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Published Reviews

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Published Reviews by CCHS Critics 2018-2019

Review of "Once Upon a Mattress" by Rylee Berger

Once upon a time, in a far-off kingdom called Monarch High School, knights and ladies combined physical comedy, strong stage pictures, and powerful vocals to create an enjoyable rendition of "Once Upon a Mattress."

With lyrics by Mary Rodgers, music by Marshall Barer, and a book by Jay Thompson, Dean Fuller, and Marshall Barer, "Once Upon a Mattress" opened off-Broadway in 1959 before moving to Broadway later that year. Earning a 1996 revival, a West End production, and multiple adaptations for television, the musical comedy is based off Hans Christian Andersen's "The Princess and the Pea." The timeless tale concerns a young prince named Dauntless and his potential bride-to-be, Princess Winnifred. Complicated by a controlling mother infatuated with her son, the many ladies of the kingdom try to win her approval. Enter the brash and unrefined Princess Winnifred, who steals the hearts of all but the one whose opinion matters most, the Queen. Ultimately, Winnifred and Dauntless triumph and, in classic fairy tale fashion, live happily ever after.

Leading lady Mia Prokop was energetic and genuine in her depiction of the feisty and outspoken Princess Winnifred. Her natural abilities and powerful stage presence, complemented by stellar vocals, were evident. These talents shone during numbers such as "Shy" and "Happily Ever After." Prokop's comedic timing was exceptional. Her facial expressions and physicality brought the young princess to life. Her relationship with Prince Dauntless (Logan Draluck) was both innocent and lovable. As the prince, Draluck was entertaining and had the energy of a young boy. His relationships with his parents (Allison Fowner and Jason May) showed a good understanding of his character and the show as a whole.

As Queen Aggravain, Fowner demanded attention while onstage and was poised in her delivery of both dialogue and lyrics. Playing the mute but expressive King, May brought hilarious comedy to the stage. His physicality and stage presence compensated for his character's inability to speak, bringing about several hilarious moments, such as when he pantomimes the birds and the bees talk in "Man to Man." May's energy, facial expressions, and commitment to his character contributed to his stand-out performance.

The company as a whole did a commendable job of staying in character and helped to create storybook-like stage pictures. The energy and vocals of the ensemble, though often fluctuating and lacking diction, stood out in the show-stopping number "Song of Love." Though the actions and reactions of some characters seemed forced or were anticipated, many actors did an admirable job of maintaining their focus.

The technical aspects of the show were well-executed. The lighting design contributed to the overall mood of many scenes, such as when a pink wash was used in romantic moments. The spotlights were used with precision and the stage lights helped to create different locations within the castle. Though the timing of cues was inconsistent and there were a few microphone issues, many scene changes were done swiftly. The costumes and makeup were cohesive and added depth to the production.

Filled with romance, comedy, and politics, Monarch High School's production of "Once Upon a Mattress" proves that anyone can live "Happily Ever After," and won the hearts of princes, queens, and audience members alike.

Review of "Once Upon a Mattress" by Rachel Goldberg

Knights, queens, princesses...peas? In Monarch High School's powerful presentation of "Once Upon a Mattress," what begins as a typical fairytale transforms into a musical comedy that shares the "Song of Love," and the pea that tested everything.

Music and lyrics by Mary Rodgers and Marshall Barer, the musical first premiered off-Broadway in 1959 and then moved to Broadway that same year. The show, which won the World Theater Award and is based on Hans Christian Andersen's "Princess and the Pea," follows Prince Dauntless, a young boy looking for a princess to marry. The queen, his mother, has an agenda of her own, however, and a keen liking to "Sensitivity."

As the family's available suitor, Prince Dauntless, Logan Draluck brought energy and humor to the stage. His character development throughout the show allowed Draluck to convincingly portray Dauntless' inner turmoil as a young boy ready for love and yet devoted to his mother. Dauntless' determined and ominous mother Queen Aggravain was brilliantly brought to the stage by Allison Fowner. Fowner stood out in her powerful deliverance of lines as she commanded the stage and the kingdom. Draluck and Fowner forged a believable mother-son chemistry, best showcased in their scenes together. They embody the overbearing mother, and whiny yet obedient son, until "when the mouse devours the hawk."

Princess Winnifred was portrayed by Mia Prokop. Her physicality and lively facial expressions artfully conveyed she was the odd one out in the kingdom. Her energy was undeniable and her vocals were incredible, as she maintained both of these aspects in standout numbers such as "Happily Ever After" and "Song of Love." Prokop clearly distinguished herself from the rest of the kingdom through body language and vocal inclination, and masterfully established the relationship between "Winnifred" and "Dauntless."

The knights and ladies of the kingdom ensured there was never a dull moment in the show. Their individuality and character development allowed them to have great moments onstage that were a fantastic addition to the show. Although at times there was a lack of energy and diction, as well as missing a climax in big emotional moments, overall, the ensemble was able to create characters of their own which added to the believability of the performance. Another notable performer was Jason May in his role as the flirty and mischievous King Sextimus. With all of his acting done through movement,his comedic portrayal of the cursed king was both humorous and extremely entertaining.

The archaic antiquated costumes helped create the show's medieval 15th-century setting. Set pieces were beautifully designed and used. Lighting was timely and although sometimes blackouts were prolonged, creativity was present in their use of lights to create different rooms in the castle. These elements helped the cast achieve the royal atmosphere of the faraway kingdom, furthering the concept that this story takes place "Many Moons Ago."

Whether you are a princess, handmaid, or mute king, the show's message of love above all else touched the heart- as well as caused some laughter. The cast and crew of "Once Upon a Mattress" marvelously illustrated that it is the trials and tribulations of family and love that eventually bring us to our "Happily Ever After.

Review of "Chicago" by Reese Abrahamoff

"Roxie, relax. In this town, murder is a form of entertainment!" While this may have been true in the past, the students of American Heritage provided a different interpretation of entertainment in their "Razzle Dazzle" production of the hit musical, "Chicago."

Transporting us into an era of revenge and the effects of the media, "Chicago" danced its way to Broadway in 1975 and has acquired the title of the longest-running American musical. With music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse, the show was based off Maurine Dallas Watkins' 1926 play of the same name and has undergone numerous adaptations including a 2002 film which won the Academy Award for Best Picture. "Chicago" follows the story of Roxie Hart, whose intentions of stardom are more important than her sense of well-being. After murdering her secret lover, tensions arise, individuals are tested, and characters are faced with decisions that could change their lives forever.

As pretty as she is self-centered, Roxie Hart was remarkably played by Alexa Lopez. With stunning vocals and clear character development, Lopez was able to show that although her search for fame and glory were relentless, her character's selfishness was not exactly what prompted her fall from integrity. Portraying the fierce vaudeville performer Velma Kelly, Jordyn Allen delivered a truly vigorous performance full of intensity and soul that never faltered throughout the duration of the show. The dynamics between Allen and Lopez were extraordinary to a point where the heated rivalry between the characters seemed both realistic and sincere. Frederick Bredemeyer played the role of Billy Flynn, the manipulative and devious lawyer who Velma and Roxie hired to represent their murder cases. His phenomenal stage presence and charismatic nature contributed to his character's mischievous persona that was always consistent.

Although Amos Hart may be seen as invisible by society, his portrayal by Jonah Warhaft went anything but unnoticed. From the moment he entered, Warhaft never failed to capture the audience's interest, especially in his solo, "Mister Cellophane," which left them completely invested in his heart-wrenching reality of always being looked down upon. An additional standout was Irene Newman (Matron "Mama" Morton) whose vocal prowess and mature physicality contributed to her character's representation of how flawed the justice system really is.

The ensemble was nothing less than brilliant. Although at points there was a lack of facial expressions and energy in certain dance numbers, the ensemble as a whole remained focused and synchronized allowing for a fascinating performance. Technically speaking, the Pit Orchestra exceeded all expectations for high school talent. Despite some technical faults with the microphones, the students made clear adjustments in regards to their volume rather than simply playing through it, and for that, they should be commended. The stage management team also excelled as each cue was smooth and had perfect transitions.

Bob Fosse once said, "Live like you'll die tomorrow, work like you don't need the money, and dance like nobody's watching," and the cast and crew of "Chicago" at American Heritage did just that. Upon the curtain closing to a standing ovation, the audience was left with one thought, "If you'd have been there, if you'd have seen it, I betcha you would have done the same."

Review of "A Midsummer Night's Dream" by Rylee Berger

The lights shone down on the stage, spirited music began to play, and fairies adorned in detailed costumes glided into the theater to begin The Sagemont School’s unique production of “A Midsummer Night’s Dream.”

Written by William Shakespeare in the late 16th century, “A Midsummer Night’s Dream” is one of Shakespeare’s most famous and widely produced comedies. As such, the play has earned various adaptations for film, television, and the stage. Set in a forest just outside of Athens, “A Midsummer Night’s Dream” concerns the love affairs of humans and fairies alike. The comedy follows four intertwining plots: that of soon-to-marry Theseus and Hippolyta; that of the passionate but down on their luck theatre troupe known as the Mechanicals; that of the love (or lack thereof) between Hermia and Lysander and Helena and Demetrius; and, finally, that of the fairy world, where betrayal and revenge were prevalent.

A stunning element incorporated into this production was the use of aerial silks. The silks were used in the traditional sense of flying acrobatics by the fairies, distinguishing them from their human counterparts. The silks were also used in unconventional manners to create impressive visual effects and stage pictures. Also unique to this production, the play within a play was complicated by an impending Zombie Apocalypse. Though the choice allowed for stunning special effects makeup and added entertainment value, it was ultimately unnecessary and detracted from the central action.

Populating the stage with boundless energy, Eva Daskos delivered a memorable performance as Puck. Daskos was clear in her character choices and obviously understood the difficult language of the play, delivering her lines with a distinct tone, volume, and rhythm. Most admirable was the physicality Daskos brought to the role. Whether it be gracefully manipulating aerial silks to soar above the crowd or bounding about the stage with an intense look of curiosity, Daskos consistently demanded attention with her stellar portrayal of the young and mischievous fairy. Daskos created believable and entertaining chemistry with Pucks master, Oberon (played by Marc Plaskett).

Plaskett, playing the passionate Titania as well as the cunning Oberon, was superb in his depiction of both roles. Plaskett rose above the challenge of performing two roles that consistently appear together onstage to deliver an energetic, graceful, and dynamic performance, Plaskett made outstanding use of physicality and vocal delivery to differentiate between the two characters. His focus was strong and made for a believable execution of his roles. Plaskett’s impeccable delivery of Shakespeare’s complicated language aided in the overall accessibility of the production.

The entire cast displayed a good understanding of their respective characters, though some actors could have varied their rhythm and overall delivery of lines. The actors’ skill in physical comedy was evident, especially when Demetrius (Aaron Cantu) and Lysander (David Morales) attempted to win the affection of Helena. Despite some pacing issues, the company was successful in conveying the plot to the audience. Actors tasked with multiple roles clearly distinguished them into two separate characters and maintained consistent energy throughout the play.

The technical elements of the show were exquisite. The hair, makeup, and costumes were cohesive and exquisitely complemented each individual character. The use of sound effects and projections made for an immersive theatrical experience.

Filled with strong acting and creative design choices, “A Midsummer Night’s Dream” at The Sagemont School was a mesmerizing production, proving that to love and to dream are one and the same.

Review of "Curtains" by Gabriela Phillips

Travel back to 1959 with NSU University School's production of "Curtains," and experience the shocking truth behind Boston Colonial Theatre's production of "Robbin' Hood."

The musical "Curtains" first premiered on Broadway on March 22, 2007. The original Broadway show got 8 Tony nominations and won the Tony Award for Best Performance by a Leading Actor in a Musical. Rupert Holmes and John Kander picked up the project of "Curtains" after both the original author and lyricist passed away. The show is a comedic whodunnit parody in which Lieutenant Frank Cioffi investigates a murder that occurs during the run of a theatre's production of Robbin' Hood. This show takes the audience through a tale of blame, fear, greed, and success.

Christina Maineri portrayed the character of Carmen Bernstein beautifully, her physicality remained consistent throughout the entire show. She tackled this difficult task with ease, since playing someone significantly older is challenging. Her vocal strength was showcased in "It's a Business." The dedication to her character was clear through her emotional devotion during all of her scenes and songs. Playing the Boston detective and theatre aficionado Lieutenant Frank Cioffi, Sebastian Rabassa did an exceptional job portraying the various levels of his character. When seen with his love interest Niki Harris, he often exploded with joy or nervousness which added a level of relatable humor. The relationship between Niki, played by Julia Musso, and Cioffi was truly exemplified in the song "A Tough Act to Follow." The connection between Musso and Rabassa was very genuine, watching their bond develop from the beginning to the end was truly intriguing.

A standout performance was that of Anthony Langone who played the character Christopher Belling. Langone had phenomenal comedic timing and his energy never faltered. He remained engaging throughout the entire performance, and it was evident that he was incredibly devoted to the character of Belling. Another standout was that of Nicolas Barron who played the character, Oscar Shapiro. Even when Barron was not the center of attention he never failed to remain in character, through his small comedic accents he brought an extra level of humor to this production.

Fueling the show was the ensemble. Their harmonies were outstanding, there was never a time where someone was off-key. Although this faltered at times, the ensemble matched energy levels and had incredible facial expressions. Their reactions towards all the murders and threats occurring made it feel as if they were experiencing everything for the first time. This truly helped make the production seem much more real as if the audience was experiencing everything at the same time that the characters were.

