A three act farce by George S. Kaufman and Moss Hart, You Can’t Take it With You, made its début in 1936 at the Booth Theatre in New York City. It ran for 837 spectacular performances, winning it a Pulitzer Prize for drama. Made popular by Frank Capra’s film adaptation, the plot is that of a twisted love story. The character of Alice (Stephanie Feeback) is innocently caught between her extremely quirky yet lovable family and Tony (Matt Calvert), the boy who’s stolen her heart. Tony’s posh upbringing acclimates him more toward money and fashion than real happiness, until he meets the Sycamores.

The spark at the root of this talented cast was clearly Feeback and her leading man Calvert’s spot-on chemistry. Their personal moments with each other, either face to face or across a room of chaos, were always heartfelt and honestly conveyed the relationship to the audience. Calvert had a striking stage presence and in-depth understanding of his character that rapidly separated him as a standout in the production. It was apparent he had motivation for his every move, and used comedic timing and inflection without need for unnecessary overreactions or inauthenticity.

Matt Manalel set off fireworks with his character of Mr. De Pinna, literally. He made use of his every moment of stage time, with lively and hilarious reactions that always incited laughter. His choices were energizing and kept the attention of the audience in a show that at times seemed to lag in pacing.

The set for this production was astounding to say the least. The intricate detailing of each facet looked professional. The set designers (Josh Lutz, Chloe Vasquez, Drew Pardo, and Mia Rickenbach) went above and beyond, creating a two-level tangible home. The details were so distinct that you could see wall hangings on opposite walls in another room, when an actor would swing open the door upstairs. The intricate hallways enhanced the set, even though they were never even used by the actors in the show. Other technical aspects were simple but appropriate. The lighting was clean and well executed, as well as the sound.

Whether it was through side-splitting comedic antics, heart wrenching realizations, or just the marvelous set, this production of You Can’t Take it With You left the audience standing in ovation.

by Sophy Meudt of Heritage High School

Photo Gallery

Standing is Matt Manalel; seated on couch is Natalie Spitzel, Matt Calvert and Katie McVicar	Josh Lutz, Natalie Spitzel, John Downey, Ryan Rickard, Abby Gwin, Chris Knarr and Katie McVicar
Stephanie Feeback and Matt Calvert	Brooke Johnson and John Downey
lying on couch is Chloe Vasquez, standing on chair Matt Manalel, and standing by easel is Katie McVicar	Stephanie Feeback, Chris Knarr (in background) and Katie McVicar

Photos by Kelly Johnson

Casts of nominated shows and the performers of nominated songs presented musical numbers as well as scenes from the nominated plays. The entire show will be aired on Cox Cable “Red Apple” Channel 21 beginning the week of July 2 and will continue throughout the summer.

Throughout the year, the Cappies program is driven by hundreds of area high school theater student critics who attend each others’ shows, write reviews, and serve as Cappies awards judges.

The Gala ceremony was marked with excitement and encouragement. There was never a sense of competitiveness or negative reactions as any of the Awards were announced.

Westfield High School received ten awards, including Musical for their production of Crazy For You. McLean High School received five awards, including Play, for A View From the Bridge.

Rising Critic

• Julian Sanchez, Westfield High School

Returning Critic

• Madelyn Paquette, McLean High School

Madelyn Paquette also was awarded the first Washington Post Critic Award.

Graduating Critic

• Joseph Biagini, Westfield High School

Critic Team

• McLean High School

Marketing and Publicity

• Kyle Norfleet, Michelle Slivinski, Jenny Rubin, Caitlyn Herron, South Lakes High School, West Side Story

Sound

• Alex Allen, Lydia Carroll, Lindsay Worthington, Walt Whitman High School, Frankenstein

