By Kasie Cabral of Spanish River High School
An emotional journey into a world of faith, love, and acceptance was brought to life by Cardinal Gibbons High School with their production of The Hunchback of Notre Dame. Everyone in the audience was transported into the heart of Paris under the bells of the Notre Dame Cathedral.
The Hunchback of Notre Dame is a musical with music by Alan Menken and lyrics by Stephen Schwartz. Based on Victor Hugo’s classic novel and the beloved Disney film. The story follows Quasimodo, the kindhearted yet isolated bell-ringer of Notre Dame, who longs to be part of the world beyond the cathedral walls. His life changes when he meets the beautiful and empathetic Esmeralda, who teaches him what it means to be truly human. This musical explores themes of love and the conflict between what is morally right and what society deems acceptable. While these themes are deeply emotional and complex, Cardinal Gibbons High School beautifully captured this story in their production.
There was not one member in this cast who did not shine on stage. One performer who truly stood out was Quasimodo, played by Jacob Miers. Miers’s portrayal of the misunderstood bell-ringer was nothing short of remarkable. Through his expressive voice and physicality, Miers showed the audience Quasimodo’s inner struggle between loyalty and his yearning for freedom. Every one of his vocal performances stunned the audience. The heart that Jacob Miers brought to the role made Quasimodo not just a character, but a symbol of hope and compassion. An absolutely outstanding performance by Jacob Miers.
Another standout performance came from Esmeralda, portrayed by Riley Barrett. Barrett captured the fierce spirit and strength that defines Esmeralda while maintaining her deep empathy and kindness. Her performance was breathtaking. Her versatile voice made everyone’s jaws drop; delicate yet powerful, echoing through the theater with raw emotion. Barrett’s chemistry with Miers’s Quasimodo brought depth and truth to their connection, making their scenes together tender and unforgettable. Riley Barrett brought Esmeralda’s courage and compassion to life with grace and authenticity.
While the cast brought heart and soul to the production, the technical elements truly shined. The use of lighting stood out throughout the show. The scene in which the gypsies threw tomatoes at Quasimodo was executed beautifully. You could see circles of light on him as if there were actual tomatoes. Another impressive moment was when Esmeralda was being lit on fire; the lights perfectly resembled the flames, heightening the emotion of the scene. This lighting design team truly did their best, and it showed through every moment. Amazing job to Maria Villarreal Rojas, Tristan Hott, and Avery Greenblatt.
The Hunchback of Notre Dame is a story meant to make the audience reflect on the meaning of humanity, and that is exactly what Cardinal Gibbons High School achieved. Their production radiated passion and heart in every moment. Congratulations to Cardinal Gibbons High School for producing such a moving and unforgettable musical.
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By Avia Collymore of Coral Glades High School
When “Heaven’s Light” shines and the bells of Notre Dame begin to chime, look out for Cardinal Gibbons High School, whose production of “The Hunchback of Notre Dame” leaves viewers astounded and engaged.
Based on the 1831 novel by Victor Hugo and adapted from the 1996 Disney film, The Hunchback of Notre Dame is a musical with music by Alan Menken and lyrics by Stephen Schwartz. It premiered in North America in 2014 at La Jolla Playhouse, directed by Scott Schwartz. Since then, it has won various local awards and many others, including 10 Tommy Tune Awards from 15 nominations. It follows Quasimodo, a hunchback in 1482 Paris, as he discovers the ups and downs of the world surrounding him, from unbreakable bonds to immeasurable sins.
Longing for a greater life is Quasimodo, played by Jacob Miers. Miers’s strong vocals complement Quasimodo’s emotional range, from his excitement towards the bells to his desire to explore the world. Even when speaking, Quasimodo’s character is apparent through Miers’s portrayal. No matter the scene, he embodied Quasimodo’s posture, keeping the signature hunch. Looming over Quasimodo’s life, Dom Claude Frollo, played by James Lowrey, was impressively intimidating. As he condemns Quasimodo’s curiosity, Lowrey captures Frollo’s powerful persona, making him a truly captivating antagonist. In songs such as “Hellfire,” his presence only intensifies as he battles his resentment towards his own desires. As Quasimodo and Frollo’s distrust for one another grew, their dynamic was intense yet enthralling, thanks to the work of both actors.
Whether dancing for a crowd or standing up for her people, Riley Barrett’s performance as Esmeralda remained enticing. In dance, she captivates crowds with fine rhythm and smooth physicality. When defending herself, her strong speech and demeanor prove inspiring. As Esmeralda’s desire for the world’s acceptance and compassion for Quasimodo begins to show, Barrett’s performance excels, delivering strong vocals and emotional expression. Esmeralda’s kind heart shines through her dynamics with other roles, as her romantic chemistry with Captain Phoebus de Martin (Spencer Levine) and her duet with Quasimodo in “Top of the World” are heartfelt and memorable.
This bittersweet tale was enhanced by the technical aspects. Costumes, designed by Veronica Silva, Alessandra Freeman, Elena Handler, and Victoria Zambrano, stood out for their diversity in appearance yet consistency in time-period accuracy. Outfits clearly matched the personas of each role, especially Esmeralda, as her wardrobe lost vibrance as the story progressed. Lighting, designed by Maria Villarreal Rojas, Tristan Hott, and Avery Greenblatt, was precise and creative, with the red spots used to represent thrown tomatoes being especially impressive. Stage management, including Lucas Himawan, Natasha Pierson, Ariana Cady, and Emerald Hart, did a good job calling cues overall; however, some sound cues could use improvement with timing.
Through strong vocals and excellent emotional deliveries, Cardinal Gibbons High School’s production of “The Hunchback of Notre Dame” will have you sitting on “Top of the World!”
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By Jared Robaina of Somerset Arts Conservatory
Through the roofs and gables I can see it, Cardinal Gibbons High School’s fiery production of The Hunchback of Notre Dame. They take the stage captivating the audience with angelic vocals juxtaposed stunningly with themes of lust and prejudice.
First opening in 2015 at the Papermill Playhouse this musical written by Alan Menken and Stephen Schwartz is an invigorating retelling of the timeless novel by Victor Hugo. The story follows Quasimodo, the deformed bell-ringer of Notre Dame, whose isolation in his tower leaves him yearning for a day out there in the sun; colliding with the fears perpetuated by his master Dom Claude Frollo. When Esmeralda finally shows him the histories he longed for, the musical poses one question: Are we bound by the judgement of others, or do we choose the humanity within ourselves?
Made of everything but stone Jacob Miers plays the central character Quasimodo with unparalleled physicality and characterization. Each limp and crouch reveals more about the character’s reclusive nature; anguished subtitles of a man rejected by the world behind each movement. This is without mentioning Miers’ ethereal vocals which transported the audience into the cathedral with him, each effortless note illuminating unspoken truth. At his side is the promiscuous Esmeralda played by Riley Barrett. Initially, hitting the stage with exuberant choreography this facade slowly breaks down. Barrett does an unbelievable job of revealing Esmeralda’s humanity over the course of the musical. Particularly in God Help the Outcasts where each passionate note pulls in the audience to unmask insecurities that lie beneath the surface.
