Cappies Student Reviews of High School Theater Spring 2025

By Eesha Mahabir of JP Taravella High School

What do you do when the fate of your country lies within your hands, yet your past seems to chase you every step of the way? Somerset Arts Conservatory’s production of Evita proves that even the poorest person can change the course of their country’s future.

In a small town in Buenos Aires on a night of a thousand stars is where our story starts! With music by Andrew Lloyd Webber and lyrics by Tim Rice, this pop-rock musical premiered on June 21st, 1978, being the first ever British musical to win a Tony Award! This tragic musical follows Eva Peron who was born into poverty. With dreams larger than life and the need to make a living, Eva works her way up the social ladder, slowly rising to power and becoming the influential First Lady of Argentina… Before meeting her tragic end.

She made the front page of all the world’s papers! Loved by her people but feeling unimportant within, Victoria Villarreal Mejias playing the powerful Eva Peron had a compelling stage presence and elegant vocals, capturing the true essence and character arc of the memorable First Lady. “Sing you fools, but you got it wrong!” Challenging Eva’s every decision, Gabriel Cadet portraying the narrator Che had wonderful vocals, not only staying in character but also naturally connecting with everyone onstage, truly embodying the voice of the people.

He was Eva’s first man… Ryan Gomez playing the naive Magaldi had remarkable vocal quality and impeccable characterization making his character unforgettable. Rejected and abandoned by Peron, the beautiful Mistress played by Anabella Lonardo put on a stellar performance with astounding facial expressions and marvelous vocals, capturing the loneliness and heartbreak she truly feels.

Dice are rolling and the knives are out! With voices ringing loud and long, the Ensemble of Argentina had beautiful harmonies and natural chemistries, constantly immersed in every scene they were in, truly highlighting the powerful voices of the people; one that can’t be denied.

Behind the thrill of this historical tale are the real heroes within… The technical aspects! From the most detailed research reports to the most breathtaking gowns, Costumes by Angelique Gerena, Sofia Marti, and Sophiya Morgan were most commendable, not only designing the most beautiful white ball gown for Eva’s solo, “Don’t Cry for Me Argentina,” but also clearly differentiating each character’s class with their wonderful dresses, uniforms, and suits. Sets by Jared Robaina and Company were truly exquisite, adding immensely to the tale, each change and transition executed efficiently. Spreading the word of this historical production is the marketing and publicity team, Gabriel Cadet, and Company, putting in-school performances to promote the show, giving their school just a sliver of how powerful their musical is. Dramaturgy by Sofia Bahamon and Kayley Saavedra was well executed, highlighting the understanding the cast and crew have of this production.

Somerset Arts Conservatory’s production of Evita was one to remember, full of ambition, power, and the will of the people.

###    ####  ###

By Maggie Starr of Marjory Stoneman Douglas High School

Whether performing at a “Charity Concert” or lighting up “A Cinema In Buenos Aires,” the stars of Somerset Arts Academy shine bright, proving that their production of Evita truly is a “Night of A Thousand Stars.”

Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, Evita is a historical drama that follows the remarkable rise of Argentina’s First Lady, Eva Peron, through a series of biographical songs. Premiering in June 1978 at the West End’s Prince Edward Theatre, the show opened to critical acclaim, earning the Olivier Award for Best New Musical and later the Tony Award for the same achievement. Since then, Evita has been reimagined many times, including the well-known 1996 film adaptation. Narrated by the ever-present Che, the story takes audiences from Eva’s humble beginnings to her political fame and eventual decline as she helps shape a “New Argentina.” It tells a powerful story that lets us say “Goodnight and Thank You” to a woman who changed a nation, and whose legacy still takes center stage today.

As the “High Flying, Adored” Eva Peron, Victoria Villarreal Mejias shines as Buenos Aires’ very own. Mejias brought Eva to life with striking vocals that excelled despite the difficulty of the source material. Her stamina and dedication to the character were evident throughout her performance, particularly alongside her onstage husband, Giovanni Rivera Ortiz, as Peron. The pair showed genuine ease and connection on stage, creating strong chemistry that anchored their scenes together. Narrating the story, Gabriel Cadet was “Rainbow High” as Che, delivering a commanding performance that captured the nuance of his character. His vocals especially stood out in numbers such as “Oh What a Circus,” leaving the audience captivated from the overture to the final bow.

As the charismatic Magaldi, Ryan Gomez did a phenomenal job entrancing audiences with his dynamic stage presence and strong vocals. Equally captivating was Annabella Leonardo as the Mistress, who delivered a heartfelt performance through her beautiful voice and precise diction, conveying emotion with striking clarity. The ensemble of Argentina also shone, enhancing the show’s realism with authentic Spanish pronunciation, strong harmonies, and synchronized movement. As “The Money Kept Rolling In,” their lively presence built the foundation for the show’s world, one that technical elements later elevated further.

The cast and crew did a wonderful job transporting audiences into the heart of Argentina, with special credit to the dramaturgy team (Sofia Bahamon and Kayley Saavedra). Their detailed, period-appropriate research was evident throughout the production, shining through in the work of other technical teams. One standout element was the period accurate costuming. The costumes crew did a phenomenal job designing and managing over 100 costumes, seamlessly supporting each scene. Complementing the production, the marketing and publicity team used clever promotional tactics, including a free in-school preview performance, ensuring Evita’s story reached audiences far and wide.

As the “Rainbow Tour” reaches its final stop, Somerset Arts Academy’s cast ensures this Evita will not soon be forgotten.

###    ###    ###

By Daniel Font-Wilets of American Heritage Broward

 Who needs to cry for Argentina when Somerset Arts Conservatory gave audiences every reason to cheer? The show felt thrilling and professional, driven by performances and technical feats that captivated from start to finish.

“Evita” is Andrew Lloyd Webber and Tim Rice’s legendary rock opera. It chronicles the rise of Eva Duarte, a poor Argentine girl who becomes the nation’s First Lady and a near-mythic political figure. Since premiering on the West End in 1978, the show has fascinated audiences with its sweeping score and sharp social insight, displaying Eva’s transformation from obscurity to almost sainthood. Somerset’s rendition captures both the spectacle and the substance, balancing glamour with grit.

Leading the charge was Victoria Villarreal Mejias, whose Eva Peron was completely in control of the stage. She certainly had more than just a little touch of star quality. Mejias masterfully captured the evolution of Eva’s character; from a hungry, determined young woman to a poised, powerful icon. Her voice soared “rainbow high,” and she infused each number with purpose and precision. Opposite her, Gabriel Cadet’s Che provided the perfect counterbalance. As the show’s omnipresent narrator and moral compass, Cadet commanded attention with effortless confidence. His vocals, especially in “And the Money Kept Rolling In (And Out),” were sharp and expressive, driving the energy of the show forward. His chemistry with Mejias was electric, which kept their exchanges engaging and layered.

Playing the authoritative president of Argentina, Giovanni Rivera Ortiz brought strength to the role of Juan Peron, his steady composure grounding the whirlwind that is Eva Peron. His onstage partnership with Mejias felt genuine, portraying not just political alliance but a subtle, believable affection beneath the power dynamics. And then there was Anabella Lonardo, who made a strong impression as The Mistress. Her rendition of “Another Suitcase in Another Hall” was beautifully sung, revealing not only the clarity and richness of her voice but also the innocence of her character. Lonardo’s emotional depth brought a naive dimension to the role that lingered long after the scene ended.

The show’s technical achievements matched its performances in ambition and artistry. Jared Robaina & Co’s set design was a triumph of architecture, elegantly evoking 1940s Argentina with fluid scene transitions that kept the story moving seamlessly. The costume team; Angelique Gerena, Sofia Marti, and Sophiya Morgan, clearly did their homework. Each outfit felt authentic to the time period and perfectly tailored to its wearer. The highlight of the evening was Eva’s luminous white gown during “Don’t Cry for Me, Argentina,” hand-constructed by students and absolutely stunning under the lights. Equally impressive was the dramaturgy by Sofia Bahamon and Kayley Saavedra. Their meticulous research into the historical nuances of the show gave the production an authenticity that grounded the spectacle in substance. From pronunciation of words to the political context, their work elevated the storytelling.

With bold performances and a stage alive with energy, Somerset’s Evita was a triumph of collaboration. It was a production that showcased the true magic of student theatre. It wasn’t just a show about rising to power; it was a showcase of rising talent.

 ###    ###    ###

 By Max Shashaty of Cooper City High School

 A story of origin, glory, and the breathtakingly powerful voice of a unified people; Somerset Arts Conservatory’s  production of “Evita” brought audiences to cherish every moment spent in the deeply colorful life of Argentina’s Eva Peron.

Set in 1940s Buenos Aires, Andrew Lloyd Webber and Tim Rice’s “Evita” found its way from a rock opera concept album to a Tony award winner for Best Musical and Best Original Score, among others. This sung-through story follows the illustrious First Lady as she rises to power from humble beginnings, and faces tragedy over fortune. It demonstrates themes of activism and political triumph which, if not held properly, will let its leaders ring in requiem.

Demanding stardom from every note was none other than Victoria Villarreal Mejias as Eva Peron. Her unyielding commitment to vocals and character were a sight to behold, as she expertly captured Evita’s development. Mejia’s performance crafted emotion and purity found in only the brightest of diamonds. Further, Gabriel Cadet as Che gave a spectacular yet haunting performance as the symbolic portrayal of Evita’s past. Through valiant persona and commendable endurance, Cadet undeniably saturated both the circus and the show. Entering the frame with commanding vocals and strong diction, Giovani Rivera Ortiz as Peron artfully supported the story. His chemistry with Eva refused to falter as he found himself in power through her influence.

Crowding the streets of Buenos Aires, the Ensemble of Argentina showcased synchronized wonder in movement and unbridled power in rhythmic cries. Their expert compatibility not only strengthened the narrative, but highlighted the importance of unity within stage presence. One stand-out feature was Ryan Gomez as Magaldi, who rang proud and true with enchanting vocals and an eccentric persona. Additionally, Aristocrat Kiera Pierre’s attention to choreography and physicality were a mesmerizing addition to the unit. Through engaging harmony and infectious energy, the ensemble truly fashioned a night to behold.

What is a hearty revolution without its hidden orchestrators? Always there to adorn the spectacle, the production’s technical crews showcased “The Art of The Possible” through both logical genius and visual charm. Dramaturgy by Sofia Bahamon and Kayley Saavedra ensured very thorough script analysis with regards to time period, pronunciation, and the overall diverse culture of Argentina. Jared Robaina & Co. skillfully crafted mobile set units that made for impressively swift scene changes and architectural genius. Complementing these elements, Lighting by Valentina Exposito reached “Rainbow High” in its presentation. Despite some spotlight moments left dim, the use of textured gobos and bold color made for incredibly dynamic visuals and shifts in setting.

Somerset Arts Conservatory’s  retelling  of “Evita” was as mesmerizing as it was powerful; demonstrating the gamble of leadership as a means to chase reverie. Through indomitable performance and technical work, the cast and crew proved struggle and determination worthy burdens to reach the stars.

###    ###    ###

 By Mia Pagan of JP Taravella High School

 No need for a Time-Turner, “Harry Potter and the Cursed Child” had the audience spellbound from start to finish. A.W. Dreyfoos School of the Arts Theatre Department delivered a captivating performance full of magic, family, time travel, and so much more.

Premiering in London’s West End in 2016 before reaching Broadway, “Harry Potter and the Cursed Child”, written by J.K. Rowling, John Tiffany, and Jack Thorne, continues the wizarding saga nineteen years after Deathly Hallows. The story follows Albus Potter, burdened by his father’s legacy, as he begins his own journey at Hogwarts. There, he befriends Scorpius Malfoy, son of Draco Malfoy. Together, they attempt to rewrite a tragic event from the past, leading to unforeseen and dangerous consequences.

Kevontay Oliver brought Albus Severus Potter to life with endless energy, emotional depth, and strong character development. His chemistry with Darien Batista as Scorpius Malfoy was enchanting and heartfelt. Batista showcased incredible versatility, from a goofy kid trying to make friends to bravely facing Dementors with the power of his love for Albus, always conveying Scorpius’s emotional journey.

Connor Hullender’s Harry Potter was engaging and heartfelt, especially alongside Reese Ferry as Ginny Potter. But it was the golden trio who truly cast a spell on the audience. Graham Gilbert as Ron Weasley and Maria Costa Scheid as Hermione Granger had incredible chemistry, blending humor, warmth, and nostalgia. Costa Scheid perfectly captured Hermione, and together the trio navigated multiple transformations, from Polyjuice disguises to showing how time had changed their mannerisms, with skill and ease. Their versatility made every version of their characters believable and full of life.

