This has become the summer of “girl power” in Richmond. When one thinks of plays with all female casts, there are few classics beyond Steel Magnolias or Nunsense. Luckily for Richmond, local playwright Bo Wilson has added a strong entry to that list with a charming original comedy now playing at Hanover Tavern.

Virginia Rep is presenting The Charitable Sisterhood of the Second Trinity Victory Church, a comedy with a script as complex as its title; with numerous twists and dramatic turns broken up with comedy at its best.

The Charitable Sisterhood is a group of women in 1977 Coal Mountain Country Virginia, who get together to help those in need around the world. Every religious denomination has some form of the group (I remember as a child, my mother going to “Sisterhood” meetings) so the characters are in many ways universal and familiar.

Catherine Shaffner shines as the bossy Pastor’s wife, who runs every activity by stealing other’s ideas and then making them sound like her own: “Ladies, here’s what we need to do…” While Shaffner is one of Richmond’s most consistently stellar comediennes, the rest of the cast reaches the high bar that she sets. Their comedic timing is effortless and natural and they each interact so perfectly, you would think they have been doing this together for years not weeks.

Debra Wagoner is Lorraine, a super religious mother of nine, whose deadpan humor is filled with great facial expressions and wonderful asides. Jan Guarino portrays Jan, a hyperactive transplanted northerner, with a smile and supportive word for everyone. Donna Marie Miller is the vixen of the group. Without revealing too much, Miller’s Janet is one part Scarlett O’hara and one part Rhoda Morgenstern. Janet is new to the town and has a couple of secrets that are revealed along the way.

The last member of the group is Riley (Louise Keeton) a stranger who shows up suddenly to help the Sisterhood, while hiding some secrets of her own.

In a play filled with great moments, one highlight is utilizing the singing talents of Wagoner in a rendition of “Put Your Hand in the Hand.”

While some of the plot resolution is a bit contrived, the strong performances of the cast and the fascinating twists and turns of the story add up to one thing. To borrow a page from Bea, ladies (and gentlemen) what we need to do is support this wonderful piece of original local theater.

Photo Gallery

Jan Guarino, Cathy Shaffner, Debra Wagoner	Donna Marie Miller, Jan Guarino, Debra Wagoner, Cathy Shaffner
Donna Marie Miller, Jan Guarino, Debra Wagoner, Louise Keeton, Cathy Shaffner

Photos by Jay Paul

The Cast

• Tina Yates: Jan Guarino
• Lorraine Jensen: Debra Wagoner
• Bea Littleton: Catherine Shaffner
• Janet Murchison: Donna Marie Miller
• Riley Reynolds: Louise Keeton.

The Crew

• Director: Bruce Miller
• Playwright: Bo Wilson
• Stage Manager: Skyler Broughman
• Set Designer: Terrie Powers
• Lighting Design: B J Wilkinson
• Costume Design: Marcia Miller Hailey

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

To prepare to see Hair at Firehouse Theatre, I watched a couple of reruns of “The Partridge Family.” If you are old enough to understand why, then you are also from the Love generation. If not, let the History teacher in me step out and give you a brief history lesson.

The late sixties was a time when America first really explored our collective way of life, our values and our morals. The duality is exemplified in the fact that it was the time of “The Partridge Family,” “The Brady Bunch” and “Mary Tyler Moore,” and also “Love American Style,” Woodstock, and the rock musical Hair. The Vietnam War raged on. College sit-ins, street protests and the military draft all became a part of the American way of life.

It is against this backdrop that Hair first appeared in 1968. Thin on plot, the musical focuses on songs — with over 30 of them shattering cultural norms of the time by discussing sex, drugs, race, religion and war. There is simulated drug use, sex and even brief nudity — all relatively mild in our current culture, but shocking in its time.

The script itself follows a group of hippies who call themselves “the tribe.” Their nominal leader, Claude (Matt Polson) is faced with the dilemma of whether to burn his draft card or go and fight in Vietnam.

The young and exuberant cast is filled with amazing vocal and dance talent. Polson’s pure voice and innocent demeanor carry the show well. Carolyn Meade’s powerful vocals open and close the show with strength. Nicklas Aliff displayed a strong voice and stage presence; however at times his vocals overpowered others when he sang in duets or trios. In this strong cast, I found myself repeatedly drawn to the emotional power Sasha Wakefield put in to every dance number, and the expressiveness Morgan Meadows face exudes every time she is on stage. Maura Burroughs was warm and sensitive as pregnant Mother Earth-like Jeanie.

Director Jase Smith has assembled a top-notch cast and uses the audience and Benjamin Burke’s minimalist stage well (actually the Firehouse removed the stage in lieu of some platforms and Oriental rugs on the floor). Nathan Wunderlich’s lights and Joey Luck’s sound add a great deal to the atmosphere (be prepared for lots of flashes and loud booms). At times it seemed either actors missed their lighting marks or lights weren’t quite set right, as performers stepped in and out of darkness, especially in whole cast numbers. Karl Green’s costumes are period appropriate and visually appealing. Starrene Foster’s choreography is visually exciting and energetic; however, at times it left some of the cast rather sweaty and breathless.

The history teacher in me must come back one more time to encourage those who remember the 60′s to come out and relive that time; and those who are too young to remember to come out and experience a two and a half hour acid trip of a show. You will leave with a tear in your eye, a smile on your face and will be humming the uplifting finale, “Let the Sunshine In.”

Photo Gallery

Photos by Laura Cliburn

The Cast

• Claude: Matt Polson
• Berger: Nicklas Aliff
• Sheila: Grey Garrett
• Jeanie: Maura Burroughs
• Dionne: Carolyn Meade
• Hud: Keydron Dunn
• Woof: Ian Page
• Chrissy: Morgan Meadows
• Dad, Principal, Margaret: Paul Major
• Mom, Hubert: Starlet Knight
• Ronny: Chloe Williams
• Steve: Austin Tate
• Walter: Cory Johnson
• Paul: ReShad Horton
• Suzzanah/Mary: Sasha Wakefield
• Emmaretta: Avia Fields

The Creative Team

Directed by Jase Smith
• Choreographer: Starrene Foster
• Music Director: Leilani Giles
• Costume Designer: Karl Green
• Light Designer: Nathan Wunderlich
• Set Designer: Benjamin Burke
• Sound Designer/Technical Director: Joey Luck
• Production Stage Manager: Nata Marconi
• Props Master: Katherine Wright
• Master Carpenter: Joshua Bennett

The Band

• PianoLeilani Giles
• Keys 2: Starlet Knight
• PercussionBentley Cobb, Jr.
• Lead GuitarGrant Oliver
• Bass Guitar: Joe Barry
• SaxophoneRon Fixx

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

The Dixie Swim Club, currently playing at Swift Creek Mill Theatre, is “The Golden Girls,” “Designing Women” and “Steel Magnolias” all rolled into one. This is not surprising since one of the writers, Jamie Wooten, also wrote for “The Golden Girls.”

The play follows the friendships of five classically southern women, who met on their college swim team in North Carolina. Every August, they hold a reunion at a cottage on the beach in the North Carolina Outer Banks. The action takes place when the women are 44, 49, 54 and 77. It shows how the bonds of friendship and team camaraderie stay with them through the good times and bad; through love and loss; in sickness and in health.

Sheree (Joy Williams) was the team captain, who still tries to run and organize everything. Lexie (Georgia Rogers Farmer) is the “Blanche” of these Golden Girls; forever obsessed with sex and a nip and tuck to stay young and beautiful. Vernadette (Jennifer Frank) is the long-suffering, hard luck case who keeps her sense of humor while weathering everything life throws at her. Dinah (Jody Strickler) is the “Dorothy” of the group; a strong, independent woman who is married to her legal career. Jeri Neal (Jacqueline Jones) comes close to being the “Rose” of the group — sweet, naïve and optimistic.

