Critic Reviews

As she twirled in awe, Cinderella’s attire transformed from a dull, peasant-like dress to a glittering gown of gold. John Champe High School made our sweetest dreams a reality in their magical performance of Rodgers & Hammerstein’s "Cinderella”. 

Rodgers & Hammerstein’s "Cinderella” is a show with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Rodgers and Hammerstein originally composed the music for a 1957 television broadcast starring Julie Andrews, but it was later adapted for Broadway in 2013. The story follows Ella, a young woman at the mercy of her cruel stepmother after her father’s death. Ella dreams of meeting the Prince at his ball, and with the help of her Fairy Godmother and sympathetic step-sister, she is able to take control of her destiny. The original Broadway production in 2013 won the Tony Award for Best Costume Design, as well as three Drama Desk Awards: Outstanding Actress in a Musical, Outstanding Costume Design, and Outstanding Orchestrations.

The charm of John Champe High School’s production came from their beautiful interpretation of woodland creatures through props and physicality, as well as the unprecedented use of aerial silks. Also stunning were Ella’s iconic costume transformations from simple rags to gorgeous ball gowns. Starting the show off with a bang was the Bibbidi Bobbidi Band, whose rich tone resounded throughout the auditorium in “Overture.” The band worked tirelessly throughout the night to provide the soundtrack of the show, and even some melodic bird call sound effects. These prominent elements were what made this production the wonder that it was. 

Playing the titular role was Alexis McGuffin as Ella. McGuffin brought an innocent and loveable energy to the role through angelic vocals and graceful movements. Opposite McGuffin was Jocelyn Long as Marie, Ella’s fairy godmother. Long transitioned seamlessly between old beggar woman and majestic goddess, adjusting her physicality from haggard to ethereal with ease. Also impressive were Long’s vocals, which had an operatic feel to them that was simply enchanting. Another standout performer was Kiera Murray as Gabrielle, the more compassionate of the two step-sisters. Murray exhibited heartwarming chemistry with McGuffin and was a delight to watch on stage. The role of Gabrielle came to life through Murray’s expressive features and comedic timing. 

Stealing the show with their technically spectacular dancing and incorporation of physical comedy were Kirra Wolf as Fox Dancer and Caroline Chatman as Raccoon Dancer. The pair combined ballet moves with stunning aerial silk performances in the number “Call to Arms/Pursuit.” Their humorous facial expressions and utilization of the set pieces for comedic effect were admirable and contributed greatly to their overall impeccable performance.

Displaying impressive craftsmanship were Norah Hattabaugh and Tima Saasaa, creators of the fox and raccoon puppets. Extremely realistic and adorable, these puppets were great additions, that were reminiscent of the woodland critters often present in princess tales. Another noteworthy technical element was the hair and makeup done by Aiyana Pipkins and the Avalon Make-Up Team, who created the commedia dell’arte style masks worn by the fox and raccoon dancers. They also styled the purple wig worn by Marie, which was stunning and perfectly complemented her purple ball gown. 

Ultimately, John Champe High School transported us to a land of magic spells, warm-hearted princes, and playful critters. Their production of “Rodgers & Hammerstein’s Cinderella” reminded us to always choose kindness over cruelty. 

-Sydney Nicklas, Tuscarora High School

“But we have to hurry because even miracles take time!” John Champe High School displayed many theatre miracles on stage with their rendition of Roger and Hammerstein's Cinderella. John Champe High School’s Cinderella had colorful ball gowns, vibrant sets, and realistic acting. Roger and Hammerstein’s Cinderella was written by Richard Rodgers and lyrics were done by Oscar Hammerstein. The musical is considered a “golden age musical” and it originally aired on Broadway in 1957 with Julie Andrews.

The musical takes place in the 1800’s in France. Cinderella follows the story of a young girl named Ella who is horribly mistreated by her stepmother and stepsisters. Ella’s only friend is an old woman named Marie who has many secrets. The musical follows the story of a young prince who throws a ball in search of a wife. The prince named Topher falls in love with a mysterious girl who flees the ball before midnight. The mysterious girl happens to be Ella who escapes to the ball thanks to Marie. Marie turns out to be more than just a zany old woman; she is revealed to Ella’s fairy godmother. Marie turns Ella from rags to riches and she ends up marrying the prince of her dreams.

Ella is played by Alexis McGuffin. Alexis had an angelic voice and opened the show strongly. It is apparent that Alexis is a committed actor and lights up the stage everywhere she goes. Alongside Ella was her fairy godmother played by Jocelyn Long. Jocelyn did an excellent job at portraying the crazy old woman that was Marie. Jocelyn had a mature stage presence and played the character with perfect elegance. Ella’s love interest was played by Ethan Luberecki. Ethan had such charisma on stage and he added a strong dynamic to the story. Ethan had a strong singing voice and a vibrant presence. Another factor that made John Champe’s Cinderella magical was tech!

John Champe Highschool had an elaborate set that looked like a real forest! The set was designed by Zaheira Adams and the Avalan Set Team. The set ranged from Ella’s house to the majestic palace where the ballroom dance scenes took place. The set was colorful and was one period for renaissance era France. Another fantastic tech element was props. The props were designed by Tima Saasaa and the Avalon Props Team. The props consisted of the raccoon and fox puppet and various other items among the palace . The fox and racoon puppet had such intricate details and brought the forest scene’s to life. “You can't go to the ball looking like that!” The amazing costume team consisted of Harshini Thikkalathuru, Sydney Cruz, and the Avalon Costume team. The costumes were colorful and elegant. One custom piece in particular was Cinderella’s rip away dress. Not only were the rip away dresses important, they showed an important character change of Ella going from “Rags to Riches”. 

“Why it's like a dream, a wonderful dream come true.” John Champe’s Cinderella was truly a dream come true. The students of John Champe should be proud of the magical show they produced.

-Peyton Gull, Tuscarora High School

Independence High School’s production of “Mean Girls” hit us like a bus with their fun-filled and professional take on the iconic story. Although it wasn’t Wednesday, their April 26 performance was positively pink. 

Premiering at the National Theater in 2017, “Mean Girls” was based on the iconic 2004 movie of the same name starring Lindsay Lohan and Rachel McAdams. With lyrics by Nell Benjamin, music by Jeff Richmond, and a book by Tina Fey, “Mean Girls” is a must-see drama following Cady Heron, a homeschooled girl from Africa, as she navigates public high school. The original broadway production of “Mean Girls” was nominated for 12 Tony Awards and nine Drama Desk Awards in 2018. 

Independence High School executed their production of “Mean Girls” professionally and smoothly, particularly through their clean set transitions and clear sound. Their use of projections helped transition between settings with ease, and their rolling desks were seamless and compelling to watch. These technical elements were elevated by all around euphonious vocals by the ensemble, especially in empowering numbers such as “Fearless” and “I See Stars.” Independence High School’s talented cast and crew did a spectacular job of bringing to life the story that many movie or theater fanatics hold close to their hearts.

Portraying the beloved and infamous “plastics” were Annie Jackson as Regina George, Katie Wetzel as Gretchen Weiners, and Jessy Phillips as Karen Smith. Jackson commanded the stage and displayed immense vocal prowess, particularly in the song “World Burn.” Wetzel embodied the role of Gretchen through the intentional use of physicality and an emotional performance of “What’s Wrong With Me” that tugged at the heartstrings. Wetzel’s voice was angelic and truly conveyed the character’s pain in this sorrowful number. Rounding out the iconic trio was Jessy Phillips in the role of Karen Smith. Phillips’s commitment to the character could be seen in her gait which perfectly captured Karen’s persona. Phillips also demonstrated extraordinary vocal agility while still bringing full energy to acting, particularly in the humorous song “Sexy.”

Depicting school heartthrob Aaron Samuels was Chase Danzenbaker, whose rich vocals and meaningful acting choices were enthralling. Danzenbaker made evident the character’s internal conflict through small, intentional gestures and movements. Backing up the talented leads was the ensemble, who gave it their all when playing exotic animals in the song “Apex Predator.” Their wholehearted physical embodiment of the creatures demonstrated their versatility as actors and helped create the metaphor of comparing high school to a jungle. 

The ITPA Stage Crew worked diligently to execute scene transitions seamlessly without taking away from the action on stage. Another standout technical element was lighting, which was done by Paul Hartmann, Jacob Foggi, Crow Etheredge, and Emma Dunham. The bright pink LED lights that surrounded the stage before the start of the show were beautiful and perfectly aligned with the youthful and bright yet intense ambience of “Mean Girls.” Finally, the ITPA Marketing and Publicity Team deserves praise for their incredible work organizing themed events, show countdowns, and character photo shoots. Their social media advertising was compelling, and without it, the show wouldn’t have been so widely anticipated.

All in all, Independence High School exhibited skill in both technical and performance elements. Their storytelling and adherence to the true spirit of “Mean Girls” reminded us that we are all stars and should be kind to each other. It truly was a “Cautionary Tale” - one that showed us the chaos that meanness can bring.

-Sydney Nicklas, Tuscarora High School

Nothing could be more fetch than a hot pink explosion of teen drama found in Independence High School’s production of “Mean Girls.” 

Mean girls have been around since the dawn of high school, but the cult-classic sleepover favorite premiered in 2004 with a script written by comedy icon Tina Fey, and based upon a self-help book published in 2002. The musical premiered locally at the National Theater in Washington, DC in the fall of 2017 before opening on Broadway in 2018. It was most recently adapted into a movie musical in January 2024. 

Set at a high school in suburbia, “Mean Girls” follows the adorably dorky Cady Heron, who is attending high school for the first time after moving back from Kenya. Trading the wild terrain of the African savanna for the rambunctious landscape of North Shore High School, Cady encounters “The Plastics,” a group of queen bees led by the conniving and gorgeous Regina George and her backup girls: the anxious, considerate Gretchen and lovably aloof Karen. Of course, no teenage drama is complete without a love interest, found in the form of boy-next-door Aaron Samuels. As Cady tries to navigate the complexities of North Shore, she is aided by the vibrant Damian and witty Janis, who help her learn about the effects of lying and changing who you are to fit in. 

With hair full of secrets and a brain full of stress, Katie Wetzel perfectly encapsulated Gretchen Weiner’s anxious nature and the effects of Cady, Janis, and Regina’s manipulation on her self-esteem in the song “What’s Wrong With Me?,” providing a serious lesson amongst a comedic landscape. Paul Hartmann in the role of the confidently fierce Damian showed comedic prowess in many notable moments, like his joyride on his grandmother’s scooter and his energetic tap dancing in “Stop!” Of course, no iteration of “Mean Girls” is complete without the world-burning Regina George, played by Annie Jackson. Jackson pairs perfectly with Chase Danzenbaker’s Aaron Samuels in “Someone Gets Hurt,” where Regina flirts with Aaron in a calculated attempt to make Cady upset. The number clearly shows the difference between the characters, with Jackson’s controlling Regina and Danzenbaker’s easily-persuaded Aaron.

Rounding out notable moments of the show was Janis’s show stopping number “I’d Rather Be Me,” a self-confidence anthem that brings the musical’s message of empowerment home. Samantha Shroeder matched Janis's artsy punk vibe with her raw vocals that emphasized the song’s emotional undertone and message. The show’s ensemble supported the many iconic characters throughout “Mean Girls” whilst also bringing energy to the show through their execution of the rhythmic choreography from the ITPA Choreography Team. 

Costumes, done with evident consideration by the ITPA Costume Crew, play an important role in emphasizing the differences between characters and their arcs throughout the musical. Janis’s patchwork jacket displays her character’s rebellious nature and Cady’s gradually tighter and shorter outfits mirror her character’s personality shift as she spends more time with The Plastics.

Starr Davis, Sydney Foxx, Sawyer Jaffe, and Mickey Etheredge’s stage management and the ITPA Stage Crew’s execution stand out with their notable omission of blackouts for scene transitions. Instead, actors on stage would serve as stage crew by rolling in parts of the set during scene transitions, a technique that led to full immersion and flow for the duration of the production. 

Mean girls, teenage drama, and “calculust” may always be a part of the high school experience, but there was nothing mean about Independence High School’s charmingly hilarious production of “Mean Girls.” 

-Madeline Willinger, Stone Bridge High School

“Sometimes you have to be a little bit naughty.” Well, we certainly see plenty of naughtiness and fun in Heritage High School’s production of Matilda the Musical. Based on a 1988 novel of the same name, the show – which was released in 2022 – follows Matilda, a brilliant young girl in a not-so-brilliant family who eventually gains powers and uses them to fight injustice within her classroom. 

Hadley Jones starts off the show as Matilda, bringing a unique youthfulness to the stage and stunning the audience with her sweet vocals. She perfectly embodied Matilda’s childlike yet mature personality, exuding intelligence at every turn. Her interactions with fellow actress, Paige Stine (Miss Honey), were touching and, at times, tear jerking, ensnaring the hearts of audience members and leaving them rooting for both characters. Miss Honey’s sweet yet mature persona was perfectly encapsulated by Stine's stellar acting and enhanced by her pure singing voice, which evoked feelings of sympathy and excitement and different points in the show. 

Equally as important to note are the performances of Gabriella Grivas (Mrs. Wormwood) and Oliver Stoltz (Mr. Wormwood). The two had a hilarious yet authentic dynamic, showcasing the ups and downs of your average marriage and serving as antagonists in Matilda’s life. Their obsession with the “telly,” colorful outfits, and expressive physicality were stellar. 

And of course, the show could have never been such a success had it not been for Heritage High School’s crew members. The lighting was phenomenal, the colors aligning with the emotions in each scene and the strobes intensifying scenes involving Miss Trunchbull. The creativity displayed by Ashnil Dasan. Avieka Sethi, Milo Jackson, and the rest of the lighting team is admirable. Also, important to take note of are the set and prop crews, who brought both unique and funny aspects to the stage. Zoe Korff, Atticus Gregory, and the rest of the set team did an amazing job of incorporating acute angles into more intimidating environments and more rounded ones into comfortable scenes. The wacky shelves they created were one of a kind. The prop crew was equally as important to the process, creating a floating piece of chalk with magnets and tossing Miss Trunchbull a ragdoll that was then swung by the pigtails. The choices of Jett Cochran, Andi Leath, and the rest of the team resulted in many laughs and delighted all. 

Heritage High School’s production of Matilda the Musical was truly a sight to behold. The reimagined childhood classic was chaotic and fun, or as Matilda would say, “a little bit naughty."

-Maryam Imran, Broad Run High School

This show gave me a warm glow in my belly. Heritage High School’s production was a brilliant interpretation of the whimsical, heartwarming, and empowering “Matilda The Musical”. 

A young, gifted girl, with extraordinary abilities discovers she can overcome anything when she puts her mind to it, even if it is unfair. With courage, wit, and some help from her only support, Miss Honey. Matilda is able to overcome the struggles and abuse, both within her home and at

school. Matilda The Musical originates from a book written by Roald Dahl in 1988, it was later       adapted into a film in 1996 by Danny Devito. The musical was brought to life in 2009 by the Royal Shakespeare Company, with music and lyrics by Tim Minchin and book by Dennis Kelly, and later premiered in the West End in 2011. 

Hadley Jones' rendition of Matilda Wormwood was an electrifying display of energy onstage. Jones masterfully balanced a childlike innocence with touches of sensitivity and wit to a character that was facing hardships. Miss Honey, performed by Paige Stine, was nothing short of a savior to Matilda. Stine was able to bring warmth and compassion to the stage, through her gentle and soft-spoken voice and in depth character work, Stine brought warmth and empathy onstage with a breathtaking interpretation of Miss Honey. The chemistry between Stine and Jones was remarkable, their interactions felt authentic and natural, as if they weren't performing at all. 

Another character who undoubtedly infused the stage with energy and optimism was Bruce, played by Goklap Necioglu. A particularly notable moment was Necipoglu’s tap number while on top of a desk during “Revolting Children”, a captivating addition to the scene that drew everyone in. Arvin Rahmanian embodied the Escapologist and brought him to life beautifully, Rahmanian amplified the character's adventurous spirit with a larger than life persona. 

The lighting team led by Ashnil Dasan, Avieke Sethi, and Milo Jackson truly noteworthy, the light up letters framing the stage in school song were perfectly synchronized with the orchestra and the actors on stage. Another remarkable technical element was the hair and makeup done by Jillian Beanland and Najeem Azarkhski. The transition between Mr. Wormwood having his natural hair and the green wig was flawless, the wig brought emphasis to Mr. Wormwoods personality through that entire performance. The coordination between hair, makeup, and costume was impeccable. Mrs. Wormwood's dress in "Loud" was stunning, and the choreography for the big reveal was executed with precision, enhancing the production's visual appeal. Most of the costumes were handmade in house at Heritage High School, this allowed the Arianna Blankenhorn, Abby Caudill and their team to make all of their colorful and whimsical designs come to life. The vibrant orange suit worn by Mr. Wormwood, along with the array of lively patterned outfits worn by Mrs. Wormwood stood out amongst the rest. Through their costumes, both characters' personalities were vividly portrayed.

Through self discovery and a little bit of naughty, Heritage High School delivered an energetic rendition of "Matilda The Musical."

- Addison Zimmerman, Tuscarora High School

Embarking on a captivating journey through the splendor of imperial Russia, Tuscarora High School’s production of “Anastasia” mesmerized audiences with its enchanting performances and breathtaking spectacle.

“Anastasia” traces its roots back to the 1997 DreamWorks animated film, which was inspired by the tale of the Grand Duchess Anastasia Nikolaevna of Russia. The Broadway musical adaptation, which premiered in 2017, combines elements from both the animated movie and the 1956 live-action version. Against the backdrop of the Russian Empire's decline, the musical follows Anya, a young woman suffering from amnesia who may be the missing princess. Alongside her are Dimitri, a charming conman, and Vlad, his loyal sidekick, who aid Anya in unlocking the secrets of her past. With its enchanting music and captivating storyline, “Anastasia” enthralls with its themes of love, identity, and the quest for belonging amidst revolution and intrigue.

Ava Peach’s portrayal of Anya was both rich and powerful, capturing the character’s longing to uncover her identity and sense of belonging. Her vocals, particularly in “Once Upon a December,” were compelling, adding depth to her performance. Through her dynamic acting, Peach vividly conveyed Anya’s journey, from curiosity to determination, leaving a lasting impression on the audience. Alongside Queen Kincaide’s portrayal of Dimitri, their chemistry onstage was palpable, enhancing the authenticity of their characters’ relationship. Kincaide’s performance, marked by animated body movements and expressive facial expressions, truly made her version of Dimitri her own. Together, Peach and Kincaide created a memorable portrayal of the iconic duo, enriching the overall experience of the production. 

