by Madison Bernstein, Lyman High School
Bright lights, opening night, an entire row of critics; this combination is a perfect recipe for a flock of butterflies to nest themselves in your stomach, but this did not seem so for the cast of Hagerty High’s production of “The Miracle Worker” by William Gibson, on October 19, 2006.
A play with almost a two-year run time on Broadway, along with such a strong message and story is bound to be a winner. The basis to “The Miracle Worker” is the story of Annie Sullivan’s development into a well educated, intelligent, and efficient teacher to the deaf, dumb, and blind. Annie met Helen and her family in 1887. Helen was a spoiled child, who Annie was determined to change, with awful manners and terrible temper tantrums.
Leah Goetzke, who played Annie Sullivan, convinced the entire audience she was Annie Sullivan by transforming from a young girl freshly out of school who didn’t know much about the world or how to teach, and blossoming into a history making miracle worker.
Helen and Annie are an unstoppable duo. The relationship they expressed to the audience was one of true compassion to help one another. Annie obviously gave Helen the tools to transform her into a contributing member of society. Just as Annie was molding Helen into the person she turned out to be, Helen styled Annie into a successful and knowledgeable teacher who will go down in history.
With such strong actors it’s easy for inexperienced actors to go unnoticed. On stage it is prudent to speak loudly and clearly or be drowned out.
The set for Hagerty’s production was simply delightful. The creation of the different level for Annie’s bedroom gave a more realistic feel to the Keller’s home. Besides the marvelous décor of the Keller’s household, the working water-pump was not only a shock to see, but intensely wonderful to see the commitment of dedicating to the major revelation of Helen’s life.
Hagerty’s production was a joy to see and a true attention grabber. From their choice of actors to the actual play they chose to perform, was a strong and good decision.
Originally published in The Backstage Noise, Fall, 2006
Monday, July 5, 2010
East Ridge's Sleepy Hollow A Definite Success
by Adam Pegram, Cypress Creek High School
A man engulfed by the threat of an eerie presence, a quivering, young schoolmaster of an unknown past, and a symbol of progress, Ichabod Crane merely stepped into a precarious situation at one of the worst possible times in East Ridge High School’s production of The Legend of Sleepy Hollow.
Ichabod Crane, the new schoolmaster, arrived in Sleepy Hollow in a rather unorthodox fashion, bringing with him some odd traditions that aroused the interests of the townspeople. Soon enough, his cordial nature impressed the ladies, including Katrina Van Tassel, the town’s most sought after female. The men of Sleepy Hollow were much less enthralled, in particular, Katrina’s admirer, Brom Bones, who immediately began plotting Ichabod’s defeat only moments after his arrival. Issues surged to a climax during the Van Tassel’s Halloween party, after which Ichabod is meets a terrifying apparition, the Headless Horseman of Sleepy Hollow. The next morning Ichabod vanished. His hat was the only evidence of his existence.
Although somewhat limited by shaky transitional phases, the quality of the production was quite admirable. The set and costumes were both indicative of the eighteenth century, and the thematic music aided the production’s suspenseful nature. The introduction by Narrator Zachary Hassan also served as a dramatic and somewhat humorous component of the production, setting the stage for future events.
Michael Crowley (Ichabod Crane), Garrett Jablonski (Brom Bones) and Tori Rapp (Katrina Van Tassel) each demonstrated consistency and professionalism in their roles, supplementing the storyline with versatile and dynamic lead characters. Michael Crowley’s emphasis on Ichabod’s tentative and naturally quiet nature greatly contributed to the suspense of many of scenes of the play. Garret Jablonski and Tori Rapp’s commitment to both comedic and dramatic sequences added a further dimension to the performance as well.
Garret Jablonski and Tori Rapp’s introductory “ankle scene” was a very entertaining and well-choreographed sequence. However, the most memorable moment of the night can be summed up into Zachary Hassan’s three-word phrase, “Oh that Ichy!” Overall, the entire cast’s fearlessness and enthusiasm served as possibly their greatest benefactors. The confidence and enthusiasm levels of the crew were impressively high for opening night.
The lighting and sound complemented the production well, accentuating the “Graveyard” scene by feeding upon the excitement from the prior instances. The malignant laughing also deepened the suspenseful inseams of the play, and served as a welcome addition.
Despite the pressures of opening night, East Ridge High School’s production of The Legend of Sleepy Hollow was a definitive success!
Orignally published in The Backstage Noise, Fall, 2006
A man engulfed by the threat of an eerie presence, a quivering, young schoolmaster of an unknown past, and a symbol of progress, Ichabod Crane merely stepped into a precarious situation at one of the worst possible times in East Ridge High School’s production of The Legend of Sleepy Hollow.
Ichabod Crane, the new schoolmaster, arrived in Sleepy Hollow in a rather unorthodox fashion, bringing with him some odd traditions that aroused the interests of the townspeople. Soon enough, his cordial nature impressed the ladies, including Katrina Van Tassel, the town’s most sought after female. The men of Sleepy Hollow were much less enthralled, in particular, Katrina’s admirer, Brom Bones, who immediately began plotting Ichabod’s defeat only moments after his arrival. Issues surged to a climax during the Van Tassel’s Halloween party, after which Ichabod is meets a terrifying apparition, the Headless Horseman of Sleepy Hollow. The next morning Ichabod vanished. His hat was the only evidence of his existence.
Although somewhat limited by shaky transitional phases, the quality of the production was quite admirable. The set and costumes were both indicative of the eighteenth century, and the thematic music aided the production’s suspenseful nature. The introduction by Narrator Zachary Hassan also served as a dramatic and somewhat humorous component of the production, setting the stage for future events.
Michael Crowley (Ichabod Crane), Garrett Jablonski (Brom Bones) and Tori Rapp (Katrina Van Tassel) each demonstrated consistency and professionalism in their roles, supplementing the storyline with versatile and dynamic lead characters. Michael Crowley’s emphasis on Ichabod’s tentative and naturally quiet nature greatly contributed to the suspense of many of scenes of the play. Garret Jablonski and Tori Rapp’s commitment to both comedic and dramatic sequences added a further dimension to the performance as well.
Garret Jablonski and Tori Rapp’s introductory “ankle scene” was a very entertaining and well-choreographed sequence. However, the most memorable moment of the night can be summed up into Zachary Hassan’s three-word phrase, “Oh that Ichy!” Overall, the entire cast’s fearlessness and enthusiasm served as possibly their greatest benefactors. The confidence and enthusiasm levels of the crew were impressively high for opening night.
The lighting and sound complemented the production well, accentuating the “Graveyard” scene by feeding upon the excitement from the prior instances. The malignant laughing also deepened the suspenseful inseams of the play, and served as a welcome addition.
Despite the pressures of opening night, East Ridge High School’s production of The Legend of Sleepy Hollow was a definitive success!
Orignally published in The Backstage Noise, Fall, 2006
Cypress Creek Ushers in the Holiday Season With A Classic
by Rebecca Curran, Hagerty High School
It’s A Wonderful Life, the show based on the story of Phillip Van Doren Stern and adapted to the stage by James W. Rodgers, has long stood as a Christmas classic and was brought to life on the stage of Cypress Creek High School.
The well-known story, made into a Frank Capra film in 1946 starring James Stewart, begins at a climax—it is Christmas Eve, and George Bailey stands on the edge of a bridge ready to jump. His bumbling guardian angel, Clarence, appears and shows George what the world would be like if he had never been born. To George’s own surprise, he realizes how much good he has contributed to people, and returns home to his worried family.
The overall design of this production was impressive. Each scene created a very aesthetically pleasing stage picture, and the sentimental themes of the show were well communicated by the cast.
Starring Diego Rodriguez as George Bailey whose portrayal showed a definite understanding of the character’s nuances and changes as George looked back on his life. The chemistry between Rodriguez and Gabriela Camargo, who played his wife Mary, made a perfect transition from cute and awkward in their first date to strong and solid in their marriage.
Melissa Nunez as Violet Peterson and Greg Cobb as Bert stood out as actors who had a deeper grasp of their characters and made their time onstage very enjoyable for the audience. The entire Bailey family’s chemistry, especially the relationship between George and ZuZu Bailey (Christina Seijo), performed like a true family.
Energy lacked in some of the supporting cast and ensemble in the first act, but the second act showed a definite pick-up. This show’s technical crew had a difficult task, but all was accomplished. The many different scenes required many sets, which appeared to move seamlessly across and above the stage. Particularly notable was the opening bridge, designed by Edwin Cabrera, swirling in snow. While there were several problems with props during the show, particularly a door that wouldn't stay shut, all fitted very nicely with the set and costumes. The costumes, done by Franchesca Alicea, demand attention since very few main characters wore the same thing the entire time—appropriate changes were made to the different situations and time periods.
Cypress Creek ushered in the holiday season with this production of It’s A Wonderful Life! Classics are apt to pre-judgments and comparisons, both of which show silenced with stunning stage pictures and a touching final scene.
Originally published by The Backstage Noise, Winter Edition, 2007
It’s A Wonderful Life, the show based on the story of Phillip Van Doren Stern and adapted to the stage by James W. Rodgers, has long stood as a Christmas classic and was brought to life on the stage of Cypress Creek High School.
The well-known story, made into a Frank Capra film in 1946 starring James Stewart, begins at a climax—it is Christmas Eve, and George Bailey stands on the edge of a bridge ready to jump. His bumbling guardian angel, Clarence, appears and shows George what the world would be like if he had never been born. To George’s own surprise, he realizes how much good he has contributed to people, and returns home to his worried family.
The overall design of this production was impressive. Each scene created a very aesthetically pleasing stage picture, and the sentimental themes of the show were well communicated by the cast.
Starring Diego Rodriguez as George Bailey whose portrayal showed a definite understanding of the character’s nuances and changes as George looked back on his life. The chemistry between Rodriguez and Gabriela Camargo, who played his wife Mary, made a perfect transition from cute and awkward in their first date to strong and solid in their marriage.
Melissa Nunez as Violet Peterson and Greg Cobb as Bert stood out as actors who had a deeper grasp of their characters and made their time onstage very enjoyable for the audience. The entire Bailey family’s chemistry, especially the relationship between George and ZuZu Bailey (Christina Seijo), performed like a true family.
Energy lacked in some of the supporting cast and ensemble in the first act, but the second act showed a definite pick-up. This show’s technical crew had a difficult task, but all was accomplished. The many different scenes required many sets, which appeared to move seamlessly across and above the stage. Particularly notable was the opening bridge, designed by Edwin Cabrera, swirling in snow. While there were several problems with props during the show, particularly a door that wouldn't stay shut, all fitted very nicely with the set and costumes. The costumes, done by Franchesca Alicea, demand attention since very few main characters wore the same thing the entire time—appropriate changes were made to the different situations and time periods.
Cypress Creek ushered in the holiday season with this production of It’s A Wonderful Life! Classics are apt to pre-judgments and comparisons, both of which show silenced with stunning stage pictures and a touching final scene.
Originally published by The Backstage Noise, Winter Edition, 2007
Apopka's Frankenstein A Powerful Story
by Ana Bechel, Timber Creek High School
One of the most captivating pieces of American literature is hands down, Frankenstein by Mary Shelley. This terrifying tale is about one man’s goal, or rather his obsession, to successfully and essentially play God and bring a man back to life. This powerful story was acted and performed last weekend by Apopka High School.
In the beginning, Victor Frankenstein did not realize how a plethora of experimentation and a few bolts of lightening could lead to the creation of his monster that ultimately ruined his life. Victor did not realize that as the monster grew more and more intelligent the more violent he became.
The monster, wandering in a world scorned and confused, did not realize he was brought back from the dead. Shunned by all for his repulsiveness, except for the kindness of a blind man, the creature came to realizations about his Creation and believed Frankenstein was his God. He eventually forced Victor to try and create a friend for him. Frankenstein could not and did not. The monster’s strength grows out of hand, accidentally, at first, but eventually sets out purposely to murder Frankenstein’s friends and family, leading to a tragic ending of heartache.
Overall, Apopka’s performance proved to be a thrilling and overcast one at that. With a combination of an astounding, professionally functional set and a cast full of energy and poise, Frankenstein was a must see.
Kyle Mulcahy provided an accurate portrayal as the fanatical, passionate Victor Frankenstein. Along side Frankenstein was his bride to be Elizabeth, played by Faith O’Hare, who conveyed charm and innocence beside Frankenstein. The Monster, portrayed by Michael Sapp, had intense depth and meaning to his remarkable believability and appropriate character development.
In a supporting role, Henry Clerval portrayed Victor Frankenstein’s friend and fellow lab partner with intense emotion and left the audience in sadness with his untimely death. Nataly Giraldo, who played Justine Moritz, William's nanny, portrayed the character with love for the child and passion while pleading for her innocence.
Professional set design, lights, sound, and costumes worked brilliantly together. Desipte a few bumps, the production saw very easy scene changes. The revolving flats revealed many twists and turns that provided countless different settings that assisted in the portrayal of the story even more.
All in all Apopka’s rendition of Frankenstein kept the audience on the edge of their seats and in thoughtful wonderment: Could you really successfully play God without repercussions?
Originally published in The Backstage Noise, Fall, 2006
One of the most captivating pieces of American literature is hands down, Frankenstein by Mary Shelley. This terrifying tale is about one man’s goal, or rather his obsession, to successfully and essentially play God and bring a man back to life. This powerful story was acted and performed last weekend by Apopka High School.
In the beginning, Victor Frankenstein did not realize how a plethora of experimentation and a few bolts of lightening could lead to the creation of his monster that ultimately ruined his life. Victor did not realize that as the monster grew more and more intelligent the more violent he became.
The monster, wandering in a world scorned and confused, did not realize he was brought back from the dead. Shunned by all for his repulsiveness, except for the kindness of a blind man, the creature came to realizations about his Creation and believed Frankenstein was his God. He eventually forced Victor to try and create a friend for him. Frankenstein could not and did not. The monster’s strength grows out of hand, accidentally, at first, but eventually sets out purposely to murder Frankenstein’s friends and family, leading to a tragic ending of heartache.
