The Bully Plays contains multiple scenes which convey aspects of bullying differently in each. Holt High School performed five of the scenes from this selection, “The Bully Pulpit,” “A Bully There Be,” “The Conundrum,” “Nobody Nose,” and “Flash Mob.” The scenes took very different approaches to tackle the aspect of bullying, from mime to Shakespeare. The various short plays had highs and lows throughout, with some scenes having more energy than others. Because of the short time frame for each short play it was difficult to develop characters, but most actors were still able to show depth of emotion.

The Long View is a one-act, which the school had previously performed at St. Louis District Theatre Contest and placed first. The play starts off with a fight scene in which the characters experienced a wide range of emotions. During the one-act, most characters had to deliver a monologue about how they felt about witnessing the fight. These moments were crucial to understanding the motives behind their actions during the scene. The actors all had great stage presences and commanded the stage during their monologue moment, despite line stumbling or distracting noises from the audience. The many different characters and scenes showed off the actor’s ability to be versatile.

The technical elements also helped to stand up to bullying; it included large words associated with bullying like exile and courage, with dramatic backlighting in blue and red. This really set the tone for the production. Also, the platforms on stage allowed the actors to work with the concept of levels to better get the message across to the audience. However, there were a few lighting problems during transitions in the show. All the actors had mics and could be clearly heard, but noise could be heard backstage if the microphones were left on. The special effects of having a screen with a display of the text messages the actors were saying was a very interesting concept that helped to aid in the story telling of “Flash Mob” in The Bully Plays.

Overall, this production left the audience with a powerful message about promoting anti-bullying in schools.

by Alexa McKenna of Parkway Central High

Based on a true story, George Brant’s heartbreaking drama relates the fate of Mary, an elephant sentenced to death by hanging for the murder of one of her handlers. The event unfolds with brief, impactful monologues that reflect the various perspectives of Erwin’s unforgiving community. Through the eyes of each character, the audience is granted a complete vision of the town and tragedy surrounding the elephant’s death.

After a slightly timid beginning, Francis Howell’s cast demonstrated their incredible talent by conquering the challenges presented by such a unique script. Since there is so little direct character interaction, each actor and actress had to maintain the same rhythm as their peers in order to prevent an isolated or disconnected feeling from overpowering the fact that each monologue was part of the whole story. A few notable examples of success were Mikayla Sherfy (Muddy Townsperson), Katie Angeli (Clown), and Aurielle Macchi (Tour Manager). These actresses did an exceptional job of going above and beyond with their delivery, adding another dimension to their already complex lines and further enhancing the emotional aspect of the performance. Sherfy’s intense mood contrasted well with the vivacious yet thoughtful humor of Angeli and sharp yet sensitive remarks of Macchi. Additionally, Justin Miller (Steam Shovel Operator) gave a brief, yet particularly effective speech that demanded a few moments of appreciation.

As a whole, the cast indicated a remarkable level of maturity with their performance. Each role was embraced and developed thoroughly, a factor that increased the play’s believability and impact. Also reflecting the school’s talent was its students’ impressive ability to remain in character throughout the entire show. When an individual took center stage, the remaining cast continued to respond and interact with their environment as their characters would. Attention to details such as these enhanced the quality of the performance and allowed it to have a greater emotional impact.

The show’s technical aspects reflected careful thought and preparation on the part of the various crews. The set’s simplicity was effective, enabling the performers to command the stage rather than be overpowered by it. Lighting and sound were well done, with minor, negligible errors. The music that accompanied some scenes was, at times, distracting, but otherwise well-paced and appropriate, establishing a mood in otherwise slow moments. Altogether, the technical portion of the show allowed it to flow as smoothly as it did.

Witnessing the product of such a talented cast and crew made it difficult to remain dry-eyed during the play’s intense climax and conclusion as each character responded to and questioned Mary’s tragic death. Francis Howell’s production of Elephant’s Graveyard was an emotional, impactful, and memorable performance.

by Meghan Edwards of Holt High School

The story follows a redheaded little girl with spunk a mile wide. After she runs away from her orphanage and Miss Hannigan, the drunken caretaker, fate twists in Annie’s direction. The billionaire Oliver Warbucks offers one orphan the chance to spend Christmas in his house, and Annie is the lucky girl. When Annie tells Mr. Warbucks of a note and locket her parents left her when she was a baby, he vows to find Annie’s parents for her. The plan backfires when he puts up a $50,000 reward for her parents, and thousands of couples line up to claim her. The most convincing of these couples happens to be Miss Hannigan’s brother and his girlfriend. They tell Warbucks of the locket, and almost take Annie away for the money when the FBI learns of their plan, and stops the villainous pair. Mr. Warbucks becomes Daddy Warbucks when he adopts Annie, and they spend a wonderful Christmas together to wrap up this heart-warming story.