Maggie Larson’s portrayal of Gleb revealed a profound depth to his character as he wrestled with his internal conflict about killing Anya. As Gleb grappled With the weight of his duty and his growing connection to Anya, Larson skillfully depicted his inner turmoil with authenticity, humanizing Gleb. Her performance added layers of complexity to the storyline, allowing the audience to empathize with her character. 

The choreography by Joelle Aheto, Ryan Sirinsky, and Luke Pierce was nothing short of spectacular, with standout moments like the electrifying “Land of Yesterday.” Here, the fusion of Parisian jazz and Russian folk dances showcased not only the creativity of the choreographers, but also the skill of the dancers. What truly set it apart was how each member of the ensemble brought their own unique flair to the performance, yet seamlessly blended together into synchronized movements, elevating the energy of the club scene to exhilarating heights. 

The technical departments worked in harmony, simultaneously creating an immersive experience that brought the mystical world of imperial Russia to life. Upon entering the theater, the elegant and ingenious set, designed by Rachael Geissmann, Leo Hall, James Mangovski, and Lily Frankenfield, immediately captivated the audience. Each scene transition, from the enchanting streets of Paris to the mesmerizing ballet sequence, seamlessly complemented the spellbinding set design. The collaboration between the light crew, led by Elise Brandin, Adeline Dugger, and Maile Lee, and the sound crew, led by Emily Phifer, Samantha Markis, Aubrey Boissiere, and Maile Lee, further intensified the captivating atmosphere of Russia and Paris. This was particularly evident in scenes like the family portrait, where the coordinated use of light and sound, including the clicking and flash of a camera, deeply immersed the audience in the narrative. This production wouldn’t be the same without the costumes, giving special credit to Anastasia’s handmade dress and the elegant Swan Lake ballet leotards created by Emma Marfia and Katie Brunton.

Tuscarora High School’s production of Anastasia was a delightful “Land of Yesterday” filled with magic, grace and unforgettable moments, leaving audiences spellbound from start to finish. 

-Reese Cortez, Heritage High School

Strikingly beautiful. Unrelentingly intense. Ravishingly vivid. Tuscarora High School’s production of Anastasia: The Musical is a gripping and impactful production with a hold-your-breath degree of poignancy that will leave even the most jaded audience members mesmerized. 

Originally a dreamworks movie,  Anastasia was adapted to the stage by composers and lyricists Stpehen Flaherty and Lynn Ahrens where it premiered on Broadway at the Broadhurst Theatre in 2017. It follows Anya, a Russian amnesiac who joins forces with two charlatans of St. Petersburg as they attempt the “biggest con in history” by convincing Anya that she could be the long lost Grand Duchess Anastasia Romanov. 

The street-sweeping leading lady of this production was none other than the incomparable Ava Peach in the role of Anya. Peach’s harrowing and intelligent acting is showcased as she struggles to find herself through fragments of lost memories and slowly begins to piece together her past. Peach’s vocals were haunting by being intricately laced with beauty and depth, especially in the song In My Dreams where she compels longing and naivete through a piercing and tear compelling belt and vibrato.

Opposite Peach was Queen Kincaide in the role of confident con-man Dmitry. Kincaide’s acting and physicality consistently mingled clever humor with sharp poignancy. Her stage presence was always expressive in a way that transferred the audience vicariously to the world of Dmitry’s money-making schemes. Kincaide ensured that the progression of Dmitry’s romance with Anya felt natural and honest which truly showcased this actress's remarkable skill. 

Of the many talented cast members in this musical, none were more capable of mixing both drama and comedy than Maggie Larson in the role of Gleb, a Bolshevik general lost in his father’s shadow. Larson’s comical characterization and frightening disposition leave the audience hooked. With a gun in a trembling hand, a quivering finger on the trigger, and an impossible choice Larson’s mastery of tension and suspense is shocking.

The enchanting atmosphere of this production was manufactured by scenic designer Lily Frankenfield and master carpenter Leo Hall. What’s so remarkable is that the entire set is centered around a simple life-sized music box designed to mirror Romanov Fabergé eggs, with a swirling gold design and richly purple color, and a few stunning hanging flats. It’s the versatility of this set that in an instant is transformed into an avant-gardist Parisian club, or a Russian revolutionary’s office, or a sparkling snow globe that makes its construction so incredible.

The dancing of this production was picturesque and professional to say the least, all thanks to the work of choreographer Joelle Aheto. In the song Land of Yesterday drunken aristocrats parade around joyously in traditional dances that are lively and captivating. Only a few numbers later, the ballerinas in the Quartet at the Ballet dance in a way that reflects the struggles and yearnings of the other actors. This intelligent choreography by Aheto anchors the musical in a panoramic view of the Russian aristocratic scene through dances that contrast Parisian jazz styles with Russian folk. 

The brassy and brilliant Tuscarora Pit Orchestra was a highlight, through their brilliantly flowing music that connected with the ensemble and the actors, especially in the song Once Upon a December. Amongst all of the soloists, flautist Chris Claudio’s excellent musicianship, resound tone quality, and chilling vibrato helped musical moments reach the audience like fireflies, delicately and lovely. 

Drenched in beauty and a profoundly talented cast and crew, Tuscarora High School’s production of Anastasia: The Musical envelops history and whimsy in a magical package that you won’t want to miss. 

-Bridget Lockett, Stone Bridge High School

“Buildings are like babies, you always know your own.” But is this the same for daughters and their possible dads? Stone Bridge High School answered all these questions and more in their rendition of “Mamma Mia!”

Featuring the music of the well-known Swedish band, ABBA, “Mamma Mia!” holds the record for being the longest-running jukebox musical on Broadway, even winning two Tony awards. Well-received by critics and audiences alike, it was adapted into a movie in 2008 and got a sequel in 2018. The story follows Sophie, a young twenty-year-old girl about to marry, while she treks through life being raised by a single mother and not knowing who her father is. All she wishes for is to be walked down the aisle by her father, and so she sends wedding invitations to them. Yes, multiple men. All three suspects of who her father could be. This brings her mother, Donna, to finally have to face the past she’s worked hard to run from, head-on.

Depicting Donna and Sophie respectively, Lydia Rouse and Lila LeCount brought the dynamic mother-daughter duo to life. Oozing with talent and energy, LeCount brought the audience into Sophie’s world with her portrayal of youthful enthusiasm and longing for a father figure. And, with her brilliant mezzo-soprano voice, Rouse engrossed the audience in the story with her performance, effortlessly transitioning from moments of maternal tenderness to navigating the complexities of love and relationship. From motherly love to a three-man love fiasco, Rouse handled each relationship with strength and a believable amount of stage chemistry.

Portraying Bill, Paul Finamore added palpable mirth to the entire show with his comic relief through heel kicks and hilarious chemistry with his other half, Stephanie Long as Rosie. Ayden Brook as Sam also contributed to the performance with his gorgeous falsetto notes and stage presence, handling the delicate balance between love and lust well. The ensemble, infused with energy and excitement, executed the choreography by Aakrithi Karthik, Lydia Rouse, and Abby White with skill, adding depth to each scene.

The orchestra enhanced the experience from the very beginning, delivering a high-caliber performance typically seen at a more experienced level. Specifically, Ian Crittenden, a student guitarist who had only been added to the orchestra last minute, mastered the songs with finesse, as if he had been practicing the notes for ages.

Head to toe in the 70’s Greek fashion, the Stone Bridge Costume Team nailed the aesthetic, enhancing the authenticity of the production as a whole. Even in the song, ‘Under Attack,’ sung by Sophie in her nightmare, the costumes intensified her torment, creating a visceral experience for the audience. The Stone Bridge Set Design and Construction team also brought the Greek villa beloved by audiences worldwide to life, while the Stone Bridge Lighting Crew added nuance to every moment, highlighting specific emotions and lyrics throughout the performance. For example, in the song “Honey Honey,” when Sophie sung the words ‘dot dot dot,’ the lighting team flashed the lighting from left to right following the specific ‘dot’ being sung at that moment.

With its talented cast and infectious energy, Stone Bridge High School’s rendition of “Mamma Mia!” transported the audience to a world of love, laughter, and timeless music. As the lights dimmed and the final notes faded, it was clear that this production had left an indelible mark on all who had experienced it, proving once again that “the winner takes it all.”

-Talia Lytle, St. Paul VI Catholic High School

Stone Bridge High School’s “Mamma Mia!” was an electrifying production that perfectly flaunted the talent of all of the students involved -- actors and technicians. The vocal prowess of the actors was professional-level, and the technical elements of the show became their own characters within it. 

In Mamma Mia, a jukebox musical using the music of Abba, bright-eyed Sophie is twenty years old and about to marry her fiancé Sky. The only problem is that Sophie has lived her whole life without knowing who her father is, and she wants her father to give her away at her wedding. She reads her mother’s (Donna’s) diary and discovers that there are three men who could potentially be her father. Sophie invites those three men to her wedding, and events unfold as they each interact with Donna for the first time in twenty years. 

The leading characters of the production truly depicted their roles with impressive maturity. In particular, the believability of Harry, played by Ian Brown, as a posh, polished British man stood out, especially as he maintained his accent throughout the show. A common triumph among many of the leading characters was their chemistry with one another. The relationship of life-long best friends was apparent between Donna (Lydia Rouse), Tanya (Emma Kleinhans), and Rosie (Stephanie Long). The confusion between the three “dads” -- Harry (Ian Brown), Bill (Paul Finamore), and Sam (Ayden Brook) -- and Sophie (Lila LeCount) -- was consistently humorous throughout the show. Not only that, but those four actors were able to contrast that humor with grounded emotion and heart during the more emotionally intimate moments. The peak of the production was when Lydia Rouse, who played Donna, brought the house down in the second act when she performed “The Winner Takes It All.” The audience was purely captivated by her emotion-filled performance and stunning voice. 

The technical elements of this performance were stars in their own rights as well. The smoothness of how the two large sets on the right and left sides of the stage moved demonstrated the expertise of the set design and construction team. Moreover, the set team’s meticulous attention to detail with the design of the pieces made them dynamic and exciting to look at. From making the doors and windows appear to have been weathered by sand, to the texture of the white walls resembling Greek island architecture, to changing out the clothesline for fairy lights, the set carried the romantic ambience of Donna’s Taverna. 

A standout technical team was the lighting team. The lighting synced with characters’ emotions, turning pink/red when Sophie was experiencing feelings of lust or passion. The lighting also contributed to the disco environment of the taverna’s night parties and made numbers such as “Voulez Vous” and “Gimme, Gimme, Gimme” all the more exciting. Another commendable element of the lighting was that during scene changes, the lighting would have its own spectacle onstage, giving the audience something exciting to watch as the orchestra’s lively music. 

From the Overture to the final Playout, Mamma Mia at Stone Bridge High School was full of heart, passion, comedy, and pure talent across the board. Audiences who see the show will be thanking Stone Bridge for the music and for the touching emotions they feel.

-Katie Wetzel, Independence High School

From treetops to fun filled carnivals, magical families and more, Freedom High School has it all! Freedom High School brings the life of Winnie Foster to the stage in their fantastic production of Tuck Everlasting.

Originally written as a children's novel by Natalie Babbitt, Tuck Everlasting was eventually adapted into a musical by Claudia Shear and Tim Federle. The production opened on Broadway on April 26th 2016 and only ran for a little over a month before closing. The production was nominated for only one Tony Award which was Best Costume Design. 

The story follows eleven year old Winnie Foster who just wants to leave the gates of her home. After venturing out into her family's forest she meets the Tucks, a family of four who live forever due to some magical water. Through each of the four family members, Winnie learns the true value of a life and has the adventure of a lifetime. 

Leading the cast was the incredibly talented Lexi Gambardella as Winnie Foster. Gambardella did a phenomenal job portraying a young innocent child and showed impressive acting skills throughout the whole show. From curious to comedic or serious and dramatic, Gambardella was able to do it all. Adding to the performance as a whole was Gambardella's impressive vocal abilities. 

Adding to the show as a whole was Eliza Varanelli as Mae Tuck. Varanelli did an amazing job portraying a mother who is both loving and struggling internally. Specifically a standout of the performance was Varanelli's rendition of "My Most Beautiful Day," in which through beautiful vocals and wonderful acting, Varanelli told a story that captivated the audience.

Another notable performance was that of Miles Tuck portrayed by Riley Thompson. Thompson showed his impressive acting skills as he went from sarcastic and witty in Act 1 to grieving and vulnerable in Act 2. 

Contributing to the comedic side of the show was the ever funny duo of Hugo played by Maggie Crumbliss and Constable Joe portrayed by Christian Jarwa. The chemistry between the duo did not go unnoticed. The two played incredibly well off of each other and had the audience laughing the moment they stepped out on stage. From impressive flips and tricks to belting vocals the pair had it all.  

From the moment the cast steps out on stage, the beautiful choreography done by Maggie Crumbliss and Isabella Bivin is showcased. It is evident throughout the show that the pair had put a lot of thought into each and every move the dancers did. The pair truly used the choreography to elevate the storytelling to another level. Another standout of the day was the Stage Management and Stage cCrew teams of Bella Garcia, Courtney Davis, and Sydney Sultanik. With many moving set pieces, quick and quiet set changes can be a challenge, but Davis and Garcia handled it wonderfully. Guiding and directing the stage crew to fast set changes that didn't take away from the performance. Finally, the performance would not be complete without the ever powerful Freedom High School Orchestra. The orchestra did a wonderful job of playing each and every song with a balance that did not overpower the actors and executed each song with a sense of confidence. Most notable was the power the orchestra held during the sequence of Winnie's life. 

Freedom High School's magical production of Tuck Everlasting had the audience on "Top of the World", leaving the audience walking away eager for more.

-Emma Marfia, Tuscarora High School

Immortality is an everlasting life, a forever future, and a never-ending past, which can bring pain but also carry love. Tuck Everlasting encompasses this theme, compelling a tale of nature, time, and family. Freedom High School's performance of Tuck Everlasting was a powerful piece and raises the question: Is immortality the heart's desire?

Tuck Everlasting is a tale of the Tucks: an immortal family longing for closure but is trapped in the forever cycle of life. However, when an 11-year-old girl, Winnie Foster, discovers their existence in the Treegap wood, their world is forever changed. Tuck Everlasting (musical) was based on the novel of the same name, written by Natalie Babbitt. Claudia Shear and Tim Federle adapted the story for the stage, featuring music by Chris Miller. Tuck Everlasting first premiered in 2015 at the Alliance Theater in Georgia. The musical soon opened on Broadway in 2016 and has become a heartfelt classic ever since. 

Freedom High School's Tuck Everlasting was an imaginative telling featuring skillful choreography (by Maggie Crumbliss and Isabella Bivin) and ensembles. When Mae Tuck (Eliza Varanelli) reminisces the day she met her husband in "The Most Beautiful Day," her younger self is right there with her, spinning her vocals into visuals through dance, done elegantly by Isabella Bivin. In itself, the Street Ensemble was a unique character but also a diverse culture of varying personalities. Each member had a story to present, whether in their mannerisms or physicality, a bright dynamic on stage. The number "Partner in Crime" was a prime showcase of the Street Ensemble's personality and expert choreography that played with levels, space, and even tap.

Likewise, Freedom's scenery and costumes compose the magical world of the Treegap wood and the diversity among the characters. The Tree of Springwater was a functional, beautiful visual designed by leads Natalie Davis, Arik Jones, Ethan Yearwood, Kayla-Zee Concklin, and Claire Duckett. Its size was staggering, and its climbing mechanisms proved playful. Freedom's costume head, Nimrat Kaur, developed costumes extending from an 1800s fashion to flowing dresses embodying the elements of nature. White bases with pops of various patterns and colors aided unique ensemble characters and contrasted the Man in the Yellow Suit, appearing more unsettling and odd. 

Winnie Foster personifies an infectious innocence while carrying a heavy load of mourning. Lexi Gambardella (Winnie Foster) produced a curious Winnie with a comical, sassy demeanor. Gambardella mastered Winnie's childlike voice in her sound and songs, namely in the number "Good Girl Winnie Foster," longing for the opportunity to explore her curiosity. Winnie is a pivotal detail of Tuck Everlasting, and Gambardella handled her sass, charm, and emotion profoundly. 

Although written for comic relief, Freedom's dynamic duo in Tuck Everlasting was undoubtedly Constable Jo (Christian Jarwa) and Hugo (Maggie Crumbliss). Crumbliss' explosive physicality and consistent, bright facials enhanced Hugo's charm and comedic resonance. Crumbliss brought additional unmatched humor, dance, and vocal power. Jarwa's dry humor and awkward mannerisms constructed a lively relationship between himself and Hugo that was a spectacle to watch. The two's duet in the tune "You Can't Trust a Man" blended the vibrancy of catchy vocals and the vitality of energy and dance, matchless in the show. 

Tuck Everlasting is a passionate, gorgeous work. The piece defines what it means to live: a binding path of beauty and love. Freedom High School conveyed these themes with elegance and warmth, teaching us that life, as incredible as it seems, needs a forever beginning, middle, and end. 

-Nat Thiessen, John Champe High School

“Love is a gift from up above. Share love, give love, spread love, measure, measure your life in love.” Rock Ridge High School’s production of Jonathan Larson’s Rent, is a powerful rock opera that showcases the scrappy, but endearing undersides of New York.

Rent was produced back in 1996, and takes place in East Village, New York City. It follows the story of two roommates who both are stuck in life, physically and mentally. Mark Cohen, played by Palmer Jolly, wants to be a filmmaker and is chronicling the lives of him and his friends, while his friend Roger Davis, played by Bradley Schraa wants to start a rock band, but both are stuck in a dead end apartment that they can't even afford rent on. The story follows the two and their group of friends as they deal with friendship, addiction, love, and loss.

One of the standouts of Rock Ridge High School’s take on Rent was their incredible ensemble, each member painted such a beautiful picture of this rugged town that still had heart and soul to it. They all brought a completely new layer to each scene while never detracting from the action happening on stage.

Rent has multiple lead characters throughout its run, but two most worthy of highlight are Roger Davis and Mimi Marquez. Bradley Schraa’s portrayal of Roger is excellent; he perfectly captures the feeling of this sort of broody guy who wants to find love but can never admit it. Schraa does excellent work with their acting and brings power and emotion to every song they are in. On the other hand with Mimi Marquez, played by Mariah Waters, Waters does a great job, really taking control of the spotlight being a delight in every scene and compliments the acting of Schraa very well making them an excellent pair to watch.