Overall, Apopka’s performance proved to be a thrilling and overcast one at that. With a combination of an astounding, professionally functional set and a cast full of energy and poise, Frankenstein was a must see.
Kyle Mulcahy provided an accurate portrayal as the fanatical, passionate Victor Frankenstein. Along side Frankenstein was his bride to be Elizabeth, played by Faith O’Hare, who conveyed charm and innocence beside Frankenstein. The Monster, portrayed by Michael Sapp, had intense depth and meaning to his remarkable believability and appropriate character development.
In a supporting role, Henry Clerval portrayed Victor Frankenstein’s friend and fellow lab partner with intense emotion and left the audience in sadness with his untimely death. Nataly Giraldo, who played Justine Moritz, William's nanny, portrayed the character with love for the child and passion while pleading for her innocence.
Professional set design, lights, sound, and costumes worked brilliantly together. Desipte a few bumps, the production saw very easy scene changes. The revolving flats revealed many twists and turns that provided countless different settings that assisted in the portrayal of the story even more.
All in all Apopka’s rendition of Frankenstein kept the audience on the edge of their seats and in thoughtful wonderment: Could you really successfully play God without repercussions?
Originally published in The Backstage Noise, Fall, 2006
Sunday, July 4, 2010
Kicklines and Sequins Highlight Crazy For You at Timber Creek
by Valerie Marks, Cypress Creek High School
All Singing! All Dancing! All Gershwin! The glitz and splendor of the all-American musical of the 1930s came alive in Timber Creek High School’s Crazy for You, resurrecting the era of kicklines and sequins.
Following the story of distraught Bobby Child who has a passion for theatre but a job at the bank, the musical opens with his mother and fiancée forcing him to give up his dreams in New York. His dire situation reverses, however, when he is sent to the sleepy town of Deadrock, Nevada to foreclose on an old theatre. Instead, he begins to stage a production of his own and in doing so, falls in love with the owner of the theatre.
The delightfully awkward Bobby Child (Aaron Godwin) nimbly dances his way through nearly every song in the musical, including “Slap That Bass”, an ode to the jazz of the time. The duo of Bobby and Polly Baker (Jeannie Tirado), his at-times-unwilling love, was adorably naïve and Tirado’s voice was melodious.
Dancing circles around the cast (literally) were the Follies Girls, with their high kicking and tap dancing. With Tess (Kristen Holder) shining out in front, the Follies Girls were an energetic and entertaining ensemble. Bela Zangler (Josh McDonald), a famous Broadway friend of Bobby’s, was comically adept as the bumbling womanizer. Bobby disguised as Zangler is almost better than Bobby himself and Godwin and McDonald’s duet “What Causes This?” had the audience laughing almost continuously.
The versatile set pieces (Aaron Godwin and Kendra McNatt) were highly functional, converting from the outside to the inside of Deadrock, Arizona. The costume changes were executed well and the numerous costumes (Ashley Kitzman and Elyannie Bonano) were well-tailored and chronologically appropriate with everything from “Zangler’s” crazy plaid suit to 12 each of the Follies Girls’ different sets of costumes. Despite a lack of energy and commitment by some of the cast as well as some sound issues, the entire cast worked extremely well together. They made their way through the energetic choreography (Kristen Holder) well, seeming to really enjoy themselves with the moves at times reminiscent of Busby Berkeley.
This 1990s adaptation of the 1930s Girl Crazy was a trip back in time to the era of bobbed hair and jazz. Timber Creek’s large cast showed the audience they got rhythm with this musical from George and Ira Gershwin. It’s nice work….if you can get it.
Originally published in The Backstage Noise, Summer, 2006
All Singing! All Dancing! All Gershwin! The glitz and splendor of the all-American musical of the 1930s came alive in Timber Creek High School’s Crazy for You, resurrecting the era of kicklines and sequins.
Following the story of distraught Bobby Child who has a passion for theatre but a job at the bank, the musical opens with his mother and fiancée forcing him to give up his dreams in New York. His dire situation reverses, however, when he is sent to the sleepy town of Deadrock, Nevada to foreclose on an old theatre. Instead, he begins to stage a production of his own and in doing so, falls in love with the owner of the theatre.
The delightfully awkward Bobby Child (Aaron Godwin) nimbly dances his way through nearly every song in the musical, including “Slap That Bass”, an ode to the jazz of the time. The duo of Bobby and Polly Baker (Jeannie Tirado), his at-times-unwilling love, was adorably naïve and Tirado’s voice was melodious.
Dancing circles around the cast (literally) were the Follies Girls, with their high kicking and tap dancing. With Tess (Kristen Holder) shining out in front, the Follies Girls were an energetic and entertaining ensemble. Bela Zangler (Josh McDonald), a famous Broadway friend of Bobby’s, was comically adept as the bumbling womanizer. Bobby disguised as Zangler is almost better than Bobby himself and Godwin and McDonald’s duet “What Causes This?” had the audience laughing almost continuously.
The versatile set pieces (Aaron Godwin and Kendra McNatt) were highly functional, converting from the outside to the inside of Deadrock, Arizona. The costume changes were executed well and the numerous costumes (Ashley Kitzman and Elyannie Bonano) were well-tailored and chronologically appropriate with everything from “Zangler’s” crazy plaid suit to 12 each of the Follies Girls’ different sets of costumes. Despite a lack of energy and commitment by some of the cast as well as some sound issues, the entire cast worked extremely well together. They made their way through the energetic choreography (Kristen Holder) well, seeming to really enjoy themselves with the moves at times reminiscent of Busby Berkeley.
This 1990s adaptation of the 1930s Girl Crazy was a trip back in time to the era of bobbed hair and jazz. Timber Creek’s large cast showed the audience they got rhythm with this musical from George and Ira Gershwin. It’s nice work….if you can get it.
Originally published in The Backstage Noise, Summer, 2006
Medea Carries Out Her Revenge On The Timber Creek Stage
by Hector Cordova, Freedom High School
Hisses and screams cut through the silence as bodies surfaced from the audience, offstage, and even from beneath the ground to begin Timber Creek High School’s production of the classic Greek play, Medea.
Medea was written by Euripides and first performed in 431 B.C. It shows the mental deterioration that occurs when a woman's heart is torn. The play opens with Medea's discovery of the unfaithfulness of her husband, Jason. It doesn’t take very long until she plots her revenge, and carries it out.
Timber Creek High School had a vision and they made certain that every audience member felt Medea’s pain, anguish, and sheer power. All elements of theatre came together to convey the mood, and it held from start to finish. Even the curtain call was stylized with blood red lights shining, while the whole cast is on stage behind Medea laughing maniacally over her sons’ bodies.
Casey Lehman’s portrayal of Medea would make Euripides proud. She showed both sides of the character--the insane drive to get even with Jason and her sensibility towards the social aspect of the play: the rights of women. Luis Burbano’s Jason was the perfect complement to Casey’s Medea. Luis created a character which you couldn’t help but loathe. He contributed greatly to the play by making you sympathize for the very woman that would turn the knife to her own children.
Robin Eskin as the Nurse opened the play. In a few minutes, you were in Corinth itching for the next development. Michael Osborne gave Aigeus a comic role which helped provide a break to those who were feeling a bit down from all the biting scenes. The insanity dancers were spectacular at providing these. It is hard to stay still during long chunks of a production and still keep the same intensity throughout. They pulled it off flawlessly.
The technical work in Medea was integral to the production. The carefully chosen colors of the lights, costumes and set really worked. The insanity dancers, when frozen leaning on the set, actually appeared to be part of it. Matt Willis used the stage as a canvas for his lights and worked magic to a point where the stage appeared as a great painting. The costumes were all period, and the choice of colors represented the character’s significance while belonging to the same palette as the other elements. The technical crew melded together and formed the single most potent element of Medea- its atmosphere.
Timber Creek High School’s production of Medea, a play that tackled mature subject matter with gender roles and rights questioned, was gripping and powerful, even disturbing at times but it remained enjoyable from start to finish.
Originally published in The Backstage Noise, Fall, 2005
Hisses and screams cut through the silence as bodies surfaced from the audience, offstage, and even from beneath the ground to begin Timber Creek High School’s production of the classic Greek play, Medea.
Medea was written by Euripides and first performed in 431 B.C. It shows the mental deterioration that occurs when a woman's heart is torn. The play opens with Medea's discovery of the unfaithfulness of her husband, Jason. It doesn’t take very long until she plots her revenge, and carries it out.
Timber Creek High School had a vision and they made certain that every audience member felt Medea’s pain, anguish, and sheer power. All elements of theatre came together to convey the mood, and it held from start to finish. Even the curtain call was stylized with blood red lights shining, while the whole cast is on stage behind Medea laughing maniacally over her sons’ bodies.
Casey Lehman’s portrayal of Medea would make Euripides proud. She showed both sides of the character--the insane drive to get even with Jason and her sensibility towards the social aspect of the play: the rights of women. Luis Burbano’s Jason was the perfect complement to Casey’s Medea. Luis created a character which you couldn’t help but loathe. He contributed greatly to the play by making you sympathize for the very woman that would turn the knife to her own children.
Robin Eskin as the Nurse opened the play. In a few minutes, you were in Corinth itching for the next development. Michael Osborne gave Aigeus a comic role which helped provide a break to those who were feeling a bit down from all the biting scenes. The insanity dancers were spectacular at providing these. It is hard to stay still during long chunks of a production and still keep the same intensity throughout. They pulled it off flawlessly.
The technical work in Medea was integral to the production. The carefully chosen colors of the lights, costumes and set really worked. The insanity dancers, when frozen leaning on the set, actually appeared to be part of it. Matt Willis used the stage as a canvas for his lights and worked magic to a point where the stage appeared as a great painting. The costumes were all period, and the choice of colors represented the character’s significance while belonging to the same palette as the other elements. The technical crew melded together and formed the single most potent element of Medea- its atmosphere.
Timber Creek High School’s production of Medea, a play that tackled mature subject matter with gender roles and rights questioned, was gripping and powerful, even disturbing at times but it remained enjoyable from start to finish.
Originally published in The Backstage Noise, Fall, 2005
Nunsense Is A Crowd Pleaser At South Lake High
by Daniel Boisrond, Ocoee High School
Dan Goggins has created some of the most well-loved shows in theater, and South Lake High School did him proud with their production of "Nunsense". This zany show is always an audience pleaser, and the crowd Saturday night had a wonderful time.
Like all of the five shows in the "Nunsense" series the characters, known as the Little Sisters of Hoboken, are Sister Mary Regina, the Mother Superior; the "second in command", Sister Mary Hubert; the Brooklyn showstopper Sister Robert Ann; Sister Mary Leo, who wants to be the first nun ballerina; and my personal favorite - Sister Mary Amnesia, who has forgotten her name because a crucifix has fallen on her head. South Lake added a character that was not in the original, the Stage Manager. The sisters are putting on a benefit performance to raise money to bury four nuns, accidentally poisoned by the convent chef, Sister Julia. With the health inspector threatening to shut them down, the sisters are desperate.
All six actresses had their moment to shine, but a couple really stood out. Kayla Wilbanks, Sister Robert Ann, had incredible energy and was such a ham that she stole many scenes. Tiana Sandh nailed Amnesia's sweet nature. She was a comic delight with her shenanigans and interaction with the audience. Tiana's two solo numbers were the highlight of the show. She showed the wide range and beauty of her voice as she hilariously sang with a puppet, in "So You Want to be a Nun" and her showstopping number near the end of the show, "I Could've Gone to Nashville".
Other notable moments were Kaitlin Elizabeth Baxter's dances, Alicia Salgado's rousing gospel number, and Emily Juhl laying on the floor yelling "Free Willy!". Ashley Rowin, as the stage manager, got her share of laughs but I don't understand why they added her character.
Although there were some pitch and timing problems during some of the solos, when the five nuns sang together the harmonies were lovely. I wish they could have had mics because often they could not be heard. The energy started low, but all the actors were in full swing by the end of Act One.
As many times as I have seen "Nunsense" I still get a big kick out of it. You can't help but hum the songs as you leave the theater. South Lake High School should be proud of their production of this much beloved show.
Originally published in The Backstage Noise, Winter 2006
Dan Goggins has created some of the most well-loved shows in theater, and South Lake High School did him proud with their production of "Nunsense". This zany show is always an audience pleaser, and the crowd Saturday night had a wonderful time.
Like all of the five shows in the "Nunsense" series the characters, known as the Little Sisters of Hoboken, are Sister Mary Regina, the Mother Superior; the "second in command", Sister Mary Hubert; the Brooklyn showstopper Sister Robert Ann; Sister Mary Leo, who wants to be the first nun ballerina; and my personal favorite - Sister Mary Amnesia, who has forgotten her name because a crucifix has fallen on her head. South Lake added a character that was not in the original, the Stage Manager. The sisters are putting on a benefit performance to raise money to bury four nuns, accidentally poisoned by the convent chef, Sister Julia. With the health inspector threatening to shut them down, the sisters are desperate.
All six actresses had their moment to shine, but a couple really stood out. Kayla Wilbanks, Sister Robert Ann, had incredible energy and was such a ham that she stole many scenes. Tiana Sandh nailed Amnesia's sweet nature. She was a comic delight with her shenanigans and interaction with the audience. Tiana's two solo numbers were the highlight of the show. She showed the wide range and beauty of her voice as she hilariously sang with a puppet, in "So You Want to be a Nun" and her showstopping number near the end of the show, "I Could've Gone to Nashville".
Other notable moments were Kaitlin Elizabeth Baxter's dances, Alicia Salgado's rousing gospel number, and Emily Juhl laying on the floor yelling "Free Willy!". Ashley Rowin, as the stage manager, got her share of laughs but I don't understand why they added her character.
Although there were some pitch and timing problems during some of the solos, when the five nuns sang together the harmonies were lovely. I wish they could have had mics because often they could not be heard. The energy started low, but all the actors were in full swing by the end of Act One.
