Originally debuted on the West End stage in 1986, and followed by a Broadway revival in 1989, the show is a classic, comedic mix of confused identity and physical comedy. The show opens with Maggie (played by Morgan Miller) listening to opera as Max (Sean Pedersen) anxiously awaits the arrival of his boss, Mr. Saunders (James Thomas) and the acclaimed Italian tenor, Tito Merelli, (Matthew Lansdell). Everyone wishes to meet the famed singer, who is very, very late. When he finally arrives, his jealous wife Maria (Shannon Roux) accuses him of having an affair and leaves. Tito is distraught, and Max is left alone with the man. Max puts him to sleep with tranquilizers, but, when he goes to wake Tito, Tito does not wake. Mr. Saunders decides Max is the only suitable choice to replace the Italian.

As Max, Pederson was absolutely on par. At the beginning of the show, he was stuttering, nervous, and had many physical tics. As he gained confidence over the course of the show, he slowly let them fall away in a subtle, believable manner. His physical character shined. James Thomas, who played his boss Mr. Saunders, and Morgan Miller, who played Maggie Saunders, also had impressive character mannerisms. The femme fatale of the show, Diana, played by Samantha Ross, was also captivating. Her voice intensely added to her character: it was low and sultry, fitting her role to a T. Tito Merelli and his wife Maria, played by Matthew Lansdell and Shannon Roux, had a clear challenge as the two characters were Italians, had accents, and occasionally spoke in Italian. Neither lost the accent, and the accent was understandable. With such a fast-moving play, their lines could easily have been rushed over, but the audience was able to understand the two completely. The failed diva character in the show, Julia, played by Emily Wade, had excellent comedic timing. The actress was particularly good at using her face to show her reactions and emotions. Finally, the bellhop of the hotel where the entire show takes place was played by Stuart Orloff. Surely the role was a challenge, but Orloff was enthusiastic and energetic. He, also, had great comedic timing.

The show, as mentioned, takes place in a hotel suite. The set, designed and built by Morgan Miller, Rebecca Stein, Sean Jones, and Wesley Deiner, was extremely detailed. The props, lorded over by Clara Eder, Mitchell Greenwood, and Paul Hogan, were extremely detailed and added to the show. The lighting, done by Anna Voyles, was excellent. Costumes, hair, and make-up, designed by Kate McHalem Shannon Finney, Samira Pakmehr, and Sofia McKwen, were spectacular. The costumes literally shined and sparkled, adding to the overall production. The hair and make-up were wonderful as well, appropriate to the characters and time and extremely detailed.

Lend Me a Tenor was a glorious farce, and James Madison High School did an excellent job of it. The characters were huge and fun to watch without crossing the line of being too over the top, and the technical aspects of the show were amazingly detailed and intricate. With such a small cast, no one could be off, and no one was.

by Elinor Curry of Paul VI Catholic High School

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

Starting off as just an ambitious window washer, J. Pierrepoint Finch, portrayed by Daxx Wieser, eases his way to executive status of a huge company. Combining wit and charm, Wieser succeeded in creating a likeable manipulator. The upbeat music allowed for his vocal ability to shine. In the high energy number “Brotherhood of Man,” Wieser exemplified his outstanding dance ability. Wieser’s performance was attention grabbing throughout the span of the show.

Portraying the role of the mischievous, undesirable Bud Frump, Josh Culhane, mastered the role through his knack for physical comedy and amusing delivery of each line. With a delightfully senseless tone of voice, and tremendous sex appeal, Samantha Ross portrayed the role of the alluring temptress, Hedy LaRue. Ross portrayed the role perfectly by air-headedly delivering her lines. Her silly and sensual attitude made her a character adored by the whole audience.

The ensemble of executives was remarkable, bursting with constant energy especially in the number, “Brotherhood of Man.” The mirthful executives had the audience in amazement and side-splitting laughter with their surprisingly astounding dancing and physical comedy. Also featured in the number was Julia Meadows portraying the role of Miss Jones. Her astonishing, jaw-dropping vocal talent had the audience surprised, yet incredibly pleased.

With each step, turn, and kick, the synchronization in each dance number, was impeccable. Playing the role of secretary, Miss Krumholtz, Morgan Miller frequently led the company in the dances with her sky-high energy and fantastic technique. The engaging, innovative choreography for each number was unbelievable. With the instruction from Daxx Wieser and Selena Garcia-DuBar, the cast wowed the audience with complex moves, and advanced dance routines. In the notable numbers “Coffee Break,” “Grand Old Ivy,” and “Brotherhood of Man,” the choreography as well as the execution of the routines was superb.

