Photo courtesy of the Kutz family.

When I heard that TJ’s intended spring musical, The Phantom of the Opera, was being canceled, only to be replaced by a series of eight student-directed plays, I was skeptical. Don’t get me wrong, TJ’s drama team has certainly proved itself to be a group of highly skilled, devoted, and creative young actors and techs, so I certainly didn’t expect the last-minute replacement to be bad. But I was just as far from expecting it to be on the same level of Rent: School Edition or Noises Off.

I was wrong.

In my Noises Off review, I stated that, “…the TJ Drama Department has consistently set the bar high for stellar acting, comedy, and stage production,” and that Noises Off continued this tradition. Well, once again, Theater Director Michael Palmieri and his gang of gifted young actors have raised the bar, creating easily the most unique high school theater experience I have ever witnessed.

The series of short plays presented certainly covered a wide range of styles and themes, making the play always eventful and never dull. Over the course of the night, I sometimes forgot I was on the TJ stage, feeling as though I was merely a spectator of a strange world that lay before me. Each of the plays brought something new to the stage, and I was on the edge of my seat from the very first act of the first play to the last-minute of the final performance.

The stage lit up, displaying a small flower stand labeled “Jessica’s flowers.” Behind the counter, slouched over and sighing, stood the jaded owner Jessica (Senior Anna Romero). In walks the gangly Jason (Junior Keith Hussey), who is automatically stunned by Jessica’s beauty. Stuttering, he tries to make small talk, failing miserably with every syllable. This awkward and sometimes failing first-encounter on a lonely valentines day is – often regrettably – hilarious. Not only is the situation highly relatable to most people who have ever had an awkward encounter, it is also highly entertaining to witness the inner-monologue of both characters. Throughout the play, Jason and Jessica would occasionally turn to the audience, stating their thoughts as if narrators were following them through their social failures. Directed by Romero, this inside look into the inner psyche of a severely awkward encounter left the audience howling with laughter.

Void by Don Tongue

The gag of allowing a character in a play/film to access the script is nothing new in the world of entertainment, made most famous by many of Mel Brook’s infamous parodies. However, truly tackling this idea as more than simply a gag, and turning into a complex power-play between character and story was a concept I had never before seen on stage. This play is not only thought-provoking, but also hysterical at times. Probably most impressive in this performance were the actresses: Freshman Sophie Mercer and Sophomore Tori Wallace (both playing nameless characters). Neither actress had been previously involved with the TJ drama department, and yet they were both given very challenging roles. Nonetheless, both girls released their inner thespians, each giving a stunning performance and deadpan delivery. Senior Michael Kutz and Sophomore Jordan Antonio directed this innovative short play.

Security Guard by Phil Olson

I sometimes forget how funny dramatic irony can be. Sure, it’s used often, and it’s nothing new to theater; but when it’s done well, I’m left rolling in the aisles. And, I must admit, when I saw two grisly security guards discussing law, order, and Vietnam, oblivious to the enormous truck labeled “Hussey’s Thieves Incorporated” hauling stacks of stolen goods behind them, I couldn’t stop laughing. Starring Hussey and Freshman Gerri Kutz as the hapless security guards, this act – directed by Hussey and Junior Connor Hickman – reminded me of why classic, old school humor can still make me cackle.

The Call Girl of Vassar by Matt Thompson

In my life, I have never seen a play as blatantly intellectual as this one. The fact that it starred actors who have yet to graduate high school made this play even more outstanding. The basic plot of the act, while convoluted, was essentially a private-eye (Michael Kutz) investigating a company of call-girls who specialized in satisfying men’s intellectual needs by discussing literature and science with them. What truly propelled this act to success was the lead actor: Michael Kutz. It is sometimes forgotten that there is more to comedy than merely making a funny face and knee-slapping. A real comedian masters an aspect of acting that is often one of the most difficult to achieve: timing. Without doubt, Kutz had the best comedic timing I have ever seen in a high school production. Directed again by Antonio and Kutz, this act left my sides – and my brain – hurting.

Song of Forgetting by Anna Romero

The fact that this act was not only directed, but written and conceived by a TJ student still astounds me. This act was so professionally written, performed, and directed, I sometimes forgot I only paid five dollars to enter the theater. The story revolves around Steve (Senior Zach Salas) and his mental struggles as he comes to the realization that his loved one, Donna (Romero) is dead. This is the first non-comedic act in the play, but it didn’t stop there; this was an intense, confusing, and sometimes even scary production. Salas, a newcomer to both the TJ drama department and acting in general, blew me away with his dramatic talent, sometimes shocking the audience with sudden outbursts of fear, confusion, and hatred. The sudden change in tone from comedic to intense that was brought by Song of the Forgetting made the act an experience the audience will certainly not soon forget.

