stage alongside her mother.
The set of the Addams’ Mansion was masterfully detailed, with portraits of the cast members hung haphazardly and torture devices hidden in plain sight. The use of a disco ball as Fester’s love interest, the moon, stood out for its creativity. Additionally, the costumes of the cast effectively characterized each individual while distinguishing the families from each other. Unfortunately, microphone issues and lack of diction presented a challenge to the comedic timing of some punchlines, but the cast persisted through these setbacks.
Sagemont Preparatory School’s representation of “The Addams Family” blended the macabre and the mundane in an extraordinary production that was far from “One Normal Night.
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By Avery Redlich of NSU University School.
RIGOR MORTIS! Sagemont Preparatory School’s “The Addams Family” was as magically macabre as a poisoning or a little light torture. Bringing death itself to life with expert comedic timing and cast commitment, this show had ancestors rolling on the floor laughing –and rolling in their graves.
With music and lyrics by Andrew Lippa and a book by Rick Elice and Marshall Brickman, the award-winning musical comedy premiered on Broadway in 2010. It’s based upon the creepy and kooky, mysterious and spooky, all together ooky comics by Charles Addams from the 1940s and 50s, largely popularized by the 1991 “The Addams Family” movie and again for this generation with the 2022 hit Netflix series, “Wednesday.” The musical centers around the homicidal, darling daughter and her first love, resulting in the union of two very different families on “One [far from] Normal Night.”
Sara Alhadeff was brilliantly deadpan (emphasis on the dead) in the matriarchal role of Morticia, displaying vocals that were to die for in the standout number “Just Around the Corner.” Brandon Jerry embodied — or perhaps disembodied –the quirky Uncle Fester with consistent characterization and stage presence; his performance was as electrifying as touching a live wire. Both offered comedic timing and choreography execution that was nothing short of snap-worthy.
Leading the Addams clan with swift swordwork, histrionic physicality, and deathly passion was Omar Jimenez-Walton as Gomez. His strong father-daughter chemistry with Sienna Epstein’s Wednesday was the final nail in the coffin of familial love. With Epstein’s well-portrayed character arc, notable for having formally been the understudy for the role, Wednesday was Thursday by bows. And with character arcs in mind, Danielle Conley (Alice) cheerfully channeled both delight and darkness playing the scariest character of all: an Ohioan. Even without a single word, Thomas Balding (Lurch) stole scenes with an unwavering presence, memorably welcoming audiences with a silent, soulless stare pre-show (*grunts*). The cast’s overall comedic timing was as well executed as a person at a beheading.
The crew’s hard work shined as brightly as the moon (no wonder Fester fell in love). Make-up (Sienna Epstein and Torin Balding) and Props (Thomas Balding and Brandon Jerry) both displayed *killer* attention to detail, such as a black lipstick kiss mark on Lucas’ cheek and Addams family photos featuring the student cast. Thomas Balding and Brandon Jerry’s special effects, such as the foreboding fog and spike chair, really Pulled the show in new directions (insert blood-curdling scream here!). Choreography (Brandon Jerry) was simple yet successful, bringing ghoulish energy straight from the tomb to the stage with the ghastliest dance of all: the worm. All in all, *snaps* should be given to the crew.
Full disclosure? “When You’re An Addams,” family is the name of the game dinner party games included. Sagemont Preparatory School’s production of “The Addams Family” reminded us that, living or dead, family is still family. Oh, and black will never go out of style.
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By Broderick Sullivan of Saint Thomas Aquinas High School
Everyone knows the family that’s a little creepy, kooky, mysterious, and spooky, but what happens when they finally face their worst nightmare, normalcy? You get Sagemont Preparatory School’s production of “The Addams Family,” a show that’s happy, sad, and filled with ghoulish gaffs and heartwarming hilarity.
The Addams Family began life when cartoonist Charles Addams started the comic series in 1938, which garnered enough success to become the inspiration for a 1964 television show of the same name. In 2009, the concept was turned into a musical with lyrics and music by Andrew Lippa and a book by Rick Elice and Marshall Brickman, arriving on Broadway in April 2010. The story follows the titular family as they deal with a chaotic dinner party that both opens wounds and heals them.
While it may be difficult to talk about anything else but love, Sagemont’s production of The Addams Family gave its all to present the miraculous and macabre multiplexes that make up this emotional rollercoaster of a show.
With a composed and energetic cast, Sagemont’s production tangoed its way into the hearts of the audience! Brandon Jerry, who played Fester, excitedly channeled the chaos of the character, jumping from scheming with the ancestors to singing ballads about the moon with poise and an infectious spirit. Mortica, portrayed by Sara Aldahaff, was a dry-humored joy on stage, serving both as an imposing matriarch and loving parent with determined ease. Thomas Balding’s Lurch was hilarious as an ever-present, undead entity, a committed portrayal of the unearthly butler that left a large impression. While some choreography and lines were dropped at certain intervals during the show, the cast always restructured and rebounded.
When you’re in the tech crew, you have a very special duty, one that the team at Sagemont performed with aplomb. The makeup team, led by Sienna Epstein and Torin Balding, captured the iconic looks of the family with their bold and well-crafted work. Brandon Jerry and company’ work on the choreography let the audience into the world of the show, creating simple but incredibly enjoyable movements that were peppered throughout the production. Some technical aspects of the show didn’t come to life as much as the others, but the students and faculty were able to work through it and give the show their all.
Sagemont Preparatory School’s production of The Addams Family brought the iconic, grim, and goofy characters to life on the stage, letting nothing short of death stand in their way.
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By Kenny Gervais of Cooper City High School.
Life in monochrome may seem miserable and gross, but “When You’re an Addams, you love it most!” So stir the pot and wait till things get hot for Sagemont Preparatory School’s production of “The Addams Family.”
Based on the beloved family by cartoonist Charles Addams, this musical comedy opened on Broadway in 2010, featuring a book by Marshall Brickman and Rick Elice along with music and lyrics by Andrew Lippa. “The Addams Family” narrates an exceptionally peculiar day in the lives of the abnormal Addams when their emotionally reserved eldest daughter unexpectedly finds love in an average boy. The family finds themselves Trapped in a web of Secrets, making “One Normal Night” a difficult feat to achieve as the truth comes to light.
Dominating the stage with ghoulish grace, Sara Alhadeff (Morticia) exhibited her astonishing vocal ability. Alhadeff’s strong characterization and deadpan stare perfectly embodied the aloof personality of Morticia while still conveying strong emotions. Her romantic chemistry with Omar Jimenez-Walton (Gomez) presented Gomez’s infatuation for Morticia exquisitely. They captivated the audience through their intense intimacy, as they glided across the stage in a tantalizing tango. Playing the morbid Addams daughter, Sienna Epstein’s (Wednesday) macabre characterization and notable vocal belts stunningly displayed her emotions and passionate feelings as she was “Pulled” in adoration.
Lunar in love, Brandon Jerry (Fester) shined brighter than the moon onstage. Jerry’s impeccable comedic timing combined with his profound vocal ability were a joy to watch, particularly in “The Moon and Me” which Jerry put his own crazed twist on, leaving the audience roaring in their seats. Sick of “Waiting,” Danielle Conley (Alice) admirably enacted Alice’s desperation for change in her crazed characterization and phenomenal familial chemistry with Wahaab Malik (Mal) and Felix Oriol (Lucas).
Two snaps for the cast of “The Addams Family” on a marvelous show! Although there were issues with energy and harmonies, the cast persevered through the mic and sound issues and had fantastic comedic ability and chemistry. The Addams Family ensemble proved that life as an Addams is far from normal through their kooky mannerisms and distinct familial chemistry. A standout actor was Thomas Balding (Lurch), his commitment to character was astonishing, keeping a hollow stare through chaotic scenes.
Full Disclosure, the technical aspects of this show were terrific! The choreography done by Brandon Jerry was effective in telling the story through every tango and turn. Sienna Epstein and Torin Balding demonstrated their expert makeup skills through elderly makeup done on Grandma, making her old age believable and her line delivery extra hilarious. The attention to detail in the set was another phenomenal part of the show, with aspects such as the moon being a disco ball and a family portrait with the members of the cast in it adding a creative twist.
Following themes of friendship and love, Sagemont Preparatory School’s creepy, kooky, and all together spooky performance of “The Addams Family” is simply to die for.
By Arianna Rotondo of Calvary Christian Academy
Which is harder to do, the Bunny Hug or the Tango? Which will conquer all, secrets or love? Sagemont Preparatory School’s The Addams Family will bring the truth to light.
The Addams Family was born in 1938 when Charles Addams published the cartoon in the New Yorker. Decades later, The Addams have lived on in multiple television, movie, and stage adaptations, achieving international acclaim. Written by Andrew Lippa, Marshall Brickman, and Rick Elice in 2009, the musical follows the Addams family as they navigate the difficulties of secrets and love.
It’s no secret that Sara Alhadeff’s (Morticia) powerful vocals were as out of this world as the moon. She gave life to Morticia through brilliant vocal delivery. The elegance Alhadeff exuded added to her performance. Her chemistry with Omar Jimenez-Walton (Gomez) was as intoxicating as the spell of the graveyard, especially in Act II. The Addams and Beinekes are more alike than they thought because Alice and Mal (Danielle Conley and Wahaab Malik) displayed a strong chemistry and family unit. Sienna Epstein and Felix Oriol’s performances as Wednesday and Lucas respectively, were fantastic. The pair’s voices complemented each other well, especially in “Crazier Than You.” In “Pulled,” Epstein’s powerful belt was showcased beautifully.
As Fester, Brandon Jerry portrayed the character’s quirks expertly. His vocal quality was stellar. Jerry’s inflection showcased Fester’s intense emotions exceptionally. What made his performance truly unique was his stellar comedic timing. The choices and line delivery landed perfectly. Another notable comic was Manuela Gonzalez-Sierra as Grandma. Her line delivery was just excellent. As the soft-spoken family butler, Thomas Balding made comedy look effortless. Even with the minimal use of sound, Balding’s presence on stage did not go unnoticed. And who could forget Aidan Proffer as Pugsley? His acting was impeccable.
Overall, the cast had great focus, even if they were not the scene’s center. While, at times, some harmonies and musical timing were off, the cast recovered nicely and the clean execution of the choreography was spectacular. Even with some technical issues, the actors never missed a beat, retaining the distinguished air the The Addams Family has at all times.
The hair and makeup crew’s (Torin Balding and Co.) creative looks for Lurch and Fester could bring the dead back to life. The costume crew’s bright colors for the Beinekes contrasted with the Addams’s black aesthetic well. The special effects and props, designed by Brandon Jerry and Thomas Balding, were intricate and detailed.
Full disclosure: all should gather at Sagemont Preparatory School for a production to die for!
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By Ryat Chisholm of Boca Raton Community High School
Some are born great, some achieve greatness, and some have greatness thrust upon them; the production of William Shakespeare’s “Twelfth Night, or What You Will” at A.W. Dreyfoos School of the Arts was greatness thrust upon its audience. This rendition of the classic comedy, set in the 1920s, with a musical twist, was a delightful blend of wit, charm, and exuberance that captivated the audience from start to finish. Originally written in 1601 and performed in 1602, the Twelfth Night takes place around the end of the 12 days of Christmas on the enchanting island of Illyria and centers around a love triangle between a cross-dressing maiden grieving the loss of her twin brother, a duke, and a Countess.
The cast, composed of talented young actors, delivered performances that were nothing short of demanding. In the role of Viola, Kiara Dobrowski shone brightly, effortlessly capturing the character’s blend of vulnerability and strength. Dobrowski’s chemistry with all of her scene partners was palpable. She fully grasped Viola’s nuance and motivation.
One of the production’s highlights was undoubtedly Mahogany Prichard’s portrayal of the beautiful and complex Olivia. Her comedic timing was impeccable, eliciting laughter from the audience with every quip and jest. Prichard brought maturity and emotion to a role not typically played by a high school-aged thespian. Opposite her, Kirra Bevilacqua (Maria), Shane Rainsburg (Sir Toby Belch), Samuel Schneider (Sir Andrew Aguecheek), and Katherine Oliver (Fabian) blended to create a jolly group of mischievous conspirators.
Equally impressive was the portrayal of Feste by Connor Hullender. With his trio of backup singers, Hullender did what a Jester always should do: entertain! To contrast Hullender’s high energy and comedy, Audrey Walker did a wonderful job playing a youthful and cheery Sebastian, Viola’s twin brother, who was thought to be lost at sea.
Beyond the individual performances, the ensemble’s cohesion and chemistry truly set this production apart. All cast members had high energy at all times and a solid understanding of Shakespeare’s difficult passages. Whether they were executing a set change or engaging in spirited banter, the cast worked seamlessly together, creating an infectious camaraderie.
In addition to its stellar cast and production values, the adaptation of “Twelfth Night, or What You Will” stayed faithful to Shakespeare’s original text while infusing it with modern touches. The inclusion of music composed by Tyler Schmaling and contemporary lyrics makes it feel relevant and engaging to viewers of all ages. The set design transported the audience to the enchanting world of Illyria and was masterfully constructed by Kylie Glassgold & Co. From the grandeur of Olivia’s estate to the mellow jazz bar; every scene was brought to life with meticulous attention to detail and a stunning lightscape, creating a visually stunning backdrop for the unfolding drama.
Overall, the production of “Twelfth Night” at A.W. Dreyfoos School of the Arts tackled the daunting task of transforming one of Shakespeare’s plays into an unforgettable experience. The cast and crew succeeded in this plight. From its stunning visuals to its standout performances, it was a truly unforgettable theatrical experience.
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By Melina Gyftopoulos of Monarch High School
“Twelfth Night,” a show filled with loss, love, and laughs, uniquely paired with the curly bobs, jazzy tracks, and mighty fine attire of the 1920s! AW Dreyfoos School of the Arts’s “Twelfth Night” production was truly the bee’s knees!
Written by William Shakespeare, this story revolves around a pair of twins separated at a shipwreck and travels to the fantasy world of Illyria. Illyria includes a mourning mistress, with some conspiring comrades, and unexpected confessions of love from man to woman pretending to be a man. This beautifully complex story was specially told in this production through a roaring twenties ambiance; one may say it made it the cat’s meow!
The woman behind the spiffy, manly physique is none other than Kiara Dobrowolski (Viola). She maintained extremely convincing physicality and a solid commitment for her characterization that provided a convincing manly personality. She displayed a range of emotions that easily communicated the sometimes-confusing Shakespearean verses and presented a Real McCoy performance! Dobrowolski made it easy for Mahogany Prichard (Olivia) to fall for her graces, as Prichard navigated grief expressively and revealed authentic emotional development as the show progressed.
With a walk like no other, the tipsy Sir Toby Belch, played by Shane Rainsburg, gave a phenomenal performance. From properly executed falls, amazing under-the-influence physicality, and overall high-beaming energy the entirety of the show, he was truly the live wire! Hand-in-hand with his best of pals, Samuel Schneider (Sir Andrew Aguecheek), although less intoxicated, was just as lively and had great chemistry with his castmates! The ultimate cheeky cast member, the fairest fool of them all, is Connor Hullender (Feste)! Hullender maintained the jester-like character commendably with a nifty addition of his vocal moments; he was a powerhouse of high spirits!
The ensemble really hit on all sixes, with undoubting energy and commitment in every scene, reactive expressions, and excellently executed choreography! The wonderful flair added by Feste’s Backup Singers (Erin Duran, Juliana Farrel, and Alanis Gonzalez) provided sweet-sounding harmonies to match this romantic comedy. With Shakespeare, the challenge of communicating the storyline can be overwhelming, but the vibrant energy of this cast propelled the storyline effectively.
The technical teams were certainly no fools! The stage manager, Aniston Jennings, and assistants, Makenzie Booker, Sherry Lynn Wiedrich, and Isabela Matzen, worked efficiently, with timely cues that allowed for a smooth-sailing show! The costume crew, co-headed by Sarah Owosina and Kaitlyn Bradwell, impressively hand-crafted gorgeous pieces and selected proper color pallets to complement each character. Yuri Stern and Andrea Mora created hotsy-totsy choreography, commendably teaching the cast and creating great visual pictures on stage! These pictures were complimented by the gorgeous lighting designs by Ryan Brown and executed by Emily Riggs, Sophia Caputo, and Zoe Sutton without a hitch!
The people of Illyria are on the up and up as AW Dreyfoos School of the Arts filled their lively production of Shakespeare’s Twelfth Night with song, dance, and sweet romance!
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By Brooke Koch of David Posnack Jewish Day School
Dreyfoos School of the Arts’ fresh take on the classic story of Twelfth Night brings a vibrant 20’s aesthetic to the forefront, combining an enrapturing love triangle and its conspirators into the world of Illyria.
A romantic comedy focused on love and grief, “Twelfth Night (or What You Will),” written by William Shakespeare, first premiered in 1602. Since its initial publication in the 17th century, there have been numerous retellings and adaptations of the story, such as the 2006 film “She’s the Man.” Set in Illyria, the story unfolds as Viola (believing her brother dead) disguises herself as a man ‘Cesario’ and works under Duke Orsino. The Duke sends Cesario to woo the noblewoman Olivia, with whom he is deeply in love. However, Olivia, not knowing ‘Cesario’ is truly Viola, falls for ‘Cesario’ instead, while Viola falls for the Duke!
Kiara Dobrowolski expertly portrays Viola and ‘Cesario,’ showcasing the wit and humor central to the play. Her performance was authentic, and her expressions were fantastic! Throughout the play, she delivered her lines with genuine meaning and understanding, allowing the audience to comprehend the complex storyline and plot. Alongside Dobrowolski was the standout performance of Mahogany Prichard as Olivia. She perfectly portrayed Olivia’s growth from grief to love through her expressive emotions and physicality. Together, both Dobrowolski and Prichard had fantastic chemistry with each other and the entire cast, allowing the story to flow naturally.
The play’s comedic revenge tormentors were led by Kirra Bevilacqua as Maria, Shane Rainsburg as Sir Toby Belch, Samuel Scheider as Sir Andrew, Connor Hullender as Feste, and Katherine Oliver as Fabian. They performed exceptionally well throughout the play, easily distinguishing themselves from the others. Their energy at all moments was at an all-time high, as they never broke character or lost focus. Similarly, their physicality added greater depth to each scene, especially in the fight scenes, where their cartoonish movements added significant hysteria.
From cross-guard socks to hand-made dresses, the costume department did an excellent job portraying each character and fitting the period of the 1920s. Kaitlyn Bradwell, Sarah Owosina, and Elizabeth Kronhaus oversee the costume department. Together, they found all 60 costumes, with 10 made by students, 17 pulled from inventory, and 12 purchased. They made numerous quick changes throughout the show and perfectly demonstrated the characters’ emotions. This was seen through Olivia’s change in attire, wearing black for when she was in mourning and purple for when she was in love.
“Hey-Ho!” The Dreyfoos School of the Arts rendition of Shakespeare’s “Twelfth Night” was a one-of-a-kind, heartfelt, and whimsical experience that must be seen.
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By Nathalia Lopez of Piper High School
Some are inherently remarkable, some attain greatness through effort, and some unexpectedly find themselves in the spotlight after attending “Twelfth Night” at AW Dreyfoos School of the Arts. Witness a captivating portrayal of Shakespeare’s classic, infused with the spirit of the flapper era, exploring themes of love, mistaken identity, and even yellow stockings.
William Shakespeare penned the comedic masterpiece “Twelfth Night” in 1601, delving into the adventures of twins Viola and Sebastian, who were separated by a shipwreck and landed in the kingdom of Illyria. Viola adopts Cesario’s guise and becomes entangled in Duke Orsino’s court, where romantic entanglements ensue. Meanwhile, Orsino pines for Olivia, a grieving countess who unwittingly falls for Viola disguised as Cesario.
Kiara Dobrowolski flawlessly portrayed the disguised Viola in a tapestry of love, capturing hearts with her commitment to character and captivating stage presence. She amazingly embodied being a man in disguise, with great physicality. Mahogany Prichard embodied the grieving Olivia with impeccable comedic timing and aristocratic mannerisms. At the same time, Chloe Willer brought humor to the stage as the eccentric steward Malvolia, commanding attention with her over-the-top antics and iconic yellow stockings. Sir Toby Belch, the hilarious drunkard, played by Shane Rainsburg, was hilarious throughout the entire show; he had an outstanding embodiment of a drunkard and was always on point with his comedic timing.
All the cast should be commended for their amazing character work, as they had great physicality and their excellent execution of a Shakespeare-style play, as those lines are hard to understand.
The technical brilliance of Dreyfoos’s production shone through, thanks to the meticulous research and attention to detail of Kylie Glassgold and the tech department. Intricate set designs transported the audience to the roaring 1920s, seamlessly complementing the storyline, with Aniston Jennings and the team ensuring smooth transitions and impeccable cue execution. With engaging lighting choices by Ryan Brown, the stage came alive, making this rendition of “Twelfth Night” an unforgettable experience not to be missed. The show was run perfectly with a simple set, flawless hair and makeup, accurate costumes, and smooth transitions, as the audience saw no mistakes.
AW Dreyfoos School of the Arts’ execution of “Twelfth Night” was absolutely brilliant, with a modernized touch and an interesting plot twist.
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By Avery Redlich of NSU University School
“Ladies, gentlemen, or what you will” Welcome to Illyria! With jolly, folly, and talent galore, AW Dreyfoos School of the Arts “Twelfth Night” beamed with hilarity and happily ever afters, hosting “a party only the people of Illyria can throw.”
Written by The Bard himself in 1601 and performed and published in 1602, “Twelfth Night” is one of Shakespeare’s favored comedies, inspiring literary works for generations, from the 2000s spoof “She’s the Man” to school productions such as this. Love triangles running rampant and identities concealed behind suit jackets, Viola meets a band of majesties and misfits while disguised as a man, Cesario. Placing these classic characters in a 1930s Art Deco period and Caribbean setting, Dreyfoos breathed new life into this farcical fun.
“Conceal me what I am.” No mustache disguise could hide Kiara Dobrowolski’s boundless characterization as Viola; her performance within a performance was determinedly divine. “Better a witty fool than a foolish wit!” With each flick of his coattails, animated expression, and song snippet, sophomore Connor Hullender (Feste) was a side-splitting standout in an already shining cast. Enter her royal highness in cat-eye sunglasses: Mahogany Prichard (Olivia) sparkled with stage presence and exceptional line delivery, balancing posh superiority with relishing relatability. “She’s in yellow stockings!” Chloe Willer’s impeccable physicality as Malvolia made for excitement and uproar–cross-garters and all!
As quick with a bottle as with his wit, Shane Rainsburg had toast-worthy comedic timing, consistent slurred speech, and believable drunk motions as Sir Toby Belch, balanced by Kirra Bevilacqua’s plotting poise and pristine presence as Maria; their chemistry with Samuel Schneider (Sir Andrew Aguecheek) and Katherine Oliver (Fabian) in The Conspirators ensemble was as fun to watch as the changing garden statues. The overall cast radiated brilliance through their line deliveries, physicalities, comedic awareness, and energy, all with a commendably challenging script and stage time.
“Is it not well done?” Stage Manager Aniston Jennings and company ensured that it was, with flawless lighting and sound cues, fight call assistance and the immersive bellhop Stage Crew’s (Nikolai Gerrard and company) seamless scene transitions. Sets (Ky Glassgold, Nikolai Gerrard, and Juliet Rojas) docked far more smoothly than the ships of Illyria while being visually stunning and presenting painted portions. Student-sewn Costumes (Kaitlyn Bradwell, Sarah Owosina, Elizabeth Kronhaus, and company) shimmered on stage with attention to detail and quick changes as swiftly swapped as Viola and Cesario. Soliloquies aren’t the only way to grab someone’s attention! Marketing and Publicity (Brooklyn Mackey, Kirra Bevilacqua, Joseph Dimare, and company) excelled through local press releases, a show trailer, and an engaging Instagram presence. Creativity (Tyler Schmaling and Elizabeth Kronhaus) did Shakespeare proud, an absolute standout with era-appropriate original student arrangements and compositions that had all singing “Hey Robin, Jolly Robin!”
“Fare thee well.” From the opening shipwreck to finale celebrations, AW Dreyfoos School of the Arts “Twelfth Night” was nothing short of first quality, taking on an enormously high degree of difficulty with m
erriment, mischief, and a hint of “Hey, Ho!”
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By Hayley Schachter of American Heritage Broward
Once upon a time, in a kingdom far away, Fort Lauderdale High School’s production of Cinderella (Enchanted Edition) whisked audiences away, leaving them wishing that the clock would never strike midnight!
Reinventing the classic fairy tale of Cinderella, Rodgers and Hammerstein’s enchanted musical chronicles the journey of Cinderella, a kind-hearted girl often mistreated by her stepmother and stepsisters, as she searches for love and acceptance, with, of course, the help of her Fairy Godmother. Since its debut in 1957, this magical story has been cherished by audiences of all ages worldwide.
The shoe certainly fit Nylamarie Belle and her wonderful portrayal of Cinderella. Her breathtaking stage presence was a staple of this production. Her powerful vocals beautifully complimented her castmates and made for very nice harmonies. The talented Cody Emerson nicely portrayed the Prince Charming to our Cinderella, Christopher. His character’s arc and development were exquisite, as he marked a shift from a naive prince to a confident gentleman.
Madison Halloran brought to life the icy demeanor of Cinderellas cunning stepmother. Her maternal chemistry with daughters Joy and Grace, portrayed by Cailey Herman and Rashell Broderick respectively, fostered excellent comedic moments. Halloran’s bold vocals, melodramatic facials and hand movements, and commanding stage presence added a distinct flair to this iconically evil character. The ensemble’s excellent characterization added a wonderful realism to this story. Although sometimes the actors demonstrated room for improvement in their spatial awareness, the group as a whole consistently stayed in character and continued the show even during some occasional technical problems.
Cee Pavillard’s sets, adorned with a whimsical cartoonish style, effectively utilized periaktoi to facilitate smooth and swift transitions. Although occasionally these transitions were visible to the audience, the diligent stage crew, led by Xavier Miller, always completed the scene changes as quickly as possible. Despite many challenges, both lighting by Paula Salvador and sound by Daniel Petrenko, Juan Rosero, Justin Culbertson, and Lily Griffin did a nice job overcoming these roadblocks. To compensate for the lack of front light, Salvador utilized a spotlight to highlight the major moments in scenes and songs. In terms of sound, the team did an excellent job troubleshooting the static and feedback from microphones. Reflecting the enchanting era, the gorgeous costumes, constructed and designed by Kayla Parrott, Tamar Anderson, and Celani Lightbourne, truly elevated this show. The sparkly, blue fabrics of Cinderella’s ballgown shimmered in the lights, catching the eye of eve
ryone at the ball.
As the chime of midnight rang through the theater at Fort Lauderdale High School’s Cinderella (Enchanted Edition), audiences left the theater with a newfound sense of resilience and hope for a brighter tomorrow!
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By Sam Dyer of NSU University School
Come one, come all! Haven’t you heard? The Prince is Giving a Ball! From dazzling waltzes to fantastical magic, Fort Lauderdale High School’s one-of-a-kind production of Cinderella (Enchanted Edition) was truly a fairytale to behold!
With a book and lyrics by Oscar Hammerstein II and music by Richard Rodgers, Cinderella (Enchanted Edition) tells the age-old story of a girl’s marvelous transformation from housemaid to princess. Inspired by an original television adaptation in 1957 and following remakes of this legendary fable, this version of the musical is specifically inspired by the 1997 television adaptation of Rodgers and Hammerstein’s Cinderella and was nominated for seven Primetime Emmy Awards.
A scullery maid turning into a sapphire jewel of the night? It may sound Impossible, but with a twinkle and a twirl, this miracle is a dream come true for the titular princess Cinderella, portrayed by Nylamarie Belle. Both effortlessly graceful and classically clumsy with glass slippers, Belle carried a natural stage presence that shimmered and glowed, and her voice surely resounded much farther than just her own little corner!
Chasing this masquerading belle of the ball was his Royal Highness, Christopher, played by Cody Emerson. With elegant strides and princely charm, Emerson mesmerized with some spellbound vocal moments that left the audience in a trance!
When the King and Queen sought every maiden in the kingdom to attend the ball, Cinderella’s cruel and chaotic Stepfamily were (unfortunately) no exception! Leading this evil ensemble was the Stepmother, portrayed by Madison Halloran. Strutting the stage with sass and malice, Halloran brought complexity to this hateful harridan, accentuating the character’s ridiculousness for humor.
Following this malevolent matriarch like scurrying mice were Joy and Grace, Cinderella’s Stepsisters played by Cailey Herman and Rashell Broderick respectively. Don’t let their names fool you; while the duo’s harmonious vocal laments were delicate and bright, they brought out their characters’ twisted natures with irascible portrayals that were as party crashing as they were wickedly entertaining!
While the actors wove wonders onstage, some of the production’s technical achievements were like wishes upon a star! Take the Hair and Makeup led by Soleil Indelicato, which cleverly used eyeshadow that matched actors’ dresses and stylized ravishing wigs for the Stepfamily that topped off their despicable looks.
Fol-de-rol and fiddle-dee-dee! More magic could be found in Special Effects and Technology! Designed by Juan Rosero, an extraordinarily programmed clock loomed over the Prince’s Ball, crawling towards Cinderella’s curfew until it finally struck twelve with a catastrophic chime!
A crucial step in party-planning is sending out invitations, and the Marketing and Publicity team (Kensington Johnson, Mckayla Rattigan, and Samantha Lully) surely spread the word! Along with active posts on their school’s Instagram, the team also furthered exposure of their production through an article with Coral Springs Talk, a local news outlet that featured an interview with their director.
All in all, the cast and crew of Fort Lauderdale High School’s Cinderella (Enchanted Edition) guaranteed the audience A Lovely Night of starry sensations and love at first sight!
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By Lila De Almeida of Saint Thomas Aquinas High School
What lies ahead is a bibbidi-bobbidi-reVIEW of a certain show? What do you get when you cross a lost glass slipper with a wicked stepfamily? You get A Lovely Night at Fort Lauderdale High School’s production of Cinderella (Enchanted Edition)!
Cinderella made her premiere on television in 1957, but with a bit of the Fairy Godmother’s magic, her carriage rolled onto the Broadway stage in 2013. Written by Rodgers and Hammerstein, the original was once one of the most widely viewed television programs of all time. The Enchanted Edition was inspired by the 1997 television remake of the story, featuring Whitney Houston, Whoopi Goldberg, and Brandy. A dazzling 60 million viewers watched the broadcast, a more diverse audience and cast than ever before.
Introducing Cinderella, a beautiful yet common girl with dreams bigger than the whole kingdom’not to mention, she’s a very eligible maiden. The captivating namesake of the musical herself was portrayed by Nylamarie Belle. Her vocals were clearer than her glass slipper, and she was responsible for The Sweetest Sounds of the night! She brought amazing passion to her role, and she impressively took on the duty of choreography for the entire cast.
Of course, every princess needs a villain — or three. The stepfamily brought a hilarious dynamic to the stage, bouncing off of each other with impressive energy. Stepmother, played by Madison Halloran, had a perfectly evil persona, and her condescending treatment of Cinderella was believable from “once upon a time” to “happily ever after.” Her two daughters, Joy and Grace, played by Cailey Herman and Rashell Broderick respectively, sent the audience into fits of laughter with each over-exaggerated facial expression, snorting laugh, and awkward dance with Prince Christopher. The ensemble of the show also admirably exhibited characterization that developed the community onstage. Unfortunately, there were difficulties with the blending of microphones and at some louder points, which resulted in some inaudible dialogue, but the cast as a whole persisted with impressive determination.
Nylamarie Belle (Cinderella) positively shined in her beautiful blue ball gown. However, her dress was not the only eye-catching costume in the production. The royal family’s wealth was beautifully displayed in their garments, especially with Queen Constantina, played by Ella Michele Lippman. The costume designers — Kayla Parrott, Tamar Anderson, and Celani Lightbourne — must be commended for their mastery. At times, the lighting was not sufficient to see the beauty of the outfits, but the thoughtfulness and effort still shined through.
The set of the production, orchestrated by Cee Pavillard, magically transported the audience into the fantasy kingdom. Cartoonish details on household items, such as a mirror and a window, further contributed to the fairy-tale atmosphere. One standout detail was the large moon projection that lingered over the stage, making scene changes unexpectedly beautiful under its subtle glow. This circular set piece was also converted into a clock that ingeniously showed the passage of time over the progression of the night of the ball. Despite some difficulties with the durability of the set during scene changes, the use of multiple rotating triangular set pieces was a brilliant effort at practicality and smoothness.
The relatively new theatre program of Fort Lauderdale High School used a combination of sheer dedication and a sprinkling of magic to execute their production of Cinderella (Enchanted Edition), reminding every individual in the audience that There’s Music in You.
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By Sydney Lotz of Marjory Stoneman Douglas HS
Hear ye! Hear ye! The Prince Is Giving a Ball, where pumpkins transform to carriages, mice turn into horses, and slippers get stuck on the steps of Fort Lauderdale High School’s production of Cinderella (Enchanted Edition).
Originating as a telecast, “Cinderella” made its live broadcast debut in 1957. Following cinematic adaptations in 1965 and 1997, this cherished narrative graced the Broadway stage in 2013. Featuring music by Richard Rodgers and book and lyrics by Oscar Hammerstein II, with the wave of a wand, “Cinderella” unfolds the timeless tale of a young girl who embarks on a journey to the royal ball to meet her one true love. Yet, as the clock strikes twelve, she hurriedly retreats before the enchantment fades, merely leaving behind a glass slipper.
Nylamarie Belle brought Cinderella to life in a truly remarkable fashion, utilizing a delicate balance of naivety and optimism that captivated audiences. Her mesmerizing vocals and flawless waltz technique added depth and charm to the character. Alongside her, Cody Emerson embodied Christopher, offering genuine character development and employing impressive vocal techniques that complemented Belle’s performance seamlessly, ultimately bringing out The Sweetest Sounds.
Taking on the role of the wicked Stepmother was Madison Halloran, who delivered an electrifying performance characterized by her expressive physicality and vocal inflections, maintaining a high energy level throughout the entire show. Halloran exhibited wonderful chemistry with her counterparts, notably Reef Esser (Lionel). In addition, Cailey Herman and Rashell Broderick shone as Cinderella’s stepsisters, Joy and Grace, impressing the audience with their impeccable comedic timing and commendable level of professionalism, even in the face of technical difficulties.
Collectively, the majority of the ensemble exuded vibrant energy and engaged in skillful background acting, notably showcased in numbers like “The Prince Is Giving a Ball.” While there were moments of slight choreographic misalignment, Nylamarie Belle’s meticulous period research and understanding of diverse dance levels within the cast proved instrumental. Her choreography skillfully intertwined simple yet clean movements, perfectly suited to the overall aesthetic of the show.
The technical facets of this production effortlessly demonstrated that It’s Possible to achieve wonder beyond the magic onstage. The publicity team’s ingenuity was showcased through diverse techniques, from a school scavenger hunt to engaging social media trends and strategic press releases, effectively drumming up anticipation for the show. Guiding the hair and makeup crew with flair, Soleil Indelicato curated distinctive looks for each character, masterfully styling wigs and harmonizing makeup colors with the costume design. Although there was an occasional lack of variety in costuming, the meticulous period research wielded its effectiveness, fostering a cohesive aesthetic throughout. Noteworthy attention to detail, such as the purposeful use of regal purple tones, further exemplified the team’s commitment to excellence.
Fort Lauderdale High School works its enchanting magic as “Cinderella (Enchanted Edition)” sweeps audiences into “A Lovely Night” filled with wonder, delight, and Bibbidi-Bobbidi-Boos.
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By Sophie Simon of American Heritage Broward
Newborns and nobles across the globe have been tucked into bed with a classic phrase: a dream is a wish your heart makes. If this is true, then audiences at Fort Lauderdale High School’s production of Cinderella (Enchanted Edition) had fulfilled dreams and even fuller hearts.
