Rebel Without a Cause was originally a film released in 1955. The movie featured talented cast members of the time period including Natalie Wood, Sal Mineo, and James Dean. It was the only film with James Dean having the top billing and was ultimately released by Warner Brothers less than a month after James Dean’s tragically fatal car crash. The movie recounts the story of seventeen year old Jim Stark as he rebels against not only his parents, but also his bullying peers. Stark befriends an equally troubled John “Plato” Crawford and witnesses Plato’s downhill spiral as it cumulates in a tumultuous ending, sparking gasps and concern from the audience.

Many strong performances came through in Wakefield’s production. Jim Stark, portrayed by William Westray IV, was consistently in tune with the troubles of his world while also sharing fantastic chemistry with Judy Brown (Lena Mobin). Meanwhile, Nicholas Cadby-Spicer’s Plato conjured insight into the naïvety and lingering troubles ever-present in his quarrelsome mind through his constant determination to remain in character and excellent physicality. Meanwhile, Max Carruth’s performance of Buzz Gunderson played off very well versus Jim Stark as an obvious determination to dominate the other was visible between any interactions between the two. The chemistry between each and every one of these actors helped drive the show forward into an incredibly action-packed ending.

Other notable performances also came from some of the ensemble. Buzz’s Gang (Todd Shapiro, Forrest Jacobs, Kerry Hackes) captured the intense 1950s mob feeling while also having individual personalities in and out of their group. Especially impressive was the social worker, Ray, performed by Sean Balick. Despite the massive age difference between actor and character, Balick created individual chemistries with each character he talked to. Some other stellar portrayals came from Jim’s parents (Leonard Claure, Sofia Navas-Sharry) who played well against each other as well as against their son. This juxtaposition only served to further explain the innocence and lack of understanding both parents had towards their son. Overall, everyone’s wonderful diction moved the story forward to its climactic ending.

While the actors thrived, the technical aspects were not left unnoted. The recently remodeled theater was fully utilized as actors ascended and descended the different levels, breaking the surreal fourth wall. The minimalist set design focused the attention of the audience on the actors while the costuming was aesthetically pleasing and varied so that no two characters looked drastically similar. On the other hand, while some of the lighting struggled a little at revealing the actors’ faces, it was an admirable attempt at revealing the darker aspects of the play through the dramatic shadows they cast upon the actors as well as the multiple angles from both the side and front lights utilized to a significant degree. Overall, the vast array of technical skills came through outstandingly in Wakefield’s show.

As the more somber and sinister thoughts of each character crept through into the finale, Wakefield’s performance of Rebel Without a Cause left the audience in shock and dismay, ending with a conclusive and melancholy tone ringing through the audience.

by Stuart Pratuch of West Springfield HS

Photo Gallery

Rafael Lopez, Jose Penalva, Arsema Solomon, Helen Iraheta, Frank Mejia, Usman Ishaq, Sofia Navas Sharry, Leonard Claure, Alex MacCallum, Melanie Ewell	Leonard Claure, Melanie Ewell, Will Westray IV, Arsema Solomon, Nick Cadby-Spicer, Sofia Navas Sharry, Jake Bucks, Lena Mobin, and Chloe Laird
Todd Shapiro, Forrest Jacobs, Sean Balick, Liz Milton, and Ramiro Pena	Lena Mobin and Will Westray IV
Leonard Claure, Will Westray IV, and Sofia Navas Sharry

Photos by Daniel Ewell

In 1955, Arthur Laurents and Jerome Robbins took William Shakespeare’s Romeo and Juliet, set it in New York City’s Upper West Side neighborhood in the 1950s, and turned the Montagues into the Jets and the Capulets into the Sharks. Leonard Bernstein and Stephen Sondheim added music and lyrics, and in 1957 West Side Story debuted at the Winter Garden Theater on Broadway, charming and provoking audiences ever since. The musical addresses issues such as racism, juvenile delinquency, and stereotypes, which were brought to life by Wakefield’s talented cast and crew.

