Hello, Dolly! is a musical written by Michael Stewart with lyrics and music by Jerry Herman. It is based on Thornton Wilder’s farce The Merchant of Yonkers which, in 1955, became The Matchmaker. Hello, Dolly! debuted on Broadway in 1964, winning ten Tony awards and resulting in three Broadway revivals and a 1969 movie of the same name.

In Hello, Dolly! “arranger of love” Dolly Levi is in search of a second husband and has chosen the bitter store owner Horace Vandergelder as her target. In her pursuit, she matches Horace’s chief employee Cornelius with Horace’s fiancé Irene Molloy. Dolly’s complicated plan to snatch Horace results in a crazy web of love and lies that ends with three happy couples.

In Fairfax High School’s production, the stunning Alexandra Nicopoulos played Dolly. Nicopoulos’s commanding and beautiful voice carried the show through to the last note with confidence and dedication. Nicopoulos’s Dolly was characterized by her speed — in her talking, walking, and reacting. This consistent characterization added depth and fluidity to the performance. Nicopoulos’s relationship with Horace Vandergelder, played by Doug Klain, showcased both of the actors’ talent. Klain’s strong vocals complimented Nicopoulos’s in a way that mirrored the acting on stage. The realistic development of romantic connection progressed the musical with both humor and sincerity.

The subplot of Vandergelder’s store workers was highlighted by the two leads Cornelius Hackl (Will Park) and his trusty sidekick Barnaby Tucker (Derek Yost). Yost’s physical and facial expression drew the audience’s love with commitment and humor. His relationship with Cornelius reflected years of friendship and understanding in a fraternal manner. The two stood out in every scene they participated in as realistic and heartwarming characters. Accompanying these two comic actors was Irene Molloy, played by Deanna Payne. Payne’s confidence and vocal strength were accented by her emotional connection with Cornelius and understanding of the character’s past.

The costumes in the musical were authentic and intricate and helped to distinguish characters and reflect their role in the story. For example, the colors of Cornelius’ and Barnaby’s costumes matched the dresses of their love interests, giving the idea that they belonged together. Though the minimal set and the scene transitions detracted somewhat from the performance, the smooth, solid orchestra helped to steady these transitions and hold up the musical numbers. The choreography was at times underwhelming and the ensemble lacked energy, crispness, and diction, many actors were successful in their use of expressions and development of emotional investment.

This flirtatious performance by Fairfax High School only took a moment to make a lasting impact on the audience.

by Kelleen Moriarty of The Madeira School

Photo Gallery

Alexandra Nicopoulos (Dolly Levi)	Alexandra Nicopoulos (Dolly Levi) and Doug Klain (Horace Vandergelder)
Will Park (Cornelius Hackl), Alexandra Nicopoulos (Dolly Levi) and Derek Yost (Barnaby Tucker)	Alexandra Nicopoulos (Dolly Levi), Olivia Ballard (Waiter), and Doug Klain (Horace Vandergelder)
Howard Kim (Waiter), Chad Helig (Rudy Reisenweber), Alexandra Nicopoulos (Dolly Levi), Erin Sullivan (Waiter), and Jo Coenen (Waiter)

Photos by Charlie Arnhold

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

Based on a play of the same name, Sweeney Todd, which premiered in 1979 and ran on Broadway for a year, has been referred to as Sondheim’s greatest work. The musical tells the gruesome fable of barber Benjamin Barker (under the pseudonym of Sweeney Todd) who returns to his hometown of London after a wrongful fifteen year exile and begins a murderous business with a meat pie shop owner, Mrs. Lovett, after learning what became of his wife and daughter during his absence. On a bloodthirsty path to revenge, Todd begins to murder men who come to get their hair cut and shaved, and allows Mrs. Lovett to transform their bodies into pies sold to unsuspecting customers. Eventually, Todd inadvertently suffocates himself in a cocoon of his own murders after realizing he has killed the one person he loved most.

Reggie Harold (Sweeney Todd) and Alexandra Nicopoulos (Mrs. Lovett) do a spectacular job in creating the (mostly one-sided) loving relationship between their characters. This murderous duo play off each other in song and scene as they tackle Sondheim’s intimidating masterpiece, each with their own unique comedic and vocal styles. The two add a distinct splash of color to the somber and brooding haze that is the dominant mood of this musical.

