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Blue Ridge Glamies 2024-2025

Show Responses

Read and review some of the responses below to our recent shows and stay tuned for more exciting news throughout the season.

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John Champe HS - 05/03/2025
Disney's The Little Mermaid

Hooking audience’s from the moment the curtain rises is John Champe’s rendition of a childhood classic, The Little Mermaid. The musical follows Ariel, a curious mermaid who trades her voice to the sea witch Ursula for a chance to live on land and win the heart of Prince Eric. With the help of her friends, she must find true love before time runs out or risk losing everything. Based on the 1989 Disney film, it premiered on Broadway in 2008 and ran for 19 months. Though its Broadway run was brief, it became popular worldwide for its score and imaginative staging. 

The star siren herself, Ariel, is played by Dineen Merriweather who perfectly encapsulates the character. With vocals that shined through in songs such as “Part of Your World” and a practiced physicality that is necessary for a character that switches between mermaid and human, Merriweather truly captured this role. Alongside her was Chase Maxwell as Prince Eric. Maxwell went above and beyond with this character through rich tenor notes that elevated every song, especially in “Her Voice”. Balancing his singing with vital acting, Maxwell was able to deliver a superb performance every time he was on stage. The two being so in touch with their characters allowed for not just impressive individual performances, but also a clear and dynamic relationship that was a highlight of the show.  

However, one person wasn’t thrilled with the sweet nature of their relationship. Jocelyn Long as Ursula delivered a rousing performance with her bold acting that commanded the stage and craftily shaped her character into one that is unforgettable. Tailing her every move was Aries Janardhan and Charlotte Long as Flotsam and Jetsam, respectively, with an ever-present slyness in both their acting and vocals that added to the eeriness to every scene they were in. 

With thingamabobs a plenty, Props had their work cut out for them with this show. Even so, Tima Saasaa and the props crew went above and beyond with over 130 pieces including the trinkets in Ariel’s Grotto, sea animals, and the iconic dinglehopper. While Props may have supplied the dinglehopper, Hair and Makeup is the crew with the skills to use it. Led by Breanne O’Reilly, this crew brought the characters to life with their craftsmanship in both defining bold makeup, as seen on the colorful sea creatures, and distinct hairstyles, as seen through Ursula’s iconic wig.  

With a cast and crew that know how to jam under the sea, Avalon Theatre’s The Little Mermaid brings to life a classic that is sure to leave audiences wishing they were part of that world.  -Miranda Ridgley, Stone Bridge HS

    The darkness on stage is lit up as pink coral begins to glow, and the scene fills with sea creatures of all sorts. Fluorescent jellyfish with flowing nematocysts, elegant stingrays, graceful sea turtles, and a bright red sparkly crab with fantastic sunglasses. This captivating scene is what awaits audience members of John Champe High School’s all-around wonderful production of The Little Mermaid.  
   A Disney Theatrical Production, The Little Mermaid first came to Broadway in 2007. Based on the 1989 Disney film by the same name and Hans Christian Anderson’s fairy tale, the show follows Ariel, a mermaid fascinated by the world on the land; she makes a deal with her aunt–the evil sea witch Ursula–and gives up her voice in exchange for a pair of legs, then she travels to land and eventually falls in love with Prince Eric.
   Dineen Merriweather shone as Ariel, communicating her longing and free-spiritedness with a gentle ease. Expressions clear as day, she filled the stage with her remarkable talent and was always noticeable–even when her voice had been taken away. All of her many costumes, from mermaid tails to flowy gowns to an absolutely exquisite wedding dress, were perfectly chosen by the costumes crew: Charlotte Long, Sadie Baker, Tyler Connelly, and Aki Myrick. Rowing a boat (designed by Chase Mulholland) alongside Merriweather was Chase Maxwell, who played Prince Eric. Maxwell gave the performance of a lifetime, with the vocal skills and acting ability that leaves no doubt that he could one day stand on a Broadway stage. 
Also notable were Lincoln Smith, Eric’s loving guardian Grimsby, who superbly encompassed his character’s warm, quiet demeanor, and Caroline Chatman (Scuttle), who showcased the seagull’s hilarious awkward energy and awed in an amazing tap dance number. 

Fully embodying the malevolent Ursula, Jocelyn Long stunned onstage with her almost-professional vocals and powerful stage presence. By her side slithered Aries Janardhan and Charlotte Long, embodying sea snakes Flotsam and Jetsam with their eerily serpentine movements, flawless harmonies, and fabulous makeup designed by make-up lead Breanne O’Reilly. 
From start to finish, the pit orchestra–also known as the “Hot Crustacean Band”--were magnificent. Percussionist Raf Tesfazion gave his all, switching smoothly between many instruments. Flutes Jamie Kwon and Parneet Virk also stood out with their soft, smooth sound.
   With such an outstanding show, the only “Poor Unfortunate Souls” were those unlucky enough to miss John Champe High School’s stellar production.

-Grace Lemmon,  St. Paul VI Catholic HS
 

John Champe HS - 05/03/2025
Disney's The Little Mermaid

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John Champe HS - 05/03/2025
Disney's The Little Mermaid

     Come be part of John Champe High School’s world as they retell the story of The Little Mermaid. Watch as a young mermaid, obsessed with the world above the sea, yet barred from it by her father, does something desperate. Ariel sells her soul to the sea witch, setting a countdown of three days to make her prince fall in love. The talented artists at John Champe bring the classic to life once again, adding their interpretation to the beloved tale.
   The inhabitants of the sea are full of life and energy, including Ethan Luberecki as Sebastian. Luberecki plays the hilariously frustrated musician, stuck as a babysitter to a rebellious teen. However, during the iconic musical moments featuring Sebastian, Luberecki shows him becoming in his element, especially in “Kiss the Girl.” Another aquatic icon is the sea witch Ursula, played by Jocelyn Long. Long works off of Ariel’s naivete, entangling her in webs of confusion and lies. During “Poor Unfortunate Souls” Long masterfully manipulates the young mermaid into selling her soul away, aided by a haunting yet sassy voice. Aiding their master in turning Ariel from her father are Flotsam and Jetsam, two characters that don’t get to shine too much in the animated film, yet their actors Aries Janardhan and Charlotte Long (respectively) make them a standout element of the show. These two dedicate fully to their physicality, truly selling their eel-like nature. Their song together, “Sweet Child” is haunting in the most beautiful way, thoroughly establishing the evil yet inevitability of turning to Ursula. 
   Creating the underwater world of The Little Mermaid must have been a daunting task, yet the technical designers stepped up to the task. The lighting design team, led by Everett Kim, made excellent use of their lighting instruments to transfer the characters from above and below the sea. Their use of cooler blues in the ocean, and warmer oranges made clear distinction between the two at-odds worlds. These colors, echoed on the cyclorama, immerse the stage fully in whichever world the scene demands. One of the subjects being illuminated by these lights are the hanging silks on stage. Actors used them to perform silk choreography, enhancing the impact of the scene. These effects were all designed by a student, Jai Haines, who has been studying this form of dance for about three years. Haines had to adapt the designs from their original form in which they were hanging from the stage’s batons, showing incredible flexibility by both the designer and the cast. 
   Filling out the soundscape of the show is the incredible ‘Hot Crustacean Band,’ a fully student pit orchestra. These amazingly talented musicians held together for the entirety of the show, sounding incredibly well balanced across every section. Some standout elements of the band are the percussion (Raf Tesfazion and Rafi Ramirez) who kept the momentum of the show constantly pushing forward. The woodwind section overall was incredible, managing to project clearly over a very full pit and the actors, but one instrument that was particularly excellent was the oboe, played by Snigdha Pandla. During a moment with Prince Eric singing his heart out to the audience, Pandla’s oboe subtly and sweetly echoes Ariel’s iconic melody, telling exactly who Eric is dreaming of.
   With their many wonderful acting and technical elements, John Champe High School faithfully recreates a classic Disney story. Don’t be a poor unfortunate soul, and come watch this brilliant performance! -Jack Laird, Tuscarora HS

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John Champe HS - 05/03/2025 Disney's The Little Mermaid

Stepping into the auditorium, the audience is transported to a world underwater. With glowing jellyfish, singing sea life, and mystifying dancing, Disney’s The Little Mermaid is beautifully brought to the stage by John Champe High School.

Disney’s The Little Mermaid Musical is based on the 1989 film by Walt Disney’s Animation Studios. The show, written by Doug Wright and music by Alan Menken, opened on Broadway on January 10th, 2008. It had 685 broadway performances, and is now put on by departments internationally. 

One actress who steals the show is Jocelyn Long, playing the part of Ursula. Her stage presence is commanding, and all eyes are drawn to her intricate and skillful acting decisions. Not only is her acting well beyond her years, her vocal abilities are advanced as well. Her skills particularly shone in her performance of Poor Unfortunate Souls. Of course, we can't mention Ursula without bringing up Flotsam and Jetsam, played by Aries Janardhan and Charlotte long. Their eerie personas tied together scenes in a mysterious and creepy manner. Both actors went full out with their cunning and creepy physicality, and also to note, their voices blended together wonderfully. These two play the perfect duo!

Chase Maxwell, in the role of Prince Eric, is yet another actor who portrays an impactful and convincing performance. He flows between emotions of love, anger, and yearning, all in stunning harmony. His acting brings nuance and depth to each scene he is a part of. Maxwell also exhibits a powerful and clear singing voice that leaves a lasting impression on all audiences. His chemistry with Dineen Merriweather, who plays Ariel, is palpable and definitely worth mentioning. The two build off of each other's energy compellingly, which is impressive and noteworthy given that Merriweather cannot speak for most of their interactions due to Ariel's voice being taken by Ursula. Maxwell and Merriweather do an amazing job at portraying this story. 

Of course, the technical elements of this show pull everything together, particularly the lighting led by Everett Kim and costumes by Charlotte Long. The lightning elements of this show are utilized in a way that carries the atmosphere of scenes as they shift from underwater to on shore. Mood is also conveyed through lighting changes, such as more lighthearted scenes like Kiss the Girl, to ones that are darker and more intense, like Ursula’s cave. One part of the costume design that stood out is how they did not make the costumes look exactly like sea creatures, and instead matched the personality that the actors would be portraying. The mersisters all wore varied colors of mermaid style dresses, showing the differences in the sisters characters while also maintaining the original mermaid aspect. Flounder’s young personality could be seen with the bright yellow sweatshirt and jean shorts worn by Faye Marrotta. 

Well done John Champe!      -Bren Rossi, Bren Rossi, Broad Run HS
 

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John Champe HS - 05/03/2025
Disney's The Little Mermaid

 Beneath the waves, a world full of music, magic, mystery, and love unfolds, connecting the sea life to the human world.

The Little Mermaid is a Broadway musical based on Disney's 1989 animated film, which was also inspired by the fairytale written in 1837 by the Danish author Hans Christian Andersen. The musical keeps the title of The Little Mermaid, honoring both the animation and the novel. The story follows Ariel, a curious and vibrant mermaid, whose dream is to explore the world beyond the sea. Fascinated by what is above the ocean, she collects treasures that have landed on the ocean floor from above. She is fascinated by the human world and wants to know more about it. Her fascination deepens when she rescues a human from the sea. After the rescue, she had to leave him, wishing she could stay. However, they are both determined to find each other again, even if that means Ariel has to go against her father's wishes. 

John Champe High School brought this beloved fairytale to life with multiple technical aspects, creating a lively and fun performance from the colorful lights Everett Kim and the lighting team designed to the props that enhanced the storytelling, which Tima Saasaa and the props team created, to the shimmering and magical costumes that Charlotte Long created, along with the costume team. To go with the costumes, Breanne O’Reilly and the makeup team thought out the makeup, and they were able to create unique and memorable looks for each character.

Each character in this production is essential in bringing the underwater world to life. Ursula, played by Jocelyn Long, brought villainous energy to the stage along with her two sidekicks, Flotsam, played by Aries Janardhan, and Jetsam, played by Charlotte Long. Additionally, Scuttle, played by Caroline Chatman, motivated the other characters with comedic energy. 

The musical is far more than magic; it is also a story about courage and making choices. John Champe was able to tell both of those stories through all aspects of this production.  -Mackenzie Sheridan, Stone Bridge HS

John Champe HS - 05/03/2025 Disney's The Little Mermaid

Dive down “Under the Sea” with John Champe’s production of Disney’s The Little Mermaid!

The musical is based on the 1989 animated Disney film, which loosely follows the story of Hans Christian Anderson’s fairy tale. The musical follows Ariel, a young mermaid who wishes to explore what life is like above the water. When she rescues and falls in love with the human Prince Eric, she is further motivated to chase her dreams and eventually trades her voice for a pair of legs, with the help of her estranged aunt Ursula. 

John Champe’s The Little Mermaid captivated the audience with unique visual elements and memorable actor performances, bringing the classic tale out of the sea and onto the stage!

To enhance the show’s visuals, John Champe used aerial silk acrobatics and student designed projections. The silks, designed by Nat Thiessen, were an interesting addition to this undersea tale. During songs such as “Fathoms Below” and “Under the Sea”, the Silk Ensemble performed intricate acrobatics in the background, adding a flourish to the musical numbers. They could be spotted flipping, turning, and climbing in the silks. The silks were also seen in “Storm at Sea”, used to represent Prince Eric being tossed overboard and having to fight the rough waters. The projections, designed by Caleb Watson, helped the audience identify the many different settings of The Little Mermaid, such as Eric’s castle. To promote the show, Jocelyn Long and Faye Marrotta designed fun Instagram posts that spotlighted the cast and highlighted all the work put in behind the scenes. One such post was an interview of Silks Designer Nat Thiessen which informed viewers about the challenges and successes of working with silks.  

Onstage, performers showcased a variety of skills, from strong vocals to enthusiastic choreography. Chase Maxwell captured Prince Eric’s adventurous spirit, embodying the role vocally with a clean, princely tone and strong vibrato. On the other hand, Jocelyn Long displays a powerful and resonant vibrato that represents Ursula’s classic villain personality. Accompanying the sea witch were the eels Flotsam and Jetsam, played by Aries Janardhan and Charlotte Long respectively. In the song “Daddy’s Little Angel” Ursula describes her plot to take down King Triton while the eels join her in harmony and dance. Janardhan and Long’s controlled movements exhibit the eels’ slimy nature while their balanced harmonies create the campy villain atmosphere that the song requires. On a similar but lighter note, Scuttle, played by Caroline Chatman, proved to be a talented dancer while tapping in the Act II opening number, “Positoovity”. Chatman also worked with the aerial silks, climbing high in the fabric to represent Scuttle’s flight. 

With a brilliant combination of actor talent and technical creativity, John Champe’s production The Little Mermaid invoked the heart and feel of the original Disney movie, while also adding unique flairs that kept the story fresh!     -Krishnan Patel, Riverside HS

John Champe HS - 05/03/2025 Disney's The Little Mermaid

Adapted from the 1989 classic Disney princess movie, The Little Mermaid is a coming-of-age musical about a young mermaid named Ariel who is looking for love and to experience the human world. As performed by John Champe High School, this classic story is told once again with magnificent creativity and unmatched energy. 

Opening the production with an elegantly soft rendition of ‘The World Above,’ Triton's youngest daughter, Ariel, played by Dineen Merriweather reveals her princess-like physicality, vocals, and voice while starting the production on a strong foot. Directly after her, comes Prince Eric, played by Chase Maxwell, who gives off an aura of strength and determination while presenting some of the strongest male vocals in the show. Throughout John Champe’s production, these two actors work together to create growing chemistry and portray their classic characters with a similarity to the movies that all Disney fans know and love. 

Portraying the villains of the story, Ursula, played by Jocelyn Long, and her two sidekicks Flotsam and Jet, played by Aries Janardhan and Charlotte Long respectively, do an excellent job of taking on their slimy characters. Through serpentine physicality, evilly good vocals, and chemistry perfect for a trio of villains, these three actors did a sinfully exceptional job portraying their wicked characters. 

Contributing to the creativity of this production are the Costumes crew, led by Charlotte Long, and the Hair, Makeup, and Wigs crew, led by Breanne O’Reilly. These crews helped to dress the characters from head to toe, in a way that both paid homage to the classic characters and put a creative twist on the characters ‘looks.’ For costumes, Long did this by dressing characters in costumes that had a similar color scheme to the originals but were different in shape or texture. For Hair, Makeup, and Wigs, O’Reilly did this by giving characters colorful eyeshadow but not fully covering a character's face in scales. These choices made it clear to the audience who each character was but allowed John Champe’s production of The Little Mermaid to stand out. 

Another two crews that worked opposite each other were the Set design crew, led by Chase Mulholland and Salem Kellum, and the Props crew led by Tima Saasaa. These crews' work allowed the audience to be swept away onto the ocean floor and the seashore through their wonderfully painted flats, spray-foamed rock, and over 130 props covering the set. The work ethic of the Set design crew and Props crew is clear from the well-decorated stage and their expertise shows in the countless pieces created to be fitting for a princess. 

John Champe High School's production of The Little Mermaid with its dedicated cast and crew portrayed a classic story far beyond expectations and it truly made the audience get swept away in the “tides swift flow.”     -Stephanie Long, Stone Bridge HS
 

John Champe HS - 05/03/2025 Disney's The Little Mermaid

Adapted from the 1989 classic Disney princess movie, The Little Mermaid is a coming-of-age musical about a young mermaid named Ariel who is looking for love and to experience the human world. As performed by John Champe High School, this classic story is told once again with magnificent creativity and unmatched energy. 

Opening the production with an elegantly soft rendition of ‘The World Above,’ Triton's youngest daughter, Ariel, played by Dineen Merriweather reveals her princess-like physicality, vocals, and voice while starting the production on a strong foot. Directly after her, comes Prince Eric, played by Chase Maxwell, who gives off an aura of strength and determination while presenting some of the strongest male vocals in the show. Throughout John Champe’s production, these two actors work together to create growing chemistry and portray their classic characters with a similarity to the movies that all Disney fans know and love. 

Portraying the villains of the story, Ursula, played by Jocelyn Long, and her two sidekicks Flotsam and Jet, played by Aries Janardhan and Charlotte Long respectively, do an excellent job of taking on their slimy characters. Through serpentine physicality, evilly good vocals, and chemistry perfect for a trio of villains, these three actors did a sinfully exceptional job portraying their wicked characters. 

Contributing to the creativity of this production are the Costumes crew, led by Charlotte Long, and the Hair, Makeup, and Wigs crew, led by Breanne O’Reilly. These crews helped to dress the characters from head to toe, in a way that both paid homage to the classic characters and put a creative twist on the characters ‘looks.’ For costumes, Long did this by dressing characters in costumes that had a similar color scheme to the originals but were different in shape or texture. For Hair, Makeup, and Wigs, O’Reilly did this by giving characters colorful eyeshadow but not fully covering a character's face in scales. These choices made it clear to the audience who each character was but allowed John Champe’s production of The Little Mermaid to stand out. 

Another two crews that worked opposite each other were the Set design crew, led by Chase Mulholland and Salem Kellum, and the Props crew led by Tima Saasaa. These crews' work allowed the audience to be swept away onto the ocean floor and the seashore through their wonderfully painted flats, spray-foamed rock, and over 130 props covering the set. The work ethic of the Set design crew and Props crew is clear from the well-decorated stage and their expertise shows in the countless pieces created to be fitting for a princess. 

John Champe High School's production of The Little Mermaid with its dedicated cast and crew portrayed a classic story far beyond expectations and it truly made the audience get swept away in the “tides swift flow.”     -Stephanie Long, Stone Bridge HS
 

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John Champe HS - 05/03/2025 Disney's The Little Mermaid

Disney’s The Little Mermaid is a show that brings close to home Disney nostalgia, as well bringinging new songs that add more to the world of the show. John Champe High School put on a tremendous performance of this show, and the work of the actors, musicians, and crew cannot be understated. Being the classic tale that it is, I will only give a quick recap. The Little Mermaid tells the story of a mermaid named Ariel, who falls in love with a human prince from the surface. Ariel is forced to make a deal with the sea witch Ursula that costs her her voice, in order to walk with the prince on dry land. 
Dineen Merriweather played the title role,  and did a stellar job. Her energy matched with amazing vocal talent ensured an incredible performance. This was most on display with numbers such as the infamous “Part of Your World” and the “If Only” quartet piece. Merriweather did well in other fields such as acting, with intent and direction. Another example of a great performer in this production of Disney's The Little Mermaid was Chase Maxwell as Prince Eric. Maxwell paired his expressiveness with a certain charm The broad a feeling of ‘Rebellious’ royalty. His great vocal performance was also on full display during “Her Voice” and the heartwarming “One Step Closer.” I also must give credit to Ethan Luberecki, who played the role of the conductor crab,  Sebastian. His overall energy and funny bits kept me entertained while watching the very interesting execution of "Under the Sea.” Another comedic character I would like to call into attention was Lincoln Smith's interpretation of Grimsby, Prince Eric's good friend. Grimsby's character is that of a man who looks after the Prince After the death of his father, the king. Smith's timing while stating his dialogue feels sincere and realistic, which makes the more comedic moments even better. 
   All of the different aspects of tech in the show were highlights. First of all, Costumes Lead Charlotte Long and her associates made some spectacular wears that I was able to view during the show. The jellyfish costumes were a sight to see, with their bright fluorescent lights. I also liked the costumes of Flotsam and Jetsam, Ursula's Hench-eels. The algae and what seemed to be other underwater grasses that stuck to the costume complemented the dark undertones of Ursula's lair. King Triton's…Trident was uniquely interesting with a gold palette and light up LEDs around the top of the spearheads. The knick knacks in Ariel's grotto, which included her seashell mirror and a mounted historical bust, were fairly reminiscent of Disney's original film and the newer adaptations. So, props to Props Lead Tima Saasaa for creating these pieces which added character to the sets. 
   The lighting for the show was great in certain areas. For example, during the scenes in Ursula's lair, deep green lights would cast down upon stage creating an eerie atmosphere. For other underwater scenes, The stage would be flooded with bright lights, almost to mimic sunbeams shining through the water. The head of light design is Everett Kim. 
   Lastly, the orchestration in this production was amazing. all of the music felt as if it were played with passion, and many talented musicians dedicated themselves to perform. Musicians such as Raf Tesfazion on percussion, and Rafi Ramirez on drums brought much liveliness.
   John Champe High School’s Production of Disney’s The Little Mermaid will certainly have me humming “Fathoms Below” for the days to come. 

-Princeton Porterfield, St. Paul VI Catholic HS

​The story of The Little Mermaid is a timeless tale that has held a place close to the hearts of many. Originally based on a fairytale from days gone by, many have fallen in love with its enchanting plot and great songs. It is no surprise that it was quickly adapted into a musical after such a huge success, adding even more thrilling songs and plot points to the already beloved story. John Champe truly made a great choice in doing this musical, and certainly gave a charming and entertaining performance to satisfy the nostalgic cravings of their viewers.
Giving the story a sense of wonder and allure, Chase Maxwell, playing the role of Prince Eric, used his skills to portray that dreamy, desirable love interest in a playful and refreshing way. Additionally, one cannot fail to mention his captivating voice when thinking about his performance. What truly made his performance was his way of giving a sense of life and uniqueness to Eric through the showing of his emotional struggles and desires.
When thinking of this show, it would be impossible to forget the terrifying Ursula, played by Jocelyn Long, along with the elusive and slippery sea snakes, Flotsam and Jetsam, played by Aries Janardhan and Charlotte Long, respectively. Jocelyn Long’s stage presence was unmatched by anyone, as she confidently commanded the stage and the actors there with her, all while her snakes amplified the dangerous environment that she created. On top of that, her dominating vocal prowess only added to her colorful portrayal of such an evil soul.
As for those who worked behind the scenes to create this great performance, the running crew, led by Salem Kellum, showed astonishing and determined swiftness when moving the set pieces on stage. The Hot Crustacean Band did a stunning job of creating the perfect environment for this show, giving their audience chills up their spines from the impressive melodies they played.
Champe’s hair and makeup crew did a great job of adding unique touches to each character, most notably Ursula’s iconic wig and colorful eyeshadow look. Another crew that also stood out for their admirable creativity was the props crew, led by Tima Saasaa. Saasaa and her crew created very detailed ‘thingamabobs’ for various sea creatures throughout the play, including the charming jellyfish umbrellas and King Triton’s glittering trident. It is no doubt that after watching this vivid and evocative spectacle, the audience was left desiring more of this adventure ‘under the sea’!     -Ronan McConville, St. Paul VI Catholic School

John Champe HS - 05/03/2025 Disney's The Little Mermaid

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LIGHTRIDGE HS - 05/02/2025 MAMMA MIA!

     Here we go again! Mamma Mia! hits the stage at Lightridge High School with romance, timeless memories and charm that will guarantee a good time full of dance and music. Set on a Greek island,  Mamma Mia, debuted in London in 1999, featuring the music of the Swedish pop group ABBA. 

The musical tells the story of Sophie, a young woman about to marry on a Greek island, who invites three men from her mother's past, each being her potential father. Mamma Mia the musical became a massive success, running for over a decade in London and Broadway. In 2008, it was adapted into a highly successful film starring Meryl Streep, which boosted ABBA's music even further into global popularity.

     The opening number “I Have A Dream” stars Chloe Steverson as Sophie Sheridan, who commands the stage with passion. Lovestruck and full of hope, Sophie envisions a perfect future with her fianceé. Her voice carries a sense of optimism and excitement as she sings about her dreams of love and finding the right path in her future. 

     Laurie Mlaker, as Donna Sheridan encapsulates the stage. As a strong yet vulnerable single mother, she conveys the depth of her character's unfinished love and the unresolved emotions tied to her past love life. Her resilient yet fragile personality showed off her vocal range complimenting Sophie’s younger more immature nature.

     Ceanna Leslie, as Tanya captivated the stage with her number “Does Your Mother Know” Her bold personality shines through the number with energy, confidence, and playful flirtation. Her commanding vocals and confident delivery make the performance both entertaining and memorable, perfectly capturing Tanya’s vibrant charm and unapologetic confidence.

     Gavin Melanson (Andreas Christopoulos), as Harry, brought romance and beauty to the stage with his heartfelt number “Our Last Summer”. His vocal warmth and sincere expression beautifully conveyed Harry’s memories of his past love with Donna making his song a standout in the show. 

The technical aspects brought the show together. The set construction crew led by Jackson Powell and Joseph Cecil portrayed the Greek island beautifully, the set included different levels and blue and white accents throughout, beautifully capturing the essence of the ideal Mediterranean setting. The stage manager, Ava Maharaj, called the show with precision, ensuring that every scene change was executed flawlessly, contributing to the show’s seamless flow. Another standout was the costume team designed by Amelia Van Meter and Addie Bobel, the period accurate Dynamos’ outfits shone on stage highlighting the Dynamos’ youthful spirit and main character moments. The publicity team led by Dalya Louh and Aidan Ulery did a wonderful job showcasing and advertising the show, generating excitement by hosting a fundraising event as well as schoolwide showcases.

     Mamma Mia! at Lightridge High School was a resounding success. The dedication and time invested was shown in every detail. The cast and crew’s passion and talent shone through, making this production a memorable celebration of passion, and love. Congratulations to the entire cast and crew for another remarkable show!         -Manabi Kono, The Foxcroft School

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Lightridge HS - 05/02/2025 MAMMA MIA!

When Mamma Mia!, an ABBA jukebox musical, debuted in the Prince Edward Theatre in London’s West End on April 6, 1999, it was met with great energy and many positive reviews. To this day, the show, along with the award-winning Mamma Mia! Movie, has remained consistent within the pop culture, resulting in many sold out theatres wherever it is performed. Alongside these many productions, Lightridge High School’s theatre department joined in on the action with their energetic and vivacious spin on the musical. Throughout the entire duration of the show, the audience was impressed by the singing, dancing, acting, and spectacular technical effects. 
   In the show, Sophie, a young woman living in Greece, is about to get married to the love of her life, Sky. Everything is planned out and ready to go, except one thing: her dad is out of the picture, leaving no one to “give her away”. At the time of her birth, there were three men that her mom hooked up with, leaving one question: which one is her dad? Days before the wedding, Sophie invites all three men to her wedding, hoping to be able to figure out who her true dad is.
   From the beginning to the very end of the show, Donna, played by Laurie Mlaker, showed off her amazing vocals in numbers like “Money, Money, Money” and “The Winner Takes It All”. She perfectly exemplified a strong belt, as well as quieting down to her soft melodic voice. Alongside Laurie Mlaker’s character were Tanya, played by Ceanna Leslie, and Rosie, played by Sofia Moscoso. Ceanna and Sofia both portrayed a great comedic duo with their amazing stage chemistry and comedic timing as Ceanna’s sassy portrayal of Tanya worked well with Sofia’s quirky Rosie. Additionally, at the end, Emmy Franco’s chameo as Father Alexandrios gave a lighthearted touch to the emotional final wedding scene. Her shrill voice and goofy persona gave the audience a great laugh, adding onto the already present positive vibe. To back up these great actors, an energetic ensemble is needed. Fortunately, Lightridge did not disappoint. Their ensemble of over 20 talented actors were able to fill the background, creating a believable atmosphere. Additionally, during the large numbers, the ensemble’s energetic dancing and singing further brought each song to life, creating an enjoyable performance to watch.
   Beyond the actors were the technical aspects. During the whole duration of the show, the lights, led by Christian Ewaldsen and Emily Barker, brilliantly added depth to each scene. During each scene, the scrim was lit up with a blue hue to create the effect of a bright blue Greek sky, and during the songs, multi-colored moving lights danced and flashed to the beat of the music, further enhancing the infectious musical numbers, especially “Voulez-Vous”. Additionally, the choreography, done by Ceanna Leslie, blew the audience away with the vivacious movements and seamless blocking, In songs like “Voulez-Vous”, the ensemble interacts with Sophie, circling her and closing her in, representing her emotions. Finally, the set, led by Jackson Powell and Joseph Cecil, used the whole stage to it’s advantage, leaving no room for empty space, which could take away from the atmosphere. The set consisted of two stories; a ground level and a second story, with details placed throughout. Along the entire villa, floral vines crept along the wall, creating the effect of life and wear that the setting has experienced. The guitar, which was only used for one scene, was able to be incorporated as part of the set for the remainder of the show. For the bedroom scenes, the villa wall flipped, revealing the bedroom, taking advantage of the empty space under the second story.
   From the strong and energetic actors, to the well choreographed numbers, to the fabulous lighting, and to the expansive and detailed sets, every aspect of Lightridge’s production came together in a tightly-knit result, making for a wonderfully spectacular production of Mamma Mia!.     -Colin MacMahon, Liberty HS

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Lightridge HS - 05/02/2025 MAMMA MIA!

Dance, jive, and have the night of your life at Lightridge High School’s production of Mamma Mia! Lightridge’s version of the smash-hit jukebox musical delivered non-stop fun featuring lively choreography, colorful costumes, and the beloved, timeless music of ABBA. 
First premiering in the West End in 1999, Mamma Mia! was written by Catherine Johnson, with the plot being written around popular music by Swedish pop group ABBA. The story, set on the fictional Greek island of Kalokairi, follows single mother Donna and her daughter Sophie on the night before her wedding. Hoping to find the identity of the father she never knew, Sophie sends out invitations to three possible fathers, hoping to have her father walk her down the aisle, while trying to keep Donna from finding out. The show became an instant classic, so producing and performing it is no easy task, but the Lightride cast and crew completed the daunting task beautifully.
Leading the cast was Laurie Mlaker as Donna Sheridan, Sophie’s fiercely independent mother. With a strong voice and emotional depth, Mlaker brought warmth and authenticity to the role, shining with moments like the heartbreaking and climactic ballad, “The Winner Takes it All,” which is often regarded for its intense emotional and difficulty. Joining Mlaker was Chloe Steverson, playing her onstage daughter Sophie. The two created a heartfelt mother-daughter relationship, notably during their touching version of "Slipping Through My Fingers,” and when Donna ultimately walked Sophie down the aisle. Beyond emotional depth, Steverson performed with a clear, melodic voice and a fresh, youthful energy. The chemistry between Sophie and her fiancé Sky, played charmingly and energetically by Nivdeh Rao, added a sweet, romantic element to the show.
The ensemble worked together with boundless energy, creating a vibrant feeling of Greek island life and providing unexpected comedy. From dancing in swim tubes to popping out from behind chairs and railings during the chorus of the titular song "Mamma Mia," laughter came from their commitment and dynamism, made possible by student choreographers Ceanna Leslie and Nikki Chima-Orji.
Adding delightful details to all of the actors was the work of costume designers Amelia Van Meter and Addie Bobel. They aided the actors in building strong characterizations for their characters as well as world building, with certain clothing choices reflecting the age of the characters or time period they were in during flashbacks. 
The set, designed by Jackson Powell and Joseph Cecil, was another piece that contributed towards the immersion of the show. While smaller pieces were brought in for scenes with different locations, Donna's taverna was the primary set. The set team paid close attention to detail, with features like vines filled with pink flowers sprawling across the walls, making the taverna feel well-used and well-loved.
Lightridge High School’s Mamma Mia! was a celebration of music, friendship, and youthful enthusiasm. ABBA’s songs may be decades old, but in the hands of these young performers, they felt fresh, fun, and full of life.      -Ella Malloy, Loudoun County HS

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Broad Run HS - 04/11/2025 The Mystery of Edwin Drood

Broad Run High School's production of "The Mystery of Edwin Drood" presents an intriguing mix of Victorian performers, vaudeville style, and audience-driven mystery. This reimagining of Charles Dickens’ final novel, left unfinished upon his death in 1870, showcases elements of eccentric 1930s music hall entertainment, inviting audiences into the spooky, unfolding mystery. 

Premiering on Broadway in 1985, “The Mystery of Edwin Drood” was written by Rupert Holmes, who crafted the book, music, and lyrics. Inspired by Charles Dickens’ manuscript, the musical features a show-within-a-show, where the Music Hall Royale stages a late 1800s tale of the disappearance of Edwin Drood. The production breaks the fourth wall by inviting the audience to vote for the detective, murderer, and young couple, creating a unique ending for every performance.

As the red curtain unravels the opening number “There You Are,” the cast's lively, vibrant energy shines throughout the evening. Jessica Awuah, as the Chairman and Mayor Sapsea, commands the stage with sharp delivery and enunciation, guiding the story’s twists and turns with humor and charm. 

Hannah Visser as Rosa Bud displays an impressive vocal range, with a strong operatic and controlled vibrato. In “Moonfall Reprise,” her harmonies with Helena Landless (Madhumitha Pillai) blend beautifully, with Pillai’s powerful vocals complementing Rosa’s softness. Rosa’s gentle demeanor contrasts with her character's darker turn after being voted the murderer; during “Murderer’s Confession,” Visser showcases her versatility through a dramatic shift in both emotional and vocal expression. 

Another layer to the mystery is the revelation that Princess Puffer, played by Hailey Smith, is Rosa's former nanny. Smith's soulful voice and undeniable charisma light up the stage, complemented by her bold humor and warm interactions with the audience and the conductor. Her playful acting infuses the performance with wit and personality, effectively balancing the darker moments with enthusiastic charm.

Bazzard (Ryan Fila) delivers some of the production's biggest laughs, with impeccable comedic timing and an expressive, exaggerated performance style. Every glance, gesture, and joke makes his moments on stage consistently entertaining. As the audience's chosen Detective, Fila confidently leads the mystery’s resolution. His charming chemistry with Helena enhances their final reveal, and his lively presence brings levity to the stage, elevating every scene in which he appears. 

The technical elements enrich the show's atmosphere and storytelling. The costumes (Elise McLoughlin, Kate Marshalonis) reflect the period with 19 original designs, featuring silk and elegant details, while Helena and her brother's inverted color schemes connect them visually. Evie Dickhaut and Cayden Hertzler's versatile set transforms the train station into multiple locations, with a layered village backdrop and tiered houses.

Behind the scenes, the lighting designed by Syd Hale shifts the mood, from the warm glow of “Two Kinsmen” to the chilling, red backlighting of “Murderer’s Confession.” Spotlights and eerie purple tones in “No Good Can Come From Bad” enhance humor and suspense. The collaboration within technical departments is evident, as colors complement the mood of each scene and the character designs, following the shifting tones of the story. The live pit orchestra, conducted by Eric Blanks, brings the score to life with bright, fluttering woodwinds and deep, bellowing percussion, providing a well-balanced soundscape full of suspense. Every musical swell and transition supports the cast's energy, making the production dynamic and alive.  