While the leads of any show are very important, it would be a shame to not mention some of the stellar characters who support the leads. With some standouts like Angel Labottese, played by Angel Schunard and Maureen Johnson, played by Hayley Sutton. Who both do an outstanding job, being able to nail comedic parts with wonderful physical acting and know when to show a more emotional and vulnerable side of their characters.

On the technical side of the show, the first thing that will pop out to anyone is the gorgeous set. Which features an insane amount of detail, even while having a balcony area that allows for tons of fun staging. Along with this is the lighting, whether that be the vibrant colors they use the spotlights and more it adds more than one could know to all of the scenes turning any moment into an event.

Rock Ridge has constructed a great show that does the emotional maturity of Rent justice and has truly shown what a year in the life is like.

-Carter Boogaard, Woodgrove High School

With energetic singing and dancing, incredibly creative staging, and moving performances, Rent: School Edition creates a startlingly realistic portrayal of New York City and the struggles of artists, lovers, and the poor alike.

Rent: School Edition is a PG-13 adaptation of the Pulitzer Prize and Tony Award Winning musical Rent, loosely based on the Opera La Bohème, and created by Jonathan Larson. In it, 2 roommates, Roger and Mark, and their friends, Collins, Angel, Mimi, Joanne, and Maureen, find companionship, friendship, and love amidst the antagonistic advances of their landlord, Benjamin, and inevitable death from AIDS and HIV. 

Rock Ridge High School dynamically uses their set, props, choreography, and staging to create a realistic spectacle worthy of repeat watches and where something engaging is always happening in both the background and foreground thanks to the focus and dedication of the ensemble.

One of the major highlights of the show was the relationship between Roger, played by Bradley Schraa, and Mimi, played by Mariah Waters. Their chemistry was tender but electric, especially during their song “I Should Tell You” and their grief when the relationship fell apart was palpable throughout the song “Without You”. Additionally, it goes without saying that Rockridge’s Angel, played by Angel Labottese, was instantly iconic the minute he stepped on stage, especially during “Today 4 U” where he took the spotlight and ran with it; creating a dazzling aura that persisted even when Angel wasn’t the focus, because he remained constantly engaged with the story and songs. This made the absolute silence throughout the theatre during his death feel all the more powerful because this constantly boisterous force was suddenly quiet.

The leads weren’t the only standouts though. Joanne, played by Marian Lindsay, provided a consistent contrast to her girlfriend, Maureen's impulsivity, and her friends’ wild creativity because of her responsibility and uptightness. However, she expertly balances this by very slowly loosening up throughout the show and learning to love the family that develops throughout the show, even Mark, Maureen’s ex. Moving on to the ensemble, the top standout has to be Blanket Person, portrayed by Kaylie Rivers. Her solo in “Seasons of Love” was moving both vocal and acting-wise, and her forlorn glances and general air of desperation whenever she's onstage, really solidifies the atmosphere of a poverty-stricken New York.

Of course, the biggest contributor to the atmosphere and tone of the show was the technical elements especially the lighting, sets, and props. The lighting was intricately designed and precisely executed by Annabelle Monte, Pranjal Dashmuhk, and the RRPA Lighting Team. Different colors were used to convey emotion, different setups were used for various songs, and special lights were used to highlight moments, such as the bright light shining into the audience during Angel’s death. The set, designed by Claire Wood and constructed by the RRHS Technical Theatre Program, was instantly impressive through the complexity of the two balconies and center platform which are all serving to promote the atmosphere of a run down and desolate flat, especially the colored windows, some of them purposefully broken to create this effect. The props, designed and created by Emilia Scovel and the RRPA Props Team, were so realistic and integrated into the show so well that they became just part of the world, especially the camera which was extensively researched to learn how it works.

Rock Ridge High School does it again, with their impressive technical elements and emotional performances, creating a story of artistry, love and hope, found within bad circumstances that encourages to “measure your life in love.”

-Alyce Snead, Tuscarora High School

July 12th, 1804: two shots, one duel, one death. On this historic day, Alexander Hamilton was rowed back across the Hudson, back into the arms of his loving wife, Eliza. Burr may have pulled the trigger, but who truly wanted Hamilton gone?  

"The Hamilton Conspiracies" at Foxcroft School is a return to classical theatre.  With soliloquy and Greek chorus narration, the well-known story of Alexander Hamilton’s death is told with new eyes.  Historical figures Eliza Hamilton, Angelica Schuyler, Thomas Jefferson, James Monroe, and Mariah and James Reynolds are all suspects in this audience choose-your-own-adventure. 

When first written, The Hamilton Conspiracies’ initial form was that of a dinner theatre murder mystery called "The Hamilton Murders." Then, when the pandemic postponed dinner theatre opportunities in 2020, playwright at Stagecoach Theatre Company Terry Smith transformed his original work into a straight play for audiences to enjoy from a safe distance. When Foxcroft approached Mr. Smith about performing his work, Smith quickly made a student-friendly version called "The Hamilton Conspiracies." With an all-girl cast and crew, the Foxcroft company tells this compelling story through comedy and a strong feminist message. 

Moriah Friendly, as Eliza Hamilton, leads the investigation into her husband’s death with grace. Her poised stature and, in contrast, impressive comedic timing beautifully navigate the tonal shifts between post-colonial diction and today’s real issues. Friendly’s physicality honors the legacy of Eliza; she is the strong woman our modern world craves. Alongside Friendly, Thomas Jefferson (Anna Carey) provides the opposition to feministic views. Carey, as the dramatic anti-federalist, highlights the hypocrisy of a gender- unequal society. Compared directly with Eliza, Jefferson claims she is emotional and paranoid, all while he prances across the stage in dramatic fits. 

The talented Ava Duncan plays the infamous temptress Maria Reynolds. Duncan is the embodiment of feminine rage. Bruised yet strong, Maria is determined to take back her narrative in a powerful tone. Her ex-husband, James Reynolds (Anila Schmidt), is the slimy villain determined to make a quick buck wherever he can.  The actress herself stands a head shorter than her counterparts. However, Reynolds, as a character, appears to tower over others in superiority and temperament. Reynolds is the embodiment of hatred and misogyny. Schmidt’s interpretation is a refreshing viewpoint on the problem women must work against. 

The extensive team of designers and technical crew paint Eliza’s world. Costuming by Aradeal Hatcher and makeup by AnnaMaria Clarke are a tribute to the historical period. Maria Reynolds glides in a bold red dress and lip reminiscent of her devious virtue. Jefferson sports a cyan coat lined with gold, as shimmering as his perceived image. Sisters Angelica and Eliza are two glowing beauties of the budding century. Off stage, lighting designer Lauren Graham utilizes snap cues and specific color palettes of blues and reds to masterfully distinguish between narratives and conversation.

Foxcroft Performing Arts’ production is a comedic delight with an important feminist message coming from an all-girl’s school. This company of committed actors and designers is a modern powerhouse, carrying the words of Abigail Adams: “Remember the ladies.”

-Olivia McMahon, Rock Ridge High School

Six suspects. One duel that ends in disaster. Who arranged to kill founding father Alexander Hamilton? The answer can be found at Foxcroft School’s production of “The Hamilton Conspiracies.”

“The Hamilton Conspiracies” is a play written by Loudoun’s own Terry Smith from StageCoach Theatre Company in Ashburn, Virginia. The play was originally written to be performed for dinner theater, but Smith readapted it for the stage. The plot follows Eliza Hamilton as she attempts to solve her husband's murder with the help of her sister, Angelica Schuyler. The show allows the audience, a group of federalists, to cast the final vote that will determine the outcome of the play, and therefore, the outcome history. 

What made Foxcroft’s show a special experience was the dedication that the cast and crew had to keeping everything historically accurate and immersing the audience in the story. The beautiful set, well-done hairstyles and makeup, and elements of audience interaction opened the story up to the audience. 

Captivating on stage was Emmy Queen as Angelica Schuyler, whose witty dialogue delivery and flirtatious persona were charming. Queen’s dialect was clearly well-rehearsed, and the effort put into developing the character was evident. Another standout performer was Anila Schmidt in the role of James Reynolds. Schmidt personified the character of Reynolds through specific character choices and intense energy. From sleeping while other characters were talking to displaying physical anger towards Maria Reynolds, Schmidt brought life to the show.  

Featured in Foxcroft’s production was Katarina Sochurek as the Messenger. Sochurek portrayed this adorable character with ease and humor. Another notable performance was Elise Lahaie as Abigail Adams, who played the strong feminist with poise and dignity. These two performers added comical elements to the show with their comedic timing and dedicated acting. 

The technical elements of “The Hamilton Conspiracies” came together to create the setting of 1804 America in a way that was realistic and homey. The set created by Manabi Kono, Elise Rovde, and Mia Dunlap featured muted green walls, matching furniture, glowing candles, and even a hanging chandelier. Costume elements designed by Aradeal Hatcher such as Thomas Jefferson’s ensemble and Angelica Schuyler’s dress were spot-on and felt accurate to the time period. Complementing the excellent costume choices were makeup designs by Anna Maria Clarke, including pink blush for the female roles and contour for the male roles to create a masculine effect. The show’s hairstyles were also executed well, specifically the slicked-back ponytails with gray added to the roots for some of the male characters. 

All in all, “The Hamilton Conspiracies” was a delightful and humorous yet impactful rendition of the history we thought we knew. Foxcroft School’s production of this one-of-a-kind show reminded us that the true culprit may turn out to be the one we least expected. 

-Sydney Nicklas, Tuscarora High School

A magic wardrobe, a strange land under a cold ruler, and animals that can…talk? All of this comes to life in Spartan Stage Studios’s rendition of "The Lion, The Witch, and the Wardrobe." The childhood tale was originally written by C.S Lewis and later adapted by Don Quinn into a play by the same name. This classic story follows four siblings in a war-ridden London as they escape to a manor in the countryside for safety. There, they find a wardrobe in which lies a fantastical land where they must fight against the White Witch to save all who inhabit it from evil. 

Speaking of the siblings, Tyler Cassidy, Abby Gajo, Claire Webber, and Marwa Berrouz captured the familiar dynamic between Peter, Susan, Edmund, and Lucy flawlessly through playful antics and distinct relationships that rang true to all brothers and sisters watching. Most notably out of the four, though, would undoubtedly be Berrouz in her portrayal of Lucy. Berrouz’s child-like physicality and delivery wholly sell the sweet nature that Lucy encapsulates. However, contrasting her at every moment throughout is Webber’s mischievous Edmund, who through sly movements and snarky remarks truly perfects the nature of a rebellious tween boy. 

The enchanting story would not be possible without the array of mystical creatures throughout Narnia. One of the most prominent was the lovable Mr. Tumnus, played by Yousuf Sarwar, who brightened each scene with his awkward hilarity and sudden movements that garnered laughs no matter the mood. Alongside him were the captivating Wood Nymphs, whose dedication could not be overlooked, with their diligent reactions and expressions. Truly bringing them all together, though, were the whimsical stags that had the stirring ability to tell the story without any words. 

Would any of this magic in Narnia be possible without the fantastic technical crews? To start, sets (led by Morgan Cull and Alexzaiha Castillo) once again produced fantastic pieces that fully immersed the audience from the start, most effectively through a crafty turntable. But, the full extent of the sets couldn’t have happened without the stage crew's (led by Caroline Eades and Matthew Smith) seamless transitions from the professor's tasteful manor to the mythical forest and everything in between. Last, but certainly not least, is hair and makeup’s (led by Layna Brumberg and Alexzaiha Castillo) artistic talent, which could be admired through the unique look given to each character that helped them stand out at any given moment. 

This classic fairytale goes beyond entrancing the audience with an exemplary cast that creates complex characters who deliver perfection and an exceptional crew that can build worlds with their varied expertise in each aspect. All those involved undoubtedly opened the door for all that watch to be transported into the magic of theatre. 

-Miranda Ridgley, Stone Bridge High School

As the spellbinding realm of Narnia unfolds on stage, Broad Run High School’s Spartan Stage Studios elegantly brings the classic tale of "The Lion, the Witch, and the Wardrobe" to life, blending fantasy with reality and revealing the extraordinary within the ordinary.

The classic tale, written by C.S. Lewis, was brought to the stage for the first time in 1984 and has since then gone through many iterations. Spartan Stage Studios used a more recent version adapted by Don Quinn. The story follows the four young siblings: Lucy, Susan, Peter, and Edmund. They stumble through a magical wardrobe and into the fantastical land of Narnia, which has been taken over by The White Witch, who has casted an eternal winter over the land. Together, the siblings and the animals of the forest must work together to save the kingdom and restore it to its former glory!

Lucy, played by Marwa Berrouz, is the first child to visit Narnia. As she explores and brings the rest of her siblings through the wardrobe, Berrouz gracefully balances seriousness with humor to portray dynamic shifts in the moods of different scenes. She continues to do this throughout the show while also using tone and movement to her advantage to make Lucy’s presence felt. Conversely, Berrouz has strong control over these emotions and actions, withdrawing herself from moments where other characters take charge.

One of these such characters is The White Witch, played by Hannah Visser. Visser stole the show with masterfully executed anger and emotions. With uptight gestures and harsh inflections, the mood in the room was cold and icy whenever Visser took the stage, portraying her character in a terrifyingly majestic fashion. Visser created a true villain out of the role through her demeanor and emotions, filling the stage with her presence and commanding the stage with menacing authority.

While Visser provided harsher tones, Yousuf Sarwar added much needed moments of humor and joy to the story. Portraying the role of Mr. Tumnus, Sarwar perfectly implemented comedic pauses and sharp tones to cause jarring moments of humor, punctuating the narrative. These moments provided much needed breaks from the darker themes of the performance, allowing the other characters to create humorous scenes using Sarwar’s bits.

Of course, the magic of the show could not have been possible without the incredible team of technical artists who brought Narnia to life! The set, designed by Morgan Cull and Alexzaiha Castillo, was a technical marvel. The set sat on an independent twenty five foot wide turntable, which rotated when characters entered the wardrobe to venture into Narnia. One side of the turntable resembled a normal house with furniture, artwork, and detailed wallpapers, while the other was beautifully painted to resemble the deep and snowy woods of Narnia. The set was amazingly decorated and deeply immersive, making every transition to Narnia feel truly magical.

The transition was only pulled off through the incredible run crew, led by Caroline Eades and Matthew Smith, who efficiently transformed the stage in seconds. Every transition was accompanied by original pieces of music and impressively mapped projections, composed by Alice McNutt and Gabriel deButts and designed by Simon Borghese respectively.

As the show culminates with the defeat of The White Witch, a triumphant moment unfolds, showcasing the ensemble's remarkable portrayal of victory and redemption. In this climactic scene and throughout the whole show, the cast and technical artists shine, their creativity and skill brilliantly demonstrating the themes of bravery, friendship, and the enduring triumph of good over evil.

-Ashnil Dasan, Heritage High School

The sound of the jingling bells fill the ears of many as red, green, and white colored decorations fall within the scenery. Santa is on his way! His first stop, Woodgrove High School with the one and only Buddy The Elf! 

The musical “Elf” was based off of the 2003 movie which follows the main character, Buddy and his story of finding his father, Walter. After countless encounters with some questionable characters, he eventually finds his father. But not without spreading some Christmas cheer! The story is about lifting spirits and family always being number one on the list. 

Being pulled into the magical North Pole was something that words cannot describe. The actors' chemistry with each other just made the production as a whole so much more gravitating. No one had a dull moment on the stage as they all made bright character choices and stuck with it. All of the characters in the show were so distinguishable which made the experience as a whole even more enjoyable and engaging. 

Two particular actors that were really the best father-son duo were the one and only Buddy and Walter. Buddy was played by Matthew Murray and did the utmost incredible characterization of the joyful elf. When Murray entered the stage, the whole auditorium seemed so much brighter and spectacular. Walter was played by Grayson Rawlings and made some incredible character choices. When Rawlings spoke, he was clear and his diction was precise. His movement and speech made the character sharp and stern as a paper shredder! Combining the two actors, they truly captured the essence of a father and son relationship that thrived and developed during the production. 

No one taps better into the show other than Chris Shuffleton! Shuffleton didn’t have a single “no spotlight” moment and  brought the show to life on a new level with his eye-catching tap dance solo and constant tricks around each musical number. His character was so distinctive and could be easily pointed out on stage due to his unique style and outstanding dance moves! 

Along with actors, a lot of great technical aspects of the show really tied the ribbon into a perfect show. The projections casted by Anna Horan and Sam Torres really brought the world into something so much bigger than it was. It captured the imagery of different settings and atmosphere which made the show feel complete. Matching with it was the set all together which was created by Ace Chavez-Hood, JJ Curtis, Jacob Siecinski and Boone Paulin. This team made the stage into their own unique universe which was really just the syrup on the spaghetti. The sets moving pieces and the items framed on the wall panels made it so intertwined with the actors. 

The North Pole was a long way away, but seeing this show definitely made the trip worth it. It truly was a Christmas miracle to be able to experience Woodgrove’s performance of Elf the Musical. Thank you Woodgrove for sharing the most sparkle jolly twinkle jingley show ever!

-Camden Sardool, Lightridge High School

From the world of swirly twirly gumdrops to the Lincoln tunnel, Woodgrove High School’s production of Elf The Musical is filled with laughter and Christmas cheer. 

Woodgrove’s production of Elf The Musical follows Buddy, an orphan who accidentally crawls into Santa’s bag, transporting him to the North Pole. Now an adult, Buddy is still unaware that he is human, However, Buddy starts to recognize differences. He can’t seem to make toys like the other elves and his giant size leads him to finally discover the truth. With the guidance of Santa, Buddy travels to New York City in search of his birth father, his true identity, and ultimately to help spread Christmas cheer. Everyone will be able to embrace their inner Elf with this modernized version of a Christmas classic!

Elf The Musical was written in 2010 by Bob Martin and Thomas Meehan, with lyrics by Chad Beguelin. Based on the 2003 holiday film of the same name, it is a musical comedy. On November 24, 2010, Elf made its Broadway debut at Al Hirschfeld Theatre and ran for a short time during the holiday season, until January 2, 2011, closing after 57 performances. Due to the huge success of Elf the Musical, it reopened on Broadway the following year for a similar runtime and continues to tour during the holiday seasons. Woodgrove honored the hilarious holiday story warming the hearts of many. 