As many times as I have seen "Nunsense" I still get a big kick out of it. You can't help but hum the songs as you leave the theater. South Lake High School should be proud of their production of this much beloved show.
Originally published in The Backstage Noise, Winter 2006
A Very Real Look at 9-11, Ocoee Presents With Their Eyes
by Jennifer Barkenhagen, Freedom High School
To describe the mood in the auditorium during the new Ocoee High School’s production of ‘With Their Eyes’ would be impossible. The entire show was like having a conversation with someone; you could close your eyes and pretend they were talking directly to you. It was that real.
The story, recorded by the students of Stuyvesant High School and edited by Annie Thoms, is about the time following the September 11th attacks on the World Trade Center. Interviewing people in and around their school, they transcribed them into a book, and later a script. They covered all the bases, including monologues from their teachers, a Muslim student, a janitor. These created an amazing flow of words that were interconnected through feelings and disaster.
Through almost all of the characters, you could actually feel the pain, anger, and fear. Megan Sorley’s portrayal of a teacher at the school was excellent, as was Danielle Johnson’s. Megan was convincing in her emotion and almost brought me to tears several times, while Danielle was very motherly. I could imagine her being one of my teachers and going to her for support. Daniel Boisrond’s anger in the second act was just amazing. It radiated from him in a way that didn’t feel like acting. I found Evan Martinez to be very real, as if I could step into a school in Manhattan and actually find him there. In the second act there was a drop in energy, but the cast did a great job with their characters and the ending helped pick the show back up.
In the first act the entire stage is black with one spot lighting each actor as they speak. The severity of the light paralleled what was happening--those feelings right after the attack. In the second act the accounts are maybe a few months later and everyone is much calmer. Here the lights change colors, making a warmer effect. This lighting was not as effective. The entire stage was brighter and changed the mood in the house. The ending was very well done, and all of the light cues were right on time. The minimalistic set helped the audience concentrate on the actors. It was different levels, adding interest to the stage. Overall, the tech work was impressive and really a key element in the show.
The emotional content of this piece is difficult to master, and the cast did a great job. I wouldn’t have guessed this drama program was brand new was from the caliber of performance. Great job, Ocoee, your first show was a success!
Originally published in The Backstage Noise, Fall, 2005
To describe the mood in the auditorium during the new Ocoee High School’s production of ‘With Their Eyes’ would be impossible. The entire show was like having a conversation with someone; you could close your eyes and pretend they were talking directly to you. It was that real.
The story, recorded by the students of Stuyvesant High School and edited by Annie Thoms, is about the time following the September 11th attacks on the World Trade Center. Interviewing people in and around their school, they transcribed them into a book, and later a script. They covered all the bases, including monologues from their teachers, a Muslim student, a janitor. These created an amazing flow of words that were interconnected through feelings and disaster.
Through almost all of the characters, you could actually feel the pain, anger, and fear. Megan Sorley’s portrayal of a teacher at the school was excellent, as was Danielle Johnson’s. Megan was convincing in her emotion and almost brought me to tears several times, while Danielle was very motherly. I could imagine her being one of my teachers and going to her for support. Daniel Boisrond’s anger in the second act was just amazing. It radiated from him in a way that didn’t feel like acting. I found Evan Martinez to be very real, as if I could step into a school in Manhattan and actually find him there. In the second act there was a drop in energy, but the cast did a great job with their characters and the ending helped pick the show back up.
In the first act the entire stage is black with one spot lighting each actor as they speak. The severity of the light paralleled what was happening--those feelings right after the attack. In the second act the accounts are maybe a few months later and everyone is much calmer. Here the lights change colors, making a warmer effect. This lighting was not as effective. The entire stage was brighter and changed the mood in the house. The ending was very well done, and all of the light cues were right on time. The minimalistic set helped the audience concentrate on the actors. It was different levels, adding interest to the stage. Overall, the tech work was impressive and really a key element in the show.
The emotional content of this piece is difficult to master, and the cast did a great job. I wouldn’t have guessed this drama program was brand new was from the caliber of performance. Great job, Ocoee, your first show was a success!
Originally published in The Backstage Noise, Fall, 2005
Christmas Season in Ocoee Begins With Nuncrackers
by Chris Buccino, Hagerty High School
What does a convent full of irreverent nuns do to spread Christmas cheer? Perform a Christmas Television Special, which is exactly what Ocoee High School did in their production of the musical, Nuncrackers.
Nuncrackers the musical is the fourth in a series of seven that is written about nuns living in a convent. In Nuncrackers, the nuns of the convent are putting on their annual Christmas TV Special. Everything goes awry when Sister Mary Leo, who is to star as the Sugar Plum Fairy, gets injured and has to be replaced. On top of that, the nuns find out that their presents have been stolen. But will the Christmas special still go on without Sister Mary Leo? Will the nuns find out what happened to their gifts?
Ocoee High School's upbeat production was well cast, with the energy level never lacking. The setup of the stage portrayed the image of a real TV studio. The audience interaction also added to the TV studio theme.
Daniel Boisrond as Father Virgil was very humorous, and always seemed to do everything with extra pizzazz. Every time Daniel was on stage he was doing something funny, and not once did he break character.
Drianna Ambrose, who played Sister Mary Paul, did a wonderful job of portraying a nun with amnesia. She was very convincing and made her lines comical without going over the top.
The stage was very well designed and looked like a real TV studio. The lighting was good, except for a few times when the actor in focus was not in the spotlight. The actors were able to overcome a few moments during which the microphones were making static noises.
On the whole, Ocoee High School's production of Nuncrackers was second to "nun."
Originally published by The Backstage Noise, Winter, 2006
What does a convent full of irreverent nuns do to spread Christmas cheer? Perform a Christmas Television Special, which is exactly what Ocoee High School did in their production of the musical, Nuncrackers.
Nuncrackers the musical is the fourth in a series of seven that is written about nuns living in a convent. In Nuncrackers, the nuns of the convent are putting on their annual Christmas TV Special. Everything goes awry when Sister Mary Leo, who is to star as the Sugar Plum Fairy, gets injured and has to be replaced. On top of that, the nuns find out that their presents have been stolen. But will the Christmas special still go on without Sister Mary Leo? Will the nuns find out what happened to their gifts?
Ocoee High School's upbeat production was well cast, with the energy level never lacking. The setup of the stage portrayed the image of a real TV studio. The audience interaction also added to the TV studio theme.
Daniel Boisrond as Father Virgil was very humorous, and always seemed to do everything with extra pizzazz. Every time Daniel was on stage he was doing something funny, and not once did he break character.
Drianna Ambrose, who played Sister Mary Paul, did a wonderful job of portraying a nun with amnesia. She was very convincing and made her lines comical without going over the top.
The stage was very well designed and looked like a real TV studio. The lighting was good, except for a few times when the actor in focus was not in the spotlight. The actors were able to overcome a few moments during which the microphones were making static noises.
On the whole, Ocoee High School's production of Nuncrackers was second to "nun."
Originally published by The Backstage Noise, Winter, 2006
Hagerty's First Musical A Success
by Deryn Harbin, Cypress Creek High School
Good grief! What do you do when it is your first year of high school in a brand new school and all you really want is to be in a musical, but the auditorium hasn’t even been built yet? Well, you gather up a bunch of your friends and perform Snoopy!!! in a gym-torium and make Hagerty High School’s first musical production a complete, adorable success. Snoopy!!!, a sequel to the classic musical You’re a Good Man Charlie Brown, is based off the comic strip created by Charles M. Schultz. It chronicles the life of one lonely boy, his very determined dog, and everyone else in between.
Hilary Pellar gave Snoopy a female twist and captured the audience with her numerous acrobatics. Linus (Daniel Hanko) carried around his blankey and recited abnormal facts with amusing delight. Charlie Brown (Chris Buccino) was great and kept in his sad and lonely character throughout the entire play, even when things seemed to be looking up with Peppermint Patty (Jessi Ezell). Jessi captured the show with her ridiculous jokes and powerful voice. She made every musical number a thrill to watch, especially at the end of “Poor Sweet Baby” in which she made loving gestures towards Charlie and then hilariously stated that nothing would ever happen for him. Sally Brown (Alicia Suris) and Lucy (Brittany Trane) were adorable as well and kept their characterization at all times. However, the best part of all was little Woodstock (Stefana Ramsey). Her facial expressions and fluttering wings were too cute. She commanded an immediate stage presence unlike anyone else in the show.
The simple yet effective choreography and set design were perfect for the play and the cute drawings and paper grass cut-outs around the stage were a great idea. Some minor sound problems were to be expected, as a gym is not always best for musical productions. The stage was only a few feet away from the first row of the audience, so microphones may not have even been needed. It would have also been nice to see some costume changes as the Peanuts gang moved from holiday to holiday and season to season. A couple scarves and hats may have been the perfect touch. Overall, the play was surely a hit for an audience of all ages and it seems the students of Hagerty High School have great potential for the future.
Good grief! What do you do when it is your first year of high school in a brand new school and all you really want is to be in a musical, but the auditorium hasn’t even been built yet? Well, you gather up a bunch of your friends and perform Snoopy!!! in a gym-torium and make Hagerty High School’s first musical production a complete, adorable success. Snoopy!!!, a sequel to the classic musical You’re a Good Man Charlie Brown, is based off the comic strip created by Charles M. Schultz. It chronicles the life of one lonely boy, his very determined dog, and everyone else in between.
Hilary Pellar gave Snoopy a female twist and captured the audience with her numerous acrobatics. Linus (Daniel Hanko) carried around his blankey and recited abnormal facts with amusing delight. Charlie Brown (Chris Buccino) was great and kept in his sad and lonely character throughout the entire play, even when things seemed to be looking up with Peppermint Patty (Jessi Ezell). Jessi captured the show with her ridiculous jokes and powerful voice. She made every musical number a thrill to watch, especially at the end of “Poor Sweet Baby” in which she made loving gestures towards Charlie and then hilariously stated that nothing would ever happen for him. Sally Brown (Alicia Suris) and Lucy (Brittany Trane) were adorable as well and kept their characterization at all times. However, the best part of all was little Woodstock (Stefana Ramsey). Her facial expressions and fluttering wings were too cute. She commanded an immediate stage presence unlike anyone else in the show.
The simple yet effective choreography and set design were perfect for the play and the cute drawings and paper grass cut-outs around the stage were a great idea. Some minor sound problems were to be expected, as a gym is not always best for musical productions. The stage was only a few feet away from the first row of the audience, so microphones may not have even been needed. It would have also been nice to see some costume changes as the Peanuts gang moved from holiday to holiday and season to season. A couple scarves and hats may have been the perfect touch. Overall, the play was surely a hit for an audience of all ages and it seems the students of Hagerty High School have great potential for the future.
Hagerty Theatre Program Begins With A Bang!
No music, no dating, no makeup – and you thought your family was strict! Such was the tale of the Gilbreth family in Hagerty High School’s production of “Cheaper by the Dozen”
“Cheaper by the Dozen,” based on the true-life story of the Gilbreth family living in the early 1920’s, was written by two of the eldest children, Frank B. Gilbreth Jr. and Ernestine Gilbreth Carey. Christopher Sergal later dramatized the piece into the beloved play. “Cheaper by the Dozen” portrays the Gilbreth family in a time when the older children want to be like everyone else in school, the younger children want a puppy, and Mr. Gilbreth wants the house to be orderly before he leaves for London.
Hagerty High School’s production was anchored by the immense talent and its universal ensemble. Every member of the cast provided an exciting addition to the story as they each portrayed their character’s emotions. The Gilbreth family came alive and it became easy to identify yourself with their problems and become entwined in their lives.
Mr. Gilbreth (Tony Morillo) provided a humorous and lighthearted attitude to the show with his realistic nonchalant approach as a father that only wants the best for his children. Anne (Regina Postrekhina) gave a riveting performance as the daughter that just wants to be like everyone else. Her performance was truly one to be commended because every moment she was on stage she commanded attention and her emotions were believable until the curtain closed.
by Marcia Davidson, Timber Creek High School
In this spectacular ensemble performance, Martha (Arielle LeBlanc) stood out as she left a lasting impression with her flawless comedic timing. Joe and Larry (Zach Blair and Patrick Busby,) the two prospective boyfriends, both shined each time they were on stage because of their great work with Anne as well as her father.
The costumes were superb as they accurately portrayed the 1920’s but also the family’s out of style, conservative views. Anne’s costume, a drab navy dress, as well as Joe’s letterman’s jacket and knickers worked especially well because they were so much a part of the twenties. The set was simple and cute and for the most part did not hinder the production.
Overall, Hagerty High School’s production showed the true concept of family in this extraordinary performance. The ensemble worked together creating happiness that really does come “Cheaper by the Dozen.”
Originally published by The Backstage Noise, Fall 2005
“Cheaper by the Dozen,” based on the true-life story of the Gilbreth family living in the early 1920’s, was written by two of the eldest children, Frank B. Gilbreth Jr. and Ernestine Gilbreth Carey. Christopher Sergal later dramatized the piece into the beloved play. “Cheaper by the Dozen” portrays the Gilbreth family in a time when the older children want to be like everyone else in school, the younger children want a puppy, and Mr. Gilbreth wants the house to be orderly before he leaves for London.
Hagerty High School’s production was anchored by the immense talent and its universal ensemble. Every member of the cast provided an exciting addition to the story as they each portrayed their character’s emotions. The Gilbreth family came alive and it became easy to identify yourself with their problems and become entwined in their lives.
Mr. Gilbreth (Tony Morillo) provided a humorous and lighthearted attitude to the show with his realistic nonchalant approach as a father that only wants the best for his children. Anne (Regina Postrekhina) gave a riveting performance as the daughter that just wants to be like everyone else. Her performance was truly one to be commended because every moment she was on stage she commanded attention and her emotions were believable until the curtain closed.
by Marcia Davidson, Timber Creek High School
In this spectacular ensemble performance, Martha (Arielle LeBlanc) stood out as she left a lasting impression with her flawless comedic timing. Joe and Larry (Zach Blair and Patrick Busby,) the two prospective boyfriends, both shined each time they were on stage because of their great work with Anne as well as her father.
