A movie adapted for the stage, Footloose follows the story of Ren McCormack, a Chicago native forced to move to the small town of Bomont. Haunted by the guilt of his father’s abandonment, Ren attempts to fit in among his peers and find love at the local high school. However, he soon discovers that according to a town ordinance, dance is forbidden. He falls for a rebellious girl (Ariel) who happens to be the overprotective minister’s daughter.

Although it may be difficult to perform a musical with an all-girl cast, Madeira performed admirably. The lack of male vocalists had no impact on the quality of their performance. In addition, the infrequent sound issues never fazed the cast.

Both Ren McCormack (Gabrielle Bullard) and Ariel Shaw (Jessica Schwartz) were admirable in their portrayal of their characters. Always energetic, the two showed no dearth of humor or characterization, even while singing numbers like “Always Paradise.” Onstage, the two showed a remarkable tenderness, as they confided in each other their family problems over the noise of passing trains.

Standout performances among the supporting cast were numerous, such as Rose McAvoy’s portrayal of Wendy Jo and Katelynn Barack’s role of Willard. A slightly ditzy redhead and a slow-witted, yet lovable country boy, both Barack and McAvoy provided a foil for Bullard to shine. With their boundless enthusiasm for helping Bullard’s character, they provided an impactful onstage presence. Showing her comic chops, Barack turned into a lovable goof as the cast learned that Willard had two left feet, falling at the “hottest dance house in the tricounty area.” Always animated, whether giggling at gossip or in fits of temper, both McAvoy and Barack enhanced the performance.

Another star onstage was the frail, meek Vi (Caitlin Fischer). Her portrayal of Ariel’s mother was touching, as she poured her heart out in the song “Can you find it in your Heart?” Indeed, Fischer’s impressive vocals reached sonorous heights during that song, as she begged her husband, Reverend Shaw, to heal their family.

With rocking tunes, an impressive cast, and their journey to reclaim dance for the town of Bomont, Footloose was a hit. Ultimately, The Madeira School’s production showed that although letting go of the past may be tough, sometimes it is better to just cut Footloose.

by Chris Doan of Thomas Jefferson High School for Science and Technology

Photo Gallery

Ren (Gabby Bullard) and Willard (Katie Barack) during the number ‘I Can’t Stand Still’	Wendy Jo (Rose MacAvoy), Urleen (Anna Bradley) and Rusty (Jody Baik) in the opening number ‘Chicago’
Ren (Gabby Bullard) practicing the speech he will give at the town council	Chuck Cranston (Emily Barre) and Ariel (Jessica Schwartz) in the number ‘The Girl Gets Around’
Rusty (Jody Baik) and the girls performing ‘Let’s Hear It for the Boy’

Photos by C. Stanley Photography

The Wizard of Oz first came to life in children’s imagination as a 1900 novel written by L. Frank Baum, entitled The Wonderful Wizard of Oz. Since then the classic tale of magic and home has seen various screen and stage adaptations most notably the 1939 MGM film version starring Judy Garland. The show’s plot follows the story of Dorothy Gale; a young Kansas farm girl who longs for adventure. When Dorothy’s beloved dog Toto is taken away by the wicked Miss Gultch she decides to run away from home and is accidentally swept up by a twister. Once Dorothy lands she discovers that she and Toto have been transported to the magical land Oz; where trees can speak, witches come in various varieties, and an unseen wizard rules with a mighty hand. Dorothy wishes to return home to her beloved Aunt Em and so she ventures out along the yellow brick road to find the Wizard of Oz and ask him to grant her wish. Throughout her journey Dorothy befriends a Scarecrow, Tin Man, and Lion who decide to accompany her on her quest and ask the Wizard to grant their wishes as well.

The Wizard of Oz is a well-known tale and The Madeira School did an excellent job making their production unique. An all-female production, none of the actresses struggled in roles that were originally written for males and each member of the cast made the roles their own. The show also featured an interesting use of puppets, having the stage crew double as puppet masters.

As Dorothy, Erica Glaser gave a wonderful performance and embodied her character through song with her sweet soprano voice. Gabrielle Bullard who played the Scarecrow was an equally talented vocalist and display fantastic dancing skills in every musical number she performed in. Both Anna Merod and Anna Bradley were excellent as the Tin Man and the Lion respectively. Merod and Bradley had magnificent stage presence and both displayed their strong senses of comedic timing.