Buddy (Matthew Murray) leads the story with an undeniable passion for sharing his comedic talent. With remarkable comedic timing, he portrayed the role in a way that was engaging, capturing Buddy’s awkward demeanor, and showing just how out of place he was in the human world. Emily Hobbs (Molly Burnett) was extremely talented in her ability to sing solo, as well as, blending her voice with the company. In the song “There Is A Santa Claus” Burnett sang with Zoe Carter, who played the role of Michael Hobbs, together they created a beautiful combination of singing and acting. Carter was hilarious in the role of Michael and was able to capture the childhood joy of Christmas time. 

Also notable was the production’s ensemble. No matter if they were elves, the people of NYC, office workers, or one of 23 Santas, each member of the ensemble was completely committed to their role. Each actor had a clear back story and motive when they entered the stage strengthening the performance. Chris Shuffleton stood out with his incredible dance talents; he performed a tap solo during “A Christmas Song- Reprise” which showed off masterful abilities in the art of tap dancing. Dancing is not the only thing Shuffleton excels at, during the number “Nobody Cares About Santa” he had a vocal solo and was able to take advantage of his featured time on stage by giving a great performance. 

Just as impressive was the work done behind the scenes. Woodgrove’s Special Effects team consisting of Dylan Keefe, Eden Reck, Kyra Browning, and led by Anna Horan, used trial and error to create a fully functioning snow machine. This demonstrated their hard work, diligence, and ability to make experienced effects with the materials they have readily available. 

Woodgrove’s production of Elf The Musical leaves a bit of magic lingering in the air amongst the falling snow, showing the importance of spreading Christmas cheer for all to hear. 

-Kate Rood, Rock Ridge High School

As the moon rises over Grover’s Corners, Loudoun Valley High School’s Viking Theatre brings ‘Our Town’ to the stage with elegant simplicity, capturing the essence of everyday life and reminding one of the beauty in its ordinary moments.

Thornton Wilder’s ‘Our Town’ chronicles the lives of the residents of Grover’s Corners over a span of 13 years, focusing on their experiences of growth, love, and death. The play, narrated by the Stage Manager, delves into the interconnected lives of its characters, particularly highlighting the young love and eventual tragedy of George Gibbs and Emily Webb. The show culminates in a powerful reflection of the fleeting nature of life, underscoring the profound significance found in its everyday moments.

The show was personified by Victoria Collin’s portrayal of the Stage Manager through her commanding presence that evoked a sense of awe. Collins masterfully translated the script into raw emotion, seamlessly shifting from lighthearted to somber tones.  The actor's flawless execution and elegant portrayal left an indelible impact, carrying the emotional depth throughout the auditorium and proving indispensable to the show's essence.

As Collins continues to narrate, George Gibbs, played by Vaughn Mussmon, and Emily Webb, played by Mia Templeton, provide the love and tragedy of the story as they fall in love on stage. Together, they did a wonderful job of showing how sometimes things can move a little too fast, while also managing to stay within the roles of their deeply complex characters. As the show progresses, we soon see Emily die and look back on her life. In one stunning monologue, Templeton’s performance peaks and she is able to bring home the entire meaning of the show while gorgeously acting with emotion seemingly flowing from the character. Templeton created such a profound feeling of poignant reflection in one monologue, that all the other feelings invoked in the show thus far seemed to disappear for a few moments.

Opposing these more somber tones was Mr. Webb, played by Ben Demase. Demase was naturally funny and provided brief breaks from the deep meaning of the show with silent pauses and elegant comedic timing.

Of course, none of these feelings and emotions could have been achieved without the incredible work of the numerous technical departments. The set for the show was very simplistic, a great design choice to help draw more attention to the emotions and meaning behind the show. The lighting department effortlessly molded the stage to embody the complex emotions of the show. Together, Marjorie Young and Adela King designed and operated a show that used colors, depth, and incredible positioning of lighting fixtures to accentuate the feelings and emotions created by characters. In addition, lighting’s spotlight operator, Ava Olechna, did a great job staying steady with her light and rounding off the design with a dramatic flare!

The sound designer, Will Shank, did an absolutely out of this world job mixing the actors' vocals and creating sound effects for the show. The effects created an ambience that can only be described as perfect to set the mood of the show. Everything was crisp and clear, which allowed 

for actors to be heard throughout the entire space. The sound design was also accented by the incredible pit orchestra (Addison Miller, Valerie Stevens, and Alexandra Wentzel), who tied the entire show together with Miller’s stunning original compositions.

Viking Theatre truly brought to life the emotions of ‘Our Town’. They did a beautiful job of poignantly reminding one that in life, it's the little moments, so beautifully put together by the actors, technicians, and orchestra, that truly make a story —and this show— unforgettable.

-Ashnil Dasan, Heritage High School

The mundane often goes unappreciated, its beauty never truly missed until it’s taken away from us. Written in 1938, Our Town by Thornton Wilder explores the everyday lives of a small town in New Hampshire, and the small but meaningful connections of people as they simply live. This topic is one that can be hard to tackle, and Loudoun Valley’s production of Our Town did it splendidly. 

From the very beginning, the Stage Manager, portrayed by Victoria Collins, commanded the stage with a warm and wise air about her, welcoming the audience to town. Collins’s strong diction and manner of speaking showed her dedication to the role and was a true testament to her acting skills. The character's many monologues, particularly at the beginning and end of the show, were truly impressive, and Collins managed to keep the audience interested and immersed in the most mundane of things. Collins's ability to morph into various characters throughout the show added a comedic element, becoming characters from an angry old woman to a frightened chicken. Collins truly seemed to embody the message of the show, and set the stage (in more ways than one) for the rest of the cast to create this beautiful little world. 

Emily Webb (Mia Templeton) stunned the audience with her ability to portray a broad range of emotion and a clear development of the character over time. Templeton displayed a talent for depicting the various different connections her character had with others, namely Mr. Webb (Ben Demase). Templeton and Demase created a loving father-daughter relationship, their embraces and small conversations filled with so much meaning. Templeton also brilliantly played Emily’s conflicted emotions in the second and third acts. Templeton's performance after Emily’s death stood out, displaying giddy denial at first and then delivering a heartbreaking realization of the permanence of death after the flashback of Emily’s 12th birthday. 

Without a doubt, this production would not be complete without the skills of the tech.  Throughout the production the lights (Adela King and Marjorie Young) and sound effects (Will Shank) worked in perfect harmony to create the setting. The lights stunningly reflected the time of day with colors to reflect the sunrise and sunset, and the warm tones in the houses created a cozy and nostalgic atmosphere. In the 3rd act, the bright blue spotlight on Emily at the end of her flashback brilliantly emphasized the intense emotions of the scene. All sound effects were perfectly on time with the miming of the props, and worked in tandem with the spectacular skills of Our Town’s Orchestra to create delicate background noise that never took away from the lines of the actors. The student-written scores and skillful playing of Our Town’s Orchestra tied the entire production together, fitting in perfectly with the time period and setting. 

Through three artistically done acts, Loudoun Valley showed us life, death, love, and the importance of little moments. 

-Hannah Margenau, Riverside High School

Welcome to Salem, Massachusetts, a seemingly quiet and peaceful village that values family and faith in God. But trust no one, for among all the young women in the village lies the possibility that they dance with the Devil. How would one judge a woman of witchcraft? Who has the authority to judge someone? Paul VI’s enthralling production of “The Crucible” sought to answer those questions. In “The Crucible,” the scales of justice are tilted and true colors are revealed. 

From impassioned speeches to impeccably timed actions, the show was a tour de force, each scene leaving the audience with chills. The eerie show, set in 1692, depicts the rampage of the people to stop witchcraft in the colony. John Proctor must reveal his flaws to save his wife, who was accused of practicing witchcraft. The play draws sharp parallels to the fears of individuals in the United States during McCarthyism, a time when people were accused and arrested for being communists. Written by Arthur Miller, “The Crucible” was adapted into multiple movies and was performed on Broadway five times, winning the 1953 Tony Awards for Best Play. 

The extraordinary cast took the words from the script and brought them to life, each adding a personal twist to their character. Mateo Sur (as John Proctor) truly embodied Proctor’s character, dominating the stage with emotion and passion. Sur performed the gut-wrenching scenes with such an ardour that the auditorium was booming with Sur’s voice. The intensity of Sur’s acting truly emulates the sentiments of a flawed man desperate to save his love. Lia Boyle (as Abigail Williams) took Williams' character to a new level. All eyes were on Boyle as she portrayed the multi-faceted character with ease: the caring, vulnerable Abigail Williams and the manipulative, conniving Abigail Williams. Boyle’s powerful voice swept the stage, every step, every action, every facial expression was reflective of Williams' internal turmoil. 

Aedan McConnell (as Reverend John Hale) depicted Hale’s character progression from a strict interpreter of the law to one who saw the immorality and incongruences with the institution he has held with pride for so long flawlessly. McConnell could not be silenced, every speech exuding spirit and desperation. McConnell’s purposeful body movements and facial expressions helped reciprocate the fear and urgency of the situation as Miller intended. 

The technical teams accentuated the effort of the cast, allowing the production to run smoothly. The sets, led by Sophia Walter, were sui generis, equipped with hanging parts and rotating flats that set the tense atmosphere for the scene. The sets were charmingly decorated with varying textures and rustic designs that kept the sets fresh for all the long scenes, underlined by the strikingly realistic props, led by Carole Ann Hasto. The dinnerware and court items were designed with painstaking attention to detail and the minimalist design made those items quite charming. Overall, all the tech elements collaborated and worked together to construct and execute the show. 

In a time where everyone is constantly being judged on every little thing, Paul VI’s production of “The Crucible” reminded us that you are your judge; no one else has the right to judge you but yourself. So, in a world “filled with hypocrites,” don’t be afraid to be yourself. 

-Tanvi Talusani, Freedom High School

Captivatingly corrupt. Starkly realistic. Strikingly American. St. Paul VI Catholic High School’s production of The Crucible perfectly encapsulates this period piece’s unfaltering relevance to society in a frightfully wonderful way, and is sure to leave the audience unnerved and on the edge of their seats.

The revolutionary American playwright Arthur Miller wrote The Crucible in the 1950s during the height of McCarthyism, a vehement anti-communism movement under Senator McCarthy. This mirrored the Salem witch trials of the 1690s in more ways than one. Although allegorical in nature, The Crucible’s warning of the fractious impacts when vengeance writes the law is still extraordinarily pertinent today. 

The Crucible follows John Proctor, a pensive farmer who’s unafraid to speak his mind, as he is placed in an impossible position. As the senseless people of Salem begin to accuse each other of consorting with the Devil when under duress, John Proctor is faced with an impossible choice when falsely charged with witchcraft. He can either succumb to confessing and walk away a free man or speak his truth and die for it. 

His morality is in constant question, and such an incredible performance can only be captured by a remarkable actor such as Mateo Sur, who handles this difficult role masterfully. Sur encompasses all ends of the emotional spectrum in a believable and nuanced way, and not once does the plausibility of his character falter. 

Performing opposite Sur is Lia Boyle in the equally complex role of Abigail Williams. Williams is an unconventional antagonist who single handedly ignited the Salem witch trials by falsely accusing others of witchcraft, and claiming to fall under the devil’s grip at the hands of her neighbors. Boyle’s characterization is strikingly startling to say the least. She shifts from being vitriolic and viscous to weeping and wailing in a snap. Boyle’s ability to showcase her wild hair and wild intentions in one chilling moment to instantaneously become soft and pleading while in the next appears as easy as flipping a coin. It’s so unnerving to the audience that it evokes a borderline masochistic sense that will surely leave hair-raising chills. 

The job of set design was weighted with authority, especially in a period piece such as The Crucible. Set designers Jillian Villaver, Devyn Wallace, and Sophia Walter delivered magnificently with every scene bringing about a different set piece that didn’t feel forced, and yet still maintaining the texture and depth required from a set intended to mirror the uncanny valley of 1690s Salem. Additionally, make-up designers Lia Boyle, Natalia Lima, Parmis Rahai, and Lexy Said perfectly represented middle age with a level of simplicity required by a period piece. 

The darkly corrupt tone of the show was brought to the forefront in the second scene of the second act. Reverend John Hale watches in awe as his honest intentions to rid Salem of witchcraft, twisted under the malicious intentions of religious court officials, transpire in a way that is almost Orwellian. This dynamic performance, as the Reverend finally snaps from his sense of guilt, is executed impressively by Aedan McConnell. McConnell’s presence is gentle and authoritative, and his moving performance as the guilt of the hangings increases is commendable to say the least. 

The cast and crew of St. Paul VI Catholic High School have staged a difficult production that preserves all the timeless elements of The Crucible, while still presenting it through a modern lens. Striking and brimming with social criticism, The Crucible is a must see. 

-Bridget Lockett, Stone Bridge High School

Come one, come all to the Brothers Grimm Spectaculathon! ‘Tis the night of beloved fairy tales getting twisted, turned, and revived in the most hysterical way possible. Dominion High School’s engaging cast and grand execution of the play depicting the true stories behind many tales is not one to miss.

Published by playwright Don Zolidis in 2007, the comedy The Brothers Grimm Spectaculathon features two narrators recreating all Brother Grimm fairy tales, composing a range of classics like Rapunzel or Hansel and Gretel to more eccentric works such as The Devil's Grandmother. The narrators of the first act set the overarching tone of the show from the beginning. In particular, Narrator 1, played by Ashley Anoubon Momo, carried herself with an enthralling stage presence through many diverse expressions and skilled, but subtle, body language. Dualling with Avery Scott’s more comedic centralized Narrator 2, the hosting pair set the stage for the much enjoyed quick-witted humor of the spectacle without a doubt.

Gabe Raphael’s execution of the Frog Prince was immaculate; from the way he changed his voice to fit his character to the way he presented himself on stage. The Frog Prince was notably one of the more humorous scenes in the first act, and Raphael’s performance and cohesion with his scene partner lead to a delightful and funny twist to the story. Even in Raphael’s other roles, such as Johannes and Walt, he proved to be a captivating persona in the scenes he was in and constantly amusing with the slightest of gestures. He proficiently performed as each distinguishable character seamlessly whilst animating his roles in drollery. As Johannes, Raphael’s chemistry with Keegan Mason, who played Raven, was ridiculously hilarious. Depicting the tall tale of Faithful Johannes, the two actors aided in portraying the twisted story of faithfulness with comedy, and every interaction they had was bound to be hysterical. 

Also played by Mason, the role of Actor proved to be an unforgettable character with his slapstick demeanor. As the show was coming to an end, the Narrators of the play could not find actors to act out the Cinderella story, so Keegan Mason, as Actor, carried out a remarkable one man show full of endless hilarity. Mason extraordinarily performed as all characters in Cinderella while still retaining the disposition of Actor, displaying his breathtaking character work. 

The Cinderella story also allowed the ensemble (The Dwarfs) to shine even brighter with their flawless coordination of “quick changes”, displaying Mason as numerous different characters with the change of a couple of hats. Their coherent execution allowed for a tremendously comical scene and helped lead the tone of The Brothers Grimm Spectaculathon to a fantastic finale.

From both a technical and spectatorial perspective, Dominion’s set was unlike any other. As a book that could rotate and display different pages, the set crew went above and beyond with the functionality of the pages. The set incorporated inner and complex components to the book and allowed for the stories and scenes to transition just like an actual compilation book of different stories where endings of the tales are somewhat abrupt but still flowed with ease. Additionally to the set, the subtle lighting in the background of scenes, associating with different characters, was a wonderful touch to the stage setting.

Comprising of many heartfelt laughs and modern humor for all age groups, Dominion’s rendition of The Brothers Grimm Spectaculathon brought the childhoods of many to life while satirically crushing them all the more. After all, what is “Happily Ever After” without pretty people?

-Kate Caling, Loudoun Valley High School

Once upon a time, in a land called Dominion, a formidable high school theater department put on a spectacle, dedicated to highlighting the stories of two of the most influential folk tale writers of all time, Jacob and Wilhelm Grimm, known as the Brothers Grimm. Titans Theater brought these fairytales to life in the light-hearted Brothers Grimm Spectaculathon.

Brothers Grimm tales date back to 1812. Since then, there have been countless adaptations in literary collections, and on the stage and screen. In popular culture, Disney (dubbed “the Mouse,” by this Titans ensemble) is responsible for wide dissemination of Grimm stories, but not many know their original tone or thematic intent. This is why Dominion’s Spectaculathon was important. Their dedication to the original stories of the Brothers Grimm was remarkable.

The overall production of this show was seamlessly coordinated. The actors’ comedic timing, paired with the tech department’s amazing set and props, resulted in a truly powerful performance. Through smart jokes and audience participation, the plot was communicated comedically.

Both of the lead actors, male and female, gave hilarious performances. Ashley Anoubon Momo (Narrator 1) was witty and shined like a star on the Titans’ stage. Her particularly funny moments included recruiting the audience to make “horror movie sounds” and reappearing at the end wearing Mickey Mouse ears. Ashley made her mark with a memorable performance. Gabe Rapheal (Frog Prince/Johannes/ Walt) had notable stage presence and made excellent character choices. Gabe was endearing and amusing, and he was definitely a strong actor.

Supporting characters were also memorable for the comedic mark they made on the show. Alyssa Hassan (Princess/Snow White/ Cinderella) portrayed the role of a fabulous diva quite well, adding dimension. Adrian Radu (Hansel/Father/King) played all of his roles with sillines and whimsy. Of particular note was his German accent while playing Hanzel.

The featured actors completed the Spectaculathon with their incredibly funny jokes and silly actions. Chase Bochenek (Bumbler Dwarf/Actor) was one of the funniest actors on the Titans’ stage. His comedic presence was especially evident when he played every character in Cinderella, and danced on stage in an attempt to portray both  the Prince and Cinderella. Avery Bunker (Girl/Little Red) is another notable actor on the stage. Her comedic timing was impeccable and her wit and physicality helped elevate the show.

The tech department added so much to the show, as well. The set, made by Cass Senzano, Lapis Malpartida, Trisha Cherian and the other members of the set crew, turned on stage and opened like an upscale storybook. The lighting, led by Ethan Menger, Noah Ryan, and Will Hines, changed color with every new tale they told. This helped us isolate the stories, so the audience wouldn't confuse the story with another one shown.

Brothers Grimm Spectaculathon was flawlessly produced and portrayed by Titans Theater. They illuminated the original tales of the Brothers Grimm, and helped the audience digest the crude and, sometimes violent, stories with the best medicine ever: laughter.