Also notable is Jacob Lamb as Toby who, although only a seventh grader, sang professional-quality music virtually flawlessly, leaving many an audience member with a dropped jaw. Additionally, understudy Deanna Payne performed seemingly effortlessly and displayed excellent foreign accents while singing the wide-ranged songs of the Italian barber Pirelli.

Playing the Beggar Woman, a less well-known but charismatic and vocally challenging role, was Megan Cathro, whose antics ranged from begging for alms to attempting to seduce the young sailor Anthony. Her weak-yet-mischievous posture and voice were instantly recognized by the audience every time she stumbled onstage, where she shone like the flames that her character so obsessively warns about.

The special effects of the show are particularly praiseworthy. Executed by John Hobson and Chris Sisson, they included an efficient trapdoor to dispose of the bodies of Sweeney’s victims, a technical feat that took eight weeks to build. The light design of the show was also captivating, despite an occasional misplaced spotlight. Taking advantage of the multiple levels of the set’s scaffolding, the entire ensemble was occasionally lit in mood lighting during more intense scenes of the play. While there were occasional microphone problems, overall, the actors’ voices reached the audience’s ears without much difficulty.

With a rehearsal period of only about six weeks, Fairfax High School faced a beastly task head-on, and has brought to life a darkly Victorian tale of murder, mayhem, and lost love that chills to the core.

by Jamie Green of Robinson Secondary School

Photo Gallery

Reggie Herold (Sweeney Todd) & Alexandra Nicopoulos (Mrs. Lovett)	Harry Weger (Anthony) & Marissa Kovach (Johanna)
Ive Gaines, Nick Fant, Emma Smullen, Tia Maxfield, Felicia Lopez, Logan McTure, Deanna Payne, Shakil Azizi, Isabelle Baucum, Jennica Dotson & Kelly An	Megan Cathro (Beggar Woman)

Photos by Dr. Daniel Cottle

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.

Originally based on a 1926 play of the same name written by reporter Maurine Dallas Watkins as an exposé on crimes of the day, Chicago has lived a long stage life. The musical version with music and lyrics by John Kander and Fred Ebb opened on Broadway in 1975, running for a total of 936 performances. Following the story and trial of Roxie Hart, a young married woman who murdered her nightclub lover, Fred Casely, Chicago offers insight on the these girls’ ability of literally getting away with murder. When her husband Amos accidentally rats her out to the police, Roxie is arrested and taken to the local women’s block where she meets Velma and the other murderesses. With the help of Matron “Mama” Morton and leading attorney Billy Flynn, Roxie claims innocence and uses her trial as a way to gain fame. Then, when the latest gruesome crime steals the press away, Roxie pretends that she’s pregnant to gain back her nearly lost fame. Then, as Roxie is found innocent, a new crime occurs stealing the press away from her and then her husband Amos leaves her. Roxie is left with her freedom, and forms an act with one of the leading ladies of Cook County Jail, Velma.

Mikail Faalasli (Billy Flynn) perfectly played the puppet master, as he dictated all of Roxie’s actions throughout her trial. His bigger than life stage presence and impressive dance abilities captivated the essence of the presentational aspects of the show.

As Velma, Ally Dawson’s flawless voice captivated audience members in numbers such as “All That Jazz,” “Cell Block Tango,” and “Class.” Dawson did a wonderful job of creating a hardened character who had a surprising contrasting soft emotional side that was rarely shown.

The brassy and bodacious Matron “Mama” Morton (Maddy Goubeaux) was quite possibly one of the most humorous aspects of the show. Developing a hardened and humorous character throughout the show, Goubeaux had wonderful comedic timing, often adding to the presentational aspects of this show. With a brassy alto voice and larger than life stage presence, Mama dominated the stage in numbers such as “When You’re Good to Mama” and “Class.” Specifically in “Class,” Goubeaux’s chemistry and relationship blossomed with Ally Dawson (Velma.) Their flawless harmonies and creative way of censoring the words was humorous and captivating all at once.

The technical aspects in this show were especially impressive. The lighting (Luke Cresson and Chris Sisson) created a unique and artistic atmosphere, especially with the use of red lights during “Cell Block Tango.” Their flawless spotlights and overall crisp effects worked well with the show and were well-organized, never leading to any distractions.