With music, lyrics, and a book by Broadway’s own royal pair, Richard Rodgers and Oscar Hammerstein II, Cinderella became the next chapter in the timeless fairytale of princes and pumpkins. Adapted from the 1997 movie version, starring Brandy and Whitney Houston, this magical musical charmed 770 Broadway audiences and took a carriage ride around America for two national tours. This classic story of love at first midnight continues to remind audiences of all ages that love can be found at the strangest hours, forming connections that last from Ten Minutes Ago to happily ever after.
If the shoe fits, wear it! Nylamarie Belle stepped into the slippers of Cinderella with ease and portrayed this princess with passion and poise. Equipped with a soft soprano register that emitted The Sweetest Sounds, Belle beautifully radiated the simultaneous innocence and intelligence of a royal. Waltzing right beside her, Cody Emerson flipped the dance’s patterned melody from a simple one-two-three to glamor and glee. Whether meeting in the marketplace or walking through the garden, Belle and Emerson removed the Loneliness of Evening and reestablished magic in each and every musical moment.
No poison apples or captains’ hooks? No problem! Madison Halloran as the Stepmother proved that evil and exciting are not mutually exclusive. With a powerful voice that matched her devilish physicality, Halloran perfectly emulated what it means to be a fairytale villain. Taking charge as the sinful stepsisters, Cailey Herman (Joy) and Rachelle Broderick (Grace) left no room for lamenting. This not-so-royal family found the balance between charisma and comedy, casting an everlasting spell on the crowd. Despite moments of disengagement and lacking chemistry amongst the ensemble, each character worked together to put the enchanted in Enchanted Edition.
While it’s true that fairy dust and magic wands cannot materialize, this technical crew defied all odds and created magic on stage and behind the curtain. The costume crew (Kayla Parrott, Tamar Anderson, and Celani Lightbourne) made certain each costume was authentic to this classic story, dressing Cinderella in a gown with the perfect shade of bibbidi-bobbidi-blue! Cee Pavillard masterfully translated the nostalgic drawings of a fairytale into periaktoi, triangular set pieces, constructing cartoon-like structures that, although two-dimensional, leapt off the stage. Despite consistent difficulties during their tech week and performances, the lights, run by Paula Salvador still shined on the actors, even with a single spotlight.
When it comes to buying a night of entertainment, Cinderella (Enchanted Edition) is what’s for sale. This talented group of Thespians fol-de-rolled and told this tale. Who took the crown and charmed the crowds? Fort Lauderdale High School is responsible. The seats were filled and people happily shrilled: A show this good? Impossible!
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By Alexandra Almeida of Monarch High School
Find out who the true hero is as we dive into the 90s at some weird magic school. Of course, it is Harry; oh wait, it is a Puff? The sorting is about to begin and find out what in the world is a Puff. See if you are a brave, smart, snake or a Puff at this production of Puffs at Dr. Joaquin Garcia High School.
Written by Matt Cox, this play follows the story of Wayne Hopkins, the not-so-chosen one who wishes to be the hero of his own story. Wayne gets sorted into the Puff house, a parody of the Hufflepuffs, and his adventure begins. This comedy premiered in 2015 and got an off-Broadway Best Unique Theatrical Experience in 2017!
Fifty house points to the iconic trio consisting of Wayne Hopkins (Luke Lazere), Oliver Rivers (Evan Paggi), and Megan Jones (Marcelle Chemtob), who did a fabulous job of working off one another and having believable chemistry. Their vivacious energy and seamless interaction sold the fact that they were best friends. Paggi had excellent character development throughout the story. His vocal transition as Oliver grew up was commendable and added to his arch. All three had impeccable comedic timing and were hilarious, making this show a true parody!
The man. The myth. The legend. These Puffs would follow anything Cedric (Justin Lynch) does! Lynch gave off the perfect mix of cool guy swagger and comedic moments full of personality. He could make anyone believe that Badgers are great or that it’s Third or nothing! Also, playing He-Who-Must-Not-Be-Named (Who? Oh, Mr. Voldy), he did a great job at making this dark lord funny. Another multi-tasker, Talya Frey, played ten characters during the show, making each memorable and distinct! She was always in character, even when quickly switching to the next one.
Hi!! The ensemble was wonderful, waving their yellow flags proudly; while some actors could have projected and spoken more clearly when heard, they always landed each joke with impeccable comedic timing.
The technical aspects of this show were quite magical! Stage manager Miranda Pachter called rapid-fire cues during scenes like Harry’s battle; all the cues for the spells worked wonderfully and were called with precision. There were times when microphones were turned on too soon or too late. The sound team (Raeed Gangat and Cecilia Ferriera) did a great job tying the story together through the music and implementing cues. Props also did a fantastic job bringing us into the story with memorable props like the year books, mirror, scroll, and snake!
While they may be losers and nobodies chanting, We are not a threat, please be our friend, they’re losers and nobodies standing tall, loud and proud in Dr .Joaquin Garcia High School’s production of Puffs!
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By Bella Nanavichit of Archbishop McCarthy High School
There are four houses: Brave, Snakes, Smart, and the Puffs! Dr. Joaquin Garcia High School presents a hilarious tale of seven increasingly eventful years at a certain school of magic!
Puffs is a play created by Matt Cox in 2015. The show premiered at the People’s Improv Theater in New York. The play went on to perform Off-Broadway two years later at New World Stages. It was nominated in 2017 for the Off Broadway Alliance Award for Best Unique Theatrical Experience. The play is intended to be a parody of J.K. Rowling’s famous book series, Harry Potter, but the events are instead told through the eyes of the Hufflepuff house, which is known to be the most ignored and overlooked house in the series.
It takes a truly remarkable cast and crew to properly perform a parody, and these students show up and show out doing exactly that. The main trio of Luke Lazere as Wayne Hopkins, Evan Paggi as Oliver Rivers, and Marcelle Chemtob as Megan Jones had wonderfully distinguished chemistry, which grows and blossoms with the characters’ maturity over the course of their school years. Narrator, played by Sophie Sumrall, whimsically guides the audience along the Puffs’ journey with playful engagement and a sweet disposition!
Miranda Prachter does a phenomenal job, calling every comedically timed cue perfectly. Costuming must be given a standing ovation for going above and beyond with every single costume piece and the meaning behind each one. On top of being convenient for the many quick changes, each character’s costumes are all very carefully thought out, from symbolic imagery in the Puffs’ yellow pieces to Wayne’s journey via nerdy t-shirts. Another commendable tech aspect is props! Evan Paggi, Juliet Cintron, and the rest of the prop crew work hard to create huge prop pieces, such as a ironically large Year 5 book to their very own (and very large) basilisk!
Overall, this play had the audience constantly doubled over with laughter! Fans of the series and those experiencing the wizarding world for the first time can guarantee a grand old time with this production. The Garcia Theatre Company certainly makes a great impression with their hilarious storytelling!
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By Mia Harms of Westminster Academy
Year change!: The year is 2024 and Dr. Joaquin Garcia High School put on a spellbinding and magical performance of the play, Puffs. Written by Matt Cox, Puffs tells the backstory of the Harry Potter franchise now starring the Puffs and how they stayed true to their reputation and embraced it during obstacles and trouble.
The Puffs as an ensemble had great energy and truly brought so much to every scene they were in because of it. At times because of sound and mics being turned off, you could not hear what the Puffs were saying however they made up for this in facial expression and hilarious scenes and shenanigans. Puffs’ Talya Frey and Journey Collazo as Ernie Mac and Sally Perks were always in character and devoted to the scenes with high energy. All the Puffs should be commended for their quick and hilarious costume changes as they would add props to be another character. Their separate characters were easy to distinguish from their Puffs characters although they were wearing the same costume.
Sophie Sumrall’s enchanting narrator’s voice and acting guided us through the whole story as she would always be in character and was able to distinguish between every scene by commentary and telling the audience when a year would begin and close. This was a crucial part of the play because there is so much happening in the play at any moment whether it is trolls, romance, or sports games. The divisions of the years made it easier to digest the play as a whole.
Evan Paggi’s portrayal of Oliver Rivers was the highlight of the show! His abilities and versatility in voice acting were phenomenal. In the first and part of the second act, he put on this hilarious squeaky high pitch voice for Oliver and then changed it at the end of the second half to a darker, lower voice to indicate the more serious tone of Act 2. His stage presence and acting were fantastic and he was always committed to the character. His chemistry with Marcelle Chemtob, who played Megan Jones, was convincing and magical. They truly worked so well together, and in any scene together they shined and made each other better actors. Marcelle Chemtob also did an amazing job with characterization as her character Megan slowly began to love and understand being a Puff and what that meant to her.
The costume and hair/makeup crew did a fantastic job with this play and they have to be commended for it. They were able to fit the Puff yellow into every costume that made everyone look great and make it a part of everyone’s individual style. An important and impressive detail was in the character, Megan Jones, because in the first act she is dressed head to toe in black to show her disposition and contrast to the Puffs obnoxious and happy yellow. However as Megan begins to love her Puff heritage and friends, a lighter bow and top is added to show her slow change. That detail was very clever on the hair and customers’ parts and a very subtle touch.
Overall the production and execution of Puffs by Dr. Joaquin Garcia High School was fantastic and bewitching!
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By Alyvia Rigg of J.P. Taravella High School
Are you brave? Maybe you’re smart? Could you be a snake? Or are you everything else, loyal? and kind? a Puff! No matter who you are you have a place in Dr. Joaquin Garcia High School’s magical production of “Puffs.”
“Puffs” is a 2-act play written by Matt Cox, the show parodies the classic adventures of Harry Potter, taking us into the story of a regular boy who was thrown into a world filled with magic and sorcery. It tackles the question of who will remember us when we die and if we will leave an impact on the world.
“Oh. My. Wizard. Gods.” Luke Lazere as “Wayne Hopkins” embodied his character. With a remarkable focus on his characterization, Lazere delivered the portrayal of the awkward yet heavily ambitious young boy beautifully. Casting spells of algebra and trigonometry, Evan Paggi (Oliver Rivers) had an incredibly bold take on his character. Making amazing choices such as having a distinct voice that brought his character to life and throughout the show, showing off the progression of his character by maturing his tone. Paggi’s chemistry with Marcelle Chemtob (Megan Jones), was delightful to watch on stage. All three of these Puffs were thrown center in the story, and they all did a great job playing off one another and helping lead the story.
Guiding the audience through each school year, “Narrator” played by Sophie Sumrall was delightfully brilliant. Sumrall had impeccable comedic timing and a wonderful stage presence. Playing both the brave hero (Cedric) and “he who shall not be named” (Mr. Voldy) Justin Lynch illuminated the stage. Lynch had stupendous comedic timing, adding to the already humorous nature of the show, bringing high energy to every scene he was in.
“Puff hug!” The Puffs as an ensemble had crazy good energy, everyone was engaged on stage and seemed to have a lot of fun. The entire ensemble had powerful chemistry with one another and understood the parody aspect of the show, allowing the jokes to land every time leaving a humorous sight on the stage. Each actor displayed distinct acting choices, allowing each character to differentiate between one another, more specifically Talya Fey, Journey Collazo, and Alayna Luna all did a phenomenal job portraying each of their many different characters, from the character’s voice to their physicality.
To help bring whimsy into this fun production, the technical aspects of this show were impeccable with magnificent attention to detail and incredible teamwork between all crew members. Ethan Needle and Miranda Pachter’s costume changes were well done and changed according to the character’s feelings and character growth, like Megan’s yellow bow in Act Two after wearing all black symbolizing her acceptance of being a true puff. Stage manager Miranda Pachter did phenomenally calling cues, especially during battle scenes, and adapted to a last-minute change of a crew member exceptionally well.
Friendship and magic are intertwined in Dr. Joaquin Garcia High School’s production of “Puffs.” Whether you fancy the art of potions or prefer herbology, indubitably, “Love is the only magic you need.”
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By Rebekkah Merkel of The Benjamin School
Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic was written by Matt Cox. This play is a parody of the Harry Potter series, taking the iconic story and putting it into the perspective of the Hufflepuffs- the Puffs. Puffs is centered around Wayne Hopkins, a boy growing up in New Mexico, just finding out he is a wizard and going off to magic school.
The play began in a wonderfully magical way, with the Narrator, Sophie Sumrall, turning off the house lights with a flick of her wand. Sumrall played a highly engaging and likable character, having a constant accent throughout the play. Her timing was top notch and her costume changes helped differentiate the different years. Wayne Hopkins, played by Luke Lazere, had great energy and life to him. Lazere embodied the character and his desire to be a hero. In a similar lens, Evan Paggi, who played Oliver Rivers, brought his character to life. With the creative character voice and impressive physicality, Paggi made Oliver stand out from the crowd. Justin Lynch, as both Cedric and Mr. Voldy, was absolutely hilarious. His comedic timing was phenomenal and his facial expressions totally enhanced the experience. While there were times in which certain actors were hard to hear or understand, whether due to mic issues or diction, the actors made up for this through their dedication to
their roles and enthusiasm for their characters.
The play held a great deal of comedy, all of which was executed flawlessly. From the funny one-liners to running gags, and more, the cast of Puffs portrayed the humor in a way that did not feel forced whatsoever. An especially funny actor was Journey Collazo, in her roles of Blondo Malfoy, Bippy, Sally Perks, and more, I could not help but laugh. Her timing was genius and her vocal shifts between characters were also very impressive.
Additionally, Juliet Cintron, as Harry, was especially entertaining. The costume choices overall were excellent, but I have to commend the double-sided sweater that Cintron wore. It not only allowed for rapid character switches but also created a clear distinction between characters.
The spotlight operator, Alyssa Gonzalez was excellent. For only learning the show an hour prior, her execution was fabulous. She should be incredibly proud of herself. Also in tech, I have to commend Miranda Pachter, who not only Stage Managed but also worked on the poster design and costume design, all of which were incredible. Despite the sudden introduction to the show, Gonzalez’s success as a spotlighter is also a testament to the incredible leadership of Pachter.
The Puffs was an incredible performance and kept me laughing the whole time. Dr. Joaquin Garcia High School should be very proud of their performance.
By Hannah Hackney of Marjory Stoneman Douglas HS
Got a taste for the putrid and unsightly? Come see Coral Springs High School’s production of Shrek the Musical, Where nothing is as it seems once you look under the surface!
Shrek the Musical has books and lyrics written by David Lindsay-Abaire and music by Jeanine Tesori. It is based on the animated film entitled Shrek, and the book written by William Steig. The musical opened on Broadway in 2008. The story follows an ogre named Shrek who was sent to live on his own as a child and taught that he was born to be feared and hated. Through completing a mission with his new friend, Donkey, to save the lovely and fiery Princess Fiona for the infamous Lord Farquad in order to restore his swamp to solitude, he discovers that he is not so unlovable after all.
The leads of Shrek the Musical, were mesmerizing with incredible chemistry, commanding the stage as a dynamic duo throughout every scene. Tajdael Bruneus, portraying Shrek, delivered a consistently authentic accent and persona. Meanwhile, Angelina Nazario, portraying Princess Fiona, showcased impressive vocal prowess, intertwining her singing performance with her acting chops. Her rendition of Morning Person showcased her ability to maintain her strong vocals while tap dancing, as well as excellently compensating for mic issues. Despite the hindrance of ogre prosthetics, both leads showcased their talents with finesse.
The supporting cast of this show elevated the production with their outstanding performances, seamlessly complementing the leads. Sean Jenkins as Donkey lit up the stage with his flawless comedic timing, vocals, and personality, embodying the character with unparalleled commitment and consistency. Maddie Galan as Dragon presented show-stopping vocals and a passionate character, maintaining a magnetic presence alongside Jenkins in their shared scenes. Tristan Chung as Lord Farquad dazzled the crowd with his interactive comedy and stark mood shifts. The ensemble served as an indispensable pillar, delivering strong harmonies, impeccable comedic timing, and seamless unity. The fairytale characters integrated the show’s thematic essence into the story with excellence. Together, the cast lifted the leads to achieve a cohesive performance.
The technical aspects of Shrek the Musical brought every aspect of the show to life. The costumes, run by Elisse Rodriguez, brought the cast out of their humanity and into the various abstract roles of the story. With Angelina Nazario’s ingenious puppet crafting, various other characters were brought to life such as Dragon and Gingy. Stage manager Elena Bartoszak orchestrated seamless scene transitions and well timed cues, ensuring a fluid experience for the audience. The transformative set design, particularly the bridge set and the dynamic conversion of the orchestra pit into a lava moat, elevated the theatrical immersion to new heights. The makeup, run by Malaya Zabat, created a canvas of expression for each character, effortlessly adapting to the evolving narrative and numerous character transformations with finesse.
To unleash your inner ogre: a mean, green giant with a hidden heart of gold, don’t miss Coral Springs High School’s production of ‘Shrek the Musical!
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By Sofia Fernandez of Calvary Christian Academy
Once upon a time, in the big bright beautiful world of Coral Springs High School, the storybooks came to life! Fairytale creatures and people of Duloc alike could sing a little travel song and experience the magical journey of Shrek The Musical.
This tale was first told by author and cartoonist William Steig in his 1990 picture book entitled Shrek! This book was later adapted into a DreamWorks Animation film in 2001. This movie became the basis for the musical adaptation that made its Broadway debut at The Broadway Theatre on December 14, 2008. This musical follows the story of Shrek, a green ogre who is sent on a quest to save a princess in order to get his swamp back.
A roar of applause for Tajdael Bruneus and his performance as Shrek. His ogre-whelming talent was showcased through his diction and line delivery. His acting choices contained more layers than onions as he contrasted his tough green exterior with a heart of gold. Alongside him, Angelina Nazario’s portrayal of Princess Fiona was as beautiful as a princess before sunset. Her elegant vocals made birds and the audience;s hearts explode with her strong belted notes and impressive range, specifically highlighted in I Know It’s Today and “Morning Person. She also had lively facial expressions and an enchanting stage presence.
What’s a hero without his noble steed or pet? Sean Jenkins’ rendition of Donkey was full of charisma and animated spirit. He had impeccable comedic timing and immense commitment to his role through his physicality and consistency. Maddie Galan had a scorching hot performance as the Dragon. Her fiery personality shone through her chemistry with Donkey and in her solo Forever. Finally, Tristan Chung’s portrayal of Lord Farquadd certainly did not fall short with his exaggerated expressions and comical interactions with the audience.
As an ensemble, the cast truly brought the tales from the storybook page to the theater stage. Each member was energetic and committed to their role. There was a clear differentiation between the multiple characters that each actor played throughout the production with their chosen mannerisms, facial expressions, and accents. The musical numbers consisted of both harmonious vocals and clean choreography, most notably in Story of My Life and Freak Flag.
The technical aspects of this production brought the magic of storytelling to life. To capture the whimsical essence of the classic characters, each costume was intricately crafted by Elisse Rodriguez and her crew. The set was also thoughtfully designed to allow for smooth transitions and transport the audience into the land of Duloc. The lights and set also impressively worked in tandem for several of the scenes, including the bridge scene and Fiona’s initial transformations.
As the sun sets and the curse fades, Coral Springs High School’s production of Shrek The Musical conveyed a timeless message that can overcome all magic and royal decrees: What makes you special is what makes you strong.
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By Lily Moscowitz of South Plantation High School
By the Royal Decree of Lord Farqaud, there shall be no more talking animals, lying puppets, or ogres waving their “Freak Flag”s in the kingdom of Duloc. But the cast and crew of Coral Springs High School’s production of Shrek the Musical welcomed audiences into their “Big Bright Beautiful World.”
The world was first introduced to the character of Shrek in a children’s book published in 1990. This became the basis for countless movies, and eventually Shrek the Musical which was written by David Lindsay-Abaire and first performed in 2008. It follows the story of an Onion named Shrek as well an ogre, but they’re pretty much the same thing. After his swamp is infiltrated by the forces of fairytale creatures, he is forced to start a journey to get it back. Along the way he meets his noble steed, an energetic and talkative Donkey who consistently pesters him on their way to save Princess Fiona. While the princess may not be graceful, she is certainly not an ogre, right?
Starring as the title character of Shrek, Tajdael Bruneus was able to use remarkable acting skills to fully commit to his role. His accent work was consistent throughout the entirety of the show. His banter with both Donkey, Sean Jenkins, and Princess Fiona, Angelina Nazario, created a dynamic production. Jenkins was able to successfully win over audiences with his witty one-liners, sparkling personality, and remarkable voice in his many songs such as Don’t Let me Go and Make a Move. Nazario was able to deliver her lines and songs with the spunk necessary to play the character of Fiona. Her songs I Know It’s Today and Morning Person showed off her beautiful singing voice.
Although his character may have been challenged vertically, Tristan Chung captivated audiences with his impeccable comedic timing. His interactions with the audience throughout the production gave an added layer of depth. In her role as Dragon, Maddie Galan brought outstanding energy to the cast. She was able to bring the fire-breathing popstar to life on stage. As an ensemble, the fairytale creatures worked to support the story throughout the whole production. Standout members of this group were Sofia Palhano as Gingy and Tinkerbell, Jeremiah Johnson as Big Bad Wolf, and Elisse Rodriguez as Humpty Dumpty. The ensemble was successful in their dancing, consistently staying in sync throughout the show.
Perfectly supporting the impeccable cast, the crew created a beautiful world on stage. The set construction crew, led by David Gomez, Maurya Thakore, and Sofia Zanatti, was able to create versatile set pieces that innovatively created different scenes. Malaya Zabat headed the hair and makeup crew, which worked tirelessly throughout the show to create transformations between different characters portrayed by one person. The costume crew was able to successfully assist the countless costume changes that took place throughout the production. The props throughout the show, designed by Angelina Nazario, such as the Gingy puppet, were impressively detailed.
Whether it be in the swamp, Duloc, or a Dragon guarded tower, the cast and crew of Shrek the Musical created a world where audiences could feel fully immersed in this fairytale.
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By Avery Redlich of NSU University School
Looking for Duloc? Take a stroll down Yunita Pal Avenue, make a left at Sawgrass Mills Mall, and step into Coral Springs High School, because Shrek the Musical reminds that every good fairytale needs an adventure — and every good adventure needs a green, smelly ogre.
With book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, Shrek the Musical is inspired by the 2001 DreamWorks film of the same name and the preceding picture book by William Steig. The comedic satire sees the solitary Shrek wading out of his swamp and off to save a princess — only, he’s not the classic fairytale prince, and this fable-filled kingdom is a bit king-doomed.
Beware: ogre! Tajdael Bruneus brought the green, mean, fighting machine from swamp to stage with consistent physicality and natural chemistry with Princess Fiona and Donkey. *Insert Donkey laugh.* From his impeccable vocal presence to his boundless energy and horse-ish hilarity, Sean Jenkins stole scenes (and Shrek’s heart) as Donkey. Its me, Fiona! Angelina Nazario’s royal vocals, princess-y poise, and crowning facial expressions as Princess Fiona reigned supreme.
Shrek wasn’t the only green one, because Lord Farquad glowed green with envy; Tristan Chung’s performance was nothing SHORT of spectacular, with every LITTLE character choice perfectly pointed. Maddie Galan certainly brought the fire as the fire-breathing dragon with blazing range and flaming stage presence. Do you know The Muffin Man? Well, Sofia Palhano’s Gingerbread Man (Gingy) was just as unforgettable thanks to hilarious vocal inflections. With an enormous ensemble of magical misfits from Poppa Bear (Samuel Douglas) to Big Bad Wolf (Jeremiah Johnson), each actor supplied energy, distinct personalities, and excitable interactions — even while portraying multiple characters throughout the show. The cast’s exceptional audience engagement during pre-show, wedding objections, and bop-worthy bows brought the storybook alive in the theatre.
Enter the Big Bright Beautiful World: the Set Team (Maurya Thakore, Sofia Zanatti, and David Gomez) stunned with quickly-changed, painted wall pieces and a wooden bridge with seamlessly-called, collapsible railings. Can freak flags fly in the dark? Lighting (Maya Rowe and Gianna Ritchson) wowed with over 300 colorful cues, commendably met by Stage Manager Elena Bartoszak and Assistants Maya Rowe and Ash Putnam, even with Bartoszak dual enrolled. Adding to this production’s endless creativity, the harmonies of Sofia Palhano’s Vocal Direction brought harmony to the kingdom. Angelina Nazario’s Props went above and beyond, from the spraying skunk deodorant to Gingy and the Dragon. Tip a cap for tap: Choreographer Maddie Galan wrote liveliness directly into this tale, particularly in numbers like What’s Up, Duloc? and Morning Person, complete with a tap sequence. Sew what if it was Elisse Rodriguez’s first time sewing clothing? The large array of costumes, unique to each character, positively Du-rocked.
*Cue the sign for applause.* Through fairytale performances and fantastical technical elements, Coral Springs High School’s production of Shrek the Musical was as layered as an onion or an ogre. I’m a Believer that this storybook is closed!
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By Avery Redlich of NSU University School
In Coral Springs High School’s big, bright, and beautiful production of Shrek the Musical, happily ever after is more than meets the eye. Between beguiling belches and enchanting eviction notices, the cast and crew performed this tale with roaring passion!
Based on the 1990 picture book Shrek! by William Steig and its 2001 animated film adaptation of the same name, Shrek the Musical opened on Broadway on December 14, 2008. With the book and lyrics penned by David Lindsay-Abaire and music written by Jeanine Tesori, this storybook subversion was well-received by critics and ran for over 400 performances. The musical was nominated for eight Tony Awards in 2009 along with a Grammy nomination for Best Musical Theater Album.
Warning: this is the part of the review where you run away (not really)! Uproarious and uncompromising, step aside for Shrek, the audacious ogre portrayed by Tajdael Bruneus. Mean, green, and remarkably obscene, Bruneus gave the titular brute a layered performance through quality characterization, bringing both caustic and caring sides of the iconic beast. Opposite Shrek was his noble steed Donkey, performed by Sean Jenkins. Like some whipped cream atop a perfect parfait, Jenkins’ vocal performances were lavish and smooth. He also sprinkled some captivating character commitment into his performance, making the perfect sidekick sundae!
No fairytale is complete without a damsel in distress, yet the fair Princess Fiona, played by Angelina Nazario, was no maiden to mess with! From on-beat burps to piercing notes capable of avicide, Nazario displayed vocal expertise that soared above the tallest tower of her keep. Her castle of captivity was guarded by a vicious yet vivacious Dragon, portrayed by Maddie Galan. Whether fiery foe or unlikely love interest, Galan both frightened and allured with a breathtaking vocal performance that the audience will certainly remember Forever!
Underscoring Shrek’s adventure was an ensemble full of fairytale creatures! While each actor was phenomenal at making their character unique, some of these wonderful weirdos stood out amongst their peculiar peers. Take Poppa Bear (Samuel Douglas) or Humpty Dumpty (Elisse Rodriguez); while the two only appeared with the rest of the ensemble, they seized each moment with parading physicality and crisp dancing.
While these kooks unquestionably cast their own spell, some of the production’s technical achievements were also true wizardry! Such magic, for instance, could be found in the Props team (Angelina Nazario & Crew,) These efficient enchanters crafted puppets for Dragon and Gingy that functioned extraordinarily well, and their delivery of little gags like skunk-butt body spray had a great impact on the production’s immersion.
Similar sorcerers were part of the Sets team (Maurya Thakore, Sofia Zanatti, & David Gomez.) From Duloc’s palace walls to a rickety bridge leading to the dragon’s keep, the team manufactured Shrek’s magical milieus with stunning colors and commendable construction work!
Radiant and rude, stupendous and smelly, the cast and crew of Shrek the Musical at Coral Springs High School instilled that no matter who you are, it’s okay to let your Freak Flag fly!
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By Sydney Lotz of Marjory Stoneman Douglas HS
In the wake of a moonlit adventure from Neverland, Wendy Darling steps back into the ticking rhythm of the real world and starts to grow up. Join us, for just 8 minutes, to see just how Monarch High School uses a little faith, trust, and pixie dust into their mesmerizing rendition of ““Lost Girl.
Crafted by Kimberly Belflower, “““Lost Girl” intricately weaves threads of J.M. Barrie’s cherished character, Wendy Darling. Amidst the countless cinematic adaptations that have explored Peter Pan’s tale from various angles, this rendition casts a spotlight on Wendy’s perspective. Long after the memory of Peter’s ethereal departure from her bedroom window fades, Wendy resolves to embark on a journey to reunite with him, seeking to reclaim her stolen kiss and, in doing so, rediscover the path to her own onward journey in life.
Isabella Le Sante embodied the role of Wendy with remarkable ease, skillfully employing a range of expressive emotions, nuanced vocal inflections, and adept physicality. Le Sante seamlessly executed outstanding characterization, marked by a convincing sense of naivety throughout the entirety of the production, in which her presence never left. The chemistry between Le Sante and Phoenix Orival, personifying Slightly, was nothing short of exemplary. Together, they artfully navigated the spectrum of their relationship, effortlessly transitioning between moments of humor and profundity with a captivating finesse.
Kiana Maria Linares, Catherine Hoskins, and Gabriella Galeno skillfully embodied the doll-like essence of A, B, and C, consistently presenting expressive facials, characterized vocal tones, and captivating narration throughout their entire performance. Collectively, the ensemble of this production adeptly maneuvered through the somber shades of trauma and heartbreak, employing expressive physicality and immersive storytelling. Despite sporadic lapses in character consistency, the overall dedication to delivering a commendable performance in such an intimate setting stands out. The set crew, in particular, crafted and built an immersive audience seating arrangement on the stage, enhancing the interaction and connection between characters and viewers to a profound level.
With an impressive number of sound and lighting cues, stage managers Laylah Francois and Morgan Swanson flawlessly executed the arduous task of orchestrating synchronized cues, seamlessly transitioning the settings and emotional landscapes of Wendy’s psyche. The lighting team carefully selected a blue color palette, intertwined with spotlights, artfully illuminating Wendy’s inner struggles and revelations. This captivating aesthetic extended beyond the stage, playing a pivotal role in the publicity team’s efforts to engage their community. From hosting lunchtime Kahoots to strategically placing photo ops around the school and creating entertaining social media content, the team successfully fostered community involvement, ultimately achieving the remarkable feat of selling out three shows.
Curious about Wendy’s fate? Monarch High School has the answers to all your burning questions, demonstrating that magic, just like Peter’s enduring shadow, lingers well beyond the final curtain in their production of “““Lost Girl.”
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By Charlotte Canter of North Broward Preparatory School
A tinge of magic, the chill of an open window, and the age where everything changes — everything matters. Become immersed in Monarch High School’s enchanting production of “““Lost Girl as Wendy Darling steps out of the shadows of her nursery to reclaim her kiss and grows up in the process.
Years following Wendy’s return from Neverland, ““Lost Girl explores her life after Peter failed to reappear on her windowsill. Written by Kimberly Belflower, the dramatic coming-of-age play was awarded the 2018 Kennedy Center Darrell Ayers National Playwriting Award. Haunted by her memories of Peter Pan, Wendy navigates an adventure of self-discovery, meeting others who were taken to Neverland and struggling to reconcile the magical world she once knew with the realities of adulthood. In ““Lost Girl, J.M. Barrie’s renowned story continues, yet this time, no pixie dust can conceal the hardships of hurting and healing.
As a girl stuck in the past Isabella Le Sante expertly portrayed the iconic, imaginative Wendy. Le Sante brought extensive depth to the role, with physical choices contributing to the character arc exhibited. The intentionality of her movements was particularly impressive when her back was facing the audience — due to the show being performed in the round — as her emotional intent remained distinct. Le Sante’s facial expressions and vocal inflection synergized to craft a constant vulnerability in her performance, a noteworthy achievement given the extensive time spent on stage. Audiences will need far more than eight minutes to praise Isabella Le Sante’s passionate performance.
As the loyal, lovesick Slightly, Phoenix Orival excelled. He adeptly showed an expansive range of emotions, bringing laughter with each quippy remark while maintaining the serious tone of the story. Orival’s dynamic with the Lost Boys (Morgan Rens, Emma Alpern, Travis Cousino) was commendable.
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The ““Lost Girl cast demonstrated distinct individuality while fostering a dark ambiance. As A, B, and C, Kiana Linares, Catherine Hoskins, and Gabriella Galeno should be praised; they maintained consistent characterization, and their chemistry as an ensemble was notable. Although the lack of projection in certain moments made it difficult to hear dialogue, the outstanding storytelling in the immersive yet unconventional space compensated for any discrepancies.
From a technical standpoint, the skill exhibited by the crew of ““Lost Girl was immense. The props were highly detailed, referencing previous variants of Peter Pan and Wendy’s story. The cues were perfectly timed, and the lighting aided the plot; the execution of Peter’s shadow was especially striking. The makeup team did a fantastic job: the silver highlighter, representing pixie dust, ensured the audience always knew who had journeyed to the second star to the right and straight on ‘til morning.
Monarch High School’s production of ““Lost Girl leaves all longing for the magic of Foreverland. As Wendy closes the nursery window curtains, bidding Neverland goodbye once and for all, audiences are reminded that to fly, you must first fall.
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By Abby Goldberg of Cooper City High Schoo
One kiss, one adventure, one boy, all only to be thought about in the fleeting span of eight minutes. Monarch High School’s riveting production of ”Lost Girl, beautifully encapsulates the magic and heartache of a tragic first love.
Written by Kimberly Belflower, ”Lost Girl follows characters from the timeless 1900’s tale of “Peter Pan.” As Wendy Darling struggles to heal from the insurmountable pain of her first love, the world around her appears to effortlessly move on. On a mission to find Peter and reclaim her kiss, Wendy discovers the truths behind embracing change and growing up. Eventually, she learns the power in shutting her window, keeping both feet on the ground, and letting go.
Leading the show with talent and grace was Isabella Le Sante as Wendy. With each nuanced gesture and expression, she masterfully conveyed a powerful range of emotions throughout the production. Le Sante impressively remained on stage throughout the entirety of the 90-minute production, without falter in her energy or emotion. Portraying Slightly, Phoenix Orival skillfully navigated a tapestry of feelings, serving as Wendy’s anchor in a sea of uncertainty.
Embodying A, B, and C, Kiana Linares, Catherine Hoskins, and Gabriella Galeno worked extremely well together. They each remained consistent, maintaining perfect synchronization throughout. All three actresses played off one another well and enhanced the overall cohesion of the performance. Travis Cousino was absolutely hilarious as Nibs. His comedic timing and humor brought much needed light amidst the moments of darkness.
The cast as a whole, must be commended for their truly phenomenal performance. Each actor crafted distinct and well-developed characters. The cast also remarkably conquered the difficult task of performing — in the round– with ease. They impressively remained immersed in each scene and maintained an incredible focus. Their overall portrayal of complex themes and heavy subject matter with vulnerability and grace helped to create an authentic and stellar performance.
The technical aspects of the show were fantastic. Since the audience was sat extremely close to actors, attention to detail was vital. The stage managers, Laylah Francois and Morgan Swanson, must be applauded, as their timely cues allowed audiences to be immersed into the world of the show. The hair and makeup team, led by Gabriella Galeno, must also be commended as their creative use of glittery makeup showed the lasting effect Neverland has on each person it touched.
There are two kinds of people in this world, those who shine and those who notice. The cast and crew of Monarch High School’s ”Lost Girl undeniably shine, captivating audiences who can’t help but notice.
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By Jack Steinman of NSU University School
When the pixie dust fades away and the truths become harder to swallow, what is left of the girls who once blew kisses and knew how to fly? Monarch High School’s searing production of Lost Girl was an immersive exploration of the repercussions of being forgotten.
