Macbeth is one of William Shakespeare’s late tragedies, written in the early 17th century. It has become an extremely familiar play tackled on both professional and high school levels. It follows Macbeth (Jeffery Warren), the noble hero who gets his unfortunate prophecy by a group known as The Weird Sisters (Bailey Kowalski, Carly Greenfield, Katie Humphries). Macbeth and his wife, Lady Macbeth (Alicia Hartz), then transition from a content couple to a guilty and power-hungry mess after they take the throne due to the death of King Duncan (Craig Wanda). Powerful and heroic Macduff (Tommy Muir) eventually lives to see the disturbed duo’s destiny, defeating Macbeth in an epic and well choreographed battle. Washington-Lee added their own personality to the production, giving it a tribal twist, pulling from dozens of different ancient civilizations.

As Lady Macbeth, Alicia Hartz was absolute perfection. It was clear that Hartz had an impeccable grasp of her character and used her physicality, sexuality, and relationships with fellow actors to create the most enjoyable performance of the evening. As her husband, Jeffery Warren took on the daunting title role of Macbeth with poise and aplomb. Warren created a versatile character and added extensive realism to the role. Together the powerhouse couple had surreal energy and chemistry when on stage.

The ensemble of Weird Sisters was also another commendable aspect of the performance. They had consistent accents, fluid movements, and distinct vocal levels that added to the intensity of their scenes, never leaving them unnoticed. Together these women added to the energy of the entire cast, which was never anything but superb.

Not only was the show mesmerizing through the acting, but technically as well. All props, designed by Craig White, were extremely detailed and constantly fit the tribal theme of the show. Sound was also commendable, as every actor was heard and all sound cues were on point. Perhaps the most magnificent technical aspect of the production was the makeup, led by Lecia Stock. Every ensemble member had different tribal war paint to differentiate themselves as well as fake blood, which was scarily realistic, splashed on actors during the more intense battle sequences.

Overall, Washington-Lee High School’s production of the “Scottish play” was one of the most enjoyable of the year thus far. Their unforgettable acting abilities and vigorous technical executions left audiences in awe and was one that even William Shakespeare would have been proud of.

by Stephen Coakley of Tuscarora

Photo Gallery

Gabby Canning, Mara O’Reilley, Sonia Garfinkel, Claire Seaton, Myles Stemwick, Brent Pizzamillio, Raphael Debraine, Jeffery Warren, Alicia Hartz, Danny Sharp, Jesse Pollcack, Claire Huggins, Heaven Swanson, and Patsy Zetkulic	Jeffery Warren (Macbeth), Alicia Hartz (Lady Macbeth), Danny Sharp (Banquo)
Katie Humphries (Third Witch), Alicia Hartz (Lady Macbeth), Jeffery Warren (Macbeth), Bailey Kowalski (First Witch), and Carly Greenfeild (Second Witch)

Photos by Lecia Stock

Guys and Dolls premiered on Broadway in 1951, with music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. The show was met with immediate success; running 1,200 performances and winning all five of its Tony nominations. Since the original production, Guys and Dolls has been remade several times, both on stage and on the big screen in a 1955 movie. The story follows Nathan Detroit and his attempts to find a location for his long-standing crap game, while trying to avoid his impending wedding with his fiancé of 14 years, Miss Adelaide. In a last act of desperation, Nathan makes a bet that the cunning Sky Masterson can’t take the prude missionary Sarah Brown to Havana, Cuba. Sky accepts the challenge, and unleashes a chain of events chockfull of drama and hilarity!

Guys and Dolls uniquely has four lead roles, all who gave commendable performances. Jeffrey Warren as Nathan Detroit gave a stellar performance full of grand gestures and engaging facial expressions. Warren also displayed a swooning singing voice, and undeniable chemistry with Betsy Yuhas, who played Miss Adelaide. Yuhas’ pitiful sneezes and New York accented whine contributed greatly to her comedic performance. Alicia Hartz and Michael Gaines replicated Warren and Yuhas’ success as Sarah Brown and Sky Masterson. Hartz had a commanding stage presence, which she utilized to display a variety of emotions ranging from the religious fanatic to the tipsy partier. Hartz’s interactions with Gaines were overflowing with romantic tension, creating an emotional relationship.

