Within Mount Vernon High School’s production of Aida: School Edition, several aspects of the performance stood out; namely, the performance of the titular character, played by Erin Hugee. Throughout Hugee’s performance, she not only maintained a sense of professionalism in her vocals, but was able to stand apart from an ensemble of diverse voices during large group numbers. In her performance of “Easy as Life,” Hugee held her ground as she belted powerful notes from her position at center stage; furthermore, she commanded the attention of the audience during the trio performance of “A Step Too Far” through powerful facial expression. Hugee’s portrayal of Aida within MVHS’s Aida: School Edition was not only marked by a consistent vocal performance, but formed a character complete with evident depth.

The set of MVHS’s Aida: School Edition, although simplistic in design, provided a sense of purity throughout the turmoil of the show. The dual-leveled set allowed for a differentiation in height upon the stage, as well as an added level of interest to each scene. Although set changes were nonstop throughout the show, the simple set pieces allowed for transitions marked by minimal interruption. Furthermore, the inclusion of the hieroglyphics (which accurately depicted lyrics from the score) was a minute detail which carried with it a profound effect: not only did it enhance the sense of the period, but emphasized the importance of the lyrics that each cast member sang throughout the performance. Although not the most complex, MVHS’s set for Aida: School Edition allowed for a clean acting space while retaining professionalism.

The ensemble of “Nubians” within MVHS’s performance of Aida: School Edition achieved what every ensemble strives to achieve: ambiguity. Each was able to meld into a seamless ensemble while simultaneously standing out as individual performers. Alicia Foster, specifically, was able to blend into an ensemble while dancing during numbers such as “Dance of the Robe,” while standing out in roles such as the Jail Guard during Aida’s meeting with her father. Not only did she deliver her lines with conviction and motive, but also remained in character throughout the scene, even when away from the focus of the scene. Throughout the entire ensemble’s performance during MVHS’s Aida: School Edition, a sense of unity was present while each performer was able to succeed individually.

Although simplistic in spectacle as most high school shows are, MVHS’s Aida: School Edition did not disappoint in delivery. Each member of the cast assumed a personal ownership within their performance which was largely evident, and lent to an overall entertaining show. Not only did the uncomplicated aspects allow for more of a focus upon the performance of the cast, but allowed for a reminder of the audience on the theme of the show: love is timeless, love is simple, love is blind.

by Aiden Carroll of Heritage High School

Fiddler‘s tale begins with Sholem Aleichem. Aleichem published several short stories in 1894 including one entitled “Tevye and his Daughters.” This story inspired Joseph Stein, Jerry Bock, and Sheldon Harnick to inevitably create the 3,242-performance-running, nine-time-Tony-winning, and Zero Mostel-starring musical in 1964. The musical proceeds to follow the life of Tevye as he endeavors between his ideals of Jewish tradition and the ever-changing nature of Mother Russia.

To kick off the stellar performance, Pope John Paul the Great bought out an amazing cast. Jimmy Mullen’s portrayal of Tevye contained a phenomenal amount of comic timing and pacing with an admirable approach to the complex songs. Meanwhile, Tevye’s beautiful chemistry with his wife, Golde (performed with the consistency and lovely vocals of Sabrina Morales), in “Do You Love Me?” paid exquisite tribute to their twenty-five year marriage. To complement her mother and father, Hodel’s (Felicity Morgan) equally outstanding voice wonderfully matched with revolutionist Perchik (Andrew Lane) in “Now I Have Everything.” Then, with the fabulous dancing of Motel (Michael Manley) and Chava (Megan Krakie), Pope John Paul the Great set itself far and beyond most other high schools.

Not to easily be forgotten is the energetic ensemble. Despite some overacting, by playing to their strengths, the stupendous harmonies and in-character styles (especially in the chaotic sequence of “The Dream”) of the ensemble helped stand them apart as well as stand together in the grand scheme of the musical. The spectacular stage presence of Denise Gallant’s fiddling assisted the illustration of survival through a particularly distraught era of Russian history. Meanwhile, Yente, astonishingly executed by Abigail Williams, held onto her old lady physicality with impressive comedic timing. Furthermore, the Constable’s (Ben Nash) torturous expressions between his desires to stay true to the government or care for the poor villagers painted how far deep the injustices of Tsarist Russia had gone.