“The Mystery of Edwin Drood” at Broad Run High School celebrates the spirit of interactive theater filled with laughter and intrigue, where no two endings are ever the same. With dynamic performances, clever humor, and thoughtful technical design, the production highlights the joy of storytelling, surprise, and shared adventure.

-Tima Saasaa, John Champe HS
 

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

     “Who are you then? And what are ya?” Broad Run High School's production of The Mystery of Edwin Drood puts that question to the test as the cast navigates through a web of twisted identities, multiple suspects, and an interactive play within a play. This rendition of Rupert Holmes musical, based on the unfinished Charles Dickens novel, is a witty and enchanting experience for the entire community.Set in the Victorian era and framed as a production by the fictional Music Hall Royale, The Mystery of Edwin Drood follows the mysterious disappearance of young Drood and the tangled lives of those who might have reason to make him disappear. With a plot that unfolds differently each night depending on the audience’s vote, the show blends murder mystery, comedy, and melodrama in a way that keeps both cast and crowd on their toes. At its heart are themes of love, jealousy, revenge, and the search for truth, all delivered with a flair that breaks the fourth wall and invites the audience to become part of the story.Miss Alice Nutting (Edwin Drood) and Mr. Clive Paget (John Jasper)’s characters are brought to life by Lilli Howard and Grace Craft who display impeccable range and dynamic stage presence throughout both acts. Howard delivers a compelling triple layered performance, shifting between Edwin Drood, the ill-fated title character, Detective Datchery, the fill in till the crowd decides the actor, and Alice Nutting, a comically self-absorbed actress lamenting her character’s early exit. However, even though her character Drood is only shown throughout the first act, it lays the groundwork even from the beginning for Craft’s performance of Mr. Jasper. Her performance reaches its peak during act two during the song “The Name of Love” as her emotional volatility, desperate longing, and manipulative charm clash powerfully with Rosa Bud, played by Hannah Visser, as they argue. Craft’s visible and emotional manipulative yearning leaves the audience speechless. Her ability to express both obsession and helplessness is chilling, heightening the stakes of the mystery. Together, both actors' portrayals make their tragic family feel even more authentic.

     Their intense performances can not be complete without their supporting castmates, who add a richness to the plot as they guide the audience. Madhumitha Pillai delivers a standout portrayal of Miss Janet Conover (Helena Landless), capturing a spectrum of emotions that leave the audience spellbound. From her very first entrance, she commands the stage and captures the audience's attention with her wit and fiery personality. Her expressive facials, during main scenes and in the background, add layers of characterization essential to a story as emotionally charged as this. Rivers shows a profound understanding of her character, balancing individualism while seamlessly transitioning into ensemble driven moments, leaving her unforgettable.

     Broad Runs’s performance would not be complete without the backstage brains of it all. The tech’s creativity is evident throughout the production as they contribute to the story’s intense yet comedic tone. Their lighting team, Noah Snyder, Sydnee Hale, and Maddie Korin, infuses each scene with vibrant emotion driven by their color choices and timing. Throughout each song, their intuitive choices match the onstage action beat-for-beat, heightening both mood and meaning while showcasing thoughtful choices. This is complemented majorly by their costume department, led by Elise McLoughlin and Kate Marshalonis, who ensure the audience is teleported back in time with every period piece tailored to each character's essence. From the vibrant Landless siblings to Rosa Bud’s ethereal light blue dress, all the choices matched the characters' personalities perfectly. Together, these efforts create a cohesive experience, leaving a story that feels flawless from every angle.

     Overall, the actors and technicians involved in Broad Run High School’s production of The Mystery of Edwin Drood create an electrifying and unforgettable journey that leaves a lasting impression. - Ash Strayer, Park View HS

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Broad Run HS -  04/11/2025
The Mystery of Edwin Drood

In this piece, I decided to draw Edwin Drood (played by Lilli Howard) being controlled by her killer, Rosa Bud (played by Hannah Visser). The pink strings that are attached to Drood resemble those of string puppets’, resembling that Edwin was just “a puppet” in Rosa’s games. Around Rosa and Edwin, I drew in John Jasper (played by Grace Craft) and Neville Landless (played by Matthew Bates), representing the suspected killers of Edwin. For the background, I was inspired by a murder mystery design, so I used a sort of velvety red and textured it.
I used as much of the original costume design as I could remember for each character, designed by Elise McLoughlin, Twig Saidoglu, Sophie Moses, Tanishka Raja, Piper Rossi, Bridget Stott. 
The green eyes and hand at the top of the drawing represent the audience’s influence, as they were the ones who determined who the killer of Edwin Drood was. I chose green for the eyes, as green represents analytical nature.

-Anika Ranadive, Rock Ridge HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

Love, betrothment, betrayal, and murder. These four words are key elements in The Mystery of Edwin Drood, performed by the company of Spartan Stage Studios at Broad Run High School.

Based on the unfinished 1870 Charles Dickens novel of the same name, The Mystery of Edwin Drood is an audience-interactive, play within a play, mystery musical. In the middle of writing this novel, Dickens passed away, leaving the mystery aspect unsolved and therefore giving readers many different possible outcomes to imagine. This led to the creation of the musical version, which is a fourth wall-breaking extravaganza in which a fictional thespian troupe brings the story to life, letting audiences vote on how the events of the second act play out.

Starting off with the actors, this production showcased various talents within Spartan Stage Studios. Playing the role of Rosa Bud (fictionally portrayed by Miss Deirdre Peregrine), Hannah Visser wonderfully emulated the emotions of her character and sang in an alluring coloratura soprano voice, one which was an incredible match for Bud, who is a music student. In the role of Rosa's teacher was none other than Grace Craft, making her onstage debut as John Jasper (fictionally portrayed by Mr. Clive Paget). Craft portrayed Jasper in a way that simultaneously makes one despise his deplorable actions while also absolutely cracking up at him, thanks to
her immensely skilled physicality and vocal work.

An actor in a particularly comedic role was none other than Tyler Craft, portraying the eccentric Durdles the gravekeeper (fictionally portrayed by Mr. Nick Cricker). Craft brought a clever energy to the spiteful Durdles, making audiences giggle as the plot thickened. Playing the man, the myth, the legend that is the infamous Edwin Drood (fictionally played by Miss Alice Nutting) was Lilli Howard. Howard had distinctly different character work between her two characters, bringing a jolly nature to Edwin while also portraying her actor character, Miss Nutting, as stuck up and egotistical. It also is worth mentioning the beloved Bazzard (fictionally portrayed by Mr. Phillip Bax), who was brought to life by Ryan Fila. Bazzard is portrayed as somewhat of a nobody in act 1, but thanks to the incredible talents of Fila, he quickly became an audience favorite, leading to him being selected to be detective Dick Datchery in act 2.

Moving onto technical aspects, it would be a shame not to mention the run crew, led by Lilly Thompson and Sam Helflen, who seamlessly transformed the stage for every scene change. Their efficiency relies on the hard work of stage manager Aly Kelly, who highly deserves credit for being able to efficiently call cues for a show with various possible endings. Additionally, the props in this show, curated by team leader Rose Smith, particularly stood out and added so much more to the story they were used to tell. Examples include the British flags waved by the entire company in “Off to the Races”, the bottles and glasses used in drinking scenes, and the suitcase held by Miss Alice Nutting as she stormed off the stage at the beginning of act 2.

All-in-all, The Mystery of Edwin Drood at Broad Run High School is a creative show that will keep the theatre-goer entertained with its humor and audience participation. -Ava Marotta, John Champe HS

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Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

     How does one tell a complete story when the ending isn’t complete? Leave it to Broad Run High School to finish the tale of (knock) The Mystery (knock knock) of Edwin Drood. The author of this well-known book turned musical, Charles Dickens passed before finishing his novel, leaving the ending unwritten. Therefore, when composing and writing this new musical, Rupert Holmes left the ending up to the audience. With multiple different endings, the audience gets to pick their ideal interpretation making the production immersive for all. This exciting musical first debuted at the New York Shakespeare Festival in 1985 where it then made its Broadway debut at the Imperial Theatre. It later premiered in London’s West End at the Savoy Theatre and ultimately had a Broadway revival in 2012.

     This musical is a play within a play where a talented group of actors take on the roles in Charles Dickens’ The Mystery of Edwin Drood. The story is led by Mr. William Cartwright who takes on the role of Chairman and leads the actors through the unfinished tale. The story itself follows a young man, Edwin Drood, who is engaged to a music student named Rosa Bud. Throughout the story Edwin Drood enters into complicated relationships with a plethora of people, some more positive than others. All of a sudden, Edwin Drood goes missing, and, ultimately, the audience must decide who they believe killed the title character.

     Leading the show is Jessica Awuah as Mr. William Cartwright. Awuah is hilarious and excels in guiding the audience through the many twists and turns of the night. Her vocals, comedic timing, and energy make for an extremely well-rounded performance. Additionally, Hannah Visser’s supporting performance as Miss Deidre Peregrine portraying Rosa Bud is exceptional. Her ability to wow audiences in extremely difficult numbers is one that shouldn’t be taken lightly. In addition to her vocals however, Visser’s acting is authentic and versatile, especially in numbers such as “Moonfall” and “The Name of Love & Moonfall Reprise”. Similarly, stand-out vocalist Hailey Smith stuns audiences with her outstanding vocal abilities as Miss Angela Prysock playing Princess Puffer and furthers each song with entertaining acting choices that leave audiences in awe. One featured character who steals the hearts of the audience is Mr. Phillip Bax played by Ryan Fila. Fila’s role portrays Bazzard in the in-show production and delivers in every line, song, and scene with the utmost genuineness that puts a smile on everyone’s faces. Finally, stand-out performer Lilli Howard took on the role of Miss Alice Nutting playing the infamous Edwin Drood. Despite being a master of disguise, there is no disguising the talent that Howard has. With her incredible comedic relief and vocal ability, Howard wows audiences with her portrayal of the title role.

     This show wouldn't be possible without the technical crews of BRHS, especially the set construction/design team led by Evie Dickhaut and Cayden Hetzler and the costume team led by Kate Marshalonis and Elise McLoughlin. The set team shines with their extensive collection of set pieces and their beautiful backdrop, truly immersing the audience into every location throughout the show. Additionally, the costume crew excels in the construction and designing of their handmade costume pieces while also reflecting the time period in their collection as a whole. Overall, this production of The Mystery of Edwin Drood performed by the actors and technicians of Broad Run is one that shouldn’t be missed. Everyone should be “Off to the Races” to get their tickets and settle in for an unforgettable night where you get to decide how this infamous tale ends. -Ashleigh Allen, Stone Bridge HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

Broad Run High School’s production of The Mystery of Edwin Drood was a zany take on Charles Dickens’ unfinished 1870 novel of the same name. The musical comedy by Rupert Holmes is a murder mystery about the death of Edwin Drood. Featuring a cast of suspicious characters, the meta show has a “choose your own adventure” ending, allowing the audience to decide the outcome.

The artwork primarily features the Chairman (played by Jessica Awuah) learning the lines of their secondary character, Mayor Sapsea. On the side table is Edwin Drood’s (played by Lilli Howard) glass of poisoned wine, with the poison bottle being on the bookshelf. The portraits in the background are based off of the beautiful ones done by Broad Run’s Paint Crew. Featured are Helena Landless (played by Madhumitha Pillai) and Bazzard (played by Ryan Fila). The audience voted the pair to be the lovers, as well as for Bazzard to be the detective, hence the investigative getup. The bookshelf features items representing Edwin Drood’s uncle, John Jasper (played by Grace Craft). These include a letter by the scandalous Princess Puffer (played by Hailey Smith) and sheet music to represent Jasper’s title of music master.

-Sydney Kelly, Riverside HS
 

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Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

     The air is abuzz with accusations tonight at Broad Run High School. A traveling theatre troupe faces a ferocious mystery— and only those seated in the house hold the answer.

     Written by Rupert Holmes, The Mystery of Edwin Drood (1985) concludes Charles Dickens’ perpetually incomplete story (set in 1870) on the stage as a show within a show. When Edwin Drood (played by an experienced female impersonator) mysteriously disappears, he is thought to be murdered. However, as the murderer was never named in the original story, their identity is uniquely left to audience vote, presenting a variety of ending possibilities.

     Lili Howard inhabits the titular role of Drood, all the while leaning into the simplistic formality of the character. This is demonstrated throughout the performance within each of Howard’s physical choices and cast interactions; the small motions suit a well-mannered English boy during the 1870’s. Only further supporting this image is her straightforward singing style, effortless clear and confident sound, which is most evident during the song The Writing on the Wall and alludes to the conclusionary moments of the number.

     Upon the stage, it seems as if Hannah Visser was born to be Miss Rosa Bud. Her graceful posture and refined expressions of consideration during Rosa’s actions firmly cement herself as the character. Later, selected by spectators as the Murderer, Visser escapes her prison of sophistication in a striking manner with the accomplishment of haunting high notes during Rosa’s Murderer’s Confession. When compared to an earlier song, Moonfall, which emits an opposing aura but contains similar challenges, it testifies of Visser’s wide potential for vocal application.

     While the character of Princess Puffer is not as regal as her name suggests, Hailey Smith royally captures the audience’s attention during her solo song The Wages of Sin as they profoundly begin to sing alongside her. Ryan Fila as Bazzard is also shown much appreciation from show patrons in response to his sweet and gentle approach, evident in his democratic selection as both Datchery and one of the two Lovers receiving a happy ending.

     Spartan Stage Studios’ musical whodunnit was thoroughly substantiated by the efforts of multiple technical departments, most notably Stage Management (managers Aly Kelly, Sam Helfen, and Lilly Thompson). Due to the audience voting component, an implemented system is in place to collect the votes and communicate the results to the cast and pit. As an integral part of the performance that must be balanced with other co-occurring responsibilities, such as managing the highly accomplished Running Crew, it appeared to be completed successfully from an audience perspective. Another contribution to the atmosphere is attributed to the Pit Orchestra (directors Eric Blanks and Carrie Albers). The captivating music accompanied and amplified emphasis given by the actors, notably projecting a sense of unity between cast and instrumentation.

     As the striking composition of circus-like lights fade into shadow, having been crafted carefully by Lighting Apprentice Syd Hale, it is a shame to leave Broad Run High School’s auditorium and its invigorating mystery behind. Yet, it leaves one inquisitive in regards to the next iteration: for who will be the next murderer?

-Rachael Lenderman, John Champe HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

What happens when a musical based on the unfinished book of a prolific author lets the audience decide the ending? Chaos, comedy, and plenty of fun. Broad Run High School’s production of The Mystery of Edwin Drood is sure to leave audiences grinning with memories of a delightful performance.
Debuting at the New York Shakespeare Festival in 1985, The Mystery of Edwin Drood—created by Rupert Holmes and inspired by Charles Dickens' final unfinished novel—is a play within a play, complete with audience participation and holding the distinction of the first Broadway musical to feature multiple endings. Set in the world of the Music Hall Royale, the cast performs Dickens' mysterious tale of murder and intrigue before turning to the audience to decide the true culprit and the story’s final twist.
A standout aspect of this production was the Chairman, played by Jessica Awuah, who served as the energetic narrator and maestro. With a bright red and gold outfit that reflected her lively role, Awuah played the charismatic and excitable Chairman perfectly, guiding the audience through the layered plot with ease. Her comedic timing, expressive physicality, and seamless transitions between narrator and character showcased her dynamic range and made her the linchpin of the performance.
Beyond the Chairman’s performance, several other cast members delivered standout roles.Hannah Visser, playing Rosa Bud, amazed with her operatic vocals, hitting high notes with poise and control. Grace Craft brought a chilling intensity to John Jasper, masterfully balancing his composed and cool facade with an undercurrent of obsession and menace. Their chemistry served as the dramatic anchor of the show, with Visser’s carefully crafted looks of fear and Craft’s evil expressions building a dark murder mystery beneath the show’s comedic surface. 
Of course, no comedy thrives without strong comic relief, and Ryan Fila and Tyler Craft rose to the challenge. Through the awkward yet endearing character of Bazzard, Fila captured the hearts of the audience in his heartfelt performance of “Never the Luck,” turning a minor character into an audience favorite. Meanwhile, Craft’s Durdles played the perfect foil to Awuah’s Chairman. From worm-like crawls to exaggerated stomping, Craft's antics had the audience laughing consistently.
Equally impressive were the show’s technical elements. Sydnee Hale, Noah Snyder, and Maddie Korin made expert use of the lighting, showering the stage with a deep palette of dark blues and magentas, evoking both the whimsy and show of the Victorian tale. Inspired by the real Rochester Cathedral, Broad Run’s lighting team showed impressive ability in mimicking historical performance halls while implementing footlights that cast shadows and silhouettes to heighten the drama of darker scenes. Behind the scenes, Broad Run’s stage management team, consisting of Aly Kelly, Lilly Thompson, and Sam Helfen, also deserves high praise. Facing the difficult challenges of a show with audience participation, they executed a nearly flawless show. From ground plans to rehearsal reports to managing the voting system, their meticulous documentation and planning contributed to a smooth production that ensured that the magic onstage never skipped a beat.
Despite the challenges inherent in a show that changes nightly, Broad Run’s production embraced the chaotic spirit of The Mystery of Edwin Drood with skill and heart. They honored both the comedic roots of the musical and the narrative weight of Dickens’ original work, crafting a performance that was as engaging as it was unpredictable. Broad Run delivered an experience full of laughter, suspense, and the infectious energy of a cast and crew clearly enjoying every moment alongside their audience.

-Jerry Wang, Stone Bridge HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

Is it possible to find the bright side of murder? Broad Run High School's production of  "The Mystery of Edwin Drood" proves that the answer to this question is a resounding yes. With this show's surprising bursts of humor and unexpected twists, you never know what's around the corner.
Broad Run High School's "The Mystery of Edwin Drood" had the audience wheezing as it followed the comedic portrayal of the mysterious disappearance and murder of Edwin Drood, the perpetrator unknown. Was it the enigmatic duo, the Landless twins, who recently arrived from Sri Lanka? Maybe it was John Jasper, Drood's uncle, who is infatuated with Drood's betrothed, or could it have been the most perplexing option of them all, Rosa Bud, Edwin Drood's fiancée. However, with the story unfinished by its author, it is up to the audience to decide, "Who done it?" in this thrilling murder mystery. 
The Mystery of Edwin Drood was originally an unfinished novel by Charles Dickens, published posthumously in 1870. Because he died before completing the story, nobody except for Dickens himself will ever know his true intention for the ending. Rupert Holmes first adapted the novel into a musical, and it made its debut on Broadway in 1985, garnering attention for its concept of audience interaction. The cast of Broad Run High School's production of "The Mystery of Edwin Drood," directed by Larry David Ratliff III, allured the audience with their rendition of this smash hit musical.  
Mr. Clive Paget ("John Jasper") (Grace Craft) takes hold of her character and brings him to life in front of the audience's eyes, with her characterization of absolute obsession and passion towards Miss Diedre Peregrine ("Rosa Bud") (Hannah Viser). The pair, in "The Name of Love/Moonfall Reprise," delivered a captivating performance in which Rosa Bud's naive and innocent nature was finally broken by her fear of John Jasper. Viser haunts the audience with her masterful portrayal of the depth and authenticity of her emotional instability. Ella Sreniawski, as Miss Florence Gill ("Flo"), consistently stood out throughout the production with her energetic stage presence as an ensemble member, which conveyed a fully developed character. Furthermore, Master Nick Cricker ("Deputy") (Bren Rossi) was delightful to watch; Rossi had terrific comedic timing and perfectly captured her character's quirks, leaving the audience in stitches.
Broad Run High School's Lighting Apprentice, Sydnee Hale transformed the stage with her meticulously crafted lighting design. The lights complimented the performance by using dynamic color shifts to enhance the mood of each scene, adding a layer of depth to the overall production. Bridget Stott and Ben Johnston, Broad Run's Hair/Makeup apprentices, successfully differentiated the character's distinct identities, visually highlighting individual personalities and giving an insight into the adverse characters of the show. Additionally, transitions in between scenes were seamless and efficient thanks to the run crew, led by Aly Kelly, Sam Helfen, and Lilly Thompson, allowing the audience to be fully immersed in the experience. Another technical aspect that aided in complete audience immersion was The Broad Run Pit Orchestra, which was a shining star in itself, with its graceful support of the onstage performance and various comedic interactions with the actors. 
As the curtain closes on this comedy-filled whodunit, its successful blend of entertainment and audience participation kept everyone guessing until the end. Attending Broad Run High School's "The Mystery of Edward Drood" truly made for a memorable night. -Maggie McBride, Rock Ridge HS

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Broad Run HS - 04/11/2025 The Mystery of Edwin Drood

Do the secrets of Cloisterham kill? Ask Edwin Drood; oh wait, you can’t. Slowly unmasking from the silence of smiles, Spartan Stage Studios unfolds the truth of “The Mystery of Edwin Drood.” 

This mystery falls in a play within a play: Spartan performers act as an acting troupe playing characters to convey the unfinished Charles Dickens story of Edwin Drood, all strung together for viewers by the narrator Mr. William Cartwright (Jessica Awuah). 

Edwin (Lilli Howard), the nephew of John Jasper (Grace Craft), has been engaged to Rosa Bud (Hannah Visser) since birth. However, after the two discuss, they decide not to go through with the arrangement. But, they keep this decision a secret from John Jasper who is obsessed with his music student, Rosa. Further complicating our suspects, the Landless twins, Helena and Neville, arrive and create some rivalry with Edwin just before his untimely disappearance. Unfortunately, with all this information is where Dickens leaves his audience hanging; but this time, with some audience assistance, Broad Run can finally solve this cryptic mystery. 

Every circus needs a ringmaster. And for this circus of possibility, the ringmaster is the one and only Mr. William Cartwright (Jessica Awuah). Through their charm and flair, Awuah expertly guides the audience through the complexities of this tale. They are exceptionally sarcastic and minorly sharp-tongued, ultimately carrying cackles throughout the show. While every production must engage its audience, Broad Run’s show requires audience participation to finish its story–and Awuah plays the crowd with such wit to the point where everyone is on the tip of their seats to decide how this storybook closes. Sometimes rushing the Chairman along, however, is James Throttle (Abby Gajo). Gajo is hysterical, sprinting to the stage to communicate “mishaps” of the play to the Chairman. With brief appearances, they create a lasting impression with energetic and comedic physicality.  

While this mystery is tailored to the crime against Edwin Drood, it would be a crime to highlight the brilliance of Mr. Drood (Lilli Howard). Howard depicts THE Miss Alice Nutting, who is starring as Edwin Drood. She is sassy, lively, completely full of herself (as Miss Nutting), and hilarious to watch. She is unapologetically unbelievable in her raw talent and her added flair. Also unapologetic about her eccentricness is Princess Puffer (Hailey Smith). Smith is grounded with a strong alto voice echoing throughout the hall. A tad shadowy as a dealer of secrets may be, she is playfully deadpan in her humor. 

Catering further to this cloaked tonality, the lighting team composed of Sydnee Hale, Noah Snyder, and Maddie Korin dynamically uses uplighting and shadowing throughout the production. They strategically placed lights along the apron of the stage, disguising them to appear as opera lights, allowing them to achieve an eerie tone throughout different moments for each character. Additionally, the work of the costuming team (Elise McLoughlin and Kate Marshalonis) expertly distinguishes, or associates, each character from another. The choice to pair the Landless twins in coordinated outfits of orange, gold, and turquoise made them unmistakable, and Rosa Bud’s powder blue dress painted her as the elegant lady she is. 

Broad Run’s “The Mystery of Edwin Drood” emphasizes a theme of choice; that one decision can sway the entire outcome of a given story. So, while the mystery of Edwin Drood was solved one way on April 11, 2025, the outcomes of this tale are endless–just like our own. -Annabelle Monte, Rock Ridge HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

Have you ever wondered what becomes of a novel left unfinished? Boisterous, rollicking, and chock-full of tongue-in-cheek humor, Broad Run High School’s production of The Mystery of Edwin Drood is a risqué comedy that dives into this very question-leaving murder on the mind.

The Mystery of Edwin Drood was written by Rupert Holmes, who composed the music, lyrics, and book. It debuted at the New York Shakespeare Festival in 1985 before moving to Broadway, where it won five Tony Awards, including Best Musical. 

The production unfolds as a British musical staged by the fictitious 1930s theater troupe, the Music Hall Royale. This troupe takes on the challenge of completing The Mystery of Edwin Drood, a Victorian murder mystery penned by Charles Dickens and halted by his untimely death. 

This play-within-a-play takes place in ‘Bloody’ Cloisterham, a lightly disguised Rochester of the 1870s, in the midst of a Christmas Eve disappearance-turned-murder, and invites the audience to decide the fate of its characters through a live vote. 

The standout performer of this musical was the magnificent, mustached, master of ceremonies Jessica Awuah as Mr. Cartwright, the Chairman of Music Hall Royale. This linchpin role would leave even the most experienced thespian drowning in lines, but Awuah managed to carry this show on her scarlet padded shoulders, balancing a perfectly spastic yet charismatic zest.

Awuah’s character absorbed the audience’s energy and then spat it right back out through a series of consistent knee slappers and daring fourth-wall-breaking remarks. Even when stationed at the sidelines, her physicality and expertise in British pantomime kept the crowd utterly engaged.

Just as the chairman commanded the stage with wit and ease, the set around him transported the audience into Dickensian England. Set Designer Apprentice Santino Castillo condensed the complex script into seven distinct set pieces, including a 45-foot tableau of Cloisertham that required over 15 hours of painting. 

Master Carpenters Evie Dickhaut and Cayden Hertzler met this challenge head-on by bringing Castillo’s vision to life. They constructed a diverse array of environments, from a bustling train station to a sinister mausoleum and even an opium den-each adorned with meticulous, star-studded details. 

Additionally the portraiture by Charge Artistry Apprentice Meera Rodriguez was reminiscent of the time period’s realism and gave each of the six murder suspects a portrait that mirrored their character’s mannerisms and costuming.

The conniving, contriving villain of this production, John Jasper, was played by none other than the talented Grace Craft, who’s sleaze-bag portrayal of an explosively flirtatious choirmaster was so convincing that it was genuinely hard to separate the character from the actress at the end of the show.

Opposite Craft, and at the receiving end of Jasper’s “unnatural attentions,” was the remarkable Hannah Visser as Rosa Bud. Though dainty at first glance, Visser encapsulated Bud’s strong-willed womanhood and spirit. Visser’s crowning moment came in Moonfall, where her operatic vibrato elevated each verse to a haunting declaration of elegant fragility. 

One notable suspect was the Princess Puffer, played by Hailey Smith, whose performance of The Wages of Sin exposed the seedy underside of Victorian London. Her sharp humor, crowd work, and bold vocals made her a true dealer in delirium.

The brassy and brilliant Broad Run Pit Orchestra elevated the production, keeping the cast musically grounded. Anchoring the ensemble was tuba player Will Foulkes, whose steady musicianship and rich tone carried through the entire show. 

In Broad Run’s uproarious production of The Mystery of Edwin Drood, murder most foul meets mayhem most delightful and a mystery solved by mob rule. With this cast, crew, and pit, it’s “off to the races!” -Bridget Lockett, Stone Bridge HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

While the Mystery of Edwin Drood forever remains an unfinished puzzle, Broad Run High school’s performance of this tale found the missing piece of the puzzle and brought the magic of this unfinished Dickens Novel to life.


The Mystery of Edwin Drood, Written by Rupert holmes, was the first musical on Broadway to have multiple endings determined by an audience vote. First debuted in August 1985 at the New York Shakespeare Theatre Festival, before debuting on Broadway and running until May 1987. The show follows Edwin Drood, a young man Engaged to the woman his Uncle loves, Rosa Budd. John Jasper is Drivin Mad trying to get rid of Edwin, as he wants Rosa all to himself. Ultimately, Edwin went missing, and Dickens died before he could finish writing.


While John Jasper was driven mad within the show, Audiences could not be mad at this production of Edwin Drood. The Cast all put an extreme amount of dedication into making certain that the show’s multiple endings wouldn’t take away from their performances. They’ve made certain they have every scenario memorized, and are able to play along to the audience’s choices. Their show anchored itself by the performers, and their dedication for the performing arts.
Showcasing her dedication in this show was Jessica Awuah, the charismatically self-centered Chairman who’s comedic moments never once took away from the show. Her character was a strong presence that narrated points and guided us through. She gave the audience good comedic moments in between the action, and also helped prepare her castmates for which ending they’d be performing. Her help both off and onstage shone through in this performance.


The Mystery’s leading lady, Rosa Budd, had an excellent star behind her acting. Hannah Visser brought the character to life with intense passion, giving Rosa’s strong emotional dilemma weight throughout the show. She characterized Rosa as a woman who’s been put in a situation that she never wanted to be in, and a woman who always wanted to do the right thing for herself. Her excellent vocals helped bring Rosa’s character as a music student to a new level.


Starring alongside her, the titular character Edwin Drood was played committed excellence by Lilli Howard, who’s acting gave depth to the complications surrounding Rosa and Edwin’s relationship. She was able to elevate what seemed clear and dry into a character that many could root for, and feel sad when anything happened to him.


With those two grounding the performance, the character of Flo was portrayed with excellent comedic timing by Ella Sreniawski. Whenever Ella had a moment, she made sure she owned that moment and had everyone’s eyes on her.


In order to make the actors shine, they must be lit correctly, which was a task very well achieved by the Lighting team. Designed by Sydnee Hale and Operated by Noah Snyder and Maddie Korin, the lighting within the show perfectly elevated each person’s performance. When caught in a grim moment, the light would shine on some actor’s faces to give them a dark look that perfectly captured the moment. 


A show as big as this couldn’t have been as well sold without it’s excellent marketing team. Headed by Ella Sreniawski and Lill Howard, the two spared no expense in their social media programming. They posted days leading to the performance, as well as highlighting the actors involved.


There’s no Mystery to how Broad Run pulled off this show; their performers put incredible dedication into making sure they could do any ending, and their marketing team made everyone want to see it. Charles Dickens would be proud.

-Ellis Peterson, Briar Woods HS

Broad Run HS - 04/11/2025  The Mystery of Edwin Drood

The only thing better than a mystery is a mystery with no ending!  Dive into the intriguing disappearance of a man with The Mystery of Edwin Drood at Broad Run High School.  

The Mystery of Edwin Drood was originally a novel written by Charles Dickens in 1870. However, he passed away before the book could be finished.  Due to the novel being unfinished, there is no definite conclusion as to who killed Edwin Drood.  The novel was adapted into a musical in 1985 and debuted at the New York Shakespeare Festival.  The story is about a young man named Edwin Drood who is betrothed to the lovely Rosa Bud.  Edwin’s uncle, John Jasper, is a music mentor to Rosa, but he is secretly in love with her.  Other characters, including Helena and Neville Landless, are invited to Jasper’s Christmas dinner party.  Afterwards, Edwin Drood mysteriously disappears.  Then, all characters are a suspect in the case of Edwin Drood.  This suspenseful, immersive show is a fun experience for all audiences.

Rosa Bud (Hannah Visser) is a girl who is meant to be seen as naive, however, she is more perceptive than most think.  She figures out that Jasper is in love with her after she sings “Moonfall,” a love song written by Jasper for Rosa.  Visser’s vocals are outstanding in that song, filled with emotion as well as pure talent.  Her incredible vocals and acting are also shown in “The Name of Love.”  The relationship between Edwin and Rosa is a complicated one, and it is conveyed through the beautiful duet “Perfect Strangers.”  Lilli Howard, who plays Edwin Drood, is an incredible actor, perfectly balancing the seriousness and the comedy of the show.

Princess Puffer (Hailey Smith) is a complex character who is sarcastic, investigative, and has a big personality. Smith’s acting and vocals bring the character to life in her solo song “The Wages of Sin.” Puffer’s hair, makeup, and costume all coordinated with her character beautifully.  Bridget Stott and Ben Johnston created Puffer’s makeup to represent her life as a working-class woman, and give her pink eyeshadow and heavy blush to match the hue of her dress.  

One character with unmatched energy is Flo (Ella Sreniawski), whose comedic timing for the song “Off to the Races” is unforgettable.  Her liveliness is expressed throughout all the ensemble numbers, as well as in the Dream Sequence.

Costumes, created by Elise McLoughlin and Kate Marshalonis, are very well done and make each character stand out in their own way.  For example, Helena and Neville’s outfits are coordinated to show their heritage and relation to each other, both having the bright color scheme of teal, orange, and yellow.  

The moving set pieces, the backdrop, and the stairs all come together to make a phenomenal set.  Santino Castillo and Evie Dickhaut created double-sided set pieces that switch throughout the show to fabricate different settings where the show takes place.  In addition to the set, the props used are very well-crafted, with intricate details on the parasols, wine glasses, and even a whole Christmas roast!  The props team, led by Rose Smith, put hard work into painting the parasols, and the beautiful colors can be seen from the back of the room.

In conclusion, The Mystery of Edwin Drood is an interactive and hilarious show with lots of talent and intensity.  With multiple murder suspects and multiple ending options, it is interesting to see how the show turns out differently every night.  The audience participation in The Mystery of Edwin Drood makes it a unique show that is different from other high school productions.-Kate Anderson, Tuscarora HS

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Stone Bridge HS - Fiddler on the Roof 04/05/2025

    A beloved story of culture, love, and tradition, Fiddler on the Roof follows the life of a Jewish man, Tevye, as he navigates his faith and culture during the 1905 Russian Pale of Settlement. Throughout the show, Tevye’s 3 eldest daughters, Tzeitel, Hodel, and Chava, each challenge the ways of their village, marrying whom they choose for love, not whom their parents pick for them. Each marriage strays farther from Tevye’s morals, and he is forced to choose between his daughters’ happiness and his traditional beliefs, all while Russian violence slowly enters their village. Written in 1964 with music by Jerry Bock, lyrics by Sheldon Harrick, and a book by Joseph Stein, the original Broadway production opened to astounding reviews and nine Tony awards, including Best Musical. The show became an instant classic, running for over 3,000 performances and inspiring a film adaptation in 1971. 

    Stone Bridge High School’s interpretation of this difficult piece was simply breathtaking. Every single aspect of this production was brought to life at an elevated level. The sound team, led by Kennedy Gilbert and Liam McQuestion, created over 30 microphones, mixing the actors throughout the show to near perfection, while the pit orchestra completed their mix with a gorgeous rendition of the revered score. The lighting, set, costumes, hair and makeup teams all worked cohesively to create the visual world of the show, with lighting heads Adyansh Das and Julia Quezada using gels against a cyc curtain to create colorful backdrops and silhouettes to perfectly frame each scene. The impressive set, constructed and designed by Eamon Dunne and Eliza Reif, was comprised of two full house pieces, each with a gorgeous period accurate interior and exterior. Miranda Ridgeley and Ashleigh Allen’s costumes team handmade 20 traditional skirts, while Abby White and Ella Fantilaga’s hair and makeup team created various beards and old age makeup, each department providing the actors with time period accurate and culturally appropriate attire. 

    Fully supported by the technical teams of this show, the actors told this story beautifully, perfectly balancing the heavy emotional moments of the piece with skillful comedy. Every single cast member seemed to have a full understanding of their character and the heavy subjects of the show. In particular, the roles of Perchick (Ayden Brook) and Yente (Abby White) were portrayed with such an understanding, each actor respectively bringing a level of professionalism to the show with their characterization and interpretations. As the iconic “Fiddler on the Roof,” Claire Lee demonstrated exceptional musical talent, playing live and leading the pit orchestra from the stage. Ian Brown as Tevye delivered a stunning performance, masterfully leading the cast in his depiction of the iconic character. Brown perfectly portrayed the caring heart and comedic nature of Tevye while not letting the important heavier moments fall falt. Alongside Brown, Addie Connor (Tzeitel), Emma Kleinhans (Hodel), and Ashleigh Allen (Chava), each gave nuanced performances full of love, pain, and stellar vocal talent, becoming the driving force of the show in their portrayals.

    Stone Bridge High School’s Fiddler on the Roof was above high school level in every aspect, from the gorgeous technical aspects to the stunning performances, every part of this show was beautiful. Fiddler on the Roof will always be an important story to tell, and this production perfectly understood how to tell it.

