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 Julianna (Jules) Vollaro of North Broward Preparatory School.
Dr. Joaquín García High School’s production of Alice in Wonderland offered a steampunk-inspired reimagining of Lewis Carroll’s classic, combining Victorian industrialism with a theme of discovery. The production invited its audience to ponder the universal question posed by the characters: “Who are you?” Through imaginative staging and creative storytelling, the García Theatre Company transformed Carroll’s whimsical tale into a visually stunning experience.
From Alice’s entrance into Wonderland to her journeys throughout the show, the production was a pleasant combination of both Through Looking Glass and Alice in Wonderland. Special effects stood out as a highlight of the evening, particularly the creative use of silhouettes to depict Alice’s growing and shrinking. The flood of tears, portrayed using flowing fabric, demonstrated exceptional ingenuity in utilizing resources to enhance the magical atmosphere. Attention to detail in costuming further elevated the production, with gears, sprockets, and intricate touches in both the characters and even the stage crew, who eschewed traditional black attire for on-themed outfits, immersing the audience in their own world of Wonderland.
Evan Paggi’s portrayal of the Mad Hatter was a standout performance. Paggi brought a vibrant energy to the stage, using expressive physicality and comedic timing to align perfectly with the classic character. His commitment to the part was matched by his work as co-prop master, where the intricately designed props reflected a meticulous attention to detail. Julia Cintron’s co-contributions in this role also deserved recognition, as the props seamlessly integrated into the narrative, enhancing the tone of the story.
The cast as a whole embraced the eccentricity of their roles with true intention. From the Cheshire Cat’s charm to the Red Queen’s confidence, the performers captured the essence of Wonderland’s iconic characters. However, while many actors shone in their roles, some lines were rushed, leading to moments of unclear diction that occasionally detracted from the story’s flow. Though, the Spanish interpreters in the headset were always on point and creative with their voice distinctions.
Behind the scenes, the technical crew faced an ambitious task, with a complex array of lighting, sound, and staging cues. The perseverance of the stage manager and team was evident as they navigated these challenges, though microphone placement caused occasional audio distortion. Despite this, the soundscape contributed to the immersive experience, from the ticking of gears to the whimsical score that underscored Alice’s journey.
Dr. Joaquin Garcia High School’s production was a testament to the dedication and creativity of its cast and crew. The incorporation of bilingual voiceovers, provided by skilled student actors, highlighted the school’s commitment to inclusivity and accessibility. This thoughtful addition allowed a broader audience to enjoy the show while honoring the community’s cultural diversity.
Through inventive visuals, and memorable performances, Alice in Wonderland reminded its audience of the joy and curiosity of Carroll’s timeless tale. The García Theatre Company succeeded in creating a Wonderland that was not only fantastical but also deeply human, encouraging us all to reflect on the question: Who are you?
By Bailee Seraphine of Saint Thomas Aquinas High School.
Who are you? Who ARE you? Alice tries to answer this seemingly simple question through her adventure in this unique interpretation of Wonderland. Dr. Joaquin Garcia High School’s steampunk escapade in Alice in Wonderland was charming and ambitious.
Lewis Carroll’s Alice in Wonderland and its sequel Through the Looking Glass have had many interpretations throughout the years. Eva Le Gallienne and Florida Friebus took directly from Carroll’s vision and adapted Carroll’s novels into a faithful play. The team took 14 whimsical scenes from the original works and put them on full, confusing display.
In the beginning, we are introduced to Emily Huhn’s (Alice) childlike wonder. Her portrayal of Alice’s stubbornness and confusion amplified all the scenes she was in. She grounded the audience through the bewildering scenarios she was thrust into and guided them through the story. She demonstrated impeccable chemistry with all the cast members she interacted with.
One notable comical character was the Mock Turtle, played by Elio Fantauzzi. Elio’s comical timing was impeccable, so it was surprising to discover it was his first time acting. Although the Mock Turtle’s scene was short, his sassy tone and accompanying movements made his presence unforgettable. He stayed in character during the scene he was in and committed to the role.
The Trio of Evan Paggi (Mad Hatter), Taylor Fossen (March Hare), and Alayna Luna (Dormouse) were a treat. They added to each other’s performance with their wonderful chemistry, drawing many laughs from the audience. Their exaggerated expressions and movements added to the confusing world of the show. Paggi and Fossen’s larger-than-life movements were the perfect contrast to Luna’s tired portrayal of the poor Dormouse.
The props (Evan Paggi, Juliet Cintron, & Co) and costumes (Miranda Pachter & Co) used in the show added to the steampunk theme Dr. Joaquin Garcia envisioned. They built on the Victorian-era industrialism the play was set in. Even the stage crew were fitted with appropriate costumes, wearing outfits parodying the deck of cards of the Queen of Hearts’ knights.
The makeup (Cecilia Ferreira, Marcelle Chemtob & Co) was also unique. For the Cheshire Cat, they used neon glow-in-the-dark makeup to accentuate Cheshire’s smile. The makeup helped to parody the scene in Alice in Wonderland where the Cheshire Cat’s smile would only be visible. They did not stop at the smile, however. They extended the glow-in-the-dark makeup to the hair and ears, making her look electrified. The electrified feeling of the Cheshire Cat added to the steampunk theme as if the cat itself was mechanical.
Dr. Joaquin Garcia High School’s Alice in Wonderland was exceptional. The cast and crew worked hard to recreate the original feeling of the play while changing the setting entirely.
By Leanessa Taylor of Plantation High School.
How peculiar and maddening it was? That is what can be said about the adventure in Wonderland brought to us by Dr. Joaquín García High School’s retro-futurism themed Alice in Wonderland.
Eva Le Gallienne and Florida Friebus’s Broadway revival of Lewis Carroll’s Alice in Wonderland is a successful and dramatic production that combines characters from both works while remaining faithful to Carroll’s words. The play follows Alice through Wonderland as she is faced with rather peculiar and strange creatures ranging from a very late bumbling rabbit to the maddest of hatters. Much like the audience, Alice is stuck in a strange world trying to understand riddles galore.
The overall production can be summarized by two words: innovative and immersive. With inclusivity in the forefront of their minds, the addition of live Spanish voiceovers was not only impressive but added to the creativity already shown by their steampunk interpretation. The immersive nature of the play was further fueled by the audience participation and rambunctious childlike nature of the sound design chasing of Alice during the end of Act One, and comedic timing of the ensemble. The fast-paced nature, though it might be seen as pulling away from the play, only further immersed the audience into the mind of the iconic seven-and-a-half-year-old.
Alice, brought to life by Emily Huhn, embodied her wonder-filled, spontaneous, and curious nature. What was lacking in vocal inflection and dimension was made up by the chemistry-filled interactions between iconic characters and impressive line memorization. Laughter filled the audience in almost every scene, as Emily called characters like the Mad Hatter (Evan Paggi), Humpty Dumpty (Elio Fantauzzi), and the Court Room ensemble out on their fanatical and nonsensical thought processes.
The duo of Evan Paggi and Taylor Fossen as the Mad Hatter and March Hare, respectively, stood out in more ways than one. This neo-Victorian portrayal felt on brand for both characters, and Evan Paggi commanded such a presence that must be noted. His performance in both the tea party and the courtroom scenes reflected the dramatic and drunken-like state expected in the Mad Hatter, both in body language and intonation. This, paired with the interactions and on-stage chemistry with Taylor’s performance, made the tea party scene even more enchanting, and even just on stage with not one of them ever breaking character.
The illusions, such as Alice’s growing and shrinking, enhanced the immersive feel; however, the static set could have been adjusted to better represent Alice’s confusion. The sound was well-executed, and though there were times when some of the ensembles were muffled, it did not take away from the storytelling. The costume design was mostly accurate to theme and wonderfully designed, and the lighting, though simplistic, accurately depicted where the characters were in the story so much so that the projection on the top left could’ve been removed.
As the curtain closed, it is safe to say that though there were some hiccups, the theatrical team of Dr. Joaquín García High School executed telling the story of Wonderland well.
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By Ayden Sherman of Spanish River High School.
Dr. Joaquín García High School welcomes you down the rabbit hole, through the looking glass, to a world where left is right and up is down and you are who you aren’t and you aren’t who you are! Presenting “Alice in Wonderland”, this brand new school excites, amazes, and takes fascinating initiative in providing accessible theater experiences.
“Alice in Wonderland”, adapted by Eva Le Gallienne and Florida Friebus, based on pages of Lewis Carroll’s original book and sequel, premiered at the Civic Repertory Theatre in 1932. In 1947, the play summited its ascent at the International Theater. The full-length play follows the bizarre, nonsensical interactions between young schoolgirl Alice, and the multitudinous figments of this “Wonderland” Alice has wound up in.
Leading the show and detailing her adventures is Emily Huhn portraying Alice. Throughout the show, Huhn expressed very appropriate body language. She perfectly conveyed this background where she was made to courtesy upon arrival and stick out her pinky while sipping at tea. While outwardly exploring Wonderland, Huhn still held true to significant aspects of Alice’s identity through proper mannerisms and less-than-exciting physicality. This provided great opportunities for more vivacious characters to thrive in juxtaposition. The Mad Hatter (Evan Paggi) epitomizes this contrast ever so delightfully! Paggi holds immaculate stage presence as he prances around the stage, particularly at his Mad Tea Party. He truly makes use of his space— filling the stage with wide-armed gestures.
When it comes to vocal variety, Paggi places excellent emphasis on particular parts of speech that play into his bipolarity. Unfortunately, the same cannot be said for many other cast members. It’s imperative that a performer maintains audible diction and dynamic speech so that viewers may fully understand the scope of the story. Performers with intense characterization and character voices must be wary of abusing these tactics; a mastered character voice isn’t complete without meaningful tonal fluctuations.
Cecilia Ferreira’s sound designs contributed greatly to the steampunk aesthetic of the production, particularly noting sound effects such as the train passage with its metallic overlays. Sound cues such as pouring tea and clinking cups were perfectly synchronized with stage movement. Sound Board Operator Raeed Gangat held a difficult task in managing the sound delivered from both performers on the stage and translators in the booth. Dr. Joaquín García’s theatre company has taken on the task of providing live Spanish audio support via individual headsets. Although some microphones issues persisted, the sound team should be granted grace considering this massive undertaking.
The costumes for this production, while comprehensible and characterizing, provided intense insight to its industrial intentions. Many of Pachter and company’s designs held clockwork and gear designs, while others played more into a neo-Victorian style, notably contrasting powerful figures from others with excellent execution.
In all, Dr. Joaquín García High School presented a satisfactory original interpretation of “Alice in Wonderland”. Don’t be late, for a very important date, and make sure you hop down to Wonderland to see what this team has to offer!
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By Lucy Pellegrino of AW Dreyfoos School of the Arts.
Make it big! Make it small! Make it Dr. Joaquín Garcia High School’s wacky production of Alice In Wonderland!
Alice In Wonderland was first a children’s book by Lewis Carroll entitled Alice’s Adventures in Wonderland. The story is about a girl named Alice who falls asleep and has many dreams about her adventures through a place called “Wonderland”. The book was later adapted into a musical in 1886, and eventually had numerous plays and movies based on it.
Dr. Joaquín Garcia High School took a different and unique approach to their production. Rather than performing the show the way it was scripted, they chose to add a steampunk theme. This choice was very creative and something you may never see at another production of this show, as it is a very difficult task to be able to change the scenery of a show like Alice In Wonderland. However the set, costumes and props were all a great representation of this choice and created a new environment for the audience to jump into. There were a few moments where the steampunk theme made it a bit harder to follow the location that certain scenes were taking place in, but the new idea was still very entertaining.
In addition to the creative team, the cast and crew did an excellent job on this show. There were many performances that stood out, one in particular was Madison Howell performing the role of the Red Queen. Her stage presence was very clear and she made herself very memorable through her gestures and facial expressions that left the entire audience laughing. Throughout the show, there were a few mistakes in diction, however the cast was able to build each other back up throughout the show. There were also a few moments where the actors’ energy seemed to be lowering, but others like Howell were able to help bring the energy back up.
In addition to the skilled actors, there was also a very impressive crew behind this show. One in particular was the costume crew. Each character’s costume in this show was unique, not only including the steampunk theme, but also due to the way that the crew chose to use various colors and designs to differentiate the characters. There were also a lot of new and great makeup pieces used on the actors playing animals. There were a few costumes where it felt like there could have been more, but costumes like Alice’s were able to make up for that. There were a few mistakes with the sound system, as some of the microphones were hard to hear at times. Thankfully, the actors were usually able to speak louder to counteract this. It was also very enjoyable to see how the crew was dressed in costumes to make different set changes more immersive.
Whether you are dreaming or not, it is clear that this production of Alice In Wonderland by Dr. Joaquín Garcia High School is one that anyone can enjoy.
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By Secilia Ruiz of Somerset Academy Key.
