The most recent reviews will be at the top of the page, but all of them from this fall-spring season will appear here all year, plus a few from the season before. If you have questions of this site, email muckrayk@aol.com.
By Audrey Pangalangan of Cypress Bay High School
Step right up to come and see South Plantation High School’s thrilling production of Side Show, where nobody is just the “Typical Girls Next Door.”
Side Show is a musical based on a true story of the conjoined twins, Daisy and Violet Hilton. The two girls worked at a sideshow during the Great Depression but worked to become Vaudeville stars. With a book and lyrics by Bill Russell and music by Henry Krieger, Side Show was nominated for 4 Tony awards in 1998.
The conjoined twins, Daisy (Doris Diaz) and Violet (Ashley Lieber) led the show with their phenomenal characterization and contrast of their personalities, while still looking exactly alike. Diaz had particularly outstanding vocals, and she did a beautiful job of portraying the pain and hurt that Daisy experiences throughout the show. Terry Connor (Jaxon Reid) played off Daisy perfectly, showing his inner conflict on whether he should be with her or not, especially in the number “Private Conversation” where the audience experienced their stage chemistry, even though it is a conversation in his head.
Terry’s business partner, Buddy Foster, played by Jackson Codd, was a hilarious addition to the cast’s overall grim dynamic, and he brightened the stage with stage presence and amazing comedic timing. His facial expressions carried throughout the entire auditorium. Codd also got to showcase his amazing dance skills throughout act two, especially in his tap number “One Plus One Equals Three.” Adding to the wow factor, Jake (Emory Pierce) demonstrated his beautiful vocals in songs like “The Devil You Know” and “You Should Be Loved,” where he showcased his technique and range.
Overall, the ensemble did a great job of complimenting the leads and keeping the energy up. The Fortune Teller (Ciana Stewart) was a particular standout, as she always took control of her moments on stage and showed her commitment just through her performance. Although there were a few moments where it was hard to understand what the cast was saying, it was easily overcome with their high energy and strong harmonies.
The technical elements were overall strong. The set, completely student built, was very impressive and fit the show perfectly. Although there were moments the set changes were a bit distracting, the lighting team (The Illuminators) complimented the transitions perfectly by shifting the focus to the scene and putting the moving sets in the dark.
Overall, the show was a smashing hit! If you’re looking for a strong production with both comedy and tragedy, look no further and go to South Plantation High School’s production of Side Show!
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By Alanna Maurer of North Broward Preparatory School
“Come look at the freaks.” This haunting invitation, which opens the musical Side Show, immediately establishes the uncomfortable yet captivating world the production explores. The musical tells the poignant true story of Daisy and Violet Hilton, conjoined twins who rose to fame in the Depression-era sideshow circuit. It is not an easy piece of theatre; it is vocally demanding, emotionally complex, and thematically heavy. South Plantation High School’s production embraces these challenges head-on, delivering a performance that thoughtfully explores the tension between spectacle and humanity.
From the moment the audience enters the theatre, the production establishes a distinct and immersive atmosphere. The design elements effectively transport viewers into the unusual and often unsettling world of the 1920s sideshow. The ensemble plays a critical role in building this environment, embodying the various performers who populate the twins’ world. Their commitment to physicality and character creates an eerie yet strangely sympathetic setting that reinforces one of the musical’s central themes: the conflict between how society views difference and the universal human desire to belong.
At the heart of the production are the actresses portraying Daisy and Violet Hilton. These roles are uniquely grueling because the performers must remain physically connected throughout the entire show while maintaining impeccable vocal control and emotional authenticity. Playing Daisy, Doris Diaz brought a bold and ambitious energy to the stage, capturing the sister who longs for fame and independence. In contrast, Ashley Lieber portrayed Violet with a quieter sensitivity, emphasizing her yearning for love and a normal life away from the spotlight. Their performances complemented one another beautifully, creating a believable sisterly bond that anchored the narrative. Their rendition of “Who Will Love Me As I Am?” served as the emotional centerpiece of the production, highlighting both the vulnerability and the profound strength of the characters.
The supporting cast also contributed meaningfully to the storytelling. Jackson Codd portrayed Buddy Foster with a charismatic yet opportunistic edge, effectively conveying the character’s complicated relationship with the twins. Meanwhile, Jaxon Reid brought a necessary confidence and authority to the role of Terry Connor, the talent scout who sees the sisters as a path to success. Another standout performance came from Emory Pierce as Jake, whose grounded and compassionate presence provided a vital moral perspective. His performance of “You Should Be Loved” was one of the most heartfelt moments of the second act.
From a technical perspective, the production demonstrated a high level of craftsmanship. The lighting design played a particularly important role, using bold color choices and carefully timed transitions to heighten dramatic moments. While there were minor microphone inconsistencies and a few slightly delayed lighting cues, the cast handled these moments with professional poise.
Ultimately, South Plantation High School’s Side Show succeeds because it fully commits to the story’s emotional depth. Rather than presenting the sideshow world purely as spectacle, the production highlights the humanity of its characters. Through strong performances and a clear dedication to the material, the cast and crew demonstrate that theatre is a powerful medium for fostering empathy and understanding.
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By Gabriel Cadet of Somerset Arts Conservatory
Step right up! Witness the unbelievable! Two girls, one heart, set on a path toward fame and a journey of belonging. Welcome to South Plantation High School’s thrilling production of Side Show, where a collection of misfits and a pair of twin stars discover the true meaning of love in a cruel world so unwilling to show it.
Side Show first crept out of the carnival tent and onto the Broadway stage in 1997. Featuring a score by Henry Krieger and a poignant book by Bill Russell, the musical tracks the real story of Daisy and Violet Hilton, conjoined twins at birth and unwilling performers til death. Faced with abuse and forced into the circus, the twins take a chance and escape with the help of two chivalrous agents. But as they ascend into the vaudeville circuit, fraught with a new world of fame and romance, the impossible question still stands: will they ever truly be loved as individuals if they’ll never truly be alone?
Captivating the audience, Doris Diaz and Ashley Lieber sparkled like stagelights, portraying the twins with equal measures of beauty and sorrow. With soaring vocals, the show’s powerful themes of rejection and belonging rang resonant in every note, step, and glance the dynamic duo took. Together, they captured the longing ambition of two girls searching for meaning. And although he stood in the shadows, Emory Pierce as Jake is sure one devil you should get to know. Beneath his hardened exterior stood a man beat by life, but fueled by hope. Needing no help in stealing every scene he occupied, his rendition of “You Should Be Loved” exhibited remarkable emotional depth, combining rich, soulful vocals with a heartbreaking sincerity.
But every carnival needs its oddities, and this circus ensemble truly delivered! Each actor brought a vibrant humanity to roles that could have easily slipped into caricature. Their commitment to the show’s central message – that we all want to be loved as we are – provided some of the most sincere moments, allowing the audience to see themselves in the band of misfits that wanted to finally say goodbye to the side show.
Bringing color, character, and spectacle to the stage was the technical crew, working tirelessly to craft a creative display of artistry. Working in tandem, Costumes led by Leah Millon, Hannah Teston, and Isabella Crespo Moreno and Makeup and Hair led by Aaliyah Natal and Ciana Stewart ensured each actor dazzled with show-stopping vibrancy. Jaxon Reid, doubling as both a talented actor and set designer, transported the audience into the world of show business, wonderfully balancing the grime of a circus floor with the glamour of vaudeville.
South Plantation High School’s Side Show proves that even in a world that seems so big and so intimidating, there will always be someone — whether you know it or not — who will love you, just the way you are.
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By Alanna Maurer of North Broward Preparatory School
“I’m ready, I’m ready!” I’m ready to see Spanish River High School’s The SpongeBob Musical. This lively production proves that the whimsical world of Bikini Bottom isn’t just for the ocean floor — it can make a massive splash on the theatrical stage as well. Bursting with neon colors, high-octane music, and genuinely hilarious moments, the show dives deep into themes of friendship, bravery, and the importance of believing in oneself, even when the world is literally ending.
Based on the beloved animated series created by Stephen Hillenburg, the musical first premiered in Chicago in 2016 before opening on Broadway in 2017. Initially, many theatergoers were skeptical; they wondered if a cartoon about a porous yellow sponge living in a pineapple could translate into a sophisticated stage production. However, the show quickly defied expectations, surprising critics and audiences with its immense heart. Rather than attempting a literal, prosthetic-heavy copy of the cartoon, the production utilized imaginative staging and avant-garde costumes to capture the “vibe” of Bikini Bottom. A defining feature of the show is its score, which was written by a diverse roster of legendary musicians (but are not limited to), David Bowie, Cyndi Lauper, and Panic! At The Disco, giving the production a uniquely eclectic sound.
The musical’s brilliance was solidified during the 2018 awards season, where it earned a staggering 12 Tony Award nominations. While it ultimately took home the award for Best Scenic Design of a Musical, the sheer volume of nominations across categories like Best Musical, Best Actor, and Best Direction highlighted the production’s technical and artistic excellence.
In this specific production, Dylan Scher stepped into the iconic shoes of SpongeBob SquarePants. Scher expertly captured the character’s trademark optimism, grounding the performance in physical comedy and a boundless energy that made the transition from 2D animation to 3D stage presence feel seamless. Supporting the protagonist was Cooper Wojcicchos, who played Patrick Star with impeccable comedic timing and endearing naivety. Meanwhile, Sophia Trujillo portrayed Sandy Cheeks with a commanding confidence, emphasizing the character’s scientific intellect and her fierce determination to save her adopted home.
The supporting cast further enriched this underwater tapestry. Juan Marulanda provided a standout performance as Squidward Tentacles, offering a sarcastic, cynical counterpoint to SpongeBob’s sunshine. His four-legged tap dance number was a technical marvel that brought down the house. Matthew Cooper brought a greedy yet charming personality to Mr. Krabs, while Diego Figueroa’s portrayal of Plankton offered a hilariously over-the-top villainous presence.
Visually, the production was a triumph of DIY-inspired creativity. From a technical perspective, the lighting design effectively shifted the mood from the sunny surface to the volcanic depths. However, the performance was not without its hiccups; occasional microphone cut-outs and volume fluctuations made some lyrics difficult to catch. While these sound issues were a minor distraction, they did not dampen the cast’s spirits.
Ultimately, The SpongeBob Musical is a testament to the power of imagination. It successfully translates the spirit of the original series into a medium that celebrates live human connection. Despite a few technical ripples, the performance was undeniably “krabby good”– with no secret formula required.
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By Jeremiah Johnson of Coral Springs High School
In Bikini Bottom, some waves glisten brighter than others, especially when you dive into Spanish River High School’s vibrant, whirlpool world of The Spongebob Musical, where every moment promises the chance for “The Best Day Ever!”
Based on the infamous Nickelodeon series created by Stephen Hillenburg and book written by Kyle Jarrow, The Spongebob Musical premiered on Broadway in 2017, getting nominated for 12 tony awards in 2018. The show follows Spongebob and his friends as they race to save Bikini Bottom from impending disaster, all while celebrating friendship, resilience, and unshakable positivity! With an electric score written by artists ranging from Sara Bareilles to Panic! at the Disco, the musical soaks up humor and heart into a vibrant sea adventure!
Stepping into her pineapple with boundless imagination, Spongebob played by Dylan Scher fried up a refreshingly original take on the beloved sponge, blending the character’s iconic optimism with her own flair. Scher’s consistent character voice anchored every scene he touched, while her lively chemistry with fellow Bikini Bottom residents, such as Sandy Cheeks, made their friendships feel heartfelt and hilariously dynamic. He may live under a rock, but he definitely shined like a star! Patrick Star played by Cooper Wojcicchon, radiated an infectious energy with excellent diction, making every goofy moment delightful and unpredictable.
Sandy Cheeks played by Sophia Trujillo, showcased immense professionalism through her sustained Texan accent and powerful belting voice, despite microphone issues being present. Trujillo ensured each line was delivered like a scientific equation with clear projection that audiences could be sure to hear. He may be tiny but his evil sure is mighty! Plankton, played by Diego Figueroa, demonstrated fiery comedic timing that replicated the perfect cartoony villain. Figueroa’s maniacal laughs and malicious plans held a powerful force between his cast through his character commitment that expressed a vivid contrast among the seas!
You ever dealt with an energetic audience, well how about a can of fan girl sardines? The Sardines expressed consistent spirit through each scene, you would think they were surfing currents. When they weren’t energetic physically, their vocal quality portrayed persistent joy that could be heard through a gorgeous blend in harmonies and overall projection that bubbled through the stage’s ocean. Nonetheless, their tails swam in synchronization throughout their crisp choreography, a standout dancer being Jillian Bender!
His beats as gnarly as a wave, the foley table played by Mason Davis produced impeccable sound effects, matching the comedic theme of the show with precision and attention to detail. Davis goes as far as interacting with the cast, giving the Foley Artist its own character and vitality! Special effects created by Jillian Bender added vibrancy to the stage through its various colorful projections, establishing a marvelous underwater setting even though the show used a minimal set.
In an ocean full of life and crabby patties, Spanish River High School’s production of The Spongebob Musical reminds us that simple sponge or not, we all belong in the colorful city of Bikini Bottom!
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By Alyvia Rigg of JP Taravella High School
Strap on your suspenders, adjust your favorite tie, and get your spatula ready for flipping at Spanish River High School’s vibrant production of “The SpongeBob Musical.”
Based on the beloved television series “SpongeBob SquarePants,” The SpongeBob Musical features a book by Kyle Jarrow and a unique score written by a variety of artists, including Panic! At the Disco, John Legend, and Sara Bareilles. The story follows SpongeBob as he teams up with Sandy Cheeks and Patrick Star to save Bikini Bottom from an erupting volcano, proving he is far more than just a simple sponge.
Our trio of protagonists, all with the middle name “Hero,” SpongeBob SquarePants (Dylan Scher), Patrick Star (Cooper Wojcicchon), and Sandy Cheeks (Sophia Trujillo), worked wonderfully together. Their strong chemistry and harmonies made songs such as “Hero Is My Middle Name” and “(I Guess I) Miss You” standout moments in the show. Dylan Scher captured SpongeBob’s optimistic yet insecure personality with an impressive character voice and boundless energy. Cooper Wojcicchon brought Patrick to life with a warm vocal tone and impeccable comedic timing, creating laughs in nearly every scene he appeared in. Sophia Trujillo burst onto the stage with bright energy and a strong country flair, delivering impressive vocals and excellent characterization as Sandy Cheeks.
The scheming duo of Sheldon J. Plankton, portrayed by Diego Figueroa, and Karen, portrayed by Jolianne Barton, provided many of the show’s funniest moments. Their constant bickering and shared villainy made their performance of “When the Going Gets Tough” especially entertaining. Diego Figueroa was delightfully comedic as the small but powerfully evil Plankton. He also portrayed the fun-loving troublemaker Patchy the Pirate, skillfully distinguishing between the two characters, especially during the Act Two opener, “Poor Pirates.” Jolianne Barton complimented him perfectly, using sharp physicality and a beautiful high vocal range to bring the robotic Karen to life.
The under-the-sea ensemble played an essential role in bringing the cartoon world of Bikini Bottom to life. Each ensemble member maintained strong character work and high energy throughout the production, while their vocals blended beautifully in large group numbers. A standout among them was Kasie Cabral as Pearl Krabs. Cabral delivered powerhouse vocals, with impressive belting and riffing that made her performance particularly memorable.
The technical elements of the production further enhanced the bright and lively world of Bikini Bottom. Daniel Feinberg’s lighting design was colorful and dynamic, effectively transporting the audience from dramatic moments to whimsical scenes like Squidward’s clarinet concert. Mason Davis served as the show’s Foley Artist, creatively producing sound effects using instruments and a soundboard. Davis remained fully engaged throughout the production, interacting with characters, participating in choreography, and adding perfectly timed cartoon-style humor.
As long as we are here and Mr. Sun’s up there, it will always be the Best Day Ever at Spanish River High School’s production of “The SpongeBob Musical.”
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By Zepplyn Berry of AW Dreyfoos School of the Arts
The SS Spanish River has officially set sail in its dynamic production of The SpongeBob Musical, diving headfirst into a world of color, friendship, and undersea adventure.
Originally premiering off-Broadway in 2016 before moving to Broadway in 2017, The SpongeBob Musical quickly became a fan favorite, earning twelve Tony nominations in 2018. Featuring a lively score written by a wide variety of artists, including Cyndi Lauper, Sara Bareilles, Panic! At the Disco, and David Bowie, the show blends mainstream music and theatrical flair to create a sound uniquely its own. Full of joy and childhood nostalgia, this show follows the titular character as he wards off an impending volcanic eruption with optimism and resilience as his key fighting tools to save Bikini Bottom. Sure to be a good time, The SpongeBob Musical reminds us to find joy in those we hold close and to never lose sight of hope in times of despair.
Leading the show with boundless enthusiasm, Dylan Scher as SpongeBob SquarePants delivered a performance bursting with energy. Fully committing to the iconic character’s physicality and optimism, Scher maintained an infectious presence that kept the momentum of the show moving forward. Her expressive performance captured the heart of SpongeBob, grounding the musical’s larger-than-life moments with joy and a commitment to friendship.
Supporting characters throughout Bikini Bottom added both humor and strong vocals to the production. Connor Wojcicchon as Patrick Star delivered lovable comedy paired with solid vocals, fully embracing the character’s goofy charm. Sophia Trujillo, as Sandy Cheeks, brought confidence and determination to the role, handling microphone issues flawlessly. Vocally, Kasie Cabral as Pearl Krabs stood out, filling the theater with a powerful and impressive voice.
The ensemble of this show was full of life, bringing constant energy to the world of Bikini Bottom. The Sardines in particular were an entertaining highlight, adding energy that kept the stage active and fun. Juan Marulanda as Plankton provided excellent comic relief, delivering a larger-than-life performance that brought plenty of laughs. Mason Davis also stood out at the Foley table, remaining onstage throughout the entire show while skillfully creating live sound effects that added both creativity and charm to the production.
Technically, the production demonstrated creative solutions that helped bring the undersea world to life. Instead of having a standing set, projections filled the stage with colorful imagery and helped establish each new location with clarity. Character wigs and makeup added to the cartoonish aesthetic, enhancing the recognizable personalities throughout the show. While occasional diction challenges within the cast took away from certain technical aspects, the overall collaboration between the cast and crew proved to support the show’s vibrant world.
Bright, lively, and full of heart, Spanish River High’s The SpongeBob Musical proved that when the going gets tough, Bikini Bottom gets going.
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By Maggie Starr of Marjory Stoneman Douglas High School
Welcome to American Heritage Broward’s thrilling production of Curtains, where the only mystery bigger than solving murders is how to perfect a musical number.
Based upon the original book by Peter Stone, Curtains is a murder-mystery musical created in 2006 that premiered on Broadway in 2007. With a book by Rupert Holmes, lyrics by Fred Ebb, and music by John Kander, the comedy begins when the untalented star of a brand-new musical suddenly drops dead on opening night. Detective Lieutenant Frank Cioffi takes on the case, solving murders, rekindling romances, and somehow bringing harmony back to a show desperately in need of it.
Leaving no stone unturned, Daniel Font-Wilets shined as the theatre-loving detective, Lieutenant Frank Cioffi. Font-Wilets brought a joyful energy to the stage, delivering his lines with charisma and a clear love for the world of theatre that made Cioffi both charming and sharp. Who’d done it? Perhaps none other than the chuffed director, Christopher Belling (Luca Damiano). Damiano was a comedic standout of the production, maintaining a believable British accent which, paired with his perfectly timed delivery, ensured every joke landed with the audience. Or perhaps the culprit lies with the quarrelling lyricist lovers? Both Sofia Lopez’s Georgia Hendrix and Noah-Duro Andre’s Aaron Fox brought emotion and heart to the stage. Together, the pair shared nuanced dialogue and easy chemistry that made their complicated relationship feel real, while on their own they delivered stellar vocals that elevated the production, particularly Noah-Duro Andre’s heartfelt rendition of “I Miss the Music.”
The entire ensemble of American Heritage Broward’s Curtains surely proved that they are “Show People.” While the cast occasionally lacked clear diction, they brought strong energy to the stage, always reacting to the action around them and remaining consistent and impressive throughout the dance numbers. Two standout dancers of the production were Matthew Squeri’s Bobby Pepper and Maia Frauenberger’s Bambi Bernet. Frauenberger, while an elegant dancer, was equally impressive in bringing her character to life through specific mannerisms and thoughtful characterization, making Bambi both nuanced and thoroughly enjoyable to watch. Bambi’s mother, Carmen Bernstein, was expertly portrayed by Ash Felix. Felix possessed a powerful belt that easily commanded the audience’s attention, and later delivered dialogue that felt raw and honest, revealing the character’s sharp wit and underlying vulnerability.
The American Heritage Pit Orchestra did a phenomenal job scoring and performing the entirety of Curtains, staying tightly together and consistently supporting the performers onstage. Tess Spiva’s costumes were also a major factor in bringing both 1959 Boston and the world of Robbin’ Hood to life. With a total of 128 costumes, Spiva handled the production’s many looks impressively, selecting pieces that fit the period and characters well while adding to the overall polish and quality of the show.
The mystery may be solved, but American Heritage Broward’s production of Curtains leaves behind just enough theatrical mischief to make the audience wish the investigation could go on a little longer.
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By Sofia Bahamon of Somerset Arts Conservatory
Theater can be dramatic, but rarely this deadly. In Curtains, a disastrous opening night turns into a full-blown murder investigation, trapping an eccentric cast of performers inside the theater until the killer is found. American Heritage Broward brings the mystery to life with humor, high energy, and plenty of showbiz sparkle.
Curtains premiered on Broadway in 2007 with music by John Kander and lyrics by Fred Ebb, the legendary duo behind Chicago and Cabaret. The book, completed by Rupert Holmes after Ebb’s passing, blends classic Broadway spectacle with a clever whodunit. Set in 1959, the story follows a struggling musical, Robbin’ Hood of the Old West, whose untalented leading lady dies on opening night, turning the theater into a crime scene. Enter Lieutenant Frank Cioffi, a detective with a surprising love for musical theater. Racing to solve the case before the cast can leave town, he interrogates a colorful group of suspects: jealous performers, ambitious producers, and eccentric creatives. The show’s meta-theatrical elements, a play within a play, shine brilliantly, highlighting the chaos, ambition, and humor of a Broadway production behind the scenes.
Lieutenant Frank Cioffi, played by Daniel Font-Wilets, delivered strong acting choices and excellent comedic timing throughout the show. Font-Wilets fully embodied the character, balancing the determination of a detective with the charm of a devoted theater lover. Ash Felix brought depth to Carmen Bernstein, portraying a character willing to do whatever it takes to succeed in the theater world while quietly caring for her daughter. Meanwhile, Luca Damiano as Christopher Belling stole the comic spotlight, bringing infectious energy and laugh-out-loud moments to every scene.
Sofia Lopez as Georgia Hendricks showcased impressive vocals and a clear emotional arc, navigating her character’s complicated ambitions and relationships. Her chemistry with her former and perhaps still lingering love interest added warmth and tension. Noah-Duro Andre as Aaron Fox captivated the audience with a beautiful voice and emotional depth, particularly in songs like “I Miss the Music.” The gradual growth of Aaron and Georgia’s relationship made the story’s emotional beats hit even harder.
The Company of Robbin’ Hood was phenomenal, performing in perfect harmony whether in singing, acting, or choreography. The ensemble’s energy and cohesion brought the world of the musical to life and fully supported the main cast. Two standouts were Maia Frauenberger as Bambi Bernet and Matthew Squeri as Bobby Pepper, both delivering strong presence, charm, and skill, helping the story glide along seamlessly.
Behind the scenes, the production sparkled just as brightly. The American Heritage Pit Orchestra performed flawlessly, executing the score with precision and energy worthy of a professional Broadway show. Tessa Spiva managed 128 period-accurate costumes, adding authenticity to every number. Marketing, led by Lucas Mejia, creatively extended the theater experience through interactive campaigns like “You Are the Detective” and themed buttons, fully capturing the show’s playful spirit.
From top to bottom, Curtains at American Heritage Broward kept the audience on their toes. The combination of sharp performances, a lively ensemble, and backstage magic made this musical mystery a showstopper. It’s a mystery worth solving and a musical worth seeing. Don’t miss your cue!
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By Valentina Exposito of Somerset Arts Conservatory
Places, show people! The curtain is rising on American Heritage Broward’s production of Curtains, where the show must go on (even when there’s a body hanging from the fly rail!)
Curtains made its deadly debut on Broadway in 2007, and combines a killer book by Rupert Holmes with a jazzy score by renowned collaborators John Kander and Fred Ebb. The story, which takes place in 1959 Boston during the tryout of a troubled Broadway bound musical, centers on Lieutenant Frank Cioffi, a detective with a not-so-secret passion for theatre, who is tasked with looking into the leading lady’s unexplained death during bows. Cioffi rushes to find the culprit hiding somewhere in the company amid a cast of dubiously eccentric performers, backstage egos bigger than the spotlights, and the impending opening night. But, when everyone knows how to act, who can you really trust?
Leading the investigation thataway was Daniel Font-Wilets’ lovable Lieutenant Frank Cioffi. Font-Wilets portrayed a detective who was equal parts endearing sleuth and theatre loving softie. With impeccable comedic timing and charming characterization, he made the detective a delight as he navigated the suspicious show people. Stealing a few scenes, and Cioffi’s heart of course, was Niki Harris portrayed by Lindsay Dokson. Her adorably quirky energy paired perfectly with the detective’s genuine warmth, creating such genuine chemistry that was truly a tough act to follow.
Kansasland wouldn’t be complete without the director who blocked it all, Christopher Belling, portrayed by Luca Damiano. Commanding the rehearsal room with boisterous characterization and a consistent English accent, Damiano left the audience chuckling at his hilarious embodiment of the over the top director. By leaning fully into Belling’s dramatic flair, he embraced the show’s theatrical absurdity. Juxtaposing Damiano’s chaotic comedy was Noah-Duro Andre’s Aaron Fox. His performance showcased both his beautiful vocals that left the audience hanging onto every captivating note, and a genuine vulnerability through his nuanced choices that reflected the longing of a composer desperate to have his other half at his side again.
Of course, even the best detectives need a crew behind the curtain to solve the mystery, and the technical teams of this production certainly did it! The American Heritage Pit Orchestra tackled the demanding score with notable success and jazzy flair. The student musicians played beautifully throughout the production, elevating each number with both polished sound and musicianship. Equally impressive were the costumes led by Tessa Spiva, who managed the complex coordination of an astounding 128 costumes. In addition to the abundance, each piece was accurate to the 1950s time period, proving that when it comes to style this production was dressed for opening night.
So take your seats, watch your step backstage, and keep an eye on the fly rail because American Heritage Broward’s Curtains proves that in theatre the show must go on… even when someone doesn’t make it to curtain call!
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By Juliana Zamorano of Monarch High School
The stage was set for a mystery, but the talent at American Heritage Broward was no secret. Their production of Curtains, the musical whodunit centered on a staged murder during a pre-Broadway tryout was so sharp it was practically criminal. Delivering a performance that balanced campy comedy with high stakes vocal precision, the production proved that the show must go on, even if the leading lady doesn’t.
With a book by Rupert Holmes and a score by the legendary songwriting duo Kander and Ebb, Curtains serves as both a comedic murder mystery and a loving homage to the “Golden Age” of Broadway. Set in 1959 at Boston’s Colonial Theatre, the story follows the disastrous out-of-town tryout of a Western musical titled Robbin’ Hood. When the show’s untalented leading lady mysteriously dies during her curtain call, the entire cast and crew become suspects. The investigation falls to Lieutenant Frank Cioffi, a detective with an unexpected passion for musical theatre, who must solve the crime while somehow keeping the production from shutting down.
Leading the investigation was Daniel Font-Wilets as Lieutenant Frank Cioffi. Font-Wilets brought a delightful, animated earnestness to the stage, perfectly capturing a detective whose “undying love” for theatre (and Niki Harris) often eclipsed his professional duties. With a constant, unwavering energy and a joy that proved infectious, Font-Wilets’ characterization turned every interrogation into a masterclass in comedic timing.
The production’s musical heartbeat loudest through the bittersweet chemistry of Noah-Duro Andre (Aaron Fox) and Sofia Lopez (Georgia Hendricks). Their voices blended with a polished clarity that carried a genuine emotional weight, allowing their complicated past to feel authentic amidst the farcical chaos of the mystery. Their performances grounded the show’s humor with sincerity, creating moments that felt both nostalgic and heartfelt.
This vocal prowess was further highlighted by Ash Felix as powerhouse producer Carmen Bernstein. Felix commanded the stage with a commanding “boss” mentality, especially during the brassy number “It’s a Business,” where her hearty vocals and authoritative presence brought the gritty determination of Broadway producers to life.
Injecting the show with a heavy dose of sass, Luca Damiano was a comedic highlight as director Christopher Belling. Whether delivering a biting insult or performing a hilariously dramatic curtsy with an ever-rotating collection of scarves, Damiano’s physical comedy consistently brought the audience to laughter. This levity was matched by the high-octane energy of Matthew Squeri (Bobby Pepper) and Maia Frauenberger (Bambi Bernt), whose athletic precision in numbers like “Thataway!” and “Kansasland” showcased impressive dance ability while keeping the production’s momentum lively. Andrea Gonzalez Perez also added to the featured talent as Johnny Harmon, helping round out a cast that felt polished, cohesive, and committed to the show’s comedic style.
Behind the scenes, the technical elements contributed greatly to the production’s immersive world. The American Heritage Pit Orchestra provided a rich, vibrant accompaniment that captured the lush orchestration typical of classic Broadway scores. Tessa Spiva’s 1950s costume design added a touch of vintage glamour, while Arianna Sayen’s atmospheric lighting design helped transform the stage into the bustling Colonial Theatre. Crisp sound design by Daniel Harper ensured that every punchline and musical phrase landed clearly, while props and visual details helped complete the illusion of a chaotic Broadway tryout. Under the marketing guidance of Lucas Mejia and the collaborative work of the technical crew, the many moving parts of the production operated with impressive cohesion.
Ultimately, American Heritage Broward’s Curtains demonstrated that the joy of musical theatre lies not just in spectacle, but in the shared commitment of performers and creators working together to bring a story to life. With lively performances, dynamic staging, and a strong sense of comedic timing, the production delivered an entertaining evening filled with laughter, mystery, and Broadway flair. In the end, while “The Woman’s Dead,” the theatre itself was very much alive making this Curtains a tough act to follow.