The costumes were superb as they accurately portrayed the 1920’s but also the family’s out of style, conservative views. Anne’s costume, a drab navy dress, as well as Joe’s letterman’s jacket and knickers worked especially well because they were so much a part of the twenties. The set was simple and cute and for the most part did not hinder the production.
Overall, Hagerty High School’s production showed the true concept of family in this extraordinary performance. The ensemble worked together creating happiness that really does come “Cheaper by the Dozen.”
Originally published by The Backstage Noise, Fall 2005
Hysteria is Created by Freedom's The Crucible
by Francisco Santelli, Cypress Creek HS
When hysteria breaks out in a small isolated town, the degree of hysteria cannot help but increase exponentially until everything falls onto itself. Freedom High School’s production of the recently deceased Arthur Miller’s acclaimed play, The Crucible, captured this sense of hysteria in a high-tension performance.
The Crucible follows a compressed timeline of the events of the Salem Witch Trials. A few girls began accusing people of witchcraft, and the situation deteriorated into complete chaos with innocent men and women being hanged at the hands of an impossible court.
Freedom High School placed its production of The Crucible on a minimalist set, which worked to place the focus on the dramatic elements of the play. Some strong performances kept the play balanced and created a believable circumstance. There was a great tension that could be felt on stage between each of the characters, and the undertones of revenge and sacrifice became apparent.
John and Elizabeth Proctor, played by Connor Marsico and Darlinette Goris, had an incredible sense of characte and gave insight into the awkward yet loving relationship between the couple. Goris played her role with great emotional restraint, allowing view of her contrasting emotions. The scenes between the Proctors were some of the best in the play, thanks to their well-placed awkwardness and emotional restraint.
Ben Artes, portraying Reverend John Hale, gave one of the freshest performances in Freedom’s production. He provided a stark contrast to the inherent hysteria of the play in addition to some of the overly elongated screaming and emotional highs. Artes brought the performance down to a restrained and balanced level, only hitting the top of the emotional spectrum when necessary.
Thanks to the stage crew, led by Richie Andrini and Ally Gursky, a beat was not missed in between scenes, and the tension was kept high. Set changes were handled quickly and with minimal noise. T.J. Kervitsky, the lighting designer, made some noteworthy choices, especially with a dramatic special on Elizabeth Proctor at the closing of the play that gave the audience a feeling of isolation that Proctor so surely felt.
Although Freedom High School’s performers did rely a bit too much on the high points of the emotional spectrum, considering the difficulty of the play, Freedom’s cast pulled it off with precision of character. They brought great justice to Arthur Miller’s work, and accurately recreated greatly the hysteria of the times.
Originally published in The Backstage Noise, Fall, 2005
When hysteria breaks out in a small isolated town, the degree of hysteria cannot help but increase exponentially until everything falls onto itself. Freedom High School’s production of the recently deceased Arthur Miller’s acclaimed play, The Crucible, captured this sense of hysteria in a high-tension performance.
The Crucible follows a compressed timeline of the events of the Salem Witch Trials. A few girls began accusing people of witchcraft, and the situation deteriorated into complete chaos with innocent men and women being hanged at the hands of an impossible court.
Freedom High School placed its production of The Crucible on a minimalist set, which worked to place the focus on the dramatic elements of the play. Some strong performances kept the play balanced and created a believable circumstance. There was a great tension that could be felt on stage between each of the characters, and the undertones of revenge and sacrifice became apparent.
John and Elizabeth Proctor, played by Connor Marsico and Darlinette Goris, had an incredible sense of characte and gave insight into the awkward yet loving relationship between the couple. Goris played her role with great emotional restraint, allowing view of her contrasting emotions. The scenes between the Proctors were some of the best in the play, thanks to their well-placed awkwardness and emotional restraint.
Ben Artes, portraying Reverend John Hale, gave one of the freshest performances in Freedom’s production. He provided a stark contrast to the inherent hysteria of the play in addition to some of the overly elongated screaming and emotional highs. Artes brought the performance down to a restrained and balanced level, only hitting the top of the emotional spectrum when necessary.
Thanks to the stage crew, led by Richie Andrini and Ally Gursky, a beat was not missed in between scenes, and the tension was kept high. Set changes were handled quickly and with minimal noise. T.J. Kervitsky, the lighting designer, made some noteworthy choices, especially with a dramatic special on Elizabeth Proctor at the closing of the play that gave the audience a feeling of isolation that Proctor so surely felt.
Although Freedom High School’s performers did rely a bit too much on the high points of the emotional spectrum, considering the difficulty of the play, Freedom’s cast pulled it off with precision of character. They brought great justice to Arthur Miller’s work, and accurately recreated greatly the hysteria of the times.
Originally published in The Backstage Noise, Fall, 2005
Freedom Pulls Off A Remarkable Production of Urinetown
by Francisco Santelli, Cypress Creek High School
Pay to pee? Who would’ve thought that such a ridiculous premise would make such a hilarious and self-depreciating musical? Freedom High School apparently did, since they pulled of a remarkable performance of Mark Hollmann and Greg Kotis’s hilarious Broadway musical, Urinetown.
In the musical, Urinetown is a world where people are forced to pay to pee by the giant and evil Urine Good Corporation who pays off the police and government to do their bidding. An idealistic Bobby Strong takes hold of the situation and starts a revolution for free peeing rights while falling in love with the daughter of the Urine Good CEO; Hope Cladwell. The entire musical is narrated by Officer Lockstock and commentated by a little girl named Sally.
Andre Reyna as Officer Lockstock was a hilarious and exciting narrator, pointing out not only the ridiculousness of the situation, but also the absurdity of musicals in general. Andre Reyna showcased his strong voice and immense acting talent, acting as a great opener and closer for the show. Darlinette Goris as Little Sally commanded the stage with every bit of dialogue she had, and did so in artful fashion.
One of the most exciting parts of the show was the remarkable ensemble work showcased by the rebellion group of Amenity #9. Their dancing was spot-on, their reactions hilarious, and their dialogue quick and witty. The entire cast of Urinetown was more than commendable, no one having a small role in Freedom High School’s overall success.
The tech work was also tight and well worked. The use of spotlights was taut, as was the beautifully gritty set. There were no noticeably missed cues, and each set change was completed with quick and quiet aptness. No detail was left unturned, with each technical flaw being hilariously intentional. There was a hiccup or two with the sound, but each hiccup was covered well by the continuously energetic cast.
It is hard to find fault with Freedom’s performance of Urinetown, being one of the most humorous of musicals I’ve seen out of a high school yet. Between their energetic cast and focused together tech crew, Freedom High School made the impossible possible with their remarkable performance of Urinetown.
Originally published in The Backstage Noise, Summer 2006
Pay to pee? Who would’ve thought that such a ridiculous premise would make such a hilarious and self-depreciating musical? Freedom High School apparently did, since they pulled of a remarkable performance of Mark Hollmann and Greg Kotis’s hilarious Broadway musical, Urinetown.
In the musical, Urinetown is a world where people are forced to pay to pee by the giant and evil Urine Good Corporation who pays off the police and government to do their bidding. An idealistic Bobby Strong takes hold of the situation and starts a revolution for free peeing rights while falling in love with the daughter of the Urine Good CEO; Hope Cladwell. The entire musical is narrated by Officer Lockstock and commentated by a little girl named Sally.
Andre Reyna as Officer Lockstock was a hilarious and exciting narrator, pointing out not only the ridiculousness of the situation, but also the absurdity of musicals in general. Andre Reyna showcased his strong voice and immense acting talent, acting as a great opener and closer for the show. Darlinette Goris as Little Sally commanded the stage with every bit of dialogue she had, and did so in artful fashion.
One of the most exciting parts of the show was the remarkable ensemble work showcased by the rebellion group of Amenity #9. Their dancing was spot-on, their reactions hilarious, and their dialogue quick and witty. The entire cast of Urinetown was more than commendable, no one having a small role in Freedom High School’s overall success.
The tech work was also tight and well worked. The use of spotlights was taut, as was the beautifully gritty set. There were no noticeably missed cues, and each set change was completed with quick and quiet aptness. No detail was left unturned, with each technical flaw being hilariously intentional. There was a hiccup or two with the sound, but each hiccup was covered well by the continuously energetic cast.
It is hard to find fault with Freedom’s performance of Urinetown, being one of the most humorous of musicals I’ve seen out of a high school yet. Between their energetic cast and focused together tech crew, Freedom High School made the impossible possible with their remarkable performance of Urinetown.
Originally published in The Backstage Noise, Summer 2006
Edgewater Goes Mad With Alice in Wonderland
by Lauren Reed, Hagerty HS
You’re mad…I’m mad? Everyone is mad- especially when you’re stuck where reality is anything but real, and time has no significance! The curtain opens, bright neon-black lighting pulls the audience in, and everything else is forgotten. You’re falling into a world of absurd, sheer madness- in Edgewater High School’s production of Alice in Concert.
Alice in Concert, written and composed by Elizabeth Swados, is based on Lewis Carroll’s Alice in Wonderland and was first preformed in 1980 at the Public Theatre in New York. As a musical, new characters and main ideas were added to give new uniqueness to the storyline. Alice (Ashley Pinnock), a very inquisitive adolescent, stumbles down a hole and lands in a fanatical land. Alice must face her fears, battling monstrous creatures like the Jabberwocky, the Mad Hatter, the Hare, and the Red Queen. In her adventure, Alice shows that only a seven-and-a-half year old like her could conquer such a land.
Musical styles true to the setting of the 60’s and early 70’s were used, combined with brilliant neon lights, to set the mood of a more “psychedelic” era. With thirty-four musical numbers, the energy level never diminished as the play progressed. The cast used every element of the stage, along with numerous props, which appeared out of nowhere and were perfect additions to the mysterious land and creatures.
Playing Alice, and giving her wit, sarcasm, and curiosity that a young child should have, might be difficult to stay true to, but Ashley Pinnock made it clear that this Alice was nothing short of these qualities. Pinnock stayed on pitch, kept her energy up, and projected well when dancing on stage. Pinnock thoroughly kept her childish behavior, and even with a few microphone malfunctions, could be heard very clearly.
Many characters added humor and new individuality which makes this play diverse from the story. The cast had multiple roles, and worked together to form an ensemble- though each showed their individualism when singing and dancing. Alice comes upon a Baby (Hart Morse), who hysterically portrayed expressions and body movements of a baby. Tweedle Dee (Christine Pryor) and Tweedle Dum (Taylor Keeley) played very well off of each other, both being equally funny.
Lighting illuminated the stage well from beginning to end, and the use of spotlight on Alice in key times was perfect. The story-book like costumes, props, and makeup also stayed true to the 60’s, and helped tie in the music.
The cast all played off of the era of the setting perfectly, and seemed to make this unrealistic world of wonder come to life. Even for a seven year old girl- in the imagination- getting away in a wonderful fantasy is always a nice break in what hectic everyday life has come to be.
Originally published in The Backstage Noise, Winter 2006
You’re mad…I’m mad? Everyone is mad- especially when you’re stuck where reality is anything but real, and time has no significance! The curtain opens, bright neon-black lighting pulls the audience in, and everything else is forgotten. You’re falling into a world of absurd, sheer madness- in Edgewater High School’s production of Alice in Concert.
Alice in Concert, written and composed by Elizabeth Swados, is based on Lewis Carroll’s Alice in Wonderland and was first preformed in 1980 at the Public Theatre in New York. As a musical, new characters and main ideas were added to give new uniqueness to the storyline. Alice (Ashley Pinnock), a very inquisitive adolescent, stumbles down a hole and lands in a fanatical land. Alice must face her fears, battling monstrous creatures like the Jabberwocky, the Mad Hatter, the Hare, and the Red Queen. In her adventure, Alice shows that only a seven-and-a-half year old like her could conquer such a land.
Musical styles true to the setting of the 60’s and early 70’s were used, combined with brilliant neon lights, to set the mood of a more “psychedelic” era. With thirty-four musical numbers, the energy level never diminished as the play progressed. The cast used every element of the stage, along with numerous props, which appeared out of nowhere and were perfect additions to the mysterious land and creatures.
Playing Alice, and giving her wit, sarcasm, and curiosity that a young child should have, might be difficult to stay true to, but Ashley Pinnock made it clear that this Alice was nothing short of these qualities. Pinnock stayed on pitch, kept her energy up, and projected well when dancing on stage. Pinnock thoroughly kept her childish behavior, and even with a few microphone malfunctions, could be heard very clearly.
Many characters added humor and new individuality which makes this play diverse from the story. The cast had multiple roles, and worked together to form an ensemble- though each showed their individualism when singing and dancing. Alice comes upon a Baby (Hart Morse), who hysterically portrayed expressions and body movements of a baby. Tweedle Dee (Christine Pryor) and Tweedle Dum (Taylor Keeley) played very well off of each other, both being equally funny.
Lighting illuminated the stage well from beginning to end, and the use of spotlight on Alice in key times was perfect. The story-book like costumes, props, and makeup also stayed true to the 60’s, and helped tie in the music.
The cast all played off of the era of the setting perfectly, and seemed to make this unrealistic world of wonder come to life. Even for a seven year old girl- in the imagination- getting away in a wonderful fantasy is always a nice break in what hectic everyday life has come to be.
Originally published in The Backstage Noise, Winter 2006
Absurdism Center Stage at Edgewater High School
by Danielle Johnson, Ocoee High School
Edgewater High’s "Accidental Death of an Anarchist" was a sharp and hilarious satire on police corruption in Italy. This show is a riveting display of absurdism that takes you through several twists and turns. While absurdism isn’t an easy thing to pull off in a high school show, Edgewater’s cast of 6 did an outstanding job.
