The central conflict of the play follows a young man, Orlando, and his love, Rosalind, who, unbeknownst to him, disguises herself as a man and offers Orlando advice concerning their courtship. Although she could easily reveal her identity, Rosalind instead remains in character so that she may test the strength of Orlando’s love. All the while, several other characters fall in love by chance and pursue each other in varying, comedic degrees of desperation.

Nerinx Hall’s leads were all quite entertaining, but two of the brightest were McKenzie Moser and Maggie Hogan, who played Rosalind and Celia, respectively. Moser’s animated face and conviction when speaking made her energetic character all the more enjoyable. Her performance exceeded that of most high school students as she so eagerly, and naturally, adopted her role. Nearly matching her in energy and skill, Hogan’s portrayal of Celia was also engaging. When the pair spoke together on stage, their lively interaction appeared effortless, a sure mark of excellent casting.

The supporting cast’s talent, although not as remarkable, was accented with standout performances by Jimmy Reddy, who portrayed Touchstone, and Claire Wenzel, who played Phoebe. Reddy demonstrated an ease for comedy in both his skill and timing, never-failing to draw a laugh from the audience when on stage. Wenzel did an excellent job with her role as the eccentric, stubborn pursuer of “Ganymede,” Rosalind’s alias. Both made the second act even more enjoyable.

The show’s technical aspects were executed almost flawlessly. Usually an issue in high school productions, the transitions were smooth and indicated an excellent stage crew. The music and sound effects selected were perfect for the environment in which the play took place, unifying the play as a whole. The only minor flaw lay in the set, which did not seem to reflect the talent that Nerinx obviously possesses. It was easily overlooked, though, as performers such as Moser and Hogan commanded attention.

Full of humor and performed by a lively collection of actors, Nerinx Hall’s solid production of As You Like It is sure to entertain.

by Meghan Edwards of Holt High School

As heads of household Senex (Andrew Cheli) and Domina (Hannah Gibbons) depart on a short trip to visit Domina’s mother, they leave slave Hysterium (Evan Turek) in charge. What they don’t plan on is the fact that their son, Hero (Jordan Wolk), is in cahoots with Pseudolus (Mario Meyer), a slave attempting to earn his freedom by setting up Hero with the girl of his dreams, Philia (Elizabeth Burnes). Pseudolus attempts to play the puppeteer in a grand illusory scheme, but what ensues is much confusion, chaos, and comedy.

Meyer does a commendable job playing Pseudolus. The resounding energy and unbridled enthusiasm with which he delivers his lines and songs carries the show. He gives the performance his all, bringing laughter and light to the stage. Turek owns the part of Hysterium, mastering the nervous, panicky demeanor of an overworked slave-in-chief. Wolk plays a charming Hero, personifying the characteristically awkward teenager in love, with his strong vocals far surpassing the graceless stereotype.

Erronius (Vincent Wienhoff) stands out as one of the best comics in the show. His hunch-backed gait and quavering, elderly voice combined with his endearing cluelessness make for tons of laughs throughout the show. Marcus Lycus (Devin Cox) also proves quite funny, through his over-the-top reactions, most notably a shrill, girlish scream throughout a giant chase scene.

Technical elements of the production remain simple, yet effective. Lighting (Krishna Ganim, Cullen Clifford, Tyler Yancey, Emily Jasper, Anthony Domijan, and Emma Butler) remains plain, yet fulfills its purpose, and there are no noticeable sound problems throughout the show, a miraculous feat for a high school production. Set (Matt Bannes, Ryan Cantillon, Keith Smith, John Baraba, Tim Jones, Emily Weinstroer) and costumes (Mario Meyer) are fun and colorful to match the mood of the show, remain accurate to the period, and add to the overall setting of the show. All technical elements of the show blend successfully to help tell the story.

The biggest weakness of the production may be drawn-out, uncomfortable moments toward the beginning of the show, during which it proves difficult to observe any rapport between the actors. However, as the show progresses, actors fall into their roles more smoothly and the chemistry between them becomes more evident, improving the flow of the production.