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By Lisa Capoccia of Boca Raton Community High School
You’re in for a Toledo Surprise with West Boca Raton Community High School’s production of “The Drowsy Chaperone.” Students did not hesitate to “show off” and charm the stage with their hypnotizing vocals, comedic choices, and impressive costumes, all working together to create the spitting image of a 1920s world.
“The Drowsy Chaperone” originally debuted in 1998 in Canada but found its way to Broadway in 2006, becoming wildly successful and winning five Tony Awards and seven Drama Desk Awards. The show uniquely follows a theatre fanatic playing the cast recording of his favorite musical, “The Drowsy Chaperone”. This unique narrative allows for a distinct contrast between the fantastic, exciting atmosphere of the world inside the playing record versus the man alone in his home, but both equally engaging the audience and allowing the theatre to erupt in colorful applause.
Every good story needs a reliable narrator, and Eytan Whiting as Man in Chair sure made his production incredible. On stage the entire time, Whiting’s persona did not falter but only grew stronger as the show went on. He maintained an engaging performance, delivering constant lengthy monologues performed with genuine heart, engaging with the story as the record played, and demonstrating deep character development as the musical progressed. Inside the record, however, The Drowsy Chaperone, portrayed by Grecia Ortiz-Marrero added a new level of talent and fun to the story. Ortiz-Marrero was impossible to look away from, with fierce facials that consistently caught your eye and powerful vocals that caused the audience to erupt with praise, she added a hilarious take on this tipsy character.
Adriano Menezes was the core comedic relief of the musical, reminding everyone, constantly, that “He is Aldolpho”. Menezes fearlessly made bold acting choices that embodied both his character and the time period he was set in. He is clearly a well rounded performer that left the audience purring like a cat in pajamas. The gangster ensemble, made up of Pietro Vieira, Ethan Forman, Braelyn Dilger, Elanah Moore, Zoie Lee-Adato, and Adam Mackenney was completely astounding in their portrayal of the Tall Brothers. The group worked together and seamlessly presented coordinated choreography, intentional comedic bits, and a performance that did not fall short of spectacular. Shining particularly in “Toledo Surprise,” this ensemble made it impossible not to smile at their hilarious dynamic.
A clear technical standout in this production was the costume team: Maria Isabel Avilez, Samantha Feldman, Caroline Spitz, Mackenzie Spitz, and Elay Nave. Working through 104 costumes and 10 quick changes, some live onstage, the team created the vision of a true 1920s world through costumes that consistently supported the era but also differentiated between characters. The incredible stage manager, Rachid Castille called countless cues and made the show possible through punctuality and thoroughness.
No actor demonstrated “cold feets” in “The Drowsy Chaperone,” as performed by West Boca Raton Community High School, but instead, they gracefully moved, but never “stumbled along” through the show, utilizing outstanding acting and notable technical elements to create a phenomenal portrayal of an iconic throwback.
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By Kasie Cabral of Spanish River High School
What happens when a theatre lover drops the needle on his favorite album? West Boca Community High School’s production of The Drowsy Chaperone answers that question with a hilarious whirlwind of 1920s glamour, romance, and musical comedy.
If you are looking for a theatrical experience full of humor, charm, and lively musical numbers, West Boca Community High School’s production of The Drowsy Chaperone is one to remember. This beloved musical comedy follows a theatre fan known as the Man in Chair as he plays his favorite record and imagines the extravagant 1920s musical unfolding in his living room. Through witty narration, bold characters, and entertaining songs, the production celebrates the joy and absurdity of classic Broadway. West Boca Community High School captured the over-the-top comedy and nostalgic spirit that makes this show special.
While the entire cast was phenomenal, one of the standout performances came from Eytan Whiting as the Man in Chair. As the narrator of this story, Whiting guided the audience through the story with excellent comedic timing and natural stage presence. His narration kept the audience engaged while grounding the more exaggerated moments of the musical. He delivered his lines with confidence, helping the audience buy into the imaginative world of the show. By the end of the musical, the audience was captivated by Whiting’s emotional connection to The Drowsy Chaperone, which enhanced his character and the performance as a whole.
Another memorable performance came from Grecia Ortiz-Marrero as the Drowsy Chaperone. Ortiz-Marrero embraced the character’s humorous drunken elegance while delivering strong vocals. Her performance of “As We Stumble Along” was captivating and a true standout. Her stage presence remained captivating throughout the musical, balancing comedy as well as impressive vocals.
The comedic roles in the production were particularly strong. Adriano Menezes, who portrayed Aldolpho, brought incredible energy and humor to the stage. His exaggerated character choices and confident performance made every scene memorable and had the audience gasping for air from laughter.
While the cast of this musical was astonishing, it wouldn’t have fully come together without the work of the crew. This show had a variety of cues throughout the musical, and they were perfectly performed due to the stage management team. Amazing job to Rachid Castille, Mila Freiheit, Dylan Brown, and Griffin Lawman. Another standout was the costume crew, specifically the costume changes on Janet in “Show Off.” While there were moments that the surprise costume was showing underneath, the costumes themselves were stunning and brilliantly executed. The costume crew, Mackenzie Spitz, Caroline Spitz, and Samantha Feldman did an amazing job through the entire musical.
West Boca Community High School’s production of The Drowsy Chaperone delivered an entertaining celebration of musical theatre. Through strong performances, engaging vocals, and effective technical elements, the show captured the spirit of the musical while keeping the audience laughing and invested throughout the performance. West Boca Community High School should be proud of this lively and enjoyable presentation.
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By Max Shashaty of Cooper City High School
Set up your record player and wind up your imagination for the story of a lifetime, topped with mixups, mayhem, and a gay wedding! West Boca Community High School’s “The Drowsy Chaperone” truly brings to life a world of rambunctious fun, sure to leave you anything but drowsy.
Premiere 1998 and is set in the 1920s with music & lyrics by Lisa Lambert & Greg Morrison, and revered by five Tony Awards, “The Drowsy Chaperone” splashes comforting irony on the golden age of theatre. The musical comedy follows a man in his lonely apartment as he is enthralled by the sound of a classic tale, showcasing, through clich — themes and heartwarming twists, that love is always lovely in the end. What more do you need for an evening’s entertainment?
Offering skillful snark to complement his witticisms, Eytan Whiting as the Man in Chair narrated with top-notch character, proving no distraction a worthy opponent in the face of good entertainment. Whiting’s commendable memorization combined with consistent onstage reactions crafted a perfect portrayal of the character. Not to mention his chemistry with the audience and comedically cynical line delivery, jaunts that made every comment another uplifting cure to familiar blues.
Stumbling into the antics was none other than Grecia Ortiz-Marrero as The Drowsy Chaperone! With notable diction and vocal grandeur, she played the perfect partner to bride and lover alike. Her chemistry particularly with her caped suitor was amusingly bawdy. And of course, the King of Romance must receive his flowers! Adriano Menezes’s Aldolpho stole hearts and laughter with ease, flaunting comical genius and charming melodies sure to leave your spirits high and worries low. Additionally, Annabella Thomas as Mrs. Tottendale excelled in character voice and lightminded allure, especially in dedicated companionship with Logan Brenner’s Underling.
The cast overall is due praise for their commitment to choreography, character, and harmony. The Gangsters baked a performance sprinkled with boisterous synchronicity, chiefly in “Toledo Surprise” where no pastry nor frown was left unturned. Some other stand-outs include Lila Spielman and Ethan Slavic as Kitty and George respectively. Spielman’s ditzy charm and Slavic’s mesmerizing footwork added yet another glimmer of joy to the spectacle.
The technical forces of “The Drowsy Chaperone” could break records with their show-stopping attention to detail. The props crew utilized organization to tackle countless complex wonders. Costumes by Mackenzie Spitz, Caroline Spitz, and Samantha Feldman held stunning attention to color and variety, notably with the wedding dresses in Act 2. Lastly, Mia Sanches, Liliana Mays, and Nicolle Graves’ Hair and Makeup had commendable vintage charm while upholding visibility under stage lights. Minor inconsistencies in visuals were made up for in period accuracy and dedication across all departments, assuring no knot was left untied.
As we stumble along West Boca Community High School’s “The Drowsy Chaperone” we are met with wedding bells, comical whims, and visual splendor. This ode to the audience truly showcases what it’s all about — fun.
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By Juliana Priddy of AW Dreyfoos School of the Arts
In a time when the world can often feel overwhelming, West Boca Community High School’s production of The Drowsy Chaperone served as a bright and uplifting reminder of why musical theatre exists in the first place. Filled with fast comedy, jazzy charm, and heartfelt moments, the show celebrated the joy of classic musicals while fully embracing the ridiculous humor that makes the story so lovable.
The musical, written by Bob Martin and Don McKellar with music and lyrics by Lisa Lambert and Greg Morrison, follows a man listening to his favorite 1920s musical as it magically comes to life in his living room. This production fully embraced that classic Broadway style, creating a lively world that felt both old-fashioned and exciting. The costumes, props, and hair and makeup design were especially strong. Details like elegant dresses, styled wigs, and vintage props helped bring the time period to life. These design choices made the musical-within-a-musical feel believable and added to the fun, imaginative world of the show.
Eytan Whiting, as the Man in Chair, carried the show with a strong emotional connection and clear storytelling. His performance felt connected and sincere, which made the humor land even harder. Throughout the show’s long narration, he kept the audience engaged with confident delivery and genuine reactions to the unfolding musical.
Grecia Ortiz-Marrero brought impressive vocal strength to the title role of the Drowsy Chaperone, delivering her musical moments with clarity and style. Additionally, Adriano Menezes stood out as Aldolpho with excellent comedic timing and full commitment to the character. His bold energy and exaggerated charm made each entrance memorable.
Annabella Thomas gave Mrs. Tottendale a sweet, delightfully clueless charm that fit the role perfectly. Her timing and personality added to the playful tone of the show. Nolan Balais, as Robert Martin, brought strong stage presence and charisma, making his character easy for the audience to root for. Ethan Slavic portrayed George with clear projection and lively energy.
Solymar Dominguez shined as Trix, particularly during “I Do I Do I Do I Do in the Sky,” where her powerful vocals and playful riffs made the number stand out. Moreover, Elanah Moore made a strong impression among the gangsters. The gangster ensemble performed with strong energy, especially during the larger musical numbers, and Hannah Shaver stood out with confident movement and dance performance.
Technical elements were another highlight of the production. The props crew handled complicated scene changes smoothly, and the costumes and makeup consistently supported both the time period and the exaggerated characters of the show.
West Boca Community High School’s The Drowsy Chaperone was funny, stylish, and full of heart. In a story about escaping into theatre for comfort and happiness, this production did exactly that for its audience.
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By Salma Duarte of Cypress Bay High School
Put on your mermaid tails and dive right into an ocean full of wonder, wishes, and magic! Chaminade-Madonna College Preparatory’s production of “The Little Mermaid” truly showcases a tale so strongly, that it leaves audiences feeling part of that world! “The Little Mermaid” musical came after the popular and successful movie which lives in everyone’s childhood.
Originally, the story was inspired by Hans Christian Andersen but eventually evolved into a musical with music added by Alan Menken and Glenn Slater. In 2008 it took the stage and was immediately a hit which all Disney fans fell in love with. Eventually, it became a production that many schools would take on to tell the story of the redhead princess with the enchanting voice we know; Ariel.
With a deep sense of desire and love for what lies above the sea, Abigail Murillo perfectly exhibited the lovely mermaid, Ariel. In “Part of Your World,” her vocals truly mirrored those of a mermaid whose vocals are enchanting. After transitioning to Act 2, despite her voice being seized by the sea witch, her physicality and expressions remained strong and emphasized the presence of a girl who’s finally stepping into a new world with new legs. Just as astounding, Thomas Mendez-Wall perfectly exhibited the role of Prince Eric with a similar wish to reach a beautiful voice, and a charm that complimented the scenes between him and Ariel. Their strong chemistry highlights the progression of their characters slowly growing their relationship. Eric doesn’t fail to leave an impact during “Her Voice,” where his strong tone, vibrato, and wide range can be heard!
Revisiting Ariel’s home, under the surface of the ocean we find Marcela Solano, who exhibited our known and loved crab Sebastian! With her accent and comedic timing, Solano never failed to make the audience laugh. Especially in the song “Les Poissons” in Act 2, there’s a perfect combination of characters with a ludicrous touch. The cartoon-like chase between Chef Louis played by Nicollette Mallous, integrated choices from the Chef, which had the audience smiling. Mallous additionally stood out as she played Flotsam and impressively had a shift in two contrasting characters without fail. Milagros Funes expressions and evil laughs truly exhibited the villain-like behaviors we can understand in Ursula.
Many remarkable scenes also included the Mersisters! Their contrasting personalities all made them unique while their harmonies sounded angelic. Technical elements such as the flashing lights in chaotic scenes where storms occur or Ursula appears, were extremely impactful and dramatized scenes perfectly.
Overall, this colorful show filled with bubbles truly brought an audience into an ocean full of wonders! Chaminade-Madonna College Preparatory’s version of “The Little Mermaid” was an exciting experience where people were swept away by magical voices and talent!
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By Daniel Font-Wilets of American Heritage Broward
Life is better under the sea, but at Chaminade-Madonna it’s even better on the stage. Every note makes a splash, and every number leaves the audience swimming with delight.
Based on the classic 1989 Disney film and Hans Christian Andersen’s original fairy tale, “The Little Mermaid” premiered on Broadway in 2008 with music by Alan Menken and lyrics by Howard Ashman. The story follows Ariel, a curious mermaid princess who dreams of life on land. After rescuing Prince Eric from a shipwreck, she strikes a dangerous bargain with the sea witch Ursula and trades her voice for human legs, with only three days to win Eric’s love.
At the center of the production was Abigail Murillo as Ariel, delivering a performance that carried the show from start to finish. Murillo’s vocals were angelic, soaring effortlessly through Ariel’s signature songs while still maintaining emotional sincerity. Yet one of the the most impressive aspects of her performance came after Ariel loses her voice. Murillo relied almost entirely on physicality to convey Ariel’s feelings. Without dialogue, her expressions and movements made every emotion clear and captivating. Opposite her, Thomas Mendez-Wall brought a sincerity to Prince Eric. His voice, especially in the lower register, gave his musical moments a rich tone and he carried the role with relaxed confidence. His chemistry with Murillo felt natural and engaging. Their connection shined especially during “One Step Closer,” where their playful interactions captured the awkward sweetness of two characters slowly realizing their feelings.
The supporting cast added plenty of color and personality to Ariel’s underwater world. Marcela Solano’s Sebastian was a comedic highlight of the evening. With sharp timing and lively delivery, Solano found plenty of unique humor in the role while still keeping the character authentic. Meanwhile, Mairead Polland’s Flounder was irresistibly adorable. Polland convincingly captured the character’s youthful innocence, bringing a bubbly energy that made every appearance memorable. Her vocals during “She’s in Love” were especially strong, adding brightness and momentum to the number. The ensemble helped round out Ariel’s vibrant world, contributing to the larger musical moments and the overall atmosphere of the production. At times, a bit more energy in some of the group numbers could have enhanced the spectacle, but the ensemble’s playful spirit still helped bring the world beneath the sea to life.
Behind the scenes, the technical team played a crucial role in shaping the production’s visual identity. The hair and makeup crew (Cameron Crosol, Juliana Wharton, Adrianna Vaccaro, and Camila Aragort), reimagined several iconic characters while still maintaining the nostalgic Disney spirit. Ursula’s design stood out as a particularly creative choice, presenting the sea witch less as a traditional older villain and more as a flamboyant force of the ocean. The wigs throughout the production looked polished onstage, an especially impressive feat considering one of the artists had to step away just two weeks before opening. Equally essential were stage managers Sophia Luna and Alyssa Kiibler, whose work kept the production moving smoothly. Transitions were sharp and efficient, maintaining the pacing and ensuring the story flowed swimmingly.
Ultimately, Chaminade-Madonna’s “The Little Mermaid” succeeded in capturing the spirit that has made the musical stand out for decades. With “turtley” amazing performances and thoughtful technical work, Chaminade-Madonna’s “The Little Mermaid” didn’t need a contract with Ursula to find its voice; the production already had one, and it swam confidently through every underwater current of the story.
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By Lisa Capoccia of Boca Raton Community High School
Chaminade-Madonna College Preparatory made a splash with their striking production of “The Little Mermaid.” Luring the audience in with their siren songs, this enchanting reenactment utilized astonishing vocals, vibrant lighting, and breathtaking storytelling to paint the image of life in the underwater Kingdom of Atlantica.
Based on Danish fairy tales dating as far back as 1811, “The Little Mermaid” first transformed a stage into the sea in a 2008 Broadway debut, following the beloved plot of the 1989 Disney film. The classic story of the red haired mermaid-princess Ariel is unforgettable, navigating her struggles to assert independence as a woman and the battle within herself to stay in the ocean or follow her heart to the human world. When a quarrel with her father leads Ariel astray, she is granted her wish to be human, with only a small price to pay… her soul.
Who’s that laying on top of a rock on the surface? Well it’s Abigail Murillo as Ariel, of course, on the look out for her prince and any thingamabob she can get her hands on. Murillo charmed the stage through her thorough embodiment of this adored character. Her precise physicality and mesmerizing vocals brought to life both the dazzling quirks of a mermaid and the very human emotions that Ariel possesses. Throughout every song, but particularly, “Part of your World,” Murillo’s powerful belt but charismatic tone left the entire ocean fascinated. Ariel, working with Prince Eric, depicted by Thomas Mendez-Wall, danced through her feelings and left the audience tearful and touched. The duos chemistry was out of this world and utterly magnetic, pulling each other in and the audience in with them. Mendez-Wall should be commended for his moving performance in his hunt to locate his bride. His raw emotion and shameless yearning shone through and was felt by every person in the room.
Bubbles are found in more than just the water when you consider Flounder’s bubbly personality that, from the moment Mairead Polland entered the stage, was fully assumed. Polland offered a light hearted approach to Flounder, provoking constant giggles with her vivacious acting choices and animated movements. Despite occasional mic issues, the Mersisters, Nadia Menendez, Eloisa Rodrigues, Angelica Sanchez, Alyssa Kiibler, Savannah Hilberth, and Lucia Brown were dazzling in their fierce collaborations creating stunning harmonies and a believably petty sister dynamic.
The lighting, executed by Ana Bottger, Maria Bottger, Ethan Wansakul, and Michelle Kopsaftis depicted diverse scenarios that consistently captured the naturally beautiful scenery of the ocean. Specific scenes, such as Ursula’s lair, called for more intense lighting and the team absolutely nailed this, building tension and creating a dark mood when necessary. The hair and makeup team, Cameron Crosoli, Juliana Wharton, Camila Aragort, and Adrianna Vaccaro contributed to the underwater fantasy by giving each fish a unique look and mastering the use of wigs, designing varied creatures for each actor to portray.
Under the sea, the timeless tale of Ariel’s search for purpose and love is told through a remarkably unique lens by Chaminade-Madonna, making anyone who missed this performance a poor unfortunate soul.
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By Afreeca Fullwood of Piper High School
Dive in — because the ocean just opened its curtains. Somewhere under the sea, Chaminade-Madonna College Preparatory brings the tides to the stage with its production of Disney’s The Little Mermaid.
Disney’s The Little Mermaid dives into the story of Ariel, a headstrong mermaid who dreams of trading fins for feet and exploring the human world. After striking a bargain with the sea witch Ursula, Ariel must kiss Prince Eric within three days or lose her voice forever. Featuring vibrant music by Alan Menken, the musical earned recognition at the Tony Awards for its lively score and colorful stage magic.
Like a pearl shining beneath the waves, Abigail Murillo as Ariel was the true star of this production. Her vocals were ethereal, proving she more than deserved the role. Murillo’s mannerisms captured Ariel as a determined young woman ready to chart her own course. Even after being silenced by the sea witch Ursula, her expressive facial expressions carried the story with natural ease. Her chemistry with Prince Eric, played by Thomas Mendez-Wall, was undeniable; he matched the moment with a regal, noble presence that made their romance feel sincere.
Conversely, the sea witch Ursula, played by Milagros Funes, was deliciously devoid of morals. The moment she slithered onto the stage, a wave of villainy seemed to ripple through the theater. Despite the grandeur of her costume, Funes maneuvered with ease, radiating the commanding presence that makes Ursula such an iconic antagonist. Meanwhile, Flounder, played by Mairead Polland, brought a burst of bubbly charm. Polland perfectly captured the sweet, loyal energy of Ariel’s sidekick, pairing it with bright vocals that suited the character like a perfectly polished seashell.
The story’s two father figures did their best to anchor the production. Nicholas Ortuno, as King Triton, delivered rich vocals, and his solos carried a commanding presence worthy of the ruler of the sea. On land, Prince Eric’s devoted guardian Grimsby (Ethan Respeto) brought charm and sincerity to the stage. Respeto conveyed genuine care for Eric.
This production also featured a wonderfully engaged ensemble. Whether appearing as lively sailors or the delightfully chaotic kitchen staff, the cast filled each scene with energy and humor. Nicolette Mallous stood out as Chef Louis, using bold physicality and delightful comedic timing to turn the kitchen number into a crowd-pleasing moment. Her transformation into Flotsam was equally striking, bringing a hypnotic, sinister edge to the stage. Another highlight was the group of Mersisters, whose beautiful harmonies and distinct personalities created a vibrant sense of unity.
The technical elements of this production were just as impressive as the performances. The lighting beautifully matched the theme, whether under the sea or on land, setting the mood before a single actor stepped onto the stage. Remarkably, despite only two weeks of practice after the sudden departure of their lead lighting designer, the cues were executed flawlessly, creating a truly stunning visual experience. The hair and makeup team were equally brilliant. The wigs perfectly suited each character, and vibrant makeup made every expression clear and memorable. The props team also shone, with standout creations like the jellyfish umbrellas, which were both adorable and perfectly timed for the lively “Under the Sea” number.
Disney’s The Little Mermaid at Chaminade-Madonna College Preparatory was a magical dive under the sea that delighted every audience member.
By Alyvia Rigg of JP Taravella High School
Stumble outta bed and tumble to NSU University School’s production of “9 to 5,” where friendship and supporting your peers are powerful enough to take down even the most misogynistic boss.
With music by Dolly Parton and a book by Patricia Resnick, “9 to 5” follows three women working as secretaries in the late 1970s. Based on the 1980 film of the same name, the story follows these women as they gain self-confidence, challenge the sexist culture of their workplace, and learn to stand up for themselves.
Leading the show are Judy (Sofia Casares), Violet (Antonia Rincon), and Doralee (Rubi Katz), a phenomenal trio whose chemistry drove the production. Their strong vocals and sharp comedic timing made every moment together engaging, especially in songs like “I Just Might” and “Change It.” Sofia Casares portrayed Judy’s timid nature beautifully at the beginning of the show, later delivering powerful vocals and strong character choices in her standout solo “Get Out and Stay Out.” Antonia Rincon commanded the stage whenever she appeared, skillfully portraying Violet’s growth into the confident and determined She-E-O she becomes. Rubi Katz shone as Doralee, capturing Dolly Parton’s cadence and tone with an impeccable accent, impeccable comedic timing and a consistently gorgeous vocal performance.
Of course, every female empowerment story needs a man who gets tied up, shot, and poisoned. Sean Longman as the slimy boss Hart was outstanding. Longman paired sharp comedic timing with strong vocals and delightfully creepy character choices to create the perfect antagonist for the show.
The vibrant ensemble of office workers helped establish the lively tone of the production. Always energetic and fully committed to their characters, the ensemble supported every major musical number with enthusiasm. Among them, Hadley Mantell stood out as Roz, the lovesick secretary obsessed with Hart. Mantell’s bold physical choices and expressive characterization made the role memorable, especially in her performance of “Heart to Hart.” Another standout was Sydney Margolis as Margaret, the office drunk turned sober ally. Margolis remained consistently in character, delivering her lines with humor and charm that made her scenes particularly enjoyable.
Behind the elevator doors, the technical elements brought the busy office setting vividly to life. Jackson Goddard’s scenic design was impressive, with layered dimensions and asymmetrical elements that created a dynamic playground for the actors. The Stage Management team, Eva Lederman and Cora Rodriguez, ensured the show ran smoothly, calling lighting and sound cues with precision. Details such as the elevator dings and the perfectly timed illuminated “9 to 5” sign added polish to the production.
You’ve got no time to fool around, around here, go put your heels and push-up bra on and experience NSU University School’s empowering production of “9 to 5.”
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By Daniella Abadir of Monarch High School
Tumble out of bed, pour yourself a cup of ambition, and step into the buzzing world of 9 to 5: The Musical at NSU University School! Amid the vibrant colors of the 70’s, the aroma of brewing coffee, and the clacking of typewriters, workplace gossip simmers and — rebellion ignites — as the cast delivers sharp humor, dazzling choreography, and powerhouse vocals in a spirited celebration of women’s empowerment.
Composed by Dolly Parton and with a book by Patricia Resnick, the musical premiered on Broadway in 2009, adapted from the 1980 film that was inspired by the 9-to-5 organization that fought for women’s rights in the workplace. Packed with memorable musical numbers such as “9 to 5” and “Backwoods Barbie,” the musical is centered around Doralee, Violet, and Judy –three secretaries who, through friendship and ingenious rebellion, establish that sexism has no place in the workplace.
Underneath the bouncy blonde hair and perfect pink outfits lies unequivocally authentic acting from Rubi Katz as Doralee, bringing utmost familiarity to the role with perfectly poised mannerisms and an accent indistinguishable from Dolly’s that remained consistent with every musical number, such as in “I Just Might” and “Backwoods Barbie”. From unbeatable storytelling to channeling her inner frustration into a defiant stand in “Cowgirl’s Revenge,” Doralee exemplified fuming with righteous anger as Hart’s bluster fuels both comedy and conflict.
Always “Here For You” with eccentric physicality, Hart (Sean Longman) displayed commendable commitment to his character through outrageously inappropriate behavior and a boisterous ego that created constant laughs. Longman’s flamboyant idiosyncrasies represented Hart as every clich� of a tyrannical office boss, with his antics simultaneously ridiculous and endlessly entertaining during “Here For You.”
Heart-to-Hart, eye-to-eye, Roz (Hadley Mantell), a sharp-tongued office manager, stole every scene with sarcastic humor and razor-sharp timing. Her impressive performances prove that even an overlooked office worker can become a quirky triple threat with effervescent dancing, comedic execution, and virtuosic singing.
The ensemble of the workers brought the Consolidated Industries chaos to life as they were truly able to “Shine Like the Sun.” With synchronized energy, each individual added dynamism to the workplace in numbers like “9 to 5,” making it feel ubiquitous and delightfully entertaining. Standouts include dancers Jackson Goddard and Leor Saffar, Evan Gilbert as Doralee’s husband, and Margaret (Sydney Margolis), who relied on liquid courage to get her through the workday…
“Gotta hustle, gotta bustle, gotta scoot, gotta hurry” because the technical teams have no time to fool around here! Through choreography by Sofia Casares and Rubi Katz, the journey from timid office workers to confident and now empowered women is conveyed. With the versatile set, staging blends office props, synchronized gestures, and expressive movement to convey humor and heart. Similarly, the costumes are era-accurate and evolving with each character arc. Overall, the cast and crew worked seamlessly, blending precise choreography, vibrant costumes, and dynamic performances into a cohesive, energetic production.
With a cast and crew this talented, it’s evident that 9 to 5: The Musical at NSU University School didn’t just punch the clock but clocked in a performance that was truly worth every second!
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By Jared Robaina of Somerset Arts Conservatory
As copy machines hum and the smell of coffee lingers in the air, a classic workplace tale is reborn with plenty of dancing and unstoppable levels of caffeinated energy! NSU University School’s production of 9 to 5 the Musical turns the daily grind into the demand for something that shines like the sun.
9 to 5 the Musical is based on the 1980s movie with music and lyrics by Dolly Parton and a book by Patrica Resnick. It transforms the frustrations of the workplace into a sentimental celebration of female empowerment as the musical tells the story of three women, Judy, Violet, and Doralee, as they rebel against their tyrannical and misogynistic boss, Mr. Hart. With an infectious score, NSU University School transforms the stage into a chaotic office of resilience and rebellion, never losing sight of the show’s core message: that friendship and determination can turn even the most oppressive office into a place of possibility.
This “Backwoods Barbie”, hitting the stage with an unforgettable southern twang, is none other than Rubi Katz as Doralee. Katz exploded onto the scene with an unrelenting Texan accent and a vocal showcase that would stun the office’s most seasoned veterans. Beyond this, her range of expression was impeccable as the dolled-up facade would crack, revealing the insecurity that lay underneath, only finding security within the confines of newfound friends. One of those friends is the fresh-faced in-town Judy, portrayed by Sofia Casares. Casares never lost her footing in the fast-paced office frenzy as her earnest ambition paired perfectly with the uncovering of emotional fine print that had quietly defined her life. Her powerhouse vocals mirrored the sound of a woman finally taking control, each note stamped with a new authority and signature of strength at the bottom.
With his feet kicked up and a freshly brewed cup of coffee, the sleazy head honcho himself, Hart, is played by Sean Longman. As the smug symbol of workplace corruption, Longman had exceptional physicality, wearing entitlement like a pressed suit, crisp with the belief that consequences could never wrinkle him. His facial expressions were a comedic crux with overblown looks of outrage that made each moment all the more hilarious.
Working overtime to make this production yawn, stretch, and come to life was the executive-level tech team! The set by Jackson Goddard was a colorful display of pop art that was reminiscent of 70s culture while still creating a space that felt lived in. The sound by Cora Rodriguez executed each cue with the kind of precision that would make any office manager proud. Not to mention a vocal balance that kept the whole company in business, letting the ensemble cash in on each number.
When courage rises above convention, the everyday becomes revolutionary, proving that change begins the moment people decide they deserve better. Clock in for the chaos, comedy, and camaraderie by catching Nova University School’s production of 9 to 5 the Musical.
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By Matteo Galindo-Razuri of Monarch High School
As the sun rose, the cast of 9 to 5: The Musical at NSU University School put in a full shift with this performance without taking a single break.
