Bell, Book, and Candle, written by John van Druten, first opened on Broadway in 1950, and was adapted into a 1958 feature film starring Jimmy Stewart and Kim Novak. It is the story of Gillian Holroyd, a witch who becomes infatuated with her upstairs neighbor, Shepard Henderson. When she learns he is engaged to her college rival, she decides desperate measures are in order, and enchants him to fall in love with her. As Gillian falls more and more in love with Shep, she must decide whether to confess her magical abilities to him and renounce her powers, or keep her lover in blissful ignorance of her true nature.

As Gillian, Katie Puschel carried the emotional weight of the show. She had a clear understanding of the inner turmoil of her character which she indicated through her expressions and reactions to her cast-mates. Although some other actors struggled to portray the age of their characters, Puschel carried herself with appropriate maturity and poise. She was clearly comfortable onstage during her extended scenes with her sweetheart, Shepard Henderson (Jakob Sudberry). The duo did an excellent job moving these conversations along and advancing the plot of the play with excellent memorization of their considerable volume of lines.

The small size of the cast allowed other performers to be prominently featured alongside the leads. Gus Hebner brought impressive energy to the role of Nicky Holroyd, Gillian’s meddling warlock brother. His jocular stage presence and authentic treatment of alcoholic drinks, both in accurate preparation and believable reaction to the bracing taste, were decidedly appreciated by the audience. Regan Fraas did an admirable job playing against gender as the author Sidney Redlitch. Her initially unsuspecting and later terrified interactions with Gillian were a comedic highlight of the show.

The meticulously detailed technical elements of the production added a welcome touch of realism to this supernatural comedy. The set designed by Gus Hebner was not only perfectly accurate for the time period, but it matched the tastes of Gillian beautifully, befitting of her double life as a witch, with a hodgepodge of mystical artifacts and ordinary implements adorning the walls. The costumes by Katy Rinaman contributed to the characterization and development of each performer, from Gillian’s evolving sense of style to Aunt Queenie’s appropriately bold patterns and ridiculous hats. The special effects crew created one of the play’s most memorable moments with the dazzling fire that accompanied one of Gillian’s spells.

There is nothing more universal to the human experience than love, longing, and loneliness. You don’t have to be a witch to empathize with the basic desire to be understood as you really are. Homeschool Teens and Theatre Company displayed a compelling search for acceptance in an unforgiving world in their production of Bell, Book, and Candle.

by Madelyn Paquette of McLean High School

Photo Gallery

Jakob Sudberry (Shep) and Katie Puschel (Gillian)	Gus Hebner (Nicky), Kaiya Gordon (Queenie) and Katie Puschel (Gillian)

Photos by Katy Rinaman

Hellzapoppin opened on Broadway in 1938, and ran for three consecutive years, making it the longest running Broadway musical of its time. The show combined various quaint sketches, stunt shows, and musical acts, all the while maintaining a clownish and absurd atmosphere. The show was continually rewritten over the years in order to remain resonant with its audiences.

Saturday’s production of Hellzapoppin was no less unconventional than its 1930s predecessor. At its most basic level, the show is about a vaudeville performance gone wrong. The piano player is abducted by a rabid gorilla, the chorus is threatening to go on strike, and the techs refuse to fix the sudden blackouts. Just when it seemed like it couldn’t get any weirder, the continual mayhem and an attempt to light the stage on fire persuades the producer, Anson Rutherford, to abandon the show, leaving it in the unworthy hands of Johnson (William Angel) and Olsen (Michi Hitchcock). The havoc escalates into a dramatic battle of comedic wits between the two co-hosts, and the show concludes with a vibrant sing-a-long number entitled “Always Leave Them Laughing When You Say Goodbye.”

The Teens and Theatre Company’s exceptional energy and impressive stamina held the audience captivated through the entire production. The cast maintained their character focus throughout the entire show, including during their unique intermission. Jeremy Pryzby, in particular, shone for his incredible animation and dedication to each of his very diverse roles. Lauren Petrey, in her role as Howdiddi, displayed great comedic timing and a sincere will to make the audience laugh. Chanukah Jane Lilburne emerged not only as one of the strongest singers and dancers in the show, but also as an audience favorite in role as the lonely and psychotic Disneyworld hag. Although at several times, emotions seemed overblown and hysteria too constant, the cast’s spontaneity and obvious comprehension of improv translated well with the audience.