Technically, the show excelled. The lighting was amazing, it aided in portraying the theme and mood occurring at the time, especially during the duet between Niki and Cioffi "A Tough Act to Follow." The special effects team did an incredible job of making the wounds and shots seem very real. Their use of fake blood under their shirts helped make the production seem truly professional.

Having tackled the difficult themes as well as the challenging energy demand, NSU University School's production of "Curtains" is going to be "A Tough Act to Follow."

Review of "My Fair Lady" by Reese Abrahamoff

"The difference between a lady and a flower girl is not how she behaves, but how she is treated." Taking us on a journey through transformation, gender politics, and class, West Broward High School's enchanting production of "My Fair Lady" delves into the theme of self-discovery proving that it's never too late to dance all night.

With lyrics and a book by Alan Jay Lerner and music by Frederick Loewe, "My Fair Lady" opened on Broadway in 1956, earning six Tony Awards, including "Best Musical". Based off George Bernard Shaw's 1913 play, Pygmalion, this production, at the time, set the record for the longest running show on Broadway and was followed by several revivals and an eight-time Oscar winning movie. The story revolves around Eliza Doolittle, a young flower seller whose heavy Cockney accent keeps her in the lower rungs of an Edwardian society. When Professor Henry Higgins takes on the challenge of teaching her how to speak like a proper and classy lady, friendships emerge, relationships are tested, and characters are faced with life-changing decisions.

Leading lady Francesca Pinilla did an exceptional job as the stubborn, yet tough, Eliza Doolittle. Taking place in a time where lower class citizens were essentially always compared to the elite class, Pinilla excelled in showing the sharp variation between her initially rugged and improper persona to that of a classy, however conflicted, character. A standout element of Pinilla's performance was her ability to show the contrast in her two accents. The shift from her cockney accent to a more formal and proper one showed the audience a clear distinction between her true personality and one where her public facade had masked her internal struggles. Alongside Pinilla was Carson Marc (Henry Higgins) whose authoritative figure and constant feeling of superiority led to the unsound relationship between his character and Eliza. Both actors worked well off each other, allowing their final reunion to be both heartwarming and genuine.

The role of Colonel Pickering was played by Angel Martinez whose charismatic and considerate nature contributed to Eliza's arc of self-respect. Martinez's earnest and positive persona allowed for a truly enjoyable performance. An additional standout was Anthony Mejias (Professor Zoltan Karpathy). Despite having a limited number of lines, Mejias never failed to humor the audience through his outgoing, energetic, and jokester attitude, evidently seen through his encounter with Professor Higgins.

As a whole, the ensemble's performance was superb, most notably in the show stopping number, "Get Me to the Church on Time". With endless energy, proper stage business, and consistent commitment towards the required accents, the ensemble was able to precisely transport us into the harsh realities of the early 1900's where social division was not uncommon. Despite a lack of personal connections among certain characters, it was obvious that each cast member had a clear understanding of their roles, allowing for easy understanding of the mature components of this long-lived classic. The technical elements of the show were executed extremely well. The lighting (Alex Ortiz) was a strong contribution to the production. Matching each scene with lighting that represented the mood, each character's emotions and inner struggles were clearly depicted, allowing the audience to grasp a complete understanding of each cast member.

West Broward High School's heartfelt production of "My Fair Lady" not only challenges the period's societal pressures of women, but proves that no matter who you are, an individual can only have control over oneself.

Review of "Once on this Island" by Rylee Berger

Why do you tell the story? For life? For love? For hope? South Plantation High School’s production of “Once on This Island” brings these question to life, and proves that the reason behind telling the story is just as important as how you tell it.

Written by Lynn Ahrens and Stephen Flaherty, “Once on This Island” opened on Broadway in 1990 and its Tony Award-winning revival is currently playing at the Circle Square Theatre in New York. Centered around a young woman by the name of Ti Moune (Sierra Nixon) and her love for the wealthier Daniel (Logan Moreno), “Once on This Island” tells the tale of a society split by race, wealth, and, in this production, ability to hear. Unique to South Plantation High School’s rendition, the story was told in both English and American Sign Language.

Leading lady Sierra Nixon brought warmth, optimism, and power to the stage as the lovable Ti Moune. Nixon’s facial expressions clearly showed her character’s emotions and feelings. Her acting prowess was evident, culminating in a clear expression of Ti Moune’s arc when she is broken by the realization that she will never be accepted into the wealthier society of the Beauxhommes. Nixon was also able to build believable relationships with both her adoptive mother and father, played by Abriella Richards (voiced by Jocelyn Velazquez) and Dwayne Reed (voiced by Wayde Boswell).

Ti Moune’s story is largely affected by the actions of four gods: Papa Ge (Hannah Prezant), Asaka (Kayla Smith), Agwe (Jalu Rachel), and Erzulie (Nya Hedman) The actors successfully differentiated their characters through vocal delivery and physicality. The chemistry within their character group was clear, consistent, and helped to define their importance as characters Prezant’s portrayal of the demon goddess of death was engaging, and her devotion to the role was evident when she tried to convince Ti Moune to kill Daniel. Kayla Smith as Asaka stood out in her strong vocal delivery and presence on stage, especially in numbers like “Mama will Provide.”

The company brought energy to the stage and allowed for the music to drive the emotion. Each member of the ensemble was completely invested in the story and exquisitely executed well-blended harmonies. Though some actors had difficulties with their diction, their commitment to their characters was clear. The telling of the story through sign language was impressive and beautifully executed on stage. The voices and interpreters were always in character and were just as invested as their counterparts, adding dimension and depth.

The technical aspects of the show were cohesive and worked extremely well with each other and the action on the stage. Costumes, hair, and makeup helped to define the differences between the two sides of the island. The scenic design of the show was brilliant, allowing for stunning stage pictures and a beautiful backdrop for each scene.

Filled with strong vocals and emotional performances, South Plantation High School’s not-to-be-missed production of “Once on This Island” was moving, powerful, and a unique take on a classic tale of love and loss.

Review of "The Color Purple" By Reese Abrahamoff

“If God ever listened to a poor colored woman, the world be a different place.” Dillard Center for the Arts’ production of “The Color Purple” transported us into the harsh reality of the early 1900’s and delved into the theme of self discovery.

With a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, “The Color Purple” opened on Broadway in 2005, earning eleven Tony Award nominations. Based off Alice Walker’s 1982 novel of the same name, the show was seen as a revival in 2015 and received two Tony Awards including Best Revival of a Musical. The show follows the life of fourteen-year-old Celie, who is taken from her childhood home and forced to marry an arrogant farmer. After years of hardship and a little bit of guidance, Celie dismisses her expected role in society and finds the strength to create a better life for herself.

Leading lady Abigail Magnus did an outstanding job as Celie. Magnus excelled in showing the contrast between her individuality and submissive role as an African-American woman, which was commonly seen in this time period. Pouring her heart and soul into her singing, Magnus showcased a wide range of emotion filled with impressive belts, most evident in her solo, “I’m Here.” Alongside Magnus was Nylah Cruz as Nettie, Celie’s loving sister. As another vocal powerhouse, the dynamics between Cruz and Magnus were perfect to which their long-awaited reunion was both heartwarming and sincere.

The role of Sofia was played by Mikala Phillips. Her endless zest, non-stop energy, and flawless comedic timing livened the stage from the moment she entered. She was able to clearly show the transition from her bold attitude to one that was hopeless and beaten down. An additional standout was that of Kevaughn Reid (Harpo). With adept dancing technique and creative choices, Reid’s consistent humor and youthful vitality worked very well towards his uproarious relationship with Phillips. Their lovable personalities complimented each other most notably in their duet, “Any Little Thing.”

From group numbers to duets, the cast’s vocal performance was superb. Despite a somewhat lack of diction among the ensemble, the company did an exceptional job acting as a single unit, which can be extremely difficult with high school shows. The technical aspects were executed very well. A standout element was that of music direction under Jarvis Neal. Every musical number flowed perfectly with chilling harmonies and excellent blending, especially with the Church Quartet who never faltered a note. The costume crew did a great job with accurately depicting the time period of the show and representing each character clearly.

Dillard Center for the Arts’ moving and enchanting production of “The Color Purple” invites us to explore untaken paths, discover our true self, and live life to the fullest. Upon leaving the theater, the audience was left with one question, “Like the color purple, where do it come from?”

Review of "12 Angry Jurors" by Reese Abrahamoff

12 different angry jurors walk into a room, what could go wrong? With heated relationships and opposing views, Saint John Paul II Academy's production of "12 Angry Jurors" was a heightened courtroom thriller clearly demonstrating that our initial instinct might not always be correct.

Based on Reginald Rose's award-winning television movie, "12 Angry Jurors" focuses on the fate of a young man whose life is in the hands of a conflicted jury. It was originally a teleplay in 1954 and was rewritten for the stage in 1955. As a 1964 adaptation, the show opened on Broadway in 2004 with the nomination for the 2005 Tony Award for Best Revival of a Play. Later, the play ended up winning the 2005 Drama Desk Award for Best Revival of a Play. Asked to reach a final verdict, the juror's initial decision of "guilty" is brought into question with re-examined evidence from one conflicted juror.

Leading the show as the initially opposed Juror 8 was Janie Kate Knowles who did a great job with her vocal expression which was always clear and sharp. Knowles excellently executed the realistic attitudes of a jury member with ease and her character's purpose was patently established from the start of the show. Portraying the stubborn Juror 10 was Madison DiJoseph. A standout element of DiJoseph's performance was her consistent energy and clearly seen personal connections, most evident with Juror 3 (Alyssa Dorfman) and Juror 4 (James DiJoseph) who are all most convinced that the young man is guilty.

Sabrina Benson did an exceptional job as the jury's Foreman. With realistic stage business and precise focus, Benson allowed for a commendable performance. One of the most notable executions was that of London Bermudez (Juror 11). Along with her crisp vocal delivery, Bermudez always moved with a purpose which helped with her characters well-developed shift to "not guilty." With clear articulation and in-depth acting, Bermudez's performance was extremely believable and precisely demonstrated the dedication to her character.

As a whole, the jurors did a great job with their individual roles. Each actor had a clear motive that was understood from start to finish. Although at times the acting seemed to be monotone and forced, each character's purpose was well established and understood which led to a convincing performance.

The overall difficulties of such a demanding show were nicely tackled by the actors of Saint John Paul II Academy's production of "12 Angry Jurors." Telling the story of how the smallest amount of reasonable doubt can lead to significant findings, there is no doubt that this production gave the audience an unforgettable experience.

Review of "12 Angry Women" by Olivia Vera

French writer Voltaire once said, "It is better to risk saving a guilty person than to condemn an innocent one." Will Voltaire's words ring true in Western High School's production of 12 Angry Women?

The show is an adaptation of the television play 12 Angry Men written by Reginald Rose. Fifty years after premiering on CBS, 12 Angry Men made its Broadway debut at the American Airlines Theatre, where it ran for 328 performances. The show was nominated for a Tony Award for Best Revival of a Play and won the 2005 Drama Desk Award for Best Revival of a Play.

Adapted by Sherman Sergel, the show tells the story of 12 members of a jury that must decide the fate of a young teen who is accused of killing his father.

Each juror did an excellent job of creating an individual character for themselves as well as maintaining energy throughout the whole play. Some standout characters were Juror #8 and Juror #3. Juror #8 (Ishani Kamalani) was passionate and consistent in everything she did. Kamalani delivered her lines clearly and confidently which made her statements and her character believable. Opposing #8 was Juror #3, (Zoe Petit) who delivered an angry, powerful performance. Petit's impressive physicality and range of emotion provided a captivating character.

Another praiseworthy performance was the portrayal of Juror #10 by Nicole Ehrlich. Ehrlich had a commanding stage presence and delivered a purposeful and powerful performance. This was shown exceptionally during her monologue towards the end of the show. Each actress did an excellent job of understanding their character and working with each other to provide a realistic storyline. Although there were a few instances where there was a disconnect with the characters and flow of the storyline, the actresses kept consistent energy from start to finish. Each actress was convincing and committed to their character which aided in their powerful performance.

The technical aspects of the show were well executed. The lights helped in focusing attention on important aspects of the show as well as setting the tone and mood for scenes. Lights did a great job, especially in the opening scene, using strobe lights to provide mugshot-like flashes. Stage management was well-organized and efficient, which assisted with the smooth show. The publicity team also did an impressive job of promoting their show within the school with creative ideas involving pins, BuzzFeed quizzes, and extra credit.

Overall, Western High Schools production of 12 Angry Women was exceptional and told an important story of prejudice, justice, and standing up for what you believe.

Review of "Bring It On" By Rylee Berger

“Truman girls are superhuman girls,” and North Broward Preparatory School students are just as extraordinary. “Bring It On” at North Broward was a “Legendary” production that made for a night of not-to-be-missed and engaging theatre.

Inspired by the 2000 movie of the same name, “Bring It On” was nominated for two Tony Awards, including Best Musical, when it ran on Broadway in 2012. With a libretto by Jeff Whitty, music by Tom Kitt and Lin-Manuel Miranda, and lyrics by Amanda Green and Lin-Manuel Miranda, “Bring It On” follows the story of Campbell (Madeline Finkelman) as she navigates the complexities of high school while attempting to win the coveted Nationals’ trophy for cheerleading. However, Campbell’s efforts are undermined when new-girl Eva (Eve Cohen) conspires to take the power – and the trophy – for herself. Ultimately, Campbell learns that winning the trophy is less important when the true prize is friendship.