The Hogwarts ensemble moved with precision and purpose, as if guided by magic in their wands. During transitions, their choreography flowed seamlessly, and even in the background, they never faltered, energizing every scene. Their dedication added depth and texture to the production. The props team, Nikolai Gerrard, Adela Jacenko, and Charlie Faldatta, enhanced the magic by crafting wands, flying broomsticks, and inventive details that brought the wizarding world to life. The costume team, MyKell Brown, Josephine Kohring, and Kylie Motlatce, worked wonders by transforming graduation gowns into authentic Hogwarts robes, creating a cohesive and vibrant visual world. Together, these elements filled the stage with imagination, energy, and pure wizarding charm.

Overall, “Harry Potter and the Cursed Child” was a spellbinding journey from start to finish. From the captivating performances of the cast, to the seamless transformations of the golden trio, to the enchanting ensemble, props, and costumes, every element worked together to create a fully immersive wizarding world. This production reminded the audience that the magic of storytelling is not just in spells or time-turners, but in the passion, heart, and talent of everyone on stage. For anyone looking to be transported to Hogwarts, this show is truly unforgettable.

 ###    ###    ###

By Ilia Peck of The Benjamin School

Race through time to see Dreyfoos School of the Arts’ production of “Harry Potter and the Cursed Child”. Written in 2016 by J.K. Rowling, Jack Thorne, and John Tiffany, the show follows two young boys, Albus and Scorpius, the children of once sworn enemies Harry Potter and Draco Malfoy, as they journey through time to try and bring back Cedric Diggory from his unfortunate fate with Voldemort. They quickly discover that time travel can be much more complicated than they imagined. They encounter all sorts of obstacles along the way, but their friendship always ties them together, and Albus and Scorpius contradict their fathers with their incredibly supportive relationship throughout the story.

As Albus and Scorpius travel through time, so does the story. The boys start in their first year at Hogwarts, where the Sorting Hat (Dior Kinight) brings energy and jubilance to the stage with his placement of the boys in Slytherin, a shock to the school, and the first turning point in the play. They end in year four. As the boys develop throughout their years, Darien Batista’s Scorpius Malfoy stood out and brought many laughs from the audience, especially during act two. He was energized throughout the show, and his chemistry with Albus (Kevontay Oliver) was clearly evident. Another standout was Moaning Myrtle (Sofia Bornia). She brought the audience back to the movies and books with her portrayal of this comedic character, and left everyone in the house laughing for ages. Hermione Granger (Maria Costa Scheid) brought this same reminiscence to the audience through her portrayal of the iconic member of the Golden Trio. The ensemble as a whole participated in a lot of choreogr
aphy during transitions, which was magical and beautifully done by the whole cast.

The tech aspects of the show were exciting to watch. The projections (Phoenix Bevan, Zyan Robinson, and Company)  could have been utilized a bit more during the show, but they were executed well and brought portraits to life with grandeur and a truly magical feeling. Makeup and hair (Sabastyan Henriquez, Kylie Mraz, Kai Fraser, Ren Christopher) closely matched the movie, especially the beautiful makeup on Voldemort; however, some wigs could cover the actors’ faces at times. The sound (Bethany Rodriguez and Company), which was used from the official show licensing, was done nicely, and props (Nikolai Gerrard, Adela Jacenko, and Charlie Faldetta) were great. Costumes (Mykell Brown, Josephine Kohring, Kylie Motta, and Company) had very minimal errors. One piece appeared to have fallen off in act one, but the actors handled it well, and the costumes mirrored those described in the books and movies, and the general franchise of Harry Potter. Despite a few mic issues in act two, th
e stage management team (Sherry Lyn Wiedrich, Isabela Matzen, Kennedy Pettygrove, Charlotte Wooley) impressively executed each cue wonderfully and made the show a smooth experience.

Overall, Dreyfoos’ production of “Harry Potter and the Cursed Child” is an unforgettable experience sure to evoke emotion and laughter out of each audience, and brings the wonderful Wizarding World to the stage with joy and, of course, lots of magic!

###    ###    ###

By Cody Straka of Saint Thomas Aquinas High School

Grab your wands, your time-turners, and your train tickets! ‘Cause the Hogwarts Express is pulling into AW Dreyfoos School of the Arts, whose production of “Harry Potter and the Cursed Child” proves expressive and spellbinding.

Nearly 10 years after the release of the “Deathly Hallows,” J.K. Rowling, Jack Thorne and John Tiffany bewitched Potterheads, announcing a play about those ambiguous “nineteen years later” concluding the series. The play premiered in 2016 to critical acclaim, and since “accio-ing” plenty of Olivier’s and Tony’s, it has been enchanting audiences on Broadway and the West End alike.

The play follows Albus Severus Potter and Scorpius Malfoy as they attend Hogwarts. After both being sorted into Slytherin, the boys are bullied over their fathers and turn to rebellion. They soon befriend a girl named Delphi, who introduces herself as the cousin of Cedric Diggory. The kids steal a time-turner, and time travel chaos quickly ensues as the kids try reviving Cedric. The characters must reckon with their dark pasts and current failures while preventing another rise of Voldemort.

Navigating horrifying rumors of heirdom to the Dark Lord, Darien Batista flawlessly epitomized the dark innocence of Scorpius. His charmingly neurotic mannerisms and humor breathed life into the complex but naive schoolboy in the shadows of a foreboding past. It perfectly balanced Kevontay Oliver’s Albus, which was meticulously executed as realistically edgy and endearing. Their relationship was immensely engaging to watch develop throughout the course of events.

This show is structured on a strong supporting cast, something that AW Dreyfoos has impressively accomplished. Standouts included Connor Hullender as Harry Potter and Maria Costa Scheid as Hermione Granger. Hullender portrayed a Harry authentically disillusioned by the Wizarding “rat-race.” Scheid’s Granger embodied the physicality and vocalizations recognizable as the mature Golden Trio girl. Accent issues were small to negligible. Given the length and intensity of the show, the chance of losing energy was “engorgio’d.” Luckily, the supporting cast maintained consistent energy, familiar to fans but unique in execution.

Amidst the terror of potential Wizarding disaster, tension was broken by the comedy of Graham Gilbert as a self-aware Ron Weasley and Sofia Bornia as a humorously unstable Moaning Myrtle. Both performers brilliantly elevated the text’s tongue-in-cheek and melodramatic humor. The Students of Hogwarts made a laudable ensemble, conducting interspersed contemporary ballet-like transition sequences and beautifully representing the idiosyncrasies of school life. They made the audience consider that maybe the Wizarding World isn’t so different from ours.

Phoenix Bevan, Zyan Robinson, and Company produced special effects animating all our most nostalgic magical oddities. From talking books, to ear-smoking Pepper Imps, to Polyjuice Potion transformations, even to the “lumos” at the end of wands, each effect astounded the audience, Potterhead and not.

Sound and lighting were equally captivating. The sound design included musical sequences as well as brief clips for spells. Each was timely and impactful. Lights diligently swept the stage, sparked at charms, and highlighted characters, encapsulating the emotions deriving from mundane life and magical fantasy.

Like the Hogwarts staff, stage management by Sherry Lynn Wiedrich, Isabela Matzen, Kennedy Pettygrove, and Charlotte Wooley was carried out with stunning organization of cues and tasks, bringing order to the hectic plot. These crews constructed a modern story in intriguing conversation with the 90s of the original books.

As we approach the thirty-year anniversary of the first book’s release, we must ask: why do we keep coming back to Harry Potter? I am compelled to say that it is spectacular art like what AW Dreyfoos has formulated, brewed like a potion, in their production of “Cursed Child,” that keeps the Potterheads stirring.

###    ###    ###

By Alyvia Rigg of JP Taravella High School

We cannot choose who our parents are, nor can we choose our legacy, and trying to toy with fate may only lead you further down a magical rabbit hole. Experience the complexities of friendship, love, magic, and time travel in AW Dreyfoos School of the Art’s captivating production of Harry Potter and the Cursed Child.

“Harry Potter and the Cursed Child,” written by Jack Thorne and based on an original story by Jack Thorne, J.K. Rowling, and John Tiffany, transports audiences back to the Wizarding World 19 years later. The story centers around Harry Potter’s second son, Albus Potter, who is sorted into Slytherin and befriends Scorpius Malfoy. The play explores themes of family, legacy, and love that resonates deeply across generations.

Leading the story, Kevontay Oliver as “Albus Potter” was nothing short of brilliant. Oliver captured the impulsive, sarcastic energy of a conflicted young boy with grace and emotional depth. His character development was clear and heartfelt, allowing the audience to connect with Albus’s struggles and triumphs. “Scorpius Malfoy,” portrayed by Darien Batista, was equally captivating. Batista’s performance balanced humor and tenderness, showcasing a deep understanding of his character. His energy never faltered, and his chemistry with Oliver made their friendship both believable and moving.

The legacy of the “Golden Trio” lived on through Connor Hullender (Harry Potter), Maria Costa Scheid (Hermione Granger), and Graham Gilbert (Ron Weasley). Together, their dynamic performances blended heartfelt emotion with well-timed comedic relief. Their chemistry made every scene engaging, especially during the Polyjuice Potion sequence, where each actor masterfully embodied their different minds through spot-on physicality and voice work.

Standing out among the cast, Reese Ferry (Ginny Potter) and Sophia Caputo (Rose Grainger-Weasley) were eye-catching when on stage. Both girls delivered their character with honesty and energy, making them stand out in whichever scene they were in.

The students of Hogwarts brought vibrancy and life to every corner of the stage. Seamless transitions, synchronized choreography, and expressive movement kept the energy high and the audience immersed in every magical moment.

Bringing the magical world to life, the technical elements were nothing short of enchanting. Nikolai Gerrard, Adela Jacenko, and Charlie Faldetta’s prop design elevated the world-building with light-up wands, floating broomsticks, and talking books, all of which made the magic feel tangible. Sherry Lynn Wiedrich (Stage Manager) and her dedicated crew ensured that lighting and sound cues flowed flawlessly, keeping the illusion alive and the world of Hogwarts fully realized.

Magic is infinite but so is love for the people who matter most. Laugh, cry, and marvel at AW Dreyfoos School of the Art’s mesmerizing production of “Harry Potter and the Cursed Child.”

###    ###    ###

 By Paige Horner of South Plantation High School

Step aside. Let Disney nostalgia sweep you off your feet in North Broward Preparatory’s production of The Hunchback of Notre Dame. It brings upon a rumbling from within with its beautiful ensemble and exciting choreography. With bells ringing, hearts breaking, and enemies mingling, this production takes you on a wild ride of emotions and vocal ranges, all complementing each other in the spotlight.

The renowned Disney film and Victor Hugo’s novel served as inspiration for this musical. This version, which features music by Alan Menken and lyrics by Stephen Schwartz, enhances the 1996 movie with eerie choruses that will stick in your head for days. On June 5, 1999, The Hunchback of Notre Dame made its debut as Der Gl�ckner von Notre Dame in Berlin. The deformed hunchback, who longs to be outside with the rest of the world, looms over the city below in the shadows of a bell tower.

During songs like “Out There” and “Made of Stone,” King Bell’s portrayal of Quasimodo was exquisite, combining depth and longing. Bell’s emotional voice captured the outcast’s sense of isolation. Michelle Guttierrez’s portrayal of Esmeralda commanded the stage with her powerful voice and embodied her character with playful and fierce defiance. Throughout the show, there was a strong but unsaid tension between Esmeralda and Quasimodo that left the greatest pain long after the last bell rang, even though she was only seen in a romantic relationship with Phoebus.

The ensemble throughout the show, both vocal and acting-wise, was powerful, especially during songs such as “The Bells of Notre Dame” and “Topsy Turvy”. The choreography was wonderful, with everyone being in sync with one another and adding a joyful spin to the darker overall theme of the show. With the gargoyles being a poetic representation of Quasimodo’s conscience and the gypsies all coming together as outcasts, the ensemble in this show nailed their performance all together.

Technical elements in this show, while minimal, all added their own spark to this production. Make-up and hair done by Alana Maurer captured the 1400s feel with the simple yet fitting hair on the gypsies and other characters. Quasimodo had the most visible makeup in the show, which they did a great job with detail in his facial wrinkles and his hunch. Other aspects of the show, like stage management, were flawless, with the bell cues and light cues both being proficient. Occasionally, certain cues experienced difficulties, but the show went on, and all actors maintained professionalism.

In the end, North Broward Prep’s production of The Hunchback of Notre Dame reminds the audience that beauty and monstrosity can share the same face. Whether you leave humming “Rhythm of the Tambourine” or reflecting on the world’s morality, this show doesn’t just tell a story; it teaches the timeless lesson: Don’t judge a book by its cover, not the man, or the monster.