Despite some lulls in energy Madeira’s ensemble cast performed songs with great fun especially in “Jitterbug” which featured fantastic dancing. Standouts within the ensemble included Morgan Telesford as an Ozian gatekeeper. Telesford had the challenge of acting while on crutches and took this in stride by incorporating the crutches into her movements. Katelynn Barack, Rose McAvoy, and Kelleen Moriarty never lacked energy and created and excellent ensemble within an ensemble as Tough Guys, Crows, and Polishers.

With a flourish of glitter and gusto The Madeira School made the classic musical their own and created a wonderfully unique production.

by Emily Kelly of Robert E. Lee High School

Photo Gallery

Gabrielle Bullard (Scarecrow), Erica Glaser (Dorothy), Anna Bradley (Lion), Anna Merod (Tinman), Claire Gilman (Toto)	Erica Glaser (Dorothy), Gabrielle Bullard (Scarecrow)

Photos by C Stan Photography

Hairspray premiered on Broadway in 2002 at the Neil Simon Theatre. The production went on to become nominated for twelve Tony Awards, taking home eight, including an award for Best Musical. Hairspray captures the story of a spunky teenager, Tracy Turnblad, on a quest to achieve her dream of dancing on the Corny Collins Show. Hairspray includes themes of inequality and exclusion based on a variety of circumstances. However, Tracy and her determined group of friends overcome obstacles and bring to life the words of Motormouth Maybelle, “If it’s something worth having, it’s something worth fighting for.”

Kelsey Allison carried the show in the lead role of Tracy Turnblad. Allison’s powerful belt and uniquely warm tone brought life to her character. During “Good Morning Baltimore Reprise” the audience could truly sense Tracy’s feelings of hopelessness. In the role of Link Larkin was Iman Karram. Karram was presented with a difficult role but managed to convincingly portray the teen heart-throb. Her masculine gestures and facial expression accurately depicted a male in the 60s. She gave a particularly noteworthy performance in the song “It Takes Two.”

Gabrielle Bullard in the role of Seaweed proved to be the productions’s standout performer. Bullard’s sharp dance moves and robust vocals drew the audience’s attention to her when she graced the stage. Bullard’s delivery of “Run and Tell That” highlighted her well-developed character. The lovable Penny Pingleton, Tracy’s loyal best friend and love interest to Seaweed, was played by Erica Glaser. Glaser brought a unique sense of energy that lit up the stage, and she managed to stay in character throughout the production. The chemistry between Glaser and Bullard’s characters was incredibly convincing making them one of the cutest couples in Baltimore.

The ensemble of Hairspray featured a plethora of memorable characters. While at times the energy on stage was low and harmonies were lost, the cast reminded audience members of the sheer joy that is experienced while performing in an upbeat show such as Hairspray. One of the most memorable numbers that featured the entire company was “You Can’t Stop the Beat.” This energizing number incorporated dancing and singing while capturing the energetic vibe associated with the show. “You Can’t Stop the Beat” provided a powerful finale that left the audience with a skip in their step and a joyous tune in their heart.

The Madeira School’s cast of Hairspray aptly illustrated the school’s motto — “Madeira Girls have something to say!”

by Margaret Murphy of Fairfax High School

Photo Gallery

Emily Longtin, Christina Penland, Claire Gillman, Iman Karram (as Link Larkin), Kelsey Allison (as Tracy Turnblad), Jessica Schwartz (as Amber Von Tussle), Emma Estes (as Corny Collins), Jody Baik, Rose McAvoy, Katherine Gardner, Stephanie Michas, Laynie Calderwood and Allie Moriarty	Likando Kumoyo as Gilbert, Kiana Blake-Chung as Little Inez, Gabrielle Bullard as Seaweed Stubbs, Chitambo Mpundu as Lorraine and Nicole Williamson as Cindy Watkins
Erica Glaser as Penny Pingleton, Julie Anne O’Donnell as Wilbur Turnblad, Kelsey Allison at Tracy Turnblad and Christie Joyce as Edna Turnblad

Photos courtesy of The Madeira School

Thoroughly Modern Millie, based on the 1967 Julie Andrews film of the same title, tells the story of Millie Dillmount, a young girl from Salina, Kansas, who comes to New York in search of the modern lifestyle she’s read about in Vogue. The musical opened on Broadway in 2002, and went on to win numerous awards, including a Tony Award for Best Musical, before closing in 2004 after 903 performances.

