In a kingdom far, far away, King Deramo sets up a series of interviews with eligible women in his kingdom to find a wife. Deramo’s Prime Minister Tartaglia force his daughter, Clarissa, to take part in this contest. She loves Leander, the son of another of Deramo’s advisors, and therefore lies when she is asked if she loves the king. Deramo is aware of her dishonesty, for he possesses a magical bust that smiles when one is lying. The only woman who passes his test of integrity is Angela, Leander’s sister. Tartaglia is envious of the king and had attempted to get his daughter to marry him in order to secure the throne for himself. He learns of a spell that allows for one person to live in the body of another being and tricks Deramo into becoming a stag. Further magic and mayhem ensue.

This complicated story line was narrated through entertaining body language and fast-paced dialogue. While occasionally a bit confusing, the audience was able to follow the body switches and plot twists. A few standout storytellers include Emily Nelson, who played a servant of Deramo, and Steven Field, who played Deramo himself.

The actors’ embodiment of the characters was hilarious. Sarah Barlow’s portrayal of the corpulent flirt Smeraldina and James Davis’ Truffaldino, the court bird catcher, earned much laughter throughout the show.

The highly creative technical aspects of the show added to the exotic feel of the story. Each character was adorned with colorful costumes that seemed to be straight out of the pages of an Asian storybook. The stags (Brandon Frowen and Scott Meadows) were outfitted in masks and stilts and were immediately recognizable with their realistic gallop. The show opened with a scene done in silence followed by a score reminiscent of the popular “Jai Ho,” and included many other interesting musical interludes, all placed into the show by Ben Binkley.

King Stag is a conceptually difficult piece from a technical standpoint, but the technical crew handled it splendidly with Monica Carlson’s design of an effective and imaginative set. In the scene with Deramo’s interviews and the smiling bust, a tree was transformed into a table behind which stood Brandon Frowen covered in white. Manipulations such as these made it easy to discern the setting of each scene.

Inventive and fun to watch, Osbourn’s King Stag would make even the most solemn statue crack a smile.

by Hannah Rak of G. C. Marshall

Set in 1980’s Louisiana, Steel Magnolias is the story of six women in a beauty parlor. Below the surface of town gossip, hairspray, and humorous jabs at one another, the plot reveals the hardships faced by one of the girls, Shelby, as she copes with diabetes. Interaction between all of the ladies as they deal with Shelby’s changing life shows that they’re more than just beauty shop buddies: keeping each other afloat, they are practically family. Originally staged off-Broadway, this 1987 play was brought first to the big-screen in 1989, and then finally to Broadway itself in 2005.

The first thing you notice when the curtain opens, is the well-thought out set design. Antonio Camposano and Ashley McCusker did an amazing job bringing Truvy’s beauty parlor to life – even making sure that the hairdryer and faucets actually worked. Since the entire play takes place here, it was important to really bring it “to life,” and they definitely succeeded.

Is the lead role, Shelby’s mother M’Lynn, Molly Donahue is impeccable. Her emotions, ranging from facetious to heart-wrenched, are so vivid, she conjures images of one’s own mother. The second she stepped out on that stage, with the nuances of her expressions, she commanded attention.

The rest of the cast of characters are just as enjoyable to watch. MaryBeth McIvor as Shelby, was able to be at once delicate and forceful. Her relationship with M’Lynn is very believable, even when only one of them is on stage, and the dynamic between them seems to be the pivot that Steel Magnolias revolves around. Trudy Jones, played by Anissa Felix, is an unceasingly entertaining host, exuding the type of bubbly, big sister charm one would expect from a beauty shop owner, and Anissa brings Trudy’s Southern belle wisdom to the stage with a warm smile and bright laugh.

Anelle, the new girl in town, is played by Carley Wilson. This character is one of the hardest to play, because although she has fewer lines, she goes through the most changes, careening from the timid, clueless new hairdresser to the steadfast Christian to the mother-to-be, offering insight for all the girls. Carley does a great job showing the evolution of this character through not only her line deliveries, but her mannerisms and presence as well. The two most comedic roles, Clairee and Ouiser, are portrayed hilariously by Tiffany Byrd and Grace Donovan, respectively. Tiffany’s brilliant deadpan and Grace’s tough-as-nails attitude pack a punch, and some of their best lines will leave you laughing long after the curtain closes.

The title of the play comes from the idea that these women are as “delicate as magnolias, but tough as steel” and there is no doubt that the actresses of Osbourn High, too, are exactly that.

by Jodie Awudetsey of South County Secondary

So began Osbourn’s production of Antigone, Sophocles’ Greek tragedy about pride and loss. Antigone (Emily Nelson) buries her disgraced brother in defiance of a royal decree issued by her uncle, King Kreon (Peyton Tucker). Antigone is sentenced to death, but, in the words of the prophet Teiresias (Brennan Penders), “a corpse for a corpse” will be the price of Kreon’s actions.

Osbourn’s production rested firmly on a strong understanding of the text, powerful dramatic acting, and the creative use of lighting.

Peyton Tucker, as Kreon, was wholly committed to his character and dynamic in his performance. Using voice and posture he clearly emphasized the contrast between his character’s stubborn pride and eventual grief. Emily Nelson, as Antigone, acted with similar confidence and strength, which created a palpable tension between herself and Kreon.

Nick Golden stood out for his realistic and emotional portrayal of Haimon, using expressive body language and a clear understanding of his lines to demonstrate the character’s youth and wisdom. Brennan Penders, as Teiresias, also made the most of his stage time by immediately creating a powerful and rich character. The Chorus, which served as both narrator and ensemble, was interesting and varied. It often spoke as a unit in traditional Greek fashion, but individual members were also given focus on isolated lines.

The make-up, although somewhat inconsistent, was creative and representative of the characters. Members of the Chorus and others were tattooed in tribal reds and blacks, giving the production an earthly feel. The lighting was exceptional, incorporating reds, oranges, greens, and purples to complement the action onstage. Spotlighting gave focus to individual actors during their most dramatic moments, and lighting transitions were both seamless and appropriate.

The ancient text of Antigone was revitalized without the use of gimmicks in Osbourn’s suspenseful production. Actors tackled difficult lines with superb articulation and understanding, and the pace of the show, which consists almost entirely of dialogue, rarely dragged. This production would make any tragedian proud, whether he be modern or ancient.

by Peter Hawes of Westfield