Winner of the 2018 Kennedy Center Playwrighting Award, Kimberly Belflower’s Lost Girl is a continuation of J.M. Barrie’s Peter Pan, recalling Wendy Darling’s trauma and the effects of her time in Neverland. As time goes on, she stays in her second-floor nursery, gazing at the second star from the right, while her mother grapples with her daughter’s distress and friends around her grow up. Told in an incredibly intimate setting, the story’s resonance and underlying message becomes even more stark when watching 5 feet away from the actors.
Bringing the titular lost girl to life, Isabella Le Sante (Wendy Darling) embodied her role beautifully. LeSante, who never left the stage, stayed emotive and consistent. Her chemistry with the audience was palpable, conveying a genuine and dark story with grace.
Opening the story with chilling dialogue, Kiana Linares (A), Catherine Hoskins (B), Gabriella Galeno (C) played narrating dolls throughout the show. Voicing the lost girl’s inner thoughts, The ABC Girls created an interesting dynamic, shifting from onlookers to Wendy’s story, to empathizing victims. The trio’s popcorn style of line delivery was well executed, as well as their impressive physicality and stylistic movement.
Hailing from Neverland, the Lost Boys served as Wendy’s reminder of what she had lost. The lost boy ensemble played off one another well, notably in scenes with Wendy. Through her comedic timing, Morgan Rens (Toodles) brought levity to tense moments in the show. Phoenix Orival (Slightly) was a standout from the Lost Boys, giving a truthful performance as he attempted to connect with Wendy. Showcasing how time heals, the company brought an important story to life, telling the untold stories of adolescence and abuse. From the shadows of a dark tale, Sofia Nayar (Callie) displayed an in-depth performance of a survivor’s tale, with decisive delivery and acting choices.
Technically, Lost Girl embraced student driven work. The stage management team called cues promptly and ran a smooth show overall. Lighting, by Samantha Johns and Val Feria, created a star-twinkling atmosphere that when shifted, conveyed a change in energy throughout the theater. The hair and makeup team, led by Gabriella Galeno, created designs that represented the themes of the show and read well onstage. Additionally, the set was well used and helped bring the audience in to highlight the importance of the story.
Although sparkles may have dimmed, Monarch High School’s production of Lost Girl brings untold stories out of the shadows, allowing audience members to think about their show for more than 8 minutes a day.”
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By Sam Dyer of NSU University School
Love can feel like flying, but what happens when you never land? Balancing childlike wonder with the complexity of romantic trauma, Monarch High School’s production of Lost Girl truly set the bar sky high!
A fairytale focused on faulty imagination, Lost Girl was crafted by Kimberly Belflower. The story was based upon the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Up and its subsequent 1911 novel reworking Peter and Wendy, both penned by playwright J.M. Barrie. Unlike other retellings of Barrie’s work, Belflower chose to focus this adaptation on Wendy Darling, the girl who flies off with Peter Pan, and her quest to retrieve the kiss she gave him in Neverland. Lost Girl was acclaimed by critics upon release and was awarded The Kennedy Center’s Darrell Ayers National Playwriting Award in 2018.
Dearest and distraught, the darling Wendy was brought to life by Isabella Le Sante. Her expert delivery across Wendys emotional adventure carried an urgent potency, making every word feel like a desperate wish upon a star. Even more impressive were the small choices Le Sante made to amplify her expressions, from anxiously shaking her shoulders to vitriolically scrunching up her nose. Le Sante displayed such profundity that it’s certain audiences will think about her performance for at least eight minutes a day from now on!
Augmenting this woman waiting to be found, other cast members also hooked the audience with their artistry. Such charm could be found in A, B, and C, the storytelling personifications of Wendy’s childhood portrayed by Kiana Linares, Catherine Hoskins, and Gabriella Galeno respectively. With doll-like physicality that opened windows into Wendy’s psyche, all three of these lettered lulus demonstrated mesmerizing synchronization and dedication to their childish characters.
Another noteworthy portrayal was found in Slightly, the lovestruck Lost Boy played by Phoenix Orival. Promising to support Wendy for the rest of time, Orival packaged both light-hearted warmth and emotional intensity into one stellar performance.
Along with the captivating cast, there was also true magic to be found in the technical achievement of this production. To foster an immersive intimacy and heighten Bellflower’s text, this production of Lost Girl was staged in the round with actors in proximity of the audience as if they too were watching Wendy’s journey unfold.
While this approach provided a unique challenge, the Stage Management team (Laylah Francois and Morgan Swanson) was up to the task! With over a hundred different cues to call, each one was handled with professional precision that never overshadowed the powerful narrative.
Equally enchanting, the perceptive Props team (Val Feria & Crew) soared above the stars! From a bottle of flickering fireflies to a clever inclusion of Peter Pan’s red feather in a book and quill, their work shimmered in the blue like pure pixie dust.
Following the second star to the right straight on ‘til morning, the cast and crew of Monarch High School’s production of Lost Girl charted a course destined to reach the hearts of any audience!
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[box_full]Reviews of “A Night Under the Stars at South Plantation High School on Saturday, 12/16/2023. [/box_full]
By Sam Dyer of NSU University School
Whether it’s your first time or you’re a natural with nature, there’s no greater fun than camping! Through tussles with defiant tents, romantic moments of stargazing, and marshmallow roasting around the campfire, South Plantation High School’s production of “A Night Under the Stars” tells the world there’s no limit to the wonder we find in others and the wilderness.
A vignette play unfolding underneath a roof of trees, “A Night Under the Stars” was penned by playwright Tracy Wells. A former actress in roles like Kristine in “A Chorus Line,” Wells has published over 125 works spanning from full-length plays to shorter skits for youth theatre and Christian audiences. Wells is dedicated to developing plays that are easily accessible to middle and high school theatre programs because of her theatre experiences on a small high school budget. A testament to that mission, “A Night Under the Stars” was first performed at Mason County Central Middle School in Scottville, Michigan on May 12, 2023. The play involves a night with several people experiencing both comfort and worry in the woods as they deal with love and kinship.
From a troupe of singing Nature Scouts to campers reliant on high-maintenance cooking tech from Home Depot, this production’s ensemble of actors shows the joy of camping with friends! Speaking in both English and American Sign Language simultaneously, most actors portrayed their lively characters with ease. Though certain actors sometimes lacked the energy of others, the entire ensemble did great work keeping up with the physicality of ASL during each scene while still exhibiting efficient emotional deliveries. Aiding the accuracy of communication were the ASL Masters (Kay Regalado and Arianna Byfield) who helped find proper signs that would flow with the dialogue and still convey an accessible outlet for the deaf and hard of hearing.
Amongst this cast, several actors stood out like stars brightly glimmering under the night sky! Take Jaxon Reid and David Denman; while each played multiple characters across the production, a standout scene featured a high-stakes marshmallow deathmatch between the two. Each brought an enthusiastic performance with enthralling physicality, and they kept this same energy with every character they portrayed. Also commendable is the nonchalant judge of the pair’s marshmallow competition, Samuel Nnadiugwu, who won over the audience with his subtle yet hilarious delivery.
What truly made this production glow were its technical achievements. Highly worthy of praise was the Stage Management team (Arianna Byfield and Ashe Dickerson). Every cue was on time throughout the show, and there were several moments of quick, effortless sound effects and flashing lights that showed the effort they put into this production. Also noteworthy was the Lighting done by Jadelyn McClary. All actors’ faces were consistently lit beside the campfire, and each lighting choice felt intentional as the sky slowly turned blue as the night grew darker.
All in all, South Plantation High School’s production of “A Night Under the Stars” brought life to the great outdoors with a stellar cast and crew!
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By Mia Martinez of American Heritage Broward.
“A Night Under the Stars,” a vignette of campfire stories, shines a flashlight on the importance of connecting with nature. The characters escape to the great-outdoors, surrounded by mosquitoes and the warmth of a campfire, and experience their own special moments with loved ones.
“A Night Under the Stars,” written by Tracy Wells, is a lesser-known vignette of both humorous and heart-warming campfire stories. The stories speak to the enduring truth that, despite divisions, our strength and connection blossom when we stand together, echoing the harmony found in collective human experience in nature. Whether competing to craft the perfect marshmallow or navigating the challenge of delivering unfortunate news, the night sky adorned with stars is demonstrated as a comforting surrounding.
South Plantation High School’s “A Night Under The Stars” masterfully transported audiences to a snow-covered mountain campsite. The captivating set and versatile actors seamlessly shifted between roles as fresh relationships and characters unfolded with each scene change. Park rangers Taylor and Clark anchored the cohesive narrative, while the play still offered a series of engaging scenes. Overall, the production delivered a well-crafted theatrical experience, highlighting the magical connections and bonds formed under the starry sky.
Jaxon Reid (Don, Evan, Michael) did an outstanding job with his natural portrayal of all three of these roles. He particularly shined due to his comedic timing and body language. In Reid’s portrayal of Michael, he demonstrated his excellent comedic execution by diving off the stage, leaving the audience both astonished and impressed. Additionally, Niviana Allen (Chrissy) did an excellent job displaying the duality of a character who is frustrated because she has lost her job and has to live with her mother-in-law. She also maintains the initial discouragement within her character Allen, incorporating Chrissy’s humor by superbly executing jokes about how much Chrissy dislikes her disapproving mother-in-law. Notably, Laiel Fretwell (Jody) had profound diction, which allowed the audience to follow the scene “Crickets” and remain engaged, watching the interaction of the two polar opposite roommates. However, all actors exhibited extreme dedication and creativity as they admirably
performed the entire show accompanied by ASL, which could be extremely challenging because an actor has to both speak and perform the lines.
The technical aspects of the show were truly standouts when it came to mics that operated consistently well, the set, and lights. The atmosphere of the overhead fairy lights created the theme of a starry night accompanied by the backdrop lighting that resembled the swirling colors of the Northern Lights, featuring flashes of thunder aiding in the telling of spooky stories. The snowy mountain and detailed props like the jar of fireflies and campfire that lit up were impressive. However, there was inconsistency in the costumes displaying clothing for a cold environment and the makeup’s ability to demonstrate the age of characters.
“A Night Under The Stars” immersed viewers in snowy wilderness, showcasing versatile acting and compelling relationships under the stars — one of nature’s many wonders.
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By Hayley Schachter of American Heritage Broward
As the stars align for a night of bonding, ghost stories, and intense marshmallow showdowns, South Plantation’s production of “A Night Under the Stars” takes the audience into the great outdoors.
This lesser-known, vignette-style play, by Tracy Wells, cycles through roughly a dozen stories, each delicately tied together by the same night sky. Whether friends, family, or simply part of a Nature Scout troupe, the show zeroes in on individuals looking to get away from their hectic, everyday lives and connect with each other and with nature.
Giving the audience all the tips and tricks to surviving the outdoors, Kay Regalado’s powerful facial expressions and intricate physicality truly elevated her performance of Taylor, Park Ranger. Though only gracing the stage a few times throughout the show, Regalado consistently enunciated and projected, allowing the audience to understand the story with ease. Jaxon Reid, another standout performer, brilliantly portrayed several, contrasting characters, including Don, an extremely over-prepared (and over-packed) nature lover. Reid was phenomenal with his captivating stage presence and distinct characterization, leaving the audience wishing on every star in the sky for more. Some interactions between scene partners seemed exaggerated or overplayed, however, most duos and trios had excellent, and sometimes comedic, chemistry.
Samuel Nnadiugwu, portraying Morgan, the level-headed voice of reason among his friends, excelled in his use of vocal inflections and varied posture. His deadpan, sarcastic dialogue highlighted the actor’s comedic skill, allowing the audience to see just how ridiculous his pals’ marshmallow wars are. Adding to the laughter, Lily Moscowitz, in her role Jessie, brought smiles to theater-goers’ faces. Although a few actors’ voices faded out while signing, Moscowitz never failed to use strong projection and visible signs. Her use of beats and body language conveyed her character’s excitement and determination in sharing her ghost story –or, rather, her not-so-scary tale.
No show is complete without its technical elements, and that is clear in this production. Although there were inconsistencies in set and costume in regards to the snow-covered mountains and short-sleeved shirts and shorts, the natural textures of the tall trees beautifully mimic those of live trees, and all quick changes were impressively executed. The lighting is consistent with the design concept statement, gradually drifting from blues and purples to dark blues, and also excellently conveys the moods of various scenes through the use of varied colored cyc lights. The sign language was excellently executed and incorporated into the performance, creating a wonderfully inclusive theater environment.
The cast and crew of “A Night Under the Stars” truly shine a light on the importance of loving others and exploring the unknown. This incredible journey under the twinkling lights leaves the audience starstruck and prepared to face any challenge that comes their way.
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By Avery Redlich of NSU University School
It was a dark and stormy night! Roast your marshmallows, assemble your tents, and cozy up for a campfire story, because whether laying on the hard ground or sitting in a baby high chair, there were plenty of stars to be seen and stories to be told at South Plantation High School’s “A Night Under the Stars.”
Written by Tracy Wells, this twinkling dramedy is comprised of vignettes, all illuminating various ventures into the woods. Veteran and newbie park rangers, Taylor and Clarke, wander through the wilderness, checking in on park visitors. From hooting owls to slithering snakes, lovers’ quarrels to familial faith, Wells’ collection of moments emphasizes the inherent longing for connection — both with nature and our very own humankind.
Carrying out a vignette play, cast members commendably portrayed multiple, individualized characters. Jaxon Reid certainly brought the (camp)fire to each role with immaculate diction and stage presence from the dive offstage as Michael to the Home Depot sales pitches as Don. Niviana Allen embodied the comfort of nature as a mom, and brought more shade to the stage than the trees themselves with an energetic attitude as Chrissy. “I’m the Marshmallow King!” Sam Nnadiugwu (Morgan) reigned hilariously with a royal comedic timing and s’mores superiority. The Nature Scouts ensemble (Lily Moscowitz, Theo Mahan-Sassi, Kay Regalado, Doris Diaz, and company) lit up the stage like shooting stars, maintaining high energy and spirited chemistry (Justin Bieber would be proud). Kay Regalado (Taylor) and Ciana Stewart (Clarke) were the gooey, inner marshmallows that stuck the show together with vulnerability and playfulness.
The cast beautifully coordinated both ASL and verbalized lines, as well as their facial expressions and body language, essentially memorizing a secondary set of lines (in a new language for many); this was amplified through the work of Creativity (Kay Regalado, Arianna Byfield, Theo Mahan-Sassi, Lily Moscowitz). ASL Master Kay Regalado and company blocked the ASL dialogue themselves, then taught their cast mates. The dedication to accessibility offstage, met with the successful execution onstage, was as rock-ing as George.
Under a night sky filled with stars! From spotlights to fairy lights, Jadelyn1 McClary brought the star-filled sky to the Paladin Playhouse. Sets (Karen Avrahami and James Switzer) offered dimension and woodsy whimsy with a two-story mountain. *Cue the Home Depot music.* Sound (Versailles Vazquez) utilized known audios to elevate the show’s hilarity. Stage Managers Arianna Byfield and Ashe Dickerson oversaw the night like production park rangers with exceptionally timed cues. While makeup was sometimes harsh and some costumes lacked age consistency, swift quick changes and harmonious storm cues were as perfect as “Toy Story 3.”
Sometimes life feels as hard as the ground outdoors or as scary as a pink monster. However, as South Plantation High School demonstrated with their compassionate execution of high difficulty, == all life’s problems can be simply solved by staring into the crackling flames of a campfire. — If not, one can just watch a YouTube video on how to solve them.
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By Avi Gordon of AW Dreyfoos School of the Arts
American Heritage’s production of The Fantasticks is an intimate, hilarious, and poignant look into relationships, naivete, and loss of innocence. With a small but compelling cast of characters, American Heritage’s students showcase their mature insight into our world’s common mythology and our ability to tear each other apart and put ourselves back together again.
Inspired by The Threepenny Opera, The Romancers, Romeo and Juliet, and A Midsummer Night’s Dream, Harvey Schmidt (music) and Tom Jones (book and lyrics) wrote The Fantasticks. The original production opened off-Broadway in 1960 and drew inspiration from the set of Our Town: it was sparse and low-budget. As a result of the show’s quality and low costs, it made a significant profit and became the longest-running musical in the world, running for 42 years and closing in 2002. In the show, Spaniard El Gallo tells the story of Matt and Luisa, two teenage neighbors kept apart by a wall put up by their respective mothers (Hucklebee and Bellamy) to separate the kids and, therefore, inspire love between them. When the plan works, El Gallo and his actor sidekicks, Henry and Mort, step in to stage an abduction of Luisa to make Matt look like a hero and bring the families together. Though this works out, the lovers begin to resent each other, and the mothers also grow a dislike for
one another. Everyone goes their separate ways, but it doesn’t take too long for them to figure out that what they needed was in front of them the whole time.
The students of American Heritage perfectly understand the sort of whimsy, humor, and sincerity needed in a mythical story like this. The show’s Commedia dell’arte archetypal style is encapsulated through the performances of Morgan Small and Jamie Lauffer, who play Henry and Mort respectively. Small proficiently plays an aging Shakespearean actor who knows nothing about Shakespeare. Small is hilarious as his “dying” sidekick, known for his impressive ability to die on stage.
Abigail Trachtenberg and understudy Jonathan Jacknow are exceedingly earnest as the two lovers; their chemistry is enthralling, and the way they come back together is believable and satisfying. Trachtenberg’s vocal range and sense of humor are particularly noteworthy.
Evie Price and Kiara Charles show off their vocal skills and chemistry as Hucklebee and Bellamy. Jack Pawlowski is the show’s star vocalist as El Gallo; his charm and refined vocal skill shine through in his showstopping number, “It Depends on What You Pay.” Nicole Miller and Domenick Swanson round out the cast as the Mutes, who interact with the audience at the show’s beginning and during intermission. They tie the show together with their pantomime skills.
If you want a tight yet eccentric cast of characters and a group of students who can show insight beyond their years through music and acting, see American Heritage’s production of The Fantasticks. Dare I say, you may even have a “fantastic” time!
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By Kate Logal of North Broward Preparatory School
It’s easy to “Try to Remember” the marvelous production of “The Fantasticks
by American Heritage Palm Beach. The Fantasticks is a 1960s musical telling the story of two lovers, Luisa and Matt, who are separated by a wall that their feuding parents built. However, as the show goes on, it’s clear to see that the parents were plotting for their kids to end up together all along. When this is revealed, Luisa and Matt have to decide if their love was just in spite of their parents, or if they truly were meant to be after all.
From first walking into the theater, the cast interacted with the audience and created an intimate and welcoming atmosphere. As the show began, Jonathan Jacknow showed both resilience and preparation in his performance of Matt. Despite going on as the understudy, he didn’t miss a beat! His co-star, Abigail Trachtenberg, shined right from the opening number as Luisa. Her dedication and commitment to the character was evident throughout her performance. Both the actors of Luisa and Matt showed spectacular vocal tone, physicality, and blended well in their haromines. Their chemistry felt real, even when the characters were fighting.
Another standout was Jack Pawlowski, who was larger than life in his portrayal of El Gallo. His great comedic timing, along with his deliberate physicality, resulted in an engaging performance. The dynamic duo Hucklebee and Bellamy, played by Evie Price and Kiara Charles, felt connected even when they were arguing. An additional great pairing was Henry and Mort, played by Morgan Small and Jamie Lauffer. Both played roles, originally intended for males, had some transposed parts, nonetheless they did an excellent job of hilariously embodying their characters. The mutes, played by Nicole Miller and Domenick Swanson, were critical to this production. They cleverly depicted the emotions in scenes, even though they were silent.
Part of what made the scenes and songs so powerful was the accompanist, Samuel Artel, who seamlessly played multiple instruments at once. He was always intertwined in the performance with the actors, musically and emotionally. He barely looked at his sheet music, and always put his soul into his accompaniment. Another element that immersed the audience was their beautiful set. It gave the actors a lot to work with and changed with the mood of the scenes.
The entire cast was a strong ensemble that was artistically interconnected with each other. Almost everyone was on stage the entire time, which was very challenging, however, they managed to make it seem easy. Though some actors could be heard talking when they were off stage, it didn’t distract so much that it took away from the show. Overall, they were an amazing ensemble who blended their harmonies beautifully and kept up the pacing of the show.
All in all, everyone contributed their time and dedication producing a moving experience for the audience. Despite their smaller cast, these actors showcased all their talents. Through romance, strife, heartbreak, and understanding, this performance was more than magnificent, it was Fantastic!
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By Charlotte Canter of North Broward Preparatory School
Children, lovers, Fantasticks, geese! You are cordially invited to take a step into September as American Heritage Palm Beach impeccably executes their rendition of “The Fantasticks.”
Drawing inspiration from Edmond Rostand’s The Romancers, The Fantasticks tells the story of two parents who conspire to guide their children to fall in love. With music by Harvey Schmidt and book and lyrics by Tom Jones, the production, which premiered in 1960, holds the world’s longest-running musical title. In a theatrical, dramatic fashion, El Gallo introduces the audience to a girl and a boy, separated by a wall. The pair of young lovers engaged in a moonlit romance, but the harsh realities of the sunlight left them restless and distant from one another. As Matt and Luisa sought their fortunes, they discovered who they were and the strengths of who they could be together, in the day and at night. The Fantasticks is a groundbreaking celebration of love, whether it be simple or complex.
The enigmatic bandit El Gallo was expertly portrayed by Jack Pawlowski. Transporting the audience into the world of The Fantasticks, Pawlowski displayed unwavering commitment, engagement, and exuberant energy. His use of physicality was impressive, with each movement deliberately enhancing the plot. Pawlowski did an excellent job establishing connection with the audience through comedic and dramatic breaks of the fourth wall. The most treasured belonging El Gallo steals next will undoubtedly be this masterful performance.
As the charming, conflicted Matt, Jonathan Jacknow excelled. If not previously informed, one would never assume this talented performer was not intended to take the stage. His vocals and chemistry with on-stage lover Abigail Trachtenberg, who portrayed Luisa, were flawless. Trachtenberg exceeded the wildest dream multiplied by two with her stellar performance. Her vocal range was expansive, and her expert use of facial expressions and physicality aided her embodiment of the character.
A performer and his apprentice, Morgan Small (Henry) and Jamie Lauffer (Mort), brought excessive laughter upon their entrance. Their extensive comedic chemistry amplified the in-your-face humor. Their performances were further enhanced by the immaculate dialect and accent work exhibited, as they promoted chaos on the stage and amusement in the audience.
Overall, The Fantasticks cast demonstrated well-balanced and blended harmonies while maintaining chemistry and individual characterization. As Hucklebee and Bellamy, Evie Price, and Kiara Charles should be applauded, they retained a humorous dynamic and displayed exemplary vocal skills with their skilled execution of transposed music.
From a technical standpoint, the skill exhibited by the The Fantasticks crew was immense. Samuel Artel did a superb job as the accompanist: consistently engaged and impressively reactive to what was happening on stage. The most commendable aspect of his performance was the multitasking display, as he simultaneously played the piano and other instruments to draw the audience further into the story.
Deep in December, you will try to remember American Heritage Palm Beach’s fantastic production of The Fantasticks. Under the light of painted moonbeams and tinsel skies, audiences are reminded that love is most fulfilling when adversity is overcome to obtain it.
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By Makayla Whelchel of North Broward Preparatory School
What if the thing that’s keeping us apart is actually the only thing holding us together? As wildly wonderful and darkly delicate as a puppet master’s strings, American Heritage Palm Beach asks this question and many more in their production of The Fantasticks.
Children. Lovers. Fantasticks. Geese. First written in 1960 by Harvey Schmidt and Tom Jones, The Fantasticks follows the story of Luisa and Matt, two lovers separated by an impenetrable wall, as they explore a world taut with the puppet strings of their parents and eventually tainted by the light of reality’s unexpectedly bright sun. The story of The Fantasticks weaves together a hopeful, humorous, and utterly honest tale about what it means to break down the dividing walls between us.
With a tip of his hat and a glint in his eye, Jack Pawlowski’s portrayal of El Gallo was as grand and glorious as the abduction his character so expertly orchestrates. Pawlowski lived in his character, bringing every second alive with deliberate physicality and phenomenal comedic timing that allowed the multifaceted depth of his character to shine through. Abigail Trachtenberg as Luisa likewise delivered a performance as perfectly “not normal” as her character hopes to be. Trachtenberg�’ expansive vocal range and total commitment to her character was utterly captivating. Together with Jonathan Jacknow (Matt), the two created a delicate and believable dynamic that grew and changed over the course of the story, and which was furthered by the depth and subtlety of Trachtenberg’s and Jacknow’s acting. The moment of reconciliation between the two after Matt returns home was a testament to the talent of these two actors.
From Hamlet to Romeo, King Lear to Caesar, there isn’t a role that Henry (Morgan Small) and Mort (Jamie Lauffer) can’t bring to life — or rather, death. From their consistent accents to their spot-on comedic timing, Small and Lauffer created a fantastically funny character dynamic that made the audience’s applause “accelerando con mucho pesto”. Kiara Charles (Bellany) and Evie Price’s (Hucklebee) chemistry was also commendable, as were their difficult harmonies.
As a whole, the ensemble of The Fantasticks was just as spectacular as the name of the show implies. Although some actors struggled with breath support, vocals as a whole were quite lovely, especially the multilayered harmonies present in more difficult musical numbers. Despite minor dips in energy, the cast completely committed to every onstage moment, including audience interaction led by El Gallo (Jack Pawlowski) and the Mutes (Nicole Miller, Domenick Swanson). Tech only enhanced this show-stopping production, Samuel Artel’s masterful accompaniment riddled with as many memorable moments as the show itself.
“The play is not ended, and the story is never done.” American Heritage Palm Beach’s production of the Fantasticks invoked new faith in the love that ties us together, showing us all that it is never too late to reach across the walls between us and find each other again. Because after all, it was never about the wall in the first place.
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By Shaiden Tamim of AW Dreyfoos School of the Arts
In a dazzling blend of enchantment and heart, American Heritage School’s production of The Fantasticks transported the audience to a realm of timeless love and whimsy. Against the backdrop of an intimate set, the cast, led by Jack Pawlowski’s charismatic El Gallo, delivered a performance that resonated with both humor and emotion. A production not to be missed, The Fantasticks proved to be a magical journey through the complexities of love and human connection.
Originally premiering in 1960, The Fantasticks has stood the test of time as the world’s longest-running musical. Set against the backdrop of a timeless allegory, the play explores the nuances of love, friendship, and the human experience. The story unfolds with a blend of whimsicality and depth, providing a platform for the cast to showcase their talents and connect with the audience on a profound level.
The heart of the production was undoubtedly anchored by the exceptional talent and chemistry of the ensemble. The cast worked seamlessly together, bringing clarity, complexity, and captivation to each character. The inventive set design, coupled with the live accompaniment by a remarkable pianist, created a beautiful and intimate atmosphere that enhanced the overall theatrical experience.
Jack Pawlowski’s portrayal of El Gallo was a standout, delivering character beats with precision and showcasing a powerful vocal range. Abigail Trachtenberg’s Luisa was a testament to her acting prowess, maintaining a compelling presence throughout. Special commendation goes to Jonathan Jacknow, the understudy for Matt, who delivered an outstanding performance, capturing the essence of teenage qualities with a beautiful voice echoing themes of young love.
The supporting characters and ensemble added depth and vibrancy to the production. Evie Price and Kiara Charles, as Hucklebee and Bellamy, exhibited great chemistry and clever bits of choreography, while Morgan Small’s Henry, with impressive dialect work, evoked several laughs from the audience. Jamie Lauffer, as Mort, brought an adorable charm to the stage, and Nicole Miller and Domenick Swanson, as the Mutes, communicated effectively without words, playing integral roles in advancing the narrative.
The technical elements of the production, including the set, costumes, lights, sound, and the efforts of the stage crew, played pivotal roles in its success. The intimate set design kept the audience connected, and the live accompanist’s presence, almost as part of the ensemble, added a sense of magic to the stage that spoke to audience members. The technical aspects seamlessly complemented the storytelling, enhancing the overall theatrical experience.
In a swirl of enchantment and melody, American Heritage School’s production of The Fantasticks captured the essence of enduring love and the human spirit. As the curtain fell, the audience was left with a vibrant reminder of the power of connection and the enduring magic of this classic musical. Bravo to the cast, crew, and all involved in creating a production that truly embraced the fantastical and the timeless. American Heritage School’s rendition of “The Fantasticks” not only embraced the heart of the classic musical but also showcased the remarkable talent within its cast and crew. With a perfect blend of humor, emotion, and enchantment, this production was a testament to the enduring appeal of love and storytelling in the world of theatre.
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By Gavin MacArthur of Cooper City High School
Imagine being trapped in a magical land of nonsense, with seemingly no escape, however, some charm this place possesses makes you never want to leave. Piper High School immersed audiences into this wonderous world in their performance of “Alice in Wonderland and Through the Looking Glass.”
The play’s name is derived from the renowned novels by Lewis Carroll, “Alice’s Adventures in Wonderland” and its sequel; “Through the Looking Glass.” Similar to the originals, “Alice in Wonderland and Through the Looking Glass” by Lewis Carroll, and adapted by Robyn Hilt, tells the story of Alice, a sweet young girl who stumbles upon a rabbit-hole, transferring her to another dimension. As Alice is thrust into this puzzling, zany journey, she crosses paths with a variety of kooky characters, whilst attempting to return back to her home, which proves to be an immensely challenging task.
Portraying the innocent girl, Sienna Magnant (Alice) displayed emotional inflection and exceptional memorization, fitting her youthful character. Out of Alice’s many strange encounters, the tea party trio of Anngelie Gomez Munoz (March Hare), Kyla Gibson (Dormouse), and Roodleyson Renard (Hatter) worked beautifully together to create a perfect balance of wonder and humor. Primarily, Renard’s keen commitment to his character through hilarious facial expressions and prime comedic timing that kept the audience constantly engaged.
Representing another talented ensemble, Valentina Lopez (Tweedledee) and Nathalia Lopez (Tweedledum) brilliantly demonstrated a cohesive dynamic that worked with their remarkable characterization and uproarious humor-cracking moments. Additionally, Centarion Cartwright (Cheshire Cat) expressed the infamous, flexible feline with just the right dosage of sinisterness, while still remaining an intriguing, likable character with excellent physical and vocal delivery that perfectly set the tone for this piece.
As a whole, the cast tackled this modernized, difficult play with prowess and persistent energy that should certainly be commended. This was especially apparent in the unique twist placed on the end, which provided a range of expressions that greatly added to the depth of these individual characters. While there was some trouble with diction at times, this company clearly memorized and understood this story and their roles.
The technical aspects of this play beautifully illuminated the allure of its mystical feel. The intricate set by Gomez & Co. was incredible, creating an evident contrast between the worlds, while still designing beautiful pieces that could be flown in, or brought. With a stage manager being part of the cast and assistants who were not able to attend due to rescheduling conflicts, the stage management/crew team of Valentina Lopez and Matthew Ortiz still called cues with impeccable timing, and kept the stage from ever feeling too cluttered or overwhelming.
In this infinite game of chess, Piper High School’s production of “Alice in Wonderland and Through the Looking Glass.” was an exotic, fantastical example of raw imagination fueled by curiosity, showing that it does not matter how “mad” one is, but simply what lies within their heart.
Under a star-studded sky of blue and black, there’s a mystery to be solved. Both a secretive caper and a powerful journey, Cooper City High School went beyond doing their production of “The Curious Incident of the Dog in the Night-Time” by the numbers!
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By Sean Jenkins of Coral Springs High School
After slipping through a mirror, a bizarre series of events start to unfold … in a vibrant and colorful universe filled with peculiar creatures, eccentric characters & surreal landscapes, Piper High School’s Production of “Alice in Wonderland and Through the Looking Glass” transports us into a dreamlike world where people live backwards, and anything is possible.
“Alice in Wonderland and Through the Looking Glass” is a whimsical and visually remarkable production that takes the audience on another journey with Alice through this world of fantasy and imagination. Through the vision of Robyn Hilt, this adaptation of Lewis Carroll’s classic brings the magic of Wonderland to the stage with alluring production and performances.
At the center of this enchantment is the one and only Alice, played by Sienna Magnant. Magnant’s portrayal of the iconic character was filled with wonder and joy, as she embarked on a journey through the looking glass & drawing the audience to her whimsical and expressive representation! Throughout the show, her endearing nature was made heard through efficient diction, characterization and overall stage presence. Magnant’s performance captures the curiosity and courage of Alice, whilst eventually adding a dynamic contrast, as she spirals into madness to reveal an intriguing ending to her story.
Adding a layer of humor, heart and charm to the production was none other than the mass of supporting characters. With various standout performances, the chemistry between the ensemble cast was refreshing to see and created a lively and engaging experience for the audience. A prime example would be none other than Cheshire Cat, played by Kentarion Cartwright! Cartwright brought a unique energy to the stage, with subtle charisma and wit about him. His diction, demanding stage presence and quirky movements made him a distinguished character in his primary scenes and throughout the production. Not to mention Tweedledum (Nathalia Lopez) and Tweedledee (Valentina Lopez), whose comedic timing and bubbly chemistry stole the show in a marvelous display of their sibling shenanigans!
Complementing the array of vibrant characters on stage was the visual elements on-stage. The colorful and imaginative set design creates for a fantastic backdrop for the action, with floating chairs and grandfather clocks down to the equally as impressive displays of lights and vegetation seen throughout the stage and into the auditorium seats. Although certain technical and wardrobe issues were eye-catching, the costumes were nothing short of impressive. Each piece has intricate details and colorful designs that bring the characters to life in a striking manner.
Piper High School’s “Alice in Wonderland and Through the Looking Glass” is a dazzling display of a theatrical production that captures the spirit of Lewis Carroll’s tale with style and grace. Whether you’re a lifelong fan or experiencing it for the first time, it is a must-see show that will transport you to a world where you’re never too old to use your imagination!
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By Jillian Lajoie of Monarch High School
Curiouser and curiouser! Piper High School’s production of Alice and Wonderland and Through the Looking Glass presents a wonderfully beloved classic for a modern audience. With such an immersive production, Wonderland isn’t all that hard to find.
The original novels, written by Lewis Carroll in 1865 and later adapted to the stage by Robert Hirt in 2001, follow a young girl named Alice after she falls into the magical world of Wonderland. Meeting all sorts of new friends, animals, and even objects along her way, Alice must learn to traverse the madness of Wonderland and find her way back home.
Sienna Magnant, in her role as Alice, gave an admirable performance, bringing the role to life and imbuing a childhood innocence into an otherwise maddening show. In addition to showcasing impressive physicality in her performance, Magnant also proved herself capable of delivering a lengthy monologue with not a slip, pause, or blunder in sight! Magnant’s capability to portray both Alice’s child-like tendencies and her more bizarre facets showed an astounding range for any actor.
This impressive performance was heightened by Roodleyson Renard’s portrayal of Hatter, one of Wonderland’s residents and one of the most well-known characters. Renard’s portrayal had a lot to live up to, but he delivered well, with impressive physicality and comedic timing. This energy was shared by the Queen of Hearts, played by Renette Antoine. Antoine’s stage presence and energy helped the audience immerse themselves in her court. Even when faced with unexpected events, Renard and Antoine continued with barely a hitch, incorporating the sudden changes into their character.
The ensemble was magnificent in showcasing the citizens of Wonderland, maintaining good physicality and energy throughout the entire show. They worked cohesively as a unit, making the background of the show less overwhelming and allowing the audience to focus on the fairytales coming to life in the foreground, helping the understanding of a whirlwind show. While diction needed work at times, the ensemble’s collective comedic timing was admirable.
With a detailed and even hanging set, the magic of Wonderland was brought to life immediately by the set crew, aided even more by a multitude of props from Anngelie Gomez Muñoz and Sofia Ramos. A wide array of costumes was included that reflected the characters who wore them, and although some costume malfunctions did occur, the accessories included showed impressive attention to detail. While lighting was impressively thought out, other areas of the show had some greater issues. However, the actors were able to deal with these issues swiftly and in character, and the audience stayed immersed in Wonderland.