Igniting the room with a commanding presence is James Lowrey as Dom Claude Frollo. Lowrey’s physicality perfectly complements the two-sided nature of Frollo, seamlessly portraying to the audience the internal battle between religion and desire. Lowery’s thunderous voice reverberated throughout the theater making each bit of infuriation feel candid, particularly within his shifting relationship with Quasimodo which had the audience absorbed into each line.
Behind the scenes of this production the bells were being rang by the outstanding tech team. A particular standout is the costuming done by Veronica Silva, Alessandra Freeman, Elena Handler, and Victoria Zambrano. Through exemplary period research they brought 1482 Paris to life on stage. Every costume down to the ensemble members is a standout with impeccable attention to detail. Not to mention the hand-made Esmeralda dresses which shone beautifully while also capturing nuanced character details. The prop team made up by Sydney Robilio, Hailey O’Brien, Saliyah Aspilaire, and Carl Belonce made the Festival of Fools come to life with their intricate set dressing which skillfully transformed the cathedral to the streets of Paris.
When ambition overcomes fear we find where the heart truly leads us and that is down the road of acceptance, proving that humanity is found within every “outcast”. Brave the hellfire and step under the shadows of the cathedral to catch Cardinal Gibbons High School’s production of The Hunchback of Notre Dame.
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By Bailee Seraphine of Saint Thomas Aquinas High School
Will loyalty keep us trapped, or will loyalty give us the courage for bravery? That is the question explored by Cardinal Gibbons’ production of the tragedy of “The Hunchback of Notre Dame”.
The Hunchback of Notre Dame Musical features music by Alan Menken and lyrics by Stephen Schwartz. It is adapted from the Disney film, which was based on Victor Hugo’s 1831 novel. It premiered in Berlin in 1999, being the first Disney Theatrical Production musical to premiere outside of the United States. It eventually premiered in La Jolla Playhouse in San Diego, California in 2014, bringing the story of Quasimodo and his conflict with loyalty to an English-speaking audience.
Played by Jacob Miers, Quasimodo showcased the struggle between loyalty to an abusive parental figure and a dear friend. His physicality around the stage showed a complex yet open depiction of his conflicting emotions. Esmeralda, played by Riley Barrett, demanded attention whenever she was on stage. Her powerful singing and dancing highlighted her character’s boldness and strength. She had great chemistry with Miers and Spencer Levine, who played Captain Phoebus de Martin. Speaking of Levine, he supported the narrative with his commanding presence and loyalty to Barrett.
The gypsy ensemble was a delight during their musical scenes. Although microphones for this show were cut down, creating a shortage among the actors, the ensemble’s projection alongside sound’s [Nathan Himawan, Mackenzie Canizaro] overhead microphones overpowered this issue, and their singing was still riveting, which is highly impressive considering the live orchestra. When the ensemble wasn’t singing, they showcased a strong but not overpowering presence on stage, making scenes lively.
The costume crew, consisting of Veronica Silva, Alessandra Freeman, Elena Handler, and Victoria Zambrano, showed uniqueness and attention to research. Although the choice for outfits was strict due to the 15th-century France setting, the costume crew managed to make cast members distinct when needed, including the ensemble. The usual muted tones contrasted the gypsies’ vibrant ones, making the groups easily distinguishable. It should also be emphasized that both of Esmeralda’s dresses were designed from scratch and were of high quality. The mixture of purple, gold, and emerald for her main dress made her stand out, which reflects her bold personality.
The lighting, done by Maria Villarreal Rojas, Tristan Hott, and Avery Greenblatt, enhanced the show in unexpected ways that highlighted the team’s attention to detail. The color theory used to create a Heaven-and-Hell vibe intensified every scene, especially when highlighting the wickedness and desire in Hellfire. The period research was also in-depth, even highlighting the difference between typical and poor indoor lighting.
Cardinal Gibbons’ production of “The Hunchback of Notre Dame” is soulful, stirring emotions from their passion and hard work, and showing that courage can produce positive outcomes despite hardship.
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By Jared Robaina of Somerset Arts Conservatory
*Click*, one snap from a camera and that moment is saved forever, a part of a history that may one day be uncovered. The Benjamin School’s production of Here There Are Blueberries forces us to brush the dust off the photo album and stare evil in the face, contemplating how there could be any humanity within it.
Originally written by Moises Kaufman and Amanda Gronich this piece of documentary theater explores the memories of WWII within Auschwitz and calls to question the paradoxical nature of history, the crippling battle of the responsibility to document history but facing the minds of those who may never forget its damage. The Benjamin School is the first high school ever to put on this production and they did so with poised professionalism. They turned their stage into a gallery of human emotion, taking the audience on a journey of staring the uncomfortable in the face, each new memory igniting heartbreak decades later.
Portraying Rebecca Erbelding is Sage Ponchock. Ponchock played the growing fascination with the photo album to a tee. Initially starting with dedication to documentation Ponchock’s characterization and vocal intonation is poetic, each new line revealing her growing enthrallment. Up until each new face, each new piece of the puzzle spelled out heartbreak across the face of Ponchock. Ponchock’s transition into Lili Jacob is impeccable. Her immediate unrelenting German accent and heart-arching grief brought the audience into the album with her; every voice crack and picture shown had the audience in the kind of stunned silence only derived from true human emotion.
The ensemble should be honored for their ability to handle mature material with a level of professionalism that is beyond the repertoire of many high school students. They faced difficult discussion in the face, embodying the essence that makes this play special. Beyond this, with everyone playing several characters their stamina to keep each line weighted with such raw emotion from start to finish is the standout of this production.
The on-stage performers were not the only people bringing this history to life however. The set brought to life by Cami Lencheski, Max Walsh, Devin Farmer, and Besty Farmer felt lived in, each desk and chair perfectly placed to make this chaotic office come to life. Furthermore, the creativity and forward thinking shines through with the set changes that turned the office into a courtroom, a home, and a bar in a matter of seconds. The projections by Lily Eidelman, Ilia Peck, Kayla Ugarte, and Sophia Lapter brought each historical moment to life, their editing making each discovery feel candid as if the audience were exploring with the archivist themselves while also being cleverly used to set certain scenes.
History cannot be altered but how we face it in the present day is up for us to decide. The Benjamin School’s production of Here There Are Blueberries shows us that facing our suffocating past is the first step in growing past it.
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By Gabriella (Ella) Scott of American Heritage Broward
Zoom in on “Here There Are Blueberries,” which was beautifully delivered by The Benjamin School whose students shine as they share the chilling truth of what happened at one history’s most notorious places ever.