-Justin Goodhart, Loudoun County High School

From the moment lights go up to the final bow scene, Potomac Falls High School takes you on a journey of growth and betrayal with their production of The Crucible. The show opens with the shadows of trees from the forests of the town of Salem, Massachusetts. We see character silhouettes as the music builds, preparing the audience for the journey on which they’re about to embark. We hear music, a scream, and then silence as the witch hunt begins.

The Crucible is a play about the witch trials that took place in Salem, Massachusetts from 1692-1693, telling the story of a village that quickly becomes entangled in a witch hunt. Citizens are willing to do anything and blame anybody, just to save themselves and their families. Fear settles, as more and more people start accusing each other. You can feel this tension start in the opening scene with Abigail Williams, played by Avery Medina, and her uncle Reverend Samuel Parris, played by Mason Saunders. Medina and Saunders come in with such a strong energy that immediately draws you in. The back-and-forth between the two characters gave a see-saw effect, as you saw one rise up, taking control of the argument before slowly sinking back down and submitting to the other. The physicality of the stage slaps and pushes added an extra level of emotion to the scene. This raw emotion was something seen throughout the entire show. The entire cast did amazing and handled this show with the love and care it deserves.

Tech played a major role in this production. The set designed by Kara Adamson--its simplicity helped simulate the time period and move the story along with ease. Simply angling the flats and combining them with the props designed by Aniya Trice, signified a location change that added another level to the storytelling. The lighting, done by Sarah Chung, gave scenes this sense of realness, pulling the audience in and making them feel like they were a part of the story. The use of tree gobos at the top of the show and in the first scene of act two gave this incredible illusion of a forest, and the backlighting of the set during scene changes added to the suspense and anticipation of what was to come. The makeup designs by Isabelle Sullivan were breathtaking. The aging done on older characters such as Giles Corey and Francis Nurse was very well done. It was as if these actors had aged. Also, the bruising and cuts done on actors such as John Proctor, played by Owen Cook, were astonishing. The makeup paired with the actor’s physicality and emotion gave the effect that he had been chained to a wall for all these months. It’s evident that the designers for this show paid attention, did their research, and did it well. The tech and acting effectively complimented each other and helped the portrayal of this amazing story.

-Sydnee Hale, Broad Run High School

In the town of Salem, God sees everything. But what happens when accusations of witchcraft begin to spread? In Potomac Falls’ production of Arthur Miller’s The Crucible, one can see the tragic consequences of a town ruled by paranoia and religious zealousness.

Inspired by the Red Scare and based on the Salem Witch Trials, The Crucible tells the story of a town seeking justice for the bewitchment of several girls. Caught in the middle is John Proctor. With his wife accused by a former lover hoping to win him back, John vows to clear his wife's name as he struggles with how far he is willing to go before he loses his conscience, dignity, and morals.

Lauren Ignazzitto, who plays Elizabeth Proctor, achieves a balance of resoluteness and grace by incorporating subtle body gestures and a soft tone of voice, establishing Elizabeth as a gentle woman while still being iron-willed in the face of execution. Not to be outdone, Owen Cook manages to embody the spirit of John Proctor brilliantly, as the coarse tone of his voice paired with his unyielding rage throughout the show encapsulates the attitude of a devoted patriarch in the 1600s. However, Cook is also successful at portraying the tender side of John Proctor, as the raw emotion of his weeping during his final moments with his wife, drawing the empathy of even the most black-hearted audience member.

Even among an exceptional cast, Ayyoob Saeed stood above the rest as Reverend John Hale. Saeed expertly captures the image of a devout minister filled with religious fervor through his emphatic hand gestures and impassioned delivery. He also skillfully displays the development of Hale, where during the closing scene, on his knees begging for mercy from god, he rips his hair out, his voice filled with the regret of a man realizing the consequences of his actions. No matter where he was on stage, when Saeed began to speak, he held the audience’s undivided attention.

In addition, Kara Adamson was able to not only build a set that matched the actors' ability but also emphasize it. With what, at first glance, seems like a minimalist set, Adamson managed to design an environment that made the audience feel claustrophobic when filled with people. However, it allowed for more intimate moments to be unencumbered, emphasizing the actors’ performance. Perfectly pairing the set was Sarah Chung’s expert lighting. With dark red lighting seeping between the flats during transitions and one final scene of two nooses illuminated on the set, Chung not only allows the audience to see but also feel the tension and tragedy of The Crucible.

With such incredible execution from the technicians and actors, the audience walked away in awe as they saw not only the tragedy of Salem but also the flawed humanity of each character. After seeing this show, one can only applaud Potomac Falls for its production of The Crucible.

-Jerry Wang, Stone Bridge High School

Coming soon...

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Guilty or not guilty. A plaguing question. Have a seat at the table with the cast and crew of Loudoun Country High School's performance of ‘The 12 Angry Jurors’. The story follows 12 strangers who are on the jury for a brutal murder trial. It would seem like an open and shut case except for the reasonable doubt of juror 8 (Alexander McKay). He believes there is reasonable doubt in favor of the defendant and reexamines the crime to figure out why. The entire cast and crew created a beautiful show about examining facts and giving everyone a chance to speak. 

McKay captivated the audience with their well-spoken reasons for the defendant's innocence. Throughout the entire show, they spoke with determination and confidence while making the case for reasonable doubt. Partnered perfectly with the hothead, Juror 3 (Justin Goodhart), they worked in sync to convince the other jurors in the room of their stance. Goodhart displayed the anger of his character superbly, showing much conviction for the guilty verdict until the very end. Another notable character was Juror 4 (Frey Williams) who played one of the hardest roles very well, she portrayed the levelheadedness of Juror 4 throughout the entire play and didn’t slip once. Finally, Juror 11 (Sneha Mehta), left a huge impact on everyone during the play; using every line spoken to show her belief in fairness. 

Every part of the set designed by Devin Carpenter gave a wonderful sense of being in a government building, from the walls, down to the water cooler. The window, despite the challenges faced with weighing down the window, was expertly built and gave the sense of a real window. Furthermore, the props, done by Sierra Smith, Sophia Albert, and Alex Grant, only added more to the set, each prop was placed accordingly and used perfectly throughout the play. The costumes done by Lea Davis and Jamie Faye-Mckight and the make-up by Frey William and Kirby Peña were another focal point. Each character had a costume and make-up design that matched their personality, including the all-red outfit for juror 4, displaying her confidence. Along with the make-up for juror 9 (Jamie Faye-Mcknight); the make-up team had to make juror 9 look like an old woman and did so without fault. The lighting designs done by Clair McManus and Ella Molloy added to the tension that rose with each word. On top of that, the sound design by Syd Bourgeois and Jazmine Wills, featuring the ticking clock at the beginning of Act 2, increased the tension as well.

Every part of the production went seamlessly and with ease. Every move made engaged the audience even more, leaving most speechless. As difficult as it must have been to put on such a stationary play, the cast and crew of Loudoun County High School’s production of The 12 Angry Jurors worked together seamlessly to make a captivating show. 

-Hannah MacMillan, Independence High School

One murder, a nineteen-year-old defendant, and twelve members of the jury responsible for his fate - with such high stakes, there’s no room for anything but the truth. Loudoun County High School brings a gripping production of 12 Angry Jurors that shows how a little doubt can go a long way.

Initially written in the 1955 for television but quickly adapted for the stage, 12 Angry Jurors is an intense courtroom drama following the jury proceedings of a murder trial. When a young boy becomes accused of murder, it seems to be an open-and-shut case with a verdict of “guilty.” But when it comes time to vote, one lone juror believes there is more to the story. With thrilling tension, yelling, arguments, and threats, the other eleven jurors slowly start questioning if they can believe the evidence in front of them.

Loudoun County High School’s production is incredibly captivating from the very first second. With such a small cast, each member had a chance to shine and truly demonstrate their own unique personality. Whether shy or confident, patient or enraged, the actors artfully stepped into their new personas, as shown in every small interaction between the cast.

Such exceptional portrayal is notably found in Juror Eight, played by Alexander McKay. As the first juror to question the guilty vote, McKay artfully depicts a patient, clever, and observant juror through expressive physicality and a confident delivery of every line. McKay never misses a beat when interacting with the other jurors, such as the red-cloaked pseudo-antagonist of Frey Williams as Juror Four. Even as the rest of the room descends into disarray, Williams remains a composed and commanding presence within every line, choosing to use logic to defend her point and daring to admit when she is wrong.

Another noteworthy character throughout the show is the poignant Juror Eleven, played by Sneha Mehta. An immigrant with a unique perspective from the rest of the room, Mehta’s character illustrates a theme of democracy and the freedom to disagree with one another. Mehta embodies the character incredibly convincingly, rivaled only by the Foreman played by Devin Carpenter. As the person responsible for keeping the passionate jurors orderly, Carpenter exudes a sense of authority and seniority by employing the democratic process.

The serious, official mood seeps through the set built by Devin Carpenter: a simple yet thought-out design that serves as a bureaucratic background to the arguments that unfold. Small details such as a functioning water cooler and potted plants sell the image of a government office from decades ago. This immersion is increased even further by the intricate props chosen by Sierra Stith, Sophia Albert, and Alex Grant, who go so far as to include a dulled pocket knife to stab into a wall. Such dramatic moments are increased in tension through various lighting effects designed by Claire McManus and Ella Molloy, with the background flashing red and blue to symbolize the guilty and not guilty votes throughout the show.

Loudoun County High School’s production of Twelve Angry Jurors is a well-executed and investing take on an old classic. The actors and tech alike work together to create an intriguing tale about democracy, assumptions, and finding the truth. Unlike the jury in the show, there’s no need to argue whether this adaptation of Twelve Angry Jurors is worth watching.

-Sarah Chung, Potomac Falls High School

Second star to the right and straight on to Lightridge High School’s production of J.M. Barrie’s 1924 Peter Pan! This classic story is based on Barrie’s previously written The Little White Bird for Barrie’s younger brother who died tragically before his fourteenth birthday never giving him the chance to grow up. This play was later interpreted from The Little White Bird to the story we now know and love, Peter Pan. 

This play follows Peter Pan played by Chloe Steverson, a boy who runs away to Neverland Island so he never has to grow up. He visits windows in the nearby London town to listen to mothers telling stories to their children. After one fateful night, Pan’s shadow is trapped and cut off by a rapidly closing window at the Darling house. When he goes to retrieve it he meets 3 children by the names of Wendy played by Sophie Coyle, John played by Aimee Lyman, and Michael played by Imogene Sigler. They go back to Neverland with Peter Pan and go on many adventures with him and the lost boys. The adventures consisted mainly of hiding and defeating the pirate gang run by Captain James Hook played by Jude Cabral.

Throughout the 5 act play, we are told the story through hilarious dialogue and character movements. Captain Hook (Jude Cabral) throughout the production embodied his character going above and beyond even when not speaking lines. He put his spin on Captain Hook without sacrificing the original character. Cabral also used the entire stage along with the whole auditorium. Peter Pan (Chloe Steverson) kept high energy within all of her scenes making it a thoroughly enjoyable performance. Wendy (Sophie Coyle) kept her innocent yet mature demeanor throughout the entire play when acting with others. The way Wendy and Peter Pan interacted with each other at the beginning of the play and at the end of the play differed greatly but in a good way. They capture the story using dialogue and actions. Though some were quick with their lines, they all made it up with their witty repartee. The stage presence of the actors and actresses on stage was captivating.

The sets (constructed by Kate Leisemier, Sean Mars, and Yash Divyansh) went from a beautiful Old English nursery, to mysterious mermaid lagoons, to a rough Jolly Roger ship. They captured the sense of an English nursery through the attention to detail, such as the lamps and the heights of the bed due to the child's age. Then moving to the mermaid’s lagoon with the special effects with the bubbles and the blue back lights. The Jolly Roger was an old hardened ship perfect for the gruff pirates and made for a spectacular battle scene. These sets combined with the fun and playful props (accumulated by Annaliese Laoretti) made for a fun and cohesive play. 

After countless hours of hard dedicated work, Lightridge High School put everything into making this a nostalgic whimsical Peter Pan. Through the actors on the stage and the stage crew backstage, both technical and theater aspects of this play were spot on. Hats off Lightridge High School! 

-Anna Carey, Foxcroft School

Stories, stories, adventure, and more!  Lightridge High School brings to life the adventure of a lifetime for Wendy, John, and Michael through their fantastic production of Peter Pan.

Inspired by The Little White Bird, J.M. Barrie wrote Peter Pan as a novel which was adapted and released as a play in 1904.  First produced at the Duke of York’s Theatre, Peter Pan ran for 145 shows.  Nowadays Peter Pan has been adapted into many different plays and stories.

Peter Pan tells the story of Wendy, Michael, and John as they adventure through Neverland following the guidance of Peter Pan.  Along the way they meet friends in the lost boys and foes in the daring Captain Hook and the Pirates.  One thing is clear, in Neverland the adventure never ends.

One notable performance was that of Jude Cabral as Captain Hook.  Cabral did a fabulous job of balancing the conniving, evil side of Captain Hook while not losing the element of comedy in the character.  Cabral’s comedic timing and unique physicality showed the audience the fun side of Hook.  On top of Cabral’s acting, Cabral’s infectious energy led the ever energetic pirate ensemble, which had the audience “hooked” from the moment they stepped on stage.   

Adding to the story as a whole was the fabulous  J.M. Barrie 2 portrayed by Laura Mlaker.  From the moment Mlaker stepped out on the stage, she commanded the stand with her unbeatable stage presence and strong voice.  Mlaker did an amazing job pulling the audience into the story from the very first moment.    

Another notable mention was that of Nana portrayed by Camden Sardool.  Despite not speaking, Sardool’s fun choices and strong physicality drew the eyes of many.  From the intimidating stares to the fun playful moments, Sardool had it all.  Sardool’s strong body language had even the audience feeling bad when Nana was put in the doghouse.  

From the moment the curtain opens, the audience is greeted with the simplistic yet beautiful set designed by Alyssa Macaleer and Yash Divyansh.  Macaleer and Divyansh not only created one set, but multiple that took the audience on a wonderful journey through Neverland.  Working hand in hand with the set, were the ever fabulous lights done by Christian Ewaldsen and Emily Barker.  Ewaldsen and Barker’s lights were nothing short of amazing, as the lights added to the beauty and aesthetic of Neverland.  Additionally adding to the magic of the show was the sound effects done by Liam Gilmore.  From the tinkering of tinkerbell to the chomping of the crocodile, Gilmore’s sound truly enchanted the audience.   

From the opening of the curtain Lightridge High School drew the audience in with their captivating performance of Peter Pan, leaving the audience to walk away eager for their next Neverland adventure.

-Emma Marfia, Tuscarora High School

Read all about it! Read all about it! Suffragettes are protesting in the street and people are vanishing. Mystery is lingering in the air, but have no fear, because the talented students of Riverside HS are rushing in to solve the case with their production of Sherlock Holmes.

In this rendition of Sherlock Holmes, written by Tim Kelly, a private detective by the name of Sherlock Holmes is all about helping people and solving mysteries. He becomes invested in the case of Alice Faulkner, who is a prisoner of the Larrabee couple. Faulkner has a collection of letters that contain valuable information, letters that many want their hands on. While trying to help Miss. Faulkner, Holmes uncovers crooks that lay all throughout the land, finds himself in dangerous situations, and even sparks a brief romance.

In the production, the role of Sherlock Holmes is played by Arman Jaiswal. Jaiswal captivates the audience with his broad range of body language and impressive facial expressions. Jaiswal’s comedic timing as well as his dramatic tension building moments were always in perfect harmony. Countering Holmes is Alice Faulkner, played by Simone Dotson. Dotson beautifully showcases her ability to portray different emotions. From her moments of naivety to pure terror, she truly sold it. Together, Jaiswal and Dotson commanded the stage with their unmatchable talent for performing.

The magnificence of the performance is a group effort from the entire cast. From the moment the curtain opened to the final blackout, every single cast member was fully in character and unbelievably energized. The interactions between the ensemble members vividly paints the picture of Victorian London with a plethora of mischievous mysteries. In particular, the conniving bitter chemistry between James Larrabee (Chance Mcgill) and his wife Madge (Anna Salmon) is so dynamic and sharp. Mcgill and Salmon bring these characters to their fullest potential with their incredible acting abilities.

The element that really drives this production home is the tech work. Lighting designer, Kylee Clark, brilliantly depicts certain characters with the use of light. Clark sets the protagonists in blue toned lighting, while the antagonists stay in red. As this is going on, The RVHS Costume and Tech Crew are hard at work with the special effects. For example, as Dr. Watson is recalling and explaining events, a projection of said events is playing behind him. The effect that takes the cake; however, is the tear away costume used as Moriarty’s disguise. The flawless design of the costume gave Holme’s the ability to reveal who the imposter truly was. Incredible!

-Emma Nicholson, Loudoun County High School

Evening news! Evening news! Riverside High School put on a brilliant rendition of "Sherlock Holmes." Read all about it! Read all about it!

Tim Kelly's "Sherlock Holmes'' was an adaptation of Sir Arthur Conan Doyle and William Gillette's classic stage comedy. Tim Kelly created a new rendition of the iconic detective, Kelly reimagined Sherlock Holmes into a newer more modern context. The show was set in 1890's steampunk London. Riverside High School's version was a combination of mysterious, risky, and comedic moments to accentuate the storyline. Holmes was tasked with yet another case to solve. Soon after he faces many small issues and problems arise, he powers through almost being killed and solves the case, like he always does.

Arman Jaiswal's rendition of the mysterious Sherlock Holmes was implemented from the first moments Jaiswal was on stage. Holmes is a detailed and complex character. Jaiswal was able to execute Holmes's exciting and bold personality through in-depth character work. Jaiswal engaged in the comedic instances of the show. One particular moment managed to stand out remarkably and left a lasting impression; Holmes was tied up in the abandoned warehouse, Jaiswal implemented an eye-catching comedic choice of over-the-top exaggerated meditation and sporadic movement to get untied. Alongside Jaiswal, Jojo Smothers, who played Sid Prince, added favorable comedic moments to the show. Smothers used an engaging bird call to signal Homes. Smothers had well-played chemistry no matter who the relations were with. They both maintained impeccable comedic timing for their lines throughout the entirety of the show.

The newspaper boys portrayed by Rebekah Craig and Kai Canales, set the show's energy at Riverside High School. Their initial stage presence made it apparent that Riverside High School's rendition of the show would have a comedic tone to it. Newspaper Boy 2, in particular, had attention-grabbing character traits, and Canales's repetition added to the humor of the scenes. Nia Dillons portrayal of Gertie, elevated and added depth to the dramatic moments, especially when Dillon unveiled the bomb for the first time. This brought Gertie's character to life. Dillon integrated much sass into Gertie’s character, adding on an extra layer to her persona.

