Adapted from Shepherd Mead’s 1952 novel, How to Succeed in Business Without Really Trying made its stage debut in 1961 and has continued delighting audiences since. The show chronicles a young man’s rapid rise to corporate success. His charms, white lies, and “how to” guide help Finch navigate the office shark pool, including the inevitable obstacles of a pretty secretary and a blundering nemesis.

Joey Ledonio (Finch) played the suave young business beaver with an earnestness befitting a hopeful black tie. His vocal levels were at a professional level, and tireless physical animation gave him outstanding charisma on stage. Despite his double-dealing ways, the spark Ledonio poured into his character ensured the audience was always on Finch’s side. Angelica Miguel (Rosemary) played an office secretary immediately taken by Finch. Miguel’s strength was in her enchanting vocals, but she was always quietly engaged in her infatuation for the sneaky executive.

Abby Giuseppe played an office secretary, Smitty, and Rosemary’s closest confidant. Her wry humor and blunt deliveries quickly made her an audience favorite (while her rumors of nymphomania made her an office favorite). Rolf Lundberg played the bratty, outrageous failure of a villain to perfection. His role of Bud Frump included an amazing dorky dance sequence. Overall, his failed attempts at corporate weasel-ry were so unsuccessful the audience couldn’t help but adore him.

J.B. Bigley (Diego Rosende) was the boss-man himself. His ridiculous quirks such as his college “grrrroundhog” pride and his secret knitting obsession made him a comical authority figure. Other standouts included the promiscuous Hedy La Rue (Loren Gant), and the timid mail room head Mr. Twimble (Jon Paul Ryan).

The set successfully captured the office atmosphere with multiple levels of offices and an elevator in the lobby. The props however are what truly brought the show together. Various office furnishings, bar charts, and mailroom necessities were all detailed and brought the company world to life. Technically, the show was nearly flawless. Sharply timed light cues were “spot” on, and the sound was consistent with no feedback or drastic mic fallouts. Costumes were notably student created. Their time-period accuracy and general whimsy, bow ties, fuchsia “Paris Originals” and a knitted groundhog sweater, all created an aesthetically stunning performance.

While it was obvious that the cast and crew of Bishop Ireton High School’s performance worked very hard, the performance appeared effortless. It was surprisingly easy to fall in love with every character on stage. After “It’s Been a Long Day with only a few Coffee Breaks,” Bishop Ireton delivered just the right excitement and charm to remind us all of the “Brotherhood of Man.”

by Emilia Brennan of Oakton High School

Photo Gallery

J. Pierpont (Joey Ledonio) and the ensemble in ‘Brotherhood of Man’	Hedy LaRue (Loren Gant) shows off her ‘Paris Original’ dress
Bud Frump (Rolf Lundberg) takes a phone call in the mailroom of World Wide Wickets	J. Pierpont, Smitty, and Rosemary (Joey Ledonio, Abby Giuseppe, and Angelica Miguel) discuss how it has ‘Been a Long Day’
J. Pierpont (Joey Ledonio) and J.B. Biggley (Diego Rosende) show off their school spirit in ‘Grand Old Ivy

Photos provided by Bishop Ireton High School

A show that started small in a regional theatre in 1972, Something’s Afoot rapidly grew into a big hit that entered the Broadway world in 1976. Ten characters are left to determine who among them is the murderer while attempting to avoid a terrible fate themselves. The cast includes Miss Tweed, a spritely old lady who appoints herself leader of the survivors; Geoffrey and Hope, a pair of starry-eyed lovers; Nigel, the devious legal heir to Lord Rancour; the seductive Lady Grace; the self-respecting Colonel Gillweather; and more.

Something’s Afoot was the perfect choice to showcase the skills of eleven remarkably talented high school actors. Every member of the cast was an amazing asset with something of their own to bring to the production, and each character was well-developed, interesting, and memorable. Not only was the delivery and quality of the lines spot-on, but the characters’ stage movements also aided in the comic success of the show.

Though the production was mostly ensemble, there were a few characters who were clear stand-outs by their exceptional stage presence. Miss Tweed, played by Sarah Moffit, had the audience in stitches with her unparalleled use of expression and tone. Brenna Carroll shined in the role of Hope Langdon, and her soprano voice was easy on the ears, featuring seemingly effortless high-pitched notes. Joey Ledonio was utterly convincing as Geoffrey, easily falling into the young, love struck dynamic of the character.

