With the beautifully complex music and lyrics by Stephen Sondheim and the witty book written by James Lapine, the musical debuted in San Diego in 1986, then on Broadway in 1987 to rave reviews. From its original Broadway run, Joanna Gleeson as the Baker’s Wife snagged the Tony award for Best Actress in a musical, while the show snapped up several others, such as Best Score and Best Book. The love for the production has not dwindled since then, as a live-action musical film adaption is coming from Disney in 2014. The story follows the different lives of classic fairy tale characters with the new addition of a childless Baker and his Wife. While the first act follows the classic “happily ever after” the audience expects, the second act takes the story on unexpected track, focusing on the darker side of the happy endings. Venturing into the woods to achieve their own means, the character’s stories cross and overlap, creating an adventure of moral question, conflicting interests, and finding yourself, as the characters discover what can happen in pursuit of a wish.

Emily Bubeck (The Baker’s Wife) captivated with her control over Sondheim’s tricky score, and her apt comedic timing. Her believable chemistry with her bumbling husband, portrayed by Joshua Reiter, made the audience root for them throughout the production. Lara Taylor (The Witch) also won the affections of the audience through her beautiful vocals and emotional dedication to her character. She, along with the cast in general, maintained a gripping vocal energy that kept the audience engrossed in the story.

The cast as a whole had a creditable hold on Sondheim’s difficult music, and this talent was spectacularly executed within the core performers, such as Lexie McEntire (Cinderella) and Drew Bondy (Jack). Both performers never failed to impress with their gorgeous vocals and honest portrayal of their characters. Additionally, Bryce Menard (Cinderella’s Prince) charmed the audience with his smooth delivery and arrogant physicality. His banter with his princely partner-in-crime, Jacob Nelson (Rapunzel’s Prince) was also a crowd pleaser.

The ensemble all together brought energy and dedication to the production with passionate focus, never letting a technical fault or missed cue throw them off. A couple of stand-outs were Anna Phillips-Brown (Rapunzel) with her lovely vocals and comedic energy, and Claudia Caceres (Jack’s Mother) with her commanding stage presence and hilarious delivery. A unique piece of Woodson’s production was the interesting use of dance, notably Merritt Palmer as a ballet pointe soloist.

The tech truly helped bring the show to life. The set was incredibly detailed and convincing as a creepy thicket of woods, while also providing a fun and functional setting for the characters to maneuver on, giving the audience great stage pictures and levels. The costumes amazed the audience with their artistry, quality, and detail. Although there were a few lighting and sound issues, the ensemble worked through them admirably.

With their energy, dedication, and commendable performance of Sondheim’s intricate compositions, W.T. Woodson made their production a “wish come true” to watch. The choice is made, the task is set; you have to take the journey to see W.T. Woodson High School’s Into the Woods!

by Maggie Hardy of Hayfield Secondary School

Photo Gallery

Lara Taylor, Anna Phillips-Brown	Joshua Reiter, Drew Bondy, Lexie McEntire, Maddy Branley (‘No One is Alone’)
Bryce Menard, Sean McCracken, Claudia Caceres, Emily Bubeck, Joshua Reiter	Sean McCracken, Ariana Hooberman, Jessica Schuler, Laura Baker, Maddy Branley, Javier Killifer, Lara Taylor, Emily Bubeck, Joshua Reiter

Photos by Kristie McEntire

With only time for “One Last Kiss,” rock star Conrad Birdie (Gilbert Louis Braun III) is stuck in Sweet Apple, Ohio amongst throngs of teenage fan girls, few of whom he finds appealing. A publicity plot by Birdie’s Manager, Albert Peterson (Josh Reiter), one name out of the millions of girls in the Conrad Birdie Fan Club was randomly selected to send Birdie off into the military with a highly televised kiss. However, the young lady who has won the prize, Kim MacAfee (Ali Romig), has just agreed to “go steady” with her beau, Hugo (Jacob Nelson). Although Kim is simply dying to kiss Conrad Birdie, jealousy drives Hugo to try to prevent the kiss by any means possible, which leads to some messy results. Accompanied with the love of Albert’s life, Rosie (Paula Lavalle), pushing Albert to drop show business, and Albert’s mother, Mae (Faith Johnson), denying him the right to marry Rose, Sweet Apple quickly evolves from a quaint and calm town in rural Ohio into a battleground between parents, children, and an extremely stressed manager.

