West Side Story originally opened on Broadway in 1957 with book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. The first run received the Tonys for choreography and scenic design. The show has since been a heavy source of revivals in regional, national, and international tours. The story follows that of Shakespeare’s Romeo and Juliet, placed in the Upper West Side of New York City during the 1950s. The musical replaces the family feud with that of racial struggles dominant in the 50s: the Montagues and Romeo with the Polish-American Jets and Tony and the Capulets and Juliet with the Puerto Rican Sharks and Maria. Complexities and depth are added by a Bernstein score as the tale of young love was explored impressively by Wilson’s cast and crew.

Yana Madrid’s approach to Maria’s songs were incredible as she switched between two vocal registers flawlessly. Her renditions of “Tonight” and “I Feel Pretty” were especially impressive. Madrid’s chemistry with Tony (Ben Topa) truly expressed the youthful love they had for one another. While Topa had troubles hitting the higher notes in Bernstein’s score due to a cold, he fully committed to his role and established clear relationships with every character he encountered. Other standout performances include Riff (Jonah Gigli) and Anita (Nakfana Gidey) who both consistently sustained character and carried a great presence on stage. Both displayed a wide range of emotions from anger to despair to optimistic happiness.

Overall, the ensembles kept up energy. “America” was packed with power, while the comedic “Gee, Officer Krupke” received a boisterous laugh from the audience. The Jets’ outstanding chemistry shined as each member portrayed realistic characters who were both part of the ensemble itself and also their own person.

While the cast performed fantastically, the crew working behind the scenes executed their jobs with precision. The set changes between scenes were quickly executed while the pit orchestra played diligently to keep up with the fast paced and demanding score. The costumes reflected the time period accurately. Some light and sound troubles occurred yet the actors’ devotion to their roles allowed their mannerisms and actions to forward the story. The choreography became progressively complex yet the actors again undertook their hardships with the dances and fights outstandingly. Twirling dresses and realistic stage combat overtook the stage in a frenzy of excitement and shock.

Woodrow Wilson High School’s production of West Side Story tackled this challenge head on creating an evening full of love, hope, and tragedy that ultimately conjured many tears from the audience.

by Stuart Pratuch of West Springfield HS

Photo Gallery

Nakfana Gidey as Anita. Background: Anita Montero (Francisca), Janea Johnson (Teresita) and Lena Jones (Margarita)	Lena Jones as Margarita, Gena Basha as Estella, Fenice Thompson as Rosalia and Nakfana Gidey as Anita
Yana Madrid as Maria and Ben Topa as Tony	Ramiro C Forty as Bernardo, Michael Bayliss as Diesel, Jonah Gigli as Riff, in background Zachary Nachbar-Seckel as Action
Ramiro C. Forty as Bernardo, Jonah Gigli as Riff. Background: Peter Maeder (Gee-tar) Michael Bayliss (Deisel) and Tristan Huber (Big Deal)

Photos by Judy Licht

Guys and Dolls first made its début on Broadway in 1950 and is based on the stories and characters of Damon Runyon. Winning the Tony Award for Best Musical in 1951, Guys and Dolls follows the story of two particular gamblers. One is Nathan Detroit (Des O’Brien) whose dedication to gambling has prolonged the engagement to Hot Box showgirl Miss Adelaide (Anna Martone) for 14 years. The other prominent gambler, a smooth talking big shot Sky Masterson (David Peck), takes a bet with Nathan that he will be able to woo the pious and abstemious Sarah Brown (Samantha Cherukuri) into accepting a dinner invitation with him to Havana.

In Woodrow WIlson’s production, Anna Martone, playing Miss Adelaide, carried the show. The flamboyant gestures and physical expressions gave exactly the right streak of defiance and adoration toward Nathan (Des O’Brien). Surrounded by a dazzling light frame, her solid presence carried distinctly amidst the other lively and committed dancers in Hot Box numbers such as “A Bushel and a Peck.” Martone’s chemistry with O’Brien in numbers such as “Sue Me” were both adorable and entertaining as they both played off one another with humor and proceeded to take successful risks with the characterization of their respective roles.

