First performed in Chicago in 1990, Marvin’s Room was written by Scott McPherson, whose experiences as an AIDS victim during the height of the epidemic greatly influenced his writing. The play then went onto be performed off-Broadway and the Kennedy Center, and saw a 1996 film adaptation starring Meryl Streep, Diane Keaton and Leonardo diCaprio. Set in a sunny Florida town, Marvin’s Room follows the kindhearted Bessie, who resides with her ill father and aging aunt as their primary caretaker. However, when Bessie is diagnosed with leukemia, she is forced to reach out to her sister–a runaway free spirit whom she hasn’t seen in twenty years–and her two nephews in search of a bone marrow match. As the story unfolds, confessions are made, tears are shed and an entire range of human emotion is experienced.

Cast members adeptly handled the seriousness and sensitivity of the subject with sophistication. Katie Wattendorf magnificently anchored the production and tackled the immensely demanding role of Bessie with impressive realism, creating a credible character. Noah Mutterperl imbued the role of the rebellious, teenaged Hank with ardor, providing several levels of complexity to his role, from violent outbursts to genuine moments with Wattendorf. Mutterperl demonstrated a commanding stage presence and his commitment to character, even when the spotlight was elsewhere, was utterly fantastic. As Bessie’s estranged sister Lee, Allisha Edwards delivered a perfect balance of edge and sincerity.

Supporting actors also brought fantastic intensity to the production. Cindy Funes and Hank von Kolnitz as Bessie’s dotty aunt Ruth and adorable nephew Charlie showcased some of the best chemistry in the entire show, constantly feeding off each other’s energy. Both actors also demonstrated superb comedic timing, producing necessary lighthearted moments in such a heavy drama. As the show’s bedridden titular character, Daniel Kingsley did not have any spoken lines but managed to add to the family dynamic through excellent physicality.

Technical aspects were simple in design, but stunningly effective in execution. A deconstructed set created a personal, intimate atmosphere for the production. A kaleidoscopic range of costumes, hair and makeup distinguished differences in characters, visually depicting the Florida environment as well as the physical transformation of Bessie during her battle with leukemia. Lighting and sound were consistent throughout the show, and occasional hiccups were handled with professionalism by actors and tech members.

Few high school theater departments are able to undertake such a serious topic with the respect and honesty it deserves, but the talented cast and crew were able to do just that. During one of the most emotional points of the show, Bessie reflects on her life and remarks, “I’ve been so lucky to have been able to love someone so much.” Indeed, audience members were lucky to have attended such a wonderfully executed performance, one of pain, patience, solidarity and strength, as Hayfield Secondary School’s production of Marvin’s Room.

by Yena Seo of Thomas Jefferson High School for Science and Technology

Photo Gallery

Noah Mutterperl as Hank & Cindy Funes as Ruth	Katie Wattendorf as Bessie & Noah Mutterperl as Hank
Katie Wattendorf as Bessie and Noah Mutterperl as Hank	Katie Wattendorf as Bessie & Allisha Edwards as Lee
Katie Wattendorf as Bessie & Daniel Kingsley as Marvin

Photos provided by Hayfield Secondary School

Singin’ in the Rain was first a 1952 film, before being adapted into a stage musical. With its witty screenplay by Betty Comden and Adolph Green, and iconic songs by Nacio Herb Brown and Arthur Freed, Singin’ in the Rain is a perennial favorite about the troubles and triumphs of Don Lockwood. Don is a star in silent films, fighting a fabricated romance with his vocally ungifted co-star Lina Lamont, and raising havoc with his co-conspirator and friend, Cosmo Brown. When Don meets the vivacious Kathy Selden, he immediately falls for her. As Lina fights to save the life she thinks she has, and Don strives for a life with Kathy, everyone must confront one of the biggest changes in filmmaking history — the talkie.

Noah Mutterpearl was exuberant and endearing as Don Lockwood, maintaining unflagging enthusiasm despite his ample stage time. A freshman, Mutterpearl exceeded expectations, capably carrying the large role with impressive tapping capabilities, and a trademark mischief. Hank von Kolnitz, a freshman — playing Don’s partner in crime, Cosmo Brown — immediately drew the eye with his constant character, liveliness, and credible relationship with Mutterpearl, perhaps best displayed in the number “Moses.” Kathy Selden, played by the thoroughly talented Gabi Stapula, was a delight to watch and hear with her dream-like movements and period-sounding vocals. Allisha Edwards was delightfully devious and detestable as Lina Lamont, with a hilarious number “What’s Wrong with Me?” Daniel Kingsley, a featured tapper, deserves great praise for his dancing, as well as for choreographing several numbers alongside Ms. Stapula.