We’ve all seen your classic courtroom dramas: intense lines of questioning, lawyers objecting left and right, and of course… the moment the defendant receives the verdict. But what exactly happens in the jury deliberation room? Piper High School’s immersive production of 12 Angry Jurors answers this question by giving us an intense look into the heated debates present in jury rooms that are often overlooked.
12 Angry Jurors, originally entitled “12 Angry Men,” was based on the 1954 teleplay written by Reginald Rose and was first staged in 1955, then revived on Broadway in 2004 by the Roundabout Theatre Company. This well-loved play follows a jury of very different types of people as they decide the fate of a 19-year-old boy accused of murdering his father. Despite most of the jurors considering it an open-and-shut case, one dissenting juror casts doubt on the prosecution’s case and catapults the deliberation room into a frenzy as they try to decide whether there’s truly enough evidence to send the teenaged boy to his execution.
As the aforementioned dissenting Juror #8, Xharia Campbell delivered a captivating performance that gripped the audience’s attention and had them hanging onto every word. The compassion with which she delivered her lines exemplified the motivation of her character to reach an informed verdict. This, coupled with Afreeca Fullwood’s fiery conviction as Juror #3 and Emma Burke’s consistently strong characterization as Juror #4, crafted a believable and relentless opposing side to Juror #8, which kept the stakes high in almost every interaction they had.
With every actor onstage the entire play, it could be challenging to stay in character from the sidelines. Piper High School’s actors definitely accomplished this feat, with every juror’s personality shining through as they reacted to the conversation even when they didn’t have lines. While there were some struggles with pacing, with some lines and scenes feeling dragged out, the actors did a great job of picking the energy back up afterwards and recapturing the audience’s attention. The cast, especially Luca Zicarelli as Foreman, also did an impressive job staying in character and keeping their vocal projection strong during some issues with microphones cutting in and out.
Despite some sound issues, the tech in this play did a great job elevating the realism of the production. The set was beautiful and immersive, and elements like the functioning window that opened and closed helped make it feel like a real deliberation room. The costumes were also impressive and popped off the stage, specifically Juror #4’s stunning purple gown and matching fan.
Overall, Piper High School’s production of 12 Angry Jurors should be found guilty of crafting an entertaining and riveting show that made for a KILLER experience!
By Tristan Chung of Coral Springs High School.
Guilty or not guilty? In order to answer this question we must examine Piper High School’s production of 12 Angry Jurors.
What started as a teleplay in 1954 called “Twelve Angry Men” was adapted to film and became a cinema classic. It tells the story of twelve normal people who have to decide the guilt or innocence of a young man accused of killing his abusive father. The name was later changed to “Twelve Angry Jurors” when women were allowed to serve on juries.
The main juror, known as Juror #8 was excellently portrayed by Xharia Campbell. Her performance perfectly portrayed the juror’s empathetic and kind character across to the audience. Don’t let this fool you though because Campbell also delivers a powerful performance when Juror #8 stands strong in her beliefs and works to persuade her fellow jury members of the defendant’s innocence. Finally, her ability to work off her fellow actors masterfully built tension and kept the audience at the edge of their seats.
Opposite to Juror #8 is the stubborn and argumentative Juror #3 portrayed by Afreeca Fullwood. Fullwood’s performance made the audience feel Juror #3’s anger, and determination to see a 19-year-old kid found guilty and executed while also peeling back the layers to give us a glimpse into the past that made her the angry woman she is. Keeping the balance between the jury is Luca Zicarelli as the Foreman who always kept the peace and stayed rational throughout the whole play. Zicarelli did an excellent job embodying the Foreman’s calm and collected nature while making great use of dynamics to keep the jury in line.
The rest of the jury is not to be overlooked as each and every one of them brings so much character and ideals to the story. None of them feel relegated to the background and always stayed in character and acted even when the focus was not on them. Standout performances were: Kentarion Cartwright as Juror #10 who’s great emotional delivery never failed to create tension, Ediel Melendez as Juror #11 whose accent work was great as well as earnestly portraying his character’s idealism, and Emma Burke as Juror #4 who was masterful in portraying her high society, condescending attitude.
The tech side of things has to be commemorated as they were just as well done as the performances. The costumes by Afreeca Fullwood and Emilia Harris were not only stylish, but they represented the characters on a thematic level through colors. The purple dress of Juror #4 nicely represented her wealthy status, and the red suspenders of Juror #10 let the audience know of his anger before he even said a word. The props by Sofia Ramos and Violet Brown were excellently made; the 3d printed switchblade is particularly impressive.
After examining all the evidence, the verdict is this: there is, without reasonable doubt, evidence to prove that Piper High School is guilty of putting on a captivating show.
By Olivia Thompson of American Heritage Palm Beach.
Justice. Morality. Reasonable doubt. In a room of divided voices, one juror’s courage to question the truth changed everything. Piper High School’s take on 12 Angry Jurors clearly represents the timeless themes of the complexity of human nature, personal bias, and fear.
Written by Reginald Rose in 1954, 12 Angry Jurors originally premiered as a monumental teleplay titled 12 Angry Men about the American legal system, inspired by the author’s own experience as a juror in a manslaughter case. This teleplay earned an Emmy for Best Written Dramatic Material. It was adapted to the stage in 1955 and into film in 1957. The story follows a jury of twelve people in a sweltering, one-windowed room, each with individual biases and experiences, making the decision of whether a 19-year-old boy committed homicide one of complex self-reflection. The jury is initially almost unanimous: guilty; death penalty. Juror #8 takes a stand, forcing a discussion that unveils a commentary on the very system of American justice itself that still holds relevance today.
One especially commendable performance was that of Xharia Campbell, Juror #8. She brought depth and complexity to a calm and level character, displaying levels of emotion and well-timed dramatic outbursts. Her presence was one of conviction, with great use of space and fitting body language, especially in the face of mounting opposition. Additionally is that of Afreeca Fullwood, Juror #3. This complex character has an unwavering personality and intensity that Fullwood pulled off, subtly showing the biases and personal vendettas of the character. Her development, from shouting accusations to near tears, is handled with remarkable nuance that leaves a lasting impression from the moment she enters the jury room.
The cast should be commended for their use of the stage and great spatial awareness, as well as their believability through character dynamics. Every character was unequivocally interested in what was happening and it allowed the audience to immerse themselves in the case at hand. While emotional outbursts could be improved by some, with more tension being built rather than going straight to the top, the cast managed to keep even the technical moments entertaining.
The costumes should be commended for their distinct and recognizable features for each character, like with the addition of details like red accents on the two last jurors to change their vote. The props were fittingly and consistently used, such as to fan the characters, adding that extra layer of believability.
“I don’t really know what the truth is. I don’t suppose anybody will ever really know.” Juror #8. Whether through its strong performances, sharp dialogue, or thought-provoking narrative, Piper High School’s portrayal of 12 Angry Jurors leaves audiences to reflect on their own biases, values, and the role they play in the larger quest for justice.
By Isabella Anthon of The Benjamin School.
Silent shouts. Discreet and blind looks. All were visible yet hidden well into Piper High School’s production of 12 Angry Jurors.
Written first as the 12 Angry Men, Reginald Rose created the stage adaptation of his 1954 film almost 50 years before it premiered on Broadway. The story centers around the murder of a man, and the accused is his son. After a long trial, twelve unnamed jurors deliberate his fate. The vote stands 11 to 1 in favor of the 19-year-old boy being guilty. However, the lone believer works to turn everyone else to her side, and the twelve put the true story together piece by piece.
Every juror remained on the stage for the duration of the show, but with her unwavering belief in the accused’s innocence, Xharia Campbell’s Juror #8 stood out. From the start, her white jacket made her out to be the white knight. Her character development, stage presence, and wit make the case that she was the leading lady. While Juror #8 increased her power and influence as the story progressed, Afrecca Fullwood’s Juror #3 presented herself as a force to be reckoned with from the get-go. She tossed almost every opinion that was not her own out the window while commanding the stage with her clear and loud diction. Yet, Fullwood still knew how to get in touch with the character on a different emotional level. As seen in the final moments of the play, Juror #3 admits defeat but never loses her power.
Plays that seem the most simplistic to the naked eye often take great deals of thought. Stage managers Matthew Ortiz and Tatiana Medina deserve a huge hand, especially for the blocking of the characters around the table. Like Juror #9, played by Kelsi Lee: her position enforced a voice of reason in a sea of, “he’s guilty!” Luca Zicarelli and Giovanni Roque used individual spots throughout the show to highlight both agreements and disagreements. This allowed audience members to focus their attention on specific jurors.
The costuming indicated the director’s choice of using a more modern time period while still giving a nod to the 1950s. Costume designers Afrecca Fullwood and Emilia Harris also greatly impacted first impressions of characters through little details. Suspenders came off as eccentric or awkward, flowy skirts as impartial, and most of all, Juror #8’s white jacket made her out to be a beacon of light and reason.
Despite mic problems, the jury kept their cool and continued the show as normal. The Forman, played by Zicarelli, didn’t let his mic being turned off affect his performance. He continued to project and make his voice heard.
And for a cast who spent countless hours rehearsing together, they sure acted like total strangers. The art of creating tension is no easy one to master. The jurors made alliances as well as enemies, and these shifts were seen through movements to and from different sides of the table. This was a truly commendable addition to an already excellent performance that kept one questioning, “Guilty or not guilty?”
By Sofia Palhano of Coral Springs High School.
Is the suspect smart, or dumb? It’s hard to say when you’re at Piper High School’s production of 12 Angry Jurors, where more pieces to the puzzle have yet to be solved…
12 Angry Jurors is based on the Emmy award-winning teleplay, 12 Angry Men, written by Reginald Rose in 1954. The play was adapted by Sherman L. Sergel in 1955 and made its debut in San Francisco. The title was changed to 12 Angry Jurors when it was adapted to the stage with female actors. This play follows the tale of twelve individuals in a New York City courthouse trying to decide if a young man accused of murdering his father is guilty or not. One juror thinks there’s more to it than it seems. Conflict is created and tension rises among the indecisive jury.
The vote is eleven to one, and Juror #8, played by Xharia Campbell, believes that “so many questions were left unanswered.” She drove the plot by beautifully executing the calm and collected juror, while bravely standing alone with her belief and contradicting the crowd. In contrast to Juror #8’s collectedness, we have Afreeca Fullwood playing the strong-minded Juror #3. Fullwood flawlessly portrayed the emotionally driven juror who is affected by her past and is ready to fight for her cause. She commanded the stage through her speeches, and her character had amazing emotional development as the stakes heightened and she began losing her influence amongst the other jurors.
“Let’s discuss the facts” and recognize Luca Zicarelli as the mediator of the angry jurors, taking to the stage as the Foreman. When he wasn’t chiming in to break the tension, he was actively listening and reacting to everything being said. His tone and expression throughout the secret ballot scene were effectively conveyed and kept the audience on edge. Also doing an amazing job in being immersed into his character and the story was Ajoni White as the Deputy/Guard. Now and then, he’d enter the room of jurors and can be seen talking on his walkie-talkie or staying on guard when there was the possibility of trouble. These details make a performance so believable and transport the audience to this world created by the actors.
Of course, this reality couldn’t have been created without the help of the fabulous tech crew! Bringing out the life in each character were the fabulous costume designers, Afreeca Fullwood and Emilia Harris. Not only did they dress every character according to their social class and background, but they used color symbolism in their clothing and accessories to reflect their personalities. Any homicide case includes evidence, and this evidence was built by the Prop Designers Sofia Ramos and Violet Brown. They used a 3D printer to create a switchblade that appeared realistic, and the actors were able to safely utilize it throughout the show.
There is no reasonable doubt when it comes to Piper High School’s production of 12 Angry Jurors. Guilty, or not guilty? You now must decide!
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By Finley Couch of Cypress Bay High School.
Murder may be macabre, but add in a dash of laughter, and the result is wickedly delightful! Archbishop McCarthy High School’s production of Arsenic and Old Lace poured charm into a poisoned chalice, creating a dark comedy as intoxicating as it was ingenious.
Penned by playwright Joseph Kesselring, Arsenic and Old Lace premiered on Broadway in 1941, quickly earning its place as a comedic classic. The play revolves around the eccentric Brewster family and the unsuspecting Mortimer Brewster, who discovers his aunts’ deadly penchant for “charitable” murders. Beloved for its fast-paced dialogue, outrageous characters, and macabre humor, Arsenic and Old Lace ran for over three years on Broadway.
Poison may have been the recipe of the day, but the Brewster sisters’ charm was the secret ingredient that was truly captivating! Bella Nanavichit as Abby Brewster and Martha Brewster played by Julia Gouldthorpe crafted an immersive dynamic duo. Their seasonable exchanges and seamless flow created a delightful rhythm, making each of their darkly comedic lines land effortlessly.