Madeira’s production featured several adept leads to anchor their production. As the titular character, Katie Sotos was nothing short of endearing. She captured Millie’s excitement well in “Not for the Life of Me” and was able to demonstrate the higher range of her sweet voice in “The Speed Test.” Kelsi Allison portrayed the street-smart Jimmy very nicely and her talent shone particularly in “What Do I Need With Love.” As Millie’s best friend Miss Dorothy, Kristen Bishof portrayed her character’s naivete well and the chemistry she shared with Sotos was particularly evident in the duet the two shared, “How the Other Half Lives.” Finally, as Trevor Graydon, Millie’s boss and intended fiance, Taylor Eggleston gave an applause-worthy performance. Like Sotos, she breezed through the tongue-twister “The Speed Test,” and was able to incorporate masculine characterizations into her performance naturally. All four combined their vocal prowess for a moving rendition of “Falling in Love Reprise” in the second act.

Jibby Ayo-Ani led the cast of adroit supporting performers as Muzzy Van Hossmere with a nice balance of modern and motherly in her portrayal. Lani Galloway delivered Mrs. Meers’ lines with comedic effect. As Mrs. Meers’ henchmen, Gloria Li and Jackie Schipani (Ching Ho and Bun Foo respectively) employed uproarious physical comedy, and Li’s lovesick performance was particularly endearing. All three were quite entertaining in “Muqin.”

While the ensemble occasionally lacked energy, it was the Stenogs, along with Sotos and Jessica Deal (Miss Flannery) who performed “Forget About The Boy” and tackled a tap routine to boot with the highest energy of any point in the show. The ensemble also provided the production with pleasing vocals, especially in “Thoroughly Modern Millie” and “Finale.”

The cast worked well around a few microphone cut-outs. And although the stage crew often made scene changes under spot lights, they were nevertheless able to make changes quickly and efficiently.

The cast of Thoroughly Modern Millie tackled an endlessly upbeat score, tap routines, and in some cases opposite gender roles with aplomb. Strong numbers like “Forget about the Boy” and “The Speed Test” performed with talented vocals carried the show, and — if the standing ovation they received is any indication — delighted audiences all the while.

by Ashley Adams of South Lakes High School

Photo Gallery

Katherine Sotos (Millie) and Jessica Deal (Miss Flannery)	Katie Sotos (Millie)

Photo by C. Stanley Photography.

Haller carried the show as Jo March, bringing energy and Jo’s trademark spunk. She created a unique character and related well to the audience. Haller was joined by Kristen Bishof (Meg), Emma Estes (Beth), and Taylor Eggleston (Amy). The four girls interacted well onstage, cultivating believable relationships whether reading a letter from their father or acting out silly melodramas in the attic. Haller and Estes in particular developed an authentic sisterly relationship, culminating in their poignant duet, “Some Things Are Meant to Be.”

Eggleston gave an impressive performance as Amy, the youngest March sister. Initially portraying Amy as a silly and rather superficial young girl, Eggleston paraded around stage wearing pigtails and a clothespin on her nose. Later in the show, however, she revealed a softened, more mature character that had clearly aged several years throughout the performance.

As Marmee, Ana Olson crafted a believable maternal relationship with each of the four girls. Although some performances felt melodramatic at times, Olson’s was consistently genuine and realistic. After exhibiting her impressive range in “Here Alone,” Olson’s heartfelt rendition of “Days of Plenty” left the audience close to tears.

The production, however touching, was not without laughs. Particularly amusing was Olivia May’s performance as Aunt March, the persnickety matriarch of the March family. Madeira’s all-female cast faced several challenges, not least of which was surely the lack of male actors. But the actresses persevered, donning wigs and beards to portray all manner of characters. Some had difficulty with characterization, but Margaret Berkowitz rose to the challenge as Laurie, her high energy and powerful voice creating a convincing character.

