Shakespeare’s classic comedy is no stranger to the theatre world, heralded as one of the most popular works for the stage in all parts of the globe. The bard’s tale centers around two pairs of Athenian lovers, an amateur acting troupe of colorful characters, and their adventures through a mysterious forest filled with magical, but impish fairies. Hermia longs to marry Lysander, much to the disapproval of her father, who has selected another suitor, Demetrius. As the pitiful Helena laments over Demetrius’ unrequited love, fairies attempt to fix the couples’ fiasco through the use of love potions. With a series of mistaken identity slip-ups and pranks on the eccentric acting troupe, the fairies’ plans go awry, producing rather entertaining results.

Student director Isabel Hollins conquered the full-length show impressively, creating a series of unique staging moments and utilizing the set in many visually pleasing ways. With the simple sliding of a few flats, each scene transition gradually revealed more and more of the enthralling stage environment, eventually whisking audiences away into a luminous, surreal forest landscape.

The four lovers connected believably with each other and portrayed conflicts tactfully. Stephanie Slaven-Ruffing (Hermia) delivered a more modern twist on the rebellious young maiden, while Rebecca Frank (Helena) established a self-pitying character in desperation for companionship. Both Ian McClary (Lysander) and Peter Eckel (Demetrius) exuded a charming, jocular sense of teenage love. As the story’s narrator and head fairy cohort, Eliza Malakoff as Puck kept the show moving along with unwavering energy, playfully flittering all around the stage with fluid physicality, her vocal inflections always signaling a sense of scheming mischief.

The entire Mechanicals acting troupe tipped their hat to actors everywhere, presenting a comedic, stereotypical exaggeration of the craft, filled with a gamut of melodramatic line delivery and comically monotone understatements. Especially notable was Sam Hanoura as Nick Bottom, whose booming voice, sweeping hand gestures, and pompous portrayal created an infectious role. Though there were some articulation and language issues, they did not detract heavily from the performance.

Meticulously painted flats, flowery botanical shrubs, and a uniquely slanted platform surface were only a few of the many fascinating technical elements. While some costumes seemed slightly out of the time period, each piece brought a sense of colorful vibrancy that coordinated well with the creative set. In keeping with original stage directions, the use of a large donkey head proved to be no difficulty. The actor wearing the well-made prop could still articulate and project clearly.

Handling the difficult Shakespearean language admirably, the cast and crew successfully managed to highlight several humorous moments, from mistaken identities to playful practical jokes, convincing us all to remain thankful that “the course of true love never did run smooth.”

by Jamie Joeyen-Waldorf of Langley High School

Photo Gallery

Eliza Malakoff (Puck), Brendan Zack (Oberon)	Ian McClary (Lysander), Rebecca Frank (Helena), Peter Eckel (Demetrius)
Eliza Malakoff (Puck), Brendan Zack (Oberon), Ian McClary (Lysander), Rebecca Frank (Helena), Peter Eckel (Demetrius), Stephanie Slaven-Ruffing (Hermia)	Julia Wagner, Brenna Lancour, Leia Moran (Titania), Sam Hanoura (Bottom), Brianna Williams, Alo Lenk, Annika Papke

Photos by Pat Bayly Smith

The Wiz, based on L. Frank Baum’s popular book “The Wonderful Wizard of Oz,” opened on Broadway in 1975 to critical acclaim. In addition to garnering seven Tony awards, including Best Musical, the show was an early example of one with an African-American cast, indicating the growing acceptance of civil rights within the Broadway community. The Wiz sticks very closely to its basis, as Dorothy is swept away from her home and plopped down in the magical land of Oz. In order to get back home, she is instructed to find the Wiz, whose incredible magical powers can help her get whatever she needs. The story follows Dorothy on her adventure as she makes new friends, faces unimaginable terrors, and realizes the true meanings of disappointment, faith, and hope.

Leading the show was Samantha Williams as Dorothy. Williams’ portrayal of the overeager little girl was cute, and her excellent vocals tore down the house in huge numbers such as “Home.” At her side was the cohesive group of the Scarecrow (Ben Ribler), the Tinman (Alejandro Cruz), and the Lion (Kamen Wilks). The three had excellent chemistry together, while also showing exceptional individual talents as vocalists, actors, and comedians.