Bishop DuBourg’s production of A Funny Thing Happened On The Way To The Forum is a funny, fast-paced show with lovable characters that provide a lot of laughs. Throughout the hysterical chaotic events that occur one after another, the cast and crew simply offer a good time, and hold to their promise of “a comedy tonight.”

by Melissa Jung of Marquette High School

The show opens with Bob Wallace (Mark Messmer) and Phil Davis (Charlie Moody) singing for the troops of the 151st Division. Throughout the entirety of the performance, both Messmer and Moody displayed outstanding chemistry between each other. It is completely believable that the two are good friends through their performance. Playing opposite the two men are Betty (Katherine Potts) and Judy (Emma McCann) Haynes. Potts displayed lovely vocals and a strong, independent woman through her portrayal of Betty, and McCann proved to be a triple threat by excelling in the areas of vocals, acting, and dance. Other standouts within the performance include the strong-willed Martha Watson (Emily Jean Henry), General Henry Waverly (Jack Ruzicka), and, of course, Ezekiel Foster (Jake McCann).

Even though the principle characters lit up the stage with their impeccable vocal abilities, it was when the ensemble joined them that the true energy of the production could be felt. All members of the ensemble seemed like they truly enjoyed being onstage, and none of them lacked a single ounce of energy. Two ensemble members stood out in the performance. Bridget Biundo and Naomi Walsby excelled in the numerous tap numbers within the show, and both had excellent stage presence. Both seem to have great knowledge of many types of dance, and many encomiums should be given to both the choreographer of the show and to their private dance instructors.

The technical aspects of the show enhanced the overall performance greatly as well. The light cues were precise and sound cues were never late. The microphones the actors used provided clear sound, but at times they were either too loud or they would cut in and out. Despite this minor flaw, the sound aspect proved to be one of the best. One technical aspect that should be recognized is the set itself. In order to make quick and easy set changes, the set was designed to fold in on itself, with different scenes on either side of the flat. This creative design proved to be very impressive and invaluable to the overall flow of the performance.

The cast and crew at Notre Dame High School should be very proud of their accomplishments through White Christmas. The overall show was truly a wonder to behold, and many will be singing the songs until next Christmas.

by Mario Meyer of Bishop DuBourg

Into the Woods was written by James Lapine, and was composed by Stephen Sondheim. It was first performed at the Martin Beck Theatre in New York on November 5, 1987. The first showing ran for 765 performances and won the 1988 Tony Awards for the Best Book and Score. The production was filmed only 3 years after the original opening night.

Many voices in this performance are extremely melodious, some mentionable examples being Olivia Gacka, who plays the Baker’s Wife, and Alex Bush, who performs as Cinderella’s Prince. Their song together, “Any Moment” shows off their vocal talents and its comic timing is perfect. “It Takes Two” is another vocally talented piece, sung by the Baker’s Wife (Gacka), and the Baker, who is performed by John Dunagan. Bush also performs another outstanding song as Cinderella’s Prince with his hilarious partner, Rapunzel’s Prince, who is played by Alexander Schroeder, in the song “Agony.” Along with its reprise, “Agony” is one of the most entertaining songs. All of these actors also excelled in performing their characters in depth with the proper facial expressions.

There are many other talented actors as well, including Cinderella, the Witch, Jack, and the Narrator/Mysterious Man, who are played by Madi Cupp-Enyard, Katherine Bush, John Rush, and Devin Chabot respectively. All of them play believable characters with well performed reactions to the story. Another mentionable character is Cinderella’s Mother, who is performed by Molly Burgess. Burgess has a clear, beautiful voice, which is showcased in “Cinderella at the Grave.” Many of the actors also have great stage business, including the cow, Milky-White, who is played by Peter Condie, who sways back-and-forth during “It Takes Two.”

The set for Into the Woods is extremely well designed, with authentic trees. During the second act, it is an ingenious idea to have a picture of the Princes in Cinderella’s house. The costumes are also authentic, along with being extremely intricate.

Although many of the actors are extremely vocally talented, some of them are difficult to understand. At some points the acting is bland and lacking in energy as well. The lighting adds to the performance, but at times it was off. Sometimes the spotlights even shone one of the stage crew.