Parasol Universes by Jim Bain

What was especially impressive about this act was the sheer coordination involved in pulling it off and making it fully believable. The play involved two families, each with identical appearances, as they mimicked one another to create the illusion of a “parallel universe” that lay behind the mirror in the family’s sitting-room. Eventually, the family discovers the world within its mirror, and they begin to experiment by jumping through, creating a somewhat confusing – but entirely hilarious – feel to the act. The performance was directed by Junior Whitney Hackbarth, whose talent with coordinating and directing not only one family – but two – still amazes me.

Return to Sender by Matt Thompson

This was my personal favorite act of the Fourth Wall. The story revolved around a worn-out, stubborn, and highly eccentric employee of the postal office named Wilbur (Michael Kutz) and he deals with a needy customer, Zoe (Freshman Cora Gains.) The way Kutz delivered his lines, never grinning as the audience belted with laughter, set him out as the star of the show. Kutz’s performance in Return to Sender was on a professional level. His twisted smirk, his smug walk, and his complete mental breakdown toward the end of the play, left me gasping for air as I roared with laughter. Directed by Hussey and Hickman, this play gave me important insight into the life of a United States Postal worker.

I Can’t Think of It Right Now by Nick Zagone

This act was especially enjoyable, mainly due to its flawless pacing. The performance began in a relatively normal situation; a couple attempting to remember the name of a movie. It was charming, and certainly enjoyable, but not hysterical as it opened. As the play progressed, the hysteria slowly increased as the couple attempted to remember more and more things that seemed to be at the tip of their tongues, ranging from actors to their own son’s name. This progression from normality to madness was absolutely hilarious, concluding with one of the funniest endings to a play I’ve seen in a long time. Hackbarth, who also directed Parasol Universes, once again displayed her talent as a director through her creation a charming, funny, and a very relatable environment during this act.

A scene from Café Cultura. Photo courtesy of Teatro Izcalli

Not many areas in Denver provide a safe environment for spoken word, danza, and also encourage the sharing of Latino culture. Café Cultura brings a show to the communities of the Denver-Metro area, inviting everyone to come and share their thoughts on every second Friday of the month.

Beginning with a traditional native blessing and danza Azteca by Grupo Tlaloc, the crowded Inner City Parish stage vibrated with the drum’s resonance. Grupo Tlaloc’s performance captivated the audience, keeping them enthralled to see the next act. “Every time I come to Café Cultura I know that there will be something amazing happening. The opening act is always one of the most entertaining parts,” said Eduardo Zuniga, one of the spectators during the March show.

As is accustomed at Café Cultura, the opening act was followed by spoken word and poetry from members of the audience. Everyone is encouraged to participate, from young children to teens to the older generations.  The main act in Café Cultura for March was Teatro Izcalli, a teatro campesino traveling all the way from California.

Macedonio Arteaga founded Izcalli in 1993 in San Diego to promote and preserve Chicano and indigenous art, culture and history. The organization hopes to continue to motivate young Chicanos to finish school and better their lives and those of their families. This traveling theater addresses issues such as racism, identity, higher education, health education and the representation of Latinos in the entertainment world, taking ownership of the negative commentary made about Latino culture and using it as a way to entertain and educate the public.

When Latinos, Chicanos or Mexicans see this group they can relate to the lessons it teaches through comedy, as well as the actors they see on stage. Older and younger generations share the stage, making a parody of all situations in the Latino community. “We travel to many different states, from New York to Wisconsin and Arizona. We’ve done agency workshops with multicultural groups, teaching to elementary schools (mostly),” said Artega.

“The group started after watching a Culture Class in San Diego, California. I began a la brava, most of us had no experience in acting,” said Arteaga. The group features seven players, including Arteaga’s wife and daughter, who have all been acting together for 15 years.

“When we first started, the group met in a restaurant and wrote their ideas on a napkin. These are still some of the things we use today. Many of our ideas come from summer programs with students. That was where we developed some of them. We just meet and write down stuff as well; ideas we take from television and other shows, changing it to be culturally relevant,” said Artega’s wife, Alicia Chavez-Arteaga.

“Teatro Izcalli is part of the larger organization, Izcalli. The Teatro started as a way to raise money for an escuelita (elementary school). As a non-profit organization that focuses on Latino advocacy.  The mission of IZCALLI is to transform the lives of Chicano/a and Indigenous communities by promoting cultural consciousness through the arts, historical education, and community dialogue,” said Chavez-Arteaga.

