Highly decorated with Tony, Drama Desk, and Laurence Olivier Awards, the show, written and composed by John Kander, Fred Ebb, and Joe Masteroff, was originally produced on Broadway in 1966 to almost instant acclaim from audiences everywhere. Both symbolic and dynamic, Cabaret tells the story of American writer Cliff Bradshaw, who has come to early 1930s Berlin in hopes of finding inspiration for a new novel. Instead, he discovers romance in addition to political unrest: in his residence at the boarding house of the elderly Fraulein Schneider, the acquaintance with Ernst Ludwig (later revealed as a Nazi), and especially at the seamy Kit Kat Club. This cabaret serves as perhaps the last indulgent hotspot and safe haven for homosexuals and general frivolity. Throughout the story, the Club also provides a metaphor for the tenuous relationship between Nazi politics and social morals, as well as a visual narrator for the steamy plotline, especially that of the fateful relationship between Bradshaw and club dancer Sally Bowles.

The nuances of the fragile circumstances of Centreville’s Cabaret were best acknowledged through the subtle but powerful actions of the ensemble. Every waiter, partygoer, or military officer had convincing stage business, which made the fear and lust laced show more believable. Complementing this realism was the dramatic flair of the onstage orchestra, which punctuated the sensuality and apprehension of Cabaret.

Joshua Ewalt as Cliff Bradshaw proved especially commanding, with his clear solemn voice and touching vulnerability. Opposite him, Binta Barry as Sally Bowles presented inspiring optimism in the face of troublesome times, displaying charming interaction with Bradshaw.

Though some of Cabaret‘s characters may have lacked energy, Centreville’s Kit Kat Girls more than made up for it with stage presence and mastery of advanced choreography. Telephone and Kit Kat Girl Nora Winsler particularly stood out with eye-catching enthusiasm and character-driven pizzazz in her acrobatics and overall physicality, especially in rousing numbers such as “The Money Song” and “Two Ladies.” The timing between the actors, orchestra, and dancers was occasionally unsynchronized, but everyone compensated for this by exhibiting sharp sensuality in movement and definitive characterization.

Timing was sometimes an issue for the stage crew. Some difficult set changes were distractingly slow, but they performed them with impressive silence. The sets, designed by Nick Dell-Omo and Jeremy Smith, displayed impressive comprehension of the era, with glitzy streamers hanging from the Kit Kat Club’s walls, and bland watercolors plastering the walls of the boardinghouse. Suitable props, such as period microphones and Bradshaw’s aged typewriter, emphasized the period.

Despite the dark and ironic subject matter, Centreville High School’s production of Cabaret was thoroughly insightful and invited all to “relax, be yourself, and take off your corset.”

by Rachel Price of Woodbridge Senior High School

The novella was written by Charles Dickens, and was an immediate success. Published in December 1843, it was first performed as a play in early 1844. Taking place in 19th century London, its themes of generosity and charity are still relevant today. Selling a period record of 6,000 copies on its first day, this timeless tale has been adapted into various forms of performance, including an opera, a ballet, a film, and even a mime production.

With a dislike of Christmas cheer that could put the Grinch to shame, Ebenezer Scrooge (Daniel Lindgren) is a mean-spirited businessman. Cruel to his clerk Bob Cratchit (Arjun Rao) and even nephew Fred (Marcus Schmidt), there is no kindness in Scrooge’s heart, even on Christmas Eve. But beginning on his trip home from work, Scrooge is visited by spirits. First his deceased business partner Jacob Marley (Anthony Ingargiola) warns Scrooge that three spirits will visit him that night. Scrooge is skeptical, but Marley is proved correct when Scrooge is taken on three separate journeys by the spirits of Christmas past (Connor Mitchell), present (Emily Dwornik), and future (Sara Emsley). After being reminded of his childhood Christmas joys, exposed to how some people truly enjoy the holiday, and warned that if he does not change his ways he will die soon and alone, Scrooge has a change of heart. He is able to find the joy in Christmas, and begins to spread the cheer throughout London.

