The Killing Game was written by Eugene Ionesco in 1971. Titled Jeux de Massacre in its original French, the play is in the style of Theatre of the Absurd, a literary movement closely associated with the philosophy of existentialism. In a series of vignettes, the show tells the story of a city struck by a mysterious, terrifying plague which kills thousands upon thousands of citizens without any prior symptoms or indications of illness. The scenes focus on characters as diverse as an elderly couple on a walk, a hypochondriacal master and his servants, and the increasingly irrational city council as people of all walks of life attempt to grapple with terror, paranoia, and the inevitability of death.

The New School’s eight ensemble cast members each portrayed a wide variety of distinct characters, in addition to functioning as the production’s stage crew. They were practically overflowing with infectious energy and clearly relished every moment onstage. Their unbridled enthusiasm for performance was refreshingly authentic. The group dynamic was incredibly cohesive, down to such details as the precise synchronicity of members donning hats at the beginning of each new scene.

The Killing Game‘s onstage troupe all worked well as a company, but Jonathan Halverson stood out from the group as especially adept at Ionesco’s absurdist style. While some members of the cast struggled to balance comedy with the need to take themselves seriously within their portrayals, Halverson committed fully to a surfeit of ridiculous roles. His commanding stage presence allowed him to seize the unwavering attention of the audience even when delivering extended monologues. Halverson also demonstrated a remarkable gift for physical acting and clowning, shown to most uproarious effect in his turn as an upper class germaphobe. His histrionic facial expressions and exaggeratedly sudden death perfectly encapsulated the hyperbolic nature of absurdism.

The tech elements of the production contributed to the actualization of the show’s overall conceptual goals. The well-fitted white costumes of the cast were an inspired nod to the clinical and sterile environment of a hospital ward, and the plethora of hats were an effective method of distinguishing between the different characters, particularly as the actors and actresses transitioned between multiple personas. One of the production’s high points, technical or otherwise, was a Powerpoint presentation which accompanied the impassioned speech of a rebellious politician in the town square. The brusque text of each slide and the intentionally insensitive graphs were instrumental in illuminating the absurd nature of the situation.

Sometimes, the only way to find significance when events seem utterly nonsensical and meaningless is to laugh. The New School of Northern Virginia brought a dose of levity to the darkest of settings with their fascinating production of The Killing Game.

by Madelyn Paquette of McLean High School

Photo Gallery

Kamryn Leoncavallo, Felicia Clinton, Ross Rubin	Felicia Clinton, Sophia Omar, Margie Greer, Vince Vilasi
Jonathan Halverson, Meg Sinek

Photos by John Potter

The Adding Machine was written by Elmer Rice in 1923. It was also adapted into a 1969 feature film and a 2007 musical. In this play, Mr. Zero is an accountant at a successful, but boring company. After twenty-five years working the same job, he is fired. In his anger and pain, he snaps and kills his boss, beginning a landslide of trouble that will extend even beyond his lifetime.

An interesting variation in this production was the choice to have more than one Mr. Zero. However, even though each actor’s interpretation was unique, the transitions between them from scene to scene were seamless. Mr. Zero was also clearly identifiable by his signature grey sweater vest, eliminating any confusion. Among the various Mr. Zero’s, Brian Kraemer particularly stood out. The inner conflict and stage presence he brought to the character was captivating during the courtroom scene. Endowing the character with a genuine depth, he single-handedly facilitated the most enthralling moments of the show. Maren Berg was also admirable, pouring energy into Mr. Zero and keeping the show moving at a steady pace.

The ensemble added life to the grey world of The Adding Machine through their animated chatting and fluid scene transitions, despite occasional foibles with synchronized movements. Shannon Mendonca was engrossing as Mr. Zero’s disgruntled co-worker, Daisy. Her deadpan responses and hatred of her job, added slight humor to the bleak play. Another standout from the cast was Ross Rubin as Lieutenant Charles. For a production that had a few stumbles along its way, his enthusiasm pushed it along to its poignant conclusion.

The play was performed in the intimate setting of a black box, effectively grabbing the audience’s attention from the moment they entered the performance area. The set was simplistic yet innovative, with an array of grey chairs transforming the small space into a bed, an office, and even a graveyard. An off-balance and claustrophobic feel was achieved through the artful hanging of receipt paper from the ceiling and the splattered blue and grey treatment of the floor. Lights also added to the overall grim mood and managed flawless transitions, creating the different desired effects for each scene.