The acting was only further complemented by the marvelous tech! While the orchestra was overpowering at time, this likely came from a lack of time practicing with the cast. On the other hand, the astounding attention to detail paid by the costumes shined through the black wedding dress of Golde and the magnificent beards of the Village Elders. Even more remarkable was the fantastic choreography of Christine Connor, especially noticeable in the bottle dancing at the wedding celebration. The splendid sledwork in the house set as well as the gorgeous sunsets from the lighting crew rounded out the technical aspects of the show to provide a solid foundation for the background of the story.

As traditions fade, the future supersedes the past albeit with challenges abounding. As turmoil strikes Tsarist Russia, Pope John Paul the Great Catholic High School’s fantastic Fiddler on the Roof proves, through one melodious instrument, that hope thrives in this dreary, impetuous world through change, balance, and tradition.

by Stuart Pratuch of West Springfield HS

Photo Gallery

Jimmy Mullen (Teyve)	Brian Long (Mendel), Jimmy Mullen (Teyve), Teresa Cummings (Grandma Tzeitel), Jessica Sydow (Villager), Sabrina Morales (Golde), and Jacob Curran (Rabbi)
Denise Gallant (The Fiddler)

Photos by Jen Cole

Written by Jo Swerling and Abe Burrows with music and lyrics by Frank Loesser, Guys and Dolls is an adaptation of short stories written by Damon Runyon. Set in New York, the musical chronicles the lives of gamblers, dancers, and even missionaries. The production premiered on Broadway in 1950 and won a Tony Award for Best Musical. A film adaptation starring Frank Sinatra, Marlon Brando, and Jean Simmons premiered in 1955.

Playing the shifty, albeit redeemable, Nathan Detroit, Spencer Loessberg instantly proved himself a strong male lead. His vocal abilities were very solid and his chemistry with Miss Adelaide was hilariously believable with all of their heated squabbles. Speaking of the night singer, Abby Rozmajzl played the spunky Hot Box star to perfection. Her belting abilities were incredible and every twitch of the eyebrow and squeak of the voice was done with flawless comedic timing.

With equal leading stage time and magnetic charisma, Jacob Rozmajzl played the freewheeling Sky Masterson. Trapped into a bet that he couldn’t get a missionary sister out to dinner, Sky’s goal to charm the uptight Sarah Brown quickly unraveled as he found himself falling for her. Rozmajzl’s singing abilities were on par with those of professional performers. He was always quietly engaged on stage and had a presence that could not be ignored, and to his immense credit was impeccably consistent with his old New York style accent. Sarah Brown (Caleigh Davis) had just the right amount of sweetness to her and her gentle soprano voice suited the role perfectly.

Other standouts of the night included Big Jule (Joey Arzeno) the intimidating gangster from Chicago who had excellent deadpan lines, an intimidating presence, and a memorable straddle jump over Nathan in a men’s dance number. Nicely Nicely Johnson (J.J. Cummings) was also a crowd favorite with his flustered sincerity juxtaposing his gambler’s status. His shining moment came in “Sit Down, You’re Rockin’ the Boat” where he proved himself an accomplished vocalist. The male ensemble as a whole was incredibly impressive with their commitment to lively characters and constant engagement on stage.

