The Lady from Maxim’s (La Dame de chez Maxim) is an 1899 three act farce written by Frenchman, Georges Feydeau. The play has been adapted as films and a musical making this play known as Feydeau’s masterpiece.

This play follows the adventures of Dr. Petypon when he wakes from under a couch after a long night at local club, Maxim’s, and he discovers that he brought lead dancer “The Shrimp” home with him. He has to hide his mistake from his wife, Gabrielle, and his uncle, the General, with only the help from his friend and coworker, Dr. Mongicourt. With cases of mistaken identity, extreme lying and even ghosts, will Dr. Petypon and Dr. Mongicourt pull off these theatrics?

Dr. Petypon, portrayed by Forrest Browne, led the show. Browne’s panicked tone throughout the show made these unrealistic situations seem more realistic and brought sympathy to his character. Energetic female lead, The Shrimp, portrayed by Catherine Ariale, used extremely exaggerated physical comedy and had over the top expressions, bringing much life and energy into every scene she was a part of. Browne and Ariale playing off of each other was endearing to watch, the two’s reactions to each other lying or just them bickering off on the side, made the idea that it was completely awful to be in each other’s company more realistic.

Stealing the show was Petypon’s boiler of a wife; Madame Gabrielle who was portrayed by actor and choreographer Ellen Abood. Abood’s reactions were on point and extremely hilarious and refreshing. Her character was often visited by ghosts and spirits who sent her fleeing off the scene. Because of this it made her seem like a madwoman which Abood happily embraced and exaggerated, causing the audience to fixate on her whenever she was on stage. Abood’s choreography during the high kicking Can-Can girls’ scene and during the ballroom was time period and entertaining. Without the choreography in the ballroom scene, the mood and hysterics of the scene would have been shifted.

Other standouts include Émile portrayed by Nyc Nguyen, Madame Sauvarel portrayed by Mallory Astrow and Lt. Corignon portrayed by William Shipley. Nguyen, Astrow and Shipley were only featured in one act of this three act production, but when they were onstage they completely stole the scene. The three brought life to their scene even when they weren’t the center of attention.

The set was beautifully constructed; it was all very time period and intricate including separate rooms divided by curtains keeping it less cluttered when needed and allowing the actors to easily play off it. The lighting and sound were near flawless and always on point to what was going on with the scene–such as when an actor would use the light switch the stage would brighten. It was the little touches that added so much realism to the scene.

These unrealistic events touched at the idea of realism leaving the audience amazed and in awe of West Springfield’s The Lady from Maxim’s.

by Alyssa Denton of West Potomac High School

Photo Gallery

Catherine Ariale and Forrest Browne	Famed Parisian can-can dancer ‘The Shrimp’ (Catherine Ariale) wakes up in the bed of mild-mannered Dr. Petypon (Forrest Browne) after his wild night on the town and completely upends his life
Mild-mannered Dr. Petypon (Forrest Browne) goes out for a wild night in Paris with his bachelor colleague Dr. Mongicourt (Shane Chase), and wakes up to find famed can-can dancer ‘The Shrimp’ (Catherine Ariale) in his bed the next day	Famed can-can dancer ‘The Shrimp’ (Catherine Ariale) poses as the wife of mild-mannered Dr. Petypon (Forrest Browne) and commits a deadly social faux pas at a country engagement party
Famed Parisian can-can dancer ‘The Shrimp’ (Catherine Ariale) shocks the French provincials (Bonnie McClellan, Maggie Rabe, Emily Becker, Mallory Astrow and Alex Nelson) by flashing her drawers

Photos by John Ariale

The Diary of Anne Frank, the stage adaption of the book “The Diary of a Young Girl” by Frances Goodrich and Albert Hackett, had an original Broadway run at the Cort Theatre and opened on October 5, 1955 starring Susan Strasburg in the title role, garnering numerous Tony Awards along the way. In 1997, a newly adapted edition by Wendy Kesselman was produced on Broadway with Natalie Portman as Anne. The story follows the Jewish Frank family as they go into hiding during World War II in Amsterdam where they are joined by four other Jews seeking refuge from the increasingly anti-Semitic world outside.

Catherine Ariale’s Anne Frank was played with childlike innocence and wonder. Each movement and word reflected the brashness of childhood and the defiance of young adulthood. Ariale took the audience to her most personal places, discussing everything from her relationship with her mother to sexual awakenings tactfully and expressively. As the war progressed, we saw Anne turn into a young adult before our eyes with impressive physicality and emotion. Each scene Ariale entered brought a new energy and lifted the other actors onstage to new levels. Leading the talented cast with grace and confidence, Ariale never faltered in her well-developed characterization and held the audience’s attention until her tragic end.

