The Wizard of Oz

Where: Ashbury College

Director: Kailey Maynard

Kathryn Hawco, Critic, Sir Wilfrid Laurier High School

Kathryn Hawco

Critic, Sir Wilfrid Laurier Secondary School

When it came to: finding a heart, a brain, some courage and a way home, Ashbury College put on a remarkable performance of L. Frank Baum’s classic, The Wizard of Oz.

When a young Kansas farm girl by the name of Dorothy gets sucked into a tornado and spit back out into the magical land of Oz, she needs help to find her way home again. Making new friends such as the Tin Man, the Cowardly Lion and the Scarecrow, she must find her way to the Wizard of Oz while keeping out of reach of the Wicked Witch of the West.

The Ashbury cast and crew put on an admirable performance, accompanied by a talented and well-rehearsed student orchestra.

Jane Amirault as Dorothy, portrayed innocence with just hint of cheek. Her singing was extraordinary, hitting every note with the tone of a well-rehearsed professional, and she did such classics as Over the Rainbow a great justice.

Amirault was well accompanied by the Scarecrow, the Tin Man and the especially remarkable Cowardly Lion. Arunima Choudhury took on her role as King of the Forest with a powerful voice and humour that commanded attention.

In his many chorus roles, MacLean Jones particularly stood out, especially in his role as a member of the trio of Oz trees, which he played with great humour and an undeniable sass.

The stage crew of Ashbury could have been more efficient at times, but what they lacked in efficiency they made up for in the aesthetics of their sets, especially their canvases. The use of multi-purpose pieces was smart and effective.

The make-up team did an incredible job, in particular on the Scarecrow and Wicked Witch, which were detailed and attractive even from afar. The costumes were also well done, and the slight differences in the Munchkin’s outfits were a nice touch.

Sound effects and microphone cues could have been better, but overall were very effective in the performance. Lighting was smooth and the green spotlight was a great addition.

Ashbury College brought this classic to life onstage, with some extremely powerful actors, humorous lines, and beautiful renditions of timeless masterpieces.

Julia Bourque

Critic, St. Peter High School

“We’re off to see the Wizard, the Wonderful Wizard of Oz.” This line lingers long after seeing Ashbury College’s delightful adaptation of the musical The Wizard of Oz.

L. Frank Baum wrote the book The Wonderful Wizard of Oz in 1900. In this classic tale, the young Dorothy and her dog Toto are swept away from Kansas by a cyclone to the Land of Oz. Upon her arrival she meets the Munchkins, a group of blue creatures that make up the population of Oz, as well as the good witch, Glinda, and the bad witch, the Wicked Witch of the West. Dorothy embarks on a journey to see the Wizard of Oz, who may be able to help her return home to Kansas. Along her way she meets three new friends who join her on her journey so that they may ask the Wizard of Oz for their own wishes. This timeless musical explores the concepts of friendship and persistence while providing entertainment for all ages.

Ashbury College’s performance of this musical was enjoyable. They had a diverse cast and crew who delivered excellent performances, provided good costumes, makeup and sets.

Jane Amirault, as Dorothy, was a strong singer. Her timing was almost faultless. During Amirault’s performance of Over the Rainbow she showed deep emotion. As an actress, Amirault was a believable at all times.

Arunima Choudhury, who played the Cowardly Lion, commanded the stage with her vibrant presence. The volume and tone she used when acting and singing were exceptional. Even under elaborate makeup, her facial expressions were pronounced.

The makeup and costumes used in this musical were amazing and extremely important in distinguishing the characters. The makeup applied to the characters of the Scarecrow, the Tin Man, and the Cowardly Lion was exceptionally detailed. It looked as if the makeup effects would have taken many hours to create.

The majority of the sets used in this production were hand made by students. The backdrops were beautifully designed, hand drawn or painted by students. These backdrops helped to set the atmosphere of the musical, as well as the mood of the scene, and tone of the characters’ voices. Despite some challenges, the stage crew worked well to change these backdrops as well as other sets and props.

This delightful production of The Wizard of Oz by Ashbury College truly offered an escape to a land, somewhere over the rainbow.

Arianna Randjbar

Critic, Canterbury High School

Ashbury College actors led their audience down the yellow brick road and straight into the whimsical heart of Oz with their musical take of L. Frank Baum’s famed, 115-year-old fairy tale, The Wizard of Oz.

The journey begins on a Kansas ranch, where young Dorothy Gale (Jane Amirault) lives with her Uncle Henry (Matthew Comeau) and Aunt Em (Sabrina Hyjek). Dorothy spends her days dreaming of a beautiful land somewhere over the rainbow, where she and her dog Toto can live happily and far from the clutches of the evil Ms. Gulch (Megan Perera). Before Toto can fall into the hands of Ms. Gulch, she is swept away alongside Dorothy in a cyclone that carries the two all the way to Munchkinland. It is here that Dorothy comes across a brainless Scarecrow (Will Crolla), a Tin Man who is missing a heart (Lukas Skardinskas), and the Cowardly Lion (Arunima Choudhury). The group of misfits band together and seek the all-powerful Wizard of Oz (Funmi Adetola) to help fix their problems and get Dorothy home. Unfortunately, with the Wicked Witch of the West (Megan Perera) on their trail, Dorothy’s band of friends must fend off all kinds of obstacles in order to make it through Oz alive and fulfill their dreams.

Jane Amirault charmed as Dorothy with an unwavering smile and sweet-sounding voice. Her rendition of “Over the Rainbow” was an excellent opener for the night, as it transitioned the audience from the reality of Kansas into the dreamy land of Oz.

In contrast to Dorothy’s sweetness, Megan Perera swathed the stage with the ominous evil of the Wicked Witch. Her strong voice, sinister cackle and green face kept the audience on edge.

Dorothy’s band of friends all exhibited an impressive dedication to their characters. Will Crolla moved as if he had been transformed into a scarecrow-shaped sack of straw and never once slipped out of character. Arunima Choudhury dazzled with an expressive face, hands, and voice, which endeared the audience to the Cowardly Lion. And although his character was heartless, Lukas Skardinskas showed soulful perseverance in maintaining the mechanical physique of the Tin Man.

Despite having to fend off flying monkeys, a grey-hooded Winkie army, and the Wicked Witch herself, Ashbury College delivered with an amusing performance of The Wizard of Oz.

Claire Hendrickson-Jones

Critic, Canterbury High School

When L. Frank Baum penned The Wonderful Wizard of Oz in 1900, he could not have predicted that Dorothy, Toto, and the gang would become mainstays in American popular culture. The novel has spawned numerous literary, theatrical and cinematic spinoffs.

The familiar story follows Kansas farm girl Dorothy on her fantastical journey over the rainbow to the land of Oz. In her quest to find a way back home, Dorothy encounters many creatures, including a trio of a scarecrow seeking brains, a tin man trying to find a heart and a lion searching for courage. Together, they each try to find what they seek, thwarted by the vengeful Wicked Witch of the West.

The cast and crew behind Ashbury College’s production of the musical displayed commendable enthusiasm and hard work, bringing the magic of Oz to the small stage with well-rehearsed choreography, strong acting and engaging musical numbers.

Jane Amirault was clearly comfortable on the stage, bringing confidence and skill to all aspects of her performance as Dorothy. She embodied Dorothy’s youthful innocence and energy, ranging from frustration with her Aunt and Uncle to happiness and camaraderie with her Ozian companions, to thoughtful sadness on her departure from Oz. Her lovely yet delicate singing was a highlight of the show.

Amirault was supported by a strong cast of secondary characters. Each member of the entourage shone with different qualities: Will Crolla’s physicality made for a convincingly weak-kneed Scarecrow, Lukas Skardinskas’s Tin Man tied together the group with admirable acting and singing, and Arunima Choudhury fearlessly embraced the comedic aspects of her challenging role as the Cowardly Lion. Another highlight of the supporting cast was Megan Perera, who held a powerful presence onstage as the Wicked Witch of the West, using excellent voice projection and a witchy cackle to terrify Dorothy and the audience alike.

Well thought-out choreography by Justin Rapp and Rebecca Spiteri catered to the strengths of the central performers, featuring memorable dances by Choudhury and Crolla, which matched the characteristics of the Lion and Scarecrow. A brief but impressive dance by MacLean Jones embodied the spirit of the song Jitterbug.

Offstage aspects of the performance were carried out effectively. Painted set pieces enhanced the magic of Oz, and the stage crew handled difficult set changes with consistent speed and effort. Despite some glitches in the audio system, the performers maintained composure. The makeup artists did a remarkable job of transforming actors between their farm characters and their otherworldly counterparts in a limited time. The pit band, composed of Ashbury students, provided an energetic backdrop for the classic songs in the musical.

Frank Baum’s imaginary world and iconic characters were capably portrayed by the cast and crew. The talent and enthusiasm displayed both onstage and offstage made Ashbury College’s The Wizard of Oz an enjoyable spectacle.

Janelle Rowsell

Critic, All Saints High School

There’s no place like home, and sometimes all it takes is a twister of an adventure to get back to it. At Ashbury College, the students were able to bring life to their rendition of the musical classic, The Wizard of Oz.

When Dorothy’s life in Kansas reaches a bleak point, she and her dog Toto are suddenly swept away by a cyclone, and they end up in a magical place called Oz. There, they are greeted by an eclectic group of characters, such as Glinda the Good Witch of the North and the friendly Munchkin people, who thank Dorothy for killing the Wicked Witch of the East. As a reward for her deed, Dorothy is given the witch’s ruby slippers. Things take a dark turn when the Wicked Witch of the West arrives with intentions to avenge her sister, prompting Dorothy to search for the Emerald City, where a powerful wizard can help her get back to Kansas. Along the way she meets a Scarecrow who wants a brain, a Tin Man yearning for a heart, and a Lion in need of courage. Together they follow the yellow brick road to the Emerald City, and overcome obstacles placed along the way by the Wicked Witch.

The leading lady of the cast, Jane Amirault, portrayed the character of Dorothy with brilliant facial expressions and captivating energy. With the effective use of stage presence and her smooth vocals, she was able to bring liveliness to her character that was both enthralling and amiable.

Alongside the lead were Will Crolla as the Scarecrow, Lukas Skardinskas as the Tin Man, and Arunima Choudhury as the Lion. Each of them portrayed their characters with charm, and their physical humour made sure there was never a dull moment. Through their use of diverse expressions and subtle humour, they were all able to engage the audience.

Megan Perera portrayed the Wicked Witch of the West. The actress executed her performance with excellent projection. She stayed true to her character by using vibrant expression and dynamic vocalization, creating an entertaining performance.

The magical essence of Oz was captured in the performance of “Jitterbug”. Amirault’s vocal pitch was superb and the actress was able to set the mood of the performance. The choreography executed by the other actors was also performed wonderfully in character. An improvised dance number by Justin Rapp also provided a sense of awe that further enhanced the scene.

There were minor sound and lighting errors, but hey were easily overlooked with the captivating makeup and costumes. The makeup of the Scarecrow, Tin Man, Lion, and Wicked Witch were all especially detailed.

Home is where the heart is, and anything can happen trying getting back to that place. With their lively characters and musical numbers, the students at Ashbury College captured the essence of this timeless tale.

About the reviews

The production at Ashbury College was reviewed by 22 critics representing nine schools. The critic discussions were mentored by teacher Renee Campeau of Lester B. Pearson Catholic High School and student reviews were edited and selected for publication by teacher Richard Scott of St. Peter High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Merivale High School’s production of Singin’ in the Rain.

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.

Singin’ in the Rain

Where: Merivale High School

Director: Cynthia Wood

Victoria Hawco, Lead Critic

Victoria Hawco

Lead Critic, Sir Wilfrid Laurier Secondary School

What combines fringe-filled fun, riotous physical comedy, show stopping vocals and tap dancing galore? Merivale High School’s production of Singin’ In the Rain, of course!

This musical based on the 1952 Gene Kelly film takes audiences back to when talkies were a fad that did not quite go out of style. Don Lockwood and Lina Lamont are silent film royalty, but their way of life is suddenly in danger when the new movie, The Jazz Singer, strikes it rich. With his best friend Cosmo in tow, Don and his sweetheart Kathy Selden find themselves struggling to save their newest silent picture by turning it into a musical extravaganza.

The cast and crew of Merivale High School put on a musical filled with spectacular numbers, many of which included tap dancing, all expertly choreographed by Kate van den Berg, Teagan Lopes, and Gaelan O’Shea, who also played the lead role of Don Lockwood.

O’Shea and Cheryl Wallingford had great chemistry on stage as Don Lockwood and Kathy Selden, and their numbers together were smooth and suave. Supporting O’Shea and Wallingford was a talented cast of singers and dancers, often dancing in perfect synchronicity.

Ryan Pedersen was lively and energetic as Cosmo Brown, and his physical comedy and dancing prowess was matched only by his great vocals. Olivia Coffin thrilled as the shrill nuisance Lina Lamont, who, in her attempts to ruin Don and Kathy’s happiness, had audiences roaring with laughter. Kate van den Berg awed audiences with her dancing, performing complex ballet and jazz routines in several numbers.

Ali Shukri as Roscoe Dexter and Olivia Coffin as Lina Lamont during Merivale High School’s production of Singin’ in the Rain, held February 27, 2015 in Ottawa, ON.

Another standout was Ali Shukri as Roscoe Dexter, whose antics suited the tone of the show perfectly.

Though actors occasionally lacked enthusiasm, they made up for it with skill and finesse in their singing and dancing.

The sets, designed by Kim Bartnik, were almost as big as the musical numbers, and featured expertly painted flats and effectively used pieces such as a costume rack and two working lampposts. Props such as umbrellas and newspapers highlighted every moment of the performance, and a carefully constructed megaphone added to the energetically used set.

The special effects crew (Neil Gill, Arnob Nath, Thomas Dunnigan, and Nico Pedersen) created exceptional short films that played throughout the musical on a screen that was carefully incorporated into every scene. Also present during the play’s title song were projected raindrops and real water at the edge of the stage.

Designed by Rina Gencher, the costumes fitted the tone of every scene, in particular the historical ensembles for Lockwood and Lamont. Makeup was sparse, but still served to accentuate the carefully constructed outfits.

Though occasionally overpowering, the Merivale Cappies Pit Band featured exemplary musicians, including Emilie Vinette on four various instruments and Holly Laurenzio on violin.

Filled with talent, Merivale’s Singin’ In The Rain was a fun, comedic flashback to the 1920s, and did the famous film classic justice.

Sarah Priscus

Critic, Mother Teresa High School

With the jazz age came The Jazz Singer, and with The Jazz Singer came Hollywood’s frantic frenzy to bring synchronized speaking to every new feature. In Merivale High School’s impressive production of Singin’ in the Rain, Monumental Studios is sent reeling after the realization that letting an audience hear their current leading lady’s shrill, screeching voice “may bring back the silent pictures.”

Singin’ in the Rain originated as a 1952 movie musical starring Gene Kelly and Debbie Reynolds, which has been frequently hailed as one of the best films of all time. In 1983, a stage adaptation was presented on London’s West End, and has proven to be a popular choice for community and professional theatre groups. Singin’ in the Rain tells the story of Don Lockwood (Gaelan O’Shea), a sought-after silent film star, and his bumbling best friend Cosmo Brown (Ryan Pedersen), whose task is to stop Don’s new film from being a flop due to Lina Lamont’s (Olivia Coffin) ear-splitting voice. They attempt to accomplish this by bringing in Kathy Selden (Cheryl Wallingford), an aspiring actress, to dub over Lina’s lines.

Olivia Coffin as Lina Lamont during Merivale High School’s production of Singin’ in the Rain, held February 27, 2015 in Ottawa, ON.

Merivale High School presented an effervescent, exhilarating production that had the audience tapping their feet and humming along to the frequent fantastic song-and-dance numbers. With energetic vocals and complicated footwork, the cast did nothing but impress.

As Don Lockwood, Gaelan O’Shea showed himself to be skilful in portraying a subtly funny and sensible star. His singing and dancing talent was exemplified in his lovestruck, whirling rendition of the show’s title song, as he crooned smoothly while simultaneously twirling, tapping, and splashing water onto the audience. Cheryl Wallingford expertly created a head-over-heels yet headstrong character as Kathy Selden, and her 1920s-style jazz vocals lent themselves wonderfully to her many well-performed solos. O’Shea and Wallingford’s interactions naturally translated from duelling dialogue to romantic duets.

Olivia Coffin as Lina Lamont was uproarious with her perfectly timed remarks and never-faltering shrieking speech. Coffin’s incredible skill set was evident in her ability to create an admirably atrocious character. Ryan Pedersen’s turn as Cosmo Brown showed off his comic chops and Broadway-style belting, particularly in the song “Make ‘Em Laugh”, where he danced, ducked, and delighted with ease. Claire Gill played the chattering, glamorous gossip columnist Dora Bailey with charisma and perfect pronunciation. As the flamboyantly funny Roscoe Dexter, Ali Shukri garnered attention whenever he was onstage.

Behind the captivating cast was an equally talented backstage team. The costume crew, headed by Rina Gencher, befitted every character with eye-catching outfits and pieces, like sparkled shoes, white suits, trench coats, and drop-waist dresses. Sets were impressively constructed with accurate Art Deco influences, and were easily moved and rotated by a small yet swift stage crew. Lighting transitions, designed by Neil Gill, were fluid and aided greatly to the atmosphere being conveyed onstage, whether it was soft oranges and pinks for a romantic scene or flawlessly following spotlights. The superb special effects team filmed and edited a number of marvellously melodramatic silent and speaking films starring the characters. Despite a few hard-to-understand lines, the cast and crew presented a glowing, full-of-life production.

Through infusing their show with both physical humour and flirtation, the production team put on a striking show. Merivale’s Singin’ in the Rain’s sensational songs and scenes made for a show that was equally as entertaining as it would have been when it first premiered.

Janki Gupta, Critic, Mother Teresa Catholic High School.

Janki Gupta

Critic, Mother Teresa High School

The “Roaring Twenties” transformed cinema history with the birth of the thrilling, exhilarating and intoxicating Talkies. Merivale High School revitalized this era of mystique, charm and romance with its own production of the evergreen musical Singin’ in the Rain. Splendid songs, daring dances and awe-inspiring acting helped bring the big screen to life.

Gene Kelly’s 1952 film Singin’ in the Rain, over the decades, has become an icon of glitter, glamour and tap dancing. The story revolves around Don Lockwood (Gaelan O’Shea), a silent film star and his obnoxious leading lady, Lina Lamont (Olivia Coffin). Lockwood runs into struggling actress Kathy Selden (Cheryl Wallingford) and is immediately taken by her witty analysis of show biz and of him. When competition forces Monumental Studios to create the next hit talkie, Lockwood and his best friend Cosmo Brown (Ryan Pedersen) are tasked with finding a way to conceal Lamont’s piercing voice. Their solution – Lamont’s lips and Selden’s voice.

Merivale High School’s cast and crew left no stone unturned in their over the top presentation of this well-cherished musical. Invigorating dance and musical numbers helped maintain high energy throughout. Stellar costumes, sets, special effects, and the live orchestra added another engrossing and realistic layer.

Ryan Pedersen as Cosmo Brown (L), Cheryl Wallingford as Kathy Selden (C) and Gaelan O’Shea as Don Lockwood (R) during Merivale High School’s production of Singin’ in the Rain, held February 27, 2015 in Ottawa, ON.

Gaelan O’Shea portrayed Lockwood in a genuine and sincere manner and allowed the audience a glimpse into the life of stardom. His outstanding execution of exceptionally tough tap steps and remarkable vocals bound the production together. Cheryl Wallingford depicted Selden effectively as the “everyday girl with a dream” with depth and expression. Her numerous impressive musical numbers showed off her exceptional vocal ability. O’Shea and Wallingford astounded with countless sensational romantic moments and old time favourite song “Good Morning” while juggling singing, dancing and acting impeccably.

Ryan Pedersen as Brown did not disappoint with his felicitous, quick-witted remarks and comical approach. His spectacular detailed footwork and sensational energy were especially notable. Olivia Coffin’s absolutely phenomenal portrayal of Lamont left the audience covering their ears in response to her shrill, ear-splitting voice. Her astounding ability to maintain such an audacious and impossible character in a seamless performance embodied the soul of the show. Claire Gill as Dora Bailey floored with her flawless, compelling, unparalleled charm and powerful voice. The effervescent performance of Kiana Gibson wowed with every turn and flip.

No aspect of the stage was left unattended by Merivale’s dexterous crew. The unwavering orchestra of 12 performed skilfully in 17 numbers – which is no easy feat in itself – and also provided toe-tapping rhythms throughout. The laudable choreography shone through in all the musical numbers. Twelve-foot flats of a life-like Monumental Studios stood incredibly and were accompanied by Owen Sharp’s handcrafted and working iconic lampposts. Glamorous, glitzy and glittery costumes truly added a level of Hollywood allure to the stage. Ingenious special effects, headed by Neil Gill, including mystical fog, shadowed silhouettes and faultless filmed portions made to resemble a 1927 film, left the audience roaring. O’Shea as Lockwood made quite the splash when he actually sprayed audience members with water in notorious song “Singin’ in the Rain”. Despite some nervous mishaps and missed lines, the cast and crew put forth a sensational performance from all aspects.

Through amazing in-depth character portrayal, realistic sets and costumes and marvellous musical numbers, Merivale performed Singin’ in the Rain with all its due Hollywood glamour.

Evan Saslove, Lead Critic, Woodroffe High School.

Evan Saslove

Lead Critic, Woodroffe High School

Is it raining outside? If it is, then start singin’ and dancin’! Delving into 1920s Hollywood, Merivale High School’s production of Singin’ In The Rain illustrates that even with a downpour outside, the day can be as sunny as ever.

Singin’ In The Rain began as a film, directed by Gene Kelly and Stanley Donen, and starring Kelly, Donald O’Connor, and Debbie Reynolds. The classic film was released in 1952, long before the musical, which premiered in 1983 in London. The story follows Don Lockwood and Lina Lamont, who are famous silent film actors and are romantically involved solely so that their studio, Monumental Pictures, can gain publicity. To escape the craze of his adoring fans one day on a walk, Don meets Kathy Selden and falls in love with her. When the studio’s first talking film, The Dancing Cavalier, is threatened due to Lina’s unappealing voice, Don’s friend Cosmo Brown enlists Kathy, a spectacular singer, to secretly dub her voice over Lina’s for the film… but when Lina finds out about the plan, things get complicated.

Thanks to the combined efforts of 20+ cast members and many dedicated crew members, Merivale High School’s production of Singin’ In The Rain was a delightful depiction of the important transition from silent films to “talkies”.

Gaelan O’Shea played the silent film actor Don Lockwood. O’Shea’s impressive tap dancing and solid acting was a welcome addition to every scene of which he was a part. Don Lockwood’s love interest, Kathy Selden, was portrayed by Cheryl Wallingford. Wallingford’s vocals were exquisite in both the high and low registers, especially in her heartfelt renditions of “Would You?” and “You Are My Lucky Star”.

Ryan Pedersen as Cosmo Brown and Gaelan O’Shea as Don Lockwood during Merivale High School’s production of Singin’ in the Rain, held February 27, 2015 in Ottawa, ON.

Ryan Pedersen performed as the whimsical Cosmo Brown. Petersen’s rich vocals were met equally with exceptional dancing and acting throughout. His ability to keep strong emotion throughout his numerous scenes and songs, particularly in “Make ‘Em Laugh”, was well received. Olivia Coffin played the ditzy film star Lina Lamont. Coffin displayed exceptional comedic abilities. Coffin showed Lamont’s constant desire for Don’s true love with passion, as well as with accurate depiction of Lamont’s high-pitched voice and humorous gestures. Ali Shukri played the film’s commanding director, Roscoe Dexter, with enthusiasm. Shukri’s exuberant portrayal drew many laughs from the audience, notably due to his constant exaggerated emotions, which complemented the overall mood of each scene.

Faced with the daunting task of creating historical, elegant, and everyday clothing for multiple characters, Rina Gencher and her crew rose to the occasion and produced exceptional pieces with both historical accuracy and flair. A prime example of their accomplishments was Lina’s flowing white ball gown, a detailed Renaissance dress fit for a queen. The Monumental Pit Band performed the numerous songs that comprise the score with ease. The pit band was lively, on cue, and was powerful but not overbearing, which is a difficult quality to achieve. Kate van den Berg, Teagan Lopes, and Gaelan O’Shea’s choreography is also noteworthy. Their well-balanced mix of lyrical, tap, and acrobatic dance routines (and at certain times, a combination of all three) suited each scene.

The Roaring Twenties was an important time in film history. Motion picture studios made the transition from silent films to “talkies”… but not without some hiccups along the way! Merivale High School’s production of Singin’ In The Rain showed that with teamwork, love, and a whole lot of singing and dancing, movie history could indeed be made.

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

Soren Wainio-Theberge

Lead Critic, Bell High School

A walk through 1920s Hollywood offers a wealth of unusual sights. On your left, Max Schreck is inspiring future Twilight stars in Nosferatu, the prototype for vampire horror. On your right, Al Jolson is belting it out in the first-ever talking picture. Suddenly a furious shriek pierces the air – but Jurassic Park hasn’t even been made yet. Clearly, you must have stumbled across Lina Lamont on the set of Merivale High School’s engaging production of Singin’ in the Rain.

Adapted in 1983 by the creators of the seminal movie musical of the same name, Singin’ in the Rain takes us back to the height of the Roaring Twenties. The story follows Hollywood’s wordless wonders Don Lockwood and Lina Lamont as they are about to release their latest box-office sensation. The future of the film is thrown into jeopardy, however, as the arrival of Warner Brothers’ legendary hit, The Jazz Singer, ushers in the era of the “talkie”. Lockwood and Lamont’s picture is set to be converted to such a film, but there’s one problem: Lina’s hair-raising voice could make the Oscar statue cover its ears. Studio executives hire aspiring theatre actor Kathy Selden to overdub her lines, but a blossoming romance between Selden and Don angers Lina, putting both Kathy’s career and Lockwood’s love in peril.

Merivale’s cast of daring dancers held the production together from the first reminiscences of vaudeville to the full-cast Broadway finale. Tapping a bottomless well of energy, Don (Gaelan O’Shea) and his sidekick Cosmo (Ryan Pedersen) danced their way through hours of music, interrupted only by the tireless Coconut Grove Girls and their electrifying acrobatics and pirouettes.

Gaelan O’Shea played the demanding role of Don Lockwood with vivacious footwork and a suave baritone. Cheryl Wallingford, playing opposite him as Kathy Selden, was charming and sincere in romantic scenes, while reserving a bit of pique for her tirades against film actors.

Gaelan O’Shea as Don Lockwood and Olivia Coffin as Lina Lamont during Merivale High School’s production of Singin’ in the Rain, held February 27, 2015 in Ottawa, ON.

With the haughtiness of Marie Antoinette, the temper of a two-year-old child, and a screech that could banish a banshee, Olivia Coffin made for a perfect Lina Lamont. But wrangling a creature like Lina takes a director who is as much a diva as she is, and only Ali Shukri was fit for that task. Outshining some less-energetic members of the cast with a Shakespearian gasp of theatrical outrage or a businesslike bark at the cameraman, Shukri embodied the set of bizarre personalities that Hollywood brings together.

The special effects crew (Neil Gill, Arnob Nath, Thomas Dunnigan, and Nico Pedersen) brought a touch of movie magic to the stage, with paparazzi camera flashes, projections of falling rain, and everything in between. The vibrantly painted turning panels of the set gave way to the show’s very own silver screen, upon which Don and Lina’s authentic-looking films were displayed. A comparatively simple fog effect was brought to life by Gill’s evocative use of light and colour, accented by a gentle orange-and-blue wash. The fog produced an idyllic backdrop for O’Shea’s crooning in “You Were Meant For Me”. It was not all just movie magic, though; the first few rows of the audience got a little taste of what live theatre has to offer as O’Shea splashed through real puddles at the front of the stage with childlike glee.

A movie musical inside a movie musical adapted for the stage – Singin’ in the Rain is a triple threat. With original old-fashioned film clips and jubilant tap-dance numbers, Merivale High School united different platforms of musical theatre to give us that glorious feeling that makes us happy again.

About the reviews

The production at Merivale High School was reviewed by 29 critics representing 10 schools. The critic discussions were mentored by teacher Maureen Johnson of St. Patrick’s High School and student reviews were edited and selected for publication by teacher Ruth Auge of Earl of March Secondary School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Elmwood School’s production of The Madwoman of Chaillot.

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.

To Kill a Mockingbird

Where: Sacred Heart High School

Director: Marina Westbrook

Emily VanDommelen, Critic, Redeemer Christian High School

Emily VanDommelen

Critic, Redeemer Christian High School

It’s the Great Depression and Alabama is rampant with racial injustice and prejudice. Set in the tiny town of Maycomb, three spirited children discover the values of courage, compassion, and equality in Sacred Heart’s production of a play based on Harper Lee’s beloved novel To Kill A Mockingbird.

When a black man, Tom Robinson, is unjustly accused of assaulting a white woman, it is the duty of his lawyer Atticus Finch to defend him, despite the disdain of the residents of Maycomb. Through the Finch children, Jem and Scout, along with their boisterous companion Dill, To Kill A Mockingbird casts a light on the destructive power of racism and the importance of viewing difficult circumstances in life from the perspective of another.

Sacred Heart’s talented cast and crew brilliantly conveyed the heart and emotion of this powerful novel with ease and confidence.

Mitchell Kedrosky as Atticus Finch was a poised and authoritative presence on the stage even before he uttered a syllable. Victoria Gay was sublime as Scout Finch, delightfully capturing her innocence and spirit.

Jean Louise Finch played by Jasmine Stamos (L), Scout Finch played by Victoria Gay (2ndFL), Jem Finch played by Laurier Boucher (R), during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School.

Nicholas Rocque, as Dill, offered some comic relief in an otherwise serious plot. Laurier Boucher, as Jem, masterfully encompassing the soul and passion of the curious young man as he strove to understand the workings of the world around him.

The Townspeople were sensational with lively movements, chatter and as a realistic and often impressively lengthy tableaux. Cameron McGetrick shone as the racist Bob Ewell, convincingly portraying menace and contempt.

The sound directed by the crew was diverse and consistently on cue, ranging from the wild howl of a crazed dog to the heavy footsteps stalking the children in the night, adding tension to anticipated climactic points of the performance.

While occasional noise or movement backstage momentarily diverted attention away from the main conflict, the stage management crew was superb in ensuring character entrance cues were efficiently met. The set was outstandingly constructed, allowing it to be transformed from a small town to a bustling courtroom with only minor adjustments.

The beauty, sorrow, and redemption of mankind portrayed in Harper Lee’s timeless classic leapt off the pages into Sacred Heart’s rendition of To Kill A Mockingbird, capturing the hearts of viewers from the first parting of the curtains to the final bow.

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

Molly McGuire

Lead Critic, St. Francis Xavier High School

In Maycomb County, Alabama, children romp in the trees as cowboys and monsters while rumours spread like dandelion fluff down pastel rows of camellia bushes, picket fences and breezy front windows. Lace-like ladies twitter in all their ruffled glory, men bustle about in dark suits and broad ties while, to the south, a people sun-baked and perspiring yearn for the day when equality will be more than a campaign promise. This is the 1930s world of Harper Lee’s iconic novel, To Kill a Mockingbird, adapted by Christopher Sergel and performed by the Sacred Heart Catholic High School Drama Guild.

Lined with mad dogs, mobs and mockingbirds, the play follows the lives of Jean Louise “Scout” Finch, her older brother Jem, and their father, Atticus, as the children grow up in the southern heat of play dates and prejudice. With a recluse, a gossip, and a crank for neighbours, and a father fighting for racial equality in court, they go head-to-head against the time-honoured codes of their town and work to combat the rigid divides of their society by using empathy to discover true courage and justice.

Scout Finch played by Victoria Gay (L), Jem Finch played by Laurier Boucher (R) during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School.

At the forefront of the cast were tomboy, Scout (Victoria Gay), her big brother and best friend, Jem (Laurier Boucher) and their compulsive liar of a playmate, Dill Harris (Nicholas Rocque). The trio played young and spunky sparkplugs with tremendous energy, charming chemistry and impressive physical comedy, accurately capturing the mindset of children teeter-tottering between youth and adolescence.

Assuming the roles of their parental figures were Mitchell and Paige Kedrosky as Atticus Finch and the family’s cook, Calpurnia. Both actors maintained authentic accents to suit their characters −Atticus resembling a young Gregory Peck and Calpurnia adopting a Dixie drawl − while embodying their respective parts through carefully-chosen mannerisms and postures.

To polish the show with dynamic stage business and punctual reactions were the townspeople, who carried the performance and made for smooth transitioning between scenes. Together with narrator Jasmine Stamos playing a reflective Jean Louise Finch, the cast effectively presented the intricate plot of Lee’s controversial novel within the time frame of a two-hour play.

Of course, the crew of any production is paramount to its success. In this play, the sets were multi-dimensional, brightly painted and cleverly designed to both accommodate the large cast and transform the Finch’s neighbourhood into Maycomb’s courtroom. Complementing the quaint pigmentation of the backdrop was the lighting, designed and executed by Tim Asquith, Vanessa Johnson and Jason Hopkins. Making use of a movable spotlight, and fixed ERF, Fresnel and floodlights, the lighting crew highlighted the on-stage action and authentically created the effects of both daylight and moonlight. Finally, the hair and makeup crews coupled the style of the era with the flare of each character, pinning, parting and powdering to perfection

In the end, with memorable characters and lasting impressions, Sacred Heart Catholic High School gave the audience the opportunity to crawl into Harper Lee’s world of injustice and discrimination, and stride toward the hopeful horizon of equality for all.

Janelle Rowsell, Critic, All Saints Catholic High School.

Janelle Rowsell

Critic, All Saints High School

It’s the 1930s in the tired old town of Maycomb, Alabama, where the summers are hot and the gossip is even hotter. Behind the gripping performance of Harper Lee’s classic novel was Sacred Heart High School, delivering their rendition of To Kill a Mockingbird.

The story tells the tale of Scout Finch, her older brother Jem, and their father Atticus. Along with their friend Dill, Scout and Jem spend their summer questioning the mystery behind the secretive Radley family. However, things take a dark turn that summer when Atticus is given the task to defend Tom Robinson – a black man – in court, which shakes the entire county. As Atticus prepares for the trial, Scout and Jem face the consequences of the intolerant society they live in. As the events of the trial unfold, Scout and Jem are exposed to a darker side of humanity.

Calpurnia played by Paige Kedrosky (L), Helen Robinson played by Marissa Cooper (R), during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School.

Leading the cast were Victoria Gay and Mitchell Kedrosky as Scout and Atticus Finch. Both actors portrayed their individual characters remarkably, and together they were able to capture the loving relationship between their characters with ease. Both actors were able to stay in character and captured the essence of their characters, notably Kedrosky during Atticus’ gripping courthouse speech.

Behind the leads were Laurier Boucher as Jem Finch, Nicholas Rocque as Dill, and Jasmine Stamos as Jean Louise Finch. Together, Boucher and Rocque delivered a jovial performance that captured the playful relationship between the characters. As the narrator of the production, Stamos was able to enthral the audience with wonderful projection and good stage presence.

Another notable performance was Bernard Wansi’s portrayal of Tom Robinson. The vulnerable, innocent nature of the character was effortlessly executed by Wansi.

Bringing Maycomb to life were the beautiful handmade sets. The Finch’s house, which also doubled as a courtroom balcony, was well detailed and realistic, which helped make the production more believable. Though there was little use of diverse lighting to create the atmosphere of a scene, the lighting that was used was very well done.

When the mockingbird sings, it is important not to kill its innocence. Through their strong portrayal of iconic characters, the cast of Sacred Heart High School executed a thrilling adaptation of this classic story.

Sara MacPhee, Lead Critic, Glebe Collegiate Institute.

Sara MacPhee

Lead Critic, Glebe Collegiate Institute

In 1960, in the midst of the Civil Rights Movement, Harper Lee published To Kill a Mockingbird which has continued to affect readers with its timeless themes of injustice and innocence for 55 years, and in 1990 it was adapted into a play by Christopher Sergel. Sacred Heart Catholic High School took on the enormous challenge of putting this timeless classic on stage and absolutely succeeded.

It’s 1935 and the town of Maycomb, Alabama is in the midst of one of the biggest courtroom dramas in history. The black Tom Robinson (Bernard Wansi) has been accused of assaulting the white Mayella Ewell (Morgan Pitson) and the town is divided. Atticus Finch (Mitchell Kedrosky) is defending Robinson, leaving him and his children Scout (Victoria Gay) and Jem (Laurier Boucher) alienated from the rest of the town. The story is told by Scout as a grown woman (Jasmine Stamos), who now goes by her real name, Jean Louise. The difficult subject matter was handled with eloquence by the mature cast members, who accurately portrayed the racial tension of the time.