Moises Kaufman’s and Amanda Gronich’s 2018 play captures the real story of a Holocaust remembrance museum which receives a donation of a photo from a former World War II veteran; one that contains images of Nazi’s in Auschwitz. Set in 2007, the play debuted in 2022, but The Benjamin School claims the title of being the first high school ever to put on a production of this heart-wrenching play.
Through her powerful portrayals of both Rebecca Erbelding and Lili Jacob, Sage Ponchock did a superior job at telling this impactful story. As the plot progresses, so does Ponchock’s development of Rebecca, as she discovers more and more of the disturbing truth behind the images she studies. It takes a lot of determination to deliver such a challenging and deep character like Lili Jacob, a survivor of the Holocaust, and Sage brings a very realistic approach to her that sends chills down the spines of everyone in the audience. .
As Rebecca unravels the story of the gifted photo album, she is assisted by Sarah Bloomfield (Ava Shawe) and Judy Cohen (Kayla Ugarte). Both Shawe and Ugarte give extremely disturbing and realistic portrayals of their characters. Lucas Sanchez (Rainer Hess) was another standout for his frightening deliverance of a character that has obviously dealt with guilt and trauma due to being related to a truly evil man. He commanded the stage with his deep emotional capacity that left the audience in awe.
It’s also important to bring the Archivists into focus, as they consistently stayed in-character and engaged with the importance of the story. Equally as challenging, the actors play descendants of soldiers working at the camp in the photographs. Despite a few moments with unclear words and enunciation, the ensemble properly portrays deeply mature characters and all deliver their characters with a great amount of grace.
The meaningful story was told through a plethora of images and projections, created by Lily Eidelman, Ilia Peck, Kayla Ugarte, and Sophia Lapter. Seeing the pictures of soldiers on the stage helped the audience engage and be drawn into the events of the play. Another aspect that immersed viewers into this world was the props, crafted by Lily Eidelman, Devin Farmer, and Annabel Brown. Not only were all the props used accurately in respect to the time period, but they also are setting-appropriate and detailed.
At the end of the production, audience members left with moral questions filling their heads and mind-opening insights asking to be further investigated . The cast did a phenomenal job at presenting such a breathtaking story and making everyone realize, without uncertainty, that “No genocide starts with the killing.”
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By Hadley Mantell of NSU University School
“What did they know?” These horrific words mark the fragile line between knowledge and great denial, and in The Benjamin School’s premier production of Here There are Blueberries, the question was explored with a great deal of respect, innovation, and skill, revealing profound historical truth.
Written by Mois�s Kaufman and Amanda Gronich in collaboration with Tectonic Theater Project, Here There Are Blueberries premiered in 2018 at the Colony Theatre, and soon went on to become a 2024 finalist for the Pulitzer Prize! The bone-chilling story dramatizes the U.S Holocaust Memorial discovery of a photo album of Nazi leisure at the most infamous concentration camp in history, Auschwitz. This production exemplified documentary theatre, a theatrical form that utilizes pre-existing documentary material. Notably, The Benjamin School is the first high school in the United States to premiere this production.
Playing the quick-witted Rebecca Erbelding, Sage Ponchock exemplified the strength of her character in every which way. Ponchock truly commanded the stage with her hard-hitting questions and triumphs. Rebecca’s emotional journey throughout the show did not go unnoticed, especially near the finale, where she felt defeated, ready to give up. Sage also delivered a commendable performance as Lili Jacob; her transition between characters was perfectly executed. Alongside Rebecca stood Judy Cohen, played by Ilia Peck. Peck delivered a realistic and commendable acting performance. Portraying the role of Sara Bloomfield, Ava Shawe had perfect enunciation throughout every scene; her diction and stage presence went hand in hand with her extraordinary performance. Additionally, Alex Harris was outstanding as Tilman Toube; his stage presence and acting skills were incredible!
The Archivist ensemble delivered a performance rooted in realism; it appeared as though every member fully understood the severity and importance of their character, with subtle yet important details emerging throughout every scene of the show.
A visually complex show like this demands exceptional attention and understanding. Thankfully, the production team delivered an almost flawless performance! For starters, the Stage Management team, consisting of Betsy Farmer, Anabelle Persson, Emma Eidelman, and Michael Alvarez, did an outstanding job calling every single cue. Their attention to detail was utterly perfect, especially for each projection. The Special Effects team designed perfect images that required extensive research, even though some images were inconsistent with the rest. Creativity was also a standout element; the foley table, designed by Ava Shawe, used various items to create sound effects that entranced audiences. Costumes designed by Isabella Anthon and assisted by Andrew Sergeyev were well-crafted; however, some historical inaccuracies persisted.
The Benjamin Schools’ pilot production of Here There are Blueberries was an incredible experience that asked the questions, What insights can archivists provide for historical and contemporary issues, and in what ways can we utilize history for good?
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By Franceska Escobar of Marjory Stoneman Douglas High School
The photos and stories you’ll hear after The Benjamin School’s performance of “Here There Are Blueberries” will have you jaw-dropped. A poignant yet somber play based on true events from the Holocaust, this unforgettable performance will leave you shaking from how exhilarating and moving it is.
Here There Are Blueberries, written by Moises Kaufman and Amanda Gronich, first premiered in 2018 and later had an Off-Broadway run. For this unique production, The Benjamin School became the first high school in the United States to perform the play. Based on real events, the story follows historians as they uncover the ghastly truths behind a collection of photographs and the tangled lives captured within them. This melancholy yet captivating show highlights the importance of remembering the Holocaust while showcasing the artistry of documentary theatre. It powerfully explores themes of complicity, history, and morality.
Sage Ponchock (a senior at Benjamin) embodied the role of Rebecca Erbelding in an exceptionally natural and engaging way. Her stage presence was unmatched, and her transition into the role of Lili Jacob was remarkably clear. Ponchock’s German accent was impressive, and her chemistry with her peers, especially Ava Shawe. She made every shared scene dynamic and engaging. Shawe’s portrayal of Sara Bloomfield was equally superb. She delivered her dialogue with authority and precision, using her movements and body language to maintain a sense of control while balancing her character’s emotional depth.
Alex Harris captivated the audience with his commanding presence as Tilman Taube. He excelled in delivering emotionally charged scenes, particularly those dealing with family and personal loss. Harris’s chemistry with his fellow cast members was excellent and compelling to watch. One standout scene partner was Lucas Sanchez, whose portrayal of Rainer Hoss was both powerful and emotionally rich. Sanchez fully embodied his character through expressive body language and layered emotion, allowing the audience to witness his frustration and growth throughout the performance.
