This musical, written by Sandy Wilson, premiered in London in 1954 where it became an instant success. It marked Julie Andrews’ stage début, skyrocketing the fame of the iconic star. The show spoofs the frivolous frills characteristic of 1920s musical comedies, following the ill-fated love of English heiress Polly at Madame Dubonnet’s Finishing School in French Riviera. When the esteemed young lady falls for a handsome delivery boy Tony, scandal is sure to arise. With an overprotective father, a gaggle of gossipy girls, and the Carnival Ball just around the corner, the flirtatious young lovers face a few bumps in their relationship, but always bounce back with a smile and a song. The lighthearted humor of the show makes it a sure crowd pleaser.

As the leading lady Polly, Keeley McLaughlin lit up the stage with her giggly pep. Her soprano voice was a perfect compliment to her innocent characterization, as she hit even the highest of notes with pure, melodic ease. McLaughlin’s consistent harmonies with her beau Tony (John Osborn) in songs such as “I Could Be Happy With You,” accented the natural chemistry between the lovers. As they nervously flirted, her giddy flouncing and his shy smile made the two an endearing and heartwarming pair. Additionally, in a show sometimes marked by over acting, Osborn’s authentic boyishness and unassuming devotion to Polly made his performance a standout.

The supporting cast featured many stellar performers. Kyle Decamp, as the elderly and slightly scandalous Lord Brockhust, sent eruptions of laughter through the auditorium as he drunkenly staggered about the stage attempting, with little avail, to make smooth talk with all the young girls at the ball. Alex Ervin, the academy’s chic French maid Hortense, displayed poignant comic timing that did justice to all of her wonderfully snarky remarks. Grace Cleland as Polly’s irresistibly bubbly best friend Maisie was hilarious in scenes such as “Safety In Numbers,” in which she shamelessly flirted with a band of young bachelors and basked in their affections. Other standout scenes included “Carnival Tango,” in which Charlotte Sadar and Colbey Davies set the stage ablaze with their staccato movements. Sadar’s mesmerizing turns, sharp kicks, and raw passion left the audience awestruck.

The technical elements of Flint Hill’s production fit the vivacious spirit of the show. The bright, expertly executed makeup lit up the faces of the actors as they gleefully jived about the stage. The stage crew seamlessly carried out scene changes, keeping the pace of the show smoothly rolling forward.

With the thriving pizzazz of the jazz age, the cast of Flint Hill School created a wonderfully frothy production of The Boy Friend that was brimming with delights.

by Marielle Burt of McLean High School

Photo Gallery

Keeley Mclaughlin and John Osborn	Sophia Carbonell, Kyle deCamp, and Adam Cleland
Grace Cleland and John Curtis

Photos by Y. Gindin

Tell Me That You Love Me, Junie Moon was adapted by D.D. Brooke from Marjorie Kellogg’s novel for the 1970 play. The comedy-drama is most famous for the film version, starring the legendary Liza Minnelli. Junie Moon has a normal life until her abusive, but seemingly polite boyfriend pours acid on her face, causing permanent scars and a broken heart. In the hospital, Junie spends time with two fellow misfits, a homosexual confined to a wheelchair after a hunting accident and a gentle man suffering from a disease misdiagnosed as mental retardation. Yearning for a normal life, the social outcasts buy a house together. The play embodies the stereotypical cliche of loving oneself for who you are in an original way through quirky characters. Kellogg envelops the audience into a world with adults looking from the outside in, ultimately evoking a sense of individuality.

Flint Hill School’s production was centered on the amalgam of distinct personalities. The characters deal with their pain in various, eccentric ways that allow them to connect to one another. Compounded into a dysfunctional family – Arthur being the sarcastic member, Junie the blatantly rude one, and Warren the warm-hearted teddy bear – the three actors played off each other well. Despite a simple, one-dimensional script, each cast member exploited their personality, with spunky nurses and an energetic old lady spicing up the mix.

Keeley McLaughlin, who portrayed Junie Moon, delivered her sarcastic lines with angst, but contrasted them easily when the play became emotional. McLaughlin read letters to her disconnected mother, signing off “your obedient daughter” with the same aching tone each time, building up the tension in her character. Kyle deCamp’s Arthur was a refreshing source of compassion and compatibility. deCamp’s limp due to a cripled leg was consistent throughout the show, and he never broke character.