The show came together wonderfully with good acting, a complex and convincing set, real-looking props, and finally an overall energy and spark that lighted the eyes of the audience. To wrangle up that many small children must have been quite the task, but all that showed was good choreography, portrayed by adorable little orphans. Annie is a story to be told, and tell it they did.

In the title role of Annie, the sixth grader Annika Mills dropped the jaw of the audience from the start. Also in the hot seat, Nathan Hinds played Oliver “Daddy” Warbucks. Together, Hinds and Mills brought the cast together, and showed perfect chemistry. It was hard to remember that they were not actually a billionaire and a little orphan girl. The notes hit by little-bitty Annika Mills earned her the standing ovation she received at the closing of the show.

Although the lead actors showed true talent, the supporting cast was the icing on the Annie cake. Even though some voices may not have been the strongest soloists, these actors gave it their all. Grace Farrell, played by Emily Hampton, and Miss Hannigan, played by Cara Delaporta gave true examples of extreme characters. From Hampton’s loving arms towards Annie to Delaporta’s drunken wobbling, these two ladies had a lot of talent, and showed the audience just what they were made of. Also, Allie Sanderson in the role of Lily St. Regis absolutely stole the show with her spot on Jersey accent, and eccentric way of parading across the stage. Not to be left out, the men of the show showed the audience just what they had as well. Andrew Milhous as Drake, and Christopher Geerling as FDR each had their moments to shine in the show, and shine they did.

The set of Annie was magnificent, from the dark and rickety look of the orphanage, to the lovely rooms of the Warbucks mansion. It truly gave the show the essence it needed. The props of the show only added to this effect. They were perfect for the time period, and gave the audience a perfect idea of what Holt High School had in store for them.

The show was a spectacular one to see, and a perfect example of what Annie had to offer as a heartwarming tale.

by Jessi Reynolds of Pattonville High School

The Comedy of Errors is a story of two sets of identical twins which at a young age are separated in a devastating ship wreck. Antipholus of Syracuse and his servant, Dromio of Syracuse, travel to Ephesus, which happens to be the home of their long-lost twin brothers, Antipholus of Ephesus, and his servant, Dromio of Ephesus. The interactions of the various Dromios and Antipholuses with the various townspeople in Ephesus lead to mistaken identities, love triangles, and multifarious minor crimes. This eventually culminates in the face-to-face encounter of the twins and the ensuing resolution one expects in any self-respecting Shakespearean comedy.

Francis Howell with the help of student director Danielle Crosno have achieved something remarkable in their presentation of this play. The stage interactions of each character are genuine, and the addition of a narrator and incorporation of particular props created some of the most hysterical scenes of the evening while coincidentally clarifying confusing aspects of the play to the audience. At times, actors would forget to project their lines out away from the stage, but for the most part this was a non-issue. In spite of this minor problem, what truly made this play special was the energy of the cast. Starting in Act One and finishing with a bow, each and every member of the cast demonstrated terrific energy that excited the audience and moved the show along at a rapid clip. The result was a production that made the audience forget themselves as they became completely invested in each character.

Dromio of Syracuse and Dromio of Ephesus were brought to life by Katie Angeli and Tina Donnelly. Antipholus of Syracuse, played by Clayton Humburg, was exciting to watch with his interpretive stage gestures and facial expressions. Adriana, played by Jessie Basler, and Luciana, played by Laura Haug, also had praiseworthy performances. The Narrator, played by Cidney Woodson, provided a fantastic contrast in her modern English. She was consistent in her accent, when an accent was required, and completely devoted to her role.

The utilization of the stage was slightly disappointing: the vast majority of the play prior to intermission was performed on the right side of the stage, but in the final two acts the stage was more creatively utilized. The fountain in the center of the stage was interesting, and provided an excellent prop. The various minor props utilized by the actors, such as a whiteboard and a globe, were also stimulating and effective.