Incorporating the phenomenal lighting design (Chris Fertal ,Mairin Haley), the incredibly constructed set including the innovative elevators (Andrew Barat, Christopher Chandler-Liu, Morgan Miller), and the practically flawless sound (Chris DiBlasi), technically, the show was close to professional quality. The hair, absolutely appropriate for the time period was carefully styled and varied amongst the ensemble of secretaries.

Overall, the show was excellent, however just like all shows, this production had its minor flaws. With the abundance of props and set pieces, some scene changes were rather lengthy, but nonetheless resulted in an extraordinary new setting. James Madison High School knows how to succeed in putting on a phenomenal performance.

by Madeline Defreece of Oakton High School

Photo Gallery

Mr. Twimble and ensemble, played by Wesley Diener, Emily Jennings, Sofia McKewen, Jenna Robinson and Noah Calderon	Samantha Ross and Patrick Shaughnessy as Hedy LaRue and J. B
Pirates- played by Noah Calderon, Sallieu Fallah, Andrew Barat, and Matt Goodson	Julia Meadows
Daxx Weisner and Shannon Michelson as Finch and Rosemary

Photos by Tracy Meadows

Dandelion Wine–adapted in 1988 from a semi-autobiographical novel written by Ray Bradbury–tells the tale of the young Douglas Spaulding, who lives in the quaint village of Green Town, Illinois during the summer of 1928. Douglas is convinced that his life, his summer, his relationships will never end. A light and cheery feeling is conveyed during the first act–when Douglas believes that nothing will change–until a tarot witch predicts the young boy’s ultimate misery. By the second act, Douglas is forced to come to terms with the fact that nothing on this earth is eternal.

One of the most noteworthy aspects of Madison’s performance was that there was no moment that an actor wasn’t in character. Whether playing a lead character or the part of a tennis shoe girl, each cast member was completely transformed into their role. During the play’s climax–George’s nightmare–each performer sent chills down the audience’s backs with dead stares and uniform shoulder rolling.

As a 12 year old, Douglas Spaulding is at the end of his “tween” years: he has reached an age where humans move out of childhood. Although he physically looked older, Daxx Wieser became a 12 year old through his cheerful voice, his energetic movements, and his proud posture. Although the character was usually full of joy and excitement, there were many dramatic scenes that called for a darker Douglas. Wieser took on these scenes with ease, never resorting to the “screeching” that plagues some actors during similar scenes.

Julia Meadows also played the role of the mechanical tarot witch with astonishing reality. When brought on stage, her stiff posture and blank stare seemed eerily automotronic. Not until the witch started speaking did the audience realize that there was an actress inside the tarot machine. Meadows sent shivers through the audience with her high pitched voice, and her robotic jerks and gestures added to the believability of her role. Behind the tarot witch was her inventor, Leo Hauffman, played by JD Brady. With his flashy gestures and loud cackling, Brady had the audience laughing all night.

The professional quality of the set, props, and costumes enhanced the overall presentation of the show. As the audience members walked into the auditorium, they were instantly impressed by the house that had been built on stage, and their amazement increased as the night progressed. From the bright, detailed penny arcade to the cellar with functional stairs, the sets helped transmit the audience to the world of Douglas Spaulding. Likewise, the costumes accurately portrayed the era of the 1920s. Be it the old man’s plaid baggy jacket to keep him warm or the young boy’s overalls, each costume was exquisite and suited the character’s age and personality.

Dandelion Wine ends on a bittersweet note. Not a word was muttered in the auditorium during the emotional final scene, when Douglas must let go of old friends. As Douglas told the sun to set, a somber feeling could be sensed throughout the auditorium. It was time for the audience to say goodbye to Douglas and the show, but not without giving the cast a standing ovation for their spectacular performance.

by Teddy Dean of McLean

Photo Gallery

John Huff (Chris Liu), middle: Douglas Spaulding (Daxx Wieser), right: Tom Spaulding (Ryan Elci)	Douglas Spaulding
Ann Barclay (Katie Somers), Douglas Spaulding (Daxx Wieser)	Douglas Spaulding (Daxx Wieser)

Photos provided by James Madison High School.