“Call it sad, call it funny. But it’s better than even money, that the guy’s only doing it for some doll.” Wedding bells rung and the card decks were pocketed in the end when it seemed, as it often does, that the dolls did the real work. With contagious enthusiasm and stand out vocalists, the Paul the VI Catholic High School players had lady luck (and a lot of hard work) on their side. This show is one that’ll leave you ringing like a bell and humming right along, you can bet on it.

by Emilia Brennan of Oakton High School

Photo Gallery

Max Snyder, Spencer Loessberg, JJ Cummings	Caleigh Davis, Jacob Rozmajzl
Abby Rozmajzl, Spencer Loessberg

Photos by Paul VI Catholic High School

Written in 1960 by Michael Stewart, Charles Strouse, and Lee Adams, Bye Bye Birdie follows one small town’s experiences as an iconic superstar, Conrad Birdie, grants one final kiss before journeying overseas to join the war. After opening on Broadway in 1960, this timeless production quickly gained accolades across the globe, resulting in a London production, a 1963 movie, and a 1965 television interpretation. The plot hones in on several specific characters, shining a light on 1950′s lifestyle that provides a more accurate perspective than many satirical works on this era.

The leading members of Woodbridge’s cast charged the production with an emotional journey that provided an added layer to the school’s interpretation. Austin Hurlbrink (Albert Peterson) used his lanky structure to his advantage, developing an awkward physicality that enhanced his character’s uneasiness and insecurity to generate countless comedic moments. Hurlbrink’s interactions with his cast mates, especially Victoria Unterberger (Rosie Alvarez) enriched his earnestness. As Hurlbrink transformed into a subservient weakling under Unterberger’s oppressing glares, both actors displayed an impressive level of characterization and interaction.

Bye Bye Birdie also presents fruitful opportunities for actors to embody larger-than-life personalities. As the silky smooth and outrageously handsome superstar, Aidan Houston (Conrad Birdie) entranced viewers with his popping facial expressions and stylistic dance moves. Challenged by a substantial amount of stage time without speaking lines, Houston’s physical characterization successfully represented the stereotypical rock star in a comedic light. His boundless energy circulated throughout the entire cast, highlighting show-stopping dance numbers like “Honestly Sincere” and “A Lot of Living to Do.”

While each principal character developed a unique persona that lit up the stage, the supporting actors truly embodied the iconic caricatures of the 1950′s lifestyle. Danny Waldman (Mr. Harry MacAfee) and Jordan Frederick (Mrs. Doris MacAfee) delivered a spot-on interpretation of the bumbling and clueless parents that characterize this decade. The audience erupted into side-splitting laughter as Waldman packed an extra punch to each of the disgruntled father’s comedic moments, but a hush spread through the auditorium when Waldman eased out his first vocal solos, serenading listeners with his lush tone and rich vibrato.

Such an explosive musical requires substantial support from the technical crews to energize the audience and Woodbridge Senior High School’s crews certainly surpassed the challenges that Bye Bye Birdie presents. Most impressive was the extensive collaboration that clearly took place among the various crews, specifically among lighting, costumes, and sets. The color scheme, full of bright and pleasing shades, helped establish the joyful and upbeat mood that the 1950′s is remembered for, despite some distracting contemporary costume pieces.

Overall, Woodbridge Senior High School’s specialized ensembles of singers, actors, and dancers presented a radiant representation of the 1950′s in the way that Stewart had intended. By the end of the musical, the cast’s enthusiasm and commitment had the audience grinning for miles as we all “put on a happy face!”

by Wesley Diener of James Madison HS

Photo Gallery

Penn Station Dancers: Austin Hurlbrink (Albert Peterson), Stephanie Parker, Courtney Pruitt, Nixie Westling, Minda Hunter, Kelsey Gagnon, Tori Comoglio	Ryan D’Emidio, Helen Thompson, Tori Unterberger (Rose Alvarez), Aidan Houston (Conrad Birdie), Austin Hurlbrink (Albert Peterson), Mikaela MacDonald
MacAfee Family: Emma Seguin, Jordan Frederick, Tyler Furner, Danny Waldman	ByeBye Birdie Dancers: China Pinkerton, Angel Alphonse, Mia Black, Kailynn Harris, Solleyha Mathurin, Alex Tyree, Alexis Bull, Alexis Jackson, Tamara Johnson-Sellers
McKenzie Larrison, Mikaela MacDonald, Aidan Houston (Conrad Birdie), Austin Hurlbrink (Albert Peterson), Danny Waldman (Harry MacAfee), Jordan Frederick (Doris MacAfee)	Telephone Hour: Christina Toval, Megan Richardson, McKenzie Larrison, Isabel Madden, Brian Bennett (Harvey Johnson), Alexandra Pogue, Aida Campos

