Nevermore! Edgar Allan Poe, The Final Mystery, written by Julian Wiles, premiered in 1994 with the Charleston Stage Company in South Carolina. Briar Woods High School’s rendition took the audience on an unforgettable traverse through the untamed mind of a harrowed poet. Edgar Allan Poe (Brandon Diaz) boarded a ship in Baltimore, setting sail for New York City, unaware that he would never reach its shores. On the contrary, Poe is little more than a captive on a hell-bound vessel captained by the devil (Alex Bertke) himself. Here a troubled man must fight to save his soul on a seemingly endless journey through poetry and nightmares or else face the consequences of an eternity “trapped on a ledge of his own imagination dangling between heaven and hell.”

Brandon Diaz captivated the fanatical, inebriated poet in his movement and posture as well as distant expressions that alluded to the cluster of thoughts constantly surging through Poe’s vivacious mind. Diaz applied diction to conceive clear, polished words that were audible to the audience’s understanding, despite the tricky language. Captain Jeremiah Reynolds (Cal Veatch) carried out a surprising plot twist that supplemented the looming darkness which seemed to surround Poe at every turn. Both Veatch and Bertke sustained energy and finesse throughout the entire course of the play, increasing an already sinister sense to their snide, malevolent characters. Prince Prospero (Christian Perez) instituted timely comic relief. Meanwhile Annabel Lee’s (Kayla Shroyer) soft character and voice was a light for Poe during desperate times. The Prince and Annabel provided a mollifying touch to an otherwise “midnight dreary” storyline.

The cast, sporadically lacking energy, rose to the occasion to generate suspense in scenes in which stakes were eminent, such as “Red Death” and “Nightmare Dance” (choreographed by Caitlin Gilligan). Lighting was regimented and judiciously correlated with the mood of the scene. Makeup lacked ingenuity, however, it was carefully applied. Although scene changes were long, running crew procured numerous props, such as sand, spinning set pieces, and furniture. The cast and crew worked exceedingly well to secure various appearing and disappearing acts, alternating actors and set pieces to simulate the allusion of a sudden appearance.

On the whole, Briar Woods High School’s production of Nevermore! indulged a resounding heartbeat in the swirling letters of Edgar Allan Poe’s soul, the echo forever lingering in the “kingdom by the sea,” casting the melancholy mystery across the audience of the tale of the poet and his beautiful Annabel Lee.

by Khrysgiana Pineda of Stone Bridge High School

Photo Gallery

Brittney Howard, Brandon Diaz, Jon Merlino	Brittnay Howard, Christian Perez, Kyra Meister
Nightmare Dance	Cal Veatch, Brandon Diaz

Photos by Connie Bertke

Live It Up! The Musical is an original play by recent Briar Woods graduate Gregory Mooradian. The show tells the story of Liam, an aspiring musician who falls in love with Ava, the new assistant at the theatre where he works as a custodian. However, he must choose between his new hopes and old dreams when he is offered the opportunity to star in a Broadway talent search. This big chance comes with strings attached: he must propose to the producer’s diva daughter.

Brandon Diaz and Brittany Howard led the cast as Liam and Ava. Diaz possessed a voice which was nothing short of exquisite. His smooth timbre endowed his songs with a mellifluous tone, and his effortless vocal runs were not only stunning, but enhanced the pop sensibility of the music. Howard was also a gifted songbird, whose melodious treble notes blended flawlessly with Diaz in their emotional duets. Howard displayed an impressive mastery of physicality to craft her character arc, evolving through the show from very closed-off to more open and free as Ava released her inhibitions and self-doubt.

Live It Up‘s supporting cast proved to be full of comedic virtuosos who committed whole-heartedly to the ridiculous antics of their characters. The dynamic duo of Rodrigo (Jonathan Merlino) and Janice (Maggie Gough), assistants to the greedy Maxine, were undeniable crowd favorites. The two made bold character choices and frequently stole scenes, both separately and as a pair, even when they only appeared in the background. Liz Dickinson was another wacky comic gem as Deb, an undercover cop who donned countless absurd disguises, to uproarious effect. However, the true stars of the show were the Old Folks from the nursing home. These talented actors and actresses left the audience screaming with laughter every time they appeared onstage, with riotous group chemistry and excellent physicality. Their song “Don’t Give Up Now” was utterly priceless, and a highlight of the production.