Equally entertaining was Ernesto Fernandez as Mortimer Brewster. Fernandez’s ability to connect with every character—whether bantering with his fiancée, Elaine, or squaring off against his sinister brother, Johnathen—was mesmerizing. His fiery exchanges with Johnathen, actor Dominic Grossi, kept the tension alive, enforcing playful irony amidst the chaos. Fernandez’s reactions to the escalating absurdity showcased his sharp comedic instincts, grounding the humor while embracing the madness swirling around him.
Adding an extra layer of hilarity to the show was the police officer ensemble, featuring Tamara Toma, Madison Wood, Braden Luongo and Niasia Massey. Their impeccable comedic timing and spirited interactions elevated each of their scenes. The entire cast deserves applause for their dedication; even with occasional line fumbles or unclear diction, the stage never lacked energy. Each performer stayed fully in character, ensuring every corner of the theater felt alive and brimming with personality.
Behind the scenes, stage manager Allie Lynch proved to be commendable. With cues executed flawlessly, from perfectly timed lighting changes to atmospheric sound effects, Lynch’s work gave the play a palpable sense of life. The technical team’s efforts ensured smooth transitions that kept the pacing tight, allowing the story to unfold seamlessly.
Much like the Brewster sisters’ questionable wine, Archbishop McCarthy High School’s Arsenic and Old Lace brewed a concoction of humor, heart, and a hint of menace that audiences won’t soon forget. A production filled with laughter, charm, and just the right amount of murder, it truly killed – in the best possible way!
By Cecelia Weisberg of Marjory Stoneman Douglas HS.
What do you get with a teaspoon of arsenic, half a teaspoon of strychnine, and a pinch of cyanide? You get Archbishop McCarthy High School’s production of Arsenic and Old Lace! With a recipe full of disaster, this mysterious homemade wine uncorks family chaos you won’t want to miss!
Written by Joseph Kesselring, Arsenic and Old Lace stands as his biggest hit, captivating audiences since its premiere at the Fulton Theatre on January 10, 1941. Following its 1,444 performances on Broadway, the legacy continued with the highly acclaimed 1944 film adaptation starring Cary Grant. The scene is set in Brooklyn, New York, where a seemingly normal family, the Brewsters, live. As Mortimer Brewster, an acclaimed drama critic, interacts with his different family members, audiences discover the true identities of the Brewsters. From having a brother who believes that he’s Teddy Roosevelt to discovering the murderous passion of his unsuspecting aunts, this black comedy proves that the deadliest secrets make for the greatest laughs.
With every shriek and panic endured onstage, Ernesto Fernandez (Mortimer Brewster) exuded great characterization and commitment to his character, successfully filling the empty spaces with bold character choices and laugh-worthy moments. His chemistry with Sofia Cabrera (Elaine Harper) was exceptional, as they portrayed the awe-worthy couple even through the highs and lows in their relationship. Cabrera excelled in her character, embracing the innocent yet strong-willed personality, contrasting the eccentric Brewster family. Alek Horta transcended in the role of Teddy Brewster, fully committing to the Theodore Roosevelt idolatry. Everything about Horta was spot on; whether it was his affirmative vocal inflections or charging actions, he took his role to heart.
As the curtain rises, we meet our first of the two unsuspectingly villainous aunts, Abby Brewster, portrayed by Bella Nanavichit. Nanavichit embodied this role with the use of mature vocal inflections and poised stances, adding an ironic element to her murderous motives. Alongside this rationale was Nanavichit’s partner-in-crime Julia Gouldthorpe as Martha Brewster. Gouldthorpe had similar characterizations of Nanavichit’s, with a twist of naivety and older attributes. Together, they were the epitome of double trouble with chemistry as deadly as their wine! Their authentic relationship generated an abundance of laughter, which continued with Braden Luongo’s portrayal of Officer O’Hara. Presented as the stereotypical New York City police officer, Luongo delivered a comical Brooklyn accent and careless nature, elevating the humor.
From 40’s hairstyles to plastic surgery gone wrong, makeup and hair designed by Olivia Pereira was killer! The bold makeup and styled hair chosen by Pereira added to the dramatic, over-the-top feel of the play. The 1940 looks weren’t just presented on stage but also shared throughout the community. Julia Gouldthorpe and Ava Gouldthorpe, as part of marketing and publicity, used different forms of media to spread the message about their production, notably within their school.
If you’re faced with danger, make sure to not drink the wine and CHARGE over to Archbishop Mccarthy High School’s production of Arsenic and Old Lace!
By Gabriela (Gaby) Petrey of Saint Thomas Aquinas High School.
Arsenic and Old Lace is a play about the only thing more deadly than poison: family. How far would you go to protect your murderous relatives when it might ruin your engagement? Archbishop McCarthy’s production of Arsenic and Old Lace answers this question and more in a dark comedy set in the 1940’s, filled with humor and unexpected twists.
Originally written by Joseph Kesselring in 1939, this play first appeared on Broadway in 1941, immediately captivating audiences with its macabre humor and eccentric characters. The show begins by introducing the audience to Abby and Martha Brewster: two sweet, seemingly innocent elderly sisters with a chillingly sinister secret. They take in lonely, elderly men, offer them a cup of wine laced with arsenic, then bury them in the cellar. Their nephew, Mortimer Brewster, stumbles upon a dead body in their kitchen and begins spiraling into madness as he tries to stop their murderous ways, all while trying to maintain some normalcy for his fiancee, Elaine Harper.
The performances of Abby and Martha Brewster, played by Bella Nanavichit and Julia Gouldthorpe, are especially noteworthy. Nanavichit shines as Abby, delivering dark one-liners with impeccable timing. Gouldthorpe’s portrayal of Martha is equally delightful, with her larger than life stage presence and hilarious mannerisms. Together, Abby and Martha’s chemistry formed a delightful duo, embodying the blend of sweetness and madness.
Mortimer Brewster, played by Ernesto Fernandez, was another standout performance. He was entertaining to watch, even when alone on stage. His portrayal of Mortimer as both a loving fiance and a man spiraling with anxiety was exceptional. Fernandez brought depth and humor to the role, capturing the absurdity of the story with expressive reactions and strong delivery. His interactions with Elaine Harper, played by Sofia Cabrera, were equally hilarious, offering a heartwarming romance amidst the chaos of the Brewsters.
Another comedic highlight was the dynamic duo of Dr. Einstein (Joselin Ruble), a plastic surgeon, and Johnathen Brewster (Dominic Grossi), another psychotic brother. Ruble’s consistent delivery of a German accent was especially impressive, as well as her interactions with Grossi’s frightening portrayal of Johnathen. Their moments showed great chemistry, especially in high-stress situations such as their attempt to hide the body of Mr. Spenalzo. Both Ruble and Grossi’s exceptional performances added another layer of humor and suspense to this production.
The creativity of Archbishop McCarthy is illustrated through the production’s attention to detail in the costumes and set design. Despite being a small set, the accuracy to the 1940’s was exceptional, thanks to the dramaturgy. The costumes – whether the Brewster sisters’ nightgowns or Elaine Harper’s classic heels – felt like they were pulled straight from the era. The seamless transitions, especially with the lighting, were essential in maintaining the comedic pacing and suspenseful moments of this play. Though there were few sound effects, the visuals of the production made up for it.
Archbishop McCarthy’s production of Arsenic and Old Lace was exceptional. From start to finish, the cast and crew delivered a performance that was a true portrayal of this dark comedy.
By Ayden Oshins of Cypress Bay High School.
Sit down, relax and enjoy a home cooked meal from Martha, just make sure not to drink the elderberry wine! Archbishop McCarthy High School’s hilarious and well-thought-out production of Arsenic and Old Lace is engaging, teaching the audience the importance of family loyalty.
Written in 1939 by Joseph Kesselring, Arsenic and Old Lace (Kesselring’s most popular play) is an interpretation of a true story with a twist of dark humor. This compelling play premiered on Broadway in 1941 and later had a film adaptation released in 1944. Directed by Bretaigne Windust, the play ran on Broadway a total of 1,444 times. It follows Mortimer Brewster as he finds a deceased elderly man in the window seat of the Brewster home, later to find out it was his beloved aunties’ doing. With the return of Mortimer’s evil brother, he comes to the upsetting conclusion his family isn’t destined to be average.
An unstoppable duo is the perfect piece to any puzzle. Bella Nanavichit (Abby Brewster) and Julia Gouldthorpe (Martha Brewster) were exactly that! With strength and compassion these two aunties were exceptional partners in crime. Nanavichit executed an emotionally engaging performance while Gouldthorpe’s comic timing landed every time. With his frantic and charming character, Ernesto Fernandez displayed a great presence and commitment to his portrayal of Mortimer.
Madly in love with Mortimer while desperately seeking approval from her father, Elaine Harper (performed by Sofia Cabrera) created a gravitating atmosphere each second she was on stage. Her poised self-assurance reflected within her character and personality. Notably, Braden Luongo (Officer O’Hara), created an alleviating sense of comedic relief during tense times. Luongo’s playful interpretation of the officer must be commended as he was evidently committed to his character. Though some members of the cast’s accents fell through at times, they continued to persevere and were able to re-connect with their characters.
The masterminds behind the production’s hard work truly did pay off as, “Somebody has to do those things!” The sound system worked perfectly especially when considering the use of hanging mics. Callie Green (Sound Technician) must be commended, as all the words said by the actors were clear, furthering the storytelling. Considering the intimacy of the theatre, the makeup designed by Olivia Pereira was just the right amount and time-period accurate, displaying a sense of reality.
From the “Late afternoon” to “Early next morning”, anytime would be a great time to attend Archbishop McCarthy High School’s complex and humorous production of Arsenic and Old Lace.
By Maggie Starr of Marjory Stoneman Douglas HS.
With the Panama Canal, a German doctor, elderberry wine, and just a pinch of cyanide, Arsenic and Old Lace at Archbishop McCarthy High School is a recipe for mayhem. No matter the suspense of not knowing what trick will ensue next, one thing is for certain: murder is just another family tradition.
Written in 1939, Joseph Kesselring’s dark comedy premiered at the Fulton Theatre in 1941 before moving to the Hudson Theatre, where it closed in 1944. Regarded as Kesselring’s best, the production introduces the delightfully twisted Brewster family. From one brother who believes he’s a dead president, another wanted in Indiana, and two spinster aunts who serve unsuspecting men their homemade elderberry wine, Arsenic and Old Lace follows Mortimer Brewster, a Brooklyn drama critic, as he desperately navigates his eccentric relatives and their trips down to “Panama.” But watchers beware — you never know when you could be next.
While Mortimer Brewster may be the only normal one in the family, Ernesto Fernandez’s performance was anything but. With fourth-wall-breaking head turns and a knee-dropping comedic performance, Fernandez brought originality and brilliant physicality to his character, delivering a drop-dead performance. As the aunties doing their neighborhood good by bringing lonely old men to peace, Bella Nanavichit and Julia Gouldthorpe as Abby and Martha Brewster, respectively, had you believing you were in the room with two quirky old ladies whose favorite pastime is hiding bodies in their cellar. Thriving together, their dynamic left audiences afraid to blink—lest they be the next guest in the window seat.
Alek Horta, as the self-proclaimed 26th President Teddy Brewster, charged the stage with presidential flair, leaving the audience hanging on his every line. His comedic timing was flawless, delivering each joke with precision. Braden Luongo, as Officer O’Hara, proved there are no small roles. Commanding attention from his first knock on the door, Luongo flawlessly maintained a hysterical Brooklyn accent throughout the show. Like the majority of the cast, Luongo, as well as Joselin Ruble as Dr. Einstein, used their accents to craft distinct characters, transporting audiences into the world of 1940s Brooklyn.
From trumpets blaring patriotic anthems to plastic surgeries gone wrong, the technical elements of Archbishop McCarthy High School’s Arsenic and Old Lace brilliantly brought the Brewster household to life. When dear brother Johnathen returns home, unrecognizable even to his family, it’s all thanks to the talented hair and makeup designs, crafted and executed by Olivia Pereira, who flawlessly transformed his face and aged the rest of the cast. Meanwhile, the lighting department, in perfect sync with stage manager Allie Lynch’s cues, nailed the light switch effect, adding a layer of overall realism to the production.
As the cellar door closes and bodies are buried, all is well in Brooklyn. With chaos, laughs, and more than a touch of poison, the cast and crew of Archbishop McCarthy High School’s Arsenic and Old Lace killed it —figuratively, of course — and left the audience dying for more.
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By Sam Dyer of NSU University School.
Don’t you know what’s out there in the world? Whether the howls of vicious man-wolves, the stomps of vengeful giants, or the whirs of wired hardware, be wary of the danger and delight that resound through American Heritage Broward’s remarkable reinvention of “Into the Woods!”