The set was constructed to maximize versatility, and accomplished its job well. While some scene changes ran long, it is important to note that moving a cast full of people in tap shoes silently off stage is no small feat. The orchestra was commendable for their endurance. The black-and-white films that intercut the production were as hilarious as they were well constructed.

A warming tribute to a bygone era, Hayfield’s Singin’ in the Rain was sweet and heartwarming, sprinkled with mirth and innocence. In the words of Charlie Chaplin, “Nothing is permanent in this wicked world — not even our troubles.”

by Amanda Courtney of Oakcrest School

Photo Gallery

Noah Mutterperl and Gabi Stapula	Allisha Edwards, Armin Haracic, Noah Mutterperl
Noah Mutterperl, Daniel Kingsley, Hank von Kolnitz	Noah Mutterperl
Hank von Kolnitz, Allisha Edwards, Katie Wattendorf, Noah Mutterperl, Gabi Stapula	Noah Mutterperl and Cast

Photos by Jean Martelli

This rousing drama, written by Lillian Hellman and inspired by an actual 1810 trial, was deemed highly controversial on its Broadway arrival in 1934, and was later adapted into a successful film starring Audrey Hepburn in 1961. The play follows Martha Dobie and Karen Wright, two all-girls boarding school headmistresses whose lives enter a perilous downward spiral when a surly student, Mary Tilford, alleges a story of a secret lesbian affair between the two, and it spreads through the town. Martha and Karen struggle to salvage their dwindling reputations and deal with their overwhelming grief as this unfounded allegation leads to their untimely downfall.

The talented cast of Hayfield Secondary School brought life to this sensational play, remaining heavily engaged in scenes while playing strong dramatic roles. From the ensemble to the leading ladies, each cast member brought tactful emotional vehemence that tapped into the pathos of this alluring production. Although there was a lack of articulation at times, emotive acting and strong projection made up for this minor misstep.

A standout performance came from Yvonne Fox, as the despairingly misunderstood Martha Dobie. Fox’s staunch portrayal of Martha and her inner struggles with taboo feelings of infatuation was phenomenal, and her solid dynamism and engaging finesse brought compassion to a character bleakly confined by her own emotions. Contrasting Fox’s performance was Paige Horwitz as the utterly troubled Karen Wright. Horwitz’s despondence and vulnerability was present in her every move, and the chemistry and mutual admiration between the two characters was both complex and interestingly presented by the gifted actresses.

Taryss Mandt’s superb portrayal of the gullible Mrs. Amelia Tilford was an exceptional performance amongst many impressive supporting roles. Mandt’s believability stemmed from her solid characterization of an aging grandmother, complete with a raspy voice, elderly gait, and ill-fated susceptibility, which allowed for a seamless interpretation. Mandt’s pleasant rendition was matched by Ian Burgess, who played Karen Wright’s passionate love-interest, Dr. Joseph Cardin. Burgess’s tender demeanor and heartbreaking fragility exhibited towards the end of the show was extremely compelling. Katie Wattendorf gave an impressive performance as the devious Mary Tilford, encompassing all aspects of her character’s personality from her devilish nature to her feigned innocence.

Era-appropriate costumes like schoolgirl uniform dresses, pastel colored gowns, and bright floral blouses combined with appropriately stylized hairdos added realism to the 1930’s ambiance of the show. Though there were minor technical issues, these slip-ups were made up for by the well-constructed set, which consisted of a school classroom that later was transformed into an upscale home featuring ornate furniture and a fireplace.

Hayfield Secondary School’s appealing rendition of The Children’s Hour was filled with raw adversity and all-pervading heartbreak. The cast dealt with profound topics such as homophobia and unrequited love with depth and commitment.

by Julian Sanchez of Westfield High School

Photo Gallery

Yvonne Fox, Allisha Edwards, Katie Hardy, Natalie Williams	Katie Wattendorf, Taryss Mandt
Taryss Mandt, Yvonne Fox, Adde Plemmons, Paige Horwitz, Ian Burgess	Ian Burgess, Paige Horwitz
Paige Horwitz, Yvonne Fox

Photos by Jean Martelli

The plot follows the efforts and follies of two young gentlemen, Proteus and Valentine, in the pursuit of love. Proteus, who had been dating the fair Julia, goes to Charlottesville to become a better man, only to become infatuated with Silvia, who has already given her heart to Proteus’s best friend Valentine. The bonds of Valentine and Proteus’s friendship are tested, and it is only after encountering a clown, a dog, an uptight chancellor, and an unruly band of outcasts do the friends and lovers make amends.