As Campbell, Finkelman maintained a believable character and was consistently engaging throughout her performance. Showcasing a complex and wide range, strong acting ability, and vocal prowess, Finkelman truly enveloped her character’s genuine personality. Opposite Campbell stood Eve Cohen as the manipulative Eva. Cohen had a clear understanding of her character’s arc, developing Eva from the quiet, eager-to-please new girl to a villainous and superficial mastermind. Cohen’s physicality, voice, and facial expressions were highlighted in Campbell’s nightmare sequences and in the entertaining “Killer Instinct.”

Natalie Langnas as Bridget delivered a performance full of comedy and heartwarming authenticity. Be it in a parrot costume or a quirky outfit from her mom’s closet, Langnas had impeccable vocals and was successful in portraying the awkward but equally adorable relationship between herself and Twig (Evan Laufman). Laufman’s comedic timing and performance were strong and consistent from start to finish.

The vocal performance of the entire cast was strong, even through demanding choreography. Cheer stunts, though perhaps overused, were well-executed. Despite parts of the ensemble lacking energy and synchronicity, many members of the company stood out in their commitment to their characters, creating stunning stage pictures and entertaining ensemble work. This work stood out in numbers such as “What I Was Born to Do,” “Bring It On,” and “I Got You,” which showcased their skills in both voice and dance.

The publicity team (Cohen, Langnas, and Finkelman) sold out both performances and executed a well-thought-out, cohesive, and creative campaign. Costumes (Juliana McCabe) were successful in defining the differences between the two schools. Though at times mic belts were visible and scene changes were distracting, the technical elements allowed both the actors and the audience to become enveloped in the world of competitive high school cheerleading.

Filled with strong performances, demanding choreography, and incredible vocals, North Broward’s “Bring It On” is “One Perfect Moment” after the next.

Published Reviews by CCHS Critics 2019-2020

Review of "Peter and the Starcatcher" by Rylee Berger

“There it is, Wendy! Second star to the right and straight on till morning!” exclaims Peter Pan in the classic 1953 film. But how did Peter Pan become such an iconic character? Why did he choose Wendy, of all people? And perhaps most pressing, how did Neverland come to be? Find out in Calvary Christian Academy’s dreamy production of “Peter and the Starcatcher.”

Written by Rick Elice and based on the novel by Dave Barry and Ridley Pearson, “Peter and the Starcatcher” opened on Broadway in 2012. The “play with music” concerns a young orphan known as Boy and the spunky Molly Aster as they navigate the tumultuous waters of hope, friendship, and love that are, naturally, plagued by pirates. When Molly’s father tasks her with protecting a chest full of precious cargo for the Queen, Molly and her new friends must dodge pirates and thieves to secure the treasure and save the world from evil.

Jenna McCoy’s natural talent radiated through her portrayal of the slightly insufferable but ultimately lovable Molly Aster. McCoy perfectly embodied Molly’s fearlessness and wit in her vocal delivery and physicality. McCoy made certain that Molly towered over peers and pirates alike through her captivating stage presence and her eye-catching energy. Her characterization served as a nice juxtaposition to that of Maxim Rose, playing Boy (who would eventually be given the name Peter). The innocence and playfulness of their relationship was evident, showing a clear understanding of their respective characters. Rose made highly effective choices in his mannerisms, standing out in his ability to communicate Boy/Peter’s emotional journey throughout the show.

Depicting the over-the-top, narcissistic, and downright hilarious Black Stache, Richard Egues was consistent in his accent, energy, and command of both script and stage. Complemented by the incredibly entertaining Kelly Goenaga as Smee, the dynamic duo brought new life and understanding to the legendary pirates. Goenaga was stellar in her comedic timing and delivery, providing a profoundly memorable performance. Other notable performers included Soleil Escobar (Prentiss) and Gage Eller (Ted), both of whom successfully portrayed their distinct characters while highlighting their similarities, resulting in a well-developed dynamic between the orphaned boys and Molly.

The ensemble skillfully tackled the complex script. Stunning stage pictures were prevalent, including those depicting Molly’s journey through the ship’s different rooms and the jungle on Mollusk Island. Though accents fluctuated and were difficult to understand, swift transitions and good pacing aided in the play’s effectiveness.

The skills of the actors were complemented by the impressive use of props and other technical elements, effectively creating the world of the show. Though lighting cues were often late and microphones were at times unreliable, most of the design elements were cohesive and compelling.

Carl Sagan once said, “We are all made of star stuff,” and Calvary Christian Academy proved just that. Their production of “Peter and the Starcatcher” invited audiences to experience the joy of storytelling and to remember that, “To have faith, is to have wings.”

Review of "Peter and the Starcatcher" by Reese Abrahamoff

Somewhere between a sky full of stars and the sound of crashing waves lies Calvary Christian Academy, a powerful vessel whose crew of captains and pirates have conquered the sea. Set sail for a tale of self-discovery, unbreakable bonds, and a tiny bit of starstuff in their enchanting production of “Peter and the Starcatcher.”

Based on a book by Dave Barry and Ridley Pearson, “Peter and the Starcatcher” sailed to Broadway in 2012 earning nine Tony Award nominations, including Best Play. Written by Rick Elice, the story follows Boy, a nameless orphan whose hardened nature was the result of an oppressive childhood. Next on deck is Molly Aster, the feisty and determined apprentice whose sense of adventure shines brighter than any other. When Molly discovers Boy and his friends in the bilge of the ship, the audience is transported into a story of dancing pirates, hidden treasures, and a life-changing decision.

Leading the production as the initially fragile but eventually confident hero was Maxim Rose (Boy/Peter). From the moment Rose entered the stage, he reflected an earnest and genuine nature that never faltered. Rose excelled in encompassing his character’s physicality, but what was truly remarkable about his depiction was his sincerity and charisma. On a quest to uncover his own identity, Rose guided us through heartbreak and pain, allowing his performance to soar. Alongside Rose was Jenna McCoy as the fearless Molly Aster. Both McCoy and Rose worked well off one another allowing their inevitable separation to be both gut-wrenching and unexpected.

Terrorizing the seven seas in hope of finding a worthy adversary, Richard Egues delivered an outstanding performance as Black Stache. From his own animated musical number to his devious plan to conquer the “Neverland,” Egues’s flamboyant characterization was always met with a hint of malice. Erring on the side of comedy was Kelly Goenaga (Smee) who played the simple-minded first mate to Black Stache. With Goenaga’s high energy and dramatic nature, she was able to fully encompass her character, heeding the captain’s every whim.

Despite inconsistencies in accents, the cast as a whole was quite remarkable. With perfect pacing, clear unity, and evident commitment, the ensemble told a clear story from scratch, and for that, they should be commended. A standout group in the production was the orphan children (Maxim Rose, Soleil Escobar, and Gage Eller) whose connections were perfectly established from the moment the show began. Technically speaking, stage management did an exceptional job handling a large number of cues. Almost every call was executed nicely, allowing for smooth transitions throughout the show. Additionally, with only a few key objects, the props team was able to contribute to the plot in an extensive amount of ways.

As the sun sets and the moon comes out, we are left adrift on the ship of Calvary Christian Academy with the cast and crew of “Peter and the Starcatcher,” where they proved that not every star belongs to the sky.

Review of "Peter Pan: A Musical Adventure" by Rylee Berger

Close your eyes – close them tight – and imagine. Imagine a world full of fairies, of sirens, of pirates and captains. Of the spunky young girl and the lost little boys as they set off in adventurous fashion. Find yourself at NSU University School’s production of “Peter Pan: A Musical Adventure,” a noteworthy and original production filled with high-flying performances.

Based on J.M. Barrie’s beloved tale, the show opened in Copenhagen in 1996. It was later broadcast by the BBC and earned poor reviews until its well-received 2007 revision. Written by Willis Hall with music and lyrics by George Stiles and Anthony Drewe, the musical follows the title character (Evan Eiglarsh) and Wendy (Nicolette Nunziato) as they navigate their new friendship, Neverland, and the adventure of growing up.

As Peter, Eiglarsh embodied the iconic character with grace, showing vocal and emotional range. Eiglarsh had stellar comedic timing, bringing mischievous youthfulness to the boy who wouldn’t grow up. He had a commanding stage presence and clear commitment to his character which was showcased in numbers like “Never Land” and “The Cleverness of Me.” His spectacular chemistry with Wendy and the Lost Boys added a layer of believability to his already stellar performance. Nunziato’s Wendy was played with an unmatched conviction. Her outstanding vocals and clear understanding of her character shone, making for a remarkable performance. Both Eiglarsh and Nunziato were required to perform while being flown, a commendable feat accomplished with ease.

Dynamic duo Captain Hook (Anthony Langone) and Smee (Gabriel Feldenkrais) did not disappoint, adding hilarity and support to the production. Langone’s impressive vocal range was showcased in the song “When I Kill Peter Pan,” and his charisma was apparent throughout his portrayal of the pirate. Feldenkrais quickly established his relationship to Hook, creating a character with unparalleled energy and precision. His dance skills stood out in “A Pirate with a Conscience;” his commitment to his character was evident. Additionally, Peter Koltis’ portrayal of Gentleman Starkey deserves note for its focus and believability.

As a whole, the cast did an outstanding job in creating the whimsical, storytelling tone that is so necessary for such a production. The ensembles were distinct in their movements and motivations, providing entertaining and easily distinguished performances. This was aided by choreographer Bailey Busher’s use of movement motifs for each character group. Despite vocals that were occasionally inconsistent, the ensemble was focused and engaged, helping to create the magical world of Neverland.

Further contributing to this were efforts from the technical teams. Though all of the design elements were well-thought-out, the props team deserves specific praise for their attention to detail and innovation. The stage management team ran cues flawlessly and the seemingly effortless transitions added to the quality of the show.

NSU University School brings new life to a classic story in their not-to-be-missed rendition of “Peter Pan: A Musical Adventure,” a production filled with extraordinary performances and original designs that is sure to remind you that life really is “One Big Adventure.”

Review of "Brighton Beach Memoirs" by Rylee Berger

Money is tight, war is brewing, families are fighting, jobs are hard to come by, and – perhaps worst of all for Eugene – he’s going through puberty. Thus sets the stage for Coral Glades High School’s hilarious and heartfelt production of “Brighton Beach Memoirs.”

Written by Pulitzer-prize-winning playwright Neil Simon, the semi-autobiographical play is the first chapter in his Eugene Trilogy. After productions in California, “Brighton Beach Memoirs” opened on the Great White Way in 1983, where it enjoyed a three-year run, becoming the last non-musical play in Broadway history to have over 1,000 performances. Following the girl- and baseball-crazed Eugene, the coming-of-age comedy concerns his unusually hectic Brooklyn, NY household as they navigate changing family dynamics, the Great Depression, and world-wide political turmoil.

Matthew Dell-Hak delivered an energetic and memorable performance as the sassy-yet-sincere Eugene. His powerful performance showed great range and impressive development of his character’s arc. As the character also serves as the narrator of the play, Dell-Hak did an exceptional job differentiating between dialogue with other actors on stage and his asides to the audience. His clear commitment to his character shone through his choices in physicality and vocal delivery; his ability to allow his character to believably mature throughout the show was commendable.

Depicting Eugene’s worrisome, superhero of a mother, Tai Beasley (Kate) embodied her role with grace. Beasley balanced the mannerisms of a busy caretaker while still creating a character that, when pushed to her breaking point, delivered a persuasive and heart-wrenching performance. As Jack, the workaholic father who wants only for his family to be provided for, Caleb Ramey portrayed a highly convincing paternalistic physicality and authority when interacting with the other characters. His ability to evolve his relationships with his sons, especially Stanley (Joshua Flynn), was noteworthy. Flynn himself did an excellent job establishing a powerful and multilayered relationship.

Overall, the entire cast did a stellar job in creating authentic family dynamics. Each relationship was distinct from the next. This was especially prevalent in scenes where the characters would argue with each other, showcasing their understanding of these complex relationships. Moreover, the pacing of the play was remarkable and transitions between the show’s several serious and silly situations were smooth. Though some actors’ facial expressions were lost, the blocking was clearly motivated and was fluid throughout.

The technical elements of the play were well-designed. The set provided a nice playing space for the actors and the props were believable and paid great attention to detail. However, the costumes could have better demonstrated the family’s economic status and the hair and makeup could have more sharply differentiated characters’ age. There were occasional microphone errors but the sound effects, however minimal, were effective.

With genuine acting and astonishing familial dynamics, Coral Glades High School’s production of “Brighton Beach Memoirs” shows masterful balance between tragedy and comedy, accentuating that, even when it hurts, laughing is always the best medicine.

Review of "Bright Star" by Reese Abrahamoff

“I had a vision” where writers and soldiers alike gathered to create an inspiring tale of hope and ambition. Transcending boundaries of time and space, Cardinal Gibbons High School opened our hearts to the power of love and its path to redemption in their touching production of “Bright Star.”

Written by Steve Martin and Edie Brickell, the musical originated from their Grammy-winning bluegrass album “Love Has Come for You,” and made its world premiere at the Old Globe Theatre in San Diego. After opening in 2014, “Bright Star” made its way to Broadway just two years later, receiving five Tony Award nominations including Best Musical. On a train headed towards the mountains of North Carolina, you’ll find two tracks. One side follows the life of Alice Murphy, a professional, hardened editor of a southern literary magazine. The other follows a similar name, just younger and more adventurous. Telling the story of this transformation and beyond, “Bright Star” invites us to explore untaken paths and challenge the idea of love.

Leading lady Darby Silverman did a wonderful job as Alice Murphy. Silverman excelled in demonstrating the contrast between her past and present life while also showcasing a wide range of emotions amongst both personas. With effortless vocals, Silverman grounded her performance through numbers like “So Familiar/At Long Last,” and “Please Don’t Take Him,” which certainly left a lasting impression. Alongside Silverman was Parker Greenblatt as Jimmy Ray Dobbs. Showing progression both vocally and emotionally, Greenblatt did a great job depicting his change from youth to maturity while also growing with Silverman in their own self-discovery.