With a book by James Lapine and music and lyrics by Stephen Sondheim, “Into the Woods” follows a baker and his wife on a quest to reverse a witch’s curse, intertwining with classic Brothers Grimm fairytales until “happily ever after” goes awry. The musical debuted on Broadway in November 1987, landing three Tony Awards including Best Original Score and Best Book of a Musical. Revamping the musical’s traditional style, the cast and crew of this production followed a steampunk concept where the surrounding woods have overtaken a massive mining facility.
Trekking through the thicket was the Baker, portrayed by Nathan Rothbard. Adamant yet anxious, Rothbard treaded a fine line of expression through the vines, exhibiting both fatherly presence and poignant drama. Close behind was the Baker’s Wife, played by Talia Grenier. From tying loose ends to making amends, Grenier and Rothbard shared quaint and memorable chemistry as they fared through the forest.
Subverting storybook standards, actors breathed new life into tales as old as time. Cinderella, performed by Maya Levinson, served as a shining example; with a vibrato that fluttered like a flock of metallic birds, Levinson brought exuberance and elegance as the belle of the ball! Nimble and quick (the candlestick nixed) was the young lad Jack, portrayed by Matthew Squeri. Mixing playful physicality and childish naivete, Squeri crafted a convincing character as he cared for his cyborg cow Milky White.
There’s something in the glade there! Staggering through shrubbery was the Mysterious Man, brought to life by Jaden Mantis. Fully embracing the director’s concept, Mantis redefined the character; his nasally vocal inflections, cuckoo-clock characterization, and comedic genius transformed the old man into a mad scientist! This feat grows more impressive considering Mantis doubled as the story’s Narrator, guiding the audience with spotless sangfroid.
May the forest bow down to Cinderella’s and Rapunzel’s Princes, performed by Jack Ryan and Luken Aldazabal respectively. Whether parading their promiscuity, galloping off on imaginary horses, or getting girlish over dwarves, the princes’ comic deliveries always captivated. Ironic to their love-life laments, watching this duo onstage was never once agonizing!
Perhaps the prized cogs of this grand musical machine were the phenomenal technical achievements that shimmered and buzzed! Take the Props, led by Feryal El’Ashmawy; constructing gizmos from the witch’s wrench-like staff to a mechanical Milky White, El’Ashmawy geared up the actors while amplifying the steampunk theme to an impressive scale. Underscoring with fine-tuned flawlessness was the unforgettable American Heritage School Pit Orchestra. Across each chord and cadence, the orchestra kept up with Sondheim’s rigorous score, ultimately immersing the audience in the wonder of the woods!
Marking every moment in the woods with magic, American Heritage Broward’s production of “Into the Woods” certainly leaves all wishes fulfilled!
By Ellie Pulsifer of Marjory Stoneman Douglas HS.
The cow as white as milk, the cape as red as blood, the hair as yellow as corn, and American Heritage Schools Broward Campus Fine Arts Department’s “Into the Woods” was as pure as gold.
Into the Woods premiered in 1987, totaling 765 performances during its original run. This tree-mendous classic, with book by James Lapine and music by Stephen Sondheim, was nominated for 10 Tony Awards and won 3. The show instantly immerses audiences in a web of beloved fairy tales, each intertwined in ways never seen before. The story follows a baker and his wife who long for a child. After striking a deal with a witch, they embark on a quest to gather several magical items, encountering iconic fairy tale characters along the way. American Heritage’s production brings a bold, modern twist to the classic. This industrial-steampunk reimagining roots the story in a fresh, exciting aesthetic, bringing new life into these timeless fairy tales.
At the heart of the story, Nathan Rothbard as the Baker had the perfect recipe, blending comedic moments with heart-wrenching songs to deliver a truly memorable performance. With outstanding vocals in numbers like “No More,” Rothbard captivated the audience, leaving them hooked on every word. Maya Levinson as Cinderella fit her role perfectly, practically floating onto the stage and executing every movement with the grace of a true princess. Beyond her beautiful vocals, Levinson’s acting shone through in every scene, adding depth and sincerity to her character. It was clear why she could speak to birds and charm a prince.
As Cinderella’s Prince, Jack Ryan brought charm and charisma to the role, making the audience laugh and swoon in equal measure. His voice was fit for a king—smooth and powerful—and his performance was a royal flush. Matthew Squeri, as Jack, brought a youthful, naive energy that felt fresh and genuine. During “Giants in the Sky,” he captivated the audience, delivering powerful vocals alongside impressive acting and physicality. Cinderella’s stepfamily, with their perfect comedic chemistry, created a dynamic that had the audience in stitches. They were nothing short of regal.
Beyond the woods, the tech team’s work was nothing short of magical. Costume Designer Elliot Spiva made the actors pop onstage, blending their characters with an industrial, steampunk flair. Feryal El’Ashmawy, in charge of props, worked wonders to keep the steampunk theme alive, ensuring the actors had everything they needed—from their wands to their cows. A special shout-out to the incredible work on Milky White, who looked absolutely fantastic! And of course, the show wouldn’t have been complete without the American Heritage School pit orchestra. With such a challenging score, the students were incredible, even contributing sound effects that added extra magic to the performance.
American Heritage Schools Broward Campus Fine Arts Department from start to finish delivered an oak-standing performance, bringing their audience on an enchanting adventure “Into the Woods.”
By Avia Collymore of Coral Glades High School.
If you’re searching for a cast as cohesive as glue, dynamics as sweet as sugar, and vocals as smooth as butter, American Heritage Broward’s production of Into The Woods has exactly what you wish for!
Into The Woods is a 1986 musical with a book by James Lapine and music and lyrics by Stephen Sondheim. The production opened on Broadway at the Martin Beck Theatre on November 5, 1987, and closed on September 3, 1989, after 765 performances. More recently, in 2022, it received a revival, which opened on July 10. It won two Grammys in 1988 and 2022 for Best Musical Theater Album. The musical follows the stories of several fairytale characters, such as Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, and Cinderella, as they all venture “Into The Woods” to make their wishes come true.
Nathan Rothbard gave a heartfelt performance as Baker. Throughout the production, Rothbard captures Baker’s broad spectrum of emotions, from his devoted love for his wife to his growing frustration with the witch and the giant. In Act 2, Rothbard’s performance progressed remarkably as he portrayed Baker’s despair at the death of his wife (Talia Grenier) and his growing connection with other fairytale characters as they formed an endearing bond despite the tragedy.
Playing the maiden with one slipper is Maya Levinson, who delivered a heartfelt performance as Cinderella. As we watched Cinderella progress from living happily with her prince to finally saying goodbye, Levinson’s emotional expressions remained excellent as she tackled strenuous notes. Further down the path is Diana Ramos-Salinas as Little Red Riding Hood. Ramos-Salinas showed great dedication to the role, embodying her youthful nature and integrating the perfect amount of playful and cheeky energy for a young girl. Right on her tail, Sebastian Gomez captivated the audience with a truly frightening portrayal of The Wolf, using phenomenal physicality and stage presence.
When he first appears, he seems mysterious, but once explained, he’s nothing serious! Jaden Mantis brought hilarity to the stage as Mysterious Man. Adding a mad scientist twist to the role, Mantis emulated the character perfectly through his crazed facial expressions and posture. Despite also portraying Narrator, Mantis alternated between both roles seamlessly and delivered superlative characterization in each. Granny, played by Andrea Gonzalez Perez, brought great hilarity to the stage through her menacing giggles and exaggerated facial expressions.
The technical aspects of this production embellished this peculiar tale. The production was complemented by the American Heritage School Pit Orchestra, who created an immersive experience with their well-thought-out sound effects. Costumes, designed by Elliot Spiva, were stunning overall; however, some characters’ costumes were poorly fitted. Props, such as the witch’s staff, crafted by Feryal El’ Ashmawy, were creative and well-chosen, regardless of size.
With a mix of love, death, magic, and disaster, American Heritage Broward’s production of Into The Woods shows viewers why it may be better to keep fairytales separate.
By Makayla Whelchel of North Broward Preparatory School.
A dream to start a family. A hope for a future. A yearning for something more. Sometimes, to get what you wish for, you must face the woods… and there’s no better place to do so than American Heritage Broward’s production of Into the Woods.
This densely beautiful tale was written by Stephen Sondheim and James Lapine in 1986, and follows the curiously interwoven stories of Cinderella, Jack and the Beanstalk, Little Red Riding Hood, and Rapunzel, among others. Going on to win three Tony Awards, Into the Woods explores the powerful themes of loss, love, and the power of the wishes we hold close to our hearts.
Maya Levinson’s performance as Cinderella was better than anyone could possibly wish for! Levinson’s incandescent vocal ability and honest portrayal of her character was undeniably gorgeous. Nathan Rothbard’s and Talia Grenier’s portrayals of the Baker and Baker’s Wife were likewise as magical as the beans they carried, their chemistry believable and engrossing throughout the entirety of the show.
Jack Ryan and Luken Aldazabal’s performances had the audience in “Agonies” of laughter! As Cinderella’s Prince and Rapunzel’s Prince respectively, their cheeky chemistry and stomach shaking comedic choices were unmatched. Matthew Squeri as Jack was likewise nothing short of magical. Squeri’s dynamic vocals brought his character alive onstage, and his tear-jerking portrayal of Jack’s development from carefree child to an older, wiser version of himself was handled with a steady and delicate hand.
No journey would be complete without a quirky and memorable cast of supporting characters. Diana Ramos-Salina’s performance of Little Red was as sweet as the Baker’s pastries, and Andrea Gonzalez Perez’s commitment to physicality as Granny was as funny as it was memorable. Jaden Mantis as the Mysterious Man stole the show, his unmatchable and unhinged comedic choices, voice, and physicality casting a spell over all who watched.
As their characters traveled the unbeaten pathways of the mysterious Woods, the cast delivered beautiful vocals and honest character connections. Although there were some issues with overacting and slight loss of diction, as a whole the cast delivered a performance good enough to impress the most wily and wicked witch. The steampunk take on the classic set was supplemented by inventive props (Feryal El’ Ashmawy) and costumes (Elliot Spiva), including an impressive specially constructed Milky White. Despite some mic and sound issues, stage management and crew, headed by Ashley Bories and Tara Peart, deserve to be commended for taking on an undeniably difficult show.
Even as the last bell chimes midnight, the spell that American Heritage Broward’s production of Into the Woods cast over the audience continues, instilling within all who experienced its magic an understanding of the infinite power our connections and our choices hold.
By Elijah Tablan of Saint Thomas Aquinas High School.
Blending a steampunk setting with famous fairy tale characters and a general fantasy setting, American Heritage Broward’s production of Into the Woods is powerful in combining those elements to create a fantastical story that depicts unintended consequences of actions and how to deal with them.
Into the Woods is a famous musical with music that was written by Stephen Sondheim and a script by James Lapine, first premiering in 1986. Since then, it has seen multiple renditions across the world, from Broadway to London’s Phoenix Theatre, as well as a Disney film adaptation in 2014. The plot follows a Baker and his wife as they try to go on a quest to get a son after a witch curses them, meeting characters from the stories: “Little Red Riding Hood”, “Jack and the Beanstalk”, “Cinderella”, and “Rapunzel”. All these characters eventually are met with unforeseen consequences and have to battle them as a result.
The story’s diverse elements are overall connected by the Baker, whose attitude towards the dire situation and mannerisms are effectively played by Nathan Rothbard. His vocals throughout his numbers were great, being clear and able to exhibit the loss and uncertainties of fatherhood that relate specifically to him.
One of the Baker’s acquaintances that accompany him throughout his adventure is Jack, who is played by Matthew Squeri. His energetic performance, accompanied by his physical mannerisms and comedic gestures throughout the play, greatly add to the comedic factor of the show, and the jokes are rightfully downgraded when the stakes are emphasized later on in the story.
Overall, the ensemble of Baker, Jack, Cinderella, and Red Riding Hood do a fantastic job of establishing chemistry and developing their characters over the course of the play, especially noticeable when they bicker blame against one another. All of them were great in staying engaged with the antagonist of the Giant and the depictions of their characters made it easy for the audience to relate to their struggles. Although issues from the microphones did interrupt some line deliveries, the ensemble still managed to excel in their performances.
The complete set design and technology was great in being in alignment throughout the play. All of the sets used were versatile in their constant usage and were always handled well by the actors that were present, which was especially notable in the many entrances the actors could use to enter into their scenes. The light and orchestral/sound cues were also effective in diverting attention towards a specific point and emphasizing certain character actions. While some flickering lights were distracting, the general usage of them was effective in adding to the story.
With water-flowing vocals combined with great characterizations, American Heritage’s rendition of Into The Woods does a great job in emphasizing the tried and true saying: “Be careful what you wish for”.
By Malaya Zabat of Coral Springs High School.
On Monday, September 14th, 2013, at 6:19 PM, the Cyclone rollercoaster’s front axle broke, tragically hurling six children to their deaths. However, on Sunday, November 24th, 2023, at 2 PM, a different kind of thrill ride began: South Plantation High School’s production of “Ride the Cyclone.”