The life and afterlife of Mr. Zero are vignettes that provide a poignant look at some timeless issues of life. Although there seemed to be moments where actors had some trouble communicating the overall message, their love of the show and of their fellow performers was obvious and made The New School of Northern Virginia’s The Adding Machine an enjoyable and thought-provoking experience.

by Emma Paquette of McLean High School

Photo Gallery

Michael Ginsberg as Mr. Zero	Brian Kraemer as Mr. Zero and Ross Rubin as Lt. Charles
Brian Kraemer, Maren Berg, Michael Ginsberg, Sam Stone, Jon Halverson	Mr. Zero, Brian Kraemer, facing the jury (full ensemble)

Photos by John Potter

Wonderland is based off of Lewis Carroll’s classic novels, “Alice in Wonderland” and “Through the Looking Glass,” adapted by the theatre director at The New School of Northern Virginia. “Alice in Wonderland” is often adapted for both stage and film and has been made into a popular Disney musical motion picture, as well as the darker 2010 film directed by Tim Burton. It is a popular choice for schools, with its large ensemble cast and endless opportunities for creativity. In the New School of Northern Virginia’s production, we follow Alice down the rabbit hole and into a wonderland which encompasses all of the beloved and classic elements of Alice’s story, as well as some original touches.

The New School’s technical crew made the ambitious leap of staging Wonderland in an intimate black box theatre, in which the actors were mere feet from the audience. The creation of the special effects and scene transitions in this wonderland were facilitated by images of Alice changing sizes, setting backdrops, and the original text, projected in black and white onto a stark white backdrop.

The costume crew adapted to an ensemble cast (which required countless costume changes) by dressing the ensemble in plain black attire and adding colorful touches like gloves, feather boas, and colorful hats which could easily be discarded and changed. The cast was transformed with pale white skin and bold geometric makeup looks that easily suggested multiple characters and were appropriate for the intimate setting. Impeccably neat and universally intriguing, the makeup flowed seamlessly with the eerie mood of Wonderland.

Claire Quin portrayed a new version of the Alice Liddell that we all know and love. Her excellent memorization and stage presence drew attention. The energetic Brian Kraemer portrayed a believably nervous and clever White Rabbit. His nervous mannerisms and consistently high energy made him entertaining and fun to watch. Chris Diaz stood out as the hilarious and bumbling Tweedle Dee and the indignant knave on trial. His energy and strong character choices set him apart from the other ensemble members. The energy and chemistry between Diaz and Julia Bianchetta, who played Tweedle Dum, contributed to one of the strongest scenes in the production.

An ensemble of wonderland characters attempted the absurdist style of theatre, suggesting settings and effects that could not be accomplished in the small black box theatre through physical movements. They created an ocean of tears, a caucus race, and a flamingo croquet game through interpretive dance and creative movement; however, there appeared to be an overarching lack of energy amongst ensemble members. One of the most interesting moments of the night was the swirling movement of Alice falling down the rabbit hole, as objects whirled around her, propelled by the ensemble.

Although some actors had diction issues, the chemistry amongst ensemble members allowed for an excellent show. The New School of Northern Virginia executed definitive and ambitiously stylistic theatre, in a completely unique production of Wonderland.

by Siena Richardson of McLean

Photo Gallery

Devan Daly as The Caterpillar and Claire Quin as Alice. Caterpillar arms: Chris Diaz and Olivia Whitham. Mushroom (L to R): Alec Aziz, Shannon Laws, Amber Baker, Julia Bianchetta, Beverly Kamen	Claire Quin as Alice
Felicia Clinton as The Cheshire Cat	Sam Stone, Susha Stone, Julia Bianchetta, Alec Aziz, Aliza Mendelowitz

Photos by John Potter

You’re sitting in the thick of the action watching what seems like regular old goofing off that you can see every day in high school hallways, when suddenly these actors transform and the box you didn’t give a second glance to explodes into a brightly colored set. A feat that for a moment steals your breath. A gong, a stampede, then silence, and you’re laughing before you even know why. Welcome to the commedia dell’ arte.

Look up, past the sliver of the moon and take a good look at the girl you just know you are going to love to hate. That girl, who’s yelling at the moon for staring at her, is Isabella. Isabella and her twin, Fabrizio, are played by Morgaine Gooding-Silverwood. She is an actress who shows off her talent playing two radically different characters that both have underlying unresolved emotional issues. From speaking clearly over a mouth crammed with various snack foods, to portraying a ghetto gangster who threatens the audience into not telling her plans, this young lady had a range of comedy that kept the audience on their toes.

But it was Flavio, played by Mauricio Cimino-Campodonico, and Pulomo, played by Chas Saphos, who stole the show. Their stage presence drew all attention. Was it the way they were looking down their pants cheerfully thanking the chromosomes or their freeze framed fighting that left the crowd in stitches? What ever it was, they left a lasting mark.

There was little makeup done in this production. However the masks on many actors were adapted to the characters by the makeup team.

The tech crew did a phenomenal job. Their use of lighting was so subtle that the night scenes faded gently into the day scenes as if the day was actually dawning. The commedia wagon was wired for sound and light by Glenn McGurrin. Despite a few technical problems at the end of the performance, the lighting, sound, and the construction of the set all combined to make a fantastic unparalleled production.

But, remember now, you didn’t hear it from me.

by Tierra Moreland of Falls Church High School

Photo Gallery

Sean Casey as Capitano in the background with Brian Kraemer as Arlecchino on top of Chas Saphos, playing Pulomo	Morgaine Gooding-Silverwood as Isabella/Fabrizio and Sean Casey as Capitano
Morgaine Gooding-Silverwood as Isabella/Fabricio, Alec Aziz as Orazio and Sam Stone as Minstrel Zanni

Photos by Madi Muhlberg.