The lighting elements by Kylee Clark, notably in the first act, distinguish the different rooms within the set. When the curtain shut, and the bomb detonated the lightning accompanied it, making it feel as if there was an explosion. Alongside that, the permanent set was able to play multiple different spaces with little scene transitions. The structural pieces in the background were detailed and intricate. These set elements were able to keep the vintage steampunk setting of the show. Another distinguished tech piece created by Krishna Olguin was the bomb prop, from how the shiny parts caught the light to the sound effects that went with it. That singular prop was one of the most remarkable and memorable effects. Yet another outstanding technical element was the fog at the beginning of the second act. This clever use of fog emphasized the specific setting of the scene, and added an additional layer to visual enhancement of the overall production.

“Another murder in Whitechapel!” Riverside also committed a murder.. They killed this show.

-Addison Zimmerman, Tuscarora High School

The howling of wind and song through copper leaves, the pinprick glows of firelight and distant windows, and the roaring tremble of hooves herald the coming of an adventure to be retold. The frosty fall tale unfurls like a misty autumn sunset as Heritage High School presents The Legend of Sleepy Hollow. Adapted from the gothic fable by Washington Irving, the classically spooky play tells of the tragic Ichabod Crane, who, in courting the love of flirtatious Katrina Van Tassel, antagonizes the ominous local hero Brom Bones and becomes ensnared in the fables of the sleepy town, to an unfortunate end. Thunder cracks, lanterns shatter, and the night air bites colder when you leave.

Sleepy Hollow, being a fairy tale, was sculpted through the dexterous and clever storytelling of the ensemble, who upheld their fragments of early Victorian exposition with grace. From first twisting parable and discordant image, the cast handled the fireside ambiance with ease. This excellent phrasing was paired with unified movements that made stunning pictures: of shadowed horses and monsters with great eyes, villagers with their heads bowed stuttering out stomps to simulate a creature in the brush. Trembling in the midst of this living stage was Ichabod Crane, portrayed by Beau Dolan, who lectured, munched cake, bounced his leg and pontificated with an effortless charm that was entrancing. Even when idle, or staring in utter silence, he was simply Ichabod, and his soft unspoken dynamic with Neve Holloway's Katrina was fascinatingly real. 

His foil, the soft-spoken and alluringly intimidating Brom Bones, played by Atticus Gregory, loomed long shadows across the stage. His firm gate drew attention subtly but firmly, and his every word was timed with dangerous precision. His tense relationship with Holloway, a commanding, ethereal presence in her own right, was palpable as well, in a way that tasted bittersweet. There was never an uninteresting moment from the play, never a space unfilled by the characters with poetry, laughter, tapping feet, or melody. 

This piece thrives on otherworldly ambiance, and that sense was fabricated stunningly through the technical aspects of the production. Nearly every element was precise, and, as a unit, every moment was as immaculate as the last. The lights, designed and operated by Dian Greenough and Ashnil Dasan, were a powerful element of the story, flashing and fading with the rich purples and ominous orange tones of the play's perpetual twilight. A pair of windows on each side of the stage stood out especially, projected through specially shaped gels, stunningly crisp and warming. The set meshed with it beautifully, a series of gnarled cardboard trees that cast crackling shadows onto the walls and actors behind them. 

The texture of the set matched the story well, with rough bark braiding andorning many of the pieces. This, in turn, highlighted and supported the rich, old-fashioned original underscoring by Genny O'Niell, whose articulate chords flickered and danced like firelight, or ghostly sparks in the night. Each and every feature was executed with exceptional attention to detail, from glowing eyes on the massive and horrifying puppet horse chasing Ichabod to a wafting of leaves from the house ceiling through the chilling melody of the final moment. 

Heritage High School has presented a level of elegance and attention to detail that is deeply admirable. Every disparate element adheres wonderfully to the others, to create a sense of cohesion and elaborate focus on detail, which are both indicative of the great passion that these performers have for their craft. At the close of autumn, with whistling in the distance, Heritage's production brings a welcome shiver to every spine. 

-Cecil Turner-Veselka, Loudoun Valley High School

All aboard for St. Paul VI Catholic High School's stage adaptation of Agatha Christie's classic whodunnit murder mystery, Murder on the Orient Express. While vacationing in Europe, the famed Belgian detective, Hercule Poirot, finds himself trapped aboard a snowbound train with a series of mysterious individuals--and a murder victim. Since its introduction in 1934, the novel has been one of Agatha Christie's most popular works and the subject of countless movie, TV show, and stage productions. 

St. Paul VI Catholic High School's ensemble put on a first-class opening night performance! Beginning with a creative pre-show welcome from the auditorium's "train conductors" to draw the audience in, the night only got better from there. A film-noir short movie of a past kidnapping set the stage effectively, and further flashbacks as the play progressed kept the audience engaged and prevented plot details from being lost. 

The cast had undeniable chemistry, creating organic sequences of action, only made better with skillfully timed sound effects and incredibly detailed props. From a hand-embroidered handkerchief--courtesy of props manager Carole Ann Hasto--to a real lit match and a bloodstained shirt, the props department was clearly committed to dealing with the details and creating an atmosphere of realism. Likewise, hair and makeup sucked the viewer into the story and contributed to the depth of each character. 

The cast and crew's interaction with the sets--massive, unwieldy train cars on wheels--made the production more successful. The stage managers and crew made transitions between scenes seamless, while the cast interacted mindfully with set elements such as doors, walls, and windows as though they were truly on the Orient Express. 

With a performance more powerful than a locomotive, Hayden Springer brought an element of emotion to a traditionally reserved character while also staying true to his role as Poirot. Private soliloquies throughout shone a literal spotlight on Poirot's internal turmoil as he worked through the details of the case--and on Springer's complex portrayal of the character. Even shedding his suit jacket and rolling up his sleeves as the play went on, Springer's attention to detail added another dimension to the story's conflict and a thought-provoking conclusion.

Less directly in the limelight, Sarah Burkat as Helen Hubbard, a chatty American with something to hide, was comical and off-the-rails in the best way! Funny, believable, and expressive, Burkat repeatedly brought a comedic spin on an often-tragic situation and even revealed a glimpse of her musical talents with a short rendition of "Charleston" and "Alexander's Ragtime Band." On the other end of the spectrum, Lia Boyle's performance as Greta Ohlsson, a soft-hearted, Swedish traveler, tugged delightfully at heart strings as Boyle's eyes misted up with convincing emotion and mannerisms to match. 

It takes an army--or, in this case, a cast and crew--to make a successful production, and St. Paul IV Catholic High School's cast and crew were truly successful. Witty, intense, and, at times, unexpectedly moving, each element of the performance came together for a final product that showcased the talent of the theatre team and made for a killer show!

-Andawen Sauder, Lightridge High School.

"I wonder which way I ought to go," says Alice as she sets off on a fascinating adventure in Wonderland and invites audience members to join her. John Champe High School's Avalon Theatre Company's production of Alice in Wonderland brings to life Lewis Carroll's classic children's story and adds a new dimension to the tale on stage.

Alice in Wonderland was written by Lewis Carroll and released in 1865. Since then, the fantastical comedy is an undying hit filled with magic that appeals to everyone–the John Champe stage is no exception.

The show immediately throws the viewer into the storyline as soon as the Cheshire Cat (Justienna Tong-On) steps on stage. Following this, Alice (Kiera Murray) comes tumbling through the rabbit hole to Wonderland, a place full of magnificence and magic. In this world of wonder, Alice discovers a key that will get her home. Alice embarks on a journey through Wonderland which allows her to meet big and bold personalities in Wonderland. Soon, however, she comes face to face with the biggest personality of them all, the Queen of Hearts (Alexis McGuffin). Unfortunately for Alice, the Queen accuses her of stealing her cherry tarts, upon which the Queen declares, "OFF WITH HER HEAD!" Alice must scramble to find a way to keep her head and return home. The only way she may do so is to come to terms with growing up and understanding herself.

Kiera Murray embodies the spirit of the young girl Alice through her expressive curiosity onstage and vocal tone quality. Murray embraces Alice's childlike nature and exemplifies a perfect Alice lost in Wonderland. Murray conveys a brilliant, kind, and clever girl which made the trappings of a fantastic Alice. In contrast to Murray's portrayal of the thoughtful Alice, Alexis McGuffin's superb stage presence as the Queen of Hearts captivated the audience. McGuffin rises to the task of playing one of Disney's most iconic villains. From her perfectly placed "OFF WITH HER HEAD" to her glorious game of croquet, McGuffin made bold choices that bring the rage-driven Queen of Hearts to life. Her inflections and mannerisms magnified the Queen's narcissistic personality.

John Champe's stage highlighted the great comedic timing of the actors as well. Specifically, both Tweedledee (Will Bumpus) and Tweedledum (Chase Maxwell) brought the audience to hysterics as they went back and forth with their own banter. Then building on this comedic tone, the two faced off in a feather duster battle of glory. 

Exemplary makeup and hair for characters further heightened the feeling of being in Wonderland. The White Rabbit's facepaint and the Queen of Heart's heart-shaped hair buns further added to the overall presence of being in Wonderland.

John Champe's Alice in Wonderland takes the viewer on Alice's imaginative, majestic, and exciting journey with twists, turns, and tumbles through Wonderland. Viewers will not only get a laugh out of this humorous comedy, but also learn to understand, accept, and appreciate their own paths, just as Alice does through this classic tale.

-Annabelle Monte, Rock Ridge High School

An island paradise in a high school auditorium: rocky cliffs, lush greenery, sandy ground, and homicidal adolescent boys. This was the spectacular setting of Tuscarora's equally spectacular rendition of Lord of the Flies. 

The gut-wrenching story of Lord of the Flies began with William Golding's 1954 novel, which has since been accepted as both an accessible high school English class favorite and a literary masterpiece. Unsurprisingly, the novel was adapted into three films and a theatrical production, which was modified by Nigel Williams for the stage. The production premiered in 1996 at the Royal Shakespeare Company and has since become a quintessential dramatic play.

Lord of the Flies follows a group of adolescent British boys, stranded on an island after a plane crash in the midst of WWII, as they attempt to organize themselves into a society in the absence of any adults. However, soon their playground antics and petulant arguments turn into a brutal case of survival of the fittest, laced with paranoia of a monstrous beast, and, as blood is spilled and boys are forced to play men, their island paradise turns into a hellish landscape. 

Leading both the tribe of boys and the cast was Amanda Anthony's incredible portrayal of Ralph. Anthony showcased a truly impressive range of emotions in their performance, from completely convincing boyish amusement to gut-wrenching displays of agony and pain as Ralph undergoes a brutal transformation. Just when Ralph was at his most extreme and mature moments, Anthony beautifully reminded the audience of the scared child inside of this fearless leader.

Opposite Ralph, Claudia Hunn's Jack provided a formidable antagonist in both brawn and depth. Jack, an opposing leader to Ralph, committed horrible acts, but Hunn portrayed him with such rage that one could not help but wonder what had been done to him. Hunn's performance, while not explicitly wide in range of emotion, humanized the larger-than-life Jack and carried themes of group mentality and power hunger with wonderful complexity. Furthermore, Queen Kincaide's Simon was a magnetic force on stage, commanding their scenes with captivating energy, as one could easily find themselves falling into Simon's pain and emotion. 

Quite literally setting the stage, a formidable ramp system provided the setting for the entire show. This stationary set piece, designed by Will Anderson and Miles Johnson, enabled multi-layered scenes and dramatic chases up and around the hills of an island. In addition to the sheer magnitude of an entire mountain, the attention to detail was impeccable, as scenic painters Rachel Giessmann and Emma Hecht created individual intricate stonework for each ramp.  

Working hand in hand with the story, Claudia Hunn and Emma Marfia's costume design evolved with the characters, gradually becoming more distressed as the story progressed. Color symbolism, armor of jungle greenery, and period accurate fashions, as provided by dramaturg Joelle Aheto, all culminated in an immersive visual. Aheto's work also included a wide range of accents used by performers, which varied in regional dialect and never took away from the story. 

Tuscarora's exemplary performance of Lord of the Flies provided numerous gut-wrenching performances and an overall melancholy atmosphere that truly was an "end of innocence" in the most poignant of ways. 

-Zoe Korff, Heritage High School

As the stage lights rise on Edward Bloom skipping rocks in Alabama, Rock Ridge High School transports the audience into his stories of adventure and heroism with their production of "Big Fish".

Based on the 1988 novel by Daniel Wallace and film directed by Tim Burton, "Big Fish" tells the story of Edward Bloom, a traveling salesman who lives his life sharing his astonishing stories. The show consists of two timelines, the past and the present. In the past, Edward is going through life encountering fantastical creatures, from giants and mermaids to the spectacular circus of Amos Calloway. In the present, Edward's son, Will, is about to become a father, just as his own is dying. Before his father dies, Will wants to find the truth about who his father was and the stories he told.

The cast of "Big Fish" truly embraced the imaginary elements of Edward's stories. Each performer brought a unique way of depicting their characters, even if they were simply observing the stories unfold. Throughout the show, characters such as Amos Calloway (AJ Ruhnke) are seen watching the stories from the outside, advancing the uncertainty of what is fictional and what is reality.

Edward and Will Bloom, the spectacular father-son duo portrayed by Andrew Takach and Bradley Schraa, left the audience in tears. Their display of emotions was absolutely captivating. Between Edward's charisma and Will's skepticism, they added an essential element to the character development and they made it all the more powerful. Another essential member of the Bloom family is Sandra. Kaia Greene's beautiful and emotional solo "I Don't Need a Roof" showed how much love Sandra has for her dying husband. Greene's performance was exceptional and reminded the audience that peeling wallpaper and wearing paint don't matter when it comes to love. 

The choreography was a crucial element in ensuring that the show's metaphorical aspects were represented. Student choreographers Hayley Sutton, Julia Freeman, and Cassidy Perkins were phenomenal in representing the show's symbolism. In addition, the boldness that came from Mariah Waters as the Witch was spectacular and the Witch ensemble strengthened the performance. The creative use of LED-lit capes provided extra sass and made the scene all the more fun. 

Performances on stage were enhanced by top-notch technical elements. Jack Capobianco's assembly of every light in the show was spectacular. With 250 lighting cues, the moods and symbolism are beautifully represented, especially the use of red and blue to signify a divide between Edward and Will during "A River Between Us". Stage manager, Tapthi Arun, deserves major recognition for the smooth and unnoticeable execution of scene changes. As the only stage manager, her ability to make the show flow so seamlessly is incredibly admirable.

Rock Ridge High School's production of "Big Fish" exceeded expectations. It was delivered by an incredibly talented cast and backed by the unforgettable tech team. Throughout the show, Edward Bloom teaches us to not fear the unknown, to embrace the fantastic, and finally to "Be the Hero" of our own story.

-Cass Sanzano, Dominion High School

"Alone we can do so little, together we can do so much." Famously written by author, educator, and disability rights advocate Helen Keller, these pearls of wisdom embody an inspirational story of overcoming the hardships associated with life as a person with disabilities through courage and resolve--as did the recent production of "The Miracle Worker" by Potomac Falls High School in Potomac Falls, VA. 

Originally written as a 1957 teleplay, William Gibson's biographical script recounts the rocky beginnings of the relationship between a young Helen Keller, who became blind and deaf as a result of illness at two years old, and her determined governess Anne "Annie" Sullivan, hired by the Kellers in a final effort to bridge the growing communicative and emotional gap between them and their daughter. Persevering through weeks of patience, confrontation, and compromise, Annie eventually succeeds in connecting with Helen and conveying the meaning of words through sign language. After a two-year run on Broadway from 1959 to 1961, "The Miracle Worker" cemented Helen Keller's impactful legacy through the global success of its 1962 film adaptation, forever changing the perception of people with disabilities all over the world. 

Helen Keller (Lauren Quick) was expertly portrayed with a fine balance of sensitivity and candor--in the absence of dialogue, Quick went above and beyond in conveying the six-year-old Helen's recalcitrance and frustration through vibrant facial expressions and energized movements. The unwavering emotional and physical tenacity of Annie Sullivan (Natalie Brown) were equally evident through Brown's excellent acting choices, including furrowed brows and stern composition. Perhaps most impressive of all, however, was the intensity of emotion in the turbulent interactions between Helen and Annie: escalating from spoon-throwing to water-splashing and face-slapping, Quick and Brown demonstrated full commitment to the war of wits between their characters. 

The emotional production was enhanced by a strong supporting cast--Helen's mother Kate (Lauren Ignazzitto), father Captain Keller (Charles Fisher), and stepbrother James (Katie Gross) each uniquely depicted their roles within the divided family: Kate through motherly affection and hope, the Captain through constant doubt and exasperation, and James through cynical observation. Featured characters such as Annie's deceased brother Jimmie (Landon Ulrich) and students at the Perkins School for the Blind likewise left a memorable impression through their devotion to their roles. 

Immersing the audience in the Gilded Age South were a series of judicious choices by Potomac Falls Drama's technical crews. Against a minimalistic backdrop created by the elevated, open-front Keller home, red-blue color coordination combined with age-specific styling established complementary distinctions across the cast whilst remaining faithful to the era's trends. While props (Avery Ebert, Joseph Ernest, and Kylie Lewandowski) such as Helen's cloth doll and Annie's glasses added complexity to the characters' evolutions, expertly timed spotlighting, combined with effective stage management, skillfully brought emphasis to the most emotionally charged moments of the play--most notably the climactic scene in which running water from the center-stage water pump finally allows Helen to make the connection between the signed words Annie teaches and the concepts they represent. 

A timeless story that has struck a chord with generations old and new, "The Miracle Worker" was given a new life under the student direction of Tony Marshak and Austin Taylor at Potomac Falls High School this February. Demonstrating outstanding maturity and passion for their craft, the Potomac Falls actors and crew curated an authentic, impactful rendition that not only depicted the play's themes of perseverance and acceptance, but embodied them as well.

-Miya Livingston, Dominion High School.

The Greek gods are real, but their myths aren't as simple as they seem; Loudoun Valley High School's production of The Lightning Thief sheds light on the lesser-known heroes of mythology: demigods. 

Adapted from Rick Riordan's beloved middle-grade novel of the same name, The Lightning Thief originated with the minimalistic 2014 Theatreworks USA production and, in 2017, was further adapted for a larger production at the Lucille Lortel Theatre. Both major productions featured the pop rock music of Rob Rokicki and script by Joe Tracz.

