Following the success of Brooks’ 2001 musical, The Producers, Young Frankenstein the Musical is based on the critically acclaimed film of the same name. Collaborating with Thomas Meehan on the show’s book and serving as the lyricist, composer, and producer, Brooks took the production to Broadway in 2007. Opening to mixed reviews, Young Frankenstein ran for 484 performances, later spawning a U.S. tour in 2009. The plot centers on Victor Frankenstein’s grandson, Frederick Frankenstein, who is ashamed of his family name so much that he has changed its pronunciation. Upon hearing of his grandfather’s death, Frederick journeys to Transylvania to settle the estate’s affairs and is met by hunchback Igor, the zany grandson of Victor’s henchman, and Inga, an attractive woman looking to be Frederick’s new lab assistant. Discovering his grandfather’s formula for immortality, Frederick must decide whether he wants to “join the family business” and face the consequences of his own creation.

Effectively emulating the stylized movements and aura of Mel Brooks, the cast and crew contributed their best effort to a highly enjoyable performance, their passion and enthusiasm most evident in large ensemble numbers such as “Transylvania Mania” and “Puttin’ On The Ritz.”

Heading the cast as the title character, Ben Roberts as Frederick Frankenstein proved himself to be a triple-threat performer, delivering soaring vocals with ease, displaying a variety of emotions, and executing synchronized choreography flawlessly. Roberts’ puzzled facial expressions comically emphasized the wackiness of others around him. Opposite Roberts was the equally talented Katie Carbone as Inga, a true powerhouse of energy. Carbone, too, showcased impeccable vocal skill and control, from her effortless belting to her comedic yodeling to her convincing German accent. Together, Roberts and Carbone believably connected and created many hilariously entertaining moments, especially in “Roll In The Hay.”

Also exhibiting spot-on comedic timing was David Jarzen as Igor, frolicking across the stage within seconds, his nimble physical mannerisms and waggish demeanor perfectly capturing his character. As The Monster, Dan Evans skillfully transformed from the jarring groans and daunting expressions of a misunderstood creature to the bashful smiles of an accepted friend.

In terms of technical elements, the stage crew immediately stood out with their smooth, incredibly fast-paced scene transitions. Having to move many different set pieces and switch backdrops, at times even during a musical number, the crew handled each challenge with professionalism. Student-made props included a giant Frankenstein puppet and brain machine, which contributed to the eerie nature of the show. Despite a few missed sound cues, the technical team handled the elaborate scene elements commendably.

Beneath the wackiness and glitzy musical songs, there is an epic tale of love, friendship, and self-discovery. The cast and crew of Young Frankenstein the Musical successfully brought this tale to life, combining gut-splitting humor with heartfelt moments, bringing the audience to a well-deserved standing ovation.

by Jamie Joeyen-Waldorf of Langley High School

Photo Gallery

Dan Evans and Ben Roberts	Ben Roberts and Katie Carbone
Ben Roberts and Nikki Amico

Photos by Amin Yachnes

Inherit the Wind, by Jerome Lawrence and Robert Edwin Lee, debuted on Broadway in 1955. It presents a fictionalized account of the Scopes “Monkey” Trial that took place in 1925. In the play, Bertram Cates is put on trial for teaching the theory of evolution to his high school biology class, in violation of an Arkansas state law. The odds of his acquittal are slim to none, especially with Matthew Harrison Brady on the prosecution. But with Henry Drummond as his attorney, anything is possible.

Ryan Walker brought enthusiasm and energy to the intimidating and important role of Henry Drummond. His overall performance was solid, and he became steadily more convincing as the play progressed, especially standing out in the very last scene with his argument with Hornbeck, putting just the right amount of vehemence into his words.

The quick-witted and acid-tongued reporter, Hornbeck, was played brilliantly by Toby Mananzan. He slipped into his role easily, committing to his character even when only in the background of scenes and creating a refreshing change from the mostly serious tone of the show. Mananzan also demonstrated the ability to skillfully change his emotions in a way that was compelling and believable. The Judge (Nell McKeown) was also impressive. Both her posture and tone realistically portrayed her position of authority in the town. The cast as a whole also deserves commendation. Each actor demonstrated fantastic projection, every word able to be heard even though they weren’t equipped with microphones.