With a dedicated cast, impressive energy, and details galore, Piper High School’s production of Alice in Wonderland and Through the Looking Glass makes Wonderland feel like just a hop away. So don’t be late!
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By Mia Wilson of Cooper City School
The cast and crew of Piper High School’s production of “Alice in Wonderland and the Looking Glass” transported us down the rabbit hole straight to the magical realm of Wonderland.
“Alice in Wonderland and Through the Looking Glass” is a unique production that was written by Lewis Caroll and adapted by Robyn Hilt. This show takes you on a journey around the mystical unknown world of Wonderland with the young and curious girl, Alice. She adventures all across Wonderland and meets many different peculiar characters along the way. There is a twist at the end that creates a sense of mystery leaving the viewer to decide what was real and what was a dream.
Sienna Magnant portrayed Alice with a whimsical and youthful spirit bringing her character to life in a new and modern way. Her take on the classic character made the twist unexpected and one to remember. Her castmate, Roodleyson Renard, embodied Hatter with consistent energy and facial expressions showing his stamina and dedication to his character. His performance truly added a layer of dimension to the “mad” tea party host.
Renette Antoine’s performance as Queen of Hearts captured the regal delicacy while also the childish nature of her character. Her vocal tone and inflection kept the scenes entertaining and made her characters’ outbursts more impactful. Kentarion Cartwright used his physicality and stage presence to sell his wacky and mystical character as the Cheshire Cat. He showed incredible dedication to character throughout both acts and created a more elevated atmosphere.
The ensemble in this production each had their own personality and character while also creating a unified cast that built the wonderful world of Wonderland. Each member of the cast had a highlighted moment with Alice that allowed for the characterization of more than 40 different characters. Despite a few diction issues, the cast did an amazing job showcasing their versatility. Standout characters in Act 2 were the Tweedles played by Valentina Lopez and Nathalia Lopez. Their impeccable comedic timing and synchronization allowed for the creation of an unforgettable dynamic duo.
The technical aspects of this production perfectly made the mystical world of Wonderland come to life. The set design by Gomez and Co. was outstanding. Between the gigantic mushrooms, white rabbit houses, and the grassy hill-like platform, the set framed every moment perfectly creating a spot-on visual image. The costumes by Emma Burke, Afreeca Fullwood, Emilia Harris, and Co fit every character perfectly while also using a variety of colors to show the vibrant feeling of Wonderland. The stage manager Valentina Lopez did an unbelievable job of running the show while also being a performer and never missed a cue.
Piper High School had a whimsical, mysterious, and entertaining production of “Alice in Wonderland and Through the Looking Glass” with impeccable energy, physicality, and a huge twist that left the audience wondering: “Was it all a dream or reality?”
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By Bailey Vergara of American Heritage Broward
Have you ever grown to the size of a house? Met a mock turtle? Seen a grin without a cat? If not, you’d have to be mad to miss Piper High School’s production of “Alice in Wonderland and Through the Looking Glass.” In fact, it should come with a label: “Watch Me”!
“Alice in Wonderland and Through the Looking Glass” adapted for the stage by Robyn Hilt and produced by Blue Moon Plays, is a combination of two one-act plays based on Lewis Carroll’s original stories. The play’s first act follows a young girl named Alice, who falls through a rabbit-hole and into a nonsensical world where eating and drinking makes you change size, croquet is played with flamingos, and it’s always tea-time. The second act has Alice return to Wonderland, where she navigates a chess-themed world and meets a new cast of crazy characters.
Sienna Magnant starred as the titular Alice, perfectly capturing the curiosity of a little girl through her consistently child-like cadence. As the situation grew “curiouser and curiouser,” Magnant never faltered in her line delivery and never lost the energy she brought from the production’s very first line. Acting opposite Magnant as the fiery Queen of Hearts, Renette Antoine brought a commanding presence to the stage in every scene she was in. Even when not speaking, Antoine could always be found reacting to her surroundings with the Queen of Hearts’ signature hot-tempered flair.
Roodleyson Renard truly brought the wonder to Wonderland as the mad Hatter. With his consistent characterization and zany expressiveness, Renard played wonderfully off of his tea-time compatriots, the March Hare (Anngelie Gomez Munoz) and the Dormouse (Kyla Gibson), who were just as delightfully wacky. Further heightening the madness, Kentarion Cartwright nailed the signature grin of the Cheshire Cat, lighting up the stage with his mischievous presence and fluid movement. Sisters Valentina and Nathalia Lopez shone as Tweedledee and Tweedledum, respectively, remaining perfectly in-sync throughout the show and performing with exceptional comedic timing. In fact, every performer gave a distinct, developed performance. Even though diction was lacking at times, the ensemble as a whole was consistently high-energy and kept the audience engaged.
Piper High School’s technical crew was tasked with creating Wonderland with their bare hands, and they delivered spectacularly. The sets, created by Anngelie Gomez Munoz and her team, were colorful and dynamic, with several elaborate set pieces being utilized in a variety of ways, some even being hung from the ceiling. The costumes were also distinct and eye-catching, though there were a few costume malfunctions throughout both acts. A special commendation should be given to Valentina Lopez, who not only played Tweedledee, but also acted as Stage Manager, calling cues any time she wasn’t onstage.
Piper High School’s production of “Alice in Wonderland and Through the Looking Glass” kept audiences smiling throughout – and their grins were left behind long after they’d gone.
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By Sam Dyer of NSU University School
Under a star-studded sky of blue and black, there’s a mystery to be solved. Both a secretive caper and a powerful journey, Cooper City High School went beyond doing their production of “The Curious Incident of the Dog in the Night-Time” by the numbers!
Based on the homonymous book by Mark Haddon, “The Curious Incident of the Dog in the Night-Time” was crafted by the playwright Simon Stephens. The show premiered at the Royal National Theatre in London in 2012 and then moved to the West End in 2013. The production garnered critical acclaim as well as seven Olivier Awards, including the award for Best Play. The play would run on the West End until 2017, but first opened on Broadway in 2014 where it ran until September 2016. The Broadway production also won numerous awards including the Tony Award for Best Play.
Concerning the titular case of the poor pooch, our detective is the fascinating, mathematical savant Christopher Boone, portrayed by Payton Varga. As the British boy that was 15 years, three months, and two days old, Varga delivered an engrossing and passionate performance. Utilizing steady physicality and anxious idiosyncrasies, Varga guided the character through each interaction not just with impressive skill, but with an accurate and commendable portrayal of neurodiversity.
Embodying Ed, Christopher’s solicitous father with secrets to hide, was Anthony DeLeo. While trying to be a proper parent, DeLeo let the character’s bereft nature subtly show with ease, creating a unique chemistry with Christopher. DeLeo also excelled during moments of rage that manifested in palpable tension and despair.
Christopher’s discoveries were so bold they could not be told by Christopher alone, so he was supported by an assortment of voices and strangers. Working as a metaphorical collective, this ensemble of storytellers proved their excellence throughout the production. While certain actors sometimes lacked the energy of others, they demonstrated deftness during detailed movement sequences and constructed striking tableaus that gave a glimpse into Christopher’s psyche.
Aiding the ensemble was a miraculous set designed by Avery Garfinkel. Each blocky platform was painted to resemble Tetris, one of Christopher’s favorite video games. The set began as a symmetrical delight but slowly deteriorated into disarray as Christopher’s journey grew more perilous and upsetting. Along with the marvel design was a series of accompanying set movements that transitioned the story between locations. While certain platform movements caused concern for the safety of the actors moving the pieces, the ensemble’s confidence made each transition feel well-rehearsed.
Another noteworthy technical aspect was the sound team (Alexis Adler, Mia Wilson, Samantha Morgan-Caminiti, & Company). Most of the production’s ambient noises were layered by the team, adding to both calming and overstimulating environments. While some actors’ lines were lost because of a few mic cutouts, most of the dialogue and sound effects were clear and effective.
With a stellar cast and crew, Cooper City High School’s production of “The Curious Incident of the Dog in the Night-Time” truly passed the test as an A-level experience!
*** *** ***
By Kelly Induisi of Saint Thomas Aquinas High School
Do you know who killed Wellington? The question rings around the theater of Cooper City High School as the stage lights up, prime numbers illuminated across the wall. Cooper’s techno-heavy take on The Curious Incident of the Dog in the Night-Time brings forth a meticulous tale of mystery, one’s mindscape, and what happens when secrets are uncovered about those we love.
Based on the 2003 novel by Mark Haddon, the book was adapted for the stage by Simon Stephens, with the first production in 2012 at the Royal National Theater in London. Going on to win several awards during its initial run (including seven Olivier Awards), the show gained traction for its fluid take on the novel as well as its heavy awareness and representation of Autism Spectrum Disorder (ASD). The story chronicles fifteen year old Christopher on his investigation into the death of his neighbor’s dog, alongside his own personal life being flipped upon itself.
Masterfully taking on the titular role, Payton Varga proved flawless in his representation of Christopher. Through his struggles and successes, Varga was able to accurately portray the troubled teen, whether through his movements and mannerisms or tone of voice in any given moment, guaranteeing the most precise representation of ASD. The dynamic between Payton and Anthony DeLeo, who played Christopher’s father Ed, shone through with such a strained bond between a son and his dad, trying his best to get them both through turmoil when everything gets thrown into tribulation.
The show would not be what it is without the efforts of The Movement Ensemble, who took the stage by storm in every single scene, active and frozen. Throughout the production, The Movement Ensemble were effortless in their synchronicity and controlled chaos, shedding light on what was going on within Christopher’s mind. Included in the movement ensemble was the work of The Voices, each efficiently switching from one character to another in order to bring the outside world to life. Besides minor diction issues, The Voices created the world around Christopher, adding to the ever-growing stressors in his personal situations.
The technical aspects of this production brought to life such a complex story, especially in terms of set and special effects. The set itself was integrated to be flexible and always changing, with the turn from uniform to mess representing the disarray within Christopher. Kenny Gervais and Malorie Ravellette’s combined efforts into the projections on the stage and side-screens helped aid in distinguishing where each scene was taking place, as well as having full fledged animations created to additionally show the way Christopher’s mind portrays thoughts throughout the show.
Cooper City High School’s electrifying production of The Curious Incident of the Dog in the Night-Time immersed the crowds in mystery and misfortune, while highlighting the true moments of family, overstimulation, and how the death of a single dog can change someone’s life in an instant.
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By Isabella Le Sante of Monarch High School
Soar into the mystery, and prepare for a theatrical adventure which will leave you barking for more. With an intricate set that resembles a Tetris game and a mind-boggling mystery that unfolds like a perfectly crafted puzzle, Cooper City’s production of The Curious Incident of the Dog in the Nighttime promises an experience that defies expectations.
Originally written as a novel by Mark Haddon, this Tony-Award Winning play takes its viewers on a suspenseful journey through the eyes of Christopher, a 15-year-old mathematical genius with a unique perspective on the world. The Cottesloe Theatre held the show’s first performance on August 2nd 2012 in London and later transferred to the United States at the Ethel Barrymore Theatre on October 5th, 2014.
Payton Varga portrayed Christopher with nuance and authenticity. The actor delivered a performance marked by remarkable character development and unwavering consistency. Varga’s ability to embody the complexities of Christopher’s journey added depth and emotional resonance to the entire production. Payton gave the audience a compelling rendition that showcased not only skillful acting, but a deep understanding of the character’s motivations and challenges. Serving as Christopher’s teacher, mentor, and comfort character, Bryanna DeKnegt as Siobhan provided a compassionate and guiding presence throughout the narrative. Through her acting abilities, DeKnegt extends influence beyond the academic realm and showcased great chemistry between her and Varga; which continued to develop more and more throughout the show.
The technical aspects of this production excel in every category. On the publicity team, Brooke Shears and Crew intricately devised a creative strategy to promote their production by holding an escape room relating to the plot of the show. As for the Co-Director, Avery Garfinkel prioritized authenticity by holding private sessions to work on accurately portraying neurodiverse characters. Not to forget lighting, which was also done by Avery Garfinkel; not only created a sensory feast for the audience, but also organized a matinee with subdued lighting, ensuring that everyone could fully partake in the production. The vivid lights perfectly conveyed the tension in each scene, while elaborate set pieces, crafted by yet again Avery Garfinkel, reminiscent of a Tetris game, truly embodied Chris’ unique perspective on the world.
Exploring the endless limits of neurodiversity, Cooper City High School’s production of The Curious Incident of the Dog in the Nighttime immersed the audience in the unique perspective of Christopher, showcasing that anyone can do anything.
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By Makayla Whelchel of North Broward Preparatory School
What happens when you take a heartfelt performance, divide it by precisely seventeen actors, factor in some lovely vulnerability, and multiply it by the derivative of a fantastic tech crew? Answer: you get Cooper City High School’s breathtakingly honest performance of The Curious Incident of the Dog in the Nighttime. Click on your intercom and hold on tight, because this show is about to launch you out of this world.
Heartfelt and vulnerable, The Curious Incident of the Dog in the Nighttime was adapted for the stage by Simon Stephens from a novel of the same name. First premiering at the Royal National Theatre in 2012, the play tells the story of an autistic and brilliantly logical boy in search for the perpetrator of a beloved dog’s death. Mystery upon mystery is revealed as Christopher Boone investigates the crime, and the answer he uncovers soon sparks a narrative that sets out to solve the equation of one boy’s improbable strength in an ever-expanding universe.
The first variable in solving this show’s factorial function is Payton Varga’s authentic and grounded portrayal of Christopher. Varga’s subtle character work, intentional mannerisms, and fantastic physicality showcased a deep understanding of his complex character. The chemistry between Christopher and his father (Anthony DeLeo) and his mother (Sienna Martinez) was well done, and together they created a conscious performance that allowed the story’s dramatic scenes to hold the weight they deserved.
A-level math can be quite complicated without a teacher to guide you on your way. Bryanna DeKnegt’s performance as Christopher’s teacher Siobhan was lovely, and the relationship cultivated between teacher and student was bright enough to guide one out of the dark and twisted tunnels of London’s underground.
When searching for the solution to the success of a show, you can’t forget to factor in the ensemble. As a whole the ensemble was cohesive and well-rehearsed, and although there were some issues with diction and energy, overall both the Voices and the Movement Ensemble were invested in the onstage action and interacted with the set in a way that positively contributed to feelings of tension and atmosphere throughout the show.
Aside from some mic issues, the technical crew truly showcased talent that was more infinite than our densely spinning milky way. From projections (Kenny Gervais, Malorie Ravellette) to layered sound (Alexis Adler, Mia Wilson, Samantha Morgan-Caminiti) to an inventive escape room publicity strategy (Brooke Shears, Nathan Grun) to directing, set design, and creative and color-focused lighting (Avery Garfinkel), the tech team’s contributions to the show were as many as the digits of pi. Together they enhanced Christopher’s emotional turmoil as he stepped into the illogical chaos of the outside world.
In the end, the sensitivity and heart of Cooper City High School’s production of The Curious Incident of the Dog in the Nighttime successfully solves the function, revealing that we truly are all expressions of the same equation and our differences may actually be the most extraordinary thing about us.
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By Ayala Erez of South Plantation High School
Right, left, right, left, right, left, right: Walk your way on over to Cooper City High School for this genius production of The Curious Incident of the Dog in the Nighttime. This challenging show was faced head-on by cast and crew, resulting in the right answer to this difficult equation.
If a book written in 2003 is reflected into a play and thrown 20 years into the future, how many awards will it end up with? The answer: 24 awards spanning across five different award organizations. A semi-true literary sensation written by Mark Haddon, turned play by Simon Stephens, follows young Christopher as he navigates life with autism and hardships around every corner. When a murder has been committed, it is up to Christopher to solve the puzzle and figure out the X and Y of the problem.
The master mathematician himself, Payton Varga, playing Christopher, was outstanding. Light on his feet, quick with his words, and seamless in emotional transitions, Varga was the key variable. Paired with Anthony DeLeo, playing Ed/Christopher’s father, they commanded the stage, making the room pulse with tension. DeLeo’s authenticity in his acting brought life to the stage before our eyes. As physicality between them increased, audience’s held their breaths and when Christopher flew across the stage from a strike, shock ran through the veins of all. The dynamic duo was the perfect coordinate needed to graph the equation of the amazing show.
Now, if an actor slides across the stage at 100 miles per hour doing about five different quick changes, how often will she be on stage? The answer: all the time. Giovanna Dellaria excelled at playing multiple characters, especially Mrs. Shears, and being an active member of the ensemble. She sped across the stage, donning this jacket and discarding that, moving set pieces and becoming furniture herself. The littlest details were paid attention to heavily and her physicality sent shivers down spines. The ensemble as a whole worked well to create these intense moments, performing lifts and tricks, but at times the energy and investment was lacking.
When a heart beats at 110 beats per minute and sound and lights intensify greatly, what does one feel? The answer: anxiety. Meticulous Avery Garfinkel, lighting designer, and Alexis Adler, sound designer, worked together to create an ambiance in the theater. As lights swirled and sounds became rougher, tension built until there was an explosion of stillness on the stage. Dedication is apparent in the attention to color theory by all heads of crew. As autism is a spectrum, so too are the colors, and Christopher’s autism can be seen in the colors of his outfits and the stage. There were minor mic issues but they were resolved quickly and the show went smoothly.
So, what do you get when you pair dedication, knowledge, determination, and talent together? A fantastic production such as Cooper City High School’s The Curious Incident of the Dog in the Nighttime. With tough questions asked and answers difficult to find, this cast and crew found the equation to a great show.
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By Abby Goldberg of Cooper City High School
Welcome to the Cloisters Sanatorium, where reason ends and madness begins. Archbishop McCarthy High School’s thrilling production of “The Curious Savage,” teaches audiences that true wealth is defined by the relationships we make and joy we spread to others.
Crafted by playwright John Patrick, “The Curious Savage” first opened on the Broadway stage in 1950. The show follows the recently widowed Ethel Savage, as she navigates how to delegate a 10 million dollar trust fund. While sent to a sanatorium by her 3 step children, Ethel makes unlikely friends along the way and is reminded that life itself is rich in meaning and love.
Leading the show as the witty Ethel Savage, was Bella Nanavichit. She masterfully brought both sincerity and hilarity to her entirely well-rounded and dynamic character. Complete with impressive dart throwing abilities and a consistent character voice, Nanavichit had a constantly engaging performance. She demonstrated strong chemistry with other characters, as she remarkably formed distinct relationships with each character she interacted with.
Embodying Fairy May, Isabella Ruiz displayed hilarious physicality and comedic timing. She constantly lit up the stage with her flawless character choices and high-energy performance. Providing a source of comfort and light, Ernesto Fernandez wonderfully portrayed Hannibal. Although violin may not be in his near future, his animated characterization and natural humor made for a genuine and enjoyable performance. While her lines were limited, her emotions certainly were not. Ava Goldthorpe’s enchanting portrayal of Mrs. Paddy skillfully balanced both moments of emotional tension and comedic relief.
The entire cast must be commended for this stellar production. Each actor successfully cultivated strong, individual characters, through their use of facials, dialect, and physicality. The house guests’ ability to express such wide ranges of emotion and display consistent chemistry added depth and energy to the performance. A standout amongst the cast was Caroline Greco as Lily Belle. Her expressive body language, vocal inflections, and overall dedication were evident throughout the production.
The technical elements were a fantastic addition to the production. The use of sound, created by Erin Whitaker, amplified the piece, and helped establish the 1940’s/1950’s time-period. Stage manager, Allie Lynch must also be commended for her incredibly smooth execution of lighting and sound cues. Another standout was Isabella Ruiz and her admirable work in marketing and publicity. By reaching out to both The South Florida Sun Times and Sun-Sentinel Trailblazer, Ruiz exceeded expectations for attracting an audience.
Wishing the entire cast and crew of Archbishop McCarthy High School’s “The Curious Savage” not goodbye but “how do you do.” Audiences will forever be reminded to look for true beauty in the most unlikely of places, for that is how to define richness in life itself.
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By Avia Collymore of Coral Glades High School
Don’t read the newspaper, don’t fall asleep, and don’t look away because Archbishop McCarthy High School performed a beautiful, hilarious production of The Curious Savage.
The Curious Savage is a comedic play written by John Patrick. It was first produced by the Theater Guild and Lewis & Young in New York at the Martin Beck Theater. The play opened on October 24th, 1950, and was directed by Peter Glenville. It follows the story of Mrs. Ethel P. Savage, who is placed in a sanatorium while simultaneously hiding 10 million dollars from her greedy stepchildren.
Mrs. Ethel P. Savage: the woman who shockingly filled the guests’ hearts. Bella Nanavichit was the perfect pick for this character. Throughout a variety of scenes, she effortlessly maintained that witty yet considerate energy that made Mrs. Savage such a lovable character. Her dynamic with the other sanatorium members was beautiful. Even as the lead, she continued to give some focus to the other guests, presenting their deep bond. It was clear that Nanavichit dedicated herself to the character, down to the amazing dart skills.
She may hate everything in this world, but everyone certainly loved Mrs. Paddy, performed by Ava Gouldthorpe. Even while barely speaking, Gouldthorpe’s characterization was impressive, both in and out of the spotlight, and she did an amazing job of emulating Mrs. Paddy’s stiff facial expressions and walking style. Along with her, we also had the amazing act of Fairy May by Isabella Ruiz, who did an excellent job of maintaining Fairy’s childlike voice, and the playful Hannibal, played by Ernesto Fernandez, who impressed us with not only his interesting violin playing but also his hilarious nature and heavy dedication to his character when with the fellow guests.
In The Curious Savage, community is everything, and each character effectively demonstrated a full, flourishing dynamic within their respective groups. The emotional development among the guests was phenomenal as they grew more fond of each other as the show progressed. Cues were interpreted very well, and actors bounced right off one another in their lines, adding intimacy to the production. Ethel’s stepchildren, consisting of Titus Savage (Luis Granda), Sam Savage (Mia Martinez), and Lily Belle (Caroline Greco), also displayed a lovable dynamic, presenting hilarious banter within their stubborn, money-hungry ways.
It can be difficult to fully immerse into an older setting, but Archbishop McCarthy may have taken the cake. The makeup and hairstyles, done by Victoria Leon, Tamara Toma, and Mia Martinez, did an excellent job of capturing the old-timey yet eccentric look of all the guests. The stepchildren’s looks were also phenomenal, and using red and gold to highlight their wealth was quite impressive. Mrs. Savage’s strikingly blue hair helped give her that bizarre feel, although the color seemed to be rubbing off on other actors at times.
With amazing dynamics, intricate expressions, and many not-goodbyes, Archbishop McCarthy High School proved that eccentricity may not be the worst thing in the world after all.
*** *** ***
By Avery Redlich of NSU University School
Welcome to The Cloisters, where quirky is endearing, sleep is the enemy, and fires really are in the bathtub! Through exceptional ensemble-cast chemistry and seamless technical work, Archbishop McCarthy High School’s production of “The Curious Savage” was as full of heart and humor as Ethel’s bear was full of bonds.
Written by John Patrick in October of 1950, this comedy is for “those with a desperate need to be foolish.” When elderly widow Mrs. Ethel Savage (who just so happens to have ten million dollars to her name) is placed in a psychiatric home by her step-children, she is welcomed by “fools of good heart.” The play proves that contentment is a mere construct, and crazy is just kindness misunderstood.
Bringing wacky warmth to Ethel, Bella Nanavichit delivered a powerfully grounded performance, complete with emotion-filled glances and ‘Savage’ one liners, while acting far beyond her age range. Isabella Ruiz’s raspy-voiced interjections and kooky physicality made Fairy May a constant source of laughter and joy. “Hannibal can’t really play his violin,” but Ernesto Fernandez could certainly play Hannibal, displaying remarkable comedic timing through his excitable facial expressions.
Even when in the background or without words, freshman Ava Raelee Gouldthorpe (Mrs. Paddy) maintained a characteristic disdain (and believable hatred for electricity) in her body language. The step-children (Luis Granda as Titus, Mia Martinez as Sam, and Caroline Greco as Lily Belle) were delightfully bratty, perfectly encapsulating the sibling dynamic; they were led by scene-stealer Caroline Greco, whose stage presence was as rich as her character. The entire cast, particularly The Guests Ensemble, brought outstanding diction, character engagement, and overall comedic excellence. Their depths of performance were felt in the heartwarming final scene, and their jokes always landed like darts: “right in the tiara!”
Stage Manager Allie Lynch flawlessly executed all cues (notably the lights in the blackout scenes), cultivating a captivating comedy with perfect pacing and endless emotion. Hair and Makeup (Victoria Leon, Tamara Toma, and Mia Martinez) offered a wide variety of hairstyles and utilized individualized makeup color palettes to highlight characters’ personalities. Sound (Erin Whitaker) brilliantly selected transition songs fit to the show’s theme, time period, and even specific scenes, such as with “Flight of the Bumblebee.” Newspapers may frighten the patients, but not Isabella Ruiz, who promotionally sent press releases to The Sun Sentinel Trailblazer and The South Florida Sun Times; continuing the impressive reach of Marketing and Publicity, Ruiz organized a distribution of over 150 friendship bracelets, marked either “CURIOUS” or “SAVAGE.” All in all, the show’s technical elements were bear-y commendable.
“Take an umbrella” it’s raining out. Even in a show radiating hilarity, The Maverick Players’ performance was marked by compassion and sincerity. Achieving an extraordinary range of expression and quality of presentation, their production of “The Curious Savage” reminded that monetary bonds are worth nothing compared to the bonds we create with people.
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By Sydney Lotz of Marjory Stoneman Douglas HS
When the delicate balance between sanity and absurdity fades into a delightful haze, laughter emerges as the ultimate remedy. Enter the magical realm created by Archbishop McCarthy High School’s performance of “The Curious Savage,” where an evening filled with heart, whimsy, and a healthy dosage of insanity is guaranteed.
John Patrick’s compelling narrative brought “The Curious Savage” to the Broadway stage on October 24th, 1950. Despite its brief run of 31 performances, this comedic masterpiece tells the tale of Ethel Savage, an elderly widow with a $10 million inheritance. Her altruistic mission to support others’ dreams clashes with her stepchildren’s desire to safeguard their family’s wealth and legacy. Consequently, they commit her to The Cloisters sanatorium, where Mrs. Savage discovers an unexpected and heartwarming sense of belonging among its gentle residents.
Bella Nanavichit, despite her considerable wealth, delivered a priceless performance, skillfully embodying the essence of Ethel. The finesse of her comedic timing seamlessly harmonized with the depth of her sincere and grounded characterization, augmented by a touch of virtuosity in the realm of expert dart playing. Ernesto Fernandez, playing the “expert” violinist Hannibal, orchestrated a symphony onstage through his masterful use of facial expressions and characterized comedic timing, elevating his performance to exceptional heights.
“Mirror, mirror on the wall, who portrays Fairy May most exquisitely of them all?” The unequivocal answer lies in the development by Isabella Ruiz, who brought Fairy May to life with a demonstration of impeccable comedic timing, deliberate physicality, and unwavering vocal mastery, sustaining these refined elements seamlessly throughout her entire performance. Mrs. Paddy, portrayed by Ava Gouldthorpe, captivates with few words but stands out remarkably. Gouldthorpe’s engaging presence, expressive facials, and compelling character development deliver laughter and heartfelt moments throughout. Overall, the ensemble in this production demonstrated remarkable consistency in portraying their characters, showcased superb diction and clarity, and exuded onstage chemistry that seamlessly persisted throughout the entire performance.
Isabella Ruiz brought a dynamic and innovative approach to ticket sales, utilizing a diverse array of strategies – from the distribution of friendship bracelets to strategically placed newspaper and press releases – to effectively promote the show. Allie Lynch, the meticulous stage manager, skillfully executed precise cues that seamlessly enhanced the storyline, such as orchestrating blackouts through the manipulation of light switches. Despite challenges, including issues with hair dye smearing onto other actors and clothing, the hair and makeup team displayed remarkable skill, impeccably encapsulating each character’s essence with distinct and recognizable hairdos and makeup choices, including aged makeup and specific eyeshadow colors to symbolize wealth.
Archbishop McCarthy High School’s rendition of “The Curious Savage” transcends conventional norms, reshaping the very essence of normalcy as nothing more than a delicate state of mind.
*** *** ***
By Oliver Paul of Marjory Stoneman Douglas HS
In a world where normal is overrated, Archbishop McCarthy High School’s production of “The Curious Savage” emerges as a shining example of comedic brilliance.
Written by the esteemed playwright John Patrick and first premiering on Broadway at the Martin Beck Theatre in 1950, “The Curious Savage” unfolds the narrative of Ethel Savage an heiress to a substantial fortune. Her tale takes a turn after being committed to a sanatorium by her greedy stepchildren, but within this restrictive environment, Ethel befriends the endearing residents who each harbor their own unique dreams and quirks. This play takes the audience on a nuanced exploration of themes of morality, compassion, and the elusive nature of true mental equilibrium.
Bella Nanavichit delivered a compelling portrayal of Ethel Savage, seamlessly embodying the playful, compassionate, and spirited dimensions of the character. Nanavichit showcased impeccable comedic timing, her authenticity, and grounded approach added depth to the role. Notably, Nanavichit’s handling of the contrast between comedic and dramatic moments was a standout feature, elevating the overall quality of her performance. Ernesto Fernandez demonstrated an extraordinary command of the witty and charismatic character of Hannibal, showcasing a level of commitment that was nothing short of remarkable. Fernandez delivered a humorous and charming performance which exhibited a keen understanding of the character. Every moment on stage was vibrant and engaging, never allowing dull moments to prevail.
The exemplary performances of Isabella Ruiz and Ava Gouldthorpe as Fairy May and Mrs. Paddy truly stood out. Ruiz’s impeccable comedic timing and adept physicality captivated the audience, showcasing her commendable skill in bringing the childlike and innocent nuances of her character to life. Gouldthorpe, with a minimalistic yet commanding presence, demonstrated a remarkable ability to convey profound significance through expressions. Her demeanor exuded strength and clarity which elevated her emotional resonance. The ensemble exhibited a remarkable cohesion and their ability to seamlessly bounce off each other demonstrated a clear understanding of the collaborative narrative of the story.
The tech crew behind the scenes was nothing short of exceptional, as they meticulously crafted an immersive and engaging production marked by incredible attention to detail. The stage management team, in particular, orchestrated seamless transitions and flawlessly timed cues, exemplified by the precision observed in moments like the light switch scene. Despite the occasional challenge of blue hair dye transfer onto other actors, the production triumphed over these minor setbacks with distinctive and commendable costuming and hairstyling choices, ultimately enhancing the overall visual and thematic richness of the performance.
Grab a ticket and prepare for a delightful journey through the curious corridors of the Cloisters Sanatorium at Archbishop McCarthy High School’s production of “The Curious Savage.”
*** *** ***
By Christine Johnson of Coral Springs High School
Hallelujah! What a wonderful day the Lord has made to watch Westminster Academy’s production of “Godspell”!
With music by Stephen Schwartz and book by John Michael Telebak, Godspell is a musical composed and structured in a sequence of parables based on the Gospel of Matthew as presented in the bible, but with more of a modern twist. Before becoming a long running success, the show was first rescored for an Off-Broadway production, first premiered May 17, 1971.
In the role of the one and only “Name above all Names”, Jesus Christ, Samuel Seeman did an absolutely heavenly job in portraying the humble and patient teacher. Seeman’s dedication and embodiment of Jesus’s character felt so authentic and natural, never forced in anyway. From the chemistry he has with his followers to his stage presence overall is something that would be almost impossible to miss. Samuel brings “The Light of the World” because of how radiant he shines on stage!
In a heartbreaking turn of events, the betrayal of Judas, played by Luis Rameriez, was a very intense moment, with a variety of different feelings and emotions prevailing, which was shown so clearly and carefully. From the moments leading up, you can see the physicality and change in Ramirez from the upbeat, breath of fresh air as he always appeared to be, to a more serious, unfamiliar person. The characterization and attention to detail was so enthralling the way it was displayed tremendously and notably so from Luis, truly an amazing performance throughout the production as a whole. Erin Fitzgerald (Company/Jesus’s Followers), commendably wowed the crowd as she bestowed her stunning vocal talents and hilarious improv skills primarily shown in the song “Turn Back, O Man”. With every joke of hers consistently landing and the iconic reference to “The 4th of July”.
The ensemble really did make the biggest impact on the production entirely. Each and every single character was so unique and different, providing an immense amount of energy to them, while still keeping the originality of the story. Jesus’s followers really brought the story to life and created such a cheerful environment to watch. During the musical numbers, although the majority of the ensemble seemed to lack coordination of the choreography at certain points, their consistent facial expressions and beautiful harmonies made up for it, never making it too obvious.
The use of sets and props were used so efficiently and smoothly when transitioning to different scenes or reenactments. The changes and moving of set pieces never looked awkward or uncomfortable, as it appeared to be done with such ease and didn’t take away from the story at all. Much credit to the actors for taking advantage of the environment that was presented to them and making it their own.
In learning about the life and death of Jesus with His disciples in this journey through the Gospel of Matthew, Westminster Academy really taught us “All Good Gifts” that come when we “Learn Our Lessons Well”. Amen.
*** *** ***
By Makayla Whelchel of North Broward Preparatory School
It’s a bird! It’s a plane! It’s Jesus Christ in a superman shirt? Quirky, funny, and wildly entertaining, Westminster Academy’s Godspell is a ride of a show that nothing could possibly “Prepare Ye” for.
Filled with heart, humor, and a healthy dose of biblical time-bending, Godspell is a modern(ish) take on the Bible’s Book of Matthew that was originally written in 1970 as a Carnegie Mellon University student’s thesis. With a book by John Michael Tebelak and score by Stephen Schwartz, Godspell follows Jesus as he regales his followers with a series of parables that eventually culminate in his death and crucifixion. Godspell went on to run in Australia, England, Chicago, and finally Broadway in 1976, where its earnest feel and Tony-nominated score attracted the popularity that keeps audiences coming back to it today.
Playing the Son of God himself, Samuel Seeman’s performance as Jesus was a gift from above – and he had some pretty big shoes to fill. With an indelible stage presence and understanding of his role, Seeman’s creative character choices and attention to physicality showcased Jesus’s evolution as a character and brought this challenging role to life. The chemistry between Jesus and his followers was a joy to watch, and the final goodbye before Jesus was betrayed was a deeply moving moment that showcased the connection that Seeman and the ensemble had created together.
Betrayal never looked so good! Luis Ramirez playing Judas, Jesus’s friend turned reason for his downfall, gave a wonderful performance that made Judas’s heartbreaking desertion of the Son of God look almost effortless. Complete with commendable character voices, deft dance moves, and even a few wayward magic tricks, Ramirez made sure that his presence onstage was one that mankind will never forget.
However, no teacher can truly call themselves a mentor without a willing and enthusiastic group of students “By Their Side”! Godspell was shot through with ensemble moments, and from trumpet playing (Andrew Lencse) to tap dancing (Kathryn Wright, Jocelyn Kippes) the company of Jesus’s Followers did it all. Ryder Stroud’s humorous character voices and Story Truss’s commitment to her onstage moments are just two examples of the ensemble’s many good individual performances. Some stellar vocalists also populated the scene, and singers like Erin Fitzgerald and Madison Sanders sounded heavenly in songs “Learn your Lessons Well” and “On the Willows”.
As a whole, the cast performed well, showing dedication to their roles and interacting with the set in a way that felt seamless. Although sometimes overpowered by the onstage band, energy and harmonies made songs like “Day by Day” enjoyable to watch. Though there were some issues with diction and choreography at times, the cast took to the stage with enthusiasm and heart.
Westminster Academy’s production of Godspell brought scripture to life with an engaging performance that left everyone feeling like they had “Learned their Lessons Well”.
