The school edition of Jonathan Larson’s massively successful 1996 musical, Rent, follows various friends living in New York City and deals with topical themes such as AIDS, depression, drugs, alcoholism, and homosexuality. It is composed of almost only song with little spoken dialogue, reinventing and almost creating the rock opera with its conception. Critically and financially, Rent is a worldwide phenomenon. It changed the face of musical theater, so naturally the students of McCluer had much to live up to.

Everyone in the production stepped up to the challenge, many with great ease. At the center of the story is Roger (Lavalle Moore) and Mimi (Adrienne Thompson), both very effective and passionate with their roles. Both are vocally and physically demanding, facing great character development and difficult vocal work. However, the two always sold the audience with their confidence, natural charm, and constant energy.

In the supporting cast, one of the greatest standouts was Alexis Tucker as Maureen. She had the daunting task of bringing to life the role of the spunky, gay performer Maureen who must exude great amounts of confidence while still being likable, a tough job on its own before you consider that she must also have tremendous vocal skills. However, she blew it out of the water and her hilarious performance of “Over the Moon” brought the audience together and taught them that while watching Rent, it is more than okay to laugh when there is humor and cry when things turn dark. Alongside her was Jessica Williams as her girlfriend JoAnne whose vocals were some of the most impressive I have seen in a high school production. In “Take Me or Leave Me,” they complemented each other tremendously.

The ensemble was good at the beginning, but really came into their own throughout the show, bringing energy and spirit whenever they were onstage. When they opened Act II with “Seasons of Love”, the solos went to members of the cast who were not leads, but proved that every actor in this show had something great to bring to the table and the solos were nothing short of terrific.

The set was simplistic, but it worked and was in tune with the show. They utilized the space as much as they could and were able to use the strategy that “less is more” to their advantage. The orchestra was powerful and kept up with the music with ease, very surprising considering how much there was to learn and master. The costumes as well were very in tune with the time and setting, very much worth noting.

Rent is a show about community and love and on the stage of McCluer, there was more than enough to keep the spirit and passion of the characters and the story pulsating through the theater.

by Alex Bush of Mary Institute St. Louis Country Day School

The last thing anyone truly expects from window washing Finch is for him to swiftly rise the ranks of the World Wide Wicket Company, but with some charm, a little luck, and a lot of comedy, this is exactly what Finch does. In this charming comedy depicting the ’60s workplace, Finch meets and manipulates plenty of people and even falls in love along the way. The musical opened in 1961 and won seven Tony Awards, and Parkway Central’s rendition was also a great success.

While the entire cast delivered a strong performance, the leads in particular made the show shine. Aidan McCarter as J. Pierrepont Finch displayed his character’s charisma and ambition in a memorable performance. Onstage love interest, Greta Rosenstock as Rosemary Pilkington, also delivered a noteworthy performance as the hardworking yet dreaming secretary with a beautiful voice. Matthew Greenbaum, as head of the company, JB Biggley established his jocular character in a performance further establishing the comedic ’60s workplace. His onstage nephew Jake Blonstein as Bud Frump maintained a distinct and comical characterization with noteworthy enthusiasm.

The entire cast in fact, maintained a high energy level that kept the show running at a quick pace. Alexa McKenna as Smitty, sustained her believable character and strong voice throughout the performance. Lizzy Langa as Hedy LaRue established a particularly entertaining character with her steady New Jersey accent, believable tipsiness, and interaction with the other actors onstage. Kyle Pollack’s performance was both multi-faceted and impressive as he played Mr. Womper, Mr. Twimble, and a Feature Dancer, where for each of his characters he developed an entirely new stage presence with an excellent voice and unique flair.

The technical aspects of the show were diverse and well-maintained. Lighting was notable with its many cues, spotlights, and changing colors throughout the performance. Costumes were colorful, true to the time period, and covered a large and varied cast. Sound went smoothly for the production with only a few minor issues throughout.

There were few problems with the show. Scene changes seemed to be long at times, although the impressive orchestra playing between scenes usually kept it from becoming too noticeable. There seemed to be a few issues with the curtain and some set pieces, but the set itself was striking for its diversity and utility.