Supporting the traveling quartet was a powerful cast of smaller characters. Standing out was Barbara Peisch as Addaperle, the Good Witch of the North. Peisch had terrific presence that helped set the tone of the fun show. She also had smart comedic timing and a strong voice that benefited the development of the character. Sarah Paez as Evillene, the Wicked Witch of the West, created contrast to the rest of the bright and happy show. Her committed portrayal of the villain caused the audience to particularly relish her melodramatic death. The ensemble brought great energy, especially in the first act, which reinforced the lively nature of the show.

The tech elements helped to capture the atmosphere and tone of the show. Student director Sarah Laane did a tremendous job blocking the large cast efficiently and effectively. Despite seeming to span several eras, the costumes were on point in creating a fun vibe for each Munchkin, while contrasting well to those of Evillene’s servants. The detailed set also contributed to the story, without obstructing any of the performance.

T.C. Williams High School’s cast used their abundant vocal strengths, superb comedic timing, and strong characterization to create an exciting and enjoyable production of The Wiz.

by Lily Habenstreit of Albert Einstein High School

Photo Gallery

Shanna Gerlach, Brendan Zack, Anna Paez, Jarrett Alexander, Barbara Peisch, Paul Johnson, Sam Hanoura, Beatrice Greenson	Barbara Peisch (Addaperle) and Samantha Williams (Dorothy) Munchkins: Brendan Zack, Shanna Gerlach, Anna Paez, Ados McKinney, Keira Moran
Brendan Zack, Mynaia Rawls, Sarah Paez (Evilene), Leia Moran (Lord High Underling)	Leia Moran, Keira Moran, Anna Paez, Maria Jones, Alejandro Cruz-Lemus, Kamen Wilks, Samantha Williams, Ben Ribler, Brenna Lancour, Gabriel De Los Santo
Ben Ribler (Scarecrow), Samantha Williams (Dorothy), Alejandro Cruz-Lemus (TinMan), Kamen Wilks (Lion)

Photos by Laura Paez

Crazy for You debuted in 1992 with book by Ken Ludwig, but all its music was written much earlier by the Gershwin brothers. Dubbed the “new Gershwin musical comedy”, Crazy for You won the 1992 Tony Award for Best Musical. Its plot centers around a New York dancer who goes to Dead Rock, Nevada and meets the woman of his dreams. Together, they attempt to return Dead Rock to its former glory.

T.C. Williams’ show was anchored by strong lead and supporting actors. As Polly, the female lead, Ellen Broetzmann showed off a pleasant and clear singing voice. Her acting was natural as a young Western girl, and her accent was for the most part consistent. Sam Jones (Bobby) also impressed, presenting his tuneful voice in many songs. The two were natural together, especially in the feel-good closing scene. Sarah Paez (Tess) and Lora Strum (Patsy) brought solid dancing to the show, which was somewhat lacking in the rest of the cast.

Some featured actors were admirable as well. Alec Xander Eichner was heartbreaking yet still funny as the elderly Everett, the owner of the theatre. He also briefly showed singing chops in the reprise of “Things Are Looking Up.” Kirby Porterfield (Irene) was also strong, especially in one of the funniest numbers in the show, “Naughty Baby.”

T.C. Williams made an impressive effort at Crazy for You. Though not all aspects of the show were perfect, the cast made up for the issues with strong performances from multiple actors. Overall, the production was humorous, and who doesn’t like Gershwin’s music?

by Noah Habenstreit of Albert Einstein High School

The classic comedy follows the romantic entanglements of a group of youths at Messina High School. Claudio (Ben Ribler), and Hero (Sarah Paez) are in love and they are determined to share their joyous feelings with close friends Benedick (Zachary Frank) and Beatrice (Maria Simpkins). There’s just one problem – Benedick and Beatrice cannot stand each other. Slowly, through the hearsay of others and the magic of one’s own complex and confounding heart, Benedick and Beatrice fall for each other, but not without plenty of laughs and fun along the way.

Many accolades and applause should be given to director Marie Chapman, a student at T.C. Williams who directed the show. The task of directing a main stage production is no easy feat – and this comes from a reviewer who has taken on such a challenge before. But Chapman’s accomplishment is even more impressive as she has overseen such a large cast with many parts, identifying each character or group’s primary struggle and bringing it to the fore. The young director’s savvy arrangement of scenes and clear skill at developing relationships made the performance run well.

