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Sara MacPhee

Critic

Glebe Collegiate Institute

A nearly three hour epic sung without a single blackout, Les Misérables School Edition is no small feat to stage. But Nepean High School took on the challenge and produced a high quality show that wowed and impressed.

Based Victor Hugo’s 1862 novel that was later adapted into a stage musical, Les Misérables is the story of a man’s journey to freedom from his past. With interwoven stories of romance, revolution, and redemption, Les Misérables has something for everyone. The 1985 English stage version was also adapted into a popular movie in 2012 and the slightly abridged school edition.

Former convict Jean Valjean (Keene Imbleau) and officer Javert (Joseph Ramlochand) are devoutly religious men who strive to do what they believe is right. However Valjean’s plans do not include returning to prison after breaking his parole, while Javert believes he should serve his time. Valjean, instead, strives to help those he meets on his journey to freedom. His life changes when he meets desperate and dying Fantine (Bronwyn Kelly), and he dedicates his life to her young daughter Cosette (Tori Hendrycks). Years pass and Cosette is all grown up, now portrayed by Olivia Duffin. She meets revolutionary Marius (Keagan Eskritt) and the play climaxes during the June Uprising in Paris, 1832, as the young revolutionaries fight for their freedom at the barricade.

Imbleau and Ramlochand perfectly achieved their characters, and their on-stage interactions were striking. Kelly shone in the iconic piece I Dreamed A Dream, and was haunting as Fantine faded away from illness and poverty.

The fact that Les Misérables is entirely sung adds a whole new level of complexity. There was not one weak singer, but Éponine (Emma Makin), childhood bully of Cosette and now infatuated with Marius, was a standout with her clear, passionate voice and strong acting skills. Joseph Ouellette, who played multiple roles, including the Bishop, also had a lovely baritone voice that deserved to be featured. The Nepean High School Pit Band was phenomenal, playing the entire show through the special effects, such as fog and distracting gunshots, without a noticeable error.

In addition to an excellent cast, there were huge achievements in technical aspects of the show. The costumes were stunning and the attention to detail in the hair, clothing, props and set resulted in an immersive and believable experience. As a show without blackouts, the set changes were generally pulled off with ease and smoothly managed. The set crew built two highly versatile and impressively sturdy set pieces that were used as courtrooms, factories, bridges and barricades. Of course, none of the quick costume and set changes could have been pulled off without a great stage management team.

Michael Collins and Emma Davies deserve special mention as they provided comic relief in a show dedicated to misery. As the Thénardiers, a pair of criminal innkeepers, they were hilarious and charming. Collins had an extremely strong performance, hitting the right balance between goofy and malicious and demanding attention whenever he set foot on stage. Davies complemented Collins beautifully with her own special brand of mean, and the two of them stole the show when they were on stage.

While the show may be dedicated to the lives of the miserable, Nepean’s moving production left a lasting impression that was anything but.

Show #16: Les Misérables School Edition

Where: Nepean High School

Director: Jeff Kanter and Caroline Coltman

Mini-Reviews

Gwyneth Boone

Critic

Sir Robert Borden High School

Both the sound and the lighting were subtle, allowing the characters to steal the audience’s attention. Highlights included the resonating gunshots during the battle scene in the second act as well as a student-built Paris skyline that lit up as the battle raged.

Jamie Lynn Zitter

Critic

St. Francis Xavier High School

Laina Szabo captured the spirit and energy of Gavroche, a boy dedicated to the revolution and his fellow soldiers. She ran across the stage headfirst with exuberance and delivered lyrics with the force of a proud soldier of the revolution.

Amanda Ventrudo

Critic

Canterbury High School

The real underlying piece that fit the puzzle together was the amazing Nepean High School Pit Band who didn’t miss a note all night.

Arianna Skirzynska

Critic

All Saints High School

Also authentic to the time period were the costumes, made by hand by Nepean students. As characters matured, their clothing followed suit.

About the reviews:

The production at Nepean High School was reviewed by 29 critics representing 13 schools. The critic discussions were mentored by teacher Jodie MacInnis of Philemon Wright High School and student reviews were edited and selected for publication by teacher JoAnne Hanna of Philemon Wright High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Notre Dame Catholic High School’s production of Twelve Angry Jurors.

About the Cappies

The Citizen and 37 high schools are participating in the Cappies, a Washington, D.C.-based program that uses high school critics to review high school theatre. The program is a unique partnership between the Citizen, the Ottawa-Carleton District School Board and the Ottawa Catholic School Board. Three schools from other boards in the region and four private schools have also joined. The four winners of the lead acting categories will receive a bursary provided by the national law firm Gowling Lafleur Henderson LLP. Follow the Cappies on Twitter@OttawaCappies.

Julia Carrie

Critic

Earl of March Secondary School

Chicago, the 1950s. In the sweltering heat of a small room, a jury has assembled to reach a unanimous verdict on a murder trial. The foreman collects a preliminary vote, where one by one, 11 jurors declare the defendant guilty. One dissents.

Thus begins a dynamic exploration of the mechanics of a dispute as Notre Dame High School’s Twelve Angry Jurors showcases the evidence, bias, argument, reasonable doubt, steadfast faith, and the fluid nature of opinion. Adapted as a combination of Reginald Rose’s Twelve Angry Men and Twelve Angry Women, the play follows the jurors’ journey.

Notre Dame High Schools’ riveting production thrived on the acting talent of its 14-person cast as they drove the story spiritedly from beginning to end with polish and vigour. Each enthusiastically inhabited their unique character for the duration of the play, and this colourful cast was the driving force behind the show’s success.

Stephanie Velichkin fought with staggering eloquence and conviction for the innocence of the accused as the eighth member of the jury, finding a mix of confidence, frustration, and cool professionalism. While desperation and anger can be easily overplayed, Connor Young’s Juror #3, obstinately opposing the vote of not guilty, also seemed to find a perfect balance in a raw performance that was realistic and compelling. The two leads played off one another, heightening the tension in the room with every new jab.

The other 10 jurors were not to be overlooked either. Natasha Harris-Harb’s Juror #10, with impressive command of voice and physicality, created a delightfully unlikeable character. Her self-absorption and aggressive bigotry actually infused humour into the show. Meanwhile, as portrayed by Emmanuela Semé, Juror #4’s cool, logic was a potent contrast to the Juror #3’s fury, as the two endeavoured to prove the defendant guilty as charged. Katie Gillis commanded the stage whenever she spoke as flashy advertising executive Juror #12, and Antonio DiRienzo played Juror #11 with honesty and poise.

The simple set created a powerful space. Just behind the long table, a single window was hung, allowing a vantage point for pensive reflection as several characters took time to ponder the implications of their discussion. The actors regularly played with levels in order to inject more interesting visuals into the play: sitting, standing, and even taking a seat on the table. The simple lighting established the hot summer’s day, while the costumes easily situated the play in the 1950s. While the actors occasionally struggled with delivery, they recovered professionally in each situation.

Notre Dame High School lit up the stage with a talented, professional cast that enthusiastically breathed new life into the drama.

Show #17: Twelve Angry Jurors

Where: Notre Dame High School

Director: Amy Lenser-Twolan

Mini-Reviews

Ella Fontaine-Richardson

Lead Critic

Brookfield High School

Twelve Angry Jurors is unique in that all characters are on stage throughout. The cast maintained their characters at all times, displaying a professionalism beyond average high school theatre.

Sarah Pennington

Critic

Earl of March Secondary School

The costumes added to the distinct personality of each character. Juror #7 (Isiah Gutteridge) wore a flashy watch while Juror #12 (Katie Gillis), an advertising woman, wore red lipstick and a bright green skirt.

Willow Cioppa

Critic

Lester B. Pearson Catholic High School

The Guard was acted 100 per cent accuracy by Nelson Mandara, who showed up each time with exactness that made the audience feel as if they were in a true jury room.

Andrea Eid

Critic

Lester B. Pearson Catholic High School

As Juror #10, Natasha Harris-Harb was masterful. Wearing a striped dress, a snappy attitude and a smart mouth, her character cut the tension and gravity of the situation.

About the reviews:

The production at Notre Dame High School was reviewed by 33 critics representing nine schools. The critic discussions were mentored by teacher Wendy Gunter-Woods of Woodroffe High School and student reviews were edited and selected for publication by teacher Erin Mchale of Colonel By Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Longfields-Davidson Heights Secondary School’s production of Zombie Prom.

About the Cappies

Emily Witherow

Critic

Earl of March Secondary School

Humans have always been frightened of the fiends that go bump in the night. Werewolves, vampires, bogeymen and mummies, these mythical monsters terrify children into compliance, and yet they are fascinating too. No creatures walk the line between horror and curiosity quite like zombies, and yet they are very rarely romanticized. It was high time an oozing, love singing, undead Romeo graced the stage, and Longfields-Davidson Heights’ production of Zombie Prom did just that.

This musical is set in a small high school near an unstable nuclear power plant. The curtains opened to a gaggle of poodle skirts and slicked back hair reminiscent of the 1950s. While the students of Enrico Fermi High School were preoccupied with their baton twirling, woodshop projects and pep squad practices, the audience was introduced to good-girl Toffee and Jonny Warner, the rebel who spells his name without the usual “H”. After a series of unfortunate events, Jonny commits suicide by jumping into the pit of nuclear waste. Rising from these waters as an undead teenager, he sets out to win Toffee back and fight for zombie rights.

The chemistry between Luc Vo (Jonny) and Madison Baines (Toffee) was authentic and delightful, lasting from the minute they set eyes on each other during an air raid drill to the last rambunctious dance number. Baines’s voice was perfectly suited for her role, sweetly delivering even the highest notes.

Although there were vocal issues for some singers, their physicality on stage brought the true colours of their character shining through. Talia Gellatly (Candy), Avery Ash (Coco) and Atalee Renforth (Ginger) played Madison’s best friends. They lightened serious events with well-timed banter and seemed to be the perfect posse of innocent schoolgirls. With sassy poses and knowing eye rolls, this trio provided a steady base for Baines, supporting her throughout the musical.

Megan Milette portrayed Miss Delilah Strict, the matronly and rigid principal who forbade the undead to pass through her hallowed hallways. Her character was transformed from stubborn to vulnerable, and Milette played this beautifully, creating a character that was universally loved. She powerfully performed songs such as Exposé and Rules, Regulations and Respect; and her hilarious facial expressions drew infectious laughter from the audience on numerous occasions.

The score, originally composed by Dana P. Rowe and John Dempsey, was brought to life by a zombie pit band composed of six students playing everything from the synthesizer to the bass. Maintaining accuracy while keeping up a fast pace, they managed to work in cohesion with the singers and not overpower them.

Zombie Prom was the perfect combination of death and life, festering corpses and exuberant teenagers. The fantastic set, crew and cast ensured that if the zombie apocalypse ever does occur, we would be ready to protest and battle for zombie rights while being eaten alive.

Show #18: Zombie Prom

Where: Longfields-Davidson Heights Secondary School

Director: Evan Mochizuki

Mini-Reviews

Mckenzie Gowie

Critic

Elmwood School

Eddie Flagrante (Jordan Whiteman) stands behind Jonny and fights for his re-enrollment. The cool, calculated, business side, as well as the soft and personal side of Eddie are showcased in the songs That’s the Beat for Me and Exposé.

Yiyi Hu

Critic

Bell High School

Noteworthy was Steven Bui as Josh, one of the students. Bui delivered spectacular one-liners, heaving his chest and nodding his head even if he wasn’t the centre of attention.

David Bannerman

Critic

Bell High School

Luc Vo played Jonny with an impressive energy, yet still managed to soften his tone for romantic numbers.

Soren Wainio-Theberge

Critic

Bell High School

Applied by Shuaib Khan, Jacob Larose, and Asem Quadiri, lighting was appropriately melodramatic, such as an alternating red and white strobe as Jonny is about to kill himself.

About the reviews:

The production at Longfields-Davidson Heights Secondary School was reviewed by 30 critics representing seven schools. The critic discussions were mentored by Cappies Program Director Katie Lewis-Prieur and student reviews were edited and selected for publication by teacher Melissa Gervais of St. Francis Xavier High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Sir Wilfrid Laurier Secondary School’s production of My Fair Lady.

About the Cappies

Show #21: Curtains

Where: Merivale High School

Director: Cynthia Wood

Reviewed by: Anupallavi Sinha, Critic, Bell High School

Just as a work of art is a combination of concepts, technical skill and creativity; musicals are comprised of song, movement and dialogue. All elements that add to the emotive content — harmony, balance and style — need to be expertly displayed as an integrated whole. Unfortunately for the cast and crew of the play within the play, Robbin’ Hood, all components were absent. Fortunately for the incredibly talented students of Merivale High School, Curtains had them all.

First performed on Broadway in 2007, Curtains is set in the exclusive Boston’s Colonial Theatre, following Lt. Frank Cioffi, a police detective as well as musical theatre aficionado. Aspiring to identify the murderer of the Old West musical’s maladroit star, Cioffi sequesters the building and proceeds to question all members of the show.

The performance was a thoroughly entertaining one, overflowing with fantastic dance numbers, successful orchestration, striking vocalization and professional acting. The cast ably portrayed their roles with great effort and poise.

Safeera Gillani was admirable as Carmen Bernstein, the producer of Robbin’ Hood. When she was on stage, Gillani’s powerful stage presence, infectious energy and golden vocals added greatly.

“Sidney, I guess the reason you’re such a lowlife is because they built you so close to the ground,” Carmen barked to her unlikeable, stunted husband. Arman Afkham as Frank Cioffi drove the show with polished comic timing, and he carried sincere compassion to the platform.

Ronan Lyall successfully embodied the effete Christopher Belling, the acerbic English director who fired out an unending fusillade of sarcastic comments towards his company. Lyall pulled off the role with great animation, never missing a cue.

What made this production so enjoyable is its exquisite incorporation and balance of the theatrical elements. John Pilon’s lighting provided visual dazzle to the individual scenes and the overall atmosphere of the show. Pilon flashed striking red lights when stage manager Jenny Harmon (Gillian Skoll) was shot in the head, and accented the romantic aura during the song A Tough Act to Follow by illuminating the stage with a dreamy blue spotlight as the fog floated endlessly encompassing the lovers. Merivale High School’s production of Curtains was thrilling.

Mini-Reviews

Sabrin Sanjana, Critic, Bell High School

Rina Gencher as Georgia Hendricks also excelled. Faultlessly switching from the soft-spoken sweetness of a lyricist to the zesty lead actress, her coy body language and astonishing vocal strength consistently kept the audience engaged.

Miranda Scharf, Critic, Bell High School

To add to the aesthetic of the 1950s era, hair and makeup impeccably mirrored the style of the period. In particular, Georgia’s hair was well done, with a poof on top of her head and bright red, attention-grabbing lips.

Soren Wainio-Theberge, Critic, Bell High School

Merivale’s strong production was grounded in meticulously choreographed dance numbers, from the Southern charm of the Kansasland square dance to the classic Broadway vibe of A Tough Act to Follow.

Megan Mellor, Lead Critic, Notre Dame High School

Gillani’s onstage daughter, Bambi, (played by Teagan Lopes), tackled challenging dance features and had a superb dynamic with Gillani.

About the reviews:

The production at Merivale High School was reviewed by 34 critics representing eight schools. The critic discussions were mentored by teacher Kelly Hayes-Crook of Bell High School and student reviews were edited and selected for publication by teacher Joan Strong of Bell High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: St. Mark High School’s production of After Juliet.

About the Cappies

Show #19: My Fair Lady

Where: Sir Wilfrid Laurier Secondary School

Director: Sonya Schrum

Reviewed by: Yahong Chi, Lead Critic, Colonel By Secondary School

Can an accent make a lady out of a Cockney girl? Why, yes, it can, as Sir Wilfrid Laurier Secondary School’s production of My Fair Lady proved. Eliza Doolittle’s rise through the Edwardian-era beau monde was infused with vibrant musical numbers and well-rounded ensembles, all against detailed sets that transported the audience back in time.

Living as a flower girl with a perpetually drunk father is hard, even for the resilient Eliza. So when phonetics professor Henry Higgins offers to teach her to speak as well as a high-class lady, she accepts. But though she might win over the upper class, the desires of her heart complicate everything.

As Eliza Doolittle, Natasha Gaucher portrayed the volatile emotions of her character skillfully. Notably, she kept her accomplished Cockney accent while singing, and transitioned to a posh London accent with realistic difficulty. As Higgins, Ryan Griffith showed excellent chemistry with Gaucher, and punctuated his trademark punch lines with a distinctive, dry tone of voice. Rylan Fisher completed the main trio as Colonel Pickering, performing admirably in his musical number and developing a dynamic relationship with Gaucher and Griffith.

Liam Schwisberg delivered an esxceptional performance as Freddy Eynsford-Hill. He stayed in character even when not speaking and infused every movement with exaggerated delight. His rich singing voice was showcased in his solo On the Street Where You Live, as he interacted with other characters even while singing. Kelsey Dauphinee-Conroy played Mrs. Higgins with authentic sass and a side of snobbery. The ensemble of Jamie and Ginger (Vanessa Pauze and Josie Armstrong) were a constant comedic delight in their scenes.

Using a multi-layered stage with an unorthodox layout effectively, the large cast delivered several strong dance numbers well-choreographed by Lauren Albright. A wide variety of props, such as umbrellas, coat racks and dollies on chairs were used to great effect and enriched the well-furnished sets. Costumes were also impressive, considering they were sewn from scratch by the team of Amanda Collie, Kathleen McKee and Katie Petrakos: matching fabrics helped complement ladies’ gowns in ensembles, while blazer vests with buttons and tuxedo jackets with tails outfitted the gentlemen. Suitable dramatic lighting, including coloured gels and spotlights, served to enhance the mood.

Sir Wilfrid Laurier presented a musical with moments of humour and intense emotions as a result of the proficient acting of the entire cast. Authentic character dynamics, lively numbers and close attention to detail in technical aspects ensured that this production of My Fair Lady was an overall success.

Mini-Reviews

Angelica Tilli, Lead Critic, St. Matthew High School

Beautiful hair and make-up coupled with unique costumes drew similarities with the 1964 film while adding originality with several intricate braids, and 108 professional looking, meticulously handmade costumes.

Kate Skelly, Critic, St. Joseph High School

Through her priceless reactions and powerful comedic timing, Kirsten Mainwood also kept the audience in stitches while playing the sarcastic maid, Mrs. Pearce.

Kellie MacDonald, Critic, St. Matthew High School

Connor Maloney played drunk and lecherous Alfred P. Doolittle, supported by his companions, Ginger (Josie Armstrong), and Jamie (Vanessa Pauze), and The Barwench, played by Bridget Dueck.

Dominique Mesina, Critic , Lester B. Pearson Catholic High School

The Sir Wilfrid Laurier Secondary School Pit Band members were quick on their feet. They were able to control their dynamics very well and did not take away from the actors’ singing.

About the reviews:

The production at Sir Wilfrid Laurier Secondary School was reviewed by 29 critics representing 9 schools. The critic discussions were mentored by teacher Cryssy Savage of Colonel By Secondary School and student reviews were edited and selected for publication by teacher Caroline Pignat of All Saints High School, who could see only the reviews, not the names or schools of the reviewers.

About the Cappies

Show #20: Leading Ladies

Where: Lester B. Pearson Catholic High School

Director: Nona Luchenski-McMillan

Reviewed by: Pegah Ehsani, Lead Critic, Ridgemont High School

As The Bard once wrote, “All the world’s a stage, and all the men and women merely players”. Nowhere was this truer than in Ken Ludwig’s Leading Ladies, performed at Lester B. Pearson Catholic High School, where Leo and Jack must have the performance of their lives to convince Florence that they are her two nieces.

Leo and Jack are living their dream as British Shakespearean actors in the 1950s, except, their dream never included being desperately poor. After a particularly unfavourable performance, Leo, unable to bear the thought of giving up the theatre, hatches a plan to impersonate the long lost relatives of a dying heiress named Florence. Unbeknownst to Leo, the relations, named Max and Steve, are actually females. Hilarity ensues.

As the curtains drew back on this delightful comedy, the salon of a lush mansion, as well as stairs to the bedrooms and functioning doors to an enchanting garden, were revealed. The set featured attention to detail such as paintings, a fireplace and mantel, and beautiful roses decorating the walls.

Jacob Benson played Leo, the passionate actor and mastermind. Benson clearly projected his character’s ambition and ruthlessness. He spoke with an impressive British accent, and his chemistry with Kendra Shouinard as Meg was palpable.

Shouinard showcased her character’s naiveté with timid smiles and a soft voice. Shouinard’s portrayal of Meg’s growth to a young woman ready to follow her dreams was artfully done, and was enhanced with more risqué costumes as the play progressed.

Braeden Halverson as Leo’s best friend, Jack, pretending to be Stephanie, was outstanding. His expressions, his impeccable accent and his flawless timing were all highlights. Halverson’s ability to have his character’s frustration and commitment to Leo shine through whether he was Jack or Stephanie resulted in a tremendous performance.

Creativity was definitely on display throughout Lester B. Pearson’s production. A staggering amount of costume changes and the set crew’s quick assembly of a train compartment demonstrated excellent timing. The sound crew never missed a cue and used jaunty tunes during transitions to entertain the audience as the crew efficiently cleared everything away.

The laughs flowed freely at Lester B. Pearson Catholic High School’s vibrant performance of Leading Ladies. The cast’s strong performance, accentuated by a phenomenal set and vivid costumes, resulted in a sterling production.

Mini-Reviews

Yiyi Hu, Critic, Bell High School

Danika Goveas, as Florence, gave a commendable performance, maintaining a hunched position whether she was dancing with the minister or yelling at her doctor. Her cranky remarks and selfish disposition added to the hilarity.

Kate Skelly, Critic, St. Joseph High School

Through her priceless reactions and timing, Willow Cioppa also kept the audience in stitches as the scatterbrained girl next door, Audrey.

Molly McGuire, Lead Critic, St. Francis Xavier High School

The crew deftly struck the perfect blend of volume, seamlessly managing the movement, proximity and expression of the cast. They attentively followed an extensive list of cues, meeting each on time, with confidence and considerable skill.

Emily Witherow, Critic, Earl of March Secondary School

Gasps filled the gymnasium as the curtains first opened and the audience was allowed its first glimpse into the 1950s. A gleaming chandelier hung from the rafters, shedding light on the glamorous home.

About the reviews:

The production at Lester B. Pearson Catholic High School was reviewed by 27 critics representing nine schools. The critic discussions were mentored by teacher Jillian Budgell of St. Matthew High School and student reviews were edited and selected for publication by teacher Alexander Budgell of Sir Wilfrid Laurier Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Merivale High School’s production of Curtains.