Into the Woods is an absolute fairytale, with quirks at every turn. MICDS puts on a surprisingly enchanting tale that captivates every moment…”Maybe They’re Magic”…

by Tiffany Vonderahe of Northwest School District

The show was written by Neil Gooding and debuted in 2004. Since Gooding is from Australia, it took the musical a while to become popular in other parts of the world — it has just recently been released in the United States and Canada. The story centers on the senior class of William Ocean High, specifically Corey Palmer, who, when the play begins, is competing against the coolest guy in the grade for two crucial crowns. Both he and Michael Feldman yearn for the title of senior class president and the hand of the most beautiful girl in school, Tiffany. Through flashback narration by Corey’s older self, we watch as his last year of high school unfolds through energetic song and dance numbers.

As for the lively nature of the musical, there are a few cast members who truly embody the 1980s spirit. Corey Palmer (Calvin Payne) and his friends Alf Bueller (Kelechukwu Adiele) and Kirk Keaton (Dwayne McCowan) interact fabulously with each other, and do a captivating job of personifying the time period. Michael Feldman (Nathan Battle) and his clique also keep the energy up and act quite naturally. Payne and Battle compete for Tiffany’s affection in “500 Miles” and both of their performances are strong. Outstanding geek power is found in Feargal McFerrin (Malik Mu’Min), who never lets the laughs go astray for too long. He never falters his nerdy accent, even singing in it — his performance of “Video Killed the Radio Star” is quite notable.

Among other enjoyable performers, Ms. Sheena Brannigan, played by Victoria Cherry, has uniquely strong vocal talent and beautifully conveys her teaching role as the Senior Students Coordinator at William Ocean High. Billy Arnold (Dwayne Halbert) also has an impressive voice and executes almost perfectly an impersonation of Rick Astley during “Never Gonna Give You Up,” trench coat and all.

Though missing both their guitar players, the orchestra executes the popular 80s hits to the best of their ability and never overpowers the vocalists. Lighting is adequate for the majority of the show. The makeup and clothing of the cast is clearly 80s, but could be slightly more flamboyant for attention’s sake. The set design, though simple, allows for performers to move and dance on elevated platforms, creating more visual symmetry.

Unfortunately, there were multiple difficulties with the sound; microphones cut out and/or were not balanced in regards of lead and backup singers. The sound crew sometimes adjusted accordingly to these malfunctions in order to provide a clearer listening experience. Dancing was not always lively, but was enrapturing when choreographed, as in “Footloose.”

Filled with freshman and first-timers, the cast and crew of Back To The 80s: The Totally Awesome Musical put on a bright, fun production. The energy and ensemble-feel they created with their acting generated an authentic 80s feel, and showed the audience that it truly was totally awesome.

by Anna Wermuth of Maplewood Richmond-Heights HS

Many actors and actresses had the opportunity to shine by filling the production’s many leading and supporting roles. Notably, Mark Messmer as Wiggins and Charlie Moody as Ashbottom had stage chemistry and were able to drive the show forward. Renee Molner as Olivia Hudson shined through her subtle and realistic acting skills, and Carolina de Legarreta successfully played a highly comedic and lovable character. While Jayme Bodi as Sherlock Holmes and Jordan Lambay as Watson were not granted much stage time, their intent to portray these icons subtly was evident. Even Jack Zimmerman as Professor Moriarty had outstanding physicality and Katherine Potts as Natalia effervesced with energy and drive.

Murder at 221B was very much conducive to a large cast, giving many players a moment to shine. Wil Spaeth as Cragsworthy and Adam Kaul as Hutch skillfully opened the first act, demonstrating deft maneuvering around the intricate set. While Rachel Rone as Jenny Lyons had a stunning stage presence, Bridget Biundo as Roxanne played a convincing femme fatale and Caroline Knese as Lady Weston showed off her diverse acting skills by successfully portraying the intricate character. Even Lauren Lundy and Allison Moser as Mona and Mona provided a comedic background with their tomfooleries, and Erin Kramper and Rachel Marinaro as Sapphire Ring and Ruby Ring brought energy and strong character choices to the stage. The cast was rounded out by the cameo players in their brief yet promising performances.

The intricate set, depicting Holmes’ apartment at 221B Baker Street, framed the story beautifully, and the props proved to be a professional technical aspect of the play. The female principal’s costumes were not only well-tailored but very much indicative of the respective characters’ personalities, and both the lighting and the sound design and execution raised the production to the next level.