-Jocelyn Long, John Champe HS

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Stone Bridge HS -  04/05/2025
Fiddler on the Roof

     Stone Bridge High School’s Fiddler on the Roof is a musical offering a heartfelt mix of family drama, faith, and the tug-of-war between tradition and progression. Set in the small Russian village of Anatevka in 1905, the story follows Tevye, a poor Jewish milkman, as he struggles to keep his family’s traditions intact while his five daughters go against arranged marriages in favor of love. 
     Opening this show is Claire Lee as the Fiddler. Impressively, Lee plays the violin whilst still portraying emotion with her posture and facial expressions. The ensemble in this production is top-notch. Harmonies are rich and clear, and their dancing makes you want to get up and join in, especially in lively numbers like “To Life,” where their energy is contagious. The group nails both happy and somber moments, easily transitioning from lively celebration to quiet introspection. These performers bring Anatevka to life, filling the stage with heart and spirit. Asleigh Allen’s portrayal of Chava is especially moving. She is able to show a quiet strength and vulnerability. The emotional weight of her final scene with Tevye is heartbreaking, showcasing the painful clash between her love and her father’s devotion to tradition. Tevye himself is played by Ian Brown with perfect comedic timing and emotional depth. His rendition of “If I Were a Rich Man” will have you in tears (laughing), but it’s the moments of genuine emotion, particularly in his interactions with his daughters, that really stand out. Brown’s scenes with Chava are raw and powerful, showing the love and conflict between father and daughter with earnest authenticity. Perchik (Ayden Brook), the young idealist, is a great challenge to Tevye’s traditionalism. Brook’s chemistry with Hodel brings an extra spark to the production, and his performance of “Now I Have Everything” is a perfect mix of revolution and affection. It’s refreshing to see a character so passionately invested in both love and change.
     Stone Bridge’s technical elements transported you from the country of Russia to the small town of Anatevka. The set design (led by Eamon Dunne), home to rustic details that make the village feel both cozy and bustling, is stunning and lively. Smaller, intricate pieces, like the milk cart and wooden structures, anchor the story in a realistic world. The lighting headed by Adyansh Das and Julia Quezada is equally impressive, shifting between the warmth of festive scenes and the cool tones of bitter moments. The lighting during Tevye’s interactions with his ancestors adds a dreamlike touch, blending the spiritual and the earthly in a way that’s both beautiful and haunting. Sound crew (headed by Kennedy Gilbert) seamlessly blends the microphones in with the orchestra, neither too loud or too quiet. Choreography, taught by Abby White, Addie Connor, and Emma Kleinhans, is another standout feature. From the energetic folk dances in “Tradition” to intimate movements between Tevye and his wife Golde, the choreography strikes the perfect balance of joy and sorrow, matching the emotional tone of each scene. It’s clear the performers are having a blast.
     Stone Bridge’s Fiddler on the Roof was a perfectly crafted tale. The performances are both moving and hilarious, technical elements are beautiful, and today, the story still remains as powerful and relevant as ever. -Hannah Visser, Broad Run HS

Stone Bridge HS -  Fiddler on the Roof 04/05/2025

With a fiddler perched on a rooftop and a bottle teetering atop a hat, Stone Bridge High School’s production of “Fiddler on the Roof” invites audiences into the heart of Anatevka, a quaint Russian village. Filled with tradition, humor, and heartache, the performance grasps the essence of this beloved classic, offering a glimpse into a community struggling to hold onto its principles in a world of uncertainty.

 

Set in the early 1900s in the village of Anatevka, “Fiddler on the Roof” follows Tevye, a poor Jewish milkman, desperate to preserve his traditions amidst modern influences that impinge his family's values and his daughters' love lives. Written by Joseph Stein, with music by Jerry Bock, and lyrics by Sheldon Harnick, this 1964 Broadway classic features iconic songs like “Tradition” and “Matchmaker,” exploring themes of generational conflict, faith, and resilience during political turmoil.

The head of the house, the father—Tevye (Ian Brown). Brown commands the stage with a humorous and authoritative performance, effectively capturing his fatherly role. His expressive monologues, particularly in his amusing exasperation with Golde, resonate with authenticity. Abby White shines as Yente, the village's busybody matchmaker. With sharp comedic timing and a convincing elderly voice, she captivates every scene with her brazen stage presence. 

Emma Kleinhans delivers a powerful performance as Hodel, blending elegance with emotional strength; her enchanting vocal control enhances her sisterhood with Tzeitel (Addie Connor) and Chava (Ashleigh Allen). The chemistry among the sisters feels genuine, grounding their individual choices in a shared sense of love and loyalty. Hodel's story with her companion, Perchik (Ayden Brook) introduces the spark of rebellion that challenges the village’s traditions, with Brook's passionate delivery and witty remarks that kindle change and romance.

The set design, led by Eamon Dunne, stands out with its breathtaking details, whether the meticulously crafted family home or the village pub. The moving platform for Fruma-Sarah’s towering entrance is impressive, serving as a visual centerpiece, and as one of the most enamoring moments in the show. Jude DeWitt as Fruma-Sarah delivers a chilling performance; her thunderous vocals and physical presence complement the ensemble's synchronized movements, amplifying the dramatic tension. The lighting design, created by Adyansh Das and Julia Quezada, elevates the scene with stormy lighting and flashing red lights, turning the stage into a supernatural sequence. Among the production's most emotionally haunting moments is the “Chava Sequence,” featuring Chava’s (Ashleigh Allen) confrontation with her father. Allen’s performance is positively devastating, showcasing her emotional breakdown with raw emotion, skillfully supported by the technical elements behind the scenes. 

The choreography throughout the production is creative and effectively connects to the story’s roots, with the collaborative efforts of Abby White, Addie Connor, and Emma Kleinhans. From the high-energy “To Life” to the more somber village scenes, the movements of the actors convey the traditions and emotions of Anatevka. Working alongside the pit orchestra, (directed by Mark Irchai) affectionately named The Promised Band, they deliver a polished performance that adds incredible depth to the story, capturing the spirit of each number. 

Stone Bridge High School’s “Fiddler on the Roof” serves as a heartfelt tribute to the delicate dance between tradition, family, and defiance, brought to life through outstanding performances and captivating technical elements. As the curtain falls, Anatevka’s legacy remains, a reminder that in times of uncertainty, a strong community and a fiddler on the roof are all one truly needs.

-Tima Saasaa, John Champe HS

Stone Bridge HS - Fiddler on the Roof 04/05/2025

 The lights dim, and the stirring strains of a fiddle rise above the silence, beginning a journey into a small Jewish village clinging to tradition amidst sweeping change. Stone Bridge High School’s production of Fiddler on the Roof brings warmth, heartache, and humor to the stage with passionate performances, dynamic technical design, and a profound reverence for the story’s enduring themes.


      Originally written by Joseph Stein with music by Jerry Bock and lyrics by Sheldon Harnick, Fiddler on the Roof follows Tevye, a humble dairyman in the village of Anatevka, as he grapples with the growing tension between tradition and progress. Through his daughters’ choices in love, his deepening reflections on faith and identity, and the pressures placed upon his community by political unrest, Tevye’s story becomes one of resilience, family, and cultural survival. With humor and heartbreak in equal measure, the tale dances delicately like a fiddler on a roof, between the old and the new.


      Running Dog Productions embraced the challenge of this beloved musical with an unwavering commitment to storytelling. Under the thoughtful student direction of Mackenzie Sheridan, the cast and crew delivered a performance rich with authenticity and emotional nuance. At the center stood Ian Brown as Tevye, whose commanding presence, quick wit, and powerful soliloquies invited the audience into his world. His rendition of “If I Were a Rich Man” brimmed with energy and longing, while quieter moments—like his internal conversations with God—were filled with poignant vulnerability. Opposite him, Stephanie Long brought grace and strength to the role of Golde, their chemistry especially touching in “Do You Love Me?”, a moment of simple truth amidst the chaos.


      Tevye’s daughters; Tzeitel (Addie Connor), Hodel (Emma Kleinhans), and Chava (Ashleigh Allan), each shone in their arcs, navigating love and independence with sincerity and charm. Connor’s defiant joy in “Matchmaker, Matchmaker,” Kleinhans’ heart-wrenching farewell in “Far From the Home I Love,” and Allan’s quiet strength as Chava were standouts in a sea of talent. Supporting performances from Paul Finamore as the tailor Motel, Ayden Brook as the radical Perchik, and Abby White as the ever-watchful Yente added depth and vitality to the village of Anatevka.


      The technical elements elevated the production into something truly immersive. The scenic design by Eamon Dunne and Eliza Reif transported the audience to a rustic village that felt both specific and timeless, with rotating set pieces that seamlessly shifted from Tevye’s home to the town square to the woods beyond. The lighting, designed by Adyansh Das and Julia Quezada, echoed the emotional rhythm of the show, from the glowing warmth of family dinners to the cold, foreboding hues during the show’s darker turns. The choreography, led by Addie Connors, Abby White, and Emma Kleinhans, breathed energy into each ensemble number—particularly the exuberant “To Life” and the haunting “Wedding Dance”—each step reinforcing the themes of joy, tension, and transition.


      Costumes by Miranda Ridgley and Ashleigh Allan captured the spirit of early 20th-century Russia with remarkable attention to detail. From the traditional prayer shawls to the wedding attire, each piece reinforced cultural authenticity while also distinguishing characters and their journeys. The pit orchestra, in tandem with ‘The Fiddler ’, Claire Lee, underscored the entire production with a rich and expressive musicality, giving depth to the emotional beats and highlighting the bittersweet beauty at the show's heart.


      As the final strains of the fiddle fade into silence and the villagers of Anatevka make their slow departure, Stone Bridge High School’s Fiddler on the Roof leaves the audience with full hearts and reflective minds. Through unforgettable performances and technical excellence, this production honored the legacy of a classic while reminding us all of the delicate dance between holding on and letting go. Like Tevye himself, it walked the line with humor, heartbreak, and humanity.

-Emilia Scovel, Rock Ridge HS

Stone Bridge HS - Fiddler on the Roof 04/05/2025

Perchik and Hodel's Dance - Fiddler on the Roof - Anika Ranadive.jpg

For this painting, I drew Perchik (played by Ayden Brook) and Hodel (played by Emma Kleinhans) dancing together, as I was inspired by the scene and the emotions portrayed in this specific scene from Stone Bridge’s rendition of Fiddler on the Roof. For the background, I drew inspiration from the original set construction, designed by Eamon Dunne and Eliza Reif. In the tree, which resembles Perchik and Hodel’s freedom to express their love, I drew four birds, each resembling one of the sisters. The birds, from left to right, are Tzeitel (played by Addie Connor), Chava (played by Ashleigh Allen), Shprintze (played by Olivia Finamore), and Bielke (played by Elizabeth Grotsky), and are colored according to the main color/s found in their costumes. For Perchik and Hodel, I used their original costumes and hair designs, designed by Miranda Ridgley and Ashleigh Allen, and Abby White and Ella Fantilaga, respectively. -Anika Ranadive, Rock Ridge HS

Stone Bridge HS - Fiddler on the Roof 04/05/2025

From “Sunrise to Sunset,” Stone Bridge High School’s production of “Fiddler on the Roof” charms audiences. The show is a rollercoaster of emotions, from joyous weddings to the heart crushing history of Jewish families living in the middle of anti-semitic imperial Russia.

The classic show, with music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein, is based on Yiddish tales by Sholem Aleichem. The original Broadway run started in 1964 and held the record for longest running Broadway musical for a decade, winning multiple Tony awards, and has since cemented itself as a fan favorite. The plot takes place in 1905 in the Jewish town of Anatevka and tells the story of milkman Tevye and his family. As his children grow up and begin to marry, he wrestles with a debate of tradition over happiness for his daughters and their husbands.

The ensemble of “Fiddler on the Roof” gave this show the depth it needed to create the fictional town of Anatevka. Both the townspeople and the Tsar’s guard mesh together well to form a believable, immersive backdrop for the plot. In the very center of this backdrop was the patriarch of the family, Tevye, played by Ian Brown. Tevye is a very complex character, with his inner turmoil between tradition and new ideas, and Brown shows this depth with ease. On top of their impressive, multifaceted acting, Brown’s vocalizations and comedic timing creates some well-needed laughs, especially during sequences where Tevye talks to God about the bad luck that comes his way.

Another standout performance comes from Ayden Brook, playing the student Perchik as he tries to change Anatevka’s mind on traditional values. Brook nails both Perchik’s character and his vocals, particularly in his love song with one of Teyve’s daughters in “Now I Have Everything.” Brooks succeeds in having wonderful chemistry with the rest of the cast. The show would not be complete without the titular Fiddler, portrayed by Claire Lee. Without saying a single word, Lee wowed the audience with their impressive, emotional instrumental prowess. The constable is another character of few words, but is a pivotal piece of the plot. Played by Grace Huynh, the constable walks the fine line between keeping the Tsar happy and keeping an amicable relationship with the town. Huynh shows this depth and contradictory character incredibly well, stuck as a villain despite wanting to help.

The technical teams of “Fiddler on the Roof” allow all these incredible characters to shine. The lighting team, led by Adyansh Das and Julia Qyezada, utilized moving LED lights to create an intense dream sequence during “The Dream,” accentuating the work of actors to create a nightmare atmosphere. Also aiding in “The Dream’s” impressive visuals was the work of choreographers Abby White, Addie Connor, and Emma Kleinhans, who researched traditional Jewish dances. The choreography truly pulled the town together, especially during the wedding scene, showing how close and vibrant the community is. The props team (led by Val Clements) had an overwhelming 160 props, which allowed the set to feel real and lived in. In addition to standard props, the props team also has to work with multiple breakable props, adding the complexity of the show.

As the incredible production comes to a close, the audience is left to grapple with the injustices the close community of Anatevka has to face, simply because of their culture. Running Dog Productions handled the complex storylines with grace and respect, creating some hilarious moments, along with some devastating ones. Mazel tov to Stone Bridge High School! -Ian Lambert, Dominion HS

Stone Bridge HS - Fiddler on the Roof 04/05/2025

     Fiddler on the Roof is a beloved classic, and this production at Stone Bridge High School brings new depth and vitality to its timeless themes of tradition, family, and change. With a talented ensemble and thoughtful direction, the show invites the audience into the heart of Anatevka and makes the story feel as relevant and heartfelt as ever.

     The musical follows Tevye, a poor milkman, as he navigates the changing world around him, trying to hold onto Jewish traditions while his daughters seek lives of their own choosing. This Stone Bridge High School production is a heartfelt tribute to the power of community and resilience. With compelling performances and thoughtful artistic choices, it captures the emotional weight of the story while making it accessible and moving for modern audiences.

     The acting throughout this production is a highlight, led by Ian Brown’s grounded and emotional portrayal of Tevye. Brown embodies an empathetic and trying father figure who is torn between tradition and love for his children, delivering a performance filled with inner conflict, vulnerability, and warmth. Stephanie Long as Golde offers strength and tenderness, forming a convincing and touching partnership with Brown’s Tevye.

     Emma Kleinhans brings emotional clarity to the role of Hodel, especially in her poignant farewell scene, while Ashleigh Allen gives Chava a quiet strength that adds great depth to the character. Addie Conner gives a heartfelt and grounded performance as Tzeitel, the eldest daughter, showcasing strength and compassion in her journey toward independence and love. Paul Finamore shines as Motel, portraying him as both an excellent husband and a growing young adult navigating responsibility and love with sincerity. Ayden Brook as the idealistic Perchik brings fresh energy to the production and enriches the story's complexity.

     Technically, the show shines through its spectacular lighting, costume, and choreography. Stone Bridge High School’s lighting heads Adyansh Das and Julia Quezada create a visual landscape that subtly shifts tone with each scene. The way lighting is used to enhance emotional beats—whether through warm glows during family moments or colder hues during tense transitions—adds layers of meaning and draws the audience deeper into the story.

     The choreography by Abby White, Addie Conner, and Emma Kleinhans is both authentic and expressive, capturing the spirit of the community and culture while also elevating the energy of group numbers. From celebratory dances to more somber movements, the choreography feels purposeful and dynamic. Costumes, led by Ashleigh Allen and Miranda Ridgley, also play a huge role in this show’s success, helping establish character identities and setting the period tone with thoughtful accuracy and care.The cast and crew of Stone Bridge High School should be proud of a show that not only entertains but also deeply resonates with its viewers. Their ability to bring such a timeless and culturally significant story to life speaks volumes about the passion and talent present throughout the entire production. Every element—from the smallest ensemble moment to the largest production number—demonstrated a high level of care, collaboration, and creativity. Stone Bridge’s Fiddler on the Roof is a shining example of what student theatre can accomplish when heart and hard work are central. -Ryan Hart, Rock Ridge HS

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Stone Bridge HS - Fiddler on the Roof 04/05/2025

The sun rises slowly over a dusty village, casting long golden shadows across crooked rooftops and winding dirt roads. A lone fiddler balances gracefully on a slanted rooftop, her silhouette etched against the morning sky. The haunting strains of her violin drift through the still air, a melody both fragile and fierce. Below, the town of Anatevka stirs to life. Chickens cluck, carts rattle over stones, and the people begin their day, bound together by tradition and the quiet strength of survival.

Fiddler on the Roof premiered on Broadway in 1964, with music by Jerry Bock, lyrics by Sheldon Harnick, and a book by Joseph Stein. Based on the stories of Sholem Aleichem, the show was groundbreaking as one of the first major musicals to center on Jewish life, culture, and tradition. It was both a critical and commercial success, winning nine Tony Awards and becoming the first Broadway show to surpass 3,000 performances. Its themes of tradition, change, and resilience continue to resonate with audiences around the world. The show follows Tevye, a poor Jewish milkman in the village of Anatevka, as he struggles to maintain his religious and cultural traditions in the face of changing times. When his three eldest daughters challenge the norms by choosing their own husbands, each further from tradition than the last, Tevye must reconcile his deep rooted beliefs with his love for his family. Meanwhile, rising anti semitism and political unrest threaten the future of the entire Jewish community. The Show explores themes of tradition, family, faith, and the painful tension between change and continuity.

The performance of Fiddler on the Roof was driven by the cast’s infectious energy, which brought the village of Anatevka to life with every scene. From the rousing ensemble numbers like “Tradition” and “To Life,” to the quiet, emotional moments between characters, the cast poured heart and soul into their roles, creating a dynamic rhythm that carried the story forward. Their chemistry on stage made the relationships feel real and urgent, and their commitment to each moment, whether joyful or sorrowful, kept the audience deeply engaged. It was clear that the cast's passion fueled the entire production. The set design by Eamon Dunne and Eliza Reif played a crucial role in immersing the audience in the world of Anatevka, with large, detailed set pieces like Tevye’s house adding depth and realism to the stage. The house, weathered and modest, stood as a powerful symbol of tradition and family, grounding the characters in their daily lives. Its presence made scenes feel intimate and lived-in, while also serving as a visual anchor for the emotional highs and lows of the story. Other thoughtful design elements, such as the tavern, and the rustic textures, helped transport the audience into the heart of a community on the brink of change. 

Stonebridge’s Fiddler on the Roof was led by actor Ian Brown in the role of Tevye. Brown brought immense physicality, passion, and care to the stage. Brown's performance was the soul of the production, a masterful blend of humor, vulnerability, and commanding stage presence. He effortlessly carried the emotional weight of the story, shifting between light hearted monologues and deeply moving moments with authenticity and charm. His delivery of songs like “If I Were a Rich Man” was both powerful and nuanced, capturing Tevye’s inner conflict and unshakable hope. Every glance to the heavens, every sigh, and every step felt intentional, making his journey feel personal and profoundly human.

Co-leading Brown on stage was actress Stephanie Long as Tevye's wife, Golde. Long's performance was a standout in its own right. Grounded, sharp, and deeply heartfelt, she brought a quiet strength to the role. Long portrayed Golde as both a fierce matriarch and a woman quietly navigating her own fears and hopes. Her chemistry with Tevye added warmth and complexity to their relationship, especially in moments like “Do You Love Me?” where her emotional depth truly shined. With every line and gesture, she conveyed the weight of tradition, duty, and love, making her presence known in every scene she stepped into.

The family would not be complete without the performance of the daughters. Emma Kleinhans, Addie Conner, and Ashleigh Allen were standouts of the cast as well. The performances of the three oldest daughters, Tzeitel (Conner),  Hodel (Kleinhans),  and Chava (Allen), were vibrant, heartfelt, and full of life. Each actress brought a distinct personality to her role, beautifully capturing the individual journeys of these young women as they wrestled with love, independence, and tradition. Tzeitel’s warmth and determination, Hodel’s quiet strength and conviction, and Chava’s sensitivity and courage were all portrayed with passion and authenticity. Together, their performances added emotional richness to the show, making their defiance and growth feel both deeply personal and universally moving. 

Finally, the show would not be rounded out without its tech elements. In Fiddler on the Roof, the costumes and lighting were two of the most integral technical elements that brought the production to life. The costumes, done by Miranda Ridgley and Ashleigh Allen, were rich in detail and authenticity, with modest tones and traditional garments that reflected the early 20th-century Jewish village life. Tevye’s simple tunic and vest and the daughters’ simple outfits all visually reinforced themes of tradition and social class. Lighting played a crucial role in setting the emotional tone of each scene as well. From the warm, golden glow of the family’s home to the stark, cold lighting during moments of tension or change, such as the eviction from Anatevka. The lighting design by Adyansh Das and Julia Quezada helped emphasize mood and shifts between intimate family moments and broader communal scenes. Together, these elements created an immersive visual landscape that supported the story’s emotional depth and historical setting.

In the end, Stonebridge’s Fiddler on the Roof proves that even in a world teetering between tradition and change, the heart of the show remains unshaken. With its masterful performances, stunning technical elements, and timeless themes, the production strikes a perfect chord, resonating long after the final bow. In a show about balancing on the edge, it’s clear that this cast and crew didn’t just walk the line; they played it beautifully.
-Grace Craft, Broad Run HS

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Stone Bridge HS - Fiddler on the Roof 04/05/2025

     You might say every one of us is a Fiddler on the Roof. Making its Broadway debut in 1964, “Fiddler on the Roof” was the longest-running Broadway musical for just under ten years. Winning awards at the Tonys and continuously being revived both on Broadway and the West End, “Fiddler on the Roof” has become an incredibly well renowned musical.

     In Anatevka, Ukraine the poor dairyman Tevye and his traditional Jewish community are set in their ways, but when Tevye's daughters, with the encouragement of Perchik, decide to become their own matchmakers, Tevye must decide if he should stick to tradition, or support his family’s decisions.

     Leading the show, Ian Brown’s connection with the audience during the moments where he breaks the fourth wall are highlights of the show. With exceptional line delivery and peak comedic timing, he serves as an anchor for the show. The performance of “Matchmaker, Matchmaker” is also quite outstanding with the combination of Ashleigh Allen’s (Chava) hopeful naivety, Emma Kleinhan’s (Hodel) strong willed attitude, and Addie Connor's (Tzeitel) sensibility, the beautifully blended harmonies demonstrate a true sense of longing within each sister. Enhancing the onstage performance, the Stone Bridge Orchestra sets the tone for the show, exceedingly well in both intense and more joyful scenes. A noteworthy cameo, Claire Lee as the Fiddler is able to showcase her talent on the violin during the solos throughout the show.

     The chemistry of each couple in the show is spectacular, specifically Emma Kleihan and Ayden Brook. During their scene while Perchik teaches Hodel to dance, their genuine energy begins the trend of straying from tradition within the young of Anatevka. Far from the most memorable dance moment, the entire show was backed up by the traditional Jewish choreography (Abby White, Addie Connor, Emma Kleinhans) particularly in scenes such as the Wedding with the bottle dance as well as the opening number “Tradition.” Seamlessly transitioning between scenes, the Stone Bridge Runcrew (Eamon Dunne, Oliver Noble, Amirthashree Kengadaran, Keenan Beshore, Brayden Hopkins, Christopher Gray, Jessica Kirschner, and Kat Martin) ensures a lack of downtime between each scene.

     Overall, Stone Bridge’s production of “Fiddler on the Roof” was a heartfelt display of faith and community that represents the charm of the original show.

-Alyssa Hassan, Dominion HS

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Loudoun County HS - The Lightning Thief 03/29/2025

"The Lightning Thief: The Percy Jackson Musical” hits harder than Zeus’ lighting bolt. From dramatic music to demigod drama, Loudoun County High School produces a spectacular production. 

“The Lightning Thief: The Percy Jackson Musical” was written by Rob Rokicki and adapted from the bestselling book written by Joe Tracz. Starting as an off-broadway production at the Lucille Lortel Theatre in 2014, then moving to a national tour in 2015.   

On a trip to the New York Metropolitan Museum of Art, a young boy named Percy Jackson gets thrown out of school for vaporizing his pre-algebra sub, Mrs. Dodds after she turned into a fury. Not understanding anything that just happened, he is sent home for summer vacation. His mother, Sally Jackson forgives her son, and takes him to a unique summer camp, Camp Half-Blood. He quickly learns that his best friend is a satyr, he fights off a minotaur, his mother sacrifices herself, and he finds out everyone around him are demigods. Being accused of stealing the lighting bolt makes him set out on a journey to clear his name. He goes on the killer quest with his best friend Grover and Annabeth. Through many obstacles, he successfully stops the war between the gods, and creates peace. 

Z Davis plays the iconic Percy Jackson and steals the show with his angelic voice. Davis’ voice provides emotional depth, while capturing the childlike charm of Percy. His exaggerated facial expressions show how versatile Davis is during emotional moments. Annabeth is portrayed by Emma Nicholson. Nicholson utilizes her powerful voice and thoughtful movement, especially during “My Grand Plan.” To accompany the two of them, is Grover, the third part of the trio, played by Devin Carpenter. Carpenter possesses  impeccable comedic timing and adds depth to every scene he is in.  From the moment the three of them interact on stage together, it is apparent that they have amazing expressive and moving chemistry. 

Charon is played by Norah Lee. Charon has a flamboyant personality with extreme flair,  which is captured by Lee perfectly. From her costume, to her physicality, Lee was able to capture the audience's attention for the entirety of  “D.O.A.” The background vocals are also outstanding throughout the entire performance. 

Sophia Albert, Tyler Dobies, and Bailey Blazier uses scrap materials from previous shows to create spectacular props. One prop in particular stood out. The lightning bolt, being both visually appealing and having the ability to fold and fit in the backpack is creative. Z Davis and Emma Nicholson use multi-media marketing techniques to appeal to all audiences. They have a media day to film, photograph, and hang posters around town. They use their time wisely and efficiently. They create a 20 day countdown on their social media to share more information about each character and the actor. Ella Molloy, Claire McMannus, and Nick Bahlman create a total of 407 cues after 36 hours of programming. They focus on symbolism by having each god represented by their own lighting color. Hazel Akinmurele, Alexis Huber, and Lila Simpkins work together to create costumes in different styles and many different time periods. Grover’s costume is eye-catching as he transforms into a satyr using furry pants and horns. 

Loudoun County High School’s production of “The Lighting Thief: The Percy Jackson Musical” listened when Percy said, "Bring on the real world! Bring on the monsters!" and create a fantastic performance. -Addison Zimmerman, Tuscarora HS
 

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

Being attacked by an evil math teacher, fighting a minotaur, and finding out your dad’s an ancient god are all everyday problems, right? Well, for one teenage boy that’s just the beginning of summer. The Lightning Thief follows Percy Jackson, a 12-year-old demigod, as he goes on a quest to recover Zeus' stolen lightning bolt. Along with his friends Annabeth and Grover, the three must work together to face a multitude of mythical creatures and triumph over any challenges they face. The musical, which was adapted from Rick Riordan’s novel of the same name, premiered in 2014 as a workshop and officially debuted off-Broadway in 2017. The show ultimately garnered lots of positive feedback for its energetic music and faithfulness to the plot of the novel. 

Portraying the humorous half-blood himself, Z Davis perfectly encapsulates the multitude of layers that come with Percy Jackson. From witty comedic timing to highlight Percy’s sarcastic nature to tender expressions and vocals in songs such as “Good Kid” that truly complete the reality of the character, Davis was able to bring his character not just to stage, but ultimately to life.

However Percy wouldn’t be able to face the gods without the help of Annabeth and Grover, played by Emma Nicholson and Devin Carpenter respectively. Nicholson and Carpenter add layers to the trio with both their comedic skill and innate understanding of character dynamics that shine through numbers such as “Lost!” and “Drive”, elevating both the songs and the show as a whole to higher levels. The trio’s upbeat portrayal of their characters is ultimately what contrasts Luke’s negative and sneaky actions within the story which were brought to stage through Eli Poggi’s physical and emotional performance in every scene. 

Now, Lighting crew heads, Claire McManus and Ella Molloy, know that a show that has ‘light’ within the name couldn’t just have average lighting. The crew illuminates every aspect of the show with small details such as each of the gods/half-bloods having a respective color based off of what their powers were and hitting every cue perfectly in sync with the moment, ultimately creating a very visually cohesive story for the audience. Another visually pleasing crew was Costumes, led by Hazel Akinmurele, and their portrayal of many different characters, especially the undead, who were all dressed in different eras in order to highlight the variety of people within that group. 

The cast and crew of Loudoun County High School’s The Lightning Thief brought the show to life through their apparent hard work and dedication in order to deliver an ‘electrifying’ performance that’s truly worthy of the gods. -Miranda Ridgley, Stone Bridge HS

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Loudoun County HS - The Lightning Thief 03/29/2025

The crack of lightning, the boom of thunder, and the crashing of waves. Zeus is mad at the half-bloods because someone has his lightning bolt but who? It’s up to some Half-Blood Camp misfits named Percy Jackson, Annabeth Chase, and Grover. Percy Jackson, son of Poseidon, is a good kid that bad things happen to after being expelled for what felt like the 100th time his mother finally decided that it was time for him to learn the truth. So she sends him to the camp of half-mortal and half-god children; Camp Half-Blood. While at this camp Percy discovers that his father is the God of the Sea, Poseidon. Later the sky turns grey and the weather takes a turn, for the terrible news that Zeus’s lightning bolt is missing and of course, the main suspect is Percy. Percy and his friends set out on a quest to find this lightning bolt but the plot thickens when Percy finds out he has been double-crossed and the villain was once a friend in Loudoun County’s Percy Jackson and The Lightning Thief. 
Percy Jackson played by Z Davis played with physical comedy and facial expressions to convey a younger character. Matching with his phenomenal vocals, made him a very strong lead. Acting alongside Davis were Devin Carpenter and Emma Nicholson, the completion of this trio being Annabeth Chase and Grover. Carpenter had perfect comedic timing when a scene was getting intense with action. Nicholson’s aggressive demeanor shows off the strength that her character was trying to convey to her Goddess Mother. This trio sparkled onstage with the chemistry connecting the actors and the strong harmonies built between them. This made the show memorable and entertaining to watch. Speaking of entertaining, the next person of note was Nora Lee in the role of Charon. Lee with the addition of the Undead ensemble made the entrance of the hero trio into the Underworld memorable and enjoyable with her use of rasp in her voice and playing off the other characters in the scene.
To help this show be strong alongside the amazing actors were the thoughtfully chosen costumes. The costumes headed by Hazel Akinmurele, Alexis Huber, and Lila Simpkins were chosen for each character making a cohesive crew but with a spin for each character. All of the campers wore the same camp t-shirt but they were all cut and tied in different ways differentiating them from one another. Grover wore a tie-dyed shirt which matched his sunny demeanor and hippie-like nature, whereas Annabeth wore more street-style clothes. A notable costume was the God of the Underworld, Hades which consisted of a more grunge look of dark-colored jeans and a leather jacket. Accompanying this costume was phenomenal hair and makeup also done by Akinmurele, Huber, and Simpkin accentuated the characters' natural flush and in special cases such as Hades using eyeshadow and spray hair dye to make the God more flashy. To help see the beautiful costume, hair, and makeup was the lighting. Headed by Ella Molloy the lights brought the scenes to life. The use of backlighting was used in the song “The Tree on the Hill” when Grover is talking about the tragic death of Thalia. The lights made it so you could only see the silhouettes of the characters making it more dream-like. This interesting tactic was used several other times making the stage feel more dynamic. 
With a strike of Zeus’s lightning hats off to Loudoun County’s Percy Jackson and The Lightning Thief.  -Anna Carey, The Foxcroft School

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

Gather around the campfire and grab some blue marshmallows for Loudoun County High School’s production of The Lightning Thief. The Lightning Thief is adapted from the book of the same name from Rick Riordan’s best selling Percy Jackson series. The show originated Off-Broadway in 2014 and was written by Joe Tracz with music by Rob Rokicki. The musical follows Percy Jackson, a twelve year-old boy who, after a peculiar incident at a school field trip, finds out he’s the son of the Greek God, Poseidon, and journeys to Camp Half-Blood, a safe haven for children of Gods. He befriends Annabeth and Grover, and the three of them embark on a Killer Quest to find Zeus’ lightning bolt. 

The titular character of Percy Jackson is expertly played by Z Davis, who brings a sense of authenticity and relatability to such a well-known character. Davis displays charm and humor through his well crafted movements and expressions, while also showing the softer and more vulnerable side of Percy through his strong but subtle choices in songs and dialogue. Overall, not enough can be said to even come close to the quality of character Davis shows throughout the show.

Devin Carpenter, who plays Grover, gives the show the comedic aspect that brings it all together. Carpenter makes Grover both awkward and lovable at the same time, and really shows off his range in the emotional ballad “The Tree on the Hill.” Emma Nicholson, who plays Annabeth, shines with her spectacular vocals in songs like “My Grand Plan.” Her belt is enough to leave one speechless. Other excellent vocal displays can be found from Grace Allred and Syd Williams, who played Sally Jackson and Clarisse, respectively. Allred has a beautiful motherly quality to her, which is evident in her loving interactions with Percy. While Williams has strong vocals and an even stronger personality, which makes her the perfect person to play a tough leader like Clarisse.

The actors on stage can’t shine without the terrific work of the technicians. The lights, run by Claire McManus, Ella Molloy, Nick Bahlman, and Lizzy Nolan, are beautifully and expertly timed. An epic blow from an awesome sword fight? One can expect a brilliant flash of light right at that moment. The colors they use also had meaning and symbolized different themes from the show. For example, when Poseidon is mentioned, the lights turn blue. 

When you want to bring on the monsters, first you have to make the monsters, which is exactly what the special effects crew did with their killer puppetry. Specifically the Minotaur, made by Sophia Albert and Tyler Dobies and The Oracle, made by Alexis Huber and Tai Ly. With spooky glowing eyes and larger than life height, these puppets bring a necessary eeriness to the show.

Overall, the cast and crew were able to balance out the laugh-out-loud comedy with the edge-of-your-seat suspense, all while finding time for the softer moments that really make the show shine. Loudoun County High School’s production of The Lightning Thief is a spectacular show that will make anyone, Half-Blood, God, or ordinary human, feel seen. -Ember Lazar, Lightridge HS
 

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

“You shall be betrayed by one who calls you friend, and you will fail to save what matters most in the end.” The prophecy of The Oracle turns out in unexpected ways for Percy Jackson in Loudoun County High School’s production of The Lightning Thief.

The book series Percy Jackson and the Olympians revolutionized the young adult book world with its debut in 2005.  The legacy of Percy Jackson continued with two movies, a television series, and a musical that premiered in 2014. The Lightning Thief is a fantastical story about a boy named Percy Jackson who finds out the biggest secret his mom has been hiding from him: he is a half-blood.  Percy is sent to Camp Half-Blood, a summer camp specifically for demi-gods like him.  Soon after he arrives, he is accused of stealing Zeus’ master bolt.  Percy, along with his friends Annabeth and Grover, must find out who actually stole the bolt before a war between the gods breaks out.  This story is filled with comedy, friendship, and betrayal, and is an exceptional tale for all ages.