As Ebenezer Scrooge, Daniel Lindgren carried the show. With a gruff voice and subtle mannerisms such as shaking his hands, Lindgren was committed to his character from the moment he walked on stage. He portrayed Scrooge’s transformation smoothly, making the audience hate and then adore him by curtain call.

Portraying Jacob Marley was Anthony Ingargiola. From his spooky entrance, Ingargiola gave both Scrooge and the audience the creeps. Filling the stage with his booming voice and eerie presence, Ingargiola gave a stand out performance. Other noteworthy performers include Maddie Assel (as Fred’s Wife and Charwoman), Jacqueline Hogg (as Belle), and Emily Dwornik (as the spirit of Christmas present). All three actresses had defined characters, very real facial expressions, and were a pleasure to watch.

Nick Dell’Omo and Jeremy Smith are also deserving of praise. Their special effects (including fog, a dusting of snow, and even fire) were brilliantly executed and enhanced the production greatly. So did the hair and makeup, done by Ashley Avila and Christa Guh. The old age and spirit makeup on the performers was subtle and beautifully done. Although there were some technical difficulties, they did not detract from the heart of the show.

Centreville High School’s production of A Christmas Carol was simple and charming, and left the audience filled with Christmas spirit.

by Emily Sakowitz of Chantilly High School

The musical Working, written by Stephen Schwartz and Nina Faso, is an unusual musical that consisting of various monologues and songs that voice the stories, struggles, and dreams of different workers. Centreville’s strong ensemble portrayed these workers with empathy. Vocally, the ensemble had beautiful sound complete with lovely harmonies in the choral numbers, especially “Something to Point to.”

An extremely versatile actor who wore the hats of mason, restaurant worker, migrant worker and fireman, Anthony Ingargiola proved himself capable of humor, seriousness, and excellent singing. In every part he played, he showed a deep understanding of his character. His deep, rich voice brought pathos to his two solo songs “Un Mejor Dia Vendora” and “Mason.” His voice was paralleled by his committed acting, especially in his moving monologue about the importance and significance of a firefighter’s work.

Another standout performer was MaryKate Goff who played a spunky supermarket checkout girl whose fun dance moves and strong voice made her number, “I’m Just Movin” one of the most enjoyable songs in the show. Another actor whose voice added to the show was Emily Dwornik. Her lovely voice made and sensitive acting made the audience agree that there was dignity in her work of being a good mother and wife and that no matter what condescending people say, there is nothing wrong with being “Just a Housewife.”

With a few exceptions, the cast of Working had a difficult time fully committing to their characters and remaining in character at all times. Energy flagged in a few of the numbers but this problem was remedied by a few actors whose energy made their small roles entertaining and memorable. Arjun Rao, was hilarious as a salesman who dreams of the perfect career, wife and house next to a golf course. Daniel Lindgren showed that even the CEO has a heart in his mature portrayal of a pragmatic boss who shows unexpected love for his father and his son. Mitchell Cole also brought much needed energy to his role of an ex-copy boy with wild anarchist plans.

Centreville’s multifunctional set was one of the most impressive aspects of the show. It was a multi-leveled scaffold that easily transitioned from an iron workers scaffold to a big rig truck to a telephone operators office. The scaffold was lit by neon letters built out of union signs and spelling out the title of the musical, Working. Lighting also added to show with the exception of a few dim spotlights.

Overall, Centreville put on a an enjoyable show that reminded that audience that every day men and women do difficult, boring, or unappreciated jobs. Centreville gave a voice to these men and women who are proud of who they are and proud to be Working.

Review submitted by Anna Smith of Seton.

Steven Dietz’s Dracula, based on the novel by Bram Stoker, revolves around the sanguinary habits of Count Dracula. Jonathan Harker (Julien Guh) reveals his escape from a traumatizing stay at Count Dracula’s Transylvanian castle through his letters; meanwhile, his fiancée Mina (Annemarie Scerra) and her friend Lucy (Marlo Clingman) remain oblivious to its dangerous foreshadowing. Lucy is busy picking a suitor, one of whom is John Seward (Mitchell Cole), who oversees an insane asylum. One of Seward’s patients, Renfield (Anthony Ingargiola), relies on the blood of living animals believing they give him vitality, and he becomes of particular interest to Seward. When Lucy falls ill from a vampire bite, Seward calls for his mentor Van Helsing (Steve Belden), who is the only one who understands the severity of the dilemma at hand.