The performance was tucked inside a quaint comedy club, but the setting served the purpose of the show well. Graffiti stained walls and various quirky set pieces (such as an oddly placed water cooler) provided the cast members with an appropriately peculiar atmosphere. A variety in the lighting, from sudden blackouts to a very active spotlight also complimented the mood of the show. A wide assortment of costumes aided the absurdity, but the continuous changes never once distracted from the plot.

While the content may have seemed a bit eccentric, the Teens and Theatre Company’s obvious dedication to the difficult vaudevillian style contributed to a thoroughly enjoyable experience because, according to Anson Rutherford, “What’s a production without a little stupidity?”

by Kristina Rathjen of Centreville High School

Photo Gallery

Chanukah Jane Lilburne & Jeremy Pryzby	Anson Rutherford, Sherri Baugham, Katy Rinaman, Kayya Gordan,Chanukah Jane Lilburne,Zophia Pryzby, Jacob Sudberry,Jeremy Pryzby, Michi Hitchcock
Jeremy Prysby & Lauren Petrey	Lauren Petrey, Anson Rutherford, Michi Hitchcock; Front Jacob Sudberry

Photos by Katy Rinaman

The play, based on a popular radio show from the 1940’s, follows the misadventures of Irma (Chanukah Jane Lilburne), a naïve but kind young woman living in New York, and her best friend Jane (Lauren Petrey), the patient soul forced to put up with her companion’s antics. Al (Zak Gordon), Irma’s boyfriend and a bit of a con man, has come up with the latest of his get-rich-quick schemes, this one involving his cartoonist friend, Don Turner (Anson Rutherford). Don wants to put Irma and her quirks in his latest work and is willing to pay big bucks, but hilarity ensues when Irma begins to develop feelings for the artist, greatly complicating matters for everyone.

Lilburne carried the show as Irma, striking a perfectly delicate balance between the character’s charm and unawareness. It would be an easy trap to make this role annoying or grating, and yet, utilizing her talent and charisma, Lilburne managed to make herself endearing. With a certain dazed airiness to her movement and voice, she capitalized on the witty premise of the show, creating a delightful character seemingly torn straight from a sitcom.

Petrey’s Jane was an entertaining foil to Lilburne’s Irma, performing confidently in the position of straight woman. Petrey was dry and sarcastic in her delivery, contrasting nicely with Lilburne’s over-the-top style, and together, they developed a strong and believable chemistry. Rutherford played the unwitting Don, led into a situation with Irma that quickly takes some wild twists. Rutherford was appropriately nervous and introverted in his turn, and was not harmed by this often dangerous choice, but rather stood out for it.

The show did have some flaws that the cast had to work to overcome. At times, actors covered mistakes well and in character, but broke from their roles at other points, which distracted from the plot and hurt the show’s pacing. While some parts were richly and fully developed, others were weaker and lacked the same depth. The difficult accents in the play led to issues with diction and volume, making it hard at times to follow the wackiness of the show. However, the ensemble worked through most of its issues to produce many laughs.

The set was simple yet effective, evoking a traditional New York apartment. Photos hung on the walls, precisely tilted to 45 degree angles, helped build Irma’s eccentric style and added an amusing touch to the comedy.

Ultimately, Teens n Theatre produced a light afternoon of entertainment that brought the flaky girl from the radio to the stage. You wouldn’t necessarily want to live with Irma and have to put up with her stunts, but it was certainly fun to spend an afternoon with her.

Review submitted by Chris Papas of Oakton High School.

A Midsummer Night’s Dream was written by William Shakespeare, shortly after the completion of his famous tale of tragic lovers, “Romeo and Juliet.” It is said that Shakespeare sought a different perspective on love when he wrote A Midsummer Night’s Dream, and so the play takes on a comic rather than a tragic perspective. The play takes place in Ancient Greece, in the city of Athens. It begins on the eve of the wedding of Theseus (a duke) and Hippolyta (his bride). On that same day Hermia is fated to marry Demetrius, but she loves another, Lysander. Meanwhile, Demetrius is loved by Helena, who decides to tip him off when she learns that Hermia and Lysander plan to flee Athens and elope. The result is all four youths fleeing into the woods, where a group of fairies, and an amateur band of actors rehearsing a play for the wedding of the duke, make things very complicated and very funny.