The technical elements of the show were truly astonishing. The special effects designed by Lily Eidelman, Ilia Peck, Kayla Ugarte, and Sophia Lapter. They stunned the audience with their projections, photo editing, and visual transitions. The technology brought the production to life through its upscale, polished design. Props were another vital element of the show, created by Lily Eidelman, Devin Farmer, and Annabel Brown. Their work, which included detailed recreations of photo albums belonging to Karl Hocker and Lili Jacob, added authenticity and historical depth.
The Benjamin School’s of “Here There Are Blueberries” powerfully portrays the intersection of history and artistry while honoring Kaufman and Gronich’s message about the importance of documentary theatre. This show will leave you deeply moved, and wanting more!
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By Mia Pagan of JP Taravella High School
Who dares call themselves a witch?” One question is enough to send Salem into a spiral of chaos. Everglades High School’s dark and gripping production of The Crucible pulls the audience straight into a world where fear spreads fast and gossip turns into gospel.
Arthur Miller’s 1953 play, inspired by the 1692 Salem Witch Trials and winner of two Tony Awards, follows a group of girls who spark a wildfire of accusations throughout the town. Some lie for revenge, some for survival, and some simply because the crowd listens to them too easily. Their stories trap innocent people, including John Proctor, and the town is left wondering who to trust. Will the girls keep control, or will everything they built fall apart?
John Proctor wants truth, not superstition. Sidney Saulter brought a powerful emotional journey to the character, showing a man who begins by hiding his own mistakes but transforms into someone willing to risk everything for honesty. His tension-filled moments with Abigail Williams, played by Rosaura Medina, contrasted perfectly with his quiet, heartfelt scenes with Elizabeth Proctor, portrayed by Jadelyn Rodriguez, creating two relationships full of depth and conflict.
Mary Warren breaks under pressure. Jada Dorsey showed Mary’s nervousness, fear, and confusion with every expression and shift in tone, capturing a girl who constantly tries to please everyone around her, even when it puts her in danger. Her performance made Mary’s panic and guilt feel painfully honest, highlighting how easily one frightened person can be pulled into something bigger than themselves.
Elizabeth Proctor holds her ground. Jadelyn Rodriguez played Elizabeth with honesty and calm strength, lending the show a steady heartbeat amidst the town’s hysteria. She connected naturally with the cast and brought a quiet emotional weight to every moment, making her scenes some of the most grounded in the production.
Abigail Williams does not forgive, and she definitely does not forget. Rosaura Medina portrayed Abigail with intense confidence, effortlessly shifting between charm and cruelty. Her steady shift into manipulation and obsession kept the audience on edge, as she twisted the truth in ways that made the entire town bend to her will.
The Servant Girls made a strong ensemble, each one bringing her own personality to the scenes. Whether creeping through the woods or stirring chaos in the courtroom, the group felt united, like they shared secrets long before the story began.
The technical work supported everything onstage. The set, designed by Emma Urdaneta and Carlos Armas, utilized simple pieces that smoothly transitioned from home to court to jail, guiding the audience through every change in the story. Makeup and Hair by Cianna Clua added impressive detail, using aging and bruising to show the physical and emotional toll on the characters, making the world feel authentic and heavy with meaning.
Everglades High School’s production of The Crucible demonstrates how quickly fear can transform a community and how one person’s bravery can alter the course of events, even in the face of chaos.
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By Brooklyn Bhim of Marjory Stoneman Douglas High School
Havoc and hysteria, love and lust, all in one small town. “The Crucible” at Everglades High School was truly bewitching!
On paper, “The Crucible” dates back to the Salem Witch Trials of the 17th century; however, its true origins come from a much more recent time. Arthur Miller’s “The Crucible” is a political allegory written to represent the panic of McCarthyism in the 1950s, where intense blame and persecution of those believed to be associated with the communist party resulted in many referring to the time as a “witch hunt,” since it drew similarities to the Salem Witch Trials. “The Crucible” follows the story of young Abigail Williams, as she and the other women of the village are condemned for suspicion of being a witch. Abigail leads the other young ladies in manipulating the town to deflect blame from herself and seek vengeance against her paramour, John Proctor.
Shakespeare once begged the question: “What’s in a name?” To John Proctor, played by the wondrous Sidney Saulter, it’s all he has been, and all he will be. It’s his dignity. As a first-time actor, Saulter’s performance showed a clear evolution of maturity and descent into madness, the actor delivering each line with precision and clarity. The complicated chemistry between John Proctor and the wily Abigail Williams is difficult to achieve, yet Sidney Saulter and castmate Rosaura Medina played the illicit pair with ease. Medina’s dedication to her character enhanced the plot exponentially, whether she was screaming, collapsing, or merely holding her head down to reflect the perception of 17th-century women; Rosaura Medina never strayed from her character.
There’s more than meets the eye in Salem, and Jada Dorsey as Mary Warren used even the moments where no performer could see her to bring her character to life. Dorsey stayed invested in each scene and used her body language to convey anxiety, while maintaining high energy and stamina. Starting the show strong was Aminata Anyabwele as Betty Parris, whose raw panic made an impact that stuck long after her shining moment. While some actors occasionally struggled with diction, projection, and understanding their stakes, they worked diligently to apply themselves and make themselves heard without access to face microphones. In all, the cast exhibited an excellent understanding of the setting and bonded well.
The technical team at Everglades High School must know witchcraft, because their efforts sent theatergoers flying back to Salem! Emma Urdaneta and Carlos Armas designed a minimalist set that transported viewers back to the 1650s without overpowering the scenes, while directly reflecting the simpler, Puritan times and the minimal private ownership in those regions. Similarly, Fredericka Francois and Matthew Bailey’s prop work was simple and practical; the actors behaved naturally and realistically with each other. Although some aspects of the production shied away from the period and location, the overall execution was magical.
One thing is sure: there is no dark magic needed here. “The Crucible” at Everglades High School was purely entrancing!
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By Avia Collymore of Coral Glades High School
In the wooden courts of Salem, Massachusetts, lies a question: Is Everglades High School guilty of witchcraft? If you asked the audience, the answer would be a clear yes, as their production of The Crucible was spell-bindingly good!
The Crucible is a 1953 play written by Arthur Miller. It first premiered at the Martin Beck Theatre on Broadway on January 22, 1953, and won the Tony Award for Best Play that same year. The production received multiple revivals, including a 2002 and 2016 Broadway revival that garnered several Tony nominations as well. Later, it was adapted into a film of the same title in 1996, which earned Miller an Academy Award nomination for Best Adapted Screenplay. The story serves as an allegory for the anti-communist hysteria of the 1950s McCarthy era, conveying a dramatized version of the 17th-century Salem witch trials. It follows John Proctor as he confronts the deceptions of Abigail Williams, who makes several witchcraft accusations to avoid persecution.