Having such a small cast, it was a given that each character would interact with all the others in one way or another. However, there was one dynamic duo that caught the audience’s eye with their clear-cut chemistry and ability to adopt class structure English accents: Catherine Schreiber, who portrayed Lettie, the maid; and Joseph Green, who was a natural fit alongside her as Flint, the caretaker. Both saucy characters found their way to each other in a farcical number entitled “Dinghy.” In addition, “Suspicious,” which, led by the ever-charming Sarah Moffit, was a crowd favorite with nicely crafted choreography that kept the audience perched on the edge of their seats.

Several technical aspects, namely the fully functional, detailed, dual-level set; designed by Andy Santalla, Mary Bukoski, Annalin Woo, and Megan Brusnalan and built by students, impressively enhanced the show. In addition, costumes made by Meg Webster, Charlotte Rodger, Charlotte Kuhn, and Becky Littlefield appropriately reflected the style and aura of the time period. Lighting and sound effects contributed effectively to the mysterious thrill of the plot.

Overall, Something’s Afoot was entertaining and pleasing to watch. Innuendos started out subtle and then grew broader as the show progressed, capturing the humorous nature of love at first sight and forgotten affection, and characters reacted to well-delivered lines in ways that made the audience roar. The cast successfully transformed an unhappy topic into one of laughter and comedy, resulting in a truly fantastic piece of theatre.

by Katelyn Sparks of South County High School

Photo Gallery

Joseph Hammett (Dr Grayburn)	Jack Ladd ( Nigel Rancour), Sarah Moffit (Miss Tweed), and Jack Freeland (Col. Gillweather)
Jack Ladd	Brenna Carroll, Sarah Moffit, Joey Ledonio

Photos by Catherine Schreiber

This classic 16th century play, modernized and set in 1870s Texas, was written by William Shakespeare and tells the story of Bianca, a ravishing young woman who has many suitors, but cannot be married until her belligerent older sister Katherina finds a husband. One of Bianca’s admirers, Hortensio, convinces his friend Petruchio to court Katherina, and tells him of her large dowry. Petruchio sets his sight on Katherina, but she isn’t as enthusiastic as he had hoped. Meanwhile, Hortensio faces troubles of his own when Bianca is romantically pursued by a mysterious new lover, Luciento. Crazy antics ensue, and the sister’s circumstances show just how woeful it is to be wooed.

The whole cast spoke in southern drawls that were both realistic and thoroughly consistent, and the dialect brought the full performance to a greater level. Shakespeare’s tough, wordy language was no match to Bishop Ireton’s set of talented actors, whom all kept the complex scansion from hindering their superb performances. Everyone was comfortable in their varying wacky roles, and gave great physicality to their energetic portrayals. Not once did any individual break character, and the company kept a high level of hilarity throughout the show.

An obvious highlight was Melanie Blower’s depiction of Katherina, the tough tomboy referred to in the title of the play. Blower flawlessly personified Katherina’s boisterous and aggressive traits, while also pulling off her more gentle moments of sincerity. Equally as gifted is Bruno del Alamo, who portrayed the witty and eccentric Petruchio. Del Alamo and Blower had natural chemistry in their humorous scenes, and they both used expressiveness and physical comedy to get the crowd roaring with laughter.

The cast included many, memorable supporting parts that showed just how diverse the town was. Sarah Moffit played Baptista, the kind, affable mother of Katherina. Moffit was extremely versatile, and gave her role a nice maternal touch. Another notable performance was Joey Ledonio, as the love-struck Hortensio. Ledonio took his character on hilarious lengths to win over Bianca’s heart, even if that meant dressing in a mariachi suit and playing the guitar.

The set, complete with a general store, sheriff’s office and saloon, looked as if it had been lifted from the badlands of the Wild West. It was a visually pleasing backdrop, and also added a great sense of authenticity to the play’s updated time period. The costume designers (Catherine Burgin, Lily Ramey, Danielle Rowen, Meg Webster) used prairie dresses, riding skirts, and cowhide accessories to further display the changed setting. Makeup, sound, and lighting were all additional artistic elements that made the audience genuinely feel as if they were sitting in the hot Texas sun.

The combination of spectacular acting and realistic ambiance made for an enjoyable production. Bishop Ireton High School proves that classical plays like The Taming Of The Shrew can be adapted and modernized into fresh, new pieces that leave viewers craving more.

by Julian Sanchez of Westfield High School

What started out as a 15 minute cantata at an all boy school in London in 1968 has now become one the most performed musicals to date. Andrew Lloyd Webber and Tim Rice’s biblically-based musical tells the story of jealousy, forgiveness, and dreams leaving the audience with the message “any dream will do.”

The cast of Joseph at Bishop Ireton showed great versatility as they gracefully leaped from genre to genre in their consecutive musical numbers. From country, to calypso; from Elvis, to Broadway, the ensemble covered it all with enthusiasm. The overall energy, while high at points, and abundantly apparent in some individuals, was not completely there at times, however.