In such an intense and demanding show, every cast member was able to step up and give an impressive performance. Mitchell Kedrosky shone as the middle-aged lawyer Finch, who kept his cool, calm demeanour throughout the play, not once breaking character. Stamos and Gay complemented each other perfectly as two sides of the same character. Young Scout developed as the play went on and bits of the older Jean Louise began to show in her character. Jean Louise did the opposite, returning to her childish self and reflecting on the story from the points of view of an adult and a child. Jem and Dill (Nicholas Roque) also collaborated with Scout to make a fun troublesome trio, who each matured in their own way over the course of the play.

Miss Rachel played by Daniella Atkinson (L), Scout Finch played by Victoria Gay (2ndFL), Calpurnia played by Paige Kedrosky (R) during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School.

Two other notable actors were McGetrick, as the drunk and angry Bob Ewell, who was able to achieve the perfect balance of rough and bitter without overdoing it, and Pitson, as the lonely and scared Mayella Ewell. Pitson emulated fear and desperation in her short feature scene, and kept up her character throughout the show. One of the biggest achievements of the show was how the large ensemble cast of townspeople, as well as all of the main characters, kept up stage business that showed their distinct individual characters and added another dimension to the show.

The characters were just a few of the things that brought this play to life. The sets, impressively and sturdily built, were their own character on stage. They were not only beautiful, but also multi-functional. The most impressive piece was the porch of the Finch home, which doubled as a two-storey courtroom-viewing balcony, and served as a central set piece throughout the play. Besides the sets, the costumes were simple clothes, perfectly suited to a small town in the 30s. Makeup was usually subtle, with the exception of the shut-in Boo Radley (Colin Pybus), whose brief times on stage were made especially memorable by his gaunt face, and the elderly Mrs. Dubose (Jordan McManus) whose dramatic makeup definitely showed her age. The sound cues were well executed, and the background music was usually well suited to the scene. The lights were mostly simple, but some trickier effects, including a follow-spot and two night-time scenes, were pulled off well.

It is a big task taking on such a well-known and emotionally charged play, but Sacred Heart was up to the challenge and absolutely hit the mark.

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

Jacob Ritchie

Lead Critic, St. Mark High School

Maycomb, Alabama during the 1930s was filled with gossiping women, laughing children and working men. However, this just scratches the surface of Sacred Heart High School’s production of literary favourite, To Kill A Mockingbird. The performance brought its audience back to a time where poverty and racism walked hand in hand.

Ever since it’s 1960 release, Harper Lee’s classic novel, To Kill A Mockingbird has been praised, studied and even adapted into a film and play. The play, written by Christopher Sergel, first debuted in 1990 and has gained popularity ever since for its true and gratifying representation of Lee’s Pulitzer Award winning novel. Jean Louise Finch finds herself reminiscing about her childhood and reliving the experiences of her younger counterpart, Scout, a naïve and innocent young girl struggling with her emotions. When Scout’s father is assigned to defend a black man accused of rape, Scout learns the horrible verity of racism and prejudice.

Jean Louise Finch, played by Jasmine Stamos, kept the story moving forward with frequent interjections concerning her childhood. Stamos quickly became the anchor of the play as she narrated her younger self with articulate and emotional vocals. Equally commendable was Mitchell Kedrosky as Atticus Finch, who established his wise and lovable character within seconds of being on stage. Kedrosky particularly shone during the trial scene, in which he gave his closing arguments with conviction and cogency.

Victoria Gay, Laurier Boucher and Nicholas Rocque played the roles of eight-year old Scout, her older brother Jem, and their comic neighbour, Dill. All three actors shared a childish and lovable chemistry that was consistent throughout the piece. They each had distinct personalities and conveyed character development while still acting like young and innocent children. Also, with an impressive accent, a crippled appearance and a powerful speech, supporting actor Bernard Wansi, as Tom Robinson, carried the theme of racism and injustice effectively.

Scout Finch played by Victoria Gay (L), Jem Finch played by Laurier Boucher (2ndFL), Dill played by Nicholas Rocque (R) during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School, in Stittsville.

Another impressive component of the play was one delivered by the cast as a whole. Repeatedly, the cast on stage would freeze in a tableau display as the narrator spoke. Every actor on stage was convincingly still and suspended until it came time to break out of tableau and continue the scene.

With the collective effect of costumes, hair and makeup, every character was well distinguished and creatively put together. Even with such a large cast, the physical appearances of the actors made it very easy to tell them apart.

As a whole, Sacred Heart High School’s To Kill A Mockingbird brought a cherished story to life and delivered it in an intense and powerful manner. The production never failed in keeping interest, and in the end, successfully demonstrated the serious morals of kindness and equality.

Calpurnia played by Paige Kedrosky, during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School, in Stittsville.

Scout Finch played by Victoria Gay (L), Dill played by Nicholas Rocque (R) during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School, in Stittsville.

Atticus Finch played by Mitchell Kedrosky (L), Tom Robinson played by Bernard Wansi (R), during Sacred Heart Catholic High School’s production of To Kill A Mockingbird, held on March 5, 2015 at Sacred Heart Catholic High School, in Stittsville.

About the reviews

The production at Sacred Heart High School was reviewed by 28 critics representing 9 schools. The critic discussions were mentored by teacher Naomi Watson-Laird of Merivale High School and student reviews were edited and selected for publication by teacher Lindsay Laviolette of Mother Teresa High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Earl of March Secondary School’s production of Fiddler on the Roof.

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.

The Madwoman of Chaillot

Where: Elmwood School

Director: Angela Boychuk

Eric McGlashan, Critic, St. Patrick’s Catholic High School

Eric McGlashan

Critic, St. Patrick’s High School

Imagine walking into the dreamy world of a fairy tale, where good triumphs over evil, characters move with rhythmic steps, and universal truths are concealed by fantastical situations. Elmwood School’s production of The Madwoman of Chaillot captured this world marvellously, through beautifully designed steampunk costumes, clever lighting and interactions with the audience.

This satire, written by Jean Giraudoux and adapted by Maurice Valency, was first performed in 1945, and is set in 20th century Paris, France, focusing on a café and a cellar in the community of Chaillot. Throughout the story, the residents of the area must defend their neighbourhood from villainous oil-seeking prospectors and corporate leaders. The neighbourhood crowd is formed by the mostly unnamed “misfits” of Paris.

The show was characterized by its unique stage, which extended into the audience and allowed for interactions with its members, who received notes of kindness and origami birds, among other tokens. The experience was enhanced by a pre-show; a mimed café scene created by Hannah Dolhai, Sikemi Oni and Zein Zaghloul. The sequence silently introduced the setting through interactions such as a street performance led by Dolhai, who played the silent but expressive Deaf-Mute.

Sophia Swettenham preforms as Gabrielle, Madwoman of St. Suplice (L) Zein Zaghloul preforms as The Ragpicker (R), during Elmwood School’s Cappies production of the The Madwoman of Chaillot on Feb. 28, 2015.

There, to direct the Parisian outcasts, was the Countess Aurelia (Louisa James-Beswick), the play’s namesake and the embodiment of good. James-Beswick’s perpetually content and melodic voice enchanted the room, capturing both the crazed and wise aspects of the character. She maintained a clear dialogue despite the heavy subject of some of her lines, and harnessed her natural British accent to create a whimsical character that could easily be a part of any fairy tale.

The contrast to the good-natured Countess came in the form of The Prospector, played by Emily Wright. Wright had a commanding presence onstage, using menacing comments and movements to display the darker side of the satire. Another mirror to this evil figure was Gabrielle (Sophia Swettenham), Aurelia’s friend and fellow madwoman. Swettenham was a key source of comic relief, through her chats with imaginary friends and defense of their existence.

Completing each character was an expertly designed steam-punk costume assembled from scratch by Sarah Miller and Maitland Shaheen. The vibrantly coloured outfits of the heroines and the dull clothing of the villains emphasized their distinct natures. Hats, such as the Countess’s antelope-horn shaped headpiece, complemented their respective costumes. Mostly precise lighting smoothly directed the audience’s attention, changing the mood and showcasing the full splendour of the outfits.

Co-ordination between characters, costumes, lighting, and even the audience made Elmwood’s fairy-tale rendition of The Madwoman of Chaillot an entertaining and dream-like satire from which it was a shame to wake up.

Lyndsay Romain, Lead Critic, Cairine Wilson Secondary School.

Lyndsay Romain

Lead Critic, Cairine Wilson Secondary School

Elwood Theatre’s unique take on Jean Giraudoux’s The Madwoman of Chaillot was thoroughly entertaining, with quite a bit of audience interaction to add to the experience.

Set sometime in the past 100 years, several ne’er-do-wells plot to take over the city of Paris, starting with a quarter called Chaillot. They plan to do so with the help of something they believe flows deep under the city – oil. However, the Countess Aurelia and her little group of misfits band together to help stop them, and save the world from human greed.

Upon entering the auditorium, the audience was transported into an outdoor cafe, sometime in the past. Throughout the entire act, the actresses in the background helped to cement the idea that it was a cafe, and not just a play. The entire cast was incredible with the little mannerisms that helped to capture their character, and further immersed the audience. In particular, Sophia Swettenham and Cynthia Sedlezky were captivating in their parts as Gabrielle, the Madwoman of St. Suplice, and The Broker respectively. The scenes where Swettenham’s character was talking to her invisible friends were especially well done, and caused the audience to start to believe there were actually people there. Sedlezky didn’t have the most stage time, but she captivated the audience with her enthusiasm and eccentricity in the time she had.

Zein Zaghloul preforms as The Ragpicker, during Elmwood School’s Cappies production of the The Madwoman of Chaillot on Feb. 28, 2015, in Ottawa, Ont.

Louisa James-Beswick was amazing as Aurelia, the Madwoman of Chaillot, as was Emily Wright as The Prospector. Both had the ability to convey a message with one look or action, and everything they did on stage was deliberate. James-Beswick had the challenge of playing an eccentric character who lived in her own little bubble of happiness, and she rose to the challenge splendidly. Wright had the complete opposite to portray, and certainly did not disappoint, creating a wonderful opponent for James-Beswick to defeat.

A notable performance was Hannah Dolhai as The Deaf-Mute. Though she did not speak at all during the performance, her facial expressions combined with her signing communicated all the audience needed to know.

The costumes, designed by Sarah Miller and Maitland Shaheen, were especially well done. Every costume reflected the character’s personality, and the attention to detail was astounding. From the material used, to the colours, and even the placement of the hats and the size of their brims, it all helped to convey the character. The hair and makeup, done by Miller, Shaheen, Emily Bangsboll, and Safa Saddiqui, also helped bring the play to life.

The lighting and set combined with the soft background music really helped to set the mood of the play. When everything was happy, the stage was lit up brightly and the music reflected that overall sense. When the parts were taking a darker twist, the sound and lights aided in the transition.

Throughout the play, there was a sense of witnessing a rather whimsical battle of good vs. evil. The acting was captivating and the costumes impressive. In short, the show was quite superb.

Julia Paris, Critic, Nepean High School.

Julia Paris

Critic, Nepean High School

A Parisian café is typically a pleasant place to order a small drink, chat with a friend, or simply watch the world walk by. However, the café in Elmwood School’s production of The Madwoman of Chaillot, by Jean Giraudoux, was nowhere near typical, nor was the play’s cast. The audience could watch the hilarious interactions between the good, the bad and the batty in this entertaining performance.

Countess Aurelia, resident madwoman of Paris’ Chaillot district, discovers that her magnificent world is being threatened by a trio of corrupt executives. These money-laundering crooks plan to tear up the city in search of oil. Aurelia bands together with her group of misfits – flower girls, street performers, shoe peddlers, fellow madwomen, and many more – to oppose the executives and save their world along with its beautiful oddities.

The cast energetically embodied diverse characters, creating lively onstage movement that echoed the bustling atmosphere of a cafe. The stage picture was constantly evolving. Characters would jump, dance, cartwheel and even cycle in well orchestrated movements that maintained the interest of the audience but did not detract from the development of the plot.

Countess Aurelia was superbly portrayed by Louisa James-Beswick, whose nuanced expressions conveyed the madwoman’s whimsical characteristics. Whether she was encouraging a suicidal young man to continue living, or berating a friend for having placed an imaginary pet on her lap, James-Beswick had a captivating presence.

Hannah Dolhai preforms as The Deaf-Mute (L), Zein Zaghloul preforms as The Ragpicker (R), during Elmwood School’s Cappies production of the The Madwoman of Chaillot on Feb. 28, 2015.

Another exceptional performance came from Cynthia Sedlezky, who passionately portrayed The Broker. Her lines were delivered with a unique and undeniable energy and her movements were eye-catching. Sedlezky compellingly captured the essence of her character. Whether she was reeling off stock market figures or sniffing the ground for oil, she commanded the attention of the audience.

A particularly touching moment came at the end of the first act when the waitress Irma (Sarah Robinson) delivered a heartfelt speech about her love for Pierre (Jeffrey Clement). Robinson spoke in a genuine, charming and innocent way.

Although a few cues were missed, the sound effects and lighting greatly contributed to the show. Small, tasteful additions, such as the sound of a handle turning or light spilling from a trapdoor, enriched the atmosphere of a scene and created a more stimulating experience for the audience. The costumes were inventive and intricate. The designers created a unique look for each of their characters, adding pocket watches, chains, gears, lace and goggles to more traditional articles of clothing. A particularly intriguing accessory was a tall, curling headdress worn by Countess Aurelia during the first act.

Elmwood delivered a dynamic and engaging performance. The wide range of emotions, personalities and movements captivated the audience, transporting them to The Madwoman of Chaillot’s whimsical world.

Julianna Weldon, Critic, St. Paul Catholic High School.

Julianna Weldon

Critic, St. Paul High School

Plunge into a world of madness with Elmwood School’s production of The Madwoman of Chaillot. A greedy prospector, sniffing the aroma of crude oil, follows her nose to a café in a stately quarter of Paris called Chaillot. Her plot to exploit Parisian land is ever so rudely interrupted by human sentimentality, and, of course, Countess Aurelia of Chaillot.

Louisa James-Beswick played Countess Aurelia, the Madwoman of Chaillot, with stunning sincerity. She captured the aristocratic, absurd character of the Countess, managing to be in her own world without isolating herself from the rest of the characters. Her energetic presence brought life to the stage, even in the darker, more serious scenes. As the Countess described the joys of life to Roderick − all men, of course, are called Roderick at noon − James-Beswick was captivating in her purity.

The Prospector (Emily Wright) gave a strong performance with a commanding stage presence. She was very convincing as the insidious character, manipulating the characters around her effortlessly. Her twisted capitalism created a foil to the Countess’ cheery personality. The contrast was most prominent when the Countess and the Prospector had a toilet plunger battle, each actor taking the scene so seriously it made one forget the ridiculousness of the situation of la danse des plombiers.

Claire Avisar preforms as Constance, Madwoman of Passy (L) Louisa James-Beswick preforms as Countess Aurelia, Madwoman of Chaillot (M), Sophia Swettenham preforms as Gabrielle, Madwoman of St. Surplice (R) during Elmwood School’s Cappies production of the The Madwoman of Chaillot on Feb. 28, 2015.

Leen Zaghoul comically portrayed the honest Policeman, fumbling on the first day of the job. The Policeman paired with the kooky Doctor (Erica Giustiniani) had a Tweedle Dee and Tweedle Dum relationship, their folly growing the more they interacted. The Broker (Cynthia Sedlezky) was manic energy embodied, tearing off a series of stock market numbers and explaining how business prospered under her guidance. The sheer amount of information Sedlezky rattled off was mind-boggling, a study in memory.

While the romantic relationship between Pierre and the waitress Irma (Sarah Robinson) was more alluded to than actually shown, the duo played the innocence of first love with shy touches and blushes and a heart-warming joie-de-vivre seen only in the young. The waitress’ monologue at the end of the first act was touching; Robinson enchanted the audience with her words of love.

The costumes and set were in the style of steampunk, an art style best described as Victorian meets the inner workings of a clock. The clock aspect of each costume accentuated the fact that the play was set in a minute period of time. Each costume was tailored to the character, darker characters like the Prospector in black extravagant dresses, and more humble characters like the Ragpicker (Zein Zaghloul) in lively, happy colours. The steampunk element could be found in each piece, whether it was a top hat with decorative aviator goggles, or timepieces and clock gears attached to Victorian dresses.

The struggle of good against evil, happiness versus capitalism, and true love as a timeless constant in an ever-changing world brought universality to a unique story.

Jesse Hillier, Critic, Brookfield High School.

Jesse Hillier

Critic, Brookfield High School

Elmwood School’s production of The Madwoman of Chaillot took the audience on a whimsical, steampunk-themed quest to save Paris from the greed of prospectors. The four madwomen, joined by their friends, gave an entertaining performance of the original satire.

The production started with a fun pre-show that set the mood for the fairy-tale-like feel that followed throughout the rest of the show.

The show unfolded with The Prospector, The Broker, The Baroness, and The President discussing their plan to take over the city of Paris in pursuit of oil. The Countess Aurelia discovers their plan and decides to rid Paris of their evil. Along with her friends, a group of lively misfits, Aurelia stops the plan of the antagonists, allowing good to prevail.

Louisa James-Beswick embodied The Countess Aurelia. She portrayed the eccentric Countess with much personality, giving an enjoyable performance. The Broker (Cynthia Sedlezky) and the two madwomen, Constance (Claire Avisar) and Gabrielle (Sophia Swettenham), brought energy and fun to the stage with their humour and exaggerated movements. Emily Wright played a very convincing prospector, establishing her character as the antagonist with great success. All the actors gave a solid performance, bringing life to the stage.

The production included short songs and dances adding to the whimsical feeling of the show. The Street Singer, played by Tory Woodhead, gave a lovely ballet performance en pointe. The songs sung in chorus added to the fun fairy tale aspect of the show.

Jeffery Clement performs as Pierre (L), Louisa James-Beswick preforms as Countess Aurelia, Madwoman of Chaillot (R), during Elmwood School’s Cappies production of the The Madwoman of Chaillot on Feb. 28, 2015.

The stage was cleverly set up. The actors interacted with the audience on several occasions; successfully breaking the fourth wall and making the audience feel included. The actors entered and exited the stage smoothly. The lighting focus was good and was used to effectively show the changes in mood in the production. The music set the feeling of the show well without distracting from the plot.

The costumes and makeup (done by Emily Bangsboll, Sarah Miller, Maitland Shaheen and Safa Siddiqui) were extremely well done and enhanced the characters’ personalities. The bright coloured dresses and makeup worn by the madwomen reflected their vibrant personalities. The wide-brimmed hats of the antagonists cleverly cast shadows over the actors’ faces, adding a sinister air to their roles.

Elmwood School gave a convincing, enjoyable performance with much humour and fun. The cast and crew successfully made the production into an engaging show.

Maya Mainland-Gratton preforms as Josephine, Madwoman of La Concorde (L), during Elmwood School’s Cappies production of the The Madwoman of Chaillot.

Sophia Swettenham preforms as Gabrielle, Madwoman of St. Surplice, during Elmwood School’s Cappies production of the The Madwoman of Chaillot.

About the reviews

The production at Elmwood School was reviewed by 27 critics representing 9 schools. The critic discussions were mentored by teacher Paula Jones of Almonte and District High School and student reviews were edited and selected for publication by teacher Tracy Brown of Almonte and District High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Sacred Heart High School’s production of To Kill a Mockingbird. 

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.

Fiddler on the Roof

Where: Earl of March Secondary School

Director: Matt Minter

Soren Wainio-Theberge, Lead Critic, Bell High School

Soren Wainio-Theberge

Lead Critic, Bell High School

What is tradition? Ask Tevye, and it’s the glue that holds communities and families together. Ask a Bolshevik like Perchik, and it’s the cause of relentless oppression and monstrous regimes. Like the fiddler himself, the real answer lies somewhere between the two, and Earl of March kept its balance admirably with its exquisite production of Fiddler on the Roof.

The Fiddler on the Roof tradition began in 1964 with the first Broadway run ever to pass 3,000 performances. Set in Russia in 1905, the musical depicts the struggle between Tevye’s orthodox Jewish beliefs and his daughters’ desire to marry for love. As each daughter falls for a less-than orthodox husband – the first for an impoverished tailor, the second for a Bolshevik revolutionary, and the last for a repentant Russian soldier – Tevye bends his old ways until they can bend no more. While this internal conflict rages, the village of Anatevka that he and his family call home is beset by a pogrom and Tevye must choose to fight for his home or submit to the law.

Earl of March’s production was grounded in the hard work of the village chorus. Through incessant good-natured gossip and choreography that filled the stage with elegant shapes and formations, the chorus provided the sense of community required to make the show touching and believable.

Students perform in Earl of March Secondary School’s production of Fiddler on the Roof, march 8, 2015, in Kanata, On. Front: Julia Loiselle, Jackie Kormylo, Emily Poulsen. Middle: Akhila Rao, Natalia Titkova, Aliza Itskovich. Back: Jessica Fisher, Annie Hirkala.

As Tevye and his wife Golde, respectively, Christian Garnons-Williams and Jackie Kormylo carried the spirit of the show with wry, matter-of-fact humour. Kormylo distinguished herself with vitality and maternal ire, which, despite terrifying her husband, demonstrated deep compassion and affection for her family. Meanwhile, Garnons-Williams’ sonorous bass-baritone had enough emotion for sentimental numbers like Do You Love Me, and intensity to spare for his fits of outrage. But even with a voice that could move mountains, he still managed to project a surprising frailty in his portrayal of Tevye. The heart-wrenching image of such a weary old man dragging his heavy milk cart across the stage, like Sisyphus pushing his boulder, embodied the plight of the people of Anatevka.

Emily Poulsen, playing Tevye’s second daughter Hodel, sang with a resonant, expressive voice that broke hearts in her swan song Far From the Home I Love. In turn, Colin Campbell’s portrayal of Motel mended them again through jubilant song and a lovable shyness that could turn even Tevye’s fury to fondness. Other highlights in an extraordinary supporting cast included Vicky Murat as Fruma-Sarah, whose piercing shrieks terrified the rest of the company into raising their sometimes-flagging energy level, and Spencer Kahler, who danced the impressive bottle dance at Motel’s wedding – “for a small fee, of course”.

Ethan Balakrishnan provided the requisite fiddling, supported by the professional-calibre Earl of March Pit Band. With a high proportion of strings, the pit band was impeccably balanced, lending it a full, rich sound that underscored, not overpowered, the onstage action. The versatile set consisted of house fronts with painted interiors, which were turned and rearranged to create the village streets, the tailor’s shop, the bar, and just about every other setting in the play.

In just three seemingly short hours in a little village in Russia, Fiddler on the Roof took us through the best of life’s milestones and the worst of its sufferings. Replete with exultation and dignity, Earl of March Secondary School’s production was a celebration: a toast to life, and all its laughter and tears.

Megan Sweeney, Critic, Elmwood School.

Megan Sweeney

Critic, Elmwood School

Within the frigid depths of Imperial Russia, there is more stirring in the quiet town of Anatevka than a communist revolution. Endeavours of love are constantly attempted, sacrifices are made for the good of the family, and − above all − tradition is held sacred in Earl of March Secondary School’s production of Fiddler on the Roof.

Based on the Yiddish stories of Tevye and his Daughters, by Sholem Aleichem, Fiddler on the Roof first opened as a musical on Broadway in 1964. The plot takes place in Russia, 1905, in a working-class settlement whose residents dutifully abide by Jewish beliefs. The musical is centered on the lives of one struggling family, and their effort to uphold holy customs in a transforming world.

Christian Garnons-Williams played the part of Tevye, the aging, witty father tasked with caring for his five matchless daughters. Garnons-Williams effortlessly portrayed the strife of balancing convention with change through authentic characterization, while truthfully demonstrating the dry humour of a struggling Russian Jew. The captivating character of the hard-working Tevye was brilliantly equalled by that of his sharp-tonged wife, Golde (Jackie Kormylo). The comedic bickering yet unwavering loyalty of their characters was exceptionally well-executed in charming musical numbers such as, “Do You Love Me”?

Students perform in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On. Clockwise from left: Jackie Kormylo, Colin Campbell, Natalia, Titkova, Emily Poulsen, and Alex MacDonald on floor.

The three oldest daughters of Tevye and Golde, Tzeitel (Natalia Titkova), Hodel (Emily Poulsen), and Chava (Julia Loiselle), were superb in their choral harmonies and strong-willed dynamics. Poulsen, in particular, had a tuneful voice, matched by her graceful dancing and charisma. Her chemistry with other characters was evident in her interactions with Perchik (Alex MacDonald), Hodel’s studious love interest.

The large size of the chorus contributed outstanding energy to the surrounding plot. The harmonious singing was made with a keen mix of both gender vocals, and further enhanced the close-knit society.

Mike Murphy, Kieran Peacock, and Kathleen Wang designed the sets, with all the transportable elements constructed by students. Their minimalistic features were strategically moved to represent different areas, with their aesthetic emphasizing the intimate bleakness of the village of Anatevka.

Throughout the duration of the musical, the lighting seamlessly complemented the action on stage. The tactical usage of varying colours of light signified the atmosphere of the scene, and the technicians easily transferred from joyous numbers such as “To Life”, to excerpts with darker themes, such as “The Dream”.

Complete with an enchanting cast and skilful production components, Earl of March Secondary School Earl accomplished an impressive rendition of Fiddler on the Roof, embodying the tribulations of a peaceful village when confronted by monumental change in their traditional community.

Joscelyn van der Veen, Critic, Bell High School.

Joscelyn van der Veen

Critic, Bell High School

How do you make a match? Mix some perfectly timed choreography, hilariously stubborn characters, and captivating singing to make Earl of March’s rendition of Fiddler on the Roof an unforgettable experience.

Fiddler on the Roof was written in 1964 with music by Jerry Bock, book by Joseph Stein, and lyrics by Sheldon Harnick. Set in 1905, Fiddler on the Roof tells the story of a dairyman living in a small Jewish community in Northern Russia. Tevye, the dairyman, and his wife Golde are anxious to marry off their daughters and uphold the traditions of their religion in a rapidly changing world. When their daughters begin acting on the crazy idea of marrying for love, Tevye must find a way to save his family without losing the traditions that keep the village alive. Fiddler was the first Broadway production to surpass 3,000 performances, and it is was highly acclaimed, winning nine Tony awards.

Earl of March’s production of Fiddler on the Roof was captivating from beginning to end. Tevye (Christian Garnons-Williams) immediately captured attention and held it throughout the show with a never-failing Yiddish accent and a resonant voice. The ensemble gave a feeling of community, constantly keeping up pretence of gossip and chatter and staying completely in sync throughout the difficult choreography. Accompanying the wonderful actors and dancers was the masterful pit band, which included a skilled string section, and even a fiddler. The dynamics of the orchestra were flawless and the actors onstage interacted with the musicians to add a touch of humour during a tense scene.

Emily Poulsen and Christian Garnons-Williams perform as Hodel and Tevye in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On.

Christian Garnons-Williams and Jackie Kormylo kept the family of the production together as Tevye and Golde. Garnons-Williams transformed into his character, changing from a high school student to an old Jewish father with a thick accent, fatherly affection, and dry exasperation. Kormylo added to his dry humour with her immense energy, causing even greater exasperation with her nagging and yelling. Even though the pair spent much time arguing, they had an undeniable chemistry that showed their love even before Tevye could ask, “Do you love me”.

The family bonds were made apparent by the outstanding acting and singing of Tevye’s family. The three eldest daughters and their suitors were heart-warming and showed wonderful affection. Motel (Colin Campbell) stole hearts with his adorable nervousness, trying to build up the courage to ask Tevye for his daughter’s hand and shying away when Tevye became angry. Perchik (Alex MacDonald) had a kindness and bravery that, offset by Hodel’s (Emily Poulsen) affection and wit, was pivotal in changing the old-fashioned views of the town of Anatevka. As one of the Russian soldiers, Fyedka (Matt Sandell) should have been an antagonist, but his sincerity and consideration immediately set him apart from the other soldiers and led to the most heart wrenching relationship of the three.

Accentuating all the lively and depressing moments that filled this play, the tech crew fit perfectly with the flow of the action. The lighting was well designed, changing along with the time of day and tone of the action. A spotlight was expertly used to show Tevye’s inner reflections and it was always centred on him, even during his movements. The sound was also well utilized, keeping the levels of all fourteen microphones clear with rare issues. The extremely well constructed sets changed smoothly and soundlessly from the village setting to the dreary home of Tevye.

With loveable suitors, beautiful daughters, and hilariously frustrated parents, Earl of March tickled the funny bone and wrenched the heart with their performance of Fiddler on the Roof.

Fumi Shibutani, Critic, Elmwood School.

Fumi Shibutani

Critic, Elmwood School

The haunting tune of the violin resounds through the theatre, arousing feelings of longing and nostalgia, transporting the audience through time with every note. All the way to Anatevka, a small village in Imperial Russia, where Tevye, an impoverished milk farmer, struggles to preserve his cultural and religious traditions. He strives to make ends meet while coping with the unconventional ideals of his three older daughters, who all share a desire to marry for love. Earl of March Secondary School’s rendition of the ever-popular Fiddler on the Roof encapsulated a tale of love, tradition and cultural change.

The cast and crew of Earl of March Secondary School put on an enjoyable musical filled with dry humour, exciting group dynamics and immense vocal talent. With upbeat dances and authentic folk music, the cast had the audience laughing and clapping throughout the show.

Tevye, played by Christian Garnons-Williams, effortlessly delivered the spirit of an older man. Paired with an authentic Russian accent as well as a deadpan delivery saturated in dry wit, he embodied a fatherly and traditional character. His vocal range and versatility, as well as his comedic timing and chemistry with his wife, Golde, played by Jackie Kormylo created a believable on-stage relationship. Kormylo depicted the role of a mother through her motherly chidings and delightful interactions with her children.

Christian Garnons-Williams as Tevye and Jackie Kormylo as Golde share a moment on stage during Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On.

Their second daughter Hodel (Emily Poulsen) brought energy to the stage with her beautiful voice. Her chemistry with Perchik (Alex MacDonald) was believable and showcased the beauty of young love. Motel (Colin Campbell) delivered a charismatic performance, pleasantly surprising the audience with his powerful voice and vocal range.

The villagers of Anatevka were realistically portrayed by the chorus. Their use of tableau was effective and they exhibited strong group dynamics. Consistently in synch and playing off each other’s energy, the chorus harmonized their voices beautifully and remained in step with each other during dance sequences. Their artistry and teamwork was especially evident in technically challenging musical numbers such as “The Dream” where the whole cast became a single entity displaying the horror and excitement of a nightmare.

The music (Earl of March Pit Band) was excellently timed and well executed throughout the show, exhibiting musicality through changes in dynamics and tempo. The orchestra was always mindful and aware of the action on stage, thus adding to the mood. The Fiddler (Ethan Balakrishnan) flawlessly played the musical theme, enrapturing the audience with his melodic playing.

First a village, then a house, then the inside of a bar − the multi-purpose set effectively served many purposes. With just a few changes in positioning, the set and props created several different backdrops and atmospheres. Lighting added to the mood with spotlights during monologues and coloured gels during more sombre scenes. The lighting crew did an excellent job at managing over 200 cues. Costumes and makeup remained true to the time period with minimalistic design and organic colour palettes.

A beautiful rendition of a classic piece, Fiddler on the Roof truly conveyed the meaning of love and tradition. Tackling a technically challenging and lengthy musical with humour and wit, Earl of March Secondary School put on a delightful performance capturing hearts with Slavic folk music and traditional dance.

Melody Cheng, Critic, Bell High School.

Melody Cheng

Critic, Bell High School

A fiddler perilously perched on the tip of a rooftop, perhaps a seemingly irrelevant act in comparison to the harsh circumstances the characters in Earl of March Secondary School’s Fiddler on the Roof face, is actually an allusion to the great likelihood that their lives could change at any moment.

First produced on Broadway in 1964 and soon known as the longest film for the next 10 years, Fiddler on the Roof garnered international acclaim, resulting in its triumphant win of nine Tony awards. In the musical, Tevye (Christian Garnons-Williams), a man who values tradition, believes that his daughters, Tzeitel (Natalia Titkova), Hodel (Emily Poulsen), and Chava (Julia Loiselle) must each marry a wealthy man. As a result, Tevye and Golde (Jackie Kormylo) are reluctant to allow their daughters to marry based on love. To further complicate matters, Russia’s Tsar orders the eviction of Jews, thus obliging Tevye’s family and friends to move out of Russia. Fiddler on the Roof, a story set in 1905, is centred on Tevye’s unwillingness to alter tradition, in spite of the necessity to do so.

The most crucial aspect of musicals, the singing, was phenomenally presented throughout the entire performance. Possessing both confidence and mellifluous timbre, the cast’s voices melded together to produce a harmonious sound during the songs. In addition to the vocal talents, the majority of the cast spoke with believable accents that showed their Russian ancestry.

To create contrast from the ominous tone, Garnons-Williams performed bizarre dance moments and displayed comical responses towards others’ actions, evoking laughter among the audience. Another astounding aspect was his strong, powerful voice, which demonstrated a superior skill level. Complementing Garnons-Williams’ performance was Kormylo, who produced an engaging outcome due to their splendid chemistry. Her presence commanded the stage with her sharp dance movements during the first song, “Tradition”. She also expressed genuine anger towards Garnons-Williams at various moments of the musical as her voice rose to a deafening scream and her gesticulations occasionally showed a cold attitude.

Students perform in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On. From Left: Jackie Kormylo, Georgia Birkinshaw, Erin Lee, Julia Loiselle, Natalia Titkova, Julia Adams, Matthew Sandell.

Throughout the production, Rhiannon Henkelman maintained her character as the matchmaker with her bent back and her accented speech. Appearing as if she was actually conversing with close friends, her hand movements created a casual atmosphere, which lent contrast to the grave situations depicted. Titkova, Poulsen, and Loiselle demonstrated skilful singing techniques through their vocal inflections. The most notable was Poulsen’s, who sang each of her high notes, seemingly done with ease. In addition to the wondrous singing voices was Colin Campbell’s credible portrayal of Motel. Whether quaking with fear, showing exhaustion from his audible breathing noise, or hunched over as a sign of his uncertainty, he expertly expressed each emotion.

The majority of the costumes, though simple, reflected the Russian Jewish culture in the 1900s, as well as the characters’ poverty. For instance, the cast wore shawls and scarves upon their departure from their beloved hometown, and a measuring tape often hung around Campbell’s neck, an ingenious way to show his career as a tailor. Another noteworthy aspect was the spotlight, which followed Fruma-Sarah (Vicky Murat), a ghost present within a dream, who sang with an impressively powerful voice. Steadily held and neither faster nor slower than the actor on which it was focused, the spotlight directed the audience’s attention towards the area of light.

From Garnons-Williams’ and Kormylo’s bickering to the sorrow evident through speech and song, Earl of March Secondary School’s Fiddler on the Roof gave the audience an insight into the hardships Jews living in Russia once suffered.

About the reviews
The production at Earl of March Secondary School was reviewed by 30 critics representing 8 schools. The critic discussions were mentored by teacher Cindy Zwolak of Sacred Heart High School and student reviews were edited and selected for publication by Renee Campeau of Lester B Pearson Catholic High School, who could see only the reviews, not the names or schools of the reviewers.

Students perform in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On.

Emily Poulsen performs as Hodel during Earl of March High School’s Cappies production of the Fiddler on the Roof, on March 6th, 2015 in Ottawa, Ontario (Wina Wu/Ottawa Citizen Student)

Julia Loiselle performs as Chava during Earl of March High School’s Cappies production of the Fiddler on the Roof, on March 6th, 2015 in Ottawa, Ontario (Wina Wu/Ottawa Citizen Student)

Georgia Birkinshaw, Jackie Kormylo, Erin Lee, and Christian Garnons-Williams perform in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On.

Steffan Bello, as Lazar Wolf, and Christian Garnons-Williams, as Tevye, perform in Earl of March Secondary School’s production of Fiddler on the Roof, March 8, 2015, in Kanata, On.