Juliana Rios portrayed the role of Margo, the sweet and loving owner of the town’s local bookstore. With consistent energy and a lovely voice, Rios captured the hearts of the audience as well as Cameron Relicke (Billy Cane). Both Rios and Relicke established genuine connections and allowed each other to shine both together and individually, whether it be through voice or stage presence alone. An additional standout was Amber Arevalo as the sassy and strong-willed secretary, Lucy. With bold choices and precise comedic timing, Arevalo continuously livened the stage, most notably in the show-stopping number “Another Round.”

The ensemble as a whole was quite remarkable. From chilling harmonies to a constant southern dialect, the cast had clear motivations that never faltered throughout the production. While the cast overall had trouble staying together with choreography, Beatriz Arevalo showcased proper dance technique and told her own story through movement, which should certainly be recognized. The technical aspects of the production were executed very nicely. Stage Management allowed for a continuously flowing production with minimal faults and clean transitions. Costumes did an exceptional job differentiating the character changes as well as distinguishing the two time periods throughout the show.

Telling the true story of the life of Alice Murphy, Cardinal Gibbons High School’s production of “Bright Star” transports us into the harsh reality of the early 1900s where they proved that with a little bit of optimism, the “Sun’s Gonna Shine.”

Review of "26 Pebbles" by Gabriela Phillips

Written by Eric Ulloa, “26 Pebbles” recounts the story of a close-knit community affected by the shooting at Sandy Hook. Ulloa utilized verbatim theatre, in which he conducted various interviews throughout the community of Newtown to piece together the dialogue of the play. It premiered at the Human Race Theatre in 2017 and won the Kennedy Center Citizen Artist Award. This play doesn’t simply focus on the tragedy itself, but on how the community worked together to move forward from this event.

Portraying 19 different characters, the ensemble of 6 speaking actors, along with their interpreter counterparts, seamlessly transitioned between various residents of Newtown. With an incredible emotional dedication to her role, Kierstin Rose (Actor 1) gave a strong, yet genuine performance, most notable in her monologue about a boy who gave his life to save his classmates. Her ability to distinguish between her two characters was executed excellently, her shift in vocal inflection and physicality aided in making the show all the more understandable.

Another notable performance was that of Kayla Smith (Actor 4), who played three different characters. Evident in her portrayal of the characters was her ability to remain natural, best highlighted in her emotional lines when she would take the time to collect herself onstage and then deliver the line effectively. Her seemingly simple character choices helped maintain the realism of the show, also evident in her touching performance of “Amazing Grace.” Jermaine Jenkins (Actor 2) maintained a powerful performance while effectively distinguishing between four characters, a difficult task.

Alongside each speaking actor was an American Sign Language interpreter. Each interpreter did an admirable job of matching the character choices of their speaking counterparts, making the show easy to follow. As a whole, the ensemble did a great job of giving the show a conversational feeling representative of a small town. The mature themes in the show were handled with care, and they excellently showcased the town’s development from feeling angry and lost to hopeful.

The technical aspects of the show worked well to fully immerse the audience into the world of Newtown. The attention to detail when it came down to props (Shaylen Deyo) was remarkable. They accurately represented what was used in real life. Another technical element that aided in making the show flow more effectively was the costume design (Adam Leneberg). With quick and simple costume changes throughout the show, they played a major role in differentiating between characters.

Tackling the intense themes within the show, South Plantation High School showcases the true strength, resilience, and transformation of Newtown, Connecticut in its emotional production of “26 Pebbles.”

Review of "Driving Miss Daisy" by Reese Abrahamoff

Lock the car, start your engine, and get ready for a road trip to the 1900s! On your way to the Deep South, you’ll find Deerfield Beach High School and their heartfelt production of “Driving Miss Daisy” as they delve into themes of human dignity and the importance of friendship.

The play, written by Alfred Uhry, made its debut in 1987 at the Playwrights Horizons Studio Theatre. The show opened on Broadway in 2010 after two National Tours and a 1989 film adaption, which won the Academy Award for Best Picture. In the backseat of a 1949 Hudson Commodore, you’ll find Daisy Werthan, a Jewish, crotchety, white Southern woman with no intention of making friends. Enter Hoke Coleburn, a dignified, soft-spoken African American in desperate need of a job. When an unlikely friendship is formed, we are taken through twenty-five years of learning and enlightenment where we come to understand that companionship is, simply put, more important than societal expectations.

Leading lady Sarah Mellinger did a lovely job as the irritable Daisy Werthan. Mellinger’s olden physicality and constant state of dissatisfaction worked extremely well with her character’s grouchy tendencies and close-minded persona. From ridiculous accusations to subtle temper tantrums, Mellinger never faltered in showcasing the stubborn mannerisms of an elderly woman, which allowed for refreshing moments of comedy in a rather serious show. Alongside Mellinger was Chad Chambers as Hoke Coleburn. With clear motivations and a crisp southern dialect, Coleburn’s charismatic nature complemented his ability to play off of Daisy and her headstrong attitude. Together, Chambers and Mellinger demonstrated proper character development as time progressed, allowing for a sincere discovery of solace within each other.

Initiating the relationship between Daisy and Hoke was Alan Halaly (Boolie Werthan), Daisy’s insistent and loving son. With substantial energy and lively expression, Halaly’s sense of loyalty to his mother and her safe-keeping was evident throughout the entirety of the production and led to a truly genuine performance. In such a small cast, it can be easy to lose motivation and purpose. While certain lines seemed to be anticipated by the cast, the actors’ intimacy and character commitment allowed the audience to remain connected to the show and its mature themes.

The technical aspects of the show were outstanding, especially in reflecting the production’s passage of time. With the use of audible transitions throughout scene changes, such as snippets of Christmas music and, later, published songs, sound excelled in showing the character’s change in age as well as their understanding of life. The hair and makeup team, with the inclusion of sublime old-age makeup, accurately represented the maturity of the characters and presented remarkable attention to detail.

On the drive back to each of our own destinations, we are left to contemplate the true meaning of friendship. Upon the closing of the curtain, Deerfield Beach High School’s “Driving Miss Daisy,” leaves us with one thought; the road you travel on doesn’t always lead you to the destination you had hoped for, but if you can look back on your journey and smile, then it was worth it.

Review of "Diary of Anne Frank" by Rylee Berger

“History cannot be written on the basis of historical decisions and documents alone,” declared a Dutch minister in a 1944 broadcast for the BBC. These words would inspire a young girl to refine her diary, a journal that would become, arguably, the most iconic piece of writing from the Holocaust. Archbishop McCarthy High School’s production of “The Diary of Anne Frank” was beautifully cathartic and raw, providing a glimpse into the despair and difficulties plaguing a small annex in Amsterdam.

Based on Anne Frank’s “The Diary of a Young Girl,” the play was adapted for the stage by Frances Goodrich and Albert Hackett in 1955. It would go on to win the Tony Award for Best Play as well as the Pulitzer Prize for Drama. Revised by Wendy Kesselman in 1997, the show has been widely produced by professionals and amateurs alike. The play follows Anne Frank (Erica Gouldthorpe) as she and her family go into hiding to escape Hitler’s regime. In the small, cramped annex, we see Anne laugh, cry, mature, and fall in love.

Gouldthorpe led the cast with fitting precociousness and candor; her performance showcased her wide range of expression and breathtaking acting abilities. Gouldthorpe was captivating both in joyful, innocent moments with her family and in her anguished, fearful deliveries when alone. Her comedic instincts were strong and her maturation into a young woman throughout the show was convincing. Though Gouldthorpe created believable relationships with the entire cast, her relationship to her father, Otto Frank (Justin Cook), stood out for its natural ease and touching subtleties. Cook himself provided a precise and compelling depiction of Mr. Frank, encompassing his paternalistic tendencies with great ease.

Gouldthorpe also built an adorably awkward and innocent relationship with love interest Peter Van Daan (Christopher Muston). Muston was equally invested in the bond, delivering genuine reactions and endearing clumsiness. Portraying the extravagant and good-humored Mrs. Van Daan, Bianca Weston demonstrated her theatrical prowess and ability to make bold acting choices.

The entire cast had authentic dynamics and illustrated the challenge of living with seven other people in a confined space. The company remained in character throughout the piece, accentuating their dialogue with specific gestures and stage business that, rather than distracting from the central action, added a layer of validity. The actors’ mastery of the script was evident, especially in the play’s climactic scene when their terror and desperation was on full display.

The technical elements were well-suited to the production; the precise cues aided in the delivery of moving moments. These stood out in Otto Frank’s moving final monologue during which the lights dimmed one by one as he revealed the passing of his loved ones.

Archbishop McCarthy’s supremely heartfelt production of “The Diary of Anne Frank” leaves us awestruck at the resilient spirit of a young girl and the love she was surrounded with, proving that hope prevails, even in the most unthinkable situations.

Review of "Bring it On" by Reese Abrahamoff

“How do we know who we are unless we cross the line?” A complicated question whose answer may be found between two squads of cheerleaders and their ruthless desire for victory. Who will come out on top? Find out in David Posnack Jewish Day School’s enjoyable rendition of “Bring It On.”

Based on the 2000 film of the same name, “Bring It On” made its way to Broadway in 2012, closing later that same year. With music by Lin-Manuel Miranda and Tom Kitt, lyrics by Miranda and Amanda Green, and a book by Jeff Whitty, the production earned two Tony Award nominations including Best Musical. Ready? Okay! First up to the mat is Truman High, a school where friendships lack loyalty and drama trumps education. After an unexpected redistricting decision, ex Truman cheer captain Campbell Davis finds herself walking the disheveled halls of Jackson High, a school on the wrong side of the tracks. Dealing with themes of racial and social division, “Bring It On” takes us through a story of jealousy, high-school romance, and quite a few cheer routines!

Leading lady Lillian Milgram did a wonderful job as Campbell. With continuous stamina and proper intentions, Milgram maintained her character throughout the entirety of the production and excelled in showing her transformation from “Queen Bee” to the anxious outsider. Alongside Milgram was Phoebe Zucker as the headstrong Jackson crew leader, Danielle. Zucker’s fierce attitude and assertive expressions allowed for a genuine understanding of her hardened upbringing. Both actresses worked well with one another, creating a sincere relationship that one would never have expected, most evident in their dynamic duet “We’re Not Done.”

Rocking both parrot heads and comedy, Whitney Wildstein’s (Bridget) endless zest and bold choices never failed to humor the audience. With non-stop energy and persistent character development, Wildstein took control of the stage and the heart of Josh Riesenberg (Twig) whose jock mentality complimented Wildstein’s awkward physicality. One of the most notable performances was by that of Margalit Maleh (Nautica). With remarkable singing abilities and impressive character choices, Maleh was always a standout amongst the ensemble. Her sassy persona and obvious background in dance allowed for a thoroughly entertaining performance full of certainty and vigor.

The ensemble should be recognized for their dedication and constant energy throughout the show. However, at certain points of the production, it seemed that several characters were lost with the music and therefore struggled with synchronization during the dances. Additionally, while the cast should be commended for tackling such a demanding production, they often lacked vocal delivery as well as character motivation. Despite this, the cast did a great job working with a live orchestra. The David Posnack Band maintained lively energy along with stunning sound quality that contributed to the upbeat nature of the production.

In a world where competition conquers all and the desire for success continues, it’s common to forget about the people around us who make us better. David Posnack Jewish Day School’s production of “Bring It On” invites us to think deeper, let go, and fly high.

Review of "Bring it On" by Rylee Berger

The astounding athleticism, epic stunts, and catty drama of cheerleading have propelled it to ubiquity across popular culture, high schools, and professional sports alike. America’s fascination with the sport has led to multiple TV shows, movies, and now a musical. “Bring it On,” performed by David Posnack Jewish Day School, is an entertaining production filled with complicated choreography and bitter rivalries.

Inspired by a 2000 movie of the same name, the musical boasts a Tony- and Pulitzer-prize-winning creative team, including Tom Kitt (of “Next to Normal”) and Lin-Manuel Miranda (of “Hamilton” and “In the Heights”). The catchy tunes and snarky dialogue feel right at home in the vindictive high school setting, where audiences are introduced to cheer captain Campbell and the rest of Truman High School’s squad. After a suspicious series of events results in her transfer to a new school (notably lacking a cheer squad), Campbell must convince the apprehensive students of Jackson High School to help her win the coveted national trophy while battling a sneaky sophomore who wants the prize – and the power – for herself.

Lillian Milgram brought Campbell to life with her enthusiasm and energy. Tasked with a challenging score and demanding role, Milgram demonstrated commendable stamina for the duration of the show. Milgram’s relationship with Phoebe Zucker as Danielle, the head of Jackson’s dance crew and top of the school’s social hierarchy, was notable for its chemistry and honesty. These qualities were on display in their compelling duet “We’re Not Done,” a highlight of the production due to its expressive vocals.

As Campbell’s nerdy sidekick Bridget, Whitney Wildstein brought hilarity and power to her performance. Her physicality showed obvious commitment to her character and her comedic timing expressed a clear understanding of the text. Her onstage relationships were well-developed and believable with multiple characters, including Campbell and Twig (Josh Riesenberg). Another standout performance was that of Margalit Maleh as Nautica, especially in the entertaining number, “It Ain’t No Thing.” Her captivating vocals, distinguished liveliness, and impressive dance skills made for a highly memorable performance.