Café Cultura was the proud host of Teatro Izcalli, drawing a crowd to the Inner City Parish auditorium.

Café Cultura has been part of the Latino community for the past six years, and since then has housed some of the most successful open-mic and Latino arts presentations in the Denver Metro-area.

“Café Cultura is an artist collective & open mic that showcases the work of the Chicana/o, Indigenous, Latina/o, and other under-served communities, and provides opportunities for new artists and activists of all backgrounds to learn, grow, and create positive change. As poets, activists, and artists, we strive to keep our oral and artistic traditions alive,” said Ara Cruz, one of the founders.

Ara Cruz and Bobby LeFebre, two Chicano/Indigenous spoken-word artists and activists started Café Cultura in October 2004 with the help and ideas of other community members.  As the months passed and interest increased, Ara and Bobby knew that they were creating something that was long overdue. They tried to host Café Cultura at different locations during the first sessions and they settled down at the Café Café coffee shop on 44th Ave. and Zuni St.  At Café Café about 60 people can be part of these spoken word sessions.  In the spirit of showcasing the talent in our community, Café Cultura began a tradition of featuring specific artists and performers.  In fact, the now popular and successful Debajo Del Agua had its first performance at Café Cultura, which also offered a venue for informative short films and a space where people could network.

The success in this area led to artists coming in from coast to coast for a chance to perform. “Some of the memorable features are Cihuatl Ce (LA), Guerrilla Queenz (LA), Molina Soleil & Aju, Teatro Izcalli, Slam Nuba, Nubai, Gabriela Garcia Medina (LA), Blackfire (Arizona), Taina Asili y La Banda Rebelde (Abany, NY & Philly), and Broadcast Live (Albany, NY),” said Cruz.

Because of these performances, Café Cultura has received many acknowledgements from Denver and Colorado media. The Denver Post and the North Denver Tribune, Westword, as well as El Semanario have featured many of the works in Café Cultura, concentrating mainly on some of the spoken word and hip hop workshops that they host in the local high schools and community centers.

During 2005, the founders of Café Cultura decided that they were moving to a different location in order to accommodate the growing crowds attending every 2^nd weekend of the month. “It was difficult to leave Café Café because they treated us so well. However, we had to do it to respond to the needs of our communities. Since finding a new home in October 2005 at Denver Inner City Parish/La Academia, we have more than doubled in size.  On average, more than 150 people attend our event on a regular basis,” said Cruz.

“The roots of Café Cultura go back to the work done by our elders in previous decades and even further back through the cultural traditions passed down by our ancestors. One of the events that began the trajectory of this was the passing over of Abelardo “Lalo” Delgado into the spirit world. As a respected elder and veteran Chicano poet, we came to the realization that it is our responsibility to carry that palabra (word) and use it to help our communities,” said Cruz.

Another was the struggle of the native people to stop the celebration of Christopher Columbus that takes place through an annual parade in Denver. This work forms part of a larger movement uniting indigenous people from throughout this continent, which many native people refer to as Turtle Island. During this struggle, people representing southern Indigenous nations, known by terms such as “Chicana/o,” “Mexicana/o,” and “Latina/o,” came together in unity with those Natives of northern nations, referred to today as “American Indian” or “Native American,” to end the celebration of genocide, slavery, and oppression. “These actions inspired us to form Café Cultura in that spirit of Red/Brown Unity. In fact, our first open mic event took place the night of the All Nations Four Directions March on October 8th, 2004. The next day, many of us participated in the direct action that took place in an attempt to transform the holiday,” said Cruz, an attendant at that first Café Cultura, who believes in the views of the native people and the impact they have had on Café Cultura.

In addition to the written word produced from the sessions, a collaboration with Tiahui Podkast (http://www.tiahuipodkast.com) has allowed Cafe Cultura to reach national recognition (they are featured on two episodes). MySpace and FaceBook have also helped connect many people to the events and have been a major way of spreading the word for many of the most recent sessions. For more information visit (http://www.myspace.com/cafecultura) and (http://www.facebook.com/pages/Cafe-Cultura/49001449645).

The work done by Teatro Izcalli and Café Cultura have impacted Latinos and especially Latino youth in the Denver area. The collaboration of these two organizations led to a successful night in the Denver Inner City Parish, and the beginning to many similar, future performances for the Café Cultura.

