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Little Shop of Horrors - Dominion High School
Book & Lyrics by Howard Ashman, Music By Alan Menken
May 2, 2026, at 2:00 pm
Photo by Colleen Hilliker - left to right: AJ Fedak, Eli Quinones, Jemima Stephen, Manasvi Ganguli, Sofia Lupas, Kiki Riggle
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Response by Bailey Blazier of Loudoun County High School
A bloodthirsty plant, a nerdy florist, and a total eclipse of the sun, what could go wrong? Seymour Krelborn is a shy, downtrodden assistant at a failing flower shop on Skid Row. His life changes when he discovers a "strange and interesting" plant he names Audrey II, after his workplace crush. The plant brings Seymour fame and fortune, but there is a catch: it only eats human blood. As the plant grows, so does its appetite, forcing Seymour to choose between his morals and his newfound success. The Little Shop of Horrors Musical was made by Howard Ashman, who adapted it from a 1960 cult film that was famously shot in just two days.
Seymour, portrayed by Eli Quinones, captured the perfect balance of awkward charm and mounting desperation. Quinones anchored the show with a vocal performance that was both powerful and endearing. His vulnerability shone through in "Grow for Me," making the audience root for him even as he began to make his grisly choices. However, every hero needs a villain, and Seymour’s journey into darkness is accelerated by the arrival of the sadistic Orin the Dentist, played by Daniel Fuentes Salamanca. Salamanca commanded the stage with a terrifyingly high-energy performance, perfectly capturing Orin’s narcissistic and cruel streak. From his dramatic entrance in black leather to his maniacal use of the nitrous oxide mask, he provided a sharp, comedic contrast to Seymour’s timid nature. His rendition of "Dentist!" was a clear crowd-pleaser, showcasing both his impressive vocal range and his commitment to the character’s unsettling obsession with pain. Fizzy Harman played Mushnik with a perfect blend of exasperation and opportunistic greed. Harman grounded the shop’s frantic atmosphere, portraying the struggling business owner as someone just desperate enough to overlook a few mysterious disappearances. The chemistry between Harman and Quinones was especially evident during their comedic interactions, highlighting Mushnik's transition from a harsh boss to a manipulative "father figure" as the shop's fame grew. Watching over the chaos of Skid Row were the three street urchins, with Jemima Stephen playing Chiffon with a sass and vocal precision that kept the audience hooked between scenes. Jemima Stephen’s Chiffon delivered a soulful vocal performance that anchored the show's 1960s sound. Her chemistry with the other urchins was what truly stood out. Together, they executed tight, polished harmonies that transformed the trio from simple narrators into the vibrant musical heartbeat of the production.
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The world of Skid Row was brought to life not just through song, but through an ambitious and versatile set designed by AJ Fedak, Tyler Lambert, Max Grotticelli, and Melody Schofield. The two-level set provided a sense of scale and verticality, allowing for layered action and distinct staging areas. Innovative movable walls allowed the shop to transform instantly from the floral shops exterior to the colorful interior. Complementing the impressive architecture of the set was the vibrant lighting design by Dante Grossman, Tyler Lambert, Max Grotticelli, and Arami Castillo. Their use of the cyclorama (cyc) light created a stunning backdrop that shifted the mood of the show with every scene. By blending a rich palette of different colors, the team successfully transitioned the stage from the gritty, monochromatic feel of Skid Row to the eerie, neon-green glow of Audrey II’s world. The creation of the show’s antagonist: the bloodthirsty Audrey II was single-handedly designed, built, and puppeteered all four stages of the plant’s growth by Clark Maier. The craftsman-ship peaked with the final, massive puppet, which was ingeniously engineered to allow actors to climb inside and be "eaten" live on stage. The production’s attention to detail extended far beyond the stage lights, thanks to the thorough dramaturgy work of Callie Banks and Mia Schaefer. They conducted extensive research into the history of Greek choruses, using that classical foundation to ground the trio’s role as both narrators and moral observers. Their commitment to historical accuracy ensured every reference and stylistic choice remained time-relevant, adding a layer of intellectual depth that made the 1960s setting feel authentic and fully realized.
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Dominion High School’s production of Little Shop of Horrors was a triumphant blend of technical ambition and powerhouse performances, proving that even on the grit of Skid Row, talent can truly bloom. By balancing dark comedy with heart and impressive craftsmanship, the cast and crew delivered a captivating experience that left the audience hungry for more.
Response written by Savonah Thomas of Tuscarora High School
Little shop, little shop of horrors is where it all began,
A story between a carnivorous plant, a girl, and a man.
Fame and fortune is what was sought,
But blood and flesh is what was brought.
Taking over was its goal,
The evil plant will take its toll.
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Beginning is 1960, Roger Corman saw fit,
For this originally low budget film, to become a hit.
Turned into an Off-Off-Broadway hit in 1982,
Even with Alan Menken doing all that he could do.
The musical famously moved to the Off-Broadway Orpheum Theatre,
For only a five year run you could see her.
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The show never made it to that main Broadway stage,
Staying terrifyingly intimate for the audience’s gaze.
Audience members couldn’t stand the show being done,
So the show abruptly revived on Broadway, like a total eclipse of the sun.
The show begins in a floral shop on downtown Skid Row,
With a man, Mr. Mushnick, who gave Seymour a place to go.
Introducing a damsel in distress named Audrey,
Seymour would see her shiner and feel sorry.
The shop would struggle, not making a single sale,
Til the extraterrestrial plant, Audrey II is unveiled.
Audrey II brought fame, and grew and grew,
Asking for flesh, limbs, and even blood too.
Seeing how Orin treated Audrey so,
Seymour realized that to feed his plant, Orin had to go.
Killing and killing is what would ensue,
And soon Audrey would be eaten by Audrey II.
Seymour soon joined her in that leafy grave,
And after that, only a salesman would remain.
Seymour, portrayed by Eli Quinones,
Played well into Seymour’s quirky ways.
His mannerisms specific and methodical,
Made watching his character a joy for all.
His scene partner, Audery II, was also amazing,
Elizabeth Leu’s vocals were captivating.
With such an evil character, the audience needs a laugh,
That’s where Orin the Dentist has our back.
Daniel Fuentes Salamanca had the audience confused,
One whether they should be afraid, or amused.
The Urchin’s too added light-heartedness,
But one in particular, Crystal, you couldn’t miss.
Manasvi Ganguli stole the stage,
Keeping up her peppy attitude the whole way.
Lighting the stage is Dante Grossman and
Tyler Lambert,
Properly displaying when from the plant, someone was hurt.
Ensemble pieces brightly lit,
Made everyone seen from where the audience may sit.
Puppetry is also an honorable mention,
Clark Maier was the sole guy who paid attention.
Creating all versions of Audrey II,
Controlling it during the show is also what he could do.
The set, created by AJ Fedak, Tyler Lambert, John Whitworth, Melody Schofield really captured the story within,
Up to date, but the moving walls were sturdy, not thin.
Practical, safe, and well thought out,
Making scene changes seamless allowing free movement about.
Costumes also kept actors moving freely,
Being period, yet Isadora Trimboli
Angelly Portillo-Campos focused on comfortability.
Colors of each outfit were fitting for each character,
Creating individuality for everyone even further.
It’s a cautionary tale of greed and desire,
Feeding a hunger that only grows higher.
So if you visit Skid Row, don't look at the pot,
Or you might just become what Audrey II’s got!
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Response written by Leo Overstreet of Stone Bridge High School
“More, more!” and Titan Theatre’s performance of Little Shop of Horrors made audiences want more of their amazing specular. The cast and crew brought Skid Row to life with high-kicking, chaotic energy, leaving audiences clapping, grinning, and fulling engaged the entire show!
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Originally released as a film in 1960, Little Shop of Horrors officially opened in 1984. Written and composed by Alan Menken and Howard Ashman, Little Shop of Horrors follows Seymour Krelborn, a timid and shy florist who discovers a mysterious plant with a deathly appetite.
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The hearts of this story is grown to life by Seymour Krelborn (Eli Quinones) and Audrey (Kiki Riggie). Quinones and Riggie both bring a rich range of emotions to their characters, from Audrey’s vulnerability in her relationship with her boyfriend, Orin the Dentist, to Seymour’s awkward innocence in the flower shop. What brings them together is their shared love for each other, which allows their connection to flow naturally. In the ballad “Suddenly Seymour,” the two actors shine bright in a duet where their feelings are spotlighted, highlighted by Riggie’s blossoming belt and Quinones soft and gentle vocals.
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Orin Scrivello, the sadistic dentist, played by Daniel Fuentes Salamanca, injects a burst of chaotic laughter and unsettling energy to the stage. Salamanca brings the character to life with a devilishly comedic edge, especially through his dramatic, maniacal laugh that is carried throughout his scenes. One memorable moment for audiences is his entrance with the Urchins, where his powerful stage presence instantly stands out. From his deep vocal choices to the long lasting note delivered in “Be A Dentist,” Salamanca consistently captivates audiences, leaving a lasting impression.
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The Urchins, Ronette (Sofia Lupas), Chiffon (Jemima Stephen), and Crystal (Manasvi Ganguli), serve as a greek chorus, guiding the audience through the story with sass, witt, and style, and this trio certainly delivers throughout the production! Each performer brings a distinct personality characteristic to each urchin, whether it’s the nice cop or the hard time mama vibe, it adds much dynamic to their performance. In the opening song “Little Shop of Horrors,” all three are impressively in sync, blending their vocals, movement, and facial expressions into a polished and engaging performance.
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The set design of the show is not to be overlooked. AJ Fedak, Tyler Lambert, Max Grotticelli, and Melody Schofield clearly poured their efforts into every little detail, from the construction of accent buildings and a highly detailed brickwork to whole entire bridge! One particularly impressive feature is the design and construction of the shop exterior. Built on wheeled set, the set allows the shop to smoothly open and close, clearing indicating whether the characters are inside or outside the building. The thoughtful design choice helped audiences easily follow the story and overall enhance the production quality of the show.
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Another standout out element of the show was its marketing, which captured the aesthetic and energy of Little Shop of Horrors. Bella Warnick, Justin Hernandez, Elizabeth Tran, and Hannah Hillman really put their A-game, promoting the show through A-frames placed in high traffic areas to boost in-house audience numbers. A outstanding feature of the crew was when they transformed their Instagram grid to resemble Audrey II, creating a eye-catching visual that immersed users in the world of Skid Row before entering the theatre.
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Ultimately, Little Shop of Horrors at Titan Theatre shows how far ambition can grow when it’s fed, reminding audiences that some things will always demand attention, whether they like it or not!
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Response written by Jude DeWitt of Stone Bridge High School
Dominion High School takes its audience home to Skid Row with its unique take on the iconic rock musical Little Shop of Horrors.
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With music by Alan Menken and lyrics and a book by Howard Ashman, Little Shop of Horrors was loosely based on the 1960 film The Little Shop of Horrors. The musical is set in the 1960s and takes inspiration from music of that decade, such as motown and doo-wop. It premiered off-off Broadway in 1982, then off-Broadway at the Orpheum Theatre. The musical follows Seymour, a timid floral salesman in love with his coworker Audrey, who begins growing a mysterious plant not knowing of its murderous tendencies.
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Eli Quinones delivers a multifaceted and ever-so-slightly manic performance as the show’s leading man. With his distinctive physicality and mannerisms, it’s evident that Quinones has done his homework and knows his character inside and out. He is especially adept at portraying the transformation of Seymour throughout the show—as he goes from meek and compliant to almost trigger-happy, culminating in him reverting to an almost catatonic state after he loses Audrey.
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The delightfully villainous, mean, green mother from outer space is played by two actors: Clark Maier, the puppeteer, and Elizabeth Leu, who provides the voice of Audrey II. The pair did a masterful job at synchronizing the plant’s movements with its voice, making the otherwise out-of-this-world antics present within the show feel real. The puppet was also designed and crafted by Maier himself, a product of numerous blueprints, a cardboard base, and a little bit—rather, a lot—of green paint resulting in the big, beautiful venus flytrap that can be found on stage.
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Sprinkling in elements of both comedy and horror, Daniel Fuentes Salamanca both titillates the audience and leaves them shaking in their boots as Audrey’s dentist boyfriend, Orin. Salamanca’s voice leaves a dramatic impression on theatergoers–a gravelly baritone that can easily go from 0 to 100 before one can open their mouth and say “Ahh!” Sadistic and cruel, Orin is a character that is easy to hate, and Salamanca achieves this while also making the audience almost pity him when he meets his brutal demise in “Now (It’s the Gas).”
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From a technical standpoint, one of the standout aspects of the show is the lighting design, done by Dante Grossman and Tyler Lambert. Aside from helping contribute to the dark and gloomy atmosphere of the show, the lights also help to elevate the storytelling. For instance, “Now (It’s the Gas)” sees the lights slowly dimming until the stage fades to black during Orin’s asphyxiation. The crew also experimented with bright neons–which proved to be just as effective in conveying the show’s horror elements while also helping bring the downtown environment to life.
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Hair and makeup crew members Elizabeth Leu and Kiki Riggle took advantage of the show’s 1960s setting as a way to play around with popular looks from that era. The look of the urchins pays homage to 1960s girl groups like The Supremes and The Shirelles. Each member of the trio is given a unique hairstyle popular among teen girls of the ‘60s, complete with matching hair ribbons. The crew also researched the color theory behind bruises to give Audrey’s black eye a realistic touch. Beyond that, it is also a testament to how seriously the crew took the show’s portrayal of domestic violence.
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Hitting the nail on the head with its elements of black comedy, horror, and romance, Dominion High School’s production of Little Shop of Horrors is sure to get longtime fans of the show and first-time viewers alike moving and grooving in their seats.
Honorable Mention
Charlotte Prine - John Champe High School
Lyla Malik - Tuscarora High School
Sophia Cardona - Stone Bridge High School
Katherine Anderson - Tuscarora High School
Aries Janardhan - John Champe High School
Newsies - Heritage High School
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
May 1, 2026, at 7:00 pm
Photo by Robyne Bridges - Jack's Gang
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Response by Ashlyn Cook of John Champe High School
Seize the Day and come see Heritage High School’s production of Newsies! Hitting Broadway stages in 2012, Newsies is a fan favorite based on the 1992 Disney film of the same name. The story itself is rooted in reality and is based on the story of the newsboys in New York in 1899 who stood their ground against publishers raising prices of papers at their expense. In the musical, we follow Jack Kelly, a newsboy with big dreams of leaving the city behind. When prices are raised, it’s Jack who rallies the newsies together to stand up for themselves.
Starring as the charismatic young Jack is the talented Joey Livsey. He commands the stage in every number, truly embodying the nature of Jack Kelly. Livsey brings a brilliant energy to the stage. Whether it’s leaping off set pieces or stunning the audience with his rendition of the beloved ballad “Santa Fe”, Livsey’s performance shows the true grit of a young newsboy while capturing that underlying vulnerability that is so important to Jack Kelly’s character.
Without his fellow Newsies by his side, where would Jack be? Throughout the production Jack’s gang creates an ensemble that truly feels like family. Group numbers are the heart of this show and could bring a smile to any face. Among the ensemble are characters that bring a warm sense of brotherhood to this show, such as the hilarious Race and Romeo. Race, played by Claire Kilmartin, draws attention from the moment she steps onto the stage and awes in ensemble numbers. Right alongside her in the group of newsies is Seth Goldberg, portraying Romeo. A hopeless romantic, Romeo gave the audience many laughs and added an unexpected layer of humor to this show. Both Kilmartin and Goldberg effortlessly elevated their scenes using well-timed expressions and subtle yet comedic background reactions. These two, along with the rest of their gang, serve as the backbone of the production, bringing contagious energy and excellent personality to their characters.
With these stunning ensemble numbers, the set design played a key role in enhancing the movement onstage and keeping energy up. A cohesive and seamless design, the hard work of the team led by Jack Bateman and Monroe White, is clearly on display. With a multi-level design that incorporates structural patterns of areas of poverty in Manhattan and functional moving pieces, this set immerses the audience into the newsies’ world. The research taken on the time period is very clearly shown and is evident in even the small details, such as the incorporation of clotheslines hanging over the audience to show the poverty the young characters were living in. Similarly, a strength of this show was the dramaturgy that helped to immerse the audience into this historical piece. Lucy Adair and Jameila Burgin brought a historical context to the show that makes the events feel even more grounded and meaningful.
Even with such a strong ensemble presence, there is certainly still space made for other standout performances. Ruth Mekbib as Medda brings a bold presence to the stage, embracing the charm of Medda’s character. Mekbib owns the stage and delivers a beautiful vocal performance in her song “That’s Rich”. While Medda lit up the stage with her theatrical flair, Katherine Howard (played by Lucy Adair) offers a more grounded but equally compelling portrayal. She gave suspenseful chemistry with Livsey while the two were alongside one another onstage. Livsey and Adair show a love story that truly gives the audience Something to Believe In.