###    ###    ###

By Mattingly Zonis of NSU University School

“Come one, come all” and experience what it is like to be “out there” in Paris at North Broward Preparatory School’s astounding production of The Hunchback of Notre Dame.

The musical is based on the Victor Hugo novel, taking place in 1482, following a hunchback who works the bells of Notre Dame. Quasimodo (which means half-formed in Latin), has physical deformities, marking him as an outcast from society. One day, he catches wind of the Gypsy festival, and he wants to go. However, he has been told to stay locked in Notre Dame by his “step-father”, who thinks of both him and the Gypsies as less than human.

King Bell portrays Quasimodo impeccably. His physicality stayed constant throughout the whole show, even though his character tended to walk in uncomfortable positions. Furthermore, his characterization and facial expressions made Quasimodo much more lovable. Bell displayed expert character development, and throughout the whole show, he had breathtaking chemistry with everyone that he worked with.

Michelle Gutierrez delivered a felicitous performance as the strong minded, independent Gypsy, Esmeralda. Her vocal control throughout the entirety of the production was commendable, especially in her final scene. Moreover, Gutierrez gave many fascinating layers to her character. Also, her enchanting dancing and singing stood out.

Claude Frollo, the angry antagonist, was depicted charmingly by Mario Galdames. His vocals throughout the show were commanding and powerful, elevating his characterization. As well, his character arc was fantastic, and it felt like the audience was truly watching him deteriorate and lose himself in his pride. In addition, he was able to portray temptation and impure thoughts perfectly. Galdames truly brought the show together.

The ensemble displayed fabulous dancing, immaculate harmonies, and flawless solos. In particular, the Gypsies stood out due to their bubbly and playful performances. Their dance breaks were flawless, with excitement and technique. They were a huge part of the show, portraying outcasts who just want to be themselves.

Tech put a lot of effort into this production. Marketing was a standout, as it used many techniques to gain an audience. They visited colleges, had a press release in the school newspaper, sold tickets at lunch, and even sold tickets and pins unique to the show. Furthermore, the production was not at their school, so the level of difficulty was largely increased. Hair and makeup was also a notable part of the show. The choice to have Quasimodo without makeup in the opening and closing numbers was satisfying, showing he is just as human as anyone else. Also, the hair and makeup department studied the Romani culture of the time period, and decided on hairstyles that were pulled back. Although a few cues were late, most of the 337 were done perfectly, and that is praiseworthy.

North Broward Preparatory School’s electrifying production of The Hunchback of Notre Dame was admirable, and it left the audience with a singular question: what makes a monster and what makes a man?

###    ###    ###

By Kayla Ugarte of The Benjamin School

When the bells of Notre Dame quiet, the loudest noise is the roaring question of morals: what makes a monster and what makes a man? North Broward Preparatory School’s enthralling production of The Hunchback of Notre Dame was a sensory plunge into the value of inner virtue as opposed to outer appearances.

Adapted from Victor Hugo’s 1831 literary masterpiece, The Hunchback of Notre Dame transforms its haunting meditation on beauty, cruelty, and the human need for connection. Set in the shadow of the towering cathedral, the story follows Quasimodo, the bell-ringer with a twisted spine and a tender heart, as he navigates a world that fears and rejects him. Esmeralda, a fiery dancer whose kindness defies the prejudices of Paris, and Claude Frollo, a priest torn between piety and obsession.

King Bell, who played Quasimodo, effortlessly brought to life the lonely hunchback of the title. The actor rarely left the stage, and, with impressive physicality, kept a hunched and hobbled appearance throughout the entire show. His voice, too, was a powerful tool wielded to make the audience connect with the character, showcased in Bell’s performance of Made of Stone.

Mario Galdames, in the role of Claude Frollo, beautifully conveyed a complex role and showed a wide depth of emotion. Frollo’s descent into mania is a difficult role to portray, as it requires an actor to balance maliciousness and piety to visibly show the internal battle raging inside the character, and Galdames’ execution was close to perfection. He also spoke a considerable amount of Latin throughout the show, and always spoke clearly and with a recognizable voice.

Michelle Gutierrez, who played Esmeralda, demonstrated confidence and range, both in her vocal performance and dance. In the scene where her character dies, Gutierrez showed her vocal control by gasping her dying breaths and singing at the same time. Her breath control was shown in the song “Rhythm of the Tambourine”, where she performed a mesmerizing adaptation of a Romani dance. Throughout this complicated choreography, her voice did not waver, and neither did her feisty stage presence.

In a technical aspect, the show ran fairly smoothly, with only a few bumps. Stage management did a decent job at making sure that the cues were on time, especially as they had only gotten their venue a week before the performance. Jack Rodman, the head of marketing and publicity, excelled at promoting the show, with over thirty-two posts on their Instagram page. The hair and make-up team, led by Alanna Maurer, also did a great job with Quasimodo’s makeup, both in providing it for him at the beginning of the show and completely removing it at the end of it.

Though the bells may have stopped ringing, North Broward Preparatory School’s production ensures that the echoes of compassion, courage, and cathedral-sized questions will toll in the minds of audience members long after the final bow.

###    ###    ###

By Gavin MacArthur of Cooper City High School

The Bells of Notre Dame’s booming chimes sound quiet compared to the uproarious applause of those blessed with witnessing North Broward Preparatory School’s jaw-dropping performance of “The Hunchback of Notre Dame.”

Taking basis from both the Disney animated film and Victor Hugo’s novel, “The Hunchback of Notre Dame” boasts music and lyrics by the phenomenal Alan Menken and Stephen Schwartz respectively. Set in 1482 France, this timeless tale follows Quasimodo, a deformed young man locked away in the Notre Dame cathedral by his pious master and uncle, Claude Frollo. When met by a gypsy girl, Esmeralda, an inferno of calamity ensues as both Frollo and Quasimodo are inextricably drawn to her alluring ways.

King Bell (Quasimodo) truly was “Made of Stone,” as his robust fortitude remained unwavering in portraying this daunting role. Bell’s atypical physicality immensely aided his thorough characterization, enlisting emotional vulnerability and a powerful presence to create a gut-wrenchingly authentic portrayal. This performance was topped off with a euphonious presentation of remarkable vocal ability that rang throughout the theatre even more elegantly than Quasimodo’s treasured bells.

As Quasimodo’s compassionate stage partner, Michelle Gutierrez (Esmeralda) depicted enchanting chemistry with the hunchback, whilst standing out on her own for her melodious voice. Guarding a similarly formidable vocality, Jay Boegem (Phoebus de Martin) maintained a heartwarmingly romantic dynamic with Gutierrez. Sparking ingenuity as the scorching minister, Mario Galdames (Claude Frollo) maintained a fiery disposition through a chillingly domineering presence. Galdames’s commendable portrayal of the pharisaic villain and his descent into madness was a devout paragon of this show’s sweltering brilliance.

The cast as a whole worked with an exceptional camaraderie to make this production truly spectacular. Chiefly, the harmonies presented for this show are no easy feat, though they were accomplished with breathtaking grace. Coupled with exquisite choreography execution, namely by the Gypsies, this performance smoothly told this astonishing story with intricacy and depth. Especially as they only rehearsed in their performance-day space for a week, this company undeniably dominated with unequivocal talent and performing capabilities.

Pulling the ropes to ring the bells of excellence, the technical elements of this production were unparalleled in magnificence. Stage manager Sasha Cervantes Mataix ensured a meticulously well-kept schedule and called cues with seemingly expert precision. Furthermore, marketing and publicity by Jack Rodman was simply fantastic. With social media campaigns that balanced humor with professionalism and diverse advertising, the publicity for the show was impossible to miss. The cohesivity amidst divergent methods of marketing evidently worked to draw in an impressively large audience base, which was certainly justified for such a flawless production.

“What makes a monster and what makes a man?” North Broward Preparatory School’s divine rendition of “The Hunchback of Notre Dame” is a poignant story of love amidst disaster, and the deafeningly powerful connections that bind us through it all.

— — — —- —- —-

By Broderick Sullivan of Saint Thomas Aquinas High School

Bravo! Bravo! Bravissimo! West Boca Theatre Arts Academy’s production of “Once Upon A Mattress” brought medieval mischief to life in their reverential take on the classic musical.

Many moons ago, “Once Upon A Mattress” started life in 1958 as a show at an adult summer camp before finding its way off-Broadway in 1959 and eventually into the St. James Theatre on Broadway later that year. With music by Mary Rodgers, lyrics by Marshall Barer and a book written by the aforementioned Barer, Jay Thompson and Dean Fuller, the show became a cult classic, inspiring over a dozen high-profile productions since its debut, including one currently running on Broadway.

Based on the Hans Christian Anderson tale “The Princess and the Pea,” “Once Upon A Mattress” follows a kingdom in turmoil as the queen keeps rejecting princesses who want to marry her son, and the chaos that follows when a knight brings forth a new princess unlike any the kingdom had seen before.

West Boca Theatre Arts Academy’s cast brought dynamic energy and determination into their portrayals of this bizarre kingdom.

The two leads, Prince Dauntless and Princess Winnifred, played by Griffin Lawman and Marni Gass, embodied the show’s slapstick comedy and over-the-top romance. While Winnifred’s infinite energy and Dauntless’ entertaining character arc on their own were standouts, when the two came together in bombastic numbers like “Shy” and “Song of Love,” their dynamic was exhilarating.

On a similar note, the royal trio of the minstrel (Eytan Whiting), the jester (Diego Santos) and King Sextimus (Brady Lord) were central to the ever-engaging absurdity of the production. A powerhouse company from song to song and scene to scene, everything from the pantomime mania of “The Minstrel, The Jester, and I” to the cartoonish wit in “Quiet” kept the audience doubled over in laughter whenever they were on stage.

Throughout the entire cast, a commitment to tight choreography and an embodiment of the character of the show was made clear and led to a show that captivated the audience from Once Upon A Time until Happily Ever After.

West Boca’s tech team certainly didn’t sleep on the job either! Maia Stein led the costume work, which was accurate to the medieval setting of the show while also adding layers of personality to each of the characters. West Boca’s orchestra was also grand and dynamic, with their work bringing texture and excitement to even the show’s most diverse and difficult songs. The sheer scope of this production, with its giant, ever-changing set and off-the-wall choreography, meant that while some issues occurred in execution during the first act, nothing brought the audience out of the experience.

Whether listening through ears or eyes, anyone could tell you that West Boca Theatre Arts Academy’s “Once Upon A Mattress” excitingly tapped into classic Broadway whimsy to usher the audience back into a fairy tale world we once knew so well.

————————————————– ————————————————

By Ellie Pulsifer of Marjory Stoneman Douglas HS

Climb up twenty mattresses and into West Boca Raton Community High’s “Once Upon a Mattress,” where fairy tales get flipped and fun takes center stage!

“Once Upon a Mattress” is a quirky musical comedy with music by Mary Rodgers, lyrics by Marshall Barer, and a book by Jay Thompson, Dean Fuller and Marshall Barer. Premiering off-Broadway in May 1959, the show is a humorous twist on Hans Christian Andersen’s classic fairy tale “The Princess and the Pea.” The story introduces a kingdom in need of a genuine princess, one who can pass an outrageous test involving a stack of mattresses. Filled with comedic characters, catchy tunes and unexpected romance, “Once Upon a Mattress” proves that happily ever after is never as simple as it seems.

Playing Princess Winnifred, Marni Gass delivered a performance that was nothing “Shy” of phenomenal! Her comedic timing was royally perfect, and her vocal range had the audience wanting more. With impeccable physical comedy and a presence that could light up any kingdom, this princess didn’t just pass the test; she aced it! He’s in love with a girl named Fred; he’s Griffin Lawman as Prince Dauntless! Lawman delivered a royal flush of comedy, charm and charisma. His expressive reactions and endearing delivery had the audience crowning him a comedic gem, while his strong vocals and princely presence made him dauntlessly delightful. Together, their playful chemistry was fit for a fairytale, with Winnifred’s fearless energy colliding hilariously with Dauntless’ wide-eyed wonder.

With an angelic voice that will stay with the crowd for more than “A Little While,” Gabriella Estabrook brought grace and warmth to Lady Larken, delivering stunning vocals and heartfelt emotion. Meanwhile, the royally great trio of King Sextimus, the jester and the minstrel kept the kingdom lively. Brady Lord as the silent yet scene-stealing King Sextimus proved that actions speak louder than words. Diego Santos as the jester impressed with precise, dynamic footwork, making every step look magical. Eytan Whiting as the minstrel tied it all together with a captivating voice, leading the audience through the story with ease. Together, the cast created a performance as timeless as a fairytale.