The stage crew deftly transitioned from the family parlor to a spacious ballroom, moving furniture and set panels quickly and quietly.

Although some actors had trouble fully connecting with their characters, The Madeira School’s Little Women was truly delightful!

by Elisabeth Bloxam of Westfield High School

Once Upon a Mattress is a musical based upon the Hans Christian Andersen story of The Princess and the Pea; it made its off-Broadway début on May 11th, 1959 and later that year moved to the St. James Theatre to begin its run on Broadway. Carol Burnett played the original Winnifred, and in the 2005 television special she switched to the role of Queen Aggravain. In 1996 the musical returned to Broadway and received a Tony Nomination for Best Rival of a Musical with Sex and the City’s Sarah Jessica Parker as Winnifred.

Madeira’s production was one filled with good spirit and laughter. The ladies played convincing men due to excellent make-up and wigs. What it might have lacked in focus at times was made up by delightful characterization by the principle actresses.

Prince Dauntless (Olivia May) hopelessly wants to be married, but his mother, Queen Aggravain (Kelly McKinley) thinks that only a true princess is fit for her son. Along comes Winnifred (Margaret Berkowitz) from the swamp to pass the Queen’s test and win Dauntless’ hand in marriage. Dauntless and ‘Fred’ had amazing chemistry that the audience couldn’t help but root from them, and root against the Queen. Berkowitz had a powerful, yet graceful voice. Dauntless had flawless characterization.

The Minstrel (Kemi Adegoroye), the Jester (Olivia Haller), and King Sextimus (Elizabeth Gambal) were the comedic relief trio of the show with their high energy and immense body language, especially for the King who can’t speak due to a curse. Their number The Minstrel, the Jester, and I were not only enjoyable, but was well executed. Adegoroye and Haller’s soothing voices fit perfectly with Gambal’s humorous dancing. Another ensemble to be recognized is Lady Larken (Meghan McKinney) and Sir Harry (Wesley Brandt – the only boy, from Langley High School). Their pure vocals in Yesterday I Loved You and In a Little While gave more seriousness moments to the comedy.

The make-up design by Merrill Roth was very effective, making every member of the ensemble look slightly different from the next, giving it an overall realistic feel (as realistic as a fairytale can be).

The ladies of Madeira breathed life into an old classic with their lovable characters and genuine performances; it was a production fit for a princess.

by Emma Volpe of South Lakes High School

Annie, originally based on a comic strip by Harold Gray, was adapted for the stage by Thomas Meehan, with music by Charles Strouse and lyrics by Martin Charnin. The popular show, which won a Tony for best musical and ran six years on Broadway, tells the story of the orphan Annie (Sarah Glaser), who, after meeting the wealthy Mr. Warbucks (Jenny Walton), discovers a surprising world of wealth, meets the president, and finds parents in unexpected places.

Madeira’s production was anchored by strong individual performances as well as tight ensemble acting and strong singing, even from the many male characters portrayed by this all-female cast. Lighting, sound, and a student designed set all superbly assisted the actresses onstage.

Sarah Glaser, as Annie, captured the youthful optimism of her character in every smile, every gesture, and every song. Her unfaltering energy and purity of heart gave her character a truly endearing quality. In contrast, Alani Kravitz‘s portrayal of Ms. Hannigan was consistently cruel, pessimistic, and darkly funny. Her song “Little Girls” was vocally outstanding as well as comical.

The leads were supported beautifully by the orphan ensemble, who, in songs like “It’s a Hard Knock Life,” danced and sang their way to mischief, with all the gusto one might expect from a rowdy crowd of young orphans. Marian Wurzel stood out for her unique, energetic and wholeheartedly childlike portrayal of Molly, the youngest orphan. The dancer Rachel Fleming also excelled in a variety of dance styles while playing an assortment of ensemble roles.

An unseen stage crew ushered large set pieces on and off the stage, including some designed and painted beautifully by students Margaret Douglas, Samiah Choudhury, and Sarah Mayo. The lighting design highlighted the realistic, detailed set. Although scene transitions were sometimes long, they were executed silently and effectively without significantly detracting from the pace of the show.

Annie, with its mostly female cast and themes of prosperity, seemed more than appropriate for The Madeira School, and their production was nothing short of superb.

by Peter Hawes of Westfield