The technical elements of the production provided strong support for the actors and created an appropriate atmosphere for the plot. The lighting crew not only fulfilled its basic task of illuminating the expressions of the performers, but also utilized creative effects during such numbers as “Oh Broadway” that enhanced the ambiance of the scene. Sound crew handled multiple wireless microphones with impressive dexterity, and the diligent stage crew executed a plethora of scene changes seamlessly and rapidly.

Sometimes, following your dreams means making difficult choices. It takes real courage to stay true to yourself when you must decide what is genuinely important to you, even if that means finding new dreams you never imagined before. Briar Woods High School illuminated the value of this struggle in their uplifting production of Live It Up! The Musical.

by Madelyn Paquette of McLean High School

Photo Gallery

Front Row: Caitlin Gilligan, Brandon Diaz, Meghan Bryan. Middle Row: Maddie Ettrich, McKensey Sturzik, Kayla Shroyer, Abby Bryan. Back Row: Rachel Meggers, Emily Ready, Caty Brown.	Annick Mooradian, Alex Berke, Brooke Glatz
Meghan Bryan, Jonathan Merlino, Brandon Diaz, Brittany Howard	Brandon Diaz and Brittany Howard

Photos by Chelsea Lindsey

The original musical follows the young Elizabeth (Amanda Anzalone) as she succeeds of the throne of England from her sister Queen Mary (Emily Heyer) after she gets ill and dies from the heartbreak caused by Sir Robert (Devon Ross) falling in love with Elizabeth.

The performance consisted of amazing pairing of actors and singers. Emily Heyer was able to amazingly play off of Amanda Anzalone in their duet “Live Without You.” Emily and Amanda’s characters tell each other how they have ruined their lives. In doing this we get to see different sides to both characters. Two players who also worked well with each other were Colin Rau (Simon) and Jenna Lawrence (Grevelia) in the song “Just Kill Her” where the two dark comical characters reveal their plan to simply kill Elizabeth so that they can get the throne for themselves.

Amanda Anzalone did an amazing job in her part as Elizabeth. Not only did she understand the role very well, but was able to speak and present herself as though she actually was English royalty from the 1500s. She also showed off exemplary vocal abilities in all of her songs, but especially in her song “Live Your Life With Love” where she sang breathtaking rifts and stayed perfectly on pitch the entire time. Emily Heyer also did a spectacular job in her very complex role of Queen Mary. She held up her nasty bitter exterior for a majority of the first half of the show and then showed us the unseen side of herself in her solo song “What’s Wrong With Me” where she reveals her heartbreak over a man who loves Elizabeth instead of her, all the while commanding the stage beautifully alone. When she is no longer alone she goes back to her bitter self, while keeping a hint of a broken soul on the stage with her.

One of the biggest challenges of doing a show in the 1500s is finding quality period costumes, but the costumers at Briar Woods solved this problem by making their own costumes, which turned out fantastically. Emily Heyer did an amazing job designing the costumes for the show, she used the colors, styles and patterns of the costumes to symbolize progression in the characters. Queen Mary started off in a green dress to symbolize jealousy and it slowly progressed to a red dress over a hoop skirt to a full black dress that was tight at the top and expanded over a large hoop skirt at the bottom to symbolize her madness and rage toward Elizabeth. The costumes were beautifully made, they looked period and they did an amazing job accenting the characters.

The original musical was a great combination of strong character chemistry, amazing costumes, and beautifully written contemporary music that was put into a classical setting. The show displayed great morals and really showed people how to live their life with love.

by Quinn Emery of Herndon High School

Photo Gallery

Colin Rau, Jenna Lawrence	Emily Heyer
Kaylynn Creighton, Jeremy Breese	Devon Ross, Amanda Anzalone

Photos by Karen Struzik

An original interpretation of the book by Lewis Carroll, the director’s version of Alice showcased the eccentric characters of the world that isn’t. Alice’s memorable chase of the White Rabbit leads the audience through numerous cameo appearances of recognizable characters and ultimately to the impulsive Queen of Hearts (Molly Baneck) herself.

Anzalone’s performance was honest and consistent; she remained invested in her character as she reveled in the spectacle that took place around her. Her interaction with the numerous characters she encountered was always sincere, and her interpretation of the cliché character was both familiar and refreshing.