In all, How to Succeed in Business without Really Trying was a spectacular performance that truly succeeded in showing “The Company Way,” the business world of the 1960s, and most of all, the remarkable actors and tech crew of Parkway Central.

by Allie Hult of Holt High School

Based off the novel by Ken Kesey of the same name, One Flew Over the Cuckoo’s Nest made its Broadway début in November of 1963. After 82 performances, it closed, but has since been revived and was made into the highly acclaimed 1975 movie version that won several Academy Awards.

MRH’s production was anchored by the heavy dedication each actor showed by staying true to their character. Miguel Hernandez portrayed McMurphy with the perfect playful stubbornness that his character required. Each patient in the mental hospital had their own distinct personality and it was evident that each actor had explored their characters’ unique dispositions. John O’Keefe, who played Martini, fully committed to the physicality of his character’s illness, making his performance stand out amongst the rest. In contrast to many of the patients’ lively demeanors, Anna Wermuth played the somber Nurse Ratched, showcasing her unwavering cruelty. The onstage bonds that formed between the patients proved to be a major component in forming the complex power struggle between the patients and the staff.

Several other notable performances were given throughout the show. Zach Arias, who played Billy Bibbit, showed rapid and dynamic change as his character would undergo a wide spectrum of roller coaster emotions. Chrystopher Kluttz had the audience laughing with an incredibly humorous performance as the drunken guard, Mr. Turkle. Maxx Diebold, who played Chief Bromden, smoothly narrated the story from his point of view. One vivacious scene that called forth the majority of the cast had the patients dancing in plaid and checked lounge pants as Billy Bibbit (Arias) was married off to Candy Starr (Taylor Kennedy), leaving the audience cheering for more.

One of the most impressive aspects of MRH’s production was perhaps their scenery and props. The set pieces, designed by James Owens, were fully detailed and depicted (what I imagine to be) an extremely realistic looking mental hospital. Pill bottles, cards, and cigarettes decked the stage, further setting the scene of the slightly imbalanced crew. The lighting (Megan Hanak) also helped differentiate between certain focal points and perspectives. Dull paint and fenced off windows all added to the eerie atmosphere.

Maplewood Richmond-Heights High School opened the window to a community that existed behind bars under the governance of electroshock therapy and lobotomy. Supported by an incredible set, a cast of enthusiastic actors, and a blood-tingling story, the MRH Theatre Department brought to life the story of One Flew Over the Cuckoo’s Nest.

by Audrey Lipsmire of Northwest School District

Guys and Dolls is the story of unrepentant gamblers and unexpected love. High-roller Sky Masterson finds himself in the company of Christian mission leader Sarah Brown after making a wager that he could take her to Havana. The bet was made by Nathan Detroit, who needed money to host a craps game. Nathan’s fiancé of fourteen years, Adelaide, is greatly distressed by the long engagement and hassles Nathan for a wedding throughout the entire show. In 1950, Frank Loesser, Jo Swerling, and Abe Burrows created the musical that would be loved for decades.

Pattonville did an excellent job displaying the relationships between the different characters. The set was creative and aided in the flow of the play. The costumes were period accurate and colorful, giving the production life. The actors were filled with energy as they sang and danced across the stage. The lighting was dynamic and added to the moods of each scene. Overall, the school gave an exceptional performance.

Kalen Riley, in the role of Sky Masterson, showed the suave sarcasm of his character very well. He had great chemistry with Sarah Brown, played by Sarah Vik. Vik had a lovely operatic voice and could hit every note. While the two leads did an excellent job, the secondary leads stole the show. Nathan Detroit (Aaron Landgraf) was energetic and added life and movement to the show. He interacted well with the others on stage and performed well in his song “Sue Me.” His paramour Adelaide (Anna Pirrie) seemed to channel Vivian Blaine, who played the same role in the original stage production and on film. Her accent was spot-on and her dancing was great.

Although the main actors did an excellent job in their performances, they were not the only ones. Nathan’s sidekicks, Benny, Nicely-Nicely, and Rusty Charlie, were played by Jacob Painter, Kyle Baldwin, and Devin Harris respectively. They worked together through the whole production but also stood out on their own. Baldwin did a great job in his song “Sit Down, You’re Rockin’ the Boat.” All three were able to sing their lines in the difficult “Fugue for Tinhorns.” The Hot Box Girls all danced well and in time; everyone seemed to know the steps.