Though I was a little lost at times, which is the way absurdism seems to keep you, I remained engulfed by the energy and amazing characterization of Darrel Carrillo as The Sergeant. Darrel was always on point within his role and left me hoping to hear more from him. The delightful scene of watching him unwrap his lunch is one that won’t be easily topped. Scott Amerman as The Fool is surely deserving of much accolades. How he kept that amount of energy through the entire show still baffles me! Though I wish to have heard more fluctuation in his voice to catch more punch lines and add dimension to the character, it didn’t take much away from his overall superiorly memorized and explosive performance. Carrillo and Amerman, along with their cast, were a priceless experience. Krystal McMullan being the only female actress in the show presented a powerful display of authoritative stage presence when the male actors seem to sort of cower down to her. Along with a strong stage voice, Krystal’s fluctuations and emotional commitment worked for her.
From a technical aspect, the first thing I noticed was the detail of the stone and the window; it made me feel like I was on the outside looking in. The costumes made me question what time period the show fell in and references to more present day things. The bland background worked because it allowed the actors to stand out more. The lighting levels bothered me partially because the green light at times was too vivid. Little things, such as the characters referring to the time and looking at their wrists without having on a watch, and the keys that were made known to be in a character's pocket, but was visible on the desk made an audience member like me say hmmm…but could be an easy fix on the actor's parts.
For the attempt of absurdism, it was obvious that the cast, director and techies all creatively worked together and thought out how to bring it all together! Kudos to you all!
Originally published in The Backstage Noise, Fall, 2005
Edgewater High’s "Accidental Death of an Anarchist" was a sharp and hilarious satire on police corruption in Italy. This show is a riveting display of absurdism that takes you through several twists and turns. While absurdism isn’t an easy thing to pull off in a high school show, Edgewater’s cast of 6 did an outstanding job.
Though I was a little lost at times, which is the way absurdism seems to keep you, I remained engulfed by the energy and amazing characterization of Darrel Carrillo as The Sergeant. Darrel was always on point within his role and left me hoping to hear more from him. The delightful scene of watching him unwrap his lunch is one that won’t be easily topped. Scott Amerman as The Fool is surely deserving of much accolades. How he kept that amount of energy through the entire show still baffles me! Though I wish to have heard more fluctuation in his voice to catch more punch lines and add dimension to the character, it didn’t take much away from his overall superiorly memorized and explosive performance. Carrillo and Amerman, along with their cast, were a priceless experience. Krystal McMullan being the only female actress in the show presented a powerful display of authoritative stage presence when the male actors seem to sort of cower down to her. Along with a strong stage voice, Krystal’s fluctuations and emotional commitment worked for her.
From a technical aspect, the first thing I noticed was the detail of the stone and the window; it made me feel like I was on the outside looking in. The costumes made me question what time period the show fell in and references to more present day things. The bland background worked because it allowed the actors to stand out more. The lighting levels bothered me partially because the green light at times was too vivid. Little things, such as the characters referring to the time and looking at their wrists without having on a watch, and the keys that were made known to be in a character's pocket, but was visible on the desk made an audience member like me say hmmm…but could be an easy fix on the actor's parts.
For the attempt of absurdism, it was obvious that the cast, director and techies all creatively worked together and thought out how to bring it all together! Kudos to you all!
Originally published in The Backstage Noise, Fall, 2005
East Ridge Enchants With Into the Woods
by Ana Bechel, Timber Creek HS
Enchanting forests, desperate wishes, crazy witches, conniving wolves, and a little boy who creates a big problem, this is the essence of Into the Woods, a musical production performed by East Ridge High School.
Into the Woods combines fairy tale classics such as Cinderella and Little Red Riding Hood, to essentially tell the tale of a baker and his wife and their perilous journey for a child. Along the way the couple, played by Matthew McLachlan and Rebecca Whitlock, meet many eccentric characters such as the little boy Jack who sells his cow for magic beans and the ill-treated Cinderella, running away from the pursuing handsome prince. As the plot continues, many unexpected twists and turns evolve in a mixture of catchy songs and simple, well choreographed dancing.
Despite the fact that there were many character interactions and developments happening at the same time, each character complemented the other wonderfully. Little Red Riding Hood, played by Shannon Lynch, connected very well with her counterpart characters, such as the baker. The cast worked together, putting on 3 different stories at the same time and slowly coming together in the end for a musically delightful ending with the simple message of there is always someone on your side.
The witch, played by Amanda Riggio, had an extraordinary stage presence with her powerful voice and never-ending characterization. The baker’s wife, played by Rebecca Whitlock, had a beautiful voice, and a sweet nature about her that demanded the audience’s attention.
This particular set was simple, and broad but very well used. With a stage that extended from upstage, spilling out into the audience, each section was versatile and used wisely. The stage was also accented nicely with intricate and detailed props such as a movable horse and cow. Also, the well put together, detailed costumes brought out the very best in each character.
In the end, you leave the play with a little something. Whether it be a good laugh, cry, or a true moral, Into the Woods, performed by East Ridge High School was simply enchanting.
Originally published in The Backstage Noise, Winter Edition 2006
Enchanting forests, desperate wishes, crazy witches, conniving wolves, and a little boy who creates a big problem, this is the essence of Into the Woods, a musical production performed by East Ridge High School.
Into the Woods combines fairy tale classics such as Cinderella and Little Red Riding Hood, to essentially tell the tale of a baker and his wife and their perilous journey for a child. Along the way the couple, played by Matthew McLachlan and Rebecca Whitlock, meet many eccentric characters such as the little boy Jack who sells his cow for magic beans and the ill-treated Cinderella, running away from the pursuing handsome prince. As the plot continues, many unexpected twists and turns evolve in a mixture of catchy songs and simple, well choreographed dancing.
Despite the fact that there were many character interactions and developments happening at the same time, each character complemented the other wonderfully. Little Red Riding Hood, played by Shannon Lynch, connected very well with her counterpart characters, such as the baker. The cast worked together, putting on 3 different stories at the same time and slowly coming together in the end for a musically delightful ending with the simple message of there is always someone on your side.
The witch, played by Amanda Riggio, had an extraordinary stage presence with her powerful voice and never-ending characterization. The baker’s wife, played by Rebecca Whitlock, had a beautiful voice, and a sweet nature about her that demanded the audience’s attention.
This particular set was simple, and broad but very well used. With a stage that extended from upstage, spilling out into the audience, each section was versatile and used wisely. The stage was also accented nicely with intricate and detailed props such as a movable horse and cow. Also, the well put together, detailed costumes brought out the very best in each character.
In the end, you leave the play with a little something. Whether it be a good laugh, cry, or a true moral, Into the Woods, performed by East Ridge High School was simply enchanting.
Originally published in The Backstage Noise, Winter Edition 2006
Complicated Characters Well Portrayed at East Ridge
by Tiana Sandh, South Lake HS
Death by Chocolate? Sounds like a good way to die! But after adding three murders, a society obsessed with obesity, and a gay aerobics instructor to an already complicated plot, that trip to the afterlife isn't looking so sweet.
"Death by Chocolate" written by Paul Freed is a comedic murder mystery set in the health conscious decade of the eighties. After the supposed suicide of a health resort owner, new managers are brought in to run the resort. But a murderer has different plans and is trying to hide his/her secrets by killing everyone with poisoned chocolates. Can some amateur detectives discover the twisted thoughts and plans of a cold-blooded murderer?
East Ridge High School's production was carried by it's outstanding comedic timing. The variety of characters worked well together creating an interesting, comical cast.
The new-owner Lady Riverdale, played by Rebecca Whitlock, was a very hard character to sympathize with. Yet, even through my distaste for the character, I applaud Rebecca on an amazing portrayal of a woman who will do whatever necessary to get what she wants. John Stone, played by Tony DeLuca was an ear-catching character. His every other sentence was a play on words. Even though his one-liners made you want to yell "UGH!", he had your attention throughout the entire show waiting to hear what horribly funny pun would come next!
East Ridge presented one of the most versatile casts I've seen: the stereotypes of the pill-popping nurse Anne(Jenni Van Doren), the weight-lifting chauvanistic pig Ralph Deadwood(Anthony Villanueva), to the Richard Simmons fan Dick Simmering(Richard Irrizary) and his overly enthusiastic aerobics class. While I found some characters to be lacking in development, I fell in love with the complexity of others.
The eighties is probably one of the most fun and crazy decades ever and the makeup and costumes could have reflected the period more. This story is recreated in one room at many different times of day and there could have been more creativity with the lighting effects. I applaud sound for an amazing choice in music. It doesn't get any better than "Let's Get Physical" by Olivia Newton John.
East Ridge High School's production of "Death by Chocolate" was an entertaining and well played comedy. I applaud the actors on their great portrayals of very complicated characters. I was impressed to see depth brought to these seeming stereotypes.
Originally published by The Backstage Noise, Fall 2005
Death by Chocolate? Sounds like a good way to die! But after adding three murders, a society obsessed with obesity, and a gay aerobics instructor to an already complicated plot, that trip to the afterlife isn't looking so sweet.
"Death by Chocolate" written by Paul Freed is a comedic murder mystery set in the health conscious decade of the eighties. After the supposed suicide of a health resort owner, new managers are brought in to run the resort. But a murderer has different plans and is trying to hide his/her secrets by killing everyone with poisoned chocolates. Can some amateur detectives discover the twisted thoughts and plans of a cold-blooded murderer?
East Ridge High School's production was carried by it's outstanding comedic timing. The variety of characters worked well together creating an interesting, comical cast.
The new-owner Lady Riverdale, played by Rebecca Whitlock, was a very hard character to sympathize with. Yet, even through my distaste for the character, I applaud Rebecca on an amazing portrayal of a woman who will do whatever necessary to get what she wants. John Stone, played by Tony DeLuca was an ear-catching character. His every other sentence was a play on words. Even though his one-liners made you want to yell "UGH!", he had your attention throughout the entire show waiting to hear what horribly funny pun would come next!
East Ridge presented one of the most versatile casts I've seen: the stereotypes of the pill-popping nurse Anne(Jenni Van Doren), the weight-lifting chauvanistic pig Ralph Deadwood(Anthony Villanueva), to the Richard Simmons fan Dick Simmering(Richard Irrizary) and his overly enthusiastic aerobics class. While I found some characters to be lacking in development, I fell in love with the complexity of others.
The eighties is probably one of the most fun and crazy decades ever and the makeup and costumes could have reflected the period more. This story is recreated in one room at many different times of day and there could have been more creativity with the lighting effects. I applaud sound for an amazing choice in music. It doesn't get any better than "Let's Get Physical" by Olivia Newton John.
East Ridge High School's production of "Death by Chocolate" was an entertaining and well played comedy. I applaud the actors on their great portrayals of very complicated characters. I was impressed to see depth brought to these seeming stereotypes.
Originally published by The Backstage Noise, Fall 2005
Miracle Worker Comes to Life On The Cypress Creek Stage
by Evian Maldonado, Freedom High School
Have you ever imagined that, born a normal child, one day your life would shut down? The story of a young, deaf, and mute child and her miracle teacher was performed by Cypress Creek High School this past weekend. The Miracle Worker, based on a true story, respectably portrayed Helen Keller (Deryn Harbin) and Annie Sullivan's (Megan Rush) progressive relationship and overcoming of the past.
At a young infantile age, Helen Keller (Deryn Harbin) was struck with a devastating illness. This illness eventually caused Helen to forever lose her sight, speech, and hearing. Growing up she was given anything she wanted and allowed to act any way desired thus becoming uncontrollable for Kate Keller (Jessica Ordon) and Captain Keller (Diego Rodriguez). Just when all hope seems lost and Helen is at risk of being sent to an asylum, arrives Annie Sullivan. She is a graduated blind woman who has a torturing past of her own. Through Helen, Annie is determined to bring this uncontrollable child to a civil young woman and put to rest her haunting past. After weeks of repetition, and hardly any improvement, Annie Sullivan gives Helen one more chance through water. The simplest concept and Helen has a breakthrough. Annie Sullivan forever breaks the language barrier for Helen and opens up a new world.
Despite some lacking emotion, Cypress Creek put on an admirable performance of The Miracle Worker. The interaction between most characters was touching and very realistic. A commendable note for the cast of Cypress Creek High School was their ability to transform real-life people into very believable characters. Even though their were a few stumbled lines and missing diction from some of the characters, together the whole cast pulled through and did a very good job.
Portraying Helen Keller, Deryn Harbin showed her skillful acting as a deaf and mute child. Her expressions and actions, for the most part, represented those of a true deaf and mute child. Along with Helen’s performance, her teacher, Annie Sullivan played by Megan Rush, exposed the real Annie. Megan did an excellent job revealing that Annie had a past and showed her emotional conflict and development throughout the show. Another great performance came from Jessica Ordon who played Helen’s mother and connected with every character on the stage. Jessica Ordon pulled anyone watching into her emotional breakdown and struggle as well as her excitement in the end.
Despite the lack of diction for some and the late reactions of lines, as a whole, the cast performed respectably. The emotional development and portrayal as well as the character interaction added a great deal to the performance. Another well done job was performed by the Blind Girls, who even though had a brief moment on stage, did a great job. Their separate characters all uniquely added to the departure of Annie Sullivan.
The technical aspects of The Miracle Worker were also outstanding. Despite a few set and pantomimed object confusions, added effects of lighting and background sounds were the perfect touch. The flashbacks with the red lighting greatly portrayed the haunting past of Annie Sullivan.
With the breakthrough of Helen’s new found ability to communicate, The Miracle Worker concludes with a pleasing impression.
Originally published by The Backstage Noise, Spring Issue, 2006
Have you ever imagined that, born a normal child, one day your life would shut down? The story of a young, deaf, and mute child and her miracle teacher was performed by Cypress Creek High School this past weekend. The Miracle Worker, based on a true story, respectably portrayed Helen Keller (Deryn Harbin) and Annie Sullivan's (Megan Rush) progressive relationship and overcoming of the past.