A part of Jacob Richman’s “Uranium Teen Scream Trilogy,” “Ride the Cyclone” follows six young choir members whose fates were sealed by a fortune teller. Trapped in a purgatory-like warehouse, they must decide who among them deserves a second chance at life by sharing intimate details of their pasts.
Isabella Morales shines as Ocean O’Connell Rosenberg, a high-achieving student desperate to convince the others of her worthiness. Morales’s strong stage presence, impressive vocals, and nuanced characterization elevate her performance in songs like “What the World Needs.”
Jaxon Reid captures the complex emotions of Mischa Bachinski, a Ukrainian man torn between lightheartedness and deep sorrow. His performance in “This Song is Awesome” and “Talia” showcases his versatility as an actor.
Kay Regalado delivers a stunning performance as the mysterious Jane Doe, grappling with the loss of her identity. Her powerful vocals and expressive physicality in “The Ballad of Jane Doe” are truly captivating.
The entire cast delivers impressive vocal performances, including Liam Bourbeau as Noel Gruber, Brianny Frias as Constance Blackwood, and Jackson Codd as Ricky Potts. The ASL interpreters add another layer of depth to the production, portraying the characters’ spirits after their untimely deaths.
Isabell Merritt’s choreography is both cohesive and expressive, complementing the story’s emotional journey. The lighting design by Jaxon Reid, David Denman, and Damian Howson creates a visually striking atmosphere, enhancing the storytelling. Annie Frischkorn and Armani Norris’s meticulous stage management ensures a seamless performance.
South Plantation High School’s production of “Ride the Cyclone” is more than just a thrilling ride. It’s a poignant exploration of life, death, and the human condition. Each cast member brings their unique talents to create a truly unforgettable experience.
By Sean Longman of NSU University School.
Keep your hands, arms, feet, and legs inside your seat because South Plantation High School’s “Ride the Cyclone (High School Edition)” is something to die for.
A book, music, and lyrics by Jacob Richmond and Brooke Maxwell, “Ride the Cyclone (High School Edition)” takes place in the small town of Uranium in the year 2013. It tells the story of six teens who were killed in a carnival ride accident as they compete in a contest hosted by a robotic fortune teller for a chance to return to life.
Skipping onto the stage was the preppy and bubbly Ocean, portrayed by Isabella Morales. Morales’s characterization and acting choices were fantastic. Her song, “What the World Needs,” showcased her vibrant personality and warm vocals. Her notable character development shined bright, transforming from utterly self-absorbed to genuinely selfless in a way that was both compelling and heartfelt. New from Ukraine was the fresh Mischa, played by Jaxon Reid. Reid’s hilarious physicality and smooth moves were a highlight, complemented by his Ukrainian accent, which was consistent and understandable. His bumping song, “This Song is Awesome,” showed off his charm and talent.
Creeping onto the stage was the mysterious Jane Doe, portrayed by Kay Regalado. With their chilling vocals, shuttering doll-like movements, and haunting expressions, Regalado was a standout component of this production. Their big number, “The Ballad of Jane Doe,” was filled with raw emotion and impeccable vocals. Guiding the audience through the story was the mechanical fortune-telling Karnak, played by David Denman. Karnak’s physicality was consistent, moving robotically even when out of the spotlight. Other notable cast members were Constance (Brianny Frias), Noel (Liam Bourbeau), and Ricky (Jackson Codd), who all showed fantastic characterization and constant energy.
The ensemble made this production soar. Each performer displayed seamless interaction with one another and remained fully engaged. Their vocals and harmonies blended beautifully, and their dancing radiated passion and energy.
This unique show would not be what it was without its brilliant ASL interpreters. Not only did they execute the sign language perfectly, but their characterization was on point. They did not need words to convey their characters; their facial expressions and movements captivated every emotion. Their presence offered a unique layer of depth to this production, mirroring each character while interacting with one another as if telling their own parallel story, all while remaining connected to the central narrative.
This heartfelt and hilarious production would not be the same without its technical achievements. The lighting team excelled at incorporating the lights into the story. For example, the lights changed based on something the character referenced or to capture a specific mood. The makeup team showed exceptional creativity in designing the ASL interpreters’ makeup based on how each character died. The choreography was masterfully executed, making full use of the space while seamlessly integrating ASL performers into each number.
So, hold on tight and prepare to have a blast with South Plantation High School’s production of “Ride the Cyclone (High School Edition)”!
By Mattingly Zonis of NSU University School.
This show is awesome! South Plantation High School’s production of Ride The Cyclone (High School Edition) was stellar, to say the least. Ride The Cyclone, with lyrics, music, and book by Jacob Richmond and Brooke Maxwell, is the second part of a trilogy series. The third part has not yet been written.
Isabella Morales, who played Ocean O’Connell Rosenberg, brought a Rachel Berry-esque approach to her character. Although at first her character felt like a bratty and selfish snob, she was slowly able to develop it. In her climax moment, when Karnak calls upon her to vote and says she’ll be the only one voting, her morals come out. The audience gets to see a softer and caring version of Ocean, thanks to Isabella Morales.
One of the most memorable characters, Mischa Bachinski, is played by Jaxon Reid. The overall energy that Reid brought to this edgy Ukrainian was astounding. His accent was perfection and it never cut out. His overall display of Bachinski’s overwhelming feelings was truly commendable. Not to mention, he sang a more comedic song, and then after intermission completely switched to dramatic and melancholy. Kay Regalado plays the scary unidentified student who lost her head, Jane Doe. Regalado brought a hauntingly beautiful voice to the production, that truly elevated “The Ballad of Jane Doe.” Her and her interpreter’s dollish movements were of a high quality, really making her seem like a doll.
“The Ballad of Jane Doe” was unforgettable. Not only was Regalado an astonishing lead singer, but also the background vocals were strong and beautiful. Actors were able to get the message of this song across beautifully. Lastly, to top things off, the choreography was utilized well.
Hair, Makeup, and Costumes were a distinct and unique part of the show. The designers for this were able to set apart the actors and interpreters by giving the interpreters blood where each character’s fatal injury was sustained, while the actors themselves had no blood on them. The way they separated them is very plausible. Another clever tech aspect of this production was the publicity and marketing. Their social media page was favorable and refreshing. They even brought the cast to a real carnival for photos and videos to display on projections and on their Instagram.
Although there were minor sound inconveniences, as well as lighting ones, the actors’ performances truly made this show soar to new heights. This cast and crew were truly awesome.
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By Griffin Lawman of West Boca Raton Community High.
On November 24th, South Plantation High School showcased an impressive range of talent in their performance of “Ride the Cyclone”. This musical, written by Jacob Richmond and Brooke Maxwell, follows the story of children who die in a tragic carnival ride accident and are tasked with deciding which one of them will return to life.
Lola Regalado, portraying Jane Doe, delivered a phenomenal performance with her stunning vocal abilities. Every note she sang was imbued with emotion, captivating the audience and leaving them spellbound. Her flawless vibrato and precise projection were awe-inspiring. Regalado perfectly embodied Jane Doe’s mysterious and awkward demeanor, especially in her interactions with the other characters. Complementing her performance, Doris Diaz, as Jane Doe’s ASL interpreter, moved with an almost liquid grace. Her doll-like movements were subtle yet mesmerizing, adding another layer of brilliance to the character.
The set design was equally impressive, filled with meaningful symbolism. The broken train tracks pointing upward poignantly illustrated the children’s cause of death. The conveyor belt, a unique addition, created a sense of unease as it carried the actors during pivotal scenes, leaving the audience wondering about its deeper significance.
The costumes, designed by Liam Bourbeau, were thoughtfully crafted, with each character’s outfit tailored to reflect their fatal injuries. This detail added depth to the storytelling and helped convey the tragedy of the characters’ demise. Brianny Frias and Isabella Morales’s SFX makeup further emphasized the fatal wounds, making the characters’ stories more vivid and impactful.
The lighting, handled by David Denman, Damian Howson, and Jaxon Reid, was nothing short of genius. It played a crucial role in amplifying the story’s emotional resonance. A standout moment was Ocean’s (Isabella Morales) line about two kinds of people. The lighting transitioned between red and blue to symbolize division, then merged into purple as she spoke of unity—a visually striking and creative choice.
This production was a hauntingly beautiful experience that seamlessly blended technical mastery with outstanding onstage performances. Each element, from the acting to the set design, contributed to the immersive storytelling. It was an emotional journey that left many in the audience teary-eyed, a testament to the dedication and talent of everyone involved. It’s hard to believe this was a high school theater production, given its professional execution and artistry. South Plantation High School should take great pride in this remarkable performance.
By Kenny Gervais of Cooper City High School.
Strap into your seats and hold on to your heads because you’re in for a wild ride at South Plantation High School’s thrilling production of “Ride The Cyclone (High School Edition).”
Written and composed by Jacob Richmond and Brooke Maxwell, “Ride The Cyclone (High School Edition)” takes audiences on a rollercoaster of comedy and emotion. The story follows six teenage high school choir members who dare to board the Cyclone roller coaster when an unfortunate freak accident leads to their untimely deaths. They awake in limbo where a robotic oracle encourages them to compete to win a prize greater than any other – a chance to live again.
Isabella Morales’s profound performance as Ocean O’Connell Rosenberg is a highlight. Morales’s audacious stage presence, combined with her impeccable execution of Ocean’s complex character arc and seamless evolution from selfish to selfless, beautifully emphasized that “Every Story’s Got a Lesson.” Brianny Frias’s delightful performance as Constance Blackwood was an absolute sugar rush! Her effortless comedic timing and heightened emotional moments were a sweet reminder that “there’s no shame in loving your small town.” Kay Regalado’s portrayal of Jane Doe crafted an eerie atmosphere in the production. Regalado’s operatic vocal ability and creepy characterization were readily entrancing, making it hard for audiences not to lose their heads.
Jaxon Reid was captivating as Mischa Bachinski with his rad raps and tubular dance moves, hilariously capturing the stage during numbers such as, “This Song is Awesome.” Liam Bourbeau’s flamboyant elegance was astonishing as Noel Gruber. Bourbeau’s vaudeville nature and seductive vocals were stunningly fierce and as sharp as a knife. Jackson Codd gave a ferocious performance as the feline savior, Ricky Potts. His geeky characterization alongside his spot-on comedic timing was out of this world!
The entire cast of “Ride The Cyclone (High School Edition)” deserves applause for an exhilarating performance! The ensemble of the choir and their interpreters encapsulated the emotional and comedic aspects of this show wonderfully. Although there was some loss of diction, they worked in perfect harmony through their vocals and ASL to marvelously convey the story to their audience.
The technical crews of this show were breathtaking! Costume designer Liam Bourbeau, alongside hair and makeup designers Brianny Frias and Isabella Morales, cleverly collaborated to create a cohesive look among the interpreter ensemble. Together, they designed the interpreters to resemble the dead choir students through bloody, ripped clothing articles and gore makeup and prosthetics. Throughout the show, both crews managed a multitude of quick changes with impressive ease and phenomenal efficiency.
South Plantation High School’s riveting production of “Ride The Cyclone (High School Edition)” shares the importance of understanding that life is not a game, but rather a passionate ride through all the ups and downs.
By Sam Dyer of NSU University School.
Want a shave and a haircut… that’ll leave you in two bits? Charging this cutthroat classic where the meat pies are piping hot, Cooper City High School made certain their production of “Sweeney Todd (School Edition)” was truly a tale worth attending!
Based on the homonymous play penned by Christopher Bond in 1970, “Sweeney Todd (School Edition)” has a book by Hugh Wheeler with music and lyrics by Stephen Sondheim. Debuting on Broadway in 1979, the musical won eight Tony Awards including Best Musical, Best Book of a Musical, and Best Original Score. The plot follows Sweeney Todd, a violent barber seeking to murder London’s presiding Judge Turpin with the help of the mischievous Mrs. Lovett, owner of an unsuccessful pie shop. Reinvigorating this tumultuous tale, this production featured a thrust stage with the audience on three sides, intending to immerse them in the show’s heartfelt horror.
Vengeance can drive men to madness, and such a sour case could be seen with the bloody barber-turned-barbarian Sweeney Todd, portrayed by Payton Varga. With razor-sharp dramatic acting that brought depth to his relentless roars for death, Varga excelled in striking the audience with fear. Accompanying this lethal lunatic was the lovely Mrs. Lovett, played by Brooke Shears. With ditsy physicality and a consistent cockney accent, Shears brought laughter with this bizarre Brit, juxtaposing Varga’s vicious persona with commendable comedy!
Locked away from London was the ravishing Johanna, brought to life by Saeryn Jones. Twittering with the soulful sounds of a lonely songbird, Jones’ vocals demonstrated extraordinary range with notes that seemingly reached into the heavens themselves. With this pleasant performance, Jones’ heart-rending talent clearly could not be caged!