Percy Jackson (Z Davis) is an awkward, sarcastic, slightly clueless 12-year old boy tasked with saving the world.  Z perfectly portrays all the emotions of the character, with strong vocals, especially in the song “Good Kid.”  Percy’s friendships with Annabeth (Emma Nicholson) and Grover (Devin Carpenter) are solidified in the Act 1 closer “Killer Quest.”  It shows them heading off to save the world, despite their fears.  This trio gets closer throughout Act 2 as they learn more about their quest and each other.  Emma Nicholson’s unbelievable vocals and acting is illustrated in the song “My Grand Plan,” as she opens up to Percy about her struggles with her mom, Athena.  Grover’s happy-go-lucky outlook, Annabeth’s sassiness and Percy’s humor blend beautifully into a tight-knit friendship between them.

Marketing, led by Z Davis and Emma Nicholson, created great publicity for an equally great show.  They put up posters around town, designed an Instagram countdown to the show’s opening night, and produced a cinematic trailer that drew in the audience, leaving them curious about the performance.

As aforementioned, this show is a comedy, and one standout character is Silena Beauregard (Sami Pearson) who ranted about her mom, Aphrodite, always trying to steal her dates.  That is one of the funniest moments in “The Campfire Song.”

Some technical elements in the show that are well-coordinated are the costumes, hair, and makeup, created by Hazel Akinmurele, Lila Simpkins, Alexis Huber, and Keira Pulley.  The hair and makeup of the gods is phenomenal.  Hades’ unique look is shown through his bright blue and purple hair, and his eyeshadow that matches perfectly.  In contrast, he has black lipstick and eyeliner, which suit the grunge aesthetic of the character. One costume that really stands out is Charon’s sparkly dress and killer black boots.  The costume, along with Norah Lee’s incredible vocals and the Undead ensemble, makes the song “D.O.A.” an unforgettable moment.

The lighting in the show is exceptional.  Lighting designers Claire McManus and Ella Malloy use different colored lights to symbolize the different gods. For example, when Ares or Clarisse, daughter of Ares, come on stage, the lighting turns red. Similarly, when Percy finds out that he is the son of Poseidon, the lighting is teal, and that theme is repeated throughout the show.  

In conclusion, The Lightning Thief at Loudoun County High School is a well-produced show with remarkable talent and hard work.  This show is captivating, humorous, and emotional.  It will draw you in and keep you there like The Lotus Hotel.  -Kate Anderson, Tuscarora  HS

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Loudoun County HS - The Lightning Thief 03/29/2025

With humor, heart, and a splash of rock and roll, Loudoun County High School’s campy production of The Lightning Thief: The Percy Jackson Musical brings myth to life in a way that’s both charming and electrifying.


Written by Joe Tracz and Rob Rokicki and based on Rick Riordan’s best selling novel, The Lighting Thief follows Percy Jackson as he discovers his true parentage as the son of Poseidon, God of the Sea. Accused of stealing Zeus’ lightning bolt, Percy embarks on a quest to retrieve it and clear his name, joined by his loyal friends Annabeth and Grover. Along the way, they face legendary monsters and challenges, including Medusa, Ares, and Hades.


The Lightning Thief’s spirit is rooted in humor, and Loudoun County excels in large part thanks to the dynamic performances of Devin Carpenter and Emma Nicholson. Carpenter’s portrayal of the awkward yet lovable Grover was filled with impeccable comedic timing, earning laughter each time he was given a moment to shine. Not to be outdone, Nicholson’s Annabeth brought a captivating blend of humor and heartfelt emotion. Her rendition of “My Grand Plan” was particularly memorable, as Nicholson captivated with her powerful belting interwoven with moments of tenderness that reflected the wistful core of the song.


Of course, no production of The Lightning Thief would be complete without its leading demigod, and Z Davis delivered an exceptional performance as Percy Jackson. Displaying incredible range, Davis commanded the stage with his portrayal of a charismatic Percy with emotional depth. From his sharp-witted remarks to his heart-torn expressions when reflecting on his mother, Davis seamlessly embodied a Percy who is navigating the strange new world before him, one step at a time.


The supporting ensemble also delivered standout performances, with Syd Williams and Eddie Moshreif making lasting impressions. Williams brought a ferocious energy to the role of Clarisse, commanding the stage in the number "Put You in Your Place" with her powerful belting and explosive combat. Equally impressive, Moshreif demonstrated his versatility in a dual performance as Gabe, Percy’s smelly and abusive stepfather, and Ares, the God of War. As Gabe, he embodied the stereotype of a deadbeat father, while his portrayal of the suave and punk-inspired Ares was executed with pinpoint accuracy.


In such a comedic musical, it’s easy to overlook the technical elements. However lighting designers Ella Molloy and Claire McManus left a lasting impression. Harnessing newly installed LED lights, Molloy and McManus doused the stage with vibrant washes and immersive visuals that established the tone of each number and scene. Showing true craftsmanship, their dynamic effects were perfectly timed with the music, accentuating each drum beat or music hit with a flash of different color or a split second silhouette. Alexis Huber and Tai Ly’s monstrous oracle puppet was a highlight, delivering a chilling presence that starkly contrasted the otherwise upbeat tone.


Loudoun County High School’s The Lightning Thief is a lively and heartwarming musical that captures the spirit of adventure and friendship. With its talented cast, skilled technical aspects, and infectious humor, the production leaves a lasting impression, showing how even the most unlikely heroes can save the day.

-Jerry Wang, Stone Bridge HS

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

A crash of lightning over takes the surrounding atmosphere. Electricity courses through the room as the lights go up on the Loudoun County High School stage kicking off their production of The Lightning Thief.

Loudoun County’s production of The Lightning Thief  follows the tale of Percy Jackson, an anxious teen who always finds himself in trouble. Percy discovers he is the son of a Greek god and is sent to Camp Half-Blood where he meets other half human, half gods. He finds himself on an epic journey where he must prove his worth to not only his friends, and his father, but also himself. The Lightning Thief  is an engaging tale that peaks the interest of a variety of ages. 

Based on a seven part book series by Rick Riordan from 2005 the stories popularity quickly grew. The first book was later adapted into a musical by Joe Toracz and Rob Rokicki in 2014 where it was first performed in the Lucille Lortel Theater. It then went on a very successful national tour before returning to the Lucille Lortel Theater until it finally found a home on Broadway in 2019 in the Longacre Theatre. The show features wonderful incorporations of Greek mythology giving an amazing script for theaters to work with. Loudoun County brought this story to life in an electrical performance. 

Percy Jackson (Zea Davis), Annabeth (Emma Nicholson), and Grover (Devin Carpenter) make up the trio that leads this cast, their passion for the arts is clear in their work excelling in both funny moments like in the song Drive and in serious ones like the song Killer Quest. The trio feeds off of each other's energy driving the story forward and providing a strong base for the rest of the performance to build off of. 

Also notable was the production’s ensemble. The ensemble was tracked meaning that each member not only served in one ensemble role but many, performing as; campers, the undead, monsters and many more. Especially standing out was Young Annabeth (Emma Barts), Young Grover (Eli Shabanowitz), Thalia (Eli Kaywork), and Luke (Eli Poggi), they performed a shadow dance under the narration of The Tree on The Hill sung by Carpenter. The four captured the story beautifully displaying emotion without even showing their faces. Making clear the teamwork and trust the four shared to be able to display such a moving sequence. 

Just as impressive was the work being done behind the scenes. The production's lighting crew was composed of four students; Ella Molloy, Claire McManus, Nick Bahlman, and Lizzy Nolan. The school had recently received a new lighting board and got LEDs installed, although an amazing thing to receive, it meant new challenges for the team leading them to work over 36 hours on programming the board and cuing the show. They overcame many challenges during the process but were able to tame the wild board just in time for opening night allowing their design to come into fruition on the Loudoun County stage. 

The electric guitar fades out but the electricity left behind by the performers holds strong, So Bring on The Monsters because The Loudoun County Players are ready to fight! -Kate Rood, Rock Ridge HS

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

       Kids everywhere love the gods, but the real question is, do the gods love their kids? This is the question every half-blood wonders while waiting for “Their Sign” from their parents or a chance to go on a “Killer Quest!”. Thus came the storied tale of The Lightning Thief: The Percy Jackson Musical, an adaptation of the stories of Rick Riordan written by Joe Tracz with music and lyrics by Rob Rokicki. Although starting as an Off-Broadway show at the Lucille Lortel Theatre, it soon went on Broadway for an exciting yet short tour. 
       Percy Jackson is like any other until he goes on a field trip to the Metropolitan Museum of Art where he is attacked by his substitute math teacher, actually a fury sent by Zeus. When he is expelled again, Percy’s mother decides she needs to take him to Camp Half-Blood. When faced with a minotaur, however, she sacrifices herself to buy time for Grover to get Percy safe. At camp, Percy meets the children of many Greek gods and goddesses including Annabeth, Luke, and Clarisse, among many more. In turn, Percy finds out that he is the “Son of Poseidon” and is tasked with a quest. On this quest, Percy, with Grover and Annabeth, faces a plethora of challenges in hopes of saving the world from a war between the gods and they find their true selves along the way.
       Loudoun County’s Captains Playhouse takes on this magical tale with its talented team of actors and technicians. It would be a tragedy to not highlight the incredible portrayal of Percy Jackson by Z Davis. Z’s outstanding comedic timing and phenomenal emotional delivery of both dialogue and vocals create a powerful connection to the audience that cannot go unnoticed, especially in his rendition of “Good Kid”. He may not steal Zeus’ lightning bolt, but he truly steals the show. Countering Z is the talented Emma Nicholson playing Annabeth. Throughout, Emma fully commits to her character and thrills the audience with her witty remarks, confident character choices, and outstanding vocal performances. Completing the trio, supporting actor Devin Carpenter brings Grover to life through his expert comedic delivery and incredible energy. He brings liveliness to every moment while also inviting the audience into the more intimate parts of his story. This trio has undeniable chemistry, and every harmony they sing captivates the audience. Additionally, featured performer Syd Williams puts the entire audience in their place with her bold portrayal of Clarisse, the daughter of Ares. Her impressive vocals and physicality make her a stand-out performer. Lastly, Eli Shabanowitz was the perfect “man in a Hawaiian shirt”! Eli had audiences laughing non-stop as Poseidon and is a great cameo that makes the show so enjoyable! 
       This show definitely isn’t possible without the dedication of the LCHS technical crews, especially the lighting team led by Clair McManus and Ella Molloy and the Hair & Makeup/Costumes team led by Hazel Akinmurele and Alexis Huber. The lighting team truly immerses the audience with their beautiful cyc lights and spots. Every cue was on point adding life and energy to the show, and their long hours cannot go unrecognized. Similarly, Hair & Makeup/Costumes also show great craftsmanship with many accurate and stunning costumes and makeup looks, even designing pants to look like fur for Grover. 
       Overall, The Lightning Thief: The Percy Jackson Musical at LCHS is one that should not be missed. This show will take “Another Terrible Day” and turn it around! Everyone should “Drive” to LCHS to see this amazing production and see the world of Greek mythology come to life! -Ashleigh Allen, Stone Bridge HS

Loudoun County HS -
The Lightning Thief 03/29/2025

For this painting, inspired by the final scene, I decided to draw Percy's (Played by Z Davis) and Ares’s (Played by Eddie Moshreif) fight, depicted in Annabeth's (Played by Emma Nicholson) and Grover’s (Played by Devin Carpenter) perspectives. 
I kept both Percy’s and Ares’s faces blank, as I wanted the focus to be on the fight rather than being centered on one character. Influenced by the simple, yet meaningful, set, I decided to keep the background simple, a stormy fight by the ocean. 
Using Claire McManus, Ella Molloy, Nick Bahlman, and Lizzy Nolan's lighting design, I added a blue aura around Percy and a red aura around Ares, as these are the colors the lighting team associated with the respective characters. 
I mainly kept to the original costumes, hair, and makeup designs for both Percy and Ares, designed by Hazel Akinmurele, Lila Simpkins, Alexis Huber, and Keira Pulley. 

-Anika Ranadive, Rock Ridge HS

_Percy's and Ares's Fight_ - The Lightning Thief - Anika Ranadive.jpg

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

The infamous Greek Minotaur towers over the stage as Percy Jackson hangs between life and death. The stakes are high as Percy’s mother is on the line. The severity of the situation is so tangible and tantalizing that it hovers over the audience like deep-seated fog. 

Not only is this a great tale of a Greek hero in his journey to save the world, it is Loudoun County High School’s action-packed production of The Lightning Thief, The Percy Jackson Musical. 

The musical, adapted from Rick Riordan’s wildly successful 2005 novel, was written by Joe Tracz and composed by Rob Rokicki. The duo blends mythology with modernity in this pop-rock musical, which eventually made its way to Broadway, where it ran for 16 weeks at the Longacre Theater.

This Greek mythology-dipped coming-of-age story follows 12-year-old Percy Jackson, son of Poseidon, and his two friends, Grover and Annabeth. While at Camp Half-Blood, they embark on a quest, facing everything from demon triplet math teachers to terrors at gates of Hell-or the Underworld-appropriately placed in Los Angeles. 

The hero of this story and titular character, Percy Jackson, was played by the knockout performer Z Davis. Davis carries this musical odyssey on his herculean shoulders with an unparalleled command over the stage, effortlessly embodying Percy’s angsty teenage sarcasm with side-splitting one liners.

Davis’ song “Good Kid” is an emotional roller coaster that showcases the full depth of Percy's character, highlighting Davis’s impressive vocal range. The pop rock in tandem to lyrical longing and grief, is a breathtaking display of Davis’ musicality and prowess.

Opposite Davis is the talented Emma Nicholson as the headstrong Annabeth Chase. Nicholson’s acting, especially as she masterminds battle strategy in a game of Capture the Flag, is commendable, but her true range shines in “My Grand Plan.” She seamlessly blends her belt and head voice with emotionally charged riffs, leaving the audience speechless. 

Devin Carpenter as half-goat satyr Grover completes the heroic trio with tension easing humor and compassion. Carpenter’s optimism and awkwardness make him lovable, especially in “Drive,” where the group faces horrors from monsters to public buses. 

The backbone of this mythological musical were its special effects that encompassed a variety of fantastic creatures including a three-headed underworld DJ named Cerberus, constructed by Carson Phillips and Clover Russell, to a ghastly ten-foot-tall prophetic oracle with piercing eyes created by Alexis Huber Tai Ly. 

This versatility wasn’t limited to the technicians, however; nearly every role in this musical was double-cast to fulfill the plethora of characters in the production. 

One notable performer included Sam Takemoto as Percy’s mom, Sally Jackson, whose song “Strong” demonstrated a voice drenched with regret and nostalgia that poses questions regarding the true value of normalcy. 

Additionally, Norah Lee as Charon, the bell hop to the Underworld, performed “D.O.A.” in a spectacular number, delivering it with so much rasp and style that death never seemed so groovy. 

Underlying the entire production were skillful lighting transitions by the lighting team including Claire McManus, Ella Molloy, and others. Despite it being only Loudoun County’s second production using LEDs, the audience would never have known, thanks to the perfectly timed cues and symbolic hues. 

The show had a total of 407 cues-over three cues a minute. Each god was given a corresponding color: a violent tint appeared with every mention of Hades, and an aquamarine shade emerged after Poseidon’s entrance.  

Loudoun County High School’s production of The Lightning Thief, The Percy Jackson Musical is a fast paced trans-continental musical adventure that will leave even the most jaded audience members ready to “Bring on the Monsters!”

-Bridget Lockett, Stone Bridge HS

Loudoun County HS -
The Lightning Thief 03/29/2025

     Do you think you are a Half-Blood? If so, join Percy Jackson, Annabeth Chase, and Grover Underwood on their Killer Quest! Performed on the weekend of March 29th, Loudoun County High School showed their audience what it really means to be a demigod in a modern world.

     Originally a book written by Rick Riordan, “Percy Jackson and the Lightning Thief” was released June 28, 2005. It is the first book of the Rick Riordan universe that is still growing to this very day about the lives of Half-Bloods, the children of the Greek gods. In this particular story the audience is introduced to the troubled child Percy Jackson, who has a hard time fitting in anywhere. He learns why when he is told his father is Poseidon, the god of the sea. His newly introduced dad then sends him on a quest with the determined Annabeth Chase, daughter of Athena, and the loyal Grover Underwood, child of Pan.

     The lead of Loudoun County High School's production of “The Lightning Thief”, Percy Jackson, played by Z Davis, is incredibly versatile with his ability to be exceedingly comedic in certain scenes and then switch to letting out gut-wrenching sobs the next. This is specifically shown in his solo song “Good Kid”, where Z Davis is able to act through a substantial amount of emotions, which had the audience hooked onto his every word.

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     Grover Underwood (Devin Carpenter), the supporting character, showcased palpable vocal storytelling. Specifically with his two very contrasting numbers the upbeat “Drive” and the tragic “Tree On the Hill”, giving his character more insight and making him more than just the classic side-kick.

     Featured Actor Syd Williams, who played Clarisse, sure put the audience in their places with her powerful and formidable vocals, truly making herself appear as a daughter of the god of war. She played into Clarisse’s classic bully character type, but also made her dynamic with well-performed vulnerability.         Charon, the chair woman of the underworld, played by Norah Lee, showcased stamina and charm during her groovy number “D.O.A.” She added a fun and amusing side to the dreaded Underworld, knocking the audience dead.

     First introduced during the high energy combat number “Put You In Your Place”, the graffiti’d bathroom stall, created by Loudoun County High School's Set Designer, Eli Pepper, became a focal point of attention. The cartoon characters, slang, bright colors, and popular memes transformed the stage and its performers into more life-like and relatable characters. The use of all these elements made the Half-Bloods seem more like the rebellious and attention seeking children they are, always looking for “Their Sign”.

     The use of lighting throughout the production is thoughtful and well-crafted, done by Ella Molloy, Claire McMannus, and Nick Bahlman. This power trio certainly had a grand plan when it came to their lighting design, as they used it to showcase each individual character, connect to notes played by the orchestra, and to exemplify pain and violence. An example of this is when Annabeth is forced to choose between Luke and Percy. Luke has been represented by red throughout the show with his costuming and lighting cues, while Percy has been represented by blue with his costuming and lighting cues. When Annabeth is forced to choose between the two of them the lighting is purple.

     Loudoun County High School's production of “The Lightning Thief” produced great vocal storytelling, versatility, depth, and visual effects that made this show deserve to be immortalized like the gods themselves. -Avery Campbell, Lightridge HS

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

The electric boom of lightning and thunder races through the auditorium of Loudoun County High School as the cast dance onstage for another energising performance of The Lightning Thief. Meanwhile the lighting and run crew prepare to dazzle whomever the marketing team has brought to the show.

The Lightning Thief is a nostalgic adaptation of the first book in the bestselling Percy Jackson series. It follows the quest of Percy, Annabeth, and Grover to recover Zeus’s lightning bolt to stop a devastating war between the Gods.

The emotional heart of the story is undoubtedly Percy Jackson, played by Z Davis. Davis’s quick comedic timing permeates every scene Percy’s in, whether it’s through a quick “What!”, or through the beat before “this is one of the most awkward family reunions I’ve ever been to.” Comedic timing isn’t the only thing Davis excels at. His emotional portrayal shines through the comedic mask, especially in songs such as “Good Kid” and “Strong.” In addition, Percy’s dynamic with Sally Jackson, played by Grace Allred, was one of my favorite parts of the show. Allred’s comforting presence brings Sally to life and emotionally defines the bond between Percy and his mother, heightening Percy’s need to rescue her.

Of course, the production wouldn’t be complete without supporting characters. One of the standouts is Jamie-Faye McKnight playing Mrs. Doods. Her threatening, hunched movements and cackling insanity combine to form a terrifyingly hilarious portrayal of the evil math teacher. Then there’s Eli Shabanowitz playing Poseidon. Although he’s only onstage for a few scenes, he really makes an impact. His awkward finger guns encapsulate an absentee father trying to do his best and are consistently hilarious. Similarly, Eddie Moshreif playing Gabe makes a huge impression with his simultaneously indulgent and hilarious interjections of “Bean Dip.” Finally, there’s Norah Lee playing Charon. From her first entrance, Lee makes it clear that the underworld will be a showstopper and doesn’t disappoint with “D.O.A.” (Dead on Arrival). Lee’s sultry physicality sets Charon up as a confident, sassy ferryman, then she surprises with her soulful belting voice. Speaking of “D.O.A.”, every good show needs an ensemble to back it up and every ensemble member in the show nails it. The song “D.O.A.” especially highlights this, with the ensemble seamlessly combining choreography with undead shambling. 

Tech in this show stands out as well. The first is Claire McManus, Ella Molloy, Nick Bahlman, and Lizzy Nolan’s lighting design. Their buttery smooth spotlight expertly keeps the focus on the characters while the rest of the stage is dark and their use of flickering side lighting for Tartarus and the underworld conveys the tarot of falling in. Even more exceptionally, they time flashes of light representing the gods, including gold for Zeus and teal for Poseidon, perfectly to the music, especially in “The Tree on the Hill.” Z Davis, Emma Nicholson, Sarah Juban, Keira Pulley, and Max Pepper ‘s marketing team is also outstanding. They went to great lengths to promote the show, including putting posters up around the town and making a captivating promotional video. Finally, The stage crew, which is led by Sophia Albert, Tyler Dobies, and Bailey Blazier, keeps set changes quick and smooth while also enabling special effects such as water shooting out of a toilet.

Loudoun County’s The Lightning Thief is a high energy, exciting spectacle with extensive special effects, thematic, beautiful lighting, and some amazing heart and soul. It’s definitely worth a watch.

-Alyce Snead, Tuscarora HS

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

The things that make you you, are the things that make you strong,
And the things that make this show what it is, have been there all along.
The Lightning Thief written by Joe Tracz and performed by Loudoun County High School
Is a thrillingly put together show, to say it isn’t would just be cruel!

The show takes place where the Half-Blood’s roam, 
Their summer camp on a hill is where Percy learns to feel at home.
Fighting fantastic creatures and making friends on the way
Is what this story’s about, and how he saves the day.

Percy, Annabeth and Grover are who this story surrounds,
Played by Z Davis, Emma Nicholson, and Devin Carpenter, is a friendship that takes them further than campgrounds.
With Davis’ curiosity, Nicholson’s wit, and Carpenter’s quirks, 
The trio is an honest bunch, who match the energy of all their works!

Davis’ shining number “Good Kid” highlights a part of his character that is previously hid.
Not only with vocal ability that is clearly respectable, 
In the nightmare scene specifically, his acting out of fright is impeccable.
As well as Davis, Nicholson and Carpenter show unavoidable strength of character,
Cleverly built up vocals, and comical lines timed flawlessly, bring this group so much closer!​

​Another wonderfully executed role is played by Grace Allred; Sally, Percy’s Mom.
Her need to protect Percy brings true mature, and maternal love in a manner that’s calm.
This well-built resilience alongside Allred’s lighthearted playfulness is a perfect representation of why

Percy cares so deeply for her, how he could never not care for her, even in his imagination.

A touching addition that elevates the production is the lighting and use of it.
Thanks to Ella Malloy, Claire McMannus, and Nick Bahlman, each new setting’s tone and brightness is beautifully fit.
With intricate timing and colors that appeal to the eye,
Corresponding with each god and their child, is another thing to apply!

Another asset that helps organize the show is its incredible stage management.
With much going on backstage, Lili Robles, Nate Wolf, and Kripa Pudasaini’s responsibility is adamant.
Organizing meeting feedback and behind the scenes cues, these managers are all the news.

Last but by far not least, this show’s creative Publicity Marketing team.
Composed of Z Davis and Emma Nicholson, their marketing is a planned out and well- accomplished dream.
The placement of posters engages well locally, 
While from professional cinema, to cast and crew interviews, their online pages’ intent is quite obvious focally.

Loudoun County’s production of The Lightning Thief is like no other,
And these captivating features make the audience wish to be at camp next summer!

-Lucie Turner, Heritage HS

LOUDOUN COUNTY HS -
The Lightning Thief 04/05/2025

The Lightning Thief, performed by Loudoun County High School, is a striking way to spend your evening. From extravagant lighting to beautiful vocals, Loudoun County High School did a beautiful job.

The Lightning Thief The Percy Jackson Musical is based on the first book in the Percy Jackson and the Olympians series by Rick Riordan. The story follows Percy Jackson in his journey of completing a quest to clear his name, all while preventing a war between the gods after Zeus’ lightning bolt gets stolen, with help from his new friends Annabeth and Grover.

Beginning this quest, Percy Jackson, played by Z Davis, stepped onto the stage in such an encapsulating manor. Striking vocals and facial expressions really brought the character to life. Davis displayed immense dedication to the role while demonstrating a deep understanding for the intentions and goals of Percy Jackson as he completes his quest. Through the roller coaster of emotions in this production, Z Davis displayed adequate facial expressions that brought the show to life.

No questing crew is complete without a furry little sidekick. Devin Carpenter, who played Grover, did a fantastic job of displaying what it is to be a satyr. Playing half man half goat cannot be easy, but for this child of Pan, they did an excellent job. Using goat like sounds paired with vocal talent, Carpenter made for an amazing performance. 

Almost at the underworld, we meet Charon the ferryman to the underworld, played by Norah Lee. As they bring Percy and his friends down to the underworld, the group was almost deaf on arrival from the vocals present in the song D. O. A. Lee expressed immense talent through the complex dance number while maintaining strong clean vocals throughout. Accompanying this incredible singer, The Undead Ensemble did a spooktacular job at bringing the scary underworld to life, or death… Using harmonies and striking coreography this ensemble was show stopping.

The show may be called The Lightning Thief, but at Loudoun County High School it should have been called The Lighting Thief, with the way the lighting crew, lead by Ella Molloy, Claire McMannus, and Nick Bahlman, stole the show. Using different color lights to represent different gods in the show was a small creative choice that did not go unnoticed. With many other creative lighting techniques throughout, they really lit up the stage.

With many moving parts, this show executed all the movements flawlessly thanks to the stage crew, Sophia Albert, Tyler Dobies, and Baley Blazier. Running around moving large pieces of set is not easy. The stage crew would not be complete without the help from the stage managers Lili Robles, Nate Wolf, and Kripa Pudasaini, calling all the cues to get everything moved on time. 

Returning back to the overworld after an incredible ride, Loudoun County High School put on a well rounded performance of The Lightning Thief that no one should miss! -Samantha Bernat, Lightridge HS
 

Briar Woods - Hello Dolly 03/28/2025

     Looking for a new match? In desperate need of dancing assistance? Even requiring a persuasive lawyer? Call on Dolly Levi!

     Hello Dolly’s book was written by Micheal Stewart with lyrics composed by Jerry Herman, and it is based on the 1955 farce The Matchmaker by Thornton Wilder. This comedic love story first premiered on Broadway in 1964 and received 10 Tony awards. Then in 1969, Hello Dolly was made into a film which won 3 Academy Awards.

     Hello Dolly takes place in the late 1890s in New York and tells the story of Dolly Gallagher Levi, the town matchmaker or in the eyes of grumpy Horace Vandergelder, the town meddler, as she attempts to create several romantic entanglements between the characters and even for herself. After many wild schemes, beautiful songs, and extravagant dance numbers, Dolly worms her way into the grumpy Horace Vandergelder’s heart, and the show concludes with a happily ever after for each couple.

     Briar Woods’s production of Hello Dolly highlighted every quintessential aspect of the original while also including their new and remarkable take on the story. Hello Dolly cannot succeed without an enchanting Dolly, and that is exactly what Briar Woods had. Claire Getsy who played Dolly Levi perfectly captured all of Dolly’s charisma, stage presence, and confidence. Getsy commanded the stage every time she stepped foot into a scene; her performance was so captivating, from her ballads to her comedic songs it was impossible to look away because the audience did not want to miss one second of Getsy's Dolly. Another standout performer was Irene Molloy played by Addison Wivagg. Wivagg’s talent was visible in every part of Irene; her expressive facials even when she was not speaking in a scene, her heart-rending rendition of “Ribbons Down my Back” enthralled the audience throughout the entire song, her fluid physicality, and her striking characterization all shined on stage. 

     Hello Dolly cannot be praised without including the dynamic duo of Barnaby Tucker and Cornelius Hackl played by Ashtyn Wells and Nathan Garlock. Their chemistry was electric, and they perfectly portrayed their fun-loving bromance. They shined with their comedic bits in every scene and had the audience dying of laughter at every piece of dialogue. Individually, Garlock’s Cornelius not only shined in his dancing and physicality but his song “It Only Takes a Moment” was a heartwarming performance showcasing his moving chemistry with Irene. And Ashtyn Wells perfectly captured the lovable innocent Barnaby Tucker always bringing joy to this stage. 

     The technical aspects of the show shone just as brightly as the actors on stage. Inspired by the Gilded Age and the movie, the Costumes crew, Eliana Lund, Thea Baaklini, Lexy Caswell, created costumes that were absolutely breathtaking and perfectly fit the time period of the 1800s contributing to the ambiance of the show beautifully. Along with the costumes, the Hair and Makeup crew, Shantel Torrico-Ortiz and Srija Tirupathi, customized each of the characters’ makeup and hairstyles to their unique personality; each person had a distinctive style that made them stand out and flawlessly represented their character. 

Another shining technical aspect was the Set Construction crew, Raziel Bloom, Troy Ryan, Keali’i Yanagihara. The set was not only visually stunning but multipurpose too. The pastel cityscape could quickly be rotated to reveal Horace’s store which had a completely contrasting vibe with dark wood and an ingenious trap door under a trunk that Barnaby and Cornelius go through. Finally, all of the sets combined together covered with red velvet drapes to create the affluent and luxurious Harmonia Gardens restaurant in Act 2.

     Last but not least, the Props Crew, Avery Carillo and Michelle Herbert, showed their skills and talent through the numerous props used during the show; they created paper mache chicken, a stack of plates with a rope in the middle so they could teeter, and relabeled cans and containers to be period accurate. There are so many more genius props that could be named, but overall the props crew captured the essence of Hello Dolly with every creation they made or utilized. 

In conclusion, Briar Woods’s Hello Dolly was truly an incredible show from start to finish and every part of the show from tech to acting mesmerized the audience. Briar Woods exceeded all expectations and did this charming and beloved story better than imaginable. -Maddie Bradford, St.Paul VI Catholic School

Briar Woods HS - Hello Dolly 03/28/2025

“Money, pardon the expression, is like manure. It’s not worth a thing unless it’s spread around, encouraging young things to grow”. Well, folks, those are the iconic words from Dolly Gallagher Levi herself! Briar Woods High School truly brought the excitable people of Yonkers and New York City to the audience’s hearts with their production of “Hello, Dolly!” Originally with the lyrics and music by Jerry Herman with the book by Michael Stewart, this musical rose to fame in 1964 for its main theme of discovering the joy of life. Following the production’s uproar of popularity, it swept the biggest categories of the Tony’s that year. 

Within the story that follows the meddling matchmaker Dolly, Claire Getsy reaches a moment of self-discovery where she realizes that she yearns for love as well. The vulnerability between Getsy and Isa Belen as Horace Vandergelder demonstrates the love that every person ought to have in their life. It is when Dolly decides to “rejoin the human race” and let go of the independence she held close to her heart that these two found their purpose through each other; which inevitably, bloomed as a beautiful representation of what this musical was in 1964. 

As the curtain rises, none other than Claire Getsy portrayed the role of Mrs. Dolly Gallagher Levi, with ardor from beginning to end. Getsy dazzled in what was Carol Channing’s role in the 60s because she embodied the witty, outspoken, and determined woman that she is masterfully with precision. What makes an actor so proficient in their work is the ability to emotionally become vulnerable through their acting, singing, and speaking. Getsy had it all, was raw in her craft, and was born to be on a stage for possessing those very qualities. 

The dashing, dapper duo that is Cornelius Hackl and Barnaby Tucker, played by Nathan Garlock and Ashtyn Wells, ability to work off of the other was deeply amusing. Not to mention their joint harmonies being the cherry on the cake. Garlock had a profound passion within his vocals as he was rich in tone, technique, and timbre. Wells belonged onstage for the very purpose that was his presence. Whether the spotlight was on him or not, the ability to stay in character even when the audience’s attention was captivated by something or someone else was impressive. 

Set in the 1890s in New York City during the Gilded Age, all of the crews in this production kept that in mind. Commencing with the set design and set construction, Raziel Bloom, Troy Ryan, and Keali’i Yanagihara created a playful, theatrical spin on the cityscapes of New York City whereas the real 1890s may have been more muted. As for the costumes crew with Eliana Lund, Thea Baaklini and Lexy Caswell, through borrowing pieces from George Mason University to thrifting then dying Irene’s dress, the costumes were historically accurate in collaboration with dramaturgy.

From using parasols to mimic the moving train in the song, “Put On Your Sunday Clothes” to carrying a wobbly stack of plates in the Harmonia Gardens Restaurant, the ensemble of this production were consistent with their immense amount of energy and vivid smiles. As for the props crew with Avery Cavillo and Michelle Herbert, from Vandergelder’s Hay and Feed by changing the food labels on canned goods in relation to the time period as well as the gorgeous hats in Malloy’s Millinery were small details that were not forgotten.

As Dolly had said, “Congratulations, congratulations, a thousand congratulations!” Beyond any doubt, Briar Woods High School deserves those very words for their magnificent production of “Hello, Dolly!”

-Natalia Lama, St. Paul VI Catholic HS

Briar Woods HS - Hello Dolly 03/28/2025

      Mrs. Dolly Gallangher Levi: Matchmaker or master man-ipulator? Either way, start saying “hello” to love and chaos.

     Based on the 1955 play, “The Matchmaker,” “Hello Dolly” follows the widowed Dolly Gallagher Levi (Claire Getsy), who just so happens to be a meddling minx. Well versed in many professions and 1850s New York society, Dolly has a keen eye for orchestrating relationships, especially when it comes to orchestrating her own; and Dolly’s eyes have landed on Horace Vandergelder (Isa Belen). Mr. Vandergelder, however, has intentions of proposing to milliner Mrs. Irene Molloy (Addison Wivagg) Logically, Dolly has one option: stage an overly complex, yet masterful, plan to make Mr. Vandergelder
realize that she is the one for him.
     The perfect combination of poise and extravagance, Dolly (Claire Getsy) is that one type of person everyone needs in their life: determined and discerning. Playing to her wit, Getsy frames Dolly as charismatic and clever while still highlighting a loving accent. She is refined, and energetic, and radiates confidence while fancying the humor within each moment. Not only is Getsy’s tone vibrant and rich, but her energy is contagious; her personality is magnetic. Getsy is a spirited and dynamic performer, perfectly encapsulating the larger-than-life Dolly.“Elegance” at its finest, however, must be reserved for Irene Molloy (Addison Wivagg). Wivagg has an effortlessly stunning soprano voice. Between her lively presence and full-body vibrato, she simply commands the stage with sophistication. Her vocal control is immaculate, and it is difficult to not want to get up and start dancing alongside her.
     While dancing itself is one thing, breathtaking lifts are another, and Ambrose (Keali’i Yanagihara) and Ermengarde (Autumn Schach) have both. While the two develop a relationship with each other, they are both cute and graceful, ultimately indicating a cohesive and soaring relationship between the two. The harmonious moments together are a stark contrast to their respective characters in the beginning, demonstrating such a range and bandwidth. Continuing the variety of emotions, Troy Ryan is remarkable as the Judge. Bemused by those around him, Ryan portrays the stereotypical stern figure as comical and
playful, adding to a theme of lightheartedness.
     While the performers themselves were phenomenal, the costumes adorning them were dazzling. Designed by Eliana Lund, Thea Baaklini, and Lexi Caswell, each costume is an elaborate display of peak 1890s fashion. And on top of it all, and Dolly’s head, the handcrafted golden feather headdress was exceptionally paired with Dolly’s gilded dress. Additionally, the props created by Avery Carillo and Michelle Herbert looked absolutely scrumptious from Harmonia Gardens Restaurant, alongside other set dressings to create a holistic feeling within Dolly’s world.
     Briar Woods' production of “Hello Dolly” is truly a spectacle. From tight harmonies throughout to being visually stunning, this show defines what it means to live every moment to its fullest. So, don’t be shy, and say “hello” to Briar Woods’ “Hello Dolly.”   -Annabelle Monte, Rock Ridge HS

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Briar Woods HS - Hello Dolly 03/28/2025

As a bustling New York City street in 1890 sets the stage,
You hear an orchestra who plays a melodic tune of age.
The book by Micheal Stewart and performance by Briar Woods High School
Presents to you their production of Hello, Dolly! an absolute jewel.