At a young infantile age, Helen Keller (Deryn Harbin) was struck with a devastating illness. This illness eventually caused Helen to forever lose her sight, speech, and hearing. Growing up she was given anything she wanted and allowed to act any way desired thus becoming uncontrollable for Kate Keller (Jessica Ordon) and Captain Keller (Diego Rodriguez). Just when all hope seems lost and Helen is at risk of being sent to an asylum, arrives Annie Sullivan. She is a graduated blind woman who has a torturing past of her own. Through Helen, Annie is determined to bring this uncontrollable child to a civil young woman and put to rest her haunting past. After weeks of repetition, and hardly any improvement, Annie Sullivan gives Helen one more chance through water. The simplest concept and Helen has a breakthrough. Annie Sullivan forever breaks the language barrier for Helen and opens up a new world.
Despite some lacking emotion, Cypress Creek put on an admirable performance of The Miracle Worker. The interaction between most characters was touching and very realistic. A commendable note for the cast of Cypress Creek High School was their ability to transform real-life people into very believable characters. Even though their were a few stumbled lines and missing diction from some of the characters, together the whole cast pulled through and did a very good job.
Portraying Helen Keller, Deryn Harbin showed her skillful acting as a deaf and mute child. Her expressions and actions, for the most part, represented those of a true deaf and mute child. Along with Helen’s performance, her teacher, Annie Sullivan played by Megan Rush, exposed the real Annie. Megan did an excellent job revealing that Annie had a past and showed her emotional conflict and development throughout the show. Another great performance came from Jessica Ordon who played Helen’s mother and connected with every character on the stage. Jessica Ordon pulled anyone watching into her emotional breakdown and struggle as well as her excitement in the end.
Despite the lack of diction for some and the late reactions of lines, as a whole, the cast performed respectably. The emotional development and portrayal as well as the character interaction added a great deal to the performance. Another well done job was performed by the Blind Girls, who even though had a brief moment on stage, did a great job. Their separate characters all uniquely added to the departure of Annie Sullivan.
The technical aspects of The Miracle Worker were also outstanding. Despite a few set and pantomimed object confusions, added effects of lighting and background sounds were the perfect touch. The flashbacks with the red lighting greatly portrayed the haunting past of Annie Sullivan.
With the breakthrough of Helen’s new found ability to communicate, The Miracle Worker concludes with a pleasing impression.
Originally published by The Backstage Noise, Spring Issue, 2006
Once Upon A Mattress Leaves You Humming
by Jennifer Barkenhagen, Freedom High School
Here ye, here ye! All Lords and Ladies are suggested to see ‘Once Upon A Mattress’ performed by Ye Olde Cypress Creek High School!
Once Upon A Mattress is the story of a Prince’s search for a suitable wife and the trouble his mother causes in this task. Queen Aggravain insists that her son have a wife who is a ‘proper princess’, and therefore sets amazingly hard tasks to each of Prince Dauntless’ choices. Since none of the subjects are allowed to have romantic relations before the Prince is married, when Sir Harry and Lady Larken find out they’re having a baby, they must help with the search. Sir Harry goes on a quest to find a true princess and returns with Princess Winifred (Fred for short). She is anything but what the Queen wants, but the Prince falls for her immediately. The Queen decides to test her ‘sensitivity’. To do this she tires the princess out, then places a pea underneath 20 mattresses, saying that if she can sleep then she isn’t a true princess, because a true princess couldn’t sleep on a lumpy mattress. Through a few tricks, the princess passes and the whole kingdom rejoices.
Cypress Creek’s show was lively and fun, and the energy anchored the show. It was clear that many of the actors put a lot of time into their parts. Francisco Santelli did a great job with selling his character as Prince Dauntless, and his voice was among the best in the show. Caitlin Mahoney’s Queen Aggravain was fun to watch and very convincing. Kelseanne Breder in the role of Princess Winifred was funny, and her energy flew off the stage. Kira Disen as Lady Larken did a fantastic job with her songs, and her emotion was very real. The ensembles were good, although the dancing could have been crisper. The cast exuded energy, and that really brought the show up.
There were sound issues throughout the show, but the set was well thought out. The reusable pieces were efficient and made for a nice change of scenery, and the castle looked like something right out of a storybook. The rising curtain added to that royal atmosphere.
Cypress Creek did a good job with this show. The energy was high and the feel of the show was great. I left happy and humming, which is definitely how I like to leave musicals.
Originally published in the Backstage Noise, Spring 2006
Here ye, here ye! All Lords and Ladies are suggested to see ‘Once Upon A Mattress’ performed by Ye Olde Cypress Creek High School!
Once Upon A Mattress is the story of a Prince’s search for a suitable wife and the trouble his mother causes in this task. Queen Aggravain insists that her son have a wife who is a ‘proper princess’, and therefore sets amazingly hard tasks to each of Prince Dauntless’ choices. Since none of the subjects are allowed to have romantic relations before the Prince is married, when Sir Harry and Lady Larken find out they’re having a baby, they must help with the search. Sir Harry goes on a quest to find a true princess and returns with Princess Winifred (Fred for short). She is anything but what the Queen wants, but the Prince falls for her immediately. The Queen decides to test her ‘sensitivity’. To do this she tires the princess out, then places a pea underneath 20 mattresses, saying that if she can sleep then she isn’t a true princess, because a true princess couldn’t sleep on a lumpy mattress. Through a few tricks, the princess passes and the whole kingdom rejoices.
Cypress Creek’s show was lively and fun, and the energy anchored the show. It was clear that many of the actors put a lot of time into their parts. Francisco Santelli did a great job with selling his character as Prince Dauntless, and his voice was among the best in the show. Caitlin Mahoney’s Queen Aggravain was fun to watch and very convincing. Kelseanne Breder in the role of Princess Winifred was funny, and her energy flew off the stage. Kira Disen as Lady Larken did a fantastic job with her songs, and her emotion was very real. The ensembles were good, although the dancing could have been crisper. The cast exuded energy, and that really brought the show up.
There were sound issues throughout the show, but the set was well thought out. The reusable pieces were efficient and made for a nice change of scenery, and the castle looked like something right out of a storybook. The rising curtain added to that royal atmosphere.
Cypress Creek did a good job with this show. The energy was high and the feel of the show was great. I left happy and humming, which is definitely how I like to leave musicals.
Originally published in the Backstage Noise, Spring 2006
The Wild West Comes Alive in Taming of the Shrew
by Kristin Pollack, Ocoee High School
Loud guns, a saloon, dancers, pick pockets, and the Wild West. Sound like Shakespeare? It does for Apopka High School’s Performance of The Taming of the Shrew.
The Taming of the Shrew tells the story of a family of one parent and two daughters. The eldest of the daughters, Katherine (Karlie Ragan), is a wild untamed wreck, while the youngest, Bianca (Faith O’Hare), is one of the fairest maidens in the area whom Lucentio (Justin Wood), Hortensio (Brad Snyder), and Gremio (Noah Camenker) all have their eyes on to wed. However the plot really forms when Baptista (Sherri Savage), mother of Katherine and Bianca, states that Bianca may not be wed until her sister Katherine is wed first. This brings into play the character Petruchio (Michael Sapp), who then marries Katherine and is put to the test of taming the shrewish sister.
Shakespeare’s iambic pentameter is one feature that is often known to wedge between a high school student and their clear delivery of lines, however, iambic pentameter did not show any affect on Michael Sapp, who delivered his lines with ease and knowledge of what he was saying. Michael Sapp’s chemistry and naturalness with Karlie Ragan as Katherine continued to grow stronger and stronger as the show progressed. Their energy and devotion to their characters made it a small task to play off of each other and really blend.
As Tranio, Lucentio’s servant girl Mandy Wood filled the part of a very strong supportive role. Her facial expressions made it simple to follow her array of emotions. Sherri Savage’s body language also made it easy to follow her character’s role with ease.
The comedy of the show really came out through the western feeling. The western style really made it simpler for the audience to follow along. There were intermittent slips on lines due to the Shakespearean language, and possibly a misunderstanding of what was trying to be said, but overall effectiveness.
The props and effects were great. The props fit the surroundings very well, and all of the cast members who had to handle props at some point appeared very comfortable with doing so. The loud gun shots which were very startling at first played in well, but may have been more effective if there were a few less gunshots for a more dramatic effect.
Any Shakespeare production is difficult to perform during today’s times but Apopka has succeeded.
Originally published in the Backstage Noise, Spring Issue, 2006
Loud guns, a saloon, dancers, pick pockets, and the Wild West. Sound like Shakespeare? It does for Apopka High School’s Performance of The Taming of the Shrew.
The Taming of the Shrew tells the story of a family of one parent and two daughters. The eldest of the daughters, Katherine (Karlie Ragan), is a wild untamed wreck, while the youngest, Bianca (Faith O’Hare), is one of the fairest maidens in the area whom Lucentio (Justin Wood), Hortensio (Brad Snyder), and Gremio (Noah Camenker) all have their eyes on to wed. However the plot really forms when Baptista (Sherri Savage), mother of Katherine and Bianca, states that Bianca may not be wed until her sister Katherine is wed first. This brings into play the character Petruchio (Michael Sapp), who then marries Katherine and is put to the test of taming the shrewish sister.
Shakespeare’s iambic pentameter is one feature that is often known to wedge between a high school student and their clear delivery of lines, however, iambic pentameter did not show any affect on Michael Sapp, who delivered his lines with ease and knowledge of what he was saying. Michael Sapp’s chemistry and naturalness with Karlie Ragan as Katherine continued to grow stronger and stronger as the show progressed. Their energy and devotion to their characters made it a small task to play off of each other and really blend.
As Tranio, Lucentio’s servant girl Mandy Wood filled the part of a very strong supportive role. Her facial expressions made it simple to follow her array of emotions. Sherri Savage’s body language also made it easy to follow her character’s role with ease.
The comedy of the show really came out through the western feeling. The western style really made it simpler for the audience to follow along. There were intermittent slips on lines due to the Shakespearean language, and possibly a misunderstanding of what was trying to be said, but overall effectiveness.
The props and effects were great. The props fit the surroundings very well, and all of the cast members who had to handle props at some point appeared very comfortable with doing so. The loud gun shots which were very startling at first played in well, but may have been more effective if there were a few less gunshots for a more dramatic effect.
Any Shakespeare production is difficult to perform during today’s times but Apopka has succeeded.
Originally published in the Backstage Noise, Spring Issue, 2006
Apopka's The Odd Couple Beautifully Executed
by Valerie Marks, Cypress Creek High School
Oh, the inhumanity of the roommate that’s the complete opposite of you- but what if that roommate is your best friend? An anal-retentive neat freak paired up with an irresponsibly casual womanizer? Though it seems like an odd couple of bachelors, Apopka High School’s rendition of Neil Simon’s The Odd Couple was a beautifully-executed comedy of errors.
When messy divorcee Oscar Madison’s obsessive-compulsive best friend’s, Felix Ungar’s, wife divorces him, Oscar takes Felix in as a favor to a distraught friend. Felix, who lives a life of routine, and Oscar, who lives a life of spontaneity, suddenly find their lives turned completely upside-down. Suddenly, Oscar’s 8-bedroom apartment seems a bit cramped.
Apopka High School presented both a male and a female version of the famous play. The casting for all of the roles seemed well-suited, and the ensemble work was superb. The actors worked well together, especially during several particularly entertaining chase scenes.
Both the humorous and dramatic aspects of the show were displayed cohesively in the complicated relationship between Oscar (Steven Jones) and Felix (Kyle Mulcahy.) Going further beyond many high school productions, Jones and Mulcahy played on both the physical and non-verbal interactions as well as the actual dialogue in the play. The complicated emotions shown from both of the actors were apparent in light-hearted, comedic shtick, as well as tense dramatic scenes.
Opening the play with a weekly Friday night poker game, an ensemble of supporting actors worked seamlessly together, never stopping or toning down their different, unique characters. Roy, Vinnie, Speed and Murray (Jonathan Sepulveda, Michael Sapp, Ross Black, Alex Pollard) worked as a team while still maintaining their individual personalities.
Setting the tone for the play, the first glimpse of the set gives an optimistic impression immediately. Looking straight out of a New York City bachelor pad, even the real chandeliers hanging from the “ceiling” add to the photograph. Though the costumes were wildly different, they served to further exemplify the differences in the characters.
As is evident through the audience’s well-timed laughter, in Apopka High School’s production of The Odd Couple, odd is definitely perfect.
Originally published in the Backstage Noise, Fall Issue, 2005
Oh, the inhumanity of the roommate that’s the complete opposite of you- but what if that roommate is your best friend? An anal-retentive neat freak paired up with an irresponsibly casual womanizer? Though it seems like an odd couple of bachelors, Apopka High School’s rendition of Neil Simon’s The Odd Couple was a beautifully-executed comedy of errors.
When messy divorcee Oscar Madison’s obsessive-compulsive best friend’s, Felix Ungar’s, wife divorces him, Oscar takes Felix in as a favor to a distraught friend. Felix, who lives a life of routine, and Oscar, who lives a life of spontaneity, suddenly find their lives turned completely upside-down. Suddenly, Oscar’s 8-bedroom apartment seems a bit cramped.
Apopka High School presented both a male and a female version of the famous play. The casting for all of the roles seemed well-suited, and the ensemble work was superb. The actors worked well together, especially during several particularly entertaining chase scenes.
Both the humorous and dramatic aspects of the show were displayed cohesively in the complicated relationship between Oscar (Steven Jones) and Felix (Kyle Mulcahy.) Going further beyond many high school productions, Jones and Mulcahy played on both the physical and non-verbal interactions as well as the actual dialogue in the play. The complicated emotions shown from both of the actors were apparent in light-hearted, comedic shtick, as well as tense dramatic scenes.
Opening the play with a weekly Friday night poker game, an ensemble of supporting actors worked seamlessly together, never stopping or toning down their different, unique characters. Roy, Vinnie, Speed and Murray (Jonathan Sepulveda, Michael Sapp, Ross Black, Alex Pollard) worked as a team while still maintaining their individual personalities.