About the Cappies

Colin Mylrea

Critic

A.Y. Jackson Secondary School

Whatever happened to Rosaline, Romeo’s old flame? This is the question that St. Mark High School tried to answer with their production of After Juliet, a sequel to Shakespeare’s exercise in teen angst and romance.

After Juliet looks at how the Capulets, Juliet’s extensive family, are dealing with the loss of Juliet and Tybalt, their former leader. Angry at Juliet for stealing Romeo away from her and dealing with advances from Benvolio, Romeo’s best friend, Rosaline is running a harried campaign to become the Princess of Cats, leader of the Capulets. In the background, the Capulet women, as well as the suave, cruel, Valentine, plot and whisper.

Maya Desrosiers, who played Rosaline, provided a resonant, emotional anchor for the show. Using a violent, proud body language and with a great deal of screaming and shouting, she declared herself the lead and did the role proud. Even when bemoaning her failed love with Romeo, she never lost an ounce of intensity. Benvolio, played by Jacob Ritchie, was slightly understated, but that suited the character nicely and he was able to portray the peacekeeper convincingly.

With a haughty click of his shoes and a brush of his collar, Cole Haggar was a lecherous, demented Valentine. The Capulet women deserve special mention, too. Jordan Sandrock gave a haunting performance as Bianca, a young girl who is plagued by visions of ghosts. Providing a foil to Bianca, Larisa Murdoch was a no-nonsense Helena. Alice, played by Sarah Marks, ably transformed from vain maiden to a more compassionate member of the clan.

The sound and lighting team, comprised of Patrick O’Neil and Rory Maguire, were able to smoothly transition from scene to scene with exact cues and choices, including a number of spotlights that suited the production quite nicely. Oceanna Fata, who also portrayed Rhonda, also played the flute in the background of some scenes, and both her song selection and her playing were excellent. The set, designed by Selena McRae, became a character itself, and reflected the inherently twisted nature of the characters.

St. Mark High School took some risks with this play; the performances and production were well done and highlighted the strengths of the students. While the play itself may have been confusing, the St. Mark Players pulled through with strong performances and technical work and made the evening an enjoyable one.

Show #22: After Juliet

Where: St. Mark High School

Director: Trevor Rostek

Mini-Reviews

Hannah Silver

Critic

Sir Robert Borden High School

With talk of death and revenge in the streets of Verona, Lorenzo and Giani (Michael Czarnowski and Connor Ibach) can’t help but find the light in the situation. The watchful Capulet enforcers were full of quirky humour and an almost purposeful klutziness.

Meia Copeland

Lead Critic

Sacred Heart High School

The attention to detail could be seen on every inch of the set, from individual bricks and fanciful vines that added to the feeling of an old Italian town, to carefully placed candles, decorative lights and colourful teapots.

Hayley Cannon

Critic

St. Joseph High School

Sandrock’s consistent shaky demeanor and remarkable choral piece with Juliet, played by Cassie Roy, was one of the most disturbing yet spellbinding elements of this dark production.

Emily MacInnis

Critic

Sacred Heart High School

Nicki Richards (as the nurse Angelica) may have only had a brief time on stage, but she portrayed the sweet character with conviction.

About the reviews:

The production at St. Mark High School was reviewed by 33 critics representing eight schools. The critic discussions were mentored by teacher Allyson Weatherdon of Sacred Heart High School and student reviews were edited and selected for publication by teacher Tracy Noon of Elmwood School, who could see only the reviews, not the names or schools of the reviewers.

Next review: D’Arcy McGee High School’s production of Pippin.

About the Cappies

Arianna Randjbar

Critic

Canterbury High School

It’s 1942, and the Second World War holds the globe firmly in its grip. Men are on the front, women are up to their elbows in factory work and the rich and famous are schmoozing, boozing and funneling their thousands into the war effort from a safe distance. Many of the world’s most affluent individuals have arrived in Florida to attend the illustrious Palm Beach Royale Hotel’s benefit, where rival starlets, Claudia McFadden and Athena Sinclair, have miraculously agreed to perform. Unfortunately, there’s a catch; the two women refuse to be anywhere near each other, and when they are booked into the same suite, it’s a struggle to keep the clashing divas apart. Fortunately, even with war on their doorstep, St. Patrick’s High School entertained with an energetic performance of the farce, aptly entitled Suite Surrender.

The show, written by Michael McKeever, has appeared on stages from South Florida to Germany. Underneath layers of larger-than-life comedy, Suite Surrender reflects a trying reality of the human condition; the selfish needs of individuals take precedence even with a global catastrophe at hand. This is the case for all at the Palm Beach Royale: everyone from Athena Sinclair to star struck bellhop, Otis, has their own agenda. And everyone is willing to risk the success of the benefit in order to satisfy their own desires.

Stella Bashizi embodied the revenge-bent Claudia McFadden with determination, taking to the stage with a strong voice and forceful presence. Olivia Kennedy took on the role of her rival, Athena Sinclair, and delivered well-timed lines with charm. Together, the warring divas brought both verve and tension to the stage.

Eric McGlashan arrived on the scene as Bernard Dunlap: the hotel concierge that could. Outfitted with a wavering voice, purposeful walk and an arsenal of expressive hand gestures, Dunlap simultaneously captivated and kept conflict at bay. In contrast, reporter Dora Del Rio thrived on conflict and even hid in the penthouse closet to get her share of the action. Rebecca Conrod played Dora as if she had been doing so all her life. With her hip-swaying walk and quick-witted remarks, it was as though she was just as much a diva as Claudia or Athena.

Also impressive was Bryan Lalonde, who played Claudia’s secretary, Pippet. Despite being one of the more reserved characters at the Palm Beach Royale, a combination of well-delivered lines and colourful facial expressions truly made Pippet one to watch.

An apt portrayal of 1940s luxe and humanity in the face of global conflict, St. Patrick’s production of Suite Surrender engaged and amused.

Show #27: Suite Surrender

Where: St. Patrick’s High School

Director: Maureen Johnson

Mini-Reviews

Rowan O’Brien

Critic

Canterbury High School

The singing lilt to the voice of Mrs. Osgood, played by Rachelle Gauthier, added something special to the character.

Katie Fahey

Critic

Merivale High School

Alexander Plant and his clear passion was a real surprise. Despite a smaller role as Francis the bellhop, Plant displayed a true talent for acting.

Kristina Pantalone

Lead Critic

St. Mark High School

Adding an amazing sense of legitimacy were the specially picked costumes, by Olivia Kennedy, who stayed very true to the time period as well as the personalities of the characters themselves.

Teresa Tran

Critic

St. Mark High School

From the piano in the corner, down to the problematic white roses, every detail added to the set, giving a complementary feel to the acting performed on stage.

About the reviews:

The production at St. Patrick’s High School was reviewed by 29 critics representing 15 schools. The critic discussions were mentored by teacher Julia Saunders of Sir Robert Borden High School and student reviews were edited and selected for publication by teacher Maria Maclean of Ottawa Jewish Community School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Philemon Wright High School’s production of Legally Blonde.

About the Cappies

Cappies Nominees

Marketing and Publicity

Aly Bejaoui, Lief Ramsaran, Ela Van Sertima and team, Nepean High School, Les Miserables School Edition
Katya Brooks, Mckenzie Gowie, Brooke Mierins, Upkeerut Saran, Elmwood School, The Secret Garden
Hayley Cannon, Matthew Ciliberto, Connell McCarthy, St. Joseph High School, Suite Surrender
PWHS Journalism Class, Grade 10 & 11, Philemon Wright High School, Legally Blonde
Publicity Crew-cible, St. Matthew High School, The Crucible

Sound

Jessica Dahanayake, Gavriel Rodriguez, A. Y. Jackson Secondary School, Twelve Angry Jurors
Adam Derouchie, William Ferguson, Nickolas Kowala, Jonah Molinski, Lester B. Pearson Catholic High School, Leading Ladies
Sam Dewan, Earl of March Secondary School, Sweeney Todd
Joseph Kim, Gabriel Chamoun, Juliana McLaren, Jack McPhee, St. Francis Xavier High School, The Odd Couple (Female Version)
Sam Ross, Eric Welch, Nepean High School, Les Miserables School Edition

Lighting

Ben Barone, Sam Ross, Eric Welch, Nepean High School, Les Miserables School Edition
Justine Beaule, Elmwood School, The Secret Garden
Mark Greenwood, Michael LaRue, St. Paul High School, The Eyes of Heaven
Jimmy Johnson, Sami Johnson, Paula Rahm, Sarah Roberts, Earl of March Secondary School, Sweeney Todd
Wal Wal, Immaculata High School, Blood Relations

Sets

St. Jospeh Set Crew, St. Joseph High School, Suite Surrender
Dario Cattelan, Elsa Cattelan, Glebe Collegiate Institute, The Enchanted
Kyle Flintoff, Mark Greenwood, Carson Hammond, Mira Pedari, St. Paul High School, The Eyes of Heaven
Megan Hooper, Malak Issa, Sydney Lebreton, A. Y. Jackson Secondary School, Twelve Angry Jurors
Alex Nederlof, Kieran Peacock, James Roberts, Liesje Rolia, Earl of March Secondary School, Sweeney Todd

Costumes

Evelyn Bartlett, Emma Davies, Grace Noel, Maddie Thomas and team, Nepean High School, Les Miserables School Edition
Amanda Collie, Kathleen McKee, Katie Petrakos, Sir Wilfrid Laurier Secondary School, My Fair Lady
Arianna Daminato, Alex Fialos, Shelby Lambert, Shaylah Mahoney, Holy Trinity Catholic High School, The Three Musketeers
Jenna Gasper, Kellie MacDonald, St. Matthew High School, The Crucible
Victoria Gay, Brooke Huneault, Madi Middleton, Evelyn Pageau, Sacred Heart High School, Cats

Kaera Griffin, Rachael Hutchinson, and Quinn Slater, Lisgar, The Middle Class Gentleman

Make-up

Emily Cairns, Aleksandra Valente, Cairine Wilson Secondary School, A Midsummer Night’s Dream
Anastasia Szymanski and the Hair and Makeup Crew-cible, St. Matthew High School, The Crucible
Lauren Hutchings, Jana MacDonald, Madi Middleton, Krista Weatherall, Sacred Heart High School, Cats
Sonia Siddiqui, Aashna Uppal, Elmwood School, The Secret Garden
The Glebe Make-up crew, Glebe Collegiate Institute, The Enchanted

Props

Ryley Alp, Chaim Teagle, Robin Toompuu and team, Nepean High School, Les Miserables School Edition
Ben Brinkman, Bradley Trigg, Redeemer Christian High School, Pygmalion
Matthew Ciliberto, St. Joseph High School, Suite Surrender
Maria Collins, Carter De Curtis, Renee Fage, Ben Kelly, Holy Trinity Catholic High School, The Three Musketeers
Marisa Meneilley, Nick Raponi De Roia, Holly Reis, Sabrina Chaperon, St. Francis Xavier High School, The Odd Couple (Female Version)

Special Effects and or Technology

Aaron DeBlois, MacLean Jones, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Josh Hillier, Kaitlin Kealey, Tristan Santos, All Saints High School, Grease
Jonathan Rudnicki, Gloucester High School, Zombie Prom
Alphonse Vusi, St. Matthew High School, The Crucible
Eric Welch, Sam Ross, Nepean High School, Les Miserables School Edition

Stage Crew

Florence B Bruneau & the PWHS Stage Crew, Philemon Wright High School, Legally Blonde
Romeo & Juliet Stage Crew, Almonte and District High School, Romeo and Juliet
Freddy Detchou, Alex Dolganow, Curtis Patterson, Katherine Roberts, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Paula Rahm, Sarah Roberts and Stage Crew, Earl of March Secondary School, Sweeney Todd
Melissa Halden and team, Nepean High School, Les Miserables School Edition

Orchestra

Nepean High School Pit Band, Nepean High School, Les Miserables School Edition
Zombie Pit Band, Longfields-Davidson Heights Secondary School, Zombie Prom
MHS Pit Band, Merivale High School, Curtains
Earl of March Pit Band, Earl of March Secondary School, Sweeney Todd
SRB The Wiz Orchestra, Sir Robert Borden High School, The Wiz

Choreography

Sydney Anderson, Kate McClelland, Sacred Heart High School, Cats
Robbie Clement, Eze Leno, Katie Moroz, Holy Trinity Catholic High School, The Three Musketeers
Liz Dehler, Aoife McDonald, Annie Moglieri, Emily Shepherd, All Saints High School, Grease
Alex Dolganow, Morgan Guimaraes, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Sandra Girard, Kayla Moniz, Philemon Wright High School, Legally Blonde

Creativity

Trajan Lee, Musicianship, Lisgar Collegiate Institute, The Middle Class Gentleman
Connell McCarthy, Composing, St. Joseph High School, Suite Surrender
Ryan Mockett, directing, Ridgemont High School, Break A Leg
Simon Thomson, composing, Redeemer Christian High School, Pygmalion
Matt Wiley, composing, Cairine Wilson Secondary School, A Midsummer Night’s Dream

Ensemble in a Play

Odel/Otis the Bell Boys, St. Joseph High School, Suite Surrender
The Spanish Brothers, St. Francis Xavier High School, The Odd Couple (Female Version)
Cleonte & Covielle, Lisgar Collegiate Institute, The Middle Class Gentleman
The Three Musketeers, Holy Trinity Catholic High School, The Three Musketeers
Three Musketeers, Ottawa Jewish Community School, The Three Musketeers

Ensemble in a Musical

Burger Palace Boys, All Saints High School, Grease
The Trio with the Delta Nu Chorus, Philemon Wright High School, Legally Blonde
Sweeney Todd Chorus, Earl of March Secondary School, Sweeney Todd
Jamie and Ginger, Sir Wilfrid Laurier Secondary School, My Fair Lady
Mungojerrie & Rumpleteaser, Sacred Heart High School, Cats

Featured Actress in a Play

Emily Bangsboll, Elmwood School, The Secret Garden
Kassandra Engmann, St. Matthew High School, The Crucible
Katie Gillis, Notre Dame High School, Twelve Angry Jurors
Amran Ibrahim, Glebe Collegiate Institute, The Enchanted
Olivia Pfeffer, Colonel By Secondary School, Rumours

Featured Actor in a Play

Milad Alamir-Ahmed, Ridgemont High School, Break A Leg
Carl Cachero, Holy Trinity Catholic High School, The Three Musketeers
Zack Nadeau, Notre Dame High School, Twelve Angry Jurors
Hani Simpson, Immaculata High School, Blood Relations
Spencer Sloan, Glebe Collegiate Institute, The Enchanted

Featured Actress in a Musical

Elizabeth Levin, Earl of March Secondary School, Sweeney Todd
Annie Maglieri, All Saints High School, Grease
Roxanne Nash, Merivale High School, Curtains
Atalee Renforth, Longfields-Davidson Heights Secondary School, Zombie Prom
Ria Rollins, Sir Robert Borden High School, The Wiz

Featured Actor in a Musical

Will Crolla, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Aidan Earle-Lascelles, All Saints High School, Grease
Luc Milling, Philemon Wright High School, Legally Blonde
Noah Rooney, Sacred Heart High School, Cats
Robbie Zwierzchowski, Woodroffe High School, Zombie Prom

Female Dancer

Sydney Anderson, Sacred Heart High School, Cats
Kiana Gibson, Merivale High School, Curtains
Laura Manyoki, All Saints High School, Grease
Pheron Pilon-Jodoin, Philemon Wright High School, Legally Blonde
Aashna Uppal, Elmwood School, The Secret Garden

Male Dancer

Andrew Furtado, Philemon Wright High School, Legally Blonde
Graham Mainwood, Sir Wilfrid Laurier Secondary School, My Fair Lady
Breton Moorhouse, Sacred Heart High School, Cats

Female Vocalist

Rina Gencher, Merivale High School, Curtains
Emma Makin, Nepean High School, Les Miserables School Edition
Morgan Pitson, Sacred Heart High School, Cats
Andrea Valta, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Daniela Vitagliano, All Saints High School, Grease

Male Vocalist

Sebastien Benoit-Molgat, Philemon Wright High School, Legally Blonde
Matthew Bootsma, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Matthew Boutros, D’Arcy McGee High School, Pippin
Devron Colley, Woodroffe High School, Zombie Prom
Fasine Ngo, All Saints High School, Grease

Comic Actress in a Play

Willow Cioppa, Lester B. Pearson Catholic High School, Leading Ladies
Emma Puddicombe, Lisgar Collegiate Institute, The Middle Class Gentleman
Miranda Sherell, Ridgemont High School, Break A Leg
Kate Skelly, St. Joseph High School, Suite Surrender
Hailey Stewart, Cairine Wilson Secondary School, A Midsummer Night’s Dream

Comic Actor in a Play

Robbie Clement, Holy Trinity Catholic High School, The Three Musketeers
Braeden Halverson , Lester B. Pearson Catholic High School, Leading Ladies
Gabriel Hamburg, Ottawa Jewish Community School, The Three Musketeers
Bryan Lalonde, St. Patrick’s High School, Suite Surrender
Chris Leblanc, Lisgar Collegiate Institute, The Middle Class Gentleman

Comic Actress in a Musical

Emma Davies, Nepean High School, Les Miserables School Edition
Danielle Hebert, Philemon Wright High School, Legally Blonde
Kirsten Mainwood, Sir Wilfrid Laurier Secondary School, My Fair Lady
Megan Perera, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Nikki Yin, Sir Robert Borden High School, The Wiz

Comic Actor in a Musical

Michael Collins, Nepean High School, Les Miserables School Edition
Joey Hughes, Sir Robert Borden High School, The Wiz
Ronan Lyall, Merivale High School, Curtains
Noah Peterson, Woodroffe High School, Zombie Prom
James Wilding, Earl of March Secondary School, Sweeney Todd

Supporting Actress in a Play

Olivia Casarramona, Elmwood School, The Secret Garden
Natasha Harris-Harb, Notre Dame High School, Twelve Angry Jurors
Maggie Paquette, St. Paul High School, The Eyes of Heaven
Hannah Srour, Ottawa Jewish Community School, The Three Musketeers
Hannah Vandenbygaart, Holy Trinity Catholic High School, The Three Musketeers

Supporting Actor in a Play

Erikson Downey, Holy Trinity Catholic High School, The Three Musketeers
Henri Feist, Glebe Collegiate Institute, The Enchanted
Connell McCarthy, St. Joseph High School, Suite Surrender
Brusk Rasool, Brookfield High School, 7 Stories
Matt Wiley, Cairine Wilson Secondary School, A Midsummer Night’s Dream

Supporting Actress in a Musical

Rhiannon Henkleman, Earl of March Secondary School, Sweeney Todd
Mar Hughes, Woodroffe High School, Zombie Prom
Katrine Mangin, Philemon Wright High School, Legally Blonde
Megan Milette, Longfields-Davidson Heights Secondary School, Zombie Prom
Jenna Stanley-Smith, Gloucester High School, Zombie Prom

Supporting Actor in a Musical

Lukas Beneteau-Forgues, Gloucester High School, Zombie Prom
Andrew Burwash, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Zachary Granzotto-Martin, Earl of March Secondary School, Sweeney Todd
Joseph Ramlochand, Nepean High School, Les Miserables School Edition
Liam Schwisberg, Sir Wilfrid Laurier Secondary School, My Fair Lady

Actress in a Play

Alex Bateman, Redeemer Christian High School, Pygmalion
Annie-Kate Cullinan, Immaculata High School, Blood Relations
Louisa James-Beswick, Elmwood School, The Secret Garden
Molly McGuire, St. Francis Xavier High School, The Odd Couple (Female Version)
Stefanie Velichkin, Notre Dame High School, Twelve Angry Jurors

Lead Actor in a Play

Matthew Ciliberto, St. Joseph High School, Suite Surrender
Teagan Gran-Ruaz, St. Matthew High School, The Crucible
Brett Riddiford, A. Y. Jackson Secondary School, Twelve Angry Jurors
Sachin Sinha, Lisgar Collegiate Institute, The Middle Class Gentleman
Connor Young, Notre Dame High School, Twelve Angry Jurors

Lead Actress in a Musical

Natasha Gaucher, Sir Wilfrid Laurier Secondary School, My Fair Lady
Safeera Gillani, Merivale High School, Curtains
Molly Henderson, Philemon Wright High School, Legally Blonde
Kate Lahaie, All Saints High School, Grease
Amanda Martin, D’Arcy McGee High School, Pippin

Lead Actor in a Musical

Arman Afkham, Merivale High School, Curtains
Christian Garnons-Williams, Earl of March Secondary School, Sweeney Todd
Michael Henley, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Keene Imbleau, Nepean High School, Les Miserables School Edition
Bryan Thomas, Gloucester High School, Zombie Prom

Song

Join the Family Business, Ashbury College, Young Frankenstein – The New Mel Brooks Musical
Gay or European, Philemon Wright High School, Legally Blonde
Expose, Gloucester High School, Zombie Prom
One Day More, Nepean High School, Les Miserables School Edition
Rules, Regulations, and Respect, Longfields-Davidson Heights Secondary School, Zombie Prom

Play

The Secret Garden, Elmwood School
Twelve Angry Jurors, A. Y. Jackson Secondary School
Leading Ladies, Lester B. Pearson Catholic High School
The Three Musketeers, Holy Trinity Catholic High School
Suite Surrender, St. Joseph High School

Musical

Legally Blonde, Philemon Wright High School
Curtains, Merivale High School
Les Miserables School Edition, Nepean High School
Young Frankenstein – The New Mel Brooks Musical, Ashbury College
Sweeney Todd, Earl of March Secondary School

Top Female Critic

Jordan McManus, Sacred Heart High School

Kate Skelly, St. Joseph High School

Miranda Scharf, Bell High School

Vicky Coo, Lisgar Collegiate Institute

Yahong Chi, Colonel By Secondary School

Critic Team Nominees

Bell High School

Earl of March Secondary School

Lester B. Pearson Catholic High School

St. Joseph High School

St. Paul High School

Top Male Critic

Adam Wang, Bell High School

David Bannerman, Bell High School

Matthew Ciliberto, St. Joseph High School

Soren Wainio-Theberge, Bell High School

It could have been Ottawa’s best dressed at Sunday night’s red carpet event. Students, adorned in floor-length gowns and dapper suites, stilettos and glitzy jewels, strutted their stuff under the local limelight.

Ottawa’s very own mini-Oscars came to the National Arts Centre for the 9th annual Canada Cappies, which recognizes excellence in theatre among high school students.

The packs of nominees in the more than 30 categories descended the stairs to great whooping shouts and decidedly girlish shrieks from the crowd. There were winks, fists thrust skyward and a few ham-worthy poses. But all got their time before the photographer’s flash and stood before the swell of applause from the lower foyer of the National Arts Centre, warm with several hundred bodies.