Performing in the title role was Ricky Drummond, as Joseph, who put this show on his shoulders. Drummond’s performance of “Close Every Door” was easily the most intimate moment of the production as he made the audience swoon with his excellent vocals. He managed to be consistent throughout a performance that demanded a lot from an individual, and still was able to wow the audience with his final note.

Bruno del Alamo also took his role to heart as the King himself, the Pharaoh. Alamo not only played the King of Egypt, but brought back the King of Rock-and-Roll with his hypnotic hip shaking and crazy embodiment of cool. Without a doubt, the audience lamented when Alamo left the building.

In a show that requires the absolute devotion of everyone on stage, when not everyone seems completely invested, certain individuals shine. Jack Ladd, who played Joseph’s brother Benjamin, stood out from his peers as both energetic and talented. One could always depend on Ladd to have the biggest smile or the most dramatic frown when fitting in this musical.

The story of Joseph was kept moving by the three melodious narrators Danielle Comer, Julianne Kuhn, and Elizabeth Foster. The three narrators were also consistent throughout the story and managed to sing with incredible strength from prologue to finale.

In the spirit of Andrew Lloyd Webber’s love for modernization, which is incredibly clear in this particular piece, Bishop Ireton added to the already eclectic performance with fun references to Burger King and the TSA just to mention a few. The costume crew also took the zaniness of this show to heart with their creation of 190 costume pieces. While some of the pieces were at times almost over the top, they always had the right intention of representing the genre of the specific scene. Mary Grant, who designed the lighting, is also worth mentioning as she created and executed a light plot that supplemented the performance perfectly.

Bishop Ireton put on a fun, family-friendly show that put a smile everyone’s face.

by Becca Allen of Langley High School

“Go Go Beach: A New Musical” by John Wimbs, Michael Shaieb, and Brent Lord has had only slightly over 100 productions around the world since its debut in 2001. This musical centers around the main character, Woody (Ricky Drummond) a surfing heartthrob who is confronted by his jealous, coquettish girlfriend J.J. (Julianne Kuhn), runaway star Mindy Chinchilla (Cody Boehm) and hippie love-loving friend Bulldog (Danielle Comer). Woody finds himself making choices he never thought possible, but all with one motive — love.

Woody’s character, though at first seemingly simple and one-dimensional, quickly became dynamic as Drummond’s character was confronted with seemingly impossible choices. Bulldog, the final love interest for Woody, was brilliantly played by Danielle Comer, whose fitting vocals and appropriate acting was well received by the audience in her version of “Don’t Look the Other Way.” Her lines, powerful and emotional, made her a truly memorable character.

One of the most amusing characters of the show was Einstein played by Jack Ladd. His nerdy demeanor was apparent in “The Formula For Love,” during which he revealed his plot to drug J.J. into falling in love with him. Every one of his actions was performed with 100% commitment, which made him a joy to watch.

Another outstanding performance was given by Adam Santalla in his portrayal of Sammy Leech. Santalla combined the sleaze of a movie producer with ignorance to the teenage psyche to make for his hilarious one-liners an all around enjoyable performance.

The ensemble, energetic and upbeat, completed the show and provided with constant entertainment. There were, however moments when the energy dropped, but was quickly picked up again and stayed up through the second act, ending the show on a high note.

The 60’s, a difficult time to portray on a stage, was made real by the set pieces, skillfully constructed by the Bishop Ireton Set Design Team. The grass roofed huts completed the look of a beach, projections by TJ Birmingham and Molly Patterson and lighting by Taylor Cambas added to the mood and beach-feel of the production.

Everyone involved in Bishop Ireton High School’s Go-Go Beach truly exemplified the aura of the 60’s between the happy-go-lucky attitude and the more realistic, ominous side. This production will not be easily forgotten, as it brings together a powerful message, “It’s All About Love.”

Submitted by Maria Sharova of Wootton High School.

Shakespeare’s timeless tragedy tells the story of two lovers, Romeo and Juliet, crossed by fate and family, whose attempts to reconcile their love leads only to sorrow and grief for themselves and their families, the Capulets and Montagues. The Elizabethan tragedy is given a modern facelift, with such amenities as iPods, flashlights, and Starbucks coexisting with the dress and weaponry of the 17th century, giving the production an entirely unique feel for an old classic.