Coming down London’s grimy cobble path was the Beggar Woman, played by Zoe Kent. Balancing her manic mannerisms with a beautiful singing voice, Kent held the hearts of the audience in her palms while she pleaded repeatedly for alms.
Sweeney sought many customers for his sneaky slaughtering, so he called upon an excellent ensemble of townspeople! These brutal balladeers brought manic energy to every moment while keeping up with crazed choreography (led by Isa Gomes & Avery Garfinkel). Certain standout dancers like Sienna Duran, Brandon Jerry, and Sloane Varga epitomized the emotion of each song with intense movement and indelible commitment!
May we all tip our hats to the killer technical achievements of this production! Pulling the strings was the perceptive Stage Management Team (Avery Garfinkel, Giovanni Tocci, Lia Pereyra, Mia Wilson & Co.); throughout the musical, the team called 305 cues with clear-cut precision! There’s no place like London, so the Set Design Team had to step up to the challenge. Constructing a hidden escape behind Sweeney’s mechanical chair, the team cleverly allowed for the newly deceased to disappear from the audience’s sight!
It’s no epiphany to realize that the cast and crew of Cooper City High School’s “Sweeney Todd (School Edition)” were on fire with this delightfully deadly production!
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By Brooklyn Bhim of Marjory Stoneman Douglas HS.
Did you come in for a pie, sir? Perhaps a haircut? Maybe a bloody delicious high school theater production? Regardless, Cooper City High School has it all! Come see what the demon barber of Fleet Street has in store for you in Sweeney Todd (School Edition)!
Composed by the legendary Stephen Sondheim and book by Hugh Wheeler, the tale of Sweeney Todd was first introduced to the world in 1979, in what is now the Gershwin Theater. Since then, Sweeney Todd: The Demon Barber of Fleet Street has been awarded three Tonys and experienced several revivals, including a popular film adaptation. The musical is set in 18th century London, where a barber meets a baker who is struggling to stay in business, and the two combine forces becoming a murderous pair; driving slowly towards insanity.
Payton Varga in the titular role of Sweeney Todd was razor sharp in developing his character’s manic state throughout the production, and acting out his breaking point well. The morbidly charming Mrs. Lovett worked against his character well, and did not hold back from playing the role as chaotic as she could. Her line delivery and characterization were scheming with wit, playing every emotion and attitude from maternal to entirely unhinged with perfect accuracy.
Although some actors struggled to maintain the necessary cockney accents as well as their diction and projection, the vocal abilities displayed by Saeryn Jones as Johanna were beyond compare, hitting every note with ease and precision. The dedication this cast had to their roles was remarkable overall, even startling audience members with their intensity. Especially ensemble members Sienna Duran, Sloane Varga, and Maximus Dellaria, who visibly threw everything they had into their characters, especially in numbers like City on Fire, where they all moved cohesively. The same can be said for Zoe Kent (Beggar Woman), who, regardless of if she was presented as an ensemble member or stand-out character, handled her role more than accordingly.
The large tech team for this production allowed the show to thrive, and created an incredible visual and auditory piece. The time period analysis done by the dramaturg (Abby Goldberg) was accurate and appropriate, minus minor discrepancies. Isa Gomes and Avery Garfinkel’s choreography mesmerized audience members with their use of synchronization, although it was difficult for cast members to carry out said choreography in the tight aisles and play to all sides of the stage. The lighting team highlighted each death through a purple light, building up with a deep red, amplifying the haunting intensity of the show. Stage managers Avery Garfinkel, Giovanni Tocci, Lia Pereyra, Mia Wilson, and more, ensured that all cues were timed just right, and the sound team (Emily Black, Lia Pereyra, etc.) were right on cue as soon as they were called.
There’s “No Place Like London” especially with this cast and crew of Sweeney Todd (School Edition) by your side, who created a twisted production unlike any other! A chilling descent into madness awaits you at Cooper City High School.
By Ashley Sosa of Somerset Arts Conservatory.
Cooper City High School brought the terror of Fleet Street to life with an ambitious production of Sweeney Todd: School Edition. Despite some uneven moments, the cast’s commitment to crafting the immersive gritty streets of London offered a glimpse of the chilling experience that showcased the talent of the performers and the innovation behind the scenes.
Debuting in 1979 with music and lyrics by Stephen Sondheim, Sweeney Todd tells the story of the vengeful barber who partners with Mrs. Lovett to exact his revenge on a corrupt judge, leaving a trail of victims—and meat pies—in his wake.
Cooper City’s immersive approach transformed the classic into an interactive nightmare, with cast members breaking the fourth wall and an energetic ensemble amplifying the chaos of Fleet Street. While the intensity occasionally overshadowed subtler plot moments, the cast’s unwavering commitment ensured the production remained both gripping and thrilling.
Brooke Shears, as Mrs. Lovett commanded the audience’s attention with her unwavering energy, consistent accent, and impressive vocal abilities. Her performance perfectly balanced Lovett’s humor and dark ambition, particularly in songs like “By the Sea,” where she manipulates Todd’s longing for his lost family into her own dream of a future together. In the second act, Shears brilliantly portrayed Lovett’s descent into madness, culminating in the “Final Sequence.” Her manic energy and emotional depth showcased the complexity of Sondheim’s score while giving the audience a heartbreaking glimpse into Mrs. Lovett’s unyielding devotion to Todd, even to her demise.
Zoe Kent’s portrayal of the Beggar Woman was another standout performance. She added depth to a role that is often overlooked, bringing a haunting quality to her solo moments while seamlessly blending into ensemble scenes. Kent’s precision in tackling Sondheim’s challenging music and her ability to switch between eerie and tender tones made her a memorable presence throughout the show.
Isa Gomes and Avery Garfinkel’s choreography brought the frantic energy of Fleet Street to life, with movements that mirrored the madness of the story and enhanced emotional intensity in scenes like “City on Fire.” The ensemble’s physicality created distinct locations, from Fleet Street to the sewers, making full use of the space. While the frantic movement occasionally pushed the boundaries of safety, the impressive choreography mostly overshadowed this. Garfinkel’s lighting design further elevated the production, with over 200 cues shifting between deep reds, blues, and blacks to guide the audience through key moments. This seamless integration of lighting added a cinematic quality, ensuring no transitions or dramatic beats were lost.
Cooper City High School’s Sweeney Todd: School Edition was an engaging and inventive production, driven by a cast of talented performers and a strong technical vision. While there were moments where the show’s ambitious concept didn’t fully materialize, the energy of the actors and the immersive environment created a memorable experience. Despite its flaws, it delivered a respectable take on vengeance, madness, and meat pies.
By Brady Oropesa of Westminster Academy.
Cooper City’s production of Sweeney Todd: The Demon Barber of Fleet Street is certainly one of the most ambitious productions the Cappies have attended in recent years. The Stephen Sondheim musical about a barber pursuing vengeance on the corrupt judge that tore him from his family has been performed many times, but never quite like this. It made use of a thrust stage, with audience members seated onstage both across from and to the sides of the set. And this brought along many unique positives, as well as a few issues.
The cast’s close proximity to the audience offered a uniquely intimate performance, and this definitely paid off. Brooke Shears shined as Mrs. Lovett, stealing every scene she was in with her manic energy and having great chemistry with Payton Varga’s Sweeney Todd, especially in “By The Sea.” Saeryn Jones’s vocals as Johanna were angelic, and Zoe Kent gave a great performance as the Beggar Woman. The ensemble was incredible as well, giving it their all in every number and really helping emphasize the horror inherent in this musical. However, they were a bit overpowering at times, their voices obscuring the vocals of some of the leads and making it hard to understand what was going on. Some of the cast’s diction needed work at times as well.
Comprised of a London skyline facade, two staircases on wheels, and an elevated platform, the set was minimal but mostly worked well with the thrust stage. Some elements of it were used inconsistently, however, mainly concerning where certain elements were located. The stairs were a bit unstable sometimes, and the choreography saw them being moved in concerningly close proximity to some of the audience members. Due to the close proximity of the cast, only a couple leads had mics at the start, but they were quite visible and giving some feedback. However, they were removed as the show progressed, which made some parts harder to understand and other parts easier. The lighting was also very good, with the pervasive red lights selling the emotions the leads were feeling.
The cast members’ hair and wigs all looked quite good, but the fake facial hair wasn’t very convincing up close. Some leads’ hair, while looking great, did obscure their facial expressions during some important moments. The costumes looked good and were period-appropriate, but some could have been more well-fitted to the cast. There was some inconsistency with props: some looked really good, like Sweeney’s razors and the birds in their cages, others didn’t look convincing or were pantomimed arbitrarily.
Many members of the audience felt genuine fear at several points during the show and couldn’t stop talking about it after, for both the right and the wrong reasons, but isn’t that the true measure of good art? That it makes its audience feel something and inspires discussion? Cooper City’s Sweeney Todd also took risks, and that alone deserves attention and respect. In the end, one can’t help but say, “God, that’s good.”
By Cecelia Weisberg of Marjory Stoneman Douglas HS.
When stepping into the barber’s chair at Cooper City High School’s production of “Sweeney Todd: School Edition”, expect more than just a haircut and shave. Each stroke of the shaving razor represents lies, deceit, and murderous vengeance, sure to leave audiences with frightful chills.
Based on Christopher Bond’s 1970 play, “Sweeney Todd” features music and lyrics by the renowned Stephen Sondheim and book by Hugh Wheeler. Originally premiering at the Uris, now Gershwin Theatre, on March 1, 1979, it won 3 Tony Awards for that year, including Best Musical. Returning to London, Sweeney Todd is out for someone who did him wrong: Judge Turpin. Soon stumbling across a bake shop, he meets the woman who crafts the “Worst Pies in London”, the anomalous Mrs. Lovett. This newfound tag-team finds a way to turn their murderous passion into an interesting business venture. Watch your back and don’t let your guard down, as death lies around the corner.
Attend the tale of Payton Varga, who skillfully portrayed Sweeney Todd and his maniac moments. Varga’s frenzied emotions increased as the tensions got higher, adding to the frightening feel of the production. Occurring as the antithesis to Varga was Brooke Shears in the iconic role of Mrs. Lovett. Shears’ stage presence was unmatched, as her playful spirit was extenuated in the song “By the Sea”, highlighting the interesting dynamic between Todd and Lovett. Shears kept a consistent accent and believability in her character, radiating continuity throughout the production.
With a melodic voice as pure as gold, Saeryn Jones showed no troubles with the Sondheim score, bringing poise and passion to the role of Johanna. Jones’ naivety and pureness contrasts with the chaotic environment around her, highlighting her extraordinary talent. Singing tunes of Johanna’s name was Anthony Hope, portrayed by Lucas Rios. When love at first sight meets desperation, it fosters a special love that represents Jones’ and Rio’s compelling relationship. When it comes to desperation, Zoe Kent took it to heart within her role of Beggar Woman. Kent commanded the stage, with a personality that is more deadly than the eye can see. The ensemble overall brought great energy and seriousness to each one of their distinct characters, fostering the spine-chilling experience in the intimate-style setting.
Even with a killer amount of stage cues, the stage management team (Avery Garfinkel, Giovanni Tocci, Lia Pereyra, Mia Wilson & Co.) executed them all flawlessly. When rageful or grieving, lighting efficiently wove the respected colors into the scene, adding to the overall feel and engagement in the close seating. Further developing the story was the choreography, crafted by Isa Gomes and Avery Garfinkel. The organized chaotic dancing and movements added to the eerie feel, building suspense amongst the audience. Notably, the choreographed chair usage was impressive and sharp, adding a new, unique element to the environment.
If you’re looking for a production that’ll make you say “God, That’s Good!”, be sure to attend the bloody tale of Cooper City High School’s production of “Sweeney Todd: School Edition”!
by Lila De Almeida of Saint Thomas Aquinas High School
Grab your torches and pitchforks! Cardinal Gibbons High School let their Freak Flags fly in their Big, Bright, Beautiful production of Shrek the Musical!
Once upon a time, William Steig’s 1990 picture book entitled “Shrek!” parodied fairy tales with an unconventional ogre protagonist on a quest to meet a princess. DreamWorks Animation adapted the story for the screen in 2001, although without Shrek’s fire-breathing, lightning-eating powers. The film won the Academy Award for Best Animated Feature in 2002. In the same year, writer David Lindsay-Abaire and director Jason Moore began working their magic to bring the story to the stage, and it opened on Broadway in 2008. With themes of tolerance, self-acceptance, and unconditional friendship, the show’s twelve Drama Desk Award nominations and eight Tony Award nominations lived happily ever after.
Are you there, God? Because Young Fiona (Maya Petrea), Teen Fiona (Gemma Adrosky), and Fiona’s (Brianna Brochu) harmonies in “I Know It’s Today” were nothing short of heavenly. Brochu’s sassy, goofy mannerisms realistically mirrored the behavior of a princess fresh out of the tower. Even when singing with a growl or through comedic moments, she maintained impressive clarity and enunciation.
