Elephant’s Graveyard, written by George Brant, is based on a true story, walking through the tale of a circus elephant, by the name of Mary, who was brought to the town of Erwin, Tennessee. Mary was a large animal who captivated audiences across the nation. When the Circus arrived in Kingsport, just one stop before Erwin, a man with red hair was so captivated by Mary that he joined the Circus that very day. He was given the opportunity to ride Mary in Irwin’s circus parade, against the elephant trainer’s wishes. Unfortunately, he was not ready and Mary threw him off her back and crushed him. The town was enraged and demanded that the elephant be killed. Elephant’s Graveyard captures the stress put on the Circus performers by the killing of the elephant.

The carnies; the Ringmaster (Christine Cox), the Strongman (Gunnar Michael), the Clown (Quentin Smith), the Ballet Girl (Emilia Brennan), and the Trainer (Alex James) gave outstanding performances. Of these players, the Ringmaster, the Ballet Girl, and the Trainer stood out on stage. Cox portrayed the mercenary Ringmaster, who knew that ‘an elephant was an investment,’ with her frank attitude and slight uncertainty in herself, perfectly showing the Ringmaster’s hesitation to see if she can live up to her father’s expectations. Every time the Ballet Girl pranced on stage, she brought the spirit and swagger of a flirtatious showgirl who can flash a smile to grab one’s attention and claims ‘an elephant is a girl’s best friend.’ James depicted the loving animal trainer thoughtfully and pulled at heartstrings when he lead his love, Mary, to her death.

The alluring backlighting silhouetted the circus tent allowing the circus to be seen during a character’s monologue without overshadowing their performance with distracting colors and tones. The spotlight lighting, specifically on the Ringmaster, set the tone of her monologue, casting shadows and sharp angles on her face on stage.

Set Design by Oakton High School tech class was plain, simple, and perfect for the show. Big, distracting set pieces would have taken away from the character’s actions and monologues. The set pieces included a small circus wagon, bench, and circus tent. The band, Walter & The Dirty Boots, also doubled as set pieces when the Strongman pulled the band across the stage.

The show’s sound effects and music were performed by the three-man band, Walter and the Dirty Boots (John Fee, Jack Goodin, and Justin Pirrochi). Goodin and Pirrochi composed and arranged the show’s music using the lyrics from John Hurt and Etta James’ song “You Got to Lift It.” Goodin and Pirrochi also made new arrangements off of Julius Fucik’s song “Entry of the Gladiators.” Walter & The Dirty Boots enhanced the actor’s monologues by performing background music and sound effects while they performed. The band, for example, enhanced the Ringmaster’s monologues by softly playing “Entry of the Gladiators” behind her and playing a Russian-like arrangement for the strongman’s monologues. The band also provided sound effects using a train whistle, ratchet, and a bell tree.

Oakton High School gave a fantastically incredible performance of Elephant’s Graveyard, a heartbreaking and touching story of a circus, an elephant, and a vengeful town who wanted justice for an elephant’s unintentional wrongdoing.

by Margaret O’Meara of West Potomac High School

Photo Gallery

Ringmaster Christine Cox and cast	Strong Man Gunnar Michael and cast

Photos by Vanessa Gelinas

The farcical Suite Surrender by Michael McKeever had its première in 2008 at Caldwell Theatre Company in Florida. Athena Sinclair and Claudia McFadden are the biggest names in show business in the midst of World War II. But that’s not the only war going on; the two women possess an irreconcilable loathing for one another. Despite this, everything seems to be order for their individual performances at the National War Fund Benefit in Palm Beach – that is, until they are somehow mistakenly assigned to the same suite. As their assistants and the hotel staff desperately try to keep them ignorant of the other’s presence, hilariously ridiculous misunderstandings abound, all leading up to one dramatic reveal.

The fabulous Claudia McFadden was played with brilliant panache by Christine Cox. She, along with her equally marvelous counterpart Athena Sinclair (Natalie Morales), fully embraced her outrageous character, capturing the essence of the pampered prima donna. Her wacky eccentricities and absurd demands were adroitly offset by the harrowed hotel manager Dunlap (Spencer Waters). Waters masterfully amused the audience with his frenzied attempts to maintain his hotel; his dynamic movements and skillful pacing were nothing short of sublime.