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By Jillian Lajoie of Monarch High School
Prepare ye, for Westminster Academy’s production of Godspell. With book by John Michael Tebelak and music and lyrics by none other than Stephen Schwartz, Godspell was first produced off-Broadway in May of 1971, and quickly became a long-time success, inspiring both a Broadway revival in 2011 and the shortened Godspell Junior. Following the story of Jesus’s prosecution and death, told through gospel parables, Godspell brings a modern take to the Bible, and the message within.
From the very moment he stepped onto the stage, Samuel Seeman, in his role as Jesus, embodied the love and humility shown in Jesus’s teachings. In addition to the wealth of emotion displayed, Seeman’s vocal delivery was heavenly, maintaining the same vocal quality throughout the show, even whilst interacting with other actors, especially Judas (portrayed by Luis Ramirez). From the very start, it was clear the two were good friends, and the chemistry in that character relationship was maintained during the entire show. Ramirez showed incredible emotion after his betrayal of Jesus, made especially evident in the Last Supper scene. Equally stunning vocals were shown by Ramirez, even while dancing and delivering fast-paced lines.
This talent was matched at every step by the ensemble cast, who displayed additional vocal talent throughout the show, characterized by Erin Fitzgerald’s incredible vocals and impressive improv skills. While there were times the ensemble seemed distracted, this was made up for with their energy and dedication during the rest of the show. The actors’ facial expressions, like those shown by Story Truss, helped to transport the audience to the stories being told and the lessons to be learned. It was obvious that the ensemble was not holding back, which helped immerse the audience even more.
With heavy dancing portions required in the show, the choreography was incredible, not just in dancing, but in blocking and staging as well. Scene transitions were seamless and efficient, and at times completely unnoticeable. Despite a relatively simple set, actors were able to effectively move set pieces and props to create a story and were able to maintain their character while doing so. The range of costumes shown were very detailed, although confusing at times, and represented the characters well. The use of space throughout the show was ingenious, using the side door as well as the stage.
Let the people rejoice for Godspell, performed by Westminster Academy. With stunning vocals, wonderful relationships, and impressive physicality, the actors did a terrific job at making the Bible palatable for a modern audience. In a world of strife, disconnect, and anxiety, the lessons and teachings shown in Westminster Academy’s production of Godspell are exactly what we need to learn how to take things day by day.
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By Lily Moscowitz of South Plantation High School
Everyone has their own personal beliefs, and to find the courage to express them can be difficult. In this production of Godspell from Westminster Academy each member of the cast and crew was able to express themselves beautifully through this masterpiece.
Originally an idea from masters’ students at Carnegie Mellon, and later adapted by Stephen Schwartz, Godspell is the story of Jesus Christ and his followers. It is based on the Book of Matthew, the first book of the New Testament of the Bible. This production allows audiences to learn the lessons of the book, while keeping them entertained with the upbeat songs and witty script.
In the starring role of Jesus, Samuel Seeman powerfully led his followers through the show. The combination of his strong vocals and humble acting choices made him the perfect actor to persuade the crowd to follow him. During his introduction in the song “Save the People”, he immediately captivated the audience, keeping their attention until his resurrection. As his friend-turned betrayer, Judas, Luis Ramirez had excellent comedic timing in each of his moments in the spotlight. He was able to use his facial expressions and body language to show the buildup to his betrayal. In his duet with Jesus “All for the Best” he demonstrated excellent breath control.
Jesus’s Followers were able to interact with each other in ways that created dynamic relationships onstage. As each of them took turns sharing the story, some performers stood out from the crowd. Madison Sanders gave a perfect rendition of the song “Day by Day” with her angelic vocals. She also was very strong in her use of her body and face to share her character’s feelings. Her harmonies, with other standout performer Mia Harms in “By My Side”, were amazing. Ryder Stroud showed his ability to add new characteristics to each part he played, specifically through his different accents.
During many solo moments on stage, the actors in the background doubled as stagehands, moving parts of the set around to allow for more dynamic stage pictures. The use of lilies on their costumes, cultivating in the removal of them in the event of Jesus’s death, was a powerful element of the show. Although there were times where the vocals were overshadowed by the music, the actors never let that affect their performances. They also worked well with their costumes, using them to make sounds while performing as goats and sheep.
Each member of this production was able to contribute their own unique story to support Westminster Academy’s production of Godspell. As an ensemble, the cast worked together to support Jesus in life and in death.
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By Sofia Palhano of Coral Springs High School
When you feel sad, or under a curse, just watch Westminster Academy’s production of Godspell!
Godspell is a musical composed by Stephen Schwartz, and book by John-Michael Tebelak. It first debuted in 1970, and was then revived in 2012. Godspell – using archaic English for ‘gospel’ – tells the story of Jesus through parables based on the Gospels mainly from the book of Matthew.
“Prepare Ye”, as Samuel Seeman makes his way to the stage in the role of Jesus. While showcasing his incredible vocal range, he perfectly portrayed the collective and humble man that was Jesus, moving the audience emotionally as his story unfolded. He shared such amazing chemistry with his castmates playing Jesus’s Followers, and all their interactions had great meaning and impact. Yes, it’s all for the best that we got to see Seeman’s wonderful storytelling!
Luis Ramirez let his light shine stepping into the role of Judas. He displayed his impressive breath support during the song “All for the Best” when he was dancing while singing very fast-paced lyrics. He was very aware of what was going on around him and always conveying emotions that helped the audience properly understand his character. A truly eye-catching follower of Jesus was played by Story Truss. Every interpretation of each character she played was entertaining. She was very expressive and embodied each part played, which helped the audience understand the story telling.
You got to stay bright to be the light of the world, and Erin Fitzgerald certainly was the light in our world! She shone bright with her acting as Jesus’s Follower throughout the performance, but especially during the song “Turn Back, O Man”, when she had a moment to fully demonstrate her vocal ability. She was just full of surprise! Surprising us, as another one of Jesus’s Followers, was Ryder Stroud. There wasn’t one dull moment he had, as each time he spoke, a different voice came out! He kept a great energy throughout the entire show and had the crowd wanting more!
Playing the trumpet as John the Baptist and recorder as Jesus’s Follower, Andrew Lencse did incredible in keeping up his characterization. There was not one moment he’d be spotted not reacting to what’s happening in front of him. His awareness of each scene and funny personality made him enjoyable to watch. Also dominating the stage were main dancers Kathryn Wright and Jocelyn Kippes. They swept the stage with their stunning dancing abilities, especially in the number “All for the Best”, where they presented their advanced tapping skills. The two dancers definitely left a lasting impression on the viewers!
Watching Westminster Academy’s production of Godspell taught us to make peace with our brother, and invited us to come sing about love!
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By Avery Redlich of NSU University School
All aboard! Train tickets and murderous motives are required for admission. Through the commitment of the cast and the creativity of the crew, Coral Glades High School’s production of “Murder on the Orient Express” showed that a successful show takes many people – just like a successful murder.
Written in 1934 by the Queen of Crime herself, Agatha Christie, and adapted for the stage by Ken Ludwig, nothing screams, “Vacation!,” like “well” screams. As revered detective Hercule Poirot seeks a much needed rest from solving crimes, he enters the greatest crime scene of all: the Orient Express. With clues dropping like snow and bodies dropping like clues, this classic whodunnit makes for a bloody good time.
As our vacation-deprived detective, Samuel Franco brought Hercule Poirot to life (even in a play about death) with multiple monologues and simple, refined behaviors befitting his character. Abigail Miller (Countess Andrenyi) was as poised as she was poisonous with an impressively consistent accent and an equally impressive accent-drop during her character’s confrontation scene. Lucy Forrest (Princess Dragomiroff) brought excellent comedic timing, elderly movements, and a bitterness to her banter, engaging uproariously with Arielle Andre’s hilarious Helen Hubbard and Ivy Levine’s dear Greta Ohlsson.
The captivating flashback of the opening scene (the actors restricted to their physical performances via silhouettes) and the interwoven flashbacks of the finale reveals (actors snapping in and out of a freeze-frame past and the fluid present) were standouts; not only did the characters execute Samuel Ratchet, but the cast executed non-sequential scenes brilliantly, despite only beginning rehearsals in the space a week prior to performance. Minor diction and pacing issues were met with killer cast chemistry, commendable accents, and an overall rise of intensity in Act II: the stakes were high, but the cast met them with deadly aim.
Choo choo! Each train whistle, transitional song, and clear microphone emphasized the phenomenal work of Maven Lebron and Handy Saint Louis with Sound. Hair and Makeup (Savanna Green and crew) and Costumes (Clay Matza, Ismail Elhassan, Kailyn Forrest, and crew) were both era-appropriate, while Props (Gabriela Barrios and crew) offered immediate personality distinctions, such as through characters’ luggage cases in their introductory scenes. Sets (Ismail Elhassan, Kailyn Forrest, and Kaiden Littman) were to die for: limited by a set transfer one week prior to show day, the rolling flats were an ingenious use of space. Stage Manager Lamarah Hamilton and crew’s cues were as sharp as a knife, hitting the mark far more than eight times (despite being down four stage hands).
“There has been a murder on this train, and I will figure out who did it.” Well, Coral Glades Drama certainly did, bringing “Murder on the Orient Express” to a remote stage with admirable dedication and originality. Through blood, sweat, and tears (emphasis on the blood), the cast and crew begged an important question: what fun is a train ride without a little bit of murder?
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By Sofia Fernandez of Calvary Christian Academy
Time of death: 1:15 am. Cause of death: stabbed eight times. Eight suspects, one detective, one show: Coral Glades High School’s “Murder on the Orient Express.”
This crime was first orchestrated by Agatha Christie in her book “Murder on the Orient Express” in 1934. It was later adapted to the stage by American playwright Ken Ludwig and had its first performance on March 14, 2017, at the McCarter Theatre Center. This mystery examines a murder case aboard the renowned Orient Express. Any one of the passengers on board could have committed this malicious act, but who could have done it?
The case can only be cracked by distinguished detective Hercule Poirot (Samuel Franco). He took on the case and the role with ease, conveying his character’s inquisitive and attentive nature. He also impressively delivered several lengthy monologues of a vast emotional range. Now, onto questioning the potential culprits. Where was Countess Andrenyi (Abigail Miller) at the time of the murder? With her detailed character work and poised physicality, surely she couldn’t have committed such a thing.
What is this clue that has been found? A handkerchief embroidered with the letter H? Then perhaps it was Helen Hubbard (Arielle Andre) with her vocal inflection and consistency. Unless the Cyrillic alphabet was used, then it could very well be Princess Dragomiroff (Lucy Forrest). She embodied her character flawlessly with excellent comedic timing, especially with her interactions with Mrs. Hubbard. But with the conductor uniform found in her suitcase, could it have been missionary Greta Ohlsson (Ivy Levine)? Even amid her strong accent, her diction was clear as she remained dedicated to her role.
With solid alibis and clues pointing in every direction, the cast’s performance kept the audience in suspense throughout the production. They all had strong stage presence and maintained facial expressions throughout every scene. The final flashback scene at the end of the production was executed impressively as everyone was synchronized with steady pacing. Despite some accents presenting some actors with occasional line delivery difficulties, the actors continued to develop the drama and intensity of the story as it progressed.
This mystery could not have been brought to light without the crew of this production. Both the costume and props crew’s selections were thoughtfully selected and enhanced the 1930s time period. The two-dimensional sets were both creative and effective as they allowed smooth and efficient transitions between scenes. Finally, the sound mixing was balanced between the microphone and sound effects, allowing each character and sound to be clear and heard.
After a review of all the evidence, there is one thing known for certain. Coral Glades High School’s “Murder on the Orient Express” is undoubtedly guilty of being such a sensational and thrilling production.
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By Maggie Starr of Marjory Stoneman Douglas High School
Whodunit? Could it have been the enigmatic Princess Dragomiroff, or perhaps the faithful Greta? But also, the Hungarian Countess Andrenyi! And don’t overlook the vivacious Helen Hubbard! Regardless of the culprit, Coral Glades High School’s riveting rendition of Agatha Christie’s “Murder on The Orient Express” will leave you seething for the truth of the mysterious murder express.
Adapted from Agatha Christie’s 1934 novel, “Murder on the Orient Express” is a classic featuring her iconic detective, Hercule Poirot. The stage adaptation, by the prolific playwright Ken Ludwig, brings the celebrated book to life. The story revolves around the murder of an undercover American passenger on the famous Orient Express. Faced with this crime, the renowned Hercule Poirot delves into the investigation, unraveling a web of shocking secrets, connections, and mysteries among the passengers. A train, a murder, and a detective with a mustache – what could possibly go wrong?
Inhabiting the role of the intelligent detective Hercule Poirot is Samuel Franco. Franco did an excellent job of staying dedicated to his character’s simplistic nature throughout the duration of the show. Franco’s portrayal demonstrates his ability to skillfully navigate the intricate nuances of a complex character. One of the show’s highlights was Ivy Levine’s portrayal of the devoted character, Greta Ohlsson. Levine’s on-stage presence exuded a profound commitment to her role, showcasing a deep understanding of her character’s nuances and motivations. Her acting performance was nothing short of outstanding, particularly in the pivotal scene of her discovery of the lifeless body, where her exceptional emotive skills truly shone.
In her role as Princess Dragomiroff, Lucy Forrest demonstrated an impeccable sense of timing that resulted in her humorous lines resonating with the audience. Moreover, her dynamic exchange of witty repartee with Levine and the lively Helen Hubbard (Arielle Andre), added a delightful layer of sophistication to the performance. Abigail Miller’s portrayal of the Countess Andrenyi was characterized by a remarkable display of her unwavering commitment to her character, shown through her authentic accent, thereby enhancing the depth of her performance.
The 1930s murder mystery production owed much of its success to the era appropriate technical aspects. The prop department seamlessly integrated historically accurate props, ensuring the show’s smooth operation. The costume department demonstrated a dedication to authenticity by outfitting the lead characters with era-appropriate attire, a testament to their thorough research. The hair and makeup team’s remarkable work, particularly in effectively aging Princess Dragomiroff’s character, also lent an extra layer to the quality of the production.
The mystery was afoot as the curtains rose on Coral Glades High School’s production of Agatha Christie’s “Murder on the Orient Express.” This classic tale was brought to life, promising an enthralling evening of suspense, secrets, and sleuthing in a setting where nothing is as it seems.
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By Christina Garofalo of Marjory Stoneman Douglas High School
Coral Glades High School’s rendition of “Murder on the Orient Express” takes its audience on a riveting journey, where every twist and turn mirrors the detective’s sharp deduction, and the suspense is as thick as the snowdrifts outside, enveloping viewers in an atmosphere of mystery and intrigue.
“Murder on the Orient Express” is a murder mystery that was written by Agatha Christie and adapted for the stage by Ken Ludwig, opening in 2017. Agatha Christie is widely regarded as the “queen of crime,” and this play is directly derived from her novel of the same name. The play is set aboard the luxurious Orient Express, as it winds through a snowy landscape. As the night unfolds, an unsuspecting victim is found dead, leaving detective Hercule Poirot with a slew of unanswered questions. Isolated and with a killer in their midst, the passengers turn to Poirot, relying on his esteemed skill to unmask the murderer before he strikes again.
Samuel Franco brought the seasoned detective Hercule Poirot to life with an enjoyable performance. Franco employed inflections in his voice, contributing to the high stakes and tension throughout the show. Helen Hubbard was embodied by Arielle Andre, as she was impressively expressive, showcasing strong characterization. Lucy Forrest, as Princess Dragomiroff, delivered a standout performance by adeptly capturing the calm essence of her character, skillfully capturing both the aged wisdom and wit inherent to her role. Ivy Levine demonstrated dedication to her portrayal of Greta Ohisson, as evidenced by her ability to convey a spectrum of emotions through compelling facial expressions. Her shrill tone added depth and contributed to her creation of a convincing and authentic character. Although there were occasional hiccups in accents, pacing, and diction, the performers succeeded in effectively characterizing their roles and consistently staying in character.
The lighting aptly complimented the various settings, enhancing the mood of each scene. The utilization of props effectively contributed to reinforcing the 1930s time period. The transitions between scene changes were drawn out, however, the set design maintained a basic aesthetic, and its efficiency was evident, demonstrating a judicious use of the available space on stage. The sound, designed by Maven LeBron and Handy Saint-Louis, exhibited a commendable quality, marked by discerning choices in music and sound effects. The ambiance crafted by the sound elements played a pivotal role in establishing and maintaining the stiff tone for the show.
Coral Glades High School’s production of “Murder on the Orient Express” delivered a tense and resonant performance, capturing the crux of Agatha Christie’s classic mystery.
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By Jahanna Galloway of South Plantation High School
It’s the dead of night. The sky is darker than the deepest black and snow is flying rapidly outside of the train. Everyone is tucked away into their luxurious cabins – or so it seems. If I were you, I would keep the doors & windows firmly locked and I suggest your wits be at the ready. Because who knows? Anything could happen on the Orient Express!
Coral Glades’ production of “Murder on the Orient Express”, while suffering from several flaws throughout the show, is still a fantastic take on the classic murder mystery story that everyone loves.
Written by the “Detective/Murder Mystery Queen” Agatha Christie on January 1st, 1934, the play first premiered on March 14th, 2017, under the direction of Emily Mann. We follow the widely acclaimed detective Hercule Poirot as he tries to hunt down the killer of American businessman Samuel Ratchett on the Orient Express that has been caught in a snow drift. While interviewing the diverse array of passengers (and potential suspects) and investigating various clues, Poirot begins to realize that all isn’t what it seems.
Negating the fact the accents of certain passengers become a bit muddled and a couple lines are stumbled over, the cast of “Murder on the Orient Express” is able to slide into these diverse roles with ease. Not only are these characters witty and unique, but some are able to bring a certain amount of depth into their role.
For instance, Abigail Miller, who plays Countess Andrenyi, throughout the production displays her ingenuity and the complexity of her character’s motivation. In his leading role, Samuel Franco playing the esteemed Hercule Poirot easily slips into the spotlight, as he pieces together clues and delivers memorable monologues.
Not to leave out an ounce of talent, the surrounding cast members bring plenty to the table and really round out the whole show. Helen Hubbard (played by Arielle Andre) is delightfully quirky and really livens up the atmosphere, especially in the relatively slow first act. Lucy Forrest (playing Princess Dragomiroff) with her well-timed jokes and excellent delivery was a delight to watch.
Right off the bat, being able to put together such a production while having to move and adjust most of the technical aspects of the show to another school is incredibly impressive. The use of the cyc and the cyc lights during the flashback sequences (especially the beginning scene) were very effective. Despite being down several hands for stage crew, the stage crew was still able to transition through the many scene changes in a reasonable amount of time.
Coral Glades High School is able to bring Agatha Christie’s work to life in their production of “Murder on the Orient Express”. It is suspenseful, clever, funny, and it will leave you shock at its ending.
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By Gavin MacArthur of Cooper City High School
Summer camp is a time to lean back, relax, and enjoy the wonders of nature. But what happens when mysterious occurrences lead to panic among the only adults in sight? The Benjamin School has delivered a production like no other, in their heartwarming performance of The Grown-Ups.
Released at the height of the pandemic in 2021, The Grown-Ups was written by Skylar Fox and Simon Henriques. The play took advantage of restrictions by inviting small audiences to a backyard to witness the show. This contemporary piece follows a group of counselors at Camp Indigo Woods. As the story progresses, a recently employed staff member, Cassie, warms up to this diverse group of people. However, things start to get complicated when a riot disrupts the safety of this summer getaway.
Portraying the recent addition, Xan Blount (Cassie) elegantly presented her character’s mysterious nature and isolation from this otherwise intimate bunch. Blount admirably executed the complicated emotions required for her role through accurate facial expressions and believable body language. David Frear (Lukas) showcased his superstitious character magnificently – skillfully bringing his guitar-playing abilities to the stage. Frears attention to detail when representing Lukas remained omnipresent – along with his genuine dynamics with every member of the cast.
As one of Lukas’s closest acquaintances, Rebekkah Merkel (Maeve) displayed her character’s pride towards camp and loving essence with immense enthusiasm. Depicting Maeve’s devoted admirer and adversary, Sage Sorenson (Becca) demonstrated her incredible acting ability through the telling of her spooky monologue and constant characterization. Sorenson’s interactions with other actors felt authentic even when no dialogue was present – further extending her endless talent. Though not eligible for awards due to his age, Harrison Poulakakos (Aidan) possessed the aura of a true stickler and retained a knack for making every line written with comical intentions simply hilarious.
This cast embraced the play’s many unique elements in order to make it extraordinary. Being staged with an audience from every angle, audiences are immersed in this world from the moment they walk in. The performers nailed this rare presentation and even used it to their advantage by making their acting feel all the more eloquent. Though some lines were lost due to poor diction, overall, the script was profoundly well-rehearsed. Tackling a heavy, highly political, and dark comedy such as this is a colossal task for this age group, but it was handled with unbelievable prowess.
The options for costumes in this play were limited. Nevertheless, Evelyn Peyovich created a uniform that tastefully encapsulated the heart of this production. Further adding character, each staff member had their own name inscribed with marker on the back of their shirts with accompanying symbols and handwriting that mirrored their separate personalities.
“There are no wrong answers. Only your answers. And nature.” The Benjamin School has brought us this memorable sentiment along with lifelong lessons in their exceedingly exceptional production of The Grown-Ups.
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By Lila De Almeida of Saint Thomas Aquinas High School
Arts and crafts, campfires, and scary stories are all hallmarks of the typical sleepaway camp experience. Curse words, alcohol, and politics, alternatively, are NCA: Not Camp Appropriate. However, just how much can five counselors shelter their campers from the chaos happening outside of Camp Indigo Woods? In The Benjamin School’s production of The Grown-Ups, the seven-actor cast beautifully immersed the audience into their nightly campfire discussion in-the-round.
The Grown-Ups was first performed in July 2021 amidst unprecedented global turmoil. The creators, Skylar Fox and Simon Henriques, set out to create a unique production that not only provided commentary on the current political climate but also abided by COVID restrictions. For this reason, The Grown-Ups was performed in a secret location “a backyard in Brooklyn” with only six to eight audience members at a time. The plot follows five college-aged counselors that meet for nightly conversation around a campfire. Through accessing social media each night, the counselors encounter the controversy that has resulted in large-scale violent takeovers, first starting with the state of Kansas. The counselors are faced with a moral dilemma: do they inform the children of the threat, or do they preserve the sanctity of camp life?
The dialogue between the characters felt as organic as their woodsy surroundings. Each actor must be commended for their skill in naturally interrupting and interacting with one another. Xan Blount (Cassie) displayed incredible conviction in her character’s backstory. Towards the end of the production, she revealed her true origins in the form of a scary story that left the audience starstruck. Sage Sorenson (Becca) performed with impressive attention to detail. Her facial expressions and reactions to the environment made the experience all the more immersive, and her underhanded comments to Maeve, played by Rebekkah Merkel, were perfectly delivered.
The fireside environment was further enhanced by David Frear (Lukas) and his guitar. Aidan, the proud assistant camp director, was masterfully played by Harrison Poulakakos, an eighth grader. He portrayed both important leadership skills and hilarious storytelling while fitting the archetypal rule-follower role. Although some actors had moments of mumbling, the diction of lines was otherwise consistently strong.
Theatre-in-the-round is no easy feat, but the phenomenal set design facilitated the immersion into Camp Indigo Woods. Lawn chairs encircled the fire pit, which had wisps of smoke and a warm glow. Audio elements accompanied the visual, such as crickets to enhance the forest setting and well-known camp chants and songs played during scene transitions. Additionally, the T-shirts worn by each actor characterized each role excellently. In true camp fashion, they were decorated with painted names and designs on the backs. Although certain aspects of the makeup and hair could be interpreted as messy, the style was entirely appropriate for the wilderness setting.
The Benjamin School’s production of The Grown-Ups was profound and mature while simultaneously being nostalgic and hilarious. Just as the counselors would say, the production was full of “oh yays” with very few “no ways!”
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By Avi Gordon of AW Dreyfoos School of the Arts
The Benjamin School’s production of The Grown-Ups proves that high school plays can be just as innovative, immersive, and impeccable as professional shows. With in-the-round seating and hyperrealistic acting, this production will have you contemplating whether you are at a show or a campfire telling stories with old friends.
The Grown-Ups was first introduced in spring 2021 during the COVID pandemic. Due to restrictions, theatre in New York City was scarce; creatives had to wait it out. A small theatre company in NYC called Nightdrive had a solution: produce a small, immersive play in the backyard of a Brooklyn home, quarantine the actors together, and only seat 6-8 people. Audiences had to find the house and look for the backyard themselves. The Grown-Ups follows a group of counselors at Camp Indigo Woods as they sit together at a campfire after the campers have gone to bed. They know each other from past years, except for Cassie. Though they’re friends and want a successful summer, outside forces (like a violent, nationwide debate over a meme) threaten to tear them apart.
The Benjamin School seamlessly translates this immersion into an in-the-round space. The audience is part of the campfire. The compact cast’s three-dimensional characterization puts the audience into the world of Camp Indigo Woods. David Frear deserves recognition for his role as Lukas, a guitar-playing empath. Frear brings a calm maturity – grounding the play’s wackiness. His musicianship and guitar skills are commendable. The principal female counselors (Xan Blount as Cassie, Sage Sorenson as Becca, and Rebekkah Merkel as Maeve) have fantastic, genuine chemistry. During their arguments, the tension in the air is palpable, and their strained camaraderie is subtle and funny. Blount brilliantly displays her character’s anxiety and trepidation as an outsider.
Though 8th grader Harrison Poulakakos isn’t eligible for an award, his neurotic and hilarious performance as assistant camp director Aidan deserves appreciation; his comic timing is exemplary. Ava Shawe (Grace) and Natalie Bain (Jade) also do an admirable job rounding out the camp staff. This cast handles lengthy monologues and scenes with timing, moments of silence, and justified tonal shifts. Though there is the occasional line drop, lack of dynamic energy, and noticeably rehearsed dialogue, the actors make it up with their attention to detail and laser focus. The actors become quieter and more grounded as the play goes on.
This meticulousness extends to Evelyn Perovich’s costume design. She employed cartoony camp shirts for the whole cast while giving each character something individual to work with. Lukas’s bandana, ripped jeans, and Doc Marten Chelsea boots reflect his brooding, laid-back persona. In addition, Maeve’s edgy style is reflected in her purple hair streaks and the messy, rough style of her hair. Peyovich ensures the audience feels like they’re in a rugged, survivalist environment.
The Benjamin School’s magnificent company of actors and creatives have created a wonderfully immersive and heartfelt show. If you want realistic teenage comedy, biting political satire, and an electrifying ensemble, you must see The Grown-Ups!
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By Nicole Miller of American Heritage School Palm Beach Campus
Breathing in the smell of the outdoors and smoke, the childhood summer camp memories come flooding back as the counselors, along with the rest of the audience, sat around the campfire at The Benjamin School’s production of The Grown-Ups.
The play was originally written and performed during the era of COVID-19 in an intimate setting – a backyard. The story takes us through a summer at Camp Indigo Woods, where the counselors continue to build relationships as the summer goes on. But after the country around them starts dealing with a political rebellion, they have to truly take on their roles as leaders and keep the campers safe, while trying to keep their innocence safe, too. As the danger gets closer and closer, decisions have to be made as silly camp activities become a thought of the past.
The production was staged in-the-round, where the audience is seated on all sides of the acting space, which is extremely uncommon for high school theater. This setup made the play feel even more intimate than it already was and allowed the audience to get a closer look at the actions and facial expressions of the actors, which were great. The attention to detail was taken into account by the stage team as you could see every little thing – even down to what the actors were scrolling through on their phones. There was even a moment when the audience was called upon to join in on a call-and-response camp song. Overall, the proximity to actors, while risky, was well executed and made the show feel much more personable.
The actors themselves put on a great performance. The main character Cassie, played by Xan Blount, was extremely well executed. The role had elements of growing up, getting to know a new group of people, and the desire to fit in while also not comprising who you are at your core. The character’s emotions, story, and interactions were very complex and were beautifully shown by Blount. The role of Lukas, played by David Frear, brought an easygoing contrast, even playing complex guitar riffs, further adding to the camp environment. Characters like Maeve and Becca, played by Rebekkah Merkel and Sage Sorenson, had complex interactions and let the audience see who the characters were based on their emotions and reactions, something usually difficult to do.
The set beautifully captured the essence of camp. It was simple – chairs around a campfire with a hammock in one corner and a tree in the other. The fairy lights strung from the tree with the white noise of crickets playing really made the audience feel like they were truly outdoors. There were many commendable technological aspects, as well, such as a real drone flying overhead and the campfire giving off smoke.
The play touches on many subjects, but Aidan’s monologue, beautifully acted by Harrison Poulakakos, tells the audience after closing their eyes, “There are no wrong answers. Only your answers and nature.” The characters, riddled with differing perspectives, are never truly wrong or right on what to do in the difficult situation. They simply are kids themselves trying their best to deal with losing their innocence in the face of turmoil.
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By Giovanna Dellaria of Cooper City High School
Summer camp: a place for canoeing, campfires, and long-held tradition. Kids of all ages cherish these spaces, a sacred home away from home. When a national threat destroys the outside world, and the people calling the shots are still kids themselves, what is the right course of action? The Benjamin School’s phenomenal production of The Grown-Ups tackles that tough question with maturity and care.
First produced in 2021, The Grown-Ups was written by Simon Henriques and Skylar Fox. It was performed in an immersive experience, including exclusive audiences that spectated sitting around a campfire with the actors. This dark comedy follows the senior counselors of Camp Indigo Woods as they navigate the newfound responsibilities that come with running a summer camp. As political turmoil wracks the world beyond the borders of camp and consumes the country, the group is forced to make difficult decisions and grapple with the weight of telling the truth – to both their campers and to each other.
Embodying the hesitant yet eager newcomer Cassie was Xan Blount. Blount’s execution of Cassie’s character was outstanding, capturing her complex emotions and anxieties with fascinating realism. Also exemplary was David Frear as Lukas. Frear not only showcased his acting talents through his intensely detailed and charismatic portrayal, but his musical skills, as well. His authentic guitar-playing elevated his character and added a realistic element to the show.
Rebekkah Merkel portrayed Maeve, one of the more popular counselors at camp, quite convincingly. Her characterization was splendid, capturing her connection to the camp and her relationship to her fellow counselors. Merkel also shone in lighthearted moments, and her chemistry with Frear was evident as she displayed Maeve’s attraction to Lukas. Eighth grader Harrison Poulakakos skillfully executed the uptight Aidan, playing the assistant camp director with precise comedic timing.
The entire cast was extremely dedicated to depicting their characters. Through their wonderful stage business and constant engagement in scenes, the bond between each member of the group felt real and special. Despite occasional struggles with diction, the actors’ extraordinary energy made up for this issue. Standing out exceptionally was Sage Sorenson as Becca, who masterfully executed her character’s mosaic of emotions through unique and subtle facial expressions.
Designed by Evelyn Peyovich, the costumes of this production reflected the characters’ personalities quite well. Peyovich incorporated multiple elements when considering costumes and found methods to make each one stand out. From puffy paint detailing on the backs of camp shirts to unique hair accessories, every element worked cohesively to represent the characters.
Altogether, The Benjamin School’s production of The Grown-Ups tells a moving story of acceptance, responsibility, and maturation. Audiences are reminded that even when faced with the fear and unpredictability of growing up, success is achievable and better things are always ahead.
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By Bailey Fier of J.P. Taravella High School
What’s next after you achieve your dreams and want to settle down? This question is answered in Boca High School;s smashing production of “Company”. This surefire way to spend your night leaves you with a sense of reality by throwing it in your face with beautifully executed song and dance while finding the humor in the terrors of middle age life.
Musical genius Stephen Sondheim wrote his eighth contemporary musical Company to be a musical marvel in the form of an ultra-realistic peak into the life of our leading male Robert on his 35th birthday. We follow Robert’s journey in discovering what love and marriage means to him as he questions every decision he has made up until his birthday. The company aids Robert’s journey as all his friends featured in the show showcase the smorgasbord of different problems they deal with in their marriages. The music and lyrical sophistication comes from the hearts and minds of power duo Stephen Sondheim and George Firth. The original 1970 production was received poorly because of the brash topics of alcoholism and divorce. Although, this show was nominated for 14 Tony nominations and won six of them. There have been about eleven notable productions of this musical including on Broadway, the West End, and many tours and revivals; as well thousands of theatres everywhere. Everyone see
ms to want to get a piece of the Company cake.
Boca High School’s production stands out to be a phenomenal adaptation of a challenging score. Our leading male Robert was near perfectly executed by Austin Tindell. His portrayal of this sophisticated character showcased the many layers of emotions needed to play his increasing struggles. The score of this play is nothing short of demanding, but Tindell ushered every line and song in such an authentic and natural manner. The technicality in Tindell’s voice was greatly impressive, delivering every song with a voice that could cut the air like a knife cutting through a cake. Tindell Bobed for apples in search of his purpose in life and took the audience along for a thrilling ride.
The power couple of Harry and Sarah were performed flawlessly by Antonio Saladino and Claudia Hammes; their execution of their karate scene was a belly laughing good time. Another standout performance was Mia Salerno as Amy, their vocal delivery and intensity, showcased in the song “Getting Married Today”, was a showstopping highlight of the production. Joanne, played by Nisa Guvenilir, was born for the spotlight and dominated the stage when needed by delivering impressive vocals and sophisticated mannerisms. The company brought us impressively tight harmonies, well-rehearsed dance numbers, and exceptional characterization throughout the duration of the show.
All the tech aspects of the show were equally impressive and complimented the actors on stage; this includes the 70s themed set with moving chairs and smooth changes between scenes, as well as beautifully lit lighting portraying evening modesty. To add, the costumes tackled the complexity of each character and gave them a story even before they spoke.
And “Another Hundred People” rise from their seats to applaud Boca High School’s adaptation of Company! As it was an astonishing work of art that captured the essence of what Sondheim dreamed this show to be. And don’t forget your party favor on your way out!
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By Sarah Abisror of Cooper City High School
Phone rings, door chimes, in comes company! No strings, good times, room hums, company! Boca Raton Community High School’s outstanding production of “Company” demonstrates that there are many reasons not to be with someone, but there is no reason to be alone.
With music and lyrics by Stephen Sondheim and book by George Furth, Company premiered on Broadway in 1970. It secured six Tony Awards and inspired countless revivals. The plot follows Robert, the only one of his friends who has never been married, as he turns thirty-five. He explores each of his friends’ marriages and quickly discovers that though he is scared not to be married, he is equally as scared to commit to someone in that way.
Austin Tindell (Robert) displayed his exquisite vocal prowess and commitment to his character. He fantastically forged unique and believable relationships with each of the couples and individuals he interacted with. Utilizing impeccable comedic timing, counterparts Pedro Costa (David) and Jasmine Massari (Jenny) stole the show during their scene with Tindell. They perfectly contrasted their playful banter with a serious dynamic of an established couple, conveying trust and understanding.
Delivering a clear understanding of his motivations, Antonio Saladino (Harry) embodied his character immaculately. He employed great physicality, complete with hilarious karate moves. He worked extremely well with Claudia Hammes (Sarah) making them an absolutely dynamic duo. Mia Salerno (Amy) brought captivating energy and astounding stage presence. The speed in which they sang during the infamous song, “Getting Married Today,” was incredibly impressive.
The ensemble worked cohesively with enjoyable chemistry. They masterfully moved as one while executing Claudia Hammes’ beautiful choreography and sang breathtaking harmonies in complex arrangements. Though at times there were issues involving a lack of diction, the ensemble consistently projected to ensure that the story was heard. Standout Company member, Nisa Guvenilir (Joanne), exceptionally conveyed a wide range of emotions. “The Ladies Who Lunch” powerfully showcased her character’s emotional climax, her phenomenal lower register, and her strong belt.