Setting the tone for the play, the first glimpse of the set gives an optimistic impression immediately. Looking straight out of a New York City bachelor pad, even the real chandeliers hanging from the “ceiling” add to the photograph. Though the costumes were wildly different, they served to further exemplify the differences in the characters.
As is evident through the audience’s well-timed laughter, in Apopka High School’s production of The Odd Couple, odd is definitely perfect.
Originally published in the Backstage Noise, Fall Issue, 2005
Man of La Mancha at West Orange is Professional Quality Theatre
by Valerie Marks, Cypress Creek High School
An ill man trapped in a madman created in the mind of a playwright on trial during the Spanish Inquisition: three different realities are executed beautifully in West Orange High School’s rendition of Miguel de Cervantes’ Man of La Mancha.
This whimsical drama depicts the story of Don Miguel de Cervantes, a Spanish playwright. Sentenced to trial by his fellow prisoners, Cervantes pleads for his life with a performace of his unfinished play, in which he casts the prisoners. Alonso Quijana is an aging old man who has gone insane. He believes that he is Don Quixote, Knight Errant of La Mancha. Quixote and his trusty squire, Sancho Panza, set off on a quest for knighthood, love and chivalry.
In a role with three characters, Benjamin Rush is transforming as Don Quixote, Alonso Quijana and Cervantes. Appearing to truly believe in the quest of his silly knight, he also gets the chance to show off his musical talent in “The Impossible Dream” and “Man of La Mancha”. Kate Gordon stands out as the rough Aldonza, a “kitchen slut” seen as the ideal woman by Quixote, who calls her Dulcinea. Kate’s singing is full with the emotion of the role.
The Padre, played by Shawn Hebbeler, is a pleasant surprise. His initial concern for the motives of Alonso’s family (in “I’m Only Thinking of Him”) is finally softened in a beautiful eulogy after Quixote’s death (“The Psalm”). You can almost feel the genuine distaste of Dr. Sanson Carrasco (John Hancock) for Quixote and the confusion of the Governor/Innkeeper (Torey Scarbrough) at allowing this madman to inhabit his territory.
The set, tilted at an angle, helps with the various fight scenes and brawls, and the drawbridge adds a stern touch to the prison. A single, creative set is perfectly matched for the different settings of the play. The costumes also appear to be almost genuine.
There are some minor kinks to be worked out on the musical cues and choreography but, for the most part, the cast seems to work harmoniously during the complicated blocking for the brawls and dances. The transitions are awkward at times, but the difficulty of playing multiple roles seems to be no match for this ensemble.
It is hard to imagine some of the cast as high school students. As is West Orange’s motto, Man of La Mancha truly tries for “professional quality theatre”.
Originally published in the Backstage Noise, 2005
An ill man trapped in a madman created in the mind of a playwright on trial during the Spanish Inquisition: three different realities are executed beautifully in West Orange High School’s rendition of Miguel de Cervantes’ Man of La Mancha.
This whimsical drama depicts the story of Don Miguel de Cervantes, a Spanish playwright. Sentenced to trial by his fellow prisoners, Cervantes pleads for his life with a performace of his unfinished play, in which he casts the prisoners. Alonso Quijana is an aging old man who has gone insane. He believes that he is Don Quixote, Knight Errant of La Mancha. Quixote and his trusty squire, Sancho Panza, set off on a quest for knighthood, love and chivalry.
In a role with three characters, Benjamin Rush is transforming as Don Quixote, Alonso Quijana and Cervantes. Appearing to truly believe in the quest of his silly knight, he also gets the chance to show off his musical talent in “The Impossible Dream” and “Man of La Mancha”. Kate Gordon stands out as the rough Aldonza, a “kitchen slut” seen as the ideal woman by Quixote, who calls her Dulcinea. Kate’s singing is full with the emotion of the role.
The Padre, played by Shawn Hebbeler, is a pleasant surprise. His initial concern for the motives of Alonso’s family (in “I’m Only Thinking of Him”) is finally softened in a beautiful eulogy after Quixote’s death (“The Psalm”). You can almost feel the genuine distaste of Dr. Sanson Carrasco (John Hancock) for Quixote and the confusion of the Governor/Innkeeper (Torey Scarbrough) at allowing this madman to inhabit his territory.
The set, tilted at an angle, helps with the various fight scenes and brawls, and the drawbridge adds a stern touch to the prison. A single, creative set is perfectly matched for the different settings of the play. The costumes also appear to be almost genuine.
There are some minor kinks to be worked out on the musical cues and choreography but, for the most part, the cast seems to work harmoniously during the complicated blocking for the brawls and dances. The transitions are awkward at times, but the difficulty of playing multiple roles seems to be no match for this ensemble.
It is hard to imagine some of the cast as high school students. As is West Orange’s motto, Man of La Mancha truly tries for “professional quality theatre”.
Originally published in the Backstage Noise, 2005
Diary of Anne Frank Opens at Lyman
by Kelly Prince, West Orange High School
Living a life of once joy and happiness, but now unjustified and dispaired- The Frank Family remains locked up in their attic with the hope of saving their lives.
Lyman High School produces the show "The Diary of Anne Frank" with simple ease, and tranquility. The show itself, although mature, has a beautiful essense, and stage picture to it. The set, wonderfully designed, add a charm, but was quite big, perhaps too big for this show. The sound, ran by Angela Pimpinella, was a little muffled with the reading of Anne's diary, but the marching of the soldiars and horns was ran smoothly. Also, the lights, ran by Disney Bolin, was beautifully done, but the turning off and on the lamps (in the house)was distracting at times, but when done correctly, was spectacular.
Despite of a few projection problems, the actors did an amazing job fullfilling their characters, and letting them shine through. The role of Mrs. Frank, ran by Shannon Jennings, was done marvously, for each time she spoke I felt that Shannon actually was Mrs. Frank. Also, Anne Frank, Cayla Clifton, was portrayed quite realistically, and grew throughout the show. Also, Peter Van Daan, Adam Reilly, was wonderful, and was the glue that held the cast together.
"THe Diary of Anne Frank" was a marvously done show, with both cast and crew, and should certainly be recognized.
Originally published in the Backstage Noise, 2004
Living a life of once joy and happiness, but now unjustified and dispaired- The Frank Family remains locked up in their attic with the hope of saving their lives.
Lyman High School produces the show "The Diary of Anne Frank" with simple ease, and tranquility. The show itself, although mature, has a beautiful essense, and stage picture to it. The set, wonderfully designed, add a charm, but was quite big, perhaps too big for this show. The sound, ran by Angela Pimpinella, was a little muffled with the reading of Anne's diary, but the marching of the soldiars and horns was ran smoothly. Also, the lights, ran by Disney Bolin, was beautifully done, but the turning off and on the lamps (in the house)was distracting at times, but when done correctly, was spectacular.
Despite of a few projection problems, the actors did an amazing job fullfilling their characters, and letting them shine through. The role of Mrs. Frank, ran by Shannon Jennings, was done marvously, for each time she spoke I felt that Shannon actually was Mrs. Frank. Also, Anne Frank, Cayla Clifton, was portrayed quite realistically, and grew throughout the show. Also, Peter Van Daan, Adam Reilly, was wonderful, and was the glue that held the cast together.
"THe Diary of Anne Frank" was a marvously done show, with both cast and crew, and should certainly be recognized.
Originally published in the Backstage Noise, 2004
Lyman's Seussical is a Stunning Show!
by Rebecca Whitlock, East Ridge High School
A quiet night at home, what could be better than that? Why, a night spent at Lyman with the Cat in the Hat. The music, the dancing, and the rest of the bamboosical, that was Lyman’s stunning production of Seussical the Musical.
This musical, written by Stephen Flaherty and Lynn Ahrens and based of the works of Dr. Seuss, is filled with everything from a love story, to finding a friend, to finding yourself. It tells these stories with 36 songs, all of beautifully sung, imaginatively choreographed, and filled with dancers wearing every color imaginable. Diction was sometimes difficult to follow, but the stunning voices of those such as the Sour Kangaroo, played by Crystal Carter, and Jojo, played by Jimmy Reichle, definitely drove and deficiencies out of the mind.
The characters were also some of the most memorable to be seen, including the loveable Horton (played by Bobby Grenon), the flashy Mayzie La Bird (played by Lindsey Carter), the loveable Gertrude McFuzz (played by Jessica Bodine), and the cheery Mrs. Mayor (played by Kelley Smith), all really brought out the energy of the show. And who could forget The Cat in the Hat, played by Nick Marrison, whose body language, comedic timing, and energy made the show.
Inventive uses of props and sets also lent enchantment to the show. Using black-light for the underwater scene was ingenious and worked marvelously. Also, the mobility of the set was like the play itself--fluid and never repititous. Light cues were a bit off at times but were overshadowed by things like the colorful and changing costumes that always afforded something to see. The audience was always waiting for the next surprise.
This show is the ultimate family affair, bringing children into Dr. Seuss, and parents back to it. Crazy costumes, eye-catching sets, imaginative movement, and loveable characters will dance through your mind after seeing this production, and the only thing echoing through your mind will be the thought that, “A person’s a person no matter how small.”
Originally published by the Backstage Noise, 2005
A quiet night at home, what could be better than that? Why, a night spent at Lyman with the Cat in the Hat. The music, the dancing, and the rest of the bamboosical, that was Lyman’s stunning production of Seussical the Musical.
This musical, written by Stephen Flaherty and Lynn Ahrens and based of the works of Dr. Seuss, is filled with everything from a love story, to finding a friend, to finding yourself. It tells these stories with 36 songs, all of beautifully sung, imaginatively choreographed, and filled with dancers wearing every color imaginable. Diction was sometimes difficult to follow, but the stunning voices of those such as the Sour Kangaroo, played by Crystal Carter, and Jojo, played by Jimmy Reichle, definitely drove and deficiencies out of the mind.
The characters were also some of the most memorable to be seen, including the loveable Horton (played by Bobby Grenon), the flashy Mayzie La Bird (played by Lindsey Carter), the loveable Gertrude McFuzz (played by Jessica Bodine), and the cheery Mrs. Mayor (played by Kelley Smith), all really brought out the energy of the show. And who could forget The Cat in the Hat, played by Nick Marrison, whose body language, comedic timing, and energy made the show.
Inventive uses of props and sets also lent enchantment to the show. Using black-light for the underwater scene was ingenious and worked marvelously. Also, the mobility of the set was like the play itself--fluid and never repititous. Light cues were a bit off at times but were overshadowed by things like the colorful and changing costumes that always afforded something to see. The audience was always waiting for the next surprise.
This show is the ultimate family affair, bringing children into Dr. Seuss, and parents back to it. Crazy costumes, eye-catching sets, imaginative movement, and loveable characters will dance through your mind after seeing this production, and the only thing echoing through your mind will be the thought that, “A person’s a person no matter how small.”
Originally published by the Backstage Noise, 2005
East Ridge's Little Shop is a Zany Story
by Madelyn Grubbs, Cypress Creek High School
In a show full of man-eating plants, evil dentists with rusty drills, and true love, one is always surprised to find a very human element. In their recent production of the musical Little Shop of Horrors by Howard Ashman and Alan Menken, the East Ridge High School drama department entertained their audience with the zany story while sharing the touching sincerity of their characters.
Seymour, a young florist, finds fame and fortune (and a new mother) when he discovers a new type of plant. He names the plant Audrey II after the woman of his dreams. Unfortunately, he finds that his plant will only eat people. The plants incessant call for blood as well as Seymour's desire to impress Audrey drive him to desperate measures.
Ross Shackelford played the role of Seymour with an endearing sense of akwardness and indecision. I enjoyed his use of his glasses- taped in the middle of course- as an extension of character. Amanda Riggio, with her powerful and expressive voice, created an Audrey that was consistent and vulnerable. Andrew Bushwitz was superb as Orin. When he stepped onto the stage, he brought with him an impressive energy and focus.
And what would this show be without the plant. In a feat of technical skill, aided by the voice of Michael Mehlhorn, Audrey II was brought to life. The majority of the costumes suited their charcters very well and provided a good sense of character. The lighting was effective, especially in Seymour's interior monologue scenes. The live band was a wonderful touch and the choreography fit the nature of the show.
Because these characters are so outrageous, there are really no limits to how far the actors can take them. I would have liked to see more of the characters taken even further than they already were. This would keep the energy up at all times.
The cast ended the show with a dramatic finale. The show was very enjoyable and the cast succeeded in creating a sensitive side to this crazy musical by finding the humanity in their characters.
Originally published by the Backstage Noise, 2005
In a show full of man-eating plants, evil dentists with rusty drills, and true love, one is always surprised to find a very human element. In their recent production of the musical Little Shop of Horrors by Howard Ashman and Alan Menken, the East Ridge High School drama department entertained their audience with the zany story while sharing the touching sincerity of their characters.
Seymour, a young florist, finds fame and fortune (and a new mother) when he discovers a new type of plant. He names the plant Audrey II after the woman of his dreams. Unfortunately, he finds that his plant will only eat people. The plants incessant call for blood as well as Seymour's desire to impress Audrey drive him to desperate measures.
Ross Shackelford played the role of Seymour with an endearing sense of akwardness and indecision. I enjoyed his use of his glasses- taped in the middle of course- as an extension of character. Amanda Riggio, with her powerful and expressive voice, created an Audrey that was consistent and vulnerable. Andrew Bushwitz was superb as Orin. When he stepped onto the stage, he brought with him an impressive energy and focus.
And what would this show be without the plant. In a feat of technical skill, aided by the voice of Michael Mehlhorn, Audrey II was brought to life. The majority of the costumes suited their charcters very well and provided a good sense of character. The lighting was effective, especially in Seymour's interior monologue scenes. The live band was a wonderful touch and the choreography fit the nature of the show.
Because these characters are so outrageous, there are really no limits to how far the actors can take them. I would have liked to see more of the characters taken even further than they already were. This would keep the energy up at all times.
