Seton School’s 2011 Senior Class’s lively production of Up the Down Staircase was touched with the poignancy that brought success to the 1965 Bel Kaufman novel and the mid-60s play and film, dramatized by Christopher Sergel. The story follows the challenges Sylvia faces as a new teacher encountering the bureaucracy and student apathy. Natalie Holmes’ exceptional directing rivals many adults. She has crafted a production with a plethora of well-developed characters, unremitting fervor and dynamic relationships.

Christian Kleb, the humorously emoting Dr. Maxwell Clarke, began the show with a show of strength. The cast continued with enthusiasm and dedication to their characters. Whether emulating styles of 1980’s teens or assembling a wardrobe for the colorful faculty, Liz Rogers and Natalie Holmes costuming enhanced character development through, while Leslie Zapiain’s hair and make-up design revived the ’80’s and distinguished teachers from students. The students and the lighting technicians admirably worked to overcome the challenges of performing on a small stage with limited resources. Occasionally, costumes and lighting made it difficult to observe facial expressions, and though some actors seemed uncomfortable in their roles, the majority embraced their characters and were highly entertaining.

Brittany Brown’s vivid expression and spot-on reactions made her a convincing Sylvia Barrett and a natural leading lady. Beatrice Schachter’s (Leslie Zapiain) warmth and motherly advice demonstrated her wisdom and compassion as the friendship between Sylvia and herself flourished. Whether tossing tea bags or popping in for announcements, the delightfully eccentric nurse (Margaret Rohan) exuded contagious enthusiasm. The scattered and stressed Sadie Finch came to life with the talented portrayal by Sarah Zapiain.

Sylvia’s primary goal became keeping her students in school. Her main battle was fought with the belligerent Joe Ferone, a difficult role aptly handled by Ricky Garcia. Anna Smith captured Alice Blake’s whimsical romanticism in her soliloquy, while Joey Rubin revealed Charles Arrons’ nervous sensitivity in his “suggestion box” notes. Maggie Murphy sweetly played the caring Carole Blanca who contrasted with sassy and stylish Linda Rosen (Maria Guyant). Lou Martin’s (Brendan Koehr) fun-loving antics secured his position as class clown, while the energetic Elena Neumark (Clare Duda) contributed to the bedlam. Edward Williams’ (Luke Guyant) drawl and swagger made it clear that he was “not from ’round here.” Though some students tried to dominate the classroom, such as pompous Harry A. Kagan (Seth Catalano) and creative Elizabeth Ellis (Katy Arnold), Miss Barret successfully kindled the confidence in timid Vivian Paine (Monica Mosimann), and uncertain Jose Rodriguez (Jonathan Rosato).

Humor and tenderness converged in Seton School’s production, reminding everyone to reach out to those who insist on going “up the down staircase.”

by Hope Wentzel of Thomas A. Edison High School

Disney’s Beauty and the Beast is the story of the studious and beautiful Belle (Monica Mosimann) who lives with her quirky father Maurice (Michael Hill). In her sleepy French town, Belle is pursued by the arrogant Gaston (Neil Blanchard) who controls the town. After her father disappears into the woods, Belle finds him in an enchanted castle ruled by the Beast (Justin Wykowski), who was a prince before being cursed by an enchantress. In exchange for her father’s freedom, Belle chooses to live in the castle, that is populated by dozens of lively ‘inanimate objects.’ Suave and easygoing Lumiere (Andrew Minarik) is a candelabrum; strict and nervous Cogsworth (Dillon O’Doherty) is a clock; and motherly and pleasant Mrs. Potts (Kelly Craige) is a teapot. Belle and the Beast must fall in love in order to break the curse, or the objects will never be human again.

Mosimann’s Belle was elegantly portrayed, and although the character itself was not dynamic, Mosimann made her role engaging by consistently remaining in character. Her vocals were impressively strong, especially her solos.

Blanchard proved to be one of the most powerful characters onstage. The mastery of his character Gaston was evident in his subtle mannerisms: from flexing his biceps and winking at the audience to crossing his eyes and purposefully mispronouncing his words, Blanchard became a villain almost worth rooting for. His coy smile became a signature of his character, and whenever Blanchard appeared onstage, his humorous persona as a conceited lothario commanded the scene.

The ensemble of castle servants also proved to be entertaining. The chemistry between Minarik and O’Doherty made for a plausible friendship. As O’Doherty acted as the stiff foil to Minarik’s poised character, the contrast always ushered laughs from the audience. Craige also had the difficult task of maintaining a consistent accent and singing the play’s namesake song, both of which she perfected.

The huge cast of more than 100 utilized every member with the unique technique of creating multi-leveled tableaus out of the scenes. Characters would be frozen in time, stopped mid-laugh or mid-sentence, in the middle of patting someone on the shoulder or gossiping to a friend. The idea of stopping reality allowed the audience to truly absorb themselves into this fantasy. Some accents slipped and there was occasional stiffness from the ensemble, but the actors’ exuberance and enthusiasm overshadowed any of the small and mostly unnoticeable problems.