Elisabeth Levin made her way down with the others in her category — Feature Actress in a musical.

Levin didn’t expect to see her name among the nominees, but the 15-year-old was ecstatic when her named rolled across the live feed announcing the lucky students.

“I started screaming,” says Levin, who won for her part in Sweeney Todd at Sunday’s award ceremony. “It’s a really big deal because it shows me that I may be able to make it in theatre. I saw it as a sign.”

Levin has been singing since she was three and the Grade 10 student says she’s found her home at Earl of March Secondary School.

“The drama department is a shining star,” says Levin, adding that the Cappies are a great way to discover theatre.

Her part as the begger woman, or as she describes it “an insane prostitute old lady,” was challenging but also one of the reasons she loves drama.

“You can just be someone else for a day. It’s an interesting experience, something everyone should do.”

Amran Ibrahim was also up for Feature Actress, but in a play. The 18-year-old says she was thrilled to be a part of the annual awards.

“It’s really important because it celebrates high school theatre,” Ibrahim said. “Without the Cappies, I don’t school plays would be the way they are.”

That’s a sentiment that drama teacher Phil Holmes echoes.

“This is an incredible experience,” said Holmes, who teaches at Philemon Wright High School and directed Legally Blond, which garnered 13 nominations at the Cappies.

“The athletes always get recognition. The academics always get recognition. This is one of the greatest events in Ottawa for theatre,” says Holmes, pausing to whoop for one of his school’s nominees. “Since it started, the level of theatre in Ottawa has really risen. The kids have yet another reason to rehearse late.”

His school won best musical last year, which he says help build momentum and interest for the next year.

“It’s starting to be the cool thing to do,” he says. And the more students who come out and try their hand at theatre, the better.

“In math you learn to add and subtract, in English you learn how to read. In drama class you learn how to live. You use your theatre skills – your drama skills – every single day”

“It teaches you to be yourself, to be comfortable in your own skin.”

The 2014 Canada’s Capital Cappies winners are:

Top Male Critic

Soren Wainio-Theberge

Bell High School

Top Female Critic

Miranda Scharf

Bell High School

Marketing and Publicity

Hayley Cannon

Matthew Ciliberto

Connell McCarthy

St. Joseph High School, Suite Surrender

Sound

Adam Derouchie

William Ferguson

Nickolas Kowala

Jonah Molinski

Lester B. Pearson Catholic High School, Leading Ladies

Lighting

Jimmy Johnson

Sami Johnson

Paula Rahm

Sarah Roberts

Earl of March Secondary School, Sweeney Todd

Sets

Kyle Flintoff

Mark Greenwood

Carson Hammond

Mira Pedari

St. Paul High School, The Eyes of Heaven

Costumes

Amanda Collie

Kathleen McKee

Katie Petrakos

Sir Wilfrid Laurier Secondary School, My Fair Lady

Makeup

Anastasia Szymanski and the Hair and Makeup Crew-cible

St. Matthew High School, The Crucible

Props

Marisa Meneilley

Nick Raponi De Roia

Holly Reis

Sabrina Chaperon

St. Francis Xavier High School, The Odd Couple (Female Version)

Special Effects and or Technology

Alphonse Vusi

St. Matthew High School, The Crucible

Stage Crew

Romeo & Juliet Stage Crew

Almonte and District High School, Romeo and Juliet

Orchestra

Nepean High School Pit Band

Nepean High School, Les Miserables School Edition

Choreography

Robbie Clement

Eze Leno

Katie Moroz

Holy Trinity Catholic High School, The Three Musketeers

Creativity

Ryan Mockett, Directing

Ridgemont High School, Break A Leg

Ensemble in a Play

Cleonte & Covielle

Chris Leblanc, Adrian Kiva

Lisgar Collegiate Institute, The Middle Class Gentleman

Ensemble in a Musical

Sweeney Todd Chorus

Earl of March Secondary School, Sweeney Todd

Featured Actress in a Play

Kassandra Engmann

St. Matthew High School, The Crucible

Featured Actor in a Play

Milad Alamir-Ahmed

Ridgemont High School, Break a Leg

Featured Actress in a Musical

Elizabeth Levin

Earl of March Secondary School, Sweeney Todd

Featured Actor in a Musical

Will Crolla

Ashbury College, Young Frankenstein — The New Mel Brooks Musical

Female Dancer

Sydney Anderson

Sacred Heart High School, Cats

Male Dancer

Andrew Furtado

Philemon Wright High School, Legally Blonde

Female Vocalist

Emma Makin

Nepean High School, Les Miserables School Edition

Male Vocalist

Matthew Boutros

D’Arcy McGee High School, Pippin

Comic Actress in a Play

Kate Skelly

St. Joseph High School

Suite Surrender

Comic Actor in a Play

Braeden Halverson

Lester B. Pearson Catholic High School, Leading Ladies

Comic Actress in a Musical

Megan Perera

Ashbury College, Young Frankenstein – The New Mel Brooks Musical

Comic Actor in a Musical

Ronan Lyall

Merivale High School, Curtains

Supporting Actress in a Play

Olivia Casarramona

Elmwood School, The Secret Garden

Supporting Actor in a Play

Erikson Downey

Holy Trinity Catholic High School, The Three Musketeers

Supporting Actress in a Musical

Megan Milette

Longfields-Davidson Heights Secondary School, Zombie Prom

Supporting Actor in a Musical

Lukas Beneteau-Forgues

Gloucester High School, Zombie Prom

Lead Actress in a Play

Louisa James-Beswick

Elmwood School, The Secret Garden

Lead Actor in a Play

Brett Riddiford

A. Y. Jackson Secondary School, Twelve Angry Jurors

Lead Actress in a Musical

Molly Henderson

Philemon Wright High School, Legally Blonde

Lead Actor in a Musical

Christian Garnons-Williams

Earl of March Secondary School

Sweeney Todd

Song

“Expose”

Gloucester High School, Zombie Prom

Critics’ Favourite Play

Suite Surrender

St. Joseph High School

Critics’ Favourite Musical

Sweeney Todd

Earl of March Secondary School

Top Critic Team

Bell High School

Benjamin Wang, lead critic

David Bannerman

Yiyi Hu

Anna Reepschlager

Sabrin Sanjana

Miranda Scharf

Anupallavi Sinha

Soren Wainio-Theberge

Adam Wang

As you pass by the seedy storefront labeled Mrs. Lovett’s Meat Pies, you hear a contented humming from a second floor apartment. You pause and listen to the rasp of a straight razor on a foamed chin. It seems Mr. Todd is at his work once again. Suddenly, the rasp becomes a “snick,” a bloodcurdling scream rends the air and the building is flooded with dramatic red light. The humming continues. Yes, Mr. Todd is definitely busy today, and his exploits were exposed in Earl of March Secondary School’s fantastic production of Sweeney Todd: The Demon Barber of Fleet Street.

Stephen Sondheim and Hugh Wheeler’s 1979 musical transformed a 19th-century folk villain into a sympathetic anti-hero. A disheveled barber named Benjamin Barker returns to London after a 15-year imprisonment on a trumped-up charge. Swearing revenge on the crooked judge who put him away and destroyed his family, Barker takes the moniker of Sweeney Todd and enlists the help of Nellie Lovett, a pie shop owner and his former landlady. Although he initially plans only to murder Judge Turpin, Todd eventually decides that all of humanity is corrupt and begins slitting throats indiscriminately, allowing Lovett to bake his victims into pies.

Earl of March’s performance was nearly faultless with impressive sets, memorable characters and an orchestra that created perfect ambience. Black comedy was present throughout the play, but as the plot unfolded the atmosphere shifted seamlessly to tragedy. The transition from quips about shepherd’s pie “peppered with actual shepherd” to a nail-biting bloodbath was so subtle that it became difficult to identify the moment when laughter turned to tense anticipation.

Christian Garnons-Williams played the beautician-turned-butcher with a quality that was almost professional, hitting bass notes with a sinister sneer and embodying the cold eeriness one would expect from a cutthroat. When Sweeney wept for his wife Lucy (Elisabeth Levin) or railed against the world after he failed to kill the Judge (Spencer Kahler), Garnons-Williams portrayed him as an unhinged man whose stoic facade was worn away. The character of Lovett (Julia Adams) sacrificed her own morality to win the affection of Todd. Lovett loses her composure as the murderers’ plans go awry, and Adams rose to the challenge of playing an uncertain woman pretending to be unflappable.

Zachary Granzotto-Martin’s performance as Anthony Hope provided a stark contrast to Garnons-Williams. Where Sweeney was spiteful and conniving, Anthony was naive and soft-spoken. The counterpoint duet between the two, Johanna was a beautiful blend of Granzotto-Martin’s tenor voice and Garnons-Williams’ baritone. Johanna (Rhyanna Melanson) was expertly portrayed as a girl split between the terror of fleeing the Judge and the excitement of “getting married on Sunday”, and sang astoundingly high notes with pinpoint pitch.

To facilitate Todd’s murders, the crew built a blood-red chair with a collapsible seat. Garnons-Williams needed only to wheel his victim over to a trapdoor and pull the chair’s lever to drop them through. Garnons-Williams operated the mechanism with gusto, taking much pleasure in its use and reassembly.

And so while Sweeney’s victims may have crashed to the basement, lifeless and bleeding, Earl of March’s production did the opposite. With three-dimensional characters, unparalleled vocal talent and an atmosphere that was so apt it was easy to believe the events on stage were a real Victorian crime spree, Sweeney Todd astounded and terrified.

Show #15: Sweeney Todd

Where: Earl of March Secondary School

Director: Matt Minter

Mini-Reviews

Sarina Bhaiwala

Critic

Longfields-Davidson Heights Secondary School

James Wilding, who played the barbershop competitor Adolfo Pirelli, was wonderfully hilarious. His antics provided relief from the serious plotline, drawing chuckles of appreciation from the audience.

Benjamin Wang

Lead Critic

Bell High School

Rhiannon Henkleman’s performance as Tobias Ragg, a young boy who assists Lovett at her shop, was another highlight of the night. Henkleman’s energy and enthusiasm contrasted sharply against the grim mood of the musical, while her songs were executed with exceptional precision and skill.

Erin Birnie

Lead Critic

Glebe Collegiate Institute

The Earl of March pit band was outstanding and never over-powered the actors on stage. The sound was clear, and depicted the sentiments and overall atmosphere of each scene wonderfully.

Brianna Tremblay

Critic

St. Peter High School

The chorus for this production was phenomenal. They emphasized the tone of the setting by conveying an emotion of fear every time they were on stage. The chorus, as a whole intensified the performance and increased the energy.

About the reviews:

The production at Earl of March Secondary School was reviewed by 34 critics representing 13 schools. The critic discussions were mentored by teacher Ashley Visser of Redeemer Christian High School and student reviews were edited and selected for publication by teacher Eleanor Abra of A.Y. Jackson Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Nepean High School’s production of Les Misérables.

About the Cappies

When the Cappies program came to Ottawa in 2005, few people in Canada had even heard of it.

It started modestly with 15 high schools in its first year and a year-end gala that filled nearly 900 seats in the National Arts Centre’s Theatre.

Today the Cappies celebrates its first decade in the national capital region as one of the biggest programs in North America. It routinely sees the participation of 35 or more schools and has been the catalyst for chapters in Edmonton and the Niagara region. The Gala outgrew the NAC Theatre in its second year and now fills Southam Hall every year.

Cappies, which stands for Critic and Award Program, was the brainchild of William Strauss, an American historian, playwright, and founder of the Capitol Steps political comedy troupe.

Strauss teamed up with Judy Bowns, then a Washington D.C.-area theatre and dance resource teacher. Their collaboration began in the wake of the mass shooting at Columbine high school in Colorado. The goal was to highlight, in the pages of the Washington Post newspaper, the accomplishments of students interested in writing and drama rather than athletics. Chapters followed in other states, including Ohio, California, Florida, Pennsylvania, Maryland, Texas and Missouri.

Ruth Dunley and Bill Strauss after The First Cappies Gala took place June 12 2006 at the NAC.

Ruth Dunley and Bill Strauss after the first Cappies Gala in June 2006 at the NAC.

A coincidence brought the program to Ottawa. While on a leave-of-absence, Ruth Dunley, then the Citizen’s associate editor, heard Strauss and two students speak at a conference on ways newspapers could engage younger readers. Dunley decided to pursue the idea of bringing the program to Ottawa with the Citizen’s help.

“The students told me that, for the first time, they saw people like themselves in the pages of the Washington Post,” Dunley says.

“Having edited countless stories of young people in trouble with drugs or violence, Cappies seemed to me to be a great way for us to talk about the positive things that young people were doing in their communities. When I returned to Ottawa, I pitched it to our then-editor-in-chief Scott Anderson, and with the support of several other Citizen colleagues, we took it to the school boards and crossed our fingers.”

It worked. The Boards and the Citizen joined forces with arts consultants Shelley Smith-Dale, Dale Taylor, English consultant Denise Shannon, and former OCDSB director Barrie Hammond to form the program’s first steering committee.

Hammond, the first educator Dunley approached, says the Cappies has provided Ottawa area students with the opportunity to acquire valuable skills.

“The remarkable success over the past 10 years is a great tribute to the teachers and students who embraced the concept so enthusiastically in the early years and who continue to do so today,” Hammond says.

“Involvement in the arts is linked with improvement in everything from math to critical thinking. Arts education can enhance confidence and teamwork. Dedicated arts programming in schools helps to close gaps for students. It can help students develop a sense of belonging in their school,” says Jennifer Adams, director of Education for the OCDSB, says. “The Cappies celebrates, honours and recognizes those students who take words and notes on a paper and bring them to life.”

Julian Hanlon, Ottawa Catholic School Board’s Director of Education, says the program has also provided fantastic opportunities for his students and staff.

“The Cappies have given high school theatre the profile it has long deserved,” he says. “All the students involved, not just the actors, have an opportunity to shine.”

Through the years, the Cappies expanded rapidly and grew to include schools outside the two sponsoring boards and on both sides of the Ottawa River.

Thousands of students have taken part as student critics who received their first byline in the Citizen. Many have pursued careers in writing and journalism, just as many of those who received onstage or backstage accolades have pursued studies in music, dramatic arts, costume design and technical work.

Caroline O’Neill pilots a plane alongside James Haskin as students from St. Mark High School rehearsed their Cappies play, The 39 Steps.

Caroline O’Neill, who was both a student critic and an actor at St. Mark High School, feels the program had a positive impact on her career path.

“I am currently in my third year of journalism at Carleton University. Cappies gave me a taste of this vast, fast-paced world where one conversation can lead to an interesting interview or a brand new story.”

James Gilchrist is in second year at Algonquin College. He says the program was special.

“Cappies was one of the best experiences of my high school career. It’s where I met some of the most talented people I know and some of my closest friends.”

James Gilchrist, St. Matthew Catholic High School, nominated for Male Critic, in 2013.

Thirty-eight schools are participating in Cappies this year with 36 performances of plays and musicals. The opening show of the 10th season will be There’s No Place Like Home at St. Patrick’s High School on Dec. 4.

Katie Lewis-Prieur, the current Program Director for Canada’s Capital Cappies, is looking forward to seeing many of the upcoming shows and hearing the discussions in the critics’ rooms.

“The range of genres of shows being produced is astounding,” says Lewis-Prieur. “Schools are presenting contemporary works like The Addams Family: The Musical, which was on Broadway in the last few years, and Goodnight Desdemona, Good Morning Juliet by Canadian Ann Marie Macdonald. There are also the classics being put up like Arsenic and Old Lace and Shakespeare’s A Midsummer Night’s Dream. It’s one of the best entertainment values in town.”

Cappies 2014-15 play Synopses

A veteran drama teacher who has been involved in the program since it arrived in Ottawa, Lewis-Prieur says organizers are already planning the next Gala on June 7, 2015.

“We’re so excited to be celebrating our first decade here in Ottawa. It’s hard to believe how quickly the time has gone, but when you look at how many student critics have gone through the program and how many plays have been shared, you can see the tremendous impact that Cappies has had on celebrating high school theatre and promoting literacy.”

Do you have a favourite memory about the Cappies program or Gala? Did your participation in the Cappies set you on your career path? Tell us about your memories on stage, in the critics’ room and at the Gala.

Email Katie Lewis-Prieur at AdminCCC@cappies.org. Follow Cappies on Twitter @OttawaCappies, join our Facebook page and keep up to date at http://ottawacitizen.com/category/entertainment/cappies.

Dec. 4

St. Patrick’s High School: There’s No Place Like Home

Dorothy, Toto, a tornado – oh my! What really happens in Oz? Who is truly to blame for the misfortunes of the young girl and her friends? Is the Wicked Witch of the West as despicable as she seems, or is she simply a victim of bad press? There’s No Place Like Home brings a new perspective to an old tale.

Dec. 10

Cairine Wilson Secondary School: Goodnight Desdemona, Good Morning Juliet

What happens when an awkward young professor’s assistant gets sucked into her own research? Constance Ledbelly, obsessed with the mysterious Gustav Manuscript, finds herself as an extra character within William Shakespeare’s Othello and Romeo and Juliet. With sword fighting, cross-dressing, and a ton of misunderstandings, Constance has her hands full navigating these once familiar tragedies now turned comedies.

Dec. 11

Ottawa Jewish Community School: Arsenic and Old Lace

Take all you know about a dysfunctional family and throw it out the window, because the Brewster family redefines the word dysfunctional. Leading the family are two lovely, charitable old aunts with one slightly odd characteristic about them: they poison lonely, old men to take them out of their misery and, of course, without their consent. These aunts live with their nephew, Teddy, who conveniently shares the same name as President Roosevelt. Convenient, because Teddy is quite the nutcase who sincerely believes that he is, in fact, the president. The aunts receive a wonderful surprise as their estranged nephew, Jonathan, shows up with his non-licensed German plastic surgeon friend, Dr. Einstein. Jonathan is also a serial killer (seems to run in the family), however his intentions are much darker than those of his aunts. The last nephew of the bunch, Mortimer, seems to be the only normal person around. Mortimer is engaged to be married to the intelligent and beautiful Elaine, a minister’s daughter. While all this is occurring, Mortimer tries to cover up his aunt’s murders while cops filter in and out of their house. Chaos ensues over the course of one long night as this dark comedy unravels.

Dec. 11

Ridgemont High School: Black Comedy White Liars

The White Liars: Sophie is a psychic who has inherited her powers from her mother. After a dry spell, of customers, finally two friends, Tom and Frank, come to have their fortunes told. Frank, however, has a different idea altogether – he fears his girlfriend is being taken away by Tom and convinces Sophie to fake a fortune. Throughout this dramady we discover things about all three of the characters. Black Comedy: Brindsley, a down-on-his-luck artist, and his lovely Debutant fiancé, Carol, are happily engaged. They organize an evening for Bamberger, a rich multi-millionaire, to come take a look at some of Brindsley’s art. They want to impress this man, so they concoct a scheme to ‘borrow’ fancy antiques from their neighbour Harold as he is out on vacation. However, a blackout occurs and everything that can go wrong does. Brindsley is left in the dark in this one act farce. Chaos and comedy go amazingly together and will be sure to make you laugh.

Dec. 12

Mother Teresa High School: Alice’s Wonderland

2014 is the 150th anniversary of Lewis Carroll writing the famous Alice in Wonderland. In cerebration of this, we, as the Mother Teresa High School Drama Production Team, are taking it upon ourselves to put on a dramatic adaptation entitled, Alice’s Wonderland. In using the original novel as inspiration, we have written the script to take the audience on a journey through Alice’s mind while she experiences the extraordinary hallucination of Wonderland as a byproduct of her schizophrenia. The large majority of the proceeds being raised through our show’s ticket sales will be donated to support those living with schizophrenia. The production is being put on with the intention of bringing light to a serious mental health subject while keeping the wittiness and cleverness of the classic fairytale in mind.

Dec. 12

All Saints High School (1st Show): Jungle Book

Mowgli, a young girl that was raised by a pack of wolves, has to face her biggest fear, Shere Khan, the tiger. Fortunately she receives a little help from her friends, Balloo, a big, old bear, and Bagheera, a loving panther, who teach Mowgli to fight, live in the jungle, and, most importantly, find true courage. Through this journey of self-discovery, Mowgli overcomes her fears and most of all figures out where she truly belongs.

Feb. 20

Woodroffe High School: Into the Woods

Into the Woods is a show about realizing our hearts’ desires, even when we haven’t really reflected upon the implications. It is a show about wishes and choices, about re-visiting our choices or re-examining how we come to make them in the first place. A baker and his wife set forth to obtain four items required by the “witch from next door” in exchange for the reversal of a curse that prevents them having a child. In the woods, they encounter Little Red Riding Hood, Jack (of beanstalk fame), Cinderella and Rapunzel, all of whom possess articles the witch needs to overcome her own affliction. The first act, full of humour, adventure, suspense and romance, introduces princes and wolves, grandmothers and step families, as our leading characters seek true happiness. Act two, however, brings the giant’s widow seeking justice. How does a community determine what is right? With the novelty of love past, what differentiates relationship from duty? When fidelity is lost, is identity also forsaken, and for which party? Although dark, the show manages to bring a message of hope and survival in the face of realities that are never as clear as a “happily ever after” might imply.

Feb. 26

Ashbury College: The Wizard of Oz

This year, Ashbury College proudly presents Frank Baum’s The Wizard of Oz. The adventure begins when Dorothy is swept out of Kansas and lands in Munchkinland, where she is welcomed by Glinda the Good Witch and the Citizens of Munchkinland. They throw a celebration in her honour after her house lands on The Wicked Witch of the East, before sending her on her way to Oz to meet the Great and Powerful Wizard. Along the way she meets a Scarecrow, Tinman and the Lion who join her on her journey, hoping the wizard will give them a brain, a heart and nerve. This musical tells the tale of four friends working together to accomplish their goals, exploring new lands and meeting new people as they try to help Dorothy find the way back to Kansas!

Feb. 27

Merivale High School (1st Show): Singin’ In the Rain

Based on Gene Kelly’s classic movie of the same name, Singing’ In The Rain brings comedy, romance and musical numbers to the stage. It’s the roaring 1920s, and Don Lockwood and Lina Lamont, Hollywood’s silent movie star sweethearts, have been challenged to create a new style of film: a ‘talkie’. But there’s a problem; Lina’s voice can scratch the chalk off a clapperboard. A chance meeting with the lovely struggling actress, Kathy Selden, has Don singing in the rain with new hope and a wacky idea that just might work.