An exciting and powerful experience from start to finish, this dynamic cast and crew worked cohesively to deliver a show that combined the history and heart of the Newsies.​​​
Response written by Ava Jones of Stone Bridge High School
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Heritage High School's production of Newsies is a tribute to the iconic tapping, jumping, spinning show we all know and love. Newsies is a show that requires constant energy and hard work, and the cast and crew definitely deliver.
Newsies, the Broadway musical, is the stage adaptation of the original Disney film of the same name. The story is inspired by the real Newsboys Strike of 1899, following Jack Kelly, played by Joey Livsey, and his fellow newsies as they rally together to demand fair treatment.
Newsies opened on Broadway in March 2012 and was nominated for eight Tony Awards, winning two: Best Choreography and Best Original Score. Originally intended as a short-run production, its overwhelming popularity extended its run and solidified it as one of Disney’s most celebrated stage adaptations.
Livsey takes on the role of Jack Kelly with the kind of endurance and energy required to anchor the entire show. As a character who rarely leaves the stage and drives much of the action, Livsey maintains a strong presence throughout, especially when running around the entire theater and then immediately singing “Santa Fe”! His dynamic with Lucy Adair, Katherine, adds another layer and is another highlight of the show, with a push-and-pull chemistry that is natural and engaging.
Ethan Agustin-Calloway brings a more playful interpretation to the role of Davey, creating a version of the character that feels lighter than the usual harsh manner in which the character is played. His performance adds humor and levity to balance some of the show’s heavier themes.
The ensemble had constant energy and was very versatile. At times, they embody chaotic, energetic teenage boys, filling the stage with personality, while in other moments they shift into an almost militaristic force, moving like soldiers marching into battle. Their choreography was playful yet crisp, especially in moments such as “King of New York.”
The set construction team, led by Monroe White, delivers a playground-esque structure of sturdy scaffolding that gives actors plenty of space to explore, as they intended. In moments, the entire cast was onstage, you could look and see actors poking out of the nooks and crannies of the set as if they were in a jungle gym.
The lighting team, Stella Bauer, Chase Homan, and Ryan Posid, didn’t overcomplicate their design. Instead, they remain consistently on top of their cues, using lighting to enhance key moments such as fight sequences and set transitions. Their precision maintains the pacing of the show and has a great impact without drawing unnecessary attention away from the performers.
Student director Ashnil Dasan contributes meaningfully to the production through his work with the actors, bringing a sense of closeness and specificity to the scenes he helped shape. His influence is especially noticeable in the “Santa Fe” prologue, which begins the show and, due to Dasan's direction, already establishes Crutchie(Jack Bateman) and Jack's bond and personalities. The staging in these moments feels thoughtful and deliberate, helping to establish character relationships and emotional stakes early on.
The props team handles the great demand for newspapers creatively and practically, using gray boxes topped with newspapers to efficiently represent stacks without having to print a million fake newspapers and waste paper. This solution is both visually effective and easier to manage than real giant stacks of paper. Additionally, the team shows a clear emphasis on safety, particularly involving weapons or staged violence.
Heritage High School's production had all the expected fun, along with original touches from both the cast and crew, and left audience members with the message that anything really is possible when you seize the day.
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Response written by Savonah Thomas of Tuscarora High School
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A group of young newspaper boys take a leap of faith when orchestrating a strike combating a system of inflation and corruption run by a wealthy yet selfish man. With the help of an inside girl, a fellow artist, and scaffold scaling skills, the boys emerge victorious in their endeavors. Through dicey situations and unexpected romance, the story takes one through a beautiful showcase of the importance of found family.
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Disney’s Newsies is based off of the July 18 to August 2, 1899 Newsboys' strike in New York City. Thousands of child laborers, known as "newsies," went on strike against major publishers Joseph Pulitzer and William Randolph Hearst to protest unfair price hikes on newspapers. The strike successfully forced the publishers to compromise after two weeks. The story was adapted into a movie on April 10, 1992 by Disney, then officially opened on Broadway at the Nederlander Theatre on March 29, 2012, following previews that began on March 15, 2012. The musical follows Jack Kelly, a charismatic, fearless leader of a group of ragtag ragamuffin newspaper boys or “newsies.” He empowers his fellow workers to go on strike after publishing titans Joseph Pulitzer and William Randolph Hearst raise paper prices, threatening any kind of comfortability those poor boys could have.
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The story in all of its amazement had exuberant tellers, radiating confidence with every line. Jack Kelly, portrayed by Joey Livsey, was a crowd favorite. From his action packed scenes, to his insane vocal stamina had the audience engaged, whether Livsey was on stage, or running around New York. Being able to sing the Act 1 closer, Santa Fe, after dashing around the big city showed true vocal control and stamina. Another show stopping voice was none other than Crutchie, played by Jack Bateman. Vocals weren’t the only thing that got the audience wowed. The fact that he stayed true to the “bum leg” part of the character showed true depth and understanding of the character, which made dance numbers insanely fun to watch. Speaking of fun, this guy surely takes the cake. Romeo, depicted by Seth Goldberg, was an absolutely hilarious part of the show, taking advantage of the stage, and making any moment his 5 seconds of fame. He had the audience loud with laughter in their seats and showed “a real man” does comedy. When it comes to humor however, Hal Bateman shows the audience who’s boss. Playing the character Wiesel, Bateman had the audience confused if they should be mad at him picking on the newsies, or if they should laugh at his serious, yet somehow laid back humor. Bateman did a phenomenal job at playing an old man as part of a system where he just does what he’s told.
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The actors weren’t the only people who brought this Disney show to life however. The set, designed by Jack Bateman and constructed by Monroe White was breathtaking. It was so safe yet looked so slummy and dangerous, making it perfect for this show. It really had that “playground” aspect they were going for, and made intense and dynamic scenes just that much more fun to watch. Though the set had moving parts to it, which is where Charlie Newman and Sylvienne Garcias’ stage crew comes in. Moving set pieces and scene changes were done nearly flawlessly, making transitions quick and not at all distracting. The stealth displayed by this team went as far as to have themselves be nearly invisible even when blatantly on stage, moving the central set piece during Santa Fe. Moving more towards how the actors looked themselves, the costuming done by Hibbah Basit and Kana Lacasse was very fitting for the time period. Having people who were more upperclass in deeper more almost regal colors like purples, maroons, and greens really contrasted against the lower classes, dirtied and yellowed white button ups and random vests to make the newsies seem like they want to look at least somewhat put together. The interchangeable vests were also a genius idea to make quick changes more fluid and efficient. A final genius aspect that really brought the show together was the lighting, done by Stella Bauer, Chase Homan, and Ryan Posid. The lighting was especially amazing during fight scenes in particular. The strobe with a mix of a slim spotlight really fit those chaotic and intense scenes and made them come to life. There was also a good lighting contrast when being outside versus the theatre versus in the cellar and so on. All and all some of the most beautiful stage pictures were created because of this really amazing lighting team.
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To conclude, Heritage High School Pride Production’s Newsies displayed extreme detail in character depth, scenery, and technique to bring this story of struggle, triumph, and found family to the stage.
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Response written by Maddie Bradford of St. Paul VI Catholic High School
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What is one place better than Santa Fe, New Mexico: Heritage’s production of Newsies.
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This inspiring tale of resilience recounts the true story of the 1899 Newsboys’ strike in New York City, where newsboys protested against Joseph Pulitzer and William Randolph Hearst's raising of newspaper prices. Kid Blink, the basis of Jack Kelly and a leader of the strike, helped secure a deal for full buybacks of unsold papers. The story was first adapted into a 1992 film by Kenny Ortega, featuring music by Alan Menken, Jack Feldman, and J. A. C. Redford. It made its way to Broadway, opening on March 29, 2012, earning 8 Tony nominations and winning 2 for best choreography and best original score. The narrative centers on Jack Kelly and his group of Newsies, who, facing a paper price increase from 50 to 60 cents, decide to strike. Jack meets Katherine Plumber, an aspiring reporter, who covers their struggle. At times when it seems like all hope is lost and Jack almost decides to give up, the Newsies organize a citywide strike, ultimately triumphing over the publishers. Despite his constant wishes to break free and escape to Santa Fe, in the end, Jack realizes he has his Newsie family, his love for Katherine, and everything he could want right in New York.
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Heritage’s performance cannot be praised enough without highlighting its starring performers. One outstanding performer was the leader of the Newsies and of this production, Joey Livsey, playing Jack Kelly. Livsey perfectly nailed Jack’s charisma and charm, and his emotional beats, especially in his performance of Santa Fe, which truly helped the audience visualize Jack’s dreams with him. Also, Livsey’s motivational speech before “Seize the Day” inspired the entire audience and showcased his in-depth understanding of his character. Along with his own performance, Livsey had immense chemistry with his actors; one particular example is with his best friend Crutchie, played by Jack Bateman. They were never afraid to make physical choices to show their relationship and love for one another, especially seen in the emotional embrace they shared when Crutchie returned from the Refuge. Jack Bateman’s Crutchie was the epitome of characterization and command of the stage in any scene he was in. He exemplified his skill in physicality in his body posture and movement in handling his crutch, never once losing that characteristic throughout. His rendition of “Letter from the Refuge” showed the optimism and humor of his character and captured the hearts of the audience. Another shining actor was Lucy Adair as Katherine Plumber. In “Watch What Happens,” her diction and vocals never faltered despite the fast-paced lyrics, and neither did her physical choices, especially when she leaned and almost fell over on the line “what a face,” which was another hilarious choice from Adair. Adair had an expert command of comedy in every scene she was in and in every snarky comment and insult she threw at Jack. Watching her on stage, you could not believe she had not lived the life and truly was Katherine Plumber. Finally, this show wouldn’t be itself without Jack’s gang, Brennan deButts, Lola Haynes, Eliza Korff, Jamie Saberhagen, and more. The Newsie ensemble truly made this production. Not only were their vocals incredible and moving in each song they sang, but their characterization and bold physical choices made them feel like they were actually teenage boys from that time period. Each Newsie member was dedicated and unwavering in their energy through every note, every dance, and every piece of dialogue.
Aside from the acting performances, the technical aspects, like their Set Design and Stage Craft by Jack Bateman, Monroe White, and Team, were just as well done. The set felt like it was a real structure taken out of 1899 New York. It allowed the actors to easily maneuver through it, and could be separated to create a whole new environment and mode for the scenes. Highlighting and specifically “lighting” this beautiful set was the Lighting Team of Chase Homan, Ryan Posid, and the team. The lighting could not have been more perfect for the show, like the moving spots when the police were searching for the newsies or the dramatic lighting during the fight after “Seize the Day.” It only made each scene better and added so much depth and variety to the differing settings and scenes.
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The props by Mackenzie Larsen and Team perfectly fit the time period, such as the actual typewriter that Katherine used in “Watch What Happens,” only making the showing feel more realistic and accurate. The props team not only designed innovative props, but they also kept their actors in mind by making easily rippable papers with rip lines to help the actors with “Seize the Day.” And to conclude, their Creativity work done by Ashnil Dasan, Divy Mahesh, Xic Mainhart, and Team consisted of 8 projections, completely student-made. Their projections did more than serve the script’s setting and contextualize the world, but showed their team’s own ingenuity and creativity. The projections from the buildings of New York to the pink enveloped sunset and mountains of Santa Fe were a truly impressive feat of the Creativity Team and transported the audience into the story, the dreams, and the lives of the Newsies.
Heritage High School’s Newsies encompassed the inspiring, hilarious, and poignant nature of Newsies with their own novelty and professional-level skill shining through in every technical, acting, and artistic choice. This production left every audience member with the thought and inspiration that a truly great production of Newsies should do: courage cannot erase your face, courage is how you face your fear, and anyone, no matter how small, can make a change
Honorable Mention
Bailey Blazier - Loudoun County High School
Bridget Lockett - Stone Bridge High School
Rachael Lenderman - John Champe High School
Kripa Pudasaini - Loudoun County High School
Katherine Anderson - Tuscarora High School
Piper Nicklas - Tuscarora High School
Sophia Cardona - Stone Bridge High School
The Sound of Music - Stone Bridge High School
Music by Richard Rodgers & Lyrics by Oscar Hammerstein II
Apr. 25, 2026, at 7:00 pm
Photo by Gwen Meehan - Ashleigh Allen as Liesl von Trapp and Leo Overstreet as Rolf Gruber
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Response by Maddie Bradford of St. Paul VI Catholic High School
Raindrops on roses, whiskers on kittens, and Stone Bridge High School’s Sound of Music are a few of my favorite things!
The moving and beloved tale of music, love, and perseverance was actually based on the true story of Maria Rainer and the von Trapp family in 1930s Salzburg, Austria. The musical detailing this story first began on Broadway when it opened on November 16, 1959, and ran for over 1,000 performances, achieving 5 Tony wins. In 1965, it was adapted to the film screen with a few changes to the story; the film adaptation was awarded 5 Academy Awards and 2 Golden Globes.
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The story follows Maria Rainer, a troublemaking postulant at Nonnberg Abbey, who is sent to be a governess to the seven von Trapp children. She teaches the mischievous structured children to sing and have fun, much to the dismay of Captain von Trapp. But she rekindles music and love back into his life, and after overcoming obstacles of uncertainty and choosing the right path, they marry. ​Then Nazis take over Austria, and an approaching offer from the Third Reich for the Captain to serve for them hangs over their heads. They make the tough decision to leave their home and flee to Switzerland.
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Stone Bridge’s Sound of Music cannot be praised without highlighting its performers. One truly shining performer was Addie Connor as Elsa Schraeder. Connor’s physicality radiated wealth and confidence every moment she was on stage, and her comedy was perfectly calculated. Besides her comedy, in her breakup scene with the Captain, you could feel the emotions and hurt she was feeling through her facial expressions, which added so much depth and nuance to her character. Andrew Basurto’s performance as Captain von Trapp was another emotion-packed performance. He was able to portray both Captain’s strict, distant side and his romantic, loving side. The emotional moment during Edelweiss when he broke down was tear-jerking for the entire audience and showcased the heartbreak that the Captain felt for leaving his home behind.
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Ashleigh Allen as Liesl von Trapp comes to mind when remembering beautiful emotional performances. Allen’s facial expressions in the intense moments of the play, like during the concert and when Rolf finds them in the church, were so raw and realistic. Every emotion she felt during the entire show was palpable to the audience through her facial expressions. To highlight one more performer, Jude DeWitt as Mother Abbess radiated the wise woman of old age who inspired every audience member with her beautiful rendition of “Climb Every Mountain.”
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Aside from the performers, the technical aspects of this production, like their Costumes Crew, headed by Ashleigh Allen and Aryaa Nadkarni, shone just as much. The costumes were not only visually stunning, like their floral handmade play clothes, but also historically accurate to 1930s Austrian clothing. The crew also focused on the symbolism of darker hues for the von Trapp children at the beginning and transitioned to lighter colors as the story progressed. Another technical team that highlighted historical accuracy was the Props team, led by July Meehan and Val Clements. Their dedication to historical accuracy could be seen in the 3D guns used by von Trapp and Rolf, Maria’s bag sewn to look like a 1930s carpet, and an accurate 1930s Austrian naval whistle. Their props only added to contextualize the 1930s setting and make the production feel even more realistic. Stone Bridge’s Marketing and Publicity, led by Madeline Moyer and Leo Overstreet, went above and beyond for this production. From their social media work and concentration on color schemes to their community outreach, where they had a Sound of Music-themed menu, their team did everything and more as an excelling marketing team.
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Finally, the beauty of the Sound of Music would not be experienced without the iconic score, which the Orchestra, the Nuns ‘n Roses, absolutely delivered on. Their cohesiveness was evident in every chord they played as they flawlessly executed the upbeat dancing songs and the slower emotional ones.
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Stone Bridge’s Sound of Music included the classics of the original with their own uniquely Stone Bridge additions that combined to leave the hearts of the audience filled with the sound of music and a heartbreaking so long and farewell to the performance.
Response written by Cameron Herrera of St. Paul VI Catholic High School
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From the first toll of the convent bells to the final ascent over the Austrian mountains, Stone Bridge High School’s The Sound of Music orchestrates a sweeping, heartfelt experience that proves Rodgers and Hammerstein’s classic is still just as moving as it was in 1965.
Debuting on Broadway in 1959, The Sound of Music remains one of musical theatre’s most enduring masterpieces. The story blends romance, political tension, and family strength against the looming threat of Nazi occupation. Stone Bridge’s production honors this legacy while bringing a unique new energy to the beloved story of Maria Rainer, a spirited postulant who transforms the strict von Trapp household into a loving family through music, compassion, and courage.