Tech ran smoothly as a whole, functioning without any major glitches. The set was built well for the revolving stage, something which can be very difficult for even professional companies to accomplish. However, using the revolver had the unfortunate consequence of the scene changes being loud and jarring, although they were also quick and allowed there to be two completely different settings during the play. The court room was especially remarkable, creating a wonderfully claustrophobic feeling when people packed into the rows and stared down at the proceedings. Real food along with worms were used for props, and all others used were strikingly lifelike as well. Costumes, despite some inconsistencies with the time period, were creative, and there was a good distinction between the townspeople and those who had come from the city.

The topic of a man’s right to think is still relevant to our day and time, and West Potomac, despite struggling at points, succeeded in preserving and translating the message of their play to the audience. Their production of Inherit the Wind, with stand-out actors and striking tech, was a truly satisfactory and thoughtful show.

by Emma Paquette of McLean High School

Photo Gallery

Dominic Sey, Katie Skinner, Kat Amato	Eliza Lore, Ryan Walker, Joe Quinn
Joe Quinn, Ryan Walker, Eliza Lore

photos by Nikolai Roster

With the book penned by Michael Stewart and music and lyrics provided by Charles Strouse and Lee Adams, Bye Bye Birdie bursts onto the stage as a satire of the 1950s and Elvis’ drafting into the military. As a romantic comedy, the musical was highly successful on Broadway, later spawning a London revival among other major productions, and has notably been produced as both a 1963 film and a 1995 television production. The plot centers on Sweet Apple, Ohio in 1958 after teenager Kim MacAfee is chosen to kiss drafted rock n’ roll star Conrad Birdie goodbye. Bye Bye Birdie focuses on newly pinned Kim’s troubles with her steady Hugo, whose own romance parallels Birdie’s agent Albert Peterson and his Hispanic secretary Rosie Alverez’s romantic qualms.

West Potomac’s production of Bye Bye Birdie was rooted together by consistent energy and animation, with ensemble numbers such as “Telephone Hour” and “Put on a Happy Face” showcasing strongly synchronized dance steps. Each and every member of the ensemble proved dedicated on stage whether a teenager, adult, or Shriner, allowing an amusing array of facial expressions whether fainting over Birdie, giving a hair-flip after playing guitar, or being romanced by Rosie’s “Spanish Rose” self. Harmonies were also solidly well done.

A triple threat, Burke Solo as Albert Peterson gave a performance characterized by charismatic stage presence, commendable vocals highlighted in “Baby Talk to Me,” and well executed dance jumps. A star dancer, Amanda Alves as girlfriend Rosie Alvarez, proved seductive and sassy in leg kicks, splits, and Spanish flare. Notable singers included Graham Dickerson as Conrad Birdie, showcasing fantastic vocal control, as well as the trilling soprano of Madeline Weisblatt as Kim MacAfee.

An adorable addition to the crew came from the smallest member of the MacAfee family, young son Randolph played by Aidan White. White continuously delighted as a bundle of charming energy and entertainingly pronounced facial expressions. Connor Chilton’s Mr. Harry MacAfee was humorous with crab-like physicality and solid vocals while Maggie Solo’s Mae Peterson proved laughable with clear diction and fussy mannerisms.

The production involved a variety of set pieces, including a bright multi-leveled home, bar, and town center. While the orchestra could be too loud and voices were lost, energy consistently shone. Costumes were also brightly vibrant and stayed in time period while true to character, reflecting those like Mae Peterson’s enormous, dated fur coat. While stage crew movement could occasionally be distracting, decoration such as Conrad Birdie posters proved a nice touch.