The entire cast maintained consistent energy levels and appropriate facials. Despite the tendency of some performers to overact, their commitment to their roles and ability to make choices was nevertheless appreciated. Though harmonies often clashed, the ensemble should be commended for their ability to end each number on a high note, using strong cheerleading poses to their advantage.

The David Posnack Band had the difficult task of playing for the two-and-a-half-hour musical with a pop-rock score atypical of Broadway. Though the orchestra at times clashed with vocalists, they provided much-needed underscoring to the show’s lengthy transitions. Their performance during these moments was enjoyable and well-balanced.

Ultimately, rivalries ignite, friendships form, and unexpected heroes take the floor in David Posnack Jewish Day School’s production of “Bring it On,” a fun and highly spirited production that is sure to reinforce cheerleading’s prominence in popular culture.

Review of "Aida" by Rachel Goldberg

Most people think that “The Past is Another Land” and it’s of no importance to the modern world; however, Dillard Center for the Arts’ production of “Aida” proves that love is truly timeless and can eclipse any barrier.

With music by Elton John and lyrics by Tim Rice, “Aida” is based on an Italian opera written by Antonio Ghislanzoni with music by Giuseppe Verdi. The show premiered on Broadway in 2000 and won four Tony Awards. This musical tells the tale of an enslaved Nubian princess named Aida (Azaria Pearson), who finds herself fancied by Egyptian Captain Radames (Andrew Robichaud), even though he is betrothed to the Pharaoh’s daughter. Radames and Aida’s forbidden devotion to one another becomes a paradigm of true love that ultimately transcends the stark cultural contrast between their warring nations, yielding a time of unparalleled prosperity and peace.

Possessing a sharp tongue and a sharper mind, Aida, portrayed by Azaria Pearson exudes nobility. Her powerful performance showed great range and impressive development of her character’s arc. Pearson did an exceptional job building chemistry with every character she encountered, as well as showing her character’s turmoil when tasked with leading her people. Her clear commitment to her character shone through her choices in physicality and vocal delivery; her choices always expertly amplified how her character was feeling.

Most notable of Pearson’s relationships was that between her and Andrew Robichaud as Radames. Robichaud had a distinct stylistic voice that allowed him to convey his character’s emotions while in song. Together, Robichaud and Pearson developed a palpable connection, and their chemistry only grew throughout the performance. As Amneris, the daughter of the Pharaoh with a fashion fixation, Camilia Peña-Torres exuded high energy, confidence, and remarkable vocals. She showed amazing development from her role in Act 1 as the comedic relief to her character’s more mature and serious capacity in Act 2.

Overall, the cast did a stellar job in creating genuine characters. The ensemble’s commitment to their roles told many unique stories within the plot. Although there were times in which the company could have expressed more range in dynamics, their energy was authentic and consistent, especially in the song “Dance of the Robes.” The orchestra completed the intense score of this show seemingly with ease, providing a beautiful sound to the story. Despite overpowering the actors while playing, the musicians were professional, and the music immensely added to the performance.

The overwhelming passion of the company of Dillard Center for the Arts’ “Aida,” embraces stunning vocals, exuberant dancing, and promises the audience another story as two familiar strangers meet in an Egyptian history museum, continuing Radames and Aida’s love forever.

Review of "Suessical" by Carla Luna

In the words of Theodor Seuss Geisel, “You have brains in your head. You have feet in your shoes. You can steer yourself in any direction you choose. ” So grab your thinking hat, open your mind and steer yourself into the auditorium of JP Taravella High School’s production of “Seussical. ”

“Seussical” is a conglomeration of Dr. Seuss’ famous works brought to life by the minds of Lynn Ahrens, Stephen Flaherty, and Eric Idle who managed the great task of melding such vastly different stories into one. The musical follows the story of Horton the Elephant, a resident of the Jungle of Nool, a world created by the imagination of a lonely child named Jojo with the help of his new friend the Cat in the Hat. Horton discovers a miniature planet on a speck of dust containing people called Whos. He takes it upon himself to protect the Whos, however, he faces adversity from his short-sighted animal neighbors. Tackling themes of loyalty, prejudice, and individuality, “Seussical” is an all-encompassing musical for any and all ages.

Playing the infamous top hat wielding cat, Hunter Quinn guided the audience as he assumed the role of narrator. With the mischief of a feline, Quinn would break the fourth wall interacting with the audience, whether through a live auction for an elephant or misting the audience with his tears. Quinn did not disappoint, ensuring his facial expressions, exaggerated movements, and sass complemented the high energy and emotion of Candice Davis (Jojo). Davis gave a praise-worthy performance, capturing the child-like nature of Jojo through her physicality and facial expressions.

Serving as the hero archetype, Nicholas Vela showcased Horton’s heart of gold through his solemn physicality and range of expression. Vela’s melodic voice was displayed through numbers such as “Alone in the Universe” and “Solla Sollew. ” Vela and Nicole Sugarman (Gertrude) had undeniable chemistry developed through numbers such as “Notice Me, Horton” and “All For You. ” Not to go unnoticed, was Sugarman’s energy and well-established girl-next-door persona that added depth to the production.

Tasked with a demanding musical, the entire cast managed to maintain a consistently youthful, high-energy performance. The ensemble creatively made use of the stage, utilizing their orchestra pit at times and managing to keep the audience engaged. “A person’s a person no matter how small. ” Taking these words to heart, the cast debuted The Little Trojans, children from their school’s early childhood program, into the roles of Child Whos, eliciting a resounding “aww” from the audience. Despite the lack of diction from some characters and occasional microphone feedback, it should be noted that eighteen mics were shared amongst thirty two actors and there were no major technical issues, a feat in and of itself.

“Oh, the Places You’ll Go”, if you let the world expertly crafted by JP Taravella High School in their production of “Seussical” manifest itself into reality. Meet a cat, with a red and white striped hat. Or follow a circus, as a one-tailed bird with a purpose. “Anything’s possible!”

Review of "Suessical" by Gabriela Phillips

A town named Whoville on a speck of dust and a one-feathered bird searching for love she can trust. With imagination beyond compare, JP Taravella High School’s production of “Seussical” truly shows that “anything’s possible.”

With music by Stephen Flaherty and lyrics by Lynn Ahrens, “Seussical” transports the audience into a world filled with childhood nostalgia. Having opened on Broadway in November of 2000, the show follows Jojo, a young boy with a vibrant imagination, as the Cat in the Hat narrates the story of Horton the Elephant and his journey to protect the dust containing a little town known as Whoville. Told through playful songs and rhyming lines, this show is sure to appeal to the child within everyone.

With infectious energy and a vibrant persona, Hunter Quinn narrated the story wonderfully as the Cat in the Hat. Guiding Jojo (Candice Davis) through a journey of a lifetime, Quinn’s energy and facial expressions never faltered. His exaggerated expressions complimented Davis’ child-like demeanor and aided in enhancing the relationship between the two. Quinn’s confidence always shone through and made the production all the more enjoyable to watch.

Playing the kind-hearted Horton, Nicolas Vela truly captured the genuine nature of his character. With numbers such as “Alone in The Universe” and “Solla Sollew, ” Vela was able to showcase his emotional commitment to the role as well as his vocal strength. Nicole Sugarman portrayed the unique yet determined Gertrude, her consistent energy brought a playful feeling towards the show. She always had the perfect intentions behind her movements, and paid strong attention to detail. The relationship between Vela and Sugarman was excellently developed and best exemplified in numbers such as “Notice Me, Horton. ” Sugarman’s vocal prowess and dedication to the role never faltered allowing for an engaging performance.

With beaming energy, the cast wonderfully tackled the demands of this difficult show. Through strong character development and wonderful vocal technique, they succeeded in fully developing the world within “Seussical.” Although at times some cast members lacked diction, their consistent energy made up for lost lines. A notable trio was the Bird Girls consisting of Fallon Collins, Jaime Happel, and Leah Tomas. Their wonderful vocal quality and energy remained constant through the entirety of the show and they always remained expressive in their movements.

Technically the show excelled. The use of pool noodles and water guns as weapons, as well as slides and rock climbing walls effectively tied in with the childhood theme. The sound and costume crews should also be commended for their quick changes with mics as well as costumes. Overall, tech did a great job of ensuring the production flowed well and looked cohesive.

With vibrant energy and dedication to the theme of childhood, JP Taravella High School’s production of “Seussical” reminds you of “all the thinks you can think” when you dream in bright colors.

Review of "Suessical" by Alexandra Sansone

“Oh, the thinks you can think when you think about” JP Taravella’s colorful production of “Seussical” the Musical.

Based on the whimsical creations of Dr. Seuss, “Seussical” was brought to the stage by Lynn Ahrens and Stephen Flaherty. Narrated by the infamous Cat in the Hat, “Seussical” follows the story of Horton the elephant (Nicolas Vela) who discovered the spritely microscopic town of Whoville on a speck of dust. After meeting Jojo (Candice Davis) a Who who has wildly creative thinks, Horton decides to protect Whoville on a clover, no matter how much trouble this causes him. And does it ever cause him trouble. When the production first opened in 2000, it was met with mediocre reviews and little success. Despite this, it has become one of the most produced productions by school and community theatre programs.

Vela presented himself as a reserved but loving elephant. His vocal performance was strong in each song he sang, including “Alone In The Universe, ” a duet with Davis. His relationships with other characters on stage were genuine and convincing. When interacting with Davis, he was emotional and sincere in his concern for Jojo and the town of Whoville. Davis, in turn, captured the childlike essence of her character wonderfully and maintained this energy and innocence throughout the show.

Hunter Quinn, in the role of Cat in the Hat, was true to the zesty nature of the beloved character. Quinn’s facial expressions were vibrant and his movements exaggerated as he interacted with both the cast and audience. His versatility in his presentation was both comical and impressive.

Equally as impressive was Nicole Sugarman (Gertrude), a bird with a one feathered tail desperate for Horton’s attention and affection. Sugarman’s attention to detail set her apart from everyone on stage. Her physicality expressed the nervous energy she carried with her whenever with Horton. From her animated facial expressions to her intense gaze, she showed a true understanding of her character.

The cast as a whole maintained consistent energy throughout the production, embodying the inner child that “Seussical” teaches us we all have. Though at times it was hard to find the focus of the scene on stage, everyone moved with purpose and grace. Though some vocalists lacked diction, harmonies were executed beautifully, especially by the omnipresent Bird Girls.

Transitions between scenes and of individuals on and off stage were smooth and well-timed as they effectively used the most of their set and stage space. Despite the occasional microphone being too loud for a performer’s strong vocal performance, the incorporation of sound elements was properly timed and implemented. Though some actors could have done with more detailed shading, the transitions of various hair and makeup looks were done efficiently and effectively. The incorporation of intricate handmade hairpieces was especially impressive.

Full of colorful creatures and loyal youthful spirit, JP Taravella’s production of “Seussical” teaches us you are not “alone in the universe” and “anything’s possible.”

Review of "Suessical" by Rylee Berger

The Cat in the Hat and a Sour Kangaroo, Yertle the Turtle and Solla Sollew. A kind-hearted elephant who’s really quite brave, and the small, tiny world he’s trying to save. At J.P. Taravella the stage is thus set for a production of “Seussical” you will not forget.

Written by Stephen Flaherty and Lynn Ahrens, with credit to Eric Idle for co-conceiving, the musical was deemed a critical failure after a short Broadway run in 2000. Despite this, the past twenty years have brought “Seussical”” success in high school, community, and regional theatres. Weaving together Dr. Seuss’ tales, the musical begins when a “thinker” called Jojo (Candice Davis) dreams up the Cat in the Hat (Hunter Quinn.) The Cat whisks Jojo through a story concerning some of Seuss’ most beloved characters as they discover the power of imagination and friendship.

Hunter Quinn’s powerful stage presence and confidence radiated through his portrayal of the Cat in the Hat. His energy never faltered throughout the demanding role. Tasked with presenting multiple characters as well as narrating the story for both the audience and Jojo, Quinn easily rose to the challenge. His physicality and vocalization brought the iconic cat to life, providing a caricature-like performance that was distinctively reminiscent of the hilarity and absurdity of all things Seuss. Quinn’s depiction of the Cat in the Hat worked nicely with that of Candice Davis as Jojo. Davis provided clear commitment to her role and was successful in displaying the arc of her character.

Further enhancing the quality of the show, Nicolas Vela’s Horton was solemn and sincere. His vocal performance was particularly notable. Vela was able to provide exceptional command of numbers like “Alone in the Universe” and “Solla Sollew” whilst never sacrificing his characterization. Equally as engaging, Nicole Sugarman’s natural talent shone in her role as Gertrude. Taking the imaginative themes to heart, Sugarman’s childlike physicality and evident understanding of her character were unmatched. Her spectacular vocalization and ability to entertain were highly compelling; the number “All for You” highlighted these skills exceptionally well.

The ensemble, particularly vital to the performance of this musical, maintained high energy throughout the production. Though some members of the cast lacked strong characterization and commitment, harmonies were executed cleanly and powerfully. The Bird Girls stood out for their crisp and unified choreography. The use of space by the actors was particularly creative, routinely utilizing both the pit orchestra and the set in unique ways.

The technical elements of the production were effective. While setting “Seussical” on a children’s playground was unique and gave youthful energy to the production, it at times led to a disconnect between the design elements. The calling of the cues and the use of lighting aided in swift transitions between scenes.

J.P. Taravella’s pleasantly playful and light-hearted “Seussical” appeals to children of every age, with delightful characters gracing the stage. The musical reminds us of how lucky we are and that truly great friends are never so far.

