A young gentlemen, known as Jack Worthing while at home in the country, takes the name Ernest when in the town. With this persona he may do as he pleases without sullying his reputation. His secret is discovered by his aristocratic friend Algernon Montcrieff, cousin of Gwendolyn Fairfax, the lady Jack wishes to marry. Algernon keeps quiet about Jack’s real name, and uses it for his own mischief. He himself takes the name Ernest Worthing to the country and masquerades as Jack’s wayward brother with the intent of meeting his friend’s young ward, Cecily.

Oscar Wilde’s immortal wit came to life through this lively cast, each and every one making their voices heard, with proper British accents preserved through the duration of the play. The resplendent scenery, in turn brought the audience into Victorian England itself. The occasional piano music in the parlors and birdsong in the garden only served to add to the setting.

Charlie Belt as Jack Worthing was charming and sincere, and brought about a lively and clever character, exchanging witticisms with Algernon with fluid ease. Melissa Goitia played well-bred, upper-class young lady Gwendolyn Fairfax. Her presence was posh and authoritative; noticeable but never overpowering.

Neil Wilcox-Cook highlighted the show as Algernon Montcrieff, ever the leisurely upper-class wit with his feet on the table and a profoundly nonsensical quip up his sleeve. Sarah Chapin played Lady Bracknell with all the poise and proper carriage and authority to make any grande dame proud.

The entire cast stayed in character throughout the length of the play, particularly when they did not have lines. They reacted and interacted with the setting and other characters when others were speaking. This was particularly effective in any scene that involved eavesdropping.

The sets were detailed and elaborate. The country garden overflowed with birdsong, running water, and trellises of flowers. The London townhome was every inch the proper British drawing room, with warm lighting and tea settings and portraits on the walls. Rarely static, (unless they were sitting as proper young ladies) the players moved and interacted with the props and sets, whether lounging with feet on the table or munching the ever-present cucumber sandwiches and muffins between lines. The costumes were well-designed and period accurate, perfectly in place yet never distracting.

As said by Algernon, “Anyone can play accurately — but I play with wonderful expression.” And indeed, this cast presented this Victorian classic both accurately and with wonderful expression.

by Elizabeth Skelton of Teens and Theatre Homeschool program

Photo Gallery

Michael Steiner, Dani Fletcher	Neil Wilcox-Cook, Charlie Belt, Lily Roth
Neil Wilcox-Cook, Charlie Belt, Melissa Goitia, Lily Roth	Sarah Chapin
Charlie Belt, Melissa Goitia

Photos by Peter Nguyen

The musical is based on the iconic J.M. Barrie children’s story of the same name, about the titular boy who wouldn’t grow up (Cappie-winner Ellen Chapin), and his trials and with the young Wendy Darling (Meara O’Malley) and the dastardly pirate Captain Hook (Scott Anderson).

The wonderful Ellen Chapin was among the stars, not just because of the exceptional fly system, but because her performance was miles above average. She played the part of the eternally young Peter with gusto, charm, and an unmatched boyishness perfect for her part (as most stage versions of Pan have a female in the title role).

Some hilarious features of the show included the lost boy Slightly Soiled, played with killer kookiness by Orla Conway, and pirate sidekick Smee, whimsically portrayed by Keith Boylan. Boylan’s repartee with Anderson’s Hook was riotous. Also delightful were the extremely watchable, if a bit politically incorrect, Indians led by Tiger Lily (Allie Rosenbluth).

There was an extremely noticeable energy among the ensemble of pirates, Indians, and lost boys. They were adept at bringing the audience into the kind of clichéd adventure-world everyone imagined as a child. However, there were several scenes so chaotic that lines and plot were lost in the fracas.

In the technical department, the show had some more highlights. Despite a few unclear lighting choices and some sound flubs, several aspects of the show worked extremely well. Props and effects were very effective: the simple use of a laser pointer and keyboard brought the fairy Tinker Bell to life, and the colorful and oblong Neverland set seemed right out of a child’s dream.

Of course, the most thrilling technical achievement, as with any Pan, was the flying. Operating a system that allows actors to sail through the air can be no easy feat, and the wire-operators must be commended for their achievement. The flying actors increased the excitement exponentially. Also amazing was the seemingly effortless way some actors were able to sing and dance while being hoisted in the air.

Marshall High School’s production really made you feel like a daydreaming kid again. This company managed to prove not only that Peter Pan will never grow up, but that the story of Peter Pan will never grow old.

by Josh Simon of Winston Churchill HS

From Left to Right: First Row: Michael Bradford; Second Row: Kelsey Kolbe, Mace Smith, Emily Hemminson, Scott Anderson, Kiran Kestenbaum; Third Row: Meary O’Malley, Orla Conway. (Photo taken by Nathan Wunderlich)

Bobby (Michael Bradford), a mid-30’s bachelor in New York City, is the perpetual focus of attention from his friends, six couples in various stages of marriage, living together, and parenthood. The play opens and ends with Bobby in front of his birthday cake, and the discussion of time, age, and relationships (or the lack thereof) occupy the action throughout the play. Company chronicles Bobby’s voyage of self-discovery, and along the way squarely confronts such topical and controversial issues as recreational drug use, casual sex, and extramarital affairs.

Company is graced with a strong cast, from the lead through the supporting ensemble of couples. Bradford carries his multiple solos with vocal strength and a quietly commanding presence. Ellen Chapin (Amy) delivers a knockout performance with “Getting Married Today,” and the trio of Bobby’s girlfriends Marta (Orla Conway), April (Hannah Rak), and Kathy (Meara O’Malley) perfectly harmonized in “You Could Drive a Person Crazy.” Kiran Kestenbaum (Joanne) belted out a powerhouse rendition of “Ladies Who Lunch,” skillfully highlighting the irony of her contempt for the very position she holds in society. The entire ensemble showed an impressive singing and dancing combination in “Side By Side,” an intricately choreographed tap number. Moreover, Jamal West and Lizzy Gray silently yet gracefully added another dimension with their Pas de Deux dance number. Allie Rosenbluth also sensuously mirrored the feelings between Bobby and April in the Tick Tock Ballet.

The spare yet effective set changed easily from scene to scene, its metamorphosis provided by the speedy yet unobtrusive stage crew. The artistic effects of the backdrop lighting greatly enhanced the overall mood and power of the characters’ encounters. Sondheim’s unique and challenging score was nevertheless competently performed by the pit orchestra.

Groundbreaking and edgy in 1970, this updated revival captures the same emotion and energy of the original production. The George C. Marshall thespians became a cohesive cast and crew, resulting in smashing success of Saturday night’s performance of Company.

Company will also be performed this weekend, Friday and Saturday, May 1 and 2 at 7:30PM with a Sunday matinee at 4:00PM. Don’t miss it.

by Danielle Stockton of The Madeira School