Written by John Cariani, Almost, Maine premiered in 2004 at the Portland Stage Company to critical acclaim. Since then it has become the most commonly produced high school play. Consisting of nine vignettes taking place in the not-quite-town of “Almost,” Maine, the story follows a number of different characters as their relationships take drastic turns in one night.

While the brevity of each scene made leaving an impression challenging, Randy (Boris Mewborn) and Chad (Gunnar Frodigh) provided the strong comic relief the show needed. As two young men beaten down by love, the two were able to show their irritation with constant romantic failure while still causing uproarious laughter with their hilarious tales of dates gone wrong. Mewborn’s mature character voice and Frodigh’s expert physicality made the scene simultaneously ridiculous and believable. The pair’s strong bond of friendship created a reminder that not all love is defined by romance, and the relationship between friends can prove to be just as strong, if not even stronger.

Forming an extremely different picture, Rhonda (Emily McGowen) and Dave (Boris Mewborn) made their vignette simultaneously sweet and comical. Mewborn keenly portrayed his character’s journey from Rhonda’s friend to her lover, gently urging her to come out of her shell. McGowen’s attempts to stay contained and avoid affection were genuine, and her progression from bitter and aloof to loving and adventurous was inspiring. The scene proved to be a promising close to the evening that was spotted with many somber moments.

The most emotionally stirring relationship was that of Marci (Melanie Reuter) and Phil (Gunnar Frodigh). Tackling the difficult task of portraying a couple nearing the end of their marriage, the two expertly played off of each other to form a highly believable conflict. Reuter, in particular, utilized a mature voice and cautious physicality that clearly established her age, a challenge some actors struggled with. The scene established Reuter and Frodigh as the production’s strongest actors.

The stage crew proved to be especially creative. Moving the scenery not as invisible techs but as additional characters. The scene shifts were effective and seamlessly connected the scenarios, essentially creating additional vignettes with no dialogue. The lighting was also visually pleasing and functional, forming a variety of effects, from the beautiful northern lights to the headlights of a car. Costumes were generally selected with consideration to the cold climate of Maine and greatly enhanced the show.

Despite some overacting and lines lost through laughter, the delightful cast of Almost, Maine was able to create the feeling of a small, northern town perfectly. And while saying just what love is may seem impossible, Falls Church was “almost” able to. And that, it seems, is as close as we’ll ever get.

by Drew Holcombe of West Springfield High School

Photo Gallery

Keely Greene, Brennan Jones	J.D. Moreno, Jade Koumtakoun
Jimmy Miller, Ava Hockenberry	Catherine Kiesel, Mark Zubaly
Gunnar Frodigh, Boris Mewborn	Gunnar Frodigh and Melanie Reuter
Boris Mewborn, Emily McGowen

Photos by Rich Stanage

The show, written by Bill Gleason, is a farce that dances on top of the conventions of film noir. Private Investigator Mavis Davis is called to work, after a well-known and popular news anchor dies on the air. Mavis collects clues and meets a colorful cast of characters on her journey for the truth, which ends in a ridiculous but hilarious plot twist.

Overall, the cast of 17 colorful caricatures was able to mesh well into the reality of the universe they created. Though there were some character choices that seemed either a little underdeveloped or a little too over the top, the cast delivered substantial energy in the show allowing for funny moments for which the audience was very receptive.

Betsy Ryan as Mavis Davis was able to manage the tough guy attitude that the show was parodying. She delivered considerable amounts of dialogue without any hiccups or stumbles, while maintaining a very detective “I’ve-seen-it-all” personality. Brennan Jones gave a strong performance as news anchor Luther Preston. His performance and delivery of lines throughout the show displayed great confidence and charisma. He was able to incorporate the golden-toned vocals and chest-out, back-straight physicality of a news anchor while sporting his ever-present smile.

Zack Ascensio’s Stan Van was wonderfully funny as the archetypal “tragic artist.” His energy was lively and his comic timing was on target, helping him create some moments of great fun when his scenes came. Matt Nordan’s Mayor Everett Nelson had equally strong comic timing, smoothly saying exactly what a crooked politician would say: the wrong thing. His performance allowed for some comic highs, as was evident from the laughter of the audience. Melanie Reuter was also adept in her humorously portrayal the news “diva” Cassandra Dumont with enough sass and attitude to create a personality the viewers would love to hate.

The technical side of the show was quite well done. Set pieces were very sturdy, enough for the cast members to jump all over them in complete safety, yet were simple enough to allow quick, easy transitions for the running crew. One set piece that stood out was the main news desk. It was built well enough to conceal two actors completely from the audience for the climactic un-masking scene.

In a farcical and ridiculous adventure in the quest for truth and justice, Falls Church High School’s production of No Crime Like the Present slapped a smile over the serious faces of every one of those old-timey detectives.

by Tyler Cramer of Freedom High School

The magnificent production was performed by the talented cast and crew of Falls Church High School.