Anchoring the show were David Peck (laid back and alluring Sky Masterson), Des O’ Brien (aggressive yet sweet Nathan Detroit), and Samantha Cherukuri (pious and strict missionary Sarah Brown). Cherukuri displayed a vocal range of envy in numbers such as “I’ll Know” with Peck. Cherukuri’s strong angelic head voice in harmony with Peck’s deep and powerful voice in this number was heartwarming and beautifully executed.

Zac Nachbar-Seckel stole the show with his brilliant physical and vocal characterization of Nicely-Nicely Johnson. One of the strongest numbers in the production was “Sit Down, You’re Rockin’ the Boat” due to his fabulous execution and vocal ability supported by the energetic choreography and unexpected harmonies from the Crap Shooters. His ability to both stand out and naturally blend in is commendable. Everything from his walk to his ability to maintain a pitch had the audience charmed. In general, the cast was lively and the big numbers, like “The Crap Game Dance,” were pulled off smoothly and authentically despite the number of people on stage.

The set of the underground crap game was a wonderful surprise and transitions between scenes were done smoothly without a single prop out-of-place. Costumes ranging from the pin-striped suits of the gamblers to the flamboyant dresses of the Havana dancers were accurate and fitting. The entirety of the performance was supported by a skilled orchestra and colorful lighting. Despite a few mic and enunciation problems, both the cast and crew put forth very good effort and carried on a thoroughly enjoyable production of Guys and Dolls.

by Michiko Feehan of Albert Einstein High School

Photo Gallery

Des O’Brien as Nathan Detroit and Anna Martone as Adelaide	Ben Topa as Benny Southstreet, Des O’Brien as Nathan Detroit and Zac Nachbar-Seckel as Nicely Nicely Johnson
Anna Martone (Center) as Adelaide with Hot Box Girls Vivian Carroll (L) and Zoe Haynes (R)	Adam Tempchin as Big Jule, AJ Harris as Harry the Horse and David Peck as Sky Masterson

Photos by Judy Licht

With book, music, and lyrics by Lionel Bart, Oliver! opened on West End in 1960 and premiered on Broadway in 1963 where it ran for nearly 800 performances and secured three Tonys. The musical had been revived multiple times on both Broadway and West End. The much beloved show is based on Charles Dickens’ Oliver Twist, and follows the trials of an orphan boy sold from a workhouse and later recruited by a band of young pickpockets. After a moonlight requisition gone wrong Oliver is taken in by a respectable gentleman and becomes disillusioned with the life of thievery, but escape won’t be easy.

Alexander Carroll-Cabanes drove the plot, playing Oliver with a wide-eyed boyish charm and a soft British accent perfectly fitting for his character. Maggie Roos as Nancy, the conflicted lover of the infamous brute Bill Sykes (Chris Jones), showed great depth in her performance and found her real niche in a hearty rendition of “Oom-Pah-Pah.” David Peck portrayed the leader of the young ruffians, Fagin, with quirky charisma and sinister undertones. His impeccable comedic timing, showcased in the contemplative number “Reviewing the Situation,” had the audience in stitches.

A lively ensemble lent great energy to the show with individual characterization and reactions. Fagin’s rowdy gang especially was a pleasure to watch, whether they were traipsing about the stage in the jovial “Pick a Pocket or Two” or acting all gentleman-like in “I’d Do Anything.” While the visual energy of the show was impressive it did not translate vocally, with ensemble numbers often lacking volume. At times heavy accents and a lack of diction obscured dialogue, but the accents overall were consistent and realistic.

The running crew, led by stage managers Annie Berman and Abby Mros, was of near professional quality. Complicated scene changes with bulky sets were executed quickly, fluidly, and quietly.

Woodrow Wilson’s choice to use an enormous cast, which included elementary and middle school students, was a risky one that worked out wonderfully. Their energy-infused production led to an absorbing, enjoyable show. “Please sir, can we have some more?”