Courtesy of Disney.com

Disney’s Mary Poppins was a great show. The set pieces were very well made, using angled pieces that make the viewer feel like they are in the setting of the play. The dancing scenes fit their songs very well. The wild rooftop dancing of Chim Chim Cheree and the quick and haggard movements of the cruel nanny, Miss Andrew (Ellen Harvey, Mamma Mia on Broadway), in Brimstone and Treacle worked in tandem with the orchestra like clockwork.

Bringing a story from a book to the stage is often a challenge, and even more so to transition from a written story to a movie screenplay. The nanny Mary Poppins originated from a series of children’s books by P.L. Travers. If the viewers are very familiar with the series, they will find that Disney had chosen certain adventures from the children’s books instead of using all of them or a particular order of them in their film. The musical version has added some new songs, like Anything Can Happen (If You Let It), Temper, Temper and Brimstone and Treacle. Music isn’t the only thing that was written into the play. A welcome incorporation is the nanny that raised George Banks, the mean Miss Andrew. This woman insists on punishment and discipline to keep children in order, and shows how George Banks became so uptight. Many characters refer to Miss Andrew as “The Holy Terror,” which adds humor to a tense situation. When it comes to Mary Poppins, this stage adaptation shows the practically perfect nanny in a different light than the film did.

Mary Poppins is a little sterner, but is very proper. Jane and Michael Banks, the children, are portrayed as bratty, and uncontrollable. This play includes several characters that were not in the film that make the performance more meaningful and strengthens the characters. It is made clear that father George Banks is cold and concerned with maintaining a orderly house. George’s wife wants nothing more than to help him lighten up and be happy, but he is so uptight he won’t share his burden with her or try to change his ways. On a outing to the bank, Mary Poppins teaches Mr. Banks the value of believing in people, not money. Seemingly a silly choice to George Banks, he turns down a loan by a man concerned with making money from America and gives a loan to a man who wants to build a factory to employ people in his town. The money schemer goes to another bank, and his plan puts them in debt. But, fortunately, the factory is booming with business and raises profits for the bank, all thanks to George.

The set is something to marvel at. The home at 17 Cherry Tree Lane comes to life, with a split opening of the front of the home, much like a dollhouse. It’s very complete, with lights, a staircase, and windows. It spun around for a scene in the kitchen, which also opens up to show plates and cabinets leaning toward the back wall of the kitchen, a perspective that makes the audience feel like they’re inside the home. Another highlight of the set was the backdrop for the bank. Using large marble towers that lean upwards, a large dome seen from the inside, and imposing doors, the feeling of a massive company and the small people who work there is well established.

The story is more complete than Disney’s film. It gives the characters a more solid motive and background. The character Bert, a man who has several kinds of occupations ranging from a street painter to a chimney sweep, acts as a transition character and a main character. He helped spin the home around for the kitchen, drew a welcome sign in the sky when Mary Poppins returned, and speaks to, and dances with, people in the street and main characters. The audience was immersed in the world of early 20th century England. The tale of the family on Cherry Tree Lane has its problems: a father who is preoccupied with order and keeping a good home, a mother who dearly wants to help her husband, and two children who find mischief around every corner. Coming in from a change in the wind, the new nanny, Mary Poppins, seems to turn their world upside down. Magical walks in the park, dancing on rooftops, and statues that come to life are only a couple of things Mary brings to the Banks family.

The musical numbers were my favorite parts of the play. The actors would leap and run across the stage, singing and stomping to the beat of the songs. Every move was well choreographed and nobody missed a beat. The fast-paced rendition of Step In Time was excellent. The stage was filled with chimney sweeps moving in sync with their brooms held high dancing on the rooftops, and Bert danced “over the rooftops,” tap dancing up the side of the stage to the ceiling and down the other side. From skipping in the park to a beautiful and elaborate finale, each step was done in time.

Being able to hear songs I remember from growing up and watching the videotapes of Disney’s classic Mary Poppins performed live on stage was incredible. It made me feel like a little kid again. I can’t count the number of times I caught myself quietly singing along with the songs. They tugged at my heartstrings, and made me feel that anything can be possible. The ending dance was great. Seeing the lights of a starry night on a stage and watching Mary Poppins float away with her parrot umbrella was a great way to tie it all together. The last song was led into by George picking up his childhood hobby of astronomy, gazing into the stars as the stage became dotted with small lights. Anything Can Happen (If You Let It), had characters dance on stage, moving lights around and wearing shimmering outfits. As the song goes, “If you reach for the stars, all you get is the stars, but we’ve found a whole new spin. If you reach for the heavens, you get the stars thrown in. Anything can happen if you let it, life is out there waiting, so go and get it, grab it by the collar, seize it by the scruff, once you’ve started living life you just can’t get enough.”

photo by Gustavo Garcia

The technical part of Rent is showcased through its masterfully sculpted set.  The metallic stairs and stagecraft, coupled with the spectrum of stage lights, gives the show a great edge and a true Broadway feel, as well as providing many levels and dimensions to the stage.