Lighting

• Nikolas Allen, Andrew Elman, Walt Whitman High School, Frankenstein

Stage Crew

• Walt Whitman Stage Crew, Walt Whitman High School, Frankenstein

Sets

• Walt Whitman Set Crew, Walt Whitman High School, Frankenstein

Costumes

• Ana Mendelson, Abby Deatherage, W. T. Woodson HS, Alice in Wonderland

Make-up

• Brianna Weiner, W. T. Woodson HS, Alice in Wonderland

Props

• Rita Fair, Jordyn Stewart, Mount Vernon, Blithe Spirit

Special Effects and or Technology

• Brian Clarkson, Walt Whitman High School, Frankenstein

Orchestra

• “Crazy for You” Pit Orchestra, Westfield High School, Crazy For You

Choreography

• Colby Dezelick, Westfield High School, Crazy For You

Creativity

• Arjun Baxter, Composer, W. T. Woodson HS, Alice in Wonderland

Ensemble in a Play

• The Mechanicals, Robinson Secondary School, Ken Ludwig’s Midsummer/Jersey

Ensemble in a Musical

• Follie Dancers and Cowboys, Westfield High School, Crazy For You

Featured Actress

• Kaity Hinojosa, Langley High School, The Crucible

Featured Actor

• Mitchell Buckley, Westfield High School, Crazy For You

Female Dancer

• Corinne Holland, Westfield High School, Crazy For You

Male Dancer

• Nikko Custodio, South County Secondary School, West Side Story

Female Vocalist

• Ariana Kruszewski, South Lakes High School, West Side Story

Male Vocalist

• Sam Allen, Dominion High School, Pippin

Comic Actress in a Play

• Virginia Coffield, St. Stephen’s & St. Agnes School, Fools

Comic Actor in a Play

• Kamau Mitchell, HB Woodlawn Secondary Program, The Foreigner

Comic Actress in a Musical

• Alexandra Nicopoulos, Fairfax High School, Sweeney Todd

Comic Actor in a Musical

• Ian Peterson, Stone Bridge High School, Anything Goes

Supporting Actress in a Play

• Mia Amado, Woodbridge Senior High School, The Miracle Worker

Supporting Actor in a Play

• John Downey, Chantilly High School, I Remember Mama

Supporting Actress in a Musical

• Michelle Radcliffe, Heritage High School, Legally Blonde the Musical

Supporting Actor in a Musical

• Joseph Biagini, Westfield High School, Crazy For You

Lead Actress in a Play

• Lexie Shoaibi, McLean High School, A View From the Bridge

Lead Actor in a Play

• Damian Leverett, McLean High School, A View From the Bridge

Lead Actress in a Musical

• Sean Pugerude, Paul VI Catholic High School, Hello, Dolly!

Lead Actor in a Musical

• Colby Dezelick, Westfield High School, Crazy For You

Song

• Brotherhood of Man, James Madison High School, How to Succeed in Business Without Really Trying

Play

• McLean High School, A View From the Bridge

Musical

• Westfield High School, Crazy For You

I Remember Mama, based on Kathryn Forbes’ novel Mama’s Bank Account, was written by playwright John Van Druten. It first appeared on Broadway in 1944 and featured the debut of Marlon Brando. I Remember Mama is a play told in flashback by Katrin Hanson (Alex Johnson), who is writing a novel about her life as a child and the influence her Mama (Amanda Miesner) had on her in her youth. As Mama tries to keep her family happy and healthy, she teaches Katrin the true value of devotion.

Chantilly’s cast and crew built a beautiful and realistic world for their characters to develop in. From the Norwegian coat of arms hanging on their wall to the near perfection of their accents, the Hansons’ world was swimming in detail. Every actor had a strong dedication to their character that gave the narrative meaning.

Portraying Katrin Hanson was Alex Johnson, who gave both sides of her character, the adult and the child, a gentle sort of charm. Her captivating smile and consistency as the play’s narrator and her growth from child to adult made her an important bridge between the audience and the story. As Mama, Amanda Miesner was able to create deep connections with her fellow actors, including Johnson. Miesner carried herself both in body and in tone as the mother figure of the show, and her ability to play both sentimental and comedic moments with grace made her not only believable, but also loveable.

From the moment he staggered onstage as Uncle Chris, John Downey came to life. His ceaseless energy and loud-mouthed antics made for some of the funniest moments in the show, and his interactions with the children in his family, and Mama, were surprisingly tender. Another strong actor was Natalie Spitzel, playing Dagmar, one of Katrin’s sisters. Spitzel was plucky and fun as Dagmar, making her a consistent source of comedy throughout.

The set (Chloe Vasquez, AJ Gresick, Drew Pardo, and Roxy Schumate) was one of the most impressive aspects of the show. It featured not only a box set that served as the Hanson’s house, but also a brick wall that had the ability to open and reveal even more moveable set pieces. The detail in the Hanson’s house was incredible, with family portraits, a coat of arms, and abundant period furniture. Another strong element of the play with impressive detail was the costumes (Kelly Dodd, Roxy Schumate). Many of the main characters changed outfits multiple times during the play, and every single costume was true to the time period and setting. The props (Greg Baker, Carly Doolittle) were realistic and exact; even an ice cream soda proved real when a character drank the entire thing.