Oliver! performances will continue this weekend on Friday, November 18 at 7:30PM, and two on Saturday, November 19 at 2:00PM and at 7:30PM. Don’t miss it.

by Gretchen Kuhn of Briar Woods High School

Photo Gallery

Alex Carroll-Cabanes and David Peck	Zoe Haynes and Maggie Roos
Zoe Haynes, Alex Carroll-Cabanes, and Maggie Roos along with Fagin’s Gang	Madeleine Tom, Sarah Torresen, Fenice Thompson with Alex Carroll-Cabanes, Zoe Haynes, and Maggie Roos
Chris Jones and Maggie Roos

Photos by Judy Licht

Hairspray was written by Mark O’Donnell and Thomas Meehan, with music written by Marc Shaiman and lyrics by Shaiman and Scott Wittman in response to the 1988 film by John Waters. After opening on Broadway in 2002, Hairspray went on to win eight Tony awards out of thirteen nominations.

It is 1962, Baltimore, Maryland and Tracy Turnblad dreams of joining the cast of The Corny Collins Show, a nationally broadcast dance show. But when she lands the role, her outspoken support for the mounting civil rights movement may cost her everything. Only with the support of her mother Edna and father Wilbur, her best friend Penny, her fellow cast members and new found friends, can she hope to strike a blow for racial equality and win Ms. Teenage Hairspray!

This show’s great strength was the commitment and animation of the leading players and the whole supporting cast. Their countenance, enthusiasm and especially their expressive facial expressions, projected far into the audience. Every cast member established idiosyncratic characteristics of their very own.

From her opening number, “Good Morning Baltimore”, Maggie Roos as Tracy Turnblad embodied a very distinct personality using her powerful voice and facial expressions to communicate to the audience. Her romantic counterpart, Kevin Kelly as Link Larkin not only shared endearing chemistry with Roos in their scenes together, but proved an exceptional physical actor. His hip gyrations in the Presley parody “It Takes Two” were a performance in their own right.

It could be said that as Seaweed, Timothy Hunter possessed an elegant sense of rhythm, a commanding sense of self confidence, and a subtle though not overlooked comedic instinct. He was the living embodiment of pure cool. His counterpart, Emily Gore as Penny Pingleton was simply exceptional when delivering potentially cringeworthy lines with enthusiasm and truth. Gore held the audience’s attention, noteworthy especially in such a strong cast. Finally, as the central antagonist, Chloe Menderson as Velma Von Tussle had not only had a captivating voice but an unmatched physicality. She only disappointed when she left the stage.

Lighting and sound highlighted the show without distracting from it. Sound quality was nearly pitch perfect all night, whatever tiny errors made nearly unnoticeable. Lighting was of a professional quality.

“You can’t stop the motion of the ocean or the sun in the sky” and you couldn’t stop the excitement Woodrow Wilson High School generated Friday night.

by Joseph Powers of T.C. Williams

Featuring a large cast performing on a small stage, Urinetown‘s greatest strength was the rich, full sound of their ensemble singing. All of their notes were correct, and every voice blended together nicely as they nailed a difficult score. Several solo singers stood out as well, such as Maggie Roos, who played Little Sally, Jake Tempchin as Caldwell B. Cladwell, and Emma Haberman as Hope Cladwell. Roos’s performance of “Tell Her I Love Her,” stunned the ensemble and the audience with heart wrenching news of Bobby Strong’s death. Tempchin proved his worth in the song “Mr. Cladwell,” hitting some high notes without losing his good tone, and Haberman stepped up in the last few minutes with a gospel inspired take on “I See a River.” In general, the sound was amazing. Working without microphones made it hard to hear some performers, but that never interfered with the plot or overall performance.

The acting was good as well, especially in the case of Nathan Kohrman and Kevin Kelly, as Mr. McQueen and Hot Blades Harry, respectively. Kohrman elicited the most laughs from the audience with his hilarious fixed smile and nerdy mannerisms. Kelly was stunning as the twitchy, violent Hot Blades, as he walked the fine line between funny and disturbing. Although the ensemble seemed to lack energy on some songs, many members had personal characters that they never dropped, which really made the story seem more real. The swift scene changes between the run down streets of the people and the shining offices of the Urine Good Company (which controls all of the public bathrooms) were executed smoothly. The set also fit into the setting of the plot quite nicely. Cool additions like the emergence of the two cops, Officers Lockstock and Barrel, from a manhole in the stage were creative and realistic.