Christian Garnons-Williams as Tevye, during Earl of March High School’s Cappies Production of Fiddler On The Roof, on Mar. 4, 2015, in Ottawa, ON. (Katrina Cheng/Ottawa Citizen/Student)

Christian Garnons-Williams (L) as Tevye, Steffan Bello (R) as Lazar Wolfe, during Earl of March High School’s Cappies Production of Fiddler On The Roof, on Mar. 4,2015, in Ottawa, ON. (Katrina Cheng/Ottawa Citizen/Student)

Golde played by Jackie Kormylo (L) and Tevye played by Christian Garnons-Williams (R) during the Earl of March High School’s Cappies production of the Fiddler on the Roof, on March 6th, 2015 in Ottawa, Ontario (Wina Wu/Ottawa Citizen Student)

Full cast, during Earl of March High School’s Cappies production of Fiddler On The Roof, on Mar. 4, 2015, in Ottawa, ON. (Katrina Cheng/Ottawa Citizen/Student)

David Francis (L) as Avram, Spencer Kahler (2ndFL) as Mordcha, Rhiannon Henkelman (3rdFL) as Yente, Jackie Kormylo (4thFL) as Golde, Macrae Martin (4thFR), James Mackey (3rdFR) as Mendel, Colin Campbell (2ndFR) as Motel, Steffan Bello (R) as Lazar Wolfe, during Earl of March High School’s Cappies production of Fiddler On The Roof, on Mar. 4, 2015, in Ottawa, ON. (Katrina Cheng/Ottawa Citizen/Student)

Natalia Titkova (L) as Tzeitel, Christian Garnons-Williams (R) as Tevye, during Earl of March High School’s Cappies Production of Fiddler On The Roof, on Mar. 4,2015, in Ottawa, ON. (Katrina Cheng/Ottawa Citizen/Student)

Next review: Immaculata High School’s production of The Giver.

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.

The Giver

Where: Immaculata High School

Director: Emily Veryard

Alison Devoe, Critic, Merivale High School

Alison Devoe

Critic, Merivale High School

In a world devoid of joy and pain, one person seeks to uncover the hidden horrors of a self-proclaimed utopian community in Immaculata High School’s production of The Giver.

Originally a novel by Lois Lowry, The Giver is a classic tale of a seemingly perfect world where life is simple, under control, and – most importantly – safe. The play revolves around a young boy called Jonas, who is assigned for training from an enigmatic man called The Giver. In a future community where pain, joy and even colour are incomprehensible to the average citizen, The Giver is the only person who holds the memories of long ago. Soon enough, Jonas learns the truth about the past as well as the horrors of his so-called perfect world.

Jonas, played by Dylan McCarthy, brought charm and believability to the performance. When experiencing the many memories from long ago, McCarthy successfully portrayed a range of emotions, ranging from joy to overwhelming pain. He was joined by Nathan Brazel as The Giver, an elderly man with a tragic and well-hidden past. Brazel successfully embodied such, depicting The Giver’s growth as a character with ease.

Austin Moore, Kristina Maione, and Chloe Walker, played Jonas’s Father, Mother and Sister, respectively. As the father, Moore displayed flawless timing and believability. Maione and Walker tied the family unit together.

The set, costumes and make-up. were the proper backdrop for the performance. Designed by Nathalia De La Roche, the set reflected Jonas’s world. When he was unable to see colour, the set was a palette of black, white and grey. As he matured and learned to see the true, vibrant world, both the set and makeup (designed by Angela Paolino) matched this. Ranging from a splash of red lipstick to a vibrant bookshelf, the details were carefully considered for Jonas’s transformation.

The lighting and sound designs, created by Wal Wal and Adam Bothelo, also captured these transformations. When The Giver remembered a warm sunset, the lights bathed the stage in bright shades of orange and yellow. Each emotion and accompanying memory was meticulously accompanied. The sound was also carefully chosen to bring Jonas’s world to life.

With its believable characters, excellent timing, and attention to details, Immaculata High School gave a performance brimming with talent and exceeding most expectations.

Adriana Loewen

Critic, Glebe Collegiate Institute

A blissfully ignorant utopian society, tempted by the simplicity of a life without conflict, emotion and colour, sprang from the stage at Immaculata High School’s production of The Giver. Adapted by Eric Coble from the well-known novel by Lois Lowry, this story was given colour in new and inspiring ways by the cast and crew, calling all to appreciate the life we lead, despite its painful challenges.

Set in a world lacking all colour, emotion and pain, a young boy, Jonas, is given the job of holding all the memories of pain, joy and love, a job from which he cannot ever resign. Throughout the play, he begins to see all that is missing from his world as he receives wondrous memories from the wise but burdened Giver. The immensity of these memories takes a toll on Jonas who must decide whether the life he was born into is really right in its ideals.

Dylan McCarthy played Jonas with boyish curiosity for the world of memories foreign to him. When experiencing those memories, he effectively communicated each experience to the audience by using his body to recreate the memories that only he could see and feel. The various light cues and sound cues also helped demonstrate the emotional and visual impact of these invisible memories. Changes in the colours of the lights brought out the emotions in the memories, and the sound cues established the setting of the memories; all a very creative and effective way of helping McCarthy introduce the audience to the metaphysical nature of the memories.

The crucial role of the Giver was played by Nathan Brazel, who, through his slow movements and steady vocal pattern, brought out this weariness of a man burdened by his wisdom. In moments of conflict, he also used the emotional range of the character to give depth to his emotional pain.  Likewise, the internal struggle of the Giver to show Jonas the memories and simultaneously protect him was well presented by Brazel and stood as one of the integral points of the play.

The other members of the cast were also essential to the creation of this flawed utopian society. The Chief Elder (Angelina Mattix-Simon) gave a believable performance as the administrator of the society’s carefully controlled systems and ceremonies. Jonas’ family, his mother (Kristina Maione), father (Austin Moore) and sister, Lily (Chloe Walker), wove the blank culture of the society into every word they spoke and made the strange emptiness of the society tangible for the audience.

The inspiration for the costumes and set was very admirable. The cast’s costumes were simple, yet effective. By using tie-dye to add colour to the characters’ blank costumes, the costume designer showed the change in Jonas’ perception of colour in a unique and creative way. The set also represented this change in Jonas’ senses, when, in the second act, the handsomely painted bookshelves were switched out for more colourful renditions.

Despite all the tricky challenges of performing such a complex play as The Giver, the cast and crew of Immaculata High School tackled the beautiful story of love and pain with wonderful creativity and tremendous hard work, resulting in a performance that spoke volumes.

Arianna Skirzynska

Critic, All Saints High School

Fairy-tales will give only one side of the tale, resulting in a black and white view of the world in childhood. Over the years, the shades in the middle are introduced, but some can see even more beyond. Immaculata High School gave their rendition of this very same idea in their performance of The Giver.

The Giver was originally written in 1993 by Lois Lowry and has since been adapted into various onstage productions. Set in a conservative futuristic society, a boy named Jonas is chosen to become the next Receiver of Memory, a vocation in which he learns the secrets of the past. As he discovers the joys and pains that have been neglected from his current society, he strives to reintroduce the memories and remind the people of what it means to be human.

Together, the cast and crew of Immaculata High School gave a solid performance. A great deal of thought was placed into each aspect of the show, providing extra meaning to this already thought-provoking story.

As Jonas, Dylan McCarthy displayed great confidence. On stage for the entire performance, McCarthy did an exceptional job of bringing his role to life with great enthusiasm and consistency. Weathered by the memories of the past, Nathan Brazel played the Giver. Brazel used his mannerisms to convey his character’s old age and inner turmoil with a high degree of effectiveness. This included hunched shoulders and a downcast expression for the majority of the performance, allowing the audience to further sympathize with him.

Father, played by Austin Moore, brought believability to the paternal figure by showcasing rationality and the forced calm attributed to the play’s society. Similarly, Kristina Maione portrayed Mother with great confidence, easily establishing the maternal bond between mother and son. Using her small role to perfectly demonstrate the neutrality of The Giver’s society, Angelina Mattix-Simon had great articulation and projection, engraving her featured role as the Chief Elder into the audience’s memory.

Wal Wal’s use of the cafetorium lights as well as the tree lights added a visual aesthetic to the play and aided Jonas’ transition from reality to memory and back again. Notably, a rainbow was created through the flashing of many colours on the walls of the cafetorium. With minimal errors, the sound and lights worked together on numerous occasions to intensify emotions, and at one point, even created a heartbeat to showcase Jonas’ fear and anxiety. Adding to the visual appeal was the costume team and the set design team, who put a great deal of thought into their minimalist design. Flowing with Jonas’ perception of the world, subtle changes were made to the scenery throughout the performance to coincide with his ideals.

The cast and crew of Immaculata High School gave a believable and relatable performance of The Giver. Their presentation of Jonas’ experience reminded the audience of the value in human individuality, and that it should be celebrated.

Darcie Watson-Laird

Critic, Merivale High School

Picture this: There exists a community, where there is no anger or hatred, and everyone is the same, eradicating difficulties. However, it’s not as desirable as it seems. Citizens have no idea what colours are, there are rules regarding what can and can’t be said, and citizens are under constant surveillance. There are no such things as mountains, snow, or rainbows. Not so preferable now, is it?  Immaculata High School’s impressive production of The Giver, as adapted for the stage by Eric Coble, showed the grim truth beneath the facade of utopian perfection.

Written in 1993 by author Lois Lowry, The Giver was the 1994 winner of the Newberry Medal and Regina Medal. In 2006 it was adapted into a play by Eric Coble.  The play followed a boy named Jonas, an ordinary twelve-year-old boy who, like everyone else at the age of 12, has his future profession picked for him. Except Jonas isn’t given an ordinary job, like Teacher of Threes or Labourer. Instead, he is chosen to be the new Receiver of Memories. Jonas then meets The Giver, the previous Receiver, who begins giving Jonas the diverse memories of the past, such as memories of colour, physical pain, and even hills. However, as Jonas becomes more and more knowledgeable about the world’s past, he becomes more and more disturbed by his community as he begins to see faults within his supposedly perfect society. Together, the Giver and Jonas hatch a plan for Jonas to leave the community, and travel to Elsewhere. As Jonas travels farther and farther away from his home, all the memories the Giver has given him seep back to the people remaining in his community.

Dylan McCarthy gave a powerful performance as Jonas, expertly balancing the thin line between the seeming lack of emotions compelled by the storyline, whilst still seeming like an actor with a personality to portray. The Giver, portrayed by Nathan Brazel, seemed placid at first when describing the tasks of the new Receiver of Memories. But later, as he talked about his daughter Rosemary, much deeper anguish could be seen under the calm the audience saw for much of the play. The actors comprising Jonas’ family were an obvious asset to the play, as the audience saw Jonas comforted by them during Dream Tellings and the sharing of Feelings.

Persevering through slight technical difficulties, the technical crew, composed of Wal Wal, Adam Bothelo, and Kevin Lalonde, gave this science fiction play a very realistic aura. The lighting, designed by Wal, skilfully showed memories being given to Jonas. Furthermore, red lights were an interesting effect highlighting whenever Jonas felt any type of physical pain. Sound effects were timed perfectly, and suited whichever part of the play in which they were integrated.

Sets were made by Savannah Betts and Nathalia De La Roche, who created a simplistic, yet functional, set. The set included several flats painted to resemble bookshelves. The books transformed from grey nondescript volumes in the first act into colourful tomes in the second act. This paralleled Jonas’ discovery of colour and was an intriguing way to help the audience visualize the dilemma of the characters in this alternate world.

Immaculata High School’s production of The Giver was an empowering portrayal of whitewashed and stagnating conformity known as “sameness” and the subsequent need for change. Although the Giver warned Jonas against giving people the ability to choose, as they “might choose wrongly”, in truth, without choice, there is no real freedom and no real growth.

Hanna Colbert

Critic, All Saints High School

The human experience is a very strange one indeed: joy and sadness and everything in between, all mixed into one brutal yet prevailingly beautiful realm we call life. And despite the occasional appeal, forfeiting those emotions – such essential parts of mankind’s nature – could have drastic consequences. Immaculata High School navigated just some of those in its recent production of The Giver, bringing vivid narration to life in a timeless cautionary tale.

Lois Lowry’s critically acclaimed novel first appeared on shelves in 1993, and continues to crop up on required school reading lists all over the world. It portrays a whitewashed world where, though there is no fear or pain, neither is there true happiness. When selected by his community to be the next “Receiver of Memory,” twelve-year-old Jonas is tasked with the difficult job of absorbing the knowledge of what it was like prior to the adoption of his community’s “Sameness” principles. With the help of his mentor, The Giver, Jonas embraces his capacity to “see beyond,” and must ultimately decide whether to stay or pursue something beyond what he knows.

Meticulous synchronization of sound and lighting cues helped bring Jonas’ lucid memories to life. Functional sets served as backdrops for a variety of scenes in the play and subtly changed along with Jonas’ perceptions. Students stepped seamlessly into their roles as participants in the safe yet eerily empty world. Special attention to detail in both the makeup and costume departments helped create a fitting environment.

As leading lad Jonas, Dylan McCarthy did an excellent job of conveying his character’s equal anguish and wonderment upon learning the depth of feeling possessed by the wider world. Nathan Brazel settled true-to-form into the bone-weary role of The Giver, imparting the old man’s ancient wisdom to Jonas – and the audience to boot.

Austin Moore, Kristina Malone, and Chloe Walker, as Father, Mother and Jonas’ sister Lily respectively, effectively and sensitively portrayed their characters’ immersion into the mundane system to which they are so accustomed.

Victoria Lopez in the role of Jonas’ friend Fiona gave a highly believable performance, exuding a bright energy that shone through despite her character’s timidity. Angelina Mattix-Simon was clear and articulate in a captivating performance as the Chief Elder.

Though certain cast members lacked energy at times, commitment to character was very impressive. Students also handled the difficulties of extensive stage time extremely well.

Faced with the challenge of conveying Jonas’ striking “memories” through just sound and light, both technical crews handled the coordination very well. In one memorable instance, the sound of Jonas’ pounding heartbeat was projected against a flashing red lighting effect, adding visceral detail to his “Ceremony of Twelve”.

Brimming with deep thematic undertones and moralistic messages, there’s no doubt that it takes courage to stage such a well-known story. With thoughtful performances all around, Immaculata High School reminded us of the immeasurably rich nature of a full life: highs, lows, and all.

About the reviews

The production at Immaculata High School was reviewed by 32 critics representing eight 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 JoAnne Hanna of Philemon Wright High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: St. Paul High School’s production of Murder Most Fouled Up.

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.

Murder Most Fouled-Up

Where: St. Paul High School

Director: Student Julianna Weldon

Thomas Power

Critic, Bell High School

A haunted old estate. An artfully hidden will. A conniving family ready to do anything to put themselves ahead. These pillars of Agatha Christie mysteries were hilariously parodied in St. Paul High School’s highly entertaining Murder Most Fouled-Up.

The play, written by Nikki Harmon and first performed in 1989 at the Tibbits Opera House, concerns the dysfunctional heirs of the recently deceased California millionaire Edwin Randolph, who have gathered at his decaying mansion to hear the reading of his will. They are all shocked when Seymour Mead (Daniel Stanton), the estate lawyer, tells them that they have only 24 hours to find the land deed or the inheritance will be forfeited. With Jason Randolph (Margaret Hlushak) conspiring with his sister Kya (Jessica Garang) to kill his wife (Eve Edwards), and Mead plotting with the estate’s staff to kill the whole family, it will take the intervention of the house’s sometimes-friendly ghosts to keep everyone alive until daybreak.

St. Paul’s comical production was entirely student-run, including director, Julianna Weldon. Weldon performed the strenuous task of organizing and managing the production with great competence, making for an amusing and enrapturing show, particularly during the more energetic second act. The most notable aspect of Weldon’s direction was her courageous choice to use an almost all-female cast, with Stanton as the only male actor. This gamble paid off, and all the actresses ably took up the challenge. Weldon’s blocking was also well planned, allowing the cast to make full use of the expansive stage without seeming too spread out.

As Jason, Margaret Hlushak was equally adept at portraying the character’s sly, scheming expression and his slapstick movements around the stage. Hlushak also convincingly played Jason as a man, with humorously exaggerated masculine mannerisms in her bearing and way of sitting.

The play’s small cast allowed for strong performances from the supporting actors. Ashley Fong, playing Sanders, the house’s butler, was the show’s most comedic. Starting as the archetype of an uptight and reserved servant, Fong became less and less steady on her feet (and visibly redder, thanks to the talents of the makeup team) as Sanders’ bottle of scotch gradually emptied throughout the day. As Judith, the ghost of a Randolph ancestor murdered in a similar escapade, Ana Paula Sanchez Garcia gave a lively and impassioned performance. She shared great chemistry with her equally spectral husband Ridgely (Emily Lapen), with whom she convincingly sparred and plotted throughout the evening. Jessica Garang, cast doubly as Kya and the ghost Cece, skilfully distinguished between her two very different parts and made her sometimes-rapid transitions seamlessly.

The Victorian study where the play’s action took place was based on a drawing by Weldon and designed by Mark Greenwood, featuring a full set of furniture, as well as a solidly constructed stone fireplace. Particularly notable was the room’s panelling, which was painstakingly and elaborately painted to resemble real wood. One of these panels revolved, allowing for the surreptitious entrance of the ghosts, and operated smoothly without incident. The use of cobwebs, hanging languidly from the room’s elegant furniture, helped greatly in lending the set its air of faded grandeur. The sound and lighting, though sparse because of the play’s nature, were always precisely on cue and appropriate to the action.

Between the tension of the looming time limit and the humour of the characters’ complex and futile plots to finish each other off, St. Paul’s commendable student-led performance was a night to remember.

Mary Li

Critic, Bell High School

Some say money is the root of all evil – the living murder for it and the living are murdered for it. However, when the dead are the ones keeping the living alive, events become intriguing. St. Paul High School presents the comedic consequences of the search for money in their solid performance of Murder Most Fouled-Up.

The play, written by American playwright Nikki Harmon, was published in 1991. The plot begins with the reading of Edwin Randolph’s will. To the shock and horror of his beneficiaries, his will states that they must find the fortune and the land grant for the estate within twenty-four hours, or they lose the inheritance. A frantic search for the treasure begins, with the living plotting to murder each other to increase their gains. Meanwhile, the ghosts of the house are toiling to ensure that the living remain living and that the money is unearthed so that they may escape from their dreary existences in the crowded and damp wooden panelling. The interactions between all parties, living and dead, as they try to find the fortune, result in the comedic moments that drive the plot.

Directed by student director Julianna Weldon, the play was commendably performed. Thoughtfully cast performers executed their roles skilfully with dramatic acting. An impressive set was complemented by sound and lighting effects to create a realistic atmosphere. Increased energy and faster pacing in the second act heightened the play’s comic nature.

Margaret Hlushak performed ably as Jason Randolph. She acted confidently in a variety of scenarios, from Jason’s lust to find the treasure for himself, to his confusion as his attempts to murder his wife are continually thwarted by the ghosts. Hlushak expressed the nuances of Jason’s sentiments with an exasperated slump when he discovers that he only has 24 hours to find the money, and with a scheming grin as he plots to murder his wife Barbara (Eve Edwards). A convincing masculine gait and comportment were consistently maintained throughout the show.

Other cast members also gave performances that rivalled Hlushak’s. Eve Edwards ably maintained the demeanour of haughty and affluent Barbara Randolph. Ashley Fong as Sanders excelled in her portrayal of an inebriated butler. While singing boisterously behind the wall panels, Fong flawlessly projected her voice to illustrate Sanders’ movement around the panels. Emily Lapen and Ana Paula Sanchez Garcia as ghosts Ridgely and Judith worked together seamlessly to encapsulate the couple’s affectionate relationship despite dissenting opinions.

Mark Greenwood’s intelligently constructed set, complete with a functional revolving panel used as an egress for the ghosts, was enriched by the detailed reproduction of wood paneling painted by Lauren Mask. The set, artfully aged with cobwebs, was a facsimile of a Victorian study, while details such as glowing logs in the fireplace and floating dust when it was dismantled contributed to the realism of the set. The dim lighting that accompanied set changes performed in a relaxed yet purposeful manner amplified the haunted atmosphere of the house.

Though money may bring out the worst in the living, Murder Most Fouled-Up demonstrated that it could bring out the best in the dead. With the ghosts of the past and the murderers of the present, St. Paul High School delivered a competent performance of a family’s entertaining search for treasure.

Ariella Ruby

Critic, Sir Robert Borden High School

In the Randolphs’ desperate search for the deed to their late Uncle Edwin’s estate, routine courtesy has been abandoned. It is every man for himself, and when one human life is all that stands between a Randolph and his rightful inheritance, a strategically placed blow to the head may be deemed the appropriate course of action. The students of St. Paul High School charmed with their production of Murder Most Fouled-Up.

When the eccentric Edwin Randolph suddenly dies, his living relatives are named heir to his entire estate and fortune. However, there are some conditions – the deed to the estate has been hidden, and the missing document must be located within twenty-four hours of opening Edwin’s will. Failure to adhere to these conditions will result in the handover of the Randolph grounds to the state of California. As a frantic hunt for the deed ensues, sister is pitted against brother, and husband is pitted against wife. With twenty million dollars at stake, it won’t be long before the blood starts flowing.

The energy on stage was palpable, and the set beautifully crafted in this impressive and entirely student-run production.

Margaret Hlushak was exceptional in her portrayal of Jason Randolph, a man tired of being domineered by his wife, who finds himself with the perfect opportunity to off her once and for all. Hlushak carried out an assortment of assassination attempts with excellent comedic timing. Eve Edwards, as the sassy and snooty Barbara Randolph, took command of the stage.

Ashley Fong triumphed in her role as Sanders, a pretentious and tight-lipped butler with an unfortunate affinity for scotch. She went through quite the transformation, emerging from her post in the corner of the drawing room to wind up in the aisles of the auditorium, belting out a heartfelt rendition of ninety-nine bottles of beer. Ana Paula Sanchez Garcia and Emily Lapen exuded chemistry as the old ghostly couple who had been locked up together for ninety years too many.

The creation of the intricate set, constructed by Mark Greenwood and Lauren Mask, was no small feat. The grandeur of the estate was made evident by the dark wood paneling, the limestone fireplace, and the golden chandelier. However, the plethora of cobwebs stood testimony to the decay of recent years.

Under the direction of Julianna Weldon, the students of St. Paul High School worked together to create something special.

Sarah Priscus

Critic, Mother Teresa High School

Typically, the death of a relative prompts much mourning and quick funeral arrangements, but in St. Paul High School’s darkly comedic production of Murder Most Fouled-Up, Edwin Randolph’s death is met with his relatives tearing apart his mansion in search of their inheritance. With mangled murder attempts, a butler drunk on brandy, and a handful of meddling ghosts, St. Paul’s production was magnificently madcap.

Written by Nikki Harmon, Murder Most Fouled-Up details the hurried hunt for a recently departed uncle’s fortune and land deed by a handful of entitled, estranged relatives and faithful servants. Still, their search is made even more difficult by the fact that if they don’t uncover Randolph’s millions within 24 hours, they’ll inherit absolutely nothing.

In their first student-run production, St. Paul’s incredibly hard-working cast and crew showed devotion and dexterity in presenting a show full of physical humour and well-delivered dialogue. As student director, Julianna Weldon proved herself to be adept in putting together a lively production and creatively casting characters.

As the presumptuous, grumbling Jason Randolph, Margaret Hlushak was a powerful presence onstage with impeccable comic timing. Her slouched, spread-legged seating positions and other masculine mannerisms contributed to her impressive portrayal of a self-confident but sour man. Daniel Stanton as lawyer Seymour Mead garnered laughs with his sarcastic quips and shell-shocked stammering after a few encounters with the estate’s resident ghosts.

Ana Paula Sanchez Garcia was absolutely authentic, clear-voiced, and exact in her expressions as Judith, a long-dead ghost determined to help her descendants find their inheritance. As Judith’s also-dead husband Ridgely, Emily Lapen was a playful, entertaining addition to scenes. Sanchez Garcia and Lapen worked together well to portray a bickering, but still affectionate, married couple. As Sanders, the butler, Ashley Fong was hilarious with her drunken stumbling and overlarge gestures. Eve Edwards as Barbara Randolph was impatiently prim with consistent, capable characterization, and Jessica Garang as Kya Randolph was strikingly savvy and scheming. Amanda Purdy played the meek maid Mrs. Jessel, and had careful, quiet comic skills.

The strong performances onstage were only aided by a thorough backstage team. The costume team fitted each character with pieces that matched their personality. Judith’s ghostly costume was old-fashioned and baby-pink, with a well-placed mock stab wound on her back and with white tulle that made her appear to be floating through scenes. Makeup, headed by Brandi Leeder, managed to make female actresses appear male with clever contouring and highlighting. The single set, the cobwebbed study of the estate, was beautifully detailed and intentionally out-dated. The dark wood panelling, carefully painted fireplace, and a suspended, shining chandelier added to the air of elegant abandonment onstage. As well, a rotating wall glided smoothly and aided the comedy onstage. Despite a few pacing problems and lost lines, the cast and crew carried on to deliver a well-rounded show.

In Edgar Allan Poe’s 1843 short story The Tell-Tale Heart, the aforementioned heart was hidden under the floorboards, but the heart of Murder Most Fouled-Up was in the remarkable solidarity and support evident between every member of the cast and crew. St. Paul’s parody combined comedy and classic Christie-esque tropes to create a mystery the audience was entirely eager to solve.

Molly McGuire

Lead Critic, St. Francis Xavier High School

Serendipity is seldom unaccompanied – where there is a winner there is a loser, and where there are sunny days there are dark nights. In St. Paul High School’s production of Murder Most Fouled-Up, where there is a chance to find twenty million dollars, there are ironically farcical plots to kill.

Written by Nikki Harmon and first performed in 1989, the play takes place amidst ghosts, cobwebs and Poe-quoting ravens. Recently deceased and certifiably batty, Edwin Randolph, late owner of this mad mansion, has set up the treasure hunt of a lifetime for his heirs – twenty-four hours to find their money and the house’s deed in the maze of revolving doors and secret halls before it’s all taken away. Alliances are made, schemes to oust inheritors hatched, and ghosts, Judith, Ridgely and Cece, must stop them from killing one another and succumbing to their fate. They have one day to end the curse and free their ghostly ancestors from behind the wooden panelling or join them for all eternity and nevermore find the coveted fortune.

Perhaps the most striking piece of the performance was the set, collaboratively proposed, constructed and painted by Julianna Weldon, Mark Greenwood and Lauren Mask. Featuring an impeccably smooth revolving panel, an ornate fireplace with burning embers and meticulously detailed wood panelling and moulding to tie the room together, the set crew spared no effort in perfecting their work. The team succeeded not only in maintaining the suspension of disbelief, but created an atmosphere that was equal parts realistic and extraordinary.

At the forefront of the cast were husband and wife ghosts, Emily Lapen and Ana Paula Sanchez Garcia as Ridgely and Judith. The spirits played off of one another seamlessly, contrasting Ridgley’s aloof apathy with Judith’s eccentricity to create a comical “old married couple” dynamic.

Margaret Hlushak, as Edwin’s nephew, Jason Randolph, was a keystone of the cast with her adept physical comedy and witty facial expressions. She portrayed the narrow-mindedness of the greedy nephew, all the while remaining in character – a task made especially challenging given that her role was that of a curmudgeonly man.

In every comedy, the jewels in the crown are the slapstick actors who provoke fits of laughter with their every gag. These roles were filled by Ashley Fong as Sanders, the uptight butler who loosens his bowtie with each swig of scotch, and Daniel Stanton playing Seymour Mead, the frazzled lawyer trying to make sense of the surplus of supernatural activity. Both put noticeable thought into their respective postures and stage business to retain the audience’s attention and giggles.

Of course, what made the production truly unique was the fact that its director, Julianna Weldon, is a Grade 12 student. Weldon’s work on the show was extensive, made evident in the skilful blocking and creative use of props to amplify the comedy of the script. Assisted by student Jacqueline Morrison, Weldon overcame the obstacles of having to lead her peers and organize all aspects of the show in spite of the many pressures of senior year.

With sumptuous sets, an uproarious cast and an up-and-coming director, St. Paul’s Drama Guild transformed what might have been a “midnight dreary” into a raucous comedy to be forgotten nevermore.

About the reviews

The production at St. Paul High School was reviewed by 38 critics representing nine schools. The critic discussions were mentored by teacher Serena McCauley of All Saints High School and student reviews were edited and selected for publication by teacher Chantal Bourret of Merivale 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 The Laramie Project.

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.

Grease

Where: Philemon Wright High School

Director: Phil Holmes

Thomas Power

Critic, Bell High School

Between the slicked-back hair and the poodle skirts, Philemon Wright High School’s lively and nostalgic production of the classic musical Grease gave the audience a memorable blast back to the 1950s.

Since its first performance in 1971 at the Kingston Mines Theater in Chicago, Grease has had numerous incarnations – Philemon Wright’s production was based in particular on the 2007 Broadway revival. In spite of these different versions, the same captivating story remains.

Tommy Power, Critic, Bell High School.

In 1959, a wholesome girl named Sandy Dumbrowski (Danielle Hebert) moves to Rydell High School where she must adapt to the complex politics of the student body, dividing her attention between her friends in the Pink Girls clique and her sometimes boyfriend Danny Zuko (James Thompson), leader of the T-birds greaser gang. Along the way, the characters cope with the lighthearted and the more serious aspects of adolescent life in the era.

The show’s most defining characteristic was its unwavering, infectious energy, which it accomplished in great part through its complex musical numbers.

With an enormous cast, often appearing all at once, the production doubtless demanded elaborate planning. Nonetheless, choreographer Sandra Girard kept everybody moving together, and all the actors were kept occupied onstage, even when they weren’t the centre of the action.

Hebert’s strong voice, making tactful use of vibrato, distinguished itself throughout her many songs in her role as Sandy. Sandy undergoes a radical transformation near the end of the work, and Hebert made this transition seamlessly. Indeed, Hebert’s excellent rendition of You’re The One That I Want was, between her passionate singing and spirited dancing, the most energetic and delightful number of the evening. James Thompson brilliantly portrayed the different dimensions of Zuko, showing both his sensitive side in talking with Sandy, as well as his rough-and-ready nature while on his misadventures with the T-birds.

From among the cast of almost 50 actors and dancers came a multitude of particularly skilled supporting performances. As Betty Rizzo, Avrie Constantine Amey was crass and bawdy but also touchingly pensive in her song There Are Worse Things I Could Do. A particularly comic performance came from Brendan Mailloux, playing the nerdy Eugene. Whether stumbling dramatically after being tripped by bullies or uneasily resisting the advances of the lascivious jive master Cha-Cha (Alicia Bellavance) at the dance, his deliciously awkward movements were among the most hilarious of the evening. As the manic Sonny, Christopher Chow’s exaggerated swagger and slick dance moves, as well as his omnipresent grin, played a significant role in establishing the group dynamic of the T-birds.

Sonny played by Christopher Chow (L) and Frenchy played by Vanessa Geldart (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

The production’s hair and makeup team contributed much to the period-correct atmosphere of the show, with elaborate hairdos for the girls and oily slicked-back looks for the T-birds. The team’s chef-d’oeuvre, however, was undoubtedly their execution of Sandy’s metamorphosis, completely changing her makeup and hairstyle in minutes. The show’s stage crew, led by Luna De Salterain, accomplished the set changes rapidly and discreetly, and the lighting was always smooth, managing rapid changes between highlighting different groups onstage without incident.

With outstanding performances from Hebert and Thompson, and equally strong interpretations from the supporting cast, Philemon Wright’s engrossing production of Grease did not lack in talented singing and dancing, but, most importantly, was imbued with energy that effortlessly carried the show through its duration.

Jasmine Stamos, Critic, Sacred Heart Catholic High School.

Jasmine Stamos

Critic, Sacred Heart High School

Gossip, crushes and school dances; all intrinsic aspects of the high school experience. Add in some leather jackets, poodle skirts, and a whole lot of hair gel, and you have Philemon Wright High School’s wildly entertaining and skilful portrayal of Grease.

When Sandy Dumbrowski arrives at her new school Rydell High, she is shocked to discover that her summer fling Danny Zuko is also in attendance. Here their sweet love affair is threatened by high school social politics – as the ringleader of the T-Birds, a gang of guys working at the local car shop, his fear-engendering status simply cannot afford to be threatened by talks of romance. With the aid of the Pink Ladies, an undeniably spunky assemblage, Sandy undergoes a path of self-discovery peppered with real teen issues ranging from teen pregnancy to failed education. Premiering on Broadway in 1972, this classic musical gained popularity with the release of the film version starring John Travolta and Olivia Newton-John.

The entirety of the musical was staged with stunning confidence and high energy. With skilled vocalists, individualized costuming and engaging choreography, Philemon Wright’s production of Grease was a light-hearted exploration of the life and times of the typical 1950s era teen.

James Thompson as Danny Zuko portrayed the popular bad-boy with expertise as he convincingly portrayed the turmoil of a teen with a reputation to maintain. Along with his captivating vocal performance, he demonstrated remarkable emotional range, switching back and forth from a ruffian greaser to a lovelorn teen desperate for his girl’s approval with ease. As Thompson’s counterpart, Danielle Hebert portrayed the naive Sandy Dumbrowski with aplomb. Her vocal prowess and dexterity was particularly evident in her solo number, the heart-tugging love ballad Hopelessly Devoted to You.

Sandy played by Danielle Hebert (L) and Danny played by James Thompson (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

The T-Birds were humorously raucous and crass, often contrasting with the uber-sassy band of Pink Ladies. Particularly noteworthy was Rowen Tanguay, whose comedic number Mooning, performed alongside the insatiably hungry Jan (Emma Gibson), was refreshing and entertaining as the funny-boy overtly confesses his mooning exploits to an incredulous Jan. Equally commendable was Adam French, who possessed an undeniable stage presence during his number Beauty School Dropout.

The set was era-appropriate, with an authentic-looking jukebox and a black-and-white checkerboard dance floor on the night of the school prom. Small props like fake cigarettes emitting smoke greatly enhanced the genuineness of the characters. Hair was elaborately styled, and costumes were cohesive and reflected the social group of each individual character. Although there were some issues with mics cutting out, this issue was largely resolved by the second act, and was compensated for by the vitality of the performers.

With a confident, enthusiastic cast and strong vocal performances from all, Philemon Wright High School’s production of Grease was a tremendous homage to the toe-tapping, free-living youth of the 1950s.

Katie Dolguikh

Lead Critic, Lisgar Collegiate Institute

Long after leaving the Philemon Wright High School auditorium, people were still tapping their feet and humming the iconic music of the golden ‘50s enjoyed by the students of Rydell High. Greasy cars, greasier hair, and rock-‘n-roll guide a group of teenagers through the trials and tribulations of young love and social acceptance in the fun and energetic journey that is Grease.

The production’s first of many highlights was a gloriously enthusiastic rendition of Greased Lightning. The T-Birds and mechanics embraced the accompanying choreography, adding flare of their own. They combined dazzling acrobatics with simple rhythm, resulting in a number that had the actors genuinely enjoying themselves onstage and the audience cheering and singing along.

With powerful vocals and a touching stage presence, Danielle Hebert brought good girl Sandy to life. From her first notes in Summer Nights to her lament in Hopelessly Devoted to You, Hebert capitalized on her ability to display a wide range of emotion while performing vocally. Not to be outdone, James Thompson encapsulated bad boy Danny Zuko, employing strong acting chops, John Travolta-esque dance moves, and a confident singing voice. A true triple threat, Thompson stood out in Hand Jive, keeping up with Cha-Cha (Alicia Bellavance) in a complex and demanding dance number. Hebert and Thompson had remarkable chemistry, and by the time they were singing, You’re the One That I Want, the pair had truly become the 1950s lovebirds.

Stephanie Milks and Louise Mongeon did an impressive job with the hair and makeup, establishing the 1950s Rydell High School setting effortlessly by engineering each character’s specific look. Sandy’s transformation from good girl to “electrifying” leather-clad rocker was solidified by her striking newly teased hair. Though initially struggling to find the ideal microphone volume, the sound crew pulled through in the second act to favourably highlight the performers’ strong vocals.

Roger played by Rowen Tanguay (L), Patty Simcox played by Jessie Cullen (2ndFL), Doody played by Gabriel Sanchez (3rdFL), Sonny played by Christopher Chow (4thFL), Danny played by James Thompson (5thFL), Marty played by Hannah Cheslock (4thFR), Jan played by Emma Gibson (3rdFR), Kenickie played by David Macintyre (2ndFR), and Betty Rizzo played by Avrie Constantine Amey (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

Avrie Constantine Amey captured the rebel spirit of Betty Rizzo. Every moment she was on stage, Constantine Amey oozed confidence and sass, opening up only during her emotional performance of, There Are Worse Things I Could Do. While the leads carried the story, Constantine Amey stole the spotlight in every scene she led, while still knowing when to step back and let others shine. The contrast between her solos in the first and second acts indicated her prowess as both an actress and a vocalist.