The cast as a whole remained dedicated to the challenging piece throughout the play, giving an air of suspense and worry to the story. Among the skilled actors that bolstered the show, there were several stand-outs, including Carrie Wogaman as Mrs. Frank. Her spot-on characterization and moving emotions as she struggled to connect with her daughter made her character one of the most believable. Mr. Frank, portrayed by Drew Holcombe, proved himself a cornerstone of this production from beginning to end through his caring and wise demeanor. His delivery of the show’s closing monologue was poignant and honest making it a highlight of the show.

Another standout was Rachel Steiner as Mrs. Van Daan. Her well-developed characterization, hilariously biting comments, and bold acting choices propelled her to the top of this production.

The technical elements were enjoyable and added to the atmosphere of a Europe at war. Lighting was used beautifully and effectively, casting daunting and eerie shadows against the Jewish prisoners and Nazi guards. Though plagued with various mic troubles, sound effects came out loud, clear and on cue. Lightning-fast costume changes were masked by radio programs and the booming voice of Adolf Hitler. The set, a handsomely furnished versatile two-story annex, was student designed and built. Overall, the tech in this show was executed well and was often moving.

Anne Frank, a hopeful girl in a hopeless era, inspired millions. The talented actors at West Springfield presented The Diary of Anne Frank with powerful emotion that left audience members stunned as the lights went down on this well-executed production.

by Joey Ledonio of Bishop Ireton High School

Photo Gallery

Catherine Ariale, Drew Holcombe as Anne & Otto Frank	Catherine Ariale & Drew Holcombe dance as Anne & Otto Frank as Rachel Steiner (Mrs. Van Daan) watches
Otto Frank (Drew Holcombe) comforts his daughter Anne (Catherine Ariale) after a nightmare	Peter Van Daan (William Shipley) and Anne Frank (Catherine Ariale) share an intimate moment up in the attic
Otto Frank (Drew Holcombe) recounts the fate of his daughter Anne (Catherine Ariale)

Photos provided by West Springfield High School

The Wizard of Oz was originally published by Frank L. Baum by the George M. Hill Company in Chicago on May 17, 1900. Since then, it has been reprinted numerous times, most often under the name The Wizard of Oz, which was the name of both the 1902 stage version and the 1939 film version. This story became a huge part of American popular culture following the success of the MGM movie version in 1939. Being one of the best-known stories in the pop culture world, it has been performed on many stages, including Broadway.

This musical tells the tale of a wayward young Kansas farm girl, Dorothy, who is an orphan that resides with her Auntie Em and her Uncle Henry in the countryside. When the malevolent Ms. Gulch threatens to have Dorothy’s dog, Toto, killed, Dorothy runs away from home, but gets caught in a wicked twister. She is swept away to the magical land of Oz where she meets many new friends including a Tin Man, a Scarecrow, and a Cowardly Lion. Together, they find the Wizard of Oz who helps them solve their problems.

A great show has a plethora of requirements, one of those being a powerful lead. Elizabeth Garcia, who played Dorothy, brought good characterization to her part, by using a soft, sweet voice and a curious, yet eager personality. The greatest example of this occurred when Dorothy and friends were first approached by the Lion. While the other characters seemed to have mixed emotions when threatened by the seemingly ferocious lion, Dorothy kept a quizzical expression on her face as she studied the feline spitting intimidating threats at the Tin Man and the Scarecrow. When the Lion approached Dorothy and began to menace her, she punished him with a slap across the face in a moment that had the audience thinking, “Oh, Dorothy.” Garcia’s commitment to her character was the backbone of the entire show, keeping the performance even and steady.

Another actress who kept the show flowing nice and smoothly was Brittany Morgan. Morgan, who played The Wicked Witch of the West, certainly added an element of enjoyment to the show. Although her appearances onstage were abbreviated, her distinct witch cackle would make the audience “melt” with laughter every time. Her commanding stage presence would keep the audience completely engaged with the happenings onstage, almost as if she had cast a spell on her scenes!