Despite this being his first role in any production, Sidney Saulter excelled in making his voice heard. John’s assertiveness when facing others, especially when refusing to allow his name to be slandered, was consistently apparent. The deceptive yet entertaining Abigail Williams was truly brought to life by Rosaura Medina. As she fluctuates between Abigail’s innocent facade and her proper menacing form, Medina’s characterization remains on point, delivering a truly memorable performance. Together, the two skillfully capture the complex relationship between Abigail and John, particularly during the forest scene in Act 2.
The courts decided that many other actors are also deserving of praise. Jada Dorsey raised tension in her role as Mary Warren and maintained exceptional diction despite the lack of individual microphones. Even when not speaking, Dorsey remained engaged with the play’s intense atmosphere through her emotional expression. Elizabeth Proctor, played by Jadelyn Rodriguez, excelled in her many dynamics, particularly when confronting John. Through gut-wrenching cries, Aminata Anyabwele was truly phenomenal as Betty Parris. When lying unconscious, Anyabwele showed true dedication by remaining perfectly still. During hallucinations, she captivated audiences with loud, dramatic performances, making her role memorable and entertaining.
The technical aspects of the production truly kept the stakes high. Stage management, done by Samantha Rumbaut, excelled in silent set transitions. The sets, crafted by Emma Urdaneta and Carlos Armas, had a great minimalistic appeal. Hair and makeup, done by Gianna Clua, were 1600s-accurate and visually appealing overall. Sound, handled by Savannah Hunter and Aliyah Humphrey, did a great job with volume despite the lack of individual microphones. However, cast members could have improved by maintaining stronger diction.
The court has confirmed: based on the evidence of their excellent production of The Crucible, Everglades High School is guilty and must be punished with a roaring round of applause!
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By Abigail Bejarano of Marjory Stoneman Douglas High School
Centering around a world consumed by panic and suspicion, and through intense storytelling and precision, Everglades High School’s production of The Crucible transported viewers through time, turning a historical tragedy into a reflection of human behavior in the 1600s and the haunting consequences of unchecked accusations.
The Crucible, written by Arthur Miller, premiered on February 20, 1953, and subsequently served as a powerful message against the anti-communist hysteria of the McCarthy era. Set in the 1600s during the Salem witch trials, this production follows a community overruled by accusation, fear, and the power of paranoia. The play centers around the devastating consequences of false testimony and the dangers of a community fueled by fear. Upon its debut, The Crucible won various awards, including the Tony Award for Best Play, Best Featured Actress, and Best Author. Today, it serves as a timeless warning about the fragile nature of truth.
Rosaura Medina, embodying the spirit of Abigail Williams, gave no less than a remarkable performance. Medina had no trouble seamlessly shifting from innocent to manipulative, thanks to her compelling emotional range. Alongside her was John Proctor, portrayed by Sidney Saulter, who delivered a powerful performance, marking his first theatre role. He used intense physicality to convey the character’s strength and moral struggle�the two actors, side by side, added intensity to key scenes due to their notable chemistry.
Another noteworthy portrayal was found in Mary Warren, played by Jada Dorsey, giving a commendable performance. While fully embodying her uncertainty and tension, and using precise articulation, Dorsey had no trouble creating an authentic presence throughout the play, skillfully drawing the audience’s eyes through every step on stage. Overall, each cast member delivered a memorable portrayal, leaving a lasting impression on each audience member, especially impressive given that many of the cast members were in their first theatre production.
Everglades High School’s technical elements were notably impressive and well-executed. Although no actors had individual microphones, each was exceptionally clear due to the use of overhead microphones. The set design, hair, makeup, and props teams all worked together seamlessly, transporting the audience through time and to the 1600s, adding significant realism to the production. Not to be left out, the Marketing and Publicity team, consisting of Rosaura Medina, Samantha Rumbaut, and Kingston Minors, played a crucial role behind the scenes, creating a trailer that showcased key elements, with their creativity contributing significantly to Everglades High School’s performance of The Crucible.
Ultimately, Everglades High School’s production of The Crucible captivated the audience from start to finish, creating an impactful experience rooted in haunting history. With a commanding presence on every level, this production left an unforgettable message, reminding viewers of the enduring power of truth, bravery, and human conscience.
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By Avery Garfinkel of Cooper City High School
All aboard! Enjoy your stay at Dr. Joaquin Garcia High School’s riveting production of “Murder on the Orient Express”. With transfixing twists and turns, this gripping tale reminds audiences to always keep one eye open.
Adapted from the classic mystery novel by Agatha Christie, “Murder on the Orient Express” written by Ken Ludwig, first premiered at the McCarter Theatre on March 14, 2017. The plot follows an atypical group of train passengers after a murder derails their peaceful ride, where one determined detective is on a mission to fix their train wreck, only to be faced with a revelation that stops him in his tracks.
Journey Collazo as Hercule Poirot was a breakthrough! Collazo’s one-track mind kept the story chugging along clearly even through complex stage business and crazed chaos, conducting the story with ease. Alongside her, Elio Fantauzzi kept the wheels turning as Monsieur Bouc! With dynamic vocal inflections, expressive reactions, and a clear train of thought, Fantauzzi powerfully commanded the stage, adeptly using his platform for greatness. Collazo and Fantauzzi’s friendship stood out throughout the narrative, presenting realistic and engaging chemistry at full speed.
Lights, camera, and thrilling action! The absurd actress Helen Hubbard, played by Lysandra Rodriguez, exuberantly graced the stage, taking audiences on the ride of their lives. Her impeccable stage presence and extreme hilarity were incredibly captivating, and her ability to craft realistic connections was first class. The height of Russian nobility, Madison Howell as Princess Dragomiroff was true royalty. Using committed physicality and perfectly timed comedy with each step she took, Howell exquisitely drove home her mastery of performance.
The Suspects were sharp enough to kill! With remarkable spatial awareness, synchronization, and dynamic characters, The Suspects’ engaging nature and cutting edge comedy were a dead giveaway of their genius. Their individualized personas left audiences breathless, expertly blending their distinct characters together to create a deadly unit. While at times diction faltered, they skillfully covered their tracks with their captivating chemistry. Proficiently bouncing off of each other in each suspenseful scene, these 8 actors should be commended on their killer performances.
The technical crew was chock-full of “engine-uity”. The set, designed and constructed by Taylor Fossen, Antonio Nasr, Aria Roedsens and Crew was true brilliance. The seamless transitions allowed for a smooth ride, causing no delays for the hasty passengers. Additionally, the architecture was divine, perfectly encapsulating the time period. The multitude of skills from this amazing crew are hard to keep track of! Projection Design, also by Fossen, fantastically executed a multitude of stunning images that uniquely guided the story. With exact and extraordinary projection mapping, these technical elements artfully transported audiences into the world of the 1930’s.
As we reach our final destination, Dr. Joaquin Garcia High School’s enthralling performance of “Murder on the Orient Express” proved it was surely worth the ticket. With romance, comedy, and a swinging soundtrack, it was clear that this production was to die for!