As Albert, Reiter created a lovable and relatable character that kept the audience engaged in the show. His strong vocals shone in songs such as “Baby, Talk to Me,” displaying the commitment toward his character and a sense of playfulness that brought smiles to every face in the room. As Rosie, LaValle’s clear voice rang through the auditorium, exhibiting great vocal control as she lilted through songs such as “An English Teacher” and “What Did I Ever See In Him.” However, Kim’s best friend Ursula (Emily Bubeck), the bartender, Maude (Izzy Valdes), and Mrs. Mae Peterson all stole the show, creating energetic and memorable characters that left the audience with broad grins on their faces every time these characters exited the stage.

The ensemble of Bye, Bye, Birdie was divided into adults and teenagers, with all participants in each lending to a clear separation of characterization. The ensemble was committed throughout the show, with numbers such as “The Telephone Hour” and “A Healthy Normal American Boy” displaying a great amount of energy and vocal strength as a whole. The Mr. E Street Band orchestra also displayed a great amount of skill with very few errors that never detracted from the show onstage.

With a clever and versatile set design and thoughtful, entertaining props, Woodson was able to distinguish different settings from each other. The colored lighting effects helped to lend depth and meaning to scenes within the show, with a very impressive spotlight that rarely missed its target.

A round of applause rang through Woodson’s auditorium as the audience celebrated a cute, funny and feel-good show. Although there were a few makeup issues, some sound errors, and stage crew blips, Woodson put on a fun and entertaining production of Bye, Bye, Birdie, lighting up the faces of every person in the room with well-timed jokes and fainting fan girls galore.

by Erika Gallagher of Thomas Edison High School

Photo Gallery

Josh Reiter and Faith Johnson	Miryam Mendelson, Lara Taylor, Maddy Branley, Sophia Spaulding, Gilbert Louis Braun II, Emily Bubeck, Alison Romig, Anna O’Hara, and Meghan Howe
Josh Reiter and Paula Lavalle	Paula Lavalle

Photos by Barbara McCracken

Casts of nominated shows and the performers of nominated songs presented musical numbers as well as scenes from the nominated plays. The entire show will be aired on Cox Cable “Red Apple” Channel 21 beginning the week of July 2 and will continue throughout the summer.

Throughout the year, the Cappies program is driven by hundreds of area high school theater student critics who attend each others’ shows, write reviews, and serve as Cappies awards judges.

The Gala ceremony was marked with excitement and encouragement. There was never a sense of competitiveness or negative reactions as any of the Awards were announced.

Westfield High School received ten awards, including Musical for their production of Crazy For You. McLean High School received five awards, including Play, for A View From the Bridge.

Rising Critic

• Julian Sanchez, Westfield High School

Returning Critic

• Madelyn Paquette, McLean High School

Madelyn Paquette also was awarded the first Washington Post Critic Award.