The extraordinarily period-accurate technical elements transported audiences to the 1970s. The costumes (Eva Bellone, Maggie Gieson, Phoenix Hyde, and Yumna Sweid) successfully connected the ensemble while maintaining each character’s individuality. Stage manager Freddy Cycholl impressively called 221 total cues without missing a beat, preserving the integrity of the show’s natural flow. Ivy Neves and Nicole Ojeda-Ary led their crew in creating a set that functioned flawlessly, consisted of a variety of pieces, moved effectively, and had aesthetic appeal.
Whether you’re “using things like force together, yelling till you’re hoarse together, [or] getting a divorce together,” company is what makes life worthwhile. Boca Raton Community High School’s amazing production of Company provided a heartwarming story with love at its core. It reminds audiences that this love is the reason for “Being Alive.”
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By Angelina Nazario of Coral Springs High School
Marry him a little, he’s ready now right? Well Bobby baby, it’s easier said than done. Boca Raton Community High School explores the depths of an honest marriage through each married pair during their production of
“Company”.
Based on a book written by George Furth with music and lyrics by Stephen Sondheim, Company is a musical centered around 35 year old Robert who throughout a series of flings, drinks, and a goliath woman, he discovers from his married peers, the pros and cons of taking on married life.
Robert, the protagonist, played by Austin Tindell does an exceptional job grabbing the audience’s attention with his fear of marriage alongside his peculiar taste in women. Within his circle of friends, each year he is famously known as poor Bobby since he is the only one unmarried. Throughout the musical we watch as he slowly learns that marriage isn’t always as perfect as it may seem. Austin Tindell did a phenomenal job expressing his emotions in every scene with his charming vocals. In this, he was able to clearly convey the message of each song simply with his voice alone.
Nisa Guvenilir, playing the role of Joanne, stole the show with her astounding voice. Her bold disposition brought to the scenes a caustic humor that was delivered effortlessly. Taking on the two most honest songs such as “The Little Things” and “The Ladies Who Lunch” was a difficult task, however, she brought them to life seamlessly. Daniela Shaine, embodied her role as April with the consistent persona of a Dumb, Tacky, and Vulgar flight attendant. As well as being known as one of the women Robert is dating. The song “Tick Tock” showcases Daniela’s talents as a dancer making it evident that she is not only an exceptional actress but a memorable dancer as well.
Throughout the entire production of Company, each married couple on stage had spectacular chemistry, making it believable and very accurate to a married couple. From their effective comedic timing, to their sharp harmonies, and the distinct differences in their personas, it was clear that everyone on stage was dedicated to their roles and took time to perfect who they would be on stage. Each couple portrayed a different struggle you may face during marriage and the delivery of their differences made it clear who played what.
The technical crew did an incredible job with lighting. The changes within the lights corresponded with what was happening in each scene. It played a crucial part in setting the tone and making the switch between scenes much clearer for the audience to breakdown. The cues being on time made such a difference as well as making the quality of the show even cleaner.
As we discover the hardships of marriage, Boca Raton Community High School brought to the scene the true task of how difficult it can be to maintain relationships in the society that we’re a part of today.
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By Olivia Allen of Coral Springs High School
Here’s to the ladies who lunch and Boca Raton Community High School’s production of “Company”! If you want a fun filled show with laughs and maybe some tears, Have I got the (show) for you!
Based on a book of the same name by George Furth, Company was adapted for stage with music and lyrics by the renowned Stephen Sondheim. Its first production was in 1970 and it won six Tonys. The plot follows a non linear narrative and is strung together with the themes of marriage and love as the main character, Robert, takes a peek into the lives of his married friends.
In the role of Robert, Austin Tindell stood out with his lovable personality and charming demeanor. His vocals were strong and the chemistry he had with every character led the show to having an air of authenticity. Despite being the sole main lead in the show, Tindell had no problem commanding the stage and staying entertaining throughout.
Mia Salerno’s delivery of the frantic indecisive Amy was a joy to experience. Their use of body language and character choices set them apart. This is represented best in their performance of “Getting Married Today”, an insanely difficult song to pull off yet they did excellently! Harry, played by Antonio Saladino, was also a highlight of the show. His line delivery and acting was amusing and felt natural which paired well with his steady vocals.
The ensemble was just a joy to watch. Every time the characters were seen on stage together, it really brought the show to life. Some of the dancers left little to be desired, but it was made up for by continuously strong and powerful harmonies upheld by the entire cast. A noteworthy feat for a Sondheim production!
The show has a concept of organized chaos which the set encapsulates perfectly. The bar at the rear of the stage had a four-colored spread of diamonds, some with shadow some without, cleverly representing each of the couples and their struggles. The set also features separable moving chairs with the same four colors in more of a chaotic pattern. The color blocking reflects the time period and also serves as a way to fill more space on the stage, which is a feeling you want when the show revolves around the idea of Company.
Boca Raton Community High School’s production of Company is a joyous show that runs through the complex topics of love, marriage, divorce, and even just “Being Alive!”
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By Sofia Fernandez of Calvary Christian Academy
No one would think that from the window display of a simple flower shop on Skid Row, the world would be presented with the biggest threat known to mankind: Audrey II. Cardinal Gibbons High School’s production of “Little Shop of Horrors” certainly left the audience bloodthirsty for more.
Written by Howard Ashman with music and lyrics by Alan Menken, “Little Shop of Horrors” first premiered off-off Broadway at the Workshop of the Players Art Foundation on May 6, 1982. Over two decades later, it grew into a Broadway production that premiered at the Virginia Theatre. This horror-rock comedy follows florist shop worker Seymour Krelborn as he raises an unusual plant whose appetite will only be satisfied by flesh and blood.
Suddenly Sean Roberts (Seymour) had an excellent performance capturing the essence of his character. Specifically, his physicality and mannerisms reflected his anxious and awkward character. His puppeteering of Audrey II in the song “Ya Never Know” was also commendable, as it seemed to the audience that the plant was moving on its own! Alongside him, Sophia Hazleton’s rendition of Audrey captured both Seymour’s and the audience’s hearts. She showcased both the lightheartedness and emotional aspects of her character through her tone, facial expressions, and acting choices. Her vocal performance deserved hundreds of Mushnik’s finest roses as her elegant yet powerful voice shone through every song she sang, specifically in “Somewhere That’s Green” and “Suddenly Seymour.”
Bryce Webb knew how to “git it” as the Voice of Audrey II. His line delivery and vocal inflection allowed the audience to feel as if he was truly on stage with the other actors. The puppeteering of Audrey II through each stage of its growth tremendously contributed to this feeling as well. Finally, Cristian Cardamone (Mr. Mushnik) had notable accent work and comedic timing which was specifically highlighted in his duet “Mushnik and Son.”
The ensemble allowed the audience to feel immersed in the streets of Skid Row with their consistency and high energy. Their spatial awareness of each other and the moving set kept a steady pace for the production. Although some numbers did have occasional musical dissonance and slight discoordination, their commitment to their roles enhanced the production overall.
The technical aspects of this production conveyed the 1960s setting of this production while simultaneously bringing the fantastical to life. Both the prop and the special effects crew thoughtfully designed each stage of Audrey II’s growth to be both ergonomic and aesthetic. Furthermore, the costume selections mirrored the mood and emotional journey of the characters, specifically seen in the color choices and styling.
Not only did Cardinal Gibbons High School’s production of “Little Shop of Horrors” fill the audience with laughter and amusement, but it saved their lives with one final warning: do not feed the plant!
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By Sydney Lotz of Marjory Stoneman Douglas HS
In the heart of Skid Row, where dentists ride motorcycles and innocent plants turn into carnivorous creatures, Cardinal Gibbons High School presents “Little Shop of Horrors.” Join us downtown, where the rules are simple: Don’t feed the Plants.
Derived from the 1960 film of the same name, “Little Shop of Horrors” marked its Broadway debut in 1982. With book and lyrics crafted by Howard Ashman, and music by Alan Menken, this musical has accumulated esteemed recognition, notably securing two Drama Desk Awards, including Outstanding Musical and Outstanding Lyrics. The story unfolds the narrative of Seymour Krelborn, a hapless employee at a florist shop, who nurtures a botanical specimen with a peculiar appetite for human blood. This extraordinary plant entices Seymour with the allure of fame and fortune, yet beneath its beguiling exterior lies formidable secrets.
Through her portrayal of Audrey, Sophia Hazleton transports the audience to the idyllic “Somewhere That’s Green.” She exhibited profound dedication as she skillfully portrayed the kind and sympathetic essence of the role. Hazleton’s characterization is exceptionally well-developed, as well as the precision and diction of her accent that she maintains throughout her entire performance. Her vocal prowess takes center stage, especially in the poignant moments of “Somewhere That’s Green” and “Suddenly Seymour,” performed alongside Sean Roberts (Seymour). Roberts masterfully embodies the nerdy aspects of Seymour, skillfully expressing them through his attention to physicality and nuanced vocal inflections. This meticulous portrayal significantly contributes to the remarkable chemistry between Roberts and Hazleton, resulting in an utterly captivating connection between the characters.
Bryce Webb breathes vibrant life into the voracious voice of Audrey II, elevating the character beyond a mere plant through his skillful use of vocal inflections and impeccable comedic timing. Downtown, the ensemble of this production seamlessly delivers complex harmonies and intricate dance routines, showcasing their collective talent. While occasional moments saw a minor faltering in the intricate vocal arrangements, their overall performance was a resounding success, notably highlighted in powerful numbers like “Suddenly Seymour” and “The Meek Shall Inherit.” Brianna Brochu emerges as a standout performer, captivating the audience with her exceptional vocal talent and infectious energy during the dance sequences.
The technical aspects dazzled with creative brilliance, especially in the collaborative puppeteering of Audrey II, marked by a seamless blend of props and special effects. Subtle details, like the added hand to the plant pot, elevated the puppetry’s believability. Despite occasional challenges in maintaining balance between the orchestra and actors, the sound team consistently delivered immersive effects, such as the ticking clock and ringing phones. Natalia Ferreiro’s strategic promotional techniques, including collaborations with school sports teams, significantly contributed to heightened ticket sales, further amplifying the overall success of the show.
Cardinal Gibbons High School’s production of “Little Shop of Horrors” cultivates a chilling tale where comedy blooms and harmony grows down on Skid Row.
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By Rebecca Sherman of Fort Lauderdale High School
FEED ME SEYMOUR! It doesn’t have to be blood, or flesh; just Cardinal Gibbons High School’s blossoming production of “Little Shop of Horrors!”
Scored by Alan Menken, and written by Howard Ashman, “Little Shop of Horrors” is based on the 1960 film of the same name. The show made its regional, then off-Broadway debut in May and June of 1982, and its Broadway debut in 2003 at Manhattan’s Virginia Theater. The musical follows the story of Seymour, a meek but loyal employee of Mushnik’s Flower Shop, as he faces the bloody challenge of saving the business, and his love, with his newly discovered plant, Audrey II. Due to the show’s astounding success, it has seen many re-releases and awards, including Best Score and Best off-Broadway Musical, in 1983, and a nomination for a Best Musical Theater Album Grammy in 1984 and 2020.
Feeding the plants, and the audience, is Sean Roberts as Seymour! Roberts portrayed Seymour wonderfully in many aspects of stage presence and voice. His physicality was captivating, and though the dynamic nature of this character is bound to make the role difficult, Roberts did a wonderful job executing thoughtful character development. “Grow for Me” was heartwarming and vocally sound, and “Suddenly Seymour” presents Roberts’s wonderful chemistry with Audrey (Sophia Hazleton).
Playing Seymour’s initially unavailable love interest, Audrey, is Sophia Hazleton. Hazleton’s belting ability and singing voice is simply out of this world! The iconic ballad, “Somewhere That’s Green” was powerful, and perfectly emotionally balanced. Hazleton’s character voice was very consistent, and it was impressive to hear the accent upheld while singing and in scenes of extensively emotional dialogue.
Down on skid row, business is booming! The ensemble members, though nailing songs such as “The Meek Shall Inherit” and “Don’t Feed the Plants,” were lacking energy in some numbers. Vocal quality within the ensemble was strong and projected, however, harmonies were occasionally lost. The trio of Urchins (Jaslyn McIntosh, Isabella Dijkhuizen, and Natalia Ferreiro) had wonderful attitude, energy, and spunk, and maintained the majority of their harmonies.
Props in this show, though a daunting task, were executed wonderfully by Dalton Riley, Micah Boyce, Julie Nguyen, and Deveyn Baptiste. The small Audrey II puppet showed great prop awareness from cast and crew, and the life size Audrey II was spectacular. Extended recognition goes to The Voice of Audrey II, Bryce Webb, for bringing the plant to life. Sound impressively kept up with many cues, but the volume of sound effects needs to be adjusted. Stage Management (Sammy Hawa, Elyssa Solov, Paris Key, and Wendy Nelson) did a wonderful job calling cues and coordinating the fly system, and Marketing, done by Natalia Ferreiro, uniquely intertwined the football team in an endearing way.
Call a Cop! “Little Shop of Horrors” performed by Cardinal Gibbons High School beautifully showcased the challenging story of love and triumph, in a strikingly creative manner. As the curtains close, and victims escape from the leaves of Audrey II, remember…. don’t feed the plants!!
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By Jack Steinman of NSU University School
Everybody better beware! A musical with powerhouse ballads, campy comedy, and horrifying horticulture? “Come-a-come-a-come-a” down as Cardinal Gibbons High School’s fabulous company of “Little Shop of Horrors” gives audiences a bloody good time.
With Motown-inspired music and lyrics by Alan Menken and Howard Ashman and a book by Howard Ashman, “Little Shop of Horrors” premiered off-Broadway in 1982. From there, it became a movie-musical and was revived for the 2003 Broadway season. The story is set in the bereft Mushnik Flower Shop, where employee Seymour Krelborn crushes on his coworker Audrey, and finds fame by cultivating an aptly named Venus fly-trap, Audrey II. As the carnivorous, singing plant’s thirst for blood grows, so does Seymour’s stardom; escalating his life on Skid Row to new horizons. Suddenly, Seymour must choose between floral arrangements and fame, as Audrey II’s body count increases.
As Seymour Krelborn, Sean Roberts showcased charm, enthusiasm, and sweet vocals, bringing the geeky botanist to life. Roberts’s emotional commitment to the role was masterfully executed, showcasing his love for both Audreys through hilarious physicality and pleasant vocals. But then, there’s Audrey, lovely Audrey, played by Sophia Hazleton. From moments of intense vulnerability to dramatic resilience, Hazleton presented a wonderful depth and range to her character. Notably, Hazleton’s clear tonal quality and vocal power made her a standout in numbers like “Somewhere That’s Green” and “Suddenly Seymour.” The pair had “succulent” chemistry, creating tender moments in high-stakes scenes, while excellently maintaining accents throughout the show.
Voicing the vicious Audrey II, Bryce Webb’s unique and menacing delivery captivated audiences. Webb was able to capture the sultry persuasiveness of Audrey II with each growl and movement, up until the plant’s final burp.
“Shing-a-ling!” Who doesn’t love a neighborhood girl group? The Urchins, Jaslyn McIntosh, Isabella Dijkhuizen, and Natalia Ferreiro glimmered onstage. Adorned in complementary colors, the trio added discourse to the drama, comebacks to the comedy, and vibrance with their vocals. Members of the ensemble executed the choreography well and had a great stage presence overall, yet lacked energy at times.
Clever use of props and special effects, done by Dalton Riley, Micah Boyce, Julie Nguyen, and Deven Baptiste enhanced the production. The two teams combined to tackle the different forms of Audrey II, using an innovative fake arm attachment for puppeteering work. Despite some mixing issues with the live orchestra, the sound cues were utilized well and promptly executed.
A science-fiction feat of eccentric musical theatre, Cardinal Gibbons High School’s scintillating performance of “Little Shop of Horrors” left audiences (and plants) hungry for more!
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By Kimaya Lindo of Dillard Center for the Arts
On the 9th day of the month of November, DEEP in the dark depths of a place we call “skid row” (cue the echo) we encountered a little plant shop! or shall I say a “little shop of horrors”…? so come-a come-a come-on and let’s find out about Cardinal Gibbon high school’s production of “Little Shop of Horrors”!…Look out!
(cue the piano) (Da-doo) “Little Shop of Horrors” is a dark comedy musical that first started off as a 1960 low-budget film, it was then adapted into a book and from then on continued making strides until it finally ended up as a musical taking the off-off-Broadway stage. (Ship da-doo) The musical then moved up to being an off-Broadway production which ran for 5 years before debuting at the Virginia Theatre on October 2, 2003 as a full-fledged Broadway production. (Chang da doo) The musical made its mark on society and its legacy has carried on to this day! (da da da da da da-do!)
Who cooks like Betty Crocker? Who looks like Donna Reed?…that’s right, it’s Audrey (Sophia Hazleton)! With a performance that definitely brought us somewhere that’s green, Hazleton gave a genuine performance that grabbed the audience’s attention; from the slight accent, sweet awkward mannerisms, and breathtaking vocals, she definitely gave a show. On to Audrey’s cutie with inner beauty; Seymour (Sean Roberts), much like Hazleton, had a genuine and nuanced performance. He had a great stage presence that drew you in and even when he was singing he didn’t drop character. Roberts also displayed good connections with his fellow cast members which was mostly apparent in his growing relationship with Audrey throughout the show.
Speaking of things that grow: “Feeeeed me!” says the giant man-eating plant. Audrey II (Bryce Webb) gave a “plant-tastic” performance and wowed the audience with his genuine and hilarious voice-acting skills, he quite literally gave the plant life. Someone else who gives plants life would be our lovely plant store-owning Mr. Mushnik (Cristian Cardamone). Cardamone did a great job at playing the older money-loving figure that is Mr. Mushnik and he even found times to display humor in his character. Moving on to our dangerous dentist; Orin (Jacob Miers) was indeed a “success” with his “asphyxiatingly” funny presence. Miers really played into the comedic character that is Orin and displayed his humor on the stage till “his” very end.
Lastly, we have our three Urchins (Jaslyn McIntosh, Isabella Dijkhuizen, and Natalia Ferreiro). These Urchins played deeply into the energy of being the hip “doo-wop” chorus and they found cute times to pop in on stage. Aside from some vocal and energy issues the cast and ensemble gave a great show!
“Does this look inanimate to you punk?” No…it doesn’t! The special effects in this show were amazing as everything felt consistent and real. In part of the show, Seymour has on a fake arm in order to move Audrey II, but the fake arm was barely noticeable which helped us stay in the moment and gave us a wow factor. Speaking of Audrey II, the special effects for Audrey II were surreal as each time Audrey II was present it looked and felt real, which is quite hard as Audrey II grows throughout the show so props to the special effects team! Overall, the actors were commendable in their storytelling, and it is safe to say that I definitely went “downtown” with Cardinal Gibbon High School’s production of “Little Shop of Horrors”!
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By Alyvia Rigg of J.P. Taravella High School
It’s a Cautionary tale of teen love, lust, friendship, getting hit by buses, and Glen Coco? You go Glen Coco! North Broward Preparatory Schools production of “Mean Girls” showcased an engaging and entertaining show that was exhilarating to watch.
Mean Girls the Musical, music by Jeff Richmond, lyrics by Nell Benjamin, and a book by Tina Fey opened on Broadway in March 2018, and performed a total of 833 performances before closing in January 2021. It was nominated for 12 Tony Awards and is based on the 2004 movie of the same name. The story follows Cady Heron as she adapts to her new life after moving from Africa to the USA, while at high school she meets ‘art freaks’ Janice and Damien and the ‘Plastics’ the queen bees of the school. The story continues as Cady realizes that staying true to herself is more important than trying to fit in.
Playing the awkward new girl, Arianna Pereira as Cady Heron delivered a captivating performance, Pereira’s voice was consistent and powerful throughout the entire show. Her character development as the show progressed was believable and distinct, allowing the audience to watch as the innocent new girl becomes the person she was determined to destroy. Julia Romero was definitely a ‘massive deal’ as she portrayed the character of ‘Regina George’ impeccably. Her stage presence was commanding, and she provided the audience with exquisite physicality. Romero’s vocals were exceptional, with a clear and consistent tone. Janis, played by Peyton Fishman, had an incredible personality on stage and delivered a strong vocal performance, her chemistry with Damian Hubbard played by Jacob Bass was believable and humorous to watch. Basses vocals and dance moves lit up the stage wherever he went. Mario Galdames as Aaron Samuels depicted the betrayal of Cady very well and showcased good physic
ality while on stage, leaning into a geekier side of Aaron.
She’s a mouse, duh! Karen, played by Ally Babincak brought an incredibly fun character to the stage. She stayed engaged in the show and was always a delight to watch while on stage, her comedic timing and vocals were impeccable throughout the whole show. Regina’s right hand girl Gretchen Weiners, played by Morgan Wilder provided an emotional, enthralling acting performance. Her pain towards the treatment she received felt realistic and was portrayed very well. The ensemble was energetic and engaged for most of the show, which helped encapsulate the high energy, fun vibe of the show.
The Costumes department, Shayna Gainsburg and Abigail Fursetzer ‘did that thing’ delivering beautiful costumes that accentuated every actor that was in them. ‘More is Better’ especially when it comes to the publicity team, Morgan wilder, Shayne Buddman, and Janette Delcastillo delivered fun and engaging activities for the whole school along with a cohesive Instagram that stayed on brand thematically with the show.
‘Stop!’ and go watch North Broward Preps production of “Mean Girls” for a captivating show, it’s “where you belong!”
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By Malaya Zabat of Coral Springs High School
Whose house is this? Its North Broward Preparatory High’s house now with their ‘totally fetch’ production of “Mean Girls”!
Famously known as the 2004 film of the same name, “Mean Girls” was adapted into a musical in October of 2017 in Washington D.C. Moving from Africa in her junior year of high school, Cady Heron dives into the world of American public school. With cliques and a hierarchy of popularity, Cady finds herself at the top of the food chain as a part of The Plastics with the intention to take them down from the inside. Only to find herself leaving her true friends on the hunt of being at the top.
Climbing up the ladder of popularity, Arianna Pereira as Cady Heron does an outstanding job embodying her character. Pereira captured the audience’s attention with her beautiful vocal range, as well as her character development throughout the show. Guiding her through the jungle of their school’s cafeteria, Jacob Bass and Peyton Fishman as the iconic duo Janis and Damian, did an exceptional job with a perfect balance of emotion and comedic timing. Fishman consistently displayed her impressive vocal abilities from beginning to end with songs from ‘Apex Predator’ to ‘Rather Be Me’.
Her name is Regina George, she’s a massive deal, she’s Julia Romero! A force to be reckoned with, Romero showed impeccable dedication to her character as well as her flawless vocal talent. Showcased in songs such as ‘World Burn’, Romero hits every note effortlessly with emotions evident on her face at all times onstage. Regina’s not-so-ex boyfriend Aaron Samuels portrayed by Mario Galdames did a great job with his vocals accompanying Romero.
From the makers of toaster strudel, Gretchen Weiners played by Morgan Wilder, hilariously adds to the high-fashion trio. From her amazing comedic timing and interactions with other characters to her vocals, Wilder showcased her loyalty and brought the perfect amount of energy and talent throughout the show. Completing the iconic three, Ally Babincak as Karen never failed to have the audience laughing with her impeccable comedic timing. Babincak’s effortless characterization was evident in ‘Sexy’ owning the spotlight and preaching her own philosophy on what Halloween truly means.
Decorating their social media and celebrating October 3rd, the marketing and publicity team clearly let their creativity shine through bracelets and yearbook-style Instagram posts. Almost never missing a beat, Stage Manager Jules Vollaro wonderfully timed lighting and sound cues as the show progressed. As months passed by, the costumes designed by Shayna Gainsburg and Abigail Fursetzer stayed perfectly in style, never letting Regina repeat an outfit with every quick change.
In all shapes and sizes, predators continue to roam the halls. Some have claws, some have talons, others have Louboutin heels. North Broward Preparatory High School’s production of “Mean Girls” will always remind us that we all have a place where we all belong.
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By Franco Uzdavines of Calvary Christian Academy
Ever wonder what the dark underbelly of the ‘high school experience’ looks like, including fake friendships, constant back-stabbings, and pressure to always fit in? Well, look no further than North Broward Prep’s production of Mean Girls, a musical that can only be described as a massive deal.
The origins of “Mean Girls” actually started as a book by Rosalind Wiseman titled Queen Bees and Wannabes. This book was written in 2002 and it only took until 2004 for comedy writer and actress Tina Fey to create a film adaptation of the book. The movie was of course titled Mean Girls. The musical version was shown on Broadway starting April of 2018 all the way until March of 2020. The musical was also a massive success, with the original Broadway production netting itself 12 Tony award nominations. North Broward Prep performed Mean Girls: High School Version, which had slight script changes due to the high school audience.
In the musical comedy, the plot revolves around Cady Heron, a homeschooled girl who has moved from Africa to America. As Cady tries to find her place in her new high school environment, a group of girls that are anything but ‘nice’ called the plastics take Cady under their wings. The actress chosen to portray Cady is Arianna Pereira. Her sweet vocals and purposefully shy acting truly convinced the audience of Cady’s naivety in her unfamiliar high school environment. Accompanying this performance is the work of Julia Romero as Regina, the leader of the Plastics. Her extremely powerful and assertive vocals were a perfect counter to Cady’s initial innocence, making her a fearsome antagonist in songs like ‘Meet the Plastics’ and ‘Someone Gets Hurt.’ Accompanying Cady on her journey of self-discovery is Janis (Peyton Fishman) who stunned the audience with her passionate yet clear vocal performance, especially in the second act, most notably with her performance of ‘I’d Rather Be Me. ’
Though these powerful leads carried the atmosphere of the show throughout the entire performance, the work of the supporting actors propelled the play to even higher heights. The two Plastics under Regina, Gretchen (Morgan Wilder) and Karen (Ally Babincak), made you wish that it was Halloween every single day! Gretchen perfectly shared the plight of being one of Regina’s pawns in the heartfelt number ‘What’s Wrong With Me?’ Karen’s sweet and innocent vocals in ‘Sexy’ perfectly countered the suggestive and slightly stupid lyrics, creating a hilarious comedic effect.
The ensemble provided an extra level of immersion to the play at many times, but had some slight issues at times throughout the production. In the beginning high school scenes and in musical numbers such as ‘Where Do You Belong?’ and ‘Meet the Plastics,’ the ensemble provided a fluid and well-rehearsed performance. As the play progressed, however, the ensemble seemed to lose their focus and seemed to not know what they were doing. The ensemble did attempt more difficult routines such as ‘Stop!’, and this is to be commended.
The stage manager Julianna Vollaro had her work cut out for her during this production, as lighting and background effects were utilized heavily. There were some moments cues were missed, but the majority of the time the special effects added greatly to the immersion of the play, especially in songs that utilized the large screen on stage like ‘World Burn.’
High school can be dramatic, and there’s no place better to experience the craziness than North Broward Prep’s production of Mean Girls: High School Version!
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By Lindsay Stern of NSU University School
Ladies and Gentlemen, plastics, and art freaks welcome to North Broward Preparatory School’s cautionary tale of Mean Girls: High School Version, where the burn book runs deeper than Glen Coco’s desire for candy canes.
Filled with sassy attitudes, backstabbing betrayals, and high school cliches, “Mean Girls” the Musical was written by Tina Fey, with music and lyrics by Nell Benjamin and Jeff Richmond. The musical is based on the cult classic movie Mean Girls. The show opened on Broadway in April of 2018, had a run of 834 performances, and was nominated for two Tony awards; including Best Book of a Musical and Best Leading Actress in a Musical for Taylor Louderman.
Our story follows new girl Cady Heron as she enters the wild world of high school, where ‘fetch’ isn’t a thing, but ‘drama’ certainly is! She navigates the tricky hallways of popularity, trying to fit in with The Plastics, the most glamorous clique in school. With a sprinkle of gossip and a dash of pink, “Mean Girls” shows us all that high school is just one huge, ruthless jungle.
The limit does not exist for the talent of Arianna Pereira (Cady Heron). Pereira presented incredible facial expressions that were totally grool! Pereira always stayed engaged in each scene, staying in character even when not speaking. Is butter a carb? Yes, but there is no question that Julia Romero (Regina George) is a star. Romero was captivating from the moment she stepped onstage, effortlessly making the fabulous queen bee character of Regina George come to life with her beautiful stage presence. Playing Regina’s ex-bff and art freak Janis was Peyton Fishman. Fishman had a powerhouse voice presenting flawless vocals with exquisite technique. Ally Babincak (Karen Smith) had exceptional comedic timing. She’s hilarious, duh! Seen most notably in her song about Halloween (and world peace) Sexy. The ensemble members, although great dancers, had energy in some numbers but lacked it in others.
The hair and makeup done by Olivia Espinoza and Aniana Glenn perfectly showcased the unique qualities of each character. The costumes done by Shayna Gainsburg and Abigail Fursetzer did a wonderful job of showing character progression, as seen through Cady’s costume changes as she becomes more plastic. The show was called by Julianna Vallaro and Kendall Toubin. Although some scene changes were distracting, the show was called well through on time and orderly cues.
North Broward Preparatory School’s production of Mean Girls: High School Version was simply fetch (see Gretchen, you did make it happen!). The show provided exciting visuals, iconic one-liners, and an unfiltered reflection of teenage chaos; Reminding audiences to wear pink on Wednesdays and embrace the beauty of being our unapologetically authentic selves.
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By Sofia Fernandez of Calvary Christian Academy
Here’s where you belong! Whether it’s with the Plastics or art freaks, come sit with us at North Broward Preparatory School’s production of “Mean Girls: High School Version”! This cautionary tale of betrayal, burn books, and buses was certainly fetch!
Written by Tina Fey, this musical is based on her 2004 film “Mean Girls”. It was later adapted into a musical that premiered at the National Theatre in Washington DC on October 31, 2017. The next year, this production made its Broadway debut at the August Wilson Theatre in April 2018. This story follows Cady Heron as she navigates her new high school and finds her place among the food chain of her new classmates.
Portraying this fearless protagonist, Arianna Pereira conquered the stage like the Kilimanjaro. She exhibited strong chemistry with each character and thoughtful character development throughout the production. Julia Romero (Regina George) was the apex predator of the stage, commanding each scene with poise and confidence. Her powerful vocals reflected her Queenbee persona, specifically showcased in her songs ‘Someone Gets Hurt’ and ‘World Burn’. Peyton Fishman (Janis) was also a vocal powerhouse as her song ‘I’d Rather Be Me’ swept a feeling of empowerment throughout the audience.
When it comes to the rest of The Plastics, Morgan Wilder showcased the emotional depth and complexity of Gretchen Wieners through her lively facial expressions and song performances, specifically in her solo song ‘What’s Wrong With Me?’. Two “Caucasian thumbs up” for Ally Babincak’s splendid rendition of Karen! Her commitment to her character remained consistent, especially seen through her physicality. And who can forget the woman who’s not just a regular mom, but a cool mom? Olivia Espinoza’s (Mrs. George) comedic timing was phenomenal, creating roars of laughter with each line delivered.
The ensemble also contributed to the lively nature of the production with their animated dances and tight harmonies. Furthermore, the featured dancers within the ensemble executed their choreography combinations flawlessly. Despite some wavering character commitment and energy levels, the ensemble successfully brought this iconic story to life.
‘On Wednesdays we wear pink’ was taken very seriously by the costume crew. Both the color scheme and progression of styles were intentionally chosen to reflect each character and their journeys. The hair selections worked in tandem with the chosen outfits to mirror each character’s personality, most notably seen through Janis and Gretchen’s hair design. Finally, stage manager Julianna Vollaro had mad ‘schquillz’ as she designed the light cues and called over 200 cues.
So no matter where you belong, North Broward Preparatory School’s production of “Mean Girls: High School Version” revealed that not only is everyone ‘grool’, but everyone is a star that makes even diamonds seem dull.
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By Brandon Jerry of Sagemont Preparatory School
Originally written by George Bernard Shaw in 1912 with a premiere in 1913,”Pygmalion” would later be adapted into the musical “My Fair Lady” Pygmalion is a five act play set in London, England, and it follows Eliza Doolittle on her interesting journey to become more ladylike through her teachings by the eccentric Mr. Henry Higgins and Colonel Pickering. Through the play’s themes of self worth and manipulation, they teach us that it is not the clothes and the words that make the woman, but the heart.
Elisabeth Chew took on the role of Eliza with confidence and commitment. Chew did an excellent job at portraying the change in behavior and her character’s mannerisms through her brilliant use of 20th century impoverished English dialect, which she then slowly morphed into a high-class English dialect. She put on a truly astounding and emotional performance, and added a level of nuance to the dated writing of the female characters in the show.
Eliza would not have been able to become such a lady without the positively obnoxious Henry Higgins, portrayed by Jesse Joel Oliva, who put on a layered performance that slowly unfolded as the show went on. He did a phenomenal job of tackling the majority of the long spouts of old English monologues that Higgins says, while putting on a commendable performance that highlights the emotional and smug traits of his character.
The rest of the cast put on a wonderful performance. They expertly navigated the aged and complicated dialogue of the play while also tackling the challenge of using a whole new dialect. Some standouts in this ensemble were Mrs. Higgins and Mr. Alfred Doolittle, Who were played by Emma Bruce and Nicholas Slane respectively. Both Slane and Bruce had remarkable comedic timing and brilliant sense of character.
The crew did a sensational job at aiding the audience in stepping into 1900s England with costumes and sets straight out of London. These aspects of the production helped the cast in truly conveying this, but special mention must be made of the hair and makeup, which was designed by Avery Rivas, Alexandra Denison, and Co. These hair and makeup choices really helped show the evolution of the characters, especially with the well-thought out detail of the higher the hair, the higher the class.
All in all, this wasn’t just a fair performance but a truly great one. The entire cast and crew at Calvary Christian Academy should be commended for their exceptional efforts to create a heartfelt, hilarious and stunning production.
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By Jahanna Galloway of South Plantation High School
Romance? Authentic characters? Organic humor? And an interesting plot that ties it all together? What more could you want in a show! Calvary Christian Academy’s production of “Pygmalion” is a humorous-yet-layered love story that truly unfolds in five acts.
Taking inspiration from Greek mythology, Irish playwright George Bernard Shaw wrote “Pygmalion” in 1912 and transformed the tale of a man falling in love with his own creation. A year later, the first production of “Pygmalion” was performed in German at the Hofburg Theatre, and the English premiere took place the following year at His Majesty’s Theatre. The story follows Henry Higgins, a famous linguist obsessed with accents. Accompanied by Colonel Pickering, who is also known for his work in linguistics, these men take on the formidable task of passing off a young woman by the name of Eliza, who lives in poverty and has a Cockney accent, as a well-spoken duchess.
While suffering from some issues with diction, Calvary Christian’s adaptation of “Pygmalion” is charming, hilarious, and carried by its strong and interesting characters that never break or lose authenticity during the course of the play. Putting on an effortlessly clever and witty performance, Jesse Joel Oliva, playing Henry Higgins, captures the audience’s attention with his fast-paced dialogue and punctual humor. Elisabeth Chew, playing Eliza Doolittle, does an incredible amount of work maintaining such an authentic Cockney accent throughout the first two acts and then gracefully transitions into an elegant British accent after intermission.
Not to leave out any outstanding actors, Emma Bruce, who plays Henry Higgins’ mother (Mrs. Higgins), is able to be such a vocal and entertaining character while also being able to exhibit the restraint you would expect from an upper-class woman from the time period. Another hidden gem amongst the characters is Mrs. Pearce, played by Emma Glashower. While not being in the play nearly enough, Emma’s comedic timing as well as her ability to play off her fellow cast members is remarkable.