She was supported well by a cast full of exaggerated characters that truly brought life to the stage. Most notable was the performance of the infamous Mad Hatter (Emily Heyer) and March Hare (Rory Cullen), who nearly stole the show with their tea-time insanities. Heyer had a command of the stage that shown through her nonsensical dialogue, and the antics of Cullen left the audience roaring with laughter with his lovable outbursts and flamboyant gestures. The couple balanced each other well˜both were hilarious without falling to the temptation to overdo their performance.

Another notable duo was the synchronized Tweedledee (Brooke Glatz) and Tweedledum (Beverly Diaz), whose well rehearsed timings were eerily accurate, resulting in a stunning blend of motion and energy. Reid Scholz’s portrayal of the Caterpillar also stood out as especially memorable; his caricature vocal impersonation was amusing, as was his wide use of facial expressions.

Perhaps the most impressive facet of the performance was the remarkable technical work of the crew. The complicated backdrop was lit by an equally striking lighting design, creating a vibrancy of color that suited well the extravagance of wonderland. Though at points the scenery forced the audience to imagine a bit more than necessary, the costumes left none of the same ambiguities. Each cast member had an elaborate costume that represented very accurately the wild characters that were portrayed on stage, complementing the performance of the actors. The plethora of moving set pieces in Alice would have been disastrous if not for Briar Wood’s swift and silent running crew, who frequently darted on stage between scenes to shift scenery or other structures. The lack of sound amplification barely detracted from the show, as the majority of the cast projected clear to the back of the auditorium.

Trippy yet innocent, Briar Wood’s Alice in Wonderland was enjoyable from many aspects of performance to a wide range of audience members. As well as anyone, the cast and crew utilized the illusion of theater to bring the audience along for one spectacularly wild ride.

by Gavin Kramar of Thomas S. Wootton High School

Photo Gallery

Carissa Gaither, Molly Baneck, Emily Heyer, Amanda Anzalone, Emily Ready, Rory Cullen	Rory Cullen, Amanda Anzalone, Emily Ready, Emily Heyer, Carissa Gaither, Molly Baneck

Photos by Rodrigo Rivera.

Julie Andrews starred in the original film of Cinderella, created specifically for television in 1957, several years after Disney’s animated version became a beloved classic. Decades later, a 1997 revised version featuring such greats as Whitney Houston, pop star Brandy, and Bernadette Peters gave the musical a whole new look with a multi-ethnic cast. Yet the legendary tale of Cinderella spans centuries and continents, with various versions of what is essentially the same folk story of love overcoming nearly “Impossible” obstacles.

Resounding through the auditorium with quiet power, the lilting soprano of Katie Bell’s Cinderella enhanced her portrayal of the quintessential dewy-eyed ingénue. Assisting Bell was the charming gait brought on by Brett Stockman as Prince Christopher, their voices meshing well in delicate duets.

Traipsing across the stage with confidence and an arrogant accent, Emily Heyer stood out as the infamous villainess Stepmother, notable for using distinct acting choices that inspired abundant laughter, superseding some lackluster emotion from other actors. Other comic duos included the King (Matt Quist) and Queen (Madeline Moore) for their witty repartee on love and marriage, along with Grace (Carolina Alvarez) and Joy (Lindsay Neimo) making the most of their bratty “Stepsister’s Lament.”

Exquisite dancing executed en pointe by Melissa Hyatt gave Cinderella’s transformation a majestic feel as Hyatt leaped and kicked with perfection, overstepping some underwhelming energy in the rest of the cast. Though humorous moments could crack the audience up, they distracted from the focus in certain scenes and contributed to underdeveloped relationships between some characters.

One minute the stage is set for Cinderella’s small manor house, and then, with a flash of speedy black ninja-like figures, it became the royal castle within seconds. This was due to the remarkable nature of Briar Woods’ stage crew, who with grace and silence carried out each scene change with a well-rehearsed polish that allowed the production to progress quickly and naturally. In contrast loud microphone hisses and squeaks took away from the elegant Rodgers and Hammerstein melodies, adding a few sour notes to the performance.