Feb. 28

Elmwood School: The Madwoman of Chaillot

On a seemingly beautiful day in the stately quarter of Chaillot, situated somewhere between the Champs Elysees and the Seine, a group of ne’er-do-wells plots to take over the city of Paris in pursuit of a profitable prize they believe gushes beneath the streets – oil! What they do not count on, however, is the cleverness of the Countess Aurelia, who positions herself firmly between their greed and her passion to save the world from the cupidity of prospectors. Supporting the countess in her efforts to stop these antagonists in their tracks is a lively collection of Parisian misfits; including – among others – a rag-picker, a king-of-the-sewers, and a pair of young lovers who will go to any lengths to preserve universal goodness. Written in 1944 by French playwright, Jean Giraudoux, The Madwoman of Chaillot is a lyrical satire that will delight audiences, while encouraging our collective contemplation of a world continually on the brink of imminent disaster!

Mar. 5

Sacred Heart Catholic High School: To Kill a Mockingbird

As Jean Louise Finch remembers it, Maycomb County, Alabama was a lethargic, colourless old town downtrodden by the Great Depression. To Kill A Mockingbird, based on Harper Lee’s Pulitzer-prize winning 1960 novel of the same name, is the timeless account of a young girl’s exposure to the racial injustice that defined an era. A woman reminisces back to a time when she was simply called Scout. Atticus Finch, defense attorney and the father of Scout, is assigned the case of Tom Robinson, a black man accused of the rape of a local white girl named Mayella Ewell. Scout, along with her brother Jem and her friend Dill, must defy the pervasive ignorance and hypocrisy of their own neighbours as they explore the nature of ignorance and discrimination, discovering that the most innocent and the most culpable are not quite as obvious nor as segregated as they once surmised. A heart-warming tale of courage and compassion as it is equally a cautionary tale of racial, gender and socioeconomic prejudice, To Kill A Mockingbird remains a classic story that is just as applicable to contemporary life as it was a half-century ago.

Mar. 8

Earl of March Secondary School: Fiddler on the Roof

Apr. 10

Immaculata High School: The Giver

Jonas’ world is perfect. Everything is under control and safe. There is no war or fear or pain. There are also no choices. Every person is assigned a role in the community. But when Jonas turns 12, he is chosen for special training from The Giver—to receive and keep the memories of the community. The Giver is the only person who holds the memories of real pain and real joy. Now Jonas will learn the truth about life—and the hypocrisy of his Utopian world.

Apr. 11

Lisgar Collegiate Institute: Kiss Me Kate

Backstage antics lead to onstage tension in this play-within-a-play among the four lead actors in the musical version of The Taming of the Shrew. Fred, the producer (Petruchio), is married to Lilli, a famous movie actress (Katharine), who has a reputation for being difficult. Lois Lane (Bianca) is the love interest of both Fred and Bill (Lucentio). Bill has a gambling problem that sends the mob looking for him, but he has signed Fred’s name to his IOU. The fun really begins when the gangsters show up to collect the debt. Kiss Me Kate, with music and lyrics by Cole Porter, features songs such as “Another Op’nin’, Another Show,” “Too Darn Hot,” and “Brush Up Your Shakespeare.”

Apr. 11

St. Paul High School: Nosemaker’s Apprentice: Chronicles of a Medievel Plastic Surgeon

A father tells his daughter a bedtime story about the history of his profession, plastic surgery. It all started with the trade of a “nosemaker,” a person who made noses using materials such as sheep guts and pig ears. This was how noses were made in medieval times; that is, until a certain nosemaker’s apprentice revolutionized the art entirely. Follow the adventures of a small-town boy as he meets crusaders, villains, enemies, and… the queen of France?

Apr. 16

Colonel By Secondary School: To Kill a Mockingbird

In To Kill a Mockingbird, presented by Colonel By Secondary School, the frightening issues of racial equality and the reality of bigotry are experienced first hand by the young protagonist, Jean Louis ‘Scout’ Finch. The production is based on the book by Harper Lee and adapted for the stage by Christopher Sergel. Scout, alongside her older brother Jem, are raised by their father and distinguished lawyer, Atticus Finch. Racism in 1930s Maycomb, Alabama, is widespread, which becomes especially relevant when Atticus agrees to take on the case of Tom Robinson, a black man accused of raping a white girl. Both Atticus and his children face harsh disapproval from the community, but Atticus’ conscience compels him to defend an innocent man. Including the mysterious Arthur ‘Boo’ Radley, irritable Mrs. Dubose, and vengeful Bob Ewell, To Kill a Mockingbird explores the innocence of children in relation to the tumultuous inequality of the American South in the 1930s.

Apr. 16

Philemon Wright High School: TBA

Apr. 17

Lester B. Pearson Catholic High School: The Sound of Music

Maria is a young woman in the process of becoming a nun in Salzburg Austria in the 1930s. She is a free spirit and is having some difficulty with conforming to the restrictions of the abbey. When the recently widowed sea captain, Baron Van Trapp, is in need of yet another governess for his seven children, Maria is sent to fill the job. The Captain is often not home, but when he is, he runs his household like he runs his ships, with military proficiency. In need of love and understanding, the children initially are reluctant to accept Maria and think that she is just another in a long line of governesses. However, they are quickly won over by her warm and fun-loving nature. Maria and the Captain are at odds when it comes to raising children, but despite their differences, they begin to have feelings for each other. Realizing this, Maria returns to the Abbey. She is soon persuaded back to the Von Trapp home to complete her responsibilities. Soon, the Captain and Maria are married, but their happiness is overshadowed by the looming threat of Nazi Germany and the possibility of the Captain being drafted into the German Navy. Not willing to compromise their beliefs and risk staying in Austria, the family decides to make the courageous and dangerous trek over the mountains and into Switzerland. With some of the world’s most well known and loved songs such as “Do Re Me”, “Climb Every Mountain”, “My Favourite Things” and “Sixteen Going on Seventeen” The Sound of Music is a musical for the entire family to enjoy.

Apr. 17

Brookfield High School: Play On!

What could be better for a small theatre company than getting a free script from a local playwright? When the script comes from the pen of Phyllis Montague, the answer is almost anything! Join the cast and crew of Murder Most Foul from rehearsal to final curtain as they struggle through multiple script changes, multiple miscues, and multiple mishaps. This play-within-a-play will have you cracking up as our ill-fated thespians try their best to break-a-leg. Their play won’t be great, in fact it will probably be a disaster, but the show must go on, so … Play On!

Apr. 18

St. Mark High School: Brokenville

Seven strangers, five teens, a child, and an elderly woman, all survivors of an unnamed apocalyptic event, are drawn together by a haunting lullaby. They gather amid the rubble of an abandoned family home to seek shelter, and to answer to a single question: “What has happened to our world?” In an effort to comfort a terrified child, they tell stories. At first, each is reluctant to engage in telling fairy tales, but something magical happens as this group begins to build these fictional worlds. Through the sharing of language, the construction of story leads seven disparate, desperate people to reconstruct their own world, to reshape themselves as individuals, and to rebuild their space into a community. From simple, stilted words elaborate nuanced narratives evolve, which shape themselves into complex theatre. As each tale unfolds and each participant becomes the character in each tale, they rediscover what it means to be human.

Apr. 18

Sir Robert Borden High School: TBA

Apr. 22

Notre Dame High School: Dracula, The Vampire Play

Apr. 23

Holy Trinity Catholic High School: A Midsummer Night’s Dream

From war and hate, to peace and love, A Midsummer Night’s Dream tells the stories of a multitude of characters, including star-crossed lovers, a group of amateur actors, fairies, and a duke and duchess. The tale takes place in a colourful, magical forest in Athens, Greece with a unique twist of being set in the 1960s. The lovers: Lysander, Hermia, Demetrius, and Helena, all find themselves falling in love with the wrong person. The actors try to perform a play for the Duke’s wedding, but fall behind when Nick Bottom, their lead, is transformed into a donkey. Causing these strange events is the mischievous sprite, Puck, who works for the king of the fairies, Oberon. Oberon meanwhile faces his own struggles with his queen, Titania. The two rulers of the fairies are fighting over the ownership of a changeling child. While Oberon wants the child as his servant, Titania wants simply to take care of the boy herself. The many seemingly dramatic stories all weave together with comedic characters and moments to form William Shakespeare’s classic comedy of A Midsummer Night’s Dream.

Apr. 23

Sir Wilfrid Laurier Secondary School: TBA

Apr. 24

A.Y. Jackson Secondary School: The Addams Family – A New Musical Comedy

Hidden deep in Central Park, NYC is a very strange house, with even stranger occupants. Not your average family, the Addams family lives for death, decay and desolation (with occasional outbreaks of spontaneous dancing). That is until eighteen-year-old bow-and-arrow-wielding Wednesday Addams falls in love with, and wants to get married to, a decidedly average boy. With true love on the line, can Wednesday’s Uncle Fester and the ghosts of the Addams’ dead ancestors help resolve this dilemma, or will this unconventional romance destroy everything the Addams family holds dear? Come dance the “Rigor Mortis” with them and find out in The Addams Family – A New Musical Comedy.

Apr. 24

Longfields Davidson-Heights Secondary School: The Laramie Project

When prejudice is deeply rooted, humanity is questioned. What if an unthinkable act occurred in your town? The Tectonic Theatre Project creates a theatrical collage showcasing the varying opinions and reactions to a tragedy that hits the community of Laramie. After the kidnapping and beating of Matthew Shepard, a twenty-one year old gay student from the University of Wyoming, the reality of the incident conjures emotions from the town’s citizens. The audience follows their contrasting responses to the occurrence that has rattled the town.

Apr. 25

Redeemer Christian High School: A Midsummer Night’s Dream

All of Athens is astir with preparations for the upcoming nuptials of Theseus and Hippolyta. The youth of Athens, however, are struggling with their own wedding woes. Meanwhile, hidden deep within the majestic forest trees, is a magical fairy world teetering on the brink of disaster. Rooted in shattered relationships, furious revenge plots catapult the fairy world into chaos and wreak havoc upon the unsuspecting mortals who venture within. Join Redeemer’s drama club for a magnificent midsummer night’s dream bursting with mistaken identities, delightful weddings, bumbling tradesmen, and thunderous clashes between the reigning forces of Team Oberon and Team Titania.

Apr. 25

All Saints High School (2nd Show): TBA

Apr. 25

Gloucester High School: Cue For Treason

Apr. 29

Merivale High School (2nd Show): Moo

Moragh MacDowell is just an ordinary girl – until she gets shot in the head at the age of 19. She then weds Harry Parker, but due to the oppressive sexist society of 1960s Toronto, Harry cannot handle her assertive nature and deserts her. Moo must travel to find her estranged husband and closure. Gin, cigarettes, asylums and postcards engulf her world of obsession and desperation. Will she ever be free?

Apr. 30

St. Patrick’s High School: Noises Off

A small company of actors travel the roads to little towns to perform their production of Nothing’s On. Backstage intrigue and personal dramas interfere with onstage performances until chaos ensues.

Apr. 30

Glebe Collegiate Institute: Unspoken For Time

May 1

St. Francis Xavier High School: Hunchback of Notre Dame

Travel back in time to 15th Century Paris, France, with the Coyote Cast and Crew, as they present Tim Kelly’s theatrical adaptation of Victor Hugo’s classic, The Hunchback of Notre Dame. This less macabre version of Hugo’s original is great for the whole family, driven by the inspirational message of inclusion and acceptance. The plot is tripartite: the story of a lonely Hunchback and his bourgeois guardian, the Archdeacon Frollo; the regal Captain Phoebus, heartthrob of France; and the Court of Miracles – the underbelly of Paris. All three are merged together by the mutual object of their affections, Esmerelda, a beautiful and caring gypsy. Come join this large cast of memorable characters on their harrowing journey of love, imprisonment, murder, and sacrifice.

May 1

St. Joseph High School: TBA

May 2

John McCrae Secondary School: TBA

May 3

Almonte and District High School: Confusions

Confusions is a series of five short one act plays that have little to do with each other, aside from the fact that each act is linked to the next by a common character. The plays range from the pathetic yet funny Mother Figure, to the side-splittingly hilarious farce of Gosforth’s Fete. This full-length ensemble of stories promises entertainment throughout, as author Alan Ayckbourn lets us laugh (riotously at times!) at the obsessions, the loneliness, the scrappiness, and the tragedies of our daily existence.

There’s No Place Like Home
Where: St. Patrick’s High School
Director: Maureen Johnson

Victoria Suwalska
Critic All Saints High School

Victoria Suwalska, Critic

Dorothy clicked her heels back home to St. Patrick’s High School in There’s No Place Like Home. Featuring a new perspective on the classic story of the Wizard of Oz, this student-written adaptation presented a rich dose of refreshing sarcasm delivered by a diverse cast of characters while still offering the nostalgia of the original, as embodied by the song Somewhere Over the Rainbow. Every line, prompt, and backstage task was unified in an exceptional effort.

We all know the old story: After a disorientating twister, Dorothy faces a colourful world of munchkins, witches, and outspoken trees as she and her dog Toto embark on the search for home. Guided by the helpful presence of the good witch Glinda and a yellow brick road, Dorothy befriends a brainless Scarecrow, a heartless Tin Man and a cowardly Lion. In this version she also meets a delusional Tree on her perilous journey to Emerald city. Once there, she’s greeted by a dishevelled Ozzy Osbourne, instead of the Wizard of Oz that Dorothy expected.

The production’s bright and simple sets enhanced but did not overpower the performances. And the eye was drawn towards beautifully detailed costumes, hair and make-up. Amanda Nicholls ensured that Dorothy’s hair was neatly braided, that straw was woven into Scarecrow’s braids, and that the faces of the Wicked Witch, the Tin Man and the Lion were painted a vivid green, silver and gold respectively. The Tin Man’s oil can, the Angel/Devil’s staff, and other props played symbolic roles in the performance. Although certain performers seemed initially hesitant, they grew more confident and carried off their characters with contagious enthusiasm.

Olivia Kennedy was a classic determined Dorothy with an endearing love for her pal Toto. She add a unique touch through her bubbly personality. And she was the peacemaker among her unusual group of friends. Kennedy’s Dorothy was a strong presence onstage.

The supporting characters were equally solid. They added humour to Dorothy’s adventures. Each unique personality trait was well developed in each character. For instance, the Scarecrow lacked the memory to keep up with the group’s plans, and the heartless Tin Man constantly spewed sarcastic and cynical comments. James Plant was uncanny as the Tin Man. he offered a strikingly accurate appearance, using robotic gestures to create a convincing illusion of being rusty. Jessica Sgueglia’s ability to switch instantly between angel and devil added depth to the Wicked Witch of the West’s character.

Most of the sound effects, including the Wizard’s ominous voice and punch line drums, were well-synchronized with the actions on stage. The nature soundtrack that played in the background for various scenes and scene changes established a pleasant atmosphere. Although the transitions between scenes were not always smooth, the stage crew were quiet and efficient. The lighting crew executed numerous prompts successfully and minor errors were almost always fixed within seconds. When the Angel/Devil instantly switched positions and characters, the spotlight followed her seamlessly, switching from red to white in perfect unison with her movement.

Altogether, St. Patrick’s There’s No Place Like Home integrated brilliant humour into the timeless classic. Together the cast and crew paved a yellow brick road to success.

From left, Tree played by Zara Barghouth, lTinman played by James Plant, Lion played by Jaida Welsh, Scarecrow played by Jessica Paquette and Dorothy played by Olivia Kennedy .

Dorothy played by Olivia Kennedy, left, and Scarecrow played by Jessica Paquette.

Lion played by Jaida Welsh,left, and Tinman played by James Plant.

From left, Head Munchkin played by Rebecca Conrod, Dorothy played by Olivia Kennedy, Glinda played by Amanda Nicholls, and Munchkins played by Zara Barghouth, Sarah Musafin, Madison Vilhan, Kayla Lalonde, and Salman Oman.

Other Opinions

Janelle Rowsell
Critic All Saints High School

Janelle Rowsell, Critic

In the magical world of Oz, an adventure is only three heel clicks away — with some twists and turns along the way, of course. The students of St. Patrick’s High School delivered an energetic modern take on an old classic.

The story begins in Kansas with Dorothy and her pet dog, Toto. Things take a turn when a tornado hits, sweeping Dorothy and Toto to Oz. There, it is discovered that Dorothy’s house has landed on a wicked witch, and Dorothy has to take the witch’s shoes. She delves deeper into this magical realm where many eclectic characters await, such as the Good Witch Glinda and her Munchkins, as well as the Wicked Witch, who sets her sights on killing Dorothy. To make matters worse, the only way Dorothy can return home is if she sees the Wizard of Oz in the Emerald City. So begins her journey along the yellow brick road, where she meets an even odder group of characters: a Scarecrow who wants a brain, a Tree who wants to be a real human, a Tin Man who wants a heart, and a Lion who wants courage. Together, the group makes their way to see the Wizard of Oz, all while the Wicked Witch is hot on their trail.

At the heart of the cast was Olivia Kennedy as Dorothy. She portrayed her character wonderfully, and swiftly kept the dialogue going throughout all scenes. The actress was able to create a likeable character at all points of the play with her delivery of quick humour.

Behind the leading lady were Jessica Paquette as Scarecrow, Zara Barghouth as the Head Tree, James Plant as Tin Man and Jaida Welsh as Lion. There was never a dull moment when this group was together. They all played off one another beautifully, charming the audience with their well-timed humour and amiable personalities. The actors showed palpable ease and confidence when working together, which created a strong connection in the friendship the characters developed.

In addition was the Wicked Witch’s conscience, the Angel/Devil, as played by Jessica Sgueglia. The actress effortlessly portrayed both sides of the witch in impressive and entertaining fashion.

Adding to the whimsical essence of Oz, the hand-altered costumes were detailed and very well done. The Tin Man’s tunic was realistic and helped make the character believable. Though there were a few minor lighting gaffes, they were fixed quickly and were easily overlooked. The special effects were also effectively portrayed through the short video clip at the beginning of the play that served as an introduction to the story.

When thrown into a difficult situation, good company can make all the difference. With pop culture references and modern humour, the cast of St. Patrick’s High School executed a refreshing adaption of a timeless classic.

Ariella Ruby
Critic Sir Robert Borden High School

Ariella Ruby, Critic

Dorothy is swept away from her home in Kansas and transported to the magical land of Oz, where a most sinister force is at play. The production of There’s No Place Like Home, performed by St. Patrick’s High School, made for an entertaining and laughter-filled evening.

To find her way home, Dorothy has to journey to the Emerald City for an audience with the exalted Wizard. Along the way, she is joined by an assortment of travelling companions who also seek the Wizard’s aid. Dorothy has been warned against the Wicked Witch of the West, but in reality a much more ominous threat is lurking in the shadows.

A clever and original take on The Wizard of Oz, the script was entirely adapted by the students. They successfully put a modern spin on a timeless classic.

Olivia Kennedy was the perfect blend of sass, good nature, and naiveté that characterize Dorothy Gale. She delivered her lines with a sweet sincerity, and she spoke with subtle intonation.

Dorothy’s band of misfit friends was vividly brought to life. The play’s characters were provided with big and sometimes clashing personalities, and the results were quite amusing. Jessica Paquette played the ditzy but loveable Scarecrow with great enthusiasm. James Plant, as the Tin Man, displayed a cutting sarcasm, and he dropped his one-liners with perfect comedic timing. Jaida Welsh was both fearful and funny in her role as the cowardly Lion. The tree that aspired to be a real person, portrayed by Zara Barghouth, was a novel addition. Jessica Sgueglia impressed as the bipolar Angel/Devil, switching seamlessly from one side of her personality to the other.

The stage crew operated smoothly, with quiet and efficient transitions, while birds chirped peacefully over the intercom. Despite the lack of microphones, the actors were clearly heard. The character-based use of red or white lights for the Angel/Devil was highly effective in setting a distinct mood for each persona. The hand-painted sets were functional, and allowed for good use of the stage space.

There’s No Place Like Home stayed true to the original production of the Wizard of Oz. As well, numerous pop culture references, plenty of attitude, and some unexpected plot twists kept things new and refreshing. This witty script was well executed and all the elements came together as a solid show.

Vanessa Geldart
Critic Philemon Wright High School

Vanessa Geldart, Critic

Dorothy, Tin Man, Lion, Scarecrow and . . . a Tree? St Patrick’s High School’s There’s No Place Like Home, an adapted twist on The Wizard of Oz, gave the audience a refreshing new take on the classic tale.

Adapted by the students, the play focused on developing the characters further than the original by extending the flaws of each person. The story was quite similar to The Wizard of Oz with a few small changes that added interest. The Wicked Witch, for instance, was revealed to be under the control of her battling conscience. And Glinda the Good Witch stepped in to help fulfill the wishes of all travellers to Emerald City after the Wizard Ozzy Osbourne proved to have no powers to do so.

The commendable element in this show was the cast’s passion for the production, which they wrote themselves. The audience could see the hard work and dedication translated to the stage. The Munchkins were adorably enthusiastic and the trees were memorable to watch as they reacted to their surroundings. All actors on stage worked together by playing off each other’s energy very effectively. Some cues and lines were late; however the actors did not let that detract from the overall performance.

The presence of each character was strong on stage, particularly Scarecrow and Tin Man. Both bickered constantly and displayed understanding of their characters in the way they performed. Scarecrow readily played the part of the lovable idiot, lending her energy to the other actors. Tin Man had natural comic timing and physicality that took command of the audience’s attention.

Even the characters that were not prominent captured the stage, most notably the Wizard of Oz and the two guards. The creative originality of all three was a joy to watch. Eric McGlashan stood out by having a ridiculous voice and comical movements whilst playing the Knight of Nee, and his overdone accent worked perfectly with his detective’s character. The imitation of famous Monty Python sketches was well received by the audience.

The costumes and sets perfectly captured the colourful world of Oz, establishing a bright and happy place immediately. The Munchkins’ outfits were vibrant and jolly, reflecting their personas well. What was wonderful to see was the attention to detail in each costume: Dorothy’s classic dress; the straw protruding from Scarecrow; and silver covering every inch of Tin Man. The light changes were complicated but well executed. At times the sound effects muffled the actors’ voices, however the use of sound to establish a nature setting was inventive.

Tentative at first, the audience warmed to the performance with each scene, watching the performers grow more confident in their characters and in the story line. The actors poked fun at the original tale and by ending with a “hamacide” detective looking for “Dorothy and Tata”. St. Patrick’s students succeeded in adding a humorous element to the end, which was lacking in the original Wizard of Oz. The comedy worked thanks to the delivery of the actors. “Seriously? You couldn’t have told me about the shoes earlier?”

Michael Chartier
Critic Philemon Wright High School

Michael Chartier, Critic

Classics in literature and drama have always been genre defining, fiercely imaginative and perfect examples of the power that a collection of words, a witty remark, or a coy smile can have on an audience. However, those same stories repeated again and again can quickly become overstated and tired.