John Osborn mobilized around the stage as Warren effortlessly, as if a lifetime of confinement to a wheelchair was behind him. Osborn’s comedic zingers earned bursts of laughter every time. Courtney Ebersohl conveyed Minnie, an ill but lively old lady, with believable old-age mannerisms. Ebersohl’s accent was faint, but consistent as she gave advice to Junie Moon. While the energy level occasionally fell low at times and some actor’s blocking was unmotivated at times, the play was well-paced and well-received.

The noteworthy stage crew swiftly changed the set, keeping up a comfortable pace for the play. Though the actors did not have microphones, occasional voiceovers revealed the shadowed details about the character’s past through snippets of childhood or recent dialogue. The voices were clear-cut and the use of the same female voice added to the ambiguity of the past.

Overall, Flint Hill School’s production of Tell Me That You Love Me, Junie Moon was notable with the tackling of sensitive areas of mental illness and results of physical abuse. The play had a pristine balance of comedy and drama, ultimately resulting in a well-rounded show. The production gave tribute to the so-called “outcasts” of society, eliciting an awareness of individualism.

by Rachel Mayman of Langley High School

Photo Gallery

John Osborn	Keeley McLaughlin
Kyle deCamp	Keeley McLaughlin and Courtney Ebersohl

Photos by Tony Blanton

Written by Charlie Shanian and Shari Simpson this lesser known show is comprised of eleven vignettes is a showcase of the awkward personal situations that everyone can relate to. From the grade school nonsense to the slightly tarnished years of marriage, the audience is in for a raucous ride on the road of romance.

The interesting part about this show was the fact that no actor played anything less than a cameo role. There was never an ensemble, because each vignette starred only a few characters, and no other actors were on stage. For this reason, every actor in the show had to really work to fill the stage and the void between the few characters. However, the actors all had white-hot energy and filled the voids with colorful and generally awkward characters. The danger with such offbeat and socially inept characters is being just a tad too awkward and lapsing out of the relationships while focusing on the character, however, the actors of Flint Hill School spun their awkwardness with good timing to make it rather amusing, overall.

Despite the nature of the play, two individuals stood out among the crowd. Chris Halverson showed his versatility as an actor playing a spitball shooting elementary school bully, a film noir hero with a razor sharp wit, and a divorced grandfather who grudgingly accepts the will of his heart. He committed fully to each one of these characters, and worked his relationships as if he had really experienced them before. I’m suspicious. As the elementary school bully, he played across Tonasia Jones, who played an extravagantly nerdy elementary school girl with a drive to be independent and the power to scare off any boy who tried to step on her autonomy. Her way over-the-top portrayal of this dweeby character made the ferocity with which she spurned the boys, one after the other, absolutely ridiculous, and thus, all the more fun to watch.

A few other actors were memorable for their quirky characters, and their ability to convey comedy rather than awkwardness. John Osborn’s repeated appearances as Ron, the children’s brain surgeon with two left feet and a touch too much confidence, added some amusing continuity to the show with him coming back over and over, only to be rejected. Aimee Marich showed the decline from femme fatale to dowdy housewife. It was impressive to see the maintenance of her character while transitioning between stages of life. While there were some lapses in character and delays in comedic timing, overall the energy of the cast and the ownership each actor took of their moments as lead brought the show together as a nice night of comedy.

The journey through many facets of the awkward search for romance makes for a touching show, while keeping the hilarity of these moments for the onlooker. It conveys the uncertainty everyone feels when venturing into that world of confusion. “Maybe Baby, It’s You”–or maybe it’s not.

by Shaan Sharma of Chantilly High School

Photo Gallery

Kyle deCamp and Tonasia Jones	Claire Romansky and Jordan Pasternak
Rachel Hawkins and Joe Romness

Photos by M. Cavanaugh.

This play was based on a television series running from 1965 to 1970, which earned fourteen Emmy and two Golden Globe awards. Four movies were filmed as spin-offs of this show. This comedic play is about a clumsy detective, Maxwell Smart, who continuously tries to impress his boss with his meticulous attention to detail as he takes on hard-to-crack cases. His moronic oversights add humor as he stumbles his way to solving the difficult crimes.