Review of "Rock of Ages" by Rachel Goldberg

Flashing lights, deafening music, and huge hairstyles are all characteristic of “The Reagan Era” But beneath the “Sex, Drugs, and Rock-n-Roll” you’ll find deep-rooted passion, love, and some really great music. These three qualities not only signified the 80’s but they were also embodied in Cypress Bay’s wild production of “Rock of Ages.”

Built around classic rock songs from the 1980s, “Rock of Ages” was written by Chris D’Arienzo and features songs from artists such as Bon Jovi, Twisted Sister, Journey, and more. The show premiered on Broadway in 2009 and is known for its open interaction with the audience (also known as breaking the fourth wall). The musical tells the story of Drew, a busboy with dreams of rock-n-roll stardom, and Sherrie, a small-town girl trying to make it big as an actress. The two struggle to pursue their dreams against the odds while the Sunset Strip is threatened by demolishment and the dreams of a German real-estate developer. In the end, they all realize the importance of pursuing their dreams, even if those dreams change along the way.

A nice, warm, melt-your-face-off greeting from narrator Lonny (Alejandro Rodriguez) opened the show on a high note. Rodriguez commanded focus and also laughter; his formidable vocals, high energy performance, and comedic timing allowed for a fantastic performance. With a shy personality but a rocker’s voice, Drew was portrayed by Daniel Parilli. Parilli’s stunning vocals and awkward characterization made for a phenomenal performance, most notably when with love interest Sherrie (Kathleen Valent). Valant’s smooth and sweet vocals allowed her to convey her character’s emotions while in song. Together, Valent and Parilli’s chemistry only grew throughout the performance.

Roy De Oliveira was a brilliant Franz. He showed a clear commitment to the young boy caught between his mother’s “clean living” and his newfound love for a protestor of her cause. De Oliveira had endless energy and impeccable comedic timing. His abilities in dance stole the show and throughout his standout performance, he managed to keep a consistent accent and characterization. By his side with a sign in her hand, protestor Regina was played by Natalie Medina. Medina’s beautiful voice and clear character added heart and authenticity to the performance.

Overall, the cast showcased beautiful harmonies as well as mastering the high’s and low’s of the 80’s music. The ensemble did a great job in creating their own characters, most notable were Amelia Coventry as Ambrosia and Ashley Valent as Sapphire. Despite simple choreography, the dancers were consistent in their execution and all shared chemistry onstage.

The technical elements of this production showed great attention to detail; specifically, lighting and costumes. Although makeup and hair did not always match the time period, the lighting crew had a clear understanding of the show and its music, for example, dimming the lights when actors whispered to create a hushed environment.

“The Search is Over”; Cypress Bay High School’s production of “Rock of Ages” represents the dreams of each and every individual, teaching us to rock out, “Feel the Noise,” and never stop believing!

Review of "Rock of Ages" by Reese Abrahamoff

Ladies and gentlemen, welcome to Cypress Bay High School’s “Rock of Ages.” You are invited to an evening of hardcore dancing, heavy metal numbers, and the glamour of the 1980s. Remember, silence all electronic devices and please refrain from exiting the theater once the show has begun ….”oh, and prepare to have your face melted!”

Written by Chris D’Arienzo, the show began rocking Broadway in 2009. Closing six years later, this jukebox musical acquired the title of one of the longest-running productions in history, obtaining five Tony Award nominations, including Best Musical. And now…we begin. The lights? Dimmed. The crowd? Enthralled. As the curtain comes up, the stage is set for the story of Drew Boley, an underappreciated busboy with rockstar dreams. Enter small-town girl Sherrie Christian. Seeking fame and stardom, she finds herself on the streets of sunny Los Angeles in desperate need of work. When the two strangers meet, we are taken through a journey of love and regret bringing us back to a time where rock music was just as big as the freshly teased and heavily sprayed hair of the 80s.

Daniel Parilli starred as the mistreated and bashful Drew Boley. Parilli’s versatile voice was quite remarkable. His polished sound and extensive range added depth to his character’s true desires, which was impressive given the score’s difficulty. Kathleen Valent played Sherrie Christian, the aspiring, yet failing, actress. Both Parilli and Valent excelled in portraying an awkward, yet adorable, relationship. The pair remained consistent and engaging, letting their inevitable transition from friends to lovers to be both heartwarming and enjoyable. Narrating the show was Alejandro Rodriguez (Lonny). With non-stop energy and bold character choices, Rodriguez always livened the stage, inducing bursts of laughter from the audience.

With strong belts and clear motives, Natalie Medina certainly got her point across as the vibrant, protesting hippie, Regina. The commitment to her character was evident, performing with both certainty and vigor. Roy De Oliveira was entertaining in his role of Franz, son of the overbearing businesswoman, Hilda (Christine Marine). Maintaining a crisp German accent along with displaying noticeable dance training, De Oliveira captured the hearts of the audience, especially in his show-stopping number, “Hit Me With Your Best Shot.”

Displaying powerful vocals and distinct characterization, the ensemble showed strong commitment to their roles. Despite a lack of facial expressions and synchronized choreography, the ensemble’s placement, combined with the surround sound effect of their voices, added an intricate layer to the production. The show’s technical elements were nicely executed. The lighting enhanced the mood of each scene and the hair and makeup team proved great attention to detail with their classic styles and colorful looks, adding a degree of believability to the production.

“Dude, are we already at the end? Yeah, jazz hands!” As the actors leave the stage and the applause dwindles down, the idea of hope still lingers through the crowd. Cypress Bay High School’s “Rock of Ages” leaves the audience with one thought: just because the dreams you start with aren’t always the dreams you end with, it doesn’t mean they don’t still rock!

Review of "In the Heights" by Alexandra Sansone

From the black beans and rice to the Cafe con Leche, “promise me you’ll stay” in Washington Heights for Palm Beach Central High School’s production of “In the Heights.”

The Tony award-winning musical “In the Heights” was created by the renowned Lin-Manuel Miranda, known best for his work on “Hamilton. ” Though the show opened on Broadway in 2008, the work of writing the musical started when Miranda was in college 9 years prior. “In the Heights,” tells the story of the people in Washington Heights, New York, over a three day period as they struggle to keep up with the seemingly endless problems life throws their way. With rhythmic music, passionate romances, and big dreams, “In the Heights” is sure to grab everyone’s “Atención.”

Emiliano Andrade in the role of Usnavi De La Vega took to the stage with his smooth movements and high energy performance; this was maintained throughout the entirety of the show. His relationships with everyone on stage were authentic and believable, something that held true for the entirety of his performance. When interacting with Ronisha Renous, who portrayed Abuela Claudia, he was sincere in his distress about her health. Renous returned this concern, not only to Andrade, but to the entire cast as she embodied her character well; a loving grandmother to anyone who should need one.

In Paloma Gomez’s depiction of Nina Rosario, a girl trying to find her way in a world she is certain she can’t figure out, Gomez captured these conflicting emotions well. At various points on stage, Gomez conveyed the confusion, frustration, and pain she clearly felt, whether through a casual conversation or an intense musical number. Lending support to Gomez’s development was Naomi Ruiz as she brought her character, Daniela, to life on stage. Ruiz embodied her character by establishing the maturity of her character possesses and wielded her lines with sass that made their execution all better. Her powerful vocalization was evident in numbers like “Carnaval del Barrio” and “No Me Diga. ”

Though at times the energy given by the cast was inconsistent, the cast as a whole maintained commitment to their characters even when not the focus of the scene. The dancing was strong as everyone moved together to have fun with what they were performing. Despite some vocalists lacking diction, in songs like “Carnaval del Barrio” and “Alabanza, ” the soft harmonies blended together and made for a touching performance.

Movements on and off stage went smoothly and happened quickly. The piecing together of the set was true to the rustic neighborhood the production is paying homage to. The student painted murals were a nice touch that helped bring context to the actors’ locations throughout the show.

As the final bows were taken it was clear that the “Late nights with beans and rice” and the “syrups and shaved ice” is just one part of the community that Palm Beach Central High School’s production of “In the Heights” has created.

Review of "Pangea" by Rachel Goldberg

In times of trouble, people stick to what they know. They isolate, blame, and cower from reality. Piper High School’s production of “Pangea” is a wake-up call that unity is strength and division will only bring destruction.

Written by Lamar Hanna, “Pangea” is an original musical never before performed on stage. In a dystopian world, traveler Murry (Malik Williams) is concerned for his war-ravaged home. Societies have split, Pangea is in fragments. In each society, they uphold their own standards and norms. Murry hopes that by showing #3 (Connor Porter) that there are other people out there, all with different versions of “Normal”, their world may be saved. On his journey, #3 documents the people he meets, and he begins to realize that breaking the norm just might bring everyone back together.

As Murry, Williams had bright energy as he advised #3 while also narrating the story. His character remained consistent as the story progressed, and he used an engaging tone. Porter’s physicality was a great non-vocal nod to his character’s background. Coming from the Grau nation, Porter was excellent in his stiffness and awkward interactions with other characters.

After traveling for a time, #3 and Murry come across Giallo, a world full of sunshine led by their Princess, Daffodil (Daneeva Newland) and her father. Newland’s energy and acting choices added to her already notable performance. Newland’s vocals were out of this world. Her beautiful tone and impressive range were showcased in her song “I Don’t Need Someone Like You.” Newland’s stage presence was partnered by the suave Midnight (Jordan Parsons). Parsons’ portrayal of the chill, man-of jazz from Azul included a smooth voice and pronounced character development. His relationship with Princess Daffodil was another commendable addition to the performance.

As Princess Daffodil and Midnight rekindle their love, something starts to change. Both actors suddenly reveal green on their distinctively one-colored costumes. The combination of yellow and blue begins to spark hope for the future of Pangea. The cast altogether created well-balanced stage pictures, despite sometimes seeming a little confused. Although the ensemble lacked energy and facial expressions, they always left the stage in character. One standout performance was that of Soundtrack 1 (Micaela Predestin). Accompanying Midnight on the violin, Predestin showed not only talent but also great comedic timing. Her reactions through music conveyed her understanding of the plot without ever needing to speak.

The technical elements fit the musical well. Although set changes were extremely prolonged, each set clearly depicted the world in which each society lived. Costumes showcased personality and despite considerable mic issues, the music did not overpower the actors.

In the end, being normal is overrated. Unity is strength, and to have unity, people must accept others for who they are. This message, conveyed in Piper High School’s “Pangea,” emphasizes abnormality in the best way, as well as the sunshine in each and every one of us.

Review of "Oklahoma!" by Gabriela Phillips

Delve into a world of romantic tension and experience the lengths to which people will go for the person that they love in American Heritage High School’s production of “Oklahoma!”

With music by Richard Rodgers and book and lyrics by Oscar Hammerstein, “Oklahoma!” changed the nature of Broadway forever. Incorporating both a dancing and singing ensemble into the show revolutionized musicals. Based on Lynn Riggs Green Grow the Lilacs, the show has 4 Broadway revivals and won the Tony Award for Best Musical Revival in 2019. Telling the story of Laurey and her love interest Curly, “Oklahoma!” follows the relationships of various couples and explores the themes of love.

Playing the innocent farm girl Laurey, Ella Noriega’s dedication to the role was notable. Her attention to detail and mannerisms when talking to characters such as Curly exemplify her well-rounded acting abilities and realism when it came to the role. Showcasing her beautiful voice in songs such as “Many a New Day,” Noriega’s accent never faltered throughout the entirety of the show. She remained consistent in her choices, and formed a genuine relationship with her love interest Curly (Dylan Tuccitto). The two complemented each other, and their chemistry was seen in their number “People Will Say We’re in Love” and the reprise. Playing the outcast Jud Fry, Roie Dahan’s commitment was clear, and his investment in winning over Laurey was always evident.

With a bubbly and romantic demeanor, Ado Annie (Adelina Marinello) is always seeking love and hopes to please those around her. With beaming energy, Marinello let her character’s flirtatious personality shine through in her number “I Cain’t Say No!” During the show Ado Annie has her sights set on two men, Will Parker (Michael Guarasci) and Ali Hakim (Julian Villegas), both of which she hopes to marry in the future. Marinello and Guarasci’s relationship was very naturalistic, and the two wonderfully portrayed the chemistry of their budding romance, their voices complimented each other as seen in the song “All Er’ Nuthin.”

The ensemble remained devoted to their roles within the show. Their harmonies blended beautifully, best showcased in their finale “Oklahoma.” The corps de ballet should be commended for maintaining consistent energy throughout the dances, and mirroring the tension of what was going on in the real world. The boys in the song “Kansas City” also did an excellent job of keeping strong facial expressions and techniques throughout the number.

Technically, the show did an excellent job of immersing the audience into the world of “Oklahoma!” The set (Nikolas Serrano) was very well executed and was utilized wonderfully on the stage. Stage management (Rachel Taylor) should be commended for the efficient scene changes and transitions, as well as the punctual cues. The orchestra did an incredible job in the pit, always ensuring that they were never overpowering the actors.

With radiating energy and genuine relationships, American Heritage High School’s Production of “Oklahoma!” truly showcased the charming nature of the production.

Review of "You're a Good Man Charlie Brown" by Rylee Berger

Like the four-panel comic strips that popularized the beloved Peanuts, St. Thomas Aquinas’ wonderful production of “You’re a Good Man, Charlie Brown” is heartwarming, hilarious, and brimming with happiness.

Initially conceived as a concept album, the musical comedy premiered in 1967 before opening on Broadway in 1971. With its book, music, and lyrics by Clark Gesner, the show finds its source material in Charles M. Schulz’s popular comic strip “The Peanuts.” Its well-known characters and their distinctive personalities feel as if they’ve been peeled directly from the page, benefiting the vignette-style production. At the musical’s outset, we are introduced to flawed favorite Charlie Brown who is fretting about how he can become a better person. As various scenes depicting daily happenings in the world of the Peanuts are performed, Charlie Brown is perfectly positioned to learn how he can make his bad days just a little bit brighter.

