Originally a movie by John Waters, “Hairspray” was adapted into a musical by Marc Shaiman and Scott Wittman. Set in segregation-era Baltimore, Hairspray revolves around the misadventures of Tracy Turnblatt, an ordinary, though slightly hefty, girl. Her dream of appearing on the Corny Collins Show comes true as she interacts with the eclectic group of councilmembers. Lively and exuberant, Tracy’s exploits attract the attention of Link Larkin, the ire of venomous producer Velma Von Tussle, and the support of the local radio station host Motormouth Maybelle as she attempts to integrate the Corny Collins Show.

With the vivacity of the cast and their vocal determination, they were able to overcome the sound issues throughout the show. Combined with the efficient use of lighting technology, the cast was able to focus on the enthusiasm and musical chops that allowed the show to shine.

As Tracy, Corrieanne Stein was a puffball of vibrant energy. Her stage presence was almost as large as her hair, an impressive feat. Impressive characterization showed as she courted Link Larkin (Wyatt Oring) in “I Can Hear the Bells,” as she expressed her evident infatuation with Oring. In his own right, Oring was an impressive performer, portraying Link Larkin as an Elvis-style rock star. Although Larkin may have been reluctant to join Tracy in her fight against segregation, Oring had no such reservation in heading the show, being an actor who dominated the stage. With impressive dance numbers with Seaweed (Myles Frost), Oring showed his commitment to Hairspray. In addition, the chemistry between Oring and Stein was evident in “Without Love.”

As Tracy’s plucky sidekick, Penny Pingleton (Julia Fanzeres) showed her naïve side as she ventured to novel and exhilarating territory outside of her house. Although controlled by her strict mother, Fanzeres showed a constant state of wonder and excitement as she took the stage, eventually falling in love with Seaweed and becoming a beauty in her own right.

Of course, what is a musical without robust supporting leads, in Wootton’s production, a singularly impressive anchor was Motormouth Maybelle (Aaliyah Dixon), whose powerful voice and stage presence invigorated the cast. Her commanding voice in “I Know Where I’ve Been” culminated in a note that had the audience on their feet. In addition, the supercilious vixen Velma Von Tussle (Meghan Wright) and domineering Matron (Lily Mayne) had impressive physicality in their songs “Miss Baltimore Crabs” and “The Big Doll House,” respectively.

Although Hairspray deals with volatile topics such as racism and segregation, Thomas S. Wootton’s approach took the stage by storm. With ardor and humor palpable in every moment of their performance, the spirit of the cast was perhaps even larger than the hairstyles of the 1960s.

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

Photo Gallery

Tracy (Corrieanne Stein) makes her debut with the Nicest Kids in Town on the Corny Collins Show. Watching from left, Harriman F. Spritzer (Matt Richardson) and Corny Collins (David Myer). The Nicest Kids from left to right are LouAnn (Anna Bartels-Newton), Shelly (Mara Pugh), Brenda (Sasha Bartol), Tammy (Melanie McLean), Amber (Jackie Kempa), Tracy, Link (Wyatt Oring), Brad (Max Fowler), Fender (Christopher Hechler), Sketch (William Memmott), and IQ (Robby Pine)	‘It Takes Two’ to fall in love: Tracy (Corrieanne Stein) and Link (Wyatt Oring) appear on the Corny Collins Show
Tracy (Corrieanne Stein) and her Mom, Edna (Jeffrey Morse) are revealed in Mr. Pinky’s finest in ‘Welcome to the 60s’	In the climax of ‘I Know Where I’ve Been,’ Motormouth Maybelle (Aaliyah Dixon) inspires Tracy, Link, Penny, her children Seaweed & Little Inez and all the members of the Detention Ensemble and the Dynamites (far right)
‘You Can’t Stop the Beat’ from Wootton’s Hairspray featuring Edna (Jeffrey Morse), Amber (Jackie Kempa), Velma (Meghan Wright) and Motormouth Maybelle (Aaliyah Dixon)

Photos by Joe McCary

With collaboration from Stephen Flaherty (music), Lynn Ahrens (lyrics), and Terrence McNally (book), the musical Ragtime, based on the 1975 E.L. Doctorow novel, was first brought to Broadway in 1998 with a two-year run and was revived in 2009-2010 with a production that first opened at the John F. Kennedy Center for the Performing Arts. It tells a complex story of three social groups with distinct backgrounds, represented by a Harlem musician, upper class white suburbanites, and Jewish immigrants. The plot unfolds as their stories intertwine, revealing the emotional and social stresses at the turn of the 20th century in America.