Tom Width’s direction keeps the dialogue moving and the action flowing as the women throw out the frequent set-ups, zingers and one-liners. While all the women display exceptional comedic timing, Frank’s dead-pan humor brings the biggest laughs. All five also admirably portray the women over 33 years, with minimal time for costume, wig and make up changes between scenes, but it is Farmer who is mesmerizing as she makes Lexie get “younger” through surgical enhancement and then age gracefully and believably.

Width’s set uses the wide, shallow stage well and creates a realistic bungalow feel through accents and terraces. Joe Doran’s lights enhance the set, especially with blue lights representing the reflection from the water. There were a couple of technical drawbacks, however, with lights reflecting off the windows, and extremely long set changes in the middle of each act.

It was also a bit confusing trying to follow the time period, and I am assuming this was a script issue. If the initial scenes are around 30 years ago, then references to cell phone’s charging seemed odd.

The ending, which of course I will not reveal, is touching and sweet without being schmaltzy. The five women of The Dixie Swim Club show that while aging is no day at the spa; you can walk through it with dignity and laughter.

Photo Gallery

Jody Strickler as Dinah and Georgia Rogers Farmer as Lexie	Georgia Rogers Farmer as Lexie, Jennifer Frank as Verandette, Jacqueline Jones as Jeri Neal, Joy Williams as Sheree, Jody Strickler as Dinah
Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie	Jacqueline Jones as Jeri Neal and Jody Strickler as Dinah
Georgia Rogers Farmer as Lexie, Joy Williams as Sheree, Jacqueline Jones as Jeri Neal	Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie, Joy Williams as Sheree and Jacqueline Jones as Jeri Neal

Photos by Robyn O’Neill

The Cast

• Sheree: Joy Williams
• Dinah: Jody Strickler
• Lexie: Georgia Rogers Farmer
• Jeri Neal: Jacqueline Jones
• Vernadette: Jennifer Frank

The Crew

• Direction and Scenic Design: Tom Width
• Lighting Design: Joe Doran
• Costume Design: Maura Lynch Cravey
• Sound Design: Paul Deiss
• Stage Manager: Jesse Mattes
• Assistant Stage Manager: Cory Williams
• Props Coordinator: Tom Width
• Wigs: Robyn O’Neill
• Lights/ Sound Board Op: Becky Lussier
• Set Crew: Bob Foley, Jesse Mattes, Cory Williams, Eugene Mason
• Lighting Crew: Becky Lussier, Jesse Mattes, Stephen West

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

With our long, hot Richmond summer nights; there is no need to sit at home watching re-runs or lame TV pilots. An amazing summer of theater has become even hotter with Virginia Rep’s The Color Purple.

The powerful story based on the Pulitzer Prize-winning novel by Alice Walker (and turned into a 1985 film which introduced the world to Whoopi Goldberg and also starred Oprah Winfrey and Danny Glover) mixes serious topics with laughter and music that works on every level. The singing, the dancing, the acting and the music are all spot on; and each performer is perfectly cast in this technically breathtaking production.

The story follows the lives of two African-American sisters from the days of sharecropping through the 1930′s. One, Celie (Felicia Curry) is shy and unattractive. The younger, Nettie, Katrinah Carol Lewis, is beautiful and self-assured. The old widowed man who they believe is their father, treats them as property, both physically and sexually. Celie, after giving birth to two children by this man who has raised her as her father (and he promptly gives them both away) is sent to live with Mister (Jerold Solomon) an equally mean, abusive and cold widower. When Nettie comes to live with Celie, after tiring of her father’s sexual advances, she fights off a sexual advance from Mister, who then sends her away as well. Throughout the remainder of the plot, Celie seeks to find her sister, her children and her own self-respect, inner strength and inner beauty.

It is difficult to single out performers in this Broadway quality production; but Curry does stand out in her emotionally deep performance. She captures all of Whoopi Goldberg’s charm – right down to the shy, toothy smile, while still making the role her own.

Desiree Roots Centeio likewise is reminiscent of a young Oprah, yet makes the character of Celie’s spirited daughter-in-law, Sophia, a masterpiece of her own as she commands her husband and the stage. Solomon transforms from odious to penitent with skill and believability. Josh Marin brings youthful energy, charm and charisma to Mister’s son Harpo.

All the performers are amazingly true to life as they develop their characters over a span of more than 30 years of their lives. Curry is especially poignant in developing Celie from that shy and confused 14-year-old to a gray-haired, strong woman.

Carolyn Minor Daughtry brings a sultry sizzle to Shug Avery, a Juke singer who both Celie and Mister are in love with.

Comedic stand outs include Ciara McMillian as Harpo’s girlfriend Squeak and Shalimar Hickman-Fields, Stephanie M. Hill and Amanda Montague as three church ladies who serve at times as the musical’s Greek Chorus/narrators.

Director Chase Kniffen keeps the show energetic and visually appealing. Leslie Owens-Harrington’s choreography and Ben Miller’s Music Direction keep the audience enthralled, with huge applause following every number and a standing ovation even before the final number ended.

Ron Keller’s visually interesting set is made up almost entirely of old wood planks which sets the time and poverty. Various forms of doors, windows and clothing hang about to give a generic feel to the entire set. Hopefully, some opening night kinks with the set will be worked out.

Lighting Designer Joe Doran sets the mood perfectly, while also highlighting individual performers and singers. Costume Designer Sue Griffin also enhances the production with lavish costumes for African tribal dancers and club partiers; and simple, basic outfits for Celie and Nettie.

As Shug says, God created the color purple to say “look what I made.” Take the time this summer to enjoy the beauty of Virginia Reps’ The Color Purple to witness the rich, beautiful theatrical art they have made.

Photo Gallery

Felicia Curry as Celie	Cast photo
Cast photo	Cast photo
Carolyn Minor-Daughtry as Shug and Felicia Curry as Celie	Cast photo
Desirée Roots Centeio as Sofia and Josh Marin as Harpo	Cast photo

Photos by Aaron Sutten

The Cast

• Celie: Felicia Curry
• Shug Avery: Carolyn Minor Daughtry
• Mister: Jerold Solomon
• Sofia: Desiree Roots Centeio
• Harpo: Josh Marin
• Nettie: Katrinah Carol Lewis
• Squeak: Ciara McMillian
• Jarene: Shalimar Hickman-Fields
• Darene: Stephanie M. Hill
• Doris: Amanda Montague
• Preacher/Ensemble: Billy Dye
• Pa/Grady/Ensemble: J. Ron Fleming
• Ol’ Mister/Ensemble: Thomas Nowlin
• Church Soloist/Ensemble: Karla J. Brown
• Buster/Chief/Ensemble: Tybias Whitehead
• Young Nettie/Chief’s Daughter: Tyandria Jackson
• Young Celie/Mister’s Daughter: Ayana Williams
• Young Harpo/Young Adam: Donathon Arnold
• Young Olivia/Henrietta: Jada Evans
• Ensemble: Skye Hagood, Anthony Cosby, Taylor Walls, Trent Williams, Courtney Jamison, Alana S. Thomas, Cariel Hughes, Will Anderson, Pamela Shaw, Ashlee Heyward, Jessi Johnson, Andrew Reid, Devante J. Wells, Mike Brown

The Crew

• Director: Chase Kniffen
• Choreography: Leslie Owens-Harrington
• Musical Director: Ben Miller
• Scenic Designer: Ron Keller
• Lighting Designer: Joe Doran
• Costume Designer: Sue Griffin
• Stage Manager: Wendy Vandergrift

The Band

• Conductor/Keyboard 1: Ben Miller
• Keyboard 2: Anthony Smith
• Drums/Percussion:Joe Lubman
• Bass: Derrick Englert
• Guitars: Forrest Link
• Trumpet: Mark Ingraham
• Reeds: Susan Davis

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

With plenty of PG-13 rated Borscht Belt, burlesque-style “nudge nudge, wink wink” spinning humor, Arlington’s Signature Theatre is bringing a musical bauble, the premiere of Cloak and Dagger or the Case of the Golden Venus.