Singin’ in the Rain debuted as a movie in 1952 but was then adapted for the stage with a book by Betty Comden and Adolph Green, lyrics by Arthur Freed, and music by Nacio Herb Brown. It follows a segment in the career of co-stars Don Lockwood (Noah Lubert) and Lina Lamont (Kristen Bouchard) as they are introduced to the world of talking pictures. Lina Lamont, however, has a small setback; her voice is incredibly unappealing. In order to promote success of the movie, Cosmo Brown (Andrew Barat), Don’s best friend, convinces Kathy Selden (Leslie Anne McConnaughey), an aspiring actress who Don eventually falls in love with, to dub over Lamont’s lines and songs.

The actors at James Madison High School did a great job in their consistency and sticking with distinct character choices in numbers such as “Broadway Melody.” Despite some moments where dramatic buildup seemed forced or vocal pitches seemed incorrect, standout actors such as JD Brady, who played director Roscoe Dexter, provided excellent comic relief and created an atmosphere that was both entertaining and engaging.

Noah Lubert led the cast in his portrayal of the lovesick movie-star Don Lockwood. His conviction, along with many other aspects of his performance, was unwavering and definite. Leslie Anne McConnaughey played Lubert’s opposite in her convincing portrayal of Kathy Selden. Lubert and McConnaughey played off of each other nicely in numbers such as “Would You” and “You Are My Lucky Star (reprise).”

Kristen Bouchard was a clear audience favorite in her portrayal of the dumb, foolish, and stuck-up movie star Lina Lamont. Her devotion to character was of professional nature and could be easily seen in her musical number “What’s Wrong with Me?”

James Madison High School’s technical elements tended to be inconsistent near the beginning of the show, but gradually increased in quality as the performance progressed. Christopher Foote and Christopher Rosecrans helped with the process of the rain affect for the song “Singin’ in the Rain” without any noticeable flaws. The films by Charlie Gilbert used in the storyline were very entertaining and humorous.

Even though there may have been some inconsistencies in James Madison High School’s production of Singin’ in the Rain, the entire show was pulled off delightfully and left the audience feeling satisfied. As it turns out, in the modern film industry, you really do need an enjoyable voice in order for the common people to love you and your work.

Joey Biagini of Westfield High School.

It’s opening night and even though I’m due on stage in ten minutes, I’m less worried about getting up there and playing my part in my school’s fall production of the farce Noises Off than I am about the size of the crowd. It’s opening night, and this is a show that feeds off of audience reaction. We need that crowd, and it’s been my job to make sure it exists for tonight as well as the three performances following it. I’m Jake Beckhard, MAD Drama Publicity Head, and I’m finding it very hard to transform into Jake Beckhard, Actor. The dressing rooms, our only private quarters as a high school drama department, smell thickly of makeup and hairspray. This is where I reside; this is the tension and the pressure and the density of air and sense that I call home, and it reassures me. But the stakes are higher tonight than usual.

As I’m walking up the set shop ramp to the backstage area, I berate myself for the hundredth time about not having put enough emphasis on recognition. Flyers weren’t up until two weeks before the show, and the painted sign wasn’t up on Maple Ave. until one week before. This kills me. The sign is our biggest draw. In Vienna especially, there’s a whole circle of people that keeps an eye out for operations of the local high school. Our town is full of people whose children were once involved but now have grown up or are off at college and retirees who have nothing better to do. The sign is practically the only way they have of finding out our plays are happening and I thoroughly botched it. Our “biggest draw” featured a poorly stenciled shark swimming around text that was completely unreadable from a car going 30 mph. It was a stressful, frustrating embarrassment.

Then there were the flyers and Publicity Day. Traditionally, Publicity Day is our most important, and sometimes only, major effort to spread the word around about the upcoming show. My crew gathers around twenty volunteers to go to different complexes and strip malls posting flyers. Unfortunately, the set for the show, a much more important project, was falling far behind, so Publicity crew lost around fifteen volunteers to set construction. In addition, our flyers were ready only a day before and thus had not been edited to correct one significant flaw: They never once mentioned James Madison High School. Our biggest selling point, our youth, and we didn’t think to put it on the flyer design. Thus, we spent the morning distributing ineffective posters to people who probably wouldn’t bother posting them anyway. Another dazzling success for Jake Beckhard’s publicity crew.

The final week came. Our director came directly to me and gave me the news: We’ve sold a total of five tickets by presale online. Five. Five seats. Thirty dollars of tickets sold for a thousand dollar high school production, and I’m the one to blame. I lose my cool. I go into panic mode instantly. The next day, I’m scrambling for anything to boost attendance. I settle on an email to the English department of the high school asking them politely to publicize the show to their classes. Every student has an English class, I reasoned, so if I could get every teacher to say something, all two thousand would at the very least know there was a play going on.