An intricately designed set sported a balcony and staircase all set in front of beautifully painted backdrops, which created a dreamy mood despite being in a gymnasium. The unorthodox location, however, made for some distracting problems with sound. The costumes were intricate, especially the characters playing dinnerware. Spinning dishes, giant whisks, and a salt and pepper were just few to adorn the stage.

Beauty and the Beast is a story most everyone knows, but more importantly, a story that everyone can use. Seton School showed that people have the capacity to change for the better and that open-mindedness is the key to happiness.

Review submitted by Grace Donovan of Osbourn High School.

Photo Gallery

Mrs. Potts (Kelly Craige) and Chip (Margie Curran)	Beast (Justin Wykowski), Lumiere (Andrew Minarik) and Cogsworth (Dillon O’Doherty)

Photos by Jim Holmes.

Written in 1958 for the students of Loretto Heights College, Boomtown was commissioned as part of Denver’s centennial festivities. The musical chronicles Denver’s quest to build a railroad that will connect it to the rest of the nation. Bart Matthews (Justin Wykowski), an engineer for the Union Pacific Railroad, visits the hopeful township of Denver and, due in part to the machinations of the wicked Jed Harris (Brian Nagurny), concludes that the railroad can’t be built there. Undettered by failure or Harris’s threats, the town decides to construct its own railroad – and Bart, swayed by a newfound romance with local beauty Nancy Oliver (Shannon Bartnick), decides to pitch in.

Boasting smooth vocals and a gentlemanly air, Wykowski’s Bart was consistently appealing. His understated charm provided the perfect complement to Bartnick’s coquetry, whip-smarts and dulcet voice; the duets between the two, particularly the delightful “Someone Like You,” were among the highlights of the show.

Yet in a musical about a town on the rise, the townsfolk must be just as engaging as any romantic lead – and the supporting cast of Boomtown rose to the task. Hank (Neil Blanchard) and Slim (Andrew Minarik), a pair of lily-livered cowboys, were the uproarious epitome of an old-style comedy team; whenever onstage, their charisma and characterization drew belly laughs. Likewise, Kelly Craige‘s cameo turn as cantankerous Amanda Wilberforce was a comedic jewel, showing off both adept timing and a gift for slapstick. Jacob Akers‘ warmly paternal Judge Oliver never faltered, while Michael Hill, as the judge’s lowly assistant, added amusing depth to the age-old nerd stereotype. And as Mattie, the feisty saloon owner, Mimi Myers featured a voice as stout as it was glorious. Ensemble members occasionally looked less than involved, while others had difficulty expressing during musical numbers, but the tonality and intricate harmonies of Seton’s chorus were nothing short of outstanding.

Detailed, extensive and often adorable, Kelly Craige‘s choreography was not only creative but well-executed. The set design team also excelled, creating a Western atmosphere around numerous challenges in the space, and the pompadours and curls of the cast members’ hair, designed by Lisa Hill and Leslie Zapiain, were enough to transport an audience back in time. Transitions could sometimes have been smoother, but the technical aspects of Boomtown were generally laudable.

Early in Boomtown, the proud denizens of Denver label it “the only town for you and me.” One might not see what’s so special about a ramshackle mining junction – yet the energy, effort and exceptional ability of Seton’s cast and crew illustrated what a real “heck of a town” it could be.

by Sarah Marx of Homeschool Teens N Theatre

This version of the well-revered story of Cinderella and her Prince Charming was originally written for television in 1957 by Rodgers and Hammerstein, and was later adapted to the stage. It follows Cinderella, a sweet natured servant to her own house who is abused by her stepmother and stepsisters, as she transforms into the belle of the ball, leading the handsome prince to fall in love with her.

Bridget Mulhern tenderly embodied the sweetness, innocence, and idealism of Cinderella with energy and a lovely singing voice. She shone in her solo number “In My Own Little Corner” with fitting actions that showed dedication her character. King and Queen Gabe Duda and Mary Kate Vander Woude worked well together as the humorous and caring yet sometimes misdirected parents of the dashing Prince Charming, played by Alex Trujillo.

Prince Charming (Alex Trujillo) and Cinderella (Bridget Mulhern) share their feelings for one another during a walk in the Royal Gardens at the Ball.

Kelly Craige and Sarah Wykowski took on the outrageous stepsisters Portia and Joy with comedic perfection. The two went above and beyond in their portrayal of these quirky women, earning many laughs throughout the show. The Heralds Sean Bartnick and Johnny Myers were also a treat to watch, bringing massive amounts of energy each time they set foot onstage.

With such a large cast and limited space, the ensemble did well to lessen the chaos of group numbers by staying active and moving one section at a time rather than a full cast rushing around at once. Each member of the ensemble stayed active and coordinated throughout their time onstage, making distinct character choices and keeping with them.

Student costume coordinators Kelsey Kleb, Sierra Krynitsky, Mimi Myers, and Katie Lambrecht did a superb job with the costumes, especially those created for the leads, which were all very unique, detailed, and beautiful.

All in all, Seton School’s performance of Cinderella made for a very “lovely night.”

Reviewed by Hailey Lankowski of Woodrow Wilson High School.

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.