It is musical theater under the confident direction of Eric Schaeffer meant to bring a respite from the real world. And that is a very good thing, given the real world lately.

Cloak and Dagger has a full complement of hard-working purposeful groaners of jokes that Milton Berle may have written, some delightful hip-swinging ala Mae West by way of Harvey Feinstein, and mugs that Sheldon Leonard once played. If those names are fresh in your mind, along with Sunday nights with Ed Sullivan, or a trip to the Catskills, or perhaps the modern equivalent, a cruise ship meandering about. You can have a ball especially if you are in the mood for some anodyne bawdiness.

As the Signature marketing material notes, the storyline is this: “Third-rate detective Nick Cutter is down on his luck when a beautiful blonde bombshell tosses a very intriguing case (and herself) into his lap. For the next 90 minutes, Nick races through every New York neighborhood in this zany, mile-a-minute whodunit.” All in early 1950′s New York City. It isn’t Stacey Keach as Mike Hammer, but as a singing detective.

Four actors play the nearly 20 roles. Well make that two actors play nearly 18 roles. The cast includes Erin Driscoll as Jessica Rabbit, oops, I meant Helena Troy. Driscoll was most recently seen at Signature in The Three Penny Opera. Down-on-his-luck Detective Nick Cutter is played by Signature newcomer Doug Carpenter. The other 18 characters are under the amusing purview of Helen Hayes Awardees Christopher Bloch and Ed Dixon.

Oh, and one other small detail. Dixon also wrote the book, music and lyrics for this world premiere production of Cloak and Dagger. His score of about nineteen numbers, including several reprised songs, is a pastiche of lyrics and melody that mimics the spoofing nature of the production and its off-beat characters. There are plenty of percussion and sax-like notes that emanate from conductor Jenny Cartney and her jazzy four-piece band that includes keyboard, reeds and drums. Colorful orchestration by Jordon Ross Weinhold adds personality to each of the characters.

Some cute songs and their titles include “A Real Woman” with a vamping Mae West (Dixon) and an animated “Shake Your Maracas” (Bloch and Dixon). Driscoll gets to use her lovely, lovely voice in a torchy number entitled “Doors Close.” Carpenter’s beefy baritone opens the show with musical introductions of what the show is about: “The Worst of Times” and “The Best of Times.” Is the score memorable? Not really. But so what.

As for the dialogue; the quips can be witty shtick delivered with a knowing glance to make sure the audience is in on it. The broad pokes at the many different people who make up New York are not meant to harm.

The show is full of old-fashioned, New York City accented car-chase speed playful dialogue. The actors move about the minimally adorned stage (Daniel Conway) through three well-used doors, matching the dialogue delivery speed. There is also a large, sturdy-appearing marquee over the doors that provides a place for large black and white photos of New York City to be seen to set a New York state of mind.

The ever-changing costumes for Block and Dixon by way of Kathleen Geldard are a bright treat of flowing silks, or perhaps polyester, character defining hats, suits with wide lapels, and bemusing cross-dressing attire. And, there is also one very special neon yellow glowing image of the Lady in the New York harbor. Wig designer Anne Nesmith certainly enjoyed herself with her campy selections. As for Driscoll, she is wrapped in a form-hugging, cardinal red pencil dress.

Up for something with amusement, silliness, and banter propelled by a lively score and excellent voices? Then head off to Cloak and Dagger at Signature Theatre. It is a screwball musical to ice you down during this summer heat wave. Marvel at what tongue-in-cheek delivery whether straight dialogue or song can prove; a good time.

Photo Gallery

Helena Troy (Erin Driscoll) sings ‘Doors Close’	Helena Troy (Erin Driscoll) tosses an intriguing case to Nick Cutter (Doug Carpenter)
The Irish Landlady (Ed Dixon) sings ‘A Real Woman’	Manny (Christopher Bloch) sings ‘An Agent’
Helena Troy (Erin Driscoll) sings ‘Chinatown Blues’	Fat Tony (Ed Dixon), Nick Cutter (Doug Carpenter) and Gino (Christopher Bloch) sing ‘Who Put the Mob In’
Stanley (Christopher Bloch) and Helena Troy (Erin Driscoll)	Nick Cutter (Doug Carpenter, center) and Pinsky’s Chorus Girls sing ‘Shake Your Maracas’

Photos by Margot Schulman

Cast

• Nick Cutter: Doug Carpenter
• Helena Troy: Erin Driscoll
• Character Man Two: Christopher Bloch 
• Character Man One: Ed Dixon

Artistic and Design Team

• Book, Music & Lyrics by Ed Dixon
• Directed by Eric Schaeffer
• Orchestrations: Jordon Ross Weinhold
• Music Director: Jenny Cartney
• Scenic Design: Daniel Conway
• Costume Design: Kathleen Geldard
• Lighting Design: Collin K. Bills
• Sound Design: Lane Elms
• Wig Design: Anne Nesmith
• Stage Manager: Julie Meyer

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

What good is sitting along in your room? Come hear the music play. That’s what three generations of my family did for Father’s Day, enjoying the renowned musical Cabaret at Richmond Triangle Players cabaret-like atmosphere.

Director Penny Ayn Maas, who appeared for five years on Broadway in the last Broadway revival (before the current one), uses the small, intimate RTP stage to her advantage, creating a two-level set. The lower level is where most of the action takes place; while the upper level houses the band and some of the performers at the Kit Kat Klub Cabaret.

For those not familiar with the plot of the play (or the 1972 movie starring Liza Minnelli and Joel Grey) Cabaret juxtaposes the horrific changes in 1930′s Germany with the insular life inside the Kit Kat Klub.

British Cabaret singer Sally Bowles (Nicole Foret Obertleitner) meets American writer Clifford Bradshaw (Stevie Rice) who has just arrived in Berlin. Bradshaw has already met Ernst Ludwig (Evan Nasteff) on the train to Berlin. Ludwig refers Bradshaw to rent a room in a Boarding House run by a single old woman, Frauline Schneider (Jeanie Rule). A sub-plot follows Schneider’s doomed romance with elderly Jewish fruit vendor Herr Schultz (Doug Schneider).

The entire play is overseen by the Emcee at the Kit Kat Klub (Chris Hester). Maas makes an interesting directorial choice in making the Emcee less dark and menacing than in the movie and earlier productions; and more of a god-like figure watching over the action from the band stage and interacting at times with the other performers as more of a puppet master. As the play, and the history it captures, turns darker, the Emcee remains the voice and face of optimism and hope — right to the end. Hester is perfectly cast in this adaptation as he masterfully maintains the Emcees’ likeability and charisma and immerses himself in the role. Likewise his pleasant vocals are spot-on and he capably carries the role as the show’s voice and narrator.

Obertleitner does not have Liza Minnelli’s powerful belting voice, but compensates with strong dancing and acting chops — making Sally even more eccentric than Minnelli’s performance. I’m not sure if it was a directorial or acting choice, but I do wish Obertleitner hadn’t remained stagnant behind a microphone stand for powerhouse numbers like “Maybe Next Time” and the signature “Cabaret.” The lack of movement or even hand gestures eliminated some of the potential emotional content.

Rice carried off the innocence and initial naiveté of Bradshaw well. His character (and the audience’s) awakening to what was going on in Germany was well-developed in his performance.

Nasteff perfectly portrayed the changes in Ludwig as well, starting as almost a comedic German version of Steve Martin and Dan Akroyd’s “wild and crazy guys,” then becoming a Nazi officer and clearly delineating him as a hateful representation of all that was evil in Germany at that time.