One such relationship was that between the members of the safety patrols, lead by Alexander Eichner as Dogberry and Leia Moran as Verges. Dogberry and Verges lead their nerd herd with dedication and an unashamed commitment to playing up their awkwardness. Eichner ordered his men with the desperate authority of a high school nerd gone wild. He had the audience in stitches the entire night. Moran developed a superb physicality, hunched over worse than a laborer carrying slabs of stone, and impressively maintained such an extreme pose for the entirety of the performance.

T.C. Williams’ production was full of energy and heart, just what is needed for a Shakespearian comedy. The only thing more impressive than the drama the school played out was the steady number of laughs they gave the audience – a true delight.

by Patrick Carnes of Freedom High School

The original Broadway production of Chicago opened on June 3rd, 1975, and ran for 936 performances. The story is based on the play Chicago by Maurine Dallas Watkins, a reporter who wrote this play from stories that she collected. Roxie Hart (Kirby Porterfield) is a young woman, tired with her love life with her husband. She has an affair with Fred Casely (Dylan Drury) whom she later murders because he tried to walk out on her. When she is arrested, she runs into the famous Velma Kelly (Madeline Bryan) who was arrested for the murder of her sister and her husband after finding them in bed together. Roxie hires Velma’s Lawyer, Billy Flynn (Zachary Frank), who makes up a new story as to why Roxie killed Casely and at the same time is making her famous.

The production, overall, was quite entertaining. The set was impressive and large. It displayed the outline of the Chicago city, outlined with shiny, silver strips. It was very unique, but caused a bright, annoying glare when the follow-spot light would hit it. The dancing in the show was extremely impressive, and showed the excellent training that the leads and ensemble must have gone through.

Velma Kelly (Bryan) shined in this production. She could sing, act, and dance extremely well. Although, the famous opening number, “All That Jazz,” lacked in energy, later in her songs, she made up for it. Roxie Hart (Porterfield) was also a wonderful dancer. Her voice matched the show perfectly, being very jazzy and fun.

Amos Hart (Samuel Jones) was an adorable character who is never noticed, which he describes in his number, “Mister Cellophane.” He admits that not even his wife notices him. Although his only number was “Mister Cellophane,” he stayed in character and showed off his wonderful vocal talent. Mary Sunshine (Ellen Broetzmann) also showed her amazing soprano vocal abilities in “A Little Bit of Good” where she describes how even murderesses have some good in them.

The stage crew of this show was extremely impressive. If you don’t notice the run crew, it means that they were doing their job well. During black-outs, the stage crew was nearly impossible to see, showing their carefulness and abilities.

Overall, the show was well done. Chicago, being a PG-13 show, was certainly intended for young adults and adults. T. C. Williams’ theatre department should be proud of their performance and their amazing dancers, singers, and actors.

Emily Rowson of James W. Robinson Secondary School.

Photo Gallery

Madeline Bryan and Brielle Welch	The Cast
Zachary Frank, Emily Zimmerman,Camille Morrow, Maria Jones, Ann Lawrence, Maria Simpkins, Emma Canfield, Sarah Paez, and Mary Murphy

Photos by Shane Canfield.

Based on the book by Joseph Stein, Fiddler on the Roof became a musical and opened on Broadway in 1964. With music written by Jerry Bock and lyrics written by Sheldon Harnick, the story takes place in 1905 in Tsarist Russia. The story is about a Jewish dairyman, Tevye, and his family and the hardships they go through as their world is changing. As the story unfolds, each character must learn how to make their own decisions instead of relying on their traditions; Tevye must learn to accept the decisions of his daughters, likewise, his daughters must learn how to follow their hearts and leave their family behind.

The musical opened with a bang as Tevye (Zachary Frank) came on stage and wowed the audience with a fantastic voice. Frank played the character of a very traditional, Jewish father with talent and vigor.

The village’s energy, although inconsistent, was fun to watch and full of talent. Tevye’s daughters were each unique and had something to offer. Hodel (Ellen Broetzmann) took the stage during her moving rendition of Far from the Home I Love. Chava (Madeline Bryan) was a joy to watch and consistently stayed in character and succeeded in conveying the deep emotional turmoil that her character felt. Yente (Maham Ayaz) was a riot as the matchmaker. With enthusiasm and energy, Ayaz knew her character perfectly and had the audience laughing out loud.

