With the beautifully complex music and lyrics by Stephen Sondheim and the witty book written by James Lapine, the musical debuted in San Diego in 1986, then on Broadway in 1987 to rave reviews. From its original Broadway run, Joanna Gleeson as the Baker’s Wife snagged the Tony award for Best Actress in a musical, while the show snapped up several others, such as Best Score and Best Book. The love for the production has not dwindled since then, as a live-action musical film adaption is coming from Disney in 2014. The story follows the different lives of classic fairy tale characters with the new addition of a childless Baker and his Wife. While the first act follows the classic “happily ever after” the audience expects, the second act takes the story on unexpected track, focusing on the darker side of the happy endings. Venturing into the woods to achieve their own means, the character’s stories cross and overlap, creating an adventure of moral question, conflicting interests, and finding yourself, as the characters discover what can happen in pursuit of a wish.

Emily Bubeck (The Baker’s Wife) captivated with her control over Sondheim’s tricky score, and her apt comedic timing. Her believable chemistry with her bumbling husband, portrayed by Joshua Reiter, made the audience root for them throughout the production. Lara Taylor (The Witch) also won the affections of the audience through her beautiful vocals and emotional dedication to her character. She, along with the cast in general, maintained a gripping vocal energy that kept the audience engrossed in the story.

The cast as a whole had a creditable hold on Sondheim’s difficult music, and this talent was spectacularly executed within the core performers, such as Lexie McEntire (Cinderella) and Drew Bondy (Jack). Both performers never failed to impress with their gorgeous vocals and honest portrayal of their characters. Additionally, Bryce Menard (Cinderella’s Prince) charmed the audience with his smooth delivery and arrogant physicality. His banter with his princely partner-in-crime, Jacob Nelson (Rapunzel’s Prince) was also a crowd pleaser.

The ensemble all together brought energy and dedication to the production with passionate focus, never letting a technical fault or missed cue throw them off. A couple of stand-outs were Anna Phillips-Brown (Rapunzel) with her lovely vocals and comedic energy, and Claudia Caceres (Jack’s Mother) with her commanding stage presence and hilarious delivery. A unique piece of Woodson’s production was the interesting use of dance, notably Merritt Palmer as a ballet pointe soloist.

The tech truly helped bring the show to life. The set was incredibly detailed and convincing as a creepy thicket of woods, while also providing a fun and functional setting for the characters to maneuver on, giving the audience great stage pictures and levels. The costumes amazed the audience with their artistry, quality, and detail. Although there were a few lighting and sound issues, the ensemble worked through them admirably.

With their energy, dedication, and commendable performance of Sondheim’s intricate compositions, W.T. Woodson made their production a “wish come true” to watch. The choice is made, the task is set; you have to take the journey to see W.T. Woodson High School’s Into the Woods!

by Maggie Hardy of Hayfield Secondary School

Photo Gallery

Lara Taylor, Anna Phillips-Brown	Joshua Reiter, Drew Bondy, Lexie McEntire, Maddy Branley (‘No One is Alone’)
Bryce Menard, Sean McCracken, Claudia Caceres, Emily Bubeck, Joshua Reiter	Sean McCracken, Ariana Hooberman, Jessica Schuler, Laura Baker, Maddy Branley, Javier Killifer, Lara Taylor, Emily Bubeck, Joshua Reiter

Photos by Kristie McEntire

With only time for “One Last Kiss,” rock star Conrad Birdie (Gilbert Louis Braun III) is stuck in Sweet Apple, Ohio amongst throngs of teenage fan girls, few of whom he finds appealing. A publicity plot by Birdie’s Manager, Albert Peterson (Josh Reiter), one name out of the millions of girls in the Conrad Birdie Fan Club was randomly selected to send Birdie off into the military with a highly televised kiss. However, the young lady who has won the prize, Kim MacAfee (Ali Romig), has just agreed to “go steady” with her beau, Hugo (Jacob Nelson). Although Kim is simply dying to kiss Conrad Birdie, jealousy drives Hugo to try to prevent the kiss by any means possible, which leads to some messy results. Accompanied with the love of Albert’s life, Rosie (Paula Lavalle), pushing Albert to drop show business, and Albert’s mother, Mae (Faith Johnson), denying him the right to marry Rose, Sweet Apple quickly evolves from a quaint and calm town in rural Ohio into a battleground between parents, children, and an extremely stressed manager.

As Albert, Reiter created a lovable and relatable character that kept the audience engaged in the show. His strong vocals shone in songs such as “Baby, Talk to Me,” displaying the commitment toward his character and a sense of playfulness that brought smiles to every face in the room. As Rosie, LaValle’s clear voice rang through the auditorium, exhibiting great vocal control as she lilted through songs such as “An English Teacher” and “What Did I Ever See In Him.” However, Kim’s best friend Ursula (Emily Bubeck), the bartender, Maude (Izzy Valdes), and Mrs. Mae Peterson all stole the show, creating energetic and memorable characters that left the audience with broad grins on their faces every time these characters exited the stage.