At the center is Ava Jones as Maria, delivering a performance marked by beautiful vocals, strong projection, and deeply intentional characterization. Jones shows Maria’s growth with an impressive nuance, shifting smoothly from wide-eyed innocence to emotional maturity. Her deliberate acting choices, especially after Maria realizes Captain von Trapp’s love, reveal an internal struggle that feels authentic and compelling. Her performance becomes the heart of the production.
Opposite Jones is Andrew Basurto, whose Captain von Trapp matches her strength with impressive poise. His commanding physicality and disciplined stage presence establish a strict and militant father figure, while his legit vocal technique brings rich authenticity to songs like “Edelweiss”. During this emotional climax, Basurto’s visible vulnerability is moving, with tears arising as he reflects on the loss of his homeland, a brilliant choice which creates one of the production’s most touching moments. His layered portrayal transforms the Captain from a strict disciplinarian to a loving father with striking effectiveness.
Addie Connor’s Elsa Schraeder brings wit, charm, and unexpected emotional depth. Her sharp comedic timing, engaging delivery, and strong vocals make Elsa more than just a social obstacle. She becomes a vital, fully developed character. Jude DeWitt’s Mother Abbess gives off wisdom and authority, combining powerful singing with a strong physical presence that feels both commanding and maternal. Meanwhile, Leo Overstreet’s Rolf Gruber impresses with dynamic movement, strong dance ability, and believable emotional honesty, especially in his chemistry with Ashleigh Allen’s Liesl.
Behind the scenes, Stone Bridge’s technical team shows artistry worthy of applause. Ashleigh Allen and Aryaa Nadkarni’s costume designs shine, from Liesl’s iconic dress to the von Trapp family’s impressive concert outfits. Ella Fantilaga’s hair and makeup work adds polish throughout, with Mother Abbess’ aged look standing out as particularly effective. July Meehan and Val Clements enhance the atmosphere with well-timed fog and emotionally driven projection, while Sophia Cardona’s student direction in songs such as “How Can Love Survive” and “No Way To Stop It” keeps the production moving smoothly, visually engaging, and often delightfully funny.
Stone Bridge High School’s The Sound of Music ultimately rises like its final anthem: bold, stirring, and impossible to overlook. Through exceptional performances, skilled technical work, and a clear respect for the material, this production brings a modern take to this timeless story, proving that even decades later, theatre that is sincere, polished, and passionately executed can still leave an audience breathless.
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Mean Girls - Loudoun County High School
Book by Tina Fey, Music by Jeff Richmond, Lyrics by Nell Benjamin
Apr. 24, 2026, at 7:00 pm
Photo by Jaxon Brown - North Shore Student Body
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Response by Jordan Brooks of Fairfax High School
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I chose to do a vlog because I thought it would be cool to put my two show Glamies weekend on film! Plus, the idea of filming a get ready with me style for my reflection at the end of the video seemed very appropriate considering we saw Mean Girls: The Musical! Social media is such a big part of the musical adaptation of the movie and to kind of wrap it all together into a vlog, something the girls of Mean Girls would totally do, seemed like a fun way to reflect on the show with my friends and teammates!
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View Video Review of Mean Girls​
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Response written by Luke Dollery of John Champe High School
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Pink, Powerful, and Packed with Talent: "Mean Girls: High School" at Loudoun County High
With strong, commanding vocals, “A Cautionary Tale” opens Loudoun County High School’s Mean Girls High School Version, immediately drawing the audience in and building anticipation for what is to come.
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Many people recognize the musical Mean Girls from the cult-hit movie, but it may come as a surprise to some that Tina Fey bases the script on the nonfiction guide Queen Bees and Wannabes by Rosalind Wiseman, which is a deep dive into the social worlds of teenage girls to help parents better understand their behavior. Wiseman’s ideas are reflected onstage through energetic musical numbers, exaggerated plotlines, and dramatic character interactions.
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As Cady Heron, Grace Allred gives a very memorable performance in the production. She portrays Cady’s rise in popularity at North Shore High, showing both her growing confidence and the changes, both good and bad, she experiences along the way. As Cady becomes more involved in the world around her, Allred reflects her shifting emotions and development through her performance. In addition, her impressive vocal control and strong mix-belt abilities stand out throughout the production, especially in pieces that require emotional power.
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A strong dynamic duo in the production is Janis and Damian, played by Emma Nicholson and Elias Kaywork. The two work seamlessly off each other throughout the show, creating a balanced and entertaining partnership onstage. Emma Nicholson delivers deadpan, sarcastic remarks that contrast well with Elias Kaywork’s cheerful, self-mocking humor. Together, their timing and chemistry add energy to every scene they appear in.
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Another standout pair is Sami Pearson as Mrs. George and Norah Lee as Regina George. The pair do an excellent job showing how Regina has flipped the parent-child relationship at home, creating one of the production’s most entertaining comedic scenes. Pearson’s expressive facial reactions and exaggerated physicality highlight this dynamic and help bring the humor of the scene to life.
One of the strengths of the show is the stage management, Kripa Pudasaini, Max Pepper, Ella Dooley, Ella Lascurain, and Stage Crew led by Bailey Blazier and Saba Faqiri, who execute smooth transitions with impressive timing. Lights shift instantly at the close of scenes, allowing actors to make quick exits and set changes to happen almost seamlessly. The audience barely has time to blink before the stage transforms from a full locker bay into a teenage girl’s pink bedroom. This efficiency works alongside the impressive stage design team, led by Eddie Moshrefi, who created strong multipurpose set pieces. These pieces are cleverly adapted with attachable flats and covers, allowing lockers to become a mattress, headboard, or party table.
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Mean Girls: High School at Loudoun County High School presents a lively and engaging portrayal of life at North Shore High. Strong vocal performances, comedic timing, and engaging character work consistently keep the audience entertained throughout the production. The combination of polished technical execution and creative set design further enhances the storytelling, allowing the world of the show to come to life in a clear and visually effective way to come to life in a clear and visually effective way.
Response written by Devin Linthicum of Fairfax High School
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Where do you Belong? At Mean Girls: High School Version, produced by Loudon County High School. This adaptation of the hit film by Tina Fey, later transformed into a musical with music by Jeff Richmond and lyrics by Nell Benjamin, follows Cady Heron, a formerly homeschooled teen suddenly navigating the complex social world of high school. When she becomes entangled with the powerful clique known as “The Plastics,” led by Regina George, Cady’s attempt to fit in quickly turns into a struggle to figure out who she really is. Loudon County High School’s production brought a nuance to the beloved story, while effectively executing the original themes of identity, belonging, and the cost of trying to fit in.
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The strength of Mean Girls: High School Version at Loudoun County High School was undeniably rooted in its standout performances. As Cady Heron, Grace Allred delivered incredible vocals filled with bold opt-ups and smart choices, maintaining a strong sense of professionalism and character throughout, especially shining in “It Roars,” which showcased both her vocal endurance and emotional control. Emma Nicholson as Janis was nothing short of remarkable, with near-flawless acting choices, a powerful Broadway-caliber voice, and a distinct tone that balanced grit with clarity, all supported by confident physicality. In contrast, as Karen, Ali Owens fully embraced the role’s charm, bringing a playful and endearing presence while delivering a standout performance in “Sexy,” backed by impressive stamina and consistent background acting. Meanwhile, Elias Kaywork as Damien introduced fresh nuances to the character, adding a new edge while remaining hilarious and vocally strong, proving to be both entertaining and exceptionally talented.
The marketing and publicity, led by Emma Barts created a cohesive and engaging campaign by leaning into the iconic Burn Book concept for their character posts, giving each introduction a distinct, personality-driven edge. Their work extended into a thoughtfully designed display board that highlighted their process, from planning and photo inspiration to editing and platform choices, emphasizing creativity and attention to detail. The lighting team, led by Brandon Sotomayor and Nick Bahlman, demonstrated a strong understanding of mood and storytelling, using color and intensity to enhance key moments while maintaining clarity and focus onstage. Meanwhile, the costume crew, led by Alexis Huber, Natalie Lund, Floyd Kiv, and Kelsey Janyh effectively captured each character’s identity, from Janis’s edgy, expressive style to Mrs. George’s over-the-top glamour, through intentional design choices and detailed planning, contributing to a visually cohesive and character-driven production. Meanwhile, the hair and makeup team, led by Alexis Huber elevated each character’s transformation with thoughtful, detailed designs that reflected personality and status, from bold, expressive looks to more polished and exaggerated styles.
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Ultimately, Mean Girls: High School Version at Loudoun County High School proved to be far more than just a familiar story brought to life, it was a thoughtfully crafted production that balanced humor, heart, and technical precision. Through strong performances, cohesive design, and a clear commitment from every department, the show captured the values of identity and belonging in a way that felt both authentic and engaging. By honoring the spirit of the original while adding their own distinct choices, this production left a lasting impression, reminding audiences that finding where you belong is rarely simple, but always worth it.
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Response written by Cameron Herrera of St. Paul VI Catholic High School
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Loudon County High School’s Mean Girls takes every high schooler’s fear of hearing the words “you can’t sit with us” and turns it into a live musical thesis on Social Darwinism in a chaotic, engaging, and meaningful performance that can only be described as “fetch”.
Originally adapted from the iconic 2004 movie written by Tina Fey, Mean Girls the musical brings a modern take to the comedic satire of high school social hierarchies and turns it into a high energy, pop-rock driven theatrical experience. The story follows Cady Heron, a homeschooled transfer student navigating the unwritten rules of her new public high school, where popularity is power and identity can change overnight. What unfolds is a comedic yet meaningful commentary that explores belonging, self-image, and the cost of conformity.
Grace Allred’s Cady Heron leads the production with a performance marked by clarity and control. Her performance was striking, with immediate stage presence, cohesive storytelling, and most notably her remarkably deliberate characterization. Allred’s use of two distinct vocal tones in her singing, one open and sincere, the other sharper and more stylized, masterfully illustrates Cady’s character arc and her transformation from an innocent outsider to a conforming “Plastic”. This choice is not only musically captivating but dramatically brilliant, demonstrating her character’s gradual loss of identity.
Emma Nicholson as Janis Sarkisian performs at an equally high level. He vocal ability stands out as one of the strongest in a high school setting, showcasing both technical command and emotional depth. Nicholson’s acting is layered and grounded, she makes each moment feel intentional by avoiding an exaggerated characterization in favor of a more truthful and resonant portrayal that moves the audience. Her performance added a profound depth to the production which elevated its emotional stakes.
Elias Kaywork’s Damian Hubbard delivers a performance that is rhythmically sharp and constantly engaging. Charismatic and confident, his absolutely hysterical reactions, physicality, and line delivery had the audience roaring with laughter. His comedic timing is precise, his reactions are finely tuned, and his vocal work enhances the humor without sacrificing musicality. The result is a portrayal that entertains and plays a crucial role in the show’s pacing and tone.
Ali Owen’s Karen Smith balances physical precision with a surprisingly nuanced emotional depth. A strong dancer with confident vocal command, she transforms a character that could easily be perceived as one-dimensional into something more profound. Her comedic instincts land perfectly, yet there remains a sincerity in her characterization that connects with the audience.
Behind the scenes, the production demonstrates notable cohesion. On the hair and makeup team, Alexis Huber, Natalie Lund, Floyd Krivoruchka, and Skye Jonsdotter execute designs that are both polished and mindful of the story. Cady’s changing looks subtly reflect her journey, and Damian’s green streaks add a vivid and eye-catching visual to the stage. The choreography team, led by Emma Nicholson, Sami Pearson, and Norah Lee, delivers numbers that are energetic, clean, and well-integrated into the storytelling. Meanwhile, Emma Barts’ work in marketing and publicity establishes a clear visual identity for the production, with choices that are unified and visually striking.
The result is a production that fully grasps its material and executes it with precision. It captures the humor audiences expect while maintaining a clear and unifying theme that connects all of the characters’ stories beautifully. Loudon County High School’s Mean Girls is more than retelling of a classic story, it is a thoughtful interpretation that brings audiences a performance that is entertaining, captivating, and expertfully crafted.
Honorable Mention
Lucas Schnotala - Fairfax High School
Naomi Isabella Bautista - Fairfax High School
Nicolas Flores - St. Paul VI Catholic High School
Maddie Bradford - St. Paul VI Catholic High School
Gabbi Burgos - St. Paul VI Catholic High School
Addams Family the Musical - John Champe High School
Book by Marshall Brickman and Rick Elice - Apr. 23, 2026, at 7:00 pm
Photo by Nicki Shepherd - The Company of Addams Family​
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Response by Bridgett Lockett of Stone Bridge High School
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Captivatingly eccentric. Frighteningly macabre. Absolutely rollicking. John Champe’s Avalon Theatre Company brought together a production so heartfelt and satirically morbid that The Addams Family delivers the perfect unexpected reminder that “love still conquers all.”
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Originally based on Charles Addams prominent cartoon strip of the same name, The Addams Family opened on Broadway in 2010 starring Nathan Lane and Bebe Neuwirth. The musical comedy follows the idiosyncratic and grotesquely-inclined family as they grapple with their eldest daughter Wednesday’s secret engagement to a painfully normal boy, Lucas, whose own father deems the Addams “creeped-out, left-wing, Spanish weirdos.”
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Expectedly, the union of these two contradictory families is far from seamless, leaving Gomez Addams to pick up the pieces. Chase Maxwell fulfills the role of Gomez Addams with the passion of a latin lover and the humanity of a father witnessing his daughter coming of age. In “Trapped,” Maxwell exhibits both humor and heart as Gomez struggles between loyalty to his wife and promises to his daughter.
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Opposite Maxwell is the talented Imani Merryman as Morticia Addams. If Maxwell is the heart to the Addams family, Merryman is the knife. She characterizes Morticia with a cold resolve and a sharp tongue. Merryman says grim lines like “life is a tightrope and the other end is the coffin” with such wry delivery, the audience isn’t sure whether to laugh or recoil–it’s this reaction that makes her so memorable.
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The ghoulish atmosphere of this production was manufactured by set designer Chase Mulholland who had the ambitious task of creating a set that could contain all the bizarre and nightmarish personalities in the show. Mulholland more than stepped up to the plate, building a massive Victorian-inspired two-story set piece accentuated with maroon furnishings and a myriad of intricate details including hand-stencilled patterned wallpaper. The set truly looked like it was haunted by more than just the Addams.
The iconic pigtailed menace, Wednesday Addams, was played by the masterful Caroline Chatman. Chatman is a vocal powerhouse, performing songs like “Pulled” and “Crazier Than You” with authority, clear annunciation, and an effortless belt. Throughout the show, Chatman wavers between buoyant and masochistic, mirroring Wednesday’s identity crisis and showing off Chatman’s acting chops.
Costume leads Charlotte Long and Aki Myrick also deserve praise for taking an entirely black and white color palette and making it engaging. These two talented young women paid homage to the 1960s TV series adaptation while adding their own unique twists like draping actors in hundreds of grayish fabric strips. This duo even consulted ensemble members who played ancestors about how they viewed their character’s life so as to construct over fifty individual ancestor costumes ranging from flappers to puritans.
Uncle Fester, played by Ethan Luberecki, is a scene-stealer. Luberecki is the type of actor for which the phrase ‘commands the stage’ was originally written. He is a natural performer who shows no hesitation in being absolutely ludicrous straight out of the gate by dancing on the ancestor’s graves–and boy can he jive! Luberecki’s character voice is a comedic firecracker, cracking even the most jaded audiences.
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Fester, a hopeless romantic, falls madly in love with the moon. Luberecki’s serenade “The Moon and Me” is both hilarious and unexpectedly beautiful, thanks to the talented choreographer Caroline Chatman. For a musical so focused on death, Chatman brings so much life with dance numbers like “One Normal Night” and “Full Disclosure,” featuring styles as diverse as ballroom dancing and the tango.
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Whether “living, dead, or undecided,” John Champe’s production of The Addams Family will leave audiences laughing, loving, and partying like they’re six feet under.
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Response written by Savonah Thomas of Tuscarora High School
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A family's fearful patriarch risks losing everything when forced to embrace change, sparking chaos during a crucial, doomed to fail dinner gathering. With the Ancestors, and Fester, watching from the shadows to ensure love prevails, the living must confront their deepest fears about modernization and individualism. Through dramatic revelations and spectral intervention, two wildly opposite families ultimately find understanding and acceptance.