Chantilly High School’s production of I Remember Mama was an evocative performance that captivated the heart with real, human characters, an undeniably authentic setting, and a clear message: never forget where you came from.

by Mitchell Buckley of Westfield High School

Photo Gallery

Emily Sakowitz, Kelsey Monk, Connor Haggerty, (on stairs) Brooke Johnson, Robbie Novak, Amanda Miesner, Alex Johnson, Natalie Spitzel, Matt Tillman	Natalie Spitzel, Kelsey Monk, Alex Johnson, Brooke Johnson, Robbie Novak, Amanda Miesner, Matt Tillman, John Cuddehe
John Downey, Alex Johnson, Brooke Johnson, Robbie Novak	Alex Johnson, Brooke Johnson
Kelsey Monk, Josh Lutz, Emily Sakowitz, John Downey, Natalie Spitzel, Robbie Novak	Alex Johnson, Amanda Miesner

Photos by Kelly Johnson

Written by Edna Ferber and George S. Kaufman, Stage Door appeared on Broadway in 1936 and was later adapted into a film of the same name in 1937. Set in New York City in 1940, Stage Door chronicles Terry’s difficult endeavor as a struggling actress committed to the stage. Instead of jumping at the chance to achieve rapid success in Hollywood, Terry shrugs off the idea, deciding that her allegiance to theater is more important. Residing in The Footlights Club, an abode for other young actress, Terry battles with love, her principles, friendship, and loyalty.

Amanda Miesner skillfully portrayed the determined Terry with expression and eloquence, setting herself apart from the other Footlights girls as the more composed and independent one. Miesner clearly displayed her passion for the stage, from her animated reenactment of persuading a producer for a role to her fervent distaste for Hollywood’s fast track to stardom. Her distinct facial expressions and careful deliberation added depth and believability to her character.

Adrian Tafesh was expertly authentic in his portrayal of the suave and dashing David Kingsley, a producer that used to work in theater, but now thrives off the wealth of Hollywood. Tafesh displayed noticeable character development as his concern for Terry and his desire for her talent to be appreciated morphed into love. Tafesh had palpable chemistry with Miesner, and their first kiss elicited squeals from the audience.

As Judith, Terry’s sarcastic and clever friend, Connor Haggerty reeled in laugh after laugh with her witty one-liners and exaggerated commentary. Haggerty was engaging and thoughtful with her character choices, taking risks that added to her adroit comic capabilities. Matt Tillman was abrasive and brash as the hard-edged playwright, Keith Burgess, Terry’s initial love interest, oozing arrogance towards the end of their relationship. Other notable performers include Robbie Novak as the charming Texan, Sam Hastings, and Grace Gardner as the self-absorbed Linda Shaw.

The set was very impressive, clearly depicting the lobby and second floor of The Footlights Club, including a curved staircase, an intricate hallway seen behind French doors, and well placed onstage lighting. Furnished with a piano, changeable wall paper, and other period furniture, set designers Lauren Phillips, Brad Vitale, and Chloe Vasquez completely transformed the stage into a home with a cozy feel. Chantilly’s wide array of costumes was particularly remarkable, complete with elegant coats and intriguing floral headpieces.

Chantilly approached their production with dedication and cohesion, ending their memorable performance on an uplifting note – Terry finally landing the lead, clutching her new script like a child would hold a security blanket, with only one wish in the world: a room and a bed of her own.

by Tess Higgins of Langley High School

Photo Gallery

Adrian Tafesh, Alex Johnson and Amanda Miesner	Kelsey Monk and Tahlya Angba
Haley Shircliff, Natalie Spitzel, Katie Manik, Beth Kapfer, Connor Haggerty, Roshni Gorur, Carly Doolittle, Mackenzie Maison, Sophie Isakowitz, Monica Holtz, Lucy Smith, Nicole Paladeau and Angela Virostek	Roshni Gorur, Carly Doolittle, Monica Holtz, Hattie Clougherty, Nicole Paladeau, Amanda Miesner, and Mackenzie Maison

Photos by Kelly Johnson

Rice’s play dealt with adultery, racism, alcoholism, subjects that were, at the time of its writing, still theatrical taboos. It followed the lives and machinations of the residents of a tenement building in 1920s New York City. Characters ranged from the Maurrants, a working class family with skeletons in the closet, to the Kaplans, a Jewish family suffering the anti-Semitism of their neighbors.