The ensemble of Bye, Bye, Birdie was divided into adults and teenagers, with all participants in each lending to a clear separation of characterization. The ensemble was committed throughout the show, with numbers such as “The Telephone Hour” and “A Healthy Normal American Boy” displaying a great amount of energy and vocal strength as a whole. The Mr. E Street Band orchestra also displayed a great amount of skill with very few errors that never detracted from the show onstage.

With a clever and versatile set design and thoughtful, entertaining props, Woodson was able to distinguish different settings from each other. The colored lighting effects helped to lend depth and meaning to scenes within the show, with a very impressive spotlight that rarely missed its target.

A round of applause rang through Woodson’s auditorium as the audience celebrated a cute, funny and feel-good show. Although there were a few makeup issues, some sound errors, and stage crew blips, Woodson put on a fun and entertaining production of Bye, Bye, Birdie, lighting up the faces of every person in the room with well-timed jokes and fainting fan girls galore.

by Erika Gallagher of Thomas Edison High School

Photo Gallery

Josh Reiter and Faith Johnson	Miryam Mendelson, Lara Taylor, Maddy Branley, Sophia Spaulding, Gilbert Louis Braun II, Emily Bubeck, Alison Romig, Anna O’Hara, and Meghan Howe
Josh Reiter and Paula Lavalle	Paula Lavalle

Photos by Barbara McCracken

The illustrious history of Alice in Wonderland begins in mid-nineteenth century, with Lewis Carroll’s celebrated novels, “Alice’s Adventures in Wonderland,” and “Through the Looking Glass.” These classic tales enumerate the experiences of a young girl named Alice, who falls down a rabbit hole into the fantastic, illogical, even terrifying world of Wonderland; a land full of anthropomorphic creatures who declare to a bewildered Alice “everyone’s mad here.” This basic premise anchors the rest of the plot that has been warped and twisted in its many adaptations in film, musicals, ballets, stage plays, and operas spanning nearly the past two centuries.

While almost every technical aspect of W.T. Woodson’s production was impeccably crafted, its costuming stood apart with its particular brilliance of both design and execution. Gorgeous Victorian frocks and corsets adorned the queens, the exotic caterpillar’s multitude of bracelet-decorated arms moved in flowing synchronicity, and the animalistic characteristics of the Mock Turtle and Frog-footman were suggested subtly through color, detailing and silhouette. This alone would have provided for an impeccable production, yet they were elevated still by the brilliantly industrial steampunk aesthetic. The collaboration between costumes and makeup allowed for seamless transformations, as they morphed the Cheshire Cat’s face into an eerie grin, positioning goggles as eyes atop his head and using his whole face to create the classic smile. The professionalism and creativity in this production’s special effects was illustrated in the effortless management of extensive flight rigging and harnessing, which allowed Alice to swim through the flowing, bubbly sea of tears. Original music, composed skillfully by Arjun Baxter, created a uniquely fast-paced, almost digitized sound to the production.

Molly Jacob tackled the immensely difficult role of Alice. As the one straight character in a fantasy world, Alice is often perceived as unremarkable. Yet, like everything else in this production, Jacob took a unique approach to the role. She captured Alice’s immaturity and pervasive sense of superiority, constantly scolding the wonderland characters for their nonsensical behavior and logic.

The entire ensemble of wonderland creatures was incredible, carrying this show with a fantastic energy and deep commitment to their own unique interpretations of their characters. Peter Moses’s utterly wacky March Hare was impeccable, as he flitted spastically about the stage, moving with a lightning-paced, staccato physicality through the tea party. Ana Mendelson’s portrayal of a scatterbrained White Queen was excellent as she drifted across Alice’s path, unkempt and distraught. The mastery of comedy demonstrated at W.T. Woodson was remarkable, from Caroline Wienroth’s delightfully intoxicated caterpillar, to the uproarious dry humor of Jack Carey’s bumbling mock turtle.

In the grand history of Alice in Wonderland, it is easy for a humble high school production to be swallowed into the immense shadows of its predecessors. The talent, energy, and overwhelming skill of the students at W.T. Woodson, however, allowed this production to shine with a new light of its own.

by Siena Richardson of McLean High School

Photo Gallery

Caroline Weinroth	Ana Mendelson, Molly Jacob

Photos by Jenna Howe

Happy Days is based on a popular television show with the same title, a show that many associate with the “King of Cool,” Arthur “The Fonz” Fonzarelli. In the musical, Richie Cunningham (Daniel Rozmajzl), Warren “Potsie” Webber (Dan Gilbert), Ralph Malph (Connor McAlevy) and Charles “Chachi” Arcola (Alex Siegal), a gang of awkward teenage buddies, accompanied by their idol, “The Fonz” (Jake Miller), try to save Arnold’s, the town’s most populated hang out, from a corporate buy out. Their plan: organizing a dance off and a wrestling match against the intimidating Malachi Brothers, Jumpy and Myron “Count” Malachi.