It wasn’t only major characters who made this production a success. Adam Ffrench as Teen Angel brought a softness to “Beauty School Dropout”; his silky vocals and humble composure charmed both the audience and Frenchy, rendering his scene one of the most memorable of the night. Laetitia Kofi gave a fun and inspired performance of “Hand Jive”, holding her own against the crowd of dancers onstage and managing to do some jiving herself, despite wearing a gorgeous but restrictive pair of heels.

Unlike the car it’s devoted to, this production of Grease was far from systematic and automatic. The entire cast shared a love of the stage and of one another. The finale reprise of We Go Together added a genuine touch as the actors evidently sang to each other directly. The heart and passion played by each actor unified the cast and, for those two hours spent at Philemon Wright High School, “grease was the time, was the place, was the motion” of the night.

Megan Sweeney, Critic, Elmwood School.

Megan Sweeney

Critic, Elmwood School

High school is notorious for dramatic romances, envious rivals, and friendships that seem to grow with exposure to the real world. Rydell High School falls victim to all these ideas, harbouring edgy students who encounter barriers along their turbulent journey through their teenage years. With outstanding vocal and acting ability, Philemon Wright High School’s production of Grease stitched a new charm into the good-girl meets bad-boy classic.

The script for Grease is based upon the experiences of its author, Jim Jacobs, and his adolescent life in the late 1950s. Danny Zuko, the handsome, resident gang leader, has a passionate summer fling with the virtuous Sandy Dumbrowski. Sandy then enrols in Danny’s high school for their senior year, offsetting his defiant reputation and causing a rift in their relationship. Surrounded by a collection of colourful yet often vulgar friends, the students of Rydell High struggle to combine their lives and make the best of their youth.

Sandy (Danielle Hebert) and Danny (James Thompson) exuded teenage affection with impassioned, comedic chemistry. Hebert was an evident vocalist, with an impressive range that accompanied the sweet and wholesome demeanour of her innocent character. Thompson balanced Sandy’s naivety with a masculine rendition of Danny, convincingly expressing a tough-guy attitude with a soft spot for love.

Avrie Constantine Amey played Betty Rizzo, the resilient, sarcastic leader of the Pink Ladies clique of Rydell. Amey brilliantly executed the dry wit and unapologetic promiscuity of the female gang member, easily transitioning from Rizzo’s raw persona to the more vulnerable one seen during her pregnancy scare. Amey was amicably complemented by the performance of Emma Gibson as Jan, the jaunty Pink Lady with a love for food. Gibson embodied the goofy character with finesse; her singing and acting talent particularly evident in numbers such as Mooning with Jan’s love interest, the T-Bird gang member Roger (Rowen Tanguay).

Frenchy played by Vanessa Geldart (L), Jan played by Emma Gibson (2ndFL), Betty Rizzo played by Avrie Constantine Amey (2ndFR), and Marty played by Hannah Cheslock (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

The entire ensemble of the rugged T-Birds was overall strong in their amusing choral work. The enactment of Gabriel Sanchez as Doody was exceptionally striking, as Sanchez displayed his guitar skills and musicianship in highlight songs such as Those Magic Changes and Rock and Roll Party Queen.

Supporting the other roles with a memorable performance was Brendan Mailloux as Eugene, who personified the awkward, nerdy boy with humour and confidence.

The engaging choreography was done by Louise Mongeon, Sandra Girard and Phillip Holmes. They skilfully structured complicated songs with manageable dancing steps to produce dynamic, compelling numbers such as You’re The One That I Want.

Stephanie Milks and Louise Mongeon designed the mid-20th century inspired hair and makeup. A notable element included the temporary bangs and headscarves seen on members of the cast, emphasising the stylish time period.

The 1958 to 1960 graduating class of Rydell High School experienced both trials and triumphs throughout their senior year, dealing with the process of growing up in an unpredictable world. Philemon Wright shaped a superb version of Grease, combining staggering vocal power with a chorus energy that installed unique charm into the timeless classic.

Sarah Priscus, Critic, Mother Teresa Catholic High School.

Sarah Priscus

Critic, Mother Teresa High School

As the candy-coloured red and green lights rose on the stage of Philemon Wright High School’s effervescent production of Grease and a recognizable rock-n’-roll tune began to play, the audience was transported from a mild mid-April 2015 night to the bustling beginning of the 1959 school year.

Originally a 1971 staple stage musical by Jim Jacobs and Warren Casey, Grease is perhaps better known as the cult favourite 1978 film of the same name starring John Travolta and Olivia Newton John. Grease tells the story of the T-Birds and the Pink Ladies, working class students at Rydell High. The plot concerns Danny Zuko (James Thompson), the self-assured leader of the T-Birds, and Sandy Dumbrowski (Danielle Hebert), a sweet, somewhat naive girl, who had a summer fling that they believe is over. When school begins, however, they meet again as Sandy has transferred to Rydell, and the plot follows the misadventures of the senior class. Philemon Wright High School’s production channelled the recent 2007 Broadway revival by reducing some of the raunchy themes but retaining the heart and hilarity of the original.

Philemon Wright High School’s electrifying show featured a consistently charismatic ensemble cast, absolutely authentic-feeling friendships, and sparking, sunny songs.

As the over-confident but entirely charming Danny Zuko, James Thompson demonstrated an impressive range of emotions. Whether he was hiding behind a facade of hyper-masculinity or privately revealing his sensitivity in the song Sandy, Thompson was a powerful presence onstage. Danielle Hebert radiated innocence and gentleness as Sandy Dumbrowski. Her vocal abilities were unmatched, with her strong vibrato adding a professional quality to her solo songs. Avrie Constantine Amey’s performance as Betty Rizzo was very strong, and she managed to draw light to the self-consciousness behind the character’s sarcasm. David MacIntryre played Kenickie with conviction and admirable projection, and impressed especially in his more aggressive scenes.

Marty played by Hannah Cheslock (L), Jan played by Emma Gibson (2ndFL), Frenchy played by Vanessa Geldart (2ndFR), and Patty Simcox played by Jessie Cullen (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

The greaser T-Birds (Gabriel Sanchez, David MacIntryre, Rowen Tanguay, Christopher Chow, and James Thompson) and the Pink Ladies (Avrie Constantine Amey, Vanessa Geldart, Emma Gibson, and Hannah Cheslock) were important and extremely energetic additions to the cast. The Broadway-esque vocals of Rowen Tanguay, as Roger were highlighted particularly in the song “Mooning” with Emma Gibson as Jan, who herself was a quirky, clownish character. Vanessa Geldart as Frenchy was endearingly ditsy with fantastic comic timing. Brendan Mailloux as the nerdy Eugene and Jessie Cullen as the annoyingly over-enthusiastic Patty Simcox were both hilarious, and absolute audience favourites.

The stable, spirited performances onstage were aided by a solid backstage team. The lighting, by Alex Guimont, Cedrick Runbold, and Thomas Hamilton, added the perfect ambient balance to the production. From swirling lights around the audience to warm, dimmed lighting reminiscent of a sunset for evening scenes, every scene was lit in time. The stage crew was efficient and effective in transforming the stage swiftly to each unique setting. Sandra Girard, as the student choreographer of three songs, displayed great skill in creating accessible but still immensely entertaining dance numbers. The players of Grease, both onstage and offstage, worked in-sync to present a colourful, captivating retelling of a North American classic.

Philemon Wright High School’s vivacious and vibrant production of Grease demonstrated that even through class conflict, violence, and teenage pregnancy scares, friendship will always prevail.

Sonny played by Christopher Chow (L) and Frenchy played by Vanessa Geldart (R), during Philemon Wright High School’s Cappies production of Grease, held on April 16, 2015.

About the reviews

The production at Philemon Wright High School was reviewed by 30 critics representing 14 schools. The critic discussions were mentored by teacher Gwen Smid of Nepean High School and student reviews were edited and selected for publication by teacher Teresa Marquis of Elmwood School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Colonel By Secondary School’s production of To Kill a Mockingbird.

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.

The Laramie Project

Where: Longfields-Davidson Heights Secondary School

Director: Sarah Burgess

Sarah Priscus, Critic, Mother Teresa Catholic High School.

Sarah Priscus

Critic, Mother Teresa High School

The motto of many of the residents of small Wyoming municipality Laramie has been “live and let live” for years, but when the torture and murder of 21-year-old gay college student Matthew Shepard occurs just outside of town, Laramie confronts the idea that not doing anything isn’t doing enough. Longfields-Davidson Heights Secondary School’s poignant production of The Laramie Project captured the outrage and the indifference.

Dr. Cantway played by Alec Verch, during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

The Laramie Project, by Moisés Kaufman and the Tectonic Theater Project, takes apart the true story of Matthew Shepard’s 1998 murder by Aaron McKinney and Russell Henderson in October of 1998. Every line of dialogue was taken directly from interviews with residents of Laramie, journal entries, and news reports, and the show portrays real people in documentary style. First produced at the Ricketson Theater in Denver, Colorado in 2000, The Laramie Project has since received much critical acclaim and a 2002 film adaptation.

The Laramie Project featured 22 actors who took on more than 60 characters, some impressively balancing and differentiating between as many as seven different personalities onstage. The Laramie Project’s cast demonstrated incredible conviction, emotion and purpose in this passionate production.

As Rulon Stacey, the CEO of the local hospital, Kieran Bingham was remarkably realistic and convincing as delivered updates on Shepard’s condition. Madison Baines, as Romaine Patterson, a friend of Shepard’s, was sweet, steadfast, and comfortable onstage. Alec Verch played Jedadiah Schultz with a rawness that made his presence a notable one.

Kelsie Winsor as Reggie Fluty was devoted to her role and moved easily from extreme sadness to quiet comedy. Niki Galagedara was headstrong as Catherine Connelly. Huzaifa Mazhar’s performance as Dennis Shepard, Matthew’s father, was subdued but utterly affecting when discussing his son’s attitudes towards the death penalty. As Jonas Slonaker, Connor Prosty’s passion and projection was superb, and as Reverend Fred Phelps, Aaron Casey was terrifying. Ivan Ossa as Doc O’Connor added a touch of much-appreciated humour with his strong delivery of lines.

Stephen Belber played by Ivan Ossa (L), Moisés Kaufman played by Rhys Whale (2ndFL), Andy Paris played by Alec Verch (2ndFR), and Amanda Gronich played by Avery Ash (R), during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

Claire McCracken’s superior special effects brought The Laramie Project to another level. Effectively edited videos featuring archival footage of Matthew Shepard, and with skilful silhouettes projected onto panels, the effects added a documentary-style air to the show. The lighting crew expertly executed every cue, and used harsh, sharp spotlights to heighten the emotion onstage. The scene transitions, managed by Claire McCracken, were silent and choreographed to optimize organization and aesthetics. Despite a few mumbled lines, the cast and crew managed to create a tender, touching interpretation of true-life events.

Longfields-Davidson’s haunting The Laramie Project demonstrated that when a crime like this occurs, we all need to own it.

Joscelyn van der Veen, Critic, Bell High School.

Joscelyn van der Veen

Critic, Bell High School

Sadly, discrimination runs rampant in society. Race, class, and sexuality provide a plethora of opportunities for the impulsive or vindictive members of society to prey on those whom they perceive as different. With a moving performance of The Laramie Project, Longfields-Davidson Heights Secondary School captured the intense emotion and controversial viewpoints presented in this play.

In 1998, gay college student Matthew Shepard was found tied to a fence so badly beaten he was mistaken for a scarecrow. This terrible hate-crime sparked a debate throughout the United States, centering on homophobia, and almost overnight, the town of Laramie, Wyoming, where the crime occurred, became infamous. A month later, the Tectonic Theatee Project sent a team to Laramie where they conducted over 200 interviews with the townspeople to discover not only the truth about Matthew Shepard, but also the truth of a town where such an act could occur. The Laramie Project is a compendium of these interviews, spoken verbatim from the interviews with the people of Laramie.

Longfields-Davidson Heights’ rendition of The Laramie Project was precisely executed and intensely emotional. The actors moved through the many scene and character changes with purpose and gravity, always emphasizing the solemnity of the situations. While the sets were simple, consisting mainly of twenty small black boxes, the cast moved the boxes silently between every scene to flawlessly create a variety of settings. With the arrangement, and a good deal of imagination, the simple black boxes were transformed into anything from a bar, to a chair, to a platform.

Kristin Price played by Natasha Belovich, during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

Of the vast array of townspeople depicted in this play, most prominent were Romaine Patterson, played by Madison Baines, and Rulon Stacey, played by Kieran Bingham. Baines was heart-rending, with a tremble in her voice that clearly portrayed the horrific loss of a good friend. While Rulon Stacey originally appeared rather detached from the situation at hand, speaking as the CEO of the hospital where Matthew Shepard received emergency care, there was an enormous growth of character as Bingham was almost reduced to tears in a video and onstage.

A refreshing break from the depressing story, Doc O’Connor (Ivan Ossa) added a good dose of humour with his blunt descriptions of the events and his emphatic, and sometimes profane, utterances. On the other end of the spectrum, Huzaifa Mazhar, as Dennis Shepard, gave a moving speech deciding whether the man who killed his son would face the death penalty. He spoke with fatherly compassion and deeply underscored the intention of this play. Niki Galagedara was also very moving, portraying lesbian professor Catherine Connelly. Galagedara’s accent rarely wavered and her voice contained the pain of one often slighted by society.

The lighting and sound significantly underlined the mood of the scenes. While the actors’ faces were occasionally in shadow, the many spotlights admirably singled out the characters, never wavering as the characters gave their pieces of the story. The extraordinary number of scene transitions moved smoothly and silently, directed by stage manager Claire McCracken. The moving of the blocks was often choreographed, and the slow, deliberate movement to place the blocks accentuated the gravity of the scenes themselves.

With 22 actors to portray 72 characters, Longfields-Davidson Heights did a tremendously emotional and resonating performance of a very difficult play. While it seems that tragedies, such as that of Matthew Shepard, should never and could never occur, they are not rare. With any hope, wonderful performances such as The Laramie Project can draw attention to these catastrophes and, by exposing, end them.

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

Soren Wainio-Theberge

Lead Critic, Bell High School

What makes a person hate? Few people admit to bigotry and hatred, and often it takes a tragedy like Matthew Shepard’s to make us re-examine the deep-seated judgements and convictions that veil prejudice in even the best of us. Longfields-Davidson Heights Secondary School succeeded in this daunting task with their compelling production of The Laramie Project.

The Laramie Project was first performed at Denver’s Ricketson Theatee in 2000, and was compiled from interviews conducted by playwright Moisés Kaufman and his company; if the great German dramatist Bertolt Brecht were alive today, he would be writing plays like this one. With chilling documentary realism, it tells the story of Matthew Shepard, a 21-year-old gay student murdered in the small town of Laramie, Wyoming. Through Kaufman’s sympathetic lens, the play recounts Shepard’s horrific death, the ensuing media sensationalism, and the shock of a town that must try not to let itself be defined by tragedy.

Jedadiah Schultz played by Alec Verch, during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

Faced with challenging material and an enormous roster of characters, Longfields-Davidson Heights’ talented cast performed admirably, particularly in expressing the emotional tumult experienced by the community. For the cast who portrayed that community, the whole was greater than the sum of its parts. Many of the actors began their monologues from the audience in true Brechtian fashion, melding their voices and perspectives with those onstage to create an anguished cacophony, only to be silenced by a passionate pronouncement: “we are like this”.

Kieran Bingham exemplified the respectful treatment of character essential to The Laramie Project. Uniquely among the cast, he portrayed hospital CEO Rulon Stacey with quiet gravitas, an emotional intensity that never bordered on caricature or exaggeration. In contrast, Madison Baines was appropriately fiery as Romaine Patterson, Shepard’s diffident-friend-turned-outspoken-lesbian-activist protesting the arrival of Westboro Baptist Church minister Fred Phelps.

As Sergeant Hing, Connor Prosty was tasked with introducing the town with one of the first monologues of the show. With a southern accent and proud, assertive demeanour, he exemplified how “live and let live” can turn into “don’t ask, don’t tell”. Ivan Ossa brought much-needed respite from solemnity with the character of Doc O’Connor, a driver with a multitude of charmingly profane mannerisms. However, Ossa revealed a more nuanced understanding of his character, showing surprising wisdom as he delivered one of the most touching lines in the piece: “The whole thing, you see, the whole thing, ropes around hope: H-O-P-E”.

Actors’ faces were occasionally shadowed while in the spotlight, but the lighting crew made up for it with thoughtful artistic touches, including coloured washes along the back wall that emphasized mood. The dominant colour scheme of the play — red, white, and blue — was mirrored in the cast’s accessories, putting a darkly ironic twist on the colours of the American flag. These accessories also reflected each character’s personality – red signifying a strong, passionate voice, for example. The stage crew was silent during scene transitions, which involved moving and stacking the relatively simple set of wooden drama blocks to create the different spaces in the play.

There is an extraordinary difficulty in presenting a play that is not so much dramatic as tragic by nature. And when the source of the story cost the town of Laramie so dearly, it takes extraordinary care and thought not to cheapen it. Longfields-Davidson Heights Secondary School triumphed in their presentation of The Laramie Project, with a respectful treatment that told Matthew Shepard’s story with all its sadness, but never forgot the essential element: hope.

Meghan Clarke, Critic, Mother Teresa Catholic High School.

Meghan Clarke

Critic, Mother Teresa High School

“We are like this.” Longfields-Davidson Heights Secondary School’s The Laramie Project skilfully portrayed a small town dealing with the consequences and emotions of a brutal hate crime committed in a tiny town who’s unofficial motto seems to be, “live and let live”.

The Laramie Project written by Moisés Kaufman and other members of the Tectonic Theater Project, centres around the brutal killing of Matthew Shepard, a gay University of Wyoming student who was horrifically beaten on the outskirts of Laramie, Wyoming on October sixth, nineteen ninety-eight, and died six days later. The Laramie Project script is based on interviews the Tectonic Theatre Company had with the people of Laramie in the aftermath, the experiences they had while they were in Laramie, and the voice of the national media.

With a cast of 22 playing a total of 72 characters, the acting skills of the entire cast were on full display, as they expertly delivered lines that were emotional heart-breakers, funny, and controversial. With a minimalist approach to sets and costumes, Longfields-Davidson Heights Secondary School’s Cast’s The Laramie Project had no distractions from their superb portrayal of emotionally complex and difficult-to-play characters, all while being heard loud and clear across the theatre without the aid of microphones.

Fred Phelps played by Aaron Casey (L), Students played by Stephanie Goran (L), Rebecca Nicholson (2ndFL), Aislyn Ives (3rdFL), Ivan Ossa (2ndFR), and Madison Baines (R), during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

Madison Baines portrayed Romaine Patterson who was a close friend of Matthew Shepard’s. Baines was convincing in her role, appearing almost in tears many times over when speaking about the death of Matthew. Baines’ animated facial expressions allowed for full view of her anger as her character went toe to toe with a homophobic preacher, and her excellent voice projection allowed her to be heard through the theatre. Kieran Bingham, who portrayed Rulon Stacey (the CEO of the hospital where Mathew Shepard spent his final days), excelled not only on stage, but in recorded segments played on screen. Bingham’s mannerisms, both on screen and on stage, from the wringing of his hands to his almost-stutter, captured the nervousness of Stacey in the middle of a public relations storm.

Alec Verch (portraying Jedediah Schultz) was captivating in his facial expressions and emotion-filled voice. Huzaifa Mazhar (portraying Dennis Shepherd) delivered a flawless monologue filled with emotion. Ivan Ossa (Portraying Doc O’Connor) brought humour to the play through his line delivery and body language. Maude Vandenberg (the narrator) delivered her lines loud, crisp and clear without distracting from the characters.

Longfields-Davidson Heights Secondary School’s The Laramie Project lighting crew pulled off a spectacular show executing over 117 lighting cues from well-timed spotlights to colour that covered the entire stage. The set, comprised entirely of 20 theatre boxes, kept all of the attention focused on the actors and the storyline. The moving of the theatre boxes was silent at each and every set change as the cast moved the boxes under the direction of Claire McCracken (stage manager).

Longfields-Davidson Heights Secondary School’s The Laramie Project featured no shortage of competent cast members who could project their voices, deliver emotional and difficult lines, and execute set changes silently. Longfields-Davidson Heights Secondary School delivered an emotionally charged show that was relatable, believable and overwhelmingly excellent.

Julianna Weldon, Critic, St. Paul Catholic High School.

Julianna Weldon

Critic, St. Paul High School

Welcome to Laramie, Wyoming, where you can breathe the fresh air and almost taste the homegrown passive-aggressive tolerance. This town loves everyone, a completely accepting community, so long as you don’t bother anyone with any public displays of affection. Longfields-Davidson Heights Secondary School brought this small town to life, with a minimalist set that brought attention to the phenomenal actors and actresses.

After college student Matthew Shepard was violently beaten for being gay in October of 1998, a theatre group called Tectonic Theater interviewed the town. Tectonic Theatee took these interviews and formed them into The Laramie Project, performing it for the first time in 2000. Filled with violence, prejudice and betrayal, this play is hard to swallow; yet the students gave a strong performance that was rife with emotion.

With 72 characters portrayed by 22 cast members, it was astounding how easily each actor switched between multiple roles. The costumes were cleverly minimalist to allow each actor to switch between roles seamlessly, as simple as changing a jacket, putting on a button or hat. The set was made up of black wooden boxes, which were moved around to create platforms, bars, chairs or pews, depending on the scene.

While the overall tone of the play was solemn and serious, Ivan Ossa brought levity to it with his roles as Doc O’Connor, Matt Galloway and Stephen Belber. The gravity of the situation was lessened by his light-hearted personality, which shone through each of his characters. Alec Verch’s booming voice was remarkable through all of his roles, especially as the Mormon evangelist Doug Laws and the college student Jedediah Schultz. As Jedediah, Verch proved his adaptability as an actor as he went from a self-centred college student to a politically aware person, with genuine facial expressions that added to the character.

Madison Baines played Romaine, Matthew Shepard’s best friend and long-time confidante. Her heartfelt interview about Matt’s bubbling personality was bittersweet and heart warming. Her development from a girl who lost her best friend, to an angry lesbian hell-bent on changing the world, was moving. Her frantic motions and her voice transforming from a shy heartbreak to an impassioned yell brought depth to a difficult character.

Waitress played by Yianna Georgopoulos (L), Stephen Belber played by Ivan Ossa (2ndFL), and Shannon played by Victoria Ricciardelli (R), during Longfields Davidson Heights Secondary School’s Cappies production of The Laramie Project, held on April 14th, 2015.

Jacob Larose, the head technician of the play, revealed his technical prowess with an ever-changing lighting set-up. The dramatic spotlights on each character during the scenes complemented the backlit stage during scene changes where one could see the silhouette of characters only, giving an aspect of anonymity to the townspeople.

The most important part of the play, however, was how human it was. The people who could have been more tolerant weren’t cast as the bad guys; they were sincere human characters with faults of their own, which was eventually overcome by tragedy. After so much denial, the town realizes that it is like that there, and they work to change themselves from LGBT tolerance, to acceptance.

About the reviews

The production at Longfields-Davidson Heights Secondary School was reviewed by 25 critics representing 9 schools. The critic discussions were mentored by teacher Tracy Noon of John McCrae Secondary School and student reviews were edited and selected for publication by teacher Natalie Simard of Cairine Wilson Secondary School, who could see only the reviews, not the names or schools of the reviewers.

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

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.

To Kill a Mockingbird

Where: Colonel By Secondary School

Director: Dan Wright

Hanna Colbert

Hanna Colbert

Lead Critic, All Saints High School

Welcome to mid-1930 Maycomb, Alabama: the summers were hotter, the rumours were thicker and somewhere along a dusty old street, a six-year-old tomboy and her brother were trying to make Boo Radley come out.

It’s been 55 years since Harper Lee’s beloved novel first appeared, yet somehow To Kill a Mockingbird hasn’t lost its relevance. In a stage production brimming with emotion, candour, and razor-sharp clarity, Colonel By Secondary School brought the compelling Southern tale to life.

To Kill a Mockingbird is a modern classic. Set in the American south in the midst of Jim Crow segregation, it follows six-year-old Scout Finch’s exposure to the subtle bigotry and rampant racism of her town. When her lawyer father Atticus is called upon to defend Tom Robinson, a Negro man accused of assaulting a white woman, it takes all of Scout’s ingenuity – and some guidance from those around her – to come to terms with some of humanity’s most misguided ways.

Tom Robinson played by Amaru Andia-Rodriguez (L), Atticus Finch played by Henry Wells (2ndFL), and Horace Gilmer played by Francis Baccin-Smith (R), during Colonel By Secondary School’s Cappies production of To Kill A Mockingbird, held on April 17, 2015, in Ottawa.

A standout feature of Colonel By’s production was its authenticity. Chemistry between characters was wholly believable, conveying everything from extreme tension to all the normal exchanges typical of small-town life. Costumes and makeup were seamless across the spectrum of young and old roles, and technological aspects like sound, lighting and sets were executed impressively. Regardless of role size or type, powerful performances were consistently delivered true-to-form.

As Scout, Mikayla Boulé gave an endearing and convincing performance, communicating appropriate amounts of naïveté and childlike energy. Her adult counterpart, Jean Louise Finch, was pensively played by Katrina Parsche. Henry Wells breathed life into the noble Atticus Finch.

Alessandro Vatieri as Jem and Gabriel Kronfeld as Dill both gave first-rate performances, furnishing an easy blend of humour and juvenile curiosity. Kika Otiono infused magnificent sass into the characteristic wisecracks of Calpurnia, the Finch’s maid, and Amaru Andia-Rodriguez delivered a hair-raising performance as Tom Robinson.

Matthew McGuire did a terrific job of adopting the required villainy of malicious town figure Bob Ewell. As his daughter Mayella Ewell, Molly Wilkes gave a convincing portrayal of a woman trapped in the recesses of a flawed political system.

Gorgeous foliage bordered the well-designed meticulous sets. The stage crew did a laudable job of manoeuvring various objects around and the beautifully toned lighting coloured each scene-specific. The sound elements – both ambient and dialogue-required – were well balanced.

Fumi Shibutani, Critic, Elmwood School.

Fumi Shibutani

Critic, Elmwood School

It is the Great Depression when racism and stereotyping run rampant in the small town of Maycomb, Alabama. Pretty houses lined with white picket fences give the illusion of quaintness, concealing the realities of racial prejudice. Colonel By Secondary School’s heartfelt delivery of To Kill A Mockingbird, adapted for performance by Christopher Sergel, took a step back in the past into a world of southern accents and discrimination.

Jean Louise “Scout” Finch finds herself recalling memories of summer days spent with her brother Jem and their companion Dill. Re-experiencing the bliss of childhood freedom, her innocence is shattered when her father Atticus agrees to defend Tom Robinson, a black man accused of raping a white girl. The trial and its subsequent events throw Scout into a world of racial inequality, stripping her of her innocence while teaching her lessons of courage and compassion along the way.

The talented cast expertly expressed the social tensions associated with racial division. Using various spaces including the floor between seats they created an intimate atmosphere that garnered audience engagement with the plot.

Atticus Finch played by Henry Wells (L) and Scout Finch played by Mikayla Boulé, during Colonel By Secondary School’s Cappies production of To Kill A Mockingbird, held on April 17, 2015, in Ottawa.

Leading the story was Atticus Finch (Henry Wells), who shone as a compassionate and fatherly middle-aged lawyer. Wells produced a refined interpretation of Atticus, expressing passion in the courthouse and a paternal quality at home. His strong performance was further enhanced by small nuances such as adjusting his tie and eyeglasses. His daughter Scout (Mikayla Boulé) effortlessly played the role of a young naive girl. Her child-like mannerisms, eager hand gestures and charming nature captured the essence of innocence. Always in character, Boulé’s versatility displayed a range of emotions seamlessly transitioning from excitement to dismay. Her relationship with her brother Jem (Alessandro Vatieri) was believable and was supplemented by Vatieri’s caring persona.

Other standouts were Amaru Andia-Rodriguez and Kiko Otiono, who shone with their genuine southern accents, playing the roles of Tom Robinson and Calpurnia, the Finches’ maid, respectively. Andia-Rodriguez’s courthouse speech was saturated with emotion; his genuine delivery complemented by his submissive body language. On the other hand, Otiono’s interpretation of the impatient Calpurnia brought laughs with her yelling and physical altercations with the children. With a few socks to the head here and a slap to the bum there, Calpurnia’s sassy attitude underlined with motherly tones created a likeable character.

The set remained true to the time period with pastel-coloured houses lined with flowers. Detailed trees painted in the background along with the creaking of the porch and hanging tire swing, created a rustic feel.

Sound added to the overall atmosphere of the play, ranging from the pants of a savage dog to the bang of a gun. Lighting was generally well executed with the exception of a few shaky spotlights; however this was quickly overshadowed with the excellent lighting during the choreographed fight scene. The young cast was successfully transformed into a plethora of characters ranging from young children to elderly seniors by the hair and makeup team.

Tackling an emotionally charged play with energy and grace, Colonel By Secondary School’s performance of To Kill a Mockingbird brought Harper Lee’s beloved characters to life. Throughout the evening, the audience, along with Scout, learned of the realities of racism and prejudice in Maycomb, Alabama.

Ally Montminy, Critic, St. Joseph Catholic High School.

Ally Montminy

Critic, St. Joseph High School

Colonel By Secondary School’s production of To Kill a Mockingbird was imbued with childlike fantasy overshadowed by the crushing reality of racial prejudice in America during the time known as the Dirty Thirties. With realistic costumes and sets, the story came alive on the high school’s stage.

To Kill a Mockingbird by Harper Lee was published in the summer of 1960 and later dramatized by Cristopher Sergel in 1990. Set in the fictional town of Maycomb, Alabama, during the 1930s, the play is told through the eyes of a young girl named Scout Finch. Her father, a lawyer named Atticus, is chosen to defend Tom Robinson, a black man who was wrongfully accused of raping a white woman. This coming of age story chronicles Tom Robinson’s trial, as well as the childhood antics of Scout, her brother Jem, and their friend Dill as they try to coerce the mysterious Boo Radley out of his house.

The production’s sets were beautifully painted with close attention to detail. Set design even went so far as to include a small bird’s nest in the tree outside of the Radley’s house. The costumes, which were for the most part historically accurate, gave the play a rustic, Dirty Thirties feel. The cast used every part of the auditorium as their stage, in two instances using the centre aisle to exit. The props were very realistic to the point where Bob Ewell came onstage whittling a stick with an actual pocketknife.

Mikayla Boulé’s portrayal of Scout Finch was impressive considering the age gap between actor and character. Boulé never broke character, and did well in infusing her performance with a childlike essence. Henry Wells, who played Atticus Finch, had a presence about him that made him seem much older than any high school student. His speech during the trial scene exuded passion and was quite powerful.

Atticus Finch played by Henry Wells (L) and Scout Finch played by Mikayla Boulé, during Colonel By Secondary School‚Äôs Cappies production of To Kill A Mockingbird, held on April 17, 2015.

Matthew McGuire did an excellent job as the slimy character Bob Ewell. With his slicked back hair, makeup, and the way in which he sneered, he brought his character to life. He thrived in the trial scene, constantly glaring at his daughter Mayella or jeering at Atticus. Calpurnia, played by Kika Otiono, was very sassy and entertaining. Her interactions with the children were especially comedic.

There were some slip-ups with lighting, but the tech team made up for this with their creativity. Their choice of background lighting was subtle and pleasant, helping to accentuate the lovely sets. The orchestration of the lighting during the fight scene between Boo Radley and Bob Ewell was splendid. Their choice of red background lighting – interrupted by shots of white light – created a tense atmosphere.

Colonel By Secondary School did a good job with their production of To Kill a Mockingbird. Their interesting artistic choices with lighting and set helped set the backdrop for the play, while the actors helped to bring the story to life.

Katelyn O’Reilly, Critic, St. Peter Catholic High School.

Katelyn O’Reilly

Critic, St. Peter High School

Alabama’s Maycomb County, in the iconic novel To Kill A Mockingbird, is anything but sleepy as author Harper Lee tells the dramatic story of a family enduring the consequences and indecencies of harsh racism and bitter stereotyping.

Set in the early 1930s, siblings Scout and Jem Finch, accompanied by their friend Dill, spend most of their time discussing their mysterious neighbour Boo Radley, being shamed by their neighbour Mrs. Dubose, or witnessing the killing of a mad dog. Although, this summer, Scout and Jem’s father Atticus, a successful lawyer, takes a case defending a crippled black man, Tom Robinson. As the trial approaches, the Finch family comes face to face with the many prejudiced minds of their town.

The youth and innocence of the lead role Scout Finch was captured impeccably by 11th-grader Mikayla Boulé. Mikayla, with the help of an outstanding costume team (led by Emma Park), flawlessly transformed into curious, young and precocious Scout. Boulé’s remarkable commitment to her character was thoroughly expressed through her convincing facial expressions. She gave a notable and authentically childlike performance as she witnessed the madness unfold in the courtroom.

Another striking performance was that of Amaru Andia-Rodriguez as the timid Tom Robinson. Amaru, even with limited stage time, left an amazing impression. Not only did he impeccably embody Tom’s hesitant and reserved personality, but Amaru, when needed, used his powerful voice to his advantage as he exceptionally captured the emotion and tension in the courtroom.

Not only did the cast do an outstanding job of bringing this classic to life, but also the arrangement and quality of the set wonderfully illustrated the mood and era of the play. The set design team, led by Leah Grundison, did a fabulous job recreating the main street. The crew impressively incorporated all of the vital elements into the restricted space without making it seem crowded. The actual tire swing and realistic plants added authenticity to the actors’ movements. In addition, the beautifully painted set was also very versatile for scenes taking place in the courtroom or outside.

The lighting used throughout the performance was also a commendable asset. With multicoloured lights illuminating the backdrop, the August night landscape was perfectly moulded. While the spotlight was at times shaky and misplaced, the crew made up for it with an outstanding effect in the climactic fight piece. The use of intense red and black lights was ideal in captivating the suspense in the powerful scene.

Ultimately Colonel By Secondary School did a fantastic job transporting the audience back to the intolerance of Alabama in the early 1930s. With meticulous planning and countless rehearsals, the team gave an enjoyable, electrifying and emotional performance.

Julia Bernard, Critic, St. Joseph Catholic High School.

Julia Bernard

Critic, St. Joseph High School

In this tale of innocence, prejudice, small town quirkiness, and the crippling effect of the Great Depression, three children learn the depth of racism and the importance of empathy. In Colonel By Secondary School’s production of To Kill a Mockingbird, the revered novel by Harper Lee adapted for the stage by Christopher Sergel, the plea for equality is told through innocent eyes.

Set in Maycomb, Alabama, where the gossip spreads quicker than the brush fires, the trial of a black man, Tom Robinson, accused of assaulting a white woman, is raging on. It is up to Atticus Finch to acquit this innocent man, but in a town of gossips, a recluse, and a cranky old woman, this proves to be harder than anticipated. Atticus is fighting not just the town, but also many years of systematic oppression and racism. Can empathy open up the eyes of this town or is it too late for Tom?

Through an introspective narration by an older Jean Louise Finch (Katrina Parsche), the lives of young Scout Finch (Mikayla Boulé) and Jem Finch (Alessandro Vatieri) accompanied by their lying, but oddly charming best friend, Dill (Gabriel Kronfeld) unfold during this trying time. Exposed to their first dose of racial inequality, the children take that first step from innocence to adulthood. Played with a tremendous amount of energy, the essence of youth and innocence was embodied perfectly, with just the right amount of comedy to lighten the mood.

The children do not just lark about; they are kept in line by Calpurnia (Kika Otiono), their mother figure, who is never hesitant about letting the children know when they are out of line. Atticus (Henry Wells) uses his intelligence to help open up the children’s minds to the importance of viewing a situation from someone else’s point of view. Through both the strength with which they delivered their lines and their physicality, Kika and Henry demanded respect and commanded authority.

Scout Finch played by Mikayla Boulé, and Atticus Finch played by Henry Wells (R), during Colonel By Secondary School‚Äôs Cappies production of To Kill A Mockingbird, held on April 17, 2015.

The background characters added a real dimension to the portrayal of this era. Costumes fit the time period well, with floral dresses for the women and straw hats for the farm workers. However, some of the details lacked authenticity. From the side parts to the pin curls and subtle era-appropriate makeup, the details presented by the hair and makeup department were spectacular.

The backdrop to these spectacular performances was a colourful yet rustic impressionistic set that served as both the romping ground for the children as well as the tense courtroom. Various levels were used to create a dynamic set. Although these immense set pieces created some noise while being moved, the complexity of the set negated any fault. The technical crew hit their mark on sound; never once missing a cue and keeping the sound balanced enough to hear the actors, despite them not using microphones. Notwithstanding some spotlight issues, the lighting was an overall success, especially when it came to the backlighting of the American flag in the courtroom, which was an extremely important detail.