This empowering story is based on the 1980 film 9 to 5 from 20th Century Fox, which was inspired by the real-life “9to5” organization founded in 1973 to fight for women’s rights in the workplace. With original music and lyrics by Dolly Parton, the story follows three female workers, Judy, Violet, and Doralee, who plot to get revenge on their sexist and prejudiced boss, Franklin Hart, Jr., eventually taking control of the company and implementing positive changes in their workplace.
Fully taking on the part of the sweet and sour Texan Barbie was Rubi Katz as Doralee Rhodes, portraying the role originally played by Dolly Parton in the original film. Katz kept a consistent performance in her accent, posture, and flair, while the audience was captivated by her magnetic stage presence.
Serving as the show’s “smug and sexist” antagonist was Sean Longman as Franklin Hart, Jr. Longman hilariously played the role of the ego-driven villain. Alongside Mr. Hart was Roz Keith, played by Hadley Mantell, who left the audience cackling in their seats during her solo number, “Heart to Hart.” Mantell displayed wonderful stage presence and comedic timing, whether she was dancing, singing, or learning French.
Just like a busy office, the show’s production team behind the scenes never seemed to take a break. The colorful and vibrant set designed by Jackson Goddard featured the show’s iconic title with many different clocks around the set to create a chaotic but fun way to introduce the show. These shapes and colors blended well with the lighting throughout the performance. There is no show without choreography, and the two choreographers, Sofia Casares and Rubi Katz, went all out with their routines, ranging from line dancing and salsa to Broadway style and a mix of 70s choreography.
By the end of the workday, the cast and crew of 9 to 5 at NSU University School proved that hard work and talent can truly pay off.
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By Greta Harms of Westminster Academy
“Are you ready, kids?” “Aye, aye Captain!” Cooper City High School’s The SpongeBob Musical blew audiences out of the water, or in this case, out of the town of Bikini Bottom.
Based on the classic animated show SpongeBob SquarePants, The SpongeBob Musical was conceived by playwright and director Tina Landau, with music by various artists including John Legend, Panic! At the Disco, The Flaming Lips, David Bowie, and many more. The story follows SpongeBob, Patrick, and Sandy as they work together to save Bikini Bottom from the imminent eruption of Mount Humongous. At the same time, they must stop Plankton’s evil plan to hypnotize the town and take control. Overall, Cooper City High School did a wonderful job capturing the whimsical and playful energy of the show while still highlighting deeper themes of friendship, betrayal, and renewal.
Carrying the show with SpongeBob’s quirky personality, Annibelle Town perfectly portrayed the loveable and eccentric character. Her mannerisms, vocals, and line delivery throughout the performance consistently embodied the SpongeBob that audiences know and love. Alongside SpongeBob, Nikki Abisror delivered a colorful performance as Patrick. Abisror was especially humorous, and both her silly dancing and stand-out facial expressions made the character stand out even more.
Supporting the production with her stellar vocals was Mya Bustillo as Pearl. With impressive riffs and soaring high notes, her voice wowed the audience and perfectly suited Pearl’s pop-star personality. Another standout character was Patchy The Pirate, played by Nate Grun. Grun fully embodied the role and brought plenty of humor to the stage, especially during his moment of being comically kicked off.
From a technical standpoint, this show was breathtaking all around. The costumes were cohesive and perfectly matched each character’s personality. The set design was equally impressive, featuring moving platforms, multiple levels, and vibrant colors that brought the under-the-sea world to life. The cast used each set piece with purpose, and every movement on stage felt intentional. Overall, the production was spectacular from a technical perspective.
All in all, Cooper City High School’s The SpongeBob Musical was a vibrant and entertaining production that successfully captured the heart and humor of Bikini Bottom. With their energetic performance, the cast and crew delivered a show that left audiences smiling long after.
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By Madeline Levy of David Posnack Jewish Day School
Cooper City High School’s production of The SpongeBob Musical was an under-the-sea spectacle, with a star-studded cast and a set that brought the whole audience into Bikini Bottom!
The SpongeBob Musical is based on the hit TV show SpongeBob, and was brought to life by playwright Kyle Jarrow. It premiered in Chicago in 2016, and it made its Broadway debut in 2017 with 327 performances. The SpongeBob Musical also earned multiple Tony Award nominations, including Best Musical and Best Actor Ina Musical! The story follows SpongeBob as he teams up with his friends Patrick Star and Sandy to save Bikini Bottom from a volcano threatening to destroy their home. Although based on the cartoon, the musical adds emotional depth and emphasizes optimism, teamwork, and believing in yourself.
The principal cast, consisting of Annibelle Town (SpongeBob), Zoe Kent (Sandy), and Nikki Abisror (Patrick), all did a beautiful job portraying their characters’ emotional arcs throughout the show. In the song ‘(I Guess I) Miss You,’ Town and Abisror sang stunning harmonies and truly brought their character to life. Kent had miraculous diction and vocals throughout the show, and her physicality made her a standout performer. Additionally, Mya Bustillo (Pearl) had unbelievable vocal agility, and her emotions were excellently displayed each time she was on stage.
The ensemble had unmatchable energy, with every number being in sync and facial expressions that kept the audience engaged and on the edge of their seats throughout. The harmonies executed by the whole cast were noticeable and well-done, a superb addition to their incredible performance. ‘I’m Not A Loser’ was a superior number, with Jake Terl (Squidward) leading the number, and the fabulous tap dancer ensemble accompanying him. They brought pizzazz and piercing vocals to Bikini Bottom; the synchronized tap sounds and movements of the ensemble performance was especially impressive.
From a technical standpoint, the SpongeBob Hair and Makeup team brought the glam to Bikini Bottom! Every character had a beautiful and articulated look that was visible from the audience. The SpongeBob Set Team did a magnificent job designing and executing their set design. The volcano set utilized in Act II was exceptional, and The SpongeBob Management Team did a commendable job ensuring everything was in the correct place and worked with the actors to perform these intricate sequences. Payton Varga, who portrayed the French Narrator, also participated as a Folley Artist on the stage. This was especially remarkable; every sound was heard on time, and multiple items were utilized to create sound effects that fit each moment.
The cast and crew of The SpongeBob Musical at Cooper City High School ensured it was the “Best Day Ever” for audiences as they proved their rendition was a true spectacle down in Bikini Bottom!
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By Cole Christianson of Saint Thomas Aquinas High School
If nautical nonsense be something you wish, Cooper City High School had plenty to offer beneath the sea. With a tidal wave of color, humor, and heart, their vibrant production of The SpongeBob Musical dives deep into the optimistic chaos of Bikini Bottom. Packed with larger-than-life characters and buoyant energy, the show follows SpongeBob and his friends as they confront a looming volcanic disaster threatening their underwater home. As panic spreads across Bikini Bottom, the residents must decide whether fear will divide them or whether hope and a certain relentlessly cheerful sponge can keep their community afloat.
Leading the charge with boundless optimism, Annibelle Town brought infectious energy to the title role of SpongeBob SquarePants. With remarkably clean vocals and an impressively polished character voice, Town captured the unmistakable spirit of the beloved sea sponge while still grounding the character in genuine emotion. Her performance balanced cartoonish enthusiasm with thoughtful character development, allowing audiences to see SpongeBob grow from naive dreamer to unlikely hero as the story unfolded.
While SpongeBob kept hope alive, another resident of Bikini Bottom had a far more profitable perspective. As the money loving Mr. Krabs, Maximus Dellaria stole the spotlight every time he scuttled onstage. Dellaria’s razor sharp accent and precise physical mannerisms brought the iconic crustacean to life with comedic precision. Whether barking orders or clutching an abundance of dollars to his chest, his performance was packed with personality, ensuring that Mr. Krabs’ presence was impossible to ignore.
Of course, no sea adventure is complete without a pirate guiding the audience along the journey. Nate Grun burst onto the stage as Patchy the Pirate with booming projection and fearless confidence. Serving as a comedic ringleader, Grun immediately captured the audience’s attention and held it firmly in his grasp. His energetic delivery made the show’s opening moments and post-intermission segments especially memorable, turning what could have been simple transitions into moments of pure theatrical fun.
Beyond the performances, the technical teams worked tirelessly to bring the colorful chaos of Bikini Bottom to life. Facing the challenge of preparing a Cappies production on extremely short notice, The SpongeBob Choreo Team took a clever and collaborative approach to the show’s demanding dance numbers. With fourteen group numbers divided among six choreographers, the result could have easily felt disjointed. Instead, the choreography flowed seamlessly across the production, creating a dynamic blend of styles that energized the stage while maintaining a cohesive rhythm throughout the show.
The visual world of Bikini Bottom was equally striking thanks to the vibrant work of The SpongeBob Set Team. Their colorful design resembled a lively coral reef, filled with bright textures and intricate details that captured the playful spirit of the underwater setting. While the set truly came alive during Act Two, particularly during Sandy and SpongeBob’s thrilling “Chop to the Top” number, it provided a vivid backdrop that helped immerse audiences in the oceanic world of the show. Just as impressive was the incredible craftsmanship of Kenny Gervais, S. Hoffman, & Co, whose prop work added layers of creativity to nearly every scene. With dozens of special props appearing throughout the production, each one hand-painted and crafted by students, the attention to detail was remarkable. From an audience perspective, every prop felt purposeful and polished, contributing to the whimsical charm of the production.
Another standout element was the production’s inventive sound design. The SpongeBob Sound Team delivered an auditory experience that was as entertaining to watch as it was to hear. Portraying the French Narrator, Payton Varga sat onstage operating a booth of live foley effects, creating everything from squishes and footsteps to the unmistakable pop of underwater bubbles. Watching the sounds of Bikini Bottom materialize in real time added a layer of theatrical magic that kept audiences endlessly fascinated.
However, not every technical element remained perfectly afloat. Occasional microphone troubles, a limited number of available mics, and a few televised projection mishaps proved distracting at times, briefly pulling focus away from the lively action unfolding onstage.
Still, like the endlessly optimistic sponge at its center, the production refused to sink. Through spirited performances, inventive collaboration, and a clear passion for storytelling, Cooper City High School proved that when creativity and teamwork come together, even the simpl(est) sponge can save the day in their buoyant production of The SpongeBob Musical.
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By Claire Boisvert of Somerset Arts Conservatory
What happens when you combine a greedy crab, oblivious star fish, clarinet playing squid, science loving squirrel, sinister plankton, and an optimistic sea sponge? You get the colorful, chaotic underwater world of Cooper City High School’s production of The SpongeBob Musical, a high energy adventure where citizens of the beloved Bikini Bottom must unite to stop a volcano, and prove that all it takes is the power of friendship, science, and a little bit of nautical nonsense to save the day!
Primering in Chicago in 2016 before making its splash on Broadway in 2017, The Spongebob Musical, features songs from a wide range of popular artists including John Legend and David Bowie. The story follows the characters from Nickelodeon TV show “Spongebob Squarepants” as they discover a nearby volcanic eruption that may destroy their underwater home. As the town descends into gradual panic, it is up to SpongeBob and his friends Sandy and Patrick to save the day.
Portraying the title character was Annibelle Town as Spongebob Squarepants. Her portrayal of the fun loving frycook was one with a wide range of expression, from exuberant optimism to tones of underlying defeat, proving that there was no such thing as a simple sponge. Opposite her was Sandy Cheeks, played by Zoe Kent, a notable standout performer, due to a consistent character voice and vocal agility, demonstrated in songs such as duet “Chop to the Top.” Kent portrayed the typically animated character with a level of nuanced emotion that gave the sea squirrel an extra level of depth.
As the unapologetically penny-pinching Euegene Krabs, portrayed by Maximus Dellaria, whose use of physical comedy as well as a character voice held true to the original cartoon, made him a standout performer. His daughter Pearl, played by Mya Bustillo, starkly contested this greed with believable cries and powerful vocals that made the whale utterly unique. Both Bustillo and Dellaria’s vocals were highlighted in duet “Daddy Knows Best”, in which the pair additionally perfectly encapsulated the dynamic between the greedy father and bratty teen.
Breathing life into Bikini Bottom, where its citizens who as an ensemble delivered stunning harmonies and dances that would leave you shell shocked. Notably was the song “When the Going Gets Tough”, in which hip hop stylistic choices highlighted the dancing capabilities of the ensemble members.
Yet the real magic of Bikini Bottom didn’t just come from performances, it was in the technical team beneath the surface. Notably was the effortless ability of Stage Management and Crew, to smoothly transition scenes and call over 609 lighting cues. Additionally, the props team; Kenny Gervais, S. Hoffman & Co, designed 280 props, ranging from jellyfish to crabby patties.
Cooper City High School’s production of The SpongeBob Musical was nothing short of fin-tastic, making this show a bright and absolutely absorbent hit! Come soak up the fun in Bikini Bottom, and join a cast and crew whom poured their souls into an absolutely sand-sational production!
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By Jeremiah Johnson of Coral Springs High School
In the library of life, some pages surprise you, especially when you wander into Marjory Stoneman Douglas High School’s charming storybook world of “Between the Lines.”
Based on the bestselling novel by Jodi Picoult and Samantha van Leer, “Between the Lines” first premiered in 2017 at the Kansas City Repertory Theatre before making its off-Broadway debut in 2022. The musical reshapes boundaries between fiction and reality, giving a confused schoolgirl, Delilah, a vivid emotional landscape as she seeks connection beyond the margins of her everyday life.
Opening the book with nothing but heart, Delilah, played by Jesse Jimenez, delivered marvelous diction, paired with vocal projection, and took the words crisply off their pages, ensuring every line landed with expressive weight. Jimenez’s stage chemistry with both Grace, her mother, and Prince Oliver created relationships that felt meaningful and emotionally grounded. Prince Oliver, played by Sam Herman, had love which could not be shown without his magnetic charm. Herman demonstrated persistent characterization from his consistent accent to the sharpness in his physicality. Herman’s energy undeniably stole the audience’s focus each time he appeared with a presence that sparkled.
Just as majestic as his magic paint brush was Rapskullio, played by Keagan Harrypersad, who brought sharp wit and stunning dance tricks, shaping the chaos into a performance that was bold and mesmerizingly fun. Allie McAndrews, played by Ellie Rose, grounded the show with fierce character embodiment; her stage presence was held unwaveringly, her choices were powerful, and her commitment was evident in every step she took across the school halls. Rose’s intensity and clarity of character made her scenes resonate with dominance long after they ended.
The Mermaids’ scales shimmered with greatness no matter where they were on stage, bringing a spark of mischief and momentum to every scene their tails could touch. Their energy remained infectious, while their siren songs blended together with a clarity that made their mix feel effortless. Nonetheless, their tails must’ve always been in sync, because their precision in choreography made it clear they understood one another on an instinctive level. Overall, they created a group which expressed confidence, elegance and irresistibility.
Every book needs its author, and these vocal directors worked each song to sound like its own chapter in this production. Adiah Ford and Ellie Rose showcased magnificent direction through vocal blend and energy among the cast. Standout songs were “Happily Ever After Hour” and “Crazy Chemistry,” in which attention to volume contrasts were very clear and consistent. The costumes by Hailey Itzkowitz and crew pulled the characters into reality through vibrant color palettes, luscious fabric extensions and extreme attention to detail, such as adding rhinestones to dancers’ shoes.
In a story in which imagination refuses to stay on the page, Marjory Stoneman Douglas High School’s production of “Between the Lines” reminds us that the stories we tell ourselves can be the ones that inspire us to write “another chapter” of our own.
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By Heather Johnson of Saint Thomas Aquinas High School
Everyone grows up hearing fairy tales, but Marjory Stoneman Douglas High School’s production of “Between the Lines” asks a unique question: What if you could actually step inside one? From the first flourish, the cast’s performance was like opening up a storybook and watching the pages come alive. With humor, heart and a little bit of magic, it reminded us that life is just as powerful as any fairy-tale ending can be.
“Between the Lines” is a musical performance of the novel by Jodi Picoult and Samantha van Leer. The show centers around Delilah, a teenager who is feeling trapped in her own reality but finds an escape in a fantasy novel, – more specifically, the dashing Prince Oliver. However, she finds that the prince is actually able to talk to her from inside the pages of the book. What starts out as a fantasy turns into a tale of self-confidence and learning that you don’t have to have an ever-after to be happy.
Jesse Jimenez as Delilah gave a simply heartwarming performance. She portrayed the character’s frustration and loneliness in a believable way. This made the audience turn the page right along with the story. Her breathtakingly bright vocal tone added a charm to the stage that could not be replicated by any princess.
Sam Herman played the character of Prince Oliver and brought contagious energy from his princely locks to his ever-so-tight tights. His portrayal balanced the character’s fairy-tale confidence and humor when he realized the real world wasn’t as perfect as the one in his book. The scenes between Sam and Jesse flowed especially well. Their chemistry brought a sense of believability to the story, regardless of its fantasy elements.
The supporting cast also played their part in bringing about the various colorful characters from the fairy-tale world. Each role felt authentic and unique, and each actor maintained the magical theme of the play. There were scenes that seemed like they were plucked straight from a book of fairy tales and others that brought back reality with a jolt, but the cast played both circumstances equally well.
One of the best features of this play was its choreography. The entire play was student choreographed by talented dancer Ava Fronstin, who also juggled the role of tap-dancing dog Frump. It was quite a feat balancing both roles, but she seemed to do so with ease.
The technical aspects also contributed to bringing the “book world” to life. The set changes gave the illusion that the audience was switching between reality and the fairy tale. Lighting and costumes also added bright colors and a bookish style that fit with the magical theme. It felt as if the stage transformed into an enchanted oasis.
All in all, Marjory Stoneman Douglas High School’s production of “Between the Lines” was a sweet and creative show. They managed to balance humor, music and heart in a way that kept the audience interested from start to finish. In the end, the show proved that sometimes the best stories are the ones in which the hero learns to write their own ending – no fairy godmother required.
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By Afreeca Fullwood of Piper High School
Did you ever wish a story could step off the page and into your life? Marjory Stoneman Douglas High School’s production of “Between the Lines” transforms a beloved novel into a stage adventure that invited audiences into a world of wonder and discovery.
Between the Lines follows Delilah, a teenager who escapes into her favorite fairy tale to cope with a difficult reality. When the prince inside the book begins speaking to her, the boundary between fiction and life begins to blur, sending Delilah on a journey of love and self-discovery. The story began as a novel by Jodi Picoult and Samantha van Leer before being adapted into a stage musical with music and lyrics by Elyssa Samsel and Kate Anderson and a book by Timothy Allen McDonald – bringing the magical story from page to stage.
Sweet Delilah comes to life through Jesse Jimenez, who captures the tender innocence of first love with remarkable care. Her vocals feel almost storybook in their warmth, and, as the production’s narrator, she guides the audience through Delilah’s world with thoughtful pacing and vivid characterization. Jimenez shares wonderful chemistry with Sam Herman as Prince Oliver. Their scenes allow the audience to believe that a girl and a prince from a page could truly fall for each other. When the story eventually forces them apart, the moment lands with genuine heartbreak for the audience.
The production also embraces the magical rules of its world. Prince Oliver often mirrors Delilah’s movements depending on how she holds the book. When she lowers it, he sinks with it. These clever physical choices add charm and reinforce the whimsical, storybook nature of “Between the Lines.”
The ensemble brought constant life to the stage. When portraying high school students, they remained engaged and active. When they transformed into fairy tale creatures, they became wonderfully ethereal, creating the feeling that the audience had stepped directly into the pages of “Between the Lines.” One standout was Ava Fronstin as Frump. Her brief tap-dancing solo was a delightful surprise, especially knowing she learned the style specifically for the role; the effort paid off and reflected both dedication to her character and to the craft of theatre. The mermaids were another highlight, bringing bold attitude and strong vocals; leader Ondine, played by Jasmine Douglas, commanded attention with a powerful voice that made it clear why she ruled the underwater world.
The choreography played an important role in telling the story. Each movement felt purposeful and helped guide the audience through the shifting worlds of the show. Just as impressive was how clearly the choreography had been taught, with the cast executing it with confidence and clarity. Lighting cues were quick and precise, enhancing comedic beats while also creating the magical atmosphere that defines the story. Even before entering the auditorium, the production had begun to build its world, thanks to the efforts of the marketing and publicity team; the promotional material consistently captured the whimsical tone of “Between the Lines,” spreading excitement across the community and preparing the audience for the imaginative adventure waiting inside the theater.
From the first page to the final bow, Marjory Stoneman Douglas High School’s production of “Between the Lines” enchanted and proved that some stories don’t just stay in books; they live in our hearts.
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By Austin Blakely of JP Taravella High School
Marjory Stoneman Douglas High School’s production of “Between the Lines” delivered a magical and heartfelt evening, blending whimsical fantasy with sincere emotion. Through strong performances, vibrant staging, and thoughtful storytelling, the production brought the imaginative world of books and reality beautifully to life.
Between the Lines is based on the novel by Jodi Picoult and Samantha van Leer, with music and lyrics by Elyssa Samsel and Kate Anderson and a book by Timothy Allen McDonald. The story follows Delilah, a teenager who feels like an outsider and finds comfort escaping into her favorite fairy tale book. Inside the pages lives Prince Oliver, who secretly longs for a life beyond the confines of his story. As Delilah rereads the book, the two discover they can communicate with one another, sparking a magical friendship. The musical explores themes of belonging, identity and the power of imagination.
Jesse Jimenez, portraying Delilah, anchored the production with sincerity and emotional depth. Her performance captured the loneliness and determination of a girl searching for her place in the world. Through expressive vocals and natural stage presence, she made Delilah’s journey relatable and heartfelt. Sam Herman, as Prince Oliver, brought charm, humor and a touch of royal frustration to the stage. His chemistry with Jimenez helped ground the story’s magical premise in genuine connection.
Ellie Rose, who played Allie McAndrews, had a captivating stage presence and delivered excellent characterization, particularly in the song “Inner Thoughts,” in which she effectively captured the sharp “mean girl” personality of the character. Meanwhile, Maggie Starr, portraying Grace, delivered compelling vocals as she navigated the character’s struggles to make ends meet. Her performance was especially powerful in her solo “Leaps and Bounds,” which resonated emotionally and seemed to touch the hearts of many in the audience.
Brynn Levy as Queen Maureen, with a comedic flair and commanding stage presence, added an entertaining spark to every scene she entered. Abigail Bejarano, as Princess Seraphima, had fantastic comedic timing, playing the dumb princess with delicacy. Meanwhile, the ensemble portraying the mermaids filled the stage with lively energy, each one contributing personality and charm to the song “Do It for You.”
With over 40 quick changes, the costumes by Hailey Itzkowitz, Sophia Berman, Gabriella Canas-Abdo and Aria Azzarelli helped distinguish between the whimsical fairy-tale characters and the modern-day setting, visually reinforcing the two worlds at the heart of the narrative. Ava Fronstin’s choreography was truly exceptional, dedicating countless hours to guiding the cast, while also ensuring that every musical number was engaging, energetic and enjoyable for the audience to watch. Meanwhile, the publicity team of Maggie Starr, Ellie Rose, Leila Zollo and Charlotte Schroeder did an outstanding job spreading the word about this production; from creative promotions to handing out the show’s memorable bracelets, their efforts made the musical widely known throughout the community, while their social media had more than 1.2 million collective views.
Marjory Stoneman Douglas High School’s production of “Between the Lines” was a charming and uplifting theatrical experience. By combining humor, heart and imagination, the cast and crew created a story that reminded the audience that sometimes the greatest adventures begin simply by opening a book.
By Alexa Oddo of Dr. Joaquin Garcia High School
What does a mother, daughter, three possible dads, and a chaotic white wedding cause? It causes Cypress Bay High School’s production of Mamma Mia! Mamma Mia follows the story of a young girl named Sophie who is desperate to find her father in order to find her true self. She invites three of the possible suspects to her wedding without her mother knowing. When all the secrets start to unravel, chaos ensues.
With songs written by Benny Andersson and Bj�rn Ulvaeus, participants of the world renowned Swedish pop group ABBA, the movie Mamma Mia was produced in 2008, starring famous actors including Meryl Streep and Amanda Seyfried. Before the movie version, a stage version premiered in 1999 with ongoing showings.
Kamila Perdomo Salazar achieved a dynamic and emotional performance as Sophie. During emotionally tense scenes, she was able to convey these larger-than-life emotions through facial expressions and physical characterization. Salazar’s vocal stability and control enhanced her storytelling abilities while she delivered some beautiful notes. Her voice was captivating and sweet as a symphony, creating a touching environment for the audience. Overall, Salazar was a standout performer in all aspects of this production.
The song Under Attack, performed by Sophie and the ensemble, encapsulated the chaotic thoughts inside of Sophie’s brain. The incorporation of ensemble elements emphasized this chaotic environment with technical choreography and staging. There were dynamic stage pictures created with intricate lifts and transitions. This song embodied a look into Sophie’s brain with the stress of the wedding and her newfound possible dads.
Marianna Gomez was a standout ensemble member. During dance numbers specifically, Gomez had high energy and skilled execution of dance moves. Her precise dance moves were seen from her fingertips all the way throughout her body. While the ensemble served great dancing abilities and vocals, at times, the stage was crowded and overfilled. It became difficult for some dancers to fully execute their moves. However, there was no contrast between the energy of the ensemble as all members were energetic.
The lighting design (Debra Toyber and Jett Grom) was creative and engaging to the audience. With flashing lights and a rainbow show at the beginning, the audience was immersed in a Disco Inferno. During songs including Super Trouper and Gimme, Gimme, Gimme, there were flashing strobe lights bringing Donna and the Dynamos to a whole new level! There were clear color schemes per the emotion of the scene, adding intensity to the situations. The contrasting emotions represented with different colors was subtle yet inspired.
Cypress Bay High School presented a phenomenal production of Mamma Mia with acting and technical elements combining. From emotional acting to other dazzling features, Mamma Mia has something for everyone to enjoy. The energy was never-ending and had the audience jumping out of their seats to join in on the fun!
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By Aubrey Martin of Cardinal Gibbons High School
Take a chance on Cypress Bay High School’s Mamma Mia!, and you might just find yourself having the time of your life.
Since its premiere in London in 1999, Mamma Mia! has become one of the most beloved jukebox musicals in the world, built around the iconic music of ABBA. The story follows Sophie Sheridan, a young bride-to-be who secretly invites three men from her mother’s past to her wedding in hopes of discovering which one is her father. Packed with ABBA’s instantly recognizable hits and sunny Greek island atmosphere, the musical is known for its infectious energy and crowd pleasing charm. Cypress Bay’s production captured that spirit completely, delivering a lively and polished performance that had the audience ready to shout, fittingly, “Gimme! Gimme! Gimme!” more.
At the center of it all was Sophie, played by Kamila Perdomo Salazar, whose performance radiated confidence from the moment she stepped onstage. With a warm, expressive stage presence and impressive vocals, Salazar anchored the story with sincerity and love. Her performance during “Under Attack” stood out as a highlight of the evening. The number requires emotional intensity and strong vocal control, and Salazar delivered both, balancing Sophie’s anxiety and determination with clarity and power. She carried the moment beautifully, proving herself a commanding presence in the role.
Aaron Bigenho’s Sam Carmichael shined especially in the second act, where his vocals came fully into their own. His performance of “Knowing Me, Knowing You” was particularly moving. The song’s bittersweet tone allowed Bigenho to show both vocal strength and emotional depth, creating a moment that resonated strongly with the audience.
Daniel Guzman Catarino as Bill Austin and Trisha Burr as Tanya provided some of the show’s strongest comedic moments. Catarino brought consistent humor to Bill, using timing and physical comedy to keep the audience engaged throughout the show. Burr’s Tanya was equally entertaining, especially during “Does Your Mother Know.” Her confident stage presence and flirtatious delivery made the number playful and exciting to watch.
Behind the scenes, the technical elements elevated the production significantly. The lighting design was particularly impressive, making excellent use of gobos, side LED lighting, and a dazzling disco ball to capture both the dreamy Greek island atmosphere and the high energy concert feel of the show’s musical numbers. The costumes brought a pop of color onstage. At times, the styles leaned noticeably modern, which occasionally created some inconsistencies within the visual world of the production. However, the overall effect remained colorful and engaging. Considering the technical challenge of working with only twelve microphones for such a large and vocally demanding show, there were some dips in harmonies, but the cast maintained a strong sound throughout the performance.
With energetic performances, memorable vocals, and technical elements that kept the stage visually alive, Cypress Bay’s Mamma Mia! proved to be a vivacious celebration of music and storytelling. By the time the finale arrived, the audience was fully swept up in the spirit of the show.
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By Claire Boisvert of Somerset Arts Conservatory
Everyone loves a good destination wedding, but what happens when this wedding takes on an irresistible plot and delightful music selection that makes the audience scream gimme gimme gimme more?? What you get is the heartwarming musical Mamma Mia!, performed at Cypress Bay Highschool on Thursday night, whose performance transported audiences into the classic tale of summer love.
Mamma Mia is a 1999 jukebox musical written by British playwright Catherine Johnson, featuring hit songs by Swedish pop group ABBA. Originally premiering in London, it made its way to Broadway in 2001, where it became the ninth longest running show. The plot centers on the chaos that unfurls after Sophie Sheridan invites three of her mother Donna’s former lovers to her wedding in Greece, in hopes that she may find her father.
As the high strung but loving Donna, Audrey Pangalangan grounded each line with raw emotional weight and powerful vocals, particularly during an impassioned rendition of “The Winner Takes it all.” Her palpable chemistry with Sam, played by Aaron Bigenho, demonstrated the ungraspable tension that lost summers and forgotten dreams bring. Bigenho, as Sam, delivered smooth and moving vocals that masterfully conveyed his slow realization that he may be a father.
Stepping into the spotlight when she got the chance, was none other than Kamila Perdomo Salazar, portraying dancing queen Sophie Sheridan. Salazar stole the show with beautiful vocals, particularly in the song “I Have a Dream”, capturing the nuanced wonder of the bride to be. Her vocal prowess was not just one of power but of stamina, notably during “Under Attack”, in which Salazar had to run and even be tossed around while still delivering a well executed belt.
Another notable standout was Tanya, played by Trisha Burr. From her first moments on stage, Burr expertly blended both acting and singing, perfectly encapsulating the level-headed yet downright hilarious nature of the character.
Behind the scenes, Cypress Bay’s technical team breathed the world of Mamma Mia! to life, proving the importance of precision alongside performance. To set the show was the lighting, designed by Debra Toyber, as the light show was consistent with different overture intensities, changing paces, and color pallets. The Set Team (Debra Toyber, Enzo Sequini, Alessandra Reyes, Jordan Cohen, & Co.) also did a commendable job bringing Donna’s home to life, utilizing various hues of blues and greens to capture the essence of Grecian Summers.