Anthony Ingargiola brought a sinister and intense energy to the stage. His physicality was always captivating, and whether he was throwing his chained hands against the wall or leisurely licking the rat’s blood from his arms, his performance was consistently chilling. Ingargiola portrayed the complex emotions of a madman with the finesse of a professional, earning him the full attention of the audience not just with every line, but with his nonverbal choices as well.

Marlo Clingman also portrayed a huge range of emotions. Her character’s journey from a coquettish girl to an invalid terrorized by the night to a cruel vampire was engrossing. Despite the emotional and physical intricacies her role demanded, Clingman mastered her character and never failed to entertain.

The pacing of the show, despite sometimes being too slow, allowed the cast to build intensity within the scenes. While some actors did not seem to fully understand the depth of their lines, the cast did a laudable job of never breaking character, which was particularly important in maintaining the eerie feel of the show.

Even with the occasional distractions of a noisy stage crew, the set was gorgeously minimalistic, playing on key props like huge windows and a bed to create a cozy bedroom that could easily be transformed into a dark room in a Transylvanian castle. The stage was divided into three different sets, which would unpredictably light up to showcase a new scene. One wall was creepily marked in bloody handprints and words, setting the mood for Renfield’s madness. Despite some instances when the light came on too soon, cutting off characters and exposing unprepared scenes, the lighting was always well done and appropriate. The colors reflected the mood and even implied the setting as it shaped trees onto the stage.

Dracula presents the haunting proposal that monsters live among us, and not just in the fantastic concept of vampires, but in the idea of insanity and madness. Centreville High School, with its talented and memorable cast, allowed this daunting show about the undead to come to life.

by Grace Donovan of Osbourn High School

The Elephant Man, a Tony Award winning play written by Bernard Pomerance in 1979, is based upon the life of a man living in England in the late 1800s. In the play this man is named John Merrick, although there is a debate on whether is name was Joseph, who suffered from horrible facial and body malformations.

Centreville High School’s performance was driven by the visual strength of each scene. The opening array of side show freaks, each trying to draw circus goers to come see them started the show with excitement. The ever moving Queens of the Congo showed the contrast between the harsh realities of circus life with the final performance seen by the public. The dream sequence, with its myriad of lights and the reversal of roles between John and his doctor entranced the audience and showed a hidden side to both characters. Throughout the show, the stage seemed as if it were a postcard, with snapshot images that could tell a story within themselves.

Steve Beldin, playing John Merrick, showed excellent physicality, giving the illusion of deformity by contorting his body and face and maintaining the contortions consistently throughout the show. Belden’s character also had strong vocalization and diction, speaking only out of one side of his contorted mouth, creating a speech impediment. Belden had strong relationships with every character he came in contact with, especially Mrs. Kendal, played by Annie Paradis, an actress hired by the doctor to help Merrick have some sense of normal society.

The technical elements of the play added greatly to the atmosphere. The music and sound effects helped the transitions and set the mood of nineteenth century England. The lights gave interesting effects, especially in the dream sequence. Some of the scenes would have benefited from brighter lighting, especially at the circus when the brightly colored costumes would have been much more effective. The sets had a balance between minimalist and realist that added greatly to the show and the use of the stage’s turntable helped to create the enclosed atmosphere that John Merrick was bound to throughout most of his life.

Centreville’s cast of The Elephant Man took on the difficult social question of how someone so different can fit into society. A complex show for any age, this high school cast was able to do justice to a still-disputed case.

by Alicia Mau of Yorktown High School

This musical was designed by a creative team led by the late William Strauss, one of the founders of the Cappies Critic Program, in October 2006. The group was a composite of eight students from the Metropolitan Area. Their work tells the tale of a group of college-aspiring seniors from Erma Schmoe whose grades are purposely miscalculated so that they would not be accepted into the elite Holly League colleges. The teens work together and discover that life is about following your dreams and not fulfilling those set out by your superiors.