The behind-the-scenes magic of “Once Upon a Mattress” extended far beyond the stage. Mila Freiheit, Becca Rayman and Justin Swab led a crowning achievement in publicity, raising an impressive $1,300, stacking up 86,000 likes on TikTok, and reigning supreme with 530 seats sold on their most-packed night. Their hard work ensured that this fairytale production reached an audience fit for a kingdom. Meanwhile, Nolan Balais and Rebecca Swanson brought this world to life with handcrafted props that paid attention to detail. From the towering stack of mattresses to the items inside, every piece helped enhance the world and fully immerse the audience in this whimsical story.

The curtain may have fallen, but the magic of “Once Upon a Mattress” will live happily ever after in the hearts of all who experienced this wonderful production.

————————————————————————————————–

By Gaia Martinovic of AW Dreyfoos School of the Arts

What do you get when you combine a fairytale classic with over-the-top humor and a dash of royal chaos? Once Upon a Mattress! West Boca Raton High School’s production of this whimsical musical had audiences laughing, cheering and delighted by its witty performances and outstanding vocals.

A reimagining of “The Princess and the Pea,” “Once Upon a Mattress” tells the story of Princess Winnifred, an unconventional and unrefined royal suitor determined to win the hand of Prince Dauntless. However, with his overbearing mother, Queen Aggravain, setting impossible tests to keep him unwed, Winnifred must prove she is a true princess in a most unexpected way.

Leading the show was Marni Gass as Princess Winnifred, whose boundless energy and comedic brilliance lit up the stage. From the moment she climbed over the castle walls, Gass commanded the stage with her effortless charm, hilarious expressions and exceptional vocals. Her performance of “Shy” was the perfect introduction to Princess Winnifred and the outstanding performer that Gass is.

Opposite her, Griffin Lawman portrayed Prince Dauntless with endearing innocence and impeccable comedic timing. His physical humor, vocal inflections and outstanding chemistry with Gass proved his strong and consistent stage presence that created a character beloved by all.

The comedic trio of King Sextimus, the jester and the minstrel – played by Brady Lord, Diego Santos and Eytan Whiting – added even more hilarity and charm to the production. Lord performed with excellent pantomiming that had audiences laughing throughout, Santos’ outstanding physicality and vocals shone in his number “Very Soft Shoes,” and Whiting did a fantastic job furthering the story as the narrator, drawing audiences into the tale. The ensemble members did not miss a beat with their cues, choreography and reactions. They made sure that, in every scene, the storytelling was kept at 100 percent.

It’s definitely safe to say that West Boca Raton High School’s “Once Upon a Mattress” made for a royally entertaining night of theatre filled with laughter, heart and a whole lot of personality — personalities, really. With a cast brimming with energy and a fantastic stage crew that brought the magic to life behind the scenes with impeccably timed cues and tech, the show was an absolute delight from start to finish!

————————————————————————————————–

By Olivia Allen of Coral Springs High School

Join the king, the minstrel and West Boca Theatre Arts Academy for their production of “Once Upon A Mattress!”

With music is by Mary Rodgers and book by Jay Thompson, it’s a quirky retelling of Hans Christian Andersen’s “The Princess and the Pea.” The show opened on Broadway at the Alvin Theatre in 1959 and was transferred to many different stages with a total of 470 performances! The story follows Winnifred, a very unconventional princess, as she attempts to marry Prince Dauntless despite the inner-castle drama and his scheming mama.

In the role of Prince Dauntless, Griffin Lawman brought energy to this production. With his physicality and tone of voice, he played the role of a comedic mama’s boy with royal prestige and skill. Dauntless’ fabled love interest, Winnifred, is portrayed by Marni Gass, an absolute show stopper. Gass showcased masterful vocal control and downright hilarious physical comedy in her performance. She balanced the messy, swampy, unconventional parts of Fred with her helpful and royal parts with finesse!

This is a knight like no other; well, it was actually day, but Nikolas Morales has got us covered as Sir Harry. The charismatic, charming yet dim-witted knight was a perfect fit for Morales. His clear understanding of the character and his motivations shows through Morales’ line delivery and facial expressions. This dashing knight’s damsel in distress, Lady Larkin, played by the stunning Gabriella Estabrook, was a joy to watch! Estabrook had a fantastic stage presence that compelled people to her struggles and journey. Together, this duo was always a delight, especially in their duet “In a Little While.”

The citizens of the kingdom shone in this production; the costumes that reflected a citizens’ class heightened the background acting and, in turn, made the stage feel more alive! Their vocals were also very strong, setting the bar high with hits such as “Song of Love” and “Spanish Panic,” during which they showed off extraordinary dancing. Some of the ensemble may have had a hard time staying with the group in certain numbers, but the positives more than make up for it.

Technically, the tech was terrific. The costumes were bright and fun, as overseen by Maia Stein. The dresses, notably for Lady Larkin, fit the actors beautifully, and there was nary a saggy shoulder in sight! While true that a small minority of the characters looked out of place standing next to the time-accurate garments worn by others, there is a clear and obvious love poured into each outfit. The marketing and publicity team also did a marvelous job promoting the show online. Mila Freiheit, Becca Rayman and Justin Swab used many different creative methods to show off the hard work of their showrunners.

Goodnight, sweet princess; may tomorrow bring merry tales of peas and moats, or you could just come see West Boca’s “Once Upon A Mattress!”

————————————————————————————————–
By Maggie Starr of Marjory Stoneman Douglas HS

At West Boca Community High School, a royal test, a picky queen and a very uncomfortable mattress make “Once Upon a Mattress” a fairy tale like no other, proving that true love is never as simple as it seems.

“Once Upon a Mattress” first sprang to life in 1959 as a Broadway musical by Mary Rodgers (music) and Marshall Barer (lyrics), giving a bumpy twist to the classic “Princess and the Pea” story. Based on the book by Jay Thompson, Barer and Rodgers, the show is packed with witty lyrics, quirky characters and a royal test that’s anything but comfortable. It tells the tale of a princess trying to pass the ultimate test and win the heart of a prince. It’s a musical that proves love isn’t always a perfect fit, but sometimes it’s the most uncomfortable things that make it worth it.

She swam the moat? As the kingdom’s favorite swamp princess, Marni Gass stole the show as Princess Winnifred (Fred), charging the stage with a passion proving she’s anything but “Shy”! Gass’ excellent comedic timing and powerful vocals truly brought the show to life, making it clear why Dauntless was in love with a girl named Fred. Fred’s ‘happily ever after’ mama’s boy, Prince Dauntless, played by Griffin Lawman, brought phenomenal comedic timing and vocal prowess to the stage, making us all root for his awkward but endearing love. As Lady Larkin, Gabriella Estabrook brought a heart of softness to the chaos around her, with beautiful vocals and an inflection worthy of a princess, even though she isn’t one.

Proving groups work better in threes, the royal trio of the jester (Diego Santos), King Sextimus (Brady Lord) and the minstrel (Eytan Whiting) brought a phenomenal dynamic to the show, blending comedic prowess and undeniable chemistry to elevate every scene they were in. The show’s ensemble did a phenomenal job of adding energy and life through their harmonies and infectious spirit. A notable standout from the ensemble was Elanah Moore as Princess 12, who, despite ultimately failing the princess test, passed the test of engaging audiences early on. Furthermore, featured dancers Ethan Slavic and Camila Cleare-Ventura dazzled with their incredible skill, adding extra flair to the show’s already lively atmosphere.

The costumes excelled in enhancing the medieval aesthetic of the show. Designed by Maia Stein, incorporated a unique and authentic touch by using color schemes and the color wheel to visually represent different class levels, creating a striking contrast between the nobility and the citizens. Furthermore, the publicity team did a phenomenal job of engaging with audiences through social media, garnering an impressive 86,000 likes on their TikTok posts, selling up to 530 seats per night, and securing a significant amount in donations through their strategic marketing efforts.

As the test is passed and the mouse devours the hawk, West Boca Community High School’s production of “Once Upon a Mattress” reminds us that even in the most unexpected moments, true love and a little chaos can lead to a happily-ever-after!

By Tatiana Medina of Piper High School

We’ve got magic to do just for you! Cypress Bay High School certainly did have magic in their magnificent production of Pippin.

Pippin is a bold and visionary musical that perfectly blends comedy and drama into one grandeur experience. With music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, the show follows the journey of a young prince who encounters war, love, and identity along the way in search of his purpose. The mysterious Leading Players and their troupe guide Pippin through wild adventures, all leading to an unexpected conclusion. The show’s iconic scores including “Magic to Do” and “Finale” are both catchy and vivacious musical numbers. With its mix of humor and dazzling choreography, Pippin is more than just your typical coming-of-age story, it’s an unforgettable theatrical experience that leaves the audience in anticipation as they question what truly makes like extraordinary. This show is a must-see for anyone who loves an unpredictable ending!

The ensemble in Pippin was nothing short of spectacular, they brought energy, precision, and power to every number. The Featured Players executed bold and expressive choreographies from student choreographers Isabel Rodarte and Martina Rodriguez. Their movements were synced, dynamic, and full of personality, elevating the show’s overall charisma. Featured Player Eddie Oliver stood out with his commanding stage presence and smooth execution of impressive tricks, bringing excitement to the stage. Their synchronized performances and dedicated commitment to the show made the ensemble a mesmerizing unit that kept the audience captivated throughout the show.

The main cast of Pippin delivered powerful performances, each fully embodying their character with passion and perseverance. Pippin, portrayed by Alexander Gomez brought a perfect mix of determination and vulnerability; he captivated the audience with his impressive vocals and expressive physicality. His character felt real and relatable, making his struggles and achievements even more impactful. Julia Amigorena absolutely commanded the stage as one of the Leading Players; her charisma and control while delivering stunning vocals brought depth to the stage. Her harmonies with her fellow Leading Player Finley Couch were absolutely beautiful, blending to create powerful moments. Their chemistry, incorporated with the dedication of the entire cast, made the production truly unforgettable.

The supporting cast of Pippin brought incredible energy and depth to the show, making every moment on stage truly unforgettable. Charles portrayed by Yoav Dahan had impeccable comedic timing, using his hilarious mannerisms and expressive physicality to bring the character to life. His performance had the audience laughing hysterically throughout. Martina Rodriguez’s performance of Fastrada was captivating, delivering dance moves with elegance and precision while fully embodying her character’s confidence and charm. Even after a slight costume malfunction after an impressive on-stage quick change, she remained completely professional, never breaking character for a second and discreetly addressing the issue. Her confidence and grace under pressure only added to her commanding stage presence throughout. Both the dedication and talent of the entire supporting cast helped elevate the overall show.

The technical aspects of Pippin were truly amazing, creating a visually stunning and magical experience. The lighting was vibrant and perfectly timed, enhancing each scene with bright colors and sharp cues. However, at times, the excessive use of moving lights felt slightly overwhelming for the audience. The set design was impressively accurate and full of color, bringing the magical world of the show to life. However, the platforms, while unique, appeared shaky and potentially dangerous for the actors, especially while dancing on them. Despite this, the technical aspects remained stunning, with each element blending to support the overall story. Overall, the production’s design elements enhanced the performance.

Overall, Cypress Bay High School put on a mesmerizing performance that showed just how much magic they had to do for us!

————————————————————————————————–

By Alyvia Rigg of J.P. Taravella High School

The Circus Troupe welcomes you to the experience of a lifetime. Whether you crave love, attention, thrill, or glory, you will experience the transcendent talent of Cypress Bay High School in their striking production of “Pippin.”

“Pippin,” music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, opened in the Imperial Theatre in 1972. The story follows Pippin, a debut performer of a traveling group of players. As Pippin strives for a new and exciting life, he slowly learns that his entire reality was carefully built around him-all details considered.

The na�ve and wide-eyed young man at the center of the story, “Pippin,” portrayed by Alexander Gomez, was exceptionally talented. Gomez had a fantastic voice; it was charming and radiant. Gomez, in turn, also did an amazing job with his character development. From the need to be something in the world, to wanting to step away from the glamour of it all, Gomez did phenomenal portraying it. Leading the surrounding story, eerily always watching everyone, was Julia Amigorena and Finley Couch as the Leading Players were powerhouses. Their strong and glorious vocals ruminating around the stage along with phenomenal dancing skills, made the story even more interesting, pulling you in.

The Royal Family, all vain and dramatic enough for the entire show to run around them. Charles (Yoav Dahan), Fastrada (Martina Rodriguez) and Lewis (Amogh Abhinanda) were all hilarious while on stage; both together and apart, all actors had incredible facial expressions and comedic timing, along with powerful vocals. Rodriguez, specifically, took Fastrada to a whole other level. Her energy and dance talent were highly entertaining.