With the cast of Rent working hard to make it a big success this year, the tech crew, who work behind the scenes, are already making impressive set pieces to mimic the real Broadway set – including a staircase leading up to exactly the same stage the characters prowl around on during a big number.

“Tech crew is not just behind the scenes, they are partners in the production,” said Drama Director Michael Palmieri. “They’ve built the set from the ground up.”  There are many different jobs in tech crew, with students specializing in spotlights, music, painting, and building; but everyone functions as one unit.  During the production, stage crew is also responsible for handing out programs and selling tickets. The crew also built 20 frames to support the giant wall on stage.

“We try to attract quality people,” Palmieri said.  There are thirty kids in the stagecraft class, and most of the stage crew is made up of the 8th period Tech class that teaches TJ students the basics of set building and the over all design.  Among other things, Tech class teaches the right way to use power tools and proper texture techniques. “My experience in tech crew has been amazing. You get to learn a lot about stage design, lighting and building,” said senior Conner Keleberger, a member of the RENT tech crew in charge of the new light board in the auditorium.  “I took two two,-hour classes on how to use the light board.”

“For now everyone’s building,” said Palmieri. The crew has been working since the beginning of November and are already making the stage beautiful and, most importantly, safe for the actors, getting help from David Pinson a professional handy-man who has been working closely with the kids to make sure every detail of the set is secure and that things run smoothly.

With last year’s stage crew and a fresh crop of kids coming in, Palmieri couldn’t help but gush about all of the new and old talent. “They are hard workers, skillful – they welcomed new members with open arms,” said Palmieri. “They come down here everyday cheerfully and get right to work.”

    The story begins with a small introduction of other stories about the young women who keep disappearing from the city of Juarez. These girls go to work in American-owned factories that are easily found all along the Texas border. They begin working, and after a couple of weeks they mysteriously disappear and are later found violated, murdered, or mutilated. For years, everyone has been trying to get to the core of these disappearances.

    The protagonist, Alma, goes to work in Juarez in a circuit board factory. She lives with her cousin and they both work together from sunrise to sunset.  Earning only $4.75 per hour, they are still happy to have a job where they make more money than they were making in their home town.

 The story starts out with a beautiful family portrait. Alma lives with her loving brother (Aaron Vieyra), and her worried aunt and cousin. But then the story takes a tragic turn, and Alma’s cousin becomes pregnant, leaving Alma to work on her own.

    Alma is a beautiful 16-year-old girl who spends her day walking to and from work warding of creepy old men and rapists. She cuts her long, beautiful hair to make herself less attractive and avoid trouble. This keeps her somewhat out of danger, but she still has to worry about all the things that are going wrong in her life. She is having a really hard time supporting her family, and is about to give up when la Llorona, the spirit of a woman who spends her after-life hunting after her lost children, arrives to protect her.

    I was surprised to find out that la Llorona was used as a helping hand in this play. Usually she is portrayed as a symbol of horror, or the warning for a sad upcoming event. I think this brought an interesting twist to the story, and made it more appealing for everyone to watch. La Llorona tells Alma that the city is “unnatural”, and that she needs to do everything possible to protect herself.

    The simple plot, setting, and characters of this story make it sweet and dramatic. The set is simple, made up of small details like signs, broken toys, homes that are half built, and barbed wire. It’s an unsettling story, yet easy to understand, and easy to keep up with it.  But the characters are amazing, and they make up for the sparseness of the set.  I loved this story, and will surely continue to follow Trevino Orta’s writing.

    Immediately as the curtain rises, Thomas Jefferson’s audience will be in hysterics as this year’s fall play kicks off with a rare comedy, Moon Over Buffalo.

    Moon Over Buffalo is about an aspiring theatrical couple who, while traveling Buffalo, New York with the rest of their fellow actors, attempt to earn the lead roles in their upcoming play in which the famous director Frank Capra is expected to make an appearance.

    Taking on Moon Over Buffalo as this year’s fall play was an easy decision once Thomas Jefferson’s Head Director Michael Palmieri considered the facts. “There were two things that really inspired me to choose Moon Over Buffalo. First, was that we had never done a comedy before. Second, it was recommended to me by a friend, and once I read the script I knew it was the one.”

    One of Palmieri’s biggest jobs every year is to put together a solid drama team. “To me, the drama team is a group of kids who have successfully auditioned and are capable of performing on stage or in tech,” said Palmieri.