Sam Nelson starred as Tony, a member of the Jets, the white gang of teenagers fighting for turf with the Puerto Rican Sharks. Nelson played the role with gusto, navigating complex songs and dances with ease and bringing energy to the stage. His chemistry with Maria (played by Dominique Lopez Piper) was evident in such songs as “Tonight” and “One Hand, One Heart.” Lopez Piper’s operatic soprano voice shimmered in the air, and her passion and energy in the role of Maria made its way into every song and dance. Carla Astudillo drew roars from the audience as Anita, with spot-on acting, singing, and dancing. Astudillo showed true dimension and dedication to her role, displaying not only Anita’s sassy side but her deep care and concern for those she loves. Among those she loves is Anita’s boyfriend Bernardo, played by Jhonny Maldonado. Maldonaldo was dedicated and solid all aspects of his acting, singing, and dancing, commanding the stage with a sense of purpose.

A standout in the Jets gang was Karl Green as Action, particularly in the tongue-in-cheek “Gee, Officer Krupke.” Green was purposeful and committed from the moment he walked onstage to the moment he left, and provoked gales of laughter from the audience. Ensemble groups such as the Shark Girls, Shark Boys, Jet Girls, and Jet Guys worked well both in terms of choreography and vocal blending during numbers like “America” and “Dance at the Gym.” The cast as a whole maintained New York and Puerto Rican accents throughout the show, and generally remained focused and committed to their characters.

Carla Astudillo not only played Anita but designed an impressive array of costumes for the show as well. Astudillo used color schemes and dress styles to differentiate the Jets from the Sharks and handmade many of the dresses. The set, designed by Clara Doin and Emily Hambridge, featured a balcony, a bridal shop, and a drugstore. Choreography by student Alexa Moore was well-executed and well-planned. Scene changes were executed by a run crew in costume and generally flowed with the pace of the show.

West Side Story is a haunting tale of love in the midst of societal oppression and misconception, a story brought to the stage by Wakefield High School’s successful theater department. The themes depicted in the musical are truly timeless, and I left the theater with my eyes opened a little wider to the ones that have persisted from Verona, Italy to 1950s New York and the world in which we live today.

by Claire Seaton of Washington Lee High School

Photo Gallery

Carla Astudillo, Jhonny Maldonado, Dominique Lopez-Piper and Che Sheehan	Dominique Lopez-Piper, Sam Nelson
Alexa Moore, Jasmine Mann, Karl Green, Jacob Oliver, Ani Sinani, Jesse Remedios, Forrest Jacobs, Jake Bucks and Will Westray	Jhonny Maldonado, (cut off) Tony Charles, Jose Penalva, Che Sheehan and Ricardo Pagulayan
Samantha Chavez, Raquel Candon, Melanie Ewell, (cut off) Aalia Saib, Dominique Lopez-Piper, Shannon Nelson, Sofia Navas Sharry and Maria-Hela Galeano

Photos by Jorge Acevedo

Written in 2002 by Robert Schenkkan, this play has remained in relative obscurity since its original conception. Fraught with wacky characters and farcical incidents, all set with the backdrop of Prohibition era America, ripe with political corruption and a blooming movie industry, this comedy follows Manny as he works his way out of debt through negotiations with real-estate con-men to set up an extravagant pageant, all the while being harangued by gangster thugs, nagged by divas, and keeping accusations of rigging the whole thing at bay.

Wakefield’s production shone in its constant stream of absurd moments, despite a few struggles with proper comedic timing and pacing. The farcical style lent itself to engaging and amusing performances, although the cast hit problems in portraying the more dramatic portions of the play.

Leading the chaotic comedy was Jose Rodriguez as slick talent agent Manny Weisenberg. Rodriguez never stumbled with his articulation, keeping an appropriate vocal tone for his character. His likable yet rascally portrayal kept the audience interested and entertained, filling the necessary role of the one sane person against a horde of eccentric characters. Amari McCloskey, playing Manny’s girlfriend Cherie, captured the hopelessness one might feel when dressed as a crustacean advertising for a seafood restaurant instead of acting upon the stage.

The supporting cast did a commendable job at embracing their preposterous roles. Joey Bananas (Sean Balick), had a large stage presence despite his small stature, carrying hilarious scenes with his over the top accent and attitude. His two thugs, Carter and Grum (Jesse Remedios, Marquis Allgood) played off each other well and instigated several uproarious scenes while clad in mermaid dresses and seashell bras. Carla Astudillo brought energy to the stage with her portrayal of a spoiled, obnoxious brat with her heart set on winning the pageant.