Photos by Michele Powell

First performed in Chicago in 1990, Marvin’s Room was written by Scott McPherson, whose experiences as an AIDS victim during the height of the epidemic greatly influenced his writing. The play then went onto be performed off-Broadway and the Kennedy Center, and saw a 1996 film adaptation starring Meryl Streep, Diane Keaton and Leonardo diCaprio. Set in a sunny Florida town, Marvin’s Room follows the kindhearted Bessie, who resides with her ill father and aging aunt as their primary caretaker. However, when Bessie is diagnosed with leukemia, she is forced to reach out to her sister–a runaway free spirit whom she hasn’t seen in twenty years–and her two nephews in search of a bone marrow match. As the story unfolds, confessions are made, tears are shed and an entire range of human emotion is experienced.

Cast members adeptly handled the seriousness and sensitivity of the subject with sophistication. Katie Wattendorf magnificently anchored the production and tackled the immensely demanding role of Bessie with impressive realism, creating a credible character. Noah Mutterperl imbued the role of the rebellious, teenaged Hank with ardor, providing several levels of complexity to his role, from violent outbursts to genuine moments with Wattendorf. Mutterperl demonstrated a commanding stage presence and his commitment to character, even when the spotlight was elsewhere, was utterly fantastic. As Bessie’s estranged sister Lee, Allisha Edwards delivered a perfect balance of edge and sincerity.

Supporting actors also brought fantastic intensity to the production. Cindy Funes and Hank von Kolnitz as Bessie’s dotty aunt Ruth and adorable nephew Charlie showcased some of the best chemistry in the entire show, constantly feeding off each other’s energy. Both actors also demonstrated superb comedic timing, producing necessary lighthearted moments in such a heavy drama. As the show’s bedridden titular character, Daniel Kingsley did not have any spoken lines but managed to add to the family dynamic through excellent physicality.

Technical aspects were simple in design, but stunningly effective in execution. A deconstructed set created a personal, intimate atmosphere for the production. A kaleidoscopic range of costumes, hair and makeup distinguished differences in characters, visually depicting the Florida environment as well as the physical transformation of Bessie during her battle with leukemia. Lighting and sound were consistent throughout the show, and occasional hiccups were handled with professionalism by actors and tech members.

Few high school theater departments are able to undertake such a serious topic with the respect and honesty it deserves, but the talented cast and crew were able to do just that. During one of the most emotional points of the show, Bessie reflects on her life and remarks, “I’ve been so lucky to have been able to love someone so much.” Indeed, audience members were lucky to have attended such a wonderfully executed performance, one of pain, patience, solidarity and strength, as Hayfield Secondary School’s production of Marvin’s Room.

by Yena Seo of Thomas Jefferson High School for Science and Technology

Photo Gallery

Noah Mutterperl as Hank & Cindy Funes as Ruth	Katie Wattendorf as Bessie & Noah Mutterperl as Hank
Katie Wattendorf as Bessie and Noah Mutterperl as Hank	Katie Wattendorf as Bessie & Allisha Edwards as Lee
Katie Wattendorf as Bessie & Daniel Kingsley as Marvin

Photos provided by Hayfield Secondary School

Lillian Hellman’s tragic play received intense reactions, both positive and negative, when it was first brought to life in 1934. Boundary-breaking for its time, The Children’s Hour closely follows two headmistresses accused of homosexuality during a straight and narrow-minded era. Worse yet, the allegations come from a grandmother smitten with her granddaughter, Mary, and unwilling to consider that the student’s shocking claims could be anything but the truth.