To avoid that, St. Patrick’s High School allowed their students to prepare their own version of The Wizard of Oz called There’s No Place Like Home. The result was a play that brimmed with wit, charm and brilliant references to everything from Monty Python to TV shows like Phineas and Ferb, while also managing to add surprising of nuance and complexity to secondary characters like the Wicked Witch and Tin Man (thanks in part to astounding performances by James Plant and Rebecca Causley).

The plot points that made The Wizard of Oz what it was were present. Dorothy is still swept up from her home in Kansas along with her dog to the magical realm of Oz, and she attempts to find a way home by contacting the mystical Wizard of Oz, along with a group of friends. The creative freedom St. Patrick’s High School allotted to its students, however, brought a vibrant and organic feel to a play that was expanded to include characters like Ozzy Ozbourne (Nicholas Gobeil), as well as a tree (Zara Barghouth), who joins Dorothy (Olivia Kennedy) on her adventure in the hopes of becoming a real person.

It was the effortless banter between the characters that generated much of the show’s humour and impact. Dorothy’s bubbly persona and Jessica Paquette’s optimistic and self-deprecating portrayal of Scarecrow’s iconic lack of a brain generated perfect opportunities for witty one-liners by a charismatic Tin Man and reluctant reprisals from Lion (Jaida Welsh). This vibrancy was also seen in minor characters like the Munchkins and the trees (Kayla Lalonde, Salman Omar, Sarah Musafin, and Madison Vilhan, respectively), who eagerly broke into a brief rap when introduced to Dorothy. As trees, they ironically pondered the boredom of life as inanimate objects. Eric McGlashan and Rebecca Conrod’s duo as the Knights of Knee added their own offbeat humour alongside Glinda’s (Amanda Nicholls) sly benevolence towards Dorothy’s perilous adventure.

The villains of the story contrasted the sarcasm by brilliantly satirizing tropes like the shoulder Angel/Devil, played by Jessica Sgueglia, who turns into a character of her own. She also exists in the Wicked Witch herself (Rebecca Caulsey), whose indignant glances at the audience and bellowing projection gave the crowd unexpected insight into the pathos of her character.

This wouldn’t have been possible without the simple yet elegant make-up and costume design (Olivia Kennedy, Amanda Nicholls) and set design (James Plant) that gave the stage crew creative and efficient ways of moving through scenes.

Indeed, St. Patrick’s High School’s cast and crew succeeded in adapting this time-loved classic into a play that lives and breathes contemporary wit and charm.

Anat Krechmer
Critic Sir Robert Borden High School

Anat Krechmer, Critic

A tale of friendship, a road to desire and it all started with a tornado. St. Patrick’s High School put on a wonderful performance of the well-known tale The Wizard of Oz, but with a twist. Their adapted enjoyable version There’s No Place Like Home was filled with humour and modern references. The actors did a fantastic job. The costumes and sets were very nicely done, and the technical side of the show ran smoothly.

The original tale is Dorothy, who gets whisked away from her Kansas home by a tornado to the magical Land of Oz. On the way to see the Wizard, who is the only one who can bring her home, she must overcome the challenges that the Wicked Witch puts in her way, and help others in trouble. The adapted script of this performance stuck to the main plot but also added some original details. A new character joined Dorothy and her friends along the way; Tree, who wanted to be human. Also the play gave a glimpse of what the evil Witch’s thoughts were, and what her Angel and Devil conscience had to say during Dorothy’s travels.

The acting in this play was awesome. Despite a few forgotten lines, the actors were very well rehearsed. Although they seemed unsure at the beginning, as the play went on they got more and more confident. Olivia Kennedy did a great job playing Dorothy; she was bubbly and enthusiastic, just as her character should be. Jessica Paquette did a fantastic job in her role as the Scarecrow, and James Plant was magnificent in his role as the Tin Man. Overall the actors looked at home on the stage, and not only did they do a great job acting, but they also looked the part.

The costumes in this performance were simple but suitable. The angel and devil costume was fabulous and the make-up to go along with it was very well done. The Tin Man and evil Witch’s make-up were also great. Their face paint greatly enhanced the performance and made the characters all the more believable. The sets were very simple, yet they did their job. They strengthened the performance and gave the stage the look of Oz. The technical side of this performance ran smoothly. The special effects crew did a jaw-dropping job on the tornado, and the stage crew moved the sets quickly, quietly and efficiently.

St. Patrick’s There’s No Place Like Home was an excellent performance. It was a modern twist on a well-known and loved story. There were very few bumps and those that did happen were quickly fixed. It was a very enjoyable show that represented the great talent in high school theatre.

Scarecrow played by Jessica Paquette, left, and Glinda played by Amanda Nicholls.

Angel/Devil played by Jessica Sgueglia, left, and the Wicked Witch played by Rebecca Causley.

The Guard played by Rebecca Conrod, left, and the Knight of Nee played by Eric McGlashan.

From left, Lion played by Jaida Welsh, Scarecrow played by Jessica Paquette, Dorothy played by Olivia Kennedy and Tinman played by James Plant.

Guards played by Kayla Lalonde,let, and Rebecca Conrod, right.

About the reviews:

The production at St. Patrick’s High School was reviewed by 23 critics representing seven schools. The critic discussions were mentored by teacher Lani Sommers of Ridgemont High School and student reviews were edited and selected for publication by Ridgemont teacher Ruth McKeague, who could see only the reviews, not the names or schools of the reviewers.

Next review: Cairine Wilson Secondary School’s production of Goodnight Desdemona, Good Morning Juliet.

About the Cappies

The Citizen and 38 high schools are participating in the Cappies, a Washington, D.C.-based program that uses high school critics to review high school theatre. The program is a unique partnership between the Citizen, the Ottawa-Carleton District School Board and the Ottawa Catholic School Board. Three schools from other boards in the region and four private schools have also joined. The four winners of the lead acting categories will receive a bursary provided by the national law firm Gowling Lafleur Henderson LLP. Follow the Cappies on Twitter @OttawaCappies.

Goodnight Desdemona, Good Morning Juliet
Where: Cairine Wilson Secondary School
Director: Natalie Simard

Victoria Hawco
Lead Critic, Sir Wilfrid Laurier Secondary School

Victoria Hawco, Lead Critic

Featuring a fun, comic take on two classic Shakespearean plays, this production of Canadian playwright Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet) presented a cast of quirky characters supported by a dedicated crew.

Everyone knows that the ends of Othello and Romeo and Juliet weren’t happy, but what if the plays were actually missing something, a fool who pointed out mistakes and turned two infamous tragedies into light-hearted comedies? Constance Ledbelly, an assistant professor at Queen’s University, is determined to figure it out. In her academic quest she soon finds herself drawn into the two worlds of Shakespeare’s classics, and is quickly embroiled in schemes, feuds, and a few love stories of her own.

A simple, three-part set laid out the worlds of Queens, Verona, and ancient Greece all on one stage in this energetic performance. Designed by Hailey Sterling, Lucy Scheele and Ainsley Leicht, the well-made sets, in particular Juliet’s balcony, allowed a flow of movement that enhanced the well-executed physical comedy. The sets also complemented the era-appropriate hair and make-up, particularly on Desdemona, all of which was expertly done by Skye Wiersema and Emma Gorle.

Eden Taylor-Tapp delighted as the awkward Constance Ledbelly in this lively performance, portraying her character’s cute quirks with finesse. She had a different attitude towards approaching each of her cast mates, and her interactions with Romeo and Juliet (Lyndsay Romain and Holly Butcher) were always dynamic and entertaining. Taylor-Tapp delivered each line with clarity and energy, and maintained her confused and bemused attitude consistently throughout the play.

The supporting characters were equally focused and energetic. Maeve Stinson-O’Gorman as Desdemona was a force on stage, delivering each complex line with great enthusiasm. She was a good contrast to her Othello, Jared Hopps. Holly Butcher and Lyndsay Romain also gave strong comedic performances as Juliet and Romeo. The two had great on-stage chemistry, offering spirited portrayals of a bickering married couple, fighting for the attention of Constance.

Notable during the production were the rare appearances of Maeve Sarazin as the Ghost. Her eccentric movements were reminiscent of a clown, and though she had little stage time she still gave a memorable performance, fuelling the play’s light-hearted attitude.

The sound and lighting cues were all well executed by Wildcats Studios’ Backstage Pass Crew. The crew was consistent in using lighting and sound effects to highlight comedic scenarios and keep the play fresh and lively. The spotlight was excellently done, always finding its place on the actors and rarely halting the flow of the show. Transitions between scenes were mostly smooth, and though set changes were rare, Sarah Adair ensured they all ran quickly and efficiently.

In general, Wildcat Studios’ Goodnight Desdemona (Good Morning Juliet) gave a refreshing and entertaining take on Shakespearean tragedies. The cast and crew worked well together, and the performances were full of fun and energy, proving that perhaps not all plays should end in tragedy.

Juliet played by Holly Butcher, left, Constance played by Eden Taylor-Tapp , centre, and Desdemona played by Maeve Stinson-O’Gorman, during Cairine Wilson Secondary School’s Cappies production of Goodnight Desdemona, Good Morning Juliet, on Dec. 11, 2014.

More reviews

Brianna Tremblay
Lead Critic St. Peter High School

Brianna Tremblay, Lead Critic

What is a gawky present-day professor to do when she finds herself in two Shakespearean plays being merged into one? This is the dilemma that Constance faces as she finds herself in the comedic chaos that unravels in Goodnight Desdemona (Good Morning Juliet). Cairine Wilson Secondary School’s performance of this unconventional comedy was sensational.

Canadian playwright, Ann-Marie MacDonald, wrote Goodnight Desdemona (Good Morning Juliet) in 1988. In this eccentric comedy, the main character, Constance, is whisked away on a chaotic journey of self-discovery. In a moment of frustration and resentment for her boss, Constance throws her work in a nearby wastebasket, and is unexpectedly sucked into the wastebasket as well. She suddenly finds herself in an alternate dimension, where the classic stories of Othello and Romeo and Juliet are reality. The only way for Constance to return home to her ordinary life as an assistant professor is for her to find her true identity, and discover who the author of this offbeat tale is.

A dedicated actress with incredible stage presence is needed to convincingly play the role of Constance Ledbelly. Eden Taylor-Tapp did a phenomenal job portraying the role of this quirky and wholehearted character. With very little time off stage, she demonstrated her talent as an actress by fully committing herself to the character’s nervous ticks and awkward speech habits. Eden had a wonderful performance, and added an overall sense of liveliness and charisma to the play.

Tybalt was one of the characters Romeo and Juliet. His character is a cruel and dominating one. Despite having a smaller role, Jennifer Constant compellingly took over her character with devotion and intensity. She spoke her lines with passion and she commanded the stage.

The set successfully contrasted the two plays. In addition, it incorporated a large elevated desk for the modern component of the show.

The lighting was essential to communicate the element of time travel. It was crucial to the story line that this was done in an amusing yet effective way. The lighting crew did a wonderful job of meeting this demand. The flickering of multi-coloured lights was successfully used in order to signify the time travel. The stage was always well lit, and when focus needed to be drawn to a specific character, a flawless spotlight fell upon this character with ease. Although there were a limited number of lighting cues, they were always executed in perfect time.

The cast and crew did an exceptional job of bringing life to this witty and imaginative script. All things considered, Cairine Wilson’s performance of Goodnight Desdemona (Good Morning Juliet) was brilliantly entertaining.

Kellie MacDonald
Lead Critic, St. Matthew High School

Kellie MacDonald, Critic

The shores of Cyprus and the streets of Verona come alive with passion, both romantic and bloodthirsty, in Cairine Wilson Secondary School’s performance of Goodnight Desdemona (Good Morning Juliet). The play follows a meek postgraduate student at Queen’s University as she is transported into the worlds of Othello and Romeo and Juliet. Written by award winning Canadian author and playwright Ann-Marie MacDonald, Goodnight Desdemona (Good Morning Juliet) deals with issues of identity and female relationships.

The play begins with Constance Ledbelly (Eden Taylor-Tapp) singing along to Frank Sinatra as she carries a stack of essays to her office, but it is not long before she finds herself tangled up in the very plays she studies. Taylor-Tapp conveyed Constance’s idiosyncrasies with her frantic hand gestures and rapid speeches. Despite the acoustic limits of the cafeteria-auditorium, Taylor-Tapp was clear and audible throughout the majority of the play.

Through Constance’s musings on Shakespearean tragedy, the audience is introduced to Desdemona (Maeve Stinson-O’Gorman) and Juliet (Holly Butcher). Desdemona’s elaborate braids, winged eyeliner, and strappy gladiator sandals visually define the fierce amazon, as do her passionate delivery and dramatic gestures. Admirably, Stinson-O’Gorman did not allow the cast on her right arm to hinder her fight choreography in any way. In contrast to Constance’s intellect and Desdemona’s strength, Butcher completes the trinity with her wildly emotional Juliet.

Taylor-Tapp, Stinson-O’Gorman, and Butcher were supported by a lively cast of secondary characters including the lusty Romeo (Lyndsay Romain), hot-headed Tybalt (Jennifer Constant), and opportunistic Professor Claude Night (Zack Wyonch). Romain met the challenge of playing a male role with enthusiasm, performing elaborate sword fights and sweeping kisses fit for the best romantic heroes. As Tybalt, Constant executed bawdy wordplay and physical humour with a great degree of skill. Wyonch used his small amount of stage time as Professor Claude Night to create a character that let the audience sympathize with Constance over her rejection.

Stage management was performed efficiently by Sarah Adair and Joanna Adair without any noticeable pauses in the performance. Sets were designed by Hailey Sterling, Lucy Scheele, and Ainsley Leicht. On the left, columns represented Othello’s Cyprus, on the right was featured Juliet’s iconic balcony, and in the centre, Constance’s desk sat atop risers. Lighting was executed by Hailey Sterling and the Backstage Pass Students, including on-point handling of a spotlight. Make-up and hair were designed and executed by Skye Wiersema and Emma Gorle.

Overall, Cairine Wilson Secondary School put on an enthusiastic performance of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet), with some solid performances from leads and supporting cast members.

Cameron Moors
Critic, Colonel By Secondary School

Cameron Moors, Critic

Two wrongs really do make a right in (or rather, two tragedies make a comedy) in Cairine Wilson Secondary School’s production of Goodnight Desdemona (Good Morning Juliet) by Canadian playwright Ann-Marie MacDonald.

The play tells the story of a struggling university Assistant Teacher Constance, or Connie, and her struggle to understand why Shakespeare’s Othello and Romeo and Juliet both come to tragic ends. Her story takes her into the worlds of these classics, and what results is a string of fun adventures with our modern-day protagonist and her Shakespearean companions.

The lead actress, Eden Taylor-Tapp, played Constance very well. Her awkward yet loveable character provided the perfect contrast to the overflowing energy of the Shakespearean characters, all the while not lacking energy herself. Truly fantastic voice work allowed Taylor-Tapp to always be heard clearly, and in combination with her modern day speech, gave the audience something familiar amidst all the Shakespearean language. Taylor-Tapp’s performance was thoroughly enjoyable.

Of course, the supporting cast behind Taylor-Tapp was also quite good. The performances of the Shakespearean characters, in particular the over-the-top Desdemona, really added to the humour of the show, as the actors brought these famous characters out of their original plays. Maeve Stinson-O’Gorman gave a wonderful performance as the bloodthirsty, powerful, and vocal Desdemona, while Holly Butcher showed a teen-aged Juliet ready to do anything for love in a very realistic manner. The cast overall gave a strong performance, with very few problems.

The behind the scenes crew did quite well with the show. The set was rather minimalist, allowing for small suggestive pieces to give an image of the setting as required, and was used quite effectively throughout the show. The central raised office provided a nice change in levels, allowing the audience a clear indication of what was the real world and what was Shakespeare. The lighting was also used quite effectively, with both spotlights and cues being used to add emphasis to points made on stage. Of particular note was the use of spotlights to “illuminate” the audience to the thoughts of different characters during more complicated scenes. On the whole, it was a well-put together tech portion of the show.

The Cairine Wilson Secondary School performance was well rehearsed, with humour that was both unconventional and witty. Adding some levity and giving the female characters more voice, the play gave a new twist on two very well known works. It was a show that was well worth attending.

Emma Pritchard
Critic, Bell High School

Emma Pritchard, Critic

Throw a mild-mannered, awkward assistant professor into two of classical literature’s best known plays and what do you get? Cairine Wilson Secondary School’s commendable performance of Goodnight Desdemona (Good Morning Juliet).

The play, written by Canadian author and playwright Ann-Marie MacDonald, was first produced in 1988 at Toronto’s Annex Theatre by the Nightwood Theatre Company. The plot line follows Constance Ledbelly’s quest to prove the origins of Shakespeare’s famous tragedies Othello and Romeo and Juliet to be comedic. Attempting to save the heroines Desdemona and Juliet from their dire fates, and at the same time seeking to locate and decipher the a manuscript, she finds herself spiralling into an exuberant and unforgettable adventure.

Cairine Wilson executed an entertaining show, complete with contrasting characters, solid lighting and effective humour. Fight scenes were convincing, as cast members handled their rapiers proficiently. While certain initial moments lacked energy, the actors entered the second half with strength and enthusiasm, which carried on until the show’s conclusion. An unusual twist on the familiar scene at Juliet’s balcony and the unfortunate demise of a pet turtle following a comically heated argument were highlights of this memorable performance.

Eden Taylor-Tapp adeptly portrayed Constance’s quirky personality, delivering her lines with accuracy and confidence. Her amusingly awkward mannerisms and flustered nature brought her character to life. She used her role efficiently to tie all three worlds together seamlessly, smoothly uniting characters from the two plays.

Various supporting cast members brought forth their own assets to amplify the performance. Maeve Sarazin shone as the Ghost, enthralling the audience with her enthusiastic physicality and playful persona. Sarazin was delightfully engaging.

Simple set pieces such as Grecian pillars, a balcony and a swinging door effectively demonstrated the contrasting worlds of Cypress, Verona, and Constance’s office. In certain moments, the desk obscured the audience’s view of Taylor-Tapp; however, it did not detract from the understanding of plot or character. Minimalist lighting was used skilfully throughout and illustrated the transitions between worlds.

Before dismissing Shakespeare as dull and antiquated, take a peek at this modern adaptation of two classical works of literature. Cairine Wilson Secondary School offered a very solid performance of Goodnight Desdemona (Good Morning Juliet) following Constance’s leap from Shakespearean scholar to time-travelling ingénue.

Typically, the set in a production is as important as any other aspect of a show. The set of Goodnight Desdemona (Good Morning Juliet) is no exception. With a sturdy railing that the characters climbed over, on multiple occasions, to a functioning door, the set did not take away from the actors, but merely added to the quality of the performance.

Holly Butcher, performs as Juliet.

Tybalt played by Jennifer Constant, left, Romeo played by Lindsay Romain, centre, and Mercututio played by Emma Puskas.

Juliet played by Holly Butcher, left, Constance played by Eden Taylor-Tapp , centre, and Constance played by Maeve Stinson-O’Gorman.

About the reviews

The production at Cairine Wilson Secondary School was reviewed by 23 critics representing 9 schools. The critic discussions were mentored by teacher Deborah James of Canterbury High School and student reviews were edited and selected for publication by teacher Michele Rae of Woodroffe High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Ottawa Jewish Community School’s production of Arsenic and Old Lace.

About the Cappies

Arsenic and Old Lace
Where: Ottawa Jewish Community School
Director: Student Hannah Srour

By Jordan McManus
Critic, Sacred Heart High School

Jordan McManus, Critic

In the Ottawa Jewish Community School’s production of Joseph Kesselring’s classic Arsenic and Old Lace, it is revealed that, in the case of one particularly odd family, the cliche “skeletons in the closet” is surprisingly accurate.

Kesselring’s black comedy details a series of events experienced by the erratic Brewster family who live in Brooklyn in the 1940s. One brother is the sadistic, Jonathan, who returns after having fled the family home years ago; another brother, Teddy, believes himself to be the 26th President of the United States, Theodore Roosevelt. The sane one is Mortimer, whose already peculiar world is turned upside down when he discovers his aunts’ unconventional hobby of poisoning lonely old men and burying them in the cellar.

The play follows Mortimer as he struggles to keep the bodies from being discovered, to drive away the dangerous Jonathan and to protect his fiancée, all the while trying to maintain his own sanity.

Ethan Sabourin expertly displays Mortimer’s shift in character from the well-spoken and confident drama critic to the frantic man desperately trying to handle his homicidal family. Meera Landau and Ella Sabourin take on the roles of the elderly killers, Abby and Martha Brewster. Their tone and timing made even the disturbing practice of murder comic. The two actresses made the audience fall in love with the aunts, despite the women’s undeniably high body count.

Returning home with a fresh corpse and a brand new, surgically reconstructed face is Jonathan, played by Gabriel Hamburg. Hamburg’s sinister voice and tense manner allowed him to appropriately embody Jonathan’s malicious characteristics. Also accompanying Jonathan back to his family home was Shmuel Benzaquen as Dr. Einstein, Jonathan’s oddly charming partner in crime. Benzaquen’s unwavering thick German accent, accompanied by his crooked body language, delivered the laughs.

Also managing to find themselves tangled up with the Brewsters’ craziness are Officer Brophy (Matthew Rosenthal), Officer Klein (Yona Steinman) and aspiring playwright Officer O’Hara (Shmuli Prizant). They weren’t the best at detecting murderers, but they certainly won over the audience with their humorous banter and friendly vibe.

Besides portraying Mortimer’s fiancée Elaine Harper in the production, Hannah Srour is also credited with directing and designing the sets. All scenes were expertly blocked, leaving the performance devoid of awkward transitions and interactions. As well, the set proved to be as aesthetically pleasing and period appropriate as it was functional. In addition, the lighting crew rarely missed a cue, overall allowing the performance to run smoothly with few to no hiccups.

Proving that even serial killing can be humorous in certain contexts, the Ottawa Jewish Community School’s Arsenic and Old Lace made for a witty and comical performance that effectively displayed the talent of the cast and crew.

Ethan Sabourin plays Mortimer Brewster, left, Ella Sabourin plays Martha Brewster, centre, and Meera Laundau plays Abby Brewster, right, in the Ottawa Jewish Community School’s Cappies production of Arsenic and Old Lace.

Ella Sabourin plays Martha Brewster, left, and Meera Laundau plays Abby Brewster, right, the insidious old ladies in the Ottawa Jewish Community School’s Cappies production of Arsenic and Old Lace.

Hannah Srour plays Elaine Harper, left, and Ethan Sabourin plays Mortimer Brewster.