Focus on the charming matchmaker Dolly Levi, played by Claire Getsy,
who attempts the flattery of a client, but how it turns out? You have yet to see.

Getsy’s charm and old money class has realistic timing, and outstanding sass.
With an undeniably contagious smile, and a wink to catch your eye, 
Their mischievous leading lady is full of such energy to supply!
Along with her opportunist self, a softly poetic side can be seen.
To have quite a diverse range is what one could consider acting to truly mean.

More actors that deserve much credits are Nathan Garlock and Ashtyn Wells, as Cornelius Hackl and Barnaby Tucker.
Two brotherly coworkers, whose bouncy humor gives a playful energy to flutter.
With both Garlock and Wells delivering free spirited harmonies and foot work
It’s difficult to ignore their chemistry that moves so similarly to clockwork!

A memorably hilarious scene occurs near the top of the second act, in the Harmonia Gardens Restaurant.
An ensemble of over-rushed French waiters, ordered to fulfil all their customers’ wants.
Their head waiter played by Sofya Ignatova knows exactly how to get a laugh out of an audience,
Delivered with pizazz and much delight, Ignatova's character leads everybodies distression, it’s obvious!

In the swarming streets of New York it’s difficult to disregard the high fashion standards,
Costumes formed by Eliana Lund along with her assistants, create entrapping outfits for the show’s dancers.
With cohesive color pallets and dazzling silhouettes, these garments are beautiful and heavily needed assets.

Not only does the atmosphere depend on how the actors look, but also how the stage is expressed.
Props led by Avery Carillo are so creatively fulfilling, and has the audience wanting to invest.
Dressing anywhere from the Hay and Seed shop, or Hat shop, to the courtroom,
The outcome of Carillo’s efforts give space for wonderful moments onstage to bloom.

 

Along with props like dainty parasols, the simplistic lighting of the show plays an important part,
With wall-breaking spotlights that easily bring out a character’s heart.
August Watson’s use of focus and timing touches the golden actors with a stupendous silver lining.

 

The wise words from Dolly herself include how she loves arranging things,
She would be blessed to see the publicity this show offers, as it pulls the audience’s heartstrings!
Marketing done by Ava Calderazzi and Nathan Garlock comprises posters, sandwich boards, and Instagram posts galore.
The uniting theme of floral elegance shows perfectly what the crowd arrives for!

 

Briar Woods High School executes quite a devoted and passionate piece
And as the curtains close, the crowd has never less wanted such a beautiful thing to cease!

-Lucie Turner, Tuscarora HS

Briar Woods HS - Hello Dolly 03/28/2025

     In the swift moving society of The Gilded Age, one woman practically runs multiple cities with ease and witty charm. Dolly Gallagher Levi is a name that puts a huge grin on anyone’s faces, as she skillfully uses her many abilities and talents to help everyone she comes across. Briar Woods High School’s production of Hello, Dolly! is an amazing and utterly charming display of all the things that make this period so beloved to many. Jerry Herman, basing it on the play The Matchmaker, created a delightful musical to capture the 1890s, and Briar Woods’ production did it a brilliantly satisfying justice.

     Without a doubt, the most unforgettable part of this production was, of course, Claire Getsy, as the amazing Dolly Levi. The moment her fabulous, confident heels hit the stage, the audience could not get enough of the potent and enchanting energy she radiated at every moment. Getsy’s gorgeous voice, her distinct and purposeful movements and mannerisms, and bright characterization flawlessly snared the audience as she commanded the stage with style. She had the perfect expressions and reactions to other actors in the production, showcasing her ability to feed off of others’ energy. Even details like her voice, reminiscent of Old Hollywood, make her seem all the more familiar and pleasant. Words cannot even begin to express the degree to which she mastered her role as Dolly. She is not just charismatic, though. The song “Before the Parade Passes By” excellently exemplifies her capability to smoothly change her attitude from playful, to delicate and somber, to determined with ease, demonstrating both the depth of Dolly’s character as well as her multilayered acting skills. Getsy steals everyone’s chance to even decide a favorite part of her performance, because there is not a moment where she is not being absolutely delightful and endearing.

     Addison Wivagg, as Irene Molloy, also stands out as another strikingly talented actor in the Briar Woods’ musical. Her characterization was done extremely well, and her reactions were truly impeccable. There were many moments where it was easy to tell how much thought she had put into every movement and expression she used whenever she was not talking. On top of that, her vocal clarity was shockingly mesmerizing, capturing the audience in the rich emotions that Ms. Molloy experiences, especially in her song “Ribbons Down My Back”. She was able to display the multitude of relationships she has with other characters, like, for example, Minnie Fay, played by Emilia Battaglia. She also caught the attention of the audience very well with her adorable attitude and unique speaking style. She did a great job of bringing Minnie’s energy out with her constant rambles and quirky personality, which was perfect for her character. Additionally, Kya Taylor, playing the sassy and sociable Ernestina, made the audience double over in laughter with her amazing comedic timing and her strikingly thick New York accent.

     The details that were crafted to make the gorgeous environment of the show cannot go unnoticed either. Briar Woods’ many crews did a remarkable job of building an astounding environment for the audience to enjoy. The most notable aspect of the production quality were their gorgeous costumes, primarily designed by Eliana Lund. Every person’s costumes were unique and fashionable, fitting their personalities perfectly. The attention to detail was absolutely commendable, especially with one of Dolly’s dresses, which had the period accurate skylines of both New York City and Yonkers on it. Their props crew, led by Avery Carillo, also did a stunning job of making perfect additions to the productions, most notably the plates designed to look as if they were about to fall. Their lighting crew, led by August Watson, perfectly captured every moment perfectly and added so much more depth to each of the scenes.

     Briar Woods’ production of Hello, Dolly! is wildly impressive and left everyone who watched it craving more of the delightful feel of the show. Everything was splendidly well thought out, and the show will undoubtedly live in everyone’s minds forever. -Ronan McConville, St. Paul VI Catholic HS

     Put on your best Sunday clothes to go see Briar Woods High School’s production of “Hello Dolly!”“Hello Dolly!” is a musical based on Thornton Wilder’s 1938 farce, “The Merchant of Yonkers,” and debuted on Broadway in 1964. With lyrics and an original score by Jerry Herman, the show went on to win ten Tony awards, setting a record that they held for 37 years. The story is set at the end of the Gilded Age in New York City, where everyone is excited to hear that Dolly Gallagher Levi, a widowed, meddlesome woman and strong-willed matchmaker, is in town. The story follows Dolly as she travels to Yonkers, New York to find a wife for surly Horace Vandergelder. While Dolly continues to suggest several prospects to Vandergelder, it becomes increasingly clear that she does not actually intend to help him marry them, but to marry him herself.

     Briar Woods High School’s cast is filled with energy for the entirety of the show, exuding personality and charm to give “Hello Dolly!” the dazzling glitz and glamour that it is known for. The audience is whisked away into the Gilded Age with stunning costumes and ambitious sets that made the show all the more electrifying.

     Claire Getsy, playing the titular role of Dolly Levi, is nothing short of extraordinary. With stunning vocals and the masterful ability to command the stage with a demanding presence, Getsy fully embodies the role of Dolly. As the show progresses, Dolly realizes that she can open up her heart again without dishonoring her first love. Specifically during the song “Before The Parade Passes By,” Getsy laces the performance with Dolly’s battling feelings of loss and longing for love while still radiating confidence. Getsy was an excellent Dolly and made the audience laugh, cry, love, and understand that it is never too late to reach for happiness and embrace the love and joy in life.         Vandergelder’s employees, Cornelius Hackl (Nathan Garlock) and Barnaby Tucker (Ashtyn Wells), are a comical duo who decide to take an unauthorized evening off to visit New York City and will not leave until they’ve kissed a woman. With some meddling from Dolly, they find their matches with Irene Molloy (Addison Wivagg) and Minnie Fay (Emilia Battaglia). The chemistry between both duos is endlessly amusing. They have spectacular moments of wittiness and fun throughout the show, never failing to make the audience laugh. Garlock’s ability to switch between sporadically dancing and emotionally confessing his love shows the incredible range of Garlock’s talent. Wivagg is the perfect counterpart to Garlock’s facetiousness. With an angelic voice and sultry personality, Wivagg portrays Mrs Molloy with ease.          The set design (Raziel Bloom, Troy Ryan, Keali’i Yanagihara) for this show was simply ingenious. The huge New York City buildings being able to turn into the beautiful Harmonia Gardens restaurant was incredibly impressive. The red curtains hanging down from the set during Act II was a beautiful transformation into the Harmonia, aiding the actors in producing this iconically tantalizing show. The costumes were another tech element that was essential to providing period accurate pieces and elegance. While the costume team (Emilia Battaglia, Sara Kalkati, Veronica Massey, Sophia Woody, Keali’i Yanagihara) decided to borrow pieces from George Mason University, they did an excellent job tailoring and refining each piece to fit their show.

     Dolly Gallagher Levi embraces the idea of finding happiness and joy in her life, and it only takes a moment to become enraptured by Briar Woods High School’s joyous rendition of “Hello, Dolly!” -Cass Sanzano, Dominion HS

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Briar Woods HS - Hello  Dolly 03/28/2025

Briar Woods HS - Hello Dolly 03/28/2025

In a shimmering golden gown and matching feather head-piece, Dolly descends from the staircase while singing her heart out with gusto. Briar Woods’s production of “Hello, Dolly!” features spectacular performances and dazzling technical elements that perfectly capture the essence of the bustling American Gilded Age. 

Briar Woods’s energetic and jovial presence on stage is what makes this performance memorable. From the Harmonia Garden Waiters ensemble’s hysterical dancing to the heartwarming scenes between principal characters, every cast member gives it their all, and this energy is infectious. 

Leading this talented cast is Claire Getsy as the iconic Dolly Levi. From her quick-witted humor and sharp dialogue to her vulnerable performance in “Before The Parade Passes By,” Getsy portrays the character with an unmatched maturity. Not only is her acting impeccable, but her vocal performance is truly mesmerizing. Her beautifully clear tone and gorgeous vibrato allow her to truly embody Dolly. Another powerhouse performance is delivered by Addison Wivagg as Irene Molloy. Wivagg brings this supporting character to life through her intense facial expressions, excellent comedic timing, and sweet voice. In the song “Motherhood,” both Getsy and Wivagg’s comical dancing and physicality in order to hide the presence of a man in the hat shop’s closet is charmingly entertaining. 

Noteworthy featured performances by Keali’i Yanagihara and Autumn Schach as Ambrose Kemper and Ermengarde are delightfully humorous. From their impressive lifts to their chemistry on stage, the two make an endearing pair. With a hilarious cameo is Troy Ryan as Judge, whose willingness to accept flattery is delivered through bold physicality and movement. 

Helping to create this vibrant, old-timey world are the various technical elements such as set, costumes, lighting, and props. Vandergelder’s hay and feed store is a gigantic set piece that is beautifully crafted and doubles as the skyline when rotated. This versatile set piece crafted by Raziel Bloom, Troy Ryan, and Keali'i Yanagihara also features a trunk which characters can pop out of. Dressing this set piece is props team Avery Carillo and Michelle Herbert, who display quaint and realistic props that create an immersive and homey store environment. 

Furthermore, costumers Eliana Lund, Thea Baaklini, and Lexi Caswell do a great job creating costumes that fit in with the bustling atmosphere and aid in the storytelling. Their work altering, dying, and sewing is evident as the actors twirl in their flowy skirts. Lighting designers August Watson and Chad Luck use spotlights for intimate moments of soliloquy and bright orange lights for the backdrop of Yonkers. This contrast emphasizes the setting as well as the emotions of the characters. 

Briar Woods’s production of “Hello, Dolly!” is warm-hearted, enthusiastic, and full of soul, highlighting the importance of embracing life’s many possibilities with an open mind. The cast and crew work together to share this musical comedy in all its shimmering glory. -Sydney Nicklas, Tuscarora HS

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Rock Ridge HS - Cat on a Hot Tin Roof 01/25/2025

Down in Mississippi a facade of mendacity gradually creeps over the Pollitt family. Originally adapted from the story entitled “Three Players of a Summer Game,” the three act play “Cat on a Hot Tin Roof” by Tennessee Williams debuted at the Morosco Theatre in 1955. Recognized as the 1955 winner of the  Pulitzer Prize for Drama, “Cat on a Hot Tin Roof” is recognized as some of Williams' most exemplary work.

The show revolves around a reserved and drunken man named Brick who mourns the loss of his “football buddy” Skipper. He acts callously towards his wife and refuses to have a child with her, due to repressed true feelings and guilt over Skipper. When his father, Big Daddy, is diagnosed with cancer, the family and doctor lie to Big Daddy and Big Mama about his diagnosis stating Big Daddy only had a “spastic colon.” As the audience witnesses a web of lies and mendacity overwhelm the family, “Cat on a Hot Tin Roof” provides deeply metaphoric commentary on complicated family and relationship dynamics.

The set (Annabelle Monte) creates an intimate and completely immersive atmosphere as the audience is placed on the stage. With the newfound ability to see details of the performance up close, such as tears welling up in the eyes of Brick (Palmer Jolly)  and the trembling of Big Mama’s jaw (Kaylie Rivers), the show mimics the feeling of being inside the room with the characters. Specifically showcased in his act 2 monologue, Palmer Jolly draws in the audience with his longing to relive the past. Contrasting Jolly, is Jaden Thomas-Falcon as Maggie, who delivers every line of dialogue with meaning and integrity, modeling Maggie's earnest feeling of isolation without fail. The lively and vivacious personality of Big Mama constantly breaks the tension between the two, perfectly emulated by Kaylie Rivers.

From head to toe, each actor dresses in a unique and accurate 1950s wardrobe (Afton Terry, Eva Agedao, Keigan Brammer) that includes an immense amount of detail, including beautiful lace gloves, big pearl earrings, and vintage-esque shoes, all elevating the costume design tremendously. The genius light design by Pranjal Deshmukh enhances each scene such as one featuring fireworks, but the lighting was truly showcased in a storm scene with Brick and Big Mama. The couch is lit by a radiant blue light shining on just the two characters as they share a truly emotional and vulnerable moment.

Whether it's the intense realism or intricate technical design, Rock Ridge Performing Arts’ production of “Cat on a Hot Tin Roof” is far more than a performance, it’s an experience. -Alyssa Hassan, Dominion HS

Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

     “What is the victory of a cat on a hot tin roof? Just staying on it, I guess, as long as she can.” Cat On A Hot Tin Roof, a play written in 1952 by Tennessee Williams, is set on a plantation home in the Mississippi Delta owned by Big Daddy Pollitt. The play observes the various relationships among Big Daddy’s family, specifically the relationship between Big Daddy’s son Brick and Brick’s wife Maggie.

     Rock Ridge High School does a phenomenal job of leading the audience through this show of pain, greed, love, and acceptance with their heartbreaking chemistry, creative props, and intimate set design that really connects the audience to the show.

     Palmer Jolly portrays Brick, the detached alcoholic son of Big Daddy. Jolly embodies the character of Brick with his physicality and the use of his crutch to show both the pain of his injury and his frustration with being trapped. He continues to be out of control with his anger and sadness until Big Mama begs him to help her through her grief. In the moving moment between the two during the storm, Jolly shows the soft vulnerable side of Brick. Kaylie Rivers brings her spunk and big personality with her portrayal of Big Mama. Rivers shows the motherly, kind side of her while simultaneously making sure everyone knows who’s in charge.

     Sassy, overbearing, and pretentious Mae, portrayed by Annabelle Monte, makes her presence known on stage with her confident and snippy attitude; her main goal is clear by her greedy and manipulative persona. Hannah Howell brings compassion and loyalty to the stage with her portrayal of Sookey. She greatly contrasts the other characters who are tense with drama while she is a steady presence of dependence in the household.

     As for the technical aspects of the show, the set design (Annabelle Monte) is very unique because the show is set in 1950s Mississippi. The set is built to look like a 1950s southern home while also following the idea that everyone is always listening with an open framework. The vanity in Maggie's bedroom is elegant but showcases a broken mirror that represents the brokenness Maggie's feel towards her marriage and life. Hannah Tyson and Ella Diawatan, the hair and makeup designers, perfectly capture the iconic 50s looks. The shades of red lipstick that Big Mamma, Mae, and Maggie all bore expertly display each of their desires. Maggie's wig is inspired by Marilyn Monroe’s signature 1950s look, and to achieve this they studied specific guides on styling 50s hair.

     The Props (Bella Hasbun, Kaylie Rivers) enhance the show to greater highs due to the detail and time accurate pieces. The 1950s is a time for baking, so the chocolate cake that comes in during the birthday scene is perfect. The cake is made out of foam sheets, caulk, and spray painted, making the cake look edible and delicious. Pranjal Deshmukh, the lightning designer, focuses a lot on the intimacy of this show and reflecting this through lights. The main light fixtures that are featured are the two bedside lamps and two chandeliers; these help to create the delicate moments throughout the show.

     “Cat on a Hot Tin Roof” ends with Maggie announcing that she is pregnant and will continue Big Daddy’s legacy after he passes. This is a lie, but once Brick and Maggie are alone once more she promises him that she will make it true. Rock Ridge High School gracefully tells this heart-wrenching story with an inspiring cast and dedicated crew, teaching a great lesson of greed, grief, and starting new. -Ella Jones, Tuscarora HS

     A luxurious queen bed. A dusty vanity. Cobwebs adorning the barren walls. The reverberating voices of the party guests. This haunting scene is what welcomes audience members into the world of Cat on a Hot Tin Roof, performed by Rock Ridge High School. The play, written in 1955 by Tennessee Williams and adapted into a film in 1958, is a haunting autopsy of a wealthy 50’s family celebrating their patriarch’s 65th birthday. With themes of greed, social superficiality, and desire, this play tells the story of a family slowly crumbling under the weight of its own secrets and promises; through 3 acts all set in a bedroom during one evening. 

      The play opens up with an intimately quiet scene with Maggie (played by Jaden Thomas-Falcon) and her husband Brick (played by Palmer Jolly). This pair perfectly demonstrates their difficult relationship, filling the room with tension palpable in the dusty air. Jolly’s apathetic treatment of the world around him brings a new layer to his past, while Thomas-Falcon’s polite but iron-clad determination shows her pride and care for her family.

During the charged scenes that Maggie and Brick share, the props team lead by Bella Hasbun really shines. With their placing of the alcohol bottles Brick persistently returns to, Hasbun and her team use ordinary, everyday items around the house to tell a story of alcoholism that cannot seem to be quashed.

Big Mama, similarly, refuses to be quashed under the crushing weight of the family’s guilt.  Depicted by Kaylie Rivers, she has a presence that commands attention and respect. Her booming, confident air that fills the whole stage shows wisdom beyond her years, perfectly portraying the guiding role she has in the family. 

       Though Cat on a Hot Tin Roof is a tension-filled piece, the tone is punctuated often by young Dixie (Isabella Hasbun) and her ragtag group of siblings. Hasbun hilariously utilizes the wailing and shrieking of a spoiled-rotten little girl, eager to draw attention from the adults of the house, to garner laughter from the whole room.

       One scene near the end of the play truly depicts the lighting team’s skill. Headed by Pranjal Deshmukh, the lights suddenly go out during a particularly tense altercation. The audience, casted in pitch black, still hears the clamouring of the family running all around, recreating the chaos of a true blackout. After the dust settles, though, a tender moment is highlighted by the recreation of moonlight casted through a window frame, leaving the pitch-dark stage illuminated in eerie blue where Brick and Big Mama embrace, in the only tender moment displayed between them. This lighting work truly brings a new layer of emotion to this scene!

        Another tech team that stole the show is the sound team, led by Nolwazi Christmas. The persistent noises of crickets, rainfall, and clocks chiming add perfectly to the stiff atmosphere of the Pollitt household, bringing life to the otherwise silent scenes.

Finally, the set (designed by Annabelle Monte) is the finishing touch to the immersive experience this show gives its viewers. Though the set does not change once in this show, the execution of Maggie and Brick’s bedroom is what gives life to all of the scenes witnessed, telling an intricate story of the Pollitt family’s world just through the cobweb-ridden bedroom.

Rock Ridge’s production of Cat on a Hot Tin roof displays their fantastic cast of actors and technical skill, leaving the audience breathless with every gut-wrenching scene. All of these actors and technical teams cleverly work together to create a show that any theatre-goer should add to their repertoire. 
-Aries Janardhan, John Champe HS

Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

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Rock Ridge HS - Cat on a Hot Tin Roof 01/25/2025

Winning a Pulitzer Prize, Cat on a Hot Tin Roof, written by established playwright Tennessee Williams in 1955, explores the mature themes of family, sexuality, and alcoholism. The actors and tech crew of Rock Ridge Performing Arts handle all of these harsh subject matters with astounding professionalism, presenting a show deserving of a standing ovation.
This play presents the story of the dysfunctional Pollitt family, who are gathered on a  Mississippi plantation in the summer of 1955 to celebrate the birthday of their dying patriarch, Big Daddy. With the family all gathered together, difficult conversations are had surrounding Brick, one of the focal characters of the story, and his alcoholism, the family's suspicions surrounding his sexuality, and the family inheritance. 
An interesting aspect of this show is the audience's experience of sitting on the stage. This allows the audience to view the show on a more intimate and personal level, however, it presents a challenge to the tech crews. One crew that is particularly affected by the change is Set Design led by Annabelle Monte, because a majority of the stage is being used as audience seating; the set has to be versatile to fit the needs of the show while also fitting on stage. Annabelle Monte does a wonderful job overcoming this challenge and presenting a set with an encapsulating overall vibe of a Mississippi plantation during the summer. 
The Set Design crew isn’t the only team that is presented with the difficulties of having an intimate audience, Make-up and Hair Design led by Hannah Tyson and Ella Diawatan, Lighting Design led by Pranjal Deshmukh, and Prop Design led by Bella Hasbun and Kaylie Rivers all worked through challenges of their own. With close seating Hannah Tyson and Ella Diawatan make sure to keep each character’s hair, make-up, and wigs cleanly and realistically done so that at close range the audience can believe every aspect of the show. With the intimate setting, the Props crew need to place props that look realistic and fitting for the time period when viewed up close, they do this exceptionally well. To show depth in such a shallow setting Pranjal Deshmukh has to be strategic in how the lights are used. Deshmukh allows the actors to shine bright by providing a lighting design that reflects the characters’ emotions and outside factors like a storm and fireworks. 
The ensemble of actors is extremely strong and versatile, all presenting characters with emotional complexity and maturity. Two actors whose characters stood out as especially tenacious were Palmer Jolly who plays Brick and Jaden Thomas-Falcon who plays Maggie. Both of these characters are struggling with their relationship with each other and with Brick’s alcoholism. The actors handle these themes with professionalism and portray their characters, and their character’s many lines, with a maturity unknown to most high school students. 
In a production that is extremely saddening the audience needs some comedic relief very often. The characters of Dixie played by Isabella Hasbun and Big Mama played by Kaylie Rivers were capable of providing this throughout the show. With her character, Isabella Hasbun portrays her youthful character excellently with her physicality and comedic timing. Kaylie Rivers’ Big Mama is a character that commands the stage every time she is present in a scene and Rivers is capable of not only providing comedic relief but also bringing tears to the audience's eyes during her more emotional moments. 
From showcasing family disputes to internal conflicts, Rock Ridge Performing Arts’ Production of Cat on a Hot Tin Roof captures the emotional story of truth and relationships. -Stephanie Long, Stone Bridge HS

Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

     Click-clack, Maggie’s heels echo through the stillness of the room as she paces back and forth, her restless steps the only sound breaking the oppressive silence in Tennessee Williams’ Cat on a Hot Tin Roof. The sharp rhythm of her movements mirrors the tension building between the characters, each step a reminder of the emotional friction that simmers beneath the surface. In this suffocating environment, the family’s unspoken secrets reverberate, refusing to stay buried. The sound of Maggie’s restless footsteps becomes a physical manifestation of the desperate longing, bitterness, and truths that will inevitably collide as the play unfolds.

      Tennessee Williams’ Cat on a Hot Tin Roof premiered on Broadway in 1955, quickly becoming one of his most iconic plays. It ran for 694 performances, making it a major success. The play won the 1955 Pulitzer Prize for Drama, cementing Williams’ reputation as one of America’s greatest playwrights. Its themes of family dysfunction, repression, and unspoken desires resonated deeply with audiences, and it remains a powerful piece of American theatre to this day. Set in the affluent home of a family in Mississippi, the play centers on Brick, a former football star who has become an alcoholic, and his wife Maggie, who is desperate for his love and validation. As the couple struggles with their crumbling marriage, Brick’s unresolved grief over the death of his close friend Skipper emerges as a key issue. The play is further complicated by the presence of Brick’s father, Big Daddy, who is battling terminal cancer, and the family’s ongoing tension over his wealth and legacy. Throughout the story, characters confront painful truths and buried desires, leading to a confrontation with the lies and emotional wounds that bind them together. The play’s raw exploration of human vulnerability, desire, and the pressure of societal expectations makes it one of Williams’ most enduring works.

      Rock Ridge’s production of Cat on a Hot Tin Roof was exceptionally led by its creative decision to immerse the audience in its story by seating them on stage right in front of the cast and set. This allowed an up close and personal view of this 18 person cast; who commanded the stage with their raw, emotional acting and immense physicality. The atmosphere and tension on stage was palpable and kept the audience on the edge of their seats for all three acts. This could not have been fully achieved without the constant work of the crews backstage, whose lights, ambiance music, sound cues, and immersing props did not go unnoticed. All of these elements put together created a juggernaut of a show, which left the audience with a range of emotions after every scene.

     Taking on the role of Maggie was Jaden Thomas-Falcon, who led every scene she was in with purpose and grace. This role was in no way easy, the sheer amount of line memorization this role required was only the first hurdle. Thomas-Falcon beautifully showed Maggie's emotional turmoil throughout the show and expressed her thoughts perfectly. Thomas-Falcons ability to express such a range of feelings was a driving force behind the success of the storytelling. The audience was transported into her life every time Maggie was on stage and that was because of Thomas-Falcons clear talent and extreme passion.

     Complementing Jaden Thomas-Falcon on stage as Maggie's husband, Brick, was Palmer Jolly. Jolly defines this play's physicality as he makes his way across the stage on his crutch. Brick is the plays most morally ambiguous character as the story revolves around the audience learning the secrets of his past and why, in present day, he has become an alcoholic. Jolly masterfully shows Bricks conflicting emotions without even speaking. He glares across the stage at his scene partners before hobbling over to the liquor shelf. Jolly brings a rage and shame to the stage that shows the audience just how strong of an actor he is. His little reactions to everything around him further immerse the audience into the story, and the physical and emotional effort he put into his scenes was not unnoticed.

     Despite the growing tension of the story, there was always a little break in the show to keep the audience on its toes. Isabella Hasbun serves as the production's comedic relief, which she effortlessly achieves. Hasbun’s character, Dixie, constantly interrupts scenes with childish screams and hilarious one liners. She interacted with her surrounding and scene partners with ease and with a goal of mischief. Hasbun delivered her lines perfectly and never failed to get a laugh from the audience.

     The main ensemble stole the show every time they appeared together on stage. The entire family, when forced together, played off each other well and conveyed the tension, distrust, and secrecy of the story. They delivered a masterful and emotionally charged performance that truly brought Tennessee Williams’ complex characters to life. Each actor skillfully captured the raw tension, deep-seated resentments, and fragile vulnerabilities that define the family. The chemistry between the cast members was clear, creating an almost suffocating atmosphere of conflict and unspoken truths. The portrayal of Big Daddy, Played by Ronald Hodge, was particularly powerful, with his commanding presence both in voice and physicality. What truly stood out, however, was the seamless dynamic between all the characters. The family’s complicated love, power struggles, and hidden secrets were expertly communicated through impeccable timing and genuine emotional vulnerability. The ensemble’s work elevated the production to a level of raw intensity that resonated long after the scene ended.

     The entire production's success could not have been fully achieved without its immersive technical aspects. Its lighting design, done by Pranjal Deshmukh, was integral to the show as it highlighted important moments in all three acts, and gave light to the space up with flashing as fireworks were lit off in the background. Speaking of sounds, the show's sound designer, Nolwazi Christmas, made the perfect score for the show's ambience and special moments. The old music that played from the radio, the fireworks, and the moody rain kept the audience within the realm of the story effortlessly. The show would not have been complete without its special props, done by Isabella Hasbun and Kaylie Rivers. The breakaway glass during act two was a spectacle and made the play seem even more within reality. Every cue in the show was perfectly executed and called by its stage manager Hannah Shirr and their assistant stage managers Emma Fernandez, Siham Sohail, and Wardah Islam.

     In conclusion, Rock Ridge’s production of Cat on a Hot Tin Roof stands as a testament to the power of live theatre, where every element, from the impeccable performances of its cast to the brilliant technical work backstage, merges seamlessly to create an unforgettable experience. The emotionally charged dynamics of the family were brought to life with stunning authenticity, and the raw intensity of the performances kept the audience captivated from start to finish. The combination of strong direction, a talented cast, and a meticulous attention to detail in the technical aspects made for a truly immersive and profound theatrical journey. The show left a lasting impact, provoking deep reflection on the complexities of family, loss, and the truths we often try to hide. -Grace Craft, Broad Run HS

 

Her parents, Mae and Gooper, played by Annabelle Monte and Ryan Hart,
are most likely the reason for how their children play their parts.
The nosy attitude from Monte brings sass and light humor,
while both her and Hart egg on this alleged Brick “rumor”.
With both characters showing their true colors closer towards the end,
They make the audience question whether this family will break or just bend.

 

Aside from this bustling household,
impressive tech aspects are what bring this show together.
Ambience created by sound and lights both bold
make dark scenes heavy, and bright ones light as a feather.

 

During the show, there is constant sound credited to Nolwazi Christmas.
This inclusion makes the show more realistic to witness.
Whether this is the pleasant crickets, radio’s tune, or fireworks,
each gives more atmosphere for the actors and audience to immerse.

 

Along with audible elements, tech that adds layers to this show are lights too.
Lighting designer, Pranjal Deshmukh, transitions scenes like using glue.
The spotlights, lighting dims, fireworks, and moonlight beams
truly transform the stage beyond dreams.

 

The scenic designs by Annabelle Monte are practical and stunningly aged,
details like shutters, stocked shelves and nightstands have viewers engaged.
Bigger statements like the sofa, bed, and vanity 
are appealing to the eye, and display a vital level of urbanity.

 

The props by Bella Hasbun and Kaylie Rivers encourage realism,
with outstanding features like period accurate makeup, pastimes, and food.
They build these formidable items out of what seems to be idealism.
Cap Guns and Breakaway Sugar glass make for some excitement to change the mood.

 

With hard working students spread generously,
they really do complete this show effortlessly!

-Lucie Turner,  Tuscarora HS

Nothing’s more determined than a Cat on a Hot Tin Roof, is there?
Not when your money and your marriage is so bare.
1950, at a Mississippi plantation.
Where this story is set, given breath by such creation.
Written by Tennessee Williams, performed by Rock Ridge Performing Arts,
This story of lies within family ties, unfolds in front of our hearts.

 

It can’t be denied when stage presence strikes, 
that Jaden Thomas-Falcon as Maggie shares everyone’s common likes. 
Her well spoken character comes with natural ease, 
When Thomas-Falcon has a point to make, the rest of the room does freeze.
Her lines falling like rhythm, and movements made so sure,
Falcon depicts a woman, a well-determined lure.

 

Her beauty seemingly dismissed by her hurt husband, Brick.
Played by Palmer Jolly, who often seems to be hiding a trick.
Thoughtfully designed charm, evened out by a short temper
makes him come to life, despite a character fragile as ember.
Jolly’s familiar use of the crutch brought quite a needed touch.
A touch of pity and guilt, while also being able to show the stage’s full tilt.

 

More characters who raise such heavy moments are Big Daddy and Big Mama.
Shown by Ronald Hodge and Kaylie Rivers, 
are the leading sources of most family drama.
Both actors compliment each other on stage,
in a way that is simply old fashioned, anything but teenage.
The combination of Rivers’ upsetting denial and Hodge’s focused presence
brings at once a spark of nostalgia, and also a sometimes sudden tenseness.

 

A mentionable character to relieve the pressure of this show is Dixie.
Shown through Isabella Habun, her silliness enlightens the show quickly.
Her childlike curiosity contrasts from the crowd-silencing themes,
and her young, wondrous quirks are necessary by all means.
Habun’s liveliness and goofy demeanor feels naturally played.
The reason behind this behavior 
could be traced to how the rest of her family’s portrayed.

 

Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

Is grief truly the price we pay for love? Rock Ridge High School's production of Cat on a Hot Tin Roof puts that question to the test as they navigate through their family dynamics and strained relationships. This rendition of Tennessee Williams classic 1955 play is a deep and welcoming experience for the entire community.

Maggie and Brick’s characters are brought to life by Jaden Thomas-Falcon and Palmer Jolly who display pure emotional vulnerability throughout all three acts. Throughout the show, Thomas-Falcon evokes deep feelings from the audience as they connect to Maggie’s yearning for a stable marriage. Thomas-Falcon’s powerful performance of raw emotions and beautiful monologues not only captivates the crowd but also lays the groundwork for Jolly with Brick’s trauma and addiction. His performance reaches its peak during act two when he argues with Big Daddy, played by Ronald Hodge, as his visible and emotional pain leaves the audience speechless. Jolly’s portrayal of grieving someone he once had a deep connection to, and having to find a way to cope through this perfectly shows a tragically beautiful background to his character. Both actors' portrayal throughout the show makes their tragic family feel even more authentic. 

Their intense performances can not be complete without their supporting castmates, who add a richness to the plot as they guide the audience. Kaylie Rivers delivers a standout portrayal of Big Mama, capturing a spectrum of emotions that leave the audience spellbound. Whether bursting into scenes at unexpected moments to evoke laughter or conveying raw, heart-wrenching grief upon learning the devastating news about Big Daddy, Rivers keeps viewers on the edge of their seats. Her expressive facials, during main scenes and in the background, add layers of characterization essential to a story as emotionally charged as this. Rivers shows a profound understanding of her character, balancing individualism while seamlessly transitioning into her family, making her unforgettable.

Rock Ridge’s performance would not be complete without the backstage brains of it all. The tech’s creativity is evident throughout the production as they contribute to the story’s intense tone. Prop designers, Bella Hasbun and Kaylie Rivers, make a standout contribution with their breakaway glass to add a major impact to Brick and Big Daddy’s fight scene. The sugar-material glass seamlessly blends with the other props on stage, making every moment feel electrifying. This attention to detail enhances the aura on the stage, showcasing thoughtful choices. This is seamlessly complemented by their set department and master carpenters, led by Annabelle Monte, Neel Chethan, Kate Rood, and Alana Vernon, who ensure the audience is teleported into the 1950s with every set piece. Monte focuses on making sure it is set in the right time period while taking inspiration from the 1800s, a nod to the era when most plantation houses were built. From distressed wood to spider webs over windows, every element of the set is designed to the right time period and mood. Together, these efforts create a cohesive experience, leaving a story that feels flawless from every angle. 

Overall, the actors and technicians involved in Rock Ridge High School’s production of Cat on a Hot Tin Roof create an intimate space that leaves a lasting impression. - Ash Strayer, Park View HS

Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

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Rock Ridge HS - Cat On a Hot Tin Roof 01/25/2025

BANG! goes the bed and the bedroom floors, CRASH! goes a glass cup, SLAM! go the doors to the bedroom, all combined with occasional yelling, a bystander can only imagine what could possibly be unfolding in that particular bedroom.

Rock Ridge High School's production of Cat On A Hot Tin Roof is driven by the talent of it's 18-person cast who all manage to tell the story of Brick, Big Daddy, Maggie, and all else featured in the play, conveying the dark histories of the characters and even their lives now along with the fear of what the future can possibly hold for them.

Throughout the show, the actors manage to show great emotion in portraying their characters to help push the story along. Jaden Thomas-Falcon (playing Maggie), Palmer Jolly (playing Brick), and Ronald Hodge (playing Big Daddy) all present a great spirit in their acting. Thomas-Falcon and Hodge can come off as more sarcastic or humorous in their respective roles, but when things get serious, they channel the anger or worry into their characters as they both want nothing more but to understand Brick's drinking problems and even try to help, even if it's not in the best ways. Jolly makes good use of physicality and the props around him when not currently speaking in a given moment. However, when things aren't looking good for Brick, Jolly's way of changing Brick's manner from seemingly carefree to erupting rage captivates the character's energy very well in that Brick is struggling and doesn't know what else to do to help himself.