From the moment Mary Tilford (Lily Brock) slinks onto the stage, it is evident that she is unlike other children. Her purposeful looks and easy alibis contribute to the identity of the character just as much as her demonic laughs and sinister threats do. Providing stark contrast to the diabolic girl are Peggy Rogers (Sydney Copp) and Evelyn Munn (Rachel Mayman), two other students who play more allies than friends to Mary, and who are vulnerable to manipulation but grow emotionally distraught at Mary’s pernicious behavior. Rosalie Wells (Bridget Fitzgerald) demonstrates the difficult situation that many of the schoolgirls face, in which she is compelled to do whatever Mary says because of the dark secrets she knows about her. Fitzgerald fills the role strikingly well, as she appears to be an innocent and well-composed girl in the presence of adults, but becomes hysterical when tormented by Mary.

The relationship between headmistresses Karen Wright (Madeleine Chalk) and Martha Dobie (Kathleen Welch) is complex and benefits from strong chemistry between the women. Dobie’s intense reactions to the persecution hint that she is hiding something, whereas Wright’s small mannerisms and vocal inflections reveal the deep agony caused by the accusation, and lead to intricate character development. Dr. Joseph Cardin (John Bucy) seems at first to be enthralled with his fiancé, Wright, but as the story goes on, minute differences in physicality signify a much larger change in overall disposition.

Never once does the play feel immaterial or artificial, thanks largely in part to the detailed sets. One setting lends itself to both a boarding school and a mansion with the help of perfectly suited decorations carefully altered by a skillful crew of stagehands. The underlying theme of nature applied in the furniture prints and costumes is pointedly juxtaposed with the “unnatural” lifestyle of which Wright and Dobie are suspected. Almost every school girl wears perfect French braids, and matching uniforms give the children homogeneity in keen contrast to their individual characters. Mary stands out from the group with her eye-catching red shoes, enigmatic of her rebellious personality.

“A whispered lie destroyed their lives,” reads the program to Langley High School’s The Children’s Hour. The tragic play teaches the valuable lesson of the effect false allegations can have on other people. “I’ve lied myself for a variety of reasons,” states Cardin during the show. “But there wasn’t a time where, if given the chance, I wouldn’t have taken back the lie and told the truth.” Given the opportunity, would the lies told in this story be taken back?

by Gillian Wright of McLean High School

Photo Gallery

Lily Brock	Lily Brock, Bridget Fitzgerald, Madeleine Chalk, Vivan Vaeth
Madeleine Chalk, Kathleen Welch	Bridget Fitzgerald, Lily Brock
Rachel Mayman, Lily Brock, Sydney Copp	John Bucy, Lily Brock

Photos by Rich Stanage

Based on the 1862 novel by Victor Hugo, Les Misérables was composed by Claude-Michel Schönberg and translated into English by lyricist Herbert Kretzmer. The musical debuted in Paris in 1980, and first graced Broadway in 1987. Since then, Les Mis has seen innumeral revivals all over the world, and has received Tony Awards for Best Musical, Book, and Score — it was also made into a hit movie in 2012, for which it won three Golden Globes.

Set in France in the early 1800s, Les Misérables follows Jean Valjean as he seeks redemption for stealing a loaf of bread, serving 19 years in prison, and breaking his parole in pursuit of a life of benevolence. In addition to being constantly hounded by his tormented parole officer Javert, Valjean is immersed in a pool of interesting individuals and impending revolution.

Jamie Brown played the cautious and kind-hearted Jean Valjean. With Les Mis being his first musical, Brown’s astonishingly gifted vocals were apparent in songs like “Bring Him Home,” where he hit difficult falsetto notes with ease, and had a genuine tenderness for all the other characters as Valjean. Opposite Brown, antagonist and tormented officer Javert was portrayed by Vinny Okechukwu in a way whose impeccably haunting vocals made viewers loathe and pity him at the same time.

Madame and Monsieur Thénardier (played by Aiden Orr and Alex Hoyle, respectively) brought a natural comedic relief every time they walked onstage. Their look and physicality had the whole house tickled as they tiptoed around the law and robbed just a few unsuspecting innocents along the way.