James Randall gave a laudable performance as Nicely Nicely Johnson, especially in the song “Sit Down, You’re Rocking the Boat.” Randall’s droll and comedic style of speaking was matched by his over-the-top physicality. Also notable was Mecca Whiters-Russell as Grandmother Arvida Abernathy. Whiters-Russell displayed real sincerity in her role, as well as a lovely voice. Featured actors Joe Meyers and Amy Sheahan as Big Julie and General Melinda Cartwright committed fully to their characters despite their limited stage time. The ensemble of crapshooters formed a cohesive unit, usually in sync in their dances, and together in their harmonies.

The Washington-Lee Pit Orchestra did a commendable job whether performing on their own or accompanying the actors. They stayed on tempo throughout the performance, even during the challenging overture. The lighting, headed by Henry Conklin and Paul Soutter, was always on cue and brought attention to important characters in intentionally crowded scenes.

Despite a couple of flat notes and a runaway die, you can bet that Washington-Lee High School rolled up a real winner in their production of Guys and Dolls.

by Kat Owczarski of Oakcrest School

Photo Gallery

Jeffrey Warren (Nathan Detroit) and Betsy Yuhas (Adelaide)	Michael Gaines (Sky Masterson) and Alicia Hartz (Sarah Brown)
Cast in the finale song, Happy Ending

Photos by Lecia Stock

Arthur Miller’s The Crucible won “Best Play” at the 1953 Tony Awards, and served to be a hallmark of American Drama. Miller wrote the play as an allegory for the trials of McCarthyism, since Miller’s friends had been blacklisted and unable to work. The story unfolds many twisted layers, but primarily follows John Proctor, an upright farmer of Salem. When Abigail Williams and the other girls in Salem fall mysteriously ill with fits of screeching and writhing, the Puritans of Salem can find no natural cause and blame witchcraft. This elaborately concocted web snags every inhabitant of Salem, since everyone accused of being a witch turns and accuses someone else.

Even from the very beginning of the show, the girls of Salem dancing around the stage to a pulsing beat like a devil’s heartbeat captivated the audience. The cast permeated the auditorium, using the aisles and the boxes above the audience. A wild, cacophonous shrieking filled the auditorium at the very mention of witchcraft, although at times it was jarring and distracted from the main performers.

The husband and wife team of John and Elizabeth Proctor (played by Jeffrey Warren and Audrey Bowler) had a wonderful stage presence and chemistry. It was a nice respite to hear the two talking in soft, loving tones, in contrast to the frenzied shouting of other characters. Warren did an excellent job with projection, and his emotions were clear in his voice. Bowler’s performance of Elizabeth and the emotional storm that raged under the surface was enchanting, both composed and fighting at the same time.

Abigail Williams, played by Amy Sheahan, was a dynamic force onstage as the seductress of Salem. Sheahan portrayed her character with such snaps of emotion, not only changing her voice, but also hunching over like a beggar the more desperate she got. Another driving force was the bullfrog voiced Giles Corey, played by Sean Gilley. Acting as an old man, Gilley adapted his voice to make it raspier and taking slight pauses between words.

The set for the show excelled beyond its simple design. Three crosses slowly transformed into three gallows, complete with nooses. The different colored lights showed daytime, dusk, and even the sun rising as the white backdrop turned from red to yellow. However, the most dramatic lighting was turning the snow-white curtain into a dazzling, blinding white during the final scene, to show only the black silhouetted gallows.

Washington-Lee proved what The Crucible was meant to, that anything can be used as a warrant for violence, and that the mob does not care for evidence, they are out for blood. Against the black of witchcraft, the red fear of McCarthyism, or the spots that may not be the purest white in our own lives, the lessons of The Crucible will always stay as an anecdote; stay rational, and stay true.

by Hayley Wenk of Langley High School

Photo Gallery

Amy Sheahan (Abigail Williams) and the afflicted girls	Rachel Wimmer (Mary Warren) and the afflicted girls
Jeffrey Warren (John Proctor) and Audrey Bowler (Elizabeth Proctor)	Jeffrey Warren (John Proctor) and Audrey Bowler (Elizabeth Proctor)

Photos by Noah Pilchen

Everyone recognizes the face of Frankenstein (or rather, Frankenstein’s monster). The classic horror story has permeated pop-culture for over a century, but less commonly is it traced to its original source, one novel by Mary Shelley. The book carries an alternate title, The Modern Prometheus, as it chronicles the experiences of one scientist’s search for wisdom through experimentations in creating life by piecing together parts of dead humans and enlivening them with electrical currents. When he does bring this breach of human ability upon the world of the faithful, he suffers the consequences of venturing too far into the unknown. Fred Carmichael’s Frankenstein 1930, however, is based more upon the 1931 horror film Frankenstein, directed by James Whale, as it employs more elements from the cinema than literature or the stage.