A number of teachers enthusiastically agreed, and one even suggested that we take the opportunity on Thursday and Friday to hold a free ten-minute preview between the first two classes of the day. I spoke to my superiors about this idea, first to our director then to our principal, and both were happy to oblige. It turned out to be a surprising success. Both mornings got us a hundred to two hundred students, and we got big laughs on all the jokes for both of the previews. Unsurprisingly, high school students love free things.

I wasn’t convinced. Being a high schooler, I recognize that most of us, even if we’re intrigued with something, can still be lazy enough to not investigate it at all. I admit it: I really didn’t trust my peers to carry us. I needed to do something else for reassurance. This is where my mother stepped in to save the day. She suggested that we edit the flyers, print out some 450 black-and-white copies, and post energized, vivacious members of the drama department outside Giant supermarkets in the area with stacks of flyers to hand out to shoppers. We could do it on Wednesday, Thursday and Friday between 5 and 6, she said, and encourage shoppers to come see the show on impulse. It was a quick and easy way to get the word out, and if a quarter of the people who received flyers came, and a quarter of those people brought friends or family with them to the performance, it would be well worth it.

The process of getting volunteers, however, was a mess yet again. Wednesday was no problem; I got four people to help out easily, then got them their flyers and sent them on their ways. Thursday and Friday, however, were a different story. Since we opened on Thursday, a great deal of my reliable workforce was already committed to other preparations works. I called and messaged those who were left the night before, and got five to agree, but by 4:00 the next day all but one had called me back and explained to me that they were very sorry, that they’d make it up to me but that they couldn’t help out today. I threw my hands in the air, met with my one remaining volunteer, and left with him, frustrated and tired already. By the time I’m preparing for the performance, I’m ready to break.

Fidgeting with my costume in the set shop, I’m not sure how many were swayed by the previews, the emails, or the handouts while I’m still getting into place on Thursday night, and in those last few seconds before crossing the through threshold between set shop and backstage, there is a lump in my throat that I can’t choke down. I close my eyes tightly and take the last step.

My heart skips a beat as I am greeted in the tense darkness by the warm, familiar sound of the clamor of an audience, muffled by the thick velvet curtains between them and us. People came. People are here. Someone will see all the exhausting work and tireless hours my friends and I have spent honing this show. Somebody cares enough to come watch us make fools of ourselves on our stage and I am more elated than I’ve ever been before a play. I breathe one heavy sigh of relief, find my starting props, and get into position with the rest of the actors.

The next few days follow predictably. The audience grows with word of mouth as well as the convenience of the weekend. The matinée is sparse; I am not disappointed. The response has already far exceeded my expectations and I am now taking that last step into the backstage with pride and satisfaction. Saturday night is the most heartwarming. Surrounding the crew of student critics attending the show, we have a nearly-packed house that gives us a very visible and rather rallying standing ovation. The critics have no choice but to be impressed. All around them are satisfied cheers and applause. This feeling, standing at the edge of the stage with the rest of the cast, is all I could ever have hoped for.

Maybe “redemption” is too strong a word, but to me, it fits.

Jake Beckhard is a student at James Madison High School.

(Editor’s Note: Cappies critic Max Kosma’s review of James Madisons’ production of Noises Off was published on November 24, 2008.)

It ended with a standing ovation, but where did it begin? Noises Off began as Michael Frayn watched a farce he had written from backstage. He recalled it being funnier backstage than it was onstage, which would inspire him to write a one-act called Exits. He later expanded it into the three act play Noises Off. The play premiered in 1982 in the Lyric Theatre, London.

Near professional was the phrase that came into mind as the play came to an end. The production was of top notch quality, especially at a high school level. The actors hit their cues, the props were flying, and the comedy was on. With well thought out and rehearsed acting, assisted by solid lighting and sound technicians, the production was, and is truly rave-worthy.

In a play where almost every character has the same amount of stage time, and the same importance to the plot, it is hard to discern leading roles. However, the leads for this production of Noises Off were The Director and Dotty.

The cast of this production had it all, comedic timing, chemistry, and talent. They all worked amazingly together and their organized chaos in the third act was absolutely amazing. Each actor brought their individual skills and abilities to the stage, adding to the melting pot of brilliance.