Despite some blocking and enunciation issues, the ensemble worked together as an incredibly cohesive whole, but still maintaining individuality by constantly working off of and helping each other as the show progressed, as well as punching meaningful tableaus and silhouettes. The most tight-knit group in the ensemble was that of the Students in the revolution. They took numbers like “Red and Black” and made them fun and unique by interjecting witty, improvised one-liners that made the audience feel like they had been good friends with these revolutionaries for years.

The set featured a turntable that soundlessly gave the audience a look at literally both sides of the story when it spun around to show aspects of a budding relationship, as well as the grim horrors of dead revolutionaries. In addition to the turntable was the famous barricade, which lit up in individual places and even smoked during battle scenes.

Heritage High School brought to the table a fresh interpretation to the second-longest running musical of all time. With a tremendously memorable rendition of Les Misérables, viewers will still be “hearing the people sing” when “tomorrow comes.”

by Zoe Hawryluk of Westfield High School

Photo Gallery

Devin Clawson and Lauren Gold	Students at the Barricade
Alex Hoyle, Aiden Orr	Lauren Gold as Eponine
Maria Regina, Devin Clawson, Jamie Brown

Photos by Rocco Tenaglia

Originally a movie by John Waters, “Hairspray” was adapted into a musical by Marc Shaiman and Scott Wittman. Set in segregation-era Baltimore, Hairspray revolves around the misadventures of Tracy Turnblatt, an ordinary, though slightly hefty, girl. Her dream of appearing on the Corny Collins Show comes true as she interacts with the eclectic group of councilmembers. Lively and exuberant, Tracy’s exploits attract the attention of Link Larkin, the ire of venomous producer Velma Von Tussle, and the support of the local radio station host Motormouth Maybelle as she attempts to integrate the Corny Collins Show.

With the vivacity of the cast and their vocal determination, they were able to overcome the sound issues throughout the show. Combined with the efficient use of lighting technology, the cast was able to focus on the enthusiasm and musical chops that allowed the show to shine.

As Tracy, Corrieanne Stein was a puffball of vibrant energy. Her stage presence was almost as large as her hair, an impressive feat. Impressive characterization showed as she courted Link Larkin (Wyatt Oring) in “I Can Hear the Bells,” as she expressed her evident infatuation with Oring. In his own right, Oring was an impressive performer, portraying Link Larkin as an Elvis-style rock star. Although Larkin may have been reluctant to join Tracy in her fight against segregation, Oring had no such reservation in heading the show, being an actor who dominated the stage. With impressive dance numbers with Seaweed (Myles Frost), Oring showed his commitment to Hairspray. In addition, the chemistry between Oring and Stein was evident in “Without Love.”

As Tracy’s plucky sidekick, Penny Pingleton (Julia Fanzeres) showed her naïve side as she ventured to novel and exhilarating territory outside of her house. Although controlled by her strict mother, Fanzeres showed a constant state of wonder and excitement as she took the stage, eventually falling in love with Seaweed and becoming a beauty in her own right.

Of course, what is a musical without robust supporting leads, in Wootton’s production, a singularly impressive anchor was Motormouth Maybelle (Aaliyah Dixon), whose powerful voice and stage presence invigorated the cast. Her commanding voice in “I Know Where I’ve Been” culminated in a note that had the audience on their feet. In addition, the supercilious vixen Velma Von Tussle (Meghan Wright) and domineering Matron (Lily Mayne) had impressive physicality in their songs “Miss Baltimore Crabs” and “The Big Doll House,” respectively.