The Bishop Ireton cast takes full advantage of the freedom that their unique setting gives them, with such moments as seamlessly transitioning from an Elizabethan dance to two individuals drinking a cup of Starbucks in the morning; the cast fully captures the timeless nature of Shakespeare’s plays. The additional element of the playful humor in the first act, with such gags as a Maxim magazine to get over Romeo’s first love Rosaline, help the production create a strong dichotomy between the joy of the first half and sorrow of the second.

James Robertson‘s portrayal of Romeo and Celine Daubresse‘s portrayal of Juliet capture the deep feelings of the characters while charting their ways through a wide range of emotions. These two are also backed by the strong performance of Andrew Ferguson‘s Mercutio, whose antics capture humor of the early play, and at the same time captures and evokes the tragedy of the play in his final monologue.

The surprise performance of the production is the ensemble of Andrew Ferguson’s Mercutio and Jake Gaudet‘s Benvolio, whose chemistry work perfectly together throughout their time together and adds extensive depth to each of their respective characters. This is in addition to the strong acting of Emilia Lynch, who’s Nurse goes the entire spectrum from motherly to grieving, provides strong support for both of the leads to lean upon. While at times the character’s versatility seemed to stall throughout the production, the overall energy of the ensemble well made up for these moments to create a strong performance.

The set for the play provided a surprising amount of versatility for the actors, and its detail from the plants to the small fountain on stage created a strong Elizabethan feeling without caging the actors to specific actions or style. Additionally each character benefited from an extensive wardrobe, especially in the first act where each character appeared to have three costumes that helped the actors show a change in scene. The sound at times suffered from odd music sequences, but was greatly assisted by the clarinet ensemble whose live performance onstage added an interesting musical element to the production.

Taking on any production as famous as Romeo and Juliet is a daunting task, and the Bishop Ireton cast not only met the task but surpassed it in an extremely strong performance.

by Nathaniel Adragna of Walt Whitman H.S.

(Learn more about this production in this article: Behind the Scenes with Bishop Ireton’s Romeo and Juliet.)

Rehearsal is about to begin, and the cast is scattered throughout the auditorium. Some are huddled together in the aisles, quickly running through their lines and laughing about their day. Some are pushing their way through the stage doors, Starbucks in hand. A few are hurriedly finishing homework.

Today, it is one week from the opening of Bishop Ireton High School’s production of Romeo and Juliet. The cast is anxious. This week, everything is supposed to gel. The show they have created will appear, piece by piece, in front of them.

Sixteen of the twenty-six cast members are seniors, many of whom flooded the drama department four years ago in an unusually large, enthusiastic freshman class.

In many ways, this is the end. For some seniors, it is the end of their stage careers. For others, it is the end of the days when theatre was only a game.

The “high school drama kids” stereotype is as old as any, but a resurgence in recent years of Broadway’s popularity has seen this brand become less of a stigma. With shows targeted to young audiences like Rent and Wicked achieving mainstream popularity, Broadway’s neon lights are attracting many aspiring actors. In spite of the setbacks and struggles that come hand-in-hand with acting, the stage has become home to high school students across the country. Many are determined to turn their passion for performing into careers.

For some seniors at Ireton, drama will soon graduate from an after-school activity to the focus of their studies.

Celine Daubresse has been performing since she was in kindergarten and is now a talented singer, dancer, and actress, president of the Drama Club, and Juliet in the fall play. Performance will remain a force in her life even after the play closes– she plans to major in musical theatre, and has two upcoming college auditions. She is nervous about them, but confident that she is pursuing the right career.

“I just don’t see myself doing anything else. I can’t see myself working in an office for the rest of my life. And you know, as much as people say ‘Oh, there’s no way you can make a living in theatre,’ this is what I’m passionate about. This is a part of who I am. This is what I know I want to do and I really believe I can.” Her cast mates agree; they all believe she has the drive and the talent to succeed.

James Robertson, who plays Romeo, echoes her sentiments. He is vice president of the Drama Club and a natural leader, unflappably friendly and serene. He plans to double major in drama and computer science (the latter as his “backup job for when I don’t have a job”). His experience with high school drama has prepared him well, he feels.

“I’ve gotten to do everything. I’ve directed, acted, done stage crew, done costuming. Sure, before, I liked acting, it was fun. But now… I’ve been taught so much; I’ve learned so much, I’ve been corrected at everything. I think the program has just made me so much more aware of who I am and what I want to do.”

James emphasizes the community that inevitably forms between so many students working so closely toward the same goal. “I mean, we’re all theatre kids, so we’re all insane, but we’re always there for each other. The atmosphere is astounding. I’m really going to miss that. I’m sure I’ll never see it again.”

He jokes, but there is an underlying truth to this. Acting may be a famously brutal profession, but in its amateur form, it forges incredible bonds. The opportunity to perform in many different shows with the same group of people is an aspect truly unique of high school drama.