Behind the burning rivalry of the clashing divas was an extraordinary cast of supporting characters. Murphy Stevens (Savannah Hemmig), the long-suffering secretary of Athena Sinclair, created a believable character through her sweet relationship with the unfortunate bellhop Francis (Raphael Ortiz), which was utterly authentic, while also remaining appropriately comical. Ortiz also worked well with his fellow bellhop Otis (Justin Pirocchi), whose childish behavior and clumsy antics were always priceless. While the entire cast was markedly gifted in physical comedy, the reporter, Dora del Rio (Madeline DeFreece) was a practical whirlwind of riotous chaos with her flamboyant strut and frantic gossip hunting.

The technical work was stunning overall, displaying meticulous attention to detail in every aspect. The set was aesthetically pleasing and boasted copious amounts of beautifully period details, giving the production a wonderfully charming backdrop. The props added to this effect, blending seamlessly into the elegant suite. The hair and make-up were also remarkable, perfectly appropriate to each character as well as to the time.

While the latest catfight in the great McFadden-Sinclair grudge may be over, never you fear! These two gorgeous stars will be bickering like spoiled children as long as there are National War Fund Benefits for them to grace with their presence. But still, the Battle of the Palm Beach Royale Hotel is surely one for the history books, just like Oakton High School’s memorable performance of Suite Surrender.

by Emma Paquette of McLean High School

Photo Gallery

Spencer Waters and Shanelucas Ramsey	Madeline DeFreece and Spencer Waters
Justin Pirocchi and Raphael Ortiz	Natalie Morales, Madeline DeFreece and Christine Cox

Photos by Vanessa Gelinas

Opposite of the usual trend, the musical Footloose was inspired by a 1984 movie of the same name. The story travels from the opening scene of a dance club in Chicago to the southwest of Bomont, where rock ‘n roll is considered evil and dancing has been forbidden after four teenagers died while coming home from a dance. The title song, “Footloose,” calls on the characters and spectators to “cut loose” as the teens of Bomont demand the freedom to enjoy their lives and break free of the past.

In this dance-intensive show, the entire ensemble was well-rehearsed and unified. The featured dancers wowed with moves that fit each of the songs, whether explosive or smooth. The music, characterized by the teens that used it as an escape, was upheld by the leads’ ringing harmonies. The chemistry between every character elevated scenes away from the confined stage and into the world Bomont, making most interactions believable and enhancing the performance.

Presenting a cool-yet-nerdy Ren McCormack, Aidan Smith endeared himself with his talented vocals and coordinated dancing. His chemistry with Emma Mankin as Ariel Moore grew as the relationship between their characters did. Mankin’s take on the rebellious preacher’s daughter spoke to the frustrated teenage psyche. Her voice soared and echoed with emotion in every solo, creating a multi-layered character. Both leads transfused their energy into the emotions of their characters, painting an almost real story and lighting up the stage.

Bumbling yet sweet, Willard Hewitt (Spencer Waters) proved skilled at appearing clueless in his transformation from a boy with two left feet to a dancer who could sweep Rusty (Sarah Smith) off her feet. The duo presented an engaging side-romance and matched each other with hilarious comedic timing. Henry Ragan acted with emotions beyond his years as the conflicted Reverend Shaw Moore, convincingly playing through the character’s transformation and standing out as an actor. Hannah Berlin as Vi Moore handled heavy solos admirably. Alex Sommese and Elise Bartakke joined Sarah Smith as Urleen and Wendy Jo, spinning chilling harmonies in songs such as “Somebody’s Eyes” and “Holding out for a Hero” as well as lightening the mood with their comedic skill. Even smaller parts, such as Coach Dunbar (Tommy Wilson), were played with noticeable facial expressions as well-thought-out characters. However, the ensemble did occasionally lose some harmonies. Certain songs gave soloists difficulty, although they were as a whole performed well.