Whether you’re an ABBA fanatic or love a good summer romance, Cypress Bay High School’s production of Mamma Mia, demonstrated the power of relationships between those you love, those connections rooting a production that everyone can relate to. The show captured the hearts of its audience with every minute, so don’t let the opportunity slip through your fingers, and go see Cypress Bay High School’s production of Mamma Mia!
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By Daniel Font-Wilets of American Heritage Broward
“Thank you for the music,” and indeed, there was plenty to thank them for: Cypress Bay High School delivered a vibrant production of “Mamma Mia.” Built around the iconic catalog of ABBA, the show is known for its infectious energy and feel-good storytelling. Cypress Bay’s take on the beloved musical embraced that spirit, creating an evening of pure fun from the opening number to the final curtain.
Since its 1999 premiere in London, “Mamma Mia” has become one of the most recognizable jukebox musicals in the world. Set on a sunny Greek island, the story follows Sophie Sheridan as she prepares for her wedding while searching for the identity of her father. After secretly reading her mother Donna’s diary, Sophie invites three men from Donna’s past to the island, hoping that one of them will walk her down the aisle. What follows is a story that blends an emotional journey with a steady stream of ABBA hits.
At the center of the production was Kamila Perdomo Salazar as Sophie Sheridan, whose performance served as the emotional heartbeat of the show. With confident vocals and a sincere stage presence, she navigated the demanding score with impressive control. She began the show as an optimistic, somewhat naive girl but gradually blossomed into a more mature and self-assured young woman. Her chemistry with the three potential fathers helped anchor the story; when the plot asks audiences to “take a chance” on three different relationships, believable connections are essential. Among those fathers, Aaron Bigenho’s Sam stood out vocally. His strong voice carried well throughout the theater, even during moments when sound challenges arose. Bigenho brought a sincerity to the role, grounding several of the show’s more emotional moments while still participating fully in the musical’s playful tone.
The supporting cast added personality and pizzazz throughout the production. Trisha Burr delivered one of the evening’s standout performances as Tanya, combining confident vocals with crisp comedic timing. Her performance brought charismatic charm to the stage, proving that when it comes to comedic delivery, Burr definitely knew how to “lay all her love” into the role. Brady Bulzone as Harry and Daniel Guzman Catarino as Bill both brought warmth to their performances as well, each sharing believable chemistry with Sophie while delivering several notable vocal moments. The ensemble also contributed significantly to the show’s high-energy atmosphere. The dancers executed the choreography with sharp precision, particularly during the production’s larger musical numbers.
Behind the scenes, the technical teams played an important role in shaping the production’s success. The marketing and publicity team, Andreina Dominguez and Annalise Gomez, did a commendable job promoting the show through social media. Their creative “meet the cast” posts and cohesive visual aesthetic gave the production a polished presence online and helped build anticipation leading up to opening night. The Lighting design by Debra Toyber and Jett Grom added another layer of theatrical flair. Their work created a clear visual contrast between daytime and nighttime scenes, helping establish the island setting while enhancing the show’s celebratory moments. During the party sequences especially, the lighting design truly turned the stage into a colorful celebration.
Ultimately, Cypress Bay’s “Mamma Mia” succeeded in capturing the spirit that has made the musical a worldwide favorite. With strong student performances and thoughtful technical design, the production proved that when a cast commits fully to the fun, the audience will be ready to say, “Here we go again!”
By Sofia Bahamon of Somerset Arts Conservatory
Hey Upper East Siders… Spotted: tangled love lives, shifting loyalties, and one anonymous voice stirring the pot. Monarch High School’s “A Midsummer Night’s Dream” transported Shakespeare’s enchanted forest into a world of Manhattan glamour, where fairy mischief met social hierarchy. In this modern reimagining, romance was dramatic, reputations were fragile, and chaos unfolded under the glow of city lights.
First performed in the late 16th century, William Shakespeare’s A Midsummer Night’s Dream is a comedy of mismatched lovers, magical interference, and theatrical absurdity. Monarch’s production embraced the play’s timeless exploration of love and identity while framing it through a contemporary New York lens. Though the script retained Shakespeare’s original structure, the inclusion of modern, Gossip Girl-inspired stylistic elements and references created a sleek, contemporary world that effectively blurred the lines between eras. The result was ambitious and energetic, reinforcing the idea that whether in ancient Athens or present-day high society, love rarely follows logic.
Dahlia Jaramillo’s Helena was a scene-stealing highlight, using strong physical comedy, expressive reactions, and sharp comedic timing to turn Helena’s unreciprocated love into the emotional and comedic center of the chaos. Juliana Zamorano’s Hermia provided a grounded, emotionally layered portrayal, bringing quiet intensity and strong determination to the role. Khaleb Leflore’s Lysander delivered smooth, sincere romantic charm that kept the shifting love dynamics believable, while Michael Campbell’s Demetrius added strong comedic tension, particularly in his scenes with Helena, where expressive reactions and physical comedy made their interactions especially entertaining.
The Mechanical ensemble was a comedic highlight of the production, fully embracing the play’s meta-theatrical humor through exaggerated physical comedy and strong character commitment. Their New York-inspired accents and stylized delivery added personality and enhanced the chaos of the rehearsal scenes. Julia DeBrito’s Nick Bottom stood out with bold, larger-than-life confidence, leaning into Bottom’s theatrical self-importance through expressive physical comedy and strong vocal choices. Daniella Abadir’s Penny Quince provided sharp comedic balance as the organized but frustrated leader of the troupe, using precise timing and clear reactions to ground the ensemble’s chaos. Together, the Mechanicals delivered some of the night’s most memorable comedic moments.
The technical design beautifully supported the production’s modern New York vision. The set design by Brooke Miller and Alexis Bayley Hay made excellent use of Central Park as the enchanted forest, creating a glamorous yet magical atmosphere, highlighted by an impressive fountain design and a satisfying grand reveal. Dramaturgy by Alexis Bayley Hay strengthened the adaptation through strong research into both Shakespeare’s original script and its modern inspiration, while also supporting the authenticity of the New York accents. Props by Valeria Feria, Jayla Renwick, and Andi Brady added comedic and visual charm, with highlights including the donkey head and love potion, which enhanced both the humor and magical chaos of the production.
Monarch High School’s “A Midsummer Night’s Dream” successfully blended Shakespearean comedy with modern New York style, delivering a production that was both entertaining and visually engaging. The strong performances, creative technical design, and bold stylistic choices made this adaptation a memorable night of theatre. You know you’ll love it.
XOXO, Blabber Bard.
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By Taylor Curtis of American Heritage Broward
Spotted: a fairytale love square on the Monarch High School Stage. Hey Upper East Siders, this just in: fairies, mechanicals, and royalty have descended for a night of passion and comedy. Is it all a dream, or is there deeper mischief hidden behind the hallucinations?
“A Midsummer Night’s Dream” is a Shakespearean comedy written from 1595 to 1596. It chronicles three overlapping words that collide in an enchanted forest outside of Athens. In the center of the chaos are four elites whose love lives are more jumbled than a Midtown traffic jam. On top of it all, Monarch’s theatre students have conjured up a brand new take on the classic tale as the Bard meets the Big City.
Leading the lovers is Juliana Zamorano as Hermia, the city’s most bold debutante, who proves that even the strictest Upper East side rules are no match for a girl in love. Her mix of teenage angst and meaningful love for her partner Lysander grounds the play’s mayhem, reminding viewers that in the world of social classes and fairy magic, true love is the ultimate cause for an uprising. Opposite her was her emotionally insecure best friend, Helena (Dahlia Jaramillo), whose desperate want for Demetrius brought vulnerability and heartbreak to the stage. Jaramillo’s monologues full of self-doubt and a fierce determination highlighted that in the Upper East Side the only thing more dangerous than a love potion is a young woman longing for love.
Julia Debrito’s portrayal of Nick Bottom was pure comedic gold. She turned the mechanical’s rehearsal scenes into a dramatic comedy special as she blurted out pop culture references, bringing the Bard into the 21st century. Playing the concrete jungle’s most self-absorbed actor, Debrito perfectly captured Bottom’s over the top delusions of power with an infectious energy that ensured that all eyes were on her, donkey ears and all.
The show’s technical and creative elements matched its performances with whimsy and magic. Brooke Miller and Alexis Bailey Hay’s set was gorgeously crafted, depicting the famous Central Park. Highlighting the set’s beauty and craftsmanship was Kaitlin Warn and Matteo Galindo-Razuri’s lighting. The blue hues over the stage perfectly captured a perfect midsummer’s night. This immersive atmosphere was brought to life with Alexis Bailey Hay’s dramaturgy as each character showcased a deep commitment to their character’s objectives. Hay remarkably bridged the gap between 16th-century fairytales and 21st-century life by combining the ideals of social hierarchies and popular slang.
As the lights faded on the city, one thing remained certain: at Monarch High School, the city is not just a place of magic, but also a transformative setting. Whether it was a dream or a hex created by a mischievous fairy, this was a night the city will never forget. “XOXO, Gossip Girl.”
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By Alyvia Rigg of JP Taravella High School
Transport yourself to Central Park at the Bethesda Fountain, where mischievous fairies stir chaos, desperate lovers quarrel, and rag-tag mechanicals rehearse their play in Monarch High School’s inventive production of “A Midsummer Night’s Dream.”
Originally written by William Shakespeare around 1596, this production was creatively adapted and modernized by Khaleb Leflore and Monarch’s Advanced Theatre class. Inspired by “Gossip Girl,” it places the Bard’s classic tale in New York City, complete with updated dialogue, New York accents, and a mysterious anonymous poster named “Blabber Bard.”
Flirting and fighting with one another, the group of “Lovers” held the show together with strong chemistry and clear character contrasts. Juliana as Hermia was strong-willed and vibrant, while Khaleb Leflore as Lysander was charming and playful. Michael Campbell (Demetrius) was convincingly harsh, and Dahlia Jaramillo (Helena) perfectly captured desperation and jealousy. Together, the four created a dynamic and satisfying love story.
Clobbering through Central Park, loud, stinky, and unorganized, the “Mechanicals” were a standout ensemble. Julia Debrito as Nick Bottom was hilarious, fully embracing Bottom’s arrogance and “ass”-like charm. Daniella Abadir as Penny Quince brought a consistent accent and strong character choices. Alexander Dorigo as Flute delivered excellent comedic timing, especially with his high vocal tone as Thisbe. Their “play within a play” was a comedic highlight that showcased their teamwork.
Causing chaos at every turn, the fairy ensemble added energy and mischief throughout. Lina Kazaneh’s Titania was sassy and comedic, especially in her scenes with the donkey-headed Bottom. Zoey Vernay skillfully balanced the roles of Oberon and Theseus with distinct character choices. Colin Tessler as Puck was a captivating narrator, maintaining a mischievous-like tone while guiding the story to its conclusion.
The technical elements supported the transition from classic Shakespeare to modern Gossip Girl smoothly. Alexis Bayley-Hay’s dramaturgy helped maintain the integrity of Shakespeare’s characters while guiding the cast through the modern dialogue and New York accents. Brooke Miller and Alexis Bayley Hay’s set design was impressive, with a well-built fountain that actors navigated confidently. Valeria Feria’s props had great detail and added to the production beautifully, especially the self-moving fairy-wings blended into each costume. Dahlia Jaramillo’s hair and makeup design was insanely detailed, with step-by-step instructions for each actor and looked great on stage.
Love potions, Fairy wings, and an ass head, Monarch High School’s production of “A Midsummer Night’s Dream” is a fever-dream like, modern reimagining that enchants its audience and proves that “The course of true love never did run smooth.”
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By Pietra Gomes of Coral Springs High School
Three words. Two hours. One incredible watch. Monarch Highschool’s rendition of “A Midsummer Night’s Dream” is one that I will never forget.
Midsummer Night’s Dream is a comedy by William Shakespeare that links the stories of four young lovers, a group of amateur actors and the king and queen of the fairies, Oberon and Titania, in a magical forest outside Athens. The plot involves love potions and mistaken identities. It also involves chaotic love squares and a donkey-headed man, ending in a triple wedding. The play explores themes of love, magic, and illusion played out with comedy and love.
While Serena and Blair do besties than anyone, Juliana Zamorano and Khaleb Leflore did Hermia and Lysander better than anyone. Juliana brought a female rage aspect to Hermia that even though I was not expecting, was an amazing compliment to the character. From her slicked-back bun to her high heels, she maintained that angsty acting that I was looking forward to seeing. Khaleb Leflore was iconic to say the least! He was acting in every single scene he was in. Mocking on the side, rolling his eyes, everything he did kept the audience engaged in his character. He was such a funny character which lightened up the love square going on between the leads.
I must have taken a love potion, because I absolutely fell in love with these two amazing actors who added heaviness to the plot through their characters. Dahlia Jaramillo, who played Helena, was so emotionally connected with the characters. The feelings of jealousy and rage are constantly portrayed throughout the play and stirred feelings of pity and relatability towards Helena. Demetrius, played by Michael Campbell, was a serious and grounded character who added a sense of stability to all the chaos going on around him. Even with the love potion, he was still a cool-headed character who was an excellent direct counterpart of Lysander.
Spotted: creativity that simply knows no bounds. From the dramaturgy to the set design, Alexis Bayley-Hay and Brooke Miller were thinking not only out of the box, but out of this world. Alexis Bayle-Hay was able to mix two completely opposite worlds in the characters exceptionally. Using a character analysis, she got the actors to discover more and get more connected with their characters. She is also able to take the meaning of the original script and make it more accurate to modern, “Gossip Girl”, time to get the actors to understand the relevance of certain scenes more than they would in the original Shakespearian text. The set design was innovative and modern but in a way that still reminded us of Shakespeare, and I feel it honored the original play. The design was thorough and detailed, and it was easy for the audience members to understand the significance behind the certain set pieces used.
So, if you are looking for laughs and lovers, fairies and festivities, I recommend dropping by Monarch Highschool because they can definitely provide that. XOXO, Gossip Girl.
By Alexis Adler of Cooper City High School
When an indebted, widowed father must leave his two sons with their cruel, strict grandmother, chaos ensues! With a bagman uncle, a peculiar aunt, and hidden cash, Coral Glades High School presents all this and more in its wacky yet timeless performance of Lost in Yonkers!
Written by Neil Simon, Lost in Yonkers is set in 1940s New York during World War II. The 1991 Pulitzer Prize for Drama and Tony Award winner follows the emotional evolution of a dysfunctional family run by the estranged Grandma Kurnitz, who takes in brothers Arty and Jay when their father must find ways to repay his debts. Through ten grueling months, Arty and Jay encounter their quirky family members and begin their journey toward maturity.
Malakai Rosemey’s interpretation of Arty’s youthful spirit was flawless and memorable. Rosemey maintained exemplary diction throughout the show, supported by consistent stamina. While Arty stands strong on his own, two halves do make a whole! As the older brother, Javante Fields depicted Jay with precision and brotherly love. Fields demonstrated an authentic portrayal of a responsible sibling, progressing the narrative with genuine dialogue and comic facial expressions. Together, Fields and Rosemey delivered naturalistic bickering and sibling bonds that stole the show amid the poignant mood of the household.
With a heart as sweet as ice cream soda, Brielle Vaval was immaculate as the affectionate and resilient Bella. Vaval maintained expressive characterization, seamlessly transitioning from Bella’s childlike mindset to more mature soliloquies. Carrying a mysterious bag and a distinct New York accent, Louie took to the stage with a volatile, gangster-like persona. As Louie, Donald DiCarlo’s engaging performance was evident through his flawless accent and boisterous physicality, bringing forth a refreshing depiction of the witty fugitive. As survivors of their cold, menacing mother, Vaval and DiCarlo provided a sibling relationship that was protective and true.
Even in the darkest moments, the resilience of family shines through. The cast as a whole bounced off one another immaculately, sustaining the endurance the siblings faced as they grew up. Together, they built a progressively tense storyline, cleverly shaped through hilarious moments. A riveting standout member of the cast was Nialya Flores as Gert. Flores illustrated a strong stage presence developed through her notable comedic huffing; a masterful execution!
It would be criminal if the technical crew were not praised! As a first-time stage manager, Ivy Levine impressively called cues in a timely manner, contributing to the overall smoothness of the production. Lighting by Mariana Dos Santos, Lilo Segui, and Bradley Pryor created a period-accurate atmosphere that reflected the era of the play. Additionally, they used spotlights effectively, making sure to highlight key moments, such as the letter scenes.
As the brothers step out of the “house of abnormality,” it won’t be easy to forget the incredible performances at Coral Glades High School. Audiences are guaranteed to go bonkers for Lost in Yonkers!
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By Chase Goldrich of American Heritage Broward
Step right in! Sweet one moment, sharp the next Coral Glades High School’s Lost in Yonkers blends big laughs with even bigger feelings.
Lost in Yonkers burst onto Broadway in 1991 with a surprising emotional punch, quickly earning the Pulitzer Prize for Drama and four Tony Awards, including Best Play. Underneath its snappy banter, the play digs into themes of generational hardship and finds humor in the heaviness. Set in a cramped Yonkers apartment during World War II, the story follows two young brothers sent to live with their stern grandmother after their father is forced to leave in search of work. As they navigate a household ruled by fear and deeply buried trauma, the boys are shaped by the adults around them.
Much of this production’s emotional impact lies with the two brothers at its center. As Jay, Javante Fields delivers a deeply realistic performance that feels natural and consistent. His choices are grounded and specific, capturing the boy forced to grow up too fast. His brotherly dynamic with Malakai Rosemey (Arty) is a highlight of the performance, filled with warmth and familiarity. Their chemistry feels effortless, supporting the production’s emotional core.
Stealing plenty of laughs along the way, Donald DiCarlo (Louie) bursts onto the stage with infectious energy. DiCarlo sports a delightfully playful accent, complete with vocal inflections and spot-on timing that make his every entrance a highlight. His comedy gives the character a larger-than-life presence while keeping each moment rooted in the story. That humor shines bright in scenes with Brielle Vaval (Bella), where their brother-sister dynamic crackles with chemistry. Vaval brings impressive stamina to Bella, sustaining her performance with focus and flair. Although at times age distinctions between characters are less clearly defined, the ensemble maintains a strong sense of family, grounded in clear relationships that create a believable household. This cohesion allows the cast to build moments of high tension, which are strongest when the actors are grounded and physically planted.
The ebb and flow of tension onstage is seamlessly supported by equally intentional work behind the scenes. First-time stage manager Ivy Levine, alongside Trinity Moss and Zahir Beasley, ensures the production runs smoothly by effortlessly calling 13 sound cues and an impressive 84 light cues, all requiring precise timing. Balancing this role while also serving as Head of Marketing and Publicity and working as a mic operator shows Levine’s exceptional organization, commitment, and strong understanding of how each element comes together to support the storytelling.
With thoughtful performances and tightly coordinated tech, Coral Glades High School’s Lost in Yonkers brings balance to a story shaped by both humor and hardship.
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By Maggie Starr of Marjory Stoneman Douglas High School
Take your seats (just as Bella pictured) for Coral Glades High School’s production of Lost in Yonkers, a heartfelt and humorous glimpse into a Jewish family in 1940s New York swarming with secrets.
Written by prolific playwright Neil Simon, Lost in Yonkers is set in Yonkers, New York, during World War II. It follows two young brothers sent to live with their stern grandmother while their father works to repay a dangerous debt. In her tightly controlled home, the boys are surrounded by eccentric relatives, unspoken wounds, and moments of unexpected warmth that slowly reveal what each family member is missing. The play opened at the Richard Rodgers Theatre in February 1991, went on to win four Tony Awards and the Pulitzer Prize for Drama, and leaves audiences wondering how long a family can hold itself together before something finally gives.
As Jay, Javante Fields grounds the show with a realistic performance, using confident gestures and a steady presence to establish himself as the responsible older brother. Malakai Rosemey’s take on Arty balances him perfectly with clear diction and an authentically youthful energy, making the sibling dynamic feel natural and lived-in. The two share a strong onstage chemistry that anchors the production through their bickering and scheming. Brielle Vaval as Bella impresses with a layered, multifaceted performance, growing noticeably more comfortable and mature as the show progresses; this allows her character’s shifts to feel fluid and earned.
Alanah Leon’s Grandma Kurnitz delivers a stoic, commanding performance that anchors the household with an unshakable presence. As Louie, Donald DiCarlo brings a refreshing burst of energy to the stage, leaning fully into the comedy of his “hoodwinker” character while maintaining a clear, understandable accent throughout. As an ensemble, the cast demonstrates strong stamina and commitment. While diction occasionally falters with some “chewed” words, their cohesion and consistency ultimately keep the story engaging and lively.
The production brought 1940s Yonkers to life an especially impressive feat given that the company had under one week in the theater to set up and refine all technical elements. The lighting design (Mariana Dos Santos, Lilo Segui, and Bradley Pryor) successfully reflected the period and was particularly effective in isolating characters during private moments through focused spots. The sound design (Logan Begley, Sara Abuasbih, and Crew) added a thoughtful layer to the storytelling, utilizing distinct train effects to separate the father’s presence from the rest of the cast. Stage management (Ivy Levine, Trinity Moss, and Zahir Beasley) was a standout success, efficiently calling 84 light cues and 13 sound cues to keep the production running smoothly.
Brace yourself for a grandmother who doesn’t smile, two brothers learning the rules the hard way, and a Coral Glades High School production that finds humor in tension and warmth in the moments you least expect.
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By Heather Johnson of Saint Thomas Aquinas High School
“Ay, I’m walking here!”… into Coral Glades High School’s bustling production of Lost in Yonkers! It was obvious from the first scene that this play was not about action, but about people, emotions, and things left unspoken. This translated into a well-thought-out and effective performance.
Lost in Yonkers, written by Neil Simon in 1991, is a semi-autobiographical play that takes place during World War II. The plot follows two brothers who go to live with their strict grandmother in Yonkers, New York, upon their mother’s tragic passing. What is expected to be a secure haven quickly becomes a tense environment full of fear, love, and complex family relationships. The play balances humor with serious topics like loss and growing up too fast.
Alanah Leon played Grandma Kurnitz and delivered a strong, intimidating performance. She portrayed the character as controlling and cold through stiff posture and a sharp tone. Leon’s stage presence was felt even during her silent moments. The audience could feel why the children were scared of her, but also sensed the pain behind her behavior.
Malakai Rosemey and Javante Fields played the two brothers and did a great job showing their growth throughout the play. Their performances felt real and honest. The actors made the story believable through their interactions with each other and the adults. The audience remained completely engaged during their emotional scenes, which achieved maximum impact.
Brielle Vaval, as Aunt Bella, brought warmth and light to the show. Her character added humor but also heart to the story. The contrast between Bella and Grandma made Bella’s kindness stand out even more, and her scenes created many of the most touching moments in the play.
The set design created a realistic apartment with a closed-in atmosphere that matched the story’s tense mood. The lighting and sound design acted as a subtle yet effective system, allowing the actors and dialogue to remain the main focus. The costumes maintained period accuracy, which enhanced the production’s authentic execution.
Lost in Yonkers at Coral Glades High School delivered strong emotional content through a mature production featuring excellent performances from its cast. The show demonstrated the complexity of family dynamics while displaying a love that persists through difficult challenges.
By Braelyn Dilger of West Boca High School
While green eggs and ham may be an acquired taste, Boca High’s production of Seussical the Musical was instantly delightful. With the help of colorful characters, a dedicated crew, and uniquely talented creative team, this show reminded the audience that a person’s worth is not measured by size or status, but rather their compassion and curiosity.
Inspired by several Dr. Seuss books, this show premiered on Broadway in 2000 and was created by Lynn Ahrens and Stephen Flaherty. Although it received mixed reviews during its original run and closed after about six months, it is now considered a favorite due to charming productions such as this one.
Leading this fanciful story was Cat in the Hat, played by Mackenzie Warren, who gave a unique rendition of the classic character with her charismatic talk show host style. A leader of his own story, Shashvat Premkumar played Horton the Elephant, who brought a particular gentle nature to the character and showcased his smooth vocal quality. Jordan Williams as Gertrude McFuzz provided contrast through her nervous and impulsive mannerisms, impressing the audience with her powerful bright tone. Mack Ramos as Jojo brought a strength and sternness to the role that was heard through her strong belting abilities and masterful coordination of the crutch. Other standout performances included Mayzie LaBird by Lyndsey DeLoach, The Sour Kangaroo by Nyah Bryant, and General Genghis Khan Schmitz by Kassondra Kratz, who all showcased their dedication to the zany characters through dynamic vocal quality and strong physicality.
As an ensemble, the cast delivered complicated harmonies with sharp precision, specifically carried by Lisa Capoccia, Alessia Di Piazza and Sophia Foti as The Bird Girls. With choreography by Remy Hochhauser, Defne Over and Mackenzie Warren, the group songs were lively and well-coordinated. The Whoville ensemble worked wonderfully as a unit, still producing comedic standouts from Cydney Claydon as Mrs. Mayor and Sebastian Penagos Lopez as the Grinch.
The technical design tied everything together with colorful details. The set and prop team reflected the creative, imaginative and cartoonish world that Dr. Seuss created, staying dedicated to this atmosphere from the large overflowing bathtub to the imaginative tree that Horton regrettably resides. The costume team did an incredible job of representing each iconic characters’ personalities and brought impressive cohesivity to the ensemble. The stage crew did not disappoint, making an appearance as things who were strategically organized while further enhancing the wondrous world with their hilarious comedic bits.
Altogether, the production combines sensational acting and intricate tech to create an aMAYZing show. The production captures the timeless spirit of Dr. Seuss through its emphasis on the importance of believing in yourself and standing up for others, reminding the audience that a little nonsense now and then makes life far more colorful.
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By Lily Bradford of North Broward Preparatory School
An egg-carrying elephant, a bird with a one-feathered-tail, and a cat with a hat? “Oh, the Thinks You Can Think” when watching Boca Raton Community High School’s splendidly zany production of Seussical come to life!
Weaving together the playfully fanciful stories of Dr. Seuss, this wacky Lynn Ahrens and Stephen Flaherty musical opened November 30th, 2000, playing 198 performances. Following the journey of Horton the Elephant, Seussical demonstrates his perseverance as he defends the tiny, dusk-speck “Whovillians” from the animals of the Jungle of Nool’s skepticism. Along the way, he’s roped into “egg-sitting,” the “The Circus McGurkus,” and learns the power of friendship and believing in the impossible.
Is it a bird? Is it a plane? No, it’s a Cat in a Hat! Mackenzie Warren stunningly brought the mischievous nature of this iconic character, bringing humor to every scene. The man with a heart of gold, Shashvat Premkumar amazingly brings gentleness and vulnerability to Horton the Elephant. He outstandingly portrays the embodiment of beautifully unselfish nature of people. The one, the only, “Amayzing Gertrude!” Jordan Williams gorgeously plays a once insecure girl growing into a confident protector of the ones she cares for.
All heads turn when she enters, it’s Lyndsey DeLoach as Mayzie LaBird. Her knockout performance left the audience dying of laughter when she appeared. Roses are red, violets are blue, give Mr. and Mrs. Mayor (Renzo Salvato, Cydney Claydon) credit where it’s due as their chemistry was sensational. You’re “the biggest blame fool in the Jungle of Nool” if you don’t see the outstanding sass The Bird Girls (Lisa Capoccia, Alessia Di Piazza, Sophia Foti) brought, saucily adding a layer of storytelling to this hilariously absurd musical.
“How lucky you are” to have seen Boca Raton Community High School’s phenomenal tech. The set design was stupendously ripped out of a Dr. Seuss book (Madison Zapata), vivaciously bringing his nonsensical world to life, appearing as if it was his fables. “Here on Who,” the props (Leah Koch) incredibly transported the audience into the absurd world of this show, recreating the marvelous cartoonish nature of Dr. Seuss with each prop. With 158 light cues, the lighting design (Kaela Colson, Ryder Rennick) stupefyingly embraced the quirky nature of the story, daring to believe “it’s possible.”
Boca Raton Community High School’s Seussical wondrously inspires the audience to act with compassion, treating all with equality. This leaves the audience with one final statement: “A person’s a person, no matter how small.”
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By Kate Logal of North Broward Preparatory School
Oh the places you’ll go! Oh the things you can think! Boca Community high school’s production of Seussical, makes you not want to blink! From the whimsical sets, to the talented cast, their effort and creativity, made audiences have a blast!
Combining three stories from the world of Seuss, it primarily follows Horton The Elephant protecting the “Whos”. While in its Broadway debut, Seussical was a flop, tours and community theatres proved it was not. The fusion of novels, now set to an underscore, reminds audiences to dream bigger, and for audiences to dream more.
Gertrude McFuzz, Horton’s next door neighbor, tries to grow her tail to win his favor. Jordan Williams portrayed her so well; her dedication to the character was easy to tell. Her vocal quality was pristine, her physicality was committed and bold. Her character arc progressed as the story was told. Williams was true to the character, yet still gave Gertrude her own spin; her energy radiated from the second she walked in.
Flamboyant and powerful, as she struts on the stage, Mayzie LaBird leaves the animals around her amazed. Lyndsey DeLoach captured Mayzie’s energy and fun, as well as her diva behavior when she lays in the Palm Beach sun. Her vocals were powerful, her stage presence strong, her captivating performance was showcased in all of her songs.
A few other standout performers that were comedy gold, include Mrs. Mayor; everyone’s attention she pulled. Cydney Claydon’s facial expressions were animated, whether she beamed or she sobbed. No matter what occurred in the story, Mrs. Mayor’s choices were strong. Commanding the stage was General Genghis Khan Schmitz. Played by Kassondra Kratz, her performance was not one to miss. Her physicality could be seen from the back of the house, as General Khan ordered others around.
To transport the audience into the whimsy world of Seuss, the technical elements had to fill big shoes. The cartoonish set, student painted and built, proved that Boca high’s students were incredibly skilled. The costumes were vibrant, and cohesive to location. It helped understanding of the story, and gave actors their characters’ foundation. With over twenty mics, managing the sound system was hard work! Despite some balancing issues, actors adapted to be heard.
Boca Community High School’s production of Seussical reminds audiences to think low and think high. “Oh the things you can think up, if you only try!”
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By Agustin Adames of Cooper City High School
From the Jungle of Nool to sunny Palm Beach, Boca Raton Community High School guides us through their zany rendition of “Seussical,” allowing audiences to explore the thrill ride that is this whimsical musical!