Wootton’s production was anchored by the exceptional singing of not only the standout performers, but also the cast as a whole during large ensemble numbers. Particularly noteworthy was the entire cast’s performance of “Till We Reach That Day” that concluded the first act with an abundance of energy and powerful harmonies.

The ensemble powerhouse singing was matched by that of Elgin Martin, who portrayed Coalhouse Walker, Jr., a Ragtime musician who becomes violent after suffering racial injustices. Martin depicted Coalhouse with refreshing enthusiasm, and his beaming smile and tall stature brought his animated character to life. “Make Them Hear You” and “Coalhouse’s Soliloquy” were just a few of the notable songs that displayed his impressive range. Similarly impressive was Shenayra Quiles, who portrayed Coalhouse’s long-lost love, Sarah. Quiles’ pure-toned voice rang through the auditorium during her soprano solos, resulting in energetic applause from the audience every time.

Sarah Kinney’s portrayal of Mother was also outstanding. Kinney accurately captured the emotion of an upper class society woman who believes in civil rights, with passionate acting and melodic singing. Kayli Modell gave an energetic, exciting performance of Evelyn Nesbitt, a self-absorbed, famous actress at the time. Modell’s signature squeal resulted in peals of laughter from the audience. While some singing was pitchy and unsynchronized at times, the overall production was not affected.

Wootton’s simplistic set, which had multiple levels and platforms, allowed for every member of the enormous cast to be seen at all times. The eloquent lighting effectively illuminated the performers and contributed to the emotional roller coaster of the show. While there were some problems with static, the sound crew did an impressive job of navigating the microphones. Considering the difficulty of the score and the extensive amount of musical numbers, the pit orchestra was very impressive and added an exciting element to the show.

Wootton’s production of Ragtime was full of emotional journeys, exhilarating personalities, and impressive technicalities. The energy was consistent throughout the show, and ultimately proved that America is a place where dreams come true if you follow your “wheels of a dream.”

by Rachel Mayman of Langley High School

Photo Gallery

Coalhouse Walker Jr (Elgin Martin) is convinced that he and Sarah (Shenayra Quiles) will be able to make a better life for their son with their ‘Wheels on a Dream’	Tateh (Landon Fleischman) ties his Little Girl (Alyssa Herman) to him on a rope when they set out of New York City looking for work outside the tenements
Mother (Sarah Kinney) finds an abandoned negro child in her garden and wonders ‘What Kind of Woman’ would do such a thing	Father (Christopher Walkup, center in White) takes his son Edgar (Olivia Speck, standing) to a baseball game and is shocked by the language and coarse behavior he observes

Photos by Erica Land

The Wizard of Oz, with music and lyrics by Harold Arlen and E.Y. Harburg and book by John Kane, is based on L. Frank Baum’s book of the same title. This adaptation was first performed by the Royal Shakespeare Company in 1987, and borrows heavily from the 1939 Judy Garland film version. It is the story of Dorothy Gale, a headstrong girl from Kansas who runs away from home and finds herself in the magical land of Oz. With the help of an unlikely group of friends, she must seek the help of the Wizard and avoid the wrath of the Wicked Witch if she ever wants to see her distant farm again.

Kayli Modell had big shoes to fill in the crucial role of Dorothy, but she stepped into the role effortlessly, bringing a welcome warmth and sweetness to her portrayal that firmly established her as the heart of the story. Her melodious voice soared in her magnificent version of “Over the Rainbow,” but she displayed equally impressive vocals in other, less well-known songs.