A swift, silent running crew handled most scene changes gracefully, transforming the versatile set designed by Reid Perkins and Trenton Robbins with few difficulties. The wireless microphones were occasionally finicky, but the sounds of the singers and orchestra were usually balanced well. Although the spotlight was occasionally shaky, Hyun Jo Lee’s creative lighting design highlighted the variety of scenes. The tech crew was well-prepared to fill out the details of this demanding show.

The cast and crew of Oakton High School has reason indeed to celebrate with a dance after sweeping the audience off their feet into a standing ovation.

by Mariah Ligas of Freedom High School

Photo Gallery

Alex Sommese, Aidan Smith, Elise Bartke, Sarah Smith	Sarah Smith and Spencer Walters
Emma Mankin and Sarah Smith	Emma Mankin and Aidan Smith and cast

Photos by Mimi Dabestani

Leading the cast of forty was the lead couple, Curley and Laurey-played by Henry Ragan and Holly Kelly. Ragan and Kelly shone with believable chemistry as they teased and bantered back and forth throughout the entire show. It was refreshing, however, to see them transition from the “I won’t say I’m in love” mind-set, to the actual loving couple in the course of the show, displayed beautifully in the number “People Will Say We’re In Love.” Kelly in particular had a very impressive vocal range and handled the soprano Laurey, very well.

Providing the bulk of the comedy was the over-the-top, flirtatious Ado Annie (Esther Workman), her almost beau Ali Hakim (Kevin Sol) and his Persian Goodbye that makes her other, more serious suitor, Will (Spencer Waters) very jealous. Workman’s character was a nice contrast to Kelly’s Laurey, with slapstick that elicited riotous laughter, especially in her high-spirited number “I Cain’t Say No!”. Also hilarious, was the peddler man Ali Hakim, who was played with vigor by Sol, who stole scenes with his cheeky dialogue.

Though the principals did carry the show with their impressive solo numbers, the ensemble and the dance numbers were definitely of the same caliber. Most impressive was Laurey’s “Dream Sequence” and elaborate dance number where Kit Mahoney portrayed Dream Laurey and revealed her true feelings for her suitors: supported by strong female ensemble dancers. Not to be outdone, the boys ensemble also danced their way into the hearts of the audience in the number “Kansas City,” where the girls ballet was matched with heel clicking square dancing. It was notable that-even when the entire ensemble was on stage-they never stole focus from the principals, and were able to add to the scene without obstructing the plot.

The technical aspects of the show were altogether solid, especially the creative lighting, designed by Matt Lucas, Daniel McEwen, and Hyun Ho Lee, that chronologically followed the show, and not only set the time of day, but also changed to represent emotions onstage, especially in the “Dream Sequence”. The sound was spotty during some numbers, and at times the large orchestra overpowered the actors, but the runway that extended into the audience in front of the pit was utilized by the actors and made hearing them much easier. The stage crew must be given props for their near seamless and very quick scene changes that kept the flow of the show intact.

Free-wheeling and always energetic, the cast of Oakton’s Oklahoma! was a joy to experience that has one humming the tunes long after the final “Yeehaw!”

by Sarah Chapin of G.C. Marshall

Photo Gallery

Holly Kelly as Laurey, Henry Ragan as Curly	Ari Veach as Jud, Henry Ragan as Curly
Oklahoma Cast	Seth Pacheco, Esther Workman, Spencer Waters, Holly Kelly, Henry Ragan, Claire Mahoney
Ari Veach, Henry Ragan

Photos by Chris Papas

Scam artists Tommy Steinheim (Albert Anderson) and Evelyn Carmichael (Maggie Perreault) — complete with an array of costumes and accents to match — have weaseled their way into the luxurious Barras Hotel (and a very sticky situation) in hopes of selling stolen jewels to mob boss Freddy Salvatores (Chris Papas). Meanwhile, Audrey Barras, (Carlie Robbins), owner of the hotel, along with her Aunt Ruth (Courtney Washington) are desperately attempting to find solace from her late father’s death. Performers, ex-girlfriends, lawyers (Ari Veach), a greedy cousin (Nyah Collier) and a casket of caskets swamp the hotel as chaos and hilarity ensue.