While the majority of the show has quite serious moments, some characters are able to let their comedy shine at certain points of the production even if it's to present a serious issue, similar to Thomas-Falcon and Hodge. Annabelle Monte (playing Mae) and Kaylie Rivers (playing Big Mama) both showcase comedic timing in their roles and can keep up somewhat more of upbeat personas even in the hard times. Monte and Rivers make the audience chuckle or laugh along with their individual characters, but can both recognize non-comedic situations with different emotions. Rivers's way of expressing the pain Big Mama felt when worrying for the future of Big Daddy has everyone seeing just how much Big Mama loves Big Daddy and would hate to see him die. Monte's tactics of portraying the feelings of constantly being stomped on emotionally by the people around Mae combined with the furiousness Mae felt at the thought of being lied to by Brick and Maggie shows how dedicated Rivers and Monte are to their characters to allow the story to keep moving forward.

Along with the talent presented onstage, Cat On A Hot Tin Roof also shines in the technical portions of the production. The set design by Annabelle Monte was kept simple and flexible to showcase how the show takes place in a single setting while making great use of the space it has to help tell the story. The props designed by Bella Hasbun and Kaylie Rivers also succeeds at presenting the narrative to the audience, whether it be the crutch that Brick walks with for the entirety of the show to the glass cup that Big Daddy shatters when fighting with Brick are all well-executed. The lighting design by Pranjal Deshmukh adds to the intensity or emotion between each scene such as when Brick tries to tell Big Daddy his reason for drinking or when a massive storm hit the show's characters.

With a heavily emotional play like Cat On A Hot Tin Roof, it can be fairly challenging to successfully produce the show to perform for an audience. Rock Ridge High School's production portrays the emotion written for the show that is captivating for audiences everywhere and explains the struggles of all the characters in the show. Congratulations to Rock Ridge High School and their successful Cat On A Hot Tin Roof production. - Tyler Craft, Broad Run HS

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Rock Ridge HS - Cat on a Hot Tin Roof  01/25/2025

Lies, Liars, and even uncomfortable truths intertwine in a Southern Plantation filled to the brim with mendacity. Cat on a Hot Tin Roof is a Pulitzer Prize winning play written by Tennessee Williams in 1955. In it, Brick has turned to alcohol after the death of his dear friend, Skipper. Meanwhile, his wife Maggie and his sister-in-law Mae fight over the inheritance of Big Daddy’s plantation because he has just been diagnosed with cancer; though, conveniently, no one has told him yet.

 

The true stars of the show are Maggie and Brick. Maggie, played by Jaden Thomas-Falcon, expertly displays a vision of hard strength in her fearless confrontations with Brick, Big Momma, Big Daddy, and Mae. At the same time, Thomas-Falcon subtly hints at Maggie’s inner turmoil through her subtle glances and hopeless tone of voice. Brick, played by Palmer Jolly, is no slouch either. Jolly skillfully uses both body language and dialogue to communicate Brick’s broken mental state and provides a window into the true state of the household, hidden under the cheerful facade of laughing kids and fireworks. His confession of why he drinks is particularly impactful as Jolly reveals Brick’s self-loathing and regret.

 

However, the two leads aren’t the only standout performances. Big Mamma, played by Kaylie Rivers, consistently surprises with her evolution over the course of the story from a laughing, doting mother to a desperate, controlling wife. Proving comedic relief, Dixie, played by Isabella Hasbun, is a breath of fresh air whenever she breaks the tension by rushing in screaming, laughing, and crying. Her physicality elevates her performance by making her feel even more like an irresponsible and ignorant child. Her mother Mae, played by Annabelle Monte, is another standout, with her sickeningly sweet jabs at both Brick and Margaret always said through an insidious smile.

 

One of the most impressive elements on the technical side is the set construction and design, by Annabelle Monte, Tom Soricelli, Ginny McGee, Jolyne Ma, Kate Rood, Neel Chethan, and Alana Vernon. The designers truly outdo themselves with an open wood frame set covered only by broken boards and cobwebs, subtly foreshadowing what lurks under the house’s surface. In addition, they do impressively realistic detail work in their construction of the shuttered doors. These are staples of this performance, showcasing everyone listening through the walls and even the slits in the doors. Ginny McGee didn’t only work on Set, but also Dramaturgy. There, her detail oriented work shines through in everything from the couch, to the wood frame, to the impeccable accents every actor was utilising.

 

Another aspect that went above and beyond for historical accuracy is the Hair and Make-up, by Hanna Tyson, Ella Diawatan, and Raza Hassan. They researched not just historically accurate and popular hairstyles, but also ones that fit the characters’ styles. This establishes details about characters that are never discussed during the show. Of course, this show wouldn’t run as well as it does without the work of stage manager Hanna Shirr and assistant stage managers Emma Fernandez, Siham Sohail, and Wardah Islam. Their meticulous cuing of every moment in the show from the cicada sounds starting whenever the gallery doors open to the booming sound and flashing lights beginning almost simultaneously for the lightning strike.

 

Cat on a Hot Tin Roof is one in a long line of impressive shows from Rock Ridge. The historical accuracy, subtle details, impeccable acting and technical elements, and heart-wrenching story all combine to make an unforgettable show. -Alice Snead, Tuscarora HS

Foxcroft School - The Dining Room 01/17/2025

The cast, consisting of all girls, are an incredible unit ensemble. Each actor pursues multiple roles, but regardless of the casting variety, all cast members travel constantly through scenes and characters skillfully, maintaining seamless vitality. Take ZoraNelle Broussard for example, who’s characters ranged from a critical father (Father), a controlling mother (Grace), to a lively little girl (Party Guest). Their characterization is immersive, as though we are scene partners interacting with them. Anna Carey employs a similar technique while portraying a variety, including a longing housemaid (Aggie) and a frazzled mother (Meg) who questions her life and sexuality. Carey’s inflections morph in alignment for each character, lending a bright, wise tone as Aggie but a crazed, chaotic one for Meg. 

Foxcroft’s “Birthday Ensemble,” emphasizes the weight of background work. The ensemble, consisting of ZoraNelle Broussard, Sonja Karsberg, Catarina Andreu Casado, Poppy Markus, Katt Garrett, and Kacy DeMerchant, add a innocent, jovial atmosphere with bright voices and sweet demeanors, contrasting the tension between Peggy (Anna Carey) and Ted (Katarina Sochurek) as their secret love affair brews. Each child has a sense of individuality, fleshed out by their actors, some with two party hats and others ignoring their need to use the restroom. The Birthday Ensemble is a character in itself. 

The timeless nature of “The Dining Room” relies on a foundational set and props design. Foxcroft’s set, done by Manabi Kono, is timeless and versatile, with props adding the touches of unique, generational essence. The floor, a black and white checkered tile, is combined with a white frame against a black backdrop, emulating doorways and shelves. The most interactive pieces are the sepia-brown round table and chairs, overlooked by an illuminated glass chandelier. The props, produced by Sarah Baker and ZoraNelle Broussard, are key in developing the time-period context through silverware, cups, plates, and miscellaneous items such as toy cars, typewriters, and briefcases. 

Amongst the diverse characters, the makeup and costumes, led by Aradeal Hatcher and Anila Schmidt is crucial to their features. Hatcher appends wrinkles and smile lines for older characters and extra blush and highlighter for youthful ones. Schmidt explored time-period accuracy and a distinctiveness throughout her costumes. They specific eras, utilizing bright colors for the 60s, fur coats for the 70s, and pencil skirts for the 40s and 50s. 

As the chandelier’s light dims on Foxcroft’s dining set, we get to ponder. Why these stories? What does it all signify? And while they’re all a tale of upper-middle-class society, that feels incomplete. However, there’s one thing that's for sure: They're all stories of the same place, the same room, and the same component of every household. They’re “The Dining Room.” - Nat Thiessen, John Champe HS

Foxcroft School - The Dining Room 01/17/2025

     The chandelier’s glow reflects off the polished dining room table top, however, that is not the only reflection; scenes of laughter, love, sadness, and heartbreak also shine bright. Foxcroft School's The Dining Room brings this tale to life stunningly.

     The Dining Room, written by American playwright A.R. Gurney was first produced in 1981, taking the stage at the theater of Playwrights Horizons. This show traverses time and space to different upper-class households, showing the lives they lead and the experiences they have. Stories with tones of happiness and comedy are balanced with ones of loss and conflict, and they all take place around the same dining room set.

    One actor who stands out with their performance is Anila Schmidt, who plays the parts of Arthur, Architect, Paul, and Aunt Harriet. Schmidt’s comedic timing and stage presence is commanding, and her performance reads very professional. She also displays great versatility, jumping from character to character with clear distinction. Another actor who steals the stage is Katt Garrett, playing the parts of Michael, Brewster, Ben, and Dick. Garrett’s constant stage business, great articulation, and wonderful physicality bring a sense of realness to each character. Not only does Garrett make professional and pronounced acting decisions, their comedic timing never misses. Anila Schmidt and Katt Garette have a great sense of the stage, creating wonderfully dynamic performances.

     While the individual characters within the show were played well and cohesively, Foxcroft’s performance of The Dining Room would not be so compelling if it wasn’t for the strong ensemble, specifically noting the birthday party scene. Katarina Sochurck, ZoraNelle Broussard, Sonja Karsberg, Katt Garrett, Poppy Markus, and Kacy DeMerchant play the various party guests in this comedically brilliant scene. While a romantic picture unfolds in the forefront, the bulk of the action happens in the background; the chaos of the party. There is never a moment of stillness in this scene, and that is thanks to the chaotic yet intentional stage business, keeping up the constant energy.

     What ties this show all together is its masterful technical elements, particularly the makeup, led by Aradeal Hatcher. Each actor has to play several characters, and the vast distinction between parts is greatly attributed to the countless (and skillfully applied) wigs, as well as the intentional use of contour and wrinkles to age or change the gender of an actor. Demonstrating jumps through time is another crucial piece of this show, and it couldn’t have been done so seamlessly without the props, costumes, and lighting crew, run by Sarah Baker and ZoraNelle Broussard, Anila Schmidt, and Josephine Kin respectively. As the show moves forward and backward in time, these elements work together perfectly to show a clear picture of the given era. Whether it’s a particular vintage piece of cutlery, outfits that have weaved in and out of fashion, or the subtle light changes with each scene, these tech crews stay organized and on top of it all.

     Altogether, Foxcroft puts on a memorable performance of A.R. Gurney’s The Dining Room, and this profound piece leaves an impact on any audience who has the honor of watching. -Bren Rossi, Broad Run HS

Foxcroft School - The Dining Room 01/17/2025

     A dining room may seem ordinary, but through snapshots of everyday familial interactions, A.R. Gurney’s comedic play The Dining Room reveals the humor, heartbreak, and change hidden in family dynamics. Set entirely in a dining room, the play combines vignettes of families, all of which live in various timelines, but possess the same dining room furniture set. 

     The Dining Room premiered Off-Broadway in 1981, establishing Gurney as a well-known voice in American theater. The play was a finalist for the 1985 Pulitzer Prize for Drama, reinforcing its place as a modern classic. It features 13 actors who portray several characters, examining the lives of upper-middle-class families.

     The cast and crew collaborated with cohesion, working together to transition into a more efficient society with less emphasis on tradition. Although these scenes are set in separate time periods, their ability to work together is commendable. The actors seamlessly change roles, ages, and personalities while playing several characters, from little kids to somber grandparents. Their teamwork is the base of the show’s success, allowing them to handle the complexity of the play with ease; the camaraderie among the cast members creates an environment that highlights their shared passion and dedication.

      Anna Carey plays Aggie, Peggy, Margery, Meg, and Annie, showcasing her ability to adapt to different tones. What stands out is how distinct her character choices and portrayals are, specifically of Aggie, a maid, setting the dinner on the table while filling moments of silence. The supporting cast delivers stand-out performances, especially ZoraNelle Broussard and Fiona Joyce, who play their characters with versatility. ZoraNelle’s adaptability is commendable, effortlessly shifting from a child to a grandfather to a mother across periods, each role more complex than the one before. Anila Schmidt’s comedic timing shines through her featured roles as Arthur, Paul, and Aunt Harriet, primarily as the Architect. Her physicality and chemistry with Fiona Joyce (Annie, Buyer/Psychiatrist, Party Guest, Emily), specifically as Emily, brings humor to their scenes. The Birthday Party ensemble (ZoraNelle Broussard, Sonja Karsberg, Catarina Andreu Casado, Poppy Markus, Katt Garrett, Kacy DeMerchant) brings a believable childishness to their roles, making the portrayal of kids feel authentic and relatable. Featured actress Saoirse Carroll-Gavula as Bertha brings a comical yet subtle nuance through her facial expressions, particularly with the soup serving bowl—a minor prop that is a memorable part of her character.

      Behind the scenes, the collaboration between costumes (Anila Schmidt) and makeup (Aradeal Hatcher) was impressive, as both coordinated the era within each scene. The costumes communicate decades effectively, even to those unfamiliar with fashion history, while the bold red lips on the mothers make them appear mature, particularly in Joyce’s portrayal of Emily. Additionally, Hatcher's team pays attention to detail; the wigs are styled and fit well with each character, showing the skill behind this idea. The lighting team, led by Josephine Kin, uses the lights to mirror emotional changes in the story: cool tones for tense moments, and warm tones to heighten scenes with softer, more heartfelt characters. The set, created by Manabi Kono, is minimal yet significant, allowing for smooth transitions between families and eras—elements such as the candelabras double as decoration and as a functional prop. The empty frame hanging on the back wall is a subtle, simple touch, juxtaposed with the show's complexity.

      The Foxcroft School’s production of The Dining Room showcases the ups and downs of family life, mixing humor with relatability. With its unique plot, it captures the traditions, connections, and familial issues.  -Tima Saasaa, John Champe HS

Foxcroft School - The Dining Room 01/17/2025

     The soft scrapes of chairs against the checkered stage, the clinking of glasses, and the ensemble of voices establish the atmosphere of A.R. Gurney’s The Dining Room. Through a series of scenes set in the same space, these everyday sounds subtly underscore the evolving dynamics of family life. What begins as a seemingly simple setting for shared meals becomes a powerful reflection of the passing of time and the changing nature of relationships, all centered around the same familiar dining room table.

     Premiering in 1981, The Dining Room earned critical acclaim for its unique structure and exploration of American family life. Although it didn’t have a long Broadway run, the play found lasting success off Broadway. The central theme revolves around the shifting roles of family members, the decline of social rituals, and the way traditions change as society evolves. The play is set in a single dining room, where a variety of characters come and go over several decades. Through a series of overlapping moments, we witness key parts in the lives of different generations, such as the unraveling of an old woman with dementia, a son struggling with the expectations of his family, and the bond between a young boy and his maternal house maid. The scenes, while distinct in time and context, are all connected by the central location and the evolving relationships between the characters. As the play unfolds, it reveals how the once sacred rituals of family life, like shared meals and social gatherings, slowly unravel.

     Foxcroft’s production of The Dining Room was strongly led by its cast's remarkable chemistry and professionalism. Every member of this 13 person ensemble had the amazing ability to seamlessly transition between characters and time periods. Through their performances, the actors bring depth and authenticity to each moment, making the connections between characters feel both intimate and real. This is also undoubtedly because of the hard and not unseen work of the crews backstage. Their ability to shift effortlessly from one scene to the next with many costume changes, stage makeup applications, and cues allows the play’s delicate flow to remain uninterrupted, creating a powerful sense of continuity that pulls the audience into the evolving dynamics of the characters.

     Taking on any role in a show already requires lots of passion and hard work, let alone taking on as many roles at once as the cast of The Dining Room has. Anna Carey is a strong example of a cast member who brought passion, depth, and range to her roles in The Dining Room. No matter who or when she was, Carey always brought grace, emotion, and clear enjoyment to her roles as Aggie, Peggy, Margery, Meg, and Annie. Carey's range and ability to portray so many different personalities is a feat in itself and she continued to command the stage during both acts.

     Raven Lahaie is also a great example of a cast member who showed emotion and range in their roles as Sally, Old Lady, Kate, and Ruth. Lahaie showed depth especially in their captivating scene as an old lady suffering from dementia. The audience watched as Lahaie delivered their lines with ease and kept the mood in just the right place before sitting down at the old dining room table and joining in on the family's comforting singing.

     Fiona Joyce was a highlight of the scenes she appeared in as well. Her roles as Annie, Psychiatrist, and Emily were overall comedic roles that she executed very well. Despite her roles being mostly lighthearted, none of them felt like a repeat of the last. She brought range, good comedic timing, and outstanding facial expressions to her performances that left the audience smiling many scenes after she exited the stage. Her physicality when delivering the punchline was seemingly very well thought out and purposeful. She kept the audience's eyes on her with every delivery and succeeded at her job of portraying so many characters at once.

     In The Dining Room, a scene that stood out was the birthday party in act one. The children's chanting and cheeky actions added to the tension of the leading characters' conflict perfectly. It's difficult to portray chaos without coming off as confused or messy. However, the ensemble of children portrayed these elements very well and kept the audience laughing at their antics the entire time. These cast members: ZoraNelle Brossard, Sonja Karsberg, Catarina Andreu Casado, Poppy Markus, Katt Garrett, and Kacy DeMerchant kept the mood light and comedic as they interacted with one another as a unit and drew attention to their actions with over the top reactions to shoves and the occasional party hat stealing.

     The technical aspect that was the most eye-catching was the constant changing of costumes, wigs, and makeup run by Aradeal Hatcher and Anila Schmidt. The changing of these aspects was integral to the show's flow and story and could not have been achieved without the hard work of the costume and makeup crews who sourced period accurate outfits and age accurate makeup looks for each character. The Stage Managers, Lauren Graham and Manabi Kono, alongside the stage crew, Sam Serna De Lara, and Assistant Stage Manager, Mia Dunlap, kept the show running smoothly and kept all the light, sound, and costume cues on point. Doing that many changes in one show is a great achievement for these crews, especially with the ease and professionalism it was handled with. The set of The Dining Room was also constructed in an abstract and new way by Manabi Kono. The posts of the set were left unfaced so as to allow the audience to use their imaginations to picture the dining room throughout the decades. The use of the mid stage traveler curtain to cover backstage and as placeholder walls was a clever idea as well. The checkered floor was designed to draw the eye and succeeded at drawing the audience to it.

     In sum, The Dining Room at Foxcroft was a powerful show of the dedication and skill of its cast, crew, and designers, who together brought A.R. Gurney’s exploration of family and tradition to life. Through seamless performances, meticulous costume changes, and an inventive set design, the production captured the emotional depth and complexity of the play, leaving the audience with a profound reflection on the passage of time and the shifting dynamics of family life. This cast and crew's hard work, clear passion, and definite enjoyment of their craft shone through in every scene and technical aspect of the show.  -Grace Craft, Broad Run HS

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Foxcroft School - The Dining Room 01/17/2025

     Bring your best china, Foxcroft School presents, The Dining Room! The Dining Room, written by A. R. Gurney, was first produced Off-Broadway in 1981. Met with large critical acclaim, it became a finalist for the 1985 Pulitzer Prize for Drama. The play is a collection of short scenes depicting the various lives of upper-middle-class families throughout the twentieth century. It explores the emotional connotations a dining room may bring about amongst different families, as well as the shifting culture of manners. Foxcroft School’s production of The Dining Room is equal parts comedic and heartfelt, brought to life by a dedicated cast and crew.

The cast each brings something unique to the show, with its ensemble nature allowing various actors to showcase their understanding of the characters. Anna Carey’s vocality brings a strong personality to all the roles she portrays throughout the show, whether it be her flirtatious line delivery as Peggy; a mother involved in an affair, or her softness and stoicism as Annie, the aging maid of a New England family. As a result, her characters appear developed and complex, making way for excellent chemistry with each of her scene partners, including Anila Schmidt as Paul. Schmidt’s dynamic with her costars is furthered by her physicality, a feature highlighted throughout the production. From the confident saunter of the carpenter Paul to the rapid movement of a passionate architect, Schmidt’s physical choices convey the goals and personalities of each role. 

     Saorise Carroll-Gavula portrays a variety of characters, with her comedic timing shining as Bertha; a maid serving a family caught in an increasingly dramatic conflict. Her facial expressions and movements in reaction to the family heighten the ridiculousness of the scene, elevating the show with her performance. Fiona Joyce as Emily, the mother of the family Bertha works for, brings another layer of comedy to the scene, with her rapid changes in expression and vocal tone creating emotional whiplash.

     In addition to the cast, the technical elements also help to create a believable, developed world. The minimalist set, designed and constructed by Manabi Kono, consists of a sturdy table and chairs, backed by the wooden frame of a dining room. In combination with a functional chandelier, the set reinforces the perceived grandeur of the room, as well as allowing it to be accurate across multiple time periods. The props department, consisting of Sarah Baker and ZoraNelle Broussard, uses authentic china and glassware to establish the wealthy nature of the play’s various characters. Both these props and the set reinforce the timeless nature of the show, highlighting the themes and the characters’ struggles.

     The hair and makeup team, headed by Aradeal Hatcher, utilizes a plethora of wigs and age makeup to create believable looks for the various characters throughout the play. With curly grey wigs and wrinkle lines for older characters, as well as short brown wigs for male roles, Hatcher is able to create convincing appearances and allow the actors to fully slip into the roles.

     The theatrical and technical elements of Foxcroft School’s The Dining Room successfully work together to create a production that highlights the themes of the story, as well as the humanity of the play. -Charlotte Long, John Champe HS
 

Foxcroft School - The Dining Room 01/17/2025

     Maids, Country Clubs, and Boarding Schools become familiar staples of tradition and stability around a large wooden dining table that is both stuck in the past and a symbol of the future. Foxcroft’s The Dining Room is a constant, immersive experience that seamlessly transitions characters from old to young. The cast comes alive through every scene change, where characters diligently set up in the background with one character usually entering as another leaves.

     The Dining Room is an Almost Maine-style exploration of the dying culture of the WASPs written by A.R. Gurney first performed off-Broadway in 1982. In it, different families and stories intertwine around a dining table.

     Anna Carey is a standout actor who ranges from calm acceptance as Aggie to comedic flirting as Winkie’s mom to devastating pleading as Meg. Even when not speaking, her captivating presence permeates the room. Similarly, ZoraNelle Broussard stands out through their range. During the play they switch from a father, to a mother, to a giggling child, and back again. They add energy to every scene they’re in, even when they’re not the focus character.

     Meanwhile, Saoirse Carroll-Gavula heightens all her scenes. Her expert comedic timing and bemused facial expressions as Bertha make the Father’s Honor Scene one of the best scenes in the show and her stint as Nick emphasizes her more dramatic acting flair. Another comedic highlight is Anila Schmidt who carries the theme of vanishing traditions with surprising levity in her role as Aunt Harriet. Bookending this theme, her hilarious portrayal of an egotistical architect emphasizes progress, the other side of tradition vanishing.

     One of the best scenes from The Dining Room is the Party Scene. While the parents discussing their affair is hilarious and tense, the scene wouldn’t have been the same without the ensemble. Their physical and vocal comedy is outstanding, especially when they begin chanting “ice cream, ice cream!” and when they’re volunteering to bring out the cake and ice cream. In addition, their youthful energy creates an impressive contrast and lends urgency to the parents’ conversations.

     The technical elements are a simple, but effective addition to this show. Especially impressive is Manabi Kono’s set design. In keeping to a minimalistic set, Kono allows it to be flexible and fit into the many decades from 1880-1980. Even more impressive, Kono built extensions that blend seamlessly into the permanent part of the stage. Meanwhile, Sarah Baker and ZoraNelle Broussard curate an astronomical number of props that set up scenes, from a formal thanksgiving dinner to an energetic birthday party. Impressively, most of these props were sourced from the directors and Foxcroft’s storage.

     In lieu of the set establishing time periods, the detailed work of Aradeal Hatcher and Anila Schmidt curates costumes that faithfully establish both the changing time period and the social status of the characters. Adding to this, Aradeal Hatcher diligently researched the changing hair styles of different periods and Hatcher creates an immersive experience using only 12 wigs and changing actors’ hairstyles throughout the show. Even more impressive is their gendered make-up, which they use to make roughly half of the all-female cast appear male.

     Foxcroft’s The Dining Room is full of immersive technical elements, moving dramatic acting, and upbeat comedy. Through their seamless character changes the actors meld the past and the present together to create an inspiring theme. The Dining Room is an impressive feat from such a small theater company, and Foxcroft will only continue to exceed expectations. -Alice Snead, Tuscarora HS

Thanksgiving - Karin Thorndike.JPG

The Foxcroft School- The Dining Room 01/17/2025

Discover the stories of families in which one room witnesses many different time periods. From the 1900’s until present day, this dining room sees it all! Foxcroft School’s production of The Dining Room truly embodies the idea of nuclear families and their changing beliefs through conflict with kin, secret affairs, and altered opinions of older culture. 

The Dining Room, written by A.R. Gurney, debuted off-broadway on January 31, 1982 at Playwrights Horizon, then soon closed on July 17th of that year. It follows White Anglo-Saxon Protestant families through an obscured timeline with overlapping scenes where you never know which period of time you will be thrust into next.

The cast of The Dining Room does an incredible job at portraying multiple characters and accurately uses characteristics unique to each person in the story, resulting in the audience being unable to identify whether or not the actor had been in the scene beforehand. Saoirse Carroll-Gavula, who first plays the role of Girl, succeeds in bringing to life the energy, immaturity, and curiosity of a child. Caroll-Gavula embodies this with her resonant voice and by kicking her legs as she sits at the dinner table, which convinces the audience of her character. Her role as the comedic maid, Bertha, illuminates the stage as well as she makes those watching laugh due to Carroll-Gavula’s well-timed reactions to the family she serves, never allowing for her to officially bring out the prepared food. ZoraNelle Broussard also plays a number of distinctive characters throughout The Dining Room, captivating the flexibility and extent of their talent. From a father to a little girl, Broussard surely puts in the time and effort to accurately portray each role. As the father, Broussard takes on the approach of a man who is demanding and strictly enforces manners onto his children, but later,  in another scene, Broussard plays the role of a child at a birthday party, wreaking havoc and chaos with their friends. In mention of, the ensemble (ZoraNelle Broussard, Catarina Andreu Casado, Sonja Karsberg, Katt Garrett, Poppy Markus, and Kacy DeMerchant) of the birthday party scene in The Dining Room, greatly adds background, tension, and disorder to the main aspect between Peggy (Anna Carey) and Ted (Katarina Sochurek). 

Foxcroft’s tech crew dazzles the audience with their cleverness in lighting, props, and sets. Throughout The Dining Room, the lights (Josephine Kin) alter colors to represent the change of the timeline through an online software, QLC+, allowing for Kin to easily manage the shift between lights. Kin has also put much thought into the color scheme of the scenes, seen in the birthday party scene where the lights are pink to express excitement and fun. The props (Sarah Baker and ZoraNelle Broussard) are thoughtfully chosen  to accurately fit the time-frame of The Dining Room. Baker and Broussard make sure to achieve portraying the right decade, which is seen through the use of phones, newspapers, and tea trays. Thanks to the set and its favorable design (Manabi Kono), the stage truly immerses viewers into the story and allows for the actors to truly shine and come alive. Through Kono’s thoroughness, her design of the tile floor is made so that it hooks the audience's attention, encapsulates minimalism, and is flexible for scene changes. 

Foxcroft School’s cast and crew of The Dining Room excel through many elements, ending the show with a warm reunion of family in the room where they all found a close connection to each other and the house, making the audience understand what one space can do for so many! -Bella Warnick, Dominion HS
 

Foxcroft School - The Dining Room 01/17/2025

     Memories can be held in even the most unsuspecting of objects. “The Dining Room” by A. R. Gurney was first produced at The Studio Theater of Playwright Horizons, in 1981. The show provides a historical journey as the audience is swept into a series of intertwined scenes throughout 100 years using the same dining table. “The Dining Room,” a show put on by Foxcroft School, is a mixture of comedic and dramatic scenes, leading the audience through a rollercoaster of emotions.

    There are four actors in “The Dining Room” who must be pointed out. Firstly, Anna Carey, who portrays many characters, must be acknowledged. Although she is incredible in each character, her switch up between her characters of Aggie, a maternal maid, and Meg, a youthful and naive girl, is especially impressive. Another incredible actor is Cam Fegly in her portrayal of Grandfather. She uses fantastic comedic timing while keeping her character of a stern grandfather in place. She uses physicality to truly sell the character of Grandfather, such as hunching over and staggering. ZoraNelle does a great job of differentiating between their contrasting characters. In the beginning of the show, they play a father. Then towards the end of the show, they come back on as a mother, becoming almost unrecognizable in their new portrayal of such contrasting characters. Last but certainly not least is Anila Schmidt. She portrays multiple greatly contrasting characters, and makes an incredible switch from being a sarcastic man using impressive comedic timing and hilarious and dramatic physicality, to a proud, stern old woman using her stage presence to command the scene and show that she is an authority figure in her character. All in all, there are many impressive comedians and actors in Foxcroft School's “The Dining Room.”

    Moving over to technical aspects, Foxcroft School does a great job of balancing their incredible actors with their incredible technical crew. Hair and Makeup, designed by Aradeal Hatcher, is a sight to behold. They use old age makeup and gray wigs to make the very youthful actors look like unrecognizable senior citizens. Another technical aspect is props, designed by Sarah Baker. The props they use in the show include china sets which show the history of the show, and a vintage typewriter which makes the show feel realistic and brings the audience in. There is an entire scene about vintage silverware, and the authentic props they use truly brings the scene to life. Costuming, designed by Anila Schmidt, gives a historical sense to the show, bringing Anglo-Saxon authenticity to the atmosphere of the room. The last technical aspect of the show is lighting design, designed by Josephine Kin. An eye-catching chandelier in the middle of the stage brings a sophisticated look to the stage. Throughout every scene, the lighting colors change to fit the atmosphere of that specific storyline, including turning to warmer colors for lighter or happier scenes, and turning to cool colors for more dramatic scenes. “The Dining Room” has various impressive and sophisticated technical elements that elevate the show and make it that much more enjoyable. 

    At the end of the show, there is a dinner party with the entire cast in attendance using the same dining table that is in each scene throughout the show. “The Dining Room” shows that even the most insignificant things can carry the most significant memories throughout time. Foxcroft School does an excellent job of conveying this message to the audience and truly creating a comedic yet moving atmosphere in their production of “The Dining Room.” 

-Casey Morgenthau, Tuscarora HS
 

Foxcroft School - The Dining Room 01/17/2025

Take a seat in the antiquated and cosy dining room. A series of overlapping vignettes, “The Dining Room” by A.R. Gurney took to the Off-Broadway stage in 1982 at the Studio Theatre of Playwrights Horizons. With an overwhelmingly positive response from critics, the show was a finalist for the 1985 Pulitzer Prize for Drama.

Ranging from a kid’s birthday party to a family desperately urging their grandmother with dementia to remember them, the show emphasizes societal progression, represented by the White Anglo-Saxon Protestant characters in the show. “The Dining Room” displays a myriad of generations and perspectives, with one common variable: the dining room.

The Foxhound Players take “The Dining Room” to the next level, with each actor playing multiple characters throughout the show. Anna Carey in particular showcases her versatility as a performer with each character she plays. Ranging from a maid, to a mother, to a woman coming home with her marriage in shambles unsure of what her next step should be. The cast pulled off seamless scene transitions, as the actors for the next scene appear onstage setting up props and even beginning dialogue while the other scene concludes, creating a lack of downtime and high engagement. Anila Schmidt as the Architect and Fiona Joyce as the psychiatrist was one of the most memorable scene transitions with their use of the measuring tape prop and Schmidt’s peak comedic timing. 

The distinction between characters would not have been possible without the numerous wigs (curated by Aradeal Hatcher) used throughout the show. The careful styling of each wig allows for the actor to look completely different for each character they represent. The props (Sarah Baker) were an important element that was continuously called back to; the placemats in particular were used consistently in each scene. Foxcroft repurposed props that were readily available at the school, rather than searching for new material, making great use of resources. The sound quality is phenomenal throughout the entire show and without missing a cue, the sound team (Elise Rovde and Jensy Curup) make certain that each and every line is heard with complete clarity.

The ensemble work is absolutely phenomenal, particularly the building demands in the children’s birthday party scene crescendos from a subtle roar to to a full chant with perfection emulating true childlike nature. The party guests nailed the realistic background noise of a houseparty without overpowering the dialogue and joyful nature of Katarina Sochurek as the host.

The Foxhound Players put on an astounding performance of “The Dining Room.” The cast's individual and ensemble work certainly does not go unnoticed and would not be possible with the crew's immense attention to detail.  -Alyssa Hasan,  Dominion HS

Foxcroft School - The Dining Room 01/17/2025

It’s time for dinner! Get ready and grab a seat at Foxcroft School’s production of The Dining Room.

 

Written by A. R. Gurney, The Dining Room made its Off-Broadway premiere in 1981. The play takes the audience on a journey through the collection of events that have happened in the dining room. Pieced together through short vignettes, the play provides a look into the lives of different families from throughout the years. From a kid’s birthday party, to a son coming home only to find his mother cheating, to a maid’s goodbye, the dining room has seen it all.

 

The play cannot happen without its fantastical actors. Each actor acted the part of multiple characters, and all were able to switch characters speedily, with no trace of the previous role. One great example of this is ZoraNelle Broussard. Broussard plays all their roles exceptionally well, being able to switch from a commanding father to a manipulative mother, and later to an over energetic little kid. During this, they are giving each one of their characters a unique and different personality through a strong vocal performance and spatial awareness.

 

Even though each performer plays the part of many roles, each with their own relationships, the performers were able to play off of each other extremely well. Raven Lahaie (the Old Lady), Katarina Sochurek (Stuart), Sonja Karsberg (Fred), Catarina Andreu Casado (Nancy), Poppy Markus (Beth), and Katt Garrett (Ben) are excellent examples of this. Although the six of them both have been acting as different characters with no relation to each other previously, they were able to turn around and turn into their respective characters of the scene and play off of one another, acting as one ensemble. Lahaie’s performance as the Old Lady was wonderful, showcasing the part of an old woman with dementia with their deliberate movement around the stage. The other five were able to try and help her regain some of her memories, from reminiscing about the past to singing a song together.

 

The play will not be possible without the stunning set designed by Manabi Kono. The set is simple yet effective, the dining table being front and center, surrounded by a multitude of chairs that are used throughout the show in various different ways. The costuming team (Anila Schmidt and Aradeal Hatcher) created gorgeous costumes that not only transformed each of the actors into many different characters, but also represented the era they belonged to. From sharp suits to floral print dresses, the costuming team not only dressed the actors to their characters, but also brought the dining room to and from the different years of history. On the other hand, the lights during the performance are not something to be overlooked! The lighting done by Josephine Kin added to the overall atmosphere of each of the scenes. A dimmer light for the touching scenes, and a brighter glow for the comedic ones, the lights matched the energy of the families in the dining room.

 

Foxcroft School’s production of The Dining Room is a riveting collection of stories that is sure to transport people right into their own memories of their dining room. With the talented cast and the crafty technical crew, the audience is able to take something away from each of the stories. They all have something in common though: sometimes the most treasured moments are shared together in the dining room. -Nancy Weng, John  Champe HS

Foxcroft School - The Dining Room 01/17/2025

     Bring your best china, Foxcroft School presents, The Dining Room! The Dining Room, written by A. R. Gurney, was first produced Off-Broadway in 1981. Met with large critical acclaim, it became a finalist for the 1985 Pulitzer Prize for Drama. The play is a collection of short scenes depicting the various lives of upper-middle-class families throughout the twentieth century. It explores the emotional connotations a dining room may bring about amongst different families, as well as the shifting culture of manners. Foxcroft School’s production of The Dining Room is equal parts comedic and heartfelt, brought to life by a dedicated cast and crew.