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The Addams Family was originally created by cartoonist Charles Addams in 1938. He drew over 150 unrelated, single-panel cartoons for The New Yorker. The characters were largely unnamed until the 1964 television adaption. During the year 1964, the ABC sitcom gave the characters their familiar names, and introduced the iconic snappy theme song. In the years following, Hanna-Barbera produced the very first animated series in 1973, followed by a second animated series aired in 1992 following the success of the more dark and cinematic 1991 movie that finally gave them their iconic name, The Addams Family, originally interpreted by figures like Raul Julia and Anjelica Huston. The story was finally adapted into a musical comedy featuring the story of Wednesday growing up and getting married. The musical’s plot takes place in Central Park, New York at the Addams Family mansion. In their Central Park mansion, the Addams family’s macabre life is upended when a grown-up Wednesday falls in love with Lucas Beineke, a "normal" boy from Ohio. After Lucas proposes, Wednesday begs Gomez to keep the secret from Morticia, causing a rift of distrust between the parents as they host the Beinekes for dinner. Meanwhile, Pugsley, fearing that his sister’s marriage will end their days of mutual torture, steals a potion called Acrimonium from Grandma to sabotage the romance. He plans to slip it to Wednesday to bring out her dark side and scare Lucas away, but during a game of "Full Disclosure," the plan backfires when Alice Beineke drinks the potion instead. Her sudden, unfiltered honesty causes both families to fall apart, yet the chaos eventually leads to a heart-to-heart between Wednesday and Gomez. This allows the young couple to prove their trust, inspires Mal and Alice to rekindle their marriage, and helps Pugsley accept his sister's growth. Ultimately, the families learn to embrace their differences and the inevitability of change.
The show had some truly amazing and heart wretching actors. Gomez, depicted by Chase Maxwell, showed extreme character depth. His accent was spot on and so was his sword movement. It truly felt like watching the true Gomez Addams. The best moment for Chase was his song “Happy Sad” with Wednesday. The emotions portrayed were just that of the song, and in addition with his amazing physicality had the audience weeping in their seats. Aside from that sappy side of Gomez’s character, Chase portrayed his intensity just as well. “Not Today” had the audience flabbergasted both because of sheer vocal technique and storytelling. Another heart jerker was none other than Aries Janardhan, the actor playing the role of Mal Beineke. Aries really gave Mal that character shift that is not done well by most. The difference between that stern, work burdened man, and that guy with the grateful dead t-shirt really stood out and made a huge impact on the audience. He brought everyone on an eventful emotional roller coaster, eventually becoming a loving dad again and resembling that of who he used to be. Speaking of a guy just having fun, Uncle Fester was the most fun of them all. Fester, played by the actor Ethan Luberecki, was so weird and the audience LOVED it. Every instance he was on stage had the audience laughing in their seats. Ethan included that sweet Fester feeling along with Fester’s overall cookiness in perfectly balanced amounts and had the audience gauking. His best moment was definitely his trip to the moon and his quick trip out of the auditorium. Lurch was also an extremely comedic character in John Champe’s Addams Family. Lurch was portrayed by Jack Thiessen, and he took advantage of his 5 minutes of fame. From him breaking it down while introducing himself to the Beineke’s, to swiftly sword fighting and somehow coming out victorious against Gomez, Jack played every scene with true thought and consideration of just exactly how to play Lurch. All of these actors did a phenomenal job of knowing their characters, what they were doing, and why they were doing it.
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The set, created by Chase Mulholland, was absolutely brilliant. Having Gomez’s Catacombs be a part of the overall space to conserve space, time and energy was absolutely amazing, not to mention it wasn’t obviously there until it was put away after Mal and Gomez’s man cave moment. Not to mention how soundless it was, which made viewing the show just that much more beautiful. I also really enjoyed the attention to the dark toned coloration, specifically making red less of a warm and blaring color, as well as the wallpaper detailing. Speaking of attention to detail, the costuming team, led by Charlotte Long & Aki Myrick did an amazing job at giving each ancestor their own uniqueness. The golden/beige accents on each member's costume were absolutely amazing and made each ancestor just that much different from one another. From the conquistador ancestors period accurate hat, to the stunning sequence on the flapper girl ancestor’s dress that really made her character pop. What really made all the costumes pop was the immaculate lighting done by Everett Kim and Kasper Martin. The lighting made all the costumes and contrasting colors pop on stage, giving everyone their own silhouette but still creating a beautiful picture. The spotlights were especially captivating, the lighting crew knew exactly where to keep the spotlights on the actors, and the actors found their light without issue, excellent communication. A last but certainly not least mention is the prop team, led by Aadya Prasad & Nancy Weng. They created the rocket that sends Fester up, up, and away to see the love of his life, the moon. The swords and knives also utilized by Gomez were also amazing. They were so realistic yet so practical. The swords were rubber, therefore not noisy, allowing for perfect combat scenes.
In summary, John Champe’s Addams Family was exceptionally eccentric and showed how people go through change differently and will ultimately experience acceptance, even if it means an awkward family dinner. Through a journey of picking sides, losing both, and finding a compromise, the musical shows how embracing differences will always work out, even if it seems a little spooky.
Response written by Piper Nicklas of Tuscarora High School
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A haunting chorus of deceased family members floods the stage, each one more ghostly and gothic then the next. Out of the smoke and darkness appears the Addams, each family member unique with personality and flare. John Champ's Addams family is filled with laughter, tears, and heartwarming moments.
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Addams family is a hilarious musical adaptation of the well known characters from Charlie Addams cartoons, and eventually from television adaptations. The musical opened in April 2010, and was a huge success because of the popularity of the movies and television shows. Unlike the cartoons, the musical follows young and deadpan Wednesday Addams as she falls in love with Lucas Beineke, a “normal” boy from a respected family. After Wednesday confides in her father Gomez about her secret engagement, the story climaxes as both families meet for dinner and their vastly different cultures clash and erupt in chaos.
John Champ's performance was infectious and enthralling, and they bring the classic characters to life through their detailed technical decisions and energy on stage. From vocals to set design to dancing the cast of Addams Family brought hilarious comedy and heartfelt moments.
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Leading the cast was Chase Maxwell as Gomez Addams, the eccentric and passionate patriarch of the family. Maxwell’s powerful and precise vocals in “Not today” and “When you're an Addams” helped him command the stage. Maxwell navigated all of Gomez’s emotions, from his internal conflict to comedic timing; it gave a sense of realism to the character. In the song “Happy/sad” he shows the bittersweet side of the character through soft beautiful vocals with his co-star Caroline Chatman as Wednesday Addams. Chatman embodied the role of Wednesday through her internal physicality and beautiful tone in the song “Pulled”. Chatman also had impeccable chemistry with love interest Lincoln Smith who portrayed Lucas Beineke. The sweetness and loveable aspect of the character was captured perfectly by Smith who made honest and hilarious choices. Smith's impressive vocal agility and precision blended beautifully with Chatman's, as the two sang the duet “Crazier than you”. Another actor who stands out was Jack Thiessen as Lurch, who used exquisite physicality and comedic timing to draw the audience in, and used powerful dark vocals in the song “Move towards the darkness”.
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Set design head Chase Mulloholland worked to create the gorgeous and astoundingly realistic set. The two story house was built through an incredible intention to detail shown through the hand painted wallpaper pattern and holes in the walls for the ancestors to make appearances in. The dark wood on the walls and the different shades of purple matched the gothic historical setting of the movie. The set was accentuated by the brilliant props leaders Aadya Prassad and Nancy Weng, who used papermatchet and cardboard to build props like the rocket ship and bird that matched the eccentric feel of the family.
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Leading the cast and crew was stage managers Caleb Watson and Rachael Lenderman, who used software systems like Procreate and their own organization systems to keep detailed written blocking. By doing consistent safety checks and by using spike tape they were able to ensure the safety and comfortability of the cast and crew. Another outstanding technical element was the hair and makeup lead Breanne O’Reilly. O’Reilly used thought out hair designs like Wednesday Addams iconic twin braids and the ancestor wigs to take inspiration from the 1960’s television series. The beautiful and ghostly makeup for each ancestor was precise and consistent, while adding unique details to each individual character.
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All in all, John Champ's performance of the Addams family excelled in both performance and technical elements. The cast's beautiful story telling showed the true message of the Addams family, of love and acceptance.
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Response written by Naomi Isabella Bautista of Fairfax High School
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“It was a dark and stormy night” is the most classic beginning to any horror story, but for the Addams of John Champe High School’s production of The Addams Family, their night of horror starts with some things that are even scarier: a poem, a bouquet of flowers, and a yellow dress.
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Inspired by Charles Addams’ beloved comic strip of the same name, The Addams Family musical found its home on Broadway in 2010, and the school edition has become a well-loved staple in the world of high school theatre. The story chronicles the story of the gothic and unconventional Addams Family and their interactions with the all-too average midwestern Beinekes. When the families’ children, Wednesday and Lucas, fall madly in love, it is up to their parents to try and reconcile their differences for the sake of their children. However, secrets, potions, and one disastrous dinner party turns their night to anything but normal.
Equipped with a Spanish accent, sensational sword skills, and a singularly kooky personality, Chase Maxwell’s interpretation of patriarch, Gomez Addams, was simply spectacular. The consistency in Maxwell’s rich vocal performance in songs such as “Not Today” as well as in Gomez’s outlandish yet incredibly genuine fatherly character established the actor as the steadfast rock of both the family and the show as a whole. While Maxwell thrived when playing with the peculiar character’s sharply timed comedic bits, a more tender, grounded side to Maxwell’s Gomez emerged in sentimental scenes opposite Wednesday (Caroline Chatman). Chatman’s portrayal of Wednesday exemplified a young girl torn between loyalty to her family and loyalty to her love. Balancing Wednesday’s smitten attempts to accommodate the Beinekes, sweet, romantic moments with the charmingly dorky Lucas (Lincoln Smith), and her character’s more traditional offbeat traits, Chatman navigated the extremes with ease and specificity.
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The Addams Family would not be the same without a few kooky relatives, and St. Andrew’s Episcopal showed no lack of them. Uncle Fester, played by Ethan Lubrecki, was an absolute delight throughout the show. Whether frolicking across the stage or ad-libbing with utter comfortability and confidence, Lubrecki showcased the perfect oddity to match with such a famously abnormal family. Whether in Fester’s declaration to his one true love (which was the moon, of course) or in scheming with the ancestors of Addams past, Lubrecki’s gleefully contorted facial expressions and snide, fourth-wall breaking comedic choices added an exuberant levity to the show that reached to the stars and beyond.
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Helping to craft the Addams’ weird and wonderful world was John Champe High School’s technical lineup. With sharp precision, stage managers Caleb Watson, Rachael Lenderman and the Avalon Management Team executed cue after cue with rigor. They ensured that elements dependent on multiple aspects working together (such as the lights and sound of various thunder strikes) were cohesively timed. Dressing the Addams in their typical flair was the costumes team (Charlotte Long, Aki Myrick and the Avalon Costume Team), whose work with colors—putting the Beinekes in sunny yellows and posh pale blues, as opposed to the old-fashioned noir of the Addams—furthered the contrast between the families. Moreover, the Ancestor ghosts were all fully outfitted in period-specific pieces like samurai armor and towering princess wigs.
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In just two snaps of the fingers, John Champe High School’s production of The Addams Family brought audiences to a world where love can conquer secrets, lifelong burdens, and the most terrifying of all, family.
Honorable Mention
Justin Goodhart - Loudoun High School
Lyla Malik - Tuscarora High School
Ella Jones - Tuscarora High School
Marc Buzzell - Tuscarora High School
Nicolas Flores - St. Paul VI Catholic High School
Disney's Frozen - Tuscarora High School
Music and Lyrics by Kristen Anderson-Lopez & Robert Lopez
Apr. 19, 2026, at 2:00 pm
Photo by Dave Chaplain - Left to right: Piper Nicklas as Anna, Beckett Daigle as Priest, and Maggie Larson as Elsa and ensemble in "Dangerous to Dream"​
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Response by Ashnil Dasan of Heritage High School
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I have been doing video reviews for a while now and have become accustomed to the process. Overtime, I have learned to better understand why I prefer expressing my reviews through vlog form rather than a written response. Firstly, I feel I can more easily express my candid thoughts, opinions, and reactions, allowing me to more deeply explore the themes and choices seen throughout a show. For Frozen, this was amazing because the magic that was created through the performance was very raw, and best shown on camera. Using a video format, I was able to better represent my emotions due to the performers and technicians' interpretation. Secondly (this is universal for all shows, not just Frozen), I believe that the company of the performing school is more excited and happy when they see a video response. Seeing a candid form of review rather than a structured written piece can sometimes come off as more genuine and relaxed, allowing students from the performing school to enjoy and smile while watching the review. In terms of creative choices, my vlogs are all structured the same, but for the intro and outro card, everything is themed to Tuscarora High School's colors for a cohesive final product. I also added a frozen overlay this time around to theme it more to the show. I also was able to shorten my overall video time down by about 5 - 7 minutes! This has been recurring issue for me, so I hope the shorter version is more succinct, as I was attempting to take into account past feedback.
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Response written by Maggie McBride of Rock Ridge High School
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The moment the lights dimmed and the first shimmer of ice spread across the stage, Tuscarora High School’s “Frozen” transformed the theater into a world where magic felt not only possible, but deeply human.
"Frozen" centers on the bond between sisters, Princess Anna and Queen Elsa of Arendelle. The plot follows Elsa, who has uncontrollable ice manipulation powers and accidentally thrusts Arendelle into eternal winter. She flees her kingdom, leaving the fate of Arendelle in Anna's hands. Anna embarks on a treacherous journey to save her sister and the future of her kingdom. Will Arendelle wake to sunshine or a frozen statue of their beloved princess? This musical examines themes of self-discovery, sisterhood, and overcoming fear. The show began as a Walt Disney Animation Studios movie released in 2013. It immediately garnered massive success, becoming the first billion-dollar hit for Disney. Later, in 2018, the first professional stage production of "Frozen", developed by Disney Theatrical Productions, opened on Broadway and soon became available for licensing through Musical Theatre International.
Tuscarora High School's cast of "Frozen" did not fail to capture the show's bright spirit and bring it to life. Princess Anna (Piper Nicklas) truly embodied her optimistic, connection-craving character. Nicklas' extroverted and unwavering loyal portrayal of Anna shone through even after her heart was frozen. Meanwhile, Olaf (Ella Jones), a loveable, magical snowman brought to life by Elsa's powers, gave a standout performance, showcasing her dramatic range, not to mention her bright, shining vocals during "In Summer". Jones' performance was both compelling and believable, truly capturing Olaf's quirks, passion for summer, and willingness to do anything for the ones she loves. Additionally, Young Anna (Cassy Morgenthau) commanded the audience's attention with her 100% consistent stage presence and undeniable, magnetic, childlike charm. Pabbie (Samuel Mbia), a benevolent troll leader with magical healing powers that unfreeze Anna as a child, chilled the audience with his vocal performance during "Fixer Upper" and when healing Anna. Mbia's low bass notes were hauntingly rich and grounded any scene he was in.
What would a musical be without its behind-the-scenes heroes creating the atmosphere? Throughout the show, the lighting was a strong point. Specifically, the strategic use of white light focused on Anna and Kristoff, a mountain man who turns out to be Anna's love interest, in "What Do You Know About Love", helped create an intimate mood, mirroring the idea that Anna and Kristoff are alone and in love in their own little world. The lighting design, led by Adeline Dugger and Samantha Walker, and the sound design, done by Irene Shuai & Aria Matthews, masterfully highlighted crucial moments within the storyline and developed the setting. Additionally, the hair & makeup, done by Lynn Dodds, Rebekah Joseph, and Ella Jones, felt like a logical extension of the characters' overall personalities, showcasing the designers' in-depth understanding of each role. In particular, Anna's bedhead wig, in contrast with her neat princess wig, shows her true chaotic, relatable nature, which is often concealed by a more polished front. Furthermore, the puppetry and props masters, Lucie Turner and Piper Nicklas, truly created so much of the world that the audience saw. From the bicycle and painting props used in "Do You Want to Build a Snowman," which created so many cute, comedic moments for Young Anna, to the jaw-dropping puppets that brought Olaf and Sven (Kristoff's pet reindeer) to life, these true masters did not disappoint.
From this production's thought-provoking exploration of deep themes of love and embracing one's true self to its catchy melodies that left the audience dancing in their seats, Tuscarora High School's production of "Frozen" left a lasting impression long after the lights dimmed.
Response written by Reese Gabrielle Cortez of Heritage High School
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Goosebumps come not from the chill of the North Mountain, but from the electrifying talent of Tuscarora High School’s Frozen: The Broadway Musical.
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Originally released as a Disney animated film in 2013 and inspired by The Snow Queen, Frozen draws from Scandinavian culture, weaving influences into its storytelling and design. Set in Arendelle, the story follows Princess Elsa, who struggles to control her ice powers, and her sister Anna, who longs to reconnect after years of emotional distance. When Elsa’s abilities are revealed, she flees, leaving Arendelle trapped in eternal winter as Anna sets out to bring her home and restore their bond.
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As Anna, Piper Nicklas delivers a vibrant and physically expressive performance that captures both comedic charm and emotional sincerity. In “For the First Time in Forever,” her cheery movement and restless energy reflect Anna’s excitement. In “Do You Want to Build a Snowman,” her shifting physicality across time highlights growing loneliness and persistence. Later, in “I Can’t Lose You,” her grounded determination reflects her emotional growth and urgency.