Taking on the daunting task of putting on a controversial and well-loved play, Colonel By Secondary School came through with their adaption of To Kill a Mockingbird.

About the reviews

The production at Colonel By Secondary School was reviewed by 32 critics representing 9 schools. The critic discussions were mentored by teacher Richard Scott of St. Peter High School and student reviews were edited and selected for publication by teacher Brent Rouleau of Glebe High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Brookfield High School’s production of Play On!

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.

Play On!

Where: Brookfield High School

Director: Marsha Penfold

Hannah Leistle

Hannah Leistle

Critic, Lisgar Collegiate Institute

As anyone who has been involved in community theatre will know, there are many bumps along the road to opening night. Actors forgetting their lines, last-minute script changes, a malfunctioning curtain – all of this and more was carried out hilariously by the cast of Brookfield High School in their production Play On!

Written by Rick Abbot, Play On! tells the story of a struggling bunch of actors and their beleaguered director, who must try to prepare her team for the opening night of their play, Murder Most Foul, while fending off the overbearing author of their play.

Of course, Brookfield High School’s cast faced none of the problems their characters did. Every sound effect was delivered on time; not one actor stumbled or forgot their lines; and their excellent comedic timing had the audience shrieking with laughter.

Many of Brookfield’s actors had to portray two roles, meaning a character for Murder Most Foul and the actor playing that character. The actors did very well developing a unique personality for both. It was always clear which one they were portraying at any given time.

Dilan Rasool shone as Geraldine “Gerry” Dunbar, the long-suffering director of Murder Most Foul. The mounting exasperation she felt as the play went on was evident whenever Rasool’s voice would scream threats to her team from the audience. She also managed to portray her character’s affection for the cast and crew, in her believable and touching interactions with the stage director and several actors.

While Rasool’s character was caring but overtly surly, Zeinab Abugrga’s Phyllis Montague was anything but. Abugrga’s performance as the flamboyant playwright had the audience clutching their sides as she swaggered about on stage, commandeering the actors and protesting any little change to the script with shrill gasps of outrage.

Another actor that had the audience shaking with mirth was Reshad Islam, portraying both the actor Saul Watson and his character, Dr. Rex Forbes. Islam as Saul was both authentic and hilarious with his perfect comedic timing and subtle mannerisms, such as discreetly pouring alcohol into his coffee from a flask, or smoking a pipe upside-down as the alcohol took effect.

All in all, Brookfield’s production of Play On! was a hilarious, witty imitation of theatre life.

Mary Li, Critic, Bell High School.

Mary Li

Critic, Bell High School

Putting on a play is a difficult task. After all, one has to deal with petulant actors, the looming approach of opening night, and egocentric playwrights rewriting the script. Brookfield High School masterfully performed a community theatre’s abysmal production in their solid rendition of Play On!

Written by Jack Sharkey under the pseudonym Rick Abbot in 1980, the play depicts the rehearsal of a play, Murder Most Foul, which local playwright Phyllis Montague (Zeinab Abugrga) has offered to the theatre free of charge. With only a few nights before opening night, the cast members have yet to learn the third act, and to add to the difficulties faced by director Gerry Dunbar (Dilan Rasool), Phyllis continuously makes alterations to the script. Despite Gerry’s best efforts, their rehearsals are fraught with chaos and confusion and their first performance doesn’t fare much better.

Violet Imbry (“Diana Lassiter”) played by Nawal Shooman (L), Billy Carewe (“Stephen Sellers”) played by Alessandro Reyes (M), Saul Watson (“Dr. Rex Forbes”) played by Reshad Islam (R), during Brookfield High School’s Cappies production of “Play On!”

The nesting of a play within the play necessitated many cast members to adopt two different personas. These second characters were ably portrayed, with a balanced difference and similarity between primary and secondary personalities. The stage was used in a creative manner to recreate the atmosphere of a rehearsal, with actors speaking from the pit, the wings, and even from the seats of the auditorium. This unconventional staging meant that actors were often not visible to the audience, yet strong projection and clarity when delivering their lines minimized the audience’s auditory difficulties.

Rasool competently captured the various aspects of Gerry’s personality, providing contrasting manners of menace and reassurance as she threatened to kill anyone who blundered, then encouraged them before opening night. Being the director, she spent the majority of her time sitting in a seat in the auditorium, but despite not being visible to a large portion of the audience, she continued to nod in approval and think in reaction to the actions on stage as a director would at a rehearsal. When she was onstage, her facial expressions clearly demonstrated Gerry’s sentiments.

Nawal Shooman excelled in her portrayal of actress Violet Imbry. By changing her accent and personality, Shooman provided clear differentiation between Violet and Violet’s character in Murder Most Foul. Her facial expressions, such as her outrage when called a big zit, were masterful, and her depiction of Violet’s difficulty pronouncing the words in her script was comically exaggerated. Comedy was also provided by Greg Newton’s excellent portrayal as droll Henry Benish. Newton greatly enhanced the hilarity of the disastrous performance of Murder Most Foul with Henry’s improvisations as the other characters forgot their lines, including adopting a falsetto female voice when his wife forgets her line and then replying to himself in his own voice.

(From left to right) Aggie Manville played by Alexandra Elves, Billy Carewe (“Stephen Sellers”) played by Alessandro Reyes, Violet Imbry (“Diana Lassiter”) played by Nawal Shooman, Polly Benish (“Lady Margarat”) played by Stephanie Said, Henry Benish (“Lord Dudley”) played by Gregory Newton, Phyllis Montague played by Zeinab Abugrga, during Brookfield High School’s Cappies production of “Play On!”

With the director acting from the pit, the technician and stage manager from the wings, and the playwright from the audience, the staging created the illusion of an actual rehearsal. The costumes were simple but suited to the character; sweatpants were worn by Smitty the student, while a vibrant red scarf and green shirt were worn by Phyllis the flamboyant playwright. Greg Newton was elegantly aged by the makeup team with grey hair and wrinkles that appeared natural and realistic.

Any theatrical production is replete with stumbles and mishaps, and Play On! converts these stressful moments into amusement. From rehearsal to curtain call, Brookfield High School admirably captured the reality of preparing a play, creating an uproarious experience.

Madeleine Klebanoff O’Brien, Critic, Elmwood School.

Madeleine Klebanoff O’Brien

Critic, Elmwood School

When a small theatre company accepts a script, royalty-free, they can’t believe their luck. . . until they discover it comes with the author attached. Brookfield High School presented Play On!, a hilarious farce about an actor’s worst nightmare.

Play On! written in 1980 by Rick Abbot, chronicles the struggle of a community theatre at the hands of Phyllis Montague, an indecisive, eccentric and imperious author. The theatre group is attempting to put on Murder Most Foul, yet Phyllis continually revises the script. Struggling to memorize their lines, the theatre group endures a cavalcade of hilarious mishaps, culminating in a disastrous opening night.

The cast of Brookfield High School’s Play On! tackled fast-paced comedic dialogue with competency while producing an amusingly realistic reflection of rehearsal dynamics. The cast dealt admirably with the repetitive nature of a rehearsal, varying blocking and accentuating the differences between each run of the play within a play. The rollicking third act was a performance of Murder Most Foul, in which the cast united to produce a thoroughly hilarious, ridiculous and farcical wreck.

Henry Benish (“Lord Dudley”) played by Gregory Newton (L), Violet Imbry (“Diana Lassiter”) played by Nawal Shooman (R), during Brookfield High School’s Cappies production of “Play On!”

The hectic action extended to all available spaces, namely the aisles, seats, pit and backstage. The set itself was an eclectic interior space, sturdy, yet successfully reflecting the budget of a community theatre. Lighting and sound were executed excellently, especially considering there were numerous sound cues, all responsive to dialogue. Costuming and makeup was modern and appropriate to character, particularly for the playwright, with her bright scarves, hats and eye shadow.

Zeinab Abugrga played Phyllis Montague with consistent, vibrant eccentricity. Effervescent and quirky, she strutted about with an air of mature entitlement. Abugrga maintained her character’s amusing peculiarities: always waiting to be helped on stage, trying to be composed in the face of perpetual confusion, and swinging her handbag around on dangerous trajectories. Dilan Rasool, in her role as the director of Murder Most Foul, demonstrated her irritation with the flamboyant playwright, often physically escorting Phyllis offstage.

Greg Newton played Henry Benish, a middle-aged actor. His actions were refreshingly realistic. He adopted a conservative yet captivating persona. Newton often broke his demure shell, letting through rays of comedic talent in amusing inflections or gestures. His comportment was hilariously awkward, and he shone when butchering the lines of the play within the play. Mekarim Elmekki played Smitty, a teenage actress, with clear diction. She elicited laughter with each of her character’s misplaced entrances, exasperated glances or sarcastic comments.

The cast of Brookfield High School effectively navigated numerous comedic cues. It has never been so much fun watching a “flop”!

Hannah Ferguson, Critic, Woodroffe High School.

Hannah Ferguson

Critic, Woodroffe High School

Play On! follows a community theatre’s efforts to put on the play Murder Most Foul, an Agatha Christie-type whodunit, while dealing with an extravagant playwright’s constant rewrites and the cast’s antics. As opening night approaches, they struggle to pull together to comedic effect.

Written by Rick Abbot in 1980, Play On! rings true for anyone who’s been involved in a theatre production during the final week of rehearsals, capturing the chaos as well as the alternating tension and camaraderie between the cast and crew.

Brookfield High School’s boisterous production of Play On! was anchored by a strong ensemble, as well as some hilarious physical comedy. The cast had excellent chemistry, and the interactions between the actors, whether just in the background or centre stage, were amusing and realistic to watch. They had no microphones, which at some points during the play made it hard to hear what certain actors were saying, but the cast handled it well overall. The performance of the play-within-a-play, Murder Most Foul, was hysterical and the strongest part of the production. The cast playing actors messing up, improvising and then trying to recover and get back on track, was a complex choreography of chaos, perfectly executed.

Henry Benish (“Lord Dudley”) played by Gregory Newton (L), Violet Imbry (“Diana Lassiter”) played by Nawal Shooman, during Brookfield High School’s Cappies production of “Play On!”

Dilan Rasool, as Geraldine “Gerry” Dunbar, conveyed well the exasperation of a director with only a couple of days left until opening night. Her portrayal of both the tense, tired side, and the supportive, comforting side of a director rang true.

The flamboyant role of Phyllis Montague, the ridiculous playwright, was played with panache by Zeinab Abugrga. She had excellent comic timing, and one scene in which she walks through the performance to deliver an essential prop prompted a particularly huge laugh from the audience. Greg Newton as Henry Benish, an awkward middle-aged actor continuously comforting his wife (played comically by Stephanie Said), shone during the performance of Murder Most Foul. His display of physical comedy was especially funny. Though Louise Peary, the stage technician, played by Adesia Destouche, was often offstage, Destouche made sure she was heard. Her excellent projection ensured her hilarious delivery could be heard even from the wings.

The attention to detail in the sets was admirable, with the bookshelves full, a liquor cabinet at the ready, and an old-fashioned telephone. The multiple entrances allowed for dynamic use of the set, which the actors took full advantage of, occupying both the stage and the auditorium. The lighting was efficient, and the comic nature of the disastrous play-within-a-play allowed them to have some fun, such as dimming the lights all the way at the wrong time during an important scene.

Brookfield High School’s production of Play On! was a spirited look at the stressful physical comedy.

Eric McGlashan, Critic, St. Patrick’s Catholic High School.

Critic, St. Patrick’s High School

Orchestrating a play is a difficult task, whether onstage, in the wings, or, heaven forbid, in the director’s seat. Brookfield’s production of Play On! was a realistic but comedic portrayal of the chaotic process that characterizes the theatre: vibrant characters, timely lines and well-placed physical humour.

This modern era farce by Rick Abbot follows a local theatre group that is performing a familiarly named mystery piece called Murder Most Foul from a first-time local playwright. The group must face a plethora of complications in their practices and up to opening night, as the writer constantly edits the script. Internal conflict and memorization problems are added to the mix, resulting in a disastrous performance full of ridiculous improvisation.

A unique part of the show was the use of the entire auditorium, as characters shouted at each other from the wings and the playwright joined the audience for the play-within-a-play’s opening night. The actors were mostly audible while onstage, but at times their well-memorized lines were lost in laughter or too rushed. Their practice was demonstrated in a sequence of purposely fast-paced lines after their in-show director Gerry Dunbar threatened their lives in a burst of anger.

(From left to right) Geraldine “Gerry” Dunbar played by Dilan Rasool, Louise Peary played by Adesia Destouche, Henry Benish (“Lord Dudley”) played by Gregory Newton, Phyllis Montague played by Zeinab Abugrga, during Brookfield High School’s Cappies production of “Play On!”

The director, played by Dilan Rasool, attempted to bring order to the mess that the production was becoming during rehearsals. Rasool captured the air of a short-tempered but helpful director, as she transitioned well from death threats to apologies as her character dealt with issues. She also spent a lot of time in the orchestra pit of the stage and among the audience for the acts that involved a rehearsal, expertly acting as if no one was in the seats except for her.

While Rasool was the force of reason and control, the opposite was brought on by the eccentric playwright Phyllis Montague (Zeinab Abugrga), who naively and repeatedly intervened with the cast’s practices at the worst moments. Abugrga’s dramatic singsong voice was accompanied by a variety of gestures and a signature “Yoo hoo!” at each entrance, making her presence known to the characters and the audience.

The sarcastic actor Saul Watson (Reshad Islam) who played the villainous doctor Rex Forbes was the source of many of the internal struggles with his crude remarks. An especially memorable performance was given by Adesia Destouche, who portrayed the sassy stage technician Louise Peary. Destouche stole the stage in her few appearances, particularly with a furious outburst after her soundboard was tampered with.

Well-chosen costumes and good lighting completed the show, letting each cast member show their distinct character, or characters in the case of the in-play actors. The play-within-a-play may not have gone as planned, but Brookfield’s real-life cast put on a successful production.

About the reviews

The production at Brookfield High School was reviewed by 32 critics representing 14 schools. The critic discussions were mentored by teacher Maria Maclean of Ottawa Jewish Community School and student reviews were edited and selected for publication by teacher Stephanie Pearson of Holy Trinity Catholic High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Lester B. Pearson Catholic High School’s production of The Sound of Music.

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.

The Sound of Music

Where: Lester B. Pearson Catholic High School

Director: Nona Luchenski-McMillan

Joscelyn van der Veen

Joscelyn van der Veen

Critic, Bell High School

A doe is a deer, a female deer; a ray is a drop of golden sun. “Me” is a name I call myself, and The Sound of Music is a show stunningly performed by Lester B. Pearson Catholic High School.

The Sound of Music, written by Richard Rodgers and Oscar Hammerstein II in 1959, is based on Maria Augusta Trapp’s memoirs, The Trapp Family Singers.

Maria Rainer is sent from a convent to be the governess for the seven children of Captain Von Trapp. Through her love, understanding, and joyful singing, Maria finds her way into the hearts of the children and brings the family closer together.

The winner of numerous Tony awards and the inspiration for the 1965 film of the same title, The Sound of Music is a well-known and well-loved musical. It was also the final musical by Rodgers and Hammerstein, as Hammerstein died nine months after the first Broadway premiere.

As Maria (Bernice Reyes), with her strong voice and clear enunciation, had an immediate and commanding stage presence. Reyes was forceful, yet she maintained an expression of innocence, even when disagreeing with Captain Von Trapp (Braedan Halverson). Her endearing naivety and Halverson’s adorable awkwardness gave the couple charming chemistry. Halverson was also superb, progressing from the stone-faced naval Captain to a loving father.

The Von Trapp children brought the family to life. Liesl (Julia Millan) was bright and forthright when she butted heads with Maria and moony-eyed when she fell in love with Rolf (Darcy Clark). Louisa (Sandrine Landriault) was the family clown, making amusing faces and distracting her siblings in time with the music. Friedrich (Ramon Arizo), exuded confidence and caring, while Brigitta (Kari Orellana) was sassy but honest. The younger children were equally adorable.

The Mother Abbess (Emily Millan) was the epitome of motherly affection, with exasperated looks at her bickering nuns and a caring expression reserved for the flighty Maria. Millan expertly delivered a beautiful rendition of Climb Ev’ry Mountain. Also worth mention was Captain von Trapp’s fiancee Frau Schraeder (Jessica Berryhill) who was eventually dumped in favour of Maria.

The sound was ably executed, with all actors wearing microphones while speaking and singing. While there were minor problems with the placement of microphones, the 154 sound cues were skilfully implemented. The sound levels for the many actors were excellently managed, with all singers at the same dynamic and all able to be heard over the orchestra. The stage crew were quiet and efficient, moving set pieces as large as the several-meter-tall arches onto and off of the stage, while never being seen.

Lester B. Pearson Catholic High School performed The Sound of Music to great effect with wonderful singing and endearing characters. This performance gives another item to add to the list of My Favourite Things.

Alyssa Stowe, Lead Critic, Almonte and District High School.

Alyssa Stowe

Lead Critic, Almonte and District High School

Voices in perfect harmony filled the air among the scenic hills of Austria during Lester B. Pearson Catholic High School’s captivating production of The Sound of Music.

Based on the story The Trapp Family Singers by Maria Augusta Trapp, The Sound of Music was adapted for the stage by Richard Rodgers and Oscar Hammerstein II in 1959. Presented on Broadway, the show won five Tony Awards before becoming a movie in 1965. The well-loved musical portrays the struggle of a young novice, Maria, who leaves her Abbey and becomes a governess to the seven children of a retired Naval Captain, Captain Von Trapp.

Beginning with the melodic voices of the Nuns, high standards were set for the rest of the cast, but they were more than up to the challenge. Performing the original Broadway script, the actors had numerous difficult songs, yet they were always on key and hit every note.

From the moment she danced on stage, Maria Rainer (Bernice Reyes) demanded attention. With her expressive movements and clear diction, Reyes gave a soulful performance illustrating her character’s emotion with songs such as “Reprise: Sixteen Going on Seventeen” as Maria gives thoughtful advice to her young stepdaughter, Liesl Von Trapp. Captain Von Trapp (Braedan Halverson) begins as a secluded character, and develops deeper relationships as the story progresses. Halverson depicted this change both physically and emotionally through acute attention to detail with posture and voice.

Maria played by Bernice Reyes (L) and Georg Von Trapp played by Braeden Halverson (R), during Lester B Pearson Catholic High School’s Cappies production of The Sound of Music, held on April 17, 2015.

Also in the family are the Von Trapp children (Julia Millan, Ramon Arizo, Sandrine Landriault, and Kari Orellana). In addition to having great chemistry and playing well off each other, the group was effective at portraying characters much younger than themselves by constantly bouncing and fidgeting. During numerous scenes, Louisa (Sandrine Landriault) had the audience roaring with her cheeky expressions and animated, goofy actions. Also delighting was The Mother Abbess (Emily Millan) whose clear voice and impressive range enthralled the audience during songs such as, “Climb Ev’ry Mountain.”

It is hard to manage a full cast of microphones, but Jonah Molinski, William Ferguson, Nickolas Kowala, and Miguel Medeiros had near perfect execution. Sound levels were carefully monitored and controlled between talking, singing, and shouting; actors were heard clearly over the orchestra and each other. The stage crew did an admirable job as well. The numerous, large set pieces were never out of place and scene changes were brief and silent. Julianna Gartke and Sandrine Landriault also impressed with their choreography. Dances were tailored to younger cast members and motions were fluid, appealing, and effective.

The talented cast and crew of Lester B. Pearson Catholic High School gave a lively performance of The Sound of Music. Their hard work and dedication produced an enjoyable show and reminded the audience to “climb every mountain… until you find your dream.”

Jordan McManus

Jordan McManus

Critic, Sacred Heart High School

Joy can take root in the most peculiar places. It can be found in isolated hills and mountains, in a disciplined, humourless household, and even in a country on the brink of war. The audience discovered this for themselves upon their viewing of Lester B. Pearson Catholic High School’s production of Richard Rodgers’ famed musical The Sound of Music.

Based on the real life story of the Von Trapp family, The Sound of Music is a heart-warming story that follows Maria, a postulant at an Austrian abbey who is torn between earthly and heavenly love. The Mother Abbess sends Maria away to become a governess for the seven rowdy children of a retired naval captain named Captain Von Trapp. Despite the Captain’s undeniable rigidness, Maria attempts to bring a love of life and music back into the Von Trapp’s authoritarian household.

In Lester B. Pearson’s production of The Sound of Music, Bernice Reyes took on the role of the bubbly and charismatic Maria. From her first appearance on stage to her last, Reyes exuded charm and warmth in the maternal role. Her exceptional acting, on top of her lovely singing voice, made for a character you could not help but adore. Playing opposite of Reyes was Braedan Halverson as Captain Von Trapp. Halverson was able to effectively act out Von Trapp’s transition from a stubborn and stern man to a father with a reignited passion for life. Halverson’s gentle and soothing voice contrasted his character’s imposing personality, adequately displaying his character’s repressed soft-hearted nature.

Often found at the Von Trapp residence is Max Detweiler (Matthew Adams), an old friend of Captain Von Trapp. Adams delivered his comedic lines with ease, often alleviating tension in a few dramatic scenes. Also found not far from Von Trapp is Elsa Schraeder (Jessica Berryhill). Berryhill managed to show Elsa’s kind and earnest façade with an ever-present insincere smile, her falsity contrasting perfectly with Maria’s genuine personality.

The Von Trapp children succeeded in introducing a youthful spirit to the performance, as well as some comedic dialogue and body language. Although the children were rarely seen separated, each of them was acted out well and with their own distinct personality. The children enchanted the audience with sweet and upbeat musical numbers such as “So Long, Farewell” and “Do-Re-Mi”. Back at the abbey, the nuns, led by Emily Millan as the Mother Abbess, impressed the audience by showing off their well-rehearsed melodies during their hauntingly beautiful Latin hymns. Emily Millan’s vocals shone, especially in the classic song, “Climb Ev’ry Mountain”, where she had the chance to show off her range.

There was no difficulty in hearing any of the cast on stage as each word was pronounced clearly in both dialogue and song, with little noise heard from backstage. The choreography fit the musical’s setting perfectly as all of the dancing was simple, yet elegant and charming. In songs such as “My Favourite Things,” both choreography and vocals came together to create an endearing musical number.

Showing that joy can always be found, even in the darkest times and places, Lester B. Pearson Catholic High School’s production of The Sound of Music was a memorable and heart-warming performance thanks to the effort put in by the leads and supporting cast.

Christina Reid, Critic, Almonte and District High School.

Christina Reid

Critic, Almonte and District High School

Classic musicals, amazing singing, extraordinary music, fantastic lighting, and great acting … these are a few of my favourite things.

Lester B. Pearson Catholic High School’s rendition of Rodgers and Hammerstein musical, The Sound of Music, based on the memoir of Maria Augusta Trapp, The Story of the Trapp Family Singers is a truly unforgettable production. It is hard to believe you are not at the original Broadway production that opened on Nov. 16, 1959.

The famous play is about Maria (Bernice Reyes), a nun who is causing the Abbey trouble and is sent off to be governess to Captain Von Trapp’s (Braedan Halverson) seven troublesome children. Maria teaches them to sing and Captain Von Trapp to love, but when the Nazis invade Austria, the whole family is forced to flee to safety.

Bernice Reyes (Maria) was believable and unforgettable as the sweet, outspoken novice nun turned governess. She captivated the audience and held their attention throughout the entire production. Her singing ability was phenomenal.

Braedan Halverson’s (Captain Von Trapp) performance was unparalleled. He helped the audience to understand how important family truly is. He portrayed his character with a high degree of style. In the beginning, he fit the role perfectly and came across as a bitter uptight man. By the end he was caring and compassionate.  His singing ability was also evident. His vocals during the song, “An Ordinary Couple”, were remarkable.

Maria played by Bernice Reyes during Lester B Pearson Catholic High School’s Cappies production of The Sound of Music, held on April 17, 2015.

The vocals of all cast members were absolutely astonishing! “Edelweiss”, “My Favourite Things”, “Climb Ev’ry Mountain”, “Do-Re-Mi”, and the title song; “The Sound of Music”, were sung in perfect harmony.

The Von Trapp children are equally as entertaining. Julia Millan’s (Liesl), and Darcy Clark’s (Rolf Gruber) performance of “Sixteen Going on Seventeen” captivated the audience. Their body language and facial expressions added a new dimension to the play. This scene was very convincing.

Every supporting performance was delivered with the right amount of appeal and humour. The nuns were true to character and had lots of charm and wit. Their facial expressions added laughter and fun to their characters.

Every aspect, from the lighting to the acting, the sets to the costumes, the music, and the choreography, were top notch. The sets were incredible and included many tiny details that fit perfectly into the play. The choreography of all of the dances was well thought out, and timed perfectly. Little movements included in each piece helped to set the tone and atmosphere. A well-coordinated stage crew also helped the play to flow.

With loveable characters, amazing singing, and a marvellous set, Lester B. Pearson Catholic High School has certainly out-done themselves this year with their unforgettable performance of The Sound of Music. This is a must see production!

Brooke Mierins, Critic, Elmwood School.

Brooke Mierins

Critic, Elmwood School

Life does not always afford the opportunities expected, but those it does may be better than one could ever imagine. Lester B. Pearson Catholic High School’s production of The Sound of Music recounted the swift and unanticipated changes in the life of a woman named Maria.

Written by Richard Rodgers and Oscar Hammerstein II, The Sound of Music follows Maria Rainer on her journey from being an aspiring nun, to the governess and later the mother of seven children. The musical, set in Austria just before World War II, first opened on Broadway in 1959 and won five Tony awards later that year. Since its initial Broadway run The Sound of Music has been revived as a musical and adapted onto screen numerous times.

Bernice Reyes played Maria Rainer, a postulant who gets into trouble amongst the nuns for singing and being unruly. Reyes’ powerful vocals contributed to the fullness and delivery of songs such as “My Favourite Things”. Her performance was laced with emotion, as seen through her facial expression and heard in her voice. Braedan Halverson acted as Captain Von Trapp, Maria’s stingy master and later loving husband. Through the use of harsh tones and stern facial expressions, Halverson communicated Captain Von Trapp’s severity. When he began to fall in love with Maria his expression and diction noticeably changed, emphasizing the change in character.

Captain Von Trapp’s children, the unruly group aged five to sixteen, were a cohesive unit onstage. The many layers of harmonizing within “Do–Re–Mi” were skilfully executed, even when the children were dancing. Julia Millan played Leisl, the eldest of the children, with finesse in her movement and diction, while maintaining the naïveté of the character. Matthew Adams performed as Max Detweiler, a friend of Captain Von Trapp and a music agent. Through seamless delivery of his lines, Adams captured his character’s blasé disposition.

Music numbers were brought to life by the carefully planned and performed choreography. Given a wide range of ages and abilities, the composition of the dances contributed to, without taking away, from the songs. The backstage crew was responsible for moving many large set pieces and did so swiftly. The sound was skilfully executed; microphone switches and breaks were well timed, allowing for minimal background noise.

Lester B. Pearson Catholic High School performed The Sound of Music with elegance and energy. They captivated with carefully executed musical numbers and passionate acting.

About the reviews

The production at Lester B. Pearson Catholic High School was reviewed by 30 critics representing 12 schools. The critic discussions were mentored by teacher Jillian Budgell of St. Francis Xavier 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: St. Mark High School’s production of Brokenville.

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.

Angelina’s Project
Where: Sir Robert Borden High School
Director: Kathleen Paulin

Thomas Power
Critic, Bell High School

Is a murder ever not a murder? Are the less savoury aspects of one’s past things to be concealed or commemorated? These subjects, along with those of ethnicity and identity, are adroitly explored in Sir Robert Borden High School’s provocative production of The Angelina Project, the first Canadian production of the play.

Written by Canadian-American playwright Frank Canino and first performed in 2001 at the University of Hartford, the play is based on the real life of Angelina Napolitano. In 1911 in Sault Ste. Marie, the pregnant Napolitano (played by Sarah Dolan) killed her abusive husband in his sleep with an axe after he had threatened to kill her.

Tommy Power, Critic, Bell High School.

At her trial, she presented the first attempt at what is now known as the battered woman defence, but it was not successful, and she was sentenced to death. However, her case sparked much public outcry, and her sentence was commuted to life imprisonment, from which she was released after 11 years. The play explores the lasting impact of the crime on three successive generations of her descendants.

A fiercely minimalist production, the play calls for the whole cast to remain on stage for the duration when not acting, and the actors remained disciplined and poised as they sat in the background. The role of the judge in Angelina’s trial was played by the whole cast reciting in chorus, something that they did in a completely synchronous fashion and repeated in stylistic chanting that appeared at different times during the work. As the play requires several actors to play double or even triple roles, it demanded considerable versatility from its cast, of which all rose to the challenge.

In the title role of Angelina, Sarah Dolan delivered a stellar performance that drove the energy of the production. Delivering lines in Italian and in English with a consistent and realistic Neapolitan accent, Dolan masterfully portrayed a wide variety of emotions, from her reticence in the courtroom to her motherly concern for her daughter Rafaella and the ferocious passion in which she murdered her husband.

Playing Angelina’s granddaughter Amelia, Laura Matson skilfully engaged in a number of interactions with her mother Rafaella (Ria Rollins) and her own daughter Toni (Maegan Bercovici) as she sought a deeper understanding of her family history, and by extension, herself. In a double role as the husbands of Angelina and Amelia, Maximilian von Schoenberg gave a choleric performance with his unnervingly realistic portrayal of domestic abuse, whether physical in the first case or emotional in the second.

The play’s intentionally stark lighting, run by Sydney Quilliam and Marco Brancatelli, contributed greatly to the unembellished atmosphere in which only the necessary facts were presented. The stage was kept mostly in darkness, with a harsh spotlight highlighting the characters speaking. When emotions rose on stage, the lights would change from white to blood red, and this transition was always accomplished smoothly and precisely.

Sir Robert Borden’s production of The Angelina Project was achieved with a range of emotionally diverse performances, particularly from the consummate Sarah Dolan. Faced with discussing serious topics of family and of ethnic tensions, the austere and pensive ambience of the production provided an excellent venue to do so.

Sabrin Sanjana, Critic, Bell High School.

Sabrin Sanjana
Critic, Bell High School

On Easter morning, a woman treads silently to her sleeping husband. In her hand, she clutches an axe. She hesitates, and then raises the axe over her head. The action that follows those still seconds sparks a phenomenon that impacts legions worldwide. Sir Robert Borden High School laudably undertook a consequential issue in their memorable production of The Angelina Project.

Based on the true story of the Italian immigrant Angelina Napolitano, The Angelina Project was written by the Canadian playwright Frank Canino in 2000. The play follows Amelia, a woman experiencing a midlife crisis, who strikes upon the trial of Angelina, an Italian immigrant to Canada who murdered her abusive husband in his sleep. She feels an odd connection to Angelina, and begins unraveling the murky details of the case while struggling to resolve the complexities of her own life. The Angelina Project chronicles the issues of maltreatment between spouses, inequity within a culture, and the time-ingrained secrets that can shape generations.

The cast and crew of Sir Robert Borden High School put on an admirable production that handled substantial matters with proficiency. The inclusion of a Greek-style chorus emphasized the critical themes within the show. A standout scene had the four generations of women relaying an account of the desperation they faced. Cast in red light and underpinned by the drum-like chorus, the actors delivered their lines with fierce potency, capturing the essence of what domestic abuse entails.

Sarah Dolan played the pivotal Angelina with abounding emotion. With faultless Italian inflection, she captured the spirit of a broken woman through hunched shoulders and a constant look of fatigue. Whether flinching in the presence of her husband or wailing in desolation at her trial, Dolan’s performance was thoroughly compelling. Maximilian von Schoenberg portrayed Angelina’s abusive husband Pietro with vehemence. The authentic rage underlining his voice and his casual manner of delivering of death threats was chilling. Shifting from warm recollection of his early days with Angelina to violating her with brute hostility, he ably balanced the difficult role of a husband turned abuser. The scenes of violence between Angelina and Pietro were fully convincing, and the impressive realism increased the strength of the show.

The rest of the cast was mostly solid in their performances. While some actors could have furthered their use of body language, the genuine emotion each displayed made up for this omission. A steadfast performance from Joey Hughes as McFadden was particularly noteworthy.  With an assured delivery of lines and an assertive stride, he captured the professionalism of his character. Ria Rollins gave another memorable performance as Rafaella. During flashback scenes, she seamlessly shifted from the rampant panic of her past to her composed demeanour of the present. Her tender recollection of the murder was perfectly paced, and a tremble in her voice that indicated her vulnerability rendered a riveting performance.

The lighting (Sydney Quilliam and Marco Brancatelli) was faultlessly timed and ingeniously executed. Despite every actor being present on stage throughout the show, only the performing actors were highlighted while the rest remained unlit. Accentuating lights switched between groups of actors in a clever method to indicate scene transitions and to jointly showcase separate time periods. The use of red light during scenes of abuse was another ingenious distinction that emphasized the underlying themes of the show.

Stunning performances and proficient lighting created a production that handled difficult issues with gripping forthrightness. Sir Robert Borden High School’s commendable performance of The Angelina Project revealed the extent of desperation that cruelty can cause in a disturbing blend of the past and present.

Victoria Suwalska, Critic

Victoria Suwalska
Critic, All Saints High School

Fear. Passion. Frustration. Anger. Love. Sorrow. Disbelief. This was the storm of emotions that radiated through Sir Robert Borden High School’s auditorium during the first Canadian production of The Angelina Project, a true story about a controversial murder trial written by Frank Canino. Combined with prejudice, violence and family secrets, Angelina’s courageous journey was transformed into an extraordinary production that the cast and crew presented with fervent intensity.

While researching the treatment of women in the criminal justice system for her Master’s degree thesis, Amelia discovers Angelina Napolitano: an Italian immigrant and the first woman in Canada to use the battered woman defense after murdering her abusive husband with an axe. As she progressively unearths Angelina’s story, Amelia discovers appalling secrets that drastically change her perspective on family and marriage. Unfortunately, domestic violence runs through multiple generations of Amelia’s family, and she must tap into Angelina’s exceptional strength in order to conquer her own battles.

Using well-rehearsed tableau, effective blocking and precise lighting, the cast and crew seamlessly transitioned between multiple time periods as characters narrated their side of the story. In addition to passionate chemistry between characters, many performers added to the authenticity by fluently switching between English and Italian dialogue. During the vehement arguments, which often grew violent, certain cast members sometimes lacked enunciation. As the tension grew in the second Act, the performers argued with powerful volume and inexhaustible energy. Between dialogue, lighting and sound, timing was everything and the performers were flawless.

Sarah Dolan portrayed Angelina with an unwavering Italian accent and persuasive facial expressions. Her varied body language conveyed Angelina’s physical and mental brokenness, and every word that she spoke radiated power. Similarly, Laura Matson portrayed Amelia with fierce eye contact and a wide array of candid emotions that validated Angelina’s decisions.

Tender and compassionate, Ria Rollins illustrated Rafaella’s regression from a harsh mother to an abandoned child during her unforgettable monologue. Meanwhile, Amelia’s friend Elizabeth (Victoria Miron) added well-needed light humour with ideal timing and confidence. Defendant McFadden (Joey Hughes) and Prosecutor Meredith (Xiuneng Wang) presented the facts of Angelina’s murder as they addressed the audience with purpose, connection, and piercing glares. The chorus became a single judge that spoke in perfect unison and volume control with respect to the other characters who spoke simultaneously. Their unified voice was a phenomenal addition to the solemn atmosphere.

The use of consistent sound and lighting cues indicated a switch in perspective very effectively, and the simple set offered versatility. The lighting, operated by Marco Brancatelli, gradually faded in and out between scenes with outstanding organization and control. The telephone rang, and the three bangs of the gavel punctuated the transitions between time periods, while the choice of coloured lighting reflected the mood of the current scene. Many performers had the challenge of switching characters while they remained on stage with the same costume, which created some confusion between characters. Still, the costumes facilitated the transitions by remaining accurate to the time period.

With remarkable unity and striking intensity, the performers contrasted cold facts with raw emotion to create a powerful sense of authenticity in every aspect of their stellar production.

Jessica Shaw, Critic, Holy Trinity Catholic High School.

Jessica Shaw
Critic, Holy Trinity Catholic High School

Written by Frank Canino, The Angelina Project is based on the true story of Angelina Napolitano, an Italian immigrant who killed her abusive husband in 1911. This play gives a multi generational viewpoint on abuse, and its affect on each woman. The story begins in present day, with Amelia, a young woman stuck with an emotionally abusive husband, while trying to write her thesis on the injustice women face in the court system. Then, she discovers the haunting story of Angelina and becomes fixated on it. Little does she know that Angelina’s story is a lot closer to her than she realizes. From there, the play is told mainly through flashbacks, giving the audience glimpses into the lives of Amelia, her mother Rafaella, and Angelina.