Overall, Wilson’s production of Urinetown was put together and executed admirably. The students took a satirical warning of humankind’s future and turned it into a wildly entertaining night of song, dance, jokes, and drama.

by Sarah McCully of Albert Einstein High School

As an ensemble Wilson performed superbly. The synchronization was astounding; each movement had an impact, whether it was as complicated as three triangular formations which the entire assemble would form, or a simple hand gesture, which a group would do. Individual performances, in terms of movement, were wonderfully done by Ashley Nicholas (Sarah’s Friend), during the end of the first act, in the song “Til We Reach That Day.” The song is expressing the pain of the African American community for their unjust loss of Sarah. Miss Nicholas’ solo made tears well in the audience’s eyes. She understood her character’s pain and was able to execute it beautifully through the smallest hand gesture and sobs. Another actor who had nice physicality was Georgi Goldstein (Evelyn Nesbit). Her character was a vaudeville “diva” who loved the attention she would receive from the press and the men. Although Goldstein appeared as Evelyn only few times, she made each moment shine with a wink, a kick, and a wave performed with a flare of childlike cuteness.

Vocal performances from cast members such as Christopher McFadden-Gooding (Booker T. Washington), Maggie Roos (Emma Goldman), and Ashley Nicholas (Sarah’s Friend), were delightful surprises, and they instantly captured the audience with their strong and unwavering voices. Lead actors, who gave more substance to the show, were Tebo Geo-Mba (Coalhouse), and Kevin Kelly (Tateh). Both of their performances consisted of a difficult emotional range for their characters, varying from being ecstatic, to depressed, to enraged, to in love. The actors’ strong portrayal of their characters was much appreciated by audience members.

The lighting, costumes, and props were all done exquisitely. All of these components helped the audience fully believe that they too were living at the turn of the twentieth century.

Overall the show was wonderful and very well worth the price of admission!

by Mariana Barbosa of J.E.B. Stuart High School

Last weekend, Woodrow Wilson Senior High School paid tribute to Sondheim’s work in their production of Into the Woods based on the book by James Lapine and with music and lyrics by Sondheim. Into the Woods premiered on Broadway in 1987 winning Tony awards for best score, best book, and best actress. This work is characteristically dark and especially challenging to perform.

The musical combines the stories of Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and an original tale about a baker and his wife. Each story becomes intertwined as characters’ desires overlap and conflict. Happy endings seem inevitable at the end of the first act but unravel completely in act two. Students from Woodrow Wilson admirably performed Sondheim’s compelling musical.

The lead characters, the Baker (Peter Hartmann) and the Baker’s wife (Cecelia Miles), made an excellent couple. Miles was one of the strongest members of the cast, singing evocatively in the song “Any Moment” while having an affair with Cinderella’s Prince (Jake Tempchin). Little Red Riding Hood (Alexis Chaney) brought hilarious comic relief and energy to the show. Cinderella (Georgi Goldstein) and her Prince Charming (Jake Tempchin) had wonderful chemistry and also sang well individually. Rapunzel (Natalie Plumb) was by far the best vocalist, wooing her lovers below the tower with her angelic voice.

Rounding out a great cast, the Witch, played by Deliah Doolan, sang enchantingly in some pieces like “Last Midnight.” The Wolf, played by Tebo Sonkwa, used incredible body language and physicality to create a menacing character. Jack (Babaak Parcham) had a youthful look and a great voice.

Overall, the performance was sometimes difficult to hear and understand due at least partially to microphone problems. However, the large ensemble scenes and songs highlighted the show. They were full of energy and, unlike smaller, individual pieces, were easy to hear. Technical difficulties distracted some actors, but overall cast focus was great.

The students of Woodrow Wilson dazzled the audience with a grand performance of Into the Woods. Riddled with technical difficulties and struggling with Sondheim’s notoriously difficult music and harmonies, actors maintained great presence and energy. Stephen Sondheim would have been pleased.

by Jeremy S. Kallan of St. Albans & Nat’l Cathedral