The play shot off to a smart start with a video of Flint Hill’s Maxwell Smart (Ian Campbell) navigating through the school elevators and turning corners sharply only to confront yet another door, which permitted momentary passage before snapping closed. At one point, he was cleverly shown entering and leaving the opposite side of a locker. On stage, Maxwell navigated through a similar maze of psychological obstacles presented by the parade of cast members, attempting to foil or assist in the attempt to find four kidnapped blondes.

Ian Campbell, who played Maxwell Smart, effectively portrayed a man gifted with book-sense, but lacking common sense. His nasal voice and meticulous diction, taken together with his reckless, bumbling mishaps, created a persona of hyper-intellectualism gone awry. He was convincing in his characterization of naïveté, presenting bold, but foolish, courage as he rashly headed in the wrong direction. Keeley McLaughlin, as Agent 99, Smart’s loyal side-kick, related to his off-base ideas with impressionable intrigue. She synchronized her actions to Smart with a devotion that went far beyond duty. Wide-eyed with respect for Smart’s special knowledge and skills, McLaughlin exuded a faithful infatuation typical of new-found love.

The Chinese waitresses worked together as an ensemble of undercover evil associates. Sporting an “ever-on-the-lookout” posture on stage, their hushed voices typified their predilection for treachery. Aimee Marich (Professor Zalinka), consistently condescending in her portrayal of the evil scientist, carried herself as ruthlessly as someone capable of stealing U.S. weapon secrets. Her Russian accent was precise and captivating, befitting of her demanding stage character.

Although some delays were noted in the transition of lighting, different levels of lighting, including the intensity spotlight, helped focus the attention on main characters. The set, consisting of three bright yellow walls, reflected a modern, minimalistic approach towards props. Movement of these walls (reversals, flipping) between scenes created a shift in ambiance that effectively cued the next scene.

Action-packed and audience-friendly, the characters double-crossed their way into cracking the case. Get Smart…and see this show!

Savannah Deroma of Homeschool Teens n Theatre.

Photo Gallery

Chris Halverson, Ian Campbell	Jordan Pasternak, Keeley McLaughlin, Ian Campbell
Chris Heizer, Ian Campbell

Photos by Jackie Viteri.

Kiss Me, Kate, written by Cole Porter, is styled as a play within a play. Inspired by William Shakespeare’s The Taming of the Shrew, the musical tells the story of a theater company in Baltimore performing a musical rendition of the classic Shakespeare play. The director, Fred Graham, is starring as Petruchio alongside his bitter ex-wife, Lilli Vanessi. Graham has cast his new girlfriend, Lois, in the lead role of Bianca — but she is really in love with Bill Calhoun, a young actor with a money problem. Gambling debts and misunderstood intentions threaten to ruin the inner productionsd as the play begins to reflect the feelings of the actors. Kiss Me, Kate debuted in 1948 and won five Tony Awards, including the first Tony for Best Musical ever given. The show’s clever plot and popular musical numbers have spawned several award-winning revivals.

Flint Hill’s production was energetic and lively. Faced with challenging acoustics, most actors projected loudly and articulated well, although some were difficult to hear, especially in musical numbers. The actors also performed a majority of the set changes, remaining in character even as they moved set pieces across the stage. In some numbers, dancers had trouble staying in synch; however, “Too Darn Hot” was able to showcase a whole different variety of polished vocal and dancing skills.

Michael Libonati and Maggie Robertson shone as Fred Graham and Lilli Vanessi, who portray Petruchio and Katherine (also known as Kate) in the play-within-a-play. Libonati played Fred with finesse, transitioning effortlessly from 16th to 20th centuries. Robertson’s Lilli had less flair; instead, she embodied the sarcastic, shrewish character with her fiery attitude. Her strong soprano voice provided an anchor for fast-paced songs, such as the penultimate “I Am Ashamed That Women Are So Simple.”