In addition to the actors’ remarkable dexterity at maneuvering around the intricate set, the players proved deft at performing the numerous exits and entrances, whether through one of the multiple doors, one of the windows or the smoking fireplace. The cast’s approach to the daunting task of utilizing accents was very much commendable and quite a few players successfully brought energy and drive to the production.

Notre Dame High School’s première production of Murder at 221B served to entertain and was full of remarkable talent and well-designed and executed technical aspects. Detective Holmes himself would agree that the production exceed the “elementary.”

by Carly Beard of Clayton High School

The musical revolves around Ms. “Legally Blonde” herself, Elle Woods. Ms. Woods (portrayed by Berklea Going) lit up the stage with her fantastic voice, fiery attitude and stylish clothes. Going portrayed the perky blonde perfectly. Going never broke character and related to other characters with extreme believability. Playing opposite of Going’s role were actually two characters. Warner Huntington III (Zach Erhardt) and Emmett Forrest (Ben Diamond) playing Elle Woods’ love interests, with the latter winning Elle’s heart. Erhardt had a superb voice and moved fluidly onstage, but he sometimes fell out of character. It also seemed that he overacted his role at times. Ben Diamond portrayed the awkward Law student with confidence and energy. There were times where some sung notes were not correct, but Diamond made up for this throughout the entire show.

The “Greek” chorus enhanced the scenes in which they took part. Their voices blended well together and their dancing was never out of sync. The entire cast also performed well together when onstage. Freshman Claire Blasé expressed exponential energy when onstage with the ensemble. Her dancing made her a highlight of the large company numbers, and her energy was consistent throughout the entire show. Other standouts in the ensemble included senior Megg Lorbert, Mary McLafferty, and Eva Beaudoin.

The technical aspects of the show ran seamlessly. Light changes occurred fluidly and the colors seemed appropriate for the mood of each scene. The stage crew that moved set pieces on and offstage moved silently and fluidly and it seemed that they were like “ninjas.” The sound was crystal clear, with no feedback from the speakers and not one sound cue was missed.

Overall, the performance witnessed at the Nerinx Hall theatre was truly a spectacle to behold. Hopefully, each member of the audience left the theatre with just one phrase on their lips: “Ohmigod you guys!”

by Mario Meyer of Bishop DuBourg

In Evansville, Indiana in November of 2006, Acts of God, opened for the first time. This show follows 12 teenagers, who tell a story about an F3 tornado that tore their lives apart. Learning about each one’s personal story, and whether they get through it or not…

The show had many spectacular leads. Maria Frazier (Hannah Gibbons), opened and closed the show, she is what made all things come together. Her acting was enjoyable throughout the whole play. Another lead that I really enjoyed, and brought power is Mario Meyer (Fernando Arroyo), he really brought out the power, and hard times that his character goes through.

This show also had many fabulous supporting characters. Kelsey Gerling played by Elizabeth Burnes, was truly dedicated to her part. Anytime she went on stage, and spoke I felt the ache and sadness her character brought about on stage. Another actress that does great is Ali Linderer (Kim Packard) her facial expressions, and the quiver in her voice you hear as she tells her story is almost haunting. Aaron Randall, Tyler Wade, and Ethan Trower (Jared Seifert) are hilarious, and give the audience comedic relief.

The technical aspects are pleasing. The sound was easy to hear. For the small space they have on stage, the few props they used are perfect, especially since they are telling a story. The music was appealing, and brought emotion, and helped move the story along.

A few things that could use some work are next. One thing that needs some work is diction at times it was hard to catch/understand what the actors were saying. Another thing that could use work is not looking bored while not speaking on stage. The lighting at times especially on the right corner of the stage was hard to see. Other than those everything was great.

This show was both tragic, and confusing but amazing with the power it brought, and the confusion it left. The show was a treat, and the cast did a splendid job bringing us into the show.

by Alyssa Robertson of Northwest School District

The story of Inherit the Wind, written by Jerome Lawrence and Robert E. Lee, follows a fictional story based on the Scopes Monkey Trial of the 1920s. The trial focuses on a school teacher who was arrested for teaching evolution, an act that was prohibited by law. The members of the religious community strongly opposed the theory of evolution and brought in a famous lawyer to prosecute the case. The townspeople quickly idolize him and practically shun the defense attorney. The attorneys use the argument over whether people are being granted the right to think as the basis of the trial.