The lighting crew kept the stage and action visible and well-lit, with the intermittent splash of color or the dramatic use of spotlight. The sound crew was able to keep every actor audible, while also providing interesting and period appropriate music during transitions.

With constant plot twists and screwball antics, Wakefield’s production of The Marriage of Miss Hollywood and King Neptune overcame difficulties in technical and dramatic aspects to produce an entertaining look into glitz of showbiz and the trials of crafting it.

by Max Johnson of McLean High School

(Note: The Marriage of Miss Hollywood and King Neptune continues December 9 and 10 with a 7pm curtain. Tickets are $5 for students and $8 for adults. Wakefield High School Auditorium in Arlington, Virginia.)

Photo Gallery

Jesse Remedios, Sean Hackes, Marquis Allgood and Sofia Navas Sherry	Carla Astudillo and Sean Hackes
Jose Rodriguez and Arami McCloskey	Jose Rodriguez and Sean Balick
Sean Balick and Sofia Navas Sherry

Photos by Jorge Acevedo

Based on the novel “My Love, My Love” by Rosa Guy, Once On This Island (story and lyrics written by Lynn Ahrens and music composed by Stephen Flaherty) tells the tale of beautiful, lively Ti Moune, who follows the destiny set before her by the gods, fighting the will of her parents and determined to save the life of Monsieur Daniel Beauxhomme. First debuting off-Broadway’s at Playwrights Horizons in 1990, the musical went on to open on Broadway a few months later. The show closed after 469 performances only to re-open in 1994 in Europe.

As a little girl cries in the middle of a storm, storytellers surround her, painting a tale to calm the poor child, an island emerges. Choreographers Sloane Mebane and Alexa Moore successfully captured a “tribal” beauty in the movement of the dancers as the cast wholeheartedly dedicated itself to expressive movement. Alexa Moore’s delightful, untamed dance narration of “Human Heart” captured the bittersweet love lesson goddess Erzulie (Delia Penalva) teaches Ti Moune.

Lintle Motsoasele’s compelling grace as sweet, obstinate Ti Moune resulted in a heart wrenching performance as the young woman’s cheeks glistened with tears as she fought to keep the one thing that mattered most to her; Daniel. The vivacity and earnestness with which she performed allowed for a powerful and poignant narrative of love, loss, regret, and hope.

With clear voices, committed characterizations, and full-blown energy, Gods Asaka, Agwe, Erzulie, and Papa Ge (Jamé Jackson, Jhonny Maldonado, Delia Penalva, Dylan Everett) worked well off one another. Their strong cohesion added an extra level to the performance as the gods quarreled amongst themselves over the destiny of young Ti Moune.

Though there were microphone glitches at times, and some lighting choices were questionable, the stage crew was barely discernible as their island outfits made them appear to be simply part of the show.

When the dancing silhouettes of the four gods suddenly come to rest on their elevated platform, the show draws to an end, but the wild dancing commences once again- leaving the audience member with no greater desire than to jump onstage and boogie into the Haitian night.

by Jillian Luoma-Overstreet of Washington-Lee High School

Photo Gallery

Center: Lintle Motsoasele. Mark Tanner, Dylan Everett, Dominique Lopez-Piper, Shelton Siegel	Jhonny Maldonado, Dylan Everett, Delia Penalva, Jorge Acevedo, Arami McCloskey, Tony Charles
Jame Jackson, Tyler Lazzari, Lintle Motsoasele, Dylan Everett	Marquis Allgood, Lintle Motsoasele, Adriana Lopez-Piper
Tyler Lazzari, Shelton Siegel, Jame Jackson, Alexa Moore

Photos by Christine Armstrong

Dearly Departed, written by David Bottrell and Jessie Jones, was written in the early 90’s. The story follows the dysfunctional Turpin family through a trying period when their father dies. This is a sweet story about sticking it out as a family. Dearly Departed has rightly won six Drama Logue Awards including Best Production and Best Playwriting.