Based on Dr. Seuss’ beloved children’s stories, “Seussical” was written by Lynn Ahrens and Stephen Flaherty, and it follows the selfless Horton the Elephant and his journey to protect the Whos, a small community of people residing on a speck of dust. Alongside Horton and the Whos, a whole myriad of animals is featured throughout, leading to mayhem. But, after lots of monkeying around, Horton the Elephant overcomes countless drawbacks, all to save the Whos!
Shashvat Premkumar (Horton The Elephant) heard the small voice on a speck of dust, and with a powerful voice, he captivated the audience’s attention. Premkumar displayed Horton’s gentleness and empathy excellently, tying all the extravagant stories together. Under a tall, red and white hat lies the clever Mackenzie Warren (Cat in the Hat). Ready to pop out at any moment, Warren led the story, embodying the feline character through strong physicality and a voice that kept all the focus on her.
With a small tail and big heart, Jordan Williams (Gertrude McFuzz) not only got Horton’s love, but the audience’s as well! Williams brilliantly developed Gertrude’s character from a shy, naive bird to a powerful and determined one. Her chemistry with her lover, Horton, showed a nurturing side in all the chaos. “All for You” strongly showed their warm dynamic, highlighting Jordan’s beautiful vocal quality.
Flocking around the stage, Lisa Capoccia, Alessia Di Piazza, and Sophia Foti (The Bird Girls) soared! These girls worked cohesively as an ensemble, flawlessly guiding the audience through different sequences, while not being left in the background. The girls should be commended for their impressive vocals, consistently maintaining stunning harmonies, accompanied by lavish physicality.
In a show as bright as “Seussical,” the whole stage must burst with color, and Sophia Bartolotti, Yasmin Siqueira, and Crew (Costumes) excelled in showcasing this in every costume. Ranging from bold and flashy costumes for characters like Mayzie LaBird and the Bird Girls to creative outfits for the run crew, the magic remained entrancing at all times. Hayden Abrams, Giovanna Chong, Liana Hayes, Madison Zapata, and Crew (Sets) transformed the stage into a dazzling and otherworldly setting, using many levels to show the various places traveled to throughout the story. All the set pieces were painted to look very animated, looking as if they were pulled straight out of a Dr. Seuss book!
Boca Raton Community High School made the crowd think many thinks! With an abundant variety of characters–from the smallest Whos to the colossal elephant–each member of the cast and crew stood out as daring and glamorous in their eccentric performance of “Seussical”!
By Sydney Margolis of NSU University School
Click your ruby red heels together three times, because there is no place like Piper High School’s production of “The Wizard of Oz.” With dazzling vibrancy and comedic triumphs, the production will make you feel grander than the wonderful wizard himself.
The infamous “Wizard of Oz” debuted first as a novel written by Frank L. Baum before becoming a world-wide phenomenon from the 1939 movie. The musical was adapted by Andrew Lloyd Webber and Jeremy Sams. The story follows innocent Dorothy Gale as she is transported into a world like no other. As Dorothy journeys to meet the wizard in hopes of making it back home, she learns that her greatest desires were with her all along.
Starring as Dorothy Gale, Taylor Rosado’s performance was not only powerful but heartwarming. Rosado’s consistent inflections were reminiscent of the classic film as she maintained the hopeful disposition throughout. Her emotive rendition of “Somewhere Over the Rainbow” was passionate yet articulate, allowing the audience to be fully immersed. Antagonist to Rosado was Afreeca Fullwood as the Wicked Witch of the West. Fullwood’s unique movements across the stage convincingly conveyed her viciousness, especially her maximization of her costume.
It is not an adventure without heart, brains and courage. Kentarion Cartright, Jacarie Miller and Ian Morel as the Cowardly Lion, Tin Man and Scarecrow, respectively, bounced off each other with ease, creating a memorable dynamic with impeccable comedy. Cartright’s dedication to his timid state added dimension that effortlessly contrasted with his dramatic gestures. Miller’s smooth vocals needed no oil to sound melodious, and his commitment to rusted movements was impressive. Morel, with his exaggerated physicality, was eye catching as he fully transformed into the hay-stuffed character. Back in Kansas, each member of the trio kept his individual style, allowing the audience to recognize the beloved characters.
Oz would not be a lively city without the Munchkins and Ozians. The ensemble was truly infectious with their energy and spirit. Memorable in every aspect was Alyssa Amoa both as a Munchkin and as the Guard. Her entertaining countenance brought pizzaz to the Emerald City, most notably in “The Merry Old Land of Oz.” The cast as a whole, despite a lack of articulation that allowed some lines to be lost, filled the stage with contagious joy.
Bringing the wonder to life were the technical teams. Make-up and hair, designed by Taylor Rosado and Alexander George, blended seamlessly with the production environment, especially the grey-scale make-up that was impressively applied and removed in short amounts of time. The detailed sets, created by Amber Allen, Sophia Che and Vivianna de la Torre were spectacles in their own nature, fully immersing the audience in the magical ambiance. Although the scene transitions created some setbacks on a smooth journey down the yellow brick road, the dedication of the cast and crew to the story was executed with enthusiasm.
Somewhere over the rainbow, past the wicked green witches and complicit flying monkeys, lay Piper High School’s colorful and dazzling production of “The Wizard of Oz.”
*** **** ****
By Valentina Exposito of Somerset Arts Conservatory
Where do runaway dreams land when they tumble somewhere over the rainbow? Right onto Piper High School’s stage, where “The Wizard of Oz” burst to life in a technicolor whirlwind of whimsical wonder and emerald enchantment!
Based on L. Frank Baums beloved novel and brought to life by the iconic 1939 film, “The Wizard of Oz” sweeps audiences out of sleepy Kansas and straight into a glittering Ozian dreamscape. Skipping down the golden road with her straw-stuffed, tin-plated and lion-hearted companions, Dorothy chases brains, heart and nerve, only to discover that the brightest spells are not ruby red slippers or conjured by wizards; they are found in friendship, bravery and a little touch of wiz-ful whimsy!
Portraying Dorothy Gale, Taylor Rosado carried Oz on her shoulders with the wide-eyed wonder of a girl brave enough to dream and bold enough to follow it. Her vocals floated with gentle clarity, while her grounded sincerity gave weight to every hopeful glance toward the horizon. Whether longing for a place somewhere over the rainbow or standing firm against emerald threats, Rosado infused Dorothy with warmth and resilience that made her journey feel magical.
Skipping, clanking and trembling beside Dorothy was her unforgettable trio of companions, each crafted with distinct charm and irresistible specificity. As the Scarecrow, Ian Morel stretched and stumbled through Oz with elastic physicality and buoyant comedic timing, building a character who felt both endearingly clueless and quietly clever. Jacarie Miller, as the Tin Man, moved with meticulous mechanical precision, every stiff step and frozen pose sharpened by a warm vocal sincerity that gleamed beneath his metallic shell. Bounding through the journey with expressive bravado, Kentarion Cartright’s Cowardly Lion balanced booming comedy with tender vulnerability, allowing fear and fortitude to coexist in moments that were as heartfelt as they were hilarious. Together, the trio fit like mismatched puzzle pieces, their seamless chemistry transforming every obstacle into a celebration of friendship, courage, and joy.
While Dorothy followed the yellow brick road, the technical elements of this production paved it to perfection. The transformation from grayscale Kansas to radiant Oz unfolded with a visual click of the heels that transported the audience straight into munchkin land. Notably, the hair and makeup team led by Taylor Rosado and Alexander George executed a commendable design of contrasting makeup between the dull greyscale of Kansas, and the vibrant exuberance of Oz. Behind the curtains and beyond the footlights, the stage management team and crew headed by Matthew Ortiz and Shalensky Lois orchestrated a substantial amount of complex fly cues and scene transitions, ensuring that every cyclone spun smoothly and every moment of magic landed exactly where it belonged.
Turns out, Oz had it right all along. Piper High School’s The Wizard of Oz shows that brains, heart, and courage don’t come from wizards; they’re found in friendship, resilience, and the magic of dreaming big. So click your heels, follow the rainbow, and remember: there’s truly no place like home.
*** *** ***
By Milagros Funes of Chaminade-Madonna College Preparatory
With three clicks of our ruby red slippers and an imaginative spirit, “The Wizard of Oz”, presented by Piper High School, transported audiences into their own magical world. This production sets an inviting atmosphere that reminds us that the most meaningful discoveries begin with a wish, but end at the place we cherish most: home!
Derived from L. Frank Baum’s 1900 novel “The Wonderful Wizard of Oz”, the stage version “The Wizard of Oz” was originally created by Baum himself in 1902 and later popularized by the 1939 film. This magical tale follows the story of Dorothy, as she is whisked away from her home in Kansas Kansas and enters the enchanted land of Oz. Along the way, she meets flamboyant characters, including the Scarecrow, Tin Man, and Lion, all of whom think they lack a critical component in their life. Together, Dorothy and her friends go through many extraordinary, whimsical, and often risky quests, showcasing the musical’s deeper meaning of self-discovery and individual fulfillment.
Leading this production with charm and expressive storytelling is Dorothy, played by Taylor Rosado, whose clear vocals and genuine energy created the solid foundation for the magic of this show, prominent in the classic song “Somewhere Over The Rainbow”. Rosado was the anchor of this story, delivering the nostalgia of this musical to audiences with her commitment to displaying Dorothy’s youth. The Scarecrow (Ian Morel) did an incredible job utilizing physical comedy and playfulness to create humor and life in every part of his performance. The Tinman (Jacarie Miller) led humorous and artistically entertaining scenes with stunning vibrato and physicality true to his character, while the Cowardly Lion (Kentarion Cartright) blended comedic moments with vulnerability and a powerful stature in songs like “King of the Forest”. Dorothy’s friends, Scarecrow, Tinman, and Lion, completed the storyline as they each exuded comedy and became the characters themselves.
The ensemble cast of Piper High School’s production of “The Wizard of Oz” helped prove support and energy through fun choreography, vibrant costumes, and their ability to create personalities for each role that audiences can easily distinguish, most notable in the track “Ding Dong! The Witch is Dead”. Playing the Ozian Guard as well as a variety of other ensemble roles such as a Munchkin, a Poppy, and a Jitterbug is Alyssa Amoa, whose captivating facial expressions and presence took over the stage most notably in “The Merry Old Land of Oz”.
The technical aspects, including designs made by the set crew (Amber Allen, Sophia Che, and Vivanna Del La Torre) and the Piper High Lighting Team, were crucial to the stellar success of this show by creating distinct locations through creative use of lighting and designs that helped establish Oz as a separate world. The costumes (Afreeca Fullwood and Emilia Harris) and the hair and makeup (Taylor Rosado and Alexander George) were all amazingly creative. A prominent detail to the makeup used in this production was the use of prosthetics on characters like The Wicked Witch to define characterization. Although there were a few occasional microphone issues in terms of balance, the sound team (Mya Green and Piper Taylor) provided great support for vocalists.
Piper High School’s “The Wizard of Oz” was a dynamic production featuring remarkable performances and creative technical elements that were designed to individually showcase the cast and crew’s magnificent talents. Piper High School Theatre developed a unique interpretation of a classic story that reminded audiences that there is truly no place like home!
*** *** ***
By Cecelia Weisberg of Marjory Stoneman Douglas High School
Follow the yellow brick road down to Piper High School’s production of “The Wizard of Oz”, where audiences are sure to be tornadoed into a world of fantasy and childlike wonder.
Based on L. Frank Baum’s classic story, with music by Harold Arlen and lyrics by E.Y. Harburg, “The Wizard of Oz” first appeared on stage at the Grand Opera House in Chicago in 1902. In 1939, it was brought to life in the iconic MGM film, which captivated audiences around the world, becoming one of the most well-known franchises of all time. Swept by a tornado from her black-and-white Kansas home to the colorful land of Oz, Dorothy sets out on a journey to find her way back. Along the Yellow Brick Road, she gains loyal friends and learns that the journey is better when shared with determined companions.
The ruby red slippers weren’t the only thing dazzling about Dorothy, as Taylor Rosado shined in this iconic role. Notably, Rosado’s execution of the classic ballad, “Somewhere over the Rainbow”, was spectacular, highlighting her vocal capabilities and character’s emotions. Especially when it came to handling a live dog, Toto, Rosado remained in character and prioritized the dog’s comfortability on stage. Commanding the stage with intention and a perfectly brewed plan was Afreeca Fullwood as the Wicked Witch of the West. Cackling through her wickedness, Fullwood had an amazing stage presence that ultimately got defeated when faced with water.
Traveling down the Yellow Brick Road is most fun with companions, starting with Dorothy’s first friend, the one-and-only Scarecrow. It’s a no brainer to say that Ian Morel as the Scarecrow was pure brilliance, from his vocals to his jointless physicalities. As the courageous “King of the Forest”, Kentarion Cartright perfectly embodied the Cowardly Lion. Cartright fully committed to his character, with each jump and cry symbolizing the inner intentions of the Cowardly Lion. It would ultimately be heartless not to mention Jacarie Miller as the sentimental Tinman, as his dance moves and vocals were far from rusty. Put together, this trio’s chemistry was superb and proved that friendship is key to success.
Lighting, and makeup, and sets, oh my! The technical elements in this production were plentiful, contributing to the various worlds they traveled to. With the flash of the tornado, the Piper High Lighting Team effectively took audiences straight into the world-changing storm. Quick lighting changes that signified Kansas to Oz also meant quick makeup changes, which were beautifully designed by Taylor Rosado and Alexander George. Though the changes between Kansas and Oz were quite lengthy, the Set Team (Amber Allen, Sophia Che, Viviana De La Torre) made the wait worthwhile with the beautiful sets on display! Notably, the Munchkinland set was very intricate, taking audiences straight into the lives of Ozians.
“Somewhere over the Rainbow” lies Piper High School’s dazzling production of “The Wizard of Oz”, proving why this timeless story has endured for over a hundred years.
*** *** ***
By Gavin MacArthur of Cooper City High School
A cast as radiant as gold, with voices as smooth as milk, a crew as vital as blood, and an atmosphere as sweet as corn. David Posnack Jewish Day School held the magic potion for a spectacular performance in their lush production of “Into the Woods”!
Boasting the renowned talents of Stephen Sondheim (music and lyrics) and James Lapine (book), audiences were first taken “Into the Woods” in 1986. With roots in classic Brothers Grimm fairy tales, this musical dark comedy has branched out into a worldwide phenomenon, alluring audiences with its shocking twists and themes of moral ambiguity. The story itself follows a baker and his wife, plagued with infertility by a witch’s curse. To restore their child-bearing abilities, the duo is sent on a mission to collect four items from some familiar characters. However, the consequences of these stories’ entanglement prove more calamitous than ever imagined.
With all the ingredients for a fantastic performance, Adiel Zinn (Baker) served up a delectable depiction of the determined man. Mixing authentic line delivery, spectacular dynamics, and a pinch of hilarity, Zinn brilliantly whipped up an undeniably compelling character. As his headstrong lover, Olivia Muchnick (Baker’s Wife) left the audience in awe with her impeccable voice, and often in stitches from her expert comedic timing.
Even with her hilariously flickering magic, Mia Topaz (Witch) enchanted the audience with an utterly spellbinding portrayal. Through varied physicality and a resonant voice, notably in her number “Last Midnight,” Topaz’s profound impression on the audience was truly magical. Wielding two more voices of fairy tale perfection, Alyssa Tuchinsky (Cinderella) and Jordyn Jacobs (Little Red Riding Hood) both commendably depicted their characters’ evolution throughout the story.
Immersing the audience into the grim world of “Into the Woods,” the cast as a whole told this story with fantastical commitment, evident in the heartfelt number “No One Is Alone.” Many aspects of the show are surely daunting but, while key moments were occasionally lost, the performance itself maintained its excellence. Adding an element of humor to this dark tale, Shaylah Benaim (Stepmother) was a paragon of this production’s ability to imbue comedy amidst more solemn moments.
Stringing together these “Moments in the Woods,” the technical aspects worked with cohesivity to create a unique atmosphere for this wondrous production. The costume crew, headed by Camila Rotter, intricately sewed many of these iconic costumes to create seamless looks, a testament to their professional expertise. As another student-made component, the set crew brilliantly blended their hand-made elements with the background’s video wall, crafting the well-constructed setting for this mystical adventure.
Anything can happen in the woods. Stories and people may change but, even under the darkest canopies, the light that David Posnack Jewish Day School shines through their illustrious production of “Into the Woods” remains as clear as in the brightest day.
*** *** ***
By Valentina Exposito of Somerset Arts Conservatory
The promise of magic, the pull of desire, the peril of possibility; David Posnack Jewish Day School’s Into the Woods sweeps audiences into a world where every wish sparks a journey, and every journey leaves its mark.
With music and lyrics by Stephen Sondheim and a book by James Lapine, Into the Woods whisks whimsical worlds and well worn fairytales into a winding web of wishes, want, and wandering paths. As a baker and his wife brave a bewitched bargain to break a curse, audiences are left to wonder: when wishes come true, who is left to face their consequences?
In a forest full of fate, “it takes two” to keep the story upright, and Adiel Zinn alongside Olivia Muchnick proved to be a well matched pair as the Baker and Baker’s Wife. Zinn infused the role with rich vocals and expressive nuance, charting the Bakers evolution from a fretful husband to a resolute father. Keeping pace with quick footed flair, Muchnick blended crisp comedic timing with flashes of heartfelt vulnerability, crafting a performance that was as charming as it was sincere. Together, their chemistry crackled with heartfelt charm, demonstrating that even when the path gets perilous, partnership makes all the difference.
Glass slippers shimmered, the last midnight loomed, and Alyssa Tuchinsky made every moment count as Cinderella. With vocal inflection as pure as gold, and a storybook sweetness that never felt saccharine, Tuchinsky crafted a princess who was both exuberant and elegant. As the woods darkened and fairytales fell apart, she allowed Cinderella to grow alongside the narrative, transitioning gracefully into a more grounded, maternal presence. But, every princess needs a thorn or two. Enter Shaylah Benaim, Talia Avinir, and Madeline Levy, whose riotous rendition of the step family sent comedic shockwaves rustling through the woods. Skipping from squabble to squabble, this treacherously talented trio thrived on hurling insults and spiraling into melodrama, feeding off of one another’s energy with infectious flair. Their ditzy dysfunction proved that while kindness might rule the kingdom, chaos unquestionably commands the crowd.
“Maybe they’re magic”… or maybe the real magic lies within this production’s technical team! A standout of the show were the costumes led by Camila Rotter, Nala Elisavetsky, Hanna Maia Kattan, and Leah Wolf, who quite literally threaded the needle between cohesion and character. Through carefully curated color palettes, each look mirrored its wearer’s winding journey, ensuring that no fairytale thread ever wandered off the path. After all, in a world where wishes run wild, it takes much more than magic; it takes designers who never miss a stitch.
Turns out, getting what you want is only the start. David Posnak Jewish Day Schools production reminds us that in a world full of wishes, it is our choices that shape the story; because once you step Into the Woods, happily ever after is only the beginning.
*** *** ***
By Joao Lopes-Silva of Calvary Christian Academy
Take a trip Into the Woods, but be careful, wolves may lurk nearby, giants could come crashing down, and wishes are never as simple as they seem. David Posnack Jewish Day School’s production of Into the Woods, performed on January 21st, 2026, brought Stephen Sondheim and James Lapine’s beloved fairytale musical to life with humor, heart, and strong character development. Exploring themes of desire, consequence, and growing up, this production blended comedy and reflection in a thoughtful way.
The set immediately established the magical yet chopstick world of the woods. Its design allowed the many intertwining storylines to move smoothly from one location to another, keeping the audience engaged throughout. The transitions between scenes were clear, and the use of props, including the iconic Milky White, played by Zachary Muchnick, added charm and humor to the storytelling. The costumes were creative and visually appealing, helping define each character while fitting perfectly into the fairytale world.
Cinderella, played by Alyssa Tuchinsky, truly embodied the classic fairytale princess. Her voice carried a light, Disney-like quality that fit the role beautifully and made her musical moments especially enjoyable. Cinderella’s stepsisters Florinda played by Talia Avinir and Lucinda played by Madeline Levy, were standout comedic forever in the show. They fully committed to their exaggerated personalities and brought constant energy and humor to the stage, making every scene they appeared in entertaining.
The Baker, portrayed by Adiel Zinn, and the Baker’s Wife, portrayed by Olivia Muchnick, shared a believable and grounded dynamic. Their relationship developed clearly throughout the show, allowing the audience to connect with their journey. The Witch, played by Mia Topaz, commanded the stage with confidence and presence, guiding the story forward while maintaining a strong sense of character.
The narrators, Ariel Klein and Deborah Hochberger, helped keep the complex storyline organized and easy to follow. Their clarity and consistency supported the fast-paced nature of the show and allowed the audience to stay immersed in the story.
From a technical standpoint, the production showed strong creativity. Lighting cues helped establish mood and location, and sound effects supported the magical elements of the story. At times, microphone levels became slightly rough, and some vocal moments were challenging to land cleanly, but the cast remained focused and committed. There were also moments where longer blackouts and transitions slowed the placing slightly, yet the production quickly regained the momentum.
David Posnack Jewish Day School’s Into the Woods was an enjoyable and thoughtful interpretation of a classic musical. With strong design elements, engaging performances, and meaningful character development, this production reminded audiences that while wishes may come true, they always come with consequences.
****** ***
By Matthew Squeri of American Heritage Broward
Grab your cow, pocket your magic beans, and don your cape as you venture past witches, giants, and wolves to David Posnack Jewish Day School’s spellbinding production of Into the Woods. This cast and crew truly came together to create a production filled with excitement, vivid characters, and inventive storytelling, keeping the audience on the edge of their seats from the first midnight to the last.
Written by Stephen Sondheim, the musical made its broadway debut in 1987 at the Martin Beck Theatre, winning the Tony Awards for Best Original Score and Best Book of a Musical. Based on James Lapine’s 1986 novel of the same name, it mashes together classic Brothers Grimm fairy tales (Cinderella, Jack, Little Red Riding Hood, Rapunzel) with a childless Baker and his wife as we discover their dreams and the consequences that ensue from them, teaching us that wishes come true, not free.
Appearing at the top of the show from his comfy, cozy cottage, the Baker (Adiel Zinn) is a demanding presence that is sure to leave the audience kneading more. His magnificent vocals, impeccable comedic timing, and heartfelt character arc from a fearful follower to a responsible father were all no baking accidents! It Takes Two to lead this show, and that was obvious through the charismatic and electrifying Baker’s Wife played by Olivia Muchnick. Throughout the journey, Muchnick proves herself as a vocal powerhouse, leaving us to wonder that Maybe [She’s] Magic? This isn’t her only moment in the woods as she draws in the audience with her dynamic chemistry with the Baker and the full cast, grounding the production as the roots that hold these woods together.
As the clock strikes twelve, we discover our runaway maiden Alyssa Tuchinsky (Cinderella). From lentils to golden slippers, Tuchinsky awes the audience throughout the entire production with her immaculate tone and vocal technique, serving Sondheim’s score to the fullest capacity. Taking it a step further, her masterful vocals and heartfelt storytelling in No One Is Alone were a true show-stopper, as she used her authentic, maternal characterization to remind us that while life can be difficult, the connections we share help us face it together. Skipping on stage in explosive red colors is Jordyn Jacobs as Little Red. Her indisputable spunk and immense vocals (regardless of her tiny size) make her a fan favorite sure to take on a wolf any day. Her character arc from an innocent girl looking for her granny to a wolf-slaying rebel was evident, proving that [She] Knows Things Now!
Bringing these woods to life was Isaac Wise, Shaia Lipnik, Eliza Byowitz, and Josie Grimmett through their inventive and captivating set. The space was used beautifully and efficiently through projections and innovative set pieces like towers and trees. Further entrancing viewers in this story, we have Camila Rotter, Nala Elisavetsky, Hanna Maia Kattan, and Leah Wolf working on the costumes. Each costume felt unique and genuine to the character’s attributes, bringing even more life to an already magical production.
David Posnack’s production of Into the Woods is sure to be remembered as a night of wonder and enchantment, keeping the audience entranced from the moment the storybook opens to the final “I wish!”
*** ** ***
By Eva Lederman of NSU University School
“In this world, you can be oh, so smart or oh, so pleasant. I recommend pleasant.” You may quote me on this when I say that J.P. Taravella Drama’s performance of “Harvey” was pleasant, clever and truly enlightening.
This 1944 play written by Mary Chase was a recipient of the Pulitzer Prize for drama in 1945. It has been adapted for film and television many times, one notably being the 1950 film starring James Stewart and Josephine Hull. The plot follows an Elwood P. Dowd and his (imaginary) friend, Harvey, who is described as a pookah, a six-foot, three-and-one-half-inch rabbit who accompanies him in all his endeavors. Elwood’s sister, Veta Louise Simmons, is very angered at Elwood’s connection to Harvey, so she attempts to commit her brother to a sanitorium, but when one simple error leads to Veta’s commitment instead, chaos and comedy are all that are left to watch unfold!
Portraying the eccentric Dowd, Samuel Caycedo perfectly embodied his unusual yet affable nature, quickly winning over the audience’s hearts. Through every interaction, Caycedo maintained the illusion of Harvey’s presence, convincing the audience of Harvey’s realness, despite the audience’s eyes saying otherwise; his kindhearted manner, accompanied by a few name cards, was very entertaining to watch. Alongside Caycedo was Saniya Duran as Elwood’s fretful sister, Veta Louise Simmons. Duran skillfully portrayed Veta’s sharp wit and paved the way for Veta’s imperative character development from arrogance and shame to genuine care for protecting Elwood’s affable nature. Together, Caycedo and Duran brought to life the intricate sibling dynamic that demonstrates the cost of loyalty, love and not sending them to a sanitorium.
Austin Blakely commanded the stage as the temperamental yet determined doctor, William R. Chumley, M.D., and set the spiraling tone that ensued for the rest of the play, with excellent comedic timing and strong characterization along every corridor in his cherished sanitorium. Working at the sanitorium, Ruth Kelly, R.N., was brought to life by Iliana Almanzar, with an impressive chemistry with Elwood and the rest of the sanitorium staff. Her caring nature with Elwood rapidly made her one of the audience’s favorites.
Although Harvey was imaginary, the tech crew’s hard work was not. Props made by Samuel Caycedo, Gianna Duran and Eesha Mahabir brought every scene to life, ranging from pencils, folders and dictionaries to an entire painting of a man and a giant rabbit! Each prop was meticulously planned for and placed in the correct spot, leading to a flawless execution of storytelling. The costumes, organized by Jo Falcon and Madelen Ryan, accurately portrayed the time period and told their own story with personality and flair.
Although some set pieces were distracting and took away from the scene’s emotional credibility, J.P. Taravella’s performance was unbelievable from beginning to end and left the entire audience waiting to find their own Harvey someday!
*** *** ***
By Joseph Paden of Saint Thomas Aquinas High School
Have you ever seen a living, six-foot-tall rabbit walk around a sanitarium (or mental hospital) while wearing a fedora? If you have, “Harvey” will be a very relatable play for you (and hopefully you’ll get the help you need). Written by Mary Chase and first performed in 1944, Harvey chronicles the story of a happy-go-lucky man named Elwood (who is best friends with an invisible rabbit of the titular name) as he bounces through a sanitarium in an odyssey centered around the prevailing power of kindness and those who live in a harsher, real world restrained by unfair limitations. The play takes place in two locations: the library in Elwood’s house, which is also the home of Elwood’s sister and her daughter, and the office of the sanitarium’s director, Dr. Chumley.
This Friday, J.P. Taravella High School held their performance of “Harvey,” and the show itself was a triumphant display of what brings us to the theater: acting. This show includes many demanding roles, and due to the script, requires a lot of talking and monologuing. The most noteworthy performance was that of Samuel Caycedo, who played Elwood, the main character. When your character’s best friend is quite literally invisible, one has to do a lot of reacting to something that isn’t even doing anything to react to. Whether Caycedo was “looking” to where Harvey was, having an enthusiastic conversation with Harvey, or moving out of the way of Harvey’s “path,” Caycedo had an excellent performance.
Another outstanding performance was Saniya Duran in the role of Elwood’s sister, Veta Simmons. Veta is an extremely dramatic character, and Duran’s enthusiasm and over-the-top behavior made the show a fun and hilarious experience. Duran’s performance truly made me side with the doctors in the sanitarium when they mistake Elwood’s delusions with hers. Additional great performances include those by Marco Medina as the hilariously sleazy Duane Wilson, Austin Blakely as the pompous Dr. Chumley, Mark Davis as the straight-laced Dr. Sanderson, and Mia Pagan as the curious and enthusiastic Myrtle Simmons. Honestly, there was no weak link in this cast, and the chemistry between actors was outstanding.
The set design on the two main sets was simple but effective, as the sterile environment of a mental hospital was portrayed very well and was quite a bit unnerving. While AI-created art was used in the decoration of Elwood’s house, I had no problem at all with its usage, because I do not really expect high school students to paint perfect oil portraits in a short time frame. Additionally, the absurdity of the art made the audience die of laughter when revealed. Another great achievement was the door effect used in this show. When Harvey’s invisible body walked into the room, a door would “magically” open and close. Though the door didn’t close all the way in some instances, I think most should agree that doesn’t really matter, as we can all “make-believe” the door was fully shut. Regardless, “oohs” and “aahs” from the audience proved this effect as effective (no pun intended) and honestly provided a perfect bit of eeriness to the show.
One last great detail in the show was the work of the makeup team. Many actors had to play roles of characters much older than them, and well-done wrinkle makeup helped the audience (well, at least me) get more immersed in the story. This combination of good work made “Harvey” a hilarious, enjoyable show with tons of great deliveries and immersion into the setting and story.
*** *** ***
By Ellie Rose Pulsifer of Marjory Stoneman Douglas High School
In a world that only sees the ordinary, what becomes of a man who insists on believing in the impossible? J.P. Taravella High School’s thought-provoking production of “Harvey” explores how, sometimes, embracing the unexpected reveals things no one else can see.
Mary Chase’s Pulitzer Prize-winning comedy, Harvey, premiered in New York in 1944 with multiple film adaptations after that. The show follows Elwood P. Dowd, a charming man whose best friend just so happens to be a six-foot-tall invisible rabbit named Harvey. What starts as a society who couldn’t see Harvey slowly begins to change as the line between imagination and reality blurs, and Harvey starts to feel more and more real.
