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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
Response written by Justin Goodhart of Loudoun County High School
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
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
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.
Response written by Charlotte Prine of John Champe High School
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
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
“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
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.
Response written by Aayesha Johri of Dominion High School
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
Response written by Bridget Lockett of Stone Bridge High School
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
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
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.
Response written by Emma Angel-Wallen of Rock Ridge High School
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
Response written by Aayesha Johri of Dominion High School
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
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
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.
Response written by McKenna LoSchiavo of Heritage High School
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
Response written by Grace Armstrong of Potomac Falls High School
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
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
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.
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.
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.
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.
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.