The ones to break the story apart, Catherine (Isabel Rodarte) and Thea (Sofia Di Lauro), were exceptional performers. Rodarte had a beautiful voice and strong characterization in her solos and duets with Pippin. Di Lauro did an outstanding job portraying the young Thea. Her acting was great, and her comedic beats were perfectly delivered. Her moment at the end of the show set an amazing tone, ending the show on a high note.

This show would not have been the same without the breathtaking ensemble performers. With fantastic dance moves and smooth, wonderfully executed harmonies. The ensemble was heightened with choreography by Isabel Rodarte and Martina Rodriguez. The choreography was effective and executed phenomenally, especially in numbers like “Magic to Do.”

The circus was brought to life by the incredible technical team. Isabella Cadenas and Jordan Cohen’s stage management job was great. Set changes during numbers were quiet and non-distracting, being done in a smart way. Finley Couch and Ayden Oshins’ make-up and hair were exceptionally done. Specifically, the age makeup done in the show was clear from far in the audience.

When the lights come down and the costumes are stripped away, the truth will ultimately be revealed. The thrilling and eye-catching magic is not missed at Cypress Bay High School’s production of “Pippin.”

————————————————————————————————–

By Afreeca Fullwood of Piper High School

Why settle for “simple joys” when Cypress Bay High School transforms the stage into a dazzling, high-energy circus with their production of Pippin?

Pippin is the tale of a young prince’s quest for meaning, orchestrated by the charismatic Leading Player. First premiering at the Imperial Theatre and winning an astounding 8 Tony Awards, Pippin is a story that continues to captivate with its unique blend of emotional discovery and circus flair.

Taking the iconic role of the Leading Player and splitting it in two, Julia Amigorena and Finley Couch prove that two is, indeed, better than one. Together, they balanced fierce vocals and commanding charisma, seamlessly guiding the audience through the story while exuding undeniable chemistry. Their synchronized energy and dynamic presence made for an electrifying duo, perfectly embodying the role’s theatrical intensity.

Stumbling into the spotlight as Pippin, Alexander Gomez brought an irresistible charm to his clumsy character. His nervous energy and awkward sincerity crafted a delightful portrayal. Gomez captured the audience’s hearts as he evolved from a hesitant dreamer into a confident young man while discovering what he truly wants. His emotional journey was complemented by his scenes with Yoav Dahan as Charles, his hilariously pompous father. Dahan’s regal yet goofy delivery, paired with a comically exaggerated accent and impeccable timing, brought endless laughs, while their strained father-son relationship felt both heartfelt and authentic.

Martina Rodriguez shone as the scheming Fastrada, oozing theatrical pizzazz with every step. Her dazzling stage presence and carefully crafted expressions kept the audience hooked, while her quick-change costume trick was pure magic. Cecelia Bola�os, as Grandma Berthe, stole the spotlight in her lively number, delivering her lines with wit and infectious enthusiasm that had the entire audience roaring with laughter and applause.

The ensemble was the beating heart of this circus. They brought this circus to life with a colorful array of personalities, bold energy and cohesive movements. The ensemble created an immersive experience that shone in numbers like “Magic to Do” and “Finale”, which were equally vibrant and unforgettable. With dazzling harmonies and precise, high-energy dance moves, they elevated the production to new heights.

The choreography, paying homage to the legendary Bob Fosse, was a standout feature. Isabella Cadenas and Martina Rodriguez crafted routines that captured Fosse’s signature flair. The dance moves were dynamic, fluid, and irresistibly captivating. Costumes added another layer of brilliance, bursting with circus-inspired flair and individuality. Fastrada’s quick-change moment left jaws on the floor, while hair and makeup ensured every character looked as vibrant and magical as the production itself.

From its charming cast to its intricate choreography and immersive energy, Cypress Bay High School’s Pippin was nothing short of a theatrical extravaganza�a sparkling circus you’ll never forget!

————————————————-

By Bella Nanavichit of Archbishop McCarthy High School

Journey to and join Cypress Bay High School for their anecdotic performance of Pippin! This cast and crew promise lights, costumes, magic, and a climax to remember for the rest of your lives!

This musical comedy began in 1967 as a student-written production by Carnegie Mellon University’s Scotch ‘n’ Soda club. The show’s development combined the talents of Stephen Schwartz’s music, Roger O. Hirson’s writing, and Bob Fosse’s direction and choreography. It premiered in New York at the Imperial Theatre in October 1972. Pippin is the classic show-within-a-show, featuring a circus troupe presenting their take on the story of Prince Pippin, son of Holy Roman emperor King Charles. The ringmaster, also known as Leading Player, directs and steers both actors and audience towards Pippin’s journey to fulfillment and self-discovery, navigating all possible paths of life.

Starting off strong is, not one, but two Leading Players! The doppelg�nger duo of Julia Amigorena and Finley Couch dazzle and delight, splitting the narrator role evenly and providing strong vocals together and individually as they lead the audience through the show. Alexander Gomez plays the title character with a hilarious naivet� and physicality, emphasizing Pippin’s youth and lack of world experience. He forms strong relationships with each interaction, distinguishing dynamics for each one. The chemistry between Gomez and Isabel Rodarte, playing Catherine, is soft and sweet, carrying on until the haunting end.

Two outstanding performances had audiences roaring with laughter, and we have Martina Rodriguez and Yoav Dahan to thank for it! Playing Fastrada and Charles respectively, Rodriguez and Dahan are exceptionally expressive and specific with every comedic choice made throughout the show. Rodriguez stuns with her sunny solo, keeping a great amount of stamina up during her dance break to deliver clear notes until the end. Dahan consistently keeps the laughter up, utilizing his full vocal range and physicality to satirize the great King Charles. The twist of the century is portrayed beautifully by Sofia Di Lauro as Thea, the daughter of Catherine. Faced with a role, originally “Theo,” being originated by a young boy, Di Lauro is able to keep an honest performance with the gender-swapped role.

The extra-ordinary behind-the-scenes work is something to see! The make-up and hair, done by Finley Couch and Ayden Oshins, read extremely well to the back of the theater, which helps in distinguishing the many ensemble actors. The age make-up on Charles and Berthe was well-defined and appeared natural on both actors, emphasizing both of their comedic facial expressions. Although there was the occasional late cue or off mic, Samuel Gomez managed to mix the many voices onstage to put out a very full sound throughout the theater, especially in huge ensemble numbers.

In the end, parts were performed and hearts were definitely warmed! The audience loved every second, giving a well-deserved standing ovation! (Top)Hats off to this glittering production!

————————————————–
By Isabella Morales of South Plantation High School

The tale of ‘Pippin’ at Cypress Bay High School was full of magic and is certainly a show you will remember for the rest of your life!

From the mind behind ‘Wicked’ and ‘Godspell’, the show ‘Pippin’ was created by Steven Schwartz. The show was first developed when Schwartz was a student at Carnegie Mellon University in 1967. The show ‘Pippin’ hit the Broadway stage in 1972 at the Imperial Theater. Since then, ‘Pippin’ has received much acclaim, including a revival that got ten Tony award nominations with four wins. Guided by a troupe of circus performers and led by the mysterious Leading Player, the musical ‘Pippin’ follows a young prince on his search for his fulfillment and purpose in life.

Played by Julia Amigorena and Finley Couch, the Leading Players brought a stunning dynamic to the stage. With undeniable chemistry and standout vocals, Amigorena and Couch both masterfully played the charming and manipulative role in a way that left the audience entranced. Trying to find his corner of the sky was Alexander Gomez as Pippin. Gomez captured Pippin’s determination and want with ease. His characterization, paired with his smooth and pleasing vocals made for a phenomenal performance from Gomez.

Playing Pippin’s father, the almighty Emperor Charles, was Yoav Dahan. Dahan commanded the stage with his royal presence and commanded the audience with his comedy, constantly leaving the audience in uproars of laughter. Playing Charles’ wife, Fastrada, was Martina Rodriguez. Rodriguez was simply show-stopping in the role. Her powerhouse vocals, precise dance moves, and larger- than- life expressions made her a character you could not take your eyes off of!

As an ensemble, the featured players fully elevated the impact of the show. Their vocals blended well with one another, and their dance was clean. In high energy scenes, the ensemble was very adaptive and had great reactions.

The technical aspects of the show were amazing. The choreography (Isabel Rodarte and Martina Rodriguez) was perfectly tailored to the cast and was rehearsed well. The lights (Debra Toyber and Co.) were innovative and appropriate to the scenes such as the lights turning blue when a river was mentioned or the flashing lights when Pippin stabbed his father. The costumes (Finley Couch and Ayden Oshins) were stunning. The color palette was cohesive, and the quick change for Fastrada was impeccable.

From the performance to the tech, Cypress Bay High School made audiences feel the glory with their magical production.

——

By Bailee Seraphine of Saint Thomas Aquinas High School

After a devastating yet understandable arson at the local Applebee’s, many were experiencing grief and sadness. Luckily, we can be reminded that Everything is Super Great with Somerset Academy Key’s performance!

“Everything is Super Great” is a play written by Stephen Brown. It follows Tommy Flemming, a nineteen year old who works at Starbucks following an arson at Applebee’s. Tommy’s mother books him with a therapist, and he has to discover ways to cope with the loss of his missing brother through letting others into his life.

Gabriel Rodriguez (Tommy) did a fantastic job as the lead. He showed great chemistry with the other characters, and he was not afraid to exaggerate his motions. He was aware of the space he had and used it to his full ability. He was incredibly expressive, and the audience found themselves swayed by his current emotion, whether that be sadness, happiness, or anger.

Secilia Ruiz (Anne) showed Anne’s nurturing yet overbearing nature as a mother. She was hyper and optimistic when her sons were concerned. Every time she was on stage, the audience was ready to be swayed by her motherly charm. She had big physical movements, but her subtle eye shifts were the most expressive and impressive part of her performance.

Alisson Jimenez (Alice) was a perfect depressed goth working at Starbucks. Despite the stereotype, she showed depth in her character. It was interesting to see her progression from a grumpy server to a hyperactive friend to a lost daughter. Although they were all extremes, Jimenez showed natural progression from one stage of the character to the next.

Hector Mejia (Dave) showed the faults and the strengths of Dave. He started as a role model when he tried to help Tommy through his troubles. Then, he progressed into a sympathetic character many could relate to. During his performance, he still managed to support the other characters around him with his portrayal of a caring yet hurting person. He showed incredible chemistry with the others and he felt like the glue that helped connect them all.

The use of make-up (Secilia Ruiz, Alisson Jimenez) during the show was artistic. The clown makeup was unique to every character and it made them all stand out, which shows how much character analysis the team did. The detail of how the makeup would run off the characters faces to show their progression through their grief was a well-executed storytelling choice.

Overall, the show felt like a charming indie film. The creative videos that played in the background during the set transitions helped create that feeling. It was cozy, well put together, and full of passion, and it managed to make the audience laugh during every scene. These four (Gabriel Rodriguez, Secilia Ruiz, Hector Mejia, and Alisson Jimenez), and the other crew that helped, created something truly amazing for such a small team.

In conclusion, Somerset Academy Key used their creativity and passion to create a charming performance of Everything is Super Great.

————————————————-

By Ivy Levine of Coral Glades High School

What do you get when you mix clowns with grief? The Somerset Academy Key’s production of “Everything is Super Great.”

“Everything is Super Great” written by Stephen Brown was produced Off Broadway in 2019. The show Co-Premiered in NYC and at FAU. The story follows the four characters Tommy, Anne, Dave, and Alice, during the holiday times in a small town in Texas. The story shows themes of grief all throughout and how each character deals with it.

One clown dealing with grief is shown through the form of Tommy played by Gabriel Rodriguez. Within the show Rodriguez has great moments with physicality and develops his character throughout in a way that is very clear for the audience to understand. Rodriguez also does a lovely job with leading the story and overall did wonderfully with the other cast members.

Clowns in this story certainly know how to deal with the pressure of the circus that is grief. The character Anne played by Secilia Ruiz is a great example of this. With excellent facial expressions and great chemistry with other characters such as Tommy and Dave, Ruiz appears all throughout to fully love her character and the story.

Whether having his ink-credible detail as a “therapist” or juggling working at Starbucks with taking care of her mother, you can bet that Dave played by Hector Mejia and Alice played by Alisson Jimenez show their nose for talent throughout the play. Jimenez shows during the course of the story the journey of Alice like a growing flower. From going from cold to Tommy to developing a friendship with him. Mejia’s character on the other hand is the total opposite with beautiful physicality and comedic timing, Mejia does a wonderful job with his character and really brings him to life.