The Bacchae is so named because its central figure, Dionysus, the mythological god of theatre and merriment, is also known as Bacchus. An ancient Greek tragedy by the Athenian playwright Euripides, the play originally premiered in 405 B.C. and has undergone many reincarnations in modern times. The New School’s version was translated by noted classicist Paul Woodruff and closely followed the original text. The basis for The Bacchae is the legendary tale of Pentheus, ruler of Thebes, and his mother, Agave, who were both punished by Dionysus because they did not believe that Dionysus was truly the son of Zeus and refused to worship him as a deity. Assisting Dionysus in his retribution were his loyal Bacchantes, whose actions, fueled by Dionysus’ anger, created frenzied chaos.

The strength of this show was the inventive, creative, even daring concept. Traditionally, Dionysus is male and disguised as a blond stranger. The New School’s Dionysus, indeed a blond in disguise, was a female. This interpretation was intriguing, as was the decision to have both males and females play Dionysus’ traditionally all-female followers.

Leading the actors with an exceptional portrayal of Dionysus was Morgaine Gooding-Silverwood. She was confident and skilled in her delivery of the complicated and copious dialogue. Gooding-Silverwood advantageously employed dramatic pauses as well as intense physical and vocal expressions in her work. Ben Fletcher, as Pentheus, showed his wide range of acting abilities as his portrayal of Pentheus swung from a stern and intense ruler to a hilarious female masquerader.

All of the actors handled the difficult dialogue well and contributed significantly to the show’s success. Two especially notable supporting performances were given by Mary Kobor and Will Bousman. As Pentheus’ mother, Agave, Kobor was utterly committed to her character and captured Agave’s enthusiastic spirit well. Bousman, as the blind seer Tiresius, brought humor to his role, particularly in his smug facial expressions.

The harem-esque Bacchantes, led by Anna Moses-Schmitt, fervently demonstrated their devotion to Dionysus primarily through passionate and evocative dancing. Although at times the Bacchantes’ free-spirited movements were a bit distracting, they provided the intended effect.

The technical aspects suitably supported the production. The cast fully and cleverly used the black box theatre venue, even spilling into the aisles and mingling among the theatre goers. The centerpiece of the set was a faux fire of glowing red gossamer surrounded by a dilapidated fence, representing Dionysus’ mother’s tomb. The makeup was outstanding with intense jewel-toned colors applied expertly, achieving a sinuous and strong result.

Mounting such a complicated show was risky, but it was a risk worth taking. The intelligent and creative presentation of The Bacchae by The New School was entertaining, enlightening, and flush with fables that still ring true today.

by Meghan Palmer of Bishop Ireton High School

A History of American Film, a complex and wise social commentary, was written by Christopher Durang. Although it had a short run on Broadway in 1978, it provided thought-provoking messages laced with satire and humor. Chronicling various aspects of American life from the 1920s through the 1970s, Durang’s show delivered a montage of popular film scenes and references from each time period. Because The New School company was small, many actors were called upon to play multiple roles. Although the role changes were occasionally confusing, each character was brought to life skillfully.

Employing student-produced film clips and live action, the show was cleverly presented, beginning in the spectacular silent film era, the “Age of the Silver Screen.” Sara Abdelrahim, the talented silent movie director, included titles and mimicked deteriorated film conditions that would be expected for the era, giving the film an authentic feel. Abdelrahim’s appropriate use of the piano accompaniment wordlessly gave the audience crucial emotional cues. The use of silent film in the opening act as well as intermittently throughout the production truly anchored the show.

Versatility was demanded of all of the actors, especially Amanda Griffiths as Loretta. Portraying the homeless orphan turned ingénue turned ex-ingénue, Griffiths consistently gave a powerful performance throughout her character’s transitions. Her beautiful and strong soprano voice coupled with her feminine physicality added impressively to her characterization of Loretta. As Jimmy, Chris Blackden successfully captured the tough-talking gangster guy persona, while subtly revealing his soft spot for Loretta with tender looks and gentle gestures.

Memorable supporting actors included Olivia Whitham, Will Bousman, and Lauren Prizel, all of whom used understated humor in portraying their many characters. Virginia Molinaro delivered a sultry performance as bad girl Bette, and Liz Lusk was charming as the chocolate-loving, tongue-twisted French maid, Viola. Although there were occasional sideways glances at the audience and lapses in concentration, most actors performed with assurance.

The cast used the versatile space in the black box theater fully. The effective use of the gallery above the stage as the movie theater balcony was especially clever, and the intimacy of the small venue allowed for fine acoustics. Prop, set, and costume color choices and changes suitably conveyed the transformations in time and film. Because of the close proximity of the audience to the stage, the scene changes were obvious and a bit noisy, but the cast and crew compensated nicely by working quickly.

The New School presented a playful and fun performance – the show was packed with wacky action and energy!

by Meghan Palmer of Bishop Ireton