The cast ended the show with a dramatic finale. The show was very enjoyable and the cast succeeded in creating a sensitive side to this crazy musical by finding the humanity in their characters.
Originally published by the Backstage Noise, 2005
An Ingenious Dracula at East Ridge
by Asha Singh, Timber Creek High School
Dark rooms, piercing screams, uncertainty at every corner, a figure clothed in darkness and surrounded by an aura of mystery. Quick hide your veins, it's East Ridge High school’s production of Dracula!
Bram Stoker’s classic story follows the lives of Mina, Lucy, Harker, Dr. Seward, and Professor Van Helsing as they battle the lord of the un-dead, Count Dracula. In the Deane and Balderston version, Mina is bitten by the visiting count and becomes one of his servants. Her soul is freed by Professor Van Helsing, who has been called in by Dr. Seward. Seward is fearful for her daughter Lucy’s health as she too was bitten but has not yet been completely turned into the un-dead. There to offer assistance to Van Helsing is Jonathan Harker, Lucy’s betrothed.
Starring as the family’s savior is Tony DeLuca, whose confidant air enhances the idea that his character is the only hope for the Seward family. Adding greatly was Amanda Riggio’s Lucy, who must go back and forth from human to Dracula-controlled vixen throughout the play. Another difficult role is Renfield, the servant of Dracula, whose psychotic mannerisms and sudden bursts of fear, panic and regret were performed by Michelle Tribbey to great effect.
An ingenious addition to the play is the ensemble of “loonies”, who greet the audience during the two intermissions. The loonies are a great tool to involve the viewers, add humor, and still maintain the essence of the dark tale. The maid’s (played by Vanessa Bittner) changes in vocal delivery during the mind-control scene with Dracula are something to be admired. While the overall speech is generally clear, some members of the cast seem to have problems maintaining the accent. A few drift in and out of character, but their strong focus was shown when a cell phone rang repeatedly and the cast continued as if nothing had happened.
The special effects are among the show’s strengths. The bat with the red eyes flying into the window, the red light emitted from the inside of the coffin, and the shattering mirror are excellent additions to the show. The subtle use of the eerie wind and dark organ music perfectly compliment Dracula’s sinister presence.
The idea of the set, with its interchangeable parts, is commendable. In costumes, furnishings and the doorways more attention to period accuracy could have been given, but there is a beautiful couch that works well.
East Ridge's Production made for an enjoyably evening.
Originally published by the Backstage Noise, 2004
Dark rooms, piercing screams, uncertainty at every corner, a figure clothed in darkness and surrounded by an aura of mystery. Quick hide your veins, it's East Ridge High school’s production of Dracula!
Bram Stoker’s classic story follows the lives of Mina, Lucy, Harker, Dr. Seward, and Professor Van Helsing as they battle the lord of the un-dead, Count Dracula. In the Deane and Balderston version, Mina is bitten by the visiting count and becomes one of his servants. Her soul is freed by Professor Van Helsing, who has been called in by Dr. Seward. Seward is fearful for her daughter Lucy’s health as she too was bitten but has not yet been completely turned into the un-dead. There to offer assistance to Van Helsing is Jonathan Harker, Lucy’s betrothed.
Starring as the family’s savior is Tony DeLuca, whose confidant air enhances the idea that his character is the only hope for the Seward family. Adding greatly was Amanda Riggio’s Lucy, who must go back and forth from human to Dracula-controlled vixen throughout the play. Another difficult role is Renfield, the servant of Dracula, whose psychotic mannerisms and sudden bursts of fear, panic and regret were performed by Michelle Tribbey to great effect.
An ingenious addition to the play is the ensemble of “loonies”, who greet the audience during the two intermissions. The loonies are a great tool to involve the viewers, add humor, and still maintain the essence of the dark tale. The maid’s (played by Vanessa Bittner) changes in vocal delivery during the mind-control scene with Dracula are something to be admired. While the overall speech is generally clear, some members of the cast seem to have problems maintaining the accent. A few drift in and out of character, but their strong focus was shown when a cell phone rang repeatedly and the cast continued as if nothing had happened.
The special effects are among the show’s strengths. The bat with the red eyes flying into the window, the red light emitted from the inside of the coffin, and the shattering mirror are excellent additions to the show. The subtle use of the eerie wind and dark organ music perfectly compliment Dracula’s sinister presence.
The idea of the set, with its interchangeable parts, is commendable. In costumes, furnishings and the doorways more attention to period accuracy could have been given, but there is a beautiful couch that works well.
East Ridge's Production made for an enjoyably evening.
Originally published by the Backstage Noise, 2004
Godspell A Joyful Retelling of the Gospel
by Kelley Smith, Lyman High School
Who is that, onstage, wearing a Superman shirt? Is it a bird? A plane? No--it’s Jesus, flanked by his eccentric cast of followers in Cypress Creek High School’s production of Godspell.
Godspell is the vibrant, joyful retelling of the Gospel According to St. Matthew, condensed to its most memorable passages, parables, and stories of Jesus among his followers. Written by John-Michael Tebelak and Stephen Schwartz, the show speaks through song (sometimes soft and contemplative, but for the most part loud and almost vaudevillian in presentation), charades, parody, pantomime, and a chorus of “everymen” who serve as Jesus’ followers, biblical characters, and stereotypical representations of humanity at large.
Headed by Francisco Santelli as Jesus, the ten-member ensemble was in constant motion, either running up and down through the aisles of the theatre or tumbling across the beautifully simplistic set, complete with vividly painted boxes used for hiding, climbing, stacking, and anything else that the characters required. Santelli’s warm and humble Jesus served as an enjoyable foil to the remainder of the high-octane ensemble, and Brian Dowling revealed not only one, but two engaging characters in his dual role as John the Baptist and the tormented Judas Iscariot. Providing comic turns were the sultry Kelseanne Breder, the unceasingly animated Asef Mahmud, and the delightfully dopey Megan Rush. Vocally solid, the ensemble offered a harmonic and pleasing performance of the celebrated Schwartz score.
Beyond the characters themselves, it was the dazzling array of color onstage that propagated an air of excitement and joyful proclamation of the Gospel stories. Each actor swam in brilliant, eye-popping color, and the stage itself was lit by a spectrum of colors. The lighting added poise and beauty to a song or story when utilized, but those moments were often spread out, leaving a desire for more of that same vibrancy in each and every instant of the performance.
During the exhaustingly physical regimen of zany choreography and high-octane blocking, the cast kept an intense focus and fought hard to maintain the explosive energy demanded by the show. Projection faltered at various intervals, especially due to the outrageous physicality of the storytelling, yet the ensemble maintained its eccentric poise and spontaneity, and continued to bring highly comical motivation to the performance.
Visually enticing and consistently poignant, Godspell’s spirited ensemble and the entire production provide a highly enjoyable viewing experience.
Originally published by the Backstage Noise, 2005
Who is that, onstage, wearing a Superman shirt? Is it a bird? A plane? No--it’s Jesus, flanked by his eccentric cast of followers in Cypress Creek High School’s production of Godspell.
Godspell is the vibrant, joyful retelling of the Gospel According to St. Matthew, condensed to its most memorable passages, parables, and stories of Jesus among his followers. Written by John-Michael Tebelak and Stephen Schwartz, the show speaks through song (sometimes soft and contemplative, but for the most part loud and almost vaudevillian in presentation), charades, parody, pantomime, and a chorus of “everymen” who serve as Jesus’ followers, biblical characters, and stereotypical representations of humanity at large.
Headed by Francisco Santelli as Jesus, the ten-member ensemble was in constant motion, either running up and down through the aisles of the theatre or tumbling across the beautifully simplistic set, complete with vividly painted boxes used for hiding, climbing, stacking, and anything else that the characters required. Santelli’s warm and humble Jesus served as an enjoyable foil to the remainder of the high-octane ensemble, and Brian Dowling revealed not only one, but two engaging characters in his dual role as John the Baptist and the tormented Judas Iscariot. Providing comic turns were the sultry Kelseanne Breder, the unceasingly animated Asef Mahmud, and the delightfully dopey Megan Rush. Vocally solid, the ensemble offered a harmonic and pleasing performance of the celebrated Schwartz score.
Beyond the characters themselves, it was the dazzling array of color onstage that propagated an air of excitement and joyful proclamation of the Gospel stories. Each actor swam in brilliant, eye-popping color, and the stage itself was lit by a spectrum of colors. The lighting added poise and beauty to a song or story when utilized, but those moments were often spread out, leaving a desire for more of that same vibrancy in each and every instant of the performance.
During the exhaustingly physical regimen of zany choreography and high-octane blocking, the cast kept an intense focus and fought hard to maintain the explosive energy demanded by the show. Projection faltered at various intervals, especially due to the outrageous physicality of the storytelling, yet the ensemble maintained its eccentric poise and spontaneity, and continued to bring highly comical motivation to the performance.
Visually enticing and consistently poignant, Godspell’s spirited ensemble and the entire production provide a highly enjoyable viewing experience.
Originally published by the Backstage Noise, 2005
Cat on a Hot Tin Roof
Review by Kate Osterloh, Timber Creek High School
With everyone’s family a little bit dysfunctional, a play all about a dysfunctional family seems a smidge redundant: why watch something on stage you can see at home? Yet somehow, Tennessee William’s Cat on a Hot Tin Roof is able to step beyond the melodrama of life and offer that spark of hope that only theatre seems able to capture. Cypress Creek High School’s intimate and daring production takes all the risks and lands squarely on its feet with a hugely successful performance.
When the alcoholic son of a wealthy plantation owner returns home with his wife, uncertainty is high on the future and fortune of the couple. With Big Daddy dying and a conniving older brother out for the money, Brick and Maggie must explore their history in order to move the family towards a new beginning.
Madelyn Grubbs, playing unhesitating and audacious Maggie, turns a consistent and emotionally rich performance; her character's history is accessible and her desires are made obvious by her full commitment to the part. Anthony Cobb as Big Daddy provides another stabilizing and complete force, whose voice and self-possession, cleverly combined with profound desperation, ground the story and provide a necessary pillar for the others to play off.
Brian Dowling, Gooper, stands out as deliciously hateful and, at times, poignantly vulnerable. He is focused and inventive without ever being overdone, bringing a strength of mind and clarity of purpose to an otherwise pitiable character. Dowling and Grubbs are to be commended for their generosity as actors, as well as their ability to live in the moment.
With an overtly simplistic set and minimal sound and lighting distractions, the tech fulfills the age-old ambition of sufficiency without overpowering the performances. An ingenious, albeit sometimes confusing, maze of windows and hallways mirrors the tangled storyline, while the laudable stage managers Aaron Garcia and Jaime Frank keep things operating seamlessly in the makeshift backstage area.
With only minor things to be desired, such as greater historic detail among costumes, and more powerfully “high” emotional moments, this show truly shines. Though several characters suffer from a lack of strong choice, and nerves cause lines to be rushed and energy unbalanced, the professionalism of the performers ends the night with triumphant tenderness, tenacity, and tears.
Provoking and intense, this production of Cat on a Hot Tin Roof deserves all manner of praise, and will undoubtedly touch audience members who come (even those in the company of their own dysfunctional family) with a new willingness to forgive.
Published in the Backstage Noise Newsletter, 2005
With everyone’s family a little bit dysfunctional, a play all about a dysfunctional family seems a smidge redundant: why watch something on stage you can see at home? Yet somehow, Tennessee William’s Cat on a Hot Tin Roof is able to step beyond the melodrama of life and offer that spark of hope that only theatre seems able to capture. Cypress Creek High School’s intimate and daring production takes all the risks and lands squarely on its feet with a hugely successful performance.
When the alcoholic son of a wealthy plantation owner returns home with his wife, uncertainty is high on the future and fortune of the couple. With Big Daddy dying and a conniving older brother out for the money, Brick and Maggie must explore their history in order to move the family towards a new beginning.
Madelyn Grubbs, playing unhesitating and audacious Maggie, turns a consistent and emotionally rich performance; her character's history is accessible and her desires are made obvious by her full commitment to the part. Anthony Cobb as Big Daddy provides another stabilizing and complete force, whose voice and self-possession, cleverly combined with profound desperation, ground the story and provide a necessary pillar for the others to play off.
Brian Dowling, Gooper, stands out as deliciously hateful and, at times, poignantly vulnerable. He is focused and inventive without ever being overdone, bringing a strength of mind and clarity of purpose to an otherwise pitiable character. Dowling and Grubbs are to be commended for their generosity as actors, as well as their ability to live in the moment.
With an overtly simplistic set and minimal sound and lighting distractions, the tech fulfills the age-old ambition of sufficiency without overpowering the performances. An ingenious, albeit sometimes confusing, maze of windows and hallways mirrors the tangled storyline, while the laudable stage managers Aaron Garcia and Jaime Frank keep things operating seamlessly in the makeshift backstage area.
With only minor things to be desired, such as greater historic detail among costumes, and more powerfully “high” emotional moments, this show truly shines. Though several characters suffer from a lack of strong choice, and nerves cause lines to be rushed and energy unbalanced, the professionalism of the performers ends the night with triumphant tenderness, tenacity, and tears.
Provoking and intense, this production of Cat on a Hot Tin Roof deserves all manner of praise, and will undoubtedly touch audience members who come (even those in the company of their own dysfunctional family) with a new willingness to forgive.
Published in the Backstage Noise Newsletter, 2005
Hello Cappies
In speaking with many of you, I have come to the conclusion that most of you have never seen the Backstage Noise Newsletter or the Backstage Noise Online website. This is one of the places that you have been consistently published over the years. I discovered that I have access to all those reviews through the Cappies archives, so I thought I would post them as a blog that you could easily access until we can get the website figured out so that everyone gets access. I am going to go back as far as I can first, so this year's reviews won't appear for a few days.
BLOG RULES: No comments may be made on the shows reviewed or the quality of the review. I have set the options so that I can read any posts before they are published.
BLOG RULES: No comments may be made on the shows reviewed or the quality of the review. I have set the options so that I can read any posts before they are published.
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