Other opinions

Ana Paula Sanchez Garcia
Critic, St. Paul High School

Ana Paula Sanchez, Critic

Spinsterhood for Abby and Martha Brewster is about being with family and murdering the odd man or two, or twelve. Ottawa Jewish Community School delivered a solid balance of darkness and humour in their production of Arsenic and Old Lace.

Written in 1939 by Joseph Kesselring, this twisted tale first appeared on Broadway, and then was later adapted into a film starring Cary Grant. The plot doesn’t follow the typical murder mystery story line. It is a comedy after all. The audience first meets Mortimer Brewster, a theatre critic, with a rather rambunctious crowd for a family. His aunts are serial killers, his brother, Teddy, thinks he’s President Roosevelt, and his other brother, Jonathan, is a criminal with a penchant for face transplants. There’s obviously something in the Brewster family water in Brooklyn, New York!

Student director Hannah Srour, who led the production, clearly encouraged characters to use the entire stage, as shown in the play’s frantic chases and scenes of struggle. Her creative blocking in conjunction with stage design provided multiple levels for the audience’s enjoyment.

Leading the play with their devious antics were Abby (Meera Landau) and Martha Brewster (Ella Sabourin). Both actresses graced the stage delicately with soft movements to demonstrate the ages of their characters. Ethan Sabourin portrayed a sarcastic Mortimer by giving the audience hidden comedic looks and gestures. He transitioned remarkably through different emotions, transforming from a confident strong man into a terrified child during times of his character’s distress, by using worried facial expressions and nervous pacing.

The supporting cast’s comical quirks made the production memorable. Shmuel Benzaquen starred as the lovable yet villainous Dr. Einstein, the plastic surgeon. Shmuel used a near perfect German accent, which was well suited to his character. His staggering, drunken gait and loose movements drew many of the audience members’ giggles. Some performers initially delivered their lines too quickly, but gained confidence as the play progressed. The high amount of energy was difficult for certain cast members to maintain, however, the actors supported each other to keep the overall performance at an even energy level.

Characters were fashioned in a classic 1940s era costumes. Men wore suspenders, long creamy trench coats, and large top hats with sleek suits matching each actor’s hair colour. The use of soft lighting emphasized the action of the actors onstage. Clever use of blue and yellow light from the set window indicated the changing from day to night. At times, lighting cues were missed and lights accidentally turned on, although the technical crew worked well to fix the issues quickly.

Hannah Srour’s strong direction created a smooth running play with effective comedic timing by focusing on small character details. Ottawa Jewish Community School undertook this challenging production and created a lively comedy that received a positive reception from its viewers.

Spencer Kahler
Lead Critic, Earl of March Secondary School

Spencer Kahler, Lead Critic

The most innocent settings often obscure the darkest secrets. The Ottawa Jewish Community School proved this in their production of Arsenic and Old Lace, which provided laughs while exploring this juxtaposition.

Written by Joseph Kesselring, the play was first produced on Broadway in 1941. The plot revolves around the hijinks that ensue when Mortimer Brewster finds a dead body in the home of his elderly aunts, Martha and Abby. Mortimer soon discovers that his aunts have been mercy killing lonely old men by poisoning them with home brewed wine and burying the bodies in their cellar.

The production ran smoothly under the direction of student Hannah Srour. The period costumes and set created a detailed world for the characters to inhabit. The minimalistic lighting design allowed the audience to focus on the talented performers. The tight ensemble of actors capably played dry humour and broad physical comedy. Energy levels varied between cast members at the top of the show, but within the first scene the company settled into a comfortable rhythm.

Ella Sabourin and Meera Landau made characters of Martha and Abby Brewster distinct from one another. As Martha, Sabourin moved slowly and spoke with a relaxed cadence. Landau played Abby as an excitable busybody, speaking in a high-pitched character voice and sashaying about the stage. As Mortimer Brewster, Ethan Sabourin delivered witty rejoinders, double takes, and physical comedy with aplomb.

Hannah Srour charmed the audience as Elaine Harper, Mortimer’s love interest. Srour buoyantly flounced and flirted in the opening scene, and showed tremendous vulnerability as tensions rose in the second act. Shmuel Benzaquen played the role of zany plastic surgeon, Dr. Einstein, with conviction and vitality. Shmuli Prizant revelled in his time on stage, playing the role of Officer O’Hara with infectious exuberance.

As director, Hannah Srour incorporated the architecture of the performance space into her scenic design to create a multi-levelled set with six entrances. Srour employed details like faded pink wallpaper and dour antique furnishings as a contrast to the dark and often wacky comedy.

The Ottawa Jewish Community School did justice to this modern classic with a confident cast and precise technical elements. The production left the audience laughing while they contemplated what secrets their elderly relatives might be hiding in their basements.

Jillian Douglas
Critic, Almonte and District High School

Jillian Douglas, Critic

Arsenic and Old Lace transported the audience back to the 1940s into the welcoming home of the Brewsters — an impression that quickly changed as the ludicrous story unfolded. Filled with eccentric characters and charming dark humour, the student-directed cast and crew of the Ottawa Jewish Community School brought new life to this well-loved play.

Written by Joseph Kesselring in 1939, Arsenic and Old Lace follows the unusual Brewster family and the shock of Mortimer Brewster upon returning home. Mortimer comes home to his younger brother, Teddy, who believes he is Teddy Roosevelt, and his two elderly aunts, who have taken it upon themselves to put lonely, elderly men out of their misery with their own lethal elderberry wine. Mortimer’s other brother, a maniacal murderer, shows up and turmoil quickly follows.

The entire cast created a quirky and endearing crew of characters from the outset. The extremely well thought out movement and use of the stage, along with the energy and interaction of the actors, led to a truly entertaining evening. An inventive multi-story set piece made the small space available seem at the same time both quite large and also intimate with the audience.

Ethan Sabourin, as Mortimer Brewster, portrayed his role of the well-meaning cynic brilliantly. Always showing strong reactions even without speaking, he allowed for an empathetic connection to be made. Meera Landau and Ella Sabourin, portraying the spinster Brewster sisters, played charming, albeit cunning, elderly ladies, and really added to the comedy of the production with their well-delivered quips and amusing personas.

The supporting cast brought exuberant energy to the stage as well. Despite a few minor lapses of character and forgotten lines, the actors thought on their feet and managed to almost seamlessly cover these small mistakes. Amongst the supporting cast were many charismatic performances. Officer O’Hara, played by Shmuli Prizant, had delightful energy and constant comedic gestures along with his well-delivered jokes. The use of ensembles in the cast, such as the policemen (Matthew Rosenthal, Yona Steinman, and Shmuli Prizant) as well as Jonathan Brewster (Gabriel Hamburg) and Dr. Einstein (Shmuel Benzaquen), showed excellent interaction and connection between the well-cast actors.

Hannah Srour’s impressive sets demonstrated her in-depth planning and attention to detail in order to evoke an authentic 1940s feel. The entire set was used quite effectively and in a way that complemented the creative blocking of the actors. Simple and mostly well-executed lighting suited the needs of the play perfectly and brought attention to the well-chosen props and appropriate period costumes.

All in all, the Ottawa Jewish Community School put on a performance truly worth toasting, as long as it’s not with elderberry wine.

Cheryl Wallingford
Lead Critic, Merivale High School

Cheryl Wallingford, Critic

“There’s a body in the window seat!” This phrase might seem odd, but for Mortimer Brewster, it is just the beginning of a series of horrific discoveries. Performed competently by Ottawa Jewish Community School, Joseph Kesselring’s Arsenic and Old Lace is a brilliant farce that has kept audiences laughing for decades.

Arsenic and Old Lace begins on a fateful Halloween night, where Mortimer Brewster has planned a wonderful evening at the theatre with his fiancée. However, things go awry with the discovery of a corpse in his aunts’ window seat. Deciding to confront his aunts, Abby and Martha, he learns that they have known the body was there all along and that they have put it there! To make matters worse, they confess to Mortimer that there are eleven more bodies buried in the cellar. Completely overwhelmed by his aunts’ “charitable” homicidal tendencies towards lonely old men, Mortimer is so shaken that he can barely cope. He decides to blame everything on his insane brother, who believes himself to be Theodore Roosevelt. Everything seems to fall into place, until the arrival of his other brother, Jonathan, a criminally insane murderer on the run from the police. Accidentally made to look like Boris Karloff by his alcoholic plastic surgeon, Dr. Einstein, Jonathan’s presence wreaks havoc on the already frazzled household. With the addition of another dead body, cops ringing at the door, and an impatient fiancée, Mortimer must rectify the situation, if he doesn’t become his brother’s next victim first.

Ethan Sabourin, who played Mortimer, carried the production with charm and fluidity. Every moment that he was on stage was an enjoyable one, as his mere presence enhanced the quality of the show. Aunt Martha, played by Ella Sabourin, had a calm and collected nature that contrasted well with the other more eccentric characters. Her light, airy way of speaking brought a serene touch to every situation she was in.

The true highlight of the show was, without a doubt, Shmuel Benzaquen’s portrayal of the quirky, yet lovable Dr. Einstein. His authentic-sounding German accent and appropriately frazzled actions were truly remarkable. The most incredible touch was how his dishevelled mannerisms and appearance were an accurate reflection of his scattered and dishevelled mind.

The set for the show was creatively designed, as the main level of the house was on the ground, and the upper level on the actual stage. It was very effective and suited the show perfectly. The chosen magenta coloured walls and dark wood furniture amplified the mood of the play effectively.

All in all, Ottawa Jewish Community School’s production of Arsenic and Old Lace was an unforgettable and laughter-filled experience that was a truly memorable tribute to one of theatre’s most beloved plays.

Eric Buckshon plays Teddy Brewster, left,, Meera Landau plays Abby Brewster, centre, and Ella Sabourin plays Martha Brewster, right.

Matthew Rosenthal plays Officer Brophy, left, Gabriel Hamburg plays Jonathan Brewster, centre, and Yona Steinman plays Officer Klein.

Ethan Sabourin plays Mortimer Brewster, left, and Hannah Srour plays Elaine Harper.

Shmuel Benzaquen plays Dr. Einstein, left, Gabriel Hamburg plays Jonathan Brewster, centre, and Ethan Sabourin plays Mortimer Brewster.

About the reviews

The production at Ottawa Jewish Community School was reviewed by 27 critics representing 10 schools. The critic discussions were mentored by teacher Joe Veryard of Immaculata High School and student reviews were edited and selected for publication by teacher Cathy Harrington Veryard of Immaculata High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Ridgemont High School’s production of Black Comedy, White Liars.

About the Cappies

Black Comedy, White Liars

Where: Ridgemont High School

Director: Ryan Mockett, student

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Upkeerut Saran

Lead Critic, Elmwood School

Performing comedy is a challenge; performing a farce is a feat. Despite this farce’s physical demands, Ridgemont High School delivered a solid rendition of Peter Schaffer’s Black Comedy.

The play is set in mid 1960s London one Sunday night. Brindsley Miller, a young sculptor, and his fiancée Carol Melkett have furnished their apartment with “borrowed” pieces from their antique-collecting neighbour Harold Gorring in hopes of impressing Carol’s father Colonel Melkett and a wealthy art collector Georg Bamberger coming to view Brindsley’s work.

Chaos and confusion ensue when the power fails: Harold arrives home early: Brindsley’s ex-flame Clea unexpectedly arrives: and the electrician is mistaken for the highly anticipated Bamberger. First performed in 1965 by the National Theatre, a key element to this play is its inverted lighting. The production starts darkness and the stage lights rise when the power fails.

Mike Coderre-Lalonde was a convincing and confident Brindsley Miller. Coderre-Lalonde successfully embodied Brindsley’s frazzled character in his committed stair tumbling and stumbling through the “dark” apartment. Coderre-Lalonde projected well and his exaggerated movements helped his physical comedy. Nadine Cheffi as Carol Melkett took on the challenge of a British accent. Cheffi possessed a keen spatial awareness serving as a reminder that Brindsley’s apartment is, in fact, dark. Costumes by Ashley Arrighi and Jillian Dover completed both characters.

This production was led by student director Ryan Mockett, who used the whole stage throughout. The auditorium aisle became an entrance; a clever way to break the fourth wall. One character even bicycled down the aisle. The use of the tableau on the main floor of the set when actors spoke on the top floor successfully focused audience attention to the correct section of the stage. Glasses and statues breaking on stage elevated the intensity and committed nature, as did the in-character curtain call.

The directorial choice for cross-gender acting in the role of Miss Furnival was unexpected and worked extremely well. Milad Alamir Ahmed, with his stage business and falsetto voice, became the source of much of the show’s comedy.

The large and detailed set by Ryan Mockett, Jeff Patterson, Karl Good, and Chris Bouchard was a highlight. The multiple levels to worked well to showcase the different rooms within the apartment. The doors on stage left were especially effective; actors could walk through Brindsley’s apartment, into the hallway and into Harold’s flat.

Ridgemont High School delivered a solid and convincing rendition of a difficult and demanding farce.

Other voices

Sijyl Fasih, Critic, Elmwood School.

Sijyl Fasih

Critic, Elmwood School

Take a stroll through mid-’60s London city: Beatles tunes pour out of every passing house, and children frolic in play on the side streets. Nothing could seem more pleasant. Suddenly, there is the unusual sight of a couple acting as burglars in the next-door neighbour’s flat! Well, the cast of Ridgemont High School certainly explained the rest of this witty tale in their rendition of Peter Shaffer’s Black Comedy.

An amateur sculptor named Brindsley Miller and his glamorous fiancée Carole Melkett are trying to impress Carole’s rigid father, along with a wealthy art collector named George Bamberger. Brindsley concocts a plan to “borrow” his next-door neighbour, Harold Gorring’s, antique furniture for the evening while he is away. To the characters’ surprise, the fuse blows before the Colonel arrives, Harold comes back early, and Brindsley’s former sweetheart Clea makes an untimely appearance, leaving Brindsley truly in the dark.

Mike Coderre-Lalonde, whilst portraying the role of Brindsley, served as a comic anchor for the farce. By means of using optimal stage space in carrying a clumsy and humorous morale, he was successful in fulfilling the aspect of physical comedy the role demanded. Nadine Cheffi, playing Carole Melkett, retained a clear British Debutante accent for the majority of the performance, drawing the era of the sixties right to the stage. Cheffi gave a prominent performance filled with comedic reaction to the apparent darkness on stage.

Milad Alamir Ahmed served as the highest point of comic relief in the role of Miss Furnival, an older resident of the flat who comes to seek refuge at Brindsley’s during the power outage. His implementation of falsetto contributed to the character’s facetiousness. By way of expressing slapstick through bawdy movements and reacting to the dialogue on stage, he exaggerated the zany elements of the play to an extent that was humorous for all. Tate Cummings and Suraj Altamimi performed the supporting roles of Colonel Melkett and Harold Gorring with competence. Both actors were effective in staying true to their characters’ distinct personalities while contributing to the comic charisma surrounding them.

Execution of the lighting cues exhibited strong moments in which the transitions from illuminated to dimmed sets were efficient and synchronized with character blocking. The delivery of the sound cue signalling the blown fuse was concurrent with its complementary lighting cue. As for the set, vibrant student-produced paintings coloured Bridsley’s flat, while a sturdy set of stairs efficiently connected the art studio and the levelled bedroom.

Ridgemont student Ryan Mockett directed the play from start to finish. His directorial decisions appropriately complemented the playwright’s intentions. Cross casting for the role of Miss Furvival and having the actors perform the curtain call while in character were two examples of his tasteful orchestration. Furthermore, Mockett’s self-arranged character blocking displayed an understanding of the stage and insight into Shaffer’s play.

Black Comedy is quite the challenge to take on, but Ridgemont High School delivered a very entertaining performance.

Madeleine Klebanoff O’Brien, Critic, Elmwood School.

Madeleine Klebanoff O’Brien

Critic, Elmwood School

Sanity may prevail in the light, but when the world is thrown into darkness, madness and hilarity ensue. This was entertainingly proven by the cast and crew of Ridgemont High School with their appropriately chaotic rendition of Peter Shaffer’s Black Comedy.

First performed in 1965, Black Comedy follows Brindsley Miller (Mike Coderre-Lalonde), an aspiring sculptor desperate for a commission. In an effort to impress a superbly wealthy potential investor and the father of his debutante fiancée, he clandestinely borrows some expensive furniture from his friend’s apartment. His plans are thwarted when a fuse blows, plunging his apartment into darkness and rendering it the stage for a variety of hilarious mishaps.

Ridgemont High School’s talented cast and crew effectively highlighted the comedy in an alluring cavalcade of misconceptions, deceit and blind assumptions. Actors often successfully appeared sightless, especially when expressing it through daring physical stunts. Every role was played with enthusiasm, resulting in a thoroughly entertaining performance.

Coderre-Lalonde, dressed in a suitably 60s red turtleneck, fittingly expressed the frazzled lead, supplementing his performances with an impressive display of physical comedy. In this respect he was hilariously convincing, once even tumbling down a small flight a stairs, a testament to the sturdy construction of the set as well as his skill. Nadine Cheffi played Carol Melket, Brindsley’s posh fiancée, neatly expressing the character’s amusing quirks.

Jeff Patterson played Shupvanzigh, the electrician called to mend the blown fuse, with a relaxed confidence, hitting every comic cue while contrasting the intense excitement of the other characters. Furnival, played by Milad Alamir Ahmed, is an initially priggish woman who, terrified of the dark, seeks refuge in Brinsdley’s apartment. A strict teetotaller, she is mistakenly given a glass of gin and, hooked, procures much more, becoming totally inebriated. Ahmed settled comfortably into a marvellously ridiculous personality complete with an unbroken falsetto. He maintained this hilarious persona every moment on stage, leaping into dialogue with impeccable comic timing.

Black Comedy was designed to be performed with a reversed lighting scheme, so the majority of the play is in light, which dims whenever a light source is introduced on stage. The resulting lighting challenges were tackled with effectiveness. This served to illuminate an outstanding set; a beautiful, eclectic, bohemian collection of pieces that demonstrated a mature understanding of the time period. Different levels allowed for interesting and dynamic blocking, which was capably orchestrated by student director Ryan Mockett.

Ridgemont High School’s cast and crew obviously took great joy in their performance, and they created a well-produced, competently acted and thoroughly hilarious farce.

Brooke Mierins, Critic, Elmwood School.

Brooke Mierins

Critic, Elmwood School

When the power goes out there is only so much to do. Or is there? Ridgemont High School’s production of Black Comedy recounts the humorous activities of a group when there is a power outage in their building.

Peter Shaffer’s one-act farce was first performed in 1965. The play opened on Broadway in 1967, and earned five Tony Award nominations later that year. Black Comedy depicts Brindsley Miller and his fiancée Carol Melkett’s night as it goes from bad to worse after they borrow his neighbour’s furniture, the power goes out, and an ex-girlfriend arrives unexpectedly. It is written to have a reversed lighting scheme; the stage opens in complete darkness, only to be lit when the power outage occurs.

An energetic cast remained on their feet and anchored Ridgemont High School’s production of Black Comedy. Mike Coderre-Lalonde played Brindsley Miller, the young sculptor harbouring many secrets. His body language brought forth elements of physical comedy throughout the farce. Coderre-Lalonde added to his smart-thinking, witty portrayal of Brindsley Miller by using varying vocal tone and facial expression. Nadine Cheffi performed as Carol Melkett, Brindsley Miller’s debutante fiancée. Cheffi’s spatial awareness was evident through her movements, which created a realistic depiction of her character in a blackout.

Colonel Melkett, performed by Tate Cummings, is Carol Melkett’s strict and protective father. Cummings created an accurate portrayal of a stern military man by maintaining a straight face and harshness of tone regardless of circumstance. Jeff Patterson played Schupvanzigh, the clueless electrician hired to fix the fuse box. Through his diction and comedic accent, Patterson added to the humour of the play while not distracting from the dialogue and action on stage. Milad Alamir Ahmed memorably played Miss Furnival, an elderly neighbour. He maintained a falsetto voice for the play, contributing to the humour already existent within the script.

Student Ryan Mockett skilfully directed Ridgemont High School’s production of Black Comedy. His blocking of the play heavily emphasized physical comedy and fittingly integrated with the dialogue. Devon St. John remarkably executed the reversed lighting scheme. The set, which consisted of Brindsley Miller’s studio apartment, was well designed and constructed. It was very detailed; including paintings and sculptures that added to the realism of the play. The set was also incredibly sturdy. Through the many falls and movements, the set pieces endured the length of the play.

Ridgemont High School’s production of Black Comedy was hilarious and engaging. The cast and crew entertained with accomplished blocking, a detailed set, and an exuberant performance.

Chloe Kohlman, Critic, St. Joseph Catholic High School.

Chloe Kohlman

Critic, St. Joseph High School

Darkness can hide nearly everything, including stolen furniture and even a jealous ex-girlfriend, as displayed in Ridgemont’s good-humoured production of Black Comedy.

As Brindsley Miller, a struggling artist, attempts to impress his fiancée’s father and a potential client to buy his artwork, a fuse blows, covering his entire apartment in darkness. With many unexpected visitors, Brindsley must go to great and hilarious lengths to keep his lies and stolen furniture concealed in the dark.

With a multi-level set, humorous characters, and complex lighting, this production was performed with much gracefulness, considering the many staged slips and falls. Contributing to the show’s success was the impeccable chemistry that the cast had with one another, which made for an overall enjoyable show.

Mike Coderre-Lalonde performed Brindsley Miller, a struggling artist who had many secrets to hide. Whether it was falling down the stairs or accidentally groping his ex-girlfriend, his physical comedy was what captivated the audience’s attention. His dramatic facial expressions and body language made it difficult for the audience to take their eyes off of him. Nadine Cheffi, as her character, Carol Melkett, delivered lines with ease and was able to remain in character throughout the entire show. Her voice was expressive and coherent, making her stand out.

Tate Cummings delivered a stellar performance as Colonel Melkett, the protective father of Carol. His lines were expressed with sternness, and he was adored by not only the audience, but also Miss Furnival, played by Milad Alamir Ahmed. Ahmed’s memorable role as an older woman was the centre for comic relief throughout the entire play, and his drunken scene made for many teary-eyed laughs. Clea (Taylor Ryan) causes problems within the story as the seductive ex-girlfriend of Brindsley, as does Harold Gorring (Suraj Altamimi), who is the owner of the stolen furniture. With surprise visits and well-done accents, Jeff Patterson as Schupvanzigh and Nicholas Zeransky as Bamberger added even more comedy. Patterson’s obliviousness and Zeransky’s ear trumpet added to this already hilarious performance.