It is difficult to talk about the production without mentioning the meticulous attention to detail when it comes to the set. Everything from the luxurious-looking chairs to the smaller items, such as the phonograph, seem as though they came right out of the early-1900s. The costume designs are also very detailed and appropriate for the time. The costumes are also a well-thought out way to show the character changes that go on throughout the show. For instance, Eliza, in the beginning, dons more drab clothing as she lives in poverty, but towards the end, she wears refined and elegant dresses, signifying the character transformation that Eliza goes through.
In the end, Calvary Christian Academy has truly put on quite the production. From the first act, the audience is able to see every ounce of passion that went into the acting and the technical aspects. Now go see this bloody amazing show!
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By Kenny Gervais of Cooper City High School
“The difference between a lady and a flower girl is not how she behaves but how she is treated.” Following themes of love and growth, Calvary Christian Academy proves that sometimes facing reality is better than trying to live in fantasy through their elegant production of “Pygmalion.”
When Eliza Doolittle, a poverty-stricken Cockney flower girl, becomes the subject of a bet between a rich phonetics professor and his associate, she learns to transform from her ill-mannered, vulgar self into a fair lady. Written by George Bernard Shaw, “Pygmalion” was first performed on October 16, 1913. The play was adapted into a movie by the same name in 1938 and, in 1956, saw the introduction of a musical recreation entitled “My Fair Lady.” Based on the ancient Greek myth of Pygmalion and Galatea, this romantic comedy journeys through London in the early 1900s and follows change and social criticism themes.
Portraying the absurd flower girl, Elisabeth Chew (Eliza Doolittle) flawlessly displayed her ill-mannered, frenzied nature and complex Cockney accent. Chew effortlessly executed Eliza’s contrasting behaviors and shift in accents throughout the show as she evolved from an impertinent flower girl to a sophisticated lady. Depicting Eliza’s self-righteous mentor, Jesse Joel Oliva’s (Henry Higgins) prominent reactions and immaculate line delivery brought lively energy to the stage. Oliva’s harsh demeanor and condemning words combatted impeccably with Chew’s disheveled appearance and vulgar vocabulary, building their chemistry throughout the show splendidly.
Dominating the stage, Emma Bruce (Mrs. Higgins) strikingly displayed Mrs. Higgins’ poised, disapproving disposition through her posture and inflection, assisting in crafting a compelling representation of Mrs. Higgins’ posh character. Playing Henry Higgins’ cordial associate, Levi Alphenaar’s (Colonel Pickering) energy was never thwarted throughout each act. Alphenaar’s character choices were astounding; he stroked his mustache during moments of stress or curiosity, demonstrating Pickering’s feelings in the scene.
The entire cast is to be applauded for their understanding of the script. Despite some inconsistencies with accents and diction, the cast had magnificent character individuality and moved fluidly across the stage. Nicholas Slane’s (Alfred Doolittle) comedic timing brought liveliness to the scene and assisted in exhibiting the crummy, sleazy father that Alfred was. Acting as a moderator to Henry, Emma Glashower (Mrs. Pearce) used her proper composure and assured tone to define Mrs. Pearce’s level-headed personality.
The technical elements were simply exquisite! The hair and makeup, led by Avery Rivas and Alexandra Denison, detailed their distinct understanding of the time period through choices like the change in Eliza’s hair as she matured and various hairstyles through other characters depending on their class. Stage management, led by Arianna Rotondo, handled many lighting and sound cues and effortlessly transitioned between scenes without any awkward pauses, smoothly continuing the story.
Calvary Christian Academy’s splendid production of “Pygmalion” promotes self-individuality and happiness by spreading the message that it is not the outward appearance that matters but who you are on the inside.
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By Marcela Quintana of South Plantation High School
With a talented cast and crew, Calvary Christian Academy’s stunning production of “Pygmalion” tells the story of a young common girl trying to find her place in rigid, post-Victorian English society.
The 1912 play by George Bernard Shaw is based on the Greek legend of Pygmalion, the sculptor who fell in love with his creation, and is what inspired the famous musical My Fair Lady. The story follows professor of phonetics Henry Higgins, who bets he can turn unconventional flower seller Eliza Doolittle into a well-spoken duchess in six months. Eliza transforms, coming out a fierce, independent woman. Pygmalion explores the differences between social classes and the societal expectations of women.
The cast’s chemistry and commitment to their roles made for a captivating show. Each actor fully embodied their character with unique mannerisms, like Colonel Pickering (Levi Alphenaar) stroking his mustache and Mrs. Higgins (Emma Bruce) fidgeting with her fan.
Elisabeth Chew delivered a standout performance as Eliza, skillfully portraying the duality and comedy of her character. When Eliza transformed into the “proper lady,” her outrageously over-the-top posh accent — a stark contrast from her Cockney accent had the audience roaring with laughter. She showed vulnerability in Act 4 when the mental toll of the change from poor flower girl to refined lady made Eliza break down. Jesse Joel Oliva did a good job portraying Eliza’s influence on his character, Higgins, through his transition from composed gentleman to chaotic and erratic.
Emma Bruce, who played Mrs. Higgins, flawlessly depicted a mother who loves her son but isn;t afraid to call out his faults. She had a regal stage presence, evident in her crisp accent and diction. Considering the difficulty, the entire cast executed the accents well. While the fast pacing of this show supplemented the comedic timing, it caused some performers to stumble over lines and lose line clarity, and the audience missed out on some of the social criticism the show was meant to highlight.
The hair and makeup team, led by Avery Rivas and Alexandra Denison, did an exceptional job differentiating between the upper and lower classes, with messy hair and dirty faces characterizing the lower class and neat updos and blushed faces characterizing the upper class. Stage management (Arianna Rotondo, Charleigh Huisman, Allison Higgins) kept the transition between acts smooth and swift.
As Eliza chooses to leave Higgins to start her new life, it is unclear where her path will lead. One clear thing, however, is that Calvary Christian Academy delivered a spectacular production. Witty comedy combines with passionate emotions to make the ideal balance of character and commentary in this rendition of Pygmalion.
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By Sam Dyer of NSU University School
How do you do? And how DO you do? With extravagant bows and chocolates for proper etiquette, Calvary Christian Academy’s “Pygmalion” cast and crew pondered challenging questions of formality and femininity, and their answers showed they’re doing just swell!
Initially written in 1912 by George Bernard Shaw, “Pygmalion” was first performed in Vienna in 1913 and later debuted in New York and London in 1914. Inspired by the ancient Greek myth of the sculptor Pygmalion, the play follows a phonetics professor shaping a woman’s civility, transforming her from an over-the-top flower girl to a well-mannered duchess. The play would inspire multiple adaptations to stage and screen; most notably, “Pygmalion” became the basis of the musical “My Fair Lady” and the subsequent homonymous film.
Magnificent jewels can come from places of squalor, even on the grimy streets of London! One such gem was Eliza Doolittle, portrayed by Elisabeth Chew. From a mere flower girl to the likes of a duchess, Chew’s splendid physicality made both moments of comic brouhaha and sullen stillness a joy to watch. Eliza’s transformation was aided by the linguist Henry Higgins, portrayed by Jesse Joel Oliva. Oliva brought this arrogant chap to life onstage, guiding the audience as Higgins’ facade of superiority faded into his jealousy and rage. The chemistry between Chew and Oliva made for both hilarious and tense scenes that garnered the audience’s laughs and bated breath, respectively.
Both often childish characters would be remiss without their parents! Emma Bruce, who played Mrs. Higgins, wove sternness with humor masterfully as she commanded her son Henry (and the other men, men, men!) around her room. Contrasting the well-kept Mrs. Higgins was Eliza’s father, the pompous Alfred Doolittle! Depicted by Nicholas Slane, this larger-than-life man put the GUT in guttersnipe, bringing a captivating comedy that stood out amongst the cast.
Even when not the scene’s focus, these parents’ presence regularly gained the audience’s attention because of their impressive old-age appearances crafted by the brilliant Hair and Makeup team (Avery Rivas, Alexandra Denison, & Co.)! Their efforts were commendable, from the immense detail in Mrs. Higgins’ wrinkles to the simple stache of Colonel Pickering. Also noteworthy was the superbly subtle work of the Stage Management team (Arianna Rotondo, Charleigh Huisman, and Alli Higgins). Every cue across the production was on point, allotting the actors the attention they needed and deserved.
London is recognizable for its accents, and, for the most part, every actor brought their own convincing and distinct accent onstage. Though, at times, a fast pace made some exchanges between actors hard to follow, there was honorable difficulty in how actors tackled period language with such consistency, specifically Elisabeth Chew’s flow between Cockney and traditional British intonations as Eliza.
Thanks to the cast and crew’s dedication, Calvary Christian Academy’s “Pygmalion” was bloody wonderful! Both philosophical and posh, this Victorian romp about a woman’s experience with formality fashioned a valuable message of what it truly means to be a “lady.”
By Jillian Lajoie of Monarch High School
St. Thomas Aquinas High School’s fresh take on the classic story of “A Midsummer Night’s Dream” brings not only an illuminating 60’s aesthetic to the forefront, but also combines gravity-defying aerial skills and transporting set design into an experience you’re sure to remember.
William Shakespeare’s classic comedy was written sometime around 1595 or 1596, with the first confirmed performance being sometime in the 16th century. The play centers on the union of the Athenian and Amazonian cultures by way of Theseus and Hippolyta’s wedding, and the various sub-plots that play out leading up to the nuptials. With heavy satire and comedy, this play focuses largely on themes of love and freedom.
Mateo Cruz, as Lysander, did an incredible job of not only characterizing and familiarizing his character to the audience, but also of developing chemistry with other actors throughout the show. His physicality added to many scenes, as well as helping the audience understand the intricate weavings of the multitude of plotlines. Cruz’s eagerness in portraying Lysander’s relationship with Helena (played by Ava T. Fowler) was only increased by Fowler’s incredible confidence in her delivery throughout the show. Fowler’s exact diction helped to increase the audiences’ understanding of the show.
Daniel Ramos (Nick Bottom) displayed hilarious physicality and comedic timing, especially when fitted with his prosthetic donkey head. This physicality greatly aided in maintaining the chemistry of ensemble scenes with the remainder of his theatre troupe and with faerie Queen Titania (played by Sammy Jo Strassel). The pair together brought a new level of comedic enjoyment to the audience, while still maintaining consistent characterization. Strassel’s impressive use of aerial silks provided them with an ethereal quality as befits a queen of faeries.
The Cast portrayed consistent characterization throughout the show, and characters like Puck (Kelly Induisi) and Francis Flute (Christopher Zarn) firmly engaged the audience with blissful comedy. And while for some, diction was an issue, many ensemble members perfectly executed scenes in which they were “frozen” for a long period of time, never wavering. There was impressive chemistry shown in both ensembles like the theatre troupe and between individuals like Puck and Oberon (played by Sebastian Baena). This chemistry is heightened by the difficulty actors faced while having to act across the room at times! The use of aerial silks gave the faeries a space to truly glide through the air, led by Camila Teixeira De Oliveira in her role as Rosemary.
The show was heightened even more by the use of live music, including violin and vocals by both Alexandra Tous as Peaseblossom and Dina Budraj as Cobweb. And while some actors were overpowered by the music or speaking too quickly to hear, classic 60’s background tunes helped to remind the audience of the world they have been transported to. Costumes were show in a wide variety of 60’s inspired apparel, and while some cast member’s makeup did not cover all skin shown, hair and makeup were not only visible but also incredibly detailed, sharing these qualities with the intricate props that were put to use.
St. Thomas Aquinas High School’s production of Shakespeare’s classic “A Midsummer Night’s Dream” is a magically surprising experience.
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By Naomi Sternberg of Marjory Stoneman Douglas HS
Jeepers! Looks like we’ve got another mystery on our hands. What do you get when you cross Shakespeare, acrobatics, and groovy 1960s references? Well zoinks Scoob, it’s the production of “A Midsummer Night’s Dream” by Saint Thomas Aquinas High School!
“A Midsummer Night’s Dream” is the comedy that features the quintessential love square – Hermia, Helena, Lysander, and Demetrius – surrounded by a play-within-a-play and mayhem all around, orchestrated by Puck, a mischievous fairy. The show was written by William Shakespeare in the early 1500s and stands as one of the most famous plays of all time. Although originally set in ancient Greece and making mention of many mythological references, Saint Thomas Aquinas High School’s performance takes inspiration from the 1960s and puts a “flower power” spin on the show.
The love square, comprised of Kennedy Zinkler (Hermia), Cody Straka (Demetrius), Ava T. Fowler (Helena), and Mateo Cruz (Lysander), were amazing both together and in their own right. Cruz had great chemistry with whoever he was with, whether it was being in love with Hermia or Helena or fighting with Demetrius. Straka had entertaining characterization that consistently got better throughout the performance. Fowler as Helena had good inflection during the play and maintained it as she went on.
Kelly Induisi, as the vexatious fae, Puck, brought a sense of comedic relief to the audience. Induisi had incredible physicality throughout the performance that never faltered through the long-winded intervals she stayed on the stage. She was charming and had great chemistry with multiple characters, including Oberon (Sebastian Baena). She gave many adlibs throughout the show, most of which were hilarious. – Another a-mule-sing performer was Daniel Ramos as Nick Bottom. Ramos also displayed a distinguished physicality that made him stand out among the cast, just as his character does in the theatre troupe. He was hysterical throughout the show, but it shined best during the performance of Pyramus and Thisbe, in which Ramos put on an impressive Shaggy impression and left the audience roaring with laughter.
The technical aspects really made the show into what it is. The costumes (Emma Coronado, Abigail Hilbert, Celeste Estrada, & Ryan Porter) embodied the many different styles of the 60s era, with the help of hair & makeup (Jade Edwards, Isabella Baena, Andi Klein, & Arantxa Gil), who created a breathtaking prosthetic of Nick Bottom’s mule face. Alexandra Tous’ choreography added a stunning element to the performance – the use of aerial silks, which added depth and difficulty to the performance as a whole.
Through fairy mischief, live music, and aerial silks, Saint Thomas Aquinas High School’s production of “A Midsummer Night’s Dream” proves that “the course of true love never did run smooth”.
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By Jaire St. Ange of Dillard Center for the Arts
Hear ye, hear ye! Let it be known far and wide that a musical spectacle of the highest order, Head Over Heels, hath graced the halls of NSU University School. This vibrant production weaves a tale of love, deception, and self-discovery. Head Over Heels is a veritable feast for the senses. So, come one, come all, and bear witness to this dazzling display of theatrical prowess. Forsooth, you shall not want to miss it!
With the original book by Jeff Whitty and music by The Go-Go’s, this mirthful romp gained much inspiration from the plot of The Countess of Pembroke’s Arcadia by Sir Philip Sidney. Head Over Heels was set to open on the Broadway stage on July 26, 2018 at the Hudson Theatre and didst run for a season of 86 performances until officially closing on January 6, 2019. This fine theatrical presentation didst receive much praise and approbation from the critics. ‘Twas the winner of the Drama Desk Award for Outstanding Costume Design and was nominated for a host of other awards, including the Tony Award for Best Musical.
Snatching the audience’s attention with her striking vocal ability, Princess Pamela (Jolie Lubar) was consistent when it came to the “attention to detail” in the deliverance of her character. Commanding the stage with her very meek but persistent presence, Mopsa (Ellie Esquenazi) did an astounding job. Every joke was a hit; every line stuck; and every song soared to the heavens! Bringing the TLC, Princess Philoclea (Lindsay Stern) was a work of art! Her dainty take on the character was breathtaking. Stern did a commendable job taking us through the story of her love and loss physically, emotionally, and vocally! The comedic Musidorus (Jack Steinman) had astounding character commitment. Steinman clearly prepared for his role with research, because he happened to be very in tune with the whimsical and eccentric Musidorus. Lastly, The featured dancers were impeccable! Every time they hit the stage they were always serving facial expressions, personality, and fierce & full-out
choreography! Overall, the entire cast gave praiseworthy performances.
Stepping into the world of tech, the entire tech production team presentation was stunning. The choreography was a heart-stopper. Choreographer Maddie Musso did a lot of meritable hard work. From start to finish, she served vibrant and vivacious choreography that not only complimented the dancers and actors but always kept the audience engaged and entertained. The special effects team (Sam Dyer & Nico Wellons) completed a very highly skilled task, and they completed it successfully. From the flag droppings to the turntable, they worked well with the storyline to make sure that this fictional plot was coming to life on stage.
Hark! The musical performance of Head Over Heels at NSU University School hath drawn to a close, and verily, it was a spectacle to behold. As the curtain doth fall, we bid adieu to this merry tale and commend the performers for their excellence. Farewell, Head Over Heels, and may thy memory be long cherished!
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By Rainn Berland of South Plantation High School
A delicate, yet not so delicate dance betwixt masculinity and femininity; adultery with one’s betrothed; 16th century prose; and 1980s rock music are all on full display at NSU University School’s production of Head Over Heels. With an exceptional level of attitude, the company of this production explores serious topics, such as queerness, in a beautiful yet incredibly comedic fashion.
Head Over Heels is a jukebox musical, using music written by ‘80s rock band The Go-Go’s, which first premiered in 2015. It went on to have a year-long run on Broadway. The story follows a royal family, a shepherd, and a sentient serpent on their joint journeys of self-discovery.
This production features a unique group of dancers who symbolize the “beat” of the kingdom of Arcadia. Coming out in different costumes correlating to different moments and themes, this group is involved in most major musical moments, displaying the synchronicity and musicality of the kingdom. Through expert use of choreography, done by Maddie Musso, the group consistently carries the emotional undertone of the current moment on their sleeves and makes each moment a memorable one.
Jolie Lubar (Pamela) is able to use her voice to show off so many different colors and emotions in a truly masterful way. Having the ability to fill a stage with her presence, she dominates every musical moment she is involved in. She is able to convey humor of the Renaissance era to a modern day crowd in an understandable and comedic way, making it easier to understand this sort of dialect. She has beautiful chemistry with Ellie Esquenazi (Mopsa), leading to a stunning whirlwind of emotions whenever the two are featured together.
The props team, lead by Karina Lopez, is able to provide a strong level of meaning and wonder out of typically mundane objects, such as picture frames and drum sticks. The choreographer’s use of these objects displays a level of mastery of her craft. This production features a turntable, used to create unique movement in scenes otherwise impossible. Paired with a low to the ground platform and three areas for projections to be displayed, the minimalist set, designed by Nico Wellons, is able to be used to create dynamic tableaus and represent any location desired.
Using a fully realized sense of humor, NSU University School manages to create a wondrous experience out of a difficult-to-understand text. With the amount of heart put into this production, you may exit the theater speechless, leaving your “lips sealed.”
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By Kenny Gervais of Cooper City High School
In the magical kingdom of Arcadia, a powerful and treasured beat lives among the people. So, when its presence is threatened by an unlikely oracle, the royal family decides to take a… road trip? The prophecy cannot come true, and time is running short so “Get Up and Go” see Marjory Stoneman Douglas High School’s production of “Head Over Heels” before the beat disappears!
Opening on Broadway in 2018, this jukebox musical-comedy features punk rock music by the Go-Go’s with contrasting vocabulary from the book by Jeff Whitty. “Head Over Heels” tackles LGBTQ+ topics and themes throughout the show and features the first ever non-binary character, bringing modernity into the world of theater and proving that love comes in many different forms.
Playing the charming shepherd Musidorus, Logan LaPierre’s flawless comedic timing was readily amusing, leaving the audience roaring in their seats. LaPierre’s jaw-dropping vocals in “Mad About You” conveyed his desperation for Philoclea’s love exquisitely, granting him the power to stand out amongst a herd of sheep. Whether portraying the sheepish Musidorus or the audacious Cleophila, LaPierre’s effortless romantic chemistry with Adriana Peña (Philoclea) developed their forbidden yet desirable romance stunningly as the first flag fell.
Pearl Mass’ (Pamela) comedic charm was nothing short of spectacular, her ability to switch between a humorous act to an emotional confession of love was astonishing. She remarkably demonstrated the struggles that come with accepting identity without pushing harmful stereotypes. Mass’ bittersweet chemistry with Natalee Cohen (Mopsa) was emotionally moving in “Automatic Rainy Day,” redefining true love while the second flag descended from above.
Proving “Heaven is a Place on Earth,” Alex Jolly and Carly Gaynor (Basilius and Gynecia) aided the plot with their interpretation of monarchs who no longer cherish each other. Jolly’s self-righteous stature and tone clashed with Gaynor’s irritated, discontented attitude wonderfully. Building the bitter tension, until it broke into an erotic tango through the moonlight and the third flag hit the ground.
Adding emotion and character to any scene, the featured dancer ensemble is to be applauded for their attribution to the storyline. Whether it was a mere sheep or booming lion, Sydney Lotz stood apart from the crowd. Her attentive facial expressions and serene dancing grasped the audience’s attention with every effortless glide or leap. Playing the devoted king’s viceroy, Jacob Harris (Dametas) never failed to muster an eruption of laughter with his memorable scream, even when the fourth and final flag fell.
“Holy Skidmarks,” the technical achievements in this production were simply “Beautiful.” Choreography by Nick Bedusa and Ashley Fronstin pulled together copious amounts of the cast onstage in “Cool Jerk” without causing awkward crowding. Lighting choices made by Alex Pfeifer were immensely clever, designs such as the pink flashing lights in the rhythm of a heartbeat displayed the beat of Musidorus’ heartbeat divinely.
Celebrating the many different forms of love, Marjory Stoneman Douglas High School’s production of “Head Over Heels” proved that they have got the beat!
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By Sean Jenkins of Coral Springs High School
We got the beat! The beat of 80’s pop infused into Elizabethan English, some surprising self-discoveries, & gay awakenings? Oh, how love triangles flourish! How Marjory Stoneman Douglas’ “Head Over Heels” brings this heart-stirring story to life, from the astonishing Arcadian beats to the lively rhythm in their feet!
Head Over Heels – the bold new musical that debuted in 2018 has gained immense popularity ever since. It is a Jukebox musical helping to tie together this laugh-out-loud love story, with music from iconic rock band: The Go-Go’s. This story follows the family of Arcadia as they fight & sing their way to defend their kingdom from an impending doom. The mystic oracle, Phythio, warns the King that if all four flags were to fall, the kingdom shall forever lose its beat. From there, shenanigans ensue as the King’s decisions reveal that not everyone is who they say they are.
As a mere shepherd under the King’s Rule, Musidorus (Logan LaPierre) stole the hearts of the audience throughout the show’s entirety. His flawless singing, comedic timing and excellent characterization won over the crowd ten-fold. Living amongst the royalty, Pamela (Pearl Mass) went crazy when it came to winning over the crowd with her singing voice, commitment to the role & chemistry with everyone who graced her presence. This includes her handmaiden Mopsa (Natalee Cohen). Mopsa’s vocals were nothing short of exceptional, and the development between her and Pamela led to unforeseen love that bloomed on-stage.
The rulers of said Arcadia, Basilius (Alex Jolly) and Gynecia (Carly Gaynor), had magnificent voices and chemistry. With Jolly as the unmanageable tyrant, and Gaynor as the sassy yet scandalous wife, their performances never hesitated to enhance the story. To top it off, the Powerful Pythio’s (Nick Bedusa) stage performances and fabulous energy kept the audience in a constant good mood. Also needing recognition would be the tight-knit ensemble. Their constant hyped energy & sheer dedication to every role played is admirable by many. Oliver Paul and Sydney Lotz shone from the background as they went above & beyond on-stage, really encapsulating their sheer dedication.
The show would not have been what it was without its technical elements. The simple yet intricate attention to detail was most admirable. For example, backgrounds were projected onto walls to show not only scene changes, but specifics such as certain rooms within the tent, time of day, and different tapestries to represent different rooms of the royals. Beautiful landscapes seen within songs such as “Vacation” and “Heaven is a Place on Earth” were remarkable to witness. From all these feats, however, there were times when microphones were an issue – whether it was timing, balancing with the instruments or volume levels.
So, I “Turn to You” and ask that you head on over to see Marjory Stoneman Douglas’ production of “Head Over Heels.” Whether it was hard work or an ominous oracle who predicted so, watching this show shall not disappoint!
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By Ariadna Nava Guzman of Coral Springs High School
“Omigod you guys”! If there ever was a perfect production of Legally Blonde, Cypress Bay High School qualifies!
Based on the novel by Amanda Brown, Legally Blonde The Musical premiered at San Francisco’s Golden Gate Theater in February 2007. The show opened on Broadway shortly after in April at the Palace Theatre. This high-energy musical comedy played 595 performances before closing on Broadway. With music and lyrics by Nell Benjamin and Laurence O’Keefe, Legally Blonde received accolades such as 8 Tony nominations and winning the Laurence Olivier Award for Best New Musical. The musical centers around bubbly sorority girl Elle Woods and her journey, after being left heart-broken, to prove to her ex-boyfriend Warner how serious she is. She later discovers the importance of not judging a book by its cover, defying expectations, and overcoming challenges.
Introducing the Gemini with a double Capricorn moon, Isabella Saralegui as Elle Woods performed with positive poise and excellent vocal quality. Saralegui’s performance as “Little Miss Woods comma Elle” was consistent and interactions with the entire ensemble defined her dedication to portraying Elle’s advocacy for sisterhood. The chemistry between her and co-star Connor Lirio as Emmett was exceptional. With “a chip on (his) shoulder”, Lirio displayed impressive vocal quality while giving persistent characterizations of the beloved Harvard law student.
Portraying the manipulative Professor Callahan, Adrian Graff’s mannerisms were believable and consistent throughout the entire show. With great expressions and vocal technique, most notable in “Blood in the Water”, Graff displayed the physicality of Callahan with praiseworthy resemblance and proficiency. Gianna Gomez executed portraying the serious lawyerly Vivienne who “wears black when nobody’s dead” with a boastful attitude and powerful voice.
Miguel Cabrera as Nicos caused controversy in the courtroom, with a stand-out comedic and high-energy performance after being accused in the most extravagant number “Gay or European”?
Snaps for Neena Shaw as Pilar! Shaw portrayed the Delta Nu sister with pure enthusiasm, which made it better for the Greek Chorus Trio (Margot, Pilar, and Serena) to maintain chemistry and interactions with Saralegui’s Elle.
Knowing the number one reason for all bad hair decisions, Sara Judd, as Paulette, displayed impressive vocal quality especially in “Ireland”.
Bringing the Spring Fling Beer Bash Extreme, Joey Mejia’s dancing and upbeat energy as Grandmaster Chad was distinctly seen in “What You Want”.
With impressive breath control, and facials came the sensational Gianna Schultz as Brooke to deliver an astounding performance during “Whipped Into Shape”.
With limited time on stage, Danny Bulzone efficiently portrayed the memorable Kyle using captivating mannerisms and expressions. Laura Navas displayed the eager feminist Enid with expressive acting choices and vocals.
Keria Hochberg’s choreography was complex, and sometimes the ensemble lacked cohesiveness and facials. The costume team made sure the dresses sealed the deal with seamless quick changes that allowed the show to run smoothly. The expansion of the stage onto the sides proved effective as it created an immersive experience.
Cypress Bay High School faced the trial and won the case with their stellar production of Legally Blonde!
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By Brooke Koch of David Posnack Jewish Day School
“What you want is right in front of you!” with Cypress Bay High School’s empowering and positive production of Legally Blonde!
Legally Blonde is a romantic comedy musical with lyrics by Laurence O’Keefe and Nell Benjamin and a book by Heather Hach. The musical is based on the novel by Amanda Brown, and the hit movie directed by Robert Luketic, which was scripted by Karen McCullah Lutz and Kirsten Smith. The musical debuted on Broadway in April of 2007 and later opened on the West End in January 2010. It won three Laurence-Oliver awards including Best New Musical. The musical follows sorority girl Elle Woods as she makes an effort to win back her ex-boyfriend Warner by enrolling in Harvard Law, and all the trials and tribulations of being “too blonde.”
Performing as Emmett Forest, Connor Lirio stole the show. With his character’s dorky but lovable personality, Lirio was able to fully seize and embody the role of Emmett. Not to be forgotten, his vocals and chemistry with Isabella Saralegui as Elle Woods were outstanding in “Chip on My Shoulder” and “Take it Like a Man”. Saralegui played the iconic role of Elle and portrayed the character’s growth adequately from a typical sorority girl to an empowered Harvard Law school graduate. Although her costumes were sometimes inconsistent through time jumps, her outfits stayed true to the early 2000s era.
“Every tragedy needs a Greek chorus!” This statement is certainly true as the trio of Julia Poms, Mya Wolf, and Neena Shaw playing Margot, Serena, and Pilar. They certainly energized and encaptured the audience. With their comedic timing and lively performances, they had the audience waiting for their next appearance time and time again. Other notable standouts are Sara Judd as Paulette, Adrian Graff as Callahan, Gianna Gomez as Vivienne, and Gianna Schultz as Brooke. All four of these actors brought unique portrayals to their roles as well as spectacular musical performances, from Schultz’s impressive performance in “Whipped into Shape” to Graff’s strong acting performance as Professor Callahan.
The ensemble had been “Whipped Into Shape” as their performance was immaculate! Their presence in songs and scenes added more depth without overcrowding the stage or blocking any of the main characters. They executed dances extremely well. Student choreographer Keria Hochberg included lots of hip bumps and other iconic movements from the 2000s time period.
Other impressive technical aspects of the show were the unique publicity tactics, done by Keira Hochberg and Miguel Cabera. These two had recreated The Search for the Next Elle Woods to catch the attention of the students and families to the production. Despite some sound system issues, lighting difficulties, and unclear makeup, the technical aspects of the show were good.
Cypress Bay High School’s performance was energetic, comedic, and loveable as they demonstrated how “staying true to yourself never goes out of style”
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By Sophie Simon of American Heritage School
Good evening passengers, and welcome to flight 39C with West Boca High School airlines! Please, fasten your seatbelts and secure on-flight baggage in the compartments below you, as this adventure of lyrics and “living colors” is sure to take you on a thrilling ride. Now, sit back, relax, and enjoy this one way ticket to “Catch Me If You Can!”
Landing on 42nd Street in 2011, Marc Shaiman and Scott Whitman’s “Catch Me If You Can,” ran for only 170 performances. Despite being short-lived, the musical adaptation received four tony nominations. Based on Frank Abagnale Jr.’s autobiography and Stephen Spielberg’s 2002 film retelling, this musical defines what it means to be versatile. The story flies alongside Abagnale Jr. as he navigates a life of faulty bank checks and finding family as a teacher, doctor, lawyer – whatever he is this week!
Co-piloting this flight to success, Lucas Brown was captivating as Frank Abagnale Jr., Frank Taylor, and Barry Allen alike! Brown astonished audiences with his far-from-turbulent vocal abilities and charming mannerisms. Brown’s ability to portray the duality of maturing criminal and lonely child truly allowed him to slip seamlessly into “Someone Else’s Skin.” Juxtaposing this life outside the lanes of law, Isaac Lynne (Carl Hanratty) perfectly foiled the outlaw in question, devising a dogfight of justice. Shining in both vocal and dance abilities, Lynne truly encompassed the determined FBI agent, attempting to find “the Man Behind the Clues.” The two flew in absolute harmony.
Sitting at the top of the family tree, Jack Stone was dazzling as Frank Abagnale Sr. With distinct paternal facial expressions and a wonderful bass tone to his voice, Stone made making “Butter Outta Cream” look like a simple task. On a branch in Paris, Adriana Daroch (Paula Abagnale) urged audiences to not “be a stranger” to her talent! Finally, resting on a branch in the South, Carol Strong, played spectacularly by Mikayla O’Brien, grabbed the attention of audiences with her consistent accent and comedic timing.
No flight is completely boarded without its flight attendants. From the “Jet Set” to skillfully taking “Doctor’s Orders,” the entire ensemble’s commitment to each role was incredible. Despite some minor departures from energy, their ability to execute difficult choreography whilst singing strongly displayed the gravity of their expertise.
While pilots take their seat in the cockpit, it is those on the runway that allow for a flawless takeoff. Stage Manager Jasmine Klein was nothing short of spot-on, steering the show away from fault and executing each cue with precision. Nicole Scalise masterfully tailored each “uniform” to meet fashion with function. Each pilot’s hat and doctor’s coat was seamlessly designed, and each elmer’s glue, constructed by the prop team, led by Valerie Joy, was purposely placed.
As we reach our final descent, be sure to stow away your electronic devices, put up your tray tables, and direct your attention to the screens to see West Boca High School’s production of “Catch Me If You Can.” We have been cleared for landing!
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By Aled Perkins of Monarch High School
Please fasten your seatbelts, silence your cell phones, and prepare for takeoff. Flight 6760 is now departing to its destination: West Boca High School’s production of Catch Me If You Can!
With book by Terrence McNally, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, Catch Me If You Can opened in 2009 to positive reviews, setting up its success during its Broadway run, containing most of the same cast. The show follows a young con artist legally known as Frank Abagnale, though he takes on many other pseudonyms, after running away from his family to live a great, adventurous life. However, his lies, and an FBI agent named Carl Hanratty, are chasing after him. It is based on the 2002 movie of the same name, and Abagnale’s autobiography.
Frank Abagnale Jr. is on the lam, but the only thing his actor, Lucas Brown, is running from are his fans. Brown showed excellent understanding of character through his charisma and display of character growth. His vocal abilities and variety of emotion for this character were impressive. On the other side of this chase is Carl Hanratty, portrayed by Isaac Lynne. With great comedic timing, style of singing, and engagement in choreography, Lynne’s performance was captivating. The two created a great dynamic, working against each other while still understanding their counterpart on a deeper level.
Every grifter starts somewhere, and Frank Jr. found inspiration in Frank Abagnale Sr., his father. Jack Stone effectively brought this character to life with how he spoke, and the emotion he brought forth. Through the bond created, it was clear why his son looked up to him. Another important bond to Frank Jr. was with Brenda Strong, played by Analiesa Chavez. She delivered intense emotion and vocal ability in her solo “Fly, Fly Away”, which effectively made the audience sympathize with her.
Many of the musical numbers in this show would be nothing without the high-energy ensemble. As a whole, the rest of the cast kept great tone and harmonies in their voices. They also displayed individuality, making them more interesting to watch. On occasion, the choreography fell a little short, but others made up for this with their enthusiasm and liveliness. The ensemble members also efficiently moved around the set, particularly with the revolving doors, utilizing them to enter and exit scenes with ease. This was crucial with the many quick changes they had.
Much like Frank Jr. making his escape, the show goes on with speed and efficiency thanks to the skilled tech teams. The costume team helped with many elaborate quick changes, and effective choices, such as Frank’s pilot jacket sparkling to stand out amongst the others. Another significant part of a show’s efficiency are cues being on time, and any changes in lighting, sound, and set pieces were made effortlessly thanks to stage manager, Jasmin Klein.
Please prepare for landing momentarily. We hope your flight was as enjoyable and smooth as this production of Catch Me If You Can.
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By Avery Redlich of NSU University School
Poof! Welcome to “Cinderella”, where balls are grand, dreams are grander, and glass slippers just can’t seem to stay on. The twinkling cast and crew at Calvary Christian Academy opened the storybook on a timeless tale, reminding that there is nothing a little magic and heart can’t bibbidi-bobbidi-do.
With music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II, “Rodgers and Hammerstein’s Cinderella” was initially written for the screen in 1957 during the golden age of television. Garnering 100 million views even then, “Cinderella” cast a spell on musical theatre history, with 1965 and 1997 movie adaptations and a 2013 Broadway adaptation. Based most closely upon the French version of the fabled fairytale, “Cendrillon” by Charles Perrault, the three-act classic follows a girl and her dreams of a prince as those dreams come true.
According to a fairytale or two, “once upon a time”, there was a princess: Ciana Ruocco as the shimmering, glimmering Cinderella. Her voice was pristine and pure and her facial expressions were delicately animated. Alongside her as “his royal highness, Christopher Rupert!,” Daniel Poulos put the ‘Chris’ in ‘crisp’ vocals, sprinkling classic royal charm like pixie dust. Ruocco and Poulos had a darling, wish-upon-a-star chemistry, even if they only met “Ten Minutes Ago”.