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Maggie Larson commands the stage as Elsa with strong vocals and controlled physicality. During the coronation, subtle tension in her posture reveals her effort to conceal her powers, while her gradual loss of control builds into a powerful transformation that feels both vulnerable and earned. Her restrained early presence contrasts sharply with her emotional release in “Let It Go,” emphasizing Elsa’s internal conflict.
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As Young Anna, Cassy Morgenthau provides a lively and engaging start to the production. Her energetic movement and expressive physicality in “Do You Want to Build a Snowman” establish both innocence and emotional persistence, creating a strong foundation for Anna’s arc while mirroring the older portrayal.
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George Pippen portrays Hans with polished charm and controlled physicality, making his shift throughout the story especially striking. In “Monster”, his warm vocal tone and composed demeanor initially contrast Elsa’s fear-driven isolation, but gradually reveal a more calculated presence, heightening tension in his interactions with Elsa.
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The ensemble plays a crucial role in shaping Arendelle, maintaining consistent energy and detail throughout. In “Fixer Upper,” overlapping movement and character work create a strong sense of community, transforming the stage into a lively village. They also heighten moments of tension, especially as snow during Anna’s search for Kristoff, where sharp movement intensifies urgency.
The choreography done by Luke Pierce and Kate Anderson, blends ballet and contemporary movement while prioritizing safety in lift-heavy sequences. In “Let the Sun Shine On,” the ensemble shifts fluidly between wind, ice, and townspeople using lyrical movement. A standout moment occurs during the King and Queen’s death, where wave-like choreography builds into a soaring lift that represents nature’s force.
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The creativity team of Parker Mejias and Allan Edwards enhances the production through layered projections and animation. Hand-drawn sketches evolve into cohesive backgrounds across nearly twenty scenes, with animated effects like Elsa’s ice powers and ice castle seamlessly integrated.
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Props by Lucie Turner and Piper Nicklas are designed with realism and safety, especially in the construction of Olaf and Sven. Lightweight materials such as cardboard and felt ensure ease of movement, while collaboration with actors allows for functional use throughout the show.
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Costumes created by Katie Brunton, Caitlyn Guymon, and Cassy Morgenthau, are drawn from Scandinavian knit patterns, embroidery, and snowflake motifs, reinforcing character journeys. Elsa’s transformation is highlighted through her glittering ice dress, while onstage costume changes add theatrical fluidity.
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Through cohesive performances and immersive design, Tuscarora High School’s Frozen builds a world that is both magical and emotionally grounded. Like snow slowly gathering into form, the production becomes something striking, unified, and full of heart.
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Response written by Nancy Weng of John Champe High School
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A flurry of magic has brought this tale of sisterhood here. “Open up the gates” and arrive at Tuscarora High School for their production of Disney’s Frozen the Musical!
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Based on the highly popular animated film, Frozen the Musical premiered in Denver in 2017 before taking its place on Broadway in 2018. Written by Jennifer Lee and composed by Kristen Anderson-Lopez and Robert Lopez, this show follows the story of two sisters. Elsa and Anna grew up isolated from the world and distant from each other, until Elsa’s coronation day arrived. There, Elsa’s magical powers that she’s desperate to hide is revealed and transforms the kingdom of Arendelle into a snowy town. Anna now has to set off into the mountains in order to find Elsa and bring her home, meeting new friends along the way.
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As the curtains open and the kingdom of Arendelle comes into view, the audience is introduced to the two sisters. Young Anna, played by Cassy Morgenthau, brings joy and childlike energy to the character when with her sister, Young Elsa (Avery Smith). The relationship between these sisters feel real, with both of them building off of each other’s energies and individual choices. With Morgenthau’s strong comedic timing and Smith’s caring interactions, the two set the scene for the sisters’ relationship.
The older versions of the sisters become much more different from each other. Anna (Piper Nicklas) continues the optimistic energy from Young Anna, while Elsa (Maggie Larson) becomes much more mature and closed off. Larson’s powerful vocals drive Elsa’s emotions throughout her songs, such as “Let it Go”. Larson’s voice starts off smaller, with fear and defeat evident. As the song progresses, Larson grows bolder as Elsa realizes her newfound freedom, ending the song with a strong finish.
In contrast, Nicklas’ exaggerated movements and well-timed humor engages the audience with the story. Throughout songs such as “For the First Time in Forever” and “Love Is an Open Door”, Nicklas brings a lovable charm to Anna through her awkward nature and clumsy moves, yet still showing Anna’s selfless nature.
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Behind the scenes, the technical elements enhance the production’s story. The beautiful projections (Parker Mejias & Allan Edwards) set up the scene for each of the different settings. From sunshine to snowfall, the scenic design team created eighteen to twenty different backgrounds to bring the magic of Arendelle to the audience.
The lighting of the show reflected the emotions and themes of each of the different scenes, with the Hidden Folk being green and blues used for songs such as “Let It Go”. Additionally, the use of spotted lights for Elsa’s magic is particularly clever in order to bring the magic into the auditorium.
The many different wigs used in this show is incredible, showing a true dedication to each feeling, from Anna’s bed hair to Elsa’s iconic braid. The hair and makeup team (Lynn Dodds, Rebekah Joseph, Ella Jones) also created distinct makeup looks for each character, reflecting the different places each character is from.
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Frozen the Musical at Tuscarora High School celebrates the themes of friendship and family. This show is full of the contrasts between different characters, but also how these contrasts bring the characters together. The collective efforts of the cast and crew brought a magical experience for people of all ages to enjoy.
Honorable Mention
Jude DeWitt - Stone Bridge High School
Ashleigh Allen - Stone Bridge High School
Emma Angel-Wallen - Rock Ridge High School
Aayesha Johri - Dominion High School
Ava Jones - Stone Bridge High School
Reese Gabrielle Cortez - Heritage High School
Lola Haynes - Heritage High School
Leo - Stone Bridge High School
Bridget Lockett - Stone Bridge High School
Clue (High School Edition) - Park View High School
by Jonathan Lynn and Sandy Rustin - Feb. 6, 2026, at 7:00 pm
Photo by Mary Rose Lunde - From left to right: Yuta Ratana, Sami Wilson, Jeffry Avelar Bonilla, Sophie Morris, and Jirro RUiz​
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Response written by Justin Goodhart of Loudoun County High School
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A door slams, thunder rumbles, and six suspicious “strangers” suddenly realize they have stepped into a living puzzle where every glance matters and every laugh leaves a trail behind. Clue: High School Edition, written by Sandy Rustin, transforms a mystery, familiar to many from the 1943 Parker Brothers boardgame or the 1985 movie by the same name, into a lively theatrical adventure that immediately captures attention. From the first moment, the audience is invited into a world where secrets carry weight, humor drives the action, and every scene promises another surprise. Tonight, the shadowy halls of Boddy Manor wind through Park View High School in Sterling, Virginia, home of Patriots Theatre, which provides an ideal venue for this fast-paced comedy. The 1976-era theater offers clear sightlines and strong acoustics, creating an atmosphere that feels exciting. The more intimate space encourages a close connection between performers and audience. It is a place where the community is close, and this production makes full use of that potential.
Set in the shadowy halls of Boddy Manor, the story follows a group of guests summoned for mysterious reasons and soon bound together by blackmail and murder. As accusations fly and alliances shift, the characters race to uncover the truth before danger strikes again. Beneath the rapid-fire comedy lies a layer of historical and social context. References to Cold War paranoia appear through themes of suspicion, hidden identities, and fear of exposure. Characters worry about being “found out,” echoing a time when rumors and accusations could destroy reputations. These elements deepen the mystery and give the audience the opportunity to explore how even comedy can reflect on serious moments in history. By weaving in references to McCarthyism and Mr. Green’s sexual identity, the play becomes more than a farce. It becomes a meaningful experience well guarded by laughter.
The cast embraces these layers with confidence and charm. Lead actor Laura Spradlin Valdez as Wadsworth commands the stage with sharp timing and expressive storytelling, guiding the audience through the chaos with clarity. In another leading role, Sophie Morris as Miss Scarlet brings poise and playful mystery to every entrance, blending wit with quiet intrigue. Supporting actor Yuta Ratana as Mrs. White fills the theater with quippy but potentially murderous intent, turning each reaction into a memorable moment. Complementing her role, supporting actor Jeffry Avelar Bonilla as Professor Plum delivers comedy through absent-minded academia and hints of disgrace. Featured actors Kiersten Bacon as Mr. Boddy and Maple Moe as the Chef round out the ensemble, creating a constantly shifting network of suspicion and humor that keeps every scene engaging.
Behind the scenes, the technical team deserves recognition. Keira Payne (Dramaturgy) ensures a cohesive, historically poignant subplot that helps actors and audience alike understand what else is going on beneath the laughs. Joni Andrus (Lighting Lead) shapes the mood with careful attention and perfectly timed lighting transitions, supporting suspense and comedy throughout the performance. The team of Laura Spradlin Valdez, Nour Mandoudi, and M. Maroney (Sound) enhances key moments through crisp effects and carefully balanced audio that immerses the audience in the world of Boddy Manor. Sophie Morris and Thanh Hoang (Costumes) bring the characters to life through minimalistic costumes that are both sophisticated and accurate to the time period.
By the final curtain, it is clear that this production of Clue: High School Edition is more than entertainment. It is a thoughtful blend of comedy, history, and heart. Through strong performances and dedicated technical work, the Patriot Theatre transforms a familiar mystery into memorable, honest storytelling.
Response written by Camilla Anghelone of St. Paul VI Catholic High School
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Based on both the board game and the 1985 cult classic of the same name, the hilarious murder mystery that is Clue is a high-energy and mysterious play that leaves audiences on the edge of their seats and simultaneously crying from laughter. Set in Washington D.C. in 1954 during the Red Scare, Clue features six guests arriving at a mansion, Boddy Manor, under false names. After some time, the audience is made aware that Mr. Boddy has been blackmailing them six, and chaos ensues after Mr. Boddy is murdered, with each guest in addition to the butler, Wadsworth, races against time to unveil the killer along with the murder weapon and location. Similarly to the film, the play features multiple endings with a shocking final twist. Park View high school’s rendition of Clue perfectly encapsulates the play’s essence, setting a very high standard for every production that succeeds it.
Laura Spradlin Valdez as Wadsworth brought a fresh and hysterical take on the character that was extremely admirable. Valdez’s ability to portray the character as silly, carefree, and oblivious and then suddenly change with the play’s unexpected ending and perfectly demonstrate Wadsworth’s cunning and manipulation was beyond impressive, making the ending all the more shocking. In addition, Valdez’s commanding stage presence led to an unforgettable and involved experience for every member of the audience, with all of Valdez’s character choices and line deliveries being unique and memorable.
It is impossible to forget Samara Wilson as Mrs. Peacock, such an eccentric and slightly unhinged character played by Wilson perfectly. Expertly showing Peacock’s battiness and blunt nature, along with strikingly strong decisions to fit the character, some of Wilson’s most memorable moments were actually in her unspoken side interactions with other characters, clearly displaying her deep understanding of the character as a whole.
Jirrio Ruiz superbly conveyed the laughable denseness of Colonel Mustard, delivering each line with ease and impeccable comedic timing. With a character voice and bodily physicality to perfectly match the age and personality of the Colonel, Ruiz was fully his persona 100% of the time, not breaking for even a split second and creating an ultra-realistic and thoroughly enjoyable experience for the viewer.
The sarcastic and dry-humored character of Miss Scarlet was unmatched, played by a sassy and charismatic Sophie Morris. Bringing a more nuanced sense of humor, Morris’s portrayal was a driving, confident force that was essential to the show, and nothing short of a spectacular take on such an iconic role.
One of the most prominent technical features of the show was the incredible lighting under the direction of Joni Andrus. At the very beginning of the show, each of the main six characters moved across the stage in darkness and took a place; then, as each posed, a light that correlated to their name highlighted them, creating the perfect intro to the rest of the performance. Additionally, the lightning strikes throughout created a realistic stormy clime and darker versus lighter and warmer versus cooler toned lighting depending on the room was extremely clever and impressive. The work put into the lighting was extremely evident. Precise planning and intentionality is also marvelously obvious in the sound, designed by Laura Spradlin Valdez, Nour Mandoudi, and M. Maroney. One of the most prominent inclusions of sound was in the transition music between each scene, which differed between every scene and perfectly matched what had just happened previously, or what was supposed to be happening in each transition, such as the characters walking around the manor in search of clues. The thunder rumbling at different times throughout the performance, as well as the sound of rain, were at just the right volume to feel real; it truly sounded like a rainstorm was occurring just outside.
The costumes, predominantly those of the six party guests, were flawlessly executed by Sophie Morris and Thanh Hoang. Cleverly, each of the six wore a black and/or white base with a pop of color, matching the play’s “Film Noir” theme exceptionally. The blood pack worn by Wadsworth was also beyond innovative, with careful consideration put into the longevity and practicality, using two shirts so that one could be easily washed and reused.
This impeccable quality is also seen in the dramaturgy, spearheaded by Keira Payne. Careful thought and awareness of the time period was evident throughout the performance, one of the most fascinating being the flower language used in harmony with Mr. Green’s character; the sprig of lavender to represent solidarity and empowerment along with the green carnations that, at the time of the play’s setting, were typically worn by gay men to signify their sexual orientation, was such a subtle yet absolutely brilliant addition.
Clue is a show that is not only funny beyond words, but is also deeply nuanced and contains themes and references that require careful thought and professional execution if the full effect is to be realized. However, Park View High School brought a whole new level of both polished acting performances and stunning technical developments to this show, leaving the audience with a desire to watch again and again.
Response written by Lucy Adair of Heritage High School
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Five colorful Guests, four claps of thunder, three house staff, two secret passageways and one missing host. Then the game is set to commence onstage in CLUE High School Edition at Park View High School. Based on the 1949 game and the 1985 film of the same name, CLUE is a comedic murder mystery that follows guests as they enter the manor of the elusive Mr. Boddy, each there to settle a certain "financial liability" as the night goes on, though they will have more to worry about.
As the lightning flashes, the lights dim and the music begins, the opening silhouette of CLUE sets the immediate tone of tension. Clever and exact lighting designs pull in the audience's attention through both their elegance and timing. Led by Joni Andrus, Patriot Production's lighting team worked extensively to create appropriate intensities and ambiance for each room of the large Boddy manor. Alongside these intricate lights, a standout edition to the environment is the creative set built by a team composed of M. Maroney, Evelyn Carlile, and Max Cruz Palacios. With each scene of the show comes a unique room decked out in decor and furnishings. From the painted books of the library to the pool supplies in the billiard room, the team put detail into every fine line. These details were created in collaboration with their informed dramaturgy team led by Keira Payne and they kept the show grounded, ensuring that each addition to the staging was both interesting and authentic to the story they told.
As the show progresses and the chaos gets crazier, there is almost never a moment of silence from the audience. The cast of CLUE have such an intoxicating energy about them that their chemistry allows every joke to land. Among this incredible cast is Samara Wilson, playing Mrs. Peacock, a proud and involved politician's wife. Wilson takes this role from its roots and brings it to new levels with her comedic timing, impeccable vocal choices and physical comedy throughout the show. Similarly, Laura Spradlin Valdez, playing Wadsworth, also dedicates to the physical comedy, playing into the absurdity of each twist and turn of the script and divulging into the most entertaining chaos to hit the stage since the line before.
Beyond the guests, though, what makes the show special beyond belief is the featured actors of the show, including, but not limited to, characters such as Kiersten Bacon (Mr. Boddy) and Maple Moe (The Cook). Although the two don't share a scene (as living characters), they are comparable in energy and confidence on-stage. Bacon's performance as Mr. Boddy is both intimidating and comedic, with character choices taking the forefront of the performance, not to mention the… spoiler alert… excellent posture and flail-ability as a dead body. Moe also embodies a true dead body throughout the show. However, the most impressive performance was in the audiences' introduction to the show. Nothing could be more intimidating than that Cook holding a Sharp Knife.
Don't be too intimidated by these actors though, because at the heart of Patriot Production's CLUE, comedy and joy take the spotlight through the collaboration of all of their departments. So, don't wait, grab a magnifying glass and see if you can solve the mystery before you laugh out loud at Park View High School's CLUE High School Edition.
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Response written by Charlotte Prine of John Champe High School
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A dead body? A rope? Many suspects? Clue (High School Edition) at Park View High grabs the audience immediately. Bright, dramatic lights highlight each character. Based on the 1985 Paramount film and the classic board game, the play is a funny, suspenseful murder-mystery. Six guests gather at Boddy Manor for dinner and must figure out who killed their host. From the first shocking death to the final reveal, the audience is guessing and laughing. The characters, using secret names like Mr. Plum, Colonel Mustard, and Miss Scarlett, add to the excitement.