It’s hard to put on a circus but the tech team does it very very well. With everything other than lighting, sound, and stage management being done by the cast, the audience is shown how much good a small group of people are able to do. While at times there were moments with sound in which mics could get too loud when the actors were yelling, the stage management done by Tatianna Bethel does a great job with cues hitting them on time. Creativity was also a big part of the show. The idea to put up mini movies and different scenes during scene changes, done by Head in the Clouds Productions, was a great one. The creativity of the show also helps to connect the different scenes together by giving more context to them

So whether you’re working at Walmart, or going to art therapy, you’re going to find a heartwarming story of accepting grief at the Somerset Academy Key’s production of “Everything is Super Great.”

————————————————–

By Broderick Sullivan of Saint Thomas Aquinas High School

Grief! Applebees! Therapy! Pop-Tarts! Star Wars! Hope! Lil Wayne! Pop-Tarts again! These topics only scratch the surface of the wide-ranging hyper-creative performance that was Somerset Academy Key’s production of Everything Is Super Great.

Everything Is Super Great is a play written by Stephen Brown which premiered in late 2019. The show follows a 19 year old named Tommy as he deals with a series of tragedies, including the disappearance of his brother months prior, by engaging in relationships with his mom, Anne, his manager at Starbucks, Alice, and his new therapist, Dave.

Gabriel Rodriguez, who plays the apathetic teen at the center of the story, Tommy, imbued the show with wit, humor, and emotion. Whether he was helping Dave or Alice with their problems or dealing with his own, Rodriguez’s characterization of Tommy embodied the grief and triumph that is peppered throughout the show.

The three other actors in Everything Is Super Great shared the same impressive understanding of the dynamic roles in the play. As Anne, Secilia Ruiz was able to confidently conquer playing the role of grieving mother who is always trying her best. Hector Mejia’s Dave was a comedic highlight of the show, with the personification of his everyman disposition coupled with a lack of direction making him easy to root for. Alisson Jimenez’s portrayal of Alice epitomized the tough exterior but kind personality of the role, who’s deadpan jabs and tumultuous character arc made for a highlight of the performance.

Actors occasionally dropped lines, had trouble with diction and sometimes seemed like they were brought to a point of improvisation. However, the cast’s deep commitment to chemistry and overcoming pitfalls shows resilience and determination above all else.

“Everything” is definitely an apt description of this production, and nowhere is that truer than with the tech work!

For technologies and creativity, the team of Head In The Clouds Productions innovated with this production by introducing video segments in between nearly every scene in the show, as well as being the focal point for some of the main scenes. Nothing was off-limits for this team, whether they were adapting from the script, creating Lynchian dreamscapes and hilarious parodies, or even adding new stories to the plot of the show.

In a show of their dedication, most of the behind-the-scenes work of the production was done by the actors themselves. Attributes like Secilia Ruiz and Allison Jimenez’s ever-adapting clown hair and makeup for the cast, the realistic costumes and props also done by Secilia Ruiz, and the story-driven lighting by Shamya Brown and Head In The Clouds Production showed that even when the overall tech ambitions sometimes outpaced the capabilities of the show, everyone involved had their whole heart in the pursuit of reaching them.

Somerset Academy Key’s production of Everything Is Super Great was a reminder that whether things are looking up or down, love and dedication will see us through.

————————————————–

By Jack Ryan of American Heritage Broward

What happens when grief, holiday stress, and Pop-Tarts collide? Somerset Academy Key’s production of “Everything Is Super Great” may have not been “super great” for its characters — but for the audience? A wild rollercoaster of laughter, heartache, and unapologetic chaos, blending absurdity with profound human moments.

Written by Stephen Brown, “Everything Is Super Great” unwraps the tangled mess of grief and the desperate ways people try to cope — sometimes with alarming amounts of Starbucks lattes or… arson? Tommy, stuck in the limbo of his brother’s disappearance, dodges emotions with caffeine and sarcasm while juggling his overprotective mother Anne, his eccentric co-worker Alice, and Dave — a quirky and unlicensed “art therapist” who all grapple with their own versions of grief. But what may at first seem dysfunctional is, in fact, the cure.

But no one has ever seen a version of the show quite like this. Head In The Clouds Productions ensures Somerset Academy Key’s performance goes beyond the script, adding an extra hour of filmed visual storytelling elements that heighten the emotional core of the show — dream sequences and ad segments galore! The bold choice by artists Alisson Jimenez and Secilia Ruiz to incorporate clown makeup to represent emotional masking is striking, subtly fading as the characters release their vulnerability. Even when the stage is dark, the emotional storyline stimulates curiosity! A simple glow-in-the-dark title card displaying the words “Not Super Great” on the set, serves as a stroke of genius, perfectly encapsulating the play’s central theme: pretending everything’s fine doesn’t make it true.

The sugar rush doesn’t end there, however! The cast delivers performances bursting with authenticity, humor, and planned chaos. Hector Mejia steals the show as Dave, fully committing to the world’s most confident yet wildly unqualified therapist. His energy is infectious — filled with nervous intonations, giddy physicality, and crayon-sharp comedic timing. Gabriel Rodriguez’s Tommy masterfully depicts unpredictability with every temper tantrum but later artistically demonstrates his controlled frustration and empathetic nature. Alisson Jimenez as Alice plays off her co-stars brilliantly, with her reserved and monotonous nature, bringing unexpected comedic reactions to every Pop-Tart-related debate and workplace meltdown. Meanwhile, Anne, played by Secilia Ruiz, delivers a poignant performance as the overprotective mother clinging to Walmart shifts and routine in an attempt to stop her world from crumbling — the car scene, especially, between Anne and Tommy stands out, showing the difficult intimacy between a grieving mother and son.

On the technical side, the production displays waterfalls of creativity through the storytelling via various technical elements. For instance, the lighting design by Shamia Brown and Head In The Clouds Productions shifts from an eerily bright and artificial holiday cheer to somber, muted tones as the characters unravel. The bubble machines and liquid haze were a beautiful touch, representing a dreamlike snowfall to aid the show’s message about the fleeting nature of happiness and the beauty of vulnerability.

Somerset Academy Key’s “Everything Is Super Great” serves as a masterclass on taking risks and crossing the expected boundaries of theater — a bold, inventive, and deeply human production that captures the messy and definitely absurd reality of coping with grief. Instead of the Pop-Tarts, toddler-like drawings, and other coping myths, maybe the real medicine we need is each other all along.

————————————————–

By Abby Goldberg of Cooper City High School

A long time ago, in a galaxy far far away… Somerset Academy Key put on a stellar production of “Everything is Super Great!” Whether it’s wise lessons from Star Wars or Pop-Tart snack secrets, their brilliant rendition teaches an abundance of life lessons, highlighting the power of shared struggles and tasty treats.

Written by Stephen Brown, “Everything is Super Great” premiered off-Broadway in 2019. Set in a small town in Texas during the holiday season, its plot follows Tommy who’s dealing with the recent disappearance of his brother. While his mother, Anne, grieves in her own way, a local barista strives for a better life at home, and the well-meaning “doctor” Dave struggles to forget his past love. Through lightsaber battles, quadruple shot lattes, and unexpected connections, Tommy learns that letting people in, is the first step of letting go.

Portraying the Applebees arsonist with a soft spot for Burger King, Gabriel Rodriguez delivered a vibrant performance as Tommy. His comedic physicality and remarkable characterization brought the felony-loving Jedi to life, as he impressively established excellent chemistry with each actor he encountered. Alongside him, Alisson Jimenez encapsulated the coffee addict, Alice, with just the right amount of sweetness and whipped cream. With each nuanced gesture and expression, she masterfully conveyed Alice’s brewing frustrations and grounded hopes.

With enough lavender aura to brighten up any room, Secilia Ruiz captivated every moment as Anne. Through impeccable line delivery and motherly warmth, Ruiz crafted an incredibly connected character, showcasing her outstanding emotional range. Her dynamic interactions with Tommy emphasized the complexities of love, adding depth and realism throughout. Mastering the art of the Walmart therapist, Hector Mejia’s portrayal of Dave brought heart and humor to the production’s canvas. Painting with the brush of talent, he employed endless energy and expressive movements, splashing watercolor vibrance into an emotionally gray world.

The cast as a whole was phenomenal. Small but mighty, these fabulous four took the stage with the strength of 4 shots of espresso. Crafting individualized characters with unique dynamics, they blended together seamlessly, proving the right mix of laughter and vulnerability can create something exceptional.

The technical aspects of the show beautifully enhanced its storytelling. Just as newfound connections chip away at the masks we wear and walls we build, Hair and Makeup, designed by Secilia Ruiz and Alisson Jimenez, reflected these internal changes through their thoughtful execution. The Head in the Clouds production team worked diligently to write, film, and produce creative screenwriting sequences throughout. Helping to parallel the plot and connect scenes with fluid transitions, this team utilized high-quality visuals and unique cinematography with clear prowess. Each technical element worked cohesively, highlighting the emotional transformation at the core of the show.

The cast and crew of Somerset Academy Key’s production of “Everything is Super Great,” shined even brighter than lightsabers, illuminating the glowing importance of learning to let go.

————————————————–

By Kayley Saavedra of Somerset Arts Conservatory

It’s an old song… it’s an old tale from way back when… it’s NSU University School’s production of Hadestown: Teen Edition, that will be sure to make you feel like you’re “Livin’ It Up on Top!”

Hadestown made its debut on April 17, 2019 at the Walter Kerr Theatre. The show has garnered nearly two thousand performances and is still currently running on Broadway. It tells the story of Orpheus and Eurydice and how love is able to cause someone to go great lengths, despite the odds being against them. Despite its tragic ending, the show highlights how love is a journey with ups and downs and never a straightforward path.

Sofia Casares’ portrayal of Eurydice was nothing short of spectacular. Her emotion behind every word made her performance feel intentional. Casares did an amazing job in her moments by herself, but also with her interactions with others. Additionally, her vocals were as melodic as a songbird, making her a standout amongst the cast. Jack Steinman, who played Orpheus, had great characterization that highlighted the character’s awkward nature. His vocals also helped demonstrate his longing for Eurydice throughout the story.

The one and only conductor of the electric city… Hades (Sam Dyer), truly commanded the stage. It really felt as though he ruled the underworld with the way he presented himself. Dyer’s ability to not only have this strong persona, but to also highlight the character’s vulnerability was a pleasure to watch. Alongside Hades was his wife Persephone (Rubi Katz), who was also a joy to watch. The liveliness of her performance added a layer to her character that was quite entertaining. Together, Dyer and Katz had excellent chemistry that underscored the characters’ unique dynamic.

Hermes (Josh Diaz) had an amazing energy throughout the show. The way he was able to help progress the story throughout the show made him an integral part of the cast. His powerful vocals also captivated audiences whenever he was on stage. The Fates (Lea Boldon, Gabi Diaz, and Lucy Crawford) blended together seamlessly. They were each able to have their own unique flair while still working as a cohesive unit. Each Fate had beautiful vocals and their harmonies were executed fabulously.

The road to hell would not have been possible without the fantastic tech team. David Taylor’s stage management was incredible, allowing for the show to run smoothly which further amplified the storytelling. Sofia Casares and Rubi Katz’ choreography was a crucial aspect of the world building in the show. Their ability to clearly convey the difference between the overworld and underworld through movement was especially impressive. Overall, it was clear that the tech team paid attention to every little detail and their effort shined through.

“We Raise Our Cups” to NSU University School’s production of Hadestown: Teen Edition as they tell a tale that’s bound to pull at your heartstrings.

————————————————–

By Lily Moscowitz of South Plantation High School

Where myth meets music and love meets fate, NSU University School’s production of Hadestown: Teen Edition delivered an exceptionally compelling experience. Brought to life by powerful vocals, lively performances, and a remarkably proficient cast and crew, the story of Orpheus and Eurydice unraveled with heartfelt intensity.

Thirteen years after its conception, Hadestown made its way to Broadway in 2019, quickly becoming an explosive hit, garnering 14 Tony nominations and winning 8, including Best Musical. Deeply rooted in the ancient Greek myth of Orpheus and Eurydice, the show guides audiences to the unsettling underworld, where Orpheus attempts to save Eurydice from a fate worse than death. Blending elements of folk, jazz, and blues, music and lyrics by Anais Mitchell, brings the old story to life with modern storytelling.