Rule and Schneider carried the heart of the production, as two empathetic figures caught in the hatred and fear of their time. Their beautiful voices and tender and heartfelt performances added a whole other dimension to the story.

One other stand out was Lanaya van Dreisen as Fraulein Kost whose powerful vocals (and accordion playing) in the haunting “Tomorrow Belongs to Me” built to the climax of Act 1.

Michael Jarrett’s lights enhanced Frank Foster’s simple two-tier set and artistically added to the emotion of several numbers through shades of yellow, blue and orange. Holly Sullivan’s costumes (or at times lack thereof) perfectly set the time and characters.

“Life is a Cabaret;” and as the Emcee says “leave your troubles outside” because life at this Cabaret at RTP is a beautifully staged, well-cast production.

Photo Gallery

Cabaret	“Come hear the music play!”
Nicole Foret Oberleitner as Sally Bowles

Photos by John MacLellan

The Cast (in order of appearance)

• Emcee: Chris Hester
• The Kit Kat Girls
  • Lulu: Lesie Pumphrey
  • Texas: Bethaney Bagley
  • Fritzie: Lanaya van Dreisen
  • Helga: Brianne Chin
• The Kit Kat Boys
  • Victor: Andrew Etheredge
  • Bobby: Dan Cimo
  • Hans: Mahlon Raoufi
• Sally Bowles: Nicole Foret Oberleitner
• Clifford Bradshaw: Stevie Rice
• Ernst Ludwig: Evan Nasteff
• Fraulein Schneider: Jeanie Rule
• Frauline Kost: Lanaya van Dreisen
• Rudy: Mahlon Raoufi
• Herr Schultz: Doug Schneider
• Max: Andrew Etheredge
• Gorilla: Brianne Chin

The Kit Kat Band

• Piano: Kim Fox
• Drums: Steve Raybould
• Bass: Pete Dennis
• Clarinet: Michael Goldberg
• Accordion: Lanaya von Dreisen
• Flute: Brianne Chin
• Trumpet: Mahlon Raoufi
• Boy singer: Christopher Chavez

The Crew

• Director/ Choreographer: Penny Ayn Maas
• Associate Director: Keith Fitzgerald
• Musical Director: Kim Fox
• Stage Manager: Sharon Gregory
• Assistant Stage Manager:
• Production Manager:
• Set Designer: Frank Foster
• Lighting Design: Michael Jarett
• Associate Lighting Designer: Cody Richardson
• Costume Design: Holly Sullivan
• Costume Assistant: Alex Valentin
• Dance Captain: Brian Baez
• Sound Design: Joey Luck

Disclaimer: Richmond Triangle Players provided two complimentary media tickets to ShowBizRadio for this review.

Richmond is so fortunate, not only to have summer Shakespeare in the Park performances, but to have them in the courtyard of the regal Agecroft Hall. The 16th season of Richmond’s Shakespeare Festival, presented by the recently combined Henley Street Theatre and Richmond Shakespeare kicks off with A Midsummer Night’s Dream.

Director Jan Powell has assembled an A-list of Richmond comedic actors who bring life and laughs to this classic complicated comedy. Mischievous Fairies cast love spells that wreak havoc among characters in multiple story lines surrounding the impending marriage of the Duke of Athens.

First there is Hermia (Audra Honaker) who loves Lysander (Charley Raintree) but her mother Egeus (Anne Carr Regan) wants her to marry Demetrius (Dixon Cashwell) who is loved by Hermia’s friend Helena (Maggie Roop).

Then there are the mechanicals – a rag-tag group of amateur actors rehearsing a play written by Quince (Elisabeth Ashby). Among them are Bottom (David White), Flute (John Mincks), Snug (Lucas Hall), Starveling (Eddie Webster) and Snout (LaSean Greene).

In the final story line Oberon, King of the Fairies (John Moon) with the assistance of his mischievous assistant Puck (Raven Lorraine Wilkes) is responsible for casting the love spells on various characters including his wife Titania (Melissa Johnston Price), who is quarreling with him over an Indian changeling boy that she has taken custody of, but he wants as his aide.

Stand out performances include White as Bottom (a pompous actor who gets turned into an ass) and Mincks as Flute (who, as was common in Shakespeare’s time, is cast in the play within a play as a woman). But it is Wilkes’ Puck that truly is the highlight of the show. Her personable Puck commands the stage with an impish smile and an infectious laugh. The elements of slapstick comedy liberally sprinkled throughout the production work well – especially with the Mechanicals and Audra Honaker and her suitors.

Richard Moxley’s set is basic, with interwoven sticks used as the fairy forest where most of the action takes place. BJ Wilkinson has the difficult task of lighting the stage, while competing in Act 1 with natural sunlight. In Act 2, dim blue lights in night scenes contrast with oranges at dawn and pinks in the “magical” scenes to enhance the mood. Virginia McConnell’s costumes are novel; with an early 1900′s type theme that is never quite explained with Shakespeare’s storyline.

Aptly timed, with ambient fireflies (or fairies?) to light up the sky; A Midsummer Night’s Dream makes for a magical early summer evening of entertainment.

Photo Gallery

The Mechanicals	John Moon as Oberon, Melissa Johnston Price as Titania and Paxton Martinez as the boy
The fairies	Raven Wilkes as Puck
Allison Blanton as Mustardseed and Raven Wilkes as Puck	Raven Wilkes as Puck and John Moon as Oberon
Melissa Johnston Price as Titania, David White as Bottom

Photos by Eric Dobbs

The Cast

The Nobles

• Theseus: John Moon
• Hippolyta: Melissa Johnston Price
• Hermia: Audra Honaker
• Lysander: Charley Raintree
• Helena: Maggie Roop
• Demetrius: Dixon Cashwell
• Egeus/Philostrate: Anne Carr Regan

The Fairy Kingdom

• Titania: Melissa Johnston Price
• Oberon: John Moon
• Puck: Raven Lorraine Wilkes
• Peaseblossom: Patrick Bello
• Cobweb: Catherine Smith
• Moth: Johanna Rozycki
• Mustardseed: Allison Blanton
• Indian Boy: Paxton Martinez

The Mechanicals

• Quince: Elisabeth Ashby
• Bottom: David White
• Flute: John Mincks
• Snug: Lucas Hall
• Snout: LaSean Greene
• Starveling: Eddie Webster

The Crew

• Director: Jan Powell
• Assistant Director: Melissa Rayford
• Production Manager: Austin R. Cooper
• Stage Manager: Hannah Adaway
• Costume Design: Virginia McConnell
• Lighting Design: BJ Wilkinson
• Set Design & Construction: Richard Moxley
• Sound Design: Andrew Craig
• Properties Management: David Plotnick
• Movement Specialist: Kaye Weinstein Gary
• Text Coach: Shirley Kagan

Disclaimer: Richmond Shakespeare provided two complimentary media tickets to ShowBizRadio for this review.

ShowBizRadio is thrilled to be a supporter of the Cappies program. Since 2007, we have published nearly 400 student-written reviews of high school productions, and have included photographs of the productions when the schools have provided photos.