Out of all the outstanding actors in this show, none had energy that could trump that of Rick Leith, who played the Scarecrow. The charisma that Leith brought to his character really made this show something memorable, even if his head was made of straw! Scene after scene, Leith was constantly putting forth his best, without detracting attention from the main focus of that particular scene. The strongest example of this is in the song “If I Only Had a Brain”, where Leith’s great personal charm is combined with his impressive singing voice to make for a strong scene.

Without a doubt, West Springfield High School put on an astounding performance that leaves me with nothing left to say except, “O-Ee-Yah! Eoh-Ah!”.

by Vincent Zhao of Lee High School

Photo Gallery

Elizabeth Garcia, Miranda Tower	Elizabeth Garcia, Molly Keeter
John D’Angelo	Brittany Morgan
Rick Leith, Emily Becker and Abby Ngalle

Photos by Catherine Ariale

The Wizard of Oz (RSC version) produced with special permission of Tams-Witmark Music Library, Inc. New York, NY. Special Flying Effects by ZFX Flying Effects, Huntington Beach, California

Four children from England arrive in a new house in the country where they begin to explore. Curious little Lucy (Megan Dumond) discovers a wardrobe, and upon her entry she is ecstatic to find a whole new world. She calls for her brother Edmund (Grayson Van Beuren), and then Susan (Siri Benn) and Peter (Doug Dunphy) then follow suit into Narnia. The four children discover the sadness within the perpetually icy Narnia, under the evil spell of the White Witch (Ruthie Rado).

The creatively depicted personalities of animals and their mannerisms, along with their interactions with humans add undoubted originality to this play.

Megan Dumond brought the energy that was needed for Lucy’s bubbly character. Her liveliness and understanding of her character was well developed and crafted accordingly, complimenting the beloved character of curious little Lucy.

Megan Fraedrich commanded the attention of the entire theatre, as her intriguing performance of Fenris Ulf was portrayed superbly in every aspect of her character. The development of this authoritative, intimidating wolf persona was carefully depicted in every movement, from the way she delicately prowled the stage, to the way she articulated her words, adding extra chills to this already frosty setting.

The timid, stuttering, Mr. Tumnus brought a new wave of energy to the stage. J.D. Fortney was intriguing and believable as a friendly fawn. He played his character with such precision and care that he brought his own originality to this interesting role. Gliding across the stage, on the balls of his feet, and with dedication to his character, it was hard to miss Fortney’s outstanding performance.

Kelsey Rose was the original composer and director for the music in the play, this difficult task was executed in a great manner by this young artist. The music was a major aspect in enriching the overall tone of this performance.

The overzealous ensembles distracted some of the attention away from the leads; however their energy and enthusiasm added a much appreciated extra bit of liveliness to the show.

The set was visually pleasing, and the small details and polished scene changes were quite fabulous. This ‘oomph’ in set brought out the energy that seemed to lag at times. Despite some glitches with the microphones, the lines were well delivered and every actor quickly adjusted to any problems they had faced on stage. The costumes were rendered artistically for every character, and the ingenuity of the costume design was fantastic as all the animals looked quite the part.

The Lion, the Witch and the Wardrobe is an exciting adventure full of many enchanting characters, and the West Springfield cast made for an interesting performance.

by Caroline Burr of Flint Hill School

This musical was first a book by Herbert Fields and his sister Dorothy Fields, and then it was later turned into a musical with lyrics and music written by Irving Berlin. The story is based of the life of Annie Oakley, a sharpshooter from Ohio and her husband Frank Butler. It chronicles their life when they both were the best sharpshooters in the world, and premiered in 1946 on Broadway. When it returned for its revival in 1990 it won the Tony Award for the Best Revival. The New York Post called it “Irving Berlin’s greatest achievement in the theatre” and commented that it will “always be a musical for the ages, one of Broadway theatre’s enduring triumphs.” Well, West Springfield didn’t disappoint with their rendition.

Erin Cafferky was the lead of this musical playing the famous Annie Oakley, and she sure did come on with a bang, literally. While Annie might not have been able to “get a man with a gun” Erin sure could get the audience with her strong singing voice and her well-done acting. John Novalis played Frank Butler, and from his opening solo he captured the audience’s attention with his looks and charm. There was obvious chemistry between the two leads, which reached its peak at “Anything You Can Do.” Henry Dodge was a sure-fire hit as Buffalo Bill Cody, the old, lovable Colonel. Ashley Ferraro, Beth Clapsaddle and J.D. Fortney were adorable as Annie’s siblings. The whole cast got the audience’s “defenses down” and stole their heart.

