All in the Timing, a collection of six one-act plays, was written by the witty American playwright David Ives between 1987 and 1993. In Wakefield’s production, we followed the story of a young man and woman who continuously reset their conversation until they are able to finally connect (“Sure Thing”), three blue-collared construction workers who claim to be famous and historical figures (“Mere Mortals”), and a young man who lives in a state where he must request the opposite of everything intends to ask for (“The Philadelphia”). After a short intermission, they continued with the tales of Leon Trotsky’s alleged death from a mountain climber’s axe (“Variations on the Death of Trotsky”), the seemingly romantic communication between a young man and woman that is translated into an impractical grammar lesson (“English Made Simple”), and three simultaneous dates taken place at a miniature golf course (“Art of the Fugue”).

Evan Gendreau, who portrayed the role of Bill (“Sure Thing”) and Chuck (“Art of Fugue”), displayed great character development as he was able to switch between diverse personalities with realistic ease through his humorous expressions, clear diction, and constant movement. His energy, alongside his stage presence, provided for an entertaining vision as he was able to develop interesting and unique characters, despite the repetitive dialogue of the scenes, with a simple ring of a bell. Gina McLinden played Evan Gendreau’s counterpart as Betty (“Sure Thing”) and Amy (“Art of the Fugue”). Like her counterpart, she was also able to depict fresh, interesting characters and humorous expressions that helped show her character’s strong and intellectual nature. Together, both were able to illustrate great chemistry, providing for an even more realistic display of a romantically linked couple.

Alex Alexander, who played Ramon in “Variations on the Death of Trotsky,” gave a comical performance of a Spanish communist who smashed, not buried, a mountain climber’s axe into Mr. Trotsky’s skull. He was able to illustrate his character almost perfectly through his consistent and amusing Spanish accent, outlandish attire, and clear projection.

The set, placed with the school’s gym, was very simple yet intriguing. Adding a little festive spirit, the stage was decorated with Christmas lights, miniature trees, and small little decorations that created a very attractive display. During intermission, holiday songs filled the gymnasium, creating a very fun and memorable experience.

The general cast, although giving a very memorable performance, seemed to lack consistent projection and energy as some, not all, of the individual performances were short of high energy or were unable to be heard clearly and fully. However, the cast displayed incredible timing, comical energy, and smooth set changes, which enhanced their performance greatly and added a unique touch to David Ives’ classical play.

The Wakefield School’s cast was able to use the humorous aspects of the play to outpour a good amount of energy, though sometimes excessive, throughout the entire performance, thus creating a production that overflowed with precise timing and pacing through mutual cast cooperation, showing that the key to a good production is in fact, all in the timing.

The final two performances are Friday and Saturday, Jan. 7 and 8, 2011 at 7pm.

by Nora Ogunleye of Pope John Paul the Great Catholic High School

The style of the 1940s and the Brooklyn backdrop highlight the love story of theater critic Mortimer Brewster (Chris Stone) and girl-next-door Elaine Harper (Gabby Vazzana). Mortimer is troubled by his very unusual family, from his two aunts Abby (Gracie Morrison) and Martha Brewster (Rachel Christian-Fenwick) who kill lonely men with poison-laced elderberry wine, a brother (David Muss) who believes he is Teddy Roosevelt, and another brother Jonathan Brewster, played by an adult, who travels with a plastic surgeon Dr. Einstein (Mike Byrne) who together are killers in their own right.

Wakefield’s camaraderie throughout the cast was translated well into the play. Gracie Morrison and Rachel Christian-Fenwick, playing Abby and Martha Brewster, were a great team and had great chemistry. Although some actors had trouble keeping a straight face at the beginning of the play, everyone on stage committed to their lines to make it a truly funny play. The homicidal pair of Mike Byrne and Andrew Clubb looked like they had been companions for years.

Chris Stone playing Mortimer Brewster brought the part alive. He combined intense lines with comedic lines effectively and delivered them on time. Between being tied to a chair, chasing out a tenant, and kissing his fiancé, Stone was spot on.

Anne Marie Glen, playing Lieutenant Rooney, had a real presence on stage. Even though playing a male role she spoke and forcefully as a Lieutenant in the police force.

Arsenic and Old Lace‘s traditional set is two-stories, but the one roomed stage created a great mood. The set construction team of Zach Tipple, David Muss, Rachel Christian-Fenwick, Chris Stone, and Patrick Penderville made an incredible set with unique furniture and accessories. As an audience member you felt that you were part of the set while cast acted all around you and also in the aisles.

For a play full of laughs and gasps, and an effective mix of intensity and comedy, Wakefield School deserves a round of applause for Arsenic and Old Lace.

by Elizabeth Storey of Osbourn High School

The play, while filled with great tension supplied by the subject matter, nonetheless was rather long and therefore at times dragged. However, particularly in the beginning, the pacing of lines was quick and precise. Overall, character interactions seemed dynamic and the choices made were for the most part well founded in the text, although there was not a lot of truly original developments being made. Characterization got markedly stronger as the show progressed, and the ending was interesting and effective in communicating some of Bolt’s major motifs of personal decisions based on the demands of an individual’s conscience.

Wakefield had a convincing lead man in junior Chris Stone. His emotional commitment was remarkable, and he portrayed the differences in physicality between the healthy and honored More of the beginning and the ill, imprisoned More of the second half of the show skillfully. Acting opposite him as More’s wife, Alice, was Rachel Christian, a junior who grasped well the emotional turmoil required of the part.

The standout in the supporting cast was the Common Man, played by Christian Morrison. This senior transitioned between multiple roles, including servant to More, boatman, jury member, and eventually executioner with energy and conviction, although his bearing as the different characters was not always completely distinct. His vocal inflection and facial expressions were most definitely some of the most entertaining aspects of the show. Also noteworthy was Vicky Gravett in the role of the Duke of Norfolk, the nobleman struggling between what he sees as his duty, which coincides with his desire for self-preservation, and the urge to help his friend More. Gravett’s performance definitely conveyed this important inner conflict to the audience.

Technical effects were minimalist, which served to increase the focus on the actual action of the show. Perhaps the most noteworthy technical effect came at the end, with four spotlights focused only on the head of the Common Man, as executioner, revealing the ‘head of a traitor.” This particular choice was very effective.

Given the heavy material of the script, Wakefield School made a strong attempt at telling Robert Bolt’s story of A Man For All Seasons. The actors and technicians obviously put great effort into this show.

by Laura Muth of Thomas A. Edison