As Dorothy’s closest companions, the Scarecrow (Adam Uslan), Tin Man (Landon Fleishman), and Lion (Mitchell Myers) proved themselves to be a tremendously talented trio. All three demonstrated exceptional mastery of characterization that manifested itself in different aspects of their performances. Uslan was an expert physical player, who threw himself into every dance step with aplomb while still maintaining the loose carriage befitting his straw figure. Fleishman also demonstrated admirable physicality through the stiff gait of the Tin Man, along with supreme vocal talent. The tentative, gentle tone of his speaking voice emphasized the shyness of his character, and he extended this tenderness into his pitch-perfect songs beautifully. Last but not least, Myers was nothing short of uproarious as the Cowardly Lion. His gift for comedy was on full display in “King of the Forest,” where his choices of inflection drew laughs from the audience, while at the same time flaunting his considerable vocal range.

Other supporting players distinguished themselves with memorable performances as well. Elgin Martin was delightful as the Guard, playing his role with a brightness and energy that was sometimes lacking from other members of the ensemble. Lauren Goldberger was another standout as the cantankerous Miss Gulch, commanding the stage during Dorothy’s time in Kansas.

Wootton’s production was filled with astonishing technical elements that added to the grandeur of the show. Special effects were nothing short of mind-blowing, including smooth execution of onstage flying, ominous clouds of smoke, and believable snow falling from the ceiling. The ambitious number of sets was incredible, each creating an appropriate atmosphere for the multitude of locations, from Kansas to Munchkinland to the Emerald City. The orchestra was incredibly polished, not only playing their parts flawlessly but also covering for onstage mistakes without missing a beat.

In The Wizard of Oz, Dorothy Gale wants nothing more than to go back home to Kansas. However, unlike the heroine of the play, the audience left wishing they could stay a little longer in the enchanting world of Oz, thanks to Wootton High School’s bewitching production.

by Madelyn Paquette of McLean High School

Photo Gallery

Dorothy (Kayli Modell) and Toto (Muzzy McWilliams)	The Cowardly Lion (Mitchell Myers)
Scarecrow (Adam Uslan), Dorothy (Kayli Modell), Tinman (Landon Fleishman) and Cowardly Lion (Mitchell Myers)	Glinda the Good Witch (Corrieanne Stein) and Dorothy (Kayli Modell) with the Munchkins
The Scarecrow (Adam Uslan) is taunted by the five crows (Joshua Yu, Wyatt Oring, Mike Neild, Burak Demir and Daniel Hamburg)

Photos by Joe McCary

The play, which premiered in Pittsburgh in 2002, features Ebenezer Scrooge (Devin Goodman), a grumpy old man who despises the holiday season, the Ghost (Divya Mouli), Scrooge’s guide through the past, present, and future, and Mrs. Bob Cratchit (Lauren Fagan), the disgruntled wife of Scrooge’s clerk, Bob Cratchit (Gavin Kramar). The story pokes fun at A Christmas Carol by twisting the original plot and characters; the Ghost, instead of being three separate characters, is one incompetent but well-meaning spirit guide who tries and fails to teach Scrooge the true meaning of Christmas, while Mrs. Bob Cratchit, who is a minor character in the original story, is featured as an unhappy and impatient woman who is annoyed and bored by her poverty-ridden life filled with pathos and stray children.

Devin Goodman was hilarious as the cranky Ebenezer Scrooge, and did not once break his British accent or his stooped physique. Goodman’s flawless line delivery and expert grasp of his character stole the show and resulted in hysterics from the audience. Divya Mouli opened the show with a fantastic amount of energy, enthusiasm and talent as the sassy but self-conscious Ghost. Her comedic timing and beautiful singing voice commanded the audience’s attention and provided an upbeat balance to Goodman’s delightfully cynical Scrooge. From singing Whitney Houston to tasering other characters, Mouli’s performance as the Ghost remained consistent and clear.