Leading the show, Samuel Caycedo delivered a consistent and remarkable performance as Elwood P. Dowd. Caycedo’s acting throughout the production brought the story to life, with facial expressions that often carried his narrative. He took on the challenging task of interacting with an invisible co-star with commendable precision and commitment. His interactions with Harvey, such as thoughtfully opening doors and adjusting his focus, felt natural and believable, compelling the audience to question whether Harvey was truly there. Alongside Elwood was his sister, Veta Louise Simmons, played by Saniya Duran, who had the audience in hysterics every time she stepped onstage with her impeccable physical comedy. Her character’s perceived insanity was perfectly matched by Duran’s insanely good performance!
Stepping into the office of William R. Chumley, M.D., Austin Blakely excelled in the role, delivering a standout performance. Blakely’s acting was particularly impressive in moments of heightened intensity, as he maintained clarity and diction even during loud, demanding lines. His acting throughout the entire show was next level making his performance extremely memorable. Alongside him was his wife, Betty Chumley, played by Alyvia Rigg. Though her stage time was limited, Rigg made the most of every moment, particularly with her character’s expressive voice. In a production filled with heavily comedic roles, Iliana Almanzar as Ruth Kelly, R.N., made subtle and understated acting choices, bringing a grounded realism that helped keep the show balanced.
The hair and makeup team, consisting of Sophia Greene, Alessandra Luna and Belinda Barrios, worked diligently to ensure each actor looked their part. The wigs were exceptionally selected, perfectly reflecting the time period and characters while maintaining a natural appearance on the performers. Although a few wrinkles drawn onto older characters appeared too heavy, the rest of the bold makeup was spectacular, helping the actors pop onstage. The set designers, Samuel Caycedo, Gianna Duran, the Technical Theatre Class, cast and crew were able to create a functional set that could effortlessly switch between the two main settings. The accuracy of the set’s time period, especially in furniture selections, did not go unnoticed.
The incredible cast of J.P. Taravella High School’s production of “Harvey” will have you laughing from start to finish; but be forewarned, you may just leave with a six-foot, white rabbit following you home!
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By Annie Frischkorn of South Plantation High School
With a six-foot-tall invisible rabbit causing chaos and charm in equal measure, Harvey hopped onto the stage at J.P. Taravella High School, every laugh landing perfectly and every misstep feeling intentional, leaving the audience with a craving for more that not even an injection could cure.
Mary Chase’s Harvey tells the story of Elwood P. Dowd and his invisible six-foot-tall rabbit friend. Debuting on Broadway at the Martin Beck Theatre in New York City in 1944, later going on to win the Pulitzer Prize for Drama. The play has also been adapted into several films and television productions, bringing Elwood and his unusual companion to audiences beyond the stage!
Samuel Caycedo as Elwood P. Dowd displayed a charming sense of humorous physicality while presenting a convincing belief in the existence of his dear friend, Harvey. Saniya Duran’s portrayal of Veta Louise Simmons captured a wide and engaging range of emotions as she voiced her growing frustration with what she perceives as her brother’s madness. Duran’s quick-witted humor brought levity to otherwise tense moments, allowing the audience to laugh while still understanding the seriousness of her situation and her desire for control.
The play’s whimsical world carried on through its supporting roles none other than Nicholas Gnann’s portrayal of Judge Omar Gaffney delivering consistent comedic timing, while the Sanatorium staff featuring Austin Blakely as William R., Illiana Almanzar as Ruth Kelly, Mark Davis as Lyman Sanderson, and Marco Medina as Duane Wilson, brought the chaos straight from Mr. Dowd’s mind and turned it into lively, unpredictable scenes, constantly cracking jokes and keeping the energy high from start to finish.
Co-Stage Managers Gianna Duran and Genesis Ramirez expertly called Emma Khodadadi’s and Sydney Baatz’s mood-defining lighting cues, while costumes, both purchased and carefully constructed, reflected the period and revealed personality. Age makeup by the Hair and Makeup team looked realistic and strong, and the publicity team designed an eye-catching poster while promoting the show widely on campus and in the community. Set Design by Samuel Caycedo, Gianna Duran, and co. transitioned scenes by splitting between two heterogeneous worlds all the while complimenting one another’s differences uniquely accentuated with furnishings and decor by the Props team.
Somewhere, Harvey is still hopping, and everyone at J.P. Taravella’s showing of Harvey knows they were lucky enough to catch him in the wild, a reminder that a little chaos and kindness can brighten even the most ordinary day.
*** **** ***
By Ava Kelly of Chaminade-Madonna College Preparatory
Sometimes, it’s the smallest moments that make the biggest impact. Coral Springs High School’s production of You’re a Good Man, Charlie Brown captures this perfectly with their heartfelt and playful performance.
This classic show was originally written and composed by Clark Gesner. Based on the Peanuts comic strip by Charles M. Schulz, the musical premiered off-Broadway in 1967. It also had a memorable revival at the Ambassador Theatre that opened in 1999. Winning two Tony Awards (Best Featured Actress, Best Featured Actor) and three Drama Desk Awards. Because of winning numerous awards, this show has proven to be more than just popular but truly one of a kind!
“You’re a Good Man, Charlie Brown” is a ‘peanut’ of a show where Charlie Brown and his friends tackle life’s little moments with humor and heart, proving that even small struggles can lead to big laughs and friendship.
In the spotlight of the stage, Samuel Douglas truly brought Charlie Brown to life. Douglas captured his role with just the right mix of awkward charm and heart. His physicality perfectly embodied Charlie Brown’s lovable struggles, from hesitant moments to expressive gestures, making the performance both relatable and endearing. With amazing timing and energy, Douglas turned every scene into a heartwarming masterpiece that left the audience smiling.
From the very first note, her performance captured everyone’s attention. Pietra Gomes playing Sally Brown brought a lively spirit to the role, especially shining in her song “My New Philosophy”. Gomes’ playful and confident delivery made the song unforgettable, showing that her new philosophy is all about embracing fun and talent with every step. Her voice and character work added a bright and charming energy that truly enhanced the whole production.
It wasn’t just the leads that stuck out in this production. The bunnies really hopped into the spotlight, adding a spring of joy and a leap of fun to every scene they were in. Their playful energy and perfectly timed antics made them “ear-resistable” stars of the show, hopping around with a charm that kept the audience smiling from start to finish. With every hop and skip, they brought a lively rhythm that truly “burrowed” its way into the hearts of everyone watching.
The technical aspects of this show also played a key role in bringing this wholesome story to life. The choreographer Samuel Douglas really knocked it out of the park with his choreography of “The Baseball Game”, where every move was “pitch”-ed and timed to keep the energy swinging. The cartoon-like sets (Cynthia Garson and Evangeline Leal) brought a colorful, comic-strip vibe that made the whole stage feel like it jumped right out of the pages of the Peanuts comic, adding a playful and nostalgic touch. Altogether, the tech elements combined created a “home run” production that was as visually charming as it was entertaining.
Coral Springs High School’s production of You’re a Good Man, Charlie Brown really “snooped” into our hearts. A true hometown hit that left everyone smiling!
*** *** ***
By Kasie Cabral of Spanish River High School
A heartwarming journey through childhood and imagination. Coral Springs High School brings You’re a Good Man, Charlie Brown to life.
If you are looking for a joyful and nostalgic theatrical experience, Coral Springs High School’s production of You’re a Good Man, Charlie Brown is not to be missed. Based on the beloved Peanuts comic strip by Charles M. Schulz, this musical captures the everyday hopes, worries, and adventures of childhood. With its lighthearted humor, memorable songs, and relatable characters, the show reminds audiences that even little moments can hold huge meaning. Coral Springs High School successfully captured the innocence, charm, and heart of this classic story.
Samuel Douglas, who portrayed Charlie Brown, captivated the audience with his performance as the lovable underdog. His vocals were amazing throughout the entire musical, showcasing both strength and emotion. Douglas truly embodied Charlie Brown’s childlike nature, perfectly expressing his want to be just like the normal kids. His performance made the audience connect with Charlie Brown’s struggles and victories, staying true to the character everyone knows and loves.
Equally impressive was Juliana Antunez as Lucy Van Pelt. Antunez delivered an amazing performance, fully embodying Lucy’s bold and demanding personality. Her portrayal was exactly how Lucy is seen in the Peanuts movies and comics, from her confident attitude to her strong stage presence. Her acting choices and delivery brought humor and energy to every scene she appeared in.
Not only did the lead actors shine, but the supporting cast elevated the production even further. Sally Brown, played by Pietra Gomes, stood out throughout the entire musical. Every time she entered the stage, the audience grew excited. Gomez convincingly portrayed a true child, from her voice to her costume, and brought an infectious energy to her role. Another standout was Schroeder, portrayed by Angel Leal, who impressed the audience with both his acting and especially his vocals. His strong and controlled singing added depth to his character and enhanced the musical numbers he performed.
While the cast delivered strong performances, the technical aspects of the show were equally impressive. The makeup design by Aariyah Harris played an important role in making the characters appear more youthful and cartoon-like, helping the audience fully believe in the world of the Peanuts gang. The choreography by Samuel Douglas was clean, precise, and well-rehearsed, adding excitement and polish to the production without overwhelming the story. Amazing job to the ensemble who performed his choreography perfectly.
This production of You’re a Good Man, Charlie Brown reminded the audience of the beauty of childhood, friendship, and imagination. Coral Springs High School did an amazing job bringing this timeless story to life through strong performances and excellent technical execution. Excellent job to Coral Springs High School for delivering such a heartwarming and entertaining experience.
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By Austin Blakely of JP Taravella High School
Coral Springs High School’s production of “You’re a Good Man, Charlie Brown” captured the simplicity, humor, and nostalgia of Charles M. Schulz’s iconic “Peanuts” characters with a spirited cast and child-like energy.
“You’re a Good Man, Charlie Brown” is a musical comedy with book, music, and lyrics by Clark Gesner and was first produced in 1967 and later revised in 1999. The show explores everyday moments in the lives of Charlie Brown, Snoopy, Lucy, Linus, Sally, and Schroeder. Through baseball games, school anxieties, kite-flying failures, and quiet hopes, the musical highlights themes of friendship, perseverance, and the universal desire to feel appreciated and understood.
Charlie Brown, portrayed with sincerity and warmth by Samuel Douglas, served as the emotional center of the production. His performance captured Charlie Brown’s familiar blend of optimism and insecurity, making his struggles feel both humorous and deeply relatable. Playing the “crabby” Lucy, Juliana Antunez delivered sharp comedic timing and confident energy that brought her bossy yet entertaining personality to life. Not to mention, her famously blunt “psychiatric advice” was very enjoyable.
Tristan Chung as Snoopy brought infectious charisma to the stage. His musical numbers were full of personality, embodying Snoopy’s joyful self-confidence and whimsical inner world. Schroeder’s intense devotion to Beethoven, embodied by Angel Leal, added humor through his seriousness and musical precision while Sally’s youthful honesty and excitement, played by Pietra Gomes, rounded out the ensemble, adding charm and comic contrast to the group dynamics, as well as impressive vocals.
The Bunnies added a delightful layer of comedy and visual storytelling to the production. Their exaggerated movements, playful choreography, and constant engagement onstage, and in the audience, brought energy and whimsy to the very little stage time they had. Some rabbits that stood out from their fluffle were Brenda Edmond and Koran Carty due to their sharp execution in choreo, as well as eye-catching facial expressions. The chemistry of The Peanuts allowed the structure of the show to flow smoothly and create the childish energy needed in the production.
The technical elements of the production worked cohesively to support the playful yet thoughtful nature of the show. The costumes by Hannah Kaplan clearly defined each character, staying true to the iconic Peanuts aesthetic while allowing performers the freedom to move comfortably and expressively. Choreography done by Samuel Douglas was energetic and precise, using simple yet effective movement to heighten comedy and emphasize the childlike imagination that drives the musical. The direction by Casper Eidelberg and Tristan Chung tied all elements together seamlessly, maintaining a strong pace and clear storytelling throughout the show.
Coral Springs High School’s production of “You’re a Good Man, Charlie Brown” was a delightful celebration of childhood, friendship, and persistence. By the end of the show, audiences were left with a warm reminder that even on the days when the kite won’t fly and the baseball game is lost, there is still value in kindness, hope, and simply being yourself.
*** *** ***
By Jared Robaina of Somerset Arts Conservatory
As sketches and scribbles hit the stage, a childhood staple is reimagined years later, full of hope, worries, and plenty of laughs. Coral Springs High School’s production of You’re a Good Man, Charlie Brown invites us back into the everyday magic of growing up, reminding us that even in life’s hardest moments, there is something profoundly human about trying to be “good”.
You’re a Good Man, Charlie Brown is a vignette-style musical with music and lyrics by Clark Genser, which was later revised in 1999 by Andrew Lippa. The show features the iconic “Peanuts” characters following Charlie Brown and his friends in various sketches, reminding the audience about the challenges of growing up, touching on themes of loneliness, resilience, and the struggle of trying to find a sense of belonging. Coral Springs High School brings bright energy and genuine warmth, transforming its stage into a world of imagination, innocence, and everyday wonder.
Portraying the feet-dragging titular character is none other than Samuel Douglas as Charlie Brown. His range of expression was a pinnacle of his performance, with glimpses of childhood hope quickly crushed by his swirling thoughts of self-deprecation, complemented by shifts of cartoonish physicality, topping off a stellar emotional juxtaposition. Douglas’ vocals radiated youthful innocence and curiosity, filling the theater with a genuine tenderness that captured the audience’s heart with each note. Just one seed of Charlie’s insecurity is his over-the-top little sister Sally Brown, played by Pietra Gomes. Gomes had a voice and intonation that lent itself to creating a goldmine filled with comedic precision and irresistible charm; her blunt delivery drew chuckles while maintaining a playful authenticity that made her both hilarious and relatable. Gomes could command the stage with a vibrant personality, proving that even the youngest voice can leave a huge impression.
The cast as a whole should be commended on their commitment to an animated physical expression that brought the audience into the world of Peanuts from start to finish, especially their use of physical comedy, which honors the cartoony roots of the show. The ensemble was as vivid as a comic strip come to life, with even moments out of the spotlight feeling steered by authentic intention.
Adding the splash of color to each sketch was the outstanding tech team. The sets by Cynthia Garzon and Evangelyn Leal brought each page to life with extra-large proportions that exuberated child-like perception in an art style that is reminiscent of the memories that line the early days for so many. Pair this with the props by Anisa Maharaj, and it creates a cohesive world that feels lifted straight from the Sunday comic, bursting with warmth, nostalgia, and imagination.
Coral Springs High School’s production of You’re a Good Man, Charlie Brown reminds us that we each hold a piece of Charlie with us; in our desire to belong, our hopeful curiosity, and our quiet determination to keep trying.
By Kenny Gervais of Cooper City High School
Does one decide their own fate or is it set in stone? Pointed daggers pierce the question at hand in Saint Thomas Aquinas High School’s powerful production of “Macbeth.”
Penned by the well-renowned William Shakespeare, “Macbeth” is a tragedy that highlights the consequences of unjust ambition and a lust for power. The story follows Macbeth, an honored soldier with a simple life. After witches foretell a prophecy of authority in his future, Macbeth becomes consumed by a hungering greed which can only be satisfied by bloodshed. Yet when guilt overwhelms authority, how does one keep from crumbling under the weight of conscience? Originally set in Scotland, this production transformed their stage into the swampy mangroves of the Everglades, emphasizing the animalistic desire for control.
Embodying the titular role, Cody Straka gave a menacing performance as the tyrannical Macbeth. Straka’s evident facials and meticulous character choices effectively showcased his overwhelming inner turmoil. His expressive monologuing furthered the narrative, exemplifying Macbeth’s character development from anxious to deranged. Emasculating his descent into insanity, Juliana Bohm dominated the stage as Lady Macbeth. Her wide range of expression and profound emotional portrayal defined Lady Macbeth’s controlling disposition. Together, Bohm and Straka had intoxicating chemistry that depicted their estranged dynamic.
Leading the forested rebellion, Ethan Schaefer embodied MacDuff’s upstanding nature. Schaefer’s knightly physicality and driven emotions, particularly during his climatic slaying of Macbeth, provided a striking performance. Shrubbed with discontent, the ensemble of MacDuff’s army were an uproar of animosity. Their extensive use of their space and well-rehearsed stage combat solidified them as an energetic and combative unit.
Huzzahs are in order for the cast of “Macbeth” and their truly impactful performance! Tackling the complex Elizabethan language with prowess, the actors materialized the conscious tragedy. Stirring the pot with toil and trouble, the Witches were an enchanting spectacle. Their eerie physicality and ominous conjures were spellbinding, a tribute to Valentina Clemente, Maya Quintana-Burgess, and Ellison Howard’s choreography. Leading the coven of mischief, Quintana-Burgess effortlessly embodied the domineering Hecate through her conniving character choices.
Entangling audiences into the dense roots of the mangroves, the technical elements brought the swamp to spotlight. Through analysis of personality traits, the costume and hair & makeup teams collaborated to represent each character as a species in the Everglades’ animal kingdom. The intricate looks translated ingeniously through intricate, yet subtle designs. Special effects led by Victoria Patten were executed with substantial expertise through her utilization of 3D printed scanning to create a realistic decapitated head. Patten also established a symbolic blood transfer system, stressing the underlying message of guilt and ethical corruption.
Detailing the age-old conflict of morals and desires, Saint Thomas Aquinas High School outlines the consequences of unchecked ambition in their intense production of “Macbeth.”
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By Sage Ponchock of The Benjamin School
“Stars, hide your fires”, for Saint Thomas Aquinas High School has braved the daring feat that is Macbeth. William Shakespeare’s Macbeth, written and performed first in the early seventeenth century, examines themes of ambition, guilt, and betrayal. While the high school’s performance was certainly ambitious, there is no need for guilt, as Saint Thomas Aquinas’s show represented Shakespeare’s tragedy with both fidelity and novelty, bringing Shakespeare’s masterful examination of the human condition into the twenty-first century.
The infamous and tortured Macbeth, portrayed by Cody Straka, undergoes a psychological upheaval, brilliantly depicted by the young actor. Straka’s representation of Macbeth clearly illustrated the character’s descent from doubt and decency into betrayal and madness. Straka’s delivery of the ever-famous “tomorrow and tomorrow and tomorrow” soliloquy was both haunting and compelling. Equally remarkable was the performance of Juliana Bohm as Lady Macbeth, who represented a complex character with admirable range. The chemistry between Lady and Lord Macbeth was palpable, and the two played off each other’s energy beautifully. Ethan Schaefer’s portrayal of the tragic MacDuff was a combination of passion and composure, ardent and eloquent in his line delivery. Nicolas Barreiros Plata (Banquo) and Dylan Saito’s (Duncan) passionate portrayal of the living and eerie presence as ghosts added greatly to the tale’s tragedy and aesthetics. The three witches, Valentina Clemente, Olivia Gonzalez, and Juliana Leith, delivered their renowned “double double toil and trouble” with melody and synchronization. The witches are particularly to be commended for their composure under unforeseen circumstances. Each cast member presented his or her lines with clarity and expression, demonstrating a keen understanding of Shakespeare’s meaning and the themes of the story. The entire cast kept remarkable composure throughout the play, responding with grace to the occasional microphone or technological mishap.
The Everglades’ inspiration, particularly during the witches’ scenes, brought a new perspective as well as a degree of familiarity to the play. The animal-inspired makeup added a truly intriguing aspect to the show; the animals assigned to the characters well portrayed their personalities and internal conflicts. The props in the show were also impressive, most of them being hand-made and Everglades-inspired. While some props were more realistic than others, the characters’ daggers held up nicely during physical scenes, and the witches’ ingredients added a creepily fun aspect to the often traditional cauldron scene. Lighting, though occasionally appearing out of sync with the actors, generally reflected the characters’ emotions and conflicts well. The changing of the light, for instance, when a character was making an aside, clarified the events of the sililoquies. It is evident that immense effort and research went into every aspect of technology and behind-the-scenes prepara tion and performance. Despite challenging scenes with uncooperative special effects, light cues, and microphones, both the actors and the tech crew proceeded with grace throughout the play. The occasional technological distraction did not inhibit the compelling performance of the entire theatre department.
Saint Thomas Aquinas High School performed an innovative yet faithful adaptation of a masterpiece we all know and love. Saint Thomas Aquinas’s performance was eerie and enjoyable. May they continue to be commended tomorrow and tomorrow and tomorrow.
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By Samuel Caycedo of JP Taravella High School
What would you do for the crown? This isn’t just a story about a king; it is a story about how fear can turn heroes into monsters. St Thomas Aquinas’ production of Macbeth retells the somber tale in a creative and original way, incorporating a new and artistic view on this classic tragedy.
The classic story of Macbeth was written by the genius William Shakespeare. The original play was first performed around 1606 and published in 1623. The play follows the Scottish general Macbeth as he is told by three witches that he will become the King of Scotland. He kills the king in order to claim the throne… and kills more people out of paranoia.
The role of Macbeth is played by Cody Straka, alongside Juliana Bohm as Lady Macbeth. The chemistry between the pair was remarkable, perfectly capturing the relationship between Macbeth and Lady Macbeth. Straka did a wonderful job executing Macbeth’s paranoia; his villainous glare and tremulous physicality truly helped capture Macbeth as a character. Bohm’s emotional deliveries were magnificent and tastefully done. Bohm played this character with passion, and it was wonderful to experience.
The second act of this production allowed for certain roles to shine, such as Ethan Schaefer’s portrayal of MacDuff. Shaefer’s diction made MacDuff easy to follow and exciting to watch, and his courage read exceptionally and reflected MacDuff’s character outstandingly. Another example is Avery Patterson as Malcolmina. The transition from a young woman to the Queen of Scotland was tastefully done, with Patterson’s clear intention and powerful delivery behind each line. Additionally, King Duncan ruled the stage with his majesty, thanks to Dylan Saito. Saito’s diction and powerful performance brought the role of Duncan to life, reflecting the nobleness and benevolence of a great king.
No show is fully complete without an ensemble, and this production is no exception. A specific example is MacDuff’s army; their passion was so clear and beautifully portrayed through their physicality, utilizing every inch of space on the stage to tell the story exceptionally. The chemistry and unity allowed the citizens of Scotland to really support and participate in the action.
This show’s technical aspects elevated this classic tale to a whole new level. The Everglades-inspired vision was truly brought to life with aspects like Makeup and Hair. Avery Patterson, Un-Ange’ Leslie, Jada Nelson, and Tierney Kubili took the animalistic vision and executed it fashionably. An example is Macbeth’s crocodile-inspired makeup, creating a dark and dangerous aura to the character. Special Effects was also superb; from the head prop to the blood, every aspect read perfectly on stage and brought the classic parts of Shakespeare’s tragedy forward.
You can’t change your prophecy, but you can appreciate St Thomas Aquinas’ production of Macbeth.
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By Valentina Exposito of Somerset Arts Conservatory
Ambition rots fastest in the heat. Saint Thomas Aquinas’ Macbeth pulled Shakespeare’s tragedy out of the mist and into the mangroves, where every choice dripped with blood, guilt, and decay.
First performed in 1606, Shakespeare’s Macbeth has long stalked the stage as one of literature’s most fevered studies in ambition, guilt, and the human hunger for control. At its heart, the play festers a question that refuses to die: are our downfalls decreed by fate, or ruined by choice? Saint Thomas Aquinas’ production transposed the tragedy from the misty Scottish Highlands to the humid depths of the Everglades mangroves in a striking reimagining of the timeless tragedy.
Cody Straka, portraying Macbeth, wore ambition like a fever; visible and consuming. Every flicker of his expression betrayed a man fracturing under the weight of his own desire, with each scene tracing his slow crawl from hesitation to hysteria. Straka’s performance thrived on detail, the twitch of his jaw or the tremor before a word, letting the audience feel guilt bloom before it ever reached his lips. Opposite him, Juliana Bohm’s Lady Macbeth was his perfect foil; poised, precise, and unwavering. Every choice she made carried full conviction, her commitment evident in every calculated gesture and deliberate pause. Bohm’s connection with Straka sharpened their scenes, the way she watched him adding tension, clarity, and purpose to his unraveling.
Dylan Saito brought warmth to King Duncan, a ruler so kind it almost hurt to watch him fall. His diction was clean, his gestures deliberate, and every smile carried a quiet authority that made his generosity believable; and, perhaps, his undoing. From that absence rose Ethan Schaefer’s MacDuff, who brought strength through movement. His physicality told the story as clearly as his words, each gesture deliberate and controlled. Whether standing firm or striking in battle, Schaefer’s choices felt intentional, reflecting a man driven by duty and grief in equal measure.
The technical aspects of the production anchored the madness in something tangible. Hair and makeup, by Avery Patterson, Un-Ange Leslie, Jada Nelson, and Tierney Kubili, built the show’s visual language. Their animal inspired concept lent each character an animalistic parallel; subtle choices externalizing each character’s personality into texture and color. Special effects, led by Victoria Patten, were intricately crafted, each effect serving a functional role within the story. The 3D-printed severed head of Macbeth was a standout; grotesque, precise, and undeniably impressive.
Saint Thomas Aquinas’ Macbeth left one question clinging to the swamp air: if ambition poisons everything it touches, why do we still reach for it? Maybe it’s worth finding out; if you’re brave enough to step into the mangroves.
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By Avery Garfinkel of Cooper City High School
Set the table, say grace, and prepare for Calvary Christian Academy’s delicious production of “You Can’t Take It With You” as it proves through love, care, and a little bit of tax evasion, that family is what matters most.
“You Can’t Take It With You” follows Alice Sycamore as she attempts to introduce her potential fianc� and his parents to her eccentric family. From renaissance paintings to slithering sidekicks, rambunctious hijinks ensue as Alice learns to appreciate the good, the bad, and the insane. Written in 1936 by Moss Hart and George S. Kaufman, this heartwarming comedy and Pulitzer Prize winner reflects on society and class through humor and heart.
At the head of the table, Jesse Oliva took charge as Martin “Grandpa” Vanderhof. His authentic representation of old age proved he truly embodied the character, with a keen transatlantic accent accompanied by his naturalistic physicality that further exhibited his dedication. Oliva epitomized the character’s family values, invariably adding explosions of humor within his sincere scenes. Contrasting her outlandish grandfather, Aliyah Kallioinen took the stage with grace as Alice Sycamore. Her astonishing chemistry with her lover Tony Kirby, (Jo�o Lopes-Silva) paired with her commanding stage presence, allowed for a clean and authentic performance.
With each twist and turn, Lucas Crossley coached with robust vigor and passion as Boris Kolenkhov. His diction was especially remarkable, preserving admirable consistency despite his ardent accent. Crossley’s exuberant depiction enthralled the audience and should be commended for his stupendous work. Katie Scarborough’s motherly love echoed through the theater with her dashing performance as Penelope “Penny” Sycamore. Her infectious energy radiated with exemplary comedic prowess. As she opened the show, she immediately enveloped the audience into the environment of the story, fitting right into the family dynamic.
The Residents beautifully melded their uniquely individualized characters together, serving the perfect meal. Their idiosyncratic interactions allowed for phenomenal comedy, exemplified by enthralling stage pictures and captivating commitment. The group fed off of each other’s energy, creating frenzied yet organized chaos through their perfectly paced line delivery and engaging stage business. A dazzling stand out was Angelina Uzdavines as Essie Carmichael. Whirling through the stage, her hilarious ballet routine showed pure skill, further proving her aptitude through her continued commitment whether or not she was in the spotlight.
This family wouldn’t be complete without their behind the scenes team! The costumes by Santina Augustine effectively matched the time period, properly immersing the characters into the story. Augustine compellingly juxtaposed the designs, dignifying the Kirby family looks while the Sycamores remained relaxed and personal. Their sleek and realistic fit should also be noted, as the families felt right at home in their comprehensive costumes.
Well, Sir, here we are again, Calvary Christian Academy’s delectable production of “You Can’t Take It With You” reminds its audience through heartwarming characters and a lot of laughs that the only thing you can take with you, is love.
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By Austin Blakely of JP Taravella High School
Calvary Christian Academy’s production of “You Can’t Take It With You” delivered a heartfelt and hilarious evening, blending quick-paced comedy with genuine emotion. With strong performances and thoughtful design, the show brought the Sycamore family’s quirky world vividly to life.
“You Can’t Take It With You” is a comedic play written by George S. Kaufman and Moss Hart in 1936. Set during the Great Depression, the story centers on the quirky Sycamore family, who lead a joyful and unconventional life, prioritizing happiness over material wealth. Tension develops when Alice Sycamore, the daughter, becomes romantically involved with Tony Kirby, a young man from a wealthy and traditional family, which tends to conflict with her own background. The play emphasizes the significance of personal individualism and happiness, earning the Pulitzer Prize for Drama in 1937.
Grandpa Vanderhof, embodied by Jesse Oliva, anchored the production with wisdom, warmth, and excellent comedic timing. His relaxed stage presence made him both the heart of the Sycamore family and the philosophical essence of the play. His scenes were delivered with clarity and conviction, as well as superb diction with a magnificent dialect. Alice Sycamore was portrayed by Aliyah Kallioinen with emotional depth, providing a grounded contrast to her quirky family while still showing warmth and vulnerability. Her relationship with Tony, played by Jo�o Lopes-Silva, felt believable and added a layer of chemistry to the production.
A standout in the cast was Lucas Crossley, playing Boris Kolenkhov, whose over-the-top Russian accent and dramatic mannerisms added a jolt of physical comedy and unpredictability. His interactions, particularly his wrestling antics and overall engagement, elevated the energy every time he was on stage. Penelope Sycamore was performed by Katie Scarborough, providing the genuine motherly feeling Alice needed.
The Residents built off each other’s quirks very adequately. Their overlapping dialogue, spontaneous reactions, and physicality created a sense of a real, lived-in household. Each character’s personalities bounced off one another in delightful, unpredictable ways. Rather than clashing, their chaos felt like one of Essie’s well-rehearsed dances, where disorder created harmony. The more frantic things became, the more the family leaned into it, creating a sense of unity through shared madness.
The technical aspects of this production were well-executed and supported the story without distraction. Costumes designed by Santina Augustine clearly distinguished characters and helped reflect their personalities and social differences. Stage Management by Wesley Maye, Nicole Gustavson, and Nathan Esper was remarkable. Transitions were clean, timing was precise, and the stage crew kept everything flowing seamlessly, allowing the comedy and character work to shine without interruption.