Graduating Critic

• Joseph Biagini, Westfield High School

Critic Team

• McLean High School

Marketing and Publicity

• Kyle Norfleet, Michelle Slivinski, Jenny Rubin, Caitlyn Herron, South Lakes High School, West Side Story

Sound

• Alex Allen, Lydia Carroll, Lindsay Worthington, Walt Whitman High School, Frankenstein

Lighting

• Nikolas Allen, Andrew Elman, Walt Whitman High School, Frankenstein

Stage Crew

• Walt Whitman Stage Crew, Walt Whitman High School, Frankenstein

Sets

• Walt Whitman Set Crew, Walt Whitman High School, Frankenstein

Costumes

• Ana Mendelson, Abby Deatherage, W. T. Woodson HS, Alice in Wonderland

Make-up

• Brianna Weiner, W. T. Woodson HS, Alice in Wonderland

Props

• Rita Fair, Jordyn Stewart, Mount Vernon, Blithe Spirit

Special Effects and or Technology

• Brian Clarkson, Walt Whitman High School, Frankenstein

Orchestra

• “Crazy for You” Pit Orchestra, Westfield High School, Crazy For You

Choreography

• Colby Dezelick, Westfield High School, Crazy For You

Creativity

• Arjun Baxter, Composer, W. T. Woodson HS, Alice in Wonderland

Ensemble in a Play

• The Mechanicals, Robinson Secondary School, Ken Ludwig’s Midsummer/Jersey

Ensemble in a Musical

• Follie Dancers and Cowboys, Westfield High School, Crazy For You

Featured Actress

• Kaity Hinojosa, Langley High School, The Crucible

Featured Actor

• Mitchell Buckley, Westfield High School, Crazy For You

Female Dancer

• Corinne Holland, Westfield High School, Crazy For You

Male Dancer

• Nikko Custodio, South County Secondary School, West Side Story

Female Vocalist

• Ariana Kruszewski, South Lakes High School, West Side Story

Male Vocalist

• Sam Allen, Dominion High School, Pippin

Comic Actress in a Play

• Virginia Coffield, St. Stephen’s & St. Agnes School, Fools

Comic Actor in a Play

• Kamau Mitchell, HB Woodlawn Secondary Program, The Foreigner

Comic Actress in a Musical

• Alexandra Nicopoulos, Fairfax High School, Sweeney Todd

Comic Actor in a Musical

• Ian Peterson, Stone Bridge High School, Anything Goes

Supporting Actress in a Play

• Mia Amado, Woodbridge Senior High School, The Miracle Worker

Supporting Actor in a Play

• John Downey, Chantilly High School, I Remember Mama

Supporting Actress in a Musical

• Michelle Radcliffe, Heritage High School, Legally Blonde the Musical

Supporting Actor in a Musical

• Joseph Biagini, Westfield High School, Crazy For You

Lead Actress in a Play

• Lexie Shoaibi, McLean High School, A View From the Bridge

Lead Actor in a Play

• Damian Leverett, McLean High School, A View From the Bridge

Lead Actress in a Musical

• Sean Pugerude, Paul VI Catholic High School, Hello, Dolly!

Lead Actor in a Musical

• Colby Dezelick, Westfield High School, Crazy For You

Song

• Brotherhood of Man, James Madison High School, How to Succeed in Business Without Really Trying

Play

• McLean High School, A View From the Bridge

Musical

• Westfield High School, Crazy For You

The illustrious history of Alice in Wonderland begins in mid-nineteenth century, with Lewis Carroll’s celebrated novels, “Alice’s Adventures in Wonderland,” and “Through the Looking Glass.” These classic tales enumerate the experiences of a young girl named Alice, who falls down a rabbit hole into the fantastic, illogical, even terrifying world of Wonderland; a land full of anthropomorphic creatures who declare to a bewildered Alice “everyone’s mad here.” This basic premise anchors the rest of the plot that has been warped and twisted in its many adaptations in film, musicals, ballets, stage plays, and operas spanning nearly the past two centuries.