Although Hairspray deals with volatile topics such as racism and segregation, Thomas S. Wootton’s approach took the stage by storm. With ardor and humor palpable in every moment of their performance, the spirit of the cast was perhaps even larger than the hairstyles of the 1960s.

by Chris Doan of Thomas Jefferson High School for Science and Technology

Photo Gallery

Tracy (Corrieanne Stein) makes her debut with the Nicest Kids in Town on the Corny Collins Show. Watching from left, Harriman F. Spritzer (Matt Richardson) and Corny Collins (David Myer). The Nicest Kids from left to right are LouAnn (Anna Bartels-Newton), Shelly (Mara Pugh), Brenda (Sasha Bartol), Tammy (Melanie McLean), Amber (Jackie Kempa), Tracy, Link (Wyatt Oring), Brad (Max Fowler), Fender (Christopher Hechler), Sketch (William Memmott), and IQ (Robby Pine)	‘It Takes Two’ to fall in love: Tracy (Corrieanne Stein) and Link (Wyatt Oring) appear on the Corny Collins Show
Tracy (Corrieanne Stein) and her Mom, Edna (Jeffrey Morse) are revealed in Mr. Pinky’s finest in ‘Welcome to the 60s’	In the climax of ‘I Know Where I’ve Been,’ Motormouth Maybelle (Aaliyah Dixon) inspires Tracy, Link, Penny, her children Seaweed & Little Inez and all the members of the Detention Ensemble and the Dynamites (far right)
‘You Can’t Stop the Beat’ from Wootton’s Hairspray featuring Edna (Jeffrey Morse), Amber (Jackie Kempa), Velma (Meghan Wright) and Motormouth Maybelle (Aaliyah Dixon)

Photos by Joe McCary

Epitomizing the “Golden Age” of musical theatre, The Music Man opened on Broadway almost 60 years ago and was the recipient of five Tony Awards. It has been revived and adapted numerous times, including two film versions. The story follows the smooth-talking traveling salesmen, Harold Hill (James Barker) as he hops around conservative Midwestern towns, convincing its citizens that a boys’ band, uniforms, and instruments are the answers to all of their problems. At a stop in River City, Iowa, however, the town librarian and piano teacher, Marian Paroo (Gabi Montes de Oca), sees right through his conniving ways.

Leading the show with utter aplomb, James Barker spoke louder than words as the flirtatious con man, Harold Hill. His comedic facial expressions and pleasant vocals distinguished him as a standout performer among the ensemble. Gabi Montes de Oca proved to be an elegant songbird, showing off her beautiful soprano throughout the evening. Her development was distinct and her chemistry with Barker was undoubtedly believable.

The supporting cast also was impressive, with high vocal energy and effervescent stage presence. Trevor Boynton as Mayor Shinn earned numerous laughs as he frequently stumbled over his words. Annie Stout portrayed a maternal and proud Mrs. Paroo, as her consistent Irish accent and impeccable timing made for a memorable performance.

The most terrific aspect of the production was, without a doubt, the Barbershop Quartet (Leif Jomuad, David Furney, Steve Aderton and Michael McLean). These young men harmonized perfectly and added distinct, individual characterizations. Numbers such as “Lida Rose & Will I Ever Tell You?” brought the house down and earned the foursome well-deserved, thunderous applause.

Costumes were designed and assembled with acute precision as vibrant color schemes and well-tailored suits were featured throughout the entirety of the performance. The stage crew was commendable as the majority of scene changes were quiet and timely. Holly Prencipe and Gabrielle Lewis choreographed sharp and well executed dance numbers, such as “Marian the Librarian” and “Ya Got Trouble.”

The cast and crew took its audience on a theatrical adventure with their outstanding vocals and palpable energy. Despite some minor lack of projection from certain ensemble members, it was evident that Annandale’s production of The Music Man was anything but troublesome, instead providing a wonderfully crafted performance.