Marketing and Publicity

• Gracie Denton, Jordon McCray, Ben Roberts, Peter Serle, West Potomac High School, Spamalot

Sound

• Kimberly Fonseca, Lydia Bennsky, Hayfield Secondary School, Marvin’s Room

Lighting

• Kristen Chiama, Allison Tickner, Westfield High School, Little Shop of Horrors

Sets

• Natalie Jurkowski, Ella Moore,WPHS set crew, West Potomac High School, Spamalot

Costumes

• Lesya Melnychenko, Becky Lehner, West Potomac High School, Spamalot

Make-up

• Lecia Stock, Clare Smith, Nurbanu Dayaz, Charlotte Martin, Washington Lee High School, Macbeth

Props

• Stephen Cox, Sarah Dickenson, David Koenigsberg, Emily Tobin , Westfield High School, Little Shop of Horrors

Special Effects and or Technology

• Chantilly Tech Team, Chantilly High School, The Front Page

Stage Crew

• Darby Binford, Vicki Clinch, McKenzie Moskowitz, Marybeth Ward, Fairfax High School, 9 to 5: The Musical

Orchestra

• West Potomac Rice and Beans, West Potomac High School, Spamalot

Choreography

• Kaila Anderson, West Potomac High School, Spamalot

Creativity

• Nate Welsh, Composer, H-B Woodlawn, The Tempest

Ensemble in a Play

• The Sisters, Washington Lee High School, Macbeth

Ensemble in a Musical

• The Barber Shop Quartet, Annandale High School, The Music Man

Featured Actress

• Nikki Amico , West Potomac High School, Spamalot

Featured Actor

• Julian Sanchez, Westfield High School, Little Shop of Horrors

Female Dancer

• Gabrielle Bullard, The Madeira School, Footloose

Male Dancer

• Elijah King, Robinson Secondary School, Curtains

Female Vocalist

• Alie Campbell, Loudoun Valley HS, Legally Blonde

Male Vocalist

• Vinny Okechukwu, Heritage High School, Les Miserables

Comic Actress in a Play

• Cindy Funes, Hayfield Secondary School, Marvin’s Room

Comic Actor in a Play

• Patrick Moore, Wakefield School, The Importance of Being Earnest

Comic Actress in a Musical

• Paige Cilluffo, James Madison HS, The Music Man

Comic Actor in a Musical

• Jack Gereski, South County High School, The Producers

Supporting Actress in a Play

• Lily Brock, Langley High School, The Children’s Hour

Supporting Actor in a Play

• Nicholas Cadby-Spicer, Wakefield High School, Rebel Without A Cause

Supporting Actress in a Musical

• Grace Vaughan, Loudoun Valley HS, Legally Blonde

Supporting Actor in a Musical

• Eddie Perez , West Potomac High School, Spamalot

Lead Actress in a Play

• Alicia Hartz, Washington Lee High School, Macbeth

Lead Actor in a Play

• Stephen Coakley, Tuscarora, Noises Off

Lead Actress in a Musical

• Samantha Dempsey, Westfield High School, Little Shop of Horrors

Lead Actor in a Musical

• Alex Stone, McLean High School, Catch Me If You Can

Song

• You Won’t Succeed On Broadway, West Potomac High School, Spamalot

Play

• The Children’s Hour, Langley High School

Musical

• Spamalot, West Potomac High School

Throughout American Century Theater’s production of Abby Mann’s Judgment at Nuremberg, ensemble members portraying Nazis and their victims act as silent witnesses — ghosts, if you like — whose presence provides context for the legal proceeding at its heart. But these are not the only ghosts haunting any production of this powerful script: the memory of the Stanley Kramer’s 1961 film, with a brilliant cast including Spencer Tracy, Burt Lancaster, Maximilian Schell (who won an Oscar for his performance), Richard Widmark, Montgomery Clift, Judy Garland, Marlene Dietrich, and even the then young and pretty William Shatner is hard to keep out of one’s mind when viewing the stage version of Mann’s story.

At the center of the play is retired American judge Dan Haywood (Craig Miller), brought to Germany to preside over the 1947-48 trial of German judges who had collaborated, or actively participated, in Nazi-era injustices. The headline-grabbing war crimes trials, convicting Goering and other leading Nazi figures, were already complete, and the looming threat of a Cold War confrontation with the Soviet Union was leading many to believe gaining support from a revived German nation was more important that pursuing justice against smaller fish.

Haywood is the very figure of what we would want an American judge to be: low-key; kind; seeking the intellectual, historical, and cultural background of the case; understanding of the complexity of human motives; and focused entirely on justice, notwithstanding considerations of realpolitik. Miller is utterly believable in the role, never showy, always inhabiting the character. Some of his best moments are those in which he expresses uncertainty — “I don’t know what to think,” he says more than once. Even when delivering the sternest of judgments, he does do in a compassionate tone. Without attempting to channel Spencer Tracy, Miller makes Haywood a memorable and admirable figure.

In what is the play’s showiest role, defense attorney Oscar Rolfe, Steve Lebens does, to an extent, channel Maximilian Schell’s take on the role. A brilliant advocate, adept at devastating cross-examination, he acknowledges the horrors of the Nazi regime while, as a German patriot, he insists that it is not right to brand the entire German nation as criminal, something he sees as the inevitable implication of the trial. As he questions witnesses who were treated brutally in the defendants’ courtrooms, trying to show that there may have been a legally sound basis for executions and sterilizations, he knowingly reopens their emotional wounds. Lebens is at is best when facing the moral compromises of his own position, attacking people he knows to have been victims on behalf of persons who he knows acted unjustly, not only in the cause of his lawyer’s obligation to zealously defend his clients but in the cause of defending the honor and future of his nation.

The tragic principal defendant, Ernst Janning (Michael Replogle), was a leading jurist and legal scholar before and after the Nazis took power. He gave credibility to the Nazi legal system, and he personally and knowingly made unjust decisions on behalf of that system. As Haywood comments toward the end of the play, Janning loathed the evil he did, yet still chose to do it. In the film, Burt Lancaster gave Janning a commanding presence, dominating even those scenes in which he had no lines, proud even in taking responsibility for his crimes. Replogle takes the role in a quite different direction, displaying less gravitas while giving Janning a somewhat diffident, almost academic air, with an overlay of humility, more willing to admit, in his voice and body, that his choices in life have defeated him.

The approach Replogle takes to Janning is echoed, in one important respect, by Karen Rosnizeck’s Mrs. Bertholt. Both members of the pre-Nazi elite, they hated Hitler and his followers not so much for their evil as for their middle-class grossness. Mrs. Bertholt recounts a story in which Janning told Hitler to his face that he was too “bourgeois,” and Janning himself recoils at sharing prison quarters with his fellow prisoners, who in addition to their corruption were not the sort of people with whom he would ever have shared time and space. Mrs. Bertholt is the widow of a Wehrmacht general hanged for his part in the Malmedy massacre (the murder of 84 American POWs during the Battle of the Bulge). Aristocrats both, they despised the Nazis but supported the war as patriotic Germans defending their country. This class division among the Germans, and Hitler’s success in co-opting the old elites despite their disdain for him, are sometime-forgotten aspects of the period’s history that Mann illuminates in the script.

Rosnizeck’s Mrs. Bertholt is a gracious, civilized figure whose expropriated house provides quarters for Judge Haywood. Rosnizek’s portrayal emphasizes Mrs. Bertholt’s bitterness over her husband’s execution and over the entire war crimes trial enterprise — she stalks out of the final court session after the guilty verdict is announced — but could have benefitted from an additional touch of world-weariness. Rosnizeck also served as the production’s accent coach, and she and the actors playing German characters deserve credit for very credible German accents.

Colonel Ted Lawson (Bruce Alan Rauscher), his memory seared by the sight of the Dachau concentration camp, is appropriately aggressive as the prosecutor, seeking to punish as harshly as possible anyone associated with the Nazi regime. Frequently over-matched by Rolfe as a trial tactician (apparently to the point of neglecting to cross-examine one defense witness), Lawson sometimes gives way to his frustration, yet has the overwhelming moral force of responding to Nazi atrocities on his side (he shows films of the death camps at one point in the trial). A stronger sense of the overwhelming anger eating away at Lawson’s soul would have been a welcome added dimension to Rauscher’s portrayal.

Mann’s script is filled with short character roles, all of which were played successfully. Christopher Henley, as Rudolph Peterson, a now-timorous and nervous victim of sterilization, and Mary Beth Luckenbaugh, as Maria Wallner, a victim of a show trial that resulted in the execution of an elderly Jewish friend, stood out. Luckenbaugh chose to make the character angrier, and less destroyed, than the equivalent character in the movie, played by Judy Garland. The choice worked.