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By Alexis Adler of Cooper City High School
Climb aboard the luxurious, opulent Orient Express, destined from Istanbul to Western Europe! Take a riveting journey with a stray button and murderous revenge to Dr. Joaquin Garcia High School and their ingenious production of “Murder on the Orient Express”.
The crime was first solved by Agatha Christie in her 1934 novel “Murder on the Orient Express”, then adapted for the stage by Ken Ludwig in 2017. Set in the 1930’s aboard the Orient Express, eight suspects are accused of the murder of Samuel Ratchett, also known as the man who murdered young Lily Armstrong years prior. Vacation-deprived detective Hercule Poirot must solve the case, while revealing the strange connections each passenger has to the girl.
With razor sharp abilities, Journey Collazo flawlessly took on the case of the mysterious murder aboard the train. As detective Hercule Poirot, Collazo represented the methodical leader and maintained clear diction through her notable French accent. Through interviews with the suspects, Collazo delivered an astute concluding discovery of the vengeful murderer — or murderers. As his right hand man, and director of the Orient Express, Elio Fantauzzi stole the show with timely antics and energetic presence. Playing Monsieur Bouc, he demonstrated criminally authentic reactions and insights throughout each investigation with Collazo. Together, Collazo and Fantauzzi engagingly progressed their prior friendship, delivering hilarious chemistry and storytelling.
A handkerchief was found embroidered with the letter H! Could it belong to Helen Hubbard, the arrogantly nosy woman? Played by Lysandra Rodriguez, she delivered commendable diction and added well-timed comedic moments, commanding every compartment. Aboard the train, alongside Hubbard, was the exiled Princess Dragomiroff, played by Madison Howell. Shuffling her way through the carriages, Howell maintained consistent elderly physicality that was both amusing and entertaining, adding charm to the twisted journey of the Orient Express.
Where were they between the times of 12-2 last night? The Suspects collectively chugged along with synchronization and distinct characterization, expanding on their different cultures, accents, and physicalities, crafting the — almost — perfect crime. They evidently felt comfortable with their unified movements and balanced staging, while keeping the truth well hidden. The root of the murder was a standout in the plot of revenge. As Samuel Ratchett, Jeremy Garza notably remained frozen in his compartment throughout his scenes, maintaining the authentic feel of his brutal end.
The true detectives of the case were the ones who built the Orient Express! The technical elements as a whole brought justice to the suspense on the train, through immaculate ambience and moving platforms. The train itself, constructed by the set team, took immaculate inspiration from the architecture of European train stations, while also utilizing their skills to move the set throughout transitions. The hair and makeup team creatively blended time period accuracy and age makeup to fashion the characters to their culture.
By the final stop, the mystery is solved and suspects are revealed, but Dr. Joaquin Garcia High School is guilty of a performance that stays on track long after the curtains close.
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By Juliana Priddy of AW Dreyfoos School of the Arts
A swirl of snow, a hush of tension, and a train full of strangers frozen in place. Dr. Joaquin Garcia High School’s production of “Murder on the Orient Express” opened like a puzzle box waiting to be unlocked.
Written by Ken Ludwig and adapted from Agatha Christie’s celebrated 1934 novel, “Murder on the Orient Express” follows world-renowned detective Hercule Poirot as he boards the luxurious Orient Express for what should be a peaceful journey across Europe. When a murder occurs overnight and the train becomes stuck in a snowdrift, Poirot must interrogate a cabin of travelers hiding secrets. As shifting stories collide with buried truths, the mystery tightens until every passenger becomes a suspect.
Dr. Joaquin Garcia High School presented a production filled with confidence, style, and strong ensemble unity. The pacing remained sharp and purposeful from start to finish. In an extraordinary moment, the entire sound system abruptly shut down, yet the cast continued with impressive professionalism, relying on clear projection and committed acting choices. Their dedication kept the story moving without missing a single beat of suspense.
Journey Collazo brought remarkable elegance and precision to the role of Hercule Poirot. Collazo’s intentional physicality, calm stillness, and focused gaze captured the detective’s careful intellect. Their gentle humor and well-timed reactions added charm to a character known for his meticulous nature. As Monsieur Bouc, Elio Fantauzzi delivered a warm, comical performance, filled with expressive reactions and joyful Belgian commentary. His enthusiastic “oo la la” quickly became an audience favorite. Together, Collazo and Fantauzzi formed an engaging pair with strong chemistry.
The supporting cast contributed a wide array of personalities to the train. One particularly memorable performance came from Lysandra Rodriguez as Helen Hubbard. With her lively southern accent, quick comedic instincts, and bright stage presence, Rodriguez made the character instantly engaging. Her bold reactions, determined nosiness, and playful energy brought humor to several tense scenes. While Hubbard may not be a queen by title, Rodriguez’s confident performance made her shine like one. The rest of the ensemble added strong accents, expressive reactions, and clear physical storytelling that enhanced the momentum of each interrogation. Smooth transitions and teamwork supported the overall polish of the production.
Technical elements added sophistication to the performance. The Art Deco-inspired set featured sliding walls and hidden compartments that allowed seamless changes between train cars. Atmospheric projections and focused lighting highlighted key moments. Costumes and makeup created an elegant 1930’s aesthetic, while realistic props, including real liquid in cups, added authenticity.
Stylish, suspenseful, and performed with wholehearted dedication, Dr. Joaquin Garcia High School’s “Murder on the Orient Express” proved that even a snowstorm and a sound system failure cannot stop great storytelling. From the first clue to the final reveal, the production kept the audience captivated until the last moment.
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By Emily Wang of Cooper City High School
From the moment Dr. Joaquin Garcia High School’s production of “Murder on the Orient Express” chugged into view, it was clear the audience was on a fast track to a play of suspense, deceit, and a bit of foul play.
Amidst a merciless winter snowdrift, twelve passengers board the glamorous Orient Express and find themselves trapped not only by the unrelenting elements but by the chilling discovery of the cold-blooded murder of Samuel Ratchett. As whispers slither down the velvet-lined corridors, renowned detective Hercule Poirot steps forward to conduct an investigation as intricate as a rail map. Adapted from Agatha Christie’s 1934 novel and brought to the stage through Ken Ludwig’s 2017 dramatization, this classic whodunit is transformed into a captivating, tightly woven nest of a theatrical murder mystery.
A mustache so flamboyant that it’s seemingly capable of solving mysteries all on its own could only be befitting of a man as sharp-witted as detective Hercule Poirot! Journey Collazo as the acclaimed sleuth offered crisp Belgian inflection, expressive physicality, and a comedic flair that reflected an investigator whose intellect was formidable yet humorous. Collazo believably mastered the mannerisms of an aged detective while guiding the audience through the labyrinth of lies with no exhaust in sight. Collazo engaged the crowd and commanded the stage as the lead, elevating each twist and turn.