Hazelwood East did a fine job in casting actors who could give these meaningful speeches. The ensemble worked as a group and showed unified emotion. The sets allowed for the audience to use their imagination in defining the setting and costumes helped define the era of the play. The music set the mood of the piece, aided by the lighting. Overall, they did a more than adequate job in all fields.

In the role of the attorney in favor of evolution, Marquise Middleton played Henry Drummond. His clear diction allowed him to show the cool logic behind his character. Drummond’s (Middleton) reason was paralleled by the religious fervor of Matthew Brady, played by Calvin Payne. The two played off each other so well that anyone in the audience could feel their emotion. Both Drummond (Middleton) and Brady (Payne) delivered their speeches very well and delivered the message of the play. Kendrick Hooks also played his role as the well-spoken reporter E.K. Hornbeck very well. Rev. Brown, a supporting character played by Malik Mumin, provided the commitment needed to not only rouse the ensemble, but the audience as well.

The ensemble groups of the congregation and the jury were a key part of the play. The church-goers displayed more than the minimal amount of energy during the sermon delivered by Rev. Brown (Mumin). They also gave the image of the heat of the setting that made the audience feel warm. The use of actors at the end of the stage made the audience part of the action, as if they were really in the court room.

In the technical realm, there were few errors, but few departments went above and beyond. The sound department made a wise decision in not using microphones. The actors were at the perfect volume and any microphones would have made them too loud. The use of music provided excellent transitions between the scenes as well. The lighting department had few errors with what they presented, however they could have been more ambitious. The costumes were period accurate and clearly showed the difference in class of the lawyers and townspeople. Lastly, the sets were basic enough to allow for easy, but occasionally slow, scene changes and give the audience a chance to use their imaginations.

Hazelwood East produced a play that was wonderful to watch as the main actors developed in their arguments. They clearly wanted the audience to wonder what was right in the argument of religion or evolution.

by Anna Weeden of Holt High School

Rounding Third is a play by Richard Dresser. Most of the scenes take place at a little league baseball park with a couple of scenes cleverly presented as the back of Don’s truck. This two-man show is very character driven with the lighter moments used to ease the growing tension between Don and Michael.

Both Don (Steve Isom) and Michael (Christopher Lawyer) start out with kind of an awkward tolerance of each other. It is clear that Don is all about the kids and winning. AND drinking. Michael is all about getting along, having fun, and NOT drinking. Michael sees it as an activity he and his son can enjoy together no matter who wins. Don doesn’t agree. Don lives and breathes baseball while Michael puts up with it between phone calls and an ego-centric boss.

The two characters go through some growing during the summer baseball season. Michael realizes that life is about people and not trying to be everywhere for everyone. Don learned that people are human and make mistakes, even during baseball season. By the conclusion of the season, Don and Michael had a tolerable respect for each other. A close bond will probably be possible yet tenuous as Don and Michael remain two very different people. Michael is pretty straight-laced and more of a cheerleader towards hs little league want the kids to have fun and enjoy playing together. Don wants the kids to win. He cares for them in a rough sort of way. Deep down Don would do anything for his team.

We saw Rounding Third last Fall, and it was very different. HotCity’s production focused on the humor of the men’s relationship, whereas the other focused on the drama behind their situations. Both approaches worked really well with the material.

The two men were their own stage crew and the minimal set provided the necessary back drop. The playing area, designed by Sean Savoie, was delineated by home plate. Even the walkway into the theater itself had mulch lining the walkway. The two actors moved the benches and the fences into place when needed to give the look of a field or Don’s car, complete with license plate. Sound Designer Rusty Wandall sounds were well created while not becoming overwhelming.

A very funny show about what builds character and what breaks it.

Cast

• Don: Steve Isom
• Michael: Christopher Lawyer

Production Staff

• Director: Sarah L. Armstrong
• Scenic Designer: Sean Savoie
• Lighting Designer: Alan Chlebowski
• Costume Designer: JC Krajicek
• Properties Master: Meg Brinkley
• Sound Designer: Rusty Wandall
• Stage Manager: Richard B. Agnew
• Assistant Stage Manager: Eleanor Rank
• Technical Director: Sean Savoie
• Photo by Todd Studios Photography

Disclaimer: HotCity Theatre provided two complimentary media tickets to ShowBizRadio for this review.