Into the Woods, written by Stephen Sondheim and James Lapine, follows a Baker and his wife who desperately want a child. Unfortunately, a vengeful witch has cast a spell of infertility on the Baker’s family. In order to reverse the curse, the Baker and his wife must help the witch by find the ingredients for her potion, which will break her own curse of ugliness. Along their journey, they save Little Red Riding Hood and lonely Rapunzel, help poor Jack find riches, and aid Cinderella in finding her charming prince. While helping their newly found friends, the Baker and his wife find all the colorful items they seek for the witch’s brew, including “the cape as red as blood” from Little Red Riding Hood, “the hair as yellow as corn” from Rapunzel, “the cow as white a milk” from Jack, and “the slipper as pure as gold” from Cinderella. Although it seems as if all have found what they wish for, they are still unhappy, and only realize what was important to them after they’ve lost it.

As the characters journey further into the woods, the storyline develops and their motives become more clear. The Baker and his wife, played by Preston Taylor and Emily Kelly, show the difficulty of relationships under stress, as theirs is tested in the woods. In search of a way to lift the witch’s curse and build a family, ironically the two resort to arguing. Other notable characters include Little Red Riding Hood, delightfully played by Emiley Trowbridge, and The Witch, played by Emily Hidle, both equipped with strong voices and stage presence. The friendly competition between the boastful Prince Brothers was charming and brought enjoyable comic relief.

The live orchestra added much-needed liveliness to the grim story and repetitive songs. At times sound was an issue, but some of the actors were able to overcome the problem with their strong voices. The stage crew and scene transitions were on occasion, a distraction to the audience, but by Act II transitions were better executed.

Robert E. Lee High School’s Into the Woods brought the Brother’s Grimm tales of choices and consequences to a twisted and grim reality, and “happily ever after” certainly does not come to all in this musical.

by Margaret O’Meara of West Potomac High School

Photo Gallery

Mysterious Man (Vincent Zhao), Milky White (Raina Payne/Katie Halverson)	Wolf (Connor Symons), Little Red (Emiley Trowbridge)
Cinderella (Courtney Cox), Baker’s Wife (Emily Kelly)	Witch (Emily Hidle), Rapunzel (Elizabeth Carlisle)
Baker (Preston Taylor), Baker’s Wife (Emily Kelly)

Photos by John Milewski

The Laramie Project was written by Moisés Kaufman and the members of the Tectonic Theater Project and consists of a series of interviews. Each scene is an excerpt from one of the 200 interviews that the Tectonic Theater Project conducted after the murder hit nationwide news. Showing both sides of the issue creates a depth to the play and allows for empathy to grow.

Because the play has over 60 characters, all of the actors truly had a tough job of switching characters and developing each one; however, they admirably succeeded, creating a great ensemble piece. They clearly each worked together to form a sense of camaraderie among the cast, exemplified by the group breath at the beginning and ending of the play. This teamwork helped move their play forward, without anyone trying to outdo the other.

Although the parts were evenly distributed among the cast, and they created distinctions between their characters, some characters shone more than others. For instance, Dennis Shepard, played by Danielle Payne, was both moving and believable. Although Danielle was playing a man, she never once resorted to a faulty voice to make the distinction. Instead, her posture and movements did the work for her, making her monologue memorable and impressive. Payne also showed her range as an actress as she portrayed Romaine Patterson. As Romaine, she walked on stage in a black leather jacket, holding the ends, giving the impression of a girl trying to hide her emotions about what happened to Matt. However, once she began to blossom as an activist for gay rights, she became more open and sure of herself.

Another standout was Emily Kelly. The differentiation between her roles were by far the greatest, going from Doc O’Connor, an antsy limousine driver who sometimes drove Matt, to Zubaida Ula, a Muslim Student at the University of Wyoming, and quite a few more. Her use of an accent for Doc was not over the top and added to her humorous lines that otherwise could have been depleted without it. Each of her roles was subtle but strong, and continued to be impactful as the play progressed.

The set, done by Sean DeWitte and Robbie Labadie, was minimalistic, a smart move as not to detract from the actors’ performances on stage. The stage had a few black boxes and benches that the actors easily moved around as well as a fence in the corner, a constant reminder of the place Matthew Shepard was left to die. Although the flats that alternated in the background were unneeded and a little distracting, the set served its purpose as a canvas for the actors to take full control of. The sound also was very simplistic and yet effective, such as the use of a tape recorder sound when the defendant was being interviewed.