Centreville’s cast was led by a range of strong vocals and dance that captivated the audience. Their large cast showed a variety of personalities that were all well-acted. The performers appealed to the viewers mainly because they all resembled typical high school students.

The strong ensemble was led by junior Neema Atri in the role of Jared. Atri’s amazing vocals and stage presence, along with his charm and wit, made him the star of the show. He was accompanied by the role of Evelyn played by fellow junior, Alyssa LeBlanc. Her ability to capture the stress of a high school senior made the play more realistic for the audience.

Neema and Alyssa were well supported in their success; Senior Andrew Kaberline played the role of Babbers, embodying his awkward personality and sense of humor as he climbed up the social ladder. The young role of Timmy, played by Ian Lyons, was well-portrayed and Lyons’ dedication to the role was evident on stage. The humorous Julianna Lee played Madonjelina, a superstar with her entourage following her everywhere. The liberties she took with the role and subtle gestures made her performance stand out in such a large cast.

Centreville’s use of set resembled that of the Brady Bunch with different colored boxes used in a variety of ways. Their use of real lockers as props and desks made the stage look like the inside of a school. The sound was great, using seventeen microphones at once, despite frequency disturbances in the first half.

Senioritis, as performed by Centreville, was inspiring, as well as entertaining,especially to seniors undergoing the stressof preparation for college. The students’ great song and dance routines captivated the hearts of the audience and made a memorable tribute to the hard work of William Strauss.

by Joey Greener of Paul VI

Emma Carew (played by Maggie Burrus) & Dr. Jekyll (played by Nate Rossini)

Doctor Henry Jekyll, a brilliant scientist, is trying to figure out what makes a man evil. After his father’s death, Jekyll is convinced that a cure for mental illness lies in the separation of both good and evil natures. Without a test subject, Dr. Jekyll experiments on himself which in result creates a murderous counterpart named Edward Hyde. After killing many people, Mr. Hyde receives a “confrontation” with Dr. Jekyll in which they fight to see which side will control his body.

Based off the Robert Stevenson novel “The Strange Case of Dr. Jekyll and Mr. Hyde,” Jekyll & Hyde opened at the Plymouth Theatre on April 28, 1997. The show ran for a total of 1,587 performances, 44 of which were previews, making Jekyll & Hyde Plymouth Theatre’s longest-running show. After nearly four successful years, Jekyll & Hyde came to an end on January 7, 2001.

Nate Rossini‘s performance as Jekyll/Hyde was outrageous! For most actors, playing two roles simultaneously is difficult to do, but for Rossini, the roles came naturally. As Dr. Jekyll he was a kind, determined man, and tended to bring light into a gloomy situation while as Mr. Hyde he was a despicably horrid man. When Dr. Jekyll and Mr. Hyde came for their “confrontation,” Rossini had to play both characters one right after the other which he accomplished with a great success that was above a high school level performance.

As Lucy Harris, a beautiful prostitute, Caroline Rushing had fantastic character development and superb vocals. “Bring On the Men,” Lucy’s entrance song, was performed dapperly, in which Rushing’s vocals and dancing abilities were very vividly portrayed. As Dr. Jekyll’s fiancé Emma Carew, Maggie Burrus displayed an astounding range of emotions, weeping over her amoretto’s sudden change in personality.

Cooperation between Centreville’s large ensemble cast and crew was evidenced in the nearly seamless transitions, in which actors and technicians alike kept the production flowing smoothly along. Numerous wireless microphones, handled properly by Sound Designer Peter Arango, brought the musical’s complex lyrics through clearly, supporting the actors who so consistently carried their lines.

All in all, Jekyll & Hyde comes to life on the faces of the actors in Centreville High School’s production. The story of Dr. Jekyll and Mr. Hyde will haunt the audience long after the final curtain call.

by Jose Pineda, Manassas Park

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.