While almost every technical aspect of W.T. Woodson’s production was impeccably crafted, its costuming stood apart with its particular brilliance of both design and execution. Gorgeous Victorian frocks and corsets adorned the queens, the exotic caterpillar’s multitude of bracelet-decorated arms moved in flowing synchronicity, and the animalistic characteristics of the Mock Turtle and Frog-footman were suggested subtly through color, detailing and silhouette. This alone would have provided for an impeccable production, yet they were elevated still by the brilliantly industrial steampunk aesthetic. The collaboration between costumes and makeup allowed for seamless transformations, as they morphed the Cheshire Cat’s face into an eerie grin, positioning goggles as eyes atop his head and using his whole face to create the classic smile. The professionalism and creativity in this production’s special effects was illustrated in the effortless management of extensive flight rigging and harnessing, which allowed Alice to swim through the flowing, bubbly sea of tears. Original music, composed skillfully by Arjun Baxter, created a uniquely fast-paced, almost digitized sound to the production.

Molly Jacob tackled the immensely difficult role of Alice. As the one straight character in a fantasy world, Alice is often perceived as unremarkable. Yet, like everything else in this production, Jacob took a unique approach to the role. She captured Alice’s immaturity and pervasive sense of superiority, constantly scolding the wonderland characters for their nonsensical behavior and logic.

The entire ensemble of wonderland creatures was incredible, carrying this show with a fantastic energy and deep commitment to their own unique interpretations of their characters. Peter Moses’s utterly wacky March Hare was impeccable, as he flitted spastically about the stage, moving with a lightning-paced, staccato physicality through the tea party. Ana Mendelson’s portrayal of a scatterbrained White Queen was excellent as she drifted across Alice’s path, unkempt and distraught. The mastery of comedy demonstrated at W.T. Woodson was remarkable, from Caroline Wienroth’s delightfully intoxicated caterpillar, to the uproarious dry humor of Jack Carey’s bumbling mock turtle.

In the grand history of Alice in Wonderland, it is easy for a humble high school production to be swallowed into the immense shadows of its predecessors. The talent, energy, and overwhelming skill of the students at W.T. Woodson, however, allowed this production to shine with a new light of its own.

by Siena Richardson of McLean High School

Photo Gallery

Caroline Weinroth	Ana Mendelson, Molly Jacob

Photos by Jenna Howe

The novel “Little Women” was first published in 1869 and since then has enchanted readers around the world, inspired numerous film adaptations, and made its way to the Broadway stage. With an adapted book by Allan Knee and music and lyrics by Jason Howland and Mindi Dickstein respectively, the show ran for a total of 137 performances at the Virginia Theatre before closing on May 22, 2005. The musical chronicles the lives of Meg, Jo, Beth, and Amy March, their mother Marmee, and the boy-next-door Laurie. Put everyone together and what ensues is a witty story of passion, friendship, love, and above all, sisterhood.

The charm of the performance was rooted in the fact that every actor took the time to develop his or her own character to make it shine. Whether a ballroom dancer, hag, or sister, dedication to the role and to the show as a whole was admirable.

Robin Chinn delivered a convincing, heartfelt portrayal as the story’s passionate and ambitious heroine Jo. Driven by impeccable vocals, Chinn believably matured with her character over the course of the show. As the girls’ quirky neighbor, Andreas Moffett’s performance as Laurie was both entertaining and authentic, especially in his breathless pursuit of Jo and courtship of Amy. Marmee, played by Kayla Slagter, had a maternal presence that was always felt and a phenomenal vocal range that she successfully utilized in her stirring solos.

A notable asset to the production was Ana Mendelson, who portrayed the sweet-tempered, meek, and sickly Beth. She perfectly characterized Beth’s journey throughout the show, and her heartbreaking death scene was wonderfully executed. Abetted by perfect comedic timing, Emily Adler provided laughs as the uptight Aunt March with her flawless and original interpretation of the character. Where music is concerned, some actors were a bit off-key and flat at times, however every singer possessed strong, graceful vocal ability.

The tech aspects of the show were immense and large-scale. A two-storied, complex set served as both the March home and a New York boarding house. Although they could have been a bit shorter, transitions were effectively carried out by the stage crew between the two settings. Costumes were appropriate for the time period, and the hair and make-up were well done, especially for the hags, trolls, and ballroom dancers. Sound defects often marred the actors’ dialogue and singing, but the use of sixteen wireless microphones was impressive for a high school production.