The Homeschool Teens N Theater troupe brought a new vitality to Shakespeare’s work. While they had many obstacles to overcome, including a small work space and difficult Shakespearean English, the energy onstage was infectious. It was obvious that the actors were having a good time, and the audience could not help but join in the fun.

As both the duke Theseus, and the fairy king Oberon, Richard Yingling stood out among the cast for his excellent diction, and superb energy. His female counter part, Leila Giles, who played both Hippolyta, and the fairy queen Titania, was equally good. Other stand out performances included Lexi Haddad, who played the lovelorn Helena, and Anson Rutherford, who brought to life the classic role of Puck.

Those who are familiar with A Midsummer Night’s Dream know that the text is rich with bit parts and cameos, perfect for character actors. The Homeschool Teens N Theatre production included the hysterical performance of William Angel as Nick Bottom, the weaver turned actor, who is given the head of a donkey by the mischievous Puck. William Angel rose to meet his role’s slapstick potential. Joseph DeRoma also made the most of the play’s opportunities for physical comedy, and it was arguable whether he was funnier as Mustardseed (a fairy) or Thisbe (his female role in the play within a play).

Shakespeare’s work was brought to life by costumes and make-up every bit as colorful as the characters he created. Particularly memorable were the fairies’ costumes, each of which had a separate theme. Togas, and gladiator style sandals added an authentic touch. The set, which was assembled in black box style, used earthy tones and creative lighting to evoke a woodsy feel.

With the use of a strong energy, great physical comedy, and technical aspects that were at once classic and innovative, the Homeschool Teens N Theatre Company successfully took audience members off to a midsummer night.

by Nora Daly of The New School of Northern Virginia

A different version than usually performed, this production of Arabian Nights was written by Dominic Cooke in a presentational narrative style as opposed to the traditional natural approach. The story revolves around an independent young woman, Shahrazad (Brynn Deakins) and her sister Dinarzad (Meridian Gantz-Ratzat) who together believe Shahrazad can change the king’s ways of serial marriage and beheading by telling a series of stories each night before dawn breaks in order to stop him from ordering her to the executioner. Eventually she forces King Shahrayar (Stefan Lopez) to take a look inside himself and to listen to the myriad of characters and their stories that are presented to him.

Overall, the production was filled with abundant energy from the actors, as many played multiple roles in this imaginative play.

Standing out with a great performance was lead actress Brynn Deakins for her Shahrazad role. A wonderful stage presence and extremely clear articulation and projection served her character well. She remained at the top of her energy throughout the sincere portrayal of the character and really shone through as a leader among the cast.

Meridian Gantz-Ratzat was also notable as a great featured actress with her portrayal of the younger sister Dinarzad. Her characterization was playful and full of youth with just the right mixture of sincerity and naiveté. Gantz-Ratzat also played various other roles throughout presentation of different stories–each character different from the last and an acting challenge. Also noteworthy is Alex Badley, an amusing ensemble player with his assortment of roles in the stories–most memorable as the Singing Tree in The Story of the Envious Sisters.

The costumes in this production were absolutely fantastic. The crew of Elizabeth Angel, Deakins, and Chanukah Jane Lilburne did a wonderful job of construction and sticking to the time period while finding some forty-percent of the costumes by thrift-shopping or borrowing. The Props and Effects crew must also be noted, even though some props’ use was inconsistent, the special effects really brought the playful aspects of the show to life.

Though some uncertain elements existed in the show, for instance actors stumbled over lines and the second half seemed to be nearly all improvised, the show made the audience laugh (whether or not intended to do so) and the cast looked to be having fun. Quite a different choice of show for a high school production, Arabian Nights by the Homeschool TNT displayed the theatre’s origin in oral tradition.

by Kalyna Jowyk of Westfield