One word to describe Spencer Levine’s performance as Shrek? Onion. He skillfully portrayed the grossness of an ogre and earnestly expressed his desire to be a hero, all in a Scottish accent. His chemistry with Brochu onstage was enchanting (and slightly gassy), especially in numbers like “I Think I Got You Beat.”
Men of Lord Farquaad’s stature are in short supply, but luckily, Cardinal Gibbons had Jacob Miers to fill his tiny shoes. His stage presence and physicality were anything but small. His facial expressions and tone of voice also sent the audience into fits of laughter with each “Ew, ew, ew!” And of course, I saved the ass for last. Riley Barrett as Donkey showcased excellent vocals and energy when performing her male role in its original key.
The stage would not be as big, bright, or beautiful without the Fairytale Creature ensemble. Each member demonstrated great individual characterization and high energy; together, they had a powerful voice that especially stood out in “Story of My Life” and “Freak Flag.” Aubrey Martin (Pinocchio) exhibited especially skilled vocals and energy. Cristian Cardamone as both the Big Bad Wolf and Captain of the Guard had a humorous stage presence in all of his scenes. Overall, the ensemble excelled in interacting with the set and with one another.
Duloc was infused with fairy-tale magic by the stage management, sound, and props teams. The numerous sound cues for effects such as farts, burps, and roars were accurate throughout the show. Props played a central comedic role, from Farquaad’s trusty toy horse steed to Fiona’s destroyed story book. Although some humorous moments were missed due to quiet microphones and lack of projection, the energy and facial expressions of actors onstage still conveyed the comedy of the show.
It’s time to sing “The Goodbye Song” to Cardinal Gibbons High School’s lively production of Shrek the Musical, whose talented cast reminded us to embrace our layers and let our Freak Flags fly.
By Jillian Lajoie of Monarch High School
With its mix of blithe comedy, enchanting songs, and magical effects, Cardinal Gibbons High School’s projection of Shrek the Musical promises a big bright beautiful world for audiences.
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With music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire, Shrek the Musical is based on the hit 2001 movie Shrek. Originally opening on Broadway in 2008 following a trial run in Seattle, Shrek the Musical has been nominated for several Tony, Drama Desk, and even Grammy awards, winning a Tony for Best Costume Design and several additional Drama Desk awards.
Shining in his viridescent best, Spencer Levine was excellent in the titular role of Shrek, balancing the delivery of emotional ballads like “When Words Fail” with more comedic moments like those shared with co-star Brianna Brochu (Fiona). Brochu herself made a stand-out addition to the cast, with good comedic timing and exceptional vocals. Her ability to bring Fiona to life was made apparent in “I Know It’s Today” and “I Think I Got You Beat,” managing to showcase yet another impressive talent through her tap dancing during “Morning Person.”
Captivating the audience with hilarious physicality and comedy, Jacob Miers as Lord Farquaad provided the perfect fairytale villain for this story, even while remaining on his knees the entire show. With strong vocals matching perfect comedic abilities, Miers’ talents resulted in the audience erupting into laughter several times throughout the show. In her role as Dragon, Valentina Nicholas was able to impressively match movements and vocals to the actions of the stage crew puppeting the large Dragon figure on stage.
With vivacious energy throughout, the ensemble cast of fairytale characters were enchanting, especially during group numbers like “Story of My Life.” With Aubrey Martin leading in the role of Pinocchio, the group brought energy, comedy, and magic to the show. While some ensemble moments fell flat, most were hilarious moments of life and fun in the show.
The intricate sets, props, costumes, and effects all helped transport the audience into the world of Duloc. The props team, led by Deveyn Baptiste and Micah Boyce, managed to create a stunning, life-sized dragon puppet to be operated on stage, a truly magnificent feat for this show. The lighting created a more in-depth experience, and while the volume was too high at times, the sound admirably balanced the actors’ speech with a live orchestra. Additionally, the costumes were beautiful, with intricate detailing on pieces like Fiona’s dress and Farquaad’s regalia.
Cardinal Gibbons High School’s production of Shrek the Musical is a rapturously funny show promising magic and fun, turning audiences into believers.
by Abby Goldberg of Cooper City High School
Run, run, run as fast as you can, and get your tickets to see Cardinal Gibbons fantastic production of “Shrek the Musical!”
With book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, “Shrek the Musical” is based off of DreamWorks classic animated movie of the same name. Its plot follows Shrek, a grumpy, green, onion-like ogre, and his quest to remove a crowd of fairytale creatures from his swamp. With the help of his talkative new friend, Donkey, Shrek strikes a deal with the short-tempered Lord Farquaad and embarks on a journey of unexpected love and friendship. Although set on reclaiming his home, Shrek’s trip turns into a heartwarming lesson on finding happiness in your own skin, reminding audiences not to judge others before you truly understand them.
Leading the stage as the brooding ogre was the talented Spencer Levine. His ability to balance both Shrek’s gruff and tender sides showed great range and emotional understanding. Introducing a new definition of princess, Brianna Brochu shined in her performance as Fiona. Her sharp characterization showed the feisty nature of the unclassy princess. Through hilariously competitive songs and witty banter, Levine and Brochu’s were a dynamic duo to watch.
Jacob Miers had audiences swamped with laughter through his hilarious performance as Lord Farquaad. His phenomenal comedic timing, vocal inflection, and ability to maneuver throughout the stage while on his knees, proved that good things really do come in small packages. Every prince charming, no matter how green, must always have a noble steed by his side. Riley Barrett brought Donkey to life with impeccable vocals and comedic inflection, allowing for an outstanding performance throughout.
The cast as a whole was incredible. The “Freak Flag” waving ensemble excelled in creating authentic and individualized characters, ensuring no fairytale creature was lost amongst the crowd. Although at times the cast lacked clear annunciation and diction, their energy remained consistent throughout the production. A standout among the cast was Aubrey Martin as Pinocchio, who captured audiences with her incredible vocals and impressive character voice.
The technical aspects of this show brought each and every fairytale element of “Shrek the Musical” to life. The props, cleverly crafted by Deveyn Baptiste, Micah Boyce, Hailey O’Brien, and Kaelin Moulton, eloquently aided actors and added to both the humor and heart of this production. The hair and makeup team of Makayla Etienne, Kaylla St-Fleur, Iliana Figueroa, and Sarah Ferreiro, must be also commended for their impressive work. Conquering the difficult tasks of prosthetics and quick changes, this fabulous team mastered the art of efficiency and seamless transformations.
With powerhouse vocals, infectious energy, and even tap dancing rats, Cardinal Gibbons production of “Shrek the Musical” was sweeter than gumdrop buttons!
By Sydney Margolis of NSU University School
Beyond the smelly swamp and the exuberant town of Duloc lies Cardinal Gibbons’ production of Shrek the Musical, filled with vibrant performances and catchy songs that will be stuck in your head “Forever.”
Originally based on the DreamWorks movie, Shrek the Musical was adapted for the stage using music by Jeanine Tesori and lyrics by David Lindsay-Abaire. The story follows an ogre named Shrek who sets off on a thrilling adventure to save Princess Fiona in exchange for the return of his swamp, which has become infested with exiled fairytale creatures. As the adventure progresses, themes of love and self-acceptance are explored as audience members are transported into a compelling story.
Portraying the grumpy but sarcastic Shrek, Spencer Levine stood out with his unique accent and witty character manners. Playing off of Shrek’s side remarks, Riley Barrett transformed into the traditionally male role of Donkey. Her ability to sing Donkey’s parts in their original key did not go unnoticed. Their characterization throughout showed the progression of the friendship between Shrek and Donkey.
From the moment he strutted at half height onto the stage, Jacob Miers took the spotlight as Lord Farquaad. The arrogance of his character was perfectly expressed with comedic gestures and dramatic strides across the stage. Along with his impeccable comedic timing while singing, Miers’ expressive line delivery displayed his remarkable stage presence. Hoping to get her true love’s kiss from the infamous Lord Farquaad, Brianna Brochu perfectly showcased the untraditional qualities of Princess Fiona with her nuanced movements. Brochu displayed strong vocal abilities, combining characterization with comedy in many numbers, most notably “Morning Person.”
Embodying the unique side of the fairytale creatures, the ensemble brought the show together with their spirited musical numbers and consistent high energy. In “Freak Flag,” ensemble members were able to sweep the audience off their feet with synchronized choreography and a strong vocal blend. Although some ensemble members appeared less engaged at times, the lively dancing was a visual delight. One “freak” that stood out from the rest was Cristian Cardamone. Playing both the Big Bad Wolf and the Captain of the Guard, Cardamone stole the spotlight whenever he was on stage with his dramatic movements.
Helping to create the big, bright, beautiful production were the technical aspects. Though there were some issues with mic volume, the tech team worked simultaneously with those on stage to produce a captivating story. The props, created by Deveyn Baptiste, Micah Boyce, Hailey O’Brien, and Kaelin Moulton, added a comedic flair while also enhancing the fairytale atmosphere. The cast interacted seamlessly with the props, ensuring that every prop served a purpose. The stage management team, including Elyssa Solov, Natasha Pierson, Wendy Nelson, and Gaelle Nelson, did a fantastic job synchronizing sound cues with the action on stage, particularly Shrek’s perfectly timed growls.
So sing the “Travel Song” and come on over to Cardinal Gibbons’ production of Shrek the Musical, where comedy meets fairytales in an unforgettable experience.
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By Alexis Adler of Cooper City High School
It’s a “Big Bright Beautiful World” at Cardinal Gibbons High School’s production of Shrek the Musical! Step into the kingdom of Duloc, where fairytale outcasts, pint-sized royalty, and a smelly ogre create a hilarious and whimsical experience.
With music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire, Shrek the Musical is based off the beloved DreamWorks animation film by the same name. The story follows the grumpy ogre, Shrek, on a quest to reclaim his swamp after it’s overrun by the fairy-tale creatures of Duloc. Joined by the enthusiastic and loyal Donkey, Shrek sets off to find Princess Fiona and take her to marry Lord Farquaad, ruler of Duloc. With plot twists, dragons, and a little romance, Shrek the Musical delivers a happily ever after like never before!
A roar of applause goes to Spencer Levine, playing the audacious Shrek himself. Levine’s grotesque and grumpy behaviors captured the essence of Shrek’s character and added layers to the production. Playing the sassy and independent Princess Fiona, Brianna Brochu was unlike any maiden in the fairytales we know! With her outstanding comedic timing and incredible vocal ability, she could captivate the audience in an instant, especially in “Morning Person.” Together, Brochu and Levine perfectly encapsulated the chaotic romance of burps and farts, bringing the nature of Shrek the Musical to life.
He’ll be your friend when others despise you, and that is the charming Donkey, played by Riley Barrett. With smooth, impressive vocals, Barrett was like a perfect parfait! All Barrett needed was a path, a pal, and a song, and that was found in Levine as Shrek. Their Shrek and Donkey moments shined, especially during “Travel Song,” creating a flawless duo, like donuts and diabetes. Shrek wasn’t the only one to be reckoned with; there was Lord Farquaad, played by Jacob Miers. His vocal inflection and comedic timing grew the laughter throughout the audience, and he was not short of capturing the attention of all in Duloc.
Taking over Shrek’s swamp was an ensemble of magical outcasts, the fairytale creatures who brought notable chemistry and high energy, creating a magical experience. Although there were moments that showed some actors less fully engaged, the group as a whole contributed wholly to the production. Embodying the “real boy” known as Pinocchio, Aubrey Martin was readily amusing. Martin’s lively portrayal made the character unforgettable, even leading the fairytale creatures in a protest!
Adding to the layers of the production was the crew, impeccably bringing the story to life. The hair and makeup team did an extraordinary job at creating the prosthetics and smoothly executing quick changes. Nobody can forget the fearful and romantic 14-foot dragon, created by the special effects team, composed of Deveyn Baptiste, Micah Boyce, Summer Helm, and Angelica Zannella. “I’m a Believer” that they brought the perfect technical aspect to the story!
Cardinal Gibbons’ performance of Shrek the Musical is one for the storybooks, so wave that “freak flag” high and step into a world of unforgettable magic and mayhem!
By Sam Dyer of NSU University School
What would a man do to clear his name? Scale the side of speeding trains? Survive a shootout against enemy airplanes? Come face to face with… a bush?! With action-packed adventure and comedy that’ll make you spit out your tea, the blokes behind The Benjamin School’s “The 39 Steps” (dun dun DUN!) left no questions unanswered!
Based on the eponymous 1915 novel written by John Buchan and the subsequent 1935 film directed by Alfred Hitchcock, this adaptation of “The 39 Steps” (dun dun DUN!) was penned by Patrick Barlow in 2005. With performances across London and the United States, this parody received the Olivier Award for Best Comedy in 2007 as well as two Tony Awards in 2008. The story follows Richard Hannay, a falsely accused murderer dodging British authorities as he attempts to uncover the secretive spy organization, the 39 Steps (dun dun DUN!).