Natalie Berk and Blair Jenet were charming as Lois Lane and Bill Calhoun, a young couple that addresses their relationship in a series of songs that bemoan one another’s flaws. Berk wowed as Bianca, remaining consistently in character throughout the show and strutting across the stage with exceptional confidence during “Always True to You in My Fashion.” Likewise, Jenet’s powerful vocals carried him through both ensemble numbers (such as “Too Darn Hot”) and solos (like “Bianca”).

The highlight of the show was by far the performances given by the gunmen (Brendan O’Flaherty and Taamu Wuya), two mobsters who come to collect a debt of honor and discover their passion forth theatre. Both had brilliant characterization and each utilized a flexible vocal range. “Brush Up Your Shakespeare,” was a spectacular number complete with a top hats and spats.

Some would argue that Shakespeare might be rolling in his grave at the thought of The Taming of the Shrew: The Musical, but Flint Hill School definitely had the audience rolling in the aisles. Kiss Me, Kate will also be performed next weekend, May 8th and 9th at 7:30PM. Don’t miss it!

by Elisabeth Bloxam of Westfield High School

Ever been trapped in an elevator with a claustrophobic, overly-stressed woman or found yourself making poor attempts at flirting in the local bookstore? Examples of the quirky, awkward scenarios that make up the macrocosm in which we live were found all throughout Flint Hill School’s inspired production of Somewhere in Between. Originally written by Craig Pospisil, the plot is one of the vicissitudes of life, and the striking events that mold personalities and characters.

Set in 1996 in New York City, Somewhere in Between encompasses the life of Jasper, a 29-year old man, who is currently trapped in a mire of dullness, with a job he despises and a nonexistent social life. The play chronicles the occurrences leading up to the turning point in Jasper’s life, where he meets Holly, a smart girl who works at the bookstore, and gains valuable insight on the meaning of living. Such main characters as Chris, a scandalous co-worker who tries to convince Jasper that a remedy can be sought in a one-night-stand, and Mary, a provocative woman who tempts Jasper at work, provide meaningful lessons in the formation of Chris’ developing life.

With a cast full of energetic, creative minds, Flint Hill School’s actors brought their characters to life in a plethora of ways. The members of the cast had a unique ability to play the parts of several characters throughout the play, which was, overall, very impressive.

Michael Libonati, who played Jasper, had a lively way of attracting the emotions of the audience towards his character. Holly’s meek attitude was elegantly illustrated by Alexis Abbey. In addition, the Elevator woman, one of the characters played by Maggie Robertson, was memorable. Although her part was short-lived, she provided a sensational display of the definition of the word stressed. Chris, Brendan O’Flaherty, caught the audience’s attention, with his comical manner and his signature way of incessant coffee drinking. Nina Melisi‘s performance of Mary included a great deal of attitude and her character’s use of her physical assets, along with fashion sense. Throughout the play, all actors were very clear and easily heard which contributed to their show.

Most cast members were able to make their characters realistic and portray them in very realistic ways. This includes Maggie Robertson’s Elevator Woman, who was most enjoyable, with her great optimism of life, which quickly changed to despair at the thought of complications like being stuck in an elevator. Erik Fredericksen‘s spicy words and use of body language was an absolute delight as the man making bold, suggestive statements in the restaurant scene. Another such character to be recognized was Collin Sibley‘s sentimental recreation of the life of a homeless person. His sweet personality and honest outlook captured the hearts of the audience. Jasper, especially, defined his character with utmost precision throughout the plot. However, with such high-energy actors and actresses, some other characters were left out of the spotlight because of their mild, stable personalities and traits.

One of the greatest benefits to the production was the use of very few props by using invisible objects. This, though inconsistent at times, allowed the audience to concentrate solely on the characters and helped to create a general understanding of them. While it drew attention to the actors, it also made it easier for them to make small mistakes such as walking through a desk or taking a cup from a table and placing it elsewhere. Despite these, the performance without props was more riveting. Lighting was well done, especially with the incorporation of colors, which evoked emotion throughout the scene between Holly and Jasper while they strolled and daydreamed. The constant changing of costumes was well received, as it added flavor to the play.

In an overall opinion of the play, rather than finding the audience caught “somewhere in between,” it was approved as an enjoyment to all, with its catchy phrases, well-illustrated characters, and undeniably ridiculous scenes that drew laughs from everyone.

by Sabena Richter of Paul VI