The Wakefield cast of Dearly Departed was extremely diverse in talent. The majority of the cast and crew were very committed to their roles in the production, and they made great transition from funny scenes to the more solemn scenes, making the play a treat to watch.

This play was unique in that it had no obvious leads, but plenty of important characters. One of these characters was the zealous Baptist churchgoer Marguerite, played by Loreal Watts. Watts portrayed her character with conviction, making small mistakes like her wig slipping barely noticeable. Her energy was great, and she commanded the stage and made it hard not to watch her. Another strong character was played by Mark Tanner as Ray-Bud. Tanner kept up a wonderfully twangy accent through the entire production, and had palpable connections with the others on the stage.

Some of the most pleasing characters in Dearly Departed were the featured cast. Each member of the “Joy of Life Singers” (Lintle Motsoasele, Marquis Allgood, Dylan Everett, Sheila McCloskey) ensemble delighted in their short appearances on the stage. All of the players in this ensemble were extremely committed to their character. If anything went wrong onstage, whether it be a prop mishap or missed entrance, they responded in character, never seeming to stop for a moment of confusion or panic.

Most of the technical aspects of this show were excellent. The set was not particularly impressive; however, it was versatile, serving as different settings, such as a church, home, et cetera. The crew appeared to be on cue, although the blackouts were long enough to detract the energy from the play each time they happened. The lighting was spectacular. Yosselin Claros did a superb job of designing the lighting. Each lighting choice noticeably helped the mood of the scene. Claros made such lighting feats as a soft moonlight to help with the passing of time, and a beam of light from the heavens at the closing funeral. Each lighting cue was on time and concise, making for an impressive technical aspect.

Dearly Departed appears to be a fairly difficult play, but Wakefield rose to the challenge, giving their audience an enjoyable two hours.

by Kaylee Shuey of H-B Woodlawn

Written by James Kirkwood and Nicholas Dante, A Chorus Line is one of the single most successful Broadway musicals ever. Running 6,137 performances in addition to winning nine Tony Awards and the 1976 Pulitzer Prize for Drama, the show clearly enjoyed huge popularity. Taking place in a Broadway theater during an audition, A Chorus Line follows the dancers as they try to impress Zach (John “Waffles” Morgan), the director of the show.

As veteran dancer Cassie, Jocelyn Magsumbol stood out thanks to her powerful vocals and well-developed character. Her song “The Music and the Mirror” was captivating and sung beautifully. Another standout was Dylan Everett as Mike. As the first major soloist of the show, Everett quickly grabbed the audience’s attention with his exuberant and talented dancing and candid vocals during “I Can Do That.” Morgan, as the aggressive and impatient director, did an impressive job of varying his vocal expressions during the extensive portions of the show when he was only an offstage voice.

While this was truly an ensemble cast, Al and Kristine, a young couple played by Nick Blank and Karina Carlson, shone among the other performers. They conveyed the lovey-dovey feeling young and in-love people have through their intimate glances and handholding. Their duet “Sing!” was comical and highly entertaining. Carlson was also a very strong dancer in several numbers throughout the show.

The set was simple, consisting of only a few mirrors, which was effective for an audition setting. Some actors were a bit too quiet, but overall sound was adequate. There were several instances of notes being too sharp or too flat and the company lacking cohesion and energy, but this was not apparent during the number “One,” that featured all the performers dancing difficult steps and singing in unison. Lighting was fairly smooth, with just a few cases of missed cues.

For such a difficult show, Wakefield High School put forth a valiant effort and made their rendition of A Chorus Line a “singular sensation” for all to behold. A Chorus Line will also be performed this weekend, May 8 and 9 at 7:00PM. Don’t miss it.

by Sam Faktorow of Langley High School

The Boys Next Door was written by Tom Griffin and was made into a film in 1996. It deals with four mentally disabled men who live in a group home. The play takes place over a period of two weeks, and contains brief vignettes of the men’s lives. It is entertaining in a non-mocking way.

Wakefield’s production was anchored by the talent and tenacity of the entire cast. Every member contributed to portraying the lives of four mentally disabled men. Most notable were the four actors who played Lucien, Arnold, Barry, and Norman.