Heading all hijinks was the clever Richard Hannay, portrayed by David Frear. Suave yet sentimental, Frear’s performance was nothing short of mustached mastery; his persistent physicality and comedic timing made for the perfect leading chap! Additionally, Frear sported a consistent accent which not only highlighted his comic presence but convinced the audience he was a bona fide Brit!
Right by Hannay’s side (by handcuffs) was Pamela Edwards, played by Sage Sorenson. With impressive emotional progression and cheeky chemistry with Frear, Sorenson won over the hearts of Hannay and the audience! Sorenson also doubled as Annabella Schmidt, the furtive German spy whose death sparks Hannay’s journey; though her role was short-lived, her comedic prowess was certainly everlasting!
As “The 39 Steps” (dun dun DUN!) was originally performed by four actors, this erudite ensemble took on the challenge of doubling roles across the production. Ilia Peck and Ava Shawe, for instance, performed a plethora of dynamic duos! First, the two put on the Mr. Memory Act, with the Compere (Shawe) flaunting the marvelous Mr. Memory (Peck). Then, the pair put on a couple of crotchety old folks: Mr. Dunwoody (Shawe) hilariously shuffled and stammered while Mr. McQuarrie (Peck) crawled forth with a cane! Lastly, the team took on Mr. and Mrs. McGarrigle (Peck and Shawe, respectively), the quick-spitting Scottish innkeepers who never missed a beat. Throughout their twosomes, Peck and Shawe kept up impeccable physicality while making each character distinct and memorable; their jolly good spectacles were utterly commendable!
Going undercover behind the scenes were tremendous technical teams! The Stage Management team (Michael Alvarez, Betsy Farmer & Crew) stealthily supported the show; calling a total of 242 light cues, these agents mostly acted with utmost accuracy to keep the story engaging. Providing hands-on experience was the Props team (Isabella Anthon & Devin Farmer); from old-timey newspapers to oversized sandwiches, these operatives pulled a convincing collection of props with precision!
Radiant and riveting, the cast and crew of The Benjamin School’s “The 39 Steps” (dun dun DUN!) made sure their excellence was not top secret!
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By Makayla Whelchel of North Broward Preparatory School
Film noir, high speed hijinks, and a relentlessly British chase to the
death. For fake police, fiendnish fistfights, and the adventure of a lifetime, look no further: Benjamin School’s The 39 Steps has it all.
Based on the 1915 novel of the same name, The 39 Steps follows the story of Richard Hannay, a 38 year old man (with lucious brown hair and a rather attractive mustache), who is drawn into a rich conspiracy centering on a deadly ring of spies. First primering in London in 2005, The 39 Steps went on to win two Tony Awards, charming audiences with over 770 performances total.
David Frear brought the entire theater along for the ride in his portrayal of Richard Hannay. Frear’s excellent comedic timing allowed Hannay’s delightfully dry British humor to shine, and the actor’s commitment and energy were a joy to watch onstage. Frear anchored the show, providing humor and subtle comedy to each and every scene. Sage Sorenson’s performance was likewise as dangerously dynamic as the many characters she portrayed. Her agility and definition of character as she switched between roles and her onstage chemistry with Frear was lovely.
No undercover surveillance was needed to determine that the performances of Ava Shawe and Ilia Peck were wonderful! Together, Shawe and Peck created distinct and highly funny characters in the shuffling Mr. Dunwoody and the aspiring politician Mr. McQuarrie. Harrison Poulakakos’s portrayal of the Milkman and Paperboy were also commendable, as was the bumbling banter he shared with fellow Heavy Rebekkah Merkel.
As a whole, the cast of The 39 Steps shared solid commitment and great comedic timing. Despite a few dips in energy, their creativity and execution in the utilization of props brought the play’s film noir/Afred Hitchcock-inspired world to life. Even though there were some struggles with diction, the cast’s physical acting was enough to make even the most serious secret agent crack a grin.
The best high-tech spy would appreciate the technical elements and crew of this play. Costumes (Hailey Cischke, Adnrea Arendts) provided the perfect mix of simplicity and complexity, and props (Isabella Anthon, Devin Farmer) created a rich and period-inspired world for the actors to play in. The timing of projections and sound cues was flawless, greatly contributing to the humor of the story. Stage management (Michael Alvarez) was exemplary, and the crew cameos in moments like the slapstick and plane chases only added to the spoofy and superbly silly nature of the play.
The 39 Steps at The Benjamin School was an adventure. This high octane escapade proves even the most ordinary of us all have the chance to take part in the thrilling caper of our own lives.
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By Julianna (Jules) Vollaro of North Broward Preparatory School
The Benjamin School’s production of “The 39 Steps” [dun, dun, dun] transformed Patrick Barlow’s comedic adaptation of the Hitchcock classic into an energetic and laughter-filled experience. With a minimalistic staging set up and a focus on their actors’ dynamic performances, the production leaned into the play’s inherent theatrical mischief, delivering an enjoyable evening of clever comedic timing with quite a suspenseful intrigue.
The story, a spoof on the spy genre, follows Richard Hannay, an ordinary man thrown into extraordinary circumstances, as he becomes entangled in a web of international espionage. The show’s fast-paced narrative required its cast to embrace rapid scene changes, larger-than-life characters, and a range of accents.
Sage Sorenson’s performance as Annabella Schmidt, Margaret, and Pamela Edwards was a highlight of the evening. Sorenson displayed remarkable versatility in embodying three distinct characters, each with unique personalities, accents, and emotional arcs. Her ability to shift seamlessly between the mysteriousness of Annabella, the earnestness of Margaret, and the sophistication of Pamela showcased her skill and dedication.
Ava Shawe and Ilia Peck stood out as a comedic duo, particularly in their roles as Mr. Dunwoody and Mr. McQuarrie, Mr. and Mrs. McGarrigle, Mr. Memory and Compere, and others. Their impeccable timing, sharp chemistry, and exaggerated physical comedy added an extra layer of hilarity to every scene they were a part of. Whether breaking the fourth wall while interacting with the audience or navigating slapstick jokes, the pair’s commitment to the absurdity of their characters brought the audience to audible laughter.
Michael Alvarez, who served as stage manager and stepped into two featured roles, demonstrated exceptional dynamics and commitment to the production. Balancing the behind-the-scenes demands of calling around 200 ques while delivering compelling onstage moments, Alvarez’s dual contributions highlighted the teamwork and resourcefulness that made this production successful.
Props played a crucial role in this production and it was clear every actor understood the importance of each prop throughout their scenes. However, the absence of a distinct indication that the onstage gun was not a real firearm (such as a visible cap or an announcement before the show) could have been unsettling for some audience members. Further, the creative use of minimal set pieces and well thought out projections, was effective in transporting the audience to various locations, from foggy atmospheres to cramped train cars. These choices emphasized the performers’ physicality and the precision required to carry the show’s humor. While many accents were impressively executed, some were underdeveloped, causing dialogue to be lost in a few scenes. Though, the variety of accents featured throughout the production is truly something which differentiated characters and was definitely appreciated.
“The 39 Steps” was an ambitious production that embraced its challenges with dedication by the cast and crew. The overall energy and timing brought this show’s classic charm to another level. The Benjamin School ultimately succeeded in bringing the audience into their world of a Hitchcock classic.
By Zachary Kopelman of NSU University School
All aboard! The train will be arriving at Fulham… no, Diagon Alley… no! We are arriving at the Benjamin School for their brilliantly constructed production of “The 39 Steps”! DUN DUN DUUUUN!
Originally a captivating 1935 thriller-comedy motion picture by Alfred Hitchcock, “The 39 Steps” was adapted into the stage version by Patrick Barlow which premiered in the West Yorkshire Playhouse. It made its way across the pond in 2008, all the way to New York in which it played on Broadway, and won two Tony Awards and one Olivier Award. Following our hunted man who is running from spies, or using the preferred term, “agents” through a comedically action-packed series of events, “The 39 Steps” breaks down the tale of an innocent man who is outmaneuvering a mistaken murder accusation. And no, Mr. Hannay, “The 39 Steps” is not the name of a pub.
The man who fights battles of thumb-war and finds unexpected romance in train carts while loosely handcuffed, David Frear (Richard Hannay) masterfully navigated a British disposition as well as, through a multitude of cleverly delivered monologues, a physical comedy reminiscent of Alfred Hitchcock’s blockbusters. Frear’s palpable chemistry with Sage Sorenson (Annabella Schmidt) was cut short, literally, by a slapstick death routine from Sorenson that ignited contagious laughter throughout the audience –cue laughing track. NEWS FLASH! Sorenson makes numerous appearances as several roles throughout the production, so her commitment to each and every accent did not go unnoticed.
From being drowsy politicians to an entrancing Vaudeville duo, Ava Shawe and Ilia Peck each demonstrated an exceptionally impressive range of five sets of characters; all with their own dialects and demeanors. Successfully using their comedic timing to steal the spotlight, this pair performed with consistently heightened energy, often playing off of each other’s emotions on their expressive, British mugs.
As a whole, the cast made it evident that they had spent time learning their individual tracks as the scene changes moved swiftly, and had you saying “Oh, golly!”. Although some of the dialects were tricky to understand at times, the ensemble’s dedication to keeping the tempo of this 1930s farce at a constant, on-the-run climax was commendable.
From a technical standpoint, the props, designed by the inventive Isabella Anthon and Devin Farmer, conducted the course of this production, –and Richard Hannay’s fate. Mirroring the minimalistic style of Hitchcock’s films, the props, few yet efficient, were thoroughly detailed and paved the dirt path for the supposed outlaw to run on. The actors were well prepared and were certainly not afraid to use their props to take their comedy to the next level –or even train cart, if you will.
Have you seen Richard Hannay, the man with the “pretty…sorry, luscious brown wavy hair and the attractive pencil mustache”? Whether you’re an Irish farmer or a Germany spy with a tiny pinky finger, you are bound to cross paths with this electrifying show that is “The 39 Steps”. DUN DUN DUNNN!!
By Jack Rodman of North Broward Preparatory School
If you combined murder, mystery, and a lot of comedy, you would have the perfect description of The Benjamins Schools production of “The 39 Steps.” “The 39 Steps” is a thrilling, laugh-out-loud play that’s sure to leave you smiling.
“The 39 Steps” originated from a 1935 thriller film written by Alfred Hitchcock that was then adapted by Patrick Barlow and remastered into the play. “The 39 Steps” follows the fascinating story of Richard Hannay, the suave, dashing man with luscious hair. The play is set in London, August 1939, as Mr. Hannay shares his life story before meeting Annabella Schmidt, a secret agent that is on the run. When Annabella is murdered in his apartment, Hannay embarks on a journey to uncover the truth about her death, clear his name, and stop a dangerous spy from succeeding in their devious plot.
David Frear’s portrayal of Richard Hannay is a whirlwind of action, as his character is framed for Annabella Schmidt’s murder, played brilliantly by Sage Sorenson, evades the law, and even finds romance with Pamela Edwards, also played by Sorenson. It is evident that David Frear and Sage Sorenson had remarkable chemistry with one another. These characters were able to maintain high energy throughout the entire show and were ultimately able to lift up the rest of the cast’s energy.
This show was filled with a multitude of characters, all played by 12 actors. It’s no exaggeration to say that Ava Shawe and Ilia Peck were a dynamic duo throughout the entire show. From Mr. Dunwoody and Mr. McQuarrie to Compere and Mr. Memory, these two truly filled the entire theater with laughter. The whole cast had incredible comedic timing; however, it was hard to understand some parts of the story due to the characters thick and committed accents. Fortunately, Frear’s diction and clear speaking was able to clarify the story for the audience, making it a hilarious and unforgettable experience.
Additionally, the use of a minimal set was very effective in getting the audience to use their imagination and to focus on the immense action. The transitions in between scenes were very smooth, and the actors had incredible awareness of what was happening around them. The fast-paced scene changes helped contribute to the on-the-run nature of the plot. During every transition, there was always something going on, keeping downtime to a minimum and ensuring the audience remained engaged. The Benjamin School also incorporated a lot of projections that were able to clarify location and really pay homage to the original film. Unfortunately, there were some times when the projector did seem to fail, but the tech team, led by stage manager Michael Alvarez and assistant stage manager Betsy Farmer, were able to recover quickly and get the projections fixed for the second half. The costumes, led by designer Hailey Cischke and costume assistant Adrea Arendts, and props, managed and collected by freshmen Isabella Anthon and Devin Farmer, were also very effective and time period appropriate. Actors did an incredible job of understanding what each prop was used for and making sure that it was an effective part of the story.
Overall, The Benjamin School put on a hilarious production of “The 39 Steps,” and you really felt like you were transported into a 1935 Hitchcock thriller. There were unexpected twists and turns, and the cast and crew left everyone crying of laughter as they walked out of the theater.
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