The show started right away with a true sight to behold: the set, designed and constructed by Chantilly students, was gorgeous. Its construction definitely looked professional-grade, and it very realistically resembled a tenement on a hot summer’s day. One could even see the “interior” building through the open windows. These students took great care in making the set as natural as possible.

As the young Sam Kaplan, Miles Drawdy was exceptionally captivating. His portrayal was emotionally powerful and engaging. Another believable character was Mr. Maurrant, the patriarch of the troubled household, played by Chris Albrigo. His character took a very clear and tragic journey, as Maurrant morphed from a confident working man to a broken husk.

Despite the natural setting of the play, many characters seemed to be simply reading their lines. Characters sometimes looked directed, as in they did what they did simply because they had rehearsed it that way. Several moments of the play became very staged and not very believable.

The play, though very heavy in dramatic content, offered plenty of comical characters portrayed by a bevy of talented performers. Corey Davis was hilarious as the drunken sweetheart Mae and Taylor Jarrell demonstrated his comic timing as the Italian immigrant Lippo. Kenny Lau elicited laughs even before uttering his lines as the grumpy old Mr. Kaplan, as Lau’s physicality and facial expressions were amusing by themselves.

Despite its age, Street Scene resonates with today’s generations, dealing with problems that are not too different with those encountered today. Due to the subject matter, it is no surprise that some had trouble expressing the complex emotions of their characters.

On the whole, Chantilly High School’s production was an enjoyable one, offering some very commendable performances in a very real atmosphere. Thanks to Chantilly, the twenties gave another good roar.

by Josh Simon of Winston Churchill HS

The plot follows Mr. Elwood P. Dowd and his invisible rabbit “pooka” friend, Harvey. Harvey “lives” with Mr. Dowd, much to the dismay of his sister Veta and her daughter Myrtle, who wish to live normal lives, but cannot due to the fact that they are embarrassed by Elwood’s strange behavior. They try, to no avail, to commit Elwood to Chumley’s Rest, a local sanitarium. The story ends in a climactic moment when Veta realizes that Harvey completes Elwood and, indirectly, her own life.

The true shining star of Chantilly’s performance was Chris Albrigo, portraying Elwood. His innocently humorous demeanor strengthened the action of the play greatly. His awareness of his character and of the invisible Harvey were unbelievably good. Also notable was Maggie Monk‘s performance as Veta. Her signature wail became familiar throughout the play, and it just seemed to get funnier every time. Her grasp on her character was excellent, and her deliverance of her lines displayed this well.

Miles Drawdy delivered an excellent performance as Dr. Sanderson. The beautiful Angela Virostek did an amazing job as the shallow but lovable Nurse Kelly, and Adrian Tafesh performed well as the abrasive Wilson. Lastly, Razan Ahmed and Barry Coleman stood out as Dr. and Mr. Chumley; this pair clearly held a thorough understanding and love of their characters, and the stage as a whole.

The technical aspects of Harvey truly surpassed all expectations. The intricate and impressive set was the hallmark of the tech work; with two levels, rotating panels, working doors, and period decorations, those who worked on the set simply must be commended. Many of the beautiful and detailed costumes were made by Chantilly students. The sound was virtually flawless, and the lighting was excellent throughout the play.

Overall, Chantilly’s performance of Harvey cannot be beat. With an unbelievably strong cast and equally strong technical work to match, this production epitomizes what good theater is all about.

by Lindsay Kijewski of Paul VI High School

This play is based on the 1865 trial of Captain Henry Wirz (Eddie Monk) who is being held responsible for the many prisoners of war who suffered inhumane treatment by Colonel Chipman (Clare Bonner). Defending him is Linda Baker (Jennifer Isakowitz), a quick-witted Defense Attorney. As the trial goes on, Chipman realizes that there is more to the case than hard evidence; it is a matter of personal morals versus obedience to military superiors. This issue gradually becomes more central to the questioning, culminating in Wirz putting himself on the stand to prove his humanity. This theme also comes into focus through Chantilly’s choice to present part of the cast in Civil War style and the other part in modern costumes.

Chantilly High School’s cast, though small, proved quite capable of taking on this heavy drama. Every actor on stage, from the Court Clerk to the Judge Advocate, remained in character, achieving a consistently believable courtroom atmosphere. Their movements were specific yet natural, each character revealing their own unique mannerisms. All speaking roles maintained excellent pacing and never allowed scenes to lag. These accomplishments kept the acting tight and environment clear.