Providing vibrant bicker was the ever-memorable Helen Hubbard. Portrayed by Lysandra Rodriguez, her larger-than-life presence added both levity and unpredictability to the narrative. Her performance brimming with impeccable comedic timing, resonant clarity, and a touch of quirky dance moves evoked the bold matriarchs of Golden Age cinema. Getting swept off his feet was Elio Fantauzzi as Monsieur Bouc. Fantauzzi brought both magnetic stage presence and effortless charm to the dynamic. Together, these two gave the play an unconventional yet rollicking dash of swashbuckling chemistry.
The ensemble of suspects enriched the story with distinct personalities and skillful navigation through the tangled intricacies of each passenger’s storyline. Emily Huhn as Countess Andrenyi carried herself with an icy poise, sharpening each line with lucidity while Madison Howell as Princess Dragomiroff and Vivienne Olivera as Greta Ohlsson showcased true camaraderie through exemplarily timed remarks. The suspects maintained a taut sense of unpredictability, creating a steady stream of dramatic tension and mystery.
Behind the engines, the technical artists fortified the production. Marketing fueled the momentum while special effects brought sudden shocks to life. Makeup and hair added believable age accuracy; sound echoed every rumble and jolt. Props supported the storytelling and lighting sculpted suspenseful shadows. Costumes dazzled with time period charm, the set convincingly captured the opulence of a luxury train, and finally, stage management kept the production on track with every cue. These elements, in unison, gave the locomotive its driving force.
Ultimately, as Hercule pieced together the puzzle and every clue clicked neatly into place, the verdict was clear: the cast and crew of Dr. Joaquin Garcia High School’s “Murder on the Orient Express” was guilty of delivering a first-class performance.
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By Kenny Gervais of Cooper City High School
Love, you can’t help it can you? Archbishop McCarthy High School’s farcical production of “The Servant of Two Masters” was filled with a heartwarming hilarity that left audiences hungering for more!
Set in the serene environment of Venice, Italy, “The Servant of Two Masters” was originally written by Italian playwright Carlo Goldoni in 1745. Adapted in 1980 by Tom Cone, it stays true to the original story with newfound modern influence. Utilizing the theatrical style of commedia dell’arte, it depicts an impulsive servant who, after falling victim to his persistent hunger, tests his ability to serve two masters unbeknownst to them. Through heightened emotion and humorous dialogue, the play explores themes of mistaken identity, love, and deception.
Conducting rambunctious laughter from the audience, Ernesto Fernandez gave a flavorful performance as the mischievous Truffaldino. Fernandez’s physical and verbal comedy was deliciously crafted through his crisp line delivery and decadent stage presence. Consistently stirring the pot, his intricate character interactions, even in background moments, were marinated in professionalism. Bestowed with a love that’s never lived, Julia Gouldthorpe embodied the bittersweet Smeraldina scrumptiously. Opening the show with comedic ingenuity, Gouldthorpe’s hearty expressions and substantial stamina blended smoothly to develop Smeraldina’s strong-willed, yet vulnerable personality. Crafting the perfect recipe for love, Fernandez and Gouldthorpe’s comedic chemistry was delectably tender, leaving audiences with their hearts, and bellies, full.
Proving that status doesn’t matter when your heart is true, Matthew Domenech gave an elevated performance as the youthful Silvio Lombardi. Domenech’s heightened reactions and high-pitched inflection was a towering feat, allowing him to establish eminent interactions and relations with fellow castmates. Caged in her father’s ideals, Sofia Cabrera embodied Clarice’s melodramatic character through her comedic delivery and emotive expressions. Together, Domenech and Cabrera carefully built their complex romantic chemistry through every embrace, argument, and revived ex-fiance.
Serving up a spectacular performance, the cast of “The Servant of Two Masters” was hysterical! Utilizing their limited black box staging, the cast comedically interacted with audiences while maintaining unfaltering characterization, proving to be an impressive feat. Their solidified chemistry as a unit was energetic and purposeful, maintaining a steady pace through the gradual building of chaotic stage business.
Setting the table for the production, the technical elements were piping hot! All technical aspects were cohesive to the 1900’s time period, a tribute to Sofia Cabrera and Sara Ramon Fernandez’s dramaturgical research. Props designed and constructed by Callie Green and Leira Martinez provided comprehensive comedic effect through purposeful utilization and thorough attention to detail. Calling a multitude of cues with flawless precision, the Stage Manager, Allie Lynch, ensured a steady flow through smooth, efficient transitions.
Archbishop McCarthy High School’s chaotic production of “The Servant of Two Masters” emphasizes the importance of being one’s true self and living life meaningfully, for it’s got to be simple but complete enough to take you through. Enjoyably, that is. That’s amore!
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By Gavin MacArthur of Cooper City High School
With a wedding gone wrong, a servant literally fighting hunger, and deception so intricate, it confuses its maker, Archbishop McCarthy High School’s hysterical rendition of “The Servant of Two Masters” will never be forgotten.
“The Servant of Two Masters” is an Italian commedia dell’arte style play written by Carlo Goldini in 1746. Tim Cone’s more modern adaptation remains faithful to the genre, encouraging improv, consistently breaking the fourth wall, and using slapstick humor to secure its charm. The play itself follows Truffaldino, an ever-starving servant as he attempts to serve two masters at the same time. Although, the eccentric man thoroughly underestimates the difficulties this presents, as he is forced to weave a labyrinth of lies to emerge unscathed from numerous interconnected, kooky characters.
With talent as bottomless as his stomach, Ernesto Fernandez (Truffaldino) stole the show with his professional-level talent and bountiful charisma. While his character may have been a servant, Fernandez is a master of physical comedy. Whether employing hilarious modern improv or interacting with the audience, Fernandez never ceased to invoke a deafening uproar of laughter. His commanding stage presence, ability to remain in character, and seemingly boundless stamina left the audience utterly speechless.
Portraying Truffaldino’s equally zany love interest, Julia Gouldthorpe (Smeraldina) kept the audience in stitches right from the start. Through expressive facial expressions and precise enunciation, Gouldthorpe stood out both on her own, and in conjunction with Fernandez. The duo’s flawless chemistry adorably mirrored authentic romance, akin to the heartwarming pair of Sofia Cabrera (Clarice) and Matthew Domenech (Silvio Lombardi). Cabrera and Domenech exceptionally depicted their over-the-top relationship with hilarity and grace, a paragon of this performance’s strongest aspects.
Together, the cast demonstrated immense prowess throughout numerous feats of genius in this production. The pacing was optimally swift, and the chaotic nature of the plot was executed with brilliant elegance. Each actor played into the commedia dell’arte style beautifully, enlisting precise comedic timing and a dynamic camaraderie for exhilarating jocular effect. The cast overall made great use of the space provided, using it to their advantage to create an even more hilarious environment.