W.T. Woodson’s production of Little Women, the Musical was well executed with beautiful vocals and believable characters. Although there were only a few minor kinks, they did not detract from the show’s overall effect. The cast and crew proved that although the women may be little, their hearts and dedication are big.

by Emma Banchoff of Washington-Lee High School

Photo Gallery

Lucy Mink (Amy), Ana Mendelson (Beth), Robin Chinn (Jo) and Amy Bronick (Meg)	Robin Chinn (Jo), Ana Mendelson (Beth), Amy Bronick (Meg), Kayla Slagter (Marmee)

Photos by Frank Kohn Photography.

The characters of David and Lisa were introduced in a novel by author and psychiatrist Theodore Isaac Rubin, who based the story on case studies. The story inspired Frank and Eleanor Perry’s 1962 film and was later adapted for the stage. The story of David and Lisa is an unusual one, told through a series of short scenes. The play follows David Clemens, a teenager whose intelligence is overshadowed by his severe obsessive-compulsive urges and fear of being touched. After being sent to a school for psychologically troubled children, David meets Lisa, whose split personalities intrigue him. Though David insists that he is observing Lisa as a mere study, he begins to care deeply for her. As David slowly helps Lisa recover, he realizes that she, in return, is healing him.

Stuart Loomis and Erica Messenger anchored the show as David and Lisa, respectively. Loomis’ strong stage presence and mature characterization contrasted nicely with Messenger’s high energy and childlike enthusiasm. Messenger – whose dialogue consisted primarily of seemingly nonsensical rhymes – brought depth to a difficult character.

Energy occasionally lagged throughout the production, but several actors still delivered standout performances. Emily Adler’s mature performance as the caring but occasionally overbearing Mrs. Clemens was particularly impressive. The marked difference between her motherly relationship with Loomis and her clearly disapproving interaction with other students at the school successfully emphasized her inability to accept her son’s problems.

The set (Jen Grottle) was comprised of multiple gray panels, which were maneuvered around the stage to create a series of different rooms. One of the most impressive aspects of this arrangement was the ease at which it could be changed. Thanks to the stage crew (Jessica MacDonald, Jennifer Grape, Jenna Pratz, and Nora Hayman), members of which moved individual panels with remarkable speed and agility, scene transitions were quick and well-executed.

W.T. Woodson’s engaging production reminded the audience that, as David himself learned, “the important thing” is not what others think – but what you think of yourself.

Elisabeth Bloxam of Westfield High School

Footloose had its beginnings as a motion picture, released in 1984, and was later adapted suit the stage. Opening on Broadway in 1998, it ran for about two years, until 2000. Since that time, the production has gone on a number of national tours in both the US and the UK. This play presents catchy and varied music, created by Tom Snow and others, as well as book, by Dean Pitchford and Walter Bobbie, which brings audience members along on the emotional journeys of the characters.

The play starts out with Ren McCormack (Brendan Rice) who, with his single mother, Ethal (Jaimie Appleton), is moving out of vibrant Chicago and into the über religious town of Bomont. Ren quickly learns that dancing has been outlawed and is determined to change this. Reverend Shaw (Max Wollner), Principal Harry Clark (Emily Vanni) and townsfolk write Ren off as a troublemaker. However, the real trouble begins when he falls for the preacher’s rebellious daughter, Ariel (Kirsten Salpini).

Choreography was the grounding feature for this show. It was spot on and entirely student original, by Sam Melvin and Sara Persily. The production also shone in regard to other technical aspects: The set design, although make-shift due to the high school’s ongoing construction, was simple but very effective. And even with minimal set changes, the set crew did a stellar job of moving props on and off stage quickly.