With student-made artwork and antique furniture, this set depicted an artist’s mid-60s apartment perfectly. All three levels were furnished and used in the best ways possible. The set was fully lit with aid from the lighting crew, who successfully executed most of the complex cues that were crucial to the performance. The few sound cues were always on time. The costumes suited characters, as did the well-done makeup that matched each character’s personality.

The hilarious story line of this play was well accomplished through Ridgemont High School’s performance of Black Comedy. With an admirable set and an enthusiastic cast, they provided a pleasurable performance and experience for the audience.

About the reviews

The production at Ridgemont High School was reviewed by 37 critics representing 10 schools. The critic discussions were mentored by teacher Adam Breadner of Brookfield High School and student reviews were edited and selected for publication by teacher Trevor Rostek of St. Mark High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Mother Teresa High School’s production of Alice’s Wonderland.

About the Cappies

Alice’s Wonderland

Where: Mother Teresa High School

Director: Samuel Turgeon-Brabazon

Sabrin Sanjana; Critic, Bell High School

The timeless tale of Alice’s voyage into Wonderland evokes hurried rabbits, rampant royalty and lingering feline grins. It appears to be a tale to delight and enthral. Yet what if these fantastical figures were not the denizens of a mystical wonderland, but the warped products of a mentally unstable girl’s schizophrenic episode? Mother Teresa High School has put a new twist on the classic tale in their gripping production Alice’s Wonderland.

First published in 1865, Lewis Carroll’s story was adapted for the stage in just the next year. In student director Sam Turgeon-Brabazon’s contemporary retelling of the classic, Alice suffers from schizophrenia. During a psychotic episode, she encounters a myriad of outlandish creatures. From a croquet game of flamingos to a literal sea of tears, Alice’s Wonderland is as chimerical as it is captivating.

The cast and crew of Alice’s Wonderland put on a commendable performance that was authentic in its depiction of mental illness. Upholding the wordplay and fantastical tone of the original, Turgeon-Brabazon’s elucidation added an enthralling layer to the time-honoured tale.

Sarah Priscus portrayed Alice in an innocent yet unhinged manner that matched her character faultlessly. Whether it was jumping at the March Hare’s outbursts or giggling at the inexplicable rage of the Queen, Alice’s archetypal candour was thoroughly convincing and genuine. The dark side of Alice’s nature was also rendered expertly. With a constant blankness in her gaze and tremble in her hands, Priscus’s depiction hinted at the mental illness of her character.

A distinctive assortment of secondary characters added to the show. Emily Andresan’s unyielding performance as the Queen of Hearts was especially enjoyable. Striding assertively across the stage – her composure broken easily by frenetic screaming – the Queen commanded the stage and her fearful subjects. The effervescent performances of Michelle De Flaviis as Tweedledum and Sissi De Flaviis as Tweedledee were also a notable feature of the production. Adhering to their characters, the duo was impeccably harmonized in their vibrant body language, attuned gestures, and faultless Spanish inflections. Their immaculate comedic timing and steadfast physical hilarity c kept the audience engaged.

While the set pieces were somewhat loud when moved during transitions, the dynamic stage setting overshadowed any faults. With the ingenious use of rotating triangular panels painted with a different design on each side, several landscapes were produced in a limited space. Riley Clemmings and Talia Melone designed elaborate and compelling costumes. The Mad Hatter’s attire was a standout, with its mix of loud patterns and dishevelled fabrics that captured the Hatter’s eccentric personality. The production was heightened by Megan Heffernan’s vivid special effects; for example the smoke puffing from the Caterpillar’s hookah enhanced credibility, while the use of black light added an ethereal ambience to the delirious Wonderland.

With exuberant performances, dazzling costumes, and a daring twist on a classic tale, Mother Teresa’s Alice’s Wonderland was a stimulating evening. This Alice offered a “why” for the world beyond the rabbit hole.

Other views

Sara MacPhee

Lead Critic, Glebe Collegiate Institute

It’s one of the greatest classics of all time. In 1865, Charles Lutwidge Dodgson published Alice’s Adventures in Wonderland under the pseudonym of Lewis Carroll. Almost 150 years later, the students at Mother Teresa decided to add their own twist to this well-known tale. Alice is now a schizophrenic patient at a mental hospital, suffering from hallucinations. Not only is the mental health aspect of the show well researched and well done, but the majority of the show’s profits were also donated to the Schizophrenia Society of Ontario’s Ottawa branch.

In this clever adaptation, Alice (Sarah Priscus) runs after a rabbit she sees in the yard of the hospital where she lives, and chases it into the mysterious Wonderland full of interesting and crazy characters. She chases the White Rabbit (Riley MacKinnon), attends a wild tea party, is followed by the Cheshire Cat (Julia Hubert), a strange cat only she can see, hears the tales the Mock Turtle (Madison Warren) and the Gryphon (Diana Todd), meets the eccentric twins Tweedledee (Sissi De Flaviis) and Tweedledum (Michelle De Flaviis), and attends a very odd trial featuring the King of Hearts (Riley Carson).

The show is led by Priscus as Alice, who had a mountainous task, appearing in every scene with long, complicated monologues and confusing dialogues, and having to display a huge range of emotion. As Alice, Priscus had to go between happy, sad, angry, and confused at the drop of a hat, and did the job quite impressively. She also had an excellent supporting cast, with some standouts including the sleepy and dramatic Dormouse (Jordan Vecchio), the over-the-top crazy Mad Hatter (Morgan Hector), the psychotic Queen of Hearts (Emily Andresan), and Cynthia Oxley, who switched between loving and scary in her dual role of Alice’s sister and the Duchess. Many actors, including Hector and Andresan, played dual roles, and those who played parallel characters were able to seamlessly switch between the two while still keeping the essence of their character. One of the most interesting characters to watch on stage was the March Hare (Chelsea Montgomery) who, despite a smaller role, was captivating on stage, with her subtle mannerisms projecting her character beyond words. Even when she wasn’t talking, she never stopped acting and had excellent stage presence. The ensemble cast also deserves mention, playing a plethora of roles, from waves to birds to cards, and bringing even more life to an already lively show.

Beyond the stellar acting, the more technical aspects were also quite impressive. The play was directed by student Samuel Turgeon-Brabazon, who took a number of risks that paid off, including using black lights, breaking the fourth wall, using shadows and flashlights, and constantly changing sets. The numerous set changes were mostly efficient and quiet, with few notable errors. The sets themselves were functional and versatile, with a number of gorgeously painted pieces. There were a few interesting props as well, mostly used in the black light scene to tell the story of The Walrus and the Carpenter, and, among many minimalist costumes, some beautiful and unique outfits to contrast. The complicated and intricate makeup was excellently done, with some fascinating and original looks for many characters. The special effects were very impressive, and, despite some microphone problems, the sound and lighting effects were not only very difficult, but also very well executed.

As a whole, the show was a rare blend of high-quality acting and complicated special effects, and it achieved both without sacrificing either. The risks taken by those on stage and behind the scenes created a unique and unforgettable venture into Wonderland.

Grace Hu

Critic, Colonel By Secondary School

“Who”, “what” and “where” are easy to identify, but “why” remains as one of the hardest questions ever to answer. Lewis Carroll’s famous tale is by no means unfamiliar, but Mother Teresa High School’s Alice’s Wonderland has taken the story and breathed a breath of fresh air into its well-known fantasy.

The play was developed as an answer to the longstanding question of “why did Alice’s voyage occur?” The response presented was creative and sincere: Alice’s Wonderland depicts the journey of self-discovery of a young girl, Alice, suffering from schizophrenia. Alice encounters a variety of eccentric personalities during her travels through Wonderland’s surreal landscape, and she slowly opens up to this incredible world of her imagination.

The play consisted of a modernization of the novel’s events, as well as an original prologue and epilogue written by Mother Teresa’s drama production class. A strong sense of continuity was firmly established between the new content and the old tale, and as a result, gave the production a unique print of creativity while remaining faithful to Alice’s adventures. In spite of the complexity of play, the student director, Sam Turgeon-Brabazon, did a great job in coordinating the large number of scenes and characters.

Sarah Priscus, in the role of Alice, convincingly portrayed the image of a lost girl confused by the antics of an eccentric fantasy world, and later, a heroine brave enough to involve herself in Wonderland’s follies. Priscus presented this transformation earnestly and realistically, and acted as a refreshing foil of normalcy to the oddballs around her. Her reflections on her identity were deeply introspective, and allowed the audience to catch an honest glimpse of the perspective of someone trapped in their own mind.

Morgan Hector captivated the audience with her role as the Mad Hatter, never failing to win a laugh from the crowd with her strange, giggling accent. Hector fleshed out her character with her spastic and melodramatic actions, and even sang a rendition of “Twinkle Twinkle Little Star” without breaking character once. Another noteworthy actress was Emily Andresan, who fell so deeply into her role as the Queen of Hearts that her over-the-top emotions and childish cruelty didn’t seem forced or unnatural at all. Her little off-handed actions throughout the play, such as examining her nails or conducting an invisible orchestra, gave the audience an amusing distraction alongside the intense drama happening around her.

The imaginative technical aspects of the production complemented the cast’s performance, and helped set the tone for many scenes of the play. Perfectly executed changes in lighting added to the surreal feel of Wonderland, while an echoing sound effect resembling a hallucination firmly reinforced the idea of Alice’s schizophrenia. Although there were a few lapses in volume control, these faults hardly impacted the overall success of the play.

Despite the charming, upbeat vibe, Alice’s Wonderland developed over the course of the production. Alice’s words after being confronted about the existence of Wonderland brought the play to a quiet, thoughtful end. The question, addressed solely to the audience, was hauntingly chilling:

“But you saw it too, didn’t you?”

Maria Shaheen

Critic, Longfields-Davidson Heights Secondary School

Rabbits nervous about time, caterpillars smoking hookah, tea parties that last forever – these are few of the many elements that comprise the fantastical world of Alice’s Adventures in Wonderland by Lewis Carroll. The classic children’s novel has now taken on a new twist – and name – in Mother Teresa High School’s original production of Alice’s Wonderland.

The play, which is student-directed by Samuel Turgeon-Brabazon, opens with Alice being jarred awake in a mental facility instead of sitting by the riverbank as in the original 1865 version of the story. Eerie voice-overs that convey the troubling voices that consume her mind make it immediately clear that Alice suffers from a mental illness known as schizophrenia. As she endures another one of her hallucinogenic episodes, Alice enters Wonderland, where she experiences a sequence of encounters with several memorable and peculiar characters.

Sarah Priscus as Alice captured the brave and wild curiosity of Carroll’s most popular character, and she stood her own for the entirety of the two-hour play. Her lines were delivered with clarity and confidence, making her a strong presence on stage. Along with Priscus was Morgan Hector, who played the renowned Mad Hatter. Employing amusing poses and a quirky voice for the portrayal of her character, Hector brought the famous eccentricity of Mad Hatter to life. Emily Andresan commanded the stage as the cruel Queen of Hearts, convincing the audience of her odd fetish of executing people for even the slightest dissatisfaction of her subjects.

Although there were occasional sound problems and a few lengthy transitions, the cast members coped well and kept their enthusiasm throughout the show. Smaller roles such as March Hare (Chelsea Montgomery) and Dormouse (Jordan Vecchio) played their parts admirably. The exaggerated slow drawl of the Caterpillar (Shania Coates) drew many chuckles from the audience. Providing additional laughter were Tweedledee (Sissi De Flaviis) and Tweedledum (Michelle De Flaviis), whose synchronized movements and entertaining accents made for hilarious banter between the two.

A haunting piano piece complemented by strobe lights during Alice’s iconic fall produced a visually marvellous scene that held the audience in awe. Impressive manipulation of shadow and light were applied to give the illusion of a shrinking or growing Alice. In addition to bold make-up and costumes, vibrant fluorescent sets and props created a delusional-like atmosphere, effectively depicting the extraordinary qualities of Alice’s hallucination.

Shedding light on an often-talked down subject, Mother Teresa High School’s spirited production of Alice’s Wonderland shows the cross between reality and fantasy through the eyes of a mentally ill person. With the help of stunning sets, bright visuals, and vivid characters, the audience was pulled into the magical world that is Wonderland.

Emily Witherow

Critic, Earl of March Secondary School

A land of disappearing cats, smoking caterpillars and dancing lobsters lives in everyone’s minds, but only those apt to discover their own madness may glimpse it. Fortunately, Alice’s Wonderland takes us into the strange and disorienting mind of a young girl who has been diagnosed with schizophrenia, ensuring that the audience can remain safely lucid while exploring this new world.

Alice’s Wonderland is an original adaptation of the widely celebrated novel Alice’s Adventures in Wonderland by Lewis Carroll. Mother Teresa High School has ingeniously altered this time-honoured novel, re-making it in a way that has rarely been explored. Lapsing into a hallucinatory episode, Alice travels through her own mind and encounters manifestations of her madness appearing as well-known characters such as the Mad Hatter (Morgan Hector), the Queen of Hearts (Emily Andresan) and the Cheshire Cat (Julia Hubert).

The subject of mental illness is a delicate one, but the cast and crew of Alice’s Wonderland accomplished their goal of raising awareness for this issue in a haunting and bizarre way that captivated their audience. Schizophrenia is often characterized by a failure to recognize what is real, and this was alluded to throughout the performance by eerie moments of uncertainty, silence and echoing words, when the audience could recognize that something in this world of beheading, caucus races and teatime was not quite right.

Alice was played by Sarah Priscus, who possessed incredible endurance. She appeared in every scene and maintained her character’s questionable mental state flawlessly. Her wide-eyed, vacant gaze suggested that she was constantly distracted, even when she was surrounded by her phantom world of Wonderland.

An incredibly comedic and energetic cast inhabited the small stage, filling it with their individual personalities and collective lunacy. The Queen of Hearts, portrayed by Emily Andresan, strutted ferociously about her red rose bushes wearing unimaginably high heels, and she screamed her lines while maintaining a frightening smile. The chemistry between the Mad Hatter (Morgan Hector), the March Hare (Chelsea Montgomery) and the Dormouse (Jordan Vecchio) was tangible and exciting, and they each fed off of each other to gradually heighten their combined mania.

The makeup was stunningly dramatic, complementing the plentiful and varied costumes that included an enormous hand-painted shell worn by the Mock Turtle (Madison Warren) and an exquisite Gryphon mask complete with delicate ears, feathered cheeks and a prominent yellow beak. Although the many blackouts disrupted the continuity of the play, this feeling fit the overall theme of mental illness by referring to the individual schizophrenic episodes that often plagued Alice.

The original lines written by students at Mother Teresa High School captured the absurdity of Lewis Carroll’s classic novel while adding their own creative twist to Alice’s explorations of Wonderland. Her story was told magnificently, and her auditory hallucinations were transformed into physical characters that regaled and enchanted while imparting valuable advice; everyone is mad here.

About the reviews

The production at Mother Teresa High School was reviewed by 32 critics representing 11 schools. The critic discussions were mentored by teacher Braden Hutchinson of Brookfield High School and student reviews were edited and selected for publication by teacher Erin Bennett of St. Mark High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: All Saints High School’s production of Jungle Book.

About the Cappies

The Jungle Book

Where: All Saints High School

Director: Teacher Serena McCauley and Student Matt Lebeau

Dylan Sova, Critic, St. Mark Catholic High School

Dylan Sova

Critic, St. Mark Catholic High School

The king of this jungle is not a lion but a tiger, and it is up to a brave 11-year-old girl to dethrone him. This is how the story goes in All Saints High School’s telling of the time-honoured classic, The Jungle Book.

Most people will be familiar with the 1967 Disney animation but it was based on Rudyard Kipling’s 1893 novel. Now, All Saints High School brings to life a stage adaptation by Monica Flory. In the story an abandoned infant is adopted into a pack of wolves that live in the Indian jungle. Eleven winters pass before Mowgli, the man cub, learns of her true ancestry and must use her humanity to save the pack from the tiger Shere Khan. Can she do it with the help of Baloo the bear, Bagheera the panther and Kaa the snake, all the while struggling to find her true identity?

Sydney Petrie played Mowgli with great energy and stage awareness.

The play was full of comedy courtesy of Tori Faircloth, Jeremie Lemay and Chris Fitzpatrick, as the monkeys Funky, Trout and Cheeky. Humour also was built into the character of the jackal Tabaqui played by Rony Khayat.

Brandyn Coulas performed as Baloo (G), Grace Archer played Fire Spirit (L), Imani Bowker played Earth Spirit(FL), Marco Cornejo played Akela(M), Nicola Power played Air Spirit(R), Mallory Pogue played Water Spirit(FR), during All Saints Catholic High School’s Cappies production of the Jungle Book, on Dec. 12, 2014.

With a twitch of his whiskers Nick Fassbender was a savvy Bagheera. Brandyn Coulas provided great support in every scene he was in as Baloo the bear. Coulas was both comedic and touching. Four spirits, Imani Bowker, Mallory Pogue, Nicola Power and Grace Archer, provided musical intensity with their great drumming. Trenton Poulin played Shere Khan with a powerful voice and bold actions.

From the moment the show began, beautiful big multi-layered set pieces caught the eye. The set was well-lit by Matias Gago who, using a small number of lights, set a fitting tone for the play. The stunning make-up, by Thé Wynter, truly highlighted each character’s animal nature.

The All Saints High School cast mixed comedy and drama into a memorable and enjoyable performance of The Jungle Book.

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Molly McGuire, Lead Critic, St. Francis Xavier Catholic High School.

Molly McGuire

Lead Critic, St. Francis Xavier High School

Laws of the Jungle: eat or be eaten, run with the pack, fear the red flower. Welcome to primeval India where the men live to rule, and the animals reign supreme. The monkeys are merry mimes, the bears, bashful baby-sitters and the snakes, superficial schemers that trade strategy for snacks. This zoological kingdom of food chains and friendship was brought to life by the All Saints Drama Guild in their rendition of Monica Flory’s adaptation of the timeless literary staple, The Jungle Book.

Set against the heat and emerald canopy of the Indian rainforest, The Jungle Book is the story of an adopted wolf cub, born with neither fur nor tail, trying to belong — a human among animals. Alienated for her appearance and lack of hunting prowess, young Mowgli is protected by the ever-vigilant panther, Bagheera, and tutored by the more-teddy-than-bear, Baloo, so she might find a way to survive in the unforgiving wild.

Sadly, in spite of Mowgli’s determination to be accepted, the looming threats of Shere Khan, a tiger with a hankering for human blood, and the fiery images of Man’s predisposition to violence reflected in her eyes, serve as unshakable reminders of the danger of her otherness. In a jungle structured by the principles of Darwinian survival, it remains to be seen whether the man-cub will find the strength and perception required to last another year and tame her inner turmoil.

Sydney Petrie performs as Mowgli, during All Saints Catholic High School’s Cappies production of the Jungle Book on Dec. 12, 2014.

At the centre of the plot, of course, is the wolf-girl herself, Mowgli, portrayed by Sydney Petrie. Throughout the performance, Petrie masterfully transformed the role; beginning as a spunky pre-teen and arriving at the climax as a tough-as-nails warrior, spear in hand, prepared to meet her destiny. She effortlessly navigated through the character’s multi-faceted emotions, therein delving into the subtle nuances of innocence, angst and naivety in the role, and earning coos of affection from the audience in her most vulnerable scenes.

Then, to aid her in her quest for belonging, are her faithful guardians and companions: the lovable Baloo (Brandyn Coulas) and loyal Bagheera (Nick Fassbender). Obviously friends on and offstage, Coulas and Fassbender demonstrated a seamless chemistry, what with the panther’s slapstick jabs at Baloo’s weight and the bear’s good-natured teasing of the feline’s scepticism surrounding Mowgli’s training. Together, the actors worked to create an unmistakably genuine bond that was equally humorous and affectionate.

Brandyn Coulas performed as Baloo (L), Sydney Petrie played Mowgli (M), and Nicholas Fassbender played Bagheera (R), during All Saints Catholic High School’s Cappies production of The Jungle Book, on Dec. 12, 2014.

Vibrantly painted, detailed with forest textures, and complete with a functional second tier atop the rugged jungle floor, the sets, designed and created by Brynn Rhude, Caylen Thomsen, Brianna O’Gorman, Marco Cornejo and Cameron Lister, with help from the drama guild, were an undeniable highlight of the production. The crew demonstrated a wealth of artistic talent, with trees swathed in tribal designs and ivory ruins of an ancient civilization planned with meticulous attention to detail, which was made evident in the Doric columns and golden relic adorning the wall. Most impressive, perhaps, was the functionality of their designs as all pieces were moved with notable stealth and efficiency between scenes by the stage crew (Brynn Rhude, Caylen Thomsen, Dylan McMahon and Brianna O’Gorman), and were sturdy enough to withstand the dynamic blocking of the restless animals.

Some say that theatre is like a jungle, as the road to fame is a lesson in survival. Fortunately for All Saints, they sharpened their claws and, in spite of being high school drama kids, tackled The Jungle Book, like professionals in, “all the most important ways”.

Jessica Shaw, Critic, Holy Trinity Catholic High School.

Jessica Shaw

Critic, Holy Trinity Catholic High School

All Saints taught their audience the rules of the jungle in their exotic production of The Jungle Book. The animated cast provided a fresh perspective on this classic, much beloved story.

In this adaptation of The Jungle Book written by Monica Flory, Mowgli (Sydney Petrie) is forced down the path of self-discovery, when she learns that she is a human, who had been adopted into a pack of wolves as a baby. With the help of her colourful animal friends, she must decide if she wants to live in the jungle or go back to the village to live with her own kind. Meanwhile, the villainous tiger Shere Khan (Trenton Poulin) attempts to reclaim Mowgli as his long lost hunting prize, with the aide of his comedic companion Tabaqui (Rony Khayat).

The production’s colourful sets provided impressive platforms for the actors, and added to the interesting blocking of the play. The costumes were simple but effective, and drew the audience’s eyes to the incredibly detailed makeup (Thé Wynter). Each of the actor’s movements was filled with the traits of the animals they were portraying. Although some performers had a slower start, everyone’s energy was up by the beginning second act.

Rony Ronald Khayat perfomed as Tabaqui, during All Saints Catholic High School’s Cappies production of the Jungle Book, on Dec. 12, 2014.

Sydney Petrie added a feminine touch to Mowgli’s character, and played the role with sincerity. Petrie showed obvious character development, and gave a solid performance. Baloo (Brandyn Coulas) and Bagheera (Nick Fassbender) were constantly at Mowgli’s side, ready to leap to her defence at the sign of trouble. Baloo and Bagheera had great chemistry onstage, and provided funny banter throughout the show.