This was one of American Century’s more ambitious shows technically. Sean Allan Doyle’s complex sound design included such items as excerpts from Hitler’s speeches, Nazi marches, snippets of Wagner, bird sounds in the prison courtyard, and a clang when a prison sequence began. They all fit the occasion and were cued impeccably. The production made extensive use of projections (credited to Patrick Lord and Shayne Weyker), for settings (e.g., the courtroom, the prison, scenes of the city, though not any of Nuremberg in its late-40s bombed-out state) and for the films of the carnage of the concentration camps. These were shown at one end of the oblong playing area, with a distracting but probably unavoidable cutout around the defendants’ dock. In the playing area, with audience seating on either side, Patrick Lord’s set design featured the defendant’s area at one end, the judges’ elevated bench at the other, set dressing pieces in between. The set worked effectively for the courtroom scenes but was less evocative for some other settings, such as the Judge Haywood’s residence, a bar, or the venue of a concert that Judge Haywood attended with Mrs. Bertholt.

Rip Classen’s costumes were appropriate to the period and the characters. Particular blessings upon him for getting the right color for U.S. Army uniform jackets of the era, something I have seen done wrong in more productions than I care to think about. The most notable, and very effective, feature of Marc Allan Wright’s lighting design were the four large fluorescent ceiling fixtures, which provided harsh illumination in the courtroom scenes, especially when they came on quickly following a scene with lower lighting.

Along with the Shakespeare Theatre in Washington, American Century consistently produces the best and most interesting dramaturgical material in the area. The Audience Guide for Judgment at Nuremberg is one of the most valuable the group has produced, containing fascinating history of the events portrayed in the play as well as thought-provoking discussions of the legal and ethical issues raised by the war crimes trials. Even if you don’t pick up a copy — and I recommend doing so — this is a play to see not only as well-produced and acted theater, but as a springboard for thought and discussion about matters that have a great deal of contemporary resonance.

Director’s Notes

Judgment at Nuremberg deals with the Allied war-crimes trials held just after World War II, in which significant players in the Nazi regime were made to answer for their actions between 1933 and 1945. Specifically, it treats the portion of the trials that dealt with judges who decided cases during the Third Reich that sent defendants to grisly fates, often on trumped-up charges. (Names have been changed in Abby Mann’s play, but the characters are based quite closely on real historical figures and actual trials.)

Much as the play deals with a particular slice of modern history, it sadly remains relevant today, as war-crimes, genocides, imperialist invasions, and politically-motivated kangaroo courts fill the daily news-stream. Mann told his story first as a life television play, then as a star-studded Hollywood motion picture, and finally as a Broadway play — keeping much of the material intact from medium to medium. We’re presenting the Broadway script, adding selected material from the film, and introducing a framing device that brings “ghosts” from Hitler-era Nuremberg into a silent dialogue with Mann’s eloquent writing.

In the published edition of Mann’s Broadway play, there is an optional narration that starts the action. I felt it would make more sense to print it here rather than including the device of a theatrical narrator in the staging. The playwright starts with a telling point about the continuing legacy of the Nuremberg trials and gives us a concise bit of context for the events you will see unfolding on the stage. Mann, in his “narration” writes:

On January 1, 2001, then President Clinton signed the Rome Treaty for an International Criminal Court. He said, “In taking this action, we reaffirm or support for international accountability and for bringing to justice perpetrators of genocide, war crimes, crimes against humanity based on our involvement in the Nuremberg tribunals that brought Nazi war criminals to justice.” Senator Jesse Helms of North Carolina called Mr. Clinton’s decision “as outrageous as it is inexplicable. I have a message for the outgoing President. This decision will not stand.” Many others echoed Helms’ objections, including President Bush. Their reason was it could inhibit the ability of the United States to use its military to meet alliance obligations and participate in multinational operations.

The first of the Nuremberg trials were concluded on October 1, 1946. Herman Goering, Reichsmarshall. Charged with conspiracy, crimes against peace, war crimes, crimes against humanity. The verdict: guilty on all accounts. The sentence: death by hanging. Rudolph Hess, Deputy Fuhrer. Verdict: guilty on two counts. Sentence: life imprisonment. Joachim von Ribbentrop, Reich Minister for Foreign Affairs. Verdict: guilty on all counts. Sentence: death by hanging.

Nuremberg, Germany. October 1, 1946. The conclusion of the trial of 22 top Nazis accused of war crimes. Twelve were sentenced to death. Three were acquitted. Seven received prison sentences ranging from ten years to life.

October 16, 1946. The sentences of death were carried out. Julius Streicher. Von Ribbentrop. Wilhelm Keitel. Ernst Kaltenbrunner. All except Herman Goering who cheated the hangman by taking his own life.

The first of the Nuremberg trials were over. Still to come were twelve more trials of 177 diplomats, generals, SS officers, high Nazi officials, doctors, judges, directors of IG Farben, leading German business and professional men, whose cooperation was essential to the success of the Nazi conspiracy.

We hope you find the play as compelling as the actors and I did while working on it.

Photo Gallery

Ellie Nicoll as Mrs. Halbestadt. Background: Jean Miller as ghost	Christopher Henley as Rudolph Peterson. Background: Tel Monks as Judge Ives
Michael Replogle as Ernst Janning, Kim Curtis as Emil Hahn, Victor Gold as Werner Lammpe, Tom Fuller as Frederick Hoffstetter.	Mary Beth Luckenbaugh as Maria Wallner. Background: Tel Monks as Judge Ives.
Bruce A. Rauscher as Colonel Lawson. Background: Kim Curtis as Emil Hahn, Tom Fuller as Frederick Hoffstetter.	Karin Rosnizeck as Frau Bertholt, Craig Miller as Judge Haywood.
Paul Klingenberg as Judge Norris, Craig Miller as Judge Haywood, Tel Monks as Judge Ives.	Michael Replogle as Ernst Janning, Craig Miller as Judge Haywood.
Steve Lebens as Oscar Rolfe, Michael Replogle as Ernst Janning.

Photos by Johannes Markus

Cast

• Colonel Lawson: Bruce Alan Rauscher
• General Merrin: Lyle Blake Smythers
• Judge Haywood: Craig Miller
• Captain Byers: Jorge A. Silva
• Judge Ives: Tel Monks
• Judge Norris: Paul J. Klingenberg
• Emil Hahn: Kim Kurtis
• Frederick Hoffstetter: Tom Fuller
• Werner Lammpe: Victor Gold
• Ernst Janning: Michael Replogle
• Oscar Rolfe: Steve Lebens
• Dr. Wickert: Ron Sarro
• Mrs. Halbestadt: Ellie Nicoll
• Frau Bertholt: Karin Rosnizeck
• Rudolph Peterson: Christopher Henley
• Dr. Gueter: Larry Kolp
• Maria Wallner: Mary Beth Luckenbaugh
• Elsa Lindnow: Vanessa Bradchulis
• Feldenstien: Jay Delehanty
• Ensemble: Alan Diaz, Paul Alan Hogan, Colin Martin, Jean H. Miller, Lynley Peoples, Gray West

Production Staff

• Director: Joe Banno
• Production Manager: Ed Moser
• Stage Manager: Lindsey E. Moore
• Set Design/Projections Design: Patrick Lord
• Projections Research: Patrick Lord
• Costume Design: Rip Claassen
• Lighting Design: Marc Allan Wright
• Sound Design: Sean Allan Doyle
• Assistant Stage Manager/Board Operator: Chris Beatley
• Master Carpenter: Michael Salmi
• Scenic Painter: Stephanie Chu
• Assistant Carpenter/Scenic Painting: Alex Kellogg
• Master Electrician: Juan Ramirez-Cortes
• Wardrobe Assistant: Cathering Casino
• Publicist: Emily Morrison
• Photography: Johannes Markus
• Program Design: Michael Sherman
• House Manager: Joli Provost
• Outreach Coordinator: Maia Falconi-Sachs

Disclaimer: American Century Theater provided two complimentary media tickets to ShowBizRadio for this review.