This will be Palmieri’s third year coaching drama at TJ, and he takes the fall play very seriously. “My vision for the fall play is to provide an opportunity for students at TJ to participate in cutting edge theatre while entertaining their peers.”

Auditions for Moon Over Buffalo were September 9^th and 10^th, and concluded with the casting of two leading students: Manny Perez and Mina Bradley.

“I love hanging out with the cast and Mr. Palmieri. The cast seems great this year,” says Perez.

Bradley shares the enthusiasm with her counterpart in the male leading role. “The play was cast absolutely perfectly. Everyone fits their part just right, and I think that will be obvious when the play comes together. It’s is absolutely hysterical and will definitely be one to remember,” says Bradley.

    Thomas Jefferson High School students and staff members have always had reasons to be proud of their school. Achievements in athletics are always met with trophies and awards. Accomplishments in learning and academics are emphasized with ceremonies and certificates. There is always a reward for those who exert incredible force while in their climb towards success here at TJ. What of  the Drama Department and their latest effort, Chicago?
    They strive for no trophy, nor any certificate, nor any celebration, nor ceremony, nor prize of any sort. The cast and crew’s single request is simple and modest: an audience.  An audience that may or may not choose to applaud, but they did applaud for this show. The audience could only clap, whistle, and shout as the most spectacular epic in recent TJ memory was performed before them.
    Specifically, the entire spectacle was such a plethora of talent bursting from so many unexpected sources, that plainly saying “Chicago was good” would be deemed as hideously understated. Every single aspect of Chicago was in effect spellbinding and awe-inspiring. Music, acting, vocals, lighting, backdrops, scenery, the cast itself.  Chicago was a cornucopia of amazement that left the crowd not only open-mouthed, but granting the play and its creators accolades of ovation after ovation. They deserved roses.
    Chicago was first a book written by Fred Ebb and Bob Fosse, later turned into a musical with the music accompanying it being written by John Kander and lyrics written by Fred Ebb once again. Chicago follows the story of Roxie Hart, a young woman in the 1920s trying to become a world-renowned performer – doing whatever it takes to get there. The musical plays with the themes of a celebrity-criminal and the easily persuaded opinion of the public and its ultimate power.
    Senior Aubrey Becker played the role of Roxie Hart in TJ’s rendition of the musical, and did so incomparably. The character was a difficult one involving much more acting, singing, and dancing, than any other role in show, but Becker displayed Roxie naturally and easily. Although a few of the dance moves were somewhat hard to pull off, Becker’s voice and movements were higher-up among the many highlights of the show and had the auditorium transfixed and catcalling.
    Devi Browne was also one of the top actors, portraying the washed-up and desperate Velma Kelly, another famous murderess who competes with Roxie for the limelight – much to her annoyance. With a voice full of emotion and power, Browne and Becker rocked the stage together, combining in a fusion of talent and flair. Tremendous voice and acting aside, Browne participated in some very impressive dances and swift solos that had the crowd gasping. One particularly great performance, the Cell Block Tango, gave Browne the chance to first reveal her impassioned voice along with some elaborate flamenco exhibitions, which were equaled, if not surpassed, by her fellow Cell Block Girls.
    Visually though, no woman could surpass the elegant and sophisticated portrayal of “Mama” Morton by Blair Moore. Warden and matron to the female criminals, Mama intelligently manages and helps both Roxie and Velma along the road toward fame, riding on the backs of their criminal records. Submerging herself in the role, Moore took to the stage with such an air of intellect and allure as to be one of the more unexpected surprises of the show, and one without flaws.
    The men of the show were in no way outdone by their feminine counterparts.
    Chris Wolter, acting the part of Amos Hart, Roxie’s husband, commanded the role with such brilliance as to become one of the best reasons for this reporter to have seen the show. The role of Amos was dependant on convincible acting and good singing ability. Wolter provided both, transcended them, then waited patiently as the crowd collected their jaws from the floor. The solo Mister Cellophane had everyone stupefied and amazed. His opera-house voice could hold notes for as long one could keep gasping that he’s still holding it. Chris Wolter became Amos Hart for those three magical nights, and was king of the stage.
    Or at least until Nelson Barry arrived.
    Playing the role of Billy Flynn, Barry did nothing less than transform the fedora-wearing character into a devil of style and experienced street-smarts. Singing takes on an important position when reproducing Billy Flynn, and while Barry’s voice wasn’t as breathtaking as some of the other cast’s, it was robust in its own right. The song All I Care About being a perfect example of Barry’s mastery of the role. Cool is the optimum word that comes to mind when describing Mr. Flynn, and mesmerizing is the word that comes when describing Nelson Barry.
    And then there was Mary Sunshine played by Aaron Loffelmacher. Dressed in the most ridiculous assortment of Sunday dresses and flamboyant feather hats, Loffelmacher need only be in one corner of the scene to inspire an eruption of giggles. Let him alone to speak, and the entire crowd is forced toward hilarity. Let him alone to dance and sing, and…well, we were thankful the walls were sturdy. Although the role seems simplistic in the realm of acting range, singing aptitude, and meticulously practiced choreography, Mrs. Sunshine quickly became one of the musical’s favorite appearances, and rightly so thanks to the anything but simplistic talents of Aaron Loffelmacher.
    The company of the show really took some of the spotlight from the more underlined actors, and nowhere is this more apparent then in the trial scene. Watching them flock about the stage as they were preparing the seats, and later on gasping and applauding to Mr. Flynn’s story was beyond entertaining. Subsequently, they instantly become reporters, photographers, clerks, doctors, nurses, judges, lawyers, lovers, background dancers, and all throughout they did so with grace and precision.
    There was also the very specialized part of the narrator, which took the spot of introducing the audience into every song and act. Sinjin Jones played this role sleekly and with style, along with the part of Roxie’s ex-lover Fred Casely. In addition to his multiple roles, Mr. Jones was also the Student Director of the play.
    But thus far we sing the praises of only the visible individuals involved in this production.
    Literally behind the scenes, up above, down below, and even right on stage, belong some of the subtler, yet no less important, talent that made Chicago the monumental achievement it was.
    The music performed was nearly flawlessly well done. Coupled with every single act and scene, it seems as though the band was the one element doing most of the work, as music was playing though about 80% of the play. Chicago music requires a wide array of instruments to be played, and played well.  From the piano to the tuba it seemed as if each and every note and sound was on key and beautifully played to every mood and atmosphere.  The band – expertly conducted by Choir Teacher and Music Director Edwina Hebert -  deserves to put on a pedestal due to their own merit and enormous talent.
    Lighting was also a good reason the play was so visually appealing. Molding light into the voluminous force it truly is, the spotlighting and stage lighting departments truly lit the show up, and displayed the actors in their truest colors every moment they were on stage.
    Even then there were the numerous bits of Chicago few ever saw. An example being the painted backdrops of the Chicago skyline and musicians that set the scene. Or the costume and make-up departments that dressed the characters to their fullest.  Or the countless hours devoted to the blocking and staging of the choreography, directed by Dance Teacher and Choreographer Carole Fulkerson.  And, of course, none of this would have been possible without the inspired stage direction of Drama Coach and Artistic Director Michael Palmieri, whose relentless dedication to bringing TJ Drama to new heights is now paying great dividends. Chicago was a quiet team effort which resulted in a powder keg of a show.
    This reporter was unquestionably Razzle Dazzled beyond any expectations he may have had before, and he is certainly awaiting any future shows with crazy anticipation.