Hayfield set the scene in a very flexible and sparse set. Roman columns extended high in the upper middle of the stage, accentuating the many levels and steps throughout. There was no need for scene changes or blackouts, making the stream of action continuous. The combination of floor mikes and hanging mikes allowed every word of the Shakespearean dialogue to be clearly heard, but made other distracting noises audible as well. The actors were never just confined to the stage, and frequently walked throughout the aisles of the house, and even directly interacted with the audience. This made everyone feel more involved with the show and more keen to watch the plot unfold.

Carter Plemmons (Valentine) displayed some of the best characterization within the cast. His physicality was very fitting of his character and provided much of the play’s humor. Plemmons had a stage presence that was more commanding and engaging than any other actor, even when he wasn’t even one stage but on the house. Jesse Eftis (Proteus) utilized not only acting skills but his musical talent in his role. By converting a monologue into a love song Eftis added to the modern feel of the production without turning Shakespeare into a Lifetime movie. Jacob Brisson (Thurio) was a very amusing, and his haughty manner with sunglasses on head and lacrosse stick on hand made him a caricature of the jock stereotypes all high school students know so well.

Yvonne Fox (Speed) was very natural, and seemed to be the most comfortable with the Shakespearean dialogue. She was articulate in her projection, and very deliberate in her voice inflection and actions. Fox understood her dialogue, and decisively manipulated her inflection and physicality in order to intensify the meaning and humor of her character. Taryss Mandt (Lance) shone brightest among a cast of stars. Her comic timing and diction was impeccable, and her quirkiness made her sometimes steal the show, and when Mandt didn’t steal the show, her dog Marely (Crab) did. The pair made up the most hilarious duo of the entire play.

At times there was a level of upstaging by what was going on behind the principal actors, which unfortunately detracted from some of the most vital scenes.

Hayfield’s rendition of Two Gentlemen of Verona was fun and unusual, and did the classic play great justice.

by Lucy Stratton of Centreville High School

Photo Gallery

Lance (Taryss Mandt), Speed (Yvonne Fox), Crab (Marley)	Valentine (Carter Plemmons), Proteus (Jesse Eftis)
Julia (Paige Horwitz), Lucetta (Elizabeth Stapula)	Dr. Duquette (Libby Dowell), Valentine (Carter Plemmons)
Valentine (Carter Plemmons), Speed (Yvonne Fox), Outlaws (Janella Mones, Melissa Mirenzi, Fraci Cesaro)

Photos by Jean Martelli

Composing greats Kander and Ebb wrote the score, while Rupert Holmes handled the book for Curtains, which had a well received 2007 Broadway run that garnered eight Tony Award nominations. Created as a play-within-a-play spoof of both murder mysteries and musicals, the show opens as the star of Old West musical Robbin’ Hood falls down dead within seconds of taking her bows on opening night. Detective and secret theatre aficionado Frank Cioffi is sent to solve the case, and his help may be the only thing that can keep this production from death…literally!

As Cioffi, the nosy officer seeking the murderer and maybe a better musical, Jacob Brisson delivered his lines loudly and clearly, as well as performing an impressive tap duet. His partner, ditzy yet conniving understudy Niki Harris, was played effectively by Maria Cammarata, who exhibited great prowess as a dancer and delivered laughable lines to the audience. Aubrey Meeks carried the vocal strength of the performance as hard-nosed producer Carmen Bernstein, in songs like “Show People (Reprise)” and “It’s a Business.”

Dueling lovers and composers Georgia (Meghan Peterson) and Aaron (Michael Bayerle) convincingly played their love interest in lamentable numbers like Bayerle’s vocally-strong “I Miss the Music.” And Lizzy Stapula’s pretty twirls and leaps as aspiring dancer Bambi, as well as the cast’s great dancing efforts in several numbers, brought up energy in several songs when the slow-paced performance was lacking it.