In Robert E. Lee’s production of The Laramie Project, the overall message of a town coming together after a tragedy was emphasized by the actors coming together to make this play and serve it justice. And the actors achieved what they set out to do, tell the real story of Matthew Shepard.

by Shannon Kitchen of Manassas Park High School

Photo Gallery

Vincent Zhao, Bethany Engel, Erin Williams	Keller Collins
Vincent Zhao, Robbie Labadie	Robbie Labadie, Erin Williams, Danielle Payne
Danielle Payne

Photos by Andrea Berting

Honk! — so named for the very un-quack-like sound made by its protagonist — was written by Anthony Drewe and George Stiles as a musical adaptation of Hans Christian Andersen’s The Ugly Duckling. The musical premiered in England in 1993 before opening on West End in 1999. Honk! tells the story of Ugly, an awkward and unattractive duckling who is isolated by all except his loving mother Ida. Lured away from the duckyard by a sly cat, Ugly struggles to find his way back home, encountering a variety of farm animals along the way.

Honk! may be a children’s show, but Robert E. Lee’s production was far from juvenile. The cast was given the challenge of bringing the musical’s spunky characters and emotional ballads to life with maturity and enthusiasm and, for the most part, succeeded. While individual actors grasped their characters well, some ensemble numbers suffered because of a lack of characterization and energy. Due to both sound issues and an occasionally too loud orchestra, some actors were also difficult to hear.

Nathanael Jones charmed the audience, portrayed the delightfully awkward Ugly with both hilarious gawkiness and genuine emotion. Jones also showcased strong vocals, particularly in his reprise of “Different.” Johanna Olson gave a strong performance as Ida, the no-nonsense mother of five. She created palpable relationships with each of the actors who played her ducklings, including a strong mother-son relationship with Jones.

Victoria Murray and Hannah Hidle provided one of the production’s highlights as Queenie and Lowbutt, snobby domesticated animals brought together by a common interest in needlepoint. While several actors suffered from a lack of energy, Murray and Hidle made strong character choices and performed “It Takes All Sorts” with gusto. Joshua Grant also made a hilarious appearance as an “aesthetically challenged” bullfrog who urges Ugly to accept his flaws (“Warts and All”).

Susan Swicegood’s unique and colorful costumes evoked animal characteristics without forcing actors to don fur and feathers. Colorful eye makeup by Caitlin Sweeney added to the illusion without overpowering the actors’ faces.

Although it remained stationary throughout the entire show, the well-designed set (Sean DeWitte, Robbie Labadie) created several levels and allowed for transitions to several different locations. Instead of drastically changing the set, the production relied on well-executed lighting cues (Darien Yount) to show both change in location and the passage of time.

Despite some technical difficulties, Robert E. Lee High School presented a mostly energetic production that reminded its audience members of an important truth: Honk! may be a children’s musical, but its messages of acceptance and the value of inner beauty ring especially true for high school students. After all, “it takes all sorts to make a world!”

by Elisabeth Bloxam of Westfield High School

Photo Gallery

Johanna Olson and Nathanael Jones	On left: Marouane Oueslati. 3rd row: Anthony Nguyen, Michael Everett, Gale Chaffins, Reyna Osorio. 2nd row: Emily Kelly, Randi Chambers, Bethany Taguding. 1st row: Vincent Zhao, Elian Zarour, Danielle Payne.
Victoria Murray, Hannah Hidle, Nathanael Jones	Veronica Ceniceros, Stephanie Tulowetzke, Angii Park, Victoria Murray, Nathanael Jones, Joshua Grant, Bethany Taguding, Christine Swengros, Wendy Baker, Hannah Hidle
Noah Holberton, Nathanael Jones, Johanna Olson, Angii Park

Photos by John Berting

Written in 1970 by Stephen Schwartz and John-Michael Tebelak, the musical opened off-Broadway the following year and later moved to Broadway and various touring productions and was well-received by countless audiences. Following the Gospel of St. Matthew, the story of Jesus is told primarily by an ensemble acting out parables from the Bible. Their skits are interspersed with songs and Jesus’ narratives.

Not following a traditional plot line, the cast presented every song well. They remained engaged throughout the show, jumping into each song with renewed strength and energy.

Connor Smith, as Jesus, lead the show without overpowering the ensemble. He had a strong voice and firm presence. Kevan Olson, as John the Baptist/Judas, never lost focus. Both were featured in “All for the Best” with good timing, both vocally and choreographically.

In such an ensemble-centered production, it is crucial to have a strong group capable of carrying the show. Each featured ensemble member had a solo, and each was an important part of the overall product. The cast adjusted well to the different moods of each song, from calm to rock and gospel.

As each ensemble member taught their parable, they had their own featured song. Memorable songs included Christine Swengros‘ “Learn Your Lessons Well,” Johanna Olson‘s “All Good Gifts,” Sylvia Boateng‘s “Turn Back, O Man,” and Luke Hartman‘s “We Beseech Thee.” All four had strong voices and established characters. “Light of the World,” featuring Kyle Daileda, ended the first act with the entire cast engaged in song.