The simplistic set allowed the audience to focus on the story, and allowed for the incredibly interesting blocking of the play. The actors delivered their lines with strength, and few line falters. All of the actors remained on stage for the entire show; they all were present in the scenes taking place, and held an excellent tableau when needed.

Sarah Dolan gave a strong performance as Angelina. Dolan managed to portray Angelina’s vulnerable mental state, and her strength as a fierce Italian woman with ease. She brought emotion into each and every one of her lines. Sarah Dolan was also one of the many actors in this production who learned Italian for their role, and her accent and speech were certainly believable. Laura Matson played the role of Amelia, Angelina’s present day parallel, with sincerity. Maximilian von Schoenberg gave a convincing performance as the abusive husband of both Angelina, and Amelia, in the roles of Pietro, and Vinny respectively. His performance as Pietro was particularly well done; he went from a violent scene as the terrifying abuser, to a tender moment with his daughter in a matter of seconds.

Ria Rollins showed exceptional character development as Rafaella, the daughter of Angelina, and Amelia’s mother. She starts off as a cold closed-off woman. However, as the play goes on she begins to share more about her past, and her cold detachment transforms into strength. Rollins gave a powerful performance as this interesting character. Shira Silver also gave a solid performance as both Rafaella and Amelia as children. Her lines were well delivered, and she did a great job of playing the mediator between both sets of her constantly fighting parents. The chorus also did an exceptional job staying in unison, and their slow chant built up climatic scenes.

The lighting design had an elegant simplicity, and helped differentiate between parts of the story and allowed actors to move between the different time periods represented throughout the show. The lights also set an effective atmosphere for each scene.

This tragic tale of domestic abuse told through four generations of women was heart breaking and enthralling. Sir Robert Borden High School gave a well-done performance of The Angelina Project.

Colin Mylrea, Lead Critic, A.Y Jackson Secondary School.

Colin Mylrea
Lead Critic, A.Y. Jackson Secondary School

Is there a cycle of violence? Do the actions of one person doom the others around them? These are the questions that the students of Sir Robert Borden High School answered in their arresting performance of The Angelina Project.

Based on the trial of Angelina Napolitano (the first woman in Canada to use the battered woman defence in a murder trial), The Angelina Project examines the actions leading up to the trial and its fallout three generations later, commenting on racism, homophobia and patriarchy in the context of an Italian-Canadian Family.

Sarah Dolan was a force of nature as the central Angelina. Her body language was precise and unwavering, turning from fragile to vengeful without hesitation. As well, her vocal work was excellent, nailing both an authentic Italian accent as well as period-appropriate Italian. Maximilian von Schoenberg was a fiery Pietro who countered Angelina’s quiet anger with explosive rage of his own. As well, von Schoenberg highlighted Pietro’s more lecherous actions with a lower voice, adding a horrific undertone to his character.

As Amelia, the granddaughter of Angelina, Laura Matson kept the action going without betraying the sly, introspective nature of her character. As well, Ria Rollins and Maegan Bercovici, who portrayed two other generations of Napolitano women, were able to channel a vulnerability wrapped in rage with conviction. The three aforementioned actresses were joined by Dolan, this time as the Grecian figure Clytemnestra, to perform an arresting choral piece at the play’s climax. While the play was largely dominated by the female cast, the male players were not to be tossed aside. Xiuneng Wang’s intense gaze and direct confrontation with the audience as Prosecutor Meredith established him as a stern figure of authority, and Joey Hughes’ turn as Defence McFadden and Constable White showed his great range. As well, Maeve Rowe’s Zia Rosa provided a bright, humorous spot in the overwhelming despair present throughout the play.

The technical aspects of the play, while not as overstated as the actors, were just as good. The lighting, by Sydney Quilliam and Marco Brancatelli, was striking and provided a haunting baroque atmosphere to the whole affair and were operated seamlessly. The stage management by Quilliam, this time with Tim Lee, was well put-together and the rare occasion something was taken offstage was unnoticeable.

Immaculate in conception but primal in nature, Sir Robert Borden High School was able to present a difficult narrative with captivating energy that held all in suspense.

About the reviews

The production at Sir Robert Borden High School was reviewed by 32 critics representing 11 schools. The critic discussions were mentored by teacher Matt Minter of Earl of March Secondary School and student reviews were edited and selected for publication by teacher Christine Tessier of Ottawa Jewish Community School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Notre Dame High School’s production of Dracula, The Vampire Play.

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.

Brokenville
Where: St. Mark High School
Director: Trevor Rostek

Hanna Colbert
Lead Critic, All Saints High School

The world has become very well acquainted with the melancholy delights of a dystopian universe. In the entertainment industry, sales have skyrocketed for all forms of stories about the struggle to survive after some sort of unparalleled disaster. However, more difficult is the job of offsetting tears with laughter, catastrophe with comedy. It’s an onerous task at the best of times, but one thing is certain: St. Mark High School is well up to the job. In their production of Philip Ridley’s Brokenville, they struck a perfect balance between wit and warmth in what added up to a stylishly unconventional drama.

Hanna Colbert

Playwright Ridley has penned everything from songs to films and has gathered various accolades in his publishing career. Brokenville is part of his five-part Storyteller Sequence, about and for teenagers. It zeroes in on the lives of five adolescents, a child, and an old woman – all of whom are left disconnected from themselves and each other in the wake of an unnamed disaster. In their attempts to comfort the distressed child with elaborate stories, the group bonds amidst shared snickers and admissions of failure, ultimately learning more about themselves and their capacity for goodness.

St. Mark’s production was polished from start to finish. Attention to detail was demonstrated in the artistic technical elements and in commitment to character. Cast chemistry was riveting, as was the constant energy exuded by the students.

Jordan Sandrock was an animated Child and believably conveyed her character’s evolution. Even without dialogue, she drew attention with her demeanour and attentiveness to the rest of the action onstage.

Maya Desrosiers was hilarious as the Old Woman. Her hunched back and perpetually quivering voice helped to create an extremely memorable character.

With his spirited dialogue, Dylan Sova was the clever teenager Satchel. As the sparkly dressed and materialistic Glitter, Ava Villeneuve was a perfect Princess. Opposite her in a sweeping romance was Jacob Ritchie as Quiff, who played his role to the hilt and showed an impressive talent for physical acting.

Jordan Alberelli embodied all the bravado required of Tattoo, a teenager on his way to being king of the storytelling realm. In a similarly gifted way, Oceanna Fata brought appropriate complexity and depth to the character Bruise. Her performance was an excellent representation of the play as a whole: light and dark, all mixed together.

The costume and make-up departments had the difficult job of keeping characters’ appearances ambiguous regarding the time period while still conveying the scars each carried. Balance was more than achieved in this respect, and the makeup department should also be commended for their transformation of Desrosiers’ youthful face into that of the Old Woman’s.

Brokenville reminds us that what happens isn’t as important as how people handle it. In the spirit of all the great redemptive plays, St. Mark was victorious: jolly and sentimental, stirring all the right things together at once.

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

Molly McGuire
Lead Critic, St. Francis Xavier High School

Once upon a time, in a world torn apart and decaying, there rose a whimsical land of kings and queens, dragons and curses, wizards, witches and love. Children were birds, old women were young and the prince was smitten with himself. This was the backdrop of the St. Mark Players’ rendition of Philip Ridley’s Brokenville.

The play begins simply, with a child and her music box, in a bedroom ravaged by an unknown apocalypse. One by one, a threadbare stream of teenagers and a haggard old woman find their way into the room, drawn to the tinny music. All recollections of the past are gone; save for their various cuts and bruises, and all anyone knows for certain is that time has stopped. To calm the child, they tell stories around the crackling fire about the magical land of Brokenville. What begins with stilted tales of Queen Bruise, who makes her husband sick, grows in fluency and depth until each acquaintance takes on their given role – ultimately restoring their humanity through the language of narrative.

With knotted hair and sparrow-like movements, Jordan Sandrock, playing the Child, stayed in character for the duration of the play with her impeccable likeness to a young girl in naïve facial expressions and timid demeanour. Often paired with Maya Desrosiers as the Old Woman, the two created a heart-warming mother-daughter relationship and succeeded in maintaining the smooth flow of the scenes with their improvised stage business between stories.

Equally memorable was the cocky Quiff, brought to life by Jacob Ritchie. In his every inflection and movement, Ritchie portrayed a narcissistic young man who forgot all but his love for his six-packed, hair-gelled self. With a masterful use of the stage and spot-on comedic timing, Jacob Ritchie proved to be the class clown of the cast, provoking fits of laughter from the audience with each coif of his quiff.

The rag-tag ensemble of misfits was completed by Satchel (Dylan Sova), Glitter (Ava Villeneuve), Bruise (Oceanna Fata) and Tattoo (Jordan Alberelli), who brought great dynamic cohesion with their contrasting personalities. Sova showed humility as Villeneuve portrayed vanity. Fata used softness to counteract the rigidity of Alberelli’s pugnaciousness, all the while uniting in shared blocking and the common thread of ominously haunting pasts.

However, the production could not have gone on without the commitment of the crew. Costumes, designed and realized by Samantha Boyd, were functional and aesthetically pleasing as the actors moved comfortably, keeping the integrity of their characters clear with accent pieces like Quiff’s leather jacket and Glitter’s sequinned dress. Serving to remind the audience of the dystopian setting of the play, the costumes worked to enhance the quality of the production as the tattered rips and tears of the fabric played off the blue-green lighting of the stage, adeptly executed by Tim Edwards. Coupled with the actors’ frazzled hair and the gruesome wounds crafted by the St. Mark Makeup Crew, the audience was easily able to comprehend the play’s context and the unique backgrounds of each character.

In the end, the dedication, meticulousness and creativity of the St. Mark Players introduced the audience to Philip Ridley’s Brokenville in all its magic and metaphor, and with the final fade to black, they secured a hopeful “happily ever after”.

Claire Hendrickson-Jones, Critic, Canterbury High School

Claire Hendrickson-Jones
Critic, Canterbury High School

A child stands alone in a barely illuminated room. The halting sound of a music box through the darkness welcomes the audience to Philip Ridley’s play Brokenville. The play layers stories atop more stories in a hazily defined post-apocalyptic world that could be the slums of London or, just as easily, right next door.

Drawn in by the music, a mismatched and wary cast enters the room one by one. The newcomers, five young and one old, range from a typical teenage jock to a stooped, elderly woman. The only thing they share is an inability to remember quite where they came from and why their world has broken apart into its dilapidated state. With nothing else to go on, the characters name themselves after the most striking characteristics of their appearance – their glittering clothing or bruised skin. The teenage characters grow more expressive and well spoken as the old woman encourages each to tell a story to the silent child. The stories hold deeper meaning than one might initially suspect, and the students of St. Mark High School took on the multifaceted tale with energy and extraordinary attention to detail.

Artful incorporation of technical aspects created the perfect backdrop for the actors. From the moment each character entered, their unique personality was shown through skilful makeup and costume design. Streaks of soot and blood authenticated the gritty setting. The costumes suited each character while also working as a cohesive whole and allowing the actors the full range of motion necessary for their highly physical performances. The set, scattered with junk and worn-out furniture, further enhanced the setting. A convincing fire, complete with crackling sound effects, created a storytelling atmosphere.

The cast of seven remained together on stage at all times. They were completely comfortable on the stage, using each area of the set. Although no microphones were used, the actor’s voices were clear and audible at all times, and their lines were confidently memorized.

Jordan Sandrock, as The Child, brought impressive youthful physicality and presence to her role, despite remaining silent through much of the play. Maya Desrosiers maintained a hoarse voice and bent posture as the Old Woman. She was constantly committed to the delivery of her lines, whether they were words of wisdom or dry comedy. The effective dynamic between Sandrock and Desrosiers rendered them believable as they whispered to each other, orchestrating the creation of the different stories.

The teenage characters were also portrayed outstandingly. Dylan Sova, as nerdy, anxious Satchel, spoke with endearing personality and accented his words with natural movements across the stage. Instead of relying on a stereotype, Ava Villeneuve’s performance as Glitter brought subtle physical and vocal quirks to the role, portraying her numerous facets: shell-shocked refugee, self-assured storyteller and brassy flirt. Jacob Ritchie carried Quiff through his progression from a self-absorbed jock to a more empathetic, multi-dimensional character, deftly altering his voice and body language as Quiff’s maturity increased. Oceanna Fata gave a strong delivery as the troubled character Bruise, retaining an authoritative presence throughout many of the stories. Rounding out the ensemble of teens, Jordan Alberelli fearlessly took on the initially withdrawn character of Tattoo, developing great physical presence on the stage as Tattoo’s intelligence and audacity gradually became apparent.

The play’s excellent technical features meshed with strong performances from each cast member. While Brokenville leaves some loose ends, the students of St. Mark High School left little room for improvement in their exemplary performance.

Sarah Priscus, Critic, Mother Teresa Catholic High School

Sarah Priscus
Critic, Mother Teresa High School

Ten or so minutes into the first act, a ragged old woman, sitting among the fire lit, shattered remnants of what was once a home, tells the story of “a land where everything was in ruins”. Through her story, and many others contributed by a rag-tag, nameless handful of characters, St. Mark High School’s wrenching production of Brokenville pieced together the mysterious remnants of a world torn apart.

Brokenville was penned in 2000 by Philip Ridley as part of his “Storyteller Sequence” series of plays. The show details the haunting initial post-apocalyptic meeting of seven unique individuals in a destroyed home; all drawn there by the lullaby-esque tune emitting from the music box of the Child (Jordan Sandrock). To comfort the shaken-up Child, the Old Woman (Maya Desrosiers) insists everyone takes part in telling stories to keep both the Child and themselves occupied. By telling these fairy-tale stories of royalty and magic, the characters connect and realize that even in a ruined world, they don’t have to feel alone. Brokenville is a play about the power of storytelling and the evolution of communication – the cast expertly transitioned from disjointed, cold phrases to complex, heartfelt dialogues.

The St. Mark Players skilfully combined quick-witted exchanges and dexterous movements with almost enigmatic scenes and stories to create a compelling production.

As the wordless, wide-eyed Child, Jordan Sandrock proved herself to be adept at creating and developing a character using nothing but physicality. With her fidgety mannerisms and constant curious gaze, she was wholly believable as a ten-year-old child. As the Old Woman, Maya Desrosiers had incredible, comfortable control over her hunched stance and creaky character voice. Desrosiers’s quick comic comebacks and expressions created a quirky character.

Jacob Ritchie as the narcissistic Quiff was hilarious with his impressive physical humour. Ritchie powerfully developed his character from a conceited high school jock to a more sensitive, thoughtful – if not still a bit self-involved – storyteller. As the melancholy Bruise, Oceanna Fata was incredibly sincere, through displaying both sadness and quiet joy. Fata was believably secretive and unstable. Dylan Sova played the meek Satchel with a confidence his character lacked, and showed skilful, strong development. Ava Villeneuve was sweetly striking as the slightly materialistic Glitter and played the blossoming semi-romance with Quiff very well. As the distant, choleric Tattoo, Jordan Alberelli was convincing with his loud, brash remarks.

The backstage team supported the powerful performances onstage. The costumes, designed by Samantha Boyd, revealed details about the characters’ pasts and personalities. From Glitter’s gorgeous, sparkling gold party dress to Quiff’s dirty leather football jacket, every costume was appropriately destroyed to be believable in a post-apocalyptic world. The makeup, by the St. Mark Makeup Crew, consisted of realistic injuries and dirt on the faces of the characters. Child’s make-up was effectively fresh-faced and youthful, and Tattoo’s gory, bloody head injury was lifelike. The detailed set, designed by Kendra Menard and Emilie Lamoureux, provided the perfect, decayed backdrop to the plot unfolding on stage.

In Brokenville, it was fitting that only among devastated ruins could creation manage to begin again. St. Mark High School’s production left the chilling sensation that after the end, the only thing left to do is to create an extraordinary new beginning.

Rowan O’Brien, Critic, Canterbury High School

Rowan O’Brien
Critic, Canterbury High School

Storytelling has connected people for thousands of years, and continues to entertain to this day. And it will continue to bring people together even in the post-apocalyptic future, as proven by the students at St. Mark High School with their performance of Brokenville.

Brokenville was penned by novelist, filmmaker, and songwriter Philip Ridley. It is the story of seven strangers who meet in a house after an unknown catastrophe, drawn by the lullaby of a jewellery box. They then proceed to tell stories of queens, kings, and dragons to pass the time and comfort the child among them.

The students of St. Mark brought warmth into the auditorium with this heartfelt story, in spite of the ghostly setting. They ushered this post-calamity world to life by painting vivid images through the stories that these characters share.

Despite a small number of lines due to her character’s timidity and fear, Jordan Sandrock skilfully employed facial expression and physicality to convey Child’s emotions. Even though she rarely spoke, her attention-grabbing use of bird sounds and body language expressed her character’s thoughts. Jordan mirrored the audience’s fear and bewilderment with clarity, acting as a bridge between the play and the viewers.

Maya Desrosiers (Old Woman) never faltered with the comically snarky voice of her character, and her back remained hunched through the duration of the play. She played Old Woman with confidence, and strengthened other actors’ performances by playing off them.

Quiff is a character we have all seen in our high school hallways, the self-obsessed jock. While Jacob Ritchie played this familiar character to a tee, he also enriched Quiff by adding more layers to his self-obsessed exterior. His enthusiastic performance acted as a spark to ignite imagination.

Together, the cast built a strong play by generating dynamic relationships and powerful stories. They were able to transform the setting of a run-down house into a castle, a boat and a forest, guiding imaginations to fill in the blanks of what was not seen. Every character’s story was boosted by their fellow actors, as they proved their ability to manipulate creative power to their whim.

Samantha Boyd’s thoughtful costumes served as clues to the characters’ back-stories, while allowing the actors to move freely, an important component in a play about storytelling. The make-up, by the St. Mark Makeup Crew, was also a well-used storytelling device. The makeup of Old Woman and Child highlighted age difference, while the bloodied and bruised appearances of other actors hinted at the mysterious disaster.

Lopsided and broken pieces of furniture, creating the sinister, post-apocalyptic world, and the interactive set, allowed the actors to tell their stories elaborately. Atmospheric props, such as old newspapers and empty cans that whirled across the stage as characters chased one another, added tangible elements to the play. The eerie blue lighting and constant crackling of the fire were like hypnotic devices, and the use of flashlight and firelight provoked the perfect mood for listening to stories.

St. Mark High School’s performance of Brokenville provided a comforting realization, teaching us that even in the worst of times people can come together to brighten each other’s lives. The tangible relationship between these strangers produced an inspiring play and beautiful stories.

About the reviews

The production at St. Mark High School was reviewed by 26 critics representing 9 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 David Vance of Redeemer Christian High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Sir Robert Borden High School’s production of Angelina’s Project.

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.

Dracula, The Vampire Play

Where: Notre Dame High School

Director: Ashley Foget

Eric Bélanger

Eric Bélanger

Critic, Sacred Heart High School

As evening spreads across 19th century London, something far more sinister looms over Dr. Quincy’s sanatorium. Some patients have begun acting absurdly, and when Lucy is afflicted with an unknown illness, Quincy must seek the expertise of the esteemed Professor Van Helsing. As the professor examines Lucy, a disturbing conclusion is made: a vampire is on the prowl in London. With help from Jonathan Harker, they are led to the infamous Count Dracula, Dr. Quincy’s suspiciously quiet neighbour. Soon their worst fears are confirmed: the group must attempt to capture and defeat this immortal foe before Lucy is lost forever to the bloodthirsty count.

Everything within Notre Dame High School’s production of Dracula, The Vampire Play had a classic look. While not overly flashy, the set used its authentic antiquity to capture the horrific mood in Dr. Quincy’s sanatorium. Its prominent wooden arches and billowing curtains had a vaguely Gothic look about them, furthering the macabre tone. The additional use of a projected backdrop added an extra dimension to the show and allowed the audience to witness firsthand the passage of time.

The actors’ costumes tended to reflect the play’s time period, and were properly suited to each character. In the case of Count Dracula, his traditional cape was even substituted with a fur cloak.

The use of red gels when lighting the production gave the introduction of Dracula a larger impact and worked well, due to its innate connotations with blood and horror. This in tangent with Zack Nadeau’s suave demeanour sold Dracula as a pompous yet sinister adversary. Contrasting this, Emmanuela Semé thrived as a calculating, no-nonsense interpretation of Professor Van Helsing. The character’s determined and academic dialogue was effectively output by Semé, and her staunch, militaristic outlook on the task at hand added a dire undertone to the production.

Dracula played by Zack Nadeau (L), Jonathan Harker played Eric Gauthier (R), during Notre Dame High School’s Cappies production of Dracula, held on April 22, 2015.

Makeup was, for the most part, simplistic. The bite marks on Lucy’s neck, however, were grotesquely palpable, adding a twinge of revulsion to an otherwise sombre production. The oddly tranquil gaze of Brandon Wilson’s Renfield, coupled with his constant twitching, also added to the show’s unnerving tone.

Notre Dame High School’s production of Dracula, The Vampire Play was a tense and mysterious production. Its use of temporally accurate costumes and sets suited it well, acting as a nod to the origins of the play. The play stood as an honest look at one of the most well known characters in fiction.

Jordan Beer, Critic, St. Joseph Catholic High School.

Jordan Beer

Critic, St. Joseph High School

When daylight fades to darkness and creatures of the night come out to play, one fabled man is more frightening than all others combined; with his razor-sharp fangs and insatiable bloodlust, the mere name Count Dracula brings shudders to all who hear it.

Based on Bram Stoker’s classic novel of the same name and adapted for the stage by Tim Kelly, Dracula, The Vampire Play has been performed on stages across the world since 1924. In Notre Dame High School’s unique spin on the story, the famous vampire has travelled all the way from Transylvania to England in an attempt to force Lucy Westenra to be his wife. However, the intelligent Professor Van Helsing predicts Dracula’s motives, and makes an attempt to thwart his plans before he can seal poor Lucy’s fate.

As a cast and crew, Notre Dame High School did a nice job of creating an old-fashioned English atmosphere through their rustic set, authentic costume choices and their thorough knowledge of lines and cues. Though some actors exhibited difficulty with their portrayal of complex emotions, all characters presented themselves with a level of energy and enthusiasm that enhanced the show as a whole.

Dracula himself, played by Zack Nadeau, displayed confidence each time he walked on stage. His powerful voice and sly physicality gave the impression that he truly was a vampire searching for a snack in the middle of the night. However, when Professor Van Helsing (Emmanuela Semé) entered with her quick wits and stern tone of voice, it became clear that she had no intention of making Dracula’s job easy. Always walking with purpose and speaking with excellent inflection, Semé made sure everyone know that she meant business.

Keeping a consistent accent for the entirety of a production is no easy task, yet one that Miss Anya (Marie Nissan) accomplished with seeming ease. Not only did Nissan manage to keep the accent, but she also incorporated different emotions into her voice — a feat that must have required a lot of practice. Another interesting character was Renfield, played by Brandon Wilson, whose constant twitchy arms and dynamic movements gave the idea that he really did belong in a mental institution.

Notre Dame High School’s production would not have been possible were it not for the student director, Ashley Foget, whose hard work was evident from the success accomplished by the play. Foget collaborated with all behind-the-scenes sections, including the creators of the gothic set and the students who fabricated the realistic make-up and costumes, in order to achieve an authentic atmosphere for the play.

A script as melodramatic as Dracula can often be difficult to convert into a stage performance, but with the help of a great student director, an energetic cast and a dedicated crew, Notre Dame High School’s Production surmounted the challenges and fulfilled expectations.

Matthew Erskine, Critic, Woodroffe High School.

Matthew Erskine

Critic, Woodroffe High School

Luminous lights shone, macabre music played, actors became animated: all this signalling the start to a play whose setting is English, but whose origin echoes back to the days of werewolves, ghosts, creepy asylum patients – and Count Dracula.

A story filled with well-dressed men panicking for their beautiful lovers, a trio of gossiping maids, a vampire who must be tidied and presentable to have the title of “Count”, and a group of seductive vampire wives, Notre Dame High School presented Dracula, The Vampire Play.

This riveting play was written by the famous Tim Kelly and was first presented in London at the Queen’s Theatre in 1978. Thoughts are turned towards Count Dracula, when the gorgeous Lucy Westenra becomes the sufferer of a vampire bite. Others soon become enchanted and beguiled by strange nightmares.

With a set of characters that jump right out of Bram Stoker’s original Dracula novel, audiences will find themselves with Professor Van Helsing, Jonathan Harker, Dr. Quincy, and Arthur Holmwood as they figure out that Count Dracula is not just some horrific myth created by an Irish author.

Mina Harker played by Luna Bingham (TL), Flora played by Rosaleen Nguyen (TR), Arthur Holmwood played by Danny Katabazi (L), Lucy Westenra played by Jessica Mundie (R), during Notre Dame High School’s Cappies production of Dracula, held on April 22, 2015.

An immensely difficult play to master, Notre Dame High School’s cast was filled with an endurance to not only introduce Count Dracula, but also stand up to him. Sounds and lighting added to the malevolent dynamic of the play, as well as the cleverly used projector screen to cast the setting of day or night. What stood out the most, however, was the production team’s intriguing use of colours to reflect themes such as power and wealth.

Zack Nadeau played the handsomely evil Count Dracula, whose carefully groomed beard was only a mere reflection of the lead actor’s fierce ability to replicate an intimidating man who towered in status. His presence onstage was always a highlight of the performance as it brought out a dark energy to the play. This energy could only have been matched by his counterpart Emmanuela Semé, who played the bold and courageous Professor Van Helsing, keeping the audience captivated.

At times, it was hard to hear the dialogue spoken by the cast, but they easily made up for it with their vast array of actions and gestures.

Brandon Wilson’s comical portrayal of Renfield relieved the tension build-up in the play. The sealed tormented personality of his character was contrasted with his comedic lines and his vitalized actions. An outstanding part of his performance was his twitching, which plastered a permanent smile onto the audience’s faces.

Beautifully designed costumes and effective lighting invited the audience back to the 1880s when vampires crossed with men in tailored suits. Count Dracula’s lordly costume managed to transmit his prestige in society, without the use of a cape. The lighting enhanced every single aspect of the play by producing transitions in not only sets and scenes, but also in characters.

Brilliant actions, cast members with limitless endurance, and lighting that gave infinite changes onstage produced the perfect Dracula play. A terrific story laced with vampire puns and surrounded by characters with a thirst for blood and knowledge, Notre Dame High School brought out a wicked execution of this play that gave the audience both chills and laughs.

Evan Saslove, Lead Critic, Woodroffe High School.

Evan Saslove

Lead Critic, Woodroffe High School

Before Edward Cullen, there was Dracula. Notre Dame High School effectively told the classic tale of the world’s most famous vampire through skilled acting and proficient technical elements.

Dracula, The Vampire Play is based on the 1897 novel by Bram Stoker, which was adapted into a play by Tim Kelly. The plot centres on Professor Van Helsing, a specialist in strange diseases, who visits a sanatorium and discovers that Lucy Westenra and Jonathan Harker have become victims to vampires. The sanatorium’s mysterious neighbours, Count Dracula and his wives, are suspected of vampirism, and Van Helsing, along with other sanatorium guests, are determined to eliminate the threats.

Zack Nadeau’s commanding stage presence was well suited to his role as Count Dracula. The power and regality of the character was felt through his assertive line delivery and chemistry with the other characters. Emmanuela Semé portrayed Professor Van Helsing confidently, particularly through her mannerisms that demonstrated her determination in proving Count Dracula’s vampirism and ridding the sanatorium of his presence.

As the concerned and caring Doctor Quincy, Nelson Mandara added a sense of reason to every panicked situation that arose in the sanatorium through his emotive voice and robust physicality. Jessica Mundie convincingly showed Lucy Westenra’s surrender to Dracula’s power and demonstrated panic about her resulting strange attitudes. Moragh McDougall played Mrs. Westenra, Lucy’s mother. McDougall used a poised but worried voice, as well as props; such as waving a fan in distress and sewing with panic, to successfully evoke a sense of concern and dismay.

Nurse Cassidy played by Chiara Hourani (L), Mrs. Fern played by Miriam Asoh (2ndFL), Flora played by Rosaleen Nguyen (R), during Notre Dame High School’s Cappies production of Dracula, held on April 22, 2015.

Notre Dame’s costumes, designed by Chiara Hourani, Kate Wilson, Luna Bingham, and Moragh McDougall, were not only pleasant to look at, but also accurately represented the intended/desired era as well as the social status of individual characters. This was most apparent with Count Dracula’s attire, as he sported high boots and a long coat with fur. Marie Nissan, Julia Pham, Zack Nadeau, and Eric Gauthier’s lighting was simple, yet the crew was able to utilize the lighting to its full potential. The addition of red lighting to signify Dracula and his wives’ presence contrasted the darkness of the stage, which added to the production’s mystery and suspense. Jessica Mundie and her crew’s sets included simple, yet well-chosen fixtures, such as a long chair, a bed, and a few seats for the sanatorium’s numerous guests. Highlights of the set were wood pieces that served as a door and windows. These were excellent mediums for the actors to enter, exit, and look through.

Notre Dame High School’s sharp production of Dracula, The Vampire Play truly gave the audience something to sink their teeth into.

Tommy Power, Critic, Bell High School.

Thomas Power

Critic, Bell High School

The ancient idea of the vampire, now a common trope across many forms of media, has perhaps no superior expression than in the character of Count Dracula, whose exploits are recounted in Notre Dame High School’s production of Dracula, The Vampire Play.

Bram Stoker’s classic novel Dracula, written in 1897, has been subject to many adaptations across various media, not least this theatrical version, created in 1978 by Tim Kelly. When the mysterious Romanian nobleman Count Dracula (Zack Nadeau) takes up residence at the long-abandoned Carfax Abbey in England, strange things begin to happen at the adjacent sanatorium, run by Dr. Quincy (Nelson Mandara).

The production was run by student director Ashley Foget, who designed her own blocking around the unique set design. This blocking made good use of the fixtures of the set, arranging different cast members to be at different levels, and allowed for the use of the whole stage.

Zack Nadeau, as Dracula, gave an enigmatic and chilling performance, delivering his lines with a detached sense of menace. Playing the vampire expert Professor Van Helsing, Emmanuela Semé was often passionate, exhorting the other characters to unite against Dracula.

As the sanatorium patient Renfield, Brandon Wilson provided an element of comic relief, with humorously exaggerated twitches and curious intonation. However, his performance contained more depth than merely this, for Wilson was able to seamlessly flow into the frenzied violence that made up the other side of his character. Jessica Mundie, playing Lucy Westenra, brought a refreshing vigour and clarity of voice to the production. Like Wilson, she handled her character’s rapid and intense changes in temperament with great aptitude.

The production’s set revolved around a group of three arches, with two representing windows and one representing an exterior door from the sanatorium. This allowed for action to simultaneously take place inside and outside the building, an ability used especially during the second act. The lighting was sufficient, varying between day and night, and turning to red with the arrival of supernatural elements. The lights were also cleverly arranged so as not to directly illuminate Dracula, preserving his air of mystery.

Renfield played by Brandon Wilson (L), Dr. Quincy played by Nelson Mandara (R), during Notre Dame High School’s Cappies production of Dracula, held on April 22, 2015.

Between the chilling suspense of its main plot, and the moments of humour and levity brought by its supporting characters, Notre Dame’s solid production made for a most unforgettable evening.

About the reviews

The production at Notre Dame High School was reviewed by 35 critics representing 17 schools. The critic discussions were mentored by teacher Eleanor Abra of A.Y. Jackson 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: Holy Trinity Catholic High School’s production of A Midsummer Night’s Dream.

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.

A Midsummer Night’s Dream

Where: Holy Trinity Catholic High School

Director: Stavros Sakiadis

Olivia Perryman

Olivia Perryman

Critic

Earl of March Secondary School

Stunning and magical, Holy Trinity Catholic High School’s incredible production of A Midsummer Night’s Dream captured the audience and made Shakespeare once again relatable.

The comedy follows the events of three intertwined plots: four Athenian lovers, a comedic troupe of actors, and the whimsical fairies of the forest. Oberon, king of the fairies, and his right-hand man, Puck, manipulate the characters of the play leading to confusion, laughter and finally love.

Drawing from a wide range of inspiration from Greek mythology to English lore, this play has been a successful hit for over 400 years. It has been performed countless times and even was adapted to musicals, ballet, and more recently, film and television. The timeless quote, “The course of true love never did run smooth,” found as much relevance to a high school theatre audience as it did to Elizabethans in 1605.

Holy Trinity Catholic High School’s production’s success was largely due to the consistent attention to detail and drawing the audience into the play as much as possible. With a stage apron, actors entering and exiting through the audience, and performing with no mics, the play was certainly reminiscent of a true Shakespearean production. Actors even joined the audience to watch the play-within-the-play, adding their own whispered quips and comments.

Brogan Lavigne (L) performs as Nick Bottom, and Alexandra Fiallos (R) performs as Titania, during Holy Trinity Catholic High School’ Cappies production of A Midsummer Night’s Dream, held on April 23rd.

From the moment Caelen Corrigan stepped on stage as Oberon, he looked as if he were from a professional production. His costume, wild with vines and powerful jacket, his makeup, seamlessly cold and sparkling, and his staff, glowing and twisted, rivalled the work of expert artists. He immediately assumed control with a commanding voice and effortlessly glided across the stage with grace. Alone, he convincingly portrayed the indignant Oberon. But together with Carl Cachero as Puck, they produced the most memorable performances of the night. Cachero flawlessly captured Puck’s enthusiastic spirit, intense energy and thoughtful humour. The pair played off each other with remarkable chemistry and balanced emotion with humour to keep the audience engaged.

Laughs were generated primarily from the Mechanicals, the troupe of amateur actors preparing a play for the Duke of Athen’s marriage. With their noisy, uncoordinated tap shoes and loud, bellowing voices, they provided critical contrast to the fairies. Notably, Brogan Lavigne, playing Nick Bottom, played off the audience well, breaking the fourth wall and slipping witty remarks in modern English in a creative way to connect to younger spectators.

There was an audible gasp as the curtains drew back a whimsical, layered set filled with trees, vines and mesmerizing lights. The set, although static, provided great versatility for each scene in the play. Shaylah Mahoney and Arianna Daminato did a spectacular job capturing the magic, ancient Greece, and 60s theme of their production.

Ben Kelly and Carter DeCurtis superbly built the donkey head worn by Nick Bottom (Brogan Lavigne), whose mouth amazingly moved in time with his speech and never once disrupted the articulation or volume of the actor’s voice.

An outstanding accomplishment, the play was performed masterfully.

Jillian Douglas, Critic

Jillian Douglas

Critic

Almonte and District High School

Holy Trinity Catholic High School’s performance of A Midsummer Night’s Dream was a far cry from the stereotypical Shakespeare production. This impressive and lively show was filled with vibrant colours in costumes, makeup, and lighting, as well as an energetic cast of quirky and animated characters all in a well executed 60s style.

A Midsummer Night’s Dream is one of Shakespeare’s classic comedies combining unrequited love, chaos, and miscommunications to create a highly entertaining show full of wild antics. The story has several interconnecting plot lines revolving around the upcoming wedding of the Duke of Athens. It follows the adventures of four young Athenians in love with the wrong people, who, when fleeing to the forest, have some rather abrupt changes of heart no thanks to the meddlesome fairy folk. It also shows the comedic bumbling of a rather unusual, albeit endearing, acting troupe.

Caelen Corrigan, playing Oberon, the fairy king, had a commanding stage presence and powerful voice that carried easily and clearly throughout the entire play. His charismatic energy on stage and his well-timed antics made for an extremely effective and memorable performance. Hermia, portrayed by Edwina Mayama, played the dewy-eyed lover wonderfully and with sincerity before showing a slightly fiercer side to her character as the chaotic plot unfolded. Hermia’s rival, of sorts, Helena, was played by Emily White. She gave a tremendously comedic performance, playing up the desperately in love and slightly manic young woman just the perfect amount.

Carl Cachero (L) performs as Puck, during Holy Trinity Catholic High School’s Cappies production of A Midsummer Night’s Dream, held on April 23rd.

Perhaps the most agile on the stage was king Oberon’s mischievous servant, Puck, played by Carl Cachero. Cachero had an incredible energy on the stage and highly entertaining use of movement and facial expression throughout the entire evening. His eye-catching performance and chemistry with male lead, Caelan Corrigan, made the show all the better.