As the titular worrywart, Vicente Tome was able to distinguish his character’s insecure nature through his reserved physicality. Tome’s natural interactions with his onstage counterparts conveyed Charlie Brown’s bleak outlook and comparatively mature personality. As the crabby bully with a tough exterior, Liana Genao’s conviction as Lucy Van Pelt made for a particularly memorable performance. Her childlike physicality translated well on the stage and her comedic timing proved highly effective. Her scenes with little brother Linus (Sam Infantino) showed a strong connection and their mutually well-developed characters.

Another standout performance was that of Sophia Janssens as Sally. Janssens admirably transformed her strong character voice into her equally-as-powerful singing, specifically in the number “My New Philosophy.” Her impressive vocal range and understanding of her character were obvious. Most enjoyable was Janssens’ physical embodiment of the young character, particularly notable for its mannerisms suggestive of unrestricted emotions. These choices carried into all aspects of her performance, creating a highly believable and unique presentation of the role.

For a show relying on the successful portrayal of numerous characters, the students at St. Thomas certainly rose to the challenge. The core cast of six had strong chemistry with each other and built genuine relationships. What the musical lacked in plot, the actors certainly made up for in character, providing entertaining performances with distinct physicalities. While the vocal performances were uneven and the choreography often lacked synchronicity, the entire cast’s commitment to the childlike spirit of the musical was admirable.

The use of the ensemble to aid transitions between the fast-moving scenes worked exceptionally well; any errors were overcome by both actors and technicians. The lighting helped direct focus and the sound successfully amplified vocalizations with few errors. The adherence of costumes and props to their inventive concept was praiseworthy, and the cartoon likeness of the hair and makeup design was well-executed.

At the end of St. Thomas Aquinas’ supremely satisfying production, both Charlie Brown and the audience realize that happiness should never be perfect, that it instead lies in the small moments that make it easier to wake up the next morning, watch the sunrise, and revel in its beauty.

Review of "You're a Good Man Charlie Brown" by Rachel Goldberg

Dear pen pal, the sun rose on a beautiful day today, and Saint Thomas Aquinas’ “You’re a Good Man Charlie Brown” was better than suppertime! We learned that snow comes up, Peter Rabbit is like Robinhood and happiness is an ageless wonder that touches the hearts of all who spread love.

“You’re a Good Man Charlie Brown” is a musical with music and lyrics by Clark Gesner and direct excerpts from the “Peanuts” comic strips written by Charles M. Schulz. The series of small, slice-of-life scenes allow for serious yet comical interactions as well as catchy musical numbers. The show started at first base with its original off-Broadway production, and then hit a home run with the 1999 Broadway revival, which won two Tony Awards for Best Featured Actor and Actress! The story follows the journey of Charlie Brown, an insecure and optimistic young boy searching to discover himself. A day in the life of Charlie Brown and his Peanut gallery teaches that “happiness is anyone or anything at all that’s loved by you.”

With genuine devotion and awkward innocence, Baseball Team Manager and big brother Charlie Brown was embodied by Vicente Tome. With not a single Valentine, Tome showcased Charlie Brown’s sadness, but also demonstrated his optimism in his efforts to understand why everyone calls him a “Good Man.” Tome’s physicality set him apart from the rest of the cast, his awkward movements, and inward characterization added authenticity to his performance. By his side with advice for five cents, Lucy, was played by Liana Genao. With a 51 on the crabbiness scale and about to own a queendom, Genao kept a consistent character voice while speaking and had great comedic timing. Her relationship with her baby brother Linus was standout for its sincerity.

As the philosophical little genius, Sam Infantino’s Linus was full of child-like wonder. Infantino showed a clear commitment to his character, not only in his acting but also by maintaining a consistent lisp while still being understood. With a new philosophy by the minute, Sophia Janssens’ Sally Brown was characterized by dedication and outstanding vocal ability. Janssens maintained her character’s voice throughout the show, and her transitions from speaking to singing were expertly smooth, most memorably in her song “My New Philosophy.” Also providing remarkable vocals was Schroeder, played by Michael Ryder.

The cast altogether did a wonderful job creating the caricatures that were seen on stage. Despite occasionally falling flat, the ensemble succeeded vocally and had fantastic diction. The Woodstock ensemble added humor and well-executed choreography to the performance. One exceptional performer was Skyler Hall as Linus’ Blanket. The technical elements of the show added depth and detail to the already delightful performance. Detailed costume and hair elements brought each character to life. Props and Makeup should be commended for their success in making the characters and the stage cartoon-like. The stage management team was noteworthy for their smooth and speedy transitions, and lighting was also used to great effect, helping to focus the audience on the important scene at-hand.

So, pen pal, today was a great day. Saint Thomas Aquinas’ production of “You’re a Good Man Charlie Brown” was a beautiful story of happiness, love, and friendship.

Published Reviews by CCHS Critics 2020-2021

Review of "Ranked" by Ashley Reep

In a society where your worth and entire future are defined by a number, Monarch High School’s production of, “Ranked: A New Musical” takes a sensational ride as it explores the lives of high school teens who all want nothing more than to be at the top of the leaderboard.

With music and lyrics by David Taylor Gomes and book by Kyle Holmes, the two writers were able to create a remarkable story compacted with moments of doubt, anxiety, and sincerity. The story follows Lily Larsen, who, just like everyone else, is constantly driven to compete for the highest rank. When a catastrophe occurs and ranks suddenly vanish, Lily and the rest of her peers around her start to question if there really is more to life than a number.

In the role of Lily Larsen, Mariana Montoya portrayed her character exceptionally well throughout the entirety of the show. With bold stage presence and realistic emotions, Montoya was able to fully personify the distressed and over-critical teen who is terrified to fall below the average in fear of never having a profitable future. In her solo, “Peace of Mind” she was able to convey these thoughts and distinctively emphasize what rankings mean to her. In addition to her astonishing voice, Montoya also delivered realistic and distinctive facial expressions alongside her compassionate but also tenacious sister, Alexis Larsen played by Sara Bernasconi. Together, the duo was able to exhibit an affectionate and well-rounded relationship that connected endearingly with the audience.

Embodying the star villain of the show, Sydney Summers was personified by actress Mia Prokop. From the beginning of the musical, Prokop’s physicality and vocal inflection served to illustrate her elite demeanor and she impressively executed a phenomenal performance. This was outlined prominently in the song, “Eyes on the Prize” where she and her two sidekicks, Carly played by Carlie Nussbaum and Francis played Pooja Singh vocalize about how being above the average, or at the top ranks, is the only way to be successful in life. Overall, the fierce trio radiated a captivating presence which proved to showcase enticing characters and brought power, strength, and superiority to the show.

Alongside the cast, the ensemble supported the production with engaging personalities and consistent levels of energy. Despite minor flaws in cohesiveness with the choreography, the ensemble was still successful in staying committed to character and enticing the musical with their unique identities.

One stand out element regarding tech was the use of virtual backgrounds. The seamlessly connected virtual displays added a more prevalent effect to the show by establishing the location of each scene and song. Not only did these aspects aid the musical in looking more polished and clean, but it also solidified distinct moments apart from others, rewarding the audience with a delightful experience.

Monarch High School’s rendition of, “Ranked: A New Musical” was none other than sincere and truthful as it highlighted the importance of never letting a number define your value or worth.

Review of "Antigone Now" by Ashley Reep

Will an act of persistence to save what has been lost be seen as a treacherous crime or justice to honor the kingdom? North Broward Preparatory School’s adaptation of “Antigone Now,” showcases the tragic consequences the war leaves on the city and ultimately touches audience members with its compelling story of morality.

Originally penned by Sophocles around the age of 441 BC, “Antigone” is an ancient tale that explores themes of fidelity and civil disobedience. The play follows a young girl, Antigone, whose raging heart is determined to bury her brother Polyneices, who died in the battle against his foe Eteocles for the throne. Antigone impulsively pursues this route of danger, even though it’s strictly against the law and the people around her warn her it’s not worth sacrificing her life over. Today’s modern rendition of “Antigone Now” written by Melissa Cooper, masterfully reflects this same tragedy by implementing present-day aspects and contemporary motifs.

Leading the production was freshman Julia Romero (Antigone) who delivered an impressive representation of her character. Illustrating her fiery persona, Romero was committed to expressing her ideals for what she thought was right and took no hesitation in validating her stance. Alongside Romero was Skylar Minett (Ismene) who portrayed the warm-hearted and endearing sister. Minett brilliantly intensified the show through her detailed facial expressions and expressive body language. Together, the duo had remarkable chemistry and encapsulated a versatile relationship filled with moments of sincerity and conflicted emotion.

As the menacing ruler of the Kingdom, Aunt Creon (Sophia Mobley) wowed the audience by displaying a powerful leader who stopped at nothing to justify the legal principles of the law. Remarkably adept in solidifying her command over the city but also emoting her internal thoughts, she skillfully demonstrated a dynamic character arc throughout the entirety of the show. Mobley brought authority, dominance, and passive-aggressive undertones to the production and undoubtedly delivered a breathtaking performance.

The Chorus (Kayla DuMornay, Evan Hirschensohn, and Chantal Mann) added a unique touch to the play by effectively highlighting prominent moments of suspense. With their alluring auras and intriguing attributes, this charismatic trio succeeded greatly in developing the plot of the story. Overall, the group was a wonderful addition to this production as they brought realistic reactions and dedicated commitment to each scene they were a part of.

The technical elements of the show must be commended as they were masterfully executed. From the smooth editing transitions to the static movie-like effects, the visualizations enhanced this production to a level beyond that of superior. Furthermore, the use of tone lighting was another stellar addition to the show as it made each character more distinct and prominently outlined.

North Broward Preparatory School’s production of “Antigone Now” was an outstanding reconstruction of the former legend written by Sophocles. It leaves audience members with a story full of morals, principles, and justification for what is right.

Review of "Almost, Maine" by Rachel Golberg

An Aurora Borealis shimmers on a stunning evening as Pete sends his lover, Ginette, on a long journey around the globe. Her goal? To complete a full circle and finally absolve the distance between them. Archbishop Edward McCarthy High School’s production of “Almost, Maine” explores this story and many others, each with a compelling couple at its center.

“Almost, Maine” is a play written by John Cariani and consists of nine heartwarming vignettes, each scene presenting a unique idiom of love. The series of small, slice-of-life scenes allow for actors to take on multiple characters and for many clever idioms to be explored. Love for this show began at its premiere in 2004 in Portland, Maine, and only spread as it ran off-Broadway in 2006 and was featured in New Playwrights: Best Plays of 2006. A day in the life of this almost-town teaches that love is a multi-faceted force that cannot be given one single definition

With genuine devotion and a larger-than-life stage presence, Erica Gouldthorpe exhibited impeccable range in her portrayals of Sandrine, Gayle, and Rhonda. Gouldthorpe showcased the awkwardness of running into an ex-partner, the winy and upset Gayle asking for her love back, and the tom-boy and pro skier Rhonda. Bianca Weston also mastered the art of differentiation as Glory, who held her literal broken heart in her hands, and as Hope, who revealed the consequences of waiting too long to say “I love you.” Both actresses created sincere relationships with their scene partners and were entirely committed throughout the show. Their natural presence on stage allowed for a very realistic performance.

Christopher Muston was skating on thin ice in his scene with Brooke Bowser, playing Phil and Marci respectively. As Marci waits for the other shoe to drop and for Phil to finally express his feelings, her shoe literally falls from the sky after he does. Muston and Bowser spectacularly executed these mature, adult characters, and their argument consisted of strong acting choices and wonderful range.

The ensemble of “Almost, Maine” had a thorough understanding of their characters and each couple displayed stellar chemistry despite being tasked with portraying multiple characters. Although there were a few emotional beats missing in act two, the heartfelt authenticity and genuine emotion from the cast was the perfect amount of warmth on this cold winter night.

The technical elements of the show added depth and detail to the already delightful performance. The use of green screens and virtual backgrounds transformed the stage into the not-quite town of Almost, Maine. The sound crew should be commended for their critical understanding of ambiance, as seen in their use of the sounds of a filled bar and footsteps in the snow. Another notable element that transformed this performance from separate scenes into a seamless and united play was the use of music between scenes.

Just before the night is over, Ginette completes her journey around the world, just as Archbishop Edward McCarthy High School’s production of “Almost, Maine” journeyed through the intricacies, beautiful exchanges, and timeless power of love.

Review of "12 Incompetent Jurors" by Rachel Goldberg

A cat-burglary sends a zoom room of jurors into disarray. The accused seems guilty at first, but one wannabe lawyer is determined to convince the others of the culprit’s innocence. David Posnack Jewish Day School’s production of “12 Incompetent Jurors” tells the hilarious tale of 12 jurors, 6 cats, 3 pieces of evidence, and 1 man determined to change the verdict.

“12 Incompetent Jurors” is a comedic spoof of the 1964 “12 Angry Men.” Written by Ian McWethy, this play puts a lighter spin on its predecessor, and the “at home” version was a genius accommodation due to the current pandemic. Published in 2016, this show has brought laughs across the United States beyond a reasonable doubt, and each juror brings a unique, chaotic, and hilarious addition to the screen.