With profound emotional depth, Jack Steinman, as Orpheus, conveyed the role’s youthful innocence, notably in the powerful “Epic III.” His dynamic chemistry with Sofia Casares (Eurydice) masterfully captured the complexity of the character’s love and the trials it faces six feet below. Casares’ portrayal of the passionate and vulnerable girl was truly mesmerizing. Her consistently astounding vocals during “Flowers” resonated with pure, heartfelt emotions. Her emotional delivery of the role was an unforgettable element of the production. Nothing short of extraordinary, Josh Diaz’s portrayal of Hermes captured the essence of the character with a phenomenally forceful presence. Stunning vocal moments like his final riff in “Road to Hell” added undeniable charisma to his character. Conducting the electric city is no easy feat, but Sam Dyer as Hades, took it on with intense power bringing a dark energy to the production. His ability to evoke both the menacing and vulnerable sides o
f the character showed a depth within the king of the underworld, which is often under looked. Infusing vivacity and grace into Persephone, Rubi Katz was continuously dazzling. Her spirited performance of “Living It Up on Top” brought an infectious energy, including her radiant dancing.

The Fates, Lea Boldon, Gabriella Diaz, and Lucy Crawford, were stellar in their dynamic harmonies and acting abilities. Performances of “Now That the Chips are Down” and “Doubt Comes In” were exceedingly elevated by their forceful stage presence and seamless coordination. The workers maintained remarkably energy throughout, working harmoniously with the set to create a truly immersive performance. Standouts from the group were Hadley Mantell and Antonia Rincon, who helped to captivate audiences during moments such as “Road to Hell” and “Chant.”

Executed with remarkable creativity and precision, the technical elements of Hadestown: Teen Edition elevated the production to an increasingly difficult level. The choreography, created by Sofia Casares and Rubi Katz, impressively differentiated the real world from the underworld, adding depth the story’s contrasting settings. Sam Dyer and Nicole Janoff’s dramaturgy work was evident throughout the production. Managed by Zoey Connor and Sean Longman, the props were thoughtfully utilized, particularly with Hades’ microphone. The costume designs by Lucy Crawford flawlessly matched the tone of the show, especially through the symbolic look of Persephone’s changing colors. The set designed by Sam Dyer, Karina Lopez, and Jack Steinman, was extremely effective, highly original, and expertly complemented the production’s dark atmosphere. The set was seamless, controlled by the backstage crew, whose head, David Taylor, perfectly called the cues for the entire production.

A captivating production, NSU University School’s Hadestown: Teen Edition’s team of talented and dedicated students brought the timeless tale of Orpheus and Eurydice to life with unforgettable creativity and emotion.

————————————————–

By Brianna De Los Santos of J.P. Taravella High School

If you ride the train to the end of the line, where the sun don’t shine and it’s always shady, it’s there you’ll find NSU University School’s riveting production of “Hadestown: Teen Edition”!

With music, lyrics, and book by the ingenious Anais Mitchell, “Hadestown” is an award-winning sensation that received eight Tony awards in 2019, including Best Musical. “Hadestown” evolved from a concept album in 2010 to premiering at the Walter Kerr Theatre for its Broadway debut on April 17, 2019. It’s a sad tale, “Hadestown” tells the tale of the ancient Greek myth of Orpheus and Eurydice, intertwined with the story of Hades and Persephone. This musical explores themes of hope, love, and loss as we follow the journey of Orpheus when he descends into the Underworld, determined to rescue his soulmate, Eurydice, and finish his song that has the power to transcend the Underworld.

Impoverished, hungry, cold, and desperate for stability is Eurydice, flawlessly embodied by Sofia Casares. Casares blossomed on stage with her heavenly vocals and impeccable character development as she took the audience on an emotional journey. Casares displayed instantaneous chemistry with the son of a muse, Orpheus (Jack Steinman), that only grew stronger as the show progressed. Fueled by love and grief, Orpheus embarks on the treacherous journey to the Underworld, which Steinman captures perfectly through his boundless characterization and gorgeous falsetto.

Ruler of the Underworld is the charismatic yet menacing Hades (Sam Dyer). Commanding the stage with fierce characterization and resonant vocals, Dyer makes the road to Hell seem like an invitation even you can’t refuse. His chemistry with Persephone (Rubi Katz) is well-developed and authentic. Caught between two worlds, Katz wonderfully captures the duality of Persephone’s character as she navigates both the Underworld and Earth, showcasing her unfaltering energy and commendable commitment to her character.

It’s a sad tale, it’s a tragedy, but he’s gonna sing it anyway: Hermes (Josh Diaz), brilliantly narrated this despairing tale equipped with a captivating stage presence and wise vocal inflection. Bringing life to the world above and below is the incredible ensemble! Engaged and present in every scene, the ensemble amplified the emotional weight of the musical while also exhibiting exquisite harmonies and well-executed choreography.

“Pour the wine and raise a cup” for the technical elements that brought this production to life! Fully immersing the audience into the contrasting worlds, “up top” and “down below”, is the set. The set, designed and constructed by Sam Dyer, Karina Lopez, and Jack Steinman, was nothing short of extraordinary, perfectly capturing the hierarchy of the Gods and the mortals through levels. Dramaturgy, executed by Sam Dyer and Nicole Janoff, skillfully incorporated extensive period research and script analysis that was well reflected on stage. Stage management was in good hands with David Taylor as he navigated cues with precision.

Don’t look back, this is one ride you won’t want to miss, as NSU University School’s production of “Hadestown: Teen Edition” brings the road to Hell to life in an exhilarating performance!

————————————————–

By Jake Terl of Cooper City High School

On the road to hell there was a railroad line, and if you follow that dollar you will find NSU University School’s heart-wrenching production of “Hadestown: Teen Edition.”

Based on the tragic tale of Orpheus and Eurydice, “Hadestown: Teen Edition” was written by Anais Mitchell, first as an album (2006), then a musical (2012), eventually premiering on Broadway (2019). Putting a spin on the original myth, the show features lively musical numbers that pop, and dramatic, melancholy ballads. Taking inspiration from Great Depression Era New Orleans, “Hadestown:Teen Edition” is an old song of love and desperation in hard times.

In the role of Orpheus, Jack Steinman showcased impressive vocals and powerful emotions. Steinman honorably played this naive and nervous character, sharing exceptional chemistry with Sofia Casares in the role of Eurydice. Casares’s strong vocals and clear emotion throughout the show demonstrated bold character choices. Steinman and Casares conveyed the story along with their clear diction and committed physical interactions, singing the song of their love.

Josh Diaz (Hermes) served as the narrator of the story with incredibly strong vocals and consistent characterization. Sam Dyer, as Hades, showed fantastic emotional interactions throughout the show. Dyer’s embodiment of the king of “Hadestown” conveyed strong emotions through every scene, whether alone or paired with his wife Persephone. Played by Rubi Katz, Persephone was very lively and energetic. Being one of the funniest people on stage, Katz truly showed superb vocals with her comedic performance. Katz’s captivating chemistry with other members of the cast, especially Dyer, was truly outstanding.

Consisting of fourteen people, the Worker Ensemble took to the stage with expressive dance combinations and eloquent vocals. Presenting harmonies that could be heard clearly from the audience, even during the smallest moments. It’s also worth noting the incredible diction of the Worker Ensemble throughout. “Hadestown: Teen Edition” wouldn’t be the same without “The Fates”. Lea Boldon, Gabi Diaz and Lucy Crawford showed inspirational vocals and harmonies with every turn as the omniscient trio. Even in acapella moments, Boldon, Diaz and Crawford held their harmonies flawlessly.

With a combined total of 846 cues to call, the stage management team of David Taylor and Caroline Ellsley did a paramount job, despite having a lot on their plate. These well-executed cues made for smoother transitions and swift mood or scene changes. Designed by Lucy Crawford, costumes for this show juxtaposed the world above with the one below. Hair and Make-up by Lucy Crawford and Gabi Diaz also helped create this divide between the town on the “Road to Hell”, and “Hadestown.” Showing the brightness of the overworld in contrast to a life wasted away underground.

For an old tale from way back when, that you’ll want to see again and again, you’ll want to go to NSU University School’s breathtaking production of “Hadestown: Teen Edition.”

————————————————–

By Mia Wilson of Cooper City High School

Chugga Chugga! All aboard the railroad car all the way down to “Hadestown: Teen Edition” at NSU University School as the power of a song blossoms into an exhilarating story.

Originating as a song cycle written by Anais Mitchell, “Hadestown” is a world-renowned production that has gained countless recognition for its touching story, being nominated for 14 Tony awards since its 2019 debut. It follows the Greek mythological tale of Orpheus and Eurydice as their love is tested by the god of the underworld, the treacherous conditions of the winter, and worst of all, the dangers of doubt.

Sofia Casares (Eurydice) showcased magnificent characterization and motivation behind every action. Her raw emotion and understanding of her character created powerful scenes that moved audiences. Jack Steinman (Orpheus) exhibited outstanding vocal prowess singing many difficult numbers effortlessly. His strong belts paired with moments of beautiful falsetto were enchanting enough to make spring come again. Together, Casares and Steinman had incredible chemistry that grew throughout the performance creating a heart-wrenching turn from their poetic love to devastating tragedy.

Rubi Katz (Persephone) showcased perfect commitment to character as she showed off her unique and vivid personality. Her flawless musicality and electrifying enthusiasm radiated the bright energy of spring. Sam Dyer (Hades) demonstrated a wide emotional range portraying the omnipotent yet sentimental king of the underworld. He created touching contrast once he shed his despotic demeanor and let his walls down to embrace the love he once let slip away. Katz and Dyer’s undeniable love for eachother bloomed, creating an unforgettable moment of vulnerability and fervor.

As “the hardest working chorus in the gods’ almighty world,” the Workers accompanied each other in perfect sync to create a cohesive and present unit. Their haunting harmonies encapsulated the subjugated underworld while their flawless choreography execution presented impactful images. Standout cast member Josh Diaz (Hermes) told the story through his soulful narrative and captivating vocals. His pristine tone and perfect pitch combined to form wonderful songs such as “Road to Hell.”

Raise your cups to the synergistic technical components of this production which crafted a detailed and harmonious environment. Stage Manager David Taylor ran the show, calling every cue without missing a beat. His precise timing lent to the emotional shifts of the show and gave power to crucial points across the production. The choreography, by Rubi Katz and Sofia Casares, envisioned monumental pictures through their engaging formations and stylistic movement. Their visible contrast between mortal and chthonic atmospheres was clear and showed the intention within every move. Dramaturgs Sam Dyer and Nicole Janoff aided each department in creating authenticity throughout showcased through the unequivocal connection to the Greek mythological world.

“Between your ears, behind your eyes, that is the path to paradise. Likewise, the road to ruin.” As we arrive back to reality and the old song has been sung, remember that doubt can kill, but a melody can sprout a new beginning.

————————————————–

By Alyvia Rigg of J.P. Taravella High School

Can you hold onto your childhood forever? What happens when you start to lose your grip on reality and start slipping into a wonderland of grief and harsh reality? Marjory Stoneman Douglas High School’s production of “Alice by Heart” transports the audience with breathtaking and striking talent.

“Alice by Heart” is a dark but wondrous take on Lewis Carroll’s “Alice’s Adventures in Wonderland.” With music by Duncan Sheik, lyrics by Steven Sater, and a book by both Sater and Jessie Nelson, our story takes place in a tube station in London, during World War II. We watch as an innocent and somewhat blind Alice Spencer divulges herself into the escape of her favorite book. Transporting herself into Wonderland, she is forced to let go of her ill-ridden friend Alfred and come to terms with the harmful truth of growing up.

Naively holding onto her childhood mentality, “Alice Spencer”, portrayed by the wonderful Zoe Schwartzberg, had a gorgeous stage presence. Her soothing voice and potent acting choices made for transcendent character development throughout the entire show, from naive young girl to newly changed young woman. Just like his parallel, the White Rabbit, he is running out of time. Nicholas Lemus (Alfred Hallam) also did a wonderful job, portraying the sickly man wanting to be let go, with a demanding stage presence. Schwartzberg and Lemus had great chemistry, which resulted in heartbreak at the end of the story.

Her jealousy of your youth and beauty may lead to you losing your head, the demanding “Queen of Hearts” brought to stage by the equally demanding Sydney Lotz was a force to be reckoned with. Lotz was a powerhouse, with strong character choices, and a stunning voice with incredible tone. With a strikingly cunning grin, Alanis DeSouza as Cheshire Cat had an exquisite voice, and terrific character choices. The maddest of them all, the Mad Hatter, portrayed by Tahji Garcia, was a remarkable performer. Garcia’s acting and singing radiated on stage.

Zoe Schwartzberg and Ava Fronstin’s choreography was radiant. Bringing Wonderland to life with clean movements and breathtaking lifts. Sydney Lotz and her vocal direction made for crystal clear harmonies that buzzed through the air. All three students and their hard work created a strong ensemble cast, especially in numbers like “Down the Hole” and “Chillin’ the Regrets.”