The cast each brings something unique to the show, with its ensemble nature allowing various actors to showcase their understanding of the characters. Anna Carey’s vocality brings a strong personality to all the roles she portrays throughout the show, whether it be her flirtatious line delivery as Peggy; a mother involved in an affair, or her softness and stoicism as Annie, the aging maid of a New England family. As a result, her characters appear developed and complex, making way for excellent chemistry with each of her scene partners, including Anila Schmidt as Paul. Schmidt’s dynamic with her costars is furthered by her physicality, a feature highlighted throughout the production. From the confident saunter of the carpenter Paul to the rapid movement of a passionate architect, Schmidt’s physical choices convey the goals and personalities of each role. 

     Saorise Carroll-Gavula portrays a variety of characters, with her comedic timing shining as Bertha; a maid serving a family caught in an increasingly dramatic conflict. Her facial expressions and movements in reaction to the family heighten the ridiculousness of the scene, elevating the show with her performance. Fiona Joyce as Emily, the mother of the family Bertha works for, brings another layer of comedy to the scene, with her rapid changes in expression and vocal tone creating emotional whiplash.

     In addition to the cast, the technical elements also help to create a believable, developed world. The minimalist set, designed and constructed by Manabi Kono, consists of a sturdy table and chairs, backed by the wooden frame of a dining room. In combination with a functional chandelier, the set reinforces the perceived grandeur of the room, as well as allowing it to be accurate across multiple time periods. The props department, consisting of Sarah Baker and ZoraNelle Broussard, uses authentic china and glassware to establish the wealthy nature of the play’s various characters. Both these props and the set reinforce the timeless nature of the show, highlighting the themes and the characters’ struggles.

     The hair and makeup team, headed by Aradeal Hatcher, utilizes a plethora of wigs and age makeup to create believable looks for the various characters throughout the play. With curly grey wigs and wrinkle lines for older characters, as well as short brown wigs for male roles, Hatcher is able to create convincing appearances and allow the actors to fully slip into the roles.

     The theatrical and technical elements of Foxcroft School’s The Dining Room successfully work together to create a production that highlights the themes of the story, as well as the humanity of the play. -Charlotte Long, John Champe HS
 

Foxcroft School - The Dining Room 01/17/2025

     Maids, Country Clubs, and Boarding Schools become familiar staples of tradition and stability around a large wooden dining table that is both stuck in the past and a symbol of the future. Foxcroft’s The Dining Room is a constant, immersive experience that seamlessly transitions characters from old to young. The cast comes alive through every scene change, where characters diligently set up in the background with one character usually entering as another leaves.

     The Dining Room is an Almost Maine-style exploration of the dying culture of the WASPs written by A.R. Gurney first performed off-Broadway in 1982. In it, different families and stories intertwine around a dining table.

     Anna Carey is a standout actor who ranges from calm acceptance as Aggie to comedic flirting as Winkie’s mom to devastating pleading as Meg. Even when not speaking, her captivating presence permeates the room. Similarly, ZoraNelle Broussard stands out through their range. During the play they switch from a father, to a mother, to a giggling child, and back again. They add energy to every scene they’re in, even when they’re not the focus character.

     Meanwhile, Saoirse Carroll-Gavula heightens all her scenes. Her expert comedic timing and bemused facial expressions as Bertha make the Father’s Honor Scene one of the best scenes in the show and her stint as Nick emphasizes her more dramatic acting flair. Another comedic highlight is Anila Schmidt who carries the theme of vanishing traditions with surprising levity in her role as Aunt Harriet. Bookending this theme, her hilarious portrayal of an egotistical architect emphasizes progress, the other side of tradition vanishing.

     One of the best scenes from The Dining Room is the Party Scene. While the parents discussing their affair is hilarious and tense, the scene wouldn’t have been the same without the ensemble. Their physical and vocal comedy is outstanding, especially when they begin chanting “ice cream, ice cream!” and when they’re volunteering to bring out the cake and ice cream. In addition, their youthful energy creates an impressive contrast and lends urgency to the parents’ conversations.

     The technical elements are a simple, but effective addition to this show. Especially impressive is Manabi Kono’s set design. In keeping to a minimalistic set, Kono allows it to be flexible and fit into the many decades from 1880-1980. Even more impressive, Kono built extensions that blend seamlessly into the permanent part of the stage. Meanwhile, Sarah Baker and ZoraNelle Broussard curate an astronomical number of props that set up scenes, from a formal thanksgiving dinner to an energetic birthday party. Impressively, most of these props were sourced from the directors and Foxcroft’s storage.

     In lieu of the set establishing time periods, the detailed work of Aradeal Hatcher and Anila Schmidt curates costumes that faithfully establish both the changing time period and the social status of the characters. Adding to this, Aradeal Hatcher diligently researched the changing hair styles of different periods and Hatcher creates an immersive experience using only 12 wigs and changing actors’ hairstyles throughout the show. Even more impressive is their gendered make-up, which they use to make roughly half of the all-female cast appear male.

     Foxcroft’s The Dining Room is full of immersive technical elements, moving dramatic acting, and upbeat comedy. Through their seamless character changes the actors meld the past and the present together to create an inspiring theme. The Dining Room is an impressive feat from such a small theater company, and Foxcroft will only continue to exceed expectations. -Alice Snead, Tuscarora HS

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Tuscarora HS - Wuthering Heights 11/23/2024

A soft chill fills the air in the Wuthering Heights residence. Is it just the wind, or is it something more? There’s a loud bang at the bedroom window. A ghostly figure wails out and begs to be let inside. That’s when you know this is no ordinary play. This is Wuthering Heights at Tuscarora High School.

Wuthering Heights is a brand new play based on the book of the same name written by Emily Bronte in 1847. The play was written by Tuscarora High School’s director Alyssa Sera Josep and her theatre students. The play follows Catherine Earnshaw, a girl who lives at Wuthering Heights, who falls in love with the poor boy, Heathcliff, that her father brought home one day in her youth. As they grow older, they also start to grow apart, and the ghosts (literal and figurative) of their past start to reveal themselves. 

Heathcliff, played by D’Andre Bullock, changes tremendously throughout the play, both in appearance and attitude, and Bullock thoughtfully shows this change through his change in posture when he grows more mature and his rigid movements and fear when his past finally catches up to him. Bullock displays raw emotion in his performances, creating a sense of realism in even the most fantastical parts of the play. Maggie Larson, who plays Catherine Earnshaw, is also no stranger to emotion and puts excellent thought into her character. From her collected composure as a young woman to her fearful and contorting body when she appears in her ghostly form, Larson shows tremendous range to reflect the arc of her character.

Sydney Nicklas, who plays Isabella Linton, portrays a naive and innocent woman in love, and realistically shows her affection towards Heathcliff, whom Linton falls in love with. Catherine Heathcliff, played by Lucie Turner, is a smart girl who desperately wants to leave the house she is trapped in, and Turner is able to display that anger and restlessness, as well as the joy of finally being set free. But it’s the spectacular ensemble members who shine through in their limited moments on stage. They not only added energy and life to Catherine Earnshaw’s wedding, but they also added a terrifying element to the last scenes of the play.

What really brings the mysterious ambience to this play are the works of the incredible technical departments. Katie Brunton and Caitlyn Guymon designed detailed, period-accurate costumes that reflect both the era and the social status of the characters. Addison Zimmerman created intricate hairstyles, as well as eerie, pale makeup for the characters in their ghostly forms. Adeline Dugger and Maile Lee lit up the stage in different colors and brightness to reflect the mood of the show at different times. Leo Hall, Iris Mejias and the rest of the construction team created a large and elaborate set that reflects the architectural design of the late 1700s, and the characters that inhabit the space.

Overall, the actors and technicians involved in the Tuscarora High School’s production of Wuthering Heights brought the show to life, and created a fantastical and intimate atmosphere that would leave anyone haunted.

-Ember Lazar, Lightridge HS
 

For this painting, I used a Victorian living room. I simplified it, as to reflect Hindley Earnshaw’s (played by Luke Pierce) crippling gambling addiction. I drew this painting from the perspective of Nelly Dean (played by Alyce Snead), as she was the one who watched these characters grow up.I used the costumes and wigs from Tuscarora’s rendition of “Wuthering Heights,” designed and crafted by Katie Brunton & Caitlyn Guymon, and Addison Zimmerman, respectively. I took inspiration from the scenic design, designed by Iris Mejias, using mostly browns, making the stairs the “center-piece,” and including candles to create a sense of eeriness. On the upper-right staircase, you see Frances (played by Lyla Malik) blankly staring at a spot on the wall. I included a dark green curtain to represent Frances’s resentment towards Hindley after he took her child away. On the staircase is Catherine “Cathy” Earnshaw (played by Maggie Larson), in the clothes she passed in. I included a lot of red in the painting to reflect Cathy’s death and the window that she bangs on every night. At the bottom left corner is Hindley, appearing hunched over and cynical. The green plants represent immaturity, as Hindley often acted irrationally.  -Anika Ranadive

Tuscarora HS - Wuthering Heights 11/23/2024

Wuthering Heights Drawing - Anika Ranadive.png

Tuscarora HS - Wuthering Heights 11/23/2024

     Step carefully into the shadowy worlds of Wuthering Heights and Thrushcross Grange, where mystery and ghosts linger in every corner. Tuscarora High School’s production of Wuthering Heights, based on Emily Brontë’s iconic novel, captured the dark tale of love, revenge, and the destructive power of obsession.

     Brontë’s story follows Heathcliff, an orphan taken in by the Earnshaw family, and his destructive, yet beautiful bond with Catherine “Cathy” Earnshaw. Their toxic love triggers a chain of vengeance that spans generations, leaving both the Earnshaw and Linton families engulfed in tragedy. Through narration by Nelly Dean, themes of love, class, and human cruelty make Wuthering Heights a hauntingly complex masterpiece.

     Maggie Larson, who portrayed Catherine Earnshaw, delivered a stunning performance. Her ability to shift between Cathy’s ghostly presence, her vibrant past, and her descent into madness was nothing short of brilliant. Larson’s chemistry with Heathcliff, played by D’Andre Bullock, vividly illustrated their love, hatred, and remorse. Her performance was one of the most compelling seen on stage.

     Sydney Nicklas, as Isabella Linton, also gave an extraordinary performance. Her impeccable diction and emotional delivery made every word resonate, even during lengthy monologues, heated arguments, and rapid exchanges. Nicklas’ stage presence was a true highlight of the production.

     In the ensemble, Piper Nicklas demonstrated remarkable physicality, even in limited stage time. As a ghost, her contorted movements perfectly conveyed the eerie, unsettling atmosphere of the story. Her graceful performance in the ballroom scene, including a beautifully choreographed dance sequence, was nothing short of intriguing and beautiful.

     Luke Pierce brought depth and complexity to Hindley Earnshaw. His transformation from an arrogant heir to a broken, drunken figure after the death of his wife was portrayed with exceptional nuance, adding emotional weight to the character.

     The technical elements of the production were equally outstanding. Katie Brunton and Caitlyn Guymon’s costumes were meticulously researched and crafted to reflect the period, adding authenticity to the play. Additionally, the original music composition by Luke Pierce and Sydney Nicklas enhanced the emotional tone of each scene. The music, tailored to each character, elevated the storytelling in a brilliant way.

     While the play’s themes are dark and heavy, Tuscarora High School’s production was a masterful and captivating interpretation of Wuthering Heights. The talent and dedication of the cast and crew made this performance an unforgettable experience

-Jojo Smothers, Riverside HS.

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Tuscarora HS - Wuthering Heights 11/23/2024

   Tuscarora High School’s production of Wuthering Heights was a thrilling take on the 1847 novel written by Emily Brontë. Each moment drew the audience in from delicate dancing to bone-chilling deaths, as the show moved along with fluidity without overlooking a single detail.

   Based on a literary classic, Wuthering Heights has been adapted many times for the stage. This rendition was written by director Alyssa Sera Josep of Tuscarora High School. She collaborated with the students to create this stunning piece for their Fall Mainstage Play.

   Wuthering Heights is a riveting story of love, tragedy, and redemption, as the show follows the Lintons and Earnshaws. Heathcliff, a boy adopted by the Earnshaw family, is taken to live in Wuthering Heights. Over the years, their headstrong daughter, Catherine Earnshaw builds a connection with the constantly discriminated against Heathcliff. Catherine goes on to marry Edgar Linton leaving behind Healthcliff. The turbulent relationships between the families cause tensions as the effects of this tragic love story lead to death, manipulation, and revenge.

   Maggie Larson gave a breathtaking performance as Catherine Earnshaw. She portrayed the character’s confident side while also delivering the soft and emotional facet of Cathy. Her chemistry with lead actor D’Andre Bullock (Heathcliff) was palpable, leaving everyone begging for a happy ending. The audience could feel her pain and longing as it kept everyone on the edge of their seats. 

   Another notable performance was by Lucie Turner (Catherine Heathcliff). Her snappy attitude and outspokenness were perfectly timed and her relationship with Hareton showed the pain of her past. Turner had an advanced understanding of her character’s struggles and it showed throughout her performance. 

  The oration of Sydney Nicklas as Isabella Linton was accurate for the time period and reflected the social status of her character flawlessly. Her dialect developed throughout the show as she was knocked down in the ranks of society, showing the trials her character went through in the story. 

    Dylan Bostian delivered an incredible representation of his character, Edgar Linton. He remained poised throughout the entire production, showing the formality of his upbringing and his elegant nature. However, what made Bostian’s performance truly special were his interactions with the other actors. 

    Emily Phifer and Samantha Markis deserve recognition for their work with the sound for this show. The symbolism of the 3 bells after each death was an outstanding detail that contributed to the eerie feeling of the production. The music during each intermission got more and more sorrowful, displaying the spread of suffering throughout Wuthering Heights.

   The creativity of Sydney Nicklas and Luke Pierce was truly remarkable. By composing an entire original score, they gave the production an element of musicality during each scene. Representing each character, there was an instrument that followed them throughout the performance. The fight scene between Hindley and Heathcliff was phenomenal as it was underscored by a passionate oboe and clarinet duet.

   The ghost makeup done by Addison Zimmerman was a standout part of this production. Each ghost scene felt real and haunting. From the deepend eyes to the pale skin and blood, it was evident that the makeup techniques were well researched and executed perfectly. 

  Katie Brunton and Caitlyn Guymon created costumes that fit the time period wonderfully. Cathy’s wedding dress was custom made and represented how her status changed once she met the Lintons in contrast to the beginning of the show when her clothes were loose and allowed her to run free. 

   Tuscarora High School’s adaptation of Wuthering Heights was an incredible production full of talented actors and devoted crew members, leaving the audience wanting more after every scene.  

-Cassia Price, Riverside HS

Tuscarora HS - Wuthering Heights 11/23/2024

     Ravishingly vivid. Unnervingly mysterious. Deeply affecting. Tuscarora captures the fragility of life and the unrelenting force of generational trauma in their production of Wuthering Heights that is harrowing, unflinching, and nothing short of brilliant.

     Originally published in 1847, Emily Brontë’s novel Wuthering Heights takes place during the Georgian era in the West Yorkshire moors, and is a pinnacle of Romanticism and Gothic English literature. The high school stage adaptation was written and directed by Alyssa Sera Josep in collaboration with students specifically for Tuscarora’s production. The story follows the turbulent relationships between neighboring families as Wuthering Heights is passed down through generations.

     The gruff and brooding lead of the production, Heathcliff, was played by D’Andre Bullock. His nail-biting performance was impressive and a testament to his astounding physicality. Bullock convincingly changes from a good natured young man to a thrashing and erratic shadow of his former self tormented by rage and regret. Bullock’s final moments on stage as he takes pulsating raspy breaths are so visceral it’s as if he isn’t acting at all.

     Opposite Bullock in the role of Catherine Earnshaw is the incomparable Maggie Larson, who perfectly portrays the price of young love and familial ties. Larson is a dynamic actress who changes from wild and uninhibited to strong willed and possessive. Her development is strangely terrifying as she dissents into madness while lost on the moors amidst missed opportunities.

     Heathcliff and Catherine’s story is that of a twisted and perverse romance, which Bullock and Larson do an excellent job encapsulating. Catherine’s decision to opt for a world of class as opposed to her wild upbringing was so volatile it forced these star crossed lovers to always have their signals crossed, leaving a trail of blood in their path. Bullock and Larson’s final embrace was so gripping with a hold-your-breath degree of intimacy that it chilled even the most jaded audience members.

     The haunting atmosphere of this production was created by musical composers Luke Pierce and Sydney Nicklas. These two talented students single handedly created an original score for the entirety of the production that anthropomorphized the instrumentalists and allowed for each soloist to mirror a character on stage. This type of creativity within their haunted medley of songs is unparalleled by other high school productions.

     Amongst all of the soloists, flautist Lane Basset’s excellent musicianship and chilling vibrato in addition to oboist Seth Lowry’s robust sound and piercing tone quality helped musical moments reach the audience like fireflies, delicately and tragically timely.

     Annoyed, bitter, and trapped by a promise to a man long dead, Alyce Snead’s performance in the role of Nelly Dean was strikingly sinister. Snead serves as the narrator through the narrative’s ‘web of great misfortune’ and shows how characters are forced to look through the lenses of late parents and perfectly depicts a cynic’s world view.

     Notable standouts were the performances of the Linton siblings, including Dylan Bostian as Edgar and Sydney Nicklas as Isabella. Bostian's transition from a mild-mannered analytical boy to an unforgiving brother was truly vivid and hard to watch. Nicklas’ depiction of a bruised and battered victim of domestic abuse was fearlessly honest and heartbreakingly human.

     Choreographers Kate Anderson and Luke Pierce’s work was tightly-wound, atmospheric, and vivid as their elegant and graceful wedding choreography lifted up the dismal narrative. In contrast, the final powerful and unsettling choreography between Heathcliff and Catherine was as if each character was being stripped of their own life.

     Startling and brimming with cynicism, Tuscarora’s production of Wuthering Heights is a hair-raising generational drama that will frighten and enthrall anyone.

-Bridget Lockett, Stone Bridge HS

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Tuscarora HS - Wuthering Heights 11/23/2024

Wuthering Heights, written by Emily Brontë and published in 1847, is a classic romance novel that explores the troubling and often destructive relationship between Catherine and Heathcliff, the main characters.The novel, known for its complex characters, dark themes, and portrayal of love and revenge, has become a timeless piece of English literature. This story was adapted by Alyssa Sera Josep and was turned into a live performance, exhibited at Tuscarora High School, that demonstrated the chaotic nature of the characters' relationships with one another.
At the heart of the production was Maggie Larson's outstanding portrayal of Catherine Earnshaw. Larson masterfully captured the complex, often contradictory nature of Catherine's personality, conveying the character's devotion, vulnerability, and ultimate tragedy. Sydney Nicklas delivered a standout performance as Isabella Linton, with her accent work and clear diction. Her portrayal of Isabella's naivety and subsequent disillusionment, compelled the audience to sympathize with her character. Additionally, Luke Pierce brought an emotional intensity to his portrayal of Hindley Earnshaw, convincingly conveying the character's all-consuming grief and descent into despair upon the death of his wife. Each and every one of the actors on stage did an excellent job at embodying the themes of this haunting tale.
The technical aspects of the production were equally impressive. Addison Zimmerman's hair and makeup design perfectly complemented the 18th-century setting, while Katie Brunton and Caitlyn Guymon's costume selection and alterations transported the characters to the time period with remarkable authenticity. Iris Mejia's two-story set design perfectly displayed a wealthy 18th-century home. The set provided a fitting backdrop for the drama that unfolded.The choreography, created by Katie Anderson and Luke Pierce, was a highlight of the production, a final dance between two lovers, which signified the tragic demise of Heathcliff, played by D’Andre Bullock. The storytelling through movement was both elegant and devastating, leaving a lasting impression.
In conclusion, this stage adaptation of Wuthering Heights was a resounding success, thanks in large part to the talented cast and crew. Outstanding performances from the entire cast, the production's technical aspects, from costumes to set design, melded into one to create an immersive and deeply moving theatrical experience.

Sophia Zavala-Umana, Park View HS

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Tuscarora HS - Wuthering Heights 11/23/2024

     Every fairy tale has a happy ending. No matter the challenge, goblins, ghosts, dragons, or duels, everything is resolved with true love’s kiss or riding away into the sunset on a horse. What if I told you that is not the case and I can prove it. Wuthering Heights is the perfect example that not all stories can have a positive outcome.

     Tuscarora High School’s production of “Wuthering Heights” showed the audience the true havoc, obsessive love can wreak, as the show follows the storytellings of a passionate love story between Catherine Earnshaw and Heathcliff. Their story, turned rotten by classism, mental illness, and tainted desire is portrayed throughout the show with macabre scenarios and spooky hauntings, displaying overall themes of consuming grief and destructive love.

     William Wyler’s film, “Wuthering Heights”, written in 1939 was the first adaption of the original 1800’s book by English novelist, Emily Brontë. The Tuscarora High School production, however, was originally adapted by the school’s lead director, Alyssa Sera Josep, in a successful attempt to create a high school-appropriate adaptation of such a classic play. The performance was approximately 3 hours long with 3 acts, each act portraying a different phase of the story.

     The cast of Tuscarora’s High School's “Wuthering Heights” conveyed the gothic themes of the show with amazing maturity and poise. Catherine Earnshaw (Maggie Larson) gave an especially heart-wrenching performance. From the first moment she stepped on stage to her last hauntings of Heathcliff, she consistently grabbed the audience's attention with her haunting screams and cries of desperation. Additionally, her versatility as an actress is conveyed in this show through Larson’s portrayal of Catherine’s constant emotional shifts from the up’s and down’s of her relationship with Heathcliff. The two performers, Catherine and Heathcliff (D’Andre Bullock) also have noticeable chemistry on stage. In each of the actors’ body language and tones, there is a consistent hint of desire, making for a convincing romantic relationship.

     Similarly, Frances (Lyla Malik) left a lasting impression on the audience with her convincing conveyance of mental illness after her child was taken from her. Her screams and wails on her deathbed make the audience feel true sympathy for a previously unlikeable character. Furthermore, Nelly Dean (Alyce Snead), gave an outstanding and realistic performance. Snead’s hunched-back and frail body language throughout the scenes that took place in the present excellently embodied the old age of Nelly.

     The technical aspects of the performance, Costumes (Katie Brunton & Caitlyn Guymon), Hair and Makeup (Addison Zimmerman) , Dramaturgy (Lyla Malik & Jack Laird), and Choreography (Kate Anderson & Luke Pierce) were all standout elements in the show, completely executed by students. Isabel’s makeup, specifically, helped emphasize the hardships she has faced after years of abuse, using bruises to signify severe head injuries. The characters’ hair was reflective of their wealth and social class; wealthier characters had more intricate hairstyles than those of lower class. This idea was also represented in the costumes. It was important because it helped the audience differentiate the characters according to social status. Similarly, an important aspect of the Dramaturgy department was creating geographically accurate accents, which allowed for the cultural and class diffusion that was accurate to the original book. Furthermore, the choreography, including blocking, was outstanding. It allowed for a cohesive feel to the overall production with every scene being well thought out. For example, the blocking and choreography of the wedding dance scene conveyed the period in which the story was set excellently and was intentional in portraying the lavish life of an 1800s upper-class family.

     Tuscarora High School’s “Wuthering Heights” distinguished the human nature’s desire for love and passion, even if it is forbidden. This production masterfully highlights society’s influence on our decisions and how desire can quickly become a quest for vengeance. Wuthering Heights may not have had a happy ending, but the production was surely an amazing accomplishment for the Tuscarora students. -Maggie McBride,  Rock Ridge HS

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Tuscarora HS - Wuthering Heights 11/23/2024

     The lights dim, and a haunting melody fills the stage, starting an unforgettable tale between two families. Tuscarora High School’s adaptation of the timeless tale Wuthering Heights creates an immersive experience captured with stunning performances, evocative technical elements, and a deep respect for Brontë’s original text.

     Written by Alyssa Sera Joseph, this adaptation of Wuthering Heights condenses Brontë’s sprawling novel into a tightly woven exploration of love, revenge, and the human condition. The story follows Heathcliff, an orphan taken in by the Earnshaw family, and his all-consuming love for Catherine Earnshaw. Their bond, filled with passion and betrayal, sparks a cycle of heartbreak that spans generations. From Catherine’s fateful decision to marry Edgar Linton to Heathcliff’s relentless quest for vengeance, the tale unfolds through the eyes of Nelly Dean, whose narration anchors the audience in this whirlwind of emotion.

     Tuscarora High School’s drama program has a reputation for ambition, and this was no exception. Under the direction of Joseph, the students brought the brooding world of Wuthering Heights to life. Every actor on stage and every stagehand behind the scenes contributed to the relentless emotional energy of the story. Alyce Snead’s portrayal of Nelly Dean was particularly notable, bringing the audience into the story and making them feel as if they were trapped in the manors alongside her. From young to old, Snead impacted the performance with every story she told Lockwood. Maggie Larson and Dylan Bostian brought raw emotion to the characters Catherine Earnshaw and Heathcliff. They encapsulated a cycle of heartbreak and left the audience breathless when their ghosts reunited in a bittersweet final scene. Meanwhile, Marc Buzzell and Lucie Turner provided a glimmer of hope as Hareton Earnshaw and Catherine Heathcliff portrayed their journey toward love and acceptance with heartfelt authenticity- even through just the sharing of Jack and the Beanstalk.

     The technical elements of this production were just as compelling as the performances. Katie Burton and Caitlyn Guymon’s costume design captured the era’s aesthetic while reinforcing each character’s identity and emotional journey. From the guest wedding dresses to the ghost ensemble's appearance, the costumes kept the audience immersed in the story. The original score, composed by Luke Pierce and Sydney Nicklas, underscored every moment with beauty, weaving themes for each character into the story. The music by the Pit Orchestra added an emotional depth that reached its peak in the final act, where the intertwining melodies symbolized Heathcliff and Catherine finding peace at last. Alongside the costumes and musical composition, the scene changes were flawlessly executed by the stage crew and stage management by Jack Laird and Samantha Braddock. Together, the costumes, music, and production crew transported the audience to the manors, making this adaptation a triumph of theatrical artistry.

     As the lights dim once more, Tuscarora High School’s Wuthering Heights leaves its audience spellbound. From its gripping performances to its technical brilliance, this production captured Brontë’s timeless tale. Much like the moors themselves, it was a theatrical journey that will echo in the hearts of its viewers long after the curtain falls. -Emilia Scovel, Rock Ridge HS

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St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

From the Regency era in England to the stage, St. Paul VI Catholic High School’s Pride and Prejudice was a delightful journey filled with charm and wit! 
Based on Jane Austen’s 1813 novel, Pride and Prejudice is a beloved story of Elizabeth Bennet, a spirited young woman from a modest family and poorer family, and Mr. Darcy, a wealthy and reserved gentleman. This tale of misunderstandings, social expectations, and romantic missteps has been adapted countless times for stage, film, and television. Its themes of love, self-discovery, and societal pressure relate with audiences even today. St. Paul VI Catholic High School’s version added fresh vibrancy to this classic.
The technical elements of this production were outstanding, with every aspect working harmoniously to create an immersive experience. The costumes, led by Annie Howard and their crew, were a beautiful blend of Regency-era styles that brought the period to life and that were historically accurate. The set design by Sophia Walter was thoughtfully constructed, creating beautifully detailed and cozy spaces from the Bennet home to Pemberley with smooth transitions. Lighting by Trinity Jones highlighted key emotional moments, while the live instrumentals by Ron Wulf enhanced the lively dances. Each technical element contributed to the authenticity and atmosphere of the production.
The performances in Pride and Prejudice were exceptional. Maddie Bradford brought sharp wit and confidence to Elizabeth Bennet, perfectly embodying her independent spirit, while Cameron Herrera as Mr. Darcy balanced pride and vulnerability with charm. Ronan McConville’s Mr. Collins was a comedic standout, using exaggerated mannerisms and awkwardly timed jokes to hilarious effect, while Maddy Renuart as Mrs. Bennet had the audience laughing with her dramatic outbursts and matchmaking schemes. Katherine Heflin as Caroline Bingley delivered a memorable performance, using sharp glances and perfectly timed expressions to convey her sneaky intentions. The Bennet sisters, including Annie Howard as Jane and Ava Grom as Lydia, added heart and humor to the family dynamic.
St. Paul VI Catholic High School’s Pride and Prejudice was amazing, blending sharp performances and technical work to create a production full of heart, humor, and charm. The cast and crew dedication to this timeless story was evident, making for an unforgettable experience.

-Hilet O'Dell, Heritage HS

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St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

      Have you ever wondered what it would be like to experience a fabulous historical drama unfold right in front of your eyes? The cast and crew of St. Paul VI Catholic High School perfectly embodied the essence of what makes such entertainment so unavoidably captivating in their performance of "Pride and Prejudice" this fall.

      Set in the English countryside around the Regency Era, the story of "Pride and Prejudice" originated in 1797 as a book written by Jane Austen, but has had many adaptations created in other formats over the years, including several movies, TV shows, and, naturally, the play adaptation performed by St. Paul VI High School. The story begins with the Bennet family: a family of Mr. Bennet, Mrs. Bennet, and their five daughters. When a wealthy man named Mr. Bingley comes to stay in their town, Mrs. Bennet pounces on the idea of him marrying one of her daughters. As Mr. Bingley's seemingly arrogant friend Mr. Darcy becomes more involved in the story, more is revealed about other characters and new romances are spurred.

     The immersive and realistic family dynamics in the Bennet family can be heavily accredited to the dynamics created between the sisters. Camilla Anghelone and Ava Grom, who played Kitty Bennet and Lydia Bennet, respectively, played card games and practiced dancing; their giggling seemed to be never-ending, always filling the stage with a sense of sisterly union. The actor of another memorable character, Ryan McConville, strode around the stage with an awkward stature and giddy dialogue that illustrated the quirky individual that is Mr. Collins.

     At first glance, anyone would believe Mr. Darcy to be a pompous, arrogant man as Cameron Herrera, the actor of Fitzwilliam Darcy, strutted across the stage with an apathetic attitude and grandiose posture. The first impression of him that Lizzy Bennet received, played by Maddie Bradford, surely left her thinking the same. Bradford's expressions and line deliveries were calculated, and her interactions with other characters illustrated the caring, but intelligent heart of the character. Bradford and Herrera created an enthralling chemistry between a woman waiting for true love and a man who had a hard time showing her he had it.

     Not a single element of the show was left to chance by the sound crew as cues were on point, no doubt due to the leadership of Kaylyn Burakowski, Elizabeth Anderson, and Jakob Mirkes. It would've not been as accurate of an atmosphere had it not been for the costume department, led by Annie Howard and Olivia Unverzagt, working hard to assemble historically accurate pieces that matched each role as well. For example, Caroline Bingley wearing extravagant dresses portrayed her self-centered personality.

     The dedication and practice of the stage crew, led by Dante Massarini, were made abundantly clear by the efficiency of the transitions on stage. During the vast number of set changes, the expertly designed set pieces were skillfully moved and placed. With the addition of the music, which was meticulously planned by Roy Wulf and performed by himself, Karina Velasco, and Ethan Chisholm, there was never a moment removed from the exquisite world created on stage, each moment as fascinating as the last. Altogether, the dance-like precision portrayed in the crucial moments between scenes reflected each element combining as perfectly as partners are exchanged in a country dance.

     If there was ever an opportunity to see a wonderfully put-together show that encapsulates the era and atmosphere of "Pride and Prejudice," it would be seeing it performed by the theatre department of St. Paul VI Catholic High School. -Kimya  Afshar, Lightridge HS

St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

Jane Munsil’s stage adaptation of Jane Austen’s Pride and Prejudice brought charm and sophistication to the atmosphere of St. Paul VI’s auditorium. They captivated the audience with their lively performance, artfully crafted set, and time period appropriate flair. 

The production was a visual delight, with the set design by Sophia Walter evoking the elegance of the Regency era. Even with the bright stage lights, having candles scattered throughout brought a softness that created an inviting and intimate atmosphere. Complemented by live music, the setting transported viewers to the world created by Austen. The comforting ambiance supported the emotional moments in the story, particularly in moments where the characters are left to reflect and we are viewing the turmoil in the actors' expression.

Costumes and hair design were another highlight of the show, staying on theme with the time period. Costume Crew Heads include Annie Howard and Olivia Unverzagt, and helped bring the 19th century world to life with the use of gowns, waistcoats, and accessories. The department even took apart and sewed back together the costumes to make them more period accurate. As for the Hair and Makeup department, led by Natalia Lama, they chose specific hairstyles for each character to represent their personalities and social status, including a messy braid bun for Maddie Bradford’s character Elizabeth Bennet showing her stubborn nature, and a neat braid style for Annie Howard’s character Mary Bennet. 

The Actors’ abilities were truly commendable, particularly in their embodiment of such well-loved characters. Information from Cameron Herrera, who plays Mr.Darcy, tells us that the actors were not given instructions on physicality. This makes it even more impressive that the cast’s self guided work shone through, especially with their natural and fluid portrayals. Speaking of portrayal, they were especially interested after learning from Katherine Heflin, who plays Caroline Bingley, that some people chose to not watch the adaptations of the book, and instead used primary resources from the time period to craft their character. The chemistry between Bradford and Herrera as Elizabeth and Mr. Darcy was truly palpable, with their witty exchanges brimming with tension and nuance. 

The ensemble cast displayed strong camaraderie, and each character, from the haughty Lady Catherine played by Gabbi Burgos, to the bumbling Mr. Collins, presented by Ronan McConville, was distinctly realized. Even in supporting and ensemble roles, the actors maintained presence and consistency, adding depth to the narrative. 

Several choreographed dance scenes stood out as both visually striking and thematically rich. These moments not only showcased the actors’ versatility but also conveyed the restrained social interaction of Austen’s world. The dances were performed with grace and precision, further immersing the audience in the Regency setting. 

In conclusion, PVI’s production of Pride and Prejudice was a thoughtfully crafted, well-executed adaptation that celebrated both the humor and the heart of Austen’s work. With its attention to detail in set and costume design, strong character portrayals, and engaging atmosphere, the production deserves high praise. It’s clear that the cast and crew poured their passion into this performance, delivering a memorable experience for all in attendance. -Sonja LaRue, Park View HS

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St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

Pride and Prejudice, the timeless novel by Jane Austen, has been a beloved classic for centuries.The novel’s strong-willed characters and romantic premise make it a compelling read for audiences of all ages. Published in 1813, Pride and Prejudice’s popularity has led to numerous adaptations, from movies to stage plays. 
 
St. Paul VI’s production team thoughtfully crafted and planned a beautiful rendition of Pride and Prejudice. To plant the seeds of their story PVI’s head of set construction, Sophia Walter, created a plethora of set pieces to set the stage for a wonderful performance. The Bennet house had aged wallpaper and cracks on the wall to signify their social standing. Meanwhile, the Bingely  and Darcy estates were heavily decorated and well crafted to show their superior status and wealth.

Dante Massarini's direction of PVI‘s stage crew ensured seamless transitions between the numerous scenes, maintaining the pacing and momentum of the performance. Additionally, the Derbyshire Consort consisting of Roy Wulf playing the Serpent, Karina Velasco and Ethan Chrisholm playing the violin, created a lovely atmosphere through the duration of the set changes. Overall, the crew created a fluid and immersive theatrical experience.
The actors truly brought the production to life, particularly Maddie Bradford, who played the tale's protagonist, Elizabeth Bennet. Bradford had clear chemistry with all the characters, especially her sister Jane, played by Annie Howard. The two excelled at demonstrating the close sisterly bond between the characters. Ronan McConville's portrayal of Mr. Collins, a cousin seeking to marry a Bennet sister, was also noteworthy. McConville skillfully conveyed the character's awkward and unnerving nature. Additionally, Maddy Renuart's performance as Mrs. Bennet added much desired comedic relief. Her over-the-top portrayal of a dramatic mother was hilarious. 

The cast and crew of PVI's Pride and Prejudice demonstrated collaboration and dedication, bringing Jane Austen's timeless classic to fruition with thought and careful planning. Through their skillful execution, they transported the audience to 19th-century England, capturing the novel's romantic aspects, as well as social commentary. Ultimately, PVI's production of Pride and Prejudice was a testament to the power of teamwork, leaving a lasting impression on all who experienced it.