As the guests arrive, the mystery unfolds quickly. The cast reacts naturally to every word, sound, and dramatic moment, making the story immersive. Jeffry Avelar Bonilla, as Professor Plum, delivers perfect timing and body language. Samara Wilson, playing Miss Peacock, shows confidence and drama that fit her role. Jirro Ruiz, as Colonel Mustard, mixes humor and suspense, keeping the audience laughing and on edge.The Butler/Wadsworth presented by the one and only Laura Spradlin stands out as well. Right from the first scene, Spradlin grabs attention and sets the tone. Sharp timing, clear delivery, and expressive facial reactions make the Wadsworth feel alive and vital. It’s easy to see why this character leaves a lasting impression.
The lighting team (Joni Andrus, Alex Torres, and JT Swann) perfectly sets the mood. Colored lights highlight each character’s personality and keep the audience focused. As scenes change, the lighting shifts smoothly, adding energy and tension. Each transition feels purposeful and keeps the story exciting.The sound team (Thanh Hoang, Sophie Morris, and Richard Johnson) ensures every word and effect is clear and well-timed. From creaking floorboards to dramatic music, their work adds suspense and humor. The sound design makes the production feel controlled and professional while immersing the audience. The set and run team (M. Maroney, Evelyn Carlile, and Max Cruz Palacios) keeps everything simple yet classy. Quick scene changes make the story flow seamlessly. The clean set design focuses attention on the actors, while the run crew’s consistency makes the production polished and well-rehearsed.The costume team (Thanh Hoang, Sophie Morris, and Richard Johnson) brings the characters to life. Thoughtful color choices make each character memorable and showcase their personalities. Every outfit fits perfectly without distracting from the action. Together, the costumes add style and flair, making the show visually fun.
Clue (High School Edition) is a lively and entertaining performance. The actors, technicians, and designers work together to bring the story alive. The audience leaves laughing, guessing, and fully immersed in the mystery. It’s a polished, fun, and unforgettable high school production.
Honorable Mention
Megan Marr - Rock Ridge High School
Aveika Sethi - Heritage High School
Emma Angel-Wallen - Rock Ridge High School
Carrigan Arianna Kennedy - Heritage High School
Maddie Bradford - St. Paul VI Catholic School
Madison Renuart - St. Paul VI Catholic School
Ashlyn Cook - John Champe High School
Aries Janardhan - John Champe High School
Reese Gabrielle Cortez - Heritage High School
Carol Jung - Rock Ridge High School
Gabbi Burgos - St. Paul VI Catholic High School
Clara Wach - St. Paul VI Catholic High School
Divy Mahesh - Heritage High School
Rachel Lenderman - John Champe High School
Lauren Reese Quick - Potomac Falls High School
Hadestown - Rock Ridge High School
by Anaïs Mitchell - Jan. 31, 2026, at 2:00 pm
Photo by Jacklyn Esguerra - Palmer Jolly, The Workers​
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Response written by Grace Lemmon of St. Paul VI Catholic High School
How far can someone go for love? This is the question the musical Hadestown seeks to answer. Debuting in 2006 in Vermont, Hadestown tells the Greek myth of Orpheus and Eurydice as they find love, only to meet a tragic fate. In 2019–13 years later–the show premiered on Broadway, having undergone many changes. As a well loved musical and winner of eight Tony Awards, Hadestown is a daunting challenge; the cast and crew of Rock Ridge High School’s production accepted it with a combination of depth, spunk, and wonder that guaranteed them success.
Months before Rock Ridge’s show even began, anticipation built as marketing director Andres Marrero and short form content creator Ryann Ratcliff crafted engaging social media posts that set the mood for the show. Even upon entering the theater, the ensemble drifted throughout the auditorium, interacting with audience members. Once the house lights dimmed and Marian Lindsey released her first note as Hermes, it was clear that there was something special about this show. As the storyteller, Lindsey excelled; her energy was palpable as she sang the tale. Her deep blue eyeshadow, designed by Aubry Travis, shimmered in the spotlights and, as intended, set Hermes apart from the others.
Of course, the story of Hadestown wouldn’t exist without Orpheus and Eurydice. Andrés Marrero beautifully captured the heart of Orpheus, embodying the hope, love, and desperation of his character. Alongside him, Ella Diawatan shone bright as Eurydice and told her story with the elegance and grief that make Eurydice herself. The couple mirroring their story were the gods Hades and Persephone, played by Palmer Jolly and GraceMonét Carpenter. This powerhouse duo contrasted each other stunningly, Jolly capturing the complicated depth of Hades with ease and Carpenter perfectly portraying Persephone’s emotional journey. As Hades, Jolly was especially noteworthy, forming a menacing figure. As they found each other again, dancing with a newfound joy, not a single eye in the house was dry.
The lighting, designed by Isabel Scienski, stunningly wielded different colors to match the emotions of the show and hint at deeper meanings and turmoil. This was especially evident when Hades was forced to decide how to deal with Orpheus, and the entire stage slowly turned into a deep, eerie red. This wasn’t the only technical aspect used to represent Hades’s power. Special effects, designed by Geoffrey Banks, played a very important role in this production of Hadestown, with a combination of fog, sparks, and snow used to set the tone and setting throughout. As Hades declared “I conduct the electric city,” the entire stage lit up in a brief explosion of fire, fog, and lighting effects, and his power was eminent.
The three Fates, played by Raine Surla, Taylor Esguerra, and Angel Labosette, worked outstandingly as a unit. They moved in synchronicity, voices beautifully blending together. Their matching dresses, chosen by Baylee Cicheskie and Afton Terry, shimmered and highlighted their amazing stage presence and physicality.
Although the characters were on their way to the Underworld, the cast and crew of Rock Ridge High School’s Hadestown: Teen Edition filled the stage with so much life. Altogether, this was a fantastically well-done production, and it was obvious how much love each and every person involved held for this show. As the cast sat on the edge of the stage after the curtain call and serenaded everyone with one final song, it was clear that they were a team. “We Raise Our Cups” to this amazing production, and to the amazing people who put so much effort into it. This is a tale that deserves to be sung again and again.​​​
Response written by Lyla Malik of Tuscarora High School
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“I believe in us together more than anyone alone, I believe that with each other we are stronger than we know.” Hadestown is a modern retelling of the Greek myth revolving around Orpheus and Eurydice, using 1920’s New Orleans inspired music to convey the themes of loss, love, and resistance. Written by Anaïs Mitchell and directed by Rachel Chavkin, the 2019 Broadway musical asks the questions of what it means to challenge authority, and how far one would go for love. Rockridge Theatre Arts’ production of Hadestown: Teen Edition shows how just one voice willing to speak up can ignite hope in so many others.
Standing out as the leading male ingenue, Andrés Marrero skillfully embodies Orpheus, capturing his persistent nature and lovesick heart. His voice holds both power and a sense of vulnerability as seen in the number, “Wait For Me.” His showstopping performance makes it seem as if Orpheus’ determination and love for Eurydice were enough to defy all odds, making his inevitable failure to save her all the more heartbreaking. Marrero truly immerses the audience, making them “see how the world could be, in spite of the way that is.” Acting alongside Marrero is GraceMonét Carper as the goddess of springtime and flowers, Persephone. Carper brings a sense of joy and drunken cheekiness to her song, “Livin’ It Up On Top,” where she proves to be the life of the party. Contrasting this vivacious persona, Carper also shows a wistful desperation to make amends with her husband, Hades, in their duet, “How Long?” This variation highlights her versatility as an actress, showing an evident shift between her playful energy, and a more reflective and somber tone.
Shadow dancing for Persephone is Reagan Sutton. Her ability to switch between a beautiful lyrical routine and the sharp precision seen in “Why We Build the Wall” is truly remarkable. Dancing alongside Sutton, is fellow ensemble member and shadow dancer Raheem Richardson. From his physicality to his microexpressions, Richardson embodies a love struck Hades, showing the visible difference in the character’s growth later on.
The special effects designed by Geoffrey Banks are strikingly captivating, adding powerful visuals to the production. The snow machine used in “A Gathering Storm” created the effect of a realistic snowstorm, reinforcing the song’s sense of a growing danger. These effects work hand in hand with Isabel Scienski’s lighting design, most notably during Hades’ line, “I conduct the electric city.” The flashes of red light along with sparks erupting from each side of the stage strengthen the power dynamic between an authoritative Hades and his workers.
Front-of-House designer Carter Powell further enhances the immersive experience for the audience, transforming the entryway into 1920s style ticket booths. The hand painted brickwork and carefully constructed ticket counter extend the storytelling beyond the stage, making the act of entering the auditorium feel like the start of the journey to the underworld. The marketing, created by Andrés Marrero, specialized in making Instagram posts and reels. His extensive research on target audiences and the show itself proved to be extremely effective, as the RRTA account gained 1.1 million views in the month of January alone. His expert use of marketing leaves the audience waiting in anticipation to see the final product.
Altogether, the performances, design, and details of Rockridge Theatre Arts’ enactment is proof that change begins the second someone is brave enough to speak up, it only takes one voice to expose the cracks in a flawed system. Belief in one another, even at the risk of failure, is all it takes to right the wrongs of an unfair apparatus.
Response written by Jude DeWitt of Stone Bridge High School
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How far would you go for love? Rock Ridge High School's extravagant, yet emotionally resonant production of Hadestown takes the audience on a journey to the ends of the earth in their fresh take on an epic love story.
Hadestown’s music, lyrics, and book were written by singer-songwriter Anais Mitchell. The show, performed in its infancy in the cities of Barre and Vergennes, Vermont in 2006, was turned into a concept album in 2010. It re-debuted as a stage musical at the New York Theater Workshop in 2016, then finally made its way to Broadway in 2019. The musical is a retelling of the Greek myth of Orpheus and Eurydice, in which Eurydice is bitten by a snake and taken to the Underworld, and Orpheus must travel on the “road to hell” to get her back.
Orpheus is played by the brilliant Andrés Marrero. Just like Orpheus is touched by the gods, all theatergoers will find themselves touched by Marrero’s performance. Marrero masters the art of subtlety in his acting, playing a quiet, mild-mannered young man who is forced to put on a brave face to save the love of his life. The song Epic III certainly lives up to its name as Marrero showcases immense vocal control with his silky-smooth falsetto.
Opposite Marrero is Ella Diawatan as Eurydice. Diawatan’s rendition of the song Flowers is a masterclass in acting through song, as Diawatan conveys a transition from quiet dignity to hopelessness through her physicality and microexpressions–marking the song as a turning point for Eurydice’s character. The cause of this lost hope is Hades, god of the Underworld, played by the impeccable Palmer Jolly, who works Eurydice and the other denizens of Hadestown to the bone. Jolly makes a powerful first impression with his deep bass and imposing stage presence, while also handling Hades’ emotional journey with extreme specificity, culminating in the mourning of his lost love in the second act.
His lost love is Persephone, goddess of spring, who has turned to drinking to cope with her strained relationship. GraceMonét Carper’s stage presence is equally striking, evoking the likeness of great jazz, blues, and soul musicians such as Nina Simone and Amy Winehouse, particularly in the song “Our Lady of the Underground.”
Additionally, the show proves itself to be very adept at conveying a story through movement in the various dance sequences sprinkled throughout. Raheem Richardson dances the part of a young Hades, with his fluid and airy movements contrasting with the current Hades’ jaded nature.
Helping to set the mood is Isabel Scienski and Calvin Smith’s innovative lighting design. The colorful stage lighting isn’t just for show, it also serves as symbolism, creating a contrast between Hadestown and the mortal world. Hadestown is represented by deep blues, greens, and reds, and the world above is represented by warmer, softer colors. The front-of-house designs help to immerse the audience in the show before they have even entered the theater, and substantial research was done to ensure the ticket booths resemble that of ticket booths in the 1920s, given the show’s Harlem Renaissance-inspired aesthetic.
Hair and makeup design was done by Afton Terry, Eva Agedo, and Aubry Travis. Much thought was put into ensuring the makeup fits the characters and looks flattering on stage. The team collaborated with costume designer Baylee Cicheskie to figure out specific color palettes for each character. For instance, Hermes dons deep blue eyeshadow with gold accents.
All in all, Rock Ridge High School’s production of Hadestown is teeming with remarkable talent in the cast and crew, making for an immersive and deeply moving experience.
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Response written by Aayesha Johri of Dominion High School
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From American folk to New Orleans jazz, from springtime flowers to underworld power, immerse yourself in a world of gods and groove at Rock Ridge Theatre Arts' production of "Hadestown!" This sung-through musical originated as a folk opera concept created by Anaïs Mitchell in 2006, but it eventually evolved into an eight-time Tony-winning Broadway production with the help of director Rachel Chavkin. The show follows the ancient Greek myth of the lovers Orpheus and Eurydice, but puts a 1920s spin on it, contributing a Great Depression era ambience. The story follows two young mortals falling in love. Orpheus, a poor musician touched by the gods with the gift of music, and Eurydice, a hungry girl. Is their love alone powerful enough to compensate for starvation and lack of shelter during a blustery winter? Or will it parallel the heartbreak of the god who runs the industrial underworld of Hadestown—Hades—and his wife, spring’s goddess—Persephone?
Andres Marrero's portrayal of Orpheus captured the audience's attention with the first strum of his guitar. He hit every note, musically and emotionally. The spring melody he sang repeatedly throughout the musical was nothing short of mesmerizing. His performance captured the youthful, albeit misplaced confidence of the character, radiating an infectious sense of wonder through his bright physicality, yet still managing to evoke tears of not only sadness and loss, but hope and joy. The story couldn't be told without the divine conductor of the train and loyal narrator of the tale, Hermes, played by Marian Lindsey. Lindsey's vocal performance was powerful, every riff evoking goosebumps, with soul that emulated the New Orleans jazz scene to a tee.
Ella Diawatan and Palmer Jolly delivered captivating performances. Diawatan's Eurydice told the story of the desperate girl through her strong voice, putting the audience into her shoes. Her inner-turmoil was portrayed well, having to choose between love or a life that can sate her hunger. Her onstage chemistry with Marrero was palpable. Meanwhile, Jolly's performance as Hades was bone-chilling, commanding attention from the moment the character spoke. The progression of the cold, calculated authority Hades carried that eventually devolved into an angry, violent meltdown was well-executed.
GraceMonet Carper's Persephone enraptured the audience with a sweet, charming performance. The juxtaposition between Persephone and Hades was amplified through Carper's performance, an embodiment of spring, while still portraying the tenuous relationship between the lovers. Hadestown wouldn't be complete without the Fates, portrayed by Angel Labosette, Raine Surla, and Taylor Esguerra. Each had unique textures in their voice, which created hypnotic harmonies throughout the show. The ensemble worked as a unit that pushed the narrative, with special help from spotlight dancers such as Emersyn Moskal.
The set, designed by Hanna Shirr, immersed the audience into an industrial 1920s America with a train station set and spiraling stairs that led up to a balcony, and two parts of “the wall” that could be pulled and pushed apart, creating dynamics in a show with a relatively static set. The costumes were all unique but still cohesive and led by Baylee Chicheskie. Several standout features were the utilization of fans with flowing silks in the song “Doubt Comes In,” adding unique flair to the choreography. The lighting by Izzy Scienski was marvelous, especially during the song "Wait for Me," where the moving backlighting gave the entire stage an almost angelic feel. The special effects by Geoffrey Banks, ranging from pyrotechnics onstage to fake snow over the audience made the show especially memorable.
The technical and theatrical elements of the show were nothing short of enthralling. Make sure to buy your train ticket way down to Hadestown!
Honorable Mention
Lola Haynes - Heritage High School
Callie Banks - Dominion High School
Bella Warnick - Dominion High School
Bridget Lockett - Stone Bridge High School
Marc Buzzell - Tuscarora High School
Ashnil Dasan - Heritage High School
You Can't Take It With You - Potomac Falls High School
by George S. Kaufman and Moss Hart - Nov. 22, 2025, at 7:00 pm
Photo by Elise Tran, Anadita Breathitt​ - Harmony Scott as Mr. DePinna, Jordan Thomas as Ed Carmichael, Rachel Sigler as Penny Sycamore
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Response written by Bridget Lockett of Stone Bridge High School
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With boisterous, warmhearted, and delightfully offbeat energy, Potomac Falls High School’s production of You Can’t Take It With You is a vibrant celebration of choosing joy over convention.
The three-act play was originally written by George S. Kaufman and Moss Hart, premiering in Philadelphia before quickly moving to the Booth Theater on Broadway. The production would go on to win a Pulitzer Prize for Drama in 1937 and became a film of the same name in the following year, winning the Academy Award for Best Picture in 1838.
The play itself is an amalgamation of Romeo and Juliet and The Addams Family, if the latter were stripped of all macabre characteristics and replaced with an equally eccentric family, the Sycamores. Alice Sycamore sticks out in her family for her normalcy, as the only one with a job. She works on Wall Street no less, working for Kirby & Co. There she meets the love of her life and the heir to the Kirby business, Tony Kirby.