One theme carried throughout the show that added to the overall impression was the breaking of the fourth wall. Many of the cast members incorporated this into their characters, notably the Mechanicals ensemble. This audience interaction not only was extremely engaging, but also made their already farcical and exaggerated performances even more hilarious.

These commendable performances would not be possible without the hard work of the many crewmembers. Amber Boisvert, Jenna Perkins, Renee Fage, and Aurora Persaud were Holy Trinity Catholic High School’s hair and makeup team, and had the challenge of creating drastically different looks for the mortals and the forest fairies. They carried this off professionally and thoroughly, even applying makeup to the feet and stomachs of several actors to allow for a complete transformation. The difference between the mortal world and world of the fairies was also reflected in the set design. The use of space, including the thrust, the many levels created on the stage, and the entrances through the audience brought the audience into the show—literally—and kept the production very appealing to the eye.

Holy Trinity Catholic High School’s cast and crew brought a new twist to this classic play with their 60s theme and carried it off with ease. The riotous antics on stage, colourful lighting, creative use of space and countless other aspects incorporated into their intricate show, all came together to make for a truly entertaining and energetic rendition of such a classic and well-loved play.

Hannah Srour, Lead Critic, Ottawa Jewish Community School.

Hannah Srour

Lead Critic

Ottawa Jewish Community School

Forests are dark places that hold much mystery, making them equal parts exhilarating and terrifying – a quality that suggests they may also hold some strange magic. Holy Trinity Catholic High School captured this woodland mysticism with a 1960s twist in their production of A Midsummer Night’s Dream.

The play, regarded as one of William Shakespeare’s best comedies, follows the stories of various characters whose paths all converge in the enchanted forests outside Athens. All find themselves affected by the magic of the fairies that inhabit these woods, causing for comedic conflict in their relationships, whether they be lovers, actors, or magical creatures themselves. As the events come to pass in the single night, all are left to question whether it was simply a dream.

Oberon, the mystical Fairy King who controls much of the madness, was played magnificently by Caelen Corrigan. Corrigan’s commanding stage presence and clear mastery of vocal expression were both factors in his stately yet otherworldly character portrayal. Equally captivating was Carl Cachero as Puck, Oberon’s fairy servant, whose remarkably agile movements and energy were wonderfully ethereal.

Stewart Penny (L) performs as Francis Flute, dHoly Trinity Catholic High School’s Cappies production of A Midsummer Night’s Dream, held on April 23rd.

In the role of Helena, the scorned love of Demetrius (Aidan Dennehy), was Emily White, who impressed with her ability to animatedly express and transition between such emotions as jealousy, longing, and love. Brogan Lavigne as the pompous actor and eventual donkey-headed Nick Bottom, was hysterical, enriching the comedy of his role with his arrogant body movements and confident voice.

The hair and makeup, designed by Amber Boisvert, Renee Fage, Aurora Persaud, and Jenna Perkins was astonishingly detailed. It highlighted the fantasy in each character, especially seen in the glitter that adorned each fairy, the furry eyelashes of Puck, and the pale blue face of Oberon. The costumes, done by Carl Cachero and the costume team, were another aspect that displayed each character uniquely and set the time period, as exemplified in the functional donkey head used for Nick Bottom, the wired ears adorned in beads used by each fairy, and the 1960s style clothing worn by the human characters.

Sound, designed by Michaela Gregor and Caelen Corrigan, as well as lights by Arianna Daminato and Carley Hodges, enhanced the enchanted spectacle through the use of famous songs of the sixties and colourful, intense lighting. Another interesting part of the production was the dance choreographed by Olivia Butler and Corina Lambert in the fairies forest, which further captured the whimsical nature of the show.

Despite having been performed many times over the course of history, Holy Trinity Catholic High School’s spin on this beloved comedy was imaginative and fantastical, causing the audience to truly question the power of dreams.

Hannah Cheslock, Critic, Philemon Wright High School.

Hannah Cheslock

Critic

Philemon Wright High School

Magical plot lines intertwined with love and comedy all set in a mystical land sound like the setting for a perfect play. When you include a vibrant 1960s theme and a whole lot of glitter, you get Holy Trinity Catholic High School’s dreamlike production of A Midsummer Night’s Dream.

Originally written by William Shakespeare at the end of the 16th century, A Midsummer Night’s Dream has endured as one of his most well-known and loved comedies and has been adapted into countless different stage and screen productions. Holy Trinity Catholic High School performed an abridged version of this classic, and succeeded in keeping the audience entranced and captivated throughout the entire performance.

As Oberon, Caelan Corrigan led the show with his powerful stage presence and line delivery. His strong and cunning character was excellently portrayed, and he never lost his spark. Carl Cachero superbly played the role of Puck, Oberon’s faithful sidekick. Cachero beautifully complemented Corrigan with his agility and strength. The two worked seamlessly together, enhancing each other’s performance. Both were always ready to deliver, and their on stage chemistry was tremendously impressive.

Edwina Mayama (Hermia), Aidan Dennehy (Demetrius), Sage Rainvile (Lysander) and Emily White (Helena) all excellently played the mixed up and hysteric lovers. Although their characters struggled to find the people they loved, these four actors never struggled to portray their characters. Their comedic timing, projection and comfort on stage all attributed to their memorable and engaging performances.

Sage Rainville (L) performs as Lysander, and Edwina Mayama (R) performs as Hermia, during Holy Trinity Catholic High School’s Cappies production of A Midsummer Night’s Dream, held on April 23rd.

Comedy was never scarce throughout the production. All the performers were comfortable with their comedy, although two actors, Ben Kelly as Peter Quince and Brogan Lavigne as Nick Bottom, were notably strong. Their frequent onstage bickering combined with their excellent portrayal of the witty, loud and commanding characters led to a very entertaining performance. They were accompanied by other members of the ensemble of mechanics, who also gave amazing performances. Each scene that included this group of actors was highly entertaining, and the audience was left begging for more.

Technically, this show was stunning. The sets, done by Shaylah Mahoney and Arianna Daminato, were beautifully decorated. The pair successfully captured an enchanted and mystical forest with the rich and vibrant stage. The makeup, done by Amber Boisvert, Renee Fage, Aurora Persaud, and Jenna Perkins, was amazingly executed. Fairies shone onstage with their glittery and colourful makeup, creating beautiful illusions when the lights hit them. Arianna Daminato and Carley Hodges succeeded in beautifully lighting the stage. Deep blues, greens and pinks added an extra element of mystique to the scene, enhancing the already stunning set.

Holy Trinity Catholic High School’s production of A Midsummer Night’s Dream was strong from start to finish, and taught people of all ages that Shakespeare is far from boring and out-dated when it is so masterfully executed.

Tommy Power, Critic, Bell High School.

Thomas Power

Critic

Bell High School

The forest, dark and impenetrable, is a place of mystery, while a warm summer afternoon is a time for relaxation and folly. These elements, twisted together by the mastery of Shakespeare, are what made up Holy Trinity Catholic High School’s production of A Midsummer Night’s Dream.

Shakespeare’s A Midsummer Night’s Dream was written in the 1590s and has three intertwining storylines. Hermia (Edwina Mayama) is distraught because her father is forcing her to marry Demetrius (Aidan Dennehy) while she instead loves Lysander (Sage Rainville). When she is ordered by the Duke of Athens (Yannick Mutombo) to obey her father, she instead flees into the forest with Lysander, followed by Demetrius and his besotted admirer Helena (Emily White). In the same forest, a band of amateur actors, led by Peter Quince (Ben Kelly) is fruitlessly attempting to prepare for their performance at the Duke’s upcoming wedding. Meanwhile, Oberon (Caelen Corrigan), king of the fairies, is annoyed with his queen Titania (Alexandra Fiallos), and devises a plan to punish her. He dispatches his servant Puck (Carl Cachero) to supply love potions to the various sweethearts, and to transform the actor Nick Bottom (Brogan Lavigne) into a donkey. However, when Puck botches administering the potions, all sorts of comedic chaos ensue.

Drawing parallels to Shakespeare’s depiction of romance, Holy Trinity Catholic High School’s outstanding production transposed the action to the “free love” era of the groovy 1960s, with many a peace symbol and flowery shirt visible. This inspired choice of setting reflected all through the production’s design, and was highly conducive to establishing the dreamlike ambiance of the stage. The stage itself thrust into the audience, and the actors approached from all angles, allowing them to make use of the full performance space and interact with the audience to great effect. The show included complex choreography.

Stewart Penny (C) performs as Francis Flute, during Holy Trinity Catholic High School’s Cappies production of A Midsummer Night’s Dream, held on April 23rd.

As Oberon, Caelen Corrigan possessed a befittingly regal presence that ensured his utter command of the stage whenever he appeared. He delivered his lines forcefully, yet still with the correct level of emotion. Even when not the subject of the action, he still maintained his dignified demeanour, staying poised and still while covertly observing other characters on stage. Edwina Mayama commendably displayed the distress felt by Hermia at her amorous tribulations, conveying a sense of equal parts worry and lovesickness.

Carl Cachero, playing Puck, brought an enormous sum of energy, leaping gracefully across obstacles and never seeming to pause. As Titania, Alexandra Fiallos comported herself with the character’s distinctive pride, and was especially amusing in her infatuated interactions with the donkey-headed Nick Bottom. Ben Kelly, leading the players as Peter Quince, gave a very believable rendition of an exasperated director still retaining sympathy for his men.

The production’s elaborate lighting allowed for the effective creation of differing moods, transitioning rapidly in response to the actors’ movements, and clearly establishing the changing time of day. In order to enhance the show’s period character, contemporary music was played during fitting scenes throughout the play, combining with the lights and fog to amplify the hypnotic essence of the forest. The costumes and makeup worn by the characters were phenomenal and painstakingly created, especially that of Oberon.

Holy Trinity’s brilliant production of A Midsummer Night’s Dream lent a new twist with its unconventional, yet thoroughly suitable, change of epoch. With an abundance of both farcical and compellingly passionate performances, acted out in a misty, trancelike atmosphere, the show easily retains its appeal even four hundred years after it was written.

About the reviews

The production at Holy Trinity Catholic High School was reviewed by 31 critics representing 9 schools. The critic discussions were mentored by teacher Fadi El-Saikali of St. Patrick’s High School and student reviews were edited and selected for publication by teacher Carolyn Pignat of All Saints 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 Once Upon a Mattress.

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.

Once Upon a Mattress

Where: Sir Wilfrid Laurier Secondary School

Director: Sonya Schrum and student Stephanie Ellis

Kellie MacDonald

Kellie MacDonald

Lead Critic, St. Matthew High School

Fairytales and folklore have been used to impart wisdom to children for generations. Stories teach lessons like honesty, humility, and kindness. Or, as Winnifred the Woebegone discovers, it is better to be loud and awkward if it means being yourself. Sir Wilfrid Laurier Secondary School’s musical production of Once Upon a Mattress presented the untold side of a beloved fairy tale, The Princess and the Pea.

Kayla Bailey played the swamp princess Winnifred, affectionately known as Fred. Bailey’s portrayal was tough, spunky, and completely lacking in any typical princess grace or sensitivity. Her hoarse voice and gratuitous hip thrusting added comedically to her solo in Shy. Tim White played Prince Dauntless, Fred’s childish love interest. White gained confidence throughout the second act, building naturally to his final confrontation with his mother Queen Aggravain, played by Bridget Dueck.

Ryan Griffith played King Sextimus The Silent, mute thanks to a sorcerer’s curse. Though he was without dialogue, Griffith communicated easily with his fellow cast members through gestures and expressions. He was accompanied by Katie Gratton as the Minstrel and Alex Armstrong as the Jester in the song The Minstrel, The Jester and I. Griffith also successfully played off of White during his explanation of the birds and the bees in “Man to Man Talk”.

Amanda Collie, Kathleen McKee, Katrine Mercier, and Katie Patrakos created between 100 and 120 individual costume pieces for the production, including ball gowns, frock coats, and court jester attire. Large dance numbers were visually enhanced by couples in the chorus colour-coordinating with their corresponding partners. In particular, Queen Aggravain’s and King Sextimus’ costumes showed an impressive level of technical skill and attention to detail. The King sported a crushed velvet coat in royal blue with white fur trim and a matching hat, while the Queen adorned herself in bejewelled red velvet and a purple cape.

The production was enhanced by several props, created by Kathryn Hawco, Elyse Alie and Jonelle Genge. Notable props included the Minstrel’s lute, the Town Crier’s bell, and the Jester’s hand puppets designed to resemble the Queen and the Prince.

With strong lead performances, a generous ensemble, and incredibly competent prop and costume designers, Sir Wilfrid Laurier Secondary School’s comedic performance of Once Upon a Mattress charmed audiences and warmed hearts.

Julia Wilkes, Critic, Cairine Wilson Secondary School.

Julia Wilkes

Critic, Cairine Wilson Secondary School

Sir Wilfred Laurier Secondary School’s auditorium came alive in a symphony of sounds at their production of Once Upon a Mattress, a popular Broadway musical based on the fairy tale The Princess and the Pea with music by Mary Rodgers, lyrics by Marshall Barer, and book by Jay Thompson, Dean Fuller, and Marshall Barer. The show was dramatic and witty, and featured a selection of memorable songs from the original musical.

The musical follows the story of a kingdom ruled by a grouchy queen and a mute king. Queen Aggravain (Bridget Dueck) rules over her loyal subjects with an iron fist, and she refuses to allow her son, Prince Dauntless (Tim White), to wed until a princess passes her impossible tests. Through a series of amusing events, Sir Harry (Liam Schwisberg), finally brings to the kingdom a princess worthy of passing the tests, however, she is the most un-princess-like princess the kingdom has ever seen. After much mischief and shenanigans, Dauntless (White) and Winnifred (Kayla Bailey) are finally wed.

Bailey drove the show while she was on stage with her wild and exuberant personality. She was brassy and loud, and broke the mould of what a normal princess is expected to be. Bailey remained in character constantly and interacted with the rest of the cast with lively enthusiasm. White was also skilled in the role of the pouty prince, bringing forth the oblivious, juvenile nature the character embodied. He pined for Winnifred (Bailey) and followed her around throughout the story with the devotion of a dog. The climax of his character development was during the scene where Winnifred (Bailey) has completed the test. The queen (Dueck) still deemed her unworthy, but White stood up to her; proving that his character was capable of maturing.

Another role wonderfully cast for was Queen Aggravain (Dueck). Dueck was commanding and haughty in her role as the queen of the court. She provided ironic humour in scenes of excitement and a scandalized air to scenes of wild energy.

The two main vocalists of the show were Sir Harry (Schwisberg) and his girlfriend, Lady Larken (Lauren Albright). The two played the classic lovesick couple with a flare of drama here and there, but musically they couldn’t be beat. Their voices easily found their harmonies and they worked wonderfully together to be clear and full.

The set used was cleverly designed and certain sections doubled as more than one scene feature. When moved, the throne doubled as the entrance to the moat that Winnifred (Bailey) appears from. A plain cobblestone background served as the backdrop for the show, but in some cases the curtain would be closed and the raised riser in front of the stage would be used as the main setting for events.

Set changes were quick and clever, with minimal background noise, and occasionally, were even seamlessly fitted into the action of a scene. During the chant of “Quiet”, the cast marched about the stage after the queen, setting the stage for the transition between the throne room and Winnifred’s room.

The cast used a wide variety of props, including spears, flowers, various bedding, and even a large smoking cauldron. The most impressive prop was Winnifred’s bed of 20 mattresses. It was hollow on both sides, for the purpose of being filled by Harry and the Jester (Alex Armstrong), and was stable enough to be climbed and seated upon.

The cast was lively and committed to each musical act, and worked together to make sure everything ran smoothly. Overall, their performance was admirable and was surely a show to be proud of.

David Smith, Critic, Ridgemont High School.

David Smith

Critic, Ridgemont High School

An over-bearing mother of a Queen, a whiny man-child of a prince, and a swamp princess named Fred? Just some of the many outrageous characters students at Sir Wilfrid Laurier Secondary School portrayed in Once Upon a Mattress, an entertaining comedic musical adaption of the classic tale The Princess and the Pea.

After the twelfth princess hopeful fails her test to wed Prince Dauntless, things look grim for the kingdom since there is a law put in effect by Queen Aggravain that prevents anyone from marrying until a suitable princess is found for her son. Desperate to marry his beloved Lady Larkin before she has his child, Sir Harry takes it upon himself to find the next potential princess candidate and help her succeed in passing whatever test it is that the Queen has in store. He eventually finds it in Winnifred the Woebegone (or Fred for short), potentially the most “un-princess-like” princess around, and together, along with the help of a friendly minstrel and clever jester, they must find a way to pass the seemingly most impossible test the Queen has ever concocted: feeling a pea while trying to sleep on top of twenty mattresses…

As soon as the curtains opened and the actors were on stage, it was clear how collaborative and creative of an effort this production was. Whether it was one of the beautiful handmade costumes, or the practical hand-painted sets, the creative team of Sir Wil really outdid themselves.

There were more than 90 costumes (approximately 2 for each character), each hand made by Amanda Collie, Kathleen McKee, Katrine Mercier, and Katie Patrakos. They were extremely detailed and fit the period perfectly. A lot of thought and dedication was clearly put into every costume as no two costumes were alike and the same amount of detail was put on the extras’ costumes as much as the leads’.

The set consisted of painted risers and a hand-painted mural of a castle wall. Risers were effectively shifted around as scenes changed, causing a throne room to be turned into a moat, among other locations around the castle. The stage crew was almost unnoticeable, as they efficiently switched scenes around.

Winnifred the Woebegone played by Kayla Bailey (L) and Prince Dauntless played by Tim White (R) during Sir Wilfrid Laurier Secondary School’s Cappies production of Once Upon a Mattress, held on April 23, 2015 at Sir Wilfrid Laurier Secondary School.

The cast really played off each other well, not missing any noticeable cues and delivering their lines with exceptional timing.

Kayla Bailey’s hilarious portrayal of Fred was extremely entertaining to the audience, as they reacted to almost every line and peculiar movement she delivered. Her performance in “Shy” was very noteworthy, as she was able to remain in her comedic role and be funny while still delivering the notes from this solo. Every line and every note just looked and felt authentic.

Liam Schwisberg and Lauren Albright as Sir Harry and Lady Larken had great chemistry on stage, especially during the number “In a Little While”. Their duet was impressively performed, showing off the exceptional vocal talent and range from both actors.

There were many other stand-out moments, including the Spanish Panic, which included a very well choreographed dance routine by Lauren Albright and Darcy Pearson, and a rather uncomfortable yet entertaining conversation between the Mute King Sextimus (Ryan Griffith) and his son the young prince, which involved flowers, birds, and of course, bees.

Through great comedic timing and chemistry within the cast, as well as an efficient student-made set and extremely impressive hand-made costumes, Sir Wilfrid Laurier created a production that was both entertaining and beautiful to look at.

Japji Bhullar, Critic, Longfields-Davidson Heights Secondary School.

Japji Bhullar

Critic, Longfields-Davidson Heights Secondary School

They say that she arrived on a stormy night, claiming to be a princess, as the prince was looking for a bride. They say that the queen, suspicious of her claims, creates a preposterous test consisting of placing a miniscule pea under a pile of twenty mattresses, figuring a true princess would be too delicate and too sensitive to sleep. They say that the princess was unable to receive a second of shuteye that night. They say, but is it what really happened? Sir Wilfrid Laurier Secondary School unveiled the real story in their charming production of Once Upon A Mattress.

Based on Hans Christian Andersen’s The Princess and the Pea, Once Upon A Mattress recounts the efforts made by a medieval kingdom to find the right princess for their hapless prince. Everyone wants the prince to find a bride, so that the law preventing marriage in the kingdom can be lifted. Everyone, that is, but his mother Queen Aggravain. After the twelfth princess fails, once again, the Queen’s insurmountable test, Sir Harry, who discovered he is going to be a father, married or not, decides to take the matter in his own hands by bringing the perfect princess back to the castle. Who he brings back, though, isn’t as princess-like as the Queen would have liked, and she begins scheming and planning her hardest test yet.

The cast of Sir Wilfrid Laurier came together notably well in their musical numbers, adding amusement to the overall play with their well-executed songs and dances. However, the absolute highlight of the show was the 90-plus costumes made from scratch, which not only helped set the time for the musical, but also reflected the characters’ personalities and moods with colours and styles.

Tim White portrayed a guileless Prince Dauntless with his childish pout and shuffle. His comedic timing was especially well done in the number “Man to Man Talk”, together with his mute father, King Sextimus (Ryan Griffith). Kayla Bailey, who played Winnifred the Woebegone, perfectly captured the princess’ nonchalant air and oddities with her movements. Performing with utmost energy and charm in her numerous musical numbers, she maintained the outgoing personality throughout the show.

Knight #3 played by Aaron Head (L) held by; Prince Dauntless played by Tim White (R) and cast during Sir Wilfrid Laurier Secondary School’s Cappies production of Once Upon a Mattress, held on April 23, 2015 at Sir Wilfrid Laurier Secondary School.

Ryan Griffith captured the hilarious King Sextimus personality without even saying a word. His excessive actions and facial expressions were exactly what he needed to have the audience laughing, each time he came chasing a wench across the stage. Bridget Dueck had a demanding stage presence that enhanced Queen Aggravain’s character. Lauren Albright had a sweet singing voice and, when paired with Liam Schwisberg (Sir Harry), the two were a powerful couple, especially in their number “In a Little While”.

Lighting was used well throughout the performance. The spotlights never missed their cues, and never fell behind their targets. The coloured lights added an ideal atmosphere to the scenes, like the green lights in frog-filled The Swamps of Home. Another feature of the musical was the Sir Wilfrid Laurier orchestra. Although there were minor tuning issues at the beginning of the musical, the orchestra pleasantly complemented the actors’ performances.

Overall, Sir Wilfrid Laurier Secondary School put on a commendable show with great enthusiasm and energy. Its amusing characters and lively songs had the audience telling everyone the right story of The Princess and the Pea.

Sarah Larrigan, Critic, Brookfield High School.

Sarah Larrigan

Critic, Brookfield High School

Once upon a time there lived a not quite so shy or mannerly princess, a naïve prince, a ruling queen, a cursed king, and a young minstrel to narrate the tale. Full of terrific dances and songs, Sir Wilfrid Laurier Secondary School successfully performed the hilarious musical Once Upon a Mattress.

Prince Dauntless yearns to be married, however his mother, Queen Aggravain, decries he may only marry a genuine princess who passes her seemingly fair, yet unfair, test. Not quite as memory serves, this comedic musical tells the true story of The Princess and the Pea.

The entire cast put together several complex coordinated dances and songs. They were very successful at keeping in synchronization and in rhythm while remaining in character, as well as layering their voices and singing as a unit in harmony.

Kayla Bailey played the beloved Winnifred the Woebegone and was captivating from the moment she stepped on stage. She graced the audience with her loud presence and was very effective in delivering a comedic, heartfelt and persuasive performance whether acting or belting out a song. Tim White became his lovable and naïve character, Prince Dauntless, thoroughly and convincingly. Well-enunciated and full of comedic enthusiasm, Tim was always in character and an obvious presence on stage. He triumphed in depicting the development of his character from a young son to a soon-to-be ruling king.

Lauren Albright as Lady Larken and Liam Schwisberg as Sir Harry played a romantically captivating young couple who sang with lovely voices as they danced gracefully together. Both were very expressive and compelling in their acting, bringing heartfelt and comedic moments to the play. Bridget Dueck as Queen Aggravain held all the confidence of a regal and selfish Queen, and she commanded the stage as her castle. Brodie Buffet, who played the Queen’s rambunctious and underappreciated Wizard, was very entertaining to watch and performed with an eloquent voice and convincing demeanour. Ryan Griffith as Sextimus, the mute King, provided an excellent source of comic relief and was especially entertaining during the song “Man to Man Talk”. Ryan did a marvellous job of speaking though his actions up to the end of the play, when his deep, rich and strong voice and concluded an especially memorable performance. As well as playing a role in the play, Stephanie Ellis did a marvellous job of directing several aspects to this play, including casting. Her efforts were noticed and admired, as they successfully played out in the performance.

The cast of Once Upon a Mattress during Sir Wilfrid Laurier Secondary School’s Cappies production of Once Upon a Mattress, held on April 23, 2015 at Sir Wilfrid Laurier Secondary School.

The orchestra filled the room with a well-balanced score and played lively and enchantingly throughout the play, further bringing this fairy-tale to life. Recorded sound was also effective in layering the background of the play or representing a storm. Cues were met on time with accordance to the acting.

Shimmering silver knights, a nightingale, jesters, princess and more were each adorn in a grand variety of unique and colourful costumes, which were tailored to their characters’ demeanour. Make-up completed the characters’ appearance and helped to enhance the liveliness of the play. The stage incorporated many unique pieces that set the storyline without taking away from the actors. These included a throne, a moat, and a precarious looking bed several mattresses high. Spotlights focused on and followed their respective characters throughout songs and dances. The song “Happily Ever After” consisted of a unique spotlight that followed Winifred as other fairy-tale princesses danced around her in the shadows. Red lighting was especially effective during the song “Quiet”, which produced a foreboding atmosphere.

Sir Wilfrid Laurier was successful in engaging this fairy-tale musical with a comedic twist.

About the reviews

The production at Sir Wilfrid Laurier Secondary School was reviewed by 28 critics representing 14 schools. The critic discussions were mentored by teacher Colleen Pierce-Price of Gloucester High School and student reviews were edited and selected for publication by teacher Paula Jones of Almonte and District 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 The Glass Menagerie.

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.

The Glass Menagerie

Where: All Saints High School

Director: Serena McCauley and student Nicholas Fassbender

Madeleine Klebanoff O’Brien

Madeleine Klebanoff O’Brien

Critic, Elmwood School

Put yourself in the shoes of Tom Wingfield. It is 1937 in St. Louis, Missouri, and America struggles to escape the shadow of the Great Depression. Your father is gone, you are suffocating in the grasp of your over-protective mother, and you must forego your dreams to support your family. All Saints High School captured this bleak reality in their production of The Glass Menagerie.

The Glass Menagerie, a celebrated play by Tennessee Williams, displays that world through the hazy lens of Tom’s memories. Although Tom has fled the unbearable reality of his youth, he cannot escape the haunting recollection of his timid sister, Laura. His mother, Amanda, drives the story of his early years. She is eccentric, pathologically devoted and lost in the memories of her youth. Themes of love, loss and retrospection are explored in this powerful drama.

All Saints High School tackled this rich script with emotional maturity. Tori Faircloth was an intense Amanda, with an appropriate southern lilt. Brandyn Coulas, as the Young Tom, captured the trapped youth, putting full emotional force into Tom’s heated exchanges with Amanda.

Jim O’Connor, played by Nicholas Fassbender, is an old high-school friend of Tom, who gives Laura a fleeting glimpse of love. Fassbender was an earnest Jim, speaking with a lively oblivion that conveyed the ambition of his character. Brynn Rhude as Laura was all short, flighty movements and fragility.

Tori Faircloth (L) performed as Amanda Wingfield and Brynn Rhude (R) played Laura Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

The romantic scene between Fassbender and Rhude was was fully charged and dynamic.

The production was narrated by Christian McGregor, as the older Tom. He delivered his lines like any good storyteller; every slight smile, gesture or glance helpign to round out the man Tom has become. To enhance the story, a group of “memory actors” would mime scenarios discussed by the actors, enthusiastically tackling anything from cheerleaders to protesters.

The entire play is set in a small, historically appropriate apartment, a space designed by Katherine Van der Ploeg. A challenging sound and lighting scheme was executed with admirable attention to detail. Lighting was creative and accurate, as when lights flashed to accompany thunder, or abruptly turned on when an actor mimed flicking a switch.

All Saints High School put impressive effort into this classic play. They invited the audience to walk a mile in Tom’s shoes, into a world where illusions are as fragile as glass and glittering dreams inevitably shatter.

Jasmine Stamos, Critic, Sacred Heart Catholic High School.

Jasmine Stamos

Critic, Sacred Heart High School

Our innermost dreams, fears and aspirations can be as fragile as glass. Sometimes, delusional escapism is the only way to avoid the aching reality of the panes shattering, as demonstrated by All Saints High School’s skilful production of The Glass Menagerie.

As a memory play, The Glass Menagerie centralizes on the memories of the narrator Tom Wingfield. Reminiscing about when he was a young man in St. Louis, Missouri in 1937, the young Tom is making a pittance as a dissatisfied warehouse worker to support his mother and sister. Amanda, Tom’s mother, is disappointed in her children’s successes, which pale in comparison to the Southern escapades of her past; Laura, Tom’s sister, wears a leg brace and is only comfortable in the company of her collection of glass figurines. When Tom brings a “gentleman-friend” named Jim to dinner as a potential suitor for Laura, Tom’s insatiable wish to be a poet and Laura’s social paralysis become all the more apparent. All are forced to confront their burgeoning desires and ambitions, as they realize their own estrangement from reality. Premiering in Chicago in 1944, The Glass Menagerie catapulted American playwright Tennessee Williams to international renown.

All Saints High School’s performance of The Glass Menagerie was executed with finesse, brilliantly highlighting the complexities of each individual character of the small cast. With highly skilled actors, an era-appropriate set and intricate lighting, the production was staged with seldom any flaws.

Nicholas Fassbender performs as Jim O’Connor, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

Brandyn Coulas as the young version of Tom demonstrated with prowess his character’s sense of confinement. Forced to support his dependent family, his convincingly genuine outbursts of frustration were typically directed at his mother Amanda, played by Tori Faircloth. With her over-the-top concern and desperation for her son to have a successful profession and for her daughter to marry an affluent man, Faircloth never faltered in her high energy and impressively maintained a prominent Southern drawl throughout.

With small skittish gestures and an airy vocalization metered with a timid passion for her meticulously maintained collection of glass figures, Brynn Rhude encapsulated the dreamy Laura with expertise. Particularly touching was her dance with Jim (Nicholas Fassbender), her charismatic suitor with the capacity to recognize her unique beauty. Reminiscing thoughtfully about his tumultuous past, Christian McGregor as the narrator Old Tom was a powerful guiding force with wonderful clarity and pacing.

The open-concept set was well executed, with elaborate fixtures such as an antique gramophone and lounger chairs. Props added considerable dimension to the characters, namely the fake cigarettes frequently smoked by the unsatisfied young Tom and Laura’s favourite unicorn figurine. With an impressive number of lighting cues, Arianna Skirzynska succeeded in producing consistently precise illumination, including flashes of thunder and emphasis on the portrait of Tom’s notably absent father.

With commendable acting, a provocative set and ambitious lighting, All Saints High School’s production of The Glass Menagerie was an expertly executed exposition of the nature of reality and a family’s reaction to its cruelty.

Rachel Hennings, Critic, Redeemer Christian High School.

Rachel Hennings

Critic, Redeemer Christian High School

Life is fragile, breaking in an instant. Tennessee Williams’ tragic drama explores the difficulty of accepting reality, the feeling of abandonment and the pursuit of true escape. Since its debut in 1944, The Glass Menagerie has become a Broadway staple, capturing audiences with its wistful hopefulness for a better life.

Set in 1937 St. Louis, Missouri, the haunting play follows the characters of dreamer Tom Wingfield, his Southern belle mother on the verge of a nervous breakdown, Amanda, and his beloved sister Laura, a shy, fragile young woman with a crippled leg. Taking the form of a memory play, it follows an old Tom’s memory of events past. The play commences with Tom’s mother, a woman whose husband had left her many years before, trying to find a suitable husband for her daughter. Meanwhile, Tom, an aspiring poet, unhappily works at a shoe warehouse dreaming for some kind of adventure. Laura, too, lives in a world of her own, polishing her “Glass Menagerie,” a collection of glass animals. Life changes for the Wingfields after Tom finally brings home a gentleman caller for Laura, a man by the name of Jim O’Connor. Although Laura is painfully shy around Jim, they begin to form a bond, which culminates with her showing him her prized possession, a glass unicorn. Alas, there would be no happy endings for this home, for it was as fragile as the unicorn it housed.

The Glass Menagerie is a substantial undertaking for any theatre group. Despite this, the cast and crew of All Saints High School made an admirable effort to stay true to the rich vision presented in the play.

In the role of Young Tom, Brandyn Coulas captured the essence of a man driven to madness by the mundaneness of his life. Through many difficult emotional scenes, Coulas was able to portray the absolute sorrow and frustration of the character, especially when interacting with Tori Faircloth, as his mother, Amanda. Coulas remained dynamic and engaging throughout the performance, which was particularly evident while conversing with and comforting Brynn Rhude, as Laura. Tori Faircloth gave a commendable performance as a delusional woman with little money, whose life has crumbled around her like a sandcastle – yet she cannot acknowledge it. Faircloth’s flamboyance added to the portrayal of a Southern belle who has been misplaced by poor fortune.

Brandyn Coulas (L) played Tom Wingfield and Nicholas Fassbender (R) played Jim O’Connor, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

Brynn Rhude was able to express the emotions of a young woman with an inhibiting inferiority complex. Her subtle facial expressions hinted at some inner conflict and her limp was realistically portrayed. Nicholas Fassbender, as Jim O’Connor, was able to interact well with both Rhude and Coulas. His ability to portray unrelenting positivity was laudable. Old Tom/ Narrator, played by Christian McGregor, was engaging and brought a wistful, searching feeling to the play. The “Memory Actors” were fluid and natural, greatly adding to the overall atmosphere of the play.

The set was very well appointed with many period-specific pieces that added realistic touches to the play. The costumes reflected each character’s personality, especially with ostentatious dresses for Faircloth’s character. The lighting by Arianna Skirzynska was exceptionally well done, playing an integral part in the play, especially during the lightning storm, power outage and memory sequences. Nicholas Fassbender’s work as student director was laudable. The faux cigarettes and “glass” animals were also well executed.

The Glass Menagerie at All Saints High School proved to be a testament to the difficulty of Tennessee Williams’ play, yet managed to delve into the soul of the playwright, illuminating it for the audience.

Emma Christie, Lead Critic, Brookfield High School.

Emma Christie

Lead Critic, Brookfield High School

An intriguingly small cast graced the stage at All Saints High School with a moving performance of The Glass Menagerie, proving the depth of their talented actors. Following with exactitude the work of Tennessee Williams, the cast and crew gave a heartfelt performance of the play that followed a recollection of memories narrated by the main character Tom. As an older version of Tom leads the audience through his experiences with his mother Amanda and sister Laura in the year 1937, the deep troubles within each character and the entire family as a whole, become apparent.

A gifted five-person cast was all that was needed in order for the play to grip the audience and send them along the unclear path of Tom’s future. Incredible performances by Brandyn Coulas, playing Young Tom, and Tori Faircloth, playing Amanda, demonstrated a spectacular range of emotions and were a dynamic team in their scenes together. An excellent performance was also given by Christian McGregor, who acted the part of the older version of Tom, serving as the Narrator. McGregor brought charisma and professionalism to the stage from the very first scene, showing great talent through his irreversible connection with the audience. In moments of great meaning, this actor gave the narration an originality that was very impressive for the audience to witness. Perhaps the greatest feat of the night was accomplished by Brynn Rhude, who portrayed the shy Laura with perfect mannerisms in a very difficult role. Rhude’s ability to remain in character even when not in the spotlight showed expertise and a great understanding of the complexity of her character.

Brandyn Coulas played Tom Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

A particularly good job was done by the lighting and sound teams, who rose to the occasion even further in the second act. Lighting done solely by Arianna Skirzynska was incredible throughout the entire play, providing a constant atmosphere for the audience that harnessed the exact amount of lighting at the right times. A great accomplishment for Skirzynska was the perfection with which she executed her numerous cues, giving a lasting impression of disparity and grief with the professional quality use of dim lighting. The sound team, including Marijo Arias, Gregory Wardle and Rebecca Wardle, did an excellent job in providing music and sound effects, which effectively enhanced the entire production from start to finish. An excellent effort was made by this team, who used appropriate sound effects that added dimension for the audience.

Overall an excellent effort made by all those involved from All Saints High School, The Glass Menagerie was successfully performed as the jarring play it was intended to be. All the actors demonstrated control and harnessed the true identities of their characters, each having exceptional presence and energy. A production that was a true pleasure for the audience to watch, one was transfixed until the grim ending, which left the audience with abstruse feelings of desolation.

Sarah Priscus, Critic, Mother Teresa Catholic High School.

Sarah Priscus

Critic, Mother Teresa High School

It is true that, as explained early on in The Glass Menagerie, “in memory, everything seems to happen to music.” In All Saints High School’s twinkling, triumphant production of Tennessee Williams’ classic, it was proven that no force is stronger for sentimental storytelling than memory — even if these aforementioned memories are inaccurate.