The Comedy of Errors as performed by Francis Howell High School’s Limelight Theater was a fun-filled extravaganza of hilarity and energy.

by Jon Baer of Mary Institute St. Louis Country Day School

You Can’t Take It With You could very well be considered the poster play for “old school” drama. Premiering in 1936, George S. Kaufman and Moss Hart’s creation features the Sycamores, a fictional family living in the home of Martin Vanderhof, otherwise referred to as Grandpa. Throughout the story the Sycamore clan is revealed as a quirky bunch, which causes complications for Alice Sycamore who is engaged to Tony Kirby, son of an uptight fellow on Wall Street.

As the story progresses, presenting the classic themes of family and love, Holt’s production team makes all the proper connections. Admittedly, there were times where potentially heartwarming or hilarious moments were underplayed. Yet, overall the production ran smoothly and effectively with few technical distractions or noticeable character errors.

Leading the cast was Brenden Schaeffer, playing Grandpa. Schaeffer delivered lines clearly and overall believably. His natural stage presence helped keep the family and supporting roles more believable. It is often difficult for high school actors to assume such an aged role, yet Schaeffer played it off rather well!

Other notable characters, such as Emily Hampton and Andrew Milhous as Essie and Ed Carmichael, added a comedic factor to the show as well as the warm fuzzy feeling You Can’t Take It With You is known for. Hampton and Milhous really shined as the two most whimsical characters on stage and often pushed energy through slow expository chunks of the show. The dedication of Hampton and Milhous (as well as the rest of the cast) was clear through the endurance of energy, tricky accents and special tasks such as Essie’s constant ballet and Ed playing a bell kit throughout the play.

High school level theaters are often known for messy technical work, however Holt seems to be a lucky exception. Although You Can’t Take It With You is not an excruciatingly demanding show for techies, the technical aspects of the show were clear and effective. Lighting (Keegan Harper, Anna Weeden) and sound (Parker Gleason, Christina Richardson, Kyle Nanney, Travis Fleming) were sufficient — there was never a time where an actor wasn’t heard or character was unseen due to poor execution. Costumes (Riley Grady, Allie Hult, Allie Sanderson, Maitland Wells), hair and makeup (Hannah Michaelfree, Kaitlyn Bishop, Karley Cavanaugh, Madison Miller) were excellent for a high school level theater, very clearly depicting the 1930s feel through makeup choice and time-period-appropriate clothing. Essie’s ballet tutu, made by a student, was especially impressive!

Just like any family, the production team at Holt was not perfect, but it was just as functional as any other family. And even though You Can’t Take It With You, one’s evening at Holt High School is sure to be lovely.

by Megan Horn of Francis Howell High School

The show, written by Bob Carlton, is based on the unlikely pairing of Shakespeare’s The Tempest, and the science fiction film Forbidden Planet. The musical’s characters resemble those of The Tempest, but are altered to blend into the galactic world of Forbidden Planet. The musical begins with a meteor shower that sends the ship of Captain Tempest to the planet, D’lllyria. Here, Doctor Prospero and his lovely daughter, Miranda, are introduced. Throughout the story, there are many complications regarding who Miranda should love, as well as the twisted past of Dr. Prospero and his wife, Gloria. With numerous modern songs worked into the script, the story unfolds into a captivating piece.

This musical could not have been understood easily without the great characterization that the cast applied. Throughout the performance, Captain Tempest played by Nic Branson, and Ariel played by Aurielle Macchi, remained in character and were a joy to watch. Another strong performance was the Navigational Officer, played by Katie Angeli, who’s punctual tone remained consistent and clear. Miranda, played by the beautiful Ashley Unland, also brought life to her character with her sweet tone and daintiness. Laughs filled the auditorium when the solo male in the chorus, Danny Junkel, danced his way on stage. His enthusiasm was refreshing. Overall, the cast was effective in portraying their characters and provided the audience with insight into Carlton’s original intentions for the show.

In addition to the effective cast, the Limelight Theater exceeded expectations in its technical elements. Onstage projection screens gave the audience better understanding of events occurring with video and images. Sound effects such as explosions and crashes also added to the audience’s experience. The light, sound, and special effect crews executed everything smoothly and efficiently. The live band was a nice addition that was consistent throughout the performance.