The plot centers on Alice and Tony’s engagement, as Alice, armed with a to-do list, attempts to varnish over her family’s idiosyncrasies to make her household appear copacetic. When the Kirbys accidentally arrive one day early, comedic chaos ensues.
The Sycamores’ peculiarity is brought to the forefront of the stage through performers Madi Saunders as Alice’s sister, Essie Carmichael and Jordan Thomas as Essie’s husband, Ed Carmichael. Saunders owns the stage as a wannabe Ballet dancer who prances, pliés, and pirouettes across the Sycamore home in a testament to crash-prone physical comedy. Thomas carries the same zaniness as he borrows xylophone melodies from Beethoven and pseudo-political communist propaganda from Tolstoy to print just for the sake of printing.
The absurdity of the Sycamore household is only made possible through the detailed precision of Prop Crew Heads Niya Trice and Ella Kane. This duo had to do it all, creating bizarre tchotchkes including elaborate masks, fireworks, and a pink skull full of candy. They even went as far as baking real coconut puffs as a prop, adding an extra element of authenticity to the production.
Set Crew Heads Brayden Trammell and Cas Irate raised themselves up to the bar set by Trice and Kane, developing a convincing vignette of a 1936 New York City home. The entire set holds a certain degree of verisimilitude, as if an audience member could walk right past the fourth wall and live on the set. Trammell and Irate also allowed for versatility in their design, with the set perfectly catering to the explosions and turmoil of the second act.
The Sycamores acquire a myriad of eclectic people who became regular scene-stealers throughout the production, including Karam Radwan as Boris Kolenkhov, Essie’s dance teacher, whose thick Russian accent and foreboding Soviet pessimism were met with instantaneous laughter even when he wrestles dinner guests to the ground.
The end of the production erupts in a blow-out confrontation between the patriarchs of the Sycamore and Kirby families: Martin Vanderhof played by Shep Moe and Mr. Kirby embodied by Noah Faulhaber. Although initially appearing as if verging on senile, Moe portrays Vanderhof’s snake-handling, IRS-evading, tongue-in-cheek personality masterfully. His witty delivery is contrasted perfectly by Faulhaber’s rigid conviction of a straight-laced man ruined by Wall Street. Mr. Kirby unravels as he sees the merit to the Sycamore’s bohemian way of life and learns the titular financial lesson of the play.
Don’t miss Potomac Falls’ performance of You Can’t Take It With You for a rollicking night of wisecracking and whimsy.
Response written by Autumn Buona of Rock Ridge High School
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This piece depicts Alice Sycamore (portrayed by Lauren Reese Quick) reacting to the intensity of the fireworks. The fireworks are a representation of the Sycamore family and their antics, especially how loud, chaotic and unpredictable they can be. I chose fireworks to represent the Sycamore’s because of the relevance of them during the show, particularly when Mr. Sycamore (portrayed by Liam Tully) and Mr. De Pina (portrayed by Harmony Scott) go to test fireworks at various points in the show. The background is reminiscent of Alice’s evening dress that she wears in act I after her and Tony Kirby (portrayed by Eli Coelho) return from their date. I was inspired to make this piece because of Alice’s reaction to the scene where the Kirby’s meet the Sycamore’s and how she was trying not to “ignite” her family’s craziness, but the Sycamore’s still managed to reveal their authentic rambunctious selves. I attempted to keep elements of this piece as true to the show as I could, Incorporating Alice’s dress that she wears for the majority of the show- as well as her hairstyle.
Response written by Savonah Thomas of Tuscarora High School
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The seemingly simple premise of a wealthy young man falling for a girl from a delightfully eccentric family is, in fact, the perfect stage for a much larger social experiment, forcing audiences to question their own priorities and the meaning of a 'successful' life.
You Can’t Take It With You, written in 1936 by Moss Hart and George S. Kaufman humorously explores the clash between two families: the eccentric, free-spirited Sycamores and the straight-laced, wealthy Kirbys. Alice had always been pessimistic about their relationship, keenly aware of how polar opposite their families were. After a chaotic, awkward and unexpected dinner party, her concerns appeared to be confirmed. After the uncomfortable and horrifyingly disastrous dinner party, Alice decides to break off the engagement entirely, planning to leave New York to clear her head and get away from the embarrassment she experiences from her “weird” family. Tony, on the other hand, is not ready to let Alice run away, following her and enlisting the help of the rest of the Sycamore family, and his father, Mr. Kirby, who, after a meaningful and inspiring conversation with Grandpa Martin Vanderhof, realizes that his materialistic lifestyle is erroneous. Mr. Kirby comes to embrace Grandpa’s philosophy that true happiness comes from doing what one loves and focusing on personal fulfillment over societal expectations and the accumulation of wealth. The conflict between the young couple is resolved, Alice and Tony reunite, and they prepare to marry, with both families now supportive and sharing a better understanding of one another’s values. This beautiful story was put up on Broadway stages the same year it was written and won a Pulitzer Prize the year after. It had several Broadway revivals until its final closing in 2015.
The show had several memorable and talented actors. Grandpa (Shep Moe) was such a strong character, slow and simple, letting all of his problems melt off his shoulders. Shep did an exceptional job at not only playing grandpa, but portraying the elderly. He also plays very well off of other characters, especially during his meaningful conversation with the uptight Mr. Kirby (Eli Coelho). Eli really showed the arc that Mr. Kirby’s character goes through, almost showing the 5 stages of grief as Grandpa spells out that his life is miserable for him. He also stayed completely in character when some of his movements included falling and stomping and such.
Some of the best moments of the show included the chaotic post-dinner scene game where Mrs. Kirby (Sarah Marks) confessed to being unsatisfied with the inactivity in her and Mr. Kirby’s relationship. Sarah didn’t over do or over dramatize the moment, she was the perfect amount of offended, and the audience loved it. Paul Sycamore (Liam Tully) almost blowing up his own house was also amazing. Liam played Paul just as many character synopsis states “a grown man with childlike wonder and boundless optimism”, and it was fantastic.
The lighting (Liana Aquino Baez) during the near house explosion scene was very unique, making the lights flicker like that is such a minute detail, but added so much more to the scene. That level of detail also went into the run/stage crews(Kit Rogers) spreadsheet of what goes on during when. Making 2 crews for each side of the stage was genius and made scene transitions nearly flawless. Sound (Peterson Linn) added to the seamlessness of the show with being perfectly on cues like Ed’s glockenspiel and firework hisses that eliminated any worry for awkward silence and disruption. Last but certainly not least honorable mention is for the beautiful set (Brayden Trammell). The feeling of a small 30’s humble abode just brought you into the story, setting such a beautiful tone with time period wall paper and trim and near silent stairs.
The chemistry between all the actors felt so real and it was almost like being in the show itself. Uncomfortable moments were uncomfortable for the audience, heart warming speeches brought tears, disappointment was felt, and the ending feeling of unity just tied the show up with a big sparkly bow. The atmosphere was great, even keeping that sense of family and closeness during intermission, seeing the ensemble worried for their chaotic yet caring neighbors. The flow of the show is also worth mentioning, as no one seemed to be in anyone's way and it kept the story going and going strong. Overall, You Can’t Take It With You was an amazing show.
In essence, You Can’t Take It With You masterfully utilised a classic rom-com setup to conduct an almost “social experiment” on the audience, challenging conventional notions of a “successful life.” Through the journey of love, transformation, and influence, the play conveys that fulfillment is not materialistic, but personal. Even decades after its first premiere on Broadway, the show's message continues to resonate heavily, reminding several generations of viewers that the most valuable thing in your life is the pursuit of happiness.
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Response written by Emma Angel-Wallen of Rock Ridge High School
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Imagine stepping into a world where fireworks are crafted in the basement, ballet lessons failing, and the family patriarch only pays taxes on a whim. This is the Sycamore household, and from the moment the lights go on, the Potomac Falls production of George S. Kaufman and Moss Hart’s classic comedy, “You Can’t Take It with You,” gives the audience a joyous combination of chaos and sincerity. The production is a heartwarming, must-see spectacle that focuses on the enduring message: true life is found not in wealth or status, but in true self-acceptance.
First premiering on Broadway in 1936, the play was a necessary antidote to the financial struggles of the Great Depression, offering a hilarious contrast between the free-spirited Sycamores and the materialistic Kirby family. Its success was immediate and long lasting; securing the 1937 Pulitzer Prize for Drama and inspiring the 1938 film adaptation that won the Academy Award for Best Picture, the production focuses on Alice Sycamore, the family’s only ‘normal’ member, who falls in love with Tony Kirby, the son of a wealthy, conservative family. The inevitable clash occurs when the Kirbys arrive for dinner on the wrong evening. They are promptly engulfed in the Sycamore’s eccentric orbit, which features everything from xylophone playing to firecrackers. Through this comedic misunderstanding, both families are forced into an emotional reflection, ultimately learning the valuable lesson of embracing one’s true self.
The cast brings a vibrant energy to the Sycamore’s colorful world. Shep Moe anchors the production as Grandpa, commanding the stage with a philosophical charm. His comedic timing and deliberate, grounded physicality establish the emotional core of the play, demonstrating a true understanding of the character’s wisdom. As Alice Sycamore, Lauren Reese Quick embodies the emotional pull between love and family expectation. Her performance is emotionally felt, utilizing expressive facial work and sincere delivery during monologues, which deeply draws the audience into her struggles. In a compelling transformation, Noah Faulhaber delivers the arc of Mr. Kirby. He skillfully navigates the character's transition from a hard, society-bound businessman reawakening his buried passions, painting a vivid picture of the personal struggle hidden beneath a picture of perfection. Providing consistent, dry humor is Liam Tully as Paul Sycamore, whose delivery of his own quirky obsessions acts as an excellent, subtle counterpoint to the family’s more explosive ‘charm’.
The production’s technical artistry is essential to its success. The environment created by the crew is meticulous, transporting the audience directly into the 1930s. The set, designed and executed by Brayden Trammell and Cas Balderramalriarte, is an immersive masterpiece. The detailed stagecraft makes the audience feel they are truly inside the Sycamore’s cluttered, cozy home. This visual world is further completed by Liz Ford’s costuming, which reflects careful research into the period and the original production's aesthetic, lending authenticity to every scene. The cohesive look is finalized by Aliyah Bynes’s hair and makeup design, which effectively defines the age and personality of each character. Ensuring the audience is present to witness this artistry. The Marketing and Publicity team, led by Elise Tran and Anadita Breathitt, developed a strategic campaign, including a highly visible “Sandwich board” featuring the play’s famous fireworks.
Potomac Falls High School’s production of "You Can’t Take It with You" succeeds, not just as comedy, but as a genuine exploration of acceptance. The play leaves a powerful and lasting impression, reminding all in the audience that living fully and joyfully, on one's own terms, is the overall goal in life.
Honorable Mention
Lyla Malik - Tuscarora High School
Marc Buzzell - Tuscarora High School
Cassidy Morgenthau - Tuscarora High School
Megan Marr - Rock Ridge High School
Bella Warnick - Dominion High School
Piper Nicklas - Tuscarora High School
Jane Mellor - Dominion High School
Ella Jones - Tuscarora High School
Callie Banks - Dominion High School
Aayesha Johri - Dominion High School
Baylee Cicheskie - Rock Ridge High School
Ryann Ratcliff - Rock Ridge High School
Matilda the Musical - Fairfax High School
by Dennis Kelly - November 21, 2025, at 7:00 pm
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Photo by Cindy DeCarlo - Trunchbull and students
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Response written by Aayesha Johri of Dominion High School
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How do you spell “amazing?” “M-A-T-I-L-D-A the Musical” performed at Fairfax High School! Based on Roald Dahl’s 1988 children’s book, “Matilda” was adapted into a musical by playwright Dennis Kelly and lyricist and composer Tim Minchin. The story revolves around the life of five-year-old Matilda Wormwood , an intelligent and gifted young girl who is treated cruelly by her parents, Mr. Wormwood and Mrs. Wormwood, who see her as nothing more than a burden. Matilda finds her bliss in reading books and telling stories at her local library, where she is good friends with the librarian, Mrs. Phelps. When Matilda starts school, she is recognized by her kind, sweet teacher, Miss Honey, for her exceptional intellect. Miss Honey represents a strong juxtaposition to the cruel headmistress of the school, Miss Agatha Trunchbull. Trunchbull is a threatening, imposing figure with an unconcealed aversion to children who consistently accuses and punishes her students unfairly. However, Matilda is not one to back down.
Amelie Horton's portrayal of the young lead, Matilda, truly immersed the audience into her bright mind, showing a balanced handling of both her youthful energy and the inner turmoil that brews within a child when neglected by their family. Horton was able to quickly switch the scene from painful and sorrowful to lighthearted and comedic when the show demanded it, quickly transforming cries into cackles. Even with the intense choreography, Horton was able to keep her voice steady and hold onto the British accent, seemingly with ease.
Jordan Brooks's Miss Honey embodied the delicateness and fragility of the precious schoolteacher. Her performance of Honey's hesitation and anxiety truly made hearts clench. Brooks's performance made the audience sympathize with the character, and her motherly relationship with Horton's character truly filled the room with the warmth of a true familial bond. Brooks's beautiful singing voice was perfect for the character; her light and airy tone was soothing and sweet, as charming as her performance.
On the antagonist side, Nate Wheeler Smith's Agatha Trunchbull was a phenomenal portrayal of the wicked headmistress. Smith brought the correct level of both flamboyance and humor to the role, making the audience burst into laughter at his physicality and delivery. Smith's comedic timing was truly on point, along with the accent he managed to speak in without compromising the clarity of the lines. His singing voice was strong, commanding the audience's attention and leaving them in awe.
Mauro Angello's and Naomi Bautista's portrayals of the schoolchildren Bruce and Lavender both brought something delightful. They both captured the bouncy, fun energy of children, along with the mischievous side. Tristan Farmer, who played both the Doctor and Sergei, had spectacular vocal solos and surprisingly sweet moments with Matilda, and also spoke some great Bulgarian!
The tech in the show was truly something to marvel at, from the striking set covered with pages and plenty of dynamic aspects, such as the turntable and cage-like structure used in the “School Song,” similar to the Broadway versions, whose design was led by Isabella Bollech, Finn Portaluppi, Jordi Tyler and Gabe Acquavella, to the complicated choreography that brought fun energy into the show, created by students Naomi Bautista, Libby Hansen, and Nate Wheeler Smith, down to the lighting that added the perfect ambience for each scene and the unique projections that brought Matilda’s stories to life by James Conron, Kate Hockenbury, and Jasmine Mark.
Fairfax High School's "Matilda the Musical" is a must-see production, jam-packed with wit and emotion, there is never a dull moment when watching. Every aspect of the show has a clear intent, so don't be "naughty," and pay attention!
Response written by Callie Banks of Dominion High School
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Fairfax High School brings the audience along with them as they learn that sometimes, you may have to be a little bit naughty. “Matilda The Musical,” is adapted from Roald Dahl’s children’s book with music and lyrics by Tim Minchin. It tells the story of the genius child Matilda who uses her smarts and newfound superpowers to fight against the adversities brought about by her neglectful parents and her tyrannical headmistress. The show explores themes of dysfunction and defiance as well as the importance of education and literacy. “Matilda The Musical” gained renown through its West End premiere in 2011; more recently, the musical also gained more popularity after the release of the movie musical adaptation. Fairfax High School’s expertise in portraying these complex dynamics shines through in the cast and crew dedicated to the intricacy of the show.
The cast livens the show, expertly portraying the difficult dynamics between characters and heavy themes while contrastingly leaving room for hilarity. Amelie Holton traverses the complexities of Matilda’s character excellently, accurately showing the childish side as well as the more mature and broken side. The emotion Holton shows while Matilda tells her stories is moving and intense. Matilda’s careless and foolish father, played by Daniel Plummer, is a comedic highlight throughout the show, his behavior reflecting his hilarious lack of decision making abilities. Matilda’s best friend Lavender is also extremely amusing, her mannerisms accurately portraying childlike wonder and happiness. All of these comedic high points come to a screeching halt when the dreaded Miss Trunchbull, played by Nate Wheeler Smith, is introduced. Smith’s physicality and demeanor expertly depict the horrors Trunchbull so desperately loves.
This production would be incomplete without the expertise of the technicians who worked on it. The lightning design, done by Nikolai Crowl, masterfully emphasizes emotions and characters throughout the show. The use of backlights, fog, and haze onstage represent the feelings of the people onstage, particularly the ominous fear of Trunchbull. Colors used throughout the show delineate certain characters, proving who is affected by the matter at hand and keeping the production cohesive. The sound team, consisting of Louis Campos, Libby Hansen, and Aleah Lewis fantastically aided in the production. The mix and balance of the mics and music were skillfully done, and they traversed mic issues with finesse and proficiency. The choreography team also provided a level of immersion and evident prowess, allowing the ensemble to show their skills and dance abilities and produce a cohesive visual during musical numbers.