Delightful dancing, spectacular singing, and all that jazz simply razzle dazzled us this weekend at Fairfax High School’s production of Chicago.

Brittany Simmons of Westfield High School.

Photo Gallery

Ally Dawson	Anne Norland
Mikail Faalasli, Ann Sung, Rachel Fernades, Rosalie Altieri

Photos by Dr. Dan Cottle.

This is the ShowBizRadio review of Rosencrantz and Guildenstern are Dead performed by the FX Players of Fairfax High School in Fairfax, Virginia. We saw the performance on Friday evening, December 12, 2008.

Rosencrantz and Guildenstern are Dead is a play by Tom Stoppard. The play concerns the misadventures and musings of Rosencrantz and Guildenstern, two minor characters from William Shakespeare’s Hamlet who are childhood friends of the Prince, focusing on their actions with the events of Hamlet as background.

This was a quirky play. It’s definitely one to discuss afterwards on the way home. It was quite comical in some parts, while other scenes were more plot-heavy, drawing from Hamlet. The two main characters did a terrific job, while the supporting cast and “tragedians” also did well. The production had a nice pace, never getting entirely zany nor stifling. There were a couple dialogues between Rosencrantz and Guildenstern (such as the question game) that required a quick, snappy pace that was handled well by the play’s director Paul Rubenstein.

Rosencrantz and Guildenstern (you decide which is which) were played by Jeremy Tuohy and Brandon Tuohy. The brothers had an enormous number of lines to learn and were on stage for almost the entire play. Brandon Tuohy made Guildenstern an outgoing and cheerful character. He was not overly concerned with how life would turn out until the end of the play. Jeremy’s Rosencrantz was much more uptight and confused about his role in life.

The “Player” who kept everything moving along was portrayed admirably by Allie Cropp. Cropp came across as no nonsense almost to the point of being obnoxious.

This was a small black box theatre that was almost sold out. All of the actors did well with facing out and not turning their backs to the audience. The set was painted black with ramps and a couple steps to the lower level. There were also a few hidden entrances which were used effectively. Other entrances throughout the theater were well used to help keep the audience off balance as Rosencrantz and Guildenstern’s adventures continued. The set was designed by Sarah Ree.

The lighting was basic white lights and red for accent. There seemed to be some places in the center stage area that cast dark shadows. The lighting was done by Jesse Free. There were several sound effects used, with an especially nice one during the ship scene in the second Act. The sound designer was Bailey Ewing.

Rosencrantz and Guildenstern Are Dead ran two hours and fifteen minutes with one fifteen minute intermission. It is playing through Sunday December 14th. The Saturday evening performance is sold out, the Sunday matinee is at 2 pm at the Fairfax High School in Fairfax, Virginia.

Once you’ve seen the show, please leave your thoughts about it here on our website at Show Biz Radio.net. We’d also like to invite you to join our free mailing list so you can stay informed with theater events in the DC Region.

And now, on with the show.

Director’s Notes

Rosencrantz and Guildenstern Are Dead had long ben an elusive dance partner for me. For years, I would try to find an excuse to read and/or see it, but something always came up. When the opportunity arose to direct this play, I was both honored and, truth be told, a bit nervous. I wasn’t sure if I would have the time to fully devote to the process, knowing that I would have a lot on my plate already. I decided to take the leap in any event, as I was up for a different challenge. This play is so cerebral, so existential, and so wacky, that it was easy to lose track of what is going on.

In speaking with some friends who have directed R&G before, I learned that it was one of the most rewarding, if confusing, productions of their careers. A typical response was, “I had no clue what was going on, but I enjoyed it.” I sincerely hope that our production will not be confusing. I am reminded of Hamlet’s instruction to the players (which, ironically, is not included in this play) about suiting the words to the actions and the actions to the words. There is a lot going on in this play. It is a statement piece, but I feel that it is up to the audience member to determine just what that statement is. Some of you may feel that it has a very Seinfeldian feel to it, that this play is really about nothing. Others may question the point of following orders. There are two things upon which I think we can all agree. The first is said by the player, “We’re actors; we’re the opposite of people.” The second, more salient point, is uttered by Rosencrantz after a furious back and forth exchange with Guilenstern about Hamlet. He simply sums up that Hamlet is “stark raving sane.” When we strip everything else away and look at just how absurd life can be, this is the best possible response. It is better to laugh at the ridiculous than to worry about those things we cannot control. Some laugh with us, but also take time to think about what is important. After all, the coin can only land on heads so many times…