“Don’t you think this is all just a little medieval?” the Prince remarks insightfully during Cinderella. And he’s right — a saccharine storyline chock full of Prince Charmings and evil stepmothers may be a little too bubbly for 21st century drama queens. But Briar Woods tried valiantly to rescue the damsel-in-distress status of fairy tales in their whimsical production that championed love and kindness — values that will never go out of style.

by Julia Katz of McLean High School

Based on Roald Dahl’s beloved children’s book, Charlie and the Chocolate Factory was first published in 1964 and adapted for the screen in 1971 and 2005. The play begins with enigmatic candy maker Willy Wonka’s exciting announcement: For the five lucky children who find Golden Tickets in their Wonka Bars, the long-locked doors of his factory will open, and Willy will personally escort them through its wondrous walls. Kind, impoverished Charlie and his vivacious Grandpa Joe, along with four naughty children and their equally unsavory guardians, are quickly swept into this incredible world of confectionary creation.

Briar Woods’ whimsical production was geared towards the awe-struck children in the audience. A definitive strength of the cast was the actors’ ability to portray the full spectrum of maturity, from young children to middle-aged parents to grandparents over ninety years old. These strong characterizations, fantastic visual effects, and the seamless scene transitions afforded by Tyler Kirby‘s original music brought this world of “pure imagination” to life.

Jesse Bhamrah gave a dynamic performance as the eccentric Willy Wonka, easily entertaining with his enthusiasm and startling mood swings. Tyler Kirby’s slight hobble, wide eyes, and croaky voice culminated in a wonderfully consistent and believable portrayal of vibrant Grandpa Joe. Adam White was articulate and infinitely likable as plucky, patient Charlie.

An engaging ensemble of misbehaving Golden Ticket holders added comedy to the mix. Spoiled, hip-popping brat Veruca Salt (Claire Seely), abrasive, gum-chewing Violet Beauregard (Katie Bell), impatient television enthusiast Mike Teavee (Mo Ziegler), and gluttonous Augustus Gloop (Connor Keirce) all jockeyed amusingly for Wonka’s attentions before meeting their sticky ends. Alana Bowen had a particularly enjoyable cameo as Mrs. Gloop, hysterically wielding a purse after her son’s sudden dip into Wonka’s Chocolate River.

One of the liveliest aspects of Briar Woods’ production was the chorus of technicolored Oompa-Loompas, comprised of Brad Kimball, Addie Schafer, Matt Vespestad, and Britt Nichols. Squeaky voices, energized chanting, and playful choreography made their mid-show interludes enchanting as they tumbled and rapped to techno rhythms.

Colorful costumes by Asma Naqvi accentuated each character’s class and quirks. Renny Cullen‘s lighting design illuminated each room of the factory in unique tones and shapes, and a nearly invisible crew moved set pieces efficiently. A marvel of imaginative effects allowed doors to fly across the stage during a high-speed boat ride and characters to be blown into blueberries and sucked up pipes. The wealth of visible wonders compensated for the occasional dip in energy.

With saccharine imagination and fun-filled fantasy, Briar Woods provided a delighted audience with the Golden Ticket to a satisfying, crave-worthy performance.

by Emily O’Connell of Bishop Ireton High School

The story of Jekyll & Hyde centers on Dr. Henry Jekyll, whose experimentation with mind-altering substances unleashes a murderous alter ego named Edward Hyde. This obviously complicates his friendships, engagement, and reputation–indeed his entire life gets pretty complicated.

Aaron Hess exhibited extraordinary energy and intensity with his portrayal of the mad Mr. Hyde. He truly let down his inhibitions, enabling himself to exude the insanity and terror that made him so enjoyable to watch.

Jekyll’s fiancée Emma was well played by Addie Schaffer. She drew sympathy from the audience, genuinely showed her concern for her love, and used a beautiful soprano voice to do it. Emma’s father, Sir Danvers Carew, was also depicted deftly by Adam White. White’s powerful and distinct voice drew most of the attention during big numbers.

Three ensemble members also stood out. Lauren Herrity and Laura Manzer both sang incredible descants and soprano harmonies that deserve much acclaim. Stephanie Lee also showed superior stage presence throughout her scenes.

The abstract, minimal set was a good additive to the production without seeming too bland. However, the rotating platform was incredibly distracting and used too often at somewhat inappropriate times. It was creatively used, though, during one instance of Jekyll’s transformation into Hyde. The stage crew was for the most part efficient and swift, and the lighting was also well controlled despite a few minor gaffs.

Jekyll & Hyde is a very difficult show for a high school to put on, and Briar Woods showed some great effort. This powerful production will also be performed on January 18th and 19th at 7:00 PM.

by Josh Simon of Winston Churchill.