The technical side of the play was outstanding. The lights, designed by Elizabeth Watson, were vivid and nearly every spotlight was even and on its mark. Although sound had some technical difficulties, the audience members in the balcony could hear nearly every word. Two set pieces that stood out were the Hot Box Stage and the New York City backdrop; both were filled with color and it was evident that a lot of work went into their construction. The costumes (led by Ana Cruz) only added to the effect of the production. Overall, the play would not have been the same without the work of the technical department.

Pattonville High School put on an enjoyable production that was fun for all who watched. The audience learned that love can come from unexpected places. The costumes, set, and music transported the audience to the early twentieth century.

by Anna Weeden of Holt High School

Thoroughly Modern Millie, based on the 1967 film of the same name, opened on Broadway in April of 2002. The epitome of a feel-good musical, it went on to win six Tony Awards, playing over 900 performances on the Great White Way. Becoming accustomed to the flapper life, Millie embarks on countless adventures in the Big Apple, while meeting trustworthy friends and even falling in love along the way.

Talent was certainly not lacking in this fabulous production. Emily Gudmestad (Millie) dazzled the audience with her enthusiastic and believable portrayal of the title character. Her love interest, Ben Diamond (Jimmy), delivered his charming lines with ease, impressing the audience with his stellar vocals. It was a joy to watch the relationship between his character and Millie develop. James Kerr (Trevor Graydon) especially stood out with his incredible stage presence and ability to make his character truly memorable by engaging the audience in laughter. His hilarious number with Millie’s new best friend Claire Lisker (Dorothy) certainly stood out, for their comedic timing was nothing short of spot-on.

Mrs. Meers (Caroline Kidwell) portrayed her scheming character with conviction. The two Chinese immigrants, Ching Ho (Sam Stern) and Bun Foo (Robbie Love) were extremely likable, for the audience could not help but fall in love with the pair’s comedic dynamic.

The colorful costumes fit the time period perfectly, adding to the signature “flapper” look of the twenties. Though overpowered by the orchestra at times, the ensemble brought life and energy to the stage, immediately engaging the audience. Especially notable were the beautiful sets, making the audience feel as if they were part of the scene. The props were also impressive, especially the many typewriters in the office.

The energy of the cast truly brought the show to life. Each performer made a unique contribution to the impressive production.

The upbeat musical numbers, complete with awesome dance moves, never failed to capture the attention of the crowd. Clayton’s excellent cast definitely shone during their performance of Thoroughly Modern Millie, providing for a lovely afternoon.

by Olivia Ellis of Nerinx Hall

Into the Woods is a show that mixes various fairy tales, from Cinderella to Little Red Ridinghood, into one plot. All of the characters must stray into the woods in order to receive what they really want. Performed on Broadway in 1987, Into the Woods has won several Tony Awards and continues to captivate audiences.

The cast of this show worked well together. Their interactions were believable, and most actors stayed in character throughout the entire show. Although energy was high in Act I, it began to decline in Act II. Even so, strong vocals and good diction made the production amusing and pleasant.

The Witch (Paige Woodley) particularly stood out because of her beautiful singing voice and her ability to portray her character well. Both the Baker (Connor Jenkins) and his wife (Mary Baker) also drew attention when on stage. Their harmonies worked well together, and their chemistry was realistic.

Another standout was the Narrator (Lily Fitzgibbon). She did a superb job of telling the story while also reacting to what was going on around her on stage. Little Red Ridinghood (Tara Willey) stole the show with her comedic delivery and great characterization. Cinderella (Gabriella Mancuso) had a great voice that shined especially in the song “On The Steps of The Palace.” The ensemble made the performance come to life with their dancing and singing. Although facial expressions were sometimes lost, emotions were conveyed well.

The use of colored lights in the background added to the storyline, and for the most part, the stage was well-lit. Although sound had a few troubles, actors were still fairly easy to hear. The beautiful set was utilized wonderfully, and props seemed genuine and were used well. The make-up was fantastic, making each character seem larger than life.