Oakton High School’s production of A Tisket, A Tasket, Four Dames and a Casket, directed by Allison Hicks, was a wonderful romp brought to life by its strong comedic timing and absurdity. Haley Herrinton’s script was the bee’s knees. A strong testament to entertainment at its height, Oakton’s production was complete with love circles, hidden identities and twists and turns at every corner.

Carrying the show with ease was Anderson as the ever-disguise-changing Tommy Steinheim. His mastery of several accents and clear choices helped develop his solid characters. Perreault was sincere and provided a wide range of emotions as Tommy’s sidekick and unrequited adorer, Evelyn. As Audrey, Robbins was believable as she struggled to maintain her sanity through the chaos.

Rebecca Flores-Jiminez was seriously sassy as the maid Hazel and Holly Kelly was a pure pleasure as the naïve Mally. Portraying Mrs. Carrol, a slightly deranged and very funny elderly woman, was Zak Goldberger. An actor in drag is almost always hysterical but Goldberger managed to create a character that was both lovable and convincing.

The flappers, a raucous trio of thrill-seeking girls led by Stephanie LeBolt‘s Violet, bore a strong stage presence and whether in disguises as a pregnant wife (Sophia Sellers) or a traveler (Esther Workman) from “Canada town,” this fantastic ensemble was a constant delight. Through grandiose physical movements and pitch changes, Chelsea Casanave brought a comical former Broadway star to life. Other standouts included Papas as Freddy Salvatores, Jordan Trostle as the horrendous giggler Cordelia and Anthony Schiavo as Franco, who showed strong character development.

The set perfectly resembled an extravagant hotel all the way down to the marble-looking stairwell and was well designed and built by Anthony Schiavo and the OHS Tech class although some set pieces could have been sturdier. Lighting designed by Jacki Chiu, Spencer King and Matt Lucas was atmospheric and flowed smoothly while sound by Taylor Vogelzang was flawless throughout.

Pacing may have been a bit uneven at times and energy occasionally lacked but Oakton High School’s A Tisket, A Tasket, Four Dames and a Casket, was a wonderfully light-hearted production that provided nothing short of a jolly ole’ time at the theater.

by Steven Einhorn of Robert E. Lee High School

In playwright Larry Shue’s most famous work, Charlie Baker, an awkward American man, is talked by into spending a few days at a lodge by his military friend, “Froggy.” Trying to help out his socially estranged companion, Froggy convinces the owner of the lodge, Betty, that Charlie is from a foreign country and cannot speak a word of English. Mesmerized by the supposed outsider, Betty and all of the guests pester him constantly. While this hilarious show did not do as well in the United States, The Foreigner has had a better following in London than any other American play. After spending nearly the entire hour and a half laughing, it is not very hard to see the reason for the acclaim.

Charlie begins the show as a boring, flat character and grows into an incredibly entertaining personality. Oakton senior Chris North displayed this change convincingly and with a high level of energy. His portrayal of a non-English speaker was impeccable. As other characters taunted him and discussed things that would normally receive a great reaction, he did not stray from his character and responded solely based on the inflection of the words, not their meaning.

The peak of Chris North’s performance was in the Second Act, when Charlie is forced to tell a story from his “native country.” North did not hesitate to put forth all of his energy into a marvelously funny rendition of the classic fable “Little Red Riding Hood,” without using any real words. He personified every character in a way that was outlandish enough to get the audience laughing, but true enough to the story that it made reasonable sense.

Albert Anderson, a Junior at Oakton, was Ellard Simms, a boy with mental disability who is framed for every mistake made in the lodge. Anderson consistently found a perfect middle-ground between the comic aspects of his character and those more sympathetic. Ross McEwen, who played “Froggy,” also did a great job at balancing multiple levels of his part. His showing a hint of jealousy while still acting lighthearted he added some believability to the otherwise ludicrous script.

Oakton’s performance left the audience members with stitches in their sides and smiles on their faces, achieving the goal of any comedic production: entertainment.

by Hannah Rak of George C. Marshall