Cast

• Rosencrantz: Jeremy Tuohy
• Guildenstern: Brandon Tuohy
• Alfred: Harry Weger
• Player: Allie Cropp
• Drummer: Joe Fried
• Flautist: Chi Chi Ramos
• Lute Player: Chis Sisson
• Tragedian: Kaile Sponaugle
• Ophelia/Laertes: Jess Rawls
• Hamlet: Alex Lissabet
• Claudius: Will Sisson
• Gertrude: Michelle Marin
• Polonius: Dylan Halpern
• Attendant 1/Ambassador: Charlotte Woodward
• Attendant 2/Fortinbras: Ally Pittman
• Soldier/ Horatio: Caitlin Tuohy

Crew

• Director: Paul Rubenstein
• Assistant Acting Director: Garin Pappas
• Assistant Technical Director: Tem Weiland
• Stage Manager: Colleen O’Brien
• Assistant Stage Managers: Jess Rawls, Michael Dixon
• Set Design: Sarah Ree
• Lighting: Jesse Free
• Sound: Bailey Ewing
• Costumes: Michael Dixon
• Properties: Jess Rawls
• Carpenters and Electrical Crew: Students in Technical Theatre class
]]> /2008/12/review-fhs-rosencrantz-and-guildenstern-are-dead/feed/ 2 /2008/03/review-fhs-blithe-spirit/ Tue, 04 Mar 2008 01:29:46 +0000 http://www.showbizradio.net/2008/03/03/review-fhs-blithe-spirit/ Picture this: you are with your wife, and suddenly your deceased first wife’s spirit comes back from “the other side.” Talk about an awkward situation! Fairfax High School’s production of Noel Coward’s classic comedy Blithe Spirit was a quirky, yet funny take on the play that brings the word “spirited” to a completely new level.

Blithe Spirit entered the theatre scene surrounded by controversy. Written by Noel Coward in 1941, the play was criticized for its comedic outlook towards death during World War II. However, the controversy did not stop the play from becoming the longest running play in London’s West End history until the 1970s, running for 1,997 consecutive performances. The play opens with Charles and Ruth Condomine holding a séance with their friends, Dr. and Mrs. Bradman. Madame Arcati arrives and somehow manages to conjure the spirit of Elvira, Charles’ deceased first wife. The plot then focuses on Elvira’s many unsuccessful attempts to win back Charles and wreak havoc on Ruth.

Despite some enunciation troubles, technical mishaps, and at times the chemistry being somewhat awkward or forced, the cast and crew did a fine job of establishing the eerie, yet strangely hilarious atmosphere necessary for this show.

Theo Contes did a good job portraying Charles Condomine’s utter perplexity when his deceased wife is brought back from “the other side.” Brittany Bustle was deviously comedic as Elvira, especially in her increasingly desperate attempts to tear apart Charles’ current marriage.

Maddy Goubeaux brought a fresh jolt of energy to the production through her extraordinary characterization in her role as Madame Arcati. Using vivid facial expressions and lively physical gestures, Goubeaux effectively captured the loony medium’s offbeat character. Michelle Marin also brought energy to the stage through her portrayal of Edith, the family servant. Marin had great comedic timing, bringing her hopelessly clueless character to life.

Roberto Camona and Alex Caruso composed an ingenious soundtrack to fit the play’s ethereal mood. They composed a total of 10 original songs, and each song sounded unique, truly an extraordinary task. The lighting, designed by Jesse Free, Gary Kochetkov, and Roberto Carmona, contained many thoughtful effects, including a seemingly functioning fireplace and lighting that changed to represent the passing of time. The intricate two-level set designed by TJ O’Brien and Gary Kochetkov, with marvelous paintings by Heun Yook, successfully brought the Condomine house to life. The props and special effects, created by Tem Weiland, Gary Kochetkov, Zach Coleman, and Grace Vander Veer, were brilliantly thoughtful, especially in the absolutely chaotic destruction of the set at the end of the show.

Fairfax High School’s comical production of Blithe Spirit taught the audience that the deceased are better left “on the other side.”

by Kyle O’Connor of South County

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