Overall, Marquette’s show made for a very lovely evening. It was easy to believe that the actors were taking the audience out of the theatre and into the woods with them.

by Renee Molner of Notre Dame High School

A play set in the 1930’s by Jim Leonard Jr., The Diviners is well-written piece of art and is, thankfully, performed by the talented Parkway Central High School.

Tim Whyman (Buddy Layman) brilliantly brings a genuine, natural flow to the show, and tastefully portrays animation in Buddy’s character. His likable character provides a sentimental touch to the plot. Whyman’s innocence molds well with Alex Tash’s character, C.C. Showers, the town’s new addition and hopefully, savior. The complex interactions between the two contrasting characters appear authentic. Tash conveys a fresh pace to the stage; he never speaks sluggishly, and every word he says has great emotion behind it. Dewey Maples (Jake Blonstein) and Melvin Wilder (Austin Sellinger) are a hilarious pair of farm hands who demonstrate incredible chemistry on stage, as if their characters see one another as brothers; the stage is never bland when the two interact. Norma Henshaw, played by the talented Samantha Zucker, is a sweet woman who owns the dry goods store in the small town; Zucker never overacts or overpowers any actors, yet she steals the stage with her strong character and comical one-liners. The actors are not only consistent with their characters, but with their accents as well. This is very well demonstrated and a perfect touch to the atmosphere.

The amount of details in Parkway Central’s production is incredible and worth the attention. Their use of real water is refreshing and much more believable, as it is spread in small puddles across the stage and on their umbrellas as well. Lighting and sound’s details were wonderful as well. The two elements flowed well together; lighting’s subtle clouds, warm hues on the cyclorama, and fluid colors on the stage floor to represent water all completely piece themselves together very well, and are designed by Nick Bible. The sound effects, presented by Andrew Matusofsky, are not overpowering and distracting, but help the story along flawlessly, especially in the scene where Buddy, unfortunately, drowns. Make-up and Costumes are pleasing to the eye thanks to Alex Tash and Jack Connolly. The itching patches on Buddy’s skin appear realistic from the audience, and the grease on his hands is a nice addition. The set, built from the ground up, is well designed and beautifully painted to represent a dry, cracked soil. The actual digging and water on the set are designed expertly, and it appears to be very stable.

While some chemistry between characters was lost and lines were a tad rushed, the show overall is a very enjoyable one, and is simply divine.

by Lily Fitzgibbon of Marquette High School

Adapted from the classical Roman poem by Ovid, Mary Zimmerman wrote this play with the theme of change in mind, especially change implemented by love. The show premiered in Chicago at Northwestern University and Lookingglass Theatre Company in 1996. It went to New York in 2001 at an Off-Broadway theatre, and then moved to Broadway in February 2002. One year later, after 400 performances, Zimmerman’s Metamorphoses closed on February 16, 2003.

Robert Love, acting as the first character from Roman folklore to hit the stage, definitely set the standard for an afternoon of spectacular theatre. As Midas, he was convincing in portraying the character’s greed and, later, grief. Later in the play, as the God of music Apollo, Love drew laughs from the engaged audience by singing his lines. In one of the most powerful scenes of the performance, Eudora Olson displayed a true talent for conveying emotion as Alcyone when her character’s husband died at the hands of the ocean.

As the meddling Goddess Aphrodite, Sarah Lerwick wonderfully exhibited a façade of stubbornness and excessive pride. Katie Warnusz-Steckl flawlessly and passionately rendered the conflicted Myrrha in the seventh scene. Alessandra Silva demonstrated an impressive exercise of both acting ability and muscle strength as Midas’ daughter who turned to gold, mid-embrace, and later in the show as the eerie and unnerving Hunger. James Kerr gave the character Vertumnus a lovable touch through his facial expressions and fantastic portrayal of being in love with Pomona, portrayed believably by Emma Riley.

The use of the pool (Lucy Bowe) as the primary set piece was unique and sensational. It added to the overall experience of the show momentously. The lighting (Max Treutelaar), as it reflected the ripple of the water on the set, was beautiful. In the first scene, when Midas would touch things, gold light flooded the area, effectively adding to the illusion. Every technical cue seemed to be exactly right.