The show was set in a post-apocalyptic world, with all of the action taking place in a fallout shelter. The single set fit the cast well, and was versatile enough to adapt to all of the parable skits. The ensemble’s distressed costumes, all created by Sarah Wheeler, fit well with the setting. Despite a few technical glitches, the stage was well-lit and lighting transitions were smooth.

Presenting a very different type of musical, the Godspell cast delivered an exhilarating show.

by Alyssa Glomb of TC Williams High School

Written in part by well-known composer Stephen Schwartz, Pippin opened on Broadway in 1972. The surreal show follows Pippin (Kyle Daileda), son of Charlemagne (Kevan Olsen), in his quest to do something “extraordinary.” As Pippin descends deeper into failure and despair, he begins to rebel against the Leading Player (Steve Einhorn), the ringmaster-like narrator of his story. What ensues is a madcap, often frightening exploration of the meaning of human life.

As the seductive Leading Player, Einhorn effectively combined smooth mannerisms and a wicked smile; Daileda’s Pippin was a lovable, endearingly awkward male ingenue. Also noteworthy was the lovely Megan Lennox, who lit up the stage as Pippin’s widowed lover Catherine. By turns flirtatious and pragmatic, Lennox delivered songs like the charming “Kind of Woman” with charisma and a winsome mezzo voice.

Olsen, in the pivotal supporting role of Charlemagne – referred to as King Charles in this production — displayed a level of stage presence and technique impressive for a teenager. As his devious wife Fastrada, Sylvia Boateng boasted a rich, full soprano that switched effortlessly between musical styles. And Erin Dooley, as zesty grandmother Berthe, was not only remarkable but unforgettable; quavering but feisty, Dooley’s convincing delivery and mellifluous tone shaped her solo “No Time At All” into the evening’s showstopper number.

The knight’s ensemble, featured as a kind of Greek chorus throughout the production, was always energetic. Led by graceful featured dancers Allison Queen and Meghan Perry, they provided an often intriguing backup to the stories being played out onstage. Many actors had difficulty with projection and presence, and some struggled to stay on pitch throughout the challenging score, but not a single cast member strayed out of character.

Pippin‘s metafictional conceit requires it to look flashy and artificial; the well-selected props in Lee’s production perfectly fit the bill. Costumes, selected and created by Joanmarie Ruiz, only heightened the illusion with their circus-like feel. Microphones were erratic and fuzzy throughout the production, but Nate Frank‘s colorful lighting shone with inventiveness and technical proficiency. And though the orchestra made a few missteps in tone and volume, each instrumentalist did a laudable job of following the onstage vocalists.

In the musical’s opening sequence, the Leading Player sings that there are “miracle plays to play.” And with energetic actors, a creative crew, and the captivating aura of a three-ring circus, Robert E. Lee High School’s Pippin strove to conjure up a miracle of its own.

by Sarah Marx of Homeschool Teens N Theatre

In William Shakespeare’s beloved comedy, everyone finds true love and lives happily ever after – eventually. Helena (Meredith Clark) is hopelessly in love with Demetrius (Scott Nickley), who is betrothed to Helena’s beautiful friend Hermia (Megan Lennox). Hermia and her true love Lysander (Harbi Olhaye) wander into the forest to escape her arranged marriage. Thanks to the mischievous Puck (Tim Stewart) and a magical flower, everyone falls in love with the wrong person, utter pandemonium ensues, and anything can happen.

One of the wonderful things about Shakespeare is that his storylines can be tweaked to fit any time, place, or circumstance. Lee approached Shakespeare’s work in a fresh, innovative way, setting the scene in a modern-day preparatory school in Athens, Georgia.

Meredith Clark gave a vibrant performance as the lovesick Helena. Her excellent facial expressions and clear understanding of Shakespeare’s language allowed the audience to sympathize with her as she wallowed in her unrequited love for Demetrius. Scott Nickley gave a strong performance as Demetrius, and his chemistry with Clark was convincing. Megan Lennox as Hermia and Harbi Olhaye as Lysander played off of each other nicely. The scene between the four lovers, in which both men (under Puck’s spell) declare their love for Helena, was a memorable one.

Tim Stewart gave an animated performance as the playful Puck. John Christenson as Oberon and Louise Pretzman as Titania also gave solid performances. The Mechanicals (a quirky, yet loveable acting troupe) were a strong ensemble. They were especially enjoyable to watch as they performed their comical play-within-a-play. Guitarist Mike Baird‘s music complemented the show nicely.

The set was functional and practical and had multiple levels to suggest several different locations in and around Athens. The fairies’ make-up, designed by Linette Lee, was intricate and gave each fairy his or her own personality. Although several actors did not take full advantage of Shakespeare’s work, the cast remained energetic and involved throughout.

Robert E. Lee did a commendable job with a difficult show.

by Carly Maalouf of Bishop Ireton