The Glass Menagerie first premiered in 1944 in Chicago, and remains to this day one of Tennessee Williams’ most influential and illustrious works. From its original Broadway premiere in 1945 to a recent 2013 revival, the show has since been taught in English classes around the world and hailed as a modern masterpiece. The Glass Menagerie, set in 1937 St. Louis, is told from the unhappily nostalgic perspective of Old Tom (Christian McGregor), who explains that the story unfolding is a “memory play” and that all events are as he remembers them. The show concerns the story of a desperate, once-beautiful mother, Amanda Wingfield (Tori Faircloth), and her misguided attempts to bring success to her children: the “selfish dreamer” shoe warehouse worker Tom (Brandyn Coulas) and the delicate, physically disabled daughter Laura (Brynn Rhude).

All Saints High School’s production created a wistful, wondrous world onstage through diverse portrayals of characters, an intentionally stark but still imaginative set, and excellent use of lighting effects.

Tori Faircloth (L) performed as Amanda Wingfield and Brynn Rhude (R) played Laura Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

As Young Tom, a wannabe poet who is stuck providing for his family instead, Brandyn Coulas was incredibly raw and absolutely believable. His physicality onstage, whether it was rolling his eyes when his mother spoke or stumbling up a fire escape drunk, was very strong. Coulas impressed particularly with his frequent bouts of anger and arguments with his mother, played by Tori Faircloth. Faircloth displayed skill in consistently staying in character, a task especially difficult in a role such as the neurotic, delusional Amanda. Her genteel Southern accent was maintained well throughout the show, through both her character’s joy and devastation.

Brynn Rhude played Laura, a girl as fragile as her meticulous glass figurines, with an attention-grabbing shaky sensitivity. Rhude characterized incredibly – whether she was quietly joking with family members she was comfortable with or displaying almost-silent shyness. As Jim, the long-awaited “Gentleman Caller”, Nicholas Fassbender was amiable and authentic in his storytelling and encouragements. Fassbender’s portrayal was well developed, and he ably went from almost romantic to apologetic after he kissed Laura. Christian McGregor’s portrayal of Old Tom brought a mature, engaging sense of sentimental purpose to the role, and book-ended the story with his powerfully-delivered monologues.

The lighting, proficiently done by Arianna Skirzynska, was gorgeous, particularly in the scenes after a power outage. The dim yellow light added a warm, candle-lit ambiance to the stage, and every one of the 102 cues was executed on time. Sets, designed by Katherine Van der Ploeg, added to the feel of a small St. Louis apartment, particularly with the addition of a rusty, rickety fire escape. The minimal solid walls and abundance of furniture created an open-ended, dreamy space. The costumes, designed by Elise Woodward, gave insight into the characters’ personalities, with Amanda’s loud, out-dated green party dress and Laura’s light, wispy outfits as particular standouts. Despite a few problems with enunciation and clarity, the cast and crew came together to create a captivating show.

With its themes of remembrance, obligation, and regret, All Saints High School’s pensive production of The Glass Menagerie left an undeniably powerful, emotional, and melancholy mark.

Brynn Rhude (L) perfomed as Laura Wingfield and Brandyn Coulas (R) played Tom Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

Brynne Rhude (L) performed as Laura Wingfield and Tori Faircloth played Amanda Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

Christian McGregor performed as Narrator Tom, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

Tori Faircloth (L) performed as Amanda Wingfield and Brynn Rhude (R) played Laura Wingfield, during All Saints Catholic High School’s Cappies production of the Glass Menagerie, on Apr. 24, 2015.

About the reviews

The production at All Saints High School was reviewed by 33 critics representing 17 schools. The critic discussions were mentored by teacher Helen Smith of Longfields-Davidson Heights Secondary School and student reviews were edited and selected for publication by teacher Wendy Gunter-Woods of Woodroffe High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: A.Y. Jackson Secondary School’s production of The Addams Family: A New Musical Comedy.

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.

The Addams Family: A New Musical Comedy

Where: A.Y. Jackson Secondary School

Director: Ilona Henkelman

Darcie Watson-Laird

Darcie Watson-Laird

Critic, Merivale High School

Looking for quirky characters, upbeat songs, and touching messages? Look no further than A.Y. Jackson Secondary School’s comical production of The Addams Family: A New Musical Comedy.

Based on the cartoons by Charles Addams, The Addams Family: A New Musical Comedy was released in 2009, and written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa. The story follows the morbid Addams family, as Wednesday Addams falls for an overly ordinary boy, Lucas Beineke. The Beinekes are invited to dinner by Wednesday, and the dinner quickly goes awry, as the two families immediately discover they are nothing alike. Wednesday and Lucas experience the indecisive trials of young love, as most do, but once overcoming their complications with each other, their love eventually forces the families to accept each other, as each family member gains some much-needed self-knowledge.

Brett Riddiford gave a thrilling performance as Gomez Addams, portraying the fatherly character with a comforting love for his family and a comical anguish as he watched his daughter growing up, all the while continuing to have an entertaining accent, and singing with a strong tenor voice. Wednesday, played by Mary-Lisa Nefedova, brilliantly showed Wednesday’s intimidatingly dispassionate character, but also her growing sensitivity to Lucas. Nefedova’s powerful soprano voice was impressive in the upper ranges, with clearly articulated diction throughout. Moreover, Megan Hooper’s chilling portrayal of Morticia Addams was confident and impressive, conveying the gruesomeness of the motherly role with finesse. Playing Wednesday’s little brother, Pugsley, Josh Alcantara created a childlike, impish atmosphere around himself when onstage. Similarly, Paige Watson kept the audience in tears of laughter with her hysterical role as Grandma.

Josh Alcantara, performs as character Puglsey Addams (L), Ryan Hooper, performs as character Mal Beineke (2nd L),Cam Wissing, performs as character Lucas Beineke (3rd L),Olivia Westland, performs as character Alice Beineke (Centre), Paige Watson, performs as character Grandma (3rd R), Sam May, performs as character Soldier (2nd R), Kevin Anderson, performs as character Fester Addams (3rd R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.

The makeup team, consisting of Monica MacFadyen, Hannah Anderson, and Lianne Heath, outdid themselves on each and every character’s hair and makeup. For example, Morticia’s makeup, including blood red lips and smoky eyelids, elevated her ghoulish role in the unwholesome family. The various generations were well depicted through makeup and hair, with the older members looking realistically aged and the younger members retaining a fresh, youthful appearance. Likewise, the slicked hair of Gomez and the subtle “baldcap” of Uncle Fester were also professionally conceived and integrated into the characters’ looks.

The sets, created by Carmen Hicks, Jordan Cunha, and Jake Taylor, were intriguing and creatively supported the theatricality of the musical. There were rolling flats with the interior of the house painted in red, highlighted with interesting touches of décor, such as family portraits of various generations. The reverse side of the flats depicted a dungeon-like atmosphere with more dismal touches of colour painted to resemble bricks and mortar. The chorus, dressed as the dead ancestors of the current Addams members, did a seamless job of transitioning sets and occasionally holding smaller set items like painted trees and even a bus sign. This provided an interesting texture when the ghostly ancestors were required to chime in on musical numbers with the backup vocals, as their voices would seemingly emanate from the sets themselves.

A.Y. Jackson Secondary School’s production of The Addams Family: A New Musical Comedy was an enjoyable, impressive show, with humourous asides, and the resounding message that “Living or dead, family is still family.”

Kathryn Thornley, Critic, St. Paul Catholic High School

Kathryn Thornley

Critic, St. Paul High School

When you’re an Addams, you’ve got to be ready for graveyard ghouls and un-dead servants. But when you’re a part of the A.Y. Jackson S.S. cast and crew for The Addams Family: A New Musical Comedy, you’ve got to be ready for graveyard ghouls, un-dead servants, musical numbers and more!

The well-known story of The Addams Family, created by cartoonist Charles Addams, has been around for 77 years, as it was first created and published as a series of comic strips in 1938. This adaptation of the original comedy, The Addams Family, follows the story of Wednesday Addams as she invites her comparatively normal love interest, Lucas Beineke, and his family for dinner with her not-so-normal family. The Addams and the Beinekes have their obvious differences and spend the entire evening dwelling on them. As Wednesday later confesses that she will be marrying Lucas, the two families swing into chaos.

A.Y. Jackson took to this theatrical performance with determination and dedication, to result in a sidesplitting performance that kept the audience thoroughly entertained. Actors made excellent use of the stage and room, as actors were often seen in the aisles. The show was filled with ghoulish choreography, witty humour and impressive behind the scenes work that polished this act into a work of art.

Brett Riddiford had the perfect amount of chemistry with every one of his fellow actors/actresses, which resulted in a sidesplitting portrayal of the father of the Addams family, Gomez Addams. As the story progressed, Mary-Lisa Nefedova, playing Wednesday Addams, proved to the audience that she could keep her cynical character perfectly intact, even in the funniest of moments. Keeping the crowd entertained was Kevin Anderson, playing Fester Addams, a delusional uncle who was set on making sure Wednesday was going to be able to wed.

Megan Hooper as Morticia Addams, the mother of Wednesday Addams, brought many impressive vocal performances into the spotlight such as “Just Around the Corner” which also featured a dance number with Death, played by Josh Alcantara. Helping out between scene changes and adding humour to the musical were the un-dead members of the Addams Family, The Ancestors. Emma Ahern as the 20s Flapper Ancestor led in a solo dance that impressed the crowd. The Ungrateful Dead Zombie Pit Band, conducted by Megan Holzhuter, not only played all of the scores fairly well during the musical but also acted their part as zombies at the same time, a difficult feat to accomplish.

Makeup was very well done for the majority of cast members, to add a more realistic feel to the characters. The set portrayed the goofy cartoon vibes of a musical, with many touches of Addams Family decor. Painted by cast members, the set was completed by a team led by Caleigh Hartery and Emma Ahern (who also played two of the Ancestors onstage). Spotlights were employed extremely well, as they moved seamlessly with the characters on stage and in the aisles. Gels were used sparingly in lighting, but were very effective when used during numbers such as “The Moon and Me”.

The students of A.Y. Jackson Secondary School put on a superb musical show, accompanied by live music and a continuous stream of laughter from the audience. Finishing with a standing ovation, The Addams Family: A New Musical Comedy was a hit with all.

Sijyl Fasih, Critic, Elmwood School.

Sijyl Fasih

Critic, Elmwood School

Love and trust: the pillars to a successful marriage. These pillars, however, begin to shake when a daughter’s wish leaves her father torn between his child and his wife. Hilariously depicting the plight of both a father and a husband was the cast and crew of A.Y. Jackson Secondary School in their rendition of The Addams Family: A New Musical Comedy.

Written by Rick Elice and Marshall Brickman, The Addams Family: A New Musical Comedy brings back the devilishly delightful lives of the Addams. Wednesday Addams has grown up and fallen in love with a sweet young man named Lucas Beineke. Both lovers decide to marry, yet have not even met each other’s families. And if that weren’t upsetting enough, Wednesday discloses her secret to her father, begging him not to tell anything to her mother. Gomez Addams must now do something radical— keep a secret from his wife, Morticia.

Brett Riddiford served as the highest point of comic relief in the role of Gomez Addams. While maintaining a clear Spanish accent for the entirety of the performance, he embodied the role’s comic characterizations through flamboyant facial expressions, zany mannerisms, and exaggerated character blocking. Mary-Lisa Nefedova’s withdrawn body language around her parents embodied the gloom and teenage rebellion of Wednesday Addams. Nefedova’s breakout solos also featured passionate melodies that testified to her sworn love for Lucas.

Other key performances included Kevin Anderson, portraying Wednesday’s caring uncle, Fester. Present during all set transitions, Anderson’s body language gave the illusion that he was orchestrating the transitions through magic, contributing to the surrealism of the comedy. Megan Hooper, whilst playing Morticia, kept a morale that demanded praise from the entire cast. Jacob Taylor portrayed the zombie butler, Lurch, with subtle mannerisms that left that audience roaring with laughter.

Emma Brown, performs as character Jilted Bride (L), Emma Ahern, performs as character 20’s Flapper (2nd L), Lianne Heath, performs as character Spanish Conquistador (3rd L), Sam May, performs as character Soldier (4th L), Megan Hooper, performs as character Morticia (centre L), Brett Riddiford, performs as character Gomez Addams (Centre R), Maddie McKerrow, performs as character 60’s Hippie (3rd R), Priya Sarwal, performs as character Puritan (2nd R), Caleigh Hartery, performs as Riverboat Gambler (R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.

Josh Alcantara, in the role of Wednesday’s younger brother, Pugsley, showed talent and expertise in the art of dance. Even when performing a lyrical solo to “What If”, he maintained proper dancing posture alongside the quirkiness of his persona. Alcantara’s versatility was also present in the numbers “Just around the Corner” and “The Moon and Me”, in which he played Death and the Moon.

Led by A.Y. Jackson student, Megan Holzhuter, each member of The Ungrateful Dead Zombie Pit Band performed with conviction and strength, battling challenging scores with competence. Despite a few intonation lapses, the instrumentalists ably complemented the vocalists through a well-maintained sonic balance.

Of course, no production is complete without a dedicated crew. The make-up consisted of well-blended facial pallor and dark, cynical contouring, which depicted the family’s morbid circumstances. The show’s lighting scheme followed a period of dimness during set transitions and the illumination of the stage upon the snap of Fester’s fingers. The lighting crew adhered to this decision, executing it with precision. As for the set, double-sided and mobile wooden panels created the Gothic aura of the Addams Family estate; the eight Ancestors performed each transition with finesse.

Although undertaking a challenging task, A.Y. Jackson Secondary School’s cast, crew, and student led band gave an entertaining and family-oriented performance of The Addams Family: A New Musical Comedy. 

Spencer Kahler, Lead Critic

Spencer Kahler

Lead Critic, Earl of March Secondary School

It’s often said that marrying someone entails marrying their family. What if that family included an un-dead butler, a little boy with a taste for torture, and a grandmother who spends her days toiling over a cauldron? A. Y. Jackson Secondary School’s production of The Addams Family: A New Musical Comedy hilariously explored such a situation and such a unique family.

With music and lyrics by Andrew Lippa, and a libretto by Marshall Brickman and Rick Elice, The Addam’s Family: A New Musical Comedy first premiered on Broadway in 2010. The plot revolves around the reaction of the offbeat Addams family to the worst of all possible news; Wednesday Addams is in love with a normal boy! In an effort to support his daughter, Gomez Addams, the patriarch of the clan, invites the boy, Lucas Beineke, and his parents over for “One Normal Night”. What follows is a series of missteps and musical numbers as the Beinekes get to know the creepy kooky family with a taste for the macabre.

Mary-Lisa Nefedova portrayed Wednesday Addams as a young woman being torn apart by her loyalties. Nefedova’s powerful vocals cut through the air, conveying her character’s inner turmoil in her show stopping solo “Pulled”. Brett Riddiford played Gomez Addams with Spanish flair and panache. Riddiford committed his entire person to every joke, throwing himself about the stage like a ragdoll.

Megan Hooper captivated the audience with her aloof characterization of Morticia Addams, the matriarch of the family. Josh Alcantara delivered a well-rounded performance as Pugsley Addams, Wednesday’s precocious younger brother. Alcantra sold broad comedy, musical numbers, and multiple dance solos. Olivia Westland gave a professional quality performance in the role of Alice Beineke, Lucas’ mother. Westland brought the show to a whole new level of hilarity with her frenzied rendition of Waiting.

Thanks to the hard work of stage manager Mitchell Reed and the Addams Family Ancestors, who played double duty as chorus and crew, the show ran without a single hiccup. The pace was steady throughout, the scene changes were smooth and efficient, and each lighting and sound cue was perfectly timed. The original choreography by Caleigh Garbutt and Allison Hodgins was both aesthetically pleasing and germane to the narrative. Garbutt and Hodgins incorporated a wide variety of styles into their choreography from tap, to ballet, to tango, to classic musical theatre. The set, designed by Carmen Hicks, Jordan Cunha, and Jake Taylor, was versatile and easy to manoeuvre.

The students of A. Y. Jackson Secondary School successfully brought the eccentric Addams family to life with superb performances and precise technical elements. The Addams Family: A New Musical Comedy left the audience wishing they could Move Toward the Darkness with the Addams clan.

Jacob Hines, Lead Critic, Canterbury High School

Jacob Hines

Lead Critic, Canterbury High School

The last thing you’d ever expect to hear regarding the Addams Family is “normal,” but that’s exactly what you get – or as close as it can get to normal – when Wednesday brings a regular old family home for dinner. The Addams Family: A New Musical Comedy is a new twist on the classic cartoon tales of the Addams family, based on the later Broadway musical version, and skilfully performed by the students of A. Y. Jackson Secondary School.

Hidden in the heart of Manhattan’s Central Park lies the Addams Family estate, where the entire clan, both living and dead, gather, and where we are first introduced to the notion that Wednesday Addams is in love. Her Uncle Fester is overjoyed, and, along with their family ancestors, he feels determined to help young love triumph. Fester and the Ancestors have their work cut out for them, however; the two families are polar opposites, and though each one promises their child a normal night, things quickly take several unexpected turns.

Brett Riddiford played Gomez Addams, the suave Spanish patriarch of the family. Riddiford proved himself a versatile actor throughout the play, being able to snap between the melodramatic, pleasing eccentric who was the source of much of the production’s humour, and the strong, passionate husband and father who could evoke heartfelt bonds between himself and his fellow actors. This was most apparent in a scene where he was comforting his daughter Wednesday through the song “Happy Sad”. Both of them garnered great emotional responses with their performances. Mary-Lisa Nefedova portrayed Wednesday Addams; she maintained the stony expression and mannerisms that are so characteristic of the role for the duration of the play. Along with having a powerful and well-supported voice, she cut a strong figure on-stage.

Mary-Lisa Nefedova, performs as character Wednesday Addams (L), Emma Ahern, performs as character 20’s Flapper (2nd L), Sam May, performs as character Soldier (3rd L), Josh Alcantara performs as character Pugsley Addams (centre), Lianne Heath, performs as character Spanish Conquistador (2nd R), Caleigh Hartery, performs as Riverboat Gambler (R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.

Kevin Anderson saw a lot of stage time as Fester, Gomez’s brother, and the puppet master of the night. He was often seen on-stage guiding the movements of the Ancestors – ghosts who doubled as the stage crew for the production. Olivia Westland, as Alice Beineke, was rarely unnoticed while on-stage. Her timing was precise and she maintained her character well even through the uncharacteristically strong emotions that Alice experienced. Megan Hooper, portraying Morticia Addams, was commanding and powerful in her role, and sported a strong voice in song and in dialogue.

Although working with minimal equipment, Gavriel Rodriguez and Jessica Dahanayake were able to effectively light the stage and regulate the sound from the microphones of the cast, as well as several sound effects. The set design was simple and effective. The hair and makeup were done well, especially when they were used to age the actors. With so many actors on stage, the choreography team deserved praise as well for their dance numbers and overall coordination of the cast.

The Ungrateful Dead Zombie Pit Band performed well, offering very pleasant melodies before each act and to each song, in addition to providing many of the sound effects during the show. Megan Holzhuter conducted the band, and her co-band director, Naryan Shukle, orchestrated the music.

Powerful musical numbers, complex choreography, and emotional connections on stage that came straight from the heart characterized A. Y. Jackson’s performance of The Addams Family: A New Musical Comedy. This, along with on-point comedy throughout the show, brought the audience to its feet in a well-deserved ovation.

About the reviews

The production at A.Y. Jackson Secondary School was reviewed by 32 critics representing 12 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 Joan Strong of Bell High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Redeemer Christian High School’s production of A Midsummer Night’s Dream.

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.

A Midsummer Night’s Dream

Where: Redeemer Christian High School
Director: Ashley Visser

Sarah Priscus

Sarah Priscus

Critic, Mother Teresa High School

“Lord, what fools these mortals be!” indeed. In their wonderfully whimsical production of the Shakespearean classic A Midsummer Night’s Dream, Redeemer Christian High School amusingly explored the classic human follies — love, war, confusion and a fair bit of mischief.

A Midsummer Night’s Dream, one of William Shakespeare’s most significant comedies, was first performed in 1605. In the 410 years since, the script has been adapted countless times and re-staged around the world. The plot concerns the marriage of Theseus, Duke of Athens (Cameron Mattie), and Hippolyta (Elim Chen), and the misadventures surrounding its imminent approach. With three subplots running simultaneously, A Midsummer Night’s Dream is a fast-paced, funny show featuring misplaced love, an intentionally terrible acting troupe and a handful of bickering, interfering fairies.

Redeemer Christian High School brought together consistent, clear performances, beautifully timeless costumes, and a soft, spring-like atmosphere to create a captivating show.

The perpetually newly love-struck quartet of Hermia (Emily VanDommelen), Lysander (Seth Hogeterp), Demetrius (Sam Thompson), and Helena (Lucy Gay) collectively showed skill in developing unique characters. VanDommelen in particular displayed a remarkable range of emotions, from biting anger to whirling dreaminess, and was constantly conscious of her stance onstage. As Oberon and Titania, King and Queen of the Fairies, River Rietkerk and Kaydence Luchies were both powerful presences onstage. Rietkerk’s projection was unmatched, and Luchies’s skilful articulation impressed.

Seth Hogeterp (L), performs as Lysander, Sam Thompson (2ndFL), performs as Demetrius, Lucy Gay (2ndFR), performs as Helena and Adele Marsland (R), performs as Puck, during Redeemer Christian High School’s Cappies production of the A Midsummer Night’s Dream, on April 25, 2015.

As the sarcastic trickster fairy Puck, Adele Marsland was hilarious and high-energy. Her frequently fumbled pranks and quirky physicality made her a clear audience favourite. Nate Harper as Nick Bottom had a gangly sort of overconfidence, and his consistent, comfortable mannerisms made for a memorably egotistical character. Team Titania’s Fairies (Elim Chen, Celeste Griffin, Zoë Hogeterp, Sarah Hosmar, and Jamie Wyngaarden) co-operated well as a giggling, bubbly unit. Their funny, fitting facial expressions added humour to every scene they appeared in. Many actors played numerous roles within the story, from Fairies to Mechanicals, and differentiated between these separate personalities well through the use of body language and varying vocal inflections.

The costumes, expertly designed by Meghan Lau and Melanie Lefebvre, were downright gorgeous, from the Mechanicals’ blue-collared, denim-focused outfits to the Fairies’ sparkling, flowery shirts. Nick Bottom’s costume in particular succeeded in highlighting his character – his checked red and white pants and snappy suspenders were an unexpected, creative touch to the play. The sets made excellent use of the small space, with many levels and multiple built-in exits. The green drapery shrouding the stage, used to portray the forest, converted easily to a Christmas-light-filled wedding scene. Emily Vander Ploeg’s hair-styling featured elegant, intricate braids. Despite a bit of muttering in the wings early on in the show, the hard work of the cast and crew was extremely evident.

Maybe it’s true that “the course of true love never did run smooth”, but A Midsummer Night’s Dream certainly did. Redeemer Christian High School’s humorous, heart-warming production managed to bring a little bit of the Fairies’s frequent magic offstage and into the audience.

Sara MacPhee, Lead Critic, Glebe Collegiate Institute

Sara MacPhee
Lead Critic, Glebe Collegiate Institute

“The course of true love never did run smooth.” These are Lysander’s words to Hermia before they run away together, setting in motion the plot of William Shakespeare’s A Midsummer Night’s Dream. And indeed their course did not run smoothly, as they set off into the woods and find themselves tangled in a complicated web of romance and magic. Redeemer Christian High School’s version of one of Shakespeare’s most popular comedies hit the humour and poetry of the piece perfectly, creating a captivating and entertaining show.

The story starts with Hermia (Emily VanDommelen) and Lysander (Seth Hogeterp) plotting to run away together so Hermia can avoid marrying Demetrius (Sam Thompson) as her father Egeus (Jalen Bartlett) desires. Their friend Helena (Lucy Gay) tells Demetrius of the lover’s plan and the two also head into the woods. Oberon (River Rietkerk) and Titania (Kaydence Luchies), the King and Queen of the fairies, are in those woods, and arguing. Oberon instructs the fairy Puck (Adele Marsland) to rub an herb on the eyes of Titania and Demetrius that will make them fall in love with the first person they see. Puck mistakes Lysander for Demetrius and rubs the herb on his eyes instead. Lysander wakes to see Helena, and instantly falls in love. Titania wakes and sees Nick Bottom (Nate Harper), of a local acting troupe called the Mechanicals, whose head Puck has switched for that of a donkey. Hilarity ensues as the characters attempt to fix the mess they have gotten themselves into and set everything right again.

River Rietkerk (L), performs as Oberon, and Adele Marsland (R), performs as Puck, during Redeemer Christian High School’s Cappies production of the A Midsummer Night’s Dream, on April 25, 2015, in Ottawa, Ontario.

Shakespeare can be a challenge, especially for high school actors, but every single cast member was able to perfectly capture the cadence and poetry of the lines, creating a truly artistic performance. Luchies and Harper had a hilarious dynamic as the love-struck Titania and the confused fool Bottom, while Marsland had a strong commitment to playing Puck, never dropping character for even a moment. The Mechanicals, a group of inexperienced actors trying to get together a play for the wedding of Hippolyta (Elim Chen) and Theseus (Cameron Mattie) also brought hilarity, as the play is a mess and their final performance involves creative improvisation, strange sets, and, finally, dancing. VanDommelen, Hogeterp, Thompson, and Gay also had an interesting dynamic as they navigated the complexities of their love square, with Hermia loving Lysander, Demetrius and Lysander loving Hermia, and Helena loving Demetrius. They managed to show the changing dynamics as Lysander falls in love with Helena, and Demetrius begins to get jealous. There were no weak spots in the performances, and the comedy of the play was captured in every aspect. Titania’s fairies also deserve mention for their ability to act as a unit, while still giving each fairy a distinct and consistent personality.

The acting wasn’t the only strong part of the play. The simple sets were able to function as woods, homes, and a wedding, with just simple lighting changes and repositioning of boxes. The changes were smooth and almost completely silent, while the lighting was very fitting and excellently done. The sound effects were mostly music to enhance the scene, and were appropriately placed and well executed. The fairy costumes, covered in hand-painted leaves, were beautiful and simple, allowing actors to quickly change from one character to another. The simple makeup also helped with the transition, and the beautiful and unique braided hairstyles were very impressive.

Taking on a great and beloved classic takes a dedicated cast and crew, and Redeemer Christian had just that, resulting in an excellent and impressive show that did one of Shakespeare’s greatest works justice.

Jordan McManus

Jordan McManus
Critic, Sacred Heart High School

“The course of true love never did run smooth,” a lovelorn man whines, yet the observing audience can’t help but laugh at his torments. Redeemer Christian High School’s production of the famous Shakespearean comedy A Midsummer Night’s Dream proved to be an enjoyable and light-hearted spectacle.

A Midsummer Night’s Dream follows four individuals – Hermia, Lysander, Demetrius, and Helena – who are just not able to be in love with the right person, thus creating the most convoluted yet hilarious “love square”. The two lovers Lysander and Hermia flee Athens through the woods to get married against Hermia’s father’s request. Demetrius follows to win Hermia’s heart prompting Helena (who loves Demetrius) to follow after him. When the fairies get mixed up in the Athenian’s affair, although it seems impossible, things get even more complicated.

Emily VanDommelen expertly portrayed the fierce and shrewd Hermia. Each movement and facial expression VanDommelen made was infused with character. As well, she executed Hermia’s emotions from lovelorn to bewildered to furious. Lucy Gay as Helena also showed a wide array of emotions, especially so in emotionally charged scenes where she spoke of her unrequited love for Demetrius. Seth Hogeterp (Lysander) and Sam Thompson (Demetrius) displayed the two young men as equal parts lovelorn and chivalrous. Both actors believably filled the role of the pinning lovers alongside VanDommelen and Gay.

Nate Harpter (L), performs as Nick Bottom, Sarah Hosmar (2ndFL), performs as Peter Quince, and Zoe Hogeterp (R), performs as Robin Starveling, during Redeemer Christian High School’s Cappies production of the A Midsummer Night’s Dream, on April 25, 2015, in Ottawa, Ontario.

With an unrelenting desire to cause as much mischief as he can handle, is the grinning fairy known by the name of Puck, played by Adele Marsland. Marsland amused the audience with her antics on stage, whether she was poking fun at the other characters’ expense or showing off her well-executed physical comedy. The quarrelling fairy rulers, Oberon (River Rietkerk) and Titania (Kaydence Luchies), consistently entertained with their diva antics. Rietkerk’s booming voice and tittering, paired with his manic expression, clearly gave off the impression of a crazed fairy King, contrasting perfectly with Luchies’ graceful and elegant fairy Queen.

The other fairies occupying the woods succeeded in working as a unit, all reacting in unison consistently. They spoke sweetly and their movements were fluid, enchanting, and overall fairy-esque. Altogether, the fairies brought the mystical forest to life. Meanwhile, the Mechanicals were not at all fluid and fairy-esque, but simple minded and classless. The Mechanicals thrived in the comedic scenes they were given as they helplessly attempted to put on a tragic play. Together the Mechanicals, including the cocky yet loveable Nick Bottom (Nate Harper), delivered the laughs with their relentless incompetence.

The costumes and makeup were simple yet well done. The fairies donned plenty of glitter and the colours of the fairy King or Queen while the Athenians opted for wearing suits to match the modernized setting of the play. Although the crew was granted little equipment for the production, the sound effects succeeded in setting the mood for different scenes, while the lighting never missed a cue.

Thanks to the hardworking and talented cast and crew, Redeemer Christian High School’s A Midsummer Night’s Dream made for a fun and carefree performance that left each person in the audience with a grin on their face.

Janki Gupta, Critic, Mother Teresa Catholic High School.

Janki Gupta
Critic, Mother Teresa High School

We would all like to believe that the happenings of our lives are no coincidence. Fate, destiny and providence surely are not without rhyme or reason. We believe in true love, and that one day we will find our soul mate. But are we just being foolish or ignorant? Redeemer Christian High School’s A Midsummer Night’s Dream, through mystique, magnetism and magic, provided an alternative explanation for matters of the heart — fairy dust.

Shakespeare’s immortal A Midsummer Night’s Dream chases after three interwoven storylines. The play follows four lovers: Demetrius (Sam Thompson) who hopelessly wishes to marry Hermia (Emily VonDommelen), Helena (Lucy Gay) who unrequitedly loves Demetrius, and Lysander (Seth Hogeterp) and Hermia who are in love with each other. Their paths cross with battling Fairy King Oberon (River Rietkerk) and Queen Titania (Kaydence Luchies), and also a group of incompetent, incapable and inept Mechanicals attempting to put together a play for the royal wedding of Duke Theseus (Cameron Mattie) and Hippolyta (Elim Chen). When Oberon’s mischievous lackey Puck (Adele Marsland) begins to play around with everyone’s heartstrings, things are anything but ordinary. But then again, “the course of love never did run smooth.

Redeemer Christian High School’s cast and crew left no stone unturned in their sublime, light-hearted and mirthful presentation of this timeless comedy. Over-the-top expressions and rip-roaring emotion helped maintain elevated energy throughout. Flawless Shakespearean line deliveries astonished without hesitation. Striking sets, shimmering costumes and shapely hair designs added another engrossing and gripping layer.

Lucy Gay (L), performs as Helena, Emily VanDommele (2ndFL), performs as Hermia, and Seth Hogeterp (R), performs as Lysander, during Redeemer Christian High School’s Cappies production of the A Midsummer Night’s Dream, on April 25, 2015, in Ottawa, Ontario.

Emily VonDommelen depicted Hermia in a whole-hearted and unshakeable manner, allowing the audience a glance into the heart of every envious lover. With bursting energy and stupendous expression, she literally left the stage kicking and screaming in attempts to win back her true love. Seth Hogeterp sincerely portrayed Lysander as the innocent yet scintillating boyfriend with conviction and solidity. His comical approach and authentic acting did not disappoint. VonDommelen and Hogeterp together never missed a beat, with amusing dialogue, profound characterization and incredible theatrics.

Adele Marsland’s absolutely prodigious portrayal of Puck captivated the essence of the show. Her effervescence, animation and dynamism through quick-witted remarks and stunning dramatics left the audience rolling on the floor. Lucy Gay as Helena did not disappoint with her felicitous, longing demeanour and outstanding energy. River Rietkerk’s delineation of Oberon floored with his demanding comportment and phenomenal line deliveries. Celeste Griffin as Francis Flute provided innumerable laughs in her uproarious performance as she seamlessly spellbound the audience. Nate Harper’s droll painting of Nick Bottom knocked socks off as he “thanked the moon for its sunny beams.”

Redeemer’s proficient crew worked efficaciously throughout the performance without a single hiccup. Breathtaking flats stood tremendously and transformed the stage into a true mystical forest. Christmas lights adorned the set and created the setting for a beautiful wedding. Sweet background noises and a melodious song by Titania’s fairies added another enchanting layer. Glamorous, glitzy and glittery costumes provided an aura of mystique and fantasy. Despite a couple of idle poses and inarticulate lines, the cast and crew put forth a stellar show from every angle.

Through sensational line deliveries, lifelike sets and costumes, and extraordinary exuberance, Redeemer transformed Shakespeare’s fantasy of A Midsummer Night’s Dream into reality.

Mackenzie Huggins, Critic, Earl of March Secondary School

Mackenzie Huggins
Critic, Earl of March Secondary School

The stage is set, the lights are dimmed, and a timeless masterpiece by William Shakespeare unfolds on stage. Expertly handled by a talented cast, this marvel of a play delights, entrances and enthrals; the adaptation of a well-loved classic lost none of its glory, humour or wit in this fresh take on a centuries old tale.

Written by William Shakespeare in the late 1500s, A Midsummer Night’s Dream embodies the thrill of Ancient Greece combined with magic, mayhem, and stunningly comedic plot twists. Chronicling the events encircling a prestigious wedding, the show follows four Grecian lovers, a troupe of foolhardy actors, the king and queen of the fairies; the endless draw of romance, and of course, plenty of funny circumstances. Possessed of Shakespeare’s untouchable grace, genius dialogue, and comedic energy, the story revolves around three main, equally complex plotlines — one following the woodland rulers, another the hapless, hopelessly confused foursome of young lovers, and yet another narrating the exploits of some reckless and amusing actors. Set in the magical forest of the fairies, the royal court, and the county stage, the plot moves from place to place with seamless transitions.

Shakespeare is a daunting task, due to the old-fashioned dialogue, the pressure to handle such a famous show with tact and grace, and the overall complexity of the play. The cast rose to the challenge, recounting the tale with strength and wit. The production dazzled with its beautifully painted sets, comedic timing, and glittery costumes. The tribe of fairies were wonderfully outfitted in entrancing sparkles, and they moved with considerable grace. The strong comedy nailed its timing throughout the performance, and Shakespeare’s iconic lines were clearly and eloquently delivered by actors whose skill level surpassed their years.

Kaydence Luchies (L), performs as Titania, and Nate Harper (R), performs as Nick Bottom, during Redeemer Christian High School‚Äôs Cappies production of the A Midsummer Night’s Dream, on April 25, 2015.

The variety of actors never failed to impress. Adele Marsland’s Puck was mischievous, energetic and lively, bursting with humour and spirit. Seth Hogeterp’s portrayal of Lysander was fresh and convincing, and he was well matched by Lucy Gay’s earnest Helena. Emily VanDommelen and Sam Thompson played the other two lovers of the quadrangle, and played their roles with wit, spirit, and fun that brought life to the stage.

The fairies shimmered and danced with the utmost grace, performing an entrancing lullaby with beautiful harmonies. Their bright facial expressions brought life to the most common of characters. The Mechanicals captivated in the opposite fashion; they too brought energy to the stage, but with it a raw, hapless humour and strong comedic timing, rather than grace and lullabies. The talented ensemble all juggled multiple roles with the tact and skill of timeworn professionals.

The fairies entered to the gentle tinkling of bells and a subtle shift in lighting, a technical decision that carried the magic of the fairies far. Music played with every set change, tactfully transporting the audience from scene to scene with subtle effectiveness. Twinkle lights illuminated a romantic scene of marital bliss with considerable ambience. The tech enhanced the show without overpowering it, a delicate balance that was successfully achieved.

A time-honoured piece, A Midsummer Night’s Dream featured strong comedy, delightful fairies, talented actors and the pleasing antics of a well-meaning Puck. Redeemer Christian High School dazzled and pleased with their refreshing take on this timeless classic.

About the reviews

The production at Redeemer Christian High School was reviewed by 24 critics representing 17 schools. The critic discussions were mentored by teacher Pierre Boulet of Ashbury College and student reviews were edited and selected for publication by Kathleen Haché of St. Paul High School, who could see only the reviews, not the names or schools of the reviewers.

Next review: Gloucester High School’s production of Cue for Treason. 

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.