The production of Matilda the Musical at Fairfax High School is skillfully done, both on the performance and technical side of the theatre. The show was, needless to say, quite the opposite of revolting.
Response written by Lola Haynes of Heritage High School
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Without courage it is easy to feel little — but never let a mere idea stop you from making a change.
Matilda is a 1988 children's novel, originally written by Roald Dahl, which follows the life of an extraordinary young girl, who is not only intelligent beyond her years but also has unique telekinetic abilities. With these powers, as well as her determination for justice, she is able to stand up against her neglectful parents and corrupt headmistress, Miss Trunchbull.
This empowering story was adapted into Matilda the Musical in December of 2010 by Writer Dennis Kelly and composer Tim Minchin. Shortly after this it was taken to both the West End, in 2011, and Broadway in 2013. Now it is performed by revolting children all around the world, who wish to show that courage is found in everyone.
Fairfax High School's rendition of Matilda the Musical was no exception to this. They effectively transported the audience into a new world through clever storytelling and spellbinding visuals.
Matilda Wormwood, played by Amelie Holton, embodied the spunky nature of her character from start to finish. Her passion towards the role was evident through her wide smile and bold-hearted vocals. She was able to maintain incredible control of both her movements and voice, even in physically demanding moments. But who would she have been with her best friend! Lavender, played by Naomi Bautista, commanded the stage in each and every one of her scenes. Through her exaggerated movements and youthful tones, the audience truly felt as though they were watching a young girl sneakily tell them a secret.
Moreover, the Big Kid Ensemble did an incredible job at distinguishing themselves from the younger students. Lucas Schnotala and Abi Hansen, in particular, stood out. Their ability to maintain focus and uphold serious demeanors, even as chaos erupted around them, was especially impressive. It was also engaging to watch as they played with levels of the stage, in order to create a clear power dynamic between them and little kids.
Alongside the incredible performance of the actors was the hard work and dedication of the technicians. The collaboration between set designers, Gabe Acquavella, Isa Bollech, Finn Portaluppi and Jordi Tyler and lighting crew, Nikolai Crowl, James Conron, Jasmine Mark and Kate Hockenbury was undeniable when the Crunchen Hall Gate rolled on stage. This incredible set piece was absolutely eye catching leaving the audience in awe as the letters lit up through the song. Moreover, it also provided a staple piece for the actors to interact with, giving them the opportunity to portray their characters in disturbing ways.
Paired with this was the work of the publicity team, Libby Hansen, Naomi Bautista, Olive Webster and Devin Linthicum who garnered the attention of not just their peers but the wider community. From advertisements on local buses to spirit days and art competitions, their hard work to promote the show definitely paid off. Their engagement with local elementary school students, whose artwork bordered the stage, was especially impressive and helped add an authentic and youthful touch to the set.
Fairfax High School's performance of Matilda undoubtedly proved that you should never let a little thing like little stop you. Although their moment to tell this story is over, the words they shared will stay written in the page of the audience's mind forever.
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Response written by McKenna LoSchiavo of Heritage High School
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R-E-V-O-L-T-I-N-G. Revolting! A story of magic friendship and, most of all, revolting children. The story of Matilda has been shared in many different ways, beginning as a children’s book by Roald Dahl (1988). “Matilda the Musical”, written by Dennis Kelly with music and lyrics by Tim Minchin, premiered on the West End in 2011. Matilda tells the story of the five-year-old genius Matilda Wormwood, who is not appreciated by her parents. Matilda starts kindergarten at a school with a very mean headmistress, Agatha Trunchbull. Her teacher Miss Honey, on the other hand, is as sweet as her name suggests. Throughout the story, Matilda constantly finds herself annoyed by her family and Miss Trunchbull. Eventually she gets fed up and in a moment of rage discovers she has telekinetic abilities. At the end of the show Matilda uses her telekinesis to scare Miss Trunchbull out of town with a chalkboard message written by a ghost from her past, and Miss Honey adopts Matilda and raises her with love and kindness. The character of Matilda is one guided by a strong internal compass to always put things right. Lead actress Amelie Holton does a wonderful job of portraying the young girl, using exaggerated actions to appear more childlike. Jordan Brooks as Miss Honey shows not only the quiet, reserved side of the teacher but also the strength she finds in the end. Stealing the focus with amazing physical comedy and incredible moves is Rudolpho, played by Nikolai Crowl. The show would not be complete without the big, bad headmistress Miss Trunchbull as played by Nate Smith. Smith is fully into the role of the Trunchbull with every movement and vocal inflection making for a hilarious performance. The first thing you notice walking into Fairfax’s Matilda is the incredible wall of book pages created by their amazing set design team (Gabe Acquavella, Isa Bollech, Finn Portaluppi, Jordi Tyler). Their costume team (Gaby Adumua, Annika Shendrikar, Corie Stern, Reagan Reece) works very hard to curate and handmake a large amount of their own costumes for the show. Their stage crew (Gabe Acquavella, Isa Bollech, Finn Portaluppi, Jordi Tyler) makes flawless transitions moving the audience through the different locations of the show’s set. From salsa and ballroom to more contemporary and modern dance, the choreography team creates cohesive and impressive dance numbers for the show with ending poses that hit hard and show the power of the story. While Matilda and her friends sing revolting songs, using revolting rhymes, the audience can feel the strength and camaraderie of this story. Matilda not only teaches young kids to stand up against bullies, but also that “bookworm” is the best thing you could want to be called. Fairfax High School does such a wonderful job telling this magical story.
Honorable Mention Responses
Reese Gabrielle Cortez - Heritage High School
Jane Mellor - Dominion High School
Maggie McBride - Rock Ridge High School
Caley Barone - Dominion High School
Avieka Sethi - Heritage High School
Ashnil Dasan - Heritage High School
Carrigan Arianna Kennedy - Heritage High School
Lucy Adair - Heritage High School
Radium Girls - St. Paul VI Catholic High School
by D. W. Gregory - November 14, 2025, at 7:00 pm
Photo by Kathy d'Alelio - Dial Painters
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Response written by Grace Armstrong of Potomac Falls High School
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Under the sickly green glow of a clock, time itself pulses on stage, each tick a warning that time is running out. With outstanding technicality and depth of performance, St. Paul VI Catholic High School's production of "Radium Girls" was jaw-dropping.
Originally published in 2000, D.W. Gregory’s “Radium Girls” is a poignant rendition of a true story from the 1920s: Amidst the backdrop of World War I, hundreds of school-aged girls worked for the U.S. Radium Corporation to paint watch dials, pointing their brushes with their lips and thus unknowingly dooming themselves to an agonizing death by radium poisoning.
Gregory’s dramatic adaptation follows one of these “radium girls,” Grace Fryer, as she fights to secure justice for herself, her friends, and all of the other girls who suffered and died at the hands of the U.S. Radium Corp, headed by Arthur Roeder. The story brings equal parts humor and heartache to the stage.
In their interpretation of Gregory’s play, the Paul VI cast and crew put on a highly intentional and emotionally layered performance. In its very first moments, the show establishes a tone of tension and looming tragedy with a giant robotic clock built and designed by James Skees, Lexy Said, and Ian Pilande hanging center stage.
The Paul VI cast delivers performances filled with nuance, rendering no character two-dimensional. Lead Gabbi Burgos perfectly embodies the initial quiet maturity of Grace Fryer, making Grace seem wise beyond her years. Burgos then seamlessly navigates Grace’s character arc as she becomes an indefatigable fighter for women despite her declining health. In Act 2, Burgos manages to walk with a cane and a limp while simultaneously portraying Grace as stronger than ever.
Opposite Burgos is another lead actor, Cameron Herrera, playing Arthur Roeder. Herrera confidently portrays the duality of a businessman with a conscience, always exuding formality while also being transparent about his internal struggles as his morality is increasingly challenged.
Alongside Grace is her boyfriend, Tom Kreider, played by Nico Flores. The couple’s chemistry is undeniable and adds warmth and authenticity to the storyline, offering brief moments of brightness to a grim narrative. Playing Kathryn Schaub, another of Grace’s steadfast companions, Maddie Bradford expertly balances humor with vulnerability and resilience.
The girls’ radium poisoning would not have been nearly as believable without the phenomenal work by Nina Baker, Francesca Leiva, and the rest of the hair and makeup team. As the story progresses, Grace and Kathryn in particular can be seen slowly dying — purple bruises blossom on their jaws, their eyes bags grow, and, through the use of liquid latex prosthetics, their decaying jaws become prominent.
The stage crew, led by Keira Aufiero, maintains the flow of the show, executing swift transitions and going so far as to fix a crooked painting on set. Additionally, costumes by Olivia Unverzagt and Katherine Heflin ground the story in its historical setting while subtly amplifying the stakes. The radium girls enter the play in bright, hopeful dresses that glow with the same optimism that once fueled their work, but as their situation grows darker, so do their wardrobes. Furthermore, Marie Curie's stark black ensemble cleverly symbolizes the dangers of radium before they are revealed.
Paul VI's "Radium Girls" serves as a near-flawless reminder of the power of women and the costs of corporate greed. By the end, the audience is not just watching history, but feeling its weight. Viewers are left with tears in their eyes and a question in their hearts: when confronted with injustice, will they choose the comfort of ignorance or the justice of truth?
Response written by Reese Cortez from Heritage High School
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Beneath a haunting emerald glow, St. Paul VI High School’s production of Radium Girls illuminates a story where truth burns brighter than the very paint that poisoned it.
Since its premiere in 2000, D.W. Gregory’s Radium Girls has captivated audiences with its dramatization of the true story of the young women employed to paint luminous watch dials with radium-laced paint. The play follows Grace Fryer, a factory worker fighting for justice as her health declines, and Arthur Roeder, the conflicted company president balancing ambition with moral responsibility. Through intersecting scenes and rising tension, the play explores themes of corporate negligence, perseverance, and the human cost of silence.
Onstage, the cast brings emotional clarity and nuance to the story. Grace Fryer, portrayed by Gabbi Burgos, anchors the production with sincerity and depth. Burgos’s chemistry with the entire ensemble heightens Grace’s journey, and her measured physical and vocal choices chart Grace’s shift from hopeful worker to steadfast advocate with striking subtlety.
Arthur Roeder, played by Cameron Herrera, delivers a layered depiction of a man torn between progress and conscience. Herrera’s poised posture and composed gestures establish Arthur as a polished businessman, yet he transitions effortlessly into moments of vulnerability as pressure intensifies. His shifting tone and nervous hand movements in scenes with his wife reveal the turmoil beneath Arthur’s composed exterior.
As Nancy Jane Harlan, the ambitious reporter, Olivia Unverzagt commands the stage with charismatic energy and purposeful physicality. Her confident stride, sharp timing, and expressive presence capture the determination of a journalist seeking truth, giving her scenes a vibrant spark.
Dr. Sabin Von Sochocky, played by Luis Moreira, offers a standout performance marked by an impressive accent and emotional complexity. His softer tone with the girls contrasts powerfully with his firm confrontation of Arthur, highlighting Sabin’s blend of compassion, guilt, and responsibility.
Paul VI’s production presents a cohesive and striking technical vision. The set team, led by James Skees, Keira Aufiero, and Maddie Bradford, constructs a stationary factory layout washed in muted industrial tones that mirror the story’s somber atmosphere. Developed from an initial sketch into a detailed 3D rendering, the multi-platform structure forms offices, factory floors, and courtrooms that firmly anchor the narrative in its era.
Supporting this world, the stage crew, under Kiera Aufiero, Maryn Arseculeratne, Tori Wijas, and Marisa Corsino, employs a wall-on-wheels system to transition between locations with remarkable speed. These fluid shifts—from the Fryer household to the U.S. Radium Corporation—preserve the production’s pacing and reflect the mounting pressure surrounding the girls’ fight for truth.
A standout creative element is the fully functional hanging clock designed by Paul VI’s creativity team, headed by James Skees, Lexy Said, and Ian Pilande, in collaboration with the school’s robotics department. Prototype-tested before installation, the clock becomes a symbolic centerpiece that quietly marks the girls’ shortening futures.
The props team, led by Madison Jones, Vivian Lee, Kitana Jones, and Isabella Aufiero, reinforces the play’s realism with historically accurate materials, cardboard-crafted items, and selectively sourced pieces. The suspended jaw—created from a 3D-printed model floating in a clear water-filled orb—provides a haunting visual of the physical toll of radium.
Completing the production, the hair and makeup department, led by Nina Baker, Francesca Leiva, and Alexa Cruz, delivers period-accurate hairstyles and meticulous special-effects makeup. Liquid latex prosthetics depict the devastating effects of radium poisoning, while glow-in-the-dark paint adds an eerie beauty during the dial-painting sequence.
Through unified artistry—technical and theatrical—St. Paul VI High School’s Radium Girls honors a vital piece of history with poignancy, creativity, and a glow that refuses to fade.
Video response created by Ashnil Dasan from Heritage High School​
I have been doing video reviews for a while now and have become accustomed to the process. Overtime, I have learned why I express my reviews through vlog form rather than a written response. Firstly, I feel I can more easily express my candid thoughts and opinions in a positive manner, allowing me to more deeply explore the themes and choices seen throughout a show. For Radium Girls, this was very important because it is such a profound show about tragic events. Using a video format, I was able to better represent the emotions I felt due to the performers and technicians' interpretation. Secondly (this is universal for all shows, not just Radium Girls), I believe that the company of the performing school is more excited and happy when they see a video response. Seeing a candid form of review rather than a structured written piece can sometimes come off as more genuine and relaxed, allowing students from the performing school to enjoy and be happy watching the review. In terms of creative choices, my vlogs are all structured the same, but for the intro and outro card, everything is themed to PVI's colors for a cohesive final product.
Response written by Naomi Bautista of Fairfax High School
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Tick-tock went the glowing clock as time wound down on the tragic story of Radium Girls at St. Paul VI Catholic High School.
D.W. Gregory's Radium Girls is more than a historical drama. The 2000’s play is a deeply emotional, searingly relevant, and timely piece that highlights the struggle against corporate resistance and a society that was initially reluctant to believe the women. Based on a true story, the play follows the women who painted luminous watch dials in the 1920s in companies that encouraged them to “lip-point” their brushes, causing them to ingest deadly radium and become gravely ill. Radium Girls confronts themes of worker exploitation, scientific responsibility, and the resilience of the human spirit and St. Paul VI’s production was beautifully constructed and moving.
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Glowing almost as bright as the watch faces they painted, three lively, tight-knit teenage girls, Grace Fryer (Gabbi Burgos), Kathryn Schaub (Maddie Bradford) and Irene Rudolf (Maddy Renuart) provided a bittersweet example of what was lost to the devastating effects of radium. Following Irene’s death, Bradford displayed the heartbreaking transition of Kathryn Schaub with intention and poise. The giddy grins and girlish giggles gave way to a grief-stricken hunch and desperate tone as she struggled to process her friend's death.
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The ever-determined Grace Fryer (Gabi Burgos) contained a captivating presence that radiated across the stage with sincere, grounded energy. Initially shy, meek, and often making herself intentionally small, the death of Irene sparked dramatic change in Grace. Burgos brought Grace's pain to the surface with her outbursts toward other characters, driving her performance with desperation as she fought for justice for herself and her friends. Her anguish was chilling and heartwrenching as she pleaded for someone to listen, her frustrations only garnering empathy and no action.
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Opposing Fryer’s quest for justice was U.S. Radium Corporation president Arthur Roeder (Cameron Herrera). Herrera transcended the typical depiction of a villain, delivering a nuanced performance that gave a morally gray take on Roeder. As the story progressed, Roeder moved from a confident and cunning businessman to one guilt-stricken and filled with grief. Herrera tackled these contrasting characteristics with ease, shifting from a stern tone and furrowed brows to a somber, hunched, and broken man.
Paul VI’s world was brought to life by the stark factory walls, multiuse platforms, and expertly constructed flats (James Skees, Keira Aufiero, Maddie Bradford). Central to both the plot and stage, an ominous glowing clock loomed over everything, haunting the narrative with radium’s constant presence and a visual reminder of time starting to run out. Usage of makeup (Nina Baker, Francesca Leiva, Alexa Cruz) throughout the show was grotesquely accurate, showcasing the girls’ decaying faces and descent into death. Eyeshadow was used on their jawlines, eyebags were added to display their suffering, and blood capsules smartly placed to be used when a girl was on the brink of death. As the play went on, the makeup progressively became more drastic and emphasized, gradually exposing the audience to the dreadful effects of the radium poisoning.
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At the clock’s final strike, only a single girl was left, standing with all the strength she contained, gazing defiantly before being bathed in darkness. To corporate 1920s America, the girls were faceless. To the audience of St. Paul VI Catholic High School’s Radium Girls, the heartbreaking story of their fight for justice will never be forgotten.