In the midst of all of those screaming girls and romantic entanglements, the cast and crew showed sweetness and humor. Although some period jokes were lost in the mix, West Potomac’s lively performance of Bye Bye Birdie certainly “got a condition” of feel good, convivial fun.

by Victoria Tovig of Langley High School

Photo Gallery

(Front row) Elizabeth Gunggoll, Katie Skinner, Emily Ustun, Lillann Pineda, Beth Burns (Back row) Matt Stover, Alex Wong, Ben Roberts	(Standing) Dominic Owusu, Graham Dickerson, Toby Gabriel (Sitting) Julia Warren
Burke Solo	(On Table) Evan Rajadhyaksha, Alex Wong, Matt Stover (On floor) Amanda Alves

Photos by Laura Marshall

The play takes place on the 30th story of a school that was intended to include one story of thirty classrooms. Instead, the architect made 30 stories with one classroom each. The students have all sorts of adventures and learn that they can work around their difficulties – whether it be learning to read the blackboard, counting, or saving themselves from being cooked into pies by their evil teacher.

The students, played by Ryan Walker, Emily Woods, Nell McKeown, Maggie Solo, and Toby Mananzan, worked wonderfully together and had fantastic energy throughout the show. Walker, as Myron, had great comedic timing and mastered the mannerisms of an elementary schooler superbly. Woods and McKeown, as Bebe and Leslie, had fabulous facial expressions and were constantly engaging, even when they did not have lines. As Mrs. Jewls, Callan Memmo provided a great contrast to the wild eccentricities of the rest of the show with her portrayal of the more normal, sweet teacher. Christian Huley marvelously handled the challenging task of playing two completely different characters, Mrs. Gorf and her son Mr. Gorf. In the role of Mr. Gorf, he was spectacularly evil, seeking revenge on the class that turned his mother into an apple and ate her. In the scene where Mr. Gorf acts a puppeteer to force the class to do what he directs them to, he had impeccable synchronization with the cast member who was the “puppet.”

The many sound effects were always exactly on cue and made the show quite enjoyable and engaging. The scene changes were a little long, but the set and costumes were well made, full of bright color that captured the feel of elementary school. The costumes were jazzed up to exaggerate certain characters’ personalities and complement the wacky nature of the play.

It’s always nice to see a full audience and a variety of people at high school theater. West Potomac had a packed house that ranged from preschool age kids to high-schoolers to adults. Everyone was kept laughing at a show that really was fun for all ages.

by Abby Marcus of TC Williams High School

1998’s Footloose, is based on a 1984 hit movie of the same name, starring Kevin Bacon. It tells the story of Bomont’s teenagers’ efforts to convince the town’s adults, led by the protective Reverend Shaw Moore, to allow them to hold a dance. This proves to be difficult when the debate reopens the old wounds of a late night car crash that killed four high school students — including the Reverend’s own son.

As Ren, Derek Marsh gave an energetic performance that well expressed the frustrations of his character and his enthusiasm for his cause. Opposite Marsh was Molly Medrano as Ariel Moore, the Reverend’s daughter who allies with Ren. Medrano was successfully able to create a multi-faceted character who could be innocent around her father, guilty when being sung about in “The Girl Gets Around,” and somewhere in between after becoming friends with Ren.

Many supporting actors added greatly to the show. John Rice played Willard, who secretly cannot dance until he asks Ren to teach him. Rice, however, certainly knew how to dance — his excellent physicality and well-chosen character choices made for an enjoyable performance.

Ariel’s friends, Rusty (Gloria Powell), Urleen (Kathleen McDowell), and Wendy Jo (Mary Langan), worked well together and provided several of the show’s funniest moments. They also helped enliven the rest of the large ensemble during several numbers, including the show’s opening.

As Vi Moore, Annie Trimber used her excellent vocal skills and emotional vigor to give an affecting performance, ending one song nearly in tears.

The production’s large ensemble of singers and dancers remained involved in the action throughout the show. They were nicely backed by the Footloose Band, that attentively adjusted its volume so that singers could be heard even when microphones were not working.

Full of energy and entertaining performances, West Potomac High School’s Footloose showed the audience that it is only a matter of time before even the most stubborn opponents of dancing kick off their Sunday shoes and “cut footloose.”

by Jacob Horn of St. Andrew’s Episcopal School

Frank Loesser’s Guys and Dolls has been a hit since 1950, when its original run on Broadway lasted 1,200 performances and won five Tony Awards. In its well known story, gambler Nathan Detroit has finally found a garage willing to host his illegal crap game, but he’s still lacking the $1,000 the owner requires. So he makes a bet he cannot lose: his friend Sky Masterson must take uptight Save-A-Soul Mission’s Sergeant Sarah Brown to Havana tomorrow. In the course of the next few days, complications and chaos arise, and an awful lot of money changes hands.