Even with his disability, Jones allowed the character’s personalities to take a prominent role, and his easygoing charm was extremely likeable. Buddy’s curious demeanor and accent were consistent throughout the show.

Equally plausible was the chemistry between Buddy and his father, Ferris (Sam Johnson). The comedic actor of the show, Johnson used his old man demeanor to exchange playful banter with Buddy. Johnson demonstrated how the characterization of his gruff outer demeanor could be portrayed with his warm inner counterpart.

Although the script called for an extremely simple set (only two elevated wooden boards were used as set pieces), the cast was flexible, and easily convinced the audience of the setting quickly. The tech crew was also essential, changing the simple white background to different colors of light at scene changes, and using different sound effects pertaining to the setting.

The lighting, designed and operated by Bill Miller, was exquisite. Always on cue, the wide range of spotlights used was always on the designated characters. In the crucial finale of Act I, the spotlights slowly dimmed on Buddy, leaving an artistic and dramatic flourish with the audience before intermission.

Rachel James transformed the high schoolers into middle age with her aging makeup. The hair and makeup reflected the character’s ages to the last detail, with Ferris’ graying hairs down to Ms. Henshaw’s (Betsy Ryan) wrinkles.

The difficult production was performed with skill and poise by the cast and crew of Falls Church. The end of the show was received positively by well-deserved a roar of applause and a standing ovation from the audience.

by Keno Katsuda of Walt Whitman High School

Photo Gallery

Reggie Herold, Sam Johnson, Erica Taylor, Brennan Jones	Erica Taylor, Brennan Jones, Reggie Herold
Reggie Herold, Brennan Jones, Boris Mewborn, Sam Johnson	Brennan Jones
Betsy Ryan, Helena Irene Shafer, Melanie Reuter

Photos by Rich Stanage.

Launching the career of famed playwright Ken Ludwig, Lend Me A Tenor opened on Broadway in 1989 and was an instant success, garnering eight Tony nominations for its light-hearted comedy. Centering on a group involved with a production of Othello, chaos erupts after sleeping pills taken by the opera’s star tenor, Tito Merelli, are discovered and the singer is presumed dead. Knowing that the show must go on, producer Saunders convinces young upstart Max to assume a disguise and replace the “dead” Merelli. But when there are two opera stars running around the city, confusion reigns in this chaotic comedy of errors.

As aspiring opera amateur Max (Ian Mills) led the cast confidently and with poise throughout his many scenes. Mills used good physicality whilst waltzing around the stage and displayed bold chemistry in love scenes with Maggie (Liz Mogrovejo).

Flamboyance and comic flair buoyed the performances of stereotypical Italians Tito Merelli (Alex Rock) and Maria (Erin Maines). Their fiery arguments inspired a rapid back-and-forth dialogue that inspired laughter from the audience, as did Rock’s confused antics as the sleepy and angry Merelli. Additionally, haughty older characters Julia (Betsy Ryan) and Saunders (Sam Johnson) competently maintained large stage presences and conveyed their mature ages effectively.

But it was Ayinde Bray as the bellhop who stole the show, making much out of his few scenes with excellent physicality and curious facial expressions. His lines were clearly enunciated and colored with expression.

A lovely set evocative of a hotel suite made use of several well constructed rooms, closets, and doors. Makeup did an excellent job of aging some characters and putting on Othello’s blackface quickly and effectively. However, props and costumes were not always appropriate to the time period, and lighting was sometimes spotty in illuminating important areas of the stage.

It’s not over ’till the fat lady sings. This kind of perseverance, standard in the disciplined art of opera, was displayed by Falls Church High School students in Lend Me a Tenor. Working through a difficult script with tricky comic lines, the cast and crew received the most harmonious music of all — laughter.

by Julia Katz of McLean High School

Written in 1976 in the style of radio shows of the 1930’s and ’40’s, “The Water Engine” begins with Charles (Eric Holl), an optimistic young inventor of an engine that runs entirely on distilled water, seeking a patent for his design during the 1934 Chicago World Fair. His groundbreaking machine threatens to revolutionize industry, and Charles soon finds himself at the mercy of two thuggish attorneys with sinister intentions. With idealistic enterprise pitted against the menacing power of big business, Charles and his life’s work are swept into mortal danger.

Unconventional staging allowed the cast to transfer the story to the stage while retaining Mamet’s original vision of The Water Engine as a strictly auditory experience. Paul Moore‘s set consisted of a recording room in a radio broadcast station, with chairs in which actors sat when not speaking their lines into microphones. Many sound effects were provided by onstage Foley artists (Alex Doak and Bill Miller).

With no stage directions, scenery, or props, the talented ensemble had to rely solely on their voices to convey the complex story. Intense deliveries and strong characterizations carried the production through its dramatic closing.