Gavin Kramar’s performance as Bob Cratchit was a perfect blend of uplifting, entertaining, and downright depressing. His “happy-go-lucky” attitude contrasted with Lauren Fagan’s portrayal of his unhappy wife, Gladys Cratchit, and complemented the pitiful and adorable Tiny Tim (Jacob Nelson). Joey Horowitz was also entertaining dressed in drag as Little Nell, a character from another Dickens work that is thrown into the story to great comedic effect.

Aside from one or two microphone pops and a missed cue, the sound team (Kerry Engoron, Francis Lasday, Evan Rindler, and Alexa Maines) had a flawless performance despite an overwhelming amount of body microphones and no visible floor or hanging microphones.

A few technical and line-memorization glitches notwithstanding, Wootton’s production of Mrs. Bob Cratchit’s Wild Christmas Binge was received with fits of laughter and resulted in a standing ovation, leaving the audience with smiles on their faces and “lots of good cheer.”

by Simone Levine of Walt Whitman High School

Photo Gallery

The Cast	The Cast
Devin Goodman

Photos by Kenneth H. Cho, M.D.

The curtain opened to reveal an interesting, vibrant, and geometric set that set the mood for the rest of the show, one of happiness and fun. Any fears of unsuccessful maneuvering of such an immense, complex construction were soon quelled as the highly competent stage crew proved their worth during blackouts, transitioning between scenes quickly and silently. The lighting was also good; a few issues with lost faces were offset by intricate effects farther downstage indicating changes in tone, time, and weather. There were some microphone problems, and some lines were lost due to lack of sound. However, the actors were able to compensate for these losses and the flubs were usually rectified quickly. All in all, the color and energy put into the technical aspects of the show helped contribute to the performance’s overall optimistic appeal.

Many performers stood out as talented and energetic actors and singers, especially Jonathan Helwig as the iconic Conrad Birdie. He was never once out of character, and both his voice and body language flawlessly channeled the King of Rock’s legendary mannerisms. He stood out in the number “Honestly Sincere,” where his performance and the hilarious reactions from the entire cast worked together to produce the most entertaining and lively number of the show. Other standouts included Lauren Fagan as Kim MacAfee, whose fluttery soprano voice was perfect for her role and sounded lovely on many difficult high notes, and Divya Mouli as the disturbingly dedicated fan girl Ursula, whose enthusiastic and hilarious delivery of lines helped round out a highly competent cast. The vocals in Wootton’s production were also superb, especially during the songs “One Boy,” “Hymn for a Sunday Evening,” and “Baby, Talk to Me,” where tight, beautiful harmonies were sung spectacularly by the actors. At times, some songs and scenes seemed a little rushed, but never enough to confuse the audience. Some characters were also a little hard to understand, but their energy and enthusiasm about the roles they played helped make up for these losses in a masterful and enjoyable way.

Overall, Wootton’s Bye Bye Birdie was a vivacious compilation of fun and talent. Its few problems did not overshadow its multitude of successes, and by the final curtain had left the audience with a buoyant message: sometimes excitement and love are more important than any other serious complications life might throw your way.

Sarah McCully of Albert Einstein High School.

Photo Gallery

Jeffrey Popkin, Ari Halevy, Sean Hamilton, Sergey Feldman, Helena Farhi, Joe Ray, Adam Uslan	Alex Garretson and Tara Youseffi
Jonathan Helwig, Mikaela Katz, Jenay McNeil, Allison Myers, Courtney Pories, Samhita Tankala, Maria Sharova; (Boys in the background) Kevin Goldberg,

Photos by Kenneth H. Cho.

The stage version of Beauty and the Beast was meant to reflect all of the special effects and magic of the movie. Along with the special effects, seven additional songs were added, then upon review the last and final song being “A Change in Me” became the eighth new addition to Beauty and the Beast. The stage version also allows for bigger roles in some cases such as Babette and Madame de la Grande Bouche. With all this on their plates the students of Thomas S. Wootton High School not only delivered they left their audience terribly satisfied and heartbroken when it came to a close.