Several cast members stood out in Paul VI’s production. Sean Pugerude portrayed Richie’s mother, Marion Cunningham, at an almost professional level. Her voice was rich and mature, fitting the character well, and her perfectly timed reactions and expressions added another level of comedy to the show. Pugerude was able to craft a very unique character and acted in a very natural manner on stage.

In Act II, the principal women in the show, Pinky Tuscadero (Alexa Bechara), Joanie Cunningham (Casey Enochs) and Marion Cunningham (Sean Pugerude) came together beautifully for the song “What I Dreamed Last Night (reprise).” Their expressions, especially those of Pugerude, helped characterize each of the women’s passion for their individual dream. Their blend and musicianship was high quality, making the song moving and enjoyable.

The ensemble had high energy, rarely leaving character, with the exception of occasionaly looking into the audience and breaking the fourth wall. When the ensemble sang as a whole they had nice blend, tone, and diction.

The Paul VI Players conveyed the vividness of classic characters believably, and transported the audience to a simpler, more innocent time, where Arnold’s little diner was the center of life in an otherwise dull Wisconsin town. Paul VI’s Happy Days was bright, enthusiastic, and anything but dull.

by Doriana Thornton of Thomas A. Edison High School

Wonderland is based off of Lewis Carroll’s classic novels, “Alice in Wonderland” and “Through the Looking Glass,” adapted by the theatre director at The New School of Northern Virginia. “Alice in Wonderland” is often adapted for both stage and film and has been made into a popular Disney musical motion picture, as well as the darker 2010 film directed by Tim Burton. It is a popular choice for schools, with its large ensemble cast and endless opportunities for creativity. In the New School of Northern Virginia’s production, we follow Alice down the rabbit hole and into a wonderland which encompasses all of the beloved and classic elements of Alice’s story, as well as some original touches.

The New School’s technical crew made the ambitious leap of staging Wonderland in an intimate black box theatre, in which the actors were mere feet from the audience. The creation of the special effects and scene transitions in this wonderland were facilitated by images of Alice changing sizes, setting backdrops, and the original text, projected in black and white onto a stark white backdrop.

The costume crew adapted to an ensemble cast (which required countless costume changes) by dressing the ensemble in plain black attire and adding colorful touches like gloves, feather boas, and colorful hats which could easily be discarded and changed. The cast was transformed with pale white skin and bold geometric makeup looks that easily suggested multiple characters and were appropriate for the intimate setting. Impeccably neat and universally intriguing, the makeup flowed seamlessly with the eerie mood of Wonderland.

Claire Quin portrayed a new version of the Alice Liddell that we all know and love. Her excellent memorization and stage presence drew attention. The energetic Brian Kraemer portrayed a believably nervous and clever White Rabbit. His nervous mannerisms and consistently high energy made him entertaining and fun to watch. Chris Diaz stood out as the hilarious and bumbling Tweedle Dee and the indignant knave on trial. His energy and strong character choices set him apart from the other ensemble members. The energy and chemistry between Diaz and Julia Bianchetta, who played Tweedle Dum, contributed to one of the strongest scenes in the production.

An ensemble of wonderland characters attempted the absurdist style of theatre, suggesting settings and effects that could not be accomplished in the small black box theatre through physical movements. They created an ocean of tears, a caucus race, and a flamingo croquet game through interpretive dance and creative movement; however, there appeared to be an overarching lack of energy amongst ensemble members. One of the most interesting moments of the night was the swirling movement of Alice falling down the rabbit hole, as objects whirled around her, propelled by the ensemble.

Although some actors had diction issues, the chemistry amongst ensemble members allowed for an excellent show. The New School of Northern Virginia executed definitive and ambitiously stylistic theatre, in a completely unique production of Wonderland.

by Siena Richardson of McLean

Photo Gallery

Devan Daly as The Caterpillar and Claire Quin as Alice. Caterpillar arms: Chris Diaz and Olivia Whitham. Mushroom (L to R): Alec Aziz, Shannon Laws, Amber Baker, Julia Bianchetta, Beverly Kamen	Claire Quin as Alice
Felicia Clinton as The Cheshire Cat	Sam Stone, Susha Stone, Julia Bianchetta, Alec Aziz, Aliza Mendelowitz

Photos by John Potter

The theatre department of Fairfax High School depicted the afterlife in an engrossing manner with a discreet yet clever metamorphosis of characters, an enthusiastic ensemble, and opulent technical effects, in their production of Eurydice, written by Sarah Ruhl.