Some seniors aren’t committing to a career in theatre yet. Carolyn Darville, playing Prince Escalus, is one of Ireton’s most talented singers; she earned a lead role in the musical her sophomore year. Bubbly and upbeat, Carolyn is captivating onstage, but she is still debating her college path, grappling between a minor in musical theatre and a music and arts management double major. No matter her choice, she is sure she will continue performing, in at least a community theatre capacity. “I need it to keep me sane,” she explains.

There are other seniors for whom this play is goodbye.

Sean Crook, playing Friar Lawrence, has been acting since his freshman year, and his enthusiasm is palpable. “This place is my home,” he declares, gesturing across the vast auditorium. He points to the cast, still waiting for rehearsal to begin. “These people are my family. I’m really going to miss my friends and the excitement of putting on shows. I’ll even miss staying here rehearsing until 11:00 at night.” Sean has a clear vision for his future. “I want to major in computer and information sciences,” he says, enthusiastic as ever.

Jake Gaudet, playing Benvolio, is the larger-than-life class clown. “Whenever there’s a part that calls for a funny accent, that’s gotta be mine,” he remarks. When asked what drew him to theatre, he pauses. “It was something I was interested in doing, and I stayed because of the friends I made. I may not plan on doing this forever, but I’m grateful for the charisma and presence I’ve developed because of it.” Jake plans to major in engineering.

Senior Andrew Ferguson is playing Mercutio. His acting chops never fail to impress, but like Sean and Jake, he is not planning to pursue acting. “I’ve thought about it. But there are so many different applications for acting in life, not just on the stage, that I’ve never really felt the desire to go that way.” Andrew is active in Ireton’s Model United Nations Club, and wants to study international relations and economics. He credits theatre with teaching him teamwork more than sports ever could, and summarizes the unifying sentiment about high school drama:

“You can say you’ll miss the stage, the professionalism, but when it comes down to it, it’s the people you’re gonna miss most. These are some of the best memories I have of high school.”

Regardless of whether or not they plan on pursuing it, the seniors can agree that theatre has been an unforgettable part of their high school experience. When asked what it’s given them, the unanimous first answer is friendship. After a few moments, the answers delve deeper. “Confidence,” a few mention. “My self-esteem.” “Creativity.” “An outlet for my frustration.” “I have discovered who I am by pretending to be someone else,” says another senior, Dan Boos.

For some, this show is a trophy; they have worked hard to take it beyond expectations, and they look forward to a successful run and final memories. For others, this show is training for a not-so-distant future.

For now, they are all working toward the same goal. The curtain will rise in a week, and two months of memorization, characterization, repetition and imagination will manifest in two acts of a famous play. Each cast member is ready. Each is waiting on a future.

Rehearsal begins.

by Emily O’Connell, Bishop Ireton High School 2009

The Pajama Game originally opened on Broadway on May 13, 1954, ultimately garnering a Tony Award for Best Musical. It is based on the book “7 1/2 Cents” by Richard Bissell, and was adapted to the stage by Richard Adler and Jerry Ross. The story of one group of textile workers’ struggle to achieve a 7 1/2 cent raise is one that was very common in the 1950s and is what makes the musical such an unforgettable one.

Bishop Ireton did a wonderful job of embodying the time period, with very decade-specific costumes, hair and makeup. Costume designer Hannah Goldman should definitely be commended for her use of vibrant colors and eye-catching fabrics to match the lively spirit of the 1950s. This same vibrancy was captured in the choreography of the musical also. The entire cast was dedicated to the intricacy of the choreography and there was never a moment where one actor seemed to have nothing to do. Choreographers Andrea Borrelli and Celine Debrausse did an excellent job of giving each actor a purpose on stage and building chemistry between company members at all times.

Complementing the many achievements of the show’s designers, there were also memorable performances by the cast. Most characters managed to get and keep the audience’s attention. For example, Kimberley Miller as Poopsie made audience members erupt with laughter, and James Robertson was dedicated to all the sleazy physicality of his character Prez. Lead Actress Carly Maalouf as Babe also captivated the audience with her serious portrayal of Babe’s struggle to find the balance between her love life and her work life.

Although the production experienced some issues with sound leveling, the cast pushed through and delivered some memorable musical numbers. Kimberley Sabol was enthusiastic in the number “Hernando’s Hideaway,” and the number “Racing With The Clock” really clued the audience in to conditions at the Sleep Tite Pajama Factory.

Bishop Ireton’s production should be commended for its dedication to the true spirit of the original Pajama Game production. They gave a performance to remember.

by Cerstin Johnson of Duke Ellington