Marvelously masterminding the mayhem, the technical aspects of this production remained remarkably quiet amidst the boisterous on-stage happenings. Especially in a black box theatre, backstage silence is integral, and the crew remained perfectly hushed. Additionally, across all aspects, time-period accuracy remained consistent thanks to Sofia Cabrera and Sara Ramon Fernandez’s intricate dramaturgical research. This prominently showed through Sara Ramon Fernandez and Leira Martinez’s make-up and hair designs, as well as their executions. The age make-up made cast members appear considerably older, even in such close proximity, a testament to the adroit nature of all involved in this jaw-dropping show.
When the dishes have been served and truths are revealed, Archbishop McCarthy High School’s intoxicating production of “The Servant of Two Masters” proves that love triumphs through it all.
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By Alexis Adler of Cooper City High School
What’s so wrong with shrinking the truth? Having two masters to feed a desperate stomach? As long as they never meet, all is well! Archbishop McCarthy High School’s production of “The Servant of Two Masters” serves up a whirlwind of chaos, comedy, and flawless timing.
Written by Italian playwright Carlo Goldoni, “A Servant of Two Masters” serves as a comedy that draws on the tradition of the earlier Italian commedia dell’arte. Set in Venice, Italy, the story follows a hungry servant named Truffaldino who tries to serve two masters at once for more food and money, leading to a chaotic mix-up of mistaken identities, clever disguises, and romantic entanglements.
As the heart of the chaos, Ernesto Fernandez kept the audience well-fed with laughter! Playing the impulsive Truffaldino, his energetic and hysterical performance was demonstrated by a dominant stage presence and boisterous physicality, creating a comical feast of deception. Fernandez’s engaging storytelling through monologues was flawless, juggling the lie of two masters cunningly. His commendable ability to maintain character through audience interactions brought the play to life, transforming a stage of confusion into a room of comedic brilliance.
With a wit sharper than mayhem, Smeraldina enters with confidence and an undeniable charm. As Smeraldina, Julia Gouldthorpe preserved a commanding stamina as an active servant, captivating the stage with eloquent expressions and clear enunciation. Sitting beside Fernandez, struggling to read together, they blossomed an authentic romance that blended the comical tone with serious chemistry. Storming onto stage with wedding bells in her head, Sofia Cabrera perfectly conveyed the bubbly, passionate heroine in love. As Clarice, Cabrera kept an expressive character through strong facial expressions and immaculate hilarity, shaping the genuine relationship with Silvio, played by Matthew Domenech. As the hopelessly devoted lover, Domenech stole the stage with witty line delivery and high vocal inflections, a masterful melodramatic portrayal.
Even though one master may be too many, the cast as whole had a masterful performance! Their collective range of expressions, mixed with deceit and ridicule, and an impeccable understanding of their lines created more depth into the absurdity. The cast’s utilization of the space, set, and props, alongside powerful projection, filled Venice’s canals, drowning in delightful skill and precision. Inside the Brighella’s Inn, Nicholas Nasca is dragged into the hysteria of the crazed servant and his two masters. Playing Vittorio, his featured performance was a standout, bringing exuberance to the inn’s kitchen and red-faced struggle of carrying bags.
In a show defined by frantic energy, the technical elements were able to calm the storm through smooth transitions and creative props. Sound design, constructed by Laura Flores, fabricated the ambience of Italy, helping shape seamless transitions with attention to detail cues. From pig heads to pieces of bread, the props, orchestrated by Callie Green and Leira Martinez, were crafted with meticulous ability, enhancing the performance with a touch of mischief.
As the curtains close, the true master is revealed: the actors and crew of Archbishop McCarthy High School’s production of “The Servant of Two Masters!”
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By Gabriel Cadet of Somerset Arts Conservatory
Grab a chair, pop some champagne, and fetch a waiter…or preferably a servant at Archbishop McCarthy High School’s hysterical production of The Servant of Two Masters, as they invite you to become a part of slapstick madness (literally)!
First performed in 1746, Goldoni’s classic commedia dell’arte farce revels in the chaos of mistaken identities, star-crossed lovers, and the bottomless appetite of one man caught in the middle. The play is a masterclass in comedic timing and physical humor and the cast and crew delivered this and more, transforming their stage into a vibrant Venetian piazza worth the grace of the starvingly, beautiful Truffaldino.
Played by Ernesto Fernandez, Truffaldino stood as its titular servant, but in the eyes of the audience, he stood as the master of his stage. As a force of pure comedic nature, his every movement conducted a symphony of calculated clumsiness. His elastic facial expressions could convey a seven-step plan of deception and its immediate failure in the span of a second. He didn’t just play the part; he inhabited the very spirit of the clever fool, making the audience his co-conspirators in every fib and fumble, and his sheer, joyous energy, undeniably acting as the engine of the entire production.
Providing a brilliant counterpoint to the chaos was Sofia Cabrera, as the sharp-witted and willful Clarice. Commanding her scenes with a poised ferocity, and even fiercer line delivery her she navigated Clarice’s journey from despair to defiance with a captivating grace, her vocal intonation shifting from immature pleas to the fiery declarations of a woman determined to be with the man of her dreams. Cabrera’s chemistry with the cast and her love interest, Silvio Lombardi (Matthew Domenech), ordered cackles from the audience like a master. Each viewer was impacted by her faithful, dutiful servants.
The on-stage performers were not the only people bringing this Venetian world to life, however. The Hair and Makeup team, led by Sara Ramon Fernandez and Leira Martinez, was instrumental in crafting the authentic Italian aesthetic so central to the story’s narrative. Their work amplified every expression, from the exaggerated age of the cast’s fathers and the scruff of the servants, ensuring that character was communicated from every angle of the stage. Furthermore, the Dramaturgy, led by the formidable duo of Sofia Cabrera and Sara Ramon Fernandez, provided the crucial foundation for the production’s authenticity. Their research into the stock characters, traditions, and historical context of commedia dell’arte was evident in the actors’ specific physicality and the production’s cohesive style, making a comedy worthy of not just laughter but acclaim.
Laughter is a universal language, and in a world often too serious, a moment of perfect comedic escape is a precious gift. Archbishop McCarthy High School’s production of The Servant of Two Masters was a masterful delivery of that gift, a riotous reminder that sometimes, the greatest wisdom is found in giving in to the joy of the chaos or… the temptation of one really, really good meal.
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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.
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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.
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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.
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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.
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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.
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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!
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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.
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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.”
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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.
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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?
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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.
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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.
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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.
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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.
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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!
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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!”
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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!
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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.”
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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!
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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!
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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.
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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.
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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.”
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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.
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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.
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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.
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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.
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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.
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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!
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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.”
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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.
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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.
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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.
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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.”
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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.”
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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.
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