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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
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
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
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.