Emma Wilson gave a chilling performance as the python Kaa. Drawn out S’s and slithering movements added to Wilson’s excellent portrayal of this cunning snake. She had a powerful stage presence, and truly embodied her character. The Earth, Water, Air, and Fire Spirits (Imani Bowker, Mallory Pogue, Nicola Power, and Grace Archer respectively) acted as narrators and whimsical dancers throughout the play. They provided well-timed witty commentary, and wore beautiful wispy skirts that added to their grace.

Matthew Lebeau performed as Wolf 1(L), Sarah McGregor played Cub(FL), Paige Blakely played Mother Wolf(M), Cameron Lister played Wolf 2(FR), and Devynn Lyle played Father Wolf(R), during All Saints Catholic High School’s Cappies production of the Jungle Book on Dec. 12, 2014.

The stage crew was incredibly efficient, and managed to move enormous set pieces quickly, with minimal noise. Though the music was slightly overpowering at times, it was very well chosen, and added to the atmosphere. The music was accompanied by live African drumming that transported the audience from the auditorium to the wildest parts of the jungle. The drums made for a great way to build up climactic fight scenes and add to powerful lines.

This tale of self-discovery was complete with interesting characters, beautiful makeup, and colourful sets. Overall the cast and crew of All Saints’ production of The Jungle Book put on a well done, energetic show.

Jacob Ritchie, Lead Critic, St. Mark Catholic High School.

Jacob Ritchie

Lead Critic, St. Mark High School

As the audience took to their seats, students roamed the aisles in full costume and make-up with spears in their hands, occasionally interacting with bystanders. The music ascended, the students dispersed, and the curtains opened to reveal somewhere deep in the Indian jungle. All Saints High School took the lovable classic, The Jungle Book, and made it their own, with creativity and imagination that could be noticed even before the play began.

The Jungle Book, a collection of stories written in 1894 by English author Rudyard Kipling, has since been adapted into multiple mediums such as comics, television, and of course, Walt Disney’s 1967 animated film. In Monica Flory’s stage adaptation, Mowgli, a young girl, grows up believing that she is as lupine as the rest of her wolf pack. However, the truth is revealed that she comes from a nearby human village and isn’t a wolf at all. With this revelation, Mowgli battles with herself to discover who she really is. In the background, villainous tiger Shere Khan is awaiting his chance to take Mowgli, a delight he cannot resist.

Stuck between the worlds of human and animal, Mowgli, played by Sydney Petrie, must make a decision about where she belongs, all while searching for the courage to fight Sheer Kaan when the time comes. Petrie led the play with a deep insight into her character that was demonstrated through her range of emotion. Petrie also had clear pronunciation and at no point was she not heard.

Supporting Mowgli throughout her life’s struggles were Baloo, played by Brandyn Coulas and Bagheera, played by Nick Fassbender. Both actors had great chemistry on stage, which made for quite a few comedic moments. Within seconds of being on stage, Fassbender established his character and never lost it for the entirety of the play. He always had a dignified presence on stage and was swift in his animal-like movements.

Nicola Power played Air Spirit(L), Imani Bowker played Earth Spirit(FL), Grace Archer played Fire Spirit (FR), and Mallory Pogue played Water Spirit(R), during All Saints Catholic High School’s Cappies production of the Jungle Book, on Dec. 12, 2014.

With their sounds alone, Tori Faircloth, Jeremie Lemay and Chris Fitzpatrick established themselves as the monkeys and were very entertaining whenever on stage. Each monkey brought a different type of humour, such as Lemay’s interpretation of Trout, the incompetent monkey who never seemed to know what was going on. Also, though in the background, Matt Lebeau shone as a member of the wolf pack. Lebeau constantly maintained an animal-like composure, even when not directly involved in the scene. Lebeau was also the mind behind the play’s choreography, which was well thought out and altered to match each character’s personality.

What brought the play together was the stunning set, designed by Caylen Thomsen, Matias Gago, Brynn Rhude and Brianna O’Gorman. The set, impressive in size, was built for the actors to be able to comfortably move on, jump off and climb up. It also included simple details, such as a banana, and hanging from a tree. The stage crew was just as important and impressive with their quick and effective scene changes. An interesting addition to the performance was live music that accompanied the more exciting scenes. This music was in the form of bongo drums, which were most effective at the play’s climax.

Although the lives of jungle animals couldn’t be any more unrelated to the lives of the performers on stage, each actor portrayed their characters in an anthropomorphic manner and effectively demonstrated the moral lessons of inclusion and family.

Alexa Hansel, Critic, St. Francis Xavier Catholic High School.

Alexa Hansel

Critic, St. Francis Xavier High School

A tale of friendship and courageous acts all began with a human child growing up as if she were a wolf. All Saints High School presented great effort in recreating The Jungle Book as a story with defining moments and humorous aspects. In this well driven plot line we see Mowgli transform from an innocent, helpless infant to a striving, brave eleven-year-old girl.

Mowgli is human, and with that comes great danger in the jungle. The wolves’ maternal nature allowed them to adopt Mowgli and raise her as if she was originally their cub. However, Mowgli understands that she is different from her family. She discovers that Shere Khan, a raging tiger, has been hunting her down since the day she was brought to the wolves’ home, and now she must learn to fight back.

Sydney Petrie portrayed Mowgli as a strong female lead in this modern adaptation. Her versatility gave an outstanding presence on stage, allowing for multiple creative choices. This included her ability to act brave and fearless towards danger, and then quickly altering her demeanour around her loved ones to become the scared eleven-year-old girl that she was. From an infant to a young woman, Mowgli demonstrated her capability to overcome all of nature’s obstacles.

Brandyn Coulas performed as Baloo (L), Sydney Petrie played Mowgli(FL) J¾©r¾©mie Lemay played Trout (FFL), Victoria Faircloth played Funky (FR), and Chris Fitzpatrick played Cheeky(R), during All Saints Catholic High School’s Cappies production of the Jungle Book, on Dec. 12, 2014.

The presence of each character was recognizably strong on stage, particularly Tabaqui, played by Rony Khayat, who showed great stage presence, allowing himself to speak with a clear and precise voice. His two-dimensional personality created depth to his character, allowing for multiple humourous moments. The Monkeys, including Chris Fitzpatrick, Jeremie Lemay, and Tori Faircloth, were also a spectacular aspect in this department. They worked as a team to create a roar of laughter from the audience. The ensemble’s comedic timing complemented one another and allowed for numerous moments in which they truly embodied their characters.

The stage crew operated quite efficiently. They seemed comfortable handling even the larger sets and placing them in their appropriate positions, both quietly and quickly. The hunting scene displayed while the stage crew set up was a great way to keep the audience engaged and entertained throughout.

Despite the lack of stage lights, the characters’ face makeup showed enough detail in order to define which animal each character portrayed. All the costumes were designed and sewn by Elise Woodward, exemplifying a high degree of workmanship and commitment. Each intricate detail provided within the makeup and costumes helped to emphasize the human-animal hybrid effect.

The sound effects were delivered in perfect timing in accordance with the actions presented on stage. The rhythmic beatings on the drums were a great way to emphasize an intense fighting scene. The beats would start light then grow stronger and become rapid in pace as the tension built. This created a perfect amount of anticipation awaiting the climax.

Ultimately, All Saints High School was successful by integrating brilliant humour, a sense of bravery and a fascinating twist to The Jungle Book. All the elements put together made for a splendid evening of entertainment.

Emma Wilson performed as Kaa(L) and Nicholas Fassbender played Bagheera(R), during All Saints Catholic High School’s Cappies production of the Jungle Book on Dec. 12, 2014. (above photo)

Nicholas Fassbender performed as Bagheera(L) and Trenron Poulin played Sherekhan, during All Saints Catholic High School’s Cappies production of the Jungle Book on Dec. 12, 2014. (above photo)

About the reviews

The production at All Saints High School was reviewed by 33 critics representing 9 schools. The critic discussions were mentored by teacher Sarah Jennings of St. Joseph High School and student reviews were edited and selected for publication by teacher Tracy Noon of John McCrae Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Woodroffe High School’s production of Into the Woods.

About the Cappies

Into the Woods

Where: Woodroffe High School

Director: Terry Duncan

Sabrin Sanjana, Critic, Bell High School

Sabrin Sanjana

Critic, Bell High School

The woods are the timeless backdrop for childhood tales. It’s where you take the path to Grandmother’s house, find a fair maiden’s tower or walk the road taken to the King’s festival.

It is also the whereabouts of a rapping witch, sightless stepsisters, promiscuous princes, and a flamboyant wolf and an enthralling cast of characters intertwined in Woodroffe High School’s commendable production of Into the Woods.

The musical debuted in the Old Globe Theatre in 1986 and was performed on Broadway the next year. The story follows a Baker and his Wife, a couple rendered infertile by magic, on their quest to retrieve four objects for the Witch in exchange for the reversal of their curse.

The journey crosses paths with a host of familiar Grimm Brothers’ characters, such as Cinderella, Jack, Red Riding Hood and Rapunzel. As the characters soon find out, “happily ever after” isn’t easy to come by. Evasive futures, misguided deeds, and conflicting morality place a darker yet more credible twist on the classic happy ending.

The cast and crew of Woodroffe High School put on an admirable production that captured the fanciful nature of the original fairy tales. Flowing transitions and a flurry of stage movement accentuated the tangled tales. A standout feature of the production was the repeated frozen stances held by the cast during scenes. Each member froze with a vivid facial expression, and then effortlessly resumed the action on cue, adding a unique layer of originality to the show.

Robbie Zwierzchowski portrayed the humble and klutzy baker with authentic sensitivity that upheld his bittersweet fate. A highlight of his performance was the heartfelt rendition of the song No More. His voice, while softened with grief, retained a powerful precision in tone. Opposite the Baker was Veronica Simpson’s unwavering Baker’s Wife. Her portrayal was noteworthy with a powerful lucidity to her singing that consistently kept the audience engaged.

Any problems with singing by the cast were made up for by consistent energy.

Janani Suthan’s performance as Little Red Riding Hood was especially notable. The effervescence of her character was encapsulated in her lively gait and animated expressions. Whether it was sinking to her knees in a tantrum or freezing wide-eyed near the Wolf, Suthan was captivating.

Another noteworthy performance was Sleiddy-Gerrold Joseph’s engaging portrayal of Cinderella’s Prince. He injected humour into his scenes. Whether seducing passing damsels with overbearing masculinity or twisting his face in disgust at touching a countrywoman, his arrogant charisma captured the Prince’s character.

While a few microphone issues made the cast sometimes hard to hear, Nicholas Erskine skilfully handled percussion without missing a cue. Ingenious musical details, such as xylophone chimes enhancing the drop of each magic bean or crashing symbols accompanying the Giantess’s footsteps, strengthened the show. Skilled makeup captured the characters from simple villagers to the bold eyes and lips of the wicked stepsisters. The sets too were skilfully executed, evoking a sense of storybook pictures and wheeled green trees increasing the ingenuity of the show.

Energetic performances, sleek transitions, and strong leads created a production as whimsical as it was earnest. Woodroffe High School’s laudable Into The Woods swept the audience worlds away, where nights teemed with magic and all wishes came with a price.

Review Ranked #2

Soren Wainio-Theberge, Lead Critic, Bell High School.

Soren Wainio-Theberge

Critic, Bell High School

It’s midnight by the time the first strange occurrences grace your romp through the forest. A hauntingly beautiful siren song emanates from a distant tower, while closer by, a grandmother’s cottage releases menacing growls. A boy wanders aimlessly past with a cow as white as milk, and a stylish princess-to-be takes a tumble, losing her golden slipper. There’s only one place you could be wandering – the set of Woodroffe High School’s able production of Into the Woods.

First performed in 1986 at the Old Globe Theatre in San Francisco, Into the Woods was written by Stephen Sondheim, a renowned composer admired for his discordant, unconventional harmonies. The story unites the Grimm Brothers’ best known folk tales in a common setting, where Little Red Riding Hood dares Jack to climb the beanstalk and Rapunzel and Cinderella’s lovelorn princes spill their hearts to each other in ardent song. The thread that connects these sundry stories is the struggle of a baker and his wife to gather four items – each from a different fairy tale – to lift a curse of childlessness on the family. The happily-ever-after tale takes a calamitous turn in the second act, however, as the characters see the consequences of their actions and learn to choose their wishes more carefully.

Woodroffe’s talented cast gave a competent performance, capably capturing the frantic staccato of Sondheim’s music. Though the cast was occasionally difficult to hear, they made themselves easy to understand by embodying their characters’ respective physicality and ensuring they were always engaged with the action onstage.

Robbie Zwierzchowski endearingly portrayed the Baker as a klutzy, yet caring, father-to-be, thrust into a situation beyond his ken. Playing opposite him as the Baker’s Wife, Veronica Simpson distinguished herself among the cast with her powerful singing and clarity of tone, and used the whole stage effectively in her solo numbers. Zwierzchowski and Simpson’s charming chemistry was most apparent in “It Takes Two”, in which they danced a balletic caper with mobile, wheeled trees, exchanging them and twirling them around until the two characters met for a final kiss.

With exuberant hip pops and long, lustful sniffs, Sleiddy-Gerrold Joseph lent the Big Bad Wolf’s menacing number Hello, Little Girl enough nauseating flamboyance to both amuse and disgust the audience. Joseph also played an affected prince “raised to be charming, not sincere”. In his pursuit of Cinderella, Joseph was both debonair and delightfully squeamish; in a rather un-princely episode, he retched uncontrollably at the mere sight of blood when Cinderella’s stepmother hacked off her daughter’s toe in a dubious effort to get her foot into the golden slipper. Janani Suthan, meanwhile, presented a childish yet occasionally psychotic Little Red Riding Hood, eagerly waving an oversize kitchen knife and threatening to skin the hapless narrator (Andrew Esdon) alive.

Despite some missed cues in the music, percussionist Nicholas Erskine never missed a sound effect. Whether the drop of a magic bean or a witch’s failed curse, Erskine’s musical accents were effortlessly punctual. Woodroffe also made creative use of set and lighting: the scene in which the Big Bad Wolf eats Red Riding Hood was lit in silhouette through the window of a house, creating a clever workaround for a gruesome moment.

Forget the Brothers Grimm – this musical has enough fairy tale characters for the whole Grimm family. With wily wolves, pretentious princes, and just enough misery to live up to the family name, Woodroffe High School delivered a production of Into the Woods that would make the venerable storytellers proud.

Review Ranked #3

Victoria Gay, Critic, Sacred Heart Catholic High School.

Victoria Gay

Critic, Sacred Heart High School

The woods can be a whimsical, yet strange place where the impossible can happen. In Woodroffe High School’s enchanting rendition of Into the Woods, the cast and crew put their best golden slipper forward.

Based on the works written by the Brothers Grimm, the Stephen Sondheim musical, Into the Woods, follows the story of several classic fairy tale characters in a whirlwind of events. When the witch reveals that she had cast a spell on the Baker so that his family tree would end with him, he and his wife set out to end the curse by retrieving items which belong to Cinderella, Little Red Riding Hood, Jack, and Rapunzel. This dark comedy embodies several morals within the stories of each character as they wander through the woods.

The Baker, Robbie Zwierzchowski, showed a range of emotion and enlightened the audience with his vocals, particularly in his duet No more with the Mysterious Man (Andrew Esdon). Alongside Zwierzchowski, playing the role of the baker’s wife, Veronica Simpson’s vocal ability was remarkable, as was her chemistry with Zwierzchowski. As the witch, Neisha Horsfield brought forward a versatile portrayal of the self-centered antagonist.

Whether he was following Little Red through the woods or charming women, Sleiddy-Gerrold Joseph as the wolf and Cinderella’s prince had a strong stage presence and exceptional comedic timing. As Little Red Riding Hood, Janani Suthan embodied her spunky character and clearly showed character development throughout the musical.

The Woodroffe pit band should be commended for their preciseness and creativity with sound effects that enhanced the mood of the production. The sets proved to be effective, clearly representing the various scenes inside the houses and in the woods. As for set transitions, most were executed well throughout the entirety of the musical.

With great orchestration, comical moments, and a talented cast, this tale of wishes and choices was brought to life. Overall, the cast of Woodroffe High School put on an entertaining show.

Review Ranked #4

Emily Witherow, Critic, Earl of March Secondary School.

Emily Witherow
Critic, Earl of March Secondary School

Forests are the in-between parts of journeys, the places where heroines are lured to bite into poisoned apples or to stray off the beaten path. They are the places where heroes are led into rosebushes to enjoy the blooms and don’t realize that they are being pricked by thorns until it is too late. Brought to life by Woodroffe High School, Into the Woods shows the beginnings, middles and ends of fairy tales as they have never been seen before, with characters that muddle each other’s quests and show the unpredictable bleakness missing from most modern stories.

A fairly recent addition to the Broadway world, Into the Woods is based on the original novel by James Lapine and features lyrics by Stephen Sondheim. This fantastical mash-up of all the stories loved best by sleepless children stars a poor Baker and his barren wife trying desperately to start a family. When a witch informs them that their inability to have a child is the result of a curse cast by her, they must journey through the woods and collect key pieces of various fairy tales to break the spell.

Robbie Zwierzchowski (Baker) and Veronica Simpson (Baker’s wife) fed off of each other’s energy, perfectly portraying the roles of a shy, reserved man and his somewhat controlling but well-meaning wife. His rich vocals offset her crystal-clear soprano in an enchanting way and delivered a stunning performance of songs such as It Takes Two and Maybe They’re Magic.

True to her childish character, Janani Suthan (Little Red Ridinghood) traipsed onstage with a carefree lilt to her voice and a skip in her step. As the play continued, the audience was shown moments of naïve youthfulness juxtaposed with bloodthirsty comments delivered in a high-pitched, jovial manner. Sleiddy-Gerrold Joseph’s (Wolf) loosely sultry demeanour emphasized Suthan’s infantile nature and enthralled all of those watching.

The sets took advantage of the limited space, and with simple props such as movable trees and hanging vines, a magical forest was created for the fairy tale characters to explore. Wires were attached to the wonderfully detailed sets to lift them out of view and allowed for great versatility on the small stage. They also ensured that all transitions between scenes were fluid and soundless while eliminating the need for blackouts and manual movement of large set pieces.

Together, the cast infused the room with enthusiasm and creativity. While some singers struggled with the challenging vocal requirements characteristic of a Sondheim musical, they never abandoned character during the lengthy show. Each actor and actress wished for their dreams to come true in an exquisitely vulnerable way not typically seen on a public stage.

As in all fairy tales, there are many moral arguments scattered among the whimsy, flower petals, and magic. Showing the precarious nature of contentment and the eternal hunger for more, Into the Woods and its fantastic cast warn us to always be careful what we wish for, lest it actually come true.

Review Ranked #5:

Joscelyn van der Veen, Critic, Bell High School.

Joscelyn van der Veen

Critic, Bell High School

Strange things happen in the woods; first and foremost, a haunting yet humorous musical. With a spellbinding witch, charming princes, a dastardly wolf, and fearsome giants, Woodroffe High School’s production of Into the Woods was a magical experience.

Written by James Lapine with music by Stephen Sondheim, Into the Woods debuted at the Globe Theatre in San Francisco in the year 1986. The plot centers on a baker and his wife searching for four items to remove a curse placed on the baker’s house by the witch-next-door. While on a quest to retrieve the items, the baker and his wife cross paths with many other fairy tale characters, each trying to achieve their own wish. The winner of several Tony Awards including Best Score, Best Book, and Best Actress in a musical, the intertwining stories of Rapunzel, Cinderella, Little Red Ridinghood, and Jack and the Beanstalk provide many opportunities for magic and mayhem.

The setting and the characters’ humour epitomized the whimsy of this fairy tale musical. Many of the characters had wonderful physical comedy that provoked peals of laughter on numerous occasions. The outrageous characters effortlessly switched between sassy, bloodthirsty, and mysterious mannerisms to carry the quirkiness of Grimm fairy tales through the twists and turns of the plot. Along with the exceptional comedy, the brightly coloured scenery drew all eyes to the stage and set the tone with cartoon-like paintings and whimsical appeal.

Leading the odd assortment of characters was the lovable couple, the baker (Robbie Zwierzchowski) and his wife (Veronica Simpson). With splendid singing voices and fantastic chemistry, the baker and his wife drew the many stories together. Zwierzchowski perfectly captured the bumbling baker with his confused expressions and exasperated tones, but the actor grew alongside the character to show a heartrending sadness and a captivating rendition of “No More” in the second act. Simpson was also captivating with her beautiful dancing and angelic singing that perfectly complemented Zwierzchowski.

While the vocals of the supporting actors were occasionally lacking, they compensated with tremendous expressions and emphatic gestures. Cinderella’s Prince (Sleiddy-Gerrold Joseph) was a perfect combination of charming and disdainful with his flamboyant gesticulations and commanding tone. Neisha Horsfield also had a tremendous stage presence as the Witch, drawing eyes and ears with her fast-paced songs and sassy poses. Additionally, the Mysterious Man (Andrew Esdon) drew many laughs and gasps from the audience with his sudden appearances, vague words of advice, and a surprising character reveal onstage.

Accentuating the changing mood of the musical was the capably designed lighting and the remarkable sound effects. Carried out entirely by percussion, the sound effects were always on time and underlined key moments of the plot, from the Witch’s spells to the pounding of the Giant’s footsteps. Also underscoring the enchanting acting were the whimsical props and set pieces. The scene changes were very smooth, allowing the many storylines to flow together.

Despite the difficulty level of a Sondheim musical, Woodroffe High School brought out the fairy tale charm of Into the Woods. Even with a difficult path through the forest, they made it out to the happily ever after.

About the reviews:

The production at Woodroffe High School was reviewed by 32 critics representing 9 schools. The critic discussions were mentored by teacher Sonya Schrum of Sir Wilfrid Laurier Secondary School and student reviews were edited and selected for publication by teacher Erin McHale of Colonel By Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Ashbury College’s production of The Wizard of Oz.

About the Cappies

Cappies Nominees

Marketing and Publicity

Sound

Lighting

Sets

Costumes

Make-up

Props

Special Effects and or Technology

Stage Crew

Orchestra

Choreography

Creativity

Ensemble in a Play

Ensemble in a Musical

Featured Actress in a Play

Featured Actor in a Play

Featured Actress in a Musical

Featured Actor in a Musical

Female Dancer

Male Dancer

Female Vocalist

Male Vocalist

Comic Actress in a Play

Comic Actor in a Play

Comic Actress in a Musical

Comic Actor in a Musical

Supporting Actress in a Play

Supporting Actor in a Play

Supporting Actress in a Musical

Supporting Actor in a Musical

Actress in a Play

Lead Actor in a Play

Lead Actress in a Musical

Lead Actor in a Musical

Song

Play

Musical

Top Female Critic

Critic Team Nominees

Top Male Critic

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