The Lightning Thief follows Percy Jackson, a young boy who seems to have a propensity for trouble, through the discovery of his unorthodox origins and extraordinary abilities. After a particularly distressing expulsion from school, Percy is thrust into the world of ancient heroes and Greek gods at Camp Half-Blood, and, with his mother's life and the fate of the world on the line, teams up with two other campers to find the most powerful weapon in both ancient and modern times: Zeus's lightning bolt. 

In the titular role, Ben Demase fully embodied the twelve-year-old Percy, complete with both his snark and loveable dorkiness. Demase's vocals exemplified the pop rock tone of the music, all while staying true to the heart of the character. 

Bringing both comedic relief and a touching backstory to Percy's journey, Grover, portrayed by Bridget McNally, elevated each of their scenes with appropriate physicality and exuberance, and, together with Roguen Pricer's Annabeth, formed the main trio. Demase, Pricer, and McNally conveyed compelling chemistry as a unit and created a touching group of adolescents as they find friendship in the strangest of circumstances.

Outside of the heroes, featured roles shone throughout the show. Notably, Levi Kneeland as Mr. D, the grouchy man in charge of the demigod camp, was utterly hilarious and fully committed to the persona, as illustrated by Kneeland's physical portrayal of Mr. D's frustration and exasperation with his tasks as head of the camp. 

Contributing greatly to the pop rock atmosphere of the show, lighting from Joseph Felt had immense saturation through the combination of intense colored stage lights and subtle spotlights to illuminate performers' faces. Opting to close the cyc and use only a black backdrop, this colorful concert-esq mood was enabled by the aforementioned impressive use of spotlights, creating striking moments of contrasting colors attributed to characters and intimate moments while still fully lighting performers. Furthermore, these cues were fast and frequent and blackouts were few and far between, making the work of the stage management team, led by Cecil Turner-Veselka, all the more impressive. 

With a wide range of circumstances, from the throes of middle school to marvelous ancient deities, the costume design of Chloe Dybwad, Ella Cormicle, and Emily O'Brien blended modern and mythic styles beautifully. The contemporary clothing was purposeful and logically assigned to each character, with subtle hints of godly parentage sprinkled throughout the campers, and the fantastical pieces were striking. The team utilized many materials and techniques for the mythological components, drawing from 3-D printing for hooves, parachutes for otherworldly oracles, and incredible modeling skills with cardboard and paper mache for a terrifying minotaur. 

When it comes to mythology and legendary figures, stories have a tendency to become unrelatable, but Loudon Valley's The Lightning Thief balanced beloved mythos and complex characters and environments skillfully, creating a hilarious, refreshing, and moving story sure to please the Greek pantheon.

-Zoe Korff, Heritage High School

Books, alphabet blocks, and chalkboards may sound immature, but Freedom High School's "Matilda" is anything but juvenile.

"Matilda", a children's book by Roald Dahl, was originally written in 1988 and made its debut as a musical in London's West End in 2011. The story of a young girl, with amazing abilities (and magical powers?), fighting to prove to her ignorant parents and evil headmistress that she is worth caring about has earned box-office popularity and positive reviews since its opening on Broadway in 2013.

The show opens with "Miracle", a full-company number showcasing the incredible abilities of the actors in portraying several wildly different ages, as young as kindergarteners to fully grown adults. Mary Corej, as Matilda, did an amazing job of having powerful vocals and intense emotion while staying in character, keeping up a British accent, and still sounding like a five-year-old child. The interactions between Ms. Honey (Sarisha Thakur) and Matilda were incredibly poignant as both characters helped each other to reach their full potential. 

Jack Campbell, as Ms. Trunchbull, the aforementioned evil headmistress complete with drag makeup and olympic-level hammer throwing skills, kept up a grating drawl tone throughout the entire show and had an unpleasant air that could be felt all the way from the audience. Matilda's family, the Wormwoods, added much needed comedic relief to the show. With Mr. Wormwood (Eric Wilfong), a television obsessed car salesman who attempts to scam the Russian Mafia (Lindsey Tabella) working together with his ballroom dancer wife (Ella Walters) and their mindless son Michael (Lee Crumbliss) to make Matilda's life as miserable as possible, the entire show had a well-rounded cast with amazing actors and an incredible crew.

Huge ensemble numbers and complicated scenes were conquered with professional skill by co-choreographers Riley Burns and Ella Walters. Even through difficult numbers with challenging choreography, the orchestra, actors, and sound crew worked together to make sure every actor's voice was clear to the audience, so not a single word was missed.

The spotlights on the different letters on the wall in "School Song" and the green spotlight following the path of Bruce's burp as it traveled across the room added engaging visuals and brought the audience into the world of "Matilda". The set was innovative and added to the overall childlike theme of the show with interlocking puzzle pieces creating different rooms and alphabet letter blocks serving as chairs. The costumes, especially for Ms. Honey's different outfits with pastel colors to match her personality and the acrobats flaming dress were both amazing additions to the show.

This show will have you laughing all the way from A to Z. There's no other way to describe Freedom High School's rendition of "Matilda" other than to spell it out for you: this show can't be missed!

-Sophia Walter, St. Paul VI Catholic High School

From Grimm to Disney, Warner Brothers, and Sondheim, few tales in history have seen as many different adaptations nor achieved a comparable level of global popularity as Perrault's French fairy tale "Cinderella." This March, students at Riverside High School in Leesburg, VA rose to the challenge of creating something new with the beloved classic, showcasing their innovative spirit and dedication through their production of Rodgers and Hammerstein's musical iteration. 

Rodgers and Hammerstein's "Cinderella" features an original score by the writer-composer duo and debuted in a 1957 television broadcast before illuminating the stage in numerous runs across the following decades. Although it mostly stays true to the story's roots, the two-act musical uniquely follows both the kind-hearted Cinderella and quixotic prince Christopher as they each navigate their lonesome, limited worlds-- complicated by a wicked step-family and meddlesome king and queen. With the help of a fairy godmother, an amusing royal steward, and many animal friends, the two meet at the extravagant royal ball and fall in love at first sight before Cinderella must flee at midnight, leaving behind a single vestige-- her glass slipper-- that becomes the key to Christopher's search to find her.  

Riverside's two leads, Cinderella (Madison Whitbeck) and Prince Christopher (Aaron Eichenlaub), flourished in balancing their challenging roles, being both actors and vocalists, individuals yet two halves of a whole. Embodying a modernized interpretation of the young royal as a mild-mannered heartthrob plagued by loneliness and outdated traditions, Eichenlaub's excellence and flexibility in acting shone through the Prince's frustration with his matchmaking parents, discomfort with the exuberant swarm of eligible maidens, and blossoming chemistry with the elusive Cinderella. Whitbeck's portrayal of Cinderella, meanwhile, ascended to an incredible level of authenticity through a performance that was of a professional caliber in all areas: Whitbeck showcased stunning vocal control in effortless transitions between belting and falsettos, perfectly capturing the girl's gentle, optimistic nature in her solo song "In My Own Little Corner."

For such a well-known story, however, half of a production's power to amuse audiences falls on what new stunts and antics its side characters are able to bring to the table-- and, in this area, Riverside did not disappoint. Quickly becoming an audience favorite, the royal steward Lionel (Arman Jaiswal) evoked uncontrollable laughter with the timing and inflections of their ad-libbed humor in each appearance; meanwhile, the clownish stepsisters Grace (Kaitlyn Lanigan) and Joy (Sarah Lehner) likewise entertained by leaning into the slapstick element of their characters, with catty fighting and bickering competition for their the affection of their self-important mother (Lauren Antonik). 

The magical atmosphere of the production was enhanced by seamless transitions executed by the stealthy Riverside Running Crew and their collaboration with the deft lighting team (David Craig and Charlotte Tantum), culminating in memorable sights such as a black-lit transformation scene and the ball, in which ballroom dancers were concealed behind a scrim curtain that seemed to separate the dream-like moment between Cinderella and Christopher in the garden from the passage of time. Meanwhile, the puppeteers (Autumn Cantrell, Brandt Caron, Naomi Whitworth, and Farah Wright) behind Cinderella's adorable animal companions created a lasting impression through their lively management of the props. 

With the ingenuity of Riverside's marketing and publicity team, including a marvelous trailer that played upon the nostalgia factor of such an iconic childhood favorite, expectations were high as lights dimmed throughout the school's auditorium. Yet, through the joint efforts of the actors and tech teams, the enchanting production reminded the audience at Riverside High School of the old adage that, with patience, tenacity, and kindness, nothing is truly impossible.

Frightfully delightful. Paralyzingly humorous. Broad Run's performance of The Addams Family: A New Musical Comedy was "more goody-lishess than gold" and was nothing short of an undead favorite.

This show opened on Broadway in April of 2010, deriving its comical story from the single-panel gag cartoons, created by Charles Addams. There were many film and television adaptations for these beloved characters; however, this version better suits the fear-inspiring wackiness of this family.

There has been an upheaval within the Addams household, as it is ridden with flowers, positive affirmations, and bright yellow dresses; our dear Wednesday (Riley Bishop) has found true love…with her polar opposite?? As Wednesday prepares the sweet, unsuspecting Lucas (Gabriel Saines) to encounter her scream-worthy ménage, the comedic talent, Saarung Soomro (as Gomez), attempts to keep a secret from the unearthly beauty that is his wife (Lilli Howard, as Morticia).

Each of the performers delivered a hair-raising performance, with eye-catching physicality and facial expressions. Throughout the production, the cast maintained high-quality harmonies and possessed an extremely mature vocal tone. Of all the vocalists in the production, Lilli Howard (as Morticia) truly delivered a professional performance that cast a spell over the audience.

Gomez (portrayed by Saarung Soomro) worshiped the very ground his wife set foot on, never daring to cross the line; yet his docile demeanor balanced his dauntless, hysterical tangents. Soomro has truly mastered the skill of comedic timing and shares electrifying chemistry with Lilli Howard, Zionnah Foster, and Riley Bishop. Lilli Howard (as Morticia) has striking stage presence and effortlessly created a "mummified" façade. The chemistry between Soomro and Howard is unmatched and the two actors delivered an electrifying performance, transforming two high schoolers into a seasoned married couple within just a few scenes. Bravo!

The set design, costuming, pit orchestra, and lighting were the strongest and most prominent technical features throughout the production. The craftsmanship and attention to detail of the set and costumes were impeccable and furthered the occult, gothic-like atmosphere of this show. It was much enjoyed to see the complimenting costume sets between the Ancestors, Addams, and Beinekes. Overall, the coordination between the different technical elements is deeply appreciated.

"Crazier Than You", performed by Wednesday (Riley Bishop), Lucas (Gabriel Saines), Mal (Gabe DeButts), and Alice (Madhumitha Pillai), gave us hope and inspiration for the blossoming young couples. The overall story of love and happiness kept the atmosphere energetic and made many green with envy. Special thanks to Santino Castillo, Ben Johnston, and Kyle Trost (as Running Crew), the scene changes were made seamlessly and efficiently.

Full Disclosure, living with the Addams can be distressing, eerie, and quite frankly, a little dangerous. Tensions were high and secrets were told, but Broad Run's performance was nothing short of exhilarating. 

-Sonya Scott, John Champe HS

Grab your poodle skirts and malt drinks and get ready to shimmy on down to Lightridge High School's kickin' production of Bye Bye Birdie!

Directly inspired by rock-and-roll star Elvis Presley's 1956 smooching send off,the musical, with music and lyrics by Charles Strouse and Lee Adams, follows the story of song-writer Albert Peterson and his secretary Rose Alvarez's attempts to send their hip-thrusting client, Conrad Birdie,  off with a bang and get some last minute bucks before he is dispatched to fight in the War. Being the mega-heart-throb he is, Albert and Rose decide to broadcast one lucky girl's sweet serenade by Birdie before he goes off to fight. That lucky girl just happens to be Kim MacAfee of Sweet Apple, Ohio. Filled with moments of jazzed laughter and tender romance, Lightridge's production of Bye Bye, Birdie is a must see on your next trip to the drive-in.

Actor Brandon Foley puts on an amazing rendition of the quirky and confused businessman that is Albert Peterson. Foley does an excellent job of delivering his lines with intention and nuanced acting choices: taking well-paced character beats and speeding up or slowing down lines to create more authentic line delivery. Not only does Foley have some razzling acting chops, but his voice is as smooth as a cold milkshake on a hot summer's day. His rich belt, endowed with healthy vibrato is suitable for any 1950s variety show. 

Peterson's partner in crime Rose Alvarez, played by Lily Selvaraj, brings fiery Spanish flair to the stage. Aided by Selvaraj's booming belt and strong sass, there is no doubt that Rose is a character who knows what she wants and how to get it.

Cruisin' the stage with glittering pizzaz, Alex Armstrong captures the hearts of teen girls from all over the U.S.A.  Armstrong sends nostalgia through the theater with his uncannily accurate Elvis impression, cocky swagger, and beatnik dance moves. The first few moments Birdie was on stage, he did not utter a single line; however, Armstrongs rockin' acting abilities made up for his lack of words, as his facial expressions and physicality allowed his thoughts to be expressed without the use of speech.

Isabella Schumacher (Kim MacAfee) plays the perfect 1950s All-American teenager. Schumacher refreshingly fills the air with her beautiful legit-soprano voice, a register that is often ignored in modern musical theater. Her ability to master such a vocal style with effortless grace ( and of course, hit the infamous high C), speaks volumes to her abilities as a performer. In addition, her on stage chemistry with her stage-partner Jude Cabral (Kim's boyfriend, Hugo Peabody) pulls on the heart strings of the citizens of sweet Apple Ohio; accept for her father Mr. Harry Macafee ( Catie Cabral), the pingy-voiced and hysterically funny tyrant of the household who would do anything to keep his daughter from the clutches of the cigarette smoking, hip twisting influence of the new Beatnik generation.

Light Ridge could not have been blasted to the past without the tremendous work of the set ( lead by Isabella Martin), lighting ( lead by Christian Ewaldsen), and costume designers ( lead by Bailey Mitchell): all designers worked cohesively to flood the stage with pops of saturated color and images that were true to the 1950s time period. In addition, the student pit orchestra, Sounds of Thunder, carries the show with a rich, professional quality sound.

So, "what's the story, morning glory?" Well if you want to have a nifty night of show tunes and rock-and-roll, Boogie Woogie on down to Lightridge's production of Bye Bye, Birdie!

-Mariah Waters, Rock Ridge HS

The office clock maniacally ticks as secretaries, pagers in hand, wait with anticipation for the hour hand to hit 5, allowing them to escape the misogynistic clutches of their tyrannical boss, Franklin Hart Jr., for a few short hours of peace. However, for three feisty women, home to their TV dinners is not where they are headed. Instead, they will trek on a mission full of grit, sass, and a few felonies, to clear the clouds of sexism from their workplace and "Shine Like the Sun."

Dominion High School's production of "9 to 5 The Musical" serves up a piping hot cup of absurd humor, flashy choreography, and brassy belting to tell an inspirational story, with music and lyrics by country music icon Dolly Parton, of overcoming gender based prejudices and reclaiming power. Based on the 1980 film of the same name, starring Dolly Parton, Jane Fonda, and Lily Tomlin, "9 to 5 The Musical" made its way to Broadway in 2009, receiving four Tony Award nominations. Now, it makes its way to the Titan theater stage for an equally powerful rendition.

The leading ladies of the show- Violet Newstead, Doralee Rhodes, and Judy Bernly (played by Ella Greer, Ashley Anoubon Momo, and Katy Price, respectively) brought the house down (or should I say, the Hart down), with their strong acting abilities, bold belts, and spectacular chemistry. Ella Greer definitely deserves a promotion with her powerful commands, mature vocal inflection, and nuanced acting choices. Ashley Anoubon Momo plays a spunky southern belle as sweet as a Texas Sheet cake. Her silky vocals and authentic southern accent do this role, originated by Dolly Parton herself, justice. Katy Price brings tenderness and joy to the stage with her comedic one-liners and compelling character arc. Let's just say, these ladies know how to get the job done!

Chase Bochenek, who plays the sexist, egotistical, lying, hypocrite boss that is Franklin Hart, does not shy away from playing into the jerkish, unlikable tendencies of his character. Bochenek shows off his skillful acting chops with his over the top physical comedy and great comedic timing. Even when he is tied up and gagged, Bochenek can be seen listening and responding to everything that is happening on stage. 

The work of costume designers Lyri Friedman, Sneha Sharma, Leslie Ramirez, and Isadora Trimboli transported the theater back in time to the late 70s with pencil skirts, button downs, and elaborate patterns. The costuming of each actor was accurate to the time period and true to their character. Each of the leads wore different variations of their signature colors in each scene: Violet in violet, Doralee in pinks and yellows, and Judy in greens and blues. It is evident that a lot of time and dedication went into crafting the costumes for the show. 

In addition, the practical set design, led by Andy Joyner and Parker Metheny, aided in the seamless storytelling of the production. The turning platform, each side with a new set, transformed the stage into a believably new location in such a swift amount of time.

So, if you want a night of laughs, liberation, and law-breaking antics, tumble out of bed and stumble on down to Dominion High School's empowering production of "9 to 5 the Musical"!

-Mariah Waters, Rock Ridge HS

Too many of us are holding out for a hero, and in the classic hit "Footloose," dance itself needs one.

This punk-rock musical makes another riveting appearance on the Stone Bridge stage after being a worldwide hit.

Being torn from Chicago, Ren McCormack (Ayden Brook) has to make a new life in Bomont, a town where dancing has been outlawed. Meanwhile, Ariel Moore (Lydia Rouse), is doing everything to live life her way and not listen to a word from her father's mouth, the Reverend Shaw Moore (Jerry Wang). With the combination of teen angst and a demand for change mixed in with the complications of new romances, "Footloose" teaches audience members to speak their truth and to always remember to live life to the fullest, to have fun, and to dance.

Footloose and fancy-free is exactly what Ren McCormack's (Ayden Brook) philosophy must be. Not only does Brook have a striking tenor voice, but the actor lives and breathes the rebellious, smart-mouthed yet caring, Ren. With this rebelliously charming attitude, Brook does a fabulous job building so many captivating moments between Ren and Ariel (Lydia Rouse). As the reverend's daughter, it's only natural that Ariel comes with an edge. Rouse radiates the rebel attitude required, but adds her own enchanting twist, fully encapsulating Ariel's lively spirit. With Rouse's jaw-dropping belt and effortless rifts, it's hard to imagine the audience wasn't in paradise alongside both Ariel and Ren.