Calvary Christian Academy’s production of “You Can’t Take It With You” was a delightful balance of humor and heart. Ultimately, it reminded the audience of the value of joy, freedom, and being true to oneself, even if that means raising snakes in the living room.
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By Jaxon Reid of South Plantation High School
FIREWORKS! DANCING!! A XYLOPHONE!? RUSSIANS…!?! The Sycamore family is certainly a peculiar one; they live unapologetically as themselves in everything they do while having a deep-rooted love and a remarkable dynamic one instantly falls in love with. At least… the audience does. Possible future in-laws, the government, and even more Russians throw this family for a ride. They all the while deliver a message both enlightening and pure. Calvary Christian Academy’s performance of “You Can’t Take It With You” was truly remarkable.
“You Can’t Take It With You” was written by Moss Hart and George S. Kaufman and premiered on November 30th, 1936. The two authors are also known for their works such as “The Man Who Came to Dinner” and “Merrily We Roll Along”. “You Can’t Take It With You” premiered on Broadway that December for 838 performances and has since been revived multiple times. The show was nominated for 5 Tony Awards and won the 1937 Pulitzer Prize for Drama. The story follows an eccentric family’s plight to navigate their idiosyncrasies with a new family.
Grandpa Vanderhof, the man of the house, was magnificently played by Jesse Oliva. From the minute he graced the stage, he was a treat to the audience. With impeccable tone and physicality, he played his old age so well that one might have forgotten he was in high school. The message of the show is delivered through Grandpa’s wisecracks and actions, and Oliva mastered the balance between being a comedic delight and someone that the audience could resonate with on a human level. Aliyah Kallioinen, playing Alice, had a wondrous “lover” voice; it was clear she was in love with her partner Tony Kirby, played by Jo�o Lopes-Silva, and their chemistry never dipped. Lucas Crossley as Boris Kolenkhov (that Russian I was talking about) was a comedic joy with his thick yet clear accent and well-worked physical comedy.
The ensemble of the household throughout the show was very strong, filling the stage at all times and making use of the space nicely, especially in moments of chaos. There were many moments of overlapping voices, and while at times some words were muddled and rushed, most actors, such as Levi Alphenaar, who played Wilbur C. Henderson, had strong diction.
The tech of this show was strong. Cues called by Wesley Maye were near perfect; the beautiful timing allowed for genuine magic onstage. The old age hair and makeup by Charleigh Huisman, Melanie Kambourelis, and Larissa Mierau was commendable, the designs perfectly painting the characters’ age and allowing for an immersive experience.
This collaboration of cast and crew at Calvary Christian Academy fostered something special. Their performance of “You Can’t Take It with You” is one for the books.
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By Alyvia Rigg of JP Taravella High School
Can love withstand the loud bang of fireworks, the melody of a xylophone, the clicks of a typewriter, and the hissing of snakes? Calvary Christan Academy’s production of “You Can’t Take It With You” proves that even the craziest of families can’t stop true love from forming.
Opening on Broadway in 1936, “You Can’t Take It With You” is a comedic play in three acts, written by George S. Kaufman and Moss Hart. The story follows Alice Sycamore and her non-traditional family as she tries to introduce her fiance Tony Kirby and his parents to them without freaking them out. In the end, she learns to accept her family the way they are, and her love triumphs any quirks.
The young, lovesick couple Alice Sycamore (Aliyah Kallioinen) and Tony Kirby (Jo�o Lopes-Silva) had undeniable chemistry with one another, transporting the audience straight into their love story. Kallioinen delivered her lines wondrously, her voice intonation was appropriate and worked very well for her character. Lopes-Silva did a great job showing his characters internal struggle throughout the show’s run. The sensible and reassuring Martin “Grandpa” Vanderhof, portrayed by Jesse Oliva, was performed brilliantly. Oliva had the perfect tone for his wise and comical character, with great comedic timing and incredible physicality.
This quirky, out-of-the-ordinary family would not be complete without performers like Katie Scarborough as “Penelope ‘Penny’ Sycamore” and Lucas Crossley as “Boris Kolenkhov.” Both radiant performers had consistent accents throughout the entire show, had phenomenal character choices, and were absolutely hilarious.
The cast as an ensemble engulfed the audience into the story, everyone having high energy throughout the entire show, and all actors committing fully to their characters motivations and goals, even during chaos. Every member of the family seemed to play off one another vibrantly, causing hilarious moments. They all had phenomenal awareness of the set around them and each important set piece and props.
Bringing the wacky and chaotic house of the Sycamore’s to life, the technical elements lit up the stage (literally!). Wesley Maye did a phenomenal job with his stage management; light and sound cues being hit very well. Whenever fireworks went off or a character needed a quick beat for a joke, the cue went smoothly, keeping the audience engaged in the show. All the student technical aspects were consistent with one another, all seamlessly fitting within the allotted time period and looking gorgeous on stage.
Cherish the life you have, because you only have it once. Calvary Christian Academy’s performance wonderfully exemplifies why the love you feel for others triumphs over your material possessions- after all, you can’t take those with you!
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By Jonathan Jacknow of American Heritage Palm Beach
It turns out that lightning wasn’t the only thing stolen in Spanish River Community High School’s production of The Lightning Thief — the cast also stole the spotlight and our hearts and left the audience thunderstruck! With music and lyrics by Rob Rokicki and a book by Joe Tracz, “The Lightning Thief” tells the story of twelve-year-old Percy Jackson and his journey to discovering his home and true identity. Originally opening on Broadway in 2019, this show displays themes of love, self-discovery, friendship and loyalty, and family and captures audience members, and evidently the performers, alike.
Leading this awe-inspiring cast was Nicolas Otero in the title role. Throughout the show, Otero’s execution of his emotionally demanding material proved to be no challenge. In numbers such as “Good Kid,” he gracefully took charge of the strenuous notes and easily controlled the stage. Another notable performance was that of Joseph Alkon, who embodied multiple characters throughout the show—specifically, his performance of Grover, Percy’s partner-in-crime. Alkon’s larger-than-life characteristics were showcased flawlessly in each scene, chiefly in his impeccable comedic timing.
Additionally, Alkon is undoubtedly no stranger to the musical theatre canon, executing each note with incredible precision and power, which is apparent in his tear-inducing rendition of “The Tree on the Hill.” Moreover, with her pure pop voice and electric stage presence, leading lady Kasie Cabral blew the audience away with her take on the story’s ingenue, Annabeth. The trio’s witty chemistry and harmonic continuity helped to move the plot forward exceptionally, demonstrating this repeatedly, especially in their Act Two travel song, “Drive.”
Not only was her performance in her already demanding role outstanding, Cabral also took on the responsibility of being the production’s sole choreographer, in which she excelled. Through multiple complex and intense numbers and fight sequences, it was very evident that she had taken the time to work with each actor and ensured they felt confident in their movement. Furthermore, one of the most remarkable aspects of this production was the direction, which was done entirely by a student, Jillian Bender. Throughout the performance, Bender’s vision remained unobstructed. Through abstract representations of explosions, motorcycles, and aqua confetti instead of water, Bender’s use of unconventional means to achieve her goal was much appreciated.
Furthering into additional technical fields, this production utilized a breathtaking lighting design by Adrianna Tartamella and company. Throughout the piece, each choice was visibly intentional, most discernibly during the act one finale, in which the setting transitions to a lakeside. Tartamella used her resources impressively, displaying pools of blue and other marine hues to translate the setting to the audience. Another noteworthy technical element was the sound employed throughout the show, designed by Daniel Feinberg and company. While there were a few moments where mic cues were late or intermittently cut out, the consistency of levels and cohesion throughout the performance made it ever so enjoyable for any listener.
Overall, Spanish River Community High School’s production of “The Lightning Thief” was nothing short of electrifying! With every note, movement, and directorial touch, this production perfectly reimagined a well-known story and was an outstanding representation of a magical live theater experience!
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By Avia Collymore of Coral Glades High School
Release your swords, pack your bags, and gather around the campfire as Spanish River Community High School takes you through the world of a Half-Blood in their production of “The Lightning Thief.”
Based on Rick Riordan’s 2005 novel, “The Lightning Thief,” the musical features music and lyrics by Rob Rokicki and a book by Joe Tracz. The musical initially opened off-Broadway at the Lucille Lortel Theatre in 2014 and later had a 16-week run on Broadway at the Longacre Theatre in 2019. The story follows young Percy Jackson, who soon discovers that his long-lost father is Poseidon, the god of the sea, and embarks on a quest to restore Zeus’ missing lightning bolt.
To lead us on this “Killer Quest,” Nicolas Otero portrayed Percy Jackson. Throughout the show, Otero skillfully embodies Percy’s character by maintaining focus on the other characters during interactions and presenting accurate reactions. Right by his side, Joseph Alkon performed exceptionally as the squirrel whisperer Grover, showcasing phenomenal comedic timing and impressive vocals and characterization during “The Tree on the Hill.” Kasie Cabral also delivered a remarkable performance as Annabeth, despite being responsible for her role and choreography, and displayed a vast emotional range while making great character choices.
Joseph Alkon did an excellent job portraying the not-so-enthusiastic Mr. D/Dionysus. Despite also performing as Grover, Alkon seamlessly alternated between the two characters, keeping distinct characterization for each. As Mr. D, Alkon infused hilarity into the role, capturing the character’s indifferent energy with his gruff voice. Also sitting around the campfire is the intense Clarisse, played by Sophia Trujillo. She demonstrated great dedication to her role through her phenomenal stage presence and vocals, especially during “Put You in Your Place.”
The ensemble enriched the experience and delivered a captivating performance through synchronized movements and harmonies. While the main cast interacted, the ensemble did a spectacular job of silently conversing in the background, blending in seamlessly with the set and adding authenticity to the production. In “D.O.A.,” ensemble members smoothly immersed viewers into the lively yet dark atmosphere through their body language.
The technical aspects of this production engaged viewers through the various powers in the world of “The Lightning Thief.” Lighting, designed by Adrianna Tartamella and Company, was thoughtfully and meticulously executed, with multiple colors representing each character. The sets, created by Ayden Sherman and Company, were visually stunning, blending well with the production’s various settings. Sound, managed by Daniel Feinberg and company, while occasionally clear, was sometimes too loud compared to the cast’s voices, and several cues were missed during the characters’ interactions.
With great hilarity, phenomenal dynamics, and one suspiciously intelligent squirrel, Spanish River Community High School is guaranteed to have you “Lost!” in their exemplary production of “The Lightning Thief.”
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By Ilia Peck of The Benjamin School
You don’t have to be in a rainstorm to get a bolt of lightning; you can go to Spanish River Community High School’s production of “The Lightning Thief.” A musical with a book written by Joe Tracz and music written by Rob Rokicki, The Lightning Thief premiered off-broadway in 2014 and went on to Broadway in 2019. Its story centers on Percy Jackson, who is constantly expelled from school and has to live with his mean stepfather- Gabe. Percy’s world is flipped upside down when he faces a minotaur, who kills his mother, and then discovers that he is a demi-god whose father is Poseidon. Soon enough, trouble reaches Percy again when Zeus blames Percy for stealing his lightning bolt. Percy and his two friends, Annabeth and Grover, must go on an epic quest to find who stole the lightning bolt and rightfully restore it to its owner so that a war between the Gods will not break out.
Spanish River’s production of The Lightning Thief was brought to life by Percy (Nicolas Otero), who did an excellent job convincing the audience of Percy’s young age and naivety. Some actors struggled with overacting, but Grover (Joseph Alkon) was great at distinguishing his comedic scenes from his dramatic ones, giving him a tone of reality. His originality was on point, and he added his touches throughout the show. Annabeth (Kasie Cabarl) had beautiful vocals and even took on the role of choreographing the whole show. Some actors did not speak very clearly and seemed to struggle with diction; however, Annabeth was loud and clear throughout the entire show. Her vocals in “My Grand Plan” were excellent, and her acting within this song perfectly mirrored her character’s internal emotions. Hades (Ayden Sherman) and Ares (Juan Marulanda) added nice touches to their characterizations, with Hades taking on an Elvis-like style to his performance. A memorable song was “Drive,” a beautifully staged and fun piece. It looked great on stage, and the vocals were excellent.
Not only did the actors have to take on a difficult job on stage, but behind the stage, students were at hard work. The show was directed entirely by Jillian Bender, and students also ran the sound, lighting, sets, and choreography. The blocking was on point and impressive for a student. The choreography by Kasie Cabral reflected the cast’s abilities and was nicely done. There were a few issues with mics cutting out, but the sound (Daniel Feinberg and company) was usually crisp and clear throughout the show. The lighting (Adrianna Tartamella and company) was great, and the hues and colors matched the mood and characters. It was clear that the lighting design and the set designer (Ayden Sherman and company) collaborated, as an LED strip lined the set, giving the show a blue tone and hue throughout its performance. The set was reused from the previous year but was turned into something new. It had nice touches, though, such as paintings and signs that flew down to change the settings.
Despite minor setbacks with microphones and a few struggles with overacting and diction, Spanish River Community High School put on a great performance of The Lightning Thief and certainly left the audience with a “wave” of excitement.
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By Brianna De Los Santos of J.P. Taravella High School
“Pedal to the metal and drive” to Spanish River High School’s electrifying production of “The Lightning Thief: The Percy Jackson Musical” to be transported into a world where Greek gods and mortal humans collide. This riveting production will have you feeling like you’re on top of Mount Olympus!
With lyrics by Rob Rokicki and a book by Joe Tracz, “The Lightning Thief: The Percy Jackson Musical” is an adaptation based on the original novel of the same name by Rick Riordan. First premiering on Broadway in 2019, this musical puts its spin on the story of Percy Jackson as he discovers he is a demigod, the son of the sea god Poseidon. We embark on his journey to save the world and prove his innocence, exploring themes of self-discovery, heroism, and friendship.
Percy Jackson son of Poseidon, or better known as “seaweed brain”, played by Nicolas Otero had thorough characterization that perfectly captures the naive and loyal nature of Percy. Otero’s commitment to his character was evident as he appeared to be engrossed in every scene. With the torso of a human and legs of a goat, the satyr Grover, played by Joseph Alkon, displayed impressive physicality, exhilarating vocals, and skillful comedic timing. Alkon’s spot-on comedic timing and adlibs had the audience howling in their seats. Who can forget the third and final member of the Half-Blood Trio, Annabeth, played by Kasie Cabral! Cabral lit up the stage with her natural stage presence and powerhouse vocals. Most notably, in her solo “My Grand Plan” which allows us to see her character progression by displaying the vulnerable side of Annabeth, despite her tough exterior.
Playing the vengeful and conniving Lightning Thief, Luke, Juan Marulanda utilizes strategic character choices to trick us all into thinking he wanted what was best for Percy, but later betrays him. “The captain of the other team”, Clarisse (Sophia Trujilo) had spellbinding vocals as well as an undeniable stage presence that made her performance memorable. Equally as extraordinary, the ensemble did an exquisite job storytelling, staying engaged in every scene whilst not pulling focus away from the scene taking place.
The technical elements in this show truly brought this mythological tale to life! The set, designed by Ayden Sherman, transformed the auditorium into the world of Percy Jackson. Whether we were in the Underworld or on a bus to L.A., every detail was well-thought-out and highly executed. Lighting by Adrianna Tartamella and company was just as transformative. The distinct color changes and unique lighting textures capture the duality of the different characters and settings. Taking on the “killer quest” of student direction is Jillian Bender who did an admirable job. Bender directed the entirety of the show, with strategic and easily understandable blocking.
Spanish River High School’s production of “The Lightning Thief: The Percy Jackson Musical” filled with demigods, half-goats, and a Cerberus will leave you eagerly awaiting your next killer adventure!
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By Eesha Mahabir of J.P. Taravella High School
Looking for Camp Half-Blood? Turn onto Jog Road, pass a Publix (get a blue snack or two), turn right twice, left once, and pull up to Spanish River High School’s production of The Lightning Thief: A Percy Jackson Musical, where Greek gods are real and all… is not exactly as it seems.
Based off the original book brilliantly crafted by Rick Riordan, The Lightning Thief is spun into something new. With lyrics by Rob Rokicki and book by Joe Tracz, this story is turned into a charming, loving musical that first appeared on Broadway in 2019. Percy Jackson, a boy with uncontrollable ADHD, and powers he can’t constrain, is the prime suspect of when Zeus’s bolt is stolen. He, along with his two friends, must find the bolt and return it to prove his innocence and prevent a major war against the gods… not to mention the 20 mythology schoolbooks worth of monsters tracking them down.
Playing the Supreme Lord of the Bathroom, Percy Jackson son of Poseidon, is Nicolas Otero. Otero had boundless characterization and was immersed in each scene. He captured the gullible sense of his character perfectly, truly playing the hero. She’s the smartest, toughest girl around… Kasie Cabral portraying Annabeth Chase, Percy’s “dream girl,” had dazzling vocals throughout, a natural stage presence, and beautiful chemistry with Percy (Nicolas Otero) and Grover (Joseph Alkon), opening up to both with heartwarming moments. Joseph Alkon playing the sweetest fun-loving half-goat, Grover, never failed to make anyone laugh. Alkon had the funniest expressions, natural physicality, and exhilarating vocals, especially in the song, “Drive.”
Holding a strong grudge against the gods, Luke Castellan, the true lightning thief, is played by Juan Marulanda. Marulanda had thrilling vocals and notable characterization, being a good friend to Percy at first… to betraying him in the end. Sophia Trujillo portraying “The captain of the other team,” Clarisse LaRue the callous daughter of Ares, had awe-striking vocals and natural physicality onstage, truly putting everyone in their place. With beautiful harmonies and outstanding chemistry, the Half-Blood Campers brought their world to life, always engrossed in each scene.
Bringing the world of Greek mythology to life, are the technical aspects! Putting on this killer quest, is Student director, Jillian Bender. Bender directed the entire show, with impeccable stage management and memorable props. The set by Ayden Sherman and company was truly exquisite, depicting many places like the museum, Camp Half-Blood, and even the Underworld. Kasie Cabral on choreography was sensational, suiting everyone’s abilities with their unforgettable dance moves, especially in the “Capture the Flag sequence.” Sound by Daniel Feinbers and Company and Lighting by Adrianna Tartamella were seamless, especially when depicting the ocean, which added much emotional conflict to the production.
Spanish River High School’s production of The Lightning Thief: A Percy Jackson Musical did way more than “besting the freakin’ furies!” Making it to the Underworld and back, they proved that they could truly accomplish anything.
By Tamara Toma of Archbishop McCarthy High School
Get ready to be rocked, rolled, and wrecked by North Broward Preparatory School’s Disaster! The Musical, where every minute is a ticking time bomb of hilarious chaos. Just try not to dance too hard, or the ceiling might fall in!
Set in the grooviest year of them all—1979—this jukebox musical, written by Seth Rudetsky and Jack Plotnick, is a love letter to the most iconic ’70s hits…and its greatest catastrophes. Whether it’s earthquakes, tidal waves, or piranhas, this disaster has it all—except a functioning fire extinguisher or a single emergency exit!
Starting with the hottest hits, this production featured many powerful musical numbers, one of the most notable being “Sky High” by Jigsaw. This song showcased the cast’s stunning vocals, with harmonies perfectly in sync. The energy was electric as the actors fully committed to the scene, and this number was a pinnacle moment in the survivors’ journey, marking their journey to escape the disaster. From this moment onward, the actors built stronger connections with each other, portraying the bonds formed through their shared trauma.
Commanding the ship with her incredible presence, Kailah Lavoie gave a wonderful performance as the ship’s entertainer. Her vocal talent was mind-blowing, as she delivered flawless solos throughout the show. She also had fantastic chemistry with her kids Ben and Lisa, played by Lily Shytle. Shytle brilliantly differentiated her two characters through physicality and vocal inflection while landing every joke with precision.
Sister Mary Downy may have strayed a bit off her path to heaven, but she blessed the audience with impeccable humor and a beautiful hymn or two. Dakota Berk fully committed to her character’s internal conflict, and her consistent performance really elevated the show. Other standout performers included Tony and Ted, played by Mario Galdames and Jack Rodman, whose comedic timing and high energy brought life to every scene they were in.
Shirley and Maury, played by Sydney Atherton and King Bell, delivered a heartwarming and hilarious dynamic to the show. Atherton’s impeccable timing and quirky physicality were particularly delightful, especially in her surprise tap sequence, which left the audience in awe. Bell, meanwhile, gave a performance full of charm and depth, skillfully balancing humor with emotion, especially during Shirley’s final moments. Together, they created a memorable duo that amplified both the comedic and emotional beats of the show. Another standout duo was Marianne and Chad, played by Michelle Gutierrez and Jay Boegem. Their strong character development and beautiful duets added an extra layer of humor and heart to the story.
Turning to the technical side, it’s safe to say the crew hit the jackpot. Despite setbacks from Hurricane Milton, the technical elements were executed flawlessly. Stage managers Shayna Gainsburg and Cristina Sweeney handled an impressive 556 cues with precision. The transitions and perfectly balanced mic levels made for a smooth sail through the show. The NBPS Production and Design Class shined with their prop work, particularly the slot machines, cleverly filled with Easter eggs that captured the spirit of the ’70s. Alanna Maurer’s hair and makeup were also top-notch, with her extensive research clearly reflected in every look. She transformed the cast into disaster survivors in just 15 minutes, adding authenticity to the chaos. Overall, the tech team’s efforts elevated every aspect of the production.
As the dust settles and the disco ball finally stops spinning, one thing is clear: North Broward Preparatory School’s production of Disaster! The Musical is a smash hit. Don’t miss your chance to feel the heat and try your luck aboard the Barracuda—just pray it doesn’t end in disaster!
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By Avery Garfinkel of Cooper City High School
Incoming! A tidal wave of emotions is on its way at North Broward Preparatory School. This thrilling production of “Disaster!” will blow your expectations “Sky High.”
Written by Seth Rudetsky and Jack Plotnick, this hilarious jukebox comedy opened on Broadway in 2016. It follows an assortment of kooky characters in a floating casino and discotheque in 1970s New York. Many catastrophic events referencing popular 1970s disaster films ensue, leaving the passengers to fight to survive.
The disaster expert himself, Ted (Jack Rodman), impeccably portrayed the determined professor with ease. Through his physical comedy and commitment to his character, Rodman effortlessly embodied the heroic scientist as he led passengers to safety. Rodman’s scene partner, the maternal performer Jackie (Kailah Lavoie), executed beautiful vocals throughout the entire performance. Particularly during the number “Saturday Night,” Lovoie’s impressive belting stole the stage. The actor’s chemistry with Rodman created a convincing and captivating story.
Jay Boegem, playing the charming and spunky caterer Chad, executed his character impressively. His flawless vocals were immaculate, and his comedic persona left audiences roaring in their seats. His chemistry with the hardy career woman Marianne (Michelle Gutierrez) was heartfelt and passionate. From their tense fights to their loving, intimate conversations, the conflicting feelings between the two were very clear. Another duo with exemplary chemistry was King Bell (Maury) and Sydney Atherton (Shirley). Impressively portraying a realistic depiction of old age, the audience was captivated any time the couple was on stage. Their range of emotion, from hilarious comedic moments to down to earth heart wrenching scenes, was extremely impressive, shaping a powerful connection between the characters.
The survivors should be complimented on their electrifying performance. The group portrayed the cataclysmic situation with great realism, while also imposing notable humorous moments throughout their escape. Their physicality, characterization, and impressive vocals made them a compelling and effective ensemble. A standout member of the group was Lily Shytle. Playing fraternal twins, Ben and Lisa, Shytle hilariously switched between the characters with ease. With impressive vocal and character differentiation between the two, Shytle should be commended for her performance.
Alanna Maurer must be applauded for her impressive hair and makeup work. The change from put-together wealthy casino goers to scared, frightened, and injured victims became very clear due to the impeccably thought out designs made by Maurer. Additionally, the Stage Management Team should be mentioned for their execution of over 500 cues consisting of lights, sound effects, microphones, and fly. These cues were called with almost complete precision. While some moments may have been missed, the team did a stellar job at recovering and keeping the show moving.
From twisters to earthquakes, the worst catastrophe of them all would be to miss North Broward Preparatory School’s riveting production of “Disaster!”
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By Sydney Lotz of Marjory Stoneman Douglas HS
When you “Knock on Wood” to some toe-tapping tunes, you are sure to hit the jackpot at North Broward Preparatory School in their production of “Disaster!” Prepare to be swept away, it’s smooth sailing from here.
Written by Seth Rudetsky and Jack Plotnick, “Disaster!” sailed onto Broadway opening on March 8, 2016, running for only 72 performances. This jukebox musical, packed with iconic ’70s hits, pays comedic homage to the over-the-top disaster films of that era. The story follows a group of New Yorkers as they flock to the grand opening of a lavish floating casino, filled with disco dancing, romance, and plenty of fire hazards. However, their dream voyage takes a terrifying turn when they discover the ship is coasting on a fault line, triggering a series of catastrophic events. With earthquakes, fire explosions, and man-eating sharks, the passengers must literally tap dance their way to survival before this ship sinks!
Star-studded ship entertainer Jackie (Kailah Lavoie), not only blew the boat away, but also the theater. Her distinct characterization blended maternal physicality and inflections with dazzling vocals and vibrant boogie moves. Her chemistry with Jack Rodman (Ted) shined, as their loving dynamic grew throughout the show. Rodman’s comedic timing shone, particularly in his playful physicality and witty mannerisms, with a flip and a cartwheel to save the day. Lily Shytle took on the roles of “nearly” identical twins Ben/Lisa, showcasing a strong familial bond with Lavoie. She skillfully differentiated the twins through distinct vocal and physical switches, adding depth to each character. Shytle’s comedic talents and vocal prowess particularly shone during the number “When Will I Be Loved.”
King Bell brought Maury to life in a truly show-stopping performance, skillfully balancing the drama and comedy, infusing each moment with a captivating energy. Bell’s physicality and vocal nuances were on point, perfectly complementing Sydney Atherton’s portrayal of Shirley. From every line to each tap step, Atherton shared remarkable chemistry with Bell. Their characters vocally and emotionally harmonized beautifully, perfectly showcasing their endearing relationship. The ensemble as a whole displayed outstanding energy, maintaining its strength from start to finish. Shining particularly in “Sky High,” their vocals were consistently impressive, disco moves sharp, and they handled any mishaps with professionalism and ease.
The technical aspects of this production were far from a disaster! The makeup and hair, flawlessly crafted by Alanna Maurer, ensured each character embraced a distinct look that popped on stage, perfectly capturing the 70s vibe utilizing vibrant eyeshadow and blush. During intermission, Maurer single-handedly applied all blood and gore effects only deepening the show’s dramatic, comedic atmosphere. The disco fever didn’t stop on stage, it spread to the social media platforms as well. Sydney Atherton’s marketing and publicity nailed the 70s aesthetic in every social media post and event, including their retro 70s disaster movie nights.
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By Sam Dyer of NSU University School
Get ready to boogie down on “Saturday Night” at North Broward Preparatory School’s production of “Disaster!”, a show that’s sure to be an explosive hit!
When a sea of stormy setbacks washes away their disco delight, the cast and crew of North Broward Preparatory School’s “Disaster!” hope to find whatever floats their boat on “Saturday Night!”
A tribute to classic disaster flicks from the 1970s, “Disaster!” was conceptualized by Jack Plotnick and Seth Rudetsky. The story follows the unlucky passengers aboard a casino cruise that unfortunately endures tidal waves, killer sharks, and other cataclysmic contretemps. Showcasing the era of disco, this jukebox musical features classic pop hits from the 1970s including songs by Donna Summer, Gloria Gaynor, and Orleans. The musical debuted at the Nederlander Theatre in March 2016 and was later nominated for the Tony Award for Best Featured Actress in a Musical.
Calamity calls for a disaster expert to save the day! Enter Ted, portrayed by Jack Rodman; transforming the scientific to the suave, Rodman convincingly captained his character through impassioned displays of vocal and emotional prowess. Right by his side was Jackie, performed by Kailah Lavoie. As her beautiful, belting voice careened across the casino, Lavoie commanded the audience’s attention with a powerful feminine flair. Concurrently, she was supported by Lily Shytle who played both Ben and Lisa; quite impressively, Shytle switched betwixt the twins with comic ease, guaranteeing waves of laughter across the audience.
In the wake of an earthquake, romance strikes faster than you can say “Hot Stuff!” The long-lost lovebirds Chad and Marianne, played by Jay Boegem and Michelle Gutierrez respectively, were surely no exception! With charming chemistry, these heartthrobs made the audience want to hold onto their performances and never let go.
If there’s anything that prevents catastrophe, it’s respect for your elders! This show’s couple of oldies but goodies were Maury and Shirley, brought to life by King Bell and Sydney Atherton respectively. Never afraid to boogie their hearts out, this jiving geriatric duo sailed above and beyond with an undeniable commitment to cruising vocals and flam-buoyant physicality.
When the ground begins to tremble and shake, either you’re experiencing an epic earth tremor or a thumping ensemble of lively passengers! Whether mastering their disco moves or mourning their losses, this ensemble was surely slaying (and getting slayed) on the dance floor. Throughout the production, their harmony as a cast stayed consistent whether they were sliding, colliding, or tap dancing to complicated Morse code-ography!
As no discotheque can thrive without its DJ, this production would be remiss without its indelible technical achievements. Calling all the shots was the stupendous Stage Management team (Shayna Gainsburg & Cristina Sweeney). With 556 cues for lights and sound combined, the team pulled through seamlessly with little error. Additionally, the Props created by the NBPS Production and Design Class brought a piece of the period to life with a Hawaii Five-O slot machine. Even when faced with an actual hurricane that threatened their work, the team hit the jackpot!
No matter the strength of the storm, North Broward Preparatory School’s unforgettable production of “Disaster!” succeeded to set the bar “Sky High!”
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By Afreeca Fullwood of Piper High School
All aboard and buckle up as North Broward Preparatory delivers a production that plunges their audience into a pit of chaos. From the moment the curtain rose, we knew we were in for a wild ride.
Picture this: a floating casino like no other, filled to the brim with a funky mix of colorful characters – from a washed-up disco diva to a nun who’s more addicted to Blackjack than the Bible. Everyone is prepared to experience an unforgettable night, but instead the entire ship falls prey to a multitude of calamity. Welcome to Disaster! The Musical, created by Seth Rudetsky and written by Rudetsky and Jack Plotnick. This jukebox musical comedy guarantees that every calamity comes with a side of quality comedy.