The Cappies, “Critics and Awards Program,” is a program through which high school theatre and journalism students are trained as critics, attend shows at other schools, write reviews, and publish those reviews in local publications.

Rising Critic

• Yvonne Nguyen, Hayfield Secondary School
• Tyler Larkworthy, Langley High School
• Gillian Wright, McLean High School
• Jack Posey, McLean High School
• Sarah Santoro, Stone Bridge High School

Returning Critic

• Emma Paquette, McLean High School
• Marielle Burt, McLean High School
• Isabel Zapata, McLean High School
• Gavin Moore, Thomas Jefferson High School for Science and Technology
• Talia Brenner, Walt Whitman High School

Graduating Critic

• Jamie Joeyen-Waldorf, Langley High School
• Emilia Brennan, Oakton High School
• Yena Seo, Thomas Jefferson High School for Science and Technology
• Chris Doan, Thomas Jefferson High School for Science and Technology
• Stuart Pratuch, West Springfield High School

Critics Team

• Langley High School Critics Team, Langley High School
• McLean High School Critics Team, McLean High School
• Thomas Jefferson High School for Science and Technology Critics Team, Thomas Jefferson High School for Science and Technology
• West Potomac High School Critics Team, West Potomac High School
• West Springfield High School Critics Team, West Springfield High School

Marketing and Publicity

• Sarah Heaton, Amanda McGuire, Renee Rozell, Katie Tomney, 9 to 5: The Musical, Fairfax High School
• Jamie Joeyen-Waldorf, Madeleine Chalk, Andal Paul, The Children’s Hour, Langley High School
• Legally Blonde Marketing and Publicity Team, Legally Blonde, Loudoun Valley High School
• Sahana Arkalgud, Sequoia Carrillo, Katherine McCool, Legally Blonde, South Lakes High School
• Gracie Denton,Jordon McCray, Ben Roberts, Peter Serle, Spamalot, West Potomac High School

Sound

• Samantha Christoff, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Kimberly Fonseca, Lydia Bennsky, Marvin’s Room, Hayfield Secondary School
• Garrett Bell, Noah Boothe, Sally Kim, Les Miserables, Heritage High School
• Sarah Boyle, Victoria Burnham, Maggie Duke, Stuart Olivera, Macbeth, Stone Bridge High School
• Peter McAninch, Morgan Carter, The Lady from Maxim’s, West Springfield High School

Lighting

• Sarah Heaton, Jonah Hurley, Alex Pepin, Will Schovelier, 9 to 5: The Musical, Fairfax High School
• Kyle Dannahey, The Tragedy of Antony and Cleopatra, Lake Braddock Secondary School
• Tristan Froats, Emily Pruyn, Emily Robinson, Catch Me If You Can, McLean High School
• Sarah Bowman,Katie Kamara,Joe Slattery, Spamalot, West Potomac High School
• Kristen Chiama, Allison Tickner, Little Shop of Horrors, Westfield High School

Sets

• AnnaLin Woo, Samantha Christoff, Megan Brusnahan, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Marielle Burt, Ben French, Catch Me If You Can, McLean High School
• Brett Wood, Adara Hotaling, Noises Off, Tuscarora High School
• Natalie Jurkowski, Ella Moore,WPHS set crew, Spamalot, West Potomac High School
• Brandon Sanchez, Little Shop of Horrors, Westfield High School

Costumes

• Amanda McGuire, Jessica Moore, Renee Rozell, Tabatha Ryberg, 9 to 5: The Musical, Fairfax High School
• Shannon Finney, Samira Pakmehr, The Music Man, James Madison High School
• Miranda Creason, Emily Robinson, Gillian Wright, Catch Me If You Can, McLean High School
• Lesya Melnychenko, Becky Lehner, Spamalot, West Potomac High School
• Zoe Hawryluk, Morgan Perigard, Little Shop of Horrors, Westfield High School

Make-up

• Francesca Cesaro, Nicole Stiles, Sam Dickison, Sami Schellenberg, Marvin’s Room, Hayfield Secondary School
• Victoria Benton, The Tragedy of Antony and Cleopatra, Lake Braddock Secondary School
• Jayden Bell, Lina Dinh, Sammie Elliott, MacKenzie Nolan, The Wizard of Oz, Thomas Edison High School
• Lecia Stock, Clare Smith, Nurbanu Dayaz, Charlotte Martin, Macbeth, Washington Lee High School
• Destinee Bricko, Zoe Hawryluk, Morgan Perigard, Little Shop of Horrors, Westfield High School

Props

• Chantilly Props Team, The Front Page, Chantilly High School
• Camille Calderon, Kevin Pfeil, Brittany Regas, Emily Robinson, Catch Me If You Can, McLean High School
• Jessica Matera, Noises Off, Tuscarora High School
• Margaret Gorguissian, WPHS props crew, Spamalot, West Potomac High School
• Stephen Cox, Sarah Dickenson, David Koenigsberg, Emily Tobin , Little Shop of Horrors, Westfield High School

Special Effects and or Technology

• Megan Brusnahan, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Chantilly Tech Team, The Front Page, Chantilly High School
• Leo Grandinetti, Isabel Zapata, Catch Me If You Can, McLean High School
• Lindsey Rubin, Naod Haddish, Curtains, Robinson Secondary School
• Ariel Pizzamiglio, Lecia Stock, Joe Myers, Macbeth, Washington Lee High School

Stage Crew

• Darby Binford, Vicki Clinch, McKenzie Moskowitz, Marybeth Ward, 9 to 5: The Musical, Fairfax High School
• Hayley Clawson, Mary Conklin, Rayshawn Dyson, Emma Olson, Les Miserables, Heritage High School
• Allison Brandmark, Anna East, Will Laney, The Music Man, James Madison High School
• Katie Studabaker, Hayley Wenk, The Children’s Hour, Langley High School
• Sam Poole, Alysse Denton, Kate McConville,Black morph suit crew, Spamalot, West Potomac High School

Orchestra

• Heritage Pit Band, Les Miserables, Heritage High School
• James Madison Pit Orchestra, The Music Man, James Madison High School
• The Kansasland Band, Curtains, Robinson Secondary School
• West Potomac Rice and Beans, Spamalot, West Potomac High School
• Little Shop of Horrors pit orchestra, Little Shop of Horrors, Westfield High School

Choreography

• Logan Floyd, 9 to 5: The Musical, Fairfax High School
• Katie Allison, Shannon Roux, The Music Man, James Madison High School
• Marielle Burt, Catch Me If You Can, McLean High School
• Kaila Anderson, Spamalot, West Potomac High School
• Selena Clyne-Galindo, Meredith Mehegan,Ola Pozor, Little Shop of Horrors, Westfield High School

Creativity

• Nate Walsh, Composer, The Tempest, H-B Woodlawn
• Jack Goodin, Justin Pirrochi, composition, Elephant’s Graveyard, Oakton High School
• Adam Weiss, composer, Macbeth, Stone Bridge High School
• Alyssa Sera Joseph, director, Noises Off, Tuscarora High School
• Ariel Pizzamiglio for Dramaturgy, Macbeth, Washington Lee High School

Ensemble in a Play

• The Mystery Figments, Figments, Albert Einstein High School
• The Witches and Minions, Macbeth, Northwood High School
• Walter & the Dirty Boots, Elephant’s Graveyard, Oakton High School
• Tech Crew, Noises Off, Tuscarora High School
• The Sisters, Macbeth, Washington Lee High School