Furthering the gorgeous rock tone from the Stone Bridge stage was Rusty (Emma Kleinhans). Kleinhans' hearty belt leading "Let's Hear it For the Boy," reached up to whistle notes at the closing of this vigorous and energetic number. With such a stunning voice, someone's eyes had to be on Kleinhans, and it just so happened that Willard Hewitt (Ian Brown) was falling head over boots for this dazzling voice. Brown's stage presence is extraordinary with on-point comedic timing throughout the entire production. Although Willard can be a brutish character, Brown did such a lovely job highlighting the tenderness that Willard had towards the people he loves and cares about, even if he makes a couple of light-hearted threats along the way. Overall, Kleinhans and Brown brought a smashingly lighthearted tonality to this show and were a joy to watch.

The high-energy choreography masterfully choreographed by Aakrithi Karthik, Lydia Rouse, and Abby White heightens the power of Stone Bridge's production of "Footloose." From cowboy boots hitting the floor from beginning to end, high-powered choreography for ensembles and soloists truly made this show a spectacle to see. Additionally advancing this spectacular production was the fabulous 80's costumes displayed. Crafted by Miranda Ridgley, Nat Beiter, Isabelle Kirschner, and Jessica Kirschner, ensembles onstage ranged from showcasing iconic neons from the 1980s to featuring timeless flannel jackets. A further brilliant touch was dressing Ariel Moore in ruby red cowboy boots, a choice that made her character shine even more.

Running Dog Productions' "Footloose" is a dynamic show that exuberated joy. Audiences can reflect on their own power to create happiness and how life presents many opportunities to be our own heroes, even if it means simply becoming a little footloose. 

-Annabelle Monte, Rock Ridge HS

Captivatingly ludicrous. Purely idiosyncratic. Absolutely zany. Loudoun County High School's production of Little Shop of Horrors rivals anything seen before, with its absurdity and satire leaving the audience gasping for air whether it be from laughter or the man eating plants. 

Originally a 1960's black comedy, Little Shop of Horrors was later adapted to an off-broadway musical, composed by Alan Menken and written by Howard Ashman in 1982. This comedic horror followed Seymour, a lovably awkward experimental botanist, who discovered a carnivorous plant that feeds on human blood. As Seymour navigated teen love with his coworker, Audrey, and murder at the hands of a world conquering anthropomorphic plant, the audience is sure to witness a thrillingly laughable story that will have them thinking, "something is definitely wrong here." 

Seymour, the catastrophizing clutz of the show, was encapsulated perfectly by the incomparable Max McKnight. McKnight's consistent energy and innate gentleness shined through in his performance, making Seymour both loveable and frustrating. This delicate dichotomy was played off perfectly by McKnight, and maintained consistently by his stage presence throughout the entire show. 

Performing opposite McKnight is the brilliant Kat Blackwood as Audrey, who brought so much depth to the entire show. At eye level, Audrey came off as a generic female love interest who dreams of nothing more than becoming Betty Crocker or Donna Reed, but as the show progressed, Audrey's tentative nature is revealed to be the result of her abusive boyfriend. This adds a layer of complexity not necessarily expected in a show about a machiavellian plant. 

The most confounding and paradoxical character of the cast by far was Skid Row's resident bad-boy and dentist, Orin, portrayed by Collin Diem. Diem somehow managed to pull off a character that was charismatic, high on laughing gas, side-splittingly funny, and infuriatingly abusive, all at the same time. 

Orin's maniacal laugh truly felt semi-sadistic, and his scenes were only enhanced by the commendable lighting design created by Alli Donnelly and Sydney Schaffer. The use of dramatic color that splashed in Orin's scenes in an already flashy and vibrant show, just added to the zaniness. These two talented individuals demonstrated a kaleidoscope of colors that elevated every scene. 

The darkly comedic tone of the show was brought to a forefront in the second act, where the malevolent Audrey 2 plant dominated the set. This is partially due to the Set Designer, Evie Holmberg, and Puppet Designer, Jada Venson, whose collaboration can not be overlooked.  Their creativity was demonstrated by the monstrous plant that fills the stage, and yet can slip into the background at any needed moment to allow for other drama.

Credit must be given to the voice of Audrey 2, Natalia Settipani, whose phenomenal performance occurred entirely behind the shockingly life-like puppet. Settipani demonstrated an incredibly jazzy and entertaining voice that seemed to latch onto the other character's self confidence and pull it out from under them. This is demonstrated wonderfully in the songs, "Suppertime" and "Feed Me (Git It)." Just to add on to the realness of the production, when Audrey 2 got really hungry, the well-designed puppet swallowed actors and actresses alike, right before the audience's eyes.

The cast and crew and Loudoun County did a phenomenal job encapsulating all that was wacky and wonderful in this performance. Whimsical and brimming with wit, Loudoun County High School's production of Little Shop of Horrors is a must see.

-Bridget Lockett, Stone Bridge HS

Bring on the monsters, because Independence High School's mythically marvelous production of "The Lightning Thief" is full of furies, minotaurs, gorgons, and other nightmarish creatures. 

Based on Rick Riordan's best-selling Percy Jackson series, "The Lightning Thief: The Percy Jackson Musical" was originally introduced in 2014 at the Lucille Lortel Off-Broadway Theatre, running until 2017. With an updated score and extended script, the musical made its Broadway debut at the Longacre Theatre in 2019 for a 16-week limited run. Since then, it has continued to make its way across the world, premiering in the United Kingdom and Tokyo in 2022. Like the 2006 novel, "The Lightning Thief" stars Percy Jackson, the newest resident of Camp Half-Blood, a summer camp home to demi-gods, nymphs, and satyrs alike. After discovering that he is the cause for growing animosity between the Greek gods, Percy and his friends are forced into a hero's quest to find Zeus' stolen lighting bolt and prevent a war amongst the Olympians. 

The cast of "The Lightning Thief: The Percy Jackson Musical" certainly succeeded with transporting the audience into a classic childhood story filled with mythical creatures. Throughout the show, exciting dances and background aerialists provided visual anchors for audience members to be fully immersed in scenes and songs. 

Chase Danzenbaker, who played the titular role of Percy Jackson, immediately captivated the audience with a relatable portrayal of emotion. With a well-suited voice for this dynamic pop-rock musical, Danzenbaker's performance of "Good Kid" expertly demonstrated Percy's frustration and struggle to come to terms with his new life. Even through emotional moments, Danzenbaker highlighted Percy's strength and bravery through a powerful stage and vocal presence. Aiding him in his quest, Percy's companions Annabeth (Jessy Phillips) and Grover (Starr Davis) lightened the mood of the show in comedic exchanges on stage, from getting lost in New Jersey to taking on the mythical forces of the Underworld. In "My Grand Plan", Phillips did an exceptional job portraying the complex characterization of Annabeth, an intelligent and driven demi-god who is tired of feeling invisible. In a compelling embodiment of the song, the audience was simply unable to ignore Phillips' demanding presence on stage. 

Throughout the show, certain featured roles such as Clarisse (Annie Jackson) and Mr. D (Paul Hartmann) gave exceptionally entertaining performances. As the hostile daughter of Ares, Jackson commanded the stage with a riveting execution of "Put You in Your Place," a rock performance of the camp's high-stakes game of capture the flag. Additionally, Hartmann's portrayal of Mr. D, the grouchy god of wine, was endlessly amusing. "Another Terrible Day," Mr. D's lament that he's stuck running a demi-god summer camp, was certainly memorable with Hartmann's comical physicality. 

Performances on stage were enhanced by top-notch lighting and technical elements. With over 180 lighting fixtures and 450 cues, the lighting team (Paul Hartmann, Jacob Foggi, Jax Azad, Gavin Greygor) programmed thrilling lighting to enhance the rock concert experience of "The Lightning Thief." Additionally, Sitara Tepley and Siri Bommini succeeded in providing the show with much needed special effects, the most notable being the iconic pen to sword transformation. 

With astounding technical elements and stupendous musical numbers, Independence High School's electrifying performance of "The Lightning Thief" served as a source of nostalgia for a classic childhood favorite.

-Cass Sanzano,  Dominion HS

The hilarious musical egg-stravaganza, of Something Rotten, was eggs-pertly brought to life by the talented students of Woodgrove High School. The cast and crew transported us to the hysterical and absurd world of Shakespearean-era theater with a fresh and innovative twist. From the impeccable performances to the egg-ceptional choreography and scenic design, this production truly showcased the incredible talent and dedication of the Woodgrove High School theater department.

The cast of "Something Rotten!" at Woodgrove High School delivered an egg-ceptional performance, captivating the audience from start to finish and leaving everyone cracking up. Each actor flawlessly embodied their characters, displaying remarkable stage presence, egg-pert level comedic timing, and impressive vocal abilities. Matthew Murray portraying Nick Bottom was truly incredible. Murray seamlessly worked to connect and drive the entire story while still singing flawlessly and making the audience laugh. Alongside was Murray's common scene partner Josh Hall portraying Nigel Bottom. Hall's performance was above a typical high schooler's talent level. Hall's acting abilities were genius especially when sharing the stage with Murray. Overall their energy and enthusiasm were contagious, drawing the audience into the story and making us feel like we were a part of the Shakespearean world.

This show would not have been possible without the stellar production team demonstrating their creativity and attention to detail through their set design by Evelyn Phan. Despite the limitations of a high school theater, they managed to transport us to 16th-century England through vibrant backdrops, clever use of props, and seamless scene transitions. Thanks to Ellie Ramsey, the stage manager, and the incredible run crew the scene changes were eggs-ecuted with precision and efficiency, never losing the flow of the performance. The attention to detail in recreating the atmosphere of the time period was commendable and added an eggs-tra layer of authenticity to the production.

The choreography in "Something Rotten!" was nothing short of impressive and egg-citing, especially considering it was student done by the one and only Chris Shuffleton. The intricate dance routines were eggs-ecuted with such energy and enthusiasm, showcasing the incredible talent of the student dancers. The energetic musical numbers brought the stage to life, alongside the catchy tunes. The entire ensemble worked together seamlessly, creating a visually stunning and captivating performance that left us smiling.

One of the most remarkable aspects of this production was the evident sense of community and teamwork displayed by the entire cast and crew. It was clear that the students had poured their hearts and souls into the production, supporting and encouraging each other throughout the process. The dedication, passion, and camaraderie were beaming off each other, creating an uplifting and inspiring atmosphere both on and off the stage. From the moment the ensemble came on stage in the opening "Welcome to the Renaissance" the audience was radiating the pure joy that the cast was sharing with one another.

Woodgrove High School's production of "Something Rotten!" was truly egg-cellent. The outstanding performances, terrific technical work, and infectious energy made this production a resounding success that made no audience member want to eggs-it.

-Maggie Miller, Rock Ridge HS

Read all about it! Read all about it! Suffragettes are protesting in the street and people are vanishing. Mystery is lingering in the air, but have no fear, because the talented students of Riverside HS are rushing in to solve the case with their production of Sherlock Holmes.

In this rendition of Sherlock Holmes, written by Tim Kelly, a private detective by the name of Sherlock Holmes is all about helping people and solving mysteries. He becomes invested in the case of Alice Faulkner, who is a prisoner of the Larrabee couple. Faulkner has a collection of letters that contain valuable information, letters that many want their hands on. While trying to help Miss. Faulkner, Holmes uncovers crooks that lay all throughout the land, finds himself in dangerous situations, and even sparks a brief romance.

In the production, the role of Sherlock Holmes is played by Arman Jaiswal. Jaiswal captivates the audience with his broad range of body language and impressive facial expressions. Jaiswal’s comedic timing as well as his dramatic tension building moments were always in perfect harmony. Countering Holmes is Alice Faulkner, played by Simone Dotson. Dotson beautifully showcases her ability to portray different emotions. From her moments of naivety to pure terror, she truly sold it. Together, Jaiswal and Dotson commanded the stage with their unmatchable talent for performing.

The magnificence of the performance is a group effort from the entire cast. From the moment the curtain opened to the final blackout, every single cast member was fully in character and unbelievably energized. The interactions between the ensemble members vividly paints the picture of Victorian London with a plethora of mischievous mysteries. In particular, the conniving bitter chemistry between James Larrabee (Chance Mcgill) and his wife Madge (Anna Salmon) is so dynamic and sharp. Mcgill and Salmon bring these characters to their fullest potential with their incredible acting abilities.

The element that really drives this production home is the tech work. Lighting designer, Kylee Clark, brilliantly depicts certain characters with the use of light. Clark sets the protagonists in blue toned lighting, while the antagonists stay in red. As this is going on, The RVHS Costume and Tech Crew are hard at work with the special effects. For example, as Dr. Watson is recalling and explaining events, a projection of said events is playing behind him. The effect that takes the cake; however, is the tear away costume used as Moriarty’s disguise. The flawless design of the costume gave Holme’s the ability to reveal who the imposter truly was. Incredible!

-Emma Nicholson, Loudoun County High School

Welcome to Salem, Massachusetts, a seemingly quiet and peaceful village that values family and faith in God. But trust no one, for among all the young women in the village lies the possibility that they dance with the Devil. How would one judge a woman of witchcraft? Who has the authority to judge someone? Paul VI’s enthralling production of “The Crucible” sought to answer those questions. In “The Crucible,” the scales of justice are tilted and true colors are revealed. 

From impassioned speeches to impeccably timed actions, the show was a tour de force, each scene leaving the audience with chills. The eerie show, set in 1692, depicts the rampage of the people to stop witchcraft in the colony. John Proctor must reveal his flaws to save his wife, who was accused of practicing witchcraft. The play draws sharp parallels to the fears of individuals in the United States during McCarthyism, a time when people were accused and arrested for being communists. Written by Arthur Miller, “The Crucible” was adapted into multiple movies and was performed on Broadway five times, winning the 1953 Tony Awards for Best Play. 

The extraordinary cast took the words from the script and brought them to life, each adding a personal twist to their character. Mateo Sur (as John Proctor) truly embodied Proctor’s character, dominating the stage with emotion and passion. Sur performed the gut-wrenching scenes with such an ardour that the auditorium was booming with Sur’s voice. The intensity of Sur’s acting truly emulates the sentiments of a flawed man desperate to save his love. Lia Boyle (as Abigail Williams) took Williams' character to a new level. All eyes were on Boyle as she portrayed the multi-faceted character with ease: the caring, vulnerable Abigail Williams and the manipulative, conniving Abigail Williams. Boyle’s powerful voice swept the stage, every step, every action, every facial expression was reflective of Williams' internal turmoil. 

Aedan McConnell (as Reverend John Hale) depicted Hale’s character progression from a strict interpreter of the law to one who saw the immorality and incongruences with the institution he has held with pride for so long flawlessly. McConnell could not be silenced, every speech exuding spirit and desperation. McConnell’s purposeful body movements and facial expressions helped reciprocate the fear and urgency of the situation as Miller intended. 

The technical teams accentuated the effort of the cast, allowing the production to run smoothly. The sets, led by Sophia Walter, were sui generis, equipped with hanging parts and rotating flats that set the tense atmosphere for the scene. The sets were charmingly decorated with varying textures and rustic designs that kept the sets fresh for all the long scenes, underlined by the strikingly realistic props, led by Carole Ann Hasto. The dinnerware and court items were designed with painstaking attention to detail and the minimalist design made those items quite charming. Overall, all the tech elements collaborated and worked together to construct and execute the show. 

In a time where everyone is constantly being judged on every little thing, Paul VI’s production of “The Crucible” reminded us that you are your judge; no one else has the right to judge you but yourself. So, in a world “filled with hypocrites,” don’t be afraid to be yourself. 

-Tanvi Talusani, Freedom High School

Welcome to Salem, Massachusetts, a seemingly quiet and peaceful village that values family and faith in God. But trust no one, for among all the young women in the village lies the possibility that they dance with the Devil. How would one judge a woman of witchcraft? Who has the authority to judge someone? Paul VI’s enthralling production of “The Crucible” sought to answer those questions. In “The Crucible,” the scales of justice are tilted and true colors are revealed. 

From impassioned speeches to impeccably timed actions, the show was a tour de force, each scene leaving the audience with chills. The eerie show, set in 1692, depicts the rampage of the people to stop witchcraft in the colony. John Proctor must reveal his flaws to save his wife, who was accused of practicing witchcraft. The play draws sharp parallels to the fears of individuals in the United States during McCarthyism, a time when people were accused and arrested for being communists. Written by Arthur Miller, “The Crucible” was adapted into multiple movies and was performed on Broadway five times, winning the 1953 Tony Awards for Best Play. 

The extraordinary cast took the words from the script and brought them to life, each adding a personal twist to their character. Mateo Sur (as John Proctor) truly embodied Proctor’s character, dominating the stage with emotion and passion. Sur performed the gut-wrenching scenes with such an ardour that the auditorium was booming with Sur’s voice. The intensity of Sur’s acting truly emulates the sentiments of a flawed man desperate to save his love. Lia Boyle (as Abigail Williams) took Williams' character to a new level. All eyes were on Boyle as she portrayed the multi-faceted character with ease: the caring, vulnerable Abigail Williams and the manipulative, conniving Abigail Williams. Boyle’s powerful voice swept the stage, every step, every action, every facial expression was reflective of Williams' internal turmoil. 

Aedan McConnell (as Reverend John Hale) depicted Hale’s character progression from a strict interpreter of the law to one who saw the immorality and incongruences with the institution he has held with pride for so long flawlessly. McConnell could not be silenced, every speech exuding spirit and desperation. McConnell’s purposeful body movements and facial expressions helped reciprocate the fear and urgency of the situation as Miller intended. 

The technical teams accentuated the effort of the cast, allowing the production to run smoothly. The sets, led by Sophia Walter, were sui generis, equipped with hanging parts and rotating flats that set the tense atmosphere for the scene. The sets were charmingly decorated with varying textures and rustic designs that kept the sets fresh for all the long scenes, underlined by the strikingly realistic props, led by Carole Ann Hasto. The dinnerware and court items were designed with painstaking attention to detail and the minimalist design made those items quite charming. Overall, all the tech elements collaborated and worked together to construct and execute the show. 

In a time where everyone is constantly being judged on every little thing, Paul VI’s production of “The Crucible” reminded us that you are your judge; no one else has the right to judge you but yourself. So, in a world “filled with hypocrites,” don’t be afraid to be yourself. 

-Tanvi Talusani, Freedom High School