Despite clear comic cues from the script, some actors failed to create memorable and funny caricatures for their over-the-top roles. An exception to this was funnyman Carter Plemmons, portraying the outlandish director Christopher Belling, whose snobby accent and grandiose gestures brought laughs from each of his excellent lines. Occasionally, however, some lines from the company were regrettably lost, making it more difficult to understand this murder mystery’s twists and turns.

Lovely painted backdrops were a highlight, giving an appropriate sense of place on the set and containing visually appealing details. Lighting was simple but effective, as were the props and special effects. Few microphone malfunctions occurred, though it was occasionally hard to hear some actors.

Putting on an intricate whodunit is hard enough, without adding the complications of show business to the mix. Despite these hardships and some lagging energy, Hayfield Secondary School put an admirable effort forth as the curtains went down on their own performance. For putting on a humorous production, the culprit is clear: case closed.

Julia Katz of McLean High School.

Photo Gallery

Ensemble	Ensemble
Nathan Brown, Lizzy Stapula

Photos by Jean Martelli.

The Twilight of the Golds (whose title even comes from the last piece of Wagner’s work, The Twilight of the Gods), portrays the sometimes far-fetched life of a Jewish family in New York City. Suzanne (Kate Drakeley) and her husband Rob (Michael Bayerle) are celebrating their third anniversary with Suzanne’s parents, Walter and Phyllis Gold (Solomon Menkerios and Sarah Congress), and her gay brother David (Conler Mandt) when Suzanne reveals she is going to have a baby. At first the whole family is ecstatic, but controversy erupts when Rob’s genetic research company Oxy performs some tests on the baby which reveal that it is pre-disposed to becoming homosexual. Suzanne is caught between the brother she loves and the emotional decision she must make regarding whether or not to terminate her pregnancy.

The five high-school students who took on the very adult roles in the script were able to endow each of them with realistic attributes that forged a strong connection with the audience. This connection allowed the less-believable portions of the script to be forgotten and the deep emotional conflicts to be savored.

In the role of David, Conler Mandt was able to create a very complex character persuasively likeable and deeply divided. His moments of narration, much like the great operas the character speaks of, hummed with the variation between hilarious zingers and introspective thought. His relationship with Kate Drakeley’s Suzanne was both quirky and incredibly believable. Sarah Congress and Solomon Menkerios, as Walter and Suzanne, embodied both the stereotypes of Jewish parents and every parent’s love for their children.

The technical elements of the show brought the operatic aspects of the script into full view. The pieces of Wagner’s opera placed in David’s monologues gave a great dramatic feel, but sometimes overpowered the dialogue. The stage crew at Hayfield was able to quickly and accurately change between two complex sets with ease.

Hayfield Secondary School’s Production of The Twilight of the Golds was not only a poignant piece of well-performed theater, but also a highly artistic expression of conflicts that occur in our own lives. The clashes between the old and the new, the scientific and the artistic, the pragmatic and the creative were all among those portrayed with courage, deep understanding, and generosity.

Twilight of the Golds will also be performed this weekend, May 8 and 9 at 7:30PM. Don’t miss it.

by Kevin Place of Thomas Jefferson High School

Fantastic secondary roles brought this production to new heights, including the roles of Sister Miller (Sarah Congress) and Doris Miller (ArDonna Hamilton). By demonstrating a strong grasp of character progression and an exceptional adherence to script development, both actresses managed to make very different characters out of relatively similar individuals. Additionally, Meg Boyd (Aubrey Meeks) lifted the show to new levels, singing beautifully and remaining in character whenever on stage. Lynch, a reporter (Rachel Brisson), demonstrated considerable stage presence and dedication. Though the production had slower moments, the secondary characters brought the show itself up to pace.

Unique lighting designs by Connie Chee, Robert Shropshire and Kate Drakeley established the sultry tone of Damn Yankees, painting a familiar world with a colorful twist. Props by Mary Ellen Martelli created the fast-paced baseball universe that the production so heavily relied upon. Kayleigh Randall, Conler Mandt, Joey Halse and Katelyn Thomas managed to provide comic relief as a stage crew, bringing new depth to an unexpected role with postures and stage movements.

Though collaborative ensemble work, Damn Yankees proved that, even in the best of circumstances, dealings with the underworld will never achieve morality. Through excellent characterization, the cast as a whole created distinct personalities with a unique dedication to the creation of the individual. Essentially, Damn Yankees proved to be so much more than a story of “Shoeless Joe from Hannibal, MO.”

by Allyson Foreman of Thomas A. Edison