Sophia Zavala-Umana
 

St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

'It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.’ St. Paul VI Catholic High School’s production of Pride and Prejudice challenges and explores this notion in their beautiful production that is not only compelling, but enthralling, suspenseful, and nothing short of brilliant.

Originally published in 1813, Jane Austen’s Pride and Prejudice takes place during the height of the British Regency era in the English countryside. The cherished novel has been brought to the cinema, most notably through Keira Knightley’s Oscar nominated performance in 2005. 

The story follows protagonist Elizabeth or Lizzy Bennet, played by Maddie Bradford, as her mother Mrs. Bennet eagerly tries to marry off her five young daughters to esteemed and wealthy bachelors provoking questions of the nature of love and romance. 

Bradford is a dynamic actress who portrays Elizabeth’s ‘rustic quality’ in addition to her strong-willed independence. Elizabeth stands in contrast to every societal expectation for herself, and Bradford’s depiction of the beloved character allows every women to relate to Lizzy’s romantic struggles despite the few centuries age gap between her existence and the audience
 
Opposite Bradford was the incomparable Cameron Herrera who performed as Mr. Darcy, the pride to Elizabeth’s prejudice. Herrera portrays all of Mr. Darcy’s notorious haughty and handsome demeanor when he calls Elizabeth ‘tolerable’ at first glance. Although as the story progresses, Herrera’s pride turns to a profession of love in a performance so deeply affecting it pulls the audience to the edge of their seats. 

Bradford and Herrera’s chemistry was so powerful that each step that these two performers took towards each other was immediately followed by a collective gasp from the audience. Their final embrace resulted in rapturous applause to the credit of them both. 

The production’s elegance would have been lost if it weren’t for the work of Set Designer Sophia Walter and members of her crew, including Gabbi Burgos, Alex Krepinevich, and many others.  Walter’s inclination for design is evident as each of these pieces manages to show both divisions in class and distinctions of the Regency era. Walter pulls inspiration directly from many of the film adaptations, including details as meticulous as matching the wallpaper from the 1995 tv show adaptation. 

Another knockout performance was seen through Ronan McConville’s depiction of Mr. Collins, the clergy, insisted on marrying his cousin. His obsequious adoration for Lady Catherine de Bourgh and consistent rejection from ‘elegant females’ serve as consistent humor for the audience. Simply McConville’s entrance onto the stage resulted in laughter through his unrelentingly hilarious physicality of Collins’ over-attentiveness. 

Mr. Collin’s counterpart Mr. Wickham was portrayed by the talented Rodrigo Jauregui. Jauregui mangages to possess powers of charisma in his conniving and debonair acting, while also depicting the stiffness and professionalism required of a militia officer. 

The Director of Music Roy Wulf anchors the production in a panoramic view of the early 1800s. Wulf initially emailed Quebecker composer Bertrand Lamoureux in French in order to use his Regency era compositions. Wulf is a powerhouse of a musician. He plays the cello, fife, violin, highland bagpipes, piano, and learned to play the traditional English instrument known as the Serpent just for this production, while also being Mr. Darcy’s understudy. 

A gripping and wildly romantic production, St. Paul VI Catholic High School’s performance of Pride and Prejudice executes Jane Austen’s drama perfectly. Not a single punch was thrown and yet, the tension was so tangible every audience member was enraptured in the Regency era by the technicians, and enthralled in the romance created by the cast. -Bridget Lockett, Stone Bridge HS

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St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

How do pride and prejudice shape the path to true love? Pride and Prejudice is based on the 1813 novel by Jane Austen of the same name. It’s had many adaptations over the years. From feature films to plays these adaptations highlight the complex themes of love, class, and societal expectations, all while bringing fresh new perspectives to the classic tale. Some of the most notable adaptations include the 1995 BBC Miniseries and the 2005 Film starring Keira Knightley. St. Paul VI captivated this compelling story perfectly with their strong performances by many talented actors and thought out technical design.

Pride and Prejudice is set primarily in the rural England countryside near the Bennet family estate in Longbourn during the Regency era. It’s a time period with strict social classes, high marriage expectations and traditional gender roles. The story follows Elizabeth Bennet as she navigates the trials and tribulations of love, societal pressure, and family expectations. Elizabeth runs into Mr. Darcy, a wealthy man whose pride initially repels Elizabeth, but over time as Mr. Darcy reveals his true character, Elizabeth couldn’t help but fall in love with him despite her original prejudice. Meanwhile, Elizabeth’s sisters go through their own stories spanning from scandal to marriage.

The actors at St. Paul VI truly did an amazing job capturing the elegance and grace that accompanies this show. Maddie Bradford captured the role of Elizabeth Bennet perfectly. From her facial expressions to the way she moved about the stage, Maddie Bradford was able to portray the free-thinking, whity nature of Elizabeth all while still keeping up with the elegance and poise for a lady of that time period. Nico Flores, who played Charles Bingley, really excelled in his role. The way he carried himself around the stage projected a strong gentlemanly presence that really fits for his role. It was clear that he was immersed into his character for the entirety of the show. Katherine Helfin, who played Caroline Bingley, executed her role with finesse and ease. Her facial expressions portrayed the sternness of her character really well. Maddy Renuart, who played Mrs. Bennet had a more comedic flair to her role as opposed to the others. The way she portrayed her distress with her comedic flair really embodied her role.

Even with exemplary actors a show is never truly complete without the technical aspects. Roy Wulf went above and beyond with being the Director of Music. His extensive research into the music of that era added an extra flair to the show. Dante Massarini did a great job at being the Head of Stage Crew. The whole stage crew executed the transitions very quickly, keeping the show lively and new without breaking the immersion. Accompanied by The Derbyshire Consort which included Roy Wulf on the Serpent, Karina Velasco on the Violin, and Ethan Chisholm on the Violin the transitions were even more immersive with them playing some of the music from the show during the scene changes. Sophia Walter, who designed the set, further immersed the audience into the world of Pride and Prejudice with her stunning choices.

In conclusion, St. Paul VI’s showing of Pride and Prejudice embodied everything about the show. From its stellar acting performances to their amazing technical team, they brought Jane Austen’s story to life.

Tyler Dobies, Loudoun County HS

St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

Audiences are transported into Jane Austen's literary classic, at Saint Paul VI Catholic Schools production of Pride and Prejudice. The show was an enchanting experience that captivated audiences within the first scene. Set in Regency-era England, viewers are immersed into the life of the Bennet family and their social circle.

Jane Austen originally published Pride and Prejudice in 1813, and since then it has become one of the most beloved novels of all time. It is a delightful mix of romance, comedy, and thought provoking dialogue. The story is centered around the relationship between the second eldest Bennet daughter, Elizabeth Bennet and Mr. Darcy. Audiences follow Elizabeth's journey as she navigates the pressures that are put upon her by society and in the end, she finds love in the most unexpected place.

Maddie Bradford delivered a standout performance as Elizabeth Bennet. Her portrayal was nuanced and she captured Elizabeth's intelligence, wit and independent spirit down to a tee, performing every line with excellence. Bradfords ability to show Elizabeth's complexity and growth throughout the show was truly impressive. Contrasting the grace from Elizabeth, was Lydia and Kitty Bennet, played by Ava Grom and Camilla Anghelone, respectively. The duo was a lively dynamic. The chemistry between them was clear and excellent. Grom's physicality as Lydia was particularly noteworthy, with her expressive and over dramatic movements. Her energetic presence highlighted the youthful exuberance of Lydia. 

Katherine Heflin's performance as Caroline Bingley was another highlight of this production. Heflin brought a sharp wit and a keen sense of superiority to the role, perfectly embodying Carolines disdain for the Bennet family, and doing anything to win the affections of Mr. Darcy. Her performance added a layer of tension to the story, making her scenes particularly intriguing. 

The hair and makeup team, consisting of Natalia Lama, Nina Baker, Francesca Leiva, and Lexy Said did an incredible job of enhancing the authenticity of the show. One specific aspect that stuck out was their use of different braids to distinguish the Bennet sisters, which helped each of the sisters' personalities shine and enriched the visual storytelling. 

The sets were beautifully crafted and designed by Sophia Walter. The attention to detail made every set cohesive and matched the time period excellently. The design choices Walter created, proved a stunning backdrop for every scene that enhanced the story. The craftsmanship of the sets was flawless and transported audiences to different locations in the story. From the humble Bennet family home to the lavish and elegant Pemberley estate, owned by Mr. Darcy. Moving the sets was the quick and seamless stage crew, which consisted of Dante Massarini, Maryn Arseculeratne, Keira Aufiero, and Sophia Walter. The team worked tirelessly to provide smooth transitions between scenes and allowed the production to flow flawlessly.

Overall, the PVI Players production of Pride and Prejudice was a resounding success. The cast and crew brought the beloved novel to life with passion and precision, delivering a performance that was not only entertaining, but also thought-provoking. -Chance McGill, Riverside HS
 

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St. Paul IV Catholic HS - Pride and Prejudice 11/22/2024

Step into Regency era Britain with the PVI Players production of Pride and Prejudice. First written as a Novel by Jane Austen and released in 1797. It was adapted into a play by Janet Munsil in 2012. The story follows the dramatic love lives of the Bennet sisters as a wealthy young man moves in nearby. The main plot follows Elizabeth (Lizzy) Bennet and her escapades with the struggle of three separate suitors affections. Her sister, Jane Bennet, has her eyes on the wealthy young man, Charles Bingley, and his eyes are similarly on her. But, despite everyone's best efforts, these two lovebirds are torn apart by one of the men going after Elizabeth. She must now struggle with the image of this man that she had in her head as his affections continue.

Elizabeth is played by Maddie Bradford. Maddie never held back in her performance, much like the character she played. She encapsulated the emotion of a young woman struggling with the emotions of others as she began to unravel secrets that were being kept from her. Secrets that were being kept by Fitzwilliam Darcy, a very, very wealthy young man played by Cameron Herrera. Cameron played a quiet, stern, and emotionally stunted character who begins to open up as the story progresses. Cameron did well to sew specks of Mr. Darcy’s genuine nature into his character early on to show to the audience that he isn’t what he seems on a surface level. Fitzwilliam wouldn’t be what he is without the influence of Caroline Bingley, however. Caroline, played by Katherine Heflin, can best be described as a Regency era diva. She has no time for those below her stature, and is not afraid to weave that dissent into her passive aggressive nature. Katherine caught this personality from the moment she stepped on stage. The Regency era isn’t all drama and betrayal, however. Mrs. Bennet, the mother of the Bennet family, played by Maddy Renuart. Brings the much needed comedy to keep the play from being all despair. Maddy plays a mother with an active mouth, and a propensity for overdramatics, and Maddy brought that energy. Her scenes were consistently funny right when it was needed.

A play like Pride and Prejudice demands a set that brings the feeling of regality and stature. Sophia Walter achieved that feel with the design of her set. With an incredible blend of stationary and dynamic pieces she and her crew managed to have a beautifully well crafted set that pulls the audience into the scene. Adding to this captivating scene was the music that was put together by Roy Wulf and performed by the Derbyshire Consort. A trio consisting of Roy Wulf on the Serpent, Karina Velasco on Violin, and Ethan Chisholm also on Violin. These 3 were incredible, switching between performing off stage and on stage as a Consort within the world of Pride and Prejudice. The work done by these 3 was phenomenal. The costumes chosen by Annie Howard and Olivia Unverzagt brought the whole thing together. Period accurate and fitting of their characters.

It can’t be understated the quality of performance that the PVI Players brought to their stage and it is not a performance that the audience will soon forget. For the run of the show it felts as though the Regency era was alive and well.  -Hatcher Gardner, Heritage HS

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Heritage HS - Clue: High  School Edition 11/15/2024

A blackout. A thump. And a dead body?! Grab your clues, magnifying glass, and case files and head over to Heritage High School’s production of Clue: High School Edition!

 

Based on the popular 1985 movie, which was based on the even more popular Hasbro board game, Clue is a murder mystery mixed with some well-timed comedy. The story begins with six guests who are invited to a remote mansion for a dinner party. There, the butler, Wadsworth, informs the guests of the menu: blackmail! When their host ends up dead, the guests all have another crime added to their list: potential murderer. Tensions rise as Wadsworth and the guests, Miss Scarlet, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock, and Colonel Mustard, suspect and grow wary of one another. As they join forces and hurry to find the murderer, the body count gets higher and higher with no sign of who it could be.

 

Ding dong! Who could it be? Oh, the guests have arrived, in the order of as followed: Colonel Mustard (Arvin Rahmanian), Mrs. White (Lucy Adair), Mrs. Peacock (Carrigan Kennedy), Mr. Green (Gokalp Necioglu), Professor Plum (Joey Livsey), and Miss Scarlet (Hadley Jones). One by one, each of the actors entered the manor perfectly embodying their character, reacting to the mansion and its guests in states of wonder, hatred, and fear. Each of the guests have their own unique personality traits and quirks that the actors all perform wonderfully. Mrs. Peacock and her being prone to hysteria, Mrs. White, the tragic and expressive women, and Mr. Green, a timid and queasy man. The way each of the guests interact with the others tells the audience of their relationship with one another, and tells a different story each. After finding Mr. Boddy’s dead body, fingers were pointed, and no one trusted anyone. The actors created a tension in the air that encaptured the feelings of each of the guests without any words spoken.

 

Bonjour! It’z ze maid, Yvette, played by Tina Pyhtila! Pyhtila perfectly encapsulates the loyal maid, dutifully doing her duties in the background while the guests converse. Pyhtila’s French accent was impeccable, zounding authentic and ztill underztandable, making Yvette truly seem like a maid from France.

 

This murder mystery wouldn’t be complete without their outstanding tech team! The set crew (Madi Daffron, Lola Haynes, Camila Montero, Toby Shakespeare, and Monroe White) crafted gorgeous sets that transported the audience right into the Boddy Manor. Little details on the walls reveal the secrets of the mansion to the audience. From the secret trapdoor to the evidence board, the set crew may be holding onto some of the secrets of the Boddy Manor that haven’t been revealed yet. Adding to the world of Boddy Manor are the stunning costumes! The costume team, led by Gabriella Grivas, designed and created beautiful costumes that brought every one of the characters to life. The cartoonish style with the black lines on the costumes really give the characters the classic Clue board game vibe. 

 

Heritage High School’s performance of Clue: High School Edition is truly a spectacular performance that is sure to get people laughing and their brains thinking. The amazing technical elements combined with the talented acting brought the story of the six guests in the mysterious Boddy Manor to the audience. Speaking of which, did you catch who did it?

-Nancy Weng, John Champe HS

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Heritage HS - Clue: High  School Edition 11/15/2024

Pick a card, any card, and roll a die. Accept an invitation to a strange English mansion, and the matter of life or death becomes second to whether a person is truly who they present themselves to be. Keep a magnifying glass at all times, because in Heritage High School’s thrilling production of “Clue: On Stage,” crime and deceit are more than just a board game. 

Widely regarded as a classic whodunit franchise, the original “Clue” game has been adapted into books, series, theater performances, and a 1985 film. Set in 1950s New England, the story follows six blackmail victims invited to a dinner party at a secluded mansion. After the lights suddenly switch off, Mr. Boddy, the mysterious host, is found dead on the floor. The immediate suspects must collaborate in order to uncover the murderer behind the scenes, as their dirty little secrets are now only the least of their concerns.

Starring a spectacular ensemble cast, Heritage’s “Clue: On Stage” faithfully captures the card deck of unlikely characters. Oliver Stoltz, who plays the mansion’s butler Wadsworth, steals the spotlight with a noteworthy performance of any gentleman’s charm and formality, occasionally throwing in a witty remark when the moment calls for it. Further stunning the audience is Lucy Adair as Mrs. White, one of the guests, with a bold articulation of ladylike bluntness and no-nonsense attitude. To add, Carrigan Kennedy delivers powerful vocals and memorable exaggerated screams as the unapologetically prim-and-proper Mrs. Peacock, another guest of the party. Accompanying the puzzled attendees is Tina Pyhtila as maid Yvette, who, aside from gracefully maintaining cleanliness and upholding her dainty demeanor, voices an impressive French accent from start to finish. Despite his brief stage presence, Jamie Saberhagen effortlessly fulfills the role of Mr. Boddy with a captivating portrayal of the character’s short-lived outspoken personality and lifeless corpse.

Opening with an enchanting hand-crafted set of the mansion’s interior, Heritage’s stage design and management prove a masterful display of collective craftsmanship. For starters, it is evident that technical directors Hatcher Gardner, Avieka Sethi, and Tyler Sihavong have quite a few tricks up their sleeves than one would expect. Instead of constructing a setting that exhibits multiple moving units, the set crew cleverly showcase each of the estate’s rooms simultaneously with a unique color-changing chart above the main floor to highlight the scenes. In addition to authentic traditional furniture and muted wallpaper tones, costume lead Gabriella Grivas and team bring mid-1950s English attire to life while combining pop-art influences from that same time period, with 2D outlines reminiscent of the board game. Lighting operators Ashnil Dasan and Emma Bajowski oversee the execution of consistently eye-catching visuals, and sound lead McKenna LoSchiavo hits all the right notes with sensational sound effects.

Heritage High School’s “Clue: On Stage” undeniably marks a night to remember in this reenactment of the timeless murder mystery tale. Audiences of any age can take from the stage a sense of thrill-seeking adventure as they exit the doors, looking out for each clue along the way.

-Christina Tran Dominion HS

Heritage HS - Clue: High  School Edition 11/15/2024

A dinner party turned into a murder mystery. Nobody knows who to trust in “Clue: The High Schoo Edition” presented by Heritage High School’s Pride Productions. 

Written by Sandy Rustin “Clue: High School Edition,” was based on the Paramount Pictures film and widely known board game. When six guests, under different aliases, each get letters to attend a dinner party, they find themselves on the hunt for a murderer amongst themselves keeping everyone on the edge of their seats. Starring Miss Scarlet, Mrs Peacock, Mrs White, Colonel Mustard, Professor Plum, and Mr Green played by Hadley Jones, Carrigan Kennedy, Lucy Adair, Arvin Rahmanian, Joey Livsey, and Golkalp Necioglu. They all worked together well as an ensemble and complimented each other's characters. Their sense of urgency and sarcasm perfectly portrays the comedy side while also keeping the 1980s murder mystery feel. 

Butler Wadsworth, played by Oliver Stoltz, added suspense as well as comedy in all of the right places alongside maid, Yvette played by Tina Pyhtila. Alongside, supporting actor, The Chief of Police played by Bridger Shakespeare, had the entire audience laughing with his charisma

The technical aspect of this show was also very impressive. The set designed by Hatcher Gardener adds very fun aspects to reference the boardgame and lighting done by Ashnil Dasan, Emma Bajowski, Stella Bauer, Jameila Burgin, Chase Homan, Milo Jackson, and Ryan Posid sets the mysterious tone as well as does an amazing job on keeping the audience engaged and focused on the show. The costume design was also very well executed by Gabriella Grivas. The period clothing tied all aspects of this production together and played a huge part in bringing it to life.

Overall the mix of suspense, humor, and clever storytelling created an engaging and enjoyable experience that kept the audience guessing until the very end.

-Gayle Naughton, Liberty HS

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Heritage HS - Clue: High  School Edition 11/15/2024

Dinner parties are always fun… especially with murder on the table. "Clue: On Stage", written by Sandy Rustin, did not start as a play. Clue originated in England as a board game called Cluedo. The murderous board game was eventually bought by the Parker Brothers in 1945, who adapted and released the new and improved board game, Clue, in the U.S. "Clue: On Stage" is known for its bright personalities, balanced by its murky, murderous plot. It's a dark and stormy evening when 6 individuals, Mrs. White, Ms. Scarlett, Mrs. Peacock, Professor Plum, Colonel Mustard, and Mr. Green are invited to dinner at a mansion. Heritage High School perfectly guides you through the twists and turns of "Clue: On Stage", which will leave you wondering: who is next?

The first thing that must be pointed out is Mr. Green, portrayed by Gokalp Necioglu. Necioglu pays close attention to everything he does in this show, including body language and comedic timing, as well as a wonderfully played switch up at the end. His body language whenever he planted himself always includes crossing his arms and legs onto himself. At the end of the show, it turns out that Mr. Green is actually an FBI agent, and Gokalp plays this switch up wonderfully, changing his body language to fit the part. Another outstanding character is The Cook, played by Loralai Bajowski. The Cook has amazing comedic timing with her dark and evil lines. Bajowski played The Cook in a way that truly adds to the story. Another truly incredible character is Yvette, played by Tina Pyhtila. Pythtila has an incredible French accent that transports us into the story in an incredible way. As Pythtila moves throughout the story, she uses ballerina-like movements that allow her to glide across the stage. Last, but certainly not least, is Mrs. Peacock, played by Carrigan Kennedy. Carrigan has a character voice that makes her sound like the old woman she was portraying. She has an amazing show of the awkwardness her character possessed, playing off the other characters. Every time Kennedy speaks, she commands the stage with her incredible stage presence and vocal clarity.

Moving over to some technical aspects, firstly the set design must be talked about. The intricate set, designed by Hatcher Gardner, is incredible, including moving set pieces, working doors, and even a second level. Another technical aspect is the hair and makeup, led by Avery Fournier and Faith Anderson. Makeup in the show is incredible, including drawn lines around their features, making people look drawn. The wigs are incredible, with each wig meticulously applied and perfectly fitting the personality of each character. Costuming is also a standout in this show, with lines coordinating with makeup to add to the drawn look. Costuming, led by Gabriella Grivas, is key to presenting the entire guest ensemble with different colors for each character. Lastly is special effects, put together by Ashnil Dasan, Andi Leath, McKenna LoSchiavo, Avieka Sethi. Special effects made an amazing Clue board that hung over the set, lighting up the different rooms they were in. They also made this incredible hanging chandelier that dropped down creating a moody ambiance.

At the end of the show, it turns out that every character is guilty of a murder. Mr. Green, who turns out to be an FBI agent, ends the show with a monologue, detailing where, with what, and who killed each person. Heritage High School beautifully put together an amazing show. They left out no details and took no shortcuts, which is clear when you see Clue: One Stage at Heritage High School.

-Cassy Morgenthau, Tuscarora HS
 

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Liberty HS - The Legend of Sleepy Hollow 11/1/2024

A swirling mist passes through a tense village, bringing with it an air of unease. There's the faint sound of hooves, and the air grows colder. It's dark, and a looming figure waits beyond the trees that surround Sleepy Hollow. The only way to uncover the truth is to follow the hoofprints that lead into the Liberty High School theater. 

The Legend of Sleepy Hollow follows Ichabod Crane as he moves into a strange new town, and slowly learns the secrets that permeate the town. He acquires a job as a school teacher, and attempts to teach the rowdy children of the town. Many of the village folk are wary of Ichabod, and tell him the tale of the headless horseman, a Revolutionary war soldier who is fabled to still wander the town, in search of his head. Amidst being told many stories, Ichabod finds time to fall in love with Katrina Van Tassel, an endearing young girl who is less than enthused by his advances. 

Someone in the cast who absolutely shined was Karly McDonough, who played Katrina van Tassel. She portrayed her character wonderfully, and it was lovely to see how she developed her character throughout the show. Elliot Cavender, who played Ichabod Crane, was also a powerful presence on stage. He was able to command the stage and draw in the crowd with his performance. Cavender showcased his skill and talent in this role, staying well-mannered with a wise air about him for the duration of the show. Two more characters, Hanna van Ripper and Rupert, played by Aftyn Meacham and Matthew Downey respectively, also deserve to be highlighted. Both actors remained engaged and were fascinating to watch during the entire show, regardless of whether they were actively speaking. In the background, Downey interacted with the other boys in a way that was essential to flushing out the world of Sleepy Hollow. Meacham was also intriguing to watch, as she made choices on how to react that created more depth in her character. 

The set, designed by Angela Cushing, includes the very clever use of the door flat, moving it during the scene as characters exit the house. The twisting trees of the forest in the background add to the ominous air of the show. One small platform is positioned upstage center, used in the church scenes. The sound design, done by Quill Talkin, was creatively and effectively executed in context of the story. The most compelling was the sound of the headless horseman's trotting, which gave the illusion that he was moving across the stage. It truly enhanced the tense atmosphere and brought the play together wonderfully. Another notable element were the costumes, designed by Val Garcia. The colorful outfits of the ensemble helped offset the dreariness of the show in a very interesting way. Even with the pops of color, the costumes were still notably time period accurate. Additionally the choreography, done by Sarah Grace, should be highlighted. The formation of the ensemble at the very end was fascinating, it was a great way to tie the show together. 

The Legend of Sleepy Hollow is a fantastic, compelling story that was presented wonderfully by the cast and crew from the Liberty High School theater department. It's abundantly clear that these students have put forth maximum effort to bring together this wonderfully whimsical piece.

-Devin Carpenter, Loudoun County HS
 

Liberty HS - The Legend of Sleepy Hollow 11/1/2024

Riddled with ghost tales and dark tidings, Liberty High School’s production of The Legend of Sleepy Hollow tells a chilling tale filled with suspense, love, and superstition.

The play, based on the short story of the same name by Washington Irving, follows the unfortunate adventures of Ichabod Crane, a school master coming from the city to teach the children of the small country town of Sleepy Hollow. There, he competes against the commandeering Brom Bones to win the hand of Katrina Van Tassel, a young woman of the village. Through his time in Sleepy Hollow, Ichabod is warned of the haunting tale of the Headless Horseman, a spirit whom he eventually encounters in the village woods. Liberty High School draws on imagination and suspense to bring the haunted fable to life on stage. 

Elliot Cavender, who portrayed the disgruntled and superstitious school teacher Ichabod Crane, moved about the stage with a commanding yet timid personality, traits naturally required of the unsure school teacher trying to navigate the town and its closely woven haunted tales. Katrina Van Tassel (Karly McDonough) complemented Cavender’s character, perfectly portraying the joyful yet coy character of Katrina while also adding a new layer of depth, showing her stubborn and headstrong nature.

Other standout characters were seen in Baltus Van Tassel and Brom Bones, played by Naqui Francis and Colin MacMahon respectively. Francis brought the loving yet protective father of Katrina to life, while also showing great physicality as he stepped into the role of Gunpowder, the horse, as well. MacMahon commanded the stage with confidence, showing great chemistry and wit as he sparred with Ichabod for Katrina’s affection. His outbursts were peppered with passion, truly bringing his lovesick character to life.

The costumes, headed by Val Garcia, brought new depth to the story, distinctly giving each character their own color corresponding to their personality, such as how the innocent and beautiful Katrina was dressed in a pure light pink and white dress and country style boots, giving a nod to the small country town she lived in. The setting of the town, designed by Angela Cushing, brought the spooky fall themes to life before the audience’s eyes, with looming trees and pumpkins decking the stage. 

The lighting, headed by Kenny Mullins, also enhanced the show greatly, able to transport the audience through different settings by the lighting changes, such as being able to mimic a dark wood at night with a golden and foggy hue. The stage crew, led by Jonah Blue, was able to move the sets quickly on and off the stage, always on standby at a moments notice.

Bringing the spooky vision to life was no easy feat, yet the hardworking students at Liberty High School managed to encapsulate the audience into the enchanted realm of Sleepy Hollow, leaving the show hard to be forgotten.

-Annie Howard, St. Paul IV Catholic HS

Liberty HS - The Legend of Sleepy Hollow 11/1/2024

Take a fearful step into the eerie village of Sleepy Hollow with Liberty High School’s captivating and energetic production of Washington Irving’s classic tale, The Legend of Sleepy Hollow.

Washington Irving’s ghost story, originally published in 1820, has inspired countless adaptations since the late 19th century, ranging from comedic retellings to horror-infused interpretations. The Legend of Sleepy Hollow has become a Halloween favorite, and modern productions, such as Tim Burton’s 1999 film, highlight the story’s haunting atmosphere and timeless themes of superstition, fear, and the supernatural. Liberty High School’s production artfully brought Irving’s world to life, blending suspense with a touch of humor, and showcasing the talents of both the cast and crew.

The story follows Ichabod Crane, a superstitious schoolteacher who arrives in the eerie village of Sleepy Hollow, where he hears spine-chilling tales of a ghostly Headless Horseman. Ichabod becomes enamored with Katrina Van Tassel, the beautiful daughter of a wealthy farmer, but soon finds himself competing for her affection with Brom Bones, a mischievous local who is not fond of the newcomer. After a festive autumn party, Ichabod has a terrifying encounter with the legendary Horseman, who chases him through the dark woods. By morning, Ichabod has vanished, leaving only his hat and a shattered pumpkin, sparking questions in the village—did he flee in terror, or was he taken by the Horseman?

Katrina Van Tassel, played by Karly McDonough, brought both emotion and complexity to her role, portraying genuine compassion for Ichabod Crane, played by Elliot Cavender, while showing reluctance toward Brom Bones, played by Colin MacMahon. McDonough and MacMahon shared notable chemistry, with Katrina’s quiet resistance meeting Brom’s determined affection. Their scenes together were captivating and highlighted each character’s distinct personality, bringing additional depth to the love triangle.

A standout performance came from M. MacNeil in the party scene, where his physicality and elegance brought a sense of grandeur to the event. Even with limited stage time, Aftyn Meacham’s portrayal of Hanna Van Ripper left an impression. With her sharp wit and quick, humorous responses, Meacham brought energy to her scenes, making Hanna a memorable character and providing a lighter counterpoint to the story’s eerie tone. Her comedic timing was complemented by her subtle expressions of compassion, especially as she played a key role in helping Ichabod embark on his journey through the woods with his horse.

The production’s technical elements were also notable, particularly the costumes, designed with precision and attention to historical detail by Val Garcia. Each costume added to the authenticity of the characters and demonstrated Garcia’s dedication. Another highlight was the show’s musical elements, which were handled with care by Aftyn Meacham (choreography) and Colin MacMahon (music direction). Their contributions, from well-crafted songs to dynamic choreography, showcased their creativity and were essential to setting the mood of Sleepy Hollow.

Jonah Blue did an excellent job as stage manager, ensuring smooth transitions and coordinating each set piece’s placement with efficiency. Balancing his role backstage with a part in the cast, Blue demonstrated impressive commitment, making sure each scene felt polished and cohesive.

Liberty High School’s The Legend of Sleepy Hollow was a memorable experience, delivering the classic story’s eerie essence through outstanding performances and a talented technical team. This production’s immersive atmosphere and skillful storytelling make it a must-see for anyone interested in a journey to Sleepy Hollow. Don’t miss your chance to experience this hauntingly beautiful show!

-Jojo Smothers, Riverside HS

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Riverside HS - Harry Potter and the Cursed Child 10/19/2024

Welcome yourself to the Wizarding World as Riverside High School puts on their production of Harry Potter and the Cursed Child High School Edition! Written by Jack Thorne and premiering in July of 2016 at London’s Palace Theatre, Cursed child has been bringing a new tale from the magical world of Harry Potter to potterheads and muggles alike for close to a decade. Now, Moon River Productions brings their rendition of this tale to their stage for a limited run of 7 performances.

Harry Potter and the Cursed Child follows the central duo of Albus Severus Potter, son of Harry Potter, and Scorpius Malfoy, whose parents are a topic of contention for the run of the show. Albus Potter is played by Finn Griffiths as he must come to terms with his parentage and the mistakes of his fathers past. Albus is never alone however, as he is side by side with his best friend Scorpius Malfoy who is played by Jeffery Henderson. The two of them work through thick and thin, never seeming to fit in with the other kids at Hogwarts because of their parents. All of this changes, however, when Albus overhears his father Harry, played by Jet Hardy, discuss a possible illegal time turner that is in possession of the Ministry of Magic. Albus makes it his goal to come into possession of this time turner and set things right. Aided obviously by Scorpius, but also by a new friend. Delphi Diggory makes her entrance to help the duo out, played by Nia Dillon.

Finn Griffiths and Jeffery Henderson make for a formidable comedic duo on stage, consistently hitting just the right beat to elicit a laugh. They’re aided by their supporting cast consisting of characters any Harry Potter fan will know, including Ron Weasley played by Jojo Smothers. Ron fittingly owns a joke shop as Jojo was another actor who brought a chuckle to the audience's chest. Hermione acts as Rons counterpart, played by Anna Salmon. She is calculating and intelligent, and Anna brings this characterization to center stage. Unlike Hermione who makes it look easy, Harry struggles with being a parent in just about every way he can, and Jet Hardy makes this feeling of struggle palpable.

The Wizarding World is one full of magic and grandeur, and Moon River productions manages to encapsulate some of this magic on their stage with the hard work done by their technical crew. Lighting Designer Kylee Clark had a grasp on the feeling of a scene with every light and every projection cast. Whether it's the perplexing feeling of first using a time turner, or the terrifying feeling of a world ruled by a dictator, Kylee captured it through lights. Aiding in this endeavor were the costumes of the show, led by Chance McGill, Claire Rice, and Naomi Whitworth, this trio made sure every character looked just how they should as the years went by. The Deatheaters were mysterious and frightening, and the Hogwarts students, while fanciful, looked academic. 

If you are looking for a night of magic and wonder, look no further than Riverside High School. Harry Potter is a familiar story to many, but the sequel production of Harry Potter and the Cursed Child might just be a new story to delve into. 
-Hatcher Gardener, Heritage HS

A wise, magical, and white-bearded man named Albus Dumbledore once said, “It matters not what someone is born, but who they grow to be.” And Riverside High School’s magical performance of Harry Potter and the Cursed Child will soon teach that lesson to all who witness it.  

Written in 2016 by Jack Thorne, this play says Alohamora to Albus Severus Potter, Harry Potter’s son, 19 years after the original Harry Potter story ended. The story follows Albus’s adventures at Hogwarts with his best friend, Scorpius Malfoy, and his inner journey to becoming who he is, separate from his infamous dad.

Speaking of his dad, a truly captivating performance was from none other than the boy who lived, Harry Potter himself. Harry Potter, played by Jet Hardy, perfectly encapsulated the character of Potter with his adventurous spirit and caring persona. Hardy managed to capture the essence of maturity needed to portray an older Harry, now a father, while also conveying deeply heartfelt emotions as he reflected on Harry’s past.

Even Professor Trelawney wouldn’t have seen a friendship between a Potter and a Malfoy coming, yet the bond between Scorpius and Albus makes this play astounding. Finn Griffiths’s portrayal of Albus Potter is heart-wrenching. Griffiths beautifully emanates the hurt and confusion when Albus realizes he is nothing like his father and never will be. Griffiths also simultaneously performs the perfect mix of teenage angst, hope, and adventure with emotions of deep betrayal, pain, and confusion. Scorpius Malfoy, portrayed by Jeffrey Henderson, showcases a sharp wit and comedic timing so effortless that it’s hard to believe he’s the son of Draco Malfoy. At the same time, he artfully embodies the pain of a grieving son and a wounded friend, adding depth to his character. Together, their chemistry is so strong that they beautifully encapsulate the essence of friendship in a touching portrayal of love and devotion.

Drip* Drip* Drip* giggle* Uh oh, is that moaning Myrtle I hear? It sure is! A few outstanding honorable mentions are the characters with the most wondrous accents! Moaning Myrtle, played by Kaitlyn Lanigan; Professor McGonagall, Played by Michelle Harris; Severus Snape, played by Krishnan Patel; and the rest of the cast did a mesmerizing job with the accents that inhabit Hogwarts. Down from McGonagall’s signature Scottish accent to the sniffling giggles of Moaning Myrtle and the drawnnn-outtt wordsss of Servis Snape, these three created the perfect potion of memorable and accurate accents.

To accompany the mystical actors of the Riverside is the mystical tech. The lighting, crafted by Kylee Clark, Kayla de Borja, and Aaron Carvajal, was visionary, with colorful changes and mystical projections that beautifully captured the wizarding world. The music by Charlotte Tantum was equally impressive, with transition songs that encapsulated the essence of Harry Potter without detracting from the story. Last but not least, props and special effects by Ava E. Wadhwa, Nawal Abib, Cindy Ayala, Fama Gueye, and Nariah S. Martin were otherworldly, featuring twinkling wands, bubbling potions, and spinning time turners that creatively illuminated the actors.

So, did this cast and crew unite and make a show full of magic, love, and adventure? You bet Merlin’s beard they did! Riverside’s hard work, talent, and cooperation truly made a show that even Bellatrix Lestrange couldn’t obliviate away. 

-Sophie Coyle, Lightridge HS

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