Washington-Lee’s production was unique in its use of gray body makeup and melodramatic acting to convey the effects of a movie produced in the 1930s. Although the makeup became visibly messy as the show moved along, the level of execution by high school theatre was impressive, as every last cast member was covered in gray and dressed in fairly faithful period black and white clothing.

Max Blackman, portraying the ardent scientist Victor Frankenstein, delivered the shock of a man facing the horrors of his own creation through words of fiery passion. His chemistry with his fiancé Elizabeth (Emma Banchoff) was near-tangible as her clear, crystalline voice suffered with all the longing and despair of losing her beloved to the laboratory.

Other notable supporting roles included the frank Dr. Hellstrom (Jill Luoma-Overstreet) and honest Henry Lovitz (Noah Pilchen). Both developed a sound understanding in their characters that brought the urgency of the story to the forefront. Impressive also was Daniel Guenther as the notorious Creature. Through only a series of groans and moans, Guenther was able to give life to the sorrows of a monster questioning its tortured existence. Although there was some confusion in diction, maturity, and accents, the old time film-style acting was a pleasant surprise to behold from an amateur play.

Costumes, sets, and ensemble all worked to convey the conflicting chaotic and civil atmospheres of the panicked country village. While small parts of the overall picture were understandably out of place, the message of the production could be found in the juxtaposition of the sparse living room and intricate laboratory alone. Nick Kodama’s original score composed of clever licks played at the beginnings and endings of key scenes added the necessary elements of creepy to the show.

In the dark of night, something utterly remorseless emerges from the auditorium of Washington-Lee. If you are lucky, you may have the pleasure of meeting it.

by Sunny Vinsavich of Westfield High School

Photo Gallery

James Randall (Gorgo) and Max Blackman (Victor Frankenstein)	Jill Luoma-Overstreet (Dr. Hellstrom), Emma Banchoff (Elizabeth), Noah Pilchen (Henry Lovitz), Max Blackman (Victor Frankenstein), James Randall (Gorgo)
Jill Luoma-Overstreet (Dr. Hellstrom) and Daniel Guenther (The Creature)	Laura Yauger (Maria) and Daniel Guenther (The Creature)

Photos by Noah Pilchen and Sarah Echols

Godspell was first written in 1970 by Stephen Schwartz and John-Michael Tebelak, and opened off-Broadway in 1971 after having first been performed at Carnegie Mellon University as Tebelak’s master thesis. The show rocketed in popularity due to its liveliness and radical approach to the exploration of Christianity. It has seen several revivals on and off Broadway, as well as around the world. The fluid style of the script allows for insertion of numerous pop culture references and modern jokes, which Washington-Lee’s production took advantage of.

Washington-Lee’s Wes Horton played an amiable and compassionate Jesus, lighting up the stage with his almost constant focus on character and attention to other characters. Nate Kresh also had a commendable turn, in a difficult juggling act, as both John the Baptist and Judas. In addition, the characters of Elana (Elana Crivella), Zoe (Zoe Bellars) and Shahenda (Shahenda Helmy) –-all members of an ensemble referred to as their “real-life” names–brought exuberance to the production.

The ensemble maintained a fairly high level of energy throughout the piece, though commitment to one another and to even pacing wavered. In the penultimate scene, however, there was a drastic change of both tone and pace that brought the cast to life in a deeply emotional and stirring rendition of the Crucifixion.

Numbers that stood out included “Day By Day,” performed by Anne Donnelly, and “By My Side,” performed by Caitlin O’Grady and Emily Mathae. Both songs employed beautiful vocals with the addition of the energetic company. Though there were some issues with sound, soloists in these numbers were clearly understood.

Lighting and set design were two technical components which stood out in positive ways. Cues for lights were executed smoothly, and the lights themselves were set to match the mood, tone, and intensity of scenes, while the set provided a dynamic and visually interesting backdrop to the show. The glow-in-the-dark components of the set especially contributed to the psychedelic, modern take on the gospel.

Overall, Washington-Lee produced a very enjoyable musical piece; it was clear that the cast, as it should be, was very satisfied with its spiritual, theatrical journey.