No ‘fairytale’ is complete without the ‘fairy’! Emma Bruce was fol-de-rol and fiddle-dee-dee-lightful as Fairy Godmother, mesmerizing the stage with every flick of the wrist, brilliant pronunciation choice, and enchanting vocal performance. Kelly Goenaga’s voice as Queen amazed, with mature operatic and vibrato elements acting as jewels on her crown and boosting the production’s classical nature. Another standout was Isabella Leon as doting step-sister Portia, marked by extraordinary physical comedy and comedic timing and an authentically “ugh, not them again” dynamic within the hilariously-despicable Step Family ensemble. The overall cast dazzled with distinct characterization, sparkling harmonies, largely coordinated ball-choreography, and well-executed prop work, all whilst performing beside a live orchestra.
Abracadabra–with the wave of a wand, or the work of the crew, the show’s technical elements glittered on-and-offstage. The spellbinding costumes, storybook set, and elegant choreography helped bring “Cinderella” from the page to the stage. The Hair and Makeup Team (Avery Rivas, Anneliese Hernandez, Lexi Denison, Annabelle DeSouza, and company) glowed like a shooting star with their makeup, magnifying the contrast between characters: Cinderella and the Prince glistened with softer, sweeter makeup tones, while the Step Family was adorned with brighter, harsher, and more exaggerated ones. But as Cinderella twirls or the clock strikes twelve, it’s the crew’s brilliant transformations that add a whirl of imagination. Stage Management’s Caiden Talbert and company entranced with mystifying set changes and perfectly timed cues–pure magic.
Wishes: granted! Calvary Christian Academy’s production of “Cinderella” was “merely lovely” with a commendably high quality of presentation. As the storybook shut, and the curtains magically closed, this classic fable displayed that pumpkin carriages, glass slippers, and happily ever afters aren’t as “Impossible” as they seem.
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By Tatyana Ramlogan of J.P. Taravella High School
Once upon a time, in the kingdom of Cavalry Christian Academy, a magical and wondrous event took place. Rodgers and Hammerstein’s beloved musical, Cinderella, was brought to life on stage, filling the hearts of the audience with hope and wonder. The talented cast of students delivered a captivating performance, transporting us to a world of dreams and possibilities.
Rodgers and Hammerstein’s Cinderella has been a beloved musical since its premiere on television in 1957. The show follows the story of Cinderella, a young girl who dreams of escaping her life of servitude and finding true love. With the help of her Fairy Godmother, Cinderella attends the royal ball and captures the heart of the handsome Prince. The Cavalry Christian Academy did an excellent job of bringing this timeless story to life on stage.
Ciana Ruocco, who played the leading lady Cinderella, was a vision of innocence and grace. Her singing voice was sweet and melodic, bringing to life the character’s hopes and dreams. Alongside her, Daniel Poulos shone as the handsome Prince, perfectly capturing the character’s charm and charisma. Their duets were enchanting, especially “Ten Minutes Ago,” which left the audience swooning.
Emma Bruce delivered a breathtaking performance as the Fairy Godmother, enchanting us all with her radiant smile and otherworldly presence. Her rendition of “Impossible” was nothing short of magical, with her stirring vocals. It was a true pleasure to watch Bruce bring this iconic character to life on stage.
The supporting actors also did a fantastic job, with Isabella Leon and Kaia Mills stealing the show as the Stepsisters Portia and Joy. Their comedic timing and exaggerated mannerisms had us in fits of laughter throughout the show. The rest of the supporting cast, including Kelly Goenaga as the Queen and Gage Eller as the King, were also fantastic in their roles, adding depth and humor to the story.
The technical elements of the production were also a sight to behold. The sets were colorful and imaginative, transporting us to a magical world of ballrooms and castles. The costumes were dazzling, with each character adorned in regal and elegant attire. The lighting and sound design were also well executed, adding a touch of magic and drama to the show.
In conclusion, the Cavalry Christian Academy’s production of Cinderella was a magical and wondrous event that left us all spellbound. From the leading actors to the supporting cast and technical elements, everything came together seamlessly to create a truly enchanting experience. It was a production fit for a fairy tale, leaving us with a sense of joy and wonder that will last long after the curtains have closed.
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By Avery Redlich of NSU University School
No me diga! Tell you something you don’t know? Well, Coral Springs High School’s production of “In the Heights” is the hottest gossip–hotter than a heat wave in Nueva York (que calor!). But don’t worry: the exceptional output of talent, audience engagement, and genuine familial-spirit from the diverse cast and crew was as refreshing as “ice cold piragua.”
With concept, music, and lyrics by the brilliant Lin Manuel Miranda, the musical In the Heights premiered July 2005 and opened on Broadway March 2008, garnering thirteen Tony nominations and four wins. Now with a book by Quiara Alegría Hudes and a 2021 movie directed by Miranda, the musical’s popularity has skyrocketed. Set in the early 2000’s in Washington Heights, NY, In the Heights follows a three-day journey of one extraordinary block during a heat wave while spotlighting the power of culture, dance, music, and community.
Tip a hat (or grey knit cap) for Alejandro Cirino as Usnavi; with boundless energy, raw emotion, and impressive diction and breath control during raps, Cirino lit up the stage “like a streetlight” in his first-ever production. His fiery partner, Maddie Galan (Vanessa), was perfectly sassy, with clear vocal tone and flawless range. Also flawless, Angelina Nazario brought Nina Rosario to life in numbers like “Breathe”, displaying vocal proficiency with a crisp, smooth vibrato and a heart-on-her-sleeve ferocity. Lemari Hills (Benny), notably in his first musical production, was a charismatic ray of sunshine in the dispatch booth, shining brightly with each impeccable riff. The standout chemistry between Hills’ Benny and Nazario’s Nina was believable and natural; their vocal connectivity warmed the whole stage (no heat wave necessary) during captivating duets such as “When The Sun Goes Down.” Performers stayed in character regardless of stage location, filling each scene with hea
rt and authenticity.
“Lights up on Washington Heights!” The show’s technical aspects were stunningly executed in tandem, elevating the production to new “heights.” Even in a “blackout! blackout!” Maya Rowe utilized lighting (color/speed changes and firework effects) to illuminate the story. The immersive, student-constructed set (Melanie Escalante and Mikayla Blue) enlivened the barrio with street signs in the audience, supported by exceptional attention-to-detail from Mel Kahan in props (filled photo albums and stocked bodega shelves). Costume Master Sienna Tang and company deserve special commendation for the “96,000” costumes presented (many characters wore four unique outfits in the two acts) and for the color-coordination between respective couples. Choreography (Maddie Galan) absolutely wowed with Latin flair, difficult footwork and partner-work, and a split for good measure. Taylor Skolnick’s publicity increased audience presence and built an onstage-family through cast photoshoots in Wynw
ood.
Alabanza! Coral Springs High School’s In the Heights is pure vibrance and fun, achieving a high quality of presentation, creativity, difficulty, and expression through the “paciencia y fe” of the cast and crew. The only flag not waved on their stage was a white flag, because every radiant performance and display of powerful diversity showed that “home” is not to be surrendered.
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By Ava Chen of J.P. Taravella High School
“¡Oh, que calor!” (It’s so hot!) With the scent of warm cafe con leche filling the streets and cool piragua to stop the summer heat, the sun shines on Coral Springs High School’s production of “In The Heights” as they bring to life this story of culture and community.
With Music and lyrics by Lin-Manuel Miranda and a book by Quiara Alegría Hudes,, the musical “In The Heights” came in like a heat wave! It premiered on July 23, 2005, at the Eugene O’Neill Theater Center in Connecticut and later advanced to Broadway in March 2008. The story takes place in the neighborhood of Washington Heights in Upper Manhattan, New York City, following the vibrant citizens that live within it. It focuses on Usnavi, a sweet, Dominican-American bodega owner, who struggles to pay rent and keep neighborhood businesses alive. With the importance of roots and community, the residents face struggle while a lottery ticket looms over their shoulders, with a chance to change people’s lives forever.
With his delicious cafe con leche, comes Usnavi portrayed by Alejandro Cirino who accentuated the show with his compelling performance. Cirino exhibited impeccable emotional commitment and commendable vocals given the difficulty of rapping, especially in the opening number, “In The Heights.” On her way to get her free coffee is the fierce, strong Vanessa (Maddie Galan). Galan presented exquisite dance skills, most notable in “The Club”. Galan and Cirino developed believable chemistry with their contrasting personalities that complimented each other wonderfully.
With a flick of her hair, struts in the gossip queen of Washington Heights, Daniella (Elisse Rodriguez). Rodriguez displayed a humorous performance by executing this witty, outspoken woman through hilarious mannerisms and physicality. Rodriguez’s chemistry matched well with Carla (Kayanna Downie), Vanessa (Maddie Galan), and Nina Rosario (Angelina Nazario) as they all babble on about rumors and share tough love in the song: “No Me Diga”!
The ensemble fully emerged the audience into the neighborhood of Washington Heights. Each cast member contributed to this colorful world by exhibiting relatable mannerisms, making a realistic performance, and captivating harmonies. Although at times, the dancing would lack cohesiveness, they upheld engaging energy that was consistent throughout the entire performance.
To bring Washington Heights to life, the set exhibited beautiful craftsmanship and brought personality to the stage. The set crew did a wonderful job in their accurate research, with the influence of the 2000s being seen through the talented graffiti art splotched across the stores. They also impressively displayed their expertise in creating a second floor to the set, that was safe and steady to stand on.
Whether you are Dominican, Cuban, or “Chile-Domini-Curican”, Coral Springs High School’s production of “In The Heights” shows the importance of acknowledging your culture while paving the way to your future.
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By Caroline Eaton of Marjory Stoneman Douglas HS
Living a life on the pursued side of a wild goose chase is a life not frequently sought after by the common man. Meet Frank Abagnale Jr.: not the common man. North Broward Preparatory School’s “Catch Me If You Can” investigates the choice between seeking a life lived on the edge or a life without crime.
Deriving its origins from Frank Abagnale Jr.’s autobiography and the star-studded 2002 movie of the same name, “Catch Me If You Can” premiered on Broadway in 2011. This musical comedy follows the cunning, yet ingenious, criminal adventures of the high school-aged Frank Abagnale Jr. as he pursues his fondness for conning. While on the run, Abagnale Jr. falls in love and desires to settle down, giving the FBI agent who’s been chasing him for years a chance to finally catch up.
Embodying the suave and charmingly deceitful Frank Abagnale Jr., Michael Norman delivered an incredible performance through his expansive vocal range and enticing physicality. Norman embraced Abagnale Jr.’s slick nature and ever-changing professions with ease, radiating confidence with each disparate role- be it pilot or substitute teachers. Norman’s compatibility with his various counterparts, whether through playfulness with the FBI or fervent admiration for his father, furthered his evident versatility. As Abagnale Jr.’s ultimate love, Brenda Strong, was Sasha Geisser, who effortlessly captured the sincerity and light-hearted aura of the young nurse. Geisser’s remarkable vocal ability in “Fly, Fly Away” generated a palpable warmth and charismatic quality in Brenda.
Adam Fournel portrayed the hardy FBI agent Carl Hanratty, conveying a strong performance by means of his rich, jazz-infused voice and refined demeanor. Fournel impressively managed Hanratty’s difficult character progression, balancing high-energy musical numbers with melodramatic ballads. Completing the unlikely duo of Hanratty (Fournel) and Frank Abagnale Sr. was Matthew Feinstein. Fournel and Feinstein’s eclectic energy in “Little Boy Be A Man” exuded an engaging candid energy. Feinstein succeeded in depicting the father figure to Norman, expressing a mature stature that paralleled Abagnale Sr.’s older age and wisdom.
Although oftentimes lacking energy and an apparent confidence in learned choreography, the ensemble of “Catch Me If You Can” added to the bright spirit and gaiety of the production. Most notably, however, were Ally Babincak and Abigail Alder’s contributions to the ensemble; both performers brilliantly lit up the stage with unfaltering stamina and captivating facials.
The technical elements of the show assisted in establishing the multitude of settings. With exception to a few improperly fitted outfits, the costumes, by Jasmine Iacullo, aided the visual interpretations of the various professions Abagnale Jr. inhabits. The marketing and publicity, organized by Abigail Alder, was cleverly crafted in the form of detailed poster designs and video advertisements, as well as attractive social media posts.
North Broward Preparatory School’s production of “Catch Me If You Can” undoubtedly shows that although a criminal may feel on top of the world, they will inevitably accept the truth that “the law sometimes sleeps, it never dies” – Frank Abagnale Jr.
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By Em Fontanet of J.P. Taravella High School
Pack your bags, prepare for takeoff, and enjoy your travel to North Broward Preparatory School’s captivating production of “Catch Me If You Can.” This musical comedy is a fun, flight-filled criminal love story, that shows the concrete consequences of being a doctor in love, a pilot on the run, and a lawyer in disguise. As we begin our descent into a con-man’s escape, we soar through a story told with laughs, love, and lawbreaking.
With music by Marc Shaiman, and lyrics by Scott Whitman, this whimsical comedy first premiered at the Neil Simon Theatre on April 10, 2011. Based on the 2002 movie adaptation of the same name, “Catch Me If You Can” follows a child-like, yet charismatic crook, Frank Abagnale Jr., as he flies away from love and larceny. In this 1960’s upbeat melodrama, a criminal on the run learns a life lesson a little too late when he is forced to face the truth about his fatal and fraudulent behaviors.
The charming conman Frank Abagnale Jr, portrayed by Michael Norman, accurately and astonishingly conveyed his comedic, youthful and suave personality. Norman demonstrated exceptional chemistry with all his onstage partners, specifically Adam Fournel, who portrayed Carl Hanratty. Fournel showcased exquisite understanding of the agent’s range, switching between a determined detective and a simple man longing for genuine connection. With stellar vocals and immaculate comedic timing, both actors had continually dynamic performances.
Small town nurse Brenda Strong was brilliantly embodied by Sasha Geisser. Her marvelous vocals and brilliant facial expressions opened a path for her performance to soar above and beyond. Her emotions felt truly in touch with her character, aiding in her realistic chemistry with Norman and the rest of the Strong family. Frank Jr.’s role model and razor-sharp father, Frank Abagnale Sr., was depicted by the masterful Matthew Feinstein. His stand-out physicality and vocals gave a believable and authentic performance. The father-son bond captivated the stage throughout woebegone moments and witty musical numbers, such as the lesson learned through song: Just make “Butter Outta Cream.”
The spirited ensemble of lively dancers displayed consistently high energy while sustaining tight harmonies, enthusiastic choreography, and facial expressions. Besides an uncommon fumble or two, the dazzling showgirls and sassy stewards maintained a level of professionalism with each character they embodied.
Costumes, by Jasmine Iacullo, was the final touch needed to complete this smooth ride. Each cast member underwent many quick changes, impressively pulled off flawlessly. The time period appropriate costumes aided in creating a 1960’s ambiance, which was only improved upon by the lighting and sound design of the musical. Although a few minor microphone cue issues, the impressive blending, and leveling done by sound were appreciated, as it allowed for the cast and live orchestra to mesh together seamlessly.
When one fake check too many turn crazy chaos into desperate decisions for love, you must be sure to follow “Doctors Orders” and don’t miss this engaging and endearing production of North Broward Preparatory School’s “Catch Me If You Can!”
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By Levi Cole of NSU University School
How could someone be a pilot, doctor, and lawyer right out of high school? Short answer: they lie. If everyone believes the lie, then the conman can reap all the benefits. The protagonist of North Broward Preparatory School’s “Catch Me If You Can” does exactly that.
Based on the autobiography and film of the same name, “Catch Me If You Can’s” narrative follows charming con man Frank Abagnale Jr., and the FBI agents hunting him down. In the 1960’s just after running away from home, Frank steals millions of dollars from banks in false checks and persuades the ignorant public into believing he’s a pilot, doctor, and lawyer all with the FBI hot on his trail. With book by Terrence McNally and music and lyrics by Marc Shaiman and Scott Wittman, the musical comedy debuted at the Neil Simon Theatre in April 2011.
As Frank Abagnale Jr., Michael Norman exuded endless energy, charisma, and charm. Norman’s characterization and physicality contributed to his successful portrayal of his character. Additionally, Norman’s vocals were consistently fantastic, as he showcased a wide range and pleasant tone. His chemistry with the other actors onstage, specifically Matthew Feinstein who played his father, was a pleasure to watch.
Portraying detective Carl Hanratty, a gritty veteran detective, was Adam Fournel. Fournel’s physicality and mannerisms boosted his character greatly. The most notable feature of Fournel’s performance was his vocals; his smooth deep tone specifically in “The Man Inside the Clues” was phenomenal and enhanced the production tremendously. Another standout vocalist was Sasha Geisser as Brenda Strong. Her solo “Fly, Fly Away”was sung flawlessly, an exemplary feat considering how vocally challenging the song is. In addition, Geisser’s comedic timing and overall character were superb. As Frank Abagnale Sr., Matthew Feinstein excellently portrayed a loving father figure and possessed a believable father/son dynamic with Frank Jr. Like his fellow actors, Feinstein’s vocals were impressive. Hannah Bauer as Carol Strong was a standout featured performer, as her comedic timing and stage presence were exceptional.
The ensemble worked excellently together. Despite some energy issues, the large ensemble was a pleasure to watch onstage. The featured dancers specifically were incredible, as they were expressive and engaged throughout the show. The FBI agents also had a wonderful comedic dynamic, as all the actors were engaged and worked well as a unit.
The technical components boosted this production tremendously. The costumes were impressive as the cast was large and each cast member had multiple costumes that fit each new chapter of the musical well. The makeup and hair are also to be commended, as it made the actors pop onstage and was well suited for the needs of this production.
North Broward Preparatory School’s production of Catch Me If You Can wonderfully told Frank Abagnale’s story “Live in Living Color”
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By Zoe Tibbs of Calvary Christian Academy
Some 16-year-old boys spend their time playing football. Others spend it by stealing 2.5 million dollars, posing as pilots, doctors, lawyers, and of course, Lutherans, all while making it home in time for dinner. So fasten your seatbelt to learn how as North Broward Prep takes off in their production of Catch Me If You Can.
Based on an autobiography by Frank Abagnale Jr., the story became popularized by the 2002 Steven Spielberg film “Catch Me If You Can”. Filmed in 147 locations in only 52 days. Nearly a decade later, Terrence McNally adapted the story into a four-time Tony-nominated musical in the Neil Simon Theatre. With a gross rate of $16,863,570, the cast took their final bow on September 4, 2011, with a total of 32 previews and 170 regular performances.
One of history’s best-known cat-and-mouse games, the true story of Catch Me If You Can follows the life of 16-year-old con boy Frank Abagnale, or Frank Williams, or Frank Connors, or was it William Frank? At any rate, he is determined to do whatever it takes to fly away from his troubles and chase his dreams; Even if it means playing a deadly game of make-believe. Becoming wanted in 6 continents, he strikes up the interest of lonesome FBI agent Carl Hanratty, who is set on putting the out-of-control child behind bars.
Michael Norman, as Frank Abagnale Jr., truly made butter out of cream with his stage presence and vocals. He brought immense energy to the stage, burning through the choreography as if it were dollar bills. Alongside him, Mattew Feinstein (Frank Abagnale Sr.) devoutly played his part to the very death. The pair held a strong connection with the whole cast and portrayed an extraordinary father-son relationship.
Of course, no show is ever complete without the comedic side characters. It would be near impossible not to laugh while watching the one and only Hannah Bauer as Carol Strong. Her stage presence, comedic timing, and booming voice were impeccable. Another unforgettable actress, Makayla Whelchel playing agent Dollar brought nothing but joy and laughter from the audience. Jesting from the second she stepped on stage to the moment off, Whelchel brought indelible energy and expressions through every move.
Both the ensemble and tech crews did a phenomenal job. Abigail Alder was one of those who undoubtedly stood out in her role of ensemble and Marketing and Publicity. The only things more on point than her movements and expressions were the tips of her handmade pins. The technical elements of the show were beautiful. From the live orchestra to the costumes and props, the crew shone through. Despite some slight upstaging and faltering energies throughout, the ensemble was also commendable, working their way through endless dance numbers.
North Broward Preparatory School’s production of Catch Me If You Can came to be nothing short of a million-dollar performance. With rich vocals and authenticity that made each performer shine on stage, they truly brought a smile to the audience’s faces.
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By Sydney Lotz of Marjory Stoneman Douglas HS
Rushing around the world as a con artist proves to be no arduous task for one mischievous teenager. He must learn right from wrong and the importance of major events in his life. North Broward Preparatory School’s production of “Catch Me If You Can” follows the story of a vexatious boy with multiple identities, a detective attempting to defeat crime, and their never-ending chase across the globe to outsmart one another.
This musical comedy originated as a movie of the same name in 2002, and later debuted on Broadway in 2011. This production was greatly acknowledged and further nominated for 4 Tony Awards, including one for Best Musical, winning one for Best Actor in a Musical for Norbert Leo Butz. With a book by Terrence McNally and music and lyrics by Marc Shaiman and Scott Wittman, “Catch Me If You Can” centers around the devious and remarkably charismatic Frank Abagnale Jr. Throughout the show Frank deals with family affairs, finding love, and searching for different, unique ways to escape the FBI.
Michael Norman embraced the challenging role of Frank Abagnale Jr. through his captivating vocals, comedic timing, and illustrious stage presence. He commanded the stage and proved prodigious chemistry with other cast members. This includes Frank’s love interest; the compassionate, innocent, and affectionate Brenda Strong (Sasha Geisser). Together, Norman and Geisser displayed the highs and lows of young love and captured the essence of both characters by showing a true connection even through their differences. Furthermore, Geisser excelled in her song, “Fly, Fly Away,” and embraced her character’s emotions through superb vocal techniques and cogent character choices.
Adam Fournel personified the meticulous antagonist, Carl Hanratty. Fournel displayed incredible vocalization and a playful yet earnest connection with the other agents. He carried a commendable performance throughout the entirety of the show, and developed sincere emotions in the finale, “Stuck Together (Strange But True).” Another meritorious performance was Hannah Bauer who played Carol Strong, Brenda’s comical and quirky mother. Bauer delivered an eminent, delightful, and unforgettable performance every single time she appeared on stage.
As an ensemble, the performers executed difficult harmonies, and challenging choreography. At times, some lost energy, but overall, they worked cohesively as a group and were pleasant to watch. Some actresses such as Ally Babincak, Jasmine Iacullo, and Abigail Alder stood out by presenting distinct expressions and unique characterization without ever missing a beat.
The costume department, run by Jasmine Iacullo, did an excellent job at representing the 60’s perfectly. The details such as the hints of purple in Frank Jr.’s costume to represent royalty were carefully and wonderfully implemented. Even though during some ensemble numbers the length of the skirts didn’t fit the choreography, they matched the style and presence of the ladies.
North Broward Preparatory School made the world never want to say “Goodbye” to their phenomenal production of “Catch Me If You Can.”
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By Hannah Hackney of Marjory Stoneman Douglas HS
For a display of family compassion and mysterious magic, you’ll want to swap your location to David Posnack Jewish Day School’s rendition of Freaky Friday! A dazzling revelation of love and growth is always gained by taking a walk in someone else’s shoes.
Freaky Friday is a musical based on the 1972 novel by Bridget Carpenter, with music by Tom Kitt and lyrics by Brian Yorkey. The story follows a mother and daughter, Katherine and Ellie Blake, through their strained relationship. Katherine is about to become remarried after her previous husband’s death, and Ellie is a rebellious high schooler who opposes the union. When the two break into a fight over an hourglass that Ellie’s late father had given her, the magic inside of it causes their souls to switch places! Katherine and Ellie must navigate each other’s lives while on a mission to switch back to the right bodies. They gain new understanding of each other’s struggles and bond their family closer than ever before.
The leads of this show Katherine and Ellie, played by Yael Eliani and Alyssa Tuchinsky respectively, had outstanding chemistry and shared the stage with remarkable balance. The duo flawlessly portrayed their rocky mother-daughter relationship and the bonding and revelations that follow. They executed the nuanced intricacy of the personality switch with expertise, showcasing changes in vocal inflection and physicality that made the twist truly believable. Their dazzling vocals truly set them apart as the heart and soul of the show, the blending of their voices bringing the deep connection between Katherine and Ellie to life. Their unified performance anchored the show throughout the entire story.
The supporting cast of Freaky Friday maintained unwavering high energy and served as the perfect backdrop to accentuate the brilliance of the leads. Lindsey Wildstein, portraying Torrey, commanded attention with a blend of compelling characterization and strong vocals that held true throughout the story’s highs and lows. Sacha Codron, in the role of Adam, radiated remarkable chemistry with every member of the cast, his character’s charisma mastered with finesse. The featured cast of Freaky Friday fit as the final puzzle piece to complete the show. The ensemble worked together to bring the story to life. While they sometimes lacked in harmonies and synchronization, they always maintained comedy and high energy. Each member contributed to the seamless flow of the musical, always presenting a believable and cohesive unit.
The technical aspects of Freaky Friday truly brought the show’s vision to its full potential. The props, done by Lily Koplowitz, were very immersive and skillfully made. The wedding cake and hourglasses both added a magical touch. The makeup and costumes, done by Sophia Yablon, reflected the switch impressively, with Ellie’s punk hair and makeup transferring to Katherine’s body, and Katherine’s pristine, neutral appearance translating to Ellie. While the scene changes were lengthy at times, stage manager Josie Grimmett ensured cues were smooth throughout scenes.
Looking through someone else’s lenses of life is the best way to understand new people. Swap your perspective at David Posnack Jewish Day School’s performance of Freaky Friday!
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By Avery Redlich of NSU University School.
Weddings Magazine’s newest spread? David Posnack Jewish Day School’s production of Freaky Friday shined with mysterious magic, familial fun, and tons of talent. With believable character dynamics, strong vocal performances, and student music rockin’ offstage, the cast and crew pulled off the ultimate switcheroo!
Music by Tom Kitt, lyrics by Brian Yorkey, and book by Bridget Carpenter, the musical adaptation of Freaky Friday is based off of a 1972 novel by Mary Rodgers and popularized by the films of the same name, particularly the 2003 remake with Lindsay Lohan. There’s nothing like a run of the mill body swap to bring mother and daughter closer together! With a wedding on the way, a family member missing, and *shudders* high school to attend, there was much to freak out about on this very freaky Friday.
“You have my face!” Yael Eliani and Alyssa Tuchinsky as Katherine and Ellie Blake were the core of the show, expertly executing their character swaps with noticeable distinctions in physicality and vocal choice. Tuchinsky’s hilariously exaggerated facial expressions balanced Eliani’s powerhouse voice and characterization; the hourglass may not *really* be magic, but their chemistry and skills certainly were! Like mother, like daughter?
“Aaddaammmm!” Sacha Codron brought the swoon-worthy spirit of a beanie-wearing, sandwich-loving teenage boy. Lindsey Wildstein’s vocals as Torrey nearly tore-y the house down, as did their pristine comedic timing. Luca Silberberg was *engaged* in his performance, offering sincerity and silliness as fiance Mike. Leelle Raz certainly raz-zled and dazzled as Savannah with each sassy stare and superior hair toss. Officers Sitz and Kowalski (Brooke Koch and Adiel Zinn) were solving crime and comedy, especially during standout number “Bring My Baby (Brother) Home”.
There’s nothing like a keyboard lick to make a show rock and roll! Pink Slip rivaled Cher, and Cher is an award winning artist. The student band (Adam Willis, Eva Kattan, Nadav Minkowitz, Naomi Milgram) was a highlight, making scene changes smooth and amplifying musical numbers. With an increased level of difficulty, both in direct orchestral performance and for the cast singing against live instruments, they really took the (wedding) cake.
It’s magic! With timely glitter and an easy break, Props (Maya Wolf, Ethan Tavolacci, Luana Silberberg, Leah Wolf) stunned with the famous hourglass, as well as the seven-layer bars cake. Bodies weren’t the only thing being swapped, because Sets (Josie Grimmett, Camila Rotter, Isaac Wise, Lily Koplowitz) supplied a high volume and variety of set pieces. This quintessential 2000s thrill wouldnt be complete without the spunky, edgy teen makeup, courtesy of Sophia Yablon, Leah Wolf, and Luana Silberberg.
“I got this!” Or rather, Posnack’s Fischer High School did, because there was no shortage of laughter, energy, rock, or heart in their production of Freaky Friday Whether it takes a head pat, a biology class, or a quick body swap, everyone is just on The Hunt to be understood and valued by those they love.
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By Bella Nanavichit of Archbishop McCarthy High School
The hunt is over! David Posnack Jewish Day School’s production of Freaky Friday the Musical certainly takes the cake! This production brings an air of wonderful comedy and true heartfelt moments. This talented cast brings a dangerous message: be careful what you wish for because that wish just might come true!
Freaky Friday originates as Mary Rodgers’s novel, which is later adapted to become the hit Disney film of the same name. The musical, directed by Christopher Ashley, is based off the acclaimed Disney movie, and premiered on October 4, 2016 at the Signature Theatre in Arlington, Virginia. With music and lyrics by Tom Kitt and Brian Yorkey (previously credited with composing hit musical Next to Normal), the book and film’s story is given new life with the pair’s emotional and comical score.
Yael Eliani perfectly masters the mental and physical switch from uptight-yet-loving Katherine Blake to her character’s rebellious and expressive daughter, as well as consistently incorporating her commendable comedic timing through each character respectively. In the musical numbers, “What You Got” and “After All This and Everything,” Eliani showcases her beautifully emotional and powerful vocals. Margeaux Brisgel as Fletcher Blake brings a sweet and energetic physicality and overall characterization to the little brother. Lindsey Wildstein, despite portraying Eliani’s right hand, independently blows the crowd away as Torrey and proves themselves to be a true vocal asset to the cast and ensemble. The Blake Family has a great dynamic with each other, from their chaotic arguments to hilariously banding together in “Bring My Baby (Brother) Home/”
The school’s student band, Pink Slip, is phenomenal in musically supporting the cast. No flubs or pauses to be heard, Pink Slip can easily be mistaken for the professional musical backing tracks! Unfortunately, there are some other technical aspects that seem to fall slightly shorter, such as prolonged scene changes or age makeup not reading clearly from an audience perspective.
This cast and crew definitely shines with this production, and should be proud of this fun experience they provide to incoming audiences. With that being said, go there and be at David Posnack to see Freaky Friday the Musical!
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By Sarah Abisror of Cooper City High School
It’s so easy to get caught up in your own problems that it can feel like you’re the only person in the world who has any. But when you’re forced to put yourself in someone else’s shoes, you’ll find that the grass isn’t always greener on the other side. David Posnack Jewish Day School’s moving production of Freaky Friday told the powerful tale of a mother and daughter who gain a newfound appreciation for each other after switching bodies for “Just One Day.”
With music by Tom Kitt, lyrics by Brian Yorkey, and a book by Bridget Carpenter, Freaky Friday premiered in 2016. In 2018, Disney Channel released a film adaptation, which gained the piece popularity. Its plot revolves around mother-daughter duo Katherine and Ellie Blake the day before Katherine is set to remarry. After getting into a fight while holding a magic hourglass, they switch bodies! They spend the day living each other’s lives, which opens their eyes to the struggles that the other must face. Though the situation grows more grim by the minute, they foster an unbreakable bond as they fight to reverse the curse.
Utilizing impeccable vocal inflection, Yael Eliani (Katherine Blake) flawlessly demonstrated the contrast between Ellie and her mother. Her fantastic characterization while portraying both characters was a testament to her range as an actor. She cultivated touching familial chemistry with Alyssa Tuchinsky (Ellie Blake). The duo blended beautifully as they sang together in perfect harmony. Tuchinsky employed astounding comedic timing. She displayed a deep understanding of the characters she portrayed, allowing for a believable and connected performance.
ADAMMMM! In enters Sacha Codron (Adam) with swagger and style. He developed meaningful relationships with everyone onstage and clearly conveyed his character’ every motivation. Lindsey Wildstein (Torrey) brought incredible vocal prowess. They stole the show with their impressive belt and showcased their amazing acting ability through exemplary physicality.
The ensemble delivered extraordinary stage business, remaining in character when they weren’t the center of the scene. Despite a lack of energy at times during Act One, they elevated their performance exponentially throughout the show. A standout moment came during “Bring My Baby (Brother) Home” as the actors exhibited stellar commitment, energy, and vocals.
The technical elements of this production were as magical as the hourglass! The student Orchestra, Pink Slip, impressively played the entire score live and never missed a beat. They worked well with the actors, ensuring they were always in sync. This tremendous feat deserves endless commendation, especially considering two members were middle schoolers! The props- done by Maya Wolf, Ethan Tavolacchi, Luana Silberg, and Leah Wolf- looked gorgeous onstage. They served their intended purposes excellently and added realism to every scene.
The Blakes have switched back and the wedding is on! But best of all, David Posnack Jewish Day School’s production of Freaky Friday was outstanding. It will inspire you to “Go where you never thought you’d go.”
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By Sophie Simon of American Heritage Broward.
Hey hunters! It’s the South Florida Cappies list master! Forget that magic hourglass, because I’ve got a new item up for grabs that you just can’t resist. Just drive down Pine Island and make a right to secure a coveted ticket to David Posnack Jewish Day School’s production of Freaky Friday before they’re gone!
Based on the 1972 novel Freaky Friday and its subsequent three film adaptations, this story between a mother and daughter learning to live in each other’s shoes, both literally and metaphorically, has become a favorite of “Today and Ev’ry Day.” With a book by Bridget Carpenter and music and lyrics by Tom Kitt and Brian Yorkey, this show follows the Blake family and what happens when a teenager’s wish for her mother to understand her takes an extreme turn. In the face of a ventriloquist’s son running away and the looming grief of their father, Ellie Blake and her mother, Katherine, must rediscover their love for one another, a prize that cannot be hunted for.
If you thought acting was difficult, attempting to play two people at once is a freakishly strenuous task! Alyssa Tuchinsky (Ellie Blake) and Yael Eliani (Katherine Blake) tackled this with ease. Tuchinsky shined as the vivacious elder daughter, showing range in both hilarious moments and powerful vocals. Walking hand-in-hand, Eliani proved her capacity for both comedy and connection, specifically in the heart-warming ballad, “Parents Lie.” Both actresses expressed their prowess in both light and belting vocal styles, ensuring the audience could follow their journey of personal and physical growth.
Baking the recipe to the perfect supporting character, Lindsey Wildstein (Torrey) captivated the crowd with their clear tone and characterization. From the moment they walked onstage, Wildstein was engaged and energetic in every musical number. Look out, it’s ADAM! Sacha Codron portrayed everyone’s favorite game-maker, consistently showcasing chemistry — or should I say, Biology — with both the fun-loving Fletcher and the flirtatious Ellie. Despite some inconsistent harmonies and moments of disengagement, the ensemble radiated palpable energy within the hallowed high-school halls.
When putting together a production, theaters are told to work with “What You Got” Luckily, David Posnack Jewish Day School’s got an amazing technical team! The set crew (Josie Grimmett, Camila Ritter, Issac Wise, and Lily Koplowitz) crafted a set both flawless and functional, transporting audiences from lockers to wedding aisles. Despite some lengthy set changes, the stage crew ensured the actors could fully explore each space. Finally, the make-up and hair team (Sophia Tablon, Leah Wolf, and Luana Silberberg) took actors from teen to adult and vice versa with the power of crimped hair and black eyeliner.
There’s a place for everyone at David Posnack Jewish Day School’s performance of Freaky Friday, a show that combines siblings, secrets, and sandwiches. Whether you’re a mom of two just trying to get by or a high school student perpetually failing gym class, every audience member will leave the theater with a newfound familial perspective and fresh catchphrase: I Got This!
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