Watching Clare Bonner and Jennifer Isakowitz spar for the upper hand in the courtroom became increasingly interesting as the plot progressed. These two actresses kept the competition fierce with their sharp delivery and the witness-questioner dynamic was equally captivating for both. Michael Poandl controlled their clashing of wits with great authority as the President of the Court. However, even Poandl’s power seemed forgotten when Captain Wirz (Eddie Monk) testified at the climax of the case. Monk’s performance brought enchanting complexity to the issues of the play and was never hindered by his flawless accent.

Every witness of The Andersonville Trial, regardless of their respective time periods, added to the intensity of the case. One particularly memorable performance was James Davidson (Chris Albrigo), a shell-shocked survivor of the war camp. His chilling recollections of Andersonville were punctuated by nervous tics that caught the audience’s attention without being overdone.

This exceptional production went beyond the acting, however. Both the lighting and set brought The Andersonville Trial to a new level of strength. The blood-red glow behind the panel of judges and dramatic fading when the verdict was announced enhanced the show beautifully. The set was well-built, interesting and portrayed both the ideas and realities of the production.

The heavy issues and high tension of this courtroom drama could not have been served better justice from Chantilly High School. Through the deepest of monologues the show never lost momentum.

by Olivia Leontine May of Madeira

Invited to dinner in remote Mesalia, Ohio, bombastic radio wit Sheridan Whiteside slips on his hosts’ icy doorstep, confining him to a wheelchair in their home for two weeks. Impetuous as he is, the celebrity demands the entire foyer for himself and runs up a phone bill of $700 calling London, frightening the family out of kicking him out. Arrogance, hilarity, backstabbing and reconciliation are all found in George S. Kaufman and Moss Hart’s 1930’s farce.

One could have paid $7 or $70 to see Jake Ashey – his performance as Sheridan Whiteside was just that professional. Flawless diction, sour-faced expressions and age-appropriate gesticulation all combined to convey a skill for characterization far beyond his 16 years. When belting witty insults or building tension with outcries of head pain, Ashey’s Whiteside seemed the planet around which the entire ensemble revolved.

This solar system of a cast exploded with talent in supporting roles. Secretary Maggie (Courtney Siegert) was a curt match of wit for Whiteside, deftly directing the mood of her scenes from humorous to seriously emotional. Clare Bonner crafted hysterical idiosyncrasies for the pathetic Dr. Bradley, littering her lines with senile stutters while nervously petting herself to keep calm. Miss Preen (Emily Withers) brought comedy in repetition with her squeals of protest to Whiteside’s abuse. Chloe West was also a delightful deviant as Lorraine Sheldon, her accent and pitch flopping all over the place in keeping with her affected Hollywood character. Playing her theatrical rival Beverly Carlton, Ryan Dalusung‘s uproarious impersonation of Lorraine’s lover was a highlight of the show.

Kendra McCullough and Leanne Williams outdid themselves in costuming. The luxuriousness of fabrics used – a parade of brocade and lace – made the characters look downright couture. Lorraine, in particular, stunned from her entrance in a swirl of glitter. Tailoring to fit actors’ shapes as well as their characters’ was terribly precise; Lorraine’s dresses were form-fitted while Dr. Bradley’s blouse hung off her trembling frame, enhancing her image of a spindly neurotic. Although actors were skilled in their expression, the illusion of age couldn’t have been entirely pulled off without their makeup crew. Whiteside and Bradley looked shockingly much the 50s-60s range.

Laura Kim, Wes Vitale and Ben Pardo‘s home interior set design was superb, aptly decorated and lined with French doors perfect for comedic slamming. However, whenever the front door was opened it always appeared to be dark out, no matter what time of day the dialogue indicated it was. Memorable props included a jar of foot jelly that bent when dropped, and a crate full of giant, chirping penguins.

Tumbling in and out of doors and eventually all over each other for the grand finale, Chantilly High’s cast epitomized their incredible talent for rhythm, timing, and ensemble cohesion in this excellent production.

by Juliana Hardesty of George Mason.

This review was written by a Cappies high school critic. The Cappies were founded in 1999, for the purpose of celebrating high school theater arts and providing a learning opportunity for theater and journalism students. You can learn more at cappies.com.