The leads, Kirsten Salpini and Brendan Rice, both acted out well-developed characters and gave a moving performance of “Almost Paradise” in the second act. Strong vocals were seen by leading, as well as many supporting actors, including Luke Savoca, Mia Savoca and Jaimie Appleton.

Robert Moorman and Alyssa Easterly gave the audience that necessary comic relief in the form of the goofy country couple, Willard and Rusty. There was a great cameo appearance by Megan Kearney, that was comical and memorable. Although no specialty makeup was used to make adult characters look aged, the skilled acting on the part of these performers still made them believable to the audience.

The pit orchestra, Mr. E Street Band, was a small group with an impressive sound. Their music was just the right volume, allowing all of the performers’ voices to be heard even with a few minor sound problems where microphones cut in and out. The overall audio balance was good, and the musical numbers stood out as highlights of the show.

The cast of Footloose put their best feet forward in terms of singing, dancing, acting and the whole package. This show is worth a second viewing, if just to re-witness and experience the energy given off by the hard-working cast and crew.

by Leah Samuelson of Annandale High School

Stephanie Billard had a beautiful stage presence as she played the role of Lenina. All of her actions were very believable, and she maintained a high level of performance throughout the entire show. Brendan Rice, playing the role of John, seemed very comfortable on stage. There was a sense of honesty every time he spoke, and it was easy to forget he was just a high school actor. Though it can be hard to play emotional roles, Cassy Byrne did a fantastic job portraying the role of Linda. She played everything full out, and never backed down from a challenging scene. Her pain and tears felt so real to the audience that they all came to sympathize with her.

The tech crew faced quite a challenge with this futuristic play. They pulled it off well in a very unique way. The projector used was a very creative way to make moving backgrounds. Though this device was a little distracting in a scene depicting a card game, it usually added a nice touch to the scene. The costumes were simple, but uniform, which worked well for this particular story–more elaborate would have distracted.

This very unique play can be a challenge, especially for high school students. Congratulations to Woodson for pulling it off and creating a good show!

Brave New World will also be performed on May 8th, 9th, and 10th at 7:30PM. Don’t miss it.

by Jessica Musman of Hayfield

Crazy For You opened on Broadway in 1992 and went on to win a Tony for Best Musical that Year. It tells the story of a banker, trying to find his place in the world. Bobby Child (Terry Barr) goes to Deadrock to foreclose a theatre and ends up falling in love with Polly Baker (Ann Marie White), the owner. To try to win Polly’s affections, Bobby proposes to put on a show to save the theatre. Unable to win her as Bobby, he pretends to be Bela Zanger, a world famous choreographer and starts up a show. However, no one shows up and Polly begins to fall in love with “Zanger” not Bobby! Much chaos ensues as mixed identities and misunderstandings are eventually sorted out and everyone ends up with his true love.

The leads in this show were true triple threats. They could sing, dance and act equally well. Terry Barr was particularly good at playing both Bobby and Zangler, bringing boyish appeal to the role. Ann Marie White as Polly had a beautiful voice, a rich character and was a great dancer.

The chorus worked through their complicated choreography and for the most part succeeded. Though not everyone was step perfect, they executed their steps with energy and style. Several memorable cameos included Patsy the dumb chorus girl (Laurel Steuernagel), and Zangler (Matthew Esherick), who provided many laughs during his song What Causes That? The three singing cowboys (Kirk Dennison, Luke Savoca, and Matt Savoca) had perfect moves and perfect comic timing.

The set, which was the best aspect of tech, wheeled out smoothly and was made in layers. Often two layers of set were exposed to create real depth. Sound faded in and out and lighting was not always on time. The show’s pacing was slow in first act, but it picked up in the second. Over all, the tech enhanced the show, making it more visually interesting to watch.

Woodson did a good job on Crazy for You, pulling off a complicated dance show with determination and fun.

by Grace Vander Veer of Fairfax

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.