There was also noticeable chemistry between Kara Crompton and Sabah Sabah, playing Winnie Tate and her part Native American love Tommy Keeler. Kara managed to keep her composure while singing even though her mic wasn’t functioning correctly. Winnie’s sister Dolly Tate was played by Caitlin Jackson, who was hilarious as the single woman who just couldn’t take a hint that she wasn’t “the girl he marries.” The ensemble was energetic and pulled the show together magnificently.

It was a very technical show, using more than a dozen body mics and follow spots, and it’s understandable that there were a few glitches. But the cast overcame those obstacles with composure and managed to pull of an excellent, enjoyable show. The set was intricate and detailed and was moved flawlessly by the unheard and unseen stage crew. The effects were done well, as there were many gunshots and tricks, and West Springfield’s production pulled most of them off without any mistakes. The costumes were mostly appropriate and added authenticity to the show and brought the audience further into the story of Annie, Frank and the world of sharpshooting.

West Springfield hit the bulls-eye by not only pulling off this dated musical and yet still making it authentic, but also by managing to capture and keep the audience’s attention, therefore winning the audience’s heart as the prize. The whole cast pulled together to put on this amazing show and had a lead who was charming, enchanting and a delight to watch! With well-choreographed huge dance numbers, beautiful singing and amazing chemistry, West Springfield made the audience “say it’s wonderful.”

by Maya Allicock of Washington International School

Unbeknownst to many, the original production went through multiple years of development, a change of producers, almost forty songs–twenty-two of which were cut, and more than forty drafts, before finally opening December 19, 1957. Running for 1,375 performances, it won 5 Tonys, including Best Musical.

West Springfield’s show opened with the West Springfield pit orchestra overcoming the difficult musical score to a surprisingly good extent for a high school. As the characters were introduced, it became clear that Kelly Snow, playing Professor Harold Hill, was perfect for his role. He excellently portrayed the smooth-talking schemer. His counterpart, Sara Meinhofer, had a wonderful voice that expressed the cautious but independent character of Marian Paroo. Professor Hill’s old friend Marcellus Washburn (Henry Dodge) brought some comedy to the stage with his jolly demeanor, and Mrs. Paroo (Siri Benn) mastered a stellar Irish accent that stayed consistent throughout the entire show, even during songs.

Supporting ensembles such as the School Board Members (Michael Ariale, Sean Cafferky, John Novalis, Paul Rowley) and the Pickalittle Ladies (Caitlin Jackson, Neva Keuroglian, Rachel Ritter, Megan Showalter) added a lot of pizzazz and energy with their funny antics. The sound (David Woody, Paul Schmidt) was superb, having almost no flaws, which is almost unheard of for high school productions. Well-executed songs, included “76 Trombones” and “The Wells Fargo Wagon,” that had extremely creative and original choreography (Sara Meinhofer).

West Springfield High School did a great job with reenacting the classic musical. With all the gorgeous costumes, talented voices, and innovative dances, The Music Man was definitely a show worth watching.

by Sonya Guerra of Quince Orchard

One of the oldest and most famous musicals ever performed on Broadway, Annie presents the ideas of optimism, hope, and the peculiarly American idea of social mobility, something particularly relevant to the 1930s, the era in which this musical is set. Desperate for love, Annie begins a search for her real parents as she sings and dances her way through the streets of New York and into the arms of billionaire Daddy Warbucks.

As Annie, Julie Frost was vibrant, defining her character with ease. Her voice reached impossible notes of clarity that perfectly complemented the optimism and energetic nature of an adolescent girl. Oliver Warbucks (Kelly Snow) was solid, providing juxtaposition for the orphan’s abundant joie de vivre.

The ensemble, consisting of street urchins, apple sellers, and most particularly, the cast of orphans, matched Annie in her intensity and street-wise toughness. The energy was high all around, and this group had definable characters and kept the musical moving. Aided by an exceptional orchestra, the songs were filled with exceptional performances and propelled the plot.

The sets were exceptional, with dimension and different levels perpetuating reality, and the stage crew, many dressed as maids in Warbucks’ Fifth Avenue Mansion, blended seamlessly into the scene. The sound, however, was unsteady, often interrupting a song or an important scene with a jarring note of inconsistency.

The ideas of wealth, dignity, love and optimism presented in Annie, well-known and beloved to all, became relevant in West Springfield High School, as the cast was imbued with a palpable energy that ably performed and brought to life the tale of Little Orphan Annie.

by Caitlin Hurwit of George Mason HS

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.