Let’s give it up for Jack Rodman, who perfectly portrays the goofy charm of Ted. His exaggerated gestures paired with skilled facial expressions enhanced the humor of his character. He worked effectively with fellow cast members to create a delightful rhythm that kept the audience laughing throughout the performance. Then we have Mario Galdames (Tony), whose over-the-top charisma dominated the stage, making every entrance loud, colorful, and slightly chaotic. It was clear that Galdames clearly understood his character as he masterfully hid a slight makeup mishap with his impressive improv. HIs ability to deliver knockout punchlines while also connecting with the audience is a testament to his skill, making him a true highlight of the production.
Make way for Dakotah Berk (Sister Mary Downy) as she tries to save souls while sneaking in a few rounds at the casino. Berk’s standout performance expertly blends this holy and hilariously flawed nun. With her impeccable comedic timing, she effortlessly transforms every line into a comedic gem. Introducing another comedic treasure, we have Jay Boegem as Chad. This hilarious force of nature seamlessly transitioned from comedic songs to more poignant moments, making his stage presence magnetic. His characterization brings a layer of depth to his character, making us root for his star-crossed love story amid this floating catastrophe.
From start to finish, the stage managers managed to keep the show running smoothly as they called a whopping total of 556 cues! You could feel the show flow beautifully under their expert guidance. Without a doubt, the costumes were vibrant, distinct, and perfectly ‘70s, shifting the mood from disco to disaster with flair. Their attention to detail brought a sense of realism to the strife the characters faced on this ship of calamity.
So grab your friends, your family, and especially a life vest or two and run on down to North Broward’s Production of Disaster! The Musical. Why? Because it’s a show that’s to die for (but hopefully you won’t)!
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By Gavin MacArthur of Cooper City High School
Imagine a time of prosperity, where pearls dominated wardrobes and soirées were something of a norm. Saint Thomas Aquinas High School soaks audiences in the richness of America’s Golden Age through their dazzling production of the eternal narrative of “The Great Gatsby.”
The now classic story of “The Great Gatsby” was first released in 1925 as a novel by F. Scott Fitzgerald. However, the tale failed to rise to fame in the years following, and the writer never lived to witness the spectacle it has become. Subsequently, it has been adapted multiple times for stage and screen, specifically in 2006 by Simon Levy. This iteration is once again told from the narration of a man in the Roaring Twenties by the name of Nick Carraway who, upon meeting esteemed neighbor and self-made millionaire: Jay Gatsby, becomes betwixt within a tale of love, luxury, and murder.
Portraying the illustrious host, Cole Christianson (Jay Gatsby) pompously developed accurate characterization by a vast range of expression, creating a truly believable character. Cementing this authenticity, Christianson showed clear contrast within dynamics towards characters of varying relation to his own. Particularly, the unique connection to Dylan Saito (Nick Carraway) was definitive evidence of both actors’ prowess. Saito’s certain knowledge of the script allowed him to utilize vocal emotion adding depth to his individual character and further suave to the duo’s disposition.
As Nick’s flirtatious acquaintances, Mallory McKeon (Daisy Buchanan) and Alexi Arocho (Jordan Baker) each successfully carried out their coquettish personalities relative to the respective Gatsby and Nick. Similarly, in the role of the secret mistress, Avery Patterson (Myrtle Wilson) presented her character’s pure vitality through evident physicality and stand-out displays of genuine emotion.
Cohesively, the cast performed this timeless classic with a commendable degree of commitment. While raw emotion was occasionally lacking, the conscious behavior of many actors compensated by adding a degree of realism to scenes. The Partygoers ensemble in particular successfully imbued the stage with liveliness by contributing silent background banter and reactive expressions that united this piece.
The technical components of this play must be celebrated for their exceptional position as the thread weaving this extravagant performance into a pulchritudinous party! Led by Abigail Hilbert, this crew consistently ensured attire was accurate to the time, and examined design elements to match symbolism of each color. Throughout, many roles change garb across frequent intervals, these shifts were undergone seamlessly and swiftly, proving the immense talent of this crew. Likewise, the lighting team deftly managed the symbolic illumination of many impactful scenes and the classic, ever-taunting green light dancing in the distance.
“And so, we beat on, boats against the current, borne back ceaselessly into the past.” Saint Thomas Aquinas High School’s production of the classic tale “The Great Gatsby” immersed audiences into a time prior to their own, a story of opulence and the pitfalls of tragedy it possesses, uncovering the unattainable nature of our truest desires.
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By Jack Ryan of American Heritage Broward
Ladies and gentleman, cue the blaring big band horns and the copious champagne! Old sport, prepare to be whisked away to the glitz, glamor, and tragedy of the Roaring Twenties as Saint Thomas Aquinas High School presents “The Great Gatsby!”
Adapted for the stage by Simon Levy and originally written by F. Scott Fitzgerald, the timeless tale follows Nick Carraway as he befriends his enigmatic neighbor, Jay Gatsby, who is obsessed with rekindling his lost romance with Daisy. Through lavish parties and shattered dreams, the show paints a picture of society obsessed with wealth and status — with Gatsby, blinded by illusory dreams in pursuit of a lost past.
Cole Christianson’s portrayal of Gatsby was captivating, balancing the composure of a self-made millionaire with the deep vulnerability of a man desperate for love. Shining as brightly as the green light, Christianson’s attention to detail between Gatsby’s poise and emotional yearning lent authenticity to his performance, ensuring the title “the great.” Enter Nick Carraway: the witty narrator free of judgment, analytical of the materialistic society around him. Dylan Saito, playing Nick, guided the audience through the chaotic story with a steady presence. Though some actors were inconsistent with their accents and missed key emotional beats, his poised and consistent performance truly honored the advice Nick’s father had given him in his “younger and more vulnerable years.”
However, no story can be complete without pure composure?! “Driving” the drama is Avery Patterson with the standout raw energy and physicality she gave to her performance as Myrtle Wilson, bringing grit and liveliness to the stage. On the other hand, Alexi Arocho, as Jordan Baker, exuded elegance and sophistication, embodying the high-class character with ease. While some individual performances were strong, some actors and ensemble members missed the mark with their energy and created a few silent moments that resulted in partying or tension that lacked elevation.
Rich with symbolism, the technical elements of the production had some shining moments. The lighting was especially creative, portraying the haunting presence of Dr. T.J Eckleburg’s eyes to even the simplest details in creating Nick’s window! While the sound was mostly effective, there were a few balance issues with the actors’ voice occasionally overpowering microphones, causing some clipping, and a few sound effects that were too quiet compared to the voices on stage. However, the special effects, including the smoke-filled scenes representing Gatsby’s foggy memories, added intense atmosphere but were perhaps overused. Impressively, the crew built Gatsby’s car with utter attention to detail even if it was only used for a few scenes. Additionally, the costumes and set were period-accurate and gave the authentic production a voice full of money.
So we beat on, boats against the current, admiring the efforts of the talented cast and crew as they brought Gatsby’s world to life. You can’t repeat the past, but Saint Thomas Aquinas High School’s gave this classic story a fresh and unforgettable outlook that will for sure make audience’s dream of it.
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By Avery Garfinkel of Cooper City High School
Raise your glass and get ready, because the party is at Saint Thomas Aquinas High School! With their charming performance of “The Great Gatsby,” this production appeals to everyone from old sports to delicate dancers.
“The Great Gatsby,” written by F. Scott Fitzgerald and adapted for the stage by Simon Levy, is set in the Golden Age of the 1920’s. It follows Nick Carraway as he explains his past encounters with some extravagant characters, most notably the suave millionaire Jay Gatsby. As Gatsby attempts to rekindle a lost love, madness ensues, causing more mayhem than he could ever imagine.
The title character, Jay Gatsby (Cole Christianson), stole the stage with his impressive characterization and emotion. Christianson was able to play the dignified millionaire, along with the lovestruck personage with ease. The moments between Christianson and his lost love, Daisy Buchanan (Mallory McKeon), were enhanced by the believable passion shown on his face. Together they wowed audiences, particularly with their intimate dancing sequences.
Nicolas Barreiros Plata, portraying Daisy’s husband, Tom Buchanan, showed an incredible depiction of the character. During his exceptional dramatic scenes, Plata’s ability to show believable rage was spectacular and must be commended. Alexi Arocho, playing the role of Jordan Baker, had extraordinary emotion and physicality. Her ability to be a present, intent listener in the moments where she wasn’t actively participating, was a minor yet integral feat. Arocho’s chemistry with her stage partner Dylan Saito (Nick Carraway) both during verbal and silent moments was believable and mesmerizing, leaving audiences enamored with her performance.
The Partygoers ensemble was engaging, enhancing the ambiance of the environment. Their small background moments added to the busy atmosphere of the parties, making them feel real and alive. Their dances were executed with grace, once again aiding in the immersion of the famous Gatsby parties. Also attending these parties was Myrtle Wilson, played by the immaculate Avery Patterson. Patterson’s physicality, storytelling, and range of emotion left audiences both laughing during her comedic scenes and engaged in her tense moments.
The Light, Sound, and Stage Management teams must be praised for the intense work they showed throughout the performance. The lights and sound design was engaging and executed with great precision. While at times some cues may have been called late, overall, the team must be complemented. Another aspect of the technical team that should be recognised is the costume department. The team accomplished many quick changes with ease, allowing for smooth transitions when changing scenes. Their attention to detail was impeccable, using color to enhance the atmosphere of the characters.
So, follow that green light all the way to Saint Thomas Aquinas High School’s production of “The Great Gatsby” to see a performance like no other.
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By Hayley Schachter of American Heritage Broward
Step into the Roaring Twenties, where jazz, flappers, and extravagant celebrations steal the show and Saint Thomas Aquinas High School’s production of “The Great Gatsby” is sure to blow you away!
Adapted from F. Scott Fitzgerald’s timeless novel, the 2006 play “The Great Gatsby,” written by Simon Levy, highlights the major themes of this classic, including love, ambition, and the elusive American Dream. Whether through the rekindling of a lost love or the journey to reaching a distant goal, this tragic story zeroes in on the importance of seizing the moment and never taking anything for granted.
Gracing the stage for the first time and introducing the audience to this heartbreaking tale, Dylan Saito’s sharp attentiveness and subtle reactions enhance his performance as Nick Carroway, our observant narrator. As a bystander to many conflicts, Saito stayed focused and committed to every scene, emphasizing his role as the storyteller. His dedication to the character shines through his interactions with other characters, including Jordan Baker, his love interest, and Jay Gatsby, his wealthy neighbor, brought to life by Cole Christianson. Christianson matched Saito’s devotion to their friendship, setting it apart from his romantic feelings for Daisy. Thinking on his feet, Christianson cleverly improvised his way out of a prop malfunction without breaking character, showing his connection to Gatsby’s character traits and demeanor.
Alexi Arocho, portraying Jordan Baker, an independent, modern woman of the 1920s, excelled in her active listening and mature composure. Her posture and facial expressions showcase Jordan’s wit and charm, allowing the audience to see the cynical nuances in her character. Adding an element of laughter, Avery Patterson, in her role Myrtle Wilson, eased the tension in some of the most stressful scenes. Patterson’s wide range of emotions, physicality, and vocal inflections spotlight Myrtle’s ambitious attitude and desire for affection. Her dedication to her character is most clearly highlighted in the scenes following her death, as she remained perfectly still and lifeless as other moments continued around her. Although at times it felt as though the partygoers lacked cohesion, their assistance in set changes was seamlessly integrated, creating a fluid visual experience that kept the audience engaged.
The glitz and glamor of any show is never complete without tech! The isolations, textures, and colors implemented by lighting designers Emily Reich, Alistair Bass, and Michaela George beautifully complemented the performance and other technical elements. Notably, in the paparazzi scene towards the end of the show, the lighting sequence aligned marvelously with the sound cues, designed by Isabella Albensi, Natalie Llanos, Arianna Lizzul, and Olivia Lizzul. The unified design concept shared by the two disciplines elevated the overall production immensely.
Don’t miss the fun! Join us at the Gatsby Manor at Saint Thomas Aquinas High School for an unforgettable evening that captures the loves and losses of the Roaring Twenties. Grab a seat and immerse yourself in the most captivating 1920s experience in town!
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By Matthew Squeri of American Heritage Broward
The party’s roaring on over at Saint Thomas Aquinas High School’s production of The Great Gatsby! This cast and crew truly came together to produce a show filled with excitement, deceit, and glamor, keeping the audience at the edge of their seats the entire time.
Written by Simon Levy, the play made its stage debut in 2006 at the Seattle Repertory Theater. Based on F. Scott Fitzgerald’s 1925 novel of the same name, it tells the story of Jay Gatbsy and the extravagant parties he throws in the pursuit of reuniting with his former love, Daisy Buchanan. Throughout the show, it shines a “green” light on the themes of social class, love, and wealth.
Cole Christianson, playing the role of Jay Gatsby, put on an extremely engaging performance. By fully encapsulating Gatsby’s uptight manner and love for Daisy through his strong characterization and acting choices, he successfully brought the character to life. One could even say, “Good job, old sport!” Further elevating the stage was Mallory McKeon as Daisy Buchanan. From the moment she appeared lounging on an elegant sofa, we could already tell she was a demanding presence. Her comedic energy and delightful attitude really made the audience fall for her. Her commitment to the character assisted in the portrayal of her indecision between the choice of Gatsby or her husband, Tom.
Another notable character who shined throughout the entire show was Alexi Arocho as Jordan Baker. Her characterization was marvelous, as it efficiently highlighted her character’s cynical and sophisticated demeanor. This made her all the more magnetic and captivating. One of the most prominent characters was Avery Patterson as Myrtle Wilson. Her comedic abilities and dedication to the role truly had the audience enthralled. Although not appearing on stage as much as the other characters, she undoubtedly was a show-stopping presence. This made her dramatic and climactic death in the end all the more effective and profound.
By far, the most compelling aspect of the production was the technical components. Costumes, arranged by Abigail Hilbert, Elizabeth Gerhardt, Amanda Henry, and Mickenna Desroches, incorporated specific attention to detail that accurately portrayed the time period and added a sense of glamor to the show. In addition, they implemented colors to represent emotions, such as Gatsby’s pink suit to represent love and Myrtle’s red dress to represent passion. The set thoroughly brought the show together with the elaborate archway and astonishingly realistic car. Carolina Reverte, Victoria “Bird” Patten, and Vincent Poehnelt stole the show with their remarkable special effects. Each lighting choice felt inspired and appropriate, specifically when each death was lit in an ominous red light. Another example is the glowing of TJ Eckleburg’s eyes, symbolizing an all-seeing, judgmental presence watching over the characters throughout the show. From the costumes to the special effects, the inspiration behind each technical decision was masterfully shown.
Saint Thomas’ production of The Great Gatsby is sure to be remembered as a night of entertainment and bewilderment, leaving the audience roaring on from the second they enter to the moment they leave
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by Lila De Almeida of Saint Thomas Aquinas High School
Beneath the misty foliage of the Forest of Arden lies a cast of motley fools, love poems posted on tree stumps, and a whole lot of weddings. To kick off this Cappies season, Calvary Christian Academy (CCA) made sure to Shake(speare) it up with their performance of “As You Like It.”
In around 1599, the Bard himself put quill to parchment to craft this comedy (and its complicated family tree). A feud between Duchesses results in one court being exiled to the Forest of Arden, where Rosalind and her best-friend-slash-cousin, Celia, now reside under disguise. Orlando, who is lovestruck for Rosalind, also flees to the forest after learning of his brother, Oliver’s, plot against him. Unknowingly, he confides in the male Ganymede, who is truly Rosalind. A few dramatic reveals and familial forgivenesses later, Orlando and Rosalind, Oliver and Celia, and two more pairs of forest folk are married and welcomed back into the court.
“All the world’s a stage, and all the men and women merely players–” except, of course, for Lily Shein and Aliyah Kallioinen, who went beyond just “players” to truly become Rosalind and Celia, respectively. Shein’s engaging inflection and comedic timing oozed conviction in her role, skillfully avoiding the trap of reciting the antiquated language. Similarly, Kallioinen’s facial expressions and diction drew the audience into the gal talk happening in the forest. The heartfelt chemistry between the actresses was remarkable, whether said aloud or communicated through body language.
The entire cast excelled in utilizing the space of the in-the-round performance area, but Jesse Oliva (Orlando) and Lucas Crossley (Charles) exhibited exceptionally dynamic physicality. The choreography of the wrestling scene between the two must be commended for its complexity and execution. Oliva, as Orlando, also expertly demonstrated brotherly bickering with Oliver (Jadon Wooddell). Oliva’s awkward facial expressions and smitten behavior in interactions with Rosalind prompted plenty of laughs. Wooddell’s characterization was consistent, and his love-at-first-sight moment with Celia was both heartwarming and believable.
The use of an in-the-round theater structure made the show especially intimate, and CCA’s meaningful blocking allowed for each audience member to experience the performance from a unique perspective. The student stage management stood out for precise lighting cues reflecting the action onstage. Although the colors of the lighting successfully contributed to the mood of the forest, it was difficult to distinguish where certain scenes were taking place, since set pieces were fixed.
The production also boasted a strong ensemble, who entered and exited the stage with convincing chatter that advanced the ambient sound in the space. These valuable cast members were excellently led by Desi Sewell-Browne as Duchess Senior, the embodiment of a matronly, calm figurehead. Additionally, the inclusion of live instruments onstage, such as a ukulele, tambourine, and horn, further fostered the folksy atmosphere. Although the interactions between characters were energetic and organic, the occasional lack of diction or pause for laughter led to some lines losing their moment.
Even if you were “sans teeth, sans eyes, sans taste, sans everything,” you could feel the love onstage at Calvary Christian Academy’s production of “As You Like It!”
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by Mia Wilson of Cooper City High School
“All the world’s a stage” as Calvary Christian Academy puts on an incredible performance of “As You Like It!”
“As You Like It” was written by the world-renowned playwright William Shakespeare around 1599. This pastoral comedy surrounds many love stories connected through themes of disguise, family and exile. The central story occurs between Rosalind and Orlando as they experience love at first sight and find their way back to each other in the Forest of Arden after getting banished. Through Rosalind’s disguise, Ganymede, she orchestrates a plan to marry Orlando with the help of her cousin Celia. During this process, she meets many new people and learns more about love along the way.
Lily Shein (Rosalind) did an outstanding job portraying the contrast between her female role and male cover. Her use of vocal inflection and tone created a layered character. Her chemistry with love interest Jesse Oliva (Orlando) radiated as they used strong eye contact and body language to create a passionate lust between the two. Oliva also perfectly used his facial expressions and characterization to illustrate the feeling of love at first sight.
Aliyah Kallioinen (Celia) had a sensational stage presence. Her attention to detail with every movement and commitment to character kept her consistent and authentic. Her comedic timing was impeccable and her use of small gestures gave outstanding comedic relief. Her dynamic relationship with Shein illuminated the audience as they created a light and humorous duo. Their comfort on stage and undeniable friendship led to a connection that was upheld throughout the whole story. Jay Lopes-Silva (Touchstone) had fantastic physicality as he embodied the whimsical jester. His storytelling ability was immaculate and very enticing.
As a whole, the entire ensemble created the environment of the forest flawlessly. Through interactions with audience members and playing many characters, they created an immersive experience. They nicely executed the in-the-round setting as they played to every side of the audience and stayed in character through all angles. Despite some diction issues, their ability to tell the story while using Shakespearean language was extremely impressive. A standout member of the ensemble was Desi Sewel-Browne (Duchess Senior). Her confident energy created a strong maternal figure that stayed consistent throughout the show.
Led by Charleigh Huisman, the stage management team, including Wesley Maye, Josh Godbey, Nicolette Suarez, did a fantastic job keeping the story alive by calling up to 237 cues and designing sound that perfectly encapsulated the moments. Huisman’s timing and execution of cues was fantastic. In addition to this, Maye’s sound design created a cohesive story that paired extraordinarily with the other aspects of the show. The use of modern songs relating to each scene made the story easier to follow and fun to watch.
Calvary Christian Academy’s outstanding production had everything you could wish for just “As You Like It!”
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by Sam Dyer of NSU University School
Beneath the canopy of the Forest of Arden, with quaint audience gathering ‘round, muted mist rising from the ground, and sweet sounds of ukulele and tambourine filling the air, the cast and crew of Calvary Christian Academy’s “As You Like It” gave new life to a centuries-old classic!
A comedy of music, marriage and mistaken identity, “As You Like It” is a play by the English playwright William Shakespeare. Written approximately around 1599, the story follows cousins Rosalind and Celia as they are banished to the Forest of Arden, where meetings and mishaps lead them to true love. To put a new spin on this tale, the players performed their production in-the-round with the audience on all four sides, bringing them closer to the text.
Despite her intents, no disguise could hide the remarkable talent of Lily Shein, who portrayed the lovestruck Rosalind. Through fluid expressions and a firm grip on Shakespeare’s language, Shein made Rosalind a convincing character whether she was woefully pining for her lover Orlando or slyly tricking him into believing she were the male shepherd Ganymede. This Orlando was brought to life by Jesse Oliva; switching between commanding champion and yearnful valentine, Oliva delivered a dynamic performance that stole both the hearts of Rosalind and the audience!
Supporting Rosalind in her journey towards matrimony was Celia, played by the outstanding Aliyah Kallioinen. From entrance to exit, Kallioinen captivated the audience with humorous physicality and ditsy delivery. Often, Kallioinen paraded the art of playing the space; commendably, she conveyed moments to the entire audience rather than one side of the theater, engaging each person with undeniable expertise for her craft! The delightful chemistry between her and Shein also emphasized the actresses’ range. Their bond as cousins created compelling interactions whether they were fearing their banishment or gallivanting for love!
Under these greenwood trees, this production was held together by an effervescent ensemble of forest folk and motley fools! While each ensemble member certainly brought energy to moments of jovial dancing, some brilliantly took extra steps to stand out. Heed Duchess Senior, for instance, who was played by Desi Sewell-Browne; through poise and presence, she asserted a motherly leadership over the rest, highlighting her each time she graced the stage.
Within the blossoming Forest of Arden was a grove of grand technical achievements! The Stage Management team (Charleigh Huisman, Nicolette Suarez, Wesley Maye, & Josh Godbey), for example, called each of their 237 lighting and sound cues on time with seamless action, allowing for the actors to flourish in the sun. Additionally, the Sound team (Wesley Maye & Charleigh Huisman) filled the atmosphere with fitting animal ambiance and subtle bardcore covers of pop culture classics. While the latter sometimes distracted from the story unfolding, their choices nevertheless added an extra layer of laughter to an already impeccable comedy!
All the world’s a stage, but the players of Calvary Christian Academy’s “As You Like It” make life a performance worth watching for forever and a day!
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by Sydney Lotz of Marjory Stoneman Douglas HS
What happens when Shakespearean dialect fuses with Taylor Swift’s greatest pop hits? None other than As You Like It, where Calvary Christian Academy brings a traditional tale of love and disguise to life, wrestling with the complexities of true love that lies deep within the whimsical wilderness.
First published in 1623, As You Like It is a pastoral comedy written around 1599 by The Bard himself, William Shakespeare. After being banished from the court, Rosalind disguises herself as a young man and escapes to the Forest of Arden alongside her cousin Celia. There, she reunites with Orlando, who has fled his brother’s evil plot, and, unaware of her true identity, confides his love for her. This sets off a clever and playful romance, full of love lessons, new friendships, and culminating in the quintessential Shakespearean ending: a grand wedding!
Lily Shein delivered remarkable stage presence embodying Rosalind, captivating the audience through impeccable comedic timing aided by dynamic physicality, witty vocal inflections, and characterized facial expressions. Her chemistry with Jesse Oliva (Orlando) was brilliant, as Oliva expertly balanced flawless diction with the complex dialect, perfectly portraying the love struck character with great depth and understanding. Shein also shared a strong familial bond with Aliyah Kallioinen (Celia), whose immersive physicality and expressions heightened the show’s comedic energy and seamless storytelling.
While some performers struggled with the pacing and diction of this Shakespearean text, Angelina Uzdavines (Jacqueline) showcased her remarkable skill in all aspects. Uzdavines brought an impressive level of physicality and comedic timing to her engaging storytelling. Jay Lopes-Silva kicked off his portrayal of Touchstone with an impressive flip and cartwheel, captivating the audience with his expressive movements and vocal inflections that perfectly complemented his character’s wit and humor. Overall, the ensemble delivered a fantastic performance, effectively crafting backstories for their characters and breathing life into the 4-walled stage in the round.
Despite the daunting 237 sound and lighting cues, stage managers Charleigh Huisman, Nicolette Suarez, Wesley Maye, and Josh Godbey executed each one with flawless precision and impeccable timing. From the subtle ambience of sheep noises to funky modern hits featuring Taylor Swift, Britney Spears, and Shakira, the team effortlessly wove the soundscape into the performance, allowing the audience to easily piece together the shows context with song titles. While there were occasional moments when sound cues slightly overpowered the actors’ voices, the design and execution remained precise with a high degree of professionalism throughout.
With beats so true and swift of pace, where every cue found perfect grace. Calvary Christian Academy shone so bright, in As You Like It, love’s essence filled the night.
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by Abby Goldberg of Cooper City High School
Calvary Christian Academy’s charming production of “As You Like It” transported audiences to the mystical Forest of Arden, where the only thing that’s certain is life’s unpredictability.
Written by William Shakespeare in the late 16th century, “As You Like It” is a timeless pastoral comedy. The show follows Rosalind and her cousin Celia, as they seek refuge after being banished from their families’ court. Disguised as Ganymede and Aliena, the two escape to the Forest of Arden where friendships and love bloom in the most unexpected ways. Exploring themes of romance, identity and disguise, “As You Like It” tells a collection of intertwining stories, teaching a captivating lesson of the transformative power of love.
Possessing a quick-witted mind and a courageous heart, Lily Shein’s portrayal of Rosalind exuded nobility. From strong line delivery to subtle mannerisms, she demonstrated clear understanding of her character, effortlessly bringing her to life. Shein’s dynamic performance showed great range, as she hilariously shifted between Rosalind and Ganymede with ease. She had remarkable chemistry with each character she encountered, most notably Jesse Oliva. As Orlando, Oliva’s boyish spirit and clear expressions made for an entertaining performance. Together, Shein and Oliva created an authentic relationship, capturing the playful nature of the lovestruck characters.
Embodying Celia, Rosalind’s cousin and partner-in-crime, was the talented Aliyah Kallioinen. Her impeccable comedic timing and lively facial expressions conveyed vibrance in every scene. With a natural connection, Kallioinen and Shein exhibited chemistry that was both heartfelt and engaging. Portraying the colorful Touchstone, Jay Lopes-Silva brought hilarious comedic relief to the audience. He displayed exceptional storytelling abilities and an energy that never faltered throughout the performance. Led by Duchess Senior, eloquently portrayed by Desi Sewel-Browne, the ensemble of folk amidst the forest brought life to the stage through their genuine interactions and captivating use of on-stage sound effects.
The cast as a whole must be commended for their outstanding performance. Although at times they struggled with diction and flow, their high energy and well-developed characters radiated enthusiasm and depth. The cast also remarkably conquered the difficult task of “performing in the round,” skillfully remaining immersed in each scene. A standout amongst the cast was Ryan Columna Melo as William. Although his time on stage was short, his effortless comedy and impressive accent made for a lasting impression.
The stage management team, led by Charleigh Huisman, deserves high praise for their exceptional work. Despite working with an audience on stage, Huisman executed both lighting and sound cues with incredible smoothness, masterfully managing over 200 cues. Her skill and professionalism allowed the show to flow with seamless precision.
If “all the world’s a stage,” then the cast and crew of Calvary Christian Academy’s “As You Like It” proved some of the most memorable performances unfold within their auditorium.
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by Annie Frischkorn of South Plantation High School
Through an inspiring journey of self-discovery, where identities shift like the seasons and the boundaries between truth and vulnerability blur, love blossoms like spring flowers in the ethereal Forest of Arden. This enchanting vision is brought to life in the remarkable performance of Shakespeare’s classic As You Like It at Calvary Christian Academy.
As You Like It, written by William Shakespeare in the late 16th century, is a timeless romantic comedy set in the enchanting Forest of Arden. Premiering sometime around 1599-1600, the play explores themes of love and identity as Rosalind, disguised as Ganymede, navigates the complexities of romance and friendship. The vibrant forest serves as a symbol of liberation from societal constraints, inviting characters and audiences alike to embrace their true selves. This beloved classic continues to inspire countless adaptations, resonating with audiences across generations.
Every actor brought an alluring presence to the stage, weaving their Shakespearean lines into a tapestry of natural flow and charm. While a few may have stumbled occasionally, the overall performance was truly mesmerizing. Lily Shein’s portrayal of Rosalind was captivating, drawing the audience into her world, while her chemistry with Orlando, played by Jesse Oliva, perfectly captured a whirlwind of emotion and clarity. Aliyah Kallioinen’s comedic moments as Celia sparkled with laughter, showcasing the challenge of delivering Shakespearean humor with delightful timing. Despite the complexities of the text, the cast masterfully maintained comedic rhythm throughout, enveloping the audience in warmth and sincerity. The entire performance felt like a heartfelt journey, leaving a lasting impression in its wake.
The forest folk enriched the mythical ambiance of the show, infusing it with a sense of wonder and magic. Each character was imbued with depth, as they reacted naturally to the main events unfolding around them. Their vibrant personalities developed in the background, creating a dynamic tapestry of life. This lively ensemble not only complemented the primary narrative but also captivated the audience, drawing them further into the enchanting world of the play. Their subtle interactions and expressive presence transformed the stage into a truly lively experience, making the forest feel alive with stories waiting to be discovered.
The immersive 360-degree set transported you into an enchanting experience, richly detailed to evoke the magic of the Forest of Arden, allowing you to feel as though you were truly wandering through the woods. But with its seamless design, it occasionally became difficult to discern any other locations. The lighting and sound cues were expertly timed by Stage Manager Charleigh Huisman, enhancing the spellbinding atmosphere, though there were minor delays in turning on some microphones. Nonetheless, the stage management was exceptional, ensuring a captivating journey through this delightful tale.
Sometimes, we must lose ourselves to truly be found, and the cast and crew at Calvary Christian Academy did just that, capturing this experience with remarkable authenticity in their performance of As You Like It.
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