As the hapless inventor, Holl maintained consistently high energy and an endearing earnestness in the fast-paced, dialogue-driven story. As Morton Gross, one of the subtly malicious attorneys who blackmails Charles, Ian Mills was perfectly disquieting and understated. Alex Rock was equally imposing as lawyer Lawrence Obermann. The delicate dynamic between Holl, Mills, and Rock culminated in one particularly tense, chilling scene in which the lawyers calmly tried to persuade Charles to trust them with his blueprints.

Comic relief was provided by Sam Johnson as the perpetually perturbed store owner Mr. Wallace, and Erica Taylor, as his enthusiastic daughter Bernice. The pair bantered cheerfully with believable chemistry. Enjoyable cameos were given by Valerie Thibeault as Gross’ bored secretary and Betsy Ryan as a rebellious soapbox speaker.

In keeping with the show’s auditory focus, Patrick Entsminger‘s sound design was superb, with cues executed effectively. The live sound effects provided by Doak and Miller were equally prompt, creative, and appropriate. Original music, written and performed by Mollie Dreisbach and David Vo, added to the 1930’s ambience.

Despite suggesting confidence in the saving possibilities of science, The Water Engine warns against blind belief in the American dream. The students at Falls Church High School portrayed this mature theme with poise, maintaining the message’s relevance for another generation.

by Emily O’Connell of Bishop Ireton High School

An off-Broadway success by Tom Griffin, The Boys Next Door follows the lives of four developmentally disabled men who live together in a group home under the care of sincere, but increasingly despairing, social worker Jack (Peter Gillis). Equally humorous and poignant, the play examines the often overlooked lives of the mentally disabled.

Falls Church’s Boys Next Door presented a window into the world of the four friends with understanding and dedication. Although their antics were often comical, the actors were always respectful toward their characters’ conditions.

The play revolves around the four “boys,” all of whom were skillfully performed by a well-rounded cast. Ian Mills, as the paranoid and explosive Arnold, and Sam Johnson, as the dorky and donut-loving Norman, both got laughs with their honest performances. Eric Holl demonstrated an impressive range of emotion as the schizophrenic Barry, whose swaggering confidence is shattered upon the arrival of his abusive father (Steven Szatkowski). Lucien, the resident with the mental capacity of a five-year old, was brilliantly acted by Amir Malekghasemi. His keen insight into the kindhearted Lucien as not just a disabled person but as a human being was nothing short of astounding. Last but certainly not least, Peter Gillis as Jack provided a calm contrast to the eccentric personalities of the four men, handling his numerous monologues with ease.

Most notable among the supporting characters were Shelia (Shanley Culbertson), the mentally retarded young woman with whom Norman falls in love, and Mr. Klemper (Steven Szatkowski), Barry’s gruff and abrasive father. Adorable and childlike, Culbertson had delightful chemistry with Johnson. In contrast, Szatkowski’s callous interactions with Holl added tension to the play’s climax.

The majority of the action takes place in the boys’ living room that was filled with thoughtful details such as a “Home Sweet Home” sign mounted on the wall. In the first act, musical underscoring and sound effects provided a sense of location and mood. Lighting changes were handled speedily, but sometimes interrupted the intensity of more emotional scenes.

Falls Church rose to the formidable challenge of portraying the mentally retarded in a realistic and considerate manner with its production of The Boys Next Door. Their lighthearted and moving performance reminded the audience that the handicapped, like the rest of us, are human beings who continually search for love and purpose.

by Sarah Anne Sillers of Winston Churchill

Fame follows the dreams and heartaches of star-bound pupils attending the old New York City High school of Performing Arts as they desperately attempt to gain “fame” and “live forever.”

Falls Church High School’s 35-member cast was anchored by its exceptional female voices. Even with the obstacle of sound difficulty and the inability of many actors to project their voices, the ensemble members always maintained their composure and remained in character.

Danielle Pettiway, as the sassy cocaine-addicted survivor Carmen Diaz, and Max Oppenheimer as struggling violist, Schlomo Metzenbaum, created distinct characters onstage while struggling through their relationship.

Other actors, such as Lani Street (Serena Katz), Courtney Franklin (Mabel Washington), and Eric Holl (Goody) added depth and comedy to the show. Tiffany Jones, as Miss Sherman, stood out as she embraced her character while singing, “These are my Children.” Although some voices were off pitch and struggled to hit their notes, the entire ensemble succeeded, especially on numbers such as “There She Goes/Fame” and “Bring on Tomorrow.”

The timely lighting cues, swift scene changes, and rarely seen stage crew made the show flow smoothly, never leaving an empty stage. Ending on a bitter-sweet note, Falls Church’s production of Fame proved that it’s “hard work” to put on a successful musical, and this was no exception.

by Steven Einhorn of Robert E. Lee

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.