by Stephen Coakley of Tuscarora

Photo Gallery

James Barker (Harold Hill), Gabi Montes de Oca (Marian Paroo)	Annie Stout (Mrs. Paroo), Trevor Boynton (Mayor Shinn), Maya Koch (Maud Dunlop) , Raymond Ma (Marcellus), Holly Prencipe (Alma Hix) , James Barker (Harold Hill), Gabi Montes de Oca (Marian Paroo), Xavian Henson (Constable Locke), Melissa Haberle (Eulalie Shinn), Gabrielle Lewis (Zaneeta Shinn), Danyom Beyene (Salesman 1), Juliana Iglesias (Mrs. Squires), David Furney (Oliver Hix), Xavier Felix (Tommy Djilas)
Juliana Iglesias (Mrs. Squires), Maya Koch (Maud Dunlop), Sarah Woodward (Ethel Toffelmier), Gabi Montes de Oca (Marian Paroo), Holly Prencipe (Alma Hix), Melissa Haberle (Eulalie Shinn)	Michael McLean (Olin Britt), David Furney (Oliver Hix), Steve Aderton (Ewart Dunlop), Leif Jomuad (Jacey Squires)
Annie Stout (Mrs. Paroo), Gabi Montes de Oca (Marian Paroo)

Photos by Georgi Barker, Briar Creek Photography

Adapted from Shepherd Mead’s 1952 novel, How to Succeed in Business Without Really Trying made its stage debut in 1961 and has continued delighting audiences since. The show chronicles a young man’s rapid rise to corporate success. His charms, white lies, and “how to” guide help Finch navigate the office shark pool, including the inevitable obstacles of a pretty secretary and a blundering nemesis.

Joey Ledonio (Finch) played the suave young business beaver with an earnestness befitting a hopeful black tie. His vocal levels were at a professional level, and tireless physical animation gave him outstanding charisma on stage. Despite his double-dealing ways, the spark Ledonio poured into his character ensured the audience was always on Finch’s side. Angelica Miguel (Rosemary) played an office secretary immediately taken by Finch. Miguel’s strength was in her enchanting vocals, but she was always quietly engaged in her infatuation for the sneaky executive.

Abby Giuseppe played an office secretary, Smitty, and Rosemary’s closest confidant. Her wry humor and blunt deliveries quickly made her an audience favorite (while her rumors of nymphomania made her an office favorite). Rolf Lundberg played the bratty, outrageous failure of a villain to perfection. His role of Bud Frump included an amazing dorky dance sequence. Overall, his failed attempts at corporate weasel-ry were so unsuccessful the audience couldn’t help but adore him.

J.B. Bigley (Diego Rosende) was the boss-man himself. His ridiculous quirks such as his college “grrrroundhog” pride and his secret knitting obsession made him a comical authority figure. Other standouts included the promiscuous Hedy La Rue (Loren Gant), and the timid mail room head Mr. Twimble (Jon Paul Ryan).

The set successfully captured the office atmosphere with multiple levels of offices and an elevator in the lobby. The props however are what truly brought the show together. Various office furnishings, bar charts, and mailroom necessities were all detailed and brought the company world to life. Technically, the show was nearly flawless. Sharply timed light cues were “spot” on, and the sound was consistent with no feedback or drastic mic fallouts. Costumes were notably student created. Their time-period accuracy and general whimsy, bow ties, fuchsia “Paris Originals” and a knitted groundhog sweater, all created an aesthetically stunning performance.

While it was obvious that the cast and crew of Bishop Ireton High School’s performance worked very hard, the performance appeared effortless. It was surprisingly easy to fall in love with every character on stage. After “It’s Been a Long Day with only a few Coffee Breaks,” Bishop Ireton delivered just the right excitement and charm to remind us all of the “Brotherhood of Man.”

by Emilia Brennan of Oakton High School

Photo Gallery

J. Pierpont (Joey Ledonio) and the ensemble in ‘Brotherhood of Man’	Hedy LaRue (Loren Gant) shows off her ‘Paris Original’ dress
Bud Frump (Rolf Lundberg) takes a phone call in the mailroom of World Wide Wickets	J. Pierpont, Smitty, and Rosemary (Joey Ledonio, Abby Giuseppe, and Angelica Miguel) discuss how it has ‘Been a Long Day’
J. Pierpont (Joey Ledonio) and J.B. Biggley (Diego Rosende) show off their school spirit in ‘Grand Old Ivy

Photos provided by Bishop Ireton High School