This powerful story originated from Greek mythology, though this newer adaptation still stayed true to its pleasingly biting emotions. The tale of Eurydice presents a short-lived romance between Eurydice and Orpheus, which is instantly crushed when the bride Eurydice dies on the night of their wedding. The audience then travels to the underworld with Eurydice, where she meets the sardonic and gibing people of the underworld, known as the Stone people, and reunites with her comforting father. Orpheus, devastated without his love, later moves on to the underworld, only to find Eurydice and her father lifeless after dipping themselves in the river of the underworld due to a deprivation of freedom and happiness.

Dylan Halpern portrayed Eurydice’s father in a controversial yet clever way. He used deliberate motions of consolation and intense attention which intimated a subtle sexual energy. This unusual emotional drive reflected the queer tone of the underworld, and how the Stone people had abandoned their earthly conscience.

The Stone people created a sinister, foreign feeling and thoughtfully represented different human personalities by developing distinct characters. Each actor revealed precise postures and speech patterns which were gushing with identity. Though these prominent differences were distracting at times, they demonstrated a strong level of maturity among this vivacious ensemble. Along with their diverse interpretations, their flawlessly synchronized speech of restrictions and commands haunted the audience and brought a savory serving of energy to the stage.

A pool located downstage served as the river which consummated the fate of Eurydice and her father. Though it had the potential to be further utilized during the performance, its presence effectively increased the shock when Eurydice and her father dived into the river. Other technical features skillfully emphasized this monumental set piece as well; before many scenes, bright blue lights illuminated it, which foreshadowed the grave effects it would soon have on the father and daughter of the show.

Due to its calculating actors and high quality tech, Fairfax High School impressively retold the heartbreaking story of Eurydice. This portrayal of the afterlife beamed with a memorable flamboyance, engraved into the minds of its audience as heavily and finally as letters on a gravestone.

by Sydney Lo of McLean

Photo Gallery

Dori Prescott, George Flynn, Ally Pittman, Dylan Halpern, Alex Nicopoulos	Dylan Halpern and Ally PIttman

Photos by Anne Norland.

The novel “Little Women” was first published in 1869 and since then has enchanted readers around the world, inspired numerous film adaptations, and made its way to the Broadway stage. With an adapted book by Allan Knee and music and lyrics by Jason Howland and Mindi Dickstein respectively, the show ran for a total of 137 performances at the Virginia Theatre before closing on May 22, 2005. The musical chronicles the lives of Meg, Jo, Beth, and Amy March, their mother Marmee, and the boy-next-door Laurie. Put everyone together and what ensues is a witty story of passion, friendship, love, and above all, sisterhood.

The charm of the performance was rooted in the fact that every actor took the time to develop his or her own character to make it shine. Whether a ballroom dancer, hag, or sister, dedication to the role and to the show as a whole was admirable.

Robin Chinn delivered a convincing, heartfelt portrayal as the story’s passionate and ambitious heroine Jo. Driven by impeccable vocals, Chinn believably matured with her character over the course of the show. As the girls’ quirky neighbor, Andreas Moffett’s performance as Laurie was both entertaining and authentic, especially in his breathless pursuit of Jo and courtship of Amy. Marmee, played by Kayla Slagter, had a maternal presence that was always felt and a phenomenal vocal range that she successfully utilized in her stirring solos.

A notable asset to the production was Ana Mendelson, who portrayed the sweet-tempered, meek, and sickly Beth. She perfectly characterized Beth’s journey throughout the show, and her heartbreaking death scene was wonderfully executed. Abetted by perfect comedic timing, Emily Adler provided laughs as the uptight Aunt March with her flawless and original interpretation of the character. Where music is concerned, some actors were a bit off-key and flat at times, however every singer possessed strong, graceful vocal ability.

The tech aspects of the show were immense and large-scale. A two-storied, complex set served as both the March home and a New York boarding house. Although they could have been a bit shorter, transitions were effectively carried out by the stage crew between the two settings. Costumes were appropriate for the time period, and the hair and make-up were well done, especially for the hags, trolls, and ballroom dancers. Sound defects often marred the actors’ dialogue and singing, but the use of sixteen wireless microphones was impressive for a high school production.

W.T. Woodson’s production of Little Women, the Musical was well executed with beautiful vocals and believable characters. Although there were only a few minor kinks, they did not detract from the show’s overall effect. The cast and crew proved that although the women may be little, their hearts and dedication are big.

by Emma Banchoff of Washington-Lee High School

Photo Gallery

Lucy Mink (Amy), Ana Mendelson (Beth), Robin Chinn (Jo) and Amy Bronick (Meg)	Robin Chinn (Jo), Ana Mendelson (Beth), Amy Bronick (Meg), Kayla Slagter (Marmee)

Photos by Frank Kohn Photography.