Although the cast shined as each had their individual spotlights, at sometimes in supporting roles they lost energy. A few times, the actors would speak so quickly that it was difficult to catch every line, but overall the delivery was spot-on. During the last scene, there was some visible confusion at times that perhaps could have been hidden more effectively, but it didn’t detract from the scene.

Clayton High School put on a play on Sunday that was sure to impress. Through a cast of terrific actors and a crew of obvious merit, Metamorphoses drew striking conclusions of change by love and greed. The intimacy of the theatre paired with the rarity of the water vat on set created a show that went swimmingly.

by Kari Leigh Brinkley of Holt High School

The Laramie Project has many unique components. The cast consists of a few actors who perform in many different roles. Notable was Presten Pinnell, who played four roles, but most prominently the character, Matt Galloway. Pinnell was a memorable actor because he was consistent in creating different characterizations in each role. Also masterful was Ben Speed (Jedadiah Schultz and Aaron McKinney) who was almost unrecognizable as the same person with his different characters’ vocals and mannerisms. Leading the show with consistency in character and strong stage presence was Taylor Kennedy (Romaine Patterson), who provided comic relief and insight into the story that no other character could provide. Unique to MRH’s cast was the incorporation of four adults who each eloquently played a multitude of roles. The inclusion of adults created diversity in size and maturity on stage.

The talent of the students was exemplified in their design and construction of the set. The set was beautifully simple, made only of wood. Rotating panels symbolized different locations, but remained simple and open to interpretation. James Owens (set designer) overcame a giant task in building the massive structure on stage. Occasionally, the audience struggled to hear actors on stage. Viewing the characters became an issue, as lighting did not consistently highlight the speaker. However, lighting was notably gentle in how it was placed on the wooden frames of the set, creating a look of peace. Adding to the effective simplicity of the show was costuming, in which characters wore black shirts and jeans, with subtleties added to change their characters.

Overall, the cast of MRH High School’s production of The Laramie Project successfully portrayed the message of standing against those who discriminate because of sexual orientation. However, even greater emotion from the actors would have been welcomed in order to move the audience more effectively. Matthew Shepard would be proud of MRH High School’s bravery in their battle to defend their moral convictions despite their opposition and people everywhere should follow their lead. Let us all make a similar statement.

by Allie Sanderson of Holt High School

You Can’t Take It With You was written by George Kaufman and Moss Hart and debuted in 1936. Winning the Pulitzer Prize in 1937, the script has been adapted into two movies. Written in three acts, the classic comedy is a must see for any theatre lover.

As we first meet the Sycamores, they seem like they could be a normal family, sure they have their quirks, but who doesn’t. But as the fireworks explode, the IRS appears, and the youngest daughter unskillfully prances around the living room, we realize the family is just plain wacky. That is except for the oldest daughter, Alice. Alice (Kaitlin Grant) is the ideal young lady, and she finds the ideal young man, Tony (Aaron Landgraf). The two actors had the kind of chemistry which makes you hope they’ll end up together.

To lighten the mood, Mr. DePinna was always able to deliver his lines in a way that made the audience laugh and Ed’s confused expressions and silly antics were always fun to watch. The grandfather’s (Jacob Painter) outlook on life was delivered convincingly, and brought meaning to the madness. Between the random Russian dance teacher who showed up, his friend the Duchess, and the drunk actress there was seldom a dull moment. The drunken actress (Megan Willingham) delivered memorable lines and was really able to create a character for herself within the little time she appeared on stage and wasn’t passed out.

Hair, costume, and make-up were all simple yet effective and period. Lights went without any noticeable glitches and the sound, which was strong for the majority of the show, was at times too loud. The attention to detail was magnificent, the plethora of props were right for the time, they had a working typewriter as well as a xylophone on stage. The house which hosted all of this was large enough to cover their huge stage, appeared well constructed while being an attractive set.

Pattonville High School’s production was a night full of surprises, laughter, and morals.

by Jennifer Boston of McCluer High School