Backstage, or in the back booth, the entire tech supplied the actors with the environment they needed to make a great show. The sound was always on cue, although sometimes a bit too loud. The lighting was above the average high school light coordination. The backstage techies did their jobs and stayed out of sight, except for when between the second and third acts they rotated the set with a cautious finesse.

All the ingredients were there to earn the standing ovation, the raving reviews, and any nominations and awards that this play might earn. The focus and the energy were high, the actors acted with expertise, the tech were steady shoulders to stand on, and together they made James Madison High School’s Drama Department’s production of Noises Off.

by Max Kosma of Falls Church High School

Fiddler on the Roof opened in 1964 on Broadway, sweeping the Tony’s for that same year. It broke records as the longest running musical on Broadway at the time (only being passed by Grease in 1979) staring Zero Mostel as Tevye and Maria Karnilova as his wife Golde. The show centers around the lives of Tevye and his five daughters at the beginning of the twentieth century in Russia. Times are changing, and as the daughters grow older each moves father away from the honored traditions of their parents. The show is a brilliant blend of comedy and drama, with a profound ending and a powerful story. Combined with music by Jerry Bock, and lyrics by Sheldon Harnick, Madison’s cast attempts to give laughter and meaning to the play.

The acting in the cast as a whole was very strong. Trey Ervine had no trouble portraying the lead role of Tevye; he created a believable character that the audience could laugh with as well as cry with. McKenna Weipert played the eldest daughter Tzeitel with ease, opposite the adorably shy tailor Motel portrayed by the talented comedian Torsten Peterson. This was augmented by the passionate acting of Julia Addis-Lieser and Jordana Sapiurka, playing the other daughters Hodel and Chava, as well as Dorothy Raskind as the old Yiddish matchmaker. Yente played her role so well it was hard to imagine she is only in high school. Although the solos and duets in the musical were not quite as strong as they could have been, the choral numbers were amazing with diction and tone that sounded professional. This was shown in the final chorus number, “Anatevka” in which the sad villagers mourn their poor village. It was truly a moving ending.

The technical aspects of the show were demanding. Working without a pit, the orchestra performed backstage, a definite challenge. They made up for it however with good tone and rhythm. Despite a few historical inaccuracies, the set done by Amanda Baldassari, Chris Weschler, McKenna Weipert, and Trey Ervine gave the feeling of a rural Russian village, supported by the lighting by Laura Firey. Make-up (by Katie Stolp and Megan Stolp) and costumes (by Sarah Polchow) gave authenticity to the characters and aided the story. All the technical aspects synchronized well with the show.

During the first act all five daughters question whether they will ever find their match: “Matchmaker, Matchmaker look through your book, and make me a perfect match.” Madison High School might just have found their perfect match in this production!

by Andrea Beschel of Duke Ellington

“Peach on the Beach” Julia Addis-Lieser (Nanette) being lifted here with the Chorus.

No, No, Nanette follows three couples. Jimmy, a wealthy Bible publisher, is married to the frugal and straight-laced, Sue. Jimmy does not know what to do with all of his money so he becomes a benefactor for three beautiful women. Billy Early is helping Jimmy to get rid of the three mistresses and is married to the glamorous Lucille. Jimmy and Sue’s adopted daughter, Nanette, has an untapped wild side and is pursued by Tom Trainor.

The dance numbers throughout this performance were outstanding. Many of the lead characters performed impressive tap dance solos. The caliber of choreography in this show was well beyond the average high school production.

Julia Addis-Lieser tackled the role of the young and spunky Nanette with enthusiasm. Julia and Jack Beckhard as Tom Trainor had a natural connection in songs such as the famous “Tea for Two”.

“I Want to be Happy”  Tori Terrill, Nichole Pradas, Alex Skaltsounis (Sue), Sasha Welch & Jillie Terrill with Male Chorus in background.

Abby Leventhal was energetic and hilarious as Pauline, the Smith’s French maid. Jimmy’s three mistresses (Maria Breeskin, Emma Roberts, and Katie Stolp) squeezed out every speck of comedy in their characters. Each mistress had a unique character which combined to create an uproarious trio. While some singers seemed unsure of themselves, Jacqueline Giroir as Lucille Early consistently sang with beauty and poise.

The pit orchestra sounded lovely without overpowering the actors. There were a few sound scratches and an instance when a microphone was left on backstage. The colorful period costumes and sets greatly enhanced the 1920s setting of the show.

Although there was a lack of energy in certain scenes, James Madison High School delivered an entertaining night of theatre with No, No, Nanette.

by Brad Miller of South Lakes

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.