The scene changes, while lengthy, were very smooth and the crew did a fine job.

T.C. William’s touching and heart-felt performance of Fiddler on the Roof served as a reminder of what tradition really means and how we can cope with the difficulties in our lives. Fiddler on the Roof will also be performed this weekend, May 8 and 9 at 7:30PM. Don’t miss it.

by Anne-Elisabeth Halbert of Bishop Ireton High School

The tale of two teenaged star crossed lovers, an ever lasting bitter family feud and a death-marked love, sets the tale of fate that everyone has come to know. Romeo and Juliet has been told many times over the past four centuries. Arguably Shakespeare’s most well-known piece, T.C. Williams did a fine job at tackling such a powerful piece of Shakespeare’s archive. T.C. William’s high school, adding a small twist, set their production in the Jazz Age (1920’s) permitting a more modern telling of the Bard’s most beloved and tragic tales.

Lindsey Adler portraying the loyal Juliet and Anil Kenkeremath portraying the passionate Romeo through physical interaction showed a convincing attraction to each other and an understanding of their roles both separately and as an ensemble.

Meg Glasco portraying the playful but protective Nurse, used excellent physical and literary comedic timing and a clear understanding of Shakespeare’s text to enhance her character and cause it to progress believably throughout the show. Corrine Patterson-Stein playing the reckless Mercutio added excellent physical comedy to her character as well. Some other notable characters were Zachary Frank as the peaceful Benvolio and Alina Collins as the comical Sampson.

Although there was a general lack of comprehension of Shakespeare’s beautiful text, the cast never strayed from character and kept the audiences attention throughout. With some technical execution difficulties and minor line flubs T.C. Williams cast allowed the audience into a world where “never was there a story of more woe than that of Juliet and her Romeo.”

by Steve Einhorn of Robert E. Lee

Giant plant, Audrey II (voiced by Kit Connor), Mushnik (Thler Decourt) and Seymour (Ethan Stine)

Little Shop of Horrors the musical was produced in 1982 based on the 1960 black comedy and the popular big screen version debuted in 1986. Both versions follow the fate of the nerdy flower shop assistant Seymour, whose luck turns after he discovers a peculiar new plant named Audrey II, which only feeds on human blood. Seymour’s fame and fortune start to grow along with the plants insatiable appetite. Seymour is faced with a dilemma: how far will he go to maintain his growing popularity and bank account.

The lovable geek Seymour, played by Ethan Stine, buried his hands into his pockets and flashed his endearing grin, stumbling and stammering into the hearts of the audience. Stine portrayed a very realistic character, successfully transitioning from a socially-challenged botanist to a man comfortable in his own skin. Seymour’s love interest, Audrey, a Skid Row woman of misfortune was played by Alina Collins. Her dedicated New York accent complemented her ditzy and kind-hearted demeanor. Stine and Collins shared convincing chemistry together.

Mr. Mushnik’s clipped and demanding manner, played by Tyler DeCourt, towards Seymour takes a 180 degree turn when Seymour’s exotic plant is the only thing keeping the business afloat. He finds his fatherly-love in the number “Mushnik and Son” where he woos Seymour into being his adopted son. Audrey’s abusive boyfriend Orin Scrivello, DDS, played by Theo Tasker, is addicted to laughing gas and terrifying with his dentist’s drill in hand. Tasker’s cocky confidence came across in his radio voice. While some characters fit in awkwardly, DeCourt and Tasker’s characters and commanding stage presence added to the madcap feel of the play.

Theo Tasker as Orin Scrivello, DDS

Kit Conner voiced Audrey II, the alien plant with an unquenchable thirst for blood. Conner’s deep, rumbling voice added dimension to the giant green plant, especially during his signature song “Feed Me.”

Student Beth Wherry directed the entire show. From casting to opening night, Wherry worked toward her fun vision of Little Shop of Horrors. Sound and lights, the most difficult technical aspects, where commendably executed by Tony Aguirre and Amy Milyko.

T.C. Williams’s delightfully wacky Little Shop of Horrors left the audience with the important moral about temptation and greed, “Don’t feed the plant!”

Reviewed by Kate McGinnis of Chantilly High School.

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.