Ensemble in a Musical

• The Barber Shop Quartet, The Music Man, Annandale High School
• The Students, Les Miserables, Heritage High School
• FBI Agents, Catch Me If You Can, McLean High School
• “Production Team” Craig Allison, Maya Armstrong, T.J. Gouterman, Sam Weggeman, The Producers, South County High School
• Jet Boys, West Side Story, Woodrow Wilson High School

Featured Actress

• Marisa Chaffee, The Tragedy of Antony and Cleopatra, Lake Braddock Secondary School
• Bridget Fitzgerald, The Children’s Hour, Langley High School
• Nancy Pruett, Catch Me If You Can, McLean High School
• Celene Daniels, Macbeth, Northwood High School
• Nikki Amico , Spamalot, West Potomac High School

Featured Actor

• Cameron LeDucq, 9 to 5: The Musical, Fairfax High School
• Nate McGraw, The Mystery of Edwin Drood, Freedom High School
• William Mitchell, Les Miserables, Heritage High School
• Dan Evans , Spamalot, West Potomac High School
• Julian Sanchez, Little Shop of Horrors, Westfield High School

Female Dancer

• Shannon Roux, The Music Man, James Madison High School
• Kathy Oh, The Producers, South County High School
• Gabrielle Bullard, Footloose, The Madeira School
• Nikki Amico, Spamalot, West Potomac High School
• Molly McIntyre, How to Succeed in Business Without Really Trying, Woodgrove High School

Male Dancer

• Rolf Lundberg, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Daniel Serpati, 9 to 5: The Musical, Fairfax High School
• Neal Going, The Music Man, James Madison High School
• Elijah King, Curtains, Robinson Secondary School
• Robel Kabtyimer, Legally Blonde, South Lakes High School

Female Vocalist

• Amanda Harvey, 9 to 5: The Musical, Fairfax High School
• Sophie DeLeo, Oklahoma, George Mason High School
• Alie Campbell, Legally Blonde, Loudoun Valley High School
• Aaliyah Dixon, Hairspray, Thomas S. Wootton High School
• Yana Madrid, West Side Story, Woodrow Wilson High School

Male Vocalist

• Vinny Okechukwu, Les Miserables, Heritage High School
• Ashton Schaffer, The Music Man, James Madison High School
• Jacob Rozmajzl, Guys and Dolls, Paul VI Catholic High School
• Cameron Powell, The Producers, South County High School
• Peter Serle , Spamalot, West Potomac High School

Comic Actress in a Play

• Michiko Feehan, Figments, Albert Einstein High School
• Kayla Gatling, Plaza Suite, Falls Church High School
• Sophie Nicholakos, The Tempest, H-B Woodlawn
• Cindy Funes, Marvin’s Room, Hayfield Secondary School
• Carly Smith, Noises Off, Tuscarora High School

Comic Actor in a Play

• Connor Gillooly, Funny Money, Centreville High School
• Gonzalo Izquierdo, The Front Page, Chantilly High School
• Gulet Isse, Plaza Suite, Falls Church High School
• Patrick Moore, The Importance of Being Earnest, Wakefield School
• Joshua Elliott, The Lady from Maxim’s, West Springfield High School

Comic Actress in a Musical

• Loren Gant, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Emily Ennis, 9 to 5: The Musical, Fairfax High School
• Aiden Orr, Les Miserables, Heritage High School
• Paige Cilluffo, The Music Man, James Madison High School
• Brigid Kilner, Schoolhouse Rock Live!, Oakcrest School

Comic Actor in a Musical

• Doug Klain, 9 to 5: The Musical, Fairfax High School
• Drew Lytle, Seussical, Herndon High School
• Jack Gereski, The Producers, South County High School
• David Jarzen , Spamalot, West Potomac High School
• Zack Walsh, Little Shop of Horrors, Westfield High School

Supporting Actress in a Play

• Allisha Edwards, Marvin’s Room, Hayfield Secondary School
• Lily Brock, The Children’s Hour, Langley High School
• Sierra Carlson, Macbeth, Stone Bridge High School
• Jordan Goodson, A Taste of Honey, Thomas Jefferson High School for Science and Technology
• Ellen Abood, The Lady from Maxim’s, West Springfield High School

Supporting Actor in a Play

• Noah Mutterperl, Marvin’s Room, Hayfield Secondary School
• Sam Hanoura, A Midsummer Night’s Dream, TC Williams
• Jake Gonzalez, A Taste of Honey, Thomas Jefferson High School for Science and Technology
• Ben Fuhrmann, Noises Off, Tuscarora High School
• Nicholas Cadby-Spicer, Rebel Without A Cause, Wakefield High School

Supporting Actress in a Musical

• Abby Giuseppe, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Eva Paterson, 9 to 5: The Musical, Fairfax High School
• Grace Vaughn, Legally Blonde, Loudoun Valley High School
• Hannah Sikora, Curtains, Robinson Secondary School
• Katelynn Barack, Footloose, The Madeira School

Supporting Actor in a Musical

• Jack Posey, Catch Me If You Can, McLean High School
• Jamie Green, Curtains, Robinson Secondary School
• Eddie Perez , Spamalot, West Potomac High School
• Brandon Sanchez, Little Shop of Horrors, Westfield High School
• Sam Van Vleet, How to Succeed in Business Without Really Trying, Woodgrove High School

Lead Actress in a Play

• Brooke Johnson, The Front Page, Chantilly High School
• Katie Wattendorf, Marvin’s Room, Hayfield Secondary School
• Madeleine Chalk, The Children’s Hour, Langley High School
• Alicia Hartz, Macbeth, Washington Lee High School
• Catherine Ariale, The Lady from Maxim’s, West Springfield High School

Lead Actor in a Play

• Diego Encarnacion, The Front Page, Chantilly High School
• Stephen Coakley, Noises Off, Tuscarora High School
• Josh Mohney, The Importance of Being Earnest, Wakefield School
• Jeffrey Warren, Macbeth, Washington Lee High School
• Forrest Browne, The Lady from Maxim’s, West Springfield High School

Lead Actress in a Musical

• Caroline Silas, 9 to 5: The Musical, Fairfax High School
• Shelly Walsh, The Mystery of Edwin Drood, Freedom High School
• Abby Rozmajzl, Guys and Dolls, Paul VI Catholic High School
• Anjum Choudhury , Spamalot, West Potomac High School
• Samantha Dempsey, Little Shop of Horrors, Westfield High School

Lead Actor in a Musical

• Joey Ledonio, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Alex Stone, Catch Me If You Can, McLean High School
• Spencer Boyd, Curtains, Robinson Secondary School
• Peter Serle, Spamalot, West Potomac High School
• T.J. Vinsavich, Little Shop of Horrors, Westfield High School

Song

• “Lida Rose/Will I Ever Tell You?”, The Music Man, Annandale High School
• Brotherhood of Man, How to Succeed in Business Without Really Trying, Bishop Ireton High School
• Don’t Break the Rules, Catch Me If You Can, McLean High School
• You Won’t Succeed On Broadway, Spamalot, West Potomac High School
• Dentist, Little Shop of Horrors, Westfield High School

Play

• The Front Page, The Front Page, Chantilly High School
• The Children’s Hour, The Children’s Hour, Langley High School
• Noises Off, Noises Off, Tuscarora High School
• Macbeth, Macbeth, Washington Lee High School
• The Lady from Maxim’s, The Lady from Maxim’s, West Springfield High School

Musical

• 9 to 5: The Musical, 9 to 5: The Musical, Fairfax High School
• Les Miserables, Les Miserables, Heritage High School
• Catch Me If You Can, Catch Me If You Can, McLean High School
• Spamalot, Spamalot, West Potomac High School
• Little Shop of Horrors, Little Shop of Horrors, Westfield High School