     “Choreography is really important and we spend a lot of time teaching it to people,” said Lead Choreographer and Teacher Carole Fulkerson. For this musical Fulkerson choreographed 13 dances. With everyone from the Company (those who act as singers and dancers in the musical along with a bit of acting) to the Leads (the stars of the show) needing to look professional, choreography was no easy task.

     “It’s really difficult to learn all of the dances and then to remember them,” said Dance Lead Allyson Hussey, “but we know that they’re going to look amazing in the end so we’re willing to put in the work.” Lunges, lifts, and spins all grace the stage of Chicago and the cast put a lot of work into it. “We spend at least an hour a day dancing,” said Hussey. “It takes dedication but we know it’s going to turn out well.” Some days, the cast spends up to four hours in the Dance Room learning new choreography. “With big dance numbers like We Both Reached for the Gun and All That Jazz, it’s difficult because there are so many people learning it at the same time, but those end up being the best because everyone is involved and people can feel the excitement.”

     Fulkerson choreographs in a very interesting way. She can be seen hurriedly scribbling notes in her script as the actors are on stage. “You can tell that she is passionate about what she does,” said actor Chris Wolter, who plays Amos Hart. “It really helps when our choreographer is into what she’s doing; it makes everything more fun.” The first step is listening; she listens to a recording of the song numerous times in order to get it down. Next she takes advice and sets out the moves in counts of eight, immediately following which she teaches the students without, and then with the music. “After choreographing, we have to move it to the stage so that we can get a sense of space.” The final step is adding the orchestra (which will be one of the biggest bands in TJ musical history) in order to get the cadence correct. “The recording is never completely accurate to how it will sound with the band so we need desperately to practice.” The only step after that is to perfect.