The development of relationships is key to Beauty and the Best, and the students of Thomas S. Wootton High School were spot on. From Belle (Jessica Futran) and Gaston (Jonathan Helwig) to Lumiere (Mattia D’Affuso) and Cogsworth (Fasil Gebeyehu) every single one of them was working and playing off of each other wonderfully. Specifically the work between D’Affuso and Gebeyehu. They built off of each other brilliantly. They had outstanding comedic timing with one another and lived every moment they were onstage. They were so clear with their delivery and their fight to be human again, that by the end it was lovely to not only see it but share the transformation.

Wootton’s Pit Orchestra carried the show and helped us all enjoy the songs we grew up to love. Such as “Be Our Guest,” “Gaston,” and “Beauty and the Beast.” Their soloists captured the mood and tone of the songs. Alto Saxophonists Kevin Goldberg and Andrew Landau are a perfect example.

Alongside Wootton’s Pit Orchestra were the vocals of Belle (Jessica Futran), Gaston (Jonathan Helwig), Lumiere (Mattia D’Afusso) the Beast (Aaron Gage) and many others who delivered as well. Everyone carried their weight vocally but Futran’s vocals were off the charts. She was not only technically sound, but the tonality of her voice was hair raising. She felt every lyric and wasn’t afraid of her voice when songs demanded a darker tone. Her ability to put her all into each and every one of her songs (and there were many) was impeccable time and time again.

Smaller parts such as LeFou (Bryan Pike), and Babette (Lauren Fagan) rooted the contrast of the show and were luminous in their delivery. Notable and memorable cameos Jesse Cheever (The Rug), Elizabeth Luu (Saltshaker), Jack Stonesifer (Baker) and the Silly Girls (Suzy Bobadilla, Jenay McNeil, and Ceecee Yao) were sharp as well.

The energy required to fuel this show is ridiculously demanding in all aspects, with the acting, vocals, and physicality. Even with their large ensemble, with roughly 50-60 people, they were magnificent. There was never a dull or even dead moment. There was always someone to look at and they were always alive. They kept the energy up and even with technical hiccups they kept the pace.

Beauty and the Beast performed by the artists of Thomas S. Wootton High School was exciting and dynamic topped with wonderful character work laced throughout the cast, made it the show to see!

by Aleca Piper of Duke Ellington School of the Arts

My Favorite Year, based on the 1982 movie by the same name, debuted on Broadway in 1992 to mixed reviews. The musical chronicles a few days in the life of an ambitious young writer with a penchant for movies, Benjy Stone (Jonathan Lowey) who is left in charge of his favorite movie star, Alan Swann (Keith Schwartz). As he struggles to keep Swann out of trouble, Stone catches a glimpse behind the glamour of the movie business.

Jonathan Lowey perfectly captured the naiveté of his character. He had impressive versatility – moving from childishness with his mother to a surprising masculinity with the object of his affections, KC (Jessica Futran).

Keith Schwartz mastered the style of old Hollywood glamour and swagger, and is to be commended for his deep baritone, which he maintained throughout the entire show.

Katina Kempel starred as Alice, a comedian struggling to finally seize the stage for herself. Her fantastic sense of comic timing, matched with her expressive hands and a variety of vocal tricks, had the audience in stitches.

Other characters included KC, with mellifluous vocals and an impressive range. Another stand out performer was Mattia D’Affuso. Though silent for almost the entire play, D’Affuso earned laughs with his period-appropriate physical humor, from leading with his legs or giving an exaggerated eyebrow raise. He delivered his sole line – “Cat got your tongue?” – with fantastic timing.

At times, the ensemble pieces lacked coordination, but overall, the cast maintained an infectious energy without falling into clichés, and fantastic harmonies. Though there were some sound issues, lighting was – pardon the pun – spot on, and scene changes were quick and flawless. The student orchestra was phenomenal, managing to sound great without overpowering the actors.

Overall, T.S. Wootton is to be praised for taking a Broadway flop and making it a high school hit.

by Ana Olson of Madeira