The talented dancers were the backbone of this show, filling each musical number with high-spirited enthusiasm. The ensemble of Crapshooters executed complex choreography in “The Crapshooter’s Dance,” creating a lively, memorable image. The enthusiastic Cuban Dancers brought their scene to life, with Rebecca Walker and Hunter Link standing out from the crowd with their impressive performance.

Paul Disselkoen enhanced the ensemble’s equally spirited number, “Luck be a Lady,” with his strong vocals as Sky Masterson. His expressive voice coupled with believable line delivery, created an enjoyable effect. Both Annie Trimber and Kathryn Brewster (as Sergeant Sarah Brown and Nathan’s girlfriend Miss Adelaide, respectively) created convincing characters, and the two actresses worked well together during “Marry the Man Today.”

Amid several talented supporting actors, Graham Jenkins filled his endearing portrayal of Nicely-Nicely Johnson with nervous tics and earnest stutters. Jenkins and Chris Silva (Benny Southstreet) were fun to watch during their harmonious duet “Guys and Dolls.” Laura Page was intimidating as General Matilda B. Cartwright, and always stayed firmly in character. However, several performers lost their personality and accents while singing, and poor enunciation, combined with a sometimes overwhelming orchestra, made some songs difficult to understand.

Despite getting off to a slightly slow start, Lady Luck was with the guys and dolls of West Potomac High School, as they came together to make this show a joy to watch.

by Leila Giles of Homeschool

42nd Street began in the 1930’s as a movie, and premiered on the stage in 1980, first at the Kennedy Center and then on Broadway later the same year. Incidentally, the night the show was to be performed in 1984, the actress portraying Peggy Sawyer and her understudy fell ill, leaving the part to a chorus girl, Catherine Zeta-Jones. 42nd Street is one of the longest running Broadway musicals.

Dorothy Brock (Candace Scholz) giving Peggy Sawyer (Kathleen Wheeler) advice before the curtain goes up on “Pretty Lady.”

West Potomac’s production was truly an entertaining show. Beginning with a tap number, and ending with a tap number, with tap numbers in between, West Potomac put on a dance intensive show that was well received by the audience.

As Peggy Sawyer, Kathleen Wheeler captured hearts with her naive and sweet nature and her adept dancing and singing, shown especially in songs like “Young and Healthy” and “Forty-Second Street.” As the aging, self centered prima donna Dorothy Brock, Candace Scholz brought laughs to the audience with her characteristic horrible dancing and comical one liners. As director Julian Marsh, Paul Disselkoen encompassed that loud, controlling, yet fatherly director stance perfectly.

Supporting cast was as good as the leads, with Molly Weisblatt as writer Maggie Jones and Steven Minson as Billy Lawlor. Weisblatt was excellent as Maggie, with a no-nonsense attitude, a sharp tongue, and plenty of advice for her chorus girls. Minson as Billy was memorable as well, with his wonderful voice, and adorable, believable crush on Peggy. Also supporting was the enormous chorus, from the rehearsal crew to girls dancing on dimes in “We’re in the Money.” The chorus should be especially commended because tap dancing is no small feat, and having at least thirty high schoolers tap dancing, and tap dancing well, is a phenomenal accomplishment.

Maggie Jones (Molly Weisblatt) sings for Julian Marsh (Paul Disselkoen), Dorothy Brock (Candace Scholz), Bert Barry (Mike Casey), and Abner Dillon (Frank Collins).

For a show like “42nd Street” that has scene changes at almost every song, having a fast and efficient stage crew is a must, which West Potomac has. The scene changes never took over two minutes, allowing the audience to stay focused and anticipatory of what was to come next. Sound by Cliff Smircina while practically flawless during the first act, had some patchy points during the second act. The incredibly fast costume changes by members of the cast were entertaining to watch.

With a musical to the scale of “42nd Street,” any high school drama program could be overwhelmed, but West Potomac performed with energy, enthusiasm, and confidence that no one would be able to know the work that went into the production. It was swell!

by Kathleen Ogden of TC Williams.

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.