Claire Withycombe of Yorktown High School.

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Wes Horton and company	Wes Horton
Wes Horton

The Trojan Women was first performed in 415 BC in Athens and shown to an audience that was experiencing its own war: the Peloponnesian War. Euripides used historical events from his time period to create a play that highlighted the brutality of war.

Hecuba, the Queen of Troy (Anne Donnelly), portrayed both anger and sadness for her fallen country. She maintained her rage throughout the show and demonstrated that she still had dignity, despite the fact that Greek soldiers had defeated her city.

The Queen’s daughter, Cassandra (Morgan Sendek), made insane by the soldier’s brutality, never broke character. She used the stage effectively and her exit was memorable; her wails caused chills down one’s spine.

Andromeda (Rebecca Pratt), married to the Queen’s son Hector, was a powerful character, portraying an overpowering sense of anguish. The love her character felt for her son, Astyanax, was evident, and the bond between them felt strong.

The ensemble of Trojan women were all strong actors in their own rights, and they worked well together. Although there was a higher level of energy in the second act, the emotions they portrayed throughout the play felt real.

In a play dominated by women, Talthybios (Nico Zevallos), stood out, portraying emotions from anger to pity for the Trojan women. He was an intricate character, showing sympathy towards the Trojan women while also causing them harm. He also connected well with all of the performers. Nate Kresh as Menelaus also stood out. The emotions his character felt for Helen (Mary Eccles), his wife, were apparent, which added to the authenticity of his character. Jeffery Warren, playing Astyanax, the heir of Troy, gave a heart-wrenching performance, even without any spoken lines.

The Gods Poseidon and Athena, played by Ahmad and Shahenda Helmy, did an amazing job setting the opening scene. Ahmad did an especially effective performance concluding the play. His final monologue was strong and he connected well with the audience.

Despite some inconsistencies, the wardrobe was effective at giving the play a slightly modern feel. The music and sound effects also added to the show and did not overpower the performers.

In the final scene, the Trojan women were dragged off to meet their fate: becoming servants or concubines for the Greek aristocracy. The energy of the performers was high and the women were especially effective at demonstrating anguish as they struggled with the soldiers. The play was well-performed and enjoyable, while also being very depressing. Despite the play being two and a half millennia old, Washington-Lee High School’s performance made the play relevant to a modern audience and was a reminder of the despair that always follows war.

by Emma Pearce of St. Andrew’s Episcopal School

The play begins with a foretold ending. Mr. Frank (Ahmad Helmy) returns to the annex after the war, accompanied only by Miep (Kirstin Smith). Miep encourages him to look at Anne’s (Morgan Sendek) diary. The play takes a flashback to the very beginning pages of the diary, where the Franks and the Van Daans unite in the annex. As time progresses it is clearly shown how miserable these families are. The bickering between Mr. and Mrs. Van Daan (Nathaniel Neil Kresh and Mary Eccles) has increased, the tension between Anne and her mother Mrs. Frank (Lauren Gradowski) has become damaging. And a relationship between the son of the Van Daans, Peter (Caleb Wroblewski), and Anne has flourished. Times have been getting worse for the people of the annex paralleling how the world outside is getting more disastrous also.

Washington-Lee High School’s production was anchored by the cast’s ability to create a believable tragic surrounding. The small 10 person cast all contributed to bringing us back to 1940’s Netherlands, where all was in chaos. Although it was confusing and sometimes difficult to tell exactly which year and month we were in, it gave a decent effect to the show that the residents had lost track of time as well.

Capturing the random outbursts as well as the adolescent 13 year old drama queen, Morgan Sendek played Anne with much versatility. Her performance was key in creating a personal empathetic connection with the audience. Mr. Frank (Helmy) portrayed his mature character with great power, grasping the audience’s attention every time he spoke.

The Residents gave a decent performance. At times it seemed that they over exaggerated instead of acted. The development of these characters was slow, but nevertheless they developed. The chemistry was very high and it was obvious they were a close cast working off each other.

The technical aspects of the show played their own special role in the show. The voice over of Anne reading her diary entries during transitions was quite clever and helped you ignore the sound of the creaky set.

Washington-Lee gave a strong performance: everyone worked well as a unit to share with us such a desperate story of hardship, death, and injustice. Yet with such a story, “in spite of everything, I still believe people are really good at heart.”

by Laura Razzuri of Wakefield High