Playing the “Boys Next Door” were four very talented actors, who portrayed the disabled men extremely accurately, but in a non-judgmental and respectful way. Most impressive was Kevin Trudel, who played Lucien P. Smith, the man most severely disabled. Trudel perfected the unique speech pattern and carriage of a mentally challenged man. Also impressive were Chris Stanton, who played the nervous Arnold Wiggins, J.J. Nell, who played challenged, overweight Norman Bulansky, and Gary Kennedy, who played schizophrenic golf pro Barry Klemper. All four of these leading actors did an impeccable job showing the inside life of challenged people.

Following those talented leads was a strong supporting cast, led by Kaye Siapno, who played Jackie, the social worker for the four men. Siapno embodied the stereotypical overworked-underpaid social worker, with a short temper and tired monologues. Also memorable was Brenda Nascimento who played deaf old Mrs. Fremus. Her gray hair, old lady makeup, and crippled walk embodied perfectly that of an elderly woman.

Technical aspects of Wakefield’s production were well done. The set was detailed and accurate, and the expansive use of the entire stage was impressive. In addition to the main set of the apartment were props and intentional lighting that allowed the play to travel outside the apartment, to the train station and to a dance. Lighting at times was a little dark, but otherwise well done. Sound was good also, with only a few minor mistakes. Costumes and makeup were time and age appropriate. Lucien’s Spiderman shirts and tie were very cute and added greatly to his character.

Taking a play that is very somber and deep, Wakefield made it their own without mocking or desensitizing the underlying meaning. The talent it takes to do such a thing is great, and the cast should be commended. From Lucien’s substantial monologue came a memorable line, “And without me, without my shattered, crippled brain, you will never again be frightened by what you might have become. Or indeed, by what your future might make you.” This line collects together the entire meaning of the play, the awareness that mentally challenged are still people, that they also live lives. Wakefield performed a complicated, sensitive play with grace and respect.

The Boys Next Door” will be performed again on December 7 and 8 at 7:00PM. Don’t miss it.

by Katie Ogden of TC Williams

Based on the rise of 1960s girl group The Supremes, this Tony and Academy Award winning musical is about the perils of fame and notoriety. Effie, Deena, and Lorrell (April Archer, Tiausha Butler, and Ashley Nielsen) are struggling teenagers trying to break into the music business when they meet car salesman Curtis Taylor (Dejon Campbell) backstage at a talent show. He turns them from the juvenile Dreamettes to the nubile Dreams. Then the fighting begins and the cost of fame is revealed.

A monumental undertaking, it was no surprise that the ambitious material was too much for some of the vocalists who struggled to stay on pitch and key. They were not helped by the poor sound that did not amplify well with body or ambient microphones. However, the cast, admirably, was able to maintain its resolve and power through the rough patches.

As Effie, the heart and soul of Dreamgirls, Archer was a revelation. With her fabulous attitude, magnificent voice, and energetic and committed performance, she outshined even the brightest stage lights. Her character’s growth was clear especially in the transition from the fantastic rendition of the show stopping “(And I’m Telling You) I’m Not Going” to the heartfelt “I Am Changing.”

Jamil Garner‘s Jimmy ‘Thunder’ Early was hilarious. He was at his best vocally and rhythmically in the sensational “Fake Your Way to the Top” and “Jimmy’s Rap.”

Some of the most memorable performances came from the large ensemble. Nakia Arnold, Cassandra Jones, Jessica Massie, and Ione Saunders were outstanding both as the Stepp Sisters and as Dancers. They stole every scene they were in and were a joy to watch. Chris Stanton also provided a memorable cameo as Dave the Caucasian singer who steals one of Jimmy’s songs and removes its “soul.”

The choreography by Cassandra Jones, Jamil Garner, and Maria Wilson was commendable both in scale and creativity.

At the end of Act One, Effie belts, “You’re going to love me” to the audience. It did, and stood in rapturous applause. Wakefield’s Dreamgirls transported us to a past age of music and spectacle, and made for a fun night of theatre.

You can experience Dreamgirls on May 11 and 12 at 7:00PM. Don’t miss it.

by Eric Swartz of Washington International

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.