Starting with a dark and sterile bunker and transforming it into the eerie and highly fanciful Wonderland of Alice’s dreams, the technical elements of this show all worked together beautifully. The make-up design by Leila Zollo, Stella Pappas, and Shani Shtaeinweis was brilliantly done. Just enough makeup was used to see from the audience without being to overbearing. The props, done by Karen Nixon, Rania Ismail, Charlotte Schroeder, and Jules Murphey, had exquisite and appropriate attention to detail.

We will all eventually run out of time. It is what we do with the time we have that matters in the end. “Alice by Heart” at Marjory Stoneman Douglas High School transcends limits, with exceptional talent and artistry.

—–

By Lila De Almeida of Saint Thomas Aquinas High School

Dear, dear. How queer everything is today! When you’re a girl stuck underground during the war, your mind inevitably wanders to Wonderland– and luckily, you know the way there “by heart.” In a world that has lost its head, Marjory Stoneman Douglas High School’s wonderful performance of “Alice By Heart” only grew curiouser and curiouser!

Based on the classic 1865 novel by Lewis Carroll, Alice finds herself in World War II rather than Wonderland in this tale. With a book by Steven Sater and Jessie Nelson, music by Duncan Sheik, and lyrics by Steven Sater, “Alice By Heart” first enchanted London’s Royal National Theatre in 2012, and it earned two Drama Desk Award nominations in 2019. In this take on the fantasy, Alice copes with the harsh reality of the London Blitz and the terminal tuberculosis diagnosis of her best friend, Alfred, by imaginatively transforming their fellow inhabitants of the London Underground station-turned-bunker into the Cheshire Cat, Queen of Hearts, Duchess, and more.

Leading the adventure as Alice Spencer, Zoe Schwartzberg was certainly an expert in all things “Alice-Ness.” She flawlessly portrayed her character’s development from a playful girl to a mature, grief-ridden individual. Nicholas Lemus distinctly characterized the sick Alfred Hallam and the livelier White Rabbit. Together, the two had endearing chemistry and consistent commitment to their respective motivations, not to mention truly stunning vocal talent.

All rise for Sydney Lotz, the Queen of Hearts! It was hard to look away from Lotz’s exaggerated facials and physicality, and when these mixed with her powerhouse riffs in “Isn’t It A Trial?”, everyone was ready to bow down. Another commanding stage presence was Sam Herman as the Duchess, whose swishing skirt and sassy intonation were a comedic highlight of the show. As both Tabatha and Cheshire Cat, Alanis DeSouza exhibited believably feline physicality from her high vantage points onstage. Her vocal talent was nothing short of the cat’s meow.

How can you bring together World War II and Wonderland? No, that’s not one of the Mad Hatter’s riddles; it’s the efforts of the props team! MSD’s well-thought-out props carried significance in both reality and fantasy, such as army helmets doubling as Mock Turtle shells and crutches doubling as Jabberwocky legs. Similarly innovative was the marketing and publicity team’s use of Buzzfeed quizzes and Instagram takeovers!

“We’re all mad here–” especially the ensemble, whose high energy, smooth vocal blending, and physical coordination were truly hypnotizing, especially when they were caterpillars in “Chillin’ the Regrets” or Wonderland residents in “Down the Hole.” Ava Fronstin and Zoe Schwartzberg’s choreography, in addition to Sydney Lotz’s vocal direction, perfectly enhanced the cast’s talent. The MSD band masterfully kept up with all of this madness. Although microphone quality sometimes prevented comedic moments from receiving their proper reactions, the cast as a whole excelled at both spoken and sung projection.

The cast and crew of Marjory Stoneman Douglas High School’s “Alice By Heart” took the audience from 1941 London down, down, down the rabbit-hole — and they did it all without a single stutter.

————————————————–

By Alexis Adler of Cooper City High School

Amidst the chaos of war and grief, stories have the power to reshape reality, turning distress into something unpredictable – a world where grinning cats vanish and turtles weep and mock. In Marjory Stoneman Douglas High School’s “Alice by Heart,” Wonderland becomes more than just an escape, instead a sanctuary where time bends, wounds mend, and imagination extends, leaving us all a little mad.

“Alice by Heart,” with music by Duncan Sheik, book by Steven Sater and Jessie Nelson, and lyrics by Sater, reimagines Lewis Carroll’s “Alice’s Adventures in Wonderland” during London 1941. As bombs fall and her dying friend, Alfred, battles tuberculosis, Alice Spencer retells the beloved tale from memory, transforming those in the bunker into Wonderland characters. Taking the classic and including twists, this dreamscaping musical explores loss, love, and the power of imagination.

When their world crumbles, what does one do? For Alice Spencer, played by Zoe Schwartzberg, she rewrites her own reality. Schwartzberg captivated the audience with her dreamy presence, leading the Wonderland ensemble with grace and depth. Consumed by desperation and defiance, her powerful vocals shone in “Afternoon,” sharing a heartfelt finale with Alfred. Nicholas Lemus, playing Alfred Hallam, brought authentic realism to the ailing boy, balancing acceptance with resilient strength. As both the White Rabbit and briefly the March Hare, he created compelling chemistry with Schwartzberg, their performances rich with vocal ability and a love that defies time.

All hail the Queen of Hearts, played by Sydney Lotz! As the regal, ruthless queen, Lotz’s commanding vocals and flawless diction had the audience’s heads spinning, particularly showcased in her fiery number “Isn’t It A Trial?” Appearing out of thin air, Alanis DeSouza, as Cheshire Cat, mysteriously grins at the madness of it all. DeSouza executed a captivating stage presence of the feline, constantly staying in the moment during her performance. DeSouza’s curious and elusive lines were delivered with impeccable timing, and her sorrow reminded us of the thin line between fantasy and reality.

The Wonderland Ensemble executed intricate choreography and ethereal harmonies in each scene. Every mouse and caterpillar brought individuality to their roles, with their standout moment in the number “Down the Hole.” As Duchess, Sam Herman added audacious comedic timing and vocal inflection to the unhinged character, bringing lightness to the bittersweet narrative.

The technical elements were transformative, amplifying the chaos and enhancing the performances. Choreography, led by Ava Fronstin and Schwartzberg, was a visual masterpiece, each movement precise and meaningful. Vocal direction, mastered by Sydney Lotz, added harmonious depth to every song, infusing the production with emotional resonance. Nothing is ever as it seems, especially with the props, led by Karen Nixon, Rania Ismail, Charlotte Schroeder, and Jules Murphey. They creatively utilized war tools as certain Wonderland objects, such as military helmets as turtle shells, ensuring the blend of reality with dreams.

Follow the white rabbit and believe in six impossible things before breakfast, one of which is the whimsy and heartbreak of Marjory Stoneman Douglas High School’s “Alice by Heart.”

————————————————–

By Abby Goldberg of Cooper City High School

Marjory Stoneman Douglas High School’s production of “Alice By Heart” puts a whimsical spin on a classic tale, inviting audiences to reflect on the passage of time and the power of memory.

With music by Duncan Sheik, lyrics by Steven Sater, and book by Sater and Jessie Nelson, “Alice By Heart” first premiered in 2012. Based on Lewis Carroll’s “Alice’s Adventures in Wonderland,” the show takes audiences back in time to London during World War II. When Alice Spencer’s best friend, Alfred, becomes terminally ill, she encourages him to escape reality by journeying “Down the Hole” to Wonderland. As the line between the reality and Wonderland begins to blur, a once-welcomed distraction tightens its grip, and only one rule seems to thrive: keep turning the pages.

Chapter One: Down the Rabbit Hole. Gracing the stage as the imaginative Alice Spencer, Zoe Schwartzberg drove each page forward with her dynamic character and powerful vocals. She masterfully balanced her character’s playful charm with the weight of impending loss, showcasing a compelling portrayal of grief. Oh My Ears and Whiskers! As Alfred, Nicholas Lemus captured the ticking heart of the story, skillfully embodying the desperation of running out of time. His chemistry with Schwartzberg beautifully served as a painful reminder that even unconditional love cannot overcome the inevitability of loss.

Chapter Two: Off With Her Head! Sydney Lotz’s remarkable portrayal of the Queen of Hearts emphasized her winning hand of talent. With sharp humor, striking facials, and a commanding presence, Lotz proved she reigns supreme. Chapter Three: Madder Than a Hatter. A teapot, a game, and a hat on his head, with Tahji Garcia as Mad Hatter, mischief was spread. Playful mannerisms and comedy so bright, his madness shone with pure delight. Garcia also exhibited tea-riffic chemistry with Ava Fronstin whose portrayal of Dormouse brought impressive dance prowess and synergy.

Chapter Four: We’re All Mad Here. Flowing seamlessly through the whimsical pages of Wonderland, the fluid movement and smooth lifts of the Wonderland ensemble created a visual harmony that beautifully blended the two worlds. The ensemble’s ever-present energy and graceful coordination, added to their engaging performance.

Chapter Five: The Key. The technical elements of the production effortlessly transported audiences into both the crumbling war-torn world and the boundless, imaginative storybook. The props, crafted by Karen Nixon, Rania Ismail, Charlotte Schroeder and Jules Murphey, reinforced the blurred reality of Alice’s world’s through immense attention to detail and meaningful symbolism. The choreography created by Zoe Schwartzberg and Ava Fronstin was exceptional. Combining lifts, fluid movements and inventive formations, the duo brought the cast together as an enchanting, cohesive unit.

Marjory Stoneman Douglas High School’s beautiful production of “Alice By Heart” reminds audiences “it isn’t about how much time we have, it’s how we spend the time.”

————————————————–

By Jack Ryan of American Heritage Broward

Tumble down the rabbit hole and prepare for pandemonium! Marjory Stoneman Douglas High School’s “Alice By Heart” bursts onto the stage with a whirlwind of wonder, weaving together fantasy, heartache, and a kaleidoscope of creativity that leaves audiences spellbound.

Originally premiering Off-Broadway in 2019, “Alice By Heart” reimagines Lewis Carroll’s classic tale through the lens of wartime London. Written by Steven Sater, with music by Duncan Sheik, the show dives into the depths of grief and the resilience of imagination. As the bombs of the Blitz rain down, young Alice and her ailing friend Alfred escape into Wonderland, where love and loss intertwine in a lyrical labyrinth of longing.

At the heart of the production, Zoe Schwartzberg’s Alice Spencer is a beacon of brilliance, balancing childlike charm with gut-wrenching grief. Her vocals soar like Alice’s spirit chasing after hope, carrying the weight of her emotional odyssey with delicate precision. Nicholas Lemus, as Alfred Hallam, delivers a dynamic duality, bunny hopping between fragile humanity and frenzied urgency. Their chemistry crackles in songs such as “Afternoon,” anchoring the whimsical chaos with an unshakable connection, reminding us all why she clings to her beloved story.

The supporting cast brings Wonderland to life with flair and ferocity! Sydney Lotz rules the stage as the Queen of Hearts, her commanding presence and fiery vocals making every scene a royal riot — each line delivered with the cutting edge of a playing card. Alanis DeSouza’s Cheshire Cat prowls with poise, her voice either a haunting hum of mystery or a belting powerhouse, guiding the audience through the madness with her enigmatic grin. Sam Herman’s Duchess delivers belly-laughs with every exaggerated gesture, while Tahji Garcia’s Mad Hatter fizzes with frantic energy, making audiences lose track of time at his never-ending tea party.

The ensemble enchants every corner of the stage, infusing each scene with electric energy. Ellie Rose’s radiant expressions and Tysen Odeh’s raw vulnerability heighten the show’s emotional impact. Choreographers Ava Fronstin and Zoe Schwartzberg explore the limits of human imagination as their dances ripple like pages turning in a living storybook, each movement brimming with boundless imagination — a true “curiouser and curiouser” display of artistry.

Technical elements transform the theater into a dreamscape! Decorated by Alyx Carr and Bridget Hart, the lighting shifts shimmer like a caterpillar’s metamorphosis, seamlessly sliding between gritty reality and kaleidoscopic fantasy. Prop connoisseurs Karen Nixon, Rania Ismail, Charlotte Schroeder, and Jules Murphey crafted clever props: soldier helmets doubling as Mock Turtle shells and paper petals shifting from white to red, add layers of symbolism that enrich the storytelling. Despite occasional microphone mischief, the orchestra’s playful melodies and triumphant fanfares twine flawlessly with the cast’s dynamic delivery, echoing the heartbeats of Wonderland itself.

In the end, Marjory Stoneman Douglas’ “Alice By Heart” is a breathtaking blend of heart and hysteria. Audiences emerge from Wonderland wide-eyed and wonder-struck, their hearts full, minds whirling, and spirits soaring, carrying a piece of the magic back to reality.

————————————————–