Although the cast performed well and the technical aspects were superior, there were minor flaws that distracted from the enjoyable show. Occasionally lines could not be clearly heard causing the plot to become foggy. Enthusiastic dancing was also lacking, except for the last song, “Monster Mash,” in which the cast came to life. Also, the characters were often hidden behind podiums in the spaceship and because of this, were slightly disconnected from the audience and even other characters on stage. This minor wrinkle, although distracting, did not affect the great quality of Francis Howell’s performance.

The fantasy combination of Shakespeare and science fiction provided a fun departure from routine life. Kudos to the cast and crew of Return to the Forbidden Planet for producing an enjoyable evening of quality entertainment.

by Allie Sanderson of Holt High School

The musical Footloose opened at Broadway’s Richard Rodgers Theatre on October 22, 1998 and ran for 709 performances until July 2, 2000. It was directed by Walter Bobbie with choreography by A.C. Ciulla.

From his first appearance to his last, the quirky, lovable, and slow Willard (Parker Gleason) stole the show. He was always a delight and commanded the stage with his actions, comedic timing, and believable character. His song “Mama Says (You Can’t Back Down)” with his Mama’s boys (Brenden Schaeffer, Riley Grady, and Michael Twellman) was an energetic display of characterization and vocal talent.

Ren McCormack (Cody Cole), Reverend Shaw Moore (Nathan Hinds), and Rusty (Madison Miller) were also notable vocalists. Each had unique and powerful voices that were properly and beautifully showcased.

Ren (Cole) and Ariel Moore (Lara Flanders) showed powerful chemistry and strong vocal talent in their duet “Almost Paradise.” Their chemistry also improved after this song, showing their affection toward one another.

“I’m Free/Heaven Help Me” was a fun and energetic ending to an upbeat first act. “Let’s Hear It For The Boy” was another exciting performance with great energy to start the second act.

Rusty (Miller), Wendy Jo (Lauren Jurotich), and Urleen (Cayla Patterson) were a humorous, consistent ensemble that always represented themselves well and offered a spunky teen insight to the town’s blight.

The Moore’s, Reverend Shaw (Hinds) and Vi Moore (Abigail Alysmeyer) had strong chemistry and were a most believable married couple. They played off of each other well and seemed like the good cop/bad cop, the overbearing father and the less restrictive mother.

There were frequent hiccups in sound to start, but the quality improved throughout the show and were nearly completely absent toward the end of the show. The light cues were off sometimes, but never took away from the show.

Holt High School did not disappoint and may have put the newly released Footloose to shame.

by Brandon Janssen of Northwest High School

Over the weekend, Francis Howell High School put on a production of Distracted. It’s a comedic tragedy told from the point of view of a mother, who deals with multiple opinions on how to raise her child and several medications when learning her child has ADD/ADHD. It seems to the mother that everyone has an opinion on how to raise her child. When a small problem like an anxious kid becomes a full-blown tragedy that can tear a family apart, the mother must make her own decision on what’s best for her child, and learning that just being there when she’s needed most, is more important than any other drug. Other things talked about in Distracted involve very controversial issues such as cutting, divorce, and intimacy.

The set was perfect for the show. Going with the “distracting” themed involved a different vibrant color on each wall, multi-colored steps, and multiple settings in one area. This made for a convenience when transitioning to different settings, among which included a kitchen, doctor’s office, therapist office, a bed room, and even an outdoor intersection.

The technical aspect was beyond impressive for a high school production, using three projection screens for several different things. Including the televisions, which would play Spongebob clips and athletic games, all still going with the “distracting” theme, making you feel like you would actually get distracted at times. They were also used for different “paintings” to indicate a different doctor’s office, web pages, and even showed an instant messaging conversation between two people as it happened, all adding on an entirely new concept to realism in the theatre.

One character standing out was the father (Nic Branson). Branson’s character was the most realistic, making audience members believe at times he certainly was a father, as opposed to a high school student. The character of Vera (Katie Angeli) got several laughs from her antics as a typical mother with Obsessive Compulsive Disorder. The main character, the mother (Ashely Unland) was also a sight to see. Unland had an exceptionally big load of lines to memorize, with uncountable monologues and intense emotions. If Unland ever messed up, nobody would have been able to point it out.

Overall, the show was something to see. The twist and turns in the plot line kept you wondering how it will all end, yet it was all made into a story keeping up with recent times within the 21st Century. This was not a show you wanted to miss.

by Jessica Olsen of Francis Howell North