“I like what I do,” says Fulkerson, “I wouldn’t change it for the world.” As the curtain prepares to open on Chicago tonight at 7 pm and the actors put on their character shoes (ideal for dancing on stage), the dances will no doubt be the highlight of the show. And All that Jazz!
 

     A number of dynamics go into creating a successful stage musical: tech, music, and direction to name a few. With TJ Drama readying their spring musical, Chicago, it is fitting to take a look at how these things come together. This week: the technical crew.

“The tech crew is in charge of lighting, curtains, props, and set pieces, just a lot of things that go into making our show successful,” says Artistic Director and Lead Tech of the production, Michael Palmieri. “Without the dedicated tech crew that we have, it would be nigh impossible to put something like Chicago together.”

Prior to the beginning of rehearsals, the tech crew took on the job of organizers and planners. “It wasn’t necessarily the most exciting work,” said Senior Techie Steven Edwards, “but it needed to be done so that when we got to building sets everything would be in its proper place.”

As rehearsal got more intense, many techies took on roles that they will keep until the show premieres. “Once everything is coming together,” said Palmieri, “we need people who can run the lights, work the curtains and run spotlights for the remainder of the production, because its important for everyone, techies and actors, to get accustomed with the aesthetics of the show.”

Meanwhile, other techies are building the sets that will make the show shine, literally. On the top of their list is a very glittery addition to the finale of the show along with a three-tier platform to act as the center of action on the stage. “Building the stuff isn’t incredibly difficult,” said Techie Trina Fernandes, “but it’s really important. We have deadlines that we must hit so that the cast can work with the sets before the shot. It would be terrible if no set was built until the day before.” The Tech Crew keeps busy building various prison accouterments such as bars and a staircase that will serve as useful during a sad moment in the production. “Once we get the plans,” said Trina, “its up to us to build it accordingly so that it’s both safe and fun. We want everything to be as flashy as possible.” With platforms and new lights to accent the acting on-stage, everything is coming together just in time for the show.

“It is most important that the Tech Crew feels like part of the drama family,” Palmieri says,. “They are one of the most important aspects of making a show work and we couldn’t do it without them. When the show goes up, we need lights and a set if anyone is going to enjoy it.”

With the show premiering in only a week and a half (March 13th and 14th at 7 p.m. and March 15th at 2 p.m. and 7 p.m.), the Tech Crew (Monica Arck, Anna Boyle, Steve Edwards, Trina Fernandez, Kevin Flemming, Ben Gilliland, Jessica Johnson, Kenny Montgomery, Dallas Ockey, and Spencer Snell) is taking on important roles, pivotal to the show’s success, and focusing on getting to know the play so as to act as problem solvers on opening night.

They came, they sang, they conquered. After the extensive three-day audition schedule and callbacks, the cast list for the TJ Drama Team production of Chicago has been posted.

The audition process was three-pronged. On November 27th and 28th, Chicago hopefuls gathered outside of the choir room for singing and dancing auditions. They were charged to memorize a two to three minute monologue, a two to three minute excerpt of a song, and to perform it in front of the three directors: Drama Coach Michael Palmieri, Music Director Edwina Hebert, and Choreographer Carole Fulkerson.

“All of the auditions were extremely good,” Hebert said. “It made our job very difficult.”

After the singing/acting auditions were complete, it was time for dance. At lunch on the 26th and the 27th, students were taught a 32-count dance. They were asked to perform in groups of four for the trio. “The dance was pretty difficult,” Fulkerson said, “but everyone did fairly well.”

With the auditions over, the directors needed to take another look at things. The callback list was posted and actors were given a chance to strut their stuff one more time on the stage of the Little Theater. They were allowed to practice and then perform pieces from Chicago for the group.

After all was said and done, the cast list was finally posted; this after two weeks of uncertainty. The directors have made their decision and, drum roll please…

Cast List:

Velma Kelly – Devi Browne
Roxie Hart – Aubrey Becker
Fred Casely/Master of Ceremonies/Bandleader – Sinjin Jones
Sergeant Fogarty – Erik Neal
Amos Hart – Chris Wolter
Matron – Blair Moore
Billy Flynn – Nelson Barry
Mary Sunshine – Aaron Loffelmacher
Kitty Baxter – Jacqui Cromer

Cell Block Girls:
Liz – Melissa Fife
Annie – Natalee Pinson
June – Valerie Bussart
Hunyak – Mina Bradley-Belcaid
Mona – Angelica Mills