As the wannabe lawyer with a tendency to annoy his peers, Jason Drucker showed amazing devotion and impressive stage-presence in his portrayal of Juror 8. Drucker’s energy was infectious and his line delivery was not only effective but believable. The character of Juror 8 was a perfect contrast with Juror 3 played by Abigail Steiner. Juror 3 is the only sane juror in the courtroom, and she desperately tries to maintain logic and reason. Steiner was the perfect complement to Drucker, and the two juxtaposing jurors showcased strong character work and chaotic cohesiveness.

Max Bernstein and Deborah Cusnir must be commended for their work as Jurors 5 and 6 respectively. Bernstein and Cusnir were adept at understanding their relationship as a married couple in the show. Their chemistry and familiarity with each other, as well as their argumentative tension, was a fantastic addition to the performance. Most noteworthy were the couple’s moments shared while not speaking; their expression and character choices allowed for some incredibly cute muted moments on screen.

The cast of “12 Incompetent Jurors” had a thorough understanding of their characters and each juror was perfectly articulate despite the variety of difficult accents seen throughout the courtroom. The performance had stellar pacing, and the ensemble displayed wonderful energy, commitment, and was standout for their stage business as well as reactions when not speaking.

The technical aspects of the production were simple, yet effective, and they were an appropriate enhancer to the already captivating performance. The old-age makeup and attention to detail on every costume added a sense of realism to the production. The age and personality of the characters were easily differentiated by their appearance.

So did he do it? Is the cat-burglar a guilty or innocent man? While he walks free with a ruling of “not guilty” the cast and crew of David Posnack Jewish Day School’s production of “12 Incompetent Jurors” are certainly guilty of a phenomenal performance filled with authenticity and humor.

Review of "Anything Goes" by Sarah Abisror

Audience members “got a kick out of” Cardinal Gibbons High School’s fantastic production of “Anything Goes!” This comedic tale of romance taught us that even if the love of your life is standing at the altar next to someone else, love will always find a way.

“Anything Goes” premiered on Broadway in 1934. Its original book is by Guy Bolton, P. G. Wodehouse, Howard Lindsay, and Russel Crouse and its music and lyrics are written by Cole Porter. The original run inspired several revivals, both on and Off-Broadway. Its plot follows the story of the passengers aboard the SS American and what happens when they fall in forbidden love. From the moment they met, Billy Crocker had his eyes on Hope Harcourt. He sneaks on the ship she boards, only to find she is engaged to Lord Evelyn Oakleigh. Billy must enlist his friend Reno Sweeny and new partner of sorts, Moonface Martin, to help him win over Hope.

Through her commendable characterization and powerhouse vocals, Beatriz Arevalo (Reno Sweeny) absolutely stole the show. She demonstrated her triple-threat abilities during numbers like “Blow Gabriel Blow.” She impressively pulled off physically demanding choreography and held-out high belts while staying in character the entire time. Alongside Arevalo as her charismatic friend, Cameron Relicke (Billy Crocker) delivered an amazing performance. Relicke had great chemistry with everyone on stage, which is a testament to his acting ability. Every word he uttered was believable and authentic, displaying a deep understanding of his character.

Claire Bedley (Hope Harcourt) gave a graceful performance as the bride-to-be. She had a lovely singing voice complete with articulation and diction during her songs. She had undeniable chemistry with Relicke, adding to the stakes of their seemingly doomed relationship. As the goofy gangster, Anthony Avello (Moonface Martin) showed off his excellent comedic timing. Both actors had great physicality, a trait that was definitely missed over the last year of virtual theater.

The ensemble was made up of stupendous singing sailors! Amazing vocals were showcased throughout, and all the harmonies sung by the ensemble were exemplary. Everyone blended beautifully and sung each note confidently. Despite occasional dips in energy, the ensemble gave an incredible performance complete with stellar vocal prowess.

The technical elements of this show were executed wonderfully! The costume and makeup teams, led by Madi Elias and Lilly Krause, perfectly represented the time period. Each character’s look was cohesive and individualized. It was very refreshing to see technical elements done live again! All of the tech in this production elevated the performance and was incredibly successful.

It was “Easy to Love” Cardinal Gibbons High School’s production of “Anything Goes!” Audiences were transported onto the SS American during this marvelous performance. Congratulations to the cast and crew on a job well done!

Review of "Anti-Social" by Savannah Schwantes

According to a 2020 study, the average internet user spends over 2 hours and 25 minutes on social media each day. With that amounting to over 16 hours each week, it is clear that social media has a powerful grip on our lives. Marjory Stoneman Douglas’s production of “Anti-Social” epitomizes this through a series of seven short plays, making for a performance that would surely go viral.

Published in 2019, “Anti-Social” by Don Zolidis expresses the varying aspects of social media across a multitude of platforms. The situations confronted throughout the show encourage audiences to consider how something so common in our lives has shaped society. From parents concerned about their daughters Instagramming abilities to the delusional and desperate last remaining MySpace user, “Anti-Social” comically exhibits that while these sites may be constantly at our fingertips, they can make a significant impression on us.

Dually embodying the exuberant boss in “Viral/Rival,” and the compassionate, yet irritated husband in “Pinterest is Totally Not Making You Ashamed of Your Life,”was David Prengler. Prengler employed a wide range of expressions and never deviated from providing impeccable reactions in both scenes. Deserving commendation is Prengler’s flawless chemistry with Caroline Eaton as his wife, Kylie. Throughout their scene, the pair jointly bounced off each other to make for an engaging performance.

Logan LaPierre’s portrayal of the nerdy and anxious Jamison must receive recognition as well. LaPierre’s exemplary comedic timing proved his dedication to the role and delivered several humorous moments. Also presenting impressive character commitment was Jacob Harris as both Austin and Tom. Harris distinguished between the different characters that he played and thoroughly developed each of them.

The cast of “Anti-Social” admirably remained in character throughout the duration of the show, Despite there being occasional fluctuations in the energy levels, the actors’ efforts were evident. Oftentimes it can be difficult to capture audiences through a virtual platform, yet the ensemble did a fantastic job of doing so.

The technical elements of the show heightened the performance and made for a cohesive experience. Since the introduction of virtual theater, it has been common to see actor’s faces become indistinct or entirely washed out. Nevertheless, the makeup and lighting crew ensured that the cast’s faces could be clearly seen, although the makeup designs were quite simple. As the “content creators” of the show, the diligence of the assistant directors was apparent and tied the show together.

Marjory Stoneman Douglas’s production of “Anti-Social,” truly is worthy of “verification.” The show left audiences laughing, all the while criticizing modern society’s captivation by social media.

Review of "I Love You, You're Perfect, Now Change" by Rachel Goldberg

Sweaty palms and butterflies in your stomach are simply the symptoms of first date jitters. Some people go see a movie, others go to the beach, but Coral Glades High School’s production of “I Love You, You’re Perfect, Now Change,” is the perfect first date material.

“I Love You, You’re Perfect, Now Change” is a musical with book and lyrics by Joe DiPietro and music by Jimmy Roberts. It was the second-longest-running off-Broadway musical, premiering at Westside Theater on August 1st, 1996, and closing on July 27th, 2008. The story consists of nine heartwarming vignettes all about love and relationships. These stories appear unconnected at first, but as the scenes progress, they form a beautiful representation of time passing and the growing and changing relationships throughout the human lifespan.

Maliyah Mattis was beyond stupendous throughout the duration of the musical. Her presence and energy were impeccable and unmatched, especially in scenes such as “I’ll Call You Soon (Yeah Right)” and “Whatever happened to baby’s parents?” Heidi Greenbaum also exhibited wonderful talent in her performance. Both Mattis and Greenbaum were standout for their monologue moments, each actress displaying impressive characterization and superb energy.

Alexis Andriesse and Julyette Vargas exhibited powerhouse vocals and gorgeous harmonies in their duet “Single Man Drought” in the scene “Men Who Talk and the Women Who Pretend They’re Listening.” Vargas was quite the versatile actress, portraying a multitude of roles and doing an excellent job of differentiating between them. Andriesse and Vargas’ vocals blended extremely well and made for a stunning performance. Overall, Mattis, Greenbaum, Andriesse, and Vargas were fantastic.

The cast of “I Love You, You’re Perfect, Now Change” sung in beautiful harmony with extremely well-blended vocals despite the virtual setting. Although at times there was a lack of consistency in energy as well as accents and facial reactions, the ensemble was able to display adept comedic timing even though most of them were alone while filming. The cast should be commended for the effort put into creating the laughable lovebirds seen in the show.

The technical aspects of the musical were extremely effective, and they added so much to the production. The use of green screens allowed actors to be placed onto virtual backgrounds and seem as if they were together. Although there was a lack of consistency with the costumes, the costumes that were used fit each scene and scenario well.

As the night ends, your first date is a success! Just as Coral Glades High School’s production of “I Love You, You’re Perfect, Now Change,” was a smashing hit.

Review of "Pippin" by Savannah Schwantes

A young man is determined to find fulfillment: what lengths must he go to, what obstacles must he overcome? NSU University School’s production of “Pippin'' truly had plenty of “magic to do.” From a dancing granny to a dying duck, audience members were brought on a sensational ride as they learned that the only thing to be sure of, is that there’s nothing to be sure of!

With music and lyrics by Stephen Schwartz and book by Roger Hirson, Pippin first started his journey on Broadway in 1972. Winning dozens of awards since its premiere, the show follows the story of a young man named Pippin who longs to gain adventure and enjoyment in his life. What makes the tale more unique, however, is its show-within-a-show concept, in which Pippin and a troupe of performers are led by the Leading Player. In the end, Pippin must decide if he should settle down with Catherine, the woman he loves, or continue his pursuit with the troupe.

Embodying the namesake role was Noah Han. Han proved his dedication to the character of Pippin throughout the entirety of the show. He provided consistent energy, as well as beautiful vocals. The audience was enthralled as Han flawlessly belted “Corner of the Sky.” The vibrant, yet manipulative Leading Player was personified by Bailey Busher. Busher brought life to everything she did, executed difficult choreography with ease, and truly brought “Glory” to the stage.

With phenomenal character commitment and stellar comedic timing, Eva Daskos and Anthony Langone must also be praised for their portrayal of Fastrada and Charlemagne, respectively. As Fastrada, Daskos brilliantly shined as the overdramatic stepmother. Commanding both the kingdom and stage, Anthony Langone employed diverse physicality and a spirited character voice to expertly epitomize Charlemagne.

As a whole, the cast of “Pippin'' had lovely stage presence. There were moments when the ensemble lacked energy, yet their efforts were evident. The players were tasked with partaking in numerous dance numbers, and they magnificently brought the choreography to life.

The technical crew of “Pippin'' incorporated ingenious elements to bring the show to life. In addition to acting as the Lead Player, Bailey Busher also served as the choreographer of the show. Busher produced exemplary choreography that was catered to each cast member’s skill level. Eva Daskos’s beautifully designed costumes aided in emphasizing a distinction between the players and the characters within Pippin’s life. Daskos must be applauded once again, as they assumed the responsibility of lead costume designer, and was also an integral cast member.

While Pippin ultimately found fulfillment in his love for Catherine, the audience found fulfillment from NSU University School’s production of “Pippin.” The admirable cast members and innovative technical aspects created a show that was certainly far more than just “Extraordinary.”

Review of "Pippin" by Rachel Goldberg

Magic is in the air as Pippin is mystified by the manipulative Leading Player and her theater troupe. Their goal? To convince Pippin his life will never be truly fulfilled until he participates in the troupe’s grand finale. Pippin’s longing to find his “Corner of the Sky” was wonderfully expressed in NSU University School’s production of the musical “Pippin.”

With music and lyrics by Stephen Schwartz and book by Roger O. Hirson, “Pippin” takes real individuals from the early Middle Ages and throws them into a circus of mystery. This cynical musical shared its magic with Broadway beginning in 1972 and was revived in 2013. The story of “Pippin” is a lesson to all viewers and a reminder that everyone wants to feel a little “Extraordinary.”

Portraying Pippin, Noah Han remarkably captured the determined nature of the youthful prince. Han exhibited impressive vocals and energy throughout the production, most notably in his song “Corner of the Sky.” The cunning Leading Player was fantastically embodied by Bailey Busher. Busher brilliantly portrayed the artful charm and conniving persona of her character. Han and Busher displayed a delightful dynamic of puppet and puppeteer, creating an engaging and believable performance.

Eva Daskos embodied the eccentric and dramatic Fastrada. Daskos brought infectious energy and commendable vocals to the production. Anthony Langone commanded the stage as Charles, Pippin’s father. His character voice was an incredible addition to the role, and both Daskos and Langone’s comedic timing and consistent characterization were exemplary. Catherine, the lonely and heartbroken widow was portrayed by Haleigh Mish. Mish delivered a sincere, genuine performance and showcased elegant vocals. Moreover, Mish mastered her “show within a show” moments with Busher, contributing to the authenticity of her character.

The ensemble of “Pippin” expressed beautifully blended harmonies throughout the entire production, and although they lacked energy in act one, it was much better in act two. Two standout cast members were leading the production on and off stage. Bailey Busher portrayed the Leading Player and choreographed the entire production. The choreography fit the show magnificently and seemed to be effortlessly molded to accommodate each cast member and their abilities. Eva Daskos played Fastrada and was head of the costume crew. Each costume was entirely unique and yet the ensemble appeared cohesive due to the matching color scheme and circus-style. Other technical aspects of the production included impeccable stage management led by Liberty Lapayowker, consistent sound, and fluid, dynamic stage lighting.

At the end of the night, Pippin chooses a simple life instead of an exhilarating death. However, when a young and wide-eyed Theo takes center stage, the Leading Player can begin her journey with the next Pippin...and the next...and the next. It seems as if history